Storytelling: Moving art
Truck art continues to be one of the most vibrant mediums of storytelling in Pakistan
Truck art continues to be one of the most vibrant mediums of storytelling in Pakistan. PHOTO: SA’ADIA KHAN
Storytelling has taken distinct forms through the ages; it started with expressive cave or rock paintings and later took the form of books and movies. In Pakistan, unique tales from various regions have been preserved through the figures, motifs and poetry painted on cargo-laden trucks.
Truck art dates back to the 1920s when the subcontinent was under British rule. Back then, the indigenous art form was used to decorate carriages belonging to British aristocrats. Thereafter, transport companies employed craftsmen to decorate their vehicles to give them an edge over rivals and attract more clients. The designs took on a greater purpose and significance. They became the pride and joy of truck owners and drivers and an integral part of Pakistan’s culture after Partition.
A craft for all seasons
Professional truck artist Ghulam Mustafa, who prefers being known as a painter, claims that painting vehicles is all that he has ever known and wanted to do. “First there only used to be a symbol and a monogram on the trucks,” he recalls. “Paintwork took off around 1965.” Born in Abbotabad, Mustafa moved to Karachi at the age of six and after his matriculation joined his father and grandfather at their coachwork depot. “My dada (grandfather), Al Haj Shah Zaman, used to work in the stables in Abbotabad, Khyber-Pakhtunkhwa, painting and maintaining carriages. After gaining experience there he went on to establish his own coachwork shop near Lady Garden Park, Abbotabad,” shares the third-generation artist, whose seven brothers are also in the same business.
While many value the artwork, few know about the backbreaking work that artists put into the intricate designs. Mustafa started etching designs on pieces of wood and then painting them when he was 15. By the age of 20 he was a proficient painter, recreating a tiger from imagination. Artists are generally given a blank canvas to work on freely after the truck driver or owner has listed his preferences. “I work daylight hours until sunset and get a day off on Fridays,” he says. The decoration process begins after the vehicle undergoes structural changes, such as having the body reinforced and chassis strengthened. This can take anywhere between 10 days to a month to complete and cost ranges from Rs200,000 to Rs1,000,000. “If you build a good reputation, you are never short of work. I have been fortunate that our family has thrived over the years but my son has not continued the family legacy. He works in a bank,” he adds.
Evolution over time
Not only has the younger generation shifted to other professions, even the paintwork has given way to the comparatively less laborious use of chamak patti (reflective tape) to create designs. Until the early 1970s, reflective tape was used purely for night-time visibility on the front and rear of vehicles, explains Mustafa. But the use of tape has recently become more elaborate and it is pasted on metal sheets to produce colourful templates. Twenty-six-year-old Majeed Ali has been working with chamak patti since the age of 14, which is obvious from his proficiency with a cutting blade. Ali acquired the skill from his teacher, Mohammad Saddique, who transitioned from a painter into a chamak patti artist in 1980. “For complete tape work, a truck stays with us for one month and [the work] costs up to Rs200,000,” says Saddique, revealing that there is hardly a price difference between the two styles. Hence, the reflective tape overtook the traditional artwork due to increased visibility at night, long-term durability and ease of use.
The early 1990s witnessed further dramatic changes in the artwork. Since there was an increasing demand for truck art, there was a rise in lucrative coachwork across regions, such as Quetta and Rahim Yar Khan. Trained artists took their profession back to their respective regions and began specialising in the art form. Ustad Mohammad Azam and his brother Mohammad Yasin from Jhelum, Wadua Ali from Rampur, Uttar Pradesh, India, and calligrapher Mohammad Rafiq from Taxila are considered to be founders of the progressive form of truck art which combines various forms, such as paint, chamak patti and calligraphy.
While new forms of truck art have emerged over the years, the one feature that remains constant is the painting of verses (mostly depicting a forlorn lover) or profound messages (showcasing different social attitudes and political views) on the truck’s body. For instance, during the Gulf War many artists fashioned a portrait of Saddam Hussein on the back of trucks.
Additionally, truck art in the country varies across regions. While Rawalpindi coachwork incorporates ornate metal bonnets with heavy plastic appliqué, trucks in Swat have distinctive carved wooden doors and designs in Peshawar combine elements from both Rawalpindi and Swat. The most elaborate designs with intricate, mosaic appliqués and chrome originate from Balochistan. And Karachi, boasting the highest number of trucks in any city across Pakistan, has designs reminiscent of the cosmopolitan city. Since Karachi attracts drivers from all regions, this is reflected in the amalgamation of truck art styles across the city. This fusion of styles can be seen in the form of heavily trimmed woodwork, prominent plastic work and camel bone inlay which is specific to Sindh. Kohl-lined, almond shaped eyes — a symbol of beauty — are also a common feature on trucks in the province. One feature, however, that is consistent across all regions is the multitude of chains dangling from bumpers, giving the vehicles the name of ‘jingle trucks’.
A winning colour scheme
Recent years have seen exuberant truck art designs grace the ramp at fashion shows, making the craft one of the biggest forms of representational art in the country. From handbags to leather skirts, truck art has been marketed as a pattern unique to Pakistan. The trend is not just limited to fashion and many household industries have also picked up on truck art to give their products a vibrant edge.
In 2010, Durre Samin, an architect and a passionate admirer of the arts, reintroduced truck art décor, specifically reflective tape, in household items such as custom-made mirror frames, boxes and trays. “I have always explored different mediums of expression and colour has remained a major source of inspiration for me,” she explains. The process of making ornaments starts with a sketch of the pattern, which is then etched into a steel sheet. Once the object has taken shape, it is adorned with fluorescent tape. “To be very honest, I am so against plastic but chamak patti has become such an integral medium in Pakistani truck art that there was no avoiding it,” shares Samin. “It brings its own language of detail to adornment while acknowledging its limitations as a utilitarian object, much like acrylic paints, which surfaced after oil paints,” she adds.
The duo Habibur Rehman and his nephew Ejaz Ullah have also incorporated truck art into their ornament business. Operating from a quaint shop in Gunjmandi, Rawalpindi, they use both forms of truck art, painting and chamak patti, to decorate their handmade wares. Seventy-five-year-old Rehman has been a truck artist for 60 years. “I had to stop painting trucks some years ago [because] my knees became weak and climbing became nearly impossible for me,” he says. “I enjoy producing small pieces and love to see people purchase these items to take to other countries. It means a piece of my Pakistan will be with them in their homes,” he adds. A custom-made frame with several portraitures takes 10 days to finish and requires a team of five to seven people with their own specialties and skill set, reveals Rehman. Once all the paintwork is complete, the frame is coated with synthetic enamel and varnish. “I can earn up to Rs5,000 per truck. Items for the shop are small and the work is more intricate but I still enjoy it and earn enough from it,” shares his nephew.
Truck art is now a part of the country’s national identity. It has evolved into a cultural symbol and has been rescaled and incorporated into the growing local design industry. However, interest in truck art is not only limited to Pakistan. During the 2006 Commonwealth Games hosted in Australia, a daily commuter tram was decorated in the same manner and served as a tourist attraction. Judging by its mass appeal, the use of truck art and chamak patti will continue to enjoy an audience not just in Pakistan, but across the globe as well.
Sa’adia Khan is a freelance photographer based in Islamabad. She tweets @IM_SaadiaKhan
Published in The Express Tribune, Sunday Magazine, February 22nd, 2015.
Truck art dates back to the 1920s when the subcontinent was under British rule. Back then, the indigenous art form was used to decorate carriages belonging to British aristocrats. Thereafter, transport companies employed craftsmen to decorate their vehicles to give them an edge over rivals and attract more clients. The designs took on a greater purpose and significance. They became the pride and joy of truck owners and drivers and an integral part of Pakistan’s culture after Partition.
A craft for all seasons
Professional truck artist Ghulam Mustafa, who prefers being known as a painter, claims that painting vehicles is all that he has ever known and wanted to do. “First there only used to be a symbol and a monogram on the trucks,” he recalls. “Paintwork took off around 1965.” Born in Abbotabad, Mustafa moved to Karachi at the age of six and after his matriculation joined his father and grandfather at their coachwork depot. “My dada (grandfather), Al Haj Shah Zaman, used to work in the stables in Abbotabad, Khyber-Pakhtunkhwa, painting and maintaining carriages. After gaining experience there he went on to establish his own coachwork shop near Lady Garden Park, Abbotabad,” shares the third-generation artist, whose seven brothers are also in the same business.
The rear end of a truck, displaying poetry in urdu. PHOTO: SA’ADIA KHAN
While many value the artwork, few know about the backbreaking work that artists put into the intricate designs. Mustafa started etching designs on pieces of wood and then painting them when he was 15. By the age of 20 he was a proficient painter, recreating a tiger from imagination. Artists are generally given a blank canvas to work on freely after the truck driver or owner has listed his preferences. “I work daylight hours until sunset and get a day off on Fridays,” he says. The decoration process begins after the vehicle undergoes structural changes, such as having the body reinforced and chassis strengthened. This can take anywhere between 10 days to a month to complete and cost ranges from Rs200,000 to Rs1,000,000. “If you build a good reputation, you are never short of work. I have been fortunate that our family has thrived over the years but my son has not continued the family legacy. He works in a bank,” he adds.
Evolution over time
Truck art has always been popular in Pakistan and is an integral part of our national identity. PHOTO: SA’ADIA KHAN
Not only has the younger generation shifted to other professions, even the paintwork has given way to the comparatively less laborious use of chamak patti (reflective tape) to create designs. Until the early 1970s, reflective tape was used purely for night-time visibility on the front and rear of vehicles, explains Mustafa. But the use of tape has recently become more elaborate and it is pasted on metal sheets to produce colourful templates. Twenty-six-year-old Majeed Ali has been working with chamak patti since the age of 14, which is obvious from his proficiency with a cutting blade. Ali acquired the skill from his teacher, Mohammad Saddique, who transitioned from a painter into a chamak patti artist in 1980. “For complete tape work, a truck stays with us for one month and [the work] costs up to Rs200,000,” says Saddique, revealing that there is hardly a price difference between the two styles. Hence, the reflective tape overtook the traditional artwork due to increased visibility at night, long-term durability and ease of use.
Kauser Nadim sitting outside his workshop in Rawalpindi where he makes miniature trucks with battery-operated engines. PHOTO: SA’ADIA KHAN
The early 1990s witnessed further dramatic changes in the artwork. Since there was an increasing demand for truck art, there was a rise in lucrative coachwork across regions, such as Quetta and Rahim Yar Khan. Trained artists took their profession back to their respective regions and began specialising in the art form. Ustad Mohammad Azam and his brother Mohammad Yasin from Jhelum, Wadua Ali from Rampur, Uttar Pradesh, India, and calligrapher Mohammad Rafiq from Taxila are considered to be founders of the progressive form of truck art which combines various forms, such as paint, chamak patti and calligraphy.
While new forms of truck art have emerged over the years, the one feature that remains constant is the painting of verses (mostly depicting a forlorn lover) or profound messages (showcasing different social attitudes and political views) on the truck’s body. For instance, during the Gulf War many artists fashioned a portrait of Saddam Hussein on the back of trucks.
Habibur Rehman adding the finishing touches to a piece at his workshop in Rawalpindi. PHOTO: SA’ADIA KHAN
Additionally, truck art in the country varies across regions. While Rawalpindi coachwork incorporates ornate metal bonnets with heavy plastic appliqué, trucks in Swat have distinctive carved wooden doors and designs in Peshawar combine elements from both Rawalpindi and Swat. The most elaborate designs with intricate, mosaic appliqués and chrome originate from Balochistan. And Karachi, boasting the highest number of trucks in any city across Pakistan, has designs reminiscent of the cosmopolitan city. Since Karachi attracts drivers from all regions, this is reflected in the amalgamation of truck art styles across the city. This fusion of styles can be seen in the form of heavily trimmed woodwork, prominent plastic work and camel bone inlay which is specific to Sindh. Kohl-lined, almond shaped eyes — a symbol of beauty — are also a common feature on trucks in the province. One feature, however, that is consistent across all regions is the multitude of chains dangling from bumpers, giving the vehicles the name of ‘jingle trucks’.
A winning colour scheme
Recent years have seen exuberant truck art designs grace the ramp at fashion shows, making the craft one of the biggest forms of representational art in the country. From handbags to leather skirts, truck art has been marketed as a pattern unique to Pakistan. The trend is not just limited to fashion and many household industries have also picked up on truck art to give their products a vibrant edge.
Artist and architect Durre Samin’s studio and work space. PHOTO: SA’ADIA KHAN
In 2010, Durre Samin, an architect and a passionate admirer of the arts, reintroduced truck art décor, specifically reflective tape, in household items such as custom-made mirror frames, boxes and trays. “I have always explored different mediums of expression and colour has remained a major source of inspiration for me,” she explains. The process of making ornaments starts with a sketch of the pattern, which is then etched into a steel sheet. Once the object has taken shape, it is adorned with fluorescent tape. “To be very honest, I am so against plastic but chamak patti has become such an integral medium in Pakistani truck art that there was no avoiding it,” shares Samin. “It brings its own language of detail to adornment while acknowledging its limitations as a utilitarian object, much like acrylic paints, which surfaced after oil paints,” she adds.
Ejaz holds a cricket ball to be adorned with truck art for a customer. PHOTO: SA’ADIA KHAN
The duo Habibur Rehman and his nephew Ejaz Ullah have also incorporated truck art into their ornament business. Operating from a quaint shop in Gunjmandi, Rawalpindi, they use both forms of truck art, painting and chamak patti, to decorate their handmade wares. Seventy-five-year-old Rehman has been a truck artist for 60 years. “I had to stop painting trucks some years ago [because] my knees became weak and climbing became nearly impossible for me,” he says. “I enjoy producing small pieces and love to see people purchase these items to take to other countries. It means a piece of my Pakistan will be with them in their homes,” he adds. A custom-made frame with several portraitures takes 10 days to finish and requires a team of five to seven people with their own specialties and skill set, reveals Rehman. Once all the paintwork is complete, the frame is coated with synthetic enamel and varnish. “I can earn up to Rs5,000 per truck. Items for the shop are small and the work is more intricate but I still enjoy it and earn enough from it,” shares his nephew.
Truck art is now a part of the country’s national identity. It has evolved into a cultural symbol and has been rescaled and incorporated into the growing local design industry. However, interest in truck art is not only limited to Pakistan. During the 2006 Commonwealth Games hosted in Australia, a daily commuter tram was decorated in the same manner and served as a tourist attraction. Judging by its mass appeal, the use of truck art and chamak patti will continue to enjoy an audience not just in Pakistan, but across the globe as well.
Sa’adia Khan is a freelance photographer based in Islamabad. She tweets @IM_SaadiaKhan
Published in The Express Tribune, Sunday Magazine, February 22nd, 2015.