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Western perceptions of the harem[edit]
The Ottoman Imperial Harem, like other aspects of Ottoman and Middle Eastern culture, was depicted by European artists. French artists such as Jean-Auguste-Dominique Ingres and Fernand Cormon painted some of the most recognizable orientalist artwork based on the imperial harem. The Turkish Bath and Harem, (pictured), are two such examples. Orientalist paintings reflected Europe's eroticized view of Islam with luxury, leisure, and lust being common motifs[1] These images constituted the "imaginative geography" outlined in Edward Said's Orientalism.[2] There was a prevalence of nudity in the bath scenes and the depiction of polygyny with multiple women and usually one man in the paintings.[3] The women in these paintings were often portrayed as fair-skinned while the men were often painted as darker. [4]The portraits of notable imperial harem women were less sexualized with many of them resembling traditional European portraits in their dress and physical features. Italian artist Titian's paintings of Hurrem Sultan and her daughter Mihrimah Sultan are extremely similar to his popular Portrait of a Lady, with the only notable difference being the Ottoman headdress.[3] Of the artists who illustrated the Ottoman Imperial Harem, very few actually visited the empire, and all were male, so it's highly possible that these depictions were neither accurate nor authentic.[2]
See also
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- ^ Alloula, Malek; Godzich, Myrna; Godzich, Wlad; Harlow, Barbara (1986). The Colonial Harem. Vol. 21 (NED - New edition ed.). University of Minnesota Press. doi:10.5749/j.ctttth83. ISBN 978-0-8166-1383-0.
{{cite book}}:|edition=has extra text (help) - ^ a b Said, Edward (1978). Orientalism. New York: Random House. p. 63. ISBN 978-0-394-42814-7.
- ^ a b Madar, Heather (2011). "Before the Odalisque: Renaissance Representations of Elite Ottoman Women". Early Modern Women. 6: 1–41. ISSN 1933-0065.
- ^ Ali, Isra (2015). "The harem fantasy in nineteenth-century Orientalist paintings". Dialectical Anthropology. 39 (1): 33–46. ISSN 0304-4092.