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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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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The spatial construction of miniature art offers a radical alternative to the linear-perspective tradition that is the cornerstone of Western painting and that confines the viewer to a single point of view. The two-dimensional, surface-based view of space preferred in this art is not a rejection of depth out of technical inability, but rather a conscious philosophical choice grounded in the understanding of being in Eastern and Islamic thought.
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