Tag Archives: Shakti

Dear Modern Girls

The following Post was composed by £avanya garu. You can follow her on Twitter.


Dear Modern Girls,

You are a Princess of your DAD
Love of your MOM
and trust of your Brother & Sister
But don’t leave all these amazing roles of your life for the sake of entertaining people in society and on social media.

Do you know that due to biological clock we girls have very little time to prove ourselves as young adults. Unlike guys, we have a span of 5 years hardly. This is the time between 18-25 max you are going to choose how you want to be throughout your life. Please bear with me, but as a young woman, have to say this: Today, technology ruined many intellectual youngsters making them addicted to their smartphones and social media and socializing.

Always remember that you are very lucky to born in a society where everything is modern and top of the line whereas our parents didn’t have many facilities to plan their careers. Choose career wisely, utilize the limited time to design your life (and what will really be important in your life) instead of just copying what is popular or fashionable.

Everyone should respect us girls for who we are, but we should also respect what others do for us. After all, using facilities and enjoying hard work of parents, we just ignore their time and work. They spent all their lives for us and we just sit on Twitter, Facebook, Whatsapp quarreling for heroes and  publicity to get followers. And I wonder and am surprised to see few handles in Social Media like this: A girl name with some hero name.

A pity Dad doesn’t deserve to be our hero. He keeps on maintaining call balances and buying new smart phones to us by sacrificing his dreams , still we don’t care. We all need followers with some stupid publicity in the name of some hero fan. And we need an audience to clap for our stupid jokes and support us for useless topics. If any girl keeps a post or update there will be minimum 10 guys who replies and respond. Never think that they love your posts, they just love opposite sex to kill time when they are free.

The way you speak , the way you respond, the way you maintain relations and the attitude and culture you project tells about you and is what brings respect to you in every place.


Stop entertaining every one, which is useless. As I first mentioned, you are the princess of your Dad, but unfortunately your actions make you an entertainment piece of many people on social media. Bad publicity is not something that works out for everyone. And remember it brings so much damage to your Character, which can’t be easily repaired. You may start with innocent intentions, but there are many dangerous people who pretend to love you online or in real life, but really wish to use you or even hurt you. They promise you the world and give you hell. Whereas our parents and siblings may speak harshly to us, but only want our safety.

Some poor girls may not have security in their own home due to bad family members, but most of us are fortunate in family. In seeing so many crimes around the world, we are very lucky to have such amazing parents, giving us everything that we want. Try not to spoil everything by fake relations, fake friends, and temporary thrills, and don’t get in to unnecessary trouble. At least we should try to be careful and keep within decency. Recently I came across one issue of a girl complaining that some guy is harassing on phone. I just want to know why we need to share our personal numbers to strangers on social media? Just for matter of two to three months, a person cannot be a trusted friend. Don’t you know that…seriously? Many times no one is going to help you in any troubles. You must stand yourself to survive. You should tell your parents or at least some family/friends, even they may not be able to help sometimes. Better to be safe than sorry. Be safe, girl.

Don’t take everything as a Point of MY CHOICE my life as some silly celebrities release videos. Our choice is our own—not what some stupid page 3 person or pop star tells us. Our choice need to keep us high but not drag us down to low levels where we lose respect and get treated as useless…and more importantly, feel worthless. Think for yourself. From a baby girl to middle aged woman, women must be careful not just in India but even in the Developed places like Europe. No matter where you go or travel,  be smart and at least try not to create problems by yourself. If you wear skimpy clothes, don’t demand that guys look at you as though you were his mother or sister. Even a girl can’t see a baby boy and grown up without clothes in the same way.

Be strong women, powerful women. But respect starts with Self-Respect.

A man should behave within his limits no matter what, but a girl should ask what image she wants to project. Our environment is meant to be fully covered, scientifically and traditionally from ages. How you dress for your husband and how you dress for others are two different things. It is possible to be fashionable without being foolish.  It is not just “My life, my rules, My choice!”.

Yes, it is your choice, but choices have consequences. Choose wisely.

Yes, men have their Dharma to women (men need to do better here though),
……………………………………but we women also have our Dharma.

Yes, we should have fun, but we should also remember our responsibilities.

Yes, we sometimes want to relax, but we each have some talent/potential to develop.

One last word:  Take it from a young woman who knows and can give good advice. Get knowledge and entertainment from social media, but don’t just remain as entertainment piece in social media. You’re not going to be a queen of hearts if you have 5k or 20k followers writing bad talk. You just remain as “item” or “maal” in mouths of the cheap guys who follow you.

It may hurt some, sorry for that, facts always hurt. It may hit someone in the heart, but start planning & enjoy true life. Be young, but be smart. Life was meant to be enjoyed…responsibly. We have many women role models to get inspired by,  from Rudramadevi to Indira Gandhi. Learn from them.

Live for youLive for your parentsLove your country.
Jai Bharat!!


Disclaimer: This article represents the opinions of the Author, and should not be considered a reflection of the views of the Andhra Cultural Portal. The Author is responsible for ensuring the factual veracity of the content, herein.

Kalamkari Sarees

The following Post was composed by Sheetal Mishra.She is Fashion writer at IndicPortal


So Monday again !!! When the rest of the world searches for motivations to get back to its work place, I enjoy my weekly off.  Usually on Mondays I prefer to sleep, sleep and sleep…  But surprisingly this Monday is motivating me to write something. Something about my favorites, like the finest  handlooms of the Telugu states. Few of my favorites are Pochampalli, Mangalagiri, Uppada and Kalamkari of which Kalamkari holds a special place in my heart.

50% of my wardrobe is being taken by Kalamkari palazzos, jackets, sarees, short kurtas, long kurtas, skirts even kalamkari bags… I am fortunate enough to work in a place where I get to meet a lot of handloom weavers and vendors. So I take pleasure in sharing a few tidbits about this wonder weaving style…

How it originated …

In this busy life we often pick up things in rush. We don’t bother to look into the hardship and passion which go into its making. Each piece of fabric carries a rich history and has a story tell which goes unnoticed and unappreciated. Let’s dig the cultural history of India a bit to track the origins of the Kalamkari Fabric.

Indian society has a rich tradition of folklores, folk arts and dances. In ancient times, people traveled from one village to other narrating stories of Hindu mythology. Later people evolved various methodologies to make these story-telling sessions more effective. Representing stories through paintings, songs and dance was very commonly used. The Pattachitra, Cheriyala, Madhubani and other styles of art were widely used for this purpose. Even now you will find traditional craftsmen singing songs based on their paintings. In fact, Kalamkari is related to the traditional art of Pattachitra (still called by that name in neighboring Odisha). Though they have both become their own separate styles, they share a common origin in Temple painting as prescribed by the Sastras.

And no wonder this is how Kalamkari came into existence.

In ancient times, groups of singers, musicians and painters, called chitrakattis, moved village to village to tell the village dwellers, the great stories of Hindu Mythology”. They illustrated their accounts using large bolts of canvas painted on the spot with simple means and dyes extracted from plants

The Kalamkari tradition chiefly consists of scenes from Hindu mythology. Figures of deities with rich border embellishments were created for the temples. In Machilipatnam, the weavers were involved in the block printing art, while at Kalahasti, the Balijas (a caste involved in making bangles) took to this art and gave it a free hand dimension. Kalamkari is basically done on cotton fabrics with pens or blocks.

Kalamkari art or hand printing can be broadly categorized into two major forms – Machilipatnam Style and Srikalahasti Style. Machilipatnam style is dominated by block prints where Srikalahasti style is famous for its free hand drawings. As for the process, “there were 12 steps employed at Masulipatnam (this after the cloth has been woven) and 17 steps at Sri Kalahasti.” [4] Kalahasti is near the famous temple town of Tirupathi, and Machilipatnam is on the central coast.


The Kalahasti style developed around the temples with their patronage. As a result it has a distinct religious identity and thrives on mythological themes. The attractive blend of colors on the fabrics usually portrays characters from the Indian mythology. with the divinity figures of Brahma, Saraswati, Ganesh, Durga, Shiva, Parvati as the main source of inspiration [3]

While the traditional art was practiced in the ancient period of Andhra desa, there were changes during the medieval era. Owing to the Qutb Shahi period of Golkonda, the Machlipatnam Kalamkari was influenced by Persian motifs & designs, widely adapted to suit their taste. The outlines and main features are done using hand carved blocks. Srikalahasti, however, remains more traditional and in line with the ancient standard.

The term Kalamkari itself signifies artwork (Kari) done by a “Kalam” (Pen). Despite the recent name, the technique is very ancient and precedes the period of Turco-Persian influence, making it a native Andhra craft [4].  Kalam, which gives the characteristic look to this art, is traditionally made of bamboo.  Craftsmen pick fine bamboo sticks and rolls around few strings of thread for the grip. This helps in getting the fine strokes of this unique variety of handloom. Craftsmen prepare colors from vegetable and root extracts which are very good for skin too.

The beginnings of Kalamkari probably rest in South India and grew out of the need to illustrate some of the temple rituals. The temples commissioned large religious themed cloths.[4]

What I heard from weavers…

Sree Lakshmi Kalamkari Works

On a lazy Sunday evening I was just checking out some Kalamkari sarees from a vendor. As any girl would like to, I started bargaining on the Saree. The vendor who happened to be a craftsman also, narrated the process of making the Kalamkari Saree. I was taken aback!!!  The Saree they sell for only 1500 bucks actually takes a month’s time to get ready. It takes months to prepare the fabric and the natural colors. Then they draw designs and patterns and fill it properly with hands.The entire process requires 17 complex steps to complete. The process starts with the bleaching the cotton fabric in a solution mixed with cow /sheep dung. Later, the fabric is washed and rinsed number of times in clean water. The bleaching process takes a couple of days.

Once it is done, the next step is to soak the bleached fabric in a special solution called myrobalam prepared with milk and resins. Then the fabric is left for sun drying. Once it’s dry and crisp, it becomes the canvas for the craftsmen. Craftsmen paint patterns and designs in series and each time they have wash it again and again to get the desired look.


What different articles tell about Kalamkari –

An article written by Kishore Singh in Forbes India dated Apr 16, 2016 says “ In terms of story-telling, the Kalamkari painted cloth tries to provide a religious or historical narrative, often in the form of panels, with or without a dominant central figure.”

An article on Kalamkari says– “The Kalamkari tradition is more than three thousand years old. The earliest fabrics amples of this craft found in the Mohenjo-daro excavations date back to 3000 B.C. Some samples of Madder dyed cloth with traditional Indian motifs have also been discovered in Egyptian tombs during excavations at Al Fustat near Cairo. These bear testimony not only to the antiquity of the craft but also prove that it was well developed and formed part of a flourishing export in ancient times.

An article on Chitrolekha says– “The Kalahasti style developed around the temples with their patronage. As a result it has a distinct religious identity and thrives on mythological themes. The attractive blend of colors on the fabrics usually portrays characters from the Indian mythology. with the divinity figures of Brahma, Saraswati, Ganesh, Durga, Shiva, Parvati as the main source of inspiration. The Kalahasti artists generally depict on the cloth the deities, scenes from the Ramayana, the Mahabharata, Puranas and other mythological classics mainly producing scrolls, temple backcloths, wall hangings, chariot banners and the like. In ancient times, the common man learned of gods and goddesses, and of their mythical character from these paintings.”

And here goes my personal touch to the article –

As you might have sensed from this article, I am crazy about Kalamkari fabrics. I won’t do justice to my article if I won’t share few clicks from my beautiful Kalamkari collection…..


So as you see, Kalamkari, apart from being a weaving style, is the life and livelihood of many traditional artisans of The Telugu States. This generation should stand up to promote our ancient handloom weaving techniques which have a lot of stories and historical references connected with them. Our act of supporting handloom will pave way to pass on cultural values to posterity. When handloom is being promoted as a part of “Make in India” by our Government, it is our responsibility to add it to our wardrobe too.

Hope my article urges you to pick Kalamkari fabrics for your family. By doing this you will not just support the craftsmen involved in this, but also will adapt a healthier life style by wearing pure cotton or silk and chemical free clothes.



  1. Bhatnagar, Parul. Kalamkari. https://www.scribd.com/fullscreen/65619463?access_key=key-1i4e4emilphei76vaxgl
  2. http://www.forbesindia.com/printcontent/42983
  3. Kalamkari, the Art of Painting. http://chitrolekha.com/kalamkari/
  4. Shep, Robb. http://www.speakingwithhands.com/article_details.php?aid=44

Personalities: Savithri


From Mahanari Savitri over at ICP, we go to Mahanati Savithri here at ACP.  After a long hiatus from phillims, we return to the Cinema star who started it all.

A legendary woman in her own right who needs no introduction to the Telugu people, our next Personality in our Continuing Series is the original doyenne of Telugu Cinema. She stood astride the southern film industries like a female colossus, and remains to this day, our most universally beloved actress. It may be hard to imagine a time before Sridevi in the cinema of the South, but the original Missamma was the Amma to all actresses since.


Known by many names and given many titles, Savithri  Kommareddy was born Nissankararao, Savithri in the Andhra region of the erstwhile Madras Presidency, in 1936. Her natal place was Chiravurru, Guntur District. She lost her father, Guravayya, at the tender age of 6 months, causing her mother, Subhadramma, to take her and her elder sister Maruti to live with their aunt. She thenceforth grew up in Vijayawada.

Early on, she demonstrated a talent for dance, and her uncle enrolled her in classical dance and music classes.She was instructed by Guru Sishtla, Purnayya Sastry. After only a year, she excelled under his guidance, and he recognised and praised her talent.

It took less than a year under his tutelage for Savithri to become a skilled dancer.  Almost all the dances she learned involved the stories from the Puranas. [6]

At age 11, she joined a theatre troupe (Arunodaya Natya Mandali) and performed all across the coastal region. After this, her family decided to take her to Chennai (then Madras), to try to make her a star. It was said that Savithri’s favourite actor was Akkineni, Nageswara Rao, and she tried to catch glimpses of him. Although initially cast alongside him for the film Samsaaram (1950), the role later went to Lakshmi Kanthamma. As fate would have it, Savithri would later star as his love interest in the all-time classic Maya Bazaar.

Nevertheless, Savithri proceeded with her career and was cast as a vamp in the movie Roopvati, and then danced in the movie Paathaala Bhairavi. It was 1952, however, that proved to be a banner year for her. She consecutively featured in Sankranthi, Palleturi Pilla (her first as the lead heroine), and Devadasu. She also was cast in a Hindi movie Bahut Din Hue and a Tamizh film Manampol Mangalyam. Originally Bhanumati was cast in Missamma, but due to differences with the producer, she left, and Savithri was cast in the title role. It would prove to be a career-defining, and indeed, industry defining part for her.

Savithri was also making an impact in Kollywood. Beyond the Tamizh version of Missamma, she was also seen in Kanyasulkam and many other movies. It was on the set of Missiamma, however, that the closeness between her and Gemini Ganesan was noticed. The entire South would eventually be blindsided when it found out Savithri secretly married Ganesan in 1952 itself. That year was a banner one in more ways than one. Interestingly, there is an anecdote wherein GG came across a star-struck Savithri. He is said to have recommended her in 1948, when she visited Gemini Studios with her mother. Ganesan apparently wrote on her picture that she was promising, if given an opportunity.

If 1952 was a banner year, 1956  was a roller coaster. She starred in numerous films (‘Appu Chesi Pappu Koodu’, ‘Mangalya Balam’, ‘Bhale Ammayilu’, ‘Thodi Kodallu’, ‘Gundamma Katha’)and received many awards. But she and the already much-married, many-fathering Gemini Ganesan finally went public about their marriage. She would give birth to a daughter that year as well. She would later have their son.

1957 represented the highwater mark, with the industry-defining Maya Bazaar. It was a movie that was Epic in every sense of the word, and would truly cement Savithri’s star on the proverbial walk of fame. From girlish glee, to feminine cleverness, to moonstruck loveliness, Savithri shone in this role like the chandamama in the song Lahiri Lahiri.

After 1963’s Narthanasala, Savithri went on to other roles. She was still making films throughout the 70s (especially in Tamizh), but began producing and directing as well. One of her movies took 5 years to produce, and is attributed to causing later monetary issues.

Despite her glistening career, fame, and fortune, Savithri died at the young age of 46. The long-suffering woman of Gundamma Katha had decided she had suffered Gemini Ganesan’s affairs long enough and walked out of the marriage. A generous person by her nature, she was defrauded by the many sycophants and parasites who had set up court around her. These same folk would abandon her later in life when she was in financial troubles.

Her biographical accounts make reference to how she drowned her sorrows in drink. Whether it was a disease or not that claimed her life at the young age of 46, it was clear that she really died of a broken heart in 1981. She had married the wrong man, trusted the wrong people, and lived out the remainder of her life in Bangalorean loneliness.

With a life-story fit for a screenplay tragedy, Savithri nevertheless set the benchmark for all actresses since. Despite her comparatively shorter life, what she achieved in cinema has yet to be exceeded, nor is likely to be. She was the first true female super-star, but more importantly, she was a truly theatre-trained talent who brought her myriad talents to the screen. As she was in her childhood drama troupe so she was in peak of life, the crowd-puller and centre of attention.

But a life such as hers should be celebrated rather than mourned. What were her achievements in reel life and real life?


From Maya Bazaar, to Missamma, to Gundamma Katha and beyond, the impact of Savithri on the silver screen in Andhra Golden age of cinema is hard to minimise. She was the original grande dame of Telugu Cinema.

She brought a subtlety, a delicacy, and lovability, and a gravitas which is rare to detect in actors of any era (let alone this one). She remains the benchmark against which all serious actresses weigh their performances. Sridevi remains the quintessential complete actress, but Savithri is the naati who brought true Nataka in its highest form, to mass cinema.

Despite the celebrated greatness of Maya Bazaar, Savithri will forever be remembered for her title role as Missamma.

Savitri was a multi-faceted genius. She was not only an actress, but also a director, producer and writer [5]

Missamma was the role that defined her career, and in many ways, her life.  She was the cultured girl in a post-Independence India, who still managed to be modern…on her own terms. She managed to demonstrate that empowerment means more than slick youtube videos or prurient and shrill protests. Rather, true empowerment was strong will, and living a meaningful life.

From starring roles at an early age to gender-empowering parts at the height of stardom, Savithri was a pioneer in Telugu Cinema. This Guntur girl managed to achieve fame in a number of industries beyond her native Andhra, and was cast in Tamizh, Hindi, Malayalam, and Kannada cinema as well. She had completed her conquest of the South and had made forays in the North.

Credited with 253 films. At one point she was making a film a month!

Savithri made such an impression on the minds of film-makers, that this actress who dominated the 50s and 60s was still appearing in films (posthumously) in the mid-80s!

She received numerous awards over the course of her illustrious career. From Filmfare to Rashtrapati to Nandi, she was no stranger to the coveted accolades of her profession.

But as is the case with so many of the luminaries of Andhra, from Balamurali Krishna to Vempati Chinna Satyam to P.Suseela, “Had she been born in other States, she would have earned much more name than what she had gained“. [5]

Rather than doing nothing and blaming people for the state of their culture, perhaps its time this state’s  public take responsibility and start investing in institutions that promote culture and promote cultural icons like Savithri who became veritable institutions.


Nata Siromani, Kalaimamani and Nadigayar Thilakam, Mahanati Savitri has to her credit several Filmfare awards, Rashtrapati award for ‘Chivaraku Migiledi’ and a permanent place in the hearts of people.

Savithri was the original lady screen legend of the Telugu Film Industry. She cast a wide shadow over the South, and appropriately, was the natural choice to even play her Missamma role in Tamizh. gundammakatha

Gundamma Katha was another film that was a milestone. Irrespective of the original quiet nature of her character, Savithri is practically enjoying this scene below, and the crass cat-fight that ensues. Indeed, we see how her character, Lakshmi, has become an assertive (rather than a passive or aggressive) woman, who remains cultured, but capable of defending herself and others.

Almost as interesting as the variegated roles she played on screen, was Savithri’s life off-screen. She has been the subject of many books: ‘Mahanati Savitri Venditera Samragni by Pallavi, ‘A Legendary Actress Mahanati Savitri’ by VR Murthy and  ‘Savitri Jeevita Charitra’ by GVG. The latest is ‘Venditera Vishadaraagaalu’ by Pasupuleti, Ramarao.

Pop culture has itself been no stranger to celebrating the life and legacy of Mahanati Savithri. In fact, there has been recent news that a silver screen biopic is slated for production, starring Nithya Menon.

There is even a Mahanati Savitri Sahitya, Samskrutika Kalapeetham Sankshema Sangham that celebrates her life and commemorates her occasions. Her daughter is seen here, paying tribute to her mother’s life.

She is like sandalwood that spreads fragrance all around; she is like a piece of camphor that fearlessly glows in the darkness of night – said Jnanpith Awardee, eminent writer Ravuri Bharadwaj.[2]

She had the grace of the all-enduring Indian woman, but with the cool and quietly burning Shakti of a Rani, that could burn hot when required. Perhaps no role better embodied her range than Gundamma Katha, where she did precisely that. The Bharatiya Naari, like Savithri, is not someone to be take for granted!

Truly, with the career and contribution of Mahanati Savithri, nidra leychindi mahilaa lokam.


  1. http://www.imdb.com/name/nm0767800/
  2. http://www.thehansindia.com/posts/index/2013-12-22/Drama-in-real-life-80115
  3. http://www.cinejosh.com/news/3/36972/differences-between-savitri-and-sridevi.html
  4. http://www.thehindu.com/news/cities/Vijayawada/mahanati-savitri-remembered/article8033877.ece
  5. http://www.thehindu.com/todays-paper/tp-national/tp-andhrapradesh/glowing-tributes-paid-to-legendary-actor-savitri/article6730098.ece
  6. http://www.savithri.info

Krishna Pushkaram, Nadhi Snaanam, Aacharam


Bharatha desam athi pedha punyakeshtram. 12 punya nadhulu, 4 vedalu, 108 upanishadhlu tho patishtamayina oka  jeevana sailitho koodu kuna desam.

Ye dharmam chadhivina vedham vina manaki telise modati saaramsam “pavitra tha lenidhi yedhayina  viluva lenidhe “.

Pavitra mayina manasu lekunte pooja ki viluva yela vundadho , mana chutu vuna pavitra mayina jalalu ni subramga vunchuko lekapothe vati dhaivathwam kooda manam pogottina valame avuthamu.

Hindu sampradayalo chala varaku poojalu ledha homalu chesinapudu nadhi snanam cheyatam yepati nundo vosthuna aacharam. Pavitra mayina nadhi lo snanam aacharisthe akaditho mana doshalu ledha anarogyalu pothayi ani mana sastralalo vundhi. Kaani manam a pavitra nadhulani pasuvulani subram chesukune cheruvula marusthunam. Kshaminchaali e padhajalaniki; kuni vaasthvalu nochukunelane vuntayi.

 Maaruthuna jeevanam yeno maarpulatho paatu manani inkitha vishalavidi thanaaniki kooda alavatu chesthundhi anukunta. Vastralu lekunda snanam aacharichataniki pavitra nadhulu amusement parks ledha water parks kadhu ani gurthunchukovali.

Mukyam ga magavaaru, magavadini naakenti anatu kakunda, sangam lo manatho paatu yeno kuntumbaalu,aadavaru voche pradesalo vaariki ibandhi kalagakunda vastralu vesukovali ana alochana vunchukovali.Chinapati nunde pedhavaru aadapilalaki neripinatu ga ne maga pilalalki alavatu chesthe yentho manchindhi.

Pavitra snanam ante vastralatho moodu munakalu vesi devudini darchinchuovatam. Vastram lekunda acharinche snanam thakshaka snanam ani mana grandhalo ne vundhi.

Socialize avatam ante jeevana viluvalani , gyaanani penchukovatam. Anthe kaani aacharalani marchipovatam kaadhu ani manavi.

Opikaga chaduvuthunadhuku dhanyavaddalu, asalu idhantha yendhuku meetho panchukovali anukunano chepali. Varusuga jarigina kuni sandarbhaalu nanu chala kalachivesayi:Krishna-Pushkaralu

Telavaaru jaamuna shumaru 5 gantalaki anukunta, oka roju punya snanam ki Vijayawada lo ni  Bhavani ghat ki velaga; punyam devudu yeruga leniponi rogalu vochunemo anipinchindhi. Kaaranam akada amavaruni darsinchukotaniki vochina bhaktulu inka itharulu vari kaalakruthyalu ani akade theerchukovatam. Idhe taraha lo Godavari pushakaralu ki Telangana lo ni Basara ki velamu.. akkada idhe tharaha.

Chaala ibandhi kara paristhi aadavaladhi. Magavaru kevalam oka inner tho vundatam alanti gumpu lo nundi veli snanam cheyatam anadhi jugupsa kaliginche vishayam.  Maroti Tirupathi lo angapradakshna samayam,  cheruvu lo vastralatho thadichi Swami vaari darsananiki velali. Soaps shampoo ilantivi vaada koodadhu ani petina adhe chesthunaru bhaktulu. Inka akkada manaki devudu meedha yepati bhakti vunadhi anadhi aradham kaani sandeham.

1.Dhaya chesi nadhulani subramga vunchandi
2.Magavaru  gudi ledha gudi pradasalalo ledha devudiki sambandhinchina vatilo vastralathone vundandi,  ithara kuntambalani adavaarini dhayachesi ibandhi petakandi.

Janam aacharinchakuna, government vaaru ayina kachithamayina aankshalu pedithe baguntundhi. Velapudu security ni petalekuna kanisam ilanti pushkaralu apudu.

Opikaga chadivinadhuku manspoorthi ga thanks chepthunanu. Thapulu vunte kshaminchandi.  Idhi chadivi oka 10 mandhi maarina naku anadhame. Idhi kachitham ga na okadhani avedhana matrame kadhu, yentho mandhi aadavaru dhi.. Nenu chepagaluguthunanu anthe.

Krishna pushkaralu ranunanvi ..andharu anandham ga aadavariki ibandhi kaliginchakunda anadistharu ani korukuntu mee


krishna pushkaralu

This Post was composed by ₤αναηуα. You can follow her on Twitter.

Disclaimer: This article represents the opinions of the Author, and should not be considered a reflection of the views of the Andhra Cultural Portal. The Author is responsible for ensuring the factual veracity of the content, herein.