THE EFFECT OF ABSTRACT AS A FORM OF EXPRESSION IN CONTEMPORARY TURKISH PAINTING

After a period of thousands of years as a form of expression in art, since the beginning of the 20th century, the forms have been simplified or changed and the images started to be interpreted differently within the space constitute the subject of this thesis. Research subjects of this article are the definition and features of the concept of space, the definition and characteristics of the concepts of abstract and abstraction, abstract painting uses space in its reflections on Contemporary Turkish painting. In contemporary Turkish painting, the abstract effects of the works of Adem Genç, Adnan Çoker, Adnan Turanî, Ahmet Dalkıran, Alaybey Karoğlu, Devrim Erbil, Hasan Pekmezci and Zafer Gençaydın are limited to examples selected for examination. While abstract and space create a common language in the works of the artists, there are differences in their way of handling the subject in terms of method and application. Qualitative research methods and techniques were used in the study based on the general survey model. The method of "literature research techniques" was used in the research process in order to obtain qualitative data. Keywords: Space, painting, abstract, abstraction, abstract art

BREAKING THE INK – ABSTRACT INK ART IN MAINLAND CHINA

Chinese art is mostly presented at foreign exhibitions from a different perspective and abstraction is represented modestly or completely absent. However, abstract art, which to a greater or lesser extent based on the roots of Chinese semi-abstract tradition, finds its firm place in the works of Chinese artists in different countries or regions. After giving a fundamental analysis of the possible inspiration for abstract ink painting from Chinese art history, and modernist art movements in Taiwan and Hong Kong during the 1960s, which had a significant influence on the formation of modernism in mainland China, and the historical overview of Chinese avant-garde, such as the 85 New Wave, the author focusses on abstract ink art in mainland China. As far as the situation in abstract painting is concerned, all important movements, exhibitions are preceded chronologically. Artists' opinions on abstract painting, their contradictions and the questions that this work raises, are observed, too. Abstract ink painting began to develop with the influx of ideas of modernism in the 1980s, and it was in important factor during the movement of Experimental ink and wash movement in the 1990s and the first decade of the 21st century. This movement has organised exhibitions, conferences, publishes catalogues dedicated to the work of its representatives. Then the attention turns to other movements and individual artists devoted to abstract ink art. Some of the artists come to a greater extent from tradition; others try to escape the limitations of ink painting, more or less adhere to traditional Chinese art or calligraphic strokes and techniques. Some of them are more influenced by Western techniques or are attempting to synthesise. What is essential is that they create works that are often of a high standard and in their search, open new ways for Chinese ink painting in general. Special attention deserves the artists standing at the birth of the movement and to those who have so far significantly influenced the whole atmosphere in Chinese art world.

Spiritual ascent and the sublime in the abstract art of Kandinsky and Reinhardt

This paper is about the possible relation between aesthetic experience of the sublime, as presented in On Sublime by Pseudo-Longinus, and aesthetic experience of abstract art according to W. Kandinsky and A. Reinhardt. The analysis confirms the complementarity of Pseudo-Loninus?s description of the sublime and the idea of spiritual ascent provoked by the arts, which is characteristic for both of these painters. The analysis of their writings also points towards the necessary relation between abstract painting and spiritual ascent. In the final section of the paper, this idea is taken over as an impulse for reconsidering of the aesthetical category of the sublime. Finally, resulting conclusion leads towards the legitimizing of the (new) revitalization of the sublime, on the grounds of the impulses coming from the arts.