Her danemde kars~m~za gkan geometrik siislemeleri, dunyam her yerinde ve her uygarl~g~n sanat~nda garmekteyiz. lnsan diisiincesinda geometrik sekillerin ortaya c1k151 ilzerine ileri stirtilen bir gok varsaym bulunmakla beraber bu soruya cevap veren btitun teoriler genel olarak iki grupta toplanmaktad~r. llki icerikla ilgili, ikincisi ise geometrik yap~daki matematiksel uyum ile ilgilidir. Tarih tincesi caglarda ve insanl~g~n bijtiin dekorasyon tarihi boyunca, tekstil tirtinlerinde, zikzak, ucgen dartsen, dalaa motifleri, sioiraller vb. ve bunlarln 'aclk-kaoall formlarmdan olusturulan kom~ozisvonlarln kullen~ld~& bilinmektedir. bzellikle Mezopotomya ve ~nadoiu'nun tarih Oncesi ktilkrleri, geomkrik bicimler repertuarl bak~m~ndan zengin bir mirasa sahiptir. 

We can see the geometrical ornamentations, everywhere in the world and in the art of every civilization, which we encounter with in every period. Although there are many assumptions proposed on the emergence of the geometric forms in human thought, all the theories answering this question are, on the whole. grouped in two categories. The first is related with content, the second, on the other hand is related to mathematical accord in the geometrical structure. It is well known that in the prehistoric times and through all the decoration history of mankind, zigzag, triangle, quadrilateral, wavy figures, spirals ete and compositions consisting of open or closed forms at these have been used. The prehistoric cultures of mesopotemia and Anatolia, in particular, have rich heritage in the context of repertory