Author(s): Orhan GÜRSU

At the beginning of the past century, some art thinkers claim that the basis of arts should be psychology. This view aims at a detailed psychological analysis of aesthetics. The peculiar nature of artistic object can be understood only through the imaginary perceptive ability of the person who observes it. What we call art is the product of behaviours. The talk of behaviour brings mind psychology. Therefore, there can be talk of a meaningful relationship between the psychological structure of a human being and his/her aesthetic perception. It is also possible to say that there is a tight relationship between the fourteen-century-old Islamic art and the world of the human spirit. In this art, whose root depends on divine revelation, self recognition of the human and his relation with the absolute existence are discussed. In this study, primarily, the relationship between psychology and the arts will be examined. In this context, the psychological element contained in the artistic works and how contemporary psychology evaluates arts and the artists will be analysed. Having dealt with the relationship between religion and art that goes as far back as the beginning of humanity, the psychological nature of the Turkish-Islamic arts in general and the distinctive features of Islamic arts from the western arts will be discussed. The psychological analysis of Islamic arts will be limited to calligraphy and paper marbling and their psychological factors and characteristics will be evaluated in detail.


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