Özgün baskı sanatında prensipler ve yeni dönem Türk özgün baskı sanatı

Abstract

- VII SUMMARY This study aims to accomplish two goals: 1) to bring clarity to concepts related to the art of pnntmaking, 2) to study the recent history of contemporary pnntmaking in Turkey with the aim of creating an `archive`. Since the time pnntmaking has been accepted as an independent field of art, the massive popularity it has achieved among the general public has not helped to bring conceptual clarity to the individuating characteristics of this art form. This study consists of six chapters. In the first chapters concepts and principles in the field of pnntmaking are discussed. The other chapters cover the history and evolution of printmaking in Turkey examining the principles and concepts defined above. In the first chapter entitled `The General Principles of Printmaking` concepts related to the art of printmaking as they have generally been used in the graphic arts and as they are used in this study, are reviewed and defined. It is explained that a description of the characteristics of printmaking and its principles were conceptualized clearly in the `Congress of Pnntmakers` which had convened in Vienna in I960. The `ism`s in the field of pnntmaking which are often used in special editions on printmaking are discussed. The interaction between social, political and economic factors and the art of printmaking is also studied. in chapter II the impact of political, social and economic conditions on the art of printmaking in the 1960s is analyzed. The growing influence of liberal ideologies which began to take roots in Turkey on the state of the arts in general is stated as background to the specific evolution of printmaking in this country. In this period a number of Art Departments for the first time began to introduce studio courses in printmaking. Also during this period the name of Aliye Berger emerges as an independent printmaker whose persistent productivity outside of all of the academic institutions in Turkey makes her as a special divers in this field. Chapter III entitled `The 1970s` points out the impact of economic growth and the availability of different techniques and materials on the evolution of printmaking. in this period printmakers began to express their talents in a variety of mediums from printing with wood to printing with metai. In the meantime rediscovering their own cultural identities, artists would deveiop an original language of artistic expression with regard to these resources. In chapter IV with the evolution taking place at the field of pritnmaking in the recent period, Süleyman Saim Tekcan and Ergin İnan are examined as examples as artists applying these methods artistic expression.ÖZET özgün baskı ile ilgili kavramsal bilgileri açımlama ve sonrasında Türk özgün baskı sanatının son dönemi ile ilgili gelişmeyi kronolojik bir bağlamda sunarak, bir `belgelik` oluşturmak amacıyla bu çalışma yapılmıştır. Ayrı bir sanat disiplini olarak algılanmasından bu yana geçen süre içinde geniş kitlelerce benimsenen özgün baskı, kavram olarak bugün bile farklı şekilde vurgulanmaktadır. Altı bölüm başlığı altında oluşturulan bu çalışmada özgün baskı kavramları, genel kurallar belirtilmekte, bu kuralların bağlamında da kendi gelişme çizgisini belirleyen Türk özgün baskı sanatı ile ilgili bilgiler verilmektedir. Bir teknik uygulayım kompozisyonu çizmekle birlikte, günün teknolojik gelişimiyle koşut olarak gelişen özgün baskı, bünyesinde barındırdığı temel kurallarla da özellik teşkil eder. Özgün baskı ve Temel Prensipler bölümünde grafik ya da bu çalışmada kullanıldığı şekliyle özgün baskının kavram olarak kısa tanımı yapılmaktadır. Özgün baskının bir kimliği olduğu vurgulanarak, bu kimliğin 1960 yılında Viyana'da yapılan Sanatçılar Kongresi'nde belirlenen kurallarla sabitlendiği anlatılmaktadır. Ayrıca özgün baskının edisyonunda kullanılan, baskının durumunu gösteren özel kavramlara da (işaretlere) değinilmektedir. Politik - sosyal ve ekonomik faktörlerin, özgün baskı ile ilişkisi bu bölümde belirtilmektedir. 2. Bölüm'de, Türk özgün baskı sanatının 1960 yılından başlayarak, sosyal durumu irdelenmektedir. Bu zaman dilimi içinde ülkenin sosyo - politik durumu anlatılarak, ekonomik duruma bir geçiş yapılmaktadır. Temel sanat anlayışında liberalizmin de etkisi ile meydana gelen değişimin çizgileri belirlenerek, bir alt yapı oluşturulmaktadır. Güzel sanatlar ile ilgili eğitim veren kurumlar da özgün baskı atelyelerinin açılmasına yine bu yıllarda rastlanmaktadır. Ayrıca kurumlar dışında, kendi çabaları ile bu sanat disiplini içinde üretim yapan Aliye Berger'in sanatsal portresi de çizilmektedir. 3. Bölüm'de, 1970'li yıllar başlığı belirlenerek, toplumsal yapı ile birlikte sanatın görüntüsü verilmektedir. Toplumdaki ekonomik devinimin de etkisi ile özgün baskı ile ilgilenen sanatçıların `sanatsal söylemi`nin ahşap baskı'dan metal baskı'ya varıncaya değin, çok renkliliğe geçişi burada betimlenmektedir. Birbiri içinden gelişen bu dönemlerin, sanat görüntüleri, ekonomik ve sosyal ilişkilerin gelişimi sonucunda, teknolojik yapıda meydana gelen gelişimle özdeştir. Geçen yıllar içinde, kendi kültür kimliğinden yararlanarak, özgün bir dil oluşturan sanatçıların da özgün olacağı kesindir. 4. Bölüm'de, Sanat baskısı yapan iki sanatçı, Süleyman Saim Tekcan ve Ergin İnan, bu gelişme dilimi içinde örnek olarak incelenmektedir.

- VII SUMMARY This study aims to accomplish two goals: 1) to bring clarity to concepts related to the art of pnntmaking, 2) to study the recent history of contemporary pnntmaking in Turkey with the aim of creating an `archive`. Since the time pnntmaking has been accepted as an independent field of art, the massive popularity it has achieved among the general public has not helped to bring conceptual clarity to the individuating characteristics of this art form. This study consists of six chapters. In the first chapters concepts and principles in the field of pnntmaking are discussed. The other chapters cover the history and evolution of printmaking in Turkey examining the principles and concepts defined above. In the first chapter entitled `The General Principles of Printmaking` concepts related to the art of printmaking as they have generally been used in the graphic arts and as they are used in this study, are reviewed and defined. It is explained that a description of the characteristics of printmaking and its principles were conceptualized clearly in the `Congress of Pnntmakers` which had convened in Vienna in I960. The `ism`s in the field of pnntmaking which are often used in special editions on printmaking are discussed. The interaction between social, political and economic factors and the art of printmaking is also studied. in chapter II the impact of political, social and economic conditions on the art of printmaking in the 1960s is analyzed. The growing influence of liberal ideologies which began to take roots in Turkey on the state of the arts in general is stated as background to the specific evolution of printmaking in this country. In this period a number of Art Departments for the first time began to introduce studio courses in printmaking. Also during this period the name of Aliye Berger emerges as an independent printmaker whose persistent productivity outside of all of the academic institutions in Turkey makes her as a special divers in this field. Chapter III entitled `The 1970s` points out the impact of economic growth and the availability of different techniques and materials on the evolution of printmaking. in this period printmakers began to express their talents in a variety of mediums from printing with wood to printing with metai. In the meantime rediscovering their own cultural identities, artists would deveiop an original language of artistic expression with regard to these resources. In chapter IV with the evolution taking place at the field of pritnmaking in the recent period, Süleyman Saim Tekcan and Ergin İnan are examined as examples as artists applying these methods artistic expression.- VIII - Within the last thirty-five years the political system in Turkey has witnessed military interventions at the rate of one every ten years. In spite of the last military blow to democracy in 1980 the dynamics of social life in Turkey has not slowed down significantly. In chapter V the history of printmaking since 1980 is documented with examples and year by year. No attempt to arrive at concret evaluations (conclusions) has been made, because this period covers the very recent history. Chapter VI consists of a collection of the resumes of all of the printmakers who have produced professionally since 1960, supported by the examples of their works, testifying visually the development of printmaking in Turkey.