Chandlapur Rural Tourism

Chandlapur is a village in Chinna Koduru mandal, Siddipet district, Telangana State, India. Located at a latitude of 17.72692 and a longitude of 78.00892, is renowned for its rich heritage of producing intricate handlooms, particularly Gollabama Sarees.

Weaving has become the primary occupation of many villagers, with these exquisite sarees finding recognition both nationally and internationally. The village boasts a cultural legacy rooted in the traditional art of handloom weaving, preserving ancient techniques and utilizing traditional materials.

The primary theme of tourism in Chandlapur is centered around promoting and showcasing its exceptional Handloom Craftsmanship, with a particular focus on Gollabama Sarees.

Chandlapur has been recognized as Best Tourism Village 2023 in Bronze category.

Chandlapur stands as a living testament to the timeless art of handloom weaving and this enchanting village is a treasure trove of intricate craftsmanship and cultural heritage.

Chandlapur's theme is a symphony of threads and traditions, where every weave tells a story. At its heart lies the exquisite Gollabama Sarees, a testament to the villagers' unwavering dedication to preserving ancient weaving techniques.

Village mesmerizes by its rhythmic clatter of looms, the skilled hands of local artisans, and the vibrant hues of their creations. Beyond the looms, the village also boasts a variety of attractions, from the historic Ranganayakaswami Temple to the tranquil Ranganayaka Sagar Reservoir.

Chandlapur actively participates in the Telangana Harita Haram initiative, passionately engaging in plantation drives and composting to enhance greenery and combat environmental pollution.

Promotion of Handloom Weaving

The village actively promotes and conserves its traditional handloom weaving techniques, with a particular emphasis on Gollabama Sarees.

Development of Ranganayaka Sagar Reservoir

Chandlapur, in cooperation with the Telangana Tourism Department, is developing the Ranganayaka Sagar Reservoir as a significant tourism destination.

Environmental Conservation

Chandlapur participates in the Telangana Harita Haram initiative, focusing on increasing greenery and reducing environmental pollution through plantation drives and composting.

Economic Growth

The tourism ecosystem built around handloom weaving and cultural attractions has contributed to economic growth, generating income for local artisans and service providers.

Employment

The tourism sector has provided both direct and indirect employment opportunities, benefitting the local community, including weavers, craftsmen, and service providers.

Cultural Preservation

Initiatives to promote handloom weaving have helped preserve and promote the village's cultural heritage, ensuring the continuity of traditional crafts.

Environmental Conservation

Measures to ban single-use plastic, increase greenery, and promote sustainable practices have contributed to environmental conservation and awareness.

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Warangal Durries

Handloom to date remains one of the most rich traditional practice of the country. Geometric patterned durries remain the most famous durries from Warangal and are in demand both in national and international markets.

Lack of self-branding and promotions are the reasons that Durries made in Warangal are unable to market their uniqueness.

Warangal's famous durries are now available to the world: Weavers sell their products on Amazon

Recently, e-commerce giant Amazon signed a Memorandum of Understanding with the Telangana Department of Handlooms and Textiles to help handloom clusters in Warangal, Pochampally etc. 

Durries of Warangal to date remain one of the few crafts left in the country that is still done by hand. It is still amazing to find weaver’s making an entire durry with traditional looms even when the rise in technology has led to the introduction of Power looms. 

In recent years, screen printing techniques and kalamkari prints were adapted to Warangal durries, extending the range of products. The designs that are characteristic of Warangal durries are geometric, angular motifs and coloured horizontal stripes.

Warangal durries have been famous for many reasons. The famous durries or rugs are made using vegetable colours, and are washed in flowing water after the printing process and became a renowned hub for weaving these rugs due to the availability of cotton, which is grown by farmers in the area. The craft has never faced the shortage of materials at any point of time. 

The colours used are distinct with reds and blues used in combination with neutral colours. The designs range also has flat weaves with raised or extra weft patterns. Pit looms and frame looms equipped with pedals are prevalent. A wide variety of durries are woven in cotton and also some jute and wool based durries for export and the home market.

The weaver’s continue to make the durry at minimal wages as it is the only practice they were taught by their elders. But the art of making durries is at a risk of continuation and needs protection. The weaver’s do not feel the competition as they are not exposed to the market demands, for them government purchases are enough to keep them going. 

Granted the Geographical Indication (GI) tag in March 2018. Once a GI tag is allotted to a product, the name becomes unique to that geographical area and cannot be used for products that are manufactured outside of it. Violation of GI tags is a punishable offence under the law.

Warangal has long been an important durry-weaving centre with a strong local flavour. The tradition of making Durries in Warangal dates back to the Mughal era, when the Mughal army came down to south in Deccan region of India, an army comprising of artists and craftsmen started making carpets and sooner the local people had accepted it as their part of regular income, passed down from one generation to the next for more than hundred years. It is highly labour intensive rural based cottage industry. 

The weavers in Warangal are either organized in cooperatives or work independently. A weaver's day usually begins at 6 in the morning-getting ready for the day ahead. Weaving is a year round job, the only holidays are on Eid and Amavasya when it is believed that work should not be carried out.

Females are active members in the process of making a durry. Both men and women have to work to ensure a basic standard of living. While the pit loom is only operated by men all other activities are carried out by females. Right from spinning the yarn to even operating the frame loom, the women carry out these functions very efficiently. One can also find women sitting outside household winding and spinning yarn that is then taken for weaving. Weaving a durry is hence a multi- fold process that starts right from the house of a weaver.

Weaver's rely heavily on natural light and one cannot find many tube lights or even fans at the workplace. The ceilings have been designed in a way to allow maximum sunlight to come inside, but during winter season or rainy days when the sun is not too kind, the weavers have to wrap up work early. Ventilation and Cleanliness are major concerns at the workplace. Since the raw material is cotton yarn one can find cotton fibres everywhere. These fibres are not removed on a regular basis as the administration feels that since it gets dirty so quickly, why bother to clean it. 

Warangal Durries are made on 3 different types of looms.

Pit Loom: A pit loom is used for weaving the carpet, which will be at ground level and is basically pedal and hand operated. The Shuttle is manually moved by hand. It is called Pit Loom because a pit needs to be dug in the ground for inserting pedals.
Frame Loom: Similar to pit loom, it has a pedal but doesnot need a pit to be dug. The only major difference is that in a frame loom the shuttle is not operated by the weaver but moves through a mechanism of pulling.
Power Loom: All operations on a power loom are automatic and only require manual insertion of the yarn.

Durry weaving is an established industry in Warangal with a large population of skilled weavers and facilities for dyeing. though the number of weavers have increased over the years, sales haven’t gone up proportionally.

These fine craftsmen are well known all over, as their durries have managed to become popular across India as well as abroad.

According to the Handloom Export Promotion Council, 80% of the handwoven durries sold in European and American markets are woven in India.

Pitta Ramulu is the first weaver to get recognised with a national award, according to The Hans India. He had won the ‘‘National Handloom Award’ for 2015. Ramulu’s durries can be found on Amazon.

It is the first time that a weaver from 100-year-old handloom industry of Warangal district got recognised with a national award. “After a long wait the skills of Warangal weavers are recognised at national level. This would help local handloom industry to flourish now,” he shared with The Hans India.

After finishing his sixth standard, Ramulu started to learn weaving at the age of 11 from his father P Rajeeru. They hail from Ankushapur in Chityal mandal and settled at Kothawada in Warangal in the 60s. He became a master weaver with the experience he gained from his father. He got APITCO training in 2001 in advanced weaving techniques.

For the award-winning durrie, Ramulu took the help of his tech-savvy sons Shanker and Sainath to get the hunting scene of Mughal era depicted in a painting which is displayed in a London museum. “It is an antique and complicated design. The efforts on the design got me the accolades,” Ramulu said.

Explaining about the work put into the durrie, Ramulu said that special type of yarn was picked up to match the pit loom’s dimensions. Special efforts were made to choose the dyes that match the painting and last long.

“I would continue to innovate with new designs. The award would help to get free entry at national and international level handloom exhibitions and ensure a good market for Warangal durries. I have displayed my products in Mumbai, Chennai, Suraj Kund and other places,” Ramulu said.

Warangal durries by Sanjoli Arora 

https://issuu.com/sanjoli_10/docs/warangal_durries

http://www.thehansindia.com/posts/index/Commoner/2016-07-11/The-durrie-that-brought-acclaim-to-Warangal-weavers/241199

https://www.thenewsminute.com/article/warangal-durries-available-world-weavers-sell-their-products-amazon-69724


https://chaibisket.com/andhra-pradesh-telangana-arts-and-crafts/

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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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Gadwal Saree

Gadwal Saree is a handcrafted woven sari style in Gadwal of Jogulamba Gadwal district in the Telangana State, India. 

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Gadwal sarees are made from cotton and silk which is usually tussar or mulberry. “The dyeing is usually done at Chirala where the yarn is dipped in boiled coloured water at an extremely high temperature. Higher temperature means the colour will last a long time.

It was registered as one of the geographical indication from Telangana by Geographical Indications of Goods (Registration and Protection) Act, 1999.

Though Gadwal is the most famous of all, there is an entire of cluster of smaller villages also engaged in weaving these sarees. Over 800 looms are used every day at Rajoli village to create these seven yard beauties. All sarees produced here are sold to the master weavers of Gadwal, which is probably why Rajoli is overshadowed. Other notable villages where they are made are Gattu, Yemmiganur, Aiza and Nagaladinne.

It takes painstaking effort over five days to make one beautiful Gadwal saree on the loom using the interlocking weft technique. Even then, the weavers’ job is not complete; he has to meticulously attach the silk border using ash to finish the saree. They are most notable for the Zari on the saris. The sari consists of cotton body with silk palluwhich is also given a new name as Sico saris. The weave is so light that the saree can be packed in a matchbox

The sarees made on machines using low-quality silk take less time and are sold in the market as original Gadwal sarees. The true hallmark of a Gadwal saree is the merging of cotton and silk threads in the border, which differentiates it from the sarees made on powerlooms.

With any handloom fabric, making it relevant to the increasingly fashion conscious crowd is a challenge. Of late, Gadwal sarees, have received a huge impulse thanks to the efforts of fashion designers like Sanjay Garg and Vinay Narkar who have contemporised it with their labels Raw Mango and Reshamwala. A quick browse through their websites reveals curated Gadwal sarees unlike the generic stacks one has to sort through to find a standout piece.

Though Gadwal sarees got a boost under the patronage of the Nizams and got accentuated with a geographical indication (GI) certificate in 2010, the plight of these weavers is similar to those in other parts of the country as they struggle to make a better life for themselves and their children with the paltry sum they make a month.

http://www.thehindu.com/features/magazine/the-last-drape/article4817410.ece

https://telanganatoday.com/understated-elegance-gadwal-sarees

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Pochampally Saree

Pochampally saree or Pochampalli Ikat originates from the Bhoodan Pochampally region in Yadadri

Bhuvanagiri district, Telangana.

These popular sarees are renowned by their typical geometric patterns and the special Ikat style of dyeing.

The uniqueness of Pochampally Ikat is its ability to create extremely complicated designs using bright dyes.

The fabrics used are natural – cotton, silk and sico (a combination of silk and cotton). The painstaking weave and meticulous eye for detail makes the Pochampally weavers stand apart and are revered throughout the textile industry.

Chintakindi Mallesham, a Class 6 school dropout from Telangana, has innovated the Laxmi Asu Machine easing the taxing manual process of weaving Pochampally saris and helping weavers increase their production without putting their health at risk.

Pochampally Ikat uniqueness lies in the transfer of intricate design and colouring onto warp and weft threads first and then weave them together globally known as double ikat textiles. The fabric is cotton, silk and sico – a mix of silk and cotton. Increasingly, the colours themselves are from natural sources and their blends.

Pochampally, a cluster of 80 villages, has traditional looms, whose pattern and designs are centuries-old. Today this Silk City, which is more of a cottage industry, is home to more than 10,000 weaving families in 100 villages. The fabric is marketed through the cooperative society, many other linked organizations, the master weavers and the business houses in Pochampally. Pochampally does more than Rs.10,00,000,00 annual business in terms of yarn sales, purchase of handloom products and sales. The government in 2010 divided the belt into two clusters Pochampally 1 and Pochampally 2, and is proving common weaving centres. Because of its unique design, efforts are on to revive the dying art.

Pochampally saree received Intellectual Property Rights Protection or Geographical Indication (GI) status in 2005.

Pochampally Ikat is the registered property of Pochampally Handloom Weavers Cooperative Society Ltd and the Pochampally Handloom Tie and Dye Silk Sarees Manufacturers Association.

https://en.wikipedia.org/wiki/Pochampally_Saree

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Gollabhama Saree

Gollabhama or Gollabama sarees are globally famous, and even have the Geographical Indication Tag.

Though Siddipet Gollabhama sarees have a geographical indication tag, it hasn’t led to any boost in sales for the weavers.

Sustaining this art means getting the weavers to incorporate the motifs in stoles, dupattas and scarves and use new colour palettes which is happening slowly.The weavers replicate these silhouettes to create alluring designs on their looms with cotton as well as silk yarns. 

The saree is often in a single colour dotted with small gollabhama butas throughout the fabric, while the larger intricate motifs are showcased on the border and/or pallu (end-piece). Typically, three motifs are used for saree designs viz. Gollabhama, Bathukamma and Kolatam, with Gollabhama being the most commonly used.

These sarees get their name from the decorative motifs that are used – the gollabhama(milkmaid). Gollabhama (milkmaid motif) woven onto the border of the saree refers to women of Golla community. Lore has it that in the Dwaparyuga, milkmaids would carry pots of milk and curd to offer to Lord Krishna. The bewitching silhouette of these women in bright ghagra and choli inspired weavers to replicate it leading to Gollabhama weaving style. “Mostly, the saree is a single colour with a flower pattern interspersed throughout the body. It is the intricate motifs on the saree border which is the defining feature,” says Satyam, a master weaver involved in preserving the style. There are mainly three motifs used in the saree are Gollabhama, Bathukamma and Kolatam, with Gollabhama being the most popular in the lot.

When it comes to creating the motif, the weaver needs to meticulously pass the coloured thread through the warp to get a clear design which is time consuming. “All this while pulling the looms strings thousands of time and swinging the pedal down simultaneously. It takes more time using a single thread, so weavers generally use the double thread technique. 

The intricate Gollabhamas of these sarees are neither embroidered nor printed but are meticulously woven into the border of the saree. The design is initially drawn on a graph, and translated to a pattern using a set of 80-100 threads. These threads define the specific position where the warp is raised and coloured threads are inserted. While creating these motifs, the weaver passes coloured threads (for each motif) through the warp to achieve the resulting design.

Siddipet weave is popularly called the tie and dye weave. The uniqueness of these weaves lies in the transfer of the unique design and colour onto warp and weft threads. These are then weaved together. The fabric used for weaving purpose in Siddipet is pure cotton. The colours derived from natural sources and related blends are used in this form of weaving.

In the handlooms of Siddipet, the process of dyeing is tie and dye technique where the warp and weft are tie-dyed before these are weaved for creating unique designs on finished fabric. The precision of wrapping is the key for obtaining clarity in terms of design. After the process of wrapping is done, these warp threads are dyed.

Siddipet handlooms are renowned for the durability of the colours that are used in the yarn. The handlooms of Siddipet are hand-woven, and the frame looms are mostly used for weaving. The Siddipet Handloom Weavers Co-operative Society Ltd was established in the year 1960 in Siddipet town. The society takes up marketing and sales of the Siddipet Handloom sarees, made with Cotton. The cotton sarees of Siddipet, in the Medak region is a remarkable tradition that has brought a lot of fame to this town.

Apart from sarees, the handlooms also produce towels, bed sheets, pillow covers, and other cloth material used for decorative as well as interior purposes in homes. There is a growing interest among the customers towards choosing handloom varieties in the current era and this revival of interest and patronage is being seen as an advantage for Siddipet handlooms. The cotton sarees created here are popular all over and many weavers are now modernizing their looms and creating good market for these sarees by organizing regular exhibitions.

The handlooms of Telangana region represent rich traditions and with the advent of e-commerce and social media, the tradition is regaining its prominence and the weavers here are hopeful of a strong revival of the trade involving Siddipet handloom sarees, known for their quality and variety for many decades.

Despite global popularity and the geographical indication tag for these sarees, in the recent past the weavers haven’t found the sales to be encouraging. Weaving a Gollabhama saree takes around 3-4 days to make, but the weaver earns a meagre Rs. 350/ per saree. In its heyday, there were about 2000 weavers of the Gollabhama sarees, but today the number has dwindled to only six.

Recently, K. Chandrashekhar Rao, the Chief Minister of Telangana has called for adopting measures for the welfare and betterment of weavers in the state – by offering subsidy on yarn and also buying existing stock from weavers. He believes that specialty brands like Gollabhama sarees should be encouraged so that their past glory is restored.

Apart from buying handlooms, and perhaps adapting them in more trendy attires and accessories, one can only hope that the government’s efforts can support the weavers and help them preserve these traditional and folk arts.

https://floatstheboat.wordpress.com/2017/04/13/siddipet-gollabhama-sarees/

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

https://telanganatoday.com/extinction-looms-gollabhama-weavers

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Cheriyal Scroll Painting

Cheriyal Scroll Painting is a stylized version of Nakashi art, rich in the local motifs peculiar to the Telangana.

Several hundred years ago, Kaki Podagollu, a story telling community would travel through Telengana, singing and narrating stories, and depicting them in a visual format.

An hour’s drive from Hyderabad is the village of Cheriyal in Siddipet district, Telangana. Here is where the famous ‘Cheriyal Scrolls’ come from.

 

These canvas scrolls made from Khadi are hand-painted in a style unique to the local motifs and iconography. Characterised by a dominance of the colour red in the background, these brilliantly hued paintings even received Geographical Indication Status in 2007.

Painted in panels as a narrative, these are like comic strips from the past, depicting scenes and stories from Indian mythology and epics. Distinct in their style they immediately convey age-old Indian traditions and customs in a beautiful and engaging manner.

Of which, both the Lords Krishna and Rama are the most prominent and recurring. These painted scrolls were what kept the people of that era gone by entertained.

Originally used by the village bard as a visual aid to go with his stories and ballads, these scrolls have all but phased out with today’s more mainstream ways of storytelling and entertainment. Read cinema for even the written word is all but fading away.

Little surprise there, for now there aren’t many artists, who still practice this dying art form.

D. Vaikuntham, whose family has continued this tradition since the 15th century is one of the masters of this art.

With Cheriyal being the last village standing it has exactly three artist families, who still pursue this traditional occupation of the region.

Conventionally used as a tool for educating the illiterate villagers, Cheriyal Scrolls were once sociologically and culturally significant. From a scroll that once had up to 50 panels, they have now come down to a single panel, as these artists adapt to its modern use as wall art.

Vanaja & Ganesh run workshops and paint for a living. It was from them that we learned there was more to this art then just painting on scrolls.

Also coming from Cheriyal, are masks and dolls modeled along the same theme of ancient Indian mythology and local folklore. These masks range from as small as the ones sculpted and painted on coconut shells to as large as the ones molded in cement.

Both of them government recognised artists, they have had the honour of creating 10-feet wall murals from these masks in Nagpur for the President, Pranab Mukherjee’s visit some time ago.

Knowing that this art has but few patrons, this couple in a bid to give their daughters a good life, are educating them to take up a more modern vocation, while also training them in this traditional art during their time off from school.

Cheriyal Paintings can be easily recognised by the following peculiarities and unique characteristics:

Painted in vivid hues, mostly primary colors, with a predominance of red in the background, the paintings are characterised by the unbridled imagination of the local artisans who were not constrained by the academic rigour that characterised the more classical Tanjore painting and Mysore painting. For example, the artist hardly bothers about perspective in Cheriyal paintings and sets out the narrative by placing the relevant figures in appropriate order and position in the relevant background. The iconography of even the major deities like Shiva, Vishnu, etc. has a strong local idiom.

The subjects of these scroll paintings are easy to relate to – as the themes and stories are familiar – drawn from ancient literary, mythological and folk traditions. The common themes are from the Krishna Leela, Ramayana, Mahabharata, Shiva Puranam, Markandeya Puranam interspersed with the ballads and folk-stories of communities like Gauda, Madiga and so on.

The main narrative is spiced up with scenes from simple rural life - Women doing chores in the kitchen, men working in the paddy fields or boozing away in merry abandon, festival scenes, etc. are endearingly depicted.

 The costumes and settings in which the figures are depicted are typical and reflect the culture of Andhra, where these paintings originated.

Within the narrow panels, proportion is created by depicting trees, or a building, a pillar with drawn curtains, etc. However more often than not, the proportion of individual characters is determined by their relative importance in that particular scene, with the most important character being the largest and most detailed and the lesser characters being smaller and less detailed.

The traditional art form became an inseparable part of the profession of the story-telling, balladeer community known as Kaki Padagollu. They displayed the scrolls and accompanied by music and dance went from village to village narrating and singing their ballads based from their rich folklore which was rooted in the Puranas and Indian Epics, enlivening many a lazy village evening.

In a typical recitation, the storyteller-balladeer would wander from village to village in a team of usually five people, with two to narrate the story while the others would provide a simple but hectic musical accompaniment with the harmonium, tabala and castanets. The stage would also be a simple affair (many times even to the extent of being a rough and ready fixture), erected on four poles with a horizontal bar on which the scrolls could be displayed.

The scroll would flow like a film roll. It was generally about three feet in width and went up to 40 – 45 feet in length, depending upon the story. The traditional scrolls are normally in vertical format, illustrating stories in a series of horizontal panels. A floral border in the middle separates the two panels, while the linear narrative is demonstrated by holding in both hands or suspending it from a tree or a building and continually rolling it. Like large sized comic strips, each panel of the scroll depicted one part of the story. Hence, a scroll would easily have around 50 panels. As the bard would narrate the story, the panel depicting that particular part of the story would be displayed. The choice of episodes and iconography of each deity was painted, keeping in mind the caste for which the scroll was made.

By virtue of its distinct traditional style and characteristics Cheriyal Paintings were recently given a Geographical Indications (GI) tag or Intellectual Property Rights Protection status in 2007.
The source of many stories, today, make for gorgeous gifts when framed.


https://en.wikipedia.org/wiki/Cheriyal_scroll_painting
http://www.telanganatourism.gov.in/partials/about/arts-crafts/cheriyal-scroll-paintings.html
http://www.goheritagerun.com/focus-dying-cheriyal-art-warangal/
http://www.thehansindia.com/posts/index/Sunday-Hans/2017-02-04/Painting-Stories-of-Cheriyal-in-Telangana/278357
By Neeharika Satyavada

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Ramoji Film City

The Ramoji Film City located in Anaspur Village, Hayathnagar Mandal, Rangareddy, India. At 1633 acres, it is the largest integrated film city in the world.

It is also a popular tourism and recreation centre, containing natural and artificial attractions including an amusement park. 

The Outer Ring Road Phase 2 has acquired lands at the entrance and is set to intersect the city.

Ramoji Film City is spread at over 2,000 acres of lands and it includes amusement parks, recreation centers, film sets and contains both natural and artificial attractions. 

Ramoji Film City is located just 25 km drive towards South-East of the Hyderabad city, near the under construction outer ring road, it has the entrance of this privately held company. 

The Ramoji Film city has been declared as the world’s largest film studio by Guinness World Records.

Ramoji Rao the film producer is the head of Ramoji Group who is the founder of Ramoji Film City. 

In 1996 RFC opened for people with the collaboration of Indian Cinema through Usha Kiran Movies. Ramoji Film City is one stop solution for film makers which provides then with comprehensive infrastructures and more than 500 different sets locations. With infrastructures including custom-designed locations, mock-ups, set constructions, costumes, shooting stages, locations, cameras, equipments, sound mixing, audio post productions and film processing. Every year over a million of tourists all across the globe and especially from India. The film city also includes 3 star hotel Tara and a 5 star hotel Sitara for film production units and also open for the tourists.

Escape to Ramoji Film City, a magical realm filled with excitement and wonderful surprises at every turn. As the world’s largest integrated film city and India's only thematic holiday destination with magic of cinema, there’s something special for you here. Spread across a sprawling 2000 acres Ramoji Film City, set up by Ramoji Group in 1996, is a dreamy celluloid journey. Certified by the Guinness World Records as the world’s largest Filmstudio complex, at Ramoji Film City, a filmmaker can walk with a script and walk out with film. For the others, Ramoji Film City flung open a wonderland where 1.5 million tourists build memories every year.

Park Timings. 9:00 AM to 5.30

 

Soruce

http://www.ramojifilmcity.com

https://en.wikipedia.org/wiki/Ramoji_Film_City

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Dokra or Dhokra Metal Craft

Dokra Metal craft is quite popular in the tribal regions of Telangana. Dhokra or Dokra also known as bell metal craft is a tribal metal craft widely seen in Jainoor Mandal, Adilabad District of Telangana.

Dhokra is an ancient bell metal craft practiced by the Ojha metal-smiths of Jharkhand, Odisha, Chhattisgarh, West Bengal and Telangana – the style and workmanship of the artisan community being different in different states.

In Telangana, the Ojha artisans are also known as Wojaris or Ojjis who create brass metal art objects using the tedious but perfect lost wax technique while casting the metal.

The Dokra artifacts are made in brass and are unique in that the pieces do not have any joints. The method is by combining metallurgical skills with wax techniques employing the lost wax technique, a unique form where mould is used only once and broken, making this art the only one-of-its-kind in the world. 

The 100 Ojha families, a sub tribe of the Raj Gond Adivasis found in Keslaguda, Ushegaon and Jamgaon of Kumram Bheem Asifabad district and Tamsi mandal of Adilabad district, manufacture brass metal items using the lost wax technique since centuries. The artisans traditionally manufacture only items like lamps and bells of different sizes used by the Raj Gonds and Kolam tribe in agriculture and religious activity. 

A minor resurgence of Adivasi culture witnessed in the old undivided Adilabad district has provided scope for the traditional Ojha artisans to indulge in creativity. Due to the phenomenon ensuring good sales during the Dandari-Ghusadi festival gone by and also holding out the promise of the trend to continue in the religious season ahead, the Dhokra brass metal artisans are making artifacts which they had discontinued to produce since about three decades.

The artisans make bronze and brass objects using the casting technique called dhokra,where a clay model is the core,over which,wax threads are wrapped around to form a layer.This is again covered with yet another layer of clay which has an opening. Molten bronze or brass is poured into this opening, which melts the wax completely, replacing it with brass or bronze. The cast object needs the outer mould to be broken each time.

In Adilabad district, places like Ushegaon and Chittalbori are the main contributors of this art. What catches your eye in this beautiful craft is that each piece is different from the other.

The craft produces objects like figurines, tribal gods, etc.

This work has good demand both in the domestic and international market due to its aesthetic look and primitive simplicity. The work consists of folk motifs, peacocks, elephants, horses, measuring bowl, lamp caskets and other simple art forms and traditional designs.

There are many families in Adilabad district dedicated to this ancestral craft, which is a labor-intensive work.

Very often, the artisans take up only order based work with an advance. The purchase of raw materials would require an initial expenditure beyond their means, more so if the end products do not sell. Dhokra is a very labour intensive as making of a simple piece could consume 4-5 days while more complicated designs could take upto 2-3 weeks. The designs are usually traditional, though they are known to make contemporary designs on demand. The characteristic pieces include slender and elongated metal figurines, folk motifs, elephants, peacocks, horses and household articles like measuring bowls and lamps The unique feature of a dhokra artefact is that the pieces do not have any joints. The entire object is handcrafted with the final product that has a distinct texture depending on the wax strips used in its design.

Things have recently started looking up for the Ojhas of Adilabad as they have tapped into their local markets comprising of the Gond tribal homes and their seasonal jatras or fairs. The idols of local deities – Jangubai, Bheemalpen and Persapen are most popular as are other items used in worship. The study of their return to local markets is unique in the lives of all artisan communities.

Typically dhokra objects cost between Rs.300 -500.

Contact:
Bhujang Rao Ojha: +91 94-92-428293 [Keslaguda, Kerameri mandal]
Indrajeet Ojha: +91 9652950224 [Belsari Rampur village in Tamsi mandal]


Sources
http://www.telanganatourism.gov.in/partials/about/arts-crafts/dokra-metal-crafts.html
https://floatstheboat.wordpress.com/2016/05/18/adilabad-dhokra/

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Hyderabad Mecca Masjid

The historic Hyderabad Mecca Masjid or Makkah Masjid is located adjacent to Charminar in a south-west direction in Hyderabad, Telangana State, India and is a state-protected monument.

Built with local granite, it finds place among largest mosques in India and is the most important and largest one in the city.

The construction of this mosque started in the year 1614 by Sultan Muhammad Qutb Shah and was completed in 1693 by Aurangzeb. The mosque has a length of 225 feet and is 180 feet wide with a height of 75 feet. The roof is rested on 15 arches.”

Seventeenth-century French traveler, Jean-Baptiste Tavernier (1605–1689) , was in Hyderabad when the magnificent Mecca Masjid was undergoing construction. Awestruck by the magnificence of the architecture, he had noted in his travelogue that “it is about 50 years since they began to build a splendid pagoda in the town which will be the grandest in all India when it is completed.” The mosque was finally constructed in 1693.

The mosque contains the tombs of the Nizams of the Asaf Jahi dynasty from 1803 onwards. This is a view of the main facade with its five arched entrances. The prayer hall contains five aisles, three bays deep. The cicular corner minars, with octagonal balconies, are small in height; they were never carried above parapet level. The capping domes were added later by the Mughals.

Large enough to accommodate 10,000 worshipers, this beautiful mosque's 15 enormous arches and pillars were each wrought from single slabs of black granite dragged to the site by huge cattle trains reputedly consisting of up to 1,400 bulls. Taking its name from the bricks above the central gate that were brought here from Mecca, this impressive complex features highlights such as its main gateway, huge plaza, a large manmade pond, and a room that houses the hair of Prophet Mohammed.

Other notable features include inscriptions from the Quran above many of the arches and doors, the exquisite roof of the main hall, the cornices around the entire mosque structure, and the floral motifs and friezes over the arches.

The mosque has a length of 225 feet and is 180 feet wide with a height of 75 feet. The name is derived from the Grand Mosque in Mecca on which it is modeled. The hall has a dimension of 67 metres x 54 metres x 23 metres. The roof is rested on 15 arches.

There is a high blocking wall on the western side for Mehrab. It has two huge octagonal columns, which are created from a single piece of granite. This is inturn topped by an arched gallery crowned by a dome. This mosque can accommodate 10,000 worshipers at any time.


It is located two hundred yards from Charminar. The mosque was believed to have used bricks during its construction where brought from Mecca. A room in the courtyard is believed to house a sacred relic of the prophet.

According to history, Sultan Muhammad Qutub Shah invited the entire devout religious elders in the city to lay the foundation stone but as no one had come forward, Sultan Muhammad himself volunteered to lay foundation and it is said that he never missed his midnight prayer in life right from the age of 12.

Visitors coming to Charminar also visit the holy mosque, which lends a divine aura to the Muslim worshippers in the old city of Hyderabad.

Mecca Masjid lies in disrepair as chunk of plaster peels away

It is imposing. It is historic. And it is decaying. Mecca Masjid, one of the oldest mosque, indicating that the government has the preservation of heritage structures at the bottom of its agenda, a chunk of plaster at the historic Mecca Masjid complex peeled away on account of continued negligence.
Masjid officials who did not wish to be identified said that the canopy has been in bad shape for many years. The canopy, they added, is in need of immediate repairs

Shopping Tourists can enjoy unlimited shopping close to Mecca Masjid. Laad Bazaar is a very old market, located on one of the four major thoroughfares emerging from the historic Charminar. Laad Bazaar is a major market for bangles, semi-precious stones, pearls, jewellery, silverware, bidri ware, saris lacquer bangles studded with stones etc.

Renovation
The Telangana government sanctioned in 2017 a budget of Rs 8.5 crore for works. The Department of Heritage took up restoration works with the help of private firms.

Feb 3, 2023 : Hyderabad's Mecca Masjid facelift underway, set to be ready by Ramzan month?

Timings All Days of the Week - 4:00 am – 9:30 pm

18 May 2007: The Mecca Masjid blast occurred on 18 May 2007 around 1:15 PM inside the Mecca Masjid, (or "Makkah Masjid") a mosque located in the old city area of Hyderabad, capital of the Indian state of Telangana located very close to Charminar. The blast was caused by a cellphone-triggered pipe bomb placed near the place where ablutions are performed. Two further live IEDs were found and defused by the police. Sixteen people were reported dead in the immediate aftermath, of whom five were killed by the police firing after the incident while trying to quell the mob.

On 16 April 2018, the NIA Court acquitted all 11 who were accused in the blasts, citing lack of evidence
Sources

http://www.telanganatourism.gov.in/partials/destinations/heritage-spots/hyderabad/mecca-masjid.html


http://www.planetware.com/tourist-attractions/india-ind.htm


http://timesofindia.indiatimes.com/city/hyderabad/Mecca-Masjid-lies-in-disrepair-as-chunk-of-plaster-peels-away/articleshow/53497362.cms

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Pembarti Rural Tourism

Permbarti or Pembarthi is a village located in Jangoan Mandal, Jangaon district, Telangana State, India is world famous for its intricate and exquisite brass ware craftsmanship.The village has a rich heritage of producing handcrafted brass item, including idols, figurines, utensils, and decorative pieces.

As per a recent report by MCRHRDI, population of Pembarthy is 4096 with 1065 households consisting of 2145 male and 2151 females

Pembarthi Metal Crafts

It is renowned for its intricate and exquisite brassware craftsmanship, which has been a traditional occupation for many villagers. Pembarthi's brassware, including idols, figurines, utensils, and decorative pieces, has earned acclaim both domestically and internationally. The village has a rich cultural heritage of crafting metal objects using traditional methods, and its artisans have passed down their skills through generations.The air resounds with the continous clink and tap of mallets beating out brass sheets into fascinating and wonderful objects of art and utility.

Pembarthy is 80 from Hyderabad on National Highway (NH 163) to Warangal. 

Best Tourism Village 2023

Pembarthy the enchanting realm of metal crafts, has been recognized as the Best Tourism Village 2023 in Silver Category. 

Geographical Indication (GI) Tag

Pembarthi's brassware craftsmanship received the GI tag from the Government of India in 2010, ensuring the protection and promotion of this cultural resource.

Environmental Conservation

The village has its own nursery, developed under the Haritha Haram Scheme, with extensive plantation activities aimed at preserving the environment and conserving biodiversity.

Ban on Single-Use Plastic

Pembarthi has implemented a ban on single-use plastic to protect the environment, species, and water resources.

Solar Lights

Solar lights have been installed in place of conventional LED lights to mitigate environmental damage.

Infrastructure Development

The village has invested in tourism infrastructure, including accommodation and visitor amenities, to promote tourism and economic sustainability.

Skill Upgradation

Artisans receive training and skill upgradation to enhance the quality and appeal of their craftsmanship.

Economic Growth 

Pembarthi's metal craft industry and tourism generate income and employment, benefiting the local community and contributing to economic development.

Cultural Preservation

The GI tag and continued craftsmanship pass-down protect and promote the village's cultural heritage.

Social Inclusion

The village ensures that tourism benefits are distributed equitably among all sections of society, promoting social inclusion and equality.

Women Empowerment

Women in the village are encouraged to participate in tourism-related activities and entrepreneurship, fostering gender balance.

The forging of the craft employs the age-old traditions handed over delicately from one generation to another depicting the illusive artistry of Kakatiyas.

The joint effort of Telangana State Tourism and the local community generated opportunities and livelihood for the artisans community.

Originally stone carvers, the artists have left their handiwork in the facades of innumerable stone carvings and temples all over India. Then when brass became common, they experimented with this material. The buildings of Vijayanagar at Hampi are ruins now, but their lower stories were sheathed in beaten copper and brass by the ancestors of the Pembarti craftsmen.

For some reason this widespread craft has survived only at the sleepy little village of Pembarti.

Scholars tell us of a previous age when iron was not known and copper and alloys were used for making metal tools and objects of daily use. A small part of that age is still with us but mostly in objects of art.
Statues, carvings, castings still continue to be made in the attractive copper alloys. The methods used are still ancient, traditional ones although the raw material today comes from modern mines and furnaces.

Indian brass is renowned the world over and chances are the brass potted planter in the foyer of a Manhattan hotel or Tokyo corporate office comes from Pembarti, a small village of Telangana which is a centre of brass work.

Brass lotas, large globular vessels and plates were in demand even up to the beginning of this century. But as time went on the market died out for these.

In recent times, tired of mass-produced dully uniform items, customers from affluent countries started noticing the unique Pembarthi craftsmanship. Now, as an example, brass and copper planters are prized. The Pembarthi designs are quite different from , say Moradabad or Benares brassware although the material is the same – factory made brass sheeet.

Innovative architects started using Pembarthi brassware in their designs as a integral whole rather than piecemeal “items” of furniture. This has led to a revival of the craft tradition.

http://www.idc.iitb.ac.in/dsource/resource/sheet-embossing-pembarthi

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