Reasons 1 and 2, I think. Bach is popular enough in the West that I don't think that 3 really pertains: I don't think our fundamental wiring is any different.
I think your biggest problem may be that Bach's music often comprises both linear polyphony and organised harmony at one and the same time. That gives it an extraordinary... call it "density of events". There is more going on than in Romantic homophony.
That's not to say that Bach is exceedingly difficult to navigate in all fashions: in most cases his formal divisions are extremely clear, and he tends to use very clear motifs and a great deal of repetition (often varied) to establish his thematic ideas. The kinds of repetition he uses are what gives his music great propulsive force: sequence (repetition by transposition), imitative counterpoint (repetition of a melody in different voices, usually while previous instances continue onto something else), invertible counterpoint (change in the top-to-bottom order of the voices, i.e, shuffling the melodic materials previously exposed in each voice into a different voice), mutation (repetition with change of mode) and reharmonisation are all in his toolkit.
You'll also come to notice that his thematic ideas are fairly open-ended: they don't usually come to a real halt until the very last measure of a piece (and that's something he does have in common with the Hindustani, Carnatic and Persian traditions). Western music doesn't tend to be quite as rhythmically complex as Indian music, but the need of the voices and harmonies to line up and resolve with the rhythm can make up for that, and usually does in Bach's case. The rhythm of harmonic change also contributes to the movement of the music. It takes a concurrence of the melodic voices, the harmonies they form, the rhythms they follow, and appropriate cadential formulae to bring music to a halt, and Bach was a master of delaying this.
I'll give you something that does a good job of illustrating all of this: Prelude and Fugue in E♭ major BWV 552 ("St. Anne"). The complete score can be found here. Wikipedia gives a fairly good thematic analysis here, as part of its article on the third volume of the Clavier-Übung, good enough, at any rate, that you should be able to identify the themes as you follow along with the score. (They're quite obvious to the ear.)
If finally Bach fails to fall into place for you, don't fret: personalities do play a role. I'm not a great fan of Beethoven or Wagner despite the fact that I can hear their mastery quite clearly for myself. Their musical personalities are not a good fit with mine. Things like that happen.