The history of textiles in Iran dates back to the beginning of the Neolithic Age. In the excavations that took place at the beginning of the 1950s in a cave near the Caspian Sea, pieces of fabric woven from sheep wool and goat hair were found and it was determined by carbon-14 testing that they belong to 200 to 6500 years BC. Dok Sareh and creams were found in the early houses of the Iranian plateau, which dates back to 5000 years before Christ, which indicates the prosperity of textiles in Iran at the beginning of the Neolithic.
In the 5th millennium BC, in the Segabi area of ​​Kurdistan, archaeologists found a piece of a textile from a terracotta coffin belonging to the bodies of children.

In the travelogue of "René Grosse", a famous scientist and Iranologist, it is stated in the book "Iranian Civilization": The early clothes of the Iranian people are known more than the statues found in various excavations that identify the type of clothes. The oldest human statue found in the plateau of Iran is a small bone statue that was used instead of a knife handle and belongs to 4200 BC. The clothes of this statue, which was found in Kashan, are made of cloth that was tied around the waist. The existence of this cloth is the reason that the inhabitants of the Iranian plateau did not use animal skins naturally, but instead wove cloths from wool.
In the excavations of Silk Kashan Hill, a mirror was found with strings of linen on its surface.

The pattern of fabrics on the two copper axes found in excavations near Susa dates back to 3500 to 3000 BC, which shows that weaving and even spinning and shearing of wool were common at that time.
In Susa, in 3500 to 3000 years BC, two bayonets covered with fabric designs were found. Also, "Ibn Batutah" (725 AH) mentioned the silk and kumkha fabrics found in Neishabur in the early Ilkhani period.
Weaving of patterned fabrics was created around 1000 BC in the form of two-legged pattern in western Iran. In this method, two pods are taken together and at the same time, one of them is simply woven, and the other is brought to the fabric only where the design is necessary, otherwise it remains hanging on the back of the fabric.

The art of Jajim weaving is considered to be a traditional textile group, whose textile history in the world reaches the beginning of the 20th century, and in Iran it reaches the beginning of the early Islamic era until the invasion of the Mongols, Timurids and the end of the Qajar dynasty.
       Jajim Bafi is one of the oldest hand-woven fabrics in Iran, which until recently had many applicants and demanders, although even today, its production is common in many rural and nomadic areas of our country.
       In the past, the most important use of Jajim was to use it as a rocking chair, but today, in addition to rocking chairs, Jajim is used to prepare various types of backs, bags, bags, rumbles, car seat covers, etc.

The most important raw material used in the production of Jajim is Alvan woolen yarn, which may be purchased dyed from the factory or dyed and used in the traditional way in small dyeing workshops or by local dyers. In general, it should be said that woolen thread is used in Jajim's thick weave, and only cotton thread is used in its thin weave. In addition, it is used to produce silk yarn in taro weave and cotton thread in thin weave.
       Ardabil and Zanjan provinces are the most important jajim production centers and currently there are about 38 villages in Khorosh Rostam district including Nimhibal, Chenarliq, Brandaq, Sefidab, Toure, Kiwi, etc. in Ardabil province and 7 villages in Tarem district including Dohne. , Vansar, Deh Bahar, Kolim, Khasare-Koloj-Chataz are produced in Zanjan province, Jajim.

Alvan's woolen or silk threads, together with the original and traditional designs common in the regions, give Jajims a special character, and the main difference between Jajims produced in different regions is their designs, which have their own characteristics and features in each region. Jajim is usually woven in strips with a width of 18 to 35 cm and a length of about 30 to 40 meters and sometimes up to 60 meters.
       To produce Jajim, very simple tools and equipment are used that have not been changed much for years and perhaps centuries, and it must be said that the most important factor in production is the weaver's power and his initiative.

Jajim tissue steps:
After preparing the required thread in different colors, first it is drawn and often all the stages of weaving, especially its drawing, are done in the open air, similar to the weaving of Persian carpets, in such a way that in the area approximately 15 20 meters is created on the ground by four wooden nails. After creating the above-mentioned situation, the colored yarn balls are turned around the wooden nails by the puller. The approximate length of this quadrilateral is between 10 and 15 meters, and the length of its perimeter will be the length of the chela and finally the length of the Jajim strip.

With the continuous circulation of the person who makes the chelekash around this quadrilateral and changing the colored balls of woolen thread, the design (coloring and motifs) of Jajim is also formed. Because in Jajim weaving, the design is done exclusively on the thread or skein. In each round of thread rotation around the perimeter of this quadrilateral, one person sits in the upper right corner, at this point, like placing a koji on a rug, he puts a koji, which is also called a "Chinese earring".

The person who spins is the main operator of the threading work and has more skill, and usually the thread rotation is done by people with less skill, and most of the time each person rotates one color of thread ball and this process is repeated many times until the number of items. The thread that will form the width of the Jajim strip should be wrapped around these wooden nails.

After the end of the khela, they stretch the khela on the ground, in such a way that the width of the khela is fixed on one side with two large wooden or metal nails, and the end of the khela, which is wrapped in a big ball, is secured at the end. and at the same time, by placing a relatively large wooden tripod, they hang the koji that is mounted on the chela from the top of the tripod. In this way, the chela is ready to be woven on the ground, and Jajim weaving begins.

During weaving, the weaver sits on the chele near the three legs and after passing the weft through the threads of the chele, with two hands, they strike the chele threads with a piece of wood called qilish or qilish so that the weft is completely secured between them. After passing each weft, the weft is struck three times by the Qilich. Two gentle blows and one stronger blow (similar to hitting a daftin) by passing each weft, they move the koji and the desired number of colored threads of the chela that they have already specified and finally separate the design and pattern of the jajim from the rest of the threads. And every time they change the number and order of the colors that the fabric will pass through and continue to weave Jajim until the end.

The motifs used in Zanjan jajim are: Jolma, Sirqa, Ashiq, Qabirqa and Dishameh, which can be seen on the Jajim tape.
Raw materials used in Jajim texture:
Cream: approximately 13 to 15 colors in some Jajims also 3 to 7 colors
Weave: plain yarn
Thread thread for koji and headband about 150 grams for jajim m30 x cm25