essay on art of telangana

Essay on Telangana

Students are often asked to write an essay on Telangana in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

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100 Words Essay on Telangana

Introduction.

Telangana is a state in southern India. It’s known for its rich history, diverse culture, and significant contribution to India’s economy.

Formed in 2014, Telangana was carved out from Andhra Pradesh. It was a result of long-standing demands for a separate state by the people of this region.

Telangana is known for its vibrant culture. Its folk arts, such as Burrakatha and Bonalu, are famous. It also has a unique cuisine, with dishes like Hyderabadi Biryani.

Telangana is economically significant. It’s a major IT hub, with Hyderabad, its capital, being known as ‘Cyberabad’. Agriculture also contributes to its economy.

250 Words Essay on Telangana

Telangana, the youngest state in India, is a region rich in history, culture, and economic potential. Formed on June 2, 2014, it was carved out of the erstwhile state of Andhra Pradesh, marking a significant chapter in the political landscape of India.

Historical Significance

Telangana’s history traces back to ancient times, with archaeological evidence indicating human habitation since the Stone Age. The region was ruled by several major Indian dynasties, including the Mauryas, Satavahanas, and Kakatiyas, each leaving an indelible imprint on its cultural fabric.

Culture and Traditions

Telangana’s culture is a vibrant amalgamation of literature, arts, cuisine, and festivities. The region is renowned for its unique dance forms like Perini Sivatandavam, and festivals such as Bonalu and Bathukamma. Telugu and Urdu are the official languages, reflecting its diverse linguistic heritage.

Economic Landscape

The state’s economy is a blend of agriculture, industry, and services. With the presence of Hyderabad, the IT and pharmaceutical hub, Telangana has become a key player in India’s economic growth. The state’s agricultural sector, known for its rice production, also contributes significantly to its GDP.

Telangana, with its rich history, diverse culture, and robust economic potential, holds a pivotal position in India. As the state continues to grow and evolve, it serves as an intriguing case study of regional identity and development within the larger Indian framework.

500 Words Essay on Telangana

Telangana, the youngest state in India, is a region rich in history, culture, and economic potential. Carved out from the erstwhile Andhra Pradesh on June 2, 2014, Telangana is the 29th state of India. The state is known for its unique dialect, vibrant festivals, and distinct cuisine, which make it stand out in the diverse tapestry of Indian states.

Historical Background

The history of Telangana can be traced back to the era of the Mauryan empire, with successive periods of rule by the Satavahanas, Chalukyas, Kakatiyas, Delhi Sultanate, Bahmani Sultanate, Qutb Shahi dynasty, Mughals, and the Nizams. The influence of these dynasties is evident in the state’s architecture, literature, and art. The historic city of Hyderabad, the state’s capital, bears testimony to this rich heritage.

The culture of Telangana is a blend of Persian and South Indian influences, with a distinct flavor of its own. Telugu and Urdu are the official languages. The state is known for its literature, music, dance, and art forms like shadow puppetry and Cherial scroll painting. The Bathukamma festival, a floral festival celebrated by the women of Telangana, and Bonalu, an offering to the Goddess Mahakali, are unique to the region.

Telangana’s economy is one of the fastest-growing in India. The state is a major IT hub, housing many multinational corporations in Hyderabad’s HITEC City. The state also contributes significantly to India’s pharmaceutical production. Agriculture, with paddy, cotton, and maize as major crops, forms the backbone of the rural economy. Recently, the state government has been focusing on sectors like aviation, biotechnology, and tourism to further boost the economy.

Education and Development

Education in Telangana has seen significant improvement since the state’s formation. The government has introduced various schemes to promote education, especially among girls and marginalized communities. Institutions like Osmania University, Indian School of Business, and International Institute of Information Technology, Hyderabad, have put the state on the global academic map.

Challenges and Future Prospects

Despite progress, Telangana faces challenges like regional disparities in development, water scarcity, and agrarian distress. However, the state government’s initiatives in digital governance, skill development, and infrastructure expansion signal a promising future.

Telangana, in its short existence, has made remarkable strides in various fields. The state’s rich cultural heritage, coupled with its modern economic growth, makes it a fascinating study of the old meeting the new. As Telangana continues to grow and evolve, it holds immense potential to contribute significantly to India’s development story.

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Art And Craft Of Telangana

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Art and craft are an integral part of Telangana’s culture . For centuries, artists in the region have created a variety of works that reflect their rich history and vibrant identity.

Their work encompasses many mediums including painting, sculpture, weaving, jewelry-making, and more. They also incorporate elements from other cultures to create unique pieces that showcase their own culture as well as others.

This article will explore the art and craft of Telangana in depth providing insights into its evolution over time along with examples of some of the most prominent creations from this area.

Telangana is a region abundant in culture, history and art. Its intricate craftsmanship and exquisite artwork form an essential part of this unique identity. Painting has been one of the most important forms of visual expression for generations, with distinct styles developed by local artists throughout time. Colourful murals adorn many homes and buildings, depicting scenes from everyday life or special occasions. The colours used range from vibrant blues to earthy browns, creating beautiful works of art that are both captivating and meaningful.

Sculpture too plays an integral role in Telangana’s artistic heritage; however, it takes on different shapes and sizes compared to painting. Carved wooden figures frequently grace doorways while detailed stone sculptures often stand as monuments in public places. Many depict deities or mythical creatures although some also portray real-life people or animals. Regardless of their subject matter, these wonderful pieces bring stories alive through their delicate details, allowing us to marvel at the skill needed to create them.

Moving forward into the world of sculpture…

Sculpture is an important part of the art and craft tradition found in Telangana. Sculptures range from traditional to modern, with a variety of materials used including stone, bronze, terracotta and wood.

Many sculptures depict religious figures or scenes such as gods, goddesses, saints and stories from Hindu mythology. Other figurative works often feature animals, birds and humans. In some cases, abstract sculpture has been created using geometric shapes. Additionally, contemporary sculptors create innovative pieces that are inspired by nature and everyday life experiences.

The use of various tools such as chisels and hammers results in intricate details that convey emotion to viewers.

The long history of sculpture in Telangana means there are many examples for visitors to admire today. All types of sculpture can be seen throughout the region – from small statues placed at shrines to large monuments at temples honoring deities or local heroes.

Tourists interested in experiencing this rich cultural heritage should visit museums where collections of ancient sculptures have been curated for permanent display or research purposes. As they explore these venues, visitors will gain new insights into both traditional practices and modern interpretations as well as appreciate the skill involved in creating masterpieces through this medium.

With its diversity of styles and techniques, understanding sculpture gives one insight into how it contributes to preserving the culture of Telangana over time while continuing to evolve alongside changing trends and tastes around the world.

Moving on to the next topic: weaving is another critical component within this state’s artistic legacy…

Telangana is renowned for its traditional weaving techniques, which have been passed down through generations. These techniques have been used to create a variety of textiles, including both cotton and silk. The weaving practices and methods employed by artisans of the region are intricate and complex, often involving many steps to complete a single piece.

Traditional Weaving Techniques

Traditional weaving techniques of Telangana are a vital part of its cultural heritage.
An intricate and complex form of hand-weaving was practiced in the region by skilled artisans, who used local materials like cotton, silk and wool to create durable fabrics with unique patterns.
They employed different techniques such as tapestry weaving and interlacing to craft narrow strips into elaborate designs which were then put together to make larger pieces.
These traditional methods were passed down through generations, resulting in a vast variety of intricate designs that remain popular today.
The expert mastery shown by weavers is evident in their creations, making these artisanal products highly sought after for special occasions or as souvenirs from Telangana.

As an integral part of its cultural landscape, it is important to protect this ancient tradition for future generations to enjoy.

Types Of Textiles

The textiles produced by Telangana weavers are varied and distinctive. The styles range from light cotton fabrics to heavy wool carpets, each type embodying traditional motifs that reflect the region’s culture.

Ikat is a technique commonly used in the area which involves tying and dyeing yarn before weaving it into a patterned cloth. This creates unique designs such as stripes, checks or even geometric shapes.

Other popular materials include Kalamkari and Pochampally sarees; both of which feature delicate hand-painted patterns on fine silk fabric.

While there may be variations between different pieces, these timeless textile creations continue to embody the essence of Telangana culture for generations to come.

Weaving Practices & Methods

Weaving is an ancient practice and has been a significant part of the Telangana culture for centuries.

This art form requires skillful hands to create intricate designs, textures and patterns from various materials such as wool and silk.

The methods that are used vary depending on the style of weaving and type of material; some common techniques include hand-weaving, loom-weaving, ikat dyeing and jacquard patterning.

Each method involves different stages in which threads or yarns are manipulated into beautiful fabrics.

As this craftsmanship continues to be passed down through generations, it will continue to represent the unique heritage of Telangana for years to come.

Jewelry Making

Telangana art and craft is unique in its own right, with a variety of jewelry making techniques that are often used to create intricate designs.

From the use of traditional tools like hammers and chisels to modern methods such as laser cutting, Telangana craftsmen have mastered the skill of creating beautiful pieces of jewelry.

Even though the age-old practices remain popular among some groups, new technological advancements help make these works even more sophisticated.

The materials used for Telangana jewelry include precious metals like gold, silver, copper and brass; along with semi-precious stones such as diamonds, rubies and emeralds.

Artisans also incorporate elements from nature into their work by using feathers and beads sourced from nearby forests or rivers.

The combination of technology and natural resources gives Telanganese jewelry an exquisite beauty that reflects cultural influences from across India.

Moving forward, it will be interesting to see how this distinct style continues to evolve over time.

Cultural Influences

Jewelry making has long been a part of the traditional art and craft culture of Telangana. Adorned with intricate designs, these pieces represent the skills of local craftsmen who have honed their abilities over generations to create works that are as beautiful as they are meaningful.

As such, jewelry plays an important role in conveying cultural identity for many people in the region. Cultural influences can be seen throughout the various styles of jewelry found across Telangana. Bright colors inspired by nature or religious symbols often adorn necklaces, earrings and other accessories, while intricate patterns hint at local stories and beliefs.

Similarly, motifs such as fish scales or geometric shapes help to identify particular communities within the state. Through its unique design elements, jewelry helps to portray the diverse cultures that make up this amazing region.

Frequently Asked Questions

Q1. What Materials Are Used Most Commonly In Telangana Art And Craft?

A. The materials used most commonly in Telangana art and craft are typically natural items such as wood, clay, stone, grasses, metals, and other raw resources. These materials have been utilized for centuries to create a variety of objects with intricate detailing and unique designs.

Commonly seen artifacts include jewelry, wall hangings, sculptures, figurines and masks made from indigenous material sources. In addition to traditional techniques such as carving or sculpting, modern tools like lasers can be used to add complex surface textures that bring out the beauty of the piece even further.

Q2. What Are The Most Popular Art And Craft Forms In Telangana?

A. The most popular art and craft forms in Telangana are Pochampally Ikat weaving, Bidriware metalwork, Kalamkari fabric printing, Nirmal painting, and Kondapalli toys.

Pochampally Ikat is a resist-dyeing technique that uses a mixture of vegetable dyes to create intricate patterns on cotton or silk fabrics.

Bidriware is an alloy of zinc a Kalamnd copper made into decorative items such as boxes, plates, vases and jewelry using complex engraving techniques.

kari fabric printing involves stamping handcrafted wooden blocks onto cloth with natural dyes.

Nirmal paintings depict religious motifs like deities and their consorts rendered in vivid colors on canvas or paperboards.

Kondapalli toys use wood from the palmyra tree which is then carved by artisans into traditional figurines depicting scenes from rural life.

Q3. How Has The Political And Cultural Landscape Of Telangana Affected The Art And Craft Of The Region?

A. The story of the art and craft of Telangana is like a jigsaw puzzle, with each piece changing in shape and size depending on the political and cultural landscape.

The region’s history has seen many rulers come and go, leaving behind their own unique influence that moulds together to create an incredibly rich tapestry of art forms.

From leather puppetry to Warangal painting, from Bidriware to wood carving – every style reflects different aspects of Telangana culture that have been shaped by its turbulent past.

Today, these traditional crafts are still practised throughout the state, allowing for generations to appreciate this incredible legacy and strive towards preserving it for years to come.

Q4. What Techniques Are Used To Create Traditional Telangana Art And Craft?

A. The techniques used to create traditional telangana art and craft are varied, but all utilize a mixture of materials in intricate ways.

Traditional media employed for the creation of such works include painting on fabric or paper with natural pigments, dyeing cloths, woodworking and carving, stone sculpture, metalwork and jewelry making.

Additionally, many Telangana artists have adopted modern practices such as printmaking, photography and even digital art that still pay homage to their cultural heritage.

Q5. How Can Visitors To Telangana Learn More About Its Art And Craft?

A. Visitors to Telangana can learn more about its art and craft by engaging in various activities such as attending workshops, visiting museums or galleries that specialize in the region’s traditional arts and crafts, participating in classes related to their interests, and exploring local markets for handcrafted goods.

There are also online resources available including websites dedicated to telangana’s artists and craftspeople which provide information on techniques used to create traditional pieces.

By gaining a deeper understanding of this tradition through these different avenues, visitors will be able to appreciate the beauty of telangana’s rich artistic history.

Telangana art and craft is a unique reflection of the culture, history, and local environment of this region. Its artistic practices are deeply intertwined with its political and cultural landscape, which has provided inspiration for many creative works over time.

The materials used in Telangana art and craft also vary greatly depending on availability and tradition; from natural ingredients to man-made items, each material provides an opportunity to express a different aspect of the Telangana aesthetic. Traditional techniques like hand carving or painting have been passed down through generations, but more modern methods such as digital manipulation can be found alongside them.

For those who wish to experience the beauty of Telangana art and craft first-hand, there are numerous galleries, workshops, and events dedicated to showcasing these talented artists. From traditional festivals celebrating folk arts to contemporary exhibits featuring innovative works by emerging talents – visitors will find no shortage of amazing experiences here!

Furthermore, learning resources such as online tutorials or classes provide opportunities for people to expand their knowledge about this vibrant form of expression.

Overall, it is clear that Telangana art and craft offers something special for everyone to enjoy – regardless whether they are locals or visitors alike. By exploring what this region has to offer in terms of creativity and ingenuity we can gain insight into both its past and present while appreciating the incredible talent that exists within its borders.

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Society, Culture, Heritage, Arts and Literature of Telangana

Introduction to Telangana History

Telangana, as a geographical and political entity was born on June 2 , 2014 as the 29th and the youngest state in Union of India . However, as an economic, social, cultural and historical entity it has a glorious history of at least two thousand five hundred years or more. Megalithic stone structures like cairns, cists, dolmens and menhirs found in several districts of Telangana show that there were human habitations in this part of the country thousands of years ago. Remnants of iron ore smelting found at many places demonstrate the hoary roots of artisanship and tool making in Telangana for at least two thousand years. The reference to Asmaka Janapada , part of present Telangana, as one of the 16 Janapadas in ancient India proves that there existed an advanced stage of society.

One of the first five disciples of the Buddha, Kondanna is a typical name from Telangana and though there is no exact information about his native place, the earliest known Buddhist township of Kondapur in Medak district is believed to be after him. The Buddha himself famously acknowledged that it was Kondanna who understood him properly. The Buddhist sources say that Bavari, a Brahmin from Badanakurti in Karimnagar sent his disciples to all the way to north India to learn Buddhism and spread the message in this region. Megasthenes, who visited India in the 4th century BCE, wrote that there were 30 fortified towns of Andhras and a majority of them were in Telangana. In the historical age, Telangana had given rise to mighty empires and kingdoms like the Satavahanas, Vakatakas, Ikshvakus , Vishnukundins, Chalukyas, Kakatiyas, Qutb Shahis and Asif Jahis.

The emergence and flourishing of these powerful political formations is in itself a proof of existence of a sturdy economic, social and cultural structure. Thus Telangana has been a vibrant social entity by the time of the Buddha and continued to be so for the next two and a half millennia. Endowed with such rich cultural heritage, despite the attempts by historians and scholars from Andhra region to obfuscate and erase its history, Telangana always retained and fought for its self respect and self rule. Due to the official efforts to ignore, erase, belittle and look down Telangana history and turn it into an appendage or a footnote, particularly during 1956-2014, much of Telangana history is either not properly researched or not recorded even if it was studied. Telangana rose again and secured its political identity now and is in the process of resurrecting its own glorious past. Here is an attempt to reconstruct the history of Telangana , the wonderful musical instrument with a thousand strings.

Pre-history (Up to 1000 BCE) Even though extensive exploration has not been done, particularly subjected to neglect after 1956, the archaeological department under the Nizams’ government had done tremendous work in discovering the traces of pre-historical human habitations in Telangana. These studies found that human habitations in parts of Telangana can be seen from the Paleolithic age consistently. Either the same locations or extended locations showed people continued to live and develop through the later stages of Mesolithic, Neolithic and Metal ages. Excavations discovered stone tools, microliths, cists, dolmens, cairns and menhirs. All the ten districts of Telangana showed these traces even when a proper, scientific and official research and excavations have not been done and thanks to the efforts of either the first generation researchers before 1950s or individual amateur explorations. 2 Society, Culture, Heritage, Arts & Literature of TS

Pre-Satavahanas (1000 BCE – 300 BCE) In the historical age beginning from 1000 BCE there are some references of Telangana as a geographical entity as well as Telugu as a linguistic entity, in the contemporary Buddhist and mythological texts. However, it needs a detailed research to discover finer aspects and establish the stage of development of pre-Satavahana society. Thought the official research into this aspect was stalled for about six decades, some enthusiasts like Thakur Rajaram Singh , B N Sastry and Dr D Raja Reddy did their own painstaking explorations and showed that there was a flourishing society before the emergence of the Satavahanas. Particularly Dr Raja Reddy proved with numismatic evidence that there were rulers before the Satavahanas with Kotalingala as capital and issued their own coins . In these excavations the coins of Gobada, Naarana, Kamvaaya and Samagopa were discovered and at least two other rulers’ names came to light. Thus Telangana happens to be the first region in the subcontinent to have issued punch-marked coins with even insignia. The Buddhist texts as well as accounts of foreigners like Magesthenes and Arrian talked about this region as having thirty forts, many of which have to be explored.

Satavahanas (250 BCE – 200 CE) After the fall of the Mauryan Empire , around the third century BC there arose the first significant kingdom under the Satavahanas from this region. The earliest capital of the Satavahanas was Kotalingala and then moved to the other popular capitals like Paithan and Amaravati ( Dharanikota ) only after two centuries of their rule. However, the first capital was either ignored or brushed aside to give prominence to the later place in coastal Andhra . The coins issued by the Satavahana kings Simuka (BC 231-208), Siri Satavahana, Satakani I, Satasiri, Satakani II, Vasishtiputra Pulumayi, Vasishtiputra Satakani and their governors were discovered in Kotalingala. Numismatic and epigraphic evidence showed that the Satavahanas ruled a larger area of the peninsula, with oceans as borders on three sides. Literature like Gathasaptashati, painting like Ajanta flourished during the Satavahana rule.

Post-Satavahana (200 CE – 950 CE) After the fall of Satavahanas in the third century AD, Telugu-speaking areas were divided under various small rulers and till the emergence of the Kakatiyas, for about six or seven centuries this fragmentation continued. Even as the mainstream Andhra historians maintained that it was a dark period in Telangana history without any political formation, the current research found that Telangana was ruled by various kingdoms like the Ikshvakus, Vakatakas, Vishnukundins, Badami Chalukyas, Rashtrakutas, Vemulavada Chalukyas, Kalyani Chalukyas, Mudigonda Chalukyas, Kanduri Chodas and Polvasa dynasty. A detailed research into this period is yet to take place.

Kakatiyas (950 CE – 1323 CE) The sub-feudatories of the Rashtrakutas emerged themselves as independent kings and founded the Kakatiya dynasty around 950 AD and this kingdom became strong and united whole of Telugu-speaking lands and lasted for more than three centuries and a half. The kingdom saw powerful kings like Ganapatideva, Rudradeva and Prataparudra as well as the first ever woman ruler in the subcontinent Rudramadevi. The Kakatiyas ruled from Hanumakonda in the beginning and shifted their capital to Warangal later. The Kakatiyas are known for their irrigation public works, sculpture and fine arts. Thanks to the well-planned irrigation facilities and a perfect system of chain tanks to suit the undulating nature of the terrain, the Kakatiya kingdom flourished economically leading to cultural progress also. Envy of this affluence, several neighbouring kingdoms as well as Delhi Sultanate tried to wage war on Warangal many times and failed. Finally in 1323, Delhi army could lay seize on Warangal fort and capture Prataparudra, who, according to the legend, killed himself on the banks of the Narmada unwilling to surrender when he was being taken as prisoner of war to Delhi. 3 Society, Culture, Heritage, Arts & Literature of TS

Post-Kakatiya Interregnum (1323 – 1496) After Prataparudra was defeated by Malik Kafur in 1323, the Kakatiya kingdom was again fragmented with local governors declaring independence and for about 150 years Telangana was again under different rulers like Musunuri Nayakas, Padmanayakas, Kalinga Gangas, Gajapatis, and Bahmanis.

Qutbshahis (1496 - 1687) Sultan Quli Qutb Shah , subedar for Telangana under the Bahamanis, with Golconda as his capital, declared his independence in 1496 and seven sultans of this dynasty ruled not only Telangana but the entire Telugu-speaking land including parts of present day Maharashtra and Karnataka . The Moghul empire waged war and defeated Golconda in 1687 and for about three decades Telangana was again witnessed chaos and fragmented rulers.

Asaf Jahis (1724-1948) In 1712, Emperor Farrukhsiyar appointed Qamar-ud-din Khan as the viceroy of Deccan and gave him the title Nizam- ul-Mulk . He was later recalled to Delhi, with Mubariz Khan appointed as the viceroy. In 1724, Qamar-ud-din Khan defeated Mubariz Khan and reclaimed the Deccan suba. It was established as an autonomous province of the Mughal empire . He took the name Asif Jah, starting what came to be known as the Asif Jahi dynasty. He named the area Hyderabad Deccan. Subsequent rulers retained the title Nizam ul-Mulk and were called Asaf Jahi Nizams or Nizams of Hyderabad. The Medak and Warangal divisions of Telangana were part of their realm. When Asaf Jah I died in 1748, there was political unrest due to contention for the throne among his sons, who were aided by opportunistic neighbouring states and colonial foreign forces. In 1769, Hyderabad city became the formal capital of the Nizams. Nasir-ud-dawlah, Asaf Jah IV signed the Subsidiary Alliance with the British in 1799 and lost its control over the state's defense and foreign affairs. Hyderabad State became a princely state among the presidencies and provinces of British India.

Post-independence When India became independent from the British Empire in 1947, Hyderabad remained an independent princely state for a period of 13 months. The peasants of Telangana waged an armed struggle to liberate the region. Scores of people lost their lives in the armed struggle. The private militia named Razakars , under the leadership of Qasim Razwi unleashed terror in the state by resorting to looting and murder. On 17 September 1948, the Indian government conducted a military operation called Operation Polo to bring Hyderabad state into the Indian Union. It appointed a civil servant, M. K. Vellodi, as first chief minister of Hyderabad State on 26 January 1950. In 1952, Dr. Burgula Ramakrishna Rao was elected chief minister of the Hyderabad State in its first democratic election. During this time, there was an agitation by locals in the state to ensure proper representation was given to locals ( mulkis ) of Hyderabad. First Telangana Movement In early 1950s, people of Telangana region in Hyderabad state, started organizing themselves with a demand for separate state. In 1953 the Indian government appointed the States Reorganization Commission (SRC) to look into various statehood demands in the country. The Commission was headed by Fazal Ali, Kavalam Madhava Panikkar and H.N. Kunzru 4 Society, Culture, Heritage, Arts & Literature of TS

The SRC toured the whole country to seek representations from various sections of the society. People of Telangana region submitted several memorandums to the SRC and expressed their wish to constitute Telangana as a separate state. Telangana intellectuals such as late Prof Jayashankar and political leaders such as Sri HC Heda, Sri Konda Venkat Ranga Reddy gave memorandums containing historic, political, economic, social and cultural justifications for creating the Telangana state. The Commission submitted its report on 30 September 1955, and recommended formation of Telangana state. During the period between 1955 September and 1956 November, the people of Telangana launched a series of protests demanding statehood by implementing the SRC recommendations. But intense lobbying by leaders from Andhra state in New Delhi resulted in the merger of Telangana region in Andhra state to form the Andhra Pradesh state. Telangana leaders insisted on a Gentlemen’s Agreement before the merger could take place. The agreement was signed by Andhra and Telangana leaders and provided safeguards with the purpose of preventing discrimination against Telangana by the Andhra leaders.However, the agreement was violated from day one by the Andhra leaders.

1969 Telangana Agitation Non-implementation of Gentlemen’s Agreement and continued discrimination to Telangana region in government jobs, education and public spending resulted in the 1969 statehood agitation. In January 1969, students intensified the protests for a separate state. On 19 January, all party accord was reached to ensure the proper implementation of Telangana safeguards. Accord's main points were 1) All non-Telangana employees holding posts reserved for Telangana locals will be transferred immediately. 2) Telangana surpluses will be used for Telangana development. 3) Appeal to Telangana students to call off agitation. But the protests further intensified, as more and more students and employees joined the statehood movement. Police firing on protesters led to the death of about 369 youngsters during this phase of the agitation. Then Prime Minister Indira Gandhi called for a high-level meeting to discuss the statehood issue. After several days of talks with leaders of both regions, on 12 April 1969, the Prime Minister developed an Eight Point Plan. Sri M. Chenna Reddy, founded the Telangana Praja Samithi (TPS) political party in 1969 to spearhead the statehood movement. Mrs. Indira Gandhi had called snap parliamentary elections in March 1971. In these parliamentary elections, Telangana Praja Samithi won 10 out the 14 Parliament seats in Telangana. However, Indira Gandhi’s Congress (R) Party scored a landslide victory on a platform of progressive policies such as poverty elimination (Garibi Hatao). She was reluctant to accept the Telangana statehood demand at that juncture. Sri M Chenna Reddy then merged TPS in Congress (R) party, after formulating a Six-Point Formula to safeguard Telangana’s interests. The statehood movement continued until 1973, but subsided later.

Final Telangana Movement Since mid 1990s, the people of Telangana started organizing themselves under various organizations with a demand for separate state of Telangana. In 1997, the state unit of the Bharatiya Janata Party (BJP) passed a resolution seeking a separate Telangana. Though the party created the states of Jharkhand , Chhattisgarh , and Uttarakhand in 2000, it did not create a separate Telangana state citing resistance of its coalition partner, Telugu Desam Party . Sri Kalvakuntla Chandrashekar Rao (KCR), who was then the Deputy Speaker of AP State assembly, had started background work on Telangana issue in early 2000. And after detailed discussions and deliberations with a plethora of Telangana intellectuals, KCR announced the launch of Telangana Rashtra Samithi on May 17th 2001. 5 Society, Culture, Heritage, Arts & Literature of TS

KCR had resigned to the post of Deputy Speaker and MLA before launching the Telangana Rashtra Samithi party. Prof Jayashankar, the ideologue of statehood movement extended his support to KCR. In 2004, TRS entered into a poll alliance with Congress party. The party won 26 MLAs and 5 MPs and entered into both the AP state and Indian government. Telangana issue found a place in UPA-1 Common Minimum Program. Statehood issue was also mentioned by President Abdul Kalam and Prime Minister Manmohan Singh in their speeches. TRS president KCR, was initially allotted the Shipping portfolio. But another UPA ally DMK demanded Shipping portfolio and threatened to walk out of the coalition, if its demand was not met, KCR voluntarily relinquished the Shipping portfolio to save the fledgling UPA-1 government. KCR remained as a Union Minister without portfolio, before being given the Labour and Employment portfolio. As the UPA government continued to dilly-dally on the decades old demand for Telangana state, KCR resigned to his ministry in 2006. When a Congress leader made a belittling statement on the statehood movement in September 2006, KCR resigned to the Karimnagar Lok Sabha seat and won it with a thumping majority. The massive majority achieved by KCR in that election proved the strong statehood aspirations in the region. In April 2008, TRS party MLAs resigned also walked out of the state government in protest against the delay in Telangana formation. But, TRS could retain only 7 MLA and 2 Lok Sabha seats in this by-election. In 2009 elections, TRS allied with TDP, CPI and CPM parties. The grand alliance did not yield the desired result, as the Pro-Telangana vote got split between TRS, Congress, PRP and BJP. In the end, TRS could win only 10 MLA seats and 2 MP seats.

Intensifying the movement On Nov 29th, 2009 , KCR had announced an indefinite hunger strike demanding statehood to Telangana. But en route, the state police had arrested him and sent to Khammam sub-jail. The movement spread like wildfire with students, employees, peoples’ organizations plunging into it. In the next 10 days, the whole of Telangana region came to a standstill. The state government, headed by Sri K Rosaiah had called for an all-party meeting on 7th December. Leaders of TDP and PRP parties promised that they would support a Telangana statehood resolution if it was tabled in the state Assembly. As KCR’s health was deteriorating very fast, on Dec 9th 2009, the UPA government announced that the process of statehood for Telangana would be initiated. But within 2 weeks, resistance from Seemandhra leadership resulted in UPA backtracking on this issue. KCR then brought all political forces in Telangana region together to form the Telangana JAC – an umbrella body of several organizations and parties, with Prof Kodandaram as its Chairman. TRS cadre and leaders actively participated in several agitations and protests launched by TJAC.

State Formation After 4 years of peaceful and impactful protests, the UPA government started the statehood process in July 2013 and concluded the process by passing the statehood bill in both houses of Parliament in Feb 2014. In the General Elections held in April 2014, Telangana Rashtra Samithi emerged victorious by winning 63 of the 119 seats and formed the government. Sri K Chandrashekar Rao was sworn in as the First Chief Minister of Telangana. The Telangana state was inaugurated formally on June 2nd 2014. 6 Society, Culture, Heritage, Arts & Literature of TS

Important Kingdoms

1. Assaka or Ashmaka kingdom - Telugu kingdom of ancient India (700–300 BCE). • It was one of the shODasa (sixteen) Mahajanapadas in the 6th century BCE, mentioned in the Buddhist text Anguttara Nikaya. • The region was located on the banks of the Godavari river , between the rivers Godavari and Manjira. It was the only Mahajanapada situated to the south of the Vindhya Range , and was in Dakshinapatha . It corresponds to districts Nizamabad and parts of Adilabad in Telangana and Nanded , Yavatmal in Maharashtra states in current- day India. • The Prakrit name of Bodhan is from "bhoodaan meaning "Land given to poor as alms", identified as present day Bodhan. The capital is variously called Potali, or Podana, which now lies in the Nandura Tehsil . • The Buddhist text Mahagovinda Suttanta mentions about a ruler of Assaka, Brahmadatta who ruled from Potali. • The Matsya Purana lists twenty-five rulers ofAśmaka, contemporary to the Shishunaga rulers of Magadha . • Later, the people spread southward to the territory of the Rashtrakuta empire, which is now in modern Maharashtra.

2. Satavahanas • In the north-western Deccan on the ruins of the Mauryan empire arose the kingdom of the Satavahanas in the first century B.C., with its centre at Pratishtana (modern Paithan in Maharashtra). • The Satavahana was based from Dharanikota and Amaravati in Andhra Pradesh as well as Junnar (Pune) and Prathisthan (Paithan) in Maharashtra.

Origin: • The Puranas speak only of the Andhra rule and not of the Satavahana rule. On the other hand the name Andhra does not occur in the Satvahana inscriptions. There is a lot of controversy regarding the original home of the Satavahanas. • A contrary opinion has also been put forward that the family originated in the west and extended its control to the east coast, finally giving its name, Andhra, to this region. Since the earliest inscriptions of the Satavahanas are found in the Western Deccan, the later view may be correct. Probably, Satavahanas declared independence some time after the death of Ashoka (232 BCE), as the Maurya Empire began to weaken • The Satavahanas seems to begin as feudatories to the Mauryan Empire. They seem to have been under the control of Emperor Ashoka, who claims in Rock Edict 13 that Andhras were in his domain among them.

Early Satavahanas: • The Early Satavahanas ruled Telangana and Andhra Pradesh regions which were always their heartland. The Puranas list 30 rulers. Many are known from their coins and inscriptions as well. • The founder of the Satavahana dynasty was Simuka. 7 Society, Culture, Heritage, Arts & Literature of TS

Simuka (230–207 BCE): • After becoming independent around 230 BCE, Simuka, the founder of the dynasty, conquered the present-day Maharashtra and parts of Madhya Pradesh (including Malwa ). • He and his successors established their authority from the mouth of the Krishna to the entire Deccan plateau .

Satakarni (180–124 BCE): • The earliest of the Satavahana kings to receive wide recognition was Satakarni I, and this was due to his policy of military expansion in all directions. He is the Lord of the west who defied Kharavela of Kalinga(mentions him in the Hathigumpha inscription ). According to the Yuga Purana he conquered Kalinga following the death of Kharavela. He extended Satavahana rule over Madhya Pradesh and pushed back the Sunga from Pataliputra (he is thought to be the Yuga Purana’s “Shata”, an abbreviation of the full name “Shri Sata” that occurs on coins from Ujjain ), where he subsequently ruled for 10 years. His conquests took him north of the Narmada into eastern Malva, which at the time was being threatened by the Shakas and the Greeks. • The description of Satakarni I as ‘Dakshina patha-pati in the Nanaghat inscription of Nayanika proves that the Satavahana dominion was not confined to western Deccan alone, but included other areas of the Deccan and beyond. • Satakarni I performed two Asvamedha sacrifices and one Rajasuya sacrifice. • By this time the dynasty was well established, with its capital at kotilingalaand Pratishthanapura (Paithan).

3.Ishvakus • The founder of the line, performed Asvamedha, Agnihotra, Agnistoma and Vajpeya sacrifices. Santamula performed the Asvamedha sacrifices with a view to proclaim independence and imperial status It had become a common practice among the rulers of the subsequent dynasties to perform the Ashvamedha sacrifice in token of their declaration of independent status From this fact, it can be inferred that it was Santamula I who first declared independence and established Andhra Ikshvaku dynasty.

Virapurushadutta : • He was son and successor of Santamula through his wife Madhari. He had a sister named Adavi Santisri He took a queen from the Saka family of Ujjain and gave his daughter in marriage to Chutu prince. Almost all royal ladies were Buddhists An aunt of Virapurushadutta built a big stupa at Nagarjuna Konda. Her example was followed by other women of the royal family Virapurushadutta son Ehuvula Santamula (Santamula II) ruled after a short abhira inter regnum His reign witnessed the completion of a Dvi Vihara, the Sihala Vihara, a convent founded for the accomodation of Sinhalese monks and the Chitya-Graha ( Chaitya Hall) dedicated to the fraternities (theriyas) of Tambapanni(Ceylon) Ceylonese Buddhism was in close touch with Andhra.

Rudrapurushadatta : • It was one of the name of an Ikshvaku ruler found in inscriptions from Gurujala in Guntur district of Andhra Pradesh He could have been son of Ehuvula Santamula. Rudrapurushadatta ruled for more than 11 years. Probably he was the last important ruler of of the Andhra Ikshvaku family. After him there were unknown rulers according to the puranas Around 278 C.E, the abhiras might have put an end to the Ikshvakus 8 Society, Culture, Heritage, Arts & Literature of TS

4.Vakatakas • The Vakaṭaka Empire was a royal Indian dynasty that originated from the Deccan in the mid-third century CE. Their state is believed to have extended from the southern edges of Malwa and Gujarat in the north to the Tungabhadra River in the south as well as from the Arabian Sea in the west to the edges of Chhattisgarh in the east. • They were the most important successors of the Satavahanas in the Deccan and contemparanies with the Guptas in northern India. • The Vakaakas, like many coeval dynasties of the Deccan, claimed Buddhistorigin. Little is known about Vindhyasakti (250–270 CE), the founder of the family. In the Cave XVI inscription of Ajanta he was described as the banner of the Vakataka family and a Dvija. It is stated in this inscription that he added to his power by fighting great battles and he had a large cavalry. • The next ruler was Pravarasena I (270-330) was the first Vakataka ruler, who called himself a Samrat (universal ruler) and conducted wars with the Naga kings. He has become an emperor in his own right, perhaps the only emperor in the dynasty, with his kingdom embracing a good portion of North India and whole of Deccan. • It is generally believed that the Vakataka ruling family was divided into four branches after Pravarsena I. Two branches are known: Pravarpura-Nandivardhana branch and the Vatsagulma branch.

Pravarpura-Nandivardhana branch: • Rudrasena II (380-385) of Pravarpura-Nandivardhana branch is said to have married Prabhavatigupta, the daughter of the Gupta King Chandragupta II (375-415). Rudrasena II died fortuitously after a very short reign in 385 C.E., following which Prabhavatigupta (385 – 405) ruled as a regent on behalf of her two sons Divakarasena and Damodarasena (Pravarsena II) for 20 years. During this period the Vakataka realm was practically a part of the Gupta Empire . Many historians refer to this period as the Vakataka-Gupta age. • Prabhavati Gupta’s inscription mentions about one “ Deva Gupta” who is her father and the historians equated him with Chandra Gupta II. However, there is no other source to prove that Deva Gupta is really Chandra Gupta II. • Pravarasena II composed the Setubandha in Maharashtri Prakrit. A few verses of the Gaha Sattasai (originally by Hala) are also attributed to him. He shifted the capital from Nandivardhana to Pravarapura, a new city of founded by him. He built a temple dedicated to Rama in his new capital. • The highest number of so far discovered copper plate inscriptions of the Vakataka dynasty pertain to Pravarasena II. He is one of the most recorded ruler of ancient India. • Pravarsena II was succeeded by Narendrasena (440-460), under whom the Vakataka influence spread to some central Indian states. Prithvisena II, the last known king of the line, succeeded his father Narendrasena in 460. After his death in 480, his kingdom was probably annexed by Harishena of the Vatsagulma branch of Vakataka. • The Vakataka power was followed by that of the Chalukyas of Badami in Deccan.

Vatsagulma branch: • The Vatsagulma branch was founded by Sarvasena, the second son of Pravarasena I. • Sarvasena (330 – 355) took the title of Dharmamaharaja. He is also known as the author of Harivijaya in Prakrit which is based on the story of bringing the parijat tree from heaven by Krishna. This work, praised by later writers is lost. He is also known as the author of many verses of the Prakrit Gaha Sattasaioriginally by Hala. 9 Society, Culture, Heritage, Arts & Literature of TS

• Vindhysena (355 – 400) was also known as Vindhyashakti II. He is known from the well-known Washim plates which recorded the grant of a village situated in the northern marga of Nandikata (presently Nanded). The genealogical portion of the grant is written in Sanskrit and the formal portion in Prakrit.This is the first known land grant by any Vakataka ruler. He also took the title of Dharmamaharaja. • Pravarasena II (400 – 415) was the next ruler. The Cave XVI inscription of Ajanta says that he became exalted by his excellent, powerful and liberal rule. • Harishena (475 – 500) was a great patron of Buddhist architecture, art and culture. Ajanta is surviving example of his works. The rock cut architectural cell-XVI inscription of Ajanta states that he conquered Avanti (Malwa) in the north, Kosala (Chhattisgarh), Kalinga and Andhra in the east, Lata (Central and Southern Gujarat) and Trikuta (Nasik district) in the west and Kuntala (Southern Maharashtra) in the south. • Varahadeva, a minister of Harishena and the son of Hastibhoja, excavated the rock-cut vihara of Cave XVI of Ajanta.Three of the Buddhist caves at Ajanta, two viharas – caves XVI and XVII and a chaitya – cave XIX were excavated and decorated with painting and sculptures during the reign of Harishena.

End of Vakataka: • A/C to Dasakumaracarita of Dain, which was written probably around 125 years after the fall of the Vakataka dynasty, Harishena’s son, though intelligent and accomplished in all arts, neglected the study of the Dandaniti (Political Science) and gave himself up to the enjoyment of pleasures and indulged in all sorts of vices. • Finding this a suitable opportunity, the ruler of Ashmaka instigated the ruler of Vanavasi (in the North Kanara district) to invade the Vakataka territory. • The king called all his feudatories and decided to fight his enemy on the bank of the Varada ( Wardha ). While fighting with the forces of the enemy, he was treacherously attacked in the rear by some of his own feudatories and killed. The Vakataka dynasty ended with his death

Culture: • The Vakatakas are noted for having been patrons of the arts, architecture and literature. They led public works and their monuments are a visible legacy. The rock-cut Buddhist viharas and chaityas of Ajanta Caves was built under the patronage of Vakataka King Harishena of Vatsagulma branch.

5. VishnuKundina Dynasty Vishnukundina Empire played an important role in the history of the Deccan during the 5th and 6th centuries CE. It is believed that they where one of the ancestors of Pusapatis of Vizianagaram and hree other clans of Kshatriya Raju caste in Andhra Pradesh. The rule of Vishnukundin Empire came to an end with the conquest of the eastern Deccan by the Chalukyan, Pulakesin II. He appointed his brother Kubja Vishnuvardhana as Viceroy to rule over the conquered lands. Vishnuvardhana declared his independence and started the Eastern Chalukya dynasty .

Origin of Vishnukundina Dynasty • The Sanskrit name for Vishnukonda is Vishnukundina. The origin of this dynasty is shrouded in ystery. One History states that they belong to Koundinya of Kshatriyas who migrated from Ayodhya during the early 5th century. During the rule of Madhava Varma they became independent and conquered coastal Andhra from the Salankayanas. 10 Society, Culture, Heritage, Arts & Literature of TS

• It is estimated that the Vishnukudins ruled between the end of the Salankayana and the rise of the Eastern Chalukyan power in 624 AD.

Kings of Vishnukundina Empire • According to some inscriptions Indra Varma is the first ruler of the Vishnukundin dynasty. It is believed that he carved out a small princedom for himself possibly as a subordinate of the Vakatakas in the last quarter of the fourth century C.E. • Madhav Varma I I Under rule of Madhav Varma II the dynasty began its imperial expansion who ruled for nearly half a century. His reign is considered as a golden age in the history of the -Vishnukundins. During his rule Vishnukundin dynasty rose to great heights. A princess of the Vakataka dynasty was given in marriage to Madhav Varma's son, Vikramendra Varma. • This increased the power of the Vishnukundina dynasty. He occupied the areas of Guntur, Tenali and Ongole . Thereafter he made Amarapura his capital. • Madhav Varma II annexed the Vengi kingdom that was ruled by Salankayanas. Godavari tract became part of the Vishnukundin territory. Post conquests he performed sacrifices like Asvamedha, Rajasuya and other Vedic sacrifices. • During the rule of Vikramendra Varma I (508-528 C.E.) Vishnukundina dynasty lost its power. The next two and half decade witnessed constant dynastic struggles during the rule of Indra Bhattaraka Varma (528-555 C.E.). The dynasty lost Kalinga. • Vikramendra Varma II After Vikramendra Varma II took over, the Vishnukundin family were able to restore their power. He shifted his capital from Bezwada to Lenduluru in order to remain close to Kalinga. He restored the fortunes of the Vishnukundins in the Kalinga region. • Govinda Varma II (569-573 C.E.) Vishnukundina Empire expanded under its able ruler Janssraya Madhav Varma IV (573-621 A.D.). He consolidated his position in Vengi. He suppressed the upheaval of his subordinate chief the Durjaya Prithvi Maharaja in Guddadivishya. • Madhav Varma IV had to face the Chalukyan assault in his last years of rule. It is believed that Madhava's son Manchana Bhattaraka might have been expelled by the Chalukyas. • Vishnukundina dynasty declined by the end of 624 A.D.

6. Vemulavada Chalukyas Founder : Vinayaditya Yudhamalla I Capitals : Bodhan (Nizamabad / Podananadu region) Gangadhara, Vemulawada (Karimnagar / Sabbinadu region). • This dynasty was a branch of the Chalukyas of Badami ruled Telangana region as Rashtrakuta Vassals. One peculiarity with this family is that it traced its descent from the Sun, while many other Chaiukya families considered themselves as of lunar descent. • Tradition associates Vemulawada with poet Bhima Kavi but the famous kannada poet Pampa lived here as the court poet of Arikesari II and dedicated his famous work Bharata or Vikramarjuna Vijaya to him. • Vemulawada Chalukyas history is defined by 3 inscriptions, Kollpara copper plates of Arikesari I, Vemulavada rock inscription of Arikesari II and the Parbhan copper plates of Arikesari III. • According to the kollipara inscription of Arikesari-I Satyasraya Ranavikrama was the founder of vemulawada chalukya dynasty. 11 Society, Culture, Heritage, Arts & Literature of TS c.641 - c.660 AD : Satyasraya Ranavikrama : • Ruled from Bodhan (Nizamabad) as Capital was in service of Pulikesi II. • c.660 - c.695 AD : Prithvipati • c.700 - c.725 AD : Maharaja • c.725 - c.750 AD : Rajaditya • All the above 3 rulers helped Vinayaditya and Vijayaditya in their wars against the palavers and the Arabs. • Vinayaditya Yuddhamalla was the real founder and first celebrated king of Vemulawada Chalukya dynasty. • c.750 - c.775 : Vinayaditya Yudhamalla I (Rajasraya)Ruled from Bodhan (Nizamabad) as Capital. • Sub-ordinate ruler of Rashtrakutas. • Yudhamalla and Rashtrakuta Dantudurga planned and carried out the overthrow of Kirtivarman II, the last Chalukya ruler of Badami in 753 AD. • Of Yudhamala I we get vert exaggerated eulogy from Kollipara plates issues by his son; he is compared to Rama in valour and described as visvarat (universal emperor); he is said to have subjugated the whole world with the aid of the boar-crest obtained by the royal family as a boon from Lord Narayan, and among the kings who bowed at his feet are counted those of Turushka, Yavana, Barbara, Kasmira, Kambhoja, Magada, Malava, Kalinga, Ganaga, Pallava, Panda, Kerala and others. • In refreshing contrast to it from later inscriptions and pampa that he ruled Sapadalaska country and his suzerainty was acknowleged by many feudatories. He made artificial tanks of brick and mortar in Podana, filled with oil for the daily bathing of 500 elephants. He captured the natutal fortress of Chitrakuta. • c.775 - c.800 AD : Arikesari Ruled from Vemulawada.Captured and ruled Vengi together with Trikalinga by the strength of his arm. Pampa says that this happened in the reign of Nirupama / Dhruva. • During a civil war of Rashtrakutas, Dhruva(AD 780-93) attacked Vishnuvardhana IV (772 - 808) of Vengi to punish him for his part in aiding Govinda II (774 - 780). Arikesari aided Dhruva greatly and was duly rewarded. We may assume that parts of Telangana definitely changed hands as a result of Arikesari's campaign. It is quite probable that after this Vemulawada became seat of their power. • c.800 - c.825 AD: Narasimha I • c.825 - c.850 AD: Yudhamalla II • c.850 - c.895 AD: Baddega I • Pampa says that Baddega was victorious in 42 battles and earned title solada-ganda (the soldier who knew no defeat). • He constructed a temple of Baddagesvara which is identified with the Bhimeswara temple atV emulawada. • Baddega suffered defeat at least once at the hands of GunugaVijayadiya (849 - 892). • Both Pamapa and the Parbhani plates say that he captured Chalukya Bhima I (892 -921)in the war that took place near the water fort of Kunala(Kolleru) in the Vengi area, who ascended the throne of Vengi after the death of his uncle Gunaga Vijayaditya III in 892. Bhima effected his escape from captivity with the aid of Kusumayudha of Mudigonda Chalukyas. • Baddega's political influences was felt as Bastar where the ancient Chatrakuta mandala was situated. • 895 - 915 AD : Yudhamalla III • 915 - 930 AD : Narasimha II • Wife : Lokambika/Jakavve (sister of Rashtrakuta Indra III) 12 Society, Culture, Heritage, Arts & Literature of TS

• The Vemulawada inscription attributes to him the single handed conquest of the Seven Malavas, a victory over the army of Gurjjara raja and says that he put the final seal on his frame by a victory over a group of kings on the hill of Kalapriya. Pamper furnishes the name of Gurjara king was Mahipala on whom Narasimha descended like a thunderbolt, compelling him to escape from his capital. Pampa also mentions a victory over the Latas as the first of his achievements, and adds that he had caused his horses to drink the water of the Ganges before he established his fame with his sword at Kalapriya for his overlord Rashtrakuta Indra III (914 - 929). • 930 - 955 AD : Arikesari II son of NarasimhaII and Jakavve • Wife : Revakanirmadi (daughter of Rashtrakuta Indra III 914 - 929) • His reign considered as golden period for Nizamabad and Karimnagar. • Arikesari is famous as the patron of Pamapa, and for the apparently decisive he played in the political revolution in which samanthas of Govinda IV (930 - 934) dethroned him and transferred the Rashtrakuta empire to Amogavarsha III (936 - 939).Arikesari has 2 sons namely, Vagaraja and Bhadradeva / Baddega II from Revakanirmadi and Lokambika. • c.955 - c.960 AD : Vagaraja • Ruled from Gangadhara as Capital • Patronized Somadevasuri, the author of Yasastilaka Champu who described the king as Pada-padmopajivi a worshipper of the feet of the Rashtrakuta king Krishna III. indicating the declining power of Vemulawada Chalukyas. • c.960 - c.965 AD : Bhadradeva / Baddega II • Ruled from Vemulawada as Capital • The bommalagutta region flourished as a center of Jainism during his rule. • c.965 - c.973 AD : Arikesari III son of Baddega II ruled from VemulawadaVassal of Krishna III (939 - 967)and makes a grant in 966 to a Jain temple erected by his father in the capital known as Subhadama Jinalava.

7. Kalyani Chalukyas • After the Chalukyas of Badami were destroyed by Dantidurga , they revived after two centuries in around 972- 73AD. This was known as Chalukyas of Kalyani and is supposed to have the same genealogy as those of the previous mighty Chalukyas (though this is disputed). This was established by Tailapa-II who was one of the feudatories of the Rastrakuta. For 200 years they remained in conflict with the Cholas and also the eastern Chalukyas of Vengi. The Hoyasala Empire finally destroyed them in 12th century. The empire of Chalukyas of Kalyani is also known as Western Chalukya Empire. This empire has a great contribution in the modern Kannada literature as well as Sanskrit literature.

Political History of Chalukyas of Kalyani: • The last ruler of Rastrakuta Dynasty Kakka II (Karaka) was killed by Taila II or Tailapa II the scion of old Chalukya stock in 973 AD. Thus Taila II founded the dynasty of Chalukyas of Kalyani which lasted for 2 centuries. For 200 years they remained in conflict with the Cholas and also the eastern Chalukyas of Vengi. They were finally destroyed by the Hoyasala Empire in 12th century. The empire of Chalukyas of Kalyani is also known as Western Chalukya Empire. This empire has a great contribution in the modern Kannada literature as well as Sanskrit literature. 13 Society, Culture, Heritage, Arts & Literature of TS

Tailapa II • Tailapa-II was one of the feudatories of the Rastrakutas. He restored the family of his ancestors to its former glory. Taila reigned for 24 years and during that time was able to recover the ancient territory of his race except the Gujarat region. We know about his reign from the Gadag records. He patronized a Kannada poet Ranna who was one the earliest poets of Kannada language. Ranna, Adikavi Pampa and Sri Ponna together are called three gems of Kannada literature. • Most of the time, Tailapa II kept on fighting with Munja, a Paramara king of Dhara. Munja was finally captured and probably killed in captivity. This was in 995 AD. Two years later Tailpa died and his crown was passed on to his son Satyasraya.

Satyasraya • The period of reign of Satyasraya was 997 to 1008 AD. Though, to star with, he adopted the aggressive policy of his father had enmity with the eastern Chalukyas and Cholas. His 11 years reign was disturbed and was finally faced the disastrous consequence of a war with the great Chola Rajaraja-I. Rajaraja-I overran the Chalukya country and looted and killed a large number of men, women and children. Satyasraya was followed by Vikramaditya V and Jaysimha II. The next important king was Someshwara I.

Someshwara-I • Someshwara I, who was also known as Ahavamalla or Trilokamallareigned from 1042 AD to 1068 AD. The contemporary Chola King was Rajadhiraja Chola I who became Chola king in the same year i.e. 1042. Someshwara I had established Kalyani as its capital. • He faced the attack of Rajadhiraja Chola-I, who overran initially the Chalukyan capital and demolished the forts and erected the pillars as a memorabilia of the victories, but the Chalukyan counter attack forced them out. Under Someshwara-I , the Chalukya army raided Chola capital Kanchipuram but it was repelled back. Finally in the battle of Koppam, Rajadhiraja Chola was killed. But his younger brother took the command and drove the Chalukyas back. In this attack, brother of Someshwara-I was killed. The reign of Someshwara I is known for numerous wars. • This able king of the Western Chalukya Empire ended his life by drowning himself in the river Tungabhadra, due to his inability to endure a fever. Someshwara I was succeeded by his elder son Someshwara II, but Someshwara II was soon deposed by his younger brother Vikramaditya VI, whose reign is from 1076 – 1126 AD.

Vikramaditya VI • Vikramaditya VI ascended the throne in 1076 AD which marks the beginning of Chalukya-Vikram era. Vikramaditya VI was one of the ablest kings of the Western Chalukyan Empire. He left the maximum number of inscriptions, all in Kannada. He is the hero of a historical poem (Vikramankadevacharita) by Bilhana, a Kashmir poet and reigned for around half a century in tolerable peace.

8. Mudigonda Chalukyas • Founder : Ranamarda • Capital : Mudigonda 14 Society, Culture, Heritage, Arts & Literature of TS

• The Mudigonda Chalukyas were based east of the Kakatiya territories. They hailed from the village of Mudigonda (located near modern Khammam), and ruled most of modern-day Khamsmam district and east area of Warangal between the 8th and 12th centuries. They were originally subordinates of the Chalukyas of Vengi, but later passed under the suzerainty of the Western Chalukyas of Kalyani. From c.1000 onwards, Bottu Beta and his successors ruled as subordinates of the Kakatiyas. • The history of family is known to us from the Mogilicheruvula grant of Kusumayudha IV, Kukunuru plates (krivvaka grant) of Kusumaditya and Nattaramesvaram records. • Their kingdom bordered the kingdoms of Vengi and Malkhed.

Gonagudu I Kokkiraja, Son • Ruled from Capital Mudigonda.Kokkiraja was a valorous king who ruled the kingdom with the help of his brother Ranamarda. • c.850 AD - 870 AD : Ranamarda, Brother • He must have served the Eastern Chalukyas first and was given Koravi region by them to rule, with Mudigonda as Capital. • According to Mogilicharla inscription he developed Manchikonda, Kondapalli as cities and reportedly wore a necklace called 'Ranamarda Kantiya' to denote his victories. • 870 AD - 895 AD : Kusumayudha I • Kusumayudha I aided the escape of Vengi Chalukya Bhima I (892 - 921) from Rashtrakuta Vassal Vemulawada Chalukya Baddega I (c.850-895) who showed dauntless courage and remarkable bravery in restoring the Vengi kingdom to Chalukya Bhima I. • Kusumayudha has 2 sons Vijayaditya Gonaga and Niravadya. • 895 AD - 910 AD : Vijayaditya Gonaga / Gonagudu II • Gonagayya who lost his kingdom went to Arikesari II of Vemulawada Chalukyas for help. • 910 AD - 935 AD : Niravadya (Nijjayaraja) • The Koravi grant mentions that Niravadya brother of Vijayaditya Gonaga usurped the throne.Recaptured Mudigonda in 934 AD. Ruled koravi in warangal as vassal to Vengi Chalukya Bhima II. • 935 AD - 960 AD : Kusumayudha II son of Vijayaditya Gonaga • Ruled Koravi region • 960 AD - 980 AD : Vijayaditya • 980 AD - 1000 AD : Kusumayudha III • He had four sons Gonaga, Nijjayaraja, Mallapa and Lobhachalaka. Gonaga and Nijjayaraja came to the throne successively after the death of Kusumayudha III. • 995 AD - Bottu BetaViriyala Erra supported by Western Chalukya King Taila II (973 – 997) killed Kakatiya King Gunda IV (950 - 995) and installed Bottu Beta as the ruler of koravi. • c.1000 AD - 1025 AD : Gonaga • c.1025 AD - 1050 AD : Nijjayaraja • c.1050 AD - 1075 AD : Kusumayudha IV • c.1075 AD - 1100 AD : Betaraja I 15 Society, Culture, Heritage, Arts & Literature of TS

• c.1100 AD - 1125 AD : Kusumayudha V • c.1125 AD - 1150 AD : Betaraja II • c.1150 AD - 1175 AD : Kusumayudha VIKaktiya Rudra in his last days deputed his general Recherla Rudra to subdue the Bottu chief of Koravi. Kusumayudha VI along with his ministers Karunadhi pati, Indaparaju and Devaraju was forced to retreat to the forest and lived underground for 12 years and later recaptured the kingdom. • 1175 AD - 1200 AD : NagatirajaNagatiraja was the last prominent ruler in this dynasty.Katakana Mahadeva died in 1198 AD and his son Ganapatidev captured, Nagatiraja attached Kaktia kingdom. Recherla Rudra came to the rescue and chased away Nagatiraja. After the release of Kakatiya Ganapatideva, he annexed the Mudigonda region to the Kaktiya empire. Thus ended the rule of Mudigonda Chalukya dynasty in c.1200 AD. • 1218 AD : According to the Srikakulam inscription, Nagatiraja who lost his kingdom lived in Konalu region. Bottu Sriramabhadra : Issued inscription in Gopalaswamy temple at Srikakulam.

9. Kakatiyas Kakatiya Dynasty • Capitals : Hanamkonda , Warangal • Languages : Telugu • Religion : Jainism, Hinduism (Saivism)Royal Emblem : Garuda , Varaha • Kakatiyas are descendants of Karikala Chola King of Durjaya clan, who initially started as vassals of the Chalukyas in India, and later emerged as a ruling dynasty, with their capital at Kakatipura (probably named after the village diety, Kakatamma) or present day Warangal, in the state of Telangana, India. • Kakatiyas were the devotees of Goddess Kakati. • They were said to originate from Chaturthakula and they allied themselves by matrimony to chiefs of the Shudra caste, although in many documents related to gifts given in the Brahmins , their ancestry has been traced to the Solar dynasty of the Ikshvaku kshatriyas. • The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the 'giridurgas', Kandur and Narayanavanam among the 'vanadurgas', Divi and Kolanu among the 'jaladurgas', and Warangal and Dharanikota among the 'sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military. • Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories. Tikkana Somayaji, who adorned the court of the Telugu Chola ruler Manumasiddhi II, wrote the last 15 cantos of the Mahabharata which was lying unfinished. Sanskrit, which could not find a place in the Muslim-occupied north, received encouragement at the hands of the Kakatiyas. Prataparudra was himself a writer and he encouraged other literature. • The Kakatiya dynasty expressed itself best through religious art. Kakatiya art preserved the balance between architecture and sculpture, that is, while valuing sculpture, it laid emphasis on architecture where due. The 16 Society, Culture, Heritage, Arts & Literature of TS

Kakatiya temples , dedicated mostly to Siva, reveal in their construction a happy blending of the styles of North India and South India which influenced the political life of the Deccan. • Building temple and lake (an irrigation tank) side by side was the tradition of the Kakatiya. The remains of immense irrigation tanks and channels show that the rulers of the country devoted great attention to the improvement of agriculture.There was enormous accumulations of wealth, consisting of gold, precious stones (including Kohinoor diamond ), and elephants. The people appear to have been brave, happy, and prosperous, and from west to east thy were scattered around numerous holy shrines which brought together thousands of pilgrims.

Important points of Kakatiya Dynasty • Motupalli port was famous for foreign trade during the period of Kakatiyas. Ministers during the period of Kakatiyas were called as Tirthas. • Vidyanatha wrote Prataparudra Yashobhusanam. • Bayyaram Cheruvu inscription was issued by Mailamba. • Magallu inscription was issued by Danarnava. • Achitendra was the author of Hanumakonda inscription. • .Rudradeva issued Hanumakonda inscription about the victories of Prolaraja II in 1163. • The gold coin during the period of Kakatiyas was called Gadvanam.

750 - 768 : Venna Founder of the Kakatiya line. Mentioned in Bayyaram inscription. • Ganapatideva completed building Orugallu (Warangal) and shifted the capital from Hanumakonda to Warangal. • Started Inner stone wall of Warangal. • March 31, 1213 AD : Contruction of Ramappa Temple Completed by Recharla Rudra during Ganapatideva reign. • Ramappa Cheruvu, Pakala Cheruvu, Lakkavaram Cheruvu were dug during Ganapatideva reign

10. Vijayanagara kingdom • Foundation of Vijaynagar kingdom (1336 – 1646 CE):Vijaynagar kingdom was one of the important kingdoms in the medieval Indian history. Vijaynagar Dynasty rules over India for 3 centuries. It is a history full of wars with Bahamani and other muslim rulers of northern Deccan, collectively said as Deccan sultanates .Vijayanagara is in Bellary District of northern Karnataka. It is the name of the now-ruined capital city of the historic Vijayanagar Kingdom which extended over the southern part of India that included the territories of Mysore , Trichinopally, Kanara, Pondicherry, Chingalpet and Kanchivaram. • Two brothers Harihara (Hakka) I and Bukka Raya laid the foundation of the Vijaynagar city, which was on the South bank of TungabhadraRiver near Anegudi Fortress. They were also known as Sangama brothers. Vijaynagar Empire consolidated under Harihara I and began to expand and prosper under Bukka Raya which was more defensible and secure for its location between 14th and 16th century . It is said that a sage Madhav Vidyaranya and his brother Sayana were the inspirational source for this empire. The rulers were strict worshipers of the Hindu Gods and Goddess, but also tolerant towards the other religions. The emperors were great patrons of art 17 Society, Culture, Heritage, Arts & Literature of TS

and culture. The region influenced a development in the streams of music, literature and architecture. Many temples built in the territories of the south represent the style of Vijaynagar kingdom. The economy of the region flourished and several coins were introduced during the reign of the rulers of theV ijaynagar Empire. • Kings of Vijaynagara Dynasty: There were four dynasties ruled over Vijaynagar -- Sangama Dynasty, Saluva Dynasty, Tuluva Dynasty and Aravidu Dynasty. • Sangama Dynasty (1336-1485) – longest reign Harihar and Bukka were sons of Sangama, feudatories of Kakatiyas of Warangal. The Hoysala kingdom was conquered and hence, the Vijayanagara empire was extended under Harihara. Bukka, then succeeded his brother and became the master of Raichur doab after dealing with Bahmani Sultan. He destroyed the Madurai Sultans and extended the Empire to the whole of South India. Sāyaṇa and Madhava were learned commentator on the Vedas , were ministers under Bukka I and Harihara II. The conflict between Vijayanagara and Bahmani kingdoms was a long lasting one. The bone of contention was the Raichur Doab , between river Krishna and Tungabhadra and Krishna-Godavari delta. The greatest ruler of Sangama dynasty was Deva Raya II. During his reign, Abdur Razzak, the envoy of Shah Rukh visited the Vijaynagara kingdom. • Saluva Dynasty (1486-1505 AD) – smallest reign Saluva Narsimhan was the founder of Saluva dynasty. He silenced the rebellions of feudatories and kept the kingdom intact. Immadi Narsimha succeeded him. He was a weak ruler and hence the control of state fell into the hands of Narsa Nayaka. Vasco da Gama landed in Calicut during his time in 1498. • Tuluva Dynasty (1505-1570 AD) The son of Narsa Nayaka, Vira Narsimha was the founder of Tuluva dynasty. He was succeeded by his half brother, Krishnadeva Raya in 1509 AD.

Krishnadeva Raya • At the time of Krishnadevaraya ’s accession to the throne, the condition of the empire was unstable, as he had to deal with rebellious subordinates and aggression of the Gajapathis of Orissa and the Muslim kingdoms in the north. Krishna Deva Raya won the Gajapati kingdom in present day Orissa and extended the Vijaya nagara empire to that region as well. Krishna Deva Raya defeated the Deccan Sultans in the battle of Diwani. He then invaded Raichur Doab(between Tungabhadra and Krishna river , known for its fertile soil) confronting Sultan of Bijapur , Ismail Adil Shah . He also captured Bidar . He helped the Portuguese to conquer Goa from the Bijapur rulers in 1510 and maintained friendly relations with them. This relationship also helped him obtain high bred Arabian horses and expansion of overseas trade of the empire. Portuguese travelers Domingo Paes and Durate Barbosa visted his court and have left accounts. Krishna Deva Raya was a contemporary of Babur. So, when the First Battle of Panipat(1526) was fought, Krishnadeva Raya was was the ruler of Vijayanagar in the southern India. Krishna Deva Raya was a Vaishainaite but respected all religions. He was a devotee of Lord Venkateshwara of Tirupati . Vallabhacharya and Chaitanya Mahaprabhu, the renowned saints of the bhakti movement visited his court. Madhwa saint Vyasathirtha was the Rajaguru of Krishnadevaraya. He is also known as ‘Andhra Bhoja’, for his patronage of art and literature. Also known as Abhinava Bhoja, he himself was also a scholar, he wrote the Telugu work Amuktamalyada and a Sanskrit play, Jambavati Kalyana. In his court, eight eminent scholars known as ‘Astadiggajas’ were patronized, like – Allasani Peddana (Andhra-kavita-pitamaha) and Nandi Thimmanna. The imperial court had representatives of Sanskrit, Telugu, Kannada and Tamil poets, who made 18 Society, Culture, Heritage, Arts & Literature of TS

large contributions to their respective literatures. He built Vijaya Mahal, Hazara Ramaswamy temple and Vithal Swami temple at Vijayanagar . He also built ‘Rayagopurams’. A new city was built called ‘Nagalapuram’ in memory of his queen Nagaladevi. Also a reservoir across river Tungabhadra called Vallabapuram and a channel called Basavanna were constructed. Krishnadevaraya repaired and restored many south Indian temples, hence, most of the big towers on temples in south India have the name Raya gopuram in his honour. Acchutadeva suceeded Krishnadeva . The later rulers were Sadashiva Raya but defacto ruler then was Rama Raya. Battle of Rakshasa- TangadiRama Raya took active part in Muslim politics. In 1565 AD, all the Sultanates joined a coalition against Vijayanagr except Berar. The Battle of Talikota , also known as Battle of Rakshasa- Tangadi, led to execution of Rama Raya after being taken prisoner. Thereafter, the city of Vijayanagar was destroyed and looted.

Aravidu Dynasty(1570-1650 AD) • Tirumala Raya ruled in name of Sadashiva Raya. They failed to repopulate Vijayanagar and shifted to new capital at Penugonda and then to Chandragiri . The last ruler of Vijayanagar was Sri Ranga III. Administration under Vijayanagar Empire: The kingdom was divided into provinces known as Mandalam, headed by ‘mandaleshwar’. It was further divided into nadu, sthala and grams. Land revenue was fixed at 1/6th of the produce. Land revenue varied according to nature of cultivated land. There were taxes on various professions. The Ayagar system: It was an important feature of the village organization in vijayanagar. According to this, every village was a separate unit and its affairs were conducted by a team of 12 functionaries who were collectively known as the ‘ayagars’. They were granted tax-free lands (manyams) which they were to enjoy in perpectuity for their services. Once granted, these ayagars had a hereditary right over their offieces. The ayagars could also sell or mortgage their offices. For justice, very harsh punishments like mutilation of body, throwing to elephants were delivered. The army under Vijayanagar Kingdom was well organised and efficient. It consisted of cavalry, infantry, artillary and elephants. The highest grade officers in army were known as ‘Nayaks or Poligars‘. They were awarded land in lieu of their services. The Nayakara system: Under this system, the king was considered to be the owner of the soil and he distributed the lands to his nayakas. Nayakas had to pay a fixed annual financial contribution to the imperial exchequer which, according to the chronicle of Nuniz, was generally half their revenue. They were required to maintain a sufficient number of troops for the king and serve them in his war. The nayaka enjoyed greater freedom in his province. There was no system of transfer from one district to another. Society under Vijayanagar empire: The city of Vijayanagar was a luxurious society with splendid buildings. Slavery was prevalent, as mentioned by Nicolo Conti. Silk and cotton clothes were mainly used for dresses. Vijayanagar markets were noted for dealing in spices, textiles and precious stones. Religious tolerance was shown towards everyone. Muslims were also employed in the administration. A large number of temples were built during this time. Epics and Puranas were popular among masses. • Position of Women: – Women were employed in royal palaces. Some women scholars like Hannamma, Thirumalamma and Gangadevi, who wrote Madhuravijayam. Subordinate condition of women: Devadasi system was flourishing under Vijayanagar Kingdom, dancing girls were attached to the temples. Polygamy was prevalent among royal families. Sati practice was also recounted by traveller accounts. Architecture under Vijayanagar Empire: It is generally understood that the very location site of Vijayanagara was inspired by the 19 Society, Culture, Heritage, Arts & Literature of TS

existence of the shrines of Virupaksha and Pampadevi. This is supported by the fact that, the Vijayanagara kings claimed to rule on behalf of the god Virupaksha. Vijayanagar rulers began the practice of wall inscriptions containing stories of Ramayana and Mahabharata on temples. Vithalswamy and Hazara Rama temple has such inscriptions. • The chief characteristic feature of Vijayanagar Architecture was the construction of tall Raya Gopurams (gateways) and kalyan mandapas(open pavilion) with carved pillars. These mandapas were meant for seating deities on festival occasions. Amman shrines were added to existing temples. The Varadhraja and Ekamparanatha temple at Kanchipuram are also examples of Vijayanagar style of Architecture.

Foreign Visitors of Vijayanagara Kingdom: • Ibn Bututa (1333-1347 A.D.) — Moroccan traveller, who visited India during the reign of Muhammad-bin- Tughlaq. And came to Vijayanagar during the reign of Harihar I. • Nicolo Conti (1420-1421 A.D.) — Venetian traveller, who gave a comprehensive account of the Hindu kingdom of Vijayanagar. • Abdur Razzaq (1443-1444 A. D.) — Persian traveller, who stayed at the court of the Zamorin at Calicut. He has given a vivid account of the Vijayanagar city, while describing the wealth and luxurious life of the king and the nobles. • Duarte Barbosa (1500-1516 A.D.) — Portuguese traveller, who has given a valuable narrative of the government and the people of the Vijayanagar empire. • Domingos Paes (1520-1522 A.D) — Portuguese traveller, who visited the court of Krishnadeva • Fernao Nuniz (1534-1537 A.D) — Portuguese merchant, who wrote the history of the empire from its earliest days to the closing years of Acchyutdeva Raya’s reign.

11. Bahmani Kingdom • The Bahmani Sultanate or Bahmanid Empire was a Muslim state of the Deccan in southern India and was one of the great medieval Indian kingdoms. It was North Deccan region to the river Krishna. According to some Muslim historian a rebel chieftain of Saulatabad (an area around Ellora), was under Muhammad Bin Tughalaq. The sultanate was founded on 3rd of August 1347 by the Turkish Governor Ala-ud-Din Hassan Bahman Shah/ Hasan Gangu/ Allauddin Hassan, possibly of Tajik-Persian descent, who revolted against the Sultan of Delhi, Muhammad bin Tughluq . Nazir uddin Ismail Shah who had revolted against the Delhi sultanate stepped down on that day in favour of Zafar Khan/ Hassan Gangu who ascended the throne with the title of Alauddin Bahman Shah. His revolt was successful, and he established an independent state on the Deccan, including parts of present day Karnataka, Maharashtra, and Andhra Pradesh within the Delhi Sultanate's southern provinces. The Bahmani contested the control of the Deccan with the Hindu Vijayanagara Empire to the south. The Bahmani capital was Ahsanabad ( Gulbarga ) between 1347 and 1425 when it was moved to Muhammadabad (Bidar). The sultanate reached the peak of its power during the vizierate (1466–1481) of Mahmud Gawan . About eighteen kings ruled during the nearly 200 years. After 1518 the kingdom got divided into four smaller ones like Barishahi (Bidar), Kutbshahi (of Golkonda), Adamshahi( of Ahmadnagar), and Adilshahi (of Bijapur), known collectively as the Deccan sultanates. 20 Society, Culture, Heritage, Arts & Literature of TS

• History of Bahamani Kingdom : Allauddin Hassan, a man of humble origin assumed the name of Gangu Bahamani in memory of his patron, a brahmin. Hasan Gangu declared the founder of the Bahamani Dynasty and ruled it under the title of Bahaman Shah. Bahamani was in constant war with south, kingdom of Vijaynagar. Firuz Shah Bahamani left his remarkable foot prints over the Bahamani history. He was a learned man and having knowledge of many religions and natural science. He always wanted to develop the Deccan region as the cultural hub of India. He waged three battles against Vijaynagar Empire, and also extended his territories of Warangal. He gave up his kingdom and throne to his brother Ahmed shah I.Agriculture was the main economic activity of Bahamani kingdom for earning the main revenue of the state.The nobles in the Bahamani Kingdom were classified into two categories, Deccanis (old comers) and the Afaquis (new comers). They were always having problem of difference of opinion. Mahmud Gawan was a minister in Bahamani Empire who expanded and extended the Bahamani Kingdom rapidly. He was categorized as Afaqui and hence it was difficult for him to win the trust and confidence of the Deccanis. He was executed at the age of seventy by Muhammad Shah of Deccan in the year 1482 for his policy which made matters worse in Deccanis and Afaquis. • Culture of Bahamani : The Bahamani kingdom flourished in architectural monuments. In the field of architecture, the Bahamanis paved way for the distinct style by inviting architects from Persia, Turkey, and Arabia and blended it with local styles. The culture that developed during this time was a blend of both north and south styles and also had its own distinct styles. Gumbaz (the largest dome in the world) and Charminar located at Hyderabad are the world famous examples of Bahamani architecture. The Bahanamis of Deccan left an important heritage of Indo- Islamic art , language, and spread of Islamic tradition in South India. Hazrat Banda Nawaz (1321 - 1422 CE) the great Sufi saint was patronized by the Bahamani kings and his Dargah of Gulbarga is a place of pilgrimage for Hindus and Muslims alike. Mahmud Gawan arrived in Bidarfrom Persia in 1453. A great scholar of Islamic lore, he founded the Madarassa (institution) from his own funds on the line of universities of Samarkhand and Khorasan. A selefless worker, he became a prime-minister of Bahamani king Mahmud III (1462- 82) whom he tutored in earlier days. But Gawan became a victim of the palace intrigue and was beheaded by the drunken king.

12. Qutub-Shahi Era • The Qutb Shahi dynasty held sway over the Andhra country for about two hundred years from the early part of the 16th century to the end of the 17th century. Sultan Quli Qutb Shah, the founder of the dynasty, served the Bahmanis faithfully and was appointed governor of Telangana in A.D.1496. He declared independence after the death of his patron king, Mahmud Shah, in A.D.1518. During his 50-year rule, Sultan Quli extended his kingdom upto Machilipatnam . He was murdered by his third son, Jamsheed, who succeeded Sultan Quli. Jamsheed reigned for seven years till A.D.1550 but remained maligned by all for his patricidal crime. His youngest brother, Ibrahim, who was hardly thirteen at the time of his father’s assassination, fled to Vijayanagar and took refuge there. It afforded him a training ground and he learned the art of administration. • After Jamsheed’s death in A.D.1550, Ibrahim returned to Golconda and ascended the throne. Ibrahim Qutb Shah, who was known as Malkibharam in the Andhra country, was the real architect of the Golconda kingdom. He ruled the kingdom for 30 years from A.D.1550 to A.D.1580. He organised the central and provincial governments and brought them into close contact. He also introduced an efficient intelligence service which kept him informed on 21 Society, Culture, Heritage, Arts & Literature of TS

all affairs. The kingdom was made safe for travel and trade. Ibrahim had also many works of public utility to his credit. He dug lakes and tanks and laid out towns and gardens. He also encouraged local language Telugu and patronised Telugu scholars and poets like, Telaganarya and Gangadhara who dedicated their works to him. • Ibrahim took an active part in the battle of Rakkasi Tangadi in A.D.1565. It immensely benefited him in cash and territories, and the kingdom was extended to the south as far as Madras and Gandikota. • The next period of forty years led by Ibrahim’s son and grandson was an era of peace and prosperity. Muhammad Quli, son of Ibrahim, was a great writer and a builder. The city of Hyderabad was laid in A.D.1591 with magnificent buildings, straight roads and other civic amenities. For this purpose, he invited many Persians to settle down in Hyderabad and Machilipatnam. He was a scholar and a poet, composed a large number of poems in the Deccani language . Muhammad Quli was succeeded by his nephew and son-in-law Sultan Muhammad in A.D.1612. He was highly religious and a model of virtue and piety. He followed his uncle in promoting learning and architecture. The great mosque known as Mecca Masjid in Hyderabad was designed and its foundation laid by him, though the main structure of the Mosque was completed during the next four generations. • In 1463, disturbances broke out in the Telangana area of the Bahmani kingdom of the Deccan. Sultan Quli Qutbul-Mulk, a Turk who was a high-ranking military officer under Muhammad Shah Bahmani, was sent to quell the trouble. • He was successful and was rewarded by being made the subedar of Telangana in 1495, with Golconda as his headquarters. • Subsequently, with the disintegration of the Bahmani Kingdom in the early 16th century, Sultan Quli assumed virtual independence. Thus he founded the Qutb Shahi dynasty that lasted from 1518 right upto 1687, when Aurangzebâ€™s armies swept the Deccan. • Qutb Shahi dynasty spanned 171 years in the history of South India . The eight kings of this royal lineage have left a firm impression of their strong personalities upon the land and its people. • The Qutb Shahi rulers were great builders and patrons of learning. They not only patronized the Persian culture but also the regional culture of the Deccan, symbolized by the Telugu language and the newly developed Deccan kingdom.

13. Asaf Jahi Dynasty • The origins of the Asif Jahi dynasty can be traced to Chin Qalich Khan who was the grandfather of the first Nizam and the commander of the Mughal army during Aurangzeb ’s reign. Chin Qalich Khan led the attack of the Mughal army into the Deccan under his Emperor’s ambitious plans of expanding the Mughal empire. During Aurangzeb’s last siege of Golconda in 1687, Chin Qalich Khan was wounded. He died in Atapur village near Himayath Sagar. • Chin Qalich Khan’s son, Nawab Ghaziuddin Khan, married the daughter of Sadullah Khan, Prime Minister of Aurangzeb. A son was born, and the Emperor named him Mir Qumaruddin. At the age of six, Mir Qumaruddin accompanied his father to the Mughal court. Aurangzeb awarded him a mansab, and said to his father, “The star of destiny shines on the forehead of your son”. Mir Qumaruddin displayed considerable skill as a warrior and at the age of nineteen, the Emperor bestowed on him the title “Chin Fateh Khan”. At 26, he was appointed Commander in Chief and Viceroy, first at Bijapur, then Malwa and later of the Deccan. 22 Society, Culture, Heritage, Arts & Literature of TS

• Subsequently, the Mughal empire declined. There was much confusion after the death of Aurangzeb, and Mir Qumaruddin established his position as Viceroy Farukh Siar who was the Mughal Emperor for a brief tenure conferred on Mir Qumaruddin the title Nizam-ul-mulk Fateh Jung. He thus became the first Nizam. A subsequent Emperor, Muhammad Shah bestowed on him the title Asif Jah. The dynasty of the Nizams of Hyderabad thus came to be known as the Asif Jahi Dynasty. • Unrest and claims to the throne continued after the death of Aurangzeb, and amidst the general confusion, Asif Jah had little difficulty in asserting his independence from the weak occupants of the Delhi throne. At that time, Asif Jah was the Sudedar of Malwa. However, his independence was the cause of much jealousy, and the Delhi court secretly instructed Mubrez Khan, the Subedar of the Deccan, to oppose him. A battle was fought at Shakar- Khelda in the district of Berer in 1724, where Mubrez Khan was defeated and killed. This battle established Asif Jah's supremacy in the Deccan. After gaining independence, Asif Jah came to be known as Nizam-ul-Mulk. He first set up his capital at Auragabad but later moved to Hyderabad, which became the capital of the Asif Jahi dynasty. • Nizam-ul-Mulk's greatest achievement was the foundation of the Hyderabad Dominion. He attained his object by waging a struggle against the Marhattas and by the policy of non-involvement in the rivalry for power between the British and the French. His policy has been justified by later events as Hyderabad state survived right through the period of British rule upto the time of Indian independence. • Asif Jah ruled wisely and established an independent state in the Deccan. He was one of the ablest statesmen. However, his death at Burhanpur on 21st May 1748 at the age of 78, was followed by a struggle for the throne. By this time, foreign powers were spreading their tentacles. Asif Jah's second son Nasir Jung was supported by the British whereas Muzafar Jung, grandson of Asif Jah, was supported by the French. Nasir Jung succeeded; but after a brief rule he was slain in 1750 in an encounter with the French troops at Arcot. Thereupon, Muzafar Jung ascended the throne. In the following year he was murdered and his son Salabath Jung was put on the throne. In 1762 Salabeth Jung was dethroned by his brother Nizam Ali Khan, and confined at Bidar where he died in 1793. • Hence, Nasir Jung, Muzafar Jung and Salabath Jung, who were contestants for the sovereignty of the Deccan in the short span of thirteen years between the death of Asif Jah and accession of Nizam Ali Khan, have not been historically recognised as reigning Nizams. If they had been, Nizam Ali Khan would have been known as the fifth Nizam and not the second. • Nizam Ali Khan ascended the throne in 1763 and he ruled Hyderabad for almost forty years. This was one of the eventful periods in the history of India . Foremost among competitors for supremacy in the Deccan were the Marhattas and it was during this period that the famous French adventurer Monsieur Raymond was employed by Nizam Ali Khan. • Nizam Ali Khan died in August 1803 at the age of 72 years after a long and strenuous reign. • The succession of Sikandar Jah as Nizam was undisputed and he appointed Mir Alam as his Prime Minister. With the accession to the throne by Sikander Jah and end of war with the Marhattas, there commenced an entirely new era for Hyderabad. Unfortunately in 1808 the able Minister Mir Alam died and it was he who was responsible for maintaining good relations wit the British. In 1809, Mir Alam’s son Munir-ul-Mulk was appointed as Minister. 23 Society, Culture, Heritage, Arts & Literature of TS

• Sikander Jah died in May 1829 at the age of 62 after reigning for almost 26 years. Secunderabad was named after him. Sikander Jah was succeeded by his eldest son Nasir-ud-Daula. It was during his reign that Salar Jung was appointed as the Minister in 1853. Salar Jung guided the affairs of the Deccan with great wisdom and introduced several reforms to improve the finances of the Dominion. • On 17 May 1857 Nasir-ud-Daula died and his son Afzal-ud-Daula became the fifth Nizam. This was the first time the first war of Indian Independence was fought in the North and there was general disorder in the Deccan. • After a reign of twelve years, Afzal-ud-Daula expired on 26 February 1869 at the young age of forty three years, leaving behind the infant prince Mir Mahboob Ali Khan who was hardly three years old. • Mir Mahboob Ali Khan, who was born on 18 August 1866, was the only son of Afzal-ud-Daula. He was installed on the masnad by the British Resident and Sir Salar Jung, who also acted as the co-regent. Salar Jung died in 1883 and a provisional council, consisting of five members, with Mahboob Ali Khan as president and Mir Laiq Ali Khan, son of Salar Jung, as secretary was appointed for administrative purposes. • Special attention was paid to the education of Mahboob Ali Khan. With the concurrence of Salar Jung, Capt. John Clerk was appointed as his tutor. However, the personality of Salar Jung had a great influence on his life. Brought up under the guidance of this great statesman, Mahboob Ali Khan grew in his later years to be one of the greatest rulers of his time. He was a respected and dignified personality and was popularly know as ‘Mahboob Ali Pasha’. He died on Tuesday 31 August 1911. • Mir Osman Ali Khan, the seventh and the last Nizam of Hyderabad ruled for 37 years (1911 - 1948). His Dominion was lager than England and Scotland put together, with an area of 86,000 Sq. miles. • The seventh Nizam led a very simple life, yet he was one of the richest men in the world. He donated generously to every cause in India as well as abroad irrespective of caste and religion. If it was the Muslim theological school at Deoband which received financial help, it was also the privilege of the Benaras Hindu University. His list of donations included Rabindranth Tagore’s Shantiniketan and several other institutions including hospitals , schools, for famine relief , etc. The golden temple in Amritsar also enjoyed an annual donation. • The Nizam’s rule saw the growth of Hyderabad economically and culturally. Electricity, railways, roads and airways developed. Huge reservoirs and irrigation projects such as the Tungabhadra, and Nizamsagar were completed. The early work on Nagarjunasagar was undertaken. The Osmania University , Colleges and Schools were founded throughout the state. Nearly all the public buildings currently in such as the Osmania General Hospital , High Court, Central State Library, Assembly Hall, Jubilee Hall and other buildings in the Public Garden were built during Osman Ali Khan’s reign. 24 Society, Culture, Heritage, Arts & Literature of TS

Culture - Arts and Traditions of Telangana

Introduction The name ‘Telangana’ is derived from the word ‘Trilinga’ meaning the place of three lingas as according to legends Lord Shiva ’s lingams are found on three mountains Srisailam , Kaleshwaram and Draksharama which form the boundaries of Telangana. It is mentioned in the Mahabharata as Telingadesha and it is said that the people of this land sided with the Pandavas in their battle against the Kauravas in the Kurukshetra War. It is also mentioned in the Aitreyabrahmana, Ramayana and Puranas. The Art, Culture and Traditions of Telangana is a fusion of the Telugu and Persian culture dating back to the Nizams and Mughals. Hence, there is an influence of Hinduism and Islam . Since Buddhism was the dominant religion upto the 6th century it was also the home of Mahayana Buddhism. This can be observed in the monuments of Nagarjunakonda and the World University at the Sri Parvata presided over by Acharya Nagarjuna. In the 12th century the Kakatiyas and the Chalukyas revived Hinduism and Krishnadeva Raya of the Vijayanagar Empire restructured old temples and built new ones.

Art Nirmal Arts Amidst the hills and forests of Adilabad one of the districts of Telangana is the small town of Nirmal. It has been considered the land of art and crafts. The big community of craftsmen in Nirmal are referred to as ‘Nakkash’. It is said that this art form originated somewhere around 14th century. By the end of 17th century, this art took a radical transformation. This town is famous for its paintings known as Nirmal paintings. These paintings were greatly admired and patronised by the Mughal rulers in the medieval period and it is said that Lady Hydri later on brought the craftsmen to Hyderabad to promote their growth and development. In this, traditional art scenes are painted from the Hindu epics¬ Ramayana and Mahabharata. The paintings have been influenced by the Indian Schools of Art like Ajanta, Kangra and from Mughal miniatures. The colours used in these paintings especially the familiar gold colour are produced indigenously from extracts of herbs, gum, vegetable dye and minerals. The paintings, whether depicting the grace of a dancer or the rhythm of a musician, enrapture the viewer. It is said that in the past the Nizam of Hyderabad on visiting Nirmal was given a grand welcome with the artisans decorating the venue and seat of the Nizam in such a way that an intricately designed banana bud suspended over the Nizam’s seat unfurled and a cascade of golden petals were showered on the Nizam.

Deccani Paintings Deccani paintings are a style of miniature paintings which flourished among the Deccani Sultanates in peninsular India in the late 16th century. It was a combination of Vijayanagar wall paintings and Persian influence with elongated figures and landscapes with floral backgrounds. The colours used were rich and luminous predominantly in gold and white.

Kalamkari paintings These paintings originated from the word ‘kalam’ meaning pen and ‘kari’ meaning work. Colourful designs are applied on cloth using vegetable dyes. Scenes from Hindu mythology are depicted though Persian designs and motifs are included due to the influence of Muslim rulers. Hand carved blocks are used to do the outlines and main features and the pen is used for finer details. 25 Society, Culture, Heritage, Arts & Literature of TS

Cheriyal Scroll Paintings These paintings are stylised versions of Nakashi art which is an art form practised in Cheriyaldistrict of Warangal in the Telangana region. They are used for storytelling and their themesare drawn from folklore and mythology like the Puranas and Epics. The format of thesepaintings is narrative like a film role or a comic strip. They were traditionally used by theballadeer or story telling community known as ‘Kaki Padagollu’. They went from village tovillage singing and narrating their ballads with music and dance displaying these scrolls in aseries of horizontal or vertical panels on a stage erected on four poles with a horizontal bar.The length of the scroll depended on the length of the story and each scroll could have about50 panels. The panel depicting that particular part of the story would be displayed as the bardwould narrate the story. In modern times instead of a continuous scroll single pictures arepainted as wall decorations. The making of the canvas is an elaborate procedure with Khadicotton, rice starch, white mud, boiled tamarind seeds and gum water. The artists then sketchthe outline on the canvas with a brush made of a stick with squirrel’s hair. They are painted invivid hues with the red colour predominantly in the background.

Sculptures Sculptures made of stone, marble or wood are made in the Telangana region into various animal and bird forms. Sculptures of deities in various forms in intricate and aesthetic styles are crafted by the artisans. Examples of fine sculptures can be seen in the Ramappa temple in Warangal, the thousand pillar temple built by the Kakatiyas in the town of Hanamakonda in Telangana and the Alampur temples in Mahbubnagar .

Ramappa Temple: It lies in a valley at Palampet village of Venkatapur Mandal, in erstwhile Mulug Taluq of Warangal district, a tiny village long past its days of glory in the 13th and 14th centuries.An inscription in the temple dates it to the year 1213 and said to have been built by a General Recherla Rudra, during the period of the Kakatiya ruler Ganapati Deva.

This medieval temple is a Shivalaya (where Shiva is worshipped) and named after the sculptor Ramappa. It is the only temple in the world named after its sculptor/architect. Its presiding deity, Ramalingeswara, is the form of Shiva and a personal god of the Avatar of Vishnu , Rama. The history says that it took 40 years to build this temple. Planned and sculpted by Ramappa, the temple was built on the classical pattern of being lifted above the world on a high star-shaped platform. Intricate carvings line the walls and cover the pillars and ceilings. Starting at its base to its wall panels, pillars and ceiling are sculpted figures drawn from Hindu mythology. The roof (garbhalayam) of the temple is built with bricks, which are so light that they are able to float on water.

Architecture The Thousand Pillar Temple is one of the very old temples of South India that was built by the kakatiyas. It stands out to be a masterpiece and achieved major heights in terms of architectural skills by the ancient kakathiya vishwakarma sthapathis. It is believed that the Thousand Pillar Temple was built by King Rudra Deva in 1163 AD. The Thousand Pillar Temple is a specimen of the Kakatiyan style of architecture of the 12th century. It was destroyed by the Tughlaq dynasty during their invasion of South India. It consists one temple and other building. There are one thousand pillars in the building and the temple, but no pillar obstructs a person in any point of the temple to see the god in the other temple. 26 Society, Culture, Heritage, Arts & Literature of TS

Alampur Temples: There are a total of nine temples in Alampur. All of them are dedicated to Shiva. These temples date back to the 7th century A.D and were built by the Badami Chalukyas rulers who were great patrons of art and architecture. Even after a time span of several hundred years, these grand temples still stand firm reflecting the rich architectural heritage of the country.

The temples are emblematic of the Northern and Western Indian styles of architecture. They do not reflect the Dravidian style of architecture as is generally common with the temples in this region. The shikharas of all these temples have a curvilinear form and are adorned with the miniature architectural devices. The plans and decoration similar to that of the rock cut temples. The Alampur Navabhrama Temples are historically important and reflect remarkable architectural skills. Alampur was previously Known as Halampuram, Hamalapuram And Alampuram. Name of this place as Hatampura, mentioned in the inscription dated AD 1101 belongs to Western Chalukya

Cultural Sites Museums Telangana has many museums which have prized collections of different civilisations depicting the culture of the various kingdoms of the state. They are:

Salar Jung MuseumIt is one of the three National museums of India and is located in the city of Hyderabad in Telangana. The art objects were collected by three generations of the Salar Jung family with the major portion of the collection acquired by Salar Jung III (Nawab Mir Yousuf Ali Khan) who devoted his entire life to collecting rare and precious art objects. It was originally stored in his ancestral palace ‘Dewan Deodi’. Thereafter his heirs decided to form a museum to store the various artefacts, books and manuscripts in 1968. The collection comprises antiques and art objects not only from India but also from Western, Middle East and Far East countries. It is a treasure house of art from different cultures like Roman, Greek, Hindu, Jain Buddhist, Islamic and Christian culture and a cultural centre for research projects, exhibits as well as an educational centre. These include paintings, sculptures, metal ware, carvings, ceramics, ivory, lacquer ware, porcelain, metal ware, glass etc and a huge library of books, journals and manuscripts.

Hyderabad MuseumIt is located at Hyderabad’s public garden and is the state’s oldest museum. It has many galleries containing bronze and stone sculptures, paintings, textiles, manuscripts, arts and antiquities representing Vijayanagara and Chalukyan period including Buddhist artefacts.

Nizam Museum or City Museum This museum which is situated in the palace ( Purani Haveli ) of the last Nizam of Hyderabad Asaf Jah VII (Osman Ali Khan Bahadur) contains treasures which include artefacts of swords, daggers studded with precious stones, figurines, Neolithic pottery, coins of Satavahana period etc.

National History Museum This museum is located inside the Nehru Zoological Park in Hyderabad and contains many artefacts and stuffed dummies of extinct animals and birds. 27 Society, Culture, Heritage, Arts & Literature of TS

Crafts Bidri Craft This craft form is said to have originated in Iran centuries ago and brought down by migrants. It has been nourished and maintained by future generations of practitioners and is said to have derived its name from the town Bidar of the erstwhile princely Hyderabad state now currently part of Karnataka. It is the unique art of silver engraved on metal. It involves four stages of manufacturing namely casting, engraving, inlaying and oxidising. Black colours for surface ornamentation are used for Bidri art which does not fade easily and is accompanied by silver and gold coatings. An alloy of zinc and copper called gunmetal is used for this art. Flower vases, jewellery boxes, key chains and other artefacts are made which is very popular all over the world.

Dokra Metal Craft This metal craft could be seen centuries earlier in the artefacts of Mohenjo Daro. It is a bell metal craft which combines skills of metallurgy with wax technique and though it originated in West Bengal , Chhatisgarh and Jharkhand it travelled to Orissa and Andhra Pradesh mainly in the district of Adilabad. Dokra is an ancient technique of casting wherein wax threads are wrapped around an inner core of clay model. Molten brass or bronze is poured into an opening which has been covered with another layer of clay. It is a very labour intensive work and each piece crafted is different from the other. Simple art forms and traditional designs are made like tribal Gods, figurines, caskets, bowls etc and its aesthetic beauty is in great demand in India and abroad.

Nirmal toys and handi crafts Initially the Nirmal artisans restricted themselves to art form. But later local talent was exploited and decorative and utility articles began to be manufactured. Nirmal toys are carved out of Puniki wood or ‘Puniki Chekka’ which is flexible and light and can be cut into various shapes and sizes. The various parts of the toys are then coated with ‘Chinta Leppam’ which is a specially prepared glue prepared from boiled tamarind seeds and sawdust and coated with white clay which smoothens any depressions or ridges present in the toys. The artefacts and wall plaques are made of teak wood which is well finished on lathe before painting the preconceived design. Then Duco paint in the desired background colour is sprayed on the plaque and finally the artisan paints the design. The quality and beauty of the finished products is breath taking. In modern times experimentation with various hues and shades without moving away from tradition has been evolved. A variety of aesthetic household and office furniture and decorative furnishings too are made by the craftsmen.

Banjara Needle Craft This needle craft is practised by the Banjaras or tribals of Telangana. It is made up of needlework with geometric patterns of squares, diamonds and triangles. Colourful and different types of stitches with mirror work, beads and shells are made on rich and brightly coloured clothes. These are different from the embroidery and design work of the tribals of Gujarat and Kutch region. These beautiful designs and intricate patterns are used in clothes, bags, bedspreads and bring an exotic look to the decor of a place. Bronze Castings The bronze castings of Telangana are world famous and detailed information can be obtained from the Shilpa Shastras which is a text from the Gupta period on the methodology of casting images in metal. The Vishnusamhita an appendix to the Vishnu Purana refers to wax modelling for making metal objects. The ancient Sanskrit text Manasara Shilpa has a chapter entitled Lost wax Method or Maduchhistha Vidhanam giving details of casting idols in wax. The Abhilasitartha Chintamani or Manasollasa written by King Bhulokamalla Someshvara of the Chalukya dynasty gives detailed description of lost wax and casting methods. Srikumara’s Silparatna contains instructions on the hollow casting procedure. Studying all these detailed procedures the craftsmen make the idols 28 Society, Culture, Heritage, Arts & Literature of TS with accurate measurements and descriptions of the deity in proper proportion bringing out the salient features and characteristics. Several coatings of clay on a finished wax model are used to create the mould which then imparts intricate curves to the cast image.

Lacquer Ware Lac is said to have been first mentioned in 1590 AD in Aaine Akbari written by Abul Fazl. Lac is a gummy deposit obtained from insects which are tiny and red in colour and which thrive on certain species of trees. This craft involves applying lacquer on wood in different colours which is done on a lathe or ‘turned toys’ and can be machine or hand operated. A light species of wood called Ankudu karra is generally used and the lacstick is pressed against the woodenware to be lacquered. Designs are painted on toys and figures using a brush. The lac is applied in a dry state. The lac is softened with the help of the heat evolved from the friction during the revolving of the woodenware and enables the colour to stick. The most popular form of lacquer ware are the lac bangles studded with mirrors, beads and stones in attractive colours and designs. Besides this many decorative items like bowls, vases, containers etc are made.

Telangana has a music tradition of Carnatic music and folk music. The different forms of folk music are Oggukatha It is a traditional folk singing art carried out by some communities who sing songs in the form of ballads in praise of their tribal Gods and on Lord Shiva moving from one place to another. They narrate and dramatise the stories of the Gods. Sarada Kala In this the story tellers or balladeers narrate stories in song form using the Sarada stringed instruments.

Dances Perini Shivathandavam Perini Shivathandavam is a dance which originated in the Kakatiya dynasty which ruledfor nearly two centuries and established their kingdom in Warangal. It was performedin front of the idol of Lord Shiva before the soldiers set out to fight in the battle. It is called the ‘Dance of Warriors’ and is usually performed only by males. Evidence of this dance form can be seen in the sculptures of the Ramappa temple in Warangal in the sanctum sanctorum or Garbha Gruha of the main temple. This dance is performed vigorously to the beats of drums as the dancers feel the power of Shiva entering their body as they invoke him in a deep abstract way and is considered highly invigorating and intoxicating. This dance form was on the verge of extinction after the decline of the Kakatiya Empire but has been revived in recent times.

Gobbi Dance It is performed during the Sankranthi festival and derives its name from ‘Gobbillu’ or ‘balls of cow dung’ which are placed in the middle of rangoli designs made in front of houses. These are then worshipped along with rituals, kumkum, turmeric and flowers. In the evening young girls sing and dance around the Gobbillu in a circular manner similar to the Garbha dance of Gujarat.

Burra Katha This is a form of storytelling using a musical instrument called ‘Burra’. This art evolved from a dance called Tandana Katha which was a popular means of entertainment for the rural masses. A Burra Katha group consists of three artistes the main artist being in the centre dressed with a long flowing dress called angaraksha , a colourful turban with a crest feather, a tight pyjama or dhoti , a colourful waistband and musical bells on his ankles. He holds a 29 Society, Culture, Heritage, Arts & Literature of TS

Burra (a kind of Tambura) in his hand and sings the ballads while playing the instrument. He is called the storyteller or Kathakudu and his stories are based on mythology or history. He also wears a metal ring called Andelu in his right hand and holds another ring in his left hand and beats music with them. He is accompanied by two other artistes one on either side called Vantalu who are similarly dressed and play the instruments called Barralu or Budigalu or dhaki which are earthern drums of two heads. One of them is called the Rajkiya who enlivens the session with his satirical political and social commentary and the other is the Hasyam clown for comic relief. The ballad compositions contain a variety of songs in content and form in different meters.

Dandaria dance This dance is generally performed by the Gonds of the hilly region of Northern Hyderabad with Dandas or sticks. The male dancers wear colourful costumes and strike their sticks dancing to the accompaniment of trumpets and drums with musicians leading the procession. They go from village to village and even the hosts sometimes accompany them in their dance. According to the Gond legend, Dandaria was an ancient Gond hero who was the creator of this dance and he was originally a descendant of the Pandavas thus the Gonds believe they too are descendants of the Pandavas and joyously celebrate this dance.

Dhamal Dance This dance is in mime form and performed by the Siddhis of Hyderabad region. The Siddhis are said to be originally from Africa and Abyssinia who were brought into Andhra as slaves in the 12th century to perform guard duties in the palaces by the Hindu Kings. The ruling classes used them as sailors, soldiers and guards. It is in the form of martial art using shields and swords and they perform various steps and is a ceremonial dance performed during marriages to the accompaniment of various musical instruments. Their exotic dances with special war like movements and exotic colourful costumes reflect the flavour of their land of origin.

Mathuri Dance This is a special dance performed by the Madhuri tribe of Adilabad during the rainy season of the month of Shravan . Unlike in most of the dance forms which are performed predominantly by men including roles of women, this dance is performed by both men and women with men in the outer semi circle and women in the inner circle. The men strike small sticks while women clap to the accompaniment of secular and devotional songs. These tribes were said to have been originally from Mathura and hence their dance is said to bear resemblance to the Ras Leela dances of Uttar Pradesh .

Bhamakalpam and Gollakalapam These are famous folk art forms of traditional drama written by Sidhendra Yogi in the 7th century. Kalapam is a one act folk play in a simple traditional dance drama form. A Sutradhar gives the main running commentary of the sequence and each character narrates his story with another character making comments or asking questions. The main emphasis is Satthvikabhinaya with Bhakti or Shringar Rasa. This dance form with emphasis on moral values was initiated by Sidhendra Yogi to differentiate it from the dances performed by the nautch girls of those times. He trained young boys from the Brahmin community with complex expressions and elaborate gestures as in the Kuchipudi dance form with philosophical stories forming the main theme wherein a simple milkmaid explains to an erudite Brahmin concepts of Dharma and the philosophy behind the various incarnations of God on earth. 30 Society, Culture, Heritage, Arts & Literature of TS

Festivals Besides the common festivals celebrated throughout the year there are many festivals significant to the region. They are:

Bathukamma This festival is celebrated by the women of Telangana during Mahalaya Amavasya or Bhadrapada Amavasya in the month of September – October during Navratri for a period of nine days and is now declared the State Festival of Telengana. The first day is on Mahalaya Amavasya and the last day culminates on Ashwayuja Ashtami or Durgashtami two days before Dussehra. This day is called Pedda Bathukamma or Saddula Bathukamma. ‘Bathukamma’ or ‘Divine Mother Gauri– Life Giver’ is said to be the patron Goddess for women. Women dress up in traditional finery, clean their courtyard, use cow dung as base and decorate it with various designs of Rangoli using rice flour. For the first five days five small cone shaped lumps with cow dung are arranged in the courtyard. Men help in gathering various kinds of flowers including rare and wild flowers found in the various plains of the region. These flowers are decorated and scented and stacked in a conical mound with a lotus or pumpkin flower on the top along with a symbolic mound of turmeric depicting Goddess Gauri. In the evening women form a circle around it clapping and singing folk songs slowly revolving around in small steps. The songs invoke the blessings of the various Goddesses for the happiness, good health and prosperity of their families.

Boddemma This festival commences nine days prior to Bathukamma festival and concludes on Mahalaya Amavasya. It is a festival for unmarried girls. The courtyard is cleaned and decorated with turmeric, flowers and Rangoli. An image of Boddemma is prepared in seven layers with earth in the shape of a Gopura. In the evening all unmarried girls sing and dance around it praying to the Goddess for an early and successful marriage.

Bonalu This festival is celebrated to pray to Goddess Mahakali and began during the period of the Nizams. It is said that during the outbreak of plague in the 18th century in Hyderabad, people prayed that they would instal an idol of Mahakali if the disease was destroyed and hence this festival is celebrated. Another version states that the Goddess returns to her parental home in the month of Ashadi and the occasion is welcomed and celebrated as Bonalu . Women and unmarried girls dress up in traditional finery dancing with Bonam (balancing pots) to the rhythmic beats of drums. Devotees offer a Thottelu or a small colourful paper structure supported by sticks as a mark of respect. The brother of the Goddess represented by Pothuraju is a man anointed with turmeric and vermilion draped in a red dhoti with bells in his ankles who dances to resounding drums and leads the female dancers to the temple. Streets are decorated with neem leaves and the Goddess is offered cooked rice with milk and sugar in brass or earthern pots decorated with neem leaves, turmeric and vermillion.

Sadar The people belonging to the Gola caste or the Yadav community celebrate this festival on the second day after Diwali and it is also known as the Dunnapothula Panduga or the Buffalo festival. Buffaloes are decorated in festive colours, turmeric with bells around their necks and are taken around the streets. Competitions are held and awards are presented to the owners of the buffaloes. Samakka Saralamma This festival is held once every two years in the month of February and is celebrated for four days attracting a large number of pilgrims to Warangal. Samakka and Saralamma are the mother and daughter duo revered as tribal Goddesses. According to legends they fought against 31 Society, Culture, Heritage, Arts & Literature of TS the unjust and unfair rulers of the kingdom and are worshipped and revered to this day. All the tribal population gather together and offer prayers and Thulabaram (offering objects equal to body weight) generally of jiggery to the Goddesses. They then take a dip in the Jampanna Vagu where Jampanna was said to be the son of Samakka and he died sacrificing his life for the sake of the tribal people in his battle against the Kakatiya rulers.

Bhimanna or Ayak This festival is celebrated by the Kolam tribes of Adilabad and falls in the Kolam month of Satti. It lasts for three days. Bhimanna or Ayak is the principal deity of the Kolam tribe. He is represented by a carved mace of wood crowned with peacock feathers, a pot with a belt of bells or anklets and small dolls made of mud, which are stored in a thatched shed. On a holy Thursday these relics are then brought to the heart of the village. The deity is then bathed at a hill stream and brought to the enclosure and animal or fowl sacrifice is carried out and offered to the deity. The meat is then cooked and offered to everyone.

Yedupayala This annual festival is held in Medak on the holy Mahashivaratri day in a sacred place where the seven tributaries of the Manjira River join and flow together.

Nagoba Jathara The Nagoba Jathara that occurs in the village of Keslapur in Adilabad district . The Jathara is an annual celebration by the Mesaram clan of the Gond tribes is a five day event. It is a huge event which receives participation from the Gond tribes of Maharashtra, Chhattisgarh, Orissa and Madhya Pradesh.Members of the Mesaram clan revere the serpent God Nagoba which forms the main essence of this Jathara. The Nagoba, also known as Shesh Nag, is the divine serpent of Lord Shiva.Part of this ritual includes introducing newly married women to the clan by paying tribute to Nagoba, the serpent God. Women who have been married earlier but for some reason have not been able to participate in this ritual are also included. The women along with their mother-in-law touch the feet of the priests and carry a new earthenware pot to fetch water from Hastina madugu of river Godavari in Jannaram mandal near to Nagoba temple. The water is then used to make an anthill which is subsequently worshipped as a sacred object. The women then congregate at the ‘Govad’ an enclosure close to the temple and prepare Naivedyam or offering to the Lord on 22 makeshift ovens corresponding to the 22 of the Mesaram clan. The Naivedyam or the offering to the Lord comprises nine different types of food grains. The women cover their faces with their own saris and reveal their faces to Nagoba on entering his shrine. This indicates that the Lord is the first person they behold when they enter the clan on the new moon day. This is considered to be extremely auspicious for the new entrants.

Alai Balai Alai Balai is a cultural event held during the Navarathri festivities before Dussherah The festival aims to spread brotherhood among people.The festival was started by MP and Minister Bandaru Dattatreya , at Nizam College , but is now held at Jal Vihar, Tank Bund.The event is well attended by all sections and politicians of all regions. A typical ambience of the rural area in Telangana is created and is popular for the food festival for its traditional food delicacies.

Conclusion Telangana has a rich culture and tradition and the artefacts and crafts made by the artisans are in great demand throughout the world. Their historical designs on cloth and their folk and traditional arts are well known and have been passed down to generations of artisans and weavers. 32 Society, Culture, Heritage, Arts & Literature of TS

Historic Places of Telangana

1. Charminar • The Charminar is a monument and mosque in Hyderabad, India. The structure was built in 1591 CE. It is the most famous building of Hyderabad and also one of the most famous buildings in India. It was built by Muhammad Quli Qutb Shahi to celebrate the end of a deadly plague. The Charminar lies near the bank of the river Musi. Charminar is taken from two words Char and Minar which translate as Four Towers in English, soar to a height of 48.7m each, above the ground. • The structure is of Indo- Islamic architecture with some Persian elements. It was built with granite and lime- mortar. It is a blend of 'Cazia' and Islamic style of architecture. The intertwined arches and domes are examples of typical Islamic style of the architecture. The city of Hyderabad was divided into four divisions equally around the Charminar.

2. Golconda Fort • Golconda derives its name from the Telugu words Golla konda meaning ‘shepherd’s hill’. Its establishment dates about 800 years back and was founded by Kakatiya kings of Warangal. It rose to power and fame when Quli Qutub Shah of Qutub Shahi dynasty decided to operate from there as his capital fort. It was during this dynasty’s rule that the fort expanded to a much larger area and turned out be a massive one made of granite. • An interesting fact about this historical landmark is the mind-blowing acoustic effect it produces. A clap made at the entrance gate can be heard even at the highest point of the fort called ‘Bala Hissar’ situated a kilometre away. This engineering miracle during those days is indeed remarkable and was implemented so as to protect the fort from enemy attacks. In ancient times, this was the only known source of diamond across the globe and was known for producing Kohinoor, Darya-e-nur and Hope diamonds.

3. SalarJung Museum • The Salar Jung Museum was established in 1951. The major portion of the collection of the museum was acquired by Mir Yousuf Ali Khan, popularly known as Salar Jung III. In the absence of any direct descendants of Salar Jung III, the Government of India appointed a Committee to administer the Salar Jung Estate. Later on with the idea of perpetuating his name, the Salar Jung Museum was brought into existence on 16th December, 1951 in Diwan Deodi, the residential palace of Salar Jung III and opened to the public by Pandit Jawarharlal Nehru, the then Prime Minister of India . In 1958, the Government of India took over the museum through a compromise deed. In 1961, through an Act of Parliament, the Salar Jung Museum along with its library was declared as an “Institution of National Importance”. Mir Yousuf Ali Khan was not only a collector of antiques but he also patronized poets, writers and artists, encouraging literary and cultural activities. He continued with his zeal as an art connoisseur till the very end of his life enriching his art collections and died as a bachelor on 2nd March,1949 at the age of 60.

4. Warangal Fort • Warangal Fort is located in Warangal District of Telangana. This fort was formerly the pride of Andhra Pradesh. This early medieval historical monument was erected by the Kakatiya Kings of 13th century. Although precise 33 Society, Culture, Heritage, Arts & Literature of TS

dating of its construction and subsequent enhancements are uncertain, the historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors - Rudramadevi and Prataparudra - added to its height and added gateways, square bastions and additional circular earthen walls prior to the death of Rudramadevi in the year 1323. The construction of Warangal Fort, happened towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthen wall • Warangal Torana was also built by the Kakatiya Kings of Warangal of 13th Century. Now the Torana is the symbol of the Government of Telangana . The Toranas were present because, Warangal is the erstwhile capital of ancient Andhra Pradesh during 12th to 14th century. It is one of the fine examples of Kakatiya architecture.

5. Bhongir Fort • It was built in 10th Century on an isolated monolithic rock by the western Chalukya ruler Tribhuvanamalla Vikramaditya VI and was thus named after him as Tribhuvanagiri. • At the foot of the fortified rocks 609.6 meters above the sea level stands the town of Bhongir, it has a unique egg-shaped construction with two entry points protected by huge rocks, so the fort was considered practically impregnable by invading armies. The splendid historical fort with the awe-inspiring rock and the aesthetically fortified courts which have stood the ravages of time stir the imagination of tourists. A moat that encircles the fort, a vast underground chamber, trap doors, an armoury, stables, ponds, wells etc., can make interesting viewing. The view from the top of the surrounding countryside can be impressive. The Bala Hisar or citadel on the top of the hill gives a bird's eye view of the neighbouring area. The fort is associated with the rule of queen Rudramadevi and her grandson Prataparudra.

6. Medak Fort • Medak Fort is in Medak district about 100 kilometres from the state capital, Hyderabad. It is a huge structure located on the top of a hill, which was built about 800 years back in Medak. Built about 90 metres height from ground level and spread in about 100 acres on the hilly area, the fort attracts ones attention. On the top of the third gate, at both left and right sides the ‘Ganda Bherunda,' emblem of Vijayanagara Empire built by Srikrishna Devaraya, stands out. It was believed that the fort built by Kakatiya's was renovated by Qutub Shahis's around 400 years ago. The Medak fort, which was ruled by two dynasties -- Kakatiya's and Qutub Shahi's .

7. Medak Church • Medak Church stands at 173 feet tall made of solid white granite. The church, the single largest diocese in Asia and the second largest in the world after the Vatican is built in solid white granite. Medak Church was constructed between 1914 and 1924 and Thomas Edward Harding who is an architect put in all his best efforts building the cathedral. For the floor, tiles from famous potteries were shipped from England. The tile's design is an intricate one in six colours - red, brown, black, yellow, chocolate and grey. The three stained glass windows makes the church apart, created by Sir Frank O' Salisbury of London who painted them in a small studio for nearly 40 years. 34 Society, Culture, Heritage, Arts & Literature of TS

8. Nirmal Fort • The region was ruled by Kakatiyas, Chalukyas, The Qutubshahis and Nizams who have contributed immensely to the growth of cultural heritage. • This legacy of the heritage is seen in the town where the French established a strong presence by building a magnificent fort, which stands majestically till date. The French who were reportedly very much fascinated by scenic beauty of Mother Nature here built the Nirmal fort which is also called as the Shamgarh fort.

9. Kolanpak • Kolanupaka came into prominence when it was made the capital of the Kalyani Chalukyas in the 11th century AD. The State Department of Archaeology and Museums established a sculptural gallery, which exhibits artefacts collected from the various historical monuments of Kolanupaka. Artefacts from both the Chalukyan and Kakatiyan styles are displayed in the museum. The museum has more than 100 images collected around Kolanupaka. • Situated here is the renowned Jain Mandir with a 1.5 metre high idol of Lord Mahavira , built during the Rastrkuta- Kalyani Chalukyas times. Other attractions here include the Sri Veeranarayana Swamy temple built around 1104 A.D., Someswara Swamy temple which is a splendid example of the Chalukya architecture. Kolanpaka Museum where artefacts from the Chalukyan and Kakatiyan period are on display.

10. Pembarthi • Pembarthi village in Warangal District is the hometown of this art. This art form, as the name suggests was popularised by the Pembarthi village sheet metal workers of modern day Warangal during the reign of Kakatiyas. • During the Kakatiya rule, sheet metal work adorned the chariots of the kings and noblemen and the idols of the Gods. With the increasing number of temples during the Kakatiya rule the Pembarthi sheet metal work reached the peak of its popularity. With the decline of the Kakatiya kingdom, the subsequent Muslim influences resulted in the entry of the sheet metal wares into the house holds in the forms of 'Pandans' (small boxes for carrying beetle nuts), 'Itar' pots (scent containers), vases, hanging metal lamps, plaques etc. The following years saw a mixture of both the cultures in Pembarthi articles. The art wore a secular look.

11. Falaknuma Palace • One of the finest palaces in Hyderabad, India. It is located in the common capital area shared between the states of Telangana and Andhra Pradesh. It belonged to Paigah Hyderabad State, and it was later owned by the Nizams. It is on a 32-acre (13 ha) area in Falaknuma, 5 km from Charminar. It was built by Nawab Vikar-ul-Umra, prime minister of Hyderabad and the uncle and brother-in-law of the Nizam VI, Nawab Mir Mahboob Ali Khan Bahadur.[2] Falak-numa means "Like the Sky" or "Mirror of the Sky" in Urdu . An English architect designed this palace. The foundation for the construction was laid by Sir Vicar on March 3, 1884. He was the great grandson of Khuddus, a scientist who was a friend of Sir Charles Darwin.It took nine years to complete the construction and furnish the palace. Sir Vicar moved into the Gol Bangla and Zanana Mahel of the Falaknuma Palace in December 1889 and closely monitored the finishing work at the Mardana portion.It is made completely with Italian marble and covers an area of 93,971 square meters.The palace was built in the shape of a scorpion with two stings spread out as wings in the north. The middle part is occupied by the main building and the kitchen, 35 Society, Culture, Heritage, Arts & Literature of TS

Gol Bangla, Zenana Mehal, and harem quarters stretch to the south. The Nawab was an avid traveler, and his influences show in the architecture. The Falaknuma palace is a rare blend of Italian and Tudor architecture. Its stained glass windows throw a spectrum of colour into the rooms. • One of the highlights of the palace is the state reception room, whose ceiling is decorated with frescoes and gilded reliefs. The ballroom contains a two-ton manually operated organ said to be the only one of its kind in the world. Thepalace has 220 lavishly decorated rooms and 22 spacious halls. It has some of the finest treasure collections of the Nizam. Falaknuma houses a large collection of rare treasures including paintings, statues, furniture, manuscripts and books.The jade collection of the palace is considered to be unique in the world. The famed dining hall could seat 100 guests at its table. The chairs were made of carved rosewood with green leather upholstery. The tableware was made of gold and crystal to which fluted music was added. The length of the table is 108 feet, and breadth is 5.7 feet and height is 2.7 feet. The palace has a library with a walnut carved roof: a replica of the one at Windsor Castle. The library had one of the finest collections of the Quran in India.The ground floor of the palace housed the living quarters. A marbled staircase leads to the upper floor. It has carved balustrades, which supports marble figurines with candelabra at intervals. There is a billiards room. Burroughs and Watts from England designed two identical tables, one of which is in Buckingham Palace and the other in the Falaknuma palace.On the walls of the landing are many oil paintings and photographs of notable personages.The Falaknuma Palace also has the largest collection of Venetian chandeliers, with 40 138-arm Osler chandeliers in the halls.The telephone and electrical system was introduced in 1883 by Osler and the palace has one of the largest electrical switchboards in India.The palace was the private property of the Nizam family, and not normally open to the public, until 2000.

12. Qutub Shahi Tombs • The tombs of the seven Qutub Shahi rulers in the Ibrahim Bagh (garden precinct) are located close to the famous Golkonda Fort in Hyderabad, India. The galleries of the smaller tombs are of a single storey while the larger ones are two storied. In the centre of each tomb is a sarcophagus which overlies the actual burial vault in a crypt below. The domes were originally overlaid with blue and green tiles, of which only a few pieces now remain.They lie about a kilometre north of the outer perimeter wall of Golkonda Fort and its Banjara Darwaza (Gate of the Gipsies, or itinerant merchants), amidst the Ibrahim Bagh.The tombs form a large cluster and stand on a raised platform. The tombs are domed structures built on a square base surrounded by pointed arches, a distinctive style that blends Persian, Pashtun and Hindu forms. The tombs are structures with intricately carved stonework and are surrounded by landscaped gardens. The tombs were once furnished with carpets, chandeliers and velvet canopies on silver poles. Copies of the Quran were kept on pedestals and readers recited verses from the holy book at regular intervals. Golden spires were fitted over the tombs of the sultans to distinguish their tombs from those of other members of the royal family.

13. Thousand Pillars Temple • The Thousand pillars temple which is located in Hanamkonda is one of the most important parts of the Warangal City. The temple was constructed in the 1163 AD by the great Rudra Deva. Every part of the temple depicts the typical Chalukya style of architecture. The Thousand Pillar temple has three shrines inside the temple called the 36 Society, Culture, Heritage, Arts & Literature of TS

Trikutalayam with presiding deities, Lord Vishnu, Shiva and Surya Deva. The temple stands as a statement of the finest of arts of the Kakatiyas. It was desecrated by the Tughlaq dynasty during their invasion of the Deccan.

14. Badshahi Ashurkhana • Badshahi Ashurkhana is one of the most important structures of Telangana. This ancient monument shows the architectural grandeur of Mughal era. It is a mourning place for Shias during the festival of Moharram near Charminar in Hyderabad, India. It is a house of mourning constructed in memory of martyrdom of Imam Hussain. It was built by Muhammed Quli Qutb Shah in 1594, three years after building the Charminar. The Ashur Khana stands today with enamel tiles that have retained their lustre and vibrant colours even after four centuries. The intricate design in hexagons is exquisite.

15. Gandhari Khilla (Gandhari Kota) • Gandhari Khilla is a hill fort located near Bokkalagutta, in Mandamarri Mandal in Adilabad district in the south Indian state of Telangana. The fort was built in the 12th century by the Gondu tribals with the help of the Kakatiya people of Warangal. Archaeological work suggests that construction of the fort was begun early as the Rastrakuta era (prior to 1200 A.D.) and continued until 16th century. All the sculptures, gate (thoranam) and pillars were constructed in Kakatiyas style. By observing the decorations, the shanku and chakra, beside every sculpture we find that they are dedicated to Vishnu, while Kakatiyas worshipped Shiva. The script of Shree Oddi raju anantha raju shasanam. Basically it belonged to the Kingdom of Gondus, but later on Oddi raju anantharaju occupied it. Later it was controlled by the Qutub Sahi Sultanate (1518–1687). In 1656, the ruler of Golconda. • The fort was built within a thickly forested area which has a wealth of plant species which includes many medicinal herbs. The fort has not been fully excavated and is still partially covered by forest. Mahankali Jatara (quarry jatara) is conducted every year which attracts more than 10,000 people. Gandhari maisamma jatra is done in the temple on the fort of Gandhari for every 2 years and tribal people from Vindhya region i.e Maharastra, Chattisghad on the other bankside joins it.

16.Alampur • Alampur is a town situated on the banks Tungabhadra River, and is considered as the western gateway of Srisailam. The popular temple stands as a testimony to Chalukya Art and Culture. The Tungabhadra and Krishna are seen in a confluence near Alampur, and hence it is also know known as Dakshina Kailasam. It is also said that Brahma had performed a great penance at today’s Alampur for thousands of years, and he pleased Lord Siva who conferred the powers of creation for him. Hence, the deity is also called Brahmeswara and the goddess as Yogini or Jogulamba, a synonym for mother Parvathi.

17.Elgandal Fort • Originally known as Veligundula, Elgandal is a hillfort built during the Kakatiya dynasty (1083–1323) and served as a stronghold for the warrior Musunuri Nayaks and Recharla padmanayaks. The Qutb Shahi dynasty occupied the fort in the 16th century and posted Quinamul Mulk as commander. Subsequently, it fell under the administrative control of the Mughal Empire.Amin Khan was appointed as Khiledar of Elagandal during the 37 Society, Culture, Heritage, Arts & Literature of TS

reign of Nizam of Hyderabad Nizam-ul-Mulk, Asaf Jah I (r. 1724–1748) followed by Muqarrab Khan. Mirza ibrahim dhamsa became Khiledar during the reign of Nawab Salabat Jung. Dhamsa rebuilt and strengthened the fort in 1754 during the reign of Sikindar Jha (r.1803-1823). Bahadur Khan and Karimuddin served as Khiledars. Karimnagar was named after Karimuddin. While reorganizing the districts, Mahbub Ali Khan, the Sixth Nizam, shifted the District Headquarters from Elagandal to Karimnagar in 1905. Elgandal Fort is situated amidst palm groves on the banks of the Manair River (a tributary of the Godavari River), approximately 10 kms from Karimnagar

18. Jagtial Fort • Jagtial Fort also throws light on the rich history of rulers but stands out because it is the only star-shaped fort in Telangana that is fitted with canons. • The Mughal dynasty used it as a Defence Fort in the 17 century. During the 17th century, the fort was designed by two European engineers – Jack and Tal. It is surrounded by four water bodies – Mote pond, Dharma Samandar, Mupparaap and Kandla Palli. The place, later known as Jagtial, was inspired by the names of these two engineers. True to its name, the fort is a must visit for heritage lovers and tourists keen on culling out the history of rulers and dynasties. It bears a strong resemblance to the castles of Europe. • According to Archaeological Department officials, it was built during the reign of Nawab Ibrahim, a Governor in the Mughal dynasty. The fort has two wooden gates, which were lifted by using pulleys. This is the only star- shaped fort in the State with a moat (water body). • History says that there used to be a row of rooms for the storage of ammunition at this fort. Though a majority of structures of the fort have been destroyed over the years, the well is safe and provides water to locals in the region

19. Nagunur Fort • It was a fort built by the people of the Kakatiya dynasty in the village of Nagunur, around 8 km north of Karimnagar. The fort is testimony to the imperial powers of the Kakatiyas. It was one of the most important forts of the emerging Kakatiya dynasty and contains ruins of a cluster of Kalyana and Kakathiya temples. The origin and style of these temples can be traced back to the era of the Kalyani, Chalukyas and Kakatiyas. However, it is strongly believed to have been built during 1200- 1300AD under the patronage of the Kakatiyas. At one point of time the place was believed to house around 400 temples. Hence it came to be known as Nalugunovalu (400). This was later changed to Nagunur. • The biggest and the most prominent among these is the triple-shrine temple of Lord Shiva.The temple is made of red stone and comprises three shrines of Lord Shiva. The shrines are placed on a raised pedestal or Upapitha.

20. Khammam Fort • Khammam Fort is a fort in the city of Khammam, Telangana, India. The fort is believed to have been built by the Kakatiya rulers in 950 AD. It served as an impregnable citadel during various regimes of different dynasties, including the Kakatiyas, Qutb Shahi’s and Asaf Jahis. • Although Khammam fort was majorly under the Kakatiya dynasty, it slowly became an independent territory within the kingdom. 38 Society, Culture, Heritage, Arts & Literature of TS

• After the decline of the Kakatiya dynasty, 74 Telugu speaking feudatories of the region under the leadership of Musuluri fought for 10 long years to unify the Telugu land and they did not succeed. • Shitab khan, the army commander of the Humayin shah of the Bahmani sultanate declared Khammam as his jagir (a land fief) along with Rachakonda and Warangal in the year 1503 and ruled this fort city without getting into any troubles with the then rulers between 1503 A.D to 1512 A.D. He maintained good relations with the Qutb shahi. During this time Khammam became major city of the region and Shitab khan rose to high stature in the eyes of other rulers and this fort city was declared the regional administration capital of the kingdom. • In the turbulent regional politics of the time, Quli Qutb Shah ruler of Golconda Fort (in modern Hyderabad) was asserting his dominance and Shitab Khan had to face invasions from Golconda which was just shaking off the suzerainty of the Bahmanis.Warangal succumbed to the Golconda ruler and Shitab Khan had to flee, about 1512. He joined the service of Prataparudra Gajapati, King of Kalinga (Orissa). When the legendary Vijayanagara Emperor Sri Krishnadevaraya went on his Kalinga campaign, 1516–1517, his triumphal progress was effectively hindered by the archers of Shitab Khan at the mountain pass near Simhadri(modern Visakhapatnam district). But Shitab lost the battle and, very likely, his life there. • Khammam fort fell into the hands of the Emperor Sri Krishnadevaraya during 1515 A.D. According to Nandi Thimmana (15th and 16th centuries CE), a Telugu poet and one of the Astadiggajas in the court of the king Sri Krishnadevaraya, described this historical incident in his notable work called 'Parijathaapaharanam' as Ghambham mettu (Stambhadri or Khammam mettu) grakkuna gadalche..Raja Puthrude Sri Krishnadevaraya vibhudu’. • Meaning, The Emperor Sri Krishnadevaraya invaded the City or the Fort of Khammam. • Sultan Ibrahim Qutb Shah, the fourth ruler of the kingdom of Golconda in southern India invaded this fort around 1550 AD. Later on four Qutb shahi ruled over this historic land namely Muhammad Quli Qutb Shah (1580–1612), Sultan Muhammad Qutb Shah (1612–1626), Abdullah Qutb Shah (1626–1672) and Abul Hasan Qutb Shah (1672–1689) popularly known as Tana Shah. • Mughal emperor Aurangajeb invaded this fort in the year 1687 A.D and subsequently went into the hands of the Asaf jahi rulers.The Asaf jahis appointed a Subedar named Nizam Mulki Asal ji.He later declared independence in the year 1722 A.D. • Zafar-ud-doula was appointed as the Tahasildar in between the years 1761 to 1803, under whose rule this fort has been renovated and all the new constructions including the roads took place. • In the year 1768, Zafar-ud-doula – II was appointed as the Tahasildar. He is also the younger brother of the former. The urban settlement of Dhamsalapuram was named after Zafar-ud-doula-I (also known as Dhamsa). • The Fort and the City went into the complete control of the Government created by the Nizam's during the 1800s and by the time of the Asaf Jah VII, Mir Osman Ali Khan the fort was under complete control of the Government of Nizam in the year 1937.

21. Nelakondapalli • Nelakondapalli is a historic site encompassed by a mud fortification wall covering nearly one-hundred acre. Excavations there have unearthed several foundations of brick-built viharas, wells, cisterns, a mahastupa, terracotta figurines, a bronze idol of Buddha, a miniature stupa carved in limestone and other materials from the 3rd and 4th centuries. 39 Society, Culture, Heritage, Arts & Literature of TS

• Also of historical and, particularly, cultural significance are two archaeological sites located approximately 1.6 km from Nelakondapalli. According to local Hindu folk tradition, the sites referred to as Virataraju Dibba and Keechaka Gundam were contemporaneous to certain events described in the Hindu epic Mahabharata. The discovery of archeological relics at the sites seems to corroborate the local Hindu folk account.

22. Parnasala • When Lord Rama, Sita and Lakshmana went for their Vanvasa, they stayed in this place called Panchavati in the forest. They built a hut on the banks of River Godavari. It is said that sage Agastya in Panchavati amidst Dandaka forest chose the site. The Gowtami River, which is another name for River Godavari, flowed nearby. It is said to be the place from where Ravana abducted Sita Devi while on their exile. A small hermitage of a structure has been constructed as a replica of the Hut used by Lord Rama. The local people believe that "Sita Vaagu" a place near by is the same location where Sita used to take bath, collect the kumkum and other necessities from the forest. • Marks on the stones of the mountain are believed to be those of Sita and the chariot wheel types of Marks on the other side of the mountain are believed to be those of the chariot of Ravana when he was taking Sita forcibly on his chariot after abducting her form the parnala after tricking her. As this place witnessed the sad mood of Lord Rama this place is called as Soka Rama.

23.Pillalamarri • Pillala Marri is an 800-year-old banyan tree located in Mahabubnagar. The tree had original main trunk and many prop roots which resemble like many trunks, like its children, hence the name. Main trunk either died out or cannot be recognized among many prop roots, It is spread over three acres of land.

24. Nandikonda • Nandikonda is a small village located along the banks of Krishna River in 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. 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.

25. Deverakonda Fort • Devarakonda Fort acted as a prominent fortified defensive structure of the rulers of Recherla Velama dynasty that rules parts of Telangana after Kakatiyas. It was built in the 14th century by the Velama Kings. The territory of Devarakonda was developed by the Padma Nayaka Velama rulers. The fortress was controlled by the ruling family from 1287 AD to 1482 AD. Then the fort was ruled by Maada Naidu who was the 8th king among the Padma Nayaka rulers. He was a great warrior and an educationist apart from being a kind ruler. During his reign, Devarakonda flourished with many temples and heritage sites. 40 Society, Culture, Heritage, Arts & Literature of TS

• This fort is famous for its architectural brilliance. The fort is surrounded by seven hills with some great rocks and boulder and few forest. The fort built over a hilltop has large walls with curved bastions along with it. The fort ramparts were built with artillery and cannon points. The fort complexes are built up to 2 storeys. There are many granaries found here. It has a magazine house, large living area and few small houses. There are temples of Lord Rama and Lord Shiva inside the fort. Also there is a small lake that provided water source to the residents of the fort. Now the fort lies in ruins and acts as a tourist attraction.

26. Rachakonda Fort • The Rachakonda Fort was constructed by the Padmanayaka Velama King Anapotanayaka in the 14th century AD. Till that time the Padmanayakas had their capital at Anumagallu. At around 1360 AD the capital was shifted by Anapotanayaka from Anumagallu to Rachakonda where he built a strong fort. • Anapotanayaka split the Kingdom into two for administrative convenience and his brother Madanayaka ruled from Devarakonda. Devarakonda was subservient to Rachakonda. The Padmanayakas lost control of Rachakonda in 1430 AD to the Bahamanis but held onto Devarakonda till 1475 AD when the Padmanayaka kingdom was finally extinguished and they joined the court of Hampi Vijayanagara Kingdom. • The Rachakonda kingdom stretched upto Godavari in the North, Srisailam in the South, Bahamani kingdom in the West and Kondaveedu in the East. • The Rachakonda kings initially supported the Bahamani Kingdom but later in the war between the Bahamanis and Vijayanagara kings in 1424 AD, they switched their allegiance to the Vijayanagara Kingdom. This enraged the Bhamani sultan Firoz Shah who later signed a peace treaty with Vijyanagara and attacked the Rachakonda kingdom and conquered it. By the year 1433 AD, only a few forts remained in the control of kings of Rachakonda. • The Rachakonda kings then sought the help of Kapileswara Gajapati of Orissa and also promised him large amounts of money. He sent his son Hamviradeva (known as Ambar Roy to the Muslims) along with a large army to help the Rachakonda kings. By 1461 AD, the Rachakonda kings recovered all their lost forts and became kings of Orugallu with the help of Hamviradeva but in turn lost their independence and became tributaries of the Gajapatis of Orissa. • The Bahamni kingdom under Nizam Shah again attacked Orugallu in 1475 AD and the Kingdom was annexed by the sultan. Thus the Rachakonda kingdom originated in 1350-60 AD and was finally consumed by the Bahamanis in the year 1475 AD.

27.Domakonda Fort • Domakonda Fort was constructed initially during the age of Qutub Shahis and Asaf Jahis in Nizamabad which was remodeled in the 18th century. It is also said that the Domakonda Fort was built by the Reddy rulers of Domakonda Samsthanam in the 18th century on a spot where a fort existed earlier. Domakonda was a princely region under Qutb Shahis and Asaf Jahis. The Reddy rulers of Domakonda built the fort in the 18 century at a sight where a fort existed earlier. Domakonda Fort was primarily used as a fortified defensive structure. This fort is also called Gadi Domakonda or Killa Domakonda. It is one of the beautiful forts present in Telangana. The architecture of the fortress displays both Hindu and Muslim styles. It has an elevated compound of granite rocks that forms the fort wall, followed by the beautiful two-storied fort structure. 41 Society, Culture, Heritage, Arts & Literature of TS

28. Dhulikatta • Dhulikatta Buddhist Centre – Dated back to 2nd Century BC • Located on the banks of Hussainimiya Vagu in Peddapalli Taluk of Karimnagar District , Dhulikatta Buddhist Centre is an ancient Buddhist site. The presence of this ancient site bearing important relics and artifacts helps to add a different dimension to Karimnagar Tourism. Tracing its origin back to the Satavahana era, Dhulikatta is a rich repository of ancient relics and reminiscences which keeps history alive. • Known to be one of the thirty metropolitan areas which find mention in the ancient account of Megasthenes, Dhulikatta (a corrupted version of Dhulikota) was named after the mud fort (kota) found in its vicinity. As a result the area also came to be known as the Kota area. Rich excavations have helped unearth valuable artifacts which bring to light various mysteries of the bygone eras. The biggest and most interesting excavation has been that of a Buddhist Stupa on a mound and that of a Vihara. Both of these can be traced back to the 2nd century BC. • The excavation of the Stupa has also been accompanied by interesting relics like the embellished drum with sculptured veneer slabs and limestone slabs and the Ayaka platforms. These are platforms that extend out from the drums and are found at entrance gateways. The dome of the Stupa was built with the help of 47 stone slabs. • A study of the excavated remains reveals rich stories of the Satavahana period. The excavations have also revealed coins and seals belonging to the Romans and Satavahanas indicating the prevalence of trade relations between the two countries. • In the month of January, Dhulikatta celebrates the Satavahana festival which is held for three days.

29. Ramagiri Khilla • The Ramagiri Fort, also known as Ramagiri Khilla, located over a mountain top, is in the Peddapalli district . The fort was built in the 12th century by the Kakatiyas of Warangal. Later, it was controlled by the Qutub Sahi Sultanate from 1518 to 1687. In 1656, the ruler of Golconda, Abdullah Qutb Shah, gave the fort to his son-in-law, one of Aurangzeb's sons. The fort came under the control of the British Raj in 1791. Tradition has it that Kalidasa, one of the greatest Sanskrit poets, was motivated to compose his Meghadūta, a lyrical poem, by the Ramagiri Fort; however, Kalidasa is thought to have lived in the fifth century CE, well before the fort's construction. 42 Society, Culture, Heritage, Arts & Literature of TS

Telangana Literature

Telugu literature or Telugu Pandityam is the body of works written in the Telugu language. It consists of poems, novels, short stories, dramas and puranas. Telugu literature can be traced back to the early 11th century period when Mahabharata was first translated to Telugu from Sanskrit by Nannaya. It flourished under the rule of the Vijayanagara Empire, where Telugu was one of the empire's official languages. Telugu split from Proto-Dravidian between 1500-1000 BC. Telugu became a distinct language by the time any literary activity began to appear in the Tamil land, along with Parji, Kolami, Nayaki and Gadaba languages. Telugu is a Dravidian Language native to India.

Narrative Literature The genre of narrative literature is classified into four in the Agni Purana – Akhyayika (real/historical story), Katha (imaginary story with little truth), Khanda Katha (short story), Parikatha (fairy tale) and Kathanika (small tale). Nowadays, Kathanika is one which is dialogic and modern in language and expression of feelings. But in practice, all of these are in vogue as Katha only. Fictional narrative has become the most popular of all the literary genres. Over the last decade the genre of story has seen an exuberant bloom and international status.

Among the pioneers of modern Telangana, Vattikota Alwarswamy occupies a unique place, as he inaugurated the era of popular literature. The cultural and literary resurgence in Telangana was spearheaded by Komarraju Laxmana Rao, Ravichettu Ranga Rao and others at the turn of the 20th century. The founding of Sri Krishnadevaraya Andhra Bhasha Nilayam heralded a new epoch in literary renaissance in vernaculars and spread of socio-cultural awakening. The assertion of Telugu identity in terms of ethnicity and language gave rise to the growth of library movement and Andhra Mahasabha.

Poetic literature Lyrics or ballads have become an integral part of the poetic literature. The story of Sarvaya Papanna, a cowherd who took up cudgels against the atrocities of the alien rulers heady with power and money, has been preserved in the ballads. He even ascended the throne and ruled for a day. The ballad of Sarvaya Papanna, though it relates to the Rayalaseema region, is the main root of the Telugu folk literature and of the present day poetic community. The Telangana Telugu literary movement, influenced by the trends in the ancient, the Prabandha, the lyrical andthe modern fictional literature, is flowing on with a progressive ethos. The Telangana literary history may be classified under four periods – the early, the later, the modern and the post-modern. There are quite a few significant features in the Telangana literary edifice built during the last decade (2005-2014) on the superstructure of its long history.

To begin with, the Andhra Jana Sangam was established in 1921 with the objective of establishing more libraries in Telangana region of the erstwhile Hyderabad State. It organised several conferences and established Telugu medium schools, reading rooms in order to spread literacy among the Telugus. During the first quarter of the 20th century, library movement in Telangana emerged as one of the most significant socio-cultural movements and contributed to 43 Society, Culture, Heritage, Arts & Literature of TS public awakening. Several individuals and scholars like Madapati Hanmantha Rao, Suravaram Pratapa Reddy, Kodati Narayana etc., played a significant role in the spread of the library movement and Telugu journalism in Telangana. Suravaram Pratapa Reddy had proved beyond doubt that Telugu literature had rigorously kept up its momentum and survived the critically testing times. His literary magazine ‘Golconda Patrika’ was a trend-setting journal that published some of the finest literary works of that time.

Vattikota Alwarswamy, known as the Father of Telangana Grandhalaya Udyamam, single-handedly championed the cause of people’s library and literary movement. He occupies a unique place in the literary and intellectual world of modern Telangana for his contribution to the spread of libraries in the villages of Telangana. Although the Telangana region has the famous libraries of more than 100 years old, such as Krishna Deva Raya Andhra Bhasha Nilayam, Raja Raja Narendra Andhra Bhasha Nilayam, the credit for starting village and mobile libraries goes to Vattikota Alwarswamy.

In order to make available the printed literature to village people, he personally carried books on his head and toured the villages and enabled the village folk to access modern knowledge. He also established the Deshoddaraka Granthamala and published low-cost books and distributed them among the people. The popularisation of library movement at the gross-level by Swamy had contributed to the new socio-cultural and political awakening in the Telangana rural areas. Thus, it also contributed to the growth of anti-feudal struggles under the leadership of Andhra Mahasabha.

As an active participant in the people’s movement, Alwarswamy also produced popular literature depicting the socio-economic conditions of peasantry in Telangana as well as the social evils like Vetticahkiri, Jogini, Adapapa, and championed the cause of emancipation of oppressed classes and communities. He wrote the famous novel, Prajalamanishi, in which he portrayed the socio-economic conditions in Telangana villages, feudal exploitation, the role of educated middle classes, Andhra Mahasabha and progressive forces in anti-Nizam struggles. The novel realistically represented the prevailing socio-economic-cultural conditions, customs, traditions, and people’s resistance movements against autocratic-feudal domination in the villages. Hence, Alwarswamy was considered the first Novelist of Telangana. In the making of modern Telangana, the role and contribution of intellectuals like Vattikota Alwarswamy is immense and praiseworthy. He was instrumental in facilitating the growth of public awakening through the popularisation of libraries, journalism and popular literature.

Poets of Telangana

1. Bammera Potana Born: 1450, Bammera,Warangal District Died: 1510. Pothana was an Indian Telugu poet best known for his translation of the Bhagavata Purana from Sanskrit to Telugu. He was a Telugu and Sanskrit Scholar. His work, Maha Bhagavatamu, is popularly called as Pothana Bhagavatam in Telugu. He was considered to be a natural Poet (Sahaja Kavi), needing no teacher. He was known to be very polite and was an agriculturist by occupation. Though he was a great scholar, he never hesitated to work in the agricultural fields. 44 Society, Culture, Heritage, Arts & Literature of TS

Accomplishments - At an early age he wrote Bhogini Dhandakam a poem wrote in praise of king Sri Singa Bhoopala’s concubine Bhogini. This was his first poetic venture which had the seeds of his great poetic talents. Bhogini Dhandakam is the earliest available Dhandaka (rhapsody which uses the same gana or foot all through) in Telugu. - His second work was Virabhadhra Vijayamu which describes the adventures of Lord Virabhadhra, son of Lord Shiva. The main theme was the destruction of a yagna performed in absence of Lord Shiva by Daksha Prajapathi.

2. Kaloji Narayana Rao Born: 9 September 1914 Madikonda , Warangal Died: 13 November 2002 Warangal. Kaloji Popularly known as Kalanna was an Indian poet, freedom fighter, Anti-fascist and political activist of Telangana. He completed his primary education in Madikonda and higher education in Warangal and Hyderabad. Rao wrote poetry in the Hindi , Marathi, Telugu and Urdu languages. He was popularly known as Praja Kavi, meaning "people's poet". He started writing poetry from an early age. He composed his first poem, in 1931 while still in his teens, in reaction to the execution of Bhagat Singh, and very soon became a voracious reader and a prominent writer.

Accomplishments - Kaloji was conferred the Padma Vibhushan, the second highest award given by the Government of India, for his service in the literary and social fields. - He is a recipient of Tamarapatra in 1972. - He received the best translation award of the Andhra Pradesh Government for his work Jeevana Geetha in 1968 and Burgula Ramakrishna Rao memorial first award. - He was felicitated by the Andhra Pradesh Government in 1981. - He was honored with the title 'Praja Kavi' and has been felicitated by various literary associations of Andhra Pradesh. - In 1992, he was awarded an honorary doctorate by Kakatiya University .

3. Dr. C. Narayana Reddy Born: July 29, 1931 Hanumajipeta, Karimnagar district. Well Known Indian poet and educational minister and is considered to be an authority on Telugu literature. He is known as Cinare. Naryana Reddy married Susheela and with her had four daughters. He has instituted an award named after his wife and this is presented annually to female writers. He lives in Film Nagar , Hyderabad.

Accomplishments - Narayana Reddy won the Gnanapeet award in 1988 for his poetic work, Viswambara. - He had been awarded an honorary Kala Prapoorna by Andhra University in 1978. - Having been a recipient of the Padma Shri in 1977. 45 Society, Culture, Heritage, Arts & Literature of TS

- He was conferred with the Raja- Lakshmi Award by the Sri Raja-Lakshmi Foundation in 1988 and in 1992. - He was honoured with India's third-highest civilian award, the Padma Bhushan. - Narayana Reddy was nominated to the Rajya Sabha - the upper house of the Indian Parliament - in August 1997.

4. Dr. Ande sri Born: 1961, Rebarthi villagenear Jangaon in Warangal district Telangana state, India. Ande Sri (or Andesri) his original name is Ande Ellaiah. He is an Indian poet and lyricist. Telangana state Geyam(song) "Jaya Jaya he Telangana Janani Jaya ketanam" written by Andesri. He grew up as an Orphan and did not have any formal education. He received an honorary doctorate from Kakatiya University.

Accomplishments - A song, Maayamai Pothundamma Manishanavadu which was penned by him for the film Erra Samudram has inspired the erstwhile Andhra Pradesh University syllabus committee to include it in the Telugu second year graduation text books for the next academic year starting in 2009. This is the third song to feature in Telugu syllabi after Maa Telugu Thalliki and Telugu Jathi Manadi in the 77 years of Telugu cinema . - Kakatiya University conferred him an honorary doctorate for his contribution as a lyricist. - Nandi Award for a telugu film Ganga in the best lyrics category for the song Vellipotunnava.

5. Daasarathi Krishnamacharyulu Born: July 22, 1925 Warangal district, Telangana state, India. Died : 1987 Popularly known as Daasarathi, was a Telugu Poet and Writer. Daasarathi holds the titles Abhyudhaya Kavi and Kalaprapurna. he was an erudite scholar of Indian mythology (puranas) with a fine grip on Telugu, Sanskrit and Tamil languages. He matriculated from the Khammam Government High School but gave up higher education to join the movement against the autocratic Nizam rule in the Hyderabad Kingdom.

Accomplishments - He was also the recipient of Sahitya Academy Award for his poetic work book Thimiramtho Samaram (Fight against Darkness) in 1974. - He was also chosen as Aastana Kavi of the Andhra Pradesh Government. - Daasrathi obtained fame through his revolutionary poetry. His first book Agnidhara (Flowing Fire) was published in 1947. This book is about the Telangana Armed Struggle against Nizams rule, in which young Daasarathi served as a revolutionary. Daasartathi wrote part of his book Agnidhara while he was in jail and completed it after his release.

6. Kancherla Gopanna Born: 1620, Nelakondapalli Village, Khammam district Died : 1680 Kancherla Gopanna(Goparaju) renowned as Bhaktha Ramadasu was born in an affluent Telugu Niyogi Brahmin family to Linganna Mantri and Kamamba in Nelakondapalli village of Khammamett Taluk (Warangal Division 46 Society, Culture, Heritage, Arts & Literature of TS

of erstwhile Hyderabad State) of Telangana (Deccan region). His devotional lyrics toRama are famous in South Indian classical music as Ramadaasu Keertanalu. Even the doyen of South Indian classical music Saint Thyagaraja learned and later improved the style now considered standard krithi form of music composition.He also wrote Dasarathi Shatakamu with a 'makuTamu' 'Dasaradhee Karuna payonidhi', a collection of nearly 108 poems dedicated to the son of Dasaratha (Lord Rama).

Accomplishments Ramadasu composed nearly 300. Some of them are as follows: - Tarakamantramu in Dhanyasi - Ye Teeruga Nanu in Nadanamakriya - Adigo Bhadradri in Varali - Anta Ramamayam in Mohanam - O Rama ni namamu in Poorvi Kalyani - Paluke bangara mayena in Ananda Bhairavi

7. Mallinātha Sūri Born: Kolcharam, Medak District Mallinātha Sūri was an eminent critic, known for his commentaries on five mahakavyas (great compositions) of Sanskrit. During his times, he is said to have received the titles of Mahamahopadyaya and Vyakhyana Chakravarti. He lived during the reigns of Racakonda king Singabhupala and Vijayanagara king Deva Raya I. Based on the evidence from the inscriptions, it is estimated that he lived between 1350-1450 CE.

Accomplishments His Commentaries on Classical Epics of Sanskrit - Sanjīvanī - Commentary on Kalidasa's Raghuvamsa, Kumarasambhava and Meghaduta - Ghaṇṭāpatha - Commentary on Bharavi's Kiratarjuniya - Sarvaṅkaṣa - Commentary on Magha's Sisupalavadha - Jivātu - Commentary on Sriharsa's Naisadhiyacarita - Sarvapathīnā - Commentary on Bhaṭṭikāvya His commentaries on Śāstric works- - Tarala - commentary on Vidyadhara's Ekavali - alamkara Sastra - Niskaṇṭakā - commentary on Varadaraja's Tarkikaraksa tika

8. Gummadi Vittal Rao ( Gaddar ) Born: 1949 Toopran Gummadi Vittal Rao popularly known as Gaddar (born 1949) is a poet, pseudonym of a revolutionary Telugu balladeer. The name Gaddar was adopted as a tribute to the pre-independence Gadar party which opposed British colonial rule in Punjab during the 1910s. He attended his early schooling in Bodhan of the Nizamabad district . After completing Pre University Course (then equivalent of 12th class) from a government junior college in 47 Society, Culture, Heritage, Arts & Literature of TS

Hyderabad, he joined RECW to pursue Bachelor’s degree in civil Engineering. It is also said he has a bachelor’s degree in LAW as well.

Accomplishments - Gaddar is awarded the year’s best male playback singer award for his song “podusthunna poddumeeda..” in film Jai Bolo Telangana.2012. - Numerous songs were written, mostly by Vittal. They printed their first songbook. It was entitled "GADDAR"; after the famous Gadar Party of Punjab. Soon, whenever they went to perform on streets, the people began to say that the "Gaddar people have come". The name stuck, and from then on Vittalrao is known as Gaddar.

9. Suravaram Pratapa Reddy Born: May 28, 1896 in Boravelli village in Gadwal Died : 1953 He wrote a social history of the Telugu people , Andhrula Saanghika Charitra, which was first published in 1949 and has since gone through many editions. It was the first Telugu language book that to win the best national book award (Kendra Sahitya Academy Puraskaram). Pratapaareddy was a scholar in Sanskrit, Telugu, Urdu and English languages. He is famous for his research articles, novels, poetry, story writer, and literary critic. He compiled a list of 354 Telangana poets under the title "Golconda Kavulu" to prove that Telangana also had literature and poetry. Pratapareddy wrote approximately 40 books.

Accomplishments - Won prestigious "Kendra Sahitya Academy Award," a federal Indian government award for literature. - Editor and founder of Golconda Patrika, a journal in Hyderabad State. - Launched Telugu language journal "Golconda" for the benefit of Telangana people. Some of the short stories and poetries - Golconda Kavula Charitra, Raamayana Visheeshaalu,Hinduvula Pandagalu, Hindava Dharma Viirulu

10. Pamulaparthi Sadasiva Rao Born: July 17, 1921 in in Warangal district Died : August 26, 1996 A thinker, philosopher, and free-lance journalist. He started the magazine Kakatiya Patrika in Warangal, India, in 1948 with his cousin P. V. Narasimha Rao, later Prime Minister of India. PV Narasimha Rao wrote a story 'Golla Ramavva' in which an ordinary old woman, to express her protest against the Nizam rule, protects an anti-Nizam fighter. So also PV's another story 'Blue silk sari ' written in English had awakened the educated.

Accomplishments Among his Telugu writings were GatiTarkika Bhotika Vadam (on dialectic materialism), Charitra, Sanskriti, Kala (history, tradition, culture and art), and Tatva Shastra Praadhamika Paathalu (fundamentals of philosophy). He translated Theory of Knowledge, an English language book by Maurice Cornforth, into the Telugu Gyana Siddhantam, published by the Visalandhra Publishing House. 48 Society, Culture, Heritage, Arts & Literature of TS

11. Venkanna Born: 1963, Mahbubnagar Goreti Venkanna is a popular Indian poet and folk singer. He became popular after his song "Palle Kanneru Peduthundo" in Khubasum Telugu movie had moved the masses and virtually prevented TDP to retain power in erstwhile Andhra Pradesh State in 2004. He also became popular by acting as a judge for the folk song program Rela Re Rela on Telugu TV channel, Maa. He is one of the main Telangana separation activists. He is one of the icons of Telangana culture.

Accomplishments - Venkanna's songs are published: Eku naadam Motha, Rela Poothalu, Alasandra Vanka - 2006 Kalaratna Hamsa Award for Literature from AP State Government. - Filmography: Sriramulayya, Kubusam, Vegu Chukkalu, Maha Yagnam, Batukamma, Mysamma IPS, Nagaram Nidra Potunna Vela.

12. Suddala Hanmanthu Suddala Hanmanthu was born in Paladugu village, Mothkur mandal, Nalgonda district . His poetry inspired the people of the Telangana to participate in the Communist-led peasant struggle against the oppressive rule of feudal lords and the Nizam. This struggle was famous in Indian history as the Telangana Rebellion . His themes were freedom from the bonded labour known as Vetti Chakiri, democracy, liberation, equality and communism . His Telugu folk song, Palletoori Pillagada, mobilised the people of his region. The speech given by Comrade Ravi Narayana Reddy, the then president of Andhra Mahasabha in 1944 inspired Hanumathu and he joined Andhra Mahasabha and became a leftist. He took charge of the arts wing of the party and began writing songs for all folk forms like Burra Katha , Golla Suddulu , Pittala Dora that penetrated deep into rural minds.

13. Makhdoom Mohiuddin Makhdoom Mohiuddin or Abu Sayeed Mohammad Makhdoom Mohiuddin Khudri (4 February 1908 – 25 August 1969) was an Urdu poet and Marxist political activist of India. He was a distinguished revolutionary Urdu poet. He founded the Progressive Writers Union in Hyderabad and was active with the Comrades Association and the Communist Party of India, and at the forefront of the 1946–1947 Telangana Rebellion against the Nizam of the erstwhile Hyderabad state. He is best known for his collection of poems entitled Bisat-e-Raqs ("The Dance Floor"), for which he was awarded the 1969 Sahitya Akademi Award in Urdu. His published works include the essay Tagore and His Poetry, a play, Hosh ke Nakhun ("Unravelling"), an adaptation of Shaw's Widowers' Houses, and a collection of prose essays. Bisat-e-Raqs is a complete collection of Makhdoom's verse including his two earlier collections Surkh Savera ("The Red Dawn", 1944) and Gul-e-Tar ("The Dewdrenched Rose", 1961) He is known as Shayar-e-Inquilab' ('Poet of the Revolution'). His ghazals and lyrics have been used in many Hindi films. Among his notable are the romantic ghazals:Ek Chameli Ke Mandve Taley, Aap Ki Yaad Aati Rahi Raat Bhar and Phir Chhidi Raat, Baat Phoolon Ki. 49 Society, Culture, Heritage, Arts & Literature of TS

14. Gona Budda Reddy Gona Budda Reddy, also known as Ranganatha, (13th century CE) was a poet ruled a kingdom in Mahbubnagar district from Vardhamaanapuram (currently known as Nandi Vaddemaan) and Khilla Ghanpur (Fort Ghanpur) in modern-day Ghanpur, Mahbubnagar district. He and his family, the Gona dynasty, was mostly loyal to the Kakatiya dynasty. When he died, his brother Gona Lakuma Reddy took over the kingdom and rebelled against the Kakatiya, but his son Gona Ganna Reddy remained loyal to them in Vardamanapuram, (1262-1296 AD) indirectly supporting the rule of Kakatiya Queen Rudrama Devi against opposition to female rule. His Ranganatha Ramayanam was a pioneering work in the Telugu language on the theme of the Ramayana epic. Most scholars believe he wrote it between 1300 and 1310 A.D., possibly with help from his family. The work has become part of cultural life in Andhra Pradesh and is used in puppet shows.

15. Dasaradhi Rangacharya Dasaradhi Rangacharya, popularly known as Daasarathi (24 August 1928 – 8 June 2015), was an Indian writer and politician. He was an active member of the Telangana movement against the autocratic rule of the Nizams. He went underground and took part in the Telangana Armed Struggle till Hyderabad was liberated. He wrote Chillera Devullu, Modugupulu and Janapadam.[3] Out of those Chillera Devullu won a National Literature Award. He translated 4 Vedas, a precious of Hindu Literature, into Telugu language and Jeevanayanam is his autobiography. Srimadramayanam and Sri Mahabharatam are also his works in Telugu. Considering the feudal background and 'poor literacy rate', the two novels are widely accepted as the 'rarest of the great novels' produced in Telangana. He wrote the novels in the typical Telangana dialect, against the advice of traditional writers because he wanted them to be easily understood by people.

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The art of Telangana women and the crafting of the decolonial subject: from dialectics of 'othering' to expressions of radical alterity

2018, The SOAS Journal of Postgraduate Research

In this essay I propose a reading of the female body in art as a locus for the display, the negotiation and ultimately the overcoming of gendered and racial dialectics of ‘othering’. First, from post-medieval until pre-colonial times, white female bodies depicted in European art largely represented a gendered, sexualised ‘other’ to the Western male gaze. Successively, with the unfolding of sexual politics of colonialism, non-European female bodies on canvas became metaphorical grounds for the unravelling of racial confrontations between colonisers and colonised. Finally, in the postcolonial era, it appears that women not only subvert, but entirely disregard the subject-object dynamics that for centuries constrained them to being passive objects. From paintings by contemporary female artists in Telangana (India), it emerges that women appropriate art, expressing their own subjectivities unapologetically and independently. Overcoming at the same time the gendered marginality conferred to women in European art, and the racial dialectics of ‘othering’ pursued through gendered colonial narratives, these artists represent an eminent example of decolonisation in praxis.

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Hélène Fleury

“Mithila painting” is an umbrella term for ritual/art forms. During the Bihar drought, AIHB encouraged shifting artwork onto paper to generate income, causing socio-aesthetic changes. The resulting globalization coincided with gender/postcolonial studies, deconstructing hegemonic discourses, and male and primitivist canons. The painters/ings narratives undergo a reversal, making visible the overlapping of dominance criteria (gender, caste, class…). Evolution of Mithila art belongs to a connected history involving transnational mediators. Mithila art was a subalternised ritual before commodification. In 1917, Maharaja of Darbhanga assigns no primary function to murals, though the paintings for his daughter’s marriage were sophisticated. They were marginal to male Brahminical values. Guided by upper caste male informants, William Archer documented socalled parallels he saw to modern European art. Even if the reception of his 1949 article reifies a vision of Mithila art based on a stylistic distribution per castes, a collective, anonymous women practice, he was less essentialist than he appears. Nevertheless, his wife Mildred is invisibilized in their common work. Primitivist schemes persist in Vequaud, through a countercultural myth. He positions Mithila art at the heart of a timeless village utopia, casting Mithila as a Lost Eden. He presents painters as prophetic figures within a matriarchal countersociety spread by EMMA magazine. A discourse valuing subalternized minorities emerges by Moser-Schmitt, Ray and Naomi Owens promoting a fair trading system. Moser-Schmitt’s contribution on Mithila artists in Heresies asserts an inclusive radical feminism. Her committed anthropology contributed to the assertion of Dalit women’s identity. Filming and thinking women’s creativity contribute to thwart inequalities. An inclusive feminism emerges early in India with Women's Quest for Power (1980). The shift from a reified vision to its deconstruction has been gradual. The changing of narratives follows global flux and interareal transfers.

Feminist Engagements: Cultural Expressions and Politics

Dr. Swapna Sathish

Identity, as interpreted through gender and sexuality, is a dominant element in the works of three well-known contemporary female visual artists, Mithu Sen, Tejal Shah and Chitra Ganesh. While addressing global issues of identity, gender and sexuality, their works are derived from within the specifics of an Indian milieu referencing and re-presenting popular notions in society. Their artworks contend with the contrasting concepts of visualising the body as ‘object of desire’ (Jacques Lacan) and the ‘abject’ (Julia Kristeva). With their preferred modes of expression varying from melodrama to fantasy to dark humour, their concepts grow more relevant within the context of recent upheavals caused by the passing of landmark bills on gender and sexuality in the world’s largest democracy. Working in various media they employ strategies that challenge the binary categories and directly or indirectly question the validity of existent cultural tenets. The analysis of select artworks would endeavour to unravel how art engages with societal changes.

Rupkatha Journal on Interdisciplinary Studies in Humanities

Anindya Syam Choudhury , Dr. Amrita Bhattacharyya

In the pervasiveness of the dominant male voices in literature, the resistant female voices have traditionally got drowned. This has made the act of identification and foregrounding of the works of women an important political act, enabling women to gain agency by focusing attention on the silences and taboos on their bodies, sexualities, desires and pleasures thereby disrupting the hegemonic patriarchal establishment. It is in this context that this paper attempts to make a reading of 'Tattooed with Taboos: An Anthology of Poetry by Three Women from Northeast India', a collection of seventy-seven poems which tries to understand what it means to be a woman in a society fettered with the shackles of patriarchy. The resistance in the anthology (first published in 2011), complied by poets who hail from a peripheral province in the Indian nation-state, begins with the cover design, which powerfully foregrounds a picture of the hem of a 'phanek' (a traditional sarong-like dress worn by women in Manipur), which, because of the norm created by the social matrix of the patriarchal Manipuri society, is regarded as inauspicious and untouchable for the menfolk because of its association with the body of the woman. The paper endeavours to explore how the picture of a vilified piece of dress, symbolising the social control of women's bodies, becomes in the hands of these women poets potent cultural capital as they go about resisting in/through their poetry the sexual colonisation of their bodies and the smothering of their desires by a patriarchal society. In this context, the paper attempts to look at how the poets in this anthology try to re-historicise the pain, sufferings and trauma inscribed on the 'abject' bodies of women by questioning the existing discourse and trying to find a new way of viewing/writing their bodies. This endeavour on the part of the poets, as this paper tries to show, leads them to express a desire to trespass into spaces usually denied to women in the personal and the public.

ANTYAJAA: Indian Journal of Women and Social Change

Samhita Barooah

Based on participant observation, symbolic interactionism and feminist analysis of diverse art forms available in the public domain, the article focuses on the stereotyped notion of masculinity, which gets projected into the urban landscape of modern cities in Northeast India. It takes a critical stance on some of the prominent mascots, symbols and identities which are attached to products, services and ideologies predominantly rooted in patriarchy and gender-based discrimination. The observations shared in the article are drawn from the researcher’s field experiences and do not hold any offence to any particular agency, group, denomination or individual. It attempts to bring forth a subaltern narrative which is gradually getting erased from public memory from a queer feminist lens of locating oneself in a public space. It also questions the gender-normative imagination of modern India, which is rapidly engulfing all forms of diversity into its monoculture of development.

waseem mushtaq

In the recent past the two most radical approaches to art history in the west have been influenced by Marxism and feminism. In the west these new approaches where seminal in foregrounding the critique of the nineteenth century formalism, the aesthetic relativism of “art for arts sake” on the one hand and stress the significance of social and economic view of art and cultural context. 1

The 4th World Conference on Women’s Studies

Marie-Dominique Gil

In 1971, Linda Nochlin famously wondered « Why have there been no great Women Artists? ». In her groundbreaking essay, she analyzed a systemic situation, which prevented women from competing with male artists. In my presentation, I plan to analyze how Sri Lankan woman artists are representing the female bodies. Through Art history, representing women bodies was male artists’ privilege, leading to an all-masculine outlook on women. This is why representing themselves is a way for women to reclaim their own history, image and identity. I first intend to study how these artists are showing the female body interacting in a public space. Women bodies are undeniably focusing points of tension involving conventions, religions, and culture altogether. Besides, I will look through the way they show the female body evolving in domestic spaces. This practice allows female artists to criticize gender disparities in both public and domestic spaces. Then, I will focus my research on their attempt at representing their « post-war bodies». As a matter of fact, women are the most vulnerable population in wartimes. When they aesthetically represent them, male artists alternatively depict them as soothing allegories or war allegories. When representing themselves, female artists bring non-idealized and suffering women bodies to the public eye. To conclude, I will show how a range of Sri-Lankan women artists are confronting the effect of colonialism with their work. Showing so called "ethnic" women bodies and representing gender fluidity can then be seen as a restorative force against oppression.

South Asian review

Meenakshi Pawha

Word Image Text: Studies in Literary and Visual Cultures Ed. Shormishtha Panja et al

Dr. Sonali Pattnaik

The Matter Within: New Contemporary Art of India

Betti-Sue Hertz

Soniya Patel

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Arts and Crafts in Telangana

Telangana in South India is a powerhouse of creativity that is prevalent in the arts and crafts collection. The 29th state of India, Telangana, was newly formed on the 2nd of June 2014. It is the youngest state in India and is known for its prominent artworks, handicrafts, rich cultural history, and scenic beauty. The treasure trove of handicrafts and arts, Telangana, is also one of India's wealthiest economies, but still, many inhabitants rely on the handicraft industry. Telangana retains the title of one of the best destinations in India for the art shopping experience. Every district of Telangana has its roots associated with intriguing arts and crafts. To promote tourism, Telangana State Development Corporation Ltd was established in the state. After its establishment, Golkonda Handicraft is the official brand of arts and crafts of Telangana. The effort behind this is Telangana State Development Corporation Ltd wants to expand the reach of artistic handicrafts and make it as wide as they can. The idea was initiated to preserve the artistic values of Telangana’s inhabitants living and working in different craft pockets of Telangana. The joint capital of Telangana, Hyderabad, which is a 2-3 hours ride away, has a strong presence of handicrafts in the market. Guests can shop various arts and crafts from all over Telangana’s different regions in Hyderabad. All these efforts constitute that Telangana society has a great enthusiasm to promote their artisans and handicrafts.

What Sort of Arts and Crafts Are Found in Telangana?

Looking from the historical lens, several dynasties once used to rule here. It has the influence of Buddhists, Mughals, Persians, Britishers, and Indians as well. The blend of influences of different dynasties in Telangana could be observed in the artistic temper of the arts and crafts villages in Telangana. Its artistic values come from the different tribes and regions of Telangana. The inhabitants use traditional creation methods, from paintings to wood and metal handicrafts, including international repute textiles. Hyderabad, the joint capital of twin states - Telangana and Andhra Pradesh, is the cornerstone of crafts and arts. Over many decades, Hyderabad has listed itself as one of the best handicrafts hubs of India. Once you visit it, you will understand why the newly formed Telangana is also celebrated for its traditional roots. A few of the famous handicrafts globally known in Telangana include pearl jewelry, intricate stone carvings, and hand-printed cotton curtains. There is something undoubtedly magical about the arts and crafts of Telangana as they are unique, eye-catching, expressive, and intricate. A visit to Telangana will reveal to you how the artisan crafts have been around for centuries and passed down to families, from generation to generation. We present to you why you must forget ubiquitous handicrafts emporium.

Here are the 12 best arts and crafts of Telangana:

Bidri craft.

Bidri Craft or Bidriware is a unique art of silver engraved on the metal. It is a craftsmanship that is inspired by metal handicraft. Easily found in most handicraft shops in Telangana and Hyderabad, this is a unique metalwork technique of decoration used to create design and pattern. In the process, silver inlaying constitutes a blackened alloy of zinc and copper. As a result, the contrasting color effect is striking. History states that Bidri Craft was first incepted in Persia, but it was the Indian concept of introducing zinc as the craft's primary metal. Its history dates back to the 14th century AD under the sovereign power of Bahamai Sultans. For many locals, tourists including domestic and international, Bidri Craft is the symbol of opulence and wealth. A few decorative items made by this art are a flower vase, and jewelry, and bangles. Bidri Craft has originated from the nearby town of Bidar in Karnataka. You can go on a guided trip to or from Bidar to attend the workshop to see how and where Bidriware is made.

Banjara Needle Crafts

As the name suggests, this craft has been inspired by the nomads of Telangana. These tribal Banjaras are known to be the descendants of European Gypsies who migrated to the deserted area of Rajasthan in the erstwhile era. The key element that makes Banjara Tribe different is their vibrant color attires and jewelry. The people from this tribe are extremely perfectionist in embroidery and mirror work on tapestry. The combination of original fabrics, simple needles, and embroidery threads, when combined together, comes up with an outstanding art piece. As we mentioned, Banjara Needle Crafts was incepted in India's northern part, Rajasthan; the tribal Banjaras migrated to Deccan Plateau during the 17th century, under the sovereign powers of Mughal Emperor, Aurangzeb. Since then and has now, the nomads have scattered all around the Deccan Plateau and live in the villages, which in the local language is called “Tandas.” Colorful Ghagra, choli, and odinis have intricate embroidery following the geometrical patterns like square, diamond, and triangle. They use colorful threads in embroidery, which signifies the vibrancy in the lifestyles of Banjaras. Their craft is widely sold across India and purchased by both Indians and foreigners. The different sets of products on which these tribal nomads do the embroidery include bags, blouses, cushions, wallets, and skirts.

Dokra Metal Crafts

Highly aesthetic in nature and a collector’s delight, the products made from this craftsmanship incorporated brass elements without any joints. The whole artifact is prepared with a full handicraft technique. This craftsmanship is practiced by the inhabitants in the Jainoor Mandal, Adilabad district of Telangana. In this craftsmanship, artisan makes brass metal art objects with an excellent lost wax technique for metal casting. Also called lost wax casting, the technique is in prime use in India for over 4000 years (approx.) till today! The Dokra Metal Craft is a testament to one of the most ancient arts and crafts in India because there are a few Dokra Metal Crafts that are recovered from Mohenjo-Daro. The handicraft prepared with the lost wax technique is unique because the mold is used only once and broken, making the product stand out in the handicraft markets of Telangana and across the other states. Dokra Metal Crafts are a combination of metallurgical skills.

Pembarthi Brass

Receiving the prestigious geographical indication, Pembarthi Brass is indeed an honor for the craft. Considered as essential artifacts in every handiwork exhibition, Pembarthi Brass has become synonymous with Telangana’s Artistic Heritage. This popular metal handicraft has a history of Warangal district with a history of metal engravings and artifacts more than 800 years. This village flourished under the Kakatiya Dynasty for over 500 years. During the reign of the Kakatiya Kingdom, several Hindu temples and statues were built in Telangana. Since then, one can witness the statue of almost every temple in Telangana inspired by the signature style of Pembarthi craftsmanship. The erstwhile metal workers, also called “Vishwakarmas,” were outstanding in what they do! Therefore, still, the village has a rich history of outstanding metal sheet workmanship. ust when the Kakatiya Kingdom finishes, the advent of Muslim rule started. But it hardly made any difference because the craftmanship, including art style and decorated souvenirs like perfume containers, or Ittar pots, and hanging chandeliers during Muslim rule, evolved greatly. Even after surviving the political distress during the independence era, a sudden revival of this art remolded according to changing patterns and advancements in society.

Pochampally Handlooms

Besides the states like Gujarat and Orissa, Telangana’s Ponchampalli village in Yadadri Bhuvanagiri district is also the famous and ancient Ikat weaving center in India. The popularity of this is that the Indian government’s official - Air India’s hostesses wear Pochampally sarees that show that Pochampally Ikat has a strong command over the Indian saree market. The weavers of Ikat Sarees and other dress materials craftsmanship have given Pochampalli the graceful space in the list of UNESCO World Heritage Sites. Ikat is a weaving form, which constitutes wrapping and weighting. Before creating any design on the finished fabric, both are tie-dyed. To tie the resistant areas with water repellent material, the weavers take great care. Once the process of wrapping starts, these warp threads are dyed. Once the unwrapping gets completed, the space under these ties retains the original color. Post retaining the original color, plenty of colors are added. The Ikat design pattern in Pochampalli has unique craftsmanship and design unique from the rest of India’s Ikat production center. One would be amazed to know that around 5 thousand looms produce this textile in Telangana’s Pochampally village. Threads and colors are made by skillful weavers to produce beautiful sarees and other sorts of dress materials. The key fabric used is silk, sico, and cotton, a blend of cotton and silk. In Pochampally Handlooms, the durability of colors that are used in the yarn is the significant highlight. This form of sarees is famous for its intricate geometric design mastered by skilled weavers in Pochampally region villages for decades. Most craftsmen create customized designs upon the special request of customers. The best nearby weaving places around Pochampally include Chowtuppal, Galterppala, Chuigottala, Sripuram, and Koyalgudam. You can plan your day hopping activity at any of these villages to meet the master weavers.

As the name suggests, this sort of art has its roots associated with Nirmal village in Adilabad district of Telangana. It is a 400 years old rich tradition that portrays rustic ethos and an explicit array of expressions in myriad colors on Nirmal products, including paintings, toys, bowls, and other decorative items. Under the legacy of Hyderabad Nizam’s, this art flourished. It was ‘Naqash’ - the migrants who brought Nirmal Art here from Rajasthan in the 17th century. However, the art was being practiced by them during the 14th century. During the initial state, Naqash produced toys from various softwood, mainly including white sander and poniki. With the advent of the boom in their craftsmanship, they started using herbal extracts and rich oil colors to paint the toys. Such was Nirmal Art's enigma during the Mughal dynasty that they also patronized Nirmal Art's open heart. You will also get enraptured by the Nirmal Arts, which includes paintings, furniture, toys, and handicrafts. The excellent craftsmanship of Naqash has made Nirmal Art world famous. For craving work and living space, the Nirmal Art products are famous across India and the foreign. Talking about Nirmal Art paintings, they gorgeously depict the traditional art scenes associated with Hindu’s two great epic - Ramayana and Mahabharata. The major pull of inspiration behind Nirmal Art paintings is the Indian Society of Art. Moreover, its evolution could be traced back to the erstwhile era of the Kakatiya Dynasty.

Bronze Casting

You would be hard-pressed to know that India's newly created 29th state, Telangana, is world-famous for its bronze casting work. It is the process of pouring the molten bronze into a mould to make the sculpture of idols. This type of casting is not everyone’s cup of tea, requiring special skills for creating idols. To make the idols' aesthetics perfect, the craftsman goes through the complete study of ‘Shilpa Shastra,’ which helps them make the idols according to their physical measurements and artistic symbolism.

Lacquer Ware

The term lacquer derived from the Portuguese word “Lac” implies a kind of resin that radiates from specific creepy crawlies. The items that are quoted with lacquer is called Lacquerware. This kind of art is famous in and around Hyderabad and Telangana. It bears the smell of India from very ancient times. The mention of Lac is found in Kalidasa's poem during the period of Vikramaditya when lack was used by women for makeup, mainly, lips and feet. It is now widely popular art across India as women wear ‘Lac bagels’ in a wedding function. In this craft, lacquering is done either manually (with hands) or with the machine. If done manually, the hand-lathe is considered to provide shape to the fragile or delicate items. When the object gets arid, lac is applied. The process is followed when a black stick is hard-pressed against the woodenware meant to be lacquered. The colors stick when friction heat is generated. Thus, lack softens, which helps color to get the stick. Post this, designs are painted on the figures, objects, and toys! You will find Lac ornaments or items at various handicraft stores in Telangana and Hyderabad.

Silver Filigree

One of the best arts and crafts of Telangana, this art had lured Nizams of Hyderabad to such extent that they commissioned several products for their personal use. Silver Filigree could be traced back to Indian and French metalwork of the 17th to 19th century. This delicate craftsmanship is extremely famous in the Karimnagar district in Telangana. The highlight of Silver Fiigree's artwork is it represents metal work on delicate jewelry. In this artwork, twisted threads and tiny beads constitute the artistic combination. If you talk about the items made by Silver Filigree art, it includes ashtrays, perfume bottles, and cigarette cases. Knowing its worldly popularity, Silver Filigree art had received the status of Geographical Indication back in 2007. On your Telangana trip, you can see this fantastic art at Lepakshi Handicrafts.

Gadwal Handlooms

Gadwal Handlooms is an art that is practiced in the Gadwal district in Telangana. The inhabitant weaves in the village are experts in designing handloom zari sarees attached with silk borders or “Saree Pallu.” The design and craft of this art is taken after getting inspired by nature and temple architecture. Also called Gadwal sarees, the fabric used is cotton, while the border is made of silk. You will be bewitched with the intriguing shapes and designs which adorn the border and whose saree body. Gadwal sarees' production has increased because now these sarees have become popular in the international market. For the creation of each saree, the weavers require 4-8 days of effort. The process goes on with cotton yarn dying or dyeing of silk. When yarn is dipped in the boiled color water at a high temperature, the process of coloring (dyeing) starts. Afterward, weavers apply the colors on the customization request from customers. Talking of its origin and history, Gadwal sarees or handlooms is a hand-woven process for many decades, scattered from the outskirts of Telangana like Arunachal Pradesh. The excellent weavers in the bygone era were sent to Benaras by the dynasty king to learn and adapt the weaving art. Talking about the occasions to wear the Gadwal sarees, you can wear them in every function, including family, corporate, and even weddings. The zari work done in sarees is of gold and silver and blue hues, which gives sarees the elegant look. Reason? The cotton material is considered one of the best fabrics for all sorts of occasions and environments. Even the base of the Gadwal saree is perfect for summers and winters. The experts' weavers in Karimnagar district in Telangana fold the sarees to fit within the matchbox.

Narayanpet Handloom

Eight sarees are made in one go on the loom in Narayanpet Handloom art. Deriving its name from the region in Mahabubnagar district of Telangana, Narayanpet village or art history dates back to the Maratha Ruler - Chatrapati Shivaji 1630 AD where the brave Maratha warrior traveled to Narayanpet region with his battalion. A few weavers stayed in the Narayanpet region who later started producing silk sarees with unique design and style, which came to be known as Narayanpet silk sarees. In simple words, it was the weavers who migrated from the Maratha region to the Narayanpet region in Telangana. This is the region, you will see a massive influence of Maharashtrian appeal in the silk sarees of Narayanpet. The design of the sarees is a checked surface with embroidery. Talking of its “pallu” or border, most of them are inspired by temple designs. You will get to see the contrasted look with small zari designs.

Pearl is regarded as one of the best marine jewels that come straight out of nature’s lap. Its history dates back to 5000 years, as the pearl is one of the precious jewels used for adornment. The Nizams and Qutub Shahi rulers in Hyderabad greatly encouraged this art and craft, which gave Hyderbard the status of “the Pearl city of Deccan Plateau'' due to the lucrative trade of pearls. Places like Hyderabad and Telangana are world famous for the drilling and grading of pearls. The process seems out to be the toughest as it requires remarkable craftsmanship. On your visit to Hyderabad, make sure you visit Chaarminaar’s Laad Bazaar, Jagdamba Pearls, and Mangatrai Pearls. From necklace to multi-strand bracelets, you will find similar items.

Things To Do in Telangana

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Folk dances of telangana, how to reach, lakes & gardens, telangana tour packages.

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Know about the Unique Telangana Culture and Tradition

Telangana culture and tradition is a lot different than the other Indian states. It existed even before the new state was formed on June 2 in 2014. Hyderabad, the capital of this amazing state is a cultural hub.

Table of Contents

When this region was a part of the Hyderabad State, it was called ‘Telinga’ to distinguish the telugu-speaking region from the Marathi-speaking region. Over time, the word telinga changed to Telangana and this is how the 29th state of India got its name. The cultural history of this vibrant state is almost 5,000-year-old. The state has an array of arts, cultures, traditions and religions.

Know more about the traditions, heritage, society, art and culture of Telangana here.

The Diverse Art and Culture of Telangana

Telangana is one of those Indian states that are rich in creative art forms. The Golconda style is one of the most developed art forms in this region. It involves the use of two classic colors, white and gold. The Hyderabad style is another art form that emerged during the 17th century under the Nizam’s rule. It is also called Deccani style and is a lot similar to the Vijayanagara paintings.

Dokra is another art form that involves skilled artisans who use the metal brass to make intricate figurines of gods/goddesses, idols of elephants, horses, and various other animals. The art and culture of Telangana is also strongly influenced by its neighboring states. The Bidri art originating in Bidar, Karnataka is widely used here to make buttons, jewelry boxes, hookahs and many other things.

The Unique Music and Dance Forms of Telangana

The state has the perfect amalgamation of Carnatic and folk music. Kancherlu Gopanna, who is popularly known as Bhakta Ramadasu, was one of the most popular Carnatic music composers. He was also an ardent devotee of Lord Rama. During the Telangana agitation, the folk songs of this region played a very important role. People would listen to these and get motivated to fight with a spirit of unity. You can only gain a firsthand experience of the soulful music of Telangana here. So, why wait? Book cheap last minute flights to Hyderabad and get ready to hear the traditional rhythms.

There are a lot of variations in Telangana culture and tradition when it comes to dance. The men in the region typically perform the ‘Perini Thandavam’, which means ‘dance of warriors. It depicts the dance of warriors in the presence of an idol of Lord Shiva just before heading out for a battle. Bonalu is one of the most widely celebrated festivals in Telangana. The devotees take part in spirited dancing during its procession. Book cheap flights to Hyderabad and experience the vibe and grandeur of this state during your visit.

The Beautiful Languages of Telangana

One of the most unique things about the culture of Telangana is that the people here speak a number of languages. Until 1948, Urdu was the official language of the state. And this is the reason why most of the educated elite individuals living in this region were Urdu-speakers.

Now around 76 per cent of the population speaks Telugu, 12 per cent speak Urdu while the remaining 12 per cent speak an array of other languages.

The popular Hyderabadi dialect or Hyderabadi Hindi, which is a mixture of Urdu and Hindi is also widely spoken in Hyderabad. This is also said to be amongst the most fascinating languages around the world.

Also Read: South Indian Culture: Exploring Diversity in Art, Architecture, Language, Food, & More

The Different Religions of Telangana State

The most beautiful thing about the culture and traditions of Telangana is the peaceful co-existence of different religions. It is widely believed that Buddhism was the most dominant religion in the state until the 6th century. At present, Hinduism is the most followed religion here, followed by Islam and Christianity. Lord Shiva, Vishnu, Hanuman and Ganapati are the main deities in this region.

The Vugra Narasimha Swamy Temple in Yadagirigutta and the Thousand Pillar Temple at Warangal are the oldest ones in Telangana. Thousands of devotees from all across the country throng these places every year.

The Colorful and Rich Traditional Dresses of Telangana

Telangana is known worldwide for its high-quality cotton production. The women in the state typically wear churidars, langa voni, and saris. Ikat, Pochampally silk, and Gadwal saris are the most used here. But now, young women mostly prefer fusion or western dresses as these are more convenient to wear.

Following Telangana culture and tradition , men in the region wear Pancha or Dhoti on festivals or special occasions. The males here also prefer to wear t-shirts, jeans, blazers etc. Under the Nizam’s rule, Hyderabadi Sherwani was widely worn by nobles. Now it is worn by grooms and guests during weddings around the state.

The Mouth-Watering Telangana Cuisine

If you are not in Telangana, you can book business class flights to Hyderabad and travel here to enjoy the lip-smacking delicacies. It is a mix of different cuisines and offers a wide range of options for the foodies.

Jowar, millet and bajra are widely used in the preparation of the scrumptious Telugu cuisine. The delicious and popular Hyderabadi cuisine was curated during the Qutub Shahi and Nizam rules. Its flavors are widely infused by the Turkish, Mughal, Persian, Telugu and Marathwada cuisines.

You should definitely try Pacchi Pulusu, Sarva Pindi, and Gutti Vankaya curry from the Telugu cuisine and Hyderabadi Biryani, Chicken 65, Baghare Baigan, Mirchi ka Salan and Double ka Meetha from the Hyderabadi cuisine.

The Colorful Festivals of Telangana

As this vibrant state is home to many religions, it also celebrates an array of amazing festivals. Bathukamma, part of the Dussehra festivities, is a unique festival celebrated here. The Hindu women in Telangana widely take part in its preparations. According to the lunar calendar, it falls between September and October. This forms a major part of the Telangana culture and tradition.

Bonalu is also a popular festival, which is celebrated on a large scale. Not just these, even Christmas, Ramadan, Eid, and Easter are observed with equal excitement in Telangana.

Just book cheap India tickets from USA or any other country in the world and fly to this beautiful state to become a part of the celebrations.

Famous Personalities of Telangana India

Zakir Husain: Former President of India

P.V. Narasimha Rao: Former Prime Minister of India

Sania Mirza: Tennis player

Shabana Azmi: Legendary Bollywood actor

Mohammad Azharuddin: Legendary cricketer

Explore the Telangana Culture and Tradition at these Places

Charminar: The spectacular Charminar is one of the most iconic parts of Telangana culture and tradition. Built in 1591 by Muhammad Quli Qutb Shah, a ruler from the Qutb Shahi dynasty, the monument is known for its intricate architecture. You can also visit the popular Laad Bazaar to shop for traditional jewelry as it is nearby.

Birla Temple: Also known as Birla Mandir, this was constructed in 1976 by Swami Ranganathananda of Ramakrishna Mission. It took nearly 10 years to be constructed. The structure is built on a 280 ft high hill, Naubath Pahad. It is visited by thousands of devotees annually.

Falaknuma Palace: Now converted into a 5-star hotel, this spectacular palace speaks volumes about the art and culture of Telangana. The scorpion-shaped structure is known for its distinct Palladian architectural style.

Chowmahalla Palace: The former residence of the Nizams of Hyderabad, this palace displays the luxurious lives the royal family of the region lived. Now converted into a museum, you can find an array of weaponry, paintings, cutlery, sculptures, and various other artifacts on display. A number of cars belonging to the Nizams are also on exhibit here.

Telangana culture and tradition is not only unique but also diverse. The people of this state have been living in harmony since centuries and take pride in its heritage.

You can book cheap flights to Hyderabad through Indian Eagle and explore more about its glorious culture during your visit. So, why wait? Plan your itinerary today.

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Telangana – Culture and Tradition

Telangana is the youngest state in India and was born on June 2, 2014, as the 29th state. Telangana is situated largely in an upland region of the Deccan and is bordered by Maharashtra to the north, Chhattisgarh, and Odisha to the northeast, Andhra Pradesh to the southeast and south, and Karnataka to the west. The capital of both Telangana and Andhra Pradesh is Hyderabad for 10 years until 2024.

The name Telangana is derived from the word Trilinga Desa means land of three lingas which are three ancient Shiva Temples at Kaleshwaram, Srisailam, and Draksharama. During the reign of Nizams, the region was known as Telugu Angana which means the place where Telugu is spoken. Hyderabad, Warangal, Nizamabad, Karimnagar, and Ramagundam are the major cities in Telangana.

India has 29 states and 7 union territories. The State Reorganization Commission was set up in 1953 to determine the extent of states after independence. From time to time many new states are created based on the cultural diversities and language. Chhattisgarh reconstituted Madhya Pradesh, Uttaranchal reformed Uttar Pradesh, and Jharkhand was carved out of Bihar. Similarly, Telangana state previously was part of Andhra Pradesh.

The legacy of Telangana is about 5000 years old and is the representative of the Deccan Plateau and its heritage. Megalithic stone structures like cairns, cists, dolmens, and menhirs found in several districts of Telangana show that there were human habitations in this part of the country thousands of years ago. Telangana was one of the 16 Janapadas in ancient India.

During the rule of the Hindu Kakatiya dynasty and the Muslim Qutb Shahi and Asaf Jahi dynasties, the region emerged as the center of Indian subcontinent culture. Kakatiya kingdom ruled the region in AD 1083-1323 and was invaded by the Delhi Sultanate. In the next two centuries, it became a province of the Bahmani Sultanate between 1347 and 1518. When the hegemony of the Bahmani Sultanate ended, the Telangana region became part of the Golconda Sultanate (1518-1687).

With the collapse of Golconda in the face of the invasion of Aurangzeb, the region became a Mughal province . With the dissolution of the Mughal empire formed the Nizam of Hyderabad . This continued from 1720 till 1950 and during this period the region saw various shifts in status – first as a formal subsidiary to the Mughal emperor but actually to the Maratha empire (the first Nizam paid the Chauth tax to the Maratha court at Poona), later allied with the French and then with the English East India Company. Before India got independence, Telangana was part of Hyderabad and was ruled by the Nizam.

With the India Independence Act of 1947, all the Indian princely states resumed their independence, and Hyderabad was an independent state till September 17, 1948. The Nizam officiated as Rajpramukh through the first general election of 1952 and finally gave up his nominal role in 1956 when Hyderabad state was dismembered and the Telangana region annexed to the Andhra state. Thereafter, Telangana witnessed two major movements for separate statehood.

Jai Telangana agitation launched in 1969 for a separate Telangana state. As the years passed, the demand for making Telangana a state continued to grow. In 1969, 1972 and 2009, major movements were also organized to make Telangana a state. The movement in this way only helped Telangana to become a state. The government of India officially announced on December 9, 2009, to make Telangana a state because of which violence also took place in many places in Telangana state and the issue was stopped.

But the movement about Telangana state continued in other regions of Telangana. After the success in the Telangana movement central government on 3 October, 2013 stated the 29th state of south India as Telangana. Telangana state was inaugurated formally on June 2nd, 2014 and K Chandrasekhar Rao , President of Telangana Rashtra Samiti, who has been struggling for years to form Telangana State, became the first Chief Minister of this new state.

The official language of Telangana is Telugu , but some people say that the Telugu language spoken in Andhra Pradesh is completely different from Telangana. Some words of Sanskrit, Urdu, and English are also spoken in the Telugu language. Before 1948, Urdu was the official language of Hyderabad, but when Hyderabad was incorporated into India, Telugu was the official language of this state. All the schools and colleges here also teach in Telugu medium.

Telangana has a great majority of Hindu religion while a small number of the population follows Islam, there are about 85.1% Hindu, 12.7% Muslim, and 1.3% Christian, and 0.9% others. One-fourth of the state’s people are members of Scheduled Castes and Scheduled Tribes .

Telangana State has long been a meeting place for diverse languages and cultures. It is known as “ South of North and North of South ” It is also known for its Ganga-Jamuna Tehzeeb and the capital Hyderabad as a miniature India.

A mix of Persian, Mogal, Qutubshahi, and Nizam traditions can be found in the culture of Telangana. But here, most of the impact of the culture of South India is seen. The culture of these states is very rich. Various types of classical music, paintings, Burra Katha folk dances, puppet shows, Perini Sivatandavam, Gusadi dance, and Kolatam are seen here. Since Buddhism was the dominant religion up to the 6th century it was also the home of Mahayana Buddhism . This can be observed in the monuments of Nagarjunakonda and the World University at the Sri Parvata presided over by Acharya Nagarjuna.

Telangana is carved out of Andhra Pradesh and is therefore much smaller than other states. Initially, when this state was created, there were very few districts in this state. But later new districts were created in this state. When new districts were created, a total of 21 new districts were created. Now a total of 31 districts are located in this state.

The culture of this state is a unique multi-cultural where two different cultures coexist together. The influence of Persian, Nizam, Mogal, and South Indian culture is seen in it. Telangana is the representative of the Deccan Plateau and Hyderabad is at the cultural heart of Telangana and is home to numerous museums, religious edifices, and cultural venues. Hyderabad and Warangal are noted for a wealth of historic sites in and around them that tell about the centuries of Muslim rule in the region.

Suggested Read: Culture and Tradition of Indian States

Robust food, cooked with locally available ingredients is the hallmark of Telangana cuisine . Being a semi-arid state, the staple food in Telangana is not rice but millet such as Jonna roti, sajja rotte. The flavors of this cuisine have been infused by Persian, Telugu, Marathwada, Turkish, and Mughal influences.

Telangana food has many similarities to Andhra, Maharashtrian and Karnataka cuisine, given that it is bordered by these states. While the people of Andhra use more chili in their food, those of the Telangana region use chili and masala in equal proportion. Similarly, people of the Telangana region use tamarind for making gravy. Fresh vegetables like tomatoes, brinjal, bitter gourd, pulses, tamarind play a big role in the vegetarian dishes. The dishes based on goat and lamb are preferred over chicken in the dishes.

There traditional food based on millets and food of this region os the spiciest in the Deccan region. Telangana offers a variety of preparations in vegetarian and non-vegetarian dishes they have a lot of mutton, chicken and vegetarian dishes to choose from. Some of the popular food are Kodi fry, Chepa Fry, Mirchi Bhajji, Mentem Koora Mamsam, Oori Koodi Koora, Mudda Pappu. Vepudu. Kodi pulusu and Mamsam (meat) vepudu are popular dishes in meat. Gutthi Vankaya (Brinjal), Aloogadda (potato) koora & fry, Tomato pappu (gatti pappu), Palakura pappu (gatti pappu), Cauliflower fry, Bachali kura are some of the many varieties of vegetable dishes.

A must-try Hyderabadi dishes include Biryani, Haleem, Naan Qalia, Kebabs, Keema Samosa, Mirchi ka Salan, Khubani ka Meetha, and Lukhmi among others. Pottel Pachadi is a pickle made out of mutton. Hyderabadi biryani is a popular dish in the area and is famous worldwide. Sweets of Telangana are Khubaani Ka Meetha, Bakshalu, Rawa Laddos, and Parvannam and their drinks are Gadaka and Ambali.

Suggested Read: Famous Food Of Indian States

Even though Andhra Pradesh and Telangana have been divided but they have almost the same cultures and traditions. Whereas, Telangana has a great foreign influence on their clothing styles as they are continuing to adopt the same. Telangana is the home to some of the finest historical cloth making/fashion and dying traditions of the world. Its rich cotton production, with its innovative plant dye extraction history, stands next to its diamond mining.

Traditional Women wear sari in most parts of the state. Langa Voni, Shalwar kameez, and Churidaar are popular among the unmarried Women. Some of the famous sarees made in Telangana are Pochampally Saree, Gadwal sari. Pochampally sarees have been popular since the early 1800s. In the 19th century popular with traders in the silk route which symbolized luxury and power. Found a place in UNESCO tentative list of world heritage sites as part of ‘iconic saree weaving clusters of India’. Pochampally saree received Intellectual Property Rights Protection or Geographical Indication (GI) status in 2005.

Male Clothing includes the traditional Dhoti also known as Pancha. The Hyderabadi Sherwani was the dress of choice of the Nizam of Hyderabad and Hyderabadi nobles. The Hyderabadi sherwani is longer than normal sherwani reaching below the knees. Sherwani is usually worn during the wedding ceremonies by the groom. A scarf called a dupatta is sometimes added to the sherwani.

Suggested Read: Traditional Dresses Of Indian States

Dance and Music

Dance form in Telangana receives the royal patronage and attained finesse. Dance form Perini Sivatandavam or Perini Thandavam is also known as the dance of warriors has its evolution of Kakatiya rule . Golla Suddulu, Oggu Kathalu, and Gotralu are dance forms that evolved with a tradition of story-telling of various challenges faced by commoners in life and solutions to tide over them.

Dhoom Dham is an old art form mingled with new forms. A variant of Yakshagana, Chindu Bhagavatham is performed widely across Telangana. Qawali, Ghazals, and Mushairas evolved under the patronage of Qutub Shahi and the Asafjahi rulers in and around the capital city of Hyderabad.

Kancherla Gopanna , popular as Bhakta Ramadasu is a pioneer in composing ragas for Carnatic music. Many southern India’s major composers of Indian classical music have been from Telangana. The state has a rich tradition in classical music, painting and folk arts such as burrakatha, shadow puppet show, and perini shiva tandavam, gusadi dance and kolatam.

Fairs and Festival

The region’s major cultural events celebrated are the “ Kakatiya Festival ” and the Deccan Festival along with religious festivals of Bonalu, Bathukamma, Ugadi, Sankranthi, Milad un Nabi and Ramadan.

Bathukamma is a part of the Dasara festival very unique and colorful festival in Telangana. It is a festival of flowers which reflects the cultural and traditional spirit of Telangana. According to the lunar calendar, it falls sometime in September/October and is celebrated by Hindu women.

Bonalu is also a popular festival of Telangana celebrated every year in the month of Ashadh when Mahakali is worshiped and turmeric water, neem leaves are taken in a new pot. After Bonalu villagers stop eating non-vegetarian food for a month.

Vijayadashami, also known as Dussehra or Navaratri is an important Hindu festival celebrated in Telangana. The festival which symbolizes the victory of good over evil is celebrated with traditional fervor, devotion, and gaiety across Telangana.

The Islamic holy month of Ramadan is observed with fervor by Muslim brethren in Hyderabad and other parts of Telangana. The biggest congregation is witnessed at the historic Mecca Masjid near Charminar.

Sammakka Saralamma Jatara or Medaram Jatara is a world-renowned tribal festival. The Jatara is celebrated annually at Medaram in Jayashankar Bhupalpally district.

Art and Craft

Telangana is a great place for arts and crafts with many astounding handicrafts, which are also considered a rich and proud tradition of the state. Some of the popular crafts are Bidri Craft, Banjara Needle Crafts, Wood carving, Dokra Metal Crafts, Nirmal Arts, and Bronze Castings.

Telangana is famous worldwide for its amazing Bronze castings. Telangana produces quality handlooms which are quite popular Narayanpet handlooms, Siddipet Handlooms, Gadwal, Pochampally handlooms, and cotton durries are some of the best weaving tradition of India. Nirmal Toys and jewelry made of pearls and lacquer are quite prominent in the state.

The various art and craft clusters are spread across many districts of the state, heralding a proud tradition, which reflects the cultural excellence of Telangana and the artistic finesse of craftsmen and artisans of the state.

Famous People

Zakir Husain – India’s first Muslim President was born in Hyderabad.

P V Narasimha Rao – 9th Prime Minister of India was born in Karimnagar district of Telangana.

Dia Mirza – Miss Asia Pacific of the year 2000 was born in Hyderabad.

Shabana Azmi – Popular actress was born in Hyderabad.

Mohammad Azharuddin – Famous cricketer and captain of the Indian Cricket team was born in Hyderabad.

Among others are Ali Yavar Jung, V V S Laxman, Sania Mirza, Saina Nehwal, Ram Gopal Verma, Sushmita Sen, Tabu and Farah were born in Hyderabad.

Telangana offers various tourist attractions to its visitors. The main tourist places Charminar, Golconda Fort, Qutb Shahi Tombs, Chowmahalla Palace, Falaknuma Palace, Birla Mandir and Nagarjun Sagar, Bhongir Fort, Warangal Fort, Khammam Fort are some of the monuments in and around Hyderabad.

Places of Hindu worship destination are Bhadrachalam Temple, Gnana Saraswati Temple, Yadagirigutta Temple, Ramappa Temple, Vemulawada Raja Rajeswara temple, the Thousand Pillar Temple.

Muslim worship destination is Makkah Masjid near Charminar, Khairtabad Mosque, Koh-e-qaim, Mian Mishk Masjid, Toli Masjid, and Spanish Mosque.

For Christians Diocese of Dornakal of the Church of South India, Bahe Church of South India, and Medak Cathedral are the main destinations.

There are also some Buddhist destinations, such as Nelakondapalli, Dhulikatta, Phanigiri and Kolanpaka.

Eturunagaram Wildlife Sanctuary, Kawal Tiger Reserve, Pranahita Wildlife Sanctuary, Manjira Sanctuary and other places to visit.

Places to visit in Hyderabad

Hyderabad is the fifth-largest city in India. The history of Hyderabad city is very old, Qutub Shahi, Mughals, and Nizams ruled here. Hyderabad is called the ‘city of pearl’ , the only place in the world where big diamonds, emeralds, and real pearls are found. It is a major center of global trade. Lad Bazar, Begum Bazar, Sultan Bazar are among the famous markets of Hyderabad.

Falaknuma Palace
Chaumhalla Palace
Asman Garh Palace
Taramati Baradari
Old mansion
Bella Vista
Royal mosque
Anand Buddha Vihar
Birla Temple
Jagannath Temple

Simmi Kamboj

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Art forms of Telangana

Art forms of Telangana:-

There are more than 160 folk Art forms of Telangana or Telugu land. Telangana has larger number of art forms performed by traditional artist communities. Most of them have “Tyaagam” tradition, that is a right to get cash and kind from respective communities. Some classical Art forms of Telangana received the royal patronage and attained finesse. However, the art forms of the innumerable communities spread across the length and breadth of the Telangana its distinct identity. While the Kakatiya rule led to evolution of dance forms such as Perini Sivatandavam, also known as ‘dance of warriors’, the commoners, faced with the challenges of daily life developed traditions of story-telling coupled with solutions to tide over them through Golla Suddulu, Oggu Kathalu and Gotralu etc. Several art forms like above mingled and new forms emerged. The ubiquitous ‘Dhoom Dham’ is one such evolved and composite art form. They generally were about the struggle and exploitation. People adopted the old sensibilities of theatre and art changing the content as per the case and place. A variant of Yakshagana, Chindu Bhagavatham is performed widely across Telangana. It is a theater art form that combines dance, music, dialogue, costume, make-up, and stage techniques with a unique style and form. The word ‘Chindu’ in Telugu means ‘jump’. As their presentation is interspersed with leaps and jumps, it gained the name of Chindu Bhagavatam. Most of the stories narrated are from ‘Bhagavatam’. Qawali, Ghazals and Mushairas evolved under the patronage of Qutub Shahi and the Asafjahi rulers in and around the capital city of Hyderabad.

Until the encroachment of electronic media these narratives and arts were the only source of recreation and education for the village folks. Each community had its own sub-community to narrate the stories or genealogies of the dominant community or caste. The sub-caste storytellers visit villages and narrate their stories. These storytellers are spread across the Telangana mostly in Nizamabad, Medak, Karimnagar, Warangal, Khammam Nalgonda and Mahabubnagar districts. These stories tellers were dependent on the dominant communities for survival. Some of these important narrative communities are:

Addamsingvallu
Veedhi Bhagavatulu
Budige Jangaalu
Chinduvallu
Dasarivallu
Ganjikootivallu
Gollasuddulavallu
Kakipadigelavallu
Koonapulivallu
Maladasarulu
Pichukakuntlu
Pondavulavallu
Sharadagallu

Apart from these, there are also the non-caste specific teams such as batukamma teams, burrakatha teams, kolatam teams, and yakshganam teams. Depending on their traditional training the performance patterns and methods of presentation vary a great deal.

Methods of presentation of Art forms of Telangana:-

Short narratives (meant for a single presentation, e.g. Ellamma katha, Mallanna katha).
Long narratives (presented over a period of 3 to 30 days, e.g. Katamaraju katha).
Narratives presented by means of pictures (e.g. Kakipadigela stories, Pandavulavalla stories).
Narratives presented through clay and wooden figures (e.g. Mandechula stories).
Stories rendered by two lead narrators (e.g. Oggu).
Four or more narrators donning various roles on the spot (e.g. yakshaganam).

7.Single narrator, usually to the accompaniment of one or two musical instruments (e.g. Budige Jangam)

A group of actors performing at a street corner (e.g. veedhi bhagavatam).
A group of singers making a presentation clapping or striking sticks against each other as they go round and round (e.g. batukamma, kolatam).

Current scenario:-

A quick examination of this oral literature gives an immense pride to the patrons and to the storytellers. But in the modern era, it has been seen as ‘primitive’ traditions. However, these stories emerge as a new area of knowledge in the twentieth century as embodying the entire panorama of traditional cultures, often carried through oral transmission, through performance and through material artifacts by the so-called ‘primitive people.’ But given the situation, due modernisation and globalisation oral literature and oral stories of these communities are disappearing. The oral stories are not alive because the listeners are dead. These storytellers are hardly seen in this modern era. However, Some thinker has a different story to tell. These oral traditions were neglected, side-lined and oppressed for the last six decades till 2000 because the rulers could not identify themselves with these rural art forms and appreciate the culture and sensibility of Telanganites. But during the Telangana movement and after emergence of the state, the greatest revival of these art forms have taken place. There was and is a cultural renaissance. Perini, Oggu Katha, Chindi Yakshagaanam, Hari Katha, Burra Katha, Sharda Kathalu have gained prominence again.

A compendium of tales, legends and stories:-

Some of the tales, legends and stories listed below are derived from the Ramayana, the Mahabharata and other all India epics and puranas but they are often characterized by a significant variation on the original stories. Some are pure extensions of the epic and puranic tales. According to an estimate there are also at least thirty caste-specific puranas in Telangana. The origin of these puranas and non-derivative narratives is difficult to trace but it may be conjectured that they originated in the prehistoric past and have been transmitted orally from generation to generation, mainly through the medium of the narrative communities. There are also legends describing the glory and valour of local heroes and village deities as do those of the presiding deities of certain temples where fairs are held annually. Chirutala, yaksha (yakshaganam), oggu, natakam, and Jangam (mentioned in parentheses against some of the following entries) denote the main narrative modes of those particular stories. The entries that have no parenthetical explanation may be understood to yield to a wide variety of presentation styles.

Akkalabhairavi katha
Anumula Brahmareddy katha
Aremarateela charitra (yaksha)
Balasanyasamma
Balavati katha
Batukamma katha
Bayyabai katha
Beerappa katha
Challapuramma katha
Dangneya (natakam)
Desinguraju katha (Jangam)
Dharmangada (yaksha)
Edla Ramadasu charitra
Ektang katha
Ellamma katha
Gavunada Bhallana charitra
Gowramma katha
Guruvunu Minchina Shishyudu
Harabandiraju
Jiyyarani katha
Kalinga Maharaju katha
Kambhojaraju katha (yaksha, Jangam)
Kanakadurgamma
Kanakatara (natakam)
Kanthamati charitra (yaksha)
Katamaraju katha
Kollapuri Lakshmi
Kondala Raya charitra (Jangam)
Lakshmidevamma katha
Madalasa Parinayamu (yaksha)
Madanakamaraju katha
Mallanna katha (yaksha, oggu)
Mandata charitra (yaksha)
Matapuranamu katha
Maya Subhadra (yaksha, natakam)
Mohini Rukmangada (chirutala)
Mugguru Marateelu
Myravana (chirutala, yaksha)
Nagadi Kooturu
Nalla Thangal katha (Jangam)
Nallapochamma katha
Patala Homam
Peddadasu charitra
Poleramma katha
Pundmeeka charitra
Radhabhai Kaloji katha
Raja Nalaneela
Rambha Rampala charitra (chirutala)
Renuka Yuddam
Rukmabhai charitra (yaksha)
Sanyasamma katha (Jangam)
Sookshmanarayana (natakam)
Sri Lakshmamma katha (Jangam)
Stree Sahasamu
Veera Timmamma katha
Vichitra Maharaju
Virata Jangam katha (Jangam)

Patam katha:-

Patam means paintings. Patam katha are scroll narratives narrating stories of the Ramayana, the Mahabharata and the Puranas. Sometimes contemporary issues are also incorporated with mythological stories. There are around 12 forms of Patam katha.

Hari katha:-

Literally meaning the stories of Lord Vishnu, the art form composed of storytelling and poetry narrates the stories of Narayana and Puranic stories.

Oggu Katha:-

With its roots set way back in history, it is generally performed by the Kuruma and the Yadava communities of Telangana who moved from place to place, narrating the stories of their caste gods. They tell the stories of Renuka Yellamma, Beerappa, Mallana and other rural deities. The tradition is also supported with certain dance moves, patnam (floor paintings) and is culminated with certain fetes or vinyasams.

Burra katha:-

Unlike Harikatha that is a tradition of the elite and educated, Buraktha is common people’s art form. It is known by different name in different regions; in Telangana, it is known as tamboorakatha, tandana katha and saradakatha. Most of the stories are kind of tributary to the freedom fighters. Bura is a musical instrument, a primitive form of mrudangam. The narratives, mostly derived from Ramayan and Mahabharat are told using the instrument.

Gurram Vallu:-

Attached to the Malas and the narratives recite the gotras and genealogy of the Malas.

Chiruthala Ramayanam:-

They recite episodes of the Ramayana while playing Chirutha

Gaurajetty puranam:-

It is a community related oral tradition related to Gaura community

A large majority of these tales and legends are not available in recorded form—written, taped or filmed—and therefore the need to record, compile and preserve them before they are lost forever. Some research has certainly gone into this aspect of the Telangana culture as is evidenced by these scholarly works: Bigicharla Krishna Reddy’s Janapada Nrityakala, Nayani Krishnakumari’s Janapada Geya Gathalu: Nrusastra Vignanamu, G.V.S. Mohan’s Janapada Vignana Vyasavali, Mikkilineni Radhakrishna Murthy’s Teluguvari Janapada Kalaroopalu, Biruduraju Ramaraju’s Janapada Geya Sahityamu, and R.V.S. Sundaram’s Andhrula Janapada Vignanamu. Although these studies are significant as critical analyses of the folk art forms, they cannot be said to have done much by way of recording and rendering in Telugu or English the tales and legends as highly readable texts. Therefore for the purpose of preserving these narrative arts the surviving members of the communities practising them should be located and their cooperation should be enlisted in recording the narratives on audio tapes and VCDs. After recording, these narratives should be transcribed and reduced to readable texts in Telugu and possibly even translated into English so as to give them an all India currency. Finally the materials so obtained should be carefully documented with detailed introduction to each of them and archived.

Architecture of Art forms of Telangana:-

Architecture in Telangana covers the monuments that were built in the later half of 10th Century to 12th Century. In this time, the Chalukyas and Kakatiyas rule the region which is now known as Telangana, the newly formed state in India with Hyderabad as its capital. During the rule of Kakatiya Dynasty and the Chalukyas of Badami, the art and architecture of Telangana reached at its height. In this time, some of the architectural monuments like Thousand Pillar Temple, Alampur Temples, Ramappa Temple and many other temples. The temples of Telangana and the forts like Warangal Fort and Bhongir Fort were built during the time of Nizams and Mughals. During the rule of Golconda Kings, the Golconda fort was made where one can see the excellence of artistic beauty of Mughal times.

Carved Pillar at Thousand Pillar Temple:-

Architecture in Telangana Temples of Alampur:-

There are a total of nine temples in Alampur. These temples are the example of rich architecture of Chalukya times. All of them are dedicated to Lord Shiva. These temples date back to the 7th century A.D. These temples were built by the Badami Chalukya rulers who were great patrons of art and architecture. Even after a time span of several hundred years, these grand temples still stand firm reflecting the rich architectural heritage of the country. The temples are symbolic features of the Northern and Western Indian styles of architecture. They do not reflect the Dravidian style of architecture as is generally common with the temples in this region. The shikharas of all these temples have a curvilinear form and are adorned with the miniature architectural devices. The plans and decoration similar to that of the rock cut temples. Alampur Navabhrama Temples are historically important and reflect remarkable architectural skills.

Warangal Fort:-

Warangal Fort appears to have existed since at least 13th century CE. This fort was built during the time of later half of Kakatiya rule. Warangal Fort was build during the time of Rudramadevi and Prataparudra. Warangal Fort had the gateways, square bastions and additional circular earthen walls prior to the death of Prataprudra n 1323.

Salar Jung Museum:-

Salar Jung Museum is the carrier of Indian art of Nizam rule. Salar Jung Museum is an art museum located at Darushifa, on the southern bank of the Musi River in the city of Hyderabad. The collection of the museum was sourced from the property of Salar Jung family. Salarjung Museum is the third largest museum in India housing the biggest one-man collections of antiques in the world.

Sculpture:-

Ramappa Temple:

It lies in a valley at Palampet village of Venkatapur Mandal, in erstwhile Mulug Taluq of Warangal district, a tiny village long past its days of glory in the 13th and 14th centuries. An inscription in the temple dates it to the year 1213 and said to have been built by a General Recherla Rudra, during the period of the Kakatiya ruler Ganapati Deva. This medieval temple is a Shivalaya (where Shiva is worshipped) and named after the sculptor Ramappa. It is the only temple in the world named after its sculptor/architect. Its presiding deity, Ramalingeswara, is the form of Shiva and a personal god of the Avatar of Vishnu, Rama. The history says that it took 40 years to build this temple. Planned and sculpted by Ramappa, the temple was built on the classical pattern of being lifted above the world on a high star-shaped platform. Intricate carvings line the walls and cover the pillars and ceilings. Starting at its base to its wall panels, pillars and ceiling are sculpted figures drawn from Hindu mythology.The roof (garbhalayam) of the temple is built with bricks, which are so light that they are able to float on water.

Telangana Talli:-

Telangana Talli is a symbolic mother goddess for the people of Telangana. It was adopted by the people of the regions in Telangana as a representation of the Goddess similar to Telugu Talli. The statue is distinct, with a bathukamma in one hand and corn in the other. Byroju Venkataramana Chary designed Telangana Talli statue. He was awarded by Chief Minister K Chandra Shekhar Rao on the eve of independence day in year 2015 for his dedication. He hails from Nirmal city of Adilabad district.

Telangana Martyrs Memorial:-

Telangana Martyrs Memorial also called as Gun Park is a monument built for 369 students who died during 1969 agitation for a separate Telangana state. Telangana Martyrs Memorial day would be observed on 2 June every year in all the districts of Telangana State.It is situated near the Public Gardens, Hyderabad. The monument, also called ‘Gun Park’ because of government use of guns against demonstrators, is symbolic for Telangana agitation, and a focus for political activity highlighting issues relating to the Telangana region. The monument was designed and built by Aekka Yadagiri Rao, a “nationally acclaimed sculptor,” and former JNTU Professor of Sculpture.

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Burrakatha – Essay On Folk Art Of Telangana And Andhra Pradesh

Burrakatha is the semi-folk performing art Of Telangana and Andhra Pradesh in India. It is also known as tandanapata, tambura katha and dakkilakatha. The root of Burrakatha lies in yakshagana as well as jaganakatha of whose prevalence some evidence is available, even before the 14 th century CE.

In the place of sutradhara and vidushaka of the yakshagana, there is one kathaka and two or three vantulus in Burrakatha. The kathaka wears gejjas (tinkling bells) on his legs, holds a pair of talas in hand and tambura hangs around his shoulder. The vantulus hold two dakkis (percussion instruments) in their hands.

The performance of Burrakatha varies from region to region. In coastal Andhra, dance is given more prominence, whereas in Telangana, music plays an important role. The performers of Burrakatha in the coastal area step front and back, swinging and curling while singing a song in tune with the tinkling sound of gejjas tied to their legs. The songs are sung in a standing position in Telangana.

Burrakatha is a mixture of classical and folk arts. Though music is the life of this art, literature is also given due importance. Dance and drama, folk-music as well as classical music, classical literature as well as folk styles, ancient and modern literature, lyrics, colloquial language as well as standard language, are liberally used in the performance.

The themes for the performance are taken from the Ramayana, the Mahabharata, puranas and history. The stories are often given a patriotic flavor.

Sri Krishnarayabharam, Prahlada Vijayam, Satya Harishchandra, Sri Venkateswara Vaibhavam are popular themes taken from Hindu scriptures. Folk tales such as Balanagamma, Kamboja Raju Katha, and historical stories like Attur Sitaramaraju, Jhansi Laxmi Bai, Bobbili Yuddham are some of the themes very popular in the performance.

Whatever the story or theme of the performance – religious, social, political or historical – the message given by Burrakatha widely appeals to the masses.

Monthly Auspicious Days May 2024

Purnima - Full moon day - May 23, 2024
Sankashti Ganesh Chaturthi Vrat - May 26, 2024
Kalashtami - May 30
Ekadasi Fasting - June 2/3
Pradosh Fasting - June 4
Amavasya - No moon day - June 6, 2024
Muruga Sashti Fasting - June 12
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Forum Prize 2024 – ‘The Art(s) of Delight’

Entries are invited for the 2024 Forum Essay Prize, on the subject of: ‘The Art(s) of Delight’

Forum for Modern Language Studies are looking for bold, visionary and persuasive essays that use academic research to pursue innovative questions. The winning essay will be that judged by the panel to have best addressed the topic with flair, ambition and resonance.

The topic may be addressed from the perspective of any of the literatures and cultures normally covered by the journal: Arabic, English, French, German, Italian, Portuguese, Russian and Spanish. Submissions in comparative literature and literary translation studies are also welcomed, as are those dealing with visual art, film and the performing arts. Forum for Modern Language Studies aims to reflect the essential pluralism of research in modern languages and to provide a forum for world- wide scholarly discussion.

We are seeking submissions that focus on literature, film, art, or other cultural outputs that manifest delight in their content or form and/or which provoke us to find joy in how we read, write, research and teach in our discipline(s). Possible approaches to the subject include, but are not limited to:

reunions, parties and celebrations;
epiphanies and happy ends;
welcome discoveries;
difficulties resolved;
moments of astonishment;
sensory delight;
the pleasure(s) of the text;
new life and the joy of (artistic) creation;

The competition is open to all researchers, whether established or early career. Previous competitions have been won by scholars in both categories.

The winner will receive:

Publication of the winning essay in the next appropriate issue of Forum for Modern Language Studies
A prize of £500

A panel of judges will read all entries, which will be assessed anonymously. At the judges’ discretion, a runner-up prize of £200 may be awarded. The Editors may commission for publication in Forum for Modern Language Studies any entries that are highly commended by the judges.

Entry requirements and Submission details for the Forum Prize 2024:
The closing date for entries is 1 July 2024.
Entries must be written in English, be between 6000 and 8000 words in length (including notes), should conform to MHRA style, and must be accompanied by an abstract (approx. 150 words) summarizing the principal arguments and mak- ing clear the relevance of the essay to the competition subject.
Essays should be submitted online at https://mc.manuscriptcentral.com/fmls , be flagged as Forum Prize entries, and follow the journal’s Instructions to Authors. For initial queries and questions about the Forum Prize, contact Prof. Sara Jones ( [email protected] , GE Forum Prize).

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TS TET Hall Ticket 2024 Live: Telangana TSTET admit card released, direct link to download here

TS TET Hall Ticket 2024 Live: Admit cards released on official website. Download via direct link.

TS TET Hall Ticket 2024 Live: The Telangana TET hall tickets has been issued today, May 16. As asked by the Department of School Education Telangana earlier, candidates can download admit cards for the Telangana Teacher Eligibility Test (TS TET 2024) from the official website, schooledu.telangana.gov.in and tstet2024.aptonline.in/tstet/. If any candidate is unable to download the TS TET hall ticket online, she/he can contact the Director, SCERT & Ex-officio Director, TET, Hyderabad between 10.30 am and 5 pm on all working days till June 3, 2024, in person to collect it. ...Read More

Follow this live blog for the latest updates on TS TET hall tickets.

TS TET Hall Ticket 2024 Live: Where to find admit card link

Candidates can download admit cards for the Telangana Teacher Eligibility Test (TS TET 2024) from the official website, schooledu.telangana.gov.in and tstet2024.aptonline.in/tstet/.

TS TET Hall Ticket 2024 Live: How to check admit card

Go to schooledu.telangana.gov.in and open the TS TET tab. It will lead your to the exam portal, tstet2024.aptonline.in/tstet/

Open the hall ticket download link.
Provide the requested information and login.
The admit card will be displayed on the next page. Check and download it.

TS TET Hall Ticket 2024 Live: Exam dates

TS TET Hall Ticket 2024 Live: The state-level teacher eligibility test in Telangana will be held from May 20 to June 6.

TS TET Hall ticket 2024 Live: Exam to be conducted on

The state-level teacher eligibility test in Telangana will be held from May 20 to June 6.

TS TET Hall ticket 2024 Live: Following details are required to download admit card

Candidates need to furnish the followinh details to download the admit card:

Journal number

Date of birth

TS TET Hall ticket 2024 Live: Direct Link to download admit card

Check out this link to download the admit card

TS TET Hall ticket 2024 Live: What to do if you cannot download the admit card

In case candidates face difficulty or unable to download the hall ticket, they should contact in person the Director, SCERT & Ex-officio Director, TET, Hyderabad between 10.30 am and 5 pm on all working days till June 3, 2024.

TS TET Hall ticket 2024 Live: Find the latest updates on HT Education Portal

Get the latest updates on TS TET Hall ticket 2024 on the Education Portal of HT

TS TET Hall ticket 2024 Live: Don't forget to carry hall tickets to exam hall

It is essential that candidates keep their hall tickets safely and must not forget to carry it to the examination hall.

TS TET Hall ticket 2024 Live: How to download admit card via direct link

Click on the direct link
Enter journal number and date of birth, and submit.
Check and download your TS TET hall ticket 2024.
Print a hard copy of the TS TET hall ticket for further use.

TS TET Hall ticket 2024 Live: Admit cards released, exam next

With the release of the admit cards, candidates now gear up for the exams beginning from May 20, 2024.

TS TET Hall ticket 2024 Live: Details required to download hall ticket

Candidates will have to enter the following details:

TS TET Hall ticket 2024 Live: Direct link to download hall ticket

Download the TS TET Hall Ticket 2024 by clicking on this direct link

TS TET Hall ticket 2024 Live: Hall tickets released

The TS TET hall ticket 2024 has been released.

TS TET Hall ticket 2024 Live: What should the candidates do if unable to download hall ticket?

Ts tet hall ticket 2024 live: steps to download admit card, ts tet hall ticket 2024 live: hall tickets necessary for entry into exam hall.

As per the Department of School Education Telangana, the hall tickets are necessary to enter the examination hall and appear for the paper. Without a valid admit card, the Test Centre in-charge shall not permit candidates to appear for the examination under any circumstances.

TS TET Hall ticket 2024 Live: Important examination dates

The TS TET Examinations 2024 will be conducted from May 20 to June 6, 2024.

TS TET Hall ticket 2024 Live: Login credentials required

Application number

TS TET Hall ticket 2024 Live: List of websites

schooledu.telangana.gov.in

tstet2024.aptonline.in/tstet/.

TS TET Hall ticket 2024 Live: Exams to be conducted in CBT Mode

The TS TET 2024 will be held in computer-based mode (CBT) from May 20 to June 3, 2024.

TS TET Hall ticket 2024 Live: Hall tickets shortly

The Telangana TET hall tickets will be issued in a short while from now

How to download Telangana TSTET hall tickets?

Go to schooledu.telangana.gov.in and open the TS TET tab. It will lead your to the exam portal, tstet2024.aptonline.in/tstet/.

TS TET Hall ticket 2024 Live: Do this after downloading it

TS TET Hall ticket 2024 Live: After downloading the admit card, candidates must check and ensure that their personal details (name, photo, signature, etc) and other information mentioned on the admit card are correct. If there is any error, it should be reported immediately.

TS TET Hall Ticket 2024 Live: Don't bring rough work sheet to exam hall

TS TET Hall Ticket 2024 Live: Blank papers will be provided for rough work in the examination hall. Candidates are not required to bring it on their own. After the exam is over, they must handover the sheets to the invigilator before leaving the room.

TS TET hall ticket download link

When released, candidates can download the TS TET hall ticket using this link

https://tstet2024.aptonline.in/tstet/

Telangana TSTET Hall Ticket 2024 Live: Candidates must show it on demand, no entry without it

Telangana TSTET Hall Ticket 2024 Live: Candidates will not be given entry inside the exam hall under any circumstances if they do not carry the hall ticket. Further, they must show it on demand at any time during the examination.

TS TET Hall Ticket 2024: Check instructions after downloading it

TS TET Hall Ticket 2024: On the Telangana TET admit card, exam day guidelines such as the dress code, list of items allowed, pre and post-exam activities, list of documents and the reporting time will be mentioned. All candidates should read these instructions carefully after downloading the hall ticket. Following the exam day instructions is a must to avoid any inconvenience during the test.

TS TET 2024 hall ticket today

Telangana Teacher Eligibility Test or TSTET 2024 admit cards will be issued today, May 16, reads a message displayed on the examinationw ebsite, tstet2024.aptonline.in.

How to download TSTET 2024 hall tickets

Go to the official website, schooledu.telangana.gov.in
Open the TS TET 2024 page.
Now, go to the hall ticket download link
Enter your login credentials
Submit and check the admit card.

TS TET hall ticket 2024: Pass marks details

General: 60% and above

BCs: 50% and above

SC/ST/Differently abled: 40% and above

TS TET hall ticket 2024: Weightage of TSTET scores in the Teacher recruitment of the state

TET score shall have 20% weightage in the Teacher Recruitment Test in the State of Telangana. However, merely qualifying the TET would not confer a right on any person for recruitment/employment as it is only one of the eligibility criteria for appointment, mentioned the information bulletin.

TS TET hall ticket 2024: Medium of question paper

The question paper will be bilingual i.e. English followed by the Language-I chosen by the candidates for all languages except Sanskrit. For the candidates choosing Sanskrit, the questions shall be in Telugu followed by Sanskrit (Devanagari script).

TS TET hall ticket to be released today

The Department of School Education Telangana will release the Telangana Teacher Eligibility Test (TS TET 2024) hall tickets today.

TS TET hall ticket 2024: Steps to download admit card

Go to schooledu.telangana.gov.in
Open the TS TET 2024 tab and then the hall ticket download link.
Provide your login credentials and submit.

Verify the details on admit card and download

TS TET hall ticket 2024: Find the latest updates on HT Education Portal

Get the latest updates on TS TET hall ticket 2024 on the Education Portal of HT

TS TET hall ticket 2024: Blank paper for rough work will be provided

TS TET hall ticket 2024: Blank white papers will be provided for rough work in the examination hall. After the examination is over, candidates must handover the rough sheets to the invigilator before leaving the hall.

TS TET hall ticket 2024 live: Banned items

Calculators, mathematical/log tables, pagers, cell phones, wristwatches or any other electronic eadgets and personal belongings are strictly prohibited.

“In case, the candidate carries any personal belongings, he/she has to keep them outside the examination hall at candidate’s own risk. The authorities of the test centre will not be held responsible for any loss or damage of such items,” an official statement said.

TS TET admit card 2024 live: Pass marks in the exam

Ts tet admit card 2024 live: medium of question paper.

TS TET admit card 2024 live: The question paper of TS TET will be bilingual – English followed by the language-I chosen by the candidates for all languages except Sanskrit. For Sanskrit, the questions will be in Telugu followed by Sanskrit (Devanagari script).

TSTET paper 2 exam pattern

Here is the exam pattern of the Telangana TET paper 2

TS TET 2024: Paper 1 exam pattern

Here is the Telangana TS TET paper 1 exam pattern

TS TET hall ticket 2024 live: Find the latest updates on HT Education Portal

How to download telangana ts tet hall ticket 2024.

Check your TET exam result.

TS TET hall ticket 2024 live: Do these after downloading it

TS TET hall ticket 2024 live: After downloading the hall ticket, if the candidate notices any discrepancy in the particulars such as photograph and signature, name, or address, s/he must immediately contact the TS-TET unit for the necessary corrections.

TS TET hall ticket 2024 live: Admit card to be shared offline as well

TS TET hall ticket 2024 live: Candidates who are unable to download the admit cards online can contact the Director, SCERT & Ex- officio Director, TET, Hyderabad between 10.30 am and 5 pm on all working days between May 15 and June 3 in person and collect it.

They have to bring journal number of the fee paid, candidate ID of the application submitted, a copy of the application form and one photograph (same photograph as pasted on the application form) to collect the offline admit card.

TS TET hall ticket 2024: Exam to be held from May 20

TS TET will be held from May 20 to June 6. Admit cards will be issued today, May 15.

Where to check TS TET hall ticket 2024

The hall ticket or admit card of the Telangana Teacher Eligibility Test (TS TET) will be released on these websites-

schooledu.telangana.gov.in and

TS TET hall ticket 2024 today

Admit Card.

IPL 2024 Coverage

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State Govt issues orders replacing ‘TS’ with ‘TG’

The order directed to adopt "TG" in all official documents, including policy papers, GOs, notifications, circulars, reports, letterheads, and other communication materials.

Hyderabad: The State government has directed all the departments to replace all references to “TS” with “TG” in the nomenclature of all State PSUs, Agencies, Autonomous Institutions and other government bodies.

The government on Friday issued orders in this regard and directed all the Special Chief Secretaries, Principal Secretaries and Secretaries that the official abbreviation for Telangana adopted by Government of India is “TG” and accordingly, it has been decided to adopt “TG” as the official abbreviation at the State level also with immediate effect.

All the Departments of Secretariat were directed to replace all references to “TS” with “TG” in the nomenclature of all State PSUs, Agencies, Autonomous Institutions and any other government bodies, official documents (Including letterheads, reports, notifications), signages within and outside government offices, websites and online platforms and any other official communication.

The order directed to adopt “TG” in all official documents, including policy papers, GOs, notifications, circulars, reports, letterheads, and other communication materials. All future official communication, both internal and external, should utilize “TG” as the abbreviation for Telangana, the order added..

Departments were asked to take stock of existing stationery and printed materials with “TS.” A plan should be devised for their time bound replacement or overprinting with the updated abbreviation “TG” , the order said.

All the Departments were asked to submit the action taken report by May 31 to the Joint Secretary to Government (Coordination), General Administration Department.

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Guest Essay

Higher Education Needs More Socrates and Plato

An illustration of a student looking in a book and seeing himself.

By Ezekiel J. Emanuel and Harun Küçük

Dr. Emanuel and Dr. Küçük are on the faculty of the University of Pennsylvania, where Dr. Emanuel is a professor and the vice provost for global initiatives and Dr. Küçük is an associate professor of the history and sociology of science.

The right attacks colleges and universities as leftist and woke. Progressives castigate them as perpetuating patriarchy and white privilege. The burdens of these culture war assaults are compounded by parents worried that the exorbitant costs of higher education aren’t worth it.

No wonder Americans’ faith in universities is at a low. Only 36 percent of Americans have confidence in higher education, according to a survey by Gallup last year, a significant drop from eight years ago. And this was before colleges and universities across the country were swept up in a wave of protests and counter-protests over the war in Gaza.

But the problems facing American higher education are not just the protests and culture war attacks on diversity, course content, speech and speakers. The problem is that higher education is fundamentally misunderstood. In response, colleges and universities must reassert the liberal arts ideals that have made them great but that have been slipping away.

By liberal arts, we mean a broad-based education that aspires to send out into society an educated citizenry prepared to make its way responsibly in an ever-more complex and divided world. We worry that at many schools, students can fulfill all or most of their general education requirements and take any number of electives without having had a single meaningful discussion that is relevant to one’s political life as a citizen.

Over the past century, what made American higher education the best in the world is not its superiority in career training, but educating students for democratic citizenship, cultivating critical thinking and contributing to the personal growth of its students through self-creation. To revive American higher education, we need to reinvigorate these roots.

In Europe and many countries elsewhere, colleges and universities have undergraduates specialize from Day 1, focusing on developing area-specific skills and knowledge. College students are trained to become doctors, lawyers or experts in international relations, English literature or computer science.

In the United States, European-style specialization for medical, legal, business or public policy careers is the purpose of post-collegiate professional schools. Traditionally, the American college has been about imparting a liberal arts education, emphasizing reasoning and problem solving. Those enduring skills are the critical ingredients for flourishing companies and countries.

Historically, students arriving on American college campuses spent a majority of their first two years taking classes outside their projected majors. This exposed them to a common curriculum that had them engage with thoughtful writings of the past to develop the skills and capacity to form sound, independent judgments.

Over the past half century, American colleges and universities have moved away from this ideal , becoming less confident in their ability to educate students for democratic citizenship. This has led to a decline in their commitment to the liberal arts, a trend underscored in the results last year of a survey of chief academic officers at American colleges and universities by Inside Higher Ed. Nearly two-thirds agreed that liberal arts education was in decline, and well over half felt that politicians, college presidents and university boards were increasingly unsympathetic to the liberal arts.

Today, there is almost no emphasis on shared courses among majors that explore and debate big questions about the meaning of equality, justice, patriotism, personal obligations, civic responsibility and the purpose of a human life. Majors that once required only eight or 10 courses now require 14 or more, and students are increasingly double majoring — all of which crowds out a liberal arts education. Ambitious students eager to land a prestigious consulting, finance or tech job will find it too easy to brush aside courses in the arts, humanities and social and natural sciences — the core of a liberal education.

The devaluing of the first two years of a shared liberal arts education has shortchanged our students and our nation. Educating young adults to be citizens is why the first two years of college still matter.

To that end, the so-called Great Books have long been the preferred way to foster citizenship. This approach is not, contrary to critics on the left and right, about sanctifying specific texts for veneration or a mechanism for heritage transmission.

Books by Plato, Aristotle, Hobbes, Locke, Kant, Emerson, Thoreau, Whitman as well as Wollstonecraft, Austen, Woolf, Baldwin, Hurston and Orwell are worthy of introductory collegiate courses for students of all majors. These writers address the fundamental questions of human life. They explore the ideas of self-determination, friendship, virtue, equality, democracy and religious toleration and race that we have all been shaped by.

As students address those big questions, the Great Books authors provide a road map as they challenge and criticize one another and the conventional wisdom of the past. The Socrates of Plato’s dialogues is the exemplar — asking about beliefs and then subjecting them to respectful but critical analysis and skepticism.

These books are best studied in small seminar discussions, which model and inculcate in students democratic behavior. This discourse is an antidote to the grandstanding in today’s media and social media.

The teacher is less an expert in specific writers and more a role model for intellectual curiosity, asking probing questions, offering critical analyses and seeking deeper understanding. In an idealized Socratic fashion, these discussions require listening at length and speaking briefly and, most important, being willing to go where the argument leads.

Parents who are paying for college might question the value of spending $80,000 a year so that their son or daughter can read Plato, Hobbes and Thoreau instead of studying molecular biology or machine learning. But discussing life’s big value questions in seminars gives students personal engagement with professors that can never be reproduced in large lecture halls. Discussions among students on their deepest thoughts cultivates curiosity and empathy, and forges bonds of friendship important for citizenship and fulfilling lives.

Although we like to set ourselves apart from the past by appeals to modernity, the fundamental questions that we find ourselves asking are not always modern, and the latest answer is not always right. But how would you know how to think beyond the readily presented check boxes if you haven’t done the work of laying things out and putting them back together for yourself?

War was no less a concern for Thucydides, Tacitus and Thoreau than it is today. Discussing Great Books allows students to gain distance from the daily noise and allows their reason to roam free among principles and foundations rather than becoming absorbed in contemporary events. Our biggest problems are often best addressed not by leaning in but by stepping away to reflect on enduring perspectives.

Liberal arts education is not value neutral. That is why it is indispensable today. Freedom of thought, critical reasoning, empathy for others and respectful disagreement are paramount for a flourishing democratic society. Without them, we get the unreasoned condemnations so pervasive in today’s malignant public discourse. With them, we have a hope of furthering the shared governance that is vital to America’s pluralistic society.

Ezekiel Emanuel and Harun Küçük are on the faculty of the University of Pennsylvania, where Dr. Emanuel is a professor and the vice provost for global initiatives and Dr. Küçük is an associate professor of the history and sociology of science.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

Follow the New York Times Opinion section on Facebook , Instagram , TikTok , WhatsApp , X and Threads .

IMAGES

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COMMENTS

Essay on Telangana
500 Words Essay on Telangana ... The state is known for its literature, music, dance, and art forms like shadow puppetry and Cherial scroll painting. The Bathukamma festival, a floral festival celebrated by the women of Telangana, and Bonalu, an offering to the Goddess Mahakali, are unique to the region. ...
Art And Craft Of Telangana
A. The most popular art and craft forms in Telangana are Pochampally Ikat weaving, Bidriware metalwork, Kalamkari fabric printing, Nirmal painting, and Kondapalli toys. Pochampally Ikat is a resist-dyeing technique that uses a mixture of vegetable dyes to create intricate patterns on cotton or silk fabrics.
Arts and Crafts of Telangana, Traditional Art Forms of Telangana
The table below lists other important art and craft of Telangana along with the region where they come from and important facts about them. Name. Region. Important facts. Pembarthi metal craft. Pembarthi village, Jangaon district. Made using pure brass. Metal crafts including statues. Siddipet Gollabhama.
Society, Culture, Heritage, Arts and Literature of Telangana
The Art, Culture and Traditions of Telangana is a fusion of the Telugu and Persian culture dating back to the Nizams and Mughals. ... ("Unravelling"), an adaptation of Shaw's Widowers' Houses, and a collection of prose essays. Bisat-e-Raqs is a complete collection of Makhdoom's verse including his two earlier collections Surkh Savera ("The Red ...
PDF Echoes of Identity: Exploring Telangana'S Cultural Symbols and Their
TELANGANA'S CULTURAL SYMBOLS AND THEIR SIGNIFICANCE Eswar Kurva, Research Scholar, Department of History, Osmania University, Hyderabad, India ... and Telia Rumal art serve as echoes of bygone eras, embodying the resilience and adaptability of the people. These symbols act as mirrors reflecting Telangana's diverse essence, cultivating a sense of
Culture of Telangana
Languages of Telangana. About 76% of the population of Telangana speak Telugu, 12% speak Urdu, and 12% speak other languages. Before 1948, Urdu was the official language of Hyderabad State, and due to a lack of Telugu-language in educational institutions, Urdu was spoken by the educated people of Telangana, including the elite.After 1948, once Hyderabad State joined the new Republic of India ...
Culture of Telangana
Art and Culture of Telangana Telangana is a storehouse of creativity which is prevalent in its collection of art and craft. Developed in the 16th century, the Golconda style is an old method of blending foreign techniques. A dash of bright gold and white colour is used in the Golconda style. The Hyderabad style emerged in the 17th century under ...
Arts and Crafts
The patronage of kings and dynasties for several centuries led to a unique synthesis of various cultures, which is clearly visible in the development of a unique arts and crafts tradition in the state. Bidri craft is the pride of the Telangana region. This unique art of silver engraved on metal was brought initially by Iran migrants to the region.
(Pdf) Reclaiming Identity: Representation of 'Telangana-ness' in
A look into the contemporary art practice and vicissitudes of Telangana art. A look into the contemporary art practice and vicissitudes of Telangana art. ... Grossberg, Lawrence. Bringing it All Back Home: Essays on Cultural studies , USA: Duke University Press,1997. pp 88-105. Kancha, Ilaiah. Why I am not a Hindu: A Sudhra critique of Hindutva ...
(PDF) The art of Telangana women and the crafting of the decolonial
This is how I refer to the two terms in this essay. 59 Article / The art of Telangana women and the crafting of the decolonial subject Apffel-Marglin Frédérique, and Mishra Purna Chandra. "Gender and the Unitary Self. Looking at the Subaltern in Coastal Orissa." In Rhythms of Life.
Exploring the Rich Heritage of Telangana: A Journey Through Time
Jul 25, 2023. --. Introduction: Telangana, a vibrant state in southern India, boasts a rich and diverse heritage that spans thousands of years. From its ancient archaeological sites to its ...
Culture of Telangana: Explore The Cultural Traditions
Art And Crafts of Telangana. Telangana culture is best recognized for its artistic creations. Telangana is the primary cotton-producing state, hence, textile-related arts and crafts are quite well-liked throughout the state. ... 187 Chapter Test (Based on TSPSC Group 1 & 4 Papers) +200 more tests; View Test Series. 25.0k Users. TSPSC DAO ...
Arts and Craft in Telangana
Arts and Crafts in Telangana. Telangana in South India is a powerhouse of creativity that is prevalent in the arts and crafts collection. The 29th state of India, Telangana, was newly formed on the 2nd of June 2014. It is the youngest state in India and is known for its prominent artworks, handicrafts, rich cultural history, and scenic beauty.
Telangana Formation Day
The Diverse Art and Culture of Telangana. Telangana is one of those Indian states that are rich in creative art forms. The Golconda style is one of the most developed art forms in this region. It involves the use of two classic colors, white and gold. The Hyderabad style is another art form that emerged during the 17th century under the Nizam ...
Telangana
Telangana is the youngest state in India and was born on June 2, 2014, as the 29th state.Telangana is situated largely in an upland region of the Deccan and is bordered by Maharashtra to the north, Chhattisgarh, and Odisha to the northeast, Andhra Pradesh to the southeast and south, and Karnataka to the west. The capital of both Telangana and Andhra Pradesh is Hyderabad for 10 years until 2024.
Art forms of Telangana
Art forms of Telangana:- There are more than 160 folk Art forms of Telangana or Telugu land. Telangana has larger number of art forms performed by traditional artist communities. Most of them have "Tyaagam" tradition, that is a right to get cash and kind from respective communities. Some classical Art forms of Telangana received the ...
Burrakatha
Burrakatha is the semi-folk performing art Of Telangana and Andhra Pradesh in India. It is also known as tandanapata, tambura katha and dakkilakatha. The root of Burrakatha lies in yakshagana as well as jaganakatha of whose prevalence some evidence is available, even before the 14 th century CE. In the place of sutradhara and vidushaka of the ...
Telangana artists paint on a scroll to celebrate the unsung heroes of
This team has painted 75 meters in the scroll depicting Telangana's freedom fighters who used art and literature to inspire people during the Freedom movement. "We were also asked to paint ...
Nirmal paintings
Nirmal painting. Nirmal Paintings are a popular form of paintings done in Nirmal in Nirmal District, Telangana, India. [1] They form a small-scale industry in the town. The craftsmen have formed a community and stay at Nirmal and practice their art in the form of a small-scale business. [2] The paintings have golden hues.
Crafts in Telangana: know different types of craft in Telangana
Prominent Crafts in Telangana. Bidriware, Dokra Metal Crafts, Cheriyal Paintings, Pembarthi Metal Crafts, Telia Rumal, Kondapalli Toys, Banjara Needle Crafts, Gollabhama Art, and Nirmal Toys and Crafts are only a few of the diverse crafts produced in Telangana. Each of these crafts is a distinctive and lovely expression of the state's cultural ...
Architecture of Telangana
The Ramappa Temple was built by the Kakatiyas, c. 1213 Kakatiya Kala Thoranam. The architecture of Telangana dates back over two thousand years. The Indian state of Telangana is in the Deccan plateau, bordering the coastal plain of Andhra Pradesh.It has produced regional variants of wider styles of Indian architecture, both in Hindu temple architecture and Indo-Islamic architecture.
Telangana Literature
Suravaram Pratapa Reddy. Golconda Kavulu by Suravaram Pratapa Reddy (May 28, 1896 - Aug 25, 1953) compiled a list of 354 Telangana poets to prove that Telangana also had literature and poetry. Editor and founder of Golconda Patrika, a journal in Hyderabad State. Pratapaareddy was a scholar in Sanskrit, Telugu, Urdu and English languages.
Explore the art of Cyanotypes-Telangana Today
Published Date - 20 May 2024, 10:25 PM. Hyderabad: As the sun casts its rays over Oorna Farm in the city, an eager group gathers, ready to explore the art of cyanotype printing. This ancient photographic technique, often known as "sun printing", produces analogue prints bathed in cyan-blue hues, giving it an almost vintage aesthetic.
Hyderabad: Tripura Governor Indrasena Reddy ...
By Telangana Today. Published Date - 15 May 2024, 04:14 PM. Hyderabad: Tripura State Governor N Indrasena Reddy inaugurated the 'Spectrum Art Exhibition' at the State Art Gallery in Madhapur on Wednesday. The exhibition, running until May 20, features a diverse array of artistic expressions including drawings, oil paintings, etchings ...
OU Arts College unveils smart interactive boards-Telangana Today
By Telangana Today. Published Date - 17 May 2024, 08:10 PM. Hyderabad: In a significant step towards integrating advanced educational technology, the Osmania University College of Arts & Social Sciences, has introduced smart interactive boards in 25 departments. These state-of-the-art boards, complemented by marker whiteboards and traditional ...
cfp
contact email: [email protected]. Entries are invited for the 2024 Forum Essay Prize, on the subject of: 'The Art (s) of Delight'. Forum for Modern Language Studies are looking for bold, visionary and persuasive essays that use academic research to pursue innovative questions. The winning essay will be that judged by the panel to have ...
TS TET Hall Ticket 2024 Live: Telangana TSTET hall tickets out, direct
Go to schooledu.telangana.gov.in and open the TS TET tab. It will lead your to the exam portal, tstet2024.aptonline.in/tstet/. Open the hall ticket download link. Provide the requested information ...
State Govt issues orders replacing 'TS' with 'TG'-Telangana Today
By Telangana Today. Published Date - 17 May 2024, 09:41 PM. Hyderabad: The State government has directed all the departments to replace all references to "TS" with "TG" in the nomenclature of all State PSUs, Agencies, Autonomous Institutions and other government bodies. The government on Friday issued orders in this regard and directed ...
I Don't Write Like Alice Munro, but I Want to Live Like Her
Guest Essay. I Don't Write Like Alice Munro, but I Want to Live Like Her. May 15, 2024. ... As a writer, she modeled, in her life and art, that one must work with emotional sincerity and ...
Opinion
This has led to a decline in their commitment to the liberal arts, a trend underscored in the results last year of a survey of chief academic officers at American colleges and universities by ...