Ouroborus Söyleni Üzerine Görsel Anlatılar
Güngör, Zehra Dida
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İmages are the omens the meanings of which are agreed on by some human comminities. The updating and the permanance of the images which are one of the most effective materials of the visual expression adventure since drawing in the Paleolithic Age, is directly related to whether it responds to the needs of the human kind. In this respect, The Ouroborus is a image chosen as subject to this research is that it is fed by a lot of disciplines, it has interesting sub-concepts and it presents rich materials which fit visual assumptions, rather than its being very old and current. Up to the present time the fact that, there is no extensive research done in the fields of Visual Arts, Philosophy, Psychology, Biology, Mythology and faith and that there is a need to fill this gap, makes this research more resonant. Ouroborus image being in circular shape as the general form points out the circular time perception, rhytms of the universe, the nature, the sky and the earth, human life, birth, death, rebirth and reincarnation. The sentient perception of existance is the subject of the Ouroborus image as well as life perceived by senses. In this research, in most cultures in human history, the messages the Ouroborus gives is searched in the fields of Biology, Philosophy, Psychology, Mythology, and Visual Arts. The search in visual arts is done as subject based. The story of Ouroborus, starts from the Ancient Turkish culture, follows as Egypt, Mesopotamia (Sumerian), Greek-Roman Pantheon and Christian Culture and ends in teh reflections of Indian, Chinese and Japanese cultures. Cultural descriptions of ouroborus conceps are defined by taking the interaction of cultures in to account. As to say, this research gives us insight on how humanity has perceived Universe, Earth, Time, Birth and Death Rhythm, Life After Death, Rebirth and similar notions since his existence.
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