Sanat Tarihi Bölümü
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Article Book Review on Ritual and Art: Matthew P. Canepa. (2009). The Two Eyes of the Earth:Art and Ritual of Kingship between Rome and Sasanian Iran.(2017) Batuhan, TuğbaAuthor Matthew P. Canepa details the visual material in cultural context with other uttering elements, rituals and power, about Sasanian and Roman royal interaction.Article The cathedral complex at Nisibis(CAMBRIDGE UNIV PRESS, 2013) Keser Kayaalp, Elif; Erdoğan, NihatThe cathedral complex at Nisibis sits within what is currently a large excavation site. The excavations, continuing on and off over the last 12 years, have yielded exciting discoveries. This article is not a report of the excavations as such, but, in the light of them, it revisits the cathedral complex in an attempt to reconstruct the possible cathedral on the site and to establish the building phases of the only standing structure on the site, known as the 'Church of Mor Yaqub', which was the baptistery of the cathedral.Article THE CHURCH OF VIRGIN AT AMIDA AND THE MARTYRIUM AT CONSTANTIA: TWO MONUMENTAL CENTRALISED CHURCHES IN LATE ANTIQUE NORTHERN MESOPOTAMIA(MERSIN UNIV PUBL RES CENTER CILICIAN ARCHAEOLOGY, 2013) Keser Kayaalp, ElifGeç Antik Dönemde Bizans İmparatorluğu’nun doğu kenarında yer alan Kuzey Mezopotamya, Edessa (Urfa), Anastasiopolis (Dara), Amida (Diyarbakır), Martryropolis (Silvan), Constantia (Viranşehir) and Nisibis (Nusaybin) gibi önemli şehirlere sahipti. Bu şehirler oldukça zengin ve kozmopolitlerdi. Bunun sonucunda bölgenin, Bizans imparatorluğunun diğer taraflarındaki mimariden aşağı kalmayan sofistike bir mimarisi vardı. Bu makale Kuzey Mezopotamya’da yer alan iki merkezi planlı kilise ile ilgilidir. Bunlar Amida’daki Meryem Ana kilisesi ve Constantia’daki Sekizgen’dir. Önce aisled-tetraconch olarak bilinen ve merkezde ve dışarda dört nişli bir organizasyondan oluşan bir planı olan ve İmparatorluğun diğer bölgelerinde paralel örnekleri bulunan Meryem Ana Kilisesine, daha sonra bazı ünik özellikler göstermekle birlikte ambulatuar, doğu tarafında uzunlamasına bir oda, malzeme kullanımı ve anıtsallık gibi özellikleriyle Amida’daki Meryem Ana kilisesi ile benzerlikler gösteren Constantia’daki Sekizgene odaklanılacaktır. Bu makale daha önce birlikte düşünülmemiş bu iki yapıyı aynı bağlamda ele alarak, ihmal edilmiş bu yapıların rekonstrüksyonlarını, tarihlendirmelerini, kime adandıklarını ve muhtemel prototiplerini değerlendirmektedir.Other Creating Brand Identity in Museums, the Troy Museum(2022) Batuhan, TuğbaThe Troy Museum was founded in the ancient city of Troy, which is included on the UNESCO World Heritage list. For the establishment of the museum, the National Architectural Project Competition was held in 2011 and the foundations of the museum were laid with the project of the winning team in 2013. 2018 was declared the Year of Troy by the Çanakkale Governorship and the Ministry of Culture and Tourism, thus the Troy Museum was opened in the same year. Troy has Homer, Iliad, Trojan legends, and a history dating back to 4000 B.C. The purpose of the museum is to exhibit and protect the archaeological artifacts unearthed from excavations at the Troy Ruins. The Troy Museum, which was constituted with a contemporary museum understanding, has become a successful museum by increasing its recognition throughout Turkey. The Troy Museum has carried its national recognition to the international arena as well. The Troy Museum received the 2020/2021 European Museum Academy (EMA) Special Mention Award and won the European Museum of the Year Awards (EMYA) special commendation in 2020 for its innovative exhibition approach and structure which combines the past and the present by addressing contemporary issues. Despite the emergence of the coronavirus in 2020 and isolating the whole world, the Troy Museum has become known for crossing the border and showing cultural resistance. The museum, which has a short history, has become a brand by achieving a lot in a short time. This study will focus on how the Troy Museum increased its prestige in all circumstances through applications and policies before and during the coronavirus.Article Materiality of Mehmet II Smelling A Rose Based on Gentile Bellini’s Painting with Cultural Perspective(2020) Batuhan, TuğbaThis paper examines the painting of Mehmet II, which was painted by Sinan Bey/ Şiblizade Ahmed and based on the painting by Gentile Bellini. Those works of art show Mehmet the Conqueror in the same perspective by using different materials and styles of painting. Mehmet II is depicted as the Conqueror of Constantinople in this painting which also includes concepts of Ottoman culture. This paper illustrates how particular Western elements of art blended with traditional Turkish art imagery to depict the Sultan’s power over Constantinople. Both paintings represent different aspects of Mehmet the Conqueror. Both painters convey their cultural consciousness and impressions in their paintings. Even though Gentile Bellini and Şiblizade Ahmed made similar artistic creations, they present different perspectives of Mehmet II within their cultural framework. In addition, this paper shows how a foreign artist inspired a local artist. Furthermore, the two paintings are explained based on the objects and features used. In conclusion, this study shows that both paintings are also arranged within their own long memory and different social, cultural, and historical points of view to materiality.Article Materiality of Mehmet II Smelling A Rose Based on Gentile Bellini’s Painting with Cultural Perspective(Art-Sanat Dergisi, 2020) Batuhan, TuğbaBu makale, Sinan Bey veya Şiblizade Ahmed tarafından Gentile Bellini’nin resmine dayanarak yapılan Fatih Sultan Mehmet’in tablosunu ele almaktadır. Bu sanat eserleri Fatih Sultan Mehmet’i, farklı malzeme ve stiller kullanmalarına rağmen aynı açıdan göstermektedir. Fatih Sultan Mehmet Konstantinopolis’in Fatihi olarak resmedilmekle birlikte, bu resimler Osmanlı kültürel kavramlarını da içermektedir. Makalede, belirli Batı sanatı öğelerinin, Sultan’ın Konstantinopolis üzerindeki gücünü tasvir etmek için geleneksel Türk sanat imgeleriyle nasıl bir araya getirildiğini de göstermeye çalışmaktadır. Fatih Sultan Mehmet’in yer aldığı bu iki tabloda, Sultan’ın bir saray ressamı ve bir yabancı ressam tarafından farklı yönleri tasvir edilmektedir. Burada, her iki ressamın da sahip oldukları kültürel bilinci ve izlenimi resimlerine aktardıkları görülmektedir. Gentile Bellini ve Şiblizade Ahmed, benzer sanatsal eserler ortaya çıkarmış olsalar da Fatih Sultan Mehmet’i kendi kültürel çerçeveleri içinde farklı bakış açısıyla sunmaktadırlar. Ek olarak, bu makale yabancı bir sanatçının yerel bir ressama nasıl ilham kaynağı olduğunu da göstermektedir. Ayrıca, iki resim sanatçıların kullanıldıkları nesnelere ve özelliklere dayanarak açıklanmıştır. Sonuç olarak, bu çalışma her iki resmin kendi sahip olduğu uzun süreli bellek ve farklı sosyal, kültürel ve tarihsel bakış açıları içinde düzenlendiğine işaret etmektedir.Book Part Self Portraits of Frida: Mexican Cultural Context Between the Accident and Diego(2017) Batuhan, TuğbaEach self-portrait is a different explanation of Frida without repetition. The self-portraits show an identity of entirely herself with each point of her face. Kahlo made herself an art object in her artworks such as in front of the camera. Frida Kahlo, who painted her first self-portrait in 1926, and continued painting them until she died in 1954, produced more than one hundred images. Frida Kahlo’s self-images point out an interconnection between herself and political messages. Furthermore, two turning points changed Frida’s life and that is the car accident and Rivera. Mexican cultural context is placed between these two turning points.
