IS A FLAVOR EXHIBITION POSSIBLE? A CONCEPTUAL STUDY ON TRADITIONAL PERCEPTIONS OF ART AND CULINARY ARTS

Yıl 2026, Cilt: 16 Sayı: 1, 542 - 554, 01.01.2026

Sami Sonat Özdemir

https://doi.org/10.7456/tojdac.1802297

Öz

In the earliest periods of history, works of art were valued not primarily as symbolic elements prioritizing aesthetic concerns in the era they were produced, but rather based on the legitimacy and validity of their functions in social communication. However, since the modern era, they have increasingly been valued according to the emotional impact they create in the viewer or participant. It is the senses, rather than cognitive elements, that create this emotionally intense value communication. Sight and hearing are often at the forefront of traditional artistic communication due to their physiological advantages in perceiving nature. In addition, senses such as touch and smell provide a framework that supports the aforementioned primary senses. The place of the sense of taste in artistic communication has been completely overlooked. However, in recent times, the place of culinary arts in the perception of art is a point worth discussing, particularly due to their representation in the creation of multi-sensory experiences. This is because the concept of culinary art goes beyond elements that prioritize the sense of sight, such as plate presentations and cake designs, and performs in a way that strengthens the position of the sense of smell in the perception of art and incorporates the sense of taste into artistic communication. The fact that the concept of flavor, formed through the collaboration of smell and taste elements, can be addressed within an artistic standard in the context of somaesthetic philosophy has legitimized the artistic and multidimensional perception of eating and drinking elements under the concept of culinary arts. Unlike the traditional perception of art, it can be said that the process in which the senses of smell and taste play a primary role, while the senses of sight, hearing, and touch play a complementary role, reflects a change in the perception of art that can be considered revolutionary.

Anahtar Kelimeler

Art , Communication , Senses , Culinary Arts , Sight , Hearing , Smell , Taste , Flavor.

BİR LEZZET SERGİSİ MÜMKÜN MÜ? SANATIN GELENEKSEL ALGILANMA BİÇİMLERİ VE MUTFAK SANATLARINA İLİŞKİN KAVRAMSAL BİR İNCELEME

Öz

Tarihin ilk dönemlerinde sanat eserleri, her ne kadar üretildikleri dönmede estetik kaygıyı önceleyen sembolik unsurlar olarak değil, toplumsal iletişimdeki işlevlerinin meşruluğu ve geçerliliği doğrultusunda değer görmüş olsalar da modern dönemden itibaren özellikle izleyici ya da katılımcıda yarattıkları duygusal etki oranında değer bulmaktadır. Bu duygu yoğun değer iletişimini yaratan, bilişsel unsurlardansa duyulardır. Görme ve işitme, çoğunlukla doğanın algılanmasındaki fizyolojik avantajları nedeniyle geleneksel sanat iletişiminde de ön plana çıkmaktadır. Bunun yanı sıra dokunma ve koku gibi duyularsa bahsi geçen öncül duyuları destekleyen bir çerçeve çizer. Tatma duyusunun sanatsal iletişim içerisindeki yeri ise tamamen göz ardı edilmiştir. Bununla birlikte, son dönemde özellikle çoklu duyu deneyiminin yaratılmasındaki temsili dolayısıyla mutfak sanatlarının sanat algısındaki yeri tartışılmaya değer bir noktadadır. Zira mutfak sanatı kavramı yalnızca görme duyusunu önceleyen tabak prezantasyonları ve pasta tasarımları gibi öğeleri aşarak, koku duyusunun sanat algısındaki konumunu güçlendiren ve tatma duyusunu sanat iletişimine dahil eden bir performans sergilemektedir. Özellikle koku ve tat unsurlarının iş birliğiyle oluşan lezzet kavramının somaestetik felsefesi kapsamında sanatsal bir standart dahilinde ele alınabilir oluşu, yeme-içme unsurlarının sanatsal ve çok boyutlu algılanabilirliğini mutfak sanatları kavramı altında meşrulaştırmıştır. Sanatın geleneksel algılanma biçiminden farklı olarak koku ve tatmaya yönelik duyuların birincil, görme, işitme ve dokunmaya yönelik duyularınsa tamamlayıcı bir rol üstlendiği süreç, sanatın algılanmasına adeta bir devrim olarak değerlendirilebilecek boyutta bir değişimi yansıtmaktadır.

Anahtar Kelimeler

Sanat , İletişim , Duyular , Mutfak Sanatları , Görme , İşitme , Koku , Tat , Lezzet

Kaynakça

• Adorno, T. W. (1947). Max Horkheimer. Dialectic of Enlightenment, 44.
• Al Sheikh, H.M. (2025). Shifting perspectives: exploring the intersection of traditional and digital photography in contemporary artistic practices. Visual Studies, 40(3), 596-607.
• Andina, T., & Barbero, C. (2018). Can Food Be Art? The Monist, 101(3), 353–361.
• Asmi, A. H. H., Ghazali, N. A. M., & Din, S. C. (2025). Analysing The Multi-Sensory Elements Of Immersive Experience For Art Exhibitions In Southeast Asia. Idealogy Journal, 10(2).
• Ayala, I., Cuenca, J., & Cuenca-Amigo, M. (2021). The transformation of museums in recent years. Main changes perceived by visitors. Arte Individuo y Sociedad, 33(3), 935-956.
• Balıkoğlu, A., Kılıç, S. N., & Bozok, D. (2020). Duyusal Deneyim Memnuniyeti ve Yöresel Yiyecek Deneyimi Arasındaki İlişki ve Değişkenlerin Davranışsal Niyet Üzerindeki Etkisi. Journal of Tourism & Gastronomy Studies, 8(2), 1334–1361.
• Benjamin, W. (1936). The Work of Art in the Age of Mechanical Reproduction. London: Routledge.
• Borsato, M. (2023). “Edible Aesthetics”: Blurring Boundaries Between Pastry And Art. Humanities, 12(5), 126.
• Bourdieu, P. (1984). A Social Critique of the Judgement of Taste. Cambridge, MA: Harvard University Press.
• Brighenti, A. M. (2010). Visuality And Visibility. In Visibility in Social Theory and Social Research (pp. 1–36). London: Palgrave Macmillan.
• Brighenti, A. (2010). Visibility and Social Theory: The Social Dynamics of Public Spaces. (pp. 37-70). London: Palgrave Macmillan.
• De Coster, K., & Loots, G. (2004). Somewhere In Between Touch And Vision: In Search Of A Meaningful Art Education For Blind Individuals. International Journal of Art & Design Education, 23(3), 326–334.
• Drobnick, J. (2006). Eating Nothing: Cooking Aromas In Art And Culture. In The Smell Culture Reader (pp. 342–356). Routledge.
• Erdoğan, Ç. (2013). Retinal Sinemadan Duyusal Sinemaya Doğru. İstanbul Arel Üniversitesi İletişim Çalışmaları Dergisi, 2(4), 65–82.
• Erkocaaslan, E., & Ay, M. (2025). Renklerin Lezzet İllüzyonu: Gıda Seçimlerinde Görsel Uyarıcıların Rolü. ART/icle: Sanat ve Tasarım Dergisi, 5(1), 202–219.
• Fan, T., Wang, H., & Hodel, T. (2023). Multimodal knowledge graph construction of Chinese traditional operas and sentiment and genre recognition. Journal of Cultural Heritage, 62, 32-44.
• Garrett, T. M. (2010). Wedding Cake Art and Design: A Professional Approach. John Wiley & Sons.
• Gillespie, J. H. (1994). The Causes of Molecular Evolution. Oxford University Press.
• Gombrich, E. H. (1960). On Physiognomic Perception. Daedalus, 89(1), 228–241.
• Hagtvedt, H., Patrick, V. M., & Hagtvedt, R. (2008). The Perception And Evaluation Of Visual Art. Empirical Studies of the Arts, 26(2), 197–218.
• Ho, R., Szubielska, M., & Kopis-Posiej, N. (2023). Cultural-Match Effect on the Appreciation of Traditional and Contemporary Visual Arts: Evidence From Poland and Hong Kong. Psychology of Aesthetics, Creativity, and the Arts, 17(4), 451-462.
• Hong, X., & Wu, Y.H. (2022). The use of AR to preserve and popularize traditional Chinese musical instruments. Digital Scholarship in the Humanities, 37(2), 426-440.
• Hyman, P. (1986). The Art of Developing a Taste for Snails + A Culinary History of Escargots. Histoire, 85, 40-44.
• Ihde, D. (2012). Listening and Voice: Phenomenologies of Sound. State University of New York Press.
• Jian, M.W., & Dong, J.Y. (2015). Three-dimensional Reconstruction of Traditional Chinese Calligraphy Arts for Realistic Perception. Perception, 44, 35-35.
• Kaufman, D. A. (2002). Normative Criticism And The Objective Value Of Artworks. The Journal of Aesthetics and Art Criticism, 60(2), 151–166.
• Klosse, P. (2011). Food And Wine Pairing: A New Approach. Research in Hospitality Management, 1(1), 5–8.
• Kwiatkowska-Tybulewicz, B., & Gábri, N. (2025). Theatre of change: a theatre community of homelessness and pedagogy. Studies in Theatre and Performance.1-16.
• Lambert, E. (2009). Tasting mediations or the way to create flavoring experience. Culture et Musees, (13), 49-70.
• Lee, M. A. (2011). Ingestional Aesthetics: Deciphering Eating in Contemporary Art (Doctoral dissertation). School of the Art Institute of Chicago.
• Lee, E., Kang, J.H., & Kim, J. (2022). Touch the Color Change: Representation of Color Change Using Tactile Grating Patterns. Psychology of Aesthetics, Creativity, and the Arts.
• Lewis, P.R.G. (2013). Stomaching the Salon: The Sense of Taste in Le Tintamarre's "Boulangerie du Louvre" and Baudelaire's Salon de 1846. Nineteenth-Century French Studies, 42(1-2), 35-50.
• Luhmann, N. (2000). Art as a Social System. Stanford University Press.
• Maconie, R. (2002). The Second Sense: Language, Music, and Hearing. Bloomsbury Publishing.
• Mirzoeff, N. (1999). An Introduction to Visual Culture. Routledge.
• Monroe, D. (2007). Can Food Be Art? The Problem Of Consumption. In F. Allhoff & D. Monroe (Eds.), Food and Philosophy (pp. 133–142). Oxford: Blackwell Publishing.
• Mortezaei, V. (2020). Is Food a (Cross-cultural/Interpersonal) Communication Medium? https://www.researchgate.net/publication/342523348_Is_Food_a_CrossculturalInterpersonal_Communication_Medium (Erişim Tarihi: 08. 12. 2025).
• Nieto-Cuebas, G.Y. (2022). Grumelot & Escuela Nave 73: Defying traditional stage presence through digital media. Romance Quarterly, 69(2), 83-92.
• Nyangiro, E. A. (2016). Multi-Sensory Appreciation and Practice: A Somaesthetic Approach to the Exploration of Taste, Smell and Touch in Food-Based Art [Doctoral dissertation, University of Wolverhampton].
• Nyland, A.J., & Steberglokken, H. (2020). Changing perceptions of rock art: storying prehistoric worlds. World Archaeology, 52(3), 512-529.
• Özdemir, S. S., & Özdemir, B. (2023). Chef And Sommelier’s Share In Michelin Star Success: The Case Of Denmark. Journal of Multidisciplinary Academic Tourism, 8(1), 19–25. https://doi.org/10.31822/jomat.2023-8-1-19
• Özdemir, S. S., & Kılıç Ateş, S. (2021). Gastronomi ve Sanatta Yeni Bir Temsil: “Nature Cuıte.” The Turkish Online Journal of Design, Art and Communication, 11(3), 1058–1072.
• Pelowski, M., Marengo, E., & Fingerhut, J. (2025). Designing Emotions as Mediators of Attitude Change from Socially-Focused Art Exhibitions. Empirical Studies of the Arts, 44(1), 195-255.
• Pelowski, M., Cabbai, G., & Leder, H. (2025). The Kitsch Switch – or (When) Do Experts Dislike Thomas Kinkade Art? Psychology of Aesthetics, Creativity, and the Arts, 19(3), 377-395.
• Peng, C.M. (2020). Chang Ming Peng: The Scholarly Discussion of Chinese Painting in Occident at the Beginning of the 20th century. Revue de l’Art, (209), 47-60.
• Pereira, L. J., & Van der Bilt, A. (2016). The Influence Of Oral Processing, Food Perception And Social Aspects On Food Consumption: A Review. Journal of Oral Rehabilitation, 43(8), 630–648.
• Perricone, C. (2007). The Place Of Touch In The Arts. Journal of Aesthetic Education, 41(1), 90–104.
• Ping, Y.A., & Zheng, X. (2024). Digital Preservation and Promotion: Evaluating the Impact of Virtual Museums on the Traditional Art of Rural Areas. Journal of Arts Management Law and Society, 54(5), 259-273.
• Pinna, B., & Reeves, A. (2009). From Perception To Art: How Vision Creates Meanings. Spatial Vision, 22(3), 163–181.
• Purhonen, S., & Heikkilä, R. (2017). Food, music and politics: The interweaving of culinary taste patterns, 'highbrow' musical taste and conservative attitudes in Finland. Social Science Information, 56(1), 74-97.
• Quinet, M. L. (1981). Food As Art: The Problem Of Function. British Journal of Aesthetics, 21(2), 134–142.
• Redies, C., & Brachmann, A. (2017). Statistical Image Properties in Large Subsets of Traditional Art, Bad Art, and Abstract Art. Frontiers in Neuroscience, 11.
• Sankowski, E. (1976). Emotion And The Appreciation Of Art. Aesthetic Education, 10(2), 45–67.
• Sauer, C. D. (2020). Smell And Taste In Art: Suggestions Towards A Systematic Approach. Ikonotheka, 29, 151–175.
• Schneider, C. Q., & Wagemann, C. (2012). Set-Theoretic Methods For The Social Sciences: A Guide To Qualitative Comparative Analysis. Cambridge University Press.
• Schwegler-Castañer, A. (2018). The art of tasting corpses: the conceptual metaphor of consumption in Hannibal. Continuum – Journal of Media & Cultural Studies, 32(5), 611-628.
• Shusterman, R. (2016). Somaesthetics And The Fine Art Of Eating. In Body Aesthetics (pp. 261–280). Oxford University Press.
• Sommer, L.K., & Klöckner, C.A. (2021). Does Activist Art Have the Capacity to Raise Awareness in Audiences? Psychology of Aesthetics, Creativity, and the Arts, 15(1), 60-75.
• Sorokin, P. (2017). Social And Cultural Dynamics: A Study Of Change In Major Systems Of Art, Truth, Ethics, Law And Social Relationships. Routledge.
• Spence, C. (2015). Multisensory Flavor Perception. Cell, 161(1), 24–35.
• Spence, C. (2020). Senses Of Place: Architectural Design For The Multisensory Mind. Cognitive Research: Principles and Implications, 5(1), 46.
• Spence, C., & Di Stefano, N. (2025). Augmenting art crossmodally: possibilities and pitfalls. Frontiers in Psychology, 16.
• Spence, C., Piqueras-Fiszman, B., Michel, C., & Deroy, O. (2014). Plating Manifesto (II): The Art And Science Of Plating. Flavour, 3(1), 4.
• Stroebe, W., Papies, E. K., & Aarts, H. (2008). From Homeostatic To Hedonic Theories Of Eating: Self‐Regulatory Failure In Food‐Rich Environments. Applied Psychology, 57, 172–193.
• Telfer, E. (2013). Food As Art. In A. Neill & A. Ridley (Eds.), Arguing About Art: Contemporary Philosophical Debates (pp. 9–18). Routledge.
• Tian, M. (2000). Male Dan: The paradox of sex, acting, and perception of female impersonation in traditional Chinese theatre. Asian Theatre Journal, 17(1), 78-97.
• Tournier, C., Sulmont-Rossé, C., & Guichard, E. (2007). Flavour Perception: Aroma, Taste And Texture Interactions. Food, 1(2), 246–257.
• URL 1 https://www.ngv.vic.gov.au/exhibition/rirkrit-tiravanija/?utm_source=chatgpt.com (Erişim Tarihi: 14.09. 2025).
• URL 2. https://www.archipanic.com/alcoholic-architecture-by-bompass-parr/ (Erişim Tarihi: 14.09. 2025).
• Verbeek, C., & Van Campen, C. (2013). Inhaling Memories: Smell And Taste Memories In Art, Science, And Practice. The Senses and Society, 8(2), 133–148.
• Vi, C. T., Ablart, D., Gatti, E., Velasco, C., & Obrist, M. (2017). Not Just Seeing, But Also Feeling Art: Mid-Air Haptic Experiences Integrated In A Multisensory Art Exhibition. International Journal of Human-Computer Studies, 108, 1–14.
• von Hoffmann, V. (2016). The Taste of the Eye and the Sight of the Tongue: the Relations between Sight and Taste in Early Modern Europe. Senses & Society, 11(2), 83-113.
• Wilson, S. E. (2016). Neto’s Leviatan Thot In The Panthéon: A Phallocentric Performing Theater. In Cultural Exchanges Between Brazil And France (pp. 193–208). Routledge.
• Wu, J., Zhang, Y., & Gao, Y. (2025). Audience cognitive diversity in traditional performing arts: a case study. Research in Dance Education.
• Yıldırım, İ. (2013). Somaestetik Filozofu Shusterman: Kendini Bilmenin Bir Yolu Olarak Somaestetik. Felsefe Dünyası, 58, 145–158.
• Yorulmaz, M. Y. (2025). Sinestezi Işığında Duyular Arası Etkileşim ve Çağdaş Sanat Paradigmaları. Sanat ve Yorum, 45, 72–81.
• Zellner, D. A., Lankford, M., Ambrose, L., & Locher, P. (2010). Art On The Plate: Effect Of Balance And Color On Attractiveness Of, Willingness To Try And Liking For Food. Food Quality and Preference, 21(5), 575–578.