About ARTicipation for Inclusion

EBRU - marbling

Ebru, the traditional art of paper marbling, is believed to have originated in Central Asia as early as the 15th century, possibly in regions such as Turkestan or Persia, before spreading along trade routes to Anatolia. By the early 16th century, it was well established in the Ottoman Empire, where it became an important decorative art used in bookbinding, manuscript illumination, and official documents.

One of the earliest written references to ebru appears in the 17th century, and by the 18th century masters such as Hatip Mehmet Efendi had developed distinctive styles like Hatip Ebru. In the late 19th and early 20th centuries, artists including Necmeddin Okyay (1883–1976) refined and expanded the tradition, introducing naturalistic floral compositions.

Rooted in master–apprentice transmission, ebru was inscribed in 2014 on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity, recognizing its cultural significance and continued practice today.

Famous Artists

Throughout history, several masters have shaped and preserved the art of Ebru.

Among the classical figures are Hatip Mehmet Efendi (18th century), who developed the distinctive Hatip style; Şebek Mehmet Efendi (18th century), known for refining traditional patterns; and Necmeddin Okyay (1883–1976), who brought floral marbling to a highly naturalistic level.

In the modern era, artists such as Mustafa Düzgünman (1920–1990), an important preserver of classical techniques; Hikmet Barutçugil (b. 1952), who expanded ebru into contemporary art; Fuat Başar (b. 1953), known for teaching and international outreach; and Garip Ay (b. 1984), recognized for large-scale and innovative marbling performances, have carried the tradition into new generations and global audiences.

Use

Traditionally, ebru was primarily used as a decorative art within book culture in the Ottoman Empire. Marbled papers adorned the inside covers of manuscripts, framed calligraphy panels, and protected official documents against forgery, as each sheet was unique and impossible to replicate exactly. Ebru was closely connected to Islamic arts such as calligraphy and illumination, often serving as a background that enhanced sacred or poetic texts without overpowering them.

In the modern era, ebru has expanded beyond book arts into independent artworks, exhibitions, fashion, design, and large-scale installations. Contemporary artists experiment with new pigments, surfaces, and formats, applying marbling to textiles, ceramics, and digital media. While many practitioners continue to preserve traditional techniques and master–apprentice transmission, others explore performance-based marbling and abstract compositions, bringing ebru into galleries, public spaces, and global audiences.

EBRU PATTERN STYLES

Serpmeli
Serpmeli Patterns are created by lightly sprinkling fine drops of color across the water’s surface, allowing them to spread freely over a base pattern.

Using a small brush, the artist adds delicate speckles that create texture and softness. The result is an airy, expressive surface that enhances movement and depth in the composition.
Hatip Ebru
Hatip Ebru is named after Mehmet Efendi (known as Hatip), an 18th-century marbler who developed this distinctive style. It is recognized by layered, symmetrical medallion-like forms created by carefully dropping and shaping colors on the water’s surface.

The design is built step by step, with each color drop expanded and manipulated using needles or styluses. Slightly thicker, well-prepared pigments allow for controlled shaping and clear, defined patterns.
Çiçekli Ebru or Flower Designs
Çiçekli Ebru evolved from hatip patterns and was refined in the 20th century by Necmeddin Okyay, who developed naturalistic tulips, carnations, poppies, and roses formed directly in the marbling bath.

The design begins with the stem and leaves, followed by shaping the flower on the water’s surface. More concentrated pigments are used to achieve clearer, more precise forms.
Kaplan Gözü (Tiger’s Eye)
Kaplan Gözü (Tiger’s Eye) Ebru is created by shaping a Battal base with controlled circular or oval movements, forming layered rings that resemble the markings of a tiger’s eye.

Using a stylus, the artist gently expands and refines the drops to build depth and contrast. The result is a dynamic, organic pattern with a strong sense of movement and rhythm.
Battal Ebru
Battal Ebru is considered the oldest and most fundamental marbling pattern. It is created by simply dropping pigments onto the water’s surface, where they spread naturally into layered, organic shapes without further manipulation.

Each color is added carefully on top of the previous one, allowing the paints to expand freely. The result is a bold, flowing pattern that forms the foundation for many other ebru designs.
Taraklı Ebru, Combed marbling
Taraklı Ebru, or combed marbling, is created by pulling a comb or evenly spaced needles through a Battal base. This movement transforms the floating colors into rhythmic, repeated wave or zigzag patterns.

The spacing of the comb determines the density of the design, creating structured, decorative surfaces while still preserving the fluid character of ebru.