Turkish Journal of Fashion Design and Management

Öz

Our traditional art forms, namely calligraphy,
illumination, miniature and marbling(ebru)
are known to be affiliated disciplines because they share essentially the same
philosophy and nourished from the same source.These sub-disciplines, which are
grouped by some experts as disciplines originating from decorative book arts
due their common qualities, all share the same starting point, independent of
the different terms that are used to refer to them. These disciplines, which
employ many different techniques, have a common way of implementation called
stylization. In the classical sense, the way marbling art (ebru) handled is
such that the insight has been gained to view stylization as the most
significant, and to support other disciplines within the framework of Turkish
art tradition of the past. A type of marbling (ebru) called “light marbling” is used not only as a backdrop in the art of calligraphy, but
also in the creation and enriching of invaluable works of art by combining
calligraphy, illumination and marbling by means of masking writing through
whitetub marbling technique. In addition, other marbling forms such as
oversized, flowered, sandy, combed and shawl marblings traditionally used
together with gold and colored frame patterns and space-filling patterns around
handwritings have traditionally been used to bring them to perfection in terms
of both interior and exterior book design. Marbling art(ebru), which we
encounter in many different fields of the book arts, has served as a
contributary element in almost every discipline, However, marbling has developed very rapidly in recent past; and
in order to serve for different purposes, it has currently been brought to a
self-contained status so much so that other forms have been rendered as if they
are subsidary. The development of our traditional art branches without any
degeneration seems to be possible only with the accumulation caused by the new
searches and interpretations. For this purpose, marbling has been dealt majorly
with its aspect of self-sufficiency. Unlike its traditional implementation, Marbled
papers (ebru) was first created with free will and then the abstract lines and
stains developed during the process were then integrated into the calligraphy
and illumination that suitably accompanied them. The designs of the
illuminations, which were prepared by following the rules within the discipline,
were created by using free pattern design suitable to the light marbling
ground. In other words, marbling, calligraphy and illumination disciplines are
each evaluated within their own rules and discussed using different common
interpretations. The textures that are obtained in the natural processes of the
marbling as ground marbling have either set the foundations for the design or
provided guidelight for the follow-up marbling from time to time. Based on
classical techniques, many gilding and marbling techniques could be used
together in line with the original designs that are suitable for the flow of
these natural textures. In addition, the original designs were created by using
whitetub marbling technique in the
tradition to create a different effect with gold leaf. As a result, it will be
possible for the comments made from a different point of view to lead to new
developments only as a result of the accumulations formed in line with that
view. From this point of view, this process, which takes marbling art (ebru) as its central premise is presented by using as
examples of unique designs.