- Eklemek veya çıkarmak istediğiniz kriterleriniz için 'Dahil' / 'Hariç' seçeneğini kullanabilirsiniz. Sorgu satırları birbirine 'VE' bağlacı ile bağlıdır. - İptal tuşuna basarak normal aramaya dönebilirsiniz.
In this research, the definition and the meaning of concept of emptiness will be explored, and the relationship between the concept of nature and the concept of nature by the effect of sky, mountain, road and sea images in landscape paintings will be researched. In this process, not only landscape painting but also the changing ways of looking at the landscape are included. The aim of the research is to examine landscape painting in the context of the concept of emptiness by looking at major artists, groups and exhibitions from a conceptual framework. An artist working in the field of landscapes, regardless of the focus of the subje . . .ct they are working on, first goes through a mental decision-making process. The artist's view of the landscape and the way they confine it within a delimited frame is subjective. Methodologically, this study is approached from two perspectives. The first is conceptual and the second is practical. Firstly, the conceptual framework on the subject was created and secondly, in line with the data obtained, the concept of emptiness and landscape painting in the course of history were examined formally, spiritually and conceptually in terms of selected painters and their works. The conclusion was that landscape paintings carry meditative elements that relax the mind in connection with the concept of emptiness and involve the viewer with the help of these elements
Following an introduction to abstract art this thesis study focuses on the geometric abstract art which emerged with the onset of abstract art in three time periods. In the first section which encompasses a time frame of approximately forty five years between the onset of abstract art in the begining of the 20th century and the end of World War II it is discussed how artists like Kandinsky and Malevich made a difference by breaking off from the convention and thus contributed to the existence of the geometric abstract art. In the second section which covers a time frame between the emergence of a new world order following World War . . .II and the post modernism in 1980 the development phase of geometric abstract art is reviewed. Art movements such as Op Art, Minimalism and Colour Field Painting and the leading artists who enabled the development of abstract and geometric abstract art as a reaction to the totalitarian regimes of the pre 1945 period is examined. Also Turkish artists asscociated with geometric abstract art following affinity of Turkish art world with West after 1950 is reviewed. In the last section between 1980 and present the contemporary international and Turkish artists who do geometric abstract art is examined. It is pointed out that geometric abstract art at present is preserving its existence via internet and similar technologies and media applications in addition to conventional methods
This dissertation examines the symbol and concept of time in art from the 20th century to the present. In addition, it investigates and evaluates the relationship between art and symbol in the context of ideational and plastic arts. Furthermore, this dissertation investigates the relationship of the array of artworks between new aspects of artistic creativity and symbolism and perception, a modern way of creating new time symbols and their transfer to the audience. Finally, this study investigates the external effects of the diversity of trends in Western art on artists and artist groups such as political, economic, and social. Thus . . ., symbols, languages, and images are transformed in art, and new techniques and transfer methods to the audience emerge. In order to understand both time symbols and concepts more deeply, it is necessary to go back to the era when modern science was born. In order to understand the nature of time, this dissertation examines scientists theories about the “nature of time” from the Anatolian philosopher Heraclitus in ancient times and the ones from our present time, such as Stephen Hawking. Philosophical views on the concept of “time and symbols” also play an essential role. In this study, by investigating the way the painters construct their works of art, their search and use of new time symbols in terms of style, the interaction in contemporary art, the use of new techniques and materials by the artists, the concept of art for the concept of time and time symbols are analyzed. In the last part, Tetiana Müsevitoğlu’s paintings are included, the interaction with the time symbol and the concept of time is discussed, and the study is completed
YEDİTEPE ÜNİVERSİTESİ AKADEMİK ARŞİVİ
Yeditepe Üniversitesi, akademisyen ve lisansüstü öğrencilerinin iç ve dış paydaşlarla ürettikleri bilimsel çalışmalarını, Akademik Açık Arşivi’nde elektronik olarak yayınlayarak ülkemiz ve insanlık yararına sunar.
Yeditepe Üniversitesi Akademik Açık Arşivi’nde bulunan tüm kaynaklar, telif haklarına uygun şekilde ve açık erişim olarak yayınlanır.
Preprint (ön baskı), yayınlanmış makaleler ve diğer bilimsel belgeler Yeditepe Üniversitesi birimleri, araştırmacı adları, yayın tarihi ve anahtar kelimelere göre kategorize edilerek sunulmuştur.
Yeditepe University provides the scientific studies conducted by academicians and graduate students with internal and external partners for the benefit of our country and humanity by publishing them electronically in the Academic Open Archive. All resources in the Yeditepe University Academic Open Archive are published in accordance with copyright and open access. Preprint published articles and other scientific documents are categorised on the basis of Yeditepe University units, researcher names, publication date and keywords.
6698 sayılı Kişisel Verilerin Korunması Kanunu kapsamında yükümlülüklerimiz ve çerez politikamız hakkında bilgi sahibi olmak için alttaki bağlantıyı kullanabilirsiniz.