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Abstraction in Calligraphy: The Transformation from Letter Forms to Aesthetic Composition

Ahmet TÜRE

  • Ahmet TÜRE: TRABZON ÜNİVERSİTESİ
  •  Year : 2025
  •  Vol : 5
  •  Issue : 1
  •  Page : 81-101
This study examines the use of calligraphic elements in painting and the aesthetic relationship these elements establish with the process of abstraction. Historically, calligraphy is a form of expression that conveys meaning through the rhythm of lines and letterforms. In modern and contemporary painting, it generally loses its readability, transforming into a formal aesthetic element. The primary aim of this work is to reveal how writing, letter, and line-based calligraphic elements are transformed within the process of abstraction in painting. With significant examples selected from Turkish and international art, which were evaluated in detail using the method of formal analysis. The artists examined represent different forms of abstraction through calligraphic traces on the pictorial surface. In this context, the spontaneous and gestural approaches of Western artists like Jackson Pollock, Brice Marden, and Cy Twombly are comparatively analyzed against the structural and mystical approaches of Eastern artists—such as Erol Akyavaş, Hasan Çelebi, and Ahmed Moustafa—who draw inspiration from the tradition of Hat (Islamic calligraphy). The analysis specifically discusses the contribution of plastic elements such as line movement, the use of void (negative space) on the pictorial surface, color distribution, and rhythmic repetition to abstraction. These elements separate calligraphic components from their traditional symbolic roles, transforming them into pure form and dynamic energy. Consequently, calligraphic elements are not only evaluated as text or symbols in painting but also as dynamic and autonomous plastic elements that create form, texture, and rhythm. This approach establishes a strong aesthetic bridge between the deeply rooted Eastern calligraphy tradition and the Western understanding of abstract painting, allowing calligraphy to be reinterpreted within the context of a universal pictorial language and adding new depth of expression to the art of painting. This transformation has enabled calligraphy to become a contemporary art practice that transcends cultural boundaries.
Cite this Article As : Türe, A. (2025). Kaligrafide soyutlama: harf formlarından estetik kompozisyona dönüşüm. Nigarhane, 5(1), 81-101.

Conflict of interest : The authors declare that they have no conflict of interest.

This article is published under the CC BY-NC 4.0 license.
Nigarhane Sanat Dergisi
2025, Vol5, Issue1
ISSN: 2980-0056
Received : , Accepted : , Published Online :

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