Özet:

Art should always have a structure that is open to different readings, contains highly uncertain stimulis and voids, and opens up different possibilities. If a an art work is designed to a single interpretation, that work has given the message it will give and has been completed. However, a work is open to interpretation and has voids and ambiguities in its content, both conceptually and objectively, it will open different perspectives for each viewer and will continue to live. Art consists of three main elements; subject, object and imagination. Here, the subject is the mediator, the creator of the work, while the imagination is the guiding force that determines the work. On the other hand, changes occur in the form and essence of the object through these two elements. The element of void is presented on the work at the desired rate by these shaping elements in order to provide the imaginary and objective balance of the work. Although the use of void determines the aesthetic value of the work, “void” is sometimes given intuitively and sometimes directly physically in the work. Things that are out of perceptible elements find meaning in our minds as “void”. Object or matter, which is one of the three main elements of art (subject-object-imagination), is the physical representation of existence. Here, the subject is the tool that is the creator of the work, while the imagination is the guiding force that determines the work. The element of space is also presented or not presented on the work at the desired rate by these shaping elements in order to provide the imaginary and objective balance of the work. The use of space also determines the aesthetic value of the work from time to time. This “void” is given in the work, sometimes intuitively, sometimes directly, physically. The objective use of space in works is different in different geographies; the meanings behind it vary in almost every work and style. While the first reason can sometimes be a function-oriented background, it sometimes contributes to conveying an emotion or a message. We clearly see the balanced void distribution in geometrical arrangements. Although the measured arrangement of geometry makes it difficult to understand the background - foreground dichotomy, it supports the balance of space. The same situation causes a decrease in the ground-space when examined in herbal ornamented contents. Natural or unnatural leaves, folded branches are never perceived as ground. This pushes the void into the background. In this study, the element of “void” has been questioned specifically in art in terms of both “concept-image” and “object-work” relationship. The relationship between existence-nothingness, harmony-composition in ornaments, the element of “void” evaluated in terms of Turkish art, Islamic art, Western and contemporary art, as well as various works of art, through cultural connections through ornamental elements. As a result, this study, which examines “absence”, reveals the indispensable existence of void in the name of existence and our obligation to it.

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