Toplumsal ve kültürel çevre, birçok yaşanmışlıkları içerisinde barındırırken, bir taraftan da geçmişin tanınmasına kaynaklık edecek oluşumları hazırlamakta ve dönemlerin anlaşılması için yeni değerler üretmektedir. Mitoloji, toplumların yaşanmışlıkları ile ilgili olarak vermiş oldukları bilgilerin yanında, insanın düşünce dağarcığının da genişlemesine katkı sağlayan bir özelliğe sahiptir. Aynı zamanda bir milletin geçmişini, tarihini ve başından geçen olayları gelecek nesillere yansıtan edebi örneklerdir. Bundan dolayıdır ki, insanın mitolojik yaklaşımlarla hesaplaşması, bilimsel ve teknolojik alanda ne derece büyük gelişmeler yaşanırsa yaşansın, hiçbir şekilde yok olmamaktadır. Ancak konu ile ilgili karakterlerde ve o karakterlerin şekillenmesinde küçük değişiklikler ortaya çıkmaktadır. Çok geniş bir coğrafi alanda sürmüş olduğu hakimiyetin bir neticesi olarak Türk mitoloji tarihi de, aynı değişiklikleri tarihsel bir süreç içerisinde çok zengin bir şekilde yaşamış, bu yaşanmışlıklarını da sanatına yansıtmıştır. Bir taraftan Türk kültürüne ait göçebe yaşamın bir gereği, diğer taraftan da Anadolu'da hakimiyet kurmuş olan medeniyetlere ait kültürel izlerin yansıması olarak; Hüma, Zümrüd-ü Anka, Hüdhüd, Kaknus, Şahmaran, Ejderha, Tepegöz, Gulyabani, Dabbetül'l-Arz, İblis, Zebani, Dev, Cin, Peri, Melek, Huri, Umay Ana, Hum babab, Vak-Vak Ağacı, Tuba Ağacı, Burak, Grifon, Denizkızı, Sfenks, Eciş Bücüş, gibi pek çok masal yaratığı, Türk sanatının farklı dönemlerinde birer imge olarak uygulanmıştır. Yapılan bu çalışmada, XVIII. yüzyıl öncesi dönemlerde yazılan ve içerisinde mitolojik unsurları barındıran, Türk resim sanatına ait minyatür yazma eserler üzerinde durulmuştur. Çalışmada literatür taramasına dayalı "kuramsal-analitik" yöntem kullanılmış olup, öncelikle konu ile ilgili eserler hakkında yazılı ve görsel kaynaklar toplanmıştır. Bu kaynaklardan yola çıkılarak yapılan araştırmalar sonucunda, Türk resim sanatında mitolojik unsurların gerek İslamiyetin kabulünden önce gerekse sonrasında, yaygın bir şekilde kullanıldığı ve her iki dönem arasında kültürel bir benzerlik ve devamlılık olduğu görülmektedir

In this study, it has aimed to reveal the place of mythological factors within the art of Turkish painting before 18th century. It is aimed to create the awareness on rich mythological and historical sources of Turkey. In particular, it is a significant deficiency that new generation doest know this richness and it is aimed to obtain more detailed information about their cultural history. At the same time, it is aimed to reveal both historical and mythological factors within the modern painting art by giving some samples from Turkish culture and mythology. It is known that many modern art movements in Western painting are fed by western mythology. In the study, “theoretical-analytical” method has been used. In this scope, data has been collected and pictorial reflections of Turkish mythology have been discussed by using the obtained data. It has been revealed that Turkish mythology has a rich historical past. Climatic and regional factors that are occurred by geographical differences haven’t change the outline of this mythology. In other words, these factors have shown continuity by enriching the structure. It is possible to see this situation in the religious changes and visual that explains the events of mythology by using the written texts in miniature writings. Introduction and the Aim of the Study When mythology considers it is possible to mention about both Greek and Roman mythology dominance. Every society has both culture and mythology. The best sample of it is Turkish mythology hat our people don’t know very well. The studies reveal that Turkish mythology has some similar factors in Western mythology and these factors have unique narrative language as well. This heritage has been entered to Anatolian by Seljuk and it has become richer. In this study, it is aimed that the obtained data will source the artistic approach by revealing the pictorial factors and historical past of Turkish mythology. Conceptual Framework There are many studies that are based on the geographical differences and historical movement within the historical period of Turkish mythology. In particular, the studies at the graduate level are so illuminating. Thus, many studies have been conducted that the research “A general look at animal symbols in Turkish Stories (samples from Dedekorkut’s book)” released by Mehmet Özkartal in the National Folk Magazine, like the other researches that have been made like Öcal Oğuz’s “Mit and fairytale exercises” released in the National Folk Magazine or “A negation and single typed story”, Zeren Tanındı’s “Turkish Miniature Art” and Siyer-i Nebi and “The life of Prophet Muhammad in the Islamic Portrait”, Necla Kaplan’s “Hell’s portrait in Mitolojik Unsurların 18. Yüzyıl Öncesi Türk Resim Sanatı İçerisindeki Yeri 369 Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic Volume 10/2 Winter 2015 the Ottoman Picture Art”, Metin And’s “Ottoman Portrait Arts: 1 Miniature” and “The Ottoman – Islam Mythology with Miniatures”, Zeki Tez’s “Mythological Cultural History”. Also, enlightened researches related to this subject of researchers like Bahaeddin Öğel, Yaşar Çoruhlu and Fuzuli Bayat can be found. In the researches made, in regards to the Turkish mythology detailed information has been given, but for painting arts a joint evaluation has not been made. More precisely these mythological factors, has not been approached in a visual way, usually general evaluations and representations have been made. In this exercise, the visual writings belonging to the Turkish Mythology have been discussed visually. In this exercise, the visuals in the miniature writings belonging to the Turkish Mythology, will assist the evaluations of the research made for the modern Turkish visual art by the researchers dealing with visual arts, and at the same time will give an enlightened information and resources about the surrealist formations in the modern Turkish arts. Thus, it can be seen that the artistic formations in the modern Turkish painting arts don’t give much room for historical reservoirs. Procedure This exercise holds historical determinations that are why for the literature screening a “hypothetic- analytical” method is used. A general evaluation can be benefited from the released works and the visuals that take place in these works. Findings and Debate From the information that is obtained some findings have been found. Within this scope, the Turkish mythology has a very rich history and at the same time includes various miniature writings can be seen. On the other hand, these rich reservoirs it is obvious that our people don’t have enough information. At the same time the modern Turkish artists don’t know this rich history or about the researched made and are unable to benefit from these recourses and is evaluated as a deficiency. Especially it’s known that in the rich historical heritage a lot of mythological images can be obtained for visual arts. When these reservoirs are not evaluated enough by many of artists, the artwork that is presented shows and causes weaknesses and instabilities. It can be openly seen that the importance of these works are very important for the future of the Turkish Visual arts and the Turkish culture. Result Mythologies are papers that give historical values that come from written and visual traditions, showing peoples life styles, cultures, values, belief systems, arts etc. The most important way to find out information about a society is to obtain information about that society’s mythology. The western world in all of its research about their historical background have used resources based on mythology, and as a result of this have put important developments according to the historical background and cultural dynamics. The Turkish mythology with its rich reservoir spreading from Anatolia to Middle Asia, and has created one of the mythological valued society in the world. Hence when the Ottoman started to westernize in the beginning of the 1800’s, during this period it ca be seen from the miniatures that are evaluated that; the Turkish 370 Yüksel GÖĞEBAKAN Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic Volume 10/2 Winter 2015 mythology is a mixture of the belief systems, thinking manners from Middle Asia and the mixture of the rich cultural factors that belong to the Anatolian civilization, on the other hand the belief factors that Islam has brought together has created a rich historical structure. In the Middle Asian Turkish cultures has integrated the Islamic factors, and from these integrations have gone to a synthesis. Amongst similarities in these events shows important hints about the cultural connections. This being the case the papers of this historical heritage where the mythological subjects are evaluated and the miniature values are increased. These miniatures are evaluated as most important resources of the rich Turkish mythology, and shows that it has gained an important mission for the enlightment of visual arts. Due to this when the Turkish painting art is examined, a lot of information about the rich Turkish mythology has been reached. When doing these examinations it’s no doubt that miniature writings are a pioneer in modern Turkish arts. The rich mythological history that takes place in the Turkish culture has effected the development that has been lived after the westernization and where the art has shown its place in every field, on the other hand has been a resource for the configuration of the world of thoughts. The development in art has increased after the Republic has been announced. Solely in regards to this increase, it would not be a correct evaluation to say that the factor of the Turkish mythology is not where it should be. This study helps in the recognizing of the rich Turkish mythology’s historical dynamics, on the other hand holds an important aim to help researchers working in this field. Especially in visual arts the historical dynamics are not given much importance, in this case shows the truth that people show nobility to other cultural values where they don’t have much information about their own cultural richness. It should be understood about the importance that the new generation should be informed about the rich values and in this form policies should be developed. Important steps should be taken about the subject to be included in the education system. The studies of the subject should be put down in every step of the education system the students interest should be strengthened. In the education system separate studies should be made for each primary schools, high schools and universities. The programs for the following studies should be Social studies, Turkish and Visual Arts in a primary school level, History, literature art events and visual arts lessons in high school. In universities, in the area of social sciences in regards to the subjects at least selective subjects can be put so this deficiency can be resolved. Also Turkish mythology together with Western Mythology should be taught in the fine arts of the university, and exercises/programs should be created. On the other hand an important job falls to the artists in every field. In need of literature, vocal and stage and in need of plastic arts the increasing of the awareness of the subject should be increased. The awareness and directing of the art on the society plays an important role. The work made here, an important reminder about the miniature papers and the most important writings about the historical past, the resolving of the visuals in the writings have been analyzed. The visuals in these writings must be brought to daylight and presented to the Mitolojik Unsurların 18. Yüzyıl Öncesi Türk Resim Sanatı İçerisindeki Yeri 371 Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic Volume 10/2 Winter 2015 science group, so that it can contribute to the understanding of the rich Turkish culture.