JOURNAL OF ARTS https://journals.gen.tr/index.php/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 original papers 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="http://www.doidestek.com/"><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> en-US <p> <em>When the 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. </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> </p> jarts.editorial@gmail.com (Aysu Şahintepe) jarts.editorial@gmail.com (Cumali YAŞAR) Tue, 02 Aug 2022 09:07:26 +0300 OJS 3.3.0.11 http://blogs.law.harvard.edu/tech/rss 60 Analysis of Bayati plectrum tanbur taqsim of Ercument Batanay https://journals.gen.tr/index.php/arts/article/view/1737 <p>Master tanbur performers, who have made the greatest contribution to the modernization of Turkish music tanbur performance with its changing dynamics, have left an important musical legacy both in their own time and in the following periods with their performances. Generations through performance records. Today, it is possible to reveal many details about the performance dimension of the drum by approaching these performances from a scientific point of view and making analyzes about their technical content. In this study, which aims to reveal the characteristics of Ercüment Batanay’s tanbûr with a plectrum, in line with the analysis of the Bayâtî taksim that he has performed, the methods of literature review and content analysis have been used. In the study, the findings related to the ornament techniques Batanay used, the use of the plectrum, the expression elements he used and the functioning of the maqam were obtained. In line with the findings, it was concluded that the style adopted by Batanay in the performance of the tanbûr is more close to the traditional tanbûr performance.</p> Emre Düzün (Author) Copyright (c) 2022 Holistence Publications http://creativecommons.org/licenses/by/4.0 https://journals.gen.tr/index.php/arts/article/view/1737 Mon, 01 Aug 2022 00:00:00 +0300 Pattern and decoration movement: A cultural revolt against the Western hierarchy in art https://journals.gen.tr/index.php/arts/article/view/1760 <p>The aesthetics of modern art that came with modernism in Western culture is based on the idea that art should move away from classical measures and traditional concepts. In general, modern art has emphasized that art should be purified from folk, life and functional practices related to life, as well as representation. The idea of purity and universality, which the West nurtured within the scope of modernism, has turned into an imperialist passion over time, and its reflection in art has been a kind of cultural imperialism. Naturally, the separation of art, which is defined through Western aesthetics, from folk, life and craft has also evoked its separation from non-Western aesthetics, non-Western cultures, and traditional and decorative elements specific to these cultures. The distinctions defended by modernism for the sake of the ideals of purity and universality were met with skepticism, especially in the postmodern era. During this period, many approaches emerged that reacted to the taboos and cultural diffusionism of modernism. The Pattern and Decoration movement, which has the characteristic structure of postmodern thought, has been a typical example of revolt against the Western hierarchy. In this research, it is aimed to shed light on the Pattern and Decoration movement, which is perceived as a cultural resistance against the distinctions imposed by the Western hierarchy. As a research method, document analysis was used within the scope of data collection technique and descriptive analysis was used within the scope of data analysis technique. The subject was supported by the artworks of artists representing the Pattern and Decoration movement. In the light of the data obtained in the research, it has been determined that the Pattern and Decoration movement, which focuses on the cultural, racial, social and class distinctions that came with modernism, is an approach to questioning the Western hierarchy. It has been revealed that the artists of the movement resisted the ethnocentric attitudes of the West and Western aesthetics through cultural diversity. At the same time, it was pointed out that the artists sensitively touched on the problem of identity, and concept of the other, which can be read with Western aesthetic hierarchies. It has been determined that the movement, which emphasizes the importance of cultural diversity and social differences in art, and the inseparability of art and life, generally references non-Western cultures and the aesthetics of these cultures. It has been determined that the patterns and decorative elements unique to non Western cultures and the arts of these cultures provided a suitable media for artists to examine all the rejections of the Western aesthetics. Attention was drawn to the difficult nature of the struggle of the Pattern and Decoration movement, which is celebrated as one of the first postmodern examples of resistance to Western aesthetic hierarchies.</p> Elif Şenel (Author) Copyright (c) 2022 Holistence Publications http://creativecommons.org/licenses/by/4.0 https://journals.gen.tr/index.php/arts/article/view/1760 Mon, 01 Aug 2022 00:00:00 +0300 Tanbûrî, Composer Zeki Mehmed Ağa and Analysis of Hisârbûselik Saz Semâisi registered as Zeki Mehmed Ağa https://journals.gen.tr/index.php/arts/article/view/1779 <p>In this study, the life of composer, tanbûrî Zeki Mehmed Ağa and the Collection of Muallim İsmail Hakkı Bey, the Hisârbûselik Saz Semâi, whose composer was determined to be registered as Zeki Mehmed Ağa in the book no 269. In the study, first of all, a literature review was made. Zeki Mehmed Ağa’s works that have survived to the present day are given in the form of tables that have been classified. As a result of the classification, it has been determined that Hisârbûselik Saz Semâisi, which is included in the book no. 269 of the Collection of Muallim İsmail Hakkı Bey, is not among the Works of Zeki Mehmed Ağa that survived to the present day. Hisârbûselik Saz Semâisi, whose composer is registered as Zeki Mehmed Ağa in the book no 269 of Muallim İsmail Hakkı Bey Collection, is written with the hamparsum notation system. The copy in Muallim İsmail Hakkı Bey Collection was translated into the Arel-Ezgi-Uzdilek system used today and analyzed. It is seen that this work is registered in the name of Tanbûrî Osman Bey, the son of Zeki Mehmed Ağa, in the scanning of the work notes that have survived to the present day. İn the study, the accessible copies of the work were compared and examined. The comparison was carried out on the three copies accessible together with the Muallim İsmail Hakkı Bey Collection copy, the Cüneyd Kosal Copy and the notation in the TRT repertoire. Before the examination, the Hamparsum notation system was introduced. The accessible copies were examined in terms of whether there were differences in terms of tone, tune, transition, pitch and weighing on the created template. It has been determined that there are differences between the copies in terms of tone, tune, transition, pitch and weighing. It has been concluded that there is not enough evidence that the work in the book no. 269 of Muallim İsmâîl Hakkı Bey Collection belongs to Zeki Mehmed Ağa, but that this record is remarkable, and that the piece may have been composed later by his son Osman Bey in honor of his father. Muallim İsmâîl Hakkı Bey Collection The copy in the hamparsum notebook no. 269 and the translation note of the copy in the archive of Cüneyd Kosal are given in the appendix of the study and presented to the use of today’s researchers and performers.</p> İsmail Yörükçüoğlu (Author) Copyright (c) 2022 Holistence Publications http://creativecommons.org/licenses/by/4.0 https://journals.gen.tr/index.php/arts/article/view/1779 Mon, 01 Aug 2022 00:00:00 +0300 A Study on Şerif Gören and his cinema as an auteur director within the scope of contemporary auteurs https://journals.gen.tr/index.php/arts/article/view/1798 <p>The sociological and political developments that emerged in the 1960s led to the emergence and rise of the Social Realism Movement. The spread of politics into daily life and popular culture paved the way for the formation of political films in the cinema industry. Influenced by the Auteur Theory in Turkish Cinema and making films within the scope of the Social Realism Movement, Director Şerif Gören has started to make films with arabesque content in line with the demands of popular culture and the public. In this context, Gören, while shooting films with arabesque content, which includes social structure and political elements, depending on the will of the cinema industry and the public, included both social problems and subjects that serve the commercial purpose of cinema in these films. In this study, it is evaluated that Gören’s Auteuristic narration and his departure from the Auteur movement over time, and that he started to shoot films in different styles, and it is aimed to examine his four films with arabesque content and aimed at the box office.</p> Selda Çalayır (Author) Copyright (c) 2022 Holistence Publications http://creativecommons.org/licenses/by/4.0 https://journals.gen.tr/index.php/arts/article/view/1798 Mon, 01 Aug 2022 00:00:00 +0300