"[
ABSTRAKMakalah ini membahas dimensi sosio-psikologis dalam seni lukis yang
digambarkan dalam novel ?My Name is Red? karya Orhan Pamuk. Penulis
melalui makalah ini berpendapat bahwa dalam kontes antara liberalisme dan
religiusitas seni lukis di era Sultan Murat III, sebagaimana digambarkan dalam
novel tersebut, elemen psikologis mewujud dalam narsisme. Ide ini termanifestasi
dalam bentuk perilaku Velijan Effendi yang di satu sisi memegang teguh prinsipprinsip
Timur namun secara estetika tidak dapat menolak keunggulan prinsipprinsip
Barat. Hal ini mencerminkan bagaimana dua budaya bertemu dan
menghasilkan gejolak psikologis pada diri individu terkait isu pembuktian diri.
Makalah ini juga menyorot potensi ketidaksesuaian gambaran narsisme yang
dipaparkan Orhan Pamuk dengan pemahaman masa kini terkait narsisme. Hasil
analisis menunjukkan kalau gambaran Velijan atau Olive dalam novel My Name
Is Red tetap sejalan dengan gambaran individu narsisme dalam literatur ilmiah.
Velijan Effendi menjadi sosok narsis karena hasil dari kebutuhannya untuk diakui,
untuk eksis dalam hidupnya yang tertekan dan menggunakan lukisan-lukisannya
sebagai media untuk menyalurkan kebutuhannya tersebut.
ABSTRACTThis paper discuss about socio-psychological dimension in paintingspictured in Orhan Pamuk?s novel ?My Name is Red?. The novel shows us fineexamples about how paintings can be a media of painters who lived in arepressive era of Sultan Murat III which established rigid rules adopted fromIslamic principles of how a painting should be done. This idea manifested in thecharacters? behaviour, especially Velijan Effendi, who hold the Islamic or Eastprinciples but dilemmatically fond of Western principles as an aesthetic way ofpainting. This kind of dilemma born from the presence of East and Westprinciples intertwined in Turkey at the era pictured in the novel. Resultsdetermined that Velijan Effendi is narcistic as a result of his needs to beacknowledged and to express his self-manifestation; to be existent in his repressedlife. He uses his paintings as the media of expressing his needs.;This paper discuss about socio-psychological dimension in paintingspictured in Orhan Pamuk?s novel ?My Name is Red?. The novel shows us fineexamples about how paintings can be a media of painters who lived in arepressive era of Sultan Murat III which established rigid rules adopted fromIslamic principles of how a painting should be done. This idea manifested in thecharacters? behaviour, especially Velijan Effendi, who hold the Islamic or Eastprinciples but dilemmatically fond of Western principles as an aesthetic way ofpainting. This kind of dilemma born from the presence of East and Westprinciples intertwined in Turkey at the era pictured in the novel. Resultsdetermined that Velijan Effendi is narcistic as a result of his needs to beacknowledged and to express his self-manifestation; to be existent in his repressedlife. He uses his paintings as the media of expressing his needs.;This paper discuss about socio-psychological dimension in paintingspictured in Orhan Pamuk?s novel ?My Name is Red?. The novel shows us fineexamples about how paintings can be a media of painters who lived in arepressive era of Sultan Murat III which established rigid rules adopted fromIslamic principles of how a painting should be done. This idea manifested in thecharacters? behaviour, especially Velijan Effendi, who hold the Islamic or Eastprinciples but dilemmatically fond of Western principles as an aesthetic way ofpainting. This kind of dilemma born from the presence of East and Westprinciples intertwined in Turkey at the era pictured in the novel. Resultsdetermined that Velijan Effendi is narcistic as a result of his needs to beacknowledged and to express his self-manifestation; to be existent in his repressedlife. He uses his paintings as the media of expressing his needs., This paper discuss about socio-psychological dimension in paintingspictured in Orhan Pamuk’s novel “My Name is Red”. The novel shows us fineexamples about how paintings can be a media of painters who lived in arepressive era of Sultan Murat III which established rigid rules adopted fromIslamic principles of how a painting should be done. This idea manifested in thecharacters’ behaviour, especially Velijan Effendi, who hold the Islamic or Eastprinciples but dilemmatically fond of Western principles as an aesthetic way ofpainting. This kind of dilemma born from the presence of East and Westprinciples intertwined in Turkey at the era pictured in the novel. Resultsdetermined that Velijan Effendi is narcistic as a result of his needs to beacknowledged and to express his self-manifestation; to be existent in his repressedlife. He uses his paintings as the media of expressing his needs.]"
Depok: Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2014
