Symbolic Expressions Research Articles

THE CREATION OF “REPURPOSING” CERAMIC USING ROOF TILES WASTE

There was a lot of used roof tile discovered throughout the village. However, the community did not turn it into usable items. The roof tile waste motivated us to turn it into artwork. This artistic research focused on the production of repurposing ceramic pieces utilizing roof tile waste materials. This creative study made use of the experimentation, reflection, and formation phases of Dharsono's artistic creation approach. This artistic creation process resulted in a jug of art entitled "Wanawarih." This artwork is full of symbolic expression values about the trilogy of vitality, namely forest preservation, water function maintenance, and earth manifestation

‘Extractive bodies’: A feminist counter-topography of two extractive landscapes

This article engages in a discussion about the ‘quieter registers of power’ along the resource frontier. It builds a feminist counter-topography of the formation of extractive subjectivities in two extractive landscapes—a uranium mining project in Tanzania and a coal mining area in Tajikistan. We explore these two disparate but connected sites through the formation of embodied subjectivities—i.e., the ways in which extractive forces shape people’s intimate senses of self. In both places, embodied emotions manifest in rumours about gender, sexuality and reproduction. To re-materialise our understandings of power at the extractive frontier, we offer the concept of ‘extractive bodies’—a plural figure representing the heterogeneous, dynamic and porous bodies of men, women, children and the elderly as shaped by extractive forces. We also read the rumours emerging from these two places as quiet, but not silent, forms of resistance. These rumours are material and symbolic expressions of a ‘mal de vivre’ which is symptomatic of how people live at the extractive frontier. Overall, this counter-topography contributes to feminist political ecology scholarship on the embodied impacts of and responses to extraction on the resource frontier.

Research on the Symbolic 3D Route Scene Expression Method Based on the Importance of Objects

In the study of 3D route scene construction, the expression of key targets needs to be highlighted. This is because compared with the 3D model, the abstract 3D symbols can reflect the number and spatial distribution characteristics of entities more intuitively. Therefore, this research proposes a symbolic 3D route scene representation method based on the importance of the object. The method takes the object importance evaluation model as the theoretical basis, calculates the spatial importance of the same type of objects according to the spatial characteristics of the geographical objects in the 3D route scene, and constructs the object importance evaluation model by combining semantic factors. The 3D symbols are then designed in a hierarchical manner on the basis of the results of the object importance evaluation and the CityGML standard. Finally, the LOD0-LOD4 symbolic 3D railway scene was constructed on the basis of a railroad data to realise the multi-scale expression of symbolic 3D route scene. Compared with the conventional loading method, the real-time frame rate of the scene was improved by 20 fps and was more stable. The scene loading speed was also improved by 5–10 s. The results show that the method can effectively improve the efficiency of the 3D route scene construction and the prominent expression effect of the key objects in the 3D route scene.

Generation of the weakest preconditions of programs with dynamic memory in symbolic execution

Symbolic execution is a widely used method for the systematic study of program execution paths; it allows solving a number of important problems related to verification of correctness: searching for errors and vulnerabilities, automatic test generation, etc. The main idea of symbolic execution is generation and use of symbolic expressions in the program analysis in direct order, i.e., from the entry point to the points of interest. At the same time, since the time of E.W. Dijkstra, the method of backward symbolic execution has been popular when the conditions for hitting the point of interest are extended to the entry point of the program due to the iterative calculation of the weakest preconditions. This method is usually much more difficult to implement than direct symbolic execution, so even the artifacts of the latter cannot be used in the implementation. In this paper, the relationship between direct and backward symbolic execution based on the calculation of the weakest preconditions is investigated. In particular, it is shown that the latter can be implemented using the former. A formal presentation of symbolic execution with lazy initialization for programs with dynamic memory is given. An algorithm for calculating the weakest preconditions for arbitrary symbolic executed program branches is proposed. The lazy initialization mechanism and the algorithm for calculating the weakest preconditions are implemented in KLEE, a symbolic virtual machine for the well-known LLVM platform. The proposed method allows performing backward symbolic analysis using direct symbolic execution. This is important for the implementation of bidirectional program execution which can be used both for program verification and for automatic test generation.

On the Question of Cultural Memory and Identity in the Works of J. Assman

This article discusses the views of J. Assman on the essence of cultural memory and the identity formed on its basis. Identity can be viewed as the result of reflection on the unconscious self-image. J. Assman established a connection between personal and collective identity. Individual consciousness can be defined as sociogenic, not only because it arises in the process of socialization, but also because it creates a community and is the bearer of a collective self-image. J. Assman highlights the difference between individual and personal identity. Both aspects of self-identity are sociogenic and culturally determined, they arise in the mind, formed by the language, values and norms of a particular culture. Identity is a product of social construction and therefore always acts as a cultural identity. The difference between a collective identity and a different one is that the second one is symbolic. Collective identities belong to the realm of the social imagination. Collective identity also exists only to the extent that individuals recognize it as their own. Societies need the past for their self-determination. Awareness and recognition of belonging to a particular culture is a cultural identity. Personal identity is achieved through communication and interaction with other people, through living with them in a common symbolic world of meaning. Culture becomes the second nature of man, man adapts to the symbolic world of meanings. Culture creates a space suitable for human existence and is a prerequisite for the formation of personal and individual identity. The semantic horizons shared by people become a symbolic expression of we-identity. Of great importance is speech and the general system of symbols – the main means of forming groups. The complex of community transmitted in symbols is a cultural formation – something through which a collective identity is created and preserved in the change of generations. The sense of community is generated by the circulation of common meaning.

Rx, Ry and Rz Rotation Operators of Spin 4 Systems in Quantum Information Theory

Quantum computing requires use of various physical techniques together with quantum theory. One of the promising systems is spin systems as applied and seen in pulsed nuclear magnetic resonance (NMR) and pulsed electron paramagnetic resonance (EPR) spectroscopies and hence spin-based quantum information technology. Construction of higher spin systems and related rotation operators is important for the theoretical infrastructure that can be used in quantum information theory. It is expected that as the value of spin increases, it will give way to longer time in the computation with bigger data. Spin operators up to spin-4 have been published in previous studies. In this work, explicit symbolic expressions of x, y and z components of rotation operators for spin-4 were worked out via exponential operator for each element of related spin operator matrices and simple linear curve fitting process. The procedures gave out exact expressions of each element of the rotation operators. It can be predicted that quantum rotation operators for higher spins, like spin-4, will theoretically and practically contribute to spin-based quantum information technology.

The interpretative function of singing in the “score” of a modern ballet performance

Statement of the problem. Under consideration is a specific form of art synthesis – singing in modern ballet. The synthesis of arts is attributive to the poetics of European opera, where a choreographic plan is used, however, singing in ballet is a rather rare phenomenon against the background of the dominance of singing in the operas of the 18th and 19th centuries. Nonetheless, there are eloquent examples of the return of singing in a ballet as a characteristic feature of the innovative choreographic theatre (“Pulcinella” by I. Stravinsky). The relevance of the topic is explained by the lack of musicological research devoted to the functions of singing as a component of ballet, while in modern practice there are clear precedents for the revival of this phenomenon. Some topical sources indicate the synthetic type of theatrical spectacle in the context of French Baroque culture (Danshina, 2010; Anfilova, 2004; Chepalov, 2008 and others), but the vocal component is not considered as a special problem. The purpose of the article is to investigate the interaction of vocal and ballet arts in the modern practice of ballet productions of the Kharkiv Opera and Ballet Theater (Ukraine) in the retrospective context of European musical-theatrical traditions. Modern ballet “The Little Prince” based on A. Saint-Exupery’s novel of the same name (2016) staged by Kharkiv ‘M. Lysenko’ National Academic Theatre of Opera and Ballet (KhNATOB) was chosen to be the material of the article. The following research methods are used: historical and typological approach that distinguishes the styles of European opera culture; semantic analysis of ballet performance as an artistic text; interpretative-cognitive comprehension of singing and its functions in ballet dramaturgy. Presentation of the research results. The creative experience of the French choreographer Johann Nuss on the stage of Kharkiv Opera Theatre – the premiere of the modern ballet “The Little Prince”, testified to the actualization of intertextuality in solving the problem of the relationship between singing and dancing. Traditional artistic plans are an important factor in the dramaturgy of a ballet performance. Together with two purely choreographic levels where the virtuoso skill of dancers and plastique of “talking” movements prevails, the singing voice is the third plan, which indicates the continuity of the French tradition (one can remember the model of J. B. Rameau’s “Gallant India”). The choice of musical material for the performance belongs to J. Nuss. He “saw” the image of Rose, who the Prince is in love with, twofold: as a choreographic-plastic and a “singing” one. Respectively, the role of Rose is embodied by a ballerina (Honoured Artist of Ukraine Iryna Khandazhevska) and a singer (Honoured Artist of Ukraine Olena Starykova, soprano). Dressed in a costume of a flower, the singer represents an ideal creature: themes from R. Glier’s and S. Rachmaninoff’s vocal compositions sound. The appearance of other bright characters is accompanied by instrumental music fragments, these are the King (J. S. Bach’s Second Orchestral Suite), the Ambitious Man (L. Delibes “Coppélia”), the Drunkard (“Winter” from A. Vivaldi’s “The Seasons”), and the Banker (J. S. Bach’s Suite for Cello Solo). So, the introduction of coloratura singing into the spectator’s plan of perception of the expressive-linguistic means of ballet opens a new symbolic world. Conclusions. Singing in a ballet is a specific manifestation of the art synthesis characteristic of modern choreographic performance. The vocal art emphasizes the highest, spiritual degree of communication, adding to the spectators’ experience a cathartic component. The interpretative function of singing in the concept of the performance is obvious: singing is a symbol (expression) of the divine essence of a human. Energy of vocals, multiplied by the traditional means of classical choreography and modern ballet, is a component of “multimedia modality” (Petrovic, 2017) as a sign of the interpretive thinking of the directors. Understanding the action of multimodality in the space-time of ballet is an interpretative dimension of spiritual reality. The prospect of researching. The study of modern forms of stage life of “singing in a ballet” indicates the need to develop this concept in the theoretical and methodological key, as well as to consider other examples of ballet performances (“One Thousand and One Nights” by F. Amirov, “Spartacus” by A. Khachaturian in Kharkiv Opera and others).

Is there an Inherent Secularising Tendency in Christianity (Gauchet)? Yes, but beware (Voegelin and Taylor)

The secularisation idea is that modernity leaves religion behind. But for Gauchet, modernity just is religion transformed, without remainder. The Axial Age discovery of the inner world of the psyche and its symbolic expressions, was at the same time a growth in understanding of God as creator, transcendent and incommensurable with all of creation. Henceforth, religion would be in the key of personal struggle and symbolic transformation, putting aside heteronomy. Taylor adds a caveat: the self-image of the self-sufficient, autonomous individual subtracted from the canopy of “higher” mythological entities obscures the basic human need for recognition and identity. This issues in an unhelpful politics of mobilisation and manipulation. Likewise, Voegelin sees both liberal modernity and present-day religion as largely gnostic, closed and ideological versions of the traditions. Secular public policy types the religions as sects. But the autonomy of self-determination arises out of religion, and a plausible secularisation thesis would see contemporary culture as containing within it the possibility for a secular expression of the authentic religious tradition—including resistance to sect-like religiosity. The revisionist history suggested here entails a rethink of the image of modernity in terms of a complete break with the pre-secular culture, and entails a re-positioning of religion within secular society.

"Abiasa" A symbolic expression of the contradictions and conflicts of human life

This is well known fact that Ghazanfar is one of the important writers in the field of contemporary Urdu literature. He is multidimensional writer but in this article. I have focused only on his fiction specially novel nigari. He has written nine novels on different topics. He contributed many new things in Urdu novel. He introduced dalit. Discours in Urdu fiction. His novel Divya Bani first novel on dalit problem in Urdu. He also wrote fusun campus novel first time in Urdu. The language of Ghazanfar fiction is also different from his contemporary writers. He language is very creative and also symbolic but his symbols are not difficult and embigus. He has also experimented in form and technic in Urdu novel.

Fast and Sensitive Nonunit Protection Method for HVDC Grids Using Levenberg–Marquardt Algorithm

High voltage dc grids are raised high-speed operation and high reliability requirement for relay protection. This article aims at proposing a protection scheme with high operation speed, high sensitivity, and high reliability. First, the symbolic expressions of the line-mode fault component traveling wave in case of the internal and external faults are derived, which consist of the traveling wave propagation term and the dc line boundary term. It is theoretically demonstrated that the index of the traveling wave propagation term in case of internal faults is greater than that for the external faults, and the index is independent of fault impedance. Second, the Levenberg–Marquardt algorithm is introduced to extract the index and an index-based nonunit protection method as well as the protection scheme is proposed. The proposed method is theoretically robust and independent of fault impedance and fault type. In the validation, the fitting results are indicated that the symbolic expressions are correct and the extracted indices are effective to characterize the location of the faults. Numerous fault cases of different fault distances, fault impedances, and fault types have demonstrated that the proposed protection scheme is of high sensitivity, high operation speed, and high reliability.

Rus edebiyatında Kafkas esiri konusunun tarihsel tipolojisi üzerine

Rus edebiyatında önemli bir yer tutan geleneksel temalardan biri de “Kafkas esiri” temasıdır. Bu tema, Rus yazar ve şairler A. Puşkin, A. Griboyedov, M. Lermontov, A. Bestujev-Marlinskiy, L. N. Tolstoy, V. Velichko, N. Tikhonov, V. Makanin vd. tarafından politik, sosyal, felsefi yönleriyle bütüncül bir şekilde kullanılmıştır. Kafkas esiri konusunun tarihî ve edebî anlamdaki önemi, Rusya'nın Avrasya coğrafyasına bakışını, Rusların Kafkasya ile ilişkilerini irdelemesinden gelmesidir denilebilir. Rus yazarların Kafkasya’da yaşayan Müslümanlara ve Türklere olan ilgileri, bu halkların karakterleri, yaşayışları, gelenekleri ve savaşçılıkları karşısında etkilenmelerinden kaynaklanır. Çalışmamızın merkezinde yer alan “Kafkas esiri” söylemi, 1810-1811'de Kafkasya’yı ziyaret eden Fransız yazar Xavier de Mestr tarafından 1815 yılında kazandırılmıştır. Yazarın romantik-duygusal bir ruhla kaleme aldığı savaşa ilişkin notları, canlı gözlemleri, anlattığı olaylar ve karakterler gerçekçi özelliklerle ayırt edilir ve edebî değerlerinin yanı sıra tarihî önem içerirler. Eşi Rus ordusunda görev yapan bir başka Fransız yazar Frederica Freiggangın, “Ksavie de Mestrin” novellasından bir yıl sonra yayınlanan “Kafkasya ve Gürcistan Üzerine Mektuplar”da aynı konuya değinir. Ancak, XXI. yüzyıl dahil olmak üzere XIX. yüzyılın başından itibaren bu tema, Rus yazarların eserlerinde geniş, çok yönlü ve oldukça şiirsel bir yorum bulmuştur, denilebilir. Kafkasyalıların karakterine, ahlakına ve yaşam tarzına derin ve samimi ilgi, birçok Rus yazarın sanatsal çalışmalarında, mektuplarında ve anılarında geniş yer bulmuştur.Hatta Kafkasya'da savaşan Rus yazarları bile kendi eserlerinde yer alan Kafkas-Müslüman halklarının te msilcilerini içten bir saygı ve sevgiyle anarlar. Klasik Rus şair ve yazarlarından A. Puşkin, M. Lermontov, A. Bestujev-Marlinskiy, L. N. Tolstoy'un bu konuya adanmış çalışmalarına özellikle dikkat edilmelidir. Dolayısıyla Rus edebiyatında Kafkas esiri konusu edebî, felsefi, estetik, tarihî-ideolojik ve Rusya-Kafkas, Rus-Türk ilişkileri açısından güncel bir bilimsel konu olarak dikkat çekmektedir. Bu çalışmada, yukarıda belirtilen hususlar, Kafkasya'daki savaşların Rus edebiyatında sanatsal tasviri, Kafkas savaşı konusu, bu temanın ayrılmaz bir parçası olan “Kafkas esiri” içeriğinin tarihî ve edebî kaynakları, Rusya'nın Avrasya alanındaki tarihsel kaderini ifade eden "Kafkas esiri" kavramının sembolik anlamları, sanatsal doğası ve tarihsel evrimi, Rus klasik ve modern edebiyatının geleneksel bir imgesi ve içeriği olarak ele alınacaktır.

Love and Hate in a Sample of Palestinian Females Children's Drawings and their Emotional Assimilation

The study aims to identify emotional Assimilation (love and hate) in a sample of drawings by Palestinian refugee children(female). The sample consisted of 68 pictures drawn by girls, aged 9 and 10, from Al-Arroub Refugee Camp, north of the southern West Bank city of Hebron. Each girl provided two drawings: one representing love and one representing hate. The study used the descriptive approach and the content analysis method. A model was designed for analysis, and its validity and consistency were calculated. The study checked for the emotional assimilation of love and hate in all symbolic expressions, whether they were political, social, natural, national, evaluative or religious according to the elements of the artistic composition: dominance of the element, position of the drawing, motion, method of expression, background of the drawing, the lines, the colors, number of shapes, and type of the shape: human, animal, plant, etc. The results for the detailed elements were discussed in the light of the previous literature and the theoretical framework of the present study, and some recommendations were made.

Philosophical Texts: Character Education for Minangkabau Women

This study focuses on the concept of ideal women according to Minangkabau philosophy. The criteria of the ideal women can be found in proverbs containing implicit meaning related to ethical values, namely the view about women's ideal morality. The interpretation can be comprehended from its function and purposes as a concept of moral and character education for the Minangkabau young generation. The study toward the character education for Minangkabau women is based on the interpretation meaning from the concept of Minangkabau ideal women became the basis fine art creative idea resulting in the icon of personal expression. This artwork was materialized into the painting symbolic expression/abstraction by borrowing the traditional idiom "Tangkuluak (Tekuluk)" a kind of Bundo Kanduang's formal outfit in the form of headgear as the traditional symbol of Minangkabau custom. The creation of this symbolic expression painting aims to preserve Minangkabau aesthetics through the materialization of paintings that takes the specific theme, Bundo Kanduang as the ideal woman of Minangkabau people. This study used a qualitative method presented in the form of descriptive analysis. Data were collected through interviews and observation. They had emic characteristics performed in the Centre of Minangkabau Cultural Information (in Indonesia called PDIKM) in Padangpanjang and Adityawarman Museum in Padang, West Sumatra. Meanwhile, ethic research was conducted with qualitative method, namely studying the theoretical claim and interpreting the meaning of proverbs about the nobility of Bundo Kanduang.

Impact of content ideology on social media opinion polarization: The moderating role of functional affordances and symbolic expressions

We offer theory and evidence regarding the impact of content ideology (i.e., emotionally charged beliefs expressed in sentiments) on opinion polarization (i.e., conflicting attitudes about an event) on social media. Specifically, we consider the moderating role of functional affordances and symbolic expressions to draw inferences about opinion polarization. From a sentiment analysis of 3600 posts and a survey of 468 Weibo users, we find that content ideology is positively related to social media opinion polarization. The effect of content ideology is greater when users receive stronger symbolic expressions. Further, our results show an insignificant moderating relationship between functional affordances and this effect. The findings suggest that it is critical to consider content ideology and symbolic expressions when assessing the relationship between published content and polarized opinions on social media.

Demiurge and Sophia in the world of Star Trek: gnostic ideas in the film «USS Callister»

The article analyzes the plan of expression and the plan of content of the American film USS Callister (2017) using the structural-semantic method. Four levels of analysis of signs in cinema are considered: three types signs that make up the characterological trait of a personality, referring to a character understood as an individuality, which in turn is a symbolic expression of a myth. In the film text USS Callister the gnostic images of the Demiurge and Sophia are created by means of cinematography, and such gnostic ideas as the hierarchy of the worlds, the abhorrence to flesh, souls life in the material world under the reign of the evil demiurge and the salvation-destruction of the world by Sophia, have been implemented into the plot. The film also refutes the gnostic idea that the God of the Old Testament is the evil demiurge of the gnostic cosmos via semantic mimicry. The film visualizes the gnostic mythology about two Sophias, earthly and heavenly, whose reunion marks the destruction of the material world and the humiliation of the Demiurge. The protagonist of the film a genius programmer Robert Daly, who has created еру the modding of Boundlessness on his PC, in which he has reconstructed the Callister starship. The crew has been created using the Daly co-workers DNA to create sentient digital clones of them. When Nanette Cole, a genius female programmer, who has been copied into the above-mentioned modding, she is able to get in touch with her celestial incarnation, execute a break plan and, as the result, the whole artificial world is destroyed together with the demiurge. The film recreates gnostic mythology for an audience thinking in terms of 20th century American culture, and more specifically in the famous sci-fi franchise Star Trek.

Cross Cultural Temporal Tendencies Between Monochronic and Polychronic Materialisation in the films A Tale of Two Sisters (2003) and The Uninvited (2009)

ABSTRACT Material culture is an extension of spatial–temporal perceptions and behaviour. The nature of the manner in which rhetorical material is woven into visual narrative become symbolic expressions of material assembly. Mikhail Bakhtin referred to such material assembly as “flesh” in the instance of the novel. In this article, I will extend Bakhtin's notion of “flesh” to film and demonstrate that Edward Hall's theory of mono-chronic and poly-chronic time apply to the materialisation of narrative flesh in the films discussed herein.

GRAPHIC LANGUAGE OF THE HAGIA SOPHIA: MONOGRAMS

Symbols have a wide variety of expressions, from crests to flags, tattoos to clothes, books to inscriptions, coins to seals, and they have been the source of visual communication and used in every stage of history. In this context, the action of symbolism which started with murals in the cave periods accepted as the basis of today's semiotic science. On the other hand, examples of graphic design with its historical development and existence help us understand, recognize and convey a lot of information about civilizations that have had a strong influence on the world. Hagia Sophia, which is the first cathedral in the world, is a good example in the context of our research. Having details regarding graphic features such as many emblems, symbols, texts, and monograms also conveys the relevant clues of the Hagia Sophia to the present day. This research aims to shed light on the meaningful features of monograms, one of the simplest forms of graphic expression, their development, and historical practice. For this purpose, the monograms, many examples that we have come across in Hagia Sophia, have been examined regarding their symbolic expressions representing the Byzantine Emperors and Empresses.

한스홀라인의 상업공간 작품에서 나타나는 오브제적 실내디자인 표현 연구

In the field of interior design, the object space that appears as a method of expression is attempting to express more sensuous space. The purpose of the study is to present the applicability of the concept of objects used as decorative and formative elements in art history as design expressions when designing spaces by applying them to spaces. This study analyzed the meaning and characteristics of objects in indoor design through Hans Hollein's commercial space, and summarized the role of objects in his work. As a result, the object expression of the interior design can organize material expression, morphological expression, and symbolic expression into main themes, and visualization of space through objects is achieved. In interior design, object expression is one of the design methodologies that has an important influence on spatial composition, and it is expected that major issues revealed through Hans Hollein's commercial space design cases will help establish the direction of design in the future.

Çankırı Müzesi’nde Bulunan Tekke Şamdanları

Dini ve sivil mimaride birer aydınlatma aracı olmaları açısından işlevsel olarak kullanılan şamdanlar özellikle ışık simgeselliği çerçevesinde birçok inançta sembolik anlamlar yansıtmış ve bu sembolizm eserlerin tasarımını da etkilemiştir. Seramik, cam, maden gibi malzemelerden üretilen şamdanlar kullanıldıkları yere göre farklı boyutlarda üretilmiş ve buna bağlı olarak isimlendirilmiştir. Türk İslam toplumlarında dini ve sivil mimaride kullanılan şamdanlar tekkelerde de işlevselliğin yanı sıra sembolik anlamlar ifade edecek şekilde yer almıştır. Bu çalışmada tasavvuf ve tarikatlarda şamdan-kandil-çerağ kavramlarının işlevsel ve sembolik yönleri konusunda bilgiler verildikten sonra Çankırı Müzesi’nde yer alan ve Çankırı Taş Mescid Mevlevîhânesi’nden müzeye getirilmiş olan on üç adet tekke şamdanı sanat tarihi disiplini çerçevesinde malzeme-teknik-süsleme açısından tanıtılmış, tarihlendirilmeleri yapılarak değerlendirilmiştir. Bu çalışma ile tekke şamdanlarının tasavvuf literatüründeki sembolik ifadelerinin yanı sıra eserlerin sanat tarihi disiplini çerçevesinde incelenerek Türk İslam sanatındaki yerinin tespiti ve bu konuda yapılmış çalışmalarla birlikte sonraki araştırmalar için literatüre katkı sunulması amaçlanmıştır. Kaynaklarda tekkelerde kullanılan aydınlatma araçlarından çerağ ve kandiller fazlaca zikredilse de gerek yazılı gerekse görsel eserler ve müzelere farklı dergâhlardan gelen, 13-14. yüzyıl civarına tarihlendirilen örnekler şamdanların da tekke aydınlatma aracı olarak erken dönemlerden itibaren kullanıldığını göstermektedir. Bitkisel, geometrik, figür ve yazılı kompozisyonların yer aldığı bu eserler önemli bir sanat objesi olarak karşımıza çıkmaktadır. Günümüzde farklı müze ve koleksiyonlarda yer alan tekke şamdanları biçimsel olarak farklılık göstermektedir. Genel olarak meydan-ı şeriflerdeki şamdanlar benzer olmakla birlikte Bektaşiyye’deki Kırk Budak Şamdanı ya da Mevleviyye’deki on sekiz kollu şamdan gibi farklı örnekler de mevcuttur. Bu farklı formların oluşumunda genelde tasavvuf literatürünün özelde ise ilgili tarikatın İslam inancı çerçevesindeki sembolik yansımaları etkili olmuştur. Şamdanların formunu etkileyen sembolik unsurların yanı sıra bu eşyaların temsil ettikleri bazı anlamlar da vardır. Tekkelerdeki şamdanlar tıpkı çerağ ve kandiller gibi dervişe seyr-i sülûkunda sürekli takip etmesi gereken ve yolunda yürümesini sağlayan Allah’ın nûrunu, Hz. Peygamber’i (s.a.v.), Kur’ân-ı Kerîm-i, ilgili tarikatın pirini hatırlatan bir unsurdur. Tekkelerdeki aydınlatma araçlarından kandil ve çerağlardan özellikle Bektaşiyye tarikatına ait olanlar özel isimlerle adlandırılmaları ve tasarımlarındaki sembolik yönler ile farklı araştırmalara konu olmuştur. Gerek tasarımları gerekse kandil ve çerağlar gibi yansıttıkları sembolik anlamlarla Türk İslam sanatının önemli örnekleri olan tekke şamdanları hakkında çalışmalar azdır. Bu makalede incelenen tüm şamdanlar madeni (pirinç) olup dövme ve döküm teknikleri ile üretilmiştir. Farklı mumluk, gövde ve kaide formlarına sahip eserlerden bazıları çift olarak üretilmişken tek olan örnekler de vardır. Eserlerden bazılarında mumluklarda görülen lale formu ve bir eserdeki yazı dışında süsleme unsuru yoktur. Üzerlerinde tarih ibaresi bulunmayan şamdanlar farklı müzelerde yer alan benzer vakıf ve tekke şamdanları ile karşılaştırıldığında ve Çankırı Mevlevîhânesi’nin tarihi süreci dikkate alındığında 19. yüzyıla ait örnekler olduğu görülmektedir. Yine farklı koleksiyonlarda yer alan birçok şamdanın üzerindeki ibareden vakıf eseri olduğu anlaşılırken çalışmadaki eserlerde böyle bir kayıt da yoktur. Tarihlendirme dışında önemli bir durum da sanatçı konusudur. Eserlerin üzerinde sanatçı-usta ibaresi mevcut değildir. Ancak eserler aynı döneme ait farklı alanlarda kullanılan şamdanlarla karşılaştırıldığında 19. yüzyıl şamdanlarında rastlanan ortak formları sergilemelerinden dolayı dönemin ortak dilini yansıtan eserler oldukları görülmektedir. Üretildikleri devrin özelliklerini yansıtan bu eserler gerek formları gerekse sembolik anlamları ile Türk İslam maden sanatının önemli örneklerindendir.

Examination of Surah Qari'ah in the Context of Presenting Scenes of the Apocalypse

Kâri’a sûresi, Risalet’in başlangıç döneminde nazil olmuş, mevzu itibariyle diğer bazı Mekkî sûrelerde olduğu gibi kıyametin ne olduğu sorusuyla başlamış ve kıyamet sahnelerinin tasviri yapılmıştır. Bu sahnelerde kıyametin kopmasıyla oluşan şiddetli çarpmanın etkisiyle kâinatta oluşan değişim aktarılmıştır. Kıyametin dehşet veren korkusuyla insanların yaşadıkları panik halleri, hesaba çekilerek amellerine göre kavuşacakları nimetler veya uğrayacakları azap tasvir edilmiştir. Kur’an’da, kıyamet sahneleri çok canlı bir anlatımla adeta gözler önüne serilerek tasavvur ve hissedilebilir bir üslupla aktarılmıştır. Sûrede insanlara yönelik hem ümit veren hem de korku salan mesajlar sunulmuştur. Böylece insanlardaki mükellefiyet ve kulluk bilincine vurgu yapılmak suretiyle dünyada işledikleri amellerin ahirette mutlaka bir karşılığının olacağı bilincinin verilmesi hedeflendiği söylenebilir. Kıyamet sahneleri, Kur’an’ın farklı ayet ve sûrelerinde yer alırken, Kâri’a sûresinde veciz şekliyle geçtiği görülmektedir. Sûreyi ele alarak incelememiz bu sebebe matuftur. Kıyametin kopması ve sonraki ahvalin tasvir edildiği bu sahnelerde, tam bir uyum ve ahenk vardır. Bu durum sahnenin her bölümünde, kelimelerin musikisinde, ses tonu ile mana arasındaki insicamda, hisleri harekete geçirmede ve sunulduğu bağlamda bir bütünlük arz etmesinde kendini göstermektedir. Çalışmamızda, Kâri’a sûresinde ses tonu ve manasıyla ifade edilen kavramlar tahlil edilmiş, en çarpıcı ve canlı bir üslup ile anlatılan kıyamet sahneleri ele alınmıştır. Bunların, insanları imana ve marufa teşvik ederek inançsızlık ve münkerden sakındırmaya yönelik olduğu, sembolik birer anlatım olmadığı, ahirette gerçekte yaşanacak manzaralardan seçildiği anlaşılmış ve bu hususlar analiz edilerek işlenmiştir.