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Home , Hanamkonda, Kakatiya dynasty, Khammam Fort, Kondaparthy, Manthani, Prataparudra

Component-I (A) – Personal details:

Prof. P. Bhaskar Sri University, .

Dr. Ravi Korisettar, UGC Emeritus Fellow Karnatak University, Dharwad.

Onkar Tendulkar Virasat E Hind Foundation. Bombay.

Dr. Ravi Korisettar Karnatak University, Dharwad.

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Component-I (B) – Description of module:

Subject Name Indian Culture

Paper Name Art and Architecture of

Module Name/Title Art and Architecture under

Module Id IC / AAI / 01

Pre requisites

Understanding the evolution and salient features of Objectives Kakatiya Dynasty art and architecture

Dravida School of temple architecture, , Keywords , ,

E-text (Quadrant-I) :

1. Introduction

Kakatiyas- an indigenous Telugu dynasty ruled over the Andhradesa consisting of modern states of Telangana and from 10th century AD to the first quarter of 14th century AD. The name ‘Kakatiya’ is derived from goddess Kakati- a mother goddess , venerated by the dynasty. Gunadya Rashtrakuta was the first known personality of the Kakatiya clan. He was the commander of the Rashtrakuta II who died in the battlefield while fighting with the . King Krishna II, very pleased with Gundaya’s loyal service towards him, rewarded Ereya, Gunadya’s son with the governorship of the Korivi region.

Kakatiyas were the feudatories of Rashtrakuta kings upto 10th century AD after which they were overthrown by the Kalyana Chalukyas. Kakatiyas then became the feudatories or samanthas of Kalyana Chalukyans. The Kakatiya rulers Beta I (AD 996–1051), Prola I (AD 1052–1076), Beta II (AD 1076–1108), Durgaraja (AD 1108–1116) and Prola II (AD 1116– 1157) served the Kalyana Chalukyas until the collapse of Chalukya empire during Tailapa III’s reign. The then Kakatiya ruler, Rudradeva- Prolla II’s son, declared independence in AD 1158 and became the founder of the sovereign Kakatiya dynasty.

Rudradeva was succeeded by his brother Mahadeva who ruled from AD 1195 to D 1199. During the war with Yadavas of Devagiri, Mahadeva lost his life while his son Ganapati Deva was taken as a prisoner. Luckily, Ganapati Deva was released by the Yadavas and he soon ascended the Kakatiya throne in AD 1199. Ganapati Deva ruled until AD 1262 after which his daughter assumed the throne until her death in the battlefield in AD 1289. Rudrama’s grandson Deva was the last of the Kakatiya rulers who ruled until 1323 AD.

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2. Architecture:

Though the Kakatiyas were influenced by the Chalukya architectural style they added their distinctive features to it. However, an uncanny resemblance can be observed between the architecture of the Kakatiyas and Hoysalas- who were contemporaries of Kakatiyas ruling the neighbouring speaking region. The architectural legacy of the Kalyana Chalukyas was developed further by both the dynasties simultaneously adding to it their own flavour

∙ Keerthi are a distinct style for the gateways to temple complexes, unique only to the Kakatiyas. These toranas of magnificent proportions stand testimony to the highly evolved aesthetics of the Kakatiya temples.

∙ Trikutalayas- conjoined three temples with three separate shrines and antaralas with a common mandapa. A feature carried forward from the Chalukyas. Rarely, Panchakuta shrines were constructed by the Kakatiyas.

∙ Tank, Temple and Town policy - Construction of water tanks (water conservation structures) resulting in prosperity of towns. Kakatiyas believed that towns flourished with temples and tanks constructed next to each other.

∙ Adoption of both the North Indian Bhumija style as well as Dravidian style of temple architecture.

∙ Mini shrines on the exterior of a temple with extended base and eaves topped by towered pediments.

∙ Star shaped high plinths for temples.

∙ Lathe turned pillars.

∙ Pillars consist of three sections- square, octagonal and circular parts.

∙ Perforated screens at the entrance of garbhagriha.

∙ Eaves running all around the circumference of the temple and not just the ardhamandapa.

∙ Simple pyramidal vimanas in stepped pattern.

∙ Monolithic elephants at the entrance of the temples.

∙ Subjects of the temple exterior sculptures ranging from dancing postures, sages, various deities, floral motifs, rows of elephants. Sculptures in the temple interior include mythological stories (not only limiting to Saivism even though Kakatiyas were

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Shaivites and in most cases stuck to constructing temples dedicated to ) and trick sculptures; especially that of a row of dancers showing a set of legs lesser than the number of dancers can be found in most Kakatiya temples.

∙ Earthquake resistant ‘Sandbox technology’ for foundation. It basically consisted of at least 3 m deep foundation pit filled with sand mixture with addition of powder mixture of granite, jaggery, Terminalia Chebula (Hirada fruit) to make it further strong. In event of an earthquake, the earthquake vibrations were absorbed by this sandbox cushion and lost their strength.

3. Materials:

Kakatiyas used locally available granite and sandstone for the main structure, black granite especially for pillars, jambs, lintel beams, motifs and carvings. Temple vimanas were however constructed from lightweight bricks. While the sculptures are done in dolerite and granite stones, decorative brackets are carved out of black basalt stone.

4. Architectural Masterpieces of Kakatiyas:

4.1 Rudradeva Temple (Thousand Pillared Temple), Hanamakonda:

Rudradeva Temple- one of the earliest and finest examples of Kakatiya architectural style, is located in Hanamakonda- the first capital of Kakatiyas before it was changed to Orugallu (Warangal). Its construction was started by King Rudradeva in 1163 AD. The temple was built soon after the Kakatiyas declared independence yet its architecture shows heavy Chalukyan influence in its design. Set on a star shaped plinth of approximately 1 m height, the temple is built in Trikutalayam style with shrines dedicated to Shiva, , Suryadeva with a common mandapa. A 2 m tall monolithic black basalt Nandi sits in front of the temple and adorns garlands and ornaments carved from single stone. Just behind the Nandi is a pillared sabhamandapa, the pillars of which were the reason this temple came to be popularly called as the thousand pillared temple.

Exterior of the main temple structure is adorned with alternate niches and pilasters. Its external walls have mini shrines with extended base and eaves topped by towered pediments. Junction of the walls i.e the corner where walls turn 90 degrees, have been given special attention and are decorated with a wide band of decoration at the centre with a projecting row of flowers. Below this are images of Vishnu on both corners of the wall beneath which is a set of three horizontal mouldings interrupted by a framed image. Under this is a continuous row of rudrakshas separating two deep horizontal recesses. Exterior of the Mandapa is done in similar fashion. Temple’s interior exhibits typical Kakatiya features like lathe turned pillars, perforated jalis, floral motifs, Kirtimukhas etc. This temple complex also has a step -well constructed for ablution before entering the temple. Most of this glorious piece of Kakatiya architecture was however destroyed by Tughlaq dynasty during their invasion of the Kakatiya territories.

4.2 - Swayambu Temple and Keerthi Toranas, Warangal:

In early 13th century, Ganapatideva moved his capital from Hanamakonda to the new city- Orugullu (Warangal). Orugallu was laid out in a circular plan with three concentric rings of

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walls. The first ring constitutes Fort and has high walls made of massive granite blocks without mortar. Inner faces of the walls have steps to climb to the top of the wall.

At the centre of the Warangal Fort is an open air archaeological zone containing the excavated ruins of a Swayambhu Shiva Temple, demolished by the invading armies from Tughlaqs. These ruins are of granite pillars, ceiling panels, brackets, beams and other parts of the said temple and its subsidiary shrines.

Main attraction of the fort and temple complex however is ‘Kirthi Toranas’- the free-standing portals acting as decorative gateways to the Swayambhu temple complex. Each such has four pillars surmounted by miniature vimanas. Between them is a lintel beam with five inverted lotus buds coming out from the mouth of elongated makaras with elaborate tail designs. Below this is a row of nine rudrakshas and below them are seven inverted lotus buds. This lintel beam projects beyond the second column on either side with carved hamsas standing on platforms held up by dwarfs. The projection is supported by a curved bracket on which stands a yali. The non-religious theme of these could be a probable reason why they were spared by the Muslim army. These gates in Warangal Fort are said to be inspired from the gateways of the Sanchi stupa.

Most notable ruins of the temple found in the Warangal Fort complex are:

∙ Mandapa pillars and a sanctuary entrance frame with intricately carved capital and Shaiva dwarpalaka.

∙ A triangular part of a ceiling panel showing musicians, warriors and attendants around a Mahishasuramardini image. Below this is a frieze with a continuous row of yalis.

∙ Arrangement of various temple members and Linga shrine shown guarded by slabs with dwarpalakas carved in relief. They have four hands with a conical mukuta on their head and are shown holding trishul and damaru flanked by dwarf images of attendants. The linga is placed on a platform whose moulded base has designs of swans, yalis and lotuses. The shrine is sheltered by a block that is supported by hefty pillars.

∙ temple, assembled by placing various ruined parts, is located near the Shiva shrine. Further right is a massive broken ceiling panel containing a kirthimukha- monster mask, framed by foliage and creeper designs.

∙ An entrance frame to garbhagriha is seen with perforated screens and alternate designs of swans. The perforated jali is flanked by vertical creeper designs. Next to it is an intricately carved pilaster with a Krishna and his attendants standing under a mini torana.

∙ A shallow square tank having steps with sculpted balustrades at the centre of all four sides. A row of identical bathrooms surrounds the tank, each with a raised platform at

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the centre, and a decorated slab at the entrance. A curved water channel from each block leads to a larger main channel.

∙ Elephant sculptures that adorned the entrance of the Swayambhu temple and an intact monolith Nandi.

4.3 Ramappa Temple, Palampet:

Rudreshwara (Ramappa) temple is situated at Palampet, 65 km from Warangal. The Ramappa Temple is probably the only temple in India named after the architect/sculptor who built it. It was built by Recharala Rudra- a commander under King Ganapati Deva, in ekatala style and was consecrated in the year 1213 AD.

This temple is often described as the best architectural masterpiece the Kakatiyas ever created due to its intricate wall carvings, pillars and ceiling. Ramappa temple consists of a garbhagriha, antarala and a mahamandapa in the main structure. A ruined nandi mandapa with a totally intact Nandi idol sits in front of the temple. Nandi here has his head slightly tilted and is shown in an alert position as if waiting for order from lord Shiva. Few other smaller structures exist in the complex including shrines of Katesvara and Kamesvara.

This temple, like the other Kakatiya temple stands on a 3 m high star shaped platform (upapitha). Its Mukhamandapa has entrances on 3 sides all of which are flanked by monolithic elephant sculptures. Its ornate adhisthana as well as walled portion of mukha mandapa has figures of sages, lovemaking couples, warriors, acrobats, musicians and various gods and goddesses on a continuous frieze. Above and below this frieze is row of flower motifs. Below the lower frieze of floral motifs is a row of elephants throughout the running circumference of the temple where every elephant is involved in a different activity. No two elephants are similar.

Inside, there is a large nrityamandapa in front of the garbhagriha and is supported by 4 large stone pillars. Each pillar is intricately carved. The pillars flank a large circular stone slab where temple dance performances used to take place.

Another distinct feature of the temple is that the garbhagriha is protected by Dwarpalikas instead of dwarapals. The perforated screen above these dwarpalikas show various artists performing dances and musical instruments.

The sculptural work of dance postures in the temple appears like frozen record of dances of the region in stone. The postures pertaining to Bharata Natyam, Shrunga, Bharunga, Rathi, Perini Nritya, etc. are engraved on the pillars and beams of Mukha Mandapa. Many mythological events like ‘Gopika Vastrapaharan, Tripurasur vadha, Daksha Samhara, Samudramanthana, Girija Kalyanam, etc are represented in the highest standards of Kakatiya sculptural art. The narthakis (dancers)- known as madanikas are arranged as supporting brackets of 2 on both sides of each of the three entrances- a total of 12. Rest of the brackets in the temple have yalis on them. The aesthetic sense which scaled innumerable heights in Kakatiya sculpture is clearly evident in the dance postures of these 12 madanikas.

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Most unusual set of carved images at Ramappa temple are however the many erotic scenes present on its exterior and interior walls. One such sculpture shows a lady untying her clothes, lifting up her skirt showing her genitals. Similar to this, there are also images of sages where they are shown removing their undergarments and exposing their genital organs. Salabhanjika- another standard sculptural feature of the (dating back to Sanchi stupa where it is shown as a bracket figurine in one of its toranas) is carved on door jambs of antarala and garbhagriha. Salabhanjika sculpture refers to a lady holding branch of Sala tree. However its iconographical meaning states that the woman and tree are shown together to denote a young woman revitalizing a tree by her touch and also the tree could reciprocate by ‘fertilizing’ the woman. A bracket of Nagini- a nude woman at the southern entrance of temple shows her standing on a snake and also holding a hooded snake in both her delicate hands and snakes around her shoulder. The reason of showing such snake sculptures on the exterior could be that the snake cult is related to lord Shiva, whereas the nude woman with exposed genitals denotes fertility. Another sculpture- that of a lady’s undergarments being pulled by a monkey, while she tries to chase him with right hand and trying to cover her genitals with her left hand. The erotic nature of sculpture is further underlined by erect phallus of the monkey. However, unlike the Khajuraho temples where erotic sculptures are restricted only to the exterior of the temple, here in Ramappa temple, erotic sculptures are found even in its interior. One such carving on the door jamb of antarala shows a potbellied ascetic encouraging a woman in front of him to perform oral copulation with him. This sculptures are thought to be representing Tantric sexual practices.

5. Notable Kakatiya Temples:

5.1 Padmakshi Temple, Hanamkonda, Warangal District:

This temple- one of the oldest Kakatiya temples and a Jain shrine was constructed by Prola II as the earlier Kakatiya kings followed . The Kakatiya Betaraju II was the first one to have converted to Veerasaivism. As a result, the shrine too was later converted to Padmakshi temple. Hence, the temple bears several sculptures on its walls that display Jain and other motifs of Jain culture.

5.2 Kashivishvesvaraalayam, Kalpagoor near town, , Telangana:

This temple complex consists of three temples i.e. Kashi Vishveshvara Temple, Venugopalswamy Temple and Ananta Padmanabhaswamy, together known as Trikutalayam. It was constructed during the 11th and 12th century AD. The composite temple consists of a porch in the east and the three temples in rest of the three directions. The pillars in mandapa are done in typical Kakatiya style. The temple’s nandimandapa has beautifully carved stone pillars. The Nandi idol is largely plain except for a few ornamentation. The temple also consists of a mukha mandapa and a rangamandapa meant for temple dances. The sanctum consists of a Shiva linga placed on an elevated platform the doorway of which is carved with dwarpalas on two sides. Another monolithic Nandi sits outside the sanctum made of Granite stone. Venugopalaswamy temple is located in north side of the complex. Various decorative motifs are moulded on the antarala door way such as mrugavyalas and miniature pillars. Court attendants flank the entrance to the garbhagriha

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along with the dwarpalas. The lower portion of antarala is decorated with miniature dancers. Ananta Padmanabhaswamy temple is situated on western side.

The intricacy in the interior of these temples is however not represented in the exterior of the temple. The exterior is extremely simple with brick and mortar stepped pyramidal Vimana without any carvings. Internally, this temple resembles the thousand pillared temple of Warangal.

5.3 Ganapesvaraalayam (Ghanpur Group of Temples), Warangal District, Telangana:

The Ghanpur group of temples, known as Ghanpur Kotagullu (kota= fort, gullu= temple) were constructed during the reign of Ganapati Deva in the early 13th century. The temple complex consists of 22 different structures enclosed by prakara. Six small Shiva shrines are the first structures one comes across while entering the now ruined complex.

The main Shiva Temple is built on a high star shaped plinth. It contains bracket figures of yalis and mandanikas but they lack the grace and beauty of Ramappa temple. The East facing main shrine has an intricately carved granite door frame leading to the inner sanctum. A Nandi Bull sits at the centre of the courtyard. The main Shiva shrine is flanked on either sides by two structures, to the North lies another Shiva shrine and to the South lies a Mandapa. The Shiva temple on the North follows the same plan as the main shrine but smaller in size. The structure on the South is a Mandapa. The roof of the mandapa has survived the test of time and remains intricately balanced on tumbling pillars. Some of the central squared section contains sculptured panels. The entire complex is littered with large slabs of sandstones and intricately carved friezes.

5.4 Chennakesava Temple, Pillalamarri, District, Telangana:

Considered one of the oldest temples in the region, it is quite similar to Ramappa temple at Palampet but much simpler and less intricate interior as well as exterior. However, what makes this temple an important specimen of Kakatiya era is that it once housed beautiful paintings adorning its walls. Temple Mandapa’s walls as well as ceiling are replete with frescoes and inscriptions which elaborately describe the rule of the Kakatiya kings.

5.5 Sri Mallikarjuna Swamy Temple, Inavolu, Warangal District, Telangana:

The construction of this 11th century temple was carried out by Sri Ayanna, a minister of the Kakatiya dynasty. The temple has 108 pillars in Kakatiya style but devoid of any sculptures on them. This temple is enclosed by a rectangular Prakara approximately 12 feet in height. In front of the temple, outside the prakara wall is a massive terraced 24 pillared Rangamandapa. Although architecturally not very significant, the extremely massive toranas (resembling the famous toranas of Fort Warangal) located on eastern and southern sides echo the prominence of this temple.

6. Other Minor Temples:

6.1 Shiva Temple at Duddeda, Medak District, Telangana:

Architecturally, this temple belongs to Late Kakatiya period. Consists of a garbhagriha and a 14 pillared mandapa and a renovated Vimana. Door jamb of the entrance is flanked by two

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Shaiva dwarapalas on both sides. The temple also consists of a dedicated shrine to the mother goddess within the premises.

6.2 Trilingesvaraalayam at Yellareddypet, Medak District, Telangana:

This dilapidated temple locally known as Tringeshwaralayam (Trikuta) is located on the eastern side of the Yellareddypet village. The temple faces south and has a common mandapa consisting of 16 pillars and 3 shrines. All the 3 shrines consist of Shiv lingas. The lintel of Garbhagriha entrance is carved with Gajalakshmi in the centre. Over the lintel, miniature temple models are noticed on the western side shrine, while the remaining are of plain type. This temple was built sometime between the 12thand 13th century AD. There is a tank on the southern side of the temple.

6.2 Trikuta Shiva Temple, Godisala, District, Telangana:

According to an inscription located in the temple complex, Kataya, the son of Rajanayaka, during the period of Ganapati Deva set up temples to Shiva, tanks and gardens and granted village Pincharapalli to the deity Panchalinga for the worship in 1236 AD. Three temples are located within a stone prakara. The main temple i.e. Trikuta temple here has three shrines. Each shrine has a garbhagriha and an antarala located on north, west and southern sides with a common mandapa. All the three shrines are dedicated to Shiva. The other two temples are located beside the common mandapa. To the northeast of Trikuta temple there is a koneru (Tank).

6.4 Kesavardhana Panch Mukhalingesvara Temple, Raikal, , Telangana:

This temple, cruciform in plan is of Trikuta type and dedicated to Shiva, Vishnu and Surya. What makes this temple stand out is its curvilinear Shikhara seemingly inspired by Kalinga style temples, a clear departure from the pyramidal Kakatiya vimanas. These shikharas are also topped with amalaka decorations.

Few other Kakatiya era temples include:

Nagunuru Group of temples, Karimnagar District

Trikuta temple, Kothapalli, Karimnagar District

Group of temples, Manthani, Karimnagar District

Laxmi Swamy temple, Dharmapuri, Karimnagar District

Panchakuta temple, Ramanujapur, Warangal District

Reddygudi temple, Ghanpur, Warangal District

Trikuta temple, , Warangal District

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7. Kakatiya Forts:

Forts built by Kakatiyas played a dominant role in the defense of their kingdom. Their forts can be categorized as 'giridurgas' and 'sthaladurgas'.

7.1 Ramagiri Fort, District, Telangana:

This famous fort located above the Ramagiri hillocks is built in stone with several bastions spread over a vast area. The fort was under the control of Gundaraja of Manthani and Edaraja of . They were defeated by the Prola II and the entire area of Polavasa, Manthani and Ramagundam were under the control of Kakatiyas. Most of today’s stone structure was built in 12th century AD under the Kakatiya rule.

There are many important structures inside the hill fort viz. Sitaramalayam, Ramasthapita Lingam, Sitaram Kolanu (Well), Asvasala (Horse stable), Gajasala (Elephant stable), Cherasala (prison), Durbar hall (Royal court) and a good number of wells along with Islamic monuments added by later Muslim rulers of the fort.

7.2 Killa Ghanpur, Mahabubnagar District, Telangana:

This is a hill fort which was built by joining the adjacent mountains by Gona Gana Reddy- army commander in chief under Queen Rudramadevi, during the year 1224 CE. The name of Ghanapuram Killa is said to have come into existence from the name of king Ganapathi Deva.

Inside the Fort there are temples dedicated to Veerabhadraeswara, Narsimhaswamy and goddess Chowdeshwari along with a king's palace and chambers and residences for noblemen.

7.3 Medak Fort, Telangana:

The fort at Medak was originally constructed during king Pratap Rudra’s rule and later developed by the Qutb Shahi kings. The fort which stands about 90 m above the surrounding plains is one of the most important hill forts in the Deccan region. It was built on a rocky hill and fortified with bastions and walls which rise one above the other in many levels.

The three main entrances of the fort are: the Prathama Dwar (displays the illustrious structure of the double-headed bird Gandabherunda- a symbol of the Kakatiya dynasty), the Simha Dwar or the Lion Entrance (has two snarling imposing lions gracing its façade), the Gaja Dwar, the third gateway is flanked by two massive elephants with their trunks interlocked.

7.4 Golkonda Fort, ,Telangana:

Golkonda fort was first built as a mud fort around 1143 AD on a 160 m high granite hill, to act as a western defense for Orugallu and other Kakatiya territories. The fort was then rebuilt and strengthened by Rudramadevi and her grandson- Prataparudra. However, Golkonda as we see today rose to prominence later during Bahamani and Qutub Shahi rule.

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Other Notable Kakatiya forts are:

Elgandal Fort, Karimnagar

Pratapagiri Fort, Karimnagar

Nagunur Fort, Karimnagar

Khammam Fort,

8. Tanks:

Though the region ruled by Kakatiyas was ecologically in an arid zone with scanty rainfall, the Kakatiyas paid much attention to agriculture, the main occupation of majority of its population. They constructed huge tanks alongside the temples as a necessity to provide water for cultivation.

Of all the tanks, the Ramappa and the Pakala lakes are the largest. adjoins the Ramappa temple at Palampet which has a colossal bund only on one side that extends over 70 m and rises up to 19 m. The lake has a circle of hills on the other sides. Ganapati Deva’s Senapati, Recharla Rudra constructed this lake in 1213 AD. Pakala Lake was constructed by a Kakatiya subordinate named- Jagdala Mummadi in 1213 AD in Narasampet taluk of Warangal District with a dam composed of laterite pebbles and earth that is one mile long.

The temple construction along with construction of tanks led to the development of new settlements that brought virgin lands into cultivation. By constructing such tanks, Kakatiyas achieved the twin objective of improving productivity by bringing new areas under cultivation and also the formation of Andhra as a regional entity, as noted by historian Cynthia Talbot.

Kakatiyas and their subordinate chiefs are known to have built close to 5000 such tanks in Andhra region most of which are in use till date. The more famous amongst them are Laknavaram, Ghanapuram, Bayyaram, lakes, etc.

9. Kakatiya Art - Paintings and Metal Casting

Kakatiyas were great patrons of art, craft, literature and painting. They patronised sheet metal workers called the Vishwakarmas and were also their largest consumers. The Vishwakarmas were very famous for their skill with making brassware. Pembarthi, 80 km from Hyderabad, was considered the epicentre of brass objects in the country. This village was settled by the Kakatiyas especially for the Vishwakarmas who formed their own guild like other artisans and did trade.The vishwakarmas were highly regarded for their skill in making metal sheets that were later cast over vigrahas (idols) and (mounts of deities) and were moulded into many objects like the kalasha, lampstand, bells that were used during various rituals in the temple. The objects had stories from various carved on them, the most famous being the Ashta panel and the peacock and hamsa motifs. Apart from these, utensils for domestic use were also made. Though the Kakatiyas do not remain, the art passed from father to son has survived and Pembarthi metal objects are still prized for their sophisticated look and intricate carving along with inlay

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and enamel work. After getting the Geographical Indicator (GI) tag, the craft has found international appeal and market.

Along with exquisite statuary, Kakatiya era boasted of many paintings and murals. The Chitrasala of Machal Devi, the favourite courtesan of King Prataparudra was famous for its religious as well as erotic paintings. Unfortunately the Chitrasala and the Chitra Mandapa with paintings depicting scenes from battles fought by the heroic Brahma Naidu, were destroyed during the Tughlaq attack. Only a few faded remains of Kakatiya paintings can be seen in the temples of Pillalamarri, Ghanpur and Palampet significant being them the portrayal of Samudra manthan in blue. Lack of documentation, in depth research and the sorry condition of the few remaining paintings have been responsible for the loss of this treasure to the ravages of time. All we have today are inscriptions and epigraphical records.

There were 1500 painters living in and around Waranagal, according to Pratapa Charitram, so the style did not loose away completely but found a new expression and medium in scroll paintings. Patachitra was how masses were educated about mythology and religion. Cheriyala, a village in Warangal District, still preserves this tradition of making scrolls and the art has been conferred a GI tag. The Cheriyala paintings show traces of the kakatiya style, few samples of which are found in the temples of the Kaktiya era. Since the scrolls are no more used with the changing milieu, the artists of Cheriyala now paint small scenes that can be framed and used as souvenirs. The paintings is done on a khsdi cloth which is treated thrice with a mixture of clay, tamarind seeds and gum. then the outline is done with a brush of squirrel hair and is later filled with natural colours. The colours come from stones, flowers and seeds available locally and the artists guarantee its long life and lustre. Inspite of its vibrancy and earthy feel, the art has few takers today and sadly is on the verge of fading out if nothing is done.

10. Aftermath – Summary:

Around year 1323 AD, after months of successful repulsion of Tughlaq attacks by Kakatiyas, Tughlaqs returned a month later with a larger and more determined army. The unprepared and battle weary Kakatiya army at Warangal was finally defeated with Prataparudra taken as a prisoner by the Tughlaqs. Prataparudra is said to have committed suicide by drowning himself in River Narmada, while on his way to . With Prataparudra’s demise, Kakatiya rule came to an end. Later, the Musunuri Nayaks who had served as army chiefs of the Kakatiyas united the and army and successfully recovered Warangal from the Tughlaqs. They ruled the region for another half a century.

With the news of Kakatiya defeat and capture of Prataparudra, his younger brother King Annamdev fled Warangal with his small army towards Bastar in modern day and defeated the Nagavamshi kings to establish his own kingdom there. His descendants continued to rule the of Bastar under the British rule until India’s independence. Till this date, these kings are titular heads of Bastar region.

Around the same time, two treasury guards of Kakatiya king Prataparudra named Harihara and Bukka were taken to Delhi as prisoners of war by the Tughlaqs. They were converted to Islam and sent back to south to look after the southern reaches of the kingdom on behalf of the Tughlaq kings, from the fortress of Anegundi. But as fate would have it, Harihara and Bukka were convinced by Vidyaranya- the 12th Jagadguru of Shringeri peetham to return to

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their original faith and establish a Hindu kingdom in south. Thus a new Hindu kingdom was formed on Vijayadashami of 1336 AD with its capital at (Hampi) on the banks of river Tungabhadra just across Anegundi, with Vidyaranya as the family priest and Harihara, the founder of Sangama dynasty as its first king. Sangama was first of the four dynasties that ruled the mighty and the rest is history!

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