Oriental - Blog Posts
“Ryotanji Temple gardens, Hamamatsu / Japan .â€
Enclosed Living Room New York Inspiration for a small timeless enclosed dark wood floor living room library remodel with yellow walls, no fireplace and no tv
Commissioned works
https://kre.pe/AXUM
Cool OCs commissioned work
Another commissioned OCs
We liked a lot the skins of this year's Lunar Festival ... but unfortunately we not found Widowmaker T.T Never mind, we hope to find something nice in the Archives of this days. Best wishes to you too ;P Here's our digital painting Fanart made in Corel Painter, hope you like!
— 🗯️ 私は日本が大好きです。
Japan is the promised land I wish to inhabit . . . キ
Orientalist Paintings
Jean-Léon Gérôme - The Carpet Merchant
Jean Leon Gerome - Pelt Merchant of Cairo
Frederick Arthur Bridgman - An Afternoon in Algiers
Osman Hamdi Bey - Islam Priest Reading Qura'an
John Frederick Lewis - The Midday Meal, Cairo
Ludwig Deutsch - The Tribute
Frederick Arthur Bridgman - The Messenger, 1879
Jean-Léon Gérôme - The Harem in the Kiosk, 1870
Frederick Arthur Bridgman - In The Souk, Tunis (1874)
Jean-Léon Gérôme - Prayer in the Mosque
John Frederick Lewis - The Kibab Shop
(The Reception) by John Frederick Lewis
Frederick Arthur Bridgman - Return from the Festival, Algiers
Gustav Bauernfeind - Forecourt of the Ummayad Mosque
Ludwig Deutsch - At Prayer (1923)
Frederick Arthur Bridgman - Young Woman On A Terrace
John Frederick Lewis - The Harem 1841
Ludwig Deutsch - The Qanun Player
Rudolf Ernst - The Carpet Seller
Martinus Rørbye - outside the Kilic Ali Pasha Mosque
Léon-Auguste-Adolphe Belly - Pilgrims going to Mecca
Amedeo Simonetti - The Rug Merchant
Eugène Fromentin - Windstorm
Jean Leon Gerome - The Whirling Dervish
Giulio Rosati - The Dance
Jean Discart - The Pottery Studio Tangiers
Osman Hamdi Bey - Young Woman Reading
Tales From A Reading Room
Transport yourself back in the days of the Nabateans on their Spice route or Marco Polo on the Silk Road. Here on both of these incredible roads is how traders, merchants, nomads and royals would move spices, silks, silver, incense to and from faraway lands . This is what Australian designer Camilla Franks collection Tales from A Reading Room makes me dream of the weaving of storytelling from all these journeys. Ancient mystical nomads on their caravans adorning themselves as they cross over foreign lands and cultures.
Camilla Frank has captured it so well, the colours, the styling, the jewels , having grown up in Theatre herself she would transform her own costumes to give life into them. Doing this manifested into a whole line of Kaftans and from there she expanded into home ware, jewellery, accessories, children's line and more. A Modern Nomadic Merchant.
Her online shop is full of merchandise but sadly they only deliver in Australia and where she has a whole list of boutiques. For ther rest of the world there is stockist list on the site.
I want the whole package must be my multi cultural blood. xo
All images sourced via Camilla
Belly Dancing
NO. 1
The art of belly dancing is a Middle Eastern practice that has, over time, gravitated towards Western white American women. The way American women dance is this is a ‘glamorization’, and more focused on the power of reception, rather than cultivating it and respecting the practice. Originally, belly dancing is based on ancient folk and social dances in North African and Middle Eastern countries, particularly Egypt and Turkey. The dance is characterized by various hip, torso, shoulder, and chest movements. ‘‘The images projected by Westerners in the performance of belly dance and other forms of oriental dance raise the thorny issue of orientalism. The vocabulary of the dance and its position within the framework of the West, especially the United States, as ‘other’ provides an ‘empty’ location, as in ‘not part of my culture’, for the construction of exotic new fantasy identities. At the same time, as a repository of media stereotypes and thus Western fantasies of women, it also provides physical images via the femme fatale which the (generally female) dance emulates in order to play an assertive sexual role in a male-dominated Western society.’’
NO. 2
Of course, here in the West, its meaning has changed, especially in America when gained popularity over 100 years ago when ‘dancing girls’ from different countries showcased in Chicago’s World Fair. ‘‘Because of the movements of body parts, such as the stomach, that were expected to be tightly constrained during the Victorian era, controversy surrounded these performers, and belly dance became associated with burlesque, stripping and prostitution. Despite perceptions of belly dancing being associated with sex work, the dance has a variety of meanings for participants, like spiritual, communal, and feminine qualities. For most dancers in the United States, the dance is a form of leisure. Leisure is a voluntary activity that people pursue with a positive state of mind during their free time. For many dancers, belly dance is an enjoyable form of recreation, rather than a primary source of income. Women in most large and mid-size cities around the country take belly dance classes at studios, gyms, and recreation centers.’’
NO. 3
Belly dancing is a key icon of the Middle East and is a site for performing and interpreting. It is appealing because it expresses ‘imperial feelings’, or the complexity of psychological and political belonging to an empire that is often unspoken, sometimes subconscious, but always present, the ‘habits of heart and mind’ that infuse and accompany structures of difference and domination. We can call on U.S imperialism as an example, as it rests as a multicultural nationalism. Belly dancing has become a ‘‘site for staging a New Age feminism and liberal Orientalist perspective on Arab and Muslim women, illustrating what Edward Said called, ‘new-Orientalism’ of the present moment. Orientalism continues to be a deeply appealing, binary frame for imagining the ‘West’ in opposition to the ‘Orient’, or to the East—a Western style for dominating, restructuring, and having authority over the Orient’, through the production of an 'idea that has a history and tradition of thought, imagery, and vocabulary that has given it a reality and presence in and for the West.’’
