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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="spnadmin" data-source="post: 149816" data-attributes="member: 35"><p>by Jagmeeta Thind Joy</p><p></p><p>These lines best describe the most sacred place of Sikh pilgrimage — the Harmandir Sahib or the Golden Temple — which sees an endless stream of devotees and visitors from around the world each day. For most people who visit here, sheer presence at the holy site is a deeply moving experience. But few would have stood there to reflect upon the beauty of the exquisite surface decorations within the complex. But Dr Simrita Singh, an assistant professor of art and design and head of the fashion design department at Northern India Institute of Fashion Technology (NIIFT), Mohali, is one among them.</p><p></p><p>Having grown up in Amritsar, the city of the Golden Temple, Singh has not only been a devotee, but also an ardent admirer of the artwork on the glittering marble and gold edifice. Be it the delicate lacy creepers in Gach and Kach work (gold and mirror work) or the intricate designs of posies and wild creatures in pietra dura and frescoes or even the resplendent gold work of chattris and the dome — nothing has missed her keen roving eye.</p><p></p><p>It was a conversation on the subject with her teacher-turned-mentor Dr Alka Pande, former director of the Museum of Fine Arts, Panjab University, Chandigarh, a few years ago, and a visit to London’s Victoria and Albert Museum, that took Singh back to the Golden Temple with a mission - to study and document the surface decorations in the complex.</p><p></p><p>“The Golden Temple represents Sikh architecture in all its distinctive features. It testifies to the fact that Sikhs had acquired enough skills to be able to adopt patterns and motifs suiting their own taste, philosophy and way of living. The upper half of the building’s exterior is covered with golden plates and the lower half is sheathed in marble, while the interiors are profusely decorated with fresco paintings and filigree embellishments. This place is without doubt, the acme of Sikh architecture,” says Singh.</p><p></p><p>Singh feels that the temple is also a perfect example of religious tolerance. “During his reign, Maharaja Ranjit Singh had created an atmosphere of religious tolerance wherein Hindus, Muslims, Sikhs, even French and British were appointed to high offices. No wonder then that the artists and craftsmen who worked on the Golden Temple building were also drawn from all these communities,” she explains.</p><p></p><p><a href="http://www.indianexpress.com/news/art-of-gold/819252/0" target="_blank">http://www.indianexpress.com/news/art-of-gold/819252/0</a></p></blockquote><p></p>
[QUOTE="spnadmin, post: 149816, member: 35"] by Jagmeeta Thind Joy These lines best describe the most sacred place of Sikh pilgrimage — the Harmandir Sahib or the Golden Temple — which sees an endless stream of devotees and visitors from around the world each day. For most people who visit here, sheer presence at the holy site is a deeply moving experience. But few would have stood there to reflect upon the beauty of the exquisite surface decorations within the complex. But Dr Simrita Singh, an assistant professor of art and design and head of the fashion design department at Northern India Institute of Fashion Technology (NIIFT), Mohali, is one among them. Having grown up in Amritsar, the city of the Golden Temple, Singh has not only been a devotee, but also an ardent admirer of the artwork on the glittering marble and gold edifice. Be it the delicate lacy creepers in Gach and Kach work (gold and mirror work) or the intricate designs of posies and wild creatures in pietra dura and frescoes or even the resplendent gold work of chattris and the dome — nothing has missed her keen roving eye. It was a conversation on the subject with her teacher-turned-mentor Dr Alka Pande, former director of the Museum of Fine Arts, Panjab University, Chandigarh, a few years ago, and a visit to London’s Victoria and Albert Museum, that took Singh back to the Golden Temple with a mission - to study and document the surface decorations in the complex. “The Golden Temple represents Sikh architecture in all its distinctive features. It testifies to the fact that Sikhs had acquired enough skills to be able to adopt patterns and motifs suiting their own taste, philosophy and way of living. The upper half of the building’s exterior is covered with golden plates and the lower half is sheathed in marble, while the interiors are profusely decorated with fresco paintings and filigree embellishments. This place is without doubt, the acme of Sikh architecture,” says Singh. Singh feels that the temple is also a perfect example of religious tolerance. “During his reign, Maharaja Ranjit Singh had created an atmosphere of religious tolerance wherein Hindus, Muslims, Sikhs, even French and British were appointed to high offices. No wonder then that the artists and craftsmen who worked on the Golden Temple building were also drawn from all these communities,” she explains. [url]http://www.indianexpress.com/news/art-of-gold/819252/0[/url] [/QUOTE]
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