| Description |
Ebru is the traditional art of creating colorful patterns by sprinkling and brushing color pigments on a pan of oily water and then transforming this pattern to a special paper. It has been a traditional art of book enriching calligraphy and binding books for many centuries. In the 13th century, the first forms of Ebru emerged in Central Asia and spread to Anatolia through Iran. During the Ottoman period, Turkish calligraphers and artists created new forms and perfected techniques.
Ebru is an art which consists in the production of certain patterns and effects, by means of color containing a few drops of ox-gall (kind of natural acid helping the colors sprinkle on the gum) so prepared as to float upon a preparation of condensed liquid with the use of kitre (kind of herbal gum), possessing certain properties to the colors prepared for the purpose and which color floated and formed into patterns upon the surface of the liquid, are taken off by laying on a sheet of paper.
Several patterns such as gelgit, tarakli, hatip, bülbül yuvasi, çiçekli evolved over centuries. The colored effects of Ebru are achieved through patterns; that is by employing stereotype designs. The colors are natural pigments acquired by natural methods and most popularly employed colors are bright, fresh green, red and yellow. In other words, the designs or motifs indicate their common pattern. The most frequently seen designs are flowers, foliage, ornamental, latticework, mosque, first quarter moon and other images. |
| Social and cultural significance |
The tradition, in accordance with the individual and community aspirations, shares much optimism and improves relationships in community. It also motivates the member of the community to be involved in common cultural activities and social meetings.
In recent years, women and youth raised interest to Ebru with the increasing number of free courses, workshops organized by local authorities and universities. The broad participation of women in Ebru plays a significant role in the empowerment of women in the society. The young practitioners by virtue of their belonging to the element enhance identity and consciousness towards their historical and cultural heritage.
The element helps to unify people around the noteworthy art of marbling, providing an atmosphere for friendly relations; facilitating communication and making prejudices disappear among people from different cultural backgrounds. It has contributed intercultural dialogue, reinforced social ties by encouraging conversation. Ebru is a good opportunity for strengthening coherence and solidarity in modern Turkish society. Practicing and sharing element, in particular the collective practice of Ebru, reaffirms national identity. |
| Transmission method |
The knowledge and skills related to the element are transmitted orally and practically within master-apprentice relationship. Ebru is traditionally transmitted from one master to his/her apprentice through informal practical training. Basic principle of the training process of Ebru is not only the training of the technique but also the introduction of its philosophy. The apprentice usually observes and imitates the work of his/her master and assists in different stages of the application of Ebru. The training process continues with identification and production of materials and equipments. After the introduction stages of training, application process for the apprentice begins. Achieving basic skills of Ebru takes at least two years for the beginners.
In terms of transmission, the instruction in marbling offered by the various numbers of institutions, masters, several NGOs, municipalities and governorship offices through courses and workshops has increased recently, in response to the rising interest all over the country. The workshops and courses are, especially, very popular among young generations and women. |
| Community |
The bearers and the practitioners of the element are the Ebru artists, apprentices and people practicing Ebru, as a free time activity or profession, who consider Ebru as an integral part of their traditional culture, identity and life style. The bearers and practitioners of the element come from all the parts of society regardless of age, gender, socio-economic backgrounds and ethnicity.
Ebru artists play a crucial role for the practice and transmission of the element. They have the responsibility of transmitting their specialized knowledge from one generation to another mainly within the master and apprentice relationship. All the materials and equipments used in Ebru are made by the artists themselves who are not only responsible for transmitting knowledge related to practice of element but also responsible for transmitting specialized knowledge related to production of materials and equipments.
In the course of time, Hatip Mehmed Efendi (18th century), Şeyh Sadık Efendi (19th century) and Bekir Efendi, Necmeddin Okyay, Mustafa Düzgünman, Niyazi Sayin (early 20th century) , Fuat Başar (Proclaimed as Living Human Treasure in 2010), Alparslan Babaoğlu, Yılmaz Eneş, Timuçin Tanaslan, Bahtiyar Hira, Mahmut Peşteli, Hikmet Barutçugil, M. Sadrettin Özçimi (contemporary) are particularly worthy of mention in terms of their dedication to transmit their deep knowledge and high skills necessary for recreating the certain distinctive features of Ebru through apprenticeship and also their significant role on safeguarding the element. |
| Type of UNESCO List |
Representative List of the Intangible Cultural Heritage of Humanity |
| Incribed year in UNESCO List |
2014 |
