| The Concept of Hope within the Context of Represantations | Bayram DAĞLI,Asuman AYPEK ARSLAN | 1–9 |
| The Reflection of Florentine (Firenze) School of Painting on Muralpaintings of Ottoman Architecture in Balkans in The 19th Century | Mehmet Zeki İbrahimgil,Funda NALDAN | 10–20 |
| Ordu-Ünye Pottery from 1924 to The Present | Filiz ÖZTÜRK | 21–37 |
| Main Border Designs in Anatolian Seljuk Portals | Mustafa BULUT | 38–48 |
| A Trust In The Ottoman Palace: Ulugh Beg’s Chest | Gülnihal KÜPELİ | 49–60 |
| Descriptions of the Selected Scenes of Homer’s Iliad in Ancient Aegean Civilizations Ceramics | Sevinç KÖSEOĞLU ULUBATLI | 61–72 |
| The Sacks in The Baku Carpet Museum | Ashkan RAHMANI,Majid Reza MOGHANIPOUR | 73–82 |
| Car Painter of Bursa: Enver Ertaban | Murat ERTÜRK | 83–89 |
| Çağdaş Heykel Sanatında Malzemeye Dayalı Yeni Bir Kopyalama Önerisi: Oasis | Döndü Tülay ÖZKUL | 90–103 |
| A Woman Body Image in Contemporary Art: Hair | Arzu PARTEN ALTUNCU | 104–116 |
| Agreed on a Verdict: Guilty Desdemona | Elif BAŞ | 117–125 |
| Modernity Nourished by Tradition: İbrahim Callı and The Whirling Dervish Series | İlkay Canan OKKALI,İlona BAYTAR | 126–137 |
| Determining Visual Arts Teachers’ Self-Efficacy Levels in Using Alternative Assessment Tools | Sehran DİLMAÇ | 138–149 |
| The Use of Face as a Communication Tool on Ceramic Surfaces as an Image | Yasemin TANRIVERDİ | 150–160 |
| The Plain Weaving Carrierbag Samples of Yalvac District in Isparta Museum | Bayram DEMİRAL,Naile Rengin OYMAN | 161–169 |
| Changing Position of the Audience: Participatory Artworks and Sharing of the Power |