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<p>The journey of Kappari Kishan as an artist started when he was appreciated by his teacher in school for a flawless drawing, which was done as a part of the studies. 
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<p>The attention and applause that he received inspired him to pursue drawing and painting consistently and devotedly. His strong hold on the brush was soon apparent to his 
friends and they started requesting him to write political messages on the walls, he graciously accepted such work. 
Gradually, he got engaged in painting temple walls with images of Gods and Goddesses and also rendered a few portraits on commission basis. </p>

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            <p class="text-center">His love for painting beckoned him to concentrate his attention completely on his creative strengths. He decided to support himself through his artistic endeavours. A serene image of Buddha is composed along with the village women as worshippers. The rustic ethos is blended along with the divine radiance of the God. The long, plaited hairs of the damsels are rendered in details while the faces of the figures are unseen and initiate a sense of inquisitiveness in the viewers.</p>
            <div class="client-title text-center"><strong>Palak Dubey</strong><br>Artist and writer</div>
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            <p class="text-center">“Kishan’s preoccupation with young women with long plaits, “ This is the symbolic style of kappari ‘s work 
Long plaits typical of this region, becomes his trademark style focusing on the anonymous Telangana women and their peculiar activities. 
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            <div class="client-title text-center"><strong>Nagesh Goud</strong><br>Artist </div>
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            <p class="text-center">Kappari Kishan as an artist is hard working and proves that an artist can influence the society with his/her artworks. He showcases the traditions and beauty of the people and carry forward his cultural origin and nativities through his artworks.</p>
            <div class="client-title text-center"><strong>M.V. Ramana Reddy</strong><br>Eminent Artist, President, Hyderabad Art Society</div>
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            <p class="text-center">Kishan's preoccupation with young women with long plaits, typical of this region, becomes his trademark style focusing on the anonymous Telangana women 
            and their peculiar activities. He plays with the aspect of real and imaginary, spiritual and mischievous, camouflaging the pictorial space. He recreates an ambiance 
            and ambiguity by introducing a device that weaves a dual narrative. Usually, they are placed in a tricky way showing only their back with dark brunette hair adorned 
            with flowers and hair bands. 
            The figures, however, are the central characters as well as the viewers, who confront a picturesque backdrop, a painting within a painting.</p>
            <div class="client-title text-center"><strong>Anand Gadapa</strong><br>Artist/Art Critic</div>
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            <p class="text-center">Kappari Kishan introduces a marked degree of novelty in the contemporary representation of images focusing on Telangana. 
            The main protagonists, however, remain the same- ‘women’ and/or ‘girls’. He also tries to transcend regional concerns in a way when he incorporates 
            images of the Buddha in his works. The layout of the paintings often shows large human forms in the foreground, while the background serves as a 
            backdrop where the storyboard is elaborated to be read against and in relation to the images in the fore.  Image of the ‘Buddha’ appears in the work 
            of K.Kishan not by chance but by choice as he aspires for inner peace and harmony. Dhyani Buddha and Maha Parinirvana are some of the themes and 
            aspects of Buddha’s life that the artist incorporates at times in his paintings. 
            The association of Buddhism with the nature spirits, flora, and the fauna make their way in the artist’s works leading him in a spiritual quest.</p>
            <div class="client-title text-center"><strong>Dr. Rohini Ayengar</strong><br>Art Historian/Art Critic</div>
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