Citation Number
5
Views
76
Downloands
21
Audio Listening
1
Tarihsel süreçte toplumu meydana getiren insanlar, hiyerarşik bir yapı içinde tabakalara ayrılmıştır. Bu tabakalar, kültürel ve ekonomik farklılıklara göre belirlenen ve toplumdaki konumu ifade eden toplumsal statüyü işaret etmektedir. İnsanlık tarihinde iyi bir statüye sahip olma arzusu, her daim önemini korurken, sanata konu olması da kaçınılmaz olmuştur. Özellikle statü edinme sürecindeki yöntemler ve pay edilişindeki eşitsizlikler, sanatçılar tarafından eleştirel bir dille görselleştirilmektedir. Sanatçının statü sistemine yöneltmiş olduğu bu eleştirel dil, öfkeli, ironik, melankolik, lirik bir karşı duruş ve meydan okumalar şeklinde olmuştur. Çağdaş Türk resim sanatının başlangıcı, 18.yy. sonlarında batılılaşma çabalarıyla geleneksel sanattan kopuş olarak kabul edilmektedir. Bu çalışmada, Cumhuriyet’in ilanıyla ivme kazanan ve günümüze kadar gelen çağdaş Türk resim sanatında, toplumsal statünün ifade edilişindeki anlamlar ve ele alınış biçimleri incelenecektir. Çalışmanın amacı, kronolojik bir sıralama ile Türk toplumunda toplumsal statüler arasındaki ilişkilerin resim sanatındaki yansımalarını ortaya koymak, bu konuyu ele alacak olanlar için bir yön ve daha derinlemesine araştırılması için ışık tutmasını sağlamaktır.
People, who created the society in the historical process, have been divided into stratums. These stratums indicate the social status which is defined on cultural and economic differences and the stated position in society. The will of having a good status, has always preserved its importance throughout the human history and inevitably became the subject of the arts. Especially, the methods of acquiring status and the disparities in distribution were visualized by the artists with a critical dialect. The critical language that the artist has directed to the status system has been in the form of an angry, ironic, melancholic, lyric opposing stance and challenges. The start of contemporary Turkish painting arts, with the efforts of westernization in the end of the 18th century is accepted as the disengagement from traditional arts. This study examines meanings in the interpretation and approach of the social status in contemporary Turkish painting arts which gained acceleration with the declaration of the Republic and extant to today. The purpose of the study is to reveal the relations between social statuses within the Turkish society in a chronological order and their reflection to painting arts; enlightening a way for those who take this subject as in-depth research.
People, who created the society in the historical process, have been divided into stratums. These stratums indicate the social status which is defined upon cultural and economic differences and the stated position in society. The will of having a good status, has always preserved its importance throughout the human history and unavoidably became the subject for arts. Especially, the methods of acquiring status and the disparities in distribution were visualized by the artists with a critical dialect. The critical language that the artist has directed to the status system has been in the form of an angry, ironic, melancholic, lyric opposing stance and challenges. The start of contemporary Turkish painting arts, with the efforts of westernization in the end of 18th century is accepted as the disengagement from traditional arts. This study examines meanings in the interpretation and approach of the social status in contemporary Turkish painting arts which gained acceleration with the declaration of the Republic and extant till today. The purpose of the study is to reveal the relations between social statuses within the Turkish society in a chronological order and their reflection to painting arts; enlightening a way for the ones that take this subject as in-depth research.
Field : Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Ulusal
Article Detail 
Citation Owners
Similar Articles
Download PDF
Journal Information
Listen Paper
Print This Page
Share
Mendeley
