Abolfazl Rajabian studies old rugs in libraries and buys fresh flowers as design references. He and his father Yadollah developed their rose designs together, bringing skills first learned during childhood holidays into daily workshop life in Qom. Petals of contrasting shades and interweaving leaves connect the colours of roses with classical composition.
Works and style
Contemporary works
Rajabian's works shape roses through colour, bringing flowers and classical composition into dialogue. Viewers can first examine the rose's layers of colour, then the relationship between the flowers and the overall composition. Abolfazl connects the family aesthetic with materials, handle and production control, while collaborating concept designers and drawing artists make their own contributions.
People and heritage
Family continuity diagram
The historical elder Yadollah began weaving rugs at twelve and was an early pioneer of rug making in Qom. His son Abolfazl learned from him during childhood holidays, and they designed and made rose compositions together. After his father's death, Abolfazl continued their development.
First generation · deceased
Haji Yadollah Rajabian
Historical rug-making pioneer; co-designer of rose compositions
Second generation
Abolfazl Rajabian
Rose-pattern development, design and production organisation
Parent's generation: Haji Yadollah Rajabian
People and heritage
Family archive
During childhood summer holidays, Abolfazl helped his father with rugs. Later he combined work with completing university studies. He researched old rugs and books and learned from fresh flowers, developing rose designs with his father. Yadollah, of the first generation, began weaving at twelve. By 2026, their traceable rug-making tradition spans over ninety years: flowers remain in the works, continuing to take new forms.
The character of the rose designs comes from the relationship between colour layers and classical composition. Flowers and the overall composition jointly organise the image, while outside concept designers and drawing artists contribute independently. Reading the works can lead from flower details to the overall order of colour and ornament.