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ÖZET 19.yy. sonlarından başlayıp 20.yy. ortalarına kadar devam eden dönem genel olarak MODERN DÖNEM olarak adlandırılır. Modern dönem ve genel olarak bu dönem içinde hayatın hemen her alanında hakim olmuş olan düşünce biçimi temel olarak 19.yy. eklektisizmine karşı oluşturulmuş bir harekettir. 19.yy. içinde yaşanan eklektik ve bunun yarattığı karmaşıklık içinden çıkış yolu olarak Modem dönem bir ideoloji olarak Aydınlanma dönemi felsefesini benimsemiş, bu felsefî yaklaşımın insan ve akıla verdiği değeri ve buna bağlı kavramları kullanarak kendi felsefesini oluşturmuştur. Bu yaklaşım, edebiyattan sanata, mimariden siyasi düşüncelere kadar hayatın hemen her alanında etkili olmaya başlamıştır. 20.yy. ortalarına gelindiğinde Modern dönem ideolojisi, özellikle mimari ve plastik sanatlardaki uygulamaları artık kuşku ile karşılanmaya başlanmış ve dolayısıyla Aydınlanma felsefesi terim ve kavramları yeni bir gözle okunmaya çalışılmıştır. Geçmişle tüm ilişkilerin kesilmeye çalışıldığı, en somut örneklerini mimarlık alanında görebildiğimiz, bu alanda kendi iç kuralları ve söylemini oluşturmuş olan Modern dönem ve daha dar anlamı ile Modern mimari sorgulanmaya başlanmıştır. Değişen toplumsal düzenler, ekonomik koşullar, siyasi tercihler bu yeni durumun yeni bir kavram ile açıklanması gereğini ortaya çıkarmıştır. Bu yeni durum, uzun süre üzerinde tartışıldıktan sonra önce mimari alanda kullanılmaya başlanıp, daha sonra her etkinlik alanına kaymaya başlayan Post-Modernizm ile açıklanmaya/tanımlanmaya başlanmıştır. Türkiye'de de Cumhuriyetin kurulması ile birlikte yeni bir toplum ve kent ima¬ jı yaratma çabalan gündeme gelmiş, bu beklentiye en iyi cevaplar dönem ola¬ rak da uygunluk göstermesi bakımından Modern düşünce ve Modern mimari anlayışta bulunmuştur. Bugün ise tüm dünya toplumlarında yaşanan, öncelikle mimari alanda Modernizm'e bir karşı çıkış olarak kabul edilen Post-Modernizm Batı toplumlarında olduğu kadar özgür ve cesurca olmasa bile Türkiye'de de özellikle edebiyat ve mimari alanlarında ve daha geniş bir çerçevede bakıldığın¬ da günlük yaşam içinde etkili obuaya başlamıştır. Bu çalışmada, günümüzün bu gerçeğinden yola çıkılarak, daha dar bir çerçeve de, özellikle mimari uygulamalar bağlamında ve istanbul kenti ile sınırlanmış olarak örneklenmeye çalışılmıştır. Örneklerde Modern mimariye bir karşı çıkış olarak gündemi meşgul eden ve özellikle de Modern mimari'nin kesinlikle kaçındığı tarihçilik konusunda Modern mimariye tarihsel referansları kullanması bakımından taban tabana zıt olan Post-Modern mimarinin tarihsel biçim kullanma serbestliği ortak özellik olarak ele alınmıştır. Yapılan çalışma Türkiye'de, Batı ülkelerinde olduğundan farklı bir biçimde özellikle vitrin düzenlemelerinde daha yaygın olarak kullanıldığı sonucuna ulaşılmasına neden olmuştur. Çünkü Batı toplumlarında yapıların tamamında da en az vitrin düzenlemeleri kadar yaygın bir kullanım söz konusudur. - v - SUMMARY The period, starting from the last decades of 19th century till the mid 20th century which has been effective almost in all aspects of life, literature, arts, thought and especially in architecture is generally called the MODERN PERIOD. Modern period and the prevailing movement in this period is basically developed as a reaction to the confusion of art in 19th century. 19th century has been supported by Enlightenment thought's rationalism which is the result of an awakening starting from Renaissance, liberated from the pressure of the church, dogmas and metapysical thought, explaining the human existance with his own mind, trying to find a place and a way of life in cosmos. With all this, 19th century is regarded as a period of thought prosperity. Nevertheless, 19th century seems to be sort of multidimensioned, just like many other periods. In this period too, as well as many philosophers, artists and writers who approve of new ideologies, there was a majority who regard themselves excluded from the society they live in and force themselves to bear the tendencies and beliefs the society accepts. The alternatives for the catastrophic ways of life in 19th century were created by Ruskin, Morris and Arts and Crafts movement. After those, Art Nouveau appeared, which probably was the outburst of art since 200 years. 20th century, then became a period that the belief of universal form was to be discovered which could not have been in 19th century. This was the expectation: Starting from this century, people everywhere will dress the same way, sit on the chairs that have the same design, eat the same kind of food and live in the same sort of buildings. The focal point of arguments have concentrated upon this problem was that the machines have replaced the handcrafts. From that point, the priority was given to the suitable working conditions for the machines, to improve the machine aesthetics and finding out aesthetical forms liberated from embellishment. There was the necessity of suitability to industrial process for forms either created for daily life or for art. -VIThere was a common purpose within all radical trends of Modern period which was an epoch of reaction: To pioneer a visual integrity and change what is valid. In architecture, it is possible to observe all substantial examples of this reactionary period that reigned all fields of art. In the beginning of 20th century, the concept of architecture showed a heterogeneus structure which was constituted of ideologies having the common point of confronting the 19th century eclecticism though in fact being different from each other. All tendencies mentioned above which can be named as Modern architecture have another common point: they all accepted the principle of functionalism. In this period, determination of the programme, the clear expression of structure, belief in technology and industry, the universality of solutions reached by mind, deliberately keeping off from embellishment and historical references were the period's thus the Modern architecture's main principles. Modernism appeared as a radical change in the end of 19th century through the beginning of 20th century and left traces in all aspects of life, but gave its most striking examples in architecture, but when we come to 1970's, it lost its dominance and left its place to an opponent concept; Post-Modernism. Modernism had found its most important source in Enlightenment philosophy. The celestial order was no more and the scholastic Middle Age thought was abolished. The humanistic principles like freedom, fraternity, equality had started to take roots. The most important of all was the will to grasp the universality. From the second half of 20th century onwards, concept like integrity, totality etc. belonging to Enligtenment philosophy were reinquired especially when the independence movement of the colonies accelerated. With this inquiry, all superior theories which tried to explain the universal concept and supported the Modern movement lost their respectability. Today, it is no more possible to mention the 'centers' which were supported by Enlightenment philosophy. The new human model created with this reinquiry has no unity, consistancy nor conscious subject that can build up the history. This model is effecting and effected and can talk for different subject point of views. With this reinquiry, showed up the need of 'redefiniton' and many concepts were put forwards: Post-industry, Post-fordism, consumption society, communication society etc. vn -SUMMARY The period, starting from the last decades of 19th century till the mid 20th century which has been effective almost in all aspects of life, literature, arts, thought and especially in architecture is generally called the MODERN PERIOD. Modern period and the prevailing movement in this period is basically developed as a reaction to the confusion of art in 19th century. 19th century has been supported by Enlightenment thought's rationalism which is the result of an awakening starting from Renaissance, liberated from the pressure of the church, dogmas and metapysical thought, explaining the human existance with his own mind, trying to find a place and a way of life in cosmos. With all this, 19th century is regarded as a period of thought prosperity. Nevertheless, 19th century seems to be sort of multidimensioned, just like many other periods. In this period too, as well as many philosophers, artists and writers who approve of new ideologies, there was a majority who regard themselves excluded from the society they live in and force themselves to bear the tendencies and beliefs the society accepts. The alternatives for the catastrophic ways of life in 19th century were created by Ruskin, Morris and Arts and Crafts movement. After those, Art Nouveau appeared, which probably was the outburst of art since 200 years. 20th century, then became a period that the belief of universal form was to be discovered which could not have been in 19th century. This was the expectation: Starting from this century, people everywhere will dress the same way, sit on the chairs that have the same design, eat the same kind of food and live in the same sort of buildings. The focal point of arguments have concentrated upon this problem was that the machines have replaced the handcrafts. From that point, the priority was given to the suitable working conditions for the machines, to improve the machine aesthetics and finding out aesthetical forms liberated from embellishment. There was the necessity of suitability to industrial process for forms either created for daily life or for art. -VIThere was a common purpose within all radical trends of Modern period which was an epoch of reaction: To pioneer a visual integrity and change what is valid. In architecture, it is possible to observe all substantial examples of this reactionary period that reigned all fields of art. In the beginning of 20th century, the concept of architecture showed a heterogeneus structure which was constituted of ideologies having the common point of confronting the 19th century eclecticism though in fact being different from each other. All tendencies mentioned above which can be named as Modern architecture have another common point: they all accepted the principle of functionalism. In this period, determination of the programme, the clear expression of structure, belief in technology and industry, the universality of solutions reached by mind, deliberately keeping off from embellishment and historical references were the period's thus the Modern architecture's main principles. Modernism appeared as a radical change in the end of 19th century through the beginning of 20th century and left traces in all aspects of life, but gave its most striking examples in architecture, but when we come to 1970's, it lost its dominance and left its place to an opponent concept; Post-Modernism. Modernism had found its most important source in Enlightenment philosophy. The celestial order was no more and the scholastic Middle Age thought was abolished. The humanistic principles like freedom, fraternity, equality had started to take roots. The most important of all was the will to grasp the universality. From the second half of 20th century onwards, concept like integrity, totality etc. belonging to Enligtenment philosophy were reinquired especially when the independence movement of the colonies accelerated. With this inquiry, all superior theories which tried to explain the universal concept and supported the Modern movement lost their respectability. Today, it is no more possible to mention the 'centers' which were supported by Enlightenment philosophy. The new human model created with this reinquiry has no unity, consistancy nor conscious subject that can build up the history. This model is effecting and effected and can talk for different subject point of views. With this reinquiry, showed up the need of 'redefiniton' and many concepts were put forwards: Post-industry, Post-fordism, consumption society, communication society etc. vn -SUMMARY The period, starting from the last decades of 19th century till the mid 20th century which has been effective almost in all aspects of life, literature, arts, thought and especially in architecture is generally called the MODERN PERIOD. Modern period and the prevailing movement in this period is basically developed as a reaction to the confusion of art in 19th century. 19th century has been supported by Enlightenment thought's rationalism which is the result of an awakening starting from Renaissance, liberated from the pressure of the church, dogmas and metapysical thought, explaining the human existance with his own mind, trying to find a place and a way of life in cosmos. With all this, 19th century is regarded as a period of thought prosperity. Nevertheless, 19th century seems to be sort of multidimensioned, just like many other periods. In this period too, as well as many philosophers, artists and writers who approve of new ideologies, there was a majority who regard themselves excluded from the society they live in and force themselves to bear the tendencies and beliefs the society accepts. The alternatives for the catastrophic ways of life in 19th century were created by Ruskin, Morris and Arts and Crafts movement. After those, Art Nouveau appeared, which probably was the outburst of art since 200 years. 20th century, then became a period that the belief of universal form was to be discovered which could not have been in 19th century. This was the expectation: Starting from this century, people everywhere will dress the same way, sit on the chairs that have the same design, eat the same kind of food and live in the same sort of buildings. The focal point of arguments have concentrated upon this problem was that the machines have replaced the handcrafts. From that point, the priority was given to the suitable working conditions for the machines, to improve the machine aesthetics and finding out aesthetical forms liberated from embellishment. There was the necessity of suitability to industrial process for forms either created for daily life or for art. -VI 96

Art Nouveau İstanbul'a yabancı mimarlar ve ithal kullanım eşyalarıyla girerek, bir yasam biçiminin adı olmuştur. Bu. nedenle etkilerini mimaride de görmek mümkündür. istanbul Art Nouveau mimarisinden sözetmek gerekirse, öncelikle bu akımın daha çok cephe bezeme bağlamında etkili olduğunu söylemek yerinde olur. Plana uygulanan değişimler bulmak güçtür. Ancak, istanbul Art Nouveau.'`* sunun kendine özgü tavrı yanında, istanbul'la bütünleşen bir gelişim çizgisi ve istanbul'a özgü bir karakterinin olduğu da yadsınamaz. işte bu karakter bağlamında incelemeye çalıştığımız, istanbul Art Nouveau mimarisinde dekoratif amaçlı demir malzeme kullanımının görüldüğü çak sayıda örnek sonucu. Art Nouveau motif ve düzenlemelere uygunluk gösteren, akıcı formlarda kolaylıkla kullanılabilen demir malzemenin, geleneksel tekniklerle, sevilerek kullanıldığını söyleyebi liriz. Farklı yerlerde çok sayıda örneklerine rastlayabildiğimiz bu kullanım sonucu, istanbul Art Nouveau mimarisiyle bütünleşerek onu tanımlayan bir kol olarak dekoratif amaçlı demir malzeme kullanımından sözetmek, hatta bu kullanımın çoğunlukla cephelerde, kapı, balkon, pencere korkuluğu, konsol gibi öğeler olmak üzere, az sayıda örnekte de merdiven korkuluğunda olduğunu belirtebiliriz. The Decorative Use of Iron in Istanbul Art Nouveau Architectures Only recently has Art Nouveau architecture ceased to be regarded as a retrogressive interlude between historicism and the modern movement, and this largely as a result o-f the re-evaluation o-f the role and importance of ornamentation in architecture. At the end o-f last century France abandoned the rigid traditions of the Louis Philippe style and developed her own -floral language o-f desing, which eventually embraced the entire field o-f art and combined a fondness.for assymetry with the still traditional vue d* ensemble, had a decisive influence. Spatial illusion was a. prominent.feature and ornamentation was -flamboyant, climbing wildly over facades, playing around -furniture and objects. Nude.female -figures adapted to the softly -flowing lines became an indispensable decorative element. While this sort o-f design hardly strikes us as modern today, at the time it was revolutionary indeed. When we consider the austere.facades along the streets in Paris, it is understandable that people were at first shocked by the new buildings erected at the turn o-f the century, so untradit ional, not to say `liberated`, was their style. Colour was an element o-f -Jugendstil architecture. Hector Guimard's green cats- iron ornaments at the entrances to the Paris Metro are a good example of this. They combine the most striking feature o-f French Art Nouveaus curving forms controlled within dynamic contours. This basic concept recurs in Gail lard7 s furniture, in Lalique's jewellery, in the glass o-f Galle and Daum. We cannot leave the -floral school o-f Art Nouveau without mentioning its best-known exponents, the cut glasses and the exquisite and unusual jewellery. Lalique was not concerned with the value o-f a piece o-f jewellery achieved by a conglomeration o-f precious stones? design was what counted. His jewellery is truly fabulous, for it has poetic features, the artistic impulse being merely a means for the perfection of poetic content. We find a similar VIsituation in glassmaking, where the artist Emile Gaile became the protagonist of a whole trend. Glass design were borrowed -From nature. A vase was -formed like an opening blossom or symbolized a -frosty breath of wind, it was the vessel -for the emotional world o-f the artist. Galle himself described his creations as ver re parlant. The two new building materials which generally deter m inde architecture already in the second half of the 19th century were glass and iron. They were used for the Crystal Palace in London in 1851 and again 30 years later for Gustav Eiffel's Tower for the Paris Universal Exposition. Before Guimard combined his skeleton-like facades with exuberant decorative elements in Paris, his prototype Victor Horta in Belgium had achieved a balance between architecture and ornament. His Maison du Peuple, built between 1896 and 1899, deserves a leading place in the architecture history of Jugendstil. A few wall section aside, the facade consists entirely of metal and glass. It gives the impression of having been moulded into the desired form quite effortlessly, almost playful İş a folding box system opens up. In his later buildings Horta achieved this sense of insubstantial i ty for a whole house. Partitions between rooms seem to flow into one another weightlessly, above the staircases of his halls glass domes vault, with ornaments climbing from the glass doors over the storys to reach the light. His. creations are invariably elegant, delicate, almost fragile. Guimard, as the principal exponent of the architecture of Art Nouveau, thus stands between the two main tendencies of Jugendstil architectures Horta' s concept of transparent surfaces, and the mobility which Antonio Gaudi's buildings extend to the third dimension. In Gaudi's case, the fondness for vegetative ornament is carried to an extreme. his architecture is shaped like sculpture, the facades are modelled, separate parts are no longer recognisable. The ornamentation is modelled from within, climbing from the ground floor up to the chimneys. The dynamic movement is exciting, even if the forms are confusing in their exaggeration. Gaudi experiments with coloured building elements, encasing his architectural creations, which seem to luxuriate by themselves, with coloured tiles that in turn form an independent additional decoration. Straight lines are avoided in this casing too. The tiles are fragments dovetailed into one another, and thus carry the attack against all traditional architecture to an extreme. The Casa Mi la in Barcelona with its proliferation of roof structures sprouting like plants is the best example of this. The inexhaustible wealth of VIIideas and the eradication of all known rules is the bridge which always connected the most varied phenomena of what we call Jugendstil. In Munich, the centre o-f Serman Jugendstil, were less exuberantly -the architect August Endell and the sculptor Hermann Obrits. Their work seems like linear essence o-f the expansiveness of the Spainard. Here it is not a whole house shell that it caught hold o-f, but rather the rampant ornamentation that col is around the surfaces whisch, though covered, still remain surfaces. The interiors of the houses erected the new concept of art» The rooms with all their furnishings blended into a single harmonious whole in a rhythmical flow of line. Built-in cabinets continued in paneling and ended in an ornamental ceiling frieze. Lamps were designed in keeping with the style of the room. Door handles, landings, objects of everyday use -nothing was forgotten, everything was subject to the designer's will. The supreme principle was permeation of the whole room, not merely the display of single objects. The most interesting artist to follow this idea was the Belgian Henry van de Velde. Originally a painter, he built a house as a self taught architect in 1894 which soon became the focus of interest in international art circles, elevating its builder to a central figure of the Continental Jugendstil. He Combined his demand for utilitarian design with an exceedingly mobile ornamental style which was expressed less in his architecture than in his interior decoration. Van de Velde furthermore expressed his ideas in the most lively fashion in numerous publications and in lectures, and has thus handed down to us an interesting and camp her ens ive picture of his work. His fortunate encounter with the great patron of the arts, Karl Ernst Osthaus, enabled him to work freely without without financial worries and to produce the best examples of Jugendstil in its widest spectrum. Numerous architectural projects thus left him in Germany, where he spent his most productive years. The same passion went into designing a piece of furniture as a dinner- service, a piece of jewellery or a paper-knife. To achieve the ultimate perfection of harmony in his interiors he even included the personality of the inhabitants in his overall concept. His design for their clothes follow the lines of the room, augmenting the light colours of the furnishings. He even designed a hait - style for the lady of the house whose gestures and manner became the living manifestation of his idea. Van de Velde' s creations are easily recognizable, his strong sense of ornament is invariably subordinate to the purpose of his onject, both are combined. His ornament is an element of the whole, not superimposed.but rather a part of its function. VIIIArt Nouveau must retain the credit for the discovery of the aesthetic possibilities of iron and glass. Art Nouveau adored lightness, attenuation, transparency and of course sinuosity. Generally speaking, historians point out relation ships between the iron structures of the 19th. century, the theories of Viollet-le-Duc, and the eKposed structural elements characteristic of Art Nouveau. But, granted that Viollet-le-Duc1' s logic and the iron-and-glass architecture of the international exhibitions stirred the imagination of architects like Horta and Gurnard, this a posteriori Judgement still needs to be refined. Iron is used widely Art Nouveau architecture at Istanbul in the design of facades as a decorative material. Cause the suitability for the designing thin tendril-like curves, iron is very likely used in Istanbul. The decorative use of iron can be seen as well as at the doorsş windosw, banister of balconys, staircases, etc. To search this elements we have document 60 apartment - houses from different quarters of İstanbul s Beyoğlu, Sisli, Harbiye, Cihangir, Tarlabası, Kadıköy, Bakırköy. Most of the doors are designed floral, symmetric and stylistic but the quantity of the geometric and the semi- geometric arrangements is not less too. The geometric examples show the characteristics of early modernism. Iron window-banisters are used at the both of wodden and stone buildings. This banisters are floral too. Symetric and asymetric arrangements are used at the same time. The floral balcony-banisters have same similarities with the 18th. century Ottoman Baroc. The floral arrangements are ending with floral motifs and most of this motifs are stylistic. The geometric arranged banisters are early modern and they have cycles as motifs. At the few examples we see Art Nouveau designed IXstaircase. We think, that the mast of the staircase banisters are demolished by the time. We see decorative use a-f iron in Art Nnuveau architecture in Istanbul, in the early urbanized quarters. Mast a-f the examples are coming -from Pera. It has a special meaning, because Pera is the quarter, where the Levantines and Ottomans who have a dense connection with the west live. More of the examples are -floral, but the geometric arrangements are not less too most o-f the -floral arrangements have in background geometric patterns. So we can say that the geometric arrangements arB very important in Art Nouvsau arcitecture at Istanbul. 226

ÖZET Bu çalışmada, 16. yüzyıl geleneksel minyatür resminden 1940'lı yıllara kadar olan dönemde gerçekleştirilen örnekler, tema olarak ele alınan folklorik öğelere ağırlık verilerek katalog düzeni içned ince lenmeye çalışılmış, bunun yanında perspektif, ışık ve renk gibi resim- sel özellikler üzerinde de durulmuştur. Batılılaşma sürecinde, minyatürden tuval resmine geçişte, deği şim yalnız teknik ve malzemede değil, ele alınan konularda da sözko- nusudur. İki boyutlu minyatür resminin bazı örneklerinde, tema olarak yerel halk yaşamının betimlendiği görülür. Batılı anlamda tuval resmi uygulanmaya başlandıktan sonra, ağırlıklı olarak manzara, natürmort gibi resim türleri izlenirken, 20. yüzyılın başlarında yerel halk yaşamını içeren konuların da resimlendiği görülür. Türk resminde konu alanında görülen bu değişim, dönemin yaşanılan olaylarıyla bağlantılı olarak hız kazanmıştır. Bu dönemde oluşturulan yapıtlar incelenirken, kırsal yöre in sanı, yaşanılan çevre, ekonomi ve eşya kültürü, örf ve adetler üze rinde titizlikle durulmuştur. Ayrıca, Halk yaşamını konu alan bu yapıtlar, dönemin yaşam biçimini, gelenek ve göreneklerini folklorik öge/ögeler olarak yansıtmaları bakımından da belgesel niteliktedir. VI SUMMARY FOLKLORIC ELEMENTS IN TURKISH PAINTING It is necessary firstly to talk about the folklore's methodology, meaning, definition, content, matter, target, be cause of the impor tance of the folklore elements in the picture of this study on the usage of the folkloric elements in the early period Turkish Picture. The word `Folklore`, is an English term, is combined with `Folk` and `lore` words. `Folk` means people and `lore` is knowledge firstly, it is used by William J. Thorns (1803-1885) just as Thorns has used Folklore in literature, it has been used at the same meaning. Diffe rent opinions about the definitions of folklore, confronted at the se arched origins. According to the knowledge gained from them, folk lore is a branch of science that searchs the cultural documents of a people's physical and spiritual characters, classifies, analyzes, inter prets them with the help of technique and methods shows the way to make national culture, bringing the culture values of the post. It is accepted that the article `Halk Medeniyeti` of Ziya Gökalp, was published at the magazine `Halk Doğru` in 23 July 1913 is an initiation of the folklore studies in Turkey. But before this date, there were some studies contain some knowledge about Turk folklore though they were not scientific, conscious. In this study, the subject that folkloric elements on the Turkish- picture of early period were examined was valuable to be dealt with from the point of bringing the cultures as folkloric element and proot, the reflection of the custom, tradition and daily life of the ru ral society. Passing from the miniature, that was the art of the traditional Ottoman, to the canvas art of the west wasn't suddenly but was re alized after certain stages. After the process of westernization, the dranges were seen on the Ottoman culture effected miniature, and the traditional art. VIIIn the 17th and especially IS1*1 century, anew art medium way established in the Ottoman Empire. At the period, political and eco nomic relations were formed with west effected the cultural process. Coming of the objects and picture books to palace oriented the deco rators to conscious searching of the miniature. The miniature with two dimensions, at this term is trying to find a third dimension. The miniature in which new techniques and styles were tested left its place to rural stages, costume and flower pictures and men and wo men portraits. Different subjects were used, further more, seazhing the third dimension and place, even placing a natural section in the composition to make depth is an important development. The first examples showing people's life in miniature are tradesman's parade in the festivals. Osman, the decorator, in a paper of his book invol ves the festival of 1582 year shows the glaziers make glass, taking glass-paste from furnace with the help of pipe. Different groups of tradesman is showed in every miniature of Levni in the festival of 1720 these tradesman joined in the parade have got introductory characters of their careers. These miniatures are the proot to show the role of local people in the festivals, the profession groups, hand- arts, mentality of dressing. Sultan partriats and dress pictures have placed in the miniatures of the 2nd term of the 18tn century. The Europeans take interest in Ottoman life and dress. For that reason, they were having dress-albums prepaned for making known Ottoman dresses that Europeans were interested in. After this period, Otto man nobles have got the albums showing western dresses prepared. These albums have introductory qualified of uniforms or dresses of different countries. The miniatured- copies of the books `Hubarname` and `Zemanname` of Fazıl Enderuni, was a poet of this period, was a kind of dress-album have mentioned the beauty of male and female. The newness and westernization have been seen to become powerful at the periods of Mustafa, the 3rd (1757-74), Selim the 3rd (1789- 1807) and Mahmut the 2nd (1808-39). These neunesses firstly begins at the military field because of defeat of the army successively. With being established of Mühendishane-i Bahri-i Hümayun, techique- drawings, Bidd-sketches were mode. Like the newness at the military VIIIschools, the picture lessons were placed in civil-schools. The pers pective themes in that subjects were architectural were dealt with at the pictures of the craftsman most of who were graduated from mili tary school. The painting lessons at the military and civil schools the exhibitions that Şeker Ahmet Paşa organized in 1873 February and continued after this date were important stages that caused canvas painting to be known and spread. During the 1st World War (1914-18), with the command of En ver Paşa, the military minister, a studio in which the war-pictures were painted was established. Here, the craftsmen generation of 1917 who trained in west painted many pictures whose subjects were war and soldier. This tendency was formed at the war-years caused the craftsmen to reflect their national feelings and the Turkish fight. The foundation of new revolutionist Turkish Republic in 1923, reforms were realized one after the other formed many newnesses to art. The aim of founding of Public Houses which were cultural insti tutions of Atatürk reforms in 1932 was to spread education, know ledge and skill to every where with the help of Public Houses and to supply people's education. A thought-system of which aim was pub lic-education were reflected to art of Republic as a new subject due to l()£h anniversary of Turkish-Republic pictures of war Independence and Atatürk's reforms were exhibited at the 1st Revolution Exhibi tion was opened at Ankara Exhibition Galery. The struggles in the war of Independence, the joining of people in this struggle, the new nesses of Republic were taken as a subject in the 1930s. Canalizing of craftsman as a group to folkloric themes was become true in the cultural programme of Public Houses were established by C. H. P. go vernment. At this stage, the craftsman of this period were sent to different regions of country between 1938-34 years and were wanted to paint pictures that reflect the characters of these regions. These travels caused craftsmen to see country-reals and to spread the idea suggested to realize country-reals. From the process of westerniza tion up to nowadays, with the affect of western trends like perspec tive, still life, figures, were directed towards the local people like. Some characters like environment tradition, dress which Anatolians have got with sensitivity are folkloric proofs. Traditional painting left IXand western painting technique was applied because of the process of westernization and also, subjects were changed. For that reason, at the introduction section, the development of painting from 16tn C. with respect to usage of folkloric elements, was tried to summarize. The factors and masons preparing folkloric trends in the picture were mentioned dealing with the period in which folkloric approaches were seen definitely. At the 2nc* section, the catalogue chapter that some works were formed according to defined-method was taken part in Arranging at the 2nc* catalogue chapter, the birthdays of crafts men were taken into consideration while examining folkloric elements in the table, systems that showed the ways collection, arrangement and searching were profitted by. Some knowledge such as environment, buildings, house vari eties, economy, goods, feeding dressing, traditions, festivals, plans, games, theatres, folklores which this system involved according to folkloric search became source to study folklore, besides, painting characters such as using of perspective, light, shadow colours, were studied as detailed form describing what folkloric elements harmony and where from they come. Although less limit was drawn as a be ginning to take folkloric elements as subject even if the period upto 1940s was taken, some craftsmen stading local subjects at this per- rod have some subjects and perception. And placing of these achi evements at our work caused to overcome top limit. These pictures were formed at the later perrods, but it is a question to draw the top limit for some pictures of which painted dates are unknown. At the conchusion, discussing trends of craftsmen to local sub jects, and factors and reasons directs this trend, craftsmen and their pictures were subjected to a new evaluation. Individual differences at the approach of the craftsmen to the local subjects, style characters were tried to be determined. X 116