Mustafa Kemal Atatürk regarded art and artists as integral components of the foundational structure of the Republic, positioning art as a functional element of cultural development, nation-building, and ideological modernisation. His lifelong engagement with the arts evolved into a cultural policy following the proclamation of the Republic, leading to state-supported initiatives and institutional interventions aimed at promoting artistic production and education. In line with the principle of populism, the cultural policies implemented during this period reframed art not merely as an individual pursuit, but as a collective mechanism for shaping public consciousness. The establishment of art schools, the training of artists, the formation of artistic groups, the organisation of exhibitions, and the production of state-supported works all served as practical manifestations of this approach. Artistic education was integrated into the national curriculum, and disciplines such as painting, music, theatre, opera, and sculpture were institutionalised as transformative instruments of societal reform. This study examines Atatürk's approach to art through his direct statements and actions, analysing historical documents, parliamentary proceedings, archival materials, and cultural policies. Employing a qualitative research design and document analysis method, the study explores how art functioned within the ideological and symbolic framework of the early Republic. The theoretical foundation is structured around Pierre Bourdieu's concept of cultural capital, Benedict Anderson's notion of imagined communities, and Antonio Gramsci's theory of hegemony. Findings reveal that Atatürk's view of art extended far beyond aesthetic appreciation, constituting a deliberate cultural strategy aimed at constructing the symbolic, pedagogical, and structural foundations of modern Turkey. During this period, art assumed a central role in transforming the public sphere and shaping civic consciousness, functioning as a persistent ideological instrument within Atatürk's broader cultural vision.
Polatoğlu et al. (Thu,) studied this question.