Scientific discoveries and mental and spiritual researches related to human led to a new period and perspective in art in addition to the despair brought by materialism in the early 1900s. Many art movements nurturing from each other and opponent to each other emerged. Among these movements abstract painting aimed at reaching the spiritual feelings only by using some plastic values such as colour, drawing and light without applying to objective forms observed in the environment. While interpretations of Kandinsky and Klee clarify the abstract painting in this period, Kandinsky requestioned the reality of art after seeing the changes in science and argued that the real art arises from a heartfelt necessity. To base this art on rules is only possible after the internal movement in theory. There are as the same descriptions in conditions of calligraphy. Abstract painting parallel with calligraphy in the context of spritualism. In that case, the sincerity in the creation of the both disciplin are the basis of the feeling that passes to the watcher. This sincerity, spontaneity and internal assimilation are the essence of religious spirituality. The calligraphist who internalised this essence transfers the feeling to the watcher no matter what he writes. Western artists who achieve this awareness thanks to the theory of Kandinsky created many works by using meditative technique on an abstract platform. They creatives many art works while giving importance sipirutualism and internalism. At that time many artists produced similar works in the period in which this theory was reflected in the Turkish art, they did not ignore the effects of our rich tradition of calligraphy. In this study, the aforementioned effects are evaluated in the samples of Sabri Berkel, Ergin İnan and Erol Akyavaş.
Keywords: Calligraphy, Abstract Art, Contemporary Art, Spirit.