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An Ontology of Chinese Ceramic Vases

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An Ontology of Chinese Ceramic Vases An Ontology of Chinese Ceramic Vases Tong Wei1,2 a, Christophe Roche1,2 b, Maria Papadopoulou1,2 c and Yangli Jia2 d 1Condillac Research Group of LISTIC Lab, University Savoie Mont-Blanc, Rue du Lac Majeur, Le Bourget du Lac, France 2The School of Computer Science, Liaocheng University, HuNan Road 1, Liaocheng City, China Keywords: Cultural Heritage, Ontology, Ontology Building, Semantic Web, Chinese Ceramic Vases. Abstract: Extensive collections of Chinese ceramic vases are housed in museums throughout China. They could serve as rich sources of data for historical research. Although some data sources have been digitized, the vision of heritage institutions is not only to display objects and simple descriptions (drawn from metadata) but also to allow for understanding relationships between objects (created by semantically interrelated metadata). The key to achieving this goal is to utilize the technologies of the Semantic Web, whose core is Ontology. The focus of this paper is to describe the construction of the TAO CI (“ceramics” in Chinese) ontology of the domain of ceramic vases of the Ming (1368-1644) and Qing (1644-1911) dynasties. The theoretical and methodological approach adopted to construct the TAO CI ontology is term-and-characteristic guided, i.e., it relies on a morphological analysis of the Chinese terms used in the domain, and respects the ISO principles on Terminology (ISO 1087 and 704), according to which concepts are defined by means of essential characteristics. The research presented in this article aims to publish the resulting structured data on the Semantic Web for the use of anybody interested, including museums hosting collections of these vessels, and to enrich existing methodologies on domain ontology building. To our knowledge, there are no comprehensive ontologies for Chinese ceramic vases. TAO CI ontology remedies this gap and provides a reference for ontology building in other domains of Chinese cultural heritage. The tool used is Protégé. The TAO CI ontology is open access here: http://www.dh.ketrc.com/otcontainer/data/OTContainer.owl. 1 INTRODUCTION data through an open data policy. To bridge this gap, this paper proposes the TAO CI ("ceramics" in China has a rich cultural heritage and has Chinese) ontology. In compliance to the ethos of concentrated on producing digital data under the first reuse recommended by the W3C, the TAO CI wave of digitization. This is also true of the ontology relates to existing ontologies and thesauri, knowledge domain of Chinese ceramic vessels. The such as CIDOC CRM (Cidoc, 2003), EDM (Doerr et domain of Chinese ceramic vessels is rich, yet it lacks al., 2010), and AAT (Soergel, 1995). First, the TAO knowledge representation models (ontologies) to CI ontology aims to provide an important reference capture Chinese pottery concepts, express them in for the publication of other cultural heritage Semantic Web compatible interchange formats, and ontologies and to be conducive to more and more make them shareable and linkable to other data. As Chinese heritage institutions publishing open cultural there is no ontology in the domain of Chinese heritage data and linking them. Second, the ceramics providing the semantics of relevant data, theoretical and methodological approach adopted in most heritage institutions in China have not yet the construction of the TAO CI ontology is term-and- published cultural heritage data on the Semantic Web. characteristic guided, i.e. it adopts the ISO principles Furthermore, every institution accumulates its data in on Terminology (ISO 1087 and 704), which define its own traditional database system rather than linking concepts on the basis of their essential characteristics for defining concepts. Last but not least, this work a https://orcid.org/0000-0002-4159-6248 b https://orcid.org/0000-0002-0756-0559 c https://orcid.org/0000-0001-6451-8712 d https://orcid.org/0000-0002-6849-1059 53 Wei, T., Roche, C., Papadopoulou, M. and Jia, Y. An Ontology of Chinese Ceramic Vases. DOI: 10.5220/0010110600530063 In Proceedings of the 12th International Joint Conference on Knowledge Discovery, Knowledge Engineering and Knowledge Management (IC3K 2020) - Volume 2: KEOD, pages 53-63 ISBN: 978-989-758-474-9 Copyright c 2020 by SCITEPRESS – Science and Technology Publications, Lda. All rights reserved KEOD 2020 - 12th International Conference on Knowledge Engineering and Ontology Development aims at enriching existing methodologies of building was seen in almost all ceramic types, including the domain ontologies and suggests that taking into blue and white wares, polychrome wares, account a term-and-characteristic guided approach, monochrome wares, etc.6 During the Qing dynasty, makes ontology engineering less dependent on formal potters began using bright colors to adorn plates and languages and description logics as required vases with meticulously painted scenes. background. The rest of the paper is organized as follows: 2.2 Collection of Vases Section 2 describes the domain, section 3 introduces the objectives, section 4 is dedicated to the state of the The first step of our work was to select the set of vases art. Section 5 is the main section dedicated to our to study. The set had to be enough representative of contribution to ontology building methodology the richness of the domain without being too big since relying on a morphological analysis of Chinese terms the main and first goal was defining the ontology and on the ISO principles on Terminology. Section 6 rather than populating it. In China, many museums presents the TAO CI ontology in Protégé, and the last publish much information about ceramic vessels on section presents the evaluation of the TAO CI their websites. One hundred forty-nine objects were ontology. selected from different museums in China. Ninety- seven objects come from the Palace Museum 7 that has the most important collection of ceramics. 2 DOMAIN OF RESEARCH Twenty-two objects come from the National Museum of China8, twenty-four objects from the Guangdong 9 2.1 Ming and Qing Dynasties Museum . Four objects come from the Shanghai Museum 10 and two objects from the Capital Museum 11 . For the selection of objects, we have Chinese history goes back about 5,000 years. Chinese adopted the following three criteria. The two first ceramic vessels are among the most iconic objects of concern the selection of the museum, which had to Chinese cultural heritage. Changes in pottery styles fulfil the following conditions: first, the collection of reflect the change in dynasties. In this paper, the focus ceramics had to be recognized as a reference in is on Chinese porcelain vases defined as “clay vessels ceramic vessels in China; second, the information fired at high temperature used for decoration” of the about the collection should be publicly available and 冯先铭, 2002 Ming and Qing dynasties ( ). precise enough for the building of an ontology. The Ming Dynasty (1368-1644) ceramics were third principle was to select objects as different as famous for the boldness of their form and decoration 5 possible, i.e., of different types according to their and the varieties of design. Already from the time of shape, the technique of making, decoration, etc. the Tang dynasty and the Song dynasty, there were many famous kilns and many different types of ceramic vessels. From the beginning of the Ming dynasty, the Jingdezhen kiln gradually became the 3 OBJECTIVES most important production place: ceramic vessels of the Jingdezhen kiln represented the highest quality at The TAO ontology has two aims. The first one is to the time. Between 1350 and 1750, Jingdezhen was a build a knowledge representation of Chinese ceramic center of production for nearly all of the world’s of the Ming and Qing dynasties in the form of an open porcelain. ontology. The second one is to provide a bilingual Qing dynasty (1644-1911) porcelain was famous (Chinese-English) e-dictionary of ceramics vases. for its polychrome decorations, delicately painted The competency questions (Ren et al., 2014) that landscapes, and bird and flower as well as were used to specify the requirements of the ontology multicolored enamel designs. The peak of Chinese are shown in Table 1. ceramics production took place in the reigns of Kangxi (1661-1722), Yongzheng (1722-1735), and Qianlong (1735-1796) during which improvement 5 http://factsanddetails.com/china/cat7/sub40/item258.html 9 http://www.gdmuseum.com/ #chapter-11 10 https://www.shanghaimuseum.net/museum/frontend/ 6 https://www.comuseum.com/ceramics/qing/ 11 http://www.capitalmuseum.org.cn/ 7 https://www.dpm.org.cn/Home.html 8 http://www.chnmuseum.cn/ 54 An Ontology of Chinese Ceramic Vases 4 STATE OF THE ART art, architecture, and other material culture through rich metadata and links, hoping to provide (along with The state of the art presented here features work done other Getty vocabularies) a powerful conduit for in an effort to produce interoperable vocabularies for research and discovery in digital art history and 15 the expression of Cultural Heritage data. It includes related disciplines (Soergel, 1995). The AAT W3C languages, semantic data models, thesaurus and comprises over 250,000 terms on architectural ontology resources, and ontology building history, styles, and techniques. Our ontology has been methodologies. linked with AAT in order to provide more information for our terms in the ontology. Opening cultural heritage on the web relies on 16 W3C standards such as OWL 12 (Web Ontology Kerameikos is a “collaborative project dedicated to Language), a Semantic Web language designed to defining the intellectual concepts of pottery following represent rich and complex knowledge about things, the tenets of linked open data and the formulation of groups of things, and relations between things, an ontology for representing and sharing ceramic data SKOS13 (Simple Knowledge Organization System), a across disparate data systems.” (Gruber & Smith, data model for sharing and linking knowledge 2014).
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