Cheriyal Rural Tourism

Cheriyal (or Cherial) is a town and a municipality in Siddipet district in the state of Telangana in India  an hour’s drive from Hyderabad and about 85 kms from Warangal city is known for its unique scroll paintings and masks created by artists called Nakashis. This art form is unique to the state of Telangana. 

The name that the art form is known by today, i.e., Cheriyal, is derived from the town it is currently practised in.The practice of the art form is much more limited than it was previously. Initially, these paintings were known as nakash or naqash, which translates to a drawing or a sketch.

Art and tourism often go hand in hand, with art being a popular tourist attraction. The people involved in the creation of these traditional nakash or Cheriyal paintings, are a community known as the Nakashis. Other than this community, there is another important group of individuals associated with this tradition. It is important to note that the actual purpose of these scrolls was to serve as visual aids when a storyteller narrated a particular folklore or mythological story in the form of a song. This community of balladeers is referred to as kaki padagollu. They travel from village to village narrating these stories.

Cheriyal paintings are long narrative scroll paintings that serve as visual aids to a musical storytelling tradition. A conventional Cheriyal scroll is vertical and is divided into different frames, with each frame depicting a scene from the tale that is being presented. Since these scrolls are meant to be rolled when not in use, they are made with fabric. Traditionally, a khadi cloth is used as the base for these paintings.

The paintings, made on khadi cloth treated with tamarind seeds paste, chalk powder, gum and starch, are mostly based only on epic themes (of Ramayana, Mahabharata, Sri Krishna Bhagavatam, Shiva Puranam etc), village life or festivals.

Like all traditional folk art forms, Cheriyal paintings too use only naturally sourced colours. Most of the pigments used in these paintings are mineral based, i.e., they are obtained from coloured stones. These stones are crushed into a fine powder and mixed with a natural binder and water. The natural binder used is gum arabic, locally called tirumani gond. This mixture is prepared with extreme attentiveness to make paint that is of the right saturation and has the ability to stick to the cloth base.

Paintbrushes are the only tools which are used by Cheriyal artists to draw, paint, and add details to their artworks. Traditionally, these paintbrushes were made using squirrel hair because of how fine the artists could paint with them. However, today this practice has been replaced by market-available synthetic brushes.

The main narrative involves scenes from the common rural life such as women performing kitchen chores, men working in fields or experiencing merry, festival settings, etc. The costumes and settings reflect the culture of Telangana. It offers a glimpse into the rich heritage of Telangana and India through art tourism. The colors and details depict mythological stories and daily life events.

Education

In Badampet village of Telangana’s Sangareddy district, NGO Kudali Centre uses a 3ft by 10ft scroll painting in vivid colours to educate farmers about the perils of mono-cropping. Moving away from organic cultivation of food crops to just cotton, the farmers have seen chemical pesticide costs rising through the roof every year. Farmer suicides are common in the area. Kudali uses a Cheriyal (or Cherial) painting made by national award winner artist D Vaikuntam Nakash to educate the illiterate farmers regarding organic farming.

In another part of the state, a microfinance company has put up six Cheriyal scroll paintings in its office to explain loan, digital marketing and other concepts to semi-literate people wanting to better understand microcredit and its uses.

Cheriyal Painting is widely popular due to the unique rural element which renders an aura of exclusivity and charm for the art items. It represents the pride of Telangana, especially the region’s tryst with such rare and unique art forms. 

For Cheriyal paintings, the background colour is mostly red though green or white may be used some times. The colours are derived from natural sources like white from seashells and black from soot. The most used colours are golden yellow, brown, white, green, orange, black and blue.

Vinay says it takes a month to finish a 3ft by 5ft scroll painting where the whole family is involved in painting. It sells for about Rs35,000 while bigger pieces can take about 6 months for completion.

Some Nakashi artisans have started relocating to Hyderabad in search of a better market. The demand is higher in bigger cities of Chennai, Bengaluru and Mumbai. The artisans also have tie-ups with e-tailers like Amazon besides local websites -- Craftiee, Tvami and Kala Chaupaal Trust, which directly purchase products from them.

The artists also participate in exhibitions and sell their products through various handicraft shops in government museums. “During the pandemic the handicraft stores were not functioning, we received most of our orders through social media. On an average, we got ten orders per month which generated around Rs8000,” says Sai Kiran.

The state government has supported these artists by issuing IDs to acknowledged artisans, giving them employment, buying their handicrafts, and offering them projects.

Geographical Indication (GI) tag

Cheriyal scroll painting also received Intellectual Property Rights Protection, commonly called the Geographical Indication (GI) tag in the year 2008. It is a matter of academic interest for painters all over India and the world, who study the art work with attention to detail and efforts are on to preserve this rich tradition for posterity by actively promoting the tradition of Cheriyal Painting.

A slice of Cheriyal is in Rashtrapati Nilayam,” says artist Dhanalakota Saikiran as he walks us through the 163-foot kitchen tunnel at Rashatrapati Nilayam in Hyderabad. Ever since the President’s official winter retreat was thrown open to the public after a makeover, people have been making a beeline to peek into the estate that serves as the Southern sojourn. A covered corridor connecting the kitchen and dining hall, is now resplendent with murals, masks, and animal heads in the Telangana folk art form of Cheriyal.

With changing times, the popularity of Cheriyal scrolls and the accompanying musical narrative tradition faced a decline. To sustain themselves, these artists have adapted themselves to the changing needs and tastes. Today, the size of these scrolls has been minimised and the number of frames per painting has been decreased too. This is because these paintings are now used more as decorative pieces in households, rather than as storytelling aids.

Cheriyal masks are made of sawdust and fine powder of tamarind seeds. Ganesh, another Cheriyal artist, says it takes six days to prepare these masks which travel hundreds of miles to beautify the corridors of huge mansions. His wife is also actively involved in the craft much like other women of the Nakashi community.

Creating these masks requires patience and attention to detail. Various clay or cement molds are prepared in advance to hasten the molding process.

A fine powder of tamarind seeds, river shells, or coconut shells is boiled in hot water. After an hour, the mixture is collected in a dish, mixed with sawdust, and neatly kneaded into dough.

This dough is then spread evenly onto the desired mold before other facial features are added to the light brown base structure. Sculpting the nose, eyes, and lips requires close attention.

The structure is dried until it becomes rock hard. Upon drying the base structure is smoothened using sandpaper and a thin cotton fabric is spread out on the entire surface of the mask.

A fine paste of rice starch, white clay, and tree lack is evenly applied over the cotton fabric. The paste leaves the surface bright white on drying thereby readying it for color application.

Bright colors like red, yellow, green, blue, white, are used for the base coat. Further detailing of eyes, lips, and ornaments are done using a brush made from squirrel hair. Lastly, varnish is applied to enhance durability.

The seven Nakashi families of Cheriyal create around 250 masks a month.

The process is quicker during summers while it takes these longer to dry during winter and monsoons. If not dried properly fungus can surface due to the presence of tamarind paste.

"We have 20-25 different molds which are used to make faces of mythological characters like kings, queens, village women, Ardhnareshwara, Ganesha, Rama, Sita, Hanuman," says Ganesh.

Among these, the masks for Rama, Sita, and Hanuman are high in demand and cost Rs500. The masks are about 3 inches to 12 inches long. 

The smaller masks cost around Rs300 while the bigger ones range between Rs2000 and Rs3000. The price can even go up to Rs6000, depending on the complexity of the piece.

Ganesh and others have also collaborated with government training centers, imparting the knowledge of mask-making to the younger generation. He has been actively training young students for two years with the help of the state government in an attempt to promote this art form.

Cheriyal masks were used by villagers of the region during festivals to honor the local Goddesses. Dancers wore these masks as a mark of respect for the deities. Gradually, they became popular and people started using them for home decor.

"Cheriyal masks have a national as well as an international appeal but there are only a handful of people who have mastered this art. It will empower women, and they can easily make around Rs20,000 by making the masks from the comfort of their homes," says Ganesh. He gives a daily wage of Rs300 to workers who work at his workshop.

The stories of ancestors beyond what granny knew or could remember, stories of heroes that made them proud, stories that they would sleep with and dream about. Today, the Kunapulis were coming to perform Markandeya Puranam for the Padmasalis and the show will go on anywhere from 3 nights to 20 nights. Later, the Dakkalis will come to perform Jamba Puranam for the Madigas and this cycle of performances will continue till genealogies of 7 local castes (the barber, toddy tapper, washerman, fisherman, leather worker, weaver and farmer) have been recited by bards from their sub-caste.

A non-descript village like any other in rural India and crowded with houses that has pretty wooden doors, Cheriyal is easy to find but not the Nakaashs. It took a lot of asking around and negotiating through narrow streets where one led to the other like a never ending maze to finally reach the humble house of an artist. Once inside his living room cum showroom cum godown, Mallesham carefully unwrapped the colourful frames of Cheriyal paintings depicting both the deities and the everyday life of people in the region.

Environmentally Friendly 

The stunning attraction of Cheriyal scrolls is due to their wholly environmentally friendly and sustainable components. The narrative is typically depicted in a sequence of horizontal panels. The flower border in the middle and resembles modern comic strips divide them. The scrolls are typically created in a vertical arrangement. The scrolls were frequently shown by hanging them from a tree and revealing them panel by panel as the events were narrated. Such type was most common during the nineteenth and twentieth centuries.

The process of creating ancient Cheriyal paintings was entirely natural in antiquity. Everything from the brush to the canvas or linen to the paints was manufactured from natural materials. The distinctive Cheriyal masks are fashioned from tamarind and sawdust, which are then dried into clay. Without using any moulds, craftsmen meticulously hand-cast the features, such as eyes, lips, and nose.

The processes still remain the same wherein the canvas is prepared after coating and drying a handwoven cloth (mostly khadi cotton) with boiled rice starch, white clay, gum and boiled tamarind seed paste in layers. Every coating is allowed to dry thoroughly before the next is applied. When the canvas is dry and hard, an outline of the painting is made using indigo on an essentially red background and later colours are filled in. The colours used are natural derived mostly from seeds, flowers and stones like black from lamp soot mixed with gum from the thirumany tree, white from sea shells, red from tamarind seeds, brown from geru. The frame is marked by a floral border indicating the end of a scene on a scroll. Now, it is merely ornamentation as the scrolls have miniaturized into frames meant for hanging on a wall. Yet the scenes retain a strong local flavor as it follows the tradition of oral story telling.

History

The origin of Cheriyal Paintings can be traced back to 5,000 years. This style of artwork uses these paintings as a visual aid to recite tales from 'Ramayana' and 'Mahabharata'. Also Read - Drivers of all VIP vehicles must undergo driving tests, says Ponnam Employing traditional techniques, Cheriyal paintings are created on cloth that might run to metres in length. In the present day, Cheriyal paintings are done in a variety of goods such as masks, marriage gifts, jewellery boxes, brass paintings and greeting cards. 

The story tellers would go to the ‘Nakaashs’ and recite their story that would be painted scene by scene, character by character onto a scroll. 

Employing traditional techniques, Cheriyal paintings are created on cloth that might run to metres in length. In the present day, Cheriyal paintings are done in a variety of goods such as masks, marriage gifts, jewellery boxes, brass paintings and greeting cards.

The traditions surrounding Cheriyal scroll paintings have contributed massively to our cultural memory. Hence, it is an art form that has garnered much fame, and rightfully so. People have been making these paintings for a very long time, creating both art and tourism. 

Some think they began in the 5th century. The earliest reference to this tradition dates back to the 12th century; the Kakatiya times where Ekamranatha in his literary text Pratapa Charitram indicates the presence of 1500 painter families living in and around Warangal. 

Even today the Nakaashs live in Cheriyal, a small village with winding alleys about 85 kms from Warangal city.

https://medium.com/@rooftopapp/10-aspects-of-cheriyal-paintings-39bf5f73a400

https://30stades.com/2021/02/15/cheriyal-telanganas-centuries-old-scroll-painting-masks-art-continue-to-educate-entertain/

https://blogvirasatehind.wordpress.com/2018/01/23/travel-shot-cheriyal-art-of-telangana/

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Dandari-Ghusadi Festival

The Dandari-Ghusadi or Gussadi festival of Telangana is celebrated by the tribal communities of the Raj Gond and Kolam tribes. The Dandari-Ghusadi season is all about a robust dance festival that is celebrated for about 10 days during Deepavli.  The festival ends on Diwali day with the Ghusadi tado taking off their attire ritualistically.

The celebrations usually begin with the tribals visiting the Padmalpuri Khako shrine at Gudirevu village of Dandepalli mandal in Mancherial district, on the banks of the Godavari river. On the occasion, the Adivasis present offerings to the river. They also end the festival at the Padmalpuri Khako as the shrine is of great importance for the people belonging to ethnic groups

It starts on the day we see a crescent moon and end on the dark moon day. We start the festival by performing the Sakshe Akadi and end it on the Devadi day. Once the Sakshe Akadi is performed, the tribals would attain the festive spirits and the entire week would witness the fervour of the fest.

The tribals’ love for music also becomes so evident during the festival time that one, if they visit to one of these villages, can find several instruments — like thudum, pepera, kalikom, dappu, ghumela, dhol, vetti and karra — that are not easily findable in our markets.

During the festive season, the Dandari and Gussadi dance troupes tour the tribal villages, stay there overnight, and perform traditional rituals. 

Adivasis celebrate Gussadi-Dandari dance festival with drums and rituals. They worship Yethmasarpe or god of soul. 

During the 10 days preceding Diwali, every Adivasi village across the four northern most districts of Telangana gets transformed into a festive arena where the Raj Gond and Kolam aboriginal tribes celebrate the exuberant Dandari-Ghusadi dance festival.  

The Dandari-Ghusadi dance festival, is an opportunity for the eligible bachelors to find their life partners and some 100 marriages are finalised in this manner in the Agency villages of Adilabad, Kumram Bheem Asifabad, Mancherial and Nirmal districts, which were part of the undivided Adilabad.

The ethnic dance is an exhilarating visual display of tribal culture through which these ethnic tribes also look to foster marital alliances; it also provides a platform to promote awareness on key contemporary issues faced by the Adivasis.

The first day, we reached the village of Mallapur, where the Bhogi pooja was scheduled to start in the morning. As soon as we reached, the masks, dance sticks, peacock crowns and musical instruments, collectively known as Dandari-pen (pen meaning God in Gondi), were brought in front of the village head’s home and ceremoniously worshiped. After the rituals were complete all the men of the village came together to offer prayers and seek blessings.

Soon after, the women too gathered around the Dandari-pen and performed rituals of lighting lamps, incense sticks and breaking coconuts.

The Ghusadi-thado or Ghusarks, are a personification of the God of Creation and, as per Raj Gond mythology, are said to protect the marriage procession of Yetma, the daughter of the God of Creation. When she marries a Raj Gond, the procession travels through dense forests and hence the Ghusarks accompany her. The Dandar-Ghusadi is a re-enactment of this marriage procession in every Raj Gond/Kolam village in Northern Telangana.

Pittabongaram is another village a little over 5 km away from Mallapur. We were told that the Dandari-Ghusadi troupe from a village called Kannapur were visiting, and were guided to the scene of action. In front of the Dandari-pen, about 8 Ghusadi-thados were having their meal from the same plate. As soon as they were done, the hosts offered prayers to the Dandari-pen, and a Ghusarks donned their peacock crowns. A bugle made of the horns of an Indian bison was sounded, indicating start of the proceedings.

Ghusadi Dance

As the resounding beats of traditional percussion instruments coupled with tunes flowing out of the pepre (a smaller shehnai like wind instrument) waft around, the Ghusarks enter the arena in a line taking simple steps. With live music playing at a fairly even tempo, the dance sequences were characterised by simple repetitive steps with equally simple formations. And an energy had pervaded around leaving the entire audience eagerly waiting the next routine.

Needless to say, the performance was extremely engrossing, with the gentle swaying of the peacock crowns following the footsteps of the dancers, as well as the shadows they made on the ground beneath, all adding up to the audio-visual spectacle.

Later that evening, we revisited Mallapur, where the Ghusadi–thados were getting ready with help from para-poriks. Para-poriks are young adolescent boys who are also part of Dandari-Ghusadi troupe, but dressed in women’s clothing, as they are said to represent Yetma. Madavi Babu Rao, a Ghusark , was busy getting into his elaborate costume. His legs, hands and torso are smeared with ash and designs are also made. At times, Ghusarks also wear false moustaches and beards, but Babu Rao wasn’t going to sport them. Large strings of beads are placed around his neck and bells are tied around his waist as well as feet.

In addition to hundreds of peacock feathers, his extraordinary headgear also had a pair of ram horns, a small mirror and was decorated with colourful shiny flecks all around.

Throwing light on his role during the Dandari-Ghusadi festival, his mother explains, “This ritual is like a deeksha. He leaves home today and will probably return only after five days (at least). He will travel to the designated villages and during this period he must sit or sleep only on the deer-skin and will not even take a bath.”

“The Ghusarks are an embodiment of God and because God is pure and omnipotent, what is the need for a bath” Pusam Anand Rao, an elder reasons out why Ghusarks are not expected to sleep or wash themselves.

The entire village assembled around Durva Shambhu Patel’s home as they reverently wished the Ghusarks and the Dandari troupe the best for their onward journey. As the mood of celebration spread around, a few dances were performed first by the Ghusarks, and later by the women of the village.

The next morning, we headed to Pittabongaram once again, this time the arena shifted as another Ghusadi troupe from the village of Marutiguda was visiting.

The dance moves of the Ghusarks are but an imitation of the movement of the wild animals and cattle, more specifically the deer, peacock, rabbit, nilgai and bison. Having dwelt in the forests and sharing the habitat with wild life as well as domestic animals, these have also become an integral part of their rituals.

After the Ghusadi dance, the stage was cleared, and Mesram Raju and a group walked in to perform a skit. It revolved around a conversation between an elderly Adivasi couple and some officials from the revenue department, peppered with doses of humour that had the audience in splits.

The play was about the impact of the Purification of Land Records, an ongoing programme undertaken by the Telangana government for making necessary correction in records pertaining to agricultural lands. The performers tried to drive home the point that the correction of the land records will reveal the Adivasis as the true owners of the lands which had been encroached upon by non-tribals.

“We hope to get justice through the land record purification. The exercise should reveal the extent to which the lands of our gullible ethnic people is under encroachment,” Raju sounded optimistic. 

Dandari Dance

It was now the turn of Dandaris to take centre stage, as they stand in a large circle with sticks in their hand. The lilting music is dotted intermittently with the dancers tapping each other’s sticks.

The Ghusarks make an inner circle while the Dandaris dance in the outer periphery. When a routine is soon to change, the leader hums “Cha-choi Cha-choi” and the rest of dancers respond by humming “chaah-ve”, in acknowledgement.

It is noteworthy that both the Dandari-Ghusadi troupes (host and visiting) dance together effortlessly as if they had rehearsed sufficiently. No dancer in either troupe misses a step or a beat nor does he move out of a formation.

The Dandari dance offers the eligible bachelors of the visiting troupe an opportunity to impress and draw the attention of the parents of unmarried girls with their dancing skills. A girl watching the courtship dance, which runs for a night and a day, can inform their parents if a boy catches her fancy. After the conclusion of the festival, the families of the girls and boys follow up on the nuptials mutually.

For about ten days before Diwali, the Dandari-Ghusadi troupes in every tribal village make it a point visit as well as host troupes from other villages. The villages they visit are where their sisters or daughters have been given in marriage. All these visits are decided before hand and the troupes from other villages are welcome with great fanfare. The Dandari-Ghusadi festival is a fine example of how the tribal men keep in touch with the women from their family even after she leaves after marriage. These rituals of the forest dwellers help them stay interconnected and also underscores the importance they attached to fostering marital ties and maintaining kinship.

https://floatstheboat.wordpress.com/2017/10/23/dandari-ghusadi-the-dance-of-the-tribals-from-telangana/

Raj Gonds – Reflections in a Peacock Crown

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Kinnera

Kinnera is a two-stringed instrument made using indigenous materials like bamboo, dried outer shell of round bottle gourd, honeycomb, bull horn, beads, mirrors and peacock feathers.

Scholar and poet Jayadhir Thirumala Rao says that the origins of the kinnera can be traced back to “around the 4th century AD, in and around the Deccan plateau”. “The Chenchu tribe [also known as Chenchus or Chenchulu], who were part of the Nallamalla forest, used to play the instrument while singing and narrating ballads or stories of heroes,” said Rao. “The Dakkali tribe of Mahbubnagar district in Telangana [in the area near the Nallamalla forest] was performing it at least from the 12th century. The Dakkalis are a sub-caste of the Madiga caste, once considered outcastes.”

The kinnera has several variations – it comes with seven, nine, 12 or 13 frets. The larger-sized ones have three resonators, while the smaller ones have only two. Much like the Saraswati veena, the instrument is made with organic materials. Its neck is crafted of bamboo, and the resonators from sun-dried and hollowed-out bottle gourds. Pangolin scales are used for the frets, and honey wax for binding. The strings were once fashioned out of women’s hair, horse-tail hair and even animal nerves, but have long been replaced with thin metallic strings.

The ballads accompanying the music are usually drawn from historical incidents, the lives of local heroes, and sometimes songs from the Jamba Puranam. The Jamba Puranam is one of around 40 Puranas in Telugu that differ from the Sanskrit Puranas, in that their content is specific to a local community. The ballads are often interspersed with simple and short, often dramatic, monologues. The tone of voice, facial expressions and body language change with the song’s mood.

Padma Shri Darshanam Mogilaiah (born in 1951) also known as Kinnera Mogulaiah, is an artist from Ausalikunta, Lingal mandal, Nagarkurnool district, Telangana State, India is one among a few surviving performers of a tribal musical instrument known by the name Kinnera. Mogulaiah learned the art of playing kinnera from his father Yellaiah.

He has had not much formal education and has had no steady job with an assured income. He has seen much hardships and his life had been very difficult eking out a living doing odd jobs like a daily wager in construction sites. He had worked as a laborer for 14 years in Adilabad, Karimnagar and Warangal. He had also worked at a construction site in Mumbai.

Mogilaiah's forefathers were pioneers in making and playing kinneras having different numbers of stairs. His father had made a nine-stair kinnera. Mogilaiah was the first person to create a 12-stair kinnera and he is the only artist who makes and plays the 12-step kinnera. In the year 2022, Govt of India honoured him with the Padma Shri award for his contributions as a kinnera musician.

He received the state’s highest honours, the Ugadi Puraskaram, in 2015. There is even a chapter on him in a social studies school textbook. Another member of the Dakkali tribe, Pochayya, who hails from the Mahabubnagar district, was honoured by the University of Hyderabad in 2015.

But such honours and awards have failed to make a difference in the lives of these artists. Their performances are few and far between – at the occasional academic meet or art festivals – and remuneration has been dwindling. Most of them are forced to live off the doles from the Madigas.

Dakkali Balamma, the only woman perfomer of the kinnera, is 95 years old. The only proof of the umbilical connection between the Chenchu tribal. When Balamma was younger, the residents of her village said, she would ride around on a horse, much to the awe of her Dakkali tribe. Her voice, at the time, was more powerful, and her impressive performances with the kinnera in the district’s villages were rewarded with money, food and clothes by the Madigas, the patron class. Fortunes changed with time. By the time Balamma died in December 2018, she was penniless. The villagers had to pool in money for her last rites.

Balamma was among the dozen or so people in India still playing the instrument. The kinnera is a stringed instrument native to the nomadic tribes in the Deccan plateau, such as the Dakkali and the Chenchu. A kinnera performance involves vocals and music, and the ballads are sung primarily in rustic Telugu. But today, it is an all but forgotten practice.

Panduga Sayanna-The Robinhood of Telangana

Even after 125 years, when Dakkali Folk artists narrate the heroic tale of Pandugolla Sayanna still reverberates and echoes in the villages in Wanaparthy and one can visualize Sayanna before them when the Dakkali folk artist narrates the story using a Kinnara instrument.

Panduga Sayanna was a hero of the poor who fought against the feudal society and atrocious rule of the Deshmukhs, Patels and Zamindars, who fleeced the poor and tortured the Dalits and downtrodden classes during the period of Nizam rule between 1980 and 1900.

A few Scholars called Pandugolla Sayanna a Social Bandit. Others called him as Robinhood of Telangana. Few others went to the extent of calling him a Revolutionary Hero.

Common people opined that Pandugolla Sayanna was neither a thief nor a bandit. He was the “Hero” of the poor people. He was a brave and heroic man who saved and reinstated poor people’s health, wealth, and lives. They considered him as their own “blood relative”.

Pandugolla Sayanna was born in a Meruginipalle village in Palamoor (Mahaboobnagar). He was born into a “Tenuga” family. (Tenuga meaning person engaging in maintaining gardens, gardening work, and related works) on Muharram day. His parents could not afford to send him to school due to acute poverty. He was thus engaged in the family occupation.

As per the Dakhali folk artists' narration, it is believed that Sayanna was 6” feet and had a strong build physique. He had a long and sharp nose and a dark bushy mustache that he used to curl and extend to both ears. In due course, Sayanna built up relationships with Telugu Narasamma, a beautiful woman who became his companion too. She fell for his “Pedikadu nadumu” meaning, his waist measured one fist- to say, he had a slender waist and broad built-up shoulders measuring three fists. To say, Pandugolla Sayanna was well-built and handsome.

Just the mention of his name sent cold shivers to Nizam rulers and district officials. In order to capture Pandugolla Sayanna red handed “qufiya police” became shadow followers. Jamindar Venkata Reddy built up enmity with Pandugolla Sayanna and also intended to take revenge for his actions.

However, one fine day Pandugolla Sayanna was captured by Qufiya police with great difficulty with the support of landlords, and other wealthy people who intended Sayana’s captivity and remanded him in an Iron cage. Even after capturing and deploying him in an iron cage, police feared touching or going near Pandugolla Sayanna.

Rani Shankarama (1840-1912) of Vanaparthi Samasthana with soft corner was ready to pay a sum of Rs 10, 000/- (amount equivalent to the looted amount by Sayanna) to the police.

https://scroll.in/magazine/905049/fading-sounds-an-indian-musical-instrument-with-a-rich-history-is-on-the-cusp-of-extinction

https://sphoorthi-theatre.blogspot.com/2012/09/telangana-robin-hood-pandugolla-sayanna.html

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Runza or Runjha or Raunza or Runja

Runza  or Runjha or Raunza or Runja is a percussion musical instrument and a rare folk art from Telangana and it belongs to the Vishwakarma community, who take it as a sacred commitment. 

Avajamu, Dangaramu, Veeranamu are different synonyms for Ruza. A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater including attached or enclosed beaters or rattles struck, scraped or rubbed by hand or struck against another similar instrument.

Runja is a two-faced drum of the medieval times. It had a uniformly cylindrical body, 13½ inches long. Each face had a diameter of 8 inches, fitted with rings over the edge.

Brass ia also used in the making of Runza. Its height is about 3 or 3 1/2 feet. The upper part is covered with goats skin, eleven holes are made above and below and eleven chord are tightly tied all over so as to make a sling (utter in Telugu). The Runzas bend the instrument slantwise, press it firmly with knee and by pulling the strings with their hands and using slender bamboo sticks, produce musical notes rapidly.

There is a legend about the origin of Runza. According to that, Vishwakamra was requested to provide the drums for the marriage of Parvathi and Parmeshwara. Then Viswakarma killed the giant called Rounjaka, made a Runza out of his skin and produced 32 kinds of melodious notes by playing on it. Vishwakaram Puranam explains that the marriage and Parameshwara was conducted with that Runza only.

Runza troupe usually consists of six members. Two members out of six, play on Thalas (cymbals) and the other two members play on Ruza, the remaining two members play on Sonnai or Kommuburas

Carrying an ancient art form in their hearts and minds are these professional story tellers of Telangana. With the help of scrolls or music instruments, these families narrate tailor-made stories from epics and mythological tales to particular Telugu communities. Faced with starvation and uncertainty amidst the pandemic, these nomadic groups now want to be the last generation to live off telling stories. The art will not be passed on to our children, they will not suffer like we did- they say.

Amar Runja, is one of the handful musicians in the country today who can play this ferocious sounding instrument. He narrates the story of the God, Vishwakarma, who is believed to be the creator of the universe.

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Rock art of Telangana

Rock art is a form of landscape art that includes designs that have been placed on boulder and cliff faces, cave walls and ceilings, and on the ground surface.

Petroglyphs are rock carvings (rock paintings are called pictographs) made by pecking directly on the rock surface using a stone chisel and a hammerstone. 

Of all the questions with regard to rock art the most problematic is its dating. For the relative dating of rock art the following aspects are taken into consideration. 

They are: 1. Thematic content 2. Superimposition 3. State of preservation 4. Colour scheme 5. Archaeological evidence.

1. Thematic content
The thematic content in the rock art of Telangana mainly consists of animal figures such as deer species, humped bull (Bos indicus), hare, rabbit , mangoose, porcupine, dog, tiger etc., and birds such as peacock, human and anthropomorphic figures, hand prints and geometric figures.

The thematic content of the paintings and also the petroglyphs, is useful for understanding their chronological position. 

Mesolithic / Middle Stone Age: Hunting gathering phase
Deer and associated human figures. All the animal figures are of wild life and none domesticated. Human figures are shown in isolation, never as hunter. The deer figures are drawn naturalistically. All the paintings are in red colour. No petroglyphs are found in this phase

Paintings of the deer figures occur in the earliest phase of the rock art data in Telangana. Besides deer figures other wild animals such as hare, rabbit, mangoose, porcupine, birds etc., human and anthropomorphic figures occupy the next place. None of the animals in the first phase of painting activity are domesticated. The animals are painted, realistically and often at higher reaches of the rock shelter wall. 

Neolithic : Food producing phase 

Humped bull figures and associated schematic deer figures. In the humped bull paintings phase there were no wild animals, where ever they occur they are schematic or stylised but never realistic as in the case of the first phase of rock paintings

Domestication of animals such as bull and dog. Petroglyphs make their appearance in which also humped bull figures predominate. The anthropomorphic figures are less in number compared to the previous phase along with geometric symbols. Human figures with bows and arrows appear in this phase.

Megalithic / Iron Age : Metal using phase 

The horse and horse riding and fighting human figures with swords and shields, bow and arrow indicate the emergence of iron tool technology associated with huge burial monuments of the megalithic. This iron age art is almost exclusively petroglyphic in content.

Horses, iron tools of offensive nature such as swords, lances, shields, bows and arrows, human figures brandshing these weapons, in praying posture before geometric symbol etc. Both petroglyphs and pictographs display these themes. The colours used in the paintings are white, red and black in that order of preference. Narrative scenes are the characteristic feature of this phase.

Historical phase
Horses, elephants, warriors, humans riding the animals, painted inscriptions, religious symbols, signify the historical phase of painting activity. Animal figures as well as human and anthropomorphic figures are very schematic. In the advanced phase of historical paintings scenes of Mahabharata, Brahmi and Kannada inscriptions occur. 

Thus, on the basis of thematic content of the paintings 4 phases of painting and art activity can be delineated

2. Superimpositions and state of preservation
This criteria is also useful for categorizing the rock art phases. This criteria can be used to corrobarate the phases made out on the basis of the thematic content. The basic premise, in considering the superimposition for answering the question of chronology, is that if two paintings are superimposed one over the other, the one in the lowest position indicate that it is earlier than the painting superimposing it. However, the gap between there two paintings in terms of age, can only be indicated relatively. The state of preservation of the superimposed painting can be of some utility. If the superimposed painting is faded and the superimposing one is fresh, then it can be said that the superimposed painted figure is relatively older than superimposing one. If the thematic content also varies in the superimpositions, then it can be
safely identified their relative antiquity in terms of prehistoric phases. The basic premise again in considering the state of preservation in the question of chronology is that when the paintings in a rock shelter are exposed to the ravages of nature uniformly, their state of preservation must also be uniform. In the paintings if same figures are fresh in condition and some are faded then this state of preservation must indicate their relative age.

3. Colour schemes
Some times the colour scheme of the paintings will also be useful in identifying the age of the rock paintings. In the paintings depicting the hunting gathering economy of the authors, only the red colour is used. In the paintings of the food producing economy also red colour is used in majority of the cases. Occasionally white colour is also utilized. In the metal using culture phase, the paintings are done in white, red and black in that order of preference.

4. Archaeological evidences
Circumstancial archaeological evidence from the surface, in and around the rock art site or within the rock shelters is useful to arrive at a relative dating of the rock art phases. This evidence however, is useful as a corroborative to the classification made on the basis of themes, colour schemes state of preservation and superimpositions.

Thus for dating the rock art of any region in India, the above criteria are used by the scholars. 

Let us now turn to the rock art of Telangana. An attempt will now be made to date the
various phases of rock art from various sites. 

The classification of the rock art phases has already been done while discussing the rock art themes of individual sites.

Previously known 17 known rock art sites in Telangana.

They are Bollavaram, Dupadugattu, Dongala gattu tanda, Jupalle Mudumula and Sanganonipalli in

Mahaboobnagar district, 

Edthanur, Sivaru , Ramachandrapuram and Wargal in Medak district

Budigapalli, Regonda, Rekonda, and Ramagundam in Karimnagar district; 

Ramachandrapuram in Khammam district, 

Kokapet in Ranga Reddy district;

Pandavula gutta in Jayashankar Bhupalpally.

Paleolithic Stone Age rock art 

Paleolithic Rock art paintings have been found at Pandavula gutta (Regonda mandal) and Narsapur (Tadvai mandal) in the Jayashankar Bhupalpally district.

In a significant discovery, new evidence of upper palaeolithic age rock art has been found in Rachakonda.A huge boulder in the shape of heart has been found on the north bank of Bayati Cheruvu (Anapota Samudram) inside the West gate of Rachakona Fort. The tool, chiselled in black basalt stone, seems to have been used as a hand axe and chopper by nomadic people. The age of such tool users in Telugu states is 50,000 BCE to 12,500 BCE.

In a rare discovery, historians have uncovered rock art that is believed to have originated in the Paleolithic age in Telangana's Nallamudi in Jagannadhapuram of Bhadradri-Kothagudem district.

The art pieces were found at the feet of Ontigundu in the lime-stone hills near a place of worship of the Naikpods, an Adivasi community. Members of the team included the Telangana Jagruthi history wing, Rock Art Society of India (RASI), rock art enthusiast Kondaveeti Gopi and scientist K Gnaneshwar.

According to history enthusiasts, the site also has certain rock art with white coloured-edges.
Haragopal said that though rock art forms found recently across Telangana are similar to the latest findings, the Ontigundu findings hail from mid-Paleolithic age to late-upper Paleolithic age.

New Telangana History Group (NTHG), which is looking for hidden art treasures, which could back to the palaeolithic age, has found rock art at Fakkeeroni mitta near Medikonda village in Jogulamba Gadwal district.
Rock art comprises images of tigers, human shapes, and wild animals. The expression of the artist clearly depicts the depth of his understanding of the mechanics of this art form.

Though such images were identified earlier in rock art found in Pandavula gutta, Goparajapalli, Hastalapur, Vatti Malla, the Medikonda rock art is different, Reddy said. ‘A man hunting the tiger’ is a distinctive one as it was not found elsewhere in Telangana state so far, he said.

In 2014, when Telangana state was formed, there were only 18 places where rock art was found. Now the number of rock shelters has gone up to 60, Reddy said. Of them, 18 were discovered by the archaeology department and 16 by others, while the New Telangana History Group has found 26 to date.

Mesolithic Middle Stone Age rock art
The mesolithic rock art is found both in a single culture as well as multi culture contexts. Sanganonipalli and pandavula gutta sites are exclusive mesolithic rock art sites, while at Budigapalli and Dupadugattu mesolithic rock paintings occur along with rock paintings of other culture phases.

Kasipeta Rock art in Yadadri Bhuvanagiri district
A prehistoric rock shelter with rock paintings from the Mesolithic age, megalithic burials and microliths have been found on a small hillock near Kasipet hamlet of Yavapur gram panchayat in Bommalaramaram mandal in Yadadri Bhuvanagiri district. The explorers found microliths (stone tools) from the Mesolithic period at another location of the hillock. A continuation of civilisation was seen here, as cairns, cists and a menhir, which are forms of Megalithic burials, were also found at the site. 

“The hillock is about 30 feet tall and we identified many red ochre colour paintings on the inner side. On the other hand, many paintings were erased as locals applied lime coating on them as part of worship. The human figure standing behind four bison was drawn using an X pattern. The other human figure painting is similar to the petroglyph of a man with a weapon at the Regonda site,” said Sriramoju Haragopal, convener of Kotha Telangana Charitra Brundam.

A prehistoric rock painting of animals and men were spotted at Pyararam village in Bommalaramaram mandal in Yadadri-Bhongir district. The team noticed occurrences of Mesolithic stone tools and Neolithic grooves in the close proximity of the site. The rock shelter was also depicted with a full figure of a lady carrying something on her head belonging to the early historic period and two human couples engaged in erotic postures datable to the medieval period 15th-16th Centuries. The fresh evidence clearly revealed that the rock shelter continued to be habitable right from the Mesolithic times to the medieval period, he added.

An ancient rock art site dating back to the mesolithic era was discovered at Ramappagutta, a hillock located close to Nampally town in the Rajanna-Sircilla. Estimated to be at least 10,000 years old, this rock art having paintings of two snakes, three tortoises, human figures and grass was found by A Karunakar and Joel of the KTCB.

Similar discoveries were made at Kukunoorpally and Thimmareddipally villages in Siddipet district in the past, where the rock art sites were located atop the hillocks, whereas the site found in Wargal near Gajwel is located close to the base of the hillock, which is a neolithic rock art site. In the past, inside a cave at the base of a hillock in Vattimalla village of Konaraopet mandal in Sircilla, paintings of a tiger and other figures were discovered.

In a fresh find, pre-historic rock paintings belonging to the Mesolithic period were discovered on the banks of the Krishna river on the Telangana side. The uniquely styled rock paintings are located in Patha Kisthapuram, a village that will be submerged by the Pulichintala projects in Mellacheruvu mandal of Nalgonda district.

A 2,000-year-old port was also found near the fort where ships used to anchor. Of the nine forts believed to be from either the Sathavahana, Ikshavakula or Rashtrakuta period, only one has been explored so far by archaeologists.

These are some of the rare rock paintings. Similar paintings are found in Hastalpur. Some of the paintings are of bulls. Going by the depiction of bulls with horns and reproductive organs. They could be from the Chalcolithic age," he said. This refers to a period between 3500 and 1700 BC.

Neolithic Copper Age Rock art (Chalcolithic period) - 4000 BCE to 1750 BCE

The neolithic rock art is found in two sites, Budigapalli in the Husnabad Mandal in Siddipet district and Dupadugattu in the Kodangal taluk of Mahaboobnagar district. The neolithic rock art at these sites is characterised by humped bulls, the hall mark the neolithic art both petroglyphic and pictographic of South India as a whole. At Budigapalli a humped bull is very realistically drawn in flat wash along with some geometric symbols and human figures datable to succeeding culture periods. In view of the state of preservation of this humped bull figures it can be dated to the neolithic period.

Kotha Telangana Charitra Brundam discovered Copper Age rock paintings near Nandipet village in Mahabubnagar district. On a small hillock a few kilometers away from the village, images of a leopard opposite to a bow-clad hunter, a deer with long horns, and a long-tailed animal were found painted. These are similar to rock art in Kokapet, Ranagareddy district.

A group exploring Moosapet suburb, which is part of Greater Hyderabad in Mahaboobnagar district of Telangana for developing the hill as a spiritual centre and tourist spot, has made a startling discovery. They came across a rock bruising of a bull which dates back to the early phase of the Neolithic period.

The team was surveying the area to prepare a masterplan for development of the entire hill as a spiritual centre, an ecotourism spot and heritage tourism destination.

Members of the Kotha Telangana Charitra Brundam made the discovery of two neolithic celts (small axes) under the Tortoise Rock formation which is now a traffic island near BNR Hills in Hyderabad. “We were looking for prehistoric rock art in the form of paintings or sketches but noticed two stone axes on the floor of the natural shelter. The axes measure 12.0x7.2x2.1 cms and 9.2x3.9x2.2 cms in length, width, and thickness respectively,” informed archaeologist E. Sivanagi Reddy.

Megalithic Iron Age : Metal using phase 

Explorers also found dozens of dolmens (burial sites) on the the surface of Gajjelonigutta near Nandipet village in Mahabubnagar district in damaged state. Dolmens belongs to (Megalithic) Iron Age.

A team of historians and archaeologists from the Kotha Telangana Charitra Brundam (KTCB) identified prehistoric paintings on the rock of Burka Gutta at a cave in the Sircilla district. The lizard and anthropomorphic images found here are comparable to those found in Ontigundu. In the square, the scorpion, the two lower circles, and triangles appear to be a stage and a human figure with raised arms. Circles, triangles and vertical and horizontal lines are inward – showing a foot pattern with six limbs. There were two dogs and some discolored and unrecognisable images,” he added.

The rock art expert Bandi Muralidhar Reddy, advisor of the history group, opined that the paintings belong to the megalithic era.

Neolithic Age rock art

A new prehistoric rock art site has been discovered in Medikonda village of Jogulamba Gadwal district, inside a cave located atop a hillock, at a height of around 240 metres.

The rock arts depict images of a large tiger-like animal, a stag with antlers, a small mouse deer-like animal, a hunting scene and two humans standing beside each other.

The discovery was reported by a government school teacher Hanumannagiri Vemareddy, along with his friends T Padmareddy and S Hanmatareddy, all of whom are members of the collective Kottha Telangana Charitram (KTC). KTC members say the rock art is from the pre-neolithic period and is a rare kind of site among the sites found until now.

A neolithic era rock art site atop a hillock near Pothireddipally village of Yellareddipet mandal in Rajanna-Sircilla district has been discovered by an archaeology enthusiast. Sadasivananda, a member of Kotha Telangana Charithra Brundam (KTCB), has discovered the rock-art 5 km from the village atop a hillock locally called ‘Sithari Gattu Maisamma Gutta.’

The pictures were painted on the base of a huge boulder called ‘Padigerayi’ covering a canvas area measuring 6 ft in height and 10 ft in width.

Nine designs were painted on the boulder, with each pattern having inner circles and what appears to look like rays on the outer and inner sides of the designs of a circular pattern. Locals from Tenugu (Mudiraju) community have been offering prayers to this rock art, treating it as their deity ‘Maisamma’.

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Neelakanteshwara Temple

Sri Neelakanteshwara Temple is located on a beautiful Highway to Nagpur in the centre of Nizamabad Town is famous for its architecture.

Apart from architecture, there is another unique factor to this temple. It is the presence of the Big Three here: Lord Shiva in Linga form, who is Swayambhu; Lord Vishnu lying supine like Lord Padmanabhaswamy and Lord Brahma sitting on his lotus. Devotees throng this temple because of the presence of the Holy Triumvirate.

Kanteshwar is popular for an ancient temple dedicated to Lord Shiva. The temple is said to be about 500 years old and stands as an example of the architecture of the time during which it was built. This ancient temple was built by Satakarni II for Jains, who was a popular Satavahana King.

During Kakatiya period, the Jain mandiram was converted to a Shiva temple when many Jains also converted to Hinduism. The structure resembles the Nagara style or Hindu architecture with influences from north.

While some legends say that the temple could be close to 1,400 years old, it is older than 500 years and represents a mixture of great architectural history, with artwork on walls and pillars of the temple.

While the Nagara influence dominates, one can see Chalukyan influence on the temple gopuram and the outside of the temple and Kakatiya influence is there all over, including the outer region of the temple, with its small floral contributions. There is a protective wall, almost like a fortress, around the temple.

While the sanctum sanctorum has the three Lords and you can worship all of them together, the outside is replete with pillars, some on a raised platform on either side of the idol of Nandi, the guardian deity of Kailasa.

The Rathasapthami festival celebrated here every year, is very popular among devotees.

There is also a legend which says that the Sun rays fall on the Shiva Linga only on the Rathasaptami Day (Chariot ceremony).

Kanteshwar Jatara is organised on the premises of the temple. A large number of devotees throng to the temple for the darshan of chariot (Ratham).

The temple’s ‘gali gopuram’ (a monumental tower) stands tall and people can worship it from far away even before approaching the temple.

Many come to fulfill their wishes and pray to Lord Shiva to whom this temple is dedicated.

It is believed that the Lord here grants one’s wishes if you pray with fervour. This temple and many other ancient temples in this region came under Sirnepalli Samasthanam.

While the name of the temple suggests that you will see an icon of Lord Shiva with a blue throat, it is not the fact as the idol is in ‘Linga’ form.

The temple gains its name according to a legend that in a war between Gods and demons, there was a churning of an ocean and this brought forth gems and poison ‘halaahala’ which would have destroyed the entire creation. So both the Gods and the demons approached Lord Vishnu for help who in turn sent them to Lord Shiva.

Lord Shiva is believed to have drunk the entire poison and it is said that his consort Parvati Devi caught hold of his throat so that the poison does not move down his body which gave a blue colour to the Lord’s throat. Thus, Lord Shiva also gains the name ‘Neelakanteshwara’ due to the presence of the blue throat.

All pillars are made of stones but the variety of stone used is also different within this small space, speaking of the various influences. Local people point out the fact that there are three flowers on one pillar whereas other pillars have only one flower. Some eccentricity or lack of time of the sculptor, probably.

There is also a Dakshinamukhi Aanjaneya Swamy outside the temple. Normally, Lord Aanjaneya faces east but he is supposed to be facing south here because Sita Devi was in Lanka then, says chief priest Suhas Shakai.

One must not forget to mention the beautiful Nandi, sitting in front of his favourite Lord.

Previously made of one single stone, the idol looks handsome, with all kinds of paint on him, spoiling his looks, but some are happy that the paint is peeling off.

The whole ancient feel of the temple comes from the pillars, the Nandi and the beautiful work done on the walls, pillars and the roof in the inner part of the temple.

The temple stands on three acres of land and stone tiles have been laid for the walkway and an awning covering half the temple as protection against weather, while a small herbal garden is there amidst the walls of this ancient temple. There are other gates, with monkeys as gatekeepers. On the other side of this temple is a very beautiful and huge temple well, where only Utsava Murtis of the Lord are dipped, though one wonders about the plastic bags lying in the water.

There is a walking space. There are several Nandis and Shiva Lingas here too for people to do pooja. Just to give the old feel, there is a ‘ratham’ (chariot) made of wood. While the entire ratham is delicate and colourful, the bottom part of it has ‘nakashi’ art paintings of the Lords.

There is a small Tulasi plant amidst a host of huge trees of neem, peepul, palms etc. around the temple . Embedded on the wall of the temple is a beautiful Narasimhaswamy made of granite and looks wonderfully worshipped.

Next to the Tulasi is another stone statue, apparently known as Veergal or hero stone. These are found in a few places and in memory of those who lost their lives in war. Of course, there is a Lord Ganesha, in whose presence all poojas begin and he stands in granite glory and Sri Parvathi Devi has a small temple to Herself, in glorious turmeric, with a red bindi adorning her forehead.

The office room though is the best and has been kept in its original form. “We do not want to change this,” insists Temple Chairman Kovvuri Jagan Gupta. “Even in Summer, it is cooler here inside,” he said. The office room is small and has a domed roof. There is coolness about the place during the monsoon. It probably leaks but the old feel is definitely there, including an old wooden door.

The temple is very peaceful with the music of the breeze flowing through the trees and during nights, the lights come on and women walk in colourfully and chant Sloka in groups, adding to the fervour of the temple.

Temple Timings

Monday - Friday:

6:00 AM -7:30 PM

Saturday:

6:00 AM -7:30 PM

Sunday:

6:00 AM -7:30 PM

Public Holidays:

6:00 AM -7:30 PM

https://www.deccanchronicle.com/nation/current-affairs/060818/an-alluring-temple-of-trimurtis-of-the-trimurthis.html

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Mesolithic paintings of Mancherial

Mesolithic cave paintings found in Thaatimattayya hills of Buggagattu forest in Mancherial district of Telangana State.

Historian Dr Dyavanapalli Satyanarayana has claimed that he explored the site in the Buggagattu forest area with the help of the local Naikpod tribes.

He said cave paintings at Thaatimattayya are dated to be 13,000 years B.P. According to Satyanarayana, he came across the ten types of paintings drawn in five colours.

Dr Satyanarayana said ‘even today families of Naikpod worship the ‘Thaatimatayyah’ or Thaadu which means palm tree. One of the most striking features of the cave paintings is the drawings of perfect circles. 

It seems that the prehistoric artist had used geometric measurements to draw the circles. The circles represented human heads, womb/vagina, flying saucers, dumbbells/tool kits, sun and moon discs.

The Mesolithic Age people inserted the small chips of chert stone (one-inch long and centimeter width) in the full cleavage of fist fit logs to make knives, sickles, etc. sharp implements, in between 8,500 B.C. to 3,000 B.C. 

It also appears that the caves were inhabited the people during the subsequent ages – Neolithic and Megalithic – as it is revealed by the human paintings with metal weapons and physical grinding stones, the historian concludes.

The prehistoric paintings were drawn at five places on the sand rock walls of the 50 yard long cave. The first space has only one petroglyph of an ox engraved in one foot length. The second and third spaces are the main chittaruvulu on which several tens of red ocher paintings were drawn.

The most important paintings of the spaces include the animals – horned bulls in rows, deer, antelopes, porcupine, and big lizard (Udumu). Some men were depicted as controlling the oxen with weapons.

The paintings also include a priest with thick red ochre halo around his head. Similar painting is also found nearby but in fainted red color.

The Naikpod tribals of the region, who invoke the deity Chittarayya for three days in every three years, call the priests as tappeta goollu (big dappulu in Telugu). The fourth and fifth spaces are expressing only fainted red ochre oxen, the historian explains.

But unfortunately most of the prehistoric paintings depicted on its wall spaces have been dimmed due to the recent distilleries cooked here for illegal liquor. 

Only a half-foot long ox figure in red ochre color at one place and a foot-long ox in white color at another place are clearly visible on the 30 feet-long wall space of the cave.

But there appears every possibility to retrieve several paintings by way of scientific / expert chemical cleaning of the cave wall, he said.

With regard to the corroborative evidences of the paintings fortunately one can find hundreds of microliths in front of the caves. 

Renowned historian Dr Dyavanapalli Satyanarayana found these sites near in the Buggagattu forests located at a distance of some 10 km from the district headquarters.

According to Dr Dyavanapalli Satyanarayana, the first cave is locally called Chittarayya Gundu is oriented towards northward and located at a distance of one kilo meter from the Buggagattu Anjaneyasvami temple in its north western corner.

While explaining about the second cave, Dr Dyavanapalli Satyanarayana said that Paatha Chittarayya Gundu, which is located in the deep forests at a distance of two kilometers from the first cave has projection towards northward is more than the first cave and hence it seems to have provided more safe accommodation to the humans.

Since the cave painting sites are located in a distance of ten km drive from the District Headquarters Mancherial the Government may develop the sites as historical and adventurous tourist sites so as to protect the rare and rich heritage of Telangana, Dr Dyavanapalli Satyanarayana appeals.

https://www.deccanchronicle.com/nation/current-affairs/221017/13000-year-old-cave-paintings-found-in-thaatimattayyah-hills.html

http://www.thehansindia.com/posts/index/Khammam-Tab/2017-01-11/Mesolithic-paintings-found-near-Mancherial/273074

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Banjara Needle Crafts

Banjara needle craft is a needle craft embroidery in the state of Telangana. The craft has evolved through centuries across generations. It is an embroidery and mirror work on tapestry. The work pieces are bright-coloured. Banjara needle craft is unique to the region of Telangana. It involves use of simple needles, embroidery thread, original fabrics (cotton or woolen), and needs high proficiency in the craft. Combined together, they create splendid pieces of art.

Needle work is the mainstay of this craft and the combination of certain patterns such as geometric shapes - squares, tracings and diamonds are widely used.

The colourful threads used on the basic cloth along with tiny mirrors, beads and cowrie shells impart a vibrant look to the piece of cloth. The mirrors, beads and shells diverse style of stitching - herringbone, simple chain stitching, long and short stitch.

Generally diverse colours such as pink, white, yellow and blue coloured clothes are used. In many instances, blue or brown cloth is used to ensure proper amount of contrast to enhance the beauty of the embroidery.

Banjara needle craft presents a range of embroidery such as bags, kurtas, cushions, gift articles, women garment fabric, bed sheets, and other home furnishing cloths.

Banjara needle work is not exotic by itself, but is the cut, craft and the ideas picked from nature that make it so different. Before itsy-bitsy blouses showing décolletage or open back blouses became fashion statements in urban areas, Banjara women were stitching and wearing them. It was this nifty needle work that incorporated mirrors and shells that drew the attention of the Crafts Council officials to Sepavat Angoori, then a 17-year-old married girl with a daughter, in Yellamma tanda (hamlet), Ibrahimpatnam taluk.

Sepavat Angoori honoured by Crafts Council of Telangana for her role in spreading the needle craft 

The Banjaras in Telangana are gypsies in ancient times who led a nomadic life. They travel from place to place and do a vocation related to their travel. Banjara needle crafts are handmade fabrics made by Banjaras.

Embroidery in general began with woman folk of travelling tribes who did not have the opportunity to go out home in pursuit of any vocation. They began embroidery as a matter of vocation. Embroidery is associated with every facets of life. Embroidery is symbolic of expressing one's passion for creativity.

http://www.thehindu.com/news/cities/Hyderabad/Owning-the-Banjara-needle-craft/article17000665.ece

http://telanganatourism.gov.in/blog/banjara-needle-crafts.html

http://golkondacrafts.telangana.gov.in/blog_banjara_needle_craft.html

http://www.deccanherald.com/content/335938/magical-stitches-banjara-needles.html

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Narayanpet Saree

The Narayanpet saree is made either of cotton or silk.

 One school of thought states that in 1630 AD during Shivaji Maharaj’s campaign in the Deccan, the brightly coloured saris of the ladies caught his eye and thus the Narayanpet saree got its Royal Maratha Patronage. Other versions of the tale state that the weavers, who were part of Shivaji’s camp during a campaign, were the ones who stayed back and developed the form as we see it today.

Much before the world was made aware of the concept of a global village, the Indian Subcontinent had embraced the idea.

The merger of cultures of different princely states and regions in the country has produced some fantastic weaves and styles that are heralded to this day for their sheer beauty and exclusivity. The Narayanpet saree is one such example.

These sarees have had the privilege of enjoying the royal patronage of the Marathas. Regarded as the garment of the Gods, Narayanpet sarees were used to drape the idols of deities and worn exclusively by aristocracy for the longest time. The only treatment better than a royal one, is a godly one. Narayanpet sarees are all that and more.

There is a distinct style attached to the Narayanpet sarees, the sarees have a checked surface design with embroidery and the border or pallu have intricate ethnic designs such as a temple.

The borders and pallu of the Narayanpet Silk saree are given a contrasted look with small zari designs.

With designers like Shravan Ramaswamy acting as guardian angels and showcasing the Narayanpet silk sarees, the weavers have been hugely benefited by the surge in demand.

At any handloom or silk exhibition, Narayanpet silk sarees are a definite part of the showcase around the globe.

The popularity of Narayanpet sarees is enhanced by the fact that amongst all the Silk garments, this is the one which is most easily affordable. In recent times, even, designer boutiques have started stocking and selling Narayanpet silk sarees.

Going by historical records, in 1630 AD, the Maratha king, Chatrapati Shivaji traveled to the Narayanpet region where he camped for a while. When he continued on his journey, a few weavers stayed behind.

These were the weavers who started producing the Silk sarees with a distinct style of design which came to be known as Narayanpet Silk sarees. No wonder then, courtesy the weavers who migrated from the Maratha region to Narayanpet, there is lot of Maharashtrian influence seen in Narayanpet Silk sarees.

Later on, under the rule of Lokapalli Sansathanam, the production of Narayanpet Silk and Cotton sarees increased dramatically.

For producing the Narayanpet sarees, vegetable dyes are used. This is a unique process where eight sarees are made at one go on a loom. Thus instead of the standard 7 yards of fabric being mounted on the loom, 56 yards of Silk are mounted on the loom at a single time.

After the degumming, dyeing and drying process, the actual weaving starts. In the case of Cotton sarees, it takes one day to complete a saree, whereas a Silk saree takes 4-5 days to be completed.
In 2012, Narayanpet sarees got its Geographical Indicator (GI) registration with the government of India.

It is extremely hot in summer and cold in winter. If one has to deduce, the extremities of the weather could well have prompted the creation of the style of Narayanpet Silk sarees which is beautiful and rich to look at and is comfortable to wear round the year because of it’s light weight.

The early weavers who settled down in the Narayanpet region in the 17th century are the pioneers of this art. The skill has been passed down from generation to generation. The entire weaver community involved in this art is located only in Narayanpet.

https://www.utsavpedia.com/textiles/narayanpet-silk-cross-culture/

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Nirmal Toys

Nirmal Toys world-famous wooden toys are made in the historic town of Nirmal in Telangana state

derived its name from that of a 17th-century ruler, Nimma Naidu, who had a great interest in art and toy-making. Back then, he collected about 80 artists and started a toy-making industry that came to add cultural significance to the town.

The Nirmal toy cluster has 60 families registered with the state rural self-help group, who keep the craft alive, making toys that are sold through state emporia. The cluster earns revenues in the range of Rs 3- 4 lakh per month.

Considering that the cluster largely produces toys, which is a non-essential item, there is always the danger of artisans losing interest in this traditional craft and moving on to more lucrative occupations. However, the award of the Geographic Indication (GI) status to Nirmal toys in 2009 was a morale booster for them.

The GI status acts as a flagging device that helps producers differentiate the Nirmal toys from competing products in the market. It has brought recognition and fame to the town, spreading awareness about the uniqueness of its products. At the same time, it offers protection from fake products. The goodwill around the GI products often translates into better pricing.

The town of Nirmal has been a prominent production centre for many such items, especially war cannons and toys from a very long time. 

Toys are made for different uses like utility purpose, ornamental value etc., and some of the toys are made very artistically. One such glorious tradition is that of Nirmal toys. 

Toys are those wonderful small things, which have been an integral part of our lives right from childhood, entertaining us and giving us our first set of learning in life. 

A Glimpse of the Naqashi Art!

Nirmal craft is known for its age-old origin, dating back to the Kakatiya era. The recorded history states that it is 400-year-old rich tradition encompassing soft wood toys and attractive paintings, and furniture, occupying the pride of place in the larger context of Indian handicrafts. These toys are made of finely carved wood. 

According to local legend, theNaqash families of Rajasthan migratedto this region during 17th century and it is they who brought this art. 

The Naqash artisans produced these toys from the local variety of softwood initially, called poniki or white sander. 

The usage of the ducocolours, makes the Nirmal toys popular for its typical shine and these toys are also painted in enamel colours, which brings a unique look to them. 

Nirmal toys are also painted with an herbal extract, which imparts a golden sheen. These are also coated with exclusive and rich oil colors. The Mughal miniatures’ painting on the white wood poniki is considered very attractive and owned more by art collectors. 

The motifs which are used in Nirmal craft are derived from the floral designs and frescoes found in Ajanta and Ellora forms and the Mughal miniature art.

The foundries which have been established here supplied key ammunition to the Nizam army of erstwhile Hyderabad state while the Naqash craftsmen, have contributed their rich skill in the form of the exclusive wooden toys. These are coated by duco paintings, which is a highlight of Nirmal Art. The dynastic legacy of Hyderabad Nizam’s is considered one among the manyreasons why this art had flourished far and wide. The strategic location of Nirmal town, connecting North and Central parts of India with South India has also contributed for the variety as well as popularity of this art from many centuries.

The cottage industry here comprises of Nirmal toys, Nirmal paintings etc., which is a main source of livelihood for the artisans involved in this trade. In fact, Nirmal toys are the pride of Telangana region and the town is considered synonymous with special toys, paintings and furniture. 

The toys made in Nirmal constitute ideal gifts and souvenirs and hence they are widely popular. Nirmal toys are used for decorating living spaces, office spaces and art galleries. The tradition of toy making is also a matter of academic interest for other craftsmen, who visit the town from other parts of world.

http://golkondacrafts.telangana.gov.in/blog-nirmala-toys-7-11.html

http://www.supportbiz.com/articles/vertical-view/gi-status-opened-doors-opportunity-nirmal-toys.html

http://www.wionews.com/india-news/once-upon-a-toy-town-24296

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Nirmal Furniture

Nirmal Furniture is furniture made in Nirmal, Adilabad, Telangana, India. It received Geographical

Indication rights in 2009.  It is handmade wooden furniture.

Nirmal Painted Furniture, a Brand in Itself!

Every region in India, is known for its unique culture and traditions, which have also influenced the local art. Nirmal town in northern part of Telangana state shares its unique, legendary identity in the arena of arts and crafts. The skill of the artisans and craftsmen of Nirmal town is well known, right from the pre-independence days.

The origin of Nirmal art and craft is traced back to the Kakatiya era. Nirmal works were influenced by the Indian Schools of Art like Kangra, Ajanta and also the Mughal miniatures. It is even said that once the Nizam of Hyderabad was accorded a grand welcome when he visited Nirmal. The artisans decorated the venue and the seat of the Nizam in a very grand manner with an intricately designed banana bud which was believed to have been suspended over the Nizam’s seat. This was unfurled while there was a cascade of golden petals showered on him.

In the last few decades, Nirmal work has been evolving in order to cater to new demands from the customers. One such exclusive arena apart from Nirmal paintings and toys is the Nirmal painted furniture, which is popular all over for its durability and outstanding look.

Nirmal painted furniture represents fine quality furniture. It is a unique form of hand-made wooden furniture, painted beautifully before they are offered for customers.

Furniture was once considered the choice of only the privileged but over the years, it has also become a common choice for all strata in the society. Therefore, many varieties of furniture have been launched in the market, but there are only few varieties which have been carried forward as a legacy. One such furniture type is the Nirmal Painted Furniture. The artisans of this town combine artistry in painting with great skills in woodcraft and they produce a variety of household and also office furnishings that lends aesthetic appeal to the surroundings. These include decorative Rajasthani and French style soft-sets, rocking chair, partition screens, chowkis, pen holders, wooden platforms, Pooja mandapams, trollies etc.

The furniture items are highly appealing and represent a unique set of decorative items, clearly reflecting the artistic and creative spirit of the artisans and furniture makers of Nirmal town. The skilled workers are considered the pride of Telangana, with Nirmal painted furniture made by them becoming very popular all over. These furniture sets are ideal to grace the living and office spaces. The painted furniture received Geographical Indication rights in the year 2009.

http://golkondacrafts.telangana.gov.in/Nirmal-painting-furnitures.html

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Karimnagar Silver Filigree

Karimnagar Silver Filigree is a silver filigree made in Karimnagar, India. It is an ancient art of

Karimnagar.

Karimnagar Silver Filigree received Intellectual property rights protection or Geographical Indication (GI) status in 2007.

Silver filigree, the ancient art of making silver artefacts and ornaments by using silver wire, an art which Karimnagar town is famous for, cries for attention, protection and promotion of the age-old art and tradition.

Silver filigree was popular during the Nizam era when the rulers encouraged the silversmiths to make the exquisite silver plates, ‘pandhan’ and other artefacts as show-pieces. These artefacts made by the silversmiths of Karimnagar were made available at Salar Jung Museum in Hyderabad.

Since 19th Century AD, the very talented craftsmen of Karimnagar fashioned rich intricate trellis/Jali made of twisted silver wire.

The locals say that this unique craft was adopted some 200 years ago by the Elgandal town near the Karimnagar district in Telangana and it later moved to the Karimnagar town in the first decade of the 20th Century. 

After digging deep about how this craft emerged, it has been understood that this craft was introduced by a widely travelled professional goldsmith, Kadarla Ramayya, who was a native of Yalagandala, who learned and absorbed this filigree jewel technique and craft. In Telugu parlance, filigree is called as, vendi teega pani (work done with silver wire).

In order to protect the ancient art of silver filigree — making artefacts and ornaments by using silver wire — women belonging to the goldsmith community have taken up the art in Karimnagar town.

A total of 20 women underwent training in the making of silver artefacts by using the technology of silver filigree from February to June this year. After four months of rigorous training, including theory of drawing designs, use of wires and small pieces of silver to make various artefacts, the women have now turned experts in making silver filigree items.

They have started making new designs of silver artefacts which were made affordable to the common man. “Earlier, silver filigree artefacts weighing 500 grams to 5 kilograms cost lakhs and business was restricted to elite market. Now, with the involvement of women, the products are available from ₹1,000,” said Sri Ramoju Nagaraju, president of Sri Laxmi Narasimha silver filigree society.

http://www.telanganatourism.gov.in/partials/destinations/heritage-spots/karimnagar/silver-filigree.html

http://www.thehindu.com/news/national/telangana/women-master-the-art-of-silver-filigree/article19197738.ece

http://www.thehindu.com/news/national/telangana/silver-filigree-art-cries-for-promotion/article7284734.ece

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