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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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Gurmat Vichaar
Gurmat Vichar - Discussions
Discourses in English
The Entire Raag Mala: The Last 2 Parts Missing?
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<blockquote data-quote="vijaydeep Singh" data-source="post: 20837" data-attributes="member: 313"><p>Gurfateh</p><p> </p><p>Before Das start to write more about Raagmala or Dasham Granth Das would like to put some light on Sufi Muslims.</p><p> </p><p>They were Preachers of Islam worldwide and like they used Farsi in Iran to preach in India they used Hindi to bring Hindus to Islam and did succed in it.</p><p> </p><p>They start form Ameer Khusro then to till Malik Mohamud Jayesi and till Dhananand(Convert to Islam) and still further in chronological order.</p><p> </p><p>Unlike in Gurmat or Bhakti where God is lova as Husband or Khasam in Sufis God is like female beloved.</p><p> </p><p>They used thier mysiticism,did read Upnishads and did used Hindu mythology to paint Pesudo Brahmins wrong and Prove Allah above demi gods.</p><p> </p><p>So it were not the Sikhs only who used the name or example of Hindu gods but Sufies also.We can see that in Padmawat which is by Jayasi but story is full of symbols for reaching Allah and often that love starts from physical love(which often is thought by hystrical wahabis as erotica as we have purist Sikhs of the same mind frame) and moves to explain spritual love to Allah from there.</p><p> </p><p>Alam was one of the similar Sufi poet.</p><p> </p><p>If we see the first paras of Raagmala there are praises to Allah and prophets and great Muslims sent by Allah.</p><p> </p><p>Then when story starts we must know that introduction is thereby given as objective to meet Allah.</p><p> </p><p>Name of the Kings and thier Kingdoms are more like emotions of human mind Bad or good and is typical of Sufis.</p><p> </p><p>But Alam himslef states that it is not the total tranlation but many things he himself is adding.</p><p> </p><p>Das will give two examples.</p><p> </p><p>1. He refers to an intrtument of music called Tabla at the time of Vikrmaditya while Tabla and Sitar or Sehtar were made by Hazrat Ameer Khusaro.In fact Khusro Sahib Divied another dholl like intrument like two sided drum into two differnt drums to make Tabla from Pakhawaj.</p><p> </p><p>Das doudt that at the time of Vikrmaditya(mosr probabaly Chandrgupta 2nd when it was called Golden Era of Hindus) weather one could have articial finger made up of wax as menationed there.</p><p> </p><p>2. In Raagmala we have mention of Raags like Todi(could be near Mia Ki Tori),Bilawal or Gujari which ahve names which came to use much after Vikramaditya.</p><p> </p><p>Such things only point that such parts were interpolated by Alam himslef and had to do with sufi mysiticism then any Brahmnaical plot.</p><p>As Das finds Gurmat more near to Islam then Hinduism.</p><p> </p><p>Das will further give the reason that why 1 is repeated in Raagmala and what could be its motive to be included in Adi Guru Darbar as in book of Parchool so far Principal Sahib have tried to prove it not by Gurus but Das wants to prove that it was ACCEPTED by Guru to be included.</p></blockquote><p></p>
[QUOTE="vijaydeep Singh, post: 20837, member: 313"] Gurfateh Before Das start to write more about Raagmala or Dasham Granth Das would like to put some light on Sufi Muslims. They were Preachers of Islam worldwide and like they used Farsi in Iran to preach in India they used Hindi to bring Hindus to Islam and did succed in it. They start form Ameer Khusro then to till Malik Mohamud Jayesi and till Dhananand(Convert to Islam) and still further in chronological order. Unlike in Gurmat or Bhakti where God is lova as Husband or Khasam in Sufis God is like female beloved. They used thier mysiticism,did read Upnishads and did used Hindu mythology to paint Pesudo Brahmins wrong and Prove Allah above demi gods. So it were not the Sikhs only who used the name or example of Hindu gods but Sufies also.We can see that in Padmawat which is by Jayasi but story is full of symbols for reaching Allah and often that love starts from physical love(which often is thought by hystrical wahabis as erotica as we have purist Sikhs of the same mind frame) and moves to explain spritual love to Allah from there. Alam was one of the similar Sufi poet. If we see the first paras of Raagmala there are praises to Allah and prophets and great Muslims sent by Allah. Then when story starts we must know that introduction is thereby given as objective to meet Allah. Name of the Kings and thier Kingdoms are more like emotions of human mind Bad or good and is typical of Sufis. But Alam himslef states that it is not the total tranlation but many things he himself is adding. Das will give two examples. 1. He refers to an intrtument of music called Tabla at the time of Vikrmaditya while Tabla and Sitar or Sehtar were made by Hazrat Ameer Khusaro.In fact Khusro Sahib Divied another dholl like intrument like two sided drum into two differnt drums to make Tabla from Pakhawaj. Das doudt that at the time of Vikrmaditya(mosr probabaly Chandrgupta 2nd when it was called Golden Era of Hindus) weather one could have articial finger made up of wax as menationed there. 2. In Raagmala we have mention of Raags like Todi(could be near Mia Ki Tori),Bilawal or Gujari which ahve names which came to use much after Vikramaditya. Such things only point that such parts were interpolated by Alam himslef and had to do with sufi mysiticism then any Brahmnaical plot. As Das finds Gurmat more near to Islam then Hinduism. Das will further give the reason that why 1 is repeated in Raagmala and what could be its motive to be included in Adi Guru Darbar as in book of Parchool so far Principal Sahib have tried to prove it not by Gurus but Das wants to prove that it was ACCEPTED by Guru to be included. [/QUOTE]
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