Orientalist portrayal between reality and imagination

Abstract

Orientalism is that intellectual current that was represented in the various studies of the Islamic East, which included its civilizations, religions, literature, languages ​​and culture. Orientalism is the aspect that is relied upon in achieving the radical change of cultural and civilizational dimensions, the standardization of behaviors and ways of living, and the erasure of norms, traditions, religions and identities in our families and society. All the teachings of Islam oppress and exclude her as a human being in society.

The flourishing of orientalist painting in that era, when it reached Europe, was a manifestation of the beauty of eastern life. Social customs such as weddings, circumcision, summer nights, café sessions and alleys. Women had a great and clear role in the paintings of orientalist painters who found a distinct beauty and an unfamiliar charm in them.

Orientalism depicts women in sexy positions while they are idle without work. Their task is to adorn themselves, make up, sit on the sofa or stand in a relaxed state. If she wears something, it does not cover her body naked or semi-naked, and sometimes it depicts her suffering from the most severe manifestations of oppression by society, which evokes pity and pity in the same scenes. In the same researcher, these paintings raised questions about these women, who were included by orientalist artists in their paintings. Is it a picture of an Arab woman who lived within an Arab Muslim and conservative society governed by laws and societal norms, or what? Is her body the orientalist artist in her social, rural, living or economic reality? Is what you wear Arab clothes, jewelry and adornment? Was it filmed at the same time and place? Did the orientalist paint the shape and face of the Arab woman? There are many, many questions that I find myself in front of, and the research problem is determined by the following question: What is reality and imagination in orientalist photography?