The Short History of the Term “Traditional”: How Do We Read Art?

The term “tradition” generally refers to a connection with the past.^【1】 Over time, this concept has expanded to encompass meanings associated with the term “traditional,” implying practices passed down from the past. Today, this term has nearly become a universal label for various art forms such as hat, tezhip, miniatür, ebru and bookbinding, among others.

However, the term “traditional art” does not always carry a neutral connotation in contemporary art contexts. On the contrary, it often generates the perception that these art forms belong exclusively to the past, are frozen, repetitive, and disconnected from current production. This perception renders the status of these arts within the art world contentious and at times positions them as activities outside the realm of art altogether.

Art, however, is as ancient as human history and cannot be confined to a single definition. Simplistic approaches that reduce art to merely an emotional expression are no longer sufficient. Art is shaped around the act of “creation,” which generates meaning both individually and socially. Every era, culture, and society has approached art through its own perspective, giving art a character that is both universal and contextually bound.

When this contextual structure is taken into account, the concept of “traditional art” must inevitably be re-examined within its historical and intellectual framework. The widespread use of this term dates back to the mid-20th century;^【2】 the labeling of arts such as hat, tezhip and miniatür as “traditional” is less related to their production practices than to the meanings assigned to them in the modern era. With modernization, art became categorized through academies and institutions, producing dichotomous labels such as “modern” and “traditional.” Within this framework, these arts began to be perceived not as living creative fields but as practices belonging to the past. Thus, the label “traditional” has come to define not what these arts are, but how they should be perceived.

To understand the intellectual background of this perception, Seyyid Hussein Nasr’s approach is significant. According to Nasr, “tradition” is not a term used to define or classify specific arts; rather, it is an ontological framework representing a continuous set of principles that connect humanity to the divine.^【3】 This perspective requires viewing these arts not as static or frozen practices of the past, but as living creative fields that are continually reinterpreted and gain meaning within their context. However, the use of the Turkish equivalent “geleneksel” for this concept often departs from Nasr’s intended principled meaning and instead becomes a label evoking notions of stagnation and repetition. Consequently, the term “traditional art” risks solidifying a particular perception of these arts rather than explaining their true nature.

On the other hand, this does not imply that these arts belong exclusively to a single belief group or a closed cultural domain. The arts that developed within the Islamic world have continuously transformed through trade routes, migration movements and cultural interactions. Numerous civilizations, from the Abbasids in Al-Andalus to the Ottomans and Safavids, have re-created and enriched these artistic fields by integrating diverse cultural traditions.

Therefore, explaining art solely through the lens of belief is also inadequate. Trade, warfare, migration, technology and scientific advancements have all played decisive roles in shaping art. This multi-layered structure has enabled art to emerge as a universal form of expression.

In conclusion, the term “traditional art” carries the risk of portraying art as a fixed and unchanging structure. In reality, art is a dynamic field that maintains its connection with the past while continuously evolving through interaction with diverse cultures. Therefore, art must be understood not merely as a heritage of the past, but as a form of expression that continues to generate meaning in today’s world.