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wracking chuckle or a witticism； at times by a few sobs or the suppressed
moan of the beaten boy before his crying fit would remind the master
miniaturists of the beatings they themselves received as apprentices。 But the
half…blind niy…two…year…old master caused me to sense something deeper
for a moment； here； far from all the battles and turmoil： the feeling that
everything was ing to an end。 Immediately before the end of the world；
there would also be such silence。
Painting is the silence of thought and the music of sight。
As I kissed Master Osman’s hand to bid him farewell； I felt not only great
respect toward him； but a sentiment that plunged my soul into turmoil： pity
mixed with the adoration befitting a saint； a peculiar feeling of guilt。 This；
perhaps； because my Enishte—who wanted painters； openly or secretly； to
imitate the methods of the Frankish masters—was his rival。
I suddenly sensed； as well； that I was perhaps seeing the great master alive
for the last time； and in the fluster of wanting to please and hearten him； I
asked a question：
67
“My great master； my dear sir； what separates the genuine miniaturist from
the ordinary？” I assumed the Head Illuminator； who was accustomed to such
fawning questions； would give me a dismissive response； and that he was
presently in the midst of forgetting who I was altogether。
“There is no single measure that can distinguish the great miniaturist from
the unskilled and faithless one；” he said in all seriousness。 “This changes with
time。 Yet the skills and morality with which he would face the evils that
threaten our art are of significance。 Today； in order to determine just how
genuine a young painter is； I’d ask him three questions。”
“And what would they be？”
“Has he e to believe； under the sway of recent custom as well as the
influence of the Chinese and the European Franks； that he ought to have an
individual painting technique； his own style？ As an illustrator； does he want to
have a manner； an aspect distinct from others； and does he attempt to prove
this by signing his name somewhere in his work like the Frankish masters？ To
determine precisely these things； I’d first ask him a question about ”style‘ and
“signature。”“
“And then？” I asked respectfully。
“Then； I’d want to learn how this illustrator felt about volumes changing
hands； being unbound； and our pictures being used in other books and in
other eras after the shahs and sultans who’d missioned them have died。
This is a subtle issue demanding a response beyond one’s being simply upset
or pleased by it。 Thus； I’d ask the illustrator a question about ”time‘—an
illustrator’s time and Allah’s time。 Do you follow me； my child？“
Nay。 But that’s not what I said。 Instead； I asked； “And the third question？”
“The third would be ”blindness‘！“ said the great master Head Illuminator
Osman； who then fell silent as if this required no explication。
“What is it about ”blindness‘？“ I said with embarrassment。
“Blindness is silence。 If you bine what I’ve just now said； the first and
the second questions； ”blindness’ will emerge。 It’s the farthest one can go in
illustrating； it is seeing what appears out of Allah’s own blackness。“
I said no more。 I walked outside。 I descended the icy stairs without
hurrying。 I knew that I would ask the great master’s three great questions of
Butterfly； Olive and Stork； not only for the sake of conversation； but to better
understand these living legends who were contemporaries of mine。
68
I did not； however； go to the master illuminators’ houses immediately。 I
met with Esther near the Jewish quarter at a new bazaar that had an elevated
view of the confluence of the Golden Horn and the Bosphorus。 Esther was all
atwitter in the pink dress she was forced to wear as a Jew； with her large and
lively body； her mouth which never stopped moving； and her eyebrows and
eyes which twitched madly and signaled to me； indeed； this is how she was
among the shopping slave women； the women wearing the faded and loose
caftans of poor neighborhoods and among the crowds that had lost
themselves amid carrots； quinces and small bundles of onions and turnips。
She stuffed the letter I gave her into her shalwar pants with an adept and
mysterious gesture； as if the whole market were spying upon us。 She told me
that Shekure was thinking of me。 She took her baksheesh and when I said；
“Please； make haste and deliver it straightaway；” she indicated that she still
had quite a lot of work to do by gesturing toward her bundle and said that she
only could deliver the letter to Shekure toward midday。 I asked her to tell
Shekure that I’d gone to pay visits to the three young and renowned master
miniaturists。
69
I AM CALLED “BUTTERFLY”
The midday prayers had yet to be called。 A knock at the door： I opened it to
find Black Effendi； who was among us for a while during our apprenticeships。
We embraced and kissed on the cheeks。 I was wondering whether he’d
brought some word from his Enishte； when he said that he wanted to look at
the pages I’d been illustrating and at my paintings； that he’d called in
friendship； and was going to direct a question to me in the name of Our
Sultan。 “Very well；” I said； “ to answer？”
He told me。 Very well； then！
Style and Signature
“As long as the number of worthless artists motivated by money and fame
instead of the pleasure of seeing and a belief in their craft increases；” I said；
“we will continue to witness much more vulgarity and greed akin to this
preoccupation with ”style‘ and “signature。”“ I made this introduction because
this was the way it is done； not because I believed what I said。