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Today's Zaman, Turkey
Feb 23 2014
An Armenian craftsman reviving 'murassa,' long-forgotten Ottoman art
Photo: Hraç Arslanyan, an Armenian craftsman who revived the Ottoman
art of `murassa,' owns a gallery where he exhibits the long-forgotten
art. (Photo: Sunday's Zaman)
23 February 2014 /MESUT DEMÄ°R, MÃ`LEYKE BARUTÇU, Ä°STANBUL
Hraç Arslanyan is an artist and instructor of Armenian descent who is
engaged in reviving `murassa,' a traditional Ottoman art that was
forgotten for almost five centuries.
Murassa is an art which involves the decoration of metal objects with
precious stones. Arslanyan focuses on the work which zergeran
(goldsmiths) used to produce for palaces in the Ottoman era, and is
attracting an increasing level of interest in his projects. Hraç
Arslanyan relates that he was mischievous as a child, but was sent by
his parents as an apprentice to master craftsman Hagop Usta in the
Grand Bazaar in Ä°stanbul, and ended up teaching murassa himself. He
once began studying economics at university, but his love for murassa
for such that he dropped out after only six months to pursue his
passion.
In an interview with Sunday's Zaman, Arslanyan reminisces about his
mentor, Hagop Arslanyan, and ponders the nature of the relationship
between mentor and student. `The master and mentor relationship is
pretty important. If your master is good¦ you will become like him.
You are influenced by your mentor more than you are by your father.
Don't get me wrong; I have endless respect for my father. But with
your mentor, you start a lifelong learning process. It is not just
about art lessons. You try to understand a life cycle, you learn how
to win and how to lose. If your mentor is a man of integrity, you will
become just like him. Similarly, you can see the impact of mentors who
have good skills but a bad personality. My mentor was well-trained,
even though he had only completed elementary school. He was an
intellectual who taught me how to read a book deeply. I realized that
I was an illiterate, so I read a lot to address my state of
illiteracy.'
Realizing by the age of 18 that his master did not teach him
everything, Arslanyan asked his master why this was, and was greatly
influenced by the response. `Look, my son,' his mentor replied, `I
taught you the basics and the main principles of this art. If I teach
you more, you will become Hagop Arslanyan, not Hraç Arslanyan. I am
teaching you the basics. The rest is yours to cope with.' It dawned on
Arslanyan that no one but himself could define his career and artistic
path.
Arslanyan remembers that he also took part in the construction of a
school, during his time as head of the jewelry training commission at
the Ä°stanbul Chamber of Jewelry. Noting that this school was more
organized and beautiful than its counterparts in Italy, the UK, France
and Germany, Arslanyan said that he expended considerable effort to
combine the culture of the Grand Bazaar and the technology and
discipline needed in his profession. The craftsman is also known for
having created a unique synthesis in murassa by focusing on tiles from
Iznik in western Anatolia. `Please do not take this as if I am
belittling the other styles of murassa,' Arslanyan says; `I simply
tried to promote the precious tiles of Anatolia. In a way, I tried to
both complete and enrich the style.'
The art of murassa, Arslanyan bemoans, has been neglected for
centuries. `Economic concerns and technological considerations play a
role in every profession. Many arts now prioritize industrial outcome
and output. The logic of getting more from less investment has become
widespread. This is also the case with our art. Economic conditions
force people to devote their time to less expensive ornaments and
works. Murassa, however, requires a big investment of time. And the
masters of this art become disappointed when they realize that the
imitated versions of their works attract greater attention, despite
all the effort they have put into their works. As a result, the arts
which require time and hard labor tend to disappear.'
Asked whether he is in contact with other artists involved in making
murassa art, he says: `Not very much. I am a little bit sensitive on
this matter. This is a peculiarity of craftsmen like me. We cannot see
much around because we have one soul. We have an ideal. If we pay
attention to what is happening around a lot, we lose that spirit. And
we will also lose our artistic roadmap. For this reason, I do not know
any other artists focusing on murassa.'
The works made by the murassa goldsmiths during the Ottoman era differ
to those Arslanyan makes today, he says, because his works reflects
his own artistic style. He stresses that it is not good to make
comparisons between historical works and contemporary artists' output,
adding that he does his job for the sake of both the art and the
public: `I am trying to go beyond my capabilities and talents in order
to excel in my profession; but I am also trying, for the sake of the
general public, to make sure that this art survives and will be
preserved forever.'
The experienced craftsman narrates the story of his works by reference
to the relationship between East and West: `We, the Armenian people,
are dispersed in different countries. For this reason, I traveled to
Europe in 1985. What I saw and observed during my stay in Europe made
me realize certain things. My horizon was broadened by what I observed
there. But beyond this, Ä°stanbul has been a combination and
harmonization of the East and the West for centuries. Take a look at
the architecture or lifestyle; it is partly Western and partly
Eastern. Therefore, I attempted to extract these things.'
Arslanyan says that he does not take part in fairs and exhibitions
because he is too idealistic. He explains: `Don't get me wrong -- I
don't want to be misunderstood here -- but similarly to how there is
intellectual deadlock in every profession, unfortunately, there is
some sort of contamination in murassa due to the growing number of
people who did not receive proper training. These people degrade
Murassa art. In other words, economic concerns outweigh other artistic
considerations. Those who know me already know me; but unfortunately,
I am more popular abroad. My art is better known abroad and attracts
greater attention there. It was Japan who first discovered me. I find
found that very interesting.'
Mahrec Art House was launched by Arslanyan to offer training to those
who wish to improve in murassa. `Now let me first make this
assessment. We offer basic training in our school. In general, the
training is focused on ornaments. The average age of the participants
is around 30. However, it is impossible for a person to become a
proper murassa artist without spending much more time in workshops. I
am not saying that I am a grand master of Murassa art. I do not want
to give such an impression. But that is the nature of this job and
art.'
Some of his students have the potential to become masters because they
have spent a considerable amount of time in training, Arslanyan says,
recalling that he has students who can preserve the art after him.
Arslanyan also says: `Students who set their hearts on murassa will
someday develop a distinctive style and could create excellent works,
because they will have a unique perspective and angle. Economic
concerns have become central. For this reason, the number of high
quality works is pretty small. As long as a society achieves level of
prosperity in terms of economic progress as well as cultural advance,
we craftsmen and artists rely on this. On what terms? They are fed by
appreciation and they are fed by economic support. I am not
pessimistic about the future of the murassa art. And by nature, I am
not pessimistic at all because I am one of those who argue that good
things will happen if you wish for the good all the time. I hope that
the murassa art will become more popular in the future.'
http://www.todayszaman.com/news-340094-an-armenian-craftsman-reviving-murassa-long-forgotten-ottoman-art.html
Feb 23 2014
An Armenian craftsman reviving 'murassa,' long-forgotten Ottoman art
Photo: Hraç Arslanyan, an Armenian craftsman who revived the Ottoman
art of `murassa,' owns a gallery where he exhibits the long-forgotten
art. (Photo: Sunday's Zaman)
23 February 2014 /MESUT DEMÄ°R, MÃ`LEYKE BARUTÇU, Ä°STANBUL
Hraç Arslanyan is an artist and instructor of Armenian descent who is
engaged in reviving `murassa,' a traditional Ottoman art that was
forgotten for almost five centuries.
Murassa is an art which involves the decoration of metal objects with
precious stones. Arslanyan focuses on the work which zergeran
(goldsmiths) used to produce for palaces in the Ottoman era, and is
attracting an increasing level of interest in his projects. Hraç
Arslanyan relates that he was mischievous as a child, but was sent by
his parents as an apprentice to master craftsman Hagop Usta in the
Grand Bazaar in Ä°stanbul, and ended up teaching murassa himself. He
once began studying economics at university, but his love for murassa
for such that he dropped out after only six months to pursue his
passion.
In an interview with Sunday's Zaman, Arslanyan reminisces about his
mentor, Hagop Arslanyan, and ponders the nature of the relationship
between mentor and student. `The master and mentor relationship is
pretty important. If your master is good¦ you will become like him.
You are influenced by your mentor more than you are by your father.
Don't get me wrong; I have endless respect for my father. But with
your mentor, you start a lifelong learning process. It is not just
about art lessons. You try to understand a life cycle, you learn how
to win and how to lose. If your mentor is a man of integrity, you will
become just like him. Similarly, you can see the impact of mentors who
have good skills but a bad personality. My mentor was well-trained,
even though he had only completed elementary school. He was an
intellectual who taught me how to read a book deeply. I realized that
I was an illiterate, so I read a lot to address my state of
illiteracy.'
Realizing by the age of 18 that his master did not teach him
everything, Arslanyan asked his master why this was, and was greatly
influenced by the response. `Look, my son,' his mentor replied, `I
taught you the basics and the main principles of this art. If I teach
you more, you will become Hagop Arslanyan, not Hraç Arslanyan. I am
teaching you the basics. The rest is yours to cope with.' It dawned on
Arslanyan that no one but himself could define his career and artistic
path.
Arslanyan remembers that he also took part in the construction of a
school, during his time as head of the jewelry training commission at
the Ä°stanbul Chamber of Jewelry. Noting that this school was more
organized and beautiful than its counterparts in Italy, the UK, France
and Germany, Arslanyan said that he expended considerable effort to
combine the culture of the Grand Bazaar and the technology and
discipline needed in his profession. The craftsman is also known for
having created a unique synthesis in murassa by focusing on tiles from
Iznik in western Anatolia. `Please do not take this as if I am
belittling the other styles of murassa,' Arslanyan says; `I simply
tried to promote the precious tiles of Anatolia. In a way, I tried to
both complete and enrich the style.'
The art of murassa, Arslanyan bemoans, has been neglected for
centuries. `Economic concerns and technological considerations play a
role in every profession. Many arts now prioritize industrial outcome
and output. The logic of getting more from less investment has become
widespread. This is also the case with our art. Economic conditions
force people to devote their time to less expensive ornaments and
works. Murassa, however, requires a big investment of time. And the
masters of this art become disappointed when they realize that the
imitated versions of their works attract greater attention, despite
all the effort they have put into their works. As a result, the arts
which require time and hard labor tend to disappear.'
Asked whether he is in contact with other artists involved in making
murassa art, he says: `Not very much. I am a little bit sensitive on
this matter. This is a peculiarity of craftsmen like me. We cannot see
much around because we have one soul. We have an ideal. If we pay
attention to what is happening around a lot, we lose that spirit. And
we will also lose our artistic roadmap. For this reason, I do not know
any other artists focusing on murassa.'
The works made by the murassa goldsmiths during the Ottoman era differ
to those Arslanyan makes today, he says, because his works reflects
his own artistic style. He stresses that it is not good to make
comparisons between historical works and contemporary artists' output,
adding that he does his job for the sake of both the art and the
public: `I am trying to go beyond my capabilities and talents in order
to excel in my profession; but I am also trying, for the sake of the
general public, to make sure that this art survives and will be
preserved forever.'
The experienced craftsman narrates the story of his works by reference
to the relationship between East and West: `We, the Armenian people,
are dispersed in different countries. For this reason, I traveled to
Europe in 1985. What I saw and observed during my stay in Europe made
me realize certain things. My horizon was broadened by what I observed
there. But beyond this, Ä°stanbul has been a combination and
harmonization of the East and the West for centuries. Take a look at
the architecture or lifestyle; it is partly Western and partly
Eastern. Therefore, I attempted to extract these things.'
Arslanyan says that he does not take part in fairs and exhibitions
because he is too idealistic. He explains: `Don't get me wrong -- I
don't want to be misunderstood here -- but similarly to how there is
intellectual deadlock in every profession, unfortunately, there is
some sort of contamination in murassa due to the growing number of
people who did not receive proper training. These people degrade
Murassa art. In other words, economic concerns outweigh other artistic
considerations. Those who know me already know me; but unfortunately,
I am more popular abroad. My art is better known abroad and attracts
greater attention there. It was Japan who first discovered me. I find
found that very interesting.'
Mahrec Art House was launched by Arslanyan to offer training to those
who wish to improve in murassa. `Now let me first make this
assessment. We offer basic training in our school. In general, the
training is focused on ornaments. The average age of the participants
is around 30. However, it is impossible for a person to become a
proper murassa artist without spending much more time in workshops. I
am not saying that I am a grand master of Murassa art. I do not want
to give such an impression. But that is the nature of this job and
art.'
Some of his students have the potential to become masters because they
have spent a considerable amount of time in training, Arslanyan says,
recalling that he has students who can preserve the art after him.
Arslanyan also says: `Students who set their hearts on murassa will
someday develop a distinctive style and could create excellent works,
because they will have a unique perspective and angle. Economic
concerns have become central. For this reason, the number of high
quality works is pretty small. As long as a society achieves level of
prosperity in terms of economic progress as well as cultural advance,
we craftsmen and artists rely on this. On what terms? They are fed by
appreciation and they are fed by economic support. I am not
pessimistic about the future of the murassa art. And by nature, I am
not pessimistic at all because I am one of those who argue that good
things will happen if you wish for the good all the time. I hope that
the murassa art will become more popular in the future.'
http://www.todayszaman.com/news-340094-an-armenian-craftsman-reviving-murassa-long-forgotten-ottoman-art.html