History of Andhra Pradesh PDF

Andhra Pradesh History
Early History of Andhra Pradesh
The Satavahanas
There are several references about an Andhra kingdom and a people called Andhras in the
Sanskrit epics Mahabharata and Ramayana, Puranas, and Buddhist Jataka Tales. Rukmini
from the Mahabharata hailed from Vidarbha, the Kingdom stretching through the Deccan
Plateau, around the Vindhya ranges which includes the present day Andhra, Maharashtra,
Madhya Pradesh and Karnataka regions, including the little known, now apparently
submerged archipelago in the Bay of Bengal. Rama in his exile is said to have lived in the
forests around the present day Bhadrachalam in Andhra Pradesh. Evidence for a flourishing
kingdom in coastal Andhra Pradesh relates to the visit of Buddha to Amaravati in the Guntur
district. Lord Buddha preached at Dharanikota and conducted Kalachakra ceremony, which
takes the antiquity of Amaravati back to 500 BC. Taranatha, the Buddhist monk writes: ―On
the full moon of the month Caitra in the year following his enlightenment, at the great stupa
of Dhanyakataka, the Buddha emanated the mandala of ―The Glorious Lunar Mansions‖
(Kalachakra). The recorded history of Amaravati and nearby Dharanikota is from the 2nd
century BC. Around the Mauryan age, there is historical evidence of Andhra as a political
power in the southeastern Deccan. Megasthenes, who visited the Court of Chandragupta
Maurya (322-297 BC), mentioned that Andhras had 30 fortified towns and an army of a
million infantry, 2000 cavalry and 1000 elephants. Buddhist books reveal that Andhras
established their kingdoms in the Godavari Valley at that time. Asoka referred in his 13th
rock edict (232 BC) that Andhra was under his rule.
The continuous political and cultural accounts of Andhra Pradesh commences with the rise of
the Satavahanas as a political power. According to Matsya Purana there were 29 rulers of this
dynasty. They ruled over the Andhra desa for about 456 years from the 2nd century BC to the
2nd century AD. According to an inscription at Nasik, it was under Gautamiputra Satakarni,
the 23rd Satavahavana, the kingdom included most of the southern peninsula and some
southern parts of present Indian states like Maharastra, Orissa and MadhyaPradesh. The court
language used by Satavahanas was Prakrit. Buddhism flourished throughout this age, and
several Buddhist Stupas including Amaravati, Chaityas and Viharas were constructed during
this time, although the kings followed Vedic religion. The fall of the Satavahana Empire left
Andhra in political chaos. Local rulers carved out small kingdoms for themselves. From AD
180-624, Ikshvaku, Brihatpalayana, Salankayana, Vishnukundina, Vakataka, Pallava, Ananda
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Gotrika, Kalinga and others ruled over parts of Andhra with small kingdoms. Most important
among these small dynasties was the Ikshvaku. Nagarjuna Konda was their capital and they
patronized Buddhism, though they followed the Vedic ritualism. Sanskrit mostly replaced
Prakrit as the language of the inscriptions.
The Ikshvakus of Nagarjunakonda
After the disintegration of the Satavahana Empire in the Deccan the Ikshvakus have
succeeded in the Krishna valley choosing Vijayapuri as their capital. There were only four
kings in the Ikshvaku line beginning with Chantamula, a valiant ruler who performed
Agnihotra, Agnistoma, Aswamedha sacrifice, gifted lakhs of cows, ploughs, gold and brought
the coastal Andhra and Telingana under his control. He was succeeded by Veerapurushadata
who relinquished Hindu faith and took to Buddhism.It was probably during his period that
Nagarjunakonda became a celebrated center of Buddhism to which Buddhist from all parts of
India, Ceylon, China and other places have flocked. Yahuvala Santamula and
Rudrapurushadata succeeded Veerapurushadata. Though Ikshvakus have barely ruled for less
than a century their contribution to Buddhist sculptural art and architecture is immense.
Patrons of Buddhism
Most of the inscriptions of the Andhra Ikshvaku period record either the construction of the
Buddhist Viharas or the gifts made to them. All the donors and builders of the Viharas were
the female members of the Ikshvaku royal family. Although Santamula I is reported to have
performed the Vedic sacrifices, nothing is known about the religious leanings of his
successors. This was the period during which Andhra became a flourishing centre of
Buddhism and a place of pilgrimage for the Buddhists. The patrons were ladies from the
royal household, the merchants and artisans and the people at large. The great stupas of
Jaggayyapeta, Nagarjunakonda and Ramireddipalle were built, repaired or extended during
their reign. Buddhist pilgrims and scholars visited the Buddhist centre at Nagarjunakonda.
The attraction for this Buddhist centre can be accounted for from the sea trade which was
carried on between Lanka and the Ikshvakus though the ports situated on the mouths of the
Krishna and the Godavari.
Pallavas
The Pallava Empire was an ancient South Indian kingdom. The Pallavas, feudatories of
Andhra Satavahanas, became independent after the decline of that dynasty in Amaravati.
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Initially they ruled southern Andhra Pradesh, also known as Palnadu, situated in the Guntur
district. Later they extended their rule to Tamil regions and established their capital at
Kanchipuram around the 4th century. They rose in power during the reign of
Mahendravarman I (571 – 630) and Narasimhavarman I (630 – 668) and dominated the
southern Telugu and northern parts of Tamil region for about six hundred years until the end
of the 9th century. Pallavas are most noted for their patronage of Dravidian architecture, still
seen today in Mahabalipuram. The Pallavas, who left behind magnificent sculptures and
temples, established the foundations of classical Dravidian architecture. A Chinese traveller
Hiuen Tsang visited Kanchipuram during Pallava rule and extolled their benign rule.
Vishnukundinas
The Vishnukundinas were a dynasty that ruled over the Deccan and South India. It played an
important role in the history of the Deccan during the 5th and 6th centuries. According to
Edward B. Eastwick, the Maharaja of Vizianagaram descends from the Maharajas of Udaipur
and is of the Sisodia branch of the Gehlot tribe. A brother of the Maharaja of Udaipur
migrated to Oudh in the 5th or 6th centuries, and relatives of this line migrated into the
Deccan and settled at various times in Indra-Pala-Nagara in the Nalgonda district and in
Vinukonda in the Guntur district. The early rulers of the dynasty were feudatory of the
Vakatakas with whom they had marital alliances as well as with the Rashtrakutas. In 529, a
descendent, Madhava Varma, and four other clans gained independence and solidified their
position by defeating the Salankayanas in coastal Andhra. They had different capitals such as
Amaravati and Bezwada until they eventually settled into Vizianagaram. Over the centuries
the other four clans served as feudatories to the Vizianagaram rulers as well as subsequent
dynasties such as the Chalukyas. One of the forts later traditionally connected to Rajus is
Kalidindi in Krishna district, which was under the Vishnukundin sway for a long time. In
1512, the Maharaja of Vizianagaram was conquered by the Golkonda dynasty and was made
Subahdar of the Northern Circars. The title was conferred by Emperor Aurangzeb, who gave
him a two-edged sword (Zulfikar), which is still used in the coat-of-arms of the family.
Maharaja Vijaya Rama Gajapati Raju III, in 1845 had several honors conferred on him by the
British Government. Lord Northbrook conferred the title of His Highness. His son was born
31 December 1850 and a daughter was married to His Highness Maharaj Kumar Singh,
cousin and heir apparent of H.H. Maharajah of Rewah. The Rajahs of Vizianagaram obtained
the title of ‗Gajapathi‘ after the battle of Nandapur, in the Northern Circars in the 16th
century
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The chalukyas of badami
Region of Chalukyavishaya.The region comprising Mehaboobnagar, Kurnool and Cuddapah

districts was included in the Hiranyarastra that was subsequently known as Chalukya
Vishaya, a territory owned by the Badami. Interestingly the region of Chalukya Vishaya is
studded with several groups of temples having typical Rekhanagara (curvilinear) vimanas,
similar ground plans and artistic embellishments. They are situated at Satyavolu, Panyam,
Kadamalakalva, in Kurnool district, Kudalisangam and Alampur in Mehboobnagar district.
One of the titles of the first Pulakesi being Satyasraya; we believe that Satyavolu in Kurnool
district may be one of the early capitals of the Chalukyans. The earliest member of the
Chalukyan family known through inscriptions was Jayasimha, the grandfather of Pulakesi I.
It is not clear how Jayasimha was related to Vishnuvardhana the legendary Chalukyan Prince
who was brought up by Vishnubhatta Somayaji of Mudivemu Agrahara (in Cuddapah
district) as recorded in the the legend of the mythical origin of the Chalukyas was narrated by
Bilhana in his celebrated work Vikramankadeva Charitra and the same repeated in many
inscriptions of the later Chalukyas, particularly the Nandampudi grant of Rajarajanarendra.
The early Chalukyas ruled Deccan for over 200 years. They were ardent Hindus in religion
and built a large number of temples in their typical style of architecture as stated above the
founder of the dynasty was Jayasimha who originally hailed from Chalukya Vishaya.
Pulakesi 1, the son of Ranaraga started his rule independently of the Kadambas he collected a
large army and captured Badami in 546 AD built a strong fort and made Badami his second
capital. Later he performed an Aswamedha sacrifice and bore the title as Satyasraya. He had
another title of Ranavikrama.He was succeeded by his son Kirtivarma1 in 566 AD who ruled
for 30 years. He was a great warrior who conquered Anga, Vanga, Kalinga, Vattora,
Magadha, Madra, Kerala, Ganga, Mushika, Pandya, Dravida, Chola, Anupa, Vaijayanti,
Nala, Maurya [Konkan], Kadamba, and Kalachuri. In all the battles he fought he was ably
assisted by his younger brother, Mangalesa who succeeded him in 596 due to Kirtivarma‗s
son Pulakesi 11, was still in infancy.
Eastern chalukyas
Between 624 and 1323, a significant change came about in social, religious, linguistic and
literary spheres of Andhra society. During this period the Telugu language, emerged as a
literary medium subsuming the predominance of Prakrit and Sanskrit. As a result, Andhra
achieved an identity and a distinction of its own. The Eastern Chalukyas were a branch of the
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Chalukyas of Badami. Pulakesin II conquered Vengi (near Eluru) in 624 and installed his
brother Kubja Vishnuvardhana (624-641) as its ruler. His dynasty, known as the Eastern
Chalukyas, ruled for nearly four centuries in all. Vishnuvardhana extended his dominions up
to Srikakulam in the north and Nellore in the south. The Eastern Chalukyas occupied a
prominent place in the history of Andhra Pradesh. Since the time of Gunaga Vijayaditya in
848, inscriptions show Telugu stanzas, culminating in the production of literary works in the
coming centuries. Later in the 11th century, the Mahabharata was translated partly by the
court poet Nannaya under the patronage of the then Eastern Chalukya ruler Rajaraja
Narendra. Throughout this period and up to the 11th century, the Telugu language was
written in old Telugu script. Al-Beruni (1000) referred to old Telugu script as ―Andhri‖ in his
―Kitab Al-Hind‖. The emergence of the Telugu script from the old Telugu script started
around the 11th century and culminated in the 19th century. After a brief period of
sovereignty under Gunaga Vijayaditya, the Vengi region again came under the Rashtrakuta
rule and later the Kalyani Chalukya rule from the beginning of the 10th century to the 11th
century, when the Cholas managed to wrest control from the Chalukyas. However by 1118,
with the defeat of the Kulottunga Chola at the hands of Vikramaditya VI of the Kalyani
Chalukya dynasty and the victory of Hoysala ruler Vishnuvardhana over the Cholas at
Talakad, Vengi once again came under Chalukya rule. The Kalyani Chalukya power itself
went into decline after the death of Vikramaditya VI. By the end of the 12th century, their
empire was split into several local kingdoms, namely the Hoysala Empire, the Kakatiya
Kingdom and the Yadavas.
Medieval History of Andhra Pradesh
Kakatiyas
The 12th and the 13th centuries saw the emergence of the Kakatiya dynasty. They were at
first the feudatories of the Western Chalukyas of Kalyani, ruling over a small territory near
Warangal. A ruler of this dynasty, Prola II (1110–1158) extended his sway to the south and
declared his independence. His successor Rudra (1158–1195) pushed the kingdom to the east
up to the Godavari delta. He built Warangal Fort to serve as a second capital and faced the
invasions of the Seuna Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom
to the coastal area. Ganapati Deva succeeded him in 1199. He was the greatest of the
Kakatiyas and the first after the Satavahanas to bring almost the entire Telugu area under one
unified empire. (Unlike Satavahanas, Kakatiyas are native Telugu kings who used Telugu as
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court language.) He put an end to the rule of the Velanati Cholas in 1210 and extended his
empire till Anakapalle in the north. The most prominent ruler in this dynasty was Rani
Rudrama Devi (1262–1289), one of the few queens in Indian history. An able fighter and
ruler Rudramba defended the kingdom from the Cholas and the Seuna Yadavas, earning their
respect. She remains one of the few female powers of the South India for all time. On the
death of Rudrama, her grandson Prataparudra, who was adopted by her as son and as heir
apparent on the advice of her father Ganapatideva, ascended the throne at the beginning of
the year 1290. Prataparudra had to fight battles throughout his reign against either the internal
rebels or the external foes. Prataparudra expanded borders towards the west till Raichur and
in the south till Ongole and Nallamala Hills, whilst introducing many administrative reforms,
some of which were also later adopted in the Vijayanagar empire. The Kakatiya dynasty
faced Muslim onslaughts from 1310 and came under the control of the Delhi Sultanate in
1323. A brief period of 50 years of independence was enjoyed under Musunuri Nayaks who
rebelled and liberated Telugu land from the rule of Delhi. Although short lived the Musunuri
Nayaks rule was a watershed in the history of south India. Hakka (Harihara) and Bukka, who
were previously treasury officers in the court of Prataparudra drew inspiration from them and
consolidated Hindu opposition to Muslim invaders. Eventually, after the fall of the Kakatiyas
in 1370, the Vijayanagara Empire, considered the last great Hindu and Telugu empire, swept
across the Telugu land and the present day Karnataka (1336–1450). Small parts of Telugu
region were under Reddys of Kondavidu and Rajahmundry and Recherla Velamas of
Telangana, who were content to be vassals of Muslim kingdoms.
Reddy dynasty
The first of the Reddy clans came into prominence during the Kakatiya period. During this
time the Reddys carved out for themselves feudal principalities. After the death of Pratapa
Rudra II and the subsequent fall of the Kakatiya empire, the Reddy chiefs became
independent and this led to the emergence of the Reddy kingdom. The 19th century writer
Edgar Thurston in his book, Castes and Tribes of Southern India stated that Reddys were the
village chiefs and listed them under the section Kapu. The village chiefs were given the title
―Reddy‖. The Reddy dynasty (1325–1448) ruled some parts of the coastal Andhra Pradesh
for over a hundred years. Reddys became independent after the death of Pratapa Rudra II and
the subsequent fall of the Kakatiya Dynasty. Thus emerged the Reddy Kingdom. Prolaya
Vema Reddy was the first king of the Reddy dynasty. The capital of the kingdom was
Addanki which was moved to Kondavidu and subsequently to Rajahmundry. His reign was
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characterized by restoration of peace, patronage of arts and literature, and all round
development. Errana, the translator of Ramayana, lived during this period. Origins of Reddys:
The Rashtrakutas and Reddys seem to share a similar origin, from the great ―Rattas‖ or
―Rathis‖ or ―Rashtrikas‖ who ruled the Deccan from ancient times. The ―Rathis‖ ruled over
small principalities in the Deccan plateau before 200 BCE, before the Satavahanas and
Mauryas. The word ―Rathi‖ or ―Ratti‖ is found under various forms such as Reddi, Ratta,
Rashtrakuta, Rahtor, Rathaur. They left coins in northern Andhra Pradesh, Kurnool district,
and near Pune. Coins were found in the levels between the megalithic to Satavahana periods
in excavations. The usage of the word Reddy specifically was first seen in the inscriptions
made during the Renati Chola period (7th century CE). Reddys are believed to be an offshoot
of the Rashtrakuta dynasty. After the decline of the Rashtrakuta dynasty, the ruling clan
broke off and settled in North and South India. Rashtrakutas were a Rajput clan. The settlers
in the north are called Rathods/Rathores, and ruled Marwar in western Rajasthan, while the
southern settlers were called Reddys.
Vijayanagar
empire Vijayanagara Empire, one of the greatest empires in the southern India, was founded
by Harihara (Hakka) and Bukka, who either served as Treasury officers in the administration
of Kakatiya dynasty or as Hoysala commanders. When Warangal fell in 1323, the two
brothers were captured, taken to Delhi and converted to Islam. They were sent to the Deccan
as governors of Kampili by the Delhi Sultanate with the hope that they would be able to deal
with the local revolt and invasions by neighbouring Hindu kings. Their first campaign was
against the neighbouring Hoysala emperor, Veera Ballala III of Dwarasamudra. Later, the
brothers reconverted to Hinduism under the influence of the sage Vidyaranya and proclaimed
their independence from the Delhi Sultanate. However, this theory of conversion to Islam,
wars against the Hoysalas and their reconversion to Hinduism has been rejected by other
historians who claim the founders were Kannadigas and were stationed in the Tungabhadra
region by Hoysala Veera Ballala III to fight the Muslim invasion. Harihara I (reigned 1336–
56) then established his new capital, Vijayanagar, in an easily defensible position south of the
Tungabhadra River, where it came to symbolize the emerging medieval political culture of
South India. The Vijayanagara empire reached its peak under Emperor Krishnadevaraya in
the early part of 16th century. Telugu literature reached new heights during this time. Fine
Vijayanagar monuments were built across South India including Lepakshi, Tirupathi and Sri
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Kalahasti in Andhra Pradesh. The largest and most famous ensemble of Vijayanagara
monuments are at Hampi in modern Karnataka.
Mughal era
In 1323 the Delhi Sultan Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to
conquer the Telugu country and lay siege to Warangal. In 1347, an independent Muslim state,
the Bahmani Sultanate, was established in south India by Ala-ud-Din Bahman Shah as a
revolt against the Delhi Sultanate. By the end of the 15th century, the Bahmani rule was
plagued with faction fights and there came into existence the five Shahi sultanates. Of these,
it was the Qutb Shahi dynasty that played a significant and notable role in the history of
Telugu land. 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 1496. He declared independence after the death of his
patron king, Mahmud Shah, in 1518. Aurangazeb, the Mughal emperor, in 1687 invaded
Golconda and annexed it to his empire. He appointed a Nizam (governor) and thus for about
a period of 35 years this region was ruled by Mughal Nizams. Aurangazeb died in 1707 and
the administrative machinery of the Mughal imperial regime began to crumble and it
gradually lost control over the provinces. It enabled two foreign mercantile companies to
consolidate themselves as political powers capable of subsequently playing decisive roles in
shaping the destiny of the nation. They were the East India Company of England and the
Compagnie des Indes Orientales of France.
Modern History of Andhra Pradesh
Beginning of colonial era
In 1753, a decree of Asif ad-Dawlah Mir Ali Salabat Jang, Subedar of Deccan conceded to
General Bussy the paragons of Chicacole, Ellore, Rajahmundry etc. with an annual revenue
Rs.200,000 for the maintenance of the French troops in the Subah in recognition of the help
of these Circars amounted up to 1 million Rupees per year. Bussy helped Salabat Jang to be
the Subedar of Deccan. The agreement made between the French and Salabat Jang in
Aurangabad bears the signature of Said Loukshur, Minister of Salabat Jang. Yanam acquired
considerable importance during the occupation of the Northern Circars by the French.
Another important event in the history was the war between the French and the English
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fought at Chandurthi (now is in Gollaprolu mandal) in East Godavari district) in 1758 in

which the French were defeated by the combined armies of British and Maharaja Ananda
Gajapathi Raju- 2 of Vizianagram. Salabat Jang made a treaty with British and gave the
Northern Circars under a firman to the English. Later, Nizam rebelled against the English. A
second treaty was the result of war and Northern Circars remained permanently under the
control of the British. After 1760 the French lost hold in South India, especially on Northern
Circars. In 1765, Lord Robert Clive, the then existing Chief and Council at Vizagapatam
obtained from the Mughal emperor Shah Alam a grant of the five Circars. In 1792, the British
got the complete supremacy, when they defeated Maharaja Vijaya Rama Gajapathi Raju of
Vizianagaram.
Madras presidency
Then Northern Circars became part of the British Madras Presidency. Eventually that region
emerged as Coastal Andhra region. Later, the Nizam had ceded 5 territories (Datta Madalâlu)
to British which eventually emerged as Rayalaseema region. The Nizams retained control of
the interior provinces as the Princely state of Hyderabad, acknowledging British rule in return
for local autonomy The provinces were at the time governed in a feudal manner, with
Zamindars in areas such as Kulla and other parts of the Godavari acting as lords under the
Nizam. The feudal or zamindari system was removed after independence.
Post-independence
India became independent from the United Kingdom in 1947. The Muslim Nizam of
Hyderabad wanted to retain his independence from India, he was forced accede his state to
India in 1948 as the Hyderabad State. When India became independent, the Telugu-speaking
people (although Urdu is spoken in some parts of Hyderabad and in few other districts of
Telangana) were distributed in about 22 districts, 9 of them in the Telangana region of
Nizam‘s Dominions (Hyderabad State) and 12 in the Madras Presidency and one in French
controlled Yanam. Andhra State was the first state in India that has been formed on a purely
linguistic basis by carving it out from Madras Province in 1953. Andhra State was later
merged with Telugu speaking area of Hyderabad (Telangana) to create Andhra Pradesh state
in 1956. In 1954, Yanam was liberated and it was merged with Puducherry in 1963.
Madras manade movement
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However, in 1953, Telugu speakers of Madras Presidency wanted Madras as the capital of
Andhra state including the famous slogan ―Madras Manade‖ (Madras is ours) before Tirupati
was included in Andhra Pradesh. Madras at that time was an indivisible mixture of Tamil and
Telugu cultures. It was difficult to determine who should possess it. Panagal Raja, Chief
Minister of the Madras Presidency, in the early 1920s said that the Cooum River should be
kept as a boundary, giving the northern portion to the Andhras and the southern portion to the
Tamils. In 1928, Sir C. Sankaran Nair sent a report to the Central Council discussing why
Madras does not belong to the Tamils. But finally, it was decided that Madras would remain
in the Tamil region. According to the JPC report, (Jawahar Lal Nehru, Bhogaraju Pattabhi
Sitaramayya, C. Rajagopalachari) Telugu people should leave Madras for Tamils if they want
a new state.
Creation of Andhra State
In an effort to protect the interests of the Telugu people of Madras state, Amarajeevi Potti
Sriramulu attempted to force the Madras Presidency government to listen to public demands
for the separation of Telugu speaking districts (Rayalaseema and Coastal Andhra) from
Madras Presidency to form the Andhra state. He went on a lengthy fast, and only stopped
when Prime Minister Jawaharlal Nehru promised to form Andhra state. However, there was
no movement on the issue for a long time. He started fasting again for attaining statehood for
Andhra in Maharshi Bulusu Sambamurthy‘s house in Madras on 19 October 1952. It started
off without fanfare but steadily caught people‘s imagination despite the disavowal of the fast
by the Andhra Congress committee. The government of the day however did not make a clear
statement about the formation of a new state despite several strikes and demonstrations by
Telugu people. On the midnight of 15 December (i.e. early 16 December 1952), Potti
Sriramulu died and laid down his life trying to achieve his objective. In his death procession,
people shouted slogans praising his sacrifice. When the procession reached Mount Road,
thousands of people joined and raised slogans hailing Sriramulu. Later, they went into a
frenzy and resorted to destruction of public property. The news spread like wildfire and
created an uproar among the people in far off places like Vizianagaram, Visakhapatnam,
Vijayawada, Eluru, Guntur, Tenali, Ongole and Nellore. Seven people were killed in police
firing in Anakapalle and Vijayawada. The popular agitation continued for three to four days
disrupting normal life in Madras and Andhra regions. On 19 December 1952, the Prime
Minister of the country Jawaharlal Nehru made an announcement about formation of a
separate state for Telugu speaking people of Madras Presidency.
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Merger of Telangana and Andhra
In December 1953, the States Reorganization Commission was appointed to prepare for the
creation of states on linguistic lines. The commission, due to public demand, recommended
disintegration of Hyderabad state and to merge Marathi speaking region with Bombay state
and Kannada speaking region with Mysore state. The States Reorganisation Commission
(SRC) was not in favour of an immediate merger of Telugu speaking Telangana region of
Hyderabad state with Andhra state, despite their common language. Para 378 of the SRC
report said ―One of the principal causes of opposition of Vishalandhra also seems to be the
apprehension felt by the educationally backward people of Telangana that they may be
swamped and exploited by the more advanced people of the coastal areas.‖ The Chief
Minister of Hyderabad State, Burgula Ramakrishna Rao, expressed his view that a majority
of Telangana people were against the merger. He supported the Congress party‘s central
leadership decision to merge Telangana and Andhra despite opposition in Telangana. Andhra
state assembly passed a resolution on 25 November 1955 to provide safeguards to Telangana.
The resolution said, ―Assembly would further like to assure the people in Telangana that the
development of that area would be deemed to be special charge, and that certain priorities and
special protection will be given for the improvement of that area, such as reservation in
services and educational institutions on the basis of population and irrigational
development.‖Telangana leaders did not believe the safeguards would work. With lobbying
from Andhra Congress leaders and with pressure from the Central leadership of Congress
party, an agreement was reached between Telangana leaders and Andhra leaders on 20
February 1956 to merge Telangana and Andhra with promises to safeguard Telangana‘s
interests. Andhra state and Telangana was merged to form Andhra Pradesh state on 1
November 1956 after providing safeguards to Telangana in the form of Gentlemen‘s
agreement.
Separate Telangana movement
There have several movements to invalidate the merger of Telangana and Andhra, major ones
occurring in 1969, 1972 and 2000s onwards. The Telangana movement gained momentum
over decades becoming a widespread political demand of creating a new state from the
Telangana region of Andhra Pradesh. Proponents of a separate Telangana state feel that the
agreements, plans, and assurances from the legislature and Lok Sabha over the last fifty years
have not been honoured, and as a consequence Telangana has remained neglected, exploited,
and backward. They allege that the experiment of Andhra Pradesh to remain as one state has
proven to be a futile exercise and that separation is the best solution. On 9 December 2009,
Government of India announced process of formation of Telangana state. Due to objections
raised in Coastal Andhra and Rayalaseema regions immediately after the announcement, and
due to the agitation in those regions for 14 days, the decision to form to new state was put on
hold on 23 December 2009. The movement continues in Hyderabad and other districts of
Telangana
Andhra Pradesh –The Eastern Chalukyas of Vengi and their importance –socio-
cultural contribution
Introduction:-
The Chalukya Dynasty was a powerful Indian royal dynasty that ruled large parts of southern
and central India between the 6th and the 12th century C.E. During this period, they ruled as
three related, but individual dynasties. The earliest dynasty, known as the Badami Chalukyas,
ruled from their capital Vatapi(modern Badami) from the middle of the 6th century. The
Badami Chalukyas began to assert their independence at the decline of the Kadamba
Kingdom of Banavasi and rapidly rose to prominence during the reign of Pulakesi2. After
the death of Pulakesi II, the Eastern Chalukyas became an independent kingdom in the
eastern Deccan. They ruled from their capital Vengi until about the 11th century.In the 6th
century, the Gupta dynasty declined. They were having immediate descendants in northern
India. Many changes were undertaken in the southern area of the Vindyas the Deccan and
Ttamilaham. The age of small kingdoms had given way to large empires in this region. In 550
pulakesi 2 established the Chalukya dynacity. He took Vatapi (Badami in Bagalkot district,
Karnataka) under his control and made it his capital. In the western Deccan, the rise of the
Rashtrakutas in the middle of 8th century eclipsed the Chalukyas of Badami before being
revived by their descendants, the Western Chalukyas, in late 10th century. These Western
Chalukyas ruled from Kalyani (modern Basavakalyan) till the end of the 12th century.
The rule of the Chalukyas marks an important milestone in the history of South India and a
golden age in the history of Karnataka. The political atmosphere in South India shifted from
smaller kingdoms to large empires with the ascendancy of Badami Chalukyas. For the first
time, a South Indian kingdom took control and consolidated the entire region between the
Kaveri and the Narmada rivers. The rise of this empire saw the birth of efficient
administration, overseas trade and commerce and the development of new style of
architecture called "Chalukyan architecture". Kannada literature The 11th century saw the
birth of Telugu literature under the patronage of the Eastern Chalukyas.
Society:-
The population in the Vengi country was heterogeneous in character. The people were of a
violent character, were of a dark complexion and were fond of arts. The society was based on
hereditary caste system. Even the Buddhists and Jains who originally disregarded caste,
adopted it. Besides the four traditional castes, minor communities like Boyas and Savaras
(Tribal groups) also existed.
The Brahmins were held in high esteem in the society. They were proficient in Vedas and
Shastras and were given gifts of land and money. They held lucrative posts such as
councillors, ministers and members of civil service. They even entered the army and some of
them rose to positions of high command. The Kshatriyas were the ruling class. Their love of
intrigue and fighting was responsible for civil war for two centuries. The Komatis (Vaishyas)
were a flourishing trading community. Their organisation into a powerful guild (Nakaram)
which had its headquarters in Penugonda (West Godavari) and branches in seventeen other
centres had its beginnings in this period. It seems there used to be a minister for communal
affairs (Samaya Mantri) in the government. The Shudras constituted the bulk of the
population and there were several sub-castes among them.
Religion:-
Hinduism was the prominent religion of the Eastern Chalukya kingdom, with Shaivism being
more popular than Vaishnavism. The Mahasena temple at Chebrolu became famous for its
annual Jatra, which involved a procession of the deity's idol from Chebrolu
to Vijayawada and back. Some of the rulers, declared themselves as Parama Maheswaras
(Emperors). The Buddhist religious centres eventually attained great celebrity as Siva pilgrim
centres. Eastern Chalukya rulers like Vijayaditya 2, Yuddhamalla 1, Vijayaditya 3 and Bhima
1 took active interest in the construction of many temples. The temple establishments like
dancers and musicians show that during this period, temples were not only a centre of
religious worship but a fostering ground for fine arts.
Buddhism, which was dominant during the Satavahanas was in decline. Its monasteries were
practically deserted.Twenty or more Buddhist monasteries in which more than three thousand
monks lived.
Jainism, unlike Buddhism, continued to enjoy some support from the people. This is evident
from the several deserted images in ruined villages all over Andhra. The inscriptions also
record the construction of Jain temples and grants of land for their support from the monarchs
and the people. The rulers like Kubja Vishnuvardhana, Vishnuvardhana 3 and Amma
2 patronised Jainism. Vimaladitya even became a declared follower of the doctrine
of Mahavira. Vijayawada, Jenupadu, Penugonda (West Godavari) and Munugodu were the
famous Jain centres of the period.
Architecture:-
The Eastern Chalukyan kings undertook construction of temples on a large

scale. Vijayaditya2 is credited with the construction of 108 temples. Yuddhamalla I erected a
temple to Kartikeya at Vijayawada. Bhima 1 constructed the famous Draksharama and
Chalukya Bhimavaram (Samalkot) temples. Rajaraja Narendra erected three memorial

shrines at Kalidindi (West Godavari). The Eastern Chalukyas, following the Pallava and
Chalukya traditions, developed their own independent style of architecture, which is visible
in the Pancharama shrines (especially the Draksharama temple) and Biccavolu temples. The
Golingeshvara temple at Biccavolu contains some richly carved out sculptures of deities
like Ardhanarishvara, Shiva, Vishnu, Agni, Chamundi and Surya.
Literature:-
Telugu literature owes its origin to the Eastern Chalukyas. Poetry makes its first appearance
in the Addanki, Kandukur and Dharmavaram inscriptions of Pandaranga, Army Chief
of Vijayaditya 3, in the later half of the 9th century. Kubja Vishnuvardhana, the founder of
the Eastern Chalukya dynasty, was the brother of the Chalukya king, Pulakeshin II. The
Chalukyas therefore governed both the Karnata and Andhra countries and patronised
Kannada as well as Telugu. This very likely led to a close connection between Telugu and
Kannada literature. A number of Telugu authors of the age also wrote in Kannada and vice
versa.
Andhra Pradesh- Ashafjahi Dynasty
Asaf Jahi Dynasty and seven generations of the family ruled the Deccan for 224 years upto
1948. During this period several buildings of archaeological and public importance were
built. Notable among them are: Purani Haveli, Chow Mahalla Palace, Osmania University,
Jubilee Hall, Assembly Building, Asifia Library, Osmania Hospital, High Court, and all the
buildings in the Public Garden.
The founder of this dynasty was one Mir Kamaruddin, a noble and a courtier of the Mughal
Muhammad Shah, who negotiated for a peace treaty with Nadirshah, the Iranian invader; got
disgusted with the intrigues that prevailed in Delhi. He was on his way back to the Deccan,
where, earlier he was a Subedar. But he had to confront Mubariz Khan, as a result of a plot by
the Mughal emperor to kill the former. Mubariz Khan failed in his attempt and he was
himself slain. This took place in A.D.1724, and henceforth Mir Kamaruddin, who assumed
the title of Nizam-ul-Mulk, conducted himself as an independent prince. Earlier, while he was
one of the Ministers of the Mughal emperor Muhammad Shah, the latter conferred on him the
title of Asaf Jah. Thus begins the Asaf Jahi rule over Golconda with the capital at
Aurangabad but later moved to Hyderabad, which became the capital of the Asaf Jahi
dynasty.
Asaf 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. Asaf Jah's second son Nasir Jung was supported by the British whereas Muzafar
Jung, grandson of Asaf 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
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.
Between A.D.1766 and A.D.1800, Nizam‘s sovereignty had declined considerably and the
British gained their authority over the Nizams by compelling the latter to sign six treaties.
In A.D.1766, the Nizam signed a treaty with the British, whereby in return for the Northern
Circars, the British agreed to furnish Nizam Ali Khan with a subsidiary force as and when
required and to pay Rs.9 lakhs per annum when the assistance of the troops was not required
in lieu of Northern Circars to be ceded to them. In A.D.1768 he signed another treaty
conferring the Northern Circars to the British and the payment by the British was reduced to
Rs.7 lakhs. According to another treaty, he surrendered the Guntur circar in A.D.1788. In
A.D.1779, the Nizam conspired with Hyder Ali of Mysore and the Peshwa of the Marathas to
drive away the English. When they learnt about his designs, the English marched against the
Nizam who had to sue for peace agreeing to the presence of an English Resident along with
army, artillery and cavalry at Hyderabad
Through another treaty, the Nizam was compelled to disassociate himself from Hyder Ali. In
A.D.1800 yet another treaty was signed by the Nizam with the British altering the earlier
treaties to increase the strength of the English army in Hyderabad. In lieu of the cost of
maintenance of the force, the Nizam had to cede to the company an area comprising the
districts of Rayalaseema and Bellary (now in Karnataka). With this the Nizam lost not only
the territory but also reputation and power.
The Telugu land was divided into major divisions: one that became popularly known as
Telangana under the feudal rule of tha Nizam which represents approximately one third of all
land and another broadly designated as Andhra, India Britain. The English cantonment, raised
in the other side of Hussain Sagar, was named after Nizam3- Sikandar Jah (1803-1829 AD)
and Secunderabad. The Afzal Gunj Bridge or Nayapul on the Musi River was built and set up
a General Hospital under the rule (AD 1857-1869) of Nizam 5 Afzal-ud-Daula.
The modern era of the development of the twin cities began soon after the last flood of the
river Musi in A.D.1908 which had shattered the life of the people living in Hyderabad. This
necessitated the planned development of the city in a phased manner. Sri
M.Vishweshwarayya, the great engineer of Mysore, was specially invited for this purpose
and was appointed as adviser to the Nizam‘s Government to suggest measures for flood
control and improvement of the city. As a result of his suggestion, Osman Sagar and Himayat
Sagar were constructed in A.D.1917. These two dams not only controlled the floods from
river Musi, but also supplied drinking water to the city. These spots have also become
recreational centres for many people in Hyderabad. Another step taken for the development
of the city was the formation of the City Improvement Board in A.D.1912, which paid greater
attention to the construction of roads,
markets, housing sites and shopping centres in the city.
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.
If Muhammad Quli Qutb Shah was the founder of Hyderabad City, Osman Ali Khan, the
Nizam VII, can be called as the maker of modern Hyderabad, in a variety of ways.
A fascinating pretty edifice in the centre of the city is the Andhra Pradesh Legislative
Assembly building, with the lawns of the Public Gardens, to form the needed premises.
The noble buildings during the Asafjahis‘ period were the Chow Mahalla during Nizam V,
Pancha Mahal, and the Falaknuma Palace. The Falaknuma, built by Nawab Viquar-ul-Umra,
a Paigha Noble in A.D.1892 at a cost of Rs.40 lakhs, has become a land mark like Charminar.
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.
The hereditary Diwans of the Nizams, the Salar Jungs were as colourful and dazzling as their
masters. The Mir Alam Tank, the Mir Alam Mandi, the Salar Jung Museum, their Devdi, the
Aliya School are inalienable parts of Hyderabad.
Andhra Pradesh- Contribution of Qutubshahis to Telugu language and Literature- Art-

Architecture-Monuments:-
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 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.
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.
The Deccani architecture, is a combination of Persian, Hindu and Pathan styles. They mostly
borrowed heavily from Hindu style of architecture. The Bala Hissar gate of the Golconda fort
is remarkable for the figures and emblems of Hindu mythology.
The citadel of Hyderabad, the Charminar is the most remarkable of all the Qutb Shahi
monuments. It is one of the magnificent structures in India.
The socio-cultural life of the people during the rule of the Qutb Shahis was marked by a spirit
of broad-mindedness and catholicity based on sharing and adopting of mutual traditions and
customs.
Golconda Fort, Qutb Shahi Tombs and Charminar are the landmarks that symbolize the Qutb
Shahi Dynasty. Golconda Fort lies 11 km to the west of city of Hyderabad, while the Qutb
Shahi tombs are a further kilometre north-west of the Fort. Charminar is located in the heart
of the old city of Hyderabad.
Even though not located within the same complex, these three monuments together represent
the earliest Qutb Shahi layer of Hyderabad's history and belong to the Qutb Shahi dynasty
that ruled the region from 1518 A.D. to 1687 A.D. Qutb Shahi Islamic Sultanate was one of
the five prominent dynasties that emerged in the Deccan following the downfall of the
Bahmani Dynasty in 1518 A.D. Seven rulers of the Dynasty ruled for 170 years and
successfully resisted the Mughal attack till 1687 A.D. It was the last kingdom to be absorbed
in the expanding Mughal Empire.
The monuments of the Qutb Shahi period represent different building typologies; Golconda is
a fortified citadel and an early capital city of the Qutb Shahi dynasty. It is an ensemble of
military structures, ramparts, gates, bastions, armoury; religious structures such as mosques,
temples; residential structures such as palaces; water systems such as canals, fountains and
landscaped gardens.
Tombs is the one that belongs to the Qutub Shahi dynasty founder, Sultan Quli Qutub-ul-
Mulk. He built his tomb himself and was the longest overseer of the architectural project. The
Qutub Shahi Tombs were planned and built by numerous monarchs who ruled the city and
the state during the 18th century. Lying two kilometers from the Golconda Fort, the Qutub
Shahi Tombs are built to Persian, Hindu and Pathani styles of architecture
The Charminar is a massive arch built by Mohammed Quli Qutab Shah, in 1591 to
commemorate the end of the plague in the city. The symbol of the city, the Charminar, is an
impressive square monument with four minaretsThe monument is a magnificent square
edifice of granite, built upon four grand arches facing North, South, East and West. These
arches support two floors of rooms and gallery of archways. At each corner of the square
structure is a minaret rising to a height of 24 meters, making the building nearly 54 meters
tall. It is these four (char) minarets (minar) that give the building, its name 'Charminar'. Each
minar stands on a lotus-leaf base, a special recurrent motif in Qutub Shahi buildings.
These monuments are a product of the same period; technology, skills and innovations,
which developed during the rule of Qutb Shahi Dynasty. They are great markers of the
grandeur of the Qutb Shahi Period (1518-1687 A.D.) and even today continue to dominate
the cityscape of modern day Hyderabad
Worker, Peasant and Tribal Movement in Andhra Pradesh:-
The role of the Andhras in the Freedom Struggle is next to that of none and they had always
been in the forefront along with the rest of the countrymen. The first War of Independence in
A.D.1857 did in no way affect the state of affairs in the south, though ripples were felt in the
State of Hyderabad, in the shape of a raid by Rohilla and Arab soldiers against the Residency
and a rebellion by the Gonds in the Adilabad district under the leadership of Ramji Gond.
However, in A.D.1860, the English suppressed all these rebellions.
The rest of the 19th century passed away without any event of major importance, though
occasional rebellions of the peasants here and there brought out their dissatisfaction to the
forefront. The introduction of English education helped the formation of a strong educated
middle class, which found security of life in the Government jobs. Agriculture became the
mainstay of the people, as the cottage industries, especially the cloth industry, dwindled due
to the deliberate policy of the Government to encourage British industries and trade at the
expense of the indigenous ones. However, construction of dams across the Godavari and the
Krishna by A.D.1852 and 1855 respectively, resulted in increasing agricultural production
and helped, for a time, to cloud the real issues.
Rampa Revolt
Alluri Seetharama Raju, a legendary hero of Andhra Pradesh, virtually declared a war
against the British. He carried out his campaign against the British in the agency areas of East
Godavari and Visakhapatnam district. The grievances of the tribal assumed least significance
for the Congress that claimed to be an all India party fighting against the British imperialism.
As soon as the British took over Eastern India tribal revolts broke out to challenge the alien
rule. In the early years of colonisation,no other community of India offered such heroic
resistance to British rule or faced such tragic consequences as did the numerous tribal
communities of now Jharkhand, Chattisgarh, Orissa, Bengal and Andhra pradesh. The forest
laws imposed by the British had infringed the rights of the tribal from time to time and they
had to fight their grievances on their own with little or no help from outside. Most of the
tribal uprising were armed uprising against the British The Rampa Rebellion(1922-23)
under Alluri Sita Rama Raju of Andra pradesh was fought by the tribal as a protest to the
oppressive Madras Forest Act of 1882. The Act placed restrictions on the free movement of
tribal in the forest areas and prevented them from engaging in their traditional lifestyle of
Podu (shifting) cultivation, and use of the forest for firewood and toddy Period from 1917-
1923 ,there was lot of unrest in the tribal areas spreading from east Godavari to
Vizianagaram. One of Andras early revolutionaries, Alluri Sita Rama Raj (1897-1923) was
able to successfully mobilize the local tribal for an armed rebellion against the British. He
made them give up alcohol and gave them military training first with bows and arrows and
later with weapons . Inspired by the revolutionaries of Bengal, Raju decided to raided police
stations in and around Chintapalli, Krishna-devi-peta and Raja-vommangi, in search of
ammunition‘s . The repressive measures and the unjust policies of the British, coupled with
the misdeeds of British contractors who exploited and oppressed the workers of the hill tribes
of the Visakhapatnam and East Godavari district, provoked him.He carried out a campaign in
the region which brought him into conflict with the police . This eventually culminated in the
Rampa Rebellion. Despite having fewer manpower and weapons, Alluri and his men exacted
tremendous damage on British interest, as they were much more familiar with the hilly terrain
and adept in guerrilla tactics.The Malabar special Force was brought in to crush the rebellion
. A reward of Rs. 10,000 was declared on Alluri .Like all revolutionaries he was gunned
down on May 7 ,1924 at the age of 28.The brave patriot declared ‗‘shoot me,kill my body a
thousand times .But remember I will be born again and again on this land to liberate people
and To see the end of you‘‘.
Koya revolt ?
It occurred in 1879-80 in the eastern godavari track of AP and also affected some portions of
Malkangiri district in Orissa, as they are bordered areas. Its heart lay in the Rampa country of
Chodavaram where tribal koya and konda Sara hil chefs had risen against their overlord in
1803, 1840, 1845, 1858, 1861 and 1862. The 1879-80 rebellion was led by Tomma Sora and
reflected problems faced by tribals, like erosion of customary rights over forests, police
exactions, exploitation by money lenders, and new excise regulations restricting domestic
production of toddy. Toma sora was hailed as the king of Malkajgiri. It affected nearly 5000
sq miles. Sora was shot dead by the police. In 1886 another revolt took place under Raja
Ananta Ayyar.
Resistance of Poligars
The poligars of Rayalaseema backed by people of the region were a terror to the British.
According to the data available, there were 80 poligars in Rayalaseema in 1800, who had
refused to accept the authority of the Englishman. The then principal collector of the region,
Thomas Munroe, ordered the poligars to lay down their arms and pay cess to the East India
Company. They refused to budge and Munroe had to slog for 18 months before they could be
brought under control. A patriot poligar, Narasimha Reddy of Kurnool district, rebelled and
attacked the treasury at Koilakuntla and marched towards Cumbam. Capt. Holt tried to nab
him but Reddy managed to give him a slip and moved over to the then Nizam State. After six
weeks, he was caught and hanged in the full view of the people at Koilakuntla. Munroe then
ordered the take-over of properties of all the poligars and introduced a scheme of permanent
land settlement in the region.
No Tax Campaign
Chirala and Perala, the two tiny villages, then in Guntur district and noted for production
of handloom sarees carved out a niche for themselves in the history of freedom struggle.The
two villages had a population of 15,000 with a revenue of Rs. 4000. The then Madras
Government decided to elevate them to the status of municipalities in 1919 with the intention
of collecting Rs. 40,000 as tax. The middle class segment of the villages revolted against the
proposal and launched a no-tax campaign under the leadership of Duggirala
Gopalakrishnaiah. He formed a group of volunteers under the banner of 'Rama Dandu'.
Mahatma Gandhi, who visited the area, directed people to leave the villages and settle down
elsewhere so that the Government will not be able to collect the taxes. About 13,000 people
left the villages and lived at a camp, Ramnagar, for eleven months. The Government cut the
revolt to size by arresting Gopalakrishnaiah. The campaign literally shook the legislature but
fizzled out once Gopalakrishnaiah was arrested.
Forest Satyagraha:-
`Forest Satyagraha‘ of the ryots of Palnad in Guntur district in 1921. The peasants of this
place had to pay heavy tax for permission to graze their cattle in forests. When the crops
failed that year, they decided to send their cattle into the forests without paying the fee and
suffer the penalties. They resorted to social boycott of all government officials and refused
supply of even the bare necessaries of life to them. It did not produce the desired change in
the attitude of the officials. They took the cattle forcibly, confined them in cattle-pounds and
refused to free them unless the fee was paid. There was, therefore, clash between the cattle
owners and the armed police that was brought on the scene. In the firing that took place one
Kannuganti Hanumanthu was killed. Meanwhile, Gandhiji called off the Non-Co-operation
Movement due to some untoward incidents at Chowri Chowra and with this the Palnad
Satyagraha also came to an end.
Peasant Movements: Telangana Peasant Struggle (1947-51):-
This movement was launched in the state of Andhra Pradesh against the former Nizam of
Hyderabad. The agrarian social structure in the Nizam‘s Hyderabad was of a feudal order. It
had two kinds of land tenure systems, namely, raiyatwari and jagirdari. Under the raiyatwari
system, the peasants owned patta and were proprietors of the land; they were registered
occupants. The actual cultivators of the land were known as shikmidars. Khalsa lands were
chieftain‘s land and out of revenue collected from these lands, personal expenses of the
royalty were met out. The Deshmukhs and Desbpandes were the hereditary collectors of
revenue for khalsa villages. In jagir villages, the tax was collected through jagirdars and their
agents. Both the jagirdars and the Deshmukhs wielded immense power at the local level.
Following were the main causes of the movement:

(1) The Nizam‘s former Hyderabad state had a feudal structure of administration. In the jagir
area, the agents of the jagirdar who were the middlemen collected the land taxes. There was
much of oppression by the jagirdar and his agents. They were free to extort from the actual
cultivators a variety of taxes. This condition of exploitation remained in practice till the
jagirdari system was abolished in 1949. On the other hand the khalsa land or the raiyatwari
system was also exploitative though the severity of exploitation in the khalsa system was a
little lesser. In the khalsa villages, the Deshmukhs and Deshpandes worked as intermediaries.
They were not in the payroll of the jagir administration; they were only given a percentage or
the total land collection made by them. The Deshmukhs and Deshpandes then developed a
habit to cheat the peasants by creating fraud in the land records. This, in countless instances
they reduced the actual cultivator to the status of tenant-at-will or a landless labourer. In both
the systems of administration, i.e., jagir and khalsa, the peasants were exploited by the
intermediaries appointed by Nizam. High taxes, fraud with the record and exploitation
resulted in creating discontent among the poor peasants.
(2) Yet another cause of peasant movement was the exploitation of the big peasants. The
jagirdars and the Deshmukhs had thousands of acres of land in their possession. The families
of these big peasants and their heads were called Durra or Dora. It means, the master or lord
of the village.The Dora exploited the small peasants and agricultural labourers. This
exploitation, in course of time, became legitimised with the big farmers. It was considered to
be the privilege of the Dora to exploit the masses of peasants.
(3) In the whole former state of Nizam a system of slavery, quite like that of Hali of south
Gujarat, was prevalent. This system was known as Bhagela. The Bhagela were drawn mostly
from aboriginal tribes who were tied to the master by debt. According to Bhagela system, the
tenant who had taken loan from the landlord was obliged to serve him till the debt is repaid.
In most of the cases, the Bhagela was required to serve the landlord for generations.
(4) The Reddis and Kammars were notable castes who traditionally worked as traders and
moneylenders. They exercised a great deal of influence in the countryside. They wanted to
pull down the dominance of Brahmins as agriculturists in the state.
(5) The State was economically backward. The development of agriculture depended on the
facilities of irrigation. The commercial crops could hardly be taken without irrigation facili-
ties. Though, the lack of irrigation was realised by Nizam and he provided irrigation facilities
to the peasants both in khalsa and jagir villages. But, these facilities were largely cornered by
the big farmers.
(6) Land alienation was not new to the former Hyderabad state. Between 1910 to 1940 the
frequency of land dispossession increased. On the one hand, the land possessed by the non
cultivating urban people, mostly Brahmins, Marwaris, and Muslims increased and on the
other hand the tribal peasants got reduced to the status of marginal farmers and landless
labourers. Peasant unrest did not erupt over night. It looks about three to four decades.
Actually, till 1930, the poor condition of the peasants had reached its culmination.
Meanwhile, there had been much transformation in agricultural economy.
The course of events that led to the peasant struggle can be described as under:
(1) The peasant movement was engineered by Communist Party of India (CPI). It is said to
be a revolution committed by Communists. The Communist Party started working in
Telangana in 1936. Professor N.G. Ranga had laid down the regional level peasant
organisation in Telangana. This regional organisation was affiliated to the All India Kisan
Sabha an organ of CPI. Within a period of three or four years, say by 1940, the CPI had
established its roots in the former Hyderabad state. During the period from 1944 to 1946, the
Communist activities increased in several of the districts of Hyderabad. A proper framework
was, therefore, prepared for launching a peasant movement.
(2) The next event which took place in Hyderabad and more actually in Telangana was the
famine of 1946. All the crops failed and there was a crisis of the availability of fodder. The
prices of food, fodder and other necessities of life increased. This was a crisis for the tenants
and the sharecroppers. Actually, the year 1946 provided all opportunities for engineering the
peasant struggle. In the early July 1946, the peasants resisted the government orders. Militant
action was taken by the CPI-led peasants.
(3) The CPI made an objective to mobilise the peasants. It took up a campaign to propagate
the demands of the lower peasants. By the middle of 1946, the Communist propaganda was
fully intensified and covered about 300 to 400 villages under its influence. The movement
during this period was slow but the peasants showed enough resistance to the government
dictates. However, it must be mentioned that in the mobilisation of peasantry, only local
peasants participated.
(4) The second conference of CPI was held in March 1948. It resolved to give a revolutionary
turn to the peasant movement. The peasants later on were organised into an army and in-
termittently fought guerrilla wars.
(5) Besides the peasant agitation, a parallel discontent was also taking place in Hyderabad. A
para-military voluntary force, organised by Kasim Rizvi, was taking its roots. The members
of this voluntary organisation were known as Razakars. This organisation was against the
peasants. The peasants consolidated their movement in the face of the oppression of Nizam,
activities of Razakars and the authority crisis in Hyderabad.
(6) On September 13, 1948, the Indian army marched into Hyderabad and within less than a
week the Nizam‘s army, police and the Razakars surrendered without resistance. The police
action, taken by the newly framed Central Government of independent India, was very quick
to suppress the peasant movement.
Peasant movement continued for about five years. Its outcomes can be enumerated as
below:
(1) The struggle had the participation of a mixed class of peasantry. Though the rich peasants,
mainly the Brahmins, had their involvement in the struggle, the major achievement was that
the struggle for the first time brought together the tenants, sharecroppers and the landless
labourers. This was by all means a very big achievement of the struggle. The Kammar and
the Reddy castes who belonged to the rich class of peasants though gained enough but the
movement consolidated the strength of poor peasants, particularly the tribals, who were the
victims of vetti the bonded labour.
(2) Yet another benefit of this struggle was in the favour of the Communist Party. The
Communist, for a long time to come, exercised their hegemony over the entire state of
Hyderabad.
(3) Though the Communist Party, as a whole, benefited from the peasant struggle, it had its
own losses also. Ideologically, the party got split from top to bottom. One group of
Communists supported the struggle while other decried. The second group argued that the
struggle was in no case less than terrorism. Those who opposed this struggle had even openly
come out with the press, providing grist to the mill of the enemies in maligning the struggle
and the Communist Party that was leading it.
(4) So far the demands of the poor agricultural classes were concerned the movement was a
failure. Surely, there were some gains to Kammar and Reddy—the rich peasant but the gains
of the poor peasants such as sharecroppers were quite meagre.
Srikakulam peasant uprising
The Srikakulam peasant uprising occurred in 1967–1970, in regions of Srikakulam

District, Andhra Pradesh, India. The Naxalbari Uprising at the beginning of Naxalite
movement during 1960s inspired the upsurge.
Feudatory States in Andhra Pradesh
 In Andra Pradesh Feudatory states emerged in medieval period, with many numbers
of ruler and dynasties fighting with each other for rule and territorial expansion.
 The main reason for Feudatory state is to occupy the throne and extend their
territories in vast regions of Andra Preadesh and nearby areas.
 There are different types of Feudatory States explained in following sub heading
starting from 12th Century to 17th Century.
 As the first Feudatory state emerged in Kakatiyas ruling.
Kakatiyas
 The 12th and the 13th centuries saw the emergence of the Kakatiyas.
 They were at first the feudatories of the Western Chalukyas of Kalyana, ruling
over a small territory near Warangal.
 A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his
sway to the south and declared his independence.
 His successor Rudra (A.D.1158–1195) pushed the kingdom to the north up to the
Godavari delta. He built a fort at Warangal to serve as a second capital and faced the
invasions of the Yadavas of Devagiri.
 The next ruler Mahadeva extended the kingdom to the coastal area.
 In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the
first after the Satavahanas to bring the entire Telugu area under one rule. He put an
end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of
Vikramasimhapura to accept his suzerainty. He established order in his vast
dominion and encouraged trade.
 As Ganapati Deva had no sons, his daughter Rudramba succeeded him in
A.D.1262 and carried on the administration. Some generals, who did not like to be
ruled by her, rebelled. She could, however, suppress the internal rebellions and
external invasions with the help of loyal subordinates. The Cholas and the Yadavas
suffered such setbacks at her hands that they did not think of troubling her for the
rest of her rule.
 Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till
A.D.1323. He pushed the western border of his kingdom up to Raichur. He
introduced many administrative reforms. He divided the kingdom into 75
Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In
his time the territory constituting Andhra Pradesh had the first experience of a
Muslim invasion.
 In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the
kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district.
 In A.D. 1310, when another army under Malik Kafur invaded Warangal,
Prataparudra yielded and agreed to pay a large tribute.
 In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It
provoked another invasion of the Muslims.
 In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to
conquer the Telugu country then called Tilling.
 He laid siege to Warangal, but owing to internal dissensions he called off the siege
and returned to Delhi. Within a short period, he came back with a much bigger army.
 In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he
surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the
way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy
and confusion yielding place to an alien ruler.
Bahmanis
 The disastrous fall of Warangal in A.D.1323 brought the Andhras, for the first time in
their history, under the yoke of an alien ruler, the Muslims.
 In A.D.1347 an independent Muslim State, the Bahmani kingdom was established
in south India by Alla-ud-din Hasan Gangu by revolting against the Delhi Sultanate.
 To stabilise his position, Hasan waged wars to annexe the two neighbouring Hindu
kingdoms, Warangal, under the Musunuri Nayakas, and Vijayanagar, which was
under the Rayas. He occupied the area up to the river Tungabhadra in A.D.1358, and
shifted his capital from Daulatabad to Gulbarga.
 The Hindu rulers, however, reoccupied their lost territory during the period
between A.D.1358-75.
 Harihara Raya II of Vijayanagar conquered many areas which were under the
Bahmanis during the period of Muhammad Shah II (A.D.1378-1397). The
successors of Muhammad Shah II, who were also hostile to Rayas of Vijayanagar,
waged wars against them. But they were defeated by the Vijayanagar armies.
 During the reign of Muhammad III (A.D.1463-82), the Bahmanis, for the first time,
extended their empire from sea to sea and thereby got into their possession a large
part of the Telugu area, namely, the area north of the Krishna up to the coast and the
present Guntur district.
 By the end of the 15th century the Bahmani rule was plagued with faction fights and
there came into existence the five Shahi kingdoms,
1. The Nizamshahis of Ahmadnagar,
2. The Adilshahis of Bijapur,
3. The Imadshahis of Berar,
4. The Qutbshahis of Golconda
5. The Baridshahis of Bidar.

 Thereafter, the rule of the Bahmani dynasty came to an end in A.D.1527. Of the five
Shahi dynasties, it was the Qutbshahi dynasty that played a significant and notable
role in the history of Andhras.
Vijayanagar
 The year A.D.1336 saw the emergence of a new power, the kingdom of Vijayanagar
in the south-western part of Andhra on the banks of the Tungabhadra.
 It was founded by two Sangama brothers, Harihara and Bukka, with the blessings
of a great saint patriot of medieval India, Vidyaranya, and Harihara became its first
ruler.
 It was that great kingdom which, by resisting the onslaughts of Muslims,
championed the cause of Hindu civilisation and culture in its polity, its learning and
arts.
 The two brothers took possession of Kampili from Hoyasala ruler of Karnataka,
Ballala III.
 They later established a new city on the southern bank of Tungabhadra, opposite
Anegondi, and gave a name to it as Vijayanagar or Vidyanagar.
 They expanded their territory by occupying the Udayagiri fort in the Nellore region
and Penukonda fort from Hoyasalas. Meanwhile the Bahmani Kingdom came into
existence in the Deccan. In the conflicts between the Bahmanis and Vijayanagar,
Harihara-I lost some territory.
 After his death in A.D.1355, his brother Bukkaraya succeeded him.
 On account of frequent wars with Bahmanis, Bukka could not do anything in the
initial period however, he conquered Madhura and extended his territory to the
south up to Rameswaram.
 Harihara II (A.D.1377–1404):- Harihara II (A.D.1377–1404), who ascended the
throne after Bukkaraya, consolidated and its frontiers further extended. During this
time coastal Andhra lying between Nellore and Kalinga was under the Reddis of
Kondavidu.
 Harihara II carried on campaign, for gaining control over the territory, against the
Reddis and wrested Addanki and Srisailam areas from the Reddis. This led to clashes
with the Velamas of Rachakonda in Telangana.
 To counter attack, Rachakonda sought help from Bahmanis and this checkmated
Harihara II from proceeding further into Telangana. The extension of Vijayanagar
territory towards northwest gave it control over the ports of Goa, Chaul, and Dabhol
and led to an expansion of commerce and ensuing prosperity.
 Devaraya I (A.D.1406–422) :- In the dispute between sons, after the death of
Harihara II, Devaraya I (A.D.1406–422) emerged victorious and ascended the throne
only to wage wars against the Bahmanis, the Velamas of Telangana and the Reddis of
Kondavidu. His reign also saw the commencement of hostilities between the
Gajapatis of Kalinga and the Rayas of Vijayanagar. Devaraya I passed away in

A.D.1422.
 His sons, Ramachandraraya and Vijayaraya I, who ruled one after the other, did
not do anything significant.
 Devaraya II (A.D.1426-1446: The next ruler, Devaraya II (A.D.1426-1446), son of
Vijayaraya, was a great monarch. He effected the conquest of Kondavidu and carried
his arms into Kerala, subjugating the ruler of Quilon and other chieftains. The
writings of Abdul Razzak, the Persian ambassador, who visited south India during
the reign of Devaraya II, bear testimony to the supremacy of the king over many
ports of south India. According to him, the dominions of Devaraya II extended from
Ceylon to Gulbarga and from Orissa to Malbar. The relations between the
Vijayanagar and Bahmani kingdoms continued to be hostile during the reign of
Devaraya II also. Devaraya was a great builder and a patron of poets. Extensive
commerce and revenues from various sources contributed to the prosperity of the
Vijayanagar kingdom under him.
 But the kings who succeeded Devaraya II were quite incompetent and allowed the
empire to disintegrate. To add to this, there was pressure from Bahmani Sultans.
The Portuguese were also rapidly trying to establish themselves on the west coast
and in the ports along it.
 The Vijayanagar minister, Saluva Narasimha, who usurped the throne in A.D.1485
could successfully counter these forces. Thus the Saluva line of kings came to rule
Vijayanagar. However, he had to spend a good deal of his time and energy putting
down many rebel chieftains. He died in A.D.1490 leaving his two sons to the care of
Narasanayaka of the Tuluva family, a trusted general.
 Narasanayaka assumed himself the power as a regent in A.D.1492 keeping the real
rule under tutelage. Narasanayaka died in A.D.1503 and by that time he had
established his authority effectively over the whole of his extensive dominion.
 His son, Vira Narasimha, succeeded him as the regent and proclaimed himself as a
ruler in A.D.1506, thus inaugurating the third dynasty. He died in A.D.1509 and his
brother, Krishnadevaraya, succeeded him.
 The period of Krishnadevaraya was considered as the golden age of the
Vijayanagar history. He was a great warrior, statesman, administrator and a patron
of arts. His first task was to repulse the Bahmanis. He occupied Raichur doab, carried
the war up to Gulbarga and returned successfully. He extended his dominion in the
east and north-east by defeating the Gajapatis of Orissa in A.D.1518
 Krishna Devaraya died in A.D.1529. After his death, Vijayanagar kingdom started
declining gradually. There was a tussle for power and the rulers spent their time in
struggle against internal revolts.
 The five Muslim rulers in Deccan kingdom, took this opportunity, united and formed
a league and marched towards Vijayanagar with combined forces.
 In a decisive battle fought on the 23rd January, 1565 on the south bank of the
Krishna near the village of Rakkasi Tangadi, Vijayanagar was defeated and
Ramaraya, who led the Vijayanagar armies, was killed. Tirumalaraya, the younger
brother of Ramaraya, along with his puppet ruler, Sadasivaraya fled to Penukonda in
Anantapur district with all the treasure. The victorious armies of Muslims then
marched towards Vijayanagar. Uninhibited looting of the city by the Muslim rulers
as well as the ruthless robbers went on for days together. Never perhaps in the
history of the world has such havoc been brought and wrought on such a splendid
city teening with a wealthy and industrious population in prosperity one day and on
the next seized, pillaged and reduced to ruins amid scenes of savage measures and
horrors beggaring description.
 Tirumalaraya after reaching Penukonda ruled for some time and tried his best to
rebuild the empire but failed. The last ruler of Vijayanagar dynasty was Sriranga
(A.D.1642–1681).
Qutb Shahi Dynasty
 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 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.
 Sultan Muhammad’s premature death in A.D.1626 was a sad prelude to the decline
and fall of Golconda.
 He was succeeded by his minor son, Abdullah Qutb Shah, who was indolent. The
fall of Ahmadnagar in A.D.1633 to the Mughals exposed Golconda. Abdullah Qutb
Shah acknowledged the suzerainty of the Mughals and concluded a treaty in
A.D.1636. He was reduced to vassalage and the Mughal Hajib, a resident officer of
the Mughals imposed on him, interfered in day-to-day administration and
encouraged fissiparous tendencies. The traitors of Golconda found their strength in
the Mughals who did not hesitate to invade Golconda.
 Abdullah Qutb Shah died in A.D.1672 and was succeeded by his third son-in-law,
Abul Hassan Qutb Shah, popularly known as Tana Shah. He had a steady mind,
broader vision and administrative experience of a high order. He handled the
domestic and foreign affairs deftly and put forth all his efforts against the Mughal
tide
 Abul Hassan and his kingdom were misrepresented by false propaganda to justify
the interference of the Mughal emperor who contemplated to liquidate the Deccan
Sultanates and incorporate it in the Mughal empire.
 The emperor came to the Deccan in A.D.1682 and launched his campaign against
both the Marathas and the Deccan Sultanates. His original plan was to put down the
Maratha power, but later on, he suspended the plan and directed his forces against
Bijapur and Golconda in A.D.1685.
 Bijapur fell in after two months’ siege. But Golconda held out for a long time. It came
to an abrupt end owing to the treachery of an Afghan general, Abdullah Khan, who
opened the gate in the dead of night and facilitated the capture of the fort. The
equanimity with which Abul Hassan Tana Shah had faced the Mughal captors and
the unequalled loyalty of Abdul Razak Lari, who remained faithful to his king, Tana
Shah, are of special significance.
 The fall of Golconda in A.D.1687 had far reaching consequences. It halted the face
of cultural progress for years and relaxed the administrative grip on the English
Company at Machilipatnam and Madras. So long as the kingdom was powerful in the
south, the king Abul Hassan and his Minister, Madanna, kept their constant vigil on
the English merchant
Handicraft of Andra Pradesh
HandiCrafts
 Indian words for handicrafts are commonly hastkala, hastshilp, dastkari, karigari, all
meaning handiwork, but they also refer to objects made with craftsmanship, i.e.,
specialised skills of the hands which are also artistic.
 The aesthetic content is an intrinsic part of such objects and means the object of
utility has a value that goes beyond mere usage and is also pleasing to the eye.
 Crafts are closely related to concept of form, pattern, design, usage, and these lead to
its total aesthetic quality.
Handicrafts of Andra Pradesh
 Andra Pradesh is also one of important center for development of Handicraft and
related products.
 Many Handicrafts works like Veena Manufacturing ,Durgi Stone Craft ,Budithi
Brassware Banjara Needle Crafts ,Etikoppaka Toyes , Ponduru Khadi ,Bidri
Craft, Dokra Metal Crafts, Nirmal Arts ,Bronze Castings, Kondapalli Toys,
Lacquer Ware not only famous in the state but also out side the state
 Handicraft work provide economic work as well as serve as self employment aspect.
 The Handicrafts are, responsible for the revenue earning and the overall economy of
the state as it provide self employment opportunities to poor and tribal people of
Chattisgarh.
 It attract tourism from acrross the state.
 Hnadicrafts show culture, values and daily life nature.
 Till 2016 six Handicrafts and 4 Handlooms of Andra Pradesh got Geographical
Indication Tag.
Handicrafts of Andra Pradesh that recognised Geographical Indication (GI) Tags:
1. Bobbili Veena
2. Shadow Puppets Of Andhra Pradesh
3. Budithi Bell And Brass Craft
4. Machilipatnam Kalamkari
5. Kondapalli Bommalu
6. Srikalahasthi Kalamkari
Bobbili Veena
 Bobbili Veena is a traditional musical instrument which is also known as

Saraswathi Veena.
 It has great importance and significance in the evolution of music and in particular
carnatic music in our country.
 The Bobbili Veenas are made up of seasoned jackfruit woods and is an integral
part of carnatic music.
 Vibrant designs and colors are used in order to give the veenas a designer look.
 Designs of flowers and leaves are inlayed on the main plastic sheet.
 The Veena is mostly made up of a single piece of jackfruit wood called as Ekandi
Veena. In some cases, one joint near the dandi and alley is used.
 There are 4-5 varieties of Bobbili Veenas. They are :
1. Ekandi- made out of single log wood,
2. Kamalam – Lotus,
3. Nemali – Peacock,
4. Swarna Mandal – peacock shaped
 The Veenas weight around 18-20 kilos.
 The gift veenas, which are used as show piece or decorative items, measure 9-23
inch in total length and the base measurement is 3-4 inch in diameter. These veenas
weigh around 250-300 gms.
Shadow Puppets of Andhra Pradesh
 This art goes back to more than 100 years.

1. A rigorous spring-cleaning of the leather is undertaken, the stuff being soaked in
a pit of limewater for 10-15 days. When the top portion becomes a bit smooth, it
is scrapped clean with a knife. Then follows another round of water soaking –
this time along with kadaka powder, a local vegetable dye for another ten days.
2. The leather now assumes its natural colour of light brown and is ready for the
designs to be drawn on it.
3. Even on the lampshades, deities hold sway along with animals and floral
designs. For drawing the contours, an outlining hand brush is used and
thereafter the colours are filled in with vegetables dyes – brilliant reds, greens,
whites, yellows, browns and orange ruling the roost.
 The creators of these puppets have discovered lampshades on leather to be the best
medium to not only keep their traditions and art alive but also to serve as a source of
their livelihood. Though the medium of expression has changed, the form continues
to be the same.
 The beautiful and colourful spectrum of lampshades depicting episodes from
folklore, Ramayana, Mahabharata, Krishna leela and a host of other characters
continue to a narrative form.
Budithi Bell and Brass Craft
 Specification of bindelu: Bindelu is made from brass metal, which is an alloy of

copper and zinc.
 Descreption: This brass vessel is made particularly only in Budithi. It is a two piece
vessel which is made by beating two different sheets of brass till the required shape
is achieved. The two pieces are welded and then finished from the inside. The mouth
of the vessel is made by welding a casted ring to the finished sphere. It is then
finished by scraping out the outer surface of the vessel and polishing it, which
imparts luster.
 Bell cast from bell metal is used in temples. It is one of the oldest and famous craft of
Budithi. This product is normally in high demand through out the year. It is highly
resonant which provides a longer lasting sound than general.
Kondapalli Bommalu
 Kondapalli toys are made from the wood of “Tella Poniki” (White Sander; botanical
name Jiuotia Rotteri Fromis ) found in the forests of the geographical region of
Kondapalli and Gangineni in the Krishna District of Andhra Pradesh and specific
surrounding areas.
 The wood is nature’s gift to this geographical area. Kondapalli is famous for its
wooden toys painted in vibrant hues obtained from natural dyes and colours. These
dyes and colours are prepared from locally available material being extracts of
plants like karakkai, moduga, etc.
 The theme of Kondapalli toys falls in three distinct categories.
1. Animals and Birds
2. Male and female figures depicting rural life
3. Mythological figures
Machilipatnam Kalamkari
 “Machilipatam Kalamkari” visually identified by the all over floral twine/Persian

designs which are block printed and produced in traditional laborious methods
using natural vegetable dyes.
 Textile & Textile goods: bed and table cover and all other goods falling in class 24 ;
clothing, headgear and all other goods falling in class 25; carpets, rugs, mats, and
matting for covering floors and all other goods falling in class 27.
 Upholstery (Custom printed wall decorative, sofa and chair covers, durries, floor
mats etc.)
 Furnishings/Made-ups (Custom printed bed covers, table covers, cushion covers,
pillow covers, bolster covers, quilts and quilt covers, etc.)
 Fabrics (Printed Yardage fabrics for tailored curtains, men's and women's wear
garments, accessories like bags, sarongs, stoles and scarves etc.)
Srikalahasthi Kalamkari
 The Srikalahasti style of Kalamkari is the work which involves dyed hand-painting of
a fabric and is produced in Srikalahasti of Chittoor district in the Indian state of
Andhra Pradesh.
 Kalam in persian language means Pen is used for hand drawing and coloring.
 The usage of pen involves two types, one for drawing made from bamboo, the other
for coloring.
 The coloring process involves usage of only natural dyes which are extracted from
flowers and vegetables.
Some Important Handlooms that recognised GI tag form Andra Pradesh
Dharmavaram Handloom Pattu Sarees and Paavadas
 Dhamavaram is famous throughout the country for its elegant silk sarees. Its silk
weaving industry has made the city renowned in India.
 Evidence of origin of Dharmavaram sarees can also be found in the roof wall
paintings of Lepakshi temple near Hindupur.
 Mulberry silk in 2 ply for both warp and weft is used in weaving of Dharmavaram
silk saree.
 Zari is extensively used in borders, pallow and body for ornamentation of the saree.
Mangalagiri Sarees and Fabrics
 Mangalagiri saree is a fine count saree normally woven with 80s combed cotton yarn
for both warp and weft with extra warp design in the border.
 The specialty of the extra warp design is a combination of twill, rib and diamond
weaves and these weaves are arranged side by side continuously without any gap.
 Zari is used for extra warp design in the borders.
Uppada Jamdani Sarees
 Uppada Jamdani Sari is a sari style woven in Uppada in East Godavari district in
Andhra Pradesh.
 It is known for their light weight and reversible design i.e upon weaving the design
appears on both the sides.
 Finest silk with pure zari is used as raw material to weave the saree. In these fabrics,
designs intermingled with the basic plain ground weave are produced and therefore
they look pretty and artistic.
 Jamdani weaving is locally called 'Ani Butta' weaving, “Ani” means “Shed”.
Venkatagiri Sarees
 This saree is woven in a small town Venkatagiri situated about 60 kms away from
Nellore in Andhra Pradesh.
 It is woven with fine 100's cotton yarn in both warp and weft. The saree is
ornamented with zari in pallow and border.
 Jacquards are used to weave extra weft designs. Generally, soft and pastel colours
are used in the sari.
 It is woven on a traditional fly shuttle pit loom. Specialty lies in sizing of its warp and
weft yarns
Other Crafts of Andra Pradesh
 Ponduru Khadi : Khadi from Ponduru, a small village in Srikakulam is famous

among khadi lovers of the entire country.
 Etikoppaka Toyes : Etikoppaka Village in Visajhapatnam distrcit is famous for age

old tradition of wooden carving and artefacts.
 Banjara Needle Crafts The embroidery and mirror work, of the 'Banjaras' (Gypsies)
on fabrics, have become the part of each person's wardrobe in India. These people
employ their dexterity in needle craft and create incredible designs on clothes. The
work of art is famous for its intricate and colorful designs.
 Budithi Brassware, Budithi is a small village in Srikakulam district that is known
for its amazing brassware. The items carved out of alloys range from conventional to
contemporary ones. The special art articulates in the form of traditional tools and
contemporary pots.
 Durgi Stone Craft The traditional skill of making sculptures is still practiced and
taught at the School of Sculpture and Stone Carving situated here.
 Veena Manufacturing 'Veena' is the one amongst the oldest musical instruments of
India. No composition of Carnatic music is complete without the cadence of this
instrument. Bobbili town is highly praised for manufacturing Veena. The
instruments made here are known for their comprehensiveness of tone. Moreover,
they are available in different designs and patterns.
 Bidri Craft is serves as the pride of Andhra Pradesh. This unique art of silver inlay
on metal has always been exciting people with its lure. The historical events disclose
that this craft was brought by Iran migrants to India. The artisans practiced this art
and brought it on the world wide panorama. In the present day, Bidri craft has been
modified to produce cufflinks, name plates and many more things.
 Dokra Metal craft is quite prevalent in the tribal regions of Andhra Pradesh. In
Adilabad district, the places like Chittalbori and Ushegaon are the main promoters of
this art. The distinguished fact about Dokra craft is that each piece is dissimilar from
the other. All the objects are created niftily by hand, boasting of individualistic touch.
Dokra craft produces objects like figurines, horses, drummers, atypical spoons
and tribal Gods.
 Nirmal Arts Nirmal town of Adilabad district is known for its wide range of
handicrafts. The skilled craftsmen make the objects appear genuine with their
brilliant use of colors and conventional techniques of creating objects. The colors are
extracted from the natural dyes. The popular 'Moghul' miniatures are made on
'Ponniki', which is a soft white wood. It is further strengthened with coatings of
tamarind seed paste, fine muslin and pipe clay.
 Lacquer Ware- This craft involves application of lacquer on wood. Lacquering could
be done either by hand or machine.
Conclusion
The crafts and craftspeople of India are a deeply integrated part of folk and classical
traditions and historical assimilations which together span many millennia. As articles
made purely by hand for the daily use of both the common people in an agrarian
economy and the urban elite, crafts reflect the cultural ethos of India. While the
craftspeople have been cradled by the caste system, their skills were fostered by
cultural and religious needs and the impetus provided by local, national and
international trade. –JAYA JAITLY (Visvakarma’s Children)
Andhra Pradesh : Handicrafts
Andhra Pradesh in the south has patronized itself in a host of arts and crafts that
not only attract millions but earn the artisans a decent livelihood. The various
forms of arts and crafts are aristocratic to this state and are not found anywhere
else in India.
KONDAPALLI
If any of the several head turning art and crafts of Andhra Pradesh is same
popular with the adults and the children, it is the Kondapalli dolls. The
Kondapalli dolls of Andhra Pradesh are light weighted wooden dolls, which
come from a small village called Kondapalli in the vicinity of Vijayawada. The
dolls are so adorable yet warm and realistic. The faces of the figures are
extremely expressive and the subjects are taken from our life. Soft Poniki wood
is used to create these dolls and toys, which depicts everyday scenes, figures of
deities, animals, birds and mythological characters. The Kondapalli dolls are
mainly based on village life, its incidents and characters. The popularity of this
fantastic craft work has reached the foreign shores also, the main reason being
its flexibility.
DECORATIVE HAND CROCHETED LACE
The Decorative hand-crocheted lace work of Andhra Pradesh is a kind of

handicraft, which is one of the most contemporary handicrafts of the state. This
type of decorative art is prominent in the Narsapur and Palakollu of West
Godavari district. The Decorative hand-crocheted lace work is widely used to
design dining mats. It is also used to beautify bedsheets, pillow covers,
telephone covers, wall hangings, tea cozy, dressing table mats and curtains. The
popular Decorative hand-crocheted lace work of Andhra Pradesh are made with
slender threads woven with the help of stainless steel crochet needles, which
comes in different sizes.
KALAMKARI PAINTINGS
Out of the many beautiful forms of handicrafts, the Kalamkari in Andhra

Pradesh has always been favorite with the art and craft lovers. The Kalamkari
craft of Andhra Pradesh involves the art of printing and painting of fabrics. This
is a rare kind of art, which uses a Kalam or quill, from which it has earned its
name and also vegetable dyes. It is exclusively found in the Machilipatnam and
Srikalahasti areas of the state. However the areas have distinct styles of their
own. While artists in Machilipatnam use designs carved in wooden blocks for
printing, the Srikalahasti style uses the wax process to fill in the colors after
drawing the outlines with the quill.
BUTTA BOMMALU
Butta Bommalu is a popular dance form in the state of Andhra Pradesh. It is the
foster child of the West and East Godavari districts of Andhra Pradesh. The
name Butta Bommalu literally means puppets made in the form of basket. Butta
Bommalu or the basket puppets are made out of thin bamboo strips. These strips
are woven into the shape of long spherical basket figures. The performer of
Butta Bommalu gets into the huge, hollow figure, the puppet. The performance
starts with the dancer moving to the rhythm of four dappus, a musical
instrument. It is generally performed in the open space. The puppet-figure is
about eight feet tall and it has a radius of three feet. The figure is hollow at the
bottom it is from there that the performer gets into the puppet. The puppet is
tied down to the performer's waist and shoulders.
LAMBADI
Andhra Pradesh occupies an eminent place in the classical dance forms of India.
Apart from the classical dances, it is also known for its tribal dances. Some of
the popular tribal folk dances of Andhra Pradesh are Bathakamma, Gobbi,
Mathuri, Dhamal, Dandaria, Dappu, Vadhyam etc. Lambadi dance is a tribal
dance of Andhra Pradesh. Lambadi is related to the Lambadi tribe, who lead a
semi-nomadic life in Andhra Pradesh. The Lambadi tribe lives all over the state.
They are popularly known as Banjaras or Sugalis. The dancers perform this
dance to rejoice an abundant harvest or a good sowing season.
BIDRI
The complicated and the very beautiful Bidriware was developed during the
gothic times. Bidriware was originated in the 14th century C.E., during the reign
of the Bahamani Sultans. The term 'Bidriware' arises from the township of
Bidar, which is still the head centre for the manufacture of the antique metal
work. Bidriware is an important export handicraft of India and is seen as a
symbol of wealth because of its striking inlay artwork. The origin of Bidriware
is usually ascribed to the Bahamani sultans who ruled Bidar between the 13th
and the 15th centuries. The Sultan invited Abdullah bin Kaiser, a craftsman
from Iran to work on embellishing the royal palaces and courts; which he did by
joining hands with local craftsmen and thus gave birth to Bidriware. Since then,
the local Muslim and Lingayat sects have been handed down the art in order to
succeed generations.
NIRMAL PAINTINGS
Adding to the list of the envious collection of fascinating art and craft forms, the
Nirmal Paintings of Andhra Pradesh holds a significant position in the art and
handicraft sector of the state. The exquisite traditional art form of Nirmal
Paintings has earned its name from the Nirmal town in Adilabad district, where
it is mostly seen. The community of craftsmen who are engaged with the
traditional art form of Nirmal paintings are known as Nakkash. They usually
depict the scenes from Hindu epics of Ramayana, Mahabharata and other
historical and mythological stories. This form of art received great patronage
from the Mughal rulers, who were captivated by its beauty. Later on, Lady
Hydri promoted Nirmal paintings in Hyderabad by bringing in experts
craftsmen to the city.
KOLATTAM
The leader of the group controls the troupe and is known as Pennuddi or
Kolanna Pantulu or Garuva. A couple of players is called Uddi, among the two
one is called Rama and the next one is known as Lakshmana. Kolattam begins
with the formation of a big circle consisting of all the members of the troupe,
which later splits into two, one within the other. The leader of the troupe of
Kolattam is accompanied by the Mridangam, flute, harmonium and cymbal
players, who stand in the middle of the internal circle. Each performer holds up
two sticks one in each hand that are decorated with colored strings or bells at its
end.
Folk Dances of Andhra Pradesh
 Indian folk and tribal dances range from simple, joyous celebrations of the seasons
of the harvest, or the birth of a child to ritualistic dances to propitiate demons and
invoke spirits.
 There are dances involving balancing tricks with pitchers full of water, or jugglery
with knives. Other dances highlight activities like ploughing, threshing and fishing.
 The costumes are generally flamboyant with extensive use of jewelry by both the
sexes. Some dances are performed exclusively by men and women, but most have
them dancing together. Nearly all involve singing by the dancers.
 The drum is the most common of the folk instruments that provide musical
accompaniment to these dances.
Folk Dance means Performing Art of Andhra Pradesh
 Andhra Pradesh is rich in traditional folk art forms, which have provided popular
entertainment for the common folk, imparting instruction, while providing
entertainment, alongside classical forms of dance and drama for a considerable
period in history.
 The folk performing arts had filled an important lacuna in the otherwise mundane
lives of the people.
 There are two major types of folk dance forms –
1. One that is pure rhythmic forms (the rhythm being provided by an instrument)
without any accompanying song; Ex:- Butta Bommalu, Gargalu and Veera
Natyam, Dappula Nrityam
2. The other that couples dance with story narration in which the dance content is
more important than the narration of a story. Ex- Kolatam, Chakka Bhajana
and Tappetagullu
 Dappula Nrityam belongs to the first category. There are also some forms in which
the rhythmic accompaniment of a percussion instrument becomes the base of a
dance, but there is also minimal singing.
 While Butta Bommalu, Gargalu and Veera Natyam belong to the first category
where there is dance without any signing; such forms as Gitravayya Nrityam and
Urnmula Nrityam have some initiatory music.
 At the other extreme are the second categories of dances which combine rhythmic
dance movements with musical narration: Kolatam, Chakka Bhajana and
Tappetagullu are such forms which happily combined musical narration and dance.
Major Folk Dance of Andra Pradesh
Veera Natyam
 Among the several rituals in the Veera Saiva cult that dominate the festive occasions
and incite the devotees, the Veera Natyam is the most important.
 The external manifestations of bhakti are prominent during these festivals. Some of
them are very ferocious and incite awe and fear.
 In this the dancers tie oneself with long, sharp intertwined ropes (Veera tallu), to
insert sharp and pointed instruments through the cheeks, the tongue and the lips
and render eulogistic entreaties in praise of Lord Siva are common to Veera Saiva
rituals.
 Veera Natyam has long been a part of this whole ritual, but now a days is taken out
of the context and is shown as a separate dance form.
Kuchipudi - Folk Dance of Andhra Pradesh
 Kuchipudi is an outstanding dance form which originated in Andhra Pradesh.

 Kuchipudi is not just a dance however it is a fine combination of song, speech,
gestures, and dance.
 A Kuchipudi dancer must have proficiency in various languages, music, acting,
dancing, and texts.
 Siddhendra Yogi in the 17th century started Kuchipudi dance form at the time of
bhakti movement.
Gobbi Dance
 This is one of the fashionable dance forms from coastal regions of Andhra Pradesh.
 Gobbi dance is the main magnetism during the Samkranti festival and during this
time, the courtyards of all houses are cleaned and decorated.
 The flowers of Gobi Dance are used with different kinds of rangavallis, for
decoration purposes.
 Gobbillu i.e. balls of cow dung are positioned in the middle of these rangavalli
designs.
 In the evening, young girls assemble around this gobbillu to dance and sing.
 One can say that this dance is a derivative form of Garba dance performed in circular
direction.
Kolatam Dance
 Kolatam is known as Danda Rasakam, Danda Nartanam, Vestitam and Halli Sakam in
different parts of the country, Kolatam is a popular dance in all parts of Andhra
Pradesh.
 It is also called Kolannalu, Kollamata and Kolanna in other parts of the state.
 Though we have literary evidence to show that Kolatam dance was widespread
more among the ladies at one time, this is now mostly performed by men only.
 Similar dance form in Gujarat is called ‘Dandia’. “Urumulu” means thunder.
 As it gives a echoing thunderous sound, the instrument and the dance that
accompanies its rhythm are known as “Urumu” and “Urumula Nrithyam”.
 It is widely prevalent in Anantapur and Kurnool districts and is popular in Saiva

festivals.
 This Dance is also performed in Jangamma and Timmamma festivals and during the
worship of such deities as Bommayya and Veeranarayana Swami.
Tappeta Gullu
 Tappeta Gullu is widely popular in the extreme northern districts of Srikakulam,

Vizianagaram and Visakhapatnam, Tappeta gullu is a celebratory dance, presented
in honour or Gangamma, the water deity by the Yadava community.
 The dance gets its name from the instrument used by the performers - the “Tappeta
Gundlu” which is made either by tin or wood, almost in the form of a cone and is
covered by leather.
 The instrument is hung round the neck with a small rope and is played with both the
hands.
Mathuri Dance
 The Mathuri dances are extraordinary tribal dances by the Mathuri tribes, of
the Adilabad district of the Andhra Pradesh, performed during the rainy month of
Shravana.
 Mathuri dance is a dance in which men and women folk participate together,
women participants forming the inner circle and men the outer semi-circle.
 The dancers sing themselves devotional and secular songs while dancing.
Garagalu / Garika /Veta Natyam
 Garagalu is Known also as Garika, which is especially popular in East and West
Godavari districts with that name. ‘Garaga’ means a vessel - usually an earthen-
ware.
 The Garaga, an important and sacred vessel which symbolizes the synthesizing of
earth, water and sed, occupies an important role in all wedding celebrations.
 Besides, in all village festivals, the pujari carries a large Garaga on his head in which
devotees put rice, curd and other eatables as a part of fulfillment of their oath.
 The vessel occupies a similar place in rural festivals as the ‘Utsava Vigrahas’ have in
temple festivals. Puli Vesham is a popular entertainment in Coastal Andhra villages.
 Also known as ‘Veta (hunting) Nrityam , the form is one of those that imitate
animals and recreate the feeling of an ancient man fighting his way through the
terrifying experiences of confronting and overcoming the beasts of the forests.
Dhimsha
 It is very popular in Andhra Pradesh
 This dance is very popular among the tribes inhabiting the Araku Valley region of
Vishakhapatam.
 Dhimsa dance is performed by 15-20 women forming a chain.
 It is generally performed in local fairs and festivals of the area.
 The costumes of this dance are typical tribal cloths with proper ornamentation.
Other Various Dances Folk Dances
 Butta Bommalu Dance- This is a fashionable dance form in Tanaku of west

Godavari Districtof Andhra Pradesh. Each dancer used to wear dissimilar masks
over the head and shoulders.
 Bathakamma Dance- Bathakammas are mainly performed by female participants in

a region, Telengana of Andhra Pradesh during the time of Bathakamma Festival of
State.
 Bonalu Dance:- This dance is performed by female folk balancing pots on their
heads. This is performed in the Telengana region.
 Veeranatyam - The Dance of the Brave Veeranatyam means the dance of Lord
Shiva which was done when Lord Shiva got exasperated with the humiliation and
death of Sati. Veeranatyam dance form is also called the dance of destruction. This
particular dance is even now accomplished by the people who belong to Veeramusti
community, that claim to be the offspring of Veerbhadra.
Folk Songs of Andhra Pradesh
 According to Dr. A. Anuradha, Coordinator, Dept. of Music, Andhra University,

Visakhapatnam (Andhra Pradesh) – “India Folk music is one of the ancient forms of
the cultural heritage of India. ‘Every part of India has its own culture and traditions,
developed according to the taste of the people of that particular part. Thus, the
combination of singing songs, instruments and dance is called as ‘Desi music’.”
period in history.
 Folk songs also deal with pathetic, mournful, philosophical and jovial contents
 There are songs sung by various labourers while working, songs by ladies while
reaping the corn, harvesting and even pounding the rice. Then there, are a large
variety of songs sung during marriages; almost for every ritual in marriage is
celebrated through song.
Musical Instruments used during singing

 Music is an important component of the performing arts like dance and drama, and
of rituals. Each community has its own style of music and tradition of songs.
 There are essentially two ways to make music:
a. With the human voice
b. With an instrument.
 The musical instruments are classified on the basis of the scientific principle used to
create the sound they make. They are briefly described below.
1. Percussion Instruments: These instruments are struck to produce sound. Often
these are used to produce the taal or beat and do not produce all the musical
note or cymbals.
2. Wind Instruments: These need air to flow through them to produce
soundóbansuri or flute.
3. String Instruments: These are instruments that use one or many tightly tied
strings that when struck vibrate to create soundóthe veena or ektara.
4. Drums: A drum is made of a membrane stretched across a hollow frame and
played by striking ó the dholak or mridangam.
Various folk song of Andra Pradesh
Jangam Katha
 Jangam Katha is one of the earliest folk ballad forms prevalent in Andhra making
use of several desi (local) metres. ‘
 Jangams’ are staunch Veera Saiva followers and belong to the saivite cult ever since
it became prominent in Andhra in about AD 1200.
Oggu Katha
 Oggu Katha derives its name from the inspiring “Damarukam”, called Oggu, which
initiates the stories sung by the ballad singers.
 Several Saiva stories are in the repertoire of the Oggus, though others not connected
with Saivism are also sung.
 Kinnera Katha is a folk ballad form narrated by ‘Dakkala’ community in Telangana to
the supplement of a string instrument called ‘Kinnera’. It has usually seven notes
and so is called “Edumetia Kinnera.
 They narrate short ballads, especially on those whose exploits have attained a heroic
nature.
 “Kinnera” is a musical instrument made out of a bamboo pipe, measuring one meter
in length.
 Three dried gourds are fixed to one end of the bamboo pipe through wooden pegs.
Gonds and Thoti narrates Pandavulu Katha.
 They narrate the story of the Mahabharata in 40 nights to the accompaniment of a
Dande (a Kinnera or Ektara) and a Maddela. The main narrator plays the dande
while singing.
Golla Suddulu
 ‘Golla Suddulu’ are accompanied by a drum and a horn. These ‘gollas’ also
participate in reciting a long verse (Dandakam) on religious occasions and offer
sacrifices during ritual ceremonies (bonalu).
Sraamika or labour songs:
 These are known as songs sung by different categories of workers while doing their
work, such as cart-pullers, industrial workers, stone crushers, construction workers,
and workers busy in laying roads, building bridges and dams.
 They find enjoyment in their work and do not feel it a burden.
Women’s songs:
 These are habitually rendered by women in the houses while attending to the daily
chores.
 These songs have been in continuation, for thousands of years.
 It is learnt that a eminent composer Anamacharya wrote hundreds of folk songs in
Telugu during the 14th century.
 These songs are very popular in every part of Andhra Pradesh.
 Rokati paatalu (wooden pestle songs), Tirugali paatalu (hand-mill songs),
songs while making butter from the curd by by means of churning-staff etc.
Children songs:
 The songs sung by the mothers, to their children to sleep or persuade them when
they are afraid of something or the other is innumerable and each one of them has a
very good lyrical value.
 The song “Jo atchutananda jojo mukunda-raara paramaananda Rama Govinda”
is one of such examples, and it is long-lasting as a mother’s lullaby traditionally sung
in a soft raga Nilambari in Khanda Chapu taala.
 This is also a song of Annamacharya, and is a master piece of the composer sung for
centuries till today.
 Similar to above song, there are two more songs, “Ramalali megha shyamalali -
taamarasa nayana - Dasaradha tanaya lali”. These are very famous lullabies in
Andhra, traditionally sung over centuries.
Songs by Children:
 Village children are the centre of magnetism during the village festivals and other
occasions.
 Even two-three year old children sing with their tender and sweet voices in Telugu.
 The songs like, “Chitti chilakamma, Udataa udataa hooth” etc, are fashionable in
Andhra, for over many years.
 They are very rhythmic in interpretation and the dance carried out to these songs is
eye-catching.
Occasional songs:
 During winter especially in January, the villagers, as it is the end of their agricultural
toil they harvest their crops and get money from it.
 They celebrate the major festival of the year ‘Pongal’ for three days in a impressive
manner.
 A month from mid-December to mid-January is called Dhanurmasam, which is
deemed as very holy.
 During Pogal time many types of folk art forms are performed by the young girls,
like Gobbillu, Bommala koluvulu (exhibition of dolls, toys etc.).
 Girls generally make designs called Rangoli with flour in the front-yard of the house.
 A popular song on Gobbillu is-
Gobbiyyallo – Gobbiyyallu – Sankranti
Pandagocchhe - Gobbiyyallu.
Marriage songs:
 The folk music at the time of marriages, everyone will try to make a unique event
by participating in dancing and singing.
 A great diversity of songs is rendered at different events that take place in the
wedding and marriage ceremonies.
 There are different occasions and events in a wedding when different songs are sung
from ‘engagement to sending the bride to the mother-in-law’s house.
 Usually, folk people compare the Bride groom and Bride to Lord Rama and Sita, who
are the role models to Indians. This is the only reason why many of the marriage
songs are on Rama and Sita.
Philosophical (Vedaanta and Vairagya) songs:
 Devotional and religious content delivering good messages to the society is rendered
by many in folk music.
 There are several philosophical songs known as ‘Tattvaalu’, repeatedly sung in the
villages of Andhra Pradesh.
Epic songs:
 There are hundreds of songs on Ramayana, Bharata and Bhaagavata in folk style.
 Below is an example of a traditional folk song related to the epic Bhagavata.
 The content is complaints made by the gopikas against Krishna in his early
childhood about his naughty activities.
O Yasoda yemi seyudune – nee koduku dudukulaku
Love songs:
 Several quixotic or love songs are also popular in folk songs of Andhra Pradesh. A
popular example of such songs is-
Mokka jonna thotalo musina cheekatlalo
Manche kaada kalusuko maruvaku maamayya.
 In this song, a young girl invites her friends to the maize fields to meet her at
dusk and demands that he should not forget her invitation.
Responsorial songs:
 It is the verbal discussion between two people, set in a folklore way.

 The conversation is in the form of a song and it may be between the mother-
daughter or wife and husband or mother- in-law and daughter- in-law or between
lovers or between friends. For example, a conversational song between a young
couple of Andhra-
Male: Rupai kaavaalaa- rupai sillara kaavaala
Female: Roopu rekaa sallangunte rupai yenduku rupai sillara yendoku.
 In this song, the lady expresses as like ‘the love and affection for her husband is
more than money’. This is a best example for their simple way of living.
Tribal Songs and Kathas
 Many tribes like Chenchu, Dasari, Baind, Jangama, Kuruva and others propagate
Folk songs. More importance is given to folk songs or their expression than the
dance component.
 There is always a main singer supported by two or three chorus singers.
 In the olden days Tambura or Tuntuni or Ektaar was the main drone Instrument.
 Sometimes it is also accompanied by Harmonium and a drum to provide rhythm to
song. In some parts of Andhra Clarinet is played instead of Harmonium.
 Budige jangam kathas, Oggu kathas, Jangam Kathas, Burra Katha, Jamukula
kathas, Golla Suddulu, Kommu people, etc are some amazing story telling ways, in
Telugu literature in the form of songs. The performers are generally in three or four
in number.
Art Forms of Andhra Pradesh
 The art refers to the theory and physical expression of creativity found in human
societies and cultures from Ancient Time in India. Major constituents of the arts
include
A. Literature – including poetry, novels and short stories, and epic poetry;
B. Performing arts – among them music, dance, and theatre; and
C. Visual arts – including drawing, painting, photography, ceramics, sculpting, and
architecture – the art of designing and constructing buildings
Performing Art of Andhra Pradesh
 In India, various facets of performing arts are all pervading bringing colour and joy
to abundant festivals and ceremonies, and reaffirming the faith of the people in their
heritage.
 These facets have been responsible for supporting the long continuities of ancient
traditions.
 They are the link between the past and the present.
 It thus exemplifies the complex, organic interaction of all aspects of life implicit in all
tribal and folk art forms; art is not seen as something apart from life, a mere
decoration or entertainment, but as an intrinsic part of it.
period in history.
 Performing art include Dance, Drama and Music
Dance form of Andhra Pradesh
Traditional Classical Dance Forms

Andhra Natyam
 The traditional dance form Andhra Natyam is as old as the people of Andhra Pradesh
and dates back to 2000 years before present.
 Originally it was a temple dance performed by devadasis as a form of devotion. In
the days of yore, wherever there was a temple, there was some form dance
associated with that region.
 Andhra Natyam dance forms were categorized into three kinds - Agama Nartanam,
Carnatakam and Darbari Aatam. Each group had a coterie of dancers and those
who resided in the temple premises did not go to the court of kings of zamindars to
dance.
 The dance form of Andhra Natyam was initially known by diverse names - Kacheri
Aatam, Kelika, Daasi Aatam, Chinna Melam, Nattuva Melam,Carnatakam and so
on.
 It was Anna Bathula Bule Venkata Ratnamma and the dancing ladies (devangikas)
who decided to give the entire dance forms one common name after the people of
the region. Hence, it came to be called Andhra Natyam.
Kuchipudi
 Andhra Pradesh is associated with another divine dance form, as it was, Kuchipudi.
It is famous for its grace, elegance and charm.
 It was Abul Tana Shah, the grand nephew of Sultan Mohammed Quli Qutub shah of
the Qutub shahi dynasty, who bestowed the name of “Kuchipudi” upon this
renowned dance form of Andhra Pradesh.
 Kuchipudi has always been an inherent and inseparable part of the Andhra tradition.
Even before Tana Shah had recognized this dance form, Kuchipudi was popular.
 The ancient temples and Buddhist monasteries excavated at Nagarjunakonda,
Amaravati and Ghantasala also enlighten us about this traditional dance form.
Kuchipudi is a perfect balance between three aspects - Nritta, Nritya and Natya,
each being of equal importance in dance.
 The Nritha is a rhythmic sequence that concludes a song or a verse the nritya or
sabadams in which the rhythmic passages are followed by interpretations
alternately Natya is a complete dance drama with a story-line and various
characters.
Perini Siva Tandavam
 The specialized dancing forms of Siva Tandavam (Perini Siva Tandavam) and
Sivalilas, Jaya Senapati (1213 -1262), himself a nartaka, after a critical study of
the classical traditions of natya, wrote his magnum opus, Nritya Ratnavali, detailing
the dance styles in the Andhra country.
Folk Dances of Andhra Pradesh

 There are two major types of folk dance forms –
3. One that is pure rhythmic forms (the rhythm being provided by an instrument)
without any accompanying song; Ex:- Butta Bommalu, Gargalu and Veera
Natyam, Dappula Nrityam
4. The other that couples dance with story narration in which the dance content is
more important than the narration of a story. Ex- Kolatam, Chakka Bhajana
and Tappetagullu
Various Folk Dances
 Butta Bommalu Dance- This is a fashionable dance form in Tanaku of west

Godavari Districtof Andhra Pradesh. Each dancer used to wear dissimilar masks
over the head and shoulders.
 Bathakamma Dance- Bathakammas are mainly performed by female participants in

a region, Telengana of Andhra Pradesh during the time of Bathakamma Festival of
State.
 Bonalu Dance:- This dance is performed by female folk balancing pots on their
heads. This is performed in the Telengana region.
 Veeranatyam - The Dance of the Brave Veeranatyam means the dance of Lord
Shiva which was done when Lord Shiva got exasperated with the humiliation and
death of Sati. Veeranatyam dance form is also called the dance of destruction. This
particular dance is even now accomplished by the people who belong to Veeramusti
community, that claim to be the offspring of Veerbhadra.
Music Form of Andhra Pradesh
Carnatic Music
 Carnatic music is restricted to Karnataka, Andhra Pradesh, Tamil Nadu and Kerala.
In Carnatic music there is a very highly developed theoretical system. It is based
upon a complex system of Ragam (Raga) and Thalam (Tala).
 Most compositions in Carnatic music have three parts to their body.
a. The first two lines of the song are called Pallavi. They occur over and over,
especially after each stanza.
b. Usually the Pallavi is followed by two more lines or sometimes just one more.
This portion is called Anu Pallavi. This is sung at the beginning for sure, but
sometimes even during the end of the song, but not essentially after each
stanza.
c. The stanzas of a song are called 'Charanam'.
 Purandardas (1480-1564) is considered to be the father of Carnatic music. To him

goes the acknowledgment of codification of the method of Carnatic music. He is also
credited with creation of several thousand songs. Another great name associated
with Carnatic music is that of Venkat Mukhi Swami. He is regarded as the grand
theorist of Carnatic music. He also developed "Melankara", the system for classifying
south Indian ragas.
 It was in the 18th century that Carnatic music acquired its present form. This was
the period that saw the "trinity" of Carnatic music; Thyagaraja, Shama Shastri and
Muthuswami Dikshitar compile their famous compositions.
period in history.
 Folk songs also deal with pathetic, mournful, philosophical and jovial contents
 There are songs sung by various labourers while working, songs by ladies while
reaping the corn, harvesting and even pounding the rice. Then there, are a large
variety of songs sung during marriages; almost for every ritual in marriage is
celebrated through song.
Ex- Labour songs, Women Songs, Love Songs, Childern Songs, Tribal Songs, Marriage
Songs, Philosophical Songs
Theatre Form
 Bharata's Natya Shastra was the earliest and most elaborate treatise on
dramaturgy written anywhere in the world. India has a greatest and richest tradition
in theatre going back to at least 5000 years.
 The origin of Indian theatre is closely related to ancient rituals and seasonal
festivities of the country.
 In Natya Shastra, Bharata Muni consolidated and codified various traditions in
dance, mime, drama and many other things. No book of ancient times in the world
contains such an exhaustive study on dramaturgy as Natya Shastra.
 It is addressed to the playwright, the director, and the actor because to Bharata Muni
these three were undividable in the creation of a drama.
 Hindu theorists from the earliest days conceived of plays in terms of two types of
production:
a. Lokadharmi (realistic), which involved the imitation of human behaviour
on the stage and the natural presentation of objects
b. Natyadharmi (conventional), which is the appearance of a play through
the use of stylized gestures and symbolism and was considered more
artistic than realistic
 Theatre in India has encompassed all the other forms of literature and fine arts into
its physical presentation: literature, mime, music, dance, movement, painting,
sculpture and architecture - all mixed into one and being called 'Natya' or Theatre in
English.
Theatre form of Andhra Pradesh
Burrakatha/ Harikatha
 A storytelling technique used in villages of Andhra Pradesh, Karnataka and Tamil

Nadu of India.
 The troupe consists of one main performer and two co-performers.
 It is a narrative entertainment that consists of prayers, solo drama, dance, songs,
poems and jokes.
 The topic will be either a Hindu mythological story or a contemporary social
problem of the region.
 Harikatha, also known as Katha Kalakshepa, is a variant which narrates tales of Lord
Krishna, other Gods and saints.
Handicraft and art of Andhra Pradesh
HandiCrafts
 Indian words for handicrafts are normally hastkala, hastshilp, dastkari, karigari, all
meaning handiwork, but they also refer to objects made with craftsmanship, i.e.,
specialised skills of the hands which are also artistic.
 The aesthetic content is an intrinsic part of such objects and means the object of
utility has a value that goes beyond mere usage and is also pleasing to the eye.
 Crafts are closely related to concept of form, pattern, design, usage, and these lead to
its total aesthetic quality.
Handicrafts of Andra Pradesh
 Andra Pradesh is also one of important center for development of Handicraft and
related products.
 Many Handicrafts works like Veena Manufacturing ,Durgi Stone Craft ,Budithi
Brassware Banjara Needle Crafts ,Etikoppaka Toyes , Ponduru Khadi ,Bidri
Craft, Dokra Metal Crafts, Nirmal Arts ,Bronze Castings, Kondapalli Toys,
Lacquer Ware not only famous in the state but also out side the state
 Handicraft work provide economic work as well as serve as self employment aspect.
 The Handicrafts are, responsible for the revenue earning and the overall economy of
the state as it provide self employment opportunities to poor and tribal people of
Andhra Pradesh.
Handicrafts of Andra Pradesh that recognised Geographical Indication (GI) Tags:
7. Bobbili Veena
8. Shadow Puppets Of Andhra Pradesh
9. Budithi Bell And Brass Craft
10. Machilipatnam Kalamkari
11. Kondapalli Bommalu
12. Srikalahasthi Kalamkari
Art and Literature of Andhra Pradesh
 The “Telugu Literature” is one of the oldest “Dravidian Literatures” of India, which
has a rich preserve of stories, dramas, epics and poems.
 The literature of Andhra Pradesh reflects the rich cultural and traditional history
of the Dravidian state of India.
 The state is blessed with many significant luminaries in the field of literature who
have contributed immensely to the Telugu language.
 The Telugu literature is a vast store house of literary products by eminent
personalities from the field of literature.
 The people of Andhra Pradesh nurture a deep and intense emotion for their
language which has found expression through the various literary products.
 The Literary gems of the Telugu literature have represented the “Dravidian” culture
and tradition to the world.
 Many important literary figures of the state have been awarded with accolades from
various quarters for their contribution towards the development of an important
Indian language.
 The Telugu Literature reveals the traditional society of our country.
Ex-
a. Work of Nannaya, Thikkana, Erraprgada (Kavitrayam trinity) in Mahabharata
b. Palkuri Somanatha, Srinatha, Potana Telugu literature work
c. Allasani Peddana’s Manucharitra,
d. Poetess Molla’s Ramayana,
e. Pingali Suranna’s Kalapoornodaya,
f. Ramaraja Bhushana’s Vasu Charitra
Visual Art form mean Painting of Andhra Pradesh
Lepakshi Painting
 It is part of Anantapur district in Andhra Pradesh.

 It was the Beautiful paintings of Vijayanagar period.
 It Provides glimpses of contemporary dress like tall headwear (Kulavi), colored and
embroidered sarees of both men and women in the paintings.
 Earth tones and complete absence of blue color in Lepakshi painting.
 Costumes are outlined in black.
Deccani School of Miniature Painting
 Deccani painting denotes broadly the miniature painting from the 16th Century to
the 19th Century at Bijapur, Ahmadnagar, Golkonda and Hyderabad, the former
states that formed the region known as Deccan part of India.
 The rich colour scheme, the palm trees, animals and men and women all belong, to
the
Deccani tradition, ritual and culture.
 Early Deccani painting absorbed influences of the northern tradition of the pre-
Mughal painting which was flourishing in Malwa, and of the southern tradition of the
Vijayanagar murals as evident in the treatment of female types and costumes.
 Influence of the Persian painting is also observed in the handling of the horizon gold
sky and landscape.
Cherial Paintings
 Presenting wonderful work of art, Cherial folk paintings express the narrative
format through the rich color schemes.
 Based on the themes of great epics, these paintings use customary techniques.
 The Cherial paintings are made on cloth that may run to meters in its length.
 Kako padagollu is a main community which uses Cherial paintings as one of the
visual means to recite stories from Mahabharata and Ramayana.
 At present the artists even make scroll paintings or Cherial paintings in smaller
sizes on paper, plywood, cardboard and cloth.
Nirmal Paintings, Nirmal

 Nirmal is a small town located at 89 kms from Adilabad in Adilabad district.
 The artists themselves using cardboard and Luppam make the canvas.
 The canvas is first painted black, which forms the background for all the paintings.
 Enamel and other plastic colours are used for these paintings, which lends them a
glow.
Savara Paintings, Srikakulam

 Srikakulam is 100 kms, from Visakhapatnam. ‘Savaras’ are ancient tribes living in
the areas enjoined by the four states of Andhra Pradesh, Orissa, Chhattisgarh and
Jharkhand.
 On a wall-coloured red with red soil mixed paper in water, white paint prepared
from rice powder and water are used Black colour is prepared with coconut ash
mixed castor oil.
 Triangular-shaped structures, which are very common in rock art, can be seen in
Savara paintings.
Painting on Kalamkari Fabric (Kalamkari Painting)
 The Kalamkari fabric contains the paintings of mythological figures and events with
vegetable colours. Kalamkari sarees, kurti (tops), salwar-kameez, have become the
order of the day and have become the popular costumes of Andhra Pradesh.
 This particular art form is widespread in Machilipatnam of Andhra Pradesh.

Urbanity in its refined form rules in the epicenter of superiority, Hyderabad.
Architecture of Andhra Pradesh
 Andhra Pradesh has a long and plaid history and has been a center of progress,
culture and tradition belonging to three distinct sects of people; Hindus, Muslims
and Buddhists.
Islamic Architecture
 The princely state of Hyderabad covered much of the surrounding areas of the city
and was ruled by Islamic rulers such as Qutb Shahi rulers, the Bahmanis and the
Moghuls.
 The influence of all these rulers is clearly seen in the architecture of monuments that
they left behind.
 The Qutb Shahi rulers gave the city its symbol that is The Charminar.
 The architecture of Golconda Fort and several mosques, royal tombs and palaces
are evidence of the outside influence combined with the local craftsmanship that has
added to the architectural beauty of monuments of the region.
Charminar and Qutb Shahi Architecture

 Charminar in Hyderabad city is considered to be the symbol of the city, culture
and its heritage. It is situated in the center of the walled city and it is actually a
mosque. The imposing structure of Charminar has four minarets in the four corners
of the building of Charminar. All the four minarets are four storeys high and have a
carved ring to mark each storey of Charminar. The entry is an impressive fifty seven
meters and the carved lattice work has the imprint of the Qutb Shahi period.
 There are many tombs of Qutub Shahi rulers, most of them outside the walls of the
old city of Hyderabad. All the tombs of these emperors mirror the architectural style
of the period prevalent in the Deccan region of India.
 The most extraordinary among them is the tomb of of Muhamed Kuri Qutub Shahi
who is credited of having built the city of Hyderabad. The tomb is embroidered with
delicate and beautiful patterns sculpted immaculately the most prevalent being the
royal-flower.
Hindu Architecture
 The ancient Hindu temples built during various periods of history are treasures that
have lasted for over 2000 years and have been built in prehistoric period of Ancient
time.
 Andhra Pradesh finds a mention in the mythological Hindu epic; Mahabharata
which is said to be 5000 years old.
 The Mauryas, Chalukyas, Satavahanas, Pallavas, Cholas have all ruled Andhra area
and the ancient Hindu temples built during different times imitate the architectural
styles conforming to that period together with local Dravidian influences.
 Temple of Tirupati which attracts millions of people from all over the world. It is
said that the temple is also mentioned in the Vedas and several puranas. The Kings
of all the Hindu dynasties that ruled Andhra paid homage to the temple and
contributed to its growth, development and splendor.
 The Varaha Narasimha Temple built in the East Ganga dynasty and has a keen
resemblance to the styles of temples of Puri and Konark that were built in the same
period. An imaginative mix of South Indian and East Indian architectures, the temple
has a gopura at the entrance built in south Indian style. A small shrine of a horse and
chariot wheels on the north-eastern side reminds one of the Konark temple of India.
The pinnacle or shikhar atop the temple shows the step design of South Indian
temple.
 The Ramappa temple in the village of Palampet- The carvings on the walls and
eaves are spectacular. The pillars on which the eaves are supported are imprinted
with humans playing musical instruments, angels, animals, birds etc. with minute
details that are exquisitely rendered.
 The Shiva temple of Alampur is built like most Shiva temples, with a main shrine
and a mandapa or hall where devotees can sit or pay their respects to God. The
shrine has a pinnacle or shikhar which resembles the north Indian style of Temple.
 Venkataramanna temple shows a matured south Indian style with sculpture and
decorations that are both artistic and competent. The pillars of the central hall called
mandapam give an incredible false impression of exaggerated space.
Buddhist Architecture
 Andhra Pradesh has some immense Buddhist monuments that are between 2000
and 3000 years old.
 Buddhist shrines are seen in many places of Andhra Pradesh such as the Chezarla
village, Amravati, Nagarjunakonda etc.
 Kapoteshwara temple is now a Hindu temple but was transformed from a Buddhist
temple.
 The existence of the Chaitya shrine with the Chaitya window is confirmation of its
Buddhist origin.
 The Amaravati Stupa is a excellent example of the Buddhist architecture of India
over 2000 years ago.
 The Amravati Stupa has huge platforms raised to a height of ninety five feet
projecting in four directions.
Paintings of Andhra Pradesh
 Indian paintings provide an artistic continuum that extends from the early
civilization and culture to the present day.
 From being essentially religious in purpose in the beginning, Indian painting has
evolved over the years to become a fusion of various cultures and traditions.
 The Indian painting was exposed to Greco-Roman as well as Iranian and Chinese
influences.
Classification of Indian Paintings

 Indian Paintings can be broadly classified as the mural paintings and miniature
painting.
1. Murals are huge works executed on the walls of solid structures, as in the Ajanta
Caves and the Kailashnath temple. They are also called as wall paintings.
2. Miniature paintings are executed on a very small scale on perishable material
such as paper and cloth.
Paintings of Andra Pradesh
Lepakshi Painting
 It is part of Anantapur district in Andhra Pradesh.

 It was the Beautiful paintings of Vijayanagar period.
 It Provides glimpses of contemporary dress like tall headwear (Kulavi), colored and
embroidered sarees of both men and women in the paintings.
 Earth tones and complete absence of blue color in Lepakshi painting.
 Costumes are outlined in black.
Deccani School of Miniature Painting
 Deccani painting denotes broadly the miniature painting from the 16th Century to
the 19th Century at Bijapur, Ahmadnagar, Golkonda and Hyderabad, the former
states that formed the region known as Deccan.
 The rich colour scheme, the palm trees, animals and men and women all belong, to
the
Deccani tradition and culture.
 Early Deccani painting absorbed influences of the northern tradition of the pre-
Mughal painting which was flourishing in Malwa, and of the southern tradition of the
Vijayanagar murals as evident in the handling of female types and costumes.
 Influence of the Persian painting is also observed in the handling of the horizon gold
sky and landscape.
Cherial Paintings
 Presenting wonderful work of art, Cherial folk paintings express the narrative
format through the rich color schemes.
 Based on the themes of great epics, these paintings use customary techniques.
 The Cherial paintings are made on cloth that may run to meters in its length.
 Kako padagollu is a main community which uses Cherial paintings as one of the
visual means to recite stories from Mahabharata and Ramayana.
 At present the artists even make scroll paintings or Cherial paintings in smaller
sizes on paper, plywood, cardboard and cloth.
Nirmal Paintings, Nirmal

 Nirmal is a small town located at 89 kms from Adilabad in Adilabad district.
 The artists themselves using cardboard and Luppam make the canvas.
 The canvas is first painted black, which forms the background for all the paintings.
 Enamel and other plastic colours are used for these paintings, which lends them a
glow.
 Yet another important contribution of the Nirmal artists is their traditional designs
on furniture.
 The artists paint creepers, border designs and flowers on wooden chairs, tables and
on cots, on almost all: furniture work, red and black colours are used lavishly,
followed by yellow and green.
 The Nirmal toy industry is an example of how collective effort can help an art to
flourish.
 This art, like all other art forms, has witnessed some changes, while holding on to
some of its traditional designs, Though water colours and enamel colours have
replaced natural colours, the artisans still use Painiki wood along with other locally
available material.
Savara Paintings, Srikakulam

 Srikakulam is 100 kms, from Visakhapatnam. ‘Savaras’ are ancient tribes living in
the areas enjoined by the four states of Andhra Pradesh, Orissa, Chhattisgarh and
Jharkhand.
 On a wall-coloured red with red soil mixed paper in water, white paint prepared
from rice powder and water are used Black colour is prepared with coconut ash
mixed castor oil.
 Tender bamboo twigs are used as brushes after chewing their ends very delicately.
Actually, these paintings resemble the prehistoric rock art.
 Triangular-shaped structures, which are very common in rock art, can be seen in
Savara paintings.
Painting on Kalamkari Fabric (Kalamkari Painting)
 The Kalamkari fabric contains the paintings of mythological figures and events with
vegetable colours. Kalamkari sarees, kurti (tops), salwar-kameez, have become the
order of the day and have become the popular costumes of Andhra Pradesh.
 This particular art form is widespread in Machilipatnam of Andhra Pradesh.
Urbanity in its refined form rules in the epicenter of superiority, Hyderabad.
 The tempting mix of colors on cloth generally depicts characters from Indian
mythology.

 At the times of 17th and 18th centuries, this art of Kalamkari was very prominent
and it was famous to such an extent that it spread its fame all across the country.
 Kalamkari is present in Machilipatnam and Kalahasti.
 The colors used for shading kalamkari paintings were extracted from vegetables.
 Apart from the mythological themes, these paintings even showcased different
forms of lotus flower, some beautiful designs of leaves and flowers, cartwheel and
parrots.
Folk Painting in various region of Andra Pradesh

 Folk paintings are essentially folk tales that are conventionally painted as wall
hangings.
 This art comes from Cherial in Warangal district and other places in Telangana and
Andra Pradesh.
 The ideal themes for the paintings comprise of scenes from Ramayana, Mahabharata
and other mythologies and from their stories.
 Painted with affluent use of red, yellow,
green and blue colors, they serve as ideal
wall hangings.
 The paintings look so realistic and artistic
that it is believed that this special art has
come down from Vishwakarma, the divine
architect to the artisans on earth.
The Famous Art Of Leather Painting Work Of Andhra Pradesh
 The shadow dance of puppets made up of leather is coming from olden times in
Andhra Pradesh.
 Images on the dead skin of animals are carved out for this in bright colours.
 The heights of these leather made puppets are normally 6 feet.
 These are cut-made in such manners that they can bend from wherever from hands,
feet, waist, necks etc.
 The natural colours, conventionally extracted from flowers and vegetables were
being used to paint these leather puppets. But now, the artificial colours presented
in the market are being used for paint works.
 A thin splint of bamboo is tied around the puppet and jolted and fluttered with light
hands in front of a white screen with the support of the bamboo splint. The
audiences sitting in front of the screen take pleasure in this scene.
 In the old days, the purohits used to communicate the lessons of religion and politics
by showing the instances from the Ramayana or the Mahabharata to the village folk
through the medium of these shadow dances.
 The Anandpur and Kaninda districts of Andhra Pradesh are well-known for this
leather painting art works the most.
Common Feature of Tribal Painting in Andhra Pradesh
Wall Painting
 The tradition of wall paintings has been passed down from pre-historic times to
today.
 As society moved from forest dwellings to agricultural-based communities, the art of
painting continued as a part of their life, tradition, culture and to transmit their
traditional beliefs through their art.
 Wall painting forms part of the universal culture of most agricultural societies and
forest dwelling societies.
 Paintings are done on walls to invoke the gods to bless the soil, keep animals healthy
for work in the field, grant a family healthy progeny after marriage, and bless a
newly constructed home.
 Paintings found on the walls of religious buildings depict a human quest to
understand a larger universe, natural life and power.
Current tradition of wall painting in Various Tribal Regions of Andhra Pradesh
 In a wall painting or mural, the ground is the wall or the stone of the cave. Paint is
applied on to the wall plaster. To bind the paint to the plaster the colours are often
put on wet plaster so that it fuses with it.
 In many tribal region and villages in India women apply wet lime paint to the dry
mud walls. Lime is a natural disinfectant and prevents ants and termites inhabiting
the walls.
 As they use no adhesive the paint flakes and has to be redone every season,
especially after the monsoons just before Dussehra and Diwali.
 Wall painting also done during ceremonial function like Marriage.
Fairs and Festivals of Andhra Pradesh

 Today festivals are considered to contribute significantly to the cultural and
economic development of the Andhra Pradesh.
 The festivals have major impact on the development of cultural tourism to the host
communities.
 The festival organisers are now using the historical and cultural themes to develop
the annual events to attract visitors and creating cultural image in the host
cities by holding festivals in the community settings.
 The desire for festivals and events is not specifically designed to address the needs
for any one particular group.
 The hosting of events is often developed because of the tourism and economic
opportunities in addition to social and cultural benefits.
 Many researchers have contested that local community’s play vital role in
development of tourism through festivals.
 Andhra Pradesh by nature is ceremonious.
 Either a feast or a festival, a domestic ceremony or a public ritual, either auspicious
or inauspicious, they always shared joy or sorrow, enjoy fun and frolic with sanctity
and devotion with emotion and sentiment as the situation or occasion warrants with
all other members of the community or society in which they live.
 As they are relatively more emotional and sentimental they perform every festival
or a ritual with sobriety, sanctity and gaiety it deserves. Sociologically speaking,
ancient people ever since they gave up their nomadic life and became settlers opted
for agriculture as their main occupation.
 Many of the festivals and other ceremonies are closely associated with the
agricultural operations conducted in different seasons in a year.
 In course of time such events became traditions and transformed as festivals.
STATE LEVEL FESTIVALS
Sl Name of Fastivals Vanue Date and Days Fixed

No.
1 International Kite Hyderabad 14th to 16th January, of every
Festival year
2 Kakatiya Festival Warangal 3rd Friday, Saturday & Sunday of
February every year
3 Chalukya Festival Rajahmundry 2nd Friday, Saturday & Sunday of

combining with Flower February of every year
Festival
4 Deccan Festival Hyderabad 2nd Friday, Saturday & Sunday of
February of every year
5 Lumbini Festival Nagarjuna 28th, 29th & 30th of May or around
Sagar the time to coincide with Buddha
Purnima.
6 Visakha Utsav Visakhapatnam 2nd Friday to Sunday of October in
Rishikonda Beach every year
Festival
7 Festival of Andhra Hyderabad November 1st to 7th of every year
Pradesh Formation day
Celebrations
8 Sathavahana Festival, Guntur, 2nd Friday, Saturday & Sunday
Amaravathi Amaravati November every year
9
All India Level Girijan Araku valley, 2nd Friday, Saturday & Sunday
Festival & Artists Camp Borra December every year
10 Vijayanagara Festival, Chandragiri 3rd Friday, Saturday & Sunday of
Rayalseema Food and October in every year to coincide
Dance Festival with Brahmotsavam.
Theme Based Festivals

Sl No. Name of Festivals Venue of Festivals Dates and Day Fixed
1 Tankbund Tamasha Necklace Road October to end of May
every year on Sundays
2 Charminar Utsav Old City, Hyderabad 2nd Friday, Saturday &
Sunday every year.
3 Hyderabad Food Necklace Road, November 1st to 7th of
Festival Hyderabad every year coinciding with
Andhra Pradesh Formation
day celebrations.
4 Ghajals Festivals Qutubshahi Tombs 2nd Friday, Saturday,
Sunday of November Every
year.
5 Vizianagaram Dist. Vizianagaram October every year.
Festival / Pydithalli
Jatara
6 Puttaparthi Festival Puttaparthi 23rd to 25th November
every year.
7 Bobbili Festival Vijayanagarams 23rd to 25th November
every year.
8 Puppet Festival Ananthapur 23rd to 25th November
every year.
Shankaranthi (January)
 Pongal Date is the winter solstice in the Hindu solar calendar.

 It is manifest by the passing of the sun into the sign Capricorn.
 Pongal is celebrated on this date itself and also to celebrate the approaching of
spring.
 There are several ways of calculating the Hindu solar calendar, so Pongal date may
vary by up to one day in various parts of India depending whether local tradition
dictates the use of the old or new Hindu calendar or astronomical tables.
Ugadi (April)
 ‘Ugadi’ as the forename ‘Yug-Adi’ suggests is celebrated on the first day of the first
month of Telugu Year i.e. Chaitram.
 This day is notable as New Year Day by the people of Andhra Pradesh.
 This day is recognized for its 'Ugadi Pacchadi' preparation comprising of six tastes
(shadruchi sammelan), each standing for a special character a man experiences in
life.
 The ingredients of this preparation, though of different tastes or characters when
mixed in definite magnitude result in a delicious dish.
 The underlying idea conveys that the six faces of life mentioned underneath, should
be handled by man and impartial in such a way as to make his life a beautiful one on
earth.
Ganesh Chaturthi (August-September)
 Vinayak Chaturthi is celebrated with a lot of passion and excitement in Hyderabad.

 Vinayak Chaturthi is celebrated to memorialize the day the Lord Ganesha or
Vinayak was born.
 This festival is celebrated with a lot of commitment and devotion throughout the
country and especially in Andhra Pradesh and Hyderabad.
 It is customary to put up a mammoth statue of the Lord Ganesha at the
Khairatabad in Hyderabad.
Shivratri (February-March)
 Maha Shivratri is celebrated with spiritual fervor all over the country.
 Maha Shivratri falls on the 13th (or 14th) day of the shady half of 'Phalgun'
(February-March).
 The literal meaning of Shivratri is "the night of Shiva Devotees accept as true that
Lord Shiva was tied in knot with Parvati, on the fortunate day of Shivratri.
 Devotees pray to Lord Shiva and sing Shiva hymns for whole night.
 Special programs are planned on the occasion at Shiva temples all over the country.
 Mhashivratri is observed in great admiration not only in India but also in Nepal and
Mauritius.
 Grand festivities are observed at Sri Kalahasti temple in Andhra Pradesh on the
occurrence of Mahashivratri.
Diwali (October-November)
 Andhra Pardesh is one of the oldest states of India and was created by combining the
old princely state of Hyderabad with the Telgu-speaking portions of the past state of
Madras.
 Andhra Pradesh has conventional way of celebrating Diwali that is organized and
celebrated throughout the state.
 The festival of light is celebrated in Andhra Pradesh mutually with other places of
the country.
 It is a festival that revolves around Lakshmi, the goddess of prosperity. During the
festival the whole country explodes into colour and noise.
Dusherra
 The festival of Goddess Durga Devi, the demolisher of evil, the incarnation of
Goddess Parvathi Devi.
 This festival is celebrated for nine days, with Garba dances and Dandia Ras by the
members of the Gujarati community, which go on the whole night.
 Even the Bengalis of late have begun to showcase their fun loving instincts at
different venues in the city where cultural programmes are held.
 As this festival is an significant one, all schools and educational institutions are
closed for 10-12 days.
 One interesting aspect is the “Bommala Kolluvu”, a exhibit of dolls that are a
heirloom, in every household till Diwali.
Holi
 The most colourful festival in the Indian calendar, a day on which vibrant coloured
water and powder is tarnished on everybody.
 The riot of colours is a sign to behold and the celebrations really unmatched, with no
one being spared and everyone being game.
 This festival is on a full moon night when a figure called “Nathuram” is burnt.
 In the villages the beacon is made of the scarecrow and hay, whilst in the city people
make do with old furniture.
Mahakaali Jaathra
 Pertaining and limited to the Telangana region of Andhra Pradesh.

 A festival celebrated in the month of Aashad, which falls during the monsoon
season of the calender.
 A exclusive, exciting and an important festival, dedicated to the worship of Goddess
Maha Kali.
 During this 2 day festival the idol of the deity is taken around in a demonstration,
amidst vivacious drum beats and burning of incense.
 Guardians of the deity called “Potharajus”, with their bodies tarnished with
turmeric and vermilion, present a scary sight with whips in their hands.
Deccan Festival
 Every year courteous Hyderabad comes alive during the Deccan Festival.
 There are cultural programmes with ghazal nights, qawalis and mushairas,
distinctive of the city.
 A pearl and bangle fair displays creations in lustrous pearls and multi-hued
bangles which are local specialties.
 A food fest serves the best of Hyderabad's famed gastronomy to visitors.
Lumbini Festival (December)
 The Lumbini Festival in Andhra Pradesh is celebrated every year, to relive the
Heritage of Buddhism in the Andra Pradesh.
 Lumbini Festival in Andhra Pradesh, celebrated in Nagarjunasagara in Hyderabad.
 Lumbini is the place where Gautama Buddha was born, and one of the most
significant Buddhist pilgrimage site.
 This Lumbini festival is organized by the Department of Tourism of the
Government of Andhra Pradesh every year for these three days, to highlight the
Buddhist intuition of the state.
Rayalaseema Food and Dance Festival (October)
 The Rayalaseema food and dance Festival is organized in the state of Andhra
Pradesh every year in the month of October.
 It is one of the principal and most extensively celebrated cultural festivals of Andhra
Pradesh.
 As the name suggests the main aim of the festival is to respect and celebrate the
prosperous and wonderful art and cuisine of Rayalaseema area of Tirupati in the
Chitoor District of Andhra Pradesh.
Visaka (Mid January)
 Visakha Utsav is very important for the citizens of Vishakhapatnam.

 The fair portrays the many prospective present in the region.
 Huge number of people throngs at the intended venues to enjoy cultural programs,
sports activities and cuisine competitions and arrangements from far and near.
Christmas
 The birthday celebration of Jesus Christ begins on Christmas Eve, with midnight
Mass and Prayers at most of the churches, and everyone dressed in their
ceremonial dress.
 Dances and Balls are held all over the city in Clubs, Hotels, Resorts, etc.
 Irrespective of religion, everybody is in the atmosphere to celebrate.
 There are fairs, fetes, melas ,etc held all over town and celebrations is the name of
the game.
ID-UL-FITR
 The most holy festival for the Muslims, the sacred month of Ramzan is spent in
prayers (5 times a day).
 Fasting is a must from dawn to twilight.
 As the sun sets, Hyderabad comes breathing with the aromas of Haleem/Hareez, a
spicy wheat dish cooked with lamb or chicken.
 Every Irani hotel (found in all street corners), has a enormous vessel ensconced in a
brick oven, dishing out this famous delicacy.
 Along with this dish all the other specialties of Hyderabad are made available right
through the night.
 In fact the city doesn't sleep during this thirty day episode, which also has the 3
Jagne-ki -Raats.
Brahmotsavam (September and October)
 Tirumala Brahmotsavam is a Hindu festival celebrated annually at Tirumala

Venkateswara Temple at Tirupati in Andhra Pradesh.
 The festival continues for 9 days in the months of September and October every
year.
 It is assumed that Lord Brahma was the first to start Brahmotsavam festival.
 He worshiped Sri Balaji on the banks of the Pushkarini in Tirupati to thank him for
the safety of mankind. Hence the festival names as ‘Brahmotsavam’ which means
Brahma’s Utsav.
Languages and Literature of Andhra Pradesh
 The “Telugu Literature” is one of the oldest “Dravidian Literatures” of India, which
has a rich preserve of stories, dramas, epics and poems.
 The literature of Andhra Pradesh reflects the rich cultural and traditional history
of the Dravidian state of India.
 The state is blessed with many significant luminaries in the field of literature who
have contributed immensely to the Telugu language.
 The Telugu literature is a vast store house of literary products by eminent
personalities from the field of literature.
 The people of Andhra Pradesh nurture a deep and intense emotion for their
language which has found expression through the various literary products.
 The Literary gems of the Telugu literature have represented the “Dravidian” culture
and tradition to the world.
 Many important literary figures of the state have been awarded with accolades from
various quarters for their contribution towards the development of an important
Indian language.
 The Telugu Literature reveals the traditional society of our country.
 One can get a glimpse of the chronological events of the mighty South India by
going through the literary productions and work of the Telugu literature.
Telugu Literature
 Telugu literature traces back its roots to the second decade of eleventh century,
though earlier literary works are few and far in between.
Work of Nannaya, Thikkana, Erraprgada (Kavitrayam trinity) in Mahabharata

 In starting time when a part of Mahabharata was rendered by Nannaya from
Sanskrit into Telugu, these literatures begin.
 Nannaya, a poet laureate in the court of Rajarajanarendra of
Rajahmahendravaram (now Rajahmundry) was measured to be the pioneer
Telugu writer. Though he could finish only the first two and a portion of the third
parva out of the 18 parvas of the epic, the translation attained a special implication.
 Thikkana (13th century) resumed and completed the rest but for a small gap after
Nannaya.
 This gap of work was filled later by Erraprgada (14th century).
 Over three centuries, the Telugu Mahabharata is a liberal admixture of prose and
verse and is a significant work of all time.
 The Mahabharata writers are known as kavitrayam trinity in early Telugu literature.
Palkuri Somanatha, Srinatha, Potana Telugu literature work
 Palkuri Somanatha (12th century) composed a Saivite treatise Basava puranam in

Dwipada. Influenced by Sanskrit classics, Nannechoda wrote Kumara Sambhava.
 Though a he was latecomer in Telugu, Ramayana and Ranganatha Ramayana as
well as Tikkana’s Uttara Rama Charitra merits mention.
 Srinatha (15th century) has been considered as the Byron of Andhra. Palnati veera
charitra was his historical classic.
 Potana devoutly rendered the great Bhagavata Purana saying ‘palikedidi

bhagavatamata palikinchedivadu Rama Bhadrundanta’ to stress that his
motivation was divine.
 Even today Potana’s Bhagavata story woven around Lord Krishna, is recited by
scholars and common people alike in Andhra. That was his popularity.
Telugu literature During the time of Krishna Devaraya
 ‘Desabhashalandu Telugu lessa’ was Krishna Devaraya’s well known scripta.

Krishna Devaraya’s reign was hailed as the golden age of Telugu literature.
 It was said to be starting point of original Telugu writings in the form of prabandhas.
1. Allasani Peddana’s Manucharitra,
2. Poetess Molla’s Ramayana,
3. Pingali Suranna’s Kalapoornodaya,
4. Ramaraja Bhushana’s Vasu Charitra
These above are merited literary productions of this period.
 Sataka is yet another literary from original and unique in Telugu full of wisdom and
mysticism. Vemana, hailed as poet of the people excelled in Sataka form.
Telugu literature during the time of Nayaka Kings
 The Southern School of Telugu Literature took roots under Nayaka Kings (17th
century) in Tanjore.
 Yakshagana, folklore type of literary form emerged along with other desi forms sung
by women on festive occasions.
Telugu literature during the time of 19th Century
 In the event political awakening in the latter half of nineteenth century, a new era
began in Telugu literature with accent on prose writings.
 Gidugu Venkata Ramamurty and Gurazada Apparao (Kanyasulkam)
revolutionized the literary field by establishing good prose traditions using spoken
form of Telugu.
 In this period of renaissance as it is often called by experts, influenced by English
literature and thought, Kandukuri Veeresalingam (1848-1919) wrote
Rajasekhara Charitra based on Vicar of Wakefield by Goldsmith, a well known
English author.
 Avadhanam is yet another peculiar form of Telugu literary tradition. It is a form of
literary acrobatics.
 Tirupati Sastry and Venkata Sastry known as janta kavulu or Tirupati pair
(Tirupati Venkata Kavulu) mastered in this avadhanam.
 Asukavita or extempore versification is one more unique feature of Telugu literary
tradition. All these literary forms rely strongly on certain rigid metrical standards.
 Against this background of traditional school in letters, a free school of lyricists with
romantic vein and a strong ground of progressivism began to grow. Inspiration in
life is the main stay of literary production according to the progressive school.
 Devulaplli Venkata Krishna Sastry belongs to transition from classical to modern
school.
 By early 1940s Sri Sri (Srirangam Srinivasa Rao) Pattabhi, Narayanababu
zealously led the progressive group and established themselves passing on their
tradition in thought process to Arudra, Tilak Dasaradhi, and Narayanareddi; there
are poets of merit who combine tradition with modernism.
 Viswanatha Satyanarayana, a veteran writer produced popular novels.
 Short story too was introduced during this period when Padmaraja’s Galivana won
world recognition (1950).
Recent development Telugu literature development

 More recent trends in Telugu literary output turn to existentialism when a group of
young men started Digambara school (1966). A
 dvent of cinema, in recent times, began effectively utilizing the services of variety of
fiction writers, short story writers, poets, play-wrights for scenerio, song, dialogue
writings.
 Non-fiction writing, once limited to text book production developed into writing of
books on History, Science and other knowledge giving subjects and journalism.
 Mutnuri Krishna Rao and Kasinadhuni Nageswararao were the successful
pioneers in Telugu journalism, when they founded Krishna patrika (1902) &
Andhra Patrika in (1912). Vijnanachandrika Grandha mandali founded by
Komarraju Venkata
 Lakshmanrao was the earliest to endeavor to disseminate knowledge on an
organized scale.
 His indefatigable efforts resulted in the production of science books and a pair of
encyclopedia volumes: Andhra Vijnana Sarvaswamu (1923) for bringing out
subject wise encyclopedia Vijnana Sarvaswamu (16 volumes).
 Institutions like
1. Andhra Sahitya Parishad, Kakinada,
2. Andhra Saraswata Parishad, Hyderabd and
3. Andhra Pradesh Sahitya Akademi
These are engaged in the promotion for the cause of literature on an organized scale.
 Navya Sahitya Parishad, Hyderabad, Andhra Viswa Sahiti, Hyderabad, Sahiti Samiti,
Tirupati, Visakha Writers Association, Visakhapatnam, Sarasa, Madras etc are
engaged in the promotion of the cause of local writers fraternity.
Telgu Language
Classical Language Status of Telgu Language
 In 2004, the Government of India declared that languages that met certain
requirements could be accorded the status of a "Classical Language in India".
 The following criteria were laid down to determine the eligibility of languages to be
considered for classification as a"Classical Language":
1. High antiquity of its early texts/recorded history over a period of 1500-2000
years
2. A body of ancient literature/texts, which is considered a valuable heritage by
generations of speakers
3. The literary tradition be original and not borrowed from another speech
community
4. The classical language and literature being distinct from modern, there may also
be a discontinuity between the classical language and its later forms or its
offshoots.
 Tamil became the first language in India to attain the status of classical language in
2004.
 In 2005, Sanskrit, which already had special status in Article 351 of the Constitution
of India as the primary source language for the development of the official standard
of Hindi, was also declared to be a classical language of India by Ministry of Culture.
 Kannada and Telugu were accorded the status in 2008, based on the
recommendation of a committee of linguistic experts constituted by the Ministry of
Culture, Government of India.
Post Independence Telgu Language status

 Telugu is one of the 22 languages with official constitutional status in India in
schedule VIII.
 The Andhra Pradesh Official Language Act, 1966, declares Telugu the official
language of the Andhra Pradesh that is currently divided into Telangana and Andhra
Pradesh.
 Telugu also has official language status in the Yanam district of the union
territory of Puducherry which governed through central Government.
 Telugu, along with Kannada, was declared as one of the classical languages of India
in the year 2008 by Ministry of Culture.
 The fourth World Telugu Conference was organized in Tirupati in the last week of
December 2012 and deliberated at length on issues and discussion related to Telugu
language policy.
 Telugu is the third most spoken native language in India after Hindi and Bengali
according 2011 census.
 Telugu is also the most spoken Dravidian language in the world according to
Government of Andhra Pradesh.
Andhra Pradesh: languages and Dialects
The main languages spoken in Andhra Pradesh are Telugu, Urdu, Hindi,
Banjara, and English followed by Tamil, Kannada, Marathi and Oriya. Telugu
is the principal and official language of the State.
Telugu
Telugu is the most widely spoken language of the Dravidian family which
consists of 24 languages spanning the entire South-Asia, from Baluchistan to Sri
Lanka. In terms of population, Telugu ranks second to Hindi among the Indian
languages. According to the 1981* Census, Telugu is spoken by over 45 million
in Andhra Pradesh. It has also spread to the other parts of the globe, i.e., Burma,
Indo-China, South-Africa and the U.S.A. Being a mellifluous language, it is
called, by its admirers as the `Italian of the East'.
Its vocabulary is very much influenced by Sanskrit. In the course of time, some
Sanskrit expressions used in Telugu got so naturalised that people regarded
them as pure Telugu words. Some Kannada and Tamil words were also taken
into Telugu but they did not gain much currency.
With the advent of the Muslim rule, several Persian and Arabic words entered
into the Telugu language. But they were confined to the spoken language and to
the language of the judiciary and the executive. The influence of Persian and
Arabic is discernible to a considerable extent in the languages spoken in
Telangana due to its long association with the Muslim rule. There is also a great
element of English words in the vocabulary of Coastal Andhra and Rayala
Urdu
Urdu, another important language of the State and spoken by the Muslims is
Indian in origin. Though many words in it found their way from the Arabic and
Persian, it has always been true to the idiom of the western Hindi dialect. It was
``the language of the Exalted Court'' at Delhi in the Mughal period. It acquired
the shortened name `Urdu' and became the handmaid of the Persian culture in
India.
Hindi speaking people, numbering 13,83,792, (7,10,313 males and 6,73,479

females) and forming about three per cent of the population, held the third
place. None of the remaining languages was spoken by even 2 per cent of the
population. Thus Tamil, Kannada and Marathi account for still smaller
proportions. These individual languages, however, account for a fairly

substantial proportion of speakers in some districts.
Koya language
Koya is the language spoken by a tribal community in

Bhadrachalam in Khammam district; Rampachodavaram, East Godavari
district; Kotaramachandrapuram, West Godavari district in Andhra
Pradesh. Koya is a South-Central Dravidian language of the Gondi–Kui group.
It is sometimes described as a dialect of Gondi (spoken in Adilabad
district in Telangana and in Gondwana region of Central India), but it is
possibly mutually unintelligible with Gondi dialects.
Savara Language
Savara is a Dravidian language spoken by just over a million people in

the Eastern Ghats of Srikakulam and Vizianagaram district of Andhra
Pradesh in India. It has no script of its own and is generally written in
Telugu or English script.
The Savara Bhasha Sangham has been making efforts to promote the
language. As a part of this, the Sangham has brought out a translation of
Savara songs earlier published by Gidugu Ramamurthy Pantulu, the
legendary scholar who championed the modern Telugu movement for
colloquial usage and a pioneer in Munda linguistics.
Jatapu
The Jatapu are one of the major Scheduled Tribes in the India state of Orissa,
AP mainly in the Srikalulam and Vizianagaram districts, and also in the
Koraput and Ganjam districts. The Jatapu are part of the Khondas, who speak
the Khond language in the hills and Telugu on the plains. They speak a dialect
called 'Kuvi ' according to the 1911 available Census Report of Madras, the
Khondas and Jatapus are considered as synonymous.
Kolam
Kolam is a Dravidian language spoken by about 200,000 people in the Indian

states of Maharashtra, Andhra Pradesh and Madhya Pradesh. The language is
also known as Kolami, Kolamboli, Kolamy, Kolmi or Kulme.
The Kolam call themselves 'Kolvar': 'Kola' means stick or bamboo in their
language. Their name probably derives from their livelihood of making baskets,
wattles and winnowing fans from bamboo.
Gadaba
Gadaba or Gutub is a Mundari language spoken by the Gadaba, a Scheduled

Tribe living in the Agency Area of north coastal Andhra Pradesh. They call
themselves 'Mogililu' or 'Modililu' in their own dialect in the Srikakulam
District. The Gadaba were formerly employed as palanquin-bearers. The
Gadaba are distributed in the Agency Area of Visakhapatnam, Vizanagaram and
Srikakulam districts and in certain agency tracts of Koraput and Ganjam
districts of Orissa.

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Andhra Pradesh History

Early History of Andhra Pradesh

The Ikshvakus of Nagarjunakonda

The chalukyas of badami

Region of Chalukyavishaya.The region comprising Mehaboobnagar, Kurnool and Cuddapah

Medieval History of Andhra Pradesh

Modern History of Andhra Pradesh

Beginning of colonial era

fought at Chandurthi (now is in Gollaprolu mandal) in East Godavari district) in 1758 in

Madras manade movement

Creation of Andhra State

Merger of Telangana and Andhra

Separate Telangana movement

The Eastern Chalukyan kings undertook construction of temples on a large

Chalukya Bhimavaram (Samalkot) temples. Rajaraja Narendra erected three memorial

Andhra Pradesh- Ashafjahi Dynasty

Andhra Pradesh- Contribution of Qutubshahis to Telugu language and Literature- Art-

Worker, Peasant and Tribal Movement in Andhra Pradesh:-

Peasant Movements: Telangana Peasant Struggle (1947-51):-

Following were the main causes of the movement:

Srikakulam peasant uprising

The Srikakulam peasant uprising occurred in 1967–1970, in regions of Srikakulam

Feudatory States in Andhra Pradesh

5. The Baridshahis of Bidar.

Gajapatis of Kalinga and the Rayas of Vijayanagar. Devaraya I passed away in

Qutb Shahi Dynasty

to settle down in Hyderabad and Machilipatnam. He was a scholar and a poet,

Handicraft of Andra Pradesh

Handicrafts of Andra Pradesh

Handicrafts of Andra Pradesh that recognised Geographical Indication (GI) Tags:

 Bobbili Veena is a traditional musical instrument which is also known as

Shadow Puppets of Andhra Pradesh

 This art goes back to more than 100 years.

Budithi Bell and Brass Craft

 Specification of bindelu: Bindelu is made from brass metal, which is an alloy of

 “Machilipatam Kalamkari” visually identified by the all over floral twine/Persian

Some Important Handlooms that recognised GI tag form Andra Pradesh

Dharmavaram Handloom Pattu Sarees and Paavadas

Mangalagiri Sarees and Fabrics

Uppada Jamdani Sarees

Other Crafts of Andra Pradesh

 Ponduru Khadi : Khadi from Ponduru, a small village in Srikakulam is famous

 Etikoppaka Toyes : Etikoppaka Village in Visajhapatnam distrcit is famous for age

Andhra Pradesh : Handicrafts

DECORATIVE HAND CROCHETED LACE

The Decorative hand-crocheted lace work of Andhra Pradesh is a kind of

Out of the many beautiful forms of handicrafts, the Kalamkari in Andhra

Folk Dances of Andhra Pradesh

Folk Dance means Performing Art of Andhra Pradesh

Major Folk Dance of Andra Pradesh

Kuchipudi - Folk Dance of Andhra Pradesh

 Kuchipudi is an outstanding dance form which originated in Andhra Pradesh.

 It is widely prevalent in Anantapur and Kurnool districts and is popular in Saiva

 Tappeta Gullu is widely popular in the extreme northern districts of Srikakulam,

Garagalu / Garika /Veta Natyam

 It is very popular in Andhra Pradesh

Other Various Dances Folk Dances

 Butta Bommalu Dance- This is a fashionable dance form in Tanaku of west

 Bathakamma Dance- Bathakammas are mainly performed by female participants in

 According to Dr. A. Anuradha, Coordinator, Dept. of Music, Andhra University,

Folk Songs of Andhra Pradesh

Musical Instruments used during singing