Abstract:

At the beginning of the 20th century, in a period of new ideas, the Suprematism movement emerged under the leadership of Russian Avant-garde artist Kazimir Malevich. Suprematism, which has its roots in Cubism and Futurism, was nourished by geometric abstractions. It is revealed by transferring basic geometric shapes in a simple way; It is the understanding that its main philosophy is expressed by bringing together basic geometric shapes in a certain order, not the forms in nature. Morphology is; It is a branch of science that evaluates internal and external appearance from different perspectives, dealing with shape, structure, color, pattern, size and form. Within the scope of the research, the basic principles on which Suprematism is based were examined from a philosophical perspective and the association of the discipline of Morphology with art and Suprematism was evaluated collectively. In addition, by interpreting their reflections on three-dimensional artistic ceramic forms, research was conducted on how the geometric forms in the Suprematism movement were reflected in ceramic art in contemporary language and how they interacted with morphology. The interdisciplinary unity created by the expression language collected under both headings in the application process; It has been evaluated in terms of contemporary interpretations shaped by aesthetic and artistic concerns, specifically ceramic art. The Black Square was important in changing the fate of Suprematism and starting the movement, and it was seen as one of the leading designs of this movement. Within the scope of this qualitative research, Suprematism's structure consisting of geometric sharp lines and the shape, form and size features of Morphology are considered together; A proposal is presented on the design and shaping of the plasticity of the ceramic material in line with these criteria. As a method, it is aimed to establish a connection between the subjects of Suprematism and Morphology with ceramic art, based on the formal structure of the two-dimensional black square, and to achieve artistic expression by shaping clay, a plastic material, in three dimensions with sharp and soft lines.

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