South African Journal of Art History Volume 33 Number 1 2018 South African Journal of Art History a JOURNAL for the VISUAL ARTS and ARCHITECTURE

South African Journal of Art History Volume 33 Number 1 2018 Art History Volume African Journal of South South African Journal of Art History A JOURNAL FOR THE VISUAL ARTS AND ARCHITECTURE Volume 33 Number 1 2018 SAJAHcover33no1.indd 1 2018/07/16 10:57:29 PM The South African Journal of Art History is a peer reviewed journal publishing articles and review articles on the following subjects: Art and architectural history Art and architectural theory Aesthetics and philosophy of art Visual culture Art and the environment Film and photography History of craft History of design SAJAH does not publish the following: educational issues; student research; architectural designs; popular culture. ISSN 0258-3542 Available on Sabinet Website: www.sajah.co.za Archive: UP Online i SAJAH South African Journal of Art History Volume 33 Number 1 2018 Editor M.C. Swanepoel (North-West University) Editorial Board Arthur Barker, University of Pretoria (Regionalism and South African architecture) Monica di Ruvo, Peninsula University of Technology (craft, design pedagogy, interior design, sustainable design) Kobus du Preez, University of the Free State (indigenous architecture, conservation) Adrian Konik, Nelson Mandela University (philosophy, film theory and cultural studies) Estelle Liebenberg-Barkhuizen, University of KwaZulu-Natal (women artists, works on paper) Estelle Alma Maré, Tshwane University of Technology (art and architectural history) Phil Mashabane, Architect (architectural history, theory and conservation) Mauritz Naudé, University of Pretoria (South African architecture) Mbongiseni Nkambule, Tshwane University of Technology (architectural history and theory) Jonathan Noble, University of the Free State (architectural history, theory and criticism) Bert Olivier, University of the Free State (aesthetics and philosophy of art) Johann Opperman, University of South Africa (South African art) John Steele, Walter Sisulu University (ceramics, installation art, ephemeral art) Aletta Steenkamp, University of Cape Town (architecture) Ingrid Stevens, Tshwane University of Technology (art theory, contemporary art, craft) Gerald Steyn, Tshwane University of Technology (African and South African architecture) Ariana van Heerden, University of Pretoria (neuroscience of art making) C.J. van Vuuren, University of South Africa (indigenous architecture, anthropology) International Advisory Board Tsion Avital, Emeritus professor, Department of Design and Art, Holon Academic Institute of Technology, Israel Concha Diez-Pastor e Iribas, ESNE (University of Design), Madrid, Spain Maria Fernada Derntl, Faculdade de Arquitetuia e Urbanismo da Universidade de Sao Paulo, Brazil Pascal Dubourg-Glatigny, Centre National de la Recherche Scientifique, Paris, France Aleš Erjavec, Slovenian Academy of Sciences and Arts, Ljubljana, Slovenia Antoni S. Folkers, researcher, African Architecture Matters, Amsterdam, The Netherlands John Hendrix, Department of Architecture, Lincoln University, UK Mary Johnson, Department of Architecture, De Montford University, Leicester, UK John A.H. Lewis, architect, independent medievalist, Auckland, New Zealand Constantinos V. Proimos, Hellenic Open University and the Technical University of Crete, Greece Raymond Quek, Leeds School of Architecture, UK Tijen Roshko, Department of Architecture, University of Manitoba, Canada Leoni Schmidt, Director of Research, Otago Polytechnic, New Zealand Nikolaos-Ion Terzoglou, Department of Architecture, Technical University, Athens, Greece Gert van Tonder, Reki-An Pavilion, Kamigamo Minami Ojicho 5 Banchi, Kitaku, Kyoto City, Japan Alexander Tzonis, Emeritus professor, Delft University of Technology, The Netherlands The SAJAH is sponsored by the Art Historical Work Group of South Africa Chairperson: Gerald Steyn Treasurer and Publication Secretary: E.A. Maré Cover design: Johann Opperman Layout: Silverrocket Creative Printed by: Procopyprint ii South African Journal of Art History Volume 33, number 1, 2018 Contents Research articles on the theme colour Estelle Alma Maré Orhan Pamuk’s portrayal of the conflict between Islamic book illustrators’ traditional model and a foreign model, respectively coded black and red, in his novel My Name is Red 1 Bert Olivier Colour in variegated contexts: The Wachowskis’ Sense8 13 Johann Oppermann Rediscovering the artisan techniques and intricacies of water gilding 27 Gerald Steyn Architecture and identity: colours, textures and materials that speak of South Africa 41 Benno Zuiddam Biblical colour symbolism and interpretation of Christian art 66 General research articles Inge Konik Exploring discursive channelling of libidinal flows: a materialist ecofeminist reading of Nadine Labaki’s Caramel (2007) 90 Leoni Schmidt Trauma architecture and art: Berlin’s Bunker Boros 99 Jane Venis The Olympics of the art world: Allora and Calzadilla’s Track and Field 112 Ronel Kellner An enquiry into the Reverend Solomon Caesar Malan’s documented excursion through Syria, Assyria and Armenia with special reference to his watercolour sketches of the excavations at Sennacherib’s Southwest Palace at Kuyunjik 128 iii Orhan Pamuk’s portrayal of the conflict between Islamic book illustrators’ traditional model and a foreign model, respectively coded black and red, in his novel My Name is Red Estelle Alma Maré Tshwane University of Technology E-mail: [email protected] I dedicate this research to the memory of Johannes Heidema who loved the colour red.1 Orhan Pamuk situated his novel, Benim Adim Kirmizi, translated as My Name is Red, in late sixteenth- century Istanbul, at the zenith of the Ottoman Empire during the reign of Sultan Murat III (1574-95). Its multi-layered plot comprises a love story and two murders. Conversely, the article focuses on the characters who as miniaturist painters practice the traditional art of book illustration, and also on those involved in the production of the secret book, following the Venetian model, which the sultan commissioned to give an account of himself, his reign and possessions. The Leitmotif throughout the novel is what black and red signify in relation to the traditional as opposed to the foreign model. In unfolding events and views expressed on art, the life-world, culture and religion of traditionalist illustrators and those influenced by Western art practice are respectively coded black and red. Key words: Orhan Pamuk, My Name is Red, Ottoman book illustration, black/red Orhan Pamuk se uitbeelding van die konflik tussen Islamitiese boekillustreerders se tradidionele model en ’n vreemde model, respektiewelik as swart en rooi gekodeer, in sy roman Benim Adim Kirmizi, in Engels vertaal as My Name is Red Orhan Pamuk se roman speel af in die laat sestiende-eeuse Istanbul, gedurende die regeringstyd van sultan Murat III (1574-95), waartydens die Ottomaanse Ryk ’n hoogtepunt bereik het. Die gelaagde intrige behels ’n liefdesverhaal en twee moorde. Die artikel fokus egter op die karakters wat as miniaturistiese skilders die tradisionele kuns van boekillustrasie beoefen, asook op dié betrokke by die produksie van ’n geheime boek, uitgevoer onder die invloed van die Venesiaanse model, waarvoor die sultan opdrag gegee het om voorstellings te bevat van himself, sy regeringstyd en besittings. Die Leitmotif van die roman het deurgaans betrekking op wat swart en rooi met betrekking tot die tradisionele, in teenstelling met die vreemde model, beteken. In ontplooiende gebeure en uitsprake oor kuns word die lewenswêreld, kultuur en godsdiens van tradisionalistiese illustreerders met dié wat deur die Westerse kunspraktyk beïnvloed is, gekontrasteer, en onderskeidelik as swart en rooi gekodeer. Sleutelwoorde: Orhan Pamuk, My Name is Red, Ottomaanse boekillustrasie, swart/rooi rhan Pamuk, a Nobel Prize laureate (2006) and author of the novel Benim Adim Kirmizi (1998), translated as My Name is Red, devoted himself to painting until the age of twenty- Otwo. It therefore comes as no surprise that when he changed course and became a writer instead, he would retain his interest in painting. Situating his novel in the late sixteenth-century Istanbul, at the zenith of the Ottoman Empire during the reign of Sultan Murat III (1574-95), its multi-layered plot comprises a love story and two murders, the latter qualifying it as a “krimi” in which the murderer is only identified in the end.2 However, these aspects will not be dealt with as of primary interest for the present research. Conversely, the article focuses on the characters who as miniaturist painters practiced the traditional art of book illustration (also referred to as illumination), and also those who had an interest in the production of the secret book which the sultan commissioned to give an account of himself, his reign and possessions in depictions that SAJAH, ISSN 0258-3542, volume 33, number 1, 2018: 1-12 “closely resemble life itself” (205, reference to page number in the novel). The inclusion of the sultan’s portrait in the representational or naturalistic3 style of contemporary Venetian painters caused acrimony among the illustrators who belonged to an Istanbul workshop practising the expression of traditional Islamic painterly, moral and religious values. Compliance with foreign ideals was rejected so intensely by the murderer that his opposition to collaborators of the sultan’s book resulted in violence. In the novel the reference to the sultan’s portrait is, of course, a fiction. However, traditional depictions of him in his milieu as well as focussed portraits by Venetian painters exist

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