Originally posted by Damir9000
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Yeah I know right, especially considering this was a fictitious portrayal by European Orientalists.
Which you CLAIM you haven't been indoctrinated by ....ahem ahem
Some of the first nineteenth-century Orientalist paintings were intended as propaganda in support of French imperialism, depicting the East as a place of backwardness, lawlessness, or barbarism enlightened and tamed by French rule. Antoine-Jean Gros (1771–1835)—a pupil of Jacques Louis David and a history painter in Napoleon's employ who never traveled to the Near East himself—conveys this idea in Napoleon in the Plague House at Jaffa (1804; Musée du Louvre, Paris), featuring an Eastern architectural setting and figures in exotic dress. A propagandizing work, it depicts the then-general's visit to plague-afflicted prisoners during the siege of Jaffa. Recalling both Christian imagery and the divine touch of kings
and this
Some of the most popular Orientalist genre scenes—and the ones most influential in shaping Western aesthetics—depict harems. Probably denied entrance to authentic seraglios, male artists relied largely on hearsay and imagination, populating opulently decorated interiors with luxuriant odalisques, or female slaves or concubines (many with Western features), reclining in the nude or in Oriental dress. Jean-Auguste-Dominique Ingres (1780–1867) never traveled to the East, but used the harem setting to conjure an erotic ideal in his voluptuous odalisques. Beyond their implicit eroticism, harem scenes evoked a sense of cultivated beauty and pampered isolation to which many Westerners aspired
and somehow you'e from Afghanistan?



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