In the heart of Srinagar, amidst the narrow lanes of Channapora, resides a master craftsman whose life has been dedicated to preserving one of Kashmir’s most intricate and cherished art forms—chain stitch embroidery. Mehrajudin Beigh, a 68-year-old artisan, has spent nearly five decades perfecting this craft, producing exquisite handmade pieces that have traveled far beyond the valley, even gracing the White House in the United States.

Born in Nawab Bazar, Shehr-e-Khaas, Beigh’s journey into the world of chain stitch embroidery was not a familial legacy but a passion that grew from his surroundings. As a young boy, he was captivated by the skill of the artisans working in the bustling workshops around him. His natural talent and dedication allowed him to master the art quickly, setting him on a path of creating some of the finest chain stitch embroidery in Kashmir.

Despite his remarkable skill, Beigh laments the decline in demand for handmade embroidery. “Despite the beauty of traditional Kashmiri designs, there is a diminishing interest in handmade chain stitch embroidery,” he says. The growing preference for machine-made products, which are cheaper and produced faster, has deeply affected the livelihoods of traditional artisans. “Machines have dented the demand for handmade work,” he explains. “The affordability and quick production times of machine-made items have overshadowed the value of handcrafted pieces.”

However, Beigh firmly believes that once people experience the elegance and quality of handmade embroidery, they recognize its true worth. He recalls creating a special piece in 2001 known as the “White House piece” for former U.S. President Bill Clinton. Another of his notable works featured legendary Bollywood actors Dilip Kumar, Prithvi Raj, and Madhubala from the film Mughal-e-Azam, a masterpiece that took him a month to complete and fetched a handsome price.

Even as the market continues to shift in favor of machine-made goods, Beigh remains committed to his craft. “I prioritize quality in my work to highlight the difference between handmade and machine-made items,” he says. The craftsmanship required for handmade chain stitch embroidery is immense—some pieces take weeks or even months to complete. Yet, the survival of this traditional art form is increasingly under threat.

One of Beigh’s greatest concerns is the lack of young artisans willing to learn the craft. “Very few young people are interested in learning this art, putting it at risk of extinction,” he shares. He believes that stronger efforts are needed to support handmade products and encourage younger generations to engage with this heritage.

While acknowledging the government’s initiatives to revive Kashmiri crafts, Beigh insists that more needs to be done. He appeals to the authorities, including Chief Minister Omar Abdullah, to take immediate action to preserve this invaluable cultural legacy. “Supporting artisans is not just about financial assistance; it’s about keeping a centuries-old tradition alive.”

The story of Mehrajudin Beigh is a testament to the resilience and dedication of Kashmiri artisans who, despite mounting challenges, continue to create works of timeless beauty. Preserving chain stitch embroidery is not just about sustaining a craft—it is about safeguarding a vital piece of Kashmir’s cultural identity for generations to come.