JOURNAL OF ARTS <p style="text-align: justify;"><strong><em>Journal of Arts</em></strong>&nbsp;<em>(E-ISSN&nbsp;2636-7718 &amp; Doi Prefix: 10.31566)<strong>&nbsp;</strong></em>is an<strong>&nbsp;</strong>international refereed journal&nbsp;which started to be published in April 2018. &nbsp;The journal aims to include works in different art fields. In this framework, high quality theoretical and applied articles are going to be published. The views and works of artists, academicians, researchers and professionals working in all fileds of arts are brought together. The articles in the journal is published&nbsp; <strong>4</strong> times a year;&nbsp;<em>WINTER (January), SPRING (April), Summer (July), AUTUMN (October).&nbsp;Journal of Arts&nbsp;is a&nbsp;<strong>&nbsp;</strong>free of charge, electronic and open access&nbsp;journal.&nbsp;</em>The<span class="apple-converted-space">&nbsp;</span><a href=""><strong>DOI number</strong></a><span class="apple-converted-space">&nbsp;(<em>Doi Prefix: </em>10.31566)&nbsp;</span>is assigned to all the articles published in the journal.</p> <p>&nbsp;</p> RATING ACADEMY Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti. en-US JOURNAL OF ARTS 0000-0000 <p>&nbsp;<em>When the&nbsp; article is accepted for publication in the </em><em>Journal of Arts</em><em>, authors transfer all copyright in the article to the </em><em>Rating Academy </em><em>Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti</em><em>.</em><em>The authors reserve all proprietary right other than copyright, such as patent rights.&nbsp;</em></p> <p><em>Everyone who is listed as an author in this article should have made a substantial, direct, intellectual contribution to the work and</em><em> should take public responsibility for it.</em></p> <p><em>Th</em><em>is paper contains works that have </em><em>not previously published or not under consideration for publication in other journals. </em></p> <p>&nbsp;</p> ARTWORK AS AN EPISTEMOLOGICAL PROBLEM <p><em>Art, just like other disciplines, helps us understand the environment and ourselves. What separates art from other activities is its method to comprehend existence and the way it transmits it to us. How does art do the work of undestanding and making sense? If, at the end of this activity, knowledge emerges, how does art reach the knowledge of its environment? To be able to understand how art reaches the knowledge of reality, firstly we need to know what knowledge is. </em></p> <p><em>After the creators of modern world make our judgements on reality a matter of debate,&nbsp; at the end they come to a consensus: Our knowledge on reality comes from experiment and goes through mental processes and gets monitored. Kant determines two competencies while criticising what this mind can and can not do: Representation and conceptualizing.</em></p> <p><em>Knowledge was conditioned firstly on the intelligibility of utterance ,then the obtention of corresponding conditions from experiments. The condition of presence of artwork, by sensibility, is non-functional pleasure bonding us togeher around the same consensus without depending on any concept beforehand. It needs to be mentioned that artwork ,at this point, is stuck between its competence of coceptualizing and competence of representing an object that corresponds to a concept, because an epistemologial transition between these two points doesn’t seem possible. It can be said that artwork doesn’t inform us about anything in regard to reality when looked from an epistemological perspective.</em></p> Fatih BALCI ##submission.copyrightStatement## 2019-02-15 2019-02-15 2 1 1 15 10.31566/arts.2.001 SAMPLES OF CERAMIC MUSEUM OF WHICH COLLECTIONS LOCAL, REGIONAL OR BASED ON WORLD CERAMICS <p><em>Museums are places where the memory of communities is preserved, shared and passed on to future generations. Ceramics is one of the most important sources of information in the pursuit of traces. Nowadays, there are museums, collections consist of only ceramics, except for museums where traditional or contemporary works are exhibited, with archaeological finds from all areas including ceramics. Although these collections are based on local, regional or world traditional ceramics, they give place to contemporary ceramics especially.</em></p> <p><em>In this study; with regard to examples of ceramic museums collections of local, regional or general ceramics, Ceramic Museum Keramion, Raeren Ceramic Museum, International Faenza Ceramic Museum and Düsseldorff Hetjens Ceramic Museum were introduced. In the museums where the world ceramics history is reflected, it is seen that thousands of years of archeological finds of Anatolian origin, as well as traditional Iznik, Kütahya and Çanakkale ceramics were exhibited.</em></p> <p><em>Purpose of the study; Our aim is to raise our awareness of establishing ceramic museums in which we exhibit contemporary works of national and international artists, as well as our traditional ceramics, as in the case of overseas examples.</em></p> <p><em>The mentioned museums and the exhibits were examined on the site. The spaces and collections of museums were tried to be reflected by the visuals used. Information about the subject has been supported with related books, articles, catalogs and internet resources.</em></p> Halide OKUMUŞ ŞEN ##submission.copyrightStatement## 2019-02-15 2019-02-15 2 1 16 36 10.31566/arts.2.002 GIORGIONE, TIZIANO, MANET: THREE ARTISTS, THREE VENUS <p><em>The reclining nude is a classic theme depicted in art history many times. Three masterpieces of this genre are the Sleeping Venus of Giorgione, the Venus of Urbino of Tiziano and the Olympia of Edouard Manet. The most important common point of these three paintings and the fact that they are separated from the other pictures in the same subject is that they are derived from each other. One of the Venetian masters of the Renaissance, Giorgione's Sleeping Venus picture, glorified the natural beauty of woman, idealized the goddess of love Venus. Giorgione’s close friend Tiziano, with the formal characteristics of the Sleeping Venus, formed the picture of the Venus of Urbino. Venus, formally idealized, reflects human emotions as content. Tiziano, who directly contacted the audience with his reclining nude, created an allegory of love and loyalty in this picture. Edouard Manet, an important French painter of the nineteenth century, depicted a nude he had reinterpreted the Venus of Urbino. In this picture, which he called Olympia, Manet described the goddess of love as a prostitute. Created with a realistic and natural formal approach, the painting draws attention with its features. These three pictures, which deal with the same subject, illustrate how the content has changed with the change of form and expression in art.</em></p> Erdal KARA ##submission.copyrightStatement## 2019-02-15 2019-02-15 2 1 37 46 10.31566/arts.2.003 COMMON OVERVIEW TO PRINTING AND DYEING TECNIQUES USED IN FLOOR COVERINGS FROM TRADITIONAL TO TODAYS TECHNOLOGY <p><em>The first examples of the art of printing that began with the first painting experiences of humanity are the paintings and tattoos made on human bodies. Textiles used for life in time such as developing societies / individuals; aesthetic concern developed, artistic qualities began to be seen.</em></p> <p><em>In Anatolia, which has a rich and deep-rooted history in traditional arts, there is an important place in the area with the original examples of printing. Folk art, block printing,&nbsp; developed and gave the best examples, in between 16. -18.&nbsp; the centuries, in Istanbul, Tokat, Kastamonu, Mardin, Hatay, Gaziantep and Izmir, it also has a commercial value. The fabrics, which were made with wooden prints, were first used in headscarves and block printings. </em></p> <p><em>It has carried onto daily items such as pillow cases, duvet cases, table spreads, bohça ( a traditional pieceof cloth that is used to carry items) napkins or floor coverings. We can see block printing examples in çeyiz pieces (a group of special embroidered fabrics for brides’parents to prepare for her marriage) and as a daily item in Palace where emperor and his family lives.</em></p> <p><em>The techniques used in the traditional handicrafts, original motifs, colors, patterns, placement patterns reveal the differences in use in local and regional. It can be said that handicrafts enriched with these elements have a unique structure when they are interpreted in terms of aesthetics and plastic values.</em></p> <p><em>Developing society and changing technology are constantly changing the application and display methods of art and adapting it to the present day. This change, which forms a dynamic structure, allows the formation of different structures and surfaces.</em></p> <p><em>In this study, it is studied that the usage areas of different types of printing and dyeing techniques are used in the scope of technological developments, which are fed and changed from traditional to widespread.</em></p> Özge USLUCA ERİM Fatma Yelda GEZİCİOĞLU Mehmet ERİM ##submission.copyrightStatement## 2019-02-15 2019-02-15 2 1 47 62 10.31566/arts.2.004 CRISIS OF REPRESENTATION IN MODERN ART <p><em>As it is known, a series of changes in the 20th century have changed our perception of reality and deeply influenced our judgments and patterns related to art. This process, dating back to the early 1960s, gained momentum from the 1950s, and dominated the artistic panorama bya heterogeneous and increasingly chaotic structure.</em><br><em>As part of the modern world, with the claim that it could grasp the reality, modern art, shortly after its the emergence, realized that this assertion was not easy and attempted endless experimental efforts in an attempt to capture reality. The result of these efforts has experienced the fact that it is almost impossible to represent reality on an artistic surface, and then it has entered into a crisis within an abundance of styles and methods. Although this crisis has different aspects, this crisis is generally called the crisis of representation.</em></p> Fatih BALCI ##submission.copyrightStatement## 2019-02-15 2019-02-15 2 1 63 76 10.31566/arts.2.005