Su Yuzunde Rengarenk: page 3 of 5

On ucuncu yuzyilda Turkistan'in bilinmeyen bir yerinde adini bilmedigimiz bir sanatci yagli su dolu bir tekne hazirlar. Amaci bir once baslattigi sanat eserine devam etmektir. Boyalarini suyla inceltirken beklenmedik bir kaza olur. Fircalardan yagli su uzerine boya damlaciklari sicrar. Gordunuz mu aksiligi! Guzelim yagli suyun uzeri berbat olmustur. Sanatcimiz aslinda bu tur aksiliklerle sik sik karsilasmaktadir. Hemen her seferinde cozum, suyu dokmek ve yeniden hazirlamaktir. Artik bu cozumden bikmistir. In the 13th century, an unknown artist in an unknown place in Turkistan prepared a bowl of oily water with which to thin his pigments. As he prepared his paints, some drops from the brush accidentally sprayed onto the water. Bother! Now he would have to pour it away and start again. Usually when this happened he resigned himself to preparing a fresh bowl of water. But on this occasion he was tempted to try a short cut and lay a sheet of paper on the surface to wipe up the spillage.
Yepyeni bir yontem bulmaya ve suyu bu yolla temizlemeye karar verir. Bir cok denemeden sonra istedigi sonuca ulasir. buldugu yol umdugundan da kolaydir. Sadece bir levha kagit harcayarak su uzerindeki istenmeyen boya ve artiklari kolayca temizleyebilmektedir. Kagidi suyun uzerinde yatirip biraz bekledikten sonra,kaldirir. su temizlenmis artik boyalar kagida cikmistir. Onceleri bu kagitlari bir daha kullanmayacagini dusunerek burusturup atmaktadir. Bir sure sonra bu kagitlarda olusan motiflere gozu ilisir. Olacak sey degildir. Gene burusturup atmaya hazirlandigi kagit parcasi dunya harikasi bir renk cumbusune bulanmistir. Olacak sey degildir. Gene burusturup atmaya
Sanatcinin elinin fircalara her gidip gelisinde su uzerinde yeni resimlerle karsilasirsiniz. Oyle hizli bir islemdir ki bu sizi zevkten zevke surukler.
Low and behold , the method worked. The water was clean again, the paint transferred to the surface of paper. It was a waste of paper, but had saved him trouble and time. He was about the screw the paper up and toss it away, when he caught sight of pattern on the paper. What a marvelous effect! This time he splashed the paint on the surface deliberately, and laid a fresh sheet on top. Again an extravaganza of pattern and colour! Imaginary this account of the discovery of marbling might be, but it cannot be far from the truth. After all, accident and curiosity have a lot to answer for in the advance of human knowledge. The people of Turkistan came to love this art,
hazirlandigi kagit parcasi dunya harikasi bir renk cumbusune bulanmistir. Bu kez yagli su teknesine bilerek sicratir boyalari. Yeni bir kagidi su yuzeyine kapatip, alir. Gene dunya harikasi bir renk cumbusu!

Bu, ebru sanatinin dogusunun dussel bir oykusudur. Turkistanlilar cok sever bu sanati. Oyle severler ki, kullandiklari, kullanmadiklari tum kagidi ebru ile boyarlar: Ta muhasebe defterlerinden padisah fermanlarina kadar. Hesap defterleri, kutsal kitap kapaklari, kapak ici ebrulari ulka icinde, fermanlar ve ulkeler arasi resmi yazismalar ise ulke disinda cok sukse yapar. Sanki

and use it to decorate paper for all kinds of purposes, from accounting registers to imperial decrees, from the endpapers of books to official correspondence. the marbling on decrees and correspondence was greatly admired in other lands, and soon the art had spread far and wide.

The Chinese, Indians and Persians took up marbling, each developing their own techniques, although none surpassed the artist of Khorasan who brought their beloved marbling from Central Asia into Anatolia. Here, first the Seljuk Turks and then Ottoman calligraphers

dunya bir bastan bir basa boyanmistir.

Cinliler, Hintliler, Persler de ebru yapmaya baslar. Herkesin kendine gore bir ebru teknigi olusur. Ama en has ebrucular Horasanlilardir. Orta Asyadan kalkip Anadoluya geldiklerinde, cok sevdikleri ve yasamlarinin bir parcasi olan bu sanati da beraberlerinde getirmislerdir.

and artists used marbling to decorate books and documents. New forms and Techniques were perfected in the process, and Turkey remained the acknowledged centre of marbling for many centuries. Up until the 1920's marblers and their apprentices had workshops in every corner of Beyazit, Istanbul's traditional book publishing district.