百余张历史老照片，带你“穿越”探访19世纪中国的昔日万“像”

发布于 2023-02-17 · 时长 1:00:18

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时间	英文	中文
0:04	Welcome.	欢迎
0:05	My name is Devin Lau.	我叫刘德文
0:06	I'm the associate director for Yale Center Beijing, and today we	我是耶鲁中心北京的副主任今天我们
0:11	are excited to have Stephanie Tung, the Byrne Family Curator of Photography at Peabody Exx Museum,	很高兴有Stephanie Tung 在皮博迪艾克斯博物馆的伯恩家族摄影师
0:20	和Karina Corrigan,亚洲出口艺术公司H. A. Crosby Forbes经理兼副董事长
0:24	of Collections at the museum, join us for their discussion about the exhibition and publication	与我们一起讨论展览和出版物
0:31	Power and Perspective Early Photography in China.	中国权力与视角早期摄影.
0:34	And just so you know, this is a current exhibition	你知道,这是现在的展览
0:37	that's going on until April 2023, so for those of you guys that may be in the U.S. or planning a trip,	直到2023年4月你们这些可能在美国或计划旅行的人
0:46	you still have a little bit of time to try to get there.	你还有一点时间去那儿

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序号	英文	中文
1	Welcome.	欢迎
2	My name is Devin Lau.	我叫刘德文
3	I'm the associate director for Yale Center Beijing, and today we	我是耶鲁中心北京的副主任今天我们
4	are excited to have Stephanie Tung, the Byrne Family Curator of Photography at Peabody Exx Museum,	很高兴有Stephanie Tung 在皮博迪艾克斯博物馆的伯恩家族摄影师
5	和Karina Corrigan,亚洲出口艺术公司H. A. Crosby Forbes经理兼副董事长
6	of Collections at the museum, join us for their discussion about the exhibition and publication	与我们一起讨论展览和出版物
7	Power and Perspective Early Photography in China.	中国权力与视角早期摄影.
8	And just so you know, this is a current exhibition	你知道,这是现在的展览
9	that's going on until April 2023, so for those of you guys that may be in the U.S. or planning a trip,	直到2023年4月你们这些可能在美国或计划旅行的人
10	you still have a little bit of time to try to get there.	你还有一点时间去那儿
11	It features 130 photographs in dialogue	里面有130张照片
12	with paintings, decorative arts, and prints, drawn largely from the museum's collection,	绘画、装饰艺术和印刷品主要是博物馆收藏的
13	and offers a vital reassessment of the colonial legacy of the medium.	并且对媒体的殖民遗产进行了重要的重新评估。
14	They will discuss the ways in which the encounters with historic photography collections, most of which	他们将讨论与历史摄影作品的交汇方式,其中多数是
15	are found outside of China, can generate new insights for today.	能够为今天带来新的见解
16	Today's speakers, I will	今天的发言者,我会的
17	introduce both of them and then turn it over to them.	介绍他们俩,然后,把它交给他们。
18	Karina Corrigan is the associate director,	卡琳娜·科里根是副局长
19	正如我所提到的, 收藏, 以及H. A. Crosby Forbes Currator 亚洲出口艺术。
20	As associate director, she is responsible for spearheading research on the rich and	作为副局长,她负责带头研究富人和
21	storied collection of the museum, as well as enhancing access to the collection through	博物馆的收藏,以及通过下列方式增加获得收藏的机会:
22	increased documentation, digitization, and display, and building the collection through	增加文件、数字化和显示,并通过
23	new acquisitions.	新采购。
24	She oversees the largest, most comprehensive public collection of cross-cultural	她监管着最大的、最全面的跨文化公共收藏
25	art from China, Japan, and South Asia.	来自中国、日本和南亚的艺术。
26	She's organized many exhibitions drawing from PEM's	她组织了许多展览从PEM的
27	collections and received awards, including the 2020 Award of Excellence from the Association of	收集并获奖,包括2020年协会杰出奖
28	(原始内容存档于2018-09-26). Art Museum Curders.
29	She received her BA in Art History and Medieval Renaissance Studies from	她获得了艺术史和中世纪文艺复兴研究学士学位
30	Wellesley College, as well as an MS in Historic Preservation from the University of Pennsylvania,	韦尔斯利学院以及宾夕法尼亚大学历史保护学院
31	and an MA from the Winterthur Program in American Material Culture.	以及美国物质文化的温特瑟尔计划
32	Stephanie Tung is the	斯蒂芬妮・董是
33	family curator of photography at the museum.	博物馆摄影家庭馆长。
34	She leads the interpretation and presentation of the	她领导解释和介绍
35	museum's growing photography collection, which spans the 19th century through today.	博物馆不断壮大摄影收藏,它跨越19世纪,直到今天.
36	A specialist in the history of photography in China, her research focuses on transnational art	她是中国摄影史专家她的研究重点是跨国艺术
37	exchanges, global modernism, translational studies, and the notions of artistic labor.	交流、全球现代主义、翻译研究以及艺术劳动的概念。
38	At PEM, she has been instrumental in shepherding the 2020 acquisition of approximately 1,600	在PEM,她一直帮助牧羊 2020年收购约1600
39	photographs by artists with ties to East Asia.	照片来自与东亚有关系的艺术家。
40	She holds a Bachelor of Art in Literature and	她拥有文学艺术学士学位
41	History of Art and Architecture from Harvard, as well as a Masters of Arts in Art and Archaeology	哈佛艺术和建筑史,以及艺术和考古学硕士
42	from Princeton.	从普林斯顿。
43	Thank you everybody for joining us, and thank you especially to our two speakers for	感谢各位加入我们,并特别感谢两位发言者。
44	joining us this morning.	今早加入我们
45	I'm very excited to see what you have to share.	我非常兴奋地看到你必须分享的东西。
46	I've taken a look at the	我看过了
47	book, and it's fantastic, but I'm sure that the pictures you have and the exhibition in person is	书,这是美妙的, 但我敢肯定,你的照片和展览的人
48	even better.	更厉害
49	So I will turn things over to you.	所以我会把事情交给你
50	Thanks, Devin, and good morning, good evening,	谢谢德温,早安,晚安
51	wherever you are.	无论你在哪里
52	We're so thrilled to be with you today.	我们今天很高兴能和你在一起
53	We wanted to introduce you to the site	我们想介绍你到网站
54	where we work and the site where the exhibition is.	我们工作的地方和展览的地点
55	This is three facades of the Peabody Essex	这是皮博迪埃塞克斯的三层外观
56	Museum, which is the oldest museum in the United States, founded in 1799 as a marine society for	博物馆,是美国历史最悠久的博物馆,成立于1799年,为海洋社会.
57	ship captains.	船长
58	Salem is a sleepy little suburb of Boston now, but in 1800, this was the wealthiest	塞勒姆现在是波士顿的一个困倦的小郊区, 但是在1800年,这是最富有的
59	city per capita in America.	美国人均城市。
60	Almost all of that wealth was due to global trade, and a huge amount	几乎所有的财富都来自全球贸易,而且数额巨大
61	that global trade was to Asia, and in particular to China.	全球贸易是亚洲的,特别是中国的。
62	So this narrative is literally embedded	因此,这个叙事字面上嵌入
63	in our history from the very beginning.	从我们的历史开始。
64	The building you're looking at in the middle is East	你看着中间的大楼是东面
65	India Marine Hall, the oldest permanent home for this collection, and on either side of that are	印度海军陆战队会馆,最古老的永久馆藏馆,位于两侧
66	two of our much newer buildings.	我们两个更新的建筑
67	Because although we are the oldest museum, we are also	因为虽然我们是最古老的博物馆,但我们也是
68	a very new institution and constantly expanding and growing in new and interesting ways.	一个非常新的机构,以新的和有趣的方式不断扩大和发展。
69	Okay, hello.	好吧,哈啰。
70	So we're gathered here today to give a little bit of a talk, I think,	我们今天聚集在这里来谈谈,我想,
71	really spurred by the publication of Power and Perspective Early Photography in China by PEM and	由PEM和PEM在中国出版的《权力与视角早期摄影》推动。
72	distributed by the Yale University Press.	由耶鲁大学出版社发行.
73	I have it here with me now.	我现在拿着它
74	The book, the catalog itself	书,目录本身
75	来自该领域14位著名学者的特写,包括Terry Bennett, Yigu, Tingting
76	Xu, Bing Wang, myself and Karina, and seven other people.	徐,王炳,我和卡莲娜,还有七人.
77	And the way that it's structured has five	它的结构有五个
78	essays and a number of entries about specific works.	散文和一些关于具体作品的条目.
79	And so it really is, I think, a really	所以它真的是,我认为,真的
80	good summary of the work that we've been doing on this show for the last couple of years.	这几年来我们在这节目上的工作总结很好
81	So to begin, we're going to give a little bit of a walkthrough of the exhibition and some of the	开始,我们将给一点点通过展览和一些
82	main ideas and sections, and then I think we'll do questions and answer afterwards.	主要的想法和章节,然后我想我们会做问答之后。
83	So the exhibition	所以,展览
84	itself is really about the adoption and introduction of photography in 19th century China.	本身其实是19世纪中国通过和引进摄影.
85	We wanted to think about the stories that these photographs can tell and what might not be,	我们想考虑一下这些照片能够描述的故事以及可能不是的故事,
86	what other, the specific stories that they tell might not actually be included in those stories.	其它什么,他们所讲的具体故事可能并不包含在这些故事中。
87	So the way that we begin is actually with this camera.	因此,我们开始的方式其实是用这个摄像机。
88	I think we all have cameras in our pockets	我想我们口袋里都有摄像头
89	now, but if you told that to a 19th century photographer, that would just blow their mind,	现在,但是如果你告诉一个19世纪的摄影师, 那只会让他们大吃一惊,
90	because what you're seeing in front of you is a camera from the 1850s, an American-made camera,	因为你眼前看到的是1850年代的摄像机美国制造的摄像机
91	very, very similar to the ones that were imported to China at the time to create all the photographs	非常,非常相似的是当时进口到中国的制作所有照片
92	that you're about to see.	你即将看到的。
93	And so beginning the show this way allows us to think a little bit	因此,开始这个节目这样让我们思考一下
94	more about the materiality or the objects that photographs are.	更多关于照片的重要性或物体。
95	And you can see that it's really	你可以看到这是真的
96	large, it's bulky, it's fragile, they're all made with glass plates.	体积大,体积大,体积脆弱,都用玻璃板制成.
97	And so you needed things like	所以,你需要的东西像
98	time, money, assistance, and more than a little bit of luck to make any of the photographs that	时间,金钱,援助, 和多一点运气拍摄任何照片
99	we're about to see.	我们即将看到。
100	So I mentioned how old the Peabody Essex Museum is and these very long ties	所以我提到皮博迪·埃塞克斯博物馆的历史以及这些很长的纽带
101	with China.	与中国。
102	Pem holds an enormous collection of 19th century photographs from China, so we're	Pem收藏了大量来自中国的19世纪照片所以我们是
103	only showing a tiny fraction of the collection in either the exhibition or the book.	在展览或书中只展示一小部分藏品.
104	They're more in	他们更多了
105	the book than in the show, but that's still less than 10%.	这本书比节目里写得还少但还不到10%
106	But I think what also distinguishes	但我认为什么是区别
107	this collection besides its scale is that these works of art came into the collection as new	除了规模之外这些艺术品作为新作品进入收藏
108	photography in the 19th century.	19世纪的摄影.
109	This was new photography brought back by these merchants who	这是这些商人带来的新照片
110	were actively trading in China.	活跃在中国的贸易。
111	So unlike many other public collections of this kind of material,	不像其他很多公共收藏这种材料,
112	we very often know who, when people bought these photographs, where they bought them.	我们经常知道,当人们购买这些照片时, 在哪里购买这些照片。
113	And we often have related either objects or archival records related to those people as well,	我们经常有与这些人有关的物品或档案记录,
114	so it created a wonderful interconnected web of information for us to tell this story.	因此,它创造了一个奇妙的互联互通的信息网络为我们讲述这个故事。
115	Okay, so the first gallery or first section of the show is called the Imperial Eye.	好吧,所以第一个画廊或节目的第一部分叫做帝国眼。
116	Aim,	目标
117	shoot, capture, that's the language of photography, but you'll notice that it's	拍摄,捕捉,那是摄影的语言, 但你会注意到,这是
118	also the language of weapons.	还有武器的语言。
119	And that's really here we're trying to address the intertwining	这才是我们想要解决的
120	histories of colonialism and photography.	殖民主义历史与摄影.
121	Photography entered China at the end of the	摄影进入中国末期
122	First Opium War alongside weapons and on gunships from Europe.	第一次鸦片战争与武器和来自欧洲的炮兵战争。
123	And so that's the sort of entrance	所以这就是那种入口
124	of photography.	摄影
125	And we're trying to tell this story here through the work of Felice Biato.	我们试图通过费利斯·比亚托的作品来讲述这个故事。
126	Biato was an Italian British soldier who was embedded in the British army, and so he tracked	比亚托是一名意大利的英国士兵他被嵌入了英国军队所以他追踪到
127	the army's progress as it went from Hong Kong, the new colony, up to Beijing for the Second Opium War.	军队从新殖民地香港进军一直到北京进行第二次鸦片战争
128	And throughout his photographs, you can see that he's telling a very particular story about	在他的照片中,你可以看到他讲述了一个非常特别的故事
129	British dominance in China.	英国在中国的统治地位.
130	So in this one, this is the first photograph in the show, and it shows	所以在这张照片里这是节目中的第一张照片它显示
131	how he's positioned himself on the Hong Kong peak, Victoria Peak, and he's looking down at	他是如何定位自己在香港高峰,维多利亚峰, 他俯视
132	the harbor.	港湾。
133	And what he really wants to capture is all of these ships that are waiting in the	他真正想要抓的就是所有那些正在等待的船
134	harbor, these British ships that are waiting to go up to Beijing.	港口,这些英国船只等待上北京。
135	And so it's a photograph	所以这是一张照片
136	that was very much used or intentionally made to telegraph the power of the military.	这被大量使用或故意用来电报军队的权力。
137	However,	不过,
138	I think one of our strategies in this exhibition is to actually ask you to go really, really deep	我认为我们这次展览的策略之一是让你真正,真正深入
139	in focus and look at the very tiny details that these photographs provide, but also think outside	观察这些照片提供的极小的细节,
140	of the frame.	边框。
141	What are the historical, political, social contexts that we might not be seeing in	我们可能看不到的历史、政治、社会背景是什么?
142	the photograph, but have informed everything that these photographs are showing us?	照片,但已经告知所有这些照片显示我们?
143	And so with	所以说
144	Yato, we know that he was holding this huge camera and he had lots and lots of help and laborers	亚藤,我们知道他拿着这台大摄像机他有很多帮助和工人
145	that were actually helping to move this camera throughout the battle scenes.	在战斗场景中帮助移动了摄像机
146	And so you never	所以你从不
147	see the Chinese labor that's going into making these photographs.	看中国的劳工正在制作这些照片。
148	The only one that I think he	我唯一认为他
149	has in which a person, a Chinese person, is deliberately put there is the photograph on the	里面刻着一个中国人刻意把照片放在那里
150	left, in which you see this laborer directly underneath the British flag.	左边,你看到这个工人直接在英国国旗下。
151	And so a lot of	这么多
152	these photographs, you can see they're showing you one thing, but we want to remind people that	这些照片,你可以看到, 他们正在展示你一件事, 但我们想提醒人们,
153	there's also all these other factors beyond the frame.	还有其他超出框架的因素
154	So, Yato's visual narrative of the	所以,矢藤的视觉叙述
155	Beijing siege, the British siege on Beijing, really culminates in the capture of Yuanmingyuan,	北京围城,英国对北京的围城,最终真的占领了元明远,
156	the imperial summer palaces right outside of Beijing.	帝国的夏日宫殿就在北京之外
157	And so he was embedded with the British	所以他和英国人混在一起
158	at the time.	在当时。
159	And we know that this particular photograph is of a building that is in Yiheyuan,	我们知道这张照片是在宜兴的一座建筑
160	but that he was there actually taking photographs of the entire sort of destruction.	但是他在那里拍摄了整个破坏的照片
161	And I find	我发现
162	this photograph particularly haunting because he wrote underneath it that it was the imperial	这张照片特别缠绕因为他写道,这是帝国
163	summer palace before the burning.	火烧前夏宫.
164	He knew that this was going to be burned.	他知道这将会被烧毁
165	He knew that it was	他知道这是
166	to be destroyed.	将被摧毁。
167	And he took one last photograph before it was going to be destroyed.	他拍了最后一张照片才被摧毁
168	And so	这样
169	there's a haunting quality to it because it sort of is the last picture before all this destruction.	因为它是所有破坏之前的最后一幅画
170	So this gallery really is, it shows the before the burning and then we have a section that's	所以这个画廊真的, 它显示在燃烧之前, 然后我们有一个部分是
171	after the burning.	烧后.
172	And it's part of, so you'll see that the ruins of the Yuanmingyuan on the	它的一部分,所以你会看到元明元的废墟上
173	through these two Thomas Child photographs.	通过这两张托马斯儿童照片
174	So this is fundamentally a photography exhibition,	所以,这基本上是一个摄影展,
175	but we wanted to take this opportunity to contextualize these works of art with other	但我们想利用这个机会把这些艺术作品与其它作品联系起来
176	works from the museum's collection.	博物馆收藏的作品
177	So here you see another installation shot of the exhibition	在这里,你看到另一个安装镜头展览
178	with this massive solid ivory carved desk, a work likely made in the workshops in Guangzhou.	有了这个巨大的固态象牙雕刻的办公桌,这个工作很可能是在广州的车间里完成的.
179	We certainly know that the French and British troops looted many things from the Yuanmingyuan	我们当然知道,法国和英国军队从元明元劫掠了许多东西.
180	before the burning.	在燃烧之前
181	And this is certainly very like those objects.	这肯定跟那些物体很像
182	It is standing in here for	它站在这里
183	all of the things that were looted.	所有被劫掠的东西
184	Stephanie也展示了照片 Thomas Child's
185	photographs after the burning.	燃烧后的照片。
186	And you can, I hope, just make those out at the back of the gallery	我希望你能在画廊后面做这些
187	in this in focus moment.	在焦点时刻。
188	We've created four of these moments in the exhibition with touch screens	我们用触摸屏在展览中创造了四个这样的瞬间
189	and sort of supporting information to help our visitors learn to look much more closely at	和某种辅助信息帮助我们的访客学习更仔细地看
190	individual works of art.	个人艺术品。
191	So on the left is one of the 18th century engravings of the European palaces	所以左边是18世纪欧洲宫殿雕刻之一
192	at the Yuanmingyuan and on the right are Child's photographs after burning.	在元明元和右边是孩子烧后的照片。
193	So the next section is	所以下一节是
194	called Navigating Worlds.	称为导航世界。
195	And this is really a section where we're looking at the treaty ports	这确实是一个部分我们正在看条约的港口
196	that were opened up after the First Opium War.	第一次鸦片战争后开放的
197	So prior to the 1840s, all foreign trade with China	所以在1840年代之前所有与中国的对外贸易
198	happened exclusively in a foreign settlement along the Pearl River in Guangzhou.	发生在广州珠江沿岸的一个外国定居点。
199	But	不过
200	some of the concessions with the First Opium War were foreigners' abilities to trade in	第一次鸦片战争中的一些让步是外国人有能力进行贸易
201	multiple other cities.	其他多个城市。
202	And we wanted to feature photographs from many of those other places.	我们想给很多其他地方的照片做特写。
203	The work you're looking at here is not a photograph, obviously.	你在这里看到的不是照片,很明显。
204	This is a large-scale	这是大规模的
205	oil painting done by a Chinese artist of that waterfront in Guangzhou.	广州那水边的一位中国艺术家画的油画.
206	In this section, we also	在本节中,我们还
207	have the technology of steam.	拥有蒸汽技术.
208	And you can, I hope, make out a steamship along the Pearl River	我希望你能沿着珠江造一艘蒸汽船
209	in this view of Guangzhou.	以此观广州.
210	But also in the upper left is this incredibly charming incense burner	左上方还有这个迷人的烧香炉
211	in the form of a paddlewheel steamer.	以桨轮蒸汽机的形式。
212	And so if you're burning incense in this, you likely have	所以,如果你烧香在这个,你可能
213	smoke coming out of the stack of the steamer.	烟从蒸汽机堆里冒出来
214	This section looks particularly at Macau,	本节特别看澳门
215	Guangzhou, Hong Kong, and Shanghai.	广州,香港,上海亦然.
216	And a lot of this, what we're looking at right here,	还有很多,我们在这里看到的,
217	is a panorama of Guangzhou.	是广州全景
218	So a lot of this show is also about the call and response of different	所以,许多节目也是关于不同的呼唤和响应
219	media, photography and painting and decorative arts.	媒体、摄影、绘画和装饰艺术。
220	And so what we saw right before in the	所以,我们以前看到的
221	previous slide was an oil painting of Guangzhou from about 1850s, 1860s.	前作是1850年代,1860年代左右的广州油画.
222	And then here we have	然后我们在这里
223	Charles Yender Weed's panorama of the same site from, I think, the 1860s.	查尔斯·延德我想是1860年代的同一地点的大麻全景
224	And so what we're	所以,我们是什么
225	noticing is that there are definitely motifs that are repeating.	注意的是,肯定有动机在重复。
226	For example, he's also focusing on	比如,他也专注于
227	the steamship that is at the center of the panorama.	位于全景中心的蒸汽船
228	But there's also, we're seeing that	但还有,我们看到
229	there's different limitations and also advantages to each of the media.	每个媒体都有不同的限制和优势。
230	So here, the horizon line	所以这里,地平线
231	is very flat.	很平坦的说来话长
232	Whereas in the painting, it was sort of sloped upwards, so you could see a much better	在画里,它有点倾斜, 这样你可以看到一个更好的
233	view of Guangzhou at the time.	观当时广州.
234	This was partly because of the technology.	部分原因是技术。
235	You needed height in	你需要高点
236	order to make a panorama.	以制作全景图
237	And you can see here that Weed is positioning himself across the Pearl	你可以在这里看到,小草正在定位自己跨越珍珠
238	River on probably the highest point of view that he can find.	河在可能的最高观点他能找到。
239	But still, the horizon line is pretty	不过地平线还是不错的
240	flat.	平缓。
241	Photography, though, does give you incredible, incredible detail.	不过,摄影的确给你提供了不可思议,不可思议的细节.
242	And you can zoom into these	你可以放大到这些
243	photographs so far and see all these details, which is remarkable.	目前为止的照片,并看到所有这些细节,这是令人瞩目的。
244	I think it's hard to see in	我觉得很难看进去
245	this slide, but these are actually quite, quite large.	这张幻灯片,但实际上相当大。
246	They're called mammoth plate prints.	它们被称为毛毛板印.
247	And I think, if we think back to the very beginning of that camera, all of these photographs	我想,如果我们回想起镜头的开始, 所有的照片
248	were made as contact prints.	以联系方式打印。
249	And so that means whatever size of the negative is the size of the	所以,这意味着无论负数的大小是
250	final print.	终印.
251	These negatives must have been massive in order to make a mammoth print like	这些底片一定很大为了让毛毛的指纹像
252	the size of a desk.	是一个桌子的大小。
253	Well, a small desk.	嗯,一个小桌子。
254	And thinking about the sort of manpower that needed	想想需要什么样的人力
255	to happen in order to import glass plates that large, have a camera that was even larger than	为了进口这么大的玻璃板装有比
256	this, and then also lug it to the very top of a building or roof to make these photographs	把它拖到大楼或屋顶的顶端拍这些照片
257	really makes you appreciate, I think, how difficult any of these photographs were to make.	真的很让你欣赏,我想, 这些照片有多难做。
258	So I mentioned this very early history of our collection.	所以我提到了我们收藏的早期历史。
259	We have a number of business portraits	我们有很多商业画像
260	like the one you see in the bottom left of these merchants who are coming together in China.	就像你看到的这些商人在中国的左下方
261	The detail above that is a close-up of a young man in this business portrait.	上面的细节是一个年轻人在这幅商业画像中的特写.
262	This is Thomas	我是托马斯
263	Franklin Hunt, who was a son of Salem.	富兰克林·亨特(Franklin Hunt),曾是塞勒姆的儿子.
264	And he actually went out to China with his parents	其实他和父母去中国了
265	in the 1840s.	在1840年代。
266	He spent his early years of life in the view that you see in the oil painting on the	他的早年生活认为你在油画上看到
267	right.	对
268	This is a view of Huangpu, which is about 10 miles south of Guangzhou on the Pearl River.	这是黄埔的景点,位于珠江畔广州以南约10英里处.
269	This is the deep water harbor where all foreign boats coming to trade in Guangzhou would have	这里就是深水港所有来广州贸易的外国船只
270	docked.	已对接。
271	Thomas Franklin Hunt's father ran a ship chandlery, which was essentially a supply company	托马斯·富兰克林 Hunt的父亲开着一艘吊灯船基本上是一家供货公司
272	for all of these vessels.	所有这些船只。
273	And the family lived on the hull of a dismasted ship in the harbor at	家人住在港口拆解船的船体上
274	Huangpu.	黄普.
275	Thomas Franklin Hunt was largely self-educated.	托马斯·富兰克林亨特基本上自学.
276	He never learned Chinese,	他从来没有学过中文
277	but he was a voracious reader of anything he could get his hands on that was written in English	但他是一个贪婪的读者任何东西,他可以得到他的手上,这是用英语写的
278	about China.	关于中国.
279	Later in life, he came back to Salem and donated that massive English language library	晚年,他回到塞勒姆捐赠了庞大的英语图书馆
280	on China to what is now the Peabody Essex Museum.	中国现在的皮博迪·埃塞克斯博物馆
281	And so those historic resources form the core of	因此,这些历史资源构成了
282	what is a huge archive at our Phillips Library.	我们的菲利普斯图书馆的档案是什么?
283	Thomas Franklin Hunt also has the distinction of	托马斯·富兰克林亨特还有区别
284	being the first donor of photographs of China.	是中国第一个照片捐赠者。
285	He clearly had acquired a number of photographs	他显然得到了一些照片
286	contemporarily in China while he lived there, and I think was continuing to acquire throughout	当时他住在中国我想整个中国都在不断获得
287	his later life in China.	他后来在中国的生活。
288	And so in addition to this enormous library, he gave us many of the first	所以除了这个庞大的图书馆之外他给了我们很多第一个
289	albums of photography.	摄影专辑。
290	So part of this project has been really trying to get our hands around	所以这个项目的一部分一直试图让我们的手左右
291	the collection and understand what's in it.	收藏品并了解里面的东西。
292	One of the things that we really noticed was	我们真正注意到的是
293	that we do have a lot of these group portraits that are commemorating the business ties between	我们确实有很多这些团体的肖像纪念彼此之间的商业联系
294	China and the U.S.	中国和美国.
295	But those group portraits are really only showing a very small slice of life	但是,这些团体的肖像画真正只是展示一个很小的片段的生命
296	in these treaty ports.	在这些条约的港口。
297	There's very few non-white people and women, and when they do appear,	非白人和女人很少当她们出现时
298	they're literally marginalized, as you can see in the lower left over there at the very right-hand	在右手边的左边
299	side.	侧面。
300	And so part of this project was to try to build a much more inclusive idea of who was living	因此,这个项目的一部分是试图构建一个更具包容性的想法谁在生活
301	in these treaty ports.	在这些条约的港口。
302	This was part of the seen and unseen, where we're thinking about what's	这是目光和看不见的一部分, 在那里,我们思考什么
303	beyond the frame.	超越框架。
304	And so we did that by trying to really delve into our archival sources,	因此,我们这样做, 通过试图真正探索我们的档案来源,
305	thinking about material histories, also our oral histories, to try to rebuild an idea of who was	思考物质历史, 以及我们的口头历史, 试图重建一个想法谁是
306	living there.	住在这里。
307	And one of our finds is actually based on the photograph on the right, which shows	我们的一个发现其实是基于右边的照片, 显示
308	JB和HB Endicott,来自马萨诸塞州的James B. Endicott的双种族儿子和一位香港妇女
309	名为Inga Q.
310	So there's not a lot of information about Inga Q, and we have no sort of photographic	因此,没有太多关于Inga Q的信息, 我们没有那种照片
311	images of her.	她的形象。
312	But through her sons, we've actually been able to uncover a fair amount of details	但通过她的儿子,我们实际上能够发现相当数量的细节
313	that help us understand that she was a major real estate player in Hong Kong.	帮助我们了解她是香港主要的房地产商
314	And then she	礛
315	owned steamships, and those were then passed on to her sons.	拥有蒸汽船,然后这些船被传给她的儿子。
316	And so these were really important	所以这些很重要
317	figures in the Hong Kong community that are not actually photographically documented.	香港社区中实际上没有图片记录的数字。
318	So we have	所以我们有
319	an oil painting from an affiliate family that is actually standing in for her.	一张油画从一个附属家庭实际上是站在她。
320	But by sort of	但从某种意义上讲
321	digging into these photographs, we can sort of build these bigger pictures of who was living in	挖掘这些照片,我们可以建立这些更大的图片谁是住在
322	these treaty ports at the time.	这些条约口岸当时。
323	This is a fairly famous photograph by John Thompson of Queens Road	这是皇后路的约翰·汤普森相当出名的照片
324	in Hong Kong, which was a major thoroughfare for many of the souvenir shops in Hong Kong in the	在香港,这里是香港许多纪念品店的主要大道
325	mid to late 19th century.	19世纪中后期.
326	But it was also the major site for many of these emerging photography	但它也是许多新兴摄影的主要网站
327	studios in Hong Kong.	香港工作室.
328	So here we see the Wa Lung and Kum Wo shops, and they're clearly	我们在这里看到华龙和金沃店很明显
329	offering a wide variety of goods made of carved ivory.	提供各种由雕刻的象牙制作的商品。
330	So we took the opportunity to get out a	所以我们利用这个机会
331	number of examples of 19th century carved Chinese ivory.	19世纪中国象牙雕刻的事例数量。
332	And we had quite a lot of fun finding	我们有很多有趣的发现
333	direct links from the photograph to the three-dimensional objects	从照片直接链接到三维对象
334	in the collection.	在收藏中。
335	I want to draw your attention to the fan on the lower left of this photograph.	我想提请你注意这张照片左下方的风扇.
336	It's one of the tiny details that I loved about this photograph.	我很喜欢这张照片的细微细节之一
337	It's a poem by the 16th century	这是16世纪的诗歌
338	poet Wang Yaoming.	诗人王尧明.
339	And it's interesting because it's called Longtan Night Sitting.	亦因名为龙丹夜坐而趣之.
340	And he's looking at	他看着
341	the poem as expressing this desire to be in a quiet, secluded forest area.	那首诗表达着在一个安静的隐蔽的林区中的愿望
342	And I think this	我觉得
343	photograph was taken in Hong Kong.	照片在香港拍摄
344	And I like it because it seems to be a very small sign of agency	我喜欢,因为它似乎是一个很小的标志代理
345	in which this person who's holding the fan is indicating that he wants to get away from the	这个人拿着风扇表示他想离开
346	political turmoil in some senses.	某些意义上的政治动荡.
347	And so because it's so prominently put on the fan and it's	所以因为它是如此突出放在风扇上,它是
348	Chinese, I think this is something that is particularly for a literate Chinese audience	中国人,我觉得这对中国的观众来说特别重要
349	who's looking at this photograph.	谁看这张照片。
350	We also wanted to look at the relation, the interconnected	我们还想看看关系, 相互联系
351	relationship between painting and photography in China in the 19th century.	19世纪中国的绘画与摄影的关系.
352	And here is, frankly,	老实说,这里是
353	the origin story for photography in China.	中国摄影的起源故事.
354	左边的daguerreo型是自画像
355	of Jules Itier, who was a French customs official.	他是法国海关官员
356	He was in China on official business with	他来中国出差
357	the French government.	法国政府
358	But he had also brought with him a daguerreotype camera	但他也带了一台Daguerreo型相机
359	as a personal pastime.	作为个人消遣。
360	And this was obviously new technology.	这显然是新技术。
361	And word got out pretty quickly	消息传得很快
362	that someone had this exciting new technology in Guangzhou.	在广州有人有这种令人兴奋的新技术
363	And a number of people came to the	一些人来到了
364	factories to see it demonstrated, including the man you see on the right.	包括右边那个你看见的人
365	This is a man who was	这是一个男人谁
366	被外国人称为Lamqua.
367	He was the leading Cantonese trade painter in the mid-19th century	他是19世纪中叶广东著名贸易画家
368	from a long lineage of painters working in a foreign style.	出身于外国风格的画家
369	This is an oil on canvas,	这是帆布上的油
370	which was not a technique that Chinese artists would typically have been practicing for domestic	这不是中国艺术家通常会为家庭而练习的技巧
371	clients, so very much meant for foreigners.	客户,所以非常为外国人着想。
372	所以Lamqua听说Jules Itier有这种达盖尔型
373	camera.	摄影机。
374	And he heads over from his studio outside the foreign factories to the French Hong, where	他从外国工厂外的录音室走到法兰西港
375	Itier is staying, to see this demonstrated.	伊蒂埃要留下来看这个
376	And Itier actually takes a photograph of Lamqua,	而伊蒂埃实际上拍摄了朗夸的照片,
377	a daguerreotype of the artist, and presents it to him as a gift.	艺术家的达盖罗式, 并把它作为礼物送给他。
378	And in a wonderful display	在一个美妙的展示中
379	of artistic exchange, but perhaps also one-upmanship, Lamqua goes back to his studio	林泉回到他的工作室
380	and returns several days later with a portrait miniature, a miniature he's hand-painted on ivory	几天后带着肖像小画回来他手绘在象牙上的迷你画
381	as a direct copy of the daguerreotype, not only the image, but even the case.	作为daguerreotype的直接复制品,不仅是图像,甚至是案件.
382	Sadly, neither of those works of art survive the original daguerreotype nor Lamqua's	可悲的是,这些艺术品都无法幸存最初的达盖罗式和兰泉式
383	miniature, although we have great hopes that as part of the work of this project, those two works,	虽然我们非常希望作为这个项目的一部分这两部作品
384	if they have survived, might surface.	如果幸存下来可能会浮出水面
385	But here you see in the center one of the daguerreotypes	但在这里,你可以看到中间的一个 daguerreotype
386	that Itier took in Guangzhou.	伊蒂埃在广州
387	This is of a Cantonese Hong merchant, one of the business	这是广东商贩的生意
388	merchants that foreigners are working with.	与外国人合作的商人。
389	But this probably looks very much like	不过这看起来可能很像
390	the daguerreotype of Itier.	伊蒂埃的达盖罗型
391	And on the far left is an ivory miniature of	左边是象牙小屋
392	a Western merchant that was painted by Lamqua's father.	被兰泉的父亲画的西洋商人.
393	The only direct evidence we have of either	我们唯一的直接证据
394	of these works is this illustration from a Paris paper.	巴黎的一篇论文就是这幅插图。
395	Many of the things brought back by this	由这个带回来的许多东西
396	French delegation were put on display in Paris.	法国代表团在巴黎展出。
397	And Lamqua's ivory miniature, which he had given	和兰泉的象牙迷你, 他给了他
398	to Itier, was also on display.	到了伊蒂埃, 也在展示。
399	And there you see a representation of that.	在那里你看到一个代表。
400	I think certainly Lamqua	我想当然是林泉
401	went to the foreign factories to see Itier's new technology out of legitimate curiosity.	去外国工厂看伊蒂埃的新技术出于合理的好奇心
402	But I think	但我觉得
403	he was also really concerned that this new technology was going to put him out of a job.	他非常担心新技术会让他失业
404	And we certainly see not only Lamqua, but many of his painting peers adapting their own practice	我们不仅看到Lamqua, 也看到许多他的绘画同行适应自己的练习
405	to incorporate this new technology.	采用这种新技术。
406	So in the second half of the 19th century, we see many	因此在19世纪下半叶,我们看到许多
407	Chinese painters in both Guangzhou and Hong Kong and Shanghai advertising that they will copy	广州、香港和上海的中国画家都说要抄袭
408	your daguerreotype photographs.	你的达盖罗式照片
409	So on the left, you see a small daguerreotype of an American family	所以,在左边,你看到一个小 daguerreo型美国家庭
410	that has been transposed or adapted for a much larger scale oil painting.	被移植或改编为更大规模油画。
411	And then wonderfully,	礛
412	we even have a photograph of this practice happening on the far right.	我们甚至有一张照片显示在极右侧的这个做法
413	This is the second to last historic gallery in the exhibition, and it is called China as Told By.	这是展览中第二座最后一座历史画廊,被称作"告诉的中国".
414	And what we're doing here is acknowledging that I think most of the photographs that we're seeing	我们在这里所做的是承认, 我认为大部分的照片,我们看到
415	actually came to us in albums.	其实是专辑里的
416	And because they're in albums, they create sequences and	因为他们在专辑中, 他们创造序列和
417	relationships and narratives.	关系与叙事.
418	And so thinking about how photographs tell stories,	所以想着照片如何讲述故事,
419	we are doing this through three characters, the tourist, the trailblazer, and the storyteller.	我们通过三个角色来做这个, 旅游者,开拓者,和讲故事者。
420	And the first person is the tourist, who is Isabella Stewart Gardner.	第一人是游客,他就是伊莎贝拉·斯图尔特·加德纳.
421	Isabella Stewart	伊莎贝拉·斯图尔特
422	Gardner is most well known for her museum in Boston today.	加德纳今天在波士顿的博物馆最为著名.
423	But in 1883 and 1884, she and her	但是在1883年和1884年她和她
424	husband John traveled to China.	丈夫约翰去了中国
425	And they were both descendants of China trading families.	他们都是中国贸易家庭的后裔
426	And I think John's grandfather was actually a sailor ship merchant.	我认为约翰的祖父其实是一个水手船商。
427	And so they had, I think,	所以,我认为,
428	ideas about China.	关于中国的想法。
429	And when they got there, they were also traveling with the ambassadors	当他们到达那里时,他们也和大使们一起旅行
430	and the diplomats, like really elite travel.	和外交官, 像真正的精英旅行。
431	But I think when Isabella was in China, she really tried	但我想当伊莎贝拉在中国的时候她真的试过
432	to create these albums in which she was layering different photographs, poems, her feelings,	创作这些专辑她正在分层不同的照片,诗歌,她的感受,
433	and also these dried leaves to create a very collapsed moment of time, something that she	还有这些干叶子创造出一个非常崩溃的瞬间
434	was going to bring back with her.	本来打算带她回来的
435	And so I thought these were really interesting because	所以我觉得这很有趣因为...
436	of the way time works in them.	时间在他们工作的方式。
437	It's almost like she's created a very timeless sense of China	这几乎就像她创造了一个非常永恒的中国感
438	because she has her observations.	因为她有她的观察。
439	But many of the photographs are actually about 20 years old.	但许多照片实际上是20年左右的.
440	She's buying them from these studios to incorporate into her albums.	她从这些工作室购买了它们,以融入她的专辑.
441	And so it's	所以这是
442	kind of a very, time has collapsed in this work.	在这项工作中,时间已经很短了。
443	The second person or the second character is the	第二个人或第二个字符是:
444	Trailblazer.	拖车
445	And this is Lai Fong, who is an Hong Kong based photographer, one of the longest,	这位是雷方,他是香港摄影师最长的摄影师之一
446	who ran the longest running studio in Hong Kong.	他经营着香港最长的经营工作室
447	And he was based in Hong Kong, but he recognized	他的总部在香港但他承认
448	there was a great demand for photography.	对摄影的需求很大
449	There was great potential for photography in this	摄影很有潜力
450	sleepy little town called Fuzhou, which was a major tea exporting area.	困小城称福州,原为大茶出口区.
451	And so he went to Fuzhou and	于是他去了福州
452	was the first to really create an album that tracked the journey from Fuzhou up the river	是第一个真正创作专辑的人从福州到河边的旅程
453	min into the tea fields.	进入茶场
454	And throughout it, he is making a very picturesque album.	在整个过程中,他正在制作一张非常精致的专辑。
455	He's combining	他的结合
456	all these senses of what is beautiful and picturesque that would appeal to his expatriate	所有这些感觉是什么美丽和图片吸引他的侨民
457	clients.	客户。
458	But at the same time, he's also inserting himself.	但与此同时,他也在插入自己.
459	He always leaves clues as to where is the	他总是留下线索关于在哪里
460	best place to set up your tripod, where there's fresh water for developing the photographs.	在那里有淡水来制作照片
461	Here on the left, you can see a little bit of a skiff with what we think is his dark room.	在这里,左边,你可以看到一点点滑雪与我们认为是他的黑暗房间。
462	You can see the little sort of tent that he's got there.	你可以看到他在那里的小帐篷
463	And so he would just travel up the river	他就会沿着河上走
464	making these incredible photographs while making the negatives in this little boat.	制作这些不可思议的照片同时做底片在这个小船。
465	He influenced many, many people, among them Tung Hing Studio and then also John Thompson,	他影响了很多人包括东兴工作室还有约翰·汤普森
466	who copied Lai Fong's journey up the river min in this to create the incredible album Fuzhou and	他抄写了雷芳在河边的旅程创作了不可思议的专辑"福州和"
467	the River Min, which is a luxury album that was geared for expatriates.	这本专辑是专为外籍人士专辑
468	And I think there were	我认为有
469	only 46 made and then I think 10 survive in the world.	只有46个,然后我想10个生存在世界上。
470	And Pem is really privileged to have two	和彭真的很荣幸有两
471	of them.	他们。
472	Look at that photo.	看那张照片。
473	That's such a gorgeous photo.	这照片真漂亮
474	So the third character is John Thompson,	所以第三个角色是约翰·汤普森
475	the storyteller.	那个讲故事的人
476	And here we're focusing on a different publication that he did called	在这里,我们专注于另一种出版物他确实叫
477	Illustrations of China and Its People.	中国及其人民的图说.
478	This was much more for the mass market at home in England,	这对英国国内的大众市场来说要多得多
479	the armchair travelers who were not able to make it to China.	无法到达中国的臂椅旅行者
480	And this was an attempt by him to	这是他试图
481	create an almost objective story of what China was at this time.	创造了一个几乎客观的故事,说明中国在这个时候是什么。
482	But when we looked at it,	但当我们看着它,
483	we realized that it was very much, it contained a lot of his own sort of biases and ways of thinking.	我们意识到,这是非常, 它包含很多他自己的类型的偏见和思维方式。
484	It's very much actually told through the lens of a storyteller.	通过一个讲故事的人的镜头,它实际上被很多地描述。
485	And that's something that we wanted to explore a little bit more, particularly things like this.	这正是我们想探索的, 特别是像这样的东西。
486	This is a photograph.	这是张照片。
487	We noticed that there was quite a large number of crime and punishment	我们注意到有大量的犯罪和惩罚
488	photographs in John Thompson's work, but also elsewhere in prints, in newspapers, in photographs	照片在约翰·汤普森的作品, 但也在其他地方在指纹,报纸,照片
489	like this by I think Saunders, and then as well as in things like even wooden sculptures and playing	我觉得桑德斯是这样的,然后... ... ......
490	cards.	纸牌。
491	And so this is one of the things that we wanted to understand.	所以这是我们想要理解的事情之一。
492	Why was this happening?	为什么会这样?
493	Why are these so frequently appearing?	为什么这些经常出现?
494	And when we pull out again and think about the historical	当我们再次退出思考历史
495	situation, the social context, we realized that it was very much dealing with the geopolitics	社会环境,我们意识到它非常处理地缘政治
496	of the time.	时间。
497	There was this sense that China's legal system was very barbaric and cruel.	有一种感觉是中国的法律制度非常野蛮残酷.
498	And so	这样
499	that was used as a foil for the West's legal system, which was considered rational and enlightened	被西方的法律体系视为理性和开明
500	and justified things like extra-territoriality, the separation of legal systems in the treaty	以及诸如治外法权、条约中法律制度分离等理由
501	ports in China.	中国的港口。
502	This last section of the show is called Facing the Camera, and this is really looking	节目的最后一节叫"面对镜头" 这真的是在看
503	at portraiture and self-representation principally of Chinese sitters.	画像和自我代表主要是中国的坐椅。
504	And we begin this exhibition	我们开始这个展览
505	with this pairing of objects.	与这对对象。
506	On the left is a watercolor of Hou Kua, Wu Bingjiang, who was	左边是许国,吴炳江的水彩
507	known to foreigners as Hou Kua.	被外国人称为侯国.
508	He was the wealthiest merchant in the world in the early	他是世界上最富有的商人在早期
509	19th century, one of the Hong merchants in Guangzhou and very heavily invested globally.	19世纪,广州洪商之一,全球投资非常大.
510	He was very fond of giving away paintings of himself, kind of to grease the wheels of business.	他非常喜欢把自己的画献给别人, 那种抹去生意的轮子。
511	So there are many, many representations of Hou Kua in collections all over the world.	因此,世界各地藏书中都有很多,很多关于侯国的陈述.
512	One of the goals of our project was to kind of get a handle on the full scope of Pem's collection	我们计划的目标之一是掌握Pem收藏的全部内容
513	of 19th century Chinese photographs.	19世纪中国照片
514	We think we have about 2,500 photographs taken in China	我们认为我们有大约2500张照片在中国拍摄
515	in the 19th century, but we're constantly, even now, finding treasures in the collection that	在19世纪, 但我们不断, 即使现在, 在收藏的宝藏
516	either we didn't know we had or we didn't fully understand their significance.	要么我们不知道我们有要么我们不完全理解它们的意义。
517	And quite late in	还有很晚的时候
518	the planning for this project, we discovered the work on the right in the collection.	计划这个项目,我们发现关于右的工作在收集。
519	This is a photograph of Hou Kua's son, who was also known to foreigners as Hou Kua because that	这是Hou Kua的儿子的照片, 他也被外国人称为Hou Kua,因为
520	was meant so much and was so famous.	意义如此之大名气如此之大
521	But this is actually a very rare form of photographic	但这其实是一种非常罕见的摄影形式
522	technology.	技术。
523	It's called a panotype, and this was a new technology in the second half of the 19th	这叫做pano型,这是19世纪后半叶的新技术
524	century.	一个世纪
525	It's essentially printing the negative onto either cloth or leather, and it was a terrible	它基本上印刷阴性在布或皮革, 这是一个可怕的
526	technique.	技术
527	So it was practiced for a hot second.	因此,它被练习热的一秒钟。
528	所以,实际上,很少有 panotypes
529	survive.	幸存下来
530	And we think that this is potentially the only panotype that we know of thus far	我们认为这是我们迄今所知的唯一一种恐龙型
531	of a photograph taken in China.	中国拍摄的照片。
532	But certainly, Hou Kua's son, I think, very well may have been	但当然,侯国的儿子,我想,很可能是
533	channeling this practice of his father to give out representations of himself.	引导他父亲的这种做法来表达他自己的见解
534	Ironically,	讽刺的是
535	because of this technique, this is the only representation of the son.	由于这种手法,这是儿子的唯一代表.
536	And so I think this section is really about how Chinese sitters and photographers adopted	所以我认为这个部分真的是关于中国选手和摄影师是如何收养的
537	photography into their practices.	摄影进入他们的练习。
538	And I think what Karina was saying about Hou Kua's son,	我想卡琳娜说的是侯国的儿子
539	it really underscores how experimental this period was.	它确实强调了这一时期的实验性。
540	People were just figuring out how	人们只是在想
541	to interact with the camera in some ways.	以某种方式与相机互动。
542	And so here, we wanted to highlight how	所以在这里,我们想强调
543	sitters were bringing things that they thought were important to them into the studio.	席特斯把他们认为很重要的东西带进了工作室
544	And so	这样
545	you see a scholar on the left holding an orchid, which was a symbol of scholarly integrity.	左边有个学者拿着兰花这象征着学术的正直
546	And	还有
547	then he has an archer's ring on his left thumb, which was something that was also a symbol of	然后他的左拇指上有一把弓箭手的戒指这也是一个象征
548	elite status.	精英地位。
549	You have the little boy with the pocket watch and the woman with the fan.	你手里拿着手表的小男孩还有拿着风扇的女人
550	These are all sort of portraits that we think in which the sitter was bringing something in to show	这些都是肖像,我们认为保姆带东西来展示
551	or something about themselves.	或一些关于自己的东西。
552	We also have a couple examples of	我们还有几个例子:
553	elite who were quickly adopting photography.	迅速采用摄影的精英
554	On the left, you see Li Hongzhang, who was a statesman,	左边见李鸿章,曾任政治家,
555	who was a peer of Frederick Douglass and C.C.S.	他曾经是弗雷德里克·道格拉斯和C. C. S.
556	Grant.	格兰特
557	Like them, he also knew the power of	和他们一样,他也知道
558	photography.	摄影
559	And so he always allowed both Chinese and Western photographers to take his portrait.	所以他一直允许中国和西方的摄影师都拍摄他的肖像.
560	And then he used that to distribute to many people in ways in which I think helped to sort of further	然后他用这个方法向许多人分发的方式,我认为有助于排序进一步
561	his public image.	他的公众形象。
562	On the right, we have a few images of the Imperial family.	在右边,我们有一些皇室的形象。
563	This is Prince Chun.	这是春王子
564	And this is something that is actually something that we don't actually have that much of in the	而这其实是我们并没有真正有这么多在
565	collection just because of the nature of how it developed.	仅仅因为其发展的性质。
566	But it's standing here for how	但是它站在这里如何
567	the Imperial family also started to adopt photography.	皇室也开始采用摄影
568	Yeah, because of the way that	是啊,因为的方式
569	this collection built historically, the vast majority of photographs in the collection are	收集的绝大部分照片是
570	from those treaty ports on the coast where foreigners could be.	从那些条约港口在那里外国人可能在那里。
571	But we did want to take	但我们确实想拿
572	the opportunity to include a few examples of photographs taken in more rural areas of China.	有机会列入在中国更多农村地区拍摄的照片的几个例子。
573	These two photographs are part of the large archive of the Huang family.	这两张照片是黄家大档案的一部分.
574	This is a family	这是一个家庭
575	who lived in a small village in Anhui province.	他们住在安徽省的一个小村庄里
576	They built a house in about 1800 called Yinyutang	他们大约在1800年建造了一座叫义勇军的房子
577	and lived in that house for the vast majority of its 200 year history.	并且在那所房子里生活了200年历史
578	In 2003,	于2003年间,
579	this house was reconstructed on PEMS campus.	这所房子是在PEMS校园重建的.
580	This is the only complete Chinese house outside of China	这是中国以外唯一完整的房子
581	was a cultural partnership with the Chinese government to look at rural architecture and	与中国政府建立了文化伙伴关系,以研究农村建筑和
582	life in China.	生活在中国。
583	So we hope when you come to the Peabody Essex Museum, you'll make a point	所以我们希望当你来到皮博迪艾塞克斯博物馆时,你会说出一点
584	to visit Yinyutang.	来拜访义勇军
585	This is also accessible remotely on our website.	这也可以在我们的网站上远程查阅。
586	But these two photographs	但这两张照片
587	are part of the Huang family archive and are really demonstrating how	也是黄家档案馆的一部分真正展示的是
588	people in China are working with itinerant photographers and going to photo studios	在中国人们正在和巡回摄影师合作并去摄影棚
589	in Shanghai in the late 19th and early 20th century, incorporating photography into their	在19世纪末20世纪初的上海, 将摄影融入他们
590	own lives.	拥有生命
591	Okay, so this is an installation view of our last gallery.	好吧,这是我们最后一个画廊的安装视图。
592	And so you can see	这样你就能看见
593	in the facing the camera section, I think there are a couple of sort of paintings at the very end	在镜头的正面,我想有几幅画在最后
594	that show how photography has been incorporated into Chinese painting practices for the domestic	展示摄影如何融入中国国内绘画实践
595	market.	市场。
596	So there's ancestor portraits.	故有祖师画像.
597	And those two paintings in the back are called Yutang, which	后面那两幅画叫做玉唐
598	were like kind of glamour paintings in which you had the likeness of photography, but also	像是那种魅力的绘画在其中你拥有类似摄影,但也
599	all the auspicious symbols of good luck around you.	所有吉祥的象征好运在你身边。
600	And then you can see directly at the back,	然后你可以在后面直接看到,
601	the new perspectives section.	新视角一节。
602	This is the last section of the show.	这是节目的最后一节.
603	And it is really actually	事实上
604	featuring contemporary photography.	以当代摄影为主。
605	We worked with a group of emerging photographers in China	我们和一群中国新兴摄影师合作过
606	on a virtual incubator for about 12 weeks.	在一个虚拟孵化器大约12周。
607	And what we did was to introduce them to PEM and the	我们所做的就是把他们介绍给PEM和
608	collection and the themes of the show and then work with them to think about how to respond.	收集以及节目的主题,然后与他们合作思考如何回应.
609	And so each of the 10 photographers made works that were responding to specific ideas or themes	所以这10位摄影师每人都根据具体的想法或主题制作了作品
610	in the show, such as this one.	在节目中,像这个。
611	This is Shi Yangquan's work.	这是史阳泉的作品.
612	Shi Yangquan was really interested	石阳泉很感兴趣
613	in the photographs of Yuanmingyuan ruins that were in the first gallery.	在第一画廊的袁明远废墟的照片中
614	And so he went to	于是他去了
615	create a work that was based on that at the recreation of the Yuanmingyuan at Hengdian,	创作一部基于元明远在恒大娱乐的作品
616	film studios.	电影制片厂。
617	And so he created these photographs and then, I'm about to sneeze, but	于是他制作了这些照片然后,我就要打喷嚏了,但是...
618	so he created these photographs and then these that were from his perspective, his sort of	所以他创作了这些照片,然后从他的角度来看这些照片,他的类。
619	understanding of Yuanmingyuan at this film studio in which so many narratives about Yuanmingyuan	在这个电影制片厂里对袁明远的理解里面有很多关于袁明远的叙述
620	are created.	创建。
621	And then he sent them, he used the 19th century process, the collodion process,	然后,他发送了它们, 他使用了19世纪的过程, 碰撞的过程,
622	which most of the other photographs were made as well.	其他大多数照片也是拍摄的
623	And then he sent it to staff members at PEM	然后他寄给PEM的工作人员
624	to create a dialogue.	创建对话。
625	And one of the things that I think he wanted to explore was how if you send	我想他想探究的一件事是如果你寄出
626	photographs transmitted over time and distance, what are the things that become lost?	随着时间和距离传播的照片,哪些东西会丢失?
627	What are	这是什么
628	the things that you become obscured?	你们所隐讳的事物,
629	But by miracle of both the US and Chinese postal service, we got	但通过美国和中国邮政的奇迹
630	all of the postcards so we can see the project in its entirety.	所有的明信片,让我们可以看到整个项目。
631	And the last photograph we'll want	我们想要的最后一张照片
632	to leave you with is this diptych by Liu Yufan, who is a photographer that's based in Tianjin.	这是刘玉凡写的,他是一个摄影师总部在天津。
633	And she was actually really interested in newer forms of photography that are current in China	她其实对中国最新形式的摄影很感兴趣
634	today.	今时.
635	This is, she uses a thermal imaging camera that is often used to see who has an elevated heat	这是,她使用热成像相机经常用来看谁有高温
636	level and was popular during the early days of the pandemic.	艾滋病流行初期流行。
637	But she was really thinking about	但她真的在考虑
638	portraiture and how photographs were used to document loved ones.	肖像和照片如何用来记录亲人。
639	She had recently lost her	她最近已经失去了她
640	grandmother and so she wanted to, she went to all the places in which she used to frequent her	奶奶,所以她想, 她去了所有的地方她过去常去她
641	grandmother's bed, her grandmother's chair.	奶奶的床,她奶奶的椅子。
642	In this photograph, she's touching the area where	在这张照片里,她正在摸那个地方
643	her grandmother was holding her leg.	她的祖母抱着她的腿。
644	And then she could use the thermal imaging camera to capture	然后她可以用热成像相机捕捉
645	that heat signature so that it was a way in which she could link herself back to her grandmother who	这样她就能联系到她祖母
646	is gone.	不见了
647	And so this I think is a really nice way to end because it really thinks about how	所以,我认为这是一个非常好的结束方式因为它真的思考如何
648	photography has evolved from this big, big camera that we saw at the very beginning of the exhibition	摄影是从这个大型摄影机进化而来的我们在展览伊始就看到
649	to the handheld cameras that are in our pockets today.	手持摄像机今天在我们的口袋。
650	But they can really be things that tell	但他们真的可以告诉
651	new stories.	新的故事。
652	Every time we encounter these older photographs, we think of new things that might	每次我们遇到这些老照片我们都会想到一些新的东西
653	come out of them and then they are the inspiration for new works and new stories.	出来,然后是新作品和新故事的灵感。
654	And that's it.	且道.
655	Certainly we hope many of you can come see the show in person.	我们当然希望你们中的很多人能亲自来看节目
656	It'll be up until	它会一直到
657	April 2nd.	四月二日nd.
658	But Stephanie is also spearheading an online conversation with several of the contemporary	但Stephanie也在与当代的几个人进行在线对话
659	photographers on March 23rd.	3月23日摄影师.
660	And I think there isn't information about that on our website yet,	我认为我们网站上还没有关于这个的信息,
661	but there will be very soon.	但很快就会有。
662	So we hope you'll join us for that program.	所以我们希望你们能加入我们的节目
663	Fantastic.	厉害
664	Thank you so much.	非常感谢
665	And I had no idea that you were going to end with the contemporary	我没想到你会以当代的
666	art.	第3条。
667	And I think that both of those projects are so fascinating.	我认为这两个项目都很吸引人。
668	You know, and didn't expect that	你知道吗,没想到
669	twist at the end, but I think it's quite an interesting way to continue the conversation.	曲折的结尾, 但我认为这是一个相当有趣的方式继续对话。
670	So please make sure you send us those details as well and we'd be happy to make sure that the	所以,请确保你给我们这些细节以及我们很乐意确保
671	audience is well aware of them.	观众都很清楚
672	Great.	不错
673	So we've got some time for some questions.	所以,我们有一些时间来问一些问题。
674	If people have	如果人们有
675	any questions, feel free to use the raise hand function on Zoom and I can call on you.	任何问题,请随意使用提升手功能在Zoom上,我可以打电话给你。
676	Or you	还是你
677	can also type out any questions that you may have in the chat box and we can answer those as they	也可以打出您在聊天框中可能存在的任何问题,我们可以回答这些问题。
678	as well.	临Τ
679	You mentioned, Karina, the sort of sheer volume of photographs that you have to go through	你提到,卡琳娜,那种纯粹的量的照片,你必须通过
680	to do something like this.	做这样的事情。
681	I'm curious to know sort of how, what's your process for sort of	我好奇的是,如何,什么是你的过程排序
682	sifting through them and determining what may be relevant and interesting and what may be sort of	通过它们筛选并确定哪些是相关和有趣的,哪些是某种
683	points of focus that you would want to highlight in the exhibit?	您想要在展览中突出的重点吗 ?
684	Well, I mean, I think that for any exhibition project, that's always the challenge is you kind	嗯,我的意思是,我认为,任何展览项目, 这总是挑战是你的善良
685	of have a critical mass of photographs you sort of know you want to feature.	拥有足够数量的照片,你知道你想展示。
686	But really, we are	但是,真的,我们
687	still actively cataloging this collection.	仍积极编目此集.
688	So our colleague Bing Wang has really, that's what she's	所以,我们的同事王炳真的, 这就是她
689	been principally doing for multiple years is helping us get a handle on what is in the collection.	几年来主要工作帮助我们掌握收藏中的内容
690	And then I will say PEM works very collaboratively.	然后我会说PEM非常合作。
691	So curators are certainly driving the bus of what	所以管理员肯定在开什么巴士
692	is in exhibitions, but we have interpretive partners and integrated media partners.	但我们有翻译伙伴和综合媒体伙伴。
693	There's	还有
694	a wonderful five minute film at the beginning of the exhibition with Igu and Stephanie talking about	在伊吾和史蒂芬妮谈起的展览开始时拍了一部精彩的五分钟电影
695	both the collection and kind of how to look at and think about these photographs.	无论是收集还是如何看待和思考这些照片。
696	But we spend	但我们花了
697	a lot of time and it's painful because frankly, there are amazing things that we end up not being	有很多时间,很痛苦因为坦率地说,有些令人惊奇的事情我们最终不是
698	able to include in either the book or the exhibition.	能够包含在书或者展览。
699	But ideally, the goal is to tell	但理想的做法是告诉
700	as effective a narrative as possible.	尽可能有效地说明。
701	And that sometimes means that amazing photographs don't	这有时意味着惊人的照片不会
702	end up in the project.	最终在项目中。
703	Although I will say in my associate director of collections capacity,	虽然我以收藏助理主管的身份说
704	you know, sort of my 10 year goal is to get much, much more of PEM's collection accessible online.	我10年的目标就是让更多PEM的收藏可以上网
705	And then that's another way that people can be using these collections and appreciating them.	这是另一种方法人们可以使用这些收藏并欣赏它们。
706	And Stephanie, do you have anything that you wanted to add to that?	还有史蒂芬妮,你有什么要补充的吗?
707	Oh, I think just, I think in terms of like numbers, it's just to give you a sense of	哦,我想只是,我想从数字的角度来说, 它只是给你一种感觉
708	the scale.	缩放。
709	I think, so we have a collection of 2500 that we've been spending many years cataloging.	我想,所以我们有一个2500集我们花了很多年的目录。
710	And I think in the exhibition itself, I think there are about 130.	我认为在展览本身, 我认为有大约130。
711	And so we have to winnow	所以我们现在必须赢
712	from that larger number down.	从更大的数字下来。
713	And it's a very difficult and long process.	这是一个非常困难和漫长的过程。
714	More in the book, more in the book.	更入经中.
715	More in the book.	更多在书中。
716	I see Pei has her hand up.	佩儿举起手来
717	Okay.	摆
718	So first, thank you very much for both the speakers.	首先,非常感谢两位发言者。
719	That was literally an amazing speech	这真是一次精彩的演讲
720	about photography and history.	关于摄影和历史。
721	And I was thinking, because I remember you mentioned about	我在想因为我记得你提到过
722	when cameras are first introduced to China, and I've seen the same situation taking place	相机第一次传到中国时我见过同样的情况
723	in different regions in the world.	在世界不同地区。
724	And a lot of local civilians take camera as a kind of	当地很多平民摄像头作为一种
725	so-stealer or something similar to that.	类似的东西。
726	So what's the reaction of Chinese people at that time to a	当时中国人的反应是什么?
727	camera?	摄像机?
728	Are they rather curious or just simply found it to the camera and started learning how	他们很好奇还是只是发现相机,并开始学习如何
729	to use it gradually?	逐渐使用?
730	Thank you.	谢谢
731	That's a great question, Pei.	问曰. 裴.
732	And I really think it sort of,	我真的觉得有点...
733	I think that there's a whole range of reactions.	我认为有各种各样的反应。
734	And I think, and it really depends also on access	我觉得,这真的取决于获取
735	and education, and I think also familiarity.	还有教育,我想也是熟悉的。
736	And so we have these photographs from Jules Eta	所以我们有这些照片从Jules Eta
737	that were taken at the end of the First Opium War in 1844.	在1844年第一次鸦片战争结束时被夺取。
738	And those are the earliest surviving	这些是最早存活下来的
739	photographs.	图片。
740	They're daguerreotypes.	它们是达盖罗型。
741	We have some sort of news advertisements of things that came	我们有些新闻广告来的东西
742	before, but really, those are the earliest ones.	以前,但实际上, 这些是最早的。
743	And if you look at them, there are lots of	如果你看看他们,有很多
744	photographs and portraits of Chinese people who are completely comfortable in front of the camera.	在镜头前完全舒适的中国人的照片和肖像.
745	And what's interesting about Eta's work is that we also have his diaries.	Eta的作品有趣的是我们也有他的日记。
746	And so he talks about how	于是他谈到
747	he went to these Chinese merchants' houses, Pansitong, for instance.	他去了这些中国商人的家,例如潘西东.
748	And they understood it	他们明白
749	completely and were even fighting for the chance to be photographed.	完全为了拍摄机会而斗争
750	And of course, these merchants	当然,这些商人
751	were of the elite, and they were very, very well-versed.	他们非常,非常精通。
752	I think they had connections	我觉得他们有关系
753	with foreigners already, so they were new about these practices.	与外国人已经, 所以他们是新的这些做法。
754	But it's interesting because	但是这很有趣,因为
755	through his diaries, we can see that there was no sort of fear or anything like that.	通过他的日记,我们可以看到没有某种恐惧或类似的东西。
756	It was just a	这只是一个
757	sort of something that was quite amusing, interesting.	有点好玩,很有趣
758	And they were very sort of curious	他们很好奇
759	about it.	关于它。
760	Same with Lamqua.	兰泉也一样
761	He was quite curious about it.	他对此很好奇
762	And through Eta's journals, we can see	通过伊塔的日记,我们可以看到
763	that he really wanted to understand what this was about.	他真的很想知道这是怎么回事。
764	And he immediately knew that it was	他马上知道
765	something that would be used for copying.	用来复制的东西。
766	So his response was to make his own copy of it.	所以他的反应是自己抄写.
767	I think, of course, it might be very different if it were a place that did not have as much,	我想,当然,如果它是一个没有那么多的地方, 它可能会非常不同,
768	or the reaction might be very different if it was a place that did not have as much interaction with	或反应可能非常不同,如果它是一个没有多少相互作用的地方
769	foreign contact.	对外联系。
770	And so I think it really, the reactions have a very good range.	所以我觉得,这些反应的范围非常大。
771	I will say that	我会说
772	the sort of, we don't have a lot of, there's more now, firsthand accounts, but the firsthand	那种,我们没有很多, 现在有更多的,第一手的叙述, 但第一手
773	accounts are very far and few between.	账户相距甚远,两者之间很少。
774	And so I think what's out there about reactions is very	所以,我认为有什么外面的反应是非常
775	much based on what is coming from Western sources.	大部分是基于西方的消息
776	And so that's something that we want to remind	所以我们想提醒你
777	ourselves about in terms of like, it's what was the reactions, but then the reactions as recorded	就我们自己来说, 反应是什么, 但随后的反应记录
778	in Western sources might be different.	西方消息可能不一样
779	Great.	不错
780	Yang?	杨?
781	Thank you very much for the sharing.	谢谢你的分享
782	So	这么说
783	I'm also curious because in the beginning of the introduction of camera into China, so	我也很好奇,因为开始引进相机进入中国,所以
784	the accessibility probably would be a big issue.	无障碍可能是一个大问题。
785	So maybe it's only can capture the upper class.	所以也许它只能捕捉上层阶级.
786	I'm also wondering whether you will be included in more photos, kind of reflecting the ordinary	我也想知道你是否会被包含在更多的照片中, 那种反映普通的
787	people about the social etiquettes, such as to maybe to reflect the other perspectives,	人们关于社会礼仪, 比如也许反映其他观点,
788	such as culture.	例如,文化。
789	Evan, you showed that the political scene, so I'm just curious in general.	埃文,你展示了政治场面, 所以我只是好奇在总体上。
790	Yeah, I think so.	是的,我想是这样。
791	These are really good questions.	这些都是非常好的问题。
792	And I think that one of the things that we're	我认为,我们是
793	trying to show is that photography is not static at this time.	试图显示的是,摄影目前不是静止的。
794	It's also evolving.	亦不断演化.
795	And so I think at the very beginning, because of photography, having to have all this work	所以我想,在一开始, 因为摄影, 不得不有所有这些工作
796	material, even imported the glass, the chemicals, the camera, it's only accessible to a very few	即使进口了玻璃化工相机也只有极少数人能进入
797	number of people.	人数。
798	But by the end of the 19th century, the 1900s, it becomes much,	但到了19世纪末,1900年代,它变得很多,
799	much more accessible.	更方便进入。
800	Cameras are smaller.	摄像头较小
801	They can become handheld.	他们可以成为手持设备。
802	There's not as many chemicals	没有那么多化学品
803	that become involved.	参与其中。
804	And so you start to see a lot more accessibility in terms of ordinary people,	所以,你开始看到更多的无障碍普通人,
805	both being photographed and also photographing themselves.	既被拍照,又被拍照。
806	And so it's a story of adaption,	所以它是一个适应性的故事,
807	both in China of the camera, but also in terms of the access.	摄像头的中国, 以及访问。
808	And so this is a story that I think	我想这是个故事
809	we'd like to continue.	我们想继续
810	The show really ends around 1900.	节目真的在1900年左右结束.
811	We have a couple of photographs	我们有几张照片
812	that are beyond that, but really this particular show ends around 1900.	但实际上这个节目在1900年左右结束
813	But we do have more	但我们还有更多
814	collections of stuff from the early 20th century that we haven't really included.	收集了20世纪早期的东西, 我们并没有真正包括。
815	And so that's	这就是
816	I would hope we can spend time cataloging that and to complete more of that narrative and think	我希望我们可以花时间编目并完成更多的叙述和思考
817	more about how ordinary people use the camera.	更多关于普通人如何使用相机。
818	We hinted at that at the very last gallery,	我们在最后一个画廊暗示过
819	but that's something we could do more of.	但这是我们可以做的更多。
820	There's a question in the chat about the difficulty of	聊天中有个问题问:
821	collecting these photographs.	收集这些照片。
822	And I think they were largely ephemera when they came into the	我想当他们进入时基本上都是麻风病
823	collection in the 19th century.	19世纪收藏.
824	So in fact, many of them weren't even catalogued as art.	所以事实上,其中有许多甚至没有被编目为艺术.
825	We haven't acquired a lot of 19th century photography from China in the recent years	近年来,我们没有从中国获得很多19世纪的摄影作品
826	because of the volume that we have in the historic collection.	因为我们在历史收藏中拥有的数量。
827	But that's precisely an area where I	但这正是我
828	think we are interested in acquiring more.	认为我们有兴趣获得更多。
829	The challenge is it's gotten much more expensive	挑战在于它越来越贵了
830	than it was even 10 years ago.	比十年前还早
831	Right.	对
832	I think in terms of collecting, I think our collection is	我想在收集方面我认为我们的收藏
833	quite unique in that most other collections of photography were acquired in auction.	相当独特的是,其他大部分摄影作品都是通过拍卖获得的。
834	And so	这样
835	there's a wonderful collection of material in Hong Kong.	香港有精美的材料集.
836	There's another collection in the	还有另外的收藏
837	Getty Research Institute.	盖蒂研究所.
838	And these were things that were primarily obtained by sale at auction.	这些都是主要通过拍卖获得的东西。
839	So it doesn't have all this deep history.	所以它没有这么深的历史.
840	Our collection does because it entered the museum	我们的收藏是因为它进入了博物馆
841	in the 1800s.	在1800年代。
842	A lot of it did.	很多人都这样
843	Great.	不错
844	And then I think one more question in the chat box.	然后我在聊天箱里再想一个问题
845	Shirley, this was a time-consuming process.	雪莉,这是一个耗时的过程。
846	So what did you enjoy the most when you were	你最享受什么当你是
847	planning out this exhibition?	计划这次展览?
848	Well, I enjoyed working with Stephanie and learning from Stephanie.	嗯,我喜欢与斯蒂芬妮合作和学习斯蒂芬妮。
849	But it was, you know, we had, I think one of the challenges was not all of this project,	但是,你知道,我们有, 我认为一个挑战并不是所有的项目,
850	a very significant part of this project was done during COVID.	该项目的一个重要部分是在COVID期间完成的。
851	And so I think there was lots of	所以我认为有很多
852	research that we wanted to do that we weren't able to do.	我们想做的研究我们做不到
853	So that's actually not the answer	所以这其实不是答案
854	to your question.	你的问题。
855	And I would also say I think for me as curator of Asian export art, seeing	我也会说,我认为我是亚洲出口艺术的主管,
856	the interconnected nature of these photographs with other objects from these donors and with	这些照片与这些捐赠者的其他物品以及
857	the archival sources in our collection was really wonderful.	我们收藏的档案来源非常的精彩
858	I too also enjoyed working with Karina.	我也喜欢和Karina合作
859	I mean, it was a truly collaborative effort to actually understand what we were looking at.	我的意思是,这是一个真正的合作努力真正理解我们所看到的。
860	And it was something that I've never, I think I've never worked so collaboratively.	我从来没有这样合作过。
861	It was	这是
862	just so fun to be able to look at these things together.	能一起看这些东西太有趣了
863	And I think that's part of what I really	我觉得这就是我真正
864	enjoy about photography.	喜欢摄影。
865	These photographs really have such high resolution because of the wet plate	这些照片真的有这么高的分辨率因为湿板
866	technology then that you can blow them up huge.	这样你就能把它们炸得飞快
867	And so when we scan them, we can sort of zoom in	因此,当我们扫描它们, 我们可以排序放大
868	and we can see even the smallest detail of a person's clothes, their facial expressions,	我们可以看到最小的细节一个人的衣服,他们的面部表情,
869	what they're holding in their hands.	他们手里拿着的东西
870	And that is not something that you can, I think, actually,	而这不是你所能做的,我认为,实际上,
871	you can't get that sort of resolution in photographs anymore.	在照片上你再也得不到那种分辨率了
872	And so that's something	所以,这是东西
873	that I really enjoy doing because then you can sort of show somebody else, like Karina, like,	我真的很喜欢做因为那样你就可以给别人看像Karina一样
874	check out this thing that I just found in this photograph.	看看这张照片上我刚发现的东西
875	And so that detail, that level of	因此,细节, 水平
876	detail was always very, very mesmerizing that there's things that even the photographers	细节总是非常,非常令人印象深刻连摄影师也一样
877	themselves did not mean to capture in the image, but you could see because that was part, it was	自己并不想在图像中捕捉, 但你可以看到,因为那是一部分,它是
878	captured in the negative.	被阴性俘虏。
879	And so it was really that sort of moving in and looking deeply and then	所以,它真的那种移动和深究,然后
880	zooming out to think about what's going on, like, beyond the frame.	放大思考发生了什么事,像,超出框架。
881	That is something that we tried	这是我们尝试过的东西
882	to share with our viewers.	与观众分享。
883	Fascinating.	异闻.
884	Thank you so much, both of you, for putting together	非常感谢你们两位的帮助
885	this exhibition, first of all, and then also for a fantastic book as well.	这个展览,首先,还有一本很棒的书
886	Again, for people that	再说一遍,对于人们来说
887	当然,对PEM有兴趣, Power and Perspective, 但也与耶鲁大学出版
888	Press, so that is available.	按,所以这是可用的。
889	And of course, if you happen to be making a trip to the East Coast of	当然如果你碰巧去东海岸
890	the U.S., very much worth a stop to the museum to check out the exhibition.	美国,非常值得一站到博物馆检查展览。
891	Thank you again so much	再次谢谢你
892	for a fascinating conversation.	为了一个迷人的谈话。
893	We learned so much, and I'm sure that we're all going to go and see	我们学到了这么多我相信我们都要去看看
894	we can find any old photographs at home now.	我们可以在家里找到任何旧照片
895	So thank you, everybody.	谢谢各位
896	I will unmute everybody	我会把大家都解开
897	so that you guys can thank our presenters personally, and have a good rest of the day.	这样你们就可以亲自感谢我们的演讲人并好好休息一天
898	Thanks, Devin.	谢谢,德文
899	Thank you.	谢谢
900	See you.	再见
901	Thank you very much.	谢谢
902	Have a really nice day.	祝你今天过得愉快
903	Thank you very much.	谢谢
904	May Canks, thank you really much.	梅・坎克斯,非常感谢
905	Thanks, Devin.	谢谢,德文
906	Thank you.	谢谢

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