br-My Name Is Red

br-My Name Is Red - In Orhan Pasuks My Name Is Red...

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In Orhan Pasuk’s My Name Is Red , conversations about change and reform in the realm of miniatures are considered extremely controversial between the various camps of Ottoman artists. The two main camps that uneasily coexist in the story are the traditional miniaturists, whose art has remained unchanged for many years, and the miniaturists who have been influenced by foreigner, European, art such as the Venetian styles of personal artistic flair within paintings. The former group deems the latter group to be deviants, and for the most part of the novel, devote considerable energies in repressing the spread of western-influenced arts. On a holistic scale, all art is seen to be innately evil. Thus the miniaturists, in order to survive, believe that they must entrench themselves in tradition and strictly follow the bygone masters of their craft. This is because for much of Ottoman history, “no one made illustrations because the Koran forbade them, and painters weren’t taken seriously.” 1 Luckily, the Sultan is noted for being a patron to the arts, going so far as to commission Enishte with compiling a gift work of miniatures for the Doge. Change and reform in the realm of miniatures are viewed as deviations from the established art of miniatures. The miniaturists pride themselves with being able to perfectly emulate the forms in which past miniaturists worked. They go so far as to
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This note was uploaded on 11/02/2008 for the course RELI 181 taught by Professor Omidsafi during the Spring '08 term at UNC.

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br-My Name Is Red - In Orhan Pasuks My Name Is Red...

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