Sari, Safiye; Elıbol, Betül

Ehram is a type of clothing used in outwear by women for covering or protection from cold. As a result of shearing the wool from sheep, cleaning it from its dirt, drying it by laying and spinning it, ehram yarns are prepared and woven on a wooden shuttle handloom. The colors of ehram consist of natural colors of sheep such as beige (coffee with milk in folk language), white, purple, and black. There are also many types of embroideryornament used in ehram weaving. These ornaments made to ehram during weaving such as walnut wing, basil branch, honeysuckle, double rice, antique, macaroni, the play of the star, lentil, lady's belly, rice grain, flying bird with head and without the head, fringe comb, double cards, diamond earrings, gazelle horn, merdin earrings. However, within the scope of the research, there are other motif applications such as "macaroni, and merdin earrings", which have not been found and have not been known in the literature but used by the local people. The study aims to bring a different perspective to the traditional usage of ehram in the light of the findings obtained by researching the ehram weaving in Erzurum. In this study, the applied research method was used. A model and pattern suggestions were developed over ehram woven to be used in the experimental designs of the research. 3 experimental clothing designs, which were prepared under the theme of sustainability, and the design card is presented to the reader with artistic drawing and pattern suggestions.

Ibrahimgil, Mehmet Zeki; Naldan, Funda

Duvar resimleri, Osmanlı döneminde batı etkisi ile resme geçişte önemli bir yer tutar. Bu resimler, 18.yüzyılın ikinci yarısından itibaren İstanbul başkentte ve Anadolu ve Balkanlar’da eş zamanlı olarak, Osmanlı İmparatorluğu'nun tüm il ve merkezlerine dağılmıştır. Aşağıdaki yapılar Floransa resim ekolünden etkilenen Balkanlardaki duvar resimlerine örnek olarak değerlendirilebilir: Arnavutluk Tiran Ethem Bey Camii, Berat Bekarlar (SüleymanPaşa) Camii, KalkandelenAlacaCamii. Balkan ülkelerinde, özellikle Batı Makedonya'da Tetovo Alaca Camii, Harabati Baba Tekke, Üsküp İsa Bey Camii, Sultan Murat Camii cemaat yeri ve ev mimarisi örneklerinde, özellikle 19. yüzyılda, Floransa Okulu resimlerini ve stilini görmek mümkündür. 18. yüzyılın sonunda Floransa'da, özellikle fresk-secco tekniği sadece iç mekânları değil, aynı zamanda dış duvar yüzeylerini, dikdörtgen bir çerçevede resimlerin tanıtılması, barok stille çevrili kartuşlar yeni bir anlayış tarzını ortaya koymaktaydı. 19. Yüzyılın başından beri, Floransa resim atölyelerinde büyüyen sanatçıların, Balkanlardaki dini ve sivil mimari dekorasyonunda çalıştığı bilinmektedir. Bu sanatçı grupları kendi sanatlarını sadece Balkan ülkelerinde değil aynı zamanda merkez İstanbul ve Anadolu'nun farklı bölgelerinde uyguladı. Bu sayede, Floransa Okulu anlayışındaki sanatçılar, Osmanlı coğrafyasında Batı tarzı duvar resimlerinin genişlemesine, gelişmesine ve bu tarzda yerel sanatçıların gelişimine katkıda bulunmuştur.

Uluçay, Taner

The aim of this study is to find out whether there is any effect of the music genre listened by high school students, who are expected to feel the most intense violence tendency in the age range of 15-18 years, on their tendency to violence. High school students from seven different cities located in seven regions in Turkey participated in the study. A ''Tendency of Violence Scale'' developed by Gökay, Bayat, and Türkçapar in 1998 to be used in the study titled “Intra-familial and Community Violenc”, and a “Music Listening Habits” questionnaire from a “Music Experience Survey” developed by the researcher were applied to a total of 1909 participants. As a result, it was concluded that the genres of music listened by the students significantly affected the level of violence tendency and Arabesque, which contains the content of despair intensively, increases the level of tendency of violence with a high volume.

Taşkesen, Selma

Art is a phenomenon that dates back to the history of humankind. It has come into existence in different appearances from one society to another and one period to another. It has gradually changed its appearance and gained new dimensions. In this context, if we consider the modernization of art in the historical process, the period between 1920s and 1950-1960s attracts our attention as the period in which the avant-garde trends have existed and it can be defined as the liberation of modern art events. Dadaist activities and Surrealism, which are considered as artistic movements came into existence and the changes followed each other. As the Modern Art entered into our lives, there have been changes in the body as well as in the arts, the body has actively been involved in the arts activities. The body has been a material for art used consciously or unconsiously since the early ages, whereas in contemporary art the body has shifted from being a 'tool' to a 'goal'. When we think about the last 50 years, the human body has begun to be used as a goal in art; the physical, emotional, social boundaries of the body have been overcome, and it has become the object of narration. This feeling of unrestraint caused the human body to be used as an individual art object and this forms one of the main sources of performance art. In this research, it was aimed to show how the body image, which changed direction with abstract expressionism, has shifted from the form of tool to the form of goal, and how it has been adopted as a mean of expression in the concept of performance art. The scanning model was used as the method in the research and in sample documentary artistic performance samples including the active use of body has been analyzed. As a result of findings, it was found out how the expressional form of art changed in each period and how it completed its evolution by affecting each other, and how it was able to express itself successfully in spite of all these obscurities; in addition, it was concluded that they also transmitted them in an operational language in accordance with their purpose.

Güler, Ebru

Teknolojik alanda görülen hızlı gelişmenin yanı sıra ekonomi, siyasal ve toplumsal koşullar gibi birçok etken toplumlarda yabancılaşma olgusunu gündeme getirmiştir. Yabancılaşmanın ortaya çıktıg?ı toplumsal koşulların sanatı ve sanatçıyı etkilemesi olag?an olmuştur. Sanatçının ve sanatın bu süreçte üstlendig?i görev bireyin yabancılaşma sürecinde parçalanmışlıg?ını, sanatçı duyarlılıg?ıyla algılayarak ve onların çevrelerini, dünyayı ve evreni bir bütün olarak algılama kavrama ve anlamalarına yardım ederek, farklı açılardan düşünmelerini sag?lamıştır. Bu araştırmada, yabancılaşma olgusunun resim sanatında nasıl ifade buldug?u, yabancılaşmanın dışavurumcu sanat akımında nasıl ve ne şekilde ifade edildig?ini ortaya koymak amaçlanmıştır. Araştırmada yöntem olarak tarama modeli kullanılmış, eser incelemesinde ise Max Beckmann'ın "Gece" eseri ikonolojik yöntem ile çözümlenmiştir. Araştırmada yabancılaşma kavramı, sanat ortamında yabancılaşma olgusu ve dışavurumcu resimde yabancılaşma konuları üzerinde durulmuştur.