Author(s): C. Arzu AYTEKÄ°N
From the age of the cave to this day, humanbeings have recreated the shadows of reality with their basic creative imagination – the power of imagination. In the process of the development of art history, transcendental and inherent illusions, present the art of the West and the East, the differences of view and culture within the social structure of classical and primitive, archaic art, and imaginary interpretations of the basic elements of human spiritual structure reveal the concepts of human and world relations.In addition to the contextual differences that determine the form in the creation process of the arts of all periods, there are natural and common points originating from psyche. In this study, visual indicators, visual-image research-content analyzes were conducted to reveal the meaningful relationships between categories and themes, sub-themes and the concepts and themes created by conceptual coding and classifications, which cannot be seen directly in the image of dragon and nature (mother).
In this research, the social and artistic significance of the dragon image and the mythological-sacred female / nature (mother)-dragon relationship as a combination of the historical process and the social process of glance, the visual images of the Eastern and Western societies, imaginary designs and their unity, contrasts and associations with a plural aesthetic understanding, it is aimed to examine old and new works – visual indicators – selected from different cultures and periods. The struggle of the dragon and phoenix (the big-masculine and the feminine sides) representing the masculine and feminine principles in the Far East is, in essence, the symbol of divine marriage (the rule of the universe and its general order), the cosmos (Fr. Cosmos), the universe (order)and chaos relationship.The relationship between dragon and the image of nature, as evidenced in the visual aesthetics of the East and the West; it can be said that the unity of contradictions, which are difficult and cannot be attained in anyway, is the relationship between reconciliation and struggle, which goes on in historical and social point of view, and the duality of ‘one to one which can be seen in the artistic imaginary hidden meanings. In this composite relationship; like anima-animus in psychoanalysis, the unity of masculine and feminine sides, chaos and cosmos (Fr.cosmos), good-evil, death-life, mortality-immortality, limitation-limitlessness, organic-inorganic duality structures-forms, diffusion within man, besides the urge to move beyond, to the unknown, to the imaginary, horrific, emotional, irregular, habit, complete rational consciousness, rational mind and rule, the unity of the instincts of life in order-chaoscosmos dual existence can be determined. As a result, the visual images that reflect the unity of the contrasting contradictions of today and are examined on the Works are like a never-ending realistic fictional story of the myth of the unity of the inner most and the most ‘primary contrastsy in repeated in different times and geographies and spreading to the future. Story's unchanging theme and relationship between images; a new birth by heroic-death (the feminine unity that complements masculine action), the traces of cultural memory a dramatic and amusing play of the drama of the disappearance of common meanings, hidden in the transformation and disintegration of layers of image and gaze in the social process artifacts, images collage into indicators.
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