Warangal Fort

Tags

Andhra Pradesh, Architecture, Kakatiya, monument, Warangal

Warangal

The text below is adapted from http://www.kaladarshana.com/sites/warangal/

The Kakatiyas, who started as feudatories of the Chalukyas, became dominant rulers of the Andhra territory in the 12th century. They were enthusiastic patrons of architecture as is clear from the several temples built during their reign in and around their capitals at Hanamkonda and Warangal. The temples are built in a distinct architectural style derived from late Chalukyan archetypes and are recognizable by polygonal floor plans and intricately sculpted ceilings and pillars in the mandapam. The few Islamic buildings within the Warangal Fort date from the mid-14th century when Tughlak armies occupied the fort and from the 16th century when it became an outpost of the Bahmani and Qutb Shahi empires.

Warangal Fort 

In the early 13th century during the reign of Ganapatideva, the capital was moved from Hanamkonda to the new city of Warangal, which was laid out in a circular plan with three concentric rings of walls. The first ring which constitutes the Fort has high walls made of massive granite blocks laid without mortar. Inner faces of the walls have steps ascending to a path that runs along the top. Entrance gateways like the one seen here were renovated in Bahmani times as is clear from the sculpted fragments reused from dismantled temples. Here a temple ceiling fragment is placed in a niche. The image is of Vishnu carried by Garuda and surrounded by attendants. Above this some granite blocks are replaced by panels of elephants and yali.

Portal  These free-standing portals now at the east and west ends of the enclosure, were probably ornamental gateways to the temple complex. They have now become symbols of Warangal and Andhra Pradesh. Each portal has four pillars surmounted by miniature vimanams. Between them is a lintel composed of torana with five pendant lotus buds, regurgitated by makaras with elaborate tails. Below this is a row of nine rudrakshas and lotus buds. This ornate cross-beam has projecting sides with fully-carved hamsas standing on platforms held up by dwarfs. The projection is connected to the upright by a curved bracket on which stands a yali. The non-religious theme of these gateways is probably why they were spared by invaders.

Entrance Frame

Recovered portions of the sanctuary entrance frame. A pierced screen is formed by a pattern of empty rhombuses and hamsas. On either side of this are are columns of creepers emanating from kumbhas. The pilaster next has circular and octagonal sections at the centre, all intricately carved. Above this is a panel with Venugopala beneath a miniature torana and flanked by attendants and pilasters. A column of striding yalis to the left of the pilaster completes the composition.

Columns and Ceiling Panel The triangular block, part of a ceiling panel, has musicians, warriors and attendants around an elegant dancing Mahisamardhini image. Below this is a frieze with a row of yalis, uniformly carved. These blocks are held up by mandapa pillars with ornate scroll capitals and disc-like sections.

Ganesa Shrine 

Another set of unearthed fragments are formally arranged as a Ganesa temple. To its right is an immense but broken ceiling panel contining a krittimukha framed by dense foliage and creeper circles.

Recovered Slabs

The enclosure is filled with recovered carved granite blocks like these. There are fragments of ceilings and walls with panels of lotuses, yali, and hamsa.

Tobacco – Curing – II

Tags

agriculture, Alampur, Andhra Pradesh, curing, harvest, tobacco

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An open air tobacco curing site we passed by when we were driving past Kurnool. There were long lines of tobacco leaves hung across the area and photographically speaking, was a good opportunity to study the lines patters and geometry.

Tobacco – Curing

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agriculture, curing, drying, leaves, tobaco

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Text Courtesy : wiki

Curing tobacco has always been a process necessary to prepare the leaf for consumption. In recent time traditional curing barns in the U.S. are falling into disuse, as the trend toward using prefabricated metal curing boxes. Temporary curing boxes are often found on location at tobacco farms.

Processes

The aging process continues for a period of months and often extends into the post-curing harvest process.
After tobacco is cured, it is moved from the curing barn into a storage area for processing. If whole plants were cut, the leaves are removed from the tobacco stalks in a process called stripping. For both cut and pulled tobacco, the leaves are then sorted into different grades. Most cured tobacco is baled before sales are made under pre-sold contracts.

Methods

Cut plants or pulled leaves are immediately transferred to tobacco barns (kiln houses), where they will be cured. Curing methods vary with the type of tobacco grown, and tobacco barn design varies accordingly.

Air

Air-cured tobacco is hung in well-ventilated barns and allowed to dry over a period of four to eight weeks. Air-cured tobacco is low in sugar, which gives the tobacco smoke a light, sweet flavor, and a high nicotine content. Cigar and burley tobaccos are air cured.

Fire

Fire-cured tobacco is hung in large barns where fires of hardwoods are kept on continuous or intermittent low smoulder and takes between three days and ten weeks, depending on the process and the tobacco. Fire curing produces a tobacco low in sugar and high in nicotine. Pipe tobacco, chewing tobacco, and snuff are fire cured.

Flue

Flue-cured tobacco was originally strung onto tobacco sticks, which were hung from tier-poles in curing barns. These barns have flues which run from externally fed fire boxes, heat-curing the tobacco without exposing it to smoke, slowly raising the temperature over the course of the curing. The process will generally take about a week. This method produces cigarette tobacco that is high in sugar and has medium to high levels of nicotine.

Sun

Sun-cured tobacco dries uncovered in the sun. This method is used in Turkey, Greece, Bulgaria, Romania and Mediterranean countries to produce oriental tobacco. Sun-cured tobacco is low in sugar and nicotine and is used in cigarettes.

Cherial Paintings

Tags

Andhra Pradesh, art, Cherial, folk, frames, legends, narrative, painting, story telling, Telangana, tradition, vibrant, Warangal

Cherial is a village near Jangaon of Warangal District of Andhra Pradesh located 100 odd kms from Hyderabad, where the traditional art of scroll painting has originated and is kept alive.  This traditional art form has managed to stay true to its roots and is not adulterated in its themes, designs or colour schemes. The Cherial village was once very popular for producing these scrolls, dolls and masks which were mainly used to narrate myths and folklore subjects in the villages by wandering storytellers. These scrolls and paintings  depict stories from the epics, puranas and other Hindu legends and thrived under the patronage of the Kakatiyas of Warangal.

 

In the villages of Andhra Pradesh, traditional art forms were widely used by the local storytelling community popularly known as “Kaki Padagollu”. The scrolls were used as visual aids to tell stories to different communities. Reminiscent of the popular strips like the Amar Chitra Katha, each frame portrayed scenes step by step depicting the highlights of the story. At times a Cherial scroll can be over 20 metres in length.

Another distinctive features that makes cherial folk paintings stand apart, is the rich and vibrant scheme of colours. And interestingly, all the characters in these scrolls don similar features – identical sharp noses, big almond shaped eyes and wide mouths.

Sometimes, the designs are customized and made to order on request e.g. the black ad white scroll painting seen in the image above. The story, style and other details can be specified

In the 19th century, many scroll painters in the Telengana region earned a livelihood from these Cherial scrolls, each community in Telengana had their own scrolls, typical to their sub-cultural identity. With time, the demand for these scrolls and dolls almost became non-existent, and the balladeers and storytellers became rare. This traditional art form seems to have survived due to the untiring efforts and unflinching faith of D Venkatramiah. The remaining Cherial scroll painters of the era began to desert  because they could no longer make a living out of the art. At present, the tradition continues in the hands of his son D. Vaikuntam Nakash and his sons, who actively practise this art at the place where this art form originated, in Cherial. They can be reached through the contact details available at their blog : http://vaikuntamnakash.blogspot.in/

Besides painting scrolls, masks and wooden figures using “Puniki Wood” (which is light in weight) are also made based on similar features and colour schemes.

Lepakshi

Tags

Anantapur, Andhra Pradesh, Bull, Lepakshi, mythology, nandi, sculpture, Serpent, shiva, shiva purana, Vijayanagara

The text below is  courtesy kaladarshana.com

This Virabhadra Temple at Lepakshi was built in the mid-16th century by Viranna and Virupanna, Vijayanagara governors of Penukonda. It contains some of the finest sculpture of the period and has the earliest preserved cycle of mural paintings in the Vijayanagara style.

Nagalingesvara

Carved out of a natural boulder to the west of the shrine, this seven-hooded Naga shelters a black-polished lingam cradled in its ribbed coils. A saptamatrika panel is placed below to the right.

Sri-Kala-Hasti

Sculpted in low relief on a boulder-face next to the Ganesa shrine, these images depict the legend of Sri (spider), Kala (serpent-king) and Hasti (elephant) worshipping the linga.

Kalyana Mandapa

This is the east entrance of the large, unfinished Kalyana Mandapa at the north-west of temple compound. Each of the twelve pillars along the entrance has an image of a rishi wearing a crown and jewels and holding up one hand in varadamudra.

Kartikeya

Immediately inside the Kalyana Mandapa is an exquisite Karthikeya image sculpted on a wide pier. The diety is depicted with six heads and ten arms, and is framed by pilasters and a makara-torana canopy.

Rangamandapa

The peripheral columns of this mandapa are elaborate compositions. A yali with bulging eyes and elaborate scrollwork on its side rears over a large kneeling figure holding a dagger. Riding the yali is a diminutive mounted warrior who raises his sword. Elsewhere, piers have cut out colonnettes and are raised on bases carved as squatting yalis.

Bhringi

The central space of the mandapa has a series of massive piers, each magnificently carved on all three sides. This image is of Bhringi, three-legged, dance master of the gods. He wears elaborate ornaments, has a pigtail and holds a flower delicately in his left hand. He is framed by decorated pilasters on either side and a makara-torana above.

Siva Kankalamurti

This sculpture, perhaps the most spectacular in the temple, is a classic depiction of Shiva as Kankala-murti. His feet are clad in wooden sandals, the right leg slightly bent forward in a gesture of movement. In one of his hands he holds the kankala-danda, placed horizontally on his shoulders. Another hand is in the kataka-mudra held near the mouth of a deer that rears up to it. Other hands hold a trisula and a damaru. Above his head is an elaborate makara-torana. His flowing jata spreads on either side of his mukuta. To his left is a bhuta-gana, carrying on his head a large bowl of rice. At the right edge of the pier is an image of a woman (probably Parvati) serving him rice with a ladle. The woman’s dress is shown slipping down. Figures of gandharvas and rishis blessing Siva are above and to the right.

Ceiling Murals

The murals at Lepakshi are the most important specimens of Vijayanagara pictorial art and illustrate the high level of artistic achievement reached in Vijayanagara. The paintings, recently restored, are in vibrant red, green, and ochre colours. Black floral patterns border the scenes on either side. This panel shows the marriage of Siva and Parvati. The seated figures as well as the maids in attendance on Parvati each have distinct hairstyles, dresses, and facial types.

Kiratarjuniya, Hunting Scene

Most panels illustrate legends from the Ramayana, Mahabharata and Siva Purana. This animated scene narrates the hunting episode from the Kirata story. The boar is charging through the forest. A sage is shown fleeing together with antelopes, rabbit, and birds (above). On the right are hunters with bows and arrows.

Ardhamandapa

Wide piers with beautiful sculpture also fill the centre of this inner hall. An aspect of Devi is depicted here. Carved almost in the round, the precision of her flowing jewelry, folds of her costume and the elaborate scrollwork and the fullness of her head, hair, breasts, wide eyes, and aggressive posture.

Nandi

The monolithic Nandi a few 100 mts away from the Virabhadra temple is the main draw for the temple town. This is the second largest monolithic structure in the country.

Somnathpur

Tags

Architecture, Bannur Road, Hoysala, Karnataka, Mysore, Somnathpur, temple

Somnathpur

Somanathapur (also known as Somnathpura) is a town located 35 km from Mysore city on the Bannur Road. Somanathapur is famous for the Chennakesava Temple built by Soma, a commander under Hoysala king Narasimha III. This temple is one of the finest examples of Hoysala architecture and is in a very well preserved condition as it has not been subject to the vandalism as the more popular Halebidu/Belur temples have been. Despite the fact it is not as well known as the more popular and much larger Belur Halebidu temples. The temple is in the care of the Archeological Survey of India as a protected heritage site.

The text below is from http://www.kaladarshana.com/sites/somnathpura/

The mid-13th century Kesava temple at Somnathpura is the best-preserved example of an unusual temple style developed under Hoysala patronage, and mostly built in South Karnataka. Evolved from Late Chalukyan archetypes, Hoysala temples are compact, with low towers and complicated floor plans (often with triple santcuaries opening into a common mandapa) and profuse decoration on the outer walls. The Chalukyan style developed on somewhat similar lines under Kakatiya patronage in North Andhra. Somnathpura belongs to a smaller set of Hoysala temples where the outer wall decoration becomes spectacularly ornate.

Each pyramidal four-storeyed vimanam rises from a star-shaped eave with a sharply-cut lotus-fringe. Angled projections along the tower are intricately sculpted, with chandrasalas and images of seated dwarfs and musicians. A deep recess separates the last storey from the dome-like summit.

The temple is entered through a porch that leads to the columned mandapa. The upper walls of the porch have rows of perforation. Several friezes of sculpture decorate the rest of the wall. Uppermost is a frieze of erotic scenes, each scene flanked by double pilasters, followed by a row of dieties, each framed by pilasters with pediments. A narrow panel below this has mythological scenes, including a samudra-manthan panel. Next is a lata scroll, followed by a row of warriors on foot and horses.

These two panels on the south-east, seen first during a pradakshina, are also among the most beautiful in the temple. The first shows Vishnu sitting in lalitasana on the coils of Ananta. The seven hoods of Ananta cover his head, while miniature attendants are placed below. The one below is a Nritya-Ganapati image. Both figures are richly encrusted with tassels, jewels and crowns, and stand beneath overhanging trees and angled eaves with lotus fringes. In the wider Vishnu image, the eave, projection, and hamsa-yali friezes are star-shaped.

 

This portion of the south wall has images of Gayathri, Vishnu seated in padmasana, a rare Nritya-Lakshmi(seen to the right), and Brahma(left). The moulded base of each projection has a plaque signed by the artist. Signed sculpture is common in Hoysala temples but rare elsewhere.

This panel on the south-west, one of the finest compositions in the temple, shows Indra and Shachi on Airavat. Indra holds a thunderbolt in his left hand. The plaque below this image is not signed but filled with scrollwork. To the left is an image of Vishnu and Lakshmi on Garuda,

 

This damaged “wide” panel on the north shows Vishnu seated in lalitasana with Lakshmi on his lap(to the right in the image). Vishnu can be identified by the mace he holds in his left hand and the kneeling Garuda image at the bottom-left. Lakshmi holds a pot-of-wealth and her foot rests gently on a lotus. Both images are adorned with elaborate crowns and jewelry. The plaque below the image is not signed but filled with scrollwork.

The four friezes at the bottom (elephants, men-on-horses, scrollwork, and mythology) continue from porch onto the shrine. Above this the porch has two more panels of framed figures, separated by a band of scrollwork, and finally the pierced screen. The shrine on the other hand has yali and hamsa friezes, and above, a series of sculpted figure panels. The eave with lotus fringe is present on both porch and shrine.

The wide pradakshina-patha around the temple (seen left) is raised on a moulded star-shaped plinth. This complicated outline is carried onto the walls, eave, and vimanams. Fully-carved elephants project from the plinth. A pillared ambulatory with small shrines runs around the rectangular compound.

Sericulture

Tags

Karnataka, sericulture, silk, silk worms

Sericulture, the technique of silk production, is an agro-industry, playing an eminent role in the rural economy of India. Silk-fibre is a protein produced from the silk-glands of silkworm.

The systematic cultivation of mulberry, the food plant of silk worm (Bombyx mori), is the first step in the production of mulberry silk.

In India(Karnataka state), where the temperature ranges from 16-31 degree centigrade, enjoys favourable climatic conditions for rearing the silkworm throughout the year. Of a life span of 50 days of the silkworm, the egg stage lasts 10 days, the larval stage lasts longest-25-30 days. The pupa stage takes 10 days. The silkworm pass 4 moults during growth.

The cocoons are cooked in hot water & the silk fibre is unwound from the cocoons.This process is called ‘reeling’. The silk consists of two proteins, the inner core of fibroin & an outer cover of gum sericin. During reeling, the cocoons are processed in hot water at 95-97 degree centigrade for 10-15 minutes. This process is called cooking. This cooking will enable the sericin portion to get softened & make unwinding easy without breaks.

Text above courtesy : http://www.krishiworld.com/html/seri_ind1.html

Personally it is appalling that so many living creatures are to lose their lives for our indulgence. Typically 1500 cocoons are needed to produce 1 mtr of woven silk fabric. More recently there is a more eco-friendly variety of silk that does not kill the worms but instead lets the silkworm turn into silk moth and use the cocoons that are left behind.

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Srirangapatnam – II

Tags

Col Bailey, daria daulat, gumbaz, Karnataka, prison, srirangapatna, Summer Palace, Tipu Sultan, tomb

Colonel Bailey’s Dungeon

This is a prison named after Colonel Bailey who died here in 1780 A.D., this dungeon was used to hold captive many of the English officers viz. Captain Baird, Colonel Brithwite, Captain Rulay, Frazer, Samson and Lindsay by Tipu Sultan. It measures 30.5 mtr in width, 12.2 mtr in height and is built of brick and mortar.

Prisoners were said to be chained to stone slabs fixed on its walls along its inner periphery. During the seige of Srirangapatnam, one of the cannons rolled back, pierced the ceiling and fell into the dungeon. One can see it lying there. To a corner, one can see a deep pit and interestingly, there are two stories to its existence. One talks of the Kaveri water flowing from it upto the necks of the captives and thereby choking them into revealing the enemy ploys quickly and effectively. Another one talks of a secret passage to Mysore from there.

Daria Daulat

On the other side of the Banglore-Mysore highway lies the Summer Palace, one of Tipu’s favourite retreats. Built in 1784, it stands on a raised platform at a height of 1.5 metres. It houses the paintings, engravings, arms, coins and articles that depict the valiant victories and struggles of Tipu Sultan. There are ornate and beautiful frescoes, the corridors showcasing murals that describe Tipu’s ordeals in the battlefield against the British.

Many of these historic works of art are subject to neglect and it is indeed sad to see the deterioration of these invaluable documents that emphasize the glorious victory achieved by Hyder Ali and Tipu Sultanover the English contingent. It is a part of our glorious history and certainly needs to be preserved.

Gol Gumbaz

The mausoleum of Tipu Sultan, and his father Hyder Ali and mother Fathima Begam is located slightly ahead of the Daria Daulat. Built by Tippu Sultan in 1782-84, the Gumbaz is an imposing structure amidst the garden and stands on a high and wide platform.

The importance of Gumbaz lies in its well-shaped large dome, ivory inlaid doors, carved stone windows of fine workmanship and inscriptions. The Gumbaz has magnificent ebony doors decorated with ivory which was presented by Lord Dalhousie. The interior walls are covered with lacquer Tiger stripes which is Tipu’s favourite. A corridor lined by pillars of black amphibole walls Gumbaz.

Masjid-e-aksa a mosque is situated next to the Gumbaz.

Srirangapatnam – I

Tags

Fort, History, Karnataka, monuments, srirangapatna, temple

The historic town of Srirangapattana lies 19 km from Mysore city, in the neighbouring district of Mandya. The entire town is enclosed by the river Kaveri to form a river island. It is a town of great religious, historical and cultural significance. The fort of Srirangapatnam was strategic to the rulers of Mysore state. While the fortress was witness to many historic battles, it is now in shambles and a victim of rampant encroachment.

Sriranganathaswamy temple

The town takes its name from the celebrated Ranganathaswamy temple which is the star attraction of the town as Srirangapattana  is one of the most important Vaishnavite centers of pilgrimage in south India.  The temple was built by the Ganga dynasty rulers of the area in the 9th century; the structure was strengthened and improved upon architecturally some three centuries later. Thus, the temple is a medley of the Hoysala and Vijayanagar styles of temple architecture.

Jama Masjid or Masjid-E-Ala

The mosque is situated close to the Bangalore Gate of the fort and built by Tipu Sultan It is said that he performed the first imamath himself. The monument stands on a high basement with an open court, the basement housing a madrassa. There is an inscription mentioning the ninety-nine names of Allah and another records the date of its construction by Tipu in 1787 A.D. There is a sundial in the middle of the open court.

Two octogonal double storied minarets dotted with pigeon holes add to the grandeur of the entire monument. A flight of about 200 steps lead to the top of the minarets which offers a picturesque view of the Masjid and the surrounding area.

Tipu’s Death place

 

Bidar : everything else

Tags

Bidar, Gurudwara, Karnataka, Resort, temple, Wildlife

Gurudwara Nanak Jhira Saheb

Bidar is also well-known for the Gurudwara . It is said that there was acute shortage of drinking water as most of the available water was salty. When Guru Nanak visited the place and stayed at a hillock nearby, the residents of the town expressed the plight. On hearing of the predicament , the compassionate Guruji was moved and removed a stone from the hillock and to the delight of all, clean sweet drinking water started gushing out. The water has been flowing for the last 500 years. ‘Nanak Jhira’ means a spring of water and water has been continuously flowing from this spring and by the Grace of Guru Nanak ever since. This water is good for health and is said to have curative properties. Later, a Gurudwara has been built at this place.

This was the first time I had a chance to observe a Gurudwara and the followers of Sikhism closely. We had lunch at the Langar and the spirit of equality and voluntary service was humbling to say the least. The lunch was simple and everyone is served in a similar manner. The rotis were served to the joined palms as if it was an offering from the grace of the Almighty and we should appreciate and be thankful for the Grace.

©Lakshmi Prabhala 2011

Jharani Narasimha Swami Temple

Narasimha Swami Temple is a cave temple into which water runs. One has to wade through water up to chest height for a distance of 300 mts to have darshan of the idol. The water is natural although the source is not known. There are bats and owls on the rooftop of the caves but are harmless. The place is surrounded by picturesque scenery. The image on the top is of the deity placed at the entrance, and the one below is of the path leading up to the idol. We didnt have darshan as we didnt go prepared.

©Lakshmi Prabhala 2011

©Lakshmi Prabhala 2011

Jungle Lodges and Resort

The good thing about travelling with friends is we all come with suggestions and try out different things to do. Who would have thought it possible to capture glimpses of some of our feathered friends in a place that is known more for its historic monuments and handicrafts. A friend suggested we check out Jungle Lodges and Resorts which was 20 odd km away from Bidar, my first visit to such a resort. One would wake up to the view of a lake with a variety of birds chirping around. I think I will definitely stay here another time and would recommend it as a weekend getaway to anyone who may be interested. For someone who is more keen on shooting streets/people and the like, I think I will do my bird-watching friends proud!  Presenting two birds(a king-fisher and a hoopoe) who weren’t scared of an innova, and posed for us for at least 5 min. The kingfisher caught some fish too!

©Lakshmi Prabhala 2011

©Lakshmi Prabhala 2011

Parting shot

We were all amused by this poster which had us in splits every time we passed by. Just before we left town we said our goodbyes to the uniformed big B as well.

©Lakshmi Prabhala 2011