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Videos
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Explore Barah Maha (Mahala 5)
In celebration of the Nanakshahi Sikh New Year, The Guru Granth Sahib Project is pleased to launch the annotation of Barah Maha, a composition revealed by Guru Arjan Sahib in Rag Majh.
Explore Thiti (Mahala 1)
Thiti refers to a lunar calendar day—a count from the first to the fifteenth day based on the moon's phases. As a poetic form, Thiti is based on the fifteen lunar days of the Indic calendar months.
Explore Bani Bhagat Surdas Ji
Bhagat Surdas Ji is one of the fifteen Bhagat contributors to the Guru Granth Sahib, whose composition is recorded on page 1253. The line urges the mind to forsake the company of those who have turned away from IkOankar (the Divine).
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 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 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 Barah Maha (Mahala 5)
On 14 March, in celebration of the Nanakshahi Sikh New Year, The Guru Granth Sahib Project released the annotation of Barah Maha, a powerful composition revealed by Guru Arjan Sahib in Rag Majh.
Explore Bani Bhagat Ramanand
In this Sabad, Bhagat Ramanand Ji highlights the significance of remembering the all-pervading IkOankar (the Divine) rather than worshipping the idol of any deity.
Explore Thiti (Mahala 1)
Thiti refers to a lunar calendar day, counted from the first to the fifteenth day based on the moon's phases. As a poetic form, Thiti is structured around the fifteen lunar days of the Indic calendar months.
Explore Janam & Nam Sanskar
In Sikh tradition, the Birth & Naming Ceremony compositions nurture a sense of connection, love, and gratitude with IkOankar (the Divine).
Explore Bani Bhagat Surdas Ji
Bhagat Surdas Ji, one of the fifteen Bhagat contributors to the Guru Granth Sahib, has a composition recorded on page 1253. This line encourages the mind to abandon the company of those who have turned away from IkOankar (the Divine).
Explore Var Sat (Kabir Ji)
‘Var Sat,’ commonly called 'Satvar' or 'Satvara,' is a poetic form based on the seven days of the week. It is a unique literary style that connects each day of the week with a specific idea, emotion, teaching, or reflection.
Explore Anand Sahib (Stanzas 31-40)
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.
Explore Sadd
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.
Explore Alahania (Mahala 1)
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.
Explore Alahania (Mahala 3)
Alahani, a sorrowful Punjabi folk song, emphasizes the belief in IkOankar, the all-powerful force behind existence.
Explore Antam Sanskar (Funeral Ceremony)
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).
Explore Vanjara
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
