# data[].attributes.body
Place: Norway
Name: Norwegian Rosemaling
Description: "Rosemaling is the decorative folk painting of Norway and its history began in the low-land areas of Eastern Norway about 1750 inspired by upper-class artistic styles when Baroque, Regency and Rococo were introduced to Norway’s rural cultures."
Attach link
Why did you select this?
It is a distinctive style of traditional art and it would be fun to paint.

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The Story of Norwegian Rosemaling

Rosemaling is the decorative folk painting of Norway and its history began in the low-land areas of Eastern Norway about 1750 inspired by upper-class artistic styles when Baroque, Regency and Rococo were introduced to Norway's rural cultures. At first Norway's painters followed these European styles closely.

If you came across this article as a student preparing a research paper, consider delegating the task to https://essayhub.com/ essay writing help professionals. Yet, in case a brief overview will suffice, keep reading this article!

At the beginning of the century, Norway had a population of a mere 500,000 - with only 40,000 people living in what was defined as urban areas. It was a society based on the age-old ways of agriculture, fishing and hunting - and people lived on farms or in cottages scattered across the long-stretched landscape.

The story of Norwegian rosemaling
Compared to the art of woodcarving and textile art, rosemaling is a much younger art form, at least on a larger scale, and it may come as a surprise that the history of rose painting and its place in Norwegian folk art is not as old as one might think. Painter and author, Nils Ellingsgard, has chronicled the journey of the art form.

The painters who rosemaled for their livelihood were trained within a "guild" and they traveled from county to county painting churches and/or the homes of the wealthy for a commission of either money or merely room and board. Thus, rosemaling was carried over the mountains and toward Norway's western coast.

Related: Norwegian Stave Churches

How did Rosemaling come to America?
Norwegian rosemaling continued its westward migration all the way to America. Emigration was heavy from some of the areas where rosemaling was well established. Travelers packed beautifully rosemaled trunks to make their journey across the Atlantic. Well-known as well as lesser known painters traveled to the New World.

Per Lysne, a Norwegian immigrant from Stoughton, Wisconsin rekindled an interest in Scandinavian folk art when his "Smørgaasbord" plates were sold in Chicago's Marshall Fields department store in the late 1930's. European folk art was rediscovered through home decorating magazine articles in the 1930's and 1940's.

Related: Art and Culture in Norway

A traditional form of art
Some of the artists in Norway often worked as farmers during the summer, subsidizing their living in the winter months painting rooms and furniture for more successful farmers.

The art displays many stylized flowers and scroll forms, combining blended colors and fine outlines on a plain background color. Traditional paint colors were derived from local raw materials, for example, rust red came from red iron oxide in the ground. Brushes were made of hairs from a squirrel's tail or a cow's ear.

Related: A Short Introduction to Norwegian Literature, Art and Music

Once farther away from the influence of the guilds, these artists tried new ideas and motifs. Soon strong regional styles developed. The Norwegian authority on the art of decorative painting - or rosemaling Nils Ellingsgard has through his gem of a book, Norsk rosemaling, given us a better understanding of this world of artistic beauty.

As time passed the Telemark and Hallingdal valleys became known for their fine rosemaling.Upon their exposure to rosemaling, rural folk would often imitate this folk art. Not having been taught in an urban guild, the amateur became spontaneous and expressive in his work on smaller objects such as drinking vessels and boxes.

The future of rosemaling
Rosemaling went out of style in about 1860-1870. Whether the traditions will continue to bloom is difficult to predict, but the many surviving objects will stay on and give joy to future generations for centuries to come. Objects that are symbols of our common history - and the many people who created them.

The Story of Norwegian Rosemaling, written by Tor Kjolberg

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The Story of Norwegian Rosemaling - Daily Scandinavian

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The Story of Norwegian Rosemaling Rosemaling is the decorative folk painting of Norway and its history began in the low-land areas of Eastern Norway about 1750 inspired by upper-class artistic styles when Baroque, Regency and Rococo were introduced to Norway's rural cultures. At first Norway's painters followed these European styles closely.

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Maryam syed, mariam Lachtar , noor moizzudin

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Maryam syed, mariam Lachtar , noor moizzudin

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Place : Russia
Name: St. Basils Cathedral
Description: It was built from 1482 to 1495. It is a very famous landscape in Russia .It is Moscow's most amazing building.
Why : we chose this because it has a lot of color the building is very fascinating and so is the architecture.
Link:

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Moscow is a painting by Dmitry Spiros which was uploaded on January 7th, 2015. The painting may be purchased as wall art, home decor, apparel, phone cases, greeting cards, and more. All products are produced on-demand and shipped worldwide within 2 - 3 business days.

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Place: Poland
Name: Folk costumes
Description: Poland's folk costumes are colorfully decorated and represent Poland's different regions. They're most commonly seen during holidays, weddings, and festivals
Why We Chose It: It describes and shows many types of the Poland's cultural costumes

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Place: Germany
Name: Bamberg Horseman
Description: The Bamberg Horseman is an early 13th-century stone equestrian statue by an anonymous medieval sculptor in the cathedral of Bamberg, Germany
Link: https://en.wikipedia.org/wiki/Bamberg_Horseman
Why did you select you this?
Because it is very unique and interesting, and its intricate details appealed to us.
https://www.atlasobscura.com/places/bamberg-horseman

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Place: Spain
Name: Las Meninas
Description: This painting is a very mysterious painting and we chose it because it has a very deep meaning behind it. This painting was made in Spain 1656 by Diego Velazquez. represents a tragic play about a painter who goes through so much to achieve his dream.

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Centuries Later, People Still Don’t Know What to Make of “Las Meninas”

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Scholars have been analyzing “Las Meninas” by Diego Velázquez for more than 300 years, and they still haven’t settled on its meaning.

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Place:Turkey
Name:Turkish Ceramic and Tiles
Description:The art of Turkish tiles and ceramics which developed in Anatolia reached its highest level of technique and aesthetic especially during the Seljuk and Ottoman periods.The earliest examples of these ceramics can be dated to the end of the 17th century.
Link:https://images.app.goo.gl/us4KneMLB5zLuyz77
Why: We chose this type of art because it has many different colorful details and we thought it stood out.

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Ceylin Kuzu, Sara Tauseef, and Raneem Abdelhadi

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Ceylin Kuzu, Sara Tauseef, and Raneem Abdelhadi

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Place: Greece
Name: Parthenon Frieze
Description: "The Parthenon is one of the most iconic buildings in the Ancient World. This building dedicated to the goddess Athena stands tall upon the ancient Athenian acropolis and serves as a reminder of times past. What we often don’t realize is that the original friezes of the Parthenon, that are no longer affixed to the building, are housed in the British Museum. Understanding the illustrations on these friezes allows us a whole new appreciation of this iconic piece of architecture. "

Link:
https://www.thecollector.com/parthenon-frieze/
Why did you select this?
-It looks cool

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The Parthenon friezes meant to convey a Panathenaic procession, the victory of the Athenians at Marathon, the power of Athens as a city-state, and the piety of its citizens.

The Parthenon is one of the most iconic buildings in the Ancient World. This building dedicated to the goddess Athena stands tall upon the ancient Athenian acropolis and serves as a reminder of times past. What we often don't realize is that the original friezes of the Parthenon, that are no longer affixed to the building, are housed in the British Museum. Understanding the illustrations on these friezes allows us a whole new appreciation of this iconic piece of architecture.

The Parthenon Friezes: Part Of Greece's Most Iconic Monument

As one of the most iconic buildings in the world, the remains of the Parthenon stand atop the Athenian Acropolis as a testament to time's past. Many modern-day tourists do not realize that the Parthenon looked very different in antiquity than it does today. Its classic simplicity that we recognize from photographs wouldn't be recognizable to the ancient Athenians, as the structure was richly decorated with sculpture and decoration that was both significant and meaningful to contemporary Athenians. It is even believed that these sculptures were originally painted with bright colors , creating a whole new picture of the now monochromatic building. These sculptures and decorations are now scattered among some of the most famous museums in the world. Despite a growing push to return all of the surviving sculptures and artwork from this building back to Greece, The Louvre, the British Museum, and the Acropolis Museum in Athens all currently house some of its artwork.

The Parthenon: A Symbol Of Athens

The Parthenon was built between 447 and 432 BC when Athens was at the peak of its power. This period is often referred to as The Golden Era of Ancient Greek civilization . In more ways than one, the Parthenon is a victory monument to Athens and its strength as an imperial force. It was built using funds from the Delian League, which was a group of city-states loyal to Athens, and for all intents and purposes, completely under its military and political control. Although there was a statue of Athena in the building, the Parthenon had no priestesses or an altar for sacrifices, meaning it is not truly a temple. As a repository for state funds, the Parthenon, it can be argued, was actually a treasury. Furthermore, no ancient sources refer to the Parthenon as a temple for Athena Parthenos, strengthening the claim that it was at least in part a secular building.

The Parthenon Friezes: A Panathenaic Procession

Traditionally scholars of Greek art and architecture have believed that the Parthenon Friezes depict a Panathenaic procession, which was an element of the popular Panathenaic festival celebrated on the day of Athena's birth. More specifically, experts believe that the frieze depicts a Greater Panathenaia, which was a more elaborate festival of the goddess' birth that, beginning in 566 B.C, was celebrated every fourth year. The festival was only open to Athenian citizens, making it a large nationalistic festival. The culmination of this festival was the redraping of the Athena Parthenos statue, which was considered one of the wonders of the ancient world. The giant statue, meant to be composed of chryselephantine, gold, and ivory, was redraped in a new elaborate cloak made by prestigious Athenian citizens in a showcase of Athenian piety.

All around the frieze of the Parthenon subjects march or ride horses in a long procession until they finally reach the pantheon of the Greek gods . Here they are meant to offer a sacrifice. The images on the building's frieze mimic what would actually occur in reality: a procession of individuals would come up the Acropolis and weave their way to the front of the temple in the culmination of the large festival to Athena Parthenos.

The West, North, And South Parthenon Frieze: Mounted Horsemen

The frieze is actually a continuous tableau of marble sculpture that runs around the entire exterior of the inner building. The procession begins on the west end of the building, as that is the side of the temple that would have been first seen when an individual walked up the Acropolis. Here, there are colonnades of mounted horsemen , which slowly transition into men carrying different objects, presumably to sacrifice to Athena Parthenos. The west and much of the north and south friezes are taken up by heroized horsemen, which many scholars believe are a representation of mortal men who fought as soldiers at the Battle of Marathon , the famous battle between the Persians and the Greeks. It is important to mention that ancient temples would rarely feature mortal subjects in their artwork, as sculptures would typically feature gods, goddesses, or heroes in the Greek mythological realm. Some of these original frieze scenes no longer survive, and we must rely on old artistic renderings for information about the Parthenon frieze.

In Greek mythology, a Greek hero has one mortal and one divine parent. Thus, featuring these mounted horsemen on the frieze makes an important statement: they must be gods, or at least Greek heroes. These individuals were so extraordinarily honored by the Athenian city-states that they became a representation of Greek superiority over the Persians, and scholars often consider their representation on the Athenian frieze to be an implication of their status as Greek mythological heroes. This means that the frieze of the Parthenon does not just celebrate Athena, but also these heroic, fallen Marathon warriors. It has been suggested that these horsemen are not just simply marching to meet the goddess Athena, who is the focal point of the temple frieze, but symbolically marching to their own death and subsequent heroization.

The artistic rendering of the horsemen makes this heroization clear. The riders are shown nude , which is a typical representation of a Greek hero. They are depicted as impossibly young, while a true Athenian soldier would begin his career at 18 years old and not leave to fight battles abroad until he was 20. All of the horsemen on the Parthenon frieze are clean, youthful, and beardless, showing their idealization in the eyes of those who commissioned the frieze. This mythicizing quality of the statues further served to aggrandize the soldiers in the eyes of the Athenian citizens.

The East Parthenon Frieze: The Mortals And The Gods

The east side of the frieze depicts the culmination of the procession. Here, mortals and gods alike are depicted in close proximity. Men and women, no longer on horseback, draw closer towards the deities, who are all seated in the center of the east frieze. The women on this frieze have been sculpted in the same style as the horsemen who began the procession: they too are idealized in the High Classical style . Scholars often regard the women in this procession to be either the Ergastinai, women who wove the new cloak for Athena Parthenos, or other religious attendants carrying sacrifices.

Only women who belonged to elite families were chosen to create the peplos or cloak for Athena. Interestingly, the individual in charge of supervising the weaving of the peplos was the priestess of Athena Polias, as Athena Parthenos did not have a priestess. The priestess of Athena Polias was always chosen from one of the ancient families of Athens, who were believed to be descended from the old aristocratic Kings from which Athenian Kings were always named. It was a great honor to be chosen as an Ergastinai. Showing these prestigious individuals on the frieze of the Parthenon not only showcased the important aspects of the Panathenaic Festival but also celebrated the mortal women who were so honored to weave the cloak for Athena Parthenos. This dual messaging of the Parthenon frieze as both political and religious seems obvious here.

Following the Ergastinai came the Eponymous Heroes , who were another reminder of the power of the Athenians. As the legend goes, the Eponymous Heroes were male heroes who represented each of the ten voting tribes in Athens, which prided itself on its democratic process of government. It is said that when Cleisthenes established a democracy in 508 BC, he sent the names of one hundred Athenian mythical heroes to the Oracle at Delphi . The oracle then chose ten of the heroes to represent each of the ten voting tribes in the city. The Eponymous Heroes are a powerful symbol for the democracy and the secular state of Athens. The Eponymous Heroes have achieved almost mythical status, as they are placed standing directly next to the entire Pantheon of the twelve Athenian gods and goddesses .

One of the only ways in which the gods and goddesses differ from their mortal companions on the Parthenon frieze is through their size: they are depicted as twice as large as mortal humans. This size discrepancy is meant to represent the power and majesty of the gods, and remind the viewer who is omniscient and in control. That being said, the gods and goddesses of the Athenian pantheon are often portrayed in very similar poses and fashions in Greek art. This is largely due to the fact that visual imagery was very important in the ancient world, as the large majority of individuals were not literate. The artist had to ensure that the viewer could recognize the gods and goddesses, and identify them from one another. This stereotypical imagery also served another purpose: it became very easy to identify when an artist had changed a god or goddess' appearance from its stereotype to convey a political or artistic message.

Scholars have remarked on the similarities between the mortals and the gods on the Parthenon frieze. One of the often-mentioned gods in this context is Apollo: here he is seated beside Poseidon, the god of the sea (left). He is often identified by his triton, which is not included here due to its lack of preservation. On the other side of Apollo sits Artemis (right), who is usually illustrated in close proximity to Apollo, since she is his sister. Apollo sits unbearded and youthful. His expression here is very similar to that of the horsemen in the procession on the east side of the frieze.

Academics believe that this similarity was done deliberately to create a further connection between the horsemen at Marathon and the idea of divinity. This, of course, could just be the style of the artist, but it makes one wonder if the similarities are deliberate and done to convey a specific visual message. By making Apollo appear akin to the horsemen at Marathon, the horsemen at Marathon suddenly bring on images of Apollo, one of the most important gods in the Greek pantheon. Clearly, the cultural influence that the Battle of Marathon had on the Athenian psyche cannot be underestimated.

Legacy Of The Parthenon Friezes

It is easy to see that the content on the Parthenon was not only meant to be sacred but also political. By analyzing the artwork of the Parthenon through a historical and contextual lens, the dual messaging of the Parthenon's friezes becomes very obvious to the modern observer. It must have been even more apparent to the contemporaneous Athenian, as the imagery made allusions to very commonly recognized themes, myths, and characters in Athenian culture.

The Parthenon is one of the most iconic buildings in the Ancient World. This building dedicated to the goddess Athena stands tall upon the ancient Athenian acropolis and serves as a reminder of times past. What we often don't realize is that the original friezes of the Parthenon, that are no longer affixed to the building, are housed in the British Museum. Understanding the illustrations on these friezes allows us a whole new appreciation of this iconic piece of architecture.

The Parthenon Friezes: Part Of Greece's Most Iconic Monument

As one of the most iconic buildings in the world, the remains of the Parthenon stand atop the Athenian Acropolis as a testament to time's past. Many modern-day tourists do not realize that the Parthenon looked very different in antiquity than it does today. Its classic simplicity that we recognize from photographs wouldn't be recognizable to the ancient Athenians, as the structure was richly decorated with sculpture and decoration that was both significant and meaningful to contemporary Athenians. It is even believed that these sculptures were originally painted with bright colors , creating a whole new picture of the now monochromatic building. These sculptures and decorations are now scattered among some of the most famous museums in the world. Despite a growing push to return all of the surviving sculptures and artwork from this building back to Greece, The Louvre, the British Museum, and the Acropolis Museum in Athens all currently house some of its artwork.

The Parthenon: A Symbol Of Athens

The Parthenon was built between 447 and 432 BC when Athens was at the peak of its power. This period is often referred to as The Golden Era of Ancient Greek civilization . In more ways than one, the Parthenon is a victory monument to Athens and its strength as an imperial force. It was built using funds from the Delian League, which was a group of city-states loyal to Athens, and for all intents and purposes, completely under its military and political control. Although there was a statue of Athena in the building, the Parthenon had no priestesses or an altar for sacrifices, meaning it is not truly a temple. As a repository for state funds, the Parthenon, it can be argued, was actually a treasury. Furthermore, no ancient sources refer to the Parthenon as a temple for Athena Parthenos, strengthening the claim that it was at least in part a secular building.

The Parthenon Friezes: A Panathenaic Procession

Traditionally scholars of Greek art and architecture have believed that the Parthenon Friezes depict a Panathenaic procession, which was an element of the popular Panathenaic festival celebrated on the day of Athena's birth. More specifically, experts believe that the frieze depicts a Greater Panathenaia, which was a more elaborate festival of the goddess' birth that, beginning in 566 B.C, was celebrated every fourth year. The festival was only open to Athenian citizens, making it a large nationalistic festival. The culmination of this festival was the redraping of the Athena Parthenos statue, which was considered one of the wonders of the ancient world. The giant statue, meant to be composed of chryselephantine, gold, and ivory, was redraped in a new elaborate cloak made by prestigious Athenian citizens in a showcase of Athenian piety.

All around the frieze of the Parthenon subjects march or ride horses in a long procession until they finally reach the pantheon of the Greek gods . Here they are meant to offer a sacrifice. The images on the building's frieze mimic what would actually occur in reality: a procession of individuals would come up the Acropolis and weave their way to the front of the temple in the culmination of the large festival to Athena Parthenos.

The West, North, And South Parthenon Frieze: Mounted Horsemen

The frieze is actually a continuous tableau of marble sculpture that runs around the entire exterior of the inner building. The procession begins on the west end of the building, as that is the side of the temple that would have been first seen when an individual walked up the Acropolis. Here, there are colonnades of mounted horsemen , which slowly transition into men carrying different objects, presumably to sacrifice to Athena Parthenos. The west and much of the north and south friezes are taken up by heroized horsemen, which many scholars believe are a representation of mortal men who fought as soldiers at the Battle of Marathon , the famous battle between the Persians and the Greeks. It is important to mention that ancient temples would rarely feature mortal subjects in their artwork, as sculptures would typically feature gods, goddesses, or heroes in the Greek mythological realm. Some of these original frieze scenes no longer survive, and we must rely on old artistic renderings for information about the Parthenon frieze.

In Greek mythology, a Greek hero has one mortal and one divine parent. Thus, featuring these mounted horsemen on the frieze makes an important statement: they must be gods, or at least Greek heroes. These individuals were so extraordinarily honored by the Athenian city-states that they became a representation of Greek superiority over the Persians, and scholars often consider their representation on the Athenian frieze to be an implication of their status as Greek mythological heroes. This means that the frieze of the Parthenon does not just celebrate Athena, but also these heroic, fallen Marathon warriors. It has been suggested that these horsemen are not just simply marching to meet the goddess Athena, who is the focal point of the temple frieze, but symbolically marching to their own death and subsequent heroization.

The artistic rendering of the horsemen makes this heroization clear. The riders are shown nude , which is a typical representation of a Greek hero. They are depicted as impossibly young, while a true Athenian soldier would begin his career at 18 years old and not leave to fight battles abroad until he was 20. All of the horsemen on the Parthenon frieze are clean, youthful, and beardless, showing their idealization in the eyes of those who commissioned the frieze. This mythicizing quality of the statues further served to aggrandize the soldiers in the eyes of the Athenian citizens.

The East Parthenon Frieze: The Mortals And The Gods

The east side of the frieze depicts the culmination of the procession. Here, mortals and gods alike are depicted in close proximity. Men and women, no longer on horseback, draw closer towards the deities, who are all seated in the center of the east frieze. The women on this frieze have been sculpted in the same style as the horsemen who began the procession: they too are idealized in the High Classical style . Scholars often regard the women in this procession to be either the Ergastinai, women who wove the new cloak for Athena Parthenos, or other religious attendants carrying sacrifices.

Only women who belonged to elite families were chosen to create the peplos or cloak for Athena. Interestingly, the individual in charge of supervising the weaving of the peplos was the priestess of Athena Polias, as Athena Parthenos did not have a priestess. The priestess of Athena Polias was always chosen from one of the ancient families of Athens, who were believed to be descended from the old aristocratic Kings from which Athenian Kings were always named. It was a great honor to be chosen as an Ergastinai. Showing these prestigious individuals on the frieze of the Parthenon not only showcased the important aspects of the Panathenaic Festival but also celebrated the mortal women who were so honored to weave the cloak for Athena Parthenos. This dual messaging of the Parthenon frieze as both political and religious seems obvious here.

Following the Ergastinai came the Eponymous Heroes , who were another reminder of the power of the Athenians. As the legend goes, the Eponymous Heroes were male heroes who represented each of the ten voting tribes in Athens, which prided itself on its democratic process of government. It is said that when Cleisthenes established a democracy in 508 BC, he sent the names of one hundred Athenian mythical heroes to the Oracle at Delphi . The oracle then chose ten of the heroes to represent each of the ten voting tribes in the city. The Eponymous Heroes are a powerful symbol for the democracy and the secular state of Athens. The Eponymous Heroes have achieved almost mythical status, as they are placed standing directly next to the entire Pantheon of the twelve Athenian gods and goddesses .

One of the only ways in which the gods and goddesses differ from their mortal companions on the Parthenon frieze is through their size: they are depicted as twice as large as mortal humans. This size discrepancy is meant to represent the power and majesty of the gods, and remind the viewer who is omniscient and in control. That being said, the gods and goddesses of the Athenian pantheon are often portrayed in very similar poses and fashions in Greek art. This is largely due to the fact that visual imagery was very important in the ancient world, as the large majority of individuals were not literate. The artist had to ensure that the viewer could recognize the gods and goddesses, and identify them from one another. This stereotypical imagery also served another purpose: it became very easy to identify when an artist had changed a god or goddess' appearance from its stereotype to convey a political or artistic message.

Scholars have remarked on the similarities between the mortals and the gods on the Parthenon frieze. One of the often-mentioned gods in this context is Apollo: here he is seated beside Poseidon, the god of the sea (left). He is often identified by his triton, which is not included here due to its lack of preservation. On the other side of Apollo sits Artemis (right), who is usually illustrated in close proximity to Apollo, since she is his sister. Apollo sits unbearded and youthful. His expression here is very similar to that of the horsemen in the procession on the east side of the frieze.

Academics believe that this similarity was done deliberately to create a further connection between the horsemen at Marathon and the idea of divinity. This, of course, could just be the style of the artist, but it makes one wonder if the similarities are deliberate and done to convey a specific visual message. By making Apollo appear akin to the horsemen at Marathon, the horsemen at Marathon suddenly bring on images of Apollo, one of the most important gods in the Greek pantheon. Clearly, the cultural influence that the Battle of Marathon had on the Athenian psyche cannot be underestimated.

Legacy Of The Parthenon Friezes

It is easy to see that the content on the Parthenon was not only meant to be sacred but also political. By analyzing the artwork of the Parthenon through a historical and contextual lens, the dual messaging of the Parthenon's friezes becomes very obvious to the modern observer. It must have been even more apparent to the contemporaneous Athenian, as the imagery made allusions to very commonly recognized themes, myths, and characters in Athenian culture.

Paulina Wegrzyn

Paulina earned an undergraduate degree in Classical Studies from the University of Western Ontario, with an emphasis on Greek and Roman Archaeology, before completing her Master's in physical therapy at the University of Toronto. Despite her new career focus, she continues to learn and write about the ancient world, as it will always have a soft spot in her heart.

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The Parthenon Friezes: Their Story Explained

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The Parthenon friezes meant to convey a Panathenaic procession, the victory of the Athenians at Marathon, the power of Athens as a city-state, and the piety of its citizens. The Parthenon is one of the most iconic buildings in the Ancient World.

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Alainah Ali, Fahriya Marzook, Zeina Bakleh, Masa Kharboutli

# data[].attributes.subject
Alainah Ali, Fahriya Marzook, Zeina Bakleh, Masa Kharboutli

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Place: Switzerland
Name: Msuee Chateau'd  Oex]
Description:  This piece is a dedicated to a special exhibit to découpage through April 27. The exhibit is called Découpage du Pays-d'Enhaut - Recensement, which translates to Paper Cuts of the Pays-d'Enhaut - A Census.
Combining precision and flamboyance, they capture the Swiss love of order and reliability; of family and community; of rituals both daily and seasonal; of its landscape, nature, and animals; and of its customs.
link: https://www.newlyswissed.com/traditional-swiss-paper-cuts/

Why did you select this?
-It has a cool design and shows switseralnd culture.

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Place: Pakistan
Name: Truck art
Description: Pakistani truck art dates back to the 1920s. It started when companies and people designed logos for their truck so they could tell who's truck was who's. Over time, these logos and designs became more intricate. Designing these logos became so competitive that they turned into a hobby or business for some. Truck drivers can spend up to two years salary decorating their trucks with unique, intricate, colorful patterns. These trucks are also known as "jingle trucks," which is the name the American military in Afghanistan gave them because of the bells strewn across the bumpers.To this day, you can view the pretty colors and designs of these trucks all around Pakistan.
We chose truck art because it is a beautiful, intricate form of art. Truck art adds a lot of color to Pakistan's streets.

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If you've spent any time in South Asia, specifically Pakistan, Afganistan, and India, you've surely seen colorful, ornate trucks rumbling down roads and highways. In these countries, especially Pakistan, truck art is more than just cultural expression, it's also a deeply rooted tradition that can cause a business boom for drivers. So what is the history behind these movings pieces of art? And what is the true meaning of the bold and beautiful designs that engulf these vehicles?

In Pakistan, truck art has origins dating back to the 1920s, when Bedford trucks imported from England invaded the country's streets. They were fitted with large wooden prows on top of the truck bed. Known as a taj, or crown, the ornate prow was also accompanied by decorative bumpers and wood paneling along the cabin. In the late 1940s, when trucks began long-haul journeys to deliver goods, each company designed a logo so that illiterate people would understand who owned the truck.

Over time, these logos became increasingly ornate. " They were badges of competition," explains Durriya Kazi, head of the department of visual studies at the University of Karachi and an expert in truck art. "And the more flamboyant the design, the better business became." In the 1950s, Karachi became a hub of truck art-a title it still holds today-when Hajji Hussain, an artist known for his elaborate palace frescoes, settled in town. Lacking palaces to paint, he turned to decorating trucks, and his ornate, floral style pushed the genre forward.

And while truck painting has taken hold in other South Asian countries, as well as South America and Japan, in Pakistan the art form is at a whole other level. An entire industry unto itself, in Karachi alone 50,000 people are employed in workshops dedicated to the craft, with truck drivers willing to spend big money to ensure their truck is better than the rest. While the bright colors and ornate decorations are certainly beautiful, the drivers also view it as good return on their investment.

"Our clients want to make their trucks stand out," shares Pakistani artist Haider Ali. "When people look to hire a truck, they feel that if it looks fancy and newly painted, then it's probably in better condition and they trust it more." Also known as jingle trucks thanks to the bells festooning the exterior, drivers can easily spend up to $2,500 for a basic paint job, which is two years' salary. And often, they'll come back for touchups every few years to keep things fresh.

Kazi also sees truck art as more than a business expense; it's also a ritual that harkens back to the Sufi tradition of painting shrines to curry religious favor. "Truckers don't even spend so much money on their own houses," she shares. "I remember one driver who told me that he put his life and livelihood into the truck. If he didn't honor it with the proper paint job, he would feel he was being ungrateful."

In Pakistan, truck drivers can spend up to two years' salary decorating their vehicles with colorful and ornate art.

They're also known as jingle trucks, a nickname given by American military in Afganistan, thanks to bells strewn across the bumpers.

The tradition dates back to the 1920s, when British Bedford trucks were imported to Pakistan and modified with large wooden crowns over the cab.

The art is seen as a business investment, as potential clients are more likely to hire a truck that's beautifully painted.

Truck art is also popular in Afganistan and India, as well as Japan and several South American countries.
h/t: [ Aramco World, Pulitzer Center]
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Colorful 'Jingle Trucks' Rule the Road in Pakistan

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A look at truck art cultural in Pakistan. Also known as jingle trucks, we look at the history of the artform in South Asia and the cultural-and economic-meaning behind the ornate paintings and decoration places on trucks in the area.