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For Bengaluru collector Ram “Danny” Mehra, a carpet can be much more than a floor covering: the tribal carpets in his collection were made by women in nomadic communities for home use, and their patterns and wear carry traces of family life, travel and changing ways of living. His traveling exhibition, Carpet Stories, invites visitors to read those objects as both practical textiles and records of culture.
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What makes the carpets in Mehra’s collection different?
“When we think of carpets, we tend to think of Kashmiri or Persian carpets,” Mehra told Scroll.in in 2018. “But my collection consists entirely of tribal carpets. These are made by women from nomadic tribes, for home use.” That distinction is about the particular pieces he collects, not a rule that every carpet described as Persian, Kashmiri or tribal must fit one fixed pattern.
Objects made for daily life
In the account of these carpets, the starting point is shelter and utility. Woollen rugs could protect a tent floor from cold or damp. Carpets and related textiles could also serve as curtains, saddle covers, bags or sleeping bags. They were woven for use, rather than solely as formal room furnishings or commercial display pieces.
Use did not exclude meaning. A carpet could carry signs associated with a birth, a death or another major event in a family’s life. A motif is not a universal code, however: without a maker’s explanation or reliable provenance, it is safer to describe what is documented about a particular piece than to assign a single meaning to a symbol.
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Materials and making
Wool was the primary material in the tribal pieces Mehra describes, reflecting the communities’ sheep-raising livelihoods. Cotton and silk were uncommon in those examples. Portable, small looms and organic dyes contributed to carpets with uneven outlines, abrupt shifts in pattern and variation in colour.
How the traditions compare
| Aspect | Tribal carpets in Mehra’s collection | Persian or Indian carpet traditions in the cited context |
|---|---|---|
| Purpose | Made by women in nomadic communities for home use; some textiles also served as curtains, saddle covers, bags or sleeping bags. (Scroll.in, 2018) | Persian and Indian traditions include carpets made for different settings and purposes; the Met’s museum material discusses Persian and Indian carpet traditions, including Safavid-period examples. (The Met) |
| Materials | Primarily wool; cotton and silk are uncommon among the pieces described by Mehra. (Scroll.in, 2018) | The Met’s material discusses silk warp and weft in Persian and Indian carpets. Gaatha’s Kashmir archive records historical use of silk and pashmina. (The Met; Gaatha Craft Archive) |
| Making and appearance | Small portable looms and organic dyes are associated with irregular shapes, abrupt pattern changes and colour variation in the examples described. (Scroll.in, 2018) | The cited sources establish other materials and historical traditions, but do not provide a like-for-like measure of loom size or regularity. |
| Pattern and meaning | Patterns could mark births, deaths and other major family events; meanings depend on the specific carpet and its context. (Scroll.in, 2018) | The cited museum and archive material discusses historical design traditions and exchange; it does not establish a single meaning for all motifs. |
| Geography | Mehra groups the collection by Iran/Persia, Anatolia, the Caucasus, Central Asia and Kurdish enclaves across several countries. (Scroll.in, 2018) | The cited material covers Persian and Indian traditions, including Kashmiri weaving and Central Asian and Persian connections. (The Met; Gaatha Craft Archive) |
The comparison is not a ranking of craftsmanship. It shows why a carpet’s intended use, maker, material and history matter as much as its broad regional label. Gaatha’s Kashmir archive, for example, makes a historical claim of up to 2,000 knots per square inch for carpets associated with Shah Jahan’s period. That is the archive’s claim, not a newly measured figure or a general standard for Kashmiri carpets.
Where did these carpets come from?
Mehra groups his collection across Iran or Persia, Anatolia, the Caucasus, Central Asia and Kurdish enclaves in Iran, Iraq, Syria, Armenia and Turkey. These are broad geographic groupings rather than proof that every piece can be assigned to a precise place. A carpet’s provenance—the documented history of where it was made, owned and kept—is important when a regional attribution is uncertain.
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The wider setting is mobile life across a large region, not an isolated craft tradition. The historical account in the Scroll.in feature connects nomadic communities to the Steppe Route and, later, the Silk Road. Communities along trading routes could collect tariffs, guide merchants and provide local knowledge. The feature notes that German geographer Ferdinand von Richthofen gave the route the name “Silk Road” in 1877.
Indian carpet history also reflects exchange. The Met’s museum material discusses design exchange between Persian and Indian traditions, while Gaatha’s Kashmir archive connects Indian carpet weaving with Central Asian and Persian trade routes. These connections help explain why regional traditions can share influences without becoming identical.
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Why are handmade tribal carpets irregular?
In Mehra’s account, unevenness is part of the circumstances of making. A small loom that can travel with a community is not the same working setup as a fixed, large production space. Organic dyes and handwork can also produce variations in colour and pattern. A line that shifts or a design that changes abruptly need not be evidence of damage or poor workmanship; it may belong to the carpet’s making.
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That does not mean every irregularity is intentional. Wear, repairs and later damage can also change a textile. Close inspection and a documented history are needed to distinguish a feature of construction from a later alteration.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How can a carpet tell a family story?
Some of the stories are carried in motifs linked to family milestones; others are read through what a carpet was made to do and the life it passed through. A textile used as a floor covering, a curtain or a saddle cover belonged to daily routines. Its present condition can retain evidence of that use, although wear alone cannot identify who used it or what a particular design meant.
Mehra’s Carpet Stories makes that interpretive work public. Visitors encounter carpets not just as patterns to look at, but as objects associated with women’s making, nomadic households and routes of exchange. His wife, Renuka, calls his collecting a “mid-life crisis”; the exhibition presents the collection as a sustained effort to preserve and share objects whose contexts are becoming harder to encounter.
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Why does Mehra describe collectors as custodians?
Mehra sees collectors as curators and custodians of a way of life diminished by collectivization, war, famine and the decline of nomadism. That is his framing of the collection’s urgency: when the social settings that supported a craft change, a surviving carpet can outlast much of the knowledge around its making and use.
That role carries a responsibility. A collector can help keep objects visible, but an individual collection is not a substitute for the communities who made them or for the histories attached to them. Clear attribution, careful handling and honest descriptions of what is known—and what remains uncertain—help prevent the object from being separated entirely from its makers.
What does preservation look like?
Mehra’s examples show different ways of living with fragile textiles, but they are not a universal conservation manual. He describes mounting a damaged Tibetan carpet on linen, using vinegar to clean a persistent animal smell, and allowing exhibition visitors to touch carpets. These are reported choices in his collection; a treatment that suits one carpet may harm another, depending on its fibres, dyes, condition and previous repairs.
Mehra says, “Carpets love being touched. The oils from our hands help preserve the colour.” That is his view of the objects in his exhibition, not a general conservation rule. Handling practices should be decided for each textile, especially where fragile fibres, unstable dyes or existing damage are involved. Gaatha’s Gwalior archive also describes the pressures facing carpet weavers, including mechanized looms, low returns and weak social security—reminders that preserving historic pieces and supporting the people who make carpets now are related, but distinct, concerns.
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