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Oryantalist Resimlerde Müslüman Kadın Temsilinin Eleştirisi: Lalla Essaydi ve Oryantalizmin Yeniden Yorumlanması

Yıl 2022, Cilt: 22 Sayı: 1, 168 - 181, 30.06.2022
https://doi.org/10.30627/cuilah.1090454

Öz

The Edward Said, Batı'nın her zaman Doğu'ya karşı önyargılı olduğunu savunmuştur. Doğu hakkında Batıdaki görüşler büyük ölçüde 19. yüzyıl sanat eserlerinde Avrupalılar tarafından geliştirilen ve çoğunlukla da sanat yoluyla yayılan ön yargılara dayanmaktadır. Lalla Essaydi, hazırlamış olduğu fotoğraf serilerinde Müslüman kültürü ile ilgili Batılı, özellikle klasik oryantalist sanat eserlerinde öne çıkan ön yargılara meydan okur ve Müslüman dünyasında kadın kimliği sorununa yönelik yeni bir bakış açısı ortaya koyar. Oryantalist resimleri farklı açılardan inceleyen bazı araştırmalar olsa da çok az araştırma Müslümanların 19. yüzyıl Oryantalist resimlerindeki temsiline odaklanıp, çağdaş sanat çalışmaları ile karşılaştırmalı olarak analiz etmektedir. Bu çalışmada, Müslüman kadının Oryantalist sanattaki temsili ve bu temsilin Essaydi tarafından nasıl eleştirildiği ve bu eserleri yeniden yorumlanma biçimleri ele alınmıştır. Bu iki farklı dönem sanat eserlerinin mukayesesi kadın kimliği algısının yıllar içinde değiştiğini göstermektedir. Oryantalist resimde peçe/başörtüsü bir egzotizm nesnesi olarak kabul edilip örtülü Ortadoğulu kadınlar baskı altında ve mistik bir dünyanın parçası olarak görülürken, Essaydi yer yer eleştirirse de tesettürü muhafazakarlığın sembolü olarak çalışmalarında kullanmıştır. Onun çalışmalarında kadınlar oryantalist eserlerde olduğu gibi erkek fantezilerinin bir parçası değil, gerçek dünyaya ait, yaşayan birer birey olarak sembolize edilmiştir.

Kaynakça

  • Bailey, A. D., & Tawadros, G. (2003). Introduction. In D. A. Bailey & G. Tawadros (Eds.), Veil: Veiling, Representation and Contemporary Art (pp. 16–40). The MIT Press.
  • Bartkowski, J. P., & Read, J. G. (2003). Veiled Submission: Gender, Power, and Identity Among Evangelical and Muslim Women in the United States. Qualitative Sociology, 26(1), 71–92.
  • Brooks, S. T. (2014). Introduction. In S. T. Brooks (Ed.), The Photography of Lalla Essaydi: Critiquing and Contextualizing Orientalism (pp. 8–16). James Madison University.
  • Buhmann, S. (2007). Lalla Essaydi: Les Femmes du Maroc. The Brooklyn Rail. Retrieved from https://brooklynrail.org/2007/12/artseen/les-femmes-du-maroc
  • Carlson, A. (2004). Interview with Lalla Essaydi. In L. Essaydi & A. Carlson (Eds.), Converging Territories. ProweHouse Book.
  • Carlson, A. (2005). Leaving One’s Mark: The Photographs of Lalla Essaydi. In L. Essaydi & A. Carlson (Eds.), Converging Territories. ProweHouse Book.
  • Chun, K. (2011). Lalla Essaydi: diagram of a harem, emotions too. SFGATE. Retrieved from https://www.sfgate.com/art/article/Lalla-Essaydi-diagram-of-a-harem-emotions-too-2328641.php
  • Davies, K. (2005). The Orientalists: Western artists in Arabia, the Sahara, Persia & India. New York: Laynfaroh. Denny, W. B. (1983). Orıentalısm In European Art. The Muslim World, 73(3–4), 262–277. https://doi.org/0.1111/j.1478-1913.1983.tb03268.x
  • Ehrenpreis, D. (2014). Reclaiming The Harem: Lalla Essaydi and The Orientalist Tradıtıon in European Painting. In S. T. Brooks (Ed.), The Photography of Lalla Essaydi: Critiquing and Contextualizing Orientalism (pp. 58–64). James Madison University.
  • Esposito, J. (2003). The Oxford Dictionary of Islam. Oxford University Press.
  • Essaydi, L. (2005). Lalla Essaydi. In Converging Territories. ProweHouse Book.
  • Essaydi, L. (2009). Artist Statement. In Les Femmes du Maroc. New York: Edwynn Houk Gallery and PowerHouse Books.
  • Gole, N. (1996). The Forbidden Modern: Civilization and Veiling. Ann Arbor: University of Michigan Press.
  • Inglis, D. (2005). Thinking “art” sociologically. In D. Inglis & J. Hughson (Eds.), The Sociology of Art: Ways of Seeing (pp. 11–29). New York: Palgrave Macmillan.
  • Lemaire, G.-G. (2000). The Orient in Western Art. Konemann.
  • Lewis, R. (2004). Rethinking Orientalism: Women, Travel and the Ottoman Harem. New Jersey: Rutgers University Press.
  • Ma, L. (2012). The Real and Imaginary Harem: Assessing Delacroix’s Women of Algiers as an Imperialist Apparatus. Penn History Review, 19(1), 9–26.
  • MacKenzie, J. M. (1995). Orientalism: History, Theory, and the Arts. Manchester.: Manchester University Press.
  • Mernissi, F. (1987). Beyond the Veil. Bloomington: Indiana University Press.
  • Moghadam, M. (2005). Is Gender Inequality in Muslim Societies a Barrier to Modernization and Democratization? In S. Hunter & H. Malik. (Eds.), Modernization, Democracy, and Islam. Westport, Conn: Praeger Publishers.
  • Muller, N. (2009). Contemporary Art in the Middle East. In P. Sloman (Ed.), Contemporary Art in the Middle East: Art World. London.
  • O’Sullivan, S. (2010). Lalla Essaydi. Color Magazine. Retrieved from http://lallaessaydi.com/news/PDFS/Articles/Essaydi_Profile.pdf
  • Read, J. G. (2003). The Source of Gender Role Attitudes among Christian and Muslim Arab-American Women. Sociology of Religion, 64(2), 207–222.
  • Roberts, M. (2002). Contested Terrains: Women Orientalists and the Colonial Harem. In J. Belulieu & M. Roberts (Eds.), Orientalism’s Interlocutors: Painting, Architecture, Photography. Duke University Press.
  • Roberts, M. (2007). Intimate outsiders: the Harem in Ottoman and Orientalist Art and Travel Literature. Durham: Duke University Press.
  • Said, E. (1978). Orientalism. New York: Pantheon Books.
  • Sloman, P. (2009). Contemporary art in the Middle East. London: Black Dog.
  • Thipphawong, L. (2021). Art Theory: Semiotics. Retrieved from ARTS HELP website: https://www.artshelp.net/art-theory-semiotics/
  • Tromans, N., & Kabbani, R. (2008). The Lure of the East: British Orientalist painting. New Haven, CT: Yale University Press.
  • Uzunoğlu, M. (2018). Batı Resminde “Doğu” İmgesinin Oluşmasına Aracılık Eden Kadın Temsilleri. Sanat ve Tasarım Dergisi, (21), 223–243.
  • Waterhouse, R. (2009). Lalla Essaydi -an Interview. Nka Journal of Contemporary African Art, 24, 144–149. Retrieved from https://www.muse.jhu.edu/article/422813

CRITIQUE OF THE REPRESENTATION OF MUSLIM WOMEN IN ORIENTALIST PAINTINGS: LALLA ESSAYDI AND THE RECONTEXTUALIZATION OF ORIENTALISM

Yıl 2022, Cilt: 22 Sayı: 1, 168 - 181, 30.06.2022
https://doi.org/10.30627/cuilah.1090454

Öz

Edward Said argues that the West has always been biased toward the East. The opinions about the East are largely based on stereotypes developed in 19th-century artwork and disseminated by Europeans mostly through art. In her photographic works, Lalla Essaydi challenges these Western stereotypes of Muslim culture and offers a new perspective on issues of female identity in the Muslim world. Although there is some research that examines Orientalist paintings from different perspectives, a few studies focus on the representation of Muslims in 19th century Orientalist paintings and analyze them in comparison with contemporary artworks. This study discusses the representation of Muslim women in Orientalist art and the ways in which this representation is critiqued and restaged by Essaydi. The comparison of the two artworks shows that the perception of female identity has changed over the years. Whereas in Orientalist painting the veil was considered an object of exoticism and veiled Middle Eastern women are seen as oppressed and part of a mystical world, in Essaydi's works the veil is the symbol of modesty and women are symbolized as individuals from the real world rather than part of a male fantasy.

Kaynakça

  • Bailey, A. D., & Tawadros, G. (2003). Introduction. In D. A. Bailey & G. Tawadros (Eds.), Veil: Veiling, Representation and Contemporary Art (pp. 16–40). The MIT Press.
  • Bartkowski, J. P., & Read, J. G. (2003). Veiled Submission: Gender, Power, and Identity Among Evangelical and Muslim Women in the United States. Qualitative Sociology, 26(1), 71–92.
  • Brooks, S. T. (2014). Introduction. In S. T. Brooks (Ed.), The Photography of Lalla Essaydi: Critiquing and Contextualizing Orientalism (pp. 8–16). James Madison University.
  • Buhmann, S. (2007). Lalla Essaydi: Les Femmes du Maroc. The Brooklyn Rail. Retrieved from https://brooklynrail.org/2007/12/artseen/les-femmes-du-maroc
  • Carlson, A. (2004). Interview with Lalla Essaydi. In L. Essaydi & A. Carlson (Eds.), Converging Territories. ProweHouse Book.
  • Carlson, A. (2005). Leaving One’s Mark: The Photographs of Lalla Essaydi. In L. Essaydi & A. Carlson (Eds.), Converging Territories. ProweHouse Book.
  • Chun, K. (2011). Lalla Essaydi: diagram of a harem, emotions too. SFGATE. Retrieved from https://www.sfgate.com/art/article/Lalla-Essaydi-diagram-of-a-harem-emotions-too-2328641.php
  • Davies, K. (2005). The Orientalists: Western artists in Arabia, the Sahara, Persia & India. New York: Laynfaroh. Denny, W. B. (1983). Orıentalısm In European Art. The Muslim World, 73(3–4), 262–277. https://doi.org/0.1111/j.1478-1913.1983.tb03268.x
  • Ehrenpreis, D. (2014). Reclaiming The Harem: Lalla Essaydi and The Orientalist Tradıtıon in European Painting. In S. T. Brooks (Ed.), The Photography of Lalla Essaydi: Critiquing and Contextualizing Orientalism (pp. 58–64). James Madison University.
  • Esposito, J. (2003). The Oxford Dictionary of Islam. Oxford University Press.
  • Essaydi, L. (2005). Lalla Essaydi. In Converging Territories. ProweHouse Book.
  • Essaydi, L. (2009). Artist Statement. In Les Femmes du Maroc. New York: Edwynn Houk Gallery and PowerHouse Books.
  • Gole, N. (1996). The Forbidden Modern: Civilization and Veiling. Ann Arbor: University of Michigan Press.
  • Inglis, D. (2005). Thinking “art” sociologically. In D. Inglis & J. Hughson (Eds.), The Sociology of Art: Ways of Seeing (pp. 11–29). New York: Palgrave Macmillan.
  • Lemaire, G.-G. (2000). The Orient in Western Art. Konemann.
  • Lewis, R. (2004). Rethinking Orientalism: Women, Travel and the Ottoman Harem. New Jersey: Rutgers University Press.
  • Ma, L. (2012). The Real and Imaginary Harem: Assessing Delacroix’s Women of Algiers as an Imperialist Apparatus. Penn History Review, 19(1), 9–26.
  • MacKenzie, J. M. (1995). Orientalism: History, Theory, and the Arts. Manchester.: Manchester University Press.
  • Mernissi, F. (1987). Beyond the Veil. Bloomington: Indiana University Press.
  • Moghadam, M. (2005). Is Gender Inequality in Muslim Societies a Barrier to Modernization and Democratization? In S. Hunter & H. Malik. (Eds.), Modernization, Democracy, and Islam. Westport, Conn: Praeger Publishers.
  • Muller, N. (2009). Contemporary Art in the Middle East. In P. Sloman (Ed.), Contemporary Art in the Middle East: Art World. London.
  • O’Sullivan, S. (2010). Lalla Essaydi. Color Magazine. Retrieved from http://lallaessaydi.com/news/PDFS/Articles/Essaydi_Profile.pdf
  • Read, J. G. (2003). The Source of Gender Role Attitudes among Christian and Muslim Arab-American Women. Sociology of Religion, 64(2), 207–222.
  • Roberts, M. (2002). Contested Terrains: Women Orientalists and the Colonial Harem. In J. Belulieu & M. Roberts (Eds.), Orientalism’s Interlocutors: Painting, Architecture, Photography. Duke University Press.
  • Roberts, M. (2007). Intimate outsiders: the Harem in Ottoman and Orientalist Art and Travel Literature. Durham: Duke University Press.
  • Said, E. (1978). Orientalism. New York: Pantheon Books.
  • Sloman, P. (2009). Contemporary art in the Middle East. London: Black Dog.
  • Thipphawong, L. (2021). Art Theory: Semiotics. Retrieved from ARTS HELP website: https://www.artshelp.net/art-theory-semiotics/
  • Tromans, N., & Kabbani, R. (2008). The Lure of the East: British Orientalist painting. New Haven, CT: Yale University Press.
  • Uzunoğlu, M. (2018). Batı Resminde “Doğu” İmgesinin Oluşmasına Aracılık Eden Kadın Temsilleri. Sanat ve Tasarım Dergisi, (21), 223–243.
  • Waterhouse, R. (2009). Lalla Essaydi -an Interview. Nka Journal of Contemporary African Art, 24, 144–149. Retrieved from https://www.muse.jhu.edu/article/422813
Toplam 31 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Makaleler
Yazarlar

Ayşe Elmalı Karakaya 0000-0002-1477-191X

Yayımlanma Tarihi 30 Haziran 2022
Gönderilme Tarihi 20 Mart 2022
Yayımlandığı Sayı Yıl 2022 Cilt: 22 Sayı: 1

Kaynak Göster

APA Elmalı Karakaya, A. (2022). CRITIQUE OF THE REPRESENTATION OF MUSLIM WOMEN IN ORIENTALIST PAINTINGS: LALLA ESSAYDI AND THE RECONTEXTUALIZATION OF ORIENTALISM. Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (ÇÜİFD), 22(1), 168-181. https://doi.org/10.30627/cuilah.1090454
AMA Elmalı Karakaya A. CRITIQUE OF THE REPRESENTATION OF MUSLIM WOMEN IN ORIENTALIST PAINTINGS: LALLA ESSAYDI AND THE RECONTEXTUALIZATION OF ORIENTALISM. Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (ÇÜİFD). Haziran 2022;22(1):168-181. doi:10.30627/cuilah.1090454
Chicago Elmalı Karakaya, Ayşe. “CRITIQUE OF THE REPRESENTATION OF MUSLIM WOMEN IN ORIENTALIST PAINTINGS: LALLA ESSAYDI AND THE RECONTEXTUALIZATION OF ORIENTALISM”. Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (ÇÜİFD) 22, sy. 1 (Haziran 2022): 168-81. https://doi.org/10.30627/cuilah.1090454.
EndNote Elmalı Karakaya A (01 Haziran 2022) CRITIQUE OF THE REPRESENTATION OF MUSLIM WOMEN IN ORIENTALIST PAINTINGS: LALLA ESSAYDI AND THE RECONTEXTUALIZATION OF ORIENTALISM. Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (ÇÜİFD) 22 1 168–181.
IEEE A. Elmalı Karakaya, “CRITIQUE OF THE REPRESENTATION OF MUSLIM WOMEN IN ORIENTALIST PAINTINGS: LALLA ESSAYDI AND THE RECONTEXTUALIZATION OF ORIENTALISM”, Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (ÇÜİFD), c. 22, sy. 1, ss. 168–181, 2022, doi: 10.30627/cuilah.1090454.
ISNAD Elmalı Karakaya, Ayşe. “CRITIQUE OF THE REPRESENTATION OF MUSLIM WOMEN IN ORIENTALIST PAINTINGS: LALLA ESSAYDI AND THE RECONTEXTUALIZATION OF ORIENTALISM”. Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (ÇÜİFD) 22/1 (Haziran 2022), 168-181. https://doi.org/10.30627/cuilah.1090454.
JAMA Elmalı Karakaya A. CRITIQUE OF THE REPRESENTATION OF MUSLIM WOMEN IN ORIENTALIST PAINTINGS: LALLA ESSAYDI AND THE RECONTEXTUALIZATION OF ORIENTALISM. Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (ÇÜİFD). 2022;22:168–181.
MLA Elmalı Karakaya, Ayşe. “CRITIQUE OF THE REPRESENTATION OF MUSLIM WOMEN IN ORIENTALIST PAINTINGS: LALLA ESSAYDI AND THE RECONTEXTUALIZATION OF ORIENTALISM”. Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (ÇÜİFD), c. 22, sy. 1, 2022, ss. 168-81, doi:10.30627/cuilah.1090454.
Vancouver Elmalı Karakaya A. CRITIQUE OF THE REPRESENTATION OF MUSLIM WOMEN IN ORIENTALIST PAINTINGS: LALLA ESSAYDI AND THE RECONTEXTUALIZATION OF ORIENTALISM. Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (ÇÜİFD). 2022;22(1):168-81.

Correspondence Address
Cukurova University, Faculty of Theology, Balcali Campus, 01330, Saricam/Adana.