IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 21, Issue 7, Ver. 3 (July. 2016) PP 87-93 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org DOI: 10.9790/0837-2107038793 www.iosrjournals.org 87 | Page Landscape Painting in Turkish Art of Painting and Periodical Reflections Birsen Çeken 1 , Asuman Aypek Arslan 2 1 (Graphic Design Department, Art and Design Faculty/Gazi Üniversity, Turkey) 2 (Visual Arts Department, Art and Design Faculty/ Gazi University, Turkey) Abstract: The landscape is an indispensable subject of our painting art just as like the nature which is an indispensable part of the life of human being. In spite of the different movements and applications in the development line, the nature has maintained its dominant place in the art and it has taken place in the values that shaped the art. The landscape painting among the paintings of the Turkish painters shows that the natural scenes were given importance subject and so the number of the paintings with this subject was great. Our getting acquaintance with the painting as an eastern community has led us to paint with our senility towards the natural scenes. Our first paintings that did not carry the signatures of our painters because of the sensitivity of the painters’ who dealt with the landscapes with an admiring manner that felt afraid to touch the nice landscapes which are created by god with beauty had social values that they did want to put their names before the community. Compositions, still life and even nude paintings that included different points of view towards the natural appearance as well as including landscapes. The natural views have remained in the paintings as indispensable values. Even the abstract paintings that have emerged as a result of the fast flow of the development are abstract paintings of the nature. In this study, the landscape painting in the Turkish Painting Art and its periods in the development period will be dealt with. Keywords: Turkish Painting, Landscape Paintings I. INTRODUCTION The passion to nature has been reflected in miniatures since 16 th century in the life of Turks and they gradually comprised the first samples of canvas paintings in the following process. Turkish painters have been trained in an atmosphere that could be expressed as the passion to nature so open to nature in an environment where landscape painting rather than figures are of importance within the efforts of compulsory cultural change in 19 th century. The training field dominated by military schools at first was followed by civil schools. On the other hand, it is likely to see that some of the Turkish artists going to Western ateliers for the painting education regarded landscape as a problem beyond photography and attempted to produce something in this sense. There are numerous unsigned paintings among the first examples of Turkish painting. The paintings exhibited in Istanbul Painting and Sculpture Museum, of which painters are not known, could be regarded in this context. In this sense, landscape is of great importance in terms of Turkish painting, since it has become significant in terms of creating an opportunity to make and observation and research. Besides that, using the same visual texture led the artists in this period to produce a common sense of art. In the works of art whose artist is unknown, in other words, the works which were not signed, and in the ones whose artists are known, such common sensibilities as conveyance of landscape up to choosing the subject have always been on the agenda. The result obtained here is that the landscape paintings painted in that period was of a quality of a document and that they had a descriptive characteristic. Our acquaintance with painting as an Eastern community would lead us to turn directly to landscape painting as a result of traditional structure and social values. While the theme of landscape was regarded in a dimension depending on observation within the development of Turkish painting before the period of Republic, there became a change in landscape painting after Republican period as a result of the connections with Europe and our interest in modern art. In particular, even after our acquaintance with abstract painting, nature depictions were taken into consideration and it soon became original comments with the individual tendencies of the artists of landscape painting. In this sense, abstract painting turned into different ways of expressions starting from a dimension based on observation with nature section. The period when landscape painting was so common and popular in the West is the same time when landscape painting was also so popular in Turkey. This interest is just a similarity in terms of the tendency to landscape. The young painters trained in this system come to the fore as the artists putting a priority and significance on landscape paintings. The young trained in the mystic structure of the eastern philosophy were so neat in transferring the “untouchable” admiration that they considered as the creation God i nto their canvas. In