What Is the Turkish Art of Painting on Water Called

"Ebru has perpetually changing harmony,and requires great dedication and patience."
Ebru Master -  Mustafa Duzgunman

HISTORY OF EBRU Fine art

​

The art of marbling is the fine art of obtaining the paper dyed in a myriad of colors which was used for decoration in the art known as calligraphy.

Coming over the Silk Road to Anatolia from the Turks aboriginal homeland, the art set up out from Bukhara in Turkestan, picked up its name (ebru) in Iran, and settled in Anatolia.

Was the name it acquired from Farsi ebri on account of its deject-like appearance? Or was it ab-ru because it was created on water in a vessel?  This is non very clear. In our museums and in private collections one finds examples of newspaper marbling which go back as far every bit 450 years from the present day. A determination of appointment is possible in the example of marbled paper on which something has been written, and for this reason one perchance may be able to determine the name of the calligrapher. The name of the artist doing the marbling however remains unknown.

 The reason that at that place is no definite evidence about the history and original place of marbling art is that nosotros accept few inscribed sources related to this art merely the researchers's general stance is that marbling art has been existing since the latest 15th century. Even some researchers assume that it has roots till sixth century. The quotation of Mevlana, the globe-broad well-known philosopher, poet and "Sufi" in Turkish history, "Come then who says h2o isn't embroidery" is thought to sign this art was known in 12th. century. Co-ordinate to certain records, this known art developed as soon equally newspaper took place in history scene. Some water works' existence made on average such as called "liu-fla-cien" in China, "suminagashi" and "beninagashi"in Japan since 12th century  gives clue even doubtfully about improvement of this fine art which occured in Turkmenistan named "ebre" in Jagatai Turkish subsequently. As this art, named ebri while was being transferred from Turkestan to Islamic republic of iran following Silk Road latest at the commencement of 16th century looks like wisps of clouds, it really verifies this Farsi name indicating "deject". This name which was favorite in Ottoman country turned into "ebru".

At the stop of the same century, marbling papers took their way from Istanbul to their hometowns by European travellers, who approved these with the name "Turkish marbled paper" firstly in Germany, then France and Italia. Marbled newspaper which was improved in England and America shows difference equally to each country'south art formulation. There should be the role of the materials used likewise. Oldest "Ebru" sample which was recorded dates back to 16th century. It was used equally side paper for newspaper ornamentation, inner and outer of tablets and every bit manuscript binder. The old classical work written in Turkish nigh marbling is the pamphlet called 'Tertib-i Risale-i Ebr-i' which was written subsequently 1615. Today, classic works like marbling appeared in Primal Asia and Ottoman geography. Besides the oldest ebru papers dated in this manner are the papers used in Arifi'south "Guy-i Cevgan" in the Museum of Topkapi Palace collection which is dated to 1539 (Figure.1), ii papers in the Library of Istanbul University which were used for two calligraphies of Mir Ali of Herat which are dated to 1539, a paper used for Maliki Deylemi's calligraphies from Ugur Derman'due south Collection which is dated to 1554 (Figure.2)  and three papers used in one of the copies of Fuzuli'due south book, "Hadikat-united states of america sueda" (Garden of Happiness) which are dated to 1595 (Figure.3)  can be used as show for the history of Turkish ebru. They were used for decorative purposes, and also as a groundwork for official documents and signatures, to forbid erasure and forgery.

(Figure.1) Arifi'due south "Guy-i Cevgan" in the Museum of Topkapi Palace collection, 1539

(Figure.2) Ta'lik (calligraphy) on marbled paper, past Malik-i Deylemi, 1554, Georgia.

The Chain of Tradition

Like all the classical Ottoman arts, the art of marbling was one which was not taught by writing or explanation, but rather was a branch of art in which students were trained past means of the "chief/amateur" arrangement. The ability to plow out marbling which was truly cute was something of which just artists who had devoted years -and even their lives- to this art could be worthy.

Nevertheless, for i reason or another, this deep-rooted Turkish art has lost its historical prevalence, and has but managed to survive down to the present solar day thanks to the last iv links in the master/apprentice chain of which we shall now make mention.

​​​​SEBEK MEHMET EFENDI

The earliest marbling artist whose name has been determined to date is that of one with the by-name "Sebek", mention of which is made in the Tertib-I Risale-i Ebri ("Organised Treatise on Marbling"), which is the oldest document relating the methods and constituents of marbling, every bit published by Mr. Ugur Derman in his book on the art of marbling. Sadık Efendi, an important figure in the history of ebru, received his training in Bukhara and afterward joined Özbekler Tekkesi, a dervish lodge founded in Istanbul in 17th century, passing down his knowledge to the adjacent generation.

​

​

​

(Figure.3) Marbled Fuzuli's poems book "Hadikat-us sueda" (Garden of Happiness) papers, by Sebek Mehmet Efendi, 1595, Suleymaniye Library

(Figure 4) Tertib-i Risale-i Ebri. The oldest written booklet about "History and technique of Ebru", 1608

​

His decease must be before the publication of "Tertib-i Risale-i Ebri", 1608 since information technology is said "rahimehullah" (May God bless his soul) for him in this booklet. It is understood from the words "Nusha-i Sebek" (booklet of Sebek) in the "Tertib-i Risale-i Ebri" that he has an unknown booklet.

​

HATIP MEHMET EFENDI (?-1773)

Considered 1 of the greatest ebru (marbled paper) artists, Hatip Mehmed Efendi is from Istanbul. He is known equally "hatip" (preacher) because he was the preacher of Ayasofya Mosque. The date of his nativity is unknown. Because he is mentioned every bit "pir-i mubarek" (holly quondam master) in the "Tuhfe-i Hattatin", he was probably quite old when he died in April 1773. He has learnt "tuluth-nesh" calligraphy from Zuhdi Ismail Aga. He is credited as the inventor of ebru figures created by dropping concentric dyes and reshaping them with a needle, ebru papers containing such figures are called "hatip-ebrūsu". (Some recent historians have argued though that the origin of these figures may exist different.) His ebru papers which were identified past their distinctive colours and hatip patterns have been extremely popular and avidly nerveless during his lifetime. He died in the fire which destroyed his home in Hocapasa district of Istanbul, Apr 1773.

​

​

(Figure.5) Hatip Mehmet Efendi "Hatip Ebrusu" Suleymaniye Library

SHEIKH SADIK EFENDI (?-1846)
Sheikh Sadik Efendi who was born in the city of Vabakne in Bukhara.  He was the sheikh of the Ozbekler Tekkesi (Uzbekh Dervish Convent) in Sultantepesi, Uskudar. We know that he learnt the art of ebru when he was in Bukhara and he taught it to his ii sons Edhem and Salih. It is read from his tombstone in the Dergah that he died on the 11th of July 1846

HEZARFEN EDHEM EFENDI (?-1904)
Ibrahim Edhem Efendi who was the Sheikh of Uskudar Ozbekler Tekkesi is considered as the most distinguished marbler of the concluding century. He was the grandad of Turkey's ex-ambassador to Washington, Munir Ertegun (1882-1944). He was born in the Ozbekler Tekkesi in 1829. He has been educated by his father Sadik Efendi, his uncle and the scholars from Bukhara visiting the Tekke. He was proficient in Turkish, Arabic, Persian and Cagatai. He learnt ta'lik script from Carsambalı Arif Bey at a quite an old historic period. He was a carpenter, metal pulley, weaver, printer, architect, scientist and a mathematician. He was appointed equally the outset principal to Sultanahmet School of Crafts in 1869 and it was here that the first lead pipes were cast in Turkey. Producing ebru papers was one of his many talents which made him famous as Hezarfen (owner of a 1000 crafts). Besides Aziz Efendi and Sami Efendi, the most distinguished of his students is Necmeddin Okyay.He died on the 8th of Jan 1904 and buried in the cemetery of the Tekke.

(Figure.6-7) Necmeddin Okyay Ebru examples

NECMEDDIN OKYAY(1883-1976)
He was born on the 29th of January 1885 in Uskudar. He was the master marbler of the twentieth century. Necmeddin Okyay was educated in theology only he is best known as a calligrapher and marbler. Also calligraphy and marbling, he was a chief of ink-making, traditional bookbinding, rose-growing, archery etc. He learnt ebru from Hezarfen Edhem Efendi. He taught calligraphy at Medresetu'l Hattatin (School of Calligraphy) and traditional bookbinding and ebru at the Academy of Fine Arts. He taught ebru to his sons Sami (1910-12 June 1933) and Sacid (1915-19 Apr 1999) Okyay and to his nephew Mustafa Duzgunman (1920-12 September 1990) .Before Necmeddin Okyay, we had very primitive blossom ebrus. He started a new style in our ebru history by creating flower designs which are admired by the marblers of the earth. He is as well the inventor of calligraphy with marbling. At the first he used to prepare stencils of calligraphies, gum them on the paper to be marbled using gum Arabic which is a very weak adeshive and remove the stencil after the paper has been marbled. Later on he noticed that the parts of the paper which has gum Arabic resist the dyes and he started to write with gum Arabic instead of ink. The near famous of calligraphies produced by Necmeddin Okyay as described is the "Lafza-i Celal" ( name of God ).

​

Necmettin Okyay turned out a considerable number of exquisite marblings in addition to which he opened a new age in the mode of "Floral Marbling" which until then had undergone much primitive experimentation however had failed to reach anything specific in class. It was he who produced marblings which resulted in near-depictions of tulips, daisies, hyacinths, poppies, carnations, pansies, and rosebuds. The Floral Marblings of this style began to be referred to a "Necmettin Marbling". At last, marbling was no longer a colored piece or paper adorning a piece of writing: it had now been raised to the level of a piece of work of art in and of itself and worthy of its own study.

If we consider that this "Ebru" should take been performed is fabricated as just afterward the artist becomes skilled, it may be idea that marbling has old origin. Marbling which was a branch of business organization and art in itself in Ottoman period started to be forgotten at the beginning of 20th.century A recent involvement towards this art arose thanks to big artist Necmeddin Okyay.

(Figure.viii-ix) Mustafa Duzgunman Ebru example and while he is painting.

MUSTAFA DUZGUNMAN (1920-1990)

Mustafa Esat Düzgünman was Necmeddin Okyay's premier pupil and the teacher of many gimmicky marblers in Turkey today. He is known for codifying the traditional repertoire of ebru patterns, to which he only added a floral daisy design, in the manner of his instructor.

Notwithstanding the big number of students which he trained, Mustafa Düzgünman, is the sole proper name in the art of marbling today. He has produced exquisite works both in the floral marbling instituted past his teacher (chief) Necmettin Efendi, and at the same fourth dimension in all the other types of marbling as well.

torresthalketithed.blogspot.com

Source: https://www.sevimsurucu.com/ebru

Share this post