Handbook of Museum Textiles, Volume 1 E-Book

• Herausgeber: John Wiley & Sons
• Kategorie: Fachliteratur
• Sprache: Englisch

Seitenzahl: 802

Veröffentlichungsjahr: 2022

Beschreibung

Handbook of Museum Textiles Textiles have been known to us throughout human history and played a vital role in the lives and traditions of people. Clothing was made by using different materials and methods from natural fibers. There are different varieties of textiles, out of which certain traditional textiles, archaeological findings, or fragments are of cultural, historical, and sentimental value such as tapestries, embroideries, flags, shawls, etc. These kinds of textiles, due to their historical use and environmental factors, require special attention to guarantee their long-term stability. Textile conservation is a complex, challenging, and multi-faceted discipline and it is one of the most versatile branches of conservation. Volume 1 of the Handbook of Museum Textiles focuses on conservation and cultural research and addresses the proper display, storage, upkeep, handling, and conservation technology of textile artifacts to ensure their presence for coming generations. Spread over 19 chapters, the volume is a unique body of knowledge of theoretical and practical details of museum practices. Chapters on textile museums, the importance of cultural heritage, conservation, and documentation of textiles are covered in depth. Conservation case studies and examples are highlighted in many chapters. Management practices and guidelines to pursue a career in the museum textile field have been given due attention. The respective authors of the chapters are of international repute and are researchers, academicians, conservators, and curators in this field. Audience The book is a unique asset for textile researchers, fine art scholars, archaeologists, museum curators, designers, and those who are interested in the field of traditional or historic textile collections.

Leseprobe

Table of Contents

Cover

Series Page

Title Page

Copyright Page

Preface

1 Textile Museums: Its Importance, Objectives and Functions

1.1 Introduction

1.2 Museum Definition and Its Existence

1.3 Textile Museums and Their History

1.4 Importance of Textile Museums

1.5 Objectives of Textile Museum

1.6 Function of Textile Museum

1.7 Textile Museum and Their Future Prospects

1.8 Conclusion

References

2 Textile Intangible Cultural Heritage of the World

2.1 Introduction

2.2 Ancient Textiles of the World: Techniques and Historical Perspective

2.3 Role of Museum: Textile as a Part of Heritage and Culture

2.4 Marketing Strategies for Museums and Conservation

2.5 Conclusion

References

3 Important Woven Textile Specimens in World Museums

3.1 Introduction

3.2 Methodology

3.3 Prehistoric Textiles

3.4 Textiles from Peru

3.5 Chinese Textiles

3.6 Textiles from the Indian Subcontinent

3.7 Textiles from Sudan, Egypt, Mali, and Ghana (North and West African Textiles)

3.8 Textiles from Japan

3.9 Textiles from Iran and Central Asia

3.10 Textiles from Italy and France

3.11 Conclusion: Toward an Understanding of the Historic Foundations of Woven Structures

References

List of Museums

Glossary

4 Types of Conservation of Textiles in the Museum: Their Importance and Scope

4.1 Introduction

4.2 Importance of Conservation

4.3 Principles of Conservation

4.4 Types of Textile Articles Conserved

4.5 Methods of Conservation

4.6 Storage, Display, and Handling of Museum Textiles

4.7 Scope of Conservation

4.8 New Approaches in Conservation

4.9 Conclusion

References

Webliography

5 Fashion and Textile Museums Across the Globe

5.1 Introduction

5.2 Victoria and Albert Museum, London

5.3 Fashion Museum, Bath, UK

5.4 Metropolitan Museum of Art, New York City

5.5 Musée De La Mode Et Du Textile, France

5.6 Palais Galliera, France

5.7 Kyoto Costume Institute, Japan

5.8 Museum of Fashion Institute of Technology, New York, USA

5.9 Museo Del Traje, Spain

5.10 Fashion Institute of Design & Merchandising, California

5.11 Kent State University Museum, USA

5.12 Conclusion

References

6 Documentation of Museum Textiles

6.1 Introduction

6.2 Functions of Documentation

6.3 Features of Documentation System

6.4 Collection Management Policy

6.5 Assessment Standards

6.6 Types of Documentation

6.7 Formats of Documentation

6.8 Case Study

6.9 Conclusion

References

7 Ideal Storage Conditions for Museum Textiles

7.1 Introduction

7.2 Published Standards in Museum Storage

7.3 Storage Design and Architecture

7.4 Environmental Conditions

7.5 Storage Techniques

7.6 Safety Systems

7.7 Disaster Handling

7.8 Managing Dust and Dirt

7.9 Pollutants

7.10 Conclusion

References

8 Tools and Methods for Handling and Storage of Museum Textiles

8.1 Introduction

8.2 Care, Maintenance, and Handling of Museum Textiles

8.3 Ideal Conditions, Temperature, Humidity

8.4 Storage Units

8.5 Storage Materials

8.6 Tools Used in Maintenance of Museum Textiles

8.7 Labeling

8.8 Cleaning

8.9 Dealing with Separations

8.10 Tools Used for Displaying Museum Textiles

8.11 Handling During Transportation

8.12 Handling Techniques and Conservation Practices of Ancient Textiles in Museums

8.13 Conclusions

References

9 Roles and Responsibilities of Museum Professionals

9.1 Introduction

9.2 History of Museums Professionals Training in India

9.3 Roles in a Textile Museum

9.4 Conclusion

References

10 Ancient Weaving and Dyeing Techniques

10.1 Introduction to Weaving

10.2 Ancient Weaving by Geographical Region

10.3 Conclusion on Weaving Techniques

10.4 Introduction to Dyes and Dyeing Technologies

10.5 Ancient Dyes, Pigments, and Dyeing Technologies

10.6 Conclusion

References

11 Armours: Ancient Metallic Textiles

11.1 Introduction

11.2 Parts of Armour and Accessories

11.3 Armour Designs

11.4 Armour Materials

11.5 Metallic Costume of King Tutankhamen

11.6 Conclusion

References

12 Textile Conservation in India: A Case Series

12.1 Introduction

12.2 Internship Training in Textile Conservation at the V&A

12.3 Setting Up a Textile Conservation Studio in India

12.4 Conservation of an 19th Century Jama

12.5 Case Study—Conservation of a Military Frock Coat

12.6 Developing Display and Mounting Solutions for Flat Textiles and Costumes for the Special Exhibition PRA-KASHI Silk, Gold and Silver from the City of Lights at the National Museum, New Delhi

12.7 Technical Analysis and Documentation

12.8 Training and Outreach

12.9 Conclusion

Acknowledgments

References

13 Symbolism and Conservation of Indigenous African Textiles for Museums

13.1 Introduction

13.2 Types of Indigenous African Textiles

13.3 Indigenous African Textiles Techniques

13.4 Museums in African

13.5 Conclusion

References

Appendix (Figure sources)

14 Conservation of Textile Immemorial: The Fading Past of Uttarakhand Museums

14.1 Introduction

14.2 Materials and Methods

14.3 Results and Discussion

14.4 Conclusion

References

15 The Conservation and Display of Indian Textiles at the Victoria and Albert Museum

15.1 Introduction to the V&A and the Indian Textile Collections

15.2 Care of Collections

15.3 Conservation

15.4 Object Treatment

15.5 Display

15.6 Conclusion

Acknowledgments

References

16 Between Science and Art: Activities of the Natural Dyeing Laboratory

16.1 Introduction

16.2 Promotion of Antique Dyes, Pigments, and Prints

16.3 Analysis of Antique Polish Kontush Sash Dyeing Material: A Case Study

16.4 Conclusion

Acknowledgment

References

17 Visitor Interactions and Museum Textiles

17.1 Introduction

17.2 Textile Exhibitions—Challenges in Display

17.3 Exhibition Protocols Followed by the Museum

17.4 Photography and Memorabilia

17.5 Access Guidelines for Museum Storage

17.6 An Ideal Textile Exhibition

17.7 Conclusion

References

18 Educational Value of Clothing and Textile Museums

18.1 Introduction

18.2 Importance of Conservation in Textiles and Clothing Collections

18.3 Frameworks for Material Culture Analysis in the Learning Process

18.4 The Value of Collections to Students’ Education

18.5 Taxonomy of Significant Learning and Collections

18.6 Conclusion

References

19 Career in Textile Museum

19.1 Introduction

19.2 Sources of Textile Museum Collections

19.3 Scope of Careers in Textile Museum

19.4 Glimpses of Work in Progress on Museum Textile

19.5 Sourcing for Talent at Textile Museums

19.6 Educational Opportunities

19.7 Sample Organization Structure

19.8 Limitations and Challenges in the Field of Textile Museum

19.9 Conclusion

Acknowledgment

References

Index

Also of Interest

End User License Agreement

List of Tables

Chapter 1

Table 1.1 Different categories of museums.

Chapter 2

Table 2.1 Important textile intangible cultural properties.

Table 2.2 Prominent ancient costumes of the world.

Chapter 3

Table 3.1 Examples of prehistoric textiles.

Table 3.2 Examples of Pre-Columbian textiles from Peru.

Table 3.3 Examples of Chinese textiles.

Table 3.4 Examples of textiles from the Indian Subcontinent.

Table 3.5 Examples of textiles from North and West Africa.

Table 3.6 Examples of Japanese textiles.

Table 3.7 Examples of textiles from Iran and Central Asia.

Table 3.8 Examples of textiles from Italy and France.

Chapter 5

Table 5.1 Textile museums of the world.

Chapter 8

Table 8.1 Basic equipments and tools for handling museum textiles.

Table 8.2 List of useful materials for proper storage/rolling/packing of texti...

Chapter 10

Table 10.1 Descriptions of four brocade styles [7].

Chapter 11

Table 11.1 Parts of ancient armours and its significant purpose.

Table 11.2 Material and pattern used to manufacture metallic armours in differ...

Chapter 13

Table 13.1 Summary of the indigenous African textiles and techniques.

Chapter 14

Table 14.1 General details of selected museums, such as their year of establis...

Table 14.2 Staff members employed in various museums (N=6).

Table 14.3 General information of conservation laboratories found in various m...

Table 14.4 Acquisition of textile articles in different museums (N=6).

Table 14.5 Museums are distributed based on what is known about the effects of...

Table 14.6 Museums are distributed according to the air circulation facilities...

Table 14.7 Museums are distributed in accordance to the methods used to protec...

Table 14.8 Museums are distributed according to the labeling procedures used f...

Table 14.9 Museums are distributed in accordance to the preventive methods use...

Table 14.10 Museums are distributed according to the usage of covering materia...

Chapter 16

Table 16.1 Plants yielding yellow color.

Table 16.2 Plants yielding red color.

Table 16.3 Red dyes obtained from insects.

Table 16.4 Plants yielding blue color.

Table 16.5 Analysis of colors obtained on silk fabrics dyed with natural sourc...

Chapter 19

Table 19.1 Ten Indian and International museums with textile collections.

Table 19.2 Courses and fellowships related to textile conservation.

List of Illustrations

Chapter 1

Figure 1.1 Traditional Jewellery of Himachal showcased in Himachal State Museu...

Figure 1.2 Traditional Costume of Himachal Pradesh displayed in Himachal State...

Figure 1.3 Display of Gond painting of Bhopal & Craft men showing Pattachitra ...

Figure 1.4 Display of coir toys of Orissa at National Handloom and Handicraft ...

Chapter 2

Figure 2.1 Textiles play a significant role in Chinese history. (a) Imperial c...

Figure 2.2 Japanese textile craft (a) Japanese kimono (b) Peasant jacket made ...

Figure 2.3 Example of Katagami, or paper stencil.

Figure 2.4 Indian textile embellishments (a) A 17th-century pashmina rug (b) A...

Figure 2.5 Turkish textiles (a) Carpet 11th to 13th century carpet (b) Turkish...

Figure 2.6 Persian rugs in Iran (a) Carpet weaver at work (b) Ardabil rug from...

Figure 2.7 (a) Tapestry fragment from an Egyptian tunic (c. 6-7th century) [13...

Figure 2.8 (a) Moroccan sash (b) Intricate Moroccon embroidery (c) Embroidered...

Figure 2.9 (a) Woven rug designed by Marta Maas-Fjetterstrom. (b) Rolls of wov...

Figure 2.10 (a) Colorful Mayan textiles. (b) Backstrap loom.

Figure 2.11 (a) Peruvian textiles fabric. (b) Chavin textiles. (c) Backstrap l...

Figure 2.12 Navajo blanket geometrical design. (a) Lightening motifs. (b) Cros...

Figure 2.13 Textile history still alive in museums.

Figure 2.14 British Royal armours and costumes (a) King Henry VIII portrait de...

Chapter 3

Figure 3.1 Twill weave reed mat #001.2010.001. Reproduced with permission from...

Figure 3.2 Mantle in discontinuous-warp-and-weft technique, #1935.32.0118. Rep...

Figure 3.3 Striped warp faced compound tabby weave #T-0327c-d. Reproduced with...

Figure 3.4 Polychrome warp faced compound tabby weave #T-1215a. Reproduced wit...

Figure 3.5 Double cloth with weft faced twill and tabby, and twill damask. #6....

Figure 3.6 Weft faced tabby weave with patterned border, #77.3. Reproduced wit...

Figure 3.7 Tapestry weave, tabby weave, supplementary weft loop pile, #71.78. ...

Figure 3.8 Twill ikat with brocade, #19.93.10. The Metropolitan Museum of Art.

Figure 3.9 Cut and voided velvet with supplementary weft. #3.219. Reproduced w...

Figure 3.10 Lampas #50.8a, The Metropolitan Museum of Art.

Chapter 4

Figure 4.1 Beaded fabric bands are provided with padded support that facilitat...

Chapter 5

Figure 5.1 Victoria and Albert Museum [3].

Figure 5.2 Fashion museum [6].

Figure 5.3 Metropolitan Museum of Art [12].

Figure 5.4 Musée De La Mode Et Du Textile Museum [18].

Figure 5.5 Palais Galliera Museum [25].

Figure 5.6 Kyoto Costume Institute Museum [28].

Figure 5.7 Museum of Fashion Institute of Technology [31].

Figure 5.8 Museo Del Traje Museum [34].

Figure 5.9 Fashion Institute of Design and Merchandising Museum [37].

Figure 5.10 Kent State University Museum [41].

Chapter 6

Figure 6.1 SEM-EDX analysis of silver used in warak printed textiles.

Figure 6.2 Warak printed motif.

Figure 6.3 Microscopic image of the print.

Figure 6.4 Front and back of Namda.

Figure 6.5 Damages marked as (a) and (b) and further detailed images of the da...

Figure 6.6 Before conservation and after conservation.

Figure 6.7 Diagrammatic representation of costume.

Figure 6.8 Display of costume.

Chapter 7

Figure 7.1 Flat storage drawers for textile artifacts.

Figure 7.2 Rolled storage stands for textile artifacts.

Figure 7.3 Customized support for a shaped headgear that works for both storag...

Chapter 8

Figure 8.1 World’s oldest dress (3000 BCE), the Tarkhan dress at Petrie Museum...

Figure 8.2 Handling and storage of 15 to 17 CE ancient textiles at Temple News...

Figure 8.3 (a) Handling and packing of 15 to 17 CE ancient textile tapestry ba...

Figure 8.4 Ancient textiles display techniques in Temple Newsam museum (Leeds ...

Figure 8.5 Frame [41].

Figure 8.6 Mannequins [42].

Figure 8.7 Hanger [44].

Figure 8.8 Vertical mounting display [41].

Chapter 9

Figure 9.1 Museum functions.

Figure 9.2 Museum roles and their involvement in various.

Chapter 10

Figure 10.1 A warp-weighted loom (top image) [35] and a loom weight (bottom im...

Figure 10.2 Three stages of weaving in Egypt: (a) depicts the first stage of w...

Figure 10.3 Vase painting dated back to 550-530 B.C. illustrating Greek women ...

Figure 10.4 Diagram of the simplest loom: (a) device for fixing the warp, (b) ...

Figure 10.5 Painting of handloom weaving and spinning [16, 31]. Permission to ...

Figure 10.6 Various tubeskirts (a–f) created via ikat weaving technique throug...

Figure 10.7 Draw loom (lesser draw loom), China National Silk Museum [39].

Figure 10.8 An image of Song brocade with lotus motifs (a) and brocade with mu...

Figure 10.9 Peruvian tunic with double headed serpents ca. 400-200 B.C. made b...

Chapter 11

Figure 11.1 (a) Close helmet with visor (face mask with sight and breaths open...

Figure 11.2 Armours covering for head to toe protection (a) helmet, gorget, br...

Figure 11.3 (a–c) 19th C.E. helmet designs with top crest and mail-coif. (c) H...

Figure 11.4 Mail (interconnected rings/loops) armour shirt made up of steel, i...

Figure 11.5 (a, c) Front of knight armours made of metal composite (pauldron, ...

Figure 11.6 (a) Embossed face mask with winged ears. (b) Anthemion design in k...

Figure 11.7 Ceremonial armours of the royal family of Britain on display at Ro...

Figure 11.8 Pangolin (Manis crassicaudata) scale armour, splendid craft from I...

Figure 11.9 Elephant armour made of metal, textiles, leather. War-craft acquir...

Chapter 12

Figure 12.1 (a) IS.16-1956 Indian Chintz appliqué panel before treatment, (b) ...

Figure 12.2 (a) The Textile Conservation Studio, New Delhi, (b) compound micro...

Figure 12.3 (a) Jama before conservation, (b) stains on jama hem, (c) detail o...

Figure 12.4 (a) Frock Coat before conservation, (b) documenting coat measureme...

Figure 12.5 (a) Pra-Kashi exhibition at National Museum, Delhi, (b) cased text...

Figure 12.6 (a) Detail of a fragment of figured silk, pasted on silk, lined on...

Figure 12.7 (a) Lynda Hillyer teaching workshop participants at the Indian Mus...

Figure 12.8 (a) Examining sarees at the Registry of Sarees, Bangalore, (b) ana...

Chapter 13

Figure 13.1

Fugu

of Northern Ghana [9].

Figure 13.2

Aso-oke

of the Yorubas in Nigeria [2].

Figure 13.3

Kente

of the Asantes in Ghana [3].

Figure 13.4

Kete

of the Ewes in Ghana [4].

Figure 13.5 Woman weaving Akwete cloth on the traditional loom [60].

Figure 13.6

Akwete

cloth produced by the Igbo women in Nigeria.

Figure 13.7

Berber

in Morocco.

Figure 13.8

Shuka

in East Africa [7].

Figure 13.9

Kuba Raffia Cloth

in East Africa [31].

Figure 13.10 (a) Weaver weaving

Kuba

cloth. (b) Woman embroidering Kuba cloth ...

Figure 13.11 Dyeing pits at Kofar Mata [53].

Figure 13.12 Dyeing with synthetic indigo in clay pot [52].

Figure 13.13

Adire

of the Igbo women in Nigeria [8].

Figure 13.14

Ukara

in Morocco [9].

Figure 13.15 (a) Ezillo man drawing a grid pattern to be filled with the requi...

Figure 13.16

Mud cloth

of Mali [10].

Figure 13.17 (a) Long woven strip. (b) Strip cut to length and stitched at the...

Figure 13.18 Painting on a woven fabric to produce the

Bogolanfini

cloth.

Figure 13.19 Asante

Adinkra cloth

in Ghana [13].

Figure 13.20

Badie

tree.

Figure 13.21 Stamping process [55].

Figure 13.22 Calabash stamps [40].

Figure 13.23

Kanga

cloth in East Africa [14].

Figure 13.24

Shweshwe

in South Africa [44].

Figure 13.25

Ankara

or

Kitenge

cloth [15].

Figure 13.26

Bark cloth

in Uganda [16].

Figure 13.27 (a) Beating the bark. (b) Dried bark cloth [61].

Figure 13.28 Stitching and Applique to produce

Fon Appliqué

[51].

Figure 13.29 Some traditional looms used for weaving.

Chapter 14

Figure 14.1 Types of display techniques used for textile antiquities in Tribal...

Figure 14.2 Types of display techniques used for textile antiquities in Lok Sa...

Figure 14.3 Types of display techniques used for textile antiquities in select...

Figure 14.4 Labeling methods used in selected museums for textile artifacts.

Figure 14.5 Storage equipments used in selected museums for textile artifacts.

Figure 14.6 Artifacts displayed in Govind Ballabh Pant Museum, Almora.

Figure 14.7 Artifacts displayed in Tribal Museum, Munsyari.

Figure 14.8 Artifacts displayed in Lok Sangrah, Folk Culture Museum, Bhimtal.

Figure 14.9 Upholstered furniture, bedding and fish net.

Figure 14.10 Artifacts displayed in Gurney House Museum, Nainital.

Figure 14.11 Various types of covering materials for displaying articles in se...

Figure 14.12 Different captions on showcases to protect artifacts from visitor...

Chapter 15

Figure 15.1 Maharaja: The Splendour of India’s Royal Courts, 2009 © Victoria a...

Figure 15.2

The Fabric of India

, 2015 © Victoria and Albert Museum, London.

Figure 15.3 Cased display of 19

th

and 20

th

century objects to illustrate stitc...

Figure 15.4 Contemporary saris acquired for

The Fabric of India

, 2015 © Victor...

Figure 15.5 (a) Kalamkari tent hanging IS.19-1989 after treatment, stitched to...

Figure 15.6 Display of weaving techniques, including several partially display...

Figure 15.7

The Fabric of India

raw materials display 19th century textiles an...

Figure 15.8

The Fabric of India

dyes display 19th century textiles and raw dye...

Figure 15.9 (a) Jama 05643:2(IS), ca.1855, after treatment. (b) Vacuuming the ...

Figure 15.10 Cold poultice humidification method used for cotton and wool shaw...

Figure 15.11 (a) Kashmir shawl 0804 (IS) during wet cleaning, sponging deterge...

Figure 15.12 (a) Jama IS 05567 before treatment © Victoria and Albert Museum, ...

Figure 15.13 (a) ‘Thousand nail’ umbrella IS.17-1991 on display © Victoria and...

Figure 15.14 (a) Reattaching loose elements on jama 05563(IS). (b) Ties before...

Figure 15.15 Sari IS.14:1,2-2015 being dressed on a fibre-glass mannequin © Vi...

Figure 15.16 (a) Textile mount shown with shaped acrylic support on top. (b) S...

Figure 15.17 Metal umbrella mount with mesh panels © Victoria and Albert Museu...

Figure 15.18 Fiberglass elephant mount with soft padding © Victoria and Albert...

Figure 15.19 Detail of bracket to suspend roller © Victoria and Albert Museum,...

Figure 15.20 Overlapping textiles on rollers with brackets at different depths...

Figure 15.21 (a) Detail of cotton tape with Velcro stitched to object with zig...

Figure 15.22 (a) Textile IM.77-1938 attached to Velcro batten on floor. (b) Sl...

Figure 15.23 (a) IS.24-1994 appliqué room hanging on display. (b) Attaching Ve...

Chapter 16

Figure 16.1 (a) The garden of dyeing plants, INF&MP, Experimental Research Sta...

Figure 16.2 (a–b) The festival

Lets Kids Design

, Szczecin 2016 (c) workshop in...

Figure 16.3 (a) Kermes dye on silk (b) cochineal dye on silk.

Figure 16.4 (a) Lac dye on silk. (b) logwood on wool.

Figure 16.5 Exhibition in ethnographic museum.

Figure 16.6 Polish antique textiles dyed in natural dye (a) Lipkow sash, (b) S...

Chapter 18

Figure 18.1 On the left, two garments from the Textiles and Clothing Museum, A...

Figure 18.2 A former ISU graduate student, Kate Greder, conducting a conservat...

Figure 18.3 Later twentieth century garments are sturdy enough to be examined ...

Figure 18.4 Mola, circa 1970. Panama. Gift of Dr. Lillian Matthews. 3668. Text...

Chapter 19

Figure 19.1 Career path in Indian Government museums.

Figure 19.2 The organizational structure of international private museums [5].

Figure 19.3 Sample JD for associate conservator, textiles [15].

Figure 19.4 Sample JD for curator, Textile Arts of Americas [16].

Figure 19.5 Stitch repair of a hole using curve needle by giving a backing of ...

Figure 19.6 Display of the conserved wedding trousseau veil. Object courtesy: ...

Figure 19.7 Lining given to the wedding trousseau veil for display. Textile Co...

Figure 19.8 Careful rolling for safekeeping of lace handkerchief after conserv...

Figure 19.9 Flattening the creases of a historic lace handkerchief by providin...

Figure 19.10 Preparation of padding for storage of the shoe collection using c...

Figure 19.11 Experimentation with varying concentrations of ‘Deca Silk’ and pr...

Figure 19.12 Job posting on Indeed.com for associate conservator, textiles, Th...

Figure 19.13 Internship posting in Dakshina Chitra website [17].

Figure 19.14 Job postings on the website of Chhatrapati Shivaji Maharaj Vastu ...

Figure 19.15 Job posting intern at museum of art and photography in LinkedIn [...

Figure 19.16 Job posting for vacancy in customer experience team at The Durham...

Figure 19.17 Newspaper advertisement (English) for the post of Director publis...

Figure 19.18 Newspaper advertisement (Hindi) for the post of Director publishe...

Figure 19.19 Organizational structure of INTACH (NGO) [32].

Figure 19.20 Organizational chart of Assam State Museum (Public) [35].

Guide

Cover Page

Series Page

Title Page

Copyright Page

Preface

Table of Contents

Begin Reading

Index

Also of Interest

WILEY END USER LICENSE AGREEMENT

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Handbook of Museum Textiles

Volume IConservation and Cultural Research

Edited by

Seiko JoseSabu ThomasPintu PanditRitu PandeyandVandana Gupta

This edition first published 2023 by John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, USA and Scrivener Publishing LLC, 100 Cummings Center, Suite 541J, Beverly, MA 01915, USA© 2023 Scrivener Publishing LLCFor more information about Scrivener publications please visit www.scrivenerpublishing.com.

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Library of Congress Cataloging-in-Publication Data

ISBN 978-1-119-79170-6

Cover image: Pixabay.ComCover design by Russell Richardson

Preface

Textile museums showcase textiles and costumes of our past civilization and history. The Museum’s collection plays a significant part in connecting the historical context of ancient costumes. Textile museums open the records of textile raw materials, weaving techniques and tools used, dyes, pigments, and textile artifacts’ texture.

Evaluation of textile fibers, dyes, and pigments through carbon dating and advanced chemical characterization is covered in detail in Volume II of this book. The current book (Volume I) focuses on textile museums, cultural heritage, artifacts, responsibilities of museum professionals, career opportunities in this field, and most importantly, conservation of antique textiles in museums. The book addresses the proper display, storage, upkeep, handling, and conservation technology of textile artifacts to ensure its safety for coming generations.

The book aims to promote textile museum education and meet the needs of textile students, professionals, and museum curators. The incorporation of several case studies to restore the lost glory of textiles is well elucidated. This will appeal to the textile conservators and the practicing curators.

Comprising 19 chapters, this book is a unique repository of theoretical and practical details of museum practices. Chapters on textile museums, importance, cultural heritage, conservation, and documentation of textiles are covered in-depth. Conservation case studies and examples have been highlighted in many chapters. Management practices and guidelines to pursue a career in the museum textile field have been given due attention. The respective authors of the various chapters of this book are all of international repute as researchers, academicians, conservators, and curators in this field. They have done justice to their topics.

We are very grateful to all the supporting institutions: Central Sheep and Wool Research Institute, Indian Council of Agricultural Research, Govt. of India, Avikanagar, Rajasthan, India, Mahatma Gandhi University, Kottayam, Kerala, India, National Institute of Fashion Technology, Ministry of Textiles, Govt, of India, Mithapur Farms, Patna, India, Department of Textiles & Clothing, Chandra Shekhar Azad University of Agriculture and Technology, Kanpur, India, and Chitkara Design School (CDS), Chitkara University, Punjab, India. Thank you for providing us all the support for conceptualizing and producing the entire book. We like to thank our family members and all well-wishers for standing with us all the time, as always. At the end, all the thanks to Almighty God for directing us with his omnipresence, power, and positive force.

Editors

Seiko Jose

Sabu Thomas

Pintu Pandit

Ritu Pandey

Vandana Gupta

September 2022

1Textile Museums: Its Importance, Objectives and Functions

Vandana Gupta1* and Mangesh S. Manekar2

1Chitkara Design School, Chitkara University, Rajpura, Punjab, India

2Parul Institute of Fine Arts, Parul University, Vadodara, Gujarat, India

Abstract

The word museum is derived from the Latin word muses, meaning “a source of inspiration or to be absorbed in one’s thought.” Museums are institutions that bring past to life and hold the greatest artistic treasures of different periods and cultural history. The collection and restoration of artifacts and heirlooms of historic, artistic, and scientific importance is part of museum activities. Along with this, unique objects are made available for public viewing by organizing permanent and temporary exhibitions. Looking at the definition of museum, it has evolved with development in the society. Museums around the world have always been revered as store houses of information. Its space is used to conserve and display objects, materials of different time and era, which otherwise is fading from the lives of individuals. Both government funded and privately owned museums are established by each state, which are open for public viewing. These museums acquaint masses with the history and in turn contribute to their decision making process. Each museum has its own role to play, such as textile museums contribute in determining the trends of the past and establishing new trends on the basis of current research. This chapter will take you to a journey from museum establishment to their role in society, emphasizing textile museums.

Keywords: History, textile museum, collective, connective, educative, economic

1.1 Introduction

There is a tendency in mankind to collect materials for their personal use or store them for their next generation to acquaint them with their ancestral civilization and culture. It is taught in many design institutes that new discoveries and inventions can take place by understanding and digging into the past. The poet Thomas Stearns Eliot helps us reframe these ideas. He reminds us that tradition cannot be possessed; it must be reinvented and rediscovered by each generation [1]. Museums are used to retain objects from a certain age and period that are likely to disappear in the future. Objects from antique vehicles, textile, or extinct species can still be found and preserved for many observations and inspection. Museums serve to keep history alive for certain period and ages. They encourage the public to familiarize themselves with their past, which essentially encourages them to make future choices. In order to assess the clothing and fashion patterns of recent years, textile museums play a significant role. Museums are a source of inspiration for fashion designers, who in the contemporary era are still searching for ancient types of art that might generate wonders to current time. Textile museums are store house of textiles of historic importance and also play a major role in bringing the small unit artisans; their skills and development process among masses, apart from sharing about high profile designers. They contribute to the country’s overall economy, especially in the case of emerging economies. To understand the importance of museums, it is important to explore the reason of their existence, as well as how these museums are divided into different classification according to the artifacts. This chapter provides understanding about the importance of museum existence, emphasizing on the role of textile museums in our society.

1.2 Museum Definition and Its Existence

The word museum is derived from the Latin word muses, meaning ‘a source of inspiration or to be absorbed in one’s thought’. Museums are institutions that bring past to life and hold the greatest artistic treasures of different periods and cultural history. They collect and care for objects of scientific, artistic and historic importance making them available for public viewing through permanent and temporary exhibits. The definition of museum has evolved with development in society and is shared by International Council of Museums (1946-2007). In 1946 the word “museums” was defined as “all collections open to the public, of artistic, technical, scientific, historical or archaeological material, including zoos and botanical gardens, but excluding libraries, except in so far as they maintain permanent exhibition rooms” [2]. In 2001, museum was explained as a nonprofit making, permanent institution in the service of society, its development, made open to the public, acquires, conserves, researches, communicates, exhibits for purposes of study, education, enjoyment, material evidence of people and their environment. In continuation during 2007, museum was explained as a nonprofit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment; emphasizing more on the new role of museums for the betterment of society [3]. To understand how and why museums were established, it is important to know why people started collecting, who visited, and what do we learn from them. Among several reasons of collecting some reasons are given by Akin, 1996 which can be listed as:

Collectors wish to connect themselves with history

Thrill of the chase i.e.,

The research involved in finding an object

Competition with fellow collectors and

Source of pride in finding a long sought after object are motivators [

4

].

Further, Alexander et al. [5] also stated that collections seems to be instinctive for human beings, and may be based on pursuit of knowledge, connoisseurship or simply obsessive collecting.

One such example is the exquisite and versatile collection of art objects, such as ivory, modern painting, bidri ware, textiles, and many more at the Salar Jung Museum established in 1951 and located on the southern bank of the river Musi in Hyderabad, Telangana state of India depicting the catholicity of Nawab Mir Yusuf Ali Khan, Salar Jung III after whom the museum is named. Most of the museum pieces displayed belonged to his collections, which he collected from well-known antique dealers from all corners of the world [6].

The desire to collect is there in human from the time immortal. Ancient civilizations like Greek, Roman, medieval Europe collected art and antiques as private collections. In 16th century, with developing interest in human and history, specialized collections came into existence in the form of natural history, archeological collections, manuscripts, portraits. During the 17th century, learned societies, such as Academy of Sciences in Paris & Royal Society in London promoted discussions, experimentation and collections, which led to the development of public museums like the University of Basil (1671), Ashmolean in Oxford (1683), British Museum in London (1759). Also, private collectors wished to ensure continuous study of their collections so they started to bequeath them to the cities they lived in. In this way private collections were moved to public domain. As these museums were for public, visitors were charged a commensurate fee for their time. In the beginning of the 19th century, the development of new ideas took place, which made museums a resource center for educating and enlightening the general public. Thus, museums were given “the role of serving” as one of the society’s main political, social, and cultural institutions. During the 20th century, there was an increase in the number of museums and their operations. Also, with the development in technology and society, museums changed themselves to serve better. More use of digital media is part of museum activities starting from conservation to preservation to exhibition. Victoria and Albert museum, London have developed a process to digitize their collection to make it more approachable to the public and to preserve for a longer period. History reveals that although diverse museums were established in different parts of the world, still they have many elements in common, thus making the conception of museum international and universal. Museums have many roles to play and are formed to share facts related to past and present. With time, different museums are established at different parts of the world and can be broadly categorized as given in Table 1.1.

Table 1.1 Different categories of museums.

Museum

Collections it holds

History Museums

Museums housing artifacts and specimens related to natural history. Examples of such museums are Natural History Museum, London and Museum of Natural History, New Delhi.

Biographic Museums

Museum house artifacts belonging to famous historic person. Example of such museum includes National Gandhi Museum, New Delhi.

Art Museums

Museums exhibit permanent collections related to fine arts in the way the artist intend them to be seen. Examples of such museum is Government Museum & Art Gallery, Chandigarh; Baroda Museum & Picture Gallery, Vadodara, Gujarat.

Science Museums

Museum focuses on science and new technology. Example of such museum is Great Lake Science Centre, Ohio.

Transport Museums

Museum hold collections related to any one (aviation, railway etc.) or all of these in the same space. Examples of these museums include “The National Railway Museum” located in Chanakyapuri, New Delhi and “Railway Museum” in Mysore, which focuses on the rail heritage of India. The Transport Museum of New Delhi and Air Force Museum, Shilong are other examples.

Textile & Handicraft Museums

Museum focusing on the collection of antique textiles, costumes and craft. Examples include Calico Museum, Ahmadabad; Victoria and Albert museum, London.

University Museums

University Museums are those museums which are run by university. Examples include Ashmolean Museum at the University of Oxford in England and Ashutosh Museum of Indian Art at Calcutta.

1.3 Textile Museums and Their History

Textile in its basic definition is a product developed by fiber & yarn using different fabrication methods such as weaving, knitting, felting, bonding, crocheting, macramé, tatting, lacing. All these are processes, which can be done through hand and machines. In earlier times, hand techniques and tools were used to create such unique textile products and involve a high level of skills. The invention of machines and tools like fly shuttle (by John Kay -1733), spinning Jenny (by Hargreaves-1733), water frame (by Richard Arkwright-1769) due to industrialization have brought a new era of textile production and consumption. Industrialization was the period of social and economic change that transformed agrarian society to industrial one. Change in production style; from manual to mechanical was also observed during this time, which provided new ways of living. The earliest and most significant transformations of the industrial revolution took place in the woollen and cotton textile industries. They gave rise to new technologies, new working methods, new trade networks, and even new fashion trends. Stories of such historical textile revolutions are part of textile museums, which exhibits history and art of textiles, putting emphasis on manufacturing process of textile industries, by locating themselves in the former factories or establish themselves in the buildings designed for the production of fiber, yarn, fabrics in ancient times. They also talks about different industries/sectors directly or indirectly connected with textiles, such as agriculture and farming of natural fibers; technologies involved in the technical products with unique characteristics, such as clothing and bedding made up of smart materials; decorative art related to fashion, carpets etc. Textile & craft museum talks about the trends of a particular timeframe related to clothing, fashion, textiles of different regions. It also shares the life led by the citizens, stories of their struggle, and how textile was an important part in survival, especially in India. The impact of industrialization worldwide and change in the ancient textile industry due to introduction to textile machinery is all presented by these museums to keep our textile history alive among the present and coming generations. The Museum of Textile Industry, Sliven, Bulgaria is one of its kind and is dedicated to the textile production from the ancient past to present day [7]. Among the three basic needs, textile in the form of clothing was always one of the most important part of human existence as part of modesty, developing relations etc. Its construction was done not only for protection or covering but also huge amount of trading of textiles is part of our glorious history, as from plain Jamdani to lustrous silk is being transported to different parts of the world for emperors. The famous silk route, exclusive embroidery of the Mughal era, and the replacement of natural fibers to synthetics are all important parts of developing basic understanding and knowledge, especially for textile artists and designers. The textile and craft museums are situated in different states and cities all around the globe having so much to share in this context. Through their display, they exhibit the traditional fabrics that are part of our societies for years. The tools used, the techniques employed, and the changes that took place with time are expressed through real objects and literature, all of which are part of museum collections and displays. Prince of Wales Museum, Mumbai provides a good example of textiles displayed in visitor friendly manner, which helps visitors to self-analyze the textile technicalities and learn about the same by going through the write-ups mounted near each textile. To understand the importance of textile museum, the mention of Sabarmati ashram would be appropriate as it links us to the khadi movement by taking us to a journey of production and process of khadi, its relevance in our life. For hand weaving, yarns are prepared using spindles. The museum of Sabarmati ashram has a unique collection of around 32 types of spindles used by textile artists/weavers in earlier centuries. Not only this, the spindles housed in the Sabarmati ashram belong to different states and thus explains the similarity and dissimilarity of the antiques. It is very fascinating to visit various textile museums as the real-time visual information received through the displayed objects clearly explains the similarities and dissimilarities of the crafts of different states and countries. For example, the relationship between the phulkari of Punjab and Haryana can be studied by visiting museums of both the states where displayed costumes and textiles embellished with such embroideries shares their relation before partition.

Textile museums worldwide are visited in nearly all parts of the world by teachers, academicians, scholars, and design enthusiasts. In a specific period, they provide an analysis of the clothing and design patterns of the region. Textile museums have information about the clothing practices and fashion objects used in ancient times, representing people’s lifestyles in earlier eras. One such example is “Egyptian Textile Museum,” Cairo, Egypt. The museum housed and displays fine collections of textile from the Pharaonic, the Roman, Coptic, and Islamic eras, which clearly explains that the history of Egypt is not only documented on papyrus or stones but beautifully knitted and ornamented on textiles such as bedsheets, mummy covers, cushion cover, etc. [8]. Different textile museums have remained successful in reviving ancient art and crafts to some extent, as these buildings exhibit antique woven sculpture and share the history of the artifacts of historical importance, such evidences are part of Central Museum of Textiles in Lodz, Łódź, Poland. The textile museum exhibitions, such as “Interwoven Globe” organized by The Metropolitan Museum of Art, New York in the year 2013 to 2014 [9] shares the journey of textiles which plays an important part of historical garments, fashion collections, paintings, tapestries other handloom and handicraft objects, which attract visitors with their aesthetic appeal [10]. Their preservation plays an important part in making the antique and historical textiles available for public viewing. Much of the time, conservation strategies rely on the climatic conditions of the place. The archival materials are employed to preserve and conserve textiles, which are unique, fragile, and irreplaceable. The interpretation of the museum collections has expanded toward educational exhibitions, documentary productions, and social media activities, which have increased the presence of antique textile and heirloom worldwide. Thus, the museum represents complete ensembles from various time periods and geographic cultures and the vast array of embellishment techniques. Museums are an important source of inspiration for many designers; it may be fashion, interior, product, textile. These designers are on lookout for authentic and ancient art works that could inspire them to create innovative and creative designs that are suitable in this modern world. Recently, a report shared the revival of an old art form from Laos called Laotian art, which mostly deals with animals, birds, and reptiles. This art form had become extinct after the civil war in Laos, and recently came under the notice of the American weavers who are planning to revive it. Such stories suggest that museums leave room for the revival of an ancient art form and making them a fashion statement of a particular period by preserving their remnants [11].

It is also important to note that every continent is well known for its collection stored in one or the other museum related to textiles and some examples that can be quoted in this context includes the American Textile Museum, US depicting American heritage through textile. The Textile Museum of Canada, dedicated to collection, exhibition, and textile research founded in 1975 by Max Allan and Simon. In 1985, a special textile museum “National Textile Museum, Malaysia was established which stands out for its unique textile collections. The finest woven, spun, painted and printed textiles are part of the Calico Museum founded in 1949 in Ahmedabad, Gujarat and wide range of old wooden looms, spinning wheels are part of collection of Japanese textile museum “Yukari.” Textile museums also collaborates with fashion & textile designers all around the globe to showcase their talents, innovations, creativity in the premises of museums. One such example is The Fashion and Textile Museum, London, England [12]. All the above mentioned museums have their own unique collection but the basic approach is to share the knowledge of textile with society and preserve the ancient textile art.

1.4 Importance of Textile Museums

To understand the actual importance of museums and why they matter, let us discuss four values of museums for an individual and society.

1.4.1 Connective Value

Museums play an important role in providing an opportunity to visitors, staff and others connected directly or indirectly to enjoy; experience and understand the past, define the present, and get educated for the future. Museum exhibits stimulate thoughts and facilitates debate thus providing a platform for thinking rationally and expressing with freedom. They inspire, enthral, and enlighten visitors by allowing them to move toward discoveries and innovations. They initiate discussions regarding social issues, current affairs, political issues, which not only attract regular visitors but also those who otherwise do not visit museums. With its partnership with different sectors of society like private, public, educational institutions, professionals, and amateur artist, museums provide a space to amalgamate thoughts, skills, and ideas. National Handloom and Handicraft Museum, New Delhi brings Indian traditional art and craft close to the society by displaying the unique and ancient textiles, sculptures, paintings, etc. Also, it connects us to the ancient old procedure of craft making by showcasing the work of artisans and allowing them to interact with the visitors explaining to them the intricacy of the developed product.

Collections are a launching point for discussions which communities wrestle with and get inspired. In the museum space, one can hear multiple perspectives (visitors view about art collections) of the world that emerge from experiencing collection related to art and craft and the meaning that the collections spark for individuals. Government Museum and Art Gallery, Chandigarh displays unique art and artifacts as permanent collections, hold exhibitions, provide platform to interact with great artist, historians and people who are directly or indirectly connected with art. Development of skills and critical thinking through such spaces helps in improving life. Moreover, museum exploration provides the space that makes visitors understand diversified thoughts, embrace them with the silence and patience to listen to others, and create space for empathy, energized by the power of art, are some of the greatest opportunities museums can offer to audiences. In our daily work, we must go beyond the walls of our buildings to open up and respect exchange of ideas. Also, development of deeper understanding & diverse perspective can be seen in different individuals, groups and organizations having cultural differences due to social, political, geographical situations [13]. A writer & philosopher “George Santanya”, said, “Those who do not learn history are doomed to repeat it.” Museums drive people to evoke change at all levels of their life by sharing powerful stories of tragedy and overcoming adversity. Don Bosco Museum, Shilong is one extensively designed museum where the collections exhibited are worth watching as museum showcases artifacts related of art, history, life, culture, and craft of different tribes of all the seven sister states (Assam, Meghalaya, Tripura, Mizoram, Manipur, Arunachal Pradesh, Nagaland) of India. Looking into the life of North Eastern tribes of India, unique tradition and culture is expressed through costumes, ornaments, dance and other rituals, which have become the means of their identity. Almost each tribe has its own distinctive shawl, which is woven by the womenfolk, and in which they take great pride. Each shawl expresses their story showcased in different designs and colors. [14]. Tribal museum known as VAACHA- Museum of voice provided gamut of information about the tribes of Gujarat. It is an important part of Adivasi academy located in Tejgadh (90 km east of Vadodara). The Vaacha Museum, Gujarat is a house for various traditional artwork which involves Rogan Art of Kutch, Bamboo craft of South Gujarat, leather puppetry of Maharashtra, Jute weaving and many more [15]. The museums serve visitors with programs that resonate with their interests while maintaining quality and uniqueness. The result is an environment of trust and unity in which society can thrive. Such interaction establishes dialogue with communities, thus building relationships and generating bonds.

1.4.2 Collective Value

Museums exist due to its collections. These collections form the core elements for all the museum activities such as display, exhibition, education, research etc. The items collected by museums are essential and have value in our lives irrespective of their local, regional, national, and international significance. Collections incorporate and express our shared history & identity thus form the core value through which other values are created. The Pohon Budi Gallery of National Textile Museum, Malaysia exhibits the origin of textiles from pre-historic times along with the tools and traditional techniques and raw materials involved in textile making. It also show cases country’s predominant textiles like Songket, Kainpis, Rungus, and many more [16]. Museums cannot collect and store everything therefore objects of certain category and quality are accepted into the collection. Considering the appropriateness of the artifact for a given area of interest of that museum, the artifact is selected and added to the collection. Accessioning is a process through which an object is formally included in the collection by giving a unique accession number.

Accessioning procedure is different in different museums, but in most cases it begins with:

Donation: A person wants to donate his or her artifact to a museum.

Or an object is purchased or traded on the recommendation of curator.

Museum collections were cataloged; traditionally in a card index. There is a change in the specification in the cards with time. Older cards included very few fields (description, purchased, gifted, exchanged or deposition or storage location) whereas new cards have all the above fields including an image in black and white color confirming the object’s appearance. Most museums collect artifacts and heirloom according to a specific area of specialization. For e.g. textile and handicraft museum will collect and display textile of different cultures and states. One such museum is located in Ahmedabad, Gujarat in western India, known as “Calico Museum”. It is an indeed one of the foremost textile museum of India, housing remarkable, distinguished and comprehensive collections of fabric spanning varied and remote to India, exemplifying handicraft textiles across five centuries. The collection includes Mughal textiles of 15th to 19th centuries, regional embroideries, tie & dye and religious textiles. This museum has become as one of the major reference areas for our surviving handicraftsman, Indian handicraft and Indian textiles machines. This popularity can be related to the fact that Ahmadabad city is one of the major trading centers of textiles since fifteenth century. The publications related to historical studies along with scientific examinations of textile processes such as dyeing, weaving and block printing are part of this museum. Other artifacts includes temple hanging, miniature paintings, Jain art, sculpture etc. [17]. Similarly collections of Victoria & Albert Museum, London spanning four centuries is a storehouse of an exhaustive collection of dresses collected from all around the world. The collection includes rare pieces of 17th century gowns, 18th century ‘mantua dresses, 1930s evening wear, 1960s day wear and post war couture; along with the pieces from 21st century designers [18]. Another example is the Himachal State Museum, Shimla exhibiting the traditional costumes and jewellery of Himachal Pradesh and the textile materials used as raw material. The collection of the museum explains the changes took place in jewellery (Figure 1.1) such as silver was changed to gold, heavy jewellery and ornamentation items for ear, nose, wrist, ankle were made lightweight. The traditional costumes in Figure 1.2 also explains the cultural and environmental conditions of the area [19].

Figure 1.1 Traditional Jewellery of Himachal showcased in Himachal State Museum, Shimla. Source: https://www.himachalstatemuseums.in/jewellery-5/.

Figure 1.2 Traditional Costume of Himachal Pradesh displayed in Himachal State Museum, Shimla. Source: https://www.himachalstatemuseums.in/jewellery-5/.

1.4.3 Educative Value

Museums are considered as educational institution from last few decades. It can be said that whosoever visit museums either for entertainment, research, learning, experience (aesthetic, inspirational, recreational, interactive) are exposed to didactive data (videos, conversation with officials and educators). According to the American Association of Museums (AAM) “museums exist permanently essentially for aesthetic and educational purpose.” Talking about museum collections, they are eclectic. One can find art and artifacts ranging from household appliances to visual art, from history to new technology. Museums, such as Albert Hall Museum, Jaipur, is a treasure house of collection related to subject matters namely art, jewellery, garments, textiles, arms and armor, miniature paintings, musical instruments, clay art, sculpture coins, etc. Along with the objects a library and a bookshop is an integral part of maximum number of museums. Here, book lovers, educators, researchers, and students can explore the unique and rare collection of otherwise unavailable books in their surrounding market.

Looking more into the role of museums in education, collections have their importance in academic and scientific research which are shared with visitors in the form of exhibitions, presentations, and talks. One such example is San Jose Museum of Quilts & Textiles, US who conducts weekly textile talks on different textile- and art-related topics. Silk Museum, Bsous, managed by Association Memory and Development was created by George and Alexandra Asseily is now considered as one of the important reference related to ecological, cultural and economic history. Finally, in 2001, the old silk factory was transformed into “Silk Museum,” restoring its patrimonial identity and various functions. It acquaints visitors about silk rearing also called sericulture, shares the history of silk route and the ancient exchanges of silk which took place between the land of the Cedar and the East and the West [20].

When it comes to visitor’s responses, people cite “Improvement in general knowledge and positive learning experience in such informal environment” as major reasons to visit a museum. A survey conducted by Netherland Museum Association on “The effect of museum education” revealed that museum education gives pupils a sense of pride, enjoyment along with better learning experience. The effect of educative values of museum indicated by teachers in the decreasing order of their percentage includes improved knowledge about people and culture, more imagination and originality, improved collaborative skills/ expressive ability, more positive self-image, and link to our culture [21