Meet Abdul Majeed Zargar: Kashmir’s last surviving ‘Mukh’ Pashmina craftsman

By: Jahangeer Ganaie

Srinagar: In Kashmir tradition still clings to the fabric of daily life, as 75-year-old Abdul Majeed Zargar from Amda Kadal Jogiwan, Srinagar, stands as the last known maker of “shuttle boats” — an essential tool used in traditional handloom weaving.

The shuttle boat, or ‘Mukh’, is a vital component of the loom. It carries the weft yarn back and forth across the warp threads, enabling the intricate patterns that define Kashmiri textiles such as Pashmina and Tusha. Without it, the loom falls silent.

Speaking to the news agency—Kashmir News Observer (KNO), Zargar said he has dedicated nearly five decades to handcrafting these wooden tools with patience and precision. “I learned this art on my own; no one taught me. Over the years, I have crafted thousands of shuttle boats, supplying them to artisans across Kashmir,” he said.

However, with the rise of power looms and the decline of traditional weaving practices, demand for handmade shuttle boats has sharply decreased. “While shuttle boats are imported from other parts of India and beyond, they do not last as long as his handcrafted ones, which are renowned for their durability,” he said.

What makes Zargar’s work truly remarkable is not just the craft itself but its cultural significance. His tools are carved entirely by hand, using only chisels and files—no modern machinery. His skills have been passed down through years of dedicated labour, embodying a fading Kashmiri tradition.

Despite being the last of his kind, Zargar has received little recognition or support. “No one shows interest anymore. I’ve tried to teach others, but young people prefer jobs with computers or in cities,” he laments. Yet, he continues to work—not for profit, but out of love for his craft.

Artisans from across Kashmir seek him out, not only for his shuttle boats but also for his deep knowledge of loom maintenance and design. His work is a quiet preservation of Kashmir’s intangible cultural heritage. Many local weavers rely on him, viewing him as a guardian of a vanishing craft.

Zargar’s story highlights the plight of countless unsung artisans who form the backbone of Kashmir’s rich cultural identity. As he chips away at another piece of wood, he is not just shaping a tool but keeping alive a tradition that might otherwise be lost to time.

“I don’t know what will happen after me,” he says softly. “But as long as I can hold these tools, I will keep making them. The loom still needs its shuttle.”

He also shared his frustration: “I even contacted the government for support, but they only see it as just a tool. They don’t realise—without tools, no craft or art can survive.”—(KNO)