In this research, the main issue is analyzing the relationships between the texts present in Haddad's Four Seasons carpet. The Four Seasons carpet is an art form from the late Qajar period, with numerous examples also woven in the early Pahlavi era. The presence of the name Haddad in this carpet, and according to Khoshknabi, its production by Sheikh Hassan Haddad, gives the work special importance and value, as it indicates the artist's identity and is a source of research value. The carpet's images include bas-reliefs and historical buildings, whose juxtaposition creates specific relationships. The main question of this research is how the relationships and implications between the constituent texts of the work are formed, and the goal is to explain these relationships and understand the meaning of the symbols, texts, and works within the piece. The research method is descriptive-analytical and based on Genette's transtextuality approach, which allows for analyzing the production, relationship, and semantic consequences of these texts. The findings show that the artist created a text that emphasizes the superiority of pre-Islamic symbols and Iranian heritage. This work also implicitly refers to the Baharestan carpet, and placing Haddad's name above the Sasanian king introduces him as a guardian of Iran's cultural heritage, and the relationships between the texts emphasize the importance of preserving and transmitting cultural identity.