Salt Manzara Resimleri
Özet
Landscape in general gives us a strong sense of spatiality. The artist's personal
landscape painting experience, which will be examined in this thesis, emerges as
an imaginary picture of nature, and these mental images find a place within the
defined framework of nature. In this process, it is aimed to move away from
objectivity. In order to achieve a simple order, the main elements that are the
determinants of nature have been removed from the paintings. The resulting
silence, anxiety, loneliness, timelessness and emptiness reflect the intended
simplicity and abstraction. At the same time, the timelessness and placelessness in
the paintings create the opportunity to hear the silence. The intended simplicity and
abstraction also directs the use of form, composition and even materials. In addition,
the natural colors of the landscape are used to avoid moving away from the concrete
state of nature.
The meaning and artistic reflections of the word "nature" vary in eastern and
western civilizations. Artists in Eastern civilizations differ from artists in Western
civilizations in making sense of the concept of nature.
Studies within the scope of the thesis; It is based on the basic approaches adopted
in landscape painting, the place of landscape painting in historical periods, and
evaluations. While landscape painting in the West did not have an important place
in art circles until the 19th century, it is considered one of the most magnificent arts
in the Far East. In this research, certain historical periods of Chinese landscape
painting (Tao and Song periods), Iran (contemporary period) and the West, and
different types of thought in the formation of landscape painting were examined.
The studies within the scope of the research were created with a "pure landscape"
focus, using two different perspectives, eastern and western.
