Bu araştırmanın amacı, postmodern sanat ortamında yer alan halı-kilim enstalasyon çalışmaları üzerinden Doğu ve Batı kültürleri arasındaki sanatsal etkileşimi incelemektir. Araştırma, postmodern sanat ortamında karşımıza çıkan Heike Weber, Rudolf Stingel ve Martin Roth'un halı-kilimler üzerine kurguladıkları enstalasyon çalışmaları üzerine odaklanmaktadır. Araştırmada veriler, incelemeye konu olan Batılı sanatçıların halı-kilim enstalasyon çalışmaları üzerinden göstergebilimsel çözümleme ve literatür taraması yoluyla toplanmıştır. Göstergebilim çözümlemeleri betimsel, anlatımsal ve izleksel düzeyde gerçekleştirilmiştir. Araştırma sonucunda, Doğu halı-kilimlerinin geçmişten günümüze Batılı sanatçılar için esin kaynağı olageldiği; Doğu halı-kilimlerinden Batılı sanatçılar tarafından postmodern enstalasyon uygulamalarda kavramsal ve teknik açıdan yararlanıldığı; enstalasyonlarda Doğu halı-kilimlerinden yararlanmanın Batılı sanatçılar için kültürel göstergeler üzerine yeni, özgün ve çağdaş bir söylem inşa etmeye yardımcı olduğu; söz konusu enstalasyonlarda Doğu halı-kilimlerinin sanatsal yeniden üretim yoluyla ve hazır nesne özelliğinde sanatsal formlar olarak tekrar karşımıza çıktığı görülmüştür.

It is necessary to consider an examination that causes our interests, attitudes and behaviors towards art and makes the creation and consumption of art meaningful and understandable from different perspectives. The interaction between the elements of social structure and art is one of the areas that can be addressed in this sense. This situation requires a shift to a sociological point of view because it contains theoretical bases that will enable the examination. One of the theoretical structures that will enable a sociological examination is Pierre Bourdieu's concept of habitus. The concept of habitus represents our habits, tendencies, appreciations, etc. While thinking about our artistic tendencies, appreciations, behaviors and predispositions, the role and decisiveness of habitus emerge as an approach that we can use in theory. This study aims to try to explain the concept of habitus, which is mentioned with sociologist Pierre Bourdieu, in the context of Visual Arts Education. The research was created based on the literature review. Within the scope of the literature, the theoretical foundations of the concept of habitus have been explained and summarized, and the basic characteristics of habitus have been interpreted through art and visual arts education. Based on the findings of the research, the concept of habitus has emerged as a theoretical approach that will help art education researchers to make sense of artistic and educational behaviors and encourage them to think deeper about the subject.

This study aims to examine the relationship between aesthetic and sociological imagination within the framework of the characteristics of visual forms (art/media images) in the environment of contemporary visual culture and to make a theoretical assessment of the importance of these imagery structures in art and art education. These assessments were carried out from a perspective based on the relationship between art and society. As a result of these assessments, it was found that the relationship between aesthetic and sociological imagination is intertwined within the scope of the production, distribution, and consumption processes of visual forms in the postmodern process, and in parallel with this situation, the importance of teaching activities and curriculum arrangements for the integration of both imagination structures in art education has been encountered. It has been understood that pedagogical activities focused on developing sociological imagination will provide a sociological perspective to the aesthetic imagination of individuals; thus, it will help to provide a conscious way of thinking about the cultural and social characteristics of visual forms.