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Öğe LEONARDO DA VİNCİ’DE SANAT, BİLİM ve ETKİLEŞİMİ(Trakya Üniversitesi, 2009) Bayav, DenizArts and science is the works of humanity endeavour. Even though they are different disciplines, both of them have the same beginning point: nature. They subserve to humanity. In every term artists used the possibilities and new approaches given by science as it could be useful for arts. But Leonardo preferred to create his own designs and write his nature observations instead of taking the ready possibilities of science. According to him; inventing machines, painting, observing the anatomy are the similar activities. In his works we can realize the vanishing boundaries between art and scienceÖğe Bedri Karayağmurlar ve Sanatı Üzerine Bir İnceleme(Trakya Üniversitesi, 2012) Haykır, MustafaIn this article, the art of Bedri KARAYAGMURLAR, relationships betweenhis life and his works are examined and his poems and his paintings are compared.As the result of the research, it is understood that there is a tight relationshipbetween the artist’s life and his works, especially the period of his childhood isreflected in his art. It is found that the artist’s present ideals, aspirations, personalitycharacteristics such as an effort to solve the problems are identifying and working toresolve in his art. In addition, because of similarities in terms of style and theme hispoems and pictures were found to be compatible with each otherÖğe Resim Sanatında ve Sanat Eğitiminde İmge(Trakya Üniversitesi, 2009) Bayav, DenizThinking by images and designing images are the ancient intellectual process of humanity. Designed or perceived images are the basic concepts which create art which is a process of creating images. This process is shaped by artists and periods. The artist reflects his own world of emotion and thought by using the images resulting from his perceptional and imaginative world. The artists' process of image creation is similar to that of children. Both of them create their images which are heavily under the influence of their senses and experiences. Imaginary thinking improves the creativity. Therefore it can be concluded that self-confident and creative children are to be trained if a great deal of importance is given to imaginary thinking in art classesÖğe Gerçeküstücü Harekette Ütopya Kavramı(Trakya Üniversitesi, 2015) Aslan, RukenThe Surrealist Movement, whose purposes were defined first in the manifesto written by the movement’s leading figure Andre Breton, is considered to be one of the most ambitious and influential artistic and cultural protestation against the system prevailing at the time. Propounded by a group of artists who had either witnessed or experienced in person the atrocity and the genocides of the two world wars masked under the guise of Western Rationality, the surrealist movement approached Dadaism in its rebelliousness and hatred of order. Nevertheless, its attitude towards the problems was not nihilistic as in Dadaism but constructive. It held the belief that fighting against positive rationalism, Western morality, inequality and alienation caused by industrialism and capitalism is possible through recourse to imagination, dreams and intuitions which are within reach of the human’s capacities. The main emphasis in their manifestoes was to reconcile dream with reality through the Freudian psychoanalytic method of psychic automatism. Foregrounding the importance of dreams and intuitions in artistic production, this movement attempted to liberate art from the sanctity attributed to it by the Romantic tradition and to transform it to an experience in every person’s life; to this end, it suggested a reconciliation between art and life, and dream and reality against a harsh external reality. This, in a sense, was a sort of socialist utopia that aimed at a reconciliation of art and life, whose precursors could be traced back to figures such as Saint Simon, William Morris and FourierÖğe Max Ernst’in Resimlerinde “Orman” İmgesi(Trakya Üniversitesi, 2016) Aslan, RukenMax Ernst, one of the prominent figures of Surrealism, an important counter-movement of the 20th century, produced a significant number of works focused on the theme of the “forest”. The influence of the forest image on Ernst dates back to his childhood. The emphasis he makes, in his interviews, on the walking tours in the forest with his father who was an amateur painter, foregrounds this image as an important autobiographical element and a pointer to the traumas of his childhood. Beside its autobiographical significance, this image is a metaphorically rich element in German Romantic philosophy and literature which Ernst was deeply influenced by. For Ernst, whose work bears the influence of Caspar David Friedrich and German poets and thinkers such as Schelling, Carus and Novalis, nature and the forest imply a symbolic structure, laden with metaphors, which, in turn, provides a means for knowing and analyzing oneself. Considering his surrealist stance, we can also note that the image of forest, for Ernst, serves, in a way, a metaphor for coming to terms with civilization. The concept of civilization was brought under scrutiny especially by Surrealist artists in the 20th century which was dominated by wars, tragedies and destruction. Along with some other images, the forest served for him as a field of contest whereby the dichotomy of nature/culture could be questioned in terms of Surrealism’s endeavour to reconcile contradictions. The techniques such as frottage and grattage that he applied in creating his works expose his paintings to “objective chance”, a key element of Surrealist movement. In this sense, the forest is uncontrollable, wild and threatening as well as a mysterious and enchantening space abounding with elements which motivate the unconscious and open to dreamsÖğe Sanatta “Leda ve Kuğu” Teması ile Kolektif Bilinçdışı İlişkisi Üzerine(Trakya Üniversitesi, 2015) Haykır, MustafaIn this study, Greek mythology originated theme the "Leda and the Swan", its' reflections on art and the relationship between thema and the collective unconscious is analyzed. The psychological reasons for the interest of a number of artist's in the subject in various times is questioned. It is argued that similar images in the mythology and art is associated with personal unconscious and collective unconscious. As a metaphor, derived from collective unconscious, Leda and swan in the story of "Leda and the Swan" has attracted attention of artists in the form of relationships between male and female, about sexual desire, fear and emotions of humanity that morphing in the way that transformed into aesthetic images. In addition, it is considered that it is the formal form of closed composition of nested two forms of Leda and the swan and substantial content of the metaphors is efficient. It is determined that taboos, fears or expressions which arising from both personal psyche and society's colective unconscious, in order to emerge on surface from the colective unconscious, it attains a way for expression converting into metaphors such as in dreams converting into another form in order to expressing. Therefore, each artist has different interpretations of the theme on account of their different experience or in other words, owing to intereference of personal unconscious. As archetypes that originated in the collective unconscious mind of humanity, the status of Leda and the swan, while implying sexual referring oriented in general that concerning the relationships between men and women, due to the impact of the personal unconscious, it is determined that it symbolizes maternity in Leonardo da Vinci's painting; symbolizes a status of being enchanted or ecstasy with a physical passion; Leda, single by herself, symbolizes moribundity in agony in Michelangelo's painting; and with the long necked swan, it symbolizes erotic connotations and phallic references in Boucher's paintings
