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my name is red-我的名字叫红-第96部分

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allusions  to  old  miniaturists’  dicks  that  would  no  longer  rise;  the  cherry…
colored  lips  of  new  apprentices;  master  calligraphers  who  hoarded  their 
money (as did I) in a certain place (“the most disgusting nook”); how perhaps 
opium had been put into the wine I was drinking instead of rose petals; the 
last  great  masters  of  Tabriz  and  Shiraz;  the  mixing  of  coffee  and  wine  in 
Aleppo; and the calligraphers and beautiful boys to be found there。 
At times it seemed that one of the two spirits within me had; in the end; 
emerged  victorious;  leaving  the  other  behind;  and  that  I’d  finally  forgotten 
that  silent  and  loveless  aspect  of  myself。  At  these  times  I  remembered  the 
holiday  celebrations  of  my  childhood  during  which  I  was  able  to  be  myself 
along with my kith and kin。 Despite all these jokes; kisses and embraces; there 
was still a silence within me that left me suffering and isolated in the heart of 
the crowd。 
Who  had  endowed  me  with  this  silent  and  merciless  spirit—it  was  not  a 
spirit but a jinn—which always chided me and cut me off from others? Satan? 
But  the  silence  within  me  was  eased;  not  by  the  crass  mischief  instigated  by 
Satan;  on  the  contrary;  by  the  most  pure  and  simple  stories  that  drove  into 
one’s  soul。  Under  the  influence  of  wine;  I  told  two  stories;  hoping  that  this 
would  grant  me  peace。  A  tall;  pale;  yet  pinkish…plected  calligrapher’s 
apprentice focused his green eyes onto mine and was listening to me with rapt 
attention。 
 
Two Stories on Blindness and Style 
the Miniaturist Told to Ease the Loneliness in His Soul 
 
ALIF 
Contrary to what is assumed; making drawings of horses by looking at actual 
horses wasn’t a discovery of European masters。 The original idea belonged to 
the  great  master  Jemalettin  of  Kazvin。  After  Tall  Hasan;  the  Khan  of  the 
Whitesheep; conquered Kazvin; the old master Jemalettin was not content to 
simply join the book…arts workshop of the victorious khan; instead he headed 
out on campaign with him; claiming that he wanted to embellish the khan’s 
309 
 
History with scenes of war he’d witnessed himself。 So this great master; who 
for  sixty…two  years  had  made  pictures  of  horses;  cavalry  charges  and  battles 
without ever having seen a battle; went to war for the first time。 But before he 
could even see the thunderous and violent clash of sweating horses; he lost his 
hands and his eyesight to enemy cannon…fire。 The old master; like all genuine 
virtuosos;  had  in  any  case  been  awaiting  blindness  as  though  it  were  Allah’s 
blessing; and neither did he treat the loss of his hands as a great deficiency。 He 
maintained that the memory of a miniaturist was located not in the hand; as 
some insisted; but in the intellect and the heart; and furthermore; now that he 
was blind; he declared that he could see the true pictures; scenery and essential 
and  flawless  horses  that  Allah  manded  be  seen。  To  share  these  wonders 
with  lovers  of  art;  he  hired  a  tall;  pale…skinned;  pink…plected;  green…eyed 
calligrapher’s  apprentice  to  whom  he  dictated  exactly  how  to  draw  the 
marvelous  horses  that  appeared  to  him  in  God’s  divine  darkness—as  he 
would’ve drawn them had he been able to hold a brush in his hands。 After the 
master’s death; his account of how to draw 303 horses beginning from the left 
foreleg  was  collected  by  the  handsome  calligrapher’s  apprentice  into  three 
volumes respectively entitled The Depiction of Horses; The Flow of Horses and The 
Love of Horses; which were quite widely liked and sought after for a time in the 
regions where the Whitesheep ruled。 Though they appeared in a variety of new 
editions  and  copies;  were  memorized  by  illustrators;  apprentices  and  their 
students  and  were  used  as  practice  books;  after  Tall  Hasan’s  Whitesheep 
nation was obliterated and the Herat style of illustration overtook all of Persia; 
Jemalettin  and  his  manuscripts  were  forgotten。  Doubtless;  the  logic  behind 
Kemalettin R?za of Herat’s violent criticism of these three volumes in his book 
The Blindman’s Horses; and his conclusion that they ought to be burned; had 
figured in this turn of events。 Kemalettin R?za claimed that none of the horses 
described  by  Jemalettin  of  Kazvin  in  his  three  volumes  could  be  a  horse  of 
God’s vision—because none of them were “immaculate;” since the old master 
had  described  them  after  he’d  witnessed  an  actual  battle  scene;  no  matter 
how  briefly。  Since  the  treasures  of  Tall  Hasan  of  the  Whitesheep  had  been 
plundered  by  Sultan  Mehmet  the  Conqueror  and  brought  to  Istanbul;  it 
should  e  as  no  surprise  that  occasionally  certain  of  these  303  stories 
appear in other manuscripts in Istanbul and even that some horses are drawn 
as instructed therein。 
 
   
310 
 
LAM 
In  Herat  and  Shiraz;  when  a  master  miniaturist  nearing  the  end  of  his  days 
went blind from a lifetime of excessive labor; it would not only be taken as a 
sign  of  that  master’s  determination;  but  would  be  mended  as  God’s 
acknowledgment of the great master’s work and talent。 There was even a time 
in Herat when masters who hadn’t gone blind despite having grown old were 
regarded  with  suspicion;  a  situation  that  pelled  quite  a  few  of  them  to 
actually  induce  blindness  in  their  old  age。  There  was  a  long  period  during 
which men reverently recalled artists who blinded themselves; following in the 
path of those legendary masters who’d done so rather than work for another 
monarch  or  change  their  styles。  And  it  was  during  this  age  that  Abu  Said; 
Tamerlane’s  grandson  from  the  Miran  Shah  line  of  descent;  introduced  a 
further twist in his workshop after he’d conquered Tashkent and Samarkand: 
The  practice  of  paying  greater  homage  to  the  imitation  of  blindness  than  to 
blindness  itself。  Black  Veli;  the  old  artisan  who  inspired  Abu  Said;  had 
confirmed that a blind miniaturist could see the horses of God’s vision from 
within the darkness; however; true talent resided in a sighted miniaturist who 
could regard the world like a blind man。 At the age of sixty…seven he proved his 
point  by  dashing  off  a  horse  that  came  to  the  tip  of  his  brush  without  so 
much  as  a  glance  at  the  paper;  even  as  his  eyes  remained  all  the  while  open 
and  fixed  on  the  page。  At  the  end  of  this  artistic  ceremony  for  which  Miran 
Shah  had  deaf  musicians  play  lutes  and  mute  storytellers  recite  stories  to 
support the legendary master’s efforts; the splendid horse that Black Veli had 
drawn  was  pared  at  length  with  other  horses  he’d  made:  There  was  no 
difference   whatsoever   among   them;   much   to   Miran   Shah’s   irritation; 
thereafter;  the  legendary  master  declared  that  a  miniaturist  possessed  of 
talent; regardless of whether his eyes are open or closed; will always and only 
see horses in one way; that is; the way that Allah perceives them。 And among 
great  master  miniaturists;  there  is  no  difference  between  the  blind  and  the 
sighted: The hand would always draw the same horse because there was as yet 
no  such  thing  as  the  Frankish  innovation  called  “style。”  The  horses  made  by 
the great master Black Veli have been imitated by all Muslim miniaturists for 
110  years。  As  for  Black  Veli  himself;  after  the  defeat  of  Abu  Said  and  the 
dispersal  of  his  workshop;  he  moved  from  Samarkand  to  Kazvin;  where  two 
years later he was condemned for his spiteful attempts to refute the verse in 
the Glorious Koran that declares; “The blind and the seeing are not equal。” For 
this; he was first blinded; then killed by young Nizam Shah’s soldiers。 
 
311 
 
I  was  on  the  verge  of  telling  a  third  story;  describing  to  the  pretty…eyed 
calligrapher’s  apprentice  how  the  great  ma
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