İdil Sanat ve Dil Dergisi
Cilt 11 Sayı 100  2022/12  (ISSN: 2146-9903, E-ISSN: 2147-3056)
Sevtap ÖRGEL

NO Makale Adı

The impulse that has shaped the image since cave times is ideological domination as well as artistic anxiety. The sovereign power, which diversifies from religious thinking to political regime and gathers around a certain ideal, is a formative that integrates abstract thinking with vital practices. Therefore, while reading the phenomena that have been revealed throughout history, not referring to the dominant formative vocabulary of the sovereign will make it impossible to analyze the work. The image of the ' sacrifice repeated in art', examined within the scope of the research, has a psychological formation as well as theological in terms of both the source of the image and the concept of sacrifice; therefore, when discussing the works produced around this theme, it will inevitably be necessary to look at the 'community culture' created by the dominant ideology. The primitive ancestors' questioning of reality corresponds to their examination of the world in order to make sense of the apparent reality and what lies behind this reality. Cave wall paintings, which are supposed to be the first examples of artistic performance today, are a visual representation of this effort. The sacrifice as an image that has been told and repeated since the times when art replaced literacy, draws a picture of an intellectually common understanding and criticism around concepts such as purification, gratitude, wish and punishment, although it contains qualitative differences due to geographical-religious factors. Despite its separation in practice and method, this image, which points to the same source as an internal impulse, focuses on the metaphor of living sacrifice and sacrifice, from polytheistic religions to monotheistic religions, from human to animal, on an east-west axis. The framework is limited to the visual art dialogue of religious culture and psychological attitude. In the research, in which works belonging to different times from the history of art will be used, the metaphor of sacrifice will be handled as a concrete phenomenon of intellectual heritage as it has been transferred to the present day in terms of form and content; artistic examples will be included in order to reveal the thematic bases of the subject rather than analytical description.

Keywords: Art, Changeability, Shepherd, Prey, Hunter, Arrow