The Vanished Power Of Art

My Name is Red(MNR)is a philosophical novel with the appearance of detective novels,and its thoughts on the world is presented by the hardships of miniature painters.The root of hardship lies in the the vanished power of art represented by miniature painting.The vanish occurred from the impact of the Frankish-style paintings in the Ottoman world,with the lost voices of miniature and the miniature painters' group as the thread,and with the estrangement between Black and Shekure as the end.Forgetting the memory and power delivered by miniature paintings,the estrangement in the ending of the novel is insurmountable,and people of the world can only fall into loneliness.As the other two aliases of MNR suggest,you can't "fall in love with a painting" and you will have "Broken Miniature Painter".The power of art connects us to each other and the world.Here,Pamuk preserves and wakes up our memories of the truth and meaning behind the miniature-looking habits in a disappearing form,so that we not only see the world and each other as a representation.This is the central fable of MNR.The vanished power of art has caused different types of hardships in the novel.The miniature painter and miniature art have been hurt.The hardships of the miniature painter occurred in the three groups of characters in the novel,which caused different consequences: the blindness of the Master Osman,the death of the Olive and the estrangement between the black and Shekure.For the above three groups of people,the vanished power of art occurs at different levels.In the Master Osman's story,the vanished power of art occurs on the level of reality and tradition,and its vanish is closely related to the disappearance of traditional miniature painting.In the Olive's story,the vanished power of art takes place at the level of artistic integration and division.The influence between different systems makes Olive enter the modern world and thus promotes the whole novel.In the story of black and Shekure,the vanished power of art is essential.Pamuk completed what he called the combination of traditional stories and postmodern literature.Black and Shekure became the modern reappearance of “Khosrow and Shirin” in Nezami's poetry,but the rewriting also made the disappearance of artistic power manifest in a direct way.Under the specific plot of the novel and the hardships of the characters,the struggle between miniature paintings and Frankish-style portraits is hidden.Pamuk explores the question of why art power disappears in the form of novels.In discussing this issue,Pamuk needs these two discourses and the conflicts between them to develop the background and framework of the novel.First of all,in the style of miniature painting,its birthplace contains its own cause of extinction.Its connection with the traditional world is too close,and it cannot express its meaning in an intuitive form.This reason is magnified by the arrival of the Franconian style.In the practice of Olive,the defect and paradox of Frankish-style are revealed: portraits is appearance without immanence,and its core part is “personal style” rather than perspective technique.However,because the paintings by the perspective technique are more attractive,they are like fruit of Satan,which makes humans lose better homes.The power of art represented by the miniature paintings in the novel connects the painters in the novel to each other and makes the lovers love each other.But in Pamuk's confusion about miniature painting,reality is lost with art,people are locked in appearance,and the world is lonely.the vanished power of art has become the root of the problem in the novel.From Pamuk's view of Rumi's story,you can see Pamuk's search for the fundamental power.And this kind of search appeared in the form of novel.Pamuk here preserves our memory of meaning and artistic power in a reverse manner.This is the unique poetic power of MNR.