After the establishment of the Republic of Türkiye, Kemal took comprehensive westernization reform measures, which led Türkiye to keep abreast of the West in terms of social culture and identity. At the same time, in the field of national ideology, Türkiye regarded the Ottoman Empire as a negative asset, and took the "de Ottoman" measures. This long-term "de Ottomanization" has left Türkiye in a rootless state of identity and has not really been accepted by Europe, which has hit Türkiye's self-confidence. After Kemal's death, Türkiye began to change its practice of "going to Ottoman" and try to recover the image of the Ottoman Empire. In the late 20th century, history textbooks were revised, and "Osman" and "Türkiye" were gradually confused. During the Ezhar period, the "New Osmanism" began to take shape, emphasizing the Ottoman Islamic cultural heritage. After Erdogan came to power, "New Osmanism" became the core ideology, which had a great impact on Türkiye's social life. The Ottoman culture, architecture, furniture, fashion, diet and so on began to revive, stimulating people's pride in the Ottoman Empire and reshaping Turks' self-identity. The trend of thought of "New Ottomanism" is remarkable in Türkiye's national political ideology and social and cultural life, and is also reflected in its literary works. Pamuk's novel My Name Is Red has a distinctive color of "new Ottomanism". The whole book uses "red" as a symbolic image to express endless nostalgia for the Ottoman Empire, closely following the prosperity of "new Ottomanism" in Türkiye.

Mongolian Ink Bottle: The "Red" and "Look East" of Ethnic Origins

The novel 'My Name is Red' depicts the origin and history of the Ottoman Empire through the symbol of a Mongolian ink bottle. The red color of the ink bottle directly points to the origin of the Ottoman Empire, symbolizing the rise and expansion of the Ottoman nation. Red is not only a symbol of the Ottoman Empire, but also implies a reference to Chinese civilization, as this color originates from China. In the novel, Chinese painting art has had a profound influence on Islamic miniature painting art and is regarded as the source of art. Author Pamuk expressed his nostalgia for the powerful Ottoman Empire and his desire to "look east" through his novel. In the novel, the two artists, Master Osman and Uncle, have a clear tendency towards praise and criticism. Master Osman, who adheres to traditional culture, is given the name "Osman", while Uncle, who advocates imitating the Venetian painting school, has no name. Uncle was smashed on the head by the murderer with a Mongolian ink bottle, and the red ink covered his head, symbolizing the "look east" turn of the "new Ottomanism" in Türkiye's identity.

The dialectical unity of "black" and "red": domination and dominance

The novel 'My Name is Red' explores religion, art, and cultural traditions through the dialectical unity of 'black' and 'red'. The "red" in the novel is not just an embellishment, but forms a profound connection with the "black", together constituting the hidden center of the novel. Red symbolizes creativity and dominance, and is associated with the religious doctrine of the Creator's creation, while black represents dominance and powerful energy. The novel connects "red" with the creator's process of creating the world through the depiction of fine art, showcasing the creation theory of "red". At the same time, the novel explains the dialectical relationship between "red" and "black" through the fate of the blind masters of miniature painting. Blindness is seen as entering the "noble darkness", transcending the chaos of the world, and painting purer paintings. The masters of fine art blinded their eyes to adhere to traditional styles, showcasing the unity of "red" and "black". The dialectical unity of "red" and "black" in the novel is not only a core philosophical concept, but also reflects the adherence to traditional culture and the indomitable spirit towards foreign cultures.

Ten paintings with hidden mysteries: "Red" in the center

The novel 'My Name is Red' presents a panoramic view of the Ottoman Empire through an album commemorating the Islamic millennium. My uncle commissioned a miniature painter to secretly paint ten paintings, nine of which were told stories by storytellers in a caf é, and the tenth was a portrait of His Majesty the Sultan. These paintings are not only illustrations, but also contain the author Pamuk's dialectical understanding of cultural differences between the East and the West and his profound contemplation of the Ottoman Empire's "center" complex. The nine paintings center around the phrase 'My name is Red', emphasizing the production process of red pigment, the perception of the blind, and creative features, revealing that 'red' is the center of position and essential meaning, and is the core of the novel. Pamuk's speculation on the cultural differences between the East and the West revolves around the concept of 'red', ultimately stemming from his attachment to the 'central' position. For example, "I am a tree" represents the loss of roots in modern Türkiye, while "I am a woman" implies the desire for the "center" position. The killing of the storyteller symbolizes the fall of the Ottoman Empire's "central position". Pamuk believes that Türkiye should return to the "center" by combining the eastern and western cultures. The portrait of His Majesty the Sultan corresponds to the phrase 'My name is Red', highlighting the correspondence between the Imperial Sultan and the central position. The novel reveals the connotation of the empire's "panorama" and reveals the inherent meaning of the "center" through the correspondence between the central point "red" and the Ottoman Sultan.

The Treasures of Sudan and the 'Red' of the Empire

By analyzing the depiction of the Sudanese treasury in 'My Name is Red', this paper explores the expression of 'Neo Osmanism' in literature. The items in the treasure trove symbolize the strength of the Ottoman Empire, with red representing conquest and expansion. The novel showcases the glorious history of the Ottoman Empire through detailed picture books in the treasure trove. The darkness and red of the treasure trove symbolize the power of control and creativity, respectively. Through his novels, Pamuk aroused Turkish people's memory of the Ottoman Empire and reflected Türkiye's elite's nostalgia for the glory of the empire. At the same time, Pamuk criticized the loss of cultural identity caused by Türkiye's overall westernization. Huntington believed that Türkiye should give up joining the West and restore its position in the Islamic world. In the Black Book, Pamuk called on Türkiye to "look east" and pursue its national identity. My Name is Red "portrays the glory of the Ottoman Empire through the dialectical unity of" red "and" black ", and is a manifestation of" New Osmanism "in literature. Pamuk expressed sorrow for the forgotten history and nostalgia for the traditions of the Ottoman Empire.