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north korea-people here make more graffiti art so its more all over the place

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Untitled - Madvictor_SEMI - Google Arts & Culture

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As a graffiti writer and character designer, Madvictor which means "wildly conquer" does not seek for dark image but for bright and friendly characters and...

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Bangladesh-making quilts that show what they believe or just for a decoration

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Kantha (Quilt) - Unknown - Google Arts & Culture

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serbia-to show why they fought for their place

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Serbia, from Flags of All Nations, Series 2 (N10) for Allen & Ginter Cigarettes Brands - Allen & Ginter - Google Arts & Culture

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vietnam

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Plate with fish and water-weed design - Unknown - Google Arts & Culture

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peru-they make pots that are animals for the looks but they can come in tons of different animals

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Sculptural ceramic ceremonial vessel that represents an eagle ML008488 - Moche style - Google Arts & Culture

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This sculptural ceramic bottle represents an eagle. Birds of prey are present in pre-Columbian art from early times, and are associated with the upper and ...

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turkey

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Iznik Tile - Unknown, Turkey, 1560 - Google Arts & Culture

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iran-woman cover their hair to retain modesty,morals and freedom of their choice also so they don't get harassed

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Of Woman Reading on the Bus, Tehran, Iran, Sanaz Mazinani has said, "I deliberately refuse to romanticize my culture, and try to strip away the prevailing image of the Other - the desert, the veiled woman." This large-format colour photograph of a woman comfortably reading alone on a bus, wearing bright red lipstick, her uncovered face dappled by sunlight, challenges the Western belief that Iranian women have little personal freedom.

Sanaz Mazinani was born in Tehran, Iran. A graduate of the Ontario College of Art and Design, she currently lives and works in California.

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Woman Reading on Bus, Tehran, Iran - Sanaz Mazinani - Google Arts & Culture

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Of Woman Reading on the Bus, Tehran, Iran, Sanaz Mazinani has said, "I deliberately refuse to romanticize my culture, and try to strip away the prevailing image of the Other - the desert, the veiled woman."

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israel

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Decanter - Unknown Artist/Maker - Google Arts & Culture

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Archaeologists call these particular jugs "decanters" because of their tall narrow neck. Inscriptional evidence confirms that at least one product they wer...

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egypt-people made these pyramid to hold valuable things like gold and silver but also put dead leaders in it

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Untitled (Sphinx and Pyramid) - Felice A. Beato - Google Arts & Culture

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russians art has alot of colors and meaning like in this picture even though you may be poor you could still look good and have fun

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Peasant Women - Philipp Malyavin - Google Arts & Culture

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A student of the Imperial Academy of Arts at the end of the nineteenth century, Philipp Malyavin introduced a new type of peasant woman into Russian art - ...

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Greece used art to show their religion and how they in brace it

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Isolated atop a mountain, a gaunt, tormented Christ dominates a nearly empty landscape. On a road leading to the walled city of Jerusalem, horsemen pass by the execution hill, literally turning their backs on Christ. El Greco's use of dramatic colors and exaggerated proportions distorts the figure, conveying the transcendent moment when Christ sublimated his physical pain and commended his spirit to God. Turning his eyes upward toward heaven, Christ looks away from the bones and skulls that lie at his feet, representative of his triumph over death. Light plays across his undulating form, illuminating his tortured body against the dark background. To heighten empathy between the viewer and Christ, the elongated but graceful figure appears alone. This private, devotional image was meant to encourage contemplation and spiritual reflection. Few paintings by El Greco can be entirely attributed to the artist himself, rather than his workshop. Scholars conclude that the bold handling of paint on this canvas, which includes undulating contours and vigorous dashes, confirms that El Greco painted it himself. Purchased by a Spanish family at a flea market around 1950, it remained in their possession until recently.

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Christ on the Cross - El Greco (Domenico Theotocopuli) (Greek, 1541 - 1614) - Google Arts & Culture

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Isolated atop a mountain, a gaunt, tormented Christ dominates a nearly empty landscape. On a road leading to the walled city of Jerusalem, horsemen pass by the execution hill, literally turning their backs on Christ. El Greco's use of dramatic colors and exaggerated proportions distorts the figure, conveying the transcendent moment when Christ sublimated his physical pain and commended his spirit to God.

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China-farming was an essential need back then in order to help their family with food and money.some of the times the men and boys went and farmed things like rice so they can have something to eat

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Chinese export painting on rice paper, which depicts a man weighing mulberry leaves. Most of this kind of paintings were bound into portfolios and sold, allowing them only to be viewed one by one. This was the reason why, by the time they arrived to the European collections, as decorative articles, few paintings remain with their original bindings, losing the information about painters or workshops that were featured on the covers. This kind of paintings fast produced in seaports of China, arrived in Europe to show at western eyes the life and customs of ancient China.

Recommended

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Chinese Export Painting - Tingqua (Guan Lianchang) ? - Google Arts & Culture

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Chinese export painting on rice paper, which depicts a man weighing mulberry leaves. Most of this kind of paintings were bound into portfolios and sold, allowing them only to be viewed one by one.

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Hawaiians makes these whistles to play songs for large groups or just for fun.Some people also make them colorful to stand out

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Ipu hokiokio. Gourd whistle. A small sized pear shaped ipu (gourd) with a hollowed interior and a glossy light brown exterior. There are four circular perforations at the side of the surface, three for the placement of fingers and one for the nose. The ipu hokiokio was played in personal, intimate settings.

Ipu hokiokio is a small gourd whistle. They are carefully cultivated from a young age for their size. Their body has been hollowed and small holes have been drilled. A player would use their ihu (nose) to emit air through the top hole and portray a melody through the use of their fingers over the remaining holes. Ipū hokiokio has been described as an instrument used by lovers to convey romantic messages.

Ipū is a term commonly associated with the gourd. It has been intentionally cultivated and hollowed. Ipū have a hollistic role within Hawaiian history and culture. Physically, the ipū can be used to carry mea'ai (food) and ka wai (water) or to store personal items. They can also be used to produce kani (sound) for mele (song) and hula (dance). Spiritually the ipū also have a significant metaphoric presence in procreation stories.

There are two kinds of ipū: Ipū nui are a large variety of gourd and are associated with carrying food or water in contrast to Ipū awa awa which are the bitter variety of gourd. These are more suitable for holding goods or made for use as instruments in Hula. As one knowledge holder explained, "The Hawaiian people - we had 42 different uses for the ipū" - the most described across Polynesia.

There are other qualities that extend the physical use of ipū into the realm of the cosmological and the spiritual. The late Indigenous Hawaiian scholar and historian, Samuel Kamakau (1815-1876) portrays the cosmological role ipū played in the creation story through an exert published in 'Ke Au Okoa',

"It was thus that Papa gave birth: she gave birth to a gourd, a calabash with its cover, 'he 'umeke a he po'i; Wākea threw the cover up, and it became the sky; then Wākea threw out the inner core, 'ka haku oloko', and it became the sun; as he threw it up, the seeds became stars. Wākea saw the whiteness of the soft core, the 'pala haku', of the gourd and threw that up, and it became the moon; the white layer, 'papa ke'oke'o', of the gourd Wākea scraped and threw up into space and it became clouds; the juice of the gourd he poured into the clouds, and it became rain. The calabash from the seperation of the gourd by Wākea became land and ocean." (Oct. 14, 21, 1869)

Papa is the earth mother, and Wākea is the sky father. The story of them birthing a gourd and using its contents to create the heavens and the earth illustrates the abundance that ipū have continued to offer today. Whether this is through domestic use, cultural performance or cosmological stories, the ipū has continued to carry Hawai'i 's rich history and culture.

We would like to give thanks to the Hawaiian knowledge holders who generously shared their mana`o and sources surrounding the significance of the ipū.

FURTHER READING:
* M.Beckwith, 'Hawaiian Mythology'. U H Press. 1970.
* Jenkins, 'The Hawaiian Calabash'.Editions limited. 1989.
* T.R.Hiroa, 'Arts and Crafts of Hawaii'. Bishop Museum Press. 1957.
* S.M.Kamakau, 'Tails and Traditions of the People of Old|Nā Mo'olelo a ka Po'e Kahiko'. Bishop Museum Press. 1991.
* Personal comms. Kumu Auli`i Mitchell. 14.03.2018
GLOSSARY:
* Ipu hokiokio (Gourd whistle)
* Ihu (nose)
* Kani (sound)
* Mele (song)
* Hula (dance)
* Mea'ai (food)
* Ka wai (water)

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Ipu hokiokio (Gourd whistle) - Unknown - Google Arts & Culture

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Ipu hokiokio. Gourd whistle. A small sized pear shaped ipu (gourd) with a hollowed interior and a glossy light brown exterior. There are four circular perforations at the side of the surface, three for the placement of fingers and one for the nose. The ipu hokiokio was played in personal, intimate settings.

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people in Germany make plates and engraved pictures of loved ones,religion,war or just random pictures to show how they love something or hard times their country has been through

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Passover Plate - Sebald Ruprecht III - Google Arts & Culture

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Brazil-Paintings like this show how beautiful their land and around them.

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Marc Ferrez, author of an oeuvre on par with those of the greatest names in photography across the world, He is is the most important photographer of the period in the IMS' collection. Preserved by his grandson, researcher Gilberto Ferrez, the glass negatives and prints produced by the photographer himself make up most of the Gilberto Ferrez Collection, a stock of 15,000 images unrivaled among private collections of 19th-century Brazilian photography, acquired by the IMS in May 1998.
Better-known to the public at large for his landscapes - principally panoramic photographs of the city of Rio de Janeiro and its surroundings, taken with special cameras on large-format negatives, a technique used by few photographers in the world and to which he dedicated all his technical inventiveness - the Ferrez that emerges from this collection is a restless, plural artist. Given the jobs that he was hired to perform, he tackled a wide variety of subjects; and as a researcher of techniques and processes at a moment of rapid evolutions in the science of photography, he pursued and developed pioneering projects.

Recommended

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Entrance of Guanabara Bay, Rio de Janeiro, RJ. Brazil - Ferrez, Marc - Google Arts & Culture

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Marc Ferrez, author of an oeuvre on par with those of the greatest names in photography across the world, He is is the most important photographer of the period in the IMS' collection.

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Spain-people drew painting like this one to show what class and how wealthy they are.

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Sant Pere de Púbol altarpiece. Detail of the predella - Bernat Martorell - Google Arts & Culture

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The Sant Pere de Púbol altarpiece is by the artist Bernat Martorell, who was painted it around 1437. The piece comes from the parish church of Sant Pere de...

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The Aztecs made these in different shapes,sizes and color to show where you were at such as a leader

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Large Human Head - Unknown - Google Arts & Culture

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Large human head is with a spiked headdress held by a trap. Some spikes and right ear are missing.

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people in japan made things like plates so they could get money for it,But others made plates and bowls to eat from or use as decoration.

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From the 16th century on, ceramics were produced in the southwest of Japan in the Province of Satsuma with eggshellcolored glaze and gold-colored decoration, which were however reserved exclusively for the estate of the Samurai. The great appeal of these ceramic objects for the first visitors to Japan during the Meiji period led to a mass production of ceramics with decorations in the Satsuma style. The studio near Kyoto founded by Kinkozan Sobei VI (1824-1884) marked the start of production of Satsuma porcelain specifically oriented on export. Other craftsmen went to Yokohama straight away with their workshops. This plate shows a summer dance event (bon odori) rendered in richly detailed and highly skilled painting.

Recommended

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Workshop of Kinkozan Sobei, Plate with artist's signature "kinkozan zu" and painter's signature "shusan ga" - Kinkozan Sobei - Google Arts & Culture

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From the 16th century on, ceramics were produced in the southwest of Japan in the Province of Satsuma with eggshellcolored glaze and gold-colored decoration, which were however reserved exclusively for the estate of the Samurai. The great appeal of these ceramic objects for the first visitors to Japan during the Meiji period led to a mass production of ceramics with decorations in the Satsuma style.

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people in Thailand used pottery for religious rituals, cooking, and to gather water.People also place ashes of loved ones in pots to show that they are still with them and that they still care about them.

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Bowl on pedestal foot (pastiche) - Artist: Ban Kao culture and Ban Chiang culture - Google Arts & Culture

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Indians mostly made theses for the looks but they usually full of color and can be different shapes.But for poor people,they use them to get water for their family

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African artists have supplied the European expatriate and export markets with merchandise for at least five centuries. Such artistic production began in the fifteenth century on Africa's west coast, where Portuguese explorers and seamen first encountered Africans. Europeans' curiosity about the voyagers' exotic souvenirs from Africa may have encouraged trade. Whatever the catalyst, in the late fifteenth and the sixteenth century, Portuguese merchants commissioned Sapi and Bini (Edo) ivory carvers in present-day Sierra Leone and present-day Nigeria, respectively, to produce objects to sell in Europe. These objects included elaborately decorated ivory spoons, shoehorns, saltcellars, hunting horns, and other objects that found homes in the curiosity cabinets and on the banquet tables of the European nobility.(33)

During the late nineteenth century, when the European presence was constant, a Woyo potter named Voania (Voanya) Muba made figurative vessels exclusively for the European market. Voania was the chief of Muba, a village on the Atlantic Coast and a three-day walk from the towns of Boma and Banana.(34) He became a potter although he lived in a village where pottery had not previously been made.

Men in Muba carved wooden lids with high-relief figures to cover the bowls imported from pottery-making villages. Although the Muba villagers believed Voania had lieya liambu, or talent, and was self-taught because he never left the village to become an apprentice, Voania probably learned how to model clay and make pots from men (who customarily worked in isolation) in a pottery-making village. Whatever the source of his knowledge,

Voania created his own formula for the clay body and perfected his skills. Voania's only assistant was a nephew who neither helped to mix the materials or to form the vessels. He served instead as the middleman in selling Voania's vessels. Voania's pottery typically depicts Europeans alone, as a couple, as equestrians, or as a family group standing or sitting on top of a globular vessel. He occasionally portrayed an African male or a female figure. Some pots have only a human head for decoration. The hollow vessels have an opening, usually in the head of a figure. The figures' hats sometimes have two parts-the hat with an opening and a lid to cover it. None of Voania's vessels ever functioned as pitchers.

The Dallas vessel (1975.75) depicts a seated European male wearing a hat and jacket with carefully detailed buttons and buttonholes. There is an opening in the top of the hat. The figure holds a flask for liquor in one hand and a drinking cup or glass in the other. During the nineteenth century, Europeans imported alcoholic beverages that became African symbols of prestige; their consumption was a privilege of rulers, who were the first to be introduced to the foreign imports.(35)

The Woyo use proverbs to offer a compliment, appeal to principle, or settle an argument. Carved pot lids that visually illustrate proverbs can silently convey messages when covering bowls containing food. Voania's vessels, on which the imagery on pot lids was not duplicated, were clearly not intended for this kind of communication nor were they sold to Muba villagers. They were meant for European customers, who probably found them amusing. Still the one and only male potter from Muba village, Voania died in 1928.

During the late nineteenth century, European explorers penetrated far inland to Mangbetu country in the northeastern part of the former Belgian Congo (the present-day Democratic Republic of the Congo). The Mangbetu vessel depicts a woman with an elongated head (the result of binding the forehead at infancy) wearing a classic, fanlike coiffure that identifies her as royal (fig. 62). European taste for figurative art encouraged Mangbetu sculptors to create objects in this style.(36) The figure's hairstyle, which in real life required an armature to stand upright, serves as the spout of the vessel.

This particular type of Mangbetu vessel, of which only a few are known,(37) is unusual because it is double-chambered and is buff colored instead of black. In Mangbetu society, male artists made terracotta "head" vessels as well as vessels of carved wood and cast or forged metal. Women traditionally made nonfigurative pottery strictly for domestic purposes. In addition to European influence on artistic production, interethnic marriages between peoples who observed gender-specific rules in making pottery may have also resulted in men and women working together to make these vessels.

The Arts of Africa at the Dallas Museum of Art, cat. 108, pp. 286, 288-289.

33. Plass, Margaret. "Above the Salt." Expedition 5, no. 3 (Spring 1963): 38-41. pp. 38-41.

For a survey of the first works to reach Europe, see Bassani, Ezio, and William Fagg. Africa and the Renaissance: Art in Ivory. Edited by Susan Vogel. New York: Museum for African Art, 1988.

34. Volavka, Zadenka. "Vonia Muba: Contribution to the History of Central African Pottery." African Arts 10, no. 2 (January 1977): 59-66, 92. pp. 61-62.

35. For a similar vessel, see Smet, Peter A. G. M. de. Herbs, Health, Healers: Africa as Ethnopharmacological Treasury. Berg en Dal, Netherlands: Afrika Museum, 1999. p. 107.

36. Schildkrout, Enid, and Curtis A. Keim. African Reflections: Art from Northeast Zaire. Seattle: University of Washington Press for the American Museum of Natural History, New York, 1990. pp. 109-112, 247.

37. For similar figural terracotta vessels in the Tartu Museum in Estonia, see Olderogge, D. A., and Werner Forman. The Art of Africa: Negro Art from the Institute of Ethnography, Leningrad. London and New York: Hamlyn, 1969. pp. 19, 155.
These were collected in the 1920s and 1930s by I. P. and D. P. Solomentsevs.

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Palm wine vessel - Google Arts & Culture

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African artists have supplied the European expatriate and export markets with merchandise for at least five centuries. Such artistic production began in the fifteenth century on Africa's west coast, where Portuguese explorers and seamen first encountered Africans. Europeans' curiosity about the voyagers' exotic souvenirs from Africa may have encouraged trade.