My Granddaughter Bhuvana Mihira Wedding With Yagnic Chandra .... A Celebration of Bonding, Tradition, Togetherness, Relationship, and Responsibility : Vanam Jwala Narasimha Rao

 My Granddaughter 

Bhuvana Mihira Wedding With Yagnic Chandra

A Celebration of Bonding, Tradition, Togetherness,

Relationship, and Responsibility

Vanam Jwala Narasimha Rao

The wedding of my Granddaughter Bhuvana Mihira with Yagnic Chandra, exactly a fortnight ago, on August 9, 2025 at 11.35PM, was a soulful ritual and festivity of togetherness, tradition, bonding, relationship, responsibility, and values that brought families and friends into one harmonious bond. Instead of too much extravagance, comparatively, this wedding depicted simplicity, sanctity, and shared joy. Every ritual, event, gesture carried the fragrance of love, affection, and bonding of guests gathered. It was with less about pomp and more about meaning, less about glamour and more about the glow of relationships. A sense of gratitude and an inner voice of guests loudly whispering, ‘Let us too celebrate life’s most sacred moments in such a way.’

The chronicle of Mihira and Yagnic’s wedding began from April 10, 2025, in the simple and honest conversations between the two of them. What started as tentative exchanges, following knowing each other’s family through a Marriage Bureau, it slowly unfolded into meaningful dialogue, and from that dialogue grew mutual trust, respect, and an unspoken bond. Families too observed this closeness and unlike hurried decisions or purely arranged formalities, here there has been a natural unfolding; one step leading to another, with warmth replacing doubt and companionship replacing hesitation. When parents of both sides agreed, it felt less like an arrangement and more like the recognition of something that was already meant to be.

From the beginning, the wedding was envisioned as a shared family journey. Families of both the Bride and Groom worked together with warmth. Relatives, friends, and all well-wishers were active participants. The setting was chosen with care so that the environment itself conveyed calmness and sanctity. The mood that filled the air was one of serenity, rooted in dharma, echoing ancient customs, yet resonating freshly in every heart present. The entire flow was nurtured by elders and well-wishers, giving every event a personal touch, infusing the sense of belonging.

‘Nischitartham’ or ‘Nischaya Tambulam’ (The Engagement) on May 10, 2025 marked the formal blessing of this journey. Relatives from both families gathered as participants in the union. Blessings were invoked, Wedding Rings were exchanged by Bride and Groom, and hearts filled with anticipation, and with joy in every smile, a sparkle in every conversation, and a shared understanding that two families were now becoming one. In that simple yet elegant ceremony, formalizing ceremonial date and time (Muhurtam based on Bride and Groom’s Birth Stars and Horoscope) of marriage (Saturday, the August 9, 2025 at 11.35 PM), followed by formal writing of ‘Wedding Invitation Card’ on a white paper duly applying turmeric on four sides etc. were done.  

The days leading to the wedding were filled with the fragrance of customs that carry both beauty and symbolism. One week later, on May 17, 2025, the Pasupu Kottadam and Sanagalla Raayi Veyadam’ when turmeric paste was lovingly applied to the bride, was performed with devotion, followed by placing soaked Bengal Grams beneath the grinding stone, signifying prosperity, sustenance, and the promise of continuity. The ‘Golden-Yellow Turmeric’ believed to protect, heal, and sanctify, was gently applied by elders, their hands steady with blessing and affection. Mihira glowed not only from the turmeric but from the sense of being surrounded by love. This ritual is done in the respective homes of Bride Mihira and Groom Yagnic.

The next two and half-three months, it was an unscheduled busy time for Bride and so also Bridegroom’s parents and grandparents with all kinds of purchases, as well as identification and short listing of invitees, printing, and distribution of wedding cards. Meanwhile Bride Family’s Kith and Kin relations and cousins, started reaching Hyderabad. First to reach was Bride’s maternal uncle Aditya (On July 20, 2025), followed by his family members Parul, Kanak few days later, Ansh and Irah (all the way from USA/Amsterdam); Mihira’s Maternal Aunt Kinnera with her daughter Medha followed by her son Yashwin and husband Kishan (US).

Sridevi, Vamshi, Priya, Srilaxmi, Aniket, Abhilash, Divya, (US and Australia) etc. Aditya’s friends Sharath, Pawan, Srikanth joined. Many others came subsequently. Aditya’s in-law’s family members from Delhi, Vinod Kapoor, Varsha, Ankit, Jibani, Master Anveer, besides other close relatives, and friends also arrived one after one. Mihira’s father-in-law Bhaskar Rao, aunt Bharathi, her husband Nageshwar Rao (Baba), sons Tarun and Kittu joined earlier. Geethu, Ratan, Archana, Gopal, Prema Latha, and Vikram all Prema’s best friends were the source of strength.

Pellikuturuni Cheyadam (Preparing the Bride) and Pellikodukuni Cheyadam (Preparing the Groom) ritual was performed in their respective homes on August 6, 2025. On transforming Mihira into the Pellikuturu, she was celebrated by her family and relatives, who adorned her with flowers, bangles, and laughter. On this occasion, the ‘Young Woman (Bride) Mihira and the Young Man (Bridegroom) Yagnic’ are regarded with reverence, as if they are being transformed into divine figures ready to step into a new life. A charming feature of this custom is the presence of the Thoti Pellikuturu (Kanak, Elder Daughter of Aditya) and Thoti Pellikoduku (Yagnic’s own brother Ruthvik)

As the days drew closer, festivities embraced both households. Next day on August 7, 2025 in the forenoon, as a team Bride’s family members proceeded to the Ayana Resort (Exudes timeless elegance through its spacious accommodation, signature restaurant, and half-a-dozen grand event venues) in a Mini Bus. One car, specially decorated for the occasion and a 40-seater bus was sent to Bridegroom’s residence with Chaitanya. Couple of hours after Bride’s team reached Ayana, the Groom Yagnic Chandra, his family members, and relatives; Ruthvik Chandra, Sudhakar Rao, Sudha Rani, Shanta Kumari, Muralidhar Rao, Saritha, Oorjitha, Vidya Sagar Rao, Revathi, Harshavarshan, Susheel, Srihari, Harini, Venkanna etc. reached the premises, in a convoy.  

Then, the Edurukolu, the ceremonial welcome offered to the Bridegroom and his party by the family of the Bride, a charming and festive moment was held. Bride side’s men and women joined in rhythmic dances, clapping in unison, teasing, and rejoicing, transforming the welcome into a spectacle of color and joy. Bride Mihira’s Cousin (Brother) Yashwin Koniki heartly welcomed and received Yagnic. Edurukolu carried a deeper symbolic meaning: it is the Bride’s family opening their hearts and home to receive the Groom as one of their own, with joy, reverence, and affection. The ritual was more than a formal reception. Lighthearted customs like the Bride’s cousins hiding Yagnic’s shoes, demanding small gifts or tokens before returning them, adding an element of laughter and play to the solemn occasion.

After Edurukolu, it was Mehendi that was held in the evening, but not before a sumptuous traditional lunch. The enduring message of the Mehendi Ritual Event, was that, marriage is not only a bond between two hearts, but also a celebration that binds families and friends together in joy. The henna, with its fragrance and deepening hue, spoke of love and prosperity. The spirit with which guests have risen holding hands, and danced together was enthralling. In that hall of green dresses, laughter, and music, the Mehendi stood out as a lesson in itself: when hearts are united, the joy of togetherness and a family celebrating as one would be the ultimate.

When the lead on the stage was taken by Bride’s Multi Talented Mother Prema, for others it was a signal. Incessant flow of young and aged artists on to the stage. Dances broke out, some spontaneous, some rehearsed, with young and old alike proving that nothing would be able to overshadow their joy. The bride herself, her hands bound by fresh designs, managed to laugh at her own helplessness as she struggled with snacks offered to her, while cameras clicked endlessly to capture both the beauty of the art and the hilarity of the situation. Both the Bride and Groom also participated and appeared most of the time on the dancing stage.

The next day it was the grandeur Haldi ceremony. Cousins and friends with enthusiasm joined the Bride and Groom in enthusing them. The laughter and mischief involved in a unique way. With a delightful new twist chosen by Bride’s Mother, Mihira and Yagnic were made to sit side by side in two huge Yellow-Colored Bronze Coated Plates, a sight that itself drew smiles and applause from all. The air was filled with the fragrance of turmeric, the rhythm of music, and the warmth of togetherness. Thus, while the Haldi retained its essence of blessing and auspiciousness, it also blossomed into a celebration of creativity and family spirit. The message shone clearly that, tradition need not lose its sanctity when given a touch of innovation; in fact, it can grow even more memorable when the joy of generations comes together in golden harmony.

Guests, who turned up in coordinated yellow dresses, added to the vibrancy of the occasion. What followed was pure joy, lighthearted fun, laughter echoing across the open lawns. Rhythmic Dances by Bride, Groom, friends, and relatives, capturing playful moments through video and photography, all reminded English Romantic poet John Keats lines that, ‘A Thing of Beauty is a Joy for Ever’ emphasizing beauty's enduring power to uplift, heal, and sustain the human spirit.

The Sangeet evening was a night that glowed with sparkle and rhythm from the very first moment. Guests glittered in resplendent attire, sequins and silks catching the lights so that the entire venue shimmered like a galaxy come alive. From the entrance itself, the bride and groom were received in a unique manner, escorted with music, cheer, and playful gestures, as if the journey from gate to dais was a scene of its own, filled with applause, laughter, and joy. Once the formal welcome was over, the real performance began, but not before the traditional invoking of Lord Ganesh by Kanak with her melodious voice, followed by another song on Sita Kalyanam.

The dance floor transformed into a stage where tradition met celebration in dazzling display. One after another, friends, and cousins from both the Bride’s and Groom’s side poured their energy into choreographed performances, each group adding its own flair. The Bride herself then stepped forward, radiant, graceful, and brimming with charm. Her dance, effortless and enchanting, drew admiration. The Groom responded in equal measure. Bride and Groom together, surrounded by their companions, danced in joyous abandon.

The floor was open, the night felt endless, and the celebration of Mihira and Yagnic’s journey seemed as if it would never end. Vijay and Prema set the tone with a soulful medley, followed by Kinnera and Kishan’s vibrant energy. Parul and Aditya charmed the stage, while Bharathi and Baba added a touch of folk delight. Vamshi did his best. Yash, Ansh, Aniket, Tarun, and Kittu, all set the floor ablaze with their spirited steps. Medha dazzled with a solo and later a duet with Mihira, while Mihira, Medha, Sisira, Kanak, Sohana, Oorjitha, and Akanksha together filled the stage with youthful sparkle. Irah thrilled audience with her special song. A unique performance of Harini and her ten-year-old daughter Aditri was simply great.

The Bride’s grandparents, with hands raised in blessing, invoked prosperity and longevity while the timeless ‘Shatamanam Bhavati’ song swelled in the background. If there was one star who held the threads of the evening together, it was Kinnera, the compere, who was the evening’s heartbeat, eloquent, warm, witty, and sparkling in her presence. With her graceful command of words and a voice that carried elegance and laughter, she guided the flow of the event.

Kinnera musically and narratively led the guest audience into the enchanting story of Mihira and Yagnic, briefly weaving the theme of dances that followed. It began with a burst of rhythm and Telugu Song, ‘Atala Patala (Aakaasamantha).’ The narration painted little Mihira as a curious child, full of ‘atalu, patalu, allari, and endless fun’ (lively play, lilting songs, spirited pranks, and laughter that knew no end) with her friends. Her parents Vijay and Prema doted on their lively daughter, watching her sparkle grow year by year. Time passed, studies advanced, responsibilities increased, yet Mihira’s innate charm and sharpness stayed unaltered. And then, just like in a grand movie, came her introduction song, ‘Aaraduguluntada (Six Feet Tall)?’

Life unfolded beautifully. Studies were completed, a promising career blossomed. At this point, Vijay and Prema began to dream of finding the right life partner for Mihira. Profiles were searched, alliances discussed, until one name glowed before them like destiny, that of Yagnic Chandra, an IIT Kharagpur Topper, intelligent, disciplined, and the dream match of any parent. But would Mihira feel the same? With her trademark mischief, Mihira wondered aloud: ‘Ee rankarlu, topperlu anta serious type untaru: fun-loving kaadaemo?’ (Hmm: these rank-holders and toppers; aren’t they usually the all-serious types? What if he is not fun-loving at all?). To which her mother gently smiled and said, ‘Okasari kalisi maatladocchu kada’ (Why not meet and talk at least once). Mihira, half playful and half curious, nodded.

Meanwhile, on the other side, Yagnic too pondered. ‘Mihira UK lo Masters chesindaa? IT company lo HRaa? (Did Mihira do her Master’s in the UK? And is she working as an HR in an IT company?) ‘HR means, would she understand my world? Will she really match my rhythm?’ And then he resolved, ‘Sare, kalisi chooddaam (Alright then, let us meet and see).’ The fateful moment arrived. Mihira and Yagnic walked towards each other, as the background dancers lit up the stage with vibrant steps and music swelled all around. Smiles were exchanged, words flowed lightly. Mihira teased, ‘Inkenti? (What Else?)’ and Yagnic, with his understated wit, replied, ‘Veelu ayite naalugu matalu; kudurthe Oka cup coffee (Just a few words, and if it clicks, then a cup of coffee).’ Laughter rippled, chemistry sparkled, and in that instant destiny smiled.

From there, it was no longer just a meeting of two individuals. It was the blossoming of a love story, a sacred union blessed by families, embraced with joy, and celebrated by all who witnessed it. Thus, began not only the wedding journey, but also the grand celebration of togetherness. With this introductory note Sangeet took off with speed and velocity.

As part of the pre-wedding events, there were little fun activities that added sparkle to the celebrations. Chilaka Josyam had everyone laughing at its playful predictions, balloon shooting saw both kids and elders competing with cheers, and caricature sketches brought out everyone’s quirks in the most amusing way. These light-hearted touches beautifully perfected the main festivities. Dinner followed. A sumptuous feast served in the hall still buzzing with music, laughter, and glowing conversations. Guests lingered, reluctant to let go of the enchantment of the evening. It was not merely a function, it was a cinematic memory, where every dance was a scene, every cheer a chorus, every blessing a climax, and every smile a lasting frame in the golden reel of the wedding. The stage glittered with song and dance, and with this joyous celebration that was in full swing.

The pre-wedding celebrations Edurukolu, Mehendi, Haldi, Sangeet, moved like a grand symphony, each note distinct yet harmoniously blending into the next, and led to the final event before wedding. All the events were well coordinated through a makeup and grooming setup specially arranged for anyone who needed it, ensuring every guest felt confident and radiant throughout the celebrations.

Ritual ‘Snatakam,’ preceded by Groom getting ready with traditional head bath (Mangala Snana), which normally performed in Bridegroom’s house, for convenience sake, was shifted to Resort, the venue being the same as wedding hall. Ritual ‘Ankurarpana’ from Bride’s side, preceded by Bride getting Ready with traditional head bath (Mangala Snana), where nine varieties of seeds (Nava Dhanya) are poured in a mud plate, filled with water, for germination as sprouts took place. Both events started almost simultaneously, and in the same hall, ‘the Venue.’

In the vast canvas of a Hindu marriage, few rituals carry as much depth and symbolism as the Snatakam of the groom and the Ankurarpana of the bride. On the morning of the wedding day, these two parallel ceremonies became not just acts of tradition, but living moments of grace and meaning, performed under the same roof, yet each reflecting a unique facet of the sacred union to come. On one side of the hall, groom Yagnic after he had his Mangala Snana, the ceremonial head bath that purifies both body and spirit, was led to the Venue Hall set in the Resort, the hall itself was transformed into his spiritual abode.

Clad in simple yet dignified attire, Yagnic embodied the journey of every man who stands at the threshold of marriage: prepared to lay down the carefree mantle of Brahmacharya (Bachelorhood) and step into the solemn duties of Grihastha Ashrama (marital life). The ritual carried a dramatic twist that brought smiles to all who watched. Yagnic, as custom demands, donned wooden slippers, held a ceremonial umbrella, and was symbolically set on a Pilgrimage to Kashi, a symbolic departure from worldly bonds. But no ritual is complete without the loving tug of family.

At that very moment, bride Mihira’s elder cousin brother, Yashwin Koniki entered with a role both traditional and deeply personal. With affectionate urgency, he begged his would-be brother-in-law to abandon thoughts of renunciation and return to marry his sister Mihira. His persuasion was sweetened, literally, with offerings, including the traditional Jogger sweet, which drew laughter and joy from all present. The groom relented, as tradition expects, agreeing to return from Kashi, a symbolic gesture that echoed the timeless truth: marriage, not asceticism, is the greater dharma of life. Yashwin was presented with new cloths by Bridegroom Yagnic.

At this point, the Purohit, standing as the ‘Guru’ (Teacher), solemnly guided and reminded the Bridegroom of his sacred duties, urging him never to falter or ‘Err in the Matter of Truth, Righteousness, and Cleverness.’ What began with laughter and playful drama thus concluded with gravitas, sealing Yagnic’s readiness to shoulder the responsibilities of a husband.

Meanwhile, in perfect symmetry, on the other side of the hall, the bride Mihira following her own Mangala Snana, entered into the sacred ritual of Ankurarpana. Here, the very act of life-giving was celebrated. Nine sacred seeds, or Nava Dhanya, were placed in a mud-filled vessel, watered tenderly, and left to sprout. This act of sowing was not merely agricultural; it was cosmic, invoking fertility, continuity, and the flowering of prosperity in the couple’s married life. As elders were honored with the traditional offering of clothes and blessings were sought with folded hands, the atmosphere glowed with quiet reverence. Watching those tiny seeds sink into the soil, one could almost feel the deeper prayer, that love, too, might take root, sprout, and grow evergreen through seasons of joy and trial alike.

With the preceding rituals completed and the stage thus set in both the seen and unseen realms, the day seemed to pause in breathless anticipation. One last sacred step remained before the solemn wedding itself, namely, ‘Vara Pooja,’ the ceremonial honoring of the Bridegroom, an act that symbolically marks the true beginning of marriage festivities and sanctifies the Groom as a ‘Divine Manifestation of the Trinity.’ As the auspicious hour approached, Mihira’s parents, Vijay, and Prema, accompanied by close relatives, made their way toward the groom’s party. In a deeply traditional gesture, they ceremonially exchanged wedding invitations with the groom’s family, Sudhakar and Sudharani, Yagnic’s proud parents.

This exchange was not merely a formality but a reaffirmation of trust and kinship, with the bride’s father formally requesting the groom’s parents and relatives to grace the marriage. The same courtesy was extended in return, with the groom’s side inviting the bride’s family to partake in the sacred union. All of this took place before 4 PM. in the elegantly adorned event hall, ‘The Venue.’ Following the ritual, the gathering was treated to a sumptuous lunch, not the modern buffet style, but the traditional seated arrangement, where the caring UTSAV Catering Team, dressed in bright yellow uniforms, served every guest with warmth and affection, evoking the hospitality of village feasts of yesteryears.

Later that evening, around 9:30 PM, amidst moderate drizzling, and a galaxy of friends and relatives, already arriving and having their ‘Banti Bhojanam’ (Served on Tables), in a different hall, Yagnic, radiant in his traditional attire, was received at the entrance by Vijay, the Kanya Data, and was then led ceremoniously into the Kalyana Mandapam. and performed ‘Pada Prakshalana’ (Washing Bridegroom Feet) with reverence, treating him as Lord Laxminarayana himself. Bride’s maternal uncle, Aditya ‘Hosted’ the Groom with Honey (Madhu Parkam), and other sanctified items, before presenting him with traditional garments. The Groom, Donning these new clothes, awaited the grand moment: the arrival of his bride. 

Parallelly, the bride entered her own most sanctified moment, performing Gouri Pooja. Mihira was invoked as the living embodiment of ‘Laxmi, Parvati, Saraswati,’ the threefold essence of prosperity, strength, and wisdom. Surrounded by her mother, grandmother, and the elderly women of her family, she offered prayers to Goddess Gouri, seeking blessings for a harmonious married life, abundance, and enduring companionship. The fragrance of turmeric and Kumkum mingled with the sweetness of Jasmine garlands, while the Bride’s side Purohit Kesapragada Phanindra Rajasekhara Sarma recited gently the relevant mantras with deep tradition.

As the Gouri Pooja progressed, Kanya Data Vijay, and Groom’s father Sudhakar, together arrived there. Purohits, recited aloud the ‘Gotra and Pravara’ (Gotra denotes the Clan and Pravara denotes genesis and three generations family tree) of both families, the most interesting part of marriage. Groom Yagnic, belonging to the Parashara Gotra, descending from the luminous line of Vasishta, Shakti, and Parashara; Mihira, the Bride, of the noble Moudgalya Gotra, tracing lineage to Bhargava, Chyavana, Apnuvan, Aurva, and Jamadagnya. With this sanctity affirmed, Yagnic’s father Sudhakar formally requested Kanya Data Vijay, to give his daughter in marriage, who with quiet dignity and pride, consented, as an unseen sealing of a sacred treaty between two families.

  Then, suddenly, the atmosphere shifted from solemnity to sheer delight, the amusing and joyous procession of the Bride began. Mihira, radiant and blushing, was ceremonially carried by her (maternal) uncles in two medium sized Bamboo Baskets joined together, holding in her hands a sacred ‘Coconut Bonda’ symbolizing fertility and auspiciousness, up to the wedding platform. The lead was taken by her proud maternal uncle Aditya, with spirited support from his (maternal uncles’ like) friends Sharat, Srikanth, and Pawan, joined by cousins Chaitanya, Vamshi, Prashanth, Shamanth, Mihira’s paternal aunt Bharathi’s husband Nageswar Rao, and in a touching gesture, the family’s close friends Rajanikanth, and Param. Mihira’s first cousins Yashwin and Ansh affectionately followed the team, often symbolically putting their hands with enthusiasm.

As this colorful group carried the bride, cheers burst out across the wedding venue, nearly 600 guests clapping, laughing, and showering blessings, their joy amplified by the festive band music, which played lilting tunes perfectly in sync with the moment. Then, Kanya Data washed Groom’s feet, when Purohit chanted Hymns, signifying ‘The Essential Part’ of Kanyadaan. Bride and Groom are literally considered to be alike to ‘Laxmi and Narayana’ respectively and the Marriage is performed as ‘Laxmi Narayana Kalyanam.’

Bride still in the Basket, Purohits delivered ‘Maha Sankalpa’ comprising Genesis of Creation, Infinite Capabilities of Creator, Cosmic Form, Celestial Position, Seven Islands, Nine Varshas, Nine Continents, Ten Forests, Island of Jambu, Bharata Varsha, Bharata Khanda, and finally venue of Kanyadaan. After this ‘Kanyadaan’ at the auspicious Muhurta as fixed, Purohits recited: ‘Kanyam Kanaka Sampannam Kanakabharanairyutam! Daswami Vishnave Tubhyam Brahma Loka Jagishiya.’ (Meaning ‘O Lord Vishnu, I am presenting this wealth, which is adorned with Golden Ornaments, as a sincere offering to You. My intention behind this donation is to seek your divine favor and grace, so that I may attain Brahma Loka, the highest spiritual realm).

Kanya Data thus offered his daughter to Groom, to attain ‘Brahma Loka’ and poured water in the hands of Groom and said that, despite her marriage with him, ‘She shall be My Daughter’ and administered Oath with the Groom as ‘Dharmecha, Arthecha, Kamecha, Esha Nathi Charitavya’ {Do not stray from each other in matters of duty (dharma), wealth (Artha), and desire (Kama)}. Bridegroom responded as ‘Nathi Cha Rami’ {I will not engage with another (in these aspects)} thrice. These phrases emphasized mutual loyalty and commitment in key aspects of life.

Exactly on dot at the auspicious Muhurta, Purohits made both Bride and Groom, to apply paste made of ‘Cumin stick-jaggery’ on each other’s head.  This custom serves several symbolic and practical purposes. The paste is used as part of a purification ritual. Cumin seeds are believed to have cleansing properties, and jaggery, being a natural sweetener, symbolizes prosperity and good fortune. Together, they purify and bless the couple, serve as protective shield against negative energies, ensure harmonious, blessed married life, filled with happiness and success.

‘Mangalya Dharana’ or ‘Shata Manas’ followed next. Indian and Hindu Tradition is, from the time of marriage, women wear round the neck, the ‘Mangal Sutra’ (The thread of which is soaked in turmeric water that had a significant symbolic and ritual importance), often referred as ‘Shata Manas’ and made of Gold, one of the two by Bride’s side and the other by Groom’s side, and which is knotted by the Groom.

When musical instruments are played and when Pujari recites ‘Mangalyam Tantunanena Mamajivana Hetuna! Kanthe Midnami Subhage Tvam Jiva Sharadam Shatam’ the Bridegroom Yagnic tied the Sutra around the neck of Bride Mihira with three knots, representing ‘Three Worlds, Trinity of Gods, and Sattva-Raja-Tamo’ qualities. Veda Pundits blessed the couple as, ‘Shatamanam Bhavathi, Shatayu: Purusha.’ The yellow color of turmeric is also considered highly auspicious and is thought to bring good fortune.

‘Sattva-Raja-Tamo’ qualities are the three fundamental qualities or characters in Hindu Philosophy, representing ‘Purity and Harmony (Sattva), Activity and Passion (Raja), and Inertia or Darkness (Tamo)’ which together influence human behavior and the natural world. ‘Mangalyam Tantunanena Mamajivana Hetuna! Kanthe Midnami Subhage Tvam Jiva Sharadam Shatam’ means, that, ‘I tie this sacred thread around your neck, symbolizing our marital bond, and wish for your long life and prosperity for a hundred years.’ Veda Pundits’ blessings ‘Shatamanam Bhavathi, Shatayu: Purusha’ implies that, ‘May you live a hundred years and attain a full, prosperous life.’

After the Mangalya Dharana, the most uproarious, hilarious, and funny event of Marriage, pouring of ‘Talambralu’ prepared with Rice mixed in Cumin Powder Liquid, Ghee, Cow Milk etc. giving a yellow look, by bride and groom on each other head, in competition was performed. Friends and Relatives enjoyed a lot and encouraged both taking sides. Especially cousins of Mihira and Yagnic stood behind them and motivated them to take lead over the other.

This is a traditional ritual the significance of which lies in its symbolic representation of prosperity, fertility, and auspiciousness. The rice signifies the couple's future together, ghee represents purity and divine blessings, cumin powder adds flavor and vitality, and cow milk symbolizes nourishment and purity. Then the bride’s saree was tied with groom’s attire (Uttariyam) end, suggesting that henceforth they would be together in every activity of their life, and the wife shall be the ‘Owner of the Family and House’ with all responsibilities.

‘Sthalipakam’ near a ‘Homam’ (Sacred Ritual Fire) where the Most Important Part of Hindu Marriage ‘Saptapadi’ or ‘Solemnization of Marriage’ under the Hindu Marriage Act, took place next. With Fire God (Agnihotra) as a witness, both Bride and Bridegroom put seven steps, starting with the right foot of the bride, and circumambulations around the Ritual Fire and around Altar of Fire. This signaled the ultimate step into ‘Grihastha Ashram’ and with this the Bride’s Gotra, Pravara, Surname changes to that of Bride Groom. 

The other rituals that were made to perform were: ‘Nagavalli, Sadashyam, and finally Appagintalu’ (Physically passing on the Bride to Groom’s family elders). Nagavalli symbolized the sacred bond between Bride and Groom, the newly married couple. Sadashyam represented the eternal love and loyalty, and Appagintalu signified the mutual respect and understanding that formed the foundation of a successful marriage.

Nagavalli included the ‘Ring-Finding’ or ‘Ring-Search’ ceremony, in which two gold rings were dropped into a silver vessel filled with water, and bride and groom were asked by enthusiastic friends and relatives to simultaneously dip their hands in to it to search for them. In fact, the one who finds the ring first is considered as the ‘Winner’ of this unique game. Yagnic was winner a greater number of times, four out of five.  

Appagintalu ceremony, in which Bride's parents and all the close relatives formally handed over Mihira to Yagnic’s family, was fully emotional and marked by a mix of sorrow and joy, that reflected both the ‘Sadness of Parting’ with their daughter and the ‘Happiness of her new beginning’ with her husband. It underscored the emotional depth of the transition and the significance of the marriage as a binding of two families. A fantastic enduring Marriage process!!! ‘Appagintalu’ formality, that was fully emotional signaled the concluding part of Mihira and Yagnic Wedding.

Every step of Hindu Marriage is an ‘Essential Implicit Feature’ of ‘Kanyadaan.’ The Ritual ‘Kanyadaan’ of Hindu Marriage Practice, denotes ‘Giving Away’ the daughter (Bride) by her parents to the Bridegroom, treating him as ‘Vishnu,’ and Bride as ‘Lakshmi.’ Bride’s father, ‘Kanya Data’ places her Right Hand into Groom’s hand which is, known as ‘Pani Grahana,’ a ritual in presence of sacred fire, symbolizing the bride ‘Conceding Her Heart’ to the Groom. The Groom pledges to treat Bride as an ‘Equal Partner’ and also ‘Take her Responsibility.’ Marriage signifies spiritual and emotional union of two individuals as well as two families depicting a ‘Way of Life.’

Soon after the most Important Part of Hindu Marriage, the ‘Saptapadi’ or ‘Solemnization of Marriage’ under the Hindu Marriage Act, took place, yet another interesting item that happened was looking at the ‘Arundhati Star’ together by both Bride and Groom, that intended to bless both the couple, with the same virtues that ‘Arundhati and Vasishta,’ the most ideal couple, known for a loving and harmonious partnership. Both Bride and Groom were taken outside at night to look at the sky, and the Purohit recited few mantras while they looked at the star, first by Groom and next by Bride. Unlike a mere formality these days, In Mihira-Yagnic Wedding it was done as tradition demanded.

The ‘Arundhati Star’ holds profound significance in Hindu Marriages. Arundhati wife of Vasishta, one of the ‘Saptarishi or Seven Great Sages’ is renowned in Hindu mythology as an ideal wife, symbolizing fidelity, devotion, and conjugal harmony. The star is actually a binary star system, which metaphorically represents the close, harmonious bond between husband and wife. The ritual involving the ‘Arundhati Star’ is symbolic and is meant to remind the newlywed couple of the virtues of a strong marital relationship, like mutual respect, loyalty, and the importance of the wife standing as an equal partner to her husband.

The rituals of a Hindu marriage are designed not just to unite two individuals but to weave together two families in a shared destiny. Each step, each chant, each offering carries the weight of generations. What stood out in this wedding was the sincerity with which these were observed. Nothing was done mechanically or to impress; everything was done with faith, clarity, and purpose. The Bride and Groom were treated as active participants in an eternal samskara. Their families surrounded them with blessings, and the Pujaris guided the rituals not as mere reciters but as conveyors of meaning. The mantras flowed like a gentle perennial river.

Every ritual or event from the simplest to the most elaborate, was observed with sincerity. Nothing was hurried or superficial. Each act carried meaning, and that meaning was understood by all. The attendance itself was a lesson in community bonding. Relatives from near and far blended as one. Guests did not feel like outsiders but part of an extended family. Tasks were shared, not outsourced. Elders were respected and involved. Their presence was not symbolic but central. Blessings were sought with humility, and their words were listened to with reverence. They felt valued and cherished, not ignored.

The learned Pujaris are: Kesapragada Phanindra Rajasekhara Sarma (Bride’s Side), a graduate from TTD Veda Sanskrit Patashala with his son Koustubh; and Shirisinahal Venkata Ramanacharyulu (Bridegroom’s Side), a Yajurveda Agama Scholar and   former Telugu Teacher, who by demonstrating their knowledge and skills at every stage of marriage transformed the wedding into not only a mere ritual, but also a ‘Model of its Own’ for others to replicate.

The younger generation participated with enthusiasm, handling responsibilities with energy. The harmony between young and old gave the wedding its unique texture. Some looked after arrangements, some guided visitors, some ensured elders were comfortable, and others helped in rituals. This togetherness dissolved hierarchies. Everyone felt useful, everyone felt needed. Smiles, laughter, and conversations filled the spaces in between rituals. This sense of involvement made the wedding unforgettable. Most important, the camera was secondary here; the living moments were more precious than captured images. It was neither stuck in the past nor lost in the present, it was a bridge between generations.

There were moments of music and dance too, but even those were filled with meaning rather than mere entertainment. The tone in every event was festive and dignified. Children played freely, elders chatted peacefully, and friends exchanged stories of togetherness. What also distinguished this wedding was the absence of artificial show. There were no towering stage decorations meant to dazzle, no endless procession of unrelated events meant to impress. The beauty was in the simplicity: fresh flowers, Traditional Torana, lamps lit with devotion, and a sacred homa fire at the center, coupled with arrangements to meet with changing tastes.   

The role of both families was exemplary. They treated each other not as counterparts but as companions in the same journey. Respect and affection flowed both ways. Instead of formality, there was warmth. This spirit trickled down to all relatives and guests. The Bride and Groom themselves carried themselves with grace. They were not overwhelmed or distracted. They lived every moment, participated in every ritual with awareness, and showed genuine gratitude to all. Their humility was striking. Dressed traditionally, they looked radiant not because of jewels or costumes but because of the glow of sincerity and joy. They treated the wedding as a sacred milestone. This attitude left an impression on everyone present, especially the younger ones who watched them. Prospective Brides and grooms imagined their weddings in similar standings.

At every step this made many, especially those in the age group of 70s and above, reminiscing their weddings and enthusiastically cherishing those precious times in every aspect of event. At a time when many are feeling disenchanted for missing all of them, the kind of durable ‘bonding, relationship and responsibility’ prevailing during the entire process of Mihira-Yagnic wedding, everyone, especially the 70+ aged group persons, who attended felt immensely happy with the love, affection, and goodwill, and were totally lost and had no words to describe.

Bride’s Mother Prema summed up her EXTREME GRATITUDE as: ‘Though it is our family and family is always there to support and help each other, I think our family is beyond all of this and our family not just supports, but it always stands strong in times of need and makes one feel that one can take any kind of risk to achieve what one aspires for. This has been proven time and again and with Mihi’s wedding it is again proven beyond leaps and bounds.’

She thanked her Mummy and Daddy for being such strong pillars of support at every moment and helping her all through with everything that is needed. ‘I would not have made this dreamy wedding a reality without you both’ she acknowledged.  She thanked Kinni and Kishan for always giving her the confidence that she can do this to the best of her capability. ‘You have been instilling that moral support at every juncture’ she wrote.

‘Thankyou Vijay for being a good partner and sharing each high and low moment with me’ said about her husband. ‘Thank you, Adi, and Parul, for everything that you both do for me. Not just Mihi wedding but for the countless times you both stood like rocks whenever I fell and was shattered. Sometimes I feel what I would have done without you both’ she expressed her gratitude. She finally thanks all the wonderful kids, her nephews and nieces who gave Mihi, Yagnic, Vijay and her a great and happy experience by showering immense love and joy all these days and making the celebration even more eventful. ‘YOU ALL ARE MY POWER HOUSES… LOVE YOU ALL’ she wrote.

              The three days gathering was like a ‘Universal Family’ or the ‘Vasudhaika Kutumba,’ with everyone forgetting that they belong to Bride team or Groom team, helping each other through displaying extraordinary and immense sense of togetherness. The wedding and the hole of three days reminded quite a few old persons of their marriage five-six decades ago, when large number of outstation friends and relatives used to visit villages to attend weddings and staying in their houses. It also reminded few, as to how they spent time in pleasant and hilarious chatting and eating the best of the food, served by hosts.

At a time when there is a feeling that, gone those days of performing marriages in villages and guests coming seldom in advance, not to speak of staying for more than half-a-day, Prema exhibited how the earlier days, modernized with times is possible. Invitees including close relatives and friends, rarely come and stay in the houses of bride or bridegroom not to speak of in advance, but during Mihira-Yagnic marriage it did happen, though it was not Bride’s House, but the Resort. It is not the normal practice of attending weddings as a formality, by coming on time of Muhurta, when the ‘cumin-jaggery’ is administered and leave. Mihira-Yagnic wedding was a different way. Almost all who attended the Muhurtam stayed till the Mangal Sutra was tied around 12.30 Midnight and many even participated in all the post marriage rituals.

The food too reflected the spirit of the event. It was simple, traditional, and lovingly prepared. Dishes were not designed to shock or flaunt variety but to nourish with authenticity. Guests ate together, sitting in rows, as equals, just as in earlier times. Sharing food in this manner created a different kind of joy, one that comes not from luxury but from community dining. Young and old, near and dear, all enjoyed the same meal served on banana leaf, reinforcing the oneness of the occasion. There was no sense of excess; rather, there was a sense of satisfaction of being fed with love. Even those who normally expect extravagance realized the beauty of moderation.

Blessings to the couple were shared in an atmosphere of tranquility and honest warmth, free from queues, hierarchies, or distractions. The celebration reflected equality, comfort, and grace at every step. A soulful, pure vegetarian Hearty Meal rooted in tradition and lovingly served in the timeless style of Banti Bhojanam, using Banana Leaves, became the best part, with hosts extending a personal and heartfelt invitation to every guest to the extent possible. It was simplicity elevated into heritage, hospitality, and joy. Full compliments to the teams of UTSAV, MERAGI, and AYANA RESORT for creating such a memorable and culturally rich experience.

The Mihira-Yagnic wedding thus stands as a gentle reminder in today’s times and in its simplicity, emerged as more than a family celebration. As families increasingly drift apart, and as rituals are reduced to formalities, this wedding shows another path. A path where meaning matters more than money, where tradition matters more than trend, and where bonding matters more than display. Such weddings not only strengthen families but also strengthen the fabric of society. They remind us that marriage is not an event of a day but the beginning of a lifelong dharmic journey and a timeless reminder that tradition and togetherness can illuminate the path for generations to come.

The warmth of togetherness, the sanctity of rituals and events, and the simplicity that gave everything its glow, made all those who were part of this wedding enriched, and even decided to conduct marriages in their families in this way in future when the time comes. Mihira Wedding with Yagnic on August 9, 2025 at 11.35 PM Symbolized Bonding, Tradition, Togetherness, Relationship, and Responsibility, and thus made a Huge Difference.