The Guru Granth Sahib is the eternal Guru and the supreme guiding authority for the Sikhs in every aspect of life. It is accorded utmost respect whenever Sikhs handle it or discuss its text. It is not only the scriptural canon of the Sikhs that offers wisdom, grace, and freedom to all, but it also personifies perfection, and the Divine instituted Sovereignty. The Guru Granth Sahib includes utterances of six Gurus, three Sikhs, fifteen saints of various religious traditions, and eleven bards from the Gurus’ courts. The Guru Granth Sahib is written in Gurmukhi, a script institutionalized by Guru Angad Sahib. It was Guru Arjan Sahib, who compiled the utterances of the previous Gurus, Sikhs and saints, into the Adi Granth, and placed it in Sri Harimandar Sahib, in 1604. Guru Gobind Singh Sahib added the utterances of Guru Teghbahadar Sahib, in the Adi Granth, and raised the scripture to the status of perpetual Guru, ordaining it as the Guru Granth Sahib in 1708. The Guru Granth Sahib should not be viewed as a law book of “dos and don’ts.” It contains a timeless and unique value system for ethical and moral living based on the love of the one Divine.
The poetic form ‘Var Sat’ (a composition based on the seven days of the week) is commonly called ‘Satvar’ or ‘Satvara.’ It is a unique literary style that connects each day of the week with a specific idea, emotion, teaching, or reflection.
Join Harinder Singh as he delves into The Eternal Spirit of Giving, exploring timeless wisdom from the Guru Granth Sahib. This talk invites reflection on the essence of giving—not just as a responsibility but as a journey towards grace and connection.
Patti is a poetic form based on the Gurmukhi alphabet. Historically, students used a wooden tablet, known as patti in Panjabi, to practice writing the alphabet. The Guru Granth Sahib includes many compositions based on the alphabet.
In this Sabad, Bhagat Sain Ji sings the ‘Arti’ of the transcendent Supreme Being, IkOankar (the Divine). He emphasizes that the true 'Arti' of IkOankar is not a ritualistic act of adorning a platter with incense, lamps, and ghee.
Chaubole is typically described as a poetic form governed primarily by meter and lines, usually four, as a song with four segments, or as a verse containing four languages.The theme of the Chaubole composition by Guru Arjan Sahib is love.
The term 'karhale' is derived from the Rajasthani and Sindhi word 'karhal,' which means camel. Historically, traders loaded their goods on camels to sell in distant lands, enduring long, arduous journeys.
In The Guru Granth Sahib, a dog symbolizes faithfulness when domesticated and its propensity to eat filth as a stray animal.
The contrast of a Wisdom-oriented individual with a self-centered person is brought forth with the analogy of a swan and a crane.
The symbolism of fish that cannot survive outside the water is often used to depict the nature of the relationship a human being is encouraged to have with IkOankar (1Force, Divine).
The Guru Granth Sahib Project is pleased to launch the annotation of four stanzas of 'Lava' by Guru Ramdas Sahib in Rag Suhi. Suhi is a rag of enthusiasm. It is associated with deep love and devotion and is used to evoke feelings of deep adoration.
With the help of The Guru Granth Sahib Project, people from all walks of life can build a deeper connection to the Guru Granth Sahib.
The Guru Granth Sahib Project is pleased to launch the annotation of three Sabads of 'Maru Kaphi' by Guru Nanak Sahib in Rag Maru Kaphi. Maru is a rag (musical mode) that evokes feelings of enthusiasm and zeal.
This essay reflects on the sacred nature of giving, inspired by Guru Amardas Sahib's and Baba Mohri ji's narrative. It explores the importance of honoring the trust placed in us when we receive resources meant for the greater good.
While reading the Guru Granth Sahib, we encounter various stanza structures within a Sabad, often indicated through corresponding titles on the Sabad. This diversity in stanza structures arises due to variations in the number of lines in the stanzas.
Embark on a transformative journey through Sikhi’s essence as we explore the Guru Granth Sahib. Beyond a conventional text, it intertwines nature, introspection, and wisdom.
In the tenth composition of the “Sabad Hajare Patisahi 10” (popularly Shabad Hazare Patshahi 10) series, Guru Gobind Singh Sahib declares that identifying with the attributes and existence of the 1 eliminates fear.
In the ninth composition of the “Sabad Hajare Patisahi 10” (popularly Shabad Hazare Patshahi 10) series, Guru Gobind Singh Sahib declares that the One Divine will remain fully capable of destroying and creating.
In the eighth composition of the “Sabad Hajare Patisahi 10” (popularly Shabad Hazare Patshahi 10) series, Guru Gobind Singh Sahib questions how That One can be said to be in one human form.
Guru Teghbahadur Sahib’s Sabad, composed in Sarang Rag, offers profound wisdom on the transitory nature of the world and the importance of anchoring oneself in the All-Pervasive One.
In the joyful rhythm of Rag Bilaval, Guru Nanak Sahib's Sabad unfolds with a profound sense of humility, devotion, and recognition of the greatness of the One.
Sabad is Infinite; we are very finite. This is our understanding at the moment, which was different yesterday and may evolve tomorrow, as we deepen our relationship with the Sabad.
In this trans-creation, we have chosen to keep the repeating words in the Sabad same. We aspire to learn and retain the Divine attribute as used in the original Sabad and avoid terms like God or Lord.
In the vibrant rhythm of rag Suhi, Guru Arjan Sahib's Sabad emanates profound love and devotion, evoking a sense of reverential adoration.
In the melodic embrace of Jaitsari rag, Guru Ramdas Sahib's Sabad unfolds with poignant sincerity, echoing the heartfelt sentiment of dependence and longing.
Gatha refers to a song or verse, rooted in the word gai, to speak, sing, or recite. It can also refer to a profound discourse with the self beyond simple praise or devotion.
The essence of this composition is revealed in the stanza of rahau (Pause). In it, worldly accounting (entanglements) is described as useless.
Patti is a poetic form rooted in the Gurmukhi alphabet. Traditionally, students in Punjabi culture used a wooden tablet, called a patti, to practice writing letters.
Patti is a poetic form rooted in the Gurmukhi alphabet. Traditionally, students in Punjabi culture used a wooden tablet, called a patti, to practice writing letters.
In Maru Kaphi, Guru Nanak Sahib reflects on the grief caused by separation from IkOankar, showing that even with worldly comforts, one remains unhappy without this connection.
In this Sabad, Bhagat Sain Ji sings the ‘Arti’ of the transcendent Supreme Being, IkOankar (the Divine). He emphasizes that the true 'Arti' of IkOankar is not a ritualistic act of adorning a platter with incense, lamps, and ghee.
This composition by Guru Nanak Sahib is in Rag Siri, an ancient musical mode sung at dusk. Its mood is majestic, reflective, and meditative. The reflection: The Creator is in the creation. Everything is brimming with love, operating in love.
This composition by Bhagat Ravidas is in Rag Siri, an ancient musical mode sung at dusk. Its mood is majestic, reflective, and meditative.
This composition by Guru Arjan Sahib is in Rag Majh. This rag (musical mode) evolved from the folk music of the Majha area of the Panjab. There is no reference to this rag in Indian music. It is only sung in Panjab and is in the Guru Granth Sahib.
This composition by Guru Arjan Sahib is in Rag Majh. This rag (musical mode) evolved from the folk music of the Majha area of the Panjab. There is no reference to this rag in Indian music. It is only sung in Panjab and is in the Guru Granth Sahib.
Listen as we explore the Sabad (Shabad) of Guru Arjan Sahib in Rag (raag) Asa from the Guru Granth Sahib, the sacred scripture of the Sikhs. Sabad is the bond between the Guru and the Sikh. Read the translation done by Harinder Singh and Inni Kaur.