Near Eastern Art – Vehicle Art: The Story of Mobile Creativity
Vehicle Art – Introduction & History
Among the mobile creative forms in Pakistan the heavy-load vehicles art is the most prominent one. Interestingly, in a nation with the per capita income of less than $2,000, an average transporter’s ‘decoration’ expenditure is $3,000-5,000 per vehicle! The penetration of this genre is reflected by the fact that the drivers/owners consider an unornamented heavy vehicle ‘unacceptable.’ In the due course, oil/water tankers and rickshaws were also roped in for artistry. However, small surface area here inhibits creativity and flamboyant imagery. Unverified accounts indicate 19th century as the starting point of this style, yet the expert opinion on the actual dates remains divided. The early nineteenth century traders, farmers, and other citizens decorated their bullock carts & horse carriages in vibrant patterns, which graduated eventually into vehicle art.
The Details
Some schools of thought refuse to acknowledge the genre as a formal dimension. However, the bright colors, bold patterns, intricate designs, and popular themes have helped it proliferate much farther than any other style. This style is popularly called ‘Moving Art,’ where the base metal structure of the automobile takes place of a stationary canvas frame. Apart from the standard paint medium, external embellishments, like shells or corals are also employed. In most cases, structural adornment similar to ’shaped canvasses’ is done right above the frontal windshield of the vehicle. This is either prepared over metal designs or as woodcarvings. Other additions can be string lights, fixed neon lights, bells, chains, and mirror work to name some.
Karachi is considered the hub of professional vehicle decoration trade. Nevertheless, various representational forms carry their unique regional flavors. The trucks from Baluchistan and Peshawar flaunt heavy wood trims, while those from Rawalpindi and Islamabad use prominent plastic artifacts. Camel bones adorn the trucks in the Sind region.
The subjects often revolve around beautiful spiritual messages and holy verses, set in ornate Arabic, Urdu, or Hindi dialects. The ornamental literature in the form of calligraphy, praises the Lord for the wonderful world. Some of such works are carried out with a touché of Romanticism to idealize peasantry, flora & fauna, and women. The unorthodox themes include the replication of Indian movie posters or the portraits of Indian stars, a rage among the Pakistanis.
The Artists
Cornered as informal and raw, Pakistani Vehicle Art could not fetch fame and identity for its artists. These people are commoners carrying goods from one place to another to earn a modest living. They lead nameless lives, while spreading creative joy to their customers.
Conclusion
It is not difficult to judge the importance of Pakistani Vehicle Art as several vehicle owners are found taking personal interest in themes, tools, and techniques involved in decorating their vehicles. These artworks travel everywhere and are often symbolic of the owners’ religious, social, and political views along with their general outlook towards life.
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