FRAME CONCEPT AND COMPOSITION SCHEMAS IN THE TRADITIONAL TURKISH ART

In the evaluation of visual art samples, the composition principle or in other words, the arrangement and logic of adornment on the existing floor are of great importance. Compositions that manifest themselves in traditional cultures by subjecting to certain criteria have particular importance and content, such as iconography style subject and motif preferences. The principles of composition, which are closely related to the development stages of art traditions, should be regarded as the logical result of the process and should be addressed in this context. Formation of the composition principles by following the stages such as determining of the theme pool in national cultures and the meanings of these themes, settlement of depiction iconography, the formation of the motif range and the unification of it with meanings, must have been realized within the scope of very special and complicated relations with various subjects such as the functionality, form, color and material characteristics of tangible art products. When the concept of composition, which is one of the basic elements of Turkish visual art language established in the age of Scythians in the 1st Millennium B.C., is examined closely, it is seen that among the various sub-headings, the frame concept is more prominent than the others. This concept is related to the location of the image within certain boundaries and to the fixed criteria followed during this application. In this study, the frame element in the Turkish visual art tradition, which survived from the early ages of history to the Ottoman period without a radical change, was examined within the context of the concept of composition and visual accompaniment and it was tried to create related typology