Dissonance between Art and Religion in Orhan Pamuk's my Name is Red

My Name is Red, like some of Pamuk's other novels, is themed around certain vital arguments which define the dynamics of the East-West civilizational clash. However the line of reasoning that defines the essence of the book is how religion and art interact to define the contours of the domain of artistic representation. The novel interprets the complications involved in attempts at freeing art from religious or spiritual concerns in a society which is largely committed to religious values and ideas and is impervious to any change which tends to compromise its position vis-a-vis artistic expression and representation. The Ottoman miniaturists of the 16th century (the historical period in which the novel is set) had to deal with a difficult situation. They were cognizant of the fact that they were required to practice art within the confines of the idea of acceptability defined by religious perspective. Therefore, there was negligible margin for any slackness in relation to representation of the world of creation through art. Audacity in this regard would be tantamount to challenging divine creative authority which was perceived as unique and inimitable. The paper examines the strife caused by the confrontational attitudes taken up by art and religion where each struggles vigorously to gain ascendency over the other. Artistic perceptions which are diametrically opposed make it difficult for the artist to subject his art to one particular style. There is an interminable tussle between miniaturists who conform to the artistic creed which espouses audacious change and the ones who uphold a style which adheres to religious injunctions. This inconsistency, in turn, has a telling impact on the art of representation.