An overview of Art and Culture in Telangana *Thonty Devanna,

Asst.Professor of History,

Girraj.Govt.College(A),

Nizamabad,Telangana

ABSTRACT

Telangana, due to its geographical location, is the realm where two diverse cultures

from the north and the south of the country merge and create a composite culture region with

diverse cultural, social and economic backgrounds. Thus, Telangana links the north and south

of India. Hyderabad, the state capital, is a classic example of Telangana heritage, exemplified

by a number of archeological monuments such as the Charminar, the Golkonda Fort, Mecca

Masjid, the Sri Chennakesava Swamy Temple, UjjainiMahankaali Temple and Hussain

Sagar, to quote a few. Other important heritage sites in Telangana, apart from Hyderabad, are

Adilabad, Karimnager, Khammam, Mahabubnagar, Medak, Nalgonda, Nizamabad and

Warangal. Each of these has several heritage monuments that emerged during the state's long

history.Culture in Telangana is a combination of customs adopted from Persian traditions

during the rule of Moghuls and Nizams and more dominantly South Indian customs. Thus ,it

has a very rich culture with Telugu culture amalgamated within the fabric of the society.

Telangana is potential lies in its culture that blends cultural customs from Persian traditions

embedded during Moghuls, QutubShahis and Nizams rule with influential and mainly South

Indian customs and traditions. The State has a rich tradition in classical music. It has a rich

painting and folk arts such as Burrakatha, shadow puppet show, and Perini Shiva Tandavam,

Gusadi Dance, Kolatam, Bonalu, Kite Festival, etc. This paper examine the an overview of

art and culture in Telangana State.

Key Words: Art,Cultures, Moghuls, QutubShahis and Nizams

Introduction

Telangana, the new State of the Indian Union achieved after a prolonged and relentless

struggle during which many sacrificed their lives, has successfully completed a little over six

years. Though six years is too short a period in the history of any State or the country,

Telangana has been firing on all the cylinders despite all odds and forging ahead with long

strides, thus becoming a trailblazer for other States. Through initial troubles and numerous

constraints, Government’s commitment to realize the goal of ‘Bangaru Telangana.’ remains

unwavered.

On the important occasion of successfully completing six years of all-round development

of the State, it may be apt to take stock of where the State stood at the time of attaining

Statehood and where it stands now. There are many ways of looking at the performance of

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a Government in the last six years. But the three most important ways of looking at the

performance of a Government are from the perspective of people’s expectations, against

the promises made and fulfilled and against the previous governments’ record. It is a matter

of great pride that with determined efforts of the Government, the performance of the State

on all these parameters was extraordinary, to say the least.

There was acute power shortage at the time of the formation of the State adversely impacting

the growth of industrial and services sector. Many small scale units had to shut down their

operations and others had no option but to work in shifts. There were frequent incidences of

droughts and crop failures resulting in farmers committing suicides. Many opportunities were

lost because of utter neglect of Telangana on all the fronts in the combined State and the

problems assumed alarming proportions. Against these odds, with the attainment of

Statehood after a prolonged struggle, the expectations of people were very high. The

Government did not brood over the past neglect and was not deterred by the many challenges

before it. The Government was firm that such a serious crisis should not go waste and took it

as an opportunity to do things that were never done before to meet the suppressed aspirations

of people. The State started the process of reinventing and reorienting the State to realize the

goal of ‘Bangaru Telangana’.

Telangana is a historic land dotted with a variety of forts that have the ability to develop into

iconic heritage sites for tourism. Many prominent forts are Golconda Fort, Medak Fort,

Khammam Fort, Nizamabad Fort, Elagandula Fort, Karimnagar and Bhongir Fort, Nalgonda,

where Tourism Department is taking up projects to establish tourist amenities. Warangal Fort

and Golconda Fort is also the host of Sound and Light displays that take us back to a glorious

history. More such shows would highlight Telangana's rich heritage. Telangana State

Tourism Development Corporation (TSTDC) organizes all the above-mentioned tourism

packages and also connects neighboring states. Haritha Hotel chains, wayside services, river

cruises, and water fleet are also operated by TSTDC at various locations. Any trip to

Telangana State, including the popular Hyderabadi Biryani, Qurbani-ka-Meetha, Haleem,

Osmania Biscuits and Irani Chai, is incomplete without a taste of its cuisine.

Objectives of the Study

1.To exmine the importance of art and culture in Telangana.

2.To describe the crafts of Telangana.

3.To analyze the Architecture in Telangana.

Methodology

The research is based on secondary data. It’s an exploratory and descriptive in nature. The

study is descriptive as well as analytical in nature and is being carried out with the help of

secondary data availed from Socio Economic outlook, library books, journals, newspapers,

magazines,Government publications and websites.

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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 patronized 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.

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Kalamkari paintings

These paintings originated from the word ‘kalam’ meaning pen and ‘kari’ meaning work.

Colorful 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.

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.

Architecture

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 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.

The most important of these temples are those at Palampeta, Hanamkonda and the incomplete

one in the Warangal fort. The temple at Palampeta, described as the `brightest gem in the

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galaxy of Medieval Deccan temple architecture’, was constructed by Recherla Rudra, a

general of Kakatiya Ganapati, in S.1135 (A.D.1213). The figures in the temple are of a

heterogeneous character comprising gods, goddesses, warriors, acrobats,

musicians, mithuna pairs in abnormal attitudes and dancing girls. The sculptures, especially

of the dancing girls, possess the suggestion of movement and pulsating life. A striking

peculiarity of this temple is the figure-brackets which spring from the shoulders of the outer

pillars of the temple. The figure-brackets are mere ornaments and represent the intermediate

stage between their earlier analogues at Sanchi and the later examples at Vijayanagara.

The Thousand-Pillared Temple at Hanamkonda, built by the Kakatiya king Rudra in

A.D.1162, is similar in style and workmanship to the Ramappa temple. This temple,

dedicated to Siva, Vishnu and Surya, is star-shaped. The Nandi pavilion, in which a huge

granite bull still stands, the beautiful entrances to the shrine, the pierced slabs used for

screens and windows, and the elegant open work by which the bracket-shafts are attached to

the pillars are the other most interesting features of this temple.

The temple in the Warangal fort, believed to have been built by Kakatiya Ganapati, was

constructed making use of large slabs. The floor of the shrine is beautifully polished and

shines like a mirror. An interesting feature of this temple is the four gateways called `Kirti

Stambhas’ which face the four cardinal points of the compass. In their design the gateways

are reminiscent of the `toranas’ of the Great Stupa at Sanchi. The architecture and sculpture

of these temples are thus conventional to a degree but no one can deny their magnificence nor

can any one fail to see the rich imagination, patient industry and skilful workmanship of the

builders of the temples of the Kakatiya period.

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.

Yadagirigutta Temple

The Government of Telangana has constituted “Yadagirigutta Temple Development

Authority” under the Urban Areas (Development) Act 1975 for ensuring orderly growth

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and giving impetus for the historic religious and cultural development of the Yadagirigutta

Temple Complex and its surrounding and the requirement for special planning and

development control high level of infrastructural and managerial inputs for religious,

cultural and pilgrimage tourism and other relevant consideration. The authority covers 7

surroundings villages viz: Yadagiripally, Gundlapalli, Datarpally, Mallapur, Saidapur,

Rayagiri, Basavapur. A detailed Master plan was prepared for an extent of 4 acres of land

on the top of the hillock while expanding the hillock area by constructing retaining walls

all around the temple.

• In all 1900 acres have been acquired for the purpose of orderly development of the temple and its surroundings

• A temple city is planned on an extent of 800 acres separately on the Peddagutta area and out of this 250 acres has already been developed

• Internal roads are laid along with other required infrastructure like drainage, water supply, electricity etc. Lush Green lawns with beautiful landscape is developed on

this hillock. More than 300 plots are carved out and are ready for allotment under the

donor scheme

• Another hillock consisting of 13-26 acres is under development for construction of

14 VVIP cottages along with the necessary infrastructure. The entire area is

developed under the donor cottages scheme

• 90 % of the works of the temple and temple city have been completed.

Vemulawada Temple

Vemulawada Temple Area Development Authority under the Telangana Urban Areas

(Development) Act, 1975 was constituted for development of Vemulawada Temple

Complex and its surrounding areas consisting of Six (6) Villages namely Sankepalli,

Chandragiri, Marupaka, Jayavaram, Thettekunta, Arepalli, Seven R&R Colonies and

Vemulawada Municipality. The Draft Master Plan for development of Vemulawada Temple

Complex and its surrounding areas has been prepared by the Authority. For this purpose the

Government have released Rs.65.00 crores till now.

In addition to the development of Vemulawada temple complex, it is proposed to take up

developmental activities at Baddipochamma temple and Sri Laxmi Narasimha Swamy

temple, Nampally Gutta.

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:

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Salar Jung Museum

It 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 Museum

It 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.

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

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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.

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 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.

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.

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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.

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. Etikoppaka town in Telangana is especially famous for Lacquer

ware. Lacquer is applied on embellished with beads, stones and mirrors .

Music

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.

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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 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.

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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.

Art and Culture of Telangana

A vault of diverse cultures, Telangana is among the most creative states in India when it

comes to culture and arts of Telangana. One of the most famous art forms developed right

since the 16th century is the Golconda style. Involving the use of bright gold and a dash a

white, this method blends foreign techniques. Another famous form is the Hyderabad style

which emerged under the Nizami influence around the 17th century. Dokra is also an

amazing art form whereby skilled artisans use brass to make spectacular figurines, idols of

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gods/goddesses, horses, elephants, and other animals. Originating from Bidar in Karnataka,

Bidri art form is also highly prevalent in the state. This art is used to make jewelry boxes,

buttons, hookahs, and other items. All these art forms are an incredibly vital part of

Telangana culture and tradition.

Music and Dance Forms of Telangana:

Telangana has a perfect mix of folk and Carnatic music. Known popularly as Bhakta

Ramadasu, Kancherla Gopanna was among the most famous Carnatic music composers and

an ardent Rama devotee during the 17th century. The folk songs of Telangana played a

crucial role in the agitation for statehood. Book a couple of cheap last minute flights and

come to experience firsthand the fantastic music of Telangana state.

When it comes to music and dance, there is a diverse variation in Telangana culture and

tradition. Perini Thandavam is the traditional Telangana dance form name and is generally

performed only by menfolk. Meaning the Dance of Warriors, the performance depicts the

dance of warriors in the presence of a Shiva idol prior to heading out for battle. There is

spirited dancing by devotees during Bonalu, one of the most important festivals of

Telangana. A lot of people book cheap flights to Hyderabad to come be a part of this

spectacular festival.

Religion of Telangana State

Up until the 6th century, Buddhism was the dominant religion of the region. Currently, the

major religions of Telangana are Hinduism, Islam, and Christianity with Hinduism being the

most followed religion among these. The main deities of Hinduism are Vishnu, Shiva,

Ganapati, and Hanuman. Warangal’s Thousand Pillar Temple and the Vugra Narasimha

Swamy Temple at Yadagirigutta are among the oldest shrines in Telangana and attract hordes

of people from various parts of India regularly. They form an integral part of Telangana

culture and tradition.

Traditional Dress of Telangana

The cotton-producing units of Telangana are famous worldwide. The state is also renowned

for its exquisite tie-and-dye techniques. Thereby, the traditional dress of Telangana couples

and otherwise is among the most interesting ones ever. Women generally wear saris,

churidars, and langa voni. The most famous saris of Telangana culture and tradition include

Gadwal Sari, Pochampally Silk Sari, and Ikat Sari. However, many women wear western

clothes as well. Traditional dress for men folk in Telangana includes the Dhoti, otherwise

known as pancha. In the earlier times, the Nizams and other nobles of Hyderabad preferred to

wear Hyderabadi sherwanis. It is usually worn by grooms during wedding ceremonies in

Telangana today.

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Telangana Cuisine:

One of the most important things you should do when visiting the state on cheap economy or

luxurious business class flights is to try the amazing cuisine. A tour of Telangana culture and

tradition is incomplete without this vital aspect. Telugu cuisine is dominated by bajra, millet,

and jowar. Hyderabadi cuisine was developed by the Nizams and the Qutub Shahi Dynasty.

The flavors of this cuisine have been infused by Persian, Telugu, Marathwada, Turkish, and

Mughal influences. A mouthwatering mixture of aromatic spices, herbs and other ingredients,

must-try Hyderabadi dishes include Biryani, Haleem, Naan Qalia, Kebabs, Keema Samosa,

Mirchi ka Salan, Khubani ka Meetha, and Lukhmi among others.The biggest congregation is

witnessed at historic Mecca Masjid near Charminar. Special arrangements are made at many

mosques and function halls for women folk to offer their prayers. Shopping for groceries and

other items during this month continues until late night.The historic city of Hyderabad with a

rich Muslim heritage comes vibrantly alive during this holy month. Most of the hotels sell

lip-smacking Haleem, a dish cherished by people after ‘Iftar’ or breaking the day’s fast.

Tonnes of dates and fruits are sold every day to break the fast. Ramzan is a time of immense

festivities, where the popular Hindu-Muslim unity comes alive in Telangana, which is a

cradle of secularism.

Conclusion

Telangana has a rich culture and tradition and the arte facts 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.Telangana culture and tradition have fascinated art and history lovers all across the

country. The 29th state of India, Telangana is also its youngest (or newest) state. Formed on

June 2nd, 2014, the name Telangana is derived from the word ‘trilinga.’ This is because

according to legend, the lingams of Hindu deity Shiva are found on the three mountains that

line Telangana boundaries – Kaleshwaram, Srisailam, and Draksharamam. A multicultural

province, the cultural history of Telangana dates back almost 5,000 years. Popular as

the South of North and North of South, Telangana is home to diverse cultures, traditions, arts, and religions.Keep reading if you wish to know more about the society, culture, heritage, arts

and literature of Telangana. Our guide to the intriguing Telangana culture and tradition will

tell you all you wish to know about this incredible young Indian state. Telangana culture

combines cultural customs from Persian traditions, embedded during rule of the region by the

Moghuls, Qutub Shahis and Nizams, with prominent and predominantly south Indian

traditions and customs. The State has a rich tradition in classical music, painting and folk arts

such as Burra katha, Shadow Puppet show, and Perini Shiva Tandavam, Gusadi Dance,

Kolatam. In Deccan region one can witness the vibrant blend of Telugu culture existing from

the times of Satavahanas (230 BCE-220 CE) and Kakatiyas (1175-1324 CE) and Persian

traditions from the Mughals and Nizams (1724-1948) who ruled before and during the reign

of British imperialism respectively. While Telugu is the predominant language with 76% of

the people speaking it, Urdu (12%) and other languages (12%) are also quite common in this

region. Before 1948, Urdu was the official language of the princely state of Hyderabad and it

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was the common dialect among the elite of Telangana. However, Telugu became the official

language and was introduced as the medium of instruction in schools and colleges after

Hyderabad joined the Indian Union, following which the use of Urdu among non-Muslim

was reduced.

References:

1.https://www.aceenggacademy.com/

2. https://www.telangana.gov.in/

3.Raj, Sheela (1987). Medievalism to modernism: Socio-economic and cultural history

of Hyderabad (1869–1911). Bombay: Popular Prakashan Publishers.

4.Vaikuntam, Y. (2004). Studies in socio-cultural and political history: Modern Andhra.

Hyderabad: Kashak Art Printers.

5. Socio Economic Outlook – 2020 ,Government of Telangana.

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