Türkiye'de modern resmin lisans düzeyindeki resim atölye derslerine yansımaları
Küçük Resim Yok
Tarih
2007
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Niğde Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Uygar toplumlarda sanatın gelişimi ile düşünsel yapının gelişimi paralellik gösterir. Düşünsel yapısıgelişmeyen, özgür ve yaratıcıdüşünce üretemeyen bir toplumda gerçek anlamda kültürel gelişim ve değişimden söz etmek mümkün değildir. Yüzyıllarca düşünce yapısında baskıcıtutumun egemenliği özgür düşünceyi ortadan kaldırmış, kişilerin başkalarının düşünce yapılarıyla yönetildiği bir dönem olmuştur. Fransız devrimiyle bireysel özgürlüğün vatandaşa hak olarak verilmesiyle baskıcıtutum yerini özgür iradeye bırakmış, birey artık yönetilen değil, yöneten konumuna gelmiştir. Bu özgür düşünce sistemi hayatın her alanında hissedildiği gibi sanatta da kendini göstermiştir. Tarihsel süreçte sanat, toplumsal yapıve değer sistemlerine bağlıolarak bazen araç bazen de amaç olarak kullanılmıştır. 20. yüzyıl sanatının varlık nedeni kendinden başka bir şey değildir. Ne biçim, ne içerik ne de öz açısından herhangi bir bağımlılık söz konusu olamaz. Sanatçı, yeni ve yenilikçi akımlar doğrultusunda, belli bir uğraşın temsilcisi olarak bilinen bir takım ustalıklar göstermek zorunda kalmamıştır. Sanat, görünen dünyayıtaklit etme görevinden özgür kılınmıştır. Özgür düşüncenin sanattaki ilk anlatımıRomantizm olmuştur. Bilimsel araştırmaların gelişimine paralel olarak sanatçıdoğayıkeşfetmeye başlamış, geleneksel sanat anlayışından kurtulma eğilimine girmiştir. Romantizmle başlayan sanatçı duyarlığıgelişen dünyanın gerçekleri doğrultusunda çağdaşsanat hareketlerinin oluşumunu sağlamıştır. Türk resminin batılılaşma süreci, 1795'te Mühendishane-i Berri Humayun'un ders programlarına resim derslerinin konulmasıile başladı. Sanat eğitimi veren ilk yüksek okul 1783 yılında açılan Sanayi-i Nefise'dir. Yurt dışına sanat eğitimi için öğrenci gruplarıgönderildi. Cumhuriyet kurulduktan sonra yeni kurulan rejimin çağdaşlaşma politikalarıarasında sanat eğitimi de yer aldı. 1932-1933 eğitim-öğretim yılında açılan Gazi Orta Muallim Mektebi'nde Resim-İşÖğretmenliği Bölümü tarihimizde sanat eğitimcisi yetiştiren ilk kurumdur. Şu an ülkemizin her yanında Üniversitelerimize bağlıEğitim Fakültelerinin Güzel Sanatlar Eğitimi Bölümü bünyesinde Resim-İşÖğretmenliği Programlarıbu görevi yerine getirmektedir. Bu kurumlar, sanatsal anlamda gelenekselden evrensel anlatıma geçişsürecinde önemli işlevler üstlenmiştir. Kurumların programlarıincelendiğinde Gazi Eğitim Enstitüsünden bugüne, çağdaşsanatıyakalama kaygılarısezilmektedir. Resim sanatının değişimi, modern sanat anlayışının ülkemiz sanat eğitimine yansımalarıaraştırmamızın sorununu teşkil etmektedir. Yapılan bu araştırma sonucunda elde edilen bulgularla, modern resim anlayışının lisans düzeyinde Resim-İşEğitimi Anabilim Dallarında atölye çalışmalarına ne ölçüde yansıdığınıortaya koyarak anasanat atölye derslerinin gerek kapsamının gerekse sunuşbiçiminin ne kadar çağdaşolduğu ve 21. yüzyılın sanat eğitimcilerini yetiştirmedeki yeterliliği tartışılmasıgereken bir durumdur. Araştırmaya katılan Resim-İşEğitimi Anabilim Dalıbünyesinde 8 üniversitede yapılan araştırmayla öğrencilere uygulanan anket sonucunda modern resim anlayışının anasanat atölye derslerine yansımalarıüniversiteler arasında farklılıklarıile 3. ve 4. sınıf öğrencileri arasındaki görüşfarklılıklarıortaya çıkarılmıştır. Araştırmanın sonucunda, üniversiteler arasında da anlamlıfark ortaya çıkmıştır. En yüksek aritmetik ortalamaya sahip olan Marmara Üniversitesi'nin modern resim anlayışının atölye derslerine diğer üniversitelere göre daha fazla yansıdığısöylenebilir. 3. ve 4. sınıf öğrenci görüşleri arasında anlamlıbir fark ortaya çıkmamıştır. 3. ve 4. sınıf öğrencilerinin hemen hemen aynıdüşüncelere sahip olduklarısöylenebilir. Ayrıca araştırmaya katılan 8 üniversitenin öğrencilerinden alınan resimler incelenmiştir. 2. sınıf çalışmalarında öğrencilerin daha çok gerçekçi arayışların ön plana çıktığıve akademik bir yaklaşımın benimsendiği düşünülebilir. 4. sınıfta ise öğrencilerin kendi özgür düşüncelerini çalışmalarına aktarabildiği ve modern resim anlayışını benimsedikleri söylenebilir. Anahtar Kelimeler: Sanat, Sanat Eğitimi, Modern Resim, Anasanat Atölye, Resim Öğretmenliği,
In the civil communities the development of the art is in parallel with the development of intellectual structure. It is not possible to say cultural development and changing in the real meaning in a community whose intellectual structure doesn?t improve, who doesn?t produce free and creative thoughts. For centuries, in the structure of intellect the hegemony of repressive attitude eliminate liberal, it was a time when the individual were administered with others structure of conception. In the French Revolution by giving individual freedom to the citizen as a privilege repressive attitude left its place to liberal, individual became not ot be administered but to administer possition. This liberal system was also perceived in art as it was perceived in all area of the life. Art in the historical precess was used sometimes instrument and sometimes purpose as depend on value systems and social structure. The basis of existence of the 20. century art is not a thing other than itself. There isn?t any dependence according to format, content, and core. Artist, in accordance with new and innovative currents, had v to show a team of perfections that is known as a representative of a specified purpose. Art was emancipated from the duty of imitation of the visible world. The first expression of the liberal in the art was Romanticism. In parallel with the development of the Scientific researches, the artist started to discover the nature and was entered to escape from the conventional art concept. The art sensibility that started with Romanticism in accordence with the reality of the developing world was provided the formation of the modern art movements. The europeon practices process of Turkish painting was started by putting a painting course to the course programmas of Mühendishane-i Berri Humayun in 1795. The first vocational high school that give art aducation was Sanay-i Nefise in 1783. Students group was sent abroad to get art education. After Republic was established the new established regimen took place the art education between the working policies. The Painting department of Picture-occupation in Gazi Orta Muallim Mektebi opened in the years of 1932-1933 was the first establishment that educate art aducators in our history. At the moment, in all part of our country picture-occupation teaching programme within the educational departmant of the fine arts of the Educational Faculty bound up in our universities carry out this commission. This establishments was undertook important functional in the proccess of transition from the convational to universal as artistic. When analyzing the programme of the establishments from The instutude of Gazi till nowadays it is sensed in care to catch modern art. The Exchange of Picture Art, the reflaction of the modern art conception of our country art educations was form the problem of our research. With this evidences getting as a result of this research, The perception of Modern Picture in the graduate level in the department of Picture-Training Teacher by displaying reflaction in what scale to the workshop workers how they are modern according to their scopes or introduce format of the main-art workshop courses and the discussion of 21. centuries art educators capacity is a necessary situation. With the research that was made the participors within Picture-Work Teaching main discipline of 8 universities with the result of survey that was given to the students the reflection of the modern picture conception to main-art workshop courses with the vi differences between the universities the students of 3. and 4. classes disagreement was come out. As a result ofthe research , there were meaningful difference between the universities. It can be said that Marmara university having the highest arithmetic average reflexes the Modern Picture conception to workshop courses more than the other universities. There was not a meaningful difference between the students? thoughts of 2 and 4 classes. It can be said that 3 and 4 class students almost have the same thoughts. Beside, all the Pictures that were taken from the students of 8 universities were examined. It can be concievable that a loom large real searches in the studies of the 2 class students and accepted an academic approach. It can be said that in the 4 class the students can carry over their liberal studies and they adopt the Modern Picture conception. Key Words: Art, Art Education, Contemporary Art, Main-Art Workshop, Art Teaching
In the civil communities the development of the art is in parallel with the development of intellectual structure. It is not possible to say cultural development and changing in the real meaning in a community whose intellectual structure doesn?t improve, who doesn?t produce free and creative thoughts. For centuries, in the structure of intellect the hegemony of repressive attitude eliminate liberal, it was a time when the individual were administered with others structure of conception. In the French Revolution by giving individual freedom to the citizen as a privilege repressive attitude left its place to liberal, individual became not ot be administered but to administer possition. This liberal system was also perceived in art as it was perceived in all area of the life. Art in the historical precess was used sometimes instrument and sometimes purpose as depend on value systems and social structure. The basis of existence of the 20. century art is not a thing other than itself. There isn?t any dependence according to format, content, and core. Artist, in accordance with new and innovative currents, had v to show a team of perfections that is known as a representative of a specified purpose. Art was emancipated from the duty of imitation of the visible world. The first expression of the liberal in the art was Romanticism. In parallel with the development of the Scientific researches, the artist started to discover the nature and was entered to escape from the conventional art concept. The art sensibility that started with Romanticism in accordence with the reality of the developing world was provided the formation of the modern art movements. The europeon practices process of Turkish painting was started by putting a painting course to the course programmas of Mühendishane-i Berri Humayun in 1795. The first vocational high school that give art aducation was Sanay-i Nefise in 1783. Students group was sent abroad to get art education. After Republic was established the new established regimen took place the art education between the working policies. The Painting department of Picture-occupation in Gazi Orta Muallim Mektebi opened in the years of 1932-1933 was the first establishment that educate art aducators in our history. At the moment, in all part of our country picture-occupation teaching programme within the educational departmant of the fine arts of the Educational Faculty bound up in our universities carry out this commission. This establishments was undertook important functional in the proccess of transition from the convational to universal as artistic. When analyzing the programme of the establishments from The instutude of Gazi till nowadays it is sensed in care to catch modern art. The Exchange of Picture Art, the reflaction of the modern art conception of our country art educations was form the problem of our research. With this evidences getting as a result of this research, The perception of Modern Picture in the graduate level in the department of Picture-Training Teacher by displaying reflaction in what scale to the workshop workers how they are modern according to their scopes or introduce format of the main-art workshop courses and the discussion of 21. centuries art educators capacity is a necessary situation. With the research that was made the participors within Picture-Work Teaching main discipline of 8 universities with the result of survey that was given to the students the reflection of the modern picture conception to main-art workshop courses with the vi differences between the universities the students of 3. and 4. classes disagreement was come out. As a result ofthe research , there were meaningful difference between the universities. It can be said that Marmara university having the highest arithmetic average reflexes the Modern Picture conception to workshop courses more than the other universities. There was not a meaningful difference between the students? thoughts of 2 and 4 classes. It can be said that 3 and 4 class students almost have the same thoughts. Beside, all the Pictures that were taken from the students of 8 universities were examined. It can be concievable that a loom large real searches in the studies of the 2 class students and accepted an academic approach. It can be said that in the 4 class the students can carry over their liberal studies and they adopt the Modern Picture conception. Key Words: Art, Art Education, Contemporary Art, Main-Art Workshop, Art Teaching
Açıklama
Sosyal Bilimler Enstitüsü, Güzel Sanatlar Eğitimi Ana Bilim Dalı, Resim Öğretmenliği Bilim Dalı
Anahtar Kelimeler
Güzel Sanatlar, Fine Arts
