摘要：As proof of existence in the field of art, portraits and self-portraits reflected the physical characteristics of the picture. Turkish Art, those personal expressions have been in progress and shaped around faith and lifestyles, and also we can witness their history until Karasuk and Taştık Periods’ graves. During Ottoman Empire , mentality of performing portraits were improved with efforts of Fatih Sultan Mehmet ;also Art of Miniature was known to contribute to this progress. In contemporary Turkish painting art, excitement felt for painting has been transferred to portraits and self-portraits through different art movement and artistic tendency. In Expressionism, which is one of these art movements, the emotional states of the artists were presented to the audience through works. In this research, portrait and self-portrait through historical process and Expressionism between 1923 and 1960 was referred in contemporary Turkish painting. The main subject of the research is to examine the portrait and self-portraits samples studied by the State Academy of Fine Arts between 1938-1939, and the portrait works by Avni Arbaş and Nedim Argun, which take Saran as models. Within the scope of the research, eleven works of Mukaddes Saran, Avni Arbaş and Nedim Argun were analyzed according to the stages of art criticism of the "Feldman Model", based on the stages of description, analysis, interpretation and judgment. In the study, in which qualitative research methods were adopted, textual analysis of the data obtained from books, articles and artist catalogs were made. As a result, it was understood that Mukaddes Saran produced many Expressionist works and inspired artists such as Avni Arbaş and Nedim Argun as models.
其他摘要：Sanat alanında var olmanın ispatı olarak portre ve otoportreler, resmedilenin fiziksel özelliklerini yansıtmışlardır. Türk Sanatında, inanç ve yaşayış biçimleri çevresinde ilerleyen portreciliğin geçmişi Karasuk ve Taştık Devirleri mezarlar anıtlarına kad
