Shadow as an archetype

The basis of my researchis to examine the importance and usage of shadow in art and its effects on human psychology. The first chapter emphasizes the definition of shadow and in which concept we come across it in ancient beliefs. The usage of this concept by communities which equate shadow with soul is studied through a dualistic perspective. This duality is supplemented with Platon and Ibn ?Arabi;the idea of world as reflection and shadow is discussed around these two philosophers. In the second chapter, shadow is maintained in terms of psychology, the importance of dreams for Sigmund Freud is examined in relation with shadow. Carl Gustav Jung's archetypes are discussed- especially the shadow archetype. Subconscious and the collective unconscious concepts are introduced through this archetype. In the third chapter the long background of shadow dating back to the origin of painting is examined by reffering to the myth of Pliny the Elder. Ancient, Medieval, Gothic, Renaissance and Baroque Periods are cared for examples of the use of shadow, focusing on Caravaggio, Rembrandt, George de La Tour. Bosch and Bruegel are examined in the context of using natural shade, symbolic use of shadow by Poussin and Carducho is discussed. Through Komar and Melamid?s art, the relation between shadow and hidden features of personalities is emphasized. Metaphysical painting and mysterious shadows in Giorgio De Chirico's paintingsare studied,Salvador Dali?s and René Magritte's works are discussed in the light of Sigmund Freud?s and Michel Foucault's ideas. Constructive interpretation of the shadowis analyzedby giving brief examples and its use in cinema is described by German Expressionism. The history of shadow puppet theatre is touched upon, by studying its varied practices of artists. The dissertation ends after presentation of the use ofshadow in Turkish painting through the works of Adnan Coker, Balkan Naci İslimyeli and Inci Eviner.