Paper marbling is a method of aqueous surface design, which can produce patterns similar to smooth marble or other kinds of stone. The patterns are the result of color floated on either plain water or a viscous solution known as size, and then carefully transferred to an absorbent surface, such as paper or fabric. Through several centuries, people have applied marbled materials to a variety of surfaces. It is often employed as a writing surface for calligraphy and in bookbinding for book covers and endpapers, and it appears in stationery such as file folders. Part of its appeal is that each print is a unique monotype.
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👉 Paper marbling in the context of Ottoman miniature
Ottoman miniature (Turkish: Osmanlı minyatürü) is a style of illustration found in Ottoman manuscripts, often depicting portraits or historic events. Its unique style was developed from multiple cultural influences, such as the Persian Miniature art, as well as Byzantine and Mongol art. It was a part of the Ottoman book arts, together with illumination (tezhip), calligraphy (hat), marbling paper (ebru), and bookbinding (cilt). The words taswir or nakish were used to define the art of miniature painting in Ottoman Turkish.
While Ottoman miniatures have been very much inspired by Persian miniatures, Ottoman artisans developed a unique style that separated themselves from their Persian influences. Ottoman miniatures are known specifically for their factual accounts of things such as military events, whereas Persian miniatures were more focused on being visually interesting. The inclusion of miniatures in Ottoman manuscripts was more for the purpose of documentation, and less about aesthetics. Miniatures were used to demonstrate many important chronicles and themes, especially historical and religious events. Ottoman miniatures are particularly known for their specific and accurate details. This can be found in many miniatures of armies or court scenes.
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Paper marbling in the context of Tristram Shandy
The Life and Opinions of Tristram Shandy, Gentleman, also known as Tristram Shandy, is a humorous novel by Laurence Sterne. It was published from 1759 to 1767, in nine volumes across five instalments. The novel purports to be a memoir, but the titular Tristram is an effusive and digressive narrator who begins the story with his conception and doesn't reach a description of his birth until the third volume. While attempting to explain four accidents in his early life which have doomed him to an unhappy future, Tristram describes domestic conflicts between his irritable father Walter and his gentle Uncle Toby, and inserts humorous discourses on a range of intellectual topics.
Stylistically, Sterne is influenced by the earlier satirists Alexander Pope, Jonathan Swift, Rabelais, and Cervantes. The novel is characterised by innuendo, especially sexual double entendre and aposiopesis (unfinished sentences). Sterne burlesques serious writers and genres, particularly parodying Robert Burton's The Anatomy of Melancholy and the genre of consolatio. The novel is also remembered for surprising visual elements, such as blank, black, and marbled pages; entire paragraphs censored with asterisks; and inserted diagrams.