Paisley is one of the most common motives of Iran, has been prevalent since old time, almost in every hand-woven such as cashmere, carpet and calico.

Due to this scattering of application, and long term prominence, figure and image of paisley has changed and turned into sixty various images. The most current is called Shrubby and Floral Aigrette.

There has been always some contradiction about origin of this image, patronage of Art have different interpretations about it; some believe it as a mystery sign of flames of Zoroastrian fire temples and some know it as example of almond and pear, but recently some came to the conclusion, that it is a realization of an Indian plant and thus have found, that this image has come to Iran from India and is altered in some way.

Historical evidences show, that none of those theories was right, but it is obvious that paisley was at first a cypress tree, bent by the wind and on the contrary has Iranian origin, gone to India in the course of time. Out of about sixty paisley motives used in Iranian (and Caucasian) carpets weaving, only four of them are counted in carpets of Fars.

After Aigrette-Paisley another current and common image is “QobadKhani paisley, which is most desired image in Qashqai weaving. Paisley image like “In and out fish”, at first has been a throughout image, was woven without medallion and corner, by weaving paisleys in horizontal or parallel rows.

Since Qashqai weavers always tried to follow a variety in design and disliked monotonous uniform designs, first of all, they used to decrease this annoying monotony of Qobadkhani paisley through weaving attractive margins. Shining, colorful images of paisley design, resulted increment of sense of motion, which is a particular of this design. It is sensible that those images in empty ground overrun the frontiers of corners and margin of carpet.