Statement of the problem: The 19th century witnessed the intense pressure of the academies and their dominance over paintings. In addition, with the beginning of modern painting in Western societies, the impressionists started producing works of art against the academies. This was reinforced by the advancement of technology - the invention of the photographic camera and the influence of cinema. With the emergence of art movements and styles, one after the other, artists were encouraged to investigate traditional and local arts. Moreover, the rejection of academicism and the attention of leading Western artists to Islamic and Eastern artistic heritage, especially in the field of calligraphy, encouraged modern Turkish artists to take this path. Erol Akyavaş is among these artists who,  along with the experience of western teachings, has made great use of Islamic lines in his works, considering the cultural conditions of Turkey. The way he used calligraphy in Turkish painting is one of the important features on which this research focuses. This  study attempts to explain and examine the calligraphic works of Erol Akyavaş in the cultural context of modern Turkey. This research employs the historical-descriptive and analytical method and with reference to the works, the artist’s life, and the views of Turkish artists and art critics, seeks to understand Erol Akyavaş’s calligraphic works in the cultural context of modern Turkey. The studied examples were calligraphic works published in books and catalogs, which were selected purposefully. The methods of data collection were library and documentary. Analysis of the data in the cultural conditions of modern Turkey shows that Akayavaş expressed his belief and mysticism clearly visible in the form of calligraphic works by highlighting his cultural and religious components.