Which details in Lalla Essaydi's La Grande Odalisque subvert the woman's identification as an "odalisque" in contrast to the original work by Ingres referenced through the work's title?

What will be an ideal response?

Answer: The ideal answer should include:
1. The woman's body is completely covered by fabric or henna script in Essaydi's version rather than displaying naked skin, a key characteristic of the true odalisque on view in Ingres's work.
2. Luxurious fabrics, jewels, and highly ornamented accessories surround the Ingres odalisque (gifts from the courtesan's master), but Essaydi's woman is placed in a plain, shallow space with white or neutral striped fabrics and a blank wall beneath the henna script.
3. The true odalisque presents an expanse of pristinely unblemished skin from head to toe, an idealized version of the perfect female figure; but the partially revealed skin of Essaydi's woman is completely covered with henna script, "marring" its surface.