Artistic taste of the art of miniatures through the literary description of the plastic component: The novel (My Name Is Red) as Case Study | ||||
| مجلة كلية الآداب - جامعة القاهرة | ||||
| Volume 2024, Issue 10, October 2024 | ||||
| DOI: 10.70216/2682-485X.1659 | ||||
 View on SCiNiTO | ||||
| Authors | ||||
| Badr Al-Maamari1; Al-Ghasini2 | ||||
| 1College of Education Sultan Qaboos University | ||||
| 2College of Arts and Social Sciences Sultan Qaboos University | ||||
| Abstract | ||||
| The novel (My Name Is Red) is a unique literary product in dealing with plastic art in general, and the art of Islamic miniatures in particular, presented by the Turkish novelist Orhan Pamuk, a novel translated into Arabic in 2000 by Abdulkader abdulli. The importance of this work goes beyond for those engaged in plastic art in general to reading the textual thresholds and their significance in the literary work, as this novel points to a central point of discussion for art, which is the Prohibition of the representation of spirits in Islamic art, and the scale of the conflict between religious schools and Ottoman art on this issue. That what the novel presented seems radically different, both in terms of the textual thresholds in its title, which is combined with the red color as the most used in Islamic painting from one angle, or in terms of quantity and type, as the writer went beyond the usual traditional description of art forms, to employ rhetorical diagnosis, which gave the novel another dimension, when he made those miniatures pronounce and narrate themselves from another angle. This study examines the strength of the novelist in his literary work from the point of view of his artistic taste, a novelist who never belonged to the field of plastic art, and the extent of the author's success in absorbing the plastic components of the arts of Islamic miniatures. | ||||
| Keywords | ||||
| My name is red; miniatures; Islamic Art; fiction literature; parallel texts | ||||
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