Lord Ganesha

The Hindu deity in a human form but with the head of an elephant - represents the power of the Supreme Being that removes obstacles and ensures success in human endeavors. For this reason, Hindus worship Ganesha first before beginning any religious, spiritual or worldly activity. In Hindu mythology, Lord Ganesha is the first son of Lord Shiva and the Divine Mother Parvati. Their second son is Lord Subramanya and their daughter is Jyoti. As explained below, the portrayal of Lord Ganesha as the blend of human and animal parts symbolizes the ideals of perfection as conceived by Hindu sages and illustrates some philosophical concepts of profound spiritual significance.


Elephant head, wide mouth, and large ears: the large head of an elephant symbolizes wisdom, understanding, and a discriminating intellect that one must possess to attain perfection in life. The wide mouth represents the natural human desire to enjoy life in the world. The large ears signify that a perfect person is the one who possesses a great capacity to listen to others and assimilate ideas.


The trunk and two tusks with the left tusk broken: there is no known human instrument that has an operating range as wide as that of an elephant's trunk. It can uproot a tree and yet lift a needle off the ground. Likewise, the human mind must be strong enough to face the ups and downs of the external world and yet delicate enough to explore the subtle realms of the inner world. The two tusks denote the two aspects of the human personality, wisdom and emotion. The right tusk represents wisdom and the left tusk represents emotion. The broken left tusk conveys the idea that one must conquer emotions with wisdom to attain perfection.


Elephant eyes: the elephant eyes are said to possess natural deceptiveness that allows them to perceive objects to be bigger than what they really are. Thus the elephant eyes symbolize the idea that even if an individual gets "bigger and bigger" in wealth and wisdom, he should perceive others to be bigger than himself; that is, surrender one's pride and attain humility
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The four arms and various objects in the four hands: the four arms indicate that the Lord is omnipresent and omnipotent. The left side of the body symbolizes emotion and the right side symbolizes reason. An axe in the upper left hand and a lotus in the upper right hand signify that in order to attain spiritual perfection, one should cut worldly attachments and conquer emotions. This enables one to live in the world without being affected by earthly temptations, just as a lotus remains in water but is not affected by it. A tray of Laddus (a popular snack) near the Lord denotes that He bestows wealth and prosperity upon His devotees. The lower right hand is shown in a blessing pose, which signifies that Ganesha always blesses His devotees.


A human body with a big belly: the human body possesses a human heart, which is a symbol of kindness and compassion toward all. Ganesha's body is usually portrayed wearing red and yellow clothes. Yellow symbolizes purity, peace and truthfulness. Red symbolizes the activity in the world. These are the qualities of a perfect person who perforrns all duties in the world, with purity, peace, and truthfulness. The big belly signifies that a perfect individual must have a large capacity to face all pleasant and unpleasant experiences of the world.


A mouse sitting near the feet of Ganesha and gazing at the tray of Laddus: a mouse symbalizes the ego that can nibble all that is good and noble in a person. A mouse sitting near the feet of Ganesha indicates that a perfect person is one who has conquered his (or her) ego. A mouse gazing at the Laddus, but not consuming them, denotes that a purified or controlled ego can live in the world without being affected by the worldly temptations. The mouse is also the vehicle of Ganesha, signifying that one must control ego in order for wisdom to shine forth.


Right foot dangling over the left foot: as stated above, the left side of the body symbolizes emotion and the right side symbolizes reason and knowledge. The right foot dangling over the left foot illustrates that in order to live a successful life one should utilize knowledge and reason to overcome emotions.

Tamil, a Dravidian language

"While the modern Indo-Aryan languages, with the exception of Sinhalese, had not found literary expression at the time of the Muslim invasion, the Dravidian languages had been flourishing for centuries. Four of these tongues have distinctive scripts and written literatures – Tamil, Canarese, Telugu and Malayalam. Of these Tamil is spoken in the south, from Cape Comorin to Madras. Tamil is certainly the oldest of these languages, with a literature going back to the early centuries A.D."


This is how Professor A. L. Basham, eminent historian, begins his discussion on the Dravidian languages in his famous book, 'The Wonder That was India'. He continues to argue that Dravidian is virtually an independent group of languages with a distinctive character, and that its sound system is rich in retroflex consonants, which give it a crisp flavor, and its varied vowels distinguish it from the northern languages (like Sanskrit). Another interesting point he raises is that the earliest Tamil literature contains comparatively few Sanskrit loan-words, and those it does contain are generally adapted to the Tamil phonetic system. These arguments of Professor Basham seeks efficiently to establish that Tamil (or for that matter, its proto-form Dravidian) has a lineage far different from the Indo-European languages of which Sanskrit is a crucial member.


According to some experts, Tamil is now spoken by about 80 million people in India (predominantly in Tamil Nadu, South India), Sri Lanka and Singapore, and in Malaysia, Mauritius, Fiji, Burma, South Africa, England, Vietnam, Reunion and in several other countries where the Tamils have migrated. According to Professor Kamil V. Zvelebil, a noted linguist from Czechoslovakia and a scholar in Tamil Language, Literature and Culture, 30 million people spoke Tamil in 1973. But it should be a figure available on the figures in India. Dr. R.E. Asher, the famous Dravidian Scholar from England, has quoted in his book 'Descriptive Grammars' quotes the provisional figures from the Indian census of 1971 and says that 37 million people in India spoke Tamil as their first language; and continues to project 45-46 million as probable all-India figures for 1981.The figures for 1999, as given by 'the Ethnologue' (Languages of the World), including the second language speakers, Tamil is spoken by 74 million people. In India it is one of its official languages, and the first to be recognized as a classical language.


There are about 1,900 periodical publications in Tamil of which 360 are dailies now.


Tamil ranks 17th among the top twenty of the world's most spoken languages. It is written in a typical, non-Latin script, and is one of the cognate languages in the Dravidian family, sharing its features with Malayalam, Telugu, Kannada and many other languages of the family, including the Thai, the language of Thailand. Tamil comprises 12 vowels, 18 consonants and 1 'aytham'.


What about the origins of the language of Tamil? In his 'History of Tamil Language and Literature', Professor Vaiyapuri Pillai writes: "It is safe to assume that the Dravidian alphabet was used for literary purposes about the first century AD."


The earliest epigraphic evidences go back to 3rd century BC. There are some 30,000 inscriptions in Tamil, the largest in South Asia.


Tamil literature has an estimated history of about 2,400 years. The earliest literary work available in Tamil is the Sangam poetry, consisting of lyrics and longer poems. These are inscribed in palm leaves and preserved. Oral tradition too was in existence. The poets and artists were actually leaders of the people. They were masters in mass communication and contact. Their aim was the progress of the society. They intervened in morality, and in the discharge of justice and that way they played their role in politics of their times. They used their poetry and songs for pointing out the mistakes and wrong doings on the part of the kings and the ministers and sought to correct the aberrations. The priest had the supervisory role only in religious matters. After the king, it was the dictum from the poets – it was the order of the day. And thus, the poets of the Sangam period were the link between the people and the king and they had the democratic role of controlling the priests and the rulers to a great extent. The collection of lyrics is known as Ettu-thokai or Eight Anthologies, and the collection of longer poems is known as Pattu Pattu or Ten Idylls. Sangam poetry is unique in that it is group poetry of unparalleled beauty and greatness. Experts have stated that taken as a whole it (Sangam Poetry) satisfies all the requirements of great poetry.


Let us see how Professor Basham views the early Tamil poetry (from his 'The Wonder That was India'): "Very early Tamils developed the passion for classification which is noticeable in many aspects of ancient Indian learning. Poetry was divided into two main groups: aham ('internal') and 'puram' (external). A unique feature of Tamil poetry is the initial rhyme or assonance. This does not appear in the earliest Tamil literature, but by the end of the sangam period it was quite regular. The first syllable or syllables of each couplet must rhyme. This initial assonance, in some poems continued through four or more lines, is never to be found in the poetry of Sanskrit languages, or as far as we know, in that of any other language. Its effect, a little strange at first, rapidly becomes pleasant to the reader, and to the Tamil it is as enjoyable as the end rhyme of Western poetry."


The Tamil enthusiasts would like to stretch it backwards to the centuries BC.  Some others put it as from the first century AD or the second. But Kesari Balakrishna Pillai, the celebrated thinker, researcher, scholar, historian, journalist and the promoter of several Malayalam writers who became nationally noted later in literature, throws more light on the Sangam period in his work 'The mother roots of History': "Following the model of the Sahitya Parishad, in Ujjain under the leadership of Kalidasa, the poet and the patronage of King Budhagupta Vikramaditya Harsha (476-502 AD), associations of literary professionals were set up in the capitals of Pandya-Chola-Chera kingdoms of South India as well as in Anuradhapura in Ceylon (modern Sri Lanka). And the association founded in Madurai, the capital of the Pandya Kingdom, was known as Tamil Sangam. The details of this are given in a work of the Sangam period, styled Iraiyanar Akapporul…." Quoting from the Akapporul, Kesari argues that the Sangam period was 498-817 AD.


The Tamils contributed to the world culture great works such as Tirukkural, Tirumantiram and Ozhivil Odukkam, which have pre-eminent position in the wisdom literature of the world. Tiruvalluvar, the author of Tirukkural became immortal by this single work of his. He is also known in the Old Tamil literature variously – as Devar, Mutarpavalar, Matanubangi, Daivappulaivar, Chennappotakar, Perunavalar, Nankukanar, Pulavar, Poyyil Pulavar, Nayanar and the like. Tolkappiyam, the early Tamil book, is on phonology, grammar and poetics. Such a work implies that there should be a Tamil literature, existing before the book. Tolkappiyam defines Tamil literary language and non-literary language in clear terms. Tirukkural embodies a world-outlook that offers profound insights for men and women interested in leading an authentic life. Tirumantiram is a compendium of yogic technologies for liberation, and Ozhivil Odukkam a "nonesuch" for the most advanced aspirants of ultimate knowledge. The Tirukkural and the Chilapatikaram are classics of Tamil literature. So are Manimekalai of Ilam Ko Adigal, Kambar's Ramayanam, Sekkilar's Periya Puranam. Subramania Bharaty of the last century infused patriotism, a new vigor and used the language to equip people to fight for human dignity, and sense of freedom. Modern Tamil literature has its own place in the world arena.


Professor Zvelebil, has written on Tamil literature, in his book 'The Smile of Murugan' as this: "...probably the most significant contribution (of the Tamils) is that of Tamil literature, which still remains to be 'discovered' and enjoyed by the non-Tamilians and adopted as an essential and remarkable part of universal heritage. If it is true that liberal education should 'liberate' by demonstrating the cultural values and norms foreign to us, by revealing the relativity of our own values, then the 'discovery' and enjoyment of Tamil literature, and even its teaching…should find its place in the systems of Western training and instruction in the humanities.." He has also called the Tamils "the Greeks of India".


A. K. Ramanujan, the noted Indo-Anglian poet, also noted the greatness of Tamil as a language and cultural medium. He said: "Tamil, one of the classical languages of India, is the only language of contemporary India which is recognizably continuous with a classical past.

What is Sanskrit?

Sanskrit is the classical language of Indian and the liturgical language of Hinduism, Buddhism, and Jainism. It is also one of the 22 official languages of India. The name Sanskrit means "refined", "consecrated" and "sanctified". It has always been regarded as the 'high' language and used mainly for religious and scientific discourse.

Vedic Sanskrit, the pre-Classical form of the language and the liturgical language of the Vedic religion, is one of the earliest attested members of the Indo-European language family. The oldest known text in Sanskrit, the Rigveda, a collection of over a thousand Hindu hymns, composed during the 2nd millenium BC.

Today Sanskrit is used mainly in Hindu religious rituals as a ceremonial language for hymns and mantras. Efforts are also being made to revive Sanskrit as an everyday spoken language in the village of Mattur near Shimoga in Karnataka. A modern form of Sanskrit is one of the 17 official home languages in India.

Since the late 19th century, Sanskrit has been written mostly with the Devanāgarī alphabet. However it has also been written with all the other alphabets of India, except Gurmukhi and Tamil, and with other alphabets such as Thai and Tibetan. The Grantha, Sharda and Siddham alphabets are used only for Sanskrit.

Since the late 18th century, Sanskrit has also been written with the Latin alphabet. The most commonly used system is the International Alphabet of Sanskrit Transliteration (IAST), which was been the standard for academic work since 1912.

History of Shiridi Sai Baba Temple

Shri Saibaba of Shirdi lived between 1838 and 1918, whose real name, birthplace and date of birth are not known. An Indian spiritual guru and a fakir that transcended the barriers of religions, Saibaba of Shirdi was regarded with great reverence by both Hindu and Muslim followers. He lived in a mosque and after death his body was cremated in a temple. His philosophy ingrained 'Shraddha' meaning faith and 'Saburi' meaning compassion. According to him Shraddha and Saburi were the supreme attributes to reach the state of godliness. It is believed that at a tender age of 16 yrs Shri Saibaba arrived at the village of Shirdi in Ahmednagar district of Maharashtra and remained their till his death. He found shelter in Khandoba temple, where a villager Mahalsapathi in the temple addressed him as Sai or Saint. Saibaba of Shirdi lived an extremely simple and austere life, sleeping on the floor of temple and later taking a ruined mosque as his shelter. With his arrival to Shirdi, in no time he began exhibiting a hypnotic attraction among people as they began flocking to him. He is attributed many miracles doing things that were beyond a mortal's power. He never discouraged these attributes and soon his fame spread like wild fire. Many pilgrims came seeking his blessings. Such was his hypnotism that even the mundane of his activities attracted large crowds. Popular among both Hindus and Muslims, Shri Saibaba became a great building force between the two disparate communities. He regularly recited Hindu and Muslim prayers. His Hindu followers considered him to be an avatar or reincarnation of Shiva and Dattatreya. Sai Baba did not leave any written works. All his teachings were oral and catchy. His sayings were short, crisp and in layman language with which the common mass could easily associate. Saibaba encouraged charity and said, "Unless there is some relationship or connection, nobody goes anywhere. If any men or creatures come to you, do not discourteously drive them away, but receive them well and treat them with due respect." Shri Sai Baba of Shirdi was unique in the sense that he lived his message through the essence of his being. He lived among the common people adorning a torn kafni (long robe), sleeping over a mat while using brick as his headrest and got his food by begging. Such was his smile that radiated a mystical charisma and deep seated inward look that hypnotized the people who visited him. Saibaba's mission was to restore belief in god and according to him, "I give people what they want in the hope that they will begin to want what I want to give them (knowledge of the Ultimate)." He then taught values of total surrender to the Almighty Master (ALLAH MALIK EK- The only ONE) and experiences his grace.

Indian Temple Architecture

Introduction

Almost all Indian art has been religious, and almost all forms of artistic tradition have been deeply conservative. The Hindu temple developed over two thousand years and its architectural evolution took place within the boundaries of strict models derived solely from religious considerations. Therefore the architect was obliged to keep to the ancient basic proportions and rigid forms which remained unaltered over many centuries.

Even particular architectural elements and decorative details which had originated long before in early timber and thatch buildings persisted for centuries in one form or another throughout the era of stone construction even though the original purpose and context was lost. The horseshoe shaped window is a good example. Its origins lie in the caitya arch doorway first seen in the third century B.C. at the Lomas Rishi cave in the Barbar Hills. Later it was transformed into a dormer window known as a gavaksha; and eventually it became an element in a purely decorative pattern of interlaced forms seen time and time again on the towers of medieval temples. So, in its essence, Indian architecture is extremely conservative. Likewise, the simplicity of building techniques like post and beam and corbelled vaulting were preferred not necessarily because of lack of knowledge or skill, but because of religious necessity and tradition.

On the other hand, the architect and sculptor were allowed a great deal of freedom in the embellishment and decoration of the prescribed underlying principles and formulae. The result was an overwhelming wealth of architectural elements, sculptural forms and decorative exuberance that is so characteristic of Indian temple architecture and which has few parallels in the artistic expression of the entire world.

It is not surprising that the broad geographical, climatic, cultural, racial, historical and linguistic differences between the northern plains and the southern peninsula of India resulted, from early on, in distinct architectural styles. The Shastras, the ancient texts on architecture, classify temples into three different orders; the Nagara or ‘northern’ style, the Dravida or ‘southern ‘ style, and the Vesara or hybrid style which is seen in the Deccan between the other two. There are also dinsinct styles in peripheral areas such as Bengal, Kerala and the Himalayan valleys. But by far the most numerous buildings are in either the Nagara or the Dravida styles and the earliest surviving structural temples can already be seen as falling into the broad classifications of either one or the other.

In the early years the most obvious difference between the two styles is the shape of their superstructures.

North Indian Temples

Jagadamba Temple - Khajuraho - Madhya Pradesh

The Nagara style which developed for the fifth century is characterized by a beehive shaped tower (called a shikhara, in northern terminology) made up of layer upon layer of architectural elements such as kapotas and gavaksas, all topped by a large round cushion-like element called an amalaka. The plan is based on a square but the walls are sometimes so broken up that the tower often gives the impression of being circular. Moreover, in later developments such as in the Chandella temples, the central shaft was surrounded by many smaller reproductions of itself, creating a spectacular visual effect resembling a fountain.

South Indian Temples

Brihadeeswarar Temple Thanjavur - Tamilnadu

From the seventh century the Dravida or southern style has a pyramid shaped tower consisting of progressively smaller storeys of small pavilions, a narrow throat, and a dome on the top called a shikhara (in southern terminology). The repeated storeys give a horizontal visual thrust to the southern style.

Less obvious differences between the two main temple types include the ground plan, the selection and positioning of stone carved deities on the outside walls and the interior, and the range of decorative elements that are sometimes so numerous as to almost obscure the underlying architecture.

Bearing in mind the vast areas of India dominated by the ‘northern’ style, i.e. from the Himalayas to the Deccan, it is to be expected that there would be distinct regional variations. For example all of the following are classified as Nagara - the simple Parasuramesvara temple at Bhubaneswar in Orissa, consisting only of a shrine and a hall; the temples at Khajuraho with their spectacular superstructures; and the exquisitely carved Surya temple at Modhera. On the other hand the ‘southern’ style, being restricted to a much smaller geographical area, was more consistent in its development and more predictable in its architectural features and overall appearance.

Temples of the Deccan

Chennakesava Temple, Belur - Karnataka

In the border areas between the two major styles, particularly in the modern states of Karnataka and Andhra Pradesh, there was a good deal of stylistic overlap as well as several distinctive architectural features. A typical example is the Hoysala temple with its multiple shrines and remarkable ornate carving. In fact such features are sometimes so significant as to justify classifying distinct sub-regional groups.

The type of raw materials available from region to region naturally had a significant impact on construction techniques, carving possibilities and consequently the overall appearance of the temple. The soft soap-stone type material used by the Hoysala architects of the twelfth and thirteenth centuries allowed sculptors working in the tradition of ivory and sandalwood carving to produce the most intricate and ornate of all Indian styles. Hard crystalline rocks like granite typical of the area around Mamallapuram prevented detailed carving and resulted in the shallow reliefs associated with Pallava temples of the seventh and with centuries. In areas without stone, such as parts of Bengal, temples constructed of brick had quite different stylistic characteristics.

Royal patronage also had a very significant effect on the stylistic development of temples, and as we have already seen, regional styles are often identified by the dynasty that produced them. For example we speak of Pallava, Chola, Hoysala, Gupta, Chalukya and Chandella temples.

It might be assumed that temple styles would be different for the various Hindu cults. In fact, this was never the case in India. Even Jain temples such as those at Khajuraho were often built in almost identical styles to the Hindu temples.

From the eighth century onward with the development of ever more sophisticated rituals and festivals, the Hindu temple especially in the south started to expand and become more elaborate. There were more mandapas for various purposes such as dancing, assembly, eating, or, for example. To house Nandi, Shiva’s sacred mount; more subsidiary shrines and other structures; and more corridors and pillared halls such as the ‘thousand-pillared halls’.

Bhaktavatsalar Temple, Tirukkalunkundram - Tamilnadu

But the most significant visual difference between the later northern and southern styles are the gateways. In the north the shikhara remains the most prominent element of the temple and the gateway is usually modest. In the south enclosure walls were built around the whole complex and along these walls, ideally set along the east-west and north-south axes, elaborate and often magnificent gateways called gopurams led the devotees into the sacred courtyard. These gopurams led the devotees into the superstructures and capped with a barrel-shaped roofs were in fact to become the most striking feature of the south Indian temple. They become taller and taller, dwarfing the inner sanctum and its tower and dominating the whole temple site. From the Vijayanagara period (fourteenth to sixteenth century) onward, these highly embellished and often brightly painted structures become extremely numerous. The width of the storeys of pavilions and other architectural elements were carefully adjusted to create a concave contour which is a distinctive characteristic of the Dravida temples seen throughout the south, particularly in Tamil Nadu.

Origin and significance

The Tamil New Year follows the Nirayanam vernal equinox and generally falls either on 13 or 14 April of the Gregorian year. 13 or 14 April marks the first day of the traditional Tamil calendar and is a public holiday in both Tamil Nadu and Sri Lanka. Tropical vernal equinox fall around 22 March, and adding 23 degrees of trepidation or oscillation to it, we get the Hindu sidereal or Nirayana Mesha Sankranti (Sun's transition into Nirayana Aries).
Hence, the Tamil calendar begins on the same date observed by most traditional calendars in India as in Assam, Bengal, Kerala, Manipur, Mithila, Orissa, Punjab, Tripura etc. not to mention Nepal, Bangladesh, Burma, Cambodia, Laos, Sri Lanka and Thailand. The 60-year cycle is ancient and is observed by most traditional calendars of India and China, and is related to 5 revolutions of Jupiter, or to 60-year orbit of Nakshatras (stars) as described in the Surya Siddhanta.


The traditional Tamil year starts on 13 April 2012, Kaliyuga 5114. Vikrama and Shalivahana Saka eras are also used. There are several references in early Tamil literature to the April new year. Nakkirar, the author of the Nedunalvaadai writes in the 3rd century that the Sun travels from Mesha/Chitterai through 11 successive Raasis or signs of the zodiac.[2] Kūdalūr Kizhaar in the 3rd century refers to Mesha Raasi/Chitterai as the commencement of the year in the Puranaanooru.[3][4] The Tolkaapiyam is the oldest surviving Tamil grammar that divides the year into six seasons where Chitterai marks the start of the Ilavenil season or summer. The 8th century Silappadikaaram mentions the 12 Raasis or zodiac signs starting with Mesha/Chitterai.[5] The Manimekalai alludes to the Hindu solar calendar as we know it today. Adiyarkunalaar, an early medieval commentator or Urai-asiriyar mentions the 12 months of the Tamil calendar with particular reference to Chitterai. There were subsequent inscriptional references in Pagan, Burma dated to the 11th century CE and in Sukhothai, Thailand dated to the 14th century CE to South Indian, often Vaishnavite, courtiers who were tasked with defining the traditional calendar that began in mid-April.[6]

Tamil New Year @ Tamil puthandu

The month of Chittrai (April - May) embarks the time of festivities in Tamil Nadu. Tamil's New Year Day " Puthandu" is celebrated on April 13 or 14 every year (according to the Gregorian Calender). People greet each other "Puthandu Vazthukal" which means Happy New Year. This auspicious day is also popular as Varusha Pirappuv. As per the Hindu mthyical legends, Lord Brahma started creation of the universe.

Highlights of the Festival
New Year's day is a gala time for all Tamils. The main focus is on the food eaten on the day. 'Maanga Pachadi' is the pulse of the festival. It is a dish made of raw mangoes, jaggery, neem flowers which tastes sweet, salt, sour and bitter. This entails different colors of life. It depicts that life has to face everything from success to defeat. At the time of New Year festivities, a grand Car Festival also takes place at Tiruvadamarudur near Kumbakonam. At some places, Chitthirai festival is also celebrated. It is said on this day, Goddess Meenakshi got married to Lord Sundareswarar. 

Puthandu RitualsIn Tamil Nadu, people follow some strict rituals in a belief to ensure well-being and prosperity of their families. The most popular tradition is to view Kanni at dawn with a hope to bring good luck. People start the day by watching some auspicious items like gold and silver jewelery, betel leaves, nuts, fruits and vegetables, flowers, raw rice and coconuts. Following the rituals, Tamils take bath, wear fresh clothes and visit the temples to pray for success in life. After this, Panchangam (almanac) is read. Many people get their houses painted to mark the renewal of life. Ladies adorn their houses with fresh mango leaves and Kolam (rangoli)designs. Sometimes, a decorated lamp kuthuvillakku is placed in the center of colorful Kolam to bring light to the house. People in the advent of merrymaking and feasting exchange gifts with each other. Children are highly excited at the time of Puthandu as they receive small gifts or cash from their parents and relatives. 

Vettri’yai Virumbum Namakku

Tholvi’yai Thaangum Manam Illai…!

Tholvi’yai thaangum Manam irundhaal adhuvum

Oru Vettri’ dhaan.!

Intha Putthaandil Anaivarukkum Vetri Kidaikattum.

Wish You a Very Happy & Prosperous New Year…