Dr Sivanagi Reddy traces India’s heritage through archaeology, temple conservation and inscriptions
Interview with Dr. Emani Sivanagi Reddy: Indian Heritage, Archaeology, and Historic Milestones
When we think of Indian heritage, one of the first names that comes to mind is Dr. Emani Sivanagi Reddy. He is an esteemed archaeologist, historian, and traditional architect (Sthapati) who has dedicated over four decades to researching, restoring, and preserving India’s cultural heritage. Having played a pivotal role in the reconstruction and conservation of hundreds of ancient temples, and having authored numerous historical books, Dr. Reddy is a recipient of prestigious awards like the ‘Kalaratna’ and ‘Vastu Shilpa Vachaspati’.
In this comprehensive interview, Dr. Reddy shares his profound insights into the difference between book-learned history and the thrill of field discoveries, his remarkable excavations of ancient burials and Buddhist sites, the architectural marvels of South Indian temples, the true origins of the Koh-i-Noor diamond, and the administrative reforms needed to safeguard our historical monuments for future generations.
Host: Namaste Sir, welcome to Telugu Post.
Dr. Sivanagi Reddy: Namaskaram to you, and greetings to all the viewers of Telugu Post.
Host: Sir, looking at you is like seeing a walking history book, and speaking with you feels like history is flowing to us like a treasure. In your career, you have participated in temple construction, archaeological excavations, and restorations. You also possess immense knowledge of sculpture. While we read about history in books, you have experienced it practically. How big is the difference between the way we view history and the way you understand it?
Dr. Sivanagi Reddy: There is a very big difference. Why is that? Because when we study history as students or for anyone who is not in the field of archaeology it is mostly about reading textual accounts. For example, when we learn about Emperor Ashoka’s administration in school, we read that he planted trees, undertook welfare programs, established hospitals for animals, and cultivated medicinal herbs. But we don’t feel it directly as a tangible reality.
In archaeology, we find the physical inscriptions and material evidence, which are later synthesized into historical data and presented as lessons in textbooks. This is essential because teaching children about their country and nation from a young age builds their identity, which is very important.
For instance, when I travel elsewhere and say I am Sivanagi Reddy from Telangana or Andhra Pradesh, my identity is viewed through the lens of that land. Similarly, when we read about Emperor Ashoka, we must understand he was not just a regional ruler like today’s chief ministers of divided states. He ruled over a vast territory known as Jambudvipa. He was an Emperor Samrat Ashoka under whose suzerainty smaller regional kings operated. When we learn about his welfare programs, it inspires us to achieve something great. That is the motivational power of history.
We also learn about his transformation after the Kalinga War. The war resulted in hundreds of thousands of deaths, severe injuries, and profound grief. Seeing the widespread suffering on the battlefield, Ashoka realized that the joy of conquering a territory was meaningless in the face of such human tragedy. He felt deep remorse, renounced violence, and embraced Buddhism. From his life, we learn two vital lessons: what to do (rule with compassion and welfare like Ashoka) and what not to do (wage war and cause devastation).
In our archaeological field excavations, we uncover material remains of the Indus Valley Civilisation, the Satavahanas, the Ikshvakus, and the Vishnukundinas. As we excavate, we discover crude stone axes from the Palaeolithic Age, microlithic tools from the Mesolithic Age, and highly polished stone axes from the Neolithic Age. Then came the Metal Ages, which brought revolutionary changes to human life by introducing efficient tools and saving time. This represents the evolutionary timeline of human progress.
History is the essence of past experiences. It is not just about wars; it reveals the lifestyle, the artistic standard, the craftsmanship, and the healthy competition of the past. In ancient times, the competition among artisans was not cut-throat; it was driven by a spirit of creative excellence. An artisan would strive to create a sculpture so exquisite that it would amaze and inspire their peers.
Consider ancient pottery. Today, we use modern plastics like Tupperware or stainless steel. But in ancient times, clay pottery was the norm. Clay pottery began in the Neolithic Age, and by the Iron Age, artisans were producing highly polished Red Ware, Black Ware, and Black-and-Red Ware. Even today, traditional potters exist along our roadsides, but their pottery often lacks the artistic elegance and durability that would make us want to display it as art in our modern homes. This shows how professional craftsmanship has declined.
Similarly, we can examine ancient ornaments. Near Hyderabad, there is an archaeological site called Kondapur, which was a major Satavahana settlement and once a capital where King Hala ruled. His famous ministers, Gunadhya and Sarvavarma, also lived there. In 1941, excavations across this 100-acre site revealed a fortified town surrounded by a deep moat, containing Buddhist structures, royal palaces, and residential quarters.
The excavations at Kondapur yielded truckloads of beads of hundreds of different varieties and designs. These exquisite beads are now preserved in the Telangana State Archaeology Museum. In the 1st century AD, contemporary sculptors depicted these ornaments, clothing styles, and hairstyles in their carvings at sites like Amaravati and Phanigiri.
When we conduct excavations, removing layers of soil one by one, the discovery of these physical remains—such as ten types of beads, unique ornaments, ancient coins, plaster figurines, and terracotta toys—is incredibly thrilling. It brings book-learned history to life. For example, we read about the famous play Mrichchhakatika (The Little Clay Cart) written by Sudraka, but during our excavations at Kondapur, we discovered actual terracotta toy carts used by children 2,000 years ago!
When we find these objects, such as copper antimony rods used for applying kohl (eyeliner), we don’t think about textbooks; we feel as though we have traveled back in time to the Satavahana era. Grounding our historical accounts in these tangible archaeological discoveries makes the narrative far more engaging, authentic, and scientific.
Host: You have made numerous discoveries throughout your career. What was the biggest thrill that you will never forget?
Dr. Sivanagi Reddy: There are many such thrilling moments. I must express my gratitude to Dr. V. V. Krishna Sastry, who invited me to join the Department of Archaeology when I was working as a Sthapati in the Endowments Department. He encouraged me to pursue an MA in Archaeology at Osmania University.
He pointed out that while my training as a Sthapati focused on the structural restoration, renovation, and transplantation of temples (moving temples to higher ground to save them from submergence under dams), joining the Archaeology Department required mastering scientific dating methods and analyzing monuments holistically.
He taught us that we should never inspect a monument or a temple mechanically. He advised: “Go to a temple, offer your prayers, but when you step out, walk around the structure. Examine its architectural plan, its elevation, and its unique features. Find out who built it, where the stone was quarried, and how the blocks were jointed. Analyze the iconography of the sculptures.”
At Alampur, for example, there is a magnificent sculpture of Lingodbhava Murti representing the Puranic myth where Shiva emerges as an infinite pillar of light, challenging the egos of Brahma (who flies up as a wild gander) and Vishnu (who digs down as a wild boar) to find his beginning and end. Seeing this narrative carved so vividly on the temple wall brings the ancient epics to life for the devotees. This kind of systematic observation leads to deep study, which in turn fuels rigorous research and comprehensive historical understanding.
When we dismantle a temple’s stone roof for restoration, we get to see engineering features that are invisible to the public. We observe how the massive stone slabs were interlocked, the iron clamps and dowels used to hold the stones together, and the perfect jointing—known as Sandhi Bandhanam—where the stones are carved so precisely that not even a single human hair can fit between them.
We also study the engineering of the Somasutra (the water conduit designed to drain the liquids used for consecrating the deity). These conduits are beautifully designed, often terminating on the exterior wall as a Makara (mythical crocodile) or a Gomukha (cow’s face).
During the transplantation of the ancient Somasila temples in Mahabubnagar district—where we carefully dismantled and relocated the structures under the guidance of Dr. Krishna Sastry to save them from the backwaters of the Srisailam Project—we excavated the foundations. Five feet below the temple’s foundation, we discovered a prehistoric Iron Age burial!
At another temple site, we excavated a brick structure belonging to the Vishnukundina period, and beneath that, we found Satavahana-era bricks and pottery. To an archaeologist, a single handmade clay bead retrieved from these deep layers is more valuable than a diamond. A diamond is modern, but that clay bead is a 2,000-year-old artifact crafted by a human being.
During excavations at Chinna Marur and Jatprole, we excavated ancient megalithic burials. In one grave, we found a double burial of a man and a woman. The female skeleton had a copper anklet (kadiyam) intact on her leg, buried alongside her. This shows their belief in the afterlife—that she would need her beloved ornaments in her journey beyond.
At another site in Karapakula near Wanaparthy, we excavated a ancient copper bell. It was likely tied to a pet hunting dog or a bull, reflecting the deep emotional bond between the owner and their animal.
At Serupally near Alampur, while excavating an Iron Age settlement near the Krishna River, we uncovered the layout of an ancient circular hut. Interestingly, the hearth (cooking stove) was located in the southeast corner of the hut. Today, traditional Indian vastu principles dictate that the kitchen should be placed in the southeast (Agneya) corner. Finding this spatial layout in a 2,000-year-old Iron Age hut was a fascinating revelation!
Furthermore, the floor of the hut was paved with flat limestone slabs (Naparallu) to act as a damp-proof barrier against moisture from the ground. This practical engineering aspect inspired my PhD dissertation on ‘Architectural and Technological Aspects of Ancient Andhra’, where I researched how ancient builders constructed roads, bridges, forts, and temples.
At Keesaragutta, located 32 km from Hyderabad, excavations conducted between 1978 and 1984 revealed a major Vishnukundina fortress and capital. We excavated a massive fortification wall, a royal palace complex with a sophisticated drainage system, residential quarters for royal attendants, and a row of five brick temples.
We also found a realistic terracotta Shiva Linga and a small stone Nandi used for domestic worship, along with unique terracotta figurines of the Mother Goddess (Mother Goddess/Renuka Yellamma). One figurine depicts the goddess holding Lord Narasimha (representing Vaishnavism) on one side and a Shiva Linga (representing Saivism) on the other, with a sacred lotus in place of her head. This composite icon carried a powerful message of religious harmony, urging the contemporary society to live in peace and mutual respect. Such discoveries provide unparalleled joy to an archaeologist.
Host: You have executed several temple conservation and restoration projects. From a technical standpoint, which temples did you find most challenging? How did you preserve the ‘soul’ of these historical monuments during their transplantation near the Srisailam submergence zone?
Dr. Sivanagi Reddy: Temple transplantation involves a meticulous process. First, we comprehensively document the entire structure through measured drawings and photographs. Then, each stone block is numbered systematically. Following the architectural and structural guidelines laid out in our ancient texts (Silpa Sastras), we carefully dismantle the temple. The stone blocks are transported to higher ground, ensuring that their decorated margins and delicate carvings do not chip, and are then reconstructed.
At Somasila, the temples had been neglected for centuries. They were filled with silt and debris up to chest height, and infested with snakes and bats. These temples spanned different historical eras, representing the Chalukyas, Rashtrakutas, Kalyani Chalukyas, Kakatiyas, and the Vijayanagara Empire, as recorded in 12 distinct inscriptions.
When we began reconstructing these dismantled temples, we faced two major technical challenges:
Flooring Levels: The floor levels of the Garbhagriha (sanctum), Arthamandapa (antechamber), and Mahamandapa (grand hall) have slight variations, with elevated thresholds (gadapa). If we do not prepare precise profile drawings before dismantling, the door frames and the heavy stone lintels (lintels) will not align properly during reconstruction, leaving structural gaps. In conservation, we cannot chip or alter the ancient stones, nor can we use modern cement to fill gaps. Thus, when misalignments occurred, we had to dismantle the blocks again, lower them, and reconstruct them from the foundation.
Roof Alignment: The ancient roof slabs are often irregularly shaped as they were custom-fitted by the original builders. During reconstruction, fitting them back perfectly is a challenge, and some slabs may have become brittle over time. In a few unavoidable cases, with official permission, we replaced brittle slabs with newly quarried stone of the same type.
We also learned a great deal from the engineering techniques of the original builders, such as their use of ‘Z-shaped’ interlocking header-and-stretcher stone blocks that securely bonded the inner and outer faces of the temple walls.
Host: On temple pillars, we often see sculptures of a mythical creature called ‘Vyala’ or ‘Yali’, sometimes referred to as the Indian Dragon. When I visited Hampi, a guide told me that Chinese and Indian merchants traded there, and as a symbol of their friendship, the sculptors combined the Chinese Dragon with the Indian Lion to create the Yali. How historically accurate is this?
Dr. Sivanagi Reddy: While there was mutual cultural exchange—evident from the Scythian, Roman, and Chinese artistic influences found at Nagarjunakonda, and a 3rd-century inscription mentioning trade with 14 foreign lands including Chini (China) and Romaka (Rome)—the guide’s explanation of the Yali is a creative exaggeration.
In Indian Silpa Sastras, the Vyala or Yali is a deeply rooted mythical creature. While the word Vyala traditionally refers to a serpent, in temple architecture, it is a composite, multi-element beast (mythical animal) representing primordial energy.
A standard Yali sculpture combines the powerful body and limbs of a lion, the trunk of an elephant (Gaja-Vyala), the predatory snout of a Makara (mythical crocodile), and sometimes a serpent emerging from its mouth. It is an artistic representation of nature’s formidable forces, showcasing the sculptor’s imagination.
These Yali pillars are highly prominent in the grand temple complexes of Tamil Nadu and southern Karnataka, such as in Madurai, Srirangam, Chidambaram, Suchindram, and Hampi. They were carved on the exterior pillars of pavilions to captivate viewers.
At the Varadaraja Perumal Temple in Kanchipuram and the Jalakanteswara Temple in Vellore, the pillars depict life-sized, rearing horses with warriors battling enemies, trampling elephants and lions. It is a masterpiece of dynamic action carved out of single blocks of stone. The Chinese dragon has a very distinct facial structure, fangs, and a serpentine body, which is fundamentally different from the Indian Yali.
Host: At Hampi, we also see sculptures of lions with a loose stone ball inside their open mouths. What was the technology behind carving that?
Dr. Sivanagi Reddy: That is purely a demonstration of extraordinary human skill and patience, rather than complex technology.
To carve it, the sculptor first prepares a solid stone block and marks the center lines for the lion’s head, eyes, cheeks, jaws, and snout. When carving the open mouth, the sculptor leaves a solid spherical mass of stone inside.
Using extremely fine, long-necked chisels and working through the narrow gaps between the carved teeth, the sculptor gradually chips away at the base of the inner stone sphere. Once the sphere is completely detached from the jaws, it becomes a loose ball that can roll and rotate freely inside the mouth, but is too large to pass through the teeth. It is a testament to the master craftsman’s precision.
Host: Speaking of Amaravati, the current generation mostly knows it as a modern capital city. However, historically, Amaravati was one of Asia’s greatest heritage sites. As a historian, what factors contributed to Amaravati’s historic prominence?
Dr. Sivanagi Reddy: During the tenure of Chief Minister N. Chandrababu Naidu, I was appointed as a member of the expert committee on Amaravati’s heritage. In our research, we documented that the history of Amaravati goes back to prehistoric times, with Palaeolithic, Mesolithic, Neolithic, and Iron Age archaeological remains discovered beneath the great Stupa.
The monument itself originated during the Mauryan period in the 3rd century BC, featuring large stone blocks with the characteristic Mauryan polish, and supported by a stone inscription of Emperor Ashoka.
After the Mauryans, the Sada dynasty ruled the region, followed by the Satavahanas. Under the Satavahanas, the Maha Chaitya (Great Stupa) of Amaravati was expanded, raised in height, and decorated with magnificent white limestone relief carvings. Historians consider the Amaravati School of Art to be the absolute zenith of Indian sculptural art, distinct from the contemporary Mathura and Gandhara schools.
While Gandhara art was heavily influenced by Greco-Roman styles—depicting Buddha with a mustache, sandals, and wavy hair—and Mathura art under the Kushanas was localized and relatively rigid, the Amaravati style was incredibly fluid. It featured three-dimensional plastic relief, isometric perspectives, and highly sophisticated compositions that captured movement and emotion flawlessly.
While popular local legends claim that Gautama Buddha physically visited Amaravati and preached the Kalachakra Mulatantra, historical evidence shows that Buddha never traveled south of Bodhgaya. However, the great Buddhist philosopher Acharya Nagarjuna lived here, renovated the Stupa, and wrote his core treatises. His chief disciple, Aryadeva, also studied here. The Chinese pilgrim Xuanzang visited the city, then known as Dhanyakataka, in the 7th century AD and left a detailed description of its monasteries.
By the 9th century AD, the Amareswara Temple was constructed, transforming the site into a major Saivite pilgrimage center. Prior to this, it was a globally renowned center for Theravada, Mahayana, and Vajrayana Buddhism, yielding several bronze icons of tantric deities and sacred relic caskets containing the bone relics of Buddha.
Amaravati was a bustling port city, a major commercial market, a center of higher education, and a training ground for princes—corroborated by the discovery of an ancient seal bearing the legend ‘Raja Kumariya Sammaliya’.
It was the capital of the great Satavahana emperor Gautami-putra Satakarni, who held the titles of ‘Trisamudratoyapitavahanasya’ (whose horses drank the waters of three seas) and ‘Dakshinapathesvara’ (Lord of the South).
The city, known across eras as Dhamakada, Dhanyakataka, and Dharanikota, was named Amaravati around 1796-97 AD. Given this unparalleled heritage, the capital of Andhra Pradesh was named Amaravati, and our committee recommended incorporating these classical architectural motifs into the design of the modern capital complex.
Host: We often hear that the Amaravati School of Art heavily influenced the art of Sri Lanka and Southeast Asia. Is there concrete historical evidence of this?
Dr. Sivanagi Reddy: Yes, there is abundant evidence. At Anuradhapura, the ancient capital of Sri Lanka, the local museum houses several Buddha sculptures carved from the distinct greenish-white limestone of the Palnad region (Andhra Pradesh), which were exported from Amaravati in ancient times.
At Nagarjunakonda, we excavated the ‘Simhala Vihara’—a monastery built in the 3rd century AD by a wealthy lay devotee named Bodhisiri specifically to accommodate Buddhist monks visiting from Sri Lanka (Simhala). Furthermore, the design of the massive Jetavanaramaya Stupa in Anuradhapura was directly inspired by the Amaravati Stupa.
Amaravati-style Buddhist bronzes and stone sculptures have been discovered in Tamil Nadu (at Nagapattinam and Kanchipuram) and across Southeast Asia (including Thailand, Indonesia, and Vietnam), transported via ancient maritime trade routes across the Bay of Bengal.
There were also close matrimonial alliances; the Satavahana king Hala married princess Lilavati of Sri Lanka 2,000 years ago. There is also a strong tradition that Prince Vijaya sailed from Simhapura (modern Srikakulam district in Andhra Pradesh) to Sri Lanka and established the Sinhalese kingdom.
The ancient master sculptors who carved these limestone masterpieces were referred to in Prakrit inscriptions as ‘Silakamma’ (stone-workers/artisans, derived from Sanskrit Shilpakarman, which has no connection to the modern Kamma community).
In historical inscriptions, the region itself is referred to as ‘Kammanka Ratta’, ‘Kammaratta’, or ‘Karmarashtra’. The name ‘Kammanka Ratta’ translates to ‘the province of artisans’ (Kammika being the Prakrit word for artisan). This region was populated by guilds of professional sculptors who continuously produced Buddhist icons and Jataka plaques, giving the land its historical name, which later Sanskritized into Karmarashtra.
Host: The Undavalli Caves are a subject of constant historical debate. Some claim that Undavalli was originally a Buddhist monastery that was later converted into a Hindu temple dedicated to Anantha Padmanabha Swamy. Is this a misconception, or is there historical evidence?
Dr. Sivanagi Reddy: It is a well-established historical fact. Just like the Akkanna Madanna Caves in Vijayawada and the rock-cut caves of Mogalarajapuram, the Undavalli Caves were originally excavated during the Satavahana period as Buddhist rock-cut caves (Vasa Caves).
During the monsoon season, Buddhist monks (bhikkhus) were prohibited from traveling; they stayed in these caves, meditated, compiled Buddhist texts, prepared herbal medicines, and offered spiritual guidance to local families, all while overlooking the scenic Krishna River.
During the Vishnukundina reign (around the 6th century AD), as Buddhism began to decline and Vedic Hinduism experienced a major revival, these caves were systematically renovated into Hindu cave temples.
The pillars were carved with relief sculptures of Lord Hanuman, Sita in Ashokavana, Kaliyamardana Krishna, and the sage Narada (which is the earliest known representation of Narada in Telugu art).
Such structural and religious transitions are common throughout history. For instance, Patancheru near Hyderabad was once home to 500 Jain monasteries (basadis) during the Kalyani Chalukya period, but during the subsequent Kakatiya era, it transitioned into a major Saivite center.
From the 6th century AD onward, Undavalli functioned entirely as a Vedic temple. During the Reddy dynasty under Anavema Reddy, land grants were officially registered and engraved on copper plates to support the daily rituals of the Anantha Padmanabha Swamy Temple.
As historians and archaeologists, we study these transitions objectively based on material evidence, without taking religious sides or hurt public sentiments.
Host: Telangana also boasts significant Buddhist heritage sites like Phanigiri and Nelakondapalli. Why did these sites not receive the same level of global prominence as the coastal Buddhist sites?
Dr. Sivanagi Reddy: Historically, there was a perception that the Buddhist sites in the coastal region received greater scholarly attention, development funds, and tourism promotion.
Nelakondapalli, for example, is home to a massive brick stupa and nine expansive monasteries (viharas), but because it was located away from the major state highways, it remained neglected.
Phanigiri possesses some of the most extraordinary limestone carvings representing the absolute pinnacle of the Amaravati style. However, after the initial excavations in 1941, systematic work only resumed in 2001.
With the formation of Telangana, this imbalance is being actively corrected. Over the last 12 years, the government has focused heavily on developing a dedicated Buddhist Tourism Circuit. Sites like Phanigiri, Nelakondapalli, Dhulikatta, and the grand Buddhavanam project at Nagarjunasagar are receiving substantial development funds and are finally gaining global recognition.
Host: Have you researched Khammam Fort (Khammam Khilla)? Khammam is my hometown, and I remember visiting the fort and seeing historic war cannons scattered on the ground without proper maintenance. There is also a popular local legend that a secret underground tunnel connects Khammam Fort directly to Warangal Fort…
Dr. Sivanagi Reddy: Khammam Fort has an illustrious history. Inscriptions state that the Vijayanagara emperor Krishnadevaraya captured the fort in 1516 AD from the Gajapatis of Odisha.
Before that, it was controlled by a powerful local ruler named Sitapati, who took the title of Sitap Khan after aligning with the Qutb Shahi rulers and the Delhi Sultanate. Sitap Khan remodeled the fort, incorporating Islamic architectural styles into the gateways, security bastions, stepwells, and residential chambers.
The fort is historically referred to as ‘Khammam Met’ (Met meaning hill). While it is true that the fort suffered from administrative neglect in the past, with garbage accumulation and overgrown weeds, the local municipal corporation and the Archaeology Department have recently undertaken restoration works. The grand stepwell has been cleaned, structural cracks in the stone walls have been repaired, and it is being actively promoted as a heritage tourism destination.
Regarding the popular legend of a secret tunnel connecting Khammam Fort to Warangal Fort: this is a complete physical and geological impossibility. Warangal is located over 100 kilometers away. Such stories are creative folklore and have no basis in historical or engineering reality.
Host: Paritala and Kollur along the Krishna River are historically famous for diamond mining. It is widely believed that the world-famous Koh-i-Noor diamond was mined at Kollur during the Kakatiya period. How did they mine diamonds in those days?
Dr. Sivanagi Reddy: In those days, they did not employ deep-shaft mining technology. Instead, they tilled and washed the diamond-rich gravel (diamond sands) along the banks of the Krishna River.
Heavy monsoon rains would wash away the topsoil, exposing the diamonds. Even today, local villagers search the tilled fields of Vajrakarur (Anantapur district) and Kollur after monsoon rains to find diamonds.
Historically, this entire river basin was renowned for its rich gravel beds. The Nizam of Hyderabad deliberately retained control of the Paritala region and did not cede it to the British precisely because of its high-yielding diamond mines.
The Koh-i-Noor diamond was indeed found in the Kollur mines. It came into the possession of the Kakatiya kings, and was later seized by the Delhi Sultanate, the Qutb Shahis, the Mughal emperors, the Persian invader Nadir Shah, and eventually Maharaja Ranjit Singh of Lahore. Following the British annexation of Punjab, it was presented to the Queen of England.
All diamonds mined in this fertile belt were traded at the Golconda market, which is why high-quality diamonds globally became known as ‘Golconda Diamonds.’ European travelers like Al-Biruni and Jean-Baptiste Tavernier wrote extensively about the high clarity, size, and carat weight of the diamonds traded here.
Host: The Ramappa Temple recently secured the prestigious UNESCO World Heritage status. Are there other Kakatiya-era monuments that deserve this global recognition?
Dr. Sivanagi Reddy: To secure UNESCO World Heritage status, a monument must satisfy rigorous criteria, primarily demonstrating ‘Outstanding Universal Value’ (OUV) in terms of artistic, architectural, or historical engineering.
While Ramappa Temple won the status due to its unique floating bricks, sandbox foundation technology, and exquisite black basalt carvings, other monuments like the Thousand Pillar Temple in Hanumakonda (built in 1163 AD) and the Warangal Fort are equally deserving.
The group of temples at Alampur in Telangana possess all the historical and architectural merits for UNESCO status. However, to qualify, we must remove local encroachments, dismantle modern additions, and restore the surroundings to match their original heritage context.
Similarly, the Charminar, the Qutb Shahi Tombs, and Golconda Fort have been on the UNESCO tentative list since 2008. The main hurdle in securing final enlistment is ‘visual pollution’—such as hundreds of overhead electrical wires crisscrossing the Charminar, large commercial signboards (visual pollution), and inadequate drainage. If the government streamlines the infrastructure, removes these visual blockages, and presents a clean view to tourists, these monuments will easily win UNESCO status.
Host: Which ancient dynasty do you believe has exerted the most profound and lasting influence on modern Telugu culture and civilization?
Dr. Sivanagi Reddy: Cultural evolution is a continuous process. Just as a child’s personality is shaped by their primary school teacher, then their high school teachers, college lecturers, and university professors, a society is shaped by the successive reigns of different dynasties.
During the Satavahana period, the region experienced a unified, cohesive culture. Following their decline, the land was fragmented into smaller principalities until the Vishnukundinas, Badami Chalukyas, Rashtrakutas, and Kalyani Chalukyas ruled.
However, it was the Kakatiya Dynasty that truly reunited the Telugu-speaking regions after centuries of fragmentation. They achieved political unification and fostered a shared cultural and linguistic identity.
The Kakatiyas introduced revolutionary irrigation systems by constructing interconnected chain-of-tanks (lakes like Ramappa, Pakhal, and Laknavaram), which transformed dry-land farming, bolstered trade, and elevated agricultural prosperity. They also organized and patronized professional guilds, giving dignity of labor to all communities.
Later, during the Qutb Shahi and Nizam periods, Persian and Urdu influences integrated into the local culture, especially in Telangana, creating a unique composite culture (Ganga-Jamuni tehzeeb). Culture is an ongoing journey of adaptation, and every major dynasty has left its indelible mark on our identity.
Host: Every ancient monument has local legends, myths, or even superstitions associated with it. As a scientific archaeologist, how do you draw the line between public faith and historical evidence?
Dr. Sivanagi Reddy: We prioritize and respect public faith and beliefs because they keep the monument alive. A historical site can simultaneously be a protected monument and an active center of worship—known as a ‘live temple’—such as the Thousand Pillar Temple (built in 1163 AD).
While the Archaeological Survey focuses on conserving the physical structure without altering its historical integrity, the Endowments Department manages the daily rituals and festivals in accordance with the Agama Sastras. Public faith and scientific preservation run parallel, coexisting harmoniously.
Host: Inscriptions are vital for reconstructing history. In your career, which inscription discoveries made you realize how much of our history would have been lost without them?
Dr. Sivanagi Reddy: Inscriptions are the very backbone of historical writing. Without them, we would be left with mere legends.
For example, at Nagarjunakonda, the discovery of an inscription belonging to the Satavahana king Vijaya Satakarni proved conclusively that the site was a thriving Buddhist hub long before the Ikshvakus established their capital Vijayapuri there.
The famous Bayyaram Tank Inscription in Khammam, engraved by Bayyamba (the sister of Kakatiya King Ganapati Deva), provides an unbroken, chronological genealogy of the Kakatiya rulers. This invaluable record enabled legendary historian Parabrahma Sastry to reconstruct the Kakatiya family tree and resolve major historical gaps.
Similarly, the copper plate inscription of Pulakeshin II discovered in Begum Bazar, Hyderabad, proved that the Chalukyas had conquered this region by 612 AD.
Inscriptions also helped us understand that the royal title ‘Raya Gaja Kesari’ (Lion to the Elephant-like Enemies) was not unique to Queen Rudrama Devi, but was shared by three successive Kakatiya rulers Ganapati Deva, Rudrama Devi, and Prataparudra.
Inscriptions also reveal that inter-caste marriages occurred among royal families during those times, shattering modern myths about historical social rigidity.
Host: With over four decades of experience in the archaeological department, what administrative reforms would you suggest for the preservation of our heritage?
Dr. Sivanagi Reddy: I would suggest five key reforms:
Decentralization of Authority: Currently, district-level officers must seek approval from the head office in Hyderabad for minor decisions. They should be granted the autonomy to announce new discoveries to the press immediately and execute emergency structural repairs on endangered monuments before they collapse.
Simplification of Rules: We must make monuments visitor-friendly. For instance, tourists are often barred from taking photographs and told to obtain written permission from the head office. Photography is a powerful tool for free publicity; we should encourage visitors to take photos and share our heritage with the world.
Rotating Museum Exhibits: Thousands of extraordinary antiquities and coins lie hidden in museum stores. We should curate themed exhibitions such as showcasing Satavahana coins for one week, ancient jewelry the next, and rare copper plates another week to keep the public engaged.
Staffing and Maintenance: Many of our protected monuments lack caretakers. As a result, they are overgrown with weeds and vandalized. We must recruit dedicated staff to maintain the cleanliness and security of these sites.
Corporate and Public Collaboration: The government alone cannot protect every monument. We must invite corporate entities to invest their CSR (Corporate Social Responsibility) funds into heritage preservation. We must foster a collective consciousness: “This monument belongs to all of us; it is a symbol of our shared identity.”
