This article explores how Islamic art was produced and used in Turkey within the context of modern warfare during World War I, the War of Independence, and the nascent Republic – a subject still relatively understudied in Turkish history, as well as in international cultural histories of modern warfare and histories of modern art in the Middle East. Drawing on previously overlooked visual and textual sources such as calligraphic panels, miniature paintings, war posters, and religious timetables produced during the years 1914–1924, we examine the ways in which Islamic arts were articulated with the experience of war through both individual actions and official policies, revealing how Ottoman artists tried to make sense of war and how Islamic genres and motifs were appropriated, and sometimes subverted, in the service of the nationalist cause. We show that far from exhibiting a sharp discontinuity, the transition from Ottoman–Islamic to Republican–nationalist artistic content was gradual, involving the reappropriation and repurposing of Islamic motifs and techniques in a manner that reflected the religious mindset of the elites and masses in the early twentieth century.

Our article seeks to determine the functions of visual communication design through the lens of modern conflict and public archaeologies. The Battle of Aslıhanlar, which took place in the triangle of the villages of Çal Köy, Allıören, and Yüğlük in Kütahya from 29 to 30 August 1922, was the focus of our experimentation. Our archaeological survey project was carried out in 2013; interviews with local people, a review of the literature available and our observations of local myths and traditions that emerged after the war constitute the basis of our article. We categorized these sources for the project design in order to form a storytelling narrative, so that the viewer could participate in the process of conflict as well as the ongoing research. We foresaw three major challenges while categorizing this complex dataset: equivalence of visual language; variable outputs of the multi-dimensional research methods; and interactivity for creating a live social platform. We responded to these challenges by developing a graphic design concept and an interactive map of the data. Our design surrounds the viewer with a historical timeline, which includes all of our research findings in one interactive interface.