Telia Rumal literally refers to an oiled or oil-treated rumal (kerchief), reflecting the distinctive preparation of its yarn. In the traditional process, cotton yarn is treated with a mixture involving sheep dung, castor seedpod ash and gingelly (sesame) oil before dyeing and weaving. The GI production specification describes a treatment process extending over approximately 15–16 days. Some secondary accounts describe the traditional process as taking about 21 days.
The treated yarn is subsequently resist-dyed and woven using the double Ikat technique, in which both warp and weft are separately tied and dyed before being brought together on the loom. The precise alignment of the pre-dyed threads produces patterns that appear on both sides of the finished textile.
Traditional Telia Rumal is particularly associated with red, black and white colour combinations and geometric designs. Contemporary weavers have expanded the range of colours, motifs, materials and products while continuing to use the Telia Rumal technique. Traditional GI documentation is based on cotton yarn, while contemporary artisans also produce Telia-style textiles in silk.
The craft is traditionally associated with the Padmasali weaving community. Puttapaka became an important centre of the tradition, while historical accounts connect the technique and its commercial circulation with Chirala in present-day Andhra Pradesh.
The Alchemy of Oil – Yarn Preparation and Double Ikat
The distinctive character of Telia Rumal comes from its traditional pre-weaving yarn treatment. The GI specification identifies cotton yarn, sheep dung, castor seed pods burned to ash, gingelly oil and other materials used during preparation, dyeing, tying and weaving.
Step 1 – Preliminary treatment: The cotton yarn is treated with a mixture involving sheep dung and water. This forms part of the traditional preparation before the oil treatment.
Step 2 – Oil treatment: The yarn is treated repeatedly with gingelly oil and castor seedpod ash. The GI production specification describes repeated treatment over approximately 15–16 days, followed by washing and drying. Some secondary accounts describe the traditional treatment as lasting about 21 days.
Step 3 – Design and tying: The design is planned on graph paper, after which the yarn is arranged and tied to create areas that resist the dye. Both warp and weft are separately prepared for the double-Ikat process.
Step 4 – Dyeing: Traditionally, the prepared yarn is dyed to create the characteristic colour combinations. The GI documentation records traditional materials including alizarin, alum and erakasu. Contemporary production may also use other dyes.
Step 5 – Weaving: The dyed warp and weft are aligned on the loom and woven together. Because the pattern has already been encoded into the warp and weft through tying and dyeing, precise alignment is essential for the final design to emerge correctly.
The traditional oil treatment contributes to the characteristic feel, appearance and scent associated with Telia Rumal. It is an integral part of the traditional identity of the textile rather than simply a surface finish.
From Geometric Designs to Figurative Motifs
Earlier Patterns
Earlier Telia Rumals were predominantly decorated with geometric and vegetal designs. Common design elements include squares, diamonds, chevrons, stars, checks and floral forms. Traditional layouts often combine a central field with contrasting borders and repeated geometric motifs.
Later Figurative Designs
During the early 20th century and later, Telia Rumal designs increasingly incorporated figurative motifs, including lions, elephants, birds, clocks and aeroplanes. The aeroplane motif became one of the better-known examples of the way Puttapaka weavers incorporated contemporary subjects into the traditional Ikat vocabulary.
Contemporary motifs associated with the tradition also include ratham (chariot), muggu (rangoli), yagnam peeta (sacred platform) and kaya (fruit).
Across Oceans – Traditional Uses and Cultural Significance
Arabia and the Middle East: Historical accounts describe Telia Rumals being exported to markets around the Persian Gulf and wider Indian Ocean trading network, where they were used as head coverings, turbans and other forms of dress. Some historical sources also record their use as prayer cloths. Export trade helped establish the textile beyond the Indian subcontinent.
Coastal Andhra: Telia Rumal was also used for garments including lungis in coastal Andhra. Traditional accounts associate the oil-treated cloth with practical qualities valued by users working in hot and humid environments.
Nizam-era Hyderabad: Historical accounts connect Telia Rumal with markets and patrons in the Hyderabad State. The cloth was used as a kerchief, head covering and other forms of dress, with some designs reflecting the preferences of different markets.
Historical religious use: Some accounts describe Telia Rumals being offered at shrines and dargahs, including Ajmer Sharif. Such accounts should be understood as part of the textile's documented historical and cultural circulation rather than as a universal contemporary practice.
Gajam Govardhana and the Revival of Telia Rumal
Background: Gajam Govardhana is one of the prominent figures associated with the revival and promotion of Telia Rumal in Puttapaka. In 1975, while associated with the handloom sector, he travelled to Chirala and worked to revive the traditional technique in Puttapaka.
Revival and expansion: Govardhana helped expand Telia Rumal beyond traditional kerchiefs and turbans into products including saris, dupattas, dress materials, carpets and wall hangings. Sources have reported that he trained more than 800 artisans in the technique. Contemporary reports also associate his work with employment and livelihood opportunities for hundreds of weavers, although the exact current number varies by source and should not be treated as an independently verified workforce statistic.
Recognition: The Government of India honoured Govardhana with the Padma Shri in 2011. He has also received national and international recognition for his contribution to handloom and the Telia Rumal tradition.
Festival of India: His work was showcased through international cultural and handloom exhibitions, including the Festival of India programme of the 1980s, helping introduce the Puttapaka tradition to wider audiences.
Gajam Anjaiah: Gajam Anjaiah, born in 1955 and son of weaver Narasimha, is another prominent Puttapaka handloom designer associated with Tie and Dye and Telia Rumal techniques. Narasimha is credited in historical accounts with bringing the Telia Rumal tradition from Chirala to his community in Puttapaka. Anjaiah received the Padma Shri in 2013.
Next generation: Younger Puttapaka-area weavers continue to reinterpret Telia Rumal using contemporary products, natural dyes and silk while retaining elements of the traditional Ikat process. In 2025, young weaver Guda Pavan was among the handloom award recipients recognised for work associated with the traditional Teliya Rumal style.
Geographical Indication (GI) Status
GI registration details: The Government of India's Geographical Indications Registry records Telia Rumal under Application No. 599. The application was filed on 15 December 2017 by the Consortium of Puttapaka Handloom Cluster–IHDS for goods in Class 24 – Textiles.
GI publication and certificate: The application was published in GI Journal No. 129, made available on 10 January 2020. The registration certificate is Certificate No. 369, dated 14 September 2021, with registration shown as valid until 14 December 2027.
Geographical area: The current GI Registry record lists the geographical area as Telangana. The GI application documentation identifies the Puttapaka handloom cluster in Narayanapur Mandal, present-day Yadadri Bhuvanagiri district, as the production centre associated with the GI.
What the GI protects: The GI registration provides legal protection for the registered geographical indication under India's Geographical Indications framework. The registered product is associated with the traditional Telia Rumal technique, including its distinctive yarn preparation, resist-dyeing and double-Ikat weaving characteristics.
Contemporary Revival and Market
Product range: Contemporary Telia Rumal production extends beyond traditional kerchiefs to saris, dupattas, dress materials, lungis, dhotis, turbans and other made-to-order textiles. The time required varies according to the material, design and complexity of the weaving process.
Natural dye revival: Contemporary young weavers have experimented with natural dyes including indigo, madder, marigold, pomegranate rind and iron-based preparations. Guda Pavan has been reported for producing Telia-style silk saris using natural dyes and traditional motifs.
Challenges: The handloom sector faces competition from powerloom and printed imitations. Traditional double-Ikat production requires substantial manual preparation and precise alignment, making it more time-intensive than mechanically reproduced textiles.
Government support: Telangana's handloom sector has received support through programmes and welfare measures including Chenetha Mithra, Nethanna Ku Cheyutha and Nethanna Ku Bima. The Gajam Govardhana Telia Rumal Art Gallery in Hyderabad provides an additional resource for documenting and displaying the tradition.
Authenticity Guide – Buying Genuine Telia Rumal
What to Check
Double-Ikat construction: Traditional double Ikat requires both warp and weft to be separately tied and dyed before weaving, producing aligned designs on both sides.
Traditional yarn treatment: Traditional Telia Rumal is distinguished by its oil-based yarn preparation involving materials such as gingelly oil and castor seedpod ash.
Weaving quality: Examine the precision of the Ikat alignment, consistency of the weave and finish of the fabric.
Seller documentation: For a GI-labelled purchase, ask the seller for details of the producer, authorised-user or applicable GI documentation where available.
Be Careful with Imitations
Printed textiles and mechanically produced fabrics can reproduce the visual appearance of Telia Rumal without following the traditional yarn preparation and double-Ikat process.
Do not rely on a water-drop test, smell alone, oily residue, colour brightness or price alone to authenticate a textile. These characteristics can vary with age, washing, materials, dyes and contemporary production methods.
For higher-value purchases, buy directly from established handloom producers, recognised cooperatives, authorised GI users or reputable government-supported emporiums and request documentation where applicable.
Where to Buy – Puttapaka Telia Rumal
Direct from Artisans
Visitors interested in the craft can contact producers and weaving organisations in Puttapaka to enquire about current availability, demonstrations and custom orders. The Gajam Govardhana Trust provides information about the Telia Rumal tradition and associated activities.
Contact: ggtag.in
Government and Handloom Outlets
Telia Rumal products may also be available through recognised handloom and handicraft outlets in Hyderabad and elsewhere. Availability, GI labelling and product range should be confirmed with the seller before purchase.
Price and Authentication
Prices vary substantially according to cotton or silk, yarn quality, dyeing method, motif complexity, weaving time, zari and finishing. Because retail prices change and vary between producers, a fixed price range is not included here as an authenticity benchmark.
For expensive pieces, ask for information about the weaver, production technique, material and applicable GI documentation rather than relying on appearance alone.
Visitor Information – Puttapaka Craft Trail
Location & Access
Puttapaka village — Narayanapur Mandal, Yadadri Bhuvanagiri district, Telangana.
Historical district: Puttapaka was historically associated with Nalgonda district before Telangana's district reorganisation.
Distance from Hyderabad: approximately 90 km by road, depending on the route.
Nearby towns: Bhongir, Aler and Nalgonda.
By Rail: Rail access can be approached through stations serving the surrounding Bhongir/Aler/Nalgonda region; check current train services and road connections before travelling.
By Air: Rajiv Gandhi International Airport, Hyderabad.
Directions: View Puttapaka on Google Maps
Best Time to Visit
October – February: Generally more comfortable for outdoor travel and walking through the village.
Time needed: Allow at least half a day if visiting weaving workshops and nearby craft-related locations, subject to availability.
Advance notice: Contact the relevant weaver, cooperative or organisation before travelling if a demonstration, large purchase or custom order is planned.
Nearby Attractions in and around Puttapaka
Explore Other GI Products of Telangana
Frequently Asked Questions – Telia Rumal
Q: What makes Telia Rumal different from Pochampally Ikat?
A: Both are associated with Telangana's Ikat traditions, and Pochampally includes warp, weft and double-Ikat techniques. Telia Rumal is particularly distinguished by its traditional oil-based yarn treatment involving materials such as castor seedpod ash, gingelly oil and dung before dyeing and weaving.
Q: What is the GI application number for Telia Rumal?
A: The Government of India's GI Registry records Telia Rumal under Application No. 599, filed on 15 December 2017 by the Consortium of Puttapaka Handloom Cluster–IHDS.
Q: When was Telia Rumal registered as a GI?
A: The application was published in GI Journal No. 129 in January 2020. The registration certificate, Certificate No. 369, is dated 14 September 2021.
Q: How long does the traditional yarn treatment take?
A: The GI production specification describes a treatment period of approximately 15–16 days. Some secondary accounts describe the traditional process as taking about 21 days.
Q: How many weavers still practise the traditional process?
A: There is no single current official figure for all practitioners. Sources have reported that Gajam Govardhana trained more than 800 artisans, while contemporary production involves a wider network of Puttapaka-area weavers.
Q: Can I visit the Gajam Govardhana Telia Rumal Art Gallery?
A: The gallery in Hyderabad documents and displays Telia Rumal and related handloom material. Contact the Gajam Govardhana Trust before visiting to confirm access arrangements.
Q: Are natural dyes still used?
A: Yes. Contemporary weavers have revived or experimented with natural dyes including indigo, madder, marigold, pomegranate rind and iron-based preparations. Other contemporary Telia Rumal products may use synthetic dyes.
Q: What is the significance of the aeroplane motif?
A: Aeroplanes are among the figurative motifs that appeared in later Telia Rumal designs, illustrating how Puttapaka weavers incorporated contemporary subjects into the traditional Ikat design vocabulary.