A prominent theme throughout “My Name is Red” is representation vs. mimesis\u00a0in the creation of art. When\u00a0visiting\u00a0one of the apprentices who he worked with named “Butterfly”, Black listens to his three parables that expand\u00a0on this conflict.\u00a0The third story combines those of the first and second to conclude, “that ‘signature’ and ‘style’ are but means of being brazenly and stupidly self-congratulatory about flawed work” (66). By\u00a0this logic, to sign one’s work after imitating another’s\u00a0style through\u00a0one’s\u00a0own interpretation is to reveal a flaw. \u00a0This concept around one’s signature\u00a0even used when the murderer worries that he has left traces of his own style on the dead body.<\/p>\n
If we compare this sinful association with style to a Western philosophy of art, especially in periods of the Renaissance and Baroque, we find a direct conflict. It is a common practice within the study of art history to train your eye to recognize distinguishable qualities in paintings that allow you to identify their artists. \u00a0For example, in the painting below by Caravaggio, The Inspiration of Saint Matthew, one can identify his style in his use of chiaroscuro, the balance between light and dark that provides the illusion\u00a0of volume, and tenebroso, shadowy and murky light. \u00a0As one looks at Caravaggio’s paintings over time, one can begin to recognize the typical attributions of his figures.<\/p>\n
The ability to create something distinguishable and to recognize\u00a0styles of others are two qualities that are esteemed in the Western art world. \u00a0As illustrated in the novel, this difference partly stems from religion. I wonder what Western art during these periods would look like if\u00a0concepts of representation for\u00a0God and Jesus were the same as those for Allah?<\/p>\n
![\"\"](\"http:\/\/hamiltoncs.org\/lit220\/wp-content\/uploads\/2017\/02\/inspiration-of-saint-matthew-1602.jpg\")
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