Mesolithic paintings of Mancherial

Mesolithic cave paintings found in Thaatimattayya hills of Buggagattu forest in Mancherial district of Telangana State.

Historian Dr Dyavanapalli Satyanarayana has claimed that he explored the site in the Buggagattu forest area with the help of the local Naikpod tribes.

He said cave paintings at Thaatimattayya are dated to be 13,000 years B.P. According to Satyanarayana, he came across the ten types of paintings drawn in five colours.

Dr Satyanarayana said ‘even today families of Naikpod worship the ‘Thaatimatayyah’ or Thaadu which means palm tree. One of the most striking features of the cave paintings is the drawings of perfect circles. 

It seems that the prehistoric artist had used geometric measurements to draw the circles. The circles represented human heads, womb/vagina, flying saucers, dumbbells/tool kits, sun and moon discs.

The Mesolithic Age people inserted the small chips of chert stone (one-inch long and centimeter width) in the full cleavage of fist fit logs to make knives, sickles, etc. sharp implements, in between 8,500 B.C. to 3,000 B.C. 

It also appears that the caves were inhabited the people during the subsequent ages – Neolithic and Megalithic – as it is revealed by the human paintings with metal weapons and physical grinding stones, the historian concludes.

The prehistoric paintings were drawn at five places on the sand rock walls of the 50 yard long cave. The first space has only one petroglyph of an ox engraved in one foot length. The second and third spaces are the main chittaruvulu on which several tens of red ocher paintings were drawn.

The most important paintings of the spaces include the animals – horned bulls in rows, deer, antelopes, porcupine, and big lizard (Udumu). Some men were depicted as controlling the oxen with weapons.

The paintings also include a priest with thick red ochre halo around his head. Similar painting is also found nearby but in fainted red color.

The Naikpod tribals of the region, who invoke the deity Chittarayya for three days in every three years, call the priests as tappeta goollu (big dappulu in Telugu). The fourth and fifth spaces are expressing only fainted red ochre oxen, the historian explains.

But unfortunately most of the prehistoric paintings depicted on its wall spaces have been dimmed due to the recent distilleries cooked here for illegal liquor. 

Only a half-foot long ox figure in red ochre color at one place and a foot-long ox in white color at another place are clearly visible on the 30 feet-long wall space of the cave.

But there appears every possibility to retrieve several paintings by way of scientific / expert chemical cleaning of the cave wall, he said.

With regard to the corroborative evidences of the paintings fortunately one can find hundreds of microliths in front of the caves. 

Renowned historian Dr Dyavanapalli Satyanarayana found these sites near in the Buggagattu forests located at a distance of some 10 km from the district headquarters.

According to Dr Dyavanapalli Satyanarayana, the first cave is locally called Chittarayya Gundu is oriented towards northward and located at a distance of one kilo meter from the Buggagattu Anjaneyasvami temple in its north western corner.

While explaining about the second cave, Dr Dyavanapalli Satyanarayana said that Paatha Chittarayya Gundu, which is located in the deep forests at a distance of two kilometers from the first cave has projection towards northward is more than the first cave and hence it seems to have provided more safe accommodation to the humans.

Since the cave painting sites are located in a distance of ten km drive from the District Headquarters Mancherial the Government may develop the sites as historical and adventurous tourist sites so as to protect the rare and rich heritage of Telangana, Dr Dyavanapalli Satyanarayana appeals.

https://www.deccanchronicle.com/nation/current-affairs/221017/13000-year-old-cave-paintings-found-in-thaatimattayyah-hills.html

http://www.thehansindia.com/posts/index/Khammam-Tab/2017-01-11/Mesolithic-paintings-found-near-Mancherial/273074

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Ringing Rocks of Telangana

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

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

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

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

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

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

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

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

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Surendrapuri

Surendrapuri is a museum located in Yadadri Bhvanigiri district. This is a unique one-stop destination where you can see epitome of cultural, artistic and sculptural excellence.

Kunda Satyanarayana Kaladhamam, one-of-its-kind mythological theme park. The other major attractions of this place are Nagakoti (101-feet Shiva Linga) and a temple of Panchamukhi Hanuman with Panchmukha Shiva and Lord Venketaswara. 

A 60-feet double-sided Panchamukhi Hanuman and Shiva statue at the entrance catches the attention of visitors. A unique Navgraha Temple places different navagrahas in the relative positions. Astounding Vedic knowledge has been put into building this temple.

KUNDA SATYANARAYANA KALADHAMAM

Kunda Satyanarayana Kaladhamam is a spiritual and mythological awareness center where one can

relive the ancient Indian epics. Most of the historic temples of India are recreated here. Visit Sapta Lokas for the immense feel of serenity amidst the nature’s beauty. This brings vibrant feelings as you emerge from a magnificent jewel of art and religion. Kaladhamam depicts most of the mythological events from Ramayana, Mahabharata, Bhagavatam, Buddha and many more.

The sprawling 3 km of walkways with more than 3000 statues, provides a delighted tour to the replica of Epic Period gone by! This place is a must visit for a holistic experience. Here visitors can refresh their knowledge about the ancient epics.

The wonderful and beautiful sculptures in the museum make visitors recollect the epics and would get transported into divine world of the great Hindu mythology. For the first time in India such a marvel has been created with the concept of making people see the celestial world of Indian mythology and values of our culture and tradition.

HANUMAN SHIVA STATUE
The moment one enters the abode of the Surendrapuri, one gets the darshan of the 60’ feet Panchamukha Hanuman on the front elevation and the Panchamukha Shiva at its back as a great architectural splendor. The mammoth statue of Hanuman is with the 5 heads of Vanara, Narasimha, Garuda, Sookara and Hayagreeva. The 10 hands possessing weapons and killing mahiravana with his weapon mace, testify him as the manasa putra of Lord Siva.

At the hind-side of Panchamukha Hanuman is the Panchamukha Shiva with 5 faces of sadyojata, Vamadeva, Aghora, Tatpurusha and Eshana, bearing weapons in 10 hands killing Tripurasura with his Trident. This mahasilpa is the highlight of Surendrapuri.

TEMPLES OF INDIA
One can have the darshan of all the deities of well known piligrimage centres of India. Here we get to see life size replicas of all the famous temples of India in one place. In one glance we get to see temples from kashmir to kanyakumari.

SAPTALOKAS
The great celestial worlds of Bramhalok, Vishnulok, shivalok, Nagalok, Indralok, Yamalok, Narakalok, Patalalok can be visited here. The experience of walking through the seven doors of vishnulok with the dashavataras on both sides is in explicable. Similarly all the other lokas are designed in such a way that you get transported into a celestial world. They are now not limited to the Puranas or sacred books and can be seen here and now. It is truly a rare opportunity and a boon that give us pleasure of ephemeral world and divine gods.

PURANAS
The fascinating events of the Ramayana,Mahabharatha and Bhagavat and other Puranas are carved out as eye catching sculptures in an unparalleled and unprecedented way employing ultra modern artistic techniques and they all give us a wonderful experience.

The churning of ksheera Sagaram(milky ocean) using the Mandara Mount as the staff by the gods and demons,is moulded in a heart moving way.In the same way,the sculptures of the coming of Lord Vishnu along with His weapons  and goddess Lakshmi to save Gajendra from the clutches of Crocodile stand as a wonderful symbol of devotion. 

The 36 feet high sculptures depicting Lord Krishna enlightening Arjuna with message of the Bhagavad-Gita, showing the armies ready for the Kurukshetra war touch the hearts of the viewers.

The stories of Balakrishna on the hoods of snake king kaliya,Krishna lifting Govardhana mountain, Bala bharata, Hanuman charitra, Buddha charitra in eye catching statues.

Hanuman giving Prasad to the devotees with his own hands and hot coffee made from the milk straight coming from the Kamadhenu are some more highlights of this magical place.

The padmavyuham set up makes you feel as if you have entered the war of mahabharatha and every story gives you a value which stays with you for a lifetime. How abhimanyu falls prey to the trick of kauravas because he went into the padmavyuh with half knowledge makes us realize that you should not do any work without knowing all the facts.

Many more wonders showing delightful events from the ancient classics await the devotee visitors at Surendrapuri-The Artistic Mythological awareness centre.This stands as creation against creation and one has to experience the divine thrill that is beyond description to enjoy the wonderful holy complex.

Surendrapuri Entry Timings: 

6.30 am – 1 pm and 3 pm – 8 pm (Weekdays)

6.30 am – 8 pm (Weekends and public holidays)

Ticket: Free

KALADHAMAM Entry
9AM-7PM (Monday to Sunday) Open all days

Ticket : Adult Rs. 350, Child Rs. 300 (below 5 yrs no charge)



http://www.surendrapuri.in/index.html

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Warangal Durries

Handloom to date remains one of the most rich traditional practice of the country. Geometric patterned durries remain the most famous durries from Warangal and are in demand both in national and international markets.

Lack of self-branding and promotions are the reasons that Durries made in Warangal are unable to market their uniqueness.

Warangal's famous durries are now available to the world: Weavers sell their products on Amazon

Recently, e-commerce giant Amazon signed a Memorandum of Understanding with the Telangana Department of Handlooms and Textiles to help handloom clusters in Warangal, Pochampally etc. 

Durries of Warangal to date remain one of the few crafts left in the country that is still done by hand. It is still amazing to find weaver’s making an entire durry with traditional looms even when the rise in technology has led to the introduction of Power looms. 

In recent years, screen printing techniques and kalamkari prints were adapted to Warangal durries, extending the range of products. The designs that are characteristic of Warangal durries are geometric, angular motifs and coloured horizontal stripes.

Warangal durries have been famous for many reasons. The famous durries or rugs are made using vegetable colours, and are washed in flowing water after the printing process and became a renowned hub for weaving these rugs due to the availability of cotton, which is grown by farmers in the area. The craft has never faced the shortage of materials at any point of time. 

The colours used are distinct with reds and blues used in combination with neutral colours. The designs range also has flat weaves with raised or extra weft patterns. Pit looms and frame looms equipped with pedals are prevalent. A wide variety of durries are woven in cotton and also some jute and wool based durries for export and the home market.

The weaver’s continue to make the durry at minimal wages as it is the only practice they were taught by their elders. But the art of making durries is at a risk of continuation and needs protection. The weaver’s do not feel the competition as they are not exposed to the market demands, for them government purchases are enough to keep them going. 

Granted the Geographical Indication (GI) tag in March 2018. Once a GI tag is allotted to a product, the name becomes unique to that geographical area and cannot be used for products that are manufactured outside of it. Violation of GI tags is a punishable offence under the law.

Warangal has long been an important durry-weaving centre with a strong local flavour. The tradition of making Durries in Warangal dates back to the Mughal era, when the Mughal army came down to south in Deccan region of India, an army comprising of artists and craftsmen started making carpets and sooner the local people had accepted it as their part of regular income, passed down from one generation to the next for more than hundred years. It is highly labour intensive rural based cottage industry. 

The weavers in Warangal are either organized in cooperatives or work independently. A weaver's day usually begins at 6 in the morning-getting ready for the day ahead. Weaving is a year round job, the only holidays are on Eid and Amavasya when it is believed that work should not be carried out.

Females are active members in the process of making a durry. Both men and women have to work to ensure a basic standard of living. While the pit loom is only operated by men all other activities are carried out by females. Right from spinning the yarn to even operating the frame loom, the women carry out these functions very efficiently. One can also find women sitting outside household winding and spinning yarn that is then taken for weaving. Weaving a durry is hence a multi- fold process that starts right from the house of a weaver.

Weaver's rely heavily on natural light and one cannot find many tube lights or even fans at the workplace. The ceilings have been designed in a way to allow maximum sunlight to come inside, but during winter season or rainy days when the sun is not too kind, the weavers have to wrap up work early. Ventilation and Cleanliness are major concerns at the workplace. Since the raw material is cotton yarn one can find cotton fibres everywhere. These fibres are not removed on a regular basis as the administration feels that since it gets dirty so quickly, why bother to clean it. 

Warangal Durries are made on 3 different types of looms.

Pit Loom: A pit loom is used for weaving the carpet, which will be at ground level and is basically pedal and hand operated. The Shuttle is manually moved by hand. It is called Pit Loom because a pit needs to be dug in the ground for inserting pedals.
Frame Loom: Similar to pit loom, it has a pedal but doesnot need a pit to be dug. The only major difference is that in a frame loom the shuttle is not operated by the weaver but moves through a mechanism of pulling.
Power Loom: All operations on a power loom are automatic and only require manual insertion of the yarn.

Durry weaving is an established industry in Warangal with a large population of skilled weavers and facilities for dyeing. though the number of weavers have increased over the years, sales haven’t gone up proportionally.

These fine craftsmen are well known all over, as their durries have managed to become popular across India as well as abroad.

According to the Handloom Export Promotion Council, 80% of the handwoven durries sold in European and American markets are woven in India.

Pitta Ramulu is the first weaver to get recognised with a national award, according to The Hans India. He had won the ‘‘National Handloom Award’ for 2015. Ramulu’s durries can be found on Amazon.

It is the first time that a weaver from 100-year-old handloom industry of Warangal district got recognised with a national award. “After a long wait the skills of Warangal weavers are recognised at national level. This would help local handloom industry to flourish now,” he shared with The Hans India.

After finishing his sixth standard, Ramulu started to learn weaving at the age of 11 from his father P Rajeeru. They hail from Ankushapur in Chityal mandal and settled at Kothawada in Warangal in the 60s. He became a master weaver with the experience he gained from his father. He got APITCO training in 2001 in advanced weaving techniques.

For the award-winning durrie, Ramulu took the help of his tech-savvy sons Shanker and Sainath to get the hunting scene of Mughal era depicted in a painting which is displayed in a London museum. “It is an antique and complicated design. The efforts on the design got me the accolades,” Ramulu said.

Explaining about the work put into the durrie, Ramulu said that special type of yarn was picked up to match the pit loom’s dimensions. Special efforts were made to choose the dyes that match the painting and last long.

“I would continue to innovate with new designs. The award would help to get free entry at national and international level handloom exhibitions and ensure a good market for Warangal durries. I have displayed my products in Mumbai, Chennai, Suraj Kund and other places,” Ramulu said.

Warangal durries by Sanjoli Arora 

https://issuu.com/sanjoli_10/docs/warangal_durries

http://www.thehansindia.com/posts/index/Commoner/2016-07-11/The-durrie-that-brought-acclaim-to-Warangal-weavers/241199

https://www.thenewsminute.com/article/warangal-durries-available-world-weavers-sell-their-products-amazon-69724


https://chaibisket.com/andhra-pradesh-telangana-arts-and-crafts/

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Jurassic Period

Dinosaurs are known to have lived between 230 and 65 million years ago, a periodthat is known as the Mesozoic Era. The period is many million years before the first modern humans, Homo sapiens, appeared.  Scientists divide the Mesozoic Era into three periods: the Triassic, Jurassic and Cretaceous.

The 16-foot-high ‘Kotasaurus Yamanpalliensis', was found during an excavation by the Geological Survey of India (GSI) in Yamanapalli region of Adilabad district.

A GSI team unearthed the skeletons of gigantic reptiles, which lived on earth approximately 165 million years ago in the Lower Jurassic period.The GSI and Birla Science Centre worked together and mounted at Birla Museum in 2000.

 The GSI, which excavated the region for more than two-and-a-half decades, had collected nearly 840 skeletal remains belonging to various Sauropod dinosaurs. 

All the 840 skeletal parts belonged to 12 individual dinosaurs from a single species, ‘Sauropod dinosaurs’, which ruled the earth for more than 130 million years after originating some 200 million years ago.

The gigantic skeleton put up at the Birla Science Centre is made up of 80 per cent original dinosaur bone material and 20 per cent artificial material.

“During the excavation process, the team found only 80 per cent original bones. The skull was gifted by the Carnegie Museum of Natural History, Pittsburg in US,” he said, adding that
it took nearly seven years for treating the fossils.

The dinosaurium in the Science Centre also displays a fossil tree trunk from Adilabad belonging to the Lower Jurassic Age, a fossilised sea snail, excavated from Trichy in Tamil Nadu, the thigh bone and leg bones of a Sauropod dinosaur, fish fossils from Adilabad and dinosaur eggs excavated in Ahmedabad 70 million years ago.

While a fossil eco-park is being developed with fossils of trees, fish, leaves and animals from the Permian, Triassic and Jurassic ages in Sironcha, Maharashtra, Telangana state forest department has neglected the Kataram-Mahadevpur-Yamanapalli site in Adilabad district despite a number of fossils found in the Pranahita-Godavari valley of the same area.

Despite the Pranahita Godavari Valley having a huge potential, no further excavation work has been taken up in the past three to four years in Adilabad.

A composite skeleton of a dinosaur – Kotasaurus yamanpalliensis Yadagiri (named after Yamanapalli village and scientist Yadagiri) – was installed at the Birla Science Centre, Hyderabad. An articulated skeleton of a Rhynchosaur with the skull and other bone elements that was discovered in the Triassic rocks of the P-G Valley was also put up at the museum.

According to scientists, apart from dinosaurs, fossils of other reptiles, fish and micromammals were available at the site. “Plant fossils and charaphytes are also known to be found from the Kota Formation. Fieldwork was carried out in Jakkepalli, Lingala and Metpalli areas of Adilabad,” said a scientist.

The fossil of a dinosaur – Barapasaurus tagorii – has been discovered by scientists of ISI, Kolkata, from the site near Sironcha on the eastern side of the Pranahita.

Mr Mathen ‘Rajeev’ Mathew, member of the National Biodiversity Authority and the Telangana State Biodiversity Board, said after a visit to the Wadadham Palem area in Sironcha: “The timeline of the area is 200 million years, preserved in the Gondwana, which was one of the two super continents predating Pangaea. Fossils of trees have been found here along with those of dinosaur eggs.”

He said the fossils were exposed due to floods in the recent past. The tree fossils were of coniferous species going by the outer layer of the bark. “The tree fossils are darkening/blackening, possibly due to some fungal or biotic attack or exposure to the elements. The dinosaurs eggs were found in the area and partially buried in loose sand and mud, suggesting that they were washed up,” he said.

He added, “The flooding that exposed the fossils is the likely reason why the dinosaur eggs had washed away from their paleo nests. Further investigations with expert digging would provide a wealth of information regarding the paleobotany and paleozoology. A portion of the area should be turned into a paleo park where the finds can be displayed to the people.”
https://telanganatoday.com/this-dinosaur-still-stands-tall
https://www.deccanchronicle.com/nation/current-affairs/281016/negligent-telangana-has-no-plans-for-a-fossil-park.html

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Banjara Needle Crafts

Banjara needle craft is a needle craft embroidery in the state of Telangana. The craft has evolved through centuries across generations. It is an embroidery and mirror work on tapestry. The work pieces are bright-coloured. Banjara needle craft is unique to the region of Telangana. It involves use of simple needles, embroidery thread, original fabrics (cotton or woolen), and needs high proficiency in the craft. Combined together, they create splendid pieces of art.

Needle work is the mainstay of this craft and the combination of certain patterns such as geometric shapes - squares, tracings and diamonds are widely used.

The colourful threads used on the basic cloth along with tiny mirrors, beads and cowrie shells impart a vibrant look to the piece of cloth. The mirrors, beads and shells diverse style of stitching - herringbone, simple chain stitching, long and short stitch.

Generally diverse colours such as pink, white, yellow and blue coloured clothes are used. In many instances, blue or brown cloth is used to ensure proper amount of contrast to enhance the beauty of the embroidery.

Banjara needle craft presents a range of embroidery such as bags, kurtas, cushions, gift articles, women garment fabric, bed sheets, and other home furnishing cloths.

Banjara needle work is not exotic by itself, but is the cut, craft and the ideas picked from nature that make it so different. Before itsy-bitsy blouses showing décolletage or open back blouses became fashion statements in urban areas, Banjara women were stitching and wearing them. It was this nifty needle work that incorporated mirrors and shells that drew the attention of the Crafts Council officials to Sepavat Angoori, then a 17-year-old married girl with a daughter, in Yellamma tanda (hamlet), Ibrahimpatnam taluk.

Sepavat Angoori honoured by Crafts Council of Telangana for her role in spreading the needle craft 

The Banjaras in Telangana are gypsies in ancient times who led a nomadic life. They travel from place to place and do a vocation related to their travel. Banjara needle crafts are handmade fabrics made by Banjaras.

Embroidery in general began with woman folk of travelling tribes who did not have the opportunity to go out home in pursuit of any vocation. They began embroidery as a matter of vocation. Embroidery is associated with every facets of life. Embroidery is symbolic of expressing one's passion for creativity.

http://www.thehindu.com/news/cities/Hyderabad/Owning-the-Banjara-needle-craft/article17000665.ece

http://telanganatourism.gov.in/blog/banjara-needle-crafts.html

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

http://www.deccanherald.com/content/335938/magical-stitches-banjara-needles.html

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Ammapalli Sita Rama Temple

Ammapalli Sita Ramachandraswamy Devasthanam is located in Ammapalli Village near Shamshabad, Rangaredddy District, Telangana, India.

The temple is unique in more ways, it is a Ram temple but there is no Hanuman inside the sanctum

sanctorum, instead there is a Hanuman at the base of the dhwaja stambh (flag post) looking towards the temple. It is believed that Hanuman is looking towards Lord Rama to wait for instructions from him to fulfil the desires of the devotees. There is another Hanuman idol that looks directly outside at the bottom of the second flag post. This was a unique thing for me was the presence of two dhawaja Stambhs in the temple courtyard one seems to be old and other recently added (recent here could mean 100+ years). The 3 idols of Rama, Sita and Lakshaman are made from a single stone and not made from separate rocks.

The Rama temple was built by Vengi kings in 13th century but the idol was 1000 years old. The temple is adorned with a large seven-story tower which is quite famous among Telugu movie fans. There is a large image of Lord Vishnu is sleeping posture above the gateway of the tower.

“There are no inscriptions of this temple but legend has it that it was built during the time of Kalyani Chalukyas,” says Anvesh Sharma, the temple priest. 

There is a large temple pond which is very ancient. The pond is surrounded by porticos and once it provided shelter to the pilgrims. The surroundings of the pond are filled with coconut trees. There is a mandapa opposite to the temple.

Tollywood film industry loves Ammapalli Temple and they believe that movies recorded here would become hits with the blessings of Sri Sita Rama Swamy.

Sri Rama Navami is celebrated with great passion at this temple every year (Apr).

The gali gopuram is a magnificient work of art that rises some 80 feet into the air. Though it is similar to other gali gopurams in South India like Hampi and Tirupati, the one at Ammapalli is leaner and is a combination of limestone plaster, baked bricks and stucco giving it a more dramatic appearance. Surprisingly, the multi-storied gopuram also incorporates elements of Rajasthani architecture such as the flared chajjas that curve upwards. “The gali gopuram and the walking path around the temple are later day additions. They were built in the 17th century while the inner sanctum sanctorum is the earliest structure,” says the priest.

It is the sanctum sanctorum with the three idols of Sita, Rama and Lakshmana that the story of the temple unravels. “This is carved out of a single stone. Even the deities of Rama, Sita and Lakshmana have makarathorana (the arch above the idol) carved out of the single piece of rock. The unique aspect of this Rama’s idol is that the makarathorana has small idols which are representative of Dasavataram,” informs the priest. The gopuram over the idols is a smaller structure but with greater detailing of the temple iconography which is intact despite its age.

While most villages have Rama temples with Hanuman kneeling in front in an act of prayer, the Ammapalli temple has an idol of Kodandarama where Rama holds the arrow in his right hand and a bow in the left. “There are very few Kodandarama temples as they are built only in places where Sri Rama travelled or stayed during his 14 years of exile. That is also the reason the temple doesn’t have Hanuman sitting near the three as he didn’t join them till the end of exile,” says Sharma.

Spread over nine acres, the temple and its ancillary structures hark back to a time when land was not at a premium. It has a step well that sprawls over an acre of land and has a walkway around it. Unfortunately, the well is dry as a rock. “Earlier the well used to be full of water through the year. But now due to a lot of construction activity, the natural pathways of water have been disturbed and the well dries up on a regular basis,” says Anuradha Reddy of Intach who has a family ties to the trustees of the temple belonging to Rajapet Samasthan.

How to reach Shri Rama Chandra Swamy Temple Ammapalli Village: If you are coming from ORR take exit 17 and travel on service road till you meet the underpass that takes you on Rallaguda Road towards Narkhoda, Ammapalli village will be on the way and you will see a big Arch on the main road informing about the temple.

If you are coming from Banjara Hill/Mehdipattnam side come from the PV Narsimha Rao Expresswayand then follow this map to join the same route after you reach the Shamshabad village. Here is a Google map to reach the Ammapalley temple from Shilparamam you can expand it and change your starting point.

http://www.thehindu.com/society/history-and-culture/serish-heritage-ammapalli-sita-ramachandraswamy-devasthanam/article18304930.ece

http://desitraveler.com/sri-rama-chandra-swamy-temple-ammapalli-village/

https://www.trawell.in/telangana/hyderabad/sri-rama-chandra-temple-ammapalli

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Alvanpalli Jain Temple

Alvanpalli Jain Temple is located in Alvanpalli, (Gollathagudi) village, Jadcherla Mandal, Mahabub Nagar District, Telangana, India.

It is a rare brick temple belonging to 7th – 8th Century A.D. It is the only brick temple of Jainism

faith which retained architectural features and stucco decorations. The stucco figurines discovered in the excavations exhibit the continuation of the lime plastic Art of Amaravathi School. The temple has been a subject of study, due to its unique architectural elements, which is not that prominent in other Jain sites.

The excavations nearby the settlement at Gollathagudiby the Archaeology team has brought to light many Jainism vestiges besides the remnants of a Hindu Temple, belonging to early medieval times. Jainism sculptures like Mahaveera, Parsvanatha and other objects found here, have been shifted to the District Museum, Pillalamarri, Mahabubnagar as well as the State Museum in Public Gardens, Hyderabad for preservation.

The oldest Jain temple built with bricks and in terracotta style lies in shambles.

According to the officials of Department of Archaeology and Museums, there are only two such structures now in the country. One is the oldest Hindu Temple built during Gupta period is located at Bhitargaon under Kanpur district in Uttar Pradesh. The second one is located in Telangana which was built between 7th and 8th century.

There are similarities between the two; while the one located in UP is the only remaining oldest Hindu temple and the other one is at Alvanpalli in Mahbubnagar district is the only remaining Jain temple built with bricks and in terracotta style, the sources added.

The temple, which was damaged around 18th century, has been remained exposed to vagaries of the nature. “This had resulted in the only remaining Jain brick temple suffering major damage as no efforts were being made to conserve it, besides it was left with no maintenance to protect it from further deterioration,” the sources pointed out.

Alvanpalli (Gollathagudi) village is located about 10 km from Jadcherlatown and nearly 30 km from the district headquarters of Mahabubnagar. It is well accessible by road.

http://tsdamblog.com/ancient-jain-temple-alvanpalli/

http://www.thehansindia.com/posts/index/Telangana/2017-04-30/Unique-Jain-temple-in-Telangana-lies-in-ruins/296815

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Jagdevpur Varadaraju Swamy Temple

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

Telangana, India.

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

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

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

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

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

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

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

Source

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

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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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