One of the last representatives of the traditional art of ebru, otherwise known as the art of paper marbling, Düzgünman's(1920-1990) disciple Fuat Baþar has for years from his humble studio in Küçükayasofya been leading the way for those interested in learning the art of ebru.
Ebru is the voyage of love that drops from the heart into the vessel. The artist, on this voyage, experiences secret of divine beauty and submits work that can never be replicated to the Most Beautiful (one of Allah's attributes). An ebru artist's paint is from soil, and his brush is from the branch of a rose bush. The student, upon passing through the tutelage of a master, learns the art. In front of his vessel, the artist translates the language of colors and droplets. Applying it all onto paper, the artist immortalizes and embroiders it. While being defined as the art of "throwing embroidery on water," ebru possesses the promise of compensation through illuminating the artist. Traditional arts complete one another in this respect and provide both beauty and esthetics for curious eyes.
Ebru is a passion for the artist. For this reason, ebru master Düzgünman says in his "Ebruname" (the book of ebru): "I fell in love with ebru and pursued it. It gave me hardships like Leyla (of the tale of Leyla and Majnoon) and nothing became of it." Baþar, who says that "those who immerse themselves in the world of Ebru will not be able to leave it," is an artist who is in love with the art. Baþar abandoned a medical degree in order to immerse himself in the art of ebru and was also involved with Arabic calligraphy (the art of Hat). He began collecting samples of ebru work from calligraphy texts he was studying during the years he lived in Erzurum. He then began to exchange letters with ebru master Düzgünman and calligraphist Hamdi Aytaç. After acquiring the art of calligraphy from Aytaç, he began taking ebru lessons from Düzgünman and has been continuing on this voyage for the past 30 years.
Baþar is also a poet; he is a "classical" ebru artist who holds on to the tradition of ebru -- from the utensils to the final product. The artist points out that the word "classic" has been misconstrued to mean "old and outdated," while what is classic will never lose its value and its esthetics and base are never subject to change. "Before becoming an expert, they (those who are against being classical) move on to another field in an amateur fashion and call their art a "modern" interpretation." Baþar states that the divine beauty of ebru is not apparent but hidden in its backdrop, and he is very happy with the interest in the art and is hopeful for its future.
The exhibit, a reflection of 30 years of experience, consists of 44 works of art. On the walls of the gallery are beautiful images from tulips to poppies, from carnations to daisies, from violets to hyacinths -- each of them the result of hard work. "Murakka," a traditional method obtained trough the reflection of various works of paper on water combined with one another, was used to display the work of Baþar. The world of ebru, which can be defined as the reflection of colors on water, is displayed in its full beauty with this exhibit. Curator M. Emin Baþar holds court and the ebru gallery of Baþar will be available until the end of February at the Kalem Güzeli Gallery.
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Today's ZamanGüncelleme Tarihi: 20 Eylül 2018, 18:16