Turkish Marbling Workshop – Ebru Lessons in Istanbul

Turkish Paper marbling is a method of aqueous surface design, which can produce patterns similar to marble or other stone, hence the name. The patterns are the result of color floated on either plain water or a viscous solution known as size, and then carefully transferred to a sheet of paper (or other surfaces such as fabric). In Ebru art, you can draw flower figures that are traditional from the Ottoman period BUT the things that you can capable of using Ebru art is unlimited. All you need is your imagination.

Marbling is the art of creating colorful patterns sprinkling and brushing color pigments on a pan of oily water and then transforming this pattern to paper. The special tools of the trade are brushes of horsehair bound to straight rose twigs, a deep tray made of unknotted pinewood, natural earth pigments, cattle gall and tragacanth. It is believed to be invented in the thirteenth century Turkistan. This decorative art then spread to China, India and Persia and Anatolia. Seljuk and Ottoman calligraphers and artists used marbling to decorate books, imperial decrees, official correspondence and documents.

What is Included ;

* In Our Lessons; we can teach beginner & advanced level Professional Artists
* Traditional Ottoman Style Paper Marbling Class.
* All Equipment for Turkish Marbling – Ebru Workshop
* Workshop Area, Aprons & Gloves
* Turkish Tea & Water and a lots of FUN : )

Additional Information ;

LEARN the secrets of creating the rich patterns of handmade marble paper .
EXPERIENCE the sensuous flow of Ottoman Marble ( Ebru ).
CONTEMPORARY create design fabric marbling paper technique designs on paper, glass or on silk fabrics .
Our teachers are local Turkish Artisans and have experience in teaching.
Our Artists are Professional in Marbling – Ebru Art & Local Artisans.


Marbled paper, called ebru in Turkish, was used extensively in the binding of books and within the calligraphic panels in Turkey. The existing word ebre in Eastern Turkish, meaning variegated, points to the fact that marbling might have been known by the populations of Central Asia. Its origin might ultimately hark back to China, where a document from the T’ang dynasty (618-907) mentions a process of coloring paper on water with five hues. In the early examples from the 16th c. in the Ottoman-Turkish era, ebru appears in the battal (stone) form, namely without any manipulation. Interestingly, several variations developed in time, giving us types such as gelgit, tarakli, hatip, bülbül yuvasi, çiçekli (respectively come-and-go, combed, preacher, nightingale’s nest, flowered, etc.) An attempt has been made here to show some of its principal patterns, with samples by the master marblers of this century chosen from our collection.

Ebru technique consists of sprinkling colours containing a few drops of ox-gall on to the surface of the bath sized with kitre (gum tragacanth) in a trough. By carefully laying the paper over the bath, the floating picture on top of it is readily transferred to the paper; thus, each ebru is a one of a kind print. To obtain beautiful ebru results, one needs to have a light hand, refined taste, and an open mind to the unexpected patterns forming on the water. Patience and a good knowledge of traditional culture are characteristic of ebru masters.

After the 1550’s, booklovers in Europe prized ebru, which came to be known as ‘Turkish papers’. Many specimens in their collections and in the several album amicorum books are visible today in various museums. Also, early texts dealing with ebru, such as “Discourse on decorating paper in the Turkish manner”, published in 1664 by Athanasius Kircher in Rome, helped to disseminate the knowledge of this kind of marbling art. There is agreement amongst scholars that the so-called Turkish Papers played a colourful influence on the book arts in Europe.

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Традиционное турецкое искусство Эбру. Уроки и мастер-классы в Стамбуле.

Мастер-классы на английском языке по традиционному османскому искусству Эбру (мрамирование бумаги и рисование на воде).

Занятия проходят в художественной галерее, расположенной в центре Стамбула, район Султанахмет.

Искусство Эбру или «мрамирование» – это способ получения неповторимых узоров на бумаге, подобных природному рисунку на мраморе и других камнях. Цветные узоры наносятся с помощью кисти и специальных игл на поверхность водного раствора, имеющего особую вязкость, приготовленного на основе природных загустителей. Затем изображение аккуратно переносится на лист бумаги или ткань. Причудливые узоры можно дополнить изображениями цветов, что является традиционным османским изобразительным искусством, происходящем из глубины веков. Вариации узоров и цветовые сочетания никогда не повторяются, каждый новый лист уникален и неповторим, что дает неограниченные возможности для творчества. Искусство Эбру не требует специальных навыков рисования. Все, что вам нужно для создания неповторимого произведения – это фантазия и любовь к творчеству.

Для Эбру традиционно используются натуральные, экологически чистые компоненты. Это искусство появилось в средневековье на территории Туркестана и позднее распространилось по всей Османской Империи, в Иран, Китай и даже европейские страны.

Особенно популярно искусство Эбру было в Османской Турции, где изысканными мраморными узорами украшались книги, каллиграфические панно и даже официальные документы.

Приняв участие в мастер-классе по Эбру вы сможете:

Узнать секреты создания изысканных мраморных узоров на  бумаге ручной работы.

Прикоснуться к вековым традициям османского изобразительного искусства.

За одно занятие создать готовое уникальное произведение искусства.

Наши преподаватели – профессиональные турецкие мастера Эбру и имеют опыт преподавания.

** Если вы заинтересованы в изучении классического османского искусства мрамирования (Эбру), хотите участвовать в мастер-классе или заказать индивидуальное обучение от наших профессиональных преподавателей, пожалуйста, позвоните нам или отправьте нам электронное письмо  E-mail, чтобы получить дополнительную информацию.


Classical Types of Ebru;

1- Battal – Stone: The oldest recorded style in Ebru. It is the base of all forms in paper marbling art. The paints stay as they drop off the brush no other effect is given.

2- Gel Git – Tidal : After having a battal base, it is formed by zigzag movements parallel to the sides of the basin. This tidal movement is sometimes applied diagonally as well.

3- Şal – Shawl : Formed by an evenly spreading of two or three ‘S’ shapes on a tidal ebru in the opposite direction of the last tidal move.

4- Bülbül Yuvası – Nightingale Nest : Formed by inside to outside spiral movements next to each other on a battal ebru.

5- Taraklı – Combed : A vertically made tidal ebru is combed in the opposite direction of the last tidal movement.

6- Kumlu – Sandy : Formed by continuously dropping of low density paint on an extremely thickened basin and letting the work sit for a long time. The surface tension is high in an extremely thickened basin. The low-density paint is going to be pressured under the high tension of the surface and after a while crack and form the sandy or bony ebru.

7- Hafif – Light : Paints are diluted more than in other ebru types. Light ebru is usually used as a base to perform calligraphy.

8- Hatip – Orator : Motifs are formed by giving movement effects to the paints that are distributed evenly within each other on the surface. Colors at the background are light, motif colors are intense.

9- Dalgalı – Wavy : When the paper is moved back and forth during the marbling, the result will appear as waves on the paper. The paper can be folded, (creases point the surface) when each move contacts with a crease it will change direction and will form the waves on the paper. Waves can be formed only if the movement has a regular rhythm.

10- Neftli Battal –Turpentine: This is obtained by sprinkling paints with some added drops of Turpentine (preferably pine turpentine) onto a ‘Battal’ background. It gives a wavy appearance.

11- Somaki Battal – Porphyry: Generally made with two color. More gall is added to the second color, which squeezes the first color and creates thin veins, like marble.

12 – Serpmeli Battal – Sprayed: After any well known “Battal marbling” is made, a second color, in contrast to the background, is sprinkled is small droplets. The paint in the brush is squeezes out carefully, and some people use a special brush for sprinkling. This sprinkling may be formed in ‘Gel-Git’ – ‘ Bülbül Yuvası’ or other patterns.

13- Ak Kase – Stenciled Marbling: This is a pattern obtained by making several imprints on the same background, and popular with calligraphers. The base consist of a ‘light marbling upon which the script is written using a special fluid prepared with gum Arabic applied with a red pen or brush. Thus the surface of the light marbling is covered (insulated) by the gum Arabic. After drying, another design using darker colors is applied on the same paper: the parts covered with gum Arabic will resist the second coat and will therefore display the script. The same technique may be applied using a stencil, and other substances can be used instead of gum Arabic, for example, heavy gum tragacanth, silicone, several transparent types of glue, etc.

14- Yazılı Ebru – Script Marbling: This is obtained by writing the script with gum Arabic and then marbling the same paper, or vice versa (Leaving the script blank and applying the gum Arabic as background). Writing with gum Arabic (Transparent ink) demands particular skill, because it is very difficult to make corrections.



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