{"id":4055,"date":"2026-10-17T23:06:06","date_gmt":"2026-10-17T20:06:06","guid":{"rendered":"https:\/\/tarihkursu.com\/?p=4055"},"modified":"2026-10-17T23:06:06","modified_gmt":"2026-10-17T20:06:06","slug":"turklerde-sanat-ve-spor-3-unite-turkistandan-turkiyeye-turklerde-egitim-bilim-sanat-ve-spor-maarif-modeli","status":"publish","type":"post","link":"https:\/\/tarihkursu.com\/index.php\/2026\/10\/17\/turklerde-sanat-ve-spor-3-unite-turkistandan-turkiyeye-turklerde-egitim-bilim-sanat-ve-spor-maarif-modeli\/","title":{"rendered":"T\u00fcrklerde Sanat ve Spor \/ 3. \u00dcnite: T\u00fcrkistan\u2019dan T\u00fcrkiye\u2019ye T\u00fcrklerde E\u011fitim, Bilim, Sanat ve Spor | Maarif Modeli"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">T\u00fcrkiye Y\u00fczy\u0131l\u0131 Maarif Modeli <strong>T\u00fcrk K\u00fclt\u00fcr ve Medeniyet Tarihi <\/strong>dersinin 3. \u00fcnitesi, \u201cT<strong>\u00fcrkistan\u2019dan T\u00fcrkiye\u2019ye T\u00fcrklerde E\u011fitim, Bilim, Sanat ve Spor<\/strong>\u201d konular\u0131n\u0131 kapsar. Bu sayfada TKMT 3.2 \u00f6\u011frenme \u00e7\u0131kt\u0131s\u0131na y\u00f6nelik <strong>T\u00fcrklerde Sanat ve Spor ders notlar\u0131<\/strong> yer almaktad\u0131r. \u0130slamiyet \u00f6ncesi T\u00fcrk sanat\u0131nda hayvan \u00fcslubu, kurgan, bark, Uygur freskleri ve geleneksel el sanatlar\u0131 a\u00e7\u0131klanmaktad\u0131r. T\u00fcrk-\u0130slam ve Osmanl\u0131 d\u00f6nemlerinde mimari, minyat\u00fcr, m\u00fczik, heykel, resim ve sanat kurumlar\u0131n\u0131n geli\u015fimi incelenmektedir. Cumhuriyet d\u00f6neminde sanat\u0131n modernle\u015fmesi, mill\u00ee mimarl\u0131k ak\u0131mlar\u0131, g\u00fczel sanatlar e\u011fitimi ve sporun kurumsalla\u015fmas\u0131 ele al\u0131nmaktad\u0131r. Konunun sonunda geleneksel T\u00fcrk sporlar\u0131, uluslararas\u0131 ba\u015far\u0131lar ve sanat ile spordaki de\u011fi\u015fim, kar\u015f\u0131la\u015ft\u0131rmal\u0131 tablolar ve s\u0131nav notlar\u0131yla peki\u015ftirilmektedir.<\/p>\n\n\n\n<style>\n\/* TKMT 3.1: WordPress uyumlu, kayd\u0131rmas\u0131z tablolar *\/\n.tkmt-lesson {box-sizing:border-box;max-width:1000px;width:100%;min-width:0;margin:0 auto;color:#263244;font-family:system-ui,-apple-system,\"Segoe UI\",Roboto,Arial,sans-serif;font-size:16px;line-height:1.72;overflow-wrap:break-word;}\n.tkmt-lesson *, .tkmt-lesson *::before, .tkmt-lesson *::after {box-sizing:border-box;}\n.tkmt-lesson .tkmt-header {border-left:5px solid #087f93;padding:15px 20px;background:#f2f9fb;border-radius:0 12px 12px 0;margin:0 0 26px;}\n.tkmt-lesson .tkmt-kicker {margin:0 0 4px;color:#167489;font-size:.90em;font-weight:750;}\n.tkmt-lesson .tkmt-header h2 {margin:0 0 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{font-size:15px;line-height:1.65;}\n .tkmt-lesson .tkmt-header {padding:13px 15px;}\n .tkmt-lesson table.tkmt-table {font-size:.97em;}\n .tkmt-lesson table.tkmt-cols-2,.tkmt-lesson table.tkmt-cols-2 tbody,\n .tkmt-lesson table.tkmt-cols-2 tbody tr,.tkmt-lesson table.tkmt-cols-2 tbody td {display:block!important;width:100%!important;max-width:100%!important;}\n .tkmt-lesson table.tkmt-cols-2 thead,.tkmt-lesson table.tkmt-cols-2 colgroup {display:none!important;}\n .tkmt-lesson table.tkmt-cols-2 tbody tr {margin:0 0 10px;border:1px solid #d2e0e7;border-radius:8px;overflow:hidden;background:#fff;}\n .tkmt-lesson table.tkmt-cols-2 tbody td {border-width:0 0 1px!important;padding:9px 12px!important;}\n .tkmt-lesson table.tkmt-cols-2 tbody td:first-child {font-weight:650;background:#e8f4f7!important;color:#12465f;}\n .tkmt-lesson table.tkmt-cols-2 tbody td:last-child {border-bottom:0!important;background:#fff!important;}\n .tkmt-lesson table.tkmt-cols-2 tbody td::before {content:attr(data-label);display:block;font-size:.84em;color:#16637d;font-weight:750;margin-bottom:3px;}\n}\n\n\/* 6-column numerical comparison tables use the same readable, scroll-free mobile cards. *\/\n@media(max-width:1000px) {\n .tkmt-lesson table.tkmt-cols-6, .tkmt-lesson table.tkmt-cols-6 tbody,\n .tkmt-lesson table.tkmt-cols-6 tbody tr, .tkmt-lesson table.tkmt-cols-6 tbody td {display:block!important;width:100%!important;max-width:100%!important;}\n .tkmt-lesson table.tkmt-cols-6 thead,.tkmt-lesson table.tkmt-cols-6 colgroup {display:none!important;}\n .tkmt-lesson table.tkmt-cols-6 tbody tr {margin:0 0 12px;border:1px solid #d2e0e7;border-radius:8px;overflow:hidden;background:#fff;}\n .tkmt-lesson table.tkmt-cols-6 tbody td {border-width:0 0 1px!important;padding:9px 12px!important;}\n .tkmt-lesson table.tkmt-cols-6 tbody td:last-child {border-bottom:0!important;}\n .tkmt-lesson table.tkmt-cols-6 tbody td::before {content:attr(data-label);display:block;font-size:.84em;color:#16637d;font-weight:750;margin-bottom:3px;}\n .tkmt-lesson table.tkmt-cols-6 tbody tr:nth-child(even) td {background:#fff;}\n}\n<\/style>\n<style>\n\/* Additional narrowly-scoped 3.2 layout safeguards. *\/\n.tkmt-lesson .tkmt-note p + p {margin-top:6px;}\n.tkmt-lesson .tkmt-note .tkmt-note-label {display:block;margin-bottom:3px;line-height:1.45;}\n.tkmt-lesson table.tkmt-table th,.tkmt-lesson table.tkmt-table td {word-break:normal!important;overflow-wrap:break-word!important;hyphens:manual!important;}\n@media (max-width:1000px) and (min-width:801px) {\n .tkmt-lesson table.tkmt-cols-4,.tkmt-lesson table.tkmt-cols-4 tbody,.tkmt-lesson table.tkmt-cols-4 tbody tr,.tkmt-lesson table.tkmt-cols-4 tbody td {display:block!important;width:100%!important;max-width:100%!important;}\n .tkmt-lesson table.tkmt-cols-4 thead,.tkmt-lesson table.tkmt-cols-4 colgroup {display:none!important;}\n .tkmt-lesson table.tkmt-cols-4 tbody tr {margin-bottom:12px;border:1px solid #d2e0e7;border-radius:8px;overflow:hidden;background:#fff;}\n .tkmt-lesson table.tkmt-cols-4 tbody td {border-width:0 0 1px!important;padding:9px 12px!important;}\n .tkmt-lesson table.tkmt-cols-4 tbody td:last-child {border-bottom:0!important;}\n .tkmt-lesson table.tkmt-cols-4 tbody td::before {content:attr(data-label);display:block;color:#16637d;font-size:.84em;font-weight:750;margin-bottom:3px;}\n}\n<\/style>\n\n<article class=\"tkmt-lesson\" lang=\"tr\">\n<header class=\"tkmt-header\"><p class=\"tkmt-kicker\">3. \u00dcN\u0130TE: T\u00dcRK\u0130STAN\u2019DAN T\u00dcRK\u0130YE\u2019YE T\u00dcRKLERDE E\u011e\u0130T\u0130M, B\u0130L\u0130M, SANAT VE SPOR \u00b7 TKMT 3.2<\/p>\n<h2>3.2 T\u00dcRKLERDE SANAT VE SPOR<\/h2>\n<p class=\"tkmt-subtitle\">T\u00fcrkistan\u2019dan T\u00fcrkiye\u2019ye K\u00fclt\u00fcrel S\u00fcreklilik, De\u011fi\u015fim ve Kurumsalla\u015fma<\/p><\/header>\n<h2 class=\"tkmt-section\" id=\"bolum-1\">1. Sanat, Spor, E\u011fitim ve Bilimin T\u00fcrk K\u00fclt\u00fcr\u00fcndeki Yeri<\/h2>\n<ul class=\"tkmt-points\"><li>T\u00fcrk toplumlar\u0131nda e\u011fitim, bilim, sanat ve spor birbirini tamamlayan k\u00fclt\u00fcr alanlar\u0131 olarak geli\u015fmi\u015ftir.<\/li><li>Medreseler, T\u00fcrk-\u0130slam d\u00fcnyas\u0131nda \u00f6rg\u00fcn e\u011fitim ve bilimsel d\u00fc\u015f\u00fcncenin \u00f6nemli merkezleri olmu\u015f; matematikten t\u0131bba kadar bir\u00e7ok alanda bilgi \u00fcretilmi\u015ftir.<\/li><li>Cezeri\u2019nin mekanik \u00e7al\u0131\u015fmalar\u0131, T\u00fcrk-\u0130slam medeniyeti \u00e7evresinde teknik yarat\u0131c\u0131l\u0131k ve uygulamaya d\u00f6n\u00fck bilim anlay\u0131\u015f\u0131n\u0131n g\u00fc\u00e7l\u00fc \u00f6rneklerindendir.<\/li><li>T\u00fcrk \u00fc\u00e7geni, kare veya \u00e7okgen planl\u0131 yap\u0131lardan kubbeye ge\u00e7i\u015fi sa\u011flayan, kubbenin y\u00fck\u00fcn\u00fc ta\u015f\u0131y\u0131c\u0131 sisteme aktaran ve estetik g\u00f6r\u00fcn\u00fcm sa\u011flayan mimari \u00e7\u00f6z\u00fcmlerden biridir.<\/li><li>G\u00f6kb\u00f6r\u00fc gibi atl\u0131 oyunlar; cesaret, m\u00fccadele, tak\u0131m ruhu ve dayan\u0131\u015fmay\u0131; mimari, minyat\u00fcr, m\u00fczik ve el sanatlar\u0131 ise estetik zevk ile k\u00fclt\u00fcrel kimli\u011fi yans\u0131t\u0131r.<\/li><li>Tarihsel s\u00fcre\u00e7te sanat ve spor, ya\u015fam tarz\u0131, din\u00ee de\u011fi\u015fim, \u015fehirle\u015fme, modernle\u015fme ve kurumsalla\u015fma gibi etkenlere ba\u011fl\u0131 olarak bi\u00e7im de\u011fi\u015ftirmi\u015f; ancak k\u00fclt\u00fcrel s\u00fcreklilik korunmu\u015ftur.<\/li><\/ul>\n<aside class=\"tkmt-note\"><p><strong class=\"tkmt-note-label\">\ud83d\udccc NEDEN \u00d6NEML\u0130?<\/strong><\/p><p>T\u00fcrk k\u00fclt\u00fcr tarihinde sanat ve spor yaln\u0131zca estetik veya e\u011flence alan\u0131 de\u011fildir; toplumsal kimlik, asker\u00ee haz\u0131rl\u0131k, e\u011fitim, dayan\u0131\u015fma, sa\u011fl\u0131k ve ortak haf\u0131za ile do\u011frudan ili\u015fkilidir.<\/p><\/aside>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-1\">1.1. Temel Kavramlar<\/h3>\n<div class=\"tkmt-table-frame\"><table class=\"tkmt-table tkmt-cols-2\"><colgroup><col style=\"width:37%\" \/><col style=\"width:63%\" \/><\/colgroup><thead><tr><th scope=\"col\"><p><strong>Kavram<\/strong><\/p><\/th><th scope=\"col\"><p><strong>A\u00e7\u0131klama<\/strong><\/p><\/th><\/tr><\/thead><tbody><tr><td data-label=\"Kavram\"><p>Minyat\u00fcr<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>El yazmas\u0131 kitaplarda olaylar\u0131, ki\u015fileri ve mek\u00e2nlar\u0131 k\u00fc\u00e7\u00fck boyutlu, ayr\u0131nt\u0131l\u0131 resimlerle anlatan geleneksel resim sanat\u0131d\u0131r.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>Mangala<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>Ta\u015flarla oynanan, hesaplama ve stratejiye dayal\u0131 geleneksel T\u00fcrk zek\u00e2 oyunudur.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>\u00c7evgen<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>At \u00fczerinde sopa ve topla oynanan, y\u00fcksek binicilik ve koordinasyon gerektiren geleneksel oyundur; polo ile benzerlik g\u00f6sterir.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>Cirit<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>At \u00fczerinde oynanan; oyuncular\u0131n cirit atarak \u00e7eviklik, cesaret ve binicilik becerisi sergiledi\u011fi geleneksel T\u00fcrk sporudur.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>G\u00f6kb\u00f6r\u00fc<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>Atl\u0131 tak\u0131m oyunudur. Oyunda o\u011flak rakipten al\u0131narak hedefe ula\u015ft\u0131r\u0131lmaya \u00e7al\u0131\u015f\u0131l\u0131r.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>Hayvan \u00fcslubu<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>Kartal, kurt, geyik, aslan, ejder gibi hayvanlar\u0131n hareketli ve stilize bi\u00e7imde kullan\u0131ld\u0131\u011f\u0131 bozk\u0131r sanat \u00fcslubudur.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>Balbal<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>Eski T\u00fcrk an\u0131t mezar \u00e7evrelerinde g\u00f6r\u00fclen ta\u015f fig\u00fcr veya dikili ta\u015flard\u0131r.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>Ota\u011f<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>Konarg\u00f6\u00e7er T\u00fcrk ya\u015fam\u0131nda kullan\u0131lan b\u00fcy\u00fck ve sembolik \u00e7ad\u0131r; ayn\u0131 zamanda siyasi ve t\u00f6rensel bir mek\u00e2nd\u0131r.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>Kurgan<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>Eski T\u00fcrk ve bozk\u0131r topluluklar\u0131nda g\u00f6r\u00fclen an\u0131t mezar yap\u0131s\u0131d\u0131r.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>Bark<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>G\u00f6kt\u00fcrklerde an\u0131t mezar \u00e7evresinde bulunan yap\u0131 veya an\u0131t bina t\u00fcr\u00fcd\u00fcr.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>K\u00fcmbet<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>T\u00fcrk-\u0130slam mimarisinde \u00e7o\u011funlukla \u00e7okgen g\u00f6vdeli ve konik\/k\u00fclahl\u0131 \u00fcst \u00f6rt\u00fcl\u00fc an\u0131t mezard\u0131r.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>K\u00fcndek\u00e2ri<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>Ah\u015fap par\u00e7alar\u0131n \u00e7ivi kullan\u0131lmadan ge\u00e7me y\u00f6ntemiyle birle\u015ftirilmesine dayanan s\u00fcsleme ve yap\u0131m tekni\u011fidir.<\/p><\/td><\/tr><tr><td data-label=\"Kavram\"><p>Etnospor<\/p><\/td><td data-label=\"A\u00e7\u0131klama\"><p>Yerel kimlikleri ve geleneksel k\u00fclt\u00fcr\u00fc ya\u015fatan spor ve oyunlar\u0131n genel ad\u0131d\u0131r.<\/p><\/td><\/tr><\/tbody><\/table><\/div>\n<aside class=\"tkmt-note tkmt-caution\"><p><strong class=\"tkmt-note-label\">\u2605 D\u00fczeltme<\/strong><\/p><p>Balbal, \u201cmezar ta\u015f\u0131\u201d ile birebir ayn\u0131 kavram de\u011fildir. Eski T\u00fcrk an\u0131t mezar \u00e7evrelerinde g\u00f6r\u00fclen ta\u015f heykel\/dikili ta\u015flar\u0131 ifade eder; anlam\u0131 ve i\u015flevi d\u00f6nemlere g\u00f6re de\u011fi\u015febilir.<\/p><\/aside>\n<aside class=\"tkmt-note\"><p><strong class=\"tkmt-note-label\">\u2605 Not<\/strong><\/p><p>Saka\/\u0130skitlerin etnik kimli\u011fi bilim d\u00fcnyas\u0131nda tart\u0131\u015fmal\u0131d\u0131r. Ders kitab\u0131ndaki \u00f6rnekler, T\u00fcrk k\u00fclt\u00fcr tarihi i\u00e7inde bozk\u0131r sanat gelene\u011fi ve k\u00fclt\u00fcrel etkile\u015fim ba\u011flam\u0131nda ele al\u0131nmal\u0131d\u0131r.<\/p><\/aside>\n<h2 class=\"tkmt-section\" id=\"bolum-2\">2. \u0130slamiyet \u00d6ncesi T\u00fcrklerde Sanat<\/h2>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-2\">2.1. Sanat Anlay\u0131\u015f\u0131n\u0131 Belirleyen Etkenler<\/h3>\n<ul class=\"tkmt-points\"><li>\u0130slamiyet \u00f6ncesi T\u00fcrk sanat\u0131n\u0131 ya\u015fan\u0131lan co\u011frafya, konarg\u00f6\u00e7er ya\u015fam bi\u00e7imi, inan\u00e7lar ve sosyal yap\u0131 \u015fekillendirmi\u015ftir.<\/li><li>Hun ve G\u00f6kt\u00fcrklerde ta\u015f\u0131nabilir, i\u015flevsel ve dayan\u0131kl\u0131 sanat \u00fcr\u00fcnleri \u00f6ne \u00e7\u0131km\u0131\u015f; Uygurlarda yerle\u015fik hayat\u0131n etkisiyle mimarl\u0131k, resim ve heykel daha \u00e7ok geli\u015fmi\u015ftir.<\/li><li>Sanat \u00fcr\u00fcnleri bar\u0131nma, sava\u015f, g\u00fcndelik kullan\u0131m, din\u00ee t\u00f6ren, mezar k\u00fclt\u00fcr\u00fc ve s\u00fcsleme gibi i\u015flevleri birlikte ta\u015f\u0131m\u0131\u015ft\u0131r.<\/li><li>Alt\u0131n Adam s\u00fcslemelerinde g\u00f6r\u00fclen hayvan fig\u00fcrleri, bozk\u0131r maden sanat\u0131n\u0131n hayvan \u00fcslubuna \u00f6rnek g\u00f6sterilmektedir.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-3\">2.2. Hayvan \u00dcslubu ve K\u00fclt\u00fcrel S\u00fcreklilik<\/h3>\n<ul class=\"tkmt-points\"><li>Kartal, aslan, kurt, geyik ve ejder gibi fig\u00fcrler hareketli, canl\u0131 ve stilize bi\u00e7imde kullan\u0131lm\u0131\u015ft\u0131r.<\/li><li>Hayvan \u00fcslubu \u0130slamiyet\u2019ten sonra ortadan kalkmam\u0131\u015f; ta\u015f s\u00fcslemelerde, mezar ta\u015flar\u0131nda, minyat\u00fcr ve \u00e7inide yeni sembolik anlamlarla devam etmi\u015ftir.<\/li><li>Sel\u00e7uklu ta\u015f i\u015f\u00e7ili\u011finde \u00e7ift ba\u015fl\u0131 kartal, aslan, ejder ve y\u0131lan fig\u00fcrleri g\u00fc\u00e7, h\u00e2kimiyet ve koruyuculuk gibi anlamlarla kullan\u0131lm\u0131\u015ft\u0131r.<\/li><\/ul>\n<aside class=\"tkmt-note tkmt-exam\"><p><strong class=\"tkmt-note-label\">\ud83d\udccc \u00d6SYM D\u0130KKAT<\/strong><\/p><p>Hayvan \u00fcslubu, \u0130slamiyet \u00f6ncesi T\u00fcrk sanat\u0131n\u0131n ay\u0131rt edici unsurlar\u0131ndand\u0131r. Sel\u00e7uklu sanat\u0131ndaki \u00e7ift ba\u015fl\u0131 kartal, ejder ve aslan motifleriyle k\u00fclt\u00fcrel s\u00fcreklilik kurulabilir.<\/p><\/aside>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-4\">2.3. \u00c7ad\u0131r, Kurgan, Bark ve Yerle\u015fik Mimariye Ge\u00e7i\u015f<\/h3>\n<ul class=\"tkmt-points\"><li>T\u00fcrk \u00e7ad\u0131r\u0131 yaln\u0131zca bar\u0131nak de\u011fil; dairesel\/merkez\u00ee plan\u0131, i\u00e7 mek\u00e2n d\u00fczeni ve s\u00fcslemeleriyle T\u00fcrk mek\u00e2n alg\u0131s\u0131n\u0131 yans\u0131tan bir mimari \u00fcr\u00fcnd\u00fcr.<\/li><li>\u00c7ad\u0131rlar\u0131n kubbeli formu ve ta\u015f\u0131nabilir yap\u0131s\u0131, konarg\u00f6\u00e7er hayat\u0131n ihtiya\u00e7lar\u0131na uygundur; i\u00e7 y\u00fczeyler T\u00fcrklerin estetik anlay\u0131\u015f\u0131n\u0131 yans\u0131tan motiflerle s\u00fcslenmi\u015ftir.<\/li><li>Kurganlarda birbirine ge\u00e7meli ah\u015fap k\u00fct\u00fcklerden yap\u0131lan mezar odalar\u0131, geli\u015fmi\u015f malzeme bilgisi ve yal\u0131t\u0131m tekni\u011fini g\u00f6stermektedir.<\/li><li>G\u00f6kt\u00fcrklerde bark ad\u0131 verilen an\u0131t yap\u0131lar ve Orhun Yaz\u0131tlar\u0131 \u00e7evresindeki d\u00fczenlemeler, an\u0131t mimarisi bilincinin erken d\u00f6nemde geli\u015fti\u011fini g\u00f6sterir.<\/li><li>Yerle\u015fik hayata ge\u00e7i\u015fle geli\u015fen k\u00fcmbetler \u00e7o\u011funlukla \u00e7okgen g\u00f6vdeli, ta\u015f malzemeli ve konik \u00e7at\u0131l\u0131 an\u0131t mezarlard\u0131r.<\/li><li>\u00c7ad\u0131r s\u00fcsleme motiflerinin ta\u015f mimariye aktar\u0131lmas\u0131, malzeme ve yap\u0131 t\u00fcr\u00fc de\u011fi\u015fse de estetik haf\u0131zan\u0131n s\u00fcrd\u00fc\u011f\u00fcn\u00fc g\u00f6sterir.<\/li><\/ul>\n<aside class=\"tkmt-note tkmt-caution\"><p><strong class=\"tkmt-note-label\">\u2605 D\u00fczeltme<\/strong><\/p><p>\u00c7ad\u0131r ile kubbe\/k\u00fcmbet aras\u0131nda bi\u00e7imsel ve mek\u00e2nsal benzerlik kurulabilir; ancak T\u00fcrk-\u0130slam kubbe mimarisini yaln\u0131zca \u00e7ad\u0131rdan t\u00fcremi\u015f tek \u00e7izgili bir geli\u015fme olarak a\u00e7\u0131klamak do\u011fru de\u011fildir. Farkl\u0131 mimari gelenekler ve teknik birikimler de etkili olmu\u015ftur.<\/p><\/aside>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-5\">2.4. Uygurlar\u0131n Sanata Katk\u0131s\u0131<\/h3>\n<ul class=\"tkmt-points\"><li>Uygurlar\u0131n yerle\u015fik ya\u015fama ge\u00e7mesiyle \u201cbal\u0131k\u201d ad\u0131 verilen planl\u0131 \u015fehirler kurulmu\u015f; surlar, saraylar, tap\u0131naklar ve sosyal alanlar geli\u015fmi\u015ftir.<\/li><li>Kerpi\u00e7 ve tu\u011fla yayg\u0131n yap\u0131 malzemesi olmu\u015f; tonoz ve kubbe gibi \u00fcst \u00f6rt\u00fc teknikleri kullan\u0131lm\u0131\u015ft\u0131r.<\/li><li>Budist ve Maniheist \u00e7evrelerde geli\u015fen Bezeklik gibi duvar resimleri, fig\u00fcrl\u00fc tasvir gelene\u011finin g\u00fc\u00e7l\u00fc \u00f6rnekleridir.<\/li><li>Uygur fresk ve minyat\u00fcr gelene\u011fi, Abbasi ve Sel\u00e7uklu resim sanat\u0131na; daha sonra Osmanl\u0131 minyat\u00fcr\u00fcne uzanan bir etki zinciri olu\u015fturmu\u015ftur.<\/li><li>Uygur resim tekniklerinin izleri, Varka ve G\u00fcl\u015fah minyat\u00fcrleri ile Mustafa Siyah Kalem\u2019e atfedilen eserlerde de g\u00f6r\u00fclmektedir.<\/li><\/ul>\n<h2 class=\"tkmt-section\" id=\"bolum-3\">3. T\u00fcrklerde El Sanatlar\u0131<\/h2>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-6\">3.1. \u0130slamiyet \u00d6ncesi ve T\u00fcrk-\u0130slam D\u00f6nemi El Sanatlar\u0131<\/h3>\n<ul class=\"tkmt-points\"><li>Demircilik ve madencilik geli\u015fmi\u015f; k\u0131l\u0131\u00e7, kalkan, m\u0131zrak ve ok u\u00e7lar\u0131nda y\u00fcksek i\u015f\u00e7ilik ortaya \u00e7\u0131km\u0131\u015ft\u0131r.<\/li><li>Konarg\u00f6\u00e7er hayat ta\u015f\u0131nabilir e\u015fya \u00fcretimini te\u015fvik etmi\u015f; mobilya, mutfak e\u015fyas\u0131, araba ve at ko\u015fum tak\u0131mlar\u0131 s\u00fcslemelerle i\u015flenmi\u015ftir.<\/li><li>Dokumac\u0131l\u0131kta hal\u0131, kilim ve ke\u00e7e \u00f6ne \u00e7\u0131km\u0131\u015f; geometrik motifler binlerce y\u0131ll\u0131k k\u00fclt\u00fcrel s\u00fcreklili\u011fin ta\u015f\u0131y\u0131c\u0131s\u0131 olmu\u015ftur.<\/li><li>Ko\u00e7 boynuzu motifi g\u00fc\u00e7, cesaret ve m\u00fccadeleyi; eli belinde motifi aile, bereket ve \u00fcretkenli\u011fi simgeleyen geleneksel motifler aras\u0131nda de\u011ferlendirilir.<\/li><li>Anadolu Sel\u00e7uklular\u0131 ah\u015fap i\u015f\u00e7ili\u011finde minber, k\u00fcrs\u00fc, rahle, Kur\u2019an mahfazas\u0131, \u00e7ekmece ve sanduka gibi eserler \u00fcretmi\u015ftir.<\/li><li>Sel\u00e7uklu ah\u015fab\u0131nda oyma, k\u00fcndek\u00e2ri, \u015febekeli oyma ve boyama teknikleri kullan\u0131lm\u0131\u015ft\u0131r. Konya Al\u00e2eddin Camii minberi k\u00fcndek\u00e2ri tekni\u011finin \u00f6nemli \u00f6rneklerindendir.<\/li><li>Avrasya k\u00f6kenli e\u011fri kesim tekni\u011finin Abbasi, Toluno\u011flu ve Gazne sanat \u00e7evrelerine ta\u015f\u0131nd\u0131\u011f\u0131 belirtilmektedir.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-7\">3.2. Osmanl\u0131 El Sanatlar\u0131 ve Estetik Anlay\u0131\u015f<\/h3>\n<ul class=\"tkmt-points\"><li>Osmanl\u0131 sanat\u0131nda oran, d\u00fczen ve uyum \u00f6nemli estetik ilkeler olarak g\u00f6r\u00fclm\u00fc\u015ft\u00fcr.<\/li><li>Ku\u015f evleri, k\u00fc\u00e7\u00fck ku\u015flar\u0131 korumak amac\u0131yla cami ve ba\u015fka yap\u0131lar\u0131n cephelerine yerle\u015ftirilmi\u015f; estetik ile merhamet anlay\u0131\u015f\u0131n\u0131 bir araya getirmi\u015ftir.<\/li><li>Lonca sistemi i\u00e7inde usta-\u00e7\u0131rak ili\u015fkisiyle s\u00fcrd\u00fcr\u00fclen el sanatlar\u0131, \u00fcretim standard\u0131 ve meslek gelene\u011finin korunmas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-8\">3.3. Modernle\u015fme ve El Sanatlar\u0131nda D\u00f6n\u00fc\u015f\u00fcm<\/h3>\n<ul class=\"tkmt-points\"><li>Sanayi Devrimi sonras\u0131 Avrupa\u2019n\u0131n ucuz ve seri \u00fcretim mallar\u0131, Osmanl\u0131 el tezg\u00e2hlar\u0131n\u0131 ve geleneksel zanaat \u00fcretimini zorlam\u0131\u015ft\u0131r.<\/li><li>Islah-\u0131 Sanayi Komisyonu ve Sanayi-i Nefise Mektebi gibi kurumlar, el sanatlar\u0131n\u0131 koruma ve sanat e\u011fitimini akademik zemine ta\u015f\u0131ma amac\u0131yla \u00f6nem kazanm\u0131\u015ft\u0131r.<\/li><li>II. Me\u015frutiyet ve Mill\u00ee \u0130ktisat politikalar\u0131 d\u00f6neminde el sanatlar\u0131 mill\u00ee kimli\u011fin bir unsuru olarak yeniden de\u011ferlendirilmi\u015ftir.<\/li><li>I. Ulusal Mimarl\u0131k Ak\u0131m\u0131 ile \u00e7ini, ah\u015fap oymac\u0131l\u0131\u011f\u0131 ve ta\u015f i\u015f\u00e7ili\u011fi kamu binalar\u0131nda yeniden \u00f6ne \u00e7\u0131km\u0131\u015f; K\u00fctahya \u00e7inicili\u011fi canland\u0131r\u0131lm\u0131\u015ft\u0131r.<\/li><li>Cumhuriyetin ilk y\u0131llar\u0131nda el sanatlar\u0131 hem k\u00fclt\u00fcrel miras hem de k\u0131rsal kalk\u0131nmay\u0131 destekleyen ekonomik faaliyet olarak g\u00f6r\u00fclm\u00fc\u015ft\u00fcr.<\/li><li>1923 \u0130zmir \u0130ktisat Kongresi sonras\u0131 yerli \u00fcretim desteklenmi\u015f; hal\u0131c\u0131l\u0131k, dokumac\u0131l\u0131k ve seramikte geleneksel desenlerle fabrikasyon \u00fcretim bir araya getirilmeye \u00e7al\u0131\u015f\u0131lm\u0131\u015ft\u0131r.<\/li><li>S\u00fcmerbank ile geleneksel dokuma motifleri modern fabrikalarda i\u015flenmi\u015f; zanaat kimli\u011fi modern tasar\u0131m ve mill\u00ee sanayi anlay\u0131\u015f\u0131yla birle\u015fmi\u015ftir.<\/li><li>Hat sanat\u0131, yeni alfabe ve modern tasar\u0131m ihtiya\u00e7lar\u0131 do\u011frultusunda grafik ve tipografi alanlar\u0131yla yeni ili\u015fkiler kurmu\u015ftur.<\/li><\/ul>\n<div class=\"tkmt-table-frame\"><table class=\"tkmt-table tkmt-cols-2\"><colgroup><col style=\"width:37%\" \/><col style=\"width:63%\" \/><\/colgroup><thead><tr><th scope=\"col\"><p><strong>El Sanatlar\u0131ndaki De\u011fi\u015fimin Nedenleri<\/strong><\/p><\/th><th scope=\"col\"><p><strong>Ba\u015fl\u0131ca Sonu\u00e7lar<\/strong><\/p><\/th><\/tr><\/thead><tbody><tr><td data-label=\"El Sanatlar\u0131ndaki De\u011fi\u015fimin Nedenleri\"><p>Konarg\u00f6\u00e7er ya\u015fam\u0131n ta\u015f\u0131nabilir ve kullan\u0131\u015fl\u0131 e\u015fyaya ihtiya\u00e7 do\u011furmas\u0131<\/p><\/td><td data-label=\"Ba\u015fl\u0131ca Sonu\u00e7lar\"><p>Maden, dokuma ve ta\u015f\u0131nabilir e\u015fyalarda geli\u015fmi\u015f i\u015f\u00e7ilik ortaya \u00e7\u0131kt\u0131.<\/p><\/td><\/tr><tr><td data-label=\"El Sanatlar\u0131ndaki De\u011fi\u015fimin Nedenleri\"><p>Maden, dokuma ve ah\u015fap tekniklerinin geli\u015fmesi<\/p><\/td><td data-label=\"Ba\u015fl\u0131ca Sonu\u00e7lar\"><p>K\u0131l\u0131\u00e7, ok ucu, m\u0131zrak, ah\u015fap e\u015fya, hal\u0131 ve kilimde uzmanla\u015fma g\u00f6r\u00fcld\u00fc.<\/p><\/td><\/tr><tr><td data-label=\"El Sanatlar\u0131ndaki De\u011fi\u015fimin Nedenleri\"><p>Uygur-Sel\u00e7uklu miras\u0131n\u0131n \u0130slam sanat\u0131yla kayna\u015fmas\u0131<\/p><\/td><td data-label=\"Ba\u015fl\u0131ca Sonu\u00e7lar\"><p>Hayvan \u00fcslubu, minyat\u00fcr, \u00e7ini ve ah\u015fap s\u00fcslemede yeni anlamlar olu\u015ftu.<\/p><\/td><\/tr><tr><td data-label=\"El Sanatlar\u0131ndaki De\u011fi\u015fimin Nedenleri\"><p>Sanayi Devrimi\u2019nin ucuz seri \u00fcretim mallar\u0131<\/p><\/td><td data-label=\"Ba\u015fl\u0131ca Sonu\u00e7lar\"><p>Geleneksel tezg\u00e2hlar zay\u0131flad\u0131; koruma ve modernle\u015ftirme ihtiyac\u0131 artt\u0131.<\/p><\/td><\/tr><tr><td data-label=\"El Sanatlar\u0131ndaki De\u011fi\u015fimin Nedenleri\"><p>Modern sanat e\u011fitiminin kurumla\u015fmas\u0131<\/p><\/td><td data-label=\"Ba\u015fl\u0131ca Sonu\u00e7lar\"><p>Zanaat, akademik sanat ve modern tasar\u0131mla birle\u015fti.<\/p><\/td><\/tr><\/tbody><\/table><\/div>\n<h2 class=\"tkmt-section\" id=\"bolum-4\">4. T\u00fcrklerde Mimari<\/h2>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-9\">4.1. \u0130slamiyet \u00d6ncesi Mimari Birikim<\/h3>\n<ul class=\"tkmt-points\"><li>T\u00fcrk mimarisi yaln\u0131z yerle\u015fik hayatla ba\u015flamam\u0131\u015f; \u00e7ad\u0131r, ota\u011f, kurgan ve bark gibi yap\u0131larla konarg\u00f6\u00e7er d\u00f6nemde de geli\u015fmi\u015ftir.<\/li><li>\u00c7ad\u0131rlar\u0131n dairesel plan\u0131, i\u00e7 d\u00fczeni ve \u00fcst \u00f6rt\u00fcs\u00fc T\u00fcrklerin pratik m\u00fchendislik ve estetik anlay\u0131\u015f\u0131n\u0131 g\u00f6stermektedir.<\/li><li>Kurgan ve barklar, kal\u0131c\u0131 an\u0131t mimari ve mezar k\u00fclt\u00fcr\u00fcn\u00fcn erken \u00f6rneklerini olu\u015fturmu\u015ftur.<\/li><li>Uygurlar\u0131n \u015fehirle\u015fmesi, T\u00fcrk mimarisini planl\u0131 kent, saray, tap\u0131nak, kerpi\u00e7-tu\u011fla yap\u0131 ve tonoz-kubbe teknikleriyle yeni bir a\u015famaya ta\u015f\u0131m\u0131\u015ft\u0131r.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-10\">4.2. Karahanl\u0131 ve Sel\u00e7uklu Mimarisi<\/h3>\n<ul class=\"tkmt-points\"><li>Karahanl\u0131lar Semerkand, Buhara, Tirmiz, \u00dcrgen\u00e7 ve Merv gibi merkezlerde kerpi\u00e7 ve tu\u011fla yap\u0131lar \u00fcretmi\u015ftir.<\/li><li>Cephelerde tu\u011fla, pi\u015fmi\u015f toprak ve al\u00e7\u0131 s\u00fcsleme; yaz\u0131 \u015feritleri, \u00f6rg\u00fc-ge\u00e7me motifleri, k\u0131vr\u0131k dal, rumi, y\u0131ld\u0131z-ha\u00e7 motifleri ve geometrik bord\u00fcrler kullan\u0131lm\u0131\u015ft\u0131r.<\/li><li>Karahanl\u0131 d\u00f6neminde t\u00fcrbe ve kervansaray mimarisi geli\u015fmi\u015f; bu birikim Anadolu Sel\u00e7uklu sanat\u0131n\u0131 etkilemi\u015ftir.<\/li><li>Sel\u00e7uklular cami, medrese, t\u00fcrbe\/k\u00fcmbet, hastane, kervansaray, kale ve k\u00f6pr\u00fc gibi \u00e7ok say\u0131da yap\u0131 t\u00fcr\u00fc geli\u015ftirerek \u0130slam mimarisine \u00f6zg\u00fcn katk\u0131lar sunmu\u015ftur.<\/li><\/ul>\n<aside class=\"tkmt-note\"><p><strong class=\"tkmt-note-label\">\u2605 Not<\/strong><\/p><p>Rumi motifinin k\u00f6keni konusunda farkl\u0131 sanat tarihi yorumlar\u0131 vard\u0131r. Ders kitab\u0131nda, hayvan \u00fcslubunun \u0130slam sanat\u0131 i\u00e7inde geometrik-bitkisel bi\u00e7ime d\u00f6n\u00fc\u015fmesiyle ili\u015fkilendirilmektedir; bu yorum tek ve kesin k\u00f6ken a\u00e7\u0131klamas\u0131 olarak g\u00f6r\u00fclmemelidir.<\/p><\/aside>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-11\">4.3. Osmanl\u0131 \u015eehri ve K\u00fclliye Mimarisi<\/h3>\n<ul class=\"tkmt-points\"><li>Osmanl\u0131 \u015fehirlerinde \u0130slami ya\u015fam tarz\u0131, iklim ve fiziki co\u011frafya mimari dokuyu \u015fekillendirmi\u015ftir.<\/li><li>Cami, medrese, s\u0131byan mektebi, imaret, hamam ve benzeri yap\u0131lardan olu\u015fan k\u00fclliyeler \u015fehirlerin geli\u015fim y\u00f6n\u00fcn\u00fc ve siluetini belirlemi\u015ftir.<\/li><li>Meskenlerde ah\u015fap, kire\u00e7 ve kerpi\u00e7 gibi malzemeler yayg\u0131nken cami, medrese ve imaret gibi kal\u0131c\u0131 kamusal yap\u0131larda ta\u015f ve daha dayan\u0131kl\u0131 malzemeler tercih edilmi\u015ftir.<\/li><li>Osmanl\u0131 klasik mimarisinde yap\u0131lar\u0131n insan \u00f6l\u00e7e\u011fine, oran ve uyuma dikkat edilmi\u015ftir; dar sokaklar, bah\u00e7eler, \u00e7e\u015fmeler, kahveler ve a\u011fa\u00e7l\u0131k alanlar \u015fehir dokusunun par\u00e7alar\u0131 olmu\u015ftur.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-12\">4.4. Son D\u00f6nem Osmanl\u0131 ve Cumhuriyet Mimarisi<\/h3>\n<ul class=\"tkmt-points\"><li>Osmanl\u0131\u2019n\u0131n son d\u00f6nemlerinde Bat\u0131 ile ili\u015fkilerin artmas\u0131yla barok ve rokoko gibi Avrupa k\u00f6kenli \u00fcsluplar etkili olmu\u015ftur.<\/li><li>XX. y\u00fczy\u0131l ba\u015f\u0131nda Mimar Vedat Tek ve Mimar Kemaleddin\u2019in \u00f6nc\u00fcl\u00fc\u011f\u00fcnde I. Ulusal Mimarl\u0131k Ak\u0131m\u0131 geli\u015fmi\u015ftir.<\/li><li>Bu ak\u0131m modern in\u015fa tekniklerini Sel\u00e7uklu ve Osmanl\u0131 mimarisinden al\u0131nan kubbe, kemer ve \u00e7ini gibi unsurlarla birle\u015ftirmeyi ama\u00e7lam\u0131\u015ft\u0131r. B\u00fcy\u00fck Postane, Ziraat ve \u0130\u015f Bankas\u0131 binalar\u0131 ile II. TBMM binas\u0131 \u00f6nemli \u00f6rneklerdir.<\/li><li>Cumhuriyetin 1930\u2019lu y\u0131llar\u0131nda modernizm etkisiyle sade, i\u015flevsel ve geometrik mimari \u00f6ne \u00e7\u0131km\u0131\u015f; Ankara\u2019n\u0131n kamu yap\u0131lar\u0131 gen\u00e7 T\u00fcrkiye\u2019nin \u00e7a\u011fda\u015f y\u00fcz\u00fcn\u00fc temsil etmi\u015ftir.<\/li><li>1940\u2019lardan itibaren II. Ulusal Mimarl\u0131k Ak\u0131m\u0131 geli\u015fmi\u015f; Sedad Hakk\u0131 Eldem ve Emin Onat gibi mimarlar geleneksel T\u00fcrk evi ve Anadolu yap\u0131 k\u00fclt\u00fcr\u00fcn\u00fc modern tasar\u0131mla birle\u015ftirmi\u015ftir.<\/li><li>An\u0131tkabir, II. Ulusal Mimarl\u0131k Ak\u0131m\u0131\u2019n\u0131n en g\u00f6rkemli \u00f6rneklerinden biri kabul edilir; 1944-1953 aras\u0131nda in\u015fa edilmi\u015ftir.<\/li><\/ul>\n<div class=\"tkmt-table-frame\"><table class=\"tkmt-table tkmt-cols-2\"><colgroup><col style=\"width:37%\" \/><col style=\"width:63%\" \/><\/colgroup><thead><tr><th scope=\"col\"><p><strong>Mimari De\u011fi\u015fimin Nedenleri<\/strong><\/p><\/th><th scope=\"col\"><p><strong>Mimari De\u011fi\u015fimin Sonu\u00e7lar\u0131<\/strong><\/p><\/th><\/tr><\/thead><tbody><tr><td data-label=\"Mimari De\u011fi\u015fimin Nedenleri\"><p>Konarg\u00f6\u00e7er ya\u015fam ve pratik bar\u0131nma ihtiyac\u0131<\/p><\/td><td data-label=\"Mimari De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>\u00c7ad\u0131r, ota\u011f, kurgan ve bark gibi i\u015flevsel yap\u0131lar geli\u015fti.<\/p><\/td><\/tr><tr><td data-label=\"Mimari De\u011fi\u015fimin Nedenleri\"><p>Uygurlar\u0131n yerle\u015fik hayata ge\u00e7mesi ve \u015fehirle\u015fme<\/p><\/td><td data-label=\"Mimari De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Planl\u0131 \u015fehir, tap\u0131nak, saray, tonoz ve kubbe teknikleri geli\u015fti.<\/p><\/td><\/tr><tr><td data-label=\"Mimari De\u011fi\u015fimin Nedenleri\"><p>\u0130slamiyet\u2019in kabul\u00fc<\/p><\/td><td data-label=\"Mimari De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Cami, medrese, t\u00fcrbe, kervansaray ve k\u00fclliye gibi yeni yap\u0131 t\u00fcrleri geli\u015fti.<\/p><\/td><\/tr><tr><td data-label=\"Mimari De\u011fi\u015fimin Nedenleri\"><p>Osmanl\u0131 \u015fehir k\u00fclt\u00fcr\u00fc ve vak\u0131f sistemi<\/p><\/td><td data-label=\"Mimari De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>K\u00fclliyeler \u015fehirlerin sosyal ve fiziksel merkezleri h\u00e2line geldi.<\/p><\/td><\/tr><tr><td data-label=\"Mimari De\u011fi\u015fimin Nedenleri\"><p>Bat\u0131 ile etkile\u015fim ve modernle\u015fme<\/p><\/td><td data-label=\"Mimari De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Barok\/rokoko etkileri ve I. Ulusal Mimarl\u0131k Ak\u0131m\u0131 ortaya \u00e7\u0131kt\u0131.<\/p><\/td><\/tr><tr><td data-label=\"Mimari De\u011fi\u015fimin Nedenleri\"><p>Cumhuriyetin \u00e7a\u011fda\u015fla\u015fma ve mill\u00ee kimlik hedefleri<\/p><\/td><td data-label=\"Mimari De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Modernizm, II. Ulusal Mimarl\u0131k ve sade-i\u015flevsel kamu mimarisi geli\u015fti.<\/p><\/td><\/tr><\/tbody><\/table><\/div>\n<aside class=\"tkmt-note tkmt-caution\"><p><strong class=\"tkmt-note-label\">\ud83d\udccc KARI\u015eTIRMA!<\/strong><\/p><p>I. Ulusal Mimarl\u0131k Ak\u0131m\u0131: Osmanl\u0131-Sel\u00e7uklu \u00f6\u011felerini modern yap\u0131 tekni\u011fiyle birle\u015ftirir. II. Ulusal Mimarl\u0131k Ak\u0131m\u0131: T\u00fcrk evi ve Anadolu yap\u0131 gelene\u011fini modern anlay\u0131\u015fla yeniden yorumlar.<\/p><\/aside>\n<h2 class=\"tkmt-section\" id=\"bolum-5\">5. T\u00fcrklerde M\u00fczik<\/h2>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-13\">5.1. \u0130slamiyet \u00d6ncesi M\u00fczik<\/h3>\n<ul class=\"tkmt-points\"><li>T\u00fcrk m\u00fczi\u011finin ilk geli\u015fim evreleri Orta Asya\u2019da \u015fekillenmi\u015ftir.<\/li><li>Kamlar\u0131n din\u00ee ve tedavi ama\u00e7l\u0131 uygulamalar\u0131nda, tu\u011f tak\u0131mlar\u0131n\u0131n asker\u00ee m\u00fczi\u011finde ve ozanlar\u0131n kahramanl\u0131k-destan anlat\u0131lar\u0131nda m\u00fczik \u00f6nemli yer tutmu\u015ftur.<\/li><li>Kopuz, T\u00fcrk k\u00fclt\u00fcr\u00fcn\u00fcn en eski telli \u00e7alg\u0131lar\u0131ndan biridir; destan, t\u00f6ren ve toplumsal kutlamalarda kullan\u0131lm\u0131\u015ft\u0131r.<\/li><li>D\u00fc\u011f\u00fcn, bayram ve a\u011f\u0131t k\u00fclt\u00fcr\u00fc ile telli, vurmal\u0131 ve nefesli \u00e7alg\u0131lar\u0131n ilk bi\u00e7imleri Hun \u00f6ncesi ve Hun d\u00f6neminde geli\u015fmi\u015ftir.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-14\">5.2. T\u00fcrk-\u0130slam ve Osmanl\u0131 M\u00fczik Gelene\u011fi<\/h3>\n<ul class=\"tkmt-points\"><li>T\u00fcrkler \u0130slamiyet\u2019i kabul ettikten sonra m\u00fczik geleneklerini yeni din\u00ee ve k\u00fclt\u00fcrel de\u011ferlerle uyumlu bi\u00e7imde s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr.<\/li><li>Abd\u00fclkadir Meragi, T\u00fcrk musikisinin nazar\u00ee ve uygulamal\u0131 temellerini sistemle\u015ftiren \u00f6nemli isimlerden biridir.<\/li><li>T\u00fcrk m\u00fczi\u011fi halk m\u00fczi\u011fi ve klasik T\u00fcrk m\u00fczi\u011fi gibi ana alanlarda geli\u015fmi\u015f; T\u00fcrk din musikisi klasik musikinin \u00f6nemli bir kolu olmu\u015ftur.<\/li><li>Osmanl\u0131\u2019da m\u00fczik saray, tekke, halk, g\u00fcndelik hayat ve asker\u00ee alanlarda yayg\u0131n bi\u00e7imde kullan\u0131lm\u0131\u015ft\u0131r.<\/li><li>Osmanl\u0131\u2019n\u0131n son d\u00f6nemlerinde Do\u011fu ve Bat\u0131 m\u00fczik \u00e7evreleriyle temas artm\u0131\u015f; farkl\u0131 enstr\u00fcman, makam ve bestecilerden yararlan\u0131larak yeni sentezler ortaya \u00e7\u0131km\u0131\u015ft\u0131r.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-15\">5.3. Cumhuriyet D\u00f6nemi\u2019nde M\u00fczik<\/h3>\n<ul class=\"tkmt-points\"><li>Cumhuriyet ile m\u00fczik, \u00e7a\u011fda\u015fla\u015fma ve k\u00fclt\u00fcrel kimlik in\u015fas\u0131n\u0131n \u00f6nemli ara\u00e7lar\u0131ndan biri olarak g\u00f6r\u00fclm\u00fc\u015ft\u00fcr.<\/li><li>Geleneksel T\u00fcrk m\u00fczi\u011finin korunmas\u0131 yan\u0131nda Bat\u0131 temelli \u00e7ok sesli m\u00fczi\u011fin geli\u015ftirilmesi hedeflenmi\u015ftir.<\/li><li>Musiki Muallim Mektebi a\u00e7\u0131lm\u0131\u015f, konservatuvarlar kurulmu\u015f ve yurt d\u0131\u015f\u0131na m\u00fczik e\u011fitimi i\u00e7in \u00f6\u011frenciler g\u00f6nderilmi\u015ftir.<\/li><li>Anadolu\u2019nun farkl\u0131 b\u00f6lgelerindeki halk ezgileri derlenerek kay\u0131t alt\u0131na al\u0131nm\u0131\u015f, halk m\u00fczi\u011fi ulusal kimli\u011fin \u00f6nemli unsurlar\u0131ndan biri h\u00e2line gelmi\u015ftir.<\/li><li>Cemal Re\u015fit Rey, Bat\u0131 m\u00fczi\u011finin teknik imk\u00e2nlar\u0131n\u0131 T\u00fcrk halk ezgileriyle birle\u015ftiren \u00e7ok sesli m\u00fczik \u00e7al\u0131\u015fmalar\u0131n\u0131n \u00f6nc\u00fc isimlerindendir.<\/li><li>Bat\u0131 m\u00fczi\u011fiyle etkile\u015fim modernle\u015fme ve evrenselle\u015fme f\u0131rsat\u0131 yarat\u0131rken geleneksel m\u00fczi\u011fin toplumdaki yeri ve kimli\u011finin korunmas\u0131 tart\u0131\u015fmalar\u0131n\u0131 da beraberinde getirmi\u015ftir.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-16\">5.4. T\u00fcrk M\u00fczi\u011fine Y\u00f6n Veren Baz\u0131 \u0130simler<\/h3>\n<div class=\"tkmt-table-frame\"><table class=\"tkmt-table tkmt-cols-2\"><colgroup><col style=\"width:37%\" \/><col style=\"width:63%\" \/><\/colgroup><thead><tr><th scope=\"col\"><p><strong>\u0130sim<\/strong><\/p><\/th><th scope=\"col\"><p><strong>\u00d6nemi \/ Katk\u0131s\u0131<\/strong><\/p><\/th><\/tr><\/thead><tbody><tr><td data-label=\"\u0130sim\"><p>Sadettin Kaynak<\/p><\/td><td data-label=\"\u00d6nemi \/ Katk\u0131s\u0131\"><p>Klasik T\u00fcrk m\u00fczi\u011fi ile yerel\/halk unsurlar\u0131n\u0131 birle\u015ftirdi; yerli film m\u00fczi\u011fi anlay\u0131\u015f\u0131n\u0131n \u00f6nc\u00fclerindendir.<\/p><\/td><\/tr><tr><td data-label=\"\u0130sim\"><p>Neriman Alt\u0131nda\u011f T\u00fcfek\u00e7i<\/p><\/td><td data-label=\"\u00d6nemi \/ Katk\u0131s\u0131\"><p>T\u00fcrk halk m\u00fczi\u011finin akademikle\u015fmesi, TRT derlemeleri ve mahall\u00ee a\u011f\u0131zlar\u0131n korunmas\u0131nda \u00f6nc\u00fc oldu.<\/p><\/td><\/tr><tr><td data-label=\"\u0130sim\"><p>Safiye Ayla<\/p><\/td><td data-label=\"\u00d6nemi \/ Katk\u0131s\u0131\"><p>Cumhuriyet D\u00f6nemi klasik T\u00fcrk m\u00fczi\u011finin \u00f6nemli kad\u0131n yorumcular\u0131ndand\u0131r.<\/p><\/td><\/tr><tr><td data-label=\"\u0130sim\"><p>Cem Karaca<\/p><\/td><td data-label=\"\u00d6nemi \/ Katk\u0131s\u0131\"><p>Anadolu Rock i\u00e7inde geleneksel motifleri Bat\u0131 enstr\u00fcmanlar\u0131yla birle\u015ftirdi.<\/p><\/td><\/tr><tr><td data-label=\"\u0130sim\"><p>Ne\u015fet Erta\u015f<\/p><\/td><td data-label=\"\u00d6nemi \/ Katk\u0131s\u0131\"><p>Abdal gelene\u011finin g\u00fc\u00e7l\u00fc temsilcisi; ba\u011flama ve bozlak \u00fcslubuyla T\u00fcrk halk m\u00fczi\u011finde kal\u0131c\u0131 iz b\u0131rakt\u0131.<\/p><\/td><\/tr><tr><td data-label=\"\u0130sim\"><p>Nesrin Sipahi<\/p><\/td><td data-label=\"\u00d6nemi \/ Katk\u0131s\u0131\"><p>Klasik T\u00fcrk sanat m\u00fczi\u011fi \u00fcslubunun \u00f6nde gelen yorumcular\u0131ndand\u0131r.<\/p><\/td><\/tr><tr><td data-label=\"\u0130sim\"><p>\u00c2\u015f\u0131k Veysel<\/p><\/td><td data-label=\"\u00d6nemi \/ Katk\u0131s\u0131\"><p>Ba\u011flama ve halk \u015fiiri gelene\u011fiyle Anadolu insan\u0131n\u0131n duygu d\u00fcnyas\u0131n\u0131 yans\u0131tt\u0131.<\/p><\/td><\/tr><tr><td data-label=\"\u0130sim\"><p>Bar\u0131\u015f Man\u00e7o<\/p><\/td><td data-label=\"\u00d6nemi \/ Katk\u0131s\u0131\"><p>Geleneksel unsurlar\u0131 modern pop\/rock m\u00fczikle birle\u015ftirerek geni\u015f kitlelere ula\u015ft\u0131rd\u0131.<\/p><\/td><\/tr><tr><td data-label=\"\u0130sim\"><p>Zeki M\u00fcren<\/p><\/td><td data-label=\"\u00d6nemi \/ Katk\u0131s\u0131\"><p>T\u00fcrk sanat m\u00fczi\u011finde yorum ve sahne gelene\u011fine \u00f6nemli katk\u0131 sa\u011flad\u0131.<\/p><\/td><\/tr><tr><td data-label=\"\u0130sim\"><p>\u00c2\u015f\u0131k Mahzuni \u015eerif<\/p><\/td><td data-label=\"\u00d6nemi \/ Katk\u0131s\u0131\"><p>Toplumsal konular\u0131 halk m\u00fczi\u011fi ve \u00e2\u015f\u0131kl\u0131k gelene\u011fi i\u00e7inde i\u015fledi.<\/p><\/td><\/tr><\/tbody><\/table><\/div>\n<div class=\"tkmt-table-frame\"><table class=\"tkmt-table tkmt-cols-2\"><colgroup><col style=\"width:37%\" \/><col style=\"width:63%\" \/><\/colgroup><thead><tr><th scope=\"col\"><p><strong>M\u00fczikte De\u011fi\u015fimin Nedenleri<\/strong><\/p><\/th><th scope=\"col\"><p><strong>M\u00fczikte De\u011fi\u015fimin Sonu\u00e7lar\u0131<\/strong><\/p><\/th><\/tr><\/thead><tbody><tr><td data-label=\"M\u00fczikte De\u011fi\u015fimin Nedenleri\"><p>Orta Asya\u2019dan gelen kopuz, ozanl\u0131k, t\u00f6ren ve destan gelene\u011fi<\/p><\/td><td data-label=\"M\u00fczikte De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Asker\u00ee, din\u00ee, halk ve destan m\u00fczi\u011finin temelleri olu\u015ftu.<\/p><\/td><\/tr><tr><td data-label=\"M\u00fczikte De\u011fi\u015fimin Nedenleri\"><p>\u0130slamiyet\u2019in kabul\u00fc ve yeni k\u00fclt\u00fcrel \u00e7evre<\/p><\/td><td data-label=\"M\u00fczikte De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>M\u00fczik yeni i\u00e7eriklerle s\u00fcrd\u00fc; nazar\u00ee sistemle\u015fme geli\u015fti.<\/p><\/td><\/tr><tr><td data-label=\"M\u00fczikte De\u011fi\u015fimin Nedenleri\"><p>Osmanl\u0131 \u015fehir, saray, tekke ve asker\u00ee k\u00fclt\u00fcr\u00fc<\/p><\/td><td data-label=\"M\u00fczikte De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Halk, klasik ve din\u00ee musiki alanlar\u0131 geli\u015fti.<\/p><\/td><\/tr><tr><td data-label=\"M\u00fczikte De\u011fi\u015fimin Nedenleri\"><p>Cumhuriyetin \u00e7a\u011fda\u015fla\u015fma politikalar\u0131<\/p><\/td><td data-label=\"M\u00fczikte De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>\u00c7ok sesli m\u00fczik, konservatuvarlar ve kurumsal m\u00fczik e\u011fitimi geli\u015fti.<\/p><\/td><\/tr><tr><td data-label=\"M\u00fczikte De\u011fi\u015fimin Nedenleri\"><p>Halk ezgilerinin derlenmesi ve Bat\u0131 m\u00fczi\u011fiyle etkile\u015fim<\/p><\/td><td data-label=\"M\u00fczikte De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Geleneksel m\u00fczik korunmaya \u00e7al\u0131\u015f\u0131l\u0131rken yeni sentezler olu\u015ftu.<\/p><\/td><\/tr><\/tbody><\/table><\/div>\n<h2 class=\"tkmt-section\" id=\"bolum-6\">6. T\u00fcrklerde Heykel ve Kabartma<\/h2>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-17\">6.1. \u0130slamiyet \u00d6ncesi ve Sel\u00e7uklu D\u00f6nemi<\/h3>\n<ul class=\"tkmt-points\"><li>G\u00f6kt\u00fcrk an\u0131t alanlar\u0131nda K\u00fcl Tigin\u2019in mermer b\u00fcst\u00fc ve insan fig\u00fcrl\u00fc heykeller bulunmu\u015ftur; bu eserler portre sanat\u0131n\u0131n geli\u015fmi\u015fli\u011fini g\u00f6sterir.<\/li><li>Balbal gelene\u011fi, ta\u015f fig\u00fcr ve an\u0131t anlay\u0131\u015f\u0131n\u0131n \u00f6nemli bir par\u00e7as\u0131d\u0131r; baz\u0131 motif ve fig\u00fcrler \u0130slamiyet sonras\u0131 sanat\u0131nda farkl\u0131 bi\u00e7imlerde ya\u015fam\u0131\u015ft\u0131r.<\/li><li>Sel\u00e7uklu ta\u015f i\u015f\u00e7ili\u011finde kap\u0131, mihrap ve yap\u0131 cephelerinde bitkisel-geometrik s\u00fcslemelerle birlikte kartal, \u00e7ift ba\u015fl\u0131 kartal, aslan, ejder ve y\u0131lan gibi fig\u00fcrl\u00fc kabartmalar kullan\u0131lm\u0131\u015ft\u0131r.<\/li><li>\u00c7ift ba\u015fl\u0131 kartal, T\u00fcrkiye Sel\u00e7uklu sanat\u0131nda g\u00fc\u00e7 ve egemenlik sembol\u00fc olarak \u00f6ne \u00e7\u0131kar.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-18\">6.2. Osmanl\u0131\u2019dan Cumhuriyet\u2019e Heykel<\/h3>\n<ul class=\"tkmt-points\"><li>Osmanl\u0131\u2019n\u0131n erken ve orta d\u00f6nemlerinde heykel yo\u011fun bir uygulama alan\u0131 bulmam\u0131\u015f; ancak b\u00fct\u00fcn\u00fcyle yasaklanm\u0131\u015f veya devlet taraf\u0131ndan tamamen d\u0131\u015flanm\u0131\u015f de\u011fildir.<\/li><li>XIX. y\u00fczy\u0131lda padi\u015fahlar\u0131n heykel sanat\u0131na ilgisi artm\u0131\u015f; sergilerde heykeller yer alm\u0131\u015f, Avrupa\u2019dan eserler sat\u0131n al\u0131nm\u0131\u015f veya sipari\u015f edilmi\u015ftir.<\/li><li>\u0130stanbul Arkeoloji M\u00fczesi ve 1883\u2019te a\u00e7\u0131lan Sanayi-i Nefise Mektebi, heykel sanat\u0131n\u0131n ve e\u011fitiminin kurumsalla\u015fmas\u0131nda \u00f6nemli rol oynam\u0131\u015ft\u0131r.<\/li><li>Sultan Abd\u00fclaziz\u2019in kendi heykelini yapt\u0131rmas\u0131, devlet ve toplum \u00e7evrelerinde heykel alg\u0131s\u0131ndaki de\u011fi\u015fimin sembolik \u00f6rneklerindendir.<\/li><li>Cumhuriyet ile heykel saray \u00e7evresinden kamusal alanlara ta\u015f\u0131nm\u0131\u015f; ba\u011f\u0131ms\u0131zl\u0131k m\u00fccadelesi, modernle\u015fme ve cumhuriyet de\u011ferlerini anlatan an\u0131t heykelcilik geli\u015fmi\u015ftir.<\/li><li>\u0130lk y\u0131llarda teknik tecr\u00fcbe eksikli\u011fi nedeniyle Sarayburnu Atat\u00fcrk An\u0131t\u0131 ve Taksim Cumhuriyet An\u0131t\u0131 gibi \u00f6nemli eserler yabanc\u0131 sanat\u00e7\u0131larca yap\u0131lm\u0131\u015ft\u0131r.<\/li><li>1930\u2019lardan itibaren yurt d\u0131\u015f\u0131nda e\u011fitim alan T\u00fcrk heykelt\u0131ra\u015flar \u00f6zg\u00fcn ve mill\u00ee yorumlar geli\u015ftirmi\u015f; 1950-1960\u2019lardan sonra malzeme ve teknik \u00e7e\u015fitlili\u011fi artm\u0131\u015ft\u0131r.<\/li><li>G\u00fcn\u00fcm\u00fczde tarih\u00ee T\u00fcrk fig\u00fcrleri \u00e7a\u011fda\u015f estetikle an\u0131tla\u015ft\u0131r\u0131larak k\u00fclt\u00fcrel miras\u0131n yeni ku\u015faklara aktar\u0131lmas\u0131 s\u00fcrd\u00fcr\u00fclmektedir.<\/li><\/ul>\n<div class=\"tkmt-table-frame\"><table class=\"tkmt-table tkmt-cols-2\"><colgroup><col style=\"width:37%\" \/><col style=\"width:63%\" \/><\/colgroup><thead><tr><th scope=\"col\"><p><strong>Heykelde De\u011fi\u015fimin Nedenleri<\/strong><\/p><\/th><th scope=\"col\"><p><strong>Heykelde De\u011fi\u015fimin Sonu\u00e7lar\u0131<\/strong><\/p><\/th><\/tr><\/thead><tbody><tr><td data-label=\"Heykelde De\u011fi\u015fimin Nedenleri\"><p>G\u00f6kt\u00fcrk balbal, b\u00fcst ve an\u0131t mezar gelene\u011fi<\/p><\/td><td data-label=\"Heykelde De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Ta\u015f fig\u00fcr ve portre gelene\u011fi ortaya \u00e7\u0131kt\u0131.<\/p><\/td><\/tr><tr><td data-label=\"Heykelde De\u011fi\u015fimin Nedenleri\"><p>Sel\u00e7uklu ta\u015f i\u015f\u00e7ili\u011fi ve fig\u00fcrl\u00fc kabartmalar<\/p><\/td><td data-label=\"Heykelde De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Hayvan fig\u00fcrleri mimari s\u00fcslemede yeni anlamlarla s\u00fcrd\u00fc.<\/p><\/td><\/tr><tr><td data-label=\"Heykelde De\u011fi\u015fimin Nedenleri\"><p>XIX. y\u00fczy\u0131lda Bat\u0131 ile artan ili\u015fki ve Sanayi-i Nefise<\/p><\/td><td data-label=\"Heykelde De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Heykel e\u011fitimi akademik ve kurumsal h\u00e2le geldi.<\/p><\/td><\/tr><tr><td data-label=\"Heykelde De\u011fi\u015fimin Nedenleri\"><p>Cumhuriyetin ba\u011f\u0131ms\u0131zl\u0131k ve \u00e7a\u011fda\u015fla\u015fma ideali<\/p><\/td><td data-label=\"Heykelde De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>An\u0131t heykelcilik geli\u015fti; heykeller \u015fehir meydanlar\u0131na ta\u015f\u0131nd\u0131.<\/p><\/td><\/tr><\/tbody><\/table><\/div>\n<h2 class=\"tkmt-section\" id=\"bolum-7\">7. T\u00fcrklerde Resim<\/h2>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-19\">7.1. Uygur ve Sel\u00e7uklu Resim Gelene\u011fi<\/h3>\n<ul class=\"tkmt-points\"><li>T\u00fcrk resim sanat\u0131n\u0131n bilinen eski \u00f6rnekleri aras\u0131nda Uygur d\u00f6nemine ait mabet duvar resimleri ve kitap resimleri yer al\u0131r.<\/li><li>Uygur fresklerinde fig\u00fcrlerin y\u00fcz, g\u00f6z, burun, ba\u015fl\u0131k, giyim ve sa\u00e7 bi\u00e7imleri belirgin \u00fcslup \u00f6zellikleri ta\u015f\u0131r.<\/li><li>Bu \u00fcslubun izleri Sel\u00e7uklu d\u00f6nemi seramik ve minyat\u00fcrlerinde g\u00f6r\u00fclm\u00fc\u015f; sayfa kenar\u0131 s\u00fcslemeleri ve \u015fematik do\u011fa tasvirleri sonraki d\u00f6nemlere aktar\u0131lm\u0131\u015ft\u0131r.<\/li><li>Bat\u0131 T\u00fcrkistan\u2019da geli\u015fen resimli kitap sanat\u0131 Uygur yaz\u0131c\u0131lar\u0131n etkisiyle \u0130ran ve Ba\u011fdat \u00e7evresine ta\u015f\u0131nm\u0131\u015ft\u0131r.<\/li><li>Semek Ayyar, Kit\u00e2b\u00fcl-Ha\u015f\u00e2yi\u015f, Kelile ve Dimne, Makam\u00e2t ve Varka ile G\u00fcl\u015fah gibi eserler Sel\u00e7uklu \u00e7evresindeki resimli kitap gelene\u011finin \u00f6rnekleridir.<\/li><li>Sel\u00e7uklu resminde \u00e7ift ba\u015fl\u0131 kartal ve av\/aslan sahneleri gibi mill\u00ee T\u00fcrk motifleri de g\u00f6r\u00fcl\u00fcr.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-20\">7.2. Osmanl\u0131 Resminden Bat\u0131l\u0131 Tarza Ge\u00e7i\u015f<\/h3>\n<ul class=\"tkmt-points\"><li>Osmanl\u0131\u2019da minyat\u00fcr, y\u00fczy\u0131llar boyunca kitaplarda bilgilendirme, belgeleme ve h\u00fck\u00fcmdarl\u0131k anlat\u0131s\u0131 amac\u0131yla kullan\u0131lm\u0131\u015ft\u0131r.<\/li><li>Minyat\u00fcrde geleneksel olarak perspektif ve \u0131\u015f\u0131k-g\u00f6lge s\u0131n\u0131rl\u0131d\u0131r; mek\u00e2n ve fig\u00fcrler anlat\u0131m \u00f6nceli\u011fine g\u00f6re d\u00fczenlenir.<\/li><li>Fatih Sultan Mehmed\u2019in Gentile Bellini\u2019ye portresini yapt\u0131rmas\u0131, Bat\u0131 resim anlay\u0131\u015f\u0131yla temas\u0131n \u00f6nemli d\u00f6n\u00fcm noktalar\u0131ndand\u0131r.<\/li><li>Paris el\u00e7ilikleriyle artan k\u00fclt\u00fcrel temas, duvar resimleri, M\u00fchendishane-i Berr\u00ee-i H\u00fcm\u00e2yun\u2019daki resim dersleri ve Avrupa\u2019ya g\u00f6nderilen sanat\u00e7\u0131lar Bat\u0131l\u0131 resim tekniklerini yayg\u0131nla\u015ft\u0131rm\u0131\u015ft\u0131r.<\/li><li>XIX. y\u00fczy\u0131lda \u0131\u015f\u0131k, g\u00f6lge, perspektif ve derinlik i\u00e7eren tuval resmi geli\u015fmi\u015f; Sultan Abd\u00fclaziz d\u00f6nemindeki sanat ilgisi ve II. Abd\u00fclhamid d\u00f6neminde Sanayi-i Nefise Mektebi\u2019nin a\u00e7\u0131lmas\u0131 s\u00fcreci h\u0131zland\u0131rm\u0131\u015ft\u0131r.<\/li><li>\u015eeker Ahmed Pa\u015fa\u2019n\u0131n manzara resimleri, perspektif ve \u0131\u015f\u0131k-g\u00f6lge kullan\u0131m\u0131n\u0131n yerle\u015fmesinde \u00f6nemli \u00f6rneklerdendir.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-21\">7.3. Cumhuriyet D\u00f6nemi Resmi<\/h3>\n<ul class=\"tkmt-points\"><li>Cumhuriyet D\u00f6nemi\u2019nde resim, \u00e7a\u011fda\u015fla\u015fma idealini ve mill\u00ee kimli\u011fi halka aktaran g\u00fc\u00e7l\u00fc bir g\u00f6rsel ara\u00e7 olarak kullan\u0131lm\u0131\u015ft\u0131r.<\/li><li>Sanat gruplar\u0131 ve topluluklar T\u00fcrk resmine yeni \u00fcslup ve anlay\u0131\u015flar kazand\u0131rm\u0131\u015ft\u0131r.<\/li><li>1930\u2019lu y\u0131llardaki yurt gezileriyle sanat\u00e7\u0131lar Anadolu\u2019ya g\u00f6nderilmi\u015f; k\u00f6y ya\u015fam\u0131, tar\u0131m, Mill\u00ee M\u00fccadele ve do\u011fal g\u00fczellikler modern estetikle resmedilmi\u015ftir.<\/li><li>Resim, saray ve s\u0131n\u0131rl\u0131 \u00e7evrelerden geni\u015f toplum kesimlerine ula\u015fm\u0131\u015f; mill\u00ee haf\u0131za olu\u015fturma i\u015flevi kazanm\u0131\u015ft\u0131r.<\/li><li>\u0130brahim \u00c7all\u0131 gibi sanat\u00e7\u0131lar, yerel k\u00fclt\u00fcr\u00fc modern sanat diliyle birle\u015ftiren Cumhuriyet resminin \u00f6nemli temsilcilerindendir.<\/li><\/ul>\n<div class=\"tkmt-table-frame\"><table class=\"tkmt-table tkmt-cols-2\"><colgroup><col style=\"width:37%\" \/><col style=\"width:63%\" \/><\/colgroup><thead><tr><th scope=\"col\"><p><strong>Resimde De\u011fi\u015fimin Nedenleri<\/strong><\/p><\/th><th scope=\"col\"><p><strong>Resimde De\u011fi\u015fimin Sonu\u00e7lar\u0131<\/strong><\/p><\/th><\/tr><\/thead><tbody><tr><td data-label=\"Resimde De\u011fi\u015fimin Nedenleri\"><p>Uygur fresk ve minyat\u00fcr gelene\u011fi<\/p><\/td><td data-label=\"Resimde De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Fig\u00fcrl\u00fc tasvir ve kitap resmi gelene\u011finin temelleri g\u00fc\u00e7lendi.<\/p><\/td><\/tr><tr><td data-label=\"Resimde De\u011fi\u015fimin Nedenleri\"><p>Sel\u00e7uklu ve Osmanl\u0131 kitap sanat\u0131<\/p><\/td><td data-label=\"Resimde De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Minyat\u00fcr ve belgeleme ama\u00e7l\u0131 resim geli\u015fti.<\/p><\/td><\/tr><tr><td data-label=\"Resimde De\u011fi\u015fimin Nedenleri\"><p>Fatih D\u00f6nemi\u2019nden itibaren Bat\u0131 ile temas<\/p><\/td><td data-label=\"Resimde De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Portre ve yeni resim teknikleri tan\u0131nd\u0131.<\/p><\/td><\/tr><tr><td data-label=\"Resimde De\u011fi\u015fimin Nedenleri\"><p>XIX. y\u00fczy\u0131l asker\u00ee okullar\u0131, Avrupa\u2019ya \u00f6\u011frenci g\u00f6nderilmesi, Sanayi-i Nefise<\/p><\/td><td data-label=\"Resimde De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Perspektifli, \u0131\u015f\u0131k-g\u00f6lgeli tuval resmine ge\u00e7i\u015f h\u0131zland\u0131.<\/p><\/td><\/tr><tr><td data-label=\"Resimde De\u011fi\u015fimin Nedenleri\"><p>Cumhuriyetin mill\u00ee kimlik ve halk\u00e7\u0131l\u0131k hedefleri<\/p><\/td><td data-label=\"Resimde De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Resim Anadolu ya\u015fam\u0131n\u0131 ve Mill\u00ee M\u00fccadele\u2019yi i\u015fleyen geni\u015f tabanl\u0131 bir sanat alan\u0131na d\u00f6n\u00fc\u015ft\u00fc.<\/p><\/td><\/tr><\/tbody><\/table><\/div>\n<h2 class=\"tkmt-section\" id=\"bolum-8\">8. T\u00fcrklerde Spor<\/h2>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-22\">8.1. Geleneksel Spor K\u00fclt\u00fcr\u00fcn\u00fcn Temelleri<\/h3>\n<ul class=\"tkmt-points\"><li>Eski T\u00fcrk toplumlar\u0131nda fiziksel aktivite, g\u00fcndelik hayat, sava\u015f haz\u0131rl\u0131\u011f\u0131, toplumsal dayan\u0131\u015fma ve e\u011flence ile i\u00e7 i\u00e7e olmu\u015ftur.<\/li><li>Her ya\u015f, cinsiyet ve stat\u00fcden bireylerin fiziksel faaliyetlere kat\u0131labildi\u011fi; kad\u0131nlar\u0131n da sportif etkinliklerde yer ald\u0131\u011f\u0131 kaynaklarda vurgulanmaktad\u0131r.<\/li><li>Ok\u00e7uluk, binicilik ve g\u00fcre\u015f en \u00e7ok ilgi g\u00f6ren sporlar aras\u0131nda olmu\u015f; avc\u0131l\u0131k, \u00e7evgen, cirit, tep\u00fck, g\u00f6kb\u00f6r\u00fc, at yar\u0131\u015flar\u0131, ku\u015f u\u00e7urma, top kapma, y\u00fcr\u00fcme, ko\u015fma ve da\u011fa \u00e7\u0131kma gibi etkinlikler de yap\u0131lm\u0131\u015ft\u0131r.<\/li><li>Ok-yay ikilisi asker\u00ee ba\u015far\u0131yla do\u011frudan ili\u015fkili g\u00f6r\u00fclm\u00fc\u015f; binicilik ve at \u00fczerinde ok atma uzun s\u00fcreli disiplinli e\u011fitimi gerektirmi\u015ftir.<\/li><li>Avc\u0131l\u0131k ba\u015flang\u0131\u00e7ta besin sa\u011flama amac\u0131 ta\u015f\u0131rken zamanla bo\u015f zaman ve spor faaliyetine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr.<\/li><li>\u0130h\u015fidiler d\u00f6neminde el-Havf adl\u0131 alan\u0131n spor merkezi olarak kullan\u0131ld\u0131\u011f\u0131, burada avc\u0131l\u0131k ve at yar\u0131\u015flar\u0131n\u0131n yap\u0131ld\u0131\u011f\u0131; Muhammed b. Tu\u011fc\u2019un ku\u015f u\u00e7urmaya \u00f6zel ilgi g\u00f6sterdi\u011fi aktar\u0131lmaktad\u0131r.<\/li><li>Cirit, T\u00fcrk d\u00fcnyas\u0131nda ortak oyunlardan biri olarak yayg\u0131nla\u015fm\u0131\u015ft\u0131r.<\/li><li>Mangala, strateji ve zihinsel beceriye dayal\u0131 geleneksel oyun k\u00fclt\u00fcr\u00fcn\u00fcn \u00f6rneklerindendir.<\/li><\/ul>\n<aside class=\"tkmt-note tkmt-exam\"><p><strong class=\"tkmt-note-label\">\ud83d\udccc SINAV NOTU<\/strong><\/p><p>Geleneksel T\u00fcrk sporlar\u0131nda \u201cspor\u201d ile \u201casker\u00ee talim\u201d aras\u0131ndaki s\u0131n\u0131r \u00e7o\u011fu zaman i\u00e7 i\u00e7edir. Ok\u00e7uluk, binicilik, g\u00fcre\u015f ve avc\u0131l\u0131k hem bedensel geli\u015fim hem sava\u015f haz\u0131rl\u0131\u011f\u0131 i\u015flevi ta\u015f\u0131m\u0131\u015ft\u0131r.<\/p><\/aside>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-23\">8.2. Osmanl\u0131\u2019n\u0131n Son D\u00f6neminden Cumhuriyet\u2019e Sporun Kurumsalla\u015fmas\u0131<\/h3>\n<ul class=\"tkmt-points\"><li>Osmanl\u0131\u2019n\u0131n son d\u00f6neminde geleneksel sporlar\u0131n yan\u0131nda modern spor bran\u015flar\u0131 ve kul\u00fcp\/te\u015fkilat yap\u0131lar\u0131 geli\u015fmeye ba\u015flam\u0131\u015ft\u0131r.<\/li><li>1908\u2019de Selim S\u0131rr\u0131 Tarcan\u2019\u0131n giri\u015fimleriyle Osmanl\u0131 Mill\u00ee Olimpiyat Cemiyeti kurulmu\u015f; olimpik hareketle ili\u015fki g\u00fc\u00e7lenmi\u015ftir.<\/li><li>1922\u2019de T\u00fcrkiye \u0130dman Cemiyetleri \u0130ttifak\u0131 kurulmu\u015f ve sporun \u00f6rg\u00fctl\u00fc yap\u0131ya kavu\u015fmas\u0131nda \u00f6nemli ad\u0131m at\u0131lm\u0131\u015ft\u0131r.<\/li><li>Cumhuriyet ile spor, sa\u011fl\u0131kl\u0131 ve dinamik nesiller yeti\u015ftirme hedefiyle devlet politikas\u0131 h\u00e2line gelmi\u015ftir.<\/li><li>1926\u2019dan itibaren Mill\u00ee E\u011fitim Bakanl\u0131\u011f\u0131 beden e\u011fitimi kurslar\u0131 a\u00e7m\u0131\u015f; Selim S\u0131rr\u0131 Tarcan\u2019\u0131n y\u00f6netti\u011fi kurslardan 1932\u2019ye kadar 211 beden e\u011fitimi \u00f6\u011fretmeni yeti\u015fmi\u015ftir.<\/li><li>1932-1933 \u00f6\u011fretim y\u0131l\u0131nda Gazi Orta Muallim Mektebi ve Terbiye Enstit\u00fcs\u00fc b\u00fcnyesinde Beden Terbiyesi \u015eubesi a\u00e7\u0131lm\u0131\u015ft\u0131r.<\/li><li>1932\u2019de kurulan halkevlerinin programlar\u0131nda spor faaliyetlerine yer verilmi\u015ftir.<\/li><li>1938\u2019de Beden Terbiyesi Umum M\u00fcd\u00fcrl\u00fc\u011f\u00fc kurulmu\u015f ve sporun toplumun geni\u015f kesimlerine yay\u0131lmas\u0131 hedeflenmi\u015ftir.<\/li><li>1936 Berlin Olimpiyatlar\u0131\u2019nda Ya\u015far Erkan\u2019\u0131n kazand\u0131\u011f\u0131 alt\u0131n madalya, T\u00fcrkiye\u2019nin olimpiyat tarihindeki ilk alt\u0131n madalya olarak \u00f6nemli bir d\u00f6n\u00fcm noktas\u0131d\u0131r.<\/li><li>1950\u2019lerden itibaren futbol ba\u015fta olmak \u00fczere modern sporlar geni\u015f kitlelere yay\u0131lm\u0131\u015f; 1980\u2019lerin sonlar\u0131na do\u011fru spor y\u00f6netimi daha modern bir yap\u0131ya kavu\u015fturulmu\u015ftur.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-24\">8.3. 1990 Sonras\u0131 Uluslararas\u0131 Ba\u015far\u0131lar<\/h3>\n<ul class=\"tkmt-points\"><li>Naim S\u00fcleymano\u011flu, 1988 Seul, 1992 Barselona ve 1996 Atlanta Olimpiyatlar\u0131nda \u00fcst \u00fcste \u00fc\u00e7 kez \u015fampiyon olmu\u015f; kariyerinde \u00e7ok say\u0131da d\u00fcnya rekoru k\u0131rm\u0131\u015ft\u0131r.<\/li><li>Galatasaray, 1999-2000 sezonunda UEFA Kupas\u0131\u2019n\u0131 ve 2000\u2019de UEFA S\u00fcper Kupa\u2019y\u0131 kazanm\u0131\u015ft\u0131r.<\/li><li>A Mill\u00ee Futbol Tak\u0131m\u0131 2002 D\u00fcnya Kupas\u0131\u2019nda \u00fc\u00e7\u00fcnc\u00fc olmu\u015f, 2008 Avrupa \u015eampiyonas\u0131\u2019nda yar\u0131 finale y\u00fckselmi\u015ftir.<\/li><li>T\u00fcrkiye Kad\u0131n Mill\u00ee Voleybol Tak\u0131m\u0131 2023\u2019te FIVB Milletler Ligi ve CEV Avrupa \u015eampiyonas\u0131\u2019n\u0131 kazanm\u0131\u015ft\u0131r.<\/li><li>A Mill\u00ee Erkek Basketbol Tak\u0131m\u0131 2010 FIBA D\u00fcnya \u015eampiyonas\u0131\u2019nda g\u00fcm\u00fc\u015f madalya kazanm\u0131\u015ft\u0131r.<\/li><li>Ampute Futbol Mill\u00ee Tak\u0131m\u0131 2017 ve 2021 Avrupa \u015fampiyonluklar\u0131n\u0131 kazanm\u0131\u015ft\u0131r.<\/li><li>Kad\u0131n Golbol Mill\u00ee Tak\u0131m\u0131 2016 Rio ve 2020 Tokyo Paralimpik Oyunlar\u0131nda alt\u0131n madalya kazanm\u0131\u015ft\u0131r.<\/li><\/ul>\n<aside class=\"tkmt-note tkmt-caution\"><p><strong class=\"tkmt-note-label\">\u2605 D\u00fczeltme<\/strong><\/p><p>Ders kitab\u0131nda T\u00fcrkiye Kad\u0131n Mill\u00ee Voleybol Tak\u0131m\u0131 i\u00e7in 2023 y\u0131l\u0131nda \u201cFIVB D\u00fcnya \u015eampiyonas\u0131 \u015fampiyonlu\u011fu\u201d ifadesi yer almaktad\u0131r. 2023\u2019te kazan\u0131lan ba\u015fl\u0131ca \u015fampiyonluklar FIVB Milletler Ligi ve CEV Avrupa \u015eampiyonas\u0131\u2019d\u0131r; FIVB Kad\u0131nlar D\u00fcnya \u015eampiyonas\u0131 2023\u2019te d\u00fczenlenmemi\u015ftir.<\/p><\/aside>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-25\">8.4. Etnospor ve Geleneksel Sporlar\u0131n Korunmas\u0131<\/h3>\n<ul class=\"tkmt-points\"><li>Etnospor, modern sporun sanayile\u015fme ve kurumsalla\u015fmas\u0131na kar\u015f\u0131 geleneksel k\u00fclt\u00fcr, yerel kimlik ve tarih\u00ee oyunlar\u0131 ya\u015fatmay\u0131 ama\u00e7layan spor faaliyetlerinin genel ad\u0131d\u0131r.<\/li><li>Geleneksel spor ve oyunlar\u0131n korunmas\u0131nda gelenek, sayg\u0131, dayan\u0131\u015fma ve bar\u0131\u015f ilkeleri \u00f6ne \u00e7\u0131kar.<\/li><li>D\u00fcnya Etnospor Birli\u011fi 2017\u2019de kurulmu\u015f, merkezi \u0130stanbul olarak belirlenmi\u015ftir.<\/li><li>Birlik, ku\u015faktan ku\u015fa\u011fa aktar\u0131lan oyun ve sporlar\u0131n tan\u0131nmas\u0131n\u0131, uygulanmas\u0131n\u0131 ve s\u00fcrd\u00fcr\u00fclebilirli\u011fini desteklemeyi ama\u00e7lar.<\/li><li>Ok\u00e7uluk, g\u00fcre\u015f, binicilik ve atl\u0131 oyunlar dayan\u0131kl\u0131l\u0131k, \u00e7eviklik, denge, g\u00fc\u00e7, sab\u0131r ve tak\u0131m ruhunu geli\u015ftirirken k\u00fclt\u00fcrel miras\u0131n aktar\u0131lmas\u0131na da hizmet eder.<\/li><\/ul>\n<h3 class=\"tkmt-subsection\" id=\"altbolum-26\">8.5. Spor Alan\u0131ndaki De\u011fi\u015fimin Nedenleri ve Sonu\u00e7lar\u0131<\/h3>\n<div class=\"tkmt-table-frame\"><table class=\"tkmt-table tkmt-cols-2\"><colgroup><col style=\"width:37%\" \/><col style=\"width:63%\" \/><\/colgroup><thead><tr><th scope=\"col\"><p><strong>De\u011fi\u015fimin Nedenleri<\/strong><\/p><\/th><th scope=\"col\"><p><strong>De\u011fi\u015fimin Sonu\u00e7lar\u0131<\/strong><\/p><\/th><\/tr><\/thead><tbody><tr><td data-label=\"De\u011fi\u015fimin Nedenleri\"><p>Bozk\u0131r ya\u015fam\u0131nda g\u00fc\u00e7l\u00fc, \u00e7evik ve dayan\u0131kl\u0131 birey ihtiyac\u0131<\/p><\/td><td data-label=\"De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Ok\u00e7uluk, binicilik, g\u00fcre\u015f ve avc\u0131l\u0131k gibi sporlar asker\u00ee ve toplumsal i\u015flev kazand\u0131.<\/p><\/td><\/tr><tr><td data-label=\"De\u011fi\u015fimin Nedenleri\"><p>Sava\u015f haz\u0131rl\u0131\u011f\u0131 ve asker\u00ee talim ihtiyac\u0131<\/p><\/td><td data-label=\"De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Spor, asker\u00ee g\u00fcc\u00fc ve bedensel dayan\u0131kl\u0131l\u0131\u011f\u0131 art\u0131rd\u0131.<\/p><\/td><\/tr><tr><td data-label=\"De\u011fi\u015fimin Nedenleri\"><p>Osmanl\u0131 son d\u00f6neminde modern spor kurumlar\u0131n\u0131n do\u011fmas\u0131<\/p><\/td><td data-label=\"De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Kul\u00fcpler, cemiyetler ve modern bran\u015flar geli\u015fti.<\/p><\/td><\/tr><tr><td data-label=\"De\u011fi\u015fimin Nedenleri\"><p>Cumhuriyetin sa\u011fl\u0131kl\u0131 nesil ve e\u011fitim hedefi<\/p><\/td><td data-label=\"De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Beden e\u011fitimi \u00f6\u011fretmenli\u011fi, spor te\u015fkilatlar\u0131 ve yayg\u0131n spor politikalar\u0131 geli\u015fti.<\/p><\/td><\/tr><tr><td data-label=\"De\u011fi\u015fimin Nedenleri\"><p>Uluslararas\u0131 rekabet ve profesyonelle\u015fme<\/p><\/td><td data-label=\"De\u011fi\u015fimin Sonu\u00e7lar\u0131\"><p>Olimpiyat, futbol, voleybol, basketbol, paralimpik ve di\u011fer alanlarda uluslararas\u0131 ba\u015far\u0131lar artt\u0131.<\/p><\/td><\/tr><\/tbody><\/table><\/div>\n<h2 class=\"tkmt-section\" id=\"bolum-9\">9. Atat\u00fcrk D\u00f6neminde G\u00fczel Sanatlar ve Spor<\/h2>\n<ul class=\"tkmt-points\"><li>Atat\u00fcrk, sanat\u0131 g\u00fczelli\u011fin farkl\u0131 ara\u00e7larla ifade edilmesi olarak de\u011ferlendirmi\u015f; \u015fiir, m\u00fczik, resim, heykel ve mimariyi toplumun \u00e7a\u011fda\u015fla\u015fmas\u0131n\u0131n par\u00e7alar\u0131 kabul etmi\u015ftir.<\/li><li>Sanayi-i Nefise Mektebi 1927\u2019de G\u00fczel Sanatlar Akademisi ad\u0131yla yeniden d\u00fczenlenmi\u015f; sanat\u0131n \u00e7e\u015fitli alanlar\u0131nda yeti\u015fmek \u00fczere yurt d\u0131\u015f\u0131na \u00f6\u011frenciler g\u00f6nderilmi\u015ftir.<\/li><li>Spor, gen\u00e7li\u011fin mill\u00ee e\u011fitiminin ana unsurlar\u0131ndan biri olarak g\u00f6r\u00fclm\u00fc\u015f; beden e\u011fitimi kurslar\u0131 ve \u00f6\u011fretmen yeti\u015ftirme faaliyetleri yayg\u0131nla\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r.<\/li><\/ul>\n<aside class=\"tkmt-note\"><p><strong class=\"tkmt-note-label\">\ud83d\udccc NEDEN \u00d6NEML\u0130?<\/strong><\/p><p>Cumhuriyetin sanat ve spor politikalar\u0131nda ortak ama\u00e7; \u00e7a\u011fda\u015f, sa\u011fl\u0131kl\u0131, \u00fcretken, k\u00fclt\u00fcrel miras\u0131n\u0131n fark\u0131nda ve mill\u00ee kimlik bilinci g\u00fc\u00e7l\u00fc bireyler yeti\u015ftirmektir.<\/p><\/aside>\n<h2 class=\"tkmt-section\" id=\"bolum-10\">10. Sanat ve Sporun T\u00fcrk Toplumunun G\u00fcnl\u00fck Ya\u015fam\u0131na Etkileri<\/h2>\n<ul class=\"tkmt-points\"><li>Sanat, ev e\u015fyalar\u0131ndan mimari yap\u0131lara kadar g\u00fcndelik ya\u015fama estetik bir g\u00f6r\u00fcn\u00fcm kazand\u0131rm\u0131\u015ft\u0131r.<\/li><li>Hal\u0131, kilim, \u00e7ini, ah\u015fap ve ta\u015f s\u00fcslemeler k\u00fclt\u00fcrel kimli\u011fi g\u00f6r\u00fcn\u00fcr h\u00e2le getirmi\u015ftir.<\/li><li>M\u00fczik; d\u00fc\u011f\u00fcn, bayram, t\u00f6ren, din\u00ee hayat, asker\u00ee alan ve g\u00fcnl\u00fck e\u011flencenin \u00f6nemli bir par\u00e7as\u0131 olmu\u015ftur.<\/li><li>Spor; sa\u011fl\u0131kl\u0131 ya\u015fam, dayan\u0131kl\u0131l\u0131k, disiplin, cesaret, sab\u0131r ve toplumsal dayan\u0131\u015fmay\u0131 g\u00fc\u00e7lendirmi\u015ftir.<\/li><li>Sanat ve spor, k\u00fclt\u00fcrel s\u00fcreklili\u011fin ve ortak haf\u0131zan\u0131n olu\u015fmas\u0131na katk\u0131 sa\u011flam\u0131\u015ft\u0131r.<\/li><li>Modernle\u015fmeyle birlikte sanat ve spor kurumsalla\u015fm\u0131\u015f, daha geni\u015f toplum kesimlerine ula\u015fm\u0131\u015f ve uluslararas\u0131 etkile\u015fime a\u00e7\u0131lm\u0131\u015ft\u0131r.<\/li><\/ul>\n<h2 class=\"tkmt-section\" id=\"bolum-11\">11. T\u00fcrkistan\u2019dan T\u00fcrkiye\u2019ye Sanat ve Sporda De\u011fi\u015fim<\/h2>\n<div class=\"tkmt-table-frame\"><table class=\"tkmt-table tkmt-cols-4\"><colgroup><col style=\"width:17%\" \/><col style=\"width:29%\" \/><col style=\"width:29%\" \/><col style=\"width:25%\" \/><\/colgroup><thead><tr><th scope=\"col\"><p><strong>D\u00f6nem<\/strong><\/p><\/th><th scope=\"col\"><p><strong>De\u011fi\u015fimin Nedenleri \/ Etkileyen Unsurlar<\/strong><\/p><\/th><th scope=\"col\"><p><strong>Sanat ve Sporda \u00d6ne \u00c7\u0131kan Unsurlar<\/strong><\/p><\/th><th scope=\"col\"><p><strong>Ba\u015fl\u0131ca Sonu\u00e7lar<\/strong><\/p><\/th><\/tr><\/thead><tbody><tr><td data-label=\"D\u00f6nem\"><p>\u0130slamiyet \u00d6ncesi T\u00fcrk Devletleri<\/p><\/td><td data-label=\"De\u011fi\u015fimin Nedenleri \/ Etkileyen Unsurlar\"><p>Konarg\u00f6\u00e7er ya\u015fam, sava\u015f\u00e7\u0131 toplum yap\u0131s\u0131, eski T\u00fcrk inan\u00e7lar\u0131, bozk\u0131r co\u011frafyas\u0131<\/p><\/td><td data-label=\"Sanat ve Sporda \u00d6ne \u00c7\u0131kan Unsurlar\"><p>Hayvan \u00fcslubu, ke\u00e7e, dokuma, maden i\u015f\u00e7ili\u011fi, \u00e7ad\u0131r-kurgan-bark; atl\u0131 sporlar, ok\u00e7uluk, g\u00fcre\u015f, avc\u0131l\u0131k<\/p><\/td><td data-label=\"Ba\u015fl\u0131ca Sonu\u00e7lar\"><p>Pratik ve i\u015flevsel sanat geli\u015fti; spor asker\u00ee g\u00fcc\u00fc ve dayan\u0131kl\u0131l\u0131\u011f\u0131 art\u0131rd\u0131.<\/p><\/td><\/tr><tr><td data-label=\"D\u00f6nem\"><p>T\u00fcrk-\u0130slam Devletleri<\/p><\/td><td data-label=\"De\u011fi\u015fimin Nedenleri \/ Etkileyen Unsurlar\"><p>\u0130slamiyet\u2019in kabul\u00fc, yerle\u015fik hayat\u0131n g\u00fc\u00e7lenmesi, \u015fehirle\u015fme<\/p><\/td><td data-label=\"Sanat ve Sporda \u00d6ne \u00c7\u0131kan Unsurlar\"><p>Cami, medrese, t\u00fcrbe, kervansaray; \u00e7ini, ah\u015fap, minyat\u00fcr, musiki; cirit, \u00e7evgen, ok\u00e7uluk, g\u00fcre\u015f<\/p><\/td><td data-label=\"Ba\u015fl\u0131ca Sonu\u00e7lar\"><p>Eski T\u00fcrk motifleri \u0130slami anlay\u0131\u015fla yeniden yorumland\u0131; \u00f6zg\u00fcn T\u00fcrk-\u0130slam sanat ve spor k\u00fclt\u00fcr\u00fc olu\u015ftu.<\/p><\/td><\/tr><tr><td data-label=\"D\u00f6nem\"><p>Osmanl\u0131 Devleti<\/p><\/td><td data-label=\"De\u011fi\u015fimin Nedenleri \/ Etkileyen Unsurlar\"><p>\u015eehir k\u00fclt\u00fcr\u00fc, saray ve vak\u0131f sistemi, klasik \u0130slam\u00ee ya\u015fam, ard\u0131ndan Bat\u0131l\u0131la\u015fma ve modernle\u015fme<\/p><\/td><td data-label=\"Sanat ve Sporda \u00d6ne \u00c7\u0131kan Unsurlar\"><p>K\u00fclliye, cami, hat, minyat\u00fcr, \u00e7ini, musiki, ku\u015f evleri; geleneksel sporlar ve modern spor kurumlar\u0131<\/p><\/td><td data-label=\"Ba\u015fl\u0131ca Sonu\u00e7lar\"><p>Klasik Osmanl\u0131 \u00fcslubu geli\u015fti; son d\u00f6nemde akademik sanat ve modern sporun temelleri at\u0131ld\u0131.<\/p><\/td><\/tr><tr><td data-label=\"D\u00f6nem\"><p>T\u00fcrkiye Cumhuriyeti<\/p><\/td><td data-label=\"De\u011fi\u015fimin Nedenleri \/ Etkileyen Unsurlar\"><p>\u00c7a\u011fda\u015fla\u015fma, mill\u00ee kimlik, toplumsal kalk\u0131nma ve kurumsalla\u015fma hedefleri<\/p><\/td><td data-label=\"Sanat ve Sporda \u00d6ne \u00c7\u0131kan Unsurlar\"><p>G\u00fczel Sanatlar Akademisi, konservatuvarlar, modern resim-heykel-mimari; spor te\u015fkilatlar\u0131 ve beden e\u011fitimi<\/p><\/td><td data-label=\"Ba\u015fl\u0131ca Sonu\u00e7lar\"><p>Sanat ve spor geni\u015f kitlelere yay\u0131ld\u0131; mill\u00ee kimlik ve uluslararas\u0131 ba\u015far\u0131 alanlar\u0131na d\u00f6n\u00fc\u015ft\u00fc.<\/p><\/td><\/tr><\/tbody><\/table><\/div>\n<h2 class=\"tkmt-section\" id=\"bolum-12\">12. S\u0131nav \u0130\u00e7in Genel Ba\u011flant\u0131lar<\/h2>\n<aside class=\"tkmt-note tkmt-exam\"><p><strong class=\"tkmt-note-label\">\ud83d\udccc SINAV NOTU<\/strong><\/p><p>\u0130slamiyet \u00f6ncesi sanat: hayvan \u00fcslubu, kurgan, balbal, Uygur freskleri. T\u00fcrk-\u0130slam sanat\u0131: k\u00fcmbet, kervansaray, \u00e7ini, ah\u015fap, \u00e7ift ba\u015fl\u0131 kartal. Osmanl\u0131: minyat\u00fcr, k\u00fclliye, klasik musiki, Sanayi-i Nefise. Cumhuriyet: G\u00fczel Sanatlar Akademisi, \u00e7ok sesli m\u00fczik, an\u0131t heykelcilik, mill\u00ee\/modern mimari, sporun devlet politikas\u0131 h\u00e2line gelmesi.<\/p><\/aside>\n<aside class=\"tkmt-note tkmt-exam\"><p><strong class=\"tkmt-note-label\">\ud83d\udccc \u00d6SYM D\u0130KKAT<\/strong><\/p><p>Sanayi-i Nefise Mektebi, hem resim-heykel e\u011fitiminin kurumsalla\u015fmas\u0131 hem de Osmanl\u0131\u2019dan Cumhuriyet\u2019e modern sanat e\u011fitiminin devaml\u0131l\u0131\u011f\u0131 a\u00e7\u0131s\u0131ndan ay\u0131rt edici bir kurumdur.<\/p><\/aside>\n<\/article>\n","protected":false},"excerpt":{"rendered":"<div class=\"mh-excerpt\"><p>T\u00fcrkiye Y\u00fczy\u0131l\u0131 Maarif Modeli T\u00fcrk K\u00fclt\u00fcr ve Medeniyet Tarihi dersinin 3. \u00fcnitesi, \u201cT\u00fcrkistan\u2019dan T\u00fcrkiye\u2019ye T\u00fcrklerde E\u011fitim, Bilim, Sanat ve Spor\u201d konular\u0131n\u0131 kapsar. Bu sayfada TKMT <a class=\"mh-excerpt-more\" href=\"https:\/\/tarihkursu.com\/index.php\/2026\/10\/17\/turklerde-sanat-ve-spor-3-unite-turkistandan-turkiyeye-turklerde-egitim-bilim-sanat-ve-spor-maarif-modeli\/\" title=\"T\u00fcrklerde Sanat ve Spor \/ 3. \u00dcnite: T\u00fcrkistan\u2019dan T\u00fcrkiye\u2019ye T\u00fcrklerde E\u011fitim, Bilim, Sanat ve Spor | Maarif 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