Odalisque

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Maria Fortuny - The Odalisque Maria Fortuny - The Odalisque - Google Art Project.jpg
Marià FortunyThe Odalisque

An odalisque (Turkish : odalık / اوطه‌لق ) was a chambermaid or a female attendant in a Turkish seraglio, particularly the court ladies in the household of the Ottoman sultan.

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Etymology

Odalisque painted by Jules Joseph Lefebvre (1874) Odalisque.jpg
Odalisque painted by Jules Joseph Lefebvre (1874)

The word "odalisque" is French in form and originates from the Turkish odalık, meaning "chambermaid", from oda, "chamber" or "room". It can also be transliterated odahlic, odalisk, and odaliq.

Joan DelPlato has described the term's shift in meaning from Turkish to English and French:

The English and French term odalisque (rarely odalique) derives from the Turkish 'oda', meaning "chamber"; thus an odalisque originally meant a chamber girl or attendant. In western usage, the term has come to refer specifically to the harem concubine. By the eighteenth century the term odalisque referred to the eroticized artistic genre in which a nominally eastern woman lies on her side on display for the spectator. [1]

Origin as the Turkish odalık

Odalisque with an orange by Angelique Begue (2014) Odalisque with an orange.JPG
Odalisque with an orange by Angélique Bègue (2014)
Karen LaMonte "subverted the tradition of the Odalisque" in her Nocturne series of sculptures. Karen LaMonte - Nocturnes - Cast Glass - Glasstress 2017.jpg
Karen LaMonte "subverted the tradition of the Odalisque" in her Nocturne series of sculptures.

An odalik was a maid that tended to the harem, but she could eventually become a concubine. She was ranked at the bottom of the social stratification of a harem, serving not the man of the household, but rather, his concubines and wives as personal chambermaids. Odalık were usually slaves given as gifts to the sultan by wealthy Turkish men. Generally, an odalık was never seen by the sultan but instead remained under the direct supervision of his mother, the Valide Sultan.

If an odalık was of extraordinary beauty or had exceptional talents in dancing or singing, she would be trained as a possible concubine. If selected, an odalık trained as a court lady would serve the sultan sexually and only after such sexual contact would she change in status, becoming thenceforth one of the consorts of the sultan.

Later Western usage of the term

W. S. Gilbert refers to the "Grace of an odalisque on a divan" in Colonel Calverley's song "If You Want A Receipt For That Popular Mystery" from the Gilbert and Sullivan opera Patience.

In popular use, the word odalisque also may refer to a mistress, concubine or paramour of a wealthy man.

During the 19th century, odalisques became common fantasy figures in the artistic movement known as Orientalism, being featured in many erotic paintings from that era.

By the later 19th century, Turkish writers such as Melek Hanum used the word odalisque to refer to slave-concubines when writing in English:

If any lady possesses a pretty-looking slave, the fact soon gets known. The gentlemen who wish to buy an odalisque or a wife, make their offers. Many Turks, indeed, prefer to take a slave as a wife, as, in such case, there is no need to dread fathers, mothers, or brothers-in-law, and other undesirable relations. [2]

In 2011, the Law Society of British Columbia brought a discipline hearing against an unnamed lawyer for referring to another lawyer's client as living with an odalisque. The Law Society found the use of the word, though an extremely poor choice, did not rise to the level of professional misconduct. [3]

Contemporary sculptor Karen LaMonte referenced the term Odalisque when describing her Nocturnes, a series of life-sized sculptures that depict evening dresses with the wearer absent. "I subverted the tradition of the Odalisque—the idealized recumbent female nude—by taking away the body," LaMonte said. [4]

A Reclining Odalisque, painted by Gustave Leonard de Jonghe, c. 1870 Gustave Leonard de Jonghe - The Afternoon Siesta.jpg
A Reclining Odalisque, painted by Gustave Léonard de Jonghe, c. 1870

See also

Related Research Articles

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References

  1. DelPlato, Joan (2002). Multiple Wives, Multiple Pleasures: Representing the Harem, 1800–1875. Fairleigh Dickinson University Press. p. 9. ISBN   0838638805.
  2. Hanum, Melek (1872). Thirty years in the harem. Chapman and Hall. p. 159.
  3. The Law Society of British Columbia: "Decision of the Hearing Panel on Facts and Determination"
  4. "Gerald Peters Gallery". www.gpgallery.com. Retrieved 2020-02-19.

Sources