Take the main color "red" as an example, it fills the whole book, from blood and tears (the prince killed his father and brother, and the painter killed his colleague) to the red carpet, red candle, red ink, red clothes, red silk thread, red boat in the distance, or the enthusiasm and sincerity symbolized by red, which can be regarded as being associated with various historical murders, usurpations, erotic contests, severe pains and so on. For example, on page 129, "My thoughts, things in front of me, my memories, my eyes, all merge together and become fear. I couldn't distinguish any single color, and then I realized that all colors had turned red. I thought it was blood, but it was actually red ink; I thought he had ink in his hand, but it was my blood. " But on page 138, the color is "the touch of eyes, the music of the deaf, the words revealed in the dark", and red is a symbol of "fiery and powerful", which is almost equal to lust and purity. The narrator of "Red" even questioned the feeling, meaning and smell of "red" through the dialogue between two painters, and regarded red as a fanatical belief in Allah and a firm belief in Islamic art. The meaning of "red" lies in "it appears in front of us" ... we can't explain red to an invisible person, just like "people seduced by Satan insist that we can't see God in order to deny the existence of God" (/kl Ironically, the two painters who talked about red enthusiastically were blind! When the elegant gilded master's soul floated into the sky, the blood stained on his body led him to meet the sun and angels. He suddenly realized the true meaning of freedom. "Suddenly, I realized that I was beside him in fear and ecstasy. At the same time, I feel an unparalleled red rushing around. " "In a short moment, red dyed everything red. This gorgeous color overflowed me and the whole universe, but the scarlet with blood also made him "ashamed and embarrassed" when he was brought to the front.
Red is a secular and sacred color with both substance and spirit. Through red, the narrator describes, outlines and reproduces the details of daily life in the Islamic world around 1590. Every color, like the characters and their opinions in the novel, is full of red, but it is generally bloody, passionate and lonely. Only when it is illuminated by pure red, that is, when it is in contact with God, will it bloom a red spark. The novel develops its historical magic plot under these two text techniques (the interweaving of multiple voices and the contrast between red pigment and pure red), and becomes a story puzzle with literature, politics, religion, autobiography, romance, vagrancy, growth and even metafiction.
My name is red is a story puzzle with mixed genres, polyphonic symphonies and overlapping pictures. The big picture of The Story is centered on an important historical turning point, namely16th century's history of the rise and fall of empire, religion, politics and art, and the vanishing point of this painting is in Istanbul, a bridge between eastern and western civilizations, so it can be said that it has a very critical position. 150 1 year to 1736, the safi dynasty ruled, and the Shiites of Islam were the state religion at that time, and they were in full swing squeezing and rejecting other sects and their teachings. 15 14, Otto Sultan defeated the army of Safi dynasty in Chadylan, plundered the palace of Tabrizi in Persia, and brought exquisite miniature models and books back to Istanbul. From 1520 to 1566, he established the golden age of Ottoman culture, expanded the territory of the empire and extended it to the east and the west. I succeeded Sultan Murad III to the throne. My name is Hong. During the reign of Sultan III (1574? 1595), based on the historical event that Otto Sultan ordered the compilation of skill books, celebration books and victory books in Istanbul, this paper expounds in depth the painting projects (olives, butterflies, storks and elegance) of the meticulous painter Osman and his disciples.
The story begins with elegance. After the gilded master was killed, he made a self-declaration and review based on the position of the body. However, the novel does not focus on detecting the murderer. Instead, it spelled out the image of the whole history from different angles. First, the elegant corpse spoke, and he invited readers to pay attention to "a terrible conspiracy" hidden behind his death, because it "will probably disintegrate our religion, tradition and world outlook" (page 1 1). In fact, the memory of the deceased is rather vague, and the narrative length of each paragraph is different. On the contrary, Braque, another narrator, has just returned to Istanbul from the East after 12 years abroad, and provided more detailed collective memory and psychological identity drama based on his personal growth experience. In addition, interestingly, dogs, horses, trees and children also tell what they have seen and heard. Epic scrolls interwoven from far and near, individuals and groups, public and private are unfolded on the long axis. It is worth noting that among many narrators, there is a child, that is, her second son, shakoor. Her former husband never came back, and his name is also O 'Han. According to Pamuk's confession in the interview, shakoor's loneliness and her relationship with her son are roughly his own personal experience. The quarrels and struggles between brothers, as well as their constant compromise and reconciliation with their mother, are actually autobiographical, which in a sense deepens the relationship between history and individuals in this novel.
But the face of history and magic did not appear in the entanglement of history, emperors, figures, painters and even the author's own childhood. Chronology (such as 159 1 year Braque returned to Istanbul) is often associated with more important or hidden events and has its significance unconsciously. In particular, under the guidance of Osman, these painters presented various aspects of the Book of Celebrations by edging, painting horses, coloring and gilding. Under the background of Islam's interpretation of religious idols, the reappearance of religious ceremonies and paintings, racial violence, and even the struggle between Islamic and Christian forces, the tradition of miniature painting and Venetian art, and the conflict between Eastern time and Western clock (given by Queen Elizabeth), they showed their personal creativity and limitations. At the same time, there are also contradictions between the four great painters and their masters, colleagues, the court and the chief executive. After the murder of Elegance, the reasons for his murder are also rising. These historical and cultural conflicts, changes, violence, looting, and conventions that are difficult to clarify, or narrative on a large scale (such as Braque's Historical Memories) and its national transformation, or bind public and private events together with details (such as Aohan, shakoor and the deceased himself), and meet, decorate, and cover up each other. What is the Lord? Who is the guest? How can the truth be revealed? These themes in paintings in the Middle Ages or the early Renaissance, especially those in some illuminated texts, can't actually be compared with the future air distance method, which is based on the viewer's dominant position and can be compared with the integrated vision and world view. In Islamic painting aesthetics, there are multiple mysterious connections between painting and the hidden world order, the painter's mental state and his religious feelings, as Braque pointed out:
Using every silence, I studied the picture in front of me and imagined that the colors on the drawing paper came from passionate olives, beautiful butterflies and dead gilded teachers. I can't help but want to be like Ernest and shout at the picture: "Satan!" " "or" death! "But fear stopped me. Not only that, these illustrations also upset me, because despite my repeated insistence, I really can't write a suitable story comparable to them. And, slowly, I became more and more sure that his death had something to do with these photos, and I felt restless. (Page 162)
draw
It is closely related to death, murder, confusion and anxiety, especially to the clues behind the story.
Imitation or copying is a very important skill in My Name is Red. In fact, it is not only the painter who is doing illustrations and reappearing the artistic conception of paintings, but also the characters are constantly copying each other. The three fables told by the painter personally, and even the bloody history of the family in the royal family, are repeating the fate of mankind again and again. The confession of the murderer at the end of chapter 23 may be a footnote, which explains why this work reproduces the painter and his mental journey through the details of painting books, and lays out the changes of a great era and its potential multiple conflicts and turning points:
We both fell in love with the same woman. He walked in front of me, unaware of my existence. We walked through the winding streets of Istanbul, uphill and downhill, through the desolate alleys where wild dogs gathered and fought like brothers, through the fire ruins where evil spirits wandered, and through the backyard of the mosque where angels slept on the dome. We walked along the cypress trees whispering to the souls of the dead and bypassed the snow cemetery where ghosts gathered. Invisible robbers were strangling their victims. We passed countless shops, stables, ascetic monasteries, candle factories, leather factories and stone walls. When we walked on, I didn't think I was behind him. On the contrary, I was actually imitating him. (page 95)
Following the footsteps of the ancients, through the desolate but familiar streets, between the ruins and the temple, the protagonists suddenly find themselves in the narrative magic field that is inseparable from reality. In this strange situation, historical imagination, real world, novel plot and artistic reproduction copy each other and can be rewritten again and again. This thrilling experience is probably the most intriguing part of this work. (The author is a professor of foreign languages at Qing University) (This article is provided by Wheat Field Publishing House)
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