Card weaving represents an ancient form of tape weaving that has been practiced in various regions across the world. Archaeological evidence, particularly from the Osberg ship in Norway, indicates that woven cards were in existence as early as the 9th century AD. This traditional craft has also been significant in Iran, where it remains a component of the cultural heritage of the settled nomadic communities in Lorestan, although it is slowly fading away. Despite previous studies, there has been a lack of comprehensive research on this art form in Lorestan. This study aims to document and acknowledge card weaving as a significant ancient art.
       Consequently, the inquiry that emerges pertains to the distinctive features of card-weaving art among the Lorestan tribes, particularly regarding the aspects of location, weaving techniques, and design motifs. In light of the weaving techniques and the nature of the weavers, what visual elements characterize card weaving? This study adopts a qualitative approach in terms of its objectives and employs a descriptive-analytical methodology. Data collection is conducted through objective observation and library research. The research population encompasses all card weavers residing among settled nomads in the villages of Lorestan province, with a specific emphasis on the central regions of Aligudarz, Baznavid, and Heidar Abad, as well as nomadic groups in Papi of Khorramabad. Sampling is carried out purposefully until theoretical saturation is achieved.
      The findings indicate that the card weaving motifs of Lorestan are characterized by abstraction, drawing inspiration from nature and reflecting the life and identity of the weavers. The geometric patterns serve as an implicit nod to the four-fold texture technique, which frequently results in diagonal and linear textures. Motifs such as goli, golegoshvâr, ganem, and comb-shaped symbolize themes of blessing, birth, and purity, thereby highlighting the feminine identity of the weavers. Furthermore, the findings reveal that the weaver has successfully integrated the nature of the weaving technique with their personal perspectives. These motifs, representing nomadic archetypes, emphasis the physical spaces of homes with meaning, accentuated by warm and joyful colors.
Keywords: Card Weaving, Weaving, Nomadic Tribes of Lorestan, Motifs, Archetype
 
Introduction
Card weaving is an old practice that has persisted in Iran, particularly in its western regions. This tradition is deeply intertwined with the beliefs, thoughts, and lifestyles of the tribes and nomadic communities in Lorestan today. While this artistic craft has found a place in modern urban settings, primarily for clothing decoration, it serves a broader array of functions within tribal and nomadic contexts, retaining a degree of uniqueness. The woven straps utilized for securing tents and coolers in clan residences, the adornment of horses during Ashura, and the embellishment of cradles for infants exemplify the diverse social and ritualistic roles this art form plays among nomadic peoples. In these regions, woven cards are integral to various life processes, including agriculture, animal husbandry, and ceremonial practices. Despite this significance, previous studies have not conducted a comprehensive field or analytical examination of the texture, significance, and functions of card weaving in the nomadic areas of Lorestan. This gap has motivated us to explore this tradition, emphasizing its motifs and its relevance in the daily lives of the people.
 
Discussion
Card-weaving plays a significant role in the daily life of the nomadic people, serving both functional and decorative-ritual purposes. Various types of woven tapes can be observed in numerous everyday items utilized by the tribal communities. Specifically, the woven cards are incorporated into the drum band (band-e-dohul), water skin band (band-e-mašk), swaddling-band (band-e-ghondagh), band-e-molar, and band-e-gargar, as well as accessories for animal handling such as reins, headbands, and muzzles. They are also employed for load-bearing on animals (malbands), standing bands, and decorative elements for transporting a black tent, cradle embellishments, and firewood. This ancient craft of ribbon weaving, practiced by nomadic women alongside other forms of weaving, holds both practical and spiritual significance among the tribes. In the villages of Lorestan, particularly within Bakhtiari settlements, cradles are adorned with vibrant woven cards, predominantly featuring warm colors like red. Additionally, this art form is utilized in religious and mourning ceremonies. On Ashura, in Aligudarz and the villages of Heidar Abad, the horses of Ta'zieh are decorated with broad woven black and white ribbons, likely symbolizing mourning. However, these wide bands have gradually been supplanted by blue beads associated with repulsing ill omens and warm-colored tassels referred to as “gardanu” (necklaces).
The primary motifs found in this art include 5 main motifs. The first one is sherdang or shirdang which serves a sacred purpose in the bride's chamber, intended for women who have recently given birth, for ailing children, for alleviating a child's loneliness, and for ensuring the safety of the household while warding off misfortune. It is prominently featured in the baby's cradle, at the entrance of the black tent (Siah-Chadur), and within its confines. This motif is often accompanied by saddlebags decorations as well.
The Xaca motif is named after a wooden device that serves dual functions: it locks doors and facilitates the transport of firewood. Beyond its application in card weaving, this motif is prevalent in various other weaving techniques.
The Racha, Xaca, and Hacel motifs are all derived from the same wooden locking device known as Xaca, which is also utilized for carrying firewood.
The kerâx, Gonat pattern is commonly observed along the edges of many fabrics. In low-lying regions, this motif is referred to as kerâx and is frequently found across diverse weaving styles.
The Yareh motif likely draws inspiration from a saw, also known as Bandareh in the margins. When patterns are juxtaposed, they evoke designs reminiscent of flowers and leaves.
Lastly, the Mari motif is utilized by the Haft Lang Bakhtiari nomadic communities to secure their belongings. This includes tasks such as fastening loads on animals and transporting firewood, which is essential for providing energy and fuel, serving as a protective emblem for safeguarding their valuable possessions.
 
Conclusion 
The traditional art of card weaving in Lorestan is at risk of being lost due to the impacts of industrialization. Efforts to preserve and document this weaving heritage contribute to a deeper appreciation of Lorestan's weaving practices. This study was conducted with that aim in mind. The findings indicate that the weavings and their diverse motifs can be categorized into two primary groups: 1- self-dyed items intended for everyday use, and 2- those that are colored for decorative and ritual purposes. The motifs found in Lorestan's card weaving exhibit a distinctly geometric design. Notably, the sherdang and floral motifs emerge as the most prevalent and frequently encountered. The absence of woven lines in these regions suggests that this art form is indigenous, free from the influences of urban environments. The research indicates that these motifs are intricately linked to archetypes and the identity of the weaver's gender. All card weavers are women, and the visual elements associated with them, such as the two-sided combs, floral patterns, gol-e-geshvar, kalyaqani, and racha, reflect cultural aspects tied to the nature and gender roles of women in a nomadic society. Women serve as the primary labor force in the tribe, significantly contributing to various activities, including transportation, traditional agriculture, and animal husbandry, with many motifs implicitly connected to these tasks. Furthermore, the technique of weaving with four-hole cards has led to the creation of motifs in multiples of four, allowing the weaver to achieve desired shapes through slight adjustments in card movement. These motifs convey an abstract representation of overarching themes such as female identity, nature, and the living environment.