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.
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 extols the bride-lover (seeker), who recognizes the Divine presence and surrenders to the Divine will, shedding the ego and immersing in the Beloved's embrace. Continuing, the Sabad offers guidance from one friend to another, advising on...
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’s progress unveils the diversity of human affection. Worldly attachments and pride entrance some, while the devotees of the Divine embrace an affection for the Freedom-state inherent in the All-Pervasive.
Guru Nanak Sahib expresses his humility, recognizing his ignorance and inability to fully capture the Majesty of the One. The Guru then makes a heartfelt plea for the grace to understand and sing the virtues of the One, aspiring to remain connected...
O! My mind, utter the Charmer-Divine’s Nam for liberation. Millions upon millions of transgressions totally eliminated, All-Pervasive enables world-ocean crossing. 1. Reflect. All-Pervasive Divine abides in the body-town, All-Pervasive is fear-less, foe
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.
Jasleen Kaur reflects on a Sabad by Bhagat Namdev to help her through some questions she has had during Mental Health Awareness Month: how can the Divine exist in places or situations that we feel are devoid of the One? How can the Divine exist in moments when we feel like we are not ourselves, when we feel like our own Light has been dimmed into almost nothing, when we cannot step ourselves out of our heavy boots just by reminding ourselves of IkOankar — when we cannot think ourselves out of the way that we feel?
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.
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.
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.
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 the joyful Rag Bilaval, Guru Nanak Sahib's Sabad radiates profound spirituality, devotion, and the recognition of the One’s omnipresence.
In the serene setting of Rag Todi, Guru Ramdas Sahib's Sabad echoes with profound reverence, contemplation, and devotion. Todi, celebrated for its solemn and reflective atmosphere, envelops the listener in a tranquil and profound experience.
In the ambiance of Rag Bairari, Guru Ramdas Sahib's Sabad echoes with profound spiritual depth and intricacy. Despite being an uncommon and challenging rag, Bairari's melodious essence evokes a sense of continuous improvement and progress.
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 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.
This Sabad, bestowed upon us by Guru Ramdas Sahib, resonates within the melodic framework of Rag Asavar. Its evocative tones find their expression during the late afternoon transitioning into the early evening.
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 the Guru's profound declaration of being a "maiden-slave" of the Divine Ruler, symbolizing complete surrender and dedication.
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...
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.