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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="Tejwant Singh" data-source="post: 189511" data-attributes="member: 138"><p>Now, getting back to the title of the thread, “Five Realms”, many Sikh scholars have written about The Five Khands including our own, respected Arshi ji who has put a great effort in it. However, many questions still linger and remain unanswered.</p><p></p><p>As I mentioned earlier to Dal Singh ji in one of our interactions, that Jap is a beautifully strung necklace with 40 pearls which include the Moolmantar and the Salok along with 38 pauris. If we break this beautiful necklace, which is the summary of the SGGS, then all we are left with are scattered pearls on the floor with a loose string. Nothing more.</p><p></p><p>The same can be said about this thread which is nothing but some scattered pearls on the floor. </p><p></p><p>As Spadmin ji has put it eloquently that the whole Jap is about Khands and I tend to agree with her whole heartedly. In my own understanding, it is a totally futile effort to take some parts of Jap and interpret them.</p><p></p><p>The description of Khands start from Moolmantar to the 38 pauri and more important the Salok at the end summerises the whole Jap. It is not from 34 to 37 as many have claimed. </p><p></p><p>If one takes that approach as many have done including Arshi ji, then there is no other way but to see it from the eyes of Brahamvaad which is an insult to Guru Nanak and the whole Sikhi. It is much deeper than that. </p><p></p><p>Actually Dharam Khand starts on 35 with one liner and then Guru Sahib starts with Gyan Khand and he continues with Gyan Khand in Pauri 36 because there is much more to be said and then he adds Saram Khand in the same pauri. Then he talks about Karam Khand and Sach Khand in 37. 38 is the summary of all the Khands, then the end the Salok- The cliff note of Jap and the Jap is the cliff notes of the whole SGGS.</p><p></p><p>Let me put it in another way. If we take these Khands as standalone from a Sikhi view point, then these are just 5 instruments of the 40 piece orchestra including the Mool Mantar and the Salok. These 5 instruments on their own make a Hindutva noise and quite loudly I must add. What Guru Nanak did was to create an orchestra as a "Casio Synthesizer" where one can play the whole orchestra on his/her own. There are no snakes and ladders games here.</p><p></p><p>If we take these poetic intricacies and transport them to something tangible and a very important organ of ourselves called the brain which develops are thought process-Mann, then we realise how Guru Nanak has created brain/mind scan for all of us through Gurbani so that we can become better people with time and our footprints that we leave behind are etched in such a way that the others who follow our Gurmat thought process can benefit from it and hence evolve faster than we are which is happening daily on this speck of sand. It is a mind blowing phenomenon.</p><p></p><p>So in closing, I would like to say that let’s not scatter these pearls on the floor but wear this beautiful necklace around ourselves. </p><p></p><p>Let’s enjoy the whole 40 piece orchestra rather than hear the ear drums blowing deafening noise of a few cymbals.</p><p></p><p>Regards</p><p></p><p>Tejwant Singh</p></blockquote><p></p>
[QUOTE="Tejwant Singh, post: 189511, member: 138"] Now, getting back to the title of the thread, “Five Realms”, many Sikh scholars have written about The Five Khands including our own, respected Arshi ji who has put a great effort in it. However, many questions still linger and remain unanswered. As I mentioned earlier to Dal Singh ji in one of our interactions, that Jap is a beautifully strung necklace with 40 pearls which include the Moolmantar and the Salok along with 38 pauris. If we break this beautiful necklace, which is the summary of the SGGS, then all we are left with are scattered pearls on the floor with a loose string. Nothing more. The same can be said about this thread which is nothing but some scattered pearls on the floor. As Spadmin ji has put it eloquently that the whole Jap is about Khands and I tend to agree with her whole heartedly. In my own understanding, it is a totally futile effort to take some parts of Jap and interpret them. The description of Khands start from Moolmantar to the 38 pauri and more important the Salok at the end summerises the whole Jap. It is not from 34 to 37 as many have claimed. If one takes that approach as many have done including Arshi ji, then there is no other way but to see it from the eyes of Brahamvaad which is an insult to Guru Nanak and the whole Sikhi. It is much deeper than that. Actually Dharam Khand starts on 35 with one liner and then Guru Sahib starts with Gyan Khand and he continues with Gyan Khand in Pauri 36 because there is much more to be said and then he adds Saram Khand in the same pauri. Then he talks about Karam Khand and Sach Khand in 37. 38 is the summary of all the Khands, then the end the Salok- The cliff note of Jap and the Jap is the cliff notes of the whole SGGS. Let me put it in another way. If we take these Khands as standalone from a Sikhi view point, then these are just 5 instruments of the 40 piece orchestra including the Mool Mantar and the Salok. These 5 instruments on their own make a Hindutva noise and quite loudly I must add. What Guru Nanak did was to create an orchestra as a "Casio Synthesizer" where one can play the whole orchestra on his/her own. There are no snakes and ladders games here. If we take these poetic intricacies and transport them to something tangible and a very important organ of ourselves called the brain which develops are thought process-Mann, then we realise how Guru Nanak has created brain/mind scan for all of us through Gurbani so that we can become better people with time and our footprints that we leave behind are etched in such a way that the others who follow our Gurmat thought process can benefit from it and hence evolve faster than we are which is happening daily on this speck of sand. It is a mind blowing phenomenon. So in closing, I would like to say that let’s not scatter these pearls on the floor but wear this beautiful necklace around ourselves. Let’s enjoy the whole 40 piece orchestra rather than hear the ear drums blowing deafening noise of a few cymbals. Regards Tejwant Singh [/QUOTE]
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