Pub Date : 2021-03-29DOI: 10.47571/ATAUNIGSFD.874505
Ö. Ateş
Francisco Goya (1746-1828), as an artist who lived in the second half of the 18th century and the first half of the 19th century, witnessed a painful period in Spain. The artist was very influenced by this period of civil war and French occupation and directly reflected on his art. His stunning and high artistic value paintings are therefore documents. Goya’s paintings have undertaken a function of stimulating social memory and being on the alert about war and violence. Goya, who lived in the transition from Neoclassicism to Romanticism, moved away from the traditional approach; He is one of the first artists to reflect his inner nature, excitement and emotions on his paintings. The artist lived in a period when social and political changes accelerated in Europe under the influence of Enlightenment Philosophy; He carried his libertarian and critical attitude to his paintings. In this article, the Black Paintings made by Goya on the walls of the house where he lived between 1819-1823 and the painting named The Dog, which stands out among these paintings, were examined. The life of the artist and the prominent events of the period in which he lived were discussed in general terms in the context of their effect on his paintings and a detailed analysis of the painting named The Dog was made. The metaphorical expansions of the images in the painting and those that develop in the axis of the dog image examined.
{"title":"GOYA’NIN KARA RESİMLERİ VE \"KÖPEK\" ADLI RESMİNİN ANALİZİ","authors":"Ö. Ateş","doi":"10.47571/ATAUNIGSFD.874505","DOIUrl":"https://doi.org/10.47571/ATAUNIGSFD.874505","url":null,"abstract":"Francisco Goya (1746-1828), as an artist who lived in the second half of the 18th century and the first half of the 19th century, witnessed a painful period in Spain. The artist was very influenced by this period of civil war and French occupation and directly reflected on his art. His stunning and high artistic value paintings are therefore documents. Goya’s paintings have undertaken a function of stimulating social memory and being on the alert about war and violence. Goya, who lived in the transition from Neoclassicism to Romanticism, moved away from the traditional approach; He is one of the first artists to reflect his inner nature, excitement and emotions on his paintings. The artist lived in a period when social and political changes accelerated in Europe under the influence of Enlightenment Philosophy; He carried his libertarian and critical attitude to his paintings. In this article, the Black Paintings made by Goya on the walls of the house where he lived between 1819-1823 and the painting named The Dog, which stands out among these paintings, were examined. The life of the artist and the prominent events of the period in which he lived were discussed in general terms in the context of their effect on his paintings and a detailed analysis of the painting named The Dog was made. The metaphorical expansions of the images in the painting and those that develop in the axis of the dog image examined.","PeriodicalId":31346,"journal":{"name":"Sanat Egitimi Dergisi","volume":"134 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77393814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-19DOI: 10.47571/ATAUNIGSFD.835231
Eda Demir Tosunoğlu, Olcay Boratav
Kiyafetin onemli bir parcasi olan bas suslemelerinin, Orta Asya’dan baslayarak Hun, Goktur, Uygur, Buyuk Selcuklu ve Anadolu Selcuklu, Osmanli ve Cumhuriyet doneminden gunumuze kadar her donemde farkli bicim ve sekillerde kullanildigi gorulmustur. Kiyafetin tamamlayici bir parcasi olan basliklar; bircok uygarliktan etkilenerek hem sanatsal hem de kulturel etki ile her donemi etkiledigi gibi Osmanli Imparatorlugunu da etkilenmis ve bu donemde de cesitli baslik turlerinin kullanildigi gorulmustur. Turk kadin ve erkek basliklari, suslenme amaci disinda toplum icindeki makam, mevki ve statuyu gosterme amaciyla kullanilmis ve farkli sekillerde kullanilan basliklar donemlere gore kulturel etkilesimle geliserek devam etmistir. Osmanli doneminde Islamiyet’in kabulunden sonra bu basliklar, basi orten kumaslarla birlestirilip kullanilmistir. Bu baslik cesitlerini donemin seramik, cini gibi kullanima yonelik urunleri, yazma eserler, resim ve minyatur gibi eserlerde yer alan insan figurlu tasvir betimlemelerinde donemi yansitan basliklar ile karsilasilmaktadir. Bu baglamda Osmanli donemi bitkisel bezemenin hakim oldugu cini eserlerde figuratif betimlemeler arastirilmistir. Insan figurlu tasvirlerde donemin giyim kusamini yansitan ornekler ele alinarak kiyafetin onemli bir parcasi olan bas suslemeleri incelenmis ve orneklerle aciklanmasi amaclanmistir.
{"title":"OSMANLI DÖNEMİ İNSAN FİGÜRLÜ ÇİNİ TASVİRLERİNDE BAŞ SÜSLEMELERİ","authors":"Eda Demir Tosunoğlu, Olcay Boratav","doi":"10.47571/ATAUNIGSFD.835231","DOIUrl":"https://doi.org/10.47571/ATAUNIGSFD.835231","url":null,"abstract":"Kiyafetin onemli bir parcasi olan bas suslemelerinin, Orta Asya’dan baslayarak Hun, Goktur, Uygur, Buyuk Selcuklu ve Anadolu Selcuklu, Osmanli ve Cumhuriyet doneminden gunumuze kadar her donemde farkli bicim ve sekillerde kullanildigi gorulmustur. Kiyafetin tamamlayici bir parcasi olan basliklar; bircok uygarliktan etkilenerek hem sanatsal hem de kulturel etki ile her donemi etkiledigi gibi Osmanli Imparatorlugunu da etkilenmis ve bu donemde de cesitli baslik turlerinin kullanildigi gorulmustur. Turk kadin ve erkek basliklari, suslenme amaci disinda toplum icindeki makam, mevki ve statuyu gosterme amaciyla kullanilmis ve farkli sekillerde kullanilan basliklar donemlere gore kulturel etkilesimle geliserek devam etmistir. Osmanli doneminde Islamiyet’in kabulunden sonra bu basliklar, basi orten kumaslarla birlestirilip kullanilmistir. Bu baslik cesitlerini donemin seramik, cini gibi kullanima yonelik urunleri, yazma eserler, resim ve minyatur gibi eserlerde yer alan insan figurlu tasvir betimlemelerinde donemi yansitan basliklar ile karsilasilmaktadir. Bu baglamda Osmanli donemi bitkisel bezemenin hakim oldugu cini eserlerde figuratif betimlemeler arastirilmistir. Insan figurlu tasvirlerde donemin giyim kusamini yansitan ornekler ele alinarak kiyafetin onemli bir parcasi olan bas suslemeleri incelenmis ve orneklerle aciklanmasi amaclanmistir.","PeriodicalId":31346,"journal":{"name":"Sanat Egitimi Dergisi","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73749986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-18DOI: 10.47571/ATAUNIGSFD.863165
Ceylan Sebik Gündüz, A. D. Kiratli
Gorsel sanatlar ogretiminde yeni yaklasimlar cercevesinde ele alinan bu arastirmada Acik Havada Egitim (AHE) modeli nitel arastirma yontemlerinden betimsel analiz yontemi kullanilarak calisilmistir. Acik Havada Egitim Etkinliklerinde (AHEE); acik alanlarin programlanmis bir egitim dizgesinde kullanimi ile bireyin bilissel, duyussal ve edimsel duzeyini yukseltilmesi amaclanmaktadir. AHEE ile yapilandirilmis bir Gorsel Sanatlar Dersi’nde ogrencilerin; aktif liderlik, takim calismasi, akran iliskileri, cevresel farkindalik gibi ozellikleri gelistirmeye tesvik edilebilecegi ongorulmektedir. Acik havada egitim etkinligi, tematik olmasi ve farkli konu alanlarinin kesistirebilmesi sayesinde hemen hemen her alan icin kullanilabilirdir. Sinifin disinda, dogal ortamlarda gerceklestirilen AHEE bircok disiplinde oldugu gibi sanat egitimi icin de farkli bir alternatif bir model olusturabilecegi dusunulmektedir. Sanat egitimi duyularin duygularla iletisimi aracigiyla ortaya cikan yaratici ifade gucunu besler niteliktedir. Bu baglamda ogrenciler ancak yaparak, yasayarak ogrenme paradigmasi dogrultusunda duyular yardimiyla aktif bir sekilde aldiklari bilgiyi yapilandirir ve butunlestirebilirler. AHE yaklasimi rastlantisal deneyimlere acik bir ogrenme ve ogretme sureci icermektedir. Bu durumda AHEE’nin Gorsel Sanatlar Dersi icin sunacagi rastlantisal deneyimlerin, ogrenme surecine yansimasi olumlu ve olumsuz yonleriyle tartisilmasi faydali olacagi ongorulmektedir.
{"title":"GÖRSEL SANATLAR ÖĞRETİMİNDE YENİ YAKLAŞIMLAR: AÇIK HAVADA EĞİTİM","authors":"Ceylan Sebik Gündüz, A. D. Kiratli","doi":"10.47571/ATAUNIGSFD.863165","DOIUrl":"https://doi.org/10.47571/ATAUNIGSFD.863165","url":null,"abstract":"Gorsel sanatlar ogretiminde yeni yaklasimlar cercevesinde ele alinan bu arastirmada Acik Havada Egitim (AHE) modeli nitel arastirma yontemlerinden betimsel analiz yontemi kullanilarak calisilmistir. Acik Havada Egitim Etkinliklerinde (AHEE); acik alanlarin programlanmis bir egitim dizgesinde kullanimi ile bireyin bilissel, duyussal ve edimsel duzeyini yukseltilmesi amaclanmaktadir. AHEE ile yapilandirilmis bir Gorsel Sanatlar Dersi’nde ogrencilerin; aktif liderlik, takim calismasi, akran iliskileri, cevresel farkindalik gibi ozellikleri gelistirmeye tesvik edilebilecegi ongorulmektedir. Acik havada egitim etkinligi, tematik olmasi ve farkli konu alanlarinin kesistirebilmesi sayesinde hemen hemen her alan icin kullanilabilirdir. Sinifin disinda, dogal ortamlarda gerceklestirilen AHEE bircok disiplinde oldugu gibi sanat egitimi icin de farkli bir alternatif bir model olusturabilecegi dusunulmektedir. Sanat egitimi duyularin duygularla iletisimi aracigiyla ortaya cikan yaratici ifade gucunu besler niteliktedir. Bu baglamda ogrenciler ancak yaparak, yasayarak ogrenme paradigmasi dogrultusunda duyular yardimiyla aktif bir sekilde aldiklari bilgiyi yapilandirir ve butunlestirebilirler. AHE yaklasimi rastlantisal deneyimlere acik bir ogrenme ve ogretme sureci icermektedir. Bu durumda AHEE’nin Gorsel Sanatlar Dersi icin sunacagi rastlantisal deneyimlerin, ogrenme surecine yansimasi olumlu ve olumsuz yonleriyle tartisilmasi faydali olacagi ongorulmektedir.","PeriodicalId":31346,"journal":{"name":"Sanat Egitimi Dergisi","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73642185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-08DOI: 10.47571/ATAUNIGSFD.872081
Esra Ertuğrul Tomsuk, Banu Yücel
Art, from the primitive period to the present, is in a constant change, also affected by social events. Along with the art, the exhibition forms of art have also changed in the same direction. The gallery have become a space that has been criticized by posmodernism and transformed by artists. The artists away from the gallery spaces and their questions such as what art is, what an art exhibition could be, and how far an art institution is ready to go. In this study; Art, the change of the gallery space in the historical process and the relationship between art institutions and the artist are examined, and the actions of the artists who have come to terms with the traditional gallery perception pushing the boundaries in the process are exemplified through current works.
{"title":"GÜNÜMÜZ SANATINDA DEĞİŞEN GALERİ ORTAMI BAĞLAMINDA MEKAN-DOĞA ETKİLEŞİMİ","authors":"Esra Ertuğrul Tomsuk, Banu Yücel","doi":"10.47571/ATAUNIGSFD.872081","DOIUrl":"https://doi.org/10.47571/ATAUNIGSFD.872081","url":null,"abstract":"Art, from the primitive period to the present, is in a constant change, also affected by social events. Along with the art, the exhibition forms of art have also changed in the same direction. The gallery have become a space that has been criticized by posmodernism and transformed by artists. The artists away from the gallery spaces and their questions such as what art is, what an art exhibition could be, and how far an art institution is ready to go. In this study; Art, the change of the gallery space in the historical process and the relationship between art institutions and the artist are examined, and the actions of the artists who have come to terms with the traditional gallery perception pushing the boundaries in the process are exemplified through current works.","PeriodicalId":31346,"journal":{"name":"Sanat Egitimi Dergisi","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76836499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-30DOI: 10.47571/ATAUNIGSFD.821185
Tuğba Aygan
Tiyatrodan alinan hazzin buyuk oranda bir oyuna yerinde tanik olmaktan gectigi su goturmez. Ote yandan, tiyatro eserinin uzaktaki seyirciye ulasilabilir kilinmasinda dijital araclarin rolu de yadsinamaz. Covid-19’un vurdugu gunumuz dunyasinda tiyatro calisanlari da tiyatronun varligini surdurebilmesini saglamanin bir yolu olarak dijitalizme basvurmaktadir. California Universitesi Davis Tiyatro ve Dans Bolumunun tamami kadin oyunculardan olusan ve Sophocles’in Antigone’sinin hibrit bir uyarlamasi olan AntigoneNOW oyunu, mevcut durumu dijital yollarla basarili bir sekilde irdeleyen ve cevaplayan girisimlerden biridir. Cevrimici sergilenen oyun dunyanin farkli koselerinden ve cesitli kulturlerden on iki kadin oyuncunun kendilerini telefonlari, bilgisayarlari ve iPadleri ile kaydettikleri videolarin yonetmenler tarafindan bir araya getirilip duzenlenmesiyle olusturulmustur. Uyarlama, karantina doneminde tiyatro hakkinda fikir verirken dunyanin her bir kosesinde isimlendirilmeyen sorunlara ve bunlarin karsisinda cesitli insanlarin ortak cabasina icgoruler onerir.
{"title":"Karantinada Klasik Canlanış: Sophocles’in Antigone’sine AntigoneNOW ile Hibrit bir Yanıt","authors":"Tuğba Aygan","doi":"10.47571/ATAUNIGSFD.821185","DOIUrl":"https://doi.org/10.47571/ATAUNIGSFD.821185","url":null,"abstract":"Tiyatrodan alinan hazzin buyuk oranda bir oyuna yerinde tanik olmaktan gectigi su goturmez. Ote yandan, tiyatro eserinin uzaktaki seyirciye ulasilabilir kilinmasinda dijital araclarin rolu de yadsinamaz. Covid-19’un vurdugu gunumuz dunyasinda tiyatro calisanlari da tiyatronun varligini surdurebilmesini saglamanin bir yolu olarak dijitalizme basvurmaktadir. California Universitesi Davis Tiyatro ve Dans Bolumunun tamami kadin oyunculardan olusan ve Sophocles’in Antigone’sinin hibrit bir uyarlamasi olan AntigoneNOW oyunu, mevcut durumu dijital yollarla basarili bir sekilde irdeleyen ve cevaplayan girisimlerden biridir. Cevrimici sergilenen oyun dunyanin farkli koselerinden ve cesitli kulturlerden on iki kadin oyuncunun kendilerini telefonlari, bilgisayarlari ve iPadleri ile kaydettikleri videolarin yonetmenler tarafindan bir araya getirilip duzenlenmesiyle olusturulmustur. Uyarlama, karantina doneminde tiyatro hakkinda fikir verirken dunyanin her bir kosesinde isimlendirilmeyen sorunlara ve bunlarin karsisinda cesitli insanlarin ortak cabasina icgoruler onerir.","PeriodicalId":31346,"journal":{"name":"Sanat Egitimi Dergisi","volume":"65 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89211264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-30DOI: 10.47571/ataunigsfd.754835
Sibel İzmi̇r
{"title":"SHAKESPEARE’İN OLAY ÖRGÜSÜ VE KOMEDİDEKİ USTALIĞI: YOK YERE YAYGARA","authors":"Sibel İzmi̇r","doi":"10.47571/ataunigsfd.754835","DOIUrl":"https://doi.org/10.47571/ataunigsfd.754835","url":null,"abstract":"","PeriodicalId":31346,"journal":{"name":"Sanat Egitimi Dergisi","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78880709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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