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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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Why Does The Woman Walk Behind The Man In A Sikh Wedding?
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<blockquote data-quote="Harkiran Kaur" data-source="post: 212792" data-attributes="member: 18224"><p>Some supposed Singh's out there will say it's to symbolize that the husband is the leader and the wife is to obey and be his follower in the marriage. However they don't get the metaphor and they are so wrong because that goes against what Gurbani says about equality.</p><p></p><p>The metaphor is that in Gurbani Akal Purakh is portrayed as husband lord.. the only male while all humans are considered soul brides or female. Of course it doesn't literally mean Waheguru has a gender or that males are closer to Waheguru because their gender is used as the symbolism for God. Why human marriage is even used at all as the metaphor is because it's the ONLY relationship as a human that we can understand that is in any way close to experiencing the merging with another soul. (One soul in two bodies). </p><p></p><p>Now, <strong><u>culturally</u></strong> it was the girl who left her parents home to go to her husbands home. (she would symbolically follow her husband to a new life). This is not to say that cultural practice is or was the ideal or what should be or has to happen, but it was the common norm - so it was used as the comparison that most people would understand the metaphor! </p><p></p><p>So the metaphor during the lavaans has nothing really to do with the human marriage but instead of our souls male and female both (soul bride) following our husband lord (Akal Purakh) and becoming ONE (symbolized by the Palla connecting them together). To accomplish this as a married couple, we put SGGSJ at the <strong>centre</strong> of our lives together as a married couple (hence the circumambumations). Basically a married couple make a commitment to Waheguru Ji that they will lead spiritual life together and keep SGGSJ at the centre of their lives together with ONE shared goal. </p><p></p><p>In NO WAY does this mean a husband is to be seen as some God over his wife as many like to think!!!!!!! (And some deras / sampradas actually teach this untruth!) The symbolism is like a play. In marriage both partners are equal and make decisions together. The wife isn't some subordinate made to obey her husbands every whim or destined to only serve him and never be served. It's just to put a subconscious idea in the mind that our soul trying to merge with Akal Purakh is akin to a marriage where two souls become one and to do that a cultural idea was used to convey the message - that being that culturally the girl left her parents home following her husband to embark on the journey to merge with her husband's family in a new life together. It doesn't mean that the Gurus agreed with this cultural norm of the time, and we can see plenty of metaphors used in Gurbani where an older idea was used from Hindu mythology etc to illustrate an idea - but it does not mean that the Gurus agrees with that older Hindu idea at all!!! </p><p></p><p>In reality the husband and wife are <strong>both</strong> in the position of the bride (soul bride) in the lavaans, and as absolute equals together when it comes to the real journey together toward Waheguru...</p><p></p><p>Does that make sense??</p></blockquote><p></p>
[QUOTE="Harkiran Kaur, post: 212792, member: 18224"] Some supposed Singh's out there will say it's to symbolize that the husband is the leader and the wife is to obey and be his follower in the marriage. However they don't get the metaphor and they are so wrong because that goes against what Gurbani says about equality. The metaphor is that in Gurbani Akal Purakh is portrayed as husband lord.. the only male while all humans are considered soul brides or female. Of course it doesn't literally mean Waheguru has a gender or that males are closer to Waheguru because their gender is used as the symbolism for God. Why human marriage is even used at all as the metaphor is because it's the ONLY relationship as a human that we can understand that is in any way close to experiencing the merging with another soul. (One soul in two bodies). Now, [B][U]culturally[/U][/B] it was the girl who left her parents home to go to her husbands home. (she would symbolically follow her husband to a new life). This is not to say that cultural practice is or was the ideal or what should be or has to happen, but it was the common norm - so it was used as the comparison that most people would understand the metaphor! So the metaphor during the lavaans has nothing really to do with the human marriage but instead of our souls male and female both (soul bride) following our husband lord (Akal Purakh) and becoming ONE (symbolized by the Palla connecting them together). To accomplish this as a married couple, we put SGGSJ at the [B]centre[/B] of our lives together as a married couple (hence the circumambumations). Basically a married couple make a commitment to Waheguru Ji that they will lead spiritual life together and keep SGGSJ at the centre of their lives together with ONE shared goal. In NO WAY does this mean a husband is to be seen as some God over his wife as many like to think!!!!!!! (And some deras / sampradas actually teach this untruth!) The symbolism is like a play. In marriage both partners are equal and make decisions together. The wife isn't some subordinate made to obey her husbands every whim or destined to only serve him and never be served. It's just to put a subconscious idea in the mind that our soul trying to merge with Akal Purakh is akin to a marriage where two souls become one and to do that a cultural idea was used to convey the message - that being that culturally the girl left her parents home following her husband to embark on the journey to merge with her husband's family in a new life together. It doesn't mean that the Gurus agreed with this cultural norm of the time, and we can see plenty of metaphors used in Gurbani where an older idea was used from Hindu mythology etc to illustrate an idea - but it does not mean that the Gurus agrees with that older Hindu idea at all!!! In reality the husband and wife are [B]both[/B] in the position of the bride (soul bride) in the lavaans, and as absolute equals together when it comes to the real journey together toward Waheguru... Does that make sense?? [/QUOTE]
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Why Does The Woman Walk Behind The Man In A Sikh Wedding?
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