Today, sculpture, which is the most material expression of old and new art, no longer tries to make us think we can make a statue of a champion or conceptualize the picture of a man or a woman. The artist does not use stone to build a body. A painter does not create a face with paint. They speak with stone and paint. Today we see that we can create better sculpture and painting than some of the works of artists.

An artist does not want to paint a nose like a real nose. How much is his own nose worth that he should try to simulate one? He creates a human being like Picasso created with one eye in the middle of his forehead. What is he trying to say? He wants to speak. The artist does not want to express that which is. He wants to say that the human being of today has become one dimensional. Picasso did not paint a painting of war and peace. He showed the philosophy ant meaning of war and peace. Just as I use the words of war and peace to express human problems, he uses the brush to speak of it, not by giving us the image of it.

Georges Saurat, a great impressionist painter, who might even be called one of its originators, says, "I may draw a horse. But this is not the horse in the field. This is the meaning and the concept of horse, expressed and embodied in the figure of a horse." He says, 'The people I have shown in the island painting, are people who have the curvature of their bodies composed of very fine points which were nothing but subjective images. We do not take any of these forms as conforming with nature. We take this as a joke. Certainly it is always easier to laugh at a new creation and no one needs any specialization or fairness in order to be able to beat it down. It is enough to say, 'I do not understand it. In this way, I will not be the one condemned, but him.' '

The artists who painted in that style, where the curvature of bodies were made of an endless number of fine points and were nothing but subjective forms, made their paintings and colors clearer than those of Manet and Picasso and all the impressionists. The life shown in the picture belonged to no one. It was the reflection of a dazzling light. Spirit, substance and breath were foreign to it. Motion was removed from it. A confused scene flooded with the sun in an impressionist painting is not a piece of earth over which the silk of the sun draws itself.

He is not concerned with how he sees the sun or which kind of sun he needs. He creates it, as Khaqani and our other poets created the sun. There were some unfamiliar trees standing upright in the painting and some animals that Fourier, the famous zoologist, could never have imagined. The meaning of creating from non-being into being, is a responsibility of God and art, meaning the divine expression of art, the human being. The people Gaugin binds together are bound by something which Gaugin has created.

A sea could be seen which seemed to have flooded out of the mouth of a volcano, a sky that no eyes have as yet seen. There were the wild men, the alienated, the nonexistent beings with strange figures. He wants to talk about this human being. He is searching for him. He does not exist, so he creates him. This is who Rumi is looking for. He creates non-existent beings with strange figures. He wants to talk about this human being. He is searching for him. This is the human being whom Rumi seeks. He creates the non-existent, the human being that all men are looking for. one reaches the sun through mysticism, while another reaches it through his paintings. This human being, with his strange look, has hidden the unbound mystery in his innocent eyes.

Each signify something expressed through imaginary veils of pink and violet colored flames. Each one tells a meaning. It is a story with no veils, strange scenes, where animals and wild flowers grow and blossom under the fiery rays of the sun. Which Sowers grow and blossom in fire? Even plaster and stone transform into meaning, feeling, reflection and abstraction under artful hands.

Heidegger sees the human being and his true essence, which science has always neglected. Science keeps him from watching nature and searching into it. It still does. Some blame science, the science which alienates man from himself for not allowing the human spirit to liberate itself from the bonds holding it to nature's laws. For the only thing science and industry are concerned with is nature. They have left man alone.

Sartre feels the extension of the same loneliness and considers the world as lacking everything. He says that the human being should construct himself with his thinking and his will. Camus finds the alienation of man, the plague, here in this world. The altar that Lucres speaks about is this very world.

For whom? For the person who has reached that alienation and loneliness. That is the plague, the alienation. He reaches the state of absurdity and life becomes useless. Who? The human being. Which human being? The one who until now accompanied the 17th, 18th and 19th century bourgeoisie who wanted to build a philosophy of paradise for himself in a philosophy which would replace religion. The bourgeoisie had forgotten that man rebelled from sin millions of years ago in the paradise that God had made for him, where there was consumption, prosperity and joy.

How can you have the man who has reached such transcendent consciousness, stay calm and feel satisfied in the bourgeois paradise that you are making for him in life, in time and on this earth? The human being revolts. The revolt that we see is the revolt of the comfortable man. It is exactly the same revolt that he made in paradise.

Today, man becomes conscious and revolts. If any man, wherever he may be, in the divine paradise and the garden of Eden, attains consciousness, he revolts against all there is, longing and struggling in love for what there should be. This is the law of humanity.

We see today that art in the East has revolted against the humanism of Greece and the humanism of the Renaissance which went towards pleasures, showing the beauties of nature, the volume and line of the human body, human beauties and remaining in the framework of objectivity and reality. Along with philosophy and well-off people today, the revolt is also against the bonds of being and objectivity, not drowning oneself in the idle comforts, rather, continuing and finding the continuation of the human being.

Realism means remaining within the framework of what exists. This is stagnation in man which does not fit the rebelling, ever- thirsty man. In the same way, idealism is a betrayal of man who is true and real

Along with philosophy and the human being of today, art is the standard bearer of this revolt against nature and objectivity. It is the standard bearer of man's self-discovery and the blossoming of and giving blossom to the transcendent possibilities and even those which transcend the human intellect and logic.

Art of today, in opposition to the past, does not remain in amusement, rather, it is to build something higher than the human being and humanity This is a mission and a trust. As Metterling said, 'When God had made all things, He reached man. He stopped and left the creation to man himself.' Creative human being means artist, the human being who cuts away from everything, while he is creating, and with his creativity, he creates his art, he cries, he tries, he builds himself and he expenses himself. Whoever writes a new book, creates himself. A human being becomes his own creator and builds himself to the extent that his art contains the sense of his own humanity, not in the sense of his knowledge or his craft. Where is the art today that takes the form of a bourgeoisie philosophy of entertainment as its mission for life? It is n the paradise which he wants to build on earth which consists of eating, pleasures and remaining in paradise. To consider art as pleasure, a pastime activity, a relief from the rigid industrial life, is to give this lowest of tasks to the most sacred of activities, that is, art, as if it were only to entertain whereas art should be put into the hands of a creator, as prophecy has been sealed.