historical figure from the African diaspora. Each of them have really interesting links

來自非洲散居地的歷史人物。他們每個人都有真正有趣的聯繫

to properties in the care of English Heritage. Commissioned by English Heritage, these portraits

對英國遺產組織所看管的財產。由英國遺產局委託，這些肖像畫

will be displayed at the forts, abbeys, country houses and even the barracks where these people

將在這些人所在的堡壘、修道院、鄉間別墅甚至軍營中展示。

lived, worked or visited. In many cases their stories are just not well known. This is an

他們的生活、工作或訪問。在許多情況下，他們的故事只是不為人知。這是一個

opportunity through this project and working with these artists to bring these stories

通過這個項目，並與這些藝術家合作，把這些故事帶給他們。

to life and share them with our visitors. From Septimius Severus, the African-born Roman

我們將與遊客分享他們的生活。從非洲出生的羅馬人塞普提米烏斯-塞維魯開始

emperor who strengthened Hadrian's Wall… to James Chappell, a servant who lived here

加強哈德良長城的皇帝......給住在這裡的僕人詹姆士-查普爾。

at Kirby Hall in the 17th century, these portraits span the century and shed new light on the

這些肖像畫跨越了一個世紀，為我們展示了一個新的視角，那就是17世紀時在科比廳出現的那幅畫。

presence of African people here in England.

在英國，非洲人的存在。

My name is Hannah Uzor and I'm an artist. I deal with historical figures, particularly

我的名字是漢娜-烏索爾，我是一名藝術家。我處理的是歷史人物，特別是

black historical figures, and I represent them through portraiture and film. I don't

黑人歷史人物，我通過肖像畫和電影來表現他們。我不

always paint historical figures, but there always has to be a narrative behind the character

總是畫歷史人物，但人物背後總是要有一個敘事。

that I'm painting. Hannah's painting portrays Sarah Forbes

我正在畫的那幅畫。漢娜的畫描繪的是莎拉-福布斯

Bonetta, or Aina as she was originally known. Aina was born in 1843 to a West African ruler,

博內塔，或她最初被稱為艾娜。艾娜於1843年出生在一個西非統治者的家裡。

but she was captured by African slavers and taken to modern day Benin. It was in 1850

但她被非洲奴隸主抓獲，並被帶到了現代的貝寧。那是在1850年

that she was presented as a 'diplomatic gift' to Frederick Forbes, the captain of

她是作為 "外交禮物 "送給弗雷德裡克-福布斯的，他是 "中國 "號的艦長。

HMS Bonetta and this is how she got her anglicised name 'Sarah Forbes Bonetta'. Captain Forbes

博內塔號，她的英文名字 "Sarah Forbes Bonetta "就是這樣來的。福布斯船長

took her back to Britain and presented her at the court of Queen Victoria. And Queen

把她帶回了英國，並把她帶到了維多利亞女王的宮廷。而女王

Victoria took a great interest in this young lady and supported her through her education

維多利亞對這位年輕女士產生了極大的興趣，並支持她完成學業。

and effectively became her guardian. And indeed, Sarah visited Osborne – Queen Victoria's

並有效地成為她的監護人。而事實上，薩拉訪問了奧斯本--維多利亞女王的

holiday home on the Isle of Wight – at many times throughout her life.

懷特島的度假屋--在她的一生中多次出現。

I was really intrigued with her story. And I discovered her through reading a book by

我真的對她的故事很感興趣。而我是通過讀一本由

David Olusoga 'Black and British: A Forgotten History' and when I found her story it was

大衛-奧盧索加'黑人和英國人。被遺忘的歷史"，當我發現她的故事時，我很高興。

quite intriguing and I began to research a bit more, particular as I needed to know more

我開始了更多的研究，因為我需要了解更多的資訊。

about her life and her experience. In my depiction of Sarah I wanted the audience

關於她的生活和她的經歷。在我對莎拉的描述中，我想讓觀眾

to see a strong, black, confident woman… but also an elegant black woman… and comfortable

看到一個強大的、黑人的、自信的女人...但也是一個優雅的黑人女人...而且很舒服

in her own skin, and comfortable in the position that she found herself in.

在她自己的皮膚上，在她發現自己所處的位置上，她很舒服。

She was royalty, she'd always been royalty… and here was a picture that I wanted to depict

她是皇室成員，她一直是皇室成員......而這裡是我想描繪的一幅畫。

showing that royalty in her black skin. It looked like a perfect painting without

在她黑色的皮膚上顯示出那種皇家氣質。它看起來像一幅完美的畫，沒有

the fabric on it but I really wanted to see if I could stretch the limits of the experience

但我真的想看看我是否能擴展經驗的極限。

of the audience by adding this additional layer… a contrast, an antagonistic moment

通過增加這個額外的層次......一個對比，一個對立的時刻，使觀眾的注意力集中起來。

for me as an artist but also for the audience when they see this depiction… this black

對我這個藝術家來說，也對觀眾來說，當他們看到這種描述時......這種黑

woman in an untraditional dressing. I think it's a really great privilege to

擔任非傳統裝扮的女性。我認為這是一個真正偉大的特權，以

be part of such a wonderful project by English Heritage, and having these other artists tell

成為英國遺產組織如此美妙的項目的一部分，並讓這些其他藝術家講述他們的故事。

stories of how black historical figures have been forgotten is a really important thing,

關於黑人歷史人物如何被遺忘的故事是一件非常重要的事情。

not only for those who are living now but for the future generations… the legacy of

不僅為現在生活的人，而且為未來的世代......的遺產。

those individuals and telling their stories from generation to generation.

這些人並將他們的故事代代相傳。

Sometimes when we look at history we feel very disconnected from the subject matter

有時，當我們看歷史時，我們感到與主題非常脫節。

that we're looking at because we think it's something that's happened in the past. But

我們正在看，因為我們認為這是在過去發生的事情。但是

in terms of historical figures, we know that their descendants are actually living today

就歷史人物而言，我們知道他們的後代實際上生活在今天

and some of those individuals we've actually been contact with…I've been in contact

其中一些人我們實際上已經接觸到了......我已經接觸到了

with as well, and so history is a very living thing. It's not something that's set in

是以，歷史是一個非常有活力的東西。它不是一個固定的東西。

stone but it's something that's continuing. And in Sarah Forbes' case, her descendants

石頭，但這是正在繼續的事情。而在莎拉-福布斯的案例中，她的後人

are still living here in the UK and in Nigeria as well.

他們仍然住在英國這裡，也住在尼日利亞。

Before I started painting Dido Belle I'd say I didn't know a lot about her, but working

在我開始畫Dido Belle之前，我說我對她瞭解不多，但工作時

through this whole process for English Heritage they gave me a lot of info on her. I was so

通過這整個過程的英語遺產，他們給了我很多關於她的資訊。我是如此

excited to try and get in to creating my version of Dido Belle.

興奮地嘗試和進入創建我的Dido Belle版本。

Dido Belle was the daughter a young, enslaved black woman and a white royal navy officer.

迪多-貝勒是一個年輕的、被奴役的黑人婦女和一個白人皇家海軍軍官的女兒。

She spent most of her time as part of the Murray household and she grew up right at

她的大部分時間都是作為默裡家的一員，她就在默裡家長大的。

the heart of Georgian London and spent most of her life at Kenwood House on Hampstead

她在倫敦喬治亞時代的中心地帶，在漢普斯特德的肯伍德大廈度過了大部分的生活。

Heath. She is someone to pay attention to, someone

希斯。她是一個值得關注的人，一個

I believe had a voice because she had an important role... she is not just the daughter of a

我相信她有發言權，因為她有一個重要的角色......她不僅僅是一個人的女兒。

slave, of a white man, and she was just lucky to be brought up in Kenwood House.

她是一個白人的奴隸，她只是幸運地在肯伍德之家被撫養長大。

I like the placement of her hands where she's just softly resting in front of her body.

我喜歡她的手的位置，她只是輕輕地放在身體的前面。

It's almost giving a sense of femininity… I also think, femininity doesn't seem to

它幾乎給人一種女性化的感覺......我也認為，女性化似乎並不意味著

be linked with people of colour, of women, seems to be harsh, hard…

與有色人種、婦女聯繫在一起，似乎是很苛刻的，很難...

She's a strong figure. She also can be soft, not all these other narratives sometimes placed

她是一個強有力的人物。她也可以是柔軟的，而不是所有這些其他的敘事有時被置於

on Black women, maybe harsh, rough, mean… A lot of my paintings have head wraps and

我的很多畫作都有頭巾和頭盔，這些都是對黑人婦女的描寫，也許是苛刻的、粗暴的、刻薄的。

I like to work with them because there's this history about black women needing to

我喜歡和他們一起工作，因為有這樣的歷史，即黑人婦女需要

cover up their hair and I thought at that time… they didn't know what to do with

我想在那個時候......他們不知道該如何處理他們的頭髮。

curly hair! So the solution was to simply cover it up.

捲曲的頭髮!所以解決方案是簡單地把它遮起來。

To have this kind of fabric wrapped around her head it's not just any type of cloth…

在她的頭上纏著這種布，這不是普通的布。

that's just to show the importance of her. In my head I wanted her silk dress to be this

這只是為了顯示她的重要性。在我的腦海中，我希望她的絲綢禮服是這樣的

dark, deep green because I know from experience that it goes well against brown, melanated

深綠色，因為我知道，根據經驗，它可以很好地襯托出棕色、黑色的皮膚。

skin… it just makes you stand out when wearing green.

皮膚......它只是讓你在穿上綠色衣服時脫穎而出。

There was this distinct shadow line right down the middle of her face… you've got

她的臉正中有一條明顯的陰影線......你有

this very, very light side, and this very dark side, and you put it together and you've

這非常，非常光明的一面，和這非常黑暗的一面，你把它放在一起，你就有了

got Dido Belle. So I thought that was just a good commentary on who she is and what she

得到了Dido Belle。所以我認為這只是對她是誰和她的工作的一個很好的評論。

is. It feels great to be part of this almost like

是。能成為其中的一部分感覺很好，幾乎就像

a… it's a group exhibition even though everyone's a different places, it's just

a......這是一個集體展覽，儘管每個人都是不同的地方，但它只是

to see how everyone interpreted painting these historical figures. People of colour who were

來看大家如何解釋畫這些歷史人物。有色人種的人，他們是

embedded in British history that we're trying to bring to the front like 'look, we've

嵌入英國曆史，我們試圖把它帶到前面，如 "看，我們已經

always been here' [laughs]. We just wanted to show them in a really good light and show

一直在這裡'[笑]。我們只是想以一個非常好的光線來展示他們，展示

all the things that they did. So, it's quite an exciting thing to try and bring light to

他們所做的所有事情。是以，試圖讓人們瞭解到這是一件相當令人興奮的事情。

such a topic.

這樣一個話題。

Whilst you're painting, I think a bit like perhaps when an actor is taking on a role

在你作畫的時候，我覺得有點像演員在扮演一個角色時的感覺

they really try and understand that person… My background is in history and art history

我的背景是歷史和藝術史。

so that often begins my research… often begins with those, going to the past to look

是以，我的研究往往是從這些開始的......往往是從這些開始的，到過去去尋找

at things which I'm finding interesting or very relevant to what's going on now.

在我發現有趣或與現在發生的事情非常相關的事情。

Elena's portrait shows us the Roman emperor, Septimius Severus. Septimius Severus was born

埃琳娜的畫像向我們展示了羅馬皇帝塞普提米烏斯-塞維魯。塞普蒂米烏斯-塞維魯生於

in Leptis Magna which is in modern day Libya in North Africa. And he came to Britain in

在Leptis Magna，也就是今天北非的利比亞。他於1999年來到英國。

the early 200s to strengthen the Roman presence in the north of Britannia. He subjugated…

在200年代初，為了加強羅馬人在不列顛尼亞北部的存在。他征服了...

certainly attempted to subjugate the local tribes there before falling back effectively

當然，在有效撤退之前，他曾試圖征服那裡的當地部落。

to strengthen Hadrian's Wall. So not only did he make his mark on Roman Britain but

以加強哈德良長城。是以，他不僅在羅馬英國留下了自己的印記，而且

he actually also died in Britain, in York, in 211.

他實際上也死在英國，在約克，211年。

It was really important to have a kind of total version of him, the good and the bad.

有一個關於他的完整版本，好的和壞的，真的很重要。

He is a person, no one's perfect… and I think that gives also a more rich version

他是一個人，沒有人是完美的......我認為這也給了一個更豐富的版本

of history. People would ask me like 'oh but you know, he did this, and he did that,

的歷史。人們會問我："哦，但是你知道，他做過這個，也做過那個。

and that's not so great' you're like 'but you know, you have to consider this'

你會說'但你知道，你必須考慮這個'。

and you become very kind of forgiving, maybe? Maybe too forgiving!

而你變得非常寬容，也許？也許是太寬容了!

The symbols in the fresco on the top, they reference the narrative of his life as well

上面的壁畫中的符號，也是參考了他的生活敘事。

as the way he chose to represent himself in his coins.

作為他選擇在硬幣中代表自己的方式。

You know, I really found it interesting the way that he seemed so astute and clever and

你知道，我真的覺得很有趣，他看起來如此精明、聰明和

very original in the way he thought. When it comes to the face in my initial sketches

他的思維方式非常新穎。當涉及到我最初的草圖中的臉時

I actually did one side of the face which was kind of frowning and the other side had

實際上，我做了一邊的臉，那是一種皺眉的臉，另一邊有

a small smiling expression, cos I kind of wanted to have this inability to pin the expression

一個微笑的小表情，因為我有點想有這種無法確定的表情。

down which whilst painting it reduced a little but I hope that kind of stays in the painting.

在畫的時候，它減少了一點，但我希望這一點能在畫中保持下去。

He was very much in control of the information about him, and I really got this image of

他在很大程度上控制著關於他的資訊，而我真的得到了這樣的形象

someone who was a bit of a moralist, who was very quick at solving problems and a very

他是一個有點道貌岸然的人，他解決問題的速度非常快，而且是一個非常有能力的人。

inquiring mind… The hand over the knee and then the hand which

問心無愧......在膝蓋上的手，然後是那隻手。

is over the scroll again referencing that kind of control over information and the way

在卷軸上再次提到對資訊的那種控制和方式

he was seen. I actively chose a pose where he was leaning

他被看到了。我主動選擇了一個他靠在一起的姿勢。

forward because I thought that really conveyed the fact that he was somebody who was always

因為我認為這真的傳達了這樣一個事實，即他是一個一直在努力的人。

moving about and that was quick to act. The fall of the garments, particularly of the

搬家，而且行動迅速。衣服的掉落，特別是衣服的掉落。

top area was quite important. Leaning forwards towards us and in dialogue with us directly

頂部區域是相當重要的。向我們靠攏，直接與我們對話

but also kind of perhaps holding something back… and somebody who's quite severe

但也有可能是保留了一些東西......和一些相當嚴重的人

and quite… there's a little bit of secrecy always there with him.

而且相當......他身上總是有一點兒祕密。

To get to know these incredible other artists and see how they've approached the project

要了解這些令人難以置信的其他藝術家，看看他們是如何對待這個項目的

and how they've brought to life these other figures which are so important… they exist

以及他們如何將這些其他的人物帶入生活，這些人物是如此重要......他們的存在

among many other figures lost to history so I'm really excited to see that this is just

在許多其他消失在歷史中的人物中，所以我真的很高興看到這只是

the beginning… It's so important that Septimius kind of

開始的時候......塞普蒂米烏斯的這種做法非常重要。

exists within a space that he belongs to. I hope that it helps visitors to kind of re-envision

存在於他所屬的空間中。我希望它能幫助遊客重新認識

this past… this British past, that point in time in which that area of the world must

這段過去......這段英國的過去，這個時間點上，世界上的那個地區必須

have been so multicultural and so interesting.

這是多文化的，非常有趣。

My energy comes from my Dad. My Dad showed me how to draw and I haven't looked back

我的能量來自於我的父親。我爸爸教我如何畫畫，我一直沒有回頭。

since, you know. I've been painting for a long time… I don't need energy anymore

既然，你知道。我已經畫了很久了......我不再需要能量了

it's something that you do! [Laughs] Clifton's portrait will be displayed at

這是你所做的事情![笑] 克里夫頓的畫像將被展示在

St Augstine's Abbey in Canterbury and it shows us St Hadrian. St Hadrian was the Abott

坎特伯雷的聖奧古斯丁修道院，它向我們展示了聖哈德良。聖哈德良是阿博特人

of St Augstine's and he arrived in the England in the 7th century. He was a man renowned

聖奧古斯丁的，他在7世紀來到了英格蘭。他是一個著名的人

for his diplomacy as well as for his great learning.

因為他的外交能力以及他的偉大學識。

The first thing about the process is…was the time, the century. And I think that's

關於這個過程的第一件事是......是時間，是世紀。而我認為那是

the first challenge. And the next thing is about where he's from… what tribe or,

是第一個挑戰。而接下來的事情是關於他來自哪裡......什麼部落或。

you know… It's not only the person, it's who the

你知道......這不僅是人的問題，也是誰的問題。

person is… what the person does. I use music to connect with the painting that

人是什麼......人做什麼。我用音樂與繪畫相聯繫，這

I do. For this painting I used Gregorian chant and this helped me to connect spiritually

我是這樣做的。在這幅畫中，我使用了格里高利聖歌，這有助於我在精神上的聯繫。

with the work. The face was important, because the face tell

與工作。臉是很重要的，因為臉告訴我們

the personal of where he's from… I didn't want…a passive looking Hadrian.

我不希望......一個看起來很被動的哈德良，他來自哪裡的個人......。

I wanted to read from his face and his eyes, and that's what I was looking into. But

我想從他的臉和他的眼睛中讀出，這就是我在尋找的東西。但是

to get that reading, everything had to come in place like a jigsaw. But I didn't want

為了獲得這種閱讀，一切都必須像拼圖一樣到位。但我不希望

a nice, smiling, lovely, passive person… I wanted to look in his soul, deep within

一個好的、微笑的、可愛的、被動的人......我想看看他的靈魂，在內心深處

his soul, because that is Hadrian when you look into his soul.

他的靈魂，因為當你看向他的靈魂時，那就是哈德良。

You think as a painter you could just do it, but it takes more than that. It takes study,

你認為作為一個畫家，你可以隨便做，但它需要的不僅僅是這個。它需要學習。

just to know who you're painting, and it makes you feel more, you know, involved and

只是為了知道你在畫誰，這讓你感覺更多，你知道，參與和

special to be doing something like that. I went to the Abbey on a virtual tour during

特別是要做這樣的事情。我在虛擬旅遊期間去了修道院。

lockdown, so… when you're doing something like that you have to be there. I'm taking

鎖定，所以......當你在做這樣的事情時，你必須在那裡。我正在採取

notes, they have loads of cameras going around and they showed me everything… things that

筆記，他們有大量的相機到處拍，他們給我看了所有的東西......那些事情

I need to know, and things I didn't know that I needed to know.

我需要知道的，以及我不知道的，我需要知道的事情。

We identified where the painting is going to go. So the wall settings of the work, you

我們確定了繪畫要去的地方。所以作品的牆面設置，你

know, that dark red look, all the setting is designed for that space.

知道，那種暗紅色的外觀，所有的設置都是為那個空間設計的。

I try and get the colours to fit where it's going to be hung, with what it's going to

我試著讓顏色適合它要掛的地方，和它要掛的東西。

be there with, with the rest of the exhibit that is there.

在那裡，與其他的展品一起。

I'm impressed by his accomplishment. As an artist to paint him now, today after all

我對他的成就印象深刻。作為一個藝術家，在今天為他作畫，畢竟

those years… it's overwhelming. It's an overwhelming feeling.

這些年......它是壓倒性的。這是一種壓倒性的感覺。

My name's Chloe Cox. I go by the artist name Artcee, and I'm an oil painter focusing

我叫克洛伊-考克斯。我的藝名是Artcee，我是一名油畫家。

on portraiture. In my work I usually paint people from ethnic

關於肖像畫。在我的作品中，我通常會畫一些來自不同民族的人。

minority backgrounds or ethnic minority communities. I just like to really represent the underrepresented.

少數民族背景或少數族裔社區。我只是喜歡真正代表未被代表的人。

Chloe's portrait depicts an individual called Arthur Roberts. He's the son of a Trinidadian

克洛伊的畫像描繪了一個叫阿瑟-羅伯茨的人。他是一個特立尼達人的兒子。

man who was born in Bristol and brought up in Glasgow. In 1917, Arthur Roberts enlisted

他出生在布里斯托爾，在格拉斯哥長大。1917年，阿瑟-羅伯茨入伍。

into the British army and he joined the King's Own Scottish Borderers. Now that regimental

他加入了英國軍隊，並加入了國王的蘇格蘭邊防軍。現在，該團

base was at Berwick-Upon-Tweed. This regimental base would have been the heart, the home of

基地位於特威德河畔貝里克（Berwick-Upon-Tweed）。這個團部的基地本來是一個心臟，是一個 "家"。

the regiment and everybody who was in that regiment would have strongly identified with

該團和該團的每個人都會強烈認同

that place. Arthur served for the remainder of the First World War and even fought at

那個地方。阿瑟在第一次世界大戰餘下的時間裡一直在服役，甚至還參加過

the battle of Passchendaele. Before I started the painting, I didn't

帕桑代爾戰役。在我開始作畫之前，我並沒有

know anything about Arthur Roberts and it was a pleasure to find out a lot more about

我對阿瑟-羅伯茨的情況有所瞭解，很高興能瞭解到更多關於他的情況。

him. I have this book called 'As Good as Any

他。我有一本書，叫做《不負如來不負卿》。

Man' which sort of explores his diary entries, and reading that really enlightened aspects

人》，該書探討了他的日記條目，讀了這本書後，真的是豁然開朗。

of his personality, his journey throughout the war…

他的個性，他在整個戰爭期間的旅程...

Reading what he had written in his diary really felt like I was building a connection with

閱讀他在日記中所寫的內容，真的感覺到我與他建立了一種聯繫。

him as a person, and almost made me want to honour him even more in my painting.

他作為一個人，幾乎讓我想在我的畫中更多地紀念他。

I definitely felt I got to know him. He was quite a relatable character actually.

我絕對感覺到我瞭解他了。他實際上是一個很有親和力的人物。

What was a step away from my comfort zone was the fact that the photos were all black

離開我的舒適區的一步是，這些照片都是黑色的。

and white, they were quite grainy, cos I'm used to either taking my own photos or requesting

因為我習慣於自己拍照或要求別人拍照，所以這些照片的顆粒感很強。

really high quality photos to draw from. There were a few photos of him in his uniforms

真正高質量的照片可以借鏡。有幾張他穿軍裝的照片

for me to choose from, and some of them were him as a new recruit, and others were him

供我選擇，其中一些是他作為一個新兵，而另一些是他

later in his career and higher up in rank as a solider. And so I specifically chose

在他的職業生涯後期，作為一名軍人，他的軍銜更高。是以，我特別選擇了

one where he had gotten higher in the ranks and looked more the part, and looked a lot

在這裡，他的地位越來越高，看起來更像一個人，而且看起來很有氣質。

more comfortable in his uniform. I liked that… I wanted to show him in some level of seniority.

他穿著制服更舒服。我喜歡這樣......我想在某種程度上展示他的資歷。

When people see this painting, I just want them to see a real human being and not see

當人們看到這幅畫時，我只想讓他們看到一個真正的人，而不是看到

just a black man. I want them to see a person who's got a sense of charm and confidence,

只是一個黑人。我想讓他們看到一個有魅力和自信的人。