As known, the image of Cybele appears in many modern art works. As like in Çatalhöyük and Hacılar, the statuettes which have been described as fat, usually sitting in the throne bending her hands to her chest, standing or lying have been interpreted in concern with the mother goddess or fertility and which all symbolizes the women in many settlements like Kuruçay, Köşk Höyük, Hacılar, Höyücek, Badem Ağacı, Çukurkent, Düden, Alıçlı Höyük. That the Neolithic statuettes were interpreted as mother goddess refers to the hypothesis that such a goddess has been described with an iconographic symbol, which expresses the power of reproduction of woman. As like every image concretized a certain form of sight, the figure of Cybele has represented the peculiar examples of the image of “woman” as historically, socially and culturally in many geographies, too. In excavation areas where they are found, these cult statuettes which have been detected to be found in almost every house have been made whatever with the aim of (the powerful mother goddess of the religious life, the metaphor of reproduction, the symbol of fortune and fertility, the aesthetic and artistic expression…) have conveyed the human to an accidental synthesis in the universe of nature-woman-artistic sensitivity. The examples, which we will handle in the research, will be the answer to the question of “How much was the figure of Cybele able to get into the circulation area of the Turkish art movements in a long process which extends from the primitive periods to the postmodern?”