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    MODERN MOSQUE ARCHITECTURE IN RELATION TO CONSERVATIVE ATTITUDE'S AESTHETIC PROBLEMATIC
    (Ege Univ, 2020) Oral, Bulent
    In this article, recent developments and factors that influenced this about religional approaches and rituels to mosque architecture are mentioned whislt analysing these structures. Factors affecting the structures are concentrated in three concepts. Factors affecting the structures are Modernism, Eclecticism and Mimesis. After structures are classified, the creation process and factors that influenced their architectural development are analysed altogether. These factors are formed according to economical, psychological, socio-political factors. Structures in this study are classified through a specific perspective. Their concurrent and dessociated characteristics are also analysed. Assesments in this article show that almost all of the structures are influenced by a common sentimental base. This thought aims to create neccessary base to make religional rituals happen. However, the religional structures in this era seem as expressions of views beyond basic concerns or symbols that look for their answers within. In modern architecture based structures, artist-architect identity come to forefront. In modern and classical architecture based (eclectic) structures, modern conservative crisis come to forefront. In Classical architecture based structures, traditional architectural practices are determinant that almost ignore a specific era's history (1700-2000) and political power is determinant. Modern architecture based structures are seen, mostly, in semiautonomous or autonomous institutions' mosque constructions. In these constructions, it is often seen that the architect's artistic identity is determinant. Yesil Vadi and Sancaklar Mosques are examples to this. Effects of the Directorate of Religious Affairs, Municipalities, Universities and etc. are great on intersection and disintegration points of the constructions that modern and classical architecture are used altogether. Directorate of Religious Affairs steps forth among these institutions. It does not rules out modernism completely even though it stands off the modern architectural lines during mosque planning and its implementation stages. Along with the notion of not denying modernism, commitment to Classical Period Ottoman Architecture is very much strong. However, in structures, reflection of modern and classical architecture aggregation on structure lines is pretty dramatic. This situation presents especially the trapped position of the societies with high religious sensitivity or of religious institutions between Modernism and Classicism as well. It is possible to express this with concept of modern conservative crisis and Ankara Ahmet Hamdi Akseki Mosque and Kulliyah/Complex (20082013) are good examples to this. Structures based on Classical Ottoman Period usually have approach nourishing by a conservative perception and they have Classical Period architectural lines including mosque and other structures built with mosque generally in kulliyah/complex institution. In all of the structures and in their all details, classical period architectural understanding is applied as copied completely. This kind of structures based on Classical Ottoman Period Architectural understanding are order-like religious architectural structures that political power directly involved in both planing and application. The most attractive example of this understanding is based on only Classical Ottoman Period (1500-1700) and reflects the architectural lines that has the notion of fitting the society between given dates is Uskudar Camlica Kulliyah/Complex (2013-2019). This understanding also somehow ignores the following periods. Along with this, Islam thinkers known with their conservative art perspective writings have significant differences such as Seyyid Huseyin Nasr's radical traditionalism and Turgut Cansever's conservative perspective. Even though both thinkers have Islam based perspectives, their different interpretation regarding art is because Nasr was raised in a sheria governed state whilst Cansever was raised in a secular one. That has become the main reason of their distinction. This situation appears clearly in all of his writings. Today, the understanding that affects religious structures based on Classical Ottoman Period seem closer to Nasr's perspective. In conclusion, even though the structures based on modern architecture especially after 2000s in our religious architecture are parallel to developments in architectural history; structures applied both modern and classical architecture were mostly built by articulation of styles in architectural history without synthesizing. In this situation, both in structures based on modern and classical architecture together and in structured only based on classical architecture, specific problematics stand out. However, in mosques based on classical period, eclectic style that aims to point out religious tone or to elevate it, is especially chosen predicating specific date range on.
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    PLACE OF BANKSY'S PERFORMENCE IN SOTHEBY'S GALLERY AS A CASE IN ART HISTORY PROCESS
    (Ege Univ, 2019) Oral, Bulent
    Bansky is a protesting artist whose works' themes are usually about the results of political and social incidents in the world and his way of expressing them in his works is through a critical evaluation of these incidents' results. In the beginning, he was not considered as a remarkable artist, however, for a large part of the society, he was perceived as 'Robin Hood' and he earned public affinity. He was the center of attraction with his performance and his work named 'Girl with baloon' in an auction and with the debates about it, he was heard widely by arts society. The Girl with baloon expresses an innocent girl with her lovely looking eyes, her hope spreading by the wind, and her dreams despite of citizens' lost innocence, peoples' lone identity and their distant relations in lost, air polluted and skyscraper invaded cities in a simple way. This expressions' highlighted emotions are not things a citizen can ignore. The work touched any citizens' emotions even just for a second. Bansky 's this performance- although not everything happened as planned- created a ground of thought which includes the audience, the media, the critics and the artist himself due to changes of the new era art understanding, fragility, variability and continuity. This article is about Bansky 's emergence of performance over a known paint, developments, reactions and finally an institutional evaluation of this new situation. Bansky 's first graffiti work 'Girl with baloon' was painted by getting help from a stencil on a bridge pier wall. It turned out to be a paint first, then a popular subject of the auction and later on, it became the center of discussions in conceptual art societies. Thus, these phases led one to analyse his performance's place in art process and its importance. By this evaluation, it may be seen that Bansky 's performance is within the framework of specific measurements of describing the previous art eras. The process that Bansky's performance created, is because of the aim to express a new idea through a new perspective. However, the developments occurred different than the artist expected caused a new situation beyond the artist's aim. Therefore, this is the proof that artists cannot be independent from society, art's measure of worthiness can only be conducted by the society, and artists created identities will always be ahead of their names. Bansky is an artist who increases his influence in change, transformation and development occur in society. This is because Bansky is a good observer and he performs social emotions in a simple, unconcerned and critical way. His works are products of deep thoughts and this causes him to create a synthesis without being in articulation. Also, Banksy's effort to transform idea into production takes precedence over the concrete presence of work. This is the approach that keeps Banksy different than many other artists who try to find echo and retribution whilst exhibiting extraordinary works without having convoluted ideas.
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    SYRIAN ARTISTS TAKING REFUGE IN TURKEY AND THEIR APPROACH OF ART
    (E.U. Printing And Publishing House, 2023) Oral, Bulent; Altan, Busra Nur
    The purpose of this study is to look at the negative effects of the Syrian war through the eyes of artists and their works. Wars are one of the major events that directly affect societies and individuals. The most important element in understanding and explaining how wars cause change in societies is objective historiography, but it is not the only option. Those who witnessed the events and told or wrote about their personal experiences are valuable sources of information and evaluation. However, language is not the only means of expressing human emotions. Aside from written texts, the visual arts are an important means of expressing feelings about many historical events. Individual responses frequently include various responses by scientists and thinkers. In fact, there are significant differences in social and individual life before and after the war. Many artists used their abilities to express individual and social changes before, during, and after the war. On March 15, 2011, one of the popular uprisings or civil wars known as the Arab Spring, Arab Winter, Arab Awakening, Arab Revolt, or Arab Revolution erupted in Syria. Turkey, like all of Syria's neighbours, has been greatly impacted by the civil war. People from various occupational groups arrived in Turkey during this migration. These professional groups included well-known painters and sculptors. The interviews and examinations conducted with some of the artists who migrated to Turkey revealed that the artists were directly affected by this process, which was clearly reflected in the works of art. The artists Abd Allatif Aljeemo, Ahmad Haj Omar, Ahmad Raid Mohamad, Akram Saffam, Eyas Jaafar, Ibrahim Alhassoun, Imad Habbab, Khayyam Zedan, Mustafa Teet, and Zolfaqar Shaarani, on the other hand, voluntarily participated in the research and were thus the subject of the article. It is observed that the colour preferences of the majority of the artists discussed in this article have changed in the works they created after their migration. As a result, there is an intense use of grey, black, and its tones in the post-war works, which are generally regarded as symbols of sadness and unhappiness. On the other hand, some artists continued to use the warm colours they used before the war in their post-war works. The striking differences in the subject, theme, colour, and technique of the artists' works are an important factor in determining the direction of this work. It was discovered that during the pre-war period, the artists concentrated on landscape, city silhouette, portrait, and a small number of social events, whereas after the war, they remained faithful to the original colour of the items they painted and tended to be more striking expressions. Although the abstractionist approach seen in works where artists used figures prior to the war could be seen in works made after the war, the effect of the abstractionist expression on the figure gradually increased during this period. In the post-war period, most of the artists used abstractionist approaches to depict cities, settlements destroyed by the war, and people who migrated and witnessed them. Artists have not approached their works with a party-like political attitude. The only political attitude that can be expressed in their works is opposition to war. This contrast stems from the major themes that they cover in depth in their charts. While this informs the audience about the negative effects of war on human psychology, it also reveals the observed change and development of the conditions created by war and migration on artists and works of art.