Articles, Opinions & Views: In Pictures: Islam’s Sexual Enslavement of White Women


 
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“When you're left wounded on

Afganistan's plains and

the women come out to cut up what remains,

Just roll to your rifle

and blow out your brains,

And go to your God like a soldier”

“We are not retreating. We are advancing in another direction.”

“It is fatal to enter any war without the will to win it.”

“Old soldiers never die; they just fade away.

“The soldier, above all other people, prays for peace,

for he must suffer and be the deepest wounds and scars of war.”

“May God have mercy upon my enemies, because I won't .”
“The object of war is not to die for your country but to make the other bastard die for his.

“Nobody ever defended anything successfully, there is only attack and attack and attack some more.

“Fixed fortifications are a monument to the stupidity of man."
“It is foolish and wrong to mourn the men who died.
Rather we should thank God that such men lived.

The Soldier stood and faced God


Which must always come to pass

Photobucket
He hoped his shoes were shining

Just as bright as his brass

"Step forward you Soldier,

How shall I deal with you?


Have you always turned the other cheek?


To My Church have you been true?"


"No, Lord, I guess I ain't


Because those of us who carry guns


Can't always be a saint."

I've had to work on Sundays

And at times my talk was tough,

And sometimes I've been violent,

Because the world is awfully rough.

But, I never took a penny

That wasn't mine to keep.

Though I worked a lot of overtime

When the bills got just too steep,

The Soldier squared his shoulders and said

And I never passed a cry for help

Though at times I shook with fear,

And sometimes, God forgive me,

I've wept unmanly tears.

I know I don't deserve a place

Among the people here.

They never wanted me around


Except to calm their fears.


If you've a place for me here,


Lord, It needn't be so grand,


I never expected or had too much,


But if you don't, I'll understand."

There was silence all around the throne

Where the saints had often trod

As the Soldier waited quietly,

For the judgment of his God.

"Step forward now, you Soldier,

You've borne your burden well.

Walk peacefully on Heaven's streets,

You've done your time in Hell."

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In Pictures: Islam’s Sexual Enslavement of White Women
Tuesday, November 17, 2020

WARNING: ORIENTALIST PAINTINGS DEPICTING FEMALE NUDITY FOLLOW.

Raymond Ibrahim : 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.

Raymond Ibrahim, author of Sword and Scimitar: Fourteen Centuries of War between Islam and the West, is a Shillman Fellow at the David Horowitz Freedom Center, a Distinguished Senior Fellow at the Gatestone Institute, and a Judith Rosen Friedman Fellow at the Middle East Forum.

posted by Major D Swami (Retired) @ 1:18 PM  
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