Shitab Khan

Shitab Khan also spelled Chitapu Khan, was born Sitapathi Raju in the Telangana, South India. He was from a Hindu family of cow-herders of the Boya community, then considered "low caste". He joined as a foot soldier in the army of Humayun Shah the Bahmani Sultan, and rose up the ranks to acquire senior captaincy, his own jagir (a land fief) and the title 'Shitab Khan'. He always used the title in his inscriptions but never actually converted to Islam

This warrior, regarding the reading of whose title there is no manner of doubt, is described in the Tarz'kh-i-Muhammad Qutab Shahi as“ the Raja of Khammamet, a fearless infidel." This description has much puzzled Lieutenant-Colonel Briggs who, in volume III of his History of the Rise the Muhammadan Power in India, makes Shitab Khan a Hindu, and confers on him the title of " Seetaputty." The historian of the Qutb Shahi kings is, however, corroborated by the Telugu inscription in the Hanamkonda Thousand Pillar temple, bearing the date 1503, . The truth seems to be that Shitab Khan WaS a renegade Musalman who, on the disruption of the Bahmani kingdom, allied himself with Hindus and by means of their aid established a small independent principality. From the inscription we may infer that he was in possession of Hanamkonda and Warangal in 1503, and he was still in possession of the same tract in 1515 after Sultan Quli Qutb Shah’s war with the Sultan of Berar, at which period Khammame, Warangal, and Nalgonda were included in Shitab Khan's dominions.

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Warangal Fort

The fort of Warangal referred to as Orugallu, Orumgallu or Ekasilanagaram in the inscriptions and literature rose to prominence, when it was the capital of Kakatiya kingdom during the reign of Ganapati Deva Maharaja (1199-1261).

Warangal Fort is one of the main attractions of warangal due to its heritage significance. The fort is spread across 19 km between warangal and hanamkonda.

It has seven concentric fortifications, with the inner stone fortification containing 45 bastions and gateways at the four cardinal points, and signifies essence of early medieval defence architecture. The remains of Swayambhu temple complex enclosed by four lofty toranas and the Kush mahal or the Shitab Khan mahal.

Kush Mahal(Shitab Khan Palace): This rectangular palace (16x38x12 m), with an arched entrance, was built in Indo-Saracenic style. Its interior is marked by arches joining both walls and supporting the ceiling. This edifice was said to be raised by Shitab Khan, whose lengthy record dated 1504 AD found near the southern torana attributes him to Hindu origin. 

Inner or stone wall of Warangal. This was begun by Ganapati and
completed by his daughter Rudrammadevi, who also built the outer wall of the city. The circumference of the stone wall is 4 miles and 630 yards with 72 pillars and though it is evidently of Hindu workmanship, as appears from the architecture of the gateways, it must frequently have been repaired by Musalmans, for countless stones carved with figures of Hindu gods and their attendants which have been removed from the large temple which stood in the centre of the inner fort, have been built at random into the wall, their carved surfaces being sometimes turned inwards for the better concealment of objects of idolatrous worship. Of the large temple just mentioned nothing remains but four magnificent gates, even the enclosing wall having been removed, but from the large area which this wall,
enclosed and the exquisite carving of the stones which have been used for the repair of the fort wall.

The diameter of the area enclosed by the earthern wall built by Rudrammadevi is about two miles, and this space was occupied by the city of Warangal, while that within the stone wall seems to have contained,besides temples, the palaces of the Raja and his nobles.

There is yet another outer wall, also of earth, the remains of which are distinctly visible, enclosing an almost circular area, the diameter of which varies between 85 and 9 miles. The use of this outer rampart can only be conjectured, for it is obvious that it cannot have been the wall of a fenced city. The defence of more than l29 miles of wall would have been a task beyond the capacity even of those vast armies which the Hindu rulers of the south were able in old times to gather round themselves, and an urban area of more than 127 square miles would have been an extravagant allowance for the population Of the greatest cities of antiquity. It may be conjectured that this outermost wall enclosed all the suburban villages and was no more than an unnecessarily costly suburban boundary ; but its existence has stimulated lovers of the marvellous to flights of fancy, and the modern inhabitant of Warangal will inform the visitor that the old city had no less than seven walls, of which three have already been mentioned. The remainder are said to have disappeared, but it is gravely asserted that the rock fortress of Bhongir was merely a bastion on the outermost wall, from which it may be roughly calculated that this mythical wall had a Circumference of 373 miles and enclosed an urban area of 20,240 square miles.

Historic landmarks of the Deccan / by T. W. Haig

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Thousand Pillars Temple

The magnificent temple of the thousand pillars at Hanamkonda is one of the most important parts of the Warangal City. The temple was constructed in the 1162 - 1163 AD by the great Prataparudradeva I/ Rudradeva and the deity is Rudreshwara Swamy, a personification of Lord Shiva.

The temple has an old and long history and dates back to the Chalukyan era. Constructed in the 1163 AD by Rudra Deva, Thousand Pillar Temple in Hanamkonda is one of the finest specimens of Kakatiya architecture and sculp- ture. The temple depicts the typical Chalukyan style of architecture.
While the gopuram (tower) was tragically knocked down by vandal invaders, the main structure itself has managed to survive the test of time. The pillars of the temple in particular are known for their detail, design, and resplen- dent polish.

The temple base is a star shaped with three shrines devoted to Rudradeva (Siva), Vasude- va (Vishnu) and Surya (Sun). Siva’s shrine faces east and other shrines face south and west. 

On the fourth side is Nandi. Adding to the unique- ness, the Nandi in the Thousand Pillar temple looks east, unlike most Nandis in Indian temples that look west facing Lord Siva. 

The main deities are arranged in square sanctums fronted by an antarala leading to a common natya mantapa with a long portico entrance from the south. Between the temple and the portico entrance from the pavilion, houses a huge monolithic Nandi made of black basalt open to the sky. Behind the Nandi, there existed a splendid edifice, a hall of columns, nearly 300 in number called the Kalyana Mandapam. Though there are sup- posed to be 1000 pillars in the building complex, yet no pillar obstructs a person standing at any point of the temple from viewing the deity in the other temple.

Every part of the temple depicts the typical Chalukya style of architecture. The Thousand Pillar temple has three presiding deities, Lord Vishnu, Shiva and Surya Deva. The temple stands as a statement of the finest of arts of the Kakatiyas. It is dedicated -to the god Rudra, the thunderer, who seems to have been the tutelary deity of the Kakatiyas, and contains, carved on a :square pillar in what is now an outlying portion of the temple, a long Sanskrit inscription "Mahamandaleshwara (‘l the great Lord ") Rudradeva, son of Prolaraia, Jagatikesarin Kakatiya, son and successor of Tribhuvana Betmaraja of Warangal.

The temple also contains another inscription of much later date, in Telugu, which commemorates the heroism of a Muhammadean general named Shitab Khan. The existence in a Hindu temple of an inscription written in a Hindu language in praise of a Muhammadan general

The sculptural beauty of the temple is a reminiscent of the rich cultural of heritage of Kakatiya Kingdom.

The intricate designs and carvings at the temple have always been a riddle to common public visiting the temple from different parts of the country and the world.

The super structure consists essential of stone columns and roof with plan dimensions of 31 m X 25m. All the pillars are carved out of coarse-grained porpheritic granite and dolerite.

The shrines have no deities except for a 'Lingam' in one of them. The huge granite Nandi, which is a splendid specimen of monolith. The Nandi figure measuring six feet in height presents itself in beautiful form with exquisitely chiseled ornaments and garlands.


The Thousand Pillar Temple perched elegantly on the slope of a hillock is one of the finest specimens showcasing the rich architectural legacy and skill in stone sculpting of the Kakati- ya Period. The rock-cut elephants on either side of the main shrine and the black basalt Nandi measuring about 6 ft in height, clearly brings out the fine carving skills of these craftsmen. Their mastery is evident from the richly carved pillars in the main temple.

This temple is one of the important tourist attractions in the city with most visitors of all the other tourist places. Almost on an average 1500-1600 visitors visit the temple every day.






Historic landmarks of the Deccan / by T. W. Haig

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Pandava Caves

Pandava Caves or Pandava Guttalu or Pandavaula Gutta is situated in Thirumalagiri village, Regonda Mandal, Jayashankar Bhupalpally, Telangana, India.

This is where the Pandavas spent their life in exile for a certain period of time. A chain of hillocks running north-south direction located about 50 kms from Warangal, 195 kms from Hyderabad, on Warangal-Mahadevpoor road and 3kms from Regonda are familliarly known as Pandava Guhalu (Caves) or Pandava Guttalu (Hills).

The name is derived due to potrayl of the story of Pandavas of Mahabharatha on one of the boulders. The shelters are locally knowns as Mekkabanda, Mugessabanda, Pandi Parvatha, Shakthi Parvatham, Jyothi Parvatham, Puli Parvatham abd Yanadula Guha, Eduru Pandavulu, Kuntidevi, Pancha Pandavlu etc.

It is an unique Rock Art Site with continous human occupation right from prehistoric to Medieval times. There are a few natural paintings on these rocks, depicting the lifestyle and their hunting methods.

 The figures depicted in the paintings at these hills are of peacocks, lizards, tiger, frogs, fishes, deer etc.. and geometrical designs and impressions in green, red, yellow and white pigment colors. Besides these rock paintings, inscriptions of Rastrakutan times and fresco paintings of late medieval period have also been reported from these hillocks. Some of the paintings were superimposed, depicting highly developed anatomical features and curves.

Rock art is a form of landscape art, and includes designs that have been placed on boulder and cliff faces, cave walls and ceilings, and on the ground surface.

Warangal district consists of many Prehistoric habitation sites, which were explored by the Indian Archaeological authorities. Paleolithic Rock art paintings are found at Pandavula gutta (Regonda)

Its a global phenomenon, being found in many different regions of the world. Such artworks are often divided into three forms: petroglyphs which are carved into the rock surface, pictographs which are painted onto the surface, and earth figures engraved into the ground. The study of rock art gives us a good insight into our history from pre-historic ages.

The hill range derives its name ‘pandavula gutta’, from the historical paintings found in one rock shelter, which the local folk term as the story of Mahabharata. It is interesting to note that in the Ravulapalli village about 220 families belong to the ‘mudiraju’ caste, who claim their descent from the solar race of pandavas, and the gotra of some of the families is infact ‘pandava’.

Perhaps, the ancestors of the present day mudiraju caste during historical times might have coined the term pandavula gutta.

The site was discovered by Sri K.Ramakrishna Rao of the Dept. of Archaeology & Museums, Hyderabad. Nagi Reddy (1995, 1998) discussed to a certain extent the rock paintings of this site. During my field study I noticed 7 rock shelters in which paintings have been done.

The Site ‘Pandavula gutta’ a weathered coarse grained sand stone hillock, rises to a height of 150 m from the surrounding plains and runs in a north south direction, the height gradually receding towards south and culminates about 1 km east of Tirumalagiri village, which is 3 km from Ravulapalli. At the central portion of this hill range rock shelters are noticed both at the foot of the hill and on the plateau above and in the valley between. Of the seven rock shelters two are located at the foot of the hill and the remaing ones on the plateau region. The rock shelters at the foot of the hill contain only faint traces of red paintings. In one rock shelter locally known as ‘ongudu gundu’ (bending rock) along with traces of paintings microlithic scatters were noticed.

The tools, mostly non-geometric in content, were made on chalcedony, agate, chert, quartz and jasper.
The undulating hill range and the narrow valley is covered by thick vegetation of tropical dry ever green and deciduous forests. The forest cover sustain wild fauna in considerable numbers even today. 

The wild fauna used to include herbivores like Nilgai ( Boselaphus tragocamelus), Black buck ( Antilope cerpivora ), Wild sheep ( Civis cycloceros ), Hare ( Lapidum finidus ), Porcupine ( 

Histric indica ) etc., The carnivores include Sloth bear ( Melursus ursius ), Hyaena ( Hyaena hyaena ), Fox ( Velpes bengalensis )etc. 

The elderly people of the village informed that during their child hood (about 60 years ago) the forest was much dense and even tigers roared in the forest occasionally preying upon the domesticated cattle and sheep of their village. During the mesolithic times, the whole Regonda region must have been a dense forest.

Water resources at the site are almost perennial, bearing water upto 9 months in a year. There is a perennial spring on the top of the hillock locally known as ‘potaraju chelama’. Near one rock shelter, in a rock crevice locally known as ‘chirutangandu kunta’ water is stored throughout the year. A seasonal stream loca lly known as ‘panduvula vagu’ contain water in small pools upto the month of March. In these water pools even today wild rice ( Zizania aquatica : Dussa vari ) grow between August – January

The Rock shelters and the rock art
As said before two rock shelters at the foot of the hill contain only traces of paintings and one of them ‘ongudu gunda’, besides traces of paintings in red colour, revealed microliths also. The tool typology of the microliths indicate their non-geometric nature. 

Rock shelter 3 (Eduru pandvula gundu)
This rock shelter is located at the top of the hill facing west and gives a commanding view of the plains below. It measures roughly 20 x 20 metres and provides a shaded area of about 2 m infront. No floor deposit occurs in this rock shelter as the floor is of sheet rock gently sloping outwards. This rock shelter is locally called as ‘edurupandavula gundu’ (facing pandavas rock), as it is located infront of the foot path from the village.

This is the most densely painted rock shelter at this site. About 50 painted figures and several faintly visible ones are noticed. All the paintings were done in red ochre of different shades.

The theme of the rock paintings consist of herbivores mostly deer species. Other animals like langur, tiger, porcupine, mangoose, boar and fish. Besides these, anthropomorphs, human figures, a peacock, a boar, indeterminate animals geometric figures etc. are also found.

On the basis of state of preservation and superimpositions two phases can be delineated from the red paintings of this rock shelter. At the many places dark brownish red deer figures overlap, light brownish red, faded deer figures. In some of the paintings the artist appears to have tried to replicate the nearby previous painted figures. The figure of a boar is very stylistically depicted with rectangular designs over the body in dark brownish red colour. Behind it a deer figure in light brownish red colour is also done with the same type of body design.

Langurs are shown realistically with long tails.

The human figures are shown in various postures, standing near the animals and in praying posture. A row of 15 human figures hand in hand between the legs of huge deer figure (105 cm x 50cm) in a group dancing posture is a very interesting composition and is the only one of its kind in the rock art of Telangana.

The peacock figure in finely depicted with all the body details. Although a peacock figure is found in the Kethavaram (16 0 43’N;78 0 1 2’E) paintings (Chandramouli 1986) also it is small in size devoid of bodily details as seen in this figure. The mangoose is also finely depicted close to a natural crack in the rock, which gives the visual impression to an observer that the mangoose is trying to hide below the rock. Fish figures in the paintings of this rock shelter are exclusive to this site. Although a fish figure is found in the Kethavaram rock art also, stylistically they are different and also are done in black colour. In the depiction of the fish also, the attempt of the artist to replicate the previous ones as in the case of deer figures, is visible.

The anthropomorphs have stylistic similarity with those at Chintakunta and Kethavaram (Chandramouli 2002).The geometric figures are a few and consist of triangular shaped lines one over the other and criss – cross patterns etc.

Rock shelter 4 (Janke mukku gundu : long nose rock)
This rock shelter is located on the top of the hillock in a narrow valley behind rock shelter 3; to its north east about 300 metres away facing west. The local name ‘Janke mukku gundu’ (long nose rock) is given to this rock shelter because of two natural deep holes in the rock wall which look like nostrils of the nose. There are only 4 deer figures and one human figure in this rock shelter. All of them are in dark brownish red colour, except one small dog figure, which is faded and light brownish red in colour. The deer figures are similar to those in rock shelter 4.

Rock shelter 5 (Mungisa gundu : mangoose rock)
This rock shelter is located to the north east of rock shelter 4 about 800 metres away facing north. This rock shelter gives a commanding view of the plains below. It is an ideal rock shelter giving a shaded area of 5 metres all around. But only two faintly visible painted figures are noticed. One looks like a mangoose (hence the local name to the rock shelter) and the other animal is depicted as if trying to catch the mangoose by its neck. Both the painted figures are light brownish red in colour.

Rock shelters 6 & 7 ( Pandavula gundu; Kunthi gundu )
These rock shelters (by which this site is known) are located in the southern portion of the hill about 1000 metres away from the rock shelter 3. The first one faces east and the second one south. In the pandavula gundu rock shelter traces of red colour paintings are visible.

However, it is famous in the surrounding villages for the fresco panel of historical paintings done in several colours on a lime mortor back ground. The villagers identify them as scenes of Mahabharata. But they are badly mutilated by fungus and also human vandalism. The kunthi gundu rock shelter on its southern face contain a series of negative hand prints in red colour.

There are more than 60 such hand prints. Besides these a 9 th – 10 th century AD label inscription
reading “Sri Utpatti pidugu” (Nagi reddy 1995) is also found. In side this deep and narrow came like rock shelter (one has to crawl on all four to reach the inner portion), two small stone sculptures of female deities are being worshipped even today. Several stone structures of historical times are found all around these rock shelters

https://www.academia.edu/29875866/Rock_art_of_Telangana_pdf

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Bheemuni Paadam Waterfalls

Bheemuni Paadam Waterfalls is situated in Seethanagaram Village, GUDUR Mandal, Mahabubabad in Telangana State, INDIA.

At a distance of 10 km from Gudur Bus Stand, 55 km from Warangal, 88 km from Khammam Bus Station and 200 km from Hyderabad, hidden inside a dense forest, is a picturesque waterfall known as Bheemuni Paadam (Bheema’s step)
The Bheemuni Padam waterfall came into limelight recently when determined tourists began making their way to it.

At the Bheemuni Padam, water falls from a hillock from about 20 feet in a semi-circular enclosure. Apart from the sound of falling water, it is quiet all around. It has has not been conclusively established where the water comes from. Even when the flow is less, it is used to irrigate local fields.

Visitors say the waterfall has lot of scope if facilities are provided and the tourism department markets the place. Lack of security is a concern since the area can get lonely.

This place is so beautiful. It is ideal for family picnics.

When sun rises and sets the water shines in rainbow colors which is an amazing sight. The water drops down from a height of about 70 ft to form a fool at the bottom. The flow of water is heavy in monsoon season. A cave beside the falls which is believed to be 10 km long is the other attraction here.

The approach road to the falls runs through thick forest and water streams. The waterfall is about 3 kms from Bhupathipet between Manoharabad and Narsmapet. While coming from Warangal, take left turn at Bhupathipet and reach the falls via Chinnayellapur.

Apart from the waterfall, there are several lakes nearby which can be visited as well. There are idols of Lord Shiva and Nagadevatha in a small enclosure near the falls where visitor perform poojas.

Best time to visit the waterfalls is during monsoons. Large number of tourists visit this place during weekends and on holidays.

A person named Yadava Raju get married with two women’s and raju blessed with a daughter for first wife. When Yadava Raju visited Papameda Gutha (Hills) her second wife planned to put an end to first wife and daughter.So she planned to build a house named as “LakhaMedha” with wooden sticks which can easily burns.  Pandava Legend goes that, Bheemasena set foot here to make way for water to to save her with daughter.

On the Foot of Lord Bheema the Water Get Flows and when sun rises and sets the water shines in rainbow colors which was most beautiful to capture it and never seen before.

The floating of water From Bheema Padam Connects and fills three lakes near by surrounding.

With the use of These Water from one side 2000 acres and from other side 500 acres of Agriculture lands will be cropped for every year.

Idols at Bheemuni paadam Waterfalls were lord shiva and nagadevatha where every visitor gets attracted by the architecture of idols which realize from many cause.

How to Travel

From Warangal to Narsampet its 59.5 km’s which can travel for 1hr 16 minutes.From Narsampet its Just 17 KMS’s, on the way at 14km take a cross at bhupathipet Village and travel for 2-3 km’s and you reach Kommula Vanch village.


Buses: Number of Busses at Warangal and Hanamkonda Bustands to Narsampet.

http://www.deccanchronicle.com/150824/nation-current-affairs/article/hidden-waterfall-warangal-forest

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Mylaram Caves

Mylaram Caves (Nallaguttalu) situated in Mylaram village, Ghanpur Mandal, Jayashankar Bhupalpally, Telangana discovered recently by is located 200 k.m from Hyderabad is a new jewel in Telangana Tourism, ideal spot for trekking and adventure.

In an important discovery, archaeologists have stumbled upon a treasure trove of ancient stalagmites and stalactites formations at Mylaram caves, 50 km from Warangal. Located in the north-south direction, the Mylaram guttalu are a new addition to the rich legacy of Telangana. These caves, numbering at least 10, are similar to Belum and Borra caves. They indeed have the potential to be developed as a mini tourist circuit as there are many caves, rock art sites, temples and lakes within a radius of 10 km.

Sharing his views on the findings, State archaeological consultant S S Rangacharyulu said, “The caves are located inside the hillocks. One has to climb and enter the caves through a very narrow passage and climb down at least 20 feet to reach the surface of the cave. As of now we have discovered 10 caves, in two hill ranges, which are spread across 5-10 metres making them the longest existing caves in both the Telugu States.


The caves consist of many chambers, passages and several formations which look like various living and non-living things. The caves could not be explored thoroughly due to darkness and presence of thousands of bats and bees.” Adding more, he said, “These caves seem to be significant from the geological and historical point of view. There is also a ruined stone fortified wall which is connected with the caves.


The initial stage of explorations state that there would have been human existence as there have been many other discoveries of Mesolithic artefacts and iron ore smeltings. The first person to discover the caves was a local lecturer named K Sadananda. Speaking to Metro India, he said, “There are many stalagmite and stalactites formations which are worth decoding as they represent various living and non-living creatures of earth.


It is a proud moment to the State, as till now there were only two popular cave explorations, namely Borra and Belum caves, but with these coming to limelight a new dimension has been added to the cave explorations.” “In fact, these caves must be recognised as one of the important tourist destinations in the State. The Tourism Department should develop the area and I am sure that these caves would attract millions of tourists as they are really splendid from inside,” he said.


The formations at Belum caves are very similar to that of Mylaram guttalu. Both the caves have stalagmite and stalactite, which are formed by flow of water for centuries. The Belum caves are home for several formations which look like Shiva Linga, Banyan tree, a saint’s bed and many more. The discovery at Mylaram guttalu is also on the similar lines and the caves are home to several formations like an old man, a huge tree, dolphins and folded saree pleats. There is also a Shiva Linga, similar to the one at Amarnath.

http://metroindia.com/cities/article/12/09/2015/mylaram-caves-new-addition-to-ts-tourism/14386

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Bhadrakali Temple

Bhadrakali Temple at Hanamkonda is significant Devi temple located on the hilltop between the twin cities of Hanamkonda and Warangal in Telangana. The temple is held in high esteem by devotees of the of Goddess Bhadrakali popularly called the ‘Grant Mother Goddess’. Remarkable feature of the temple is the square shaped stone image of the Goddess (2.7 X 2.7 meters). In the image goddess is seen in a sitting posture with fierce looking eyes and face. The Goddess can also be seen wearing a crown and having eight hands holding various weapons.

The Kohinoor diamond is believed to be originally installed as one of the eyes of the goddess by the Kakatiya kings.

High point of Bhadrakali Temple is an artificial lake of 2 ½ kms

radius in the vicinity of the temple. Number of natural rock formations in the surroundings add to the spiritual charm of the temple and are the most dominant feature of the temple. Some of the unique shaped rocks are said to carry immense spiritual powers. The structure of the temple is said to be 250 years old. Though the image of the deity is called the Bhadrakali, the goddess is said to have been transformed by the mantras into a very rare form called the Tripura Sundari, which includes the Kali form. Tripura Sundari is regarded as the supreme manifestation of Prakriti - the feminine power which is the vital energy of the universe. Literal meaning of Tripura Sundari is 'The Beauty of the Three Worlds' or more precisely the three Cites or 'Pura'.

India is blessed with deeply rooted culture and spirituality and there are eternal structures to narrate our glorious history. One such ancient construction that reveals our history is the Bhadrakali Temple in Warangal. The temple which is counted as one of the oldest temples of Indian History is dedicated to the worship the mother of goddesses, Kali Matha or Bhadrakali Ammavaru. Goddess Bhadrakali is a true example of the capability and strength of women. Surrounded by the lush greenery amidst the hilly region, the Bhadrakali Temple opens up to a picturesque setting on the banks of the Bhadrakali Lake. The serene surroundings of the temple work as an add-on and help the mind to relax and soothe the soul, while one gives away in obedience to the supreme power.

The history behind the temple dates back to 625AD. It is believed that the Chalukya King Pulekesi II after successfully bringing the Vengi region of Telangana under his dominion, constructed a magnificent temple dedicated to the mother goddess to celebrate his victory and also express his dedication and gratitude to goddess Bhadrakali for granting him his competence. We can see the style of the great Chalukya Dynasty in every bit of the temple, right from its architecture to the main deity, which displays the Ekanda Shila or single stone sculpture, which makes as the trademark style attributed to the Chalukyas. One can also observe the strong resemblance to the Kakatiya style of architecture in the temple, particularly the entrance gateways which are made of stone. One of the inner pillars of the temple has a Sanskrit inscription on it. That particular pillar is called the Antralaya stambam.


The lake was later built by Ganapathi deva, a minister of Kaktiya Dynasty. The lake serves as an integral part of the city, being the perennialwaterresourceandisconnectedtothe Maneru Dam via Kakatiya Canal. The lake is sur- rounded by hillocks and other religious spaces such as the padmakshi temples, hanuman temple etc. The temple and the lake prescient attract many pilgrims and tourists throughout the year.

Temple Timings: All Days of the Week


05:30 AM - 01:00 PM and 3:00 PM - 08:30 PM

http://www.telanganatourism.gov.in/dw-bhadrakali-temple.html

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