natgillin/translations-raw huggingface dataset:
Genstande fra Tranquebar (1800-1850) 
Items from Tranquebar (1800-1850)
Fotos fra Tranquebar (1880-1980) 
Photos from Tranquebar (1880-1980)
Genstande fra Pattanavar Meenavar fiskersamfundet i Tranquebar (1981) 
Items from the Pattanavar Meenavar fisher community in Tranquebar (1981)
Genstande fra Paraiyar- og Chakkiliyar-samfundene i Tranquebar (2007) 
Items from the Paraiyar and Chakkiliyar Communities in Tranquebar (2007)
Til de store, velstående templer blev der fremstillet støbte bronzeskulpturer af exceptionel skønhed og kvalitet, forestillende populære hinduguddomme. 
For the large, prosperous temples, cast bronze sculptures of exceptional beauty and quality were produced depicting popular Hindu deities.
På Nationalmuseet findes en unik samling af 13 bronzeskulpturer fra Chola-dynastiet, indsamlet af Peter Anker, som var guvernør i Tranquebar fra 1788 til 1806. 
The National Museum of Denmark contains a unique collection of 13 bronze sculptures from the Chola dynasty, collected by Peter Anker who served as governor in Tranquebar from 1788-1806.
Under et byggearbejde i Tranquebar i 1799 blev skulpturerne fundet begravet i jorden sammen med andre bronzegenstande til ceremoniel brug. 
In 1799, during construction work in Tranquebar, the sculptures were found buried in the ground together with a number of other bronze objects for ceremonial use.
Peter Anker blev øjeblikkeligt interesseret i fundet, og de lokale Brahmin-præster lod ham tage dem, da de fandt, at skulpturerne havde mistet deres kraft og religiøse renhed ved at ligge i jorden. 
Peter Anker immediately took interest in the find and local Brahmin priests allowed him to take them over, as they found that the sculptures had lost their power and religious purity by lying in the ground.
I følge de lokale Brahmin-præster var der kun én måde, hvorved tempelbronzerne kunne genvinde deres tabte status som repræsentanter for de højeste væsener, og det var ved at bygge et nyt tempel, som levede op til deres hellige status. 
According to the local Brahmin priests the only way that the temple bronzes could regain their lost status as representatives of the highest beings was if a new temple was constructed worthy of their holy status.
Men ingen indiske regenter i regionen havde kapital til at opføre en sådan bygning, og derfor overdrog Brahminerne tempelbronzerne til Peter Anker ved en formel ceremoni. 
But no Indian regent in the region had the capital to erect such a building, and therefore, the Brahmins donated the temple bronzes to Peter Anker at a formal ceremony.
Til gengæld herfor ofrede Anker ris til et nærliggende tempel og gav Brahminerne betelnødder og –blade samt ris som bevis på venskab. 
In return Anker sacrificed an amount of rice to the nearby temple, and gave the Brahmins betel nuts and leaves, and rice as a proof of friendship.
Peter Anker (1744-1832) mente, at bronzeskulpturerne var blevet begravet 500 år tidligere, da Delhi-sultanatet forsøgte at ekspandere sit muslimske regime mod syd. 
Peter Anker (1744-1832) was of the opinion that the bronzes were buried 500 years earlier when the Delhi Sultanate tried to expand its Muslim regime to the South.
Det var Ankers hypotese, at tempelbronzerne var blevet begravet for at redde dem fra destruktion, mens indbyggerne skjulte sig. 
It was Anker’s hypothesis that the temple bronzes were buried in the ground to save them from destruction, while the inhabitants were hiding.
Anker bragte samlingen af bronzeskulpturer til sit hjem i Norge, og efter hans død blev samlingen i 1843, efter krav fra kongen, købt til den etnografiske afdeling i Det Kongelige Kunstmuseum (1825-1865) og findes nu på Nationalmuseet. 
Anker brought home the bronze collection to his native place in Norway, and after his death the collection was in 1843 on the King’s demand purchased to the Ethnographical Department in the then Royal Art Museum (1825-1865), now in the National Museum of Denmark.
Numre på skitsen af Paradepladsen foran Dansborg i Tranquebar: 
Numbers on the sketch of the Parade Ground in front of Fort Dansborg in Tranquebar:
Skildevagten som staar i Porten som gaar ind i Kastellet. 
The guard, who is standing at the gate leading to the fort.
Flaget på Kastellet. 
The flag of the fort.
Lanternen paa Kastellet. 
The lamps at the fort.
Klokken i Kastellet. 
The bell of the fort.
Catamarams; smaa Fartøjer gjorte af Træstammer; bruges af Fiskerne. 
Catamarans; small boats made of wooden logs, used by the fishermen.
Et privat hus. 
A private house.
Solen, som stiger op over Oceanet. 
The sun, rising above the ocean.
Tranquebar Byes største Pagode. 
The greatest pagoda of Tranquebar.
Guvernementshusets Gaardrum med sin Port 13 ud til Sidegade og med sin Port 14 ud til Stalden og Gaardrum. 
The yard of the government house, with its gate (13) to the side street, and its gate to the stables and another yard.
Skorstenen fra Kiøkkenbygningen. 
The chimney of the kitchen building.
En liden Pagode tæt til Guv.huset. 
A small pagoda close to the government house.
Sipoier til Afløsning, med deres Gefreider (Korporal). 
Substitute Sepoys with their Gefrieder (corporal).
En Selling; Fartøi som bringer og henter Last til og fra Skibene. 
A Selling; A boat for fetching and bringing cargo from the ships.
Tagene på godowns (Pakhuse) tilhørende Guv.huset. 
The roofs of the godowns (warehouses) belonging to the gov. house.
En Brønd, med sin Krukke. 
A well, with its pitcher.
Det er jagtredskaber med store modhager udskåret af ben. 
These are hunting tools with large barbs carved out of bone.
Harpunerne var primært beregnet til jagt på svømmende hjortevildt som elsdyr og kronhjort. 
The harpoons were mainly intended for hunting swimming elk and red deer.
Elgene åd vandplanterne i de udstrakte vådområder. 
Elk ate aquatic plants in the extensive water areas.
Jægerne holdt også til ved søerne. 
The hunters also operated near the lakes.
Her kunne de, formentlig ved hjælp af hunde, drive elsdyrene ud i vandet og nedlægge de svømmende dyr med harpuner. 
With the help of dogs they could drive the elk into the water and bring down the swimming animals with harpoons.
Harpunen kunne også fastgøres til en trækline, så jægeren kunne holde det sårede elsdyr tæt på sin båd. 
The harpoon could also be attached to a line so that the hunter was able to hold the injured animal close to his boat.
Så kunne dyret få et slag med en kølle, eller dens vitale organer kunne rammes med pilespidser eller spyd. 
It was then possible to give the animal a blow with a club or its vital organs could be pierced with arrowheads or spears.
Der er flere fordele ved jagtformen. 
There are several advantages with this kind of hunting.
Nyd det dansk-franske køkken krydret med en romantisk udsigt over søen. 
Try our Danish-French cuisine while you enjoy a romantic view over the lake.
Det er oplagt at tage picnickurven eller madpakken med til ’Industrien i det grønne’. 
You are welcome to bring a picnic basket or lunch bag with you to ’the factory in the countryside’.
Slå jer ned på den store plæne i parken, ved borde og bænke i den hyggelige slusegård eller indendørs, i museets kaffestue eller orangeri. 
Just sit down on the large lawn in the park, at tables and benches in the cosy sluice building or indoors, in the museum’s coffee lounge or orangery.
I dag opbevares et antal indiske genstande fra Kunstkammeret på Nationalmuseet. 
Today, a number of Indian artefacts from the Kunstkammer are kept in the National Museum of Denmark.
Andre genstande blev bragt tilbage til Europa, hvor de blev købt af både adelsmænd og borgere. 
Other artefacts were brought back to Europe and bought by both noblemen and citizens.
Køberne var især udsendte civile embedsmænd, ansat i de europæiske handelskompagnier. 
The buyers were mainly expatriate civil officers employed by the European trading companies.
De ønskede indiske souvenirs til at tage med hjem og fremvise til venner og familie. 
They wanted Indian souvenirs to take home to show friends and family.
Således førte den europæiske efterspørgsel til udviklingen af en ny kunstart i Indien. 
Thus, European demand caused the development of a new art form in India.
For at tilpasse stilen til europæisk smag blandede kunstnerne elementer fra traditionelt indisk miniaturemaleri med en mere naturalistisk, europæisk malestil. 
To suit the taste of European patrons, the artists blended elements from Indian miniature painting tradition with a more naturalistic European approach to painting.
Stilen med kompagnimalerierne opstod i flere forskellige byer, og arbejder fra hver enkelt region kan genkendes på stilen. 
The company style of painting arose in a number of different cities and work from each region is distinguishable by style.
Mange af kunderne til kompagnimalerierne arbejdede for forskellige ostindiske kompagnier, men lokale regenter var også interesserede i stilarten, der var en blanding af indisk og europæisk. 
Many of the patrons of company style painting worked for the various East India companies, but local rulers also took interest in the mixed Indian-European style.
I Sydindien var Thanjavur et vigtigt center for produktion af kompagnimalerier, især under Serfoji II's styre (1798-1832). 
In south India, Thanjavur was an important center for the production of company paintings, particularly during the reign of Serfoji II (1798-1832).
Mange af kompagnimalerierne på Nationalmuseet er malet på tynde gennemsigtige skiver af det skinnende silikatmineral marieglas. 
Many of the company paintings in the National Museum of Denmark are made on thin, transparent slices of the shiny silicate mineral mica.
Der var stor efterspørgsel på marieglasmalerier blandt europæerne, og til tider blev de masseproduceret. 
Mica-paintings were in high demand among the Europeans and were at times mass-produced.
Så blev marieglasmalerier fremstillet af forskellige kunstnere efter samme model. 
So, mica-paintings were produced by different artists on the basis of the same model.
Derfor er nogle af marieglasmalerierne i de danske samlinger næsten identiske, selvom kvaliteten kan variere. 
Therefore, some of the mica-paintings in the Danish collections are almost identical, though they vary in quality.
Marieglasmalerier kunne nemt transporteres hjem som souvenirs og blev ofte solgt i praktiske æsker. 
Mica paintings were easy to transport home as a souvenir and often sold in convenient boxes.
En stor del af de kompagnimalerier, der findes i Nationalmuseets samlinger, blev hjembragt til Danmark af Niels Studsgaard Fuglsang, der tjente som præst ved Zionskirken for den danske menighed i Tranquebar 1792-1802. 
A large part of the company paintings in the collections of the National Museum of Denmark were brought to Denmark by N.S. Fuglsang, who served the Zion Church as pastor for the Danish congregation in Tranquebar 1792-1802.
Et helt album med marieglasmalerier blev bragt til Danmark af Constance Mourier, hustru til guvernør Konrad Emile Mourier, som tjente i Tranquebar 1832-1838. 
Also an entire album of mica paintings was brought to Denmark by Constance Mourier, the wife of Governor K.E. Mourier, who served in Tranquebar 1832-1838.
Se en publikation om kompagnimalerier på Nationalmuseet her! 
For a publication on company paintings in the National Museum, see here!
De indsamlede genstande giver et indblik i den materielle kultur inden for fiskeri, landbrug, handel og håndværk samt i ritualer og musik. 
The collected objects give insight into the material culture of fishing, agriculture, trades, and craft – and into rituals and music.
Se her for en publikation om ekspeditionen Galathea 1 
For a publication on the Galathea expedition, see here!
I første halvdel af 1900-tallet besøgte adskillige danske rejsende landsbyen og fotograferede den. 
In the first half of the 20th century, several Danish travelers visited and photographed the village.
Gamle danske bygninger, kirker og grave var især populære motiver. 
Old Danish buildings, churches and tombs were particularly popular motifs.
Nogle af disse billeder opbevares på Nationalmuseet hhv. i fotoarkivet på Etnografisk Samling og i Antikvarisk-Topografisk Arkiv i afdeling for Dansk Middelalder og Renæssance. 
Some of these images are stored in the photo archive of the Ethnographic Collection of the National Museum and the Antiquarian-Topographical Archive of Danish Middle Ages and Renaissance.
Nadar-huset. 
The Nadar House.
Under den britiske koloniperiode i Tranquebar fungerede dette hus som bolig for den britiske skatteopkræver. 
In the British era in Tranquebar, this house functioned as residence of the British Collector.
I det moderne Tranquebar var huset indtil for nylig lokalt kendt som "Nadar-huset". 
In modern day Tranquebar, the house was until recently known locally as the “Nadar House”.
Det nøjagtige tidspunkt for bygningens opførelse er ukendt, men det antages, at den stammer fra omkring 1830. 
The exact date of original construction of the building is unknown, but it is estimated that the building is from about 1830.
Den er opført med tre fløje og en fjerde fløj blev tilføjet senere på bagsiden ud mod haven. 
It is constructed with three wings and a fourth was added later to the north towards the garden.
Det fremgår af arkiverne, at Arabella Mathilda Wright, der blev gift med den danske embedsmand Wilhelm Petersen i Zionskirken den 7. februar 1821, arvede bygningen i december 1857 efter sin mands død. 
Archival records state that Arabella Mathilda Wright, married in the Zion Church on 7 February 1821 to Danish civil officer Wilhelm Petersen, inherited the building in December 1857 after the demise of her husband.
Ti år senere solgte hun bygningen til Thiru Vellia Nadar, hvis efterkommere beholdt den i 125 år og udlejede den til det britiske styre, der anvendte den til bolig for skatteopkræveren. 
After ten years, she sold the building to Thiru Vellia Nadar whose descendants maintained the building for 125 years by renting it to the British Raj, who used it as the collector’s residence.
Tidligt i 1990'erne blev bygningen solgt af Nadar-familien og overtaget af hotelgruppen Neemrana. 
In the early 1990s, the house was sold by the Nadar family and taken over by the Neemrana Group of hotels.
En restaurering af huset påbegyndtes i januar 2003 med henblik på at forvandle bygningen til et kulturarvshotel. 
A restoration process began in January 2003 preparing the building to host a cultural heritage hotel.
Da reparationsarbejdet var gennemført, åbnede hotellet endeligt tre måneder senere. 
After the repair work was completed, the hotel finally opened three months later.
Nationalmuseet 
National Museum of Denmark
De her illustrerede genstande udgør et lille udsnit af de genstande, som i Tranquebar i 1981 blev indsamlet af Esther Fihl under hendes første etnografiske feltarbejde blandt Meenavar Pattanavar, kastesamfundet af havfiskere, som bor langs Coromandelkysten i Sydindien. 
The items were collected in 1981 by Esther Fihl during her first ethnographic fieldwork in the fisher community in Tranquebar.
Samlingen illustrerer de daglige arbejdsprocesser inden for fiskeriet, lige fra håndteringen af katamaraner, de daglige gøremål i huset til aspekter af det religiøse og politiske liv. 
The goal of the collection was to illustrate the daily work processes relating to fishing, ranging from work with catamarans and work in and around the household, as well as aspects of religious and political life.
Ikke alle familier ejede fiskegrej, idet nogle ernærede sig som hjælpere på katamaranejernes katamaraner. 
Not all families owned fishing gear.
Samlingen indeholder både brugte og ubrugte genstande. 
The collection encompasses used as well as unused items.
De førstnævnte blev indsamlet blandt fiskerfamilier ved at bytte de brugte genstande med tilsvarende nye, indkøbt på de lokale markeder. 
The former were collected among fisher families by exchanging used items with comparable new items bought at the local markets.
Formålet var at indsamle genstande med brugsspor, da sådanne spor ofte giver information om arbejdsprocesser og anvendelse. 
The goal was to collect items with traces of use as these traces often contain information about work processes and signs of wear.
En del af husholdningsudstyret var dog i en meget slidt stand, hvilket betød, at deres tilstand af "brugt" ofte gjorde dem skrøbelige. 
Yet, a large part of the household equipment was of a rather perishable quality which meant that their conditions as “used” were often rather shabby.
Derfor blev også nye genstande indkøbt på lokale markeder inkluderet i samlingen med hjælp fra lokale, som viste stor interesse for at indsamle genstande, der på en korrekt måde repræsenterede deres levevis. 
New items bought at local markets were included in the collection with the help from locals who took great interest in collecting items that correctly represented their way of living.
Da indsamlingen var afsluttet, blev genstandene pakket ind i hø og lagt i trækasser fremstillet af den lokale tømrer. 
When the collection was completed, the items were wrapped in hay and packed in wooden boxes fabricated by the local carpenter.
Dernæst blev kasserne læsset på en oksekærre, som transporterede dem de ca. 300 kilometer til Madras (Chennai), hvor et dansk rederi stod for at pakke og sende dem til Danmark. 
Next the boxes were loaded onto an oxcart, transporting the boxes about 300 kilometres to Madras (Chennai), where a shipping firm repacked the items before shipment from the harbour to Denmark.
For en artikel med tilhørende katalog over genstande, se her! 
For a publication on the collection from 1981, see here!
Sentian – uden familien går det ikke 1990 
Sentian – uden familien går det ikke 1990 (in Danish)
Fiskersamfundet i Tranquebar - Video-interview med Esther Fihl 2008 
Fiskersamfundet i Tranquebar - Video-interview med Esther Fihl 2008 (in Danish)
Tekst: Professor Esther Fihl og ph.d.-studerende Caroline Lillelund, 2016 
Text: Professor Esther Fihl and Research Assistent Caroline Lillelund, 2015
Foto: Caroline Lillelund. 
Photo: Caroline Lillelund.
I 2007 blev der etableret en etnografisk samling med 527 genstande fra Tharangampadi (Tranquebar). 
In 2007, a collection of 527 objects from contemporary Tharangampadi (Tranquebar) was established.
Genstandene kommer hovedsagelig fra lav-kaste samfund samt kristne og muslimske minoriteter. 
The objects mostly originate from low caste communities and from Christian and Muslim minorities.
Genstandene blev indsamlet af Caroline Lillelund for Nationalmuseets Tranquebar Initiativ og overdraget til Etnografisk Samling. 
The items were collected by Caroline Lillelund for The Tranquebar Initiative of the National Museum of Denmark and included in the Ethnographic Collection.
Samlingen indeholder trommer og rørinstrumenter fra Paraiyar-kasten og skomagerværktøj fra Chakkiliyar-kasten. 
The collection contains drums and reed instruments from the Paraiyar caste, cobbler tools from the Chakkiliyar caste.
Andre genstande omfatter religiøse og politiske genstande, klæder, smykker og husholdningsredskaber fra hverdagen. 
Other artefacts include religious and political bric-a-brac, clothes, jewelry, and everyday household utensils.
Genstandene afspejler især materiel kultur i lav-kaste samfundene, hvis karakteristiske traditioner og levevilkår ofte overses i museumsudstillingers brede præsentation af indisk kultur, selvom de udgør en stor del af Indiens befolkning. 
The items particularly reflect the material culture of low caste communities whose characteristic traditions and conditions of life often evade attention in museum exhibits’ broad representation of Indian culture, though they constitute a large part of the Indian population.
Samlingen illustrerer desuden de meget store sociale, religiøse og kulturelle forskelle, som fortsat karakteriserer Tharangampadi i 2007 – ligesom de gjorde i tidligere tider. 
The collection addresses the vast social, religious and cultural differences that continue to characterise Tharangampadi in 2007 – as they did in the past.
Se publikation om samlingen fra 2007 
For a publication on the collection from 2007, see here!
Guvernørresidensens historie (1773-2009) 
History of Governor’s Residence (1773-2009)
Restaurering af guvernørens residens (2009-2012) 
Restoration of Governor’s Residence (2009-2012)
Publikationer om guvernørhuset og interkulturel kulturarv 
A selection of publications on Governor's Residence and inter-cultural heritage
Plakatudstilling på tamil og engelsk i det tidligere guvernørhus 
Tamil and English poster exhibition in the former Governor's Residence
Da den danske tilstedeværelse fra 1660'erne antog en mere permanent karakter, foretrak guvernøren – ligesom andre regeringsembedsmænd – i stigende grad at bo uden for Dansborg i lejede eller ejede byhuse. 
When the Danish presence from the 1660s assumed a more permanent character, the governors – like other government officials – increasingly preferred to stay outside Dansborg in rented or owned townhouses.
I 1784 købte den danske stat det statelige hus på Paradepladsen over for Dansborg af den tidligere guvernør David Brown, for at huset fremover kunne blive officiel residens for den danske guvernør i Tranquebar. 
In 1784, the Danish state bought the stately house on the parade ground opposite Fort Dansborg from previous Governor David Brown to serve as the official residence of the Danish governor in Tranquebar.
Det store trefløjede hus blev bygget som privat hjem for en velhavende britisk købmand i 1773 i britisk, palladisk kolonistil med fladt tag og en kolonnade på forsiden. 
The grand three-winged house was built as the private home of an affluent British merchant in the 1773 in the British colonial Palladian style with a flat roof and a front colonnade.
Ligesom traditionel tamilsk arkitektur var huset forsynet med en stor indre gård. 
Parallel to traditional Tamil architecture, the house was furnished with a large inner courtyard.
Fra gården var der direkte adgang til haven, der var udlagt i fransk barokstil. 
From the courtyard there was direct access to the garden laid out in the baroque French style.
På den store grund øst for haven fandtes pakhuse, stalde, et skur til køretøjer og palanquiner, et køkken og værelser til tjenestefolk og staldkarle. 
On the large compound east of the garden were warehouses, stables, a shed for vehicles and palanquins, a kitchen, and rooms for domestic servants and stable hands.
Efter at huset var blevet overtaget af den danske stat, blev facaden ændret med en stor central veranda og en dobbelt kolonnade tegnet af Peter Anker, som var guvernør i Tranquebar fra 1788-1806. 
When taken over by the Danish state, the façade of the house was refurbished with a large, central veranda and a double front colonnade as directed by Governor Peter Anker, making the Governor’s residence the grandest and most spectacular house in town.
Desuden sendte guvernørerne formelle rapporter hjem til den danske konge om forholdene i den danske handelsstation. 
Moreover, the governors sent formal reports home to the Danish King about the affairs in the trading station.
I dag opbevares disse dokumenter i danske arkiver og beretter om privatliv, offentlige fester samt officielle besøg og ceremonier i guvernørens residens samt om de personlige relationer mellem de danske udsendinge og deres lokale kolleger og tjenestefolk. 
Today, several of these documents are kept in Danish archives and narrate private lives, public celebrations, and official visits and ceremonies in the Governor's Residence along with interpersonal relations among the Danish expatriates and their local counterparts and servants.
I det sene 1700-tal og det tidlige 1800-tal fulgte møbleringen og udsmykningen af europæiske huse i Tranquebar hovedsagelig den europæiske stil. 
During the late 18th and early 19th centuries, the furnishing and decoration of European houses in Tranquebar was chiefly European in style.
Når man møblerede sit hus med polstrede sofaer, spilleborde, spejle eller guideroner havde det den indlysende funktion at give i det mindste en visuel følelse af hjemlighed i en ny og fremmed verden. 
Furnishing one’s house with upholstered sofas, card tables, mirrors or guéridons had the obvious function to render at least a visual sense of homeliness in a new, strange, and foreign world.