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Journal articles on the topic 'Textil museum'

Author: Grafiati

Published: 28 June 2021

Last updated: 2 February 2022

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1

Burgess, Chris. "The Development of Labor History in UK Museums and the People's History Museum." International Labor and Working-Class History 76, no. 1 (2009): 26–35. http://dx.doi.org/10.1017/s0147547909990044.

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Labor history in UK museums is constantly in a state of change. A hundred-year-old tradition of displaying and interpreting the history of the common people has seen a shift from the folk life museum to a much more all-encompassing model. The academic trend for and acceptance of working-class history began this process, and museums followed, albeit at a much slower pace. Young curators actively involved in the History Workshop, Oral History, and Women's History movements brought their new philosophies into the museum sphere. This internally driven change in museums has been matched with demand for change from above. Museums have been given a central role in the current Labour government's wide-ranging strategies to promote an understanding of diversity, citizenship, cultural identity, and lifelong learning as part of a broader social inclusion policy. The zenith of this plan would be a museum devoted to British national history, though whether this will take place is yet to be seen. The transformation of the People's History Museum makes an interesting case study. The museum, originally an institution on the fringes of academic labor history and actively outside the museum community, is now at the forefront of labor history display, interpretation, textile conservation, and working-class historical research.

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2

A. P., Nunes. "STORING AN OVERSIZED MUSEU DE LISBOA TEXTILE BANNER COLLECTION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 23, 2019): 865–69. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-865-2019.

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<p><strong>Abstract.</strong> In 1947 Lisbon held the "Cortejo Histórico de Lisboa", a parade belonging to the “VII Centenary of the Reconquest of Lisbon to the Moors” celebrations. For the accomplishment of this parade, hundreds of scenic objects and accessories were created and three thousand extras and actors participated. Museu de Lisboa has in its collection a significant set of these objects, with highlight to the seventeen-banner collection. These banners that since 1947 were kept in different warehouses, were transferred in 2008 to the Museu de Lisboa Central Storage Unit textile room. The large dimensions of these objects were the main preventive conservation issue the Museum had to solve, regarding the way of storing the collection. In 2018 the Museum designed a project for the vertical storage of these banners. Due to its enormous size (being the biggest 315&thinsp;cm height and 212&thinsp;cm width) it was impossible for the museum to store these objects in flat format. The alternative was designed and executed using <i>Tycore</i>® boards as backing panel, hinged with <i>acid-free</i> buffered paper sheets and then glued together into one large piece with the same size as each banner. The banners with textile strip extensions were mounted onto the panels and stored vertically on metallic grids used for the storage of the Museum painting art collection. Treatments such as dust cleaning, tear consolidation and stain removal were carried out to stabilize the banners prior to the mounting on the boards. This paper describes some of the steps of this eight-month project, involving six people.</p>

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3

Nagaya, Takeshi. "Textile Technical Museum." FIBER 58, no. 5 (2002): P.142—P.143. http://dx.doi.org/10.2115/fiber.58.p_142.

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4

Rothwell, Suzanne. "Helmshore Mills Textile Museum." Archaeological Journal 169, sup1 (January 2012): 46–47. http://dx.doi.org/10.1080/00665983.2012.11020996.

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5

Healy, Marley. "An Interview with Petra Slinkard Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts." Fashion Studies 2, no. 2 (2019): 1–16. http://dx.doi.org/10.38055/fs020203.

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This article contains an interview with Petra Slinkard, the Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts. Ms. Slinkard is the first to hold this position at the museum and has held it since February 2018. Prior to this, Ms. Slinkard was the Curator of Costume at the Chicago History Museum. She has a Bachelor of Science in Fashion Merchandising, a Bachelor of Arts in Art History, and a Master of Science in Fashion/Textile History. Over the course of almost ten years, leadership at the museum endeavored to create a plan that would mobilize its fashion and textile collection and reinvigorate its active collecting of fashion objects. This year, the museum opened a new wing that has allocated a specific venue for showcasing exhibitions dedicated to the exploration of its fashion collection. What follows are excerpts from a conversation between the author and the curator. Topics include the Fashion and Textile Collection at the Peabody Essex Museum, the new Fashion and Design Gallery, and the accessibility of the institution’s collection.

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6

Dovhaliuk, Volodymyr, Adam Ujma, and Yurii Chovniuk. "Investigation of the Mechanism of Moisture Absorption in Colloidal Museum Materials in Order to Improve the Safety of Exhibits and Improve the Hygiene of Museum Rooms." System Safety: Human - Technical Facility - Environment 1, no. 1 (March 1, 2019): 805–9. http://dx.doi.org/10.2478/czoto-2019-0103.

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AbstractMoisture sorption is one of the most important destruction factors for colloidal capillary-porous exhibits in museums (painting, clothing etc.), which is dependent on microclimate in museum rooms. The analysis of moisture sorption properties, kinetics of sorption and swelling of textile museum exhibits is carried out. Isotherms of desorption of viscose and woollen yarns and fabrics of different density (and threads of them) are identical. The analysis of the isotherms of fabrics of various fibre cloths and threads of them shows that they all are similar in shape to the curves and have the form typical for leading capillary-porous bodies. The hysteresis loop for almost all tissues is observed throughout the range of relative humidity of the medium. In this work, the characteristics of the hysteresis loop (area, limited by it, length of the loop), which are of informational significance in the description of the processes of isothermal sorption-desorption of the materials mentioned above, are indicated. The research results allow optimizing of microclimate control in museum rooms for elimination of destruction of exhibits, improve the safety of storage and ensure the hygiene of the air indoor environmental.

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7

Orea-Giner, Alicia, and Trinidad Vacas Guerrero. "Textual analysis as a method of identifying museum attributes perceived by tourists: An exploratory analysis of Thyssen-Bornemisza National Museum in Spain." ESIC MARKET Economic and Business Journal, Volume 51, Issue 3 (October 5, 2020): 527–44. http://dx.doi.org/10.7200/esicm.167.0513.2.

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Objective: The identification of museum attributes is essential when analysing the different factors that attract visitors and studying it in order to improve efficiency in museums, as this could affect the use of funds for developing a marketing campaign to attract visitors. This paper offers a literature review that considers museum visits and museum attributes before proposing a methodology. Methodology: The use of big data applied to tourism research is vital, as it allows for the consideration of the opinions of museum visitors. The case study in this paper is the Thyssen-Bornemisza National Museum in Madrid, Spain. The method for identifying the attributes consists of a textual analysis of TripAdvisor reviews written in English (2500) and Spanish (2500). The information is captured using WebHarvy and is analysed using Nvivo12. Results: After analysing the thousand words that were used most frequently, the main attributes were detected, as well as whether the perception of these attributes was positive or negative. The museum’s location and the building itself were the most highly valued attributes. Other attributes that were valued positively were the peripheral services of the museum, such as its food and beverage services. Limitations: The main limitation is that TripAdvisor is not an entirely reliable source of information, so it will be necessary to obtain more reviews to analyse.

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8

García Neira, Luz. "Los textiles como objeto de conocimiento en el "Proyecto de Renovación Museográfica" del Museu Casa de Rui Barbosa, Río de Janeiro (Brasil)." Intervención Revista Internacional de Conservación Restauración y Museología 1, no. 1 (May 1, 2010): 43–53. http://dx.doi.org/10.30763/intervencion.2014.9.108.

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9

Noy, Chaim. "Gestures of closure: A small stories approach to museumgoers' texts." Text & Talk 40, no. 6 (November 26, 2020): 733–53. http://dx.doi.org/10.1515/text-2020-2076.

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AbstractMuseums are familiar public institutions whose primary mode of mediation is narration. They are geared toward narrating collective stories that are authoritative, linear, and grand in scope. Yet with the historical turn museums have recently taken from collection-centered to audience-centered institutions – coupled with a participatory mode of mediation – more than ever museumgoers are now invited to participate in these grand narrations. This article examines the institutional interaction between museums and museumgoers, and the texts that the latter produce in situ. It analyzes over 3000 texts that visitors wrote at the Florida Holocaust Museum, between 2012 and 2015. It employs the “small stories” framework to explore the interactional narrative structure and features within which museumgoers' written comments are elicited and displayed in museums. The analysis highlights the narrative functions and authorial roles that museumgoers are ascribed institutionally, and whether and how they discursively occupy them. Three main narrative strategies of/for participation are discerned, through which museumgoers variously perform gestures of closure of their visit. These narrative gestures index ways, in which visitors signal the approaching end of the museum's narration, employing diverse discursive resources, while adding a coda or a resolution to the institutional narrative.

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10

Horn, Gerd-Rainer. "Gender and Class in the Twentieth Century." International Labor and Working-Class History 57 (April 2000): 107–9. http://dx.doi.org/10.1017/s0147547900212763.

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Few nonspecialists know that Belgium was the first continental European country to benefit and suffer from the Industrial Revolution. Resulting in part from this heritage and also building on an even older tradition of textile manufacturing dating back to the High Middle Ages, Belgium is home to a number of high-quality museums and institutions showcasing and researching the age of industry and its corresponding social movements. Two such organizations are the Archive and Museum of the Socialist Workers Movement (AMSAB) and the Museum of Industrial Archaeology and Textiles (MIAT) in the city of Ghent. On April 27–30, 1999, these two institutions joined forces to organize an international conference on “Gender and Class in the 20th Century.” For several days, participants from Switzerland, the Netherlands, France, Great Britain, and Belgium gathered to listen and respond to a variety of presentations covering the whole range of issues related to the conference theme, from sexuality at the point of production to the discursive construction of poverty as female in the contemporary global age.

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11

Franz, Kathleen. "Mississippi Valley Textile Museum Mary Lettner." Public Historian 24, no. 1 (January 2002): 74–76. http://dx.doi.org/10.2307/3379022.

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12

Mori, Kathumi. "Kawashima Textile Museum and Its Collection." FIBER 58, no. 1 (2002): P.20—P.21. http://dx.doi.org/10.2115/fiber.58.p_20.

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13

Wang, Yunli, and Chunlei Wang. "Conservation of a Fur Court Robe of the Qing Dynasty." Studies in Engineering and Technology 2, no. 1 (July 20, 2015): 86. http://dx.doi.org/10.11114/set.v2i1.957.

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Although fur artifacts are not numerous, they are relatively common in northern China’s museums. This article focuses on the conservation of a man’s court robe from the Palace Museum, lined with golden yellow silk kesi and decorated with golden dragons in colorful clouds and fur trim. It illustrates the treatment process for fur garments, including fur type identification, original sewing methodology documentation, replacement fur piece preparation and degraded fur repair. The fur class cultural relics appraisal method makes we completed a research project1. It based on fur fiber micro detection in the field of zoology2 and fiber detection of textile field3. Fur repair methods described in the article isfusion of the traditional fur production and restoration. This article would provide a detailed reference for future similar fur artifact repair work.

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14

Leary, Thomas E. "The Boott Cotton Mills Museum and the American Textile History Museum." Technology and Culture 40, no. 2 (1999): 363–68. http://dx.doi.org/10.1353/tech.1999.0101.

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15

de la Haye, Amy. "Exhibition Review: Fashion & Textile Museum, London." Fashion Theory 8, no. 3 (September 2004): 335–38. http://dx.doi.org/10.2752/136270404778051708.

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16

Hartland-Rowe, Marian. "The Textile Prints of the Phuthadikobo Museum." African Arts 18, no. 3 (May 1985): 84. http://dx.doi.org/10.2307/3336361.

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17

Findlay, Kathryn. "National Museum of Textile Costume, Doha, Qatar." Architectural Design 76, no. 6 (November 2006): 21. http://dx.doi.org/10.1002/ad.347.

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18

Lin, Fang Suey, and Tom Cassidy. "Affective textile and costume museum website design." International Journal of Fashion Design, Technology and Education 1, no. 1 (March 2008): 23–33. http://dx.doi.org/10.1080/17543260801950724.

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19

LILIANA, INDRIE, OANA DORINA, ILIES MARIN, ILIEȘ DORINA CAMELIA, LINCU ANDREEA, ILIEȘ ALEXANDRU, BAIAS ȘTEFAN, et al. "Indoor air quality of museums and conservation of textiles art works. Case study: Salacea Museum House, Romania." Industria Textila 70, no. 01 (March 1, 2019): 88–93. http://dx.doi.org/10.35530/it.070.01.1608.

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The present paper is analyzing the quality of the air (temperature, humidity, light, contamination with fungi) inside the Museum House from Salacea, Bihor county, and the influence of such factors on textile materials that are exposed inside it in the context of the need to protect the heritage elements and in order to diminish the risks related to human health: the inhabitants, the tourists, museographers and all those who have access to the interior. Monitoring of the temperature and humidity was carried out between 03.06.2018 and 02.07.2018 and we used the thermo-hygrometer with data function logger KlimaLogg Pro (seven sensors), and for other analyzed parameters: Luxmeter data logger Extech SDL400 Oxygen meter Extech SDL150. The fungal contamination was determined using Koch sedimentation method. Due to the fact that the low temperature together with the high air humidity of the ambient environment stimulates the formation of microorganisms and mold and high temperatures can dehydrate the fibers by diminishing their strength and decreasing their elasticity, therefore it is necessary to maintain the standard micro climate of temperature and humidity inside the museum house.

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20

Nilsson, Johanna M., and Katarina S. Blume. "The Swedish textile conservators’ transformation: From the museum curator’s assistant to a profession in its own right." Journal of Professions and Organization 8, no. 2 (July 1, 2021): 168–83. http://dx.doi.org/10.1093/jpo/joab007.

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Abstract Over recent years, in Sweden, the vocation of textile conservator has been transformed from that of being regarded simply as a museum curator's assistant to becoming a profession in its own right. The members of the textile conservators association, the Swedish Association for Textile Conservation founded in 1967, played a crucial role in this transformation with the establishment of a university-based vocational education programme in 1985. The transformation is further scrutinized by considering aspects of gender where, for example, gender bias employment strategies favoured men as painting conservators, as well as social class where demarcation of women as curators was evident. This is discussed and compared with the contemporary shift of gender distribution among the employees in the museum sector that historically was largely male dominated. Social class and the effects of a university education on occupational status are considered, and the effects that education had on elderly, experienced colleagues are another important intersectional aspect. Today’s textile conservators have reached a professional status in several aspects with university education being probably the most important contributing factor. The image of the vocation has improved from that of a seamstress who performed repairs on textiles at the direction of her superior, to an academic who, on the basis of their scientific knowledge, independently performs the many tasks included in preservation, as well as conducting research to doctorate level. Despite this, it would seem that the museum community has not yet managed to take full advantage of textile conservators’ competence as researchers.

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21

ABDEL-KAREEM, OMAR. "Evaluating the Combined Efficacy of Polymers with Fungicides for Protection of Museum Textiles against Fungal Deterioration in Egypt." Polish Journal of Microbiology 59, no. 4 (2010): 271–80. http://dx.doi.org/10.33073/pjm-2010-041.

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Fungal deterioration is one of the highest risk factors for damage of historical textile objects in Egypt. This paper represents both a study case about the fungal microflora deteriorating historical textiles in the Egyptian Museum and the Coptic museum in Cairo, and evaluation of the efficacy of several combinations of polymers with fungicides for the reinforcement of textiles and their prevention against fungal deterioration. Both cotton swab technique and biodeteriorated textile part technique were used for isolation of fungi from historical textile objects. The plate method with the manual key was used for identification of fungi. The results show that the most dominant fungi isolated from the tested textile samples belong to Alternaria, Aspergillus, Chaetomium, Penicillium and Trichoderma species. Microbiological testing was used for evaluating the usefulness of the suggested conservation materials (polymers combined with fungicides) in prevention of the fungal deterioration of ancient Egyptian textiles. Textile samples were treated with 4 selected polymers combined with two selected fungicides. Untreated and treated textile samples were deteriorated by 3 selected active fungal strains isolated from ancient Egyptian textiles. This study reports that most of the tested polymers combined with the tested fungicides prevented the fungal deterioration of textiles. Treatment of ancient textiles by suggested polymers combined with the suggested fungicides not only reinforces these textiles, but also prevents fungal deterioration and increases the durability of these textiles. The tested polymers without fungicides reduce the fungal deterioration of textiles but do not prevent it completely.

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22

Truman, Dorothy. "The Museum of American Textile History: Archival Sources for Business History." Business History Review 60, no. 4 (1986): 641–50. http://dx.doi.org/10.2307/3115662.

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Originally founded to house the papers and artifacts of the Stevens family, operators of several woolen mills in the Merrimack Valley, the Museum of American Textile History has grown to become a valuable resource for historians and others interested in the rise and fall of the New England textile industry. In the following essay, Dorothy Truman describes the depth and breadth of the museum's collections and highlights their importance to the study of business history.

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23

Turnau, Irena. "Textile and Dress Museums in Czechoslovakia." Textile History 20, no. 1 (January 1989): 91–92. http://dx.doi.org/10.1179/004049689793700428.

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24

E., Amin, and Rashed S. "PRESERVATION AND RESTORATION OF A PIECE OF TEXTILE AT THE EGYPTIAN TEXTILE MUSEUM." Egyptian Journal of Archaeological and Restoration Studies 3, no. 1 (June 1, 2013): 29–37. http://dx.doi.org/10.21608/ejars.2013.7445.

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25

Brewer, Laurie Anne, Tayana Fincher, Kate Irvin, Anna Rose Keefe, and Jessica Urick. "Museum Storage is Not an Icebox: Re-examining Textile Storage at the RISD Museum." Museum International 73, no. 1-2 (January 2, 2021): 100–109. http://dx.doi.org/10.1080/13500775.2021.1956748.

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26

Cabrera, Ana. "'Textile Conservation in Brazil: Museums and Collections', Museu Paulista, Universidade de São Paulo, 8–13 May 2006." Textile History 37, no. 2 (November 2006): 204–5. http://dx.doi.org/10.1179/tex.2006.37.2.204.

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27

Lu, Wenli, and Xiangyang Bian. "Application of Cheongsam Display in the Museum Based on Virtual Reality Technology." MATEC Web of Conferences 227 (2018): 02002. http://dx.doi.org/10.1051/matecconf/201822702002.

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The wide application of Virtual Reality technology has realized the virtualization of display in the museum and created a new form of interaction between visitors and exhibits. Cheongsam is the product of innovative integration of Chinese traditional dress and Western dress. In this paper, we take “Orange silk Qipao with velvet pattern” which exhibits in Shanghai Museum of textile and costume as an example, take the immersive Virtual Reality System as the carrier to introduce the construction process of Cheongsam Virtual Reality System.

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28

Harris, A. L. "Recent Acquisitions and Conservation of Antiquities at the Ure Museum, University of Reading 2004–2008." Archaeological Reports 54 (November 2008): 175–85. http://dx.doi.org/10.1017/s0570608400001009.

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The Ure Museum of Greek Archaeology, in the Department of Classics at the University of Reading, has experienced something of a renaissance in the 3rd millennium. It acquired status as a registered museum in 2001 and accreditation in 2008. It has boasted a bespoke web-accessible database since 2002 and a professionally designed website since 2004 (www.reading.ac.uk/ure). Finally, in 2005 its physical display was completely redesigned. While the existence of the Museum and some of its collections have long been well known to scholars of Gr vases – thanks to the tireless efforts of Percy and Annie Ure in the first half of the 20th Ct, including their 1954 publication of Corpus Vasorum Antiquorum. Great Britain 12. University of Reading (London, Oxford University Press, 1954), AR 9 (1962–1963) and some listings in Beazley and Trendall's volumes (see J.D. Beazley, Attic Red-figure Vase-painters, 2nd ed. [Oxford, Clarendon Press, 1963], A.D. Trendall and A. Cambitoglou, The Red-figured Vases of Apulia [Oxford, Clarendon Press, 1978–1982], A.D. Trendall, The Red-figured Vases of Lucania, Campania and Sicily (Oxford, Clarendon Press, 1967) – much of the collection remains unknown. Even in the 1960s, after all, the publication of fragments, lamps and Cypriote ceramics remained unfashionable. And the Ures, experts in Gr pottery, were little interested in publishing the Egyptian artefacts (approximately a 5th of the displayed collection) and other non-ceramic artefacts. As part of the Ure Museum's renaissance, University of Reading staff and students are researching and gradually publishing its hidden treasures: A.C. Smith, Corpus Vasorum Antiquorum. Great Britain 23. Reading Museum Service (Reading Borough Council) (Oxford, Oxford University Press, 2007) documents more than 150 vases, most in the Ure Museum, from the Reading Museum Service (Reading Borough Council); a forthcoming fascicule of the Corpus of Cypriote Antiquities will catalogue the Cypriote holdings in the Ure Museum; and another volume of Corpus Vasorum Antiquorum will detail approximately 200 holdings of the Ure Museum that are hitherto unpublished. The items discussed below, however, are those that have been acquired by the Ure Museum since 2004, as well a sample of the 19 Coptic textile fragments, which have been brought out of storage, conserved by the Textile Conservation Centre in Winchester and are now displayed in the Ure Museum (since 2005).

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29

Rustini, Rustini. "ANALISIS PENGARUH BAURAN PRODUK TERHADAP MOTIVASI KUNJUNGAN WISATAWAN (STUDI KASUS MUSEUM TEKSTIL, JAKARTA)." Majalah Ilmiah Bijak 13, no. 1 (February 27, 2018): 29–45. http://dx.doi.org/10.31334/bijak.v13i1.49.

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There were few studies concerning product mix. The research object of this study was Museum Textile Jakarta, where researcher was enthusiastic to observe the influence of product mix towards motivation of tourists visit. The research showed the researcher desire as well to museum tourism which Indonesian did not interest much to visit them, it was contrary with European for instance. Hopefully, this research was able to enhance Indonesian motivation to love more museum world thus coming to visit them eventually. The research reviewed 5 product mix variables (X), i.e., Type, Quality, Packaging, Positioning and Service and 2 motivation variables (Y), i.e., push factors and pull factors. From Stepwise method, result obtained was the most influence variable of X variable towards Y variable was Packaging.

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30

Ibrahim, Osama. "New Kingdom Textile Decoration Techniques and Significance: Evidences from the Egyptian Textile Museum in Cairo." International Journal of Heritage, Tourism and Hospitality 14, no. 1 (June 1, 2020): 102–12. http://dx.doi.org/10.21608/ijhth.2020.121266.

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31

Haris, Tawalinuddin. "Bendera Macan Ali Koleksi Museum Tekstil Jakarta." Paradigma, Jurnal Kajian Budaya 1, no. 1 (March 4, 2016): 88. http://dx.doi.org/10.17510/paradigma.v1i1.7.

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<span lang="IN">The Textile Museum of Jakarta in Tanah Abang preserves a ragged animal calligraphy embroidered in indigo banner framed in white silk cloth of the Cirebon Sultanate made in 1797. The old bunting has three pictures of “Ali” Tiger painted in Arabic letters, a double-edged Sword of Zulfakar, four magical square boxes decorated with Arabic inscription, and Arabic letters quoted from the Quran on five-cornered stars. The paper describes the significance of the regalia: it does not only function as the symbol of sovereignty of the Cirebon Sultanate, but it also has a magical power to protect the kingdom.</span>

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32

Esmailpour, Ayoub, Hamid R. Taghiyari, Reza Majidi Najafabadi, Amin Kalantari, and Antonios N. Papadopoulos. "Fluid Flow in Cotton Textile: Effects of Wollastonite Nanosuspension and Aspergillus Niger Fungus." Processes 7, no. 12 (December 2, 2019): 901. http://dx.doi.org/10.3390/pr7120901.

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Aspergillus niger is a common contaminant in food industry, laboratories, and also a potential threat to biological works of art in museums. Cotton textiles have frequently been used in museums for canvas paintings. In the present project, the effect of Aspergillus niger on fluid flow rate of nanowollastonite-impregnated cotton textile specimens was investigated. Cotton specimens were impregnated with nanowollastonite (NW) suspension at four concentrations of 10%, 20%, 30%, and 40% to be further compared with control specimens. Results showed that fluid flow in cotton textile was as high as 361.3 cm3·s−1 due to its high porous structure and very low compactness of fibers (low density). Impregnation with NW did not have a significant effect on fluid flow in cotton textile. Exposure to Aspergillus niger increased fluid flow in control specimens as a result of deterioration of cotton fibers. Exposure of NW-impregnated specimens at concentrations more than 20% to Aspergillus niger did not have any significant effect on fluid flow. In control specimens, fungus mycelium penetrated deep into the texture of textile. However, in NW-impregnated specimens, the fungus could not penetrate into the texture and deteriorate the specimens. It was concluded that NW can be recommended for textile industry and also works of art as they protect cotton textiles against Aspergillus niger while, do not diminishi its dying and paintability properties.

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33

Batyreva, Svetlana G. "Народное прикладное искусство в экспозиции Музея традиционной культуры имени Зая-пандиты Калмыцкого научного центра РАН." Desertum Magnum: studia historica Великая степь: исторические исследования, no. 2 (December 30, 2020): 169–78. http://dx.doi.org/10.22162/2712-8431-2020-10-2-169-178.

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The museum collections contain the material evidence of the past represented in the objects of traditional nomad culture. The documentary significance of the archive materials that represent nomad way of living allows us to give characteristics of the existence and content of the artistic craftwork of the Mongol-origin nations. Nowadays, when most of the traditional Kalmyk handicrafts have been lost due to the transition from the nomad way of living to sedentary life, it is relevant to use the museum exhibits for their reconstruction. This will allow to fill the gaps in the Kalmyk Folk Decorative Arts research the sample of which include the household items made in the traditional techniques of artistic processing of textile, felt and leather, wood and metal. The experience of collecting, research and reconstruction of the nation’s cultural heritage is represented in the permanent exhibit of the Zaya-Pandita Museum of Kalmyk Traditional Culture of the Kalmyk Scientific Center of the RAS.

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34

Bartoshesky, Florence, and Helena E. Wright. "The Merrimack Valley Textile Museum: A Guide to the Manuscript Collections." Technology and Culture 26, no. 3 (July 1985): 665. http://dx.doi.org/10.2307/3104884.

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35

Palmer, Alexandra. "The Royal Ontario Museum: Costume and Textile Gallery, ‘Measure for Measure’." Costume 24, no. 1 (January 1, 1990): 113–16. http://dx.doi.org/10.1179/cos.1990.24.1.113.

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36

Persson, H. "Collecting Egypt: The textile collection of the Victoria and Albert Museum." Journal of the History of Collections 24, no. 1 (December 20, 2010): 3–13. http://dx.doi.org/10.1093/jhc/fhq038.

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Palmer, Alexandra. "Untouchable: Creating Desire and Knowledge in Museum Costume and Textile Exhibitions." Fashion Theory 12, no. 1 (March 2008): 31–63. http://dx.doi.org/10.2752/175174108x268136.

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Sylvia Desianty. "Familiarization Trip Strategy to introduce Jakarta Textile Museum to Foreign Tourist." Technium Social Sciences Journal 11 (August 21, 2020): 96–103. http://dx.doi.org/10.47577/tssj.v11i1.1484.

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This research is conducted to analyze how the Familiarization Trip strategy is done, the result, and the obstacle. Themethodusedin this research is descriptive qualitative using the Nine Steps of Public Relations by Ronald D. Smith to analysis the strategy, interview and data research to analysis the result and the obstacle. The result of this research explains that Familiarization Trip has been done well but in the other hand has not given significant result to the increasing number of foreign tourists visiting Jakarta Textile Museum.

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Bajaj, Shikha, and Sandeep Bains. "A study on techniques of evaluating museum environment and textile artifacts." AGRICULTURE UPDATE 14, no. 3 (August 15, 2019): 257–64. http://dx.doi.org/10.15740/has/au/14.3/257-264.

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Correia, Rita Florentino, Eva Armindo, Eva Raquel Neves, Márcia Vilarigues, and Maria Filomena Macedo. "Diagnosis of two textile pieces from Santarém Diocesan Museum: a multi-analytical approach." Conservar Património 23 (2016): 63–70. http://dx.doi.org/10.14568/cp2015023.

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Orfinskaya, Ol'ga Vyacheslavovna, and Sergei Sergeevich Zozulya. "Spun, knit and woven textiles from the archeological site Bolshoe Timerevo in collection of the State Historical Museum." Genesis: исторические исследования, no. 6 (June 2020): 118–35. http://dx.doi.org/10.25136/2409-868x.2020.6.30846.

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The object of this research is the archeological materials obtained in excavation of the burial site Bolshoe Timerevo in different years and preserved in collections of the State Historical Museum. The subject of this research is the spun, knit, and woven textiles. Approximately 14 out of 472 kurgans excavated in the necropolis during the period from 1872 to 1990 contained textile items. The assortment is quite wide – the strings of the scale, fragments of costume, elements of trimming of collars and outwear sleeves. This study employs methodology development in the Center for Studying Historical and Traditional Technologies of the Scientific Research Institute for Cultural and Natural Heritage named after Dmitry Likhachev under the authority of Ph.D. in Biological Science V. P. Golikov. The description of results was conducted in accordance with standard scheme of requirements of the International Textile Center CIETA. The structure of textile materials and characteristics of threads was determined via microscopic methods in reflected unnpolarized light. For detection of the nature of textile materials, as well as the level of contamination and damage of fibers was applied the method of microscopy in translucent polarized light. The majority of fabrics and their décor elements from the archeological site Bolshoe Timerevo finds a wide variety of analogies on the territory of Western Europe and Scandinavia of the Viking Age. As a result of the conducted research, the textiles made out of plant, wool and silk fibers were discovered. The author also recorded the unique combination of woven textiles.

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Anastasyadis, Victoria, and Marjan Boot. "Perspectives in Textile (1969) at the Amsterdam Stedelijk Museum: A Landmark Exhibition." Journal of Modern Craft 12, no. 3 (September 2, 2019): 265–73. http://dx.doi.org/10.1080/17496772.2019.1678885.

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Sheridan, Clare M. "Labor material in the collections of the Museum of American Textile History." Labor History 31, no. 1-2 (March 1990): 25–30. http://dx.doi.org/10.1080/00236569000890041.

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Felippi, Vera, Evelise Anicet Rüthschilling, and Gabriela Perry. "Laces: a case study of preservation of the UFRGS Fashion and Textile Museum collection." Conservar Património 29 (2018): 71–80. http://dx.doi.org/10.14568/cp2017036.

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Słomska, Joanna, and Łukasz Antosik. "The Hallstatt Textiles from the Bi-ritual Cemetery in Świbie." Światowit 56, no. 1 (January 14, 2019): 129–35. http://dx.doi.org/10.5604/01.3001.0012.8481.

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Textile production during the Hallstatt period was an integral part of everyday life of societies living in Poland. However, discoveries of fabrics are very rare. Textile remains from this period survived primarily in the skeletal bi-ritual graves in the Silesia voivodship. Among preserved fragments of organic finds, remains of clothes and elements of accessories can be distinguished. The best-preserved and well-studied textile remains come from the cemetery in Świbie, Gliwice district. The locality was accidentally discovered in 1930s, but regular excavations started there thirty years later. As a result of the archaeological works, 576 cremation urns and skeletal graves were explored providing a rich set of materials. Grave goods were local products, as well as imports from Southern and Western Europe. Sixty three graves contained remains of textiles. The majority of the surviving fabrics adhered to metal outfits. In addition, research encountered woven tape remains, braided ribbons, threads, and strings. The material acquired from the cemetery in Świbie is the largest textile collection from the Hallstatt period discovered in Poland. It waited in a museum warehouse until the year 2015 when the Institute of Archaeology and Ethnology of the Polish Academy of Sciences in Łódź initiated further studies. Despite the fact that most fragments were small and mineralised, all the undertaken analyses led to a better understanding of textile production in the Hallstatt period in Poland with its innovative and traditional elements.

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Shapiro, B. L. "TEXTILE HORSECLOTH AS AN ATTRIBUTES OF ROYAL POWER." Bulletin of Kemerovo State University, no. 1 (March 20, 2017): 74–79. http://dx.doi.org/10.21603/2078-8975-2017-1-74-79.

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The article discusses the importance of the textile equipment as oneof the components in the system of organization of power in Russia. Items selected for examination are related to the participation of the horse, as one of the most mythologized of animals in Russian culture, in the sacred environment. In this context, we considered textile horse trappings in general, with an accent on the most important items of the tsar's ritual sphere, filled with allegorical symbolism. These are authentic objects of applied art from the collections of Russian museums, which are interpreted by the inventory and historical narrative. Special attention is given to the equipment belonging to personal horses of Russian monarchs from Ivan the Terrible to Paul I. We investigate in detail all textile components of the ceremonial furnishings of the royal horse. We partially studied heraldic and funeral horsecloth. Summing up the results, textile horsecloth, with all its diversity in different historical periods, serves the formation of the image of a powerful monarch in the first place.

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Ness, Caroline, and Mary M. Brooks. "Rediscovering Mattli: A Forgotten 1950s London Couturier." Costume 45, no. 1 (March 1, 2011): 85–100. http://dx.doi.org/10.1179/174963011x12978768537654.

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Based on the author’s research for her MA, supervised by Mary M. Brooks, this article examines the history of the little-documented but once famous London couturier, Mattli (1903/1904–1982). An argument is made for a re-evaluation of the importance of Mattli’s contribution to the post-war British fashion and textile industry which has so far been overlooked in the histories of fashion. Research is focused upon a wide range of sources, including a collection of press books from the Mattli archive at the Fashion Museum, Bath, and extant clothing in British collections.

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Huard, Adrienne. "Beads they’re sewn so tight." Public 30, no. 60 (March 1, 2020): 278–81. http://dx.doi.org/10.1386/public_00023_4.

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Curated by Lisa Myers, Textile Museum of Canada, Toronto, October 10, 2018 - May 26, 2019This exhibition demonstrates a shift from archaic notions of Indigenous cultural production and celebrates the ongoing perseverance of Indigenous knowledges, which are steeped in technological advancements. By challenging the idea of “tradition”, it allows these artists to generate discussions towards new modes of Indigenous cultural display and tradition. Acknowledging that Indigenous beading and quillworks continue to be a symbol of our resilience and political sovereignty, this exhibition embraces the grounded progression of innovation within our visual culture.

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Desianty, Sylvia. "FAMILIRIZATION TRIP OLEH DINAS PARIWISATA DAN KEBUDAYAAN DKI JAKARTA DALAM PENGENALAN MUSEUM TEKSTIL TERHADAP WISATAWAN MANCANEGARA." JURNAL TEKNOLOGI INFORMASI DAN KOMUNIKASI 11, no. 2 (August 31, 2020): 6–13. http://dx.doi.org/10.51903/jtikp.v11i2.208.

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AbstractThis research is conducted to analyze how the Famtrip strategy is done, the result, and the obstacle. Themethod used in this research is descriptive qualitative using the Nine Steps of Public Relations by RonaldD. Smith to analys the strategy, interview and data research to analys the result and the obstacle. Theresult of this research explains that Famtrip has been done well but in the other hand has not givesignificant result to the increasing number of foreign tourists visiting Jakarta Textile Museum.Keywords: Tourism, Familiarization Trip, Museum Tekstil Jakarta, Strategy.

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An, Boyeon, Jangjon Lee, and Ryangmi Lee. "A Textile Analysis of Woolen Tapestry Curtain in Seoul Museum of Craft Art." Journal of Conservation Science 35, no. 6 (December 31, 2019): 612–20. http://dx.doi.org/10.12654/jcs.2019.35.6.04.

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