Microsoft and MAP, Bengaluru, Develop New AI-Powered Platform


INTERWOVEN is rooted in MAP’s huge assortment of South Asian textiles and was developed as a part of Microsoft’s AI for Cultural Heritage initiative, which leverages know-how to empower individuals and organisations devoted to the preservation and enrichment of artwork and tradition.

Vrindavani Vastra Fragment Unknown; late 19th century - early 20th century Dimensions: H. 79 X W. 74.5 cm Medium: silk   Fragment of a Vrindavani Vastra depicting scenes of the Hindu deity Krishna from the Bhagavata Purana in maroon, white, yellow on a dark grey ground. Vrindavani Vastras are figured silk textiles that originated in Assam in the sixteenth century as part of the Hindu Vaishnavite tradition, and were used to wrap copies of the Bhagavata Purana or hung as part of the Vaishnavite shrines
Vrindavani Vastra Fragment Unknown; late nineteenth century – early twentieth century Dimensions: H. 79 X W. 74.5 cm Medium: silk   Fragment of a Vrindavani Vastra depicting scenes of the Hindu deity Krishna from the Bhagavata Purana in maroon, white, yellow on a darkish gray floor. Vrindavani Vastras are figured silk textiles that originated in Assam within the sixteenth century as a part of the Hindu Vaishnavite custom, and had been used to wrap copies of the Bhagavata Purana or hung as a part of the Vaishnavite shrines

Earlier tasks below the initiative have concerned enhancing accessibility by means of the Open Entry assortment of the The Metropolitan Museum of Artwork, New York and the digital restoration of ‘Historical Olympia’, in collaboration with the Authorities of Greece. The Museum of Artwork and Pictures in Bengaluru is delighted to be the primary undertaking below the initiative in Asia.

Morakuti Pichwai Unknown; early 20th century Dimensions: H. 270.5 X W. 323 cm Medium: mineral pigments, cotton   A rectangular pichwai panel. The panel, painted in the typical Nathdwara style, displays a scene of thirty-two peacocks and peahens. Six of the peacocks fan their feathers for the clusters of peahens. The Pichwai panel is presumably depicting a Ras Leela, alluding to Krishna playing with gopis (cow-herd girls). Derived from the terms Pichh (back) and Wai (hanging), Pichwais are painted textiles used as backdrops, wall coverings and ceiling canopies in temples to celebrate events and festivals associated with Krishna.
Morakuti Pichwai Unknown; early twentieth century Dimensions: H. 270.5 X W. 323 cm Medium: mineral pigments, cotton   An oblong pichwai panel. The panel, painted within the typical Nathdwara fashion, shows a scene of thirty-two peacocks and peahens. Six of the peacocks fan their feathers for the clusters of peahens. The Pichwai panel is presumably depicting a Ras Leela, alluding to Krishna taking part in with gopis (cow-herd women). Derived from the phrases Pichh (again) and Wai (hanging), Pichwais are painted textiles used as backdrops, wall coverings and ceiling canopies in temples to rejoice occasions and festivals related to Krishna.

South Asian textiles embody wealthy histories that spotlight relationships throughout huge areas. With pioneering improvements and an early mastery over advanced methods, artisans from the area – distinguished for his or her excellence – catered to the world for hundreds of years, and thru historic commerce, their work has helped form the world each aesthetically and politically.

Shikargarh Brocade Skirt Unknown; 20th century Dimensions: L. 93 cm, W. Circ 84 cm, Circ. 516, Tying String L. 45 cm Extra belt L. 88 cm ; W. 9 cm tying string 29 cm Medium: silk, gilt metal  A red and green Banaras brocade skirt, stitched together from thirty four conical panels and gathered at the waist. Animal motifs such as lions, elephants and peacocks are woven in pairs longitudinally. Silk Banaras brocades like this skirt are woven with zari and characterised by Mughal floral designs, such as vines and dense trellises. Such textiles were patronised by the Mughals who preferred heavily brocaded silk textiles with gold and silver zari.
Shikargarh Brocade Skirt Unknown; twentieth century Dimensions: L. 93 cm, W. Circ 84 cm, Circ. 516, Tying String L. 45 cm Further belt L. 88 cm ; W. 9 cm tying string 29 cm Medium: silk, gilt metallic  A crimson and inexperienced Banaras brocade skirt, stitched collectively from thirty 4 conical panels and gathered on the waist. Animal motifs akin to lions, elephants and peacocks are woven in pairs longitudinally. Silk Banaras brocades like this skirt are woven with zari and characterised by Mughal floral designs, akin to vines and dense trellises. Such textiles had been patronised by the Mughals who most popular closely brocaded silk textiles with gold and silver zari.
Kalamkari Hanging Unknown; late 19th century – mid 20th century Dimensions: L. 112.5 x W. 62 cm Medium: cotton, natural dyes  A rectangular, hand painted kalamkari panel depicting the Hindu gods Kartikeya and Ganesh, in shades of red and black, on an off white cotton ground. Derived from the Persian, kalam (pen) and kari (work), Kalamkari is a hand painting and block printing technique. The tradition heightened under the Mughal dynasty and the Golconda Sultanate, and flourished as trade textiles across Southeast Asia, Europe and the Middle East from the fifteenth to the nineteenth centuries.
Kalamkari Hanging Unknown; late nineteenth century – mid twentieth century Dimensions: L. 112.5 x W. 62 cm Medium: cotton, pure dyes  An oblong, hand painted kalamkari panel depicting the Hindu gods Kartikeya and Ganesh, in shades of crimson and black, on an off white cotton floor. Derived from the Persian, kalam (pen) and kari (work), Kalamkari is a hand portray and block printing approach. The custom heightened below the Mughal dynasty and the Golconda Sultanate, and flourished as commerce textiles throughout Southeast Asia, Europe and the Center East from the fifteenth to the nineteenth centuries.

INTERWOVEN has been over a 12 months within the making, and brings collectively collections from key establishments and companions internationally alongside MAP’s (together with the V&A, London, MET, New York, Rietberg, Zürich and the Royal Ontario Museum in Canada) to disclose connections between artworks from completely different cultures, mediums and time durations. INTERWOVEN represents these visually and intuitively, encouraging additional exploration, discovery and cross-cultural change.

Palampore Unknown; late 19th century Dimensions: H. 262 cm x W. 170 cm Medium: cotton, natural dyes  A kalamkari palampore with a central tree of life motif and ornamental borders rendered in red, white and black on a cotton ground. The kalamkari textile showcases a stylised tree of life motif with floral and geometric forms, a design which is longitudinally symmetrical. Palampores were hangings or textiles used as furnishings exported to Europe from India in the eighteenth century and were recognised by their blue and red colouring, as well as floral motifs and the representation of the tree of life.
Palampore Unknown; late nineteenth century Dimensions: H. 262 cm x W. 170 cm Medium: cotton, pure dyes  A kalamkari palampore with a central tree of life motif and decorative borders rendered in crimson, white and black on a cotton floor. The kalamkari textile showcases a stylised tree of life motif with floral and geometric types, a design which is longitudinally symmetrical. Palampores had been hangings or textiles used as furnishings exported to Europe from India within the eighteenth century and had been recognised by their blue and crimson colouring, in addition to floral motifs and the illustration of the tree of life.

The platform works by offering customers two choices. The primary (Curated Journeys) permits the person to view predefined journeys, created primarily by MAP’s instructional and analysis arm – the MAP Academy. These mix relationships between international artefacts instructed by the AI, that are then researched and expanded additional by particular person curators. It’s an explorative mannequin for a way AI is likely to be utilized in museology and artwork historic analysis. These cowl a variety of themes and topics, from concepts of anti-imperialism, to representations of ladies, to explorations of leisure. One of many journeys, as an example, even traces the types and features of purses throughout completely different cultures and time-periods, shedding gentle on their associations with concepts of group, comfort and high fashion.

Patola Ceremonial Textile Unknown; early 19th century Dimensions: L. 432 cm x W. 134 cm Medium: silk  A Patola textile, perhaps a shoulder cloth, woven in red, white, yellow, blue and black on a maroon ground. Patola, woven by the Jain weavers of the Salvi community in Patan, Gujarat, refers to both the double Ikat weaving technique and the resulting textile. Patolas feature floral, animal and geometric motifs, and were largely traded with and created for Southeast Asian markets until the early twentieth century.
Patola Ceremonial Textile Unknown; early nineteenth century Dimensions: L. 432 cm x W. 134 cm Medium: silk  A Patola textile, maybe a shoulder fabric, woven in crimson, white, yellow, blue and black on a maroon floor. Patola, woven by the Jain weavers of the Salvi group in Patan, Gujarat, refers to each the double Ikat weaving approach and the ensuing textile. Patolas function floral, animal and geometric motifs, and had been largely traded with and created for Southeast Asian markets till the early twentieth century.

The second possibility (Customized Journeys) invitations common customers to discover the platform to encounter significant and generally even stunning visible connections. It offers a brand new strategy to have interaction with tradition, and study extra in regards to the historical past of textiles and style and their relationship to international change. The MAP Academy – Information companions of INTERWOVEN – have been main the analysis and curated content material of the undertaking together with Microsoft. The MAP Academy is a pioneering organisation devoted to creating the histories of South Asian artwork extra accessible and inclusive, for audiences throughout the Indian subcontinent and around the globe. It’s writing the primary complete Encyclopedia of Indian Artwork Historical past, in addition to providing an in depth on-line curriculum for South Asian Artwork Historical past.

Shatrunjay Pata / Tirth Pata Unknown; c.1820 Dimensions: L. 310 cm, W. 261 cm Medium: Natural pigments on cotton fabric  A map of Mt. Shatrunjaya , Gujarat. The hanging is painted in the Pichwai tradition, depicting an elaborately detailed map of the Jain pilgrimage centre, the holy mountain of Shatrunjaya. Once a year this kind of topographical painting is displayed at a temple or other suitable location for devotees to worship. This serves as a surrogate for those unable to make the pilgrimage to the site itself.
Shatrunjay Pata / Tirth Pata Unknown; c.1820 Dimensions: L. 310 cm, W. 261 cm Medium: Pure pigments on cotton material  A map of Mt. Shatrunjaya , Gujarat. The hanging is painted within the Pichwai custom, depicting an elaborately detailed map of the Jain pilgrimage centre, the holy mountain of Shatrunjaya. Yearly this type of topographical portray is displayed at a temple or different appropriate location for devotees to worship. This serves as a surrogate for these unable to make the pilgrimage to the location itself.

As a part of the undertaking, the MAP Academy has additionally developed a free, introductory on-line course on South Asian textiles, for a worldwide viewers, to additional contextualise the enduring affect and relevance of textiles – addressing all the pieces from style, the surroundings and international change. Understanding these broader contexts ought to add higher worth to INTERWOVEN’S customers, who can then use the platform to additional recognise the extent to which know-how can open up new prospects for artwork historic analysis sooner or later.

Quotes:

Founding Trustee of MAP, Abhishek Poddar
Founding Trustee of MAP, Abhishek Poddar

Abhishek Poddar

Founder, MAP

“We’ve all the time needed to be the museum for the long run. And being in Bangalore, which is the tech capital of India, it’s solely proper that MAP goals to make itself probably the most technologically superior museum within the nation.”

MAP Director, Kamini Sawhney 
MAP Director, Kamini Sawhney 

Kamini Sawhney

Director, MAP

“Covid 19 and the lockdown actually compelled us to replicate on how individuals interacted with the net house. … Proper from week 1, we started how we may have interaction with our on-line communities … After the pandemic, a major side of our mission is to make use of the digital realm to attach with individuals throughout the nation, and the world.”

“We’re rethinking the concept of museums. They can’t be mere repositories of objects. MAP is not going to simply be a group of objects, however an area for concepts and conversations which are initiated by means of our collections. INTERWOVEN matches securely inside this imaginative and prescient” 

MAP Academy Director, Nathaniel Gaskell
MAP Academy Director, Nathaniel Gaskell

Nathaniel Gaskell

Director, MAP Academy

“As a research-driven organisation, we usually work with what we would think about extra ‘standard’ artwork historic sources throughout libraries, museum collections and catalogues. What’s so thrilling about INTERWOVEN is that it offers us with a complete new manner of accessing artworks and collections by means of Synthetic Intelligence – this permits us to make associations, recognise patterns and hint potential narratives that we may simply overlook. We will then use these as beginning factors for tutorial analysis, and study objects, cultures, and ourselves in additional imaginative and far-reaching methods. Though experimental, the potential this presents to us is thrilling, and it has been wonderful to be a part of this pioneering new use of AI for the artwork and cultural sector.”

Shrey Maurya

Managing Editor (Encyclopedia), MAP Academy

“Utilizing a single object, a single uncooked materials, a selected approach… with that as a place to begin, the AI will help them to search out completely different threads of connectivity between objects. There may be subsequently nice potential for an unlimited quantity of discovery by means of a software like INTERWOVEN … since you don’t see that whenever you’re only one museum’s textile assortment.” 

Mandara Vishwanath

Venture Supervisor, MAP Academy

“It was positively attention-grabbing that one thing so tangible and visible like a textile object can reveal a lot in regards to the folks that use these textiles or which have lived their lives round these textiles.”

Kate Irvin

Curator of Costumes and Textiles division on the RISD Museum

“I believe INTERWOVEN might be actually eye opening when it comes to what [it] is ready to provide us. … I see it as a very fascinating strategy to have interaction our viewers … [and] as a software for this whole group.”

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