Fure landscape pictures

Landscape in general gives us a strong sense of spatiality. The artist's personal landscape painting experience, which will be examined in this thesis, emerges as an imaginary picture of nature, and these mental images find a place within the defined framework of nature. In this process, it is aimed to move away from objectivity. In order to achieve a simple order, the main elements that are the determinants of nature have been removed from the paintings. The resulting silence, anxiety, loneliness, timelessness and emptiness reflect the intended simplicity and abstraction. At the same time, the timelessness and placelessness in the paintings create the opportunity to hear the silence. The intended simplicity and abstraction also directs the use of form, composition and even materials. In addition, the natural colors of the landscape are used to avoid moving away from the concrete state of nature. The meaning and artistic reflections of the word "nature" vary in eastern and western civilizations. Artists in Eastern civilizations differ from artists in Western civilizations in making sense of the concept of nature. Studies within the scope of the thesis; It is based on the basic approaches adopted in landscape painting, the place of landscape painting in historical periods, and evaluations. While landscape painting in the West did not have an important place in art circles until the 19th century, it is considered one of the most magnificent arts in the Far East. In this research, certain historical periods of Chinese landscape painting (Tao and Song periods), Iran (contemporary period) and the West, and different types of thought in the formation of landscape painting were examined. The studies within the scope of the research were created with a "pure landscape" focus, using two different perspectives, eastern and western. Key Words: Pure, landscape, nature, abstraction, Iran, China, painting.