Periods in the Art History of Turkey

Abstract

Western art history draws on periodization as a method for organizing knowledge about the art of the past. This article examines the use of periodization in Turkey between 1970 and 2010, focusing on a select number of Turkish-language narratives, published in books, journals, and exhibition catalogs. The artistic periods of Modern and Contemporary art, which are common in traditional Eurocentric art history, are also present in Turkish art history but followed by an additional period, which can be translated as Current. The use of shorter artistic periods in Turkish art history also presents differences to Western conventions, as the short periods can refer to a specific type of art as well as a period. This article examines different narratives, identifying novelties, changes, and repetitions in Turkish art historiography over a period of forty years. It discusses how Turkish art history challenges established models of modern art history. It aims to reveal the diverse temporal and original arrangements of the past, many of which are found in vernacular narratives and confront global dominant art histories.

Concerning the closeness of the form of Sufi Kashkul and the Slavic boats

“…It happened due to the introduction of beautiful decor with complex ornaments and incrustation with precious stones (Ahmed & Ziddan, 2011;Arafat et al, 2013). At the same time, a tray or a leg in the form of several balls appear on dippers and endolles (low, sometimes boat-shaped bowls with a draining nose on one side and a handle on the other) (Özpınar & Batur, 2018).…”