2000 sonrası Türkiye takı sanatında inanç sembolizmi
Symbolism of faith in jewelry art in Turkey after 2000
- Tez No: 739191
- Danışmanlar: DOÇ. DR. OĞUZ HAŞLAKOĞLU, PROF. DR. EVANGELIA ŞARLAK
- Tez Türü: Yüksek Lisans
- Konular: Güzel Sanatlar, Sanat Tarihi, Tarih, Fine Arts, Art History, History
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2022
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Lisansüstü Eğitim Enstitüsü
- Ana Bilim Dalı: Sanat Tarihi Ana Bilim Dalı
- Bilim Dalı: Sanat Tarihi Bilim Dalı
- Sayfa Sayısı: 325
Özet
Her medeniyette hatta medeniyet öncesi toplumlarda karşımıza çıkan takı, taşıdığı derin anlamlar sebebiyle toplumdan topluma, kültürden kültüre, nesilden nesle mesaj ileten ifade araçlarından birisi olmuştur. Ayrıca tarih boyunca tüm sanat akımlarının değişimi ve gelişimini takı sanatının tarihini inceleyerek çözümlemek mümkündür. Bu yönüyle takı tarihsel değişimlere ışık tutan kültürel bir öğedir. Takı insanlığın yaşadığı kültürel, sosyolojik, dini, siyasi, psikolojik değişiklikleri bazen net, bazen de içerdiği simgelerle çözümlenmesi zor ve karmaşık olarak yansıtan sanat eseridir. Takıya bakış açısı, teması, işlevi ve işlenmesi alanındaki köklü değişimler 18- 19. yüzyılda başlayıp Endüstri Çağı'nın da etkisiyle 20. yüzyılda artarak devam etmiştir. 20. yüzyılda yaşanan büyük savaşlar, yıkımlar, hayal kırıklıkları ve travmalar sonucu insanoğlu hayata ve sanata karşı eskiye oranla bambaşka bir bakış açısı geliştirmiştir. Bu durum 21. yüzyılın getirdiği sosyo-kültürel etkilerle daha farklı bir boyuta ulaşmıştır. Takı ise 20. yüzyıl ve özellikle 21. yüzyılda sosyo-kültürel farklılıkların ve teknolojik gelişmelerin etkisiyle bu zamana kadar alışılagelmiş şekilde tariflenen niteliklerinin ötesine geçerek büyük bir değişime uğramıştır. Ayrıca farklı disiplinlerden takıya merak salan kişiler kendi vizyonlarını katarak kendi bakış açılarıyla ürettikleri tasarımlarla, kavramsal ve biçimsel açıdan takıya farklı bir soluk getirmişlerdir. Yarattıkları takıları birer kavrama, hikâye anlatıcısına, mimari objeye, heykele, arkeolojik bulguya, sanat eserine hatta modern koruma kalkanlarına dönüştürmüşlerdir. 21. yüzyılda Türkiye takı sanatçılarının Anadolu öz kültüründen beslenerek kendi ideolojilerine ve felsefelerine göre yarattıkları takılarda inanç kavramlarına yer verme hatta gündelik hayata dahil etme eğilimlerinin yükselişe geçtiği söylenebilir. Bu doğrultuda inanç kavramlarına yönelik halkın talebinin de yükselişe geçtiğini söylemek doğru olacaktır. Bu çalışmada 2000 sonrası Türkiye takı sanatında inanç sembolizmi öğelerini incelerken, bu öğelerin artışa geçmesine zemin hazırlayan faktörler araştırılmıştır. 21. yüzyılın getirdiği sosyo-kültürel değişimlere ek olarak 2000 sonrası iktidar söylemlerindeki dini ve milli değerler vurgusunun Türkiye takı sanatını etkilemiş olduğunu söylemek mümkündür. Tez kapsamında bu etkinin hem tasarımcılar hem de takı tüketicisi açısından izdüşümlerini değerlendirebilmek adına takılarında inanç sembolizmi temasını işleyen tasarımcılarla röportajlar yapılarak inanç sembolizmi temalı takılarından seçkiler incelenmiştir. Ayrıca hem tasarımcılara hem takı tüketicilerine yönelik 2 adet anonim anket çalışması yapılmıştır. Röportajlar ve anketler kaynaklar kısmında yer almaktadır. Röportajlar ve anket incelemelerine dayanarak takı tasarımcılarının inanç sembolizmine karşı bakış açılarının, eserlerinde inanç sembolizmine sıklıkla yer vermelerinin sebeplerinin, halkın inanç sembolizmi konusundaki düşüncelerinin ve inanç sembolizmine duyulan ilginin sebeplerinin ortaya çıkarılması amaçlanmıştır. Sonuç olarak 2000 sonrası Türkiye takı sanatında inanç sembolizmi öğelerindeki artışın sosyo-kültürel sebepleri hem tasarımcılar hem de halkın ilgisi açısından değerlendirilerek yorumlanmaya çalışılmıştır.
Özet (Çeviri)
Jewelry, which we encounter in every civilization and even in pre-civilizational societies, has become one of the means of expression that conveys messages from society to society, from culture to culture, from generation to generation, from past to present due to its deep meanings. In addition, it is possible to analyze the change and development of all art movements throughout history by examining art of jewelry. It is known that the first examples of jewelry, which are thought to have appeared on the stage of history with the existence of man, were not worn by humans to adorn themselves, but to instill fear in their surroundings, their enemies, and evil spirits, to give a message to their surroundings, or to achieve their goals thanks to the meaning of the jewelry and/or the talisman of the jewelry. While the jewelry served a specific purpose in the first period, they became symbolic elements dedicating the concept it evokes in the next period. When we look at the jewelry with very high symbolic power, it can be seen that; The person has transferred the knowledge, teachings, experiences, inner development journey, the social consciousness he has acquired, the social norms of the social environment in which he lives, and even the belief in god to jewelry. Symbols have a very important place in cultural values. Since jewelry has become a means of expression, it has gained the feature of being a very valuable cultural carrier. Fundamental changes in the perspective, theme, function, and processing of jewelry started in the 18th-19th centuries and continued increasingly in the 20th century with the influence of the Industrial Age. As a result of the great wars, destructions, disappointments, and traumas experienced in the 20th century, human beings have developed a completely different perspective towards life and art compared to the past. At the beginning of the changing conditions are socio-cultural changes, rapid and intense technological developments, and the rapid spread of scientific knowledge and opinions. The fact that traditional beliefs and values can no longer be interpreted is one of the factors affecting art. The dominant element of art is human behavior, so changing human attitudes and behaviors should be examined and interpreted in a social context. Stating that the reflections of the socio-cultural changes observed in the 20th century to the 21st century will be very different, social scientists have stated that the need for faith, religious facts and the search for the sacred will increase in the 21st century. It is thought that the orientation to the need for belief may have brought with it the search for different or new beliefs besides the Abrahamic religions and philosophical teachings.Societies may have consciously or unconsciously developed new popular religions in order to survive against the challenges of the age, such as mythologies, mythical gods or goddesses and their protective powers, talismans and spells. In order to overcome the economic, social, cultural and psychological difficulties that the modern man has put on his shoulders, human beings may have adopted sheltering in beliefs as an escape route, as in the very old times, when confronting the difficulties they face. Under these conditions, although each of the contemporary art branches has different interpretations, attitudes and forms of expression, one of the common denominators that all contemporary arts meet is the desire to express the emotional reaction to the changing conditions of the 20th century and the 21st century. This situation has reached a different dimension with the socio-cultural effects brought by the 21st century. Jewelry, on the other hand, has undergone a great change in the 20th century, and especially in the 21st century, with the effect of socio-cultural differences and technological developments, going beyond its traditionally described qualities. Moreover, another situation that started in the 20th century and continues with an increasing momentum today; Artists from different branches and people who have received education in different disciplines have produced their own jewelry with different visions. They have attributed their own perspectives, philosophies and ideologies to these jewelry. They have transformed the jewelry they have created into clutches, storytellers, architectural objects, sculptures, archaeological finds, works of art, mythological items, and even modern shields. It is thought that people who are interested in artistic jewelry may have felt the motivation of self-discovery, differentiation from the society or exhibiting an intellectual stance and gaining appreciation in the society during this conceptual journey. Even when it comes to jewelry containing symbolism such as talisman, protection and abundance, this feeling is; With the thought of coping with her fears, protection, finding the strength to hope and reaching her wishes and desires, it has turned into a desire to acquire that jewelry and carry it on her body.At this point, when the mythological stories within the elements of belief symbolism that we encounter in jewelry in the last twenty years are evaluated; It is known how strong the place and decisiveness of mythology in art is. Art history has mostly focused on some pre-modern periods in mythology. However, when it comes to artistic and design objects created today, it is undoubtedly thought to emerge under a different influence than the evident storytelling in classical art. Searching for the traces of mythology in our age will bring a new breath to today's works of art and artistic designs, and keeping mythology alive in our daily lives will underline the integration of belief systems into each other.Mythology in today's jewelry designs; Creation, rooting, power and ethical values in Turkish-Shaman and Anatolian myths with the Dionysian rebellion philosophy are embodied in the works of artists who directly interpret mythological stories. In our age, the effect of Modern and Contemporary Art on jewelry design, especially after 2000, and the concentration of demand on jewelry with strong art and story aspects, suggests that jewelry is also functioned as a way of self-expression. It is seen that a certain myth is not far ahead of the others in the latest period jewellery. References to mythological characters that find their place in popular culture constitute the majority of jewelry containing the symbolism of belief in the last period.Considering the influence and recognition of mythologies on popular culture, their close relationship with symbolism, and the narratives and characters that reflect various life views, it is not surprising that references to mythological stories and legends and reinterpretations of mythological symbols are one of the prominent forms of expression in today's jewelry art. In the 21st century, it is possible to see the effects of ancient belief systems, myths, mythological stories, symbolism and belief symbolism in the context of conceptual art in many branches of art. When these changes are evaluated in terms of jewelry art, they have led to the breaking of the traditional jewelry perception in the 21st century. Following the transformation of jewelry, the emergence of the concept of artistic jewelry in Turkey coincides with this period. On the other hand, people from different disciplines who are interested in jewelry have brought a different perspective to jewelry in terms of conceptual and stylistic aspects, with the designs they have produced with their own perspectives by adding their own visions. They have transformed the jewelry they have created into concepts, storytellers, architectural objects, sculptures, archaeological finds, works of art, and even modern shields. In the 21st century, it can be said that the tendency of Turkish jewelry artists to include the concepts of belief in the jewelry they create according to their own ideologies and philosophies by feeding on the Anatolian culture, and even to include them in daily life, is on the rise. In this direction, it would be correct to say that the demand of the people for the concepts of belief is on the rise. In this study, while examining the elements of belief symbolism in the jewelry art of Turkey after 2000, the factors that paved the way for the increase in these elements were investigated. Besides to the socio-cultural changes brought by the 21st century, it is possible to say that the emphasis on religious and national values in the discourses of power after 2000 has affected the art of jewelry in Turkey. Based on all these statements, the main problematics of this study are; As in other branches of art, jewelry is social, cultural, psychological, economic, religious, etc. that societies encounter. It is affected by induced changes and reacts as a means of expression. Therefore, it will be examined whether the reason for the increasing belief symbolism-themed jewelry in Turkey's jewelry art after 2000 is dependent on the socio-cultural changes experienced after 2000. In addition, the socio-cultural changes and economic and political conjuncture in Turkey after 2000, the jewelry artists who created works in their own style in Turkey after 2000 concentrated on working on belief systems in psychological and philosophical terms, even using their works as a means of expression, the expression of their own ideologies. Whether they aim to convey their philosophy to the public will be examined. Finally, if we evaluate it in terms of social attitude; the passion of modern people to carry the symbols of faith in their bodies, to go deep into the inner world of people, to struggle against the difficulties of the age in which they live with the help of ancient teachings, to stay strong; in short, it will be examined whether the symbolism of faith is intended to take shelter in the power of talisman. As a result, the aim of the study is to identify the prominent arguments in these three problematics. Within the scope of the thesis, to evaluate the projections of this effect in terms of both designers and jewelry consumers, interviews were made with designers who used the theme of faith symbolism in their jewelry, and a selection of jewelry with the theme of faith symbolism was examined. Moreover 2 anonymous surveys were conducted for both designers and jewellry consumers. Interviews and surveys are in the resources section. Based on interviews and surveys, it is aimed to reveal the perspectives of jewellry designers towards belief symbolism, the reasons why they frequently include belief symbolism in their works, the thoughts of the public on belief symbolism and the reasons for the interest in belief symbolism. As a result, the socio-cultural reasons for the increase in the elements of belief symbolism in the jewelry art of Turkey after 2000 were evaluated and interpreted in terms of the interest of both designers and the public.
Benzer Tezler
- An Example of USA influence upon the Central Asian states after the Soviet disintegration
Sovyetler Birliği'nin yıkılması sonrası ABD etkisi altında kalan Orta Asya cumhuriyetlerine bir örnek
BAKTYBEK CHAKİEV
Yüksek Lisans
İngilizce
2002
Uluslararası İlişkilerDokuz Eylül ÜniversitesiAmerikan Kültürü ve Edebiyatı Ana Bilim Dalı
Y.DOÇ.DR. NURAY ÖNDER
- İkinci körfez harekâtı sonrası Türkiye'nin Kuzey Irak politikası
Turkey's Northern Iraq policy after the second gulf war
HALUK KARADAĞ
Yüksek Lisans
Türkçe
2007
Uluslararası İlişkilerAtılım ÜniversitesiUluslararası İlişkiler Ana Bilim Dalı
DOÇ.DR. VEYSEL BİLGİÇ
- Tunus Devrimi ve Türkiye-Tunus ekonomi-politik ilişkileri
The tunisian revolution and Turkey-Tunisia economic and political relations
YASİN SIBGATULLAH BOSTANCI
Yüksek Lisans
Türkçe
2019
EkonomiMarmara ÜniversitesiOrtadoğu Ekonomi Politiği Ana Bilim Dalı
PROF. DR. TİĞİNÇE OKTAR
- Turkey's role in Afghanistan in the post 9/11 era
11 Eylül'den günümüze Türkiye'nin Afganistan'daki rolü
CANAN BAYRAM ÇUBUK
Yüksek Lisans
İngilizce
2014
Uluslararası İlişkilerOrta Doğu Teknik ÜniversitesiUluslararası İlişkiler Ana Bilim Dalı
YRD. DOÇ. DR. IŞIL ANIL
- Nükleer santrallere yönelik yerel halkın bakışı: Sinop ili örneği
Local public overview of nuclear power plants: Case of Sinop city
ZEYNEP PEKMEZCİ
Yüksek Lisans
Türkçe
2020
EnerjiOndokuz Mayıs ÜniversitesiKamu Yönetimi Ana Bilim Dalı
DR. ÖĞR. ÜYESİ ASLI YÖNTEN BALABAN