Rendezvous with Stones…. Glory of Kailash Temple

Ellora Kailash Mandir : One of the Seven Ancient Wonders of the World

The Ellora Caves (also called as Verul) are the epitome of beauty, science and architecture. Given the immense size of Ellora as whole, its unfathomable, how even one could think of attempting something so unimaginably huge and grand, but matter of fact is that our ancestor not only thought of it but also executed these and other awe inspiring marvellous and magnificent piece of architecture, brilliant and astonishingly exquisite, the magnitude of which leaves you spellbound.

It’s SANGAM of three sect, Unlike today’s India, Ellora known for Hindu, Buddhist and Jain cave temples, built in close proximity during the rules of the Kalachuri, Chalukya and Rashtrakuta dynasties, demonstrates and signifies the religious harmony, tolerance and solidarity prevalent during that period. A truly secular fabrics which somehow has been tarnished by present so called rulers for their political agenda.

In the last week of August 2016, I had an privilege to tour Aurangabad with Indologist  Mr Udayan Indurkar.
About INDOLOGIST Mr. Udayan Indurkar.
Sir Udayan Indurkar,
To be more precise “Indologist Udayan Indurkar” 011x1000udayansir
It’s amazing how easily he unfolds and unwinds the wrap of secrets behind the everlasting sculptures. He is firm believer of science and veds and proves in his talk how !!Root of the present advanced science is in Veds and Scriptures !!
Sir Indurkar has been working incessantly for the last 20 plus years to bring before the world unfathomable knowledge inside temples. He takes groups of tourists to Khajuraho, Ajanta,  Ellora and Cambiodia to explain the significance of these world heritage sites. He says, Look at these sculptures and paintings as knowledge in frozen form. They were done in stone to ‘freeze’ the knowledge and pass it on to future generations. “If you minutely observe, you will find that all forms of sculptures are living performances of drama, music, mythology, religion, philosophy, science, literature and poetry as well,” he asks tourists to look for scientific concepts in the sculptures. Concepts of evolution, the relationship between humans and god, human follies and weaknesses and various shades of virtues and vices are all explained therein.

I was blessed to be with him for 3 days and was mesmerized by his talks unfolding the science, the philosophy, the spirituality of Verul and after my trip to Verul , I have realised one thing with so much of clarity, unless and until we don’t get aligned and absorb with our own inner self, awaken our inner guru “शिव” what we see or read or hear…. all that we do is mere hogwash.

Today, We here will talk about HINDU Temples and Caves there, specifically KAILASH temple also known as Cave No. 16., Kailash Temple is symbolism of the temple as a cosmic mountain, home of Almighty, Lord Shiv and Mata Parvati.

What inspired, A Prelude…
As the Indian folk goes…
Yeluraj, born in the princely family of Alajpur who married a princess named Manikavati. Yelurai lived happily with her for some time. Once, he got affected with a strange disease. His body was infested with worms in the night, while he was free from that infection in the daytime. Once Yelurai, accompanied by his queen Manikavati visited the holy shrine of Ghrsneshvara. The queen had prayed at the Jyotirlinga shrine for the health of her husband. She had prayed the lord Shiva and took a vow that if her husband was cured of his disease, she would build a Shivalaya and would not take -her food unless she saw the pinnacle of that shrine. While Manikavati was making this prayer and vow at the Ghrsneshvara shrine, Yelurai had gone to the forest of Mahismal for hunting. In the forest of Mahismal, Yelurai happened to take a bath in the spring water and to his surprise he found himself cured of the strange disease. Yelurai and Manikavati were relieved of the nocturnal distress. Manikavati then told Yelurai about her prayer and vow. Rest of the story centres round the excavation of the Manakeshvara cave of Ellora that need to be cited in Krishna Yajnavalki’s words:
Queen said my lord:
I have evoked the lord Rudra
That if your body would regain health
I shall erect a Shiva shrine
and would not touch a morsel of food
and a drop of water before seeing
the crowning summit of the shrine
For your sake I have pledged
this bond and vow in my
prayer to the Lord Shiva.

Yelurai felt deeply grateful to the Ghrsneshvara but he was in a quandary over the queen’s vow. How to erect a Shiva shrine in a shortest possible time so that his queen could take her food, was an agonizing problem. A craftsman named Kokas from Paithan however rescued Yelurai from his anguish. How the job was done is told by Krishna Yanjavalki:

The king then sent for Kokas Vadhai
the carver from Paithan
He lived a pious life
He would not take his food
without taking a dip in Godavari
He was the Vishvakarma incarnate
destined to make a Shiva shrine
King’s minister was commissioned to bring Kokas from Paithan. Kokas was brought to he royal prince. He was accompanied by seven thousand artisans.The King explained to the architects his predicament on account of Manikavati’s vow.Some of the architects asked for sixteen months time to do the job. The king sighed a breath of anxiety. Kokas however assured him that within seven days he would make it possible for Manakavati to see the summit of the shrine. Then taking leave of the king, Koka proceeded to carve the mountain and before the sun rose on the he morning of the seventh day, showed the rock- cut tower of the shrine to the queen. Manikavati saw the tower and then took her food.

Kokas thus carved out in the topsy-turvy style, the shrine which was named Mankeshvara.  He carved many other caves. Thus a beautiful settlement was raised by Yelurai. It came to be named Yelura. This is the last chapter of the Sahyadri Khand of Markandeya Purana.

This legend from the Markandeya Purana’s Sahyadri Khand reappears in the nineteenth century Marathi work Verula Mahatmya.

Kailash Temple, Lord Shiva’s Home, Ellora

|| KAILASH TEMPLE, VERUL, 28082016 | Canon EOS 700D – EF-S 10-18mm f/4.5-5.6 IS STM | F 10 mm | NoFlash | HandHeld ||

Kailash Temple, Lord Shiva’s Home, Ellora… which is the largest monolithic structure in the world is the marvelous and magnificent piece of architecture which is world’s largest monolithic structure entirely excavated vertically from top to bottom of the mountain cliff, mystical and majestically beautiful with awe inspiring exquisitely carved and decorated sculptures with secretive beauty leaves one spellbound.

The beauty of Verul is that various sculpture carved in the Kailash Temple are not there by accident but are there by deliberate design.
As you enter through the plain looking facade, The very first sculpture you witness is of Gajalaxmi with two of her Dwarpals. This auspicious image of the goddess, Gajalakshmi, in the canopy of divine elephants sitting on her aasan of lotus on the milky ocean known as KshirSagar  from where she was born as a result of churning of the ocean and who is symbolism of good prosperity and fortune for all who enter.

|| GAJLAXMI, KAILASH TEMPLE, 28082016 | Canon EOS 700D – EF-S10-18mm f/4.5-5.6 IS STM | F 10 mm | NoFlash | HandHeld ||

If you closely look at the dwarpals, the guards of Gajlaxmi, welcoming you in the shrine, they have very subtle message “Hey devotee seeking the learning of dharm, welcome to the Kailash, the place inspired by the Gita of Vyas, who was a born master sculptor who cut the Upanishadic rock in the mountain jewel of the sacred texts, Out of the large amount of the waste-stone of the tree purusarthas, he erected the enclosure walls of the Mahabharata all around”.

Proceeding further, on the west side of wall, adorned are these sculptures….


Mahishasurmardini Durga:


After holy bath at river goddess shrine, the sculpted panel of Durga as Mahishasurmardini can be noticed in the south-west corner of the northern flank of the courtyard. Durga is depicted here as a dynamic force of Prakriti (nature) as a destroyer of the evil. In the panel Durga is shown trampling demon Mahishasur which is represented both with the animal head as well as the human body emerging of the neck of the human form of the demon.  A beautiful and vigorous Mahishasurmardini Durga  appears from the fire came out as an anger from the mouth of Vishnu and Shiva with inexpressible beauty.

Kamdev and Rati: The God and Goddess of sensuousness 


This beautiful sculptor of Kamdev and Rati is carved on the west wall of the Temple as you enter and take a left, looking at these your back is  towards lord. The clear message conveyed here, One should shed off the thoughts of lust and desire before entering inside sanctum considered a holy and pure place… काम वासना से मुक्त.
In this panel, Rati is depicted significantly with Kamadev (Pradyumn). They are represented standing side by side holding the sugar-cane stalk which represents the rasa- essence of life, no matter how many time its crushed, it retains the sweetness. Top of the cane there is Makardhawj, crocodile with fire coming out of its mouth which symbolizes that the excess of sweetness/lust may burn you. Rati, as per her beauty and sensuality she is pictured here as a maiden who holds the power to enchant the god of passion. When Shiva burnt her husband to ashes, it was Rati, whose penance leads to the promise of Kamadeva’s resurrection. Often, this resurrection occurs when Kamdev is reborn as Pradyumn, the son of Krishna. As you shun off your sins and move forward, you come across a shrine of River Goddesses.

River Goddess Ganga, Jamuna and Saraswati

099x1200gangajamunasaraswati|| GANGA, JAMUNA, SARASWATI, KAILASH TEMPLE, VERUL, ELLORA CAVES, 28082016 | Canon EOS 700D – Canon EF-S 10-18mm f/4.5-5.6 IS STM| F 10 mm | NoFlash | HandHeld ||

River Goddess Ganga, Jamuna and Saraswati are the most pious rivers and create a unique holy merger at Sangam. Standing on their respective vahans here river goddess Ganga, Yamuna, Saraswati, symbolize the Purity, Devotion and Knowledge respectively. The Indian concept of a river is a sustaining mother, a fertility goddess and both physical and spiritual purifier.

Here, It seems like they are looking far off waiting for the devotee who is as pure as Ganga, as devoted as Yamuna and as knowledgeable as Saraswati.

Before the devotee enters the main shrine of Shiv Ji, he needs to shed off his kaam krodh and become as pure as Ganga, however big his ego be, he need to fully devote himself like Yamuna who devotedly gets herself merged with Ganga. If you look at these figures keenly you will realise how eagerly they have been waiting for that one devotee, pure and devoted like them. The perfect triangular bends of the sculpture depicts this very desire. If you look at Saraswati, she seems to be more aggressive in her poster. The carver artist has so brilliantly depicted this emotions and the forms while crafting it. The fluidity in the rigidity is so much evident in these sculptures formed by the bends highlighting the folds and curves which in itself is a poetry.

Are you the one or their wait will still continue for that perfect devotee…. Distressed with the questions in their eyes, I leave the answer unanswered and move ahead with the group.

Beautiful Lord Ganesh at Lankeshwar :


One of the rawest yet beautiful and elegant Ganesh idol carved in the wall of Lankeshwar cave

Poetry in stones…. The Great EPICS… Mahabharat, Ramayan

305x1000ramayan|| Ramayan, KAILASH TEMPLE, 28082016 | Canon EOS 700D – Canon EF-S 10-18mm f/4.5-5.6 IS STM | F 10 mm | HandHeld ||194x1000mahabharat|| Mahabharat, KAILASH TEMPLE, 28082016 | Canon EOS 700D – Canon EF-S 10-18mm f/4.5-5.6 IS STM | F 10 mm | HandHeld ||

Yes, it’s a pure love story of chisel and stone, a poetry by artist whose imagination was running wild… writing poetry on wall as if painting on his canvas.

At Kailsah Temple, Ellora, you will witness the phenomenal epics “Mahabharat and Ramayan” carved Intricately on the both the side of the temple elaborately depicting scenes of the great Indian epics.


Three Steps of Vishnu : Trivikram Vaman Avatar


With his six arms, a sword, He takes three almighty strides, pervades and thus become universe with the drawn swords and outstretched leg.

Vishnu resting on Ananta-Shesha : A metaphor for something much more profound.


शान्ताकारं भुजगशयनं पद्मनाभं सुरेशं विश्वाधारं गगनसदृशं मेघवर्ण शुभाङ्गम् ।
लक्ष्मीकान्तं कमलनयनं योगिभिर्ध्यानगम्यम् वन्दे विष्णुं भवभयहरं सर्वलोकैकनाथम् ॥

This is a most beautiful sculptor of Ellora which depicts TIME element so well. In this sculptor Lord Vishnu is resting majestically on a Sheshnag. “Shesh” implies the “remainder” — that which remains when all else ceases to exist. Shesh is also called Anant. Anant Shesh, which translates as endless-Shesh of Cosmic Time.  Anant also means endless in terms of the endlessness of cosmic time. This is also represented by his thousand hoods as divisions of time. The material worlds are created within the element of time, and are thus sustained by time. During the process of the universal annihilation, time ceases to exist, in which case the material planets are also forced into obliteration. Lord Shesh is often seen floating on the causal waters of the Garbhodaka Ocean, which exists on the bottom of the universe. Lord Vishnu is thus resting on Sheshanag as They float on the ocean. At other times, They are viewed floating on the Kshir mudra, or an ocean of white milk. This represents the Prakriti or the ingredients of the unmanifest material nature in its purest form. Bramhdev sitting on lotus is seen emerging from Lord Vishnu’s naval which is symbolism of the universe is born out of womb of time and it’s an endless cycle of existence constantly changing in correlation with Time and Space, that cosmos and life we experience is continually created, evolved, dissolved and then re-created.

Ravana attempting to lift and shake the Mount Kailash


Parvati was angry. It all started with Ganga. As usually happens when misunderstanding crops in to a relationship.
As the strory goes Bhagirathi did a penance to get Ganga down from swarg to liberate his ancestors. “Until Ganga flows on the ashes washing the spot where they were turned to ash by Sage Kapila, Bhagirathi’s forefathers would not get liberation was the curse of sage Kapila, As Ganga came down the force was such that it would have wiped out the whole of earth. Bhagirathi prayed Lord Shiva to hold her up in his jatta and release it through a strand of hair. Parvati got a news that Shivji has got a saut “गंगा शिवजी के सर चढ़ बैठी है”. Probably the saying “सर चढ़ा रखा है” would have come from this episode. Anyway, She got angry and the usual Husband Wife fight began. Annoyed she was sitting next to him with her face other side. At that time Ravan had come to visit Shivji to pay his reverence, but in such a situation when the lord having tiff with his wife Parvati, the dwarpals didn’t allow him to enter Kailash. This angered Ravan as no one had ever dared stop him before and enraged he started uprooting the Kailash itself. The moment he shook the mountain, it was an earthquake kind of situation. As Kailash began to shake, a terrified Parvati embraced Shivji. All the anger was gone. Shivji took her in his arms and said notto worry an he pushed the mountain with one of his toe into place and trapped Ravan beneath it.
This is one of the most grand, beautiful and lively sculpture of Kailash Temple. Equally beautiful is there in Dumar cave too. The craver artist has successfully depicted all the emotions in this sculpture.
The trembling hands of Ravan as he is getting crushed, Running maid with her head bend reassuring the peace in couple. The compose sages. People collecting their belongings to be in a safe place.

Sensuousness and Temple’s :350x1000prem

Apart from depicting beautiful voluptuous GanNayikas and SurSundaris indulged in various form of Shrungar Ras artists have also depicted the sensuous and erotic sculptures in the temple’s on the exterior wall.

Mithuna (amorous couple) : On the either side of the nava-ranga-mandapa doorjambs mithuna (amorous couple) figures have been carved signifying the manglika (auspiciousness). They also signify the relation between Purusha (male aspect of fertility) and Prakriti (female aspect of fertility). They are shown engaged in the Loka-lila i.e. worldly sports. Couples in Loka-Lila also mean the activity of this mundane world, showing the couple in love-play. They emerging out the rock throwing themselves in violent embraces and rapturous kisses, by coming together and becoming one.


Panel in Lankeshwar, Depicting various types of Kisses. 33 Types.160x1000erotic-lankeshwar157x1000erotic-lankeshwar154x1000erotic-lankeshwar153x1000erotic-lankeshwar152x1000erotic-lankeshwar151x1000erotic-lankeshwar150x1000erotic-lankeshwar148x1000erotic-lamkeshwarPanel in Lankeshwar, Depicting various types of Kisses. 33 Types.

What was the probable reason behind depiction of sensuous and erotic sculptures, coupling sex with faith.Having sexual images/sculptures in a places/temple’s which otherwise was considered to be so holy and pure. Doesn’t that also signifies that we Indian in those days treated sex as an divine act and not a taboo as it is perceived in current period. These images personified divinity in sexuality. Creative spirit of our ancient culture. Sex was celebrated. Sex was divine and that was the precise reason sensuous and erotic sculptures prominently were carved on the outer wall of most of our beautiful temples.


304x1200mohini|| MOHINI, KAILASH TEMPLE, 28082016 | Canon EOS 700D – Canon EF-S 10-18mm f/4.5-5.6 IS STM | F 10 mm | HandHeld ||



Mohini… This personified beauty has manifested out of a jealous artist, his magic, his chisel and his imagination running wild.

I URGE, please look closely at this pic and comment your findings.

CLUE : She is fully clothed yet

At the door steps of SaptMatruka, This shilp is one of the most amazing sculpture and has a beautiful story around.

शिल्पकार के अद्भुत और उत्क्रुस्त शिल्पकारी का जीता जागता प्रमाण है.





गंगा, Rameshwar

453x1000rameshwargate|| गंगा, Rameshwar, 28082016 | Canon EOS 700D – Canon EF-S 10-18mm f/4.5-5.6 IS STM| F 10 mm | HandHeld ||

As I walked past the grand Nandi at the entrance of Rameshwar, on the left, I see this Graceful Goddess Ganga, Pious and Pure, whose mere touch purifies the soul, awestruck by this masterpiece, standing with all its divinity, mesmerized I stand admiring the beauty and the craftsmanship of the artist.
The Ellora caves are the epitome of beauty, science and architecture. Given the immense size of Ellora as whole, its unfathomable, how even one could think of attempting something so unimaginably huge and grand, but matter of fact is that our ancestor not only thought of it but also executed these and other awe inspiring marvellous and magnificent piece of architecture, brilliant and astonishingly exquisite, the magnitude of which leaves you spellbound.
Cave no. 21, famously known as Rameshwar, is one of the most beautiful caves of Ellora.


Rameshwar : Dancing Shiva in Cave 21
….after my trip to Verul , I have realised one thing with so much of clarity, unless and until we don’t get aligned and absorb with our inner self, awaken our inner guru “SHIV” what we see or read or hear, …. all that we do is hogwash.
One of my most favourite statue of composed elegant and peaceful Natraj Shiv.



Sapt Matruka is a group of 7 Hindu Goddesees who are always depicted together.  Brahmni, Vaisnavi, Maheshwari, Indrani, Kaumari, Varahi, Chamunda and Narasimhi and are described as assisting the great Shakta Devi in her fight with demons and they are also consider to be Shaiva goddesses.

Here I wish to draw the attention on few very specific and prominent things of the panel.

One, Why Sapt Matrukas are always accompanied by Virbhadra and Ganesh.
The Saptamatrkas are generally carved in relief on a rectangular stone slab in the sequential order of Brahmani, Maheshvari, Kumari, Vaishnavi, Varahi, Indrani and Chamunda, being flanked by two male figures – a terrible form of Shiva (Virbhadr) and his son Ganesh in both sides (first – on their right and last – on their left). The Saptamatrikas symbolically represent the seven different aggressive tendencies of the female part of a human being. When unleashed; they tend to destroy the wellness that comes out of a fostering mother. That’s the precise reason between the manifestation of rational Vinayaka and the fiery Virabhadra these female energies were to be harnessed. The order of the Saptamatrka usually begins with Brahmi symbolizing creation. It is often represented by the all-comprehensive primordial Nada Om (pranava).Then, Vaishnavi provides the created world with symmetry, beauty and order. Maheshwari, who resides in the hearts of all beings, breaths in life and individuality. Kaumari, Guru-guha, the intimate guide in the cave of one’s heart, inspires aspirations to develop and evolve.  Varahi is the power and aggressive intent to go after enjoyment. Indrani is the sovereignty intolerant of opposition and disorder .Chamunda is the destroyer of delusions and evil tendencies, paving way for spiritual awakening.

Rameshvara cave (Cave 21) at Ellora, “With the terrific aspect repressed entirely, the matrikas are depicted as benign and are worshipped in adulation. Sensuous, elegant, tender, beautiful adolescents, they are yet haughty and grand, quintessentially the creatrix.”

Also there is an reason why these panels begins with beautiful panel of dancing Natraj Shiv and end with Kaal (Time personified or Death) panel. The presence of Kaal in form of a skeleton, seems to indicate the darker aspect of the matrikas’ nature.

Second and the best thing to see of the panel, is the architectural splendour and artistic expressions of various matrukas carved by the artist here. Very rarely you will see and observe these kind of splendid craftsmanship. शिल्पकार के अद्भुत और उत्क्रुस्त शिल्पकारी का जीता जागता प्रमाण है ये पैनल. Watch carefully the sixth captivating beauty from the left which is an fine example of spectacular work of perfection done by the sculpturer. One of the most beautiful and prominent among all with life like expression carved. As beautifully dressed decked up with loads of ornaments, model holding son in her lap, after a while slightly irritated with kid touching her ornaments, keeps the kid down with a slight jerk of head to retouch her makeup with right hand and this very moment has been splendidly captured and carved by the artist depicting each and every aspect of motion. Her shifted मांग बिंदिया  and probably the flower pinned in hair shifting to the right has been captured so perfectly, making all come live… A fluidity in rigidity so personified.

….and the last observation, unlike today’s size zero starving skinny perception of beauty, look at these curvaceous and voluptuous models epitome of sensuous beauty.

Shiv Ji as Mahayogi


Shiv ji as Mahayogi, the great ascetic, with attendant Munis, hermits and God.

Kaal Bhairav


Siva as Kaal Bhairav, the terrifying aspect of Rudra-Shiva with flaming eyes and in a state of uncontrollable frenzied excitement, with the Saptamatrika at his feet.


Rock-cut in situ pillar at Kailash temple, Ellora., 8th century A.D.
Dvajastambha  or Kirtistambha or Victory Pillar… Call it whatever you like to these monolithic pillar but at the core they signify two thing…. One it reflects the supremacy and power of the king and second it’s a testimony of the incredible endeavour of the craftsmanship.

One can never gauge the size merely by looking at pictures.

Kailash Temple is 90 meters in length x 53 meters breadth and 32 meters in height. That’s Huge. Isn’t it. Its Massive, gigantic, stupendous, whopping enormous.

The Ellora caves are the epitome of beauty, science and architecture. Given the immense size of Ellora as whole, its unfathomable, how even one could think of attempting something so unimaginably huge and grand, but matter of fact is that our ancestor not only thought of it but also executed these and other awe inspiring marvellous and magnificent piece of architecture, brilliant and astonishingly exquisite, the magnitude of which leaves you spellbound.

To prove the above statement, look at these row of life size staggering structure of elephants and other mythical animals carved on the 7 meter plinth.


It’s an incredible story of Man, His Chisel and sheer human endeavour. What an effort it must have taken to chisel out a life out of a mountain. शिल्पकार के अद्भुत और उत्क्रुस्त शिल्पकारी का जीता जागता प्रमाण है.


….and here I stand, awestruck by the monumental Kailash and its amazing philosophy..


As you make your way to exit, These elegant dwarpals seems like looking you in disbelief,  as if mocking you ” So it seems that you think that you have completely seen and understood Kailash, Shiv and its philosophy….. So untrue of you”  and I think they are so right. Its beyond human perspective to understand completely what Kailash wants to convey yet if we can grasp even few teachings our life will be worthwhile.


TOP VIEW From Kailash Temple, Lord Shiva’s Home, Ellora…


Verul Caves are the marvelous and magnificent piece of architecture. Not only awe inspiring exquisitely carved and decorated sculptures but also the view here leave you spellbound.


……… they say, End is never the End, Every end is the new beginning, My spiritual journey begins.





  1. Mitul Shah · September 11, 2016

    Its beautifully and so well written Arvind.. 🙏🏽.. The flow of words unravelling the story and secrets behind the architectural wonder doesnt allow you to leave without reading the article in full.. And being a student of how such huge monoliths were built in those ancient times.. I found it even more interesting..

    Liked by 1 person

  2. Mitul Shah · September 11, 2016

    The gigantic scale of this project and the delicate architecture and intricate carvings just make you wonder more and more whether there were really some more power then that of earthlings involved in creation of such wonder.. All though its a much debatable topic.. Would love to hear your views on that.. Aliens or Science much advanced.. Or did we really discover the secret of harnessing the alchemy energy ..

    Liked by 1 person

    • Arvind Singh · September 11, 2016

      Thank you so much Mutual for those wonderful words. It indeed seems like a work of god. According to one of the folks, apsara and Nayika, wanting to break from mundane life, wanted to visit earth so they went to seek permission from Indra. Indra aware of the earth beauty granted them a permission and strictly told them to return back after a day or else they would turn in to statues. Apsara on reaching earth and mesmerized by its beauty forgot the rule of game. What happened next is these sculptures we see. This tale sung by locals there would have bigger indication in hidden message. Were they truly aliens.


  3. Mangesh kulkarni · August 28

    Beautifully explained. Real tour to betul. Thanks a lot sir

    Liked by 1 person

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