267. Telia Rumal

Telia Rumal are woven on pit looms with material made from pure cotton, produced in Puttapaka village of Telangana State. The special characteristics of Telia Rumal designs are that they are hand woven and there are no prints on the handloom materials. Telia Rumal cloth involves a number of intricate handmade work displaying a variety of design and motifs. 

The process of creating a Telia Rumal is a very intricate and laborious double Ikat weave. Uniqueness of the dyeing and weaving cluster is based on the usage of the following natural materials viz Natural alizarin dyeing, Sheep dung, Castrol seed pod ash and Gingelly oil. 

All the Telia Rumal are in three colours only; White, Black and Red. The process of preparation uses gingelly oil and natural vegetable dye which gives it a distinct and unique quality in the form of its texture and smell. The Telia Rumal technique is in use for all varieties of handloom items like Scarves, Stoles, turbans and lungies.

Image credit: kapaasnresham.com

Telia Rumals are eminent throughout the world for its elegant design and patterns and for its natural dyeing methods. A classical 19th or early 20th century Telia Rumal is a square cotton cloth dyed in a harmonious colour scheme of deeply saturated red and brownish black with a creamy white background a shade which is the result of the pre-treatment of the cotton yam.

The pattems in the Telia Rumal consist of a variety of images, based around the sub-divisions of a square. These include the dot, square, cross, chevron, rectangle and various stepping motifs. The initial patterns used were strictly geometric but Telia Rumals made after 1930s incorporated figurative designs.

All the designs and motifs are derived from the traditional geometrical pattems which represent flower and leaves, half-moon designs, namely: Maddikaya, Omkaram, Padava, Chandrudu, Hastam, Pachees, Bhucharakam, Swastik, Vimanam, Simham, Chillaka, Gadiyaram, Muggu, Suryudu, Pakshulu and Mallepuwu. 

Telia Rumal are meant generally for hot climate. These pure cotton Telia Rumal absorb sweat and is refreshing to wear in coastal areas. The fishermen wear the Telia Rumal lungis as they are dyed with gingelly oil that does not allow the salt to irritate them. 

Traditionally, Telia Rumals have been the cloth offered at the dargah of Ajmer Sharif in Rajasthan with some devotees offering fifty or even hundred cloths. Telia Rumals were worn as veil by princesses at the erstwhile court of the Nizam of Hyderabad; as a turban cloth by Arabs in the Middle East; and continue to be worn as a lungi by fishermen in coastal Andhra Pradesh. 

The traditional vegetable dyes used in the production of Telia Rumal have huge number of medicinal benefits. Unlike chemical dyes vegetable dyes do not contain carcinogen. After each wash the vegetable dye enables the fabric to retain its colour and not fade. In fact, Telia Rumal becomes brighter after each wash because of the presence of oil in it.

GI Tag Registration Date         : 14 September 2021

GI Tag Number                         : 599

Certificate Number                  : 369

Geographical Area                  : Telangana

Special Cover Release Date   : 13 May 2022

Cancellation                             : Puttapakka 508 253

Type                                          : GI Tag Cover

Cover Identification Number  : TS/02/2022

Enlarged View of Illustration

Enlarged View of Cancellation

Back Side Scan

266. Pochampally Ikat

Pochampally Ikat involves tying and dyeing the threads in a visualized design prior to the weaving of the fabric. The fabric so woven has been used as Sarees for centuries, and is now also used for furnishing, textile and textile goods. Pochampally Ikat originates from the geographical region of Nalgonda and parts of Warangal districts in the state of Telangana.

Pochampally Ikat is visually identified by the 'chowkra' design which is a diamond within a square, or its derivatives, having diffused edges. Pochampally Ikat is made of natural materials such as cotton or silk or a combination of both, having designs that are evocative of the diffused diamond or chowka design. 

Woven in pairs of specified length and is characterized by its bold, diffused and geometrical motifs in red, black & white colours, offset by wide single coloured borders. The diffused edges of the said designs evolved using special skills in visualization of design are again unique to Pochampally Ikat. Along with the traditional diamond motifs, parrot, elephant and flower motifs are also used.

Image credit: rumanajdesigns.com

In principle, Pochampally Ikat or resist dyeing, involves the sequence of typing (or wrapping) and dyeing sections of bundled yarn to a predetermined colour scheme prior to weaving. Thus the dye penetrates into the exposed section, while the tied section remains un-dyed. The patterns formed by this process on the yarn are then woven into fabric. 

There are three basic forms of Pochampally Ikat, namely; 

• Single Ikat, where either warp or weft threads are tied and dyed prior to weaving. 

• Combined Ikat, where wrap and weft ikat may co-exist in different parts of a fabric occasionally overlapping. 

• Double Ikat, which is by far the most complex form. Here both warp and weft threads are tied and dyed with such precision, that when woven threads form both axis, mesh exactly at certain points to form a complete motif or pattern.

Natural fibres such as cotton or silk are spun into yarns which are then tied and dyed with colors according to the pattern visualized by the master weaver. This tied and dyed yarn is then dried and put on looms to be woven into fabrics having designs that have diffused edges.

Traditional dyeing method, which entails the following, processes each of which involves meticulous and precise team work. These processes are : tying of warp threads, and dyeing them as per the visualized pattern loading the loom with the said dyed warp thread, following which, a marker thread is used to mark off the pattern for the tying and dyeing of the weft threads the said dyed weft thread is then reeled and loaded into fly shuttles for weaving the threads to the visualized pattern.

The Pochampally Ikat products are handcrafted to perfection by skilled artisans who are endowed with critical skills in intricate designs, having decades of experience behind them in their respective fields.

GI Tag Registration Date         : 31 December 2004

GI Tag Number                         : 4

Certificate Number                  : 3

Geographical Area                  : Telangana

Special Cover Release Date   : 13 May 2022

Cancellation                             : Pochampally 508 284

Type                                          : GI Tag Cover

Cover Identification Number  : TS/01/2022

Enlarged View of Illustration

Enlarged View of Cancellation

Back Side Scan

India Post has also issued a commemorative postage stamp on Pochampally Ikat. Details of the same are furnished below

Handlooms of India - Geographical Indication Registered Handloom Products 

Issued on 07 August 2018

236. Pembarthi Metal Craft

Pembarthi Metal Craft are goods made of brass, carved out of hand by the Vishvakarmas or metal workers based in Pembarthi village in Telangana. The village has a rich heritage of producing handcrafted brass item, including idols, figurines, utensils, and decorative pieces. The forging of the craft employs the age-old traditions handed over delicately from one generation to another. 

Normally the metal craft work is made of pure brass. For certain pure decorative items silver coating is given upon the brass ware. Further, for purely ornamental purpose, in certain brass ware such as the ‘Gungalum’ copper sheets are to a limited extent attached to the brass ware. For certain metal craft works such as ‘Mahara Thoranams’ Temple Kalasam, Temple Kridams, Temple Pooja Items and other purely Temple Utility Items, Silver is used instead of brass.

Image credit: asiainch.org

Pembarthi metal craft is one of the finest and most ancient crafts of India, dating back to more than 5000 years. The perfection that the craft attained can be traced back to the grandeur and glory of the Kakatiya Kingdom. The brilliance of the craftsmanship is evident from the magnificent Vimanas, Utsav Vigrahas, Keerthi mukha and pinnacles which adorn many famous temples in South India. 

The splendor and glory of Kakatiya rule gradually gave way to the Nizam’s supremacy which brought about a change in the art ware of Pembarthi. In view of which the Vishwakarmas in the Nizam period designed and crafted articles of home use and decorative items such as Pandans, Nagardans, Itar pots, Sangaridans. 

The method of production of Pembarthi Metal Craft involves the following six steps:

• Preparation of Lakka : Lakka forms the platform which will be used for the purpose of carving and designing. The Lakka is prepared by boiling 1kg of resin with 250 ml of groundnut oil and 1kg of Bangalore tiled dust (which in local parlance is called, “Peel matti”).

• Fixing : The brass metal sheet is then placed on the Lakka, wherein the metal sheet becomes ready for use by the craftsmen.

• Drawing : The craftsmen draw the required sketch of the figures of Gods or Goddesses or such other design as per requirement. The sketch so prepared is then placed over the metal sheet and it serves as an outline for the craftsmen to commence his carving. After carving the parts are joined together. 

• Acid Cleaning: After completion of drawing, the metal sheets so carved are ready for acid cleaning. During this process a mixture of nitric acid, sulphuric acid and tamarind paste are applied to the brass metal to give it a neat and clean look.

• Filing : Once the meal craft is cleaned, it is then filed on the edges. Filers are used for the filling of the sharp edges and joints. The filing helps in giving the craft an alignment and helps in shaping of the craft.

• Buffing / Polishing: Kamal bar or rose bar is used for buffing and giving the shining look for the metal crafts. The shinning of the metal adds to the value of the craft. After finishing, the metal sheet will be fixed on the ply wood pasted with decolam and brass nails.

The range of goods produced vary from all type of intricate brass ware, temple pooja and utility items, temple utsavas, vigaras etc., household items & containers, decorative items, wall hangings and panels and a wide range of goods.

GI Tag Registration Date         : 06 October 2010

GI Tag Number                         : 194

Certificate Number                  : 143

Geographical Area                  : Telangana

Special Cover Release Date   : 20 December 2021

Cancellation                             : Hyderabad GPO 500 001

Type                                          : GI Tag Cover

Cover Identification Number  : TS/33/2021

Enlarged View of Illustration

Enlarged View of Cancellation

Back Side Scan

232. Adilabad Dokra

Adilabad Dokra are metal crafts made of Brass by the tribal’s belonging to Woj community in the Telangana State. Each product of Adilabad Dokra is unique because mould is used only once and will be broken during the making process. 

Adilabad Dokra is deftly created by hand and hence the objects have an individualistic touch. Artisans follow the natural traditional process of lost wax technique, so the objects look very fine and simple. The products have a core of clay preserved within the metal casting, unlike other metal work. 

The Uniqueness of Adilabad Dokra is that no two pieces are alike in shape as well as in size and hence replica of the antique is nearly not possible. Dokra craftsmen use brass scrap as a main raw material for the metal casting, which will be available in surrounding markets i.e. Adilabad, Asifabad and Jainoor. 

Image credit: testbook.com

The work consists of idols of tribal god and goddess, bells, folk motifs, anklets, animal figures like elephants, peacocks, horses, bulls, tortoise, rabbits, and deer etc.., measuring bowls, lamps and lamp caskets, figurines, drummers, peculiar shaped spoons, and other simple forms and traditional designs.

Wojaris make sacred bells which are among the symbols of the Persa Pen. The design and shape the bell is very unique. A peacock is placed above the bell results in aesthetic and traditional look, and the sound generated from each bell is also unique.

The first task in the lost wax hollow casting process consists of developing a clay core which resembles the rough shape of the final cast object. Next, the upper layer of the clay core is covered by a layer of wax composed of pure bee’s wax, resin from the tree Damara orientalis, and mustard oil. Where the wax is shaped and carved in all its finer details of design and decorations. 

It is then covered with a layer of soft clay over the wax design, which takes the negative form of the wax on the inside, thus becoming a mould for the metal that can be poured inside it. Drain ducts are left for the wax, which melts away when the clay is cooked 

Once the mould of desired product with the required design is ready, a crucible is taken with the brass scrap and is attached to the mould with the help of the clay. Then the mould is kept in the batti such a way that the brass containing side touches the batti and covered with the fire wood on all surfaces. 

With the help of the blower (Bhata), extreme fire to will be generated to melt the brass scrap. Once brass scrap is completely melted, casted mould will be taken away with the help of the chimta. As soon as casted mould is taken out, mould will be reversed so that the melted metal flows between the core and the inner surface of the mould. Here the Wax will be replaced with the molten metal which fills the mould and takes the same shape as the wax.

Once they confirm that the metal is completely flown and think that the desired product is formed, mould will be kept in the water to cool the metal as well as to softness the clay of the mould so that the clay can be separated from the product. The outer layer of clay is then chipped off. Metal cast will be properly cleaned and craftsmen performs the finishing part of the desired product with the help of Reti (Canvas) and wire brush.

GI Tag Registration Date         : 28 March 2018

GI Tag Number                         : 521

Certificate Number                  : 308

Geographical Area                  : Telangana

Special Cover Release Date   : 16 December 2021

Cancellation                             : Hyderabad GPO 500 001

Type                                          : GI Tag Cover

Cover Identification Number  : TS/32/2021

Enlarged View of Illustration

Enlarged View of Cancellation

Back Side Scan

231. Nirmal Toys and Craft

Nirmal toys and Crafts are delightful expressions of art of natural forms made from the wood of ‘poniki’. These trees are found in the forests and hills adjoining Nirmal. The toys are of different size and shape. 

These toys made by the artisans can be classified into three categories: 

• Animals and birds that include tiger, deer, peacock, parrot, etc. 

• Fruits and vegetables that include brinjal, tomato, grapes, mango, etc. 

• Idols of Gods and Goddesses like Kaamdhenu, Ram, Sita, Hanuman, etc

Poniki wood (the botanical name of it being Jiuotia Rotteri Fromis) is used to make Nirmal toys, is sourced from the surrounding local forests in Adilabad. The toys can be easily differentiated from other wooden toys because of the poniki wood used and by their weight. 

Image credit: telanganatourism.gov.in

Shape of Nirmal toys are made so aesthetically that the finished product has a life like quality which is expressive of natural forms like animals, birds, fruits and vegetables. There is no particular size for the toys and the same form is made in different sizes as per requirement.

If the toy has to be made up of two or more pieces of wood then these pieces are joined using ‘lappam’ (adhesive of tamarind seeds). If the toy can be made from one solid piece of wood then filing is done using the ‘aakurai’ (filer). After this the ‘lappam’ is applied to give a proper definition to the shape of the toy.

At this stage the details in the shape of limbs, legs, beaks etc. are worked upon. This is done by drilling small holes into the forms with a sharp pointed drilling instrument called a ‘tochan’. Bamboo stems are then dipped in the indigenous paste called ‘lappam’ and inserted into the holes.

The fine cotton cloth is coated with ‘paatu’ (a mixture of tamarind seed paste and water) which reinforces the joins of the article. ‘Paatu’ is then applied on the whole body of the toys with the help of ‘Taapi’. This layer of cloth and ‘paatu’ make sure that no cracks appear on the joints in the future.

A solution of ‘suddamatti’ (clay found on river beds or near canals), water and envelope gum is applied onto the form using squirrel hair brushes. This works as an adhesive and also provides a fine surface for painting. After this process, if any cracks appear on the surface, then small strips of paper called ‘chiri’ are pasted onto these cracks using ‘paatu’.

These toys are then painted in colours which are very pleasing and appealing to the eye. For painting the toys natural colours are used. The natural colours are prepared by the artisans themselves from locally available material like flowers of moduga tree, bark of pomegranate tree, indigo plant, turmeric, etc.

GI Tag Registration Date         : 22 April 2008

GI Tag Number                         : 91

Certificate Number                  : 64

Geographical Area                  : Telangana

Special Cover Release Date   : 16 December 2021

Cancellation                             : Hyderabad GPO 500 001

Type                                          : GI Tag Cover

Cover Identification Number  : TS/31/2021

Enlarged View of Illustration

Enlarged View of Cancellation

Back Side Scan

India Post has also issued a Picture Post Card on Nirmal Toys and Craft details of the same is furnished below

Nirmal Toys and Crafts 
Picture Post Card Issued on 01 October 2020 
Cancelled at Nirmal 504 106

Back Side Scan

136. Banaganapalle Mangoes

Banaganapalle Mangoes are considered to be one of the finest Desert Mangoes. They exhibit unique characteristics in aroma and appearance that has remained constant for more than 100 years since its first induction by Nawabs of Banganapalli. 

The fruits are native to Banganapalli, Andhra Pradesh and is extensively used as Table Fruit all over the world for its fibreless Sweet meaty pulp. They have gained wide acceptability throughout the globe due to their novel characteristics in aroma, taste, shape & size of the fruit and appearance.

The cultivating regions of ‘Banaganapalle Mangoes’ can be classified into two in the state of Andhra Pradesh and Telangana

Primary Centre of origin called as ‘Banaganapalle region’ of Kurnool district comprising, Banaganapalle, Paanyam and Nandyal mandals.

Secondary Centres of origin comprising of

• Rayalaseema region – Kadapa, Chittoor,  Anantapur and other parts of Kurnool districts.

• Coastal Andhra Region - Prakasam, Krishna, East Godavari, West Godavari and Guntur districts.

• Telangana region - Khammam, Mahabubnagar, Rangareddy, Medak and Adilabad

Banaganapalle mango also known as Beneshan, Baneshan, Benishan, Chappatai, Safeda, Banaganapalli, Banginapalli are very much popular and extensively used table fruit all over the world. 

Banaganapalle Mangoes’ are large in size, oblique to obliquely oval in shape with their ventral shoulders markedly broader and higher than dorsal, ventral shoulder progressively rising and then rounded, dorsal shoulder ending in a long curve. Beak point is missing. 

The stalk is fixed in a basal groove. The skin is thin with very light spots. The colour of the ripened fruits is golden yellow (primuline yellow), the texture of the pulp being pulpy (firm to meaty) and fiberless. The pulp content is 75-80%, stone is 10-15% and the skin is 5%.

GI Tag Registration Date         : 03 May 2017

GI Tag Number                         : 241

Certificate Number                  : 295

Geographical Area                  : Andhra Pradesh, Telangana

Special Cover Release Date   : 06 September 2021

Cancellation                             : Industrial Estate SO 522 034

Type                                          : GI Tag Cover

Cover Identification Number  : AP/36/2021

This cover is issued by Andhra Pradesh Postal Circle.

Enlarged View of Illustration

Enlarged View of Cancellation

Back Side Scan

050. Warangal Durries

Warangal Durries can be characterised as multi-colored durries woven using the weft interlocked technique. It is mainly produced from Kothawada and adjoining areas of Warangal, Telangana. 

The designs that are characteristic of Warangal durries are geometric, angular motifs used in tapestry weave structures, colored horizontal stripes used in jamkhans and shatranjis and the mihrab motif in the jainamaaz (prayer mats).

Warrangal Durries is a traditional handicraft, passed down from one generation to the next for more than hundred years. It is highly labour intensive rural based cottage industry. It may be traced back to when the Mughal army entered the Deccan region of Southern India. It is inspired by the jainamaaz, or the flat-weave prayer rug used by people in the late 1600s.

The colors used are distinct with reds and blues used in combination with neutral colors. The designs range also has flat weaves with raised or extra weft patterns. Jainamaaz or prayer durries/rugs are also made in Warangal using the same methods and materials. They have fringes or stitches at the border of the durries

The method of production of cotton durries include various steps from procurement of raw materials to the tools used for producing the final product. The production of cotton durries primarily includes cotton, dyes, charkha, pirns and loom. The traditional handloom dhurries are woven on pit looms and frame looms. 

As a pre-weaving step, the yarns are dyed in desired colours depending on the design in mind. Generally, only the yarns to be used in the weft are dyed. White or natural beige-coloured yarns are used in the warp. 

Starch is used for the strength and toughness of durries. After warping is done, the warp is stretched out and starch is applied to add strength and lubricate the yarn. Once ready, both the warp and weft yarns are set on the handloom and interlocked into beautiful dhurries with symmetrical patterns.  

Cotton and also jute or mixes of both are used to create these durable and colourful durries in a vast range of sizes, designs and hues. The durries, also made in the form of doormats, wall-hangings and seaters, are available in plain, jacquard, woven, ikat and interlock varieties. 

Durries of other materials like Jute, Wool, Silk, Synthetic, Linen are also made by these weavers of Warangal.

GI Tag Registration Date         : 28 March 2018

GI Tag Number                         : 523

Certificate Number                  : 309

Geographical Area                  : Telangana

Special Cover Release Date   : 07 August 2021

Cancellation                             : Raj Bhavan PO 500 041

Type                                          : GI Tag Special Cover

Cover Identification Number  : TS/17/2021

Enlarged View of Illustration

Enlarged View of Cancellation