| The Views of Managers, Teachers, Students, and Parents About Visual Arts Education in Science and Art Centers | Yelda USAL, Serap BUYURGAN | 2–22 |
| Sustainable Fashion Design and Bag Design Example | Muazzez ÇETİNER, Naile Rengin Oyman RENGİN OYMAN | 23–41 |
| Analysis of Diego Velazquez’s “Rokeby Venus” According to the Method of Ichonographic and Iconological Art Critisizm | Şevval Nur ÖZKEŞ, Derya ŞAHİN | 42–48 |
| Posters on Animal Rights Within the Framework of a Minimalist Approach of Art | Nur UZUNER, Elif TARLAKAZAN | 49–58 |
| An Assessment on the Repair History and the Current Conservation Status of Sivas Gök (Sahip Ata) Madrasa Tile and Glazed Bricks | Işılay KONAK | 59–74 |
| The Use of Light, Shadow, and Darkness in the Performance Arts Before and After Adolphe Appia | Amin SAADATI, Aykan AYDIN | 75–82 |
| Theodore Metochites and Chora Monastery Church (Kariye Mosque) | Nusret POLAT | 83–93 |
| Maqam, Form, Usûl, and Lyricist Classification of Munir Nurettin Selcuk Compositions | Duygu ULUSOY YILMAZ | 94–101 |
| Traces of Astronomy in Historical Buildings of Erzurum | Ahmet POLATOĞLU, Selahattin POLATOĞLU, Ömer Faruk AKBAŞ | 102–114 |
| Konservatuvar Öğrencilerinin Empatik Öfke Düzeylerinin Çeşitli Değişkenlere Göre İncelenmesi | Hüseyin YILMAZ, Perçin DEMİRKOL YALÇIN, Onur ZAHAL | 115–123 |