Ways In Which European Artists Represented the Orient

Question: Discuss about theWays In Which European Artists Represented theOrient. Answer: Introduction The factor of orientalism has always been a subject of investigation and introspection in the field of European art forms. Orientalism is a result of the differences of cultures and practices of the East and the West. Orientalism is in fact a kind of mindset which gives rise to the manner in which the people perceive the people different than themselves in a light of mystery and exoticism. This has often been notices by oriental theorists like Edward Said and Frederick Bohrer. According to all these theories, orientalism was merely a means of aesthetic pleasure for the west. While the west eroticized the east, the effect was seen in their art forms, mainly their paintings. The allure of the orient captured the imagination of the artists that gave shape to their various forms of art. Representation of the Orient in Paintings Description de lgypte(180922) The Description de lEgypte was a twenty four volume collection of artworks that captured the topography, architecture, monuments, natural life, and population of Egypt. This work was one of the most influential works when it comes to shaping the idea of the west regarding the orient. The work, released by the French Government, was one of the first works that actually encapsulated the idea of the cultures and habits of that particular location [1]. While the earlier works had an idea to the location, this one had a profound influence on the French society as a whole. The work was a complete documentation of the religion in Egypt in a manner that no other work had ever done before. The influence of this work becomes very clear when we take a look at the architecture in France during this period. The work had influenced France to such an extent aesthetically, that the French architecture of the period seems to be direct replicas of the Egyptian styles. The influence was also seen in th e decorative arts of the period. The Prevalence of the Egyptian motifs in the Empire style is in fact a proof of the extent to which, Egypt had influenced French styles. Napoleon in the Plague House at Jaffa(1804) Napoleon in the Plague House at Jaffa was a work that indirectly supported European supremacy over the Orient that was considered to be uncivilized and barbaric by the Europeans[2]. This particular work was one of the first oriental paintings and depicted the East as a place of backwardness, lawlessness and barbarism that was enlightened by the French rule. This work was however, in no way related to any kind of fact and served as a means for the European propaganda. The painter of this work was Antoine Jean Gros(1771-1835). He was a pupil ofJacques Louis David and a history painter in Napoleons employ. However, the fact that is most important to be noted here is that he had never himself travelled to the Near East himself but he painted a sordid image of the East. In his painting, the propagandist ideas are extremely clear. The work depicts Napoleons visit to the plague-afflicted prisoners during the siege of Jaffa[3]. The work also propagated the Christian idea of the divine touch and the divinity of kings. It can be seen that Napoleon touches an inmate and he is reacting in a certain manner. This is a scene that is eerily similar to one of Jesus Christ. Massacre at Chios (1824) Massacre at Chios is a work by Eugne Delacroix (17981863). He was a proponent of the Romantic Movement and the painting is unusually violent for one that was created during a period of civil unrest. The theme of the painting is based on the war between Chios and the Ottoman Empire[4]. The defeat of the island of Chios is what is captured in the work. The painting shows the crushed victims and the victorious military of the Ottoman Empire. Although the painting does not have any heroic figure ion itself that would counterbalance the entire theme, it is important to note that Delacroix was a proponent of the Romantic Movement during the French revolution. It is possible that there was a sense of superiority and that played its part in the painting. Although there is no visible hero in the painting, it is possible that the victorious military was perceived as heroic in the eyes of the French. This is quite possible owing to the idea of the orient in the minds of the Europeans[5]. The pa inting shows thirteen civilians rounded up and chained for enslavement by the victors. There is an indication of the superiority of the victors in this painting and this could very well have been an idea of European superiority. Scene in the Jewish Quarter of Constantine Scene in the Jewish Quarter of Constantine was a work by Chassriau. The work is noted for its change in theme. Although it is oriental in its nature, it does not go into the domain of battle and other kind of proofs of superiority. The painting is noted for its depiction of quiet domestic and day to day life. The theme of maternity is also quite visible in the painting[6]. The painting was the documentation of a scene that Chassriau witnessed on a trip to Algeria. The scene touched him aesthetically to such an extent that he captured the scene in his notebook. However, there is an idea of romanticizing the East in this painting. The painting is done in such a manner that it captures the domesticity in a way that is not present in the European way of life[7]. This could be seen in his remark that he felt that the Arabs and the Jews were living in a manner that was like it was at the beginning of time. Also, the Jewish women were considered to be objects of desire by the Europeans and as a result, the effects could be seen in the painting. The Finding of Christ in the Temple The finding of the Christ in the Temple was a work by William Holman Hunt. The main feature of this painting is that it uses an oriental setting for a Christian theme. The paining was done after Hunt had travelled to the Middle East and used local people as models for his work. What is important here is the portrayal of the supremacy of Christianity over Judaism[8]. The painting portrays Jesus in a temple and Mary and Joseph coming after they had been looking for him. The scene is one where Jesus is a child and he is preaching to a group of rabbis in a Jewish temple. However, the rabbis are dismissive of his opinion. This is one of the main themes that emphasize the superiority of Christianity over the other religions. This painting is thus a symbol of European superiority[9]. The emphasis on the idea of the west civilizing the barbaric east is thus seen explicitly in this painting. It is quite clear that Hunt considered Christianity to be superior to the other religions. The most im portant part of this painting is that the attention to detail is very evident in this work. The oriental designs and oriental models of people are very carefully drawn in the painting. References Bednarski, Andrew. 2005.Holding Egypt. London: Golden House. English Romantic Paintings, 1800-1900. 1965. London: Maas Gallery. Kunz, Armin, Iris Metje, F. Carlo Schmid, and Catherine Bindman. 2008.The Romantic Era. Du?sseldorf: C.G. Boerner. Orientalism. 2012. Parkstone Pr. Peltre, Christine. 2004.Orientalism. Paris: Terrail. Pinder-Wilson, Ralph H. 1969.Paintings From Islamic Lands. Columbia: University of South Carolina Press. Said, Edward W.Orientalism. Thomson, Richard, E. W Brayley, and Thomas Baring. 1838.A Bibliographical Account And Collation Of La Description De L'e?gypte. London: [Printed by C. Skipper and East]. Yoshihara, Mari. 2003.Embracing The East. Oxford: Oxford University Press.