It can be said that mythological stories and figures emerged as a result of attributing concrete meanings to natural events and concepts that humanity could not make sense of. Although mythological stories and figures have undergone changes and transformations depending on the factors of region, climate and time, they have become an indispensable subject of art in every age. Mythological influences in art, which started from the first artistic actions, have become an important subject in Turkish painting as well as in all geographies. Mythological influences, which started with Uyghur miniatures and also seen in Seljuk and Ottoman miniatures, continued in Turkish painting after the Republic. The fact that Turkish painters who went abroad for educational or travel purposes saw the traces of the East in the works of western painters increased the interest in Anatolian and Turkish mythology. The Anatolian tours organized after the Republic and the concern of our artists to create a national understanding of art enabled many of our artists to produce works on Anatolian culture and mythology. In addition to our painters such as Bedri Rahmi Eyüboğlu, Turgut Zaim, Nurullah Berk, who are among the D group artists, Süleyman Saim Tekcan, Rauf Tuncer, Tomur Atagok dealt with the subjects of Anatolian and Turkish mythology in their artistic productions. One of our artists, who has produced works on these subjects, is undoubtedly Nuri Abaç, who has been making artistic productions since the 1950s. When the works of Nuri Abaç are examined periodically, it is understood that they are divided into 2 periods. In the period between 1960-70, the brown-dominated mythological characters from Anatolian civilizations and holy books came to the fore, while the Karagöz and Gemiler series, which were the middle plays in their productions after 70, draws attention.