Nirmal Paintings

Nirmal town is located amidst the dense forests of the newly created Nirmal district (erstwhile Adilabad District) in Telangana. This town is considered the gifted land of art and crafts and is popular all over the country. The art and craft community of craftsmen living in Nirmal are also called as ‘Naqash’. This town is quite famous for the Nirmal paintings and toys. From the rustic ethos to the royal environment, from flora to fauna, an explicit array of expressions is portrayed in myriad colors and forms on Nirmal products. This art form named after its place of origin, Nirmal is being practiced by the 'Naqash' right from the 14th century.

Nirmal Paintings depict the traditional art scenes related to the Hindu epics of Ramayana and Mahabharata. These paintings were influenced by the Indian Schools of Art like Kangra, Ajanta as well as Mughal miniatures. The evolution of the Nirmal art and craft is also traced back to the old era of Kakatiya dynasty. The Mughal rulers were so enraptured by the Nirmal paintings, that they patronized this art greatly.

It is said that once the Nizam of Hyderabad was accorded a grand welcome when he visited Nirmal. The artisans decorated the venue and the seat of the Nizam in a grand manner with an intricately designed banana bud believed to have been suspended over the Nizam’s seat. This was unfurled while there was a cascade of golden petals showered on him. This led to the Nizam patronizing the artisans, impressed by their skill. In the 1950's, Lady Hyder brought the artisans to Hyderabad and promoted this craft, under the Cottage Industries division in the Nizam’s government.

Over the last few decades, Nirmal work has been evolving in order to cater to new demands from the customers. There has been a transition from the painters of the epics to painting motifs in the old Indian school style. The Moghul miniatures are also crafted from soft white wood, called Punkin and these are eventually painted. The technique involves the application of up pam on the wood surface and then painting the precise design. The colors used in Nirmal paintings are mostly the familiar gold color. The paintings make use of organic colors produced naturally from the extracts of herbs, vegetable dye, gum, and minerals etc. The paintings depict scenes ranging from the grace of a dancer or a musician’s rhythm to birds, panoramic nature settings, and they fully captivate the attention of the viewer.

First, the wood is cut into the required size and a rectangular frame is made. The frame is smoothened using sand paper. The frame is also coated with several coats of up Pam paint. Luppam Paint (NC Patti) is coated on the rectangular shaped wood board for about 5 to 6 times. This paint absorbs the moisture from the wood and helps the wood to last for many years. After applying up Pam paint, various colors are used for painting the background. Finally, the prepared wooden plank is joined to the frame. Usually, the board sizes are of 8/11, 17/11 and 24/16 dimensions.

The process in which Nirmal painting is done varies slightly from making toys. In this process, initially lacquering of the wood surface is done followed by painting according to the precise design. After painting, the plaque is given a coat of Duco paint using the desired background color. In earlier days, white wood of Tella Poniki tree was used as paint board for painting, which is fascinatingly outstanding. With changes over many years, the artisans introduced Indian teak wood due to its soft grain texture, strength, and lightweight and lifetime quality. Traditional designs are traced or drawn in chalk on smoothened wood or composition board and are painted in flat, bright colors and often touched up with gold and then varnished. Once the paintings are completed, the clear spray is used on the frames for water resistance and luster. The Nirmal painting of Mughal miniatures is highly attractive. With aging, they acquire a special muted glow that is considered impeccable.

Nirmal town has become synonymous with exquisite painting all over the world and is a matter of pride for Telangana. Nirmal craftsmen also create lacquered furniture, boxes, bowls, large screens, trays, toys, and pictures, which are painted with finesse and attention to detail. Frames, shields and corporate gifts, name plates, Utility items constitute the range of products. There are paintings done even on the door, wall decoration etc. The paintings are gifted as souvenirs and are considered as proud possessions by lovers of art and art collectors. Painters and artists from all over India visit Nirmal to not only buy these masterpieces but also research the methodology in which the paintings are done, right from preparation of the canvass to the extraction of organic colors and style of painting.

Nirmal paintings are popular for many decades and the government of Telangana is making all efforts for promoting a global identity for the one-of- its-kind Nirmal Paintings and Artworks. The paintings are also exported to Australia, USA, and the UK through Golkonda handicrafts emporia (TS Govt Undertaking).

NIZAM PEARL

Once regarded as the center of Hyderabad, the magnificent Chowmahalla Palace was the seat of the Asaf Jahi dynasty where the Nizams entertained their official guests and royal visitors. Built over 200 years ago, Chowmahalla is renowned for its unique style and elegance. A synthesis of many architectural styles and influences, the Palace Complex has been meticulously restored.

Open now to select individuals and corporates for hosting their dinners, receptions and cultural evenings, Chowmahalla is a location that’s unmatchable for exclusivity and offers experience guests will never forget.

If you are looking for a party location that is full of history and heritage. One that would make every guest of yours feel special and also make the evening different, memorable and indeed magical, then just step into the meticulously restored Chowmahalla Palace, You’ll immediately know that your quest has ended. This is the palace that was the seat of the Asaf Jahi Dynasty and was once regarded as the very center of Hyderabad,. This is the palace where the Nizams entertained their official guests and royal visitors.

Built over 200 years ago, Chowmahalla Palace is renowned for its unique style and elegance and is a synthesis of many architectural styles and influences. The highlight of the Palace is the Grand Khilwat, the Durbar Hall. The sheer magnificence of the place is breath-taking. The Courtyard where parties can be held is a vast expanse of lush green lawns and picturesque water tanks and fountains.And now for the details of what the Palace Authorities can do to make your party one of the most talked about events in town.

Restored with great care, this was one of the original Palace buggies that transported the Nizam and his guests. And today the whole fleet, with liveried assistants in attendance, demonstrated that hospitality indeed begins with four wheels and four legs. As guests entered the courtyard, what their eyes were immediately drawn to was the Khilwat, the Grand Durbar Hall that was lit up in an ever-changing milieu of colors. This served as a unique backdrop to the whole event and the fantastic evening that was poised to unfold.

Ramadan times : At mecca Masjid

Mecca Masjid, also called Makkah Masjid, is one of the popular tourist spots of Hyderabad attracting not just devotees but almost everyone. The construction of Mecca Masjid Hyderabad involved close to 8000 masons who worked round the clock. This construction went on for almost 77 years. Located in the Old City, at a distance of 100 meters from the Charminar which is another popular place for sightseeing in Hyderabad, Mecca Masjid is one of the largest mosques not just in India but also in the world.

The mosque has an approximately 75-foot-high hall with dimensions of 220 feet by 180 feet. Interiors of the mosque are also beautifully decorated. It is believed that the main hall alone can accommodate 10,000 worshippers at a time.

Along with this, there are 15 intricately designed arches supporting the roof of the prayer hall. On each side, there are five arches, along with a wall which offers Mihrab on the 4th side. The pillars are carved out of single slab granite which increases their exclusivity. The two octagonal columns that majorly constitute the Mosque construction have been created from a single granite stone.

•  

Verses from Quran have been carved on the arches and the doors. Various aspects of Mecca Masjid represent the style of Qutub Shahi dynasty. The cornices along with the floral motifs that have been carved around the complete mosque are one such example. One can see the similarity of design on the arches here at the masjid and those at the golconda Fort and Charminar.

Mecca Masjid construction was started by Sultan Muhammad Quli Qutub Shah in the year of 1614. If tales have to be believed, the bricks used for the construction of this mosque were brought from Mecca. This mosque is also believed to have some more sacred relics. For instance, according to some, it has the hair of Prophet Muhammed. However, the construction was completed in 1687 by the Mughal Emperor Aurangzeb, after he took over the Golconda Kingdom. It has seen repairs even after that.

The beauty of the fascinating architecture of Mecca Masjid has been accentuated by the Belgian crystal chandeliers which adorn the mosque ceilings. There is also a room in the courtyard where relics and artifact from the ancient times have been kept. Inside the mosque, belonging to the Asif Jahi Dynasty, there lie five passageways and tombs as well.

Madhubani

SOURCE: WIKIMEDIA COMMONS

Also called Mithila art, it originated in the kingdom of Janak (Sita’s father in Ramayana) in Nepal and in present-day Bihar. It is one of the most popular Indian folk arts, practiced mostly by women who wanted to be one with God. Characterized by geometric patterns, this art form wasn’t known to the outside world until the British discovered it after an earthquake in 1930’s revealed broken houses with Madhubani paintings. It mirrored the work of Picasso and Miro, according to William G. Archer. Most of these paintings or wall murals depict gods, flora, and fauna.

Cheriyal Scroll Paintings

This art form is unique to the state of Telangana and made mostly in Hyderabad currently.

Cheriyal Scroll Painting is a popular and modified version of Nakashi art, considered highly rich in the local motifs. This art form is unique to the state of Telangana and made mostly in Hyderabad currently.These scrolls are painted in narrative format similar to a film roll or even comic strips, and depict stories from the Indian mythology as well as the shorter stories related to the Puranas and Epics. Scroll paintings are known for their rich history and they also assume a significant role among Asia’s artistic traditions. The Cheriyal paintings represent a distinct local invention, based mainly on local traditions.

The Nakashis are the artists of Telangana and the scrolls constitute a key element of the social and cultural setting of Telangana. These paintings were mostly confined to Cheriyal village, and hence called Cheriyal scrolls. The scrolls earlier depicted the adventures and the exploits of local folk heroes wherein each community had its popular heroes. This traditional art form is considered an inseparable part of the profession comprising the story-telling and balladeer community called Kaki Padagollu. They have displayed these scrolls which are also accompanied by music and dance. The scrolls would be flowing like a film roll, which is usually nearly three feet in width and about 40 to 45 feet in length, based on the story.

The traditional scrolls are mostly of vertical format and illustrate the stories through a series of horizontal panels. Here, there is a floral border in the middle separating the two panels, and the linear narrative is shown, being held with both hands or suspended from a tree. It is further rolled continually. Compared to the long scrolls in the past, now artists have adapted to paint smaller versions of these scrolls that only depict any single episode or few characters from the traditional stories. These can be framed easily and hung on walls of modern homes.

The canvas making is an elaborate procedure. It is made of Khadi cotton, starch, white mud and a paste of tamarind seeds and gum water. After the canvas is complete, the artists prepare the outline directly using a brush on the canvas. These outlines are defined clearly and appear sharp which shows the quality as well as the skill of the Cheriyal craftsman. At present, the Cheriyal painting work is being continued by some selected families. There are only few artists remaining who still paint, making use of this unique technique. One of the recent innovations is the painting of single pictures instead of a continuous scroll for the purpose of wall decorations.

Cheriyal Painting is easily recognized by certain unique characteristics: These are painted in vivid hues with mostly primary colors, showing a predominance of red color in the background. These paintings are characterized by unbridled imaginations of the local artisans. In this form of art, the iconography of major deities like Vishnu, Shiva, etc. too carry a strong local idiom. The subjects of the scroll paintings are mostly drawn from mythological, ancient literary and folk traditions. The major themes are Krishna Leela, Mahabharata, Ramayana, Shiva Puranam, Markandey Puranam along with the ballads and folk stories of Gauda, Madiga and other communities. The main narrative involves scenes from the common rural life such as women performing kitchen chores, men working in fields or experiencing merry, festival settings, etc. The costumes and settings reflect the culture of Telangana.

Cheriyal Painting is widely popular due to the unique rural element which renders an aura of exclusivity and charm for the art items. It represents the pride of Telangana, especially the region’s tryst with such rare and unique art forms. Cheriyal scroll painting also received Intellectual Property Rights Protection, commonly called the Geographical Indication (GI) tag in the year 2007. It is a matter of academic interest for painters all over India and the world, who study the art work with attention to detail and efforts are on to preserve this rich tradition for posterity by actively promoting the tradition of Cheriyal Painting.

Pembarthi Brass The intricate sheet metal brass engravings and artefacts made here can be traced back to more than 800 years.

Pembarthi Metal Craft is a popular metal handicraft made in Pembarthi of Warangal district, Telangana State, which is widely known for the exquisite sheet metal art works. The intricate sheet metal brass engravings and artefacts made here can be traced back to more than 800 years.

Pembarthi is a village situated about 80 km from Hyderabad. The region has witnessed glory during the period of the Kakatiya dynasty which had spanned 500 years. Pembarthi has a rich history of outstanding workmanship of the Metal workers or the “Vishwakarmas”.

Therefore, the process of Sheet metal workmanship became popular as it adorned the vigrahas (statues) as well as vahanas (chariots) of several Hindu temples. With great patronage accorded to temples in Kakatiya kingdom, the Pembarthy sheet metal work attracted attention from all over the country.

Since most of the ancient temples in Telangana region were built under the patronage of the Kakatiya rulers, these temples bear the signature style of Pembarthi craftsmen. The metal craft reached the pinnacle of perfection following the higher degree of skills that were displayed by the master craftsmen. The Vishwakaramas of the region were renowned for their rare skills in this form of metal sculpture.It is also known popularly as the Pembarti Brassware. It has become an essential artefact in every handiwork exhibition and has also become synonymous with Telangana’s artistic heritage.

After the advent of Muslim rule, Pembarti craftsmen subsequently evolved their art style and decorated individual items such as betel nut cases or paandaans, perfume containers or Ittar pots, hanging metal Chandeliers or Jhummars, vases, special plaques and mementos.

The skill survived the setbacks of political conditions while the post-independence era has witnessed resurgence of this art that reoriented according to the changed demand patterns. There has been more emphasis on the utilitarian aspect in addition to the exotic. Pembarthi Brassware, over the years has captured the essential nuances of both Hindu and Muslim influences, which has seamlessly blended into both cultures. The craft form has received the prestigious Geographical Indication, which is indeed an honour for the craft.

Raja ravi varma paintings

Raja Ravi Varma was a renowned Indian painter who greatly influenced the future generations of Indian painters. Coming from a naturally blessed family of creative folks, pursuing a career in arts was not an aberration for young Varma who was encouraged by his uncle Raja Raja Varma to make a career out of the painting. Trained by several professional artists, he finally emerged as a classic Indian painter who excelled in depicting scenes from Indian literature and epics such as Mahabharata and Ramayana. What gave him the edge over other painters of his generation was that he fused Indian tradition with European technique thus coming up with a new genre of painting in India. He brought out on canvas several folks and traditional art forms of India. At a time when India was looking for inspiration to free itself from British rule, his dazzling oil paintings of India’s glorious past became highly popular In his career, his works were exhibited in major exhibitions across the globe for which he received numerous awards

• Raja Ravi Varma was born to Umamba Thampuratti and Neelakanthan Bhattatiripad on April 29, 1848, in the princely state of Kilimanoor, in Kerala. While his mother was a poet and a writer by profession, his father was a scholar. He had three siblings, Goda Varma, Raja Varma and Mangala Bayi.
• Coming from a family of creative personnel comprising of scholars, poets, and painters, it was only natural for young Varma to be blessed with artistic ingenuity.
• At the young age of seven, he started showing signs of taking the artistic route. Whatever he came across in his day to day living, such as pictures of animals, everyday acts and scenes, later adorned the walls of his home, reflecting his creativity and artistic sense.
• 
  While his family abhorred this behavior of young Varma, it was his uncle, Raja Raja Varma, a Tanjore artist, who realized his true potential and calling. He resolved to tap the creative ingenuity of the young boy to make him a proficient artist.
• With the help of his uncle and the ruling king, Ayilyam Thirunal, he received training and education in arts. His uncle also gave him his first ever drawing lesson.
• At the age of 14, he moved to Thiruvananthapuram, where he received training in water painting by the palace painter, Rama Swamy Naidu.

Raja Ravi Varma was born to Umamba Thampuratti and Neelakandan Bhattathiripad in the royal palace of Kilimanoor. The inborn talent of the painter started showing at a very tender age. Recognizing the innate aptitude of their child, his parents sent him to study under the patronage of Ayilyam Thirunal Maharaja of Travancore, when he was only 14 years old. He received tutelage, first, from the palace painter Rama Swamy Naidu and then, from Theodor Jenson, a British painter

. 

Raja Ravi Varma got married to Rani Bhageerathi Bayi (Kochu Panki Amma) of Mavelikara Royal House. He spent the later years of his life in Mysore, Baroda and a number of other cities in the country. This exposure helped him in broadening his outlook. At the same time, he was able to expand as well as sharpen his skills and evolve into a mature painter.

Professional Aspects
Raja Ravi Varma received systematic training, first in the traditional art of Thanjavoor and then, in the European art. He is credited with providing the critical link between Thanjavoor School and Western academic realism. His paintings can be classified into the following three categories:

• Portraits
• Portrait-based Compositions
• Theatrical Compositions, based on myths and legends

It is the third category of paintings for which Raja Ravi Varma is the most renowned. He was continuously traveling through the length and breadth of India, in order to find subjects for his paintings. His love for the South Indian women is depicted through his works. In many of his paintings, he has modeled Hindu Goddesses on the women living in the southern parts of India. The most popular as well as impressive paintings of Raja Ravi Verma include the ones depicting episodes from the story of Dushyanta and Shakuntala and that of Nala and Damayanti. 

At times, Raja Ravi Varma is criticized for being too showy in his paintings. His paintings are also condemned for overshadowing traditional Indian art forms, especially the ones depicting Hindu Gods and Goddesses. Raja Ravi Varma's approach is said to lack the dynamism of expression seen in the traditional paintings. Critics have also disapproved of his rejecting the traditional models of representation of deities and reducing them to the level of mortals. 

Recognition
In recognition of the immense contribution of Raja Ravi Varma towards Indian art, the Government of Kerala has instituted an award in his name. Known as the 'Raja Ravi Varma Puraskaram', the award is given to individuals who show considerable promise in the field of art and culture. There is a college in Mavelikara district of Kerala, established in the honor of Raja Ravi Verma. He also received international recognition in 1873, when he won the first prize for his paintings at the Vienna Art Exhibition. 

Notable Works of Raja Ravi Varma
Given below is a comprehensive list of the prominent works of Raja Ravi Varma:

• A Family of Beggars
• A Lady Playing Swarbat
• Arjuna and Subhadra
• Damayanti Talking to a Swan
• Draupadi Dreading to Meet Kichaka
• Girl in Sage Kanwa's Hermitage (Rishi-Kanya)
• Jatayu (a bird devotee of Lord Rama is mauled by Ravana)
• Lady Giving Alms at the Temple
• Lady Lost in Thought
• Lady with Fruit
• Lord Krishna as Ambassador
• Lord Rama Conquers Varuna
• Nair Woman
• Romancing Couple
• Shakuntala
• Shakuntala Composing a Love Letter to King Dushyanta
• Shantanu and Matsyagandha
• Swarbat Player
• The Heartbroken
• The Orchestra
• Victory of Indrajit