5.3. 當細密畫家看到威尼斯畫像時，你認為他們感受到哪種吸引力及     恐懼？What sort of attraction and fear do you think the miniature painters feel when they see Venetian portraits?(See pp. 6, 26-27, 31, 50-51, 63-64, 107-113.) Why do you think they feel this way?.為什麼你認為他們有這樣的感覺?

6.4. Master Osman says there are three questions one should ask to determine "how genuine a painter is" (60).奧斯曼大師(Master Osman)認為以什麼準則決定"這個畫家是多有天份。Why do you think the question of an individual "style" is so important to the Master?為什麼個人風格(individual style)這樣的問題對大師是這麼地重要？這個問題對書中其他角色是以什麼方式來顯得重要？

(See pp. 17-18, 60, 62-68, 98, 107-113, 126.)

7.5. Why do you think "the notion of an endless time" (70) is so valued by miniaturists?為什麼"永恆的時間概念"miniaturists(細密畫家們)如此重視? 個人或是西方繪畫風格可能以In what ways might an individual or Western style of painting threaten this ideal of timelessness?什麼方法威脅這個永恆(timelessness)的概念? (See pp. 69-75, 107-113.) In what ways might a Western style be more timeless?有什麼方法可能使西方繪畫風格更永恆？

9.6. Why do you think blindness is "the farthest one can go in illustrating"?為什麼盲(blindness)是一個人在禪釋藝術方面能到達最高的境界"? What do you think Master Osman means when he says "it is seeing what appears out of Allah's own blackness" (60)?對於大師奧斯曼(Master Osman)說："這是出於真主似乎看出了自己的陰鬱(blackness)"(60)，你認為大師奧斯曼有什麼意涵？In what ways is blindness a kind of silence?什麼方式盲目(blindness)卻又是一種沉默?

(See pp. 75-81.)

10.7. What are some similarities between love and painting?愛與畫畫之間有哪些相似之處?

(See pp. 37-38, 39-40, 59, 115.)11.8. Do you agree with the murderer that evil is "indispensable to an artist" (101)?您同意兇手說的邪惡是"不可或缺對於藝術家"的嗎？Why do you think he says this and what do you think he means by it?你覺得他為什麼這麼說？你認為他這麼說有何意函？

7.9.Why do you think Master Osman reacts to the illustrations in the "secret" book (239, 249-251) as he does?8. Why do you think it's important that style, or a "secret signature" (253) is what reveals the murderer?你覺得為什麼風格或是"秘密簽名"揭露關於凶手的身分是重要的？

9.10. Early on the murderer says that he is "completely divided" (97). 

　　　　　　兇手在之前就說他是"完全分裂"的。What do you think he means by that?您認為他指的是什麼? (Look for examples of his duality.) In what ways can you relate the divisions between East and West, between Venetian and Ottoman styles, to the murderer's division?(自己找的關於他的二元性的例子)。你有什麼方法可以將東西方之間的分歧、威尼斯和奧斯曼風格之間與兇手的分裂做連結？

(For East / West, see pp. 161, 230, 287, 354, 400.)

10.11. Name some differences between blindness and sight.列出一些盲目和見解之間的不同。 (See pp. 80-81, 285-87, 321-24 [Bihzad]; 76-77, 311-12 [Sheikh Ali].) Why do you think the verse "the blind and the seeing are not equal" ( Koran 35.19 ; 287, 380) is important to the miniaturists?你認為為什麼詩文"盲跟觀看是不平等的"( "the blind and the seeing are not equal")(古蘭經35.19;287、380)對於細密畫家是重要的?

11.12. Why do you think Master Osman scrapes away the eyes in some paintings (321)?你覺得為什麼大師奧斯曼擦掉一些畫中的眼睛? Why do you think Master Osman blinds himself (321-24)?你覺得為什麼奧斯曼隱蔽自己? Why do you think Black and the others blind the murderer (388-97)?你認為為什麼布拉克和其他人要隱蔽兇手?

12.13. The story of Ibn Shakir inventing Islamic painting is referred to at least three times—pages 69-70, 329-30, and 400.書中發現伊斯蘭畫的故事被指出至少三次---頁，What do you think is the point of the story each time it is told or alluded to?你認為故事每次提到或是暗示到有什麼重點？Why do you think Pamuk repeats or elaborates this and other stories and motifs?你覺得為什麼帕慕克重複或詳細描述這點以及其他故事及主題？

13.14. Why do you think so many characters resort to violence towards the end of the book?你覺得為什麼有這麼多角色在故事最終都訴諸暴力？ (See pp. 346-335, 360-65 [Butterfly], 372-73 [Stork], 387-405 [Black, the murderer, and Hasan].) In what ways might the violence relate to divided selves, or the division between East and West?以什麼方式可能將暴力與分裂的自我或是東西方的分裂做連結？(See questions 9-10.) Who or what do you think is ultimately responsible for this violence?您認為誰或是什麼最終應該位這樣的暴力負責？奧斯曼大師可能能夠以什麼方式負責？

In what ways might Master Osman be responsible?(See pages on fathers—295, 311, 335-36, 376-77, 395-96.)

14.15. In what ways are the murderer and Hasan alike?兇手與海珊是在哪方面雷同？cf.367.Why do you think Pamuk resolves the murderer's and Hasan's stories as he does?為什麼帕慕克要這樣安排兇手及海珊的故事？