Nirmal Toys

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

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

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

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

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

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

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

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

A Glimpse of the Naqashi Art!

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

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

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

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

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

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

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

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

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

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

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

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

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Nirmal Furniture

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

Indication rights in 2009.  It is handmade wooden furniture.

Nirmal Painted Furniture, a Brand in Itself!

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

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

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

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

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

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

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

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Karimnagar Silver Filigree

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

Karimnagar.

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

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

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

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

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

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

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

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

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

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

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

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

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Gadwal Saree

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

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

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

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

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

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

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

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

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

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

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Pochampally Saree

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

Bhuvanagiri district, Telangana.

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

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

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

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

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

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

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

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

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

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Gollabhama Saree

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Nandikonda

Nandikonda is a small village located along the banks of Krishna River in Peddavura Mandal  

Nalgonda district. It is located close to the magnificent Nagarjuna Sagar dam. Nandikonda was part of the Ikshvaku Dynasty and the village shot into prominence after scores of ancient Buddhist structures like pillared halls and monasteries were unearthed. The relics that were unearthed during a series of excavations are today displayed at the Museum of Central Archeological Department here.

There are also ruins of a fort dating back to Ikshvaku Dynasty. The citadel consists of gates, strong fortifications, water trenches, and even as rectangular-shaped stadium were found during archeological excavations. The Nagarjuna Sagar dam was initially called Nandikonda project and the place finds place in the Buddhist circuit of Telangana.

http://www.telanganatourism.gov.in/partials/destinations/heritage-spots/nalgonda/nandikonda.html

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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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Koyyur Jain Caves Nayanagulllu

The monolithic caves of Jain pantheon near Koyyur Village, Malharrao Mandal in the Jayashankar Bhupalpally district are set to hog the limelight with theForest Department making efforts to incorporate the structure into its ongoing eco-tourism programme.

Situated on a hillock among scenic surroundings on the banks of river Manair, the caves stand out as an example of Indian rock-cut architecture.

Hewn in solid sandstone precipice the caves testify the prevalence of Jainism in these parts during ancient times. Though the caves were found long ago, they remained uncared for. With an intention to draw public attention to these caves, Bhupalpally Forest Department officials are planning to lay pathways to ensure better connectivity to the caves called locally as ‘Nayanagulllu’.

At a distance of two km there is a Nagulamma Temple which is frequented by devotees on weekends and on auspicious occasions. It is proposed to lay a pathway from the temple and from Mainar bridge near Adavi Somanapally to the caves.

The works will be started during winter season, Suman added. “We wish to organise trekking trips to the caves so that those interested in history can visit and appreciate their historic significance.

The Jain caves will be included in the itinerary of recently released a calendar of events of eco-tourism” District Forest Officer T Ravi Kiran informed.

He hoped that the in the days to come, the caves would emerge as an important tourist destination. According to a local school teacher and history enthusiast Ch Srinivas, Jainism was prevalent in erstwhile Andhra Pradesh during the times of 12th Tirthankara Vasupujya as mentioned in the 12th century classic Dharmamrita.

There are six chambers at the caves. A verandah, an antharala (ante-chamber) and garbhalaya (sanctum sanctorum) are part of the cave structure.

There is a colourful mural painting on the ceiling of a cave, probably a depiction of Jataka tale. A carved image on the frontal portion of the cave is said to be of a Thirtankara.

In side sanctum sanctorum there is a Siva Lingam and damaged figurine of a female deity, believed to be Mahisasura Mardini, Srinivas explained.

Above the entrance of the main cave, there an epigraphy hewn in the rock.“The archeological authorities and historians must try to decipher the inscriptions to comprehend to which period the caves belong and who carved out these caves” Srinivas noted.

http://www.thehansindia.com/posts/index/Warangal-Tab/2017-09-29/Koyyur-may-turn-a-major-eco-tourism-hub-in-Telangana/330043

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Devuni Gutta Temple

Devuni Gutta temple is located 2.5 km away from Kothur village, near Jangalapalli of Mulugu mandal in Mulugu district.

It is only when one chats up with the villagers of Kothur that the temple is mentioned. The journey to reach this temple is as interesting as the temple itself.

The temple is on a densely forested hill locally called ‘Devuni Gutta’. One has to walk from the village through a forest. About halfway up, the path becomes a water path — a stream or a rivulet that one can walk through. The watery path runs for a kilometre at least. Even as you enjoy the walk, you also get to see beautiful waterfalls at several places.

Upon reaching the top of the hill, one comes upon this absolutely stunning temple with carvings on all four walls sitting snug within a lush green environ. It looks like it is made of bricks but up close one can see that the blocks are a mixture of sand and stone. Lime mortar was used for plastering. The carvings were made on these square and rectangle shaped blocks. Sages, Buddhist monks, dancers, even some animals can be identified though on the sculpted stone, but a lot of has eroded over time. The sanctum sanctorum also has several such carvings. Historians estimate the age of the temple to be more than 2000 years.

Locals say there used to be a Shiv Linga inside the temple but it was stolen by treasure hunters about 50 years ago. Close to the temple is a pond. “The water in this pond seeps underground and flows down as a stream. This water is useful for us to irrigate our crops. What is not used flows into the Laknavaram Lake. Other-wise, if there’s no rain for 15 days, the pond dries up,” said a villager, Veeram-aneni Ravinder Rao.

If the district administration takes the required steps, this place could be another tourist spot for trekkers and adventurers, feel local tourists. But yes, a little more research would lead to more interesting details about the temple that would also enhance its touristy charm.

Dr Corinna Wessels-Mevissen, a senior art historian from Germany, who saw pictures of the temple, termed it as extremely interesting and said that it could turn out to be a discovery like no other.

"The style that may date to the late Gupta/post-Gupta periods is unknown to me. It may be linked to the early Odishan style of temple art or that of Rajim and Sirpur in Chhattisgarh. The presence of Amaravati-style spoils is of course interesting," she said.

Local historian Sriramoju Haragopal said the work on the temple suggests it could belong to the sixth or seventh century.
 

Source

http://www.deccanchronicle.com/nation/current-affairs/310817/hidden-treasures-of-kothur-await-attention.html

http://www.deccanchronicle.com/nation/current-affairs/040917/telangana-ancient-mulugu-temple-soon-to-become-tourist-attraction.html

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Nehru Zoological Park

Nehru Zoological Park or Hyderabad Zoo is located in Bahadurpura, Hyderabad, Telangana, India was established October 26, 1959. It was declared open to the public on October 6, 1963. The Park extends over 380 acres, abutting the Miralam Tank on the southern side and National Highway No.:7 on the eastern boundary. It is the premier recreation spot in the twin cities of Hyderabad and Secunderabad.

Nehru Zoological Park has successfully bred several endangered wild animals both indigenous and exotic, like Asiatic Lion, Royal Bengal Tiger(both normal and White), Gaur, Blackbuck, Thamin Deer, Swamp Deer, Sloth Bear, Malayan Sun Bear, Hippopotamus, Jaguar, Painted Stork, White Ibis, Grey Pelcian, Rosy Pelican, Several Pheasants, Crocodiles, Green Iguana, etc,.

Whild Animals like Blackbuck, Spotted Deer, Peafowl, Crocodiles, etc which have been bred in the Zoo have been rehabilitated in the sanctuaries and National Parks of the State.

Nehru Zoological Park, Hyderabad is one of the first zoos in the Country to display the animals in open moated enclosures with no barriers in between the visitors and the animals. The zoo was established with this concept and was opened to public viewing on 06.10.1963. Since then the zoo kept on adding new facilities. The Lion Safari Park which was established in 1974 and Nocturnal Animal House established in the year 1982 were first of its kind in the country.

At Present this zoo is displaying animals belonging to 140 species numbering 1334. During this period this zoo received Common Marmosets, Spoon Bills from Alipore Zoo, Kolkata. Pig Tailed Macaque, Himalayan Black Bear, Leopard Cats from Sipahijala Zoo, Tripura and Mouse Deers from Sri Venkateshwara Zoological Park, Tirupati, 6 Nos of White backed Vultures from Sakkarbagh Zoo There are other animal exchange programmes belongs this Zoo and Patna & Mysore Zoos in the pipe line.

During this period most of the animal enclosures and visitor facilities were revamped. Efforts were made to make the zoo a plastic free area, A Plastic regulation counter was opened at the entrance gate which provides paper bags in place of polythine bags. Additional booking counters, Visitors Shelters, resting areas were created for the visitors.

This Zoo is spread over an area of 380 acres and a visitor can't see all the enclosures in one day on foot. Therefore bicycles were introduced in the zoo, and the visitors can hire these bicycles and can go around the zoo. This is helping the visitors in visiting the zoo completely.

There is more charm to a visit to the Nehru Zoological Park these days for few more species have been added to the wide and varied collection of animals, birds and reptiles here.

A pair Himalayan Goral which was brought here from Chattbir Zoo of Punjab as part of animal exchange programme last year, has given birth to a fawn a the zoo on Monday.

And there’s more. A pair of Albino Black Buck which was also brought under exchange from Chattbir Zoo too have given birth to a fawn a few weeks ago.

The zoo veterinarians said the new borns were in good health condition and are being cared by a team of animal keepers.

Timings : 8:30AM–4:30PM

Entry Fee
35 per Adult
20 per Child
25 for Amateur Still Camera
110 for Amateur Video Camera
500 for Professional Video Camera
1500 for trucks for film shooting
1000 for Car/Jeep

55 for Battery operated vehicles 

Now, those visiting the Nehru Zoological Park can book their ticket online by a few clicks, and avail WiFi facility within the Nehru Zoological Park premises. Minister for Forests and Environment Jogu Ramanna on Wednesday inaugurated the online portal www.hyderabadzoo.com which one can visit to book the tickets. This is the first time that any zoo in the country has introduced this facility, he said.

Those who book online will get their ticket on their mobile phone, which they can swipe at the special entrance for online bookings to enter the zoo. The online facility will be maintained by an outsourced agency, and handling charges will be levied on the tickets, apart from service tax and Swachh Bharat cess.

Source
http://www.hydzoo.com
https://telanganatoday.news/more-charm-nehru-zoo
https://en.wikipedia.org/wiki/Nehru_Zoological_Park

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Salarjung Museum

The Salar Jung Museum is an art museum located at Darushifa on the southern bank of the Musi River in the city of Hyderabad, Telangana, India. It is one of the three National Museums of India.

The present museum building was constructed on the southern bank of River Musi, which is in close proximity to the important monuments of old city of Hyderabad like the historic Charminar, Mecca Masjid etc. The collections of the Museum and the library were transferred from Dewan Deodi to the new building in the year 1968, and two more buildings were added in the year 2000.

Collection of Objects
The Museum has a magnificent global collection of art objects and antiques not only of Indian origin, but mostly from countries Western, a sizable collection hails from Middle Eastern and Far Eastern origins. Apart from these, there is a Children's section, a rich reference library which contains reference books, large collection of rare manuscripts etc. Thus, this Museum has become popular, not only as a place of interest but also as an institution for education.

Out of the several rare objects, one of the important and interesting object collected by Salar Jung I was “Vellied Rebecca” an enchanting marble statue which was acquired by him from Rome in 1876 during his visit to Italy. The western collection are from England, Ireland, France, Belgium, Italy, Germany. A set of Ivory chairs said to have been presented by Louis XVI of France to Tippu Sultan of Mysore deserve special mention. A jade book-stand “Rehal” having the name of ‘Shamsuddin Altamish’, an archer’s ring inscribed with the legend Sahib-e-Quran-e-Sani, title of the Mughal Emperor, Shahjahan are masterpieces. A dagger and a fruit knife made in jade decorated with precious stones are said to belong to Jehangir and Noorjehan respectively. A good number of Indian Miniature Paintings in early style of Western India of 14th and 15th Centuries representing Krishna Leela themes are also form part of the Museum’s Collection. There are good number of Arabic and Persian Manuscripts dated to 19th century and Shah-nama by Furadausi are also among the valuable collection of the Museum. A rare manuscript entitled ‘Lilawati” on mathematics and an ancient medical encyclopedia transcribed in India is in the collection. Oil and water paintings form an important part of the European collections.

It has a collection of sculptures, paintings, carvings, textiles, manuscripts, ceramics, metallic artefacts, carpets, clocks, and furniture from Japan, China, Burma, Nepal, India, Persia, Egypt, Europe, and North America. The museum's collection was sourced from the property of the Salar Jung family. It is one of the largest museums in the world.

The Salar Jung Museum houses the largest one-man collection of antiques in the world. It is well known throughout India for its prized collections belonging to different civilizations dating back to the 1st century.

The Indian historical collections includes
The paintings of legendary Raja Ravi Varma
Aurangzeb's sword
Jade crafted daggers of Emperor Jehangir, Noorjahan and Shah Jahan
A wardrobe of Tipu Sultan
A tiffin box made of gold and diamond

The furniture collection includes pieces from the time of King Louis XIV and Napoleon. Salar Jung III collected about 43,000 artifacts and 50,000 books and manuscripts out of which only few are displayed in today's museum.

 Nawab Mir Yusuf Ali Khan Salar Jung III (1889–1949), former Prime Minister of the seventh Nizam of Hyderabad, spent a substantial amount of his income over thirty five years to make this priceless collection, his life's passion. The collections left behind in his ancestral palace, 'Diwan Deodi', were formerly exhibited there as a private museum which was inaugurated by Jawaharlal Nehru in 1951. 

Old timers believe that the present collection constitutes only half of the original art wealth collected by Salar Jung III. His employees siphoned off part of it, since Salar Jung was unmarried and depended upon his staff to keep a vigil. Some more art pieces were lost or stolen during the shifting of the museum from Diwan Deodi to the present site

Later in 1968, the museum shifted to its present location at Afzal Gunj and is administered by a Board of Trustees with the Governor of Telangana as ex officio chairperson under the Salar Jung Museum Act of 1961.

The museum building, semicircular in shape with 38 galleries, spread on two floors, displays only a part of the original collection. The ground floor has 20 galleries and the first floor has 18 galleries. The exhibits on different subjects are displayed in separate galleries. Each gallery is huge and has many artifacts on display including ones dating back to the 4th century.

Apart from the galleries, there is a reference Library, reading room, publication and education section, chemical conservation lab, sales counter, cafeteria etc. Guides are available at fixed timings free of charge.

There are Aurangzeb's daggers belonging to empress Noor Jahan, emperors Jahangir and Shah Jahan, the turbans and chair of Tipu Sultan, furniture from Egypt, paintings on display. Among the sculptures stands out the world famous statue of Veiled Rebecca by G.B. Benzoni, an Italian sculptor, in 1876. Her beautiful face hazily is visible through a marble but gossamer veil. Equally captivating is a double-figure wood sculpture. It stands before a mirror and shows the facade of a nonchalant Mephistopheles and the image of a demure Margaretta in the mirror. The eastern section is of equal importance with its wide variety of silk weaving and different art forms, including layer wood cutting paintings, porcelain works and many more, dating back to almost 2nd century.

The museum has a famous Quran collection, from around the world in different fonts and designs, called the Quran Written with Gold and Silver. There are many more collections of religious books,as well as Arabic Quran.

A variety and array of clocks greet the visitor in the clock room. There are ancient sundials in the form of obelisks to huge and modern clocks of the twentieth century. Others in the range vary from miniature clocks which need a magnifying glass to imbibe their beauty and complexity to stately grandfather clocks from as far away as France, Germany, Italy, Switzerland and Britain including the musical clock Salar Jung bought from Cook and Kelvey of England. Every hour, a timekeeper emerges from the upper deck of the clock to strike a gong as many times as it is the hours of the day. The clock is an antique.

The Salar Jung Museum possesses a good number of clocks collected from different European countries such as France, England, Switzerland, Germany, Holland etc. The variety includes the Bird cage clocks, Bracket clocks, Grandfather clocks, Skeleton clocks, etc. The museum is also having some good examples of the clocks of the contemporary period of Louis XV, Louis XVI, and Napoleon 1st of France. The most important clock which attracts the greatest number of visitors everyday is however, a British Bracket clock. It has got a mechanical device by which a miniature toy figure comes out of an enclosure and strikes the gong and then returns to the enclosure at each hour.

The Indian Parliament has declared the museum an Institution of National Importance.

Activities of the Museum:
The Museum is regularly organizing special exhibitions and workshops in collaboration with International Museums and organizations. The museum publishes guide-Books, brochures, research Journals, and books on selected subjects in English, Hindi and Urdu languages. Seminars and workshops are being organized on special occasions such as – Birthday celebrations of Salar Jung III, Museum Week, Children’s Week etc., as part of its educational activities. As one of the museums of “National importance” in India, the Salar Jung Museum is meant to function as a cultural centre through its exhibits, research projects and planned activities as a cultural centre both in educational and as a centre of national integration.

Address: Salar Jung Road, Darulshifa, Hyderabad, Telangana 500002, India

Source

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

http://salarjungmuseum.in/

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Hyderabad District

Head Quarters        : Hyderabad

Revenue divisions    : 2 (Hyderabad and Secunderabad )

Mandals              : 16 
Population           : 3,943,323
Area (km2)           : 217 square kilometres (84 sq mi)
Literacy             : 83.25%
Highways             : NH-44‎, ‎NH-65‎, ‎NH-163‎, ‎NH-765
Rivers               : Musi

Vehicle Registration : TS 09, 10, 11, 12, 13, 14
Collector            : Rahul Bojja

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Hyderabad City Museum

City Museum is a museum located in Purani Haveli, Hyderabad, Telangana, India situated in the palace.

The museum was inaugurated on 11 March 2012 by Nizam`s Jubilee Pavilion Trust chairman, Prince Muffakham Jah, the grandson of the last ruler of Hyderabad state Mir Osman Ali Khan.

City Museum is the first of its kind in India, which focuses on the history of the city of Hyderabad, from times beyond its inception to the present day.

It presents glimpses of the historical, commercial, cultural and social fabric of the beautiful city that is Hyderabad from its foundation up to the present times.

A touch screen multimedia kiosk provides quick information about the origin, popular legends, places worth visiting and landmarks of 50 Mohall’s (localities) and other trivia of Hyderabad in Hindi, Urdu, Telugu and English.

The area that constitutes Hyderabad today was inhabited four thousand years ago. The city Museum retraces some of those steps back to Megalithic times, to the Kakatiya’s of Warangal , to when Golconda one of the world’s leading diamond trading centres attracted tradesmen and travellers from the world over and was evocative of incredible glamour , unparalled riches and romantic splendour.

The documented history of Hyderabad begins with the establishment of a civilian population in the fortress of Golconda in the times of the Kakatiya rulers. The civilian population grew in the Bahmani period. Under the Qutub Shahis, Golconda became a capital city of prosperous, cultured Sultanate. Then a new garden suburb outside the fortress was designed and built in 1591 and the name of Hyderabad Tirot appeared. The Mughals conquered Golconda and the city suffered a period of decline. Then the Asaf Jahs ruled for over two hundred and fifty years. The city of Hyderabad again became a capital and flourished. Under Mir Osman Ali Khan , the seventh Nizam of Hyderabad, the city made rapid strides and perhaps the biggest transformation occurred during his reign . Post – Independence Hyderabad continued to prosper as the capital city of the newly formed Andhra Pradesh. In the past two decades there has been tremendous growth and the city has witnessed modern and exciting developments contributing to Indian Revitalisation.

The growth of the city is traced through seven specially designed maps that use Golconda as a Reference. These maps depict important periods in the development of the city and indicate the city progression in each of these phases the maps traces the progression from 13th century to 21st Century.

The Museum unfolds brief glimpses into various aspects of the city serves, early evidence ,Trade and Commerce, Arms and Weapons, the fabrics of Golconda, Post and Communication, Coins and Currency, Transport, Medicine, Education, arts and crafts, architecture, culture and the cuisine of Hyderabad through original objects, charity, Photographers and explanatory notes.

The display area sheds light on Trade and Commerce, Weights and Measures, Textiles, Post and Communication, Transport, Education, Calligraphy, Architecture, Art and Craft, Hyderabadi cuisine, and people. The artefacts on display include qahwa cups encrusted with Golconda diamonds, perfume bottles studded with pearls, ivory walking sticks, crafted swords and draggers, rare and old stamps and coins, silver and filigree objects and more.

The museum houses neolithic pots, megalithic sites, European styled terracotta figurines, coins of Satvahana period among others.

Former prince Muffakham Jah, chairman of the Nizam's Jubilee Pavilion Trustwhich established the museum said, "This is an extension of the Nizam Museum on the same premises which was opened in 2000. 

The research and groundwork for this venture took two years to complete and involved contributions from many historians. The museum showcases evidence that humans inhabited the city nearly 4000 years ago and also displays various achievements of the people over the years." He further added, "One can find the answers to many intriguing questions about the city in this museum. I hope it will generate the interest of both residents and tourists."

Among the exhibits at the museum are Neolithic pots discovered at Patancheru.

The purchase of one ticket will permit entry to the Nizam Museum, the City Museum as well as a glimpse into the gigantic wardrobe of the sixth Nizam.

Source

http://timesofindia.indiatimes.com/city/hyderabad/Unveiling-the-past/articleshow/12226728.cms?referral=PM

http://www.hehnmh.com/city-museum

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Nizam Museum

Nizam Museum or H.E.H Nizam's Museum is a museum located in Purani Haveli, Hyderabad, Telangana, India is a  palace of the erstwhile Nizams.

In the heart of old Hyderabad, a few lanes away from the iconic Charminar, lies a fascinating collection of articles belonging to the seventh Nizam of Hyderabad, Mir Osman Ali Khan. 

This museum showcases the gifts that the last Nizam of Hyderabad state, Osman Ali Khan, Asaf Jah VII received on his silver jubilee celebrations.

The museum is a repository mainly of souvenirs, gifts and mementos presented by dignitaries to the
last Nizam gifts and mementos presented to the last Nizam on the occasion of the silver jubilee celebrations in 1936. Models made of silver of all the landmark buildings in Hyderabad, and citations in Urdu about H.E.H. Mir Osman Ali Khan.

A golden, wooden throne used for the silver jubilee celebrations of the Last Nizam, a gold tiffin box inlaid with diamonds, miniature repilica of the Jubilee Hall, glass inlay painting of Mir Osman Ali Khan. Also, a wooden writing box studded with mother-of-pearl, diamond and gold-studded daggers, caskets, and silver ittardans (perfume containers) presented by the raja of palvancha. silver coffee cups studded with diamonds and silver filigree elephant with mahout are on display.

A 1930 Rolls Royce, Packard and a Jaguar Mark V are among the vintage cars on display.

The museum also features the wardrobe of the sixth nizam, a 150-year-old manually operated lift, and 200-year-old proclamation drums.

The museum was opened on 18 February 2000 by the Nizam Trust to the general public.

The collection has been recently housed in the HEH Nizam Museum, located in the stately “Purani Haveli”, which holds a special place for the last ruling dynasty as several Nizams were born and spent parts of their lives there. 

“The HEH Nizam Museum was created by the Nizam trust as a tribute to the development that Hyderabad state saw during Osman Ali Khan and his father’s rule. The Nizam put together a vast collection which he kept adding to, later making a trust to hold and display this collection to the public,” says Bhaskar Rao, chief curator of the museum. 

During India’s partition, the state of Hyderabad was the largest princely state in the country and with a population of roughly 16.34 million people, had its own army, airline, telecommunication system, railway network, postal system and radio broadcasting service. As one enters the rather ordinary-looking museum, there is a plethora of history from perfume bottles and cups studded with pearls, to a model of the Arts College, Osmania University – which was declared open by the Nizam on December 4, 1939. 

The entire museum, which The News Minute visited, is covered with displays and old wooden wardrobes, besides models made of silver of all the landmark buildings in Hyderabad, and citations in Urdu about Mir Osman Ali Khan. 

The real eye-catching piece is however, a golden throne placed at the end of the room. The throne was used for the Silver Jubilee celebrations of the Last Nizam. 

The museum also features the infamous wardrobe of the sixth Nizam, Mir Mahboob Ali Khan, besides a 150-year-old manually operated lift and 200-year-old proclamation drums. Khan was rumoured to have never worn the same clothes twice which resulted in the 72m-long, two-storey Burmese teak wardrobe at the end of the museum. The cupboard, which is said to have 130 doors, also showcases the clothes worn by his wife and a huge collection of footwear. 

The main building which accommodates the Nizam’s museum is flanked by two long wings running parallel to each other. The Nizam’s collection is just one of the wings. 

The other is the Hyderabad City Museum – “an extension built in 2012,” the aging curator adds with a smile. “While the Nizam Museum offers a glimpse into the 19th and 20th century, the city museum manages to trace the history of the area to more than 4,000 years ago. (No exclamation marks please) 

We don't know what Hyderabad was called before 1591, but pots excavated in a recent dig a few years ago, show that we all go back a long time,” Rao says. The galleries of the City Museum give the visitor a perspective of how Hyderabad evolved over centuries as it traces the growth of civilization in the area. Split up into different subsections - transport, art and culture, crafts, science and technology, jewellery, medicine, cuisine, architecture and so on, it is adorned with breathtaking history. 

The artifacts stored here are priceless and photography is banned in this segment of the museum to avoid any untoward accidents. There is also a chronological timeline which shows the prominent landmarks springing up like the Golconda Fort - which is the oldest followed by the Qutb Shahi Tombs, Purana Pul, Charminar and Mecca Masjid. 

When asked about how many people visit the museum, Rao says, “The museum still gets a considerable amount of visitors daily but as cities grow, children are not able to comprehend the importance of history. People go to shopping malls instead of museums nowadays.” The chief curator also adds that a majority of visitors come from other places rather than Hyderabad. “Only a minority of the visitors are from Hyderabad. Everyone is moving forward at a rapid pace and I agree that development is needed, but should it be at the price of forgetting our own history?” Rao asks

H.E.H. The Nizam’s Museum,
Purani Haveli,

Hyderabad – 500 002. A. P.

Visiting days of the museum: 6 days a week (Friday closed.) Timings: 10:00 a.m. – 5:00 p.m.

Phone: 040 – 2452 1029

E-mail: heh_njpt@yahoo.com

Source

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

http://www.hehnmh.com

http://www.thenewsminute.com/article/losing-hyderabad-heh-nizam-museum-glimpse-citys-past

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