He made an imprint for introducing folklore and rural traditions of art into Indian modern art. His paintings speak of men and women of varied communities characteristic of Telangana villages.
He developed a style that is a unique blend of Nakashi and other folk art forms. The result is unforgettable colour enriching life of rural folk, Vaddera women, Yellamma Jogi, fishermen, potters, toddy tappers, basket weavers, or fortune tellers or festive mood of Kolatam, vasantha keli. His paintings are a magical interplay of primary colours.
Before making my post ready, I searched for Batakamma and Rajaiah on the net and found the above write up as a part of a post in a blog.
I was bringing a series of paintings with autographs of celebrities on them.
I am not breaking the thread here also.
Here is a painting of Sri Kapu Rajaiah published in the souvenir of World Telugu Conference.
Interestingly Rajaiah Garu personally gave me his portfolio in 1993.
I kept it as a very precious possession of mine, all these days.
Just like classical muisc I kept, these paintings also have gained value over time.
I am happy that I am able to share these art pieces with the world after such a long time.
Rajaiah garu, being from Telangana must have made this theme dearer to his heart.
There is a lot to be shared here from and about his work.
Keep watching this spacefor more paintings, sketches and a write up by none other than ASRaman, the celebrated art critic and Editor of The Illustrated Weekly of India.