☀️ JOIN SPN MOBILE
Forums
New posts
Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
What's new
New posts
New media
New media comments
New resources
Latest activity
Videos
New media
New comments
Library
Latest reviews
Donate
Log in
Register
What's new
New posts
Menu
Log in
Register
Install the app
Install
Welcome to all New Sikh Philosophy Network Forums!
Explore Sikh Sikhi Sikhism...
Sign up
Log in
Guru Granth Sahib
Jup Banee
When was Jup banee written?
JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an
alternative browser
.
Reply to thread
Message
<blockquote data-quote="P J Singh" data-source="post: 223076" data-attributes="member: 25524"><p>This is a very interesting observation. I have listened to some of Dr. Karminder Singh's presentations; they are indeed very thoughtful and insightful, and often presented with more like mathematical precision in the sense of logical reasoning. I would appreciate if you can share his reasoning in saying purees 28 and 29 are a summary of Sidh ghost. I do not beleieve purees 28 and 29 to be a summary of Sidh Ghost; to me it appears that Sidh Ghost is an ELABORATION of purees 28 and 29 ( not the converse as you note).</p><p></p><p>My reasoning is as follows: </p><p></p><p>To start with, I am of the opinion that we must probe any academic inquiry of SGGS that is presented to us through so called blogs and scientific papers with some critical and thoughtful oversight. Although the study of SGGS with an academic lens is a preferred mode of inquiry but caution must be exercised since the the spiritual discourse in SGGS is not laid out in an academic format; rather it is presented to us as an astounding master piece of artistic expression through poetry in raags. Yes, there are other spiritual writings across the globe that are also written in poetic forms but I do not know if any of those are written in raags with specific musical scales ( Ghar) as in Gurbani. Those who are familiar with music will attest to the fact that singing in raags is relatively easy compared to composing something in raags as is done in Gurbani.</p><p></p><p>The presence of this artistic expression in Gurbani places another layer through which any academic inquiry must tread through, which is often missing. When an accomplished painter or poet is expressing something through his painting or poetry, he tries to project his feelings, emotions, thoughts and insights into his painting or poetry. He tries his best to give an objective form to his subjective feelings, ideas and thoughts. It is inconceivable that an accomplished painter will paint half of his painting and then go and work on another painting and then later come back to finish off the rest of the first painting. Artist expressions are often spontaneous and always continuous not disjointed -- it is not the same with academic research and writings, which can be edited, revised and updated over time as new information comes to light. </p><p></p><p>With respect to Jap Ji sahib - a profound artistic expression; it is inconceivable that Guru Nanak Sahib would have written jap ji in bits and pieces - paurees 28 and 29 after his Sidh Ghost later in life and other parts of Jap ji sahib earlier in life. Unless someone can establish that the cardinal question which Guru Nanak Sahib posed at the outset of Jap Ji sahib ( Kiv saachiara hoeeai Kiv Koorai thuttai paal) was also written later in life, it is not reasonable to say that Jap Ji sahib was written later in life simply because pauree 28 and 29 appears to be summary of Sidh Ghost. It is more reasonable to say that the entire Japji sahib was written at the same time when he posed Kiv saachiara hoeeai Kiv Koorai thuttai paal - more likely earlier in his life to to chalk out a path for his spiritual journey ahead. in my view Sidh ghost is an elaboration of pauree 28 and 29 and not the other way around as you note.</p></blockquote><p></p>
[QUOTE="P J Singh, post: 223076, member: 25524"] This is a very interesting observation. I have listened to some of Dr. Karminder Singh's presentations; they are indeed very thoughtful and insightful, and often presented with more like mathematical precision in the sense of logical reasoning. I would appreciate if you can share his reasoning in saying purees 28 and 29 are a summary of Sidh ghost. I do not beleieve purees 28 and 29 to be a summary of Sidh Ghost; to me it appears that Sidh Ghost is an ELABORATION of purees 28 and 29 ( not the converse as you note). My reasoning is as follows: To start with, I am of the opinion that we must probe any academic inquiry of SGGS that is presented to us through so called blogs and scientific papers with some critical and thoughtful oversight. Although the study of SGGS with an academic lens is a preferred mode of inquiry but caution must be exercised since the the spiritual discourse in SGGS is not laid out in an academic format; rather it is presented to us as an astounding master piece of artistic expression through poetry in raags. Yes, there are other spiritual writings across the globe that are also written in poetic forms but I do not know if any of those are written in raags with specific musical scales ( Ghar) as in Gurbani. Those who are familiar with music will attest to the fact that singing in raags is relatively easy compared to composing something in raags as is done in Gurbani. The presence of this artistic expression in Gurbani places another layer through which any academic inquiry must tread through, which is often missing. When an accomplished painter or poet is expressing something through his painting or poetry, he tries to project his feelings, emotions, thoughts and insights into his painting or poetry. He tries his best to give an objective form to his subjective feelings, ideas and thoughts. It is inconceivable that an accomplished painter will paint half of his painting and then go and work on another painting and then later come back to finish off the rest of the first painting. Artist expressions are often spontaneous and always continuous not disjointed -- it is not the same with academic research and writings, which can be edited, revised and updated over time as new information comes to light. With respect to Jap Ji sahib - a profound artistic expression; it is inconceivable that Guru Nanak Sahib would have written jap ji in bits and pieces - paurees 28 and 29 after his Sidh Ghost later in life and other parts of Jap ji sahib earlier in life. Unless someone can establish that the cardinal question which Guru Nanak Sahib posed at the outset of Jap Ji sahib ( Kiv saachiara hoeeai Kiv Koorai thuttai paal) was also written later in life, it is not reasonable to say that Jap Ji sahib was written later in life simply because pauree 28 and 29 appears to be summary of Sidh Ghost. It is more reasonable to say that the entire Japji sahib was written at the same time when he posed Kiv saachiara hoeeai Kiv Koorai thuttai paal - more likely earlier in his life to to chalk out a path for his spiritual journey ahead. in my view Sidh ghost is an elaboration of pauree 28 and 29 and not the other way around as you note. [/QUOTE]
Insert quotes…
Verification
Post reply
Guru Granth Sahib
Jup Banee
When was Jup banee written?
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.
Accept
Learn more…
Top