Template-Type: ReDIF-Article 1.0 Author-Name: Tuğçe ARSLAN Author-Email: tugcears@gmail.com Author-Workplace-Name: Mimar Sinan Güzel Sanatlar Üniversitesi Title: ARTS & CRAFTS ARCHITECTURE AND DECORATION Abstract: This text examines the ideals of the ?Arts&Crafts? movement that emerged in England in the 19th century and their reflections in the field of art. The Arts and Crafts movement, which opposed the industrial design approach created by the industrialization period and focused on manual labor by returning to past references, was influential in the field of architecture and handcrafts throughout the 19th century. The basic principle of Arts&Crafts architecture is that the interior and exterior design of the architectural structure is in an organic integrity. The source of inspiration for Arts and Crafts designs that combine vibrant colors and dynamic lines is nature itself, in this context, in Art&Crafts designes plant and animal figures of nature are frequently used in terms of patterns and shapes. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 1-28 Volume: 13 Issue: 13 Year: 2020 Month: Feb DOI: 10.17740/eas.art.2020-V13-01 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/599 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:13:y:2020:i:13:p:1-28 Template-Type: ReDIF-Article 1.0 Author-Name: İnci AYDIN ÇOLAK Author-Email: inciaydincolak@gmail.com Author-Workplace-Name: Mimar Sinan Güzel Sanatlar Üniversitesi Title: AN OVERVIEW TO LANDSCAPE IN TURKISH PAINTING AND LITERATURE Abstract: Landscape paintings are seen in indoors in Turkey. Most of the perspective landscapes where sea and sky meet in these paintings of unknown artists can be seen on the walls of Topkapi Palace Women's Quarters. Wall paintings in Istanbul and Anatolia indicate that perspective painting reached indoors. Training of perspective painting start in military schools at the institutional level. There are nine different painting offices established within the body of Mühendishane-i Bahri-i Hümayun which was Imperial School of Naval Engineering. It seems like time has stopped under the indirect spring light in the landscapes which was painted based on a photograph. In military schools, the main subject of the painting courses implemented for ?resm-i hattî? (technical drawing) and ?menâz?r? (perspective) was land plots and view of nature. Academic figure training was not given in these courses. The progress of our art of painting in two forms as landscape and figure results from two different viewpoints. The landscapes that can be defined as a reflection of the sufi spirit in the Tanzimât period are transformed into an expression form of positivism as of the years of the Constitutional Period. Impressionism, which started with the return of the painters of 1914 Generation to the homeland, pushed the artists to work outdoors, and every corner of Istanbul turned into a picturesque painting. For certain, these landscapes will vary according to the perspectives of the artists on places from popular venues of the public to remote cemeteries, and their subjectivity. Within this process, description in literature corresponds to landscape in painting, painters and literary artists sometimes express the same landscape in their own languages without the knowledge of each other. During the first years of the Republic, Pera was reflected on paintings and writings accomplished by the artists together. After 1950s, abstract works has become the indicator of artist's autonomy and sometimes the starting point of abstractions could be landscapes. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 29-46 Volume: 13 Issue: 13 Year: 2020 Month: Feb DOI: 10.17740/eas.art.2020-V13-02 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/600 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:13:y:2020:i:13:p:29-46 Template-Type: ReDIF-Article 1.0 Author-Name: Nurcan YAZICI METİN Author-Email: nurcan.metin@msgsu.edu.tr Author-Workplace-Name: Mimar Sinan Güzel Sanatlar Üniversitesi Title: THE MONUMENTS OF SULTAN ABDULHAMID II IN THE OTTOMAN REALMS: THE HAMIDIYE FOUNTAINS Abstract: The Sultan Abdulhamid II Period witnessed intense development activities throughout the Ottoman geography. In particular, the twenty-fifth anniversary of the sultan's ascension has been the occasion for these events. During this period, the groundbreaking ceremony or opening of almost all kinds of architectural works were held, among them, there were many fountains. Some of these fountains are in the form of a monument, usually a fountain with a column in the middle. Some of these were built as a charity work of the sultan, and most of them were built by local people and administrations as ?memories of gratitude? on the occasion of the sultan's enthronement. These fountains, which contain some references in accordance with the architectural language of the period, are symbols that make the sultan visible in every part of the Ottoman geography as in other building examples. This visibility was provided by tughra, crest, and even inscriptions on monumental fountains. These examples, which can be defined as monuments in which the Ottoman architecture memory is foreign, have been handled by combining them with the fountain setup, which is a known, recognized, accepted, functional structure. These fountains are mostly multi-faced fountains built as part of a square. Although it generally reflects the styles of the period, there are also examples of local/regional features. In addition to their symbolic languages, these monuments are functional structures that serve as fountains and meet the water needs of the people, and this is their primary function in construction. However, the monument setup of these fountains appears much more prominent than their functionality. The examples from the Hamidiye fountains, which have been handled with the monument setup, are limited. In this article, examples from the Hamidiye fountains, which have been selected from different points of the Ottoman geography and have survived to the present day, are discussed. Being built in wide geography, extending from Adana to Kastamonu, from Beirut to Selanik (Thessaloniki), these fountains were evaluated in terms of their locations, architectural and ornamental features, monumental constructions and architectural languages/discourses. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 47-69 Volume: 13 Issue: 13 Year: 2020 Month: Feb DOI: 10.17740/eas.art.2020-V13-03 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/601 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:13:y:2020:i:13:p:47-69 Template-Type: ReDIF-Article 1.0 Author-Name: Ali Nihat KUNDAK Author-Email: ali.nihat.kundak@msgsu.edu.tr Author-Workplace-Name: Mimar Sinan Güzel Sanatlar Üniversitesi Title: ART HISTORY REPORT OF ZEVKÎ KADIN SIBYAN SCHOOL Abstract: S?byan mektebs (primary schools) were established to educate children about Koran and basics of religion since the early years of Islam. They used to give children the basic level of education in Ottoman Empire, as well. In this study, the art history report of the primary school dated 1756, which was the charity of Zevkî Kad?n, was prepared. Zevkî Kad?n S?byan School is located in F?nd?kl?-Beyo?lu district of Istanbul province, on Meclisi Mebusan Street. Today, it is located in the F?nd?kl? campus of Mimar Sinan Fine Arts University. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 70-87 Volume: 13 Issue: 13 Year: 2020 Month: Feb DOI: 10.17740/eas.art.2020-V13-04 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/602 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:13:y:2020:i:13:p:70-87 Template-Type: ReDIF-Article 1.0 Author-Name: Nilüfer ÖNDİN Author-Email: niluferondin@gmail.com Author-Workplace-Name: Mimar Sinan Güzel Sanatlar Üniversitesi Title: ABSTRACT ART AND TURKEY Abstract: As the change in mentality that begun during the second half of the 19 th century and continued at the beginning of the 20th century was focused on the essential meaning of the object, the object cannot be assumed as the reality that is comprehended sentimentally only. Also the artist?s mind that inclines towards the background of the comprehended reality maintains an intellectual attitude against the object. The intellectual comprehension of the object causes the optic illusion to be removed and some of the artists convert the painting merely into an abstract construction. The abstract art was seen affectively after the Second War World in Paris. As the abstract trends in Paris influenced our painters, the increase of the experiments on abstract art could be seen during the 1950?s in Turkey. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 88-98 Volume: 13 Issue: 13 Year: 2020 Month: Feb DOI: 10.17740/eas.art.2020-V13-05 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/603 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:13:y:2020:i:13:p:88-98 Template-Type: ReDIF-Article 1.0 Author-Name: Tarkan YAZICI Author-Email: tyazici@mersin.edu.tr Author-Workplace-Name: Mersin Üniversitesi Author-Name: Onur ÇELEBİ Author-Email: onur.celebioglu@hotmail.com Author-Workplace-Name: Mersin Üniversitesi Author-Name: Şefika TOPALAK Author-Email: sefikat@gmail.com Author-Workplace-Name: Trabzon Üniversitesi Title: METAPHORIC PERCEPTIONS OF TEACHER CANDIDATES ABOUT THE CONCEPT OF "MUSIC" Abstract: In this study, the perceptions of pre-service teachers in different branches towards the concept of "Music" were determined through metaphors. The study is studying at Mersin University Faculty of Education in the 2019-2020 academic year; It was carried out with 144 students taking Turkish Art History and Art and Aesthetics courses. In the study carried out in phenomenology, one of the research designs in accordance with the qualitative research methodology, the data collection technique is one of the metaphors; as a data collection tool ?Music is like ??????; because a form with the expression ??????? has been used. Through this form, it was tried to determine the metaphors that teacher candidates developed regarding the concept of "Music" and the common features of these metaphors. The data of the research were analyzed with content analysis and frequency analysis techniques. As a result of the study, it was determined that the metaphorical perceptions towards the concept of music lesson were mostly in the category of "music as an expression of feelings" and at least "music in the negative sense"; In addition, negative metaphorical perceptions such as alcohol and drugs, coronavirus, death for the music lesson were also detected. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 99-103 Volume: 13 Issue: 13 Year: 2020 Month: Feb DOI: 10.17740/eas.art.2020-V13-06 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/604 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:13:y:2020:i:13:p:99-103