Abdul Majeed Zargar, a 75-year-old artisan from Amda Kadal Jogiwan in Srinagar, is known as Kashmir’s last surviving maker of the traditional “Mukh” — a shuttle boat essential for handloom weaving. For decades, he has hand-crafted these wooden tools, which play a crucial role in the production of Pashmina and Tusha textiles. The Mukh is used to carry the weft yarn across the warp threads on a loom, making it indispensable to the weaving process. Unlike modern alternatives, Zargar’s Mukh are carved entirely by hand using simple chisels and files, requiring no machines, and are valued for their durability and craftsmanship.

Zargar’s journey as a craftsman began nearly 50 years ago, and though mostly self-taught, he quickly became known for the precision and beauty of his work. Over the years, he has supplied thousands of these hand-carved shuttle boats to weavers across the Kashmir Valley. Despite his expertise and dedication, the demand for his tools has significantly declined in recent years. The rise of power looms and the influx of mass-produced shuttle boats have edged out traditional artisans like him. Younger generations, lured by urban jobs and technology, have shown little interest in learning the craft, and Zargar worries that with him, the skill may vanish.

What makes Zargar’s story especially poignant is his unwavering commitment to the craft, even in the face of dwindling recognition and minimal institutional support. He continues to work not for financial gain but out of love and respect for the tradition he upholds. In doing so, he serves as a living bridge between Kashmir’s rich textile heritage and its uncertain future. Local weavers still hold him in high regard, seeing him as a vital custodian of an intangible cultural heritage that is at serious risk of disappearing.

Abdul Majeed Zargar’s quiet dedication highlights the fragility of traditional craft ecosystems, especially in regions like Kashmir where modernization is rapidly transforming livelihoods. His story is not just about a man and his tools, but about the survival of a centuries-old practice that once defined the very identity of Kashmiri craftsmanship. It calls for urgent attention, documentation, and preservation before it becomes yet another forgotten footnote in the history of South Asian art and culture.