Art marbling in terms of aesthetic object analysis in the philosophy of art

The Philosophy of art examines works of art produced by people. In this respect, art is handled as an activity by imitating of nature, reflecting of the artist’s inner world or creating just for the sake of art. It is impossible to obtain clear information about the history of the marbling art from the early written sources of it. However, we know that marbling art has come to Istanbul from central Asia and China in the 15th and 16th centuries and then has spread to the other European countries. Marbling have gained varieties according to undersatanding of society in each period. This variation is related to the cultural level of the society. While marbling was a simple paper painting in the first period, in time it has been developed into different branches such as lapse marbling, splayed marbling, tide marbling, flowery marbling, rosy marbling, clove marbling, Necmeddin Okyay marbling and Barutçugil marbling. Any work of art develops and matures in an artist’s mind and then becomes into existence. In the next stage, work of art is presented to admiration of art lovers. Thus, the work of art is to be completed in the final period. In same way, art of marbling becomes a work of art after passing this stage at all. While the artist is performing art of marbling, he adds something from his world. As a result of this, the work reflects identity of what the artist has. Likewise, lover of art watches marbling table by adding something from his world as well and get pleasure from it. Marbling, unlike other art forms, is a kind of art which is able to be never created again in the same form. This difference is not only possible in terms of emotion and time, but also from viewpoint of marbling itself is. In other words, it is never possible to duplicate of it. In this respect, each marbling is unique