A masterpiece by Gurudev Sarathi ji in Oil Colours

श्री सारथी उवाच .................






"प्रिय बंधु... कभी कभी तुम्हारे भीतर भी सर्व को जानने, सारी सृष्टि को देखने की प्रबल इच्छा पैदा होती है । यदि सारी सृष्टि को देखने कि इच्छा है, सारी सृष्टि के साथ वार्तालाप करने और इस से भी अधिक यदि सारी सृष्टि का स्पर्श करने कि इच्छा है तो बंधु, कर्ता को जानना कारण को जान लेना हैं । प्रभु के तीन गुणों के नाटक को समझना है तो मात्र प्रभु को जान लो । क्योंकि प्रभु ही ज्ञान हैं , वही स्पर्श हैं । वही श्रवण और वाक् हैं । उन का ध्यान ही सर्वोपरि ज्ञान है । "

-धरती का गीत ---

रचनाकार --- गुरुदेव (डा.) ओ. पी .शर्मा "सारथी"

मेरे दिल में तू ही तू है, तेरी ही याद आती है 
वतन मेरे मुहब्बत आज तेरी रंग लाती है 

मेरे सपने तुम्ही से हैं, मेरी ताबीर भी तू है
हजारों रंग तेरे हैं मेरी तस्वीर भी तू है
वतन मेरे तेरी उल्फत मुझे रह रह जगाती है
वतन मेरे मुहब्बत ..................................

जुनूँ सर पर है तेरी याद का, कुछ कर दिखायेंगे
जिधर कोई नहीं जाता, तेरी दीवाने जायेंगे
वही है सुख शहादत की तरफ जो राह जाती है
वतन मेरे मुहब्बत ..................................

वो रिश्ते जो कि तुझ से हैं हमें तो काम उन से है
तेरे कुर्बान हो जाएँ हमारा नाम उन से है
हमारे दिल में तेरे नाम कि लौ जगमगाती है
वतन मेरे मुहब्बत ..................................

मिले दौलत तो ठुकरा दें मिले जन्नत तो क्या हासिल
मिले जो नाम और शौहरत, यह सब बेकार लाहासिल
मेरे प्यारे वतन तेरे बिना यह जान जाती है
वतन मेरे मुहब्बत ..................................

जम्मू के प्रख्यात साहित्यकार पदम् श्री जितेन्द्र उधमपुरी जी द्वारा "सारथी" शीर्षक से श्री सारथी जी को कविता रूप में एक श्रद्धांजलि .........

"सारथी "

बात 

सदियों पुरानी नहीं
बस
चाँद बरस पहले की है
यहाँ एक शख्स था
इसी धरती पर
जो रंगों से खेलता था, रंग समेटता था
रंगों में रहता था
रंग लिखता था
रंग सीता था
रंग जीता था
वह रंग बोता था
रंग पालता, रंग काटता था
वह दरवेश था
फकीर था
कृष्ण कन्हैय्या नहीं
आम आदमी का सारथी था
जो इन्द्रधनुष के सात रंगों से होते हुए
रंगों के पार ले जाता था
इसी धरती पर
चाँद बरस पहले
एक सारथी रहता था
जो रंग सिर्फ रंग बांटता था 

Unlike ·  ·  · 23 hours ago

• Seen by 6

  You, Shashi Padha, Jai Deep Bakshi and 2 others like this.
• 

A Master Piece in Oil Colours by Gurudev Sarathi ji

घड़ी साज ---- गुरुदेव सारथी जी

प्रिय बंधु! तुम्हे यह विदित है कि कर्म करना है। कर्म कर के थकना है । और फिर विश्राम करना है । विश्राम कर के कार्य की थकावट को दूर करना है और फिर कार्य करना है । यह एक कार्यक्रम है जो चल रहा है । और तुम्हे हर क्षण इस का आदेश मिल रहा है । क्योंकि हर ओर यही हो रहा है इसलिए तुम इस के आगे सोच भी नहीं सकते । यह शरीर जीव और प्राण क्योंकि अनित्य है इसलिए यह व्यय होते हैं । और उपचार करने पर यह फिर से कार्य की क्षमता प्राप्त कर के व्यस्त हो जाते हैं । मुझे यह कहना है कि एक तीसरी स्थिति उत्पन्न करो वह है विश्राम के क्षणों में कार्य करने की और कार्य ही के क्षणों में विश्राम करने की । तुम जब लक्षित हो । और उधेश्य के हेतु जान लड़ाए हुए हो तो यह बात संस्कारगत है कि तुम्हे तब तक करना है जब तक तुम पूरे थक नहीं जाते और उधर लक्ष्य कि प्राप्ति नहीं हो जाती । सामाजिक भाषा में इसे संघर्ष कहते हैं । जिस के अर्थ नहीं निकले जा सकते । मुझे आज तक इस शब्द का अर्थ ही समझ नहीं आया । ऐसा भी संभव है कि मुझे ही कभी संघर्ष करना ही न पड़ा हो । परन्तु लक्ष्य कि प्राप्ति पूरा थकने पर या अधुरा थकने पर होती है यह बात मुझ पर अस्पष्ट सी है । मेरा अनुभव है कि जब भी मैं और तुम या कोई अन्य आधे संकल्प से, आधे सत्य से, आधी अधूरी निष्ठा और आधी अधूरी श्रद्धा से कार्य करेगा तो वह शीघ्र शक्ति खो कर थक जाएगा। थकेगा वही जो हाँ और नहीं के मध्य फंसा हुआ, आशा और निराशा के बीच फंसा हुआ, ईमानदारी और बेईमानी के मध्य फंसा हुआ कार्य कर रहा है । जो सत्य असत्य के मध्य है उसे लक्ष्य कि प्राप्ति हो, यह संभव नहीं लगता है । क्योंकि असत्य अपने आप में, बेईमानी और स्वार्थ अपने आप में घोर प्रकार कि थकावटें हैं । शिथिलताएँ हैं । यह तो प्रारम्भ से ही व्यय हो चुकी होती हैं । और जो वस्तु पहले से ही खर्च है, अधूरी है वह तुम्हारे उद्यम को, पुरुषार्थ और श्रम को कैसे बचा सकती है और सुरक्षा के साथ साथ सामान्य स्थिति में कैसे रख सकतीं हैं ।

एक उत्कृष्ट क्षमता जो कार्य के साथ साथ तुम्हे भी स्वभाविक और प्राकृतिक बनाये रखती है, वह है कार्य को समर्पित चिंतन। अपनी पूरी शक्ति और एकाग्रता का केवल कार्य में ही होना। स्वयं कार्य ही हो जाना। स्वयं लक्ष्य और उधेश्य ही हो जाना। स्वयं ही एक ऐसी अंतहीन प्रक्रिया में परवर्तित हो जाना जिस में कर्ता और क्रिया की भिन्नता का अंत हो जाए ।

और वह तभी संभव है जब तुम मात्र वर्तमान में रहने का निरंतर प्रण करो । निरंतर प्रयास करो। निरंतर वर्तमान ही को अपने श्वासों में भर कर रखो । और जिस क्षण तुम्हे कुछ करना है वही क्षण पहला और अंतिम क्षण जान लो । जिस क्षण में तुम्हे जीना है वही क्षण तुम्हारा सर्वस्व हो जाए ।तुम्हारा और तुम्हारे कार्य का, कोई अतीत न हो, कोई भविष्य न हो । कोई परिणाम भी न हो । परिणाम, अतीत, भविष्य मात्र वर्तमान हो ।

और यदि तुम अपने जीवन के मूल की ओर पलटो तो यह जीवन मात्र वर्तमान है। मात्र 'अब' है । मात्र 'यही' है । मात्र 'वही' है । श्वास का एक क्षण है मात्र 'यही' है ।

मात्र एक ही श्वास का आना जाना और आने जाने के भीतर जो शून्य का क्षण है । आने जाने के भीतर जो एक रिक्तता उत्पन्न होती है वही जीवन है । तुम एक क्षण कि लिए अपनी नाड़ी पकड़ लो । और गिनो । एक ताल के बाद यदि दूसरा ताल न बजे तो जीवन देह सभी कुछ समाप्त । और आगे का ताल बज कर यदि आगे न बजे तो तुम समाप्त । तो सारा शरीर ही एक ताल के भीतर कि लय पर टिका है । वही लय वर्तमान की सूचक है । यदि उसी एक क्षण में रहा जाए । एक रिक्तता में रहा जाए । दो बजते हुए तालों के मध्य के शून्य में रहा जाए, तो वही वर्तमान की स्थिति होगी । और फिर हर शून्य बढ कर विकास कर के उर्जा का रूप धारण करेगा और फिर तुम्हे माधव के स्वर सुनाई देंगे -मा कर्म फल हेतु -------------------------यदि कर्म वर्तमान के एक रिक्त क्षण में हुआ है तो उस कर्म का भविष्य कहाँ है । और अतीत कहाँ है । फल की प्राप्ति के लिए तुम तब सोचोगे जब तुम्हे यह ज्ञान होगा कि कर्म का कहीं भविष्य भी है । परन्तु वास्तविकता यह है कि जब तुम्हारा अपना ही कोई भविष्य नहीं है तो तुम्हारे कर्म का क्या भविष्य हो सकता है । और जीवन का क्या भविष्य हो सकता है ।

आने वाले और गए क्षण के मध्य शून्य को ही जीवन कहते हैं । वही जीवन अथक है । पूर्ण शक्ति से भरा है ।

(परमश्र्द्ये गुरुदेव सारथी जी का यह लेख दैनिक कश्मीर टाईम्स में १५ सितम्बर १९९० में प्रकाशित हुआ )

• DrAnkur Gupta, RJ Atul and Nidhi Mehta Vaid like this.
• 

  Kapil Anirudh वर्तमान क्षणों के प्रति पूर्ण सजगता ही प्रकाश की ओर, आनंद की ओर ले जाती है ......

  September 5 at 11:40pm · Edited · Like · 1
• 

  Kapil Anirudh पल पल हो सरगम नयी हर पल नव झंकार
  हर पल में जीवन नया पल पल नव विस्तार

  September 7 at 9:26am · Like

"Hari Parvat- Kashmir" in water colours by Gurudev

‎-धरती का गीत ---
रचनाकार... गुरुदेव (डा.) ओ. पी .शर्मा "सारथी"

मिलेगी पुत्र को सुविधा 
अगर माँ भी सुखी होगी 

सुखी सब जन तभी होंगे
कि जब धरती सुखी होगी

किसी माता को गम दे कर
सुखी संतान कब होगी
जो श्रद्धा ही न हो तो
ज़िन्दगी वरदान कब होगी
मिलेगी पुत्र को सुविधा
अगर माँ .......................

यह धरती माँ से ऊंची है
यही अनुभव कराना है
प्रशस्ति धरती माँ की है
यही सच्चा तराना है
न हो पहचान माँ की
पुत्र की पहचाब कब होगी
मिलेगी पुत्र को सुविधा
अगर माँ ....................

करें मेहनत करें उद्यम
कि रिश्ते प्यार के बांधे
करें अर्चन करें वंदन
धरा के मन्त्र को साधें
जो निर्धन भारती होंगे
तो माँ धनबान कब होगी
मिलेगी पुत्र को सुविधा
अगर माँ ....................

बने आराध्य धरती माँ
सभी आराधना में हों
सभी कर्मठ हों सच्चे हों
सभी इक साधना में हों
जो बालक भक्त ही न हों
तो माँ भगवान् कब होगी
मिलेगी पुत्र को सुविधा
अगर माँ ....................

• ou, Sarvesh Chaturvedi, Nidhi Mehta Vaid, Kiran Sapruand 3 others like this.
• • 
    

    RJ Atul awesome

    Saturday at 5:35pm via mobile ·  · 1
  • 
    

    Kiran Sapru speechlessssssssssssss.

    Saturday at 8:53pm ·  · 1
  • 
    

    Sarvesh Chaturvedi No one is bigger,greater,hon'ble than mother & motherland.

A Master Piece of the Master in Oil

Portrait of Father in Oil

Gurudev Made this Portarit  of His Father Pt. Mansa Ram Sharma-renowned musician of the state in the year 1994.

My Creative Process
(By Gurudev Sh. O.P.Sharma Sarathi ji -Translated from Dogri By Col. Shivnath )
I think there are three states of consciousness and one always lives in one or the other of these. There is a state of zero awareness in which one does not know why one is living. For such a person, living itself is enough. Then there is a state of living in half wakefulness. For a person living in this state of consciousness, there is the possibility of questioning the purpose of living, the meaning of life, the purpose of existence. The third state is a state of living in full awareness, with the knowledge as why one is living. A person living thus is fully awake, knowing that man cannot die before being born or after having died, that the purpose of life is not to die, just to live to die being the life of an animal. And my father used to say that a man without literature, music and art in him is like an animal without horns and tail.

Before creation, a state of meditation seizes me and a sort of churning starts in the depth of my consciousness, with a yearning to get out of my animal being. I feel I am a mere instrument. Hidden within me are several possibilities. What Can I become? What heights of imagination, feeling, thought, and experience can I attain?

Everyone starts with a determination. In other words, one who does not take a decision does not move. He only play-acts moving and keeps moving his feet at the same place. Like the ox of the oil press, he spends his whole life moving in one small circle. 

But man! Man can take the journey of life by living in himself. He can also live in others. There is still another way of living- by taking in other people in him.

I believe and I trust that I am living by keeping all in myself. The whole society sitting inside me is narrating to me the story of its happenings. I am listening to this narration every moment of my life-innumerable things, some full of meaning and some meaningless, but all connected with different aspects of life. I wonder that I and all these are at the same place. And because of these, I feel myself moving from the finite to the infinite, expanding from the limited to the limitless.

What is more, a saying keeps revolving in my deeper consciousness and while getting refined this saying remains no more a saying. It takes the form of an inner action, an imaginative action. The saying is:
Ichhat jayate sristi
Sristi jayate sathaptam

It is desire that takes the form of creation. What will a man express until he has something unexpressed? The unmanifest alone can be manifest.
What unmanifest lies in me? What all unexpressed is there within me? What a simple question? And yet how vast the answer! Man’s subconscious is so vast. It is full of so many questions. So many answers! Its environment is spread out so wide! It contains all his forms, colours, tendencies, proclivities. It contains envy, enmity, treachery, selflessness, sympathy, compassion, sacrifice contentment. As I go on enumerating so many things, some thing within me seems to scoff at me, as if saying that these are only things which you can clothe in language, shape in word forms. But going deeper within, there are things, innumerable, immeasurable which language cannot capture in its net, where it is muted by a sense of total helplessness, finds it inadequate, unequal to the task. It perhaps indicates that man should know something about himself. Then one experience that the subject matter of what one is going to write about comes to him only in silent indications, wrapped up in silence. It is like a musician who seems to be sitting quietly but swinging within himself, weaving surs, alankars and shrutis and experiencing how correctly or incorrectly he has woven them. In writing also – be it a poem or a novel or less to the enlivening of shrutis in the raga rendering. Now another problem arises before me it is the question of discriminating between the situation of the plot and the truth of the plot. The essence of experience is helpful here. The element of experience is also a matter of inner feeling. Sometimes, I feel that this element of the experience is the offspring of aesthetics. Without the knowledge of aesthetics one cannot distinguish between the situation of the plot and the truth of the plot. Just as in music one understands surs, alankaars but cannot appreciate the beauty of raga without the experience of beauty, without an aesthetic sense. That is why the German scholar Bauhm Garteen says-“It is the most powerful sense of original ability.”

At this stage, I am still away from actual creation. There are still many processes to be gone through and they are all internal, some selections, some rejections. The indication at this stage is like a seed, a seed of sorrow or joy. Of some value- may be of exploitation or masked appearances or some strong emotion of envy or a feeling of sacrifice. It has yet to be put in a churner. The churner is not of the mind or thought, because thought is born of doubt. First there is doubt, suspicion, a state of hypothesis. Can a feeling which is being suspected be converted in to a reality?

Perhaps, yes, if this doubt or suspicion is connected with some truth of life or if it is posing a challenge to some truth of life.

My observation travels in two directions- from the inner world to the outer and from the outer world to the inner world. In other words, the journey is from solid to the subtle and from subtle to the solid. But the moment it turns inwards, it becomes multidirectional and capable of seeing every level of suggestion, every motif, and every symbol.

If I remain in a state of contemplation too long, I find myself caught in a paradox. There is a reason for it. I want to refine and churn the subject thoroughly before coming to the conclusion. I cannot formulate my ideas until I come out of the state of formulation. I cannot enter the state of creation, or the stage of the external process of creation.

The journey of creation passes through many stages before taking the shape of a work of art, first a suggestion, then its emotional churning, then words, then meanings, then the beginning, development and climax. There have been several occasions when I have found myself in a fix. It appeared that the words in it were fully capable of conveying the meaning, that it was in itself a potent symbol. The words ‘home’, ‘house’, ‘friend’, ‘enemy’, ‘love’, ‘affection’, ‘fondness’, ‘madness’, ‘road’, ‘street’, darkness’ are all symbols. All of them are capable of multiple meanings. They harbour in their wombs so much. They are unifications. Each word has, first of all, a literal meaning, then a symbolic meaning, a core meaning and fourthly a hidden meaning.

Many times I have experienced that let alone ordinary people, even intellectuals are not able to grasp the essence of things and they fail to see the multifaceted dimensions of the essence of things. Either they are morally constrained or they do not want to take the trouble to do it. Otherwise, if a man creates out of symbols woven by him by keeping their true colours intact, there should be no difficulty in deciphering their meanings.

There is another problem. So much expression has taken place since the dawn of human civilization that quite a lot of it has continued to be preserved intact until their meanings have got established. This has been going on for millennia. And word should have the same meaning all the time-‘truth’ should be ‘truth and ‘light’ should stand for ‘light’. But often words come to be used wrongly and their meanings come to get distorted.

I am not conventional so far as communication is concerned. Meanings have their own tradition. But many times I use old words giving them new meaning according to my requirements. But I do in a manner that the meaning of these words does not get completely distorted.

Every word has its own genealogy. It depends on the capacity of each word, the bigger the capacity, and the larger its family. The family of fire comprises the sun, heat, light, glow, warmth, bulb, candle and so on. The absence of fire creates another family which consists of cold, ice, snow, fog and so on, but within a certain perspective, nearer the fire farther the cold, nearer the light farther the darkness. This perspective is the perspective of light, it turns parallel both inward and outward. It is so because it is used hypothetically. It is present everywhere in creation and it is all presumed. Depends on how close or how far the writer is from the suggestion and how farther suggestion is from him.

If suggestion is a seed, my shaping of it will give it the form of creation. Thinking, contemplation, the process of shaping all serves as food to the growth of the seed. While writing, it has to be borne in mind that through this one seed lakhs of seeds are being watered. This is not just one seed, it is a whole creation.

The object, situation, character or thing, which is closest to the author at the level of perspective is clearer within the light of his vision and is more significant than other elements, establishes the point. It appears with its own peculiar style. If the foreground, the middle ground and the background, as also the subject, its supporting objects and co-objects, are placed at the right places, not of the colour, but of intensity.

I try to avoid over dilution of colours. I like to express something with deep meaning in the fewest of words. I do not put things small or with shallow meanings in too elaborate long-winded expression. I also don’t like such expressions in other’s writings. That is why I have a special fondness for Ghazal, a sort of secret infatuation. One couplet of Ghazal is a small string of great meanings.

Panini has classified writings into three types- Abhida, Lakshana and Vyanjana. In the first type, whatever is written goes straight to the reader, in plain, unadorned expression. In the second, there is a lot of ornamentation, the figure of speech, assonance, alliteration, word-pictures. While the first is completely devoid of style and craftsmanship, the second has too much of it. Vyanjana, the third type, is a multi dimensional, suggestive, full of irony and wit and capable of several interpretations according to one’s inclination and interests. In the present day living, full of tension, complexity, anxiety and high speed, vyanjana style is the most appropriate. I write my work on the basis of this style from the seed stage to the last line. I experience also in the same style. It is said that at the level of communication it is rather a difficult style. But I am a writer who loves difficulties and challenges.
A certain burden keeps weighing upon me during the entire period of my contemplation and I shake it off in the process of writing. For me, that is the time of timelessness.

This matter of time is also a strange one. Time is a bottomless ocean. Man has divided it into minutes, hours, days and years for the convenience of his life and work and has given names to the objects appearing and disappearing in the cycle of these-units. I believe that name fixes an object in time, and it becomes time bound. But art lives in timeless creation, in a creation, which is capable of being relevant to the past, the present and the future simultaneously, which is of all times.

Perhaps that accounts for absence of names, of characters and places, and of cities and the roads and professions in my work. Names are absent. But situation and their effects, values and beliefs, loss of value, distortion of facts, acceptance of wrongs, absence of consciousness and awareness are there and that too with a vengeance.

Consciously or unconsciously, I have never desired that my work should evoke only some rasa or some experience of pain and pity and the objective of my writing should be lost, that it should make the reader aware of only the contexts and directions, that its real message, its true colour should be lost.

Situation is a truth in itself and situation is my main character. The face of a situation is its value structure, its beliefs, its tradition, its faith, its inheritance. But situation in my writing is a sort of space. If it needs characters, it will discover them according to its need. Situation plays an important part in the evolution of life. Situations are the cradle of a creation in which man grows and develops. Situations- good or bad-are integral part of man’s journey in life. And a situation with it milieu is a permanent structure before me, characters and events are its units, its parts. Structure can contain units, but a unit cannot contain structure. A part cannot contain the whole; units can have sub units.

My approach is very personal, individualistic. I think that a man does not go to a doctor or take medicine until he has established that he is ill. Only after establishing that he is unhappy can a man strive for happiness. Only after experiencing darkness and untruth can he embark on the path towards light and truth.

Some of my short stories, radio plays and all my novels start with a negation, a basic idea of bondage, darkness, untruth, so that a search for eternal values can be commenced.

Denial, negation, untruth, sorrow are all negative truths. They have no existence. They are indicative of the absence of certain positive elements. And what is positive is capable of being maneuver and moved. Darkness is negative. It may be darkness of feelings, of relationship, of exploitation or of immorality or unethical behavior. It is difficult to move this darkness. On the other hand, light and truth can be brought in and one can strive for them. This striving is my creative effort, my contemplation, my style and objective.

The basic concept of life and civilization does not change. Values change, fall and rise. In a sense, the basic movement of life is eternal but values are changing. The basic concept is absolute but values are relative. Man’s happiness or unhappiness is related to the rise and fall of values.
Literature is satyam, shivam, sundram, an ultimate value for the realization of which one creates. The truth of life is eternal; the fact of life is a medium. I use the medium of writing to approach the eternal.

 ·  ·  · August 30 at 10:48am

• Seen by 19

  You, Aman Bharti Sharma, Sarvesh Chaturvedi, Nidhi Mehta Vaid and 2 others like this.
• • 

    Kapil Anirudh This article of Gurudev was published in Sahitya Akademi's Literary Bi-monthly "INDIAN LITERATURE" No. 114, July-Aug-1986 at page number 105-112.

    August 30 at 10:52am · 
  • 

    Sarvesh Chaturvedi I'm pleased to read ur vews.

    August 30 at 10:06pm via mobile · 
  • 

    Kapil Anirudh आदरणीय सर्वेश चतुर्वेदी जी आप की सुंदर टिप्पणी हेतु धन्यबाद, परन्तु यह मेरे विचार नहीं बल्कि परमश्र्धेय गुरुदेव सारथी जी के विचार हैं ।
    
    सारथी कला निकेतन (सकलानि) गुरुदेव ओ पी शर्मा सारथी (1-4-1933 से 10-9-2002) जी के दर्शन को समर्पित है ।...See More

-धरती का गीत ---
रचनाकार --- गुरुदेव (डा.) ओ. पी .शर्मा "सारथी"

माँ जगाती है सभी को
नींद में क्यों सो रहे हो 

भूल कर गौरव को अपने
तुम परेशां हो रहे हो

इक नज़र इतिहास देखो
तुम में बल है त्याग का भी
युद्ध का भी शांति का भी
और बल अनुराग का भी
हित अहित को सम समझ कर
मात्र शंका ढ़ो रहे हो
भूल कर गौरव.............

भीम की है तुम में शक्ति
राम का है धैर्य तुम में
पार्थ से रण में धनी हो
कृष्ण का है शौर्य तुम में
छोड़ कर अपने गुणों को
तुम तो कायर हो रहे हो
भूल कर गौरव.............

त्याग दो अभिशप्त जीवन
घर संभालो घर बचा लो
आज घर के भेदियों से
रो रही माँ को बचा लो
तुम शिवा, राणा, भगत सिंह
वीर सावरकर रहे हो
भूल कर गौरव.............

Pen sketch of Bharatmata by Gurudev

• You, Raghav Sharma, Sahil Sharma, Nidhi Mehta Vaid and 3 others like this.
• • 

    Kiran Sapru beautiful pic

    Friday at 11:26am ·  · 2
  • 

    Nidhi Mehta Vaid Maira bharat mahan

    Friday at 2:10pm ·  · 1
  • 

    Sarvesh Chaturvedi Bahut sunder aur maulik chitrkaari hai.

    Friday at 11:02pm via mobile ·  · 2
  • 

    Kiran Sapru beautifulllllllllllllllll,,,,,,speechless