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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
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<blockquote data-quote="japjisahib04" data-source="post: 103543" data-attributes="member: 971"><p><span style="font-family: 'Arial Narrow'"><span style="font-size: 12px">Dear All</span></span></p><p><span style="font-family: 'Arial Narrow'"><span style="font-size: 12px">Guru Amardas who confirms meeting his beloved, ‘anand bhaiya meri mai satguru mai paeya’ and has composed these pankties was an idolater from the childhood till he had taken ‘sharan’ in Guru Ghar and was crowned Guruship. This pankti express the image of teenage love. In this pankti Guru Sahib is explaining the secret of pleasing His beloved and eternal bliss. As a lover does not require any training, rituals or books to fall in love especially when he is in his teens and he himself finds likings and dislikings of his beloved and praises her until he gets and marry her, in similar way Guru Sahib is telling us when we succeed to realize our roots or reach in our teens or develop simiplicity, there will a real tadap to meet with our creator and complete orchestra within body will start playing automatically. Thus he says, ‘karmi sehaj na upjai vin sehajy sehsa na jaey’<span style="color: black">- by religious rituals (like by idol worship, difficult yog sadhan, difficult yog asn, fasting, (chalihey), pilgrimage, akhand path, ginti minti jap tap, walking bare foot to Gurudwara, simplicity is not achieved but it comes by itself)</span></span></span></p><p> </p><p><span style="font-family: 'Arial Narrow'"><span style="font-size: 12px">Now how to attain this longing or reach in teenage state, guru sahib in next pankti is telling us ‘re man mariya tu sada raho harnalai’ i.e. by singing His praise. Since we don’t have time we invite professional kirtiniye. This is where the veil of ignorance takes the grip. The other day when I was listening to the most famous raagi bhai chaman Lal Singh, I was shocked with full white beard on his face he was copying the tune of a glamrous song ridiculing the essence of gur sabd and hundreds of sanghat sitting were simply enjoying the tune when</span></span><span style="color: black"><span style="font-family: 'Arial Narrow'"> the tune and wording of that particular filmy songs takes the SURTI in the Theatre at once. W</span></span><span style="color: black"><span style="font-family: 'Arial Narrow'"><span style="font-size: 12px">hereas </span></span></span><span style="color: black"><span style="font-family: 'Arial Narrow'">akhand baani resonates everywhere, its simplicity is its beauty. A Sikh, by definition, is someone who submits to the Hukam of the Divine Knowledge, not someone who tries to play smarter than the Guru by reciting ‘elahi baani’ in a fashion other than set by Guru Nanak. Guru Nanak has taken the pains to set this invaluable Sabd to the perfect Raag. So that when we sing in that raag, and veecharao (contemplate not debate) it, in due course we are taken to the spiritual world of the Akal Purakh from where it originally emanated. Clearly, only that raag is prescribed by which a feeling of spirituality is aroused. Our Gurus were music lovers. In order to make union of sabd with surat music was added as medium by our Gurus. And our Guru’s have followed certain rules to use this medium by adding ghar no. tall etc.</span></span></p><p><span style="color: black"><span style="font-family: 'Arial Narrow'">If anyone really wants to reach in his teens for Love with His creator, I suggest just go to the following site and listen the sabd’ Mohy anaath’ in ‘u-tube’. Perhaps the little girls don’t know the meaning but the job they have done, the most famous raagis are not able to do. You will not stop repeating the same sabd again but will start signing by yourself again and againandthe moment you stop listening you will start feeling insecured. This is what our guru sahib wanted.</span></span></p><p><span style="color: black"><span style="font-family: 'Arial Narrow'">http://www.youtube.com/watch?v=dEYNbcZSiSI</span></span></p><p><span style="font-family: 'Arial Narrow'"><span style="font-size: 12px">Best regards</span></span></p><p><span style="font-family: 'Arial Narrow'"><span style="font-size: 12px">Mohinder Singh Sahni</span></span></p><p><span style="font-family: 'Arial Narrow'">Kuwait</span></p></blockquote><p></p>
[QUOTE="japjisahib04, post: 103543, member: 971"] [FONT=Arial Narrow][SIZE=3]Dear All[/SIZE][/FONT] [FONT=Arial Narrow][SIZE=3]Guru Amardas who confirms meeting his beloved, ‘anand bhaiya meri mai satguru mai paeya’ and has composed these pankties was an idolater from the childhood till he had taken ‘sharan’ in Guru Ghar and was crowned Guruship. This pankti express the image of teenage love. In this pankti Guru Sahib is explaining the secret of pleasing His beloved and eternal bliss. As a lover does not require any training, rituals or books to fall in love especially when he is in his teens and he himself finds likings and dislikings of his beloved and praises her until he gets and marry her, in similar way Guru Sahib is telling us when we succeed to realize our roots or reach in our teens or develop simiplicity, there will a real tadap to meet with our creator and complete orchestra within body will start playing automatically. Thus he says, ‘karmi sehaj na upjai vin sehajy sehsa na jaey’[COLOR=black]- by religious rituals (like by idol worship, difficult yog sadhan, difficult yog asn, fasting, (chalihey), pilgrimage, akhand path, ginti minti jap tap, walking bare foot to Gurudwara, simplicity is not achieved but it comes by itself)[/COLOR][/SIZE][/FONT] [FONT=Arial Narrow][SIZE=3]Now how to attain this longing or reach in teenage state, guru sahib in next pankti is telling us ‘re man mariya tu sada raho harnalai’ i.e. by singing His praise. Since we don’t have time we invite professional kirtiniye. This is where the veil of ignorance takes the grip. The other day when I was listening to the most famous raagi bhai chaman Lal Singh, I was shocked with full white beard on his face he was copying the tune of a glamrous song ridiculing the essence of gur sabd and hundreds of sanghat sitting were simply enjoying the tune when[/SIZE][/FONT][COLOR=black][FONT=Arial Narrow] the tune and wording of that particular filmy songs takes the SURTI in the Theatre at once. W[/FONT][/COLOR][COLOR=black][FONT=Arial Narrow][SIZE=3]hereas [/SIZE][/FONT][/COLOR][COLOR=black][FONT=Arial Narrow]akhand baani resonates everywhere, its simplicity is its beauty. A Sikh, by definition, is someone who submits to the Hukam of the Divine Knowledge, not someone who tries to play smarter than the Guru by reciting ‘elahi baani’ in a fashion other than set by Guru Nanak. Guru Nanak has taken the pains to set this invaluable Sabd to the perfect Raag. So that when we sing in that raag, and veecharao (contemplate not debate) it, in due course we are taken to the spiritual world of the Akal Purakh from where it originally emanated. Clearly, only that raag is prescribed by which a feeling of spirituality is aroused. Our Gurus were music lovers. In order to make union of sabd with surat music was added as medium by our Gurus. And our Guru’s have followed certain rules to use this medium by adding ghar no. tall etc.[/FONT][/COLOR] [COLOR=black][FONT=Arial Narrow]If anyone really wants to reach in his teens for Love with His creator, I suggest just go to the following site and listen the sabd’ Mohy anaath’ in ‘u-tube’. Perhaps the little girls don’t know the meaning but the job they have done, the most famous raagis are not able to do. You will not stop repeating the same sabd again but will start signing by yourself again and againandthe moment you stop listening you will start feeling insecured. This is what our guru sahib wanted.[/FONT][/COLOR] [COLOR=black][FONT=Arial Narrow]http://www.youtube.com/watch?v=dEYNbcZSiSI[/FONT][/COLOR] [FONT=Arial Narrow][SIZE=3]Best regards[/SIZE][/FONT] [FONT=Arial Narrow][SIZE=3]Mohinder Singh Sahni[/SIZE][/FONT] [FONT=Arial Narrow]Kuwait[/FONT] [/QUOTE]
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