Content and Conceptualization by Sakshi Jain

As echelons of zillion lights adorn

With fragrance of flowers & array of colors

Effusing joys to abound with Pearls of gleams in these autumn nights

Let us thank the heavenly might,
In this festive season of lights

Deepawali is a remarkably popular festival of India. Predominantly celebrated by the people of the Hindu community. Diwali is celebrated on Amavasya the 15th day of the fortnight of the Hindu month of Ashwin. It falls either in October or November month every year. It symbolizes the culture of India which teaches to conquer ignorance that subdues humanity and to dislodge the darkness that engulfs the light of knowledge. The festival of Diwali is celebrated to summon love and prosperity in the house. 

Deepawali celebrates the triumph of the good over the evil as on this day the people of Ayodhya welcomed Lord Ram who had returned from 14 years of exile. The Hindu Lord Ram returned to his palace along with his brother Laxman and Sita ( his wife ). During the exile, Sita was abducted by evil Ravana. Later, The almighty lord ram defeated Ravana and rescued his wife. The whole Ayodhya was lit with diyas and burned crackers to celebrate their victory. Since the day every Indian family celebrates this festival with same enthusiasm and joy.

It’s a customary practice in the Hindu community to light Diyas in their homes at evening as it signifies the surrender of one’s soul to the almighty Diwali.  A Diya is also a personification of the self as Diya is made up of Clay, which represents our body and it also constitutes a cotton wick and oil. The wick in the Diya depicts our ego. Oil or ghee in lamp depicts our vasanas or negative thoughts. As the lamp burns to emit light for all, the oil (vasanas) slowly starts to deplete, the wick(ego) also burns out.The flame of the Diya always burns upwards – inspiring us towards higher ideals Likewise, when we lit ourselves by enlighten of spiritual knowledge  (flame), the “vasanas” get slowly exhausted with ego and fade out completely. The peerless lamp is Sun as it only gives and asks for nothing. That is why it is called a devata – the one who gives.

The Festival of Diwali welcomes a change of season and a change of mood with the bells of festivity and holy rituals around every corner. The farmer thanks the “ The Almighty” for the harvests and pray for a prosperous harvesting season in the forthcoming year as it marks the end of the harvest season and the onset of winters. The traders after offering prayers to Lord Ganesha open a new book of accounts as it marks the beginning of the new financial year. India a country of unity in diversity is even diversified in beliefs when it comes to the celebration of Diwali each religion and state celebrates this festival with different notions and customs.

· Hindus – All Hindus celebrate Diwali as Lord Ram returned to Ayodhya after 14 years of exile and victory over Ravan.

· Jains – They celebrate this festival as on this day Lord Mahavira attained Moksha (the liberation of the soul from karma and the cycle of life and death). The next day of Diwali is celebrated as New Year in Jainism.

·Sikhs – The festival of Diwali is celebrated by Sikhs since 1577 as the foundation stone of Golden Temple is placed on this day and also, the 6th of 10 gurus of Sikhism’s “Guru Hargobind” is released on this day along with 52 others who were detained in Gwalior Fort by Mughal emperor Jahangir.

It even amazes me sometimes that a simple festival could hold so different meaning for so many people and how some stories are still unrevealed. The tag of Incredible India couldn’t be better suited to any country other than India. But, the series of stories still have few more stories to amaze you. Likewise different states hold different tradition to celebrate Diwali; however, the purpose of peace and happiness remain same for all.

Eastern India ( West Bengal, Kolkata, Odisha, Tripura, And Assam )

Most Indians worship goddess Lakshmi on Diwali. Here, Diwali is celebrated as Kali Puja and the night of Diwali is considered as Night of Pitripurush(ancestors). They believe their ancestors descend on the day of Diwali from Heaven and to invite them they burn jute sticks and reiterate.

.“Badabadua ho Gandhara e as a aluaa e jaao baaisi pahacha e gadagadau thaao”(Meaning: oh!! our ancestors, seers and gods you came on the dark night of mahalaya, and now it is time for you to depart for heaven, so we are showing light, may you attain peace in abode of Jagannatha!)

Southern India ( Chennai, Banglore, and Hyderabad)

Diwali comes on Tamil month of Aipasi in south India. It starts from Dhanatrayodashi and extends till Yama Dwitiya. Dhanatroypdashi is just the other name of Dhanteras which is same as other places and the second day is celebrated as Naraka Chaturdashi which can be also called as Choti Diwali The third day is celebrated as Diwali also known as Kali chadus on this day they worship “ Kul Devi to cast off evil spirits but unlike other states they have different significance as the day before on “Naraka Chaturdashi” Lord Krishna killed the asura ( demon ) Naraksura and took the oil bath to get rid of Naraksura blood. To solemnize people start doing the same as they believe that on this day goddess Ganga consecrate the water and goddess Lakshmi will consecrate the oil. On Naraka Chaturdashi in some states, people create a paper-made effigy of Narakasura and filled it with the firecracker and burn it in the morning. The fourth-day Padwa also known as Bali Padyami and fifth-day Bhaiduj is also known as Yama Dwitiya is celebrated similarly to northern states.

Western India ( Gujarat, Maharastra, and Rajasthan )

The celebration of Diwali commences a day before comparing to other states of India. Here, The first day is known as Vasubaras which they celebrate by worshipping cow and its calf – as it’s a symbol of mother and child love. The next day is Dhan Trayadashi or Dhanteras followed by Naraka Chaturdashi and a day after Lakshmi puja or Diwali Then Bali pratipada and Lastly, Bhai Bij which is also known as Bhai Doj in which sisters pray for the prosperity and happiness of their brothers.

Northern India ( Delhi, Bihar and Madhya Pradesh )

The bells of the festive season start ringing for them with the sounds of crackers Dusshera which comes few weeks before Diwali. From where everyone started preparing for Diwali by painting and cleaning their homes, buying gifts and decorating their houses with lights for Diwali. But, the main chores start with Dhanteras in which people worship Lord Kubera (The God of wealth ) and also buy gold and silver ornaments or utensils in order to bring luck and prosperity in their homes. Followed by Choti Diwali where people decorate their houses with diyas and rangoli and offer prayers to their God. The next day is celebrated as Diwali in which people in invite friends and family to exchange presents and sweets and also to pray along with everyone for happiness peace and prosperity. The fourth day people do Goverdhan Puja and next day celebrate Bhai-duj.

Whatever may be the eccentric philosophies or customs associated with the celebration of Diwali. The ideology to welcome positive vibes, worship God for blessing and to start the beginning of the new season with happiness and joy remain the same for all. The twinkling colorful lights illuminate every household with brightness and positivity and the fragrance of sandalwood and agarbatis , color of rangoli and recitations of prayer in every temple and household make you realize the prominence and exclusivity of Indian festivals and tradition.


India is a country with very rich history and much richer heritage. Various art forms are part of the Indian heritage. The Arabic Calligraphy forms an integral part of this heritage. Some art forms were brought and developed in India and some of them were born in India.

The early Arabic traders introduced the Arabic Calligraphy art in India around the 7th century. Spirituality was the core purpose of the existence of this art. This art was initiated to preserve the scripts of the Holy Quran. It is a simple yet an artistic illustration of Arabic fonts from the Holy Quran.

The Arabic Calligraphy designs were developed during the establishment of the Delhi Sultanate in India. Hence, this art emerged as a mainstream art. Qutubuddin Aibak, who ruled Delhi, decorated and covered Qutub Minar with intricate carvings, designs, and verses of Quran. The Humayun’s tomb in Delhi and the Mughal coins showcase this monumental heritage. The Arabic Calligraphy art form majorly flourished in the Mughals reign. This is also the Mughal art form.

Hence, the Muslim rule in India established a diverse culture along with the fresh ink of Arabic Calligraphy styles or designs or paintings to last persistently. The Arabic Calligraphy history is the virtue of the religious and spiritual aspects of life.

In conclusion, the calligraphy design is a precious art since the artists practicing this art are rare. These artists are losing their demand and respect in the society. Therefore, Nazariya has joined hands with these artists and has taken a pledge to give them the true value for their talent.

Finally, this Eid, admire their work by getting one of their masterpieces home. Get a customized manuscript for yourself by these wonderful artisans and wish your loved ones Eid in the most artistic way. Let us explore more about the Arabic Calligraphy paintings in the Images given below.

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If you love stories then read along. Let us take you to the vivid world of scroll paintings! Here you will find paintings that would have you falling in love with the art that tells you the story as much as the story itself. Welcome to the world of Cheriyal Art!

Medal with Bathukamma in Cheriyal Painting, final design will have event name as well

Cheriyal scroll painting depicting Indian Myth

Types of Cheriyal art scrolls depicting different types of stories.

Originated from the village of Cheriyal, 85 km from Warangal district of Telangana, Cheriyal scroll painting is a Indian folk art and is a version of Nakashi art rich in Indian mythology motifs. The cheriyal paintings represent the Telangana folk art. Painted in a narrative format like that of a comic strip, Cheriyal painting is an art depicts stories from the Puranas and Epics. While they bear some resemblance to Madhubani paintings, they are intensely infused with local flavour that creates the uniqueness in Cheriyal art of storytelling.

Each Cheriyal Scroll painting is drawn on a khadi cloth opening with a piece of Lord Ganesha, followed by Goddess Saraswati. It’s way adopted by the artists to pay respect to the deities and seeking their blessings and richly representing the art and crafts of telangana.

The technique of cheriyal scroll painting would tell you about the sophistication level as firstly they begin with applying a paste of tamarind seed along with tree gum and white clay. After applying three coats of this paste and allowing it to dry for a day or two, the scroll is finally ready for the further procedures. Now the artist draws the outline using a squirrel haired brush. Next is the turn for the predetermined colouring system. The red colour fills the background and blue and yellow colours are used for Gods and Goddesses respectively. While brown and darker shades are used for demons and pink skin tones are used for depicting humans.

Earlier natural dyes were used which were obtained from grounded sea shells, turmeric, vegetables etc. While today natural dyes are largely replaced by organic watercolors which are mixed with tree gum before applying on the scrolls. These paints are said to last over 300 years provided they don’t come in contact with water.

D. Vaikuntam Nakesh at work. Photo: V. Ganesan

D.Vaikuntham working on Cheriyal Art

Today D.Vaikuntham’s family is only to practice the cheriyal art form, they have continued the Cheriyal tradition since the 15th century. They are the true masters of art form in this era. Apart from making the scroll paintings, the art has got a modified version of making masks in the same colour pattern and same themes of depicting the Indian mythologies as well. Due to the trouble of fitting in the modern world, the artists are forced to modify the art form.

The modified version of Cheriyal art as a mask

The modified version of Cheriyal art as a mask

Adapting the modern global changes is a major challenge for ancient art forms. It makes it difficult for them to breathe in with so many alternatives and replacements around but Cheriyal Art continues to survive. Ergo, an ancient tradition has been preserved with passion and zeal overflowing to keep it alive today and for coming generation!

Want to shop for cheriyal paintings online Check out the ‘ Store’ section to buy scroll paintings of India at Nazariya.

Happy Shopping!

This article was originally created for, and published on, a UNESCO supported umbrella of initiatives that makes heritage fun.
By Rubina

The old city of Hyderabad is known for its grand history of over 800 years. But the luxurious residences of the nobles called Devdis are still an unknown history. Devdis are the places where the Hyderabadi lifestyle (tehzeeb) evolved. Thus culturally, socially, and historically significant lifestyle evolved. Hyderabad is also known for its famous ‘The Charminar’ and it’s Char-Kaman.

In the 18th and 19th century the nobles and affluent lived in these traditional fortified structures. They had three extraordinary features: the main entrance, high enclosed walls, and inner courtyards

Some interesting features of these world heritage structures include the main gate that was high enough to let an elephant pass. The upper floor of these entrances accommodated space for traditional music to be played during ceremonial occasions. The interiors of the open pillared halls were heavily decorated. They were decorated with wooden or painted ceilings, multi-foliated arches, stone or wooden pillars, stucco work, and wooden carvings. These halls were furnished with velvet carpets embroidered with gold and silver. Chandeliers, both hanging and standing, were customary. The nobles entertained the guests in these decorated halls.

Security was the highest priority and hence these structures were heavily guarded. They were like mini fortresses equipped to provide shelter, security, and resources during the troubled times. The security was provided to the noble and his clan that included extended families and servants.


Entrance of the Khursheed Jah devdi/ Courtesy: Saurabh Chatterjee;

Over a period of time, Hyderabad nobles built larger and more impressive Devdis to showcase their wealth, power, and influence. The Heritage structures in Hyderabad evolved around series of courtyards with different structures radiating out of the courtyard. Except for the Hindu devdis, all the other diwan devdis segregated living quarters for men and women. They also accommodated public enclosures like the office of the noble besides the private living quarters.

Many European travelers have left accounts of these beautiful world heritage sites in Hyderabad. Be it the language, literature, music, dance, etiquette, courtesy, entertainment, cuisine or dress, it was in the diwan devdis, that this Hyderabadi tehzeeb was nurtured right from childhood.


Paigah Palace now used as a function hall/ Courtesy:

With the partition of India in 1947 and the abolition of the princely state left the nobles debt ridden without their traditional income. They sold their properties and the sprawling devdis were demolished. Today most of the Devdis are demolished and a few surviving are in a state of neglect. The other few are used as schools or function halls. A couple of them stand freely without their walls in their state of decay but are still beautiful and have their own story to tell.

Standing in the midst of the ruined devdis, one can visualize the structure during its heyday. This takes us to a different era altogether. The picture gives the hustle bustle of the household life, servants running around, social gatherings, live music, lavish food, and fountains sprinkling.

Asman jah devdi in an utter state of neglect Courtesy: Madhu Gopalan

Earlier I wondered why these structures existed whenever I passed through these places numerous times ignorant of history. Years later, I crave to visit them and it’s heart-breaking to see them fall apart. They have helped form and develop the lifestyle and culture of every Hyderabadi. To save the remaining heritage, we can do our bit by bringing awareness and telling their story. One can only connect to the bygone era and its heritage, if the stories of these wonderful structures are told. I am making an attempt to do so.

Everyone remembers playing a game of Ludo or Snakes & Ladders be it on a hot summer day or a cool winter evening. These board games that form such a beloved part of our childhood actually take their origins much far behind in history. One such indoor fun game is Chowka Bhara, a traditional Indian board game.

In former princely states like Tripura, Karnataka, Madhya Pradesh, Maharastra, Tamil Nadu , Kerala and Punjab, Chowka Bhara was a favorite past time. The board game uses easily available articles like sea shells, broken bangles and tamarind seeds, broken bangle bits and coins. The players seek to move them across a 5 by 5 square drawn on the board to reach an inner space called “home”. It is played in a squares format on the floor.



Fig: A Chowka Board

Fig:A custom made board




The chowka bhara game follows rules to play.The four-player game, each player have four pawns (coins, bangle bits etc) starting at different positions at the four crossed squares at the outermost ring. The rules of game

Chowka Bhara Board-(×5.jpg )

How the game works: 

  1. The board is always kept in the center during the game.
  2. Each player has a different starting point and initially keeps all his coins there (marked by X on his side).
  3. Each player takes turn to throw all four cowrie shells on the floor and moves one of his coins according to the number as indicated by the shells.
  4. Movement of coins is in anti-clockwise direction in outer squares and then in clockwise direction in inner squares as shown by the arrow in the diagram.
  5. If a player’s coin lands on a square occupied by opponent’s coin. The opponent’s coin is cut and the player gets an extra turn to play.
  6. The cut coin returns to its starting home square and has to go round all over again.
  7. The crossed squares (home squares) though, are safe places and no coins present here can be cut.
  8. When a coin reaches the square left of its home square, it further moves up into the inner squares in clockwise direction. Each coin finishes its race when it manages to get into the innermost crossed square.
  9. The first player to get all his coins into the innermost square wins the game.

Extra Turn:

  • Whenever a chowka or a bhara (four or eight) is got during a throw of cowrie shells, the player gets a bonus turn to throw the cowries.
  • When a player cuts opponent’s coin, he gets an extra turn to play.
  • During an extra turn, either the same coin or some other coin can be played.

This ‘Game of Chance’ finds relevance in mythology Mahabharata. Evidently,in two or four player format this game involves an element of chance by the roll of special dice and an element of strategy .

The chowka bhara game can be played as fun activities for employees at work. It is a best cooperative board game for 2 players and ideal for employee engagement as it is an indoor game. It is equal to a cooperative fantasy board games and is also an indoor fun game for employees.

Want to try this game now? Check out the ‘ Store’ section to buy Chowka Bhara at Nazariya.

Happy Shopping!


You can always find the books of your choice in a library but seldom can you find both the writer and the book at one place. One such place in India is Jaipur Literature Festival. It is the world’s largest free event of its kind. In its 10 years, it has hosted 1300 speakers and 1.2 million book lovers. Man Booker Prize winners to debut authors, this place welcomes them all. In a society like ours, debate and discussion are integral since ages which JLF fulfills.


Not only writers but critics, historians, musicians, journalists, poets, activists, politicians and orators from all across the globe come together at one place for five days of readings, debates, and discussions. The festival takes place in the month of January in Diggi Palace in Jaipur and is a place of open expression.


Gulzar, Javed Akhtar, Sashi Tharoor and William Dalrymple are few names from the list of literary geniuses of the world who graced the festival. The venues were flooding with young, euphoric crowd dressed in chic and boho outfits. All five days of the festival started the Front Lawn venue beginning with Shillong Chamber Choir. The keynote address by Gulzar and Anne Waldman was the first session that officially marked JLF 2017’s beginning.


Of all the six venues of Diggi Palace, Cox and Kings Charbagh and Mughal Tent remained the most crowded on all five days. There were several book launches and readings by eminent literary figures. The discussions were everything from Sanskrit in Mughal Court to Shakespeare’s Restless World. While Hotel Clarks Amer hosted the music stage venue, Amber Fort became the venue for Heritage events.


Nicole who had come from Australia said,” I had come to India as a young girl about 30 years ago, I have been to all the states but here in JLF I’ve experienced the essence of India. The crowd is young and full of life, levitra en ligne not quite like the one we see in literary festivals. JLF has something for one and all”. Certainly, not just bookstores and session venues, there were stalls selling refreshments from international cuisines like Falafel and Hummus. Live sketch counter attracted a lot many bibliophiles.

Know more at

Facebook: Jaipurlitfestofficial

Instagram: jaipurlitfest

Twitter: @ZEEJLF

If you come to Jaipur to attend JLF don’t miss visiting the Rajasthani markets that sell miniature paintings and bandhej dupattas. Almost everything is available in shops in Bapu Baazar and Johri Baazar.  The forts of Nihargarh, Jaigarh and Amber are a must visit too.


Author: Seemab Alam

To the ups and downs of numerous Ghats, to the survival of the crowd and passing by the majestic cows around the streets, comes the beautiful haveli’s, temples and houses who amidst the chattering women and wandering local vendors stand with their walls being canvases to the bright coloured parrots, elephants, gods and goddesses, all adding up a supreme uniqueness and charm to the lanes of Varanasi.

These hand painted wall art is known as “Bhitti Chitrakala”, a folk art of Varanasi. These represent the Indian folk art and convey mythology stories through art.However, with the growing modernization, this folk art is finding itself difficult to breathe. These traditional art forms of uttar Pradesh are mainly paintings showcasing mythological and colonial stories, Rajasthani and Mughal art at Jangambadi Muth, Bhonslaghat, Bageshwari Temple. These have already lost their gleaming look while others are on the way to extinction.

The main reason for the dying of this folk art of Varanasi is ignorance and unawareness. However, the existence and history of bhitti chitrakala goes back to the 16th century. Today most of the people around the houses who hold these fine wall paintings do not know about them at all. While there once was a time when the same art was valued and people took pride in expressing them on their houses. While today people find doing the same a waste of time and money.

Dr. Sudhir Keshri, assistant professor from the faculty of visual art, Banaras Hindu University (BHU) says that “The paintings in the city are now hardly visible, main reason being the witlessness of the people and no willingness to take any action against it by the authority.”

The paintings however can still be seen by a hair’s breadth around the old houses at Assi, Bageshwari Temple in Jaitpura, Laxmi Narayan Temple, Dasaswamedh Ghat, Devki Nandan Ki Haveli, Sankat Mochan Mandir and few more places.

Dr. Keshri adds, “The paintings depicts mythological stories from Durga Saptashati, Ramayan, Samudra manthan and Dashavtar on the walls of ashrams and temples. Also the elite class families used to paint their Havelis with certain designs. During marriages etc. people used to make paintings of Lord Ganesha, traditional sainiks, elephants, horses, parrots and peacocks. However today the ones who do paint their houses are all confined to the paintings of Lord Ganesha. ”

Concluding up Dr. Keshri says that “With the basic idea of considering wall paintings a waste of time and money and also with other advancements this art is hardly surviving. Topped with negligence, there rarely aren’t any artists into this profession anymore as most of them have shifted to other jobs due to no work availability.”

Around 2 years ago the students of Banaras Hindu University took the initiative to revive this art by painting the house walls of people who were willing to, for free. It was an excellent step to connect this intangible art with tangibility. Also a non-profit organisation- Jnana Pravaha, has put in efforts and collected the drawings of all the paintings that were made on temples, ashrams and other haveli’s and houses of the city as these drawings will be stored in museums.

Thus, a city like Varanasi which portrays a beautiful picture for people all around the world to know what gold this old city holds, would start losing something like Bhitti Chitrakala, it may somehow lead to start loosing up our traditions and folk art gradually.

I remember an old man talking at the ghats that “civilization have come and gone, people have lived here and have been cremated here, days and years have passed but our benaras and it’s magic is still the same.”

I wonder if he would ever realize that things are not the same. I wonder if we, the young generations can uphold these traditions for the coming many generations to see all the gold this old city has been holding since forever.

Want to know more about bhitti chitrakala art images online? Check out the ‘ Store’ section at Nazariya to buy paintings online.

All Picture Courtesy Belongs to Mohit Khetrapal (Student, Sunbeam School, Varanasi)

Author: Noah Unath Raj

Image Sources:                       ×286- 1324605233.jpg

Shilparamam is one of the traditional setup villages in Hyderabad. It provides an aura of the traditional and cultural heritage in India. This village conducts ethnical events and festivals throughout the year. Shilparaman, the crafts and cultural village of Hyderabad was conceived in the year 1992. It is located a few kilometers from the city of Hyderabad and covers an area around 65 acres in the hi-tech hub city of India. The government of Hyderabad established this podium on 21st June 1998 to motivate the artists for promoting and preserving the Indian arts and crafts. The Chief Minister of Telangana acts as the chairman and his panel 8 members form the governing council and the Chief Secretary along with the other 4 form the executive body. Hence, it serves as a platform to encourage arts and artifact epitomizing the true legacy with the vivid congenital beauty of rural India. You can contact the following address or numbers for more information.

Address:- Hi Tech City Main Road, Madhapur Hi Tech City Hyderabad. Telangana India 500081

Phone Number:- +91 (40) 64518164

Mobile Number:- +91 886652004

Timing:- 10:30 am  to  08:00 pm

Entry Fee:- Adult – Rs. 40  and  Children – Rs. 20


For more details visite:-


ImageSources:                                                                                cultural.jpg

The rural museum is one of the major attractions of Shilparamam. Homed amongst the trees is the archetype of a typical Indian village. There are about 15 life sized huts authentically constructed by the baked clay and thatch. It depicts the rural and tribal life styles glassing the day to day life of various artisans and peasants. In a nutshell, it provides a view (nazariya) to the rural life for city settlers and those unaware of the village. A Museum of sculptures and life size models share an experience that is very close reality.


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The Rock Museum adds a wild ecological side to Shilparamam. This is fashioned by Shantiniketan’s Subroto Basu rock garden. It combines his rock collection with natural and delineated rock assembling found in the village. These born transformations remain unswayed in a scenic form in the Rock Garden.



Indian crafts mela is conducted at Shilparamam for 15 days from January to December. Around 600 hundred stalls are setup as a part of the mela. They display handloom and handicraft products from various parts of the country.

Handlooms like Mangalgiri, Venkatagiri, Gadwal, Patola, and Benares are exhibited. Also, handicrafts, such as Terra cotton, Blue pottery, White metal, Madhubani, and Tanjore paintings are some of the attractions at the mela.

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According to sources, it is stated that the Union Ministry of Textiles has sponsored 150 weavers, 150 artisans, and 35 craftsmen from National Jute Board for the mela.


Classical performances in Bhartnatyam, Kuchipudi, Kathak are rendered by eminent artists in the evening hours. Gargalu, Dappulu, Kolatam, Koya doralu are some of the folk performances taking part in the celebrations.   



Image Sources:                                          nOo4rzgEF3qfOJD      

Shilparamam is used for organizing various events, such as Shilpakala Vedhika and Shilpa seema. Shilparamam is also used for local, national, and international events. Therefore, it has a wide range of different meeting spaces and private dining areas. They accommodate anything from small meetings to large corporate events and conferences for launching products. Most noteworthy, audio launch events for various films, wedding receptions and many more are hosted here.



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This is the final destination and enchants the nature lovers and bird admirers. This is set amidst the picturesque rock formations. This is the perfect setting for parties and outdoor functions. It has an exhilarating landscape, flora, and fauna with a gentle breeze around you all the time. Multiple weekend musicales and certain of the famed names in the pop world perform here. It can accommodate around 2500 people and has become the house hold name for corporate parties in town.

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In addition, there is a separate block for the shopping area called the training center. Here the women are trained in arts, such as jewelry, mold making, embossed wall painting, Plaster of Paris sculptures, and music. These classes are charged a nominal fee. Competitions are conducted in the festive seasons to enhance the competitive spirit amongst the learners.

India is known for its herbal values found by our forefathers. Therefore, there is a liability for people to get trained and circulate knowledge for betterment of humans. The state government has allocated land for body recharge and aesthetics treatment for women. This medical confabulation provides half of the attraction that Shilparamam carries. The attractive part is at the shopping arena with vivid stalls. One cannot stop glancing at the captivating materials on display that showcases the fascination of every individual state.  

As a result, Shilparamam is a unique village never to be missed on an outing at Hyderabad. This is for people who have never visited a village in span of 3 hours.    

Author : Noah Unath Raj

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Culture as we see is a way of leading a life .We can call them as the beliefs, values and symbols accepted by people. India is known for its extensive and diverse culture all around the globe. In India Hyderabad has its own stance and position. Hyderabad the Deccani Tehzzeb, Pucca Nawabi culture is a portion of distinguished linguists, cultural traditions of North and South India, which meets and mingle in the city. The catch is because of its land markings and the ruling of various dynasties across the various periods of time. Hyderabadis the residents of Hyderabad so called is the emulsion of both the Hindu and the Muslim traditions. The traditional attire of the Hyderabadi is Kurta Pajama for men and Salwar Khammez for women. But in general the youth opt for the western outfit. Bonalu, Ganesh Chatutrthi, Eid ul-fitar are some of the fete here. It has been at the receiving end of the royal backing of the arts, architecture and literature by former rulers, hence various men of letters and arts have tried their best to have a place for them in the city. Such multi ethnic settlements have popularized multi cultural events such as Mushairas, literacy and stage drama. The Marfa music has been found as an integral part of an event.


The general language here has been Telugu, Urdu. The Qutub shahs were great patrons of these languages. The influences have been regional Marathi, Telugu and Kannada in parallel with Arabic and Persian including the adoption of poetic meters and a great quantity of renovated words. Many scholars and poets (Shilbi Nomani, Dagh Dehlvi, Fani) to name a few have made Hyderabad their home, that grew and brought reforms in the literary and poetry work. The Sate Central Library, since 1891 is the biggest library of Telangana. The other popular libraries in the city are the Sri Krishna Devaraya Andhra Bhasha Nilayam, The British Library also houses Urdu research center’s collection.

The Marfa Music Band

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Marfa music the name itself suggests the Arab rhythmic kettle drum music played in high tempo using dhol, sticks, steel pots and wooden strips named thapi. The chorus effects along with vocal meter are stroked in synch with one and other. Brought up by the Arab Siddi community Diasporas who used to be the cavalry guards of Asif Jhahi Nizam irregular army. A typical dance is performed along side with it jiggling the swords and sticks based on the pace and beat. This music is performed by both men and women where men play the music and dance and jiggling is continued by both men and women in coordination. This art form is performed regularly at Red fort, New Delhi on the eve of Independence and Republic day celebrations.

OU (Osmania University) has been the standout by providing master’s and doctoral (PhD) in classical and modern languages, theatre arts, painting and communication. The Ravindra Bharathi, Shilpa Kala Vedhika, Lalithakala Thoranam are well known arenas for theatre and performing arts in the city. Hyderabad International convention center (HICC) in short HITEX has been an international venue address globally which costs around 3 billion, along with Salar Jung museum and Birla Science museum which comprises the planetarium.

Birdi Ware Craft and Numaish

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The first name that comes to mind is the Numaish. The terminology refers to Exhibition of local products was started in 1938, by a group of graduates from the OU university to show case their products, now has turned out to be biggest annual consumer exhibition at Nampally ground in an area of around 23 acre resulting in a revenue of 13 crore according to survey in 2011.Fine art metal hand craft called Birdi ware was popularized in 18th century. Nowadays this production is accounted highest in India.


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A diverse Indo-Islamic architecture style has been adopted for the Hyderabad edifice by Qutub Shahi in 15th century making it the “Best Heritage city of India” as of March, 2012. Massive granite walls with a mixture of lime mortar and Granite have been used as ingredients for structures such as Mecca Masjid and Charkaram. Walking by the way of Falaknuma and King Kothi palaces we can view the Persian European style art being implemented. Golconda, Legislature assembly, Purani Haveli is amongst the others.





Author: Priyanka Nair


Madras, the cultural city of India is a synthesis of diverse forms of art and architecture. It is popularly referred as “Gateway to South India”. Madras (now Chennai) is a melting pot of various cultural traditions, ideas and people. The history of Madras is marked by the presence of powerful kingdoms like the Cheras, Cholas and Pandyas. These kingdoms left an indelible mark on the art and architecture of the city. The Tamil literature, Carnatic music, dance forms like Bharatnatyam, the Dravidian and Indo-Saracenic style of architecture, all invigorate the cultural spirit of Madras. On top of this, a cup of filter coffee, a platter of idli-vada or pongal at Saravana bhavan will definitely tickle your taste buds and reveal a delicious and appetising aspect of culture.

The advent of the British in India and the establishment of a trading post at a fishing village called Madraspatnam (now Chennai) marked an important phase in the cultural history of Madras. British left a rich architectural legacy behind, that combined the Indo- Saracenic (blend of Indian, Moorish and Islamic styles) architectural style with that of the Gothic and Neo-classical styles promoted in Victorian Britain. The majestic government buildings constructed during the British era still adorn the cultural city but many of these are in a state of despair and need attention lest they perish. These government buildings provide just a glimpse of the vast cultural legacy of Madras.

Let’s explore the past of these government buildings and their architectural styles that make them unique today.



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During the seventeenth Century when many countries were trying to secure their trading interests in India, it was necessary to fortify overseas trading centres in order to prevent the possibility of attacks. Hence, the British East India Company built Fort St. George in Madras, its first fortress in India. The foundation was laid by two traders of the East India Company named Francis Day and Andrew Cogan. A major part of the fort was constructed by 23rd April, 1640, i.e. St. George’s Day (hence the name). Fort St. George currently houses the Legislative Assembly of Tamil Nadu and various other important buildings like St. Mary’s Church, Clive’s House, King’s Barracks, Fort St. George Museum etc. St. Mary’s Church is the first Anglican Church built in India. Fort St. George Museum is open to public on all days except Fridays.

Timings :- 9am-5pm

Closed On:-  Friday    

Entry Fee :-Indian: 5 INR, Foreigners: 100 INR

Contact No :- 044 2567 1127

Address :-Rajaji Salai, Fort St George, Chennai, Tamil Nadu 600009, India.


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Another exceptionally distinct structure that is a reminder of the colonial past is the High Court of Madras. It is one among the three high courts that was established during the colonial rule at the Presidency Towns by Letters Patent granted by Queen Victoria on 26th June 1862. It was designed by J.W. Brassington and completed in 1892 by renowned architect Henry Irwin with the assistance of J.H. Stephens. Madras High Court’s magnificent structure epitomizes the Indo-Saracenic style of architecture. Indo Saracenic (Neo-Mughal or Indo-Gothic) is an architectural style that contains various elements from Indian and Indo-Islamic architectural styles combined with Neo-Classical and Gothic revival styles that were prevalent in Victorian Britain.


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When you near Rajaji Salai at Parry’s corner, you can have a glimpse of the Indo-Saracenic architectural style that embellishes the Chennai General Post Office building.  Chennai GPO was initially opened in Fort St. George Square on 1st June 1786. It is more than 200 years old and currently functions in a building that was built in 1884. Government of India issued a postage stamp in 1986 to commemorate its 200 years. Madras GPO was designed by Robert F. Chisholm.

Hours of Operation:- 10am-8pm                       Closed On:- Sunday

Address:- No 1/10, Rajaji Salai, Parrys, Chennai – 600001

Contact Details:- +(91)-44-2521676625267752252676812521260725212521


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The Senate House, built in 1864 was designed by Robert F. Chisholm. It is located inside the Madras University Campus near Marina beach. The architectural style used here is a combination of Indo-Saracenic and Byzantine Style. The exquisite hall with stone pillars, beautiful murals, painted panels and stained glass windows exude radiance and is indeed mesmerising. The Senate house was reopened after completion of the restoration work in September 2006.

Address:- Madras University Campus, Chepauk, Triplicane, Chennai- 600005


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Chennai’s first railway station was Royapuram followed by Central and Egmore railways stations. Royapuram Railway Station is the oldest station that is still operational in India (opened in 1856). But today this building is in a dilapidated state and is mostly used by harbour trains that bring coal for Mettur dam.


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Chennai Central Railway station (1873) was originally designed by George Hardinge and further modifications were made by Robert Fellowes Chisholm. Chisholm added the central clock tower and Travancore ‘caps’. The redesign was eventually completed in 1900. It originally contained the Gothic Revival style with Italianate and Hindu overtones. The main building has been declared as a heritage building. It is currently one of the most important railway stations that connect Chennai to the rest of the country.


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King Institute of Preventive Medicine and Research is located on the banks of Adyar river, Guindy, Chennai. It is named after the then Sanitary Commissioner of Madras Lt. Col. W. G. King and was established in 1899. This Institute was established to protect against scourging infections and played an important role in eradicating small pox in India by producing the essential vaccine. The institute is still an important referral centre and has grown technologically over the years. The main building is now under the Archaeological Society of India.

For more details Visite:-


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The Ripon Building is an all-white structure that houses the Chennai Corporation. It is named after Lord Ripon, one among the most important Governor-Generals who ruled during the colonial regime. It was designed by G.S.T. Harris with the assistance of Loganatha Mudaliar. This structure is a combination of Gothic, Ionic and Corinthian styles. The Ripon building was commissioned in 1913 and is located near the Chennai Central railway station.

Preserving these exquisite structures is imperative as their ruin will cut an important link that connects us to our history and heritage. Let us not bury our magnificent past.