Why is this surface area so large? What could the wisdom behind it be? Tiny endoplasmic canals play a role in inner cell transportation and distribution of matter. ER is the organized industry district in the cell. Most of the factories of molecules produced by chemical reactions are found here. ER is the production spot in the cells of proteins and hormones. Consequently, a broad surface area is very necessary and important.

Different degrees (pH) of acid are necessary for each reaction. However, because the acid necessary for one reaction can negatively affect the other reactions, thousands of opposite, intricate and different reactions take place. For this reason, membrane surface areas need to be wide. Sometimes hundreds of protein molecules are produced in just a second in a cell. The rapid and flawless lining up side-by-side of tens, hundreds or thousands of amino acids can only be achieved with a knowledge and power that surpasses these very small structures.

Wrapping the inside of the cell like a web and forming a buffer against mechanical effects, ER is responsible for establishing the flexibility and soundness of the cell. In muscle cells, ER takes the name Sarcoplasmic Reticulum (SR), which has a very important duty in the contraction of muscles. The size of the surface area of SR in the muscles of the structural frame is proportionate to the speed of muscle contraction. Consequently, there is more SR in muscle cells where there is rapid contraction. SR also serves as a calcium depot in muscle cells. Normally calcium is a deadly poison for the cell, and for this reason it is kept out of the cell. The concentration of calcium outside the cell is 10,000 times more than it is inside the cell. However, SR stores calcium in the cell in its own body. Thus, it both prevents the cell from being harmed and it provides the necessary calcium for contraction.

ER has the duty of eliminating the poison in the liver cells from the body by means of gall. For example, jaundice-causing bilirubin is a deadly poison for the brain especially in newborn babies. If jaundice is not treated, motor loss (paralysis) and intelligence loss can result from brain damage. Bilirubin and glucuronic acid combine by means of some enzymes on the surface of ER in the liver and are thrown into the gall bladder. In this way ER plays an important role in making foreign matter harmless and in reducing the side affects of medications to a minimum. Babies’ sensitivity to some medications during the first three months of life is due to ER’s not yet being developed enough to eliminate their harmful effects.

If it is taken into consideration that all of these mechanisms exist in human, animal and plant cells, it can be clearly seen that a broad and complex structure in such a small volume and its many functions can only have been placed there by the All-Powerful whose knowledge, wisdom, artistry, will and power permeate every moment and every spot.

Celaloglu is a freelance writer from Turkey with a degree in biology.

As one of Turkish national arts, ebru is carried out by transferring onto special paper a design which is formed by scattering dye on dense water. It is argued that the root of the word “ebru” is from “ebr” (cloud-like), “ab-rû” (water surface) in Persian, or “ebre” (moiréd) in Chagatai. Owing to its moiréd appearance, it is called “marmor papier,” “papier marbre,” or “marbled paper” in European languages, and “waraqu’l-mujazza” in Arabic.

The art of Ebru, which is believed to have origins in Bukhara (a city in Uzbekistan, Central Asia) in the eighth or ninth century, reached Anatolia and Istanbul via Iran along the Great Silk Road. Ebru, like other book arts, continued to develop in Istanbul, reached maturity in the sixteenth century, and experienced its brightest period of time in the seventeenth century. The Ebru that was produced in that period in Istanbul was enough to meet the demand from Europeans.

The oldest example of Ebru ever known is in Istanbul University Library. It is estimated that it was made before 1519. Another piece of Ebru, which is believed to have been made in 1539, is kept in Topkapý Palace, in Istanbul. It is impossible to know much about early Ebru artists, (except those from the last period of the Ottomans) because there was no tradition of adding the artist’s signature to the work in that period. sebek Mehmet Efendi, Hatip Mehmet Efendi, seyh Sadýk Efendi, Nafiz Efendi and Hezarfen Ethem Efendi were famous Ebru artists who lived in the Ottoman period. Names such as Necmettin Okyay, Sami Okyay, Sacit Okyay, Abdülkadir Kadri Efendi and Mustafa Düzgünman were famous Ebru artists who lived in the early Republican period. Today, in Turkey, where the art of Ebru is becoming even more popular, there are a lot of contemporary Ebru artists.

Early Ebru artists produced almost all the equipment that they used. The materials which are used are paper, kitre (a gum-like substance made of cow’s gall), a table, naphtha, an awl set, combs, dyes, and brushes. The dye that is used in Ebru is water-proof. In traditional Ebru, soil pigments are used. The pigments are crushed on a marble base with a hand-carved stone called a “destezeng.” They are then put in a bowl, and mixed with water and gall. The mixture is left to stand for some time so that it reaches the right consistency. The period of waiting may be from several weeks to several years according to the type and quality of the dye. Owing to the difficulty of its preparation, this technique has almost been completely replaced with using readymade products.

Ebru is categorized according to the design and the motif used. By manipulating the dye on the surface of the water, different styles of Ebru can be made such as “the tide,” “the shawl,” “the striped,” “bülbülyuvasý,” (drawing spirals from outside to inside) “Hatip,” (drawing concentric circles with drops of colors) and “flowery.” Battal Ebru is made without manipulating the dye and transferred to the paper directly.

To judge the beauty of a piece of Ebru, three points should be taken into consideration. These are hav (the nap), the nimbus (hale), and the design. The nap is the height of the dye on the surface of the water. It feels velvet-like when it is touched with the fingers. The best nap can only be obtained with a soil dye. The nimbus is a white, glimmering circle around every drop of dye. It is achieved with the gall which is added to the dye. The design is the general appearance of the Ebru. It is composed of color distribution, coherence, form, and the location and size of motifs.

In the contemporary world, different schools of Ebru can be distinguished. The Turkish art of Ebru is one of these styles or schools. Hundreds of Ebru artists perform Ebru in their own way.

Today, most Ebru artists practice it as an independent art. In addition, Ebru is also used with miniature, calligraphy, tezhip, and other arts such as painting. The production of Ebru for book binding has declined in recent years.

There are different arguments about the relation between traditional and modern Ebru. While some artists are more sensitive about carrying on the traditional school, others are freer about the use of equipment and technique. It is useless to argue on which is better. There are already hundreds of Ebru artists around the world who deal with Ebru in the way they want. Whether the work is admired or not depends on art lovers. It is probable that a technique or a school which does not attract any attention today will be demanded more in the future.

There are too few Ebru artists who have received education and license to teach from the early masters. For that reason, the condition that every Ebru teacher should have a teaching license may restrict the art and artists. It can be understood whether one is really an Ebru artist or not, through one’s works, not just by looking at a person’s certificate. On the other hand, it would be beneficial if expert trainers could come together and determine some criteria.

The art of Ebru in today’s world has been experiencing a period of revival. Both in Turkey and in the rest of the world, there is increasing interest in Ebru. In tandem with the fact that many Ebru artists have been trained, there have arisen new techniques and schools.