Hikayemiz: Hızın Ötesinde Anlam Arayışı
İlhanArt basit bir iş fikri olarak değil, modern çağın çılgın temposuna duyulan temel bir memnuniyetsizlikten doğmuştur.
Hikayemiz, Cumhuriyet dönemine; Ali Naki İlhan'ın hocası Ünsal Toker'den, (Ali) Avni Çelebi'ye uzanan köklü bir geleneğe dayanır. Ancak bu miras, bizim için bir övünç kaynağından ziyade, tarihsel bir sorumluluk bilincidir. Sanatın giderek daha kısa döngülerde tüketildiği ve bağlamından koparıldığı bu çağda İlhanArt; yavaşlamayı romantik bir jest olarak değil, etik bir zorunluluk olarak seçmiştir.
Sanat üretimi hiç bu kadar erişilebilir olmamışken, hiç bu kadar çabuk da unutulmamıştı.
Bizim hikayemiz, bilinçli olarak ne OLMAMAYI seçtiğimizin bir kaydıdır.
Our Story: Seeking Meaning Beyond Speed
İlhanArt was not born as a simple business idea, but from a fundamental dissatisfaction with the frantic pace of the modern age.
Our story traces back to the Republican era; rooted in a venerable tradition extending from Ali Naki İlhan's mentor Ünsal Toker to (Ali) Avni Çelebi. Yet this heritage is not merely a source of pride for us, but a consciousness of historical responsibility. In this age where art is consumed in ever-shorter cycles and severed from its context, İlhanArt has chosen to slow down not as a romantic gesture, but as an ethical imperative.
Art production has never been more accessible, yet it has never been forgotten so quickly.
Our story is a record of what we have consciously chosen NOT TO BE.
Nuestra Historia: En Busca de Significado Más Allá de la Velocidad
İlhanArt no nació como una simple idea de negocio, sino de una insatisfacción fundamental con el ritmo frenético de la era moderna.
Nuestra historia se remonta a la era republicana; arraigada en una venerable tradición que se extiende desde el mentor de Ali Naki İlhan, Ünsal Toker, hasta (Ali) Avni Çelebi. Sin embargo, este patrimonio no es simplemente una fuente de orgullo para nosotros, sino una conciencia de responsabilidad histórica. En esta era donde el arte se consume en ciclos cada vez más cortos y se separa de su contexto, İlhanArt ha elegido desacelerar no como un gesto romántico, sino como un imperativo ético.
La producción artística nunca ha sido tan accesible, pero tampoco se ha olvidado tan rápidamente.
Nuestra historia es un registro de lo que conscientemente hemos elegido NO SER.
我们的故事：超越速度寻找意义
İlhanArt 的诞生并非源于一个简单的商业想法，而是源于对现代社会疯狂节奏的根本性不满。
我们的故事可以追溯到共和国时代；根植于一个历史悠久的传统，从 Ali Naki İlhan 的导师 Ünsal Toker 延伸到 (Ali) Avni Çelebi。 然而，这份遗产对我们而言不仅仅是骄傲的源泉，更是一种历史责任的意识。 在这个艺术被越来越短的周期消费、与其背景割裂的时代，İlhanArt 选择放慢脚步，不是作为一种浪漫的姿态， 而是作为一种道德责任。
艺术创作从未如此触手可及，却也从未被如此迅速地遗忘。
我们的故事是我们有意识地选择不成为什么的记录。
Master-Apprentice Lineage
Ali Avni Celebi
Ali Avni Çelebi, born in Istanbul on March 1, 1904, was the son of Suphi Bey, a cultured figure of the time who had retired from his position as Baghdad Correspondent. He began his art education in 1918 at the Sanâyi-i Nefîse Mektebi (School of Fine Arts) with his father's support. He spent his first two years at the school in Hikmet Onat's studio and the next two years in İbrahim Çallı's studio, completing his basic art education.
In 1922, he went to Munich to further his education; he first worked in Heinemann's studio, then attended the Munich Academy of Fine Arts for a period. In 1923, he worked in Arthur Kampf's studio at the Berlin Academy of Arts. He returned to Munich that same year and continued his training at Hans Hofmann's studio until he came to Turkey in 1927.
Upon returning to Turkey in 1927, he participated in the Galatasaray Exhibition and the Fine Arts Association's exhibition in Ankara. He then worked as an art teacher at the Konya Girls' Teacher Training School. In 1929, he was among the founders of the Independent Painters and Sculptors Association. A year later, he returned to Munich to continue his studies under Hofmann; however, due to his teacher's preparations to settle in America before the war, he returned to Istanbul.
He began working as an assistant teacher at the Academy in 1931 but was dismissed from the staff that same year. In 1934, he worked as a draftsman in the Archaeology Department at Istanbul University. Following Léopold Lévy's appointment as head of the New Painting Department, he was accepted back into the Academy as an assistant in 1938. In 1956, at the age of 52, he established his own independent studio and continued his position at the Academy until his retirement in 1968.
Ali Avni Çelebi received numerous awards throughout his career; he won first prize at the 6th State Painting and Sculpture Exhibition in 1944 and at the Tehran Art Biennial in 1966.
Unsal Toker
He was born in Kırklareli in 1933. He graduated from the Istanbul State Academy of Fine Arts (İDGSA) in 1958 with a degree in Painting. He trained at the Ali Avni Çelebi Studio. Toker stood out as an expressionist painter.
Energetic brushstrokes and the use of rich paint define his characteristic style. The influence of his workshop teacher, Ali Avni Çelebi, is clearly visible in his works; the legacy is particularly evident in his choice of colors and compositions.
The theme of the sea occupies a very important place in Toker's art. Subjects such as the sea, ships, and views of the Bosphorus frequently appear in his paintings. Symbolic structures associated with Istanbul are also indispensable motifs in his works: in particular, symbols such as the Galata Tower and Haydarpaşa frequently feature in his paintings.
Other interesting themes include roosters and flowers; Toker has particularly emphasized the rooster motif. He has held more than 85 exhibitions throughout his artistic career.
Ünsal Toker is a prominent figure in Turkish painting during the Republican Era. His works serve as an important bridge in bringing Istanbul's cityscape, the Bosphorus, the sea, and its symbolic structures into art. He continued the tradition of painting that began with his studio teacher Ali Avni Çelebi, adding his own unique interpretation and inspiring subsequent generations. His energetic and expressive technique holds a special place in modern and contemporary Turkish painting history.
Ali Naki Ilhan
He was born in Kayseri in 1956. He graduated from the Painting Department of Istanbul Atatürk Education Faculty. He then completed his undergraduate education at the Painting Department of Marmara University Faculty of Fine Arts, strengthening his academic and artistic foundation. Throughout his art education, he focused on both traditional and contemporary painting techniques; he developed a personal style, particularly in the disciplines of acrylic and oil painting.
He taught art for nearly 30 years in Istanbul and Datça. Throughout his teaching career, he not only provided technical training but also developed projects that encouraged his students to connect with cultural heritage through art. Recognizing the importance of art's role in integrating with society, he actively participated in numerous Social Responsibility projects. During his time in Datça, he organized a large-scale event called "1 Km Resim" (1 Km Painting) with his students, highlighting both the unifying power of art and the importance of creative production in public spaces.
He has held nearly 40 solo exhibitions in various cities across Turkey and participated in numerous group exhibitions in cities such as Istanbul, Denizli, Kütahya, and Bozüyük. In these exhibitions, he primarily presented oil and acrylic works focusing on nature, traditional life, cultural values, and the human figure. He taught art at the Büyükada Volunteer House for a period, providing art education to both adults and young people.
In 1980, he continued his painting work at the Ünsal Toker Studio.
He currently serves as Art Advisor for the Mavi Liman group. His works are featured in various collections both domestically and internationally (United Kingdom, Colombia, Germany, Azerbaijan). In the works included in these collections, he predominantly explores Turkey's cultural richness, architectural heritage, and natural elements through a modern interpretation.
He continues his work in his studio in Ortaköy and continues to produce works that contribute to both individual and collective memory.
I was born in Üsküdar in 1991, with a pen in my hand and an insatiable desire to draw. My childhood was spent pouring the world onto paper. While everyone else in school was struggling with math formulas, I was winning awards in art competitions and exhibiting my work in mixed exhibitions in Datça at a young age.
However, I encountered life's first great tragedy early on: the standardization mindset of the education system. While I wanted more than anything to attend an arts high school, my "failure" in subjects I disliked led me to find myself in the rows of a regular high school, trapped in a mold that stifled my spirit. Neither those famous optical forms understood me, nor could I fit myself into those forms. Not getting into the university I wanted was not an end for me, but being pushed out of the system.
While I wanted to breathe art, I had to spend 15 years in the retail industry. There, I encountered the darkest sides of humanity: mobbing and the culture of "brown-nosing." I never got a promotion in 15 years. However, this process did not stop me; on the contrary, it spurred me on. For 7 years, I continued to support myself from the outside by working part-time:
- Çok Yönlü Eğitim: Oyunculuk eğitimi, senaryo yazarlığı ve yabancı dil eğitimleri aldım.
- Intellectual Deepening: Starting in 2015, I embarked on a multidisciplinary reading journey spanning from molecular biology to bioinformatics, art history to evolutionary biology.
While educating myself, I realized that my form of expression was not an exam paper, but the creative process itself.
The coronavirus silence of 2020 was the clearest period of thinking for me. During that period of unemployment, when the morning alarm didn't ring, I noticed a massive gap in the blockchain world: erosion of trust and devaluation of labor.
As the years passed, the market deteriorated further, destroying both the market itself and people's faith in it. Just when we thought it would end, a distorted system emerged in which a crypto project called "Osuruk" became more valuable than Turkey's most established companies, and this was eating me up inside.
Merkeziyetsizliğin getirdiği kaos, insan doğasındaki açgözlülükle birleşince ortaya bir salgın çıkmıştı. İşte bu noktada yazılım ve işin mutfağını öğrenmeye odaklandım, yazılım ve kodlama alanında yeniyim. Geribildirim ve yardımlarınızla projeyi daha iyi biryere getirmek istiyorum. Bu amaçla başladığım yolda şeffaflığı ve emeği kırmızı çizgimiz belirleyerek İlhan Art ve [PoArt] (Proof of Art) protokolü kurduk.
Bugün Ortaköy'deki stüdyomuzda, ailemle birlikte bu protokolü hayata geçirmek için çalışıyorum. İlhan Art, sadece bir kripto projesi değil; 2025'ten 3000 yılına uzanan bir uygarlık yol haritasıdır. Amacımız, sanatın estetiğini, bilimin rasyonalitesini ve teknolojinin gücünü tek bir protokol altında birleştirerek, geleceğin kuşaklarına daha güvenilir bir sistem bırakmaktır.
Belki bir diplomam yok burada sergileyebileceğim ama elimde insanlığa ve kriptoya gerçekten yarar sağlayacağına inandığım yeni bir protokol var. Biz yavaş ama emin adımlarla ilerliyoruz; çünkü gerçek değerin aceleye ihtiyacı yoktur.
Born in 1991 in Üsküdar, with a pencil in hand and an endless desire to draw. My childhood was spent pouring the world onto paper. While everyone struggled with math formulas in school, I was returning with awards from art competitions and exhibiting in Datça's mixed exhibitions at a young age.
But I met life's first great tragedy early: The education system's standardization logic. While desperately wanting to attend Fine Arts high school, I found myself in a regular high school due to my "failures" in subjects I disliked, trapped in a mold that suffocated my soul. Neither those famous optical forms understood me, nor could I fit myself into them. Not getting into my desired university wasn't an ending for me—it was being pushed outside the system.
While wanting to breathe through art, I was forced to spend 15 years in the retail sector. I encountered humanity's darkest faces there: mobbing and a culture of sycophancy. I never got promoted in 15 years. But this process didn't stop me; it drove me forward. For 7 years, working part-time, I continued to nourish myself externally:
- Multifaceted Education: I took acting training, screenwriting courses, and foreign language education.
- Intellectual Deepening: From 2015 onwards, I embarked on a multidisciplinary reading journey from molecular biology to bioinformatics, from art history to evolutionary biology.
While self-educating, I realized that my form of expression wasn't an exam paper, but the creative process itself.
In 2020, the coronavirus silence became my clearest thinking period. During that unemployment when morning alarms didn't ring, I noticed a massive void in the blockchain world: Trust erosion and labor devaluation.
As years followed one another, the market's deterioration destroyed both the market and people's faith in it. Just when we said it would end, a distorted system emerged where a crypto project called "Fart" was worth more than Turkey's most established companies—and it was eating me alive.
When decentralization's chaos combined with human greed, a pandemic emerged. At this point, I focused on learning software and the industry's mechanics. I'm new to software and coding. With your feedback and help, I want to take the project to a better place. On this journey I began, we established İlhan Art and the [PoArt] (Proof of Art) protocol with transparency and labor as our red lines.
Today, I work with my family in our Ortaköy studio to bring this protocol to life. İlhan Art isn't just a crypto project; it's a civilization roadmap extending from 2025 to 3000. Our goal is to unite art's aesthetics, science's rationality, and technology's power under one protocol, leaving future generations a more trustworthy system.
I may not have a diploma to display here, but I have a new protocol I believe will truly benefit humanity and crypto. We're moving slowly but surely; because true value needs no rush.
1991年出生于于斯屈达尔，手握铅笔，怀揣无尽的绘画渴望。我的童年在纸上倾泻世界中度过。当大家在学校里与数学公式搏斗时，我从参加的绘画比赛中载誉归来，年幼时就在达特恰的混合展览中展出作品。
但我很早就遇到了人生第一个重大悲剧：教育体系的标准化逻辑。虽然极度渴望就读美术高中，但由于在我不喜欢的科目上的"失败"，我发现自己身处一所普通高中，被困在一个让灵魂窒息的模具中。那些著名的光学答题卡既不理解我，我也无法将自己塞进它们。无法进入理想的大学对我来说不是结束——而是被推出体系之外。
虽然想通过艺术呼吸，我却被迫在零售行业度过了15年。在那里我遇到了人性最黑暗的面孔：职场霸凌和阿谀奉承文化。15年里我从未获得晋升。但这段经历没有阻止我；反而驱使我前进。在7年的兼职工作中，我持续从外部滋养自己：
- 多方面教育：我接受了表演培训、编剧课程和外语教育。
- 智识深化：从2015年起，我踏上了一段跨学科阅读之旅，从分子生物学到生物信息学，从艺术史到进化生物学。
在自我教育的过程中，我意识到我的表达形式不是考试卷，而是创作过程本身。
2020年，冠状病毒的寂静成为我最清晰的思考时期。在那段早晨闹钟不响的失业期间，我注意到区块链世界的巨大空白：信任侵蚀和劳动贬值。
随着时间推移，市场的恶化摧毁了市场本身和人们对它的信心。就在我们说它会结束时，出现了一个扭曲的系统，一个名为"Fart"（屁）的加密项目比土耳其最成熟的公司还值钱——这让我痛不欲生。
当去中心化的混乱与人类贪婪结合时，就出现了一场瘟疫。在这一点上，我专注于学习软件和行业机制。我是软件和编程领域的新手。通过您的反馈和帮助，我想将项目带到更好的地方。在这条我开始的旅程中，我们以透明度和劳动为红线，建立了İlhan Art和[PoArt]（Proof of Art）协议。
今天，我与家人在我们位于奥塔科伊的工作室工作，将这个协议付诸实践。İlhan Art不仅仅是一个加密项目；它是从2025年延伸到3000年的文明路线图。我们的目标是将艺术的美学、科学的理性和技术的力量结合在一个协议下，为后代留下一个更值得信赖的系统。
我可能没有文凭可以展示，但我有一个我相信会真正造福人类和加密的新协议。我们缓慢但稳步前进；因为真正的价值不需要匆忙。
Nacido en 1991 en Üsküdar, con un lápiz en mano y un deseo infinito de dibujar. Mi infancia se pasó volcando el mundo en papel. Mientras todos luchaban con fórmulas matemáticas en la escuela, yo regresaba con premios de concursos de arte y exhibía en exposiciones mixtas de Datça a temprana edad.
Pero conocí temprano la primera gran tragedia de la vida: La lógica de estandarización del sistema educativo. Mientras deseaba desesperadamente asistir a la escuela secundaria de Bellas Artes, me encontré en una escuela secundaria regular debido a mis "fracasos" en materias que no me gustaban, atrapado en un molde que sofocaba mi alma. Ni esos famosos formularios ópticos me entendían, ni podía encajarme en ellos. No entrar en mi universidad deseada no fue un final para mí—fue ser empujado fuera del sistema.
Mientras quería respirar a través del arte, me vi obligado a pasar 15 años en el sector minorista. Allí encontré las caras más oscuras de la humanidad: acoso laboral y una cultura de adulación. Nunca fui promovido en 15 años. Pero este proceso no me detuvo; me impulsó hacia adelante. Durante 7 años, trabajando a tiempo parcial, continué nutriéndome externamente:
- Educación Multifacética: Recibí capacitación en actuación, cursos de guionismo y educación en idiomas extranjeros.
- Profundización Intelectual: A partir de 2015, emprendí un viaje de lectura multidisciplinario desde biología molecular hasta bioinformática, desde historia del arte hasta biología evolutiva.
Mientras me autoeducaba, me di cuenta de que mi forma de expresión no era un examen, sino el proceso creativo mismo.
En 2020, el silencio del coronavirus se convirtió en mi período de pensamiento más claro. Durante ese desempleo cuando las alarmas matutinas no sonaban, noté un vacío masivo en el mundo blockchain: Erosión de confianza y devaluación del trabajo.
A medida que los años se sucedían, el deterioro del mercado destruyó tanto el mercado como la fe de las personas en él. Justo cuando dijimos que terminaría, surgió un sistema distorsionado donde un proyecto cripto llamado "Pedo" valía más que las empresas más establecidas de Turquía—y me estaba consumiendo.
Cuando el caos de la descentralización se combinó con la codicia humana, surgió una pandemia. En este punto, me enfoqué en aprender software y la mecánica de la industria. Soy nuevo en software y codificación. Con sus comentarios y ayuda, quiero llevar el proyecto a un lugar mejor. En este viaje que comencé, establecimos İlhan Art y el protocolo [PoArt] (Proof of Art) con la transparencia y el trabajo como nuestras líneas rojas.
Hoy trabajo con mi familia en nuestro estudio de Ortaköy para dar vida a este protocolo. İlhan Art no es solo un proyecto cripto; es una hoja de ruta de civilización que se extiende desde 2025 hasta 3000. Nuestro objetivo es unir la estética del arte, la racionalidad de la ciencia y el poder de la tecnología bajo un solo protocolo, dejando a las generaciones futuras un sistema más confiable.
Puede que no tenga un diploma para mostrar aquí, pero tengo un nuevo protocolo que creo que realmente beneficiará a la humanidad y las criptomonedas. Avanzamos lenta pero firmemente; porque el valor verdadero no necesita prisa.
{
"origin": "Ortaköy, Mecidiye",
"project": "İlhan Art",
"protocol": " [PoArt] - Proof of Art",
"vision": "Roadmap 3000",
"metadata": {
"founder": "İlhan",
"born": 1991,
"elements": ["Sanat", "Bilim", "Teknoloji"],
"philosophy": "İnsan Emeğini Stake Etmek"
},
"transmission": {
"status": "ACTIVE",
"message": {
"tr": "Bir fırça darbesinden başlayan sessizlik...",
"en": "The silence that began with a single brushstroke..."
},
"signature": "0xProofOfEffortOverSpeculation"
},
"connectivity": {
"anti_virus": "Meme-Coin-Killer-Enabled",
"social_responsibility": "Life-Before-Profit",
"loop": "infinite"
},
"farewell": "Selam olsun o gelecek günlerin yaratıcılarına."
}