do you agree with orientalist view explain your answer with one reason?
Answers
Answer:
Orientalism” is a way of seeing that imagines, emphasizes, exaggerates and distorts differences of Arab peoples and cultures as compared to that of Europe and the U.S. It often involves seeing Arab culture as exotic, backward, uncivilized, and at times dangerous.
Answer:
19th century art
Orientalism
Jean-Auguste-Dominique Ingres, The Grand Odalisque, 1814, oil on canvas (Musée du Louvre, Paris) (photo: Steven Zucker, CC BY-NC-SA 2.0)
Jean-Auguste-Dominique Ingres, The Grand Odalisque, 1814, oil on canvas (Musée du Louvre, Paris) (photo: Steven Zucker, CC BY-NC-SA 2.0)
The origins of Orientalism
Snake charmers, carpet vendors, and veiled women may conjure up ideas of the Middle East, North Africa, and West Asia, but they are also partially indebted to Orientalist fantasies. To understand these images, we have to understand the concept of Orientalism, beginning with the word “Orient” itself. In its original medieval usage, the "Orient" referred to the “East,” but whose “East” did this Orient represent? East of where?
Gentile Bellini, Sultan Mehmed II, 1480, oil on canvas (National Gallery, London)
We understand now that this designation reflects a Western European view of the "East," and not necessarily the views of the inhabitants of these areas. We also realize today that the label of the “Orient” hardly captures the wide swath of territory to which it originally referred: the Middle East, North Africa, and Asia. These are at once distinct, contrasting, and yet interconnected regions. Scholars often link visual examples of Orientalism alongside the Romantic literature and music of the early nineteenth century, a period of rising imperialism and tourism when Western artists traveled widely to the Middle East, North Africa, and Asia. We now understand that the world has been interconnected for much longer than we initially acknowledged and we can see elements of Orientalist representation much earlier—for example, in religious objects of the Crusades, or Gentile Bellini’s painting of the Ottoman sultan (ruler) Mehmed II (above), or in the arabesques (flowing s-shaped ornamental forms) of early modern textiles.
The politics of Orientalism
In his groundbreaking 1978 text Orientalism, the late cultural critic and theorist Edward Saïd argued that a dominant European political ideology created the notion of the Orient in order to subjugate and control it. Saïd explained that the concept embodied distinctions between "East" (the Orient) and "West" (the Occident) precisely so the "West" could control and authorize views of the "East." For Saïd, this nexus of power and knowledge enabled the "West" to generalize and misrepresent North Africa, the Middle East and Asia. Though his text has itself received considerable criticism, the book nevertheless remains a pioneering intervention. Saïd continues to influence many disciplines of cultural study, including the history of art.
Representing the “Orient”
As art historian Linda Nochlin argued in her widely read essay, “The Imaginary Orient,” from 1983, the task of critical art history is to assess the power structures behind any work of art or artist.[1] Following Nochlin’s lead, art historians have questioned underlying power dynamics at play in the artistic representations of the "Orient," many of them from the nineteenth century. In doing so, these scholars challenged not only the ways that the “West” represented the “East,” but they also complicate the long held misconception of a unidirectional westward influence. Similarly, these scholars questioned how artists have represented people of the Orient as passive or licentious subjects.
Jean-Léon Gérôme, Snake Charmer, c. 1879, oil on canvas (Sterling Francine Clark Art Institute, Williamstown, Massachusetts)
For example, in the painting Snake Charmer, c. 1879, the French artist Jean-Léon Gérôme’s depicts a naked youth holding a serpent as an older man plays the flute—charming both the snake and their audience. Gérôme constructs a scene out of his imagination, but he utilizes a highly refined and naturalistic style to suggest that he himself observed the scene. In doing so, Gérôme suggests such nudity was a regular and public occurrence in the "East." In contrast, artists like Henriette Browne and Osman Hamdi Bey created works that provide a counter-narrative to the image of the "East" as passive, licentious or decrepit. In A Visit: Harem Interior, Constantinople, 1860, the French painter Browne represents women fully clothed in harem scenes. Likewise, the École des Beaux Arts-trained Ottoman painter Osman Hamdi Bey depicts Islamic scholarship and learnedness in A Young Emir Studying, 1878.
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