Arap alfabesinden Latin alfabesine geçişin çağdaş Türk resmine yansımaları
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Dosyalar
Tarih
2013-05-29
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Işık Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Attribution-NonCommercial-NoDerivs 3.0 United States
Attribution-NonCommercial-NoDerivs 3.0 United States
Özet
İnsanoğlu kadar eskidir yazının öyküsü. Mağara duvarlarına resimler çizmekle başlayan serüvene, göstergeler, piktogramlar, ideogramlar eklenir. Kendini keşfeden insan, zihnindekileri aktarma ve varlığının izini bırakma ihtiyacı hissetmiştir. Elbette ki yazı da bu ihtiyacın ürünüdür. Bu tezde de “yazı”nın doğuşu genel hatlarıyla ele alınmış ve tezin temel konusu olan “hat sanatı” na kaynaklık eden Arap yazısı, Osmanlı hat sanatı irdelenmiştir. Çağdaş Türk resminde hat sanatı geleneğinin konumu değerlendirilmiştir. Tezin birinci bölümünde yazının kaynağı, doğuş nedenleri kaba hatlarıyla anlatılmıştır. Tezin temel konusu, hat sanatı olduğu için öncelikle Arap alfabesinin incelenmesi esas alınmıştır. Osmanlı hüsn-ü hat sanatının tarihçesi, hangi teknikle hangi zeminlerde uygulandığına değinilerek hattın temel alfabesi olan Arap harflerinin, anlamsal ve şekilsel varlığı, ontolojik bir değerlendirmeyi gerekli kılmıştır. Bu ontolojik inceleme sırasında harflerin âlimi olan İbn-i Ârabi felsefesinde “harf” kavramına değinmenin gerekli olduğu düşünülmüştür. Tezin ikinci bölümünde Türk resminin Batılılaşmasına öncülük eden Osman Hamdi Bey’in tabloları “yazı-okuma-ilim” üçgeninde ele alınarak incelenmiştir. Bu inceleme sırasında t ablolardaki batılı resim anlayışının hâkimiyeti vurgulanmış ve Türk resminin modernleşmesi sürecinde, Osman Hamdi Bey’in etkili kişiliği ele alınmıştır. Tezin üçüncü bölümünde, Çağdaş Türk Resminde hat sanatının nasıl konumlandığı, hangi felsefi düşüncelerle nasıl işlendiği, Abidin Elderoğlu, Burhan Doğançay ve Mithat Şen gibi sanatçıların yapıtları referans alınarak incelenmiştir.
The history of writing is as old as humanity itself. Humanity felt the need to transfer their thoughts and leave a mark in history, long after their existence. Upon this journey, there were cave paintings, pointers, pictograms and ideograms in accordance with the time period. Writing was of course the final product of this necessity. This thesis generally analyzes the discovery of writing and focuses on Arabic writing and “Ottoman Calligraphy” which are the main sources of the thesis’ main subject “Islamic Calligraphy. In the first chapter of the thesis, the sources of writing and reasons of discovery are generally discussed. Since the main topic of the thesis is “Islamic Calligraphy” the analysis of Arabic script is the primary focus. While the art history of Ottoman Calligraphy, technique and surface usage is being addressed, it is essential to ontologically evaluate the Arabic alphabet by meaning and its formal entity as the main alphabet of “Islamic Calligraphy”. It is been thought that during this ontological analysis mentioned of ancient scientist of letters Ibn Arabi’s “harf(letter)” concept is necessary. In the second chapter of the thesis the paintings of Osman Hamdi Bey who was a pioneer in the westernization of Turkish Paintings are being analyzed within the confounds of the “written-read-scientific” triangle. The western perspective that is dominant in these paintings are being focused upon and the influential personality of Osman Hamdi Bey in the modernization process of Turkish Visual Art. In the third chapter of the thesis, the position of Islamic Calligraphy in Modern Turkish Painting, by which philosophical thoughts and in which ways they are affected is analyzed with references from Abidin Elderoğlu, Burhan Doğançay and Mithat Şen.
The history of writing is as old as humanity itself. Humanity felt the need to transfer their thoughts and leave a mark in history, long after their existence. Upon this journey, there were cave paintings, pointers, pictograms and ideograms in accordance with the time period. Writing was of course the final product of this necessity. This thesis generally analyzes the discovery of writing and focuses on Arabic writing and “Ottoman Calligraphy” which are the main sources of the thesis’ main subject “Islamic Calligraphy. In the first chapter of the thesis, the sources of writing and reasons of discovery are generally discussed. Since the main topic of the thesis is “Islamic Calligraphy” the analysis of Arabic script is the primary focus. While the art history of Ottoman Calligraphy, technique and surface usage is being addressed, it is essential to ontologically evaluate the Arabic alphabet by meaning and its formal entity as the main alphabet of “Islamic Calligraphy”. It is been thought that during this ontological analysis mentioned of ancient scientist of letters Ibn Arabi’s “harf(letter)” concept is necessary. In the second chapter of the thesis the paintings of Osman Hamdi Bey who was a pioneer in the westernization of Turkish Paintings are being analyzed within the confounds of the “written-read-scientific” triangle. The western perspective that is dominant in these paintings are being focused upon and the influential personality of Osman Hamdi Bey in the modernization process of Turkish Visual Art. In the third chapter of the thesis, the position of Islamic Calligraphy in Modern Turkish Painting, by which philosophical thoughts and in which ways they are affected is analyzed with references from Abidin Elderoğlu, Burhan Doğançay and Mithat Şen.
Açıklama
Text in Turkish ; Abstract: Turkish and English
Includes bibliographical references (leaves 138-142)
viii, 111 leaves
Includes bibliographical references (leaves 138-142)
viii, 111 leaves
Anahtar Kelimeler
Alfabe, Arapça harfler, Değişim, Doğançay, Burhan, Etkileşim, Latin harfleri, Osman Hamdi Bey, Resim, Resim sanatı, Yazı sanatı, Alphabet, Arabic letters, Calligraphy, Change, Interaction, Latin characters, Painting art, Picture
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Akkavak, T. (2013). Arap alfabesinden Latin alfabesine geçişin çağdaş Türk resmine yansımaları. İstanbul: Işık Üniversitesi Sosyal Bilimler Enstitüsü.
