The place of the circle form in the mandala in painting

This thesis aims to examine the role and meaning of the circle form in mandala art. The aesthetic and symbolic meanings carried by the circle form in art, as well as how this form has evolved in the art world, have been researched. Through studies on the circle form and mandala drawings, this work enables a deeper understanding of the internal and universal dimensions of art, which serves as a vehicle for a journey into the depths of human history. The research first addresses the circle form and mandala art within a conceptual framework, then investigates their historical development, emphasizing the special role of the circle form in mandala art. Artists who have used the circle form in their paintings, such as Oli Sihvonen, Wassily Kandinsky, Kenneth Noland, Leonardo Da Vinci, Hilma Af Klint, and Bridget Riley, are examined, along with artists who have used the circle form in mandala art, including Leonardo Da Vinci, Max Ernst, Damien Hirst, Aslıhan Aksun, and Ahmet Güneştekin. This is followed by an analysis of the works of Fatma Doğruoğlu and an exploration of her paintings. In conclusion, this thesis highlights that the circle, beyond being an aesthetic element, is one of the significant symbols in art history. Particularly in mandala art, the symbol stands out for representing the concepts of wholeness and cyclicality, symbolizing the unity of the universe. It emphasizes the deep-rooted meaning of mandalas and circles.