Jagdevpur Varadaraju Swamy Temple

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

Telangana, India.

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

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

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

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

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

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

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

Source

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

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Deval Masjid

Deval Masjid located in Buswatarag Nagar, Bodhan, Nizamabad, as its name signifies  is a

a Jain temple built during the 9th and 10th century by the Rashtrakuta king Indra III.

It was later modified by the Kalyani Chalukya king Someswara. It was he, who named the temple as Indranarayana Swamy Temple.

During the invasion by Muhammad-bin-Tughlaq in the Deccan, this temple was converted into a mosque.  This is a star-shaped building which has undergone no alteration at the hands of conquerors except removal of star chamber and setting up of a pulpit.

The roof has been embellished with domes which are a salient feature of Muslim architecture. Some inscriptions by Muhammad-bin-Tughlaq can also be seen here.

Confluence of cultures

A new mosque is built adjacent to the old mosque, which is now used for prayers.

Though it was great to see the place, the first look was rather disappointing as it was heavily littered and not well kept.

Now that the new mosque has been built, this building has been abandoned and is used by people to sleep peacefully or finish some office work. It would be great if the tourism department takes measures to uplift the condition of the temple as it has good tourism potential.

https://telanganatoday.com/confluence-two-cultures by Saurabh Chatterjee

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Mayuri Nursery

Mayuri Nursery, located about 5 kilometers from National Highway 44 at Shankarayapalle, Jadcherla

and about 8 kilometers from the Mahbubnagar district headquarters, is fast gearing up to become one of the most sought after tourists spots in the district with world-class amenities like an amphitheatre, swimming pools and a yoga centre.

Mayuri Central Nursery, located between Mahbubnagar and Jadcherla highway, is an ideal location for developing the eco-tourism project in the district. As the region lies on the slopes of Bontagattu mountain range, the hilly slopes, valleys and flat mountain tops dotted with trees and a large spread of green forest cover all around provide the perfect venue for the tourists to enjoy the beauty of the region.

The entire eco-tourism region includes the entire mountain range and the deep forests spreading over 2,500 hectares from Appanapally to Mammadabad. At present as part of first phase of the project only about 200 hectares are earmarked for the development works. “We are developing the internal roads all along the hilly slopes and barricading the main forest areas with 12 feet high iron fencing so as to avoid any trespassing of wild animals in the park region.

Already we have built 4 kilometres of road. We are also planning special tracks for cycling and walkers which will extend from Jolly hills to TB hospital. In addition to this we are also planning to construct high raised wall all along the road side with green creeper cover on it. The main entrance “Entry Plaza” will be completed in the next two months and we are expecting to complete the first phase by end of this year,” said Mahender.

For developing the eco-tourism park, the officials have already designed a draft plan and accordingly taking up the works in a phased manner. “We have earmarked for developing a medicinal herbal plantation over 2 hectares of area. Our main focus will be on providing basic amenities to the visiting tourists like drinking water, shelters sheds for resting, benches for sitting along the walk paths. We are also constructing toilets and washrooms for the visitors,” added the FRO.

In addition to development of green parks, the Forest Department will also develop different kinds of specialised plantation zones such as Kartika Vanama, Rashi Vanam, Pancha Vati Vanam and Nakshatra Vanam. “We are trying our best to incorporate innovative ideas to make this region a unique spot that links humans and trees. For viewing the scenic beautify of the park we are constructing two pagodas “Valley View Point” and “Hill View Point” with railings all along. In the next few days we will complete the compound wall.

The State government has earmarked 200 hectares of land for the development of various facilities, such as play grounds, gardens, and play facilities for children, a yoga center and a medicinal plantation garden. “Apart from these facilities, we also propose to add an amphitheater (open air theatre), swimming pool, a volleyball court and a basket ball court.

The play facilities have already been installed and works on the entranceway are on the verge of completion. We expect the works to be completed by December” said Mahabubnagar MLA Srinivas Goud while taking stock of the development at Mayuri Nursery.

http://www.thehansindia.com/posts/index/hans/2016-02-24/mayuri-nursery-set-to-turn-eco-tourism-hub/209416

http://www.thehansindia.com/posts/index/2015-12-29/Jadcherla-to-turn-tourism-hub-196232

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Narayanpet Saree

The Narayanpet saree is made either of cotton or silk.

 One school of thought states that in 1630 AD during Shivaji Maharaj’s campaign in the Deccan, the brightly coloured saris of the ladies caught his eye and thus the Narayanpet saree got its Royal Maratha Patronage. Other versions of the tale state that the weavers, who were part of Shivaji’s camp during a campaign, were the ones who stayed back and developed the form as we see it today.

Much before the world was made aware of the concept of a global village, the Indian Subcontinent had embraced the idea.

The merger of cultures of different princely states and regions in the country has produced some fantastic weaves and styles that are heralded to this day for their sheer beauty and exclusivity. The Narayanpet saree is one such example.

These sarees have had the privilege of enjoying the royal patronage of the Marathas. Regarded as the garment of the Gods, Narayanpet sarees were used to drape the idols of deities and worn exclusively by aristocracy for the longest time. The only treatment better than a royal one, is a godly one. Narayanpet sarees are all that and more.

There is a distinct style attached to the Narayanpet sarees, the sarees have a checked surface design with embroidery and the border or pallu have intricate ethnic designs such as a temple.

The borders and pallu of the Narayanpet Silk saree are given a contrasted look with small zari designs.

With designers like Shravan Ramaswamy acting as guardian angels and showcasing the Narayanpet silk sarees, the weavers have been hugely benefited by the surge in demand.

At any handloom or silk exhibition, Narayanpet silk sarees are a definite part of the showcase around the globe.

The popularity of Narayanpet sarees is enhanced by the fact that amongst all the Silk garments, this is the one which is most easily affordable. In recent times, even, designer boutiques have started stocking and selling Narayanpet silk sarees.

Going by historical records, in 1630 AD, the Maratha king, Chatrapati Shivaji traveled to the Narayanpet region where he camped for a while. When he continued on his journey, a few weavers stayed behind.

These were the weavers who started producing the Silk sarees with a distinct style of design which came to be known as Narayanpet Silk sarees. No wonder then, courtesy the weavers who migrated from the Maratha region to Narayanpet, there is lot of Maharashtrian influence seen in Narayanpet Silk sarees.

Later on, under the rule of Lokapalli Sansathanam, the production of Narayanpet Silk and Cotton sarees increased dramatically.

For producing the Narayanpet sarees, vegetable dyes are used. This is a unique process where eight sarees are made at one go on a loom. Thus instead of the standard 7 yards of fabric being mounted on the loom, 56 yards of Silk are mounted on the loom at a single time.

After the degumming, dyeing and drying process, the actual weaving starts. In the case of Cotton sarees, it takes one day to complete a saree, whereas a Silk saree takes 4-5 days to be completed.
In 2012, Narayanpet sarees got its Geographical Indicator (GI) registration with the government of India.

It is extremely hot in summer and cold in winter. If one has to deduce, the extremities of the weather could well have prompted the creation of the style of Narayanpet Silk sarees which is beautiful and rich to look at and is comfortable to wear round the year because of it’s light weight.

The early weavers who settled down in the Narayanpet region in the 17th century are the pioneers of this art. The skill has been passed down from generation to generation. The entire weaver community involved in this art is located only in Narayanpet.

https://www.utsavpedia.com/textiles/narayanpet-silk-cross-culture/

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Nirmal Toys

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

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

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

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

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

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

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

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

A Glimpse of the Naqashi Art!

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

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

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

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

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

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

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

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

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

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

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

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

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Nirmal Furniture

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

Indication rights in 2009.  It is handmade wooden furniture.

Nirmal Painted Furniture, a Brand in Itself!

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

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

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

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

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

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

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

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Karimnagar Silver Filigree

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

Karimnagar.

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

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

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

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

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

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

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

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

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

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

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

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

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Gadwal Saree

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

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

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

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

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

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

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

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

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

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

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Pochampally Saree

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

Bhuvanagiri district, Telangana.

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

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

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

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

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

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

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

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

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

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Gollabhama Saree

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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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