Cultural Existence in World Art History and Dominant Cultural Identity Traces in Works of Art
| dc.contributor.author | Baykurt, Arif Esen | |
| dc.contributor.author | Göğebakan, Yüksel | |
| dc.date.accessioned | 2024-08-04T19:54:39Z | |
| dc.date.available | 2024-08-04T19:54:39Z | |
| dc.date.issued | 2024 | |
| dc.department | İnönü Üniversitesi | en_US |
| dc.description.abstract | A work of art has the capacity to be an independent examination of the culture from which it emerges. From the birth of art to the present day, works of art analyze their own culture and present messages to society through works of art. With these messages and analyses, they improve society and bring new perspectives, norms, regulations, and even previously forgotten cultures and norms into it. The culture of each nation includes its contexts; it derives from religious, social, political, economic, traditional, and moral values. These values used by the artist are embodied as different products in different branches of art, such as painting, sculpture, architecture, and performance. Universal works of artists, are shaped by the dominant characters of their culture and help to protect their society and new generations in the future. The research aims to identify dominant cultural traces in art using examples from world art history within the disciplines of art and anthropology. In addition, it is to draw attention to the necessity of new aesthetic approaches by excluding Kitsch art, which emerged in the early modern age and corrupted art and culture. The research is important in terms of guiding artists in the context of cultural contacts in art. The following results emerged from the qualitative research: Art acts as an intercultural bridge by infiltrating culture and society. Universal and political messages in art should be used in the context of "doing art politically, not political art" for the benefit of society. Moreover, if care is not taken, it is inevitable that "kitsch art" will corrupt society. Therefore, a work of art must preserve its society by avoiding Kitsch art. On the other hand, an artist must be a good sociologist and an anthropologist. Finally, the artist or the universal work of art protects, secures, strengthens, and develops the future of culture. Otherwise, the opposite will happen. | en_US |
| dc.identifier.doi | 10.7827/TurkishStudies.71441 | |
| dc.identifier.endpage | 52 | en_US |
| dc.identifier.issn | 1308-2140 | |
| dc.identifier.issue | 1 | en_US |
| dc.identifier.startpage | 29 | en_US |
| dc.identifier.trdizinid | 1240455 | en_US |
| dc.identifier.uri | https://doi.org/10.7827/TurkishStudies.71441 | |
| dc.identifier.uri | https://search.trdizin.gov.tr/yayin/detay/1240455 | |
| dc.identifier.uri | https://hdl.handle.net/11616/90017 | |
| dc.identifier.volume | 19 | en_US |
| dc.indekslendigikaynak | TR-Dizin | en_US |
| dc.language.iso | en | en_US |
| dc.relation.ispartof | Turkish Studies (Elektronik) | en_US |
| dc.relation.publicationcategory | Makale - Ulusal Hakemli Dergi - Kurum Öğretim Elemanı | en_US |
| dc.rights | info:eu-repo/semantics/openAccess | en_US |
| dc.title | Cultural Existence in World Art History and Dominant Cultural Identity Traces in Works of Art | en_US |
| dc.type | Article | en_US |
