Manzara resminde metafor: Çin manzara resminin romantik manzara resmindeki iz düşümü

In this study, the projection of Chinese landscape painting metaphors on romantic landscape painting was investigated. While conducting the research, first of all, the concept of metaphor, the function of metaphor and the types of metaphors in the conceptual context were emphasized. Tao, Confucianism, Zen, theory of emptiness and New Confucianism movements in Chinese philosophy, which are the starting point of Chinese landscape painting metaphors and directly affecting the Chinese landscape painting tradition, are examined. The belief concerning man like all beings in the universe, is not superior to nature, but an inseparable part of it and that all beings should live in harmony with nature, shed light on the study on metaphors. The history of Chinese landscape painting has been researched in the light of Chinese philosophy and beliefs, while working on painters who are the important representatives of the landscape painting tradition, by means of taken into consideration the conceptual analyzes of the works and metaphor types. The metaphors in Chinese landscape paintings were examined separately through the nature elements frequently used in the compositions, and it was observed that metaphors have an important place in the Chinese landscape painting tradition. Before entering the romantic landscape painting, which is the second main subject of the study, the development of romantic natural philosophy in the West was investigated. The influence of the Naturphilosophie school, in which F. W. J. Schelling dealt with man and nature as a whole, on the landscape painters of the period and the relationship of this new way of thinking with Chinese philosophy were emphasized. This new philosophy of nature, which emerged at the beginning of the 19th century, has fundamentally affected the view of nature and human beings in the West, and the view that the human being is one of the small parts that create nature has gained importance. The historical development process of the pre-Romantic landscape painting in the West has been reviewed on the basis of the examples. In the light of the 19th century romantic nature philosophy, the works of romantic landscape painters living in Germany, England, Norway and America were examined in the context of metaphors. Chinese landscape painting metaphors were traced through these works.