What do Hyderabad’s Rajiv Gandhi International Airport, the Hyderabad International Convention Centre (HICC), and Delhi Airport’s VIP lounge all have in common? They are all graced by magnificent fibreglass sculptures depicting the rustic Telangana woman, a signature creation of the celebrated artist Thota Vaikuntam.
These striking eight-foot fibreglass heads, brought to life with automotive paints by Vaikuntam, exude an incredible vibrancy. Each sculpture features a vivid red bottu (bindi) on a turmeric-kissed forehead, intricately crafted traditional jewelry, elaborate hairstyles, and expressive kohl-lined eyes. While the master artist conceptualizes these figures through his drawings, a dedicated team of artists in a Delhi workshop meticulously translates them into their imposing three-dimensional forms.
Raj Manohar Thota, the artist’s son, notes that these embellished heads transform any space into a vibrant cultural hub. While each exhibit presents subtle variations, they are all unmistakably recognizable as Vaikuntam’s iconic ‘Telangana woman.’
On a serene morning at Hyderabad’s Jayabheri Meadows, the 83-year-old artist, dressed in a grey kurta and lungi, sits comfortably on a rattan sofa, sporting a face mask. He shares, “My children constantly remind me to be cautious and wear a mask for my own good.”
Next to him, unfinished fibreglass sculptures — an eight-inch and a twelve-inch Telangana man and woman — lie awaiting completion. Gesturing towards them, Vaikuntam discusses his enduring artistic focus: the vibrant depiction of rural Telangana and its lively populace. “I have always stayed true to my people,” he remarks, adding, “though I also create sculptures of Ganesha and the Dancing Shiva, Nataraja.”
From Canvas to Sculpture: A Creative Evolution
Vaikuntam’s iconic paintings ventured into the sculptural realm thanks to a friend’s suggestion. Deeply engaged in this new creative process, he collaborated closely with sculptors, guiding them as they transformed his two-dimensional artistry into captivating three-dimensional works. He recounts, “Sometimes, my team needs a bit of explanation regarding the traditional details in my sketches. I’ll elaborate, explaining that netti ki shikha untadi, mallepoolu pettukuntaaru (meaning men wear a tuft of hair, and women adorn themselves with jasmine flowers).”
This year ushered in a fresh phase for his artistic endeavors, as public art installations began featuring his beloved muse — the rustic Telangana woman — reimagined solely as a sculptural head. “Another friend proposed focusing exclusively on the head,” he remembers. “I agreed. A full figure can only hold attention for so long, but a face… a face leaves a truly indelible impression. It’s what we always recall.”
The Padma Shri laureate frequently travels to Delhi to personally oversee his collaborations with the sculptors. “Art enthusiasts will glance at the work and exclaim, Yeh toh Vaikuntam ka head hai! (This sculptural head is by Vaikuntam),” he chuckles, a youthful delight in his voice. Despite embracing this new sculptural form, his artistic essence has remained steadfast for over four decades. He never perceived his chosen theme as repetitive; rather, continuous dedication allowed him to hone intricate details, solidify his unique niche, and forge an unmistakable artistic identity. “Establishing an identity in creative pursuits is no simple feat. Adi adrushtam (It’s a true blessing),” he reflects. “I never dreamed I would discover mine.”
He confesses that this profound realization about identity came to him later in his career. “My teacher, K.G. Subramanyan, once inquired about my artistic identity, and I was at a loss for words. I asked him how one even finds such a thing,” he remembers. Subramanyan then placed a simple flower pot on a table, instructing the class to observe it intently. He taught, “Everyone might draw the same flower pot, but what distinguishes your creation is your unique identity. Strive diligently to cultivate your own style — and once it’s discovered, fiercely protect it.”
Capturing the Soul of Rural Telangana through Color
Hailing from Boorugapalli in the Karimnagar district of Telangana (which was then part of undivided Andhra Pradesh), Vaikuntam discovered his artistic soul deeply intertwined with his village and its inhabitants. With vibrant colors and distinctive forms, he has consistently celebrated the heart and spirit of rural Telangana.
As the discussion shifts to Hyderabad’s evolving art scene, the octogenarian artist’s face brightens, particularly when he speaks of younger artists and their unique styles. “During my early days, the concept of selling art in Hyderabad was unimaginable. There were no curators; we literally built the scene from the ground up,” he explains. He attributes much of the city’s artistic awakening to his late contemporary and dear friend, Surya Prakash. “Surya Prakash organized exhibitions, camps, and workshops that truly ignited the art movement here. It’s a profound sadness that he is no longer with us.”
In the mid-1980s, Vaikuntam expertly balanced his dual roles as a dedicated artist and an art teacher at Jawahar Bal Bhavan, often dedicating twelve hours a day to his craft. “I was completely absorbed in art,” he recalls. “Every morning, my first action was to draw, then pack my meal, and head for the bus. I never learned to drive myself, but once my children were old enough, they graciously became my chauffeurs, taking me wherever I needed to go.”
Despite his remarkable legacy, he emphasizes that he never pressured his children or grandchildren to pursue art professionally. “They appreciate art, but they’ve chosen different paths, and I never imposed my expectations on them. Today’s youth have so many avenues open to them; they can truly excel in any field they choose,” he states with a serene sense of satisfaction.
Currently, Vaikuntam remains dedicated to his paper drawings. Reflecting on his extraordinary journey, his words are imbued with a deep sense of accomplishment. “My only desire was for people in Hyderabad to know my name and for my art to find a place in their homes. Yet, today, my work is recognized in Mumbai, Delhi, and even internationally. This success unfolded organically; my passion for art deepened over time. The economic liberalization under former Prime Minister P.V. Narasimha Rao in 1991 sparked a wider interest in art. Collectors who previously focused exclusively on masters like M.F. Husain saab or S.H. Raza began discovering regional artists, which provided a significant boost to our community.”