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Videos
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Explore Var Sat (Kabir Ji)
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.
Explore Patti (Mahala 1)
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.
Explore Bani Bhagat Sain Ji
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.
Explore Chaubole
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.
Explore Karhale
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.
Explore Vanjara
This composition is revealed by Guru Ramdas Sahib (1534-1581 CE) in Rag Sirirag and is recorded on pages 81-82 of the Guru Granth Sahib. It has six stanzas of five lines each. With every stanza, there is an additional stanza of rahau of two lines.
Explore Basant Mahala 5 Ghar 1 Dutuke & Basant Ki Var Mahal 5
The Guru Granth Sahib Project is pleased to launch the annotation of one Sabad (Infinite-Wisdom) and three pauris (stanzas) of a Var (ballad) by Guru Arjan Sahib in Rag Basant.
Explore Rag Sorathi
The Guru Granth Sahib Project is pleased to launch the annotation of twelve Sabads (Infinite-Wisdom) by Guru Teghbahadar Sahib in Rag Sorath. Sorath is a rag (musical mode) of serious nature based on the mood of detachment.
Explore Mahala 5 Gatha
The Guru Granth Sahib Project is pleased to launch the annotation of Twenty-four saloks (couplets) by Guru Arjan Sahib.
Explore Salok Sahaskriti
The Guru Granth Sahib Project is pleased to launch the annotation of four saloks (couplets) of Salok Sahaskriti by Guru Nanak Sahib.
Explore Ramkali Ki Var
The Guru Granth Sahib Project is pleased to launch the annotation of Ramkali Ki Var by Rai Balvand and Sata Dum.
Explore Lava
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.
Articles
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Stanza Structure in a Sabad
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.
Stanza Structure in a Sabad
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.
Podcasts
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Explore Mahala 5 Gatha
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.
Explore Patti (Mahala 3)
The essence of this composition is revealed in the stanza of rahau (Pause). In it, worldly accounting (entanglements) is described as useless.
Explore Thiti (Mahala 5) [Part 1]
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.
Explore Patti (Mahala 1)
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.
Explore Maru Kaphi
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.
Explore Bani Bhagat Sain Ji
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.
Explore Anand Sanskar 1/2
The Guru Granth Sahib contains many Sabads related to the wedding ceremony, in which themes of happiness, blessings, and teachings are conveyed through vocabulary related to the wedding.
Explore Karhale
The term 'karhale' is derived from the Rajasthani and Sindhi word 'karhal,' which means camel.
Explore Anand Sanskar 2/2
The ceremony of ‘Anand Karaj’ (blissful task) is very important in ‘Anand Sanskar’ (blissful ceremony). ‘Anand Sanskar’ is considered complete only with the ceremony of ‘Anand Karaj.’
Explore Lava
These four stanzas are four stages of a seeker’s union with IkOankar (the Divine). They depict the seeker’s spiritual journey. These four stanzas are also sung when the Sikh bride and groom circumambulate four times around the Guru Granth Sahib to...
Explore Chaubole
Guru Arjan Sahib’s Chaubole focuses on love, teaching that true devotion to IkOankar (the Divine) brings constant joy. A lover fully immersed in this love is ready to sacrifice everything for the Beloved.
Explore Bani Bhagat Sain Ji
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.
