My Name Is Red 8.7分
读书笔记 随想与摘录
绘里

两场谋杀案在伊斯兰细密画在西方法兰克肖像画的影响下逐渐式微的背景里展开,反映了东方与西方的冲突、细密画家对信仰和艺术形式的坚持与对细密画衰败的无可奈何。伊斯兰教并不鼓励绘画,因为画家如果描摹了现实就会与安拉作为唯一造物主的信仰相冲突,因此细密画家只能尝试描绘安拉所创造的世界而非真实存在的事物,古兰经所说的”盲人和非盲人不相等“也展示了书里画家认为通过成为盲人方能进入永恒的境界,看到安拉所创造的世界而非充满污秽的现实。法兰克肖像画对透视的运用和对现实事物的精确描绘毫无例外地违背了这种信仰。这种情况下细密画家该何去何从?凶手给出了答案:细密画在衰亡,但尝试学习法兰克画派只会使人失去自己本身的画技同时也无法达到法兰克画家的效果,所以他希望坚持初心、回归细密画最本真的传统,甚至不惜为此杀人,却不料命运以出人意料的方式置他于死地,而其他两位大师也在新的王权交替后再无法传承细密画。

故事唯一接近圆满的是Black与Shekure的爱情线结局。Black出于对Shekure的爱和对自己被折磨的恐惧而去寻找凶手,并在此过程中被牵扯进了对两种画派的碰撞的讨论,似乎与其他大师对信仰和画技的追求格格不入,但同时所有大师也都有着自己不可告人的爱与欲望,Osman大师也会为了保护自己的一些徒弟和细密画的传承而转移罪名到其他徒弟头上,种种情感交织在一起才完整呈现出了细密画的深远影响和历史变迁。Black在外十二年却因为不能拥有Shekure的画像而逐渐忘记自己挚爱的容貌一点很早点出了细密画的困境,并且Black最开始给Shekure的画由于展示了Shirin看着Husrev的画像爱上他这一故事情节并被Black将两位主人公的脸改成了自己与Shekure,也彰显了细密画的自我矛盾。细密画传统里不断有画家希望被铭记,将自己的签名藏在不同的不引人注目的角落里,而伊斯兰民众对描绘现实的需求也从未被信仰彻底磨灭。Sultan希望自己被世人铭记,Enishte在看过法兰克肖像画之后对其念念不忘,种种线索似乎都指向了细密画衰败的不可避免,对传统和信仰的坚持也无法对抗这不可逆的历史洪流。

书里每一章换一个第一人称视角的叙述方法令人耳目一新,同时很好地保持了凶手身份的神秘,但这书的长度读到后面真的很容易失去耐心。

If you ever happen to become a clothier-cum-messenger like Esther, you’ll soon learn that only wealth, might and legendary romances site people’s curiosity. Everything else is but worry, separation, jealousy, loneliness, enmity, tears, gossip and never-ending poverty. / I Am Esther
引自第132页
The color of this howl would be verdigris, and in the blackness of evening on the empty streets, no one would be able to hear its hue; I knew I was all alone. / I Am Your Beloved Uncle
引自第173页
My beloved Allah please help me. Love isn’t suffering for the sake of suffering, but a means to reach You, is it not? / I, Shekure
引自第214页
I recalled the passion for painting I felt and the depth of thought I experienced when, a few years after I’d married and taken my first steps toward master status, I saw a lovely angel-faced, almond-eyed, rose-petal-skinned youth brought in as an apprentice candidate. For a moment, I had the strong feeling that painting was not about melancholy and regret but about this desire I felt and that it was the talent of the master artist that first transformed this desire into a love of God and then into a love of the world as God saw it; so strong was this feeling that it caused me to relive with ecstatic delight all the years I’d spent over the drawing board until my back was hunched, all the beatings I’d endured while learning my craft, my dedication to courting blindness through illustration and all the agonies of painting I’d suffered and made others suffer. / It is I, Master Osman
引自第316页
Meaning precedes form in the world of our art. As we begin to paint in imitation of the Frankish and Venetian masters, as in the book that Our Sultan had commissioned from your Enishte, the domain of meaning ends and the domain of form begins. / It Is I, Master Osman
引自第318页
There is no longer any place here in Istanbul for us master miniaturists who wish to live by skill and honor alone. Yes, this is what I’ve realized. If we’re reduced to imitating the Frankish masters, as the late Enishte and Our Sultan desired, we will be restrained, if not by the Ezurumis and those like Elegant Effendi, then by the justified cowardice within us, and we won’t be able to continue. If we fall sway to the Devil and continue, betraying everything that has come before in a futile attempt to attain a style and European character, we will still fail--just as I failed in making this self-portrait despite all my proficiency and knowledge. This primitive picture I’ve made, without even achieving a fair resemblance of myself, revealed to me what we’ve known all along without admitting it: The proficiency of the Franks will take centuries to attain. Had Enishte Effendi’s book been completed and sent to them, the Venetian masters would’ve smirked, and their ridicule would’ve reached the Venetian Doge--that is all. They’d have quipped that the Ottomans have given up being Ottoman and would no longer fear us. How wonderful it would be if we could persist on the path of the old masters! But no one wants this, neither His Excellency Our Sultan, nor Black Effendi--who is melancholy because he has no portrait of his precious Shekure. / I Will Be Called a Murderer
引自第399页
"For the rest of your lives you’ll do nothing but emulate the Franks for the sake of an individual style," I said. "But precisely because you emulate the Franks you’ll never attain individual style.” / I Will Be Called a Murderer
引自第401页
In actuality, we don’t look for smiles in pictures of bliss, but rather, for the happiness in life itself. Painters know this, but this is precisely what they cannot depict. That’s why they substitute the joy of seeing for the joy of life. / I, Shekure
引自第413页
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