Thesis Chapters by Fadliye Yılmaz Demir
Master Thesis, 2016
Erken Tunç Çağı’nda Orta Anadolu’da yaşamış ve zengin bir uygarlığa ev sahipliği yapan Hattilerin... more Erken Tunç Çağı’nda Orta Anadolu’da yaşamış ve zengin bir uygarlığa ev sahipliği yapan Hattilerin, günlük hayatlarında ve mezar buluntularında kültsel işlevleri olan güneş kurslarının önemli bir yeri vardır. Çalışmaya konu olan güneş kurslarının, malzeme, teknik, bezeme ve formları açısından incelenmesi, çağdaşları ve diğer çağlarda bulunan eserlerle karşılaştırmalı olarak incelenerek bilgi edinilmesi ve bu kült nesnelerle çağdaş seramik formların oluşturulması amaçlanmıştır. M.Ö. 3. bin yıl içinde ve M.Ö. 2. bin yıl başlarında, Erken Tunç Çağı döneminde, İç Anadolu’da Kızılırmak yayı içinde yaşadığı düşünülen Hatti uygarlığı, Horoztepe ve Alacahöyük mezar buluntularıyla dönemin sanat anlayışını en iyi şekilde yansıtmaktadır. Bu mezarlardan ve Hattilerin kültürünü ve dini inançlarını benimsediği düşünülen Hititlere ait tabletlerden, Hattilerin düşünce ve inanç sistemi hakkında birçok bilgiye ulaşılmaktadır.
Çalışma kapsamında biçimsel ve işlevsel olarak incelenen güneş kursları, Alacahöyük kral mezarlarında ele geçirilen güneş kurslarının ikonografik ve ikonolojik açıklamaları üzerinden incelenerek sınırlandırılmıştır. Güneşi ve evreni sembolize eden güneş kursları, üzerlerinde bulunan hayvan heykelcikleriyle tanrıları betimlediklerinden dolayı Hattiler için önemli bir yere sahiptir. Güneş kursları, günlük hayatta dini törenlerde rahipler tarafından kullanılmasının yanı sıra, Hattilerin ölü gömme adetlerinde de kullanılmıştır. Prens ve prenseslerin mezarlarında kullanılan bu kült nesnelerinin günümüze kadar ulaşmasında Alacahöyük kral mezarlarının önemli bir yeri bulunmaktadır. Güneş kursları kendi çağının içerisinde ve kendi çağının dışında yer alan diğer sanat eserleriyle değerlendirildiğinde benzerlikler göstermektedir. Gerek güneş kurslarının üzerinde bulunan birimler gerekse bezeme özellikleri birçok uygarlık tarafından kullanılmıştır. Günümüzde de popüler Türk kültürünün içine dâhil edilen güneş kursları sembol olarak varlıklarını devam ettirmektedir. Bu özellikleriyle güneş kurslarının hem geçmişte hem de gelecekte birçok uygarlığı etkisi altına aldığı ve birçok sanat alanına esin kaynağı olduğu görülmektedir.-----
Hattians that lived in Early Bronze Age in Central Anatolia, rich civilization hosts, has an important role in the sun discs cultic function in their daily lives and tomb findings. It is aimed to build contemporary ceramic forms about to the sun disks, materials, technique, decoration and analyzed in terms of forms available information examined in comparison with works in contemporary and other time lines. 3000 B.C. and in the beginning of 2000 B.C., the Early Bronze Age period, Hattian civilization lived around the Red River in Central Anatolia, Horoztepe and Alacahoyuk tomb findings reflect the art of understanding the period in the best way. These tombs and hittite tablets which is thought to be adopted Hattians’ culture and religion shows many information about view and belief system of Hattians. Sun discs, examined formally and functionally in our study, seized in Alacahoyuk royal tombs was limited iconographic and iconological statement. Sun discs symbolizing the sun and the universe, because they describe gods with animal figurines on them has an important role for the Hattians. Sun discs used by priests in rituals in everyday life as well, is also used in the burial of Hattie. Alacahoyuk royal tombs are important in achieving the cult object used in prince and princess tombs until today. The sun discs show similarities when considered by works of art located outside of its own era and in its own era shows similarities. Both units on the sun discs as well as decorative features have been used by many civilizations. Today, popular Turkish sun discs has been included into the culture continues to exist as a symbol. It is observed that the properties of the sun discs’ under the influence of many civilizations both past and future.
Conference Presentations by Fadliye Yılmaz Demir
Poster Presentation, 2016
Uzakdoğu, seramiğin tarihsel gelişiminde ilklerin başlangıcı olarak görülmektedir. Farklı biçimle... more Uzakdoğu, seramiğin tarihsel gelişiminde ilklerin başlangıcı olarak görülmektedir. Farklı biçimlendirme yöntemlerinden sırlama ve fırınlama tekniklerine kadar birçok alanda büyük keşifler bulunmaktadır. Bunlar, kültürel etkileşimle başta batı olmak üzere tüm dünyaya yayılmıştır. Uzakdoğu pişirim tekniklerinden biri olan Raku, 16. yy. da Japonya’da ortaya çıkmıştır. Kelime anlamı uyum ve mutluluk olan Raku, Japon çömlekçiliğin bir türüdür ve hem pişirim yöntemine hem de pişirilen kaplara verilen isimdir. Raku tekniği, seremonilerde kullanılmak için üretilen çay kâselerinde uygulanmıştır. Her biri elle şekillendirilen, gözenekli ve sırlı bu çay kâseleri, odun yakıtlı fırın içerisinde düşük sıcaklıkta pişirildikten sonra fırından çıkarılır, suya atılır veya açık havada soğuması sağlanırdı. Bu teknik 20. yy. da batıda Bernard Leach ve Paul Soldner sayesinde tanınarak popülerliği artmış, dünyadaki birçok seramik sanatçısı tarafından kullanılmaya başlanmıştır. Doğudakinin aksine bu teknik, batıdaki sanatçılar tarafından farklı yöntemlerle ve amaçlarla kullanılmıştır. Daha çok sanatsal formlar üretmeye başlayan sanatçılar, elektrikli ve gazlı fırınlar kullanarak özel sır reçeteleri üretmişlerdir. Geleneksel Raku pişirimi geliştirilerek, fırından çıkan formlar kâğıt, talaş veya vb. organik maddelerin içinde bulunduğu oksijensiz bir ortama konarak sırın içerisinde bulunan metal oksitlerin indirgen ortamda (karbonmoniksitli ortamda) gelişimi sağlanmıştır. Sanatçılar bu tekniğin hem artistik hem de deneysel taraflarından yararlanarak ürettikleri formlara estetik değer katmayı hedeflemişlerdir. Bu çalışmada, Raku tekniğini günümüzde kullanan çağdaş seramik sanatçıları araştırılacak ve sanatçıların eserleri üzerinden bu tekniğin değişimi ve gelişimi incelenecektir.-----
Raku firing techniques, one of the Far East, has emerged in the 16th Century in Japan. The meaning of the word harmony and happiness, which is Raku, a Japanese pottery is a type of firing method is the name given to both firing method and firing pots. Raku technique was applied to the tea bowl is produced for use in ceremonies. Each handshaped, porous and glazed bowls of tea, then cooked in wood-fired kiln at a low temperature is removed from the kiln, was thrown into the water or was provided in the open air to cool. This technique gained popularity in the West through Bernard Leach and Paul soldner, thanks for the recognition, and have been used by many ceramic artists in the world. Unlike the East, this technique is used with different
methods and purposes by western artists. Artists started to produce more artistic forms, which has electric and gas kiln manufactured by using special glaze recipes. Developing traditional Raku firing, the forms from the kiln, paper, sawdust, or etc. organic substances containing oxygen-free an environment as well as the oxides of the metal placed in a reductive environment (carbon monoxide in the environment) for the development was provided. This technique is both experimental and artistic side by taking advantage of the artists they produce are aimed at adding value to aesthetic forms. In this study, Raku technique will explore contemporary ceramic artists use today and their works will be examined this technique through exchange and development.
Papers by Fadliye Yılmaz Demir
Japon Seramik Şekillendirme Tekniği Kurinuki ve Çağdaş Uygulamaları, 2025
Seramik üretiminin temelini oluşturan seramik şekillendirme teknikleri sanat, zanaat ve endüstri ... more Seramik üretiminin temelini oluşturan seramik şekillendirme teknikleri sanat, zanaat ve endüstri alanlarının önemli bileşenlerindendir. Mezopotamya, Çin, Japonya, Orta Asya, Anadolu ve Akdeniz gibi farklı coğrafyalarda uzun bir geçmişe sahip olan bu teknikler nesilden nesile aktarılarak günümüze kadar ulaşmıştır. Bu bağlamda değerlendirildiğinde özellikle Japon seramik şekillendirme teknikleri Uzak Doğu seramik geleneği içinde hem teknik hem de estetik açıdan önemli bir role sahiptir. Japonya’da MÖ 10.000’lerde Jomon Dönemi’nden kalma arkeolojik buluntular, ilk işlevsel ürünlerin elle şekillendirilmiş kil levhaların bir araya getirilmesiyle yapıldığını göstermektedir. Diğer elle şekillendirme teknikleri ise sonraki dönemlerde Japon seramik sanatında gelişmiş ve çeşitlenmiştir. Bu araştırma kökeni Orta Çağ Japonya’sına kadar uzanan ve Edo Dönemi’nde (17.-19. yüzyıl) yaygın olarak kullanılmaya başlanan katı tek bir kil bloğunun içinin oyulmasını esas alan geleneksel Japon elle şekillendirme tekniği kurinukinin nasıl uygulandığı ve çağdaş seramik sanatındaki kullanımını konu edinmiştir. Tekniğin uygulama aşamaları örnek form uygulamaları üzerinden detaylı olarak anlatılmış, kil bloğunun şekillendirilmesi sırasında dikkat edilmesi gereken hususular belirtilmiştir. Genellikle çay seremonilerinde kullanılan seramik kapların üretiminde kullanılan kurinuki tekniğinin günümüzde işlevsel kapların yanı sıra sanatsal çalışmaların üretiminde de tercih edildiği görülmüştür. Sanatçılar kent mimarisi ve peyzajı, Orta Çağ ve modern zamanların birleşimi ve doğa gibi unsurlardan esinlenerek bunları çalışmalarına yansıtmıştır. Doğal ve organik görünümlerin elde edildiği kurinuki tekniğinde hiçbir eser birbirine benzemediğinden bu teknik sanatçılara daha kişisel ve özgün eserler yaratma olanağı sağlamıştır.---
The ceramic forming techniques, which form the basis of ceramic production, have been significant components of art, craftsmanship, and industry fields. These techniques, which have a long history in different geographies such as Mesopotamia, China, Japan, Central Asia, Anatolia and the Mediterranean, have reached the present day by passing down from generation to generation. When evaluated in this context, especially Japanese ceramic forming techniques have had an important role among the Far Eastern ceramic traditions, both technically and aesthetically. Archaeological findings from the Jomon Period in Japan, dating back to around 10,000 BCE, have shown that the first functional products had been made by bringing handbuilding clay slabs together. Other handbuilding techniques have been developed and diversified in the later periods of Japanese ceramic art. This research has focused on how the traditional Japanese handbuilding technique called kurinuki, which has originated dating back to Medieval Japan and become widely used during the Edo period (17th-19th centuries) and based on carving the interior of a solid single clay block, has been applied and how its usage in contemporary ceramic art. The application stages of the technique have been described in detail through the sample form of its applications, and the issues of being considered during the forming of the clay block have been indicated. It has been observed that the kurinuki technique, which has been commonly used in the production of ceramic vessels used in tea ceremonies, has been preferred today in the production of artistic works as well as functional vessels. Artists have reflected these in their works with the inspiration from elements such as urban architecture and landscape, the combination of the Middle Ages and modern times, and nature. Kurinuki technique has allowed artists to have the opportunity to create more customized and unique artifacts since no works have been similar to each other in the technique so that natural and organic looks have been obtained.
Asos Journal Uluslararası Sosyal Bilimler Dergisi / The Journal of Academic Social Science, 2023
Farklı kültürlere ait seramik buluntularından elde edilen veriler, inorganik katkılı kil bünye ku... more Farklı kültürlere ait seramik buluntularından elde edilen veriler, inorganik katkılı kil bünye kullanımının binlerce yıl önceye dayandığını göstermektedir. Günümüzde de halen zanaatkârlar, sanatçılar ve seramik endüstrisi tarafından halen devam eden bu kullanım seramik üretiminde önemli bir yere sahiptir. Karbon elementi içermeyen, bitkisel ve hayvansal kökenli olmayan malzemelerden oluşan inorganik katkılar, elde ediliş yöntemlerine göre doğal ve yapay inorganik katkılar olarak sınıflandırılmaktadır. Doğal inorganik katkıların birçoğu doğadaki killerde doğal olarak bulunabilirken yapay inorganik katkılar ise kullanıldığı haliyle doğada bulunmaz. Yapay inorganik katkılar, doğal malzemelerin kimyasal olarak işlenmesiyle veya yapay malzemelerin dönüşümüyle elde edilir. Doğrudan veya çeşitli ön hazırlık işlemlerinden geçirildikten sonra kil bünyeye eklenen inorganik katkılar, seramik üretiminin en önemli aşamaları olan şekillendirme, kuruma ve pişirim aşamalarında kil bünyenin fiziksel ve kimyasal özelliklerini değiştirmektedir. Araştırma kapsamında çağdaş seramik sanatında yaygın olarak kullanılan ve farklı özelliklere sahip doğal ve yapay inorganik katkılar seçilerek bunların seramik bünyelerdeki fiziksel ve kimyasal özellikleri sanatçıların çalışmaları üzerinden değerlendirilmiştir. Araştırmada, yaygın olarak kullanılan inorganik katkıların seramik bünyelerdeki etkilerini çağdaş seramik sanatındaki örnekleri üzerinden incelemek ve bu doğrultuda inorganik katkılı stoneware bünye reçeteleri ve sanatsal uygulamalar yapmak amaçlanmıştır. Bu araştırmada kullanılan inorganik katkıların kil bünyelerde nasıl kullanıldıkları, pişirim öncesi ve sonrası kil bünyelerdeki etkileri ele alınacaktır. Sanatçıların seramik üretiminde farklı ve yeni malzeme arayışı, inorganik katkılı kil bünyelerin gelişimine olanak sağlamıştır. Kil bünyelerin yapısal özelliklerine katkıda bulunmanın yanı sıra estetik değerini de yükselten inorganik katkılar, yeni ifade biçimlerinin doğmasına yol açmış, böylelikle sanatçıların birçok özgün eser yaratmasına ilham kaynağı olmuştur.----
The data obtained from the ceramic findings belonging to different cultures show that the use of clay body with inorganic addition dates back thousands of years. This usage, which still continues today by craftsmen, artists and ceramic industry, has an important place in ceramic production. Inorganic additions consisting of materials that do not contain carbon and are not of plant or animal origin are classified as natural and artificial inorganic additions according to the methods of their production. While many of the natural inorganic additions can be found naturally in clays in nature, artificial inorganic additions are not found in nature as used. Artificial inorganic additions are obtained by chemical processing of natural materials or by transformation of artificial materials. Inorganic additions added to the clay body directly or after undergoing various preliminary preparation processes change the physical and chemical properties of the clay body during forming, drying and firing stages, which are the most important stages of ceramic production. Within the scope of the research, natural and artificial inorganic additions with different properties, which are widely used in contemporary ceramic art, were selected and their physical and chemical properties in ceramic bodies were evaluated through the works of the artists. In the research, it is aimed to examine the effects of commonly used inorganic additions on ceramic bodies through examples in contemporary ceramic art and to make stoneware body recipes with inorganic addition and artistic practices in this direction. In this research, how the used additions are used in clay bodies and their effects on clay bodies before and after firing will be discussed. The artists’ search for different and new materials in ceramic production has enabled the development of clay bodies with inorganic addition. Inorganic additions which not only contribute to the structural properties of clay bodies, but also increase their aesthetic value, have led to the birth of new forms of expression, thus inspiring artists to create many unique works.
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Thesis Chapters by Fadliye Yılmaz Demir
Çalışma kapsamında biçimsel ve işlevsel olarak incelenen güneş kursları, Alacahöyük kral mezarlarında ele geçirilen güneş kurslarının ikonografik ve ikonolojik açıklamaları üzerinden incelenerek sınırlandırılmıştır. Güneşi ve evreni sembolize eden güneş kursları, üzerlerinde bulunan hayvan heykelcikleriyle tanrıları betimlediklerinden dolayı Hattiler için önemli bir yere sahiptir. Güneş kursları, günlük hayatta dini törenlerde rahipler tarafından kullanılmasının yanı sıra, Hattilerin ölü gömme adetlerinde de kullanılmıştır. Prens ve prenseslerin mezarlarında kullanılan bu kült nesnelerinin günümüze kadar ulaşmasında Alacahöyük kral mezarlarının önemli bir yeri bulunmaktadır. Güneş kursları kendi çağının içerisinde ve kendi çağının dışında yer alan diğer sanat eserleriyle değerlendirildiğinde benzerlikler göstermektedir. Gerek güneş kurslarının üzerinde bulunan birimler gerekse bezeme özellikleri birçok uygarlık tarafından kullanılmıştır. Günümüzde de popüler Türk kültürünün içine dâhil edilen güneş kursları sembol olarak varlıklarını devam ettirmektedir. Bu özellikleriyle güneş kurslarının hem geçmişte hem de gelecekte birçok uygarlığı etkisi altına aldığı ve birçok sanat alanına esin kaynağı olduğu görülmektedir.-----
Hattians that lived in Early Bronze Age in Central Anatolia, rich civilization hosts, has an important role in the sun discs cultic function in their daily lives and tomb findings. It is aimed to build contemporary ceramic forms about to the sun disks, materials, technique, decoration and analyzed in terms of forms available information examined in comparison with works in contemporary and other time lines. 3000 B.C. and in the beginning of 2000 B.C., the Early Bronze Age period, Hattian civilization lived around the Red River in Central Anatolia, Horoztepe and Alacahoyuk tomb findings reflect the art of understanding the period in the best way. These tombs and hittite tablets which is thought to be adopted Hattians’ culture and religion shows many information about view and belief system of Hattians. Sun discs, examined formally and functionally in our study, seized in Alacahoyuk royal tombs was limited iconographic and iconological statement. Sun discs symbolizing the sun and the universe, because they describe gods with animal figurines on them has an important role for the Hattians. Sun discs used by priests in rituals in everyday life as well, is also used in the burial of Hattie. Alacahoyuk royal tombs are important in achieving the cult object used in prince and princess tombs until today. The sun discs show similarities when considered by works of art located outside of its own era and in its own era shows similarities. Both units on the sun discs as well as decorative features have been used by many civilizations. Today, popular Turkish sun discs has been included into the culture continues to exist as a symbol. It is observed that the properties of the sun discs’ under the influence of many civilizations both past and future.
Conference Presentations by Fadliye Yılmaz Demir
Raku firing techniques, one of the Far East, has emerged in the 16th Century in Japan. The meaning of the word harmony and happiness, which is Raku, a Japanese pottery is a type of firing method is the name given to both firing method and firing pots. Raku technique was applied to the tea bowl is produced for use in ceremonies. Each handshaped, porous and glazed bowls of tea, then cooked in wood-fired kiln at a low temperature is removed from the kiln, was thrown into the water or was provided in the open air to cool. This technique gained popularity in the West through Bernard Leach and Paul soldner, thanks for the recognition, and have been used by many ceramic artists in the world. Unlike the East, this technique is used with different
methods and purposes by western artists. Artists started to produce more artistic forms, which has electric and gas kiln manufactured by using special glaze recipes. Developing traditional Raku firing, the forms from the kiln, paper, sawdust, or etc. organic substances containing oxygen-free an environment as well as the oxides of the metal placed in a reductive environment (carbon monoxide in the environment) for the development was provided. This technique is both experimental and artistic side by taking advantage of the artists they produce are aimed at adding value to aesthetic forms. In this study, Raku technique will explore contemporary ceramic artists use today and their works will be examined this technique through exchange and development.
Papers by Fadliye Yılmaz Demir
The ceramic forming techniques, which form the basis of ceramic production, have been significant components of art, craftsmanship, and industry fields. These techniques, which have a long history in different geographies such as Mesopotamia, China, Japan, Central Asia, Anatolia and the Mediterranean, have reached the present day by passing down from generation to generation. When evaluated in this context, especially Japanese ceramic forming techniques have had an important role among the Far Eastern ceramic traditions, both technically and aesthetically. Archaeological findings from the Jomon Period in Japan, dating back to around 10,000 BCE, have shown that the first functional products had been made by bringing handbuilding clay slabs together. Other handbuilding techniques have been developed and diversified in the later periods of Japanese ceramic art. This research has focused on how the traditional Japanese handbuilding technique called kurinuki, which has originated dating back to Medieval Japan and become widely used during the Edo period (17th-19th centuries) and based on carving the interior of a solid single clay block, has been applied and how its usage in contemporary ceramic art. The application stages of the technique have been described in detail through the sample form of its applications, and the issues of being considered during the forming of the clay block have been indicated. It has been observed that the kurinuki technique, which has been commonly used in the production of ceramic vessels used in tea ceremonies, has been preferred today in the production of artistic works as well as functional vessels. Artists have reflected these in their works with the inspiration from elements such as urban architecture and landscape, the combination of the Middle Ages and modern times, and nature. Kurinuki technique has allowed artists to have the opportunity to create more customized and unique artifacts since no works have been similar to each other in the technique so that natural and organic looks have been obtained.
The data obtained from the ceramic findings belonging to different cultures show that the use of clay body with inorganic addition dates back thousands of years. This usage, which still continues today by craftsmen, artists and ceramic industry, has an important place in ceramic production. Inorganic additions consisting of materials that do not contain carbon and are not of plant or animal origin are classified as natural and artificial inorganic additions according to the methods of their production. While many of the natural inorganic additions can be found naturally in clays in nature, artificial inorganic additions are not found in nature as used. Artificial inorganic additions are obtained by chemical processing of natural materials or by transformation of artificial materials. Inorganic additions added to the clay body directly or after undergoing various preliminary preparation processes change the physical and chemical properties of the clay body during forming, drying and firing stages, which are the most important stages of ceramic production. Within the scope of the research, natural and artificial inorganic additions with different properties, which are widely used in contemporary ceramic art, were selected and their physical and chemical properties in ceramic bodies were evaluated through the works of the artists. In the research, it is aimed to examine the effects of commonly used inorganic additions on ceramic bodies through examples in contemporary ceramic art and to make stoneware body recipes with inorganic addition and artistic practices in this direction. In this research, how the used additions are used in clay bodies and their effects on clay bodies before and after firing will be discussed. The artists’ search for different and new materials in ceramic production has enabled the development of clay bodies with inorganic addition. Inorganic additions which not only contribute to the structural properties of clay bodies, but also increase their aesthetic value, have led to the birth of new forms of expression, thus inspiring artists to create many unique works.
Çalışma kapsamında biçimsel ve işlevsel olarak incelenen güneş kursları, Alacahöyük kral mezarlarında ele geçirilen güneş kurslarının ikonografik ve ikonolojik açıklamaları üzerinden incelenerek sınırlandırılmıştır. Güneşi ve evreni sembolize eden güneş kursları, üzerlerinde bulunan hayvan heykelcikleriyle tanrıları betimlediklerinden dolayı Hattiler için önemli bir yere sahiptir. Güneş kursları, günlük hayatta dini törenlerde rahipler tarafından kullanılmasının yanı sıra, Hattilerin ölü gömme adetlerinde de kullanılmıştır. Prens ve prenseslerin mezarlarında kullanılan bu kült nesnelerinin günümüze kadar ulaşmasında Alacahöyük kral mezarlarının önemli bir yeri bulunmaktadır. Güneş kursları kendi çağının içerisinde ve kendi çağının dışında yer alan diğer sanat eserleriyle değerlendirildiğinde benzerlikler göstermektedir. Gerek güneş kurslarının üzerinde bulunan birimler gerekse bezeme özellikleri birçok uygarlık tarafından kullanılmıştır. Günümüzde de popüler Türk kültürünün içine dâhil edilen güneş kursları sembol olarak varlıklarını devam ettirmektedir. Bu özellikleriyle güneş kurslarının hem geçmişte hem de gelecekte birçok uygarlığı etkisi altına aldığı ve birçok sanat alanına esin kaynağı olduğu görülmektedir.-----
Hattians that lived in Early Bronze Age in Central Anatolia, rich civilization hosts, has an important role in the sun discs cultic function in their daily lives and tomb findings. It is aimed to build contemporary ceramic forms about to the sun disks, materials, technique, decoration and analyzed in terms of forms available information examined in comparison with works in contemporary and other time lines. 3000 B.C. and in the beginning of 2000 B.C., the Early Bronze Age period, Hattian civilization lived around the Red River in Central Anatolia, Horoztepe and Alacahoyuk tomb findings reflect the art of understanding the period in the best way. These tombs and hittite tablets which is thought to be adopted Hattians’ culture and religion shows many information about view and belief system of Hattians. Sun discs, examined formally and functionally in our study, seized in Alacahoyuk royal tombs was limited iconographic and iconological statement. Sun discs symbolizing the sun and the universe, because they describe gods with animal figurines on them has an important role for the Hattians. Sun discs used by priests in rituals in everyday life as well, is also used in the burial of Hattie. Alacahoyuk royal tombs are important in achieving the cult object used in prince and princess tombs until today. The sun discs show similarities when considered by works of art located outside of its own era and in its own era shows similarities. Both units on the sun discs as well as decorative features have been used by many civilizations. Today, popular Turkish sun discs has been included into the culture continues to exist as a symbol. It is observed that the properties of the sun discs’ under the influence of many civilizations both past and future.
Raku firing techniques, one of the Far East, has emerged in the 16th Century in Japan. The meaning of the word harmony and happiness, which is Raku, a Japanese pottery is a type of firing method is the name given to both firing method and firing pots. Raku technique was applied to the tea bowl is produced for use in ceremonies. Each handshaped, porous and glazed bowls of tea, then cooked in wood-fired kiln at a low temperature is removed from the kiln, was thrown into the water or was provided in the open air to cool. This technique gained popularity in the West through Bernard Leach and Paul soldner, thanks for the recognition, and have been used by many ceramic artists in the world. Unlike the East, this technique is used with different
methods and purposes by western artists. Artists started to produce more artistic forms, which has electric and gas kiln manufactured by using special glaze recipes. Developing traditional Raku firing, the forms from the kiln, paper, sawdust, or etc. organic substances containing oxygen-free an environment as well as the oxides of the metal placed in a reductive environment (carbon monoxide in the environment) for the development was provided. This technique is both experimental and artistic side by taking advantage of the artists they produce are aimed at adding value to aesthetic forms. In this study, Raku technique will explore contemporary ceramic artists use today and their works will be examined this technique through exchange and development.
The ceramic forming techniques, which form the basis of ceramic production, have been significant components of art, craftsmanship, and industry fields. These techniques, which have a long history in different geographies such as Mesopotamia, China, Japan, Central Asia, Anatolia and the Mediterranean, have reached the present day by passing down from generation to generation. When evaluated in this context, especially Japanese ceramic forming techniques have had an important role among the Far Eastern ceramic traditions, both technically and aesthetically. Archaeological findings from the Jomon Period in Japan, dating back to around 10,000 BCE, have shown that the first functional products had been made by bringing handbuilding clay slabs together. Other handbuilding techniques have been developed and diversified in the later periods of Japanese ceramic art. This research has focused on how the traditional Japanese handbuilding technique called kurinuki, which has originated dating back to Medieval Japan and become widely used during the Edo period (17th-19th centuries) and based on carving the interior of a solid single clay block, has been applied and how its usage in contemporary ceramic art. The application stages of the technique have been described in detail through the sample form of its applications, and the issues of being considered during the forming of the clay block have been indicated. It has been observed that the kurinuki technique, which has been commonly used in the production of ceramic vessels used in tea ceremonies, has been preferred today in the production of artistic works as well as functional vessels. Artists have reflected these in their works with the inspiration from elements such as urban architecture and landscape, the combination of the Middle Ages and modern times, and nature. Kurinuki technique has allowed artists to have the opportunity to create more customized and unique artifacts since no works have been similar to each other in the technique so that natural and organic looks have been obtained.
The data obtained from the ceramic findings belonging to different cultures show that the use of clay body with inorganic addition dates back thousands of years. This usage, which still continues today by craftsmen, artists and ceramic industry, has an important place in ceramic production. Inorganic additions consisting of materials that do not contain carbon and are not of plant or animal origin are classified as natural and artificial inorganic additions according to the methods of their production. While many of the natural inorganic additions can be found naturally in clays in nature, artificial inorganic additions are not found in nature as used. Artificial inorganic additions are obtained by chemical processing of natural materials or by transformation of artificial materials. Inorganic additions added to the clay body directly or after undergoing various preliminary preparation processes change the physical and chemical properties of the clay body during forming, drying and firing stages, which are the most important stages of ceramic production. Within the scope of the research, natural and artificial inorganic additions with different properties, which are widely used in contemporary ceramic art, were selected and their physical and chemical properties in ceramic bodies were evaluated through the works of the artists. In the research, it is aimed to examine the effects of commonly used inorganic additions on ceramic bodies through examples in contemporary ceramic art and to make stoneware body recipes with inorganic addition and artistic practices in this direction. In this research, how the used additions are used in clay bodies and their effects on clay bodies before and after firing will be discussed. The artists’ search for different and new materials in ceramic production has enabled the development of clay bodies with inorganic addition. Inorganic additions which not only contribute to the structural properties of clay bodies, but also increase their aesthetic value, have led to the birth of new forms of expression, thus inspiring artists to create many unique works.