The Ontology of Cultural Heritage In The Works of İlyas Sevindik

Ümit Dikmen

doi:10.37609/akya.4297

Yazarlar

Ümit Dikmen

https://orcid.org/0000-0003-2055-9736

DOI: https://doi.org/10.37609/akya.4297.c17452

Özet

In this study, the distinctive artistic perspective of the artist İlyas Sevindik, which has evolved from the 1990s to the present day, has been examined through his works, focusing on local identity, the preservation of cultural heritage and the form of meaning derived from Sufi thought. Qualitative research methods were adopted in the study, and the changes in colour, composition and figurative elements in the artist’s works were analysed through descriptive analysis. To enhance the originality of the research, the artist’s technical, material and formal development has been documented chronologically by incorporating first-hand data obtained through interviews with the artist himself, alongside printed sources, digital data and brochures. Whilst he adopted a realist approach that reflected the tangible world during the early years of his artistic career, he subsequently shifted his artistic perspective, moving towards a more abstract style. As part of this transformation, he has reinterpreted the fundamental elements of architectural forms from the Anatolian Seljuk and Ottoman periods, the rich visual values inherent in traditional Turkish miniature art, and the mystical forms of the Mevlevi Order, blending them with the modern language of contemporary visual art and translating them onto his canvases. In the artist’s historical works, which center particularly on the theme of ‘Sarıkamış’, reflections of national consciousness and the historical tragedy experienced at that moment in the past are clearly observable. In these works, the painter skillfully interprets the freezing winter's relentless natural conditions and its unbearable, inhospitable cold. He integrates the harsh face of this natural depiction with the painful historical reality experienced firsthand on the front line at that time, successfully conveying it onto the canvas within an extremely striking, compelling, and dramatic atmosphere. By skillfully combining this modern narrative model shaped by his distinctive tachist style with an aesthetic sensitivity, Sevindik successfully synthesizes traditional codes from the past with the dynamic elements of contemporary art in a harmonious manner. Consequently, by conveying the cultural and local heritage, which has reached the present day through a historical filter, in his own distinctive language and interpreting it in terms of contemporary values, the artist aims to create a record of social memory by integrating this heritage with a contemporary understanding of art and ontological philosophy. Furthermore, while offering the viewer a rich visual terrain to explore, the artist also engages them in a profound process of intellectual inquiry, leaving a lasting impression.

Referanslar

Agah resim sergisi [Broşür]. (2023, 4-10 Eylül). 19. Kişisel Sergi, Amasya Müzesi, Amasya, Türkiye.

Çetin, D. (2006, 27 Şubat). Kültür sanat etkinlikleri. Hakimiyet, 6.

Geçen, F. (2024). Günümüz Akademisyen Sanatçı Seçkileri, s. 45. Akademisyen Yayınevi Kitabevi. ISBN 978-625-375-205-7. Ankara.

Harputlu, M. (2023). Günümüz Türk resim sanatında kent kültürü ve devinim (Yayın No. 871765) [Yüksek lisans tezi, Selçuk Üniversitesi]. YÖK Ulusal Tez Merkezi.

Sevindik, İ. (2021, Aralık 14-16). Günümüz yerel sanatçılarının eserlerinde Konya Mimarî dokusu ve elemanları [Tam Metin]. Uluslararası zanaattan sanata kongre ve jürili karma Sergi, Recep Tayyip Erdoğan kongre ve kültür merkezi, Uşak Üniversitesi, Uşak.

https://zanaattansanata.usak.edu.tr/upload/zanaattansanata/pZEI91vpAP_Birle%C5%9Ftirilmi%C5%9F%20Tam%20Metin%20Kitab%C4%B1.pdf

Sevindik, İ. (2025, Kasım 05-09). Resim sanatında düşün biçim etkileşimi bağlamında sema ve semazen resimleri. [Tam Metin Bildiri]. IV. Uluslararası Türk Dünyası iletişim ve sanat sempozyumu. 05-09 Kasım 2024. Taşkent- Özbekistan https://drive.google.com/file/d/12Uu3NK7zvADR6sNUiEyL0I1i4TZiYewC/view?usp=sharing

Sevindik, İ. (Aralık, 2025). Mevlâna ve mevlevîlik harsiyatı- 1, Çağdaş Türk resim sanatında hiçliğin rengi: semanın bedensel, düşünsel ve işitsel boyutları. Selçuk Üniversitesi Yayınları, Konya, Türkiye. DOI: https://doi.org/10.59726/SUPress/9789754482614

Figure 1: Harputlu, M. (2023). Günümüz Türk resim sanatında kent kültürü ve devinim

(Yayın No. 871765) [Yüksek lisans tezi, Selçuk Üniversitesi]. YÖK Ulusal Tez Merkezi.

Figure 2: Sevindik, İ. (Aralık, 2025). Mevlâna ve mevlevîlik harsiyatı- 1, Çağdaş Türk resim sanatında hiçliğin rengi: semanın bedensel, düşünsel ve işitsel boyutları. Selçuk Üniversitesi Yayınları, Konya, Türkiye. DOI: https://doi.org/10.59726/SUPress/9789754482614

Figure 3: The image was provided by the artist themselves

Figure 4: The image was provided by the artist themselves

Figure 5: The image was provided by the artist themselves

Figure 6: The image was provided by the artist themselves

Figure 7: Geçen, F. (2024). Günümüz Akademisyen Sanatçı Seçkileri, s. 45. Akademisyen Yayınevi Kitabevi. ISBN 978-625-375-205-7. Ankara.

The Ontology of Cultural Heritage In The Works of İlyas Sevindik

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