Imagine colours dancing on water, swirling into intricate patterns before being captured forever on a sheet of paper. This isn’t magic, though it certainly looks like it. This is Ebru, the traditional Turkish art of paper marbling, a practice steeped in history and brimming with delicate beauty. It’s an art form where the artist works in harmony with water, pigment, and often, a touch of serendipity, creating unique, unrepeatable designs that seem to float off the page.
Ebru, often translated as ‘cloud art’ (from the Persian ‘ebri’ meaning cloud), or sometimes linked to ‘ab-ru’ (water surface), carries the ephemeral quality of clouds in its very name and nature. Each piece is a fleeting moment captured, a testament to the artist’s skill and the unpredictable nature of the medium. While its exact origins are debated, with similar techniques appearing in East Asia much earlier, the Ebru we recognize today found its soul and refinement along the Silk Road, travelling through Persia and Central Asia before blossoming in Anatolia, particularly during the Ottoman era.
A Journey Through Time: The History of Ebru
Tracing the precise lineage of Ebru is like following the delicate veins in one of its marbled patterns. Early forms of marbling existed in China perhaps as early as the Tang Dynasty (618–907) and Japan with Suminagashi (‘floating ink’) in the Heian period (794–1185). However, the techniques and materials used in Turkish Ebru suggest a distinct evolution. Historical records point towards its practice in the Turkestan region of Central Asia by the 13th century. From there, it migrated westward with scholars, artisans, and traders.
It was within the sophisticated artistic environment of the Ottoman Empire, from the 15th century onwards, that Ebru truly flourished. It wasn’t just seen as decorative; it was deeply integrated into the high arts of the period. Marbled papers became the preferred choice for the borders (known as ‘koltuk’) of exquisite calligraphy panels, framing holy texts and imperial decrees. They lined the inside covers of meticulously hand-bound books, adding a layer of hidden beauty. Sometimes, official documents themselves were written on Ebru paper, the unique pattern serving as an early, beautiful form of anti-counterfeiting technology – duplicating an Ebru pattern exactly is virtually impossible.
The techniques were often closely guarded secrets, passed down from master (usta) to apprentice (çırak) through rigorous training. Sadly, specific names of the earliest masters are often lost to time, but their legacy lives on in the surviving works and the continuity of the tradition. By the late 16th and early 17th centuries, European travellers encountered this fascinating art in Istanbul and brought samples back home. It became known in Europe as “Turkish paper,” admired for its exotic and intricate designs, influencing bookbinding and decorative arts across the continent.
The Alchemical Process: How Ebru is Made
Creating Ebru is a delicate dance between control and surrender. It requires patience, a steady hand, and an understanding of the materials’ subtle interactions. The process begins with the preparation of the ‘size’ or ‘viscous water’.
The Foundation: Kitre
Traditionally, the water isn’t just water. It’s thickened using ‘kitre’, the gum secreted by the Astragalus plant (tragacanth gum), though nowadays other substances like carrageenan (derived from seaweed) can also be used. This gum is dissolved in water over time, creating a viscous liquid with just the right density to support the colours on its surface without letting them sink or dissolve immediately. Preparing the kitre solution is an art in itself, requiring specific proportions and often several days of soaking and straining to achieve the perfect consistency. This thickened water is poured into a shallow tray, usually rectangular, called a ‘tekne’.
The Colours: Earth and Ox Gall
Ebru colours are traditionally made from natural earth pigments mixed with water. These pigments must be insoluble in water. They are ground finely and then mixed with a crucial ingredient: ox gall (‘öd’). Ox gall acts as a surfactant, reducing the surface tension of the water and allowing the colours to spread across the surface of the kitre solution. Each colour needs a slightly different amount of ox gall, depending on the pigment and the desired effect. Getting this balance right is key; too little gall and the colour sinks, too much and it spreads too thinly or uncontrollably.
The Application: Sprinkling and Shaping
The artist uses special brushes, often handmade from rosewood handles and horsehair bristles, to sprinkle the prepared colours onto the surface of the size. The way the brush is held and tapped dictates the size and distribution of the colour drops. This initial layer often forms the basis of the ‘Battal’ style. From here, the magic truly begins. Using various tools – single needles (‘biz’), rakes or combs (‘tarak’) with varying tooth spacing, awls – the artist gently manipulates the floating colours. They can be drawn out, swirled, combed into intricate patterns, or shaped into specific forms. The movements must be delicate and precise, as the colours remain fluid on the surface.
The Capture: Transferring to Paper
Once the desired pattern is achieved, a sheet of absorbent, untreated paper is carefully laid onto the surface of the water, starting from one edge and lowering it smoothly to avoid trapping air bubbles. The paper instantly absorbs the floating pigments. After a few seconds, the paper is carefully lifted out, again starting from one edge, revealing the captured design. It’s then rinsed gently to remove excess size and hung up to dry. The result is a unique, monoprint – no two Ebru papers can ever be identical.
Ebru is recognized by UNESCO as an Intangible Cultural Heritage of Humanity. This designation, awarded in 2014, acknowledges its historical significance and cultural value. It also highlights the importance of safeguarding the traditional knowledge and skills passed down through generations of Ebru masters. This recognition helps ensure the art form continues to thrive.
A Spectrum of Styles: Classic Ebru Patterns
Over centuries, Ebru masters developed distinct styles and patterns, each with its own technique and aesthetic. While innovation continues, several foundational styles remain central to the art form.
Battal Ebru (Stone or Size Marbling)
This is often considered the oldest and most fundamental style. Colours are sprinkled onto the size, often starting with darker shades followed by lighter ones, creating a pattern resembling stone, marble, or scattered clouds. The beauty lies in the random distribution and interaction of the colours. A variation,
Neftli Battal, involves adding turpentine to a colour, causing it to create large, circular voids or rings within the pattern, adding another layer of texture.
Gelgit Ebru (Tidal Marbling)
Meaning ‘come-and-go’ or ‘tidal’, this style involves creating parallel lines across the Battal base. After sprinkling the colours, the artist uses an awl or a similar tool to draw lines back and forth, either horizontally or vertically, across the tray. Alternatively, the paper itself can be gently oscillated as it’s laid down. The result is a pattern reminiscent of waves or wood grain.
Taraklı Ebru (Combed Marbling)
Building on the Gelgit style, Taraklı Ebru introduces the use of combs. After creating the initial Gelgit lines, a comb is drawn through the colours, usually perpendicular to the Gelgit lines. This creates fine, repeating patterns. The spacing of the comb’s teeth and the direction of the combing (straight, wavy) lead to countless variations, such as the intricate cross-hatched patterns resembling fine textiles.
Şal Ebru (Shawl Marbling)
Often created after a combed pattern, Şal Ebru involves making diagonal, S-shaped curves across the surface, resulting in flowing patterns that resemble the intricate designs found on traditional shawls.
Bülbül Yuvası (Nightingale’s Nest)
A captivating style where colours are manipulated, usually with a single awl, to form concentric spirals. These spirals are often arranged across the surface, creating a dense, swirling pattern that evokes the name ‘nightingale’s nest’. This requires considerable control over the spreading colours.
Hatip Ebru
Named after the preacher (Hatip) Mehmed Efendi (died 1773), who is credited with developing it. This style moves beyond abstract patterns towards representation. Small, stylized motifs – often hearts, stars, or simple flower shapes – are created by carefully dropping colours and manipulating them with an awl. These motifs are typically arranged symmetrically or rhythmically on a base pattern (like Battal or Gelgit).
Çiçekli Ebru (Floral Marbling)
Perhaps the most technically demanding style, Çiçekli Ebru involves creating recognizable depictions of flowers directly on the water’s surface. Tulips (a revered flower in Turkish culture), carnations, hyacinths, pansies, and roses are common subjects. This style requires immense skill in controlling the placement and shaping of colours using fine awls. The master Necmeddin Okyay (1883–1976), a multi-talented artist also known for calligraphy and bookbinding, is particularly renowned for developing and perfecting floral Ebru, even having a specific style of tulip named after him (‘Necmeddin Tulipan’).
Ebru in the Modern World
Far from being a relic of the past, Ebru continues to be practiced, taught, and appreciated today. Contemporary artists build upon the traditional techniques, sometimes experimenting with new materials, colours, and applications. Workshops and courses can be found both in Turkey and internationally, ensuring the craft is passed on to new generations.
Its UNESCO recognition has further boosted awareness and appreciation globally. While traditionally associated with paper, modern artisans also apply Ebru techniques to other surfaces like fabric, ceramics, glass, and wood, bringing its unique aesthetic into new contexts. Beyond its visual appeal, many find the process of creating Ebru to be deeply meditative – the focus required, the gentle interaction with water, the acceptance of unexpected results all contribute to a calming, almost therapeutic experience.
Ebru remains a vibrant thread in the rich tapestry of Turkish culture. It is an art form that embodies patience, skill, and a deep respect for natural materials. Each marbled sheet tells a story – of its historical journey, the artist’s intent, and the beautiful, fleeting dance of colour on water. It is a reminder that sometimes, the most profound beauty can be found on the surface of things, captured in a moment of controlled chance.
