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Information
| Unit | |
| Code | SD0723 |
| Name | art history |
| Term | 2025-2026 Academic Year |
| Term | Fall and Spring |
| Duration (T+A) | 2-0 (T-A) (17 Week) |
| ECTS | 3 ECTS |
| National Credit | 2 National Credit |
| Teaching Language | Türkçe |
| Level | Üniversite Dersi |
| Label | UCC University Common Course |
| Mode of study | Yüz Yüze Öğretim |
| Catalog Information Coordinator | Hüsnü Emir Çetiner |
| Course Instructor |
Hüsnü Emir Çetiner
(Güz)
(A Group)
(Ins. in Charge)
Hüsnü Emir Çetiner (Güz) (B Group) (Ins. in Charge) Hüsnü Emir Çetiner (Güz) (C Group) (Ins. in Charge) Hüsnü Emir Çetiner (Güz) (D Group) (Ins. in Charge) Hüsnü Emir Çetiner (Güz) (E Group) (Ins. in Charge) Hüsnü Emir Çetiner (Güz) (F Group) (Ins. in Charge) Hüsnü Emir Çetiner (Güz) (G Group) (Ins. in Charge) Hüsnü Emir Çetiner (Güz) (H Group) (Ins. in Charge) |
Course Goal / Objective
Demonstrating the historical development of art and giving aesthetic theories
Course Content
Art history, theoretical information on art movements
Course Precondition
Resources
Books and documents on art history and aesthetic theories
Notes
The Story of Art Book Remzi Bookstore
Course Learning Outcomes
| Order | Course Learning Outcomes |
|---|---|
| LO01 | Historical Development of Art and the Development of Aesthetic Theories |
| LO02 | Art is most generally understood as the expression of creativity and imagination. Throughout history, ideas about what constitutes art have constantly shifted, and this broader concept has been subject to various restrictions and new definitions. The most widely accepted of these definitions is that art comprises the subgenres of literature, painting, music, theater, cinema, architecture, and sculpture. While the term "art" seems simple and straightforward to many today, in academic circles, the question of how art can be defined, and even whether it can be defined at all, is a matter of heated debate. The word "art" is generally used to refer to the visual arts. While the current usage of the word, influenced by Western culture, is similar to the English word "art," it is used more broadly among the public. Both the English word "art" (artificial), the German word "Kunst" (künstlich), and the Arabic-derived Turkish word "sanat" (sani) all contain a connotation of artificiality. Art began to shed this broader meaning during the Renaissance, but the terms "craft" and "art" continued to be used interchangeably until recently. Furthermore, after the Industrial Revolution, a distinction emerged between design and art, and in the 1950s and 1960s, a third, controversial line was drawn between popular culture and art. |
| LO03 | Although sculptures, cave paintings, and rock paintings dating back 40,000 years have been found, the meaning of these works remains largely unknown due to our limited knowledge of the culture in which they were developed. The oldest known art object—a series of perforated snail shells—dates back 75,000 years, but vessels likely made for storing paint have also been found that are 100,000 years old. Numerous works of art have been inherited from the civilizations of Ancient Egypt, Mesopotamia, Persia, India, Greece, Rome, the Inca, Maya, and Olmec. Ancient Greek art focused on the representation of the human physique in ideal proportions, while later, in Byzantine and Medieval Europe, biblical and religious motifs gained prominence, and styles that glorified these were developed. The Renaissance developed techniques for depicting the physical world and systematically applying perspective to create a three-dimensional perception in painting. In the East, due to the prohibition of iconography in Islamic art, the focus was on geometric shapes, calligraphy, and architecture. In the Far East, religion also guided artistic production during this period. |
| LO04 | In India and Tibet, colorful sculptures and dance were prominent, while religious paintings were also informed by these practices. In China, goldsmithing, bronzework, pottery, poetry, calligraphy, music, painting, and theater developed, with artistic trends varying depending on the leading dynasty. In the West, with the Enlightenment in the 18th century, a rational, clockwork understanding of the universe developed, reflected in Blake's portrayal of Newton as a sacred geometer and David's propagandistic paintings. This later gave way to 19th-century artistic movements such as academic art, Symbolism, Impressionism, and Fauvism, which emphasized emotion and individuality. 20th-century art history has been a century of endless artistic pursuits. Therefore, although the parameters of movements such as Impressionism, Expressionism, Fauvism, Cubism, Dadaism, and Surrealism did not survive beyond their inception, they influenced subsequent movements. From the second half of the century onward, modernism dominated culture, and as Theodor W. Adorno wrote in the opening sentence of his 1970 book, Theory of Aesthetics, "it is now taken for granted that nothing about art—not art itself, not its relationship with the world, not art's right to exist—can be taken for granted." Relativism was accepted as an inevitable reality, ushering in the era of contemporary art and postmodern criticism. |
| LO05 | Art Evaluation Philosopher Richard Wollheim proposes three approaches to the aesthetic evaluation of art: 1) The realist approach, which posits that aesthetic quality is an absolute value, independent of human perspective. 2) The objective approach, which posits that aesthetic quality is an absolute value but depends on human perspective. 3) The relativist approach, which posits that aesthetic quality is neither absolute nor absolute and varies depending on human perspective. |
| LO06 | Classification of the Arts The arts are traditionally divided into categories such as: rhetoric, literature (poetry, drama, short stories, etc.), book art, visual arts (painting, drawing, sculpture, etc.), graphic arts (painting, drawing, design, and other forms applied to surfaces), plastic arts (sculpture, modeling), decorative arts (ornamentation, furniture design, mosaic, etc.), performing arts (theater, dance, music), fine arts, handicrafts, sound art (composition), graphic arts, and architecture (including interior design). These classifications have changed throughout history. Other common art genres include kinetic art, abstract art, postmodern art, computer art, internet art, interactive art, information art, applied art, erotic art, wearable art, naive art, new media art, public art, religious art, street art, spray paint art, folk art, embroidery art, commercial art, psychedelic art, software art, military art, new art, gastronomy and culinary arts, land art, sand art, maritime art, paper art, body art, glass art, rock art, tile art, miniature art, tomb art, figurative art, flame art, and others. |
| LO07 | Classification of the Arts In ancient Greece, art, unlike its current meaning, was grouped according to nine muses, or muses, each symbolizing and embodying a distinct techne. None of the Muses were associated with the plastic arts (sculpture, painting, drawing). Here, techne can be roughly translated as art, but it also means craft, and it is a term that encompasses scientific disciplines. Accordingly, the nine branches of art are as follows: Epic poetry (Mus: Calliope) History (Mus: Cleio) Music and lyric poetry (Mus: Euterpe) Love poetry (Mus: Erato) Tragedy (Mus: Melpomene) Hymn and panto (Mus: Polyymnia) Dance and chorus (Mus: Terpsichore) Comedy and pastoral poetry (Mus: Thaleia) Astronomy (Mus: Urania) |
| LO08 | Classification of the Arts The modern distinction between artistic and non-artistic skills began to be made after the Renaissance. The first use of the term "art" in philosophy, in a sense similar to its current meaning, appears in Georg Wilhelm Friedrich Hegel's Lectures on Aesthetics, where Hegel ranks the arts from the most material to the most expressive: 1. Architecture, 2. Sculpture, 3. Painting, 4. Music, 5. Poetry René Guénon classified the arts as visual and auditory arts, based on the differences in lifestyles and rituals between nomadic and settled societies. According to Guénon, settled people produced plastic arts composed of forms within space (architecture, sculpture, painting), while nomads produced phonetic arts (music, poetry) that spread over time. Visual (plastic) arts: Drawing, painting, ceramics, photography, architecture Phonetic (auditory/sensory) arts: Music, literature |
| LO09 | Classification of the Arts Hegel's list in his Lectures on Aesthetics was particularly popular in France and has evolved over time with additions and modifications. The first seven of the following ten items were popularized by film theorist Ricciotto Canudo, who wrote the Seventh Manifesto of the Arts in 1923: 1. Architecture, 2. Sculpture, 3. Painting, 4. Music, 5. Literature (poetry and prose), 6. Performing arts (dance and theater), 7. Cinema and film, 8. Media arts (radio, television, and photography), 9. Comics, 10. Video games or electronic art and digital art forms in general. While there are suggestions for multimedia and performance art for ranks 11 and 12, there is no consensus on this matter. |
| LO10 | The Dominant Form View In his 1914 book Art, influenced by Cezanne, Clive Bell argued that art is a significant form. According to Bell, not every form falls into this category, because what matters is the combination of line, shape, and color relationships. This view argues that representation does not influence artistic taste. This view, which defines art as entirely related to aesthetics, is not as influential today as it was in its day, because it does not include the works of 20th-century artists such as Marcel Duchamp, Andy Warhol, and Joseph Beuys, who did not produce aesthetic objects in the traditional sense, but rather emphasized concepts rather than appearance. |
| LO11 | The View That Art Is an Expression of Emotions In his book The Principles of Art, published in 1938, R.G. Collingwood argued that art is fundamentally the creative expression or outward expression of emotions. He also distinguished between art and craft. Craft, he argued, is the transformation of materials into a pre-designed final product according to a plan, while artistic activities do not require a distinction between means and purposes, or between planning and execution. Furthermore, according to this view, art is not the expression of any emotion. This emotion must be one that is not explicit until the moment it is expressed, and its expression must lead to its discovery. This also involves the viewer in the investigation. This theory, too, fails to distinguish certain activities not considered art (for example, psychotherapy sessions) from art, and because it does not include certain works that are considered art (for example, paintings made during the Renaissance that were intended to evoke religious feelings rather than reveal the artist's emotions), has given way to the search for different theories. Furthermore, the failure of all these attempts at definition has sparked debates about the validity of attempts to define art. |
| LO12 | The Neo-Wittgensteinian View is the view put forward by Morris Weitz in 1956, based on Wittgenstein's views and his resistance to finding the essence of things. According to Weitz, theorists such as Fry and Bell, Tolstoy, Croce, and Collingwood, in their definitions, have gone no further than expressing their own personal views of art. To summarize the Neo-Wittgensteinian view, art is an open concept and cannot be defined. However, according to Weitz, this should not pose a philosophical problem, since it is possible to make judgments about what is and what is not art by using the family resemblance method. |
| LO13 | The Institutional View of Art Institutional art theory rejects the Neo-Wittgensteinian view and argues that art can be defined. This idea was first developed by George Dickie in 1974. Dickie's initial definition, influenced by Arthur Danto's art world ideas, was developed as follows: A work of art: A work of art that is consciously created by human agency or idea. It must be a candidate for appreciation and a consensus must be reached about certain parts of it by a person or persons acting on behalf of a specific social institution (the art world). |
Week Plan
| Week | Topic | Preparation | Methods |
|---|---|---|---|
| 1 | Historical Development of Art and the Development of Aesthetic Theories | Questioning the relationship between the concepts of art and work of art | Öğretim Yöntemleri: Tartışma |
| 2 | Examining the products of the Paleolithic, Mesolithic, Neolithic, Chalcolithic periods, ancient-Anatolian works | Art and Art Types: Study of art history branches of science | Öğretim Yöntemleri: Soru-Cevap |
| 3 | EASTERN MEDITERRANEAN BASIN CIVILIZATIONS IN THE EARLY AGE | Determines the general characteristics of the architecture, sculpture and relief arts that developed in Mesopotamia. | Öğretim Yöntemleri: Soru-Cevap |
| 4 | ANCIENT MEDITERRANEAN CIVILIZATIONS HELLENISTIC PERIOD ART ART | Compare the civilizations of the Eastern Mediterranean Basin in Antiquity. | Öğretim Yöntemleri: Soru-Cevap |
| 5 | ANCIENT PERIOD HELLENISTIC. ROMAN. BYZANTINE ART | Greek architecture determines the general characteristics of sculpture and relief arts. | Öğretim Yöntemleri: Soru-Cevap |
| 6 | ROMAN – BYZANTINE ART REFLECTION AND IMPACT OF CHRISTIANITY ON ART | It determines the general characteristics of Roman architecture, sculpture, relief and mosaic decorative arts. | Öğretim Yöntemleri: Soru-Cevap |
| 7 | ROMANESQUE – GOTHIC ART | Explains the general characteristics of architecture and other works of art of the Byzantine Period. | Öğretim Yöntemleri: Soru-Cevap |
| 8 | Mid-Term Exam | Ölçme Yöntemleri: Yazılı Sınav |
|
| 9 | EUROPEAN ART - RENAISSANCE | Determine the general characteristics of Roman and Gothic Art. | Öğretim Yöntemleri: Soru-Cevap |
| 10 | EUROPEAN ART BAROQUE - ROCOCO ART | Examining representatives and works of art from the Renaissance Period in Europe with examples. | Öğretim Yöntemleri: Soru-Cevap |
| 11 | EUROPEAN ART - ART MOVEMENTS Neoclassicism - Romanticism - Realism - Impressionism Pointilism (neo-impressionism) - Post-Impressionism - Fauvism - Dadaism | Determines the general characteristics of art movements of the 18th century and later. | Öğretim Yöntemleri: Soru-Cevap |
| 12 | EUROPEAN ART - ART MOVEMENTS Expressionism - Futurism - Metaphysics - Cubism Abstract Painting - Surrealism - Action Painting - Suprematism - Pop-Art | Determines the general characteristics of art movements of the 18th century and later. | Öğretim Yöntemleri: Soru-Cevap |
| 13 | Asian Art | INDO-BURMAN-TIBETAN-JAPANESE ARCHITECTURE, RELIEFS AND PAINTING | Öğretim Yöntemleri: Soru-Cevap |
| 14 | Pre-Islamic Central Asian Turkish art history Turkish-Islamic Art History | Determine the factors that influenced the formation of Central Asian Equestrian Steppe Art. | Öğretim Yöntemleri: Soru-Cevap |
| 15 | OUR REPUBLICAN PERIOD ARTISTS AND WORK REVIEW | Examining our leading painting and sculpture artists of the Republic period | Öğretim Yöntemleri: Soru-Cevap |
| 16 | Term Exams | Ölçme Yöntemleri: Yazılı Sınav |
|
| 17 | Term Exams | Ölçme Yöntemleri: Yazılı Sınav |
Student Workload - ECTS
| Works | Number | Time (Hour) | Workload (Hour) |
|---|---|---|---|
| Course Related Works | |||
| Class Time (Exam weeks are excluded) | 14 | 2 | 28 |
| Out of Class Study (Preliminary Work, Practice) | 14 | 2 | 28 |
| Assesment Related Works | |||
| Homeworks, Projects, Others | 0 | 0 | 0 |
| Mid-term Exams (Written, Oral, etc.) | 1 | 8 | 8 |
| Final Exam | 1 | 16 | 16 |
| Total Workload (Hour) | 80 | ||
| Total Workload / 25 (h) | 3,20 | ||
| ECTS | 3 ECTS | ||