This paper investigates the rise of aesthetic modernism in Turkey's early republican era (i.e., the late 1920s and the 1930s), with an emphasis on the influence of international cultural currents on Turkey's intelligentsia. The paper concentrates on the modernist ideas and works of the D Group, who advocated a high modernism in the plastic arts, and the literary modernism of the socialist poet Nâzım Hikmet (Ran). Firstly, it addresses the historiographical argument that aesthetic modernism in Turkey was a derivative enterprise, a low-grade replica of European modernism. Secondly, it argues that the early republican intelligentsia found itself in a dilemma with regard to modernist currents. For them, aesthetic modernism was a sign of the modern epoch, but it also carried a radical potential for a critique of bourgeois modernity. Aesthetic modernism not only promised change, functionality, and renewal, but also manifested such disturbing symptoms of modernity as individualism, melancholy, degeneration, and restlessness. The paper reaches the conclusion that figures such as the D Group artists and Nâzım Hikmet translated the avant-garde international currents of aesthetic modernism into the early republican context, opting for positive and optimistic versions of modernism rather than adopting its more alienating, pessimistic, and despairing features. Through their works, an intellectual debate on aesthetic modernism was initiated in early republican Turkey.

The altered psychological environment demanded a shift in emphasis from a pure critique of traditions to a critique of traditions coupled with a critique of modernity.Ashis Nandy, Traditions, Tyranny and UtopiasModern conservatism, at least in its philosophical form, is a child of what it attacks—modernity. If the central ethos of modernity is a belief in the plasticity of society and the individual, the central ethos of conservatism is a belief in the sanctity of community, kinship, tradition. Modernity's fascination with the new is matched by conservatism's defense of past tradition. It is on the priority of a past order bequeathed by history, and its traditional institutions, that the conservatives base their critique of modernity. The modernist idea that societies can be shaped, molded, and steered in new directions, and that individuals can direct their own destinies, finds its counterpart in conservative thought in the rediscovery of the past-its institutions, values, themes, structures.

One prominent intellectual of the early Turkish Republic, İsmail Hakkı Baltacıoğlu, argued that the new Republic should be “a Republic of fine arts.” Indeed, the early Republican project in Turkey perceived culture and art as media through which the Republic could not only represent its achievements but also “create” itself. The present study focuses on the cultural policies and elite perceptions of culture during the single-party regime in Turkey. More specifically, it looks into the developments that took place in the plastic arts and in elite approaches towards aesthetics. This is done in order to shed light on young Turkey's cultural modernization. Examining the interaction between aesthetics and power, this discussion stands at the intersection of political studies and cultural history.

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