{"id":13132,"date":"2021-09-16T20:21:45","date_gmt":"2021-09-16T17:21:45","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=13132"},"modified":"2021-09-16T20:21:45","modified_gmt":"2021-09-16T17:21:45","slug":"cin-sanat-tarihi","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/cin-sanat-tarihi.html","title":{"rendered":"\u00c7in Sanat Tarihi"},"content":{"rendered":"

\u00c7in sanat tarihi binlerce y\u0131ld\u0131r var olan bir toplumun, tarihsel d\u00f6nemlerinden izler ta\u015f\u0131r. \u00c7in k\u00fclt\u00fcrel ge\u00e7mi\u015f olarak \u00e7e\u015fitlili\u011fe sahip olan bir toplumdur. \u00c7in’deki sanatsal faaliyetlerinin tarihine bir g\u00f6z atal\u0131m.<\/p>\n

\u00c7in Sanat Tarihi<\/h2>\n

\u00c7in sanat tarihinin iki \u00f6nemli alan\u0131, geleneksek \u00c7in resim sanat\u0131 ve \u00c7in mimarisidir. \u00c7in resim sanat\u0131n\u0131n k\u00f6keni olduk\u00e7a gerilere dayan\u0131r.<\/p>\n

\u00c7in Resim Sanat\u0131<\/h3>\n

\u00c7in resmi, bug\u00fcn var olmaya devam eden en eski sanat formlar\u0131ndan biridir. \u00c7in sanat\u0131n\u0131n pek \u00e7ok bi\u00e7imi gibi, bu bir s\u00fcs g\u00f6revi olarak ba\u015flad\u0131, ancak k\u0131sa s\u00fcre sonra amaca y\u00f6nelik bir \u015feye d\u00f6n\u00fc\u015ft\u00fc. Bu makale, bu sanatsal gelene\u011fin k\u00f6kenlerini ve tarihini ve bununla yayg\u0131n olarak ili\u015fkilendirilen teknikleri a\u00e7\u0131klamaktad\u0131r.<\/p>\n

\u00c7in’de resim, tipik olarak \u00e7anak \u00e7\u00f6mlekleri s\u00fcsleyen dekoratif desenler ve \u015fekiller olarak ba\u015flad\u0131; bunlara spiraller, noktalar, dalgal\u0131 \u00e7izgiler ve \u00e7e\u015fitli hayvanlar dahildir. \u00c7inli ressamlar\u0131n resimleri, kendilerini \u00e7evreleyen d\u00fcnyay\u0131 \u00f6zetlemek i\u00e7in kullanmaya ba\u015flamas\u0131 M.\u00d6. 400 y\u0131l\u0131na kadar de\u011fildi. S\u0131ras\u0131yla M\u00d6 202 ve MS 618-906 y\u0131llar\u0131nda meydana gelen Han ve Tang Hanedanlar\u0131 s\u0131ras\u0131nda sanat\u00e7\u0131lar insan v\u00fccudunu boyama e\u011filimindeydiler. Bu resimler, ipek par\u015f\u00f6menler \u00fczerindeki mezarl\u0131k alanlar\u0131nda sona erdi ve cennete giden yolculuklar\u0131nda \u00f6l\u00fcleri korumak i\u00e7in oradayd\u0131. MS 907’den 1127’ye kadar \u00c7in resimleri manzaray\u0131 da i\u00e7erecek \u015fekilde geli\u015fti; bu d\u00f6nem \u00c7in resminin en y\u00fcksek noktas\u0131 olarak kabul edilir ve bu nedenle ‘\u00c7in Peyzaj\u0131n\u0131n B\u00fcy\u00fck \u00c7a\u011f\u0131’ olarak bilinir. Kuzey ve g\u00fcney \u00c7in’den gelen sanat\u00e7\u0131lar\u0131n her biri kendi manzaralar\u0131n\u0131 boyad\u0131lar.<\/p>\n

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\u00c7in Resim Sanat\u0131<\/p><\/div>\n

Zaman ilerledik\u00e7e, insanlar resimleri g\u00fczel sanat eserleri olarak tan\u0131maya ba\u015flad\u0131lar, bireysel sanat\u00e7\u0131lar ilgi oda\u011f\u0131 oldu ve \u00c7in resmi i\u00e7in y\u00f6nergeler olu\u015fturuldu. En \u00f6nemlisi, ‘\u00c7in Resminin Alt\u0131 Prensibi’ be\u015finci y\u00fczy\u0131lda ortaya \u00e7\u0131kt\u0131. Bu ilkeler bir sanat tarih\u00e7isi ve yazar olan Xie He taraf\u0131ndan \u2018\u2019Sanat\u00e7\u0131dan esere aktar\u0131lan enerji olan ruh rezonans\u0131, f\u0131r\u00e7an\u0131n kullan\u0131lma \u015feklini ifade eden kemik y\u00f6ntemi, resme at\u0131fta bulunan nesne ile ilgili yaz\u0131\u015fma ve ger\u00e7ek varl\u0131\u011f\u0131 etkin bir \u015fekilde tasvir edip etmedi\u011fi, resmin tonu ve renkleri olan yaz\u0131ya uygunluk, resmin d\u00fczenine, aral\u0131\u011f\u0131na ve derinli\u011fine at\u0131fta bulunan b\u00f6l\u00fcm ve planlama ve kopyalayarak \u0130letim, o modellerin ya\u015famdan ve tarihten kopyalanmas\u0131d\u0131r.\u2019\u2019 \u015feklinde yaz\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Tang Hanedanl\u0131\u011f\u0131, kraliyet ya\u015fam\u0131n\u0131n resimlerinin geli\u015fmesine izin verdi, \u00f6yle ki ger\u00e7ek\u00e7ilik bu d\u00f6nemde zirveye ula\u015ft\u0131. Bir\u00e7ok sanat\u00e7\u0131, resimlerinde abart\u0131l\u0131 renkler ve kapsaml\u0131 detaylar kulland\u0131; ancak bir sanat\u00e7\u0131 tam tersini yapmaya karar verdi. Wu Daozi, \u00e7al\u0131\u015fmalar\u0131na herhangi bir rengi dahil etmeyi reddeden usta bir sanat\u00e7\u0131yd\u0131. Bu zamandan sonra, onun gibi resimler, daha sonra renklerle doldurulacak eskizlerden ziyade bitmi\u015f sanat eserleri olarak kabul edildi. Manzara resimleri, do\u011fay\u0131 aynen kopyalamaktan kendilerini kurtard\u0131klar\u0131 ve bunun yerine sanat\u00e7\u0131n\u0131n ruhsal do\u011fas\u0131n\u0131 a\u00e7\u0131\u011fa \u00e7\u0131kard\u0131klar\u0131 i\u00e7in k\u0131sa s\u00fcrede \u00e7ok daha anlaml\u0131 hale geldi. Bu, ressamlar\u0131n d\u0131\u015f cephesinden ziyade boyad\u0131klar\u0131 nesnelerin ‘i\u00e7sel ruhunu’ tan\u0131mlamalar\u0131na izin verdi. 20. y\u00fczy\u0131l\u0131n \u015fafa\u011f\u0131nda, \u00c7inli sanat\u00e7\u0131lar bir\u00e7ok Bat\u0131 sanat\u0131na maruz kald\u0131lar ve hatta baz\u0131lar\u0131 Avrupa’da e\u011fitim g\u00f6rd\u00fc. Bu sanat\u00e7\u0131lar\u0131n \u00e7o\u011fu geleneksel \u00c7in resmini reddetmeye ba\u015flarken, di\u011ferleri iki formu birbirine ba\u011flamaya \u00e7al\u0131\u015ft\u0131.<\/p>\n

13. y\u00fczy\u0131ldan 20. y\u00fczy\u0131l\u0131n hemen \u00f6ncesine kadar, sanat\u00e7\u0131lar meyve veya \u00e7i\u00e7ek gibi basit nesneleri boyama gelene\u011fini geli\u015ftirdiler. Renkli bask\u0131 teknikleri geli\u015ftirilerek resim konusunda teknik k\u0131lavuzlar da ortaya \u00e7\u0131kt\u0131. Ba\u015flang\u0131\u00e7ta resim, dayan\u0131kl\u0131l\u0131\u011f\u0131 ve kraliyet soylular\u0131n\u0131n ya\u015fam tarz\u0131yla ili\u015fkilendirilmesi nedeniyle ipek \u00fczerine yap\u0131ld\u0131; ressamlar\u0131n \u00e7o\u011funlu\u011funun, boyama tekniklerini ve enstr\u00fcmanlar\u0131n\u0131 m\u00fckemmelle\u015ftirmek i\u00e7in uygun miktarda rekreasyon zaman\u0131na sahip olduklar\u0131 i\u00e7in geldi\u011fi yerdir. Cai Lun taraf\u0131ndan birinci y\u00fczy\u0131lda ka\u011f\u0131t icat edildikten k\u0131sa bir s\u00fcre sonra, yaz\u0131 ve resim i\u00e7in birincil ortam olarak ipe\u011fin yerini ald\u0131. Resmin pop\u00fclaritesi artmaya ba\u015flad\u0131k\u00e7a, iki temel teknik geli\u015fti. \u0130lki, titizlik anlam\u0131na gelen Gong-bi olarak bilinir. Di\u011fer stile serbest el anlam\u0131na gelen Shui-mo denir; bu t\u00fcr bir teknik, bat\u0131 k\u00fclt\u00fcrlerinin suluboya resim olarak bildiklerine benzer. Topluca geleneksel resim olarak an\u0131lan bu teknikler, ya\u011f yerine m\u00fcrekkebe bat\u0131r\u0131lm\u0131\u015f bir f\u0131r\u00e7a kulland\u0131\u011f\u0131 i\u00e7in pratikte hat sanat\u0131na benziyor. Geleneksel resim tipik olarak ka\u011f\u0131t ve ipek \u00fczerine yap\u0131l\u0131r, ancak bazen ba\u015fka ortamlarda da yap\u0131l\u0131r. \u00c7in resim sanat\u0131, binlerce y\u0131l boyunca stillerin, konular\u0131n ve k\u00fclt\u00fcrlerin bir kar\u0131\u015f\u0131m\u0131 olarak olgunla\u015ft\u0131.<\/p>\n

\u00c7in Sanat Tarihi\u00a0Mimarisi<\/h3>\n

Medeniyet var oldu\u011fu s\u00fcrece \u00c7in halk\u0131 k\u00fclt\u00fcrel inan\u00e7lar\u0131n\u0131 mimari arac\u0131l\u0131\u011f\u0131yla ifade etmektedir. Temel yap\u0131sal tasar\u0131m ilkeleri, binlerce y\u0131l boyunca nispeten dura\u011fan kalm\u0131\u015ft\u0131r; sadece dekoratif nitelikler de\u011fi\u015ftirilmi\u015ftir. \u00c7in k\u00fclt\u00fcr\u00fc, Asya’n\u0131n \u00e7o\u011funlu\u011fu \u00fczerinde o kadar b\u00fcy\u00fck bir etkiye sahipti ki, benzer mimari tarzlar\u0131 Vietnam, Japonya ve Kore’de g\u00f6r\u00fclebilir. \u00c7in’deki mimari tipik olarak varl\u0131\u011f\u0131n\u0131 tan\u0131mlayan be\u015f bile\u015fene sahiptir. \u0130lki Mimari \u0130kili Simetri olarak adland\u0131r\u0131l\u0131r ve bu, meslekten olmayanlar\u0131n terimleriyle denge anlam\u0131na gelir. Binalar\u0131n merkezin her iki taraf\u0131nda e\u015fit g\u00f6r\u00fcnmesi ama\u00e7lanm\u0131\u015ft\u0131r; bunu ba\u015farmak i\u00e7in, tek say\u0131da d\u0131\u015f panel olu\u015fturmak i\u00e7in \u00e7ift say\u0131da s\u00fctun kullan\u0131l\u0131r.<\/p>\n

Muhafaza, \u00c7in mimarisinin ek bir \u00f6zelli\u011fidir; bu, bir bina halkas\u0131n\u0131n ortas\u0131nda bir avlunun kuruldu\u011fu zamand\u0131r. Bu genellikle yaln\u0131zca Kuzey \u00c7in’de bulunur; G\u00fcney \u00c7in, ‘skywell’ ad\u0131 verilen biraz farkl\u0131 bir yap\u0131 kullan\u0131r. Bir skywell, dar aral\u0131kl\u0131 binalar\u0131n kesi\u015fimleri taraf\u0131ndan olu\u015fturulur ve geleneksel olarak s\u0131cakl\u0131\u011f\u0131 d\u00fczenlemek ve ya\u011fmur suyunu toplamak i\u00e7in kullan\u0131l\u0131r. Binalar\u0131n \u00f6nemi bir di\u011fer \u00f6nemli \u00f6zelliktir; bu Hiyerar\u015fi olarak bilinir. Daha \u00f6nemli binalar, kap\u0131lar\u0131 m\u00fclk\u00fcn \u00f6n taraf\u0131na, daha az \u00f6nemli binalar yanlara ve en \u00f6nemsiz binalar m\u00fclk\u00fcn arkas\u0131na bakacak \u015fekilde yerle\u015ftirilmi\u015ftir. Tersine, m\u00fclk\u00fcn arka taraf\u0131na veya nispeten \u00f6zel bir konuma bir bina yerle\u015ftirmek, ya\u015fl\u0131lar veya atalara ibadet yeri olarak olduk\u00e7a sayg\u0131l\u0131 kabul edilir. Bu yap\u0131ld\u0131\u011f\u0131nda, hizmetliler i\u00e7in ya\u015fam alanlar\u0131, depo alanlar\u0131 ve mutfak, avlu ortam\u0131n\u0131n korunabilmesi i\u00e7in m\u00fclk\u00fcn kenarlar\u0131na yerle\u015ftirilir. Yatay Vurgu da mimari stile katk\u0131da bulunur; bu, zenginlerin \u00f6nemlerini belirtmek i\u00e7in \u00e7ok geni\u015f yap\u0131lar in\u015fa etme e\u011filiminde olduklar\u0131 zamand\u0131r; bu, Bat\u0131’n\u0131n zenginli\u011fi ifade etmek i\u00e7in in\u015fa etme ve \u00e7\u0131karma gelene\u011fine ters d\u00fc\u015fer.<\/p>\n

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\u00c7in Sanat Tarihi\u00a0Mimarisi, \u00c7in Sanat Tarihi<\/p><\/div>\n

Mitoloji, \u00c7in mimarisinde de b\u00fcy\u00fck rol oynar. \u00d6rne\u011fin, ekran duvarlar, d\u00fcz \u00e7izgiler halinde dola\u015fan k\u00f6t\u00fc \u015feyleri \u00f6nlemek i\u00e7in evin ana giri\u015fine bakar. Ayr\u0131ca, bir\u00e7ok yerde refah getirmek ve negatif enerjiden ka\u00e7mak i\u00e7in iyi talihi temsil eden t\u0131ls\u0131mlar sergilenir. Binalar\u0131n kendileri, tipik olarak \u00e7ivi veya yap\u0131\u015ft\u0131r\u0131c\u0131 kullan\u0131lmadan in\u015fa edilen, g\u00fczelce haz\u0131rlanm\u0131\u015f varl\u0131klard\u0131r. Bu, b\u00fcy\u00fck, y\u00fck ta\u015f\u0131y\u0131c\u0131 keresteler ve inan\u0131lmaz derecede s\u0131k\u0131 bir uyum sa\u011flayan d\u00fcbelleme ve derz \u00e7al\u0131\u015fmas\u0131yla ba\u015far\u0131l\u0131r. Perdeler ve kap\u0131 panelleri, bir binay\u0131 \u00e7evrelemek veya birinci s\u0131n\u0131f binalar\u0131n yap\u0131m\u0131nda ta\u015f\u0131y\u0131c\u0131 duvarlar\u0131 gizlemek i\u00e7in kullan\u0131l\u0131r. \u00dc\u00e7gen \u00e7at\u0131lar asl\u0131nda var olan ‘tek \u00e7at\u0131’ d\u0131r \u00e7\u00fcnk\u00fc bunlar d\u00fcz \u00e7at\u0131ya g\u00f6re tercih edilen stildir. En ekonomik \u00e7at\u0131 t\u00fcr\u00fc, alt s\u0131n\u0131flar\u0131n mimarisinde yayg\u0131n olan d\u00fcz e\u011fimli bir \u00e7at\u0131d\u0131r. \u00c7ok e\u011fimli \u00e7at\u0131lar zengin mimaride kullan\u0131l\u0131rken, ‘s\u00fcp\u00fcrme’ olarak bilinen en b\u00fcy\u00fck \u00e7at\u0131lar genellikle sadece tap\u0131naklarda ve saraylarda g\u00f6r\u00fclse de bazen ola\u011fan\u00fcst\u00fc zenginlerin evlerinde de yer al\u0131yorlar.<\/p>\n

\u00c7in Mimarisinde Bina T\u00fcrleri<\/h3>\n

\u00c7in mimarisinde yayg\u0131n olan \u00fc\u00e7 ana bina t\u00fcr\u00fc vard\u0131r. Bunlar ortak, emperyal ve dini yap\u0131lardan olu\u015fur. Ortak yap\u0131lar, evin ortas\u0131nda bir t\u00fcrbe, ya\u015fl\u0131lar i\u00e7in yatak odalar\u0131 ve ailenin gen\u00e7 \u00fcyeleri i\u00e7in mutfak, oturma odas\u0131, yemek odas\u0131 ve di\u011fer gerekli odalarla \u00e7evrili olacak \u015fekilde in\u015fa edilmi\u015ftir. \u0130mparatorluk yap\u0131lar\u0131, \u00f6nemlerini sembolize etmek i\u00e7in tipik olarak, sar\u0131 kiremitler ve k\u0131rm\u0131z\u0131 ah\u015fapla in\u015fa edilir. Ayr\u0131ca, bu binalar iki s\u00fctun aras\u0131nda dokuz bo\u015fluk b\u0131rak\u0131lmas\u0131na izin verilen tek yap\u0131lard\u0131r. Dini yap\u0131lar, \u00c7in mimarisinin son s\u0131n\u0131fland\u0131rmas\u0131d\u0131r. Bunlar genellikle bir Bodhisattva heykelinin bulundu\u011fu bir \u00f6n salona sahip olduklar\u0131 i\u00e7in imparatorluk tarz\u0131n\u0131 takip eder.<\/p>\n

\u00c7in sanat tarihi a\u00e7\u0131s\u0131nda Tang Hanedanl\u0131\u011f\u0131 \u00f6nemli bir yer tutar. D\u00f6nemin ekonomik ve politik istikrar\u0131 nedeniyle ‘\u00c7in’in Alt\u0131n \u00c7a\u011f\u0131’ olarak an\u0131lan Tang Hanedanl\u0131\u011f\u0131, her t\u00fcrl\u00fc sanat\u0131n geli\u015fmesine izin verdi. Bu, tu\u011fla yap\u0131m\u0131nda ve yap\u0131sal stabilitede bir\u00e7ok ilerleme kaydedildi\u011fi ve her t\u00fcrden binan\u0131n in\u015fa edildi\u011fi zamand\u0131r. Ancak bu s\u00fcrenin ard\u0131ndan yakla\u015f\u0131k 100 y\u0131l boyunca \u00c7in bak\u0131ma muhta\u00e7 duruma d\u00fc\u015ft\u00fc. Siyasi ve ekonomik istikrars\u0131zl\u0131k, sava\u015f ve h\u00fck\u00fcmetin yolsuzlu\u011fu, toplumun teknolojik evrimlerinde neredeyse geri gitmesine neden oldu; para sistemi takasa indirildi ve bir\u00e7ok \u00f6nemli yap\u0131 y\u0131k\u0131ld\u0131. Ancak bu y\u0131k\u0131m d\u00f6neminden sonra \u00c7in mimarisi bir kez daha geli\u015fti. Yeni mimari tarz\u0131n \u00e7e\u015fitlili\u011fi i\u00e7inde payla\u015f\u0131lan pagodalar, saraylar, pavyonlar ve \u00e7ok katl\u0131 binalar gibi b\u00fcy\u00fck yap\u0131lar in\u015fa edildi. Bu teknik daha k\u00fc\u00e7\u00fck, b\u00fcy\u00fck, her \u015feye g\u00fcc\u00fc yeten binalar \u00fczerinde daha iyi tasarlanm\u0131\u015f, daha g\u00fczel haz\u0131rlanm\u0131\u015f yap\u0131lar.<\/p>\n

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\u00c7in Mimarisinde Bina T\u00fcrleri<\/p><\/div>\n

Ming ve Qing Hanedanlar\u0131, \u00c7in’deki imparatorluk y\u00f6netiminin sonunu belirledi; ancak in\u015fa \u00e7abalar\u0131n\u0131 b\u0131rakmad\u0131lar. Bu iki hanedan, yap\u0131lar\u0131n b\u00fcy\u00fck \u00f6l\u00e7ekte in\u015fa edilmesine izin verdi. \u015eehirler geni\u015fledi, savunma duvarlar\u0131 in\u015fa edildi, standartlar yerle\u015ftirildi. \u00c7in Seddi art arda b\u00fcy\u00fcd\u00fc ve ad\u0131n\u0131n sadece bir isimden daha fazlas\u0131 oldu\u011fu, d\u00f6nemin belirleyici bir \u00f6zelli\u011fiydi. Ming Hanedanl\u0131\u011f\u0131 \u00fclkenin ba\u015fkentini Pekin’e ta\u015f\u0131d\u0131 ve kraliyet soylular\u0131 i\u00e7in ayr\u0131lm\u0131\u015f mimari g\u00fczelli\u011fe sahip bir yer olan \u015fu anda \u00fcnl\u00fc ‘Yasak \u015eehir’i yaratt\u0131. Bir t\u00fcr son direni\u015f olarak, Qing Hanedan\u0131, mimari becerilerinin bir i\u015fareti olarak Terra cotta Ordusu’nu yaratt\u0131. \u00c7in mimarisi son d\u00f6rt bin y\u0131lda k\u00fc\u00e7\u00fck de\u011fi\u015fiklikler ge\u00e7irmi\u015f olsa da temelde yatan metodolojinin \u00e7o\u011fu, y\u00fcksek imparatorluk hanedanlar\u0131n\u0131n y\u00f6netimi s\u0131ras\u0131nda olu\u015fturuldu.<\/p>\n

\u00c7in Ejderhas\u0131<\/h3>\n

Ejderhalar, d\u00fcnya \u00e7ap\u0131nda bir\u00e7ok k\u00fclt\u00fcr\u00fcn efsanelerinde\u00a0 g\u00f6r\u00fcnen b\u00fcy\u00fck g\u00fc\u00e7leri oldu\u011funa inanilan yarat\u0131klard\u0131r. \u00c7in sanat tarihi i\u00e7in ejderha<\/a> fig\u00fcr\u00fc \u00e7ok \u00f6nemlidir. Bir sanat eserinde kar\u015f\u0131m\u0131za \u00e7\u0131kar: Resim, heykel, peyzaj, kost\u00fcm… Esasen y\u0131lan gibi \u00f6zelliklere sahip u\u00e7an s\u00fcr\u00fcngenler olan ejderhalar, geleneksel olarak vah\u015fi do\u011falara sahip ate\u015f p\u00fcsk\u00fcrten canavarlar olarak tasvir edilmi\u015ftir. Tarihsel olarak k\u00fclt\u00fcrden k\u00fclt\u00fcre farkl\u0131 \u015fekillerde tasvir edilmi\u015flerdir.<\/p>\n

\"\"

\u00c7in Ejderhas\u0131, \u00c7in Sanat Tarihi<\/p><\/div>\n

Avrupa ejderhalar\u0131 genellikle k\u00f6t\u00fc veya y\u0131k\u0131c\u0131 olarak temsil edilirdi. \u00c7in ejderhas\u0131, Avrupa ejderhas\u0131ndan farkl\u0131 olarak, \u00c7in ejderhalar\u0131 bilge ve esasen yard\u0131msever ve nazik olarak g\u00f6r\u00fcl\u00fcyordu; genellikle \u00c7in imparatorlar\u0131n\u0131n sembol\u00fc olarak g\u00f6r\u00fcl\u00fcyorlard\u0131. \u00c7in ejderhalar\u0131 \u00c7in bur\u00e7lar\u0131nda fig\u00fcr ve yeni y\u0131l\u0131n sembol\u00fc olarak g\u00f6r\u00fcl\u00fcyor. Yeni y\u0131l kutlamalar\u0131, ge\u00e7it t\u00f6renlerinde ejderhalara yer vermeye devam ediyor. \u00c7in, ejderhalara adanm\u0131\u015f geni\u015f bir folklor yelpazesine sahiptir.<\/p>\n

Bu makalede \u00c7in sanat tarihi konusu ana hatlar\u0131yla incelenmi\u015ftir.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c7in sanat tarihi binlerce y\u0131ld\u0131r var olan bir toplumun, tarihsel d\u00f6nemlerinden izler ta\u015f\u0131r. \u00c7in k\u00fclt\u00fcrel ge\u00e7mi\u015f olarak \u00e7e\u015fitlili\u011fe sahip olan bir toplumdur. \u00c7in’deki sanatsal faaliyetlerinin tarihine bir g\u00f6z atal\u0131m. \u00c7in Sanat Tarihi \u00c7in sanat tarihinin iki \u00f6nemli alan\u0131, geleneksek \u00c7in resim sanat\u0131 ve \u00c7in mimarisidir. \u00c7in resim sanat\u0131n\u0131n k\u00f6keni olduk\u00e7a gerilere dayan\u0131r. \u00c7in Resim Sanat\u0131 […]<\/p>\n","protected":false},"author":1,"featured_media":13141,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[124],"tags":[],"class_list":["post-13132","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-tarihi"],"yoast_head":"\n\u00c7in Sanat Tarihi - 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