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 Guru Granth Sahib Project is pleased to launch the annotation of nine Sabads (Infinite-Wisdom) of Guru Teghbahadar Sahib in Rag Gauri. Gauri is a Rag (musical mode) of serious nature, which evokes a thoughtful and reflective mood.
The Guru Granth Sahib Project is pleased to launch the annotation of eight Sabads, (Infinite-Wisdom) of Guru Teghbahadar Sahib. Four Sabads are in Rag Dhanasari (a musical mode), and four are in Rag Sarang.
Pokh is the tenth month of Barah Maha, corresponding to the months of mid-December to mid-January. The verse highlights the changes that exist in the environment. Frost arrives to interfere in the growth of the vegetation.
The Guru Granth Sahib Project is pleased to launch the annotation of six Sabads, (Infinite-Wisdom) of Guru Teghbahadar Sahib. Three Sabads are in Rag (musical mode) Tilang, and three are in Rag Bilaval.
The Guru Granth Sahib Project is pleased to launch the annotation of three Sabads, Infinite-Wisdom, of Guru Teghbahadar Sahib in Rag (musical mode) Jaitsari. This ancient rag evokes a mood of happiness and bliss.
Guru Granth Sahib Project's Harpreet Kaur reflects working on the So Purakhu Bani.
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.
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.
“The whole Guru Grantha is the voice of a wedded women or a maiden pining in love of the Beautiful. Her nobleness in Guru Grantha is infinite, her freedom is of the highest. Both man and woman as sexes are forgotten in her voice.
Every year, when December rolls around, there is much buzz about the holiday season. From Hanukah to Kwanzaa and, of course, Christmas, it is a time of gatherings, decorations and gift exchange.
Embark on a poignant journey with the author as she reflects on her evolving relationship with her hair, exploring the nuanced layers of Sikh identity, love for Sabad, and the profound impact of choices made during the tumultuous times of 1984.
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.
In current times, the world is full of abundant images, pictures, portraits, artworks, and illustrations availing stocks and libraries as well as producing films and animations. What are the most appropriate images of the Guru Sahibs?
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.
The Sabad begins with a profound declaration— the body itself is a manifestation of the divine, a temple, and a wandering pilgrim. This poetic imagery invites reflection on the sacred nature of the physical form, transforming it into a vessel for...
In this Sabad, the rain is a natural phenomenon and a metaphor for the Divine’s grace. The Guru pleads for the rain—symbolic of the Divine presence and love—to descend upon their scorched heart.
The Sabad commences with a profound invocation – the cooling of body, mind, and bosom through the continuous remembrance of the Divine Owner. This remembrance transforms the very essence of the being, where beauty, color, comfort, wealth, and caste...
The Sabad opens with a poignant tale of selflessness, where one assumes the role of a disguiser to protect the honor of the king's daughter. Despite harboring lustful and selfish desires, the individual's act preserves honor, highlighting the...
The Sabad opens with the Guru's profound declaration of being a "maiden-slave" of the Divine Ruler, symbolizing complete surrender and dedication.
In a new podcast series The 12 Gurus: From 1469 to Infinity, SikhRI sheds light on the lives and meaning of Gurus in Sikhi. Were they spiritualists and reformers or Divine and Revolutionaries? What lessons can we draw from them?