MinhwaNet: 韩国民俗画中忠实但不足的对象定位
MinhwaNet: Faithful but Insufficient Object Grounding in Korean Folk Painting
AI总结：
提出MinhwaNet，通过部分级检测器生成对象证据图，发现韩国民俗画中符号列表不足以预测画作类型，而符号布局更重要，揭示了忠实但不足的解离现象。
摘要：
韩国民俗画（minhwa）由少量吉祥符号构成——老虎代表保护、一对鸟代表婚姻和谐、牡丹代表财富——这些符号在其许多绘画类型中反复出现。这暗示了一种直观的计算方法：识别画作中出现的符号，并从符号清单中读取画作类型。我们使用一个公开语料库，包含整幅画作、八字段双语策展说明以及一组独立的专家对象裁剪图，发现这种方法并不奏效。仅给定画作包含的符号列表的模型，其预测画作类型的效果远不如将图像与策展文本融合的模型，而强制类型表示基于对象定位反而会损害准确性。然而，类型预测所依赖的视觉证据仍然是局部化的且可检查的。从部分级检测器投影出的无泄漏对象证据图，在空间上忠实于策展人隔离符号对象的位置以及基于补丁的替代模型的梯度显著性。我们将这种配置称为忠实但不足的解离。部分级解释诚实地反映了部分级模型所见，但类型目标取决于符号的排列方式而非出现的符号。相同的视角区分了内容标签（在转移到保留的源机构时仍然有效，即类型）和风格标签（无效，即时代），我们通过语料库中的另外两个标签验证了这一预测。我们发布了多模态系统、一幅画作的证据图与其目录的工作示例解读，以及在长尾遗产收藏中反复出现的一系列评估注意事项。
英文摘要：
Korean folk painting (minhwa) is built from a small vocabulary of auspicious symbols, a tiger for protection, a pair of birds for marital harmony, a peony for wealth, that recur across many of its painted genres. This suggests an obvious computational approach, identify which symbols appear in a painting and read the genre from the inventory. Working with a public corpus that pairs whole paintings, eight-field bilingual curatorial captions, and a separate set of expert object crops, we find that this approach does not work. A model given only a list of which symbols a painting contains predicts the genre far worse than a model that fuses the image with the curatorial text, and forcing the genre representation to be object-grounded actively hurts accuracy. The visual evidence on which the genre prediction rests is nonetheless localized and inspectable. A leakage-safe object evidence map projected from a part-level detector is spatially faithful to where curators isolated symbolic objects and to a patch-based surrogate's own gradient saliency. We name this configuration a faithful-but-insufficient dissociation. The part-level explanation is honest about what the part-level model sees, yet the genre target turns on how symbols are arranged rather than on which ones appear. The same lens separates a content label that survives transfer to held-out source institutions, genre, from a style label that does not, era, a prediction we confirm on two further labels in the corpus. We release the multimodal system, a worked-example reading of one painting's evidence map against its catalogue, and a set of evaluation cautions that recur in long-tailed heritage collections.
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