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Geleneksellik kavramı, toplumların yaşayış biçimlerini kurallara bağlayan, onları şekillendirerek insanlar arası ilişkileri düzene sokan kurallar bütünü olarak değerlendirilmiştir. Ancak bu kavramın ifade ettiği kapsamın bu denli dar olmadığını ortaya koyan çalışmalar yapılmış olsa da geleneksellik özellikle günümüz sanatında ötelenmiş hatta reddedilmiş bir konumda karşımıza çıkmaktadır. Gelenekselliğin bu örselenmişliğinin ortadan kaldırılabilmesi için kavramın reddedilmesi değil, onun yapısal özelliklerindeki farklılaşmayla ortaya koydukları üzerinde durularak, daha doğru bir değerlendirme yapılması gerekmektedir. Sanatsal üretimlerde, gelenekselliğin toplumların yaşayış biçimini şekillendirdiği gerçeği ihmal edilerek bu kavramdan kaçınmak, yanılgıya düşülmesine neden olabilir. Bu bağlamda sanatçının ekonomi, teknoloji, ticaret, siyaset ve kültür gibi olguların içerisinde yer almasından kaynaklanan etkilenmeleri sanatına yansıtmaması gibi bir durum söz konusu olamaz şeklindeki yorum yadsınamaz. Ülkemizde 1940 yılından itibaren yaygınlaşan geleneksel sanatlarımızdan yararlanma olgusu 1950’li yıllarda yoğun olarak devam etmiş ve 1980’lerden günümüze de yansımıştır. Araştırma kapsamında çağdaş Türk sanatçılarımızdan bu anlayışla çalışan Bedri Rahmi Eyüboğlu, Devrim Erbil, Süleyman Saim Tekcan, Nur Koçak ve Gülsün Karamustafa’nın sanat anlayışları genel bir çerçevede seçki yapılan eserleri ile birlikte geleneksellik, biçimsel yapısı ve kuramı ile değerlendirilmiştir. Bunula birlikte, geleneksellikten yararlanma yaklaşımı, Türk sanatçıların yanı sıra yabancı sanatçılardan Judy Chicago ve Takashi Murakami’nin eserlerinden birer seçkiyle de desteklenmiştir. Bu sanatçıların gelenekten ne şekilde yararlandıkları ve geleneği yansıtma biçimleri betimsel analizler yerine bilimsel araştırmalarla desteklenerek açıklanmıştır. Geleneksellik ve çağdaşlık üzerine yapılan bu çalışma nitel araştırma yöntemi kullanılarak literatür taramasıyla yapılmış ve bazı sanatçı eser örneklemleri üzerinden çıkarımlara destek niteliğinde sonuca ulaşılmıştır. Sanatçı eser örnekleminin, sanatçıların yapıtlarında gelenekselliğin çağdaş sanatta yansımalarını kişisel üslupları ile bağımsız olarak uygulamalarının ve aktarımlarının devam edeceğinin bir göstergesi olduğu söylenebilir. Bu bağlam günümüzde geleneğin farklılığını okuyabilmek açısından oldukça önem taşımaktadır.
The concept of tradition has been considered as a whole of the rules that link the ways of life of societies to the rules, forming them and arranging interpersonal relationships. But even though studies have been done to show that the scope expressed by this concept is not so narrow, tradition comes to us in a position, especially in today’s art, which is overwhelmed and even rejected. It is necessary to make a more accurate assessment, not by rejection of the concept in order to eliminate this ordinance of tradition, but by focusing on the differences in its structural characteristics. In artistic productions, avoiding this concept by ignoring the fact that tradition shapes the way of life of societies can lead to misconception. In this context, no commentary in the form of the art cannot be rejected, such as not reflecting the influences arising from the involvement of events such as economy, technology, trade, politics and culture in the art. The phenomenon of the use of our traditional art that has spread in our country since the 1940s has continued intensely in the 1950s and has reflected from the 1980s to today. In the framework of the research, the art concepts of Bedri Rahmi Eyüboğlu, Revolution Erbil, Suleyman Saim Tekcan, Nur Koçak and Gülsün Karamustafa, who work with this understanding from our contemporary Turkish artists, have been evaluated by tradition, formal structure and theory, along with their works selected in a general framework. Nevertheless, the approach to benefit from the tradition was supported by a selection of works by Turkish artists as well as foreign artists by Judy Chicago and Takashi Murakami. The ways in which these artists benefit from the tradition and the ways in which they reflect the tradition have been explained by the support of scientific research instead of visual analyses. This work on tradition and modernity was done with literary scan using the quality research method and the conclusion was achieved as a support to the findings through some artistic work samples. It can be said that the artist's work sample is a indicator of the artists' works that their practices and transmissions will continue to reflect the tradition in contemporary art independently of their personal styles. This context is very important to read the differences of the tradition today.
The concept of traditionality has been evaluated as a set of rules that binds the way of life of societies to rules, shapes them, and regulates interpersonal relations. However, although there have been studies that reveal that the scope of this concept is not so narrow, traditionalism appears in a position that has been postponed or even rejected, especially in today's art. In order to eliminate this rejection of traditionalism, a more accurate assessment should be made by emphasizing what it reveals with the differentiation in its structural characteristics, not the rejection of the concept. In artistic productions, ignoring the fact that traditionalism shapes the way of life of societies and avoiding this concept may cause mistakes. In this context, it cannot be denied that the artist does not reflect on his art the influences arising from the fact that he is involved in phenomena such as economy, technology, trade, politics and culture. The phenomenon of benefiting from our traditional arts, which became widespread in our country since 1940, continued intensively in the 1950s and has been reflected from the 1980s to the present day. Within the scope of the research, the understanding of art of Bedri Rahmi Eyüboğlu, Devrim Erbil, Süleyman Saim Tekcan, Nur Koçak and Gülsün Karamustafa, who work with this understanding from our contemporary Turkish artists, has been evaluated in a general framework with their traditionalism, formal structure and theory together with their selected works. In addition, the approach to benefit from tradition is supported by a selection of works by foreign artists Judy Chicago and Takashi Murakami, as well as Turkish artists. How these artists benefit from tradition and the way they reflect the tradition are explained by supporting scientific research rather than descriptive analysis. This study on traditionalism and modernity was carried out by literature review using qualitative research method and a conclusion was reached in support of inferences through some artist work samples. It can be said that the sample of artist works is an indication that the reflections of traditionalism in contemporary art in the works of artists will continue independently with their personal styles and transfers. This context is very important in terms of being able to read the difference of tradition today.
Alan : Eğitim Bilimleri; Güzel Sanatlar; İlahiyat; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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