weight telugu meaning
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weight telugu meaning Post Review
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@MANOJ_MASANE Subtitles...??? These are heavy weight & core Telugu words. First telugu to telugu translate karna padega... And then telugu to English karna padega.... Ye process me actual meaning dilute hojayega. Still give me some time ...will get back to with proper translation.🙈😰
Vedhika – Height, Weight, Age, Net Worth, Boyfriend, Wiki https://t.co/3vBuQ4xbTZ Vedhika is an Indian film actress and model who has appeared in Tamil, Telugu, Hindi, Malayalam, and Kannada movies. Vedhika Sanskrit’s meaning is full of knowledge. She is a pet lover and very humb
@RenukaJain6 One Person abused a Lazy Fellow as " Gadida Kodukaa ( Telugu Word Meaning Son of an Ass ).An Ass was passing on the Road at that time. It heard the abuse and Painfully Thought" O What a Pity Is this Lazy fellow My Son?" As all know Donkeys always carry a lot of Weight.
weight telugu meaning Q&A Review
What is the meaning of the word 'weight' in Telugu?
Weight in English would be baruvu in Telugu. Bhaaramu is another word (Sanskrit origin). Thulaabhaaramu is weighing someone in a balance against cash or gold or some other item. To weigh - tookam veyatam, toochatam, jokatam (in Telangana)
What is the Telugu meaning of "Lokuva" in English?
lokuva is just a feeling which makes humans think in decrease in the standard (either it may be in way of living or in cost of living) eg:- if we help for someone continuosly then the way they feel about us is called “lokuva” in telugu (like if they take it as advantage of it) they way some head weight rich people think about the poor people in movies (i.e the way they look at the poor people by assuming that they are cheaper and and will not live cleanly like that .. ) which we see in movies
In Telugu we frequently use the word thu cha tappakunda. What is the meaning of thu cha?
This is the answer given by eminent writer Sri Garikapati Narasimha Rao(గరికపాటి నరసింహారావు) In olden days, when poems were written in Sanskrit, certain rules had to be followed like number of syllables etc. So when writing a poem poets used to add one syllable at the end of any line to make up the required syllables. They used be either ‘Thu’ or ‘Cha’. When translating the poem into Telugu, these syllables were removed in Telugu version . But if somebody tried to translate the poem with out removing those syllables (which are actually unnecessary) they used to call it as “thu cha tappakunda”. But gradually the meaning changed. Now if some body says “thu cha tappakunda chesanu” , it means I have done every thing exactly as you have told without omission of any single thing. After answering this question I went to one of my elders who is expert in ‘Telugu sametalu’ and Telugu phrases. She told the meaning as follows: Full form of ‘thu cha tappakunda’ is “tookaaniki chataku tappa kunda” Tookam means weight and ‘chataku’ means a small unit of weight (approximately 100 gms). In olden days when they used to weigh heavy rice bags (which are almost 100 kg) they used this phrase. There is not even a difference of one ‘chataku’ in the whole weighing process. Hope this helped you
What is the etymology of the Tamil word “Thookam” (தூக்கம்) referring to sleep?
Tūkkam means to sleep, drowsiness, fatigue, weariness, laziness, drooping, delay, pendants in jewels, a kind of garland, ornamental hanging, a kind of ear-ornament, weighing, height, rise in price; Root word of Tūkkam is ,Tūnku,. As per Dravidian etymological dictionary by Emeneau and Burrow, the etymology of Tūnku is: Tamil : tūŋku (tūŋki-) Tamil meaning : to hang, be suspended, swing, sway from side to side as an elephant, dance, sleep, slumber, die, spin as a top, droop as a plant, be sluggish, slow; delay, procrastinate, walk or trudge slowly, rest profoundly Tamil derivates, : ,tūŋkal, pendant, anything suspended, drowsiness, light sleep, dullness, depression, balance, scales, dancing, a tune of slow measure; ,tūkku, (,tūkki-,) to lift up, raise, hoist, weigh, balance, consider, compare, hang, suspend, shake, agitate; n. pendant, anything suspended, balance, weight, plumb-line, height, perpendicularity, steepness, comparison, similitude, deliberation, pondering, dancing; ,tūkkam, sleep, drowsiness, fatigue, weariness, laziness, drooping, delay, pendants in jewels, a kind of garland, ornamental hanging, a kind of ear-ornament, weighing, height, rise in price; ,tūkkutūkki, satchel-bearer Malayalam, : tūŋŋuka Malayalam meaning : to hang, be suspended, dangle, be weighed, be drowsy, sleep Malayalam derivates, : ,tūŋŋal, hanging, inclination, reliance, drowsiness; ,tūkkuka, to suspend, hang up, weigh, take up, nod, be drowsy; ,tūkkam, hanging, esp. the ceremony of swinging suspended by hooks in honour of Kāḷi, weighing, weight, precipice, perpendicular, sleepiness, a cradle of cloth suspended by the four corners; ,tūkkal, drooping, drowsiness, grief; ,tūkkikka,to have hanged, get weighed; ,tūkku, that which hangs or serves to suspend something, what can be lifted at once, dependency, direction Kannada ,: tūgu, tūŋku Kannada meaning : to weigh, swing or rock as a cradle, wag or move the head from side to side, hold or lift up and wave, swing, nod as in sleep or be drowsy, hang, be suspended, dangle, wave; n. weighing, swinging about, oscillation, waving, wagging Kannada derivates, : ,tūgisu, to cause to weigh, swing or rock as a cradle; ,tūka, weighing, weight, the quantity determined by weighing, worth, dignity; ,tūkike,, ,tūgike, act of weighing; ,tūku,weight, moving up and down or backwards and forwards, nodding; ,jūgalisu, to nod, doze, move or proceed slowly as vehicles or work; ,jūg-āḍu, to waggle, waddle Kodagu, : tūŋg- (tūŋgi-) Kodagu, meaning : to hang (intr.) Kodagu derivates, : ,tūk-, (,tūki-,) to hang (tr.), weigh; ,jūŋg-, (,jūŋgi-,) to sway (snake, tree, person, baby in cradle); ,jūk-, (,jūki-,) to sway (tr.) Tulu, : tūŋkuni, tūŋguni Tulu meaning : to swing, toss, reel, doze, be drowsy, deliberate Tulu derivates, : ,tūŋkaṇa,, ,tūŋki, swinging, dependence; ,tūŋkaliyuni,, ,tūkal(i)yuni, to doze, be drowsy; ,tūŋku, swinging, drowsiness, reeling, deliberation; ,tūŋgu, the beard of barley, etc.; ,tūŋgalụ, awny, full of beard as corn; ,tūkuni,, ,tūguni, to weigh, hang, suspend, swing, rock (as a cradle); ,tūka, weight, weighing; ,tūkāvuni, to cause to weigh, hang up; ,tūku, hanging; ,tūkula, a hanging lamp; ,tūgaḍi, drowsiness, sleepiness; ,tūgaḍipuni, to be drowsy, sleepy; ,sūŋkaṇa,, ,sūŋkuni,, ,sūŋgu,, ,sūka, = ,t-,, etc. Kota :, tūg- (tūyg-) "to hang (intr.), weigh (intr.)" Toda, : tūx- (tūxy-) "to hang (intr.)" Telugu, : tū̃gu Telugu Meaning: o hang, swing, rock, reel, doze, slumber, weigh Additional forms, : Also ,tū̃gāḍu, to swing, move; ,tū̃cu, to weigh, find the weight of; ,tūnika, weighing, weight Konda, : dūŋ- "to be shaken, dangle, hang, swing" Pengo, : tūŋ(g)- (tūŋt-) "to hang (intr.)" Manda, : trūŋg- "to swing (intr.)" Kui, : drūnga (drūngi-) "to swing, sway, shake, oscillate; n. a swinging motion" Khuttia Kui, : dūŋg- "to hang" Kuwi (Fitzgerald) ,: tūngali "to sway" Kuwi (Schulze,) : tūnginai "to swing (intr.)" Sunkarametta Kuwi, : tūŋg- (-it-) "to hang (intr.), be hanging" Kurukh, : tungul “a dream” Malto, : tumgle “a dream” Brahui, : tug_h_ “sleep, dream” Additional forms, : ,tug_h_ī, “sleepy”; ,tungān, “asleep, sound asleep”
Why is Telugu considered by some as Ajanta Bhasha?
A very good question in deed. A question which I have been awaiting to be raised and answered. Telugu was mistakenly classified by the Telugu intellectuals of the 20th century as a purely vowel-ending language. Thus they standardized and fixed the language as such and redesigned every other feature in the language to fit into that bias. But Telugu is not a purely vowel-ending language. Never in its history. In stead, it has been having words with both types of endings. When I say this, I am not speaking of the borrowed vocabulary in Telugu but its own original vocabulary too. So Telugu is as much a consonant-ending language as it is a vowel-ending language. OR it is as much a consonant-ending language as Greek, Latin and Sanskrit, if not as much as Hindi and English. I mean, Telugu has both the characteristics (vowel-ending and consonant-ending), just like its siblings,Tamil and Malayalam. Today, nearly everyone considers Telugu a rigidly vowel-ending language like Italian etc. But consequent to a deeper thought, I got a divergent view on this. While Telugu words are not written with consonant-endings, in practice, Telugu people pronounce a large number of pure, native Telugu words as consonant-endings. But this fact is hidden behind the so-called ,Sandhi sutras,. i.e. When the Telugus convert the vowel-ending words into consonant-ending ones, we mistake it to be happening on account of ,sandhi., But it is not so. Telugu words are inherently dynamic with regard to their endings. i.e. They can behave like vowel-endings and consonant-endings, depending on the situation and context. CONSONANT-ENDINGS IN THE FOLK TRADITION :, For example, specific words in a verse or slogan can be turned into consonant-endings in Telugu. In our childhood, in the aftermath of the 1965 war, we, as kids, used to shout a slogan in our school : పాకిస్తాన్ ! నీ పిలక పీకిస్తాన్ ,(Pakistan ! nee pilaka peekisthaan) Meaning :, O Pakistan ! I will have your tuft plucked out. But in ordinary conversation, it would be ,‘peekisthaan,u,’. ,Then what happened to the terminal ‘u’ of the verb in the slogan, considered to be the hallmark of the Telugu phonology? Vanished into thin air, didn’t it? Similarly, Telugu devotees shout ’బహు పరాక్ బహు పరాక్’ (,Bahu-paraak, - meaning ,Attention, Attention,) while taking their goddesses in a procession. What happened to our vowel-ending ‘u’ here? There are a number of examples like this. For instance, look at the film titles like ,‘Adhurs, Pataas’, etc. These are actually considered to be vowel-endings, but became consonant-endings to add a masculine touch befitting the plot and the protagonist. Suppose you kept them as ,‘Adhursu, Pataasu’ ,etc. they will sound dull and inert, not masculine enough. Besides, there are a number of native words pronounced by commoners as consonant-endings. For example : మటాష్, చెట్టపట్టాల్ ,(maTaash, cheTta-paTTaal), and all the words ending in [m] like నేస్తం, కాపరం, పల్లం, గూడెం ,(nestham, kaaparam, pallam, goodem), etc. The Telugu people constantly convert vowel-ending words into consonant-endings all the time. For example : నాకు అది ఇస్తావా? (Naaku adhi isthaavaa ?) = ,(Would you give it to me?) becomes నాక్ అద్ ఇస్తావ్ ఆ? (Naak adh isthaav aa?) ,in pronunciation. It is just that the Telugus pronounce these words fast in a combined way without splitting them as shown here in the English script. (నాకదిస్తావా?) But a careful observer can notice that nearly all the vowel-endings are being deleted in the pronunciation. Erstwhile grammarians had mistaken this pronunciation for a result of Sandhi and named the first change as ,Uthva Sandhi, and the second one as ,Ithva Sandhi. ,I beg to differ. They are not fully ,Sandhis,, but just an end-vowel deletion. This happens between not just vowels but vowels & consonants as well. For example : వాడు నీతో పాటు ఒచ్చాడా? (vaaDu nee tho paaTu otchaaDaa?), = Did he come along with you?) becomes వాణ్ణీతో పాటొచ్చాడా? (vaaNNee tho paaTotchaaDaa?) వాడ్ నీతో పాట్ ఒచ్చాడా? Look here, how ,‘vaaDu’, has lost the terminal vowel ‘u’ and became ,‘vaaD’, before joining the consonant ,‘n’, in ,‘nee tho’ ,. In general, except for the words ending in కచటతప, గజడదబ and their aspirated variants, all other words (ending in నమయరలవషస) in Telugu can and may become consonant-endings. CONSONANT-ENDINGS IN THE CLASSICAL TRADITION : ,One might argue that the phenomenon of the Telugus converting vowel-endings into consonant-endings is a fairly recent thing, having come under the influence of foreign languages. Again, I beg to differ. In my personal opinion, consonant-endings have been an integral feature, a part and parcel of the Telugu language right from the beginning, having nothing to do with the modern developments. I can quote hundreds and thousands of ancient Telugu compositions to substantiate this. Look for example, a verse written by Nannaya Bhat (1022 A.D.) the first known poet of Telugu. పాతాళైక నికేతనాంతరమునన్* బర్వెన్* దదశ్వాఖిల స్రోతోమార్గ వినిర్గతోగ్ర దహనార్చుల్* పన్నగ వ్రాతముల్* భీతిల్లెన్* భుజగాధినాథు మనమున్* భేదిల్లె గల్పాంత సం జాత ప్రోద్ధత బాడబానల శిఖా శంకాధికాతంకమై. (I – 2 – ౧౧౧) I have marked all the consonant-endings in the above verse with an asterisk each. When you witness these in poetry, you might assume that it is just poetic style. But when you give it a deeper thought, you will understand that what we deem to be a poetic style today, actually used to be a commonplace colloquial style once upon a time. CONSONANT ENDINGS IN MODERN TELUGU : ,In modern Telugu, you can find consonant-endings in almost every informal address and interjection, such as ఏయ్, ఓయ్, ఒరేయ్, ఒసేయ్, ఓస్ ఇంతేనా ! ఓసోస్ etc. It is also palpable in several phrasal verbs such as తలుప్ మూయడం, నోర్ మూయడం etc. It is visible even in certain pronouns and verb-forms, such as- నువ్ ప్రసాదేనా? (Nuv Prasaad’ay’naa?) - Are you Prasad ? ఎప్పుడ్ + ఒస్తావ్ ? (Eppud’ osthaav ?) - When will you come? OF CLUSTERS There will be fire where there is smoke. Similarly there will be consonant-endings too where there are clusters. ,Because Clusters ,(Samyuktha aksharams) ,and consonant-endings are mutually related. If a language has consonant-endings, it will soon end up having clusters too, because the end consonants of a word and the initial consonants of another join together to make a cluster while making a compound (Samaasa). For example, take Hindi, a simple language without native clusters. It has a word compound ‘Daak Sadan’ (डाक सदन = Post office). Through repeated use over time, it might become ‘Daxadan’. See how a combination of cluster-less words became a new word with a cluster. So it is clear that there is no way you can escape clusters and super-simplify the language. So, what point do the consonant-endings in ancient Telugu prove? They show - that in a very remote ancient past, Telugu might have been a language replete with clusters, like the Tibetan or European languages. Its simple and dull shape is historically a very recent phenomenon, not going beyond 1,200 - 1,300 years. For example, do analyse any modern Telugu verb or word or sentence. What was its actual background? వారు చెట్టెక్కారు (vaaru cheTTekkaeru) = They climbed the tree. In a very remote ancient Telugu (dating back perhaps to 1000 BCE - 500 BCE), ,the Telugu people used to pronounce it as something like : అవర్ కెర్ట్ ఎర్కిన్ అవర్. (Avar kert erkin avar) It went on metamorphosing like this: వార్ చెర్ట్ ఎక్కినవర్ (vaar cert ekkinavar) వారు చెట్ట్ ఎక్కినవారు (vaaru cett ekkinavaaru) వారు చెట్టెక్కినారు (vaaru cett’ekkinaaru) వాళ్ళు చెట్టెక్కారు. (vaaLLu ceTT’ ekkaaru) - Modern Standard Telugu. You may not believe it today, but its truth will come out, when you are able to get back to the original form of each and every Telugu word by way of reconstruction. There are no written records to prove this. But it can be surmised by tracing back the actual etymology of the words. Today, we have the so-called ,vyaavahaarika-vaadhis (,colliquialists) who are actually ,sarva-naasana-vaadhis., They firmly believe that Telugu does not have clusters and clusters are something not organic to the language. So they went on deleting all clusters from the language, esp. the initial ones, on the specious ground they are not prevalent in the diction of some random faceless commoners. Thus they made- కొంగ్రొత్త into కొంగొత్త క్రిక్కిరిసి into కిక్కిరిసి ప్రత్తిపంట into పత్తిపంట etc., thus emasculating the language further. OK. But how can you eliminate clusters from the pure native Telugu words like విస్తరి, బెస్త, పుస్తెలు, ఏర్పాటు, కూర్పు, మార్పు, ప్రమిద, ఏబ్రాసి, స్మీ (సుమీ), వాక్రుచ్చు, వెంట్రుక, తండ్రి, గుండ్రం, పండ్లు, పొత్రం, సేద్యం, పొట్లం etc. ? There are hundreds of this ilk. They are there even in the day-to-day verbs like వస్తున్నా, చేస్తున్నా etc. In fact, a large number of what we deem to be ,‘dvithvas’, (double consonants, as in ,mokka, pakka ,etc), must have been clusters once upon a time. For example : ఒక్కత్తె came from ఒక్కర్తి. CLUSTERS IN TELUGU VERBS : ,The conjugations of the tri-syllabic Telugu verbs cannot be explained neither satisfactorily nor easily, if we deem them to be tri-syllabic. I think they were actually bi-syllabic or monosyllabic only, having ended with clusters once upon a time. i.e. Why does a Telugu verb get infix-type of changes in its middle syllables in conjugations, which is uncharacteristic of a Dravidian language? ,For example ,: Compare these forms - దొరుకు - దొరికి, దొరకక. See how the middle letter ర in this verb gets 3 different vowels in three different tenses, reminding us of Arabic. It is extremely difficult to explain this to a non-Telugu speaker. This anomaly can be remedied only by combining the middle syllable with the last one, as shown below: దొరుకు [దొర్క్ / దొర్కు] assumes forms like దొరికి (దొర్కి), దొరకక (దొర్కక) పెరుకు [పెర్క్ / పెర్కు] assumes forms like పెరికి (పెర్కి), పెరకక (పెర్కక) అడుగు [అడ్గ్ / అడ్గు] assumes forms like అడిగి (అడ్గి), అడగక (అడ్గక) కలుపు [కల్ప్ / కల్పు] assumes forms like కలిపి (కల్పి), కలపక (కల్పక) In my opinion, the verb-forms shown in brackets were original. ALLERGY TO CONSONANT-ENDINGS AND CLUSTERS : ,It is all generated by preconceived notions about Telugu. I am personally in favour of consonant-endings and clusters. They add weight to the sense intended to be conveyed, rendering the expression more powerful and emphatic. They enhance the beauty, royalty and dignity of the word manifold. They make our job of coining new words easy too. So I am all for encouraging and reviving the consonant-endings and clusters in Pure Telugu. The Pure Telugu as we know it, is shorn of all its beauty without many consonant-endings and clusters. Seemingly a frivolous issue. But I suspect that this could be one of the reasons as to why people prefer some other words even for naming the Telugu babies. We frequently get to hear a hilarious contention that the tongues of the random Telugus are not accommodating to clusters. This, in spite of and in total disregard of the ground reality of millions of the Telugus successfully learning and fluently conversing in ‘clusterd languages’ like English and Sanskrit. Even in their own mother tongue (Telugu), they daily use hundreds of clusters like ప్రభుత్వం, ఆర్థిక వ్యవస్థ, సూత్రప్రాయం, ప్రపంచ ప్రఖ్యాతి, పరువుప్రతిష్ఠలు etc. Then I don’t understand the source of this mysterious resistance to the presence of clusters in Pure Telugu alone, as if the language somehow disqualified/ forbidden for ever to have them by an inviolable divine decree. Telugu is not a simple language and it need not be., Complexity is the sign of a high civilization. ,Sarva-naasana-vaadhis, became what they are because they hate all complexity in the Telugu language. But curiously, the same ,sarva-naasana-vaadhis, heartily welcome and embrace all the complexities in English. (05.11.2018)
As a Telugu person, do you support De-Sanskritization of Telugu language? Removal of Sanskrit/Prakrit vowels/consonants and disbanding of Sanskrit Epics from literature will give a rebirth to Telugu Thalli (Mother Telugu).
The very premise of the question is wrong., Why should anyone complain of De-Sanskritization of Telugu, while a bigger impending crisis i.e. De-Teluguization of the Telugu society itself does not concern anyone in the least yet? All of those who understand Pure Telugu as an exercise in De-Sanskritization - and who paint it as such - are long given to a wrong notion - actually many such wrong notions - about Telugu. One of the most wrong notions is That Sanskrit has a natural birth-right over Telugu. That Telugu owes something to Sanskrit. That Sanskrit tied a thaali in the neck of Telugu. and therefore, Sanskrit is the ultimate boss/ lord over Telugu. That Telugu has no right whatsoever to live independently of Sanskrit - so, it is an ultimate act of ,droham,/ treason/ treachery to speak and write Telugu without Sanskrit. Sorry, sorry, no language in the world has a right over another,. Telugu is absolutely a language distinct, separate and different from Sanskrit which is just one of the many international (read : imperial) languages like English, Arabic and Persian that impacted Telugu in the course of a tragic history. Pure Teluguists are honestly not at all interested in all these international languages. They are ,pucca, locals, who want even Telugu to remain ,pucca, local. When you call Atsa Telugu as a De-Sanskritized version of Telugu, mind you, this variety can also be called as- A De-Anglicised version of Telugu A De-Arabized version of Telugu A De-Persianized version of Telugu too. because Pure Teluguists want only Telugu in their language. This is not about Sanskrit. ,This is all about reviving the lost and forgotten vocabulary of Telugu. It is all about appraising the insiders and outsiders of how capable and rich Telugu is by itself. It is about projecting the originality of Telugu. It is about helping and enabling a long-handicapped language to stand on its own legs. Pure Teluguists deem all the borrowed vocabulary in the language to be absolutely unwanted, uncalled for and dispensable,, because Telugu has nearly every word needed to create literature. It is rich by higher grammatical capabilities than Sanskrit to coin new words from the existing ones. So they consider the proliferation of loan-words in Telugu - a result of centuries-long exhibition of erudition by our scholars and poets. These imports are like a viral load and have killed the native vocabulary ,on a very very massive scale, and are still on the killing spree even now. Along with individual words, long-long Sanskrit Samaasas too have made their entry into the language. This style has made the Telugus the virtual chatter-boxes who really don’t know the core meaning of the imported Sanskrit formations they are uttering. Atsa Telugu clears all this debris and confusion. Presently, Modern Telugu contains only 10% Telugu. Pure Teluguists’ endeavour is directed towards hiking this percentage to atleast 60%. ,I see little wrong with it. You cannot do it, if you go on compromising at every step on the matters of loan words. That is already a failed approach as far as Telugu is concerned. The crushing weight of borrowed vocabulary demeaned Telugu furthermore in the eyes of everyone. It led to an incremental borrowing of everything, killing all originality of this linguistic race. What has borrowing exactly done to Telugu ?, Some love to compare Telugu’s borrowings with those resorted to by English. No, no. Unfortunately, it did not end happily like that with Telugu. It all started with accepting some non-Telugu words. Very soon the acceptance was extended to everything non-Telugu, and had robbed Telugu of its very identity in the end. As a result, today, Telugu has not much of original literary tradition, no original stories, no original epics, no original grammar tradition, no prosody tradition, no poetics tradition - nothing other than that copied from Sanskrit. Thus, constant borrowing has rendered Telugu a pale and poor shadow of Sanskrit in every manner possible. It has spawned a very queer and huge species of copycats. Pure Teluguists want to call a halt to all this suicidal process. There is nothing left as Telugu scholarship on Teluguland. ,Only Sanskrit scholarship. SANSKRIT = SCHOLARSHIP and SCHOLARSHIP = SANSKRIT. Knowing Telugu in depth is not at all considered scholarship here, because we never had Telugu scholars in our entire history. Always and even now, we only have Sanskrit scholars, Sanskrit poets, Sanskrit fans etc who masquerade part-time as Telugu scholars, Telugu poets and Telugu fans. This is charade, a farce. Pure Teluguists want a fullstop put to the drama. Time has come to decide who are really and genuinely with Telugu upto 100% and who are not. No middle ground could be possible. No more. Atsa Telugu (Pure Telugu) is a very ancient concept,, having been in vogue since the 13th century in different names. At that time, it was called Zaanu Tenungu. It is noted for its scant use of Sanskrit and prolific use of Pure Telugu. All our ,Dwipada Kaavyas, which number in scores were written in Zaanu Tenungu. Ponniganti Teluganna of the 17th century pioneered the writing of classics in Pure Telugu. Koochimanchi Thimmanna of the 18th century continued the tradition by way of his own Pure Telugu works. In the 20th century, several stalwarts like Adibhatla Narayana Dasu, Marepalli Ramachandra Sastry,, ,Pothukuchi Subrahmanya Sastry and B.S. Bangarayya continued the Atsa Telugu tradition. Contemporary Pure Teluguists are their successors and followers holding the nativity-flag aloft. So this is not a new thing. Be at peace. (11.08.2020)
Was the Vijayanagara Empire a Tuluva, Kannada, or Telugu empire? Why do Telugus claim it as their own?
Question: Was the Vijayanagara Empire a Tuluva or Kannada or Telugu empire? Why do Telugus claim it as their own? Let's analyze important facets of Vijayanagara empire (Karnata Empire) that lasted until 1565 AD (battle of Talikota or Raksha Tangadi) to arrive at a conclusion. (From 1565 to 1646 it was not really Vijayanagara empire (although a misnomer) for the city of Vijayanagara itself had become HaaLu Hampe (ruined City Hampe) after 3 months long loot by the invaders nor was it Karnata empire as the new region only included parts of present day Andhra Pradesh ruled by Telugu speaking Araviti dynasty (Kingdom of Mysore, Keladi have declared independence). so we will focus primarily on the period from 1336 to 1565 AD, from empire's inception to till the battle of Talikote/Raksha Tangadi. For starters, we all can at least agree that the Karnataka empire (aka Vijayanagara empire) patronized Kannada, Telugu, Tamil and for centuries protected the whole of south India from Invaders (outside and Northern empires). 1. Founders: We can look at the inscription to deduce if the founders Hakka Raya & Bukka Raya were of Kannada origin or Telugu Origin. This earliest Kannada inscription about Bukkaraya mentions many titles he used. His title ‘bhasege tappada rayara ganda’ is entirely in Kannada (except for the Sanskrit word 'bhashe'). Inscriptions show that "Karnataka empire" was founded in 1336. [1][2]. The Karnataka Empire or Vijayanagar Empire was originally of the Karnataka region and it drew its inspirations from the Hoysala Empire and the Western Ganga Dynasty of the Karnataka. Inscriptional evidence shows that Ballappa Dandanayaka, a nephew of Hoysala Veera Ballala III was married to a daughter of Harihara I, the founder of the empire. This is claimed proof enough of the association Sangama brothers had with the Hoysala family. [28] It is also asserted that the theory of capture of Harihara I and Bukka Raya I by the Sultan of Delhi and conversion to Islam is false and that the testimony of epigraphs proves that the area around Hampi constituted their homeland. The empire never had a Telugu origin. There is no epigraphical evidence for Telugu origin theory. [28] 2. Name of the Empire: From the inscriptions it is evident that the empire never called itself Vijayanagara empire. Vijayanagara was a capital city in Karnataka Empire. In fact the capital city was initially "Anegundi" (a Kannada word) and later moved to Vijayanagara. The empire always called themselves Karnataka Samrajya in all their inscriptions.[2]. The name Karnatabala ("The Power of Karnataka or Karnataka Force") was also used by another Kannada Kingdom of Badami Chalukyas who ruled between 543 AD and 753 AD. Robert Sewell (1845-1925, Keeper of the Madras Record Office) was the first to study Hampi and write a book on it, A Forgotten Empire Vijayanagar. Though he mentioned in the body of the text that the empire was called Karnataka, he chose Vijayanagar in the title because he knew Kannada and Telugu groups would fight if he called it Karnataka. [8] There are at least 30 inscriptions identified that mentions the name Karnataka Empire according to Dr. Srinivas Ritti [8] Read below inscription mentioning the kingdom and the capital city Kannada Inscription from Devaraya’s era (1424-1446 CE) [37] ...Śrimatu jam̩būdvīpada bharataks̩etrada āryākhan̩d̩aparives̩t̩isikon̩d̩ida pratiparm̩na Karn̩āt̩adesada mahārājadhāni vijayānagarada puravarādhī(ś)vara S̩rīmadrājādhirāja rājaparames(ś)vara Devarāya Mahārāya rājyābhudayadol̩u śri manumahāpradhāni lakham̩n̩avod̩eayaru hom̩nāvurada rājyava pratipālisuttidda... English Translation [37] ."While King Devarāya, fortunate king of Kings, Supreme Seignoir was rising in power from puravara the best town Vijayänagara (Vijayanagara) the capital of (the kingdom) pratiparm̩na, "known as" ,Karn̩āt̩adeśa, (which is) in the girdle of Āryākhan̩d̩a of Bharataks̩etra in the Jam̩budam̩budvīpa;.... [,Karn̩āt̩adeśa = Karn̩āt̩a country = Karn̩āt̩aka country] Keep in mind that we are only looking at official epigraphical records of the empire itself of that time and not what some traveller wrote in his dairy. 3. National language("deshabasha") or Official Language: There are many Sanskrit copper plates—grants were given on copper plates— where the first portion of the text is in Sanskrit and when they come to the date and the details of the grant, they say ‘deshabhashya kathyate’ (= "to be said in deshabhasha"). And this is followed by text in Kannada. So, Kannada is the deshabhasha (loosely translates to national language ) of Karnataka Empire (Vijayanagara Empire). [8] 4. Emblem/Symbols of Karnataka Empire: The emblem of Karnataka Samrajya was the same emblem used by another Kannada empire Badami Chalukya who ruled most of south India between 543 & 753 AD, modifying the conch(Shankha) and wheel(chakra) to the Sun and the Moon intending that the empire should last as long as the Sun and the Moon exist. [3] Also the Elephant Bull symbol that can be seen in Hampe is inspired from Kannada Badami Chalukya conveying that both peasants/agriculture (=prosperity) and soldiers (military strength/expansion/security) is important for the kingdom. [12] 4. Religion: Although there was no state religion the Kings were following Madhwa mata (Duality Philosophy) founded by Madhwacharya of Karnataka. [4] 5. Family Diety (Kuladevata) / Rajaguru: Vyasatirtha who was a Kannadiga served as the patron saint of the Karnataka Empire (Vijayanagara empire) [5] 6. God/Temple: Karnataka Samrajya (Vijayanagara empire) Kings worshipped Viroopaksha (Note that Viroopaksha temple of Hampi was developed by earlier Kannada empires Chalukya and Hoysalas) and Vittala (Note that Vittala is a Kannada word while Vittobha is a Marathi word) [6] [7] 7. Tuluva dynasty: Four dynasties Sangama(Kannada), Saluva(Kannada), Tuluva(Kannada/Tulu?) and Aravidu(Telugu) ruled Karnataka Empire (Vijayanagara Empire) of which usually it is claimed that Tuluva dynasty kings were Tulu speakers. There is literally zero evidence for this claim as there were literally no Tulu inscriptions by any of Tuluva kings. In fact Karnataka empire( or Viajayanagara) and Hoysala rulers were considered as invaders and outsiders to Tulunadu by Tulunadu historians. [10] So, No there is no evidence for Krishnadevaraya being a Tulu speaker. Krishnadevaraya in his own book (Amukta Malyada in Telugu) writes that God Andhra Vishnu refers him (=Krishnadevaraya) as Kannada-Raaya or "Kannada King". (Raaya is Kannadized version of sanskrit word Raja(=King)) 8. Coins: Language and alphabet on coins It is noteworthy that the founders of the Karnataka Samrajya (Vijayanagara) Harihara I and Bukka I have issued the Kannada alphabet of the Hoysala period which is as distinct from the Telugu characters, exhibit in spite of their general likeness as some peculiar features which are characteristic of Kannada. The adoption of the Kannada legend and emblems of Hanuman and Garuda by the first two kings tends to prove that the family had greater affinities with Kannada language and Karnataka where the Kadambas with Hanuman flag and Yadavas with Garuda inscription and held sway for about two centuries prior to their rise. Coins of Devaraya II have the legends inscribed in Kannada. Legends of the rulers were also inscribed in the nagari characters. The copper coins of Bukka II have the legend Jaya Bukkaraya in Nagari. [11] Only the rulers at the fag end of the dynasty used Telugu legends. It is important to note that this is the period after 1565 when Araviti dynasty ruled from present day andhrapradesh and Vijayanagara was already ransacked by Deccan sultanate allies and had become ruined city. [11] 9. Kannada Numerals: In the early Vijayanagara period Vijayanagara kings HariharI, Bukkka I, Devaraya I, Devaraya II and Mallikarjuna have issued the silver coins, important aspects of the silver coins is the presence of Kannada numerals on them. [11] 10. Number of inscriptions: From 1336 to 1565 AD almost all of the inscriptions are written in official language Kannada and few in Sanskrit. Few inscriptions that are written in Tamil and Telugu in Tamil Nadu and Andhrapradesh region during this period begins with Tamil and Telugu but switch to Kannada in the details of the grant. [8] [13] Note that inscription in Lepakshi, Andhrapradesh is in Kannada is one such example. In fact, between Tamil & Telugu, number of Tamil inscriptions during the period 1336 to 1565 is higher than Telugu inscriptions. Few hundred more Telugu inscriptions came into existence only after this period (making Telugu inscriptions more in number than Tamil inscriptions) when Vijayanagara City was in ruins , while Araviti dynasty kings rule from current Andhra region. [29] 11. Fairs during Vijayanagara Empire: Of approximately 6000 available inscriptions of Karnataka Samrajya (aka Vijayanagara) period, 200-250 inscriptions of Karnataka throw light on village fairs of those times, their constitution, merchandise and their political influence, tax system, financial transactions, measures and weights, export and import, rules and regulation of merchandise and formation of merchants association, foreign trade policy etc. The tradition of fairs of Vijayanagara followed the model of Hoysala's. [14] 12. Karnataka(=Carnatic) Shastriya (=Classical) Sangeeta(=Music): There is no need to explain why Karnatic music is called so and not Vijayanagara classical music or Andhra/Telugu classical music. Purandaradasa, the father of Carnatik(=Karnataka) Music travelled throughout Karnataka empire (Vijayanagara empire) singing Kannada keertanas(songs) in praise of Lord Vitthala(=Vishnu). More than 300 years later great Telugu Saint Tyagaraja, One of the trimurtis (three icons) of Carnatic music pays tribute to Purandara Dasa in his geya natakam(an opera) Prahlada Bhakti Vijayam. [30] 13. Krishnadevaraya's titles: Krishnadevaraya earned the titles Kannada Rajya Rama Ramana [=Lord of Kannada Empire], Mooru Rayara Ganda [ King of 3 Kings], Rayara Ganda [ King of Kings]. Note that all the titles are in Kannada Language [15] Krishnadevaraya also earned the title Andhra Bhoja [ Bhoja for Telugu Literature]: Note that the title is in Sanskrit. the word 'Andhra' is used here as if it means Telugu. (bhoja here means 'one who enjoys') From the titles Kannada Rajya Rama Ramana & Andhra Bhoja one can logically infer that Krishnadevara a Kannada king of Kannada empire must have patronized Telugu which Telugu hasn't enjoyed earlier. 14. AmuktaMalyada: Krishnadevaraya wrote Jambavati Kalyana in Sanskrit and AmuktaMalyada in Telugu. In AmuktaMalyada Krishnadevaraya himself writes that Andhra Vishnu (=God) appears in his dream one night when he was resting near Andhra Visnu temple (a place in Andhrapradesh while he was on the way to conquering Orissa) and tells him (=Krishnadevaraya) to compose the story of his wedding with Andal at Srirangam and refers Sri Krishnadevaraya as Kannada Rāya (= Lord of Kannada/Kannada King) [17]. ఎన్నిను గూర్తునన్న వినుమేమును దాల్చినమాల్య మిచ్చున ప్పిన్నది రంగంమం దయిన పెండిలి సెప్పుము మున్ను గొంటి నే వన్నన దండ యొక్క మగవాడిడ నేను దెలుంగు రాయడన్ గన్నడ రాయ యక్కొదువ గప్పు ప్రియా పరిభుక్త భాక్కథన్. - శ్రీ ఆంధ్ర విష్ణు Further Andhra Vishnu also explains why he wants Krishnadevaraya to write the story in Telugu. తెలుగదేల యన్న దేశంబు తెలు గేను దెలుగు వల్లభుండ దెలుగొకండ యెల్ల నృపులు గొలువ నెరుగవే బాసాడి దేశభాషలందు దెలుగు లెస్స - శ్రీ ఆంధ్ర విష్ణు translation: "If you ask, 'Why Telugu?' It is because this is Telugu country and I am a Telugu king. Telugu is sweet. After speaking with all the kings that serve you, didn’t you realize - amongst all the languages in the country, Telugu is the best!" [17] Again from Krishnadevaraya's own writing we can deduce that Krishnadevaraya was a Lord of Kannada empire (Kannada King) who enriched Telugu literature. 15. Inscriptions in Karnataka Samrajya Capital City Vijayanagara: Almost all of the inscriptions in Vijayanagara City (now Hampi) are in Kannada and few in Sanskrit. Kannada inscription describing Krishnadevaraya's coronation. link link [18] Poetic Kannada inscription by Poet Manjaraja. link [19] Kannada inscription of King Krishnadeva Raya dated 1516 A.D., at the Vitthala temple in Hampi link [23] Kannada inscription of King Krishnadeva Raya dated 1521 AD, at the Hazara Rama temple in Hampi. link [24] 16. Monuments in Karnataka Samrajya (Vijayanagara empire) in : Purandara dasa mantapa , VysaTirtha (he wrote famous "Krishna nee begane baro") Brindavana are some of the monuments in Hampi (Vijayanagara)of Kannada Saint Poets. [31] [32] 17. Pluralistic Society: Karnataka Samrajya (Vijayanagara empire) was a pluralistic society. There were Commander not just from Kannada region but also from Telugu, Tamil regions including Muslims. Domingo Paes, a Portuguese horse merchant, who came in the time of Krishnadevaraya, says Hindus and Muslims had their houses next to each other. He says that to the north of the capital there are Muslim quarters where Hindus also live. A Muslim bodyguard of Deva Raya II, Katige (one who holds a stick) Ahmad Khan, built a chhatra (umbrella) in Hampi for the good of the king. After Khan’s death, the king built his tomb next to that chhatra. The tomb and the chhatra with an inscription on the door still exist. Hindus and Muslims lived in harmony there. [8] It is important to note that two two Muslim commanders (Gilani brothers) of the Karnataka Samrajya (Vijayanagara Empire) army switched sides and turned their loyalty to the united Sultanates during critical point of Talikote battle. [22] 18. Literature: Krishnadevaraya was not the first king to patronize Telugu Poets in Karnataka Samrajya (Vijayanagara Empire). Prauda Deva Raya of Sangama dynasty who was as famous* as Krishnadevaraya, who wrote Sobagina Sone and Amaruka in Kannada honored Telugu Poet Srinatha with title Kavi Sarvabhowma. The king showed his appreciation with a kanakabhisheka ceremony (the "showering of gold coins on the head"). [25] Kumaravyasa who wrote celebrated Karnata Bharata Kathamanjari (in Kannada) also lived during this time. [25] *It was during Devaraya 2 (=Prauda Deva Raya), the Persian chronicler Abdur Razzak arrived in South India and wrote the famous lines "the ear of intelligence had never been informed that there existed anything equal to Vijayanagara in the world and the pupil of eye has never seen a place like it" [25] explorer Nicolo Conti wrote :"the king of Vijayanagar is more powerful than all the other kings in India." [25] Further Krishnadevaraya patronized Kannada, Telugu, Tamil and Sanskrit. Throughout Telugu's literary history it was during Krishnadevaraya's period Telugu literature reached its zenith. [16] Telugu Poets Ashtadiggajas lived during Krishnadevaraya's time. Krishnadevaraya patronized the Tamil Vaishnava poet Haridasa whose Irusamaya Vilakkam was an exposition of the two Hindu systems, Vaishnava and Shaiva, with a preference for the former. [26] Karnataka Samrajya (Vijayanagar Empire) rulers reconstructed the great Madurai Meenakshi Amman temple in Tamil Nadu that was destroyed by Delhi Sultanates. [27] 19) Inscription showing the name of the empire Copper-plate and Stone Inscriptions of South India, ,Volume 1 If you can read this inscription by Devaraya , you can see that “Karnata Rajya Ratna Simhasana” (=seated on the throne of Karnata Kingdom). You can read many inscriptions in the book here (no inscription refers to the kingdom as Vijayanagara but rather Karnata) 20) Signature Look at below Tamil and Sanskrit inscriptions and see how the signature is still written in Kannada 21) Mahanavami Festival: Mahanavami Festival used to be held at this place (Mahanavami dibba) in Karnata (Vijayanagara) Empire (from 14th Century) and even today it is still celebrated as world famous ,Mysore Dasara - Wikipedia, (Mahanavami) continuing the tradition of centuries. 22) Golden Throne The Golden throne of Mysore was in fact used by Karnata (Vijayanagara) Kings for more than 150 years. The inscription on the throne says “You are the Lord of Karnataka Ratna Simhasana” Conclusion : From all the above aspects we can conclude that Karnataka Samrajya (Vijayanagara empire) that lasted from 1336 to 1565 AD although originally of Kannada origin transcended beyond language, religion & regional boundaries & patronized not just Kannada but also Telugu (Golden age of Telugu literature) and Tamil and protected whole of South India from Invaders. The first thing Harihara (after Hoysala Veera Ballala iii was killed in Madurai) did was to send send his son Kampanna to Madurai and start rituals again (which was stopped by Madurai sultanates) and re-establish order.[8]. If the great temples of Tamil Nadu still stand tall today, if Kannada, Telugu & Tamil languages can take pride in their history of rich literature it is because of Karnataka Rajya (Vijayanagara Empire) & every Indian should be grateful to the kings who ruled from the city of Vijayanagar & take pride in our shared history. Every Indian should celebrate the achievements of Chola, Pandya, Chalukya, Rashtrakuta, Kalinga, Hoysala, Karnataka(Vijayanagara), Maratha Empires no matter which language they were associated with. Kannada and Telugu share great history and culture and the shared heritage belongs to both Kannada and Telugu and the post’s intent is not to encourage regional chauvinism. References [1] ,Inscription of Vijayanagar period found near Kollur [2] ,The word Karnataka has existed since 1336, say historians [3] ,The History of Early Chalukyas [4] ,Madhvacharya - Wikipedia [5] ,Vyasatirtha - Wikipedia [6] ,Virupaksha Temple, Hampi - Wikipedia [7] ,Hampi - Wikipedia [8] ,When the south was one [9] ,Inscriptions of the Vijayanagara Rulers : Vol: I: Part: 1-5 : Inscriptions of the Rulers of the [10] ,Watch spectacular ‘Ring of Fire’ on Dec 26 [11] ,http://www.onlinejournal.in/IJIRV2I12/288.pdf [12] ,Subhash Kak on Twitter [13] ,Inscriptions of the Vijayanagara Rulers, Volume 1 in 5 parts [14] ,Fairs during Vijayanagara period [15] ,Stone inscriptions of Vijayanagara empire era discovered in Raichur, [16] ,Krishnadevaraya - Wikipedia [17] ,Amuktamalyada - Wikipedia [18] ,Vijayanagara Empire - Wikipedia [19] ,Vijayanagara Empire - Wikipedia [20] ,Purandara Dasa - Wikipedia [21] ,‘Treasure hunters’ vandalise Brindavan of saint Vyasaraja near Hampi on lunar eclipse day [22] ,Aliya Rama Raya - Wikipedia [23] ,Vijayanagara literature in Kannada - Wikipedia [24] ,Vijayanagara literature in Kannada - Wikipedia [25] ,Deva Raya II - Wikipedia [26] ,Vijayanagara Empire - Wikipedia [27] ,Tamil Nadu under the Vijayanagar Empire - Wikipedia [28] International Journal of Humanities and Social Science Research ISSN: 2455-2070; Impact Factor: RJIF 5.22 [29] ,South Indian Inscriptions Volume_16, [30] ,Tyagaraja - Wikipedia [31] ,Purandara Dasa - Wikipedia [32] ,Nava Brindavana - Wikipedia [33] ,https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DdvsMeQd3EIU&psig=AOvVaw3YHcXqzAVxdimX3vCFlBWS&ust=1578217672996000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCMDSjpDV6eYCFQAAAAAdAAAAABAD [34] ,Mahanavami Dibba [35] ,Golden Throne (Mysore) - Wikipedia [36] ,Hampi. Hampi (Kannada: ಹಂಪೆ Hampe) is a village in northern Karnataka state, India. It is located within the ruins … | Hampi, Hampi india, India tour [37] The Eleventh Pupul Jayakar Memorial Lecture - 18th April 2019
Do you know any multitalented person?
I know few telugu people who are multi talented. There are certainly many other who I never knew, but from what I have known and studied, I found few personalities highly multi-talented and interesting !! Of course our nation builders and freedom fighters were multi talented.. But I want to discuss some fascinating Telugu people .. Sri P V Narasimha Rao Garu : ,No Introduction required. The architect of modern India, a freedom fighter, a journalist, polyglot and even poet and writer in multiple languages, a lawyer, a science graduate, a programmer at elderly age !! A great statesman !! What not !! He used to attend literary events even during his busy schedule as a PM !! See the following links !! He opens himself greatly in literary events than in political events! 2. Oddiraju Sodarulu: ,One my favorites. They are inspiration to PV Narasimha Rao garu too ! They are Oddiraju Sita Rama Chandra Rao Garu and Oddiraju Raghava Ranga Rao garu!! They are extremely polymath and multi talented like Aristotle, Aryabhatta, Da Vinci, Newton , Guass, etc. The two brothers differing by age of 7 years, jointly worked on whole multitude of areas in one of the most backward and remotest places of our nation (a village called inugurthy , some 50 kilometres away from Warangal in dense forests with very less connectivity!!) way back a century ago when it was under worst kind of feudalism and dictatorship, where rich and elite of all religions used to annex and subjugate poor and in an adverse regime !!!, In such a poor scenario, these two people had done and achieved something that is far greater achievement for any human even if the,re ,are favorable conditions !! Interestingly, they had no formal school education even !! Their fields of work :, Polyglots, Literature (many forms of it), Translation, History, Journalism, Library movement, Medicine (Homeo, Ayurveda, English medicine), Agriculture science, General sciences, Human anatomy, Veterinary science, Music, Mathematics, PHOTOGRAPHY , other traditional works and handicrafts (carpentry, pottery, etc ) astrology, architecture, painters, and more importantly women education and empowerment, social reforms and freedom fighters, what not !! Now coming to details - Polyglots, Literature and Translation: These brothers were Polyglots (learnt and written books in almost 8 to 10 languages), Literary giants (written in many forms katha, kathanika, natika, navala, kavita, kanda kavyam ,satakams, geyams etc) at least in 5 languages. They translated many good works from other languages to telugu - Most importantly they have translated Panini’s classic “Ashtadyayi” into Telugu !!! They have written books on English grammar !! They have even translated some works of Rabindranath Tagore!! Historians: They were even historians, and published books on Historical figures and events (their work on Rudrama devi is still one of the most referenced book for history on kakatiyas and Rani raudrama), Social reformers - strived hard for education to all people cutting across social stigma!, editors of News paper from a remote village of telangana, (TENUGU paper)!! fought for women education, fought for cultural renaissance in telangana !! Human Anatomy and medical fields: Moreover , they studied and published works on Human anatomy , mastered medicine in English medicine, Homeopathy and Ayurveda !! It is said that they even invented some new medicines !! Also THEIR WORK ON HUMAN ANATOMY IS SAID TO BE FIRST MODERN TELUGU BOOK ON ANATOMY!!!! Got certified as professional Homeo physicians !! They have created medicine called “tikda” , for malaria in homeo -ayurveda !! They used to treat freely for patients with their knowledge and worked as assistants for an experienced doctor in Warangal city !! Agriculture Sciences: Studied extensively on Agriculture, best agricultural practices. Unlike other zamindars of that time, they themselves participated in farming, they brought oil machines for water pumping, first in the region !! They used to have their own rice mills,. they brought mechanical parts of the mill and assembled the machines of the mills by themselves after studying their procedure !! They used to do milling with free of cost for poor farmers !!! Veterinary Sciences: They have also studied and practised Veterinary sciences and treated animals for free in the near by villages !! Written some notes on their findings. They have even invented medicines for a disease that was affecting cattle in and around their villages, that after thorough scientific process !!! In fact they used to get orders from various other regions of country for their medicines and they sued to pack and send it !! General Sciences, Mathematics and Science education for children: Apart from that they have written many books on science after thorough research!! They have written books for empowering scientific and rational thinking in children in a story format!! This work is called, “Bala vigyana Manjusha” ,!! It consists of raising questions on ,advanced ,topics like gravity, space , aliens!! They are also experts in mathematics and used it's principles for understanding various aspects in sciences. Also hey have written a book on “Science of Electricity” with title ,“Vidyuth saaramu”,, again after thorough scientific research !! Many people in near by regions used to send their children to acquire knowledge from them “not degrees”.. these brothers accepted in return they have offered free residence and food for all the learners who have approached them !!! Scientific study of Handicrafts and Procedure of their manufacturing: They truly practiced famous telugu ideal called, “Sramaika Jeevanam”. ,They used to prepare every home need by themselves !! One of their interesting work is 800 pages book called ,CHETI PANULU ,, which has scientific and economically viable procedures for preparing all home needs !! They have described preparation process of nearly 1000 items by researching for 10 years!! It includes small items like tooth powder, varieties of soaps , ink , pens, kitchen needs, clothes, shoes, chappals to even lakes , small scale buildings !! In the second volume of this work they have even started work on electrical engineering , telephones and manufacturing of train locomotives with less investment and also on wireless technology!!! See their advanced thinking from a remote village of Telangana during the time when there is no freedom, no education, no basic facilities!!! Sadly they never completed this second volume due to unknown reasons!! But they had given its brief description at the end of first volume!! Printing Press and Journalism: They brought printing press to publish ,TENUGU news paper, , learnt to operate it , educated other villagers on it and published the TENUGU paper in which they authored most of the articles from news to science to arts and social reforms etc !! They used to print the books written by them and also books of other authors in near by regions in this press !! The TENUGU paper was important in propagating telugu consciousness and freedom movement in Telangana !! These brothers themselves used to go on bicycles to distribute this weekly paper !! The specialty of this paper is that these brothers used to strive hard to collect both regional, national and International news and used to write their commentary on every news item !!!Also, quite naturally their news paper had special colums for literature , history and science topics !! It was published secretly despite ban on it by Nizam!! They used to get TIMES OF INDIA and other important national papers to their village even during those adverse circumstances !! Nizam’s forces were trying to arrest them all the time !! Library movement: They Established ,“,VIGYANA CHANDRIKA Granthayalam” (Library) ,to store the books they published and many more books of other authors !! Just imagine they used to bring books on various subjects from far away Madras, Andhra and even some of the books from abroad !!! Their books were even published in Andhra during that time.. Photography: They were also passionate photographers. they used to study and publish various details regarding different cameras, photographic techniques and techniques of photo processing!! Music: Though they are not full time musicians, they mastered theory of music and became experts in instrumental music , especially on Violin and Veena!! In an extension to their ,CHETI PANULU,, they had extensive study on Veena and manufactured Veena by themselves!! Just imagine their commitment and passion!! Architecture, Vastu and Painting: These brothers also good painters and used to draw pictures for many of their works and other concepts. They also possessed good knowledge of architecture and written the knowledge of building of a house in their works. They were also great vaastu pundits too. What not !! They built their own house and written about efficient architectural principles for construction of lakes, buildings , etc. Social reformers and women education: They were strong supporters and practice of free education and free medicine for all people without any discrimination !! They used to share their knowledge by educating others freely in their mansion even by providing food and shelter !!! Especially they authored many books and encouraged women education !! They have written a book called, STREE SAAHASAM, ,documenting the valour of women in India during olden days !! They have written nearly 100 books after extensive research on various topics in many languages !! Donated some of their lands to poor !! Teaching and Spreading Knowledge: The most important feature of them is that they always never ever thought of financial or personal gains in spreading the knowledge they had acquired !! Also their practice of medicine and teaching was completely free of cost !! Really great considering the cruelty and selfishness and mindless race for profit these days!! Sad Days during 1947–48: During this phase , they had to face heat of razakars during telangana freedom movement and migrated out to villages near Machilipatnam (in Coastal Andhra) temporarily only return back in 1948 ! During their exile, razakars have demolished their library and press which had valuable collection of their works and great books of other authors in many fields !! Sadly, they used to work on possible re-writing their lost books most of the time, hence couldn’t focus on other new aspects !!! Village Development: After Independence they focused on all round development of their village by donating generously for schools and medical facilities and basic amenities in their village !! They have even asked some of their children and grand childrento serve the needy in their home village instead of settling in cities or foreign countries !! They worked hard to eradicate ignorance of telangana , hence they are called ,“TELANGANA VEGU CHUKKALU”, (The bright morning stars of Telangana). Even Philosophy of Doctorate will be the small degreee infront of their achievements !! They are also some of the most important of “,Telangana Vaithalikulu,” (Great souls of Telangana) (I feel they are also great souls of telugu alnd and India too !!) I think the words of Versatility and multi-talented feel pride and accomplished by associating themselves with these Oddiraju brothers !! ,They are the pride and reflection of strong wisdom of Telugu land had since ages!! ,They were like two bodies but one soul !! Almost in all of their works , they had used their name as ,“Oddiraju sodarulu” ,instead of using individual names !! Legacy: They have inspired many people across telangana during freedom movement !! PV Narasimha rao garu , Birudu raju ramaraju, Dasarthi krishnamacharyulu and rangacharyulu were some of them !! I am ashamed to tell this.. No telugu government and telugu society (in both states) never ever bothered these highly talented personalities !! Sadly , very very few telugu people knew them, we can manually count the number of telugu people who knew them !!!! A sad reality.. Only When PV Narasimha Rao garu became PM, he had honored them !! Off late ,Dr. Kondapalli Niharini garu ,had done a pain staking research by reading their books, collecting other historical information, interacting with locals of the village and family members and documented their history in a book titled ,“TELANGANA VEGU CHUKKALU - ODDIRAJU SODARULU” Inspiration for modern day people: Just imagine these are all done by staying in remotest village of telangana that too during cruel dictatorship of Nizam and they are from an orthodox family , and zamindars!! But most important thing is that they did not have any formal education !!! They are zamindars and can easily have a luxurious life with their assets but they did quite opposite!!, They are an example of the great capacity and limits of human brain !! Also most important thing is that “,TIME”. ,How do you think they have managed and executed and mastered these many fields in aremote location that too a century ago when there was no internet or fast processing or fast vehicles !! In my opinion, they are perfect example of ,efficient utilization of time by Humans, !! They are inspiration for almost every middle class Indian youth today- who feels lazy and always complaint by magnifying the very small and minor glitches they face in achieving their goals !! Tell them the story of these brothers- who faced every possible hurdle and still achieved something highly remarkable in many fields !! For Telugus, the youtube channel Kiran Prabha talk show has given a detailed and interesting talk on these brothers.. 3. ,Adivi Bapi Raju Garu ,: ,My favorite,..,A true Manifestation of a versatility and strong bond between Andhra and Telangana, !! A poet, novelist, singer, playwright, painter , Art director of Cinema, sculptor, a lawyer for short duration, historian and a freedom fighter !!! What not actually!! Expertise in Various fields: He was first art director of telugu cinema !! The famous telugu songs “Bava Bava Panneru” and “Uppongipoyindi Godavari taanu teppunna egisindi godaavari” are penned by him !! A historian par excellence who unearthed the life history of gonna ganna Reddy, his novel on life of “Gona Ganna Reddy” is a testimony to his historic and linguistic abilities. Till date his novel on Gona ganna reddy stands as a major reference for historians who work on telugu history during Kaktiyan era !! His literary contribution in the form of novels like “Himabindu”, “narayana rao”, “vadagaLLu” and “Gona Ganna Reddy” made him one of the important literary personality in telugu land especially in 20th century !! In the sensible telugu movie of Godavari, this song of Bapi raju garu is taken as title song but with a different tune !! He is also an expert painter, some of his paintings were also sold abroad!! He painted for the themes of Kavi Samrat Vishwanatha Satyanarayana’s “Kinnerasani Paatalu” I don’t have those paintings but I got one from google (Painting on Saraswati / vaagdevi) Finally, Versatility manifested itself in the form of Bapi raju garu !! Adavi Bapiraju Narayana Rao అడివి బాపిరాజు | Adavi Baapiraju - Telugu Buddies But Why I have called Adivi bapi raju garu as manifestation of strong bond between Andhra and Telangana ? He is hails from West Godavari District of Coastal Andhra. and spent most of his life in Coastal Andhra, Madras and other parts of the country. But he has no relations in telangana and never visited it earlier !! The only link is Telugu bondage !! Context of Meezan news paper: Around 1944–45 period he got appointed as Editor of telugu version of “Meezan” news paper ( a Nizam state run paper which was published from hyderabad in 3 languages - Urdu, English and Telugu ) For telugu edition, Niam government didn’t trust any telugu scholar from telangana as most of them were busy in “Andhra Maha Sabha Movement” against Nizam !! Hence the financier of the paper (a kolkata based business man) offered the post of editor for telugu version to Adivi Bapi raju (who by then was an established editor) after taking suggestions from telangana scholars !! The “meezan” (meaning traasu in telugu or weight balance) is a state run news paper and naturally Urdu and English versions of the paper are pro-Nizam and anti- freedom movement . And the Nizam want the same ideology to be published in telugu version too !! Hence he gave the editor post to someone from Andhra/madras presidency as he thought that they will do it as a job with no emotional connect with people of telangana !! (Because once a famous poet has attended Nizam radio and praised Nizam despite requests from Telangana scholars against such move . hence he thought all scholars from Madras region will feel no emotional connect with telangana !!) .. But things turned interesting with the entry of Adivi Bapi raju garu !! Adivi Bapi raju garu in telugu version of meezan, : He joined the job and from the very movement he entered telangana he learned and fascinated with people’s struggle and movement !! Unlike Urdu and English versions, he daringly wrote against Atrocities of razakars with headline , - While Urdu version was Pro-Razakars, English version was neutral !! Urdu and English versions used to publish so many false allegations and cooked up stories against people’s movement and Andhra Mahasabha.. While the telugu version, under the editorship of BAPI Raju Garu used to highlight the plight of people and used to have special editions for every meeting of Andhra Maha sabha and Andhra Jana sangham !! He used to encourage local young telugu people, local scholars a lot and allowed them to publish their works in the paper .. meanwhile he had established a great family bondage with many telugu scholoars in telangana !! He used to organize special literary sessions and meetings during telugu festivals like Ugadi and Dasara and used to discuss current issues and troubles of telnagana. He used to fondly give nick names to many telangana scholars !!! Such was his bondage and telangana scholars and youth of that time society had made a permanent place for him in their heart !! He had done this despite the huge threats from Razakars and Nizam !! Exploring Telangana : Also, in this time he toured extensively inside telangana interior parts and collected first hand information regarding many historical sites, collaborated with local historians, observed the old and existing temples, sculptures and was spell bound by the Kakatiyan Sculpture (that is present in the temples and ruins ) and with magnificent lakes and forests, !! he also studied epigraphs and built the novel of Gona Ganna reddy which he published as a serial in Meezan’s telugu version !! he had gone to the extent of calling Telangana as “root of telugu land” !! Later due to increased atrocities of Razakars on women and unarmed civilians, he resigned from the post of editor of the state run paper as a mark of protest !! Later he went to Vijayawada. Just think how much daring and how much strong will you should have to support your own people and to stand for the truth by writing against the state regime while working as the editor of the same state run news paper??? This is what I like most of Adivi Bapi raju garu, and I feel its his one of the greatest achievements.. I still salute his bravery and strong will to support the people’s wishes and righteousness !! But unlike some of his contemporary (not all) telugu scholars from madras presidency , he didn’t judge telangana as “impure telugu / urdu telugu”.. he did not call telangana as “ land of no temples and no history”.. But he during his short stay instead of judging he learnt and mingled with telangana folks and scholars and researched and explored interiors, and found something that is pure gold for history of telugu land !! After his demise , whole telangana literary personalities and young poets had observed 6 months of condolence period !!! Truly , he is one of the great versatile personality and at the same time an ideal manifestation of true and strong telugu bond between Andhra and Telangana !! 4. Dr. Bhanumati RamaKrishna Garu : ,Already ,Vijaya Lakshmi, madam has written an excellent answer in this thread ! She is one of the rarest versatile personalities in South Cinema (Actor, singer, trained dancer, director, producer, polyglot, novelist, philanthropist , etc). What is more important is that she had achieved all this in an industry dominated by males and stands representative strong will, self respect and strength of women!! The above link is the recording of, Thyagaraja Aradhana at tiruvayaru , during 1986 ,which was attended by Carnatic music stalwarts like ,MS Subbulakshmi Amma and Semmangudi, etc ,and in that highly classical event you can spot participation of ,Dr. Bhanumati Garu (at 1:34 )!! ,Perhaps she is among the rarest film personalities who have maintained strong bond with classical arts , especially music all through their lives despite being busy in films!!! 5. Chittoru V . Nagaiah Garu:, Fondly called as “Paul Muni” of India. He is also one of the few versatile personalities of South Indian cinema. He is a director, music composer, play back singer, an actor, producer, a trained classical singer , what not !! Once upon a time he was the highest paid actor of India !! He Acted in all South indian languages and can fluently speak all of them easily!! He is a philanthropist and donated most of his earnings !! His portrayals of Bhaktha Potana, Tyagayya (Tyagarajaswamy), Bhakta Ramadasu , Vemana, and Valmiki (in Lava Kusa) are for ever imprinted in the hearts of telugu people !! He is fondly referred as”Father” by stalwarts of telugu cinema !! In fact some say , there is a legend associated with his movie “Tyagayya”, a rarest in movie industry !! It is said that before directing the movie , Nagaiah garu was not sure of the life history of Tyagaraja and to quell confusion, he had stayed for couple of weeks in Tiruvayaaru , near the places of residence eof Tyagaraja swamy to perform research on his life and one fine day he got the dream of Tyagaraja swamy which detailed him his complete life story. Thinking it as blessing from tyagarajaswamy he continued his research and after its completion , he directed Tyagayya movie ( the most important musician in trinity of Carnatic music ) in Telugu and Tamizh. He was director, actor, singer, music director and producer of the movie. The movie went on to become huge success across South India and became a cult muster piece !! Others : There are many many more, I will add it later, Like Suravaram pratapa reddy garu, Ayilamma (chaakali ayilamma), Bhagya reddy varma garu ( The father of Dalit movement / aadi hindu in telugu land), Gidugu ramamurthy pantulu garu, Kommarraju garu , Kattamanchi Ramalinga Reddy Garu , Veresalingam pantulu garu, Gurram Jaashuva gaaru , etc .. but will add when i collect more information regarding them !! Just like them in older centuries there were many multi talented personalities like Da Vinci, Aryabhatta, Newton, Galileo, Mallanna, raja krishnadevaraya, tikkana, etc but I focused on telugus of 20th century!! Conclusion: Finally , talent is dependent on passion, interest and hard work and it is independent of caste, creed, language , gender, religion ,region , country , money, etc !!
How can I get a job after graduation easily?
By raising 10000 filthy Q every day, you can earn more from home. Ex: Who is Hitler? who is Churchill, Who is Nehru: where is Tokyo? where is Paris? 99.99% Q in quora are filthy, nonsense and intended to spoil quora. What Vanakkam in Tamil means? what Randi in Telugu means? What will be my height at 40 years? what will be my weight when I am 60 years? Make 1000 atleast Q in a day. U may get $ 100 - easy easy job.
What is a moojuvani vote in assembly?
Moojuvani is not a Telugu word. It is an urdu word. Muh Jubaani. Which means word of Mouth. In assembly or in parliament moojuwaani is a type of voting. moojuwaani voting means, oral voting. Example: XYZ Bill. After the whole bill is read out n discussion is over, speaker would ask "Those who are in agreement with the XYZ Bill say 'ayes' " and the member would shout 'ayes' . Then speaker would say " Those who are not in agreement with XYZ bill say 'noes'" Members would shout "Noes". Depending on the weight of the sound, speaker would decide whether it is 'ayes' or 'noes'..
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