21 miniature painting have different way in seeing their objects. However, Sultan
Murat III who wants to get a support from the Western to prolong his position tries to protect the secret book, which is the threat for the Ottoman traditional
miniature art because it contains Western paintings in it. Due to the novel’s focus as well as the problems on the imitation and
adoption of the Western painting style, I provide further information concerning the two conflicting painting traditions, which have different way of seeing the
objects, the Italian Renaissance Art and Turkish traditional miniature painting. Additionally, the information on their histories and functions is also presented
since My Name is Red mostly discusses these two painting methods and their different ways in seeing their objects.
2.1.1.1. Turkish Miniature Painting
Kuiper 2010, in Islamic: Art, Literature, and Culture, states that a closely parallel development of the impact of the Islamic religion on the visual
arts is the celebrated question of a Muslim iconoclasm. However, the Koran is not totally against the representation of living things. It is equally true that from about
the middle of the 8
th
century, a prohibition against life-like imagery had been formally stated and thenceforth it would be a standard feature of Islamic thought.
The justification for the prohibition tended to be that any representation of a living thing was an act of competition with God, for He alone can create something that
is alive.
47
The representation of the living things, moreover, is “like growing
47
Kathleen Kuiper, Islamic: Art, Literature, and Culture New York: Britannica Educational Publishing, 2010 131.
22 arrogant before God, like considering oneself of utmost importance, like situating
oneself at the centre of the world.” MNR, 119-120 Despite the fact that Islam prohibited figuration, miniature paintings were
allowed because they were universal, a decoration of the text and subordinate to it. The Ottoman miniature painters did not mainly aim to depict the human beings
and other living or non-living beings realistically.
48
“Painting is the act of seeking out Allah’s memories and seeing the world as He sees the world.” MNR, 88
Çiçekoglu adds that miniature painting becomes an extension of the text, rather than an independent art. In the tradition of miniature painting, images are not seen
as things in themselves but they are treated as illustrations of the text or “footnotes” even when the image seems to dominate the written word on the page.
It serves the purposes of the words for a better understanding of the meaning and for a description of a narration.
49
In Islamic miniatures, the goal is perfection, not expression of the artist’s individuality.
50
Enishte Effendi also supports that miniature painting is used to beautify the manuscript we read and it depicts the most vital scenes in the story.
Moreover, the image is the story blossoming in colour, which accompanying story. MNR, 27 Pamuk also mentions that,
painting in Islamic culture was permissible only to decorate the insides of the books and…never were these paintings meant to hang on walls, and they never
did
51
It is in line with Olive’s statement that “the illustrations of the Persian masters and
48
Kuiper, Islamic: Art, 131.
49
Çiçekoglu, “Pedagogy”, 1.
50
Martyn, “Turkish-German Literature”, 235.
51
Pamuk, Other Colours, 318.
23 even the masterpieces of the greatest masters of Herat are ultimately seen as an
extension of border ornamentation” MNR, 424. Dimand in “Islamic Miniature Painting and Book Illumination” says that
Turkish miniature painting was derived from Persian art
52
, which is under influenced by Chinese painting that is brought by the Mongolian ruler.
53
He explains that a brilliant period of Persian Painting was inaugurated in Herat under
Sultan Husain Mirza 1468-1506, who was the patron of the celebrated painter Bihzad, or who is called Master Bihzad
54
in My Name is Red. Bihzad reveals himself as a keen observer of nature and he also enriched the palette of Persian
painter by creating effective new colour combination.
55
During the second half of the 15
th
century, Bihzad’s interest in observing his environment resulted in the introduction of more realistic poses and the introduction of numerous details of
daily life. Iranian individualism is especially apparent in painting, in which Chinese and other foreign styles were consistently adapted to express intensely
Iranian subject, thereby creating a uniquely Persian style.
56
Compared to the Persian painting, the Mughal style of painting, which was flourished under the Emperor Akbar from Hindustan 1556-1605, combine
Persian, Hindu, and European elements in its style. As a result of contact with the European art, which was greatly admired by Akbar, Mughal painters introduced
52
Maurice S. Dimand, “Islamic Miniature Painting and Book Illumination”, The Metropolitan Museum of Art Bulletin 28, 10 October, 1933: 171.
53
Dimand, “Islamic Miniature”, 168.
54
Master Bihzad was the most prominent Persian miniaturist who lived in the 15
th
century. He was a painter who developed miniature painting style, which was used in Ottoman Turkey. Herat
was the centre of painting in the Islamic world and home to the great Master Bihzad. MNR, 445 In addition, he had also painted the most magnificent pictures and the most incredible
masterpieces. MNR, 304
55
Dimand, “Islamic Miniature”, 170.
56
Kuiper, Islamic: Art, 199.
24 atmospheric effects and even perspective into their paintings. It is also mentioned
in My Name is Red that the Persian painters or calligraphers are encouraged to sign their names MNR, 432-433, which are written in the margin in red ink.
57
Turkish painting of the 16
th
and 17
th
centuries followed Persian prototypes in the main, but the figures were dressed in Turkish costumes and certain vivid
colours peculiar to Turkey were used with very decorative effect.
58
Kerametli adds that “Turkish miniatures colours were strikingly brilliant…and the most used
colours were bright red, scarlet, green, and different shades of blue”.
59
However, t
he
Ottoman miniature painting does not compare in quality with Persian painting, which originally influenced the Turkish school. Yet, Ottoman miniatures do have
a character of their own, either in the almost folk-art effect of religious images or in the precise depictions of such daily events as military expeditions or great
festivals.
60
It is against such worlds of arts that Pamuk’s works are set.
2.1.1.2. Italian Renaissance Painting
