There are different viewpoints regarding the origin of the word “Ebru” due to the fact that it used to have different meanings in different languages back in the 15th century. “Ebr” meaned “cloud” and “ebru” meaned “eyebrow” in Farsic language (depicted in the famous poems of Farsic literature) where the word “ebre” meant “veined fabric,paper, etc.” in ancient Ça_atay language. Some of the writers interested in the history of words believe that travelling through the Silk Road, the word changed into “Ebri” which means “cloudy, like cloud” and was modified in time
among the practitioners to “Ebru” which is more convenient to define and name the technique. Therefore, although recorded as “Ebri” in the oldest Otoman resources, the word has been used as “Ebru” starting from the last century.Ebru is the art of “painting on water”. It varies from other techniques used in fine arts like tempera painting or use of water-colours on paper in this sense. It is the unique technique where the Artist performs on the condensed water with hand-made natural paints and brushes and transfers this “image” he has created, to a sheet of paper/fabrics/ceramics/wood/leather after completing his work.
Ebru is defined as the “marbling art” in most of the resources because once it was used to line manuscripts, picture framing or calligraphies, it was well-known as “Turkish Marble Paper” all over Europe, starting from the 17th century,unwards. In fact, “Ebru” deserves to be linked to “marbling” with the patterns provided by sprinkled paint on water,usually used as the “background” in the works of “Ebru” nowadays. These patterns are really similar to “marble”.
It is often employed as a writing surface for calligraphy, and especially book covers and endpapers in bookbinding and stationery. Since, the books were hand-written in the above-mentioned centuries, it was traditional to enrich and ornament the pages with this technique especially in the valuable books of the time as well as the official correspondence among the Sultans and the Kings of other countries. One of the reasons for this special ornamenting
of these letters was to prevent them to be copied. Part of its appeal is that each print is a unique monotype.Furthermore, the technique and implementation of “Ebru” was improved in time over the centuries of practice by Masters in the Ottoman Empire. Although this technique was used in other locations on the world, the “decorative flowers” and the “written ebru's” were typical to Turkish culture and were re-interpreted and re-practiced by following generations in a chain of apprenticeship in ebru ateliers.So, it required patience and respect to masters to learn how to implement “ebru”. It required talent not only on the rthym and chemistry of colours but also the “behavior” of tickened water and all materials under different conditions. It may surprise the readers to learn that the perfume of a person may totally damage an “ebru” the artist is working with. “Ebru” is not seperate from nature and it is like a living creature which gives different reactions depending on the environmental conditions. Hence, it surprises you with tricks and the artist has to be alert all the time in order to “comfort” its work in order to get his desired output. That is why the Ebru Masters say “It is impossible to make the same Ebru twice”.This is the soul of ebru which all the artists share in a different manner. It is not pure “technique” but is a unification of “person” with “nature”. Water and human beings have always been together and inseperable due to natural needs in history. This is relevant to future as well no matter if the technology moves faster than we do. In this sense, “ebru” relieves people and re-unites them with their natural “self”.
In this context, Turkish people raised an interest to this technique coming from their own history during the last fifty years. Through ateliers and work-shops, the technique is being taught to interested people some of whom bring new interpretations to the traditional figures of “Ebru”. Furthermore, with the arrangement of competetions and exhibitions in the faculties of art in Turkey, new-coming generations learn more about this traditional Turkish art. On the contrary, the conflict among some professors if “Ebru” is a branch of “art” or just a traditional “technique”
is still ongoing. On the other hand, it should have been apparent that, “ebru” is a special technique to create figures and patterns, by which “pieces of art” can be created as well as paintings without any artistic value.In this sense, it is hoped that the future artists will improve and interpret “ebru” technique with new innovations in order to link Turkish traditional art with contemporary art of today.
Overall History of “Ebru”:
The reason that there is no definite evidence about the history and original place of marbling art is that we have few inscribed sources related to this art but the researchers’s general opinion is that marbling art has been existing latest since 15th century.Even some researchers assume that it has roots till 6th century.The quotation of Mevlana, the world-wide well-known philosopher, poet and “Sufi” in Turkish history, “Come then who says water isn’t embroidery” is thought to sign this art was known in 12th. century. According to certain records, this known art developed as soon as paper took place in history scene.Some water works’ existence made on average such as called “liu-fla-cien” in China, “suminagafli” and “beninagafli”in Japan since XIIth c. gives clue even doubtfully about improvement of this art which occured in Turkmenistan
named “ebre” in Jagatai Turkish later. As this art, named ebri while was being transferred from Turkestan to Iran following Silk Road latest at the beginning of 16th c. looks like wisps of clouds, it really verifies this Persian name indicating “cloud”. This name which was favourite in Ottoman country turned into “ebru”. As it has patterns such as eyebrow, it shouldn’t be regarded as a conflict to name this art “marbling” because marbling means “eyebrow” in Persian language.
At the end of the same century, marbling papers took their way from ‹stanbul to their hometowns by European travellers, who approved these with the name “Turkish marbled paper” firstly in Germany, then France and Italy.Marbled paper which was improved in England and America shows difference as to each country’s art conception.There should be the role of the materials used as well.Oldest “Ebru” sample which was recorded dates back to 16th century. It was used as side paper for paper ornament, inner and outer of tablets and as manuscript binder. The old classical work written in Turkish about marbling is the pamphlet called’Tertib-i Risale-i Ebr-i’ which was written after 1615. Today, classic works like marbling appeared in Central Asia and Ottoman geography. Regarding marbling history, Mr. U¤ur Derman (Marbling
in Turkish Art), shows the marbling estimated as the oldest which was written in Georgia in 1554 that has a line belonged to Maliki Deylemi. If we consider that this “Ebru” should have been performed is made as only after the artist becomes skilled, it may be thought that marbling has old origin. Marbling which was a branch of business and art in itself in Ottoman period started to be forgotten at the beginning of 20th.c. A recent interest towards this art arose thanks to big artist Necmeddin Okyay who introduced ‘floral marbling’.
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Sir Şebek Mehmet: Unfortunately,there is no detailed information about him who is one of the oldest marbling artist; such as his birth date and who he is. It’s known that he passed away before this Tertib-i Risale-i Ebr-i was written (1608)which mentions about him as Rahimehumullah (May he rest in peace).There are works of Şebek Mehmet in written copy Hadikat Seda of Fuzuli and it’s written 1595 in his work. According to these information, Sir Şebek Mehmet must have passed away between 1595-1608. |
Sir Hatip Mehmet: Sir Hatip Mehmet who was nicknamed his own name is the creator of Hatip marbling and he has got an important place in traditional Turkish marbling. He was nicknamed orator as he was the orator of Ayasofya Mosque and his real name is Mehmet Bin Ahmet İstanboli.Sir Mehmet whose birth date isn’t known exactly passed away while trying to save his marblings from the fire at his housein 1774.Orator marbling kept secret for a long time as he didn’t teach his creation ‘Orator Marbling’ anybody .Sir Mehmet learned a style of arabic script and ‘nesih’ script from calligrapher İsmail Zühti besides marbling. |
Sir Sheik Sadık: Sir sheik Sadık was born in Vabakne city of Bukhara who was sheik of Uzbek dervish lodge in Üsküdar. It’s known that this essence learned marbling in Bukhara and his grave is in Uzbek dervsih lodge graveyard.His death date is written as 12 receb 1262(11 July 1846) .This essence about whom we don’t have much information, taught marbling his sons named İbrahim Edhem and Nafiz. |
Sir İbrahim Edhem: Sir İbrahim Edhem whose father is Sheik Sadık, was born in Uzbek dervish lodge in 1829.He, who learned marbling from his father made contributions for Uzbek dervish lodge to become the most important mabling center by working with his father.Sir İbrahim Edhem who started his first school life in Hace Hesna Hatun School took lessons from his father, uncle and Bukhara erudites coming to lodge. Sir İbrahim Edhem who learned Turkish, Arabic Persian and Jagatai languages as much as he could write poems got certificate by learning Ta’lik calligraphy from Mr. Arif. His marbled papers were looked for in palace emroidery place and stationery bazzaar in Beyazıt.He spent his earnings from marbled papers for lodge expense and the guests. He called ‘hezarfen’ as he was skilled in carpentry, sculpture,being an engraver of seals,intaglio, turnery,smithry,typography and fitting besides marbling and calligraphy. He served as a manager of Sultanahmet art institute found by Mithat Pahsa in 1869 and had lead tube melt here for hte first time. Sir sheik İbrahim Edhem who was sent to Hejaz by reason of managing Tamirat-ı Aliye served in fixing of holy Harem-i Şerif. He got medal for his works in Paris exhibition set up in 1867. This essence who was a good archer as well, directed in mevkib-i humayun, 93 war. He passed away in 8 January 1904 night and was graved in dervish lodge the other day. |
Mehmed Necmeddin Okyay: Mehmed Necmeddin Okyay who has an important place in our marbling art history was born in 28January,1883 in Üsküdar.His father is Sir Mehmet Abdülnebi.First ‘floral marbling’ and ‘inscribed marbling’ were performed by Necmeddin Okyay.With the success of floral marbling,marbling art was started to use for book covering and calligrapy side besides as frame on its own.Okyay who was a calligraphers as well learned marbling art from Sir Uzbek sheik İbrahim.Necmeddin Okyay who was skilled in being an engraver of seals ,archery,binding and rose profession besides marbling and callipraphy called ‘hezarfen’like his master.Hezarfen Necmeddin Okyay passed away in 5 January 1976 when he was 93 years old. He was graved in KaracaAhmet graveyard inÜsküdar. |
Mustafa Düzgünman : Mustafa Esat Düzgünman who is one of the most important artist in marbling history born in 9 February 1920 Üsküdar,İstanbul.His father is imam and orator Sir Saim and his mother is Mrs. Şükriye niece of Necmeddin Okyay.After he finished his first education, he started to work at his father’ herbal shop. He registered Turk decoration branch of fine art academy where Necmeddin Okyay was teaching as well. He learned sunburst binding and marbling here for three years. He continued marbling as an extra later 1940.Mustafa Düzgünman was interested in religious music and was muezzin in Aziz Mahmut Hüdayi Mosque in Üsküdar.He composed nearly 20 religious chants. Mustafa Düzgünman made great works in marbling and advanced his technical knowledge. Moreover, his master Necmeddin Okyay made compliment him by saying’Mustafa got ahead me in marbling’.He performed floral marbling that was found by his master in more realistic way and contributed daisy marbling to these kind of marblings.It’s undeniable that he is one of the most important marbling artist who improved marbling art with his students and works. Mustafa Düzgünman indicated that he was objected to the thoughts like modernization or innovations tried to be made randomly in marbling art. He indicated that marbling works like fresh painting and this kind of changes would damage to our marbling art in time.He made efforts to be able to transfer marbling art to the next generations without making such changes.Mustafa Düzgünman’s grave,who passed away in 12 September 1990, is in KaracaAhmet graveyard. |
Fuat Başar: He was born in Erzurum,1953. Fuat Başar who finished primary,secondary,high school and mecidine education in Erzurum and being interested in marbling and calligraphy arts, he didn’t perform doctoral profession even though he graduated from medicine faculty.He began to deal with hüsn-ü calligrahy in faculty years(1976).After he saw the piece of work of Uğur Derman called ‘Marbling in Turkish Art’ in those years, his interest warmed to marbling art and tried to perform by himself.
At the end of these trials,he reliazed that marbling wasn’t an art that could be performed by himself and he contiuned his marbling works by corresponding to Mustafa Düzgünman.He got calligraphy certificate from calligrapher HamidAytaç after he settled down in İstanbul in 1980 and got marbling certificate from MustafaDüzgünman in 1989. Fuat Başar whose works are displayed in more than 300 personal and integrated, in domestic or abroad exhibitons educates many students to continue marbling in traditonal way.He who has a book about marbling art,joined some studies about marbling physicochemistry made in Yıldız Teknik University.He is still continuining marbling lesson teaching of Süleymaniye Cultural Ministry. |
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