From The Epistemic Exclusivity Of The Subject To The Objectivity Of The Object: Alev Ebüzziya’s Simple Bowls In Infinite Form

Pınar Zararsız; Kasım Küçükalp

Makale detayları

From The Epistemic Exclusivity Of The Subject To The Objectivity Of The Object: Alev Ebüzziya’s Simple Bowls In Infinite Form

Yazarlar:

Pınar Zararsız | Kasım Küçükalp

Yayıncı:

Bursa Uludağ University

Ana Başlıklar:

Etik

Dergi:

Kaygı. Bursa Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi Vol.23 Issue 2, pp.687-710

Belge Tipi:

Makale

Yayın Tarihi:

9/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001328157

pISSN:

2645-8950

Anahtar kelimeler:

Özet:

 Throughout history, art has manifested as the aesthetic expression of emotions and thoughts, while philosophy has primarily advanced as a conceptual and theoretical mode of thinking. The interaction between these two disciplines has sparked significant philosophical debate on the necessity of expressing thought not merely as a mental process but also in an aesthetic form. The debates on aestheticization of thought, which began particularly in the 19th century, continue to be significant in contemporary philosophies. At the core of this idea lies the reductionist, totalizing, and dominating perspective created by the subject-object dichotomy imposed by modern thought, which centralizes and excludes ontological status from the epistemic subject. Art, particularly as perceived in the framework embraced by Heidegger, is seen as an important tool for overcoming this reductionist attitude, revealing the truth and providing the possibility of witnessing the infinite. At the intersection of art and philosophy, Alev Ebüzziyas ceramic bowls are considered not only as aesthetic objects but also as concrete examples of an in-deep philosophical inquiry. Her works blur the boundaries imposed by the subject-object dichotomy, invite reconsideration of meaning, and challenge absolute norms. Heideggers views emphasizing how art reveals truth serve as an important reference point for understanding Ebüzziyas work and its world of meanings. This article analyzes Turkish ceramic artist Alev Ebüzziyas infinitely simple bowls from the perspective of the philosophy of art and explores the philosophical arguments on the necessity of aestheticizing thought.

 Throughout history, art has manifested as the aesthetic expression of emotions and thoughts, while philosophy has primarily advanced as a conceptual and theoretical mode of thinking. The interaction between these two disciplines has sparked significant philosophical debate on the necessity of expressing thought not merely as a mental process but also in an aesthetic form. The debates on aestheticization of thought, which began particularly in the 19th century, continue to be significant in contemporary philosophies. At the core of this idea lies the reductionist, totalizing, and dominating perspective created by the subject-object dichotomy imposed by modern thought, which centralizes and excludes ontological status from the epistemic subject. Art, particularly as perceived in the framework embraced by Heidegger, is seen as an important tool for overcoming this reductionist attitude, revealing the truth and providing the possibility of witnessing the infinite. At the intersection of art and philosophy, Alev Ebüzziyas ceramic bowls are considered not only as aesthetic objects but also as concrete examples of an in-deep philosophical inquiry. Her works blur the boundaries imposed by the subject-object dichotomy, invite reconsideration of meaning, and challenge absolute norms. Heideggers views emphasizing how art reveals truth serve as an important reference point for understanding Ebüzziyas work and its world of meanings. This article analyzes Turkish ceramic artist Alev Ebüzziyas infinitely simple bowls from the perspective of the philosophy of art and explores the philosophical arguments on the necessity of aestheticizing thought.

 Throughout history, art has manifested as the aesthetic expression of emotions and thoughts, while philosophy has primarily advanced as a conceptual and theoretical mode of thinking. The interaction between these two disciplines has sparked significant philosophical debate on the necessity of expressing thought not merely as a mental process but also in an aesthetic form. The debates on aestheticization of thought, which began particularly in the 19th century, continue to be significant in contemporary philosophies. At the core of this idea lies the reductionist, totalizing, and dominating perspective created by the subject-object dichotomy imposed by modern thought, which centralizes and excludes ontological status from the epistemic subject. Art, particularly as perceived in the framework embraced by Heidegger, is seen as an important tool for overcoming this reductionist attitude, revealing the truth and providing the possibility of witnessing the infinite. At the intersection of art and philosophy, Alev Ebüzziyas ceramic bowls are considered not only as aesthetic objects but also as concrete examples of an in-deep philosophical inquiry. Her works blur the boundaries imposed by the subject-object dichotomy, invite reconsideration of meaning, and challenge absolute norms. Heideggers views emphasizing how art reveals truth serve as an important reference point for understanding Ebüzziyas work and its world of meanings. This article analyzes Turkish ceramic artist Alev Ebüzziyas infinitely simple bowls from the perspective of the philosophy of art and explores the philosophical arguments on the necessity of aestheticizing thought.

 Sanat, tarih boyunca duygu ve düşüncelerin estetik tezahürü olarak kendini gösterirken, felsefe ise daha çok kavramsal ve teorik bir düşünme biçimi olarak ilerlemiştir. Bu iki disiplinin etkileşimi, düşüncenin salt bir zihinsel süreç olmaktan çıkıp, estetik bir biçimde ifade edilmesi gerekliliği üzerinde önemli bir felsefi tartışma alanı açmıştır. Özellikle 19. yüzyılda başlayan düşüncenin estetize edilmesi tartışmaları, günümüz felsefelerinde önemini korumaktadır. Bu düşüncenin temelinde yatan sebep, modern düşüncenin epistemik özneye merkezi ve dışlayıcı bir ontolojik statü vermesiyle ortaya çıkan özne-nesne dikotomisinin yarattığı indirgemeci, totalleştirici ve mütehakkim bakış açısıdır. Sanat, özellikle, Heideggerin alımladığı şekliyle, bu indirgemeci tutumun aşılması, hakikatin açığa çıkması ve sonsuza tanıklık etme imkânını sağlaması ile önemli bir araç olarak görülür. Sanat ve felsefenin kesiştiği noktada, Alev Ebüzziyanın seramik çanakları, yalnızca estetik nesneler olarak değil, derinlemesine bir felsefi soruşturmanın somut örnekleri olarak değerlendirilmektedir. Onun eserleri, özne-nesne dikotomisinin dayattığı sınırları bulanıklaştırır, anlamı yeniden düşünmeye davet eder, mutlak normlara meydan okur. Heideggerin sanatın hakikati açığa çıkarmada nasıl bir araç olduğunu vurgulayan görüşleri, Ebüzziyanın çalışmalarının anlam dünyasını kavramak için önemli bir referans noktası sunar. Bu makale, Türk seramik sanatçısı Alev Ebüzziyanın sonsuz formda sade çanaklarını sanat felsefesi perspektifinden değerlendirerek, düşüncenin estetize edilmesi gerekliliği üzerine ortaya konmuş felsefi yaklaşımlarla ilişkisini kurmaktadır.

Makale detayları

From The Epistemic Exclusivity Of The Subject To The Objectivity Of The Object: Alev Ebüzziya’s Simple Bowls In Infinite Form

Yazarlar:

Pınar Zararsız | Kasım Küçükalp

Yayıncı:

Bursa Uludağ University

Ana Başlıklar:

Etik

Dergi:

Kaygı. Bursa Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi Vol.23 Issue 2, pp.687-710

Belge Tipi:

Makale

Yayın Tarihi:

9/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001328157

pISSN:

2645-8950

Art

Philosophy

Aesthetic

Alev Ebüzziya

Ceramic Bowls.Sanat

Felsefe

Estetik

Alev Ebüzziya

Seramik Çanak.

Sayı

Makale detayları

Yazarlar: Pınar Zararsız | Kasım Küçükalp

Yayıncı: Bursa Uludağ University

Ana Başlıklar: Etik

Dergi: Kaygı. Bursa Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi Vol.23 Issue 2, pp.687-710

Belge Tipi: Makale

Yayın Tarihi: 9/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001328157

pISSN: 2645-8950

Sayı

Yazarlar:

Pınar Zararsız | Kasım Küçükalp

Yayıncı:

Bursa Uludağ University

Ana Başlıklar:

Etik

Dergi:

Kaygı. Bursa Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi Vol.23 Issue 2, pp.687-710

Belge Tipi:

Makale

Yayın Tarihi:

9/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001328157

pISSN:

2645-8950