Çatalhöyük’ün Süprematist Yaklaşımlar ile Yorumlanması

Abstract

This study examines the relationship between Çatalhöyük architecture and the Suprematism art movement from an interdisciplinary perspective. Çatalhöyük is one of the most important settlements of the Neolithic period and draws attention with its modular and geometric layout. The adjacent order of the structures reflects a certain mathematical and geometric order. Suprematism, developed by Kazimir Malevich in the early 20th century, is defined as a movement that aims for absolute abstraction in art, with geometric forms and pure colors at the forefront. In this context, the study examines the formal and conceptual similarities between the architectural order of Çatalhöyük and the Suprematist understanding of art. As a result of the comparisons made, it has been observed that basic geometric forms are dominant in both formations, abstract forms of expression are at the forefront, and spatial organization is based on a certain order. The modular order understanding seen in Çatalhöyük architecture overlaps with the geometric composition principles encountered in Suprematist works of art. It is thought that Çatalhöyük architecture is similar to the Suprematist aesthetic understanding and that this relationship allows for the development of new interpretations in the disciplines of art and architecture. The study aims to include personal ceramic applications by addressing the relationships between Suprematism and Çatalhöyük architecture in terms of form, order and abstraction. In addition, it aims to develop an original interpretation of the relationships between different fields of art by addressing the interaction of ceramic art with other art disciplines from an interdisciplinary perspective.