ORIENTALISM AS A MEDIUM FOR THE TRANSMISSION OF ARCHITECTURAL EXPERIENCE (LATE 18TH – EARLY 20TH CENTURY)

This article examines the phenomenon of architectural Orientalism in Europe from the late 18th to the early 20th century, focusing on how Eastern aesthetics were integrated into Western architectural theory and practice. The study analyzes representative examples from the stylistic phases of Preromanticism, Romanticism, Eclecticism, and Art Nouveau. It identifies the key stages in the evolution of Orientalist motifs, emphasizing their shifting semantic roles across different historical contexts. Rather than treating Orientalism as a static stylistic category, the article presents it as a dynamic and context-sensitive form of cultural dialogue. Early manifestations of Eastern forms are predominantly found in garden pavilions, memorials, and interiors, where they served as exotic visual narratives. During the Romantic era, fascination with Eastern cultures flourished, fueled by an ideology grounded in creative freedom, emotional intensity, and stylistic diversity. This period witnessed the emergence of various neo-styles—Neo-Egyptian, Indo-Saracenic, Moorish Revival, and Chinoiserie. Under the influence of Romanticism, Orientalist architecture acquired a more literary and expressive character, relying on associative imagery rather than accurate historical reproduction. In the age of Eclecticism, Orientalist elements became attached to specific building types, particularly religious, commercial, and industrial structures. These buildings often combined functional rationalism with ornate exterior decor, creating a contrast between strict structural logic and rich symbolic ornamentation. In the Art Nouveau period, Orientalism was successfully absorbed into the aesthetic language of early modernism. Eastern motifs were reinterpreted as stylized fantasies and symbolic devices, forming part of a decorative code in which the “Orient” served as mood, metaphor, and generalized aesthetic space. The article devotes special attention to identifying specific strategies of architectural translation, including visual citation, reinterpretation, and stylistic hybridization. It also engages with current scholarship that views Orientalism not merely as a form of stylistic appropriation, but as a significant cultural and political statement. Ultimately, the article offers a nuanced interpretation of architectural Orientalism as both a historical artifact and an interpretive framework through which cultural exchange between East and West can be critically reexamined.