Telangana Kendriya Vidyalayas

The Kendriya Vidyalaya Sangathan or 'Central School Organisation'(as previously known), oversees the functioning of the schools with its headquarters in New Delhi. The administration of this body is based on three levels. The chairman of Kendriya Vidyalaya Sangathan is always the Minister in Charge of the Ministry of Education of the Government of India; the deputy chairman is the Minister of State of the Ministry of Education. The real working power lies with the Commissioner of KVS.

The foundation of KVS was laid on December 15, 1963, with the establishment of the first Kendriya Vidyalaya in Delhi. It is a non-profit organisation. Its schools are all affiliated to the Central Board of Secondary Education (CBSE). Its objective is to educate children of the Indian Defence Services personnel who are often posted to remote locations. With the army starting its own Army Public Schools, the service was extended but not restricted to all central government employees.

KVS is one of the world's largest school chains, with 1,249 schools in India and three abroad.

The motto of the KVS is to lead one from darkness to light. This is our guideline. We believe that education leads to self realization.

Vision : KVS believes in imparting knowledge/values and nurturing the talent, enthusiasm and creativity of its students for seeking excellence through high-quality educational endeavours.


AdmissionAdmissions in Kendriya Vidyalayas are not restricted to Central Govt. employees and are open to all, only certain priorities have been laid down for different categories to regulate the admissions.
40 students per class per section is the approved strength in KVS.
10 seats (out of 40 seats) in class I per section are to be filled as per RTE provisions(25% seats) and these seats will be filled by draw of lots from all applications of SC/ST/EWS/BPL/OBC who are the resident of Neighborhood/ Differently able taken together.
03 % (Three) horizontally reservation is given to handicapped candidates for admission in KVS.
Grasde 1 : A child must be 6 years old as on 31st March in the academic year in which admission is sought for Class 1. (Child born on 1st April should also be considered)
For Grades 2 to 9 :- The age limit for admission to these classes is based on the age of the child as of March 31 of the year of admission. The minimum age for this category is 6 years and the maximum age is 15 years.
For Class 11 :- The eligibility age for admission to Class 11 is based on the age of the child as on 31st March in the year of admission. The age limit for Class 11 is 15 years and the minimum age is 17 years.
The following priorities shall be followed in granting admissions
Kendriya Vidyalayas Under Civil/defence Sector
Children of transferable and non-transferable Central government employees and children of ex-servicemen. This will also include children of Foreign National officials who come on deputation or transfer to India on invitation by Govt. of India.
Children of transferable and non-transferable employees of Autonomous Bodies/Public Sector Undertaking/Institute of Higher Learning of the Government of India.
Children of transferable and non-transferable State Government employees.
Children of transferable and non-transferable employees of Autonomous Bodies/Public Sector Undertakings/Institute of Higher Learning of the State Governments.
Children from any other category including the children of Foreign Nationals who are located in India due to their work or for any personal reasons. The children of Foreign National would be considered only in case there are no Children of Indian Nationals wait-listed for admission.
Note (1-5): Preference in Admission to wards will be based on the number of transfers of the parents in the last 7 years.KENDRIYA VIDYALAYAS UNDER PUBLIC SECTOR UNDERTAKINGS/INSTITUTES OF HIGHER LEARNING SECTOR:
Children and grandchildren of employees of the Project Sector/Institutes of Higher Learning which are the sponsors of the Vidyalaya , Children of Project employees & Post Graduate students who are working on long term research projects, Children of regular Council of Wardens(COW) employees and children and grandchildren of retired employees.
Note (1): Preference in Admission will be given to children of serving employees, grand children of serving employees and children and grandchildren of retired employees in that order.Children of transferable and non-transferable Central government employees and children of ex-servicemen. This will also include children of Foreign National officials who come on deputation or transfer to India on invitation by Govt. of India.
Children of transferable and non-transferable employees of Autonomous Bodies/Public Sector Undertaking/Institute of Higher Learning of the Government of India.
Children of transferable and non-transferable State Government employees.
Children of transferable and non-transferable employees of Autonomous Bodies/Public Sector Undertakings/Institute of Higher Learning of the State Governments.
Children from any other category including the children of Foreign Nationals who are located in India due to their work or for any personal reasons. The children of Foreign National would be considered only in case there are no Children of Indian Nationals wait-listed for admission.
Steps for School AdmissionFill in the KV admission form on the KV official website, kvsangathan.nic.in or kvsonlineadmission.kvs.gov.in.
Check the KVS admission list.
Submit documents to respective KVs (if selected).
Pay the fees and start studying.
Fee Structure
Admission Fee 25.00
Re Admission Fee 100.00
Tuition Fee (per month) Class IX & X (Boy) 200.00
Class XI & XII Commerce & Humanities(Boy) 300.00
Class XI & XII Science (Boy) 400.00
Computer Fund Class III on wards 100.00
Computer Science Fee.(for elective subjects in class XI & XII) 150.00
VidyalayaVikasNidhi from classes I – XII (per month) 500.00



ID

School Name

Email Address

Email Address

Phone No

Website


1

KENDRIYA VIDYALAYA GHATKESAR NUCLEAR FUEL COMPLEX.

K V NFC NAGAR GHATKESAR, DISTT MEDCHAL, TELANGANA-501301

ppl.ghatkesarnfc@kvs.gov.in

8281976805,

https://ghatkesarnfc.kvs.ac.in


2

KENDRIYA VIDYALAYA GACHIBAWLI

KENDRIYA VIDYALAYA GACHIBOWLI,GPRA CAMPUS ,GACHIBOWLI -500032

ppl.gachibowli@kvs.gov.in

040-23000261,

https://gachibawli.kvs.ac.in


3

KENDRIYA VIDYALAYA (AFS) BEGUMPET

KENDRIYA VIDYALAYA, AFS, BEGUMPET, NEW BOWENPALLY POST, BALANAGAR ROAD,HYDERABAD-500 011, TELANGANA STATE.

ppl.begumpetafs@kvs.gov.in

04027751560,

https://begumpetafs.kvs.ac.in


4

KENDRIYA VIDYALAYA CRPF GC BARKAS

KV CRPF BARKAS HYDERABAD,OPP.CRPF CAMPUS ,SRISAILAM ROAD ,KESHOGIRI ROAD.

ppl.hyderabadcrpf@kvs.gov.in

040-24440338,

https://hyderabadcrpf.kvs.ac.in


5

KENDRIYA VIDYALAYA (AFA) NO.I DUNDIGAL

KV, NO.1, AIR FORCE ACADEMY, DUNDIGAL, HYDERABAD-500043

ppl.dundigalno1@kvs.gov.in

04029809715,

https://no1dundigal.kvs.ac.in


6

KENDRIYA VIDYALAYA No II DUNDIGAL

AIR FORCE ACADEMY, DUNDIGAL, HYDERABAD - 500043.

ppl.dundigalno2@kvs.gov.in

08418-254229,

https://no2dundigal.kvs.ac.in


7

KENDRIYA VIDYALAYA No I GOLCONDA

KENDRIYA VIDYALAYA, NO.1 GOLCONDA, LANGER HOUSE, HYDERABAD - 500 008

ppl.golcondano1@kvs.gov.in

040-23513701,

https://no1golconda.kvs.ac.in


8

KENDRIYA VIDYALAYA NO.II GOLCONDA

KV NO.2 GOLCONDA, NANAL NAGAR X ROAD, MEHDIPATNAM, HYDERABAD. 500008

ppl.golcondano2@kvs.gov.in

040-23566628, 040-23566016,

https://no2golconda.kvs.ac.in


9

KENDRIYA VIDYALAYA (DRDO)KANCHAN BAGH

KV KANCHANBAGH, DRDO TOWNSHIP,NEAR MIDHANI DEPOT, HYDERABAD-500058

ppl.drdokanchanbagh@kvs.gov.in

04024340232,

https://drdokanchanbagh.kvs.ac.in


10

KENDRIYA VIDYALAYA (NPA) SVP

KV SVP NPA SHIVARAMPALLY HYDERABAD 500052

ppl.hyderabadnpasvp@kvs.gov.in

04024015535,9989440924,

https://npasvp.kvs.ac.in


11

KENDRIYA VIDYALAYA (SOI) NO.I UPPAL

KENDRIYA VIDYALAYA NO.1 UPPAL NEAR UPPAL CROSS ROADS HYDERABAD 500039

ppl.uppalno1@kvs.gov.in

040-27200314,

https://no1uppal.kvs.ac.in


12

KENDRIYA VIDYALAYA UPPAL NO.II(SOI)

"KENDRIYA VIDYALAYA, NO. 2 SURVEY OF INDIA, UPPAL.P.O HYDERABAD, RANGAREDDY (DIST), TELANGANA PIN 500 039"

ppl.uppalno2@kvs.gov.in

040-27200027,

https://no2uppal.kvs.ac.in


13

KENDRIYA VIDYALAYA SECUNDERABAD. BOLARUM

KENDRIYA VIDYALAYA, ALLENBY LINES, J J NAGAR P.O. BOLARUM SECUNDERABAD 500087

ppl.bolarum@kvs.gov.in

040-29803596,

https://bolarum.kvs.ac.in


14

KENDRIYA VIDYALAYA SECUNDERABAD. BOWENPALLY

PRINCIPAL, KENDRIYA VIDYALAYA, PENSION LINE, BOWENPALLY, SECUNDERABAD-500 011.

ppl.bowenpally@kvs.gov.in

040-29550076, 040-29550042,

https://bowenpally.kvs.ac.in


15

KENDRIYA VIDYALAYA(AFS) HAKIMPET SECUNDERABAD

AIR FORCE STATION HAKIMPET,SECUNDERABAD-500014 TELANGANA STATE

ppl.fshakimpet@kvs.gov.in

040-27870770,040-29803597,

https://hakimpet.kvs.ac.in


16

KENDRIYA VIDYALAYA PICKET SECUNDERABAD

KENDRIYA VIDYALAYA PICKET, OPP SECUNDERABAD CLUB, PICKET, SECUNDERABAD

ppl.picket@kvs.gov.in

040 -29804096,

https://picket.kvs.ac.in


17

KENDRIYA VIDYALAYA TRIMULGHERY SECUNDERABAD

KENDRIYA VIDYALAYA TRIMULGHERY, TRIMULGHERRY, SECUNDERABAD- 500015

ppl.trimulghery@kvs.gov.in

040-29805230,

https://trimulghery.kvs.ac.in


18

KENDRIYA VIDYALAYA (OF) MEDAK

KENDRIYA VIDYALAYA O F MEDAK EDDUMAILARAM ORDNANCE FACTORY SANGAREDDY DISTRICT TELANGANA PIN CODE:502205

ppl.medakof@kvs.gov.in

08455238255,

https://medakof.kvs.ac.in


19

KENDRIYA VIDYALAYA (NTPC) RAMAGUNDAM

KENDRIYA VIDYALAYA , PTS NTPC JYOTHINAGAR RAMAGUNDAM, DISTT- PEDDAPALLI, TELANGANA-505215

ppl.ramagundamno2@kvs.gov.in

08728295765,

https://ramagundamntpc.kvs.ac.in


20

KENDRIYA VIDYALAYA ADILABAD

KENDRIYA VIDYALAYA, NIRMITHI KENDRA, OLD D.M, HOUSE, ADILABAD- 504001.

ppl.adilabad@kvs.gov.in

08732-297010,

https://adilabad.kvs.ac.in


21

KENDRIYA VIDYALAYA KHAMMAM

KENDRIYA VIDYALAYA, POLEPALLI VILLAGE, OPPOSITE KARUNAGIRI CHURCH, KHAMMAM, PIN-507003.

ppl.khammam@kvs.gov.in

08742-298088,

https://khammam.kvs.ac.in


22

KENDRIYA VIDYALAYA WARANGAL

KENDRIYA VIDYALAYA WARANGAL, NEAR RAJIV GRUHA KALPA, KADIPIKONDA, WARANGAL. PIN: 506003

ppl.warrangal@kvs.gov.in

7382986432,

https://warangal.kvs.ac.in


23

KENDRIYA VIDYALAYA MAHABUBNAGAR

KENDRIYA VIDYALAYA MAHABUBNAGAR, YENUGONDA, NEAR CHAITANYA CENTRAL SCHOOL,MAHABUBNAGAR 50901

ppl.mahabubnagar@kvs.gov.in

9652807273,

https://mahabubnagar.kvs.ac.in


24

KENDRIYA VIDYALAYA KARIM NAGAR

OPP: ENAADU OFFICE, LMD ALUGUNOOR, KARIMNAGAR 505527

ppl.karimnagar@kvs.gov.in

0878-2223031,

https://karimnagar.kvs.ac.in


25

KENDRIYA VIDYALAYA HYDERABAD (CU)

Kendriya Vidyalaya University of Hyderabad Campus ,Gachibowli, Hyderabad, Telangana- 500046

ppl.hyderabadcu@kvs.gov.in

04023012200,23012244,

https://hyderabadcu.kvs.ac.in/


26

KENDRIYA VIDYALAYA MAHABUBABAD

KV MAHABUBABAD, SC GIRLS B HOSTEL, NANDAMURI NAGAR COLONY, MAHABUBABAD - 506101

ppl.mahbubabad@kvs.gov.in

08719241999,

https://mahabubabad.kvs.ac.in


27

KENDRIYA VIDYALAYA SIRCILLA

"C/O MPP PUBLIC SCHOOL SUBHASH NAGAR SIRCILLA TELANGANA 505301"

ppl.siricila@kvs.gov.in

8723297244,

https://sircilla.kvs.ac.in


28

KENDRIYA VIDYALAYA BODHAN TOWN

KENDRIYA VIDYALAYA BODHAN C/O MADHUMALANCHA DEGREE COLLEGE VILLAGE BELLAL SHAKKAR NAGAR POST MANDAL BODHAN DISTRICT NIZAMABAD STATE TELANGANA PIN CODE 503180

ppl.bodhantown@kvs.gov.in

8462295143,9485099995,9100825672,

https://bodhantown.kvs.ac.in


29

KENDRIYA VIDYALAYA JHARASANGAM MEDAK

"KENDRIYA VIDYALAYA JHARASANGAM, MANDAL PARISHAD PRIMARY SCHOOL BUILDING, BESIDE PANCHAYAT OFFICE, SANGAREDDY DISTRICT, STATE TELANGANA PIN: 502246"

ppl.jharasangam@kvs.gov.in

08451-288301,

https://jharasangam.kvs.ac.in


30

KENDRIYA VIDYALAYA MANCHERIAL

BELLAMAPALLY CHOWRASTHA,VILLAGE & MANDAL :MANCHERIAL DIST:MANCHERIAL-504208

ppl.mancherial@kvs.gov.in

08736-252585,

https://mancherial.kvs.ac.in


31

KENDRIYA VIDYALAYA BHONGIR

KV BHONGIR C/O ALN REDDY MEMORIAL GOVT. GIRLS JR. COLLEGE BANJARA HILLS BHONGIR TELANGANA 508116

ppl.bhongir@kvs.gov.in

08685-244400,

https://bhongir.kvs.ac.in


32

KENDRIYA VIDYALAYA NIZAMABAD

KENDRIYA VIDYALAYA, DIET COLLEGE PREMISES, CHAKRADHAR NAGAR, NIZAMABAD 503003

ppl.nizamabad@kvs.gov.in

-9491256514,

https://nizamabad.kvs.ac.in


33

KENDRIYA VIDYALAYA SIDDIPET

FIRST FLOOR, ELLENKI ENGINEERING COLLEGE CAMPUS, NEAR RURAL POLICE STATION, SIDDIPET, DISTRICT :- SIDDIPET (T.S) PIN - 502 107

ppl.siddipet@kvs.gov.in

9000347806,

https://siddipet.kvs.ac.in


34

KENDRIYA VIDYALAYA NALGONDA

KENDRIYA VIDYALAYA NALGONDA, BESIDE YSR PARK, RAMNAGAR, NALGONDA,TELANGANA,PIN-508001

ppl.nalgonda@kvs.gov.in

08682-230123,

https://nalgonda.kvs.ac.in


35

KENDRIYA VIDYALAYA MIRYALAGUDA

KENDRIYA VIDYALAYA MIRYALAGUDA, OPP.NSP CAMP GROUNDS, MIRYALAGUDA TOWN, NALGONDA DISTRICT, TELANGANA STATE-508207

ppl.miryalguda@kvs.gov.in

08689-295859,

https://miryalaguda.kvs.ac.in



MissionTo cater to the educational needs of children of transferable Central Government including Defence and Para-military personnel by providing a common programme of education; To pursue excellence and set the pace in the field of school education;
To initiate and promote experimentation and innovations in education in collaboration with other bodies like Central Board of Secondary Education (CBSE) and National Council of Educational Research and Training (NCERT) etc.
To develop the spirit of national integration and create a sense of "Indianness" among children.
To Provide, establish, endow, maintain, control & manage schools, hereinafter called the 'Kendriya Vidyalaya' for the children of transaferable employees of the Government of India, floating populations & others including those living in remote & undeveloped locations of the country & to do all acts & things necessary for the conducive to the promotions of such schools.
Salient Features Common text-books and bilingual medium of instructions for all Kendriya Vidyalayas.
All Kendriya Vidyalayas are affiliated to Central Board of Secondary Education.
All Kendriya Vidyalayas are co-educational, composite schools.
Sanskrit is taught from class VI - VIII.
The quality of teaching is kept reasonably high by an appropriate teacher-pupil ratio.
No tuition fee for boysupto Class VIII, girls upto Class XII and SC/ST students and children of KVS employees.


http://kvsangathan.nic.in/

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Telangana Navodaya Schools

Telangana Navodaya Schools are part of Navodaya Vidyalaya Samiti  an Autonomous Body Under Ministry of Education, Government Of India with head quarters at B-15, Institutional Area, Sector 62, Noida, Uttar Pradesh 201307. 

The JNV system was founded in 1986 by then Prime Minister of India, Rajiv Gandhi and brain child of the then Human Resources Minister, P. V. Narasimha Rao. The system provides free residential education for grades six to twelve to rural populations and affiliated with the Central Board of Secondary Education (CBSE).

Vision : To provide good quality modern education-including a strong component of culture, inculcation of values, awareness of the environment, adventure activities and physical education- to the talented children predominantly from the rural areas without regard to their family's socio-economic conditions

As per the policy of the Government, one Jawahar Navodaya Vidyalaya is to be established in each district.

The first Navodaya Vidyalayas were established in 1985-86 in Amravati (Maharashtra) and Jajjar (Haryana).

 

List of Schools in Telangana

1. JNV Nalgonda established in 22nd December, 1986 at Chalakurthy, District Nalgonda, Telangana State PIN -508202, Phone: 08680-275430 Email : jnvnalgonda@gmail.com
2. JNV Karimnagar inaugurated on the 31st of December 1986 at Choppadandi, District Karimnagar, Telangana PIN -505415. Phone : 0878-2281476, Email: nvknr@gmail.com. 
3. JNV Kamareddy Nizamabad established in 1986 at Nizamsagr Mandal, Nizamabad Dist.,Telangana - 503 302
4. JNV Khammam established in 1987 at Palair Village, Kusumanchi Mandal, Khammam District, Telangana - 507157, Phone : 9246469246, Email : jnvkhammam1@gmail.com
5. JNV Kumaram Bheem Asifabad established 1987 - 88 at Trishul Pahad, Sirpur Kagaznagar, Dist.Kumuram Bheem Asifabad, Telangana, India PINCODE-504296. Phone : 9441264035, Email : jnvkumurambheem1987@gmail.com
6. JNV Rangareddy established 1987 - 88 at Gachibowli, HCU Campus, Near Gopanpalli Village, Serilingampalli, Ranga Reddy - 500046, Telangana, India, Email : jnvrangareddy@gmail.com, Phone : 040-29700558, 040-29700559
7. JNV Siddipet established in 1987 at Wargal Village and Mandal, Pamulaparthy post, District Siddipet, Telangana state, INDIA PIN - 502279, Email : jnvmedak@gmail.com
8. JNV Warangal established in 1992 at Mamnoor, District Warangal, Telangana, INDIA PIN – 506166, Phone :+91-0870-2556373 , Email : jnvmwarangal@gmail.com
9. JNV Nagarkurnool established in 1994 at Vattem, District Nagarkurnool, Telangana PIN -509 203, Email: jnvnagarkurnool@gmail.com
10. JNV Jagtial
11. JNV Nizamabad
12. JNV Bhadradri-Kothagudem
13. JNV Medchal-Malkajgiri
14. JNV Mahbubnagar
15. JNV Sangareddy
16. JNV Suryapet 

Dec 7, 2024 : Telangana secures 7 new Navodaya Vidyalayas in Jagtial, Nizamabad, Bhadradri-Kothagudem, Medchal-Malkajgiri, Mahbubnagar, Sangareddy, and Suryapet districts.

Enrollment Policy
Admission in Jawahar Navodaya Vidyalaya is made on the basis of a Selection Test, designed and conducted by the CBSE for all 6th, 9th and 11th class students.

Jawahar Navodaya Vidyalaya Selection Test (JNVST) conducted in Telangana in Hindi, English, Telugu, Kannada, Marati, Urdu languages

It is of non-verbal nature, class-neutral and designed so as to ensure that talented children from rural areas are able to compete without facing any disadvantage. Special care is taken to ensure that children from far flung areas get admission forms free of cost, without any difficulty. 

Every JNV offers around 80 seats for the students to get admission in

 
Eligibility Conditions

1. Only the bonafide resident candidates from the district concerned where the Jawahar Navodaya Vidyalaya has been located are eligible to apply for admission.
2. No candidate is eligible to appear in the selection test for the second time, under any circumstances
3. At least 75% of the seats in a district will be filled by candidates provisionally selected from rural areas of the district. The remaining seats are open which will be filled on merit from both Urban and Rural Area candidates of the district as per reservation criteria.
4. A candidate who has studied in a school located in an urban area even for a single day of session in Class-III, IV and V will be considered as an urban candidate.
5. Minimum One third of the total seats are filled by girls. In order to ensure 1/3rd selection of girls, girls may be preferred than boys as per NVS selection criteria, wherever necessary.
6. SC/ST Reservation of seats is provided in proportion to their population in the district concerned provided that in no district, such reservation will be less than the national average (15% for SC and 7.5% for ST) but subject to maximum of 50% for both the categories (SC & ST) taken together.
7. OBC reservation is 27% as per central list over and above reservation of SCs and STs. 
8. There is a provision for reservation for Divyang children (i.e. Orthopedically Handicapped, Hearing Impaired and Visually Handicapped) as per GOI norms.

1. Class VI
1. A candidate seeking admission for Class VI must be within the age group of 10 to 12 years 
2. The candidate who has not been promoted and admitted to class V before 31st July of the session in which he/she is applying for selection test is not eligible to apply. 
3. The candidate who has already passed/studied class V in all previous academic sessions is not eligible to appear in the selection test.
4. A candidate seeking admission to class VI must have studied and passed classes III, IV and V from a Govt. /Govt. aided/ recognized school spending one full academic session in each class.
2. Class IX
1. A candidate seeking admission must be between the age group 13-15 years on 1st May of the year of admission for which the Selection Test is conducted.
3. Class XI
1. For 2024 Date of Birth of the candidate is to be between 1st June 2006 to 31st July 2008 (both days inclusive).

Objectives of Navodaya Vidyalaya Samiti 

To establish, endow, maintain, control, and manage schools (hereinafter called the 'Navodaya Vidyalaya') and to do all acts and things necessary for or conducive to the promotion of such schools which will have the following objectives:

1. To provide good quality modern education-including a strong component of culture inculcation of values, awareness of the environment, adventure activities and physical education- to the talented children predominantly from the rural areas without regard to their family's socio-economic condition.
2. To provide facilities, at a suitable stage, for instruction through a common medium, viz., Hindi and English, all over the country.
3. Offer a common core-curriculum to ensure comparability in standards and to facilitate and understand the common and composite heritage of our people.
4. To progressive bring students from one part of the country to another in each school to promote national integration and enrich the social content.
5. To serve as a focal point for improvement in quality of school education through training of teachers in live situations and sharing of experiences and facilities.
6. To establish, develop, maintain and manage hostels for the residence of students of Navodaya Vidyalayas.
7. To aid, establish and conduct other institutions as may be required for the furtherance of the Society's objects in any part of India.
8. To do all such things as may be considered necessary, incidental or conducive to the attainment of all or any of the objects of the society.

https://navodaya.gov.in/nvs/en/Home1

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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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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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Ringing Rocks of Telangana

Ringing rocks, also known as sonorous rocks or lithophonic rocks, are rocks that resonate like a bell when struck are found in the borders of Jangoan and Siddipet districts of Telangana.

The sonorous rock formation stretches over 25 kms and state government should declare this stretch as a heritage park and promote tourism like in Musical Stones of Skiddaw in the English Lake District; the stones in Ringing Rocks Park, in Upper Black Eddy, Bucks County, Pennsylvania; the Ringing Rocks of Kiandra, New South Wales; and the Bell Rock Range of Western Australia. Ringing rocks are used in idiophonic musical instruments called lithophones.

They are locally called Solamile Ene which are discoverd by reddy ratnakar reddy. Physicists say that

these rocks may have formed 200 million years ago due to lave ejecting on to the surface. The sound of the rocks depends on the density of ferric oxide in them. Usually, the ferrous percentage is is 9 to 12 percent in them.

They pass through Bonakollur, Bandnagaram, Katkur and Padamatikesavapur in Siddipet district and Veerannpet, Chunchanakota, Nagapuri, Jangamredy palle in Jangoan district.

History of ages is told along these rocks. There are cairns(locally known as rakasi gullu). Researchers found a stone age axe here. In Siddipet Verannapet researchers found groves which signify the sharpening of stone tools. “They belong to the Neolithic age".

Read more at:
http://timesofindia.indiatimes.com/articleshow/63707952.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst

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

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Jagdevpur Varadaraju Swamy Temple

Jagdevpur Varadaraju Swamy Temple is located in Vardarajpur, Jagdevpur Mandal, Siddipet District,

Telangana, India.

On the name of the god varadaraj swamy the village is designated. To the village premises hanuman temple is located.

Every year in the month of may a famous festive ''jatara'' in the name of god varadaraj swamy will be taken place.on day of vyshaka pouranami" celebration are carried in huge way.

According to sources temple was built in 1356a.d, four fathers of present chairaman family developed this historic place, they were carring varadaraja swamy idol from vishnu kanchi(kanchipurm,T.N) to their native raygadh. at that they were resting for night, in dreams lord vardaraja swamy told them built temple here only but he thought this place is not suitable hence vardaraja swamy is their homeidol, he wanted place it their own place(raygadh). next morning their journey started but axle of thier cart was broken it took whole day to repair ,once again lord appear in dreams , he informed to all villager and his follwers but all of them refused to built temple thier itself, they startd journey again sam scene was repeated hence he decided to built temple here itself,

He went nawab of medak for permssion of temple and land for it. he gave a permsion he will the land to temple how many acres that he can run with a burnig coal bowl on his head, succesfully he ranned nearly 1400acres.temple construction was carried for 10 years for every vyshaka pournami yatra is conducted similar to vishnu kanchi(garuda seva) in kanchi (T.N ), from past 6centuris thier heirs were looking after the tmeple needs. recently endowments dept took temple left it to god itself due lack of revenue,

we can see golden lizard and silver iguana's, well was closed recently , inscription of past glorious on walls of temple.presnt temple has 70acres only ,they were occupied by land lord's .

God vardarajswamy will be going throug the village by ratham to hanuman temple located in the premises of village.

Temple Timings :6:30 am to 7:00 pm

Source

http://manatemples.blogspot.com/2015/07/sri-varadaraja-swamy.html

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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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Munigadapa Siddipet

Archaeology officials have identified an ancient idol Shaivite Veeragallu at a farmer’s field at

Munigadapa village of Jagadevpur. It belongs to 12-13th century AD.

Assistant Director of Archaeology and Museums, Telangana, P Nagaraju clarified that some locals mistook it as idol of lord Shiva, but actually it is a Veeragallu idol. “Number of such idols have been found across Telangana in the past too,” said Nagaraju.

He further said that they were planning to make a visit to Munigadapa after informing the Director of Archaeology and Museums, NR Visalatchy to find out if there were any historical sites that were located at Munigadapa. The idol was found at the farm of farmer Vadde Narsimhulu on last Thursday. Locals, Krishna Murthy and Venkata Swamy identified it recently.

Source

https://telanganatoday.news/shaivite-veeragallu-idol-found

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Narmeta, Siddipet

Excavation at Narmeta sets back region’s history to 3,500 years

Beads made of bones and used as ornaments and two conches found

The ongoing excavation at Narmeta and Palamakula villages in Nanganur mandal of Siddipet district may set back the history of the region to at least 3,500 years as the excavation site belongs to Megalithic period.

Burial site

The Department of Archaeology and Museums has taken up excavation at Menhir burial site at Narmeta, located between Siddipet and Husnabad. Two burial sites – a Menhir and a Cairn burial –were selected for excavation. The sites were named Meg-I and Meg-II.

The excavation at Meg-I was done adopting quadrangular method. This Menhir burial has double circles of boulders.

The diameter of Meg-I is 14 metres and it has 24 boulders forming the inner circle and six boulders on the outer circle. It has the Menhir planted on the northern side, which measures 2.9 metres in height and 95 cm in width. A capstone found at this site measures 6m long, 4m wide and 65cm deep.

Beads made of bones and used as ornaments were found at the burial site. Similarly, four fire stands and two conches were also found during the excavation. The officials believe this would help throw some light on the culture of that period.

Cultural phase

According to the officials of Archaeology Department, Megalithic excavations are marked by a tomb, built of huge stones either dressed or undressed.

These tombs built in south India represent a distinctive cultural phase which succeeded the primitive Neolithic culture.

Also know as Iron Age, the Megalithic period is dated between 1,000 BC and second century AD.

Interesting artifacts

“The Meg-II is located on the northern side of Meg-I and has diameter of 10m. There are no boulders at this site. At a depth of 1.3 metres, we found an oval shape pit with loose soil. We were able to collect redware pots, pointed-shape iron arrowheads and conches,” Assistant Director (Archaeology) P. Nagaraju toldThe Hindu .

“The excavation that took place at Pullur banda indicates that it belongs to 500 BC and people might have migrated from north west of India. Eleswaram in Nalgonda district dated back to 1,200 years and we believe that this site may belong to 1,500 BC. However, the actual date can be ascertained only after carbon-dating,” said Niraj Rai, a senior scientist from the Centre for Cellular and Molecular Biology (CCMB).

A capstone in the shape of a human body was excavated at Narmeta village,  This is the largest capstone ever discovered by the department in its 100-year history. It was excavated near an ancient human burial site and is said to be at least 2,750 years old.

Though there was initial euphoria that it was the world’s largest capstone, director of department NR Visalatchy said that it would be premature to say so.

“This capstone is 6.7 metres in length. Usually, they are half or one-third of its size. Only one stone was used for the entire body and another one to cover the head,” Visalatchy said.

Source

http://www.thehindu.com/todays-paper/tp-national/tp-telangana/excavation-at-narmeta-sets-back-regions-history-to-3500-years/article17858543.ece

http://www.newindianexpress.com/states/telangana/2017/mar/23/telangana-archaeology-dept-discovers-large-capstone-in-siddipet-village-1584685.html

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Nacharam Temple

The Nacharam Gutta houses a revered Lakshmi Narshima Swamy temple, in the Wargal Mandal, Siddipet district of Telangana, India. This place is about 50 kilometers from the state capital. The temple is believed to be 600 years old. The Lakshmi Narsimha Swamy temple is a cave temple, situated on a beautiful hillock.

Inside the sanctum (Gharba Gudi), we can see Swayambu Narashima Swamy along with his consort Lakshmi thayar beautifully carved inthe rock. The temple also has some more idols. According to the Hindu Mythology, Naradha forfeited here. The place got its name Nacharam gutta after a devotee by the name Nacharam. As we go round the temple, we can find a flight of stairs to the left side, these stairs lead us to the darshanam of Lord Shri Soorya Narayana.

The temple has a beautiful rajagopuram with images of Gods and Goddesses carved on it in multi-colours. A gold coated Dhwajastambha which made up of a metal is installed opposite Garbhagudi.

There are sub-shrines in the temple for Sun-god, Lord Dattatreya, Lord Shiva in the form of Linga, Lord Rama and a Navagraha mandapam.

Sri Lakshmi Narasimha Swamy Temple is located in Nacharam, 47 km from Hyderabad and accessible by road.

This temple Opening & Closing times is 5.00 AM and 8.00 PM. During this period major part of the Lord Lakshmi Narasmiha Swami rituals are performed. Archana, Aarti and Abhisekham are the daily pujas performed.

By Road: Buses are available from all places in Telangana to reach the temple in Nacharam Gutta which is 50 km away from Hyderabad. You could also drive or rent a cab to get to Nacharam Narasimha Swamy temple.

Source

https://www.templepurohit.com/hindu-temple/sri-lakshmi-narasimha-swamy-temple-medak/

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Wargal Saraswati Temple

Wargal Saraswati Temple, or Sri Vidya Saraswati Temple, is a Hindu temple located in Siddipet
district in Telangana, India. The deity of education in Hinduism is Goddess Saraswati. It is among the few temples of Saraswati in Telangana. It is maintained by the Kanchi Shanker Mutt. Construction of the temple complex was due to the efforts of Yayavaram Chandrashekhara Sharma, a scholar and adherent of Goddess Saraswati.

This temple is located on a hillock near Wargal village. On the same hillock are the temples of various other deities, such as:

Sri Lakshmi Ganapathi Temple
Sri Vidya Saraswati Temple
Lord Shanishchara Temple
Lord Shiva Temple
a few Vaishnava temples, now completely damaged and without mola vigrahas

Many families visit the temple for their children's akshara abyasam ("learning ceremony"). Meals are provided for free to all devotees at the temple premises, a practice referred to as nitya annadanam.

Vasant Panchami and Sharad Navratri festivals are celebrated at the temple every year.[1] The Navratri mula nakshatram("birth star of Goddess Saraswati") is the most auspicious day for worshiping Saraswati devi. During this day, special rituals are performed at the temple.

The temple has a Veda paathashaala (a school specializing in the tradition of Vedic recitation) on its premises where many students learn the Vedas.

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Wargal Rock Art

Glory of prehistoric period reflects in the rock paintings in the small temple town, throwing light on the rich wildlife and tradition of Stone Age.

Wargal One of those marvels left behind by the history for the posterity - rock arts - seem to continue to be the delight of archeological experts and young students. Historians from Telangana are busy deciphering the ancient paintings at the rock shelters here at Wargal in Siddipet district.

These rock paintings found in parts of the State show the love humans had for art and nature as long ago as 10,000 BCE. They provide ample evidence that a large number of wild animals were present in the State centuries ago. Shambhuni Gutta (Shambu’s Hill), beside the famous Saraswathi temple here has already emerged as a great spot for explorations relating to the prehistoric life.

The roofs of the caves in the hill have red pictures. The archeological department found some of these paintings. But a lot of them are yet to be explored further. Two archeological experts - Ramoju Haragopal and Srinvas – with their assistant Chanti tried to decode the message that had been hidden in the form of art.

They found a painting of a creature that looked like a crane and three persons at the southern side of the cave. Among the three, one is a female. The depiction resembles the paintings found at Asthalapur in Medak district. Most of the paintings found on the roof look like scripts. The circles and semi-circles of this script seemed to be difficult to interpret. Letters that sound ‘Ya’, ‘ka’,’tha’,’ga’ of Brahmi script along with letters of early Telugu are seen on these walls.

Different paintings depicting the culture and traditions of that time on a huge rock canvass of 12 feet height and 25 feet length can be found on the eastern side of the hill. More than 20 paintings of oxen, cows with udders, pigs, and a man hunting a tiger are seen on this portrait. Another man’s painting is unclear. All these paintings are of great skill and are in colour and without colour.

An anthropomorphic drawing resembling the depictions at Neeladri rock art found in Khammam district is also seen here. The drawings of animals like deer, stags, and tools denote that the scenery belonged to the medieval period. According to the observations of historians, the period of the paintings were spanning from medieval stone age to megalithic age. Central India is the richest zone of prehistoric rock art in India.

The highest concentration of rock art sites is situated in the Satpura, Vindhya and Kaimur Hills. These hills are formed of sandstones, which weather relatively faster to form rock shelters and caves. They are located in the dense forest and were ecologically ideal for occupation by primitives. They were used for habitation in the Stone Age and even in the later periods. Inside the caves on the walls and ceilings, artists painted their favourite animals or human forms, symbols, daily life hunting and fighting.




Source

http://www.thehansindia.com/posts/index/Telangana/2016-01-15/Wargal-wows-rock-art-lovers/200371

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Komuravelli Mallanna Temple

Komuravelli Mallikarjuna Swamy Temple popularly known as Komuravelli Mallanna Temple is a Hindu temple located on a hill in Komuravelli village of Siddipet district in Telangana state.

 It is located near Siddipet on SH–1.

This temple is dedicated to Lord Sri Mallikarjuna swamy a fierce looking diety along with Kethamma and Medalamma on the both sides of the main diety.

The temple is located in a cave on a small hillock at a distance of 110 Kms from warangal. Lakhs of piligrims congregate on the eve of Makara Sankranthi as Brahmotsavam starts.

The Mallanna deity with Golla Kethamma and Medalamma is at the main temple. The temple is specially popular with the devotees belonging to the Kuruma and Yadava communities. The Oggu Katha singers sing the tale of Mallanna here.

The temple is visited during Shivarathri day when Pedda Patnam is celebrated.

Another temple, Konda Pochamma temple is nearby which is visited by the devotees who visit Mallanna temple.

Lakhs of piligrims congregate on the eve of Makara Sankranthi as Brahmotsavam starts.

The clay moulded diety of Lord Mallikarjuna swamy is believed to be made 500 years ago. The temple is renovated and mandapamas and choultries etc., are constructed by Endowments Department. The 'pedda patnam' celebrated on Maha Sivaratri day attract pilgrims in lakhs.

The primary deity is Mallanna or Mallikarjuna Swamy who is an incarnation of Lord Shiva. The deity is also called as Khandoba by the Maharashtrian people. The temple is located about 85 kilometers from Hyderabad.

Mallanna along with his consorts Golla Kethamma, Goddess Ganga and Medalamma, Goddess Parvati are at the main temple. The Oggu Katha singers sing the tale of Mallanna here. Devotees offer prayers to Mallanna with the help of Oggu Pujaris who draw a rangoli called as Patnam ( A form of offering prayers to Lord ) in front of Lord Mallanna inside temple and also in temple's verandah.

Large number of devotees visit the Mallanna temple during Maha Shivaratri when the Pedda Patnam is celebrated and also during the Agni Gundaalu which is celebrated on the sunday falling before the Ugadi. The festive season, called as Jatara begins from Sankranti and lasts till Ugadi. Large number of devotees offer prayers to the deity on all sundays which falls in between Sankranti and Ugadi.

Another temple, Konda Pochamma temple is nearby which is visited by the devotees who visit Mallanna temple.

There is no written script for the Lord Mallanna story. The story of Mallanna is sung in "Oggu Katha". In this Oggu katha, Swamy Mallanna married goddess Medallamma by facing conditions which are put up by her brothers. Goddess Medallamma is also called as Bramarambika, who is consort of Lord Shiva.

Also, in a recent offering from "Devon Ke Dev...Mahadev" mythological daily show on LifeOk TV channel, it has been shown that, Mallanna resembles to Marthand/Khandoba, an incarnation of Lord Shiva.

Source

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

http://srikomuravellimallanna.com/temple.html

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Ibrahimpur Model Village

Ibrahimpur village located in Siddipet Mandal and District transformed into a model village for sustainable development. It all started with a genuine endeavour by the villagers to transform their village as a model village.

From becoming outside defecation-free to implementing clean and green initiatives and continuing with their collective spirit, the villagers have now attained such a high point where not only Telangana, but entire India is taking inspiration from Ibrahimpur today.

This village is adopted by Telangana Irrigation Minister Tanneru Harish Rao,

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