questions and answers about textiles

Question: Why are textiles included in Missouri art curriculum in the first place?

Answer: Textiles are included for four distinct reasons. The first reason being that our market places are brimming over with all kinds of materials that artists may use to express themselves with. The state art educators want to be the first to promote the free use of any new mediums. Secondly, if teachers are going to teach art history of a particular study like textiles, they also then need to be able to instruct students in the use of historical materials. New mediums help art teachers keep up with the times, and old mediums help art teacher reinforce art history lessons to students. The third reason that textiles are now taught is to promote to the children of Missouri a broader definition of "art." Art does not have to be a painting or a sculpture only, it can also include a hand-woven rug or a meticulously sewn quilt. Traditionally, modern artists believed that fine crafters and fine artists must be kept apart in the world of art. But the state now wishes to teach a greater variety of view points both on and in the art related fields. This is because the state now recognizes that children come in all shapes, colors and sizes. Children also come from many different cultural backgrounds, countries and religions. So in an effort to appeal to a greater variety of people, the state is teaching a greater variety of topics under their fine arts curriculum. And fourth, the state public schools are funded by the tax money of many different people. The inclusion of textiles is one of several new mandates for art teachers that will appeal to a larger audience who supplement our public schools with their tax dollars.

Question: Is paper mache considered a textile?

Answer: Yes, because it is a fiberous pulp medium that can be manipulated in a wide variety of ways.  Paper mache may also be used during a sculpture course in general. This is because both sculpting and painting courses have broader stipulations than textile courses when the state is defining the materials used under particular art requirements. 

Question: What mediums are used in textile education?

Answer: The mediums in an art textile class include fabrics, weaving, and paper that is manipulated as a flat woven surface and/or sculpture. The paper can not simple be drawn on or painted on in order for it to be included in an authentic textile course. There are many teachers who include paste painting techniques in projects that they label "textiles." This is not a textile subject technically. In textiles, the paper must be further manipulated with techniques such as folding, shredding, or weaving in order for the lesson to be thought of as something other than a painting or drawing requirement. (Dyeing fabrics is, however, considered a textile technique traditionally.) Simply painting onto the canvas is a painting technique. These methods cross over in art courses but in order to label them properly, teachers must adhere to particular standards. In mixed media project both textile and painting techniques are often included. In this case, the teacher would file her art project under "mixed media" for that particular state standard instead of textile. If she has no other textile project, she could used the mixed media for a textile requirement but it would be better for her to choose the former and incorporate a weaving project for a textile standard requirement.

Question: What is the difference between teaching textiles and teaching sewing?

Answer: In textile art courses, teachers instruct their students to manipulate fabric, weaving materials or even paper pulp mediums to create art. Included in this instruction, are all the standards used by art educators when teaching painting, sculpting etc.. In other words, if an art teacher is designing a quilt unit, he or she will also include in that unit the study of design theory, color theory, and the art history of the chosen subject. If a sewing teacher is teaching a unit in quilts, she will most likely teach basic machine sewing methods plus economic principles. Home economics instructors and fine art teachers sometimes share similar interests, but these two schools of practice are very different from each other because of the information that is included in the curriculum of each interest. This is also true of the differences between craft teachers and fine art teachers. A craft instructor will most frequently limit her teaching to the manipulation of materials. A fine arts teacher covers more material and also teaches subjects in the arts from the perspective of fine arts. All three of these teaching professions are beneficial to the development of eye-hand coordination in students. But the type of additional information taught with material lessons designed to enhance small motor skills is determined by the instructor's knowledge base.

My Textile and Sewing Pinboards:

• Prickly Pins - I'm keeping a web scrapbook of those textile/sewing ideas that I may develop future art assignments with. 
• Kaleidoscope Quilts - Examples on the web
• Crazy Quilts - Crazy quilting as a textile art is extremely creative and free-flowing by nature, and crazy quilters will often learn as much about specific embellishments as they will about crazy quilting itself.
• Baltimore Beauties - Baltimore Album Quilts originated in Baltimore, Maryland in the 1840s. They have become one of the most popular styles of quilts and are still made today. These quilts are made up of a number of squares called blocks. Each block has been appliquéd with a different design. The designs are often floral, but many other motifs are also used, such as eagles and landmarks. They have a background of white and incorporate many primary colors such as reds, greens and blues. 
• Amish Quilts - Amish quilts are appreciated for their bold graphic designs, distinctive color combinations, and exceptional stitching. Quilting became a favored activity of the Anabaptist sect after emigrating to the United States and Canada from Germany and Switzerland over 250 years ago.
• Hawaiian Quilts - Hawaiian quilting reflects distinctive design qualities found in the Hawaiian floral and fauna. The patterns are usually large and radially symmetric. Most Hawaiian applique quilts are cut from a single piece of folded fabric. 
• Needlecases, Needle Books and Pincushions 

Question: Where might I find lesson plans for teaching sewing to young students?
Answer: I suggest that you either purchase or check your local library for a title called, "Kids Can Quilt" by Dorothy Stapelton. In this book, you will find pattern templates, excellent directions and projects that develop basic skills and creative thinking processes that are simple enough for 4th, 5th, and 6th graders to accomplish.

• Age appropriate sewing lessons
• What should be included inside a young person's first sewing kit?
• Examples of sewing boxes and kits 

Looms made from cardboard boxes provide young children with easy spaces to
 manipulate yarn through. The teacher will need to string the loom in advance.
Eliminating this step from the weaving process is helpful.

Question: I want to teach my second graders how to weave but their finger skills are not yet "advanced" enough to weave with cardboard looms. They have already practiced with paper weaving. Do you have any suggestions?
Answer: Yes, teach them how to weave with a cardboard box loom. I have pictured my teacher sample below. This kind of weaving is just slightly more advanced than paper weaving and very age appropriate for second graders. Ask parents to donate shoe box lids only for this art endeavor. You will need to string the looms in advance though. 

• Textile and Sewing Graphics to Illustrate Your Worksheets and Newsletter With
• Textile Lesson Plans Online 
• Weaving Methods and Projects for Elementary Students  

 

the most important western european paintings?

The Starry Night, June 1889,
The Museum of Modern Art, New York

Question: Could you list most important Western European paintings you feel American students should be able to recognize by the time they graduate from high school?

Answer: This is the sort of request that is, of course, impossible to answer absolutely. Not only is it a question of taste, but also the answer would be different given the location and cultural history of the students who are being taught the material. Personally, I believe that young people should become most familiar with art that is both local and relevant to their own culture. However, I will include here a listing of those artworks painted by Western Europeans that young students in the United States should be able to identify by the time they graduate from any high school. This listing is influenced by the number of lesson plans that I have read over the years, the art history classes that I have attended in college, and also upon my own tastes. 

Marc Chagall's painted the ceiling of
the Paris Opera house in 1963.

      The listing is not random; I believe that most young scholars should be familiar with the paintings I have included here in order to claim that they have some descent exposure to the "appreciation" of the fine arts. All the paintings are world renowned. Countless scholars have written praises for these artworks and have agreed that their creators are some of the finest painters who have ever lived. Some of my choices are not only based upon exquisite technique but upon the importance of ideas represented in the artwork that are historically important.

      If and when students should ever attend art appreciation in college or even general western art history courses, they will be expected to identify these paintings, the artists who created them and most probably the museum collection or building where the artworks may be viewed.
      The paintings are not listed in any particular order and I will probably continue to add to the listing over time.

Guernica, 1937, Museo Reina Sofia

"Primavera" also known as the Allegory of Spring by Sandro Botticelli.
The painting hangs in the Uffizi Museum of Florence.

Where Do We Come From? What Are We? Where Are We Going?,
1897, Boston Museum of Fine Arts, Boston, MA, USA

Mona Lisa (also known as La Gioconda or La Joconde,
or Portrait of Lisa Gherardini, wife of Francesco del Giocondo)
is a portrait by the Italian artist Leonardo da Vinci. It is a painting in
oil on a poplar panel, completed circa 1503–1519.
It is on permanent display at the Musée du Louvre in Paris.

Rain, Steam and Speed - The Great Western Railway
painted (1844) by Joseph Mallord William Turner.

Ophelia (1852) Tate Britain, London by John Everett Millais

The Sunday Afternoon on the Island of La Grande Jatte,
1884–1886, at The Art Institute of Chicago,
depicting petite bourgeoise and prostitutes
on the right bank of the river is by Georges Seurat

Water Lilies, 1906, Art Institute of
Chicago is by Claude Monet.

The Persistence of Memory by Salvador Dali hangs
in The Museum of Modern Art, New York City

The Sistine Chapel's ceiling was painted by Michelangelo.
This particular scene is of "The Last Judgement."

"The Scream" by Edvard Munch hangs in
The National Gallery of Oslo

The Calling of Saint Matthew (1599–1600).
Contarelli Chapel, San Luigi dei Francesi,
Rome is by Caravaggio. The beam of light, which
enters the picture from the direction of a real window,
expresses in the blink of an eye the conversion
of St Matthew, the hinge on which his destiny will turn,
with no flying angels, parting clouds or other artifacts.

"St. George and The Dragon" by Peter Paul Rubens

The Burial of the Count of Orgaz
(1586–1588, oil on canvas, 480 × 360 cm, Santo Tomé, Toledo),
now El Greco's best known work, illustrates a popular local legend.
An exceptionally large painting, it is clearly divided into two zones:
the heavenly above and the terrestrial below, brought together compositionally.

Composition VII by Wassily Kadinsky

Open Window, Collioure, by Henri Matisse,
1905, National Gallery of Art, Washington, DC.

Las Meninas by Diego Velázquez

Natalia Goncharova’s Cyclist, 1913

Don't you feel embarassed about . . . ?

Question: Don't you feel embarrassed about being a fine artist who also posts crafty things?

Answer: Not at all! Crafting can be an enjoyable occupation for many people. Do professional, downhill skiers mind playing on the kitty slopes with their kids? Artists can become too sophisticated. Everyone needs to be open to simpler pursuits at times, in order to relax and appreciate the modest joy of living. Never apologize for spending time with children and family doing what they are capable of doing in order to talk, laugh and build relationships that will last.

Famous North American Painters Students Should Know?

Question: Could you list famous North American painters you think students should be able to identify by the time they graduate from high school and also show a sample of their work?
Answer: Well, if they could recognize these painters, they really would be well educated. Unfortunately, students educated in American public schools are far more familiar with Western European painters. There are many more painters I would include in this list but can not for fear of violating copyrights. Artists like Fritz Scholder, he is also an exquisite painter but I haven't any jpgs. of his work.

Albert Bierstadt, "The Rocky Mountains, 
Lander's Peak", 1863, Hudson River School

James McNeill Whistler, Arrangement in 
Grey and Black: The Artist's Mother (1871)
popularly known as Whistler's Mother,
Musée d'Orsay, Paris. Read his letters here.

Edward Hicks, "The Peaceable Kingdom"
(1826), National Gallery of Art, Washington, DC

"A Bigger Splash", by David Hockney
1967, Tate Collection, London.

"Keith" by Chuck Close in
The Saint Louis Art Museum

"Washington Crossing the Delaware" is by German American artist Emanuel Gottlieb Leutze. It commemorates General George Washington's crossing of the Delaware River on December 25, 1776, during the American Revolutionary War. That action was the first move in a surprise attack against the Hessian forces at Trenton, New Jersey in the Battle of Trenton. The painting is part of the permanent collection of the Metropolitan Museum of Art in New York City. There are many copies of the painting, one of which is in the West Wing reception area of the White House.

"American Gothic" is a painting by Grant Wood,

in the collection of the Art Institute of Chicago.

"The Builders" by Jacob Lawrence

"Boston Cream Pies" by Wayne Theibaud
in the South Dakota Art Museum

"Christina's World" by Andrew Wyeth is now
at The Museum of Modern Art, New York City

"Black Mesa Landscape" by Georgia
O'Keeffe in the Georgia O'Keeffe Museum.
O'Keeffe painted the majority of her landscapes
at Ghost Ranch where she lived out the later part of her life.

"Nighthawks" by Edward Hopper is one of
his best known works, Art Institute of Chicago

"Little Girl in a Blue Armchair" by Mary
Cassatt is at The National Gallery of D.C.

Charles Demuth (1883-1935)
The Figure 5 in Gold (1928)
Alfred Stieglitz Collection
Metropolitan Museum of Art

Thomas Hart Benton's "Lord Heal This Child"
preliminary painting, in a private collection

"Beyond the Easel" self-portrait and boy scouts
of America by Norman Rockwell

abstract by Willem de Kooning (1957)

"Gloucester Harbor," 1873, oil on canvas by Winslow Homer.
Nelson-Atkins Museum of Art

Robert Rauschenberg, untitled "combine," 1963.

any suggestions for a storybook about weaving?

"The Village Basket Weaver" by London

Question: Can you think of a book that I could read aloud to my elementary students before we start a weaving project?

Answer: "The Village Basket Weaver" is an excellent introduction to weaving and island culture in the Caribbean. I've included here an introductory lesson for this storybook.

Teacher: Mrs. Grimm

Subject: Art Appreciation

Level: 4th -6^th grade

Topic: The Importance of Heritage

Standards: Show-Me Standards for Missouri Schools

Strand I: Product Performance – communicate ideas about subject matter and themes in artworks created for various purposes

·  Create an original artwork that communicates ideas about the following themes – Functions of Art in Culture and Personal Identity

Strand IV: Interdisciplinary Connections – Explain the connections between Visual Art and Communication Arts, Math, Science or Social Studies

·  Explain how artworks reflect the cultures in which they were created

Advance Organizer: A young boy approximately 10 or 11 years old who lives in the Caribbean in a small fishing village, feels that the old ways of his grandfather, a basket weaver by trade, will be forgotten.

Objectives:

·  The teacher will read aloud a story called “The Village Basket Weaver,” so that the students may draw conclusions about village life, culture and traditions of the Black Carib people living in a sea village of Central America. It is expected that 80% of students will demonstrate proficiency at the GLE level.

·   Students will distinguish the characteristics of a cassava basket and compare it’s differences and similarities to baskets they are most familiar with. It is expected that 80% of students will demonstrate proficiency at the GLE level.

Materials Needed:

• The book, “The Village Basket Weaver,” by Jonathan London
• Drawing pencils
• Every student should get a Xerox copy of the worksheet included with this lesson plan and one piece of blank white drawing paper.
• A slide show prepared ahead of time about baskets.

Phase 1: Introduction: Because we will be making sample baskets in the future, I will be reading a story today about a basket weaver and the life-style he wishes to pass on to his grandson. I am sure that most of you are familiar with different types of baskets found in American homes and how these are frequently used. This book that I’m going to read aloud describes cassava baskets used in the Caribbean by bakers. It also describes in great detail the culture of these village fishermen as well. Listen carefully to the story so that you will be prepared to describe what you hear on a worksheet you will be filling out after the story is read.

Phase 2: Show a slide presentation of baskets and review orally the questions below about the story with the students.

• What does it mean to “inherit a tradition?” The teaching of information from the older people to the younger.
• What is the Caribbean culture like in the story? Students may give a wide variety of answers concerning this content, such as: people work under thatched roofs, their bread was not purchased at a store, villagers lived by the beach, people catch fish for a living, village children want to work on farms and drive tractors, the local rooster wakes people up in the morning, Tavio lives in a one-room house, etc…
• Can you describe what a cassava basket looks like and what is used for.  A cassava basket is long and narrow and stretches while it is filled up cassava pulp so that poisonous juices will be drained out of the bottom.

Phase 3: Present learning materials: On the worksheet there are a list of questions that I want you to answer and turn in tomorrow along with a drawing of a cassava basket and another basket that you may find in your home, in a magazine, or on the internet. Take the rest of the time in class to focus on answering the questions. You may work with a partner if you prefer. Please speak softly between yourselves as you work. I’ve included with your worksheets a blank piece of write paper for your drawing assignment. 
Below are the questions about “The Village Basket Weaver” by Jonathan London.  Please fill out the worksheet with complete sentences and bring it into the next class period to share with your peers! (Teachers will need to swipe the questions and put into a Word document and add spaces.)

1. What kind of basket did Tavio help his grandfather weave and what was it used for?
2. What was the village school like compared to our school?
3. Describe the Culture of the Caribbean children in the story. 
4. What did Tavio want to inherit from his grandfather?
5. What will you hope to inherit from your parents or relatives someday?
6. Based upon the story that was read in class, what do you think our next art project will be about? 
   

Phase 4: Application: The following session the students will discuss and compare with each other the answers they gave on the worksheet. We will also tack the drawings of baskets up on the board and make comparisons between the illustrated baskets. I will then collect their work and grade it. Next, I will then introduce a new art lesson about weaving.

Written content is original to Donna Grimm copyright 2009

what are your favorite christmas stories to read aloud?

 Question: What are your favorite Christmas stories to read aloud?

Answer: We recommend the following selections of Christmas Books for parents to read aloud to their children during the holidays. Some of these are suitable for public school classrooms and some are more suitable for the home or parochial schools.

• "The Birthday of a King" by Bob Hartman Michael McGuire
• "A Taxi Dog Christmas" by Debra and Sal Barracca, Illustrated by Alan Ayers - "Maxi and Jim the taxi driver gladly interrupt their Christmas celebration to lend Santa a hand." publisher
• "Rudolf the Red-Nosed Reindeer" by Barbara Shook Hazen Adapted from story by Robert L. May, Illustrated by Richard Scarry. "Here is a delightful version of the tale of Rudolph the red-nosed reindeer--the little reindeer so well known in song and story." publisher
• "One Wintry Night" by Ruth Bell Graham, Illustrated by Richard Jesse Watson. "Ruth Bell Graham retells the Christmas story in a contemporary setting, beginning with creation and closing with Christ's resurrection." publisher
• "All Is Well" by Frank E. Peretti - Poverty stricken and low on hope. A divorced mother and her daughter prop up their sagging spirits and keep the flames of faith alive by clinging to a phrase heard on a previous Christmas, "All is well."" publisher
• "Frosty the Snowman" Adapted from the song of the same name, retold by Annie North Bedford, illustrated by Corinne Malvern. "Frosty the Snow Man was born in 1950 as the subject of a phonograph record, and soon after appeared in many different forms. He has been in numerous Thanksgiving Day and Christmas Parades. Unlike other snow men, he is at home even in the warmest parts of the United States." publisher
• "This is the Star" by Joyce Dunbar and Illustrated by Gary Blythe.
• "Mr. Willowby's Christmas Tree" by Robert Barry.
• "Christmas at Long Pond" by William T. George, paintings by Lindsay Barrett George. - "Father and son observe the plant and animal life around Long Pond before finding just the right Christmas tree." publisher
• "The Night Before Christmas" by Clement C. Moore, Illustrated by Ted Rand (our favorite version)
• "The Nightmare Before Christmas" by Tim Burton - "When the king of Halloween decides he wants a new holiday, Christmas will never be the same." publisher
• "The First Noel", Illustrated by Jody Wheeler - "Illustrated version of the well-known carol in which an angel appears to poor shepherds to announce the birth of Christ.
• "The Steadfast Tin Soldier" by Hans Christian Anderson and Illustrated by Fred Marcellino - (our favorite illustrated version)
• "The Advent Book" by Jack and Kathy Stockman - A MUST Have for Christian parents celebrating the true gift of Christmas with their small children this Christmas. (Crossway Books a division of Good News Publishers.)
• "Santa's Book of Names" by David McPhail - A young boy who has trouble reading helps Santa with his yearly rounds and receives a special Christmas present.
• "Winnie The Pooh's Stories For Christmas" by Bruce Talkington, Illustrated by John Kurtz
• "The Polar Express" by Chris Van Allsburg
• "How The Grinch Stole Christmas" by Dr. Seuss 

 More Recommended Film and Books for Children at Christmas

 

timeline of chinese dynasties for art history teachers

Question: Do you have a timeline of Chinese Dynasties for Art History Teachers? 
Answer: List Included Below
 
Neolithic Period: c. 7000-1600 BC

• Yanshao Culture: 5000-2000 BC

Longshan Culture: 2500-1500 BC

夏 Hsia (Xia): 2205-1766 BC

商 Shang Dynasty: c. 1600-1027 BC

Zhou (Chou): 1122-770 BC

• 西周 Western Zhou: 1027-771 BC
• 東周 / 东周 Eastern Zhou: 770-256 BC
• 春秋 Spring and Autumn Period: 770-475 BC
• 戰國 / 战国 Warring States Period: 475-221 BC

秦 Qin (Ch'in): 221-207 BC

Han Dynasty:

• 西漢 / 西汉 Western Han: 207 BC-9 AD
•  新 Xin: 9-25 AD
• 東漢 / 东汉 Eastern Han: 25-220 AD

Six Dynasties Period: 220-580 AD

三國 / 三国 Three Kingdoms Period: 220-265 AD

Tsin (Jin): 265-420 AD

• 西晉 / 西晋 Western Jin: 265-316 AD
•  東晉 / 东晋 Eastern Jin: 317-420 AD

南北朝 AD
Northern Dynasty: AD

• Northern Wei: 386-534 AD
• Eastern Wei: 534-550 AD
• Western Wei: 535-556 AD
• Nothern Qui: 550-557 AD
• Northern Zhou: 557-581 AD

Southern Dynasty

• Song: 420-479 AD
• Qi: 479-502 AD
• Liang:502-557 AD
• Chen: 557-589 AD

隋 Sui Dynasty: 589-618 AD

唐 Tang (T'ang) Dynasty: 618-906 AD

五代十國 / 五代十国 Five Dynasties and Ten Kingdoms: 906-960 AD

• Later Liang: 907-923 AD
• Later Tang: 923-936 AD
• Later Jin: 936-947 AD
• Later Han: 947-950 AD
• Later Zhou: 951-960 AD

遼 / 辽 Liao Dynasty: 916-1125 AD

Sung (Song): 960-1280 AD

• 北宋 Northern Sung: 960-1127 AD
• 南宋 Southern Sung: 1127-1279 AD

金 Jin Dynasty: 1115-1234 AD

元 Yuan (Mongol) Dynasty: 1271-1368 AD

明 Ming Dynasty: 1368-1644 AD

• Hungwu: 1368-1398 AD
• Jianwen: 1398-1402 AD
• Yongle: 1403-1424 AD
• Hongxi: 1425 AD
• Xuande: 1426-1435 AD
• Zhengtong: 1436-1449 AD
• Jingtai: 1450-1456 AD
• Tianshun: 1457-1464 AD
• Chenghua: 1465-1487 AD
• Hongzhi: 1488-1505 AD
• Zhengde: 1506-1521 AD
• Jiajing: 1522-1566 AD
• Longqing: 1567-1572 AD
• Wanli: 1572-1620 AD
• Tiachang: 1620 AD
• Tianqi: 1620-1627 AD
• Chongzhen: 1628-1644 AD

清 Qing (Ch'ing)-(Manchu) Dynasty: 1644-1911 AD

• Shunzhi: 1644-1661 AD
• Kangxi: 1662-1722 AD
• Yongzheng: 1723-1735 AD
• Qianlong: 1735-1795 AD
• Jiaqing: 1796-1820 AD
• Daoguang: 1821-1850 AD
• Xianfeng: 1851-1861 AD
• Tongzhi: 1862-1874 AD
• Guangxu: 1875-1908 AD
• Xuantong: 1908-1911 AD

Republic of China: 1912-1949 AD

People's Republic of China: 1949-present times

Article Links to Chinese Art History: "A feast for the eyes" * Chinese Jade * Chinese Literature * Exploring Ancient World Cultures * Introduction to Asian Art * Treasures from a Lost Civilization * The Legacy of Chinggis Khan * 

Resource on Chinese Art: asianart.com * Asian Historical Architecture * Arts of China Consortium * art history resources on the web: Chinese Art * China Art * China the Beautiful * A Country Study: China * China Knowledge * Chinese Brush Painting * Chinese Dynasty Guide * The Culture Pavilion of R.O.C. * Guide to Chinese Ceramics * Himalayan Art Resource * Topics in Pre-Modern Chinese History * Splendors of Imperial China * Monuments of China * The Secret World of the Forbidden City * The Huntington Archive * Chinese Art Galleries * Modern Chinese Visual Art * Asia for Educators * The Palace Museum * Freer and Sackler Galleries * Chinese Art Museums * The China Experience * China World Heritage Site * UNESCO World Heritage Centre * 

Chinese Art Museum Collections: Art Institute of Chicago * Asia Society Museum of New York * Asian Art Museum of San Francisco * Berkeley Art Museum * Boston Museum of Fine Arts * British Museum * Cleveland Museum of Art * Detroit Institute of Arts * Freer and Sackler Galleries * Kimbell Art Museum * Kyoto National Museum * Los Angeles County Museum of Art * Metropolitan Museum of Art * Minneapolis Institute of Arts * Mus�e Guimet * Museums in China * National Palace Museum, Taipei * The Nelson-Atkins Museum of Art * Palace Museum, Beijing * St. Louis Art Museum * Shanghai Museum * Tokyo National Museum