Çağdaş Türk Resim Sanatında Melezleşmenin Plastiği
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Dosyalar
Tarih
2021
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Selçuk Üniversitesi Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
“Çağdaş Türk Resim Sanatında Melezleşmenin Plastiği” konulu tez
çalışmasında, Batı’da 20. yüzyılın başlarından itibaren yaygınlaşan resim yüzeyinde
yabancı nesnelerin kullanımının plastik açıdan değerlendirilmesi ve Türk resmindeki
örneklerinin araştırılması amaçlanmıştır. Modern çağda değişen sosyal düzenlerin
etkisiyle sanatçılar yapıtlarını ve sanatçı kimliklerini sorgulamışlar, plastik anlamda
derin bir değişim yaşamışlardır. 20. yüzyılın başlarında Kübizm akımıyla birlikte
resim yüzeyine eklenen gazete, kâğıt vb. kolajlar melezleşmenin en erken örnekleri
olarak kabul edilebilir. Sonrasında ise Dadaizm ve Pop-Art akımları ile birlikte hazır
nesnelerin (Ready-made) salt hâlleri ve dijital teknoloji, kendi kullanım amaçlarının
ötesine geçerek resim yüzeyinde de kendisine yer bulmuş ve homojen-heterojen
karışım olarak bir melezleşme oluşturmuştur. Geleneksel plastik değerlerin dışındaki
bu yaklaşımlar ortaya çıktıkları dönemlerde büyük sansasyon yaratmış olsalar da
günümüzde oldukça benimsenmiştir. Tekrar vurgulamak gerekirse Avangart olarak
adlandırabileceğimiz resimde melezleşmeyle birlikte geleneksel anlamda müze çağı
da sona ermiştir. Günümüzde pek çok Türk ressam da çalışmalarında bu üslubu
benimsemiştir. Tez çalışmasında melezleşme, plastik bağlamda nitel olarak ele alınıp
çağdaş Türk resim sanatındaki etkileri incelenmiştir.
Araştırmada 1950 sonrasından günümüze Türk resim sanatı içerisinde eser
üreten Azade Köker, Bedri Baykam, Canan Tolon, Cebrail Ötgün, Ekrem Kahraman,
Hüsamettin Koçan, İnci Eviner, Nur Gökbulut, Tayfun Erdoğmuş ve Utku Varlık’a ait melezleşme etkilerinin görüldüğü eser örnekleri plastik açıdan incelenmiştir.
Araştırma konusu kapsamında seçilen eserlerde istikrarlı bir tutum olmasına dikkat
edilmiştir. Sanatçıların çalışmalarında melezleşme ortak bir dil oluştururken yöntem,
konu ve uygulama açısından plastik anlamda eserlerin biçimlerinde farklılıklar
görülmüştür.
In the thesis study on "Plastic of Hybridization in Contemporary Turkish Painting Art", it is aimed to evaluate the use of foreign objects in the painting surface, which has become widespread in the West since the beginning of the 20th century, from a plastic point of view and to investigate its examples in Turkish painting. With the influence of the changing social orders in the modern age, artists have questioned their works and their artist identities, also have experienced a deep change in the plastic sense. Collages such as newspapers, paper etc. added to the painting surface with the Cubism movement at the beginning of the 20th century can be considered as the earliest examples of hybridization. Afterwards, together with Dadaism and Pop-Art movements, the pure state of ready-made objects and digital technology went beyond their own purposes and found a place for itself on the painting surface and created a hybridization as a homogeneous-heterogeneous mixture. Although these approaches, apart from traditional plastic values, created a great sensation when they emerged, they are widely adopted today. To emphasize again, the museum age in the traditional sense has ended with the hybridization in painting, which we can call avant-garde. Today, many Turkish painters have adopted this style in their works. In the thesis study, hybridization was handled qualitatively in the context of plastic and its effects on contemporary Turkish painting were examined. In the research, the samples of works of Azade Köker, Bedri Baykam, Canan Tolon, Cebrail Ötgün, Ekrem Kahraman, Hüsamettin Koçan, İnci Eviner, Nur Gökbulut, Tayfun Erdoğmuş and Utku Varlık, who produced works in Turkish painting art since 1950, were examined in terms of plasticity. It was paid attention to have a stable attitude in the works selected within the scope of the research topic. While hybridization creates a common language in the works of the artists, there are differences in the forms of the works in terms of method, subject and application.
In the thesis study on "Plastic of Hybridization in Contemporary Turkish Painting Art", it is aimed to evaluate the use of foreign objects in the painting surface, which has become widespread in the West since the beginning of the 20th century, from a plastic point of view and to investigate its examples in Turkish painting. With the influence of the changing social orders in the modern age, artists have questioned their works and their artist identities, also have experienced a deep change in the plastic sense. Collages such as newspapers, paper etc. added to the painting surface with the Cubism movement at the beginning of the 20th century can be considered as the earliest examples of hybridization. Afterwards, together with Dadaism and Pop-Art movements, the pure state of ready-made objects and digital technology went beyond their own purposes and found a place for itself on the painting surface and created a hybridization as a homogeneous-heterogeneous mixture. Although these approaches, apart from traditional plastic values, created a great sensation when they emerged, they are widely adopted today. To emphasize again, the museum age in the traditional sense has ended with the hybridization in painting, which we can call avant-garde. Today, many Turkish painters have adopted this style in their works. In the thesis study, hybridization was handled qualitatively in the context of plastic and its effects on contemporary Turkish painting were examined. In the research, the samples of works of Azade Köker, Bedri Baykam, Canan Tolon, Cebrail Ötgün, Ekrem Kahraman, Hüsamettin Koçan, İnci Eviner, Nur Gökbulut, Tayfun Erdoğmuş and Utku Varlık, who produced works in Turkish painting art since 1950, were examined in terms of plasticity. It was paid attention to have a stable attitude in the works selected within the scope of the research topic. While hybridization creates a common language in the works of the artists, there are differences in the forms of the works in terms of method, subject and application.
Açıklama
Anahtar Kelimeler
Melezleşme, Türk Resim Sanatı, Resim Plastiği, Hybridization, Turkish Painting Art, Plastic of Painting
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Kanaç, A. R., (2021). Çağdaş Türk Resim Sanatında Melezleşmenin Plastiği. (Doktora Tezi). Selçuk Üniversitesi, Sosyal Bilimler Enstitüsü, Konya.
