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Videos
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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 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 Rag Asa
Under Rag Asa, Guru Teghbahadar Sahib has revealed one Sabad, which is recorded on page 411 of the Guru Granth Sahib. This Sabad comprises of two stanzas. The stanza of rahau is separate from these stanzas.
Guru Teghbahadar Sahib in Rag Jaitsari - The Guru Granth Sahib Project
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.
Explore Rag Bilaval & Rag Tilang
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.
Explore Rag Ramkali & Rag Maru
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) Ramkali, and three are in Rag Maru.
Explore Rag Dhanasari & Rag Sarang
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.
Guru Teghbahadar Sahib in Rag Jaijavanti & Rag Basant
The Guru Granth Sahib Project is pleased to launch the annotation of nine Sabads (Infinite-Wisdom) of Guru Teghbahadar Sahib. Four Sabads are in Rag Jaijavanti (a musical mode), and five are in Rag Basant.
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.
"Be-gam-pura" – City’s name is "Sorrow-less-ville"
This Sabad, composed by Bhagat Ravidas ji in the Gauri rag, reflects a vision of a sorrowless realm, a state of being beyond pain and anxiety.
"Be-gam-pura" – City’s name is "Sorrow-less-ville"
This Sabad, composed by Bhagat Ravidas ji in the Gauri rag, reflects a vision of a sorrowless realm, a state of being beyond pain and anxiety.
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 Savaiye (Mahale Pahile Ke)
In these savaiyas, Bhatt Kalya Ji draws us into a praise that transcends time, social status, caste, and religious identity. The virtues and persona of Guru Nanak Sahib are described as ever-new and eternal—worthy of remembrance in every age and...
Explore Savaiye Sri Mukhbakya II
In the second set of savaiays, Guru Arjan Sahib gently awakens us to a difficult truth: our own forgetfulness. Caught in the waves of worldly attachments, we lose sight of our true purpose: the remembrance of the Nam of IkOankar.
Explore Savaiye Sri Mukhbakya I
Saviye Sri Mukhbakya (Mahala 5) I explores a kind of devotion that arises intuitively from love, awe, and lived experience—not from rigid intellectualism or empty ritualisms.
Explore Din Raini
In the Guru Granth Sahib, Din Raini is a poetic form, like Barah Maha, Ruti, Thiti, and Var Sat, structured around traditional Indic units of time.
Explore Thiti (Kabir Ji)
In this Thiti, Bhagat Kabir Ji uses the lunar fortnight calendar to guide us through an inner journey of remembrance, awareness, and transformation.
Explore Bani Bhagat Jaidev Ji
The Guru Granth Sahib Project is pleased to announce the annotation of two Sabads by Bhagat Jaidev Ji, one of the fifteen Bhagat contributors to the Guru Granth Sahib.
Explore Bani Sheikh Farid Ji
Sheikh Farid Ji is one of the fifteen Bhagat contributors to the Guru Granth Sahib. The Guru Granth Sahib contains four Sabads and one hundred and twelve saloks by him.
Explore Bani Bhagat Sadhna
Bhagat Sadhna is one of the fifteen Bhagat contributors to the Guru Granth Sahib and one of the saint-poets of the Medieval period in South Asia. He was a butcher by profession whose life and behavior changed when he became a devotee after realizing...
Explore Salok Sheikh Farid Ji (Salok 1-15)
The first fifteen saloks by Sheikh Farid Ji convey that the span of every being’s life is predetermined and finite. The being has come into this world to engage in devotion of IkOankar (the Divine) and to live a life of humility and non-attachment.
Explore Salok Sheikh Farid Ji (Salok 16-36)
In saloks sixteen to thirty-six, Sheikh Farid Ji reminds us that humility is a noble virtue essential for life. A seeker in love with IkOankar (the Divine) perceives the Divine in all and remains ever humble.
Explore Salok Sheikh Farid Ji (Salok 37-65)
In saloks thirty-seven through sixty-five, Sheikh Farid Ji describes the typical human life, where beings are drawn to glittery yet ultimately harmful transient things and relationships, spending their entire lives in pursuit of them.
Explore Salok Sheikh Farid Ji (Salok 66-92)
In saloks sixty-six through ninety-two, Sheikh Farid Ji reminds us that with each day comes someone’s time to depart this world. All those here are like guests; yet they spend their lives oblivious, forgetting to prepare for the journey ahead.
