TUVALDEN MEKÂNA YAYILAN MANZARA
| dc.contributor.author | Günay, Burcu | |
| dc.date.accessioned | 2025-03-24T19:47:05Z | |
| dc.date.available | 2025-03-24T19:47:05Z | |
| dc.date.issued | 2023 | |
| dc.department | Düzce Üniversitesi | |
| dc.description.abstract | Bu araştırma kayıtlara geçen en eski manzara resminden başlayarak, Batı sanat tarihinde manzara konusunu ele alan en belirgin eserler üzerinden ilerlemektedir. Manzara resim geleneği kısaca açıklandıktan sonra, özellikle 1960 sonrası sanattaki kırılmalar açıklanmış ardından doğanın kendisinin galeri mekanında kullanıldığı en belirgin üretim süreçlerinden örnekler sunulmuştur. Çağdaş sanatta doğa nesnelerini galeride ya da doğadan koparmadan kendi ortamında ele alan en belirgin sanatçılar üzerinden bir değerlendirme yapılmıştır. Bu araştırma literatür tarama yöntemine göre oluşturulmuştur. | |
| dc.description.abstract | Starting from the oldest recorded landscape painting, this research proceeds through the most prominent works dealing with the landscape aspect on Western art. After the landscape painting tradition is explained for a short time, especially after 1960, the scans in art are explained, then examples of the most distinctive production image used in the naturally sourced gallery space are given. In contemporary art, an evaluation has been made on the most prominent point that deals with the natural objects in the gallery or in their own environment without separating, them form nature. More than an aesthetic approach to nature, pictures from the previous production facility are presented with the idea of creating an ecological rationale for the viewer. It has been tried to explain the wear and tear, space and nature representation in art after 1960, through the satisfaction that focuses on the relationship between nature and culture, especially Anselm Kiefer, Olafur Ellisson, Hans Haacke, who focus on the relationship between nature and culture. This research is determined according to the literature review model. | |
| dc.identifier.doi | 10.14520/adyusbd.1240749 | |
| dc.identifier.endpage | 122 | |
| dc.identifier.issn | 1308-9196 | |
| dc.identifier.issn | 1308-7363 | |
| dc.identifier.issue | 44 | |
| dc.identifier.startpage | 97 | |
| dc.identifier.uri | https://doi.org/10.14520/adyusbd.1240749 | |
| dc.identifier.uri | https://hdl.handle.net/20.500.12684/18467 | |
| dc.identifier.volume | 0 | |
| dc.language.iso | tr | |
| dc.publisher | Adıyaman University | |
| dc.relation.ispartof | Adiyaman University Journal of Social Sciences | |
| dc.relation.publicationcategory | Makale - Ulusal Hakemli Dergi - Kurum Öğretim Elemanı | |
| dc.rights | info:eu-repo/semantics/openAccess | |
| dc.snmz | KA_DergiPark_20250324 | |
| dc.subject | manzara resim geleneği|çağdaş sanat|mekan|Landscape painting|contemporary art|space. | |
| dc.title | TUVALDEN MEKÂNA YAYILAN MANZARA | |
| dc.title.alternative | THE LANDSCAPE SPREADING FROM THE CANVAS TO THE SPACE | |
| dc.type | Article |
