Tandur red gram

Tandur red gram is a variety of pigeon pea (Tur dal) that is grown in the Tandur region in Vikarabad district of Telangana, India has got geographical indication (GI) tag.

The Geographical Indication tag was granted in December 2022 to the Yalal Farmers Producers Company Ltd, which had applied for 'Tandur red gram' with the support of Prof. Jayashankar Telangana State Agricultural University (PJTSAU). It is the first agricultural commodity in the state to get the GI tag.

The specialty of the Tandur red gram is that it "tastes better, cooks faster and has a longer shelf life of cooked dal" as it is grown in the fertile deep black soil of this region which has huge deposits of Attapulgite clay mineral along with huge limestone deposits.

Tandur red gram contains around 22–24% protein, which is almost three times the protein content of cereals.

Individual farmers and dal mill owners in Tandur will now have to register themselves as authorized users and begin branding Tandur red gram with the GI tag to secure better prices, as the tag is a guarantee of quality. Approximately 63,500 households in the area are currently engaged in Tandur Red Gram farming.

The perennial legume known as the pigeon pea (Cajanus cajan) belongs to the Leguminaceae family (Fabaceae). It also goes by the names pigeonpea, arhar, and tur. Since its introduction in India at least 3,500 years ago, its seeds have spread throughout Asia, Africa, and Latin America and are now a staple food grain. It is mostly consumed on a huge scale in south Asia and is a significant source of protein for those living there.
Importance:

Red gram is a staple meal with high in protein.

1. It has a protein content of roughly 22%, which is nearly three times that of cereals.
2. A significant portion of the country's vegetarian population's protein needs is met by the red gram.
3. Due to the complementary nature of the necessary amino acids, when wheat or rice is coupled with red gram, the biological value increases significantly.
4. Lysine, riboflavin, thiamine, niacin, and iron are particularly abundant in them.

The major markets for this crop in Telangana are Badepalli, Devarakadra, Gadwal, Mahabubnagar, Narayanpet, Sadasivpet, Zaheerabad, Suryapet, Tandur and Warangal. The major markets in neighboring states are Kadiri, Narsaraopet, Tiruvuru, Kurnool, Yeminiganur and Ongole in Andhra Pradesh, Gulbarga, Sedam, Yadgiri, Bidar, Bijapur, Bellary and Bagalkote in Karnataka, and Akola, Latur, Jalgaon and Nagpur in Maharashtra.

In Telangana major redgram growing districts are Vikarabad 57660 ha (142480 acres), Sangareddy 33757 ha (83416 acres), Narayanpet 31177 ha (77040 acres), Adilabad 23051 ha (56961 acres) Asifabad 15107 lakh ha (37329 acres), Mahabubnagar 9044 ha (22348 acres) and Rangareddy 7137 ha (17635 acres). According to Telangana State Government 2nd advance  estimates, redgram production in 2022-23 is at at 2.06 lakh tonnes from 2.28 lakh ha (5.63 lakh acres) with productivity of 903 Kg/ha (365 Kg/acre).

World major redgram producing countries are India (42.80 lakh tonnes), Malawi (4.24 lakh tonnes), Myanmar (3.39 lakh tonnes), Tanzania (1.36 lakh tonnes) and Haiti (1.23 lakh tonnes).

https://krishijagran.com/agriculture-world/telanganas-tandur-red-gram-receives-geographical-indication-gi-tag/

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Puttapaka Telia Rumal

Puttapaka Telia Rumal meaning "Oily kerchief" is a double ikat textile from the village of Puttapaka, Narayanapur Mandal in the Nalgonda district of Telangana, India. Puttapaka is now on the global map after securing the coveted Geographical Indication tag in 2015.

The style developed in Chirala, on the coast of Andra Pradesh, with the earliest recorded pieces made in the 1800s, but spread further to the Nalgonda District due to high demand from Arabic markets. Presently, the village of Puttapaka, Nalgonda District is one of the few places still weaving the telia rumal. There, the Gajam family have been keeping the skill alive.

The more common single form of ikat is a process where the warp or weft yarn is resist-tied before being dyed and then woven. (‘Resist dying’ uses various methods — in this case, tied-off sections of yarn — to dye textiles with patterns.) Single ikat is found in many places around the world, but double ikat is more rare, requiring a high degree of work and precision found in only a few places, particularly in Japan, India and Bali.

Telia Rumal can be literally translated to mean ‘oiled/oily kerchief’. First to explain Telia – the word ‘Telia’ is derived from Til (sesame)/Tel (oil) since the yarn for the textile is treated with castor ash, sesame oil and sheep dung (yes!!) for longer colour retention. The entire method of processing the yarn takes about 21 days. The well-oiled threads help retain moisture. 

The term ‘Rumal’ refers to a square kerchief or scarf. The oil in the scarf protects the skin from dryness when worn in the extreme desert climate of the Arabian lands. The same turban keeps the head warm in winters. The liberal use of oil makes the fabric soft and renders a distinct smell to the same. The men in the Middle-Eastern countries fashioned keffiyehs or turbans out of the Telia Rumal. 

In India, it was used by the fishermen as a lungi (loin cloth) because the oily cloth repelled water. It was also believed that the red colour and the oily fragrance attracted the fish and the fishermen thus would never return without a catch. It was also used by Nizams and wealthy Zamindars of Telangana for turbans as a symbol of their power. This explains the power statement made by Sheikh Chand in Ankur by sporting the Telia Rumal.

Telia Rumal is a unique tie and dye technique that uses oil for the treatment of the yarn that helps it retain softness and has a distinct smell of gingelly oil. The earlier patterns used to be strictly geometric or vegetal patterns due to the preference of the patrons, but after 1930s the craftsmen started incorporating figurative elements like lions, elephants, birds, clocks and even aeroplanes, which required better weaving skills. It is no longer handkerchief-size pieces that connoisseurs can buy. The families involved in weaving now create saris, dupattas, dress materials and other made-to-order pieces with the same techniques and exotic patterns.

The Telia Rumal is essentially a double ikat weave. But, it is not just another double ikat weave. The elaborate treatment of the yarn prior to resist dyeing is what makes it special. Now, the question that arises in the minds of the unversed is – what is ikat? Ikat is a word of Indonesian origin which means bind. It is a technique by which the yarn is tied as per the patterns required and then dyed. This yarn is then woven. When only the warp or the weft is tied and dyed it is called single ikat; when both the warp and the weft are tied and dyed, based on the pattern that needs to be evolved after weaving, it is called double ikat. It goes without saying that weaving a double ikat involves more skill; it is a more labour intensive and time taking technique. Double ikat textiles are still prevalent -largely in India, Japan and Indonesia. The Telia Rumal however goes a step ahead in establishing its distinctiveness; apart from the fact that it is a double ikat, its uniqueness is hidden in its name.

Gajam Govardhana is an Indian master weaver, known for his work in Ikkat dyeing in the Telia Rumal tradition, and for his handloom creations. In 2011 the government of India honoured him with the fourth-highest civilian award, Padma Shri.

Govardhana was born 1 September 1949 in the small village of Putapakka in the Nalgonda district of the south Indian state of Telangana. He heads the Padmashali family, which keeps the Telia Rumal tradition alive, and employs 500 weavers in the state. He runs Murali Sari Emporium, a favoured shopping place for celebrities such as Sonia Gandhi, Shabana Azmi and Sheila Dikshit.

He has set up a small museum in Hyderabad to showcase the craft and the skill handed down over generations. The museum is in a warren of lanes in the Dilsukhnagar area of the city. The museum is a tribute to artisans who have steadfastly held on to their craft in the wake of destruction wrought by industrialisation, powerlooms and synthetic dves. The museum has weaves created by Govardhan and his family members over the years, a library of books that detail the fabric traditions of India, clothes woven using similar styles from other parts of the world, hierloom designs, and a small loom to give an idea of the work of weavers. Govardhan and his familv has been creating Telia Rumals
for nearly 100 years and have breathed life into a dying dyeing style, weave and pattern. The name Telia Rumal comes from oiled kerchiefs.

The kerchiefs are used to cover the head in Gulf countries where the hint of oil in the cloth keeps the fabric cool. But before that, the handkerchiefs were gifts for lovers.

Making of the cloth

“The yarn is soaked in sheep dung for 17 days and castor oil kernels for 21 days before it is ready for dyeing,” says Govardhan sharing the secret about the cloth that’s claimed to be cool during summer and warm during winter. 

The yarn is one story, but how it is woven into a cloth is a lesson in perspective. Imagine a world in squares. In pixels. It is as if the Oxford checks came to India, flirted, danced and multiplied to become a riot of colours. 

One of the largest pieces he has created is a cotton spread that is 81 inches by 71 inches framed by a six-inch border of madder colour. “Created in 1983, for the Festival of India that travelled the world, the spreadcreated a global buzz for the fabric and people started coming to Puttapaka to see the process and buy cloth,” says Govardhan wearing a blindingly white sharply tailored shirt and trousers. 

He has worked with Suraiya Hasan. While Suraiva Hasan is credited with reviving Malkha and other fabrics, Govardhan has breathed life into Telia Rumal by imagining the pattern on saris, dress materials, carpets and wall hangings. He has showcased his work on the global stage. “This is an old tradition but nearly died out in Chirala. I started work on this in 1972. I began with rumals then I used the
rumal design and weaving method to create saris, dupattas, stoles, curtain cloth and bedspreads,” he informs.

https://ggtag.in/

https://goswadeshi.in/en-us/blogs/our-stories/the-telia-rumal-a-handloom-lover-s-delight?srsltid=AfmBOoq3egqVl0klRLbIn3r4hpAMjh7a5QRnx_7crbH0nrASVvrSsh7M

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Chennur Silk Sarees

Chennur silk sarees shine brightly with their elegance and rich history. Hailing from Chennur, a small village in Nirmal District, Telangana State, India. These sarees are a representation of a beautiful and ancient craft. Let’s explore the story of Chennur silk sarees, their unique features, and why they continue to attract fashion lovers, especially the younger generation.

The Kalamkari Hand Painted Chennur Silk Saree is a masterpiece of Indian textile artistry. Crafted from exquisite Chennur silk, this saree features intricate hand-painted Kalamkari motifs that tell captivating stories of tradition and culture. The vibrant colors and detailed designs make it a visual delight, showcasing the skill of skilled artisans.

Chennur is famous for its silk weaving tradition. This craft has been passed down through generations, with families perfecting the art of making stunning silk sarees. The village is close to Tussar and Mulberry silk fields, which provide the high-quality silk threads used in these sarees. This connection to nature and tradition is a key part of Chennur silk’s story.

The tradition of Chennur silk has roots that go back to the prosperous Golconda Sultanate in Hyderabad during the Middle Ages. The Mughals, who supported this craft, referred to the artisans as "qualamkars," a term that eventually evolved into "kalamkari." This historical connection highlights the rich heritage behind Chennur silk.

These sarees are known for their intricate designs. Skilled weavers use traditional techniques to create beautiful patterns. Both handlooms and modern tools are used to achieve these designs.

Chennur silk sarees are versatile and elegant. They can be worn with elaborate gold designs or kept simple, depending on the occasion. Their graceful drape makes them suitable for weddings, festivals, and other special events.

Recently, younger generations have rediscovered Chennur silk sarees. 

1. Cultural Pride: Young people appreciate the cultural connection that Chennur silk sarees provide. They are more than just fashion; they are a link to heritage and tradition.

2. Sustainable Choice: Chennur silk sarees are made using eco-friendly methods, making them a great option for those interested in sustainable fashion.

3. Unique Style: The exclusive designs and luxurious fabric make Chennur silk sarees stand out from mass-produced clothes. They offer a unique and timeless style.

4. Flexibility: These sarees can be styled in many ways, allowing young people to mix traditional and modern looks for different events.

A basic seed multiplication and training centre belonging to Central Silk Board (CSB), in Chennur stood in the top in the country by registering production of 3.20 lakh tasar silkworm eggs in the last five years, bringing recognition to Telangana.

Tussar silk is one of the most sought-after fibres in the world owing to its rich texture and natural colour, it is also one of the rarest forms of natural fibre.

Cocoons of Tasar, a variety of silk, contain many insects that are processed to produce exquisite silk thread used in manufacturing saris and other clothing. The cocoons are traditionally grown by the tribals by camping in the forests as means of livelihood for many decades. They are cultivated on leaves of Terminalia Arjuna (Tellla Maddi) and Yeru Maddi trees spread in 2,100 hectares in Chennur area of Mancherial and 1,000 hectares of forests in Kumram Bheem Asifabad district.

More than 800 farmers in Vemanpelli, Kotapalli, Kannepalli and Nennal mandals of Mancherial district and Bejjur and Koutala mandals in Kumurambheem Asifabad district are cultivating cocoons in 3,100 hectares of land. Traders from Jharkhand, Chhattisgarh and Odisha come to buy the cocoons sold in an open auction in Chennur every year.

https://telanganatoday.com/silkworm-egg-production-csbs-bsm-pc-chennur-bags-award

https://thriyasilks.com/blogs/the-saree-journal/discovering-the-charm-of-chennur-silk-sarees

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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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Telangana Tourism

Tourism in Telangana has very rich potential with its ancient history, art and culture, evidence of human habitation dating back to the Neolithic era. 

Telangana’s rich cultural heritage, history and topography have endowed the state with a variety of tourist destinations, from waterfalls and hills to temples and forts. With affordable travel and stay, a unique albeit delicious blend of South-indian and Nizami cuisines, amusement and adventure parks, hospitality, lakes, historical attractions and medical tourism, Telangana has a little something for every visitor.

The State also won four National Tourism Awards in the four categories of Best State (Comprehensive Development of Tourism), Best Golf Course (Hyderabad Gold Club), Best Railway Station (Secunderabad Railway Station) and Best Medical Tourism Facility (Apollo Hospitals) in 2022.

Heritage Tourism

From its ancient archaeological sites to its magnificent monuments, Telangana offers a fascinating journey through time.Telangana is home to numerous archaeological sites that provide a glimpse into its ancient past.

UNESCO world heritage site

The Rudreshwara temple also popularly known as the Ramappa temple (built during the Kakatiya period) situated in the Mulugu district of the state was declared a UNESCO world heritage site in June 2021. 

Telangana's First World Heritage Site: Ramappa Temple

Rural Tourism

Telangana has a tremendous potential for Rural Tourism and is a fascinating canvas of myriad colours, cultures and customs. Handicrafts represent perhaps the oldest traditions of living culture and Telangana has some of the richest sources of handicrafts. The rural handicrafts provide a valuable contribution to Telangana’s tourism product. 

Rural Tourism projects identified in Telangana, by the Ministry of Tourism, Govt. of India are Pochampally Rural Tourism Project, Nalgonda District, Nirmal Rural Tourism project, Adilabad, Cheriyal Rural Tourism Project, Warangal and Pembarthi Rural Tourism Project Warangal.

Best world tourism villages by UNWTO (United Nations World Tourism Organisation) 

 Pochampally, a village located in the Yadadri Bhuvanagiri district, best known for its beautifully woven ‘Ikat’ sarees was awarded as ‘one of the best world tourism villages’ by the UNWTO (United Nations World Tourism Organisation) in November 2021. 

National Best Rural Tourism Centres for 2023

Pemberthi, located in Jangaon district, is renowned for its exquisite handicrafts.

Chandlapur, situated in Siddipet district, is celebrated for producing prestigious Gollabhama sarees and its scenic charm, nestled amidst the Ranganayaka hills.

Adventure Tourism has lot of potential in Telangana, with many waterfalls and forest area with Rock Climbing, Camping and Trekking.

Rock climbing in Bhongir is quite popular near to hyderabad.

Cultural Tourism

The state is known for its vibrant cultural traditions, celebrated through music, dance, and festivals. Explore the folk dances of Telangana, such as Perini Sivatandavam, Bathukamma, and Lambadi, which reflect the essence of the region. Immerse yourself in the melodious strains of Telangana’s folk music, with its unique instruments and soul-stirring lyrics.

Telangana’s Living Traditions: While exploring Telangana’s heritage, encounter its living traditions that have stood the test of time. Witness the age-old craft of Bidriware, known for its intricate silver inlay work on metalware. Explore the handloom clusters of Pochampally and Gadwal, where master weavers create exquisite silk and cotton sarees. Engage with the skilled artisans who continue to preserve and promote these traditional crafts.

Ecotourism in Telangana is increasing with its green zone and hilly areas with very old hills and caves. Hiking, birdwatching, wildlife viewing, Water adventures, caves and climbing are some of the activities.

Religious Tourism in Telangana with its diverse culture has something for everyone, with its very old Hindu Temples, Jain Temples, Buddhist Temples, Gurudwaras, Churches and Mosques 

 

Shopping Tourism in Telangana has not been tapped much, has very old artisans making things generation after generation. We need to market the goods. 

Culinary Tourism 

Telangana is popularly known for its variety of food. Increase in the number of food bloggers is definitely indicative of the diversity of cuisine available in the state. The state offers different kinds of street food experiences, delicacies from different districts of the state and not to mention the ‘biryani capital’ of the country, Hyderabad.

Hyderabad, known for its Biryani and its incredible range of food was designated by UNESCO as a ‘creative city of gastronomy’ in 2019. Hyderabad’s Haleem first received the Geographical Indicator (G.I) tag in 2010 which made Haleem, the first meat based dish from India to win the honour. The tag was renewed again in 2022. Haleem also won the ‘most popular G.I food’ beating out 17 other dishes in the country. These accolades are testament to the rich culinary experience the state has to offer. Other than these, Telangana has an abundant variety of foods for foodies of different kinds.

Medical Tourism

Hyderabad, the country’s healthcare capital. Hyderabad is one of the most imporatnt places for medical treatment & patients not only from India but from abroad also visit Hyderabad for treatment.

Best Medical Tourism Facility (Apollo Hospitals) in 2022.

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Telangana Geographical Indication (GI) products

A Geographical Indication (GI) is a sign used on products that have a specific geographical origin and possess qualities or reputation that are typical to that origin. Across the world, such select products are recognised and GI tagged. This tag signifies the product’s unique identity and genuineness. The GI tag helps spread awareness and build confidence amongst the buying community

GI tag get better prices as the tag is an assured symbol of quality.

Pochampally Ikat was the first product from the state to receive the GI tag in 2005.

A total of 432 products in India have been granted GI status in India, with Darjeeling Tea being the first product to receive GI status in 2004-05.

The registration of a GI is valid for 10 years from the date of issue and can be renewed every 10 years. The Geographical Indications Registry, which is administered by the Geographical Indications of Goods (Registration and Protection) Act, 1999, is located in Chennai.

1. Pochampalli Ikat in Yadadri Bhuvanagiri district became the first product in the state to be awarded GI tag - 2005
2. Silver Filigree of Karimnagar - 2007
3. Cheriyal Paintings - 2008
4. Nirmal Toys and Crafts - 2009
5. Nirmal Furniture - 2009
6. Hyderabad Haleem becomes the first meat product of India to get the GI certification - Aug, 2010
7. Pembarthi Metal Craft in Jangaon district - 2010
8. Gadwal Sarees in Jogulamba Gadwal District - 2012
9. Siddipet Gollabhama Sarees - 2012
10. Narayanpet Handloom Sarees - 2013
11. Puttapaka Telia Rumal in Nalgonda district - 2015
12. Banaganapalle Mangoes - 2017 (Origin State – both Telangana and Andhra Pradesh)
13. Adilabad Dokra - 2018
14. Warangal Durries - 2018
15. Nirmal Paintings - 2019
16. Tandur Red Gram in Vikarabad District - 2022
17. Lacquer or lac bangles of Hyderabad - March 2, 2024

https://tweavesandcrafts.telangana.gov.in/

https://telanganatoday.com/heres-the-list-of-gi-tagged-products-from-telangana

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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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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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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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