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Elements Involved in the Formation and Appearance of Motifs in Qashqa’i Gelims
Dr. Abulghasem Dadvar, Mr Hamidreza Momenian,
Volume 2, Issue 2 (6-2006)
Abstract
The designs and motifs of Qashqa’i gelims betray in a sense their weavers’ creative minds, high intelligence, unwavering efforts, great ability, graceful spirit, and deep thought. Understanding the meanings of these motifs and designs will help us become more familiar with the religious beliefs of the Qashqa’i people, the true meaning of their lives, their myths, traditions and rituals. It will also help us recognize the factors that have led to the appearance or disappearance of various motifs throughout the history of the tribe. The general factors that have led to the appearance of motifs in Qashqa’i flatwoven rugs have been mentioned as follows:
A) Geographical factors and the natural environment
B) The history, culture, and art of Iranian nomadic tribes
C) The organization of the tribe
D) The literacy, amount of knowledge, income and status of living of the people The most important conclusions of the study concern the categorization of Qashqa’i gelims, the most prevalent designs, motifs and sizes of the Qashqa’i gelims, designs that have undergone change or have been forgotten and the use of various colors in these rugs.

A study of Motifs of Bakhtiarian Textiles
Dr Abolghasem Dadvar, Mrs Farnaz Moazen,
Volume 5, Issue 13 (9-2009)
Abstract
The textile of the Bakhtiarian's nomadic have many changes during of periods .This alterations will have continued, but some of that ,have a collection of designs that come from the mind of Bakhtiarian woman ,who teach them from her deceased, these study tried to collect the motifs that have many unknown meanings. The aim of this research is to introduce these motifs and try to field study. But the main purpose of this study is to reviving the traditional Bakhtiarian motifs and avoid of its separating and abandoning and also the use of these motifs in new art works and the life of people

Some Analyses on Arab-jinni Rugs of Fars
Dr Abolghasem Dadvar, Mrs Azam Rasooli,
Volume 6, Issue 15 (6-2010)
Abstract
Arab Jinni rugs, illustrate special attitude of their creators who made exceptional and mysterious hand-made weavings. In 1993, Dr. Parham ascertained the name of this tribe as well as their weavings to Persian carpet literature for the first time. Despite unfamiliarity of this tribe in Iran's literature and historical documents, it is mentioned in detail in the lineage books of Arab and Quran commentaries. Apparently in the ethnic and ideological beliefs of this tribe, believe in jinni and tendency to their mysteries is one of the factors that affect their motifs and designs. Recognition of Arab-Jinni tribes and their beliefs, plausible ancestral and ideological relation of this mysterious and unknown tribe with them, totemic tendencies of creators of such rugs, the influence of cultural reconciliation of three important western Asia, Mesopotamia, and Persia-India civilizations on the formation of their motifs are among the most important outcomes of this research.

Iconographic Analysis of Ravar’s "Layla’s Camel" Intra-hybrid Rug
Seyedeh Masoumeh Shahcheragh, Alireza Taheri, Farnoosh Shamili, Abolghasem Dadvar, ,
Volume 16, Issue 38 (2-2021)
Abstract
The pictorial rug of "Layla’s camel" belongs to the Qajar era, in which the central image is occupied by the large body of an "intra-hybrid" camel; the outer shape is realistic and the inside is composed of a large number of small human and animal motifs.
Creating patterns of some creatures in this way became popular in Iranian painting from the Timurid period, which reached its peak and popularity in the Safavid era. This method also was considered in the Mughal art in India at the same time as Safavid.
In this article, the "Layla’s camel" rug is described and analyzed with iconographic approach and using library resources and some scientific websites. The purpose of this study is to introduce a specific example of pictorial carpet and analyze it in a scientific way. In this regard, an attempt has been made to answer these questions:
  1. How can the relation of rug inscriptions with its central image be read?
  2. What is the main theme of the story from the perspective of iconographic analysis?
  3. What is the irony of the collection of animal species that make up the body of "Layla’s camel"?
  4. What do the presence of the angel-harpy and the red-winged dragon symbolically mean in the rug?
Poetic inscriptions in the margin of the rug, in harmony with the pictorial elements of the text, refer to the story of Layla’s wedding with Ibn-Salam and her farewell to Majnun, quoting "Maktabi_e Shirazi". But the main meaning of the story at this stage is the victory of good (Majnun) over evil (Ibn-Salam) by the animals.
The "intra-hybrid" camel also consists of animals that Majnun was accompanied in the mountains and in the desert, but at the same time has a caravan of wedding joy. Also, the image of the angel-harpy in its ancient meaning is a symbol of victory, which refers to the battle of the animals that support Majnun with the dragon – Ibn-Salam– and kill him.
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