India has a long history of Textiles. Due to the vastness of the country, the large population and different tribes, access to the oceans, access to the natural resources of fiber and dyes, and ethnic beliefs have led to the variety of Textiles. Variety in all types of women's and men's clothing, design, and dyeing methods or embroidery has created a wide variety of Traditional Textiles. Learning the Traditional Indian Textiles, due to their variety and breadth, provides us with a lot of valuable information. The Traditional Indian textile book has been written to introduce India's textile history to the learners. Due to the lack of Persian sources of Traditional world Textiles, this book has become a successful source. The content of the book was criticized in different ways. The evaluation results show that the book is precise and the content is relevant to the learner’ s needs. With respect to the rational order and greater coherence in the content of the text, the proper use of the images or the avoidance of a slight predisposition to the impact of Indian Textiles of the Iranian type, the authenticity of the work can be promoted.

The art of Sassanid period is considered as the last stage of ancient Persian art. Animal motifs in Sassanid art have been identified as an important characteristic of Persian art because of their beauty and symbolic meanings. In the survey of Transoxiana’s art, the special influence of Sassanid art is quite remarkable. Imitation of various Sassanid designs, especially animal motifs, was common in the Textiles of this area. Therefore, the main questions of this research are about the exchange of animal motifs and the reasons behind such common artistic themes between the artists of this region.The works of Persian art brought to the Transoxiana through different ways such as political, religious, cultural and commercial, created a number of common designs and motifs. In order to demonstrate the effects of animal motifs of Sassanid art on Transoxiana Textiles, after reviewing special physical features and symbolic meanings of animal motifs used in Sassanid art, the reasons for the transfer and effectiveness of such motifs are investigated analytically. Moreover, comparing the obtained samples and explaining their similarities and differences, it is concluded that these motifs were transferred to this area through the Silk trade Road and were welcomed due to religious communalities existed between the residents of this region and Persian people. Finally, it can be said that the designs used in Transoxiana’s Textiles have been under the direct influence of Sassanid art with a few differences.

Strengthen of Safavid dynasty by kings like Shah Abbas cause the political alliance, trade boom, and road safety. Craft industries were developed in the early eleventh century. Along with support of fabric Textiles by kings and increasing producers, this industry gradually reached to its peak on Iran history. Yazd history in the knitting high quality fabrics returns to the early of Islam, and since patriarch period its name was known besides several major cloth weaving center. Yazd reached to a position so that officer named Kerk Yaraqi was responsible for market requirements fabrics. Central government support of textile workshops Stimulate employment in the textile industry and a prominent designer such as Ghiyasoddin Yazdi emerged. He moved to Isfahan and became chief of the Royal Workshops. He was known as the most prominent fabric designer in textile history of Iran. In Safavid era, two technical initiatives occurred in designing and weaving tuple and velvet fabric, which Ghiyathoddin was highly skilled in both of them.

Textiles in Sicily During Islamic Era In 837 AD Sicily was conquered by muslin Arabs. Muslim dynasties ruled for over 200 years and they called the island home. Gradually Sicily turned to a wealthy place. Knowledge of Muslims with Islamic culture were in zenith at that time. Sicilian history from Muslim victory until fall and conquest of Normans, can be divided into three duration, i. e. Aghlabids, Fatimids and Kalbids. The Islamic kingdom was closed down by Roger I, the Norman king. During Islamic governorship all industries and crafts were flourished, especially fabric weaving was extended. Many weavers from Islamic lands, such as Egypt, migrated to Sicily and were employed in the workshops to make luxury fabrics. These weavers used Fatimid’ s designs and motifs for fabric decorations. Also calligraphy were adopted and Tiraz system conducted. Therefore many Islamic motifs and Arabic inscriptions were woven or embroidered on Sicilian fabrics. Sicily was well known for its textile production during the Islamic period of its history. At that time merchants were interested in trading silk fabrics from Sicily to Italy and European countries as well. Still the Arabic inscriptions that had been adopted from Islamic Textiles, were used to decorate Sicilian Textiles. Therefore many Textiles with Quranic verses and Arabic calligraphy went in Christian churches and used as clothes or tomb covers. They were well prized, expensive and even found their way in to royal collections. Sicily had been a province of Byzantium and had considerable Greek population. The effect of Islamic styles and techniques on Sicilian fabrics was considerable. Even after fall of Islamic rule in Sicily, The local weavers used Islamic designs and extended after victory of Roger, the Norman king. He supported weaving workshops and ordered for new tiraz workshops in his palace. During his leadership, he combat with Greece and capture many Greek weavers and pushed them to work in fabric weaving factories. They trained Sicilian weavers and used also Byzantine designs to decorate fabrics. Therefore Sicilian fabric designs were affected by them. However Arabic inscriptions were still applied by the weavers. Muslims arts and handicrafts were exported from Sicily to European countries. Sicily had been flourished in the silk production and many cheap and expensive silk fabrics were exported to Egypt to be used by Islamic royal family. Many magnificent and luxury fabrics were made by weavers with Islamic and Byzantine designs. During Arab invasion, Muslims captured all textile workshops in Iran, Egypt and Byzantine. Therefore great knowledge of weaving techniques was enhanced. The silk weaving workshops were renewed to produce excellent fabrics for the king and his family and friends. Therefore these techniques were expanded in all Islamic lands by migration of weavers and handicraftsmen. Sicily absorbed all the Islamic and Byzantine weaving techniques and the textile industry was flourished and expanded. Although the textile factories in Sicily were famous under the Muslim rulers, and then carried on under the Normans, unfortunately the number of existed Islamic Textiles from Sicily is rare other than the regalia of Roger II in Vienna.

As a historical and cultural geographical unit, the old Tabaristan region was one of the centers of weaving and production of Tabari carpets, which has received less attention. Written historical sources directly or indirectly contain valuable information and documents to identify the neglected parts of the famous weavings of Tabaristan. The purpose of this research is to explain the condition of Tabari weavings and its dimensions by collecting and examining the information available in historical sources. Based on library sources and with descriptive and analytical methods, this article has collected and analyzed the available documents in the field of Tabaristan weavings in historical compilations and reports of foreign tourists. The findings of the research show that there is a long history in the silk production industry and its export, the weaving industry and Tabari carpet, and it goes back to before the arrival of Islam in the area of Tabaristan, the textile industries of Tabaristan are in a competitive position with the important weaving centers in It was the early centuries of Hijri and Tabari weavings, in addition to being used in political interactions, have played an important role in the economy of Tabaristan. The multitude of productions of all kinds of fibers, Textiles and weavings of Tabari shows the existence of numerous weaving and dyeing workhouse throughout the region of Tabaristan and probably the reason for economic growth based on trade and commerce.

Al-Andalus also known as Muslim Spain or Islamic Iberia, generally describes parts of the Iberian Peninsula governed by Muslims at times between 711 and 1492. As a political domain, it was successively constituted as province of the Umayyad Caliphate, Umayyad Emirate and Caliphate of Córdoba, Taifa kingdoms, Almoravids, Almohads and Marinids. These kingdoms led to a rise in cultural, industrial, artistic progress and they became the most important Europe scientific center during Middle-Ages. Many believe that fashion grew in Islamic Spain Courts by the genius of one man, Ziryab, who revolutionized the court at Córdoba and made it the stylistic capital of its time. After Umayyad Caliphate, the independent Caliphate of Córdoba focused on textile manufacturing as an important things for court precious property. One of the most important progress was trading stuff and textile manufacturing and sericulture makes Al-Andulus the pioneer of European silk Textiles. Silk industry flourished during Almoravids and Almohads dynasties. Most researchers believe that Al-Andulus Textiles are mostly seen as continuity of Eastern textile design tradition especially Iran during Sassanid Period. It means that all similar motifs and compositions are derived from these clothes and evolved in various Islamic territories separately. But this research presumes that some of Al-Andalus textile motifs and patterns of Almoravids and Almohads dynasties have signs of some contemporary Iranian textile design innovations especially Buyid and Seljuk Textiles, both of which are the continuity of Sassanid textile design tradition. Therefore, this research tries to show these similarities through historical documents, comparative analysis of remained Textiles of these dynasties from design point of view, to investigate the reasoning behind these resemblance and show the similar aspects of these Textiles. Previous researches and historical documents provided by such historians as al-Maqqari (1578–1632) and textile remains in various Museums especially Cleveland Art Museum offered precious information for measuring the suggested theory and improving it. Based on the obtained results, trading over Mediterranean Sea between Iran and Islamic Spain specially during Almoravids dynasty, importing silk clothes from Persian territories for courtiers usage and imitating them in local workshops with similar names as Dibaj, Isfahani, Jorjani, etc., shows the cultural dominance of Persian textile design culture in Islamic Spain manufacturing places and their literature. From design viewpoint, depicting human figure, animals and birds and Persian symbols such as Tree of Life, two headed eagle, man catching two animals in repetitive roundels named Medallion, equal attention to positive and negative complement spaces in design of Buyid Textiles can be seen in Almoravids Textiles and we can see representation of Seljuk Textiles as geometrical patterns, eight-pointed stars, lozenge and crosses in the late Almohed Dynasty Textiles. Probably, the less impact of Persian Textiles during Almohed dynesty can be seen as the result of religious beliefs of Almohed governors in relationship between virtue and simplicity in life, and reduced textile importations can be attributed to Spain progress in sericulture and silk weaving which made Spain as the Europe's textile manufacturing Pole.

The purpose of this research was to study the physical properties of Nipa palm fibers and test the properties of the fibers obtained from the yarn-spinning process. In visiting community groups that produced Nipa palm products in many provinces in Thailand, it was found that the interesting part of Nipa palms that could be brought to develop, build a career, and add value to this plant was Nipa palm fibers, which are tough, strong, and suitable for making wicker products. Interestingly, Kan Mhong Jak (stalks of empty Nipa palm bunches) could be developed into fabrics for use in the design of various products. Additionally, the Nipa palm fibers were mixed with polyester fibers in two different proportions. They were then tested until getting suitable for weaving into the fabrics. The obtained woven fabrics were beautiful, strong, and suitable for further development and creation of other textile products. This can add value to the Nipa palm, a plan that occurs naturally in the community to maximize its benefits and become more well-known.