Academic Orientalism and Orientalist art were separate rather than one discourse

Evidence

The products of mainstream Orientalism were less colourful and less fluent than that. Orientalism in its most important aspect was founded upon academic drudgery and close attention to philological detail. I do not believe that the novelist Flaubert and the Arabist and Islamicist Sir Hamilton Gibb were really contributing to essentially the same discourse or were the victims of it. However, the distinction between academic and artistic production is, of course, not hard-edged. For example, William Beckford’s novel Vathek has academic-looking footnotes and, on the other hand, Gibb’s understanding of Saladin’s career was greatly influenced by his enthusiasm for Walter Scott’s novel The Talisman. There is a significant overlap between Orientalist scholarship and artistic works of an Oriental inspiration, but it is, I believe, only an overlap and not evidence of a single cohesive discourse. — Robert Irwin, For Lust of Knowing, 26

Categorization

  • XREF: Directly contradicts Said’s core thesis in Orientalism that scholarly and artistic Orientalism formed one cohesive discourse.
  • ADDENDUM: Relevant scaffolding for the Grafting and Growth essay’s stance that prestige art and working craft belong to separate registers.