ÇAĞDAŞ TÜRK SERAMİK SANATINDA İNSAN YÜZÜ VE İFADE BİÇİMLERİ

Abstract

Anadolu, pek çok medeniyete ve uygarlığa ev sahipliği yapmış, dünya coğrafyasının zengin kültürel mirasa sahip topraklarında bulunmaktadır. Anadolu topraklarında seramik üretimi, Neolitik Dönem’den günümüze kap kacak, idoller vb. pek çok biçim ve örneklerle varlığını sürdürmüştür. Selçuklu ve Osmanlı Dönemi sonrası İznik, Kütahya ve Çanakkale gibi merkezlerde geleneksel olarak devam eden seramik üretimi Cumhuriyet’in ilanı ve sonrasında çağdaş seramik sanatı olarak gelişimine devam etmiştir. Nitel araştırma kapsamında Cumhuriyet Dönemi ve sonrasında, eserlerinde insan yüzü ve mimikleri konu olarak ele almış Türk seramik sanatçıları araştırılmış olup seramik malzemeyle form-biçim- anlam bakımından eserleri nasıl yorumladıkları ele alınmıştır. 1970’li yıllardan Füreya Koral, Nasip İyem, Sadi Diren, Ayfer Karamani, Jale Yılmabaşar, Erdinç Bakla; sonrasındaki dönemde Mehmet Tüzüm Kızılcan ve Güngör Güner; 1980’den günümüze kadar olan zaman diliminde ise Sıdıka Sibel Sevim, Armağan Ulusoy, Deniz Onur Erman, Arzu Türk, Tevfik Karagözoğlu ve Orçun İlter’in çalışmalarına yer verilmiştir. Çalışmaya konu olan sanatçıların eserlerindeki duygu durum ve temalarını ifade etmede, insan yüzü ve mimiklerinin kullanımı üzerine ayrıntılı inceleme yapılarak bu alanda çalışmak isteyen araştırmacılara kaynak oluşturmak hedeflenmiştir.

Anatolia is located on a land that has been home to many civilizations and contains a rich cultural heritage. Ceramic production in this region has persisted from the Neolithic Period to the present, with numerous examples such as pots, idols, and more. After the Seljuk and Ottoman periods, ceramic production continued traditionally in centers like Iznik, Kütahya, and Çanakkale, and with the proclamation of the Republic, it further evolved into contemporary ceramic art. In this qualitative research, Turkish ceramic artists from the Republic period and beyond, who focused on human faces and expressions in their works, were examined. The study evaluated how these artists interpreted their works in terms of form, shape, and meaning using ceramic material. Artists who have centered human faces and expressions in their works during this period and later were researched. Thus, the artists who used human faces and expressions in their work are not the conclusion of this research but the subject of it. The research covers artists from the 1970s, including Füreya Koral, Nasip İyem, Sadi Diren, Ayfer Karamani, Jale Yılmabaşar and Erdinç Bakla; from the subsequent period, Mehmet Tüzüm Kızılcan and Güngör Güner; and from 1980 to the present, Sıdıka Sibel Sevim, Armağan Ulusoy, Deniz Onur Erman, Arzu Türk, Tevfik Karagözoğlu, and Orçun İlter. The human faces and expressions in their works were analyzed. The detailed examination of the use of human faces and expressions to convey emotionalstates and themesin the works of these artists aimsto provide a resource for researchers interested in this field.

Anatolia has been a cradle for diverse civilizations, endowed with a profound cultural heritage. Since the Neolithic era, it has seen an unbroken tradition of ceramic production, featuring items such as pots and idols. This tradition flourished particularly during the Seljuk and Ottoman periods, with significant centers like Iznik, Kütahya, and Çanakkale contributing to the evolution of ceramics into Contemporary Ceramic Art following the establishment of the Turkish Republic. The human face, representing personal identity and the expression of inner thoughts and feelings, has been a central subject in art throughout history. It remains a prevalent theme in ceramics, reflecting the human condition on various forms and surfaces. This paper examines the role of prominent ceramic artists in shaping Contemporary Turkish Ceramic Art. It explores the works of artists from the 1970s like Füreya Koral, Nasip İyem, Sadi Diren, Ayfer Karamani, Erdinç Bakla, İlgi Adalan, to more recent artists such as Tüzüm Kızılcan, Güngör Güner, Sibel Sevim, Armağan Ulusoy, Deniz Onur Erman, Arzu Türk, Tevfik Karagözoğlu, and Orçun İlter. These artists are noted for their focus on human faces and expressions in their works. The research investigates how these artists use faces and expressions in ceramics to articulate emotions, moods, and thematic narratives, highlighting the expressive possibilities in ceramic art. The study aims to provide a comprehensive resource for researchers interested in the intersection of human expression and ceramic artistry.