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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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What Does Meditation Mean In Sikhism?
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<blockquote data-quote="Tejwant Singh" data-source="post: 198680" data-attributes="member: 138"><p>Sherdil ji,</p><p></p><p>The whole SGGS is not a love poem but a love song. The stark difference between the two is that the former is recited whereas the latter is sung, hence the whole SGGS is written in Raags. Singing makes us dance from the within and we dance with the wow! and awe! factors of Ik Ong Kaar because The Source is the manifestation in all of them. And here are the three parts that make us play hide and seek with the Creator's Creation:</p><p></p><p>1. Naam Japnah- Not parroting but our actions in the fruitful manners learnt through our inner dance with the help of singing.</p><p></p><p>2. Kirat Karni- The part which starts with the first droplet of milk from the mother's bosom, to the kindergarten, professional life and last but not the least, active participation in the householder's life by cultivating a good relationship with the spouse and raising the kids to be better than us as Sikhs.</p><p></p><p>3.Vand Kei Chaknah- After the first two steps, the only thing left is sharing goodness attained, with others;one's children, ilk and especially with the strangers.</p><p></p><p>We are attached to the timeless through its creation of tangible things of life like family and pitching in the society which is also His creation.</p><p></p><p>Carrying a picture of a lover is a great thing but as Sikhs we are surrounded by IK Ong Kaar's picture. The world and beyond become our pocket folders for this picture album of the wonders!</p><p></p><p>I beg to differ with you about saying the name because the name becomes valueless. It is rather living every moment keep on realising in mind,"Dukh Daroo, Sukh Rogh Baheyah" is living truthfully with him by holding his hand and relishing the odds of life because we are taught how to overcome them.</p><p></p><p>Sikhi is like a cross-country/steeple chase and its beauty lies in tumbling down, getting up, dusting off and carry on, The scars of life that we are left with after the scabs fall off show us how this Sikhi journey has been relished because this special love is a two way street. Just keeping the picture of the lover in one's wallet makes us end up in cul de sac of life if we have not given any reason to our lover to take a peek of our picture tucked in his/her wallet.</p><p></p><p>Tejwant Singh</p></blockquote><p></p>
[QUOTE="Tejwant Singh, post: 198680, member: 138"] Sherdil ji, The whole SGGS is not a love poem but a love song. The stark difference between the two is that the former is recited whereas the latter is sung, hence the whole SGGS is written in Raags. Singing makes us dance from the within and we dance with the wow! and awe! factors of Ik Ong Kaar because The Source is the manifestation in all of them. And here are the three parts that make us play hide and seek with the Creator's Creation: 1. Naam Japnah- Not parroting but our actions in the fruitful manners learnt through our inner dance with the help of singing. 2. Kirat Karni- The part which starts with the first droplet of milk from the mother's bosom, to the kindergarten, professional life and last but not the least, active participation in the householder's life by cultivating a good relationship with the spouse and raising the kids to be better than us as Sikhs. 3.Vand Kei Chaknah- After the first two steps, the only thing left is sharing goodness attained, with others;one's children, ilk and especially with the strangers. We are attached to the timeless through its creation of tangible things of life like family and pitching in the society which is also His creation. Carrying a picture of a lover is a great thing but as Sikhs we are surrounded by IK Ong Kaar's picture. The world and beyond become our pocket folders for this picture album of the wonders! I beg to differ with you about saying the name because the name becomes valueless. It is rather living every moment keep on realising in mind,"Dukh Daroo, Sukh Rogh Baheyah" is living truthfully with him by holding his hand and relishing the odds of life because we are taught how to overcome them. Sikhi is like a cross-country/steeple chase and its beauty lies in tumbling down, getting up, dusting off and carry on, The scars of life that we are left with after the scabs fall off show us how this Sikhi journey has been relished because this special love is a two way street. Just keeping the picture of the lover in one's wallet makes us end up in cul de sac of life if we have not given any reason to our lover to take a peek of our picture tucked in his/her wallet. Tejwant Singh [/QUOTE]
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