My name is Red

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BASED ON THE BOOK MY NAME IS RED.
“I don’t want to be a tree, I want to be its meaning.” When the tree states this desire at the end of chapter 10 (pg. 51) it has just finished describing the two different ways of painting—Western and Eastern (i.e., Islamic). Follow the dialogues of Master Osman and Enishte Effendi (the Uncle) with Black to explain these two different modes of painting the tree is referring to. You must provide quotes and/or footnotes to support your answer. Be sure to mention the concepts of style and anonymity in your answer.

What is your opinion of the manner in which Orhan Pamuk presents the history of miniature painting? Did it help or hinder your knowledge of this historical mode of painting? Who was your favorite character and why?

Describe Enishte Effendi’s visit to Venice. What was he doing there? What did he see and how did this trip change the Sultan’s interest in painting? What did the Sultan commission from Enishte Effendi after his visit to Venice and how was it supposed to be used?

The drawing of a tree, a copy of one of the illustrations for Enishte Effendi’s book, points out a recurring conflict in the novel “My Name Is Red” between art as a representation of the world that God perceives, and art as a depiction of the world which naked eye sees. In the world of Islamic art, the artists ought to create images that stick to the text and the meaning of the world God created, so the tree on a single sheet laments that he lost his meaning without being a part of a book. When Enishte tells Black what Ottoman miniatures are, he says, “The images are the story’s blossoming in color” (Pamuk, 26). The images function as words to tell the story. Many people even think calligraphy should outweigh images in importance, and disparage painting as flirtations with heresy.