| This article is part of the series on Eastern culture |
| Eastern Culture, Society, Philosophy, Medicine Religion |
| Asian art, culture, |
| China, Philippines, India, Japan, Vietnam |
| Ayyavazhi, Taoism, Confucianism, Buddhism, Hinduism, Shintoism, Sikhism |
| West/East distinction Eastern world, The Orient, Orientalism |
Orientalism is the study of Near and Far Eastern societies and cultures by Westerners. It can also refer to the imitation or depiction of aspects of Eastern cultures in the West by writers, designers and artists.
In the former meaning the term is becoming obsolete, increasingly being used only to refer to the study of the East by Americans and Europeans shaped by the attitudes of the era of European Imperialism in the 18th and 19th centuries. Because of this, the term Orientalism has come to acquire negative connotations in some quarters, implying old-fashioned and prejudiced outsider interpretations of Eastern cultures and peoples. This viewpoint was most famously articulated by Edward Said in his book Orientalism (1978). In the book he was critical of the work of modern scholars including Princeton Professor Bernard Lewis.
In English, when used with a racial meaning, oriental is usually a Synonym for "Mongoloid East Asian", excluding Indians, Arabians and other more westerly peoples. This can cause some confusion about the historical scope of Oriental studies. In France, the terms "Orient" and "Orientals" refer primarily to the Middle East and North Africa. In Britain, Australia, New Zealand, and the Americas, the term Orient usually refers to East Asia. These differences in usage reflect divergent geographies, patterns of immigration, and/or colonial histories.
In the 18th century Enlightenment thinkers sometimes characterised aspects of Eastern cultures as superior to the Christian West. For example Voltaire promoted research into Zoroastrianism in the belief that it would support a rational Deism superior to Christianity. Others praised the religious tolerance of Islamic countries in contrast with the Christian West, or the status of scholarship in Mandarin China. With the translation of the Avesta by Abraham Anquetil-Duperron and the discovery of the Indo-European languages by William Jones complex connections between the early history of Eastern and Western cultures emerged. However, these developments occurred in the context of rivalry between France and Britain for control of India, and were associated with attempts to understand colonised cultures in order more effectively to control them. Liberal economists such as James Mill denigrated Eastern countries on the grounds that their civilizations were static and corrupt. Even Karl Marx characterised the "Asiatic mode of production" as unchanging. Christian evangelists sought to denigrate Eastern religious traditions as superstitions (see Juggernaut).
Despite this, the first serious European studies of Buddhism and Hinduism were undertaken by scholars such as Eugene Burnouf and Max Müller. By the mid-19th century "Oriental studies" was becoming an established academic discipline. However, while scholarly study expanded, so did racist attitudes and popular stereotypes of "inscrutable" and "wily" orientals. Often scholarly ideas were intertwined with such prejudicial racial or religious assumptions. Eastern art and literature were still seen as "exotic" and as inferior to Classical Graeco-Roman ideals. Their political and economic systems were generally thought to be feudal "oriental despotisms" and their alleged cultural inertia was considered to be resistant to Progress. Many critical theorists regard this form of Orientalism as part of a larger, ideological Colonialism justified by the concept of the "white man's burden".
Similar ambivalence is evident in art and literature. From the Renaissance to the 18th century Western designers attempted to imitate the technical sophistication of Chinese ceramics with only partial success. Chinoiserie is the catch-all term for the fashion for Chinese themes in decoration in Western Europe, beginning in the late 17th century and peaking in waves, especially Rococo Chinoiserie, ca 1740-1770. Early hints of Chinoiserie appear, in the 17th century, in the nations with active East India Companies, Holland and England. Tin-glazed pottery made at Delft and other Dutch towns adopted genuine blue-and-white Ming decoration from the early 17th century, and early ceramic wares at Meißen and other centers of true Porcelain imitated Chinese shapes for dishes, vases and teawares (see Chinese export porcelain). But in the true Chinoiserie décor fairyland, mandarins lived in fanciful mountainous landscapes with cobweb bridges, carried flower parasols, lolled in flimsy bamboo pavilions haunted by dragons and phoenixes, while monkeys swung from scrolling borders.
Pleasure pavilions in "Chinese taste" appeared in the formal parterres of late Baroque and Rococo German palaces, and in tile panels at Aranjuez near Madrid. Thomas Chippendale's mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, ca 1753 - 70, but sober homages to early Xing scholars' furnishings were also naturalized, as the tang evolved into a mid- Georgian side table and squared slat-back armchairs suited English gentlemen as well as Chinese scholars. Not every adaptation of Chinese design principles falls within mainstream "chinoiserie." Chinoiserie media included imitations of lacquer and painted tin (tôle) ware that imitated japanning, early painted wallpapers in sheets, and ceramic figurines and table ornaments. Small pagodas appeared on chimneypieces and full-sized ones in gardens. Kew has a magnificent garden pagoda designed by Sir William Chambers.
After 1860, Japonaiserie, sparked by the arrival of Japanese woodblock prints, became an important influence in the western arts. The paintings of James McNeill Whistler and his "Peacock Room" are some of the finest works of the genre; other examples include the Gamble House and other buildings by California architects Greene and Greene.
Depictions of Islamic Moors can be found in Medieval and Renaissance art, but it was not until the 19th century that "Orientalism" in the arts became an established theme. In these works the myth of the Orient as exotic and corrupt is most fully articulated. Such works typically concentrated on Near-Eastern Islamic cultures. Artists such as Eugène Delacroix and Jean-Léon Gérôme painted many depictions of Islamic culture, often including lounging odalisques, and stressing lassitude and visual spectacle. When Jean Auguste Dominique Ingres, director of the French Académie de peinture painted a highly-colored vision of a Turkish bath (illustration, right), he made his eroticized Orient publicly acceptable by his diffuse generalizing of the female forms, who might all have been of the same model. If his painting had simply been retitled "In a Paris Brothel," it would have been far less acceptable. Sensuality was seen as acceptable in the exotic Orient. This Orientalizing imagery persisted in art into the early 20th century, as evidenced in Matisse's orientalist nudes. In these works the "Orient" often functions as a mirror to Western culture itself, or as a way of expressing its hidden or illicit aspects. In Gustave Flaubert's novel Salammbô ancient Carthage in North Africa is used as a foil to ancient Rome. Its culture is portrayed as morally corrupting and suffused with dangerously alluring eroticism. This novel proved hugely influential on later portrayals of ancient Semitic cultures.
Taking a comparative and historical literary review of European scholars and writers looking at, thinking about, talking about, and writing about the peoples of the Middle East, Said sought to lay bare the relations of power between the colonizer and the colonized in those texts. Said's writings have had far-reaching implications beyond area studies in Middle East, to studies of imperialist Western attitudes to India, China and elsewhere. It was one of the foundational texts of postcolonial studies. Said later developed and modified his ideas in his book Culture and Imperialism (1993).
Many scholars now use Said's work to overturn long-held, often taken-for-granted Western ideological biases regarding non-Westerners in scholarly thought. Some post-colonial scholars would even say that the West's idea of itself was constructed largely by saying what others were not. If "Europe" evolved out of "Christendom" as the "not-Byzantium," early modern Europe in the late 16th century (see Battle of Lepanto) certainly defined itself as the "not-Turkey."
Said puts forward several definitions of Orientalism in the introduction to Orientalism. Some of these have been more widely quoted and influential than others:
Opponents offer various political explantions for the change. They point to a growing number of professional scholars and students of East Asian Studies are Asian Americans, especially Chinese Americans, Japanese Americans, and Korean Americans. This change of labelling may be correlated in some cases to the fact that sensitivity to the term "Oriental" has been heightened in a more politically correct atmosphere, although it began earlier: Sir Bernard Lewis' own department at Princeton University was renamed a decade before Said wrote his book, a detail which Said gets wrong. By some, the term "Oriental" has come to be thought offensive to non-Westerners. Area studies that incorporate not only philological pursuits but Identity politics may also account for the hestitation to use the term "Oriental".
Supporters of "Oriental Studies" counter that the term "Asian" is just as encompassing as "Oriental" and may well have originally had the same meaning, if it were derived from an Akkadian word for "East" (a more common derivation is from one or both of two Anatolian proper names.). Replacing one word with another is to confuse historically objectional opinions about the East with the concept of "the East" itself. The terms Oriental/Eastern and Occidental/Western are both inclusive concepts that usefully identify large-scale cultural differences. Such general concepts do not preclude or deny more specific ones.
[image]In contrast, some Eastern artists adopted and adapted Western styles. The Indian painter Ravi Varma painted several works that are virtually indistinguishable from some Western Orientalist images. In the late 20th century many Western cultural themes and images began appearing in Asian art and culture, especially in Japan. English words and phrases are prominent in Japanese advertising and popular culture, and many Japanese animes are written around characters, settings, themes, and mythological figures derived from various Western cultural traditions.
Recently, the term Occidentalism has been coined to refer to negative views of the Western world sometimes found in Eastern societies today.