Arketip Kavramı ile Modern Sanat İlişkisi

Abstract

Carl Gustav Jung's archetype theory addresses the universal images and themes stored in the collective unconscious of humanity. Jung first began introducing these concepts in the 1910s, but they gained widespread recognition with the publication of Psychological Types in 1921. This work represents a period in which Jung deepened his studies in the field of analytical psychology, providing a broad framework for understanding human psychology. The archetype theory seeks to explain the shared elements underlying similar mythological and religious stories that have appeared across different cultures throughout human history. According to Jung, these universal images, or archetypes, form the fundamental building blocks of human experience, and individuals access these images through the collective unconscious.

Over time, the archetype theory has gained significant relevance in the study of psychology, literature, art, and mythology. It has had a profound impact on both academic and popular thought, offering new ways to understand human nature and cross-cultural similarities. In his psychoanalytic studies, Carl Gustav Jung reflected a broad perspective that connected the foundations of personality formation with historical processes. He interacted directly with some Modernist artists, and he was deeply engaged with art, religion, and philosophy, directing his research accordingly. The aim of this thesis is to prepare a study report by investigating the Modern Art period through the lens of Carl Gustav Jung’s archetype concept, as derived from his research on the collective unconscious. The choice of this topic is partly due to the limited literature that examines the Modern Art period in the context of Carl Gustav Jung. In this thesis, applications on ceramic forms are made by associating them with archetypes such as persona, shadow, self, and anima-animus, which are drawn from this concept.