We are finite; our understanding is finite. Our understanding 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 used in the original Sabad and avoid terms like God or Lord.
This Sabad invites the listener into a space of joy and spiritual contemplation, where the heart's humbleness becomes the key to unlocking the treasures of divine remembrance and protection.
The Sabad begins by expressing the sheer beauty and allure of the Beloved's love. The seeker, filled with excitement and conscious longing, focuses intently on the Beloved, highlighting a deep, unwavering devotion.
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.
As life progresses and the day turns to dusk, the Sabad reminds us that our lives remain incomplete without beautifying the path with devotion and remembrance. The darkness of ignorance spreads, and without the light of Nam, we remain lost.
The Sabad begins with a profound surrender to the Guru, a heartfelt offering of praise spanning hours. This symbolizes the depth of devotion and the unyielding commitment to the Divine.
The Sabad begins by celebrating the transition from winter's harshness to spring's warmth and vitality. The joy of this connection is likened to the natural world's response to spring, where every being rejoices in the newfound warmth and light.
This Sabad is by Sheikh Farid (1173-1265) and is set in Rag Asa, a devotional musical framework. The essence of the composition lies in its contemplation of contrasting states.
Remember All-Pervasive, All-Pervasive Nam with the Sage-Guru, Naturally the bliss remains day and night, my seed sprouts. Reflect. Fortunately met the Perfect-Guru whose limits cannot be measured, grabbed servant’s hand and pulled it out of the poisono
In the melodic strains of Rag Gond, Guru Ramdas Sahib's Sabad resonates with a triumphant yet humble spirit, reflecting a balanced perspective on spiritual attainment.
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.
This Sabad by Guru Ramdas Sahib within Rag Sorath encompasses a tapestry of emotions: seriousness, love, separation, longing, and detachment. Traditionally performed, it encapsulates a spectrum of human experiences.
Composed by Guru Ramdas Sahib, this piece is set in Rag Devgandhari, an ancient melodic mode traditionally sung during the second quarter of the day. This Sabad encapsulates the yearning to connect with the radiant Beloved.
In this Sabad attributed to Bhagat Ravidas, a profound contemplation unfolds. This composition finds its musical foundation in Rag Gujri, an ancient melodic mode reserved for the early hours of the day, evoking a sense of serene awakening.
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.
Explore the Sabad (Shabad) of Bhagat Ravidas in the Guru Granth Sahib, the sacred scripture of the Sikhs. Read the translation done by Harinder Singh and Inni Kaur. Listen to Inni Kaur’s reflection on this Sabad.
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.
Delve into the Sabad (Shabad) of Guru Nanak Sahib in Rag (raag) Gauri Bairagan, from the Guru Granth Sahib, the sacred scripture of the Sikhs. Read the translation done by Harinder Singh and Inni Kaur.
Explore the Sabad (Shabad) of Bhagat Ravidas in the Guru Granth Sahib, the sacred scripture of the Sikhs. Read the translation done by Harinder Singh and Inni Kaur. Listen to Inni Kaur’s reflection on this Sabad.
At this point in my life, this sabad has come to me for reasons other than telling me to keep moving even when everything feels big and hard to navigate.
Jasleen Kaur says "This sabad has gently nudged me forward, too many times to count — moved me in some tangible direction, reminded me that the hard days — the days when I cannot get myself to do much of anything — are transient."
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.
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 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 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...
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.
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 Bhagat Ravidas is in Rag Gauri Bairagan, a musical mode sung in the morning. It is a rag (musical measure) of sadness, separation, and longing.