Ornamentation and the construct of ornamented woman

The phenomenon of ornamentation, with its function serving impulsive and sensory area, is a crafting activity and the initial style quality of art intended to imitate the nature. According to Worrinder, this style quality is an inorganic and geometric-linear of abstraction mode. The early human has rendered all the objects of use, including his/her own body and living area meaningful through the act of ornamenting to the extent s/he felt/sensed it, and has created the foundations of art and religious beliefs through this act. While the planar space perception in ornaments/ miniatures and icons in the Eastern and Western schools having a course on the artistic and religious traditions in representing the essence created themselves through a linear style, the arts of Antique Greek and Renaissance represented the visible world in the light of reason and science through the perspective of the Euclidian geometric expansion, discovered the three-dimensional spatial perspective and formed the qualities of the Naturalist style it looked with a pantheist candor and empathic impulse. The reason for including works displaying both styles from the pre-historic era to our times in our study is to emphasize the importance of ornamentation, which is the originator of art. It is seen that ornamentation, which has been trivialized in the modernist discourse claiming that it is a primitive, irrational and nonfunctional element, has transformed in the contemporary art into a subjective, sensory dynamic, abstract way of expression describing the essence, developing through the designing techniques of the high technology at the same time. An original style overlapping with the nature of ornamentation that had spontaneously developed within three categoric stages has been achieved in application works, and the horizon has been opened up for multiple experimental variations thanks to the possibilities of the computer-supported technology