Turkish image as the others represantation in oiantalist paintings

This thesis was conducted in order to investigate how Orientalist painters describe the Turkish/Ottoman image they chose as the subject of their works. The discipline of Orientalism, whose existence can be traced back as far as the existence of the East and the West, is basically based on a struggle for dominance and conflict that is thought to prevail between the East and West worlds. Although Orientalism/Orientalism studies, in the sense used today, initially emerged as an academic discipline to explore the East and the Islamic world, it has changed over time and is reflected in the paintings made by the Orientalists as well as their writings in their travel books. Although orientalist paintings were used as a tool for the west to discover the east, an "imaginary east" image was created in the paintings without going to the east and seeing the east over time. The Turkish image, which is one of the most frequently discussed topics in social life by Orientalist artists in the created imaginary east, has emerged as a new reality depending on the subconscious approaches of the artists while representing a social reality. These images, created through the subjective attitudes of the Western artist, are built on the existence of two different representations as subject and object or "center" and "other." This issue, in which the discourse and practice of orientalism is handled through the Turkish image, was first discussed conceptually and later on. In particular, the Turks, who are treated and depicted as othering in orientalist paintings, are classified as "Barbarian/Terrible, Lazy/idle, Ignorant, Muslim, Sensual/Essentials and analyzed within the scope of Said's implicit orientalism philosophical thought. It is understood that the Turkish image depicted in orientalist paintings caused a negative formation and settlement in the West.