|
Her sey bir kulturun dogal akisi icinde suregelmistir. Gunumuz teknik
olanaklari, hizli iletisim ve kolay tuketim bu dogal akisi bozmus , kendi
kurallarini koymustur. Bu yuzden ebruyu cilt kapaginda ya da kaligrafi
zemininde kullanmak azalmistir. Daha cok nostaljik ve turistik amaclara yonelik
urunler halinde ortaya cikmaktadir.
Ebru oylesine hareketli ve dinamik bir sanat dali ve resim teknigidir ki, onu eskitmeye belki daha yuzyillar yetmeycektir. Eger ebruyu uygulayan sanatcinin bir saplantisi, bir yorgunlugu yoksa yasadigi cagin en modern urunlerini ortaya cikarmasinda engel yoktur. Biz ebru sanatinin genc ve yeni nesilleri bunu kanitlar calismalar yapmakta, gunluk kullanima yonelik urunler vermekteyiz. Yalniz kagit uzerine degil:; kumas, cam, seramik, deri, plastik, mum, melamin, fayans, tas zemin gibi hammaddelere de bu sanatin degisik uygulamalarini yaparak beuya yepyeni ufuklar acmaya calismaktayiz: Ebru kravat, ebru vazo, ebru seramik, ebru kalemlik, ebru yatak ortusu, ebru abajur, ebru |
In the 20th century we are still using the same materials.
Watching a marbler at work is fascinating. As he sits on his stool with his bowls of paint, reaching first for his brush then for that, creating patterns on the surface of the water, the speed of the process is hypnotic. The artist plays with the paint on the water, then unexpectedly, he stops, dexterously lays the paper on the surface and a few seconds later the marbling is ready. Just a momentary pause to admire the result, and the artist is off again. Until the turn of the century, marbling was a purely decorative art with specific applications. Twentieth century technology and production methods took the ground out from under the marbler's feet. No longer were his services required for modern books, and with the changeover to Latin script calligraphy went into decline. no longer were there any sultans to write decrees on marbled paper. Greetings |
Ebru sanati su uzerinde resim oyunudur. Sanatci ne zaman isterse o zaman
durdurur boya atisini, resmi tamamlar, kagida alir. Bu sadece gecici bir
sonuctur. Size soluk almaniz icin verilen gecici bir aradir. Sanatci ara
vermeden yeniden fircalara uzanabilir.
The artist plays with the paint on the water, then unexpectedly, he stops, lays the paper on the surface and a few seconds later the marbling is ready. |
|
|
figuratif ve soyut resim...
Ebru ureten sanatcilar, yuzyillar akarken bir gelenek oturtmuslar: Bir ebru sanatcisi omru boyunca en fazla iki ogrenci yetistiriyordu. Ustelik usta olurken bildiklerinin tumunu de ogrencilerine aktarmiyorlardi. Bu gelenek belki baslangicta olumlu gelismelere yol acmis olabilir ama zamanla ebrunun daha az kisi tarafindan uygulanmasi, duyulmasi ve tuketilmesine, ebrunun unutulup yok olmasina neden olcak ortami yaratmistir. Biz yeni nesil ebrucular bu sanatin daha fazla bilinmesini istiyoruz. Bu amacla ulkemizde her isteyene bu sanati butun ayrinti ve teknikleriyle ogretmek politakisini uyguluyoruz. Ebru dunyasinin renk cumbusune hepinizi davet ediyoruz! |
cards and souvenirs became virtually the only outlet for art which had by no
means outlived its potential.
Yet today a new generation of marblers is out to prove that their art is no fossil, but can take its place at the front of modern design. Marbling might have lost its traditional functions, but the art itself has by no means lost its dynamism. Marblers are experimenting with new materials, such as fabric, glass, pottery, and leather, to open up new horizons for their art. Marbled ties, vases, pencil cases, bedpreads, and lightshades all give as much delight as the marbling of old books once gave their owners. A marbled picture, figurative or abstract, replaces the marbled inscriptions which once hung on the walls of Turkish homes. |