In an era filled with desecration, distortion, and disconnection, this project was initiated to provide a greater opportunity for everyone to develop a personal relationship with the Guru Granth Sahib. SikhRI recruited an international team of specialists and subject matter experts to begin a process of "transcreation," composition by composition, beginning with Asa Ki Var. Transcreation is the process of developing meaningful interpretation, while providing content in both modern Panjabi and English. SikhRI's transcreation process is meant to generate a rich context to illuminate the language, aesthetics, musicology, history, culture, and philosophy contained within the Guru Granth Sahib.
In this Sabad, Bhagat Pipa inspires the seeker to experience the all-pervading IkOankar within oneself rather than searching for IkOankar outside in physical spaces.
According to Bhai Vir Singh and the scholars of Shabdarth, ‘Ghoria’ are songs of blessings, sung when the bridegroom mounts the mare.
Initiation Ceremony is an important part of many religious traditions worldwide. It often marks a significant milestone in a seeker’s life and is a way of formally admitting a seeker into the religious community.
The Guru Granth Sahib Project is pleased to launch the annotation of four separate Sabads (compositions) revealed by Guru Arjan Sahib on the theme of Birth.
The Guru Granth Sahib Project is pleased to launch the annotation of pauris (stanzas) nine to seventeen of the composition Thiti by Guru Arjan Sahib under Rag Gauri. Gauri is a rag (musical mode) of serious nature, which evokes a thoughtful...
The Guru Granth Sahib Project is pleased to launch the annotation of the first eight stanzas of the Composition Thiti by Guru Arjan Sahib under Rag Gauri. Gauri is a rag (musical mode) of serious nature, which evokes a thoughtful and reflective mood.
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.
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.
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 six Sabads, (Infinite-Wisdom) of Guru Teghbahadar Sahib. Three Sabads are in Rag (musical mode) Ramkali, and three are in Rag Maru.
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.
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.
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.
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.
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.
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.
Guru Nanak Sahib (1469-1539 CE) witnessed the destruction caused by Babur with his own eyes and vividly depicted the scenes of destruction in his Bani. These revolutionary Sabads revealed by the Guru that depict pain and empathy are known as ‘Babarvani’.
Within the Guru Granth Sahib, the term 'mudavani' or 'mundavani' appears in two saloks: one by Guru Amardas Sahib and one by Guru Arjan Sahib. Collectively, these saloks serve as a key to understanding the core message of the Guru Granth Sahib.
In saloks ninety-three through one hundred thirty, Sheikh Farid Ji reminds us that the entire world remains under the sway of death. Even the most well-nourished bodies cannot escape it; when old age arrives, even the once strong become weak.
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.
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.
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.
In the Sikh tradition, Anand Sahib is of such great significance that the entire composition or a portion (first five pauris and last pauri) is recited or sung to conclude all congregational and private ceremonies.
Revealed to Baba Sundar, the great-grandson of Guru Amardas Sahib, Sadd holds great significance in the Sikh funeral ceremony and is recited during final rites.
Revealed to Baba Sundar, the great-grandson of Guru Amardas Sahib, Sadd holds great significance in the Sikh funeral ceremony and is recited during final rites.
Alahani, a sorrowful Punjabi folk song, emphasizes the belief in IkOankar, the all-powerful force behind existence.
The Sikh funeral ceremony is crucial to Sikh culture as it emphasizes the belief in the impermanence of life, the significance of commemorating the departed with affection and admiration, and establishing a connection with IkOankar (the Divine).
In Vanjara, the seeker has been affectionately addressed as a merchant friend (vaṇjāriā mitrā). They have been made aware that they have come to this world to trade in the Nam. They are, therefore, instructed to engage in this true trade so that their fac