Plastic analysis of figurative items presenting on diyarbakir city walls

The simultaneous beginning of art with the history of mankind revealed that its development is simultaneously with human product civilization. This togetherness in all sections of history has continued until today. Visuals on the walls of Diyarbakır, sometimes geometric and symbolic, sometimes with figurative animal and plant motifs, have traces of dozens of civilizations. Artistic analyses of these plastic values, which are also suitable for artistic meaning, are needed. In this study where the plastic analysis of the figures found on the walls of Diyarbakır was examined with a work of art criticism, while the figures were photographed and interpreted in their places, the views in the related sources were also used. The aim of the study is to provide information about the purpose, importance and method, and to create a theoretical framework from the data examined in the theoretical plane about the history of the city of Diyarbakir and its walls and the critique of the investigative artwork. Written sources were used for the research problem and also the visual materials on the walls were analysed. In the study, the main aim of the figurative elements on the walls of Diyarbakır was examined aesthetically. How to criticize the figurative elements with an artistic point of view and how to draw attention to the artistic value of the plastic analysis to be made by looking at the answers and sample analyses were made. Thus, with this study it is aimed that all of art consumers, from students to adult individuals can easily perceive the aforementioned works and reaches an infrastructure where they can make accurate analyses on the works to see in their future visits to museums and historical sites. As a result, it was understood that figurative artefacts in Diyarbakır Walls were detailed in stone, contained meaningful messages and were works of art. In the context of the study, it was contributed to the visual perceptions of the individuals, who were called art consumers by the method of criticizing art.