Güzel Sanatlar Enstitüsü

《象天法地——阿房宫遗址公园规划设计中的想象力》
Written in Chinese, the ideology of "similizing the heaven and following the earth and the unity of heaven and human beings " as well as the ultra-scale planning are reflected and perfected in the urban planning and architecture layout in the Qin Dynasty 2000 years ago. In the planning and design process, the designer restored the First Qin Emperor's urban blueprint and design philosophy, applied these concept into the planning works.

《炽热的背影——古波斯帝国阿契美尼德王都遗址》
Written in Chinese, focused on the two famous world cultural heritages, Pasargadae and Persepolis in Iran. The two archaeological sites witnessed the rise and fall of the ancient Persian Empire who ruled vast territories ranging over the European Asian and African continents of the world at the earliest.

Written in Chinese, Three poetic story of historical and present Istanbul: Istanbul form Cats' view, Dreams and Smokes from Ottoman, Ramadan and Kına Night of Turkish wedding, Published in Hui Literature, Xinjiang 2016 (2), p. 94-102
城里星夜城外月——伊斯坦布尔的岁月回响，《回族文学》2016年 第2期，第94-102页

Topkapı Sarayı Müzesi El Yazma Kütüphanesinde yer alan H. 2153 ve H. 2160 numaralı iki nadide albüm ile Saray Albümleri (TSMK H. 2152, H. 2153, H. 2154, H. 2160 ve SBB Diez Albümü) arasında önemli iki sanat koleksiyonun içeriklerinin çoğu Akkoyunlu-Türkmen Sultan Yakub Bey’in himayesinde toplanarak hazırlanmıştır. Bunlar arasında geleneksel minyatüre benzemeyen Çin resim sanatı etkisini yansıtan birçok sade mürekkepli resim, tahrir, bezeme tasarımı içeren ve Kalem-i Siyahî olarak adlandırılan yeni bir resim çeşidi görülmektedir. Özellikle 14. yüzyılda yaşayan Emîr Devletyâr, ʿAbdu’ l-Hayy, Sultan Ahmed Celâyir gibi üstatların Kalem-i Siyahî tekniğiyle yaptıkları bu çalışmalarda estetik zevk ve sanatsal beslenme ile yeni bir tarz olarak karşımıza çıkar.
Bu tezde, günümüze kadar gelen farklı konuları işleyen Kalem-i Siyahî resimlerindeki Çin etkisi, özellikle Bai-miao ve Şan-Şui teknikleri açısından yeniden incelenmektedir. Ayrıca orijinal Çin kaynaklarının fırça-mürekkep tekniklerinin karşılaştırma yöntemiyle uygulamalı analizi de yapılmaktadır.

The Bai-miao painting, which is drawn only by ink lines, highly prospered and progressed during Sung-Yuan Dynasty from the 11st to the 14th century in Chinese history. After Mongolians took over the Central Plains of China, this kind of arts began to appear in the Middle Asian, Western Asian and Anatolian, being brought to the west by the artists living in the metropolitan cities of China and provincial artists. At that times, some reproduction paintings and some paintings under the Chinese influence yet with the local aesthetic taste, which were manufactured in Middle Asian and Iran, eventually came into the albums of Sultans with original Chinese paintings.
The two albums named H. 2153 and H. 2160 are significant from the other Saray Albums (TSMK H. 2152, H. 2154, SBB Diez Album) in the Manuscript Library of Topkapi Palace Museum. Most works of the two albums were ordered to paint or collected under the protection of Aqqoyunlu-Turkmen Sultan Yakub Beg. Among these plain linear ink works, drafts, sketches, and the reflected Chinoiserie effects are so manifested that with the name of “Qalam-Siyâhi” a new kind of painting art had formed which was totally different from the traditional Islamic miniatures had formed. Especially, the techniques of the Qalam-Siyâhi artworks made by masters like Amîr Dawlatyâr, ʿAbdu’ l-Hayy, Sultan Ahmed Celâyir produced a strong aesthetic value and new artistic nutrition.
In this thesis, the Chinosiserie effects of Qalam-Siyâhi paintings will be studied through the perspective of the Bai-miao and Shan-Shui painting techniques again. Furthermore, the comparative study method of the brush-ink techniques is to be used for analysis.

作为世界三大天启性的一神教之一，伊斯兰教对偶像崇拜的严格禁止，引发了与宗教文化关系紧密的造型美术在宗教教义和逊尼教法限制下的生存危机。但是人性的瑕疵、追求美的本能和欲望，不可能仅因几行教条戒律的限制就会被有效抑制甚至消失的。反观宗教自身，在创始之后也并不是一成不变的，而是不断地在冲突和争论中自我修正、逐步完善发展起来的。本文针对伊斯兰教的绘画艺术是如何在宗教的发展历程中被限制和禁止，又是如何找到教义的合法性而存活发展下来的这一问题进行了探讨，并试图梳理出细密画发展初期其背后所隐藏的线索。

With the development of Chinese chapter novel and popularization of printing technology, sums of line illustrations adopted in the editions of Ming and Qing period. The earliest known portrait of Zheng He originated from the illustration in the 21 st chapter of a block-printed edition named "San Bao Taijian Xiyang Ji Tongsu Yanyi" (Popular Romance of Eunuch Admiral Sanbao's journey to the West Ocean) dated in the 26 th year of Ming Wanli Emperor (c. 1598). The picture about Zheng He as authentic reference could not be found much. After 1970s and before the heydays of film-television media, picture-story books bloomed again in China. During this period, several picture-story books illustrated Zheng He's voyage, and enriched Zheng He's image. The images of Zheng He based on the 1980s were too innovated till the masterpiece "Peaceful Zheng He -Ambassador of Peace", painted by Chinese Muslim artist Ali Leigong with a new style of "Islamic Chinoiseire miniature" in 2004, which placed the image of Zheng He in a refined artwork with story and memorial in the new context of the closer cultural and socioeconomic connections between China and Southeastern Asia

With the development of Chinese chapter novel and the popularization of printing technology, sums of line illustrations were adopted in the editions of Ming and Qing periods. The earliest known portrait of Zheng He originated from the illustration that appeared in the 21 st chapter of a block-printed edition named "San Bao Taijian Xiyang Ji Tongsu Yanyi" (Popular Romance of Eunuch Admiral Sanbao's journey to the Western Oceans) dated in the 26 th year of Ming Wanli Emperor (c. 1598). The picture about Zheng He as authentic reference could not be much found. After the 1970s and before the heydays of film-television media, picture-story books bloomed again in China. During this period, several picture-story books illustrated Zheng He's voyage and enriched Zheng He's image. The images of Zheng He produced in the 1980s' style were too innovated till the masterpiece "Zheng He: Ambassador of Peace", painted by Chinese Muslim artist Ali Leigong with a new style of "Islamic Chinoiserie miniature" in 2004. This placed the image of Zheng He in a refined artwork, with stories and memorials in the new context of cultural and socioeconomic connections between China and Southeastern Asia before President Xi Jinping initiated the Belt and Road initiative. This paper discusses the variation of the figures of Zheng He in Chinese paintings and the influence of Chinese Islamic painting through the Silk Road's cultural communication from the perspective of art history and artistic creation.

随着章回小说的发展和印刷术的普及，明清时代的刻本书籍中涌现了大量白描插图。郑和的形象历史上没有过多可信的图像记载，现已知最早的郑和绣像源于明万历26年（1598）刻本《三宝太监西洋记通俗演义》第21回插图。20世纪80年代在影视媒体到来之前，连环画在中国大陆迎来了第二次繁荣，这一时期诞生了多部以郑和为题材的连环画作品，丰富了郑和的形象表达。这一时期诞生的郑和绣像形象深入人心，直到21世纪初中国穆斯林画家阿里雷公用其开创的中国伊斯兰细密画风格重绘了“和平使者郑和”，让郑和的形象得以在新时代的新语境下，以新的面貌从连环故事书籍升华到了具有故事性和纪念性的精细巨作中。本文试从艺术史和艺术创作的角度解读郑和形象在中国绘画中的流变，以及丝路文化交流对于中国伊斯兰绘画创作的影响。

赛尔柱时期的绘画艺术深受摩尼教的影响，并将波斯文学作品作为绘画创作的主要对象。现藏于伊斯坦布尔托普卡帕宫图书馆的第841号珍宝《瓦尔卡与古尔莎的爱情叙事诗》（Varka ve Gülşah Mesnevisi）是现存最古老的、也是唯一一部完整的插图书籍。书籍中的细密画作品在时间上属于赛尔柱晚期，艺术风格受到了回鹘摩尼教绘画的影响，并有所发展。画面色彩鲜明、构图简洁，极富中亚突厥民族的装饰性，是赛尔柱突厥艺术中最为重要的细密画作品之一。瓦尔卡与古尔莎的爱情叙事诗中有六幅细密画中出现了猫的形象。这些与故事主要内容并行的形象们自身就是一个主题，甚至是解读文本与细密画插图之间联系的一把密匙。因此，动物的隐喻和象征是细密画故事场景的重要支撑。

现藏于土耳其伊斯坦布尔托普卡珀宫图书馆的波斯册页是15-16世纪中西文化艺术在伊斯兰文化圈所汇集交流的结晶。册页中的作品内容、风格多样，且创作的时代跨度长和地域分布广，极具学术研究价值；册页在战争中多次易主，不断加入不同宫廷的收藏品，也有大量散乱的残页散页，这些作品最终在奥斯曼帝国的宫廷画院完成了整合工作。主要以细密画、书法、草稿和装饰图案为主的几本波斯册页中夹杂着的纸本、绢本的中国画摹本，在上世纪七八十年代引起了众多艺术史学者的关注。本文从图像和技法的角度梳理了受中国画影响的波斯册页中的“黑笔画”。

2016年盛夏时节,第40届世界遗产大会在土耳其最大城市伊斯坦布尔如期开幕.正当各国与会专家开始进入状态探讨正式议题时,战斗机的低空呼啸和博斯普鲁斯大桥上的枪声让这座历史文化名城再次陷入了军事政变(未遂)中. 在 1985年的世界遗产大会上,伊斯坦布尔历史城区以其跨越两千年、连接两大洲和两大宗教的独特价值,以及文化遗产的完整性被纳入了《世界遗产名录》.伊斯坦布尔的世界遗产由历史半岛上的四个核心区构成:苏丹艾哈迈德城市考古保护区、苏莱曼尼耶清真寺及相关遗产保护区、泽依莱克清真寺及相关遗产保护区、城墙保护区.这座连接巴尔干色雷斯半岛与安纳托利亚高原、黑海与地中海的城市曾被称为“安拉咽喉中的骨头”,它继承了东罗马、奥斯曼帝国的政治、宗教和艺术财富,在博斯普鲁斯海峡绿松石般的波涛中显得格外璀璨耀眼.

Osmanlı İmparatorluğunda 16. yüzyılda yaygınlaşan topografik İstanbul tasvirlerinin Pîrî Reis’in denizcilik haritalarından Matrakçı Nasuh’un menzilnâmesi ve saray şehnameleri minyatürlerine kadar
Türk sanat tarihinde ayrı bir yer vardır. Topografik şehir tasvirinin Osmanlı minyatürleri özgün bir resim
tarzı ortaya çıkarken dönemin uygulanan ve bugüne ulaşan İstanbul tasviri eserleri az sayıda olduğu
bilinmektedir. Bu çalışma ile Osmanlı minyatürleri içinde özel bir konuma sahip olan topografik İstanbul tasvirleri örnekleri plan ve plastik olarak incelenmiş, karşılaştırmaları yapılmış; İstanbul tasvirleri
yapan günümüz yaratıcı sanatçılarına geçmiş Türk minyatür örneklerinden yeni bir bakış kazandırması amaçlanmıştır. Bu çalışmada kronolojik olarak incelenen minyatürler karşılaştırmalı olarak değerlendirilmiş, eser analizi yöntemi ve nitel araştırma yöntemi ile çözümlenmeye çalışılmıştır. Bu açıdan
tarihi eserlerin değerlendirilmeleri ve analizlerinin günümüz minyatür sanatçılarına yeni yorumlar çıkartabilmesi için bir yardımcı kaynak olması beklenilmektedir.

This paper describes a study to examine how a social situation can be simulated in a virtual environment, and how to provoke the same behavioral response as in a real life social situation. The aim is to create new Virtual Reality worlds for treating social phobia. Two cases were examined in a virtual environment to assess whether it was able to recreate social behavior of people. First, we examined if participants who enter a crowded room in the virtual environment prefer to take a seat in a chair that is close to them. ...