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Mütareke ve Millî Mücadele döneminin önemli yayın organlarından biri olan Dergâh mecmuası, Türk kültür ve sanatına bütüncül bir bakış açısıyla bakar. Edebî faaliyetlerin yanında resim, heykel ve sinema ile ilgili eleştirel değerlendirmelere yer verir. İşgal döneminin en buhranlı günlerinde İstanbul’da resim sergileri açılır. Bu sergilerde, ressamlarla beraber Galatasaray ve Sanayi-i Nefise Mektebi öğrencilerinin sergileri de dikkati çeker. Dergâh, bu sergilerle ilgili her on beş günde haber ve yorumlar yayımlar. Yahya Kemal, nesrimizin istenilen düzeyde olmamasını resme bağlar. Mecmuada, sanata estetik açıdan bakan Ahmet Haşim poetik anlayışını resmi ele alış ve değerlendirişinde de gösterir. Haşim, Dergâh’ta ressamların resimlerini yorumlarken sanatın sıradanlaşmaması üzerinde durur. Ona göre sanat, bir nevi üst yapıdır. Mecmuada, Fevzi Lütfi yazılarında Türk ressamlarını gelişim göstermemeleri nedeniyle eleştirir. Mustafa Şekip ise, Türk resmini metafizik açıdan değerlendirir.
The magazine, one of the important broadcasting bodies of the Mutareke and National Struggle period, looks at Turkish culture and art with a comprehensive perspective. In addition to literary activities, it includes critical reviews about painting, sculpture and cinema. In the worst days of the occupation period, paintings are opened in Istanbul. In these exhibitions, together with the painters, the exhibitions of Galatasaray and the Industrial Nefise Mektebi students are also attracted. The magazine publishes news and comments about these exhibitions every fifteen days. Yahya Kemal is the one who illustrates that our generation is not at the desired level. In Mecmuada, the artist of the aesthetic perspective, Ahmet Haşim, shows his poetic understanding in his formal examination and evaluation. Hassem stands on the fact that the art is not normalized while interpreting the paintings of the painters in the magazine. According to him, art is a top structure. Mecmuada criticizes Fevzi Lütfi's writings because they don't show development to Turkish painters. Mustafa Shekip assesses the Turkish image from a metaphysical point of view.
Dergah Magazine which is one of the important media organs of the Armistice and War of Independence period, review the Turkish and culture art with a holistic perspective. In addition to toliterary activities, it also includes critical evaluations on painting, sculpture and cinema. Exhibitions were held in İstanbul during the crisis days of the occupation. In these exhibitions, the exhibitions of Galatasaray and Fine Arts School students also attracted attention, along with the exhibitions of the painters. The Dergah publishes news and commentasieren these exhibitions every fifteen days. Yahya Kemal attributes that our prose literature is not at the desired level to painting. Ahmet Hasim, who considers art form aesthetic point of view magazine, shows his understanding of poetic in his approcach and evalutaion of the picture. When Hasim interprets the works of the painters in Dergah, he emphasizes that the art does not become ordinary. According to him, art is a kind of superstructure. In the magazine, Fevzi Lutfi criticizes Turkish painting and painters in his articles. On the other hand, Mustafa Şekip evaluates Turkish painting in terms of metaphysics.
Alan : Filoloji
Dergi Türü : Ulusal
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