Vídeo: Seda dourada e arte secular da tecelagem em exposição no Catar

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[Music] you have these crafts that are handed down from the past that are still vital today and then design pointing the way to the Future the textiles which are on display are the only textiles in the whole world that are made of the golden spider silk each of these carpets will live so much more than us they will over live like many many generations they are so unique and beautiful because the the gold color is actually how it comes out to from the spider hello and welcome to cther 365 I’m halim and on this episode we explore the textile industry Lila humra introduces us to the sacred rituals women Weavers of Afghanistan have practiced for Generations but first we’re at the Museum of Islamic art for a new exhibition that explores the remarkable world of golden spider silk I even got a chance to see a golden Cape being showcased in the Middle East for the very first time which took 2 years to produce and incorporates a silk of 1.2 million spiders this exhibition includes four golden textiles crafted from spider silk Yes you heard that right silk from golden orb weaver spiders indigenous to Madagascar and famous for the color of their webs one of the things about it is it produces this wonderful gold thread just the the fact that where you know it comes from is already a sort of magical thing because it’s hard to associate the web of a spider with actually which is such an ephemeral thing which can blow away in the wind and then imagine that as something permanent so and just how on Earth do you do it how do you get from being that ephemeral thing to a permanent thing answering that question has become a labor of love for Simon piers and Nicholas Godley who spent two decades of trial and error producing spider silk strong enough to produce textiles so every day we have quite a number of people going out in the town with long bamboos just catching spiders putting in a box bringing back to the place which we call the spidery which is where we extract the silk and then in the afternoon we put them back in the box and they are released back into the wild so it’s not our in our interest at all to kill the spider we want to keep the spider alive interest in spider silk goes back centuries but these pieces are the only examples of golden spider silk in the world now if you’re squeamish or scared of the creepy crawlers just imagine the process of extracting 1 ooun or 28 G of golden spider silk requires the help of 23,000 spiders and a lot of silk was needed for the highlight of the exhibit this gold cape is from the silk of 1.2 million golden spiders which took more than 2 years to produce and over 6,000 hours of embroidery I think you have to be uh incredibly passionate and maybe a little crazy to commit yourself to a project like this it takes time energy resources you’re surrounded by spiders in Madagascar but they can’t be harvested the way that other Industries are harvested right so you have to actually go into the wild catch them go through the process of removing the spider silk and then releasing them back into nature all the while trying not to get bitten by the spider itself the exhibition space is part of the Museum’s last and final stage of a relaunch project that opened before the World Cup in 2022 the Museum’s director says the exhibition Embraces sustainability by highlighting the use of eco-friendly vegan silk in the final exhibit pieces they are so unique and beautiful because the the gold color is actually how it comes out from the spider itself so natural color and for me it’s the first time I see uh such uh textile uh that are not dyed uh shiny and gold from nature this is also very sustainable way uh of producing uh silk from the uh spiders there lots of research uh done to develop this uh technique um also we have displayed some uh historical uh manuscripts and books for the visitors to get to know more uh about it we hope uh the visitors will enjoy the exhibition and find it inspiring now you’re probably wondering what does it take to preserve the rare Priceless textiles found here at the Museum of Islamic Art whether their ancient artifacts preserved for Generations or relatively new works of art like the golden spider silk pieces we just saw clearly considerable care must be taken I recently got a chance to go behind the scenes to see how conservator Dominica costal nikova prepares the textiles before or they’re displayed to the public Dominica there’s a big focus on textiles here at the Museum of Islamic art can you walk us through the process of how you restore and preserve some of these items the uh work of textiles uh conservation uh includes many aspects for example first step when the textiles object reach the conservation laboratory usually uh me as texile conservator I need to prepare the condition check and photo documentation of objects before any intervention usually after that we need photograph the textile conservator research the objects I mean uh different textile techniques or composition of textile fibers and uh there is a lot of questions uh which uh we need to answer for them so here at Mia you have textiles from all over the world from Africa Asia and Europe particularly is there a big difference uh when you’re working with pieces from different locations different time periods yes the textiles which we have in Mia collection includes different uh textile techniques for example the people in the past they use different techniques or decorative of text Styles in Europe and uh in central or East Asia the same with Wen of Fabrics or textiles the luxurious textiles were representative gifts in the past and usually it was the trade between Europe and Asia so Dominica what are we looking at here now we have here the Mongolian uh broade rope silk rope from the 14 Century it’s very beautiful rope but in poor condition because it’s archaeological textiles and uh now I start with a humidification and flattening of creases and faults which we can see here in this uh place it’s very specific broade rope because broade is very specific shuttle woen fabric where the people use the metal uh Frets it means usually gold or silver Frets and uh in this case especially uh because uh broade uh textiles are very specific and looks very luxurious and in the past were very expensive so it’s the most beautiful textile for me the intricate work behind creating a piece of textile makes it more than just a skill in some communities the art of weaving has been passed down through generations at design Doha cutter Museum’s new ban Al a special exhibition is putting an Innovative spin on an ancient craft and Lila humra got an inside look from the mountains of central Afghanistan to a contemporary art space in Qatar designer Mariam Omar skillfully weaves an ancient handicraft tradition with modernity to create a powerful presentation at the M7 Museum Tai wanted to celebrate uh the corpet Weavers actually that are carrying these uh centuries old tradition of carpet weaving in Afghanistan Mariam spent 10 months closely interacting with the carpet Weavers who went on to help her create the rugs on display I wanted my inspiration to be the person person who is weaving what is it about them about their about their weaving hands about their sounds their voices their environment their stories their personalities their colors Mariam Omar’s weaving poem exhibition transforms this space in the M7 Museum into a world of women Weavers from Afghanistan’s bamyan region welcoming visitors into a Sacred Space where creativity comes alive weaving poems was curated by turquoise Mountain a nonprofit organization founded by King Charles in 2006 to revive preserve and support thousands of families in Afghanistan so turquoise Mountain supports Artisans and we support Artisans where their traditions and and often they are under threat and we do it in any way we need to to make sure that they can Thrive and that they can pass it on to the next Generation the foundation has since expanded to more countries where traditional handicrafts and cultural heritage are at risk of Disappearing we work in Myanmar we work in the Levant with syrians jordanians and Palestinians from Jordan and from West Bank uh and we work in Saudi Arabia and so that is so many different Traditions probably almost 100 different Traditions across those countries using textiles as a medium of Visual Arts may be less common but design DOA believes that doesn’t mean it can’t be as impactful when we think about textiles of course that sits within this larger topic which is craft and its relation to design because certainly you can’t make great textiles without having a lot of knowledge about looms or other textile techniques that go back centuries here in in the region so what’s very interesting is that you have these crafts that are handed down from the past that are still vital today and then design pointing the way to the Future for Mariam working with textiles isn’t just a thread that connects her to her people country and culture it’s also an art she G hopes will transcend borders and time my hope is that the visitors will look at these carpets and they will understand the value that carpet weaving this extremely old tradition of handmade uh woven carpets still carry in today’s design scene and today’s interior that each of these carpets will live so much more than us they will over live like many many generations they will still be alive this value that these people create with their hands I always say and not at the time from madagascan spider spawning gold silk to Afghanistan’s Rich carpet weaving tradition we hope you enjoyed this episode but that’s all the time we have for now for more check out euronews.com and connect with us through our hashtag thanks for watching and we’ll see you next time on cther 365 [Music]