This study examines the definition and construction of the East through Western-centered discourses within the framework of Orientalism. While the language, history, sociology, and geography of the East are defined by the West, they are simultaneously othered.
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Within the repertoire of Orientalist paintings, harem life, which holds a magical mystery for Westerners, occupies an important place.\r\n\r\nThe formal origins of the exotic beauties in these paintings, set against an Eastern backdrop and wearing Eastern costumes,\r\n\r\nare based on the representations of Venus in the Western painting tradition.
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The West never looked at the East from the East itself. Ingres never went to a bathhouse, Gérôme never entered a harem, but both depicted those places in their paintings as if they were real for centuries. As is clearly seen in these two articles by Uzunoğlu and Kaya, Orientalism was not a matter of geography, but the imposition of a perspective.
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Koçak\'ın makalesi, hamam kültürünü somut kültür mirası üzerinden, yani hamamlarda kullanılan tekstil ürünleri (havlu, peştamal, bohça, tülbent, kese) üzerinden inceler.
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The most important contribution of this article is that it treats the Turkish bath not merely as an architectural structure or a place of hygiene, but as a carrier of social communication and cultural memory.
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A summary of Hayal Gür\'s article \"Contemporary Styles Influencing Turkish Painting,\" examining the historical development of Turkish painting, artistic movements, influential artist groups, and the evolution of modern Turkish art.
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