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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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Discussions
Punjab, Punjabi, Punjabiyat
The Rise And Fall Of Courtesans In Lahore
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<blockquote data-quote="Admin" data-source="post: 208727" data-attributes="member: 1"><p><span style="font-size: 22px"><strong>Married to Moran</strong></span></p><p></p><p></p><p>Moran, a young dancer (nautch girl), hailing from Lahore, it took nearly two centuries to remove the stigma attached to legendary Maharaja Ranjit Singh, who was declared "Tankhaiyya" (guilty of religious misconduct), by then Jathedar, Akal Takht, Akali Phula Singh for having relations with the Muslim dancer.</p><p></p><p>The play "Moran Sarkar" ( Moran government) being staged for thefirst time by actors of Lahore, Peshawar and Amritsar at Naat Shala, here on June 30 will be first attempt to establish Maharaja Ranjit Singh's marriage with Moran not just an act of honour but a conscious effort to rehabilitate a particular down- trodden section of society.After painstaking research Manveen Sandhu, principal of Springdale Senior school, Amritsar, established Maharaja Ranjit Singh had married the Muslim dancer as part of his social reform movement and to win over other communities.Finishing touches are being given at a theatre workshop organised by the Manch Rangmanch here in collaboration with the National School of Drama, Punarjyot and young theatre artistes from Pakistan by consulting historians of India and Pakistan to avoid distortion in the script. Bollywood actor Raj Babbar also saw the rehearsal and gave valuable suggestions. Research of Ms Sandhu revealed Moran was not a nautch girl but belonged to a family of entertainers.</p><p></p><p>After coin was minted in the name of Moran, she became "Moran Sarkar".As per Dr Fauzia of Pakistan, who has written a book "Taboo" on Lahore's Hira Mandi , the Twaif community of Moran had set of rules and regulations to ensure its performing art was preserved in its pure form. Moran's charm captivated the Maharaja's heart when he was just 21. His was a transition from physical to spiritual love and attachment.</p><p></p><p>The Maharaja soon realised the women in Moran's community were being exploited by society. To give a message to society at large he decided to sanctify his love for her by marrying her.</p><p></p><p>The Maharaja married her in 1802 and they went to Hardwar for a dip in the holy Ganga.Maharaja Ranjit Singh made an effort to uplift Moran's community. Moran's 'biradari' lived in a village called Makhanwindi near Amritsar.</p><p></p><p>The Maharaja gave the biradari a place near Amritsar city and named it Sharifpura to rehabilitate honour of the community and encourage them to explore other vocations in case they wished to do so.</p><p></p><p>She led a life of simplicity and piety after her marriage with the Maharaja. She soon became the Maharaja's link with the common man. Moran earned the love and respect of people of Lahore, who</p><p>lovingly called her Moran Sarkar. This disturbed many influential people in the Darbar. Moreover society at large was not evolved enough for such a radical change.After 10 years of living in Lahore and contributing to social, educational and religious fabric of the Durbar, she finally moved away from Lahore. </p><p></p><p>It is important to give Moran her deserved place in history as Pul Kanjari is now going to be part of National heritage circuit.</p></blockquote><p></p>
[QUOTE="Admin, post: 208727, member: 1"] [SIZE=6][B]Married to Moran[/B][/SIZE] Moran, a young dancer (nautch girl), hailing from Lahore, it took nearly two centuries to remove the stigma attached to legendary Maharaja Ranjit Singh, who was declared "Tankhaiyya" (guilty of religious misconduct), by then Jathedar, Akal Takht, Akali Phula Singh for having relations with the Muslim dancer. The play "Moran Sarkar" ( Moran government) being staged for thefirst time by actors of Lahore, Peshawar and Amritsar at Naat Shala, here on June 30 will be first attempt to establish Maharaja Ranjit Singh's marriage with Moran not just an act of honour but a conscious effort to rehabilitate a particular down- trodden section of society.After painstaking research Manveen Sandhu, principal of Springdale Senior school, Amritsar, established Maharaja Ranjit Singh had married the Muslim dancer as part of his social reform movement and to win over other communities.Finishing touches are being given at a theatre workshop organised by the Manch Rangmanch here in collaboration with the National School of Drama, Punarjyot and young theatre artistes from Pakistan by consulting historians of India and Pakistan to avoid distortion in the script. Bollywood actor Raj Babbar also saw the rehearsal and gave valuable suggestions. Research of Ms Sandhu revealed Moran was not a nautch girl but belonged to a family of entertainers. After coin was minted in the name of Moran, she became "Moran Sarkar".As per Dr Fauzia of Pakistan, who has written a book "Taboo" on Lahore's Hira Mandi , the Twaif community of Moran had set of rules and regulations to ensure its performing art was preserved in its pure form. Moran's charm captivated the Maharaja's heart when he was just 21. His was a transition from physical to spiritual love and attachment. The Maharaja soon realised the women in Moran's community were being exploited by society. To give a message to society at large he decided to sanctify his love for her by marrying her. The Maharaja married her in 1802 and they went to Hardwar for a dip in the holy Ganga.Maharaja Ranjit Singh made an effort to uplift Moran's community. Moran's 'biradari' lived in a village called Makhanwindi near Amritsar. The Maharaja gave the biradari a place near Amritsar city and named it Sharifpura to rehabilitate honour of the community and encourage them to explore other vocations in case they wished to do so. She led a life of simplicity and piety after her marriage with the Maharaja. She soon became the Maharaja's link with the common man. Moran earned the love and respect of people of Lahore, who lovingly called her Moran Sarkar. This disturbed many influential people in the Darbar. Moreover society at large was not evolved enough for such a radical change.After 10 years of living in Lahore and contributing to social, educational and religious fabric of the Durbar, she finally moved away from Lahore. It is important to give Moran her deserved place in history as Pul Kanjari is now going to be part of National heritage circuit. [/QUOTE]
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Punjab, Punjabi, Punjabiyat
The Rise And Fall Of Courtesans In Lahore
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