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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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Sikh Sikhi Sikhism
Definition Of Diety, Human Form, God And Waheguru
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<blockquote data-quote="Original" data-source="post: 205700" data-attributes="member: 14400"><p>Academians,</p><p></p><p>The dialectic you're engaged with is "ontological", the existence of a Being. Bhagat Kabir Ji on page 340 SGGSJ informs us that it is ineffable and since it is ineffable, whatever terminology, phraseology, etc. is employed to capture or define the same will fall short because no "alphabet" has those letters which would or could capture the Being. At best perhaps, like Guru Gobind Singh concluded after an endless writing spree that, " hey you....the little I know you or of you is through the workings of your infinite manifestations".</p><p></p><p>Guru Nanak Ji opens up the Ontological dialectic thus, ik on kar satnam karta <strong>PURAKH</strong> [being].</p><p></p><p>In answer to your question HKJ, this <strong>being</strong> has an "existence" and since existence isn't a predicate [...everything but the subject in a sentence]. For example, an existence cannot be a predicate - if it was then the following would be constructed thus :</p><p></p><p>Men exist</p><p>Santa Claus is a man</p><p>Therefore SC exist. You get the drift ?</p><p></p><p>Moving on, Nanak's satnam exists, no proof required. Waheguru is a gur mantar [more on it another time].</p><p></p><p>The real reason for writing to you HKJ is to share a fruitful thought with you and that is, what do you know of the Red Indians and their smoke signals ? Very little I guess ! Similarly, the original thought process of the Indians of India need fully to be understood before any analysis, evaluation or theoretical interpretations and investigations be deemed conclusive and appropriate. That is to say, it is impossible for someone brought up in a European culture to appreciate Chinese music because that music cannot mean the same to this someone as it would to a Chinese, who has been brought up in a different environment, with different values and different language.</p><p></p><p>As you will no doubt agree, the purpose of a piece of music is to coney the composer' s emotions. But what can European know about the emotions of a Chinese ?</p><p></p><p>It is clear that Oriental music "says" something different from European music and therefore a European cannot hope to Understand it. Understanding is a pre-requisite if you like and similarly, the words used by Gur Ghar has specific religious-philosophical meanings soaked in "raag" [music], which requires institutional distillation . Gurmat Sidhant [philosophy of Gurus] need to be academically studied for justice to be done.</p><p></p><p>We will speak more on the nature and the existence of Nanak's <strong>being</strong>, which is a metaphysical treatise. For the record, Ikonkar can only be "lived" and experienced and praised. Understanding of something that is non-matter is what ? You tell me !</p><p></p><p>Goodnight n Godbless</p></blockquote><p></p>
[QUOTE="Original, post: 205700, member: 14400"] Academians, The dialectic you're engaged with is "ontological", the existence of a Being. Bhagat Kabir Ji on page 340 SGGSJ informs us that it is ineffable and since it is ineffable, whatever terminology, phraseology, etc. is employed to capture or define the same will fall short because no "alphabet" has those letters which would or could capture the Being. At best perhaps, like Guru Gobind Singh concluded after an endless writing spree that, " hey you....the little I know you or of you is through the workings of your infinite manifestations". Guru Nanak Ji opens up the Ontological dialectic thus, ik on kar satnam karta [B]PURAKH[/B] [being]. In answer to your question HKJ, this [B]being[/B] has an "existence" and since existence isn't a predicate [...everything but the subject in a sentence]. For example, an existence cannot be a predicate - if it was then the following would be constructed thus : Men exist Santa Claus is a man Therefore SC exist. You get the drift ? Moving on, Nanak's satnam exists, no proof required. Waheguru is a gur mantar [more on it another time]. The real reason for writing to you HKJ is to share a fruitful thought with you and that is, what do you know of the Red Indians and their smoke signals ? Very little I guess ! Similarly, the original thought process of the Indians of India need fully to be understood before any analysis, evaluation or theoretical interpretations and investigations be deemed conclusive and appropriate. That is to say, it is impossible for someone brought up in a European culture to appreciate Chinese music because that music cannot mean the same to this someone as it would to a Chinese, who has been brought up in a different environment, with different values and different language. As you will no doubt agree, the purpose of a piece of music is to coney the composer' s emotions. But what can European know about the emotions of a Chinese ? It is clear that Oriental music "says" something different from European music and therefore a European cannot hope to Understand it. Understanding is a pre-requisite if you like and similarly, the words used by Gur Ghar has specific religious-philosophical meanings soaked in "raag" [music], which requires institutional distillation . Gurmat Sidhant [philosophy of Gurus] need to be academically studied for justice to be done. We will speak more on the nature and the existence of Nanak's [B]being[/B], which is a metaphysical treatise. For the record, Ikonkar can only be "lived" and experienced and praised. Understanding of something that is non-matter is what ? You tell me ! Goodnight n Godbless [/QUOTE]
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