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UNIVERSAL STREET CHILDREN GAMES: SOME REMARKS ON PIETER BRUEGEL'S CHILDREN GAMES 普遍的街头儿童游戏:论勃鲁盖尔的儿童游戏
Pub Date : 2020-02-29 DOI: 10.7816/ulakbilge-08-45-07
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引用次数: 0
REINTERPRETATION OF A PUBLISHED MALE PORTRAIT IN KAYSERI MUSEUM 重新诠释在开塞利博物馆出版的男性肖像
Pub Date : 2020-01-31 DOI: 10.7816/ulakbilge-08-44-06
Yaşar Arli
The most difficult question in portrait art of the Roman Imperial Period is dating of a piece of art together with questions whether it is a formal or private portrait. The discussion on the male head brought to the museum by a private person is exactly in this direction. Although it is difficult to date the piece from Kayseri, of which finding place and structure relation are unknown, based on hairstyle and physiognomical features, the period suggested by S. Sağlan is not also possible. Kayseri piece which is intended to be dated to the Traianus period based hairstyle has been compared with four portrait types of Traianus in its chronological order in my study and has been stated why it could not be dated to this period. Additionally, the sentence “Veristic/realistic physiognomy continued until the middles of II century BC starting from Vespasianus time during the Roman Imperial Period” has also been interpreted and this historical process has been evaluated within the scope of integrity. It was also supported by me that realism in the true sense in Roman Imperial Period started with the first emperor of the Flavian Dynasty but it was explained with samples that this realism was not as same as veristic physiognomy during Roman Republican Period.
在罗马帝国时期的肖像艺术中,最困难的问题是确定一件艺术品的年代,以及它是正式肖像还是私人肖像。一位私人带到博物馆的关于男性头部的讨论,正是在这个方向上。尽管很难根据发型和面相特征确定这块来自开塞利的碎片的年代,它的位置和结构关系都是未知的,但S. Sağlan所暗示的时期也不可能。在我的研究中,一件旨在追溯到Traianus时期的基于发型的Kayseri作品已经按照时间顺序与Traianus的四种肖像类型进行了比较,并说明了为什么它不能追溯到这个时期。此外,“从罗马帝国时期的维斯帕西亚努斯时期开始,真实/现实的面相一直持续到公元前2世纪中叶”这句话也得到了解释,并在完整的范围内对这一历史过程进行了评价。我也支持罗马帝国时期真正意义上的现实主义是从弗拉维安王朝的第一位皇帝开始的,但我用样本解释了这种现实主义与罗马共和时期的真实面相是不一样的。
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引用次数: 0
REFLECTIONS OF THE POMEGRANATE SYMBOL IN TURKISH MYTHOLOGY TO THE CONTEMPORARY TURKISH PAINTING ARTS 土耳其神话中石榴符号对当代土耳其绘画艺术的思考
Pub Date : 2020-01-31 DOI: 10.7816/ulakbilge-08-44-11
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引用次数: 0
THE FEMALE IMAGE IN CERAMIC ARTS AND THE FUSUN KAVALCI EXAMPLE 陶艺中的女性形象与扶桑卡瓦奇的例子
Pub Date : 2020-01-31 DOI: 10.7816/ulakbilge-08-44-08
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引用次数: 0
THE MISLEADING FEATURE OF SHADOW IN THE ART HISTORY AND PLATO'S ALLEGORY OF THE CAVE 艺术史上阴影的误导特征与柏拉图的洞穴寓言
Pub Date : 2020-01-31 DOI: 10.7816/ulakbilge-08-44-10
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引用次数: 0
THE EFFECT OF PETER VOULKOS IN CERAMIC ART Peter voulkos在陶瓷艺术中的作用
Pub Date : 2020-01-31 DOI: 10.7816/ulakbilge-08-44-07
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引用次数: 1
PLANNING INTEGRATED LIVING SPACES FOR DISADVANTAGED GROUPS AS A SUSTAINABLE SOCIAL RESPONSIBILITY PROJECT 作为可持续的社会责任项目,为弱势群体规划综合生活空间
Pub Date : 2020-01-31 DOI: 10.7816/ulakbilge-08-44-04
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引用次数: 1
THE BED IN ART IT IS NOT JUST A FURNITURE 床在艺术上它不仅仅是一件家具
Pub Date : 2020-01-31 DOI: 10.7816/ulakbilge-08-44-05
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引用次数: 0
MUNIR NURETTIN SELCUK EXAMINATION ON ORNAMENTS Munir nurettin selcuk对饰品的检验
Pub Date : 2020-01-31 DOI: 10.7816/ulakbilge-08-44-09
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引用次数: 0
ARTISTIC ACCEPTANCE OF TURKISH ROCK PAINTINGS 土耳其岩画的艺术接受度
Pub Date : 2019-10-31 DOI: 10.7816/ulakbilge-07-41-07
Ayse Ozmak Mercan
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引用次数: 0
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Ulakbilge Dergisi
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