JOURNAL OF ARTS <p style="text-align: justify;"><strong><em>Journal of Arts</em></strong> <em>(E-ISSN 2636-7718 &amp; Doi Prefix: 10.31566)<strong> </strong></em>is an<strong> </strong>international refereed journal which started to be published in April 2018. 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 <strong>4</strong> times a year; <em>WINTER (January), SPRING (April), Summer (July), AUTUMN (October). Journal of Arts is a <strong> </strong>free of charge, electronic and open access journal. </em>The<span class="apple-converted-space"> </span><a href=""><strong>DOI number</strong></a><span class="apple-converted-space"> (<em>Doi Prefix: </em>10.31566) </span>is assigned to all the articles published in the journal.</p> <p> </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> (Buse Azlağ) (Cumali YAŞAR) Sat, 05 Aug 2023 13:04:27 +0300 OJS 60 The analysis of the search for expression through materials and techniques in ceramics in the 20th Century on the examples of five artists in five continents <p>Ceramic material is produced with various techniques at every stage from shaping to firing. This technical richness stems from the fact that ceramics is a part of culture in every geography without exception and its thousands of years of history. Another reason for the technical richness is the craft roots of ceramics. Ceramic material has a strong craft history. In this research, in which the place of technique, which is the language of material, in art production in the 20th century will be questioned, five continents representing different geographies and material traditions and five artists who have reached global value and who produce in these continents with technically different cultural interactions have been selected as a sample. These artists and the techniques they use are Itō Sekisui V and colored clay technique from the Asian continent, Duncan Ross and Terra Sigillata slip technique from the European continent, Judith Motzkin and sagar firing technique from the American continent, Greg Daly and luster firing technique from the Australian continent, Ian Garrett and polishing technique from the African continent. As a result of the evaluation of the material, technique and expression integrity of the samples, the findings that will reveal the understanding of 20th century art ceramic and its contribution to art production with the transition to the 21st century will be discussed in the conclusion section.</p> Hasan Başkırkan, Meziyet Ayşe Balyemez (Author) Copyright (c) 2023 Holistence Publications Sat, 05 Aug 2023 00:00:00 +0300 Experimental animation <p>Animation was perceived as a kind of illusion in the early years with its structure that creates out of nothing, destroys what exists and violates the laws of physics. All animations from the past to the present are experimental at some point because animation is a process of discovery in itself. Especially the early years are a process of experimentation in which the medium is explored both technically and stylistically. In this study titled “Experimental Animation”; independent animation, the comparison of experimental animation with commercial animation, the relationship of experimental animation with painting and sculpture, new media, music, abstract art and direct film technique are discussed and the subject is tried to be explained with examples. A limited number of studies have been encountered in Turkey on this type of animation, in which different techniques and materials are experimented with, which is usually screened in festivals and as short length films. It is thought that this article will shed light on other experimental animation studies to be conducted in the future.</p> Armağan Gökçearslan (Author) Copyright (c) 2023 Holistence Publications Sat, 05 Aug 2023 00:00:00 +0300 Technical evaluation of Kura-Aras Culture Ceramics from the Ovçular and Duzdağ Excavations in Nakhchivan <p>The breadth of the Kura Aras Culture’s spread area; The traces, architecture and preferred habitats of the Southern Caucasus, Northwest Iran, Eastern Anatolia, Amik Plain and the Levant were based on a migration movement by the researchers. This culture, which is defined by animal husbandry and an active lifestyle, also has regionally different terminologies. However, the most frequently encountered terminology; There was the Early Transcaucasian and Kura Aras Culture. This culture, which we do not know about their identities, what language they speak or why they prefer an active life, also contains many questions. Therefore, we can also consider this culture as a phenomenon. Despite this, when examining the Kura Aras Culture, the ceramics, which constitute the largest group of finds, provide us with information in terms of understanding the culture. It presents a very distinctive typology with its unique and characteristic ceramics of the culture, its distinctive construction technique and vessel profiles.</p> <p>Ovçular Hill and Duzdağ are settlements in Nakhchivan but with two different functions. While Ovçular Hill is a Kura Aras camp settlement, Duzdağ has a functional importance in terms of economic and animal husbandry as it is a salt mine. When we examine the ceramics of the two settlements, we encounter ceramics with both similar and different characteristics. These differences, if we consider the topographic and functional characteristics of both settlements; clay, paste content, typology and surface treatments.</p> Ezgi Emre (Author) Copyright (c) 2023 Holistence Publications Sat, 05 Aug 2023 00:00:00 +0300 he development of the Saqqakhane School in contemporary Iranian painting <p>Saqqakhane is a small place built by the shopkeepers and residents of the neighborhood in public spaces in Iranian traditional architecture for the thirsty people who pass by. The appearance of the line in painting in the early 1962 reminded several viewers of the Saqqakhane vibe. Later, its use was generalized, and all artists, both painters and sculptors, who used the traditional forms of Iranian art as a starting point, were categorized by this term, not just those dealing with the Persian alphabet, but using raw materials in their work. A return to Iranian-Islamic culture was considered, according to thinkers, the main solution to the conflict between Iranian and Western culture. This idea also had a significant impact on contemporary Iranian art, and the most important impact of this view on Iran’s painting and other visual arts was its creation of the style that could be called “ Saqqakhane “. The Saqqakhane art movement can be seen as a reaction of the intellectuals and artists of the 1960s against modernism and the spread of Western culture’s influence.</p> Şansal Erdinç (Author) Copyright (c) 2023 Holistence Publications Sat, 05 Aug 2023 00:00:00 +0300