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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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Nanak Is The Guru - Nanak Is The Lord Himself - Page 865, SGGS
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<blockquote data-quote="Original" data-source="post: 203093" data-attributes="member: 14400"><p><span style="color: #0000ff">Welcome, Shaheen</span> !<span style="color: #ff00ff"> Page 1349 of Sri Guru Granth Sahib Ji</span><em> [SGGSJ, the Holy Scriptures, which incidentally is universal and not just "Sikh", just like Quran Sharif Sahib, a divine revelation].</em> <span style="color: #ff00ff">Bhagat Kabir Ji weaves it beautifully, thus, <strong><span style="color: #000000">avar Allah noor u'paya kudrat ka sub banday I Ek noor te sub jug oopjaya kaun ballay ko manda. </span></strong><span style="color: #000000">Translation: all makes n models of creation are of one substance. Question: if this'd be divine proclamation, what of its subjects and their worldview in general?</span></span></p><p><span style="color: #ff00ff"><span style="color: #000000"></span></span></p><p><span style="color: #ff00ff"><span style="color: #000000">..wow! that's a pretty strong statement to make, given <span style="color: #ff0080">Sikhism promotes unity in diversity</span>, but pls be our guest, of a disposition suitable to you!</span></span></p><p><span style="color: #ff00ff"><span style="color: #000000"></span></span></p><p><span style="color: #ff00ff"><span style="color: #000000">...everyone's scriptures, albeit, sung in local dialect of North India [Punjab]. There are 36 composers whose writngs are enshrined within the pages of SGGSJ. They are called Banikars [reciters of religious text] compostion of which is a mix of Guru's, Bhagats, Ministrals, Bhatts and others.</span></span></p><p><span style="color: #ff00ff"><span style="color: #000000"></span></span></p><p><span style="color: #ff00ff"><span style="color: #000000">..no doubt you'd appreciate the importance of sitting right throughout the film in order to make sense, that is to say, hundreds and thousands of different scenes are played out by multiple actors, yet the meaning of the film cannot be seen before its last scene. Similarly, to understand Nanak's Sikhism you cannot by means of few verses here n few verses there and that too, out of context make rational judgments. You've got to study the root n branch of the <span style="color: #ff00ff">subject</span>, <span style="color: #ff00ff">object</span> and the <span style="color: #ff00ff">predicate</span> to make a sound call. Likewise, the question abvove warrants a teleological view of an ontological concept to make sense.</span></span></p><p><span style="color: #ff00ff"><span style="color: #000000"></span></span></p><p><span style="color: #ff00ff"><span style="color: #000000">...there's a lot to take in for one sitting, accordingly, I'm gonna give you an off-the-cuff view !</span></span></p><p><span style="color: #ff00ff"><span style="color: #000000"></span></span></p><p><span style="color: #ff00ff"><span style="color: #000000">Generally speaking Gurbani [text of scriptures, in other words, <span style="color: #ff00ff">saadi maa boli </span>- language of our forefathers] is considered to be a type of religious poetry. Where, poetry is composed by a poet, Bani however, is written by Banikar. In places Bani is a direct revelation of God, that is, in the absence of an agent [Gabriel, for example] and in others, it's a mystical experience. </span></span></p><p><span style="color: #ff00ff"><span style="color: #000000"></span></span></p><p><span style="color: #ff00ff"><span style="color: #000000">Man is central to poetry, expressions of human emotions, cravings, ups n downs of life revolves around humanistic level. Whereas, Gurbani centres around the Brahm [Nanak's Allah, IKONKAR], the universe. It seeks to address philosophical questions of the relationship bteween man and God, man and universe, man in various social settings and the meaning n purpose of human birth [teleological].</span></span></p><p><span style="color: #ff00ff"><span style="color: #000000"></span></span></p><p><span style="color: #ff00ff"><span style="color: #000000">Man's scope of experience has always been limited to time n space, result of which is expressed in view of visible reality and human realationships of the physical world. The Banikars possess a divine perspective by which not only do they analyse the mystic trends of the invisible working behind the visible, but also present them on the level of reality for Banikars travel from this world to the next.</span></span></p><p><span style="color: #ff00ff"><span style="color: #000000"></span></span></p><p><span style="color: #ff00ff"><span style="color: #000000">The focal point that lies at the heart of the Sikh Scriptures is the personal experience of the Divine. It is this experience that leads to the consummation of all human endeavours. It takes one beyond the realms of time n space, releases one from the cycle of birth n death and produces the positive state of bliss, beatitude, and eternal peace.This is the transcendental realm of the Divine - an ultimate non-sensous unity in all, a oneness, which the senses and reason cannot penetrate, a state where <span style="color: #ff00ff">subject object</span> become one, a state of non-duality. <strong>It is in this regard that you'd find similar expressions where the Banikars have merged with the Eternal and thus recorded.</strong> It is not they who profess or proclaim such divinity, but God, a revelation. Classic example is afforded on page 722 of SGGSJ, here Guru Nanak explains to Bhai Lalo that the audiable sound flowing through him [Nanak] is coming directly from the Lord. Of course, we're akin to that kind of revelation, Muhammed Sahib and the angel Gabriel, to say the least. </span></span></p><p><span style="color: #ff00ff"><span style="color: #000000"></span></span></p><p><span style="color: #ff00ff"><span style="color: #000000">The concept of Sargun [form] and Nirgun [substance] is to that end with whcih you've raised your son's question. The idea is for the form to culminate into formlessness. In other words, the form Nanak [visible] to culminate into the formless [invisible] substance, say God. And, as I said above, since this is neither perception nor non-perception, a state of transcendental bliss, rational thinking and emperical observance fall short to capture the mystical experience within which subject object become 1.</span></span></p></blockquote><p></p>
[QUOTE="Original, post: 203093, member: 14400"] [COLOR=#0000ff]Welcome, Shaheen[/COLOR] ![COLOR=#ff00ff] Page 1349 of Sri Guru Granth Sahib Ji[/COLOR][I] [SGGSJ, the Holy Scriptures, which incidentally is universal and not just "Sikh", just like Quran Sharif Sahib, a divine revelation].[/I] [COLOR=#ff00ff]Bhagat Kabir Ji weaves it beautifully, thus, [B][COLOR=#000000]avar Allah noor u'paya kudrat ka sub banday I Ek noor te sub jug oopjaya kaun ballay ko manda. [/COLOR][/B][COLOR=#000000]Translation: all makes n models of creation are of one substance. Question: if this'd be divine proclamation, what of its subjects and their worldview in general?[/COLOR][/COLOR] [COLOR=#ff00ff][COLOR=#000000] ..wow! that's a pretty strong statement to make, given [COLOR=#ff0080]Sikhism promotes unity in diversity[/COLOR], but pls be our guest, of a disposition suitable to you! ...everyone's scriptures, albeit, sung in local dialect of North India [Punjab]. There are 36 composers whose writngs are enshrined within the pages of SGGSJ. They are called Banikars [reciters of religious text] compostion of which is a mix of Guru's, Bhagats, Ministrals, Bhatts and others. ..no doubt you'd appreciate the importance of sitting right throughout the film in order to make sense, that is to say, hundreds and thousands of different scenes are played out by multiple actors, yet the meaning of the film cannot be seen before its last scene. Similarly, to understand Nanak's Sikhism you cannot by means of few verses here n few verses there and that too, out of context make rational judgments. You've got to study the root n branch of the [COLOR=#ff00ff]subject[/COLOR], [COLOR=#ff00ff]object[/COLOR] and the [COLOR=#ff00ff]predicate[/COLOR] to make a sound call. Likewise, the question abvove warrants a teleological view of an ontological concept to make sense. ...there's a lot to take in for one sitting, accordingly, I'm gonna give you an off-the-cuff view ! Generally speaking Gurbani [text of scriptures, in other words, [COLOR=#ff00ff]saadi maa boli [/COLOR]- language of our forefathers] is considered to be a type of religious poetry. Where, poetry is composed by a poet, Bani however, is written by Banikar. In places Bani is a direct revelation of God, that is, in the absence of an agent [Gabriel, for example] and in others, it's a mystical experience. Man is central to poetry, expressions of human emotions, cravings, ups n downs of life revolves around humanistic level. Whereas, Gurbani centres around the Brahm [Nanak's Allah, IKONKAR], the universe. It seeks to address philosophical questions of the relationship bteween man and God, man and universe, man in various social settings and the meaning n purpose of human birth [teleological]. Man's scope of experience has always been limited to time n space, result of which is expressed in view of visible reality and human realationships of the physical world. The Banikars possess a divine perspective by which not only do they analyse the mystic trends of the invisible working behind the visible, but also present them on the level of reality for Banikars travel from this world to the next. The focal point that lies at the heart of the Sikh Scriptures is the personal experience of the Divine. It is this experience that leads to the consummation of all human endeavours. It takes one beyond the realms of time n space, releases one from the cycle of birth n death and produces the positive state of bliss, beatitude, and eternal peace.This is the transcendental realm of the Divine - an ultimate non-sensous unity in all, a oneness, which the senses and reason cannot penetrate, a state where [COLOR=#ff00ff]subject object[/COLOR] become one, a state of non-duality. [B]It is in this regard that you'd find similar expressions where the Banikars have merged with the Eternal and thus recorded.[/B] It is not they who profess or proclaim such divinity, but God, a revelation. Classic example is afforded on page 722 of SGGSJ, here Guru Nanak explains to Bhai Lalo that the audiable sound flowing through him [Nanak] is coming directly from the Lord. Of course, we're akin to that kind of revelation, Muhammed Sahib and the angel Gabriel, to say the least. The concept of Sargun [form] and Nirgun [substance] is to that end with whcih you've raised your son's question. The idea is for the form to culminate into formlessness. In other words, the form Nanak [visible] to culminate into the formless [invisible] substance, say God. And, as I said above, since this is neither perception nor non-perception, a state of transcendental bliss, rational thinking and emperical observance fall short to capture the mystical experience within which subject object become 1.[/COLOR][/COLOR] [/QUOTE]
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Nanak Is The Guru - Nanak Is The Lord Himself - Page 865, SGGS
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