http://www.ratingacademy.com.tr/ojs/index.php/arts/issue/feed JOURNAL OF ARTS 2018-05-09T22:38:28+03:00 Evren KARAYEL GÖKKAYA karayelevren@gmail.com Open Journal Systems <p style="text-align: justify;"><strong><em>Journal of Arts</em></strong>&nbsp;<em><strong>(E-ISSN&nbsp;2636-7718 &amp; Doi Prefix: 10.31566)&nbsp;</strong></em>is an<strong>&nbsp;international refereed journal</strong>&nbsp;which started to be published in April 2018. &nbsp;The journal aims to include works 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&nbsp; 4 times a year;&nbsp;<em><strong>WINTER (January), SPRING (April), Summer (July), AUTUMN (October)</strong>.&nbsp;Journal of Arts&nbsp;is a&nbsp;<strong>&nbsp;free of charge, electronic and open access</strong>&nbsp;journal.&nbsp;</em>The<span class="apple-converted-space">&nbsp;</span><a href="http://www.doidestek.com/"><strong>DOI number</strong></a><span class="apple-converted-space">&nbsp;(<em><strong>Doi Prefix: </strong></em><strong>10.31566</strong>)&nbsp;</span>is assigned to all the articles published in the journal.</p> <p>&nbsp;</p> http://www.ratingacademy.com.tr/ojs/index.php/arts/article/view/386 THE LIMITS AND CREATIVITY IN CERAMIC EDUCATION 2018-05-09T22:36:21+03:00 Ayşe KURŞUNCU aysekursuncu@gmail.com <p style="margin: 0cm; margin-bottom: .0001pt; text-align: justify; text-justify: inter-ideograph;"><em>Ceramic has limitation unique to its self. These limits are obstical for the ceramic students, both related to technic and its bounds to craft. Approaches of the educators about what the limits are and how students can relate to the limits, presents the practice of&nbsp; -not only ceramics but many art forms.</em></p> <p style="margin: 0cm; margin-bottom: .0001pt; text-align: justify; text-justify: inter-ideograph;"><em>Ceramics relation to crafts and the material’s unique technical-content connections creates important and different points that can not be ignored in education. Criterias&nbsp; to concider increases when new point are added to the list such as contemporary art and conceptual art. Limits and creativity relations get more complicated accordingly. Educators has to think with the limits of both crafts, concepts of contemporary art and technics and lead the students to find their own voices and uniqueness. At the same time educators has to be supportive about the student’s&nbsp; pursuit of their own ways when they are&nbsp; trying to find their own solutions about the contradictive choices when they encounter a limit or an obsticle. This study thinks about the limits of art education and their relations with creativity&nbsp; through the examples of student works.</em></p> 2018-05-09T12:46:53+03:00 ##submission.copyrightStatement## http://www.ratingacademy.com.tr/ojs/index.php/arts/article/view/387 TECHNOLOGY AND ART 2018-05-09T15:34:36+03:00 Halil Cenk BEYHAN cnkbeyhan@yahoo.com <p><em>Ceramic material has continuously been a part of the culture as from the time For thousands of years, producing a product in the fields of art has been made possible by performing a specific technique towards using the instruments belonging to the mentioned field.&nbsp; For this reason, dealing with and developing technique on a scientific level, that is to say, “technology” is a part of the conditions belonging to artistic production. Along with this, these technical innovations did not only result from the specific instruments of the field of art but also took its share from the other technological developments of the era. Particularly since Renaissance, several “auxiliary technologies” have been used by the artists that have made productions in the fields of arts. Projection and perspective machines, “camera obscura”, “camera lucida”, artistic and industrial duplication techniques, photographs, cinema, television, fax, photocopy, computer, three-dimensional modeling and developing mass media have had an impact on&nbsp; art during the process moving forward to the present day in terms of both aesthetical concepts and innovations they have brought to the production medium.&nbsp; Along with this, artistic interpretation, in a sense, transformation of technological phenomena continues to be an important problem in terms of the aesthetic, technical and conceptual dimensions of art.</em></p> 2018-05-09T13:08:34+03:00 ##submission.copyrightStatement## http://www.ratingacademy.com.tr/ojs/index.php/arts/article/view/388 INTERACTION WITH 21. CENTURY’S TECHNOLOGIES: ART –ADVERTISEMENT- INDIVIDUAL 2018-05-09T15:34:37+03:00 Serenay ŞAHİN srnyshn@gmail.com <p><em>Ceramic material has continuously been a part of the culture as from the time 21. century technologies influence in every aspects of our lifes, transform the way of our life stlyle. Advertising sector is one of the important actors of this transformation. On the other hand, art has examined closer the new concepts which occur with this transformation and transforms these new technologies into an art tool. This article examines how advertising sector and art use 21. century technologies and how they interact with the individuals.</em></p> 2018-05-09T14:59:22+03:00 ##submission.copyrightStatement## http://www.ratingacademy.com.tr/ojs/index.php/arts/article/view/389 SMALL IS BEATIFUL: NETSUKE 2018-05-09T22:38:28+03:00 Yıldız GÜNER yildizguner@gmail.com <p style="text-align: justify;"><em>Netsuke is an example of Japanese traditional arts. Netsuke functions as a fashion accessory and is an element of a complex composition. Netsuke can be considered as small sculpture. It has been produced in different materials and in various subjects. The common light and entertaining expression of these small carvings can be linked to Ukiyo state of mind of the art of Edo Period. Netsuke is remarkable for its meticulous craft in such small size. </em></p> <p style="text-align: justify;"><em>The aim of this article is to introduce this miniature art form and&nbsp; to question the issue of dimension in sculpture. </em></p> <p style="text-align: justify;"><em>The visual material is from Victoria and Albert Museum collection</em></p> 2018-05-09T15:18:42+03:00 ##submission.copyrightStatement## http://www.ratingacademy.com.tr/ojs/index.php/arts/article/view/384 TRADITION OF MATERIAL IMITATION AND COLOR IN CERAMIC 2018-05-09T15:34:37+03:00 Ayşe BALYEMEZ aysegunozbalyemez@gmail.com <p align="JUSTIFY"><span style="font-size: small;"><span lang="en-US"><em>Ceramic material has continuously been a part of the culture as from the time when it started to be used by humans until today. Within this culture, it is also noteworthy that, in addition to the containers that are used for eating, drinking and storing which correspond to the needs of our daily lives, they are also used for religious purposes. Ceramics, which at times have distinguished as a cultural value in the course of history, have sometimes remained in the shadow of other materials. When the development process of the ceramic material is closely examined, it is seen that the imitations of certain materials that gained value in the period have been produced using ceramics. Some of these ceramics do not have any other value except that they are similar to the material they imitate, but some others have gone beyond the value of the material they have imitated and have gained essential places in the ceramic production traditions and created original color identities. Old Bronze age black-lined ceramics, Egyptian paste, lajvardina and celadon glazes are the most important ones among these examples. Within the scope of this study, color identities of the ceramics produced for imitation purposes will be addressed and their contribution to the material culture will be reviewed.</em></span></span></p> 2018-05-09T12:34:05+03:00 ##submission.copyrightStatement##