Günümüz Türk resminde şamanist göndermeler
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Dosyalar
Tarih
2019
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Namık Kemal Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Yapılan bu araştırma ile Türk kültürünün eski inanç sistemi olan Şamanizm’e ait unsurlar incelenmiş ve sanat yapıtlarında kullanılarak günümüze kadar getirildiği görülmüştür. Günümüz resim sanatında Şamanist anlayışın her alanda olduğu gibi Çağdaş Türk resminde ve plastik sanatlarında da etkisi görülmektedir. Çağdaş Türk resminde millî geleneklerden yarlanarak yeni oluşumlar 1940 yılında güçlü bir tepki olarak doğmuştur. 1950’de ise daha yerel değerlerle beslenebilme anlayışı giderek önem kazanmıştır. Bu nedenle Türk kültürünün özünü oluşturan Şamanizm’e ait motifler görsel bir belge niteliği taşımaktadır. Tez konumda, günümüz Türk resminde Şamanist göndermelerin tespiti amaçlanmıştır. Bu kapsamda Bedri rahmi Eyüboğlu, Süleyman Saim Tekcan, Ahmet Yeşil, Rauf Tuncer, Hüsamettin Koçan, Devrim Erbil ve Balkan Naci İslimyeli’nin yapıtlarda sembol, figür, renk gibi imgeleri kullandıkları ve Şamanizm inancına ait göndermeler yaptıkları gözlenmiştir. Yapıtların incelenmesi sonucunda Şamanist inançtan kaynaklı birçok imgeye sanatçıların eserlerinde gerek biçim gerekse içerik olarak rastlanılmaktadır
With this research, it has been seen that the Turkish culture has been examined by Shamanism, the old belief system, and brought up to date in artworks. In contemporary Turkish painting, the influence of plastic arts has been seen in every field of Shamanist understanding in contemporary painting art. The new formations have emerged as a powerful phenomenon in the 1940’s by acting on national traditions in contemporary Turkish paintings. In 1950, understanding of feeding with more local values became increasingly important. For this reason, the motifs of Shamanism, which constitute the essence of Turkish culture, bear the character of a visual document. In the subject of my thesis, the determination of submissions on today’s Turkish painting art is aimed. The art objects Bedri rahmi Eyüboğlu, Süleyman Saim Tekcan Ahmet Yeşil, Rauf Tuncer, Hüsamettin Koçan, Devrim Erbil ve Balkan Naci İslimyeli’nin are scrutinized. At the end of scrutinization it is observed that we can see images which are originating from Shamanist belief as either shape or contend in the art objects of the artists. It has been observed that painters used images such as symbols, figures, numbers, colors in their works, and refer to shamanist belief.
With this research, it has been seen that the Turkish culture has been examined by Shamanism, the old belief system, and brought up to date in artworks. In contemporary Turkish painting, the influence of plastic arts has been seen in every field of Shamanist understanding in contemporary painting art. The new formations have emerged as a powerful phenomenon in the 1940’s by acting on national traditions in contemporary Turkish paintings. In 1950, understanding of feeding with more local values became increasingly important. For this reason, the motifs of Shamanism, which constitute the essence of Turkish culture, bear the character of a visual document. In the subject of my thesis, the determination of submissions on today’s Turkish painting art is aimed. The art objects Bedri rahmi Eyüboğlu, Süleyman Saim Tekcan Ahmet Yeşil, Rauf Tuncer, Hüsamettin Koçan, Devrim Erbil ve Balkan Naci İslimyeli’nin are scrutinized. At the end of scrutinization it is observed that we can see images which are originating from Shamanist belief as either shape or contend in the art objects of the artists. It has been observed that painters used images such as symbols, figures, numbers, colors in their works, and refer to shamanist belief.
Açıklama
Anahtar Kelimeler
Şamanist, Şamanizm, Türk kültürü, Sim, Shamanist, Shamanism, Turkish culture, Symbol
