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Bilgisayarlı üretimin dahil olmasıyla, geleneksel yollarla üretim yapılan birçok alan terk edilmekte ve bu üretimi yapan sanatkarların isimleri ve ürünleri ortadan kalkmaktadır. Dönemin yerel sanatkârları tarafından icra edilen araba ressamlığı da bunlardan biridir. Eli sanata yatkın ve usta-çırak ilişkisi içerisinde formal olmayan bir yolla eğitim alan bu sanatkârlar, bir dönemin kent belleğine ve bölgenin görsel kültürüne katkı yaptığı gibi, aynı zamanda sanatkârın üslubu bölgenin üslubuna dönüştüğünden dolayı bölgenin resimleme geleneğini de belirlerler. Bu sanatkârlar at arabası, fayton, traktör, römork resimlediği gibi, gerektiğinde tabela da yazarlar. At arabalarının ortadan kalktığı, geleneksel üretimin terk edildiği ve artık çırakların yetişmediği düşünüldüğünde, unutulmaya yüz tutmuş bir sanatın kanıtları da zamanla yok olmaktadır. Bu çalışmada, Bursa’da 1939 ilâ 1999 yılları arasında varlık gösteren ticari ressam Enver Ertaban konu edilmektedir. Ertaban, becerisiyle ünü Bursa dışına taşarak belgesellerde kendine yer bulmuş ve yurtdışından ziyaretçi kabul etmiştir. Araba ressamlığının son temsilcilerinden biri olan Enver Ertaban’ın yaşamı ve üretimleri belgelenerek literatürde yerini alması amaçlanmaktadır. Many areas of traditional production are abandoned and the_x000D_ names and products of the commercial artists, who make these_x000D_ productions, disappear with the inclusion of computerized_x000D_ production. Car painting, which is performed by local artists of_x000D_ the period, is one of these productions. These commercial artists,_x000D_ who are educated in a non-formal way in mentor system,_x000D_ contribute not only to the urban memory and visual culture of the_x000D_ period, but also to determine the painting tradition of region_x000D_ because the artist’s style specified the style of the region. These_x000D_ artists paint cars, horse carriages, tractors and trailers, as well as_x000D_ signage when it is necessary. Considering that horse carriages_x000D_ were disappeared, that traditional production was abandoned and_x000D_ that apprentices were no longer trained, the evidence of the_x000D_ craftship, which almost fade into oblivion, disappear in time._x000D_ In this study, the commercial artist Enver Ertaban, who was active_x000D_ in Bursa between the years 1939 and 1999, is discussed. Ertaban_x000D_ moved his fame out of Bursa and found himself a place in_x000D_ documentaries and received visitors from abroad with his talent._x000D_ With this study, it is aimed to document the life and the_x000D_ productions of Enver Ertaban, who was one of the last_x000D_ representatives of car painting, and to take his place in the_x000D_ literature. Art is embodied by the way of creative and original with the help of hands and tools of images in human mind._x000D_ The tools and materials, which is used with the developing technologies over the time, have changed and different forms of production have emerged. One of these production methods has been computer aided three-dimensional modeling and three-dimensional printers. After the 1980s, the modeling stages of three-dimensional printers, that are quickly showed their effects on art, took their place in the history of design and production. Prototypes are realized by sending it to the three-dimensional printer without need to use a mold technique after modeling in the virtual environment with the help of computer programs and printing the drawing. The basic working principle of the three-dimensional printer is that materials such as plastic, metal and ceramic mud are formed by overlapping in layers and form. It seems inevitable to be used in serial production in the future in terms of its advantages such as being suitable for rapid prototype production and providing more efficient production of objects that are difficult to model. In this article, basic principles of three-dimensional printers are mentioned; The possibilities for use in the field of ceramics are tried to be questioned and the effects of contemporary ceramic art on the future are evaluated. |
