Posted on 10/06/2020 6:57:20 AM PDT by SJackson
And it's featured in pictures.
Tue Oct 6, 2020
Raymond Ibrahim, author of Sword and Scimitar, is a Shillman Fellow at the David Horowitz Freedom Center.
Last year, a political party in Germany provoked controversy when it used the following painting in its election campaign to illustrate one of the reasons it was against immigration.
Painted in France in 1866 and titled “Slave Market,” the painting was described as “show[ing] a black, apparently Muslim slave trader displaying a naked young woman with much lighter skin to a group of men for examination,” probably in North Africa.
The Alternative for Germany party (AfD) put up several posters of this painting with the slogan, “So that Europe won’t become Eurabia.” Many on both sides of the Atlantic were “triggered” by this usage; even the American museum where the original painting is housed sent AfD a letter “insisting that they cease and desist in using this painting” (even though it is in the public domain).
Objectively speaking, the “Slave Market” painting in question portrays a reality that has played out countless times over the centuries: African, Asiatic, and Middle Eastern Muslims have long targeted European women—so much so as to have enslaved millions of them over the centuries (see Sword and Scimitar for copious documentation).
As it happens, there is something else—another medium besides writing—that documents this reality: countless more paintings than the one in question concerning the abduction, trafficking, and sexual enslavement of European women; altogether they further underscore the ubiquity and notoriety of this phenomenon. Indeed, this was such a well-known theme that many nineteenth and early twentieth century artists and painters specialized in it, often based on their own eye-witness accounts. (As one art gallery puts it, “Many … of the most important painters did travel [to the Muslim world] themselves, and what they painted was based on the sketches they had made while they were there…)
Below are just 20 such paintings (there are many more). Aside from noting the artist’s name, year of painting, and, where possible, title—information which is often difficult to ascertain—I’ve limited my remarks to important asides and clarifications, mostly in the first few paintings, leaving the rest to speak for themselves. They follow.
“The Bulgarian Martyresses,” by Konstantin Makovsky, 1877. It depicts events from a year earlier, when Ottoman irregular soldiers (the so-called bashi-bazouks or “crazy heads”) raped and massacred the Christian women of Bulgaria and their children. American journalist MacGahan, who reported from Bulgaria, wrote the following of this incident: “When a Mohammedan has killed a certain number of infidels he is sure of Paradise, no matter what his sins may be.…[T]he ordinary Mussulman takes the precept in broader acceptation, and counts women and children as well…. the Bashi-Bazouks, in order to swell the count, ripped open pregnant women, and killed the unborn infants.”
“The Abduction of a Herzegovinian Woman,” by Jaroslav Čermák, 1861. From the museum’s official description: “Disturbing and extremely evocative, it depicts a white, nude [and pregnant?] Christian woman being abducted from her village by the Ottoman mercenaries who have killed her husband and baby.”
“The Abduction,” by Eduard Ansen-Hofmann (1820-1904).
“The Slave Market,” by Otto Pilny, 1910.
“Abducted,” by Eduard Ansen-Hofmann (1820–1904).
“Namona,” by Henri Tanoux, 1883.
“The Bitter Draught of Slavery,” by Ernest Norman, 1885.
“A New Arrival,” by Giulio Rosati (1858–1917).
“The New Slave Girl,” by Eduard Ansen-Hofmann (1820-1904).
“Examining Slaves,” by Ettore Cercone, 1890.
“Slave Dealer,” by Otto Pilny, 1919.
“Slave Market,” by Eduard Ansen-Hofmann, 1900.
“Slave Trade Negotiations,” by Fabio Fabbi (1861-1946).
“White Slavery in the East—Going to the Slave Market,” by Harper’s Weekly, April 1875.
“New Arrival,” by Eduard Ansen-Hofmann (1820-1904).
“The Serbian Concubine,” by Jean-Joseph Benjamin-Constant, 1876.
“Slave Market,” by Émile Jean-Horace Vernet, 1836.
“Slave Market,” by Jean-Leon Gerome, 1871.
“Harem Captive,” by Eisenhut Ferencz, 1903.
“Scene from the Harem,” by Fernand Cormon, 1877.
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On the other hand, like wars, it appears to have inspired a great deal of fine art, mostly by western artists.
“Islam is a religion of peace.”
W
I Want Reparations.
Show those pictures to a random 20 year old Swedish woman, and she would probably be tempted to start touching herself. Every pro-refugee march is wildly overpopulated with single young women.
Islam’s history of slavery continues right up to the present day. It will not be defeated with feminism and gay rights.
I’m sure this was just muslim propaganda to cover for their penchant for little boys................
Interesting art history lesson that I hadn’t considered before.
What’s changed?
Shown here is only the tip of the iceberg.
Thanks for posting. Great work by Raymond Ibrahim per usual. And that’s not all...
If you like YOUR civilization you can keep YOUR civilization. You’re welcome to visit ours. If you want to stay? GET IN LINE. What about yours? Reciprocity?
HOORAY POTUS
Right Berrie O Bozo? BIG MIKE? (oh and nice thesis in college...I finally got around to reading it yesterday. Thanks, Spengler)
GREAT architecture, I must say...
1,2,3...1,2,3...1,2,3...1,2,3...
https://www.youtube.com/watch?v=HWghTVdDGDM
more...
https://www.youtube.com/watch?v=N9V4GOJZHhc
Beautiful architecture...the symmetry...of asymmetric warriors...how split your mind can get. Who split your mind?
Right “we came we saw he died” Hillary?
How’s Humallah Abedin doing? How’s CGI? Got enough moolah? Sowwy.
Read their mind...
https://securitypolicylaw.syr.edu/wp-content/uploads/2013/03/MyersJoseph.Quranic-Concept-of-War.pdf
This thread is useful with pictures. Thanks!
ACKmed Porn
“Slaves Lives Matter”. SLM. Nice slogan for signs and chants at protest rallies.
Along with banning images of the prophet, Islam bans or at least discourages images of humans or animals. Fine architecture, decorative work, tiles and such, calligraphy. Paintings often concentrating on buildings. Interestingly not much religious art for an expansive religion. In the modern day, t shirts too.
For anyone that’s interested, Heinryk Sienkiewicz wrote a series of historical novels with very in depth descriptions of kidnappings and Turkish slave markets.
With Fire and Sword and The Deluge are two of them.
Interesting obsession with exposing the female body from people who insist on covering them up head to toe.
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