 Samakka Sarakka Jathara or Medaram Jathara, a little festival of tribal origin in Telangana has become a major pilgrimage.The Samakka festival is held every two years at in Medaram Village of Tadvai Mandal deep in the heart of the thick forests of Mulugu district. The population of the little forest village at Medaram in normal times never exceeds 300. Suddenly, during the month of February it rises to over 3500000! Millions of devotees come from all over Telangana and neighbouring states like Andhra Pradesh, Orissa, Maharashtra and Madhya Pradesh. This festival is held in memory of a Koya tribal queen called Samakka who fought against the medieval dynasty of the Kakatiyas who ruled from Warangal between 1000 A.D.-1380 A.D. approximately. The Telangana region over the centuries has come to be identified as a symbol of defiance and dissent, thanks to the legacy of Sammakka and Sarakka who defied the mighty Kakatiya rulers. It served as a source of inspiration for many people's movements and struggles in the region -- revolt against the tyrannical Razakars of Nizam's forces, armed struggles of farmers and agricultural labourers and People's War. Sammakka and Sarakka, who had laid their lives defending the innocent tribals in Medaram, a subsidiary of then Kakatiya kingdom, are being revered as goddesses by tribals in the region and those in the neighbouring states as well. Lakhs of tribals and non-tribals gather at Medaram village, located 100 km away in deep forest from the district headquarters to recall the heroic struggle of their great ancestors. Inspired by their bravery, many people, irrespective of caste and creed, name their children after that valiant warriors -- Sammakka, Sarakka and Jampanna. According to the legend, moved by the bravery of the tribal women, the nature showered bounties on the kingdom. Ever since, tribals in the region reap good harvest and revere Sammakka and Sarakka for their sacrifices. Among the traditional deities of the Koyas and other forest tribes is the Tiger Goddess of whom there is an interesting legend. As the story goes a band of Koyas walking through the thick forest came upon a little girl playing with full grown tigers. They retrieved the infant and the headman adopted her. She was named Samakka. She grew up into fine young woman and married the headman of a neighbouring village. Among her children was a daughter named Saralama. Both mother and daughter were reputed for their kind and helpful nature. The legend has it that as part of extending the empire, the Pratapa Rudra-II of Kakatiya dynasty conquers the Polavasa (now in Karimangar) and neighbouring regions. The ruler of Polavasa- Medaraju, who gives his only daughter in marriage to the tribal king Pagididdaraju of Medaram flees to Medaram after losing his kingdom to Kakatiyas. Following continued drought and famine, Pagididda Raju expresses his inability to pay taxes to Pratapa Rudra-II. The messenger of Kakatiya's while returning spots Medaraju. After returning, the messenger complains to Pratapa Rudra that Medaraju was instigating tribals in the region against payment of taxes. Angered over it, Pratapa Rudra wages a war against tribals. The troops discovering the Koyas had hardly enough to eat themselves returned empty-handed reporting that there were no taxes to be collected. This angered the king further. He sent a large force and they committed all sorts of atrocities. The Koyas had no option but to resist. Finally the minister of the king decided to take a look. By then most of the Koya chiefs had fallen in battle. The minister proposed peace and offered Samakka a place in the king’s harem as chief queen. Samakka turned down the offer saying she had no faith in the promises of kings. Besides so many Koyas had been killed and she resolved to continue the fight. Again the battle raged and Samakka received a spear wound. “Now we will capture the heroic Samakka,” thought the king’s forces. They never captured her. She fled into the deep forest solemnly calling the elements saying “If the Koyas are blameless, may the dynasty of Warangal perish.” The grieving Koyas searched for their queen al they found were a red ochre box, bangles … and the pug marks of a huge full grown tigress. The Warangal dynasty was extinguished very soon. While escaping Samakka had also told here people “So long as you remember me, I shall be there with you always.” The Koyas and Waddaras regularly hold festivals in memory of Samakka. Every two years Koya a priest ceremonially bring the ochre box and standards of Samakka and place them at the food of a tree symbolizing Saralama, her daughter besides other Koyas warriors. It is said that during the festival a huge tiger prowls around peacefully. The mammoth crowd that descends on Medaram pitch their makeshift tents under the trees. Colourful bedsheets and sarees serve as tent cloth. The crowd treks to a nearby rivulet called Jampana Vaagu, named after a son of Samakka, to take a dip in the waters. Among the pilgrims are childless women. They are put through a ritual conducted by elderly women. On the banks of the river one sees several children getting their first ceremonial haircut. Apparently some pilgrims have had prayers answered. While the festival has tribal roots, today the bulk of the pilgrims are non-tribals. There are elements of very ancient rites reminiscent of old matriarchal societies. Some men dress in women’s garb for the duration of the festival. Some women behave as though they are ‘possessed’. The official Koya oracle forecasts the general future of the people. Going by the ever-increasing patronage to the tribal festival, the Government has declared it as a `State festival' and has been sanctioning a huge amount for organising it. More than five lakh pilgrims, mostly tribals from Chattisgarh, Orissa, Maharasthra and Madhya Pradesh, Andhra Pradesh and different corners of Telangana are expected to attend the festival this year. The trees signifying the Koya martyrs are in an enclosure where pilgrims file past. When the priests bring out the ochre box and other relics from a hidden forest location, there is great tumult with frenzied beating of drums, blowing of trumpets and full throated yells. Earlier cocks and sheep were ritually slaughtered. Now offerings are coconuts and jaggery. They are piled at the foot of the trees. By nightfall, the exodus starts. In two days Medaram is deserted. The crowd vanishes as suddenly as it arrived. The long line of buses raise clouds of red dust. Medaram goes to sleep for the next two years. http://medaram.org/index.html
http://www.thehindu.com/2004/02/01/stories/2004020107530300.htm
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Samakka Saralamma or Medaram Jathara
Ramappa Lake
Ramappa Lake is situated near NH 163 in Palampet village of Venkatapur Mandal, Mulugu district, Telangana, India.
237 k.m. from Hyderabad
70 k.m. from Warangal
1 k.m from Ramappa Temple
Ramappa Lake is a magnificient example of irrigation work of Kakatiya Rulers constructed in 13- Century A.D. during Ganapathi Deva’s time. Its water is spread over an area of more than 82 Sq.Kms with lush greenery all around. The lake is over looked by beautiful hill ranges in the background providing a spectacular view especially at Sunset time. It is an excellent place for van bojanalu (picnic) and one can simply come here and relax under the shade of sprawling trees or walk around appreciating the beauty of nature or have a fascinating boat ride.
237 k.m. from Hyderabad
70 k.m. from Warangal
1 k.m from Ramappa Temple
Ramappa Lake is a magnificient example of irrigation work of Kakatiya Rulers constructed in 13- Century A.D. during Ganapathi Deva’s time. Its water is spread over an area of more than 82 Sq.Kms with lush greenery all around. The lake is over looked by beautiful hill ranges in the background providing a spectacular view especially at Sunset time. It is an excellent place for van bojanalu (picnic) and one can simply come here and relax under the shade of sprawling trees or walk around appreciating the beauty of nature or have a fascinating boat ride.
There are excellent huts, eight in number and a good restaurant cum dining hall around Ramappa Lake but these are lying unused because of lack of proper maintenance. A tourism Rest House is also there near the Lake, which has three rooms and a dining hall. A CMEY group is operating boating facility to the Tourists in the Lake.
RECENT IMPROVEMENTS
- Lake bund is renovated near the Guest House and arrangements are made to enjoy lake view
- Regular Motoboating facilities provided by CMEY group on rental basis
- Cafetaria facility provided for the tourists
- Special Buses from Warangal arranged for Temple and Lake visit on Saturday and Sundays
FUTURE PLANS
- Bush clearance has to be carried out on both sides of the bund to give a facelift to the entire area.
- Flowering Plants have to be planted and a garden has to be laid out on the bund near the Tourism Rest House.
- The Temple which is in an dilapidated condition near the Tourism Rest House needs to be renovated. Moreover, the smaller temples on the other side of the bund need to be improved.
- The Huts and Rest House can be leased out to a private person who shall maintain them and run on profit basis.
- Dustbins have to be kept to prevent littering at place.
- Boards have to be provided at every 10 Kms on the road from Warangal to Ramappa Lake for giving directions and attracting the tourists.
- 1 Km road for horse riding.
https://www.google.com/maps/place/Ramappa+Lake,+Telangana/@18.2331778,79.9099151,13z/data=!3m1!4b1!4m2!3m1!1s0x3a330dc00c07f8c5:0xfb5ca3190e6af4ca
Ramappa Temple
Kakatiya Rudreshwara (Ramappa) Temple is located in Palampet village of Venkatapur Mandal, Mulugu district, Telangana State, India. Ramappa Gudi (Temple) is situated 18° N, 79° E and 612 feet over sea level in a valley surrounded 3 sides by cotton, rice fields and mountain on the other side is a magnificient monument dating back to 1213 AD. It documents the glory and grandeur of the Kakatiya kingdom.
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Historians and art enthusiasts regard this temple as the brightest gem of Kakatiya architecture and treasure house of medieval architecture.
The main presiding deity of Ramappa temple is Sri Ramalingeswara Swamy and is dedicated to Lord Shiva is a single-shrine temple, amidst picturesque surroundings.
Located at the foothills of a forested area and amidst agricultural fields, close to the shores of the Ramappa Cheruvu, a Kakatiya-built water reservoir, the choice of setting for the edifice followed the ideology and practice sanctioned in dharmic texts that temples are to be constructed to form an integral part of a natural setting, including hills, forests, springs, streams, lakes, catchment areas, and agricultural lands.
On 25 July 2021, the temple was inscribed as a UNESCO World Heritage Site
Construction
Ramappa Temple was built in 1213 AD by Recherla Rudra commander of Kakatitya Ganapatideva. Though the presiding deity here is Ramalingeswara Swamy, the temple was named after the sculptor Ramappa, who completed the task in 14 years. Built with sandstone and a sandbox foundation, the temple has decorated beams and columns made of granite stone.
Floating bricks
Arts flourished in Telangana, during Kakatiya Dynasty and among the important and exquisite monuments of the State, Ramappa Gudi popularly known as Ramappa Temple, is an archaeological wonder.
Entrance
The Temple is surrounded by a stone compound wall and has two low entrances, one towards the East and the other to the West, The main entrance gate facing east in the outer wall of temple is now ruined, so one can enter through small west gate only.
Advancing from the eastern entrance, the visitor first notices the remains of a ruined Nandi Mandapa (Pavilion). In front of the Nandi Pavilion stands the main temple which is of a cruciform plan stands majestically on a platform 6’ 4" high star-shaped platform. The plinth of the platform instead of being plain has been divided into foliating surfaces which give a very pleasing effect to the general appearance of the monument. The platform affords a space ten feet wide all round the temple, forming a sort of promenade for the devout pilgrims whence they can perform Pradakshina and gaze on the long panels of figures which adorn the exterior of the building.
The main entrance, like in any typical Hindu temple, faces east with balustrade steps and porched openings on three entrances on the east, south and north with two six feet high female figures on either side of the three entrances total 12 life-sized dancing girls, with different voluptuous poses fixed at an angle on high brackets. Carved from black basalt, some of these figures are ornate with decorative jewellery while others are simple. All of them are tall, ferocious and noble, carrying swords, arrows and bows, and are called Madanika, Nagini, Alasakanya and Salabhangika. There are red sandstone dancing figures on all sides of the temple. On the outer-walls there are carved figures of animals and war scenes in the same red sandstone. These carvings are of a very heterogeneous character, and consist of gods, goddesses, warriors, acrobats, musicians.
The temple consists of a shrine cell, garbhagriha and antarala or an ante chamber (a smaller room or vestibule serving as an entryway into a larger one) and a hall of audience called Ranga Mantapa.
The building features decorated beams and pillars of carved granite and dolerite with a distinctive and pyramidal Vimana (horizontally stepped tower) made of lightweight porous bricks, so-called ‘floating bricks’, which reduced the weight of the roof structures.
Art
The temple’s sculptures of high artistic quality illustrate regional dance customs and Kakatiyan culture.
Arts flourished in Telangana, during Kakatiya Dynasty and among the important and exquisite monuments of the State, Ramappa Gudi popularly known as Ramappa Temple, is an archaeological wonder.
Entrance
The Temple is surrounded by a stone compound wall and has two low entrances, one towards the East and the other to the West, The main entrance gate facing east in the outer wall of temple is now ruined, so one can enter through small west gate only.
Advancing from the eastern entrance, the visitor first notices the remains of a ruined Nandi Mandapa (Pavilion). In front of the Nandi Pavilion stands the main temple which is of a cruciform plan stands majestically on a platform 6’ 4" high star-shaped platform. The plinth of the platform instead of being plain has been divided into foliating surfaces which give a very pleasing effect to the general appearance of the monument. The platform affords a space ten feet wide all round the temple, forming a sort of promenade for the devout pilgrims whence they can perform Pradakshina and gaze on the long panels of figures which adorn the exterior of the building.
The main entrance, like in any typical Hindu temple, faces east with balustrade steps and porched openings on three entrances on the east, south and north with two six feet high female figures on either side of the three entrances total 12 life-sized dancing girls, with different voluptuous poses fixed at an angle on high brackets. Carved from black basalt, some of these figures are ornate with decorative jewellery while others are simple. All of them are tall, ferocious and noble, carrying swords, arrows and bows, and are called Madanika, Nagini, Alasakanya and Salabhangika. There are red sandstone dancing figures on all sides of the temple. On the outer-walls there are carved figures of animals and war scenes in the same red sandstone. These carvings are of a very heterogeneous character, and consist of gods, goddesses, warriors, acrobats, musicians.
The temple consists of a shrine cell, garbhagriha and antarala or an ante chamber (a smaller room or vestibule serving as an entryway into a larger one) and a hall of audience called Ranga Mantapa.
The Ranga Mantapa (hall) measures 41 feet each way and has a square apartment (18'x 18’) enclosed by four exquisitely carved pillars.
The decorative design on the pillars is so meticulous that only a fine needle can go through the lattice work. One wonders at the fine workmanship of the artisans with the meager available resources. In the middle, the place for musicians and singers to recite the holy hymns. A platform about 3 feet high runs round the hall, and on it have been built eight small cells for the images of the presiding deities. The ante-chamber measures 15’ 8’’ and 14’ 10’’. The sanctuary is entered by another richly carved doorway encloses a space 15’ 8" square, at the centre of which stands the mystical linga, the emblem of cosmic energy, on a high pedestal of black basalt.
Perini Dance
The sanctuary doorway has carvings of Perini Dance Poses and Krishna’s flute which looks like tree trunk, when hit with finger nails make the sound sa-ri-ga-ma. Inside the temple is a magnificent display of sculptures depicting scenes from the early myths, the Ramayana, the Puranas, and the later Hindu texts. The arrangement of the columns has. divided the ceiling into several compartments, each of which is superbly carved, the decorations consisting of a variety of floral and geometrical patterns, from the full blown lotus to the most intricate honeycomb scroll. The ornamentation of the four central columns of the hall and the architraves above them is extremely rich aud subtle.
The idyllic scene of Krishna surrounded by a troop of amorous girls (Gapls), whom the mischievous God deprived of their garments while they were bathing in a tank, has been specially selected by the artist and is represented on every prominent place, even on the jambs of the door of the ante-chamber. Again, the same God in his aspect of the Muralidhara playing on his magical flute is represented in several places. The figurines instead of exhibiting calm or repose, bear an expression of revelry and voluptuous joy, even the Ganesa with his rotund paunch is represented dancing on an architrave of the central apartment of the hall.
Apart from main temple, there are 3 more temples. Towards North is Kateswara Temple, South is Kameswara Temple, South-West(Niruthi) is Narasimha Swami Temple or Sabhamantapa.
On the western side is the idyllic Ramappa lake constructed during the same period as the temple. The building of a temple and an irrigation tank side by side was the tradition of the Kakatiya rulers.
Perini Dance
The sanctuary doorway has carvings of Perini Dance Poses and Krishna’s flute which looks like tree trunk, when hit with finger nails make the sound sa-ri-ga-ma. Inside the temple is a magnificent display of sculptures depicting scenes from the early myths, the Ramayana, the Puranas, and the later Hindu texts. The arrangement of the columns has. divided the ceiling into several compartments, each of which is superbly carved, the decorations consisting of a variety of floral and geometrical patterns, from the full blown lotus to the most intricate honeycomb scroll. The ornamentation of the four central columns of the hall and the architraves above them is extremely rich aud subtle.
The idyllic scene of Krishna surrounded by a troop of amorous girls (Gapls), whom the mischievous God deprived of their garments while they were bathing in a tank, has been specially selected by the artist and is represented on every prominent place, even on the jambs of the door of the ante-chamber. Again, the same God in his aspect of the Muralidhara playing on his magical flute is represented in several places. The figurines instead of exhibiting calm or repose, bear an expression of revelry and voluptuous joy, even the Ganesa with his rotund paunch is represented dancing on an architrave of the central apartment of the hall.
Apart from main temple, there are 3 more temples. Towards North is Kateswara Temple, South is Kameswara Temple, South-West(Niruthi) is Narasimha Swami Temple or Sabhamantapa.
On the western side is the idyllic Ramappa lake constructed during the same period as the temple. The building of a temple and an irrigation tank side by side was the tradition of the Kakatiya rulers.
Authenticity
The Kakatiya Rudreshwara (Ramappa) Temple maintains authenticity in material, form, design, craftsmanship, setting, function and use, traditional management system and associated intangible cultural heritage in relation to traditional dance, and integration in its wider natural and architectural context. Its material remains continue to represent the testimony of Kakatiyan knowledge in identifying building materials, their strength, and their expected life span. The temple was erected using five types of local material, like sand for foundation, clay for bricks, dolerite and sandstone for sculptures, granite for columns and beams, which are all retained in their original composition. Some missing floating bricks were remanufactured after conducting an extensive study, following the same techniques used by the Kakatiyans in the 13th century.
The temple plan and its spatial organization are intact and untouched, with exception of the Kameshwara Temple which is to be reassembled by anastylosis. The compound’s function and traditional management system remain unchanged: the Rudreshwara (Ramappa) Temple is a living Brahminical Shiva Temple, following all the authentic Shaiva-Agama rituals and drawing the attention of a large number of people. The surviving rural surrounding illustrates the conscious integration of the Rudreshwara (Ramappa) Temple in its wider natural context and is of remarkable authenticity in setting, traditional management mechanisms as well as interdependencies of use and function with the wider landscape, for example through irrigation channels and cultivated lands.
Protection and management requirements
The Kakatiya Rudreshwara (Ramappa) Temple was identified as a protected monument in 1914 and since then it is maintained and conserved by the Archaeological Survey of India (ASI). The property is protected at the national level, by the Ancient Monument and Archaeological Sites and Remains Act, 1958 (AMASR), amended and validated in 2010; the Ancient Monument and Archaeological Sites and Remains Rules, 1959; Ancient Monument and Archaeological Sites and Remains Rules of 2011 and The Antiquities and Art Treasures Act, 1972 and Rules, 1973. Decisions pertaining to its conservation, maintenance and management are governed by the National Conservation Policy for Monuments, Archaeological Sites and Remains, 2014. Being designated as an “Ancient Monument” of National Importance, the ancient site is protected by a well-defined buffer of 300 meters comprising Prohibited Area measuring 100 meters in all directions from the limits of the protected monument, and further beyond it, a Regulated Area of 200 meters in all directions, from the limits of the Prohibited Area as well as beyond, as required for the conservation of the authentic landscape setting. All activities in the areas adjacent to the ancient site remain subject to prohibition and regulation in the respect prohibited and regulated areas as per provisions of the Ancient Monuments and Archaeological Sites and Remains Rules 2011.
Under an already existing committee, the State Government of Telangana establishes the “Palampet Special Area Development Authority” to manage this extended buffer zone and to ensure the protection of all supporting Kakatiya period attributes.
The Kakatiya Rudreshwara (Ramappa) Temple is managed by the Archaeological Survey of India (ASI), namely its Hyderabad Circle and under its Warangal sub-Circle, which is responsible for its protection, conservation and management in conjunction and consultation with the local religious and communal authorities. Day-to-day management activities are supported by guides who are permanently posted at the site as staff of the Telangana State Tourism Development Corporation, as well as the local communities living around the temple complex and the priests performing the ceremonies at the temple. An integrated site management plan is in the process of being finalized. Heritage Impact Assessment needs to be ensured for any projects located near the property, especially regarding development projects near the Ramappa Lake. Capacity building for local communities and the temple priest must be undertaken to provide them with the necessary skills to contribute to the management of the property.
The Kakatiya Rudreshwara (Ramappa) Temple maintains authenticity in material, form, design, craftsmanship, setting, function and use, traditional management system and associated intangible cultural heritage in relation to traditional dance, and integration in its wider natural and architectural context. Its material remains continue to represent the testimony of Kakatiyan knowledge in identifying building materials, their strength, and their expected life span. The temple was erected using five types of local material, like sand for foundation, clay for bricks, dolerite and sandstone for sculptures, granite for columns and beams, which are all retained in their original composition. Some missing floating bricks were remanufactured after conducting an extensive study, following the same techniques used by the Kakatiyans in the 13th century.
The temple plan and its spatial organization are intact and untouched, with exception of the Kameshwara Temple which is to be reassembled by anastylosis. The compound’s function and traditional management system remain unchanged: the Rudreshwara (Ramappa) Temple is a living Brahminical Shiva Temple, following all the authentic Shaiva-Agama rituals and drawing the attention of a large number of people. The surviving rural surrounding illustrates the conscious integration of the Rudreshwara (Ramappa) Temple in its wider natural context and is of remarkable authenticity in setting, traditional management mechanisms as well as interdependencies of use and function with the wider landscape, for example through irrigation channels and cultivated lands.
Protection and management requirements
The Kakatiya Rudreshwara (Ramappa) Temple was identified as a protected monument in 1914 and since then it is maintained and conserved by the Archaeological Survey of India (ASI). The property is protected at the national level, by the Ancient Monument and Archaeological Sites and Remains Act, 1958 (AMASR), amended and validated in 2010; the Ancient Monument and Archaeological Sites and Remains Rules, 1959; Ancient Monument and Archaeological Sites and Remains Rules of 2011 and The Antiquities and Art Treasures Act, 1972 and Rules, 1973. Decisions pertaining to its conservation, maintenance and management are governed by the National Conservation Policy for Monuments, Archaeological Sites and Remains, 2014. Being designated as an “Ancient Monument” of National Importance, the ancient site is protected by a well-defined buffer of 300 meters comprising Prohibited Area measuring 100 meters in all directions from the limits of the protected monument, and further beyond it, a Regulated Area of 200 meters in all directions, from the limits of the Prohibited Area as well as beyond, as required for the conservation of the authentic landscape setting. All activities in the areas adjacent to the ancient site remain subject to prohibition and regulation in the respect prohibited and regulated areas as per provisions of the Ancient Monuments and Archaeological Sites and Remains Rules 2011.
Under an already existing committee, the State Government of Telangana establishes the “Palampet Special Area Development Authority” to manage this extended buffer zone and to ensure the protection of all supporting Kakatiya period attributes.
The Kakatiya Rudreshwara (Ramappa) Temple is managed by the Archaeological Survey of India (ASI), namely its Hyderabad Circle and under its Warangal sub-Circle, which is responsible for its protection, conservation and management in conjunction and consultation with the local religious and communal authorities. Day-to-day management activities are supported by guides who are permanently posted at the site as staff of the Telangana State Tourism Development Corporation, as well as the local communities living around the temple complex and the priests performing the ceremonies at the temple. An integrated site management plan is in the process of being finalized. Heritage Impact Assessment needs to be ensured for any projects located near the property, especially regarding development projects near the Ramappa Lake. Capacity building for local communities and the temple priest must be undertaken to provide them with the necessary skills to contribute to the management of the property.
Laknavaram Lake (Cheruvu)
Pembarti Rural Tourism
Permbarti or Pembarthi is a village located in Jangoan Mandal, Jangaon district, Telangana State, India is world famous for its intricate and exquisite brass ware craftsmanship.The village has a rich heritage of producing handcrafted brass item, including idols, figurines, utensils, and decorative pieces.
Pembarthi Metal Crafts
It is renowned for its intricate and exquisite brassware craftsmanship, which has been a traditional occupation for many villagers. Pembarthi's brassware, including idols, figurines, utensils, and decorative pieces, has earned acclaim both domestically and internationally. The village has a rich cultural heritage of crafting metal objects using traditional methods, and its artisans have passed down their skills through generations.The air resounds with the continous clink and tap of mallets beating out brass sheets into fascinating and wonderful objects of art and utility.
Pembarthy is 80 from Hyderabad on National Highway (NH 163) to Warangal.
Best Tourism Village 2023
Pembarthy the enchanting realm of metal crafts, has been recognized as the Best Tourism Village 2023 in Silver Category.
Geographical Indication (GI) Tag
Pembarthi's brassware craftsmanship received the GI tag from the Government of India in 2010, ensuring the protection and promotion of this cultural resource.
Environmental Conservation
Environmental Conservation
The village has its own nursery, developed under the Haritha Haram Scheme, with extensive plantation activities aimed at preserving the environment and conserving biodiversity.
Ban on Single-Use Plastic
Ban on Single-Use Plastic
Pembarthi has implemented a ban on single-use plastic to protect the environment, species, and water resources.
Solar Lights
Solar Lights
Solar lights have been installed in place of conventional LED lights to mitigate environmental damage.
Infrastructure Development
Infrastructure Development
The village has invested in tourism infrastructure, including accommodation and visitor amenities, to promote tourism and economic sustainability.
Skill Upgradation
Skill Upgradation
Artisans receive training and skill upgradation to enhance the quality and appeal of their craftsmanship.
Social Inclusion
Economic Growth
Pembarthi's metal craft industry and tourism generate income and employment, benefiting the local community and contributing to economic development.
Cultural Preservation
Cultural Preservation
The GI tag and continued craftsmanship pass-down protect and promote the village's cultural heritage.
Social Inclusion
The village ensures that tourism benefits are distributed equitably among all sections of society, promoting social inclusion and equality.
Women Empowerment
Women Empowerment
Women in the village are encouraged to participate in tourism-related activities and entrepreneurship, fostering gender balance.
The joint effort of Telangana State Tourism and the local community generated opportunities and livelihood for the artisans community.
Originally stone carvers, the artists have left their handiwork in the facades of innumerable stone carvings and temples all over India. Then when brass became common, they experimented with this material. The buildings of Vijayanagar at Hampi are ruins now, but their lower stories were sheathed in beaten copper and brass by the ancestors of the Pembarti craftsmen.
For some reason this widespread craft has survived only at the sleepy little village of Pembarti.
Scholars tell us of a previous age when iron was not known and copper and alloys were used for making metal tools and objects of daily use. A small part of that age is still with us but mostly in objects of art.
Statues, carvings, castings still continue to be made in the attractive copper alloys. The methods used are still ancient, traditional ones although the raw material today comes from modern mines and furnaces.
Indian brass is renowned the world over and chances are the brass potted planter in the foyer of a Manhattan hotel or Tokyo corporate office comes from Pembarti, a small village of Telangana which is a centre of brass work.
Brass lotas, large globular vessels and plates were in demand even up to the beginning of this century. But as time went on the market died out for these.
In recent times, tired of mass-produced dully uniform items, customers from affluent countries started noticing the unique Pembarthi craftsmanship. Now, as an example, brass and copper planters are prized. The Pembarthi designs are quite different from , say Moradabad or Benares brassware although the material is the same – factory made brass sheeet.
Innovative architects started using Pembarthi brassware in their designs as a integral whole rather than piecemeal “items” of furniture. This has led to a revival of the craft tradition.
The joint effort of Telangana State Tourism and the local community generated opportunities and livelihood for the artisans community.
Originally stone carvers, the artists have left their handiwork in the facades of innumerable stone carvings and temples all over India. Then when brass became common, they experimented with this material. The buildings of Vijayanagar at Hampi are ruins now, but their lower stories were sheathed in beaten copper and brass by the ancestors of the Pembarti craftsmen.
For some reason this widespread craft has survived only at the sleepy little village of Pembarti.
Scholars tell us of a previous age when iron was not known and copper and alloys were used for making metal tools and objects of daily use. A small part of that age is still with us but mostly in objects of art.
Statues, carvings, castings still continue to be made in the attractive copper alloys. The methods used are still ancient, traditional ones although the raw material today comes from modern mines and furnaces.
Indian brass is renowned the world over and chances are the brass potted planter in the foyer of a Manhattan hotel or Tokyo corporate office comes from Pembarti, a small village of Telangana which is a centre of brass work.
Brass lotas, large globular vessels and plates were in demand even up to the beginning of this century. But as time went on the market died out for these.
In recent times, tired of mass-produced dully uniform items, customers from affluent countries started noticing the unique Pembarthi craftsmanship. Now, as an example, brass and copper planters are prized. The Pembarthi designs are quite different from , say Moradabad or Benares brassware although the material is the same – factory made brass sheeet.
Innovative architects started using Pembarthi brassware in their designs as a integral whole rather than piecemeal “items” of furniture. This has led to a revival of the craft tradition.
Facts
Telangana is the 29 the State of India formed on 2nd June 2014.
Capital : Hyderabad
Language : Telugu, Urdu
Districts : 33
Districts : 33
Animal : Deer (Jinka)
Sport : Kabaddi
Loksabha : 17 seats
Rajyasabha : 17 seats
Bird : Indian Roller or Blue jay (Palapitta)
Area : 1,14,840 sq. km (44,340 sq. mi)
Population : 3.52 crore or 3,52,86,757 (2011)
Tree : Shami Tree or Prosopis Cineraria(Jammi chettu)
Flower : Tangedu Flowers or Tanner’s Cassia or Senna Auriculata
Song : Jaya Jaya he Telangana
Highest Peak : Doligutta, Khammam (965m)
Statistics
Telangana Statistics
| Capital City | Hyderabad |
| Area | 114,840 Sq. Kms. |
| Districts | 10 |
| Revenue Divisions | 42 |
| Towns (as per Census, 2011) | 158 |
| Municipal Corporations | 6 |
| Municipalities | 38 |
| Nagara Panchayaths | 25 |
| Zilla Praja Parishads | 9 |
| Mandal Praja Parishads | 443 |
| Gram Panchayaths | 8778 |
| Revenue Mandals | 464 |
| Revenue Villages | 10,761 |
| Inhabited Villages | 10,128 |
| Un-inhabited Villages | 633 |
| Households | 83.58 Lakhs |
| Household size | 4 |
| Population | 351.94 Lakhs |
| Male | 177.04 Lakhs |
| Female | 174.90 Lakhs |
| Sex Ratio (Female per 1000 Males) | 988 Ratio |
| Density of Population | 307 per Sq. Km |
| Decadal Growth Rate (2001-2011) | 13.58 Rate |
| Rural Population | 215.85 Lakhs |
| Rural Population Male | 107.97 Lakhs |
| Rural Population Female | 107.88 Lakhs |
| Rural Population Sex Ratio (Female per 1000 Males) | 999 Ratio |
| Rural to Total Population | 61.33 % |
| Urban Population | 136.09 Lakhs |
| Urban Population Male | 69.07 Lakhs |
| Urban Population Female | 67.02 Lakhs |
| Urban Population Sex Ratio (Female per 1000 Males) | 970 Ratio |
| Urban to Total Population | 38.64 % |
| SC Population | 54.33 Lakhs |
| SC Population Male | 27.05 Lakhs |
| SC Population Female | 27.28 Lakhs |
| ST Population | 32.87 Lakhs |
| ST Population Male | 16.60 Lakhs |
| ST Population Female | 16.27 |
| Child Population (0-6 years) | 39.20 Lakhs |
| Child Population (0-6 years) Male | 20.28 Lakhs |
| Child Population (0-6 years) Female | 18.92 Lakhs |
| Child to Total Population | 11.14 % |
| Child Sex Ratio (Female per 1000 Males) | 933 Ratio |
| Literates | 207.84 Lakhs |
| Literates Male | 117.49 Lakhs |
| Literates Female | 90.35 Lakhs |
| Literacy Rate | 66.46 % |
| Literacy Rate Male | 74.95 % |
| Literacy Rate Female | 57.92 % |
| Total Workers | 164.53 Lakhs |
| Main Workers | 138.06 Lakhs |
| Marginal Workers | 26.47 Lakhs |
| Members of Parliament (MPs) | 17 |
| Members of Legislative Assembly (MLAs) | 119 |
| Zilla Parishad Territorial Constituency Members (ZPTCs) | 443 |
| Mandal Parishad Territorial Constituency Members (MPTCs) | 6497 |
http://www.telangana.gov.in/About/State-Profile
Saka (Indian Calendar)
The Saka era, is used with Hindu calendars, the Indian national calendar, and the Cambodian Buddhist calendar.
It came into usage from March 22, 1957 according to the Gregorian calendar which was actually Saka Era, Chaitra 1, 1879 according to the Saka Samvat.
The zero year of Saka era (also Shalivahana era, Sakabda) began in 78 A.D.
The Christian year 78 A.D. has been accepted by most historians as the year of the foundation of the Saka Era. For centuries thereafter and till now, this era has continued to dominate the Indian reckoning of the years and time.
Western Kshatrapas (35–405 BC) were Saka rulers of the western part of India (Saurashtra and Malwa: modern Gujarat, Southern Sindh, Maharashtra, Rajasthan). They were successors to the Indo-Scythians who invaded the area of Ujjain and established the Saka era (with Saka calendar), marking the beginning of the long-lived Saka Western Satraps kingdom.
The Satavahana king Shalivahana (the king titled as Shalivahana is Gautamiputra Satakarni) is credited with the initiation of the era known as Shalivahana Saka to celebrate his victory against the Sakas in the year 78 CE.
It is used in India besides the Gregorian calendar by the Gazette of India, news broadcasts by All India Radio, calendars and communication document issued by control of Government of India.
The Saka calendar, often referred as the Hindu calendar is originally named as Saka Samvat. It is also used for the calculation days of religious significance in the Hindu Religion in the country. You will always find a Saka calendar alongside a Gregorian Calender in an Indian Home.
Formation of Saka Calendar In the Indian civil calendar, the initial period is the Saka Era. The Calendar is said to have begun with King Salivahana's accession to the throne.
It is used as a reference for most astronomical works in Sanskrit literature written after 500 AD. The calculation of dates in this Calendar are done in accordance with the actual positions of Sun and Moon in the universe.
Adoption of Saka Calendar as National Calendar The current national calendar of India i.e. the Saka Calendar was adopted as the National Calendar in 1957 by the Calendar Reform Committee which also made efforts to coincide the astronomical data and harmonize the usage of this calendar after rectification of some local errors.
It was adopted as the National calendar in order to synchronize the usage of 30 different kinds of Calendar used in India at that time. An Overview of the Saka Calendar Saka Calendar is said to have begun from the vernal equinox of A.D. 79.
The Saka Calendar is similar to the Gregorian calendar on the terms that even the Saka calendar has a normal year of 365 days and a leap year has 366 days. In a leap year, an intercalary day is added to the end of Chaitra month of the year.
There are 12 months in Saka Calendar which are named as Vaisakha ,Jyestha ,Asadha ,Sravana, Bhadrapada, Asvina , Kartika Margasirsa , Pausa , Magh, Phalgura ,Chaitra.
Read more at http://www.iloveindia.com/national-symbols/national-calendar.html#K2CWJ4XgWgOZ6iSv.99
http://historum.com/asian-history/47708-founder-shalivahana-shaka-era.html
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