From Lima to Canton and Beyond: An AI-aided heritage materials research platform for studying globalisation through art

从利马到广州及其他地区：人工智能辅助遗产材料研究平台，通过艺术研究全球化

• 批准号: AH/V009745/1
• 负责人: Haida Liang
• 金额: $ 26.53万
• 依托单位: Nottingham Trent University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FV009745%2F1
• 关键词: Lima; Canton; Beyond; AI; aided

Inspired by the Enlightenment, from the late 18th century, the European colonial powers such as Britain and Spain, and local officials in their colonial dependencies, were collecting information from around the world. Maps and charts, as well as scientific drawings of flora and fauna, were commissioned, and local artists were often employed to draw and paint these. Several Spanish scientific expeditions, such as the Royal Botanical Expedition to the Viceroyalty of New Granada (Ecuador, Colombia, and Venezuela today), led by José Celestino Mutis from 1783 to 1816, among others, hired local artists, such as Francisco Javier Cortés to provide the illustrations.Botanical paintings following European conventions of scientific drawings were also commissioned from Chinese export artists in Canton (Guangzhou, China) by the Royal Horticultural Society and the Royal Botanical Gardens in London and painted on Whatman papers sent from London. Similarly, during this period, the East Indian Company was actively employing Chinese and Indian artists to paint flora and fauna in South East Asia and India respectively. These cultural encounters have often resulted in hybrid artistic practices. By about 1818, in the context of the coming of Peruvian independence, watercolours of Peruvian subjects are documented in Lima. The earliest are associated with Cortés, soon to be joined by his presumed pupil, Francisco "Pancho" Fierro in the 1820s. By the 1830s, watercolours by Fierro, his followers, and imitators became widespread, and were eventually produced in the thousands, with the phenomenon tapering off around 1850-60. Similar ethnographic drawings are found in Colombia and Ecuador. In the meantime, trade in Chinese export painting, depicting daily life of locals, from Canton flourished in the late 18th to the 19th century. Costume paintings of Peruvian types are also found in albums with provenances and artistic styles suggesting that they were made in studios in Canton. These works produced in north-western South America and in Canton from 1780 to 1850 are connected to a complex web of social, political, artistic, geographic, economic, and technological phenomena, all of which affected the motives for their creation, the materials from which they were made, the means of their dispersal and preservation, and the lives of the people who made, sold, bought, and collected them. This project will focus on a large group of ethnographic as well as selected scientific watercolours (e.g. maps and botanical drawings), made for export to Europe or North America by local artists in north-western Latin America and Asia. These are now found in widely dispersed public collections in the US and UK. One of the project goals is to use the study as a lens to reveal details of global trade and information exchange networks among the Americas, Asia and Europe ca. 1780-1850. Pigments, dyes and paper are commodities that were traded extensively throughout history; their identity and the way they are used are often traceable to their geographic and cultural origins. This period also saw the synthesis of new pigments, especially in Europe, making it easier to date an object using these pigments. Advanced imaging and material analysis techniques, used by heritage scientists and conservators to detect, identify and understand the composition of artworks/heritage items, create large data sets that require expert processing and interpretation (hence, creating a barrier to entry and use by non-scientists). This project aims to streamline the data collection and interpretation processes and open the results to researchers and audiences in the humanities by (1) advancing an AI-assisted method of data analysis, (2) providing an online, linked open data platform for the results and their interpretation, and (3) demonstrating the impact of the collected and interpreted data for humanities research in this large scale humanities-led project.

受18世纪末启蒙运动的启发，英国和西班牙等欧洲殖民大国及其属地的地方官员开始从世界各地收集信息。地图和图表，以及植物和动物的科学图纸，被委托，并经常聘请当地的艺术家来绘制和绘制这些。1783年至1816年，由jos<s:1> Celestino Mutis领导的几次西班牙科学考察队，如前往新格拉纳达总督区（今天的厄瓜多尔、哥伦比亚和委内瑞拉）的皇家植物考察队，以及其他考察队，都雇佣了当地的艺术家，如弗朗西斯科·哈维尔·科尔特海姆斯来提供插图。遵循欧洲科学绘画惯例的植物绘画也受英国皇家园艺学会和伦敦皇家植物园委托，由中国广州的出口艺术家在伦敦寄来的Whatman纸上绘制。同样，在这一时期，东印度公司积极聘请中国和印度艺术家分别在东南亚和印度绘制动植物。这些文化碰撞往往导致混合的艺术实践。大约在1818年，在秘鲁独立的背景下，秘鲁主题的水彩画在利马被记录下来。最早的是与cort<s:1>有关的，很快他的学生Francisco“Pancho”Fierro在19世纪20年代也加入了进来。到19世纪30年代，菲耶罗及其追随者和模仿者的水彩画开始普及，最终生产了数千幅，这种现象在1850-60年左右逐渐减少。在哥伦比亚和厄瓜多尔也发现了类似的人种志绘画。与此同时，从18世纪末到19世纪，中国从广州出口描绘当地人日常生活的绘画的贸易蓬勃发展。秘鲁类型的古装画也在相册中发现，其出处和艺术风格表明它们是在广州的工作室制作的。从1780年到1850年，这些创作于南美洲西北部和广州的作品与社会、政治、艺术、地理、经济和技术现象的复杂网络相连，所有这些现象都影响着它们创作的动机、制作它们的材料、传播和保存它们的手段，以及制作、出售、购买和收集它们的人的生活。该项目将重点关注一大批民族志和精选科学水彩画（如地图和植物绘画），由拉丁美洲西北部和亚洲的当地艺术家制作，出口到欧洲或北美。现在在美国和英国广泛分布的公共收藏中发现了这些藏品。该项目的目标之一是利用这项研究作为一个镜头，揭示1780-1850年间美洲、亚洲和欧洲之间的全球贸易和信息交换网络的细节。颜料、染料和纸张是历史上广泛交易的商品；它们的身份和使用方式往往可以追溯到它们的地理和文化起源。这一时期也见证了新颜料的合成，特别是在欧洲，这使得使用这些颜料来确定物体的年代变得更加容易。先进的成像和材料分析技术被遗产科学家和保护人员用来检测、识别和理解艺术品/遗产项目的组成，创造了需要专家处理和解释的大型数据集（因此，为非科学家的进入和使用创造了障碍）。该项目旨在简化数据收集和解释过程，并通过以下方式向人文学科的研究人员和受众开放：(1)推进人工智能辅助的数据分析方法；(2)为结果及其解释提供在线、链接的开放数据平台；(3)在这个以人文学科为主导的大型项目中展示收集和解释的数据对人文学科研究的影响。

项目成果

Maps and Colours - A Complex Relationship

地图和颜色 - 复杂的关系

• DOI: 10.1163/9789004467361_014
• 发表时间: 2024
• 作者: Liang H