Translation

That One
‍Are we lost in yoga and meditation?

Bilaval Sovereign 10
How can That One be said to be in one human form?
The Sidhs could not see That One, lost themselves in perfect consciousness and intense concentration.1. Pause-reflect.
Likes of Narada, Vyasa, Prasara, and Dhruva concentrated with intense concentration.1.
Vedas and Puranas lost and left after stubbornness; even then, they could not concentrate on That One.1.
Even demigods, deities, spirits, and ghosts call That One infinite and infinite.
That One is recognized as the finest among the finest; That One is labeled as the greatest among the greatest.2.
That One created all—and, sky, and nether regions—the One is known for many forms.
Only that person is free from the noose of death who takes refuge in 1-Hari.3.1.8

Commentary

Bilaval, a musical mode of the first quarter of the day, invokes moods and emotions of happiness and devotion. It evokes distinctive joy and bliss in union with the Divine.

Samadhi and Dhyana are very popular Sanskrit terms used in many religious traditions and philosophies of South Asia, especially Hinduism, Jainism, and Buddhism. Samadhi is “to bring together to receive,” and its Hindu and yogic interpretation is “perfect consciousness.” Dhyana is “contemplation or meditation,” and its yogic interpretation is “intense concentration on one object.” Dhyana prepares a yogi to practice Samadhi.

Guru Gobind Singh Sahib, The Sovereign, asks: How can That One be said to be in one human form? The Sidhs have exhausted their Samadhi and still couldn’t see That One. The Sidhs, the proven yogi masters with their philosophy, methods, and techniques, couldn’t visualize That One. My Sovereign tells me not to call anyone in the human form the 1 and not to get fixated or fascinated by the yogic establishment.

My Sovereign explains to me: The great ones in Indic systems like Narada, Vyasa, Prasara, and Dhruva did intense concentration. In Hinduism, Narada is the supreme Vaishnavite deity and is mentioned in multiple texts; Vyasa is the compiler of multiple texts; Prasara is the author of multiple texts and father of Vyasa; and Dhruva was an ascetic devotee of Vishnu. The great texts in Indic systems like the Vedas and the Puranas also exhausted their search and explanation and eventually let go of their stubbornness. Even then, they still could not concentrate on That One. My Sovereign tells me to make my Samadhi a profound and utterly absorptive connection with That One, not just an abstract idea of perfect consciousness. My Sovereign also tells me to make my Dhyana an undisturbed intimate connection with That One and not just a methodological discipline of intense concentration.

My Sovereign explains to me: The demigods and the deities, as well as the ghosts and the spirits, call That One infinite and infinite every day. In Hinduism, Danavas are a hundred demigods; Devas are thirty-three main deities; Pishachas are a type of demon-like Yaksha spirits; and Pretas are ghosts. That One is the finest and the greatest. My Sovereign tells me that That One is fathomless and endless, way beyond the constructions of mythology or imaginations of the supernatural, fiends, and goblins. I must not get caught up in the minute details of the so-called spiritual or divine beings and their opposites. They are ploys of men caught in desire, anger, or other ego-generated thoughts and emotions. None of them are That One!

My Sovereign explains to me: That One is known in many forms, as seen in the creation of everything, from the earth to the sky to the nether regions. That One creates and decorates all things visible and invisible, all things perceivable and imperceivable. Those who enter the sanctuary of Hari—All-Pervasive, Fear-Eliminator, Light, 1Force, the 1—are free from the noose of death, the pain, and suffering due to fear of death. My Sovereign tells me to witness the magnificent and limitless creation. I must transcend my mind and intellect; then I will see That One manifested everywhere and in everything, the formless in many forms. My Sovereign doesn’t want me to be lost in yoga and meditation, seeking perfect consciousness and intense concentration. My Sovereign wants me to be in Samadhi of absorptive connection via Dhyana of intimate connection, where I maintain my incessant connection with That One.

Will I see That One, the 1, as my Sovereign did?

Note: We are very finite; our understanding is finite too. We aspire to deepen our relationship with the Guru. In this translation and commentary, we focused more on meaning, context, and message and less on literalism and poetics. We aspire to learn and live the message to end our separation from the 1.

Art

In my artwork, I portray the institutional and intellectual powers that tirelessly endeavor to comprehend the ੧/1. The composition features a gazebo structure seamlessly merging with rock caves on the right side, symbolizing the convergence of perspectives between scholars and academics engaged in profound discussions within a garden and Yogis and Sidhs, who similarly contemplate in natural environments or caves.

Beneath the gazebo, figures representing these different groups are engrossed in their respective disciplines, methods, and postures, all of which are insufficient to grasp the essence of the ੧/1 fully. Only male figures are depicted to reflect the limited access to these institutions of authority and power. Books behind these figures symbolize religious texts, philosophies, and conventional wisdom that remain incomplete without an understanding of the ੧/1.

The artwork incorporates the presence of rakshas, for demons and ghosts, portrayed as shadows in both dark and light tones, contributing to the ongoing conversation. Varying shades of brown represent the three worlds in the background: the bottom third is the darkest, symbolizing the presence of the conversing parties, followed by a mid-tone section, and finally, the lightest and brightest segment at the top, where the ੧/1 is depicted. Positioned directly above the roof structure, the ੧/1 signifies that the Truth of the ੧/1 remains hidden and out of sight from these figures.

Note: Where there is greenery, there is ‘natural life.’  I situate the readers, the learners, and seekers, those engaging with the composition there. In every artwork, I have placed ੧, a reference to IkOankar, the One, without limiting it to an object-based depiction such as a sun or a moon. The colors are chosen intentionally to evoke a particular interpretation or adhere to a cohesive color palette to show the relationship between the ten compositions of Guru Gobind Singh Sahib.

Gurmukhi

ਬਿਲਾਵਲੁ ਪਾਤਿਸਾਹੀ ੧੦
ਸੋ ਕਿਮਿ   ਮਾਨਸ ਰੂਪ ਕਹਾਏ॥
ਸਿਧ ਸਮਾਧਿ ਸਾਧਿ ਕਰਿ ਹਾਰੇ   ਕ੍ਯੋ ਹੂੰ ਨ ਦੇਖਨ ਪਾਏ॥੧॥ ਰਹਾਉ॥
ਨਾਰਦ ਬਿਆਸ ਪਰਾਸਰ ਧ੍ਰੂਅ ਸੇ   ਧਿਆਵਤਿ ਧਿਆਨ ਲਗਾਏ॥੧॥
ਬੇਦ ਪੁਰਾਨਿ ਹਾਰਿ ਹਠਿ ਛਾਡਿਓ   ਤਦਪਿ ਧਿਆਨ ਨ ਆਏ॥੧॥
ਦਾਨਵ ਦੇਵ ਪਿਸਾਚ ਪ੍ਰੇਤ ਤੇ   ਨੇਤਹਿ ਨੇਤ ਕਹਾਏ॥
ਸੂਛਮ ਤੇ ਸੂਛਮ ਕਰਿ ਚੀਨੇ   ਬ੍ਰਿਧਨ ਬ੍ਰਿਧ ਬਤਾਏ॥੨॥
ਭੂਮਿ ਅਕਾਸ ਪਤਾਲ ਸਭੈ ਸਜਿ   ਏਕ ਅਨੇਕ ਸਦਾਏ॥
ਸੋ ਨਰ ਕਾਲਫਾਂਸ ਤੇ ਬਾਚੇ   ਜੋ ਹਰਿ ਸਰਣਿ ਸਿਧਾਏ॥੩॥੧॥੮॥

Transcription

bilāvalu pātisāhī 10
so kimi   mānas rūp kahāe.
sidh samādhi sādhi kari hāre   kayo hūṁ na dekhan pāe.1. rahāu.
nārad biās parāsar dhrūa se   dhiāvati dhiān lagāe.1.
bed purāni hāri haṭhi chāḍio   tadapi dhiān na āe.1.
dānav dev pisāc pret te   netahi net kahāe.
sūcham te sūcham kari cīne   bridhan bridh batāe.2.
bhūmi akās patāl sabhai saji   ek anek sadāe.
so nar kālphāṁs te bāce   jo hari saraṇi sidhāe.3.1.8.

Sabad Kirtan

Bhai Balbir Singh

Sabad Recitation

Harjinder Singh