odalisque

简明释义

英[ˈəʊdəlɪsk]美[ˈoʊdəˌlɪsk]

n. 宫女；女奴隶

英英释义

单词用法

同义词

反义词

例句

1.South Korea : South Korea odalisque changing the game on Palace Lane odalisque, although smaller than the odalisque our buttiful, but t Large crowds are drawn there every day.

韩国宫女更衣游戏介绍：韩国皇宫里的宫女，虽然比不上咱们的宫女漂亮，但是也还不错啦。

2.South Korea : South Korea odalisque changing the game on Palace Lane odalisque, although smaller than the odalisque our buttiful, but t Large crowds are drawn there every day.

韩国宫女更衣游戏介绍：韩国皇宫里的宫女，虽然比不上咱们的宫女漂亮，但是也还不错啦。

3.Odalisque b: But how can we have the black hair do?

宫女乙：那怎样才能有一头乌黑的头发呢？

4.The painting depicted a beautiful odalisque, reclining on a lavish couch, embodying exotic beauty.

这幅画描绘了一位美丽的odalisque，懒洋洋地靠在华丽的沙发上，体现了异国情调的美。

5.In the story, the prince fell in love with an odalisque who captured his heart with her grace.

在这个故事中，王子爱上了一位odalisque，她以优雅的姿态俘获了他的心。

6.The artist was inspired by the image of an odalisque and created a series of stunning portraits.

这位艺术家受到odalisque形象的启发，创作了一系列惊艳的肖像画。

7.She dressed as an odalisque for the costume party, complete with flowing fabrics and intricate jewelry.

她为化妆舞会打扮成一位odalisque，身穿流动的面料和精致的首饰。

8.The film featured a scene in a harem where the odalisque entertained the sultan.

电影中有一个场景，在后宫中，odalisque为苏丹表演娱乐。

作文

The term odalisque, derived from the Turkish word 'odalık', refers to a female slave or concubine in a harem, particularly in the context of the Ottoman Empire. Historically, odalisques were often depicted in art and literature as symbols of beauty and sensuality, embodying the exotic allure of Eastern cultures. Their representation in Western art, especially during the 19th century, sparked fascination and curiosity among European audiences. Artists such as Jean-Auguste-Dominique Ingres and Henri Matisse famously portrayed odalisques in their works, capturing both the physical beauty and the complex narratives surrounding these women. In Ingres' painting "La Grande Odalisque," the odalisque is depicted reclining on a sumptuous couch, adorned with luxurious fabrics and surrounded by opulent decor. This portrayal emphasizes not only her beauty but also the idea of the odalisque as an object of desire. The elongated form and serene expression of the woman invite viewers to contemplate her role within the harem, raising questions about agency and autonomy. While she is presented as an idealized figure, the reality of her existence was often far more complex, marked by social hierarchies and power dynamics. The fascination with odalisques extends beyond mere aesthetics; it reflects broader themes of colonialism and cultural exchange. Western artists often appropriated Eastern imagery, creating an Orientalist fantasy that both celebrated and distorted the realities of life in the East. The odalisque became a symbol of the 'other,' representing not just exotic beauty but also the West's longing for a different cultural experience. This dynamic raises important questions about representation and the ways in which art can perpetuate stereotypes. In contemporary discussions, the image of the odalisque continues to be relevant, as it invites critical analysis of how women are portrayed in art and media. Feminist scholars have examined the implications of the odalisque trope, arguing that it often reinforces patriarchal views of women's roles and bodies. By reclaiming the narrative surrounding odalisques, modern artists and writers seek to challenge the traditional representations and highlight the voices of women who have been marginalized throughout history. Ultimately, the concept of the odalisque serves as a powerful lens through which we can explore themes of beauty, power, and identity. It encourages us to question not only how women have been depicted in art but also how those depictions reflect societal values and attitudes. As we engage with the legacy of the odalisque, we are reminded of the importance of context and the need for a nuanced understanding of history and representation. The odalisque remains a compelling figure, one that challenges us to confront our perceptions and assumptions about femininity and cultural identity.

“odalisque”这个词源于土耳其语“odalık”，指的是在哈伦中的女性奴隶或妾，尤其是在奥斯曼帝国的背景下。从历史上看，odalisques常常在艺术和文学中被描绘为美丽和感性的象征，体现了东方文化的异域魅力。它们在西方艺术中的表现，尤其是在19世纪，引发了欧洲观众的迷恋和好奇。艺术家如让-奥古斯特-多米尼克·安格尔和亨利·马蒂斯以其作品著称，描绘了odalisques，捕捉了这些女性的身体美和复杂的叙事。 在安格尔的画作《伟大的odalisque》中，这位odalisque被描绘成慵懒地躺在华丽的沙发上，身披奢华的织物，周围环绕着奢侈的装饰。这种表现不仅强调了她的美丽，还传达了odalisque作为欲望对象的理念。女性的修长身姿和宁静表情邀请观众思考她在哈伦中的角色，提出关于代理权和自主权的问题。虽然她被呈现为理想化的人物，但她的存在现实往往更为复杂，受到社会等级和权力动态的影响。 对odalisques的迷恋超越了单纯的美学，它反映了殖民主义和文化交流的更广泛主题。西方艺术家常常借用东方意象，创造出一种东方主义幻想，既庆祝又扭曲了生活在东方的现实。odalisque成为了“他者”的象征，不仅代表了异域的美丽，也代表了西方对不同文化体验的渴望。这种动态引发了关于表现和艺术如何延续刻板印象的重要问题。 在当代讨论中，odalisque的形象仍然具有相关性，因为它邀请我们对女性在艺术和媒体中的表现进行批判性分析。女性主义学者研究了odalisque这一主题的含义，认为它常常强化了对女性角色和身体的父权观点。通过重新掌控关于odalisques的叙事，现代艺术家和作家试图挑战传统表现，突出那些在历史上被边缘化的女性的声音。 最终，odalisque的概念作为一个强有力的视角，让我们探讨美、权力和身份的主题。它鼓励我们质疑女性在艺术中的表现，以及这些表现如何反映社会价值观和态度。当我们与odalisque的遗产互动时，我们被提醒要关注上下文的重要性，以及对历史和表现的细致理解的必要性。odalisque依然是一个引人注目的形象，挑战我们面对对女性气质和文化身份的认知与假设。