SYRIAN ARTISTS TAKING REFUGE IN TURKEY AND THEIR APPROACH OF ART
| dc.contributor.author | Oral, Bulent | |
| dc.contributor.author | Altan, Busra Nur | |
| dc.date.accessioned | 2024-09-29T16:07:48Z | |
| dc.date.available | 2024-09-29T16:07:48Z | |
| dc.date.issued | 2023 | |
| dc.department | Karabük Üniversitesi | en_US |
| dc.description.abstract | 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. | en_US |
| dc.identifier.doi | 10.29135/std.1218490 | |
| dc.identifier.endpage | 433 | en_US |
| dc.identifier.issn | 1300-5707 | |
| dc.identifier.issn | 2636-8064 | |
| dc.identifier.issue | 1 | en_US |
| dc.identifier.startpage | 413 | en_US |
| dc.identifier.trdizinid | 1201058 | en_US |
| dc.identifier.uri | https://doi.org/10.29135/std.1218490 | |
| dc.identifier.uri | https://search.trdizin.gov.tr/tr/yayin/detay/1201058 | |
| dc.identifier.uri | https://hdl.handle.net/20.500.14619/7188 | |
| dc.identifier.volume | 32 | en_US |
| dc.identifier.wos | WOS:001080227000014 | en_US |
| dc.identifier.wosquality | N/A | en_US |
| dc.indekslendigikaynak | Web of Science | en_US |
| dc.indekslendigikaynak | TR-Dizin | en_US |
| dc.language.iso | en | en_US |
| dc.publisher | E.U. Printing And Publishing House | en_US |
| dc.relation.ispartof | Sanat Tarihi Dergisi-Journal of Art History | en_US |
| dc.relation.publicationcategory | Makale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanı | en_US |
| dc.rights | info:eu-repo/semantics/openAccess | en_US |
| dc.subject | Refugee | en_US |
| dc.subject | Painting | en_US |
| dc.subject | Sculpture | en_US |
| dc.subject | Syria | en_US |
| dc.subject | War | en_US |
| dc.title | SYRIAN ARTISTS TAKING REFUGE IN TURKEY AND THEIR APPROACH OF ART | en_US |
| dc.title.alternative | TÜRKİYE’YE SIĞINAN SURİYELİ SANATÇILAR VE SANAT ANLAYIŞLARI | en_US |
| dc.type | Article | en_US |
