Letteratura scientifica selezionata sul tema "Turkish Figurative art"
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Articoli di riviste sul tema "Turkish Figurative art"
1
AUELBEKOV, Erzhan. "IMAGES OF TURKISH ETHNOCULTURE IN KAZAKH DECORATIVE ART." Turkology 112, no. 4 (2022): 92–109. http://dx.doi.org/10.47526/2022-4/2664-3162.05.
Testo completoAbstract (sommario):
The article examines the essence and content of folk decorative crafts in the system of art education, which is implemented in the country on the basis of such programs as “Cultural Heritage”, “Spiritual Revival”, “Seven Facets of the Great Steppe”. The manifestations of centuries-old Turkic culture in Kazakh decorative crafts are considered in detail, its character in the theories of Turkic ethnoculture is analyzed from historical, spiritual, artistic points of view. On the basis of the Turkic knowledge, the stylistic, symbolic and figurative features of some handicrafts, especially headdresses, such as saukele, takiya, and the use of ornaments in them, characterizing the features of the Turkic ethnoculture, are analyzed. The similarities of folk crafts of the Kazakh and other Turkic peoples in the Turkic ethnoculture are shown, as well as evidence that the development of folk crafts is in close connection with the worldview, beliefs, way of life, economy of the peoples. National ornaments, symbolic images, motifs in the crafts of the Turkic peoples are compared, their semantic features are described as signs of the Turkic ethnoculture. The special place of Kazakh crafts in the Turkic ethnoculture as a direct successor of nomadic traditions on the land of the Great Steppe is determined, historical, ethnographic and artistic scientific explanations are given to them.
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Yilmaz, Ayşe Nahide. "The Image of Politics in Art: Projecting the Oppression in Turkish Art Scene." European Journal of Multidisciplinary Studies 6, no. 2 (2017): 339. http://dx.doi.org/10.26417/ejms.v6i2.p339-339.
Testo completoAbstract (sommario):
In the 1970s, Turkey's artistic milieu was mostly influenced by socialist realistic painters who demonstrated political criticism with a figurative understanding. The oppression that came with the coup d'état of September 12, 1980 aimed at a depoliticized society, and artists were then politically diverted to implicit and indirect ways. While direct intervention from the military or the civil government under its control rarely came, the artists and art institutions have even ended some kind of auto censorship. In a demoralized and depoliticized cultural environment, the works that embodied the 'social ghost' have both raised emotional and reactive objections and ironically created a sense of guilt in the audience. Being a spectator meant to be a victim, a judge, a witness, or maybe -in fact- all of these at once. The artist imagination reproducing the notions of authority and power in silenced societies has made conspicuous human rights violations, tortures, and executions through works of art. Artists, who counted art as a vehicle to change the world, have provided a deep dimension in art environment with a wide variety of knowledge and skills right along with new techniques and materials. In this work, there shall be many examples of artists and works of art that combine 'art politics' and 'political art' as a single thing, which goes beyond traditional approaches to art and politics in the intense and subversive political atmosphere of the 1980s in Turkey.
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Yoqubov, Sharif. "Besutun's works as interpreted by Alisher Navo'i." Uzbekistan: language and culture 3, no. 3 (2021): 54–66. http://dx.doi.org/10.52773/tsuull.uzlc.2021.3/tikw6254.
Testo completoAbstract (sommario):
This article is devoted to the use of the term "Besutun" in the works of Alisher Navoi. Throughout his life, the poet collects historical events, monuments associated with Mazi, and folk legends. He remakes them and uses them effectively in his lyric poems and epics. Navoi used every word in his work. This is evident from the use of words and terms in his works. One of these words is Besutun. The term is used by the Turkish and Farsi poet Devoni Foniy, Hazoin ul-Maoniy, to describe vivid images. In short, the poet uses this term in his own and figurative sense to create beautiful metaphors that play an important role in expressing the feelings of the creator in the spirit world. This term is used to describe elegant and unique examples of the word art.
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Koç, Burak. "SAVAŞ DÜŞÜNCESININ BOSNALI ALAADDIN SÂBIT DIVÂNI’NDA SOMUTLAMA VE GÜZELLEME BAĞLAMINDA GÖRÜNÜMÜ." journal of Balkan Studeis 3, no. 1 (2023): 55–77. http://dx.doi.org/10.51331/a030.
Testo completoAbstract (sommario):
Among the literati and scientists, the view is found that classical Turkish poetry prefers a separate literary expression, where literature when removed from society, reality, and sociality is at a certain level indifferent to the issues of society. Being involved with life will lead a poet to the reality of society and humanity, and the relevant art must have knowledge about signifiers to be noticed by the poet’s addressee. Metaphorical structures will increase the meaning of a text while evaluating literary texts. This article has come across depictions of war in their literal and figurative meanings in classical Turkish poetry and draws attention herein to the ethnosymbolist approach. The focus of Turkish classical poetry appears to be determinable as the metaphor of war. Based on this, metaphors in classical literature such as the image of a lover’s gaze as an arrow or her hair as a bow string are not meaningless. The flamboyant elements that a nation has stated have emerged in literature in its own language. The poets imply that the army is not in war for fighting but to clean the blood of the enemy with cupping or to shave their hair for free. For the poet, war is the natural healing that saves the corrupted world, and based on this idea, war is based on eliminating and correcting evil. This article will examine the couplets about war in the Divan of the Bosnian Alaaddin Sâbit, a 17th-century poet, in terms of embellishment and concretization.
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Koç, Burak. "The Appearance of the Idea of War in the Contexts of Establishment and Beauty in the Divan of the Bosnian Aladdin Sâbit." journal of Balkan Studeis 3, no. 1 (2023): 73–77. http://dx.doi.org/10.51331/a031.
Testo completoAbstract (sommario):
Among the literati and scientists, the view is found that classical Turkish poetry prefers a separate literary expression, where literature when removed from society, reality, and sociality is at a certain level indifferent to the issues of society. Being involved with life will lead a poet to the reality of society and humanity, and the relevant art must have knowledge about signifiers to be noticed by the poet’s addressee. Metaphorical structures will increase the meaning of a text while evaluating literary texts. This article has come across depictions of war in their literal and figurative meanings in classical Turkish poetry and draws attention herein to the ethnosymbolist approach. The focus of Turkish classical poetry appears to be determinable as the metaphor of war. Based on this, metaphors in classical literature such as the image of a lover’s gaze as an arrow or her hair as a bow string are not meaningless. The flamboyant elements that a nation has stated have emerged in literature in its own language. The poets imply that the army is not in war for fighting but to clean the blood of the enemy with cupping or to shave their hair for free. For the poet, war is the natural healing that saves the corrupted world, and based on this idea, war is based on eliminating and correcting evil. This article will examine the couplets about war in the Divan of the Bosnian Alaaddin Sâbit, a 17th-century poet, in terms of embellishment and concretization
6
Gvantseladze, Anna. "Comparisons in works of fiction of Turkish writers of the XX century." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 122–30. http://dx.doi.org/10.34079/2226-3055-2020-13-22-122-130.
Testo completoAbstract (sommario):
The paper deals with comparison constructions of the Turkish language on the base of works of fiction of Turkish writers of the 20th century. Reflecting figurative (simile) and non-figurative (correlation between qualitative and quantitative characteristics of two objects) collation of two or more objects comparisons in the Turkish language are examined from the lexico-semantic point of view and though their syntactic role in the sentence. Comparison remains a relevant and interesting topic of research despite the large number of works. It is a mean, a way of investigation and knowing of reality when unknown object is collated with the well-known one. Comparison may be represented as an act and a result at once. As the act of knowing reality comparison, represents such stages of exploration of the real world as identification of an object, its correlation with already known categories and groups of objects, definition of common features and juxtaposition of their intensity for further classification of the object explored. While resembling the result of act of cognition comparison demonstrates the degree of manifestation of a particular feature on a scale from complete identity to absolute difference. As an act of logical operation comparison consists of four elements, having different nominations in research works, they resemble object that is compared, object to which something is compared with, ground of comparison (some common feature for both objects) and result of comparison that describes identity, resemblance or distinctions between objects. Since logical operations of world’s investigation find reflection in language as a linguistic category comparison also has four elements in its structure. According to the lexico-semantic group of object and subject of comparison, Turkish comparisons may be divided on such groups as human-human, human-animal, nature-human. Comparisons are mostly used to express nature, human’s appearance or character, size of items, to make some estimation, to describe the way something is happening like or to resemble someone’s condition. Turkish works of fiction use both figurative comparison (simile) and non-figurative comparison. The syntactic role of comparison in a sentence depends on which member of the sentence the comparative part of the comparative construction belongs to. Mostly, comparisons act as attribute or adverbial modifier of manner, but also may act as predicate or grammatical object.
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Shagdurova, Olga Yu, and Elena V. Tyuntesheva. "Lexical and semantic correlations of verbs with figurative-characterizing meaning in the Khakas and Altai languages (in Contrast with the Kipchak languages)." Sibirskiy filologicheskiy zhurnal, no. 4 (2021): 241–51. http://dx.doi.org/10.17223/18137083/77/18.
Testo completoAbstract (sommario):
We study the correlations between figurative-characterizing verbs in Turkic languages of Siberia (Altai, Khakas) and Kipchak languages (Kyrgyz, Kazakh, Bashkir). In these languages, we distinguish a small ancient group of figurative stems common for all Turkic, and sometimes also Mongolian and Tungusic languages. In the Altai and Khakass languages, there are commonalities and differences in the formation of complex words from figurative bases both between these languages themselves and with Kipchak. One common trait of these languages is the simultaneous formation of figurative-characterizing verbs and their Aktionsart meaning defined by an auxiliary verb (in analytic word formation) or certain affixes: =y characterizes a state while =ŋda ~ =ŋna ~ =ŋnaa denotes an evenly distributed meaning of action. The =(а)y affix is also found in the Mongolian language while =ŋda ~ =ŋna ~ =ŋnaa is typical for the Siberian and Kipchak languages. The difference in the formation of complex verbs with figurative-characterizing meaning lies in the usage of different verb components: Alt. et= ‘to do’; Khak. tüs= ‘to go down’, pol= ‘to be’, it= ‘to do’ (rarely); Kyrg., Kaz. et= ‘to do’, ber= ‘to take’, qaq= ‘to knock’, etc. The analysis of correlations has shown their small number among complex words and greater number among synthetic words, with a high number of Mongolian loanwords common for Siberian and Kipchak languages. In figurative-characterizing verbs, most correlations found in Siberian languages (without those in Kipchak) are derived from all-Turkic stems. No Altai-Kipchak correlations without their presence in the Khakass language were found, while there are a few correlations with Kyrgyz language. Also, no Khakas-Kipchak correlations were detected.
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Sevim, S. Sibel, D. Kahraman, and G. Ozer Eroz. "Comparison and analysis of trees of life in Turkish and Metepec art of ceramics." Cerâmica 63, no. 365 (2017): 128–33. http://dx.doi.org/10.1590/0366-69132017633652058.
Testo completoAbstract (sommario):
Abstract Ceramics is one of the most important materials that carry the traces of past. Kitchenware, architectural elements and religious forms that are made of ceramics carry the important traces of cultures, which they belong to. In this context, the art of ceramics is a field where symbolic statements exist as a mean of expression and it establishes an organic correlation between past and present. One of the most important of these forms that belongs to this expression is the ‘tree of life’. The form of the tree of life differs stylistically and figuratively from culture to culture and it has great expressional richness. In this study, which was supported by Anadolu University as a scientific research project, the pattern of Metepec, which is the centre of ceramics in Mexico and still continues to produce pottery, and of Turkish art of ceramics were analysed and compared historically, stylistically and technically.
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Zh.D., Ramadanova. "Art as a reflection of the genetic cultural code (on the example of Kazakh folk dance)." Bulletin of the Karaganda university History.Philosophy series 107, no. 3 (2022): 169–81. http://dx.doi.org/10.31489/2022hph3/169-181.
Testo completoAbstract (sommario):
This article presents the results of the study of the genetic cultural code, reflecting the spiritual values of the people on the example of the traditional dance-plastic art of the Ka- zakhs. As a research method, the author uses a semiotic analysis of movements and pos- tures of traditional Kazakh dance, which is part of the Turkic culture. The article provides definitions and functions of such terms as «art», «figurative language in art», «arche- type», «semantics», «semiotics». It also gives an analysis of the art of dance as a semiotic system, based on the fact that the language of dance, expressed by body movements, is non-verbal, containing signs and symbols that reflect, among other things, the subcon- scious thoughts and feelings of the dancer. The author, based on the symbols of sacred geometry and sign language, compares Kazakh national patterns and movements of Kazakh dance with similar names with the interpretation of the meaning of symbolic forms reflecting the cultural code of the people. In comparison, the author relies on the fact that the basis of the Kazakh ornament is made up of signs-symbols, for the development of which the folk masters are the source of the phenomena and objects of the surrounding world. As a result, elements of Kazakh dance are identified, which are common not only for the eastern peoples but also for the dances of the peoples of the Middle East and Egypt, which is indirect evidence of the common roots of the above cultures. The conclusions are partially confirmed by research works in the DNA genealogy of mankind, as well as by the works of a number of Türkologists
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Cobanoglu, Ozkul, Karlygash Ashirkhanova, and Zeynep Zhumatayeva. "PROVERBS ARE A REFLECTION OF NATIONAL CHARACTER." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 2 (June 30, 2023): 207–20. http://dx.doi.org/10.55808/1999-4214.2023-2.15.
Testo completoAbstract (sommario):
Language is an invaluable treasure of the people, an indicator of national character, national wealth, the history of its customs, traditions, worldview. When we take into account the spiritual values and cultural treasures of our nation, its golden source begins with the art of speech. The eloquent reflections of the ancestors, which reconcile the endless dispute with one word, poems and epics that bring the life of each period to our eyes, become the treasures of the sea of today's generation. Perhaps one of the most important branches of this are proverbs and sayings, which have passed from mouth to mouth and accumulated over the centuries. It is clear that the system of spiritual and cultural values of the Turkic peoples as a whole is a holistic phenomenon, which is continuously connected with the worldview, history, life experience of the Turkic peoples of their ancestors. Proverbs, being an integral part of the language, reflect the culture, originality, worldview, basic values of this people. Therefore, the study of proverbs helps to understand the national characteristics of a particular population. Proverbs are a good material for getting acquainted with the peculiarities of the national character, because they have preserved the image, the imprint of the originality of the people. The study of proverbs in any language can contribute to understanding the mentality and national character of a person who speaks that language. The article analyzes the place of proverbs and sayings in the reflection of the character, national identity and identity of the people by specific examples. This article will help young readers and their parents, as well as everyone who loves the native Kazakh language, replenish their knowledge, enrich and revive their speech with figurative, concise, concrete words.
Libri sul tema "Turkish Figurative art"
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Uğurlu, Naz. Merey Koleksiyonu: Bir Tutkunun Hikâyesi. Mimar Sinan Güzel Sanatlar Üniversitesi Yayinlari, 2018.
Cerca il testo completo
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Ottoman figurative arts 1: Miniature. Yapi Kredi Yayinlari, Istanbul, 2018.
Cerca il testo completoCapitoli di libri sul tema "Turkish Figurative art"
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Dastarlı, Elif. "Questioning Century-Old Turkish Art through the Polarisation Concept." In A Companion to Modern Turkey's Centennial. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474492515.003.0050.
Testo completoAbstract (sommario):
The dominance of parsing logic in society has led to a number of art practices that were in the axes of national–universal, figurative–abstract, traditional–modernist, academic–non-academic, modern–contemporary. In art history, which is in the order of a hundred years old in Turkey, the confrontation of people with different views has been seen as a temporary clash of ideas; however, since such conflicts are experienced in the form of taking a hard line, it can also be seen as a kind of polarisation, and it can be claimed that it has now taken the form of a culture war. Today, Turkey is going through a period of culture wars between the East–West and religious–secular axes. This chapter deals with a hundred years of Turkish art on the axis of concepts that are positioned opposite each other in Turkey’s history as determined by political instability, and finally discusses how art can reach a unique point without dwelling on the dilemma of opposition in form or idea.
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KULAZ, Mehmet, and Emre GÜNAY. "ESKİ AHLAT ŞEHRİ VE SELÇUKLU MEYDAN MEZARLIĞI KAZISI." In CUMHURIYETIN BIRINCI YÜZYILINDA ANADOLU’DA TÜRK DÖNEMI ARKEOLOJI ÇALISMALARI. Türkiye Bilimler Akademisi, 2023. http://dx.doi.org/10.53478/tuba.978-625-8352-61-0.ch13.
Testo completoAbstract (sommario):
Due to its strategic location in the region, rich natural resources, favorable climate conditions, and fertile land, Ahlat has come under the rule of many states and principalities throughout history. However, it should be noted that Ahlat owes its centuries-long reputation to the Turks. The architectural structures and tombstones from the Turkish period that have survived to the present day serve as the most prominent evidence of this. Ahlat, one of the important cities of the Middle Ages, became a center of knowledge, culture, art, and trade in the 13th century. Due to these characteristics, the city was known as Kubbetü’l Islam during the Seljuk period and as the Ancestral City during the Ottoman period. The Madavans Valley Rock Settlements and Rock Church, Ruined City Cave Houses, Ancient Ahlat Fortress, Ottoman Coastal Fortress, Double Bath, Small Bath, Dervish Lodge, Ceramic Kilns, Great Mosque, Bezirhane, Tombs, Mausoleums, Fountains, and Historical Cemeteries that have survived despite wars and major earthquakes are indicators of its glorious days. All these cultural assets are crowned by the Ahlat Seljuk Square Cemetery, which covers an area of 210,000 m², making it the largest Historical Islamic Cemetery in our country. The cemetery contains approximately 9,300 tombstones with inscriptions or sarcophagi from the Seljuk, Ahlatshah, Ayyubid, Ilkhanid, Karakoyunlu, Akkoyunlu, and Ottoman periods. In addition to tombstones, there are 178 monumental tomb structures such as mausoleums and fountains. However, it is understood from the excavations that there are also many Islamic graves underground. The tombstones with inscriptions and sarcophagi in the Seljuk Square Cemetery, considered the largest historical cemetery in the Turkish-Islamic world, can be seen as examples shaped according to the Islamic belief in Anatolia, similar to the Orkhon Inscriptions and kurgans in Central Asia. The inscriptions, geometric arrangements, plant motifs, and figurative elements found on these artifacts are of great importance in providing concrete information about the art style and cultural history of the period. The Ancient Ahlat Fortress is located on a rocky hill with dimensions of 430 meters in the north-south direction and 60 meters in the eastwest direction. The data obtained from the excavations in the Ancient Ahlat Fortress indicate that the city has a history of approximately 5,000 years. However, a significant portion of the surviving remains can be dated back to the Turkish period of the Middle Ages. For more detailed information, please refer to the Extended Abstract at the end of the text
Atti di convegni sul tema "Turkish Figurative art"
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Shahin, Suveyda. "EXPRESSIONS MADE WITH ORGAN NAMES IN BABUR'S DIVAN." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/vjyi2672.
Testo completoAbstract (sommario):
Idioms constitute an important part of a language's vocabulary such as stereotypes, proverbs, and dilemmas. Idioms have a figurative structure and can also be characterized as indicators of social structure. The power of learning a language and penetrating it through idioms. Idioms, which are formed around the cultural structure of each nation and are the heritage of the common culture, have preserved their structures and meanings for centuries and have survived to the present day with very minor changes in historical periods. Due to their historical continuity and figurative structures, the importance of idioms in understanding andinterpreting texts and transferring them into another Turkish dialect cannot be denied. For this purpose, in our paper, we want to identify and classify the idioms formed with the names of organs in the Babur divan of the 16th century and discuss them interms of meaning and structure. Whether the idioms used in the work continue to exist today and whether their meanings live in the same way will be determined at the end of the paper.