Figür-mekan ilişkisi
Başlık çevirisi mevcut değil.
- Tez No: 53251
- Danışmanlar: TEOMAN SÜDOR
- Tez Türü: Yüksek Lisans
- Konular: Güzel Sanatlar, Fine Arts
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 1996
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 37
Özet
ÖZET Çalışmalarımda amaç figür-mekan ilişkisini özgün baskı tekniklerini kullanarak sorgulamaktır. Bu sorgulama esnasında mekan günlük yaşantımızın kurallarından doğan, oluşmuş mekanların dışında, tamamen araştırmaya yönelik mekanlar oluşturulması sağlanarak; mekanda sonsuzluk ve devamlılık ağırlıkla ele alınıp incelenmeye çalışılmıştır. Bu incelemeler figürün, mekan içindeki önemini, mekanın da figüre olan etkisini izleyiciye aktarmak amacındadır. Fantastik görünümlerin dile getirildiği çalışmalar' da kullanılan figürlerle hayal gücünün, yada düşsel dünyanın zenginliği de ortaya çıkartılmaya çalışılmıştır. Bazı çalışmalarda izleyicinin kendisi de resmi analiz ederken, kompozisyona dahil edilmek istenerek mekanın içinde kendi eliyle bir figür oluşturuyormuş hissi verilmeye çalışılmıştır. Bu çalışmalarda figür-mekan arasındaki ilişkinin izleyiciyle bütünleşmesi göz önünde tutulmuştur. Figür-mekan ilişkisinin araştırılması esnasında meydana getirilen kompozisyonlarla heyecan uyandırma, hoşa gitme, korkma, üzüntü, karamsarlık vb. düşünceler de kendiliğinden izleyiciye verilmektedir. Bu çalışmalarda elken olan izleyicinin düşsel alanın biçimselliğiyle problemler çözmeye çalışmasıdır. Mekanın içinde yer alan figürlerin bir takım kompozisyonlarda bakış ilişkisiyle izleyicinin resime dahil edilmesine çalışılmıştır. Böylelikle görsel açıdan hayal gücünün ne denli sınırsız olduğu ve araştırmaların devamı sonucu dokunun önemi vurgulanarak üç boyutlu betimlemeler yeri geldiğinde iki boyutlu olarak ifade edilmiş, organik yapılar inorganik biçimlere dönüşmüştür. Böylelikle espas içinde fark edilmesi istenen yeni boyutlar açılmıştır.
Özet (Çeviri)
SUMMARY The aim in working is to question the relationship between the figure and the place using the original techniques of press. A lot of original techniques of press has been used during this questioning. These techniques are high press, low press and mixed technique. According to the characteristic of the metal various acids take place as helping elements in the preparation of the pattern in the press groups which have metal surface. Getting tissues on surface provides the realization of the work by means of varnish, the scraping tools, roulettes, carving knives that can be used in all techniques of press. Engraving on wood is made by obtaining a shinning surface by means of cutting and chopping the wooden surface in the direction of tree sponges. The investigator works here relatively to the supplies. It's necessary to work with simple pictures because of the techniques. The problems like few details, thick lines makes the works made with this technique more spontaneous. The engraving technique on sponged wood has been reached to the climax with German School, especially L. Cranach and A. Durer's works. The place which has been obtained with the compositions have been provided apart from the places that have been made by the rules of our daily life. The perception of place becomes by hearing seeing and kinesthesia. The conception of the perceptional places has the methods as many as the numbers of places. But the knowledge gained by hearing seeing and kinesthesia isn't equal to each other because they haven't got equal richness. The single place that has got relationship between thing is the seen place. Because only seeing provides the comprehension a lot of place. The place of kinesthesia and the place of hearing is convenient for making relationships improving step by step. And its information covers only a limited area. Perceptional place has been mode according to various plans which can be provided experimentally. The most important of these are:: 1- The place which can be seen; the objects that we perceive when we directly look at take place here. 2- It is a plan that is horizontal and can be seen. At the same time in our in our seenable place, it is the place IVthat has points that are seen in the equal distance from the above and bottom. This place is approximately one centimetre above from the real horizon when it is seen once or twice. 3.- The place that can be seen: It is the geometric place where the subject thinks he perceives the points are in the equal distance from him. Endlessness and continousity have been studied in the place that is made in the works. These studies aim to report to the spectators the importance of the figure in the place and the effect of the place to the figure. The power of imagination and the richness of the imaginary world have been tried to be seen with the figures man are used in the fantastic appearance. The figure is treated with an geometrical and diagonal approach in the ancient ages and it is given generally from the front or from the profile on steady. The examples from the bodies which are given from the front or from the profile are quite a lot. The most common figure in either painting or in statue is the pose which is standing. The figure with one leg is slightly twisted from the knee and the weight is put on a single foot is found for the first time in the classical period. Sitting cross-legged and kneeling are common poses (the wall pictures of ancient Egypt). On the other hand the connection between the human and the nature is often expressed by dances in the far east, a The figure in ancient ages symbolizes a god or a holly person more than describing a human. Most of the time it has a holly aim. Thus, it involves a certain ideal. In the early idealization a part of the body or an organ is given bigger then or more than it really is in fact. For example the breasts of the statue of Artemis that symbolizes fruitfiilness, the Indian figures with many arms, the big and fixed glanced eyes that are supposed to be The windows of The soul in Bizantium art are the samples of this kind of idealization. In Roman age the figures that are supposed to have no difference between the god and the human are done. Relationship starts to have more importance with the Christianity in the last terms of Roman Empire. The tendency of too much classism and too much stylization starts. Getting away from the nature and stressing the holly image get the importance. The temas with the Christianity are expressed with the help of Christ and the other religious figures.The figure have three dimensions in the Greek Work. It becomes a mean of worship in the Bizantium work. It is the different idealization tendencies, reflation that giving more importance to the figure putting than the real man, making the important figure bigger than the others in a group or using valuable materials like ivory or gold. Greek artists give movement to the figure in the Classical period and start to examine the muscle structure of the moving body. The movements the hands and arms of the figures express like baroque in the 18th and 19th centuries. The understanding of romanticism get stronger and the figure goes to the second plan in the view sight and place.. New classical and realism is again important. In some studies the watcher himself is tried to involved in the composition. In these works the aim is the figure and the place connection has to be involved with the spectator. The classical description method's getting together with the modern description method has helped the out coming of the dimensional researches between classical and modern art During the study of relationship between figure and place in the composition, the feelings of giving excitement, pleasing fear, sorrow and pessimisticism are given to the spectator spontaneously. The effectiveness of these works is the spectator's trying to solve problems in imaginary's shape. Works are done by figurative shapes. The point is giving an orderly expression. Sometimes figures are in disorder and sometimes they are bare. The ruse in ruse and illisunations guide to the questioning of the shape. Getting together the big and small shapes and the form in their getting together give a place efection and the pieces that are isolated in the surface are contrast to this effecting. The contrast pieces are either the same color as the gives the feeling of being close whereas different colors give the feeling of distance. The subject is to pa^ soflly from one color to another in the points. There is an absolute propriety in the points although how tile blue and the brown are opposite to lock other. The effects of that classical method are felt though the weight of brown is used as the expressing language. The depth in the paintings is achieved using the dark and light slights together. The modular effect on the tissues given a volume and the volume of every single shape contributes an endless depth. Nuance and contrast armories are used either by itself or VItogether the lines that are usually found at the bottom of the paintings or bare or twist or they intersect, and this gives the depth in the place. The spectator's involving to the painting is tried by the figures' view connection. Thus new dimensions which are aimed to be noticed have been opened. In all the drawings, when researching the relations between the figure and the location, the space has been created taking into consideration the perspective and as the result of this, the requested researched have been made within the space. The figures have been located forward, backward, seideway, downward and upwards in the location and with this the power of space has been tried to be increased. The modular effect made in tissue gives volume to figures and the own volume of each shape adds an endless depth to the compositions. In the studies, the shape and contrast harmonies have been used alone or together outside the monochrome harmony. In each study, the balances have been tried to be assured by observing the effects of color, on the shape together weight the harmony and unification gained with colors. The position of remoteness and nearness of the distance between the frozen shapes seen as if they are hung up on the air and the shapes placed on the ground and together with this the afford of fill the cavity formed by the different tissues that entered to circulation after being formed by the result of different researches and essays expose the depth within the composition. The figures used in the studies emphasizing the figure location relation are fantastical figures formed in the oneiric (visional) world of the human being. The location has been also formed as the part of this visionality. The modifications requested within the location, the additions and the researches for transition to other locations have been emphasized. Until today, the figure has been modified many times by various investigators and artists and nowadays it has begun to be used in never dimensions and locations with the unlimited brain of the human being. vuThe concepts of two and three dimensions being mixed, the researches between dimensions have been brought up and as the results of this, the spectator, has been pushed to make researches while watching the composition. The studies realized by the added specullar printing tectonics have added different tastes to the drawing as of its visional side in the direction of the qualifications of the material. vm
Benzer Tezler
- Figür mekan ilişkisi
The relation betweeen figure and environment
DOĞAN KESKİN
Yüksek Lisans
Türkçe
2008
Güzel Sanatlarİstanbul Teknik ÜniversitesiGüzel Sanatlar Ana Bilim Dalı
DR. FERHAN GÖZGÜ ÇELİK
- Figür-mekan ilişkisi bağlamında fotogerçekçilik
Photorealism in the context of figure and place relationship
ONUR KARAALİOĞLU
- Figür ve mekan ilişkisi içerisinde tuvaldeki ben
Reflection of myself on canvas in connection with figure and setting relation
EMRAH UYSAL
- Batılılaşma sürecinde Türk resminde figür mekân ilişkisi
Figure and space relationship in the westernization process of Turkish painting
MUSTAFA DEVRAN TOSUN
Yüksek Lisans
Türkçe
2014
Güzel SanatlarDumlupınar ÜniversitesiResim Ana Sanat Dalı
PROF. DR. LALE ALTINKURT
- Ortaöğretim resim derslerinde ve egzersiz programlarında figür mekan ilişkisinin önemi
The important of connection of figure-space in the secondary education painting lesson and exercise programmes
ŞENER ÇEVGEN
Yüksek Lisans
Türkçe
2007
Güzel SanatlarMarmara ÜniversitesiGüzel Sanatlar Eğitimi Ana Bilim Dalı
PROF.DR. EROL BULUT