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.
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 Nanak Sahib is in Rag Gauri Bairagan, a musical mode sung in the morning. It is a rag (musical measure) of sadness, separation, and longing as opposed to depression.
This composition by Guru Arjan Sahib is in Rag Asa, a musical mode used to evoke a mood of hope, expectation, inspiration, and courage.
Metaphors come alive, painting a vivid picture of life's complexities. The imagery of a suckling calf affecting milk, bees disrupting a flower, and fish muddying water draws attention to the innate interplay of purity and impurity.
In the first composition of the “Sabad Hajare Patisahi 10” (popularly Shabad Hazare Patshahi 10) series, Guru Gobind Singh Sahib redefines everything yogic. Yoga is reframed as the original idea of union or the connection with the 1.
Multiple sources of knowledge, visits to historical places, and personal experiences to date fuel the deeper meanings of Sabad Hajare (popularly Shabad Hazare) attributed to Guru Gobind Singh Sahib.
Guru Arjan Sahib gifted the eventual Guru Granth Sahib to humanity. Why did the Guru envision it? How did the Guru compile it? What did the Guru curate?
While reading the Guru Granth Sahib, we come across various Sabad structures and forms. Some small and others long. Some have two stanzas, others three, four, or more. What do these different stanzas tell us about a Sabad or its structure?
In recent news and current events, “beadbi” has come to the forefront as a topic of discussion. But do we as Sikhs collectively understand what beadbi is, how it has been dealt with historically,...
With summer at our doorsteps, now is a great opportunity to plan a few educational family activities for the next few months. Play is important, no doubt, but so is accepting Gurbani as part of everyday life and learning to ask the right kind of questions. Questions that are explored in Gurbani. For that to be a part of your journey, SikhRI composed a summer curriculum to engage the whole family and especially children.
In recent news and current events, “beadbi” has come to the forefront as a topic of discussion. But do we as Sikhs collectively understand what beadbi is, how it has been dealt with historically,...
While reading the Guru Granth Sahib, we come across various Sabad structures and forms. Some small and others long. Some have two stanzas, others three, four, or more. What do these different stanzas tell us about a Sabad or its structure?
Guru Arjan Sahib gifted the eventual Guru Granth Sahib to humanity. Why did the Guru envision it? How did the Guru compile it? What did the Guru curate?
Multiple sources of knowledge, visits to historical places, and personal experiences to date fuel the deeper meanings of Sabad Hajare (popularly Shabad Hazare) attributed to Guru Gobind Singh Sahib.
In the first composition of the “Sabad Hajare Patisahi 10” (popularly Shabad Hazare Patshahi 10) series, Guru Gobind Singh Sahib redefines everything yogic. Yoga is reframed as the original idea of union or the connection with the 1.
In the second composition of the “Sabad Hajare Patisahi 10” (popularly Shabad Hazare Patshahi 10) series, Guru Gobind Singh Sahib emphasizes union with the 1.
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.