From 4b1dee84be1dca4a678c5f2e3aae1208cd5f2046 Mon Sep 17 00:00:00 2001 From: "divjot.singh" Date: Thu, 10 Aug 2017 12:10:43 +0530 Subject: [PATCH] [Update] Use md for Authors and Raags --- README.md | 2 + assets/docs/json/authors.json | 117 ++++++------------ assets/docs/json/raags.json | 87 ------------- assets/docs/md/authors/0.md | 3 + assets/docs/md/authors/1.md | 3 + assets/docs/md/authors/10.md | 3 + assets/docs/md/authors/11.md | 3 + assets/docs/md/authors/12.md | 3 + assets/docs/md/authors/13.md | 3 + assets/docs/md/authors/14.md | 3 + assets/docs/md/authors/15.md | 3 + assets/docs/md/authors/16.md | 3 + assets/docs/md/authors/17.md | 3 + assets/docs/md/authors/18.md | 3 + assets/docs/md/authors/19.md | 3 + assets/docs/md/authors/2.md | 3 + assets/docs/md/authors/20.md | 3 + assets/docs/md/authors/21.md | 3 + assets/docs/md/authors/22.md | 3 + assets/docs/md/authors/3.md | 3 + assets/docs/md/authors/30.md | 3 + assets/docs/md/authors/31.md | 3 + assets/docs/md/authors/32.md | 3 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descriptions. Add images, links, more text etc to the markdown files. + * Contribute to beautification/correction(if any) of Nitnem [baanies](https://github.com/bogas04/SikhJS/tree/master/assets/docs/md/baanies). These are simple markdown files that can take help of formatting of text. Build == diff --git a/assets/docs/json/authors.json b/assets/docs/json/authors.json index 7651df0..2834e0c 100644 --- a/assets/docs/json/authors.json +++ b/assets/docs/json/authors.json @@ -2,235 +2,196 @@ { "id": 0, "author": "None", - "gurmukhi": "", - "description": "There is no author associated with this line, as it may be the preamble to the hymn" + "gurmukhi": "" }, { "id": 1, "author": "Guru Nanak Dev", - "gurmukhi": "ਗੁਰੂ ਨਾਨਕ ਦੇਵ", - "description": "Guru Nanak Dev Ji [1469 - 1539] was the first Guru of the Sikhs born in a village named Talwandi which is now called Nankana Sahib and is in Pakistan. As a child Guru Nanak spent most of his time in isolation and meditation. He slept only for a few hours, ate small quantities of food and spoke little. One day he disappeared while having his morning bath and reappeared 3 days later and said: There is no Hindu and there is no Muslim. By saying this he meant that titles were meaningless because all of humanity is one and the light of God shines within everyone." + "gurmukhi": "ਗੁਰੂ ਨਾਨਕ ਦੇਵ" }, { "id": 2, "author": "Guru Angad Dev", - "gurmukhi": "ਮਃ ੨", - "description": "Guru Angad Dev [1504 - 1552], originally called Bhai Lehna, was born at Harike, a small village in the Ferozepur district. His father was named Pheru and worked as a small businessman. Bhai Lehna always did everything that Guru Nanak asked, which is why Guru Nanak renamed Bhai Lehna as his Ang or limb of his body. Guru Angad Dev simplified the old Punjabi characters into a new alphabet, called Gurmukhi. He thus gave the people the gift of literature. He took great interest in the education of children and opened several schools." + "gurmukhi": "ਮਃ ੨" }, { "id": 3, "author": "Guru Amar Das", - "gurmukhi": "ਮਃ ੩", - "description": "Guru Amar Das [1479 - 1574] was the third Guru of the Sikhs, born at Basarke in Amritsar. His father, Tej Bhan and mother Bakht Kaur were orthodox Hindus. He became the oldest Sikh Guru. Guru Amar Das put an end to tradition of sati, the burning of the widow on her husbands funeral pyre, and encouraged the remarriage of widows. He opened 22 preaching centres called Manjees and founded the town of Goindwal as the headquarters for the Sikh community." + "gurmukhi": "ਮਃ ੩" }, { "id": 4, "author": "Guru Ram Das", - "gurmukhi": "ਮਃ ੪", - "description": "Guru Ram Das [1534 - 1581] is the fourth Guru of the Sikhs, whose original name was Jetha and who was born in Lahore. Bhai Jetha married Bibi Bhani who was the daughter of the third Guru, Guru Amar Das. Guru Ram Das founded the city of Ram Das Pur, now called Amritsar, and built the central Sikh temple, the Harimandir Sahib or Golden Temple. He initiated the concept of community voluntary service known as Kar Seva." + "gurmukhi": "ਮਃ ੪" }, { "id": 5, "author": "Guru Arjan Dev", - "gurmukhi": "ਮਃ ੫", - "description": "Guru Arjan Dev [1563 - 1606] was the fifth Guru of the Sikhs, born at Goindval. He was the youngest of the three sons of Guru Ram Das, the fourth Sikh Guru. Guru Arjan Dev finished the construction of the Harimandir Sahib, the Golden Temple, and compiled the first Sikh scripture, known as the Adi Granth. Shortly after he became the first martyr of the Sikh religion, which formed a turning point in the development of the faith." + "gurmukhi": "ਮਃ ੫" }, { "id": 6, "author": "Guru Tegh Bahadur", - "gurmukhi": "ਮਃ ੯", - "description": "Guru Tegh Bahadur [1621 - 1675] was the ninth Guru of the Sikhs, and the son of sixth Guru, Guru Hargobind Sahib. The Guru travelled extensively in the Punjab and in other parts of the country to spread the teachings of Guru Nanak. The ruler at the time was the Moghul Emperor Aurangzeb who was forcing the Hindus to accept Islam. Some of these Hindus went to visit the Guru and ask for his help. Guru Tegh Bahadur decided to give up his life to protect the right of all people to practice whatever religion they choose. After his martyrdom, his son, Gobind, succeeded him as the tenth and final Sikh Guru." + "gurmukhi": "ਮਃ ੯" }, { "id": 7, "author": "Saint Bhikhan", - "gurmukhi": "ਭਗਤ ਭੀਖਨ", - "description": "Saint Bhikhan [1480 - 1573] is a medieval Hindu saint, two of whose hymns are included in the Guru Granth Sahib. There are in fact two saints of that time sharing the same name - Bhakta Bhikhan and Bhikhan the Sufi. Bhakta Bhikhan was a devotee in the tradition of Saint Ravidas and Saint Dhana, born at Kakori near Lucknow in present day Uttar Pardesh. His hymns in the Guru Granth Sahib reflect his dedication to the Name of Hari (God) which he describes as: cure for all ills of the world. Saint Bhikhan was the most learned man of the time of Moghul Emperor Akbar. For many years, he was engaged in teaching and instructing people. He stated that this spiritual succession was from Mir Saiyid Ibrahim of Irij. He left several children who were adorned with piety, wisdom, knowledge and virtue. The hymns of Saint Bhikan resemble those of Saint Sheikh Farid." + "gurmukhi": "ਭਗਤ ਭੀਖਨ" }, { "id": 8, "author": "Saint Beni", - "gurmukhi": "ਭਗਤ ਬੇਣੀ", - "description": "Saint Beni [15th - 16th Century] was a Hindu mystic whose teachings have been incorporated in the Guru Granth Sahib. It is believed he spent most of his time in prayer and meditation, and often neglected his household needs - so God himself intervened and physically appeared to help him several times. Saint Beni has three hymns in the Guru Granth Sahib marked by an intense spiritual longing. They also indicate the various paths tried by him in his quest, his practical experience of life and his mastery of religious lore of diverse traditions." + "gurmukhi": "ਭਗਤ ਬੇਣੀ" }, { "id": 9, "author": "Saint Dhana", - "gurmukhi": "ਭਗਤ ਧੰਨਾ", - "description": "Saint Dhana [1415 - 1475], whose three hymns are included in the Guru Granth Sahib, was born to a poor Hindu farmer family of Jat caste in the village of Dhuan Kalan located in the Tonk region of Rajasthan. From his very childhood, Saint Dhana was very simple, hardworking and innocent. He enjoyed being in the company of saints and scholars and soon became a follower of the famous Saint Ramanand. It is written that Saint Dhana asked a Brahmin about God who gave him a stone to worship. Dhana offered food and milk to the stone, and refused to eat till God accepted his food. Through this innocent love and pure devotion, God appeared before him and the fields Dhana was going to plow with seeds, began to produce grains without them." + "gurmukhi": "ਭਗਤ ਧੰਨਾ" }, { "id": 10, "author": "Saint Trilochan", - "gurmukhi": "ਭਗਤ ਤ੍ਰਿਲੋਚਨ", - "description": "Saint Trilochan [1267 - ?], a name which literally means three-eyed, the seer of the present, past and future, was a celebrated saint of the Hindu Vaishya caste. There are four hymns by him in the Guru Granth Sahib, in which he has condemned superficial rituals and pretentious renunciation and stressed the holiness of the heart. Saint Trilochan always gave more importance to love and devotion in preference to selfish interests. He believed that he who is always occupied with problems relating to wealth and property would never become happy. He always served the saints at his residence with the utmost dedication and humility. The exact place of birth of Bhagat Trilochan is not known. Some historians claim its Barsi near Sholapur, Maharastra and others claim its Uttar Pradesh. But it is an accepted fact that he spent most of his time in Maharashtra. The fact that two hymns of Saint Kabir constitute a dialogue between Saint Namdev and Saint Trilochan shows that these two saints were friends, and in fact it was Namdev who introduced Trilochan to his Guru who showed him the way to God." + "gurmukhi": "ਭਗਤ ਤ੍ਰਿਲੋਚਨ" }, { "id": 11, "author": "Saint Jaidev", - "gurmukhi": "ਭਗਤ ਜੈਦੇਵ", - "description": "Saint Jaidev [circa 1200], also known as Jayadeva, whose two hymns are found in the Guru Granth Sahib is a celebrated Sanskrit poet who also wrote the Gita Govinda which describes the relationship between Krishna, Radha and the Gopis of Vrindavana. His father was Bhoidev, a Brahmin, and his mother Bamdevi. Saint Jaidev was born in Kenduli Sasan village, in the Prachi valley, Khurda district in Orissa, India. He became the most famous of the five distinguished poets, known as the five jewels, that lived in the court of Lakshman Sen, King of Bengal, who erected a monument in their honour." + "gurmukhi": "ਭਗਤ ਜੈਦੇਵ" }, { "id": 12, "author": "Saint Kabir", - "gurmukhi": "ਭਗਤ ਕਬੀਰ", - "description": "Saint Kabir [1440 - 1518] was a Muslim mystic born in Varanasi in India, whose 541 hymns are included in the Guru Granth Sahib. His writings about God are full of love and devotion, very direct and striking in appeal. The birth of Kabir remains to this day shrouded in mystery and legend. Authorities disagree on both when he was born and who his parents were. One legend proclaims a divine virginal birth. His mother was reputed to have been of the Brahman caste and to have become pregnant after a visit to a Hindu shrine. Because she was unwed, she abandoned Kabir, who was found and adopted by a Muslim weaver. That his early life began as a Muslim there is no doubt, although he later became influenced by the Hindu ascetic, Ramananda, who he accepted as his Guru." + "gurmukhi": "ਭਗਤ ਕਬੀਰ" }, { "id": 13, "author": "Saint Namdev", - "gurmukhi": "ਭਗਤ ਨਾਮਦੇਵ", - "description": "Saint Namdev [1270 - 1350] was born in the state of Maharashtra village of Naras-Vamani, in Satara district (presently called Narsi Namdev). His father was called Damshet, a tailor, and his mother was called Gonabai. The main spiritual message of Saint Namdev, just like the Sikh Gurus, was to emphasise the importance of living a married householder life and that through marriage, living in the world and meditating on God, one could attain enlightenment. Sixty-one of his hymns are included in the Guru Granth Sahib. He was also a close friend of Saint Trilochan." + "gurmukhi": "ਭਗਤ ਨਾਮਦੇਵ" }, { "id": 14, "author": "Saint Pipa", - "gurmukhi": "ਭਗਤ ਪੀਪਾ", - "description": "Saint Pipa [1425 - ?], one of whose hymns is incorporated in the Guru Granth Sahib, was a prince who renounced his throne in search of enlightenment. He was born at Gagaraun, in the present day Jhalawar district of Rajasthan and was a devotee of the Goddess Bhavani whose idol was enshrined in a temple within the premises of his palace. The Goddess, it is said, once told him in a dream to visit Varanasi and receive initiation from Saint Ramanand. Pipa went to Varanasi, but Saint Ramanand refused to see him in his gaudy robes. Pipa cast off his royal apparel and put on poor ones, after which he was initiated and began to live like an ascetic. At his invitation, Saint Ramanand visited Gagaraun, and King Pipa lent his shoulder to the palanquin carrying Ramanand in a procession. Pipa now finally decided to give up his throne and retire to a life of seclusion and meditation. He went to Dwarka where Lord Krishna, after the Mahabharata, had spent the last years of his life. All the twelve wives of Pipa insisted on accompanying him, but he took along only one, named Sita, who had a spiritual inclination. He selected a cave for his residence from where he daily walked through a tunnel to the temple of Lord Krishna on the sea coast. The temple is still a popular place of pilgrimage and a fair is held there annually in the memory of Saint Pipa." + "gurmukhi": "ਭਗਤ ਪੀਪਾ" }, { "id": 15, "author": "Saint Parmanand", - "gurmukhi": "ਭਗਤ ਪਰਮਾਨੰਦ", - "description": "Saint Parmanand [1483 - ?], a Hindu Maharashtrian poet, one of whose hymns is included in the Guru Granth Sahib, is believed to have resided at Barsi, situated to the north of Pandharpur, in present day Sholapur district of Maharashtra. Parmanand was a devotee of Lord Vishnu and wrote his songs in the Indian classical melody of Sarang, which is the mood of a rain bird who is ever thirsty for a rain drop. Similarly, Saint Parmanand always longed for God whom he worshipped in the Vaishnavite manifestation of Lord Krishna. He used to make, it is said, seven hundred bows daily to God on his uncovered, often bleeding, knees." + "gurmukhi": "ਭਗਤ ਪਰਮਾਨੰਦ" }, { "id": 16, "author": "Saint Ravidas", - "gurmukhi": "ਭਗਤ ਰਵਿਦਾਸ", - "description": "Saint Ravidas [1377 - 1528] was a Hindu shoemaker of the Chamar caste, who taught that a person is distinguished not by their caste, wealth or social status but instead by their actions. Meerabai, the famous saint poetess is also said to have adopted Saint Ravidas as her Guru." + "gurmukhi": "ਭਗਤ ਰਵਿਦਾਸ" }, { "id": 17, "author": "Saint Ramanand", - "gurmukhi": "ਭਗਤ ਰਾਮਾਨੰਦ", - "description": "Saint Ramanand [1400 - 1476], also known as Swami Ramananda, was a Hindu Vaishnava born in Allahabad, Uttar Pradesh, who lived in the holy city of Varanasi and pioneered the Bhakti devotional movement. When Saint Ramanand was as young as twelve, he left home and decided to become a Sannyasi and live an ascetic, celibate life. Saint Ramanand was known for accepting disciples of all castes, and all his twelve disciples are very famous: Anantananda, Bhavananda, Saint Dhanna, Saint Kabir, Nabha, Naraharyanda, Saint Pipa, Saint Ravidas, Saint Sain, Sukhanada, Ranka and Tulsidas, many of whose writings are included in the Guru Granth Sahib. However, only one hymn of Saint Ramanand himself is included in the Guru Granth Sahib on Page 1195." + "gurmukhi": "ਭਗਤ ਰਾਮਾਨੰਦ" }, { "id": 18, "author": "Saint Surdas", - "gurmukhi": "ਭਗਤ ਸੂਰਦਾਸ", - "description": "Saint Surdas [1529 - ?], whose original name was Madan Mohan, is said to have been born in a high ranking Hindu Brahmin family. As he grew up, he gained proficiency in the arts of music and poetry for which he had a natural talent. He soon became a celebrated poet, singing with deep passion lyrics of divine love. He attracted the attention of Moghul Emperor Akbar who appointed him governor of Sandila, but his heart lay elsewhere. He renounced the world and took to the company of holy men dedicating himself solely to God. He died at Benares. A shrine in the vicinity of the city honours his memory. The Guru Granth Sahib contains one hymn by Saint Surdas in the Indian classical melody of Sarang." + "gurmukhi": "ਭਗਤ ਸੂਰਦਾਸ" }, { "id": 19, "author": "Saint Sadhana", - "gurmukhi": "ਭਗਤ ਸਾਧਨਾ", - "description": "Saint Sadhana [12th - 13th Century], was a butcher by profession who, through his devotion, had gained enlightenment. He is believed to have been born at the village of Sehvan, in Sindh and cremated at Sirhind, in the Punjab, where even today a tomb stands in his memory. Saint Sadhana is believed to have lived during the time of Saint Namdev. Saint Sadhana lived by selling meat, though, it is believed, he never butchered the animals himself. His only hymn in the Guru Granth Sahib written in melody Bilaval indicates his belief that all evil deeds of a man - or even a butcher - could be washed away by devoted meditation on the Name of God." + "gurmukhi": "ਭਗਤ ਸਾਧਨਾ" }, { "id": 20, "author": "Saint Sain", - "gurmukhi": "ਭਗਤ ਸੈਣ", - "description": "Saint Sain [14th - 15th Century], whose one hymn has been included in the Guru Granth Sahib, is counted among the disciples of the famous Saint Ramanand. Guru Arjan Dev, the fifth Sikh Guru, says in one of his hymns that Sain means a devotee with rare devotion. In another hymn, he refers to him as an example of dedication to the service of holymen. Saint Ravidas in one his hymns, ranks Saint Sain as the same as Saint Namdev, Saint Kabir, Saint Trilochan and Saint Sadhana in terms of virtue. All accounts agree that Sain was a barber, some stating that he served at the court of Raja Ram, King of Rewa, then called Bandhavgarh, while others hold that he was attached to the court of the ruler of Bidar in South India. " + "gurmukhi": "ਭਗਤ ਸੈਣ" }, { "id": 21, "author": "Saint Sheikh Farid", - "gurmukhi": "ਭਗਤ ਸੇਖ ਫਰੀਦ", - "description": "Saint Sheikh Farid [? - 1552], also known as Baba Farid, Sheikh Brahm or Farid Sani, was the tenth successor to the famous Fariduddin Shakarganj [1173 - 1266], a Muslim Sufi of the Chishti Sufi order who was the first major poet of the Punjabi language. Saint Sheikh Farid met Guru Nanak Dev in Pakpattan, where a disciple of the Sheikh had overheard Guru Nanak, along with his two disciples Bhai Bala and Mardana, singing hymns about God. The disciple went to his master, Saint Sheikh Farid, and at once upon hearing the hymn from his disciple he set off to meet Guru Nanak himself, which gave him the peace and joy he was looking for." + "gurmukhi": "ਭਗਤ ਸੇਖ ਫਰੀਦ" }, { "id": 22, "author": "Bhai Gurdaas Ji", - "gurmukhi": "ਭਾਈ ਗੁਰਦਾਸ", - "description": "Bhai Gurdas (1551- 23 September 16371) is a much honoured Sikh scholar, missionary, and literary master who is also respected for his Sikh way of life. He was a leading figure in Sikhism who enjoyed the company of Guru Arjan, the fifth Sikh Guru. It was under the supervision of the fifth Sikh Guru that he inscribed the first copy of Sikh Scripture, then called The Adi Granth, which is now respected as the perpetual Guru of the Sikhs and is central of the Sikh religion. He was also responsible for various writings in his own right which have gained much respect in the Sikh community. His Varan have been referred to by Guru Arjan as the \"Key\" (\"khungee\") to the Guru Granth Sahib. Bhai sahib is also responsible for composing the composition known as \"Kabit Savaiye Bhai Gurdas\"." + "gurmukhi": "ਭਾਈ ਗੁਰਦਾਸ" }, { "id": 30, "author": "Poet Balh", - "gurmukhi": "ਬਲ੍ਯ੍ਯ", - "description": "Poet Balh [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Balh wrote five hymns in praise of Guru Ram Das, the fourth Guru. The favourite subject of his hymns has been the transmigration of the soul and continuity of the divine light from one Guru to the other." + "gurmukhi": "ਬਲ੍ਯ੍ਯ" }, { "id": 31, "author": "Bhai Balwand and Satta", - "gurmukhi": "ਬਲਵੰਡਿ ਤੇ ਸਤਾ", - "description": "Bhai Balwand and Satta [15th - 16th Century], were brothers and Rebab players who played music for Guru Arjan Dev, the fifth Sikh Guru, primarily in the Indian classical melody of Ramkali. Bhai Balwand, also known as Rai Balvand, was by birth a Mirasi, part of a community of genealogists for families in Northern India and Pakistan." + "gurmukhi": "ਬਲਵੰਡਿ ਤੇ ਸਤਾ" }, { "id": 32, "author": "Baba Sundar", - "gurmukhi": "ਬਾਬਾ ਸੁੰਦਰ", - "description": "Baba Sundar, celebrated for his six stanza composition, the Ramkali Sadu, incorporated into the Guru Granth Sahib, was the great grand son of Guru Amar Das. His father, Anand Das son of Baba Mohri, was a man of a devotion. Sundar grew up in an environment of spirituality and developed deep affection and reverence for Guru Amar Das, his great grandfather. The theme of his poem, Sadu meaning call, is the ascension of Guru Amar Das, described in terms of his having been recalled by God. The hymn states how Guru Amar Das had completely surrendered himself to the Will of the Supreme Being, ever remaining absorbed in meditation on the Name of God, how he had, through the favour of Gurus, attained the office of Guru, how he, at the time of his departure, had appointed Guru Ram Das as his successor and how he had told his family to abide by the Will of the Lord and not to weep for him after his death." + "gurmukhi": "ਬਾਬਾ ਸੁੰਦਰ" }, { "id": 33, "author": "Poet Gayand", - "gurmukhi": "ਗਯੰਦ", - "description": "Poet Gayand [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Gayand wrote thirteen hymns in praise of Guru Ram Das, the fourth Guru. Poet Gayand also uses the popular Sikh mantra Vaheguru for the first time in the entire Guru Granth Sahib. He was the son of Chokha, and brother of Poet Kalshar." + "gurmukhi": "ਗਯੰਦ" }, { "id": 34, "author": "Poet Harbans", - "gurmukhi": "ਹਰਿਬੰਸ", - "description": "Poet Harbans [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Harbans wrote two hymns in praise of Guru Arjan Dev, the fifth Guru. The importance of his hymns lies in describing the time when Guru Ram Das, the fourth Guru, left for his heavenly abode and Guru Arjan Dev succeeded his spiritual throne." + "gurmukhi": "ਹਰਿਬੰਸ" }, { "id": 35, "author": "Poet Bhika", - "gurmukhi": "ਭਿਖਾ", - "description": "Poet Bhika [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Bhika, was originally a Brahmin poet of Sultanpur Lodhi, in present day Kapurthala district of Punjab, who joined the congregation of Guru Amar Das at Goindwal, and composed two hymns in praise of the third Guru. He later became a Sikh, receiving the rites of initiation at the hands of Guru Amar Das, and lived up to the time of Guru Arjan Dev, the fifth Sikh Guru. Poet Mathura, Poet Jalap and Poet Kirat were his sons." + "gurmukhi": "ਭਿਖਾ" }, { "id": 37, "author": "Poet Jalap", - "gurmukhi": "ਜਲ੍ਯ-ਜਾਲਪ", - "description": "Poet Jalap [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Jalap also wrote under the name of Jalh, and wrote 5 hymns, all in praise of Guru Amar Das, the third Sikh Guru. He was the son of Poet Bhika, and brother of Poets Mathura and Kirat." + "gurmukhi": "ਜਲ੍ਯ-ਜਾਲਪ" }, { "id": 38, "author": "Poet Kirat", - "gurmukhi": "ਕੀਰਤੁ", - "description": "Poet Kirat [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Kirat, son of Poet Bhika, besides being a poet, had the privilege of being an enrolled soldier in the army of Guru Hargobind, the sixth Sikh Guru. When it came to writing hymns he chose to praise Guru Amar Das and Guru Ram Das, writing four praises each for them, totalling eight. He was the son of Poet Bhika, and brother of Poets Mathura and Jalap." + "gurmukhi": "ਕੀਰਤੁ" }, { "id": 40, "author": "Poet Kalshar", - "gurmukhi": "ਕਲ ਸਹਾਰ", - "description": "Poet Kalshar [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Kalshar, who is also known as Kalh and Talh, was the leader of the poets, and taking into consideration the total contribution of hymns by the poets which is 123, Poet Kalshar alone has contributed a considerable 54 hymns. Poet Kalshar wrote ten hymns in praise of Guru Nanak Dev, ten in praise of Guru Angad Dev, nine in praise of Guru Amar Das, thirteen in praise of Guru Ram Das and twelve in praise of Guru Arjan Dev. Also, he was the son of Chokha, and brother of Poet Gayand." + "gurmukhi": "ਕਲ ਸਹਾਰ" }, { "id": 42, "author": "Poet Mathura", - "gurmukhi": "ਮਥੁਰਾ", - "description": "Poet Mathura [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Mathura wrote seven hymns in praise of Guru Ram Das, the fourth Guru and seven hymns in praise of Guru Arjan Dev, the fifth Guru. He was the son of Poet Bhika, and brother of Poets Jalap and Kirat." + "gurmukhi": "ਮਥੁਰਾ" }, { "id": 43, "author": "Bhai Mardana", - "gurmukhi": "ਮਰਦਾਨਾ", - "description": "Bhai Mardana [1459 - 1534] was the first follower and life-long companion of Guru Nanak Dev, the first Sikh Guru, and played the Rabab, a stringed instrument. He was with Guru Nanak in all of his journeys across India and Asia. Mardana was a Muslim, born to a Mirasi couple, Badra and Lakkho, of Rai Bhoi di Talwandi, now Nankana Sahib of Pakistan. Mardana was named by his parents as Marjana meaning, is going to die, as all his previous siblings had died and he was sure to die also. But Guru Nanak as a young boy, went to his parents and told them that so long as he stayed with him, he would not die, and so renamed him as Mardana, meaning will never die. One hymn of Mardana is included in the Guru Granth Sahib on Page 553." + "gurmukhi": "ਮਰਦਾਨਾ" }, { "id": 44, "author": "Poet Nalh", - "gurmukhi": "ਨਲ੍ਯ", - "description": "Poet Nalh [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Nalh wrote sixteen hymns in praise of Guru Ram Das, the fourth Guru." + "gurmukhi": "ਨਲ੍ਯ" }, { "id": 45, "author": "Poet Salh", - "gurmukhi": "ਸਲ੍ਯ", - "description": "Poet Salh [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Salh wrote three hymns, one in praise of Guru Amar Das, the third Guru, and two in praise of Guru Ram Das, the fourth Guru. Poet Salh and Poet Bhalh were brothers, both sons of Sokha." + "gurmukhi": "ਸਲ੍ਯ" }, { "id": 46, "author": "Poet Talh", - "gurmukhi": "ਟਲ", - "description": "Poet Tal is one of the seventeen Bhatts whose compositions (one swayya in his case) have been included in the Adi Granth" + "gurmukhi": "ਟਲ" }, { "id": 47, "author": "Guru Gobind Singh", - "gurmukhi": "ਗੁਰੂ ਗੋਬਿੰਦ ਸਿੰਘ", - "description": "Guru Gobind Singh ji (Friday, January 5, 16661, in Patna, Bihar, India - Thursday, 21 October, 1708) was born \"Gobind Rai\" and was the tenth and last of the ten human form Gurus of Sikhism. He became Guru on November 24, 1675 at the age of nine, following in the footsteps of his father Guru Teg Bahadur ji. Before Guru ji left his mortal body for his heavenly abode, he nominated Sri Guru Granth Sahib ji (SGGS) as the next perpetual Guru of the Sikhs. Guru Gobind Singh molded the Sikh religion into its present shape, with the formation of the Khalsa fraternity and completion of the Guru Granth Sahib as we find it today, which some will say was his greatest act. The author of this line is unknown" + "gurmukhi": "ਗੁਰੂ ਗੋਬਿੰਦ ਸਿੰਘ" }, { "id": 48, "author": "Khalsa Panth", - "gurmukhi": "ਖਾਲਸਾ ਪੰਥ", - "description": "Khalsa Panth is the collective body of all initiated Sikhs represented by the five beloved-ones and can be called the Guru Panth, the embodiment of the Guru, and the final temporal Guru/leader of the Sikhs along with Guru Granth, the mind of Guru. The first time that this ceremony took place was on Baisakhi, which fell on 30 March 1699 at Anandpur Sahib in Punjab, India. The word \"Khalsa\" is derived from Arabic khalis (literally meaning \"pure\" or \"unsullied\") and Perso-Arabic khalisah (literally pure; office of revenue department; lands directly under government management), is used collectively for the community of baptised Sikhs. " + "gurmukhi": "ਖਾਲਸਾ ਪੰਥ" } ] diff --git a/assets/docs/json/raags.json b/assets/docs/json/raags.json index 0514470..665ab4c 100644 --- a/assets/docs/json/raags.json +++ b/assets/docs/json/raags.json @@ -3,7 +3,6 @@ "id": 0, "raag": "None", "gurmukhi": "", - "description": "There is no raag or mood associated with this line, which may be because it is the preamble to the hymn, or is not meant to be read in any particular raag or mood", "granth": 0, "ang": 0 }, @@ -11,7 +10,6 @@ "id": 1, "raag": "Jap", "gurmukhi": "", - "description": "", "granth": 1, "ang": 1 }, @@ -19,7 +17,6 @@ "id": 2, "raag": "So Dar", "gurmukhi": "", - "description": "", "granth": 1, "ang": 8 }, @@ -27,7 +24,6 @@ "id": 3, "raag": "So Purakh", "gurmukhi": "", - "description": "", "granth": 1, "ang": 10 }, @@ -35,7 +31,6 @@ "id": 4, "raag": "Sohila", "gurmukhi": "", - "description": "", "granth": 1, "ang": 12 }, @@ -43,7 +38,6 @@ "id": 5, "raag": "Siri Raag", "gurmukhi": "ਸਿਰੀ ਰਾਗੁ", - "description": "The basis of this Raag is steeped in the traditions of mainstream Indian Classical music. Siri Raag is serious and thought provoking in its nature and creates an atmosphere where the listener is led to heed the advice given therein. The listener (the mind) is made aware of the truth of the message and with this ‘education’ is given the strength to face the future with both humility and the ‘gained’ knowledge.", "granth": 1, "ang": 14 }, @@ -51,7 +45,6 @@ "id": 6, "raag": "Majh", "gurmukhi": "ਮਾਝ", - "description": "Raag Majh was composed by the Fifth Sikh Guru (Shri Guru Arjun Dev ji). The Raag’s origins are based in Punjabi Folk Music and its essence was inspired by the Majha regions traditions of ‘Ausian’; the game of waiting and yearning for the return of a loved one.The feelings evoked by this Raag have often been compared to that of a mother waiting for her child to return after a long period of separation. She has an anticipation and hope for the child’s return, although at the same moment she is painfully aware of the uncertainty of their return home. This Raag brings to life the emotion of extreme love and this is highlighted by the sorrow and anguish of separation.", "granth": 1, "ang": 94 @@ -60,7 +53,6 @@ "id": 7, "raag": "Gauri", "gurmukhi": "ਗਉੜੀ", - "description": "Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This therefore creates the atmosphere where the listener is encouraged, but still prevented from becoming arrogant and self-important.", "granth": 1, "ang": 151 @@ -69,7 +61,6 @@ "id": 8, "raag": "Aasaa", "gurmukhi": "ਆਸਾ", - "description": "Aasaa has strong emotions of inspiration and courage. This Raag gives the listener the determination and ambition to put aside any excuses and to proceed with the necessary action to achieve the aim. It generates feelings of passion and zeal to succeed and the energy generated from these feelings enables the listener to find the strength from within to achieve success, even when the achievement seems difficult. The determined mood of this Raag ensures that failure is not an option and motivates the listener to be inspired.", "granth": 1, "ang": 347 }, @@ -77,7 +68,6 @@ "id": 9, "raag": "Gujari", "gurmukhi": "ਗੂਜਰੀ", - "description": "If there is a perfect simile for Raag Gujari, it would be that of a person isolated in the desert, who has their hands cupped, holding water. However, it is only when the water begins to slowly seep through their joined hands that the person comes to realise the real value and importance of the water. Similarly Raag Gujari leads the listener to realise and become aware of passing time and in this way comes to value the precious nature of time itself. The revelation brings the listener to an awareness and admission of their own death and mortality, making them utilise their remaining ‘life time’ more wisely.", "granth": 1, "ang": 489 }, @@ -85,7 +75,6 @@ "id": 10, "raag": "Devgandhari", "gurmukhi": "ਦੇਵਗੰਧਾਰੀ", - "description": "Devgandhari conveys the feeling of satisfaction that comes from making an achievement. These emotions make the listener feel empowered to do more and diminish any feelings of laziness. This state of satisfaction is that of extreme happiness and contentment, and leaves the listener with the feeling of being in paradise.", "granth": 1, "ang": 527 }, @@ -93,7 +82,6 @@ "id": 11, "raag": "Bihagara", "gurmukhi": "ਬਿਹਾਗੜਾ", - "description": "The mood of Bihagara is that of extreme sadness and pain, which gives rise to the need to find peace and understanding. The heightened emotional state of sadness is only harnessed by the craving for truth and meaning.", "granth": 1, "ang": 537 }, @@ -101,7 +89,6 @@ "id": 12, "raag": "Vadhans", "gurmukhi": "ਵਡਹੰਸੁ", - "description": "Vadhans is based on Punjabi Folk music and is set in the traditions of ‘Ghoreea’, ‘Suhag’ and ‘Alohnian’. The feelings instilled by this Raag can be compared to those of a bride on the day of her wedding; she is happy and sad. Although she is going to her groom, who fills her with hope and joy, she is also sad to be leaving her family.", "granth": 1, "ang": 557 }, @@ -109,7 +96,6 @@ "id": 13, "raag": "Sorath", "gurmukhi": "ਸੋਰਠਿ", - "description": "Sorath conveys the feeling of having such a strong belief in something that you want to keep repeating the experience. In fact this feeling of certainty is so strong that you become the belief and live that belief. The atmosphere of Sorath is so powerful, that eventually even the most unresponsive listener will be attracted.", "granth": 1, "ang": 597 }, @@ -117,7 +103,6 @@ "id": 14, "raag": "Dhanasari", "gurmukhi": "ਧਨਾਸਰੀ", - "description": "Dhanasari is a sense of being completely carefree. This sensation arises from a feeling of contentment and ‘richness’ from the things we have in our lives and gives the listener a positive and optimistic attitude towards the future.", "granth": 1, "ang": 660 }, @@ -125,7 +110,6 @@ "id": 15, "raag": "Jaitsiri", "gurmukhi": "ਜੈਤਸਰੀ", - "description": "Jaitsiri conveys the heartfelt emotion of not being able to live without someone. Its mood is preoccupied with feelings of dependence and an overwhelming sense of desperately reaching out to be with that person.", "granth": 1, "ang": 696 }, @@ -133,7 +117,6 @@ "id": 16, "raag": "Todi", "gurmukhi": "ਟੋਡੀ", - "description": "Todi consists of both wisdom and humbleness. It is through these sentiments that the Raag takes a simple approach to explain things that we may be aware of, but fail to ponder upon. The Raag draws the attention of the listener to contemplate these things and gives an explanation with such conviction, that we are compelled to agree.", "granth": 1, "ang": 711 }, @@ -141,7 +124,6 @@ "id": 17, "raag": "Bairari", "gurmukhi": "ਬੈਰਾੜੀ", - "description": "Bairari stimulates the feeling of improving and continuing with a task, which has already been accomplished. It is an unmoving belief that what has been achieved is true and positive, which leads to a hunger and desire to progress to the next stage. Although there is immense confidence in the achievement, there is no conceit or vanity in the accomplishment.", "granth": 1, "ang": 719 }, @@ -149,7 +131,6 @@ "id": 18, "raag": "Tilang", "gurmukhi": "ਤਿਲੰਗ", - "description": "Tilang is full of the feeling of having tried hard to impress, but the feeling that the effort made has not been appreciated. However, the atmosphere is not of anger or upset, but of brooding, as the person you are trying to impress is very dear to you.", "granth": 1, "ang": 721 }, @@ -157,7 +138,6 @@ "id": 19, "raag": "Suhi", "gurmukhi": "ਸੂਹੀ", - "description": "Suhi is an expression of such devotion that the listener experiences feelings of extreme closeness and undying love. The listener is bathed in that love and genuinely comes to know what it means to adore.", "granth": 1, "ang": 728 }, @@ -165,7 +145,6 @@ "id": 20, "raag": "Bilaval", "gurmukhi": "ਬਿਲਾਵਲ", - "description": "Bilaval conveys the emotions of great happiness that come from having attained a goal or achieved an aim. It is an overwhelming feeling of fulfilment, satisfaction and joy, that is experienced when the accomplishments is very important and dear to you. The happiness felt is like laughing out loud, there is no planning or any ulterior motive; it’s just a natural expression of heartfelt happiness arising from a sense of achievement.", "granth": 1, "ang": 795 }, @@ -173,7 +152,6 @@ "id": 21, "raag": "Gond", "gurmukhi": "ਗੋਂਡ", - "description": "Gond is an expression of triumph, however these feelings are balanced and in perspective ensuring that there is also an aspect of humility. Therefore, although there is a sense of knowing and understanding the achievement, there is not a feeling of becoming obsessed or getting lost in the achievement itself.", "granth": 1, "ang": 859 }, @@ -181,7 +159,6 @@ "id": 22, "raag": "Ramkali", "gurmukhi": "ਰਾਮਕਲੀ", - "description": "The emotions in Ramkali are like those of a wise teacher disciplining their student. The student is aware of the pain of learning, but is still conscious of the fact that ultimately it is for the best. In this way Ramkali conveys the change from all that we are familiar with, to something we are certain will be better.", "granth": 1, "ang": 876 }, @@ -189,7 +166,6 @@ "id": 23, "raag": "Nat Narayan", "gurmukhi": "ਨਟ ਨਾਰਾਇਨ", - "description": "Nat Narayan consists of feelings of hastiness and impatience, however simultaneously there is stability and control. Although there is control in the Raag, there is still the impression that it is unbalanced and prone to topple at any time.", "granth": 1, "ang": 975 }, @@ -197,7 +173,6 @@ "id": 24, "raag": "Mali Gaura", "gurmukhi": "ਮਾਲੀ ਗਉੜਾ", - "description": "Mali Gaura conveys the confidence of an expert, whose knowledge is self-evident in both their outlook and actions. This knowledge is learned through experience and therefore creates an air of ‘coolness’. However, this sense of ‘coolness’ is an aspect of true happiness because you have learned how to manage things with expertise and skill.", "granth": 1, "ang": 984 }, @@ -205,7 +180,6 @@ "id": 25, "raag": "Maru", "gurmukhi": "ਮਾਰੂ", - "description": "Maru was traditionally sung on the battlefield in preparation for war. This Raag has an aggressive nature, which creates an inner strength and power to express and emphasise the truth, regardless of the consequences. Maru’s nature conveys the fearlessness and strength that ensures the truth is spoken, no matter what the cost.", "granth": 1, "ang": 889 }, @@ -213,7 +187,6 @@ "id": 26, "raag": "Tukhari", "gurmukhi": "ਤੁਖਾਰੀ", - "description": "Tukhari conveys the soul’s strong ambition to highlight the greatness of The Creator to the mind. This goal is of paramount importance to the soul and it will therefore, not give up even if stubborn mind is unresponsive. This Raag illustrates the soul’s focus on its goal, by conveying its message to the mind directly and then adopting a softer approach. The feelings of this Raag are dominated by the soul’s burning desire to convince the mind to follow its plan of enlightenment and hence becoming one with Akaal (God).", "granth": 1, "ang": 1107 }, @@ -221,15 +194,6 @@ "id": 27, "raag": "Kedara", "gurmukhi": "ਕੇਦਾਰਾ", - "description": "Kedara expresses and makes the mind aware of the true character and nature of the soul. It conveys the emotions of honesty, integrity and truthfulness in a practical and caring way. This approach highlights the soul’s character and is memorable, so that the mind is made aware, without arousing cynicism.", - "granth": 1, - "ang": 1118 - }, - { - "id": 28, - "raag": "Bhairao", - "gurmukhi": "ਭੇਰੳ", - "description": "Bhairao embodies the soul’s faith and heartfelt devotion towards The Creator. It is a kind of fanaticism, where there is a feeling of not being aware or caring about anything else. The emotions conveyed are those of contentment and of being absorbed in a steadfast belief or faith. In this Raag, the soul is relaying the happiness that the mind could potentially experience if it joined in with this devotion.", "granth": 1, "ang": 1125 }, @@ -237,7 +201,6 @@ "id": 29, "raag": "Basant", "gurmukhi": "ਬਸੰਤੁ", - "description": "Basant denotes the changing of the season and the newness of spring. This Raag encourages the mind to brush away its selfishness, just like spring-cleaning removes all the cobwebs and creates a fresh start. There are feelings of hope and expectation of a new beginning and the start of a new cycle. However, these emotions are not dependent on the physical change of the season, but are an encouragement of an internal effort to change.", "granth": 1, "ang": 1168 }, @@ -245,7 +208,6 @@ "id": 30, "raag": "Sarang", "gurmukhi": "ਸਾਰੰਗ", - "description": "Sarangs character is soothing and has the ability to extinguish the minds smouldering selfishness and negative nature. The emotions of Sarang quench the minds burning desires, by expressing and highlighting the souls pure and true thoughts. This is a positive and fulfilling change.", "granth": 1, "ang": 1197 }, @@ -253,7 +215,6 @@ "id": 31, "raag": "Malhar", "gurmukhi": "ਮਲਾਰ", - "description": "Malhar is a communication of feelings from the soul, to show the mind how to become cool and refreshed. The mind is always burning with the desire to reach its goals quickly and without effort, however the emotions conveyed in this Raag are able to bring composure and fulfilment to the mind. It is able to bring the mind into this calmness, bringing a sense of satisfaction and contentment.", "granth": 1, "ang": 1254 }, @@ -261,7 +222,6 @@ "id": 32, "raag": "Kaanara", "gurmukhi": "ਕਾਨੜਾ", - "description": "Kaanara invokes feelings of being overcome by a personality, which is so impressive that its character is difficult to stop thinking about. The personality conveyed has a magnetism, which makes you think of them as your own and is able to win you over with its remarkable qualities and outlook.", "granth": 1, "ang": 1294 }, @@ -269,7 +229,6 @@ "id": 33, "raag": "Kalian", "gurmukhi": "ਕਲਿਆਨ", - "description": "Kalian has a forceful, yet flexible nature. It conveys a desire for something and a resolve to attain it, by whatever means possible. Although determined in its desire, Kalian sometimes uses an accommodating approach and at other times has an aggressive approach, in order to reach its goal. This Raag has a determined, forceful, yet persuasive character, through which it fulfils its desire.", "granth": 1, "ang": 1319 }, @@ -277,7 +236,6 @@ "id": 34, "raag": "Parbhati", "gurmukhi": "ਪ੍ਰਭਾਤੀ", - "description": "The emotions conveyed in Parbhati are those of extreme devotion; there is an intense confidence and love for the entity it is devoted to. This affection arises from knowledge, common sense and a detailed study. There is therefore an understanding and a considered will to devote itself to that entity.", "granth": 1, "ang": 1327 }, @@ -285,7 +243,6 @@ "id": 35, "raag": "Jaijavanti", "gurmukhi": "ਜੈਜਾਵੰਤੀ", - "description": "Jaijavanti expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. An apt simile for this Raag is that of a king winning a battle, however he is then told that his son has perished on the battlefield. This Raag conveys a sense of having to put your duty first, no matter what your inner feelings may be. The duality of the emotions of joy and sorrow help to keep you stable and prevent you revelling in your own achievement.", "granth": 1, "ang": 1352 }, @@ -293,7 +250,6 @@ "id": 36, "raag": "Salok Sehshritee", "gurmukhi": "", - "description": "", "granth": 1, "ang": 0 }, @@ -301,7 +257,6 @@ "id": 37, "raag": "Fifth Mehl, Gaatha", "gurmukhi": "", - "description": "", "granth": 1, "ang": 0 }, @@ -309,7 +264,6 @@ "id": 38, "raag": "Phunhay Fifth Mehl", "gurmukhi": "", - "description": "", "granth": 1, "ang": 0 }, @@ -317,7 +271,6 @@ "id": 39, "raag": "Chaubolas Fifth Mehl", "gurmukhi": "", - "description": "", "granth": 1, "ang": 0 }, @@ -325,7 +278,6 @@ "id": 40, "raag": "Salok Kabeer Jee", "gurmukhi": "", - "description": "", "granth": 1, "ang": 1364 }, @@ -333,7 +285,6 @@ "id": 41, "raag": "Salok Fareed Jee", "gurmukhi": "", - "description": "", "granth": 1, "ang": 1377 }, @@ -341,7 +292,6 @@ "id": 42, "raag": "Svaiyay Mehl 5", "gurmukhi": "", - "description": "", "granth": 1, "ang": 0 }, @@ -349,7 +299,6 @@ "id": 43, "raag": "Salok Vaaran Tay Vadheek", "gurmukhi": "", - "description": "", "granth": 1, "ang": 1410 }, @@ -357,7 +306,6 @@ "id": 44, "raag": "Salok Mehl 9", "gurmukhi": "", - "description": "Salok Mahala 9 are the saloks by the ninth Sikh Guru, Guru Tegh Bahadur which form the concluding portion of the Guru Granth Sahib. They precede Guru Arjan's Mundavani and appear from page 1426 to 1429 of the Sikh current Guru Guru Granth. This composition consists of 57 (fifty seven) saloks and span just 4 pages of Gurbani. Each salok is a couplet consisting of 2 lines. This Bani was incorporated into the Guru Granth Sahib by Guru Gobind Singh, the last human Guru of the Sikhs.", "granth": 1, "ang": 1426 }, @@ -365,7 +313,6 @@ "id": 45, "raag": "Mundavani Fifth Mehla", "gurmukhi": "", - "description": "", "granth": 1, "ang": 0 }, @@ -373,7 +320,6 @@ "id": 46, "raag": "Raag Maala", "gurmukhi": "", - "description": "Raagmala literally means a beaded string of musical melodies. \"Mala\" means \"a beaded string\" and \"Raga\" is a \"musical composition\". It is the name given to the last composition in the Guru Granth Sahib appearing after Mundavani (riddle) and a Salok by Guru Arjan Dev. Like Japji Sahib, which appears at the beginning of the Guru Granth Sahib this composition has no heading to show the name of the author.", "granth": 1, "ang": 1429 }, @@ -381,7 +327,6 @@ "id": 47, "raag": "Vaaran", "gurmukhi": "", - "description": "", "granth": 2, "ang": 0 }, @@ -389,7 +334,6 @@ "id": 48, "raag": "Dasam Granth Sahib", "gurmukhi": "", - "description": "", "granth": 3, "ang": 0 }, @@ -397,7 +341,6 @@ "id": 49, "raag": "Uggardanti", "gurmukhi": "ਉਗ੍ਰਦੰਤੀ", - "description": "Ugardanti is a poetic composition written by Guru Gobind Singh, after the creation of the Khalsa Panth at Anandpur Sahib. The composition is present in Dasam Granth Bir Patna Sahib. The bani contains information about the creation of the Khalsa Panth, the dress code of the Sikhs, and is strictly against ritualism. Etymologically, Ugardanti is a feminine term made of two words, Ugar means Fierce and Danti means Tooth. One having Fierce Tooth, is called Ugardanti. Guru Gobind Singh is praying to Ugardanti, writing various attributes of Ugardanti and asking for blessings of prospering of new Panth which is free from hypocrisy, ritualism, casteism, avtarvada, human worship and worship only one immortal god. In Gurmat, Fierce Tooth is explained as Hukam/Command/Will Power(Shakti) of God which tears off and destroys enemies. In Bansavalinama Dasan Patshahian ka (1769), the author Kesar Singh Chibbar explains and quotes a few passages from Guru Gobind Singh's Ugardanti. In Hum Hindu Nahi(1898 ), the author Bhai Kahn Singh Nabha, believed that Ugardanti Bani was not written by Guru Gobind Singh but by Bhai Sukha Singh, a priest at Patna. Nihang Sikhs believe it to be written by Guru Gobind Singh and is part of their daily liturgy. It was and is read to inspire warriors to stand up for truth and righteousness in the face of tyranny and oppression. The Composition is divided into six verses called Chhands in which the syllables and the rhythm are arranged in a precisely controlled pattern. The Type of Chhandd used is Bhagvati Chhand.", "granth": 3, "ang": 0 }, @@ -405,7 +348,6 @@ "id": 50, "raag": "Amrit Keertan", "gurmukhi": "", - "description": "Amrit Kirtan is a collection of verses from Sri Guru Granth Sahib traditionally sung in the Sikh congregations. The poetry of the Sri Guru Granth Sahib is worthy of the highest consideration in singing the hymns. Music forms the basis of the rhythms and classification of the hymns of Sri Guru Granth Sahib. They follow a definite metrical system called raags. A raag in Indian classical music means a pattern of melodic notes. This form is not only used to preserve the originality of the composition, as the poetry written in this form is difficult to imitate, but more so to provide the divine experience through the medium of music and the sounds of God’s creation. The total number of ragas is 31. The gurus themselves invented some of those. Under each Raag, the hymns are arranged in different meters as Chaupadas and Ashtapadas; long poems include Chhands, Vars, and Bhagat verses. In the congregation, kirtan only of Gurbani (Guru Granth’s or Guru Gobind Singh’s hymns) and, for its elaboration, of the compositions of Bhai Gurdas and Bhai Nand Lal, may be performed.", "granth": 3, "ang": 0 }, @@ -413,7 +355,6 @@ "id": 51, "raag": "Gauri Deepaki", "gurmukhi": "ਗਉੜੀ ਦੀਪਕੀ", - "description": "In the Guru Granth Sahib, there is one shabad (hymn) under the title Raag Gauri Deepaki. In this shabad, Sohila is a lorrie (lullaby), which is narrating a kind of bedtime story.

This Raag generates feelings of warmth and security, just like a mother singing a lullaby to her child. Lullabies were traditionally used not only as a way of comforting a child, but also as a means in which mothers shared their past experiences and knowledge.

Similarly this Raag enlightens the listener through knowledge and experience and brings them to the realisation that to gain the truth, you must first realise that you are in darkness. This enlightened state gives the listener a feeling of certainty, fearlessness and a new hope for the future.", "granth": 1, "ang": 0 }, @@ -421,7 +362,6 @@ "id": 52, "raag": "Gauri Purbi", "gurmukhi": "ਗਉੜੀ ਪੂਰਬੀ", - "description": "Gauri Purbi contains strong emotions of experience along with feelings of preparation, in order to go further and to achieve more. Although there are confident feelings in this Raag, there is a sense of uncertainty as there is a heart felt request for help to achieve the desired goal. The sentiments of this Raag are well considered assessments of the circumstances, without excess confidence or extreme helplessness.", "granth": 1, "ang": 0 }, @@ -429,7 +369,6 @@ "id": 53, "raag": "Gauri Guarairi", "gurmukhi": "ਗਉੜੀ ਗੁਆਰੇਰੀ", - "description": "Gauri Guarairi contains a mixture of calmness and control in feeling, however the emotional message of the Raag is open and truthful in its approach. The emotions are conveyed in a direct and disciplined way. The balanced and focused character of this Raag is evident in its structure, in that its scale is restricted to ‘madh saptak’ (middle scale).", "granth": 1, "ang": 0 }, @@ -437,7 +376,6 @@ "id": 54, "raag": "Gauri Dakhani", "gurmukhi": "ਗਉੜੀ ਦਖਣੀ", - "description": "Gauri Dakhani has a similar nature to Gauri; however, the South Indian style of this Raag, including the taal (rhythm) highlights the strict and disciplined aspect of Gauri.", "granth": 1, "ang": 0 }, @@ -445,7 +383,6 @@ "id": 55, "raag": "Gauri Chayti", "gurmukhi": "ਗਉੜੀ ਚੇਤੀ", - "description": "Gauri Chayti generates a deliberate sensation of fear by creating a conscious reminder of what may occur if we loose the things we take for granted. It awakens feelings of panic and regret, by exposing the listener to the possible outcome of what might happen should this warning not be heeded.", "granth": 1, "ang": 0 }, @@ -453,7 +390,6 @@ "id": 56, "raag": "Gauri Bairagan", "gurmukhi": "ਗਉੜੀ ਬੈਰਾਗਣਿ", - "description": "As the title suggests Gauri ‘Bairagan’ is a Raag of bairaag (sadness of separation). The listener is left with an intense feeling of sorrow and emptiness. However, the balance of Raag Gauri ensures that this sense of loss and sadness motivates the listener to try to discover exactly what is missing. Gauri Bairagan therefore evokes feelings of sadness, which become a lesson, as opposed to creating a sense of depression.", "granth": 1, "ang": 0 }, @@ -461,7 +397,6 @@ "id": 57, "raag": "Gauri Purbi Deepaki", "gurmukhi": "ਗਉੜੀ ਪੂਰਬੀ ਦੀਪਕੀ", - "description": "The tone of this Raag is that of self-assessment with a positive attitude of improvement. It creates an atmosphere of constantly progressing with confidence and experience, as well as instilling a positive belief of enduring achievement.", "granth": 1, "ang": 0 }, @@ -469,7 +404,6 @@ "id": 58, "raag": "Gauri Malva", "gurmukhi": "ਗੌੜੀ ਮਾਲਵਾ", - "description": "Gauri Malva is based on Punjabi Folk music and is influenced by the ‘Malva’ region of Punjab and the Malvaee hospitality. The nature of this Raag can be compared to the thoughtful, very serious, yet caring advice given by a true friend. The Raag persuades the listener with such truth and friendliness, that it is impossible to disagree, even if the listener does not like the advice being given.", "granth": 1, "ang": 0 }, @@ -477,7 +411,6 @@ "id": 59, "raag": "Gauri Mala", "gurmukhi": "ਗਉੜੀ ਮਾਲਾ", - "description": "The essence of Gauri Mala is a combination of good, pure, true and positive thoughts added together one by one. There is a feeling of having worked hard and an increased energy, which encourages more devotion towards the truth.", "granth": 1, "ang": 0 }, @@ -485,7 +418,6 @@ "id": 60, "raag": "Gauri Sorath", "gurmukhi": "ਗਉੜੀ ਸੋਰਠਿ", - "description": "Gauri Sorath has a definite feeling of attraction and appeal, which woos the listener’s attention to the subject matter or target. However, the feelings of being enticed and lured are balanced with a sense of duty and realisation, of needing to obey the warning given.", "granth": 1, "ang": 0 }, @@ -493,7 +425,6 @@ "id": 61, "raag": "Aasaa Kafi", "gurmukhi": "ਆਸਾ ਕਾਫੀ", - "description": "Aasaa Kafi has a carefree and self-assured nature. It is confident in its outlook and does not hold onto any false hopes. The feelings of boundless energy, along with the confidence gained by previous experiences, create an inspirational atmosphere for the listener.", "granth": 1, "ang": 0 }, @@ -501,7 +432,6 @@ "id": 62, "raag": "Asavari", "gurmukhi": "ਆਸਾਵਰੀ", - "description": "Asavari has an atmosphere of real energy and enthusiasm, which encourages the listener to complete the necessary tasks. However, the mood of this Raag is genuine and there is therefore no pretence of showing off its hardworking nature.", "granth": 1, "ang": 0 }, @@ -509,7 +439,6 @@ "id": 63, "raag": "Aasaa Asavari", "gurmukhi": "ਆਸਾ ਆਸਾਵਰੀ", - "description": "Aasaa Asavari provides a sense of assurance to achieve your desired goal with courage, love and confidence. It is a precise direction toward achieving a set outcome, with confidence and positivity fuelled with a burst of energy. The nature of this raag is to produce a strong sense of capability in the listener, converting energy into passion with the motivation to repeat this positivity. The strength of this raag churns out the best of a personality providing the individual with the necessary knowledge to bring thoughts into action.", "granth": 1, "ang": 0 }, @@ -517,7 +446,6 @@ "id": 64, "raag": "Vadhans Dakhani", "gurmukhi": "ਵਡਹੰਸੁ ਦਖਣੀ", - "description": "The mood of this Raag is very similar to Raag Vadhans, however due to its South Indian style of expression, it is more disciplined in its nature.", "granth": 1, "ang": 0 }, @@ -525,7 +453,6 @@ "id": 65, "raag": "Tilang Kafi", "gurmukhi": "ਤਿਲੰਗ ਕਾਫੀ", - "description": "As with Tilang, this Raag contains the feeling that your effort has been unappreciated, when trying to impress someone. However, in contrast to Raag Tilang, the individual is unperturbed by this feeling. This differentiating aspect arises from the deep love for the person concerned, which prevents the individual from becoming annoyed at the apparent lack of approval.", "granth": 1, "ang": 0 }, @@ -533,7 +460,6 @@ "id": 66, "raag": "Suhi Kafi", "gurmukhi": "ਸੂਹੀ ਕਾਫੀ", - "description": "Suhi Kafi expresses feelings of deep love and security, like that of a child and a parent. A young child feels secure and safe, when surrounded in their parents love. The love felt is so strong that there are no worries and the individual gains a certain confidence from being so secure.", "granth": 1, "ang": 0 }, @@ -541,7 +467,6 @@ "id": 67, "raag": "Suhi Lalit", "gurmukhi": "ਸੂਹੀ ਲਲਿਤ", - "description": "Suhi Lalit contains feelings of emotional resolve. However, there is also a volatile characteristic in that although there is love in these emotions, there is a willingness to step over the line to attain the goal.", "granth": 1, "ang": 0 }, @@ -549,7 +474,6 @@ "id": 68, "raag": "Bilaval Dakhani", "gurmukhi": "ਬਿਲਾਵਲ ਦਖਣੀ", - "description": "This Raag is full of energy, which is shown by the fast rhythm and singing of the South Indian style of expression. The feelings of Bilaval Dakhani are of confidence and happiness, which arises from having achieved the unachievable.", "granth": 1, "ang": 0 }, @@ -557,7 +481,6 @@ "id": 69, "raag": "Bilaval Gond", "gurmukhi": "ਬਿਲਾਵਲ ਗੋਂਡ", - "description": "Bilaval Gond consists of emotions of courage and conviction. The atmosphere created by the Raag is that of abstract happiness, however it is still disciplined enough to not be out of control. This Raag expresses its emotions poignantly, with insight and has a thoughtful strategy. It expresses feelings of confidence and happiness, but without any pride.", "granth": 1, "ang": 0 }, @@ -565,7 +488,6 @@ "id": 70, "raag": "Ramkali Dakhani", "gurmukhi": "ਰਾਮਕਲੀ ਦਖਣੀ", - "description": "The emotions created by Ramkali Dakhani are those of change from old to new and there is a surety that this alteration is advantageous. These feelings are highlighted and emphasised by the South Indian rhythm and style of expression.", "granth": 1, "ang": 0 }, @@ -573,7 +495,6 @@ "id": 71, "raag": "Nat", "gurmukhi": "ਨਟ", - "description": "Nat creates the impression of being wild and uncontrollable and appears extreme in its feeling. It conveys the feeling of being out of control and on the edge, however it returns from the brink, by reestablishing control and stability, and hence creating a sense of relief. This Raag uses its expertise in this way to create feelings of suspense.", "granth": 1, "ang": 0 }, @@ -581,7 +502,6 @@ "id": 72, "raag": "Maru Kafi", "gurmukhi": "ਮਾਰੂ ਕਾਫੀ", - "description": "Although Maru Kafi is forceful and blunt in its nature, it still expresses its emotions in a sweet and attractive way. This Raag is uncompromising in its nature, yet it retains the ability and charm to win the listener over with its relaxed and self-assured approach. As the listener, it makes you feel willing to listen even though the sentiments are harsh and direct.", "granth": 1, "ang": 0 }, @@ -589,7 +509,6 @@ "id": 73, "raag": "Maru Dakhani", "gurmukhi": "ਮਾਰੂ ਦਖਣੀ", - "description": "Maru Dakhani expresses feelings of truth and reality in an uncompromising and outspoken way, which is emphasised by the South Indian style of expression and taal.", "granth": 1, "ang": 0 }, @@ -597,7 +516,6 @@ "id": 74, "raag": "Basant Hindol", "gurmukhi": "ਬਸੰਤੁ ਹਿੰਡੋਲ", - "description": "Basant Hindol conveys the freshness and happiness of a new start and expresses the type of contentment, which comes from working hard to make a change. This Raag is full of hope and creates a sense of being at ease and being satisfied because a new chapter is beginning.", "granth": 1, "ang": 0 }, @@ -605,7 +523,6 @@ "id": 75, "raag": "Kalian Bhopali", "gurmukhi": "ਕਲਿਆਨ ਭੋਪਾਲੀ", - "description": "Kalian Bhopali’s nature is direct and insistent. Just as in Kaliyaan, this Raag conveys the feeling of determination to fulfil its desires. However, in contrast it is not flexible in its approach, as the desired goal is tackled head-on and in a regimented fashion. There is no hesitation and it is only focused on its goal.", "granth": 1, "ang": 0 }, @@ -613,7 +530,6 @@ "id": 76, "raag": "Parbhati Bibhas", "gurmukhi": "ਪ੍ਰਭਾਤੀ ਬਿਭਾਸ", - "description": "Parbhati Bibhas expresses the feelings of compromise between the mind and the soul; a common understanding between the selfishness of the mind and the devotion of the soul evolves. The atmosphere created is like the calmness and serenity of daybreak, along with a sense of preparation for the day to unfold. The ‘partaal’ rhythm represents the change in the method, which is induced by compromise, however it also highlights the balance of concentration.", "granth": 1, "ang": 0 }, @@ -621,7 +537,6 @@ "id": 77, "raag": "Parbhati Dakhani", "gurmukhi": "ਪ੍ਰਭਾਤੀ ਦਖਣੀ", - "description": "The nature of Parbhati Dakhani is very similar to that of Parbhati, except that the feelings of devotion are more disciplined. This discipline arises from the South Indian style of expression of this Raag.", "granth": 1, "ang": 0 }, @@ -629,7 +544,6 @@ "id": 78, "raag": "Bibhas Parbhati", "gurmukhi": "ਬਿਭਾਸ ਪ੍ਰਭਾਤੀ", - "description": "Bibhas Parbhati has a self-assured character and has a sense of certainty, which arises from the knowledge gained through awareness. It conveys the wisdom achieved from learning, which inspires contentment. However, this wisdom is not arrogant, but is gentle in its persuasion because there is not a need to ‘show-off’ this knowledge, but a desire to share it, so the recipient is able to learn.", "granth": 1, "ang": 0 }, @@ -637,7 +551,6 @@ "id": 79, "raag": "Gauri Majh", "gurmukhi": "ਗਉੜੀ ਮਾਝ", - "description": "Gauri Majh is a well-planed emotional ‘act’, which reaches out to fulfil a yearning created by the Raag. This yearning is similar to that of Raag Majh’s regret, hope and anticipation, however in this instance it is created deliberately in order to sway the listener to react to the longing.", "granth": 1, "ang": 0 } diff --git a/assets/docs/md/authors/0.md b/assets/docs/md/authors/0.md new file mode 100644 index 0000000..e59937b --- /dev/null +++ b/assets/docs/md/authors/0.md @@ -0,0 +1,3 @@ +# None + +There is no author associated with this line, as it may be the preamble to the hymn. \ No newline at end of file diff --git a/assets/docs/md/authors/1.md b/assets/docs/md/authors/1.md new file mode 100644 index 0000000..65b2267 --- /dev/null +++ b/assets/docs/md/authors/1.md @@ -0,0 +1,3 @@ +# Guru Nanak Dev (ਗੁਰੂ ਨਾਨਕ ਦੇਵ) + +Guru Nanak Dev Ji [1469 - 1539] was the first Guru of the Sikhs born in a village named Talwandi which is now called Nankana Sahib and is in Pakistan. As a child Guru Nanak spent most of his time in isolation and meditation. He slept only for a few hours, ate small quantities of food and spoke little. One day he disappeared while having his morning bath and reappeared 3 days later and said: There is no Hindu and there is no Muslim. By saying this he meant that titles were meaningless because all of humanity is one and the light of God shines within everyone. diff --git a/assets/docs/md/authors/10.md b/assets/docs/md/authors/10.md new file mode 100644 index 0000000..15ba68a --- /dev/null +++ b/assets/docs/md/authors/10.md @@ -0,0 +1,3 @@ +# Saint Trilochan (ਭਗਤ ਤ੍ਰਿਲੋਚਨ) + +Saint Trilochan [1267 - ?], a name which literally means three-eyed, the seer of the present, past and future, was a celebrated saint of the Hindu Vaishya caste. There are four hymns by him in the Guru Granth Sahib, in which he has condemned superficial rituals and pretentious renunciation and stressed the holiness of the heart. Saint Trilochan always gave more importance to love and devotion in preference to selfish interests. He believed that he who is always occupied with problems relating to wealth and property would never become happy. He always served the saints at his residence with the utmost dedication and humility. The exact place of birth of Bhagat Trilochan is not known. Some historians claim its Barsi near Sholapur, Maharastra and others claim its Uttar Pradesh. But it is an accepted fact that he spent most of his time in Maharashtra. The fact that two hymns of Saint Kabir constitute a dialogue between Saint Namdev and Saint Trilochan shows that these two saints were friends, and in fact it was Namdev who introduced Trilochan to his Guru who showed him the way to God. diff --git a/assets/docs/md/authors/11.md b/assets/docs/md/authors/11.md new file mode 100644 index 0000000..3b20f83 --- /dev/null +++ b/assets/docs/md/authors/11.md @@ -0,0 +1,3 @@ +# Saint Jaidev (ਭਗਤ ਜੈਦੇਵ) + +Saint Jaidev [circa 1200], also known as Jayadeva, whose two hymns are found in the Guru Granth Sahib is a celebrated Sanskrit poet who also wrote the Gita Govinda which describes the relationship between Krishna, Radha and the Gopis of Vrindavana. His father was Bhoidev, a Brahmin, and his mother Bamdevi. Saint Jaidev was born in Kenduli Sasan village, in the Prachi valley, Khurda district in Orissa, India. He became the most famous of the five distinguished poets, known as the five jewels, that lived in the court of Lakshman Sen, King of Bengal, who erected a monument in their honour. diff --git a/assets/docs/md/authors/12.md b/assets/docs/md/authors/12.md new file mode 100644 index 0000000..37a3f94 --- /dev/null +++ b/assets/docs/md/authors/12.md @@ -0,0 +1,3 @@ +# Saint Kabir (ਭਗਤ ਕਬੀਰ) + +Saint Kabir [1440 - 1518] was a Muslim mystic born in Varanasi in India, whose 541 hymns are included in the Guru Granth Sahib. His writings about God are full of love and devotion, very direct and striking in appeal. The birth of Kabir remains to this day shrouded in mystery and legend. Authorities disagree on both when he was born and who his parents were. One legend proclaims a divine virginal birth. His mother was reputed to have been of the Brahman caste and to have become pregnant after a visit to a Hindu shrine. Because she was unwed, she abandoned Kabir, who was found and adopted by a Muslim weaver. That his early life began as a Muslim there is no doubt, although he later became influenced by the Hindu ascetic, Ramananda, who he accepted as his Guru. diff --git a/assets/docs/md/authors/13.md b/assets/docs/md/authors/13.md new file mode 100644 index 0000000..3a14278 --- /dev/null +++ b/assets/docs/md/authors/13.md @@ -0,0 +1,3 @@ +# Saint Namdev (ਭਗਤ ਨਾਮਦੇਵ) + +Saint Namdev [1270 - 1350] was born in the state of Maharashtra village of Naras-Vamani, in Satara district (presently called Narsi Namdev). His father was called Damshet, a tailor, and his mother was called Gonabai. The main spiritual message of Saint Namdev, just like the Sikh Gurus, was to emphasise the importance of living a married householder life and that through marriage, living in the world and meditating on God, one could attain enlightenment. Sixty-one of his hymns are included in the Guru Granth Sahib. He was also a close friend of Saint Trilochan. diff --git a/assets/docs/md/authors/14.md b/assets/docs/md/authors/14.md new file mode 100644 index 0000000..4e5aa90 --- /dev/null +++ b/assets/docs/md/authors/14.md @@ -0,0 +1,3 @@ +# Saint Pipa (ਭਗਤ ਪੀਪਾ) + +Saint Pipa [1425 - ?], one of whose hymns is incorporated in the Guru Granth Sahib, was a prince who renounced his throne in search of enlightenment. He was born at Gagaraun, in the present day Jhalawar district of Rajasthan and was a devotee of the Goddess Bhavani whose idol was enshrined in a temple within the premises of his palace. The Goddess, it is said, once told him in a dream to visit Varanasi and receive initiation from Saint Ramanand. Pipa went to Varanasi, but Saint Ramanand refused to see him in his gaudy robes. Pipa cast off his royal apparel and put on poor ones, after which he was initiated and began to live like an ascetic. At his invitation, Saint Ramanand visited Gagaraun, and King Pipa lent his shoulder to the palanquin carrying Ramanand in a procession. Pipa now finally decided to give up his throne and retire to a life of seclusion and meditation. He went to Dwarka where Lord Krishna, after the Mahabharata, had spent the last years of his life. All the twelve wives of Pipa insisted on accompanying him, but he took along only one, named Sita, who had a spiritual inclination. He selected a cave for his residence from where he daily walked through a tunnel to the temple of Lord Krishna on the sea coast. The temple is still a popular place of pilgrimage and a fair is held there annually in the memory of Saint Pipa. diff --git a/assets/docs/md/authors/15.md b/assets/docs/md/authors/15.md new file mode 100644 index 0000000..e4af273 --- /dev/null +++ b/assets/docs/md/authors/15.md @@ -0,0 +1,3 @@ +# Saint Parmanand (ਭਗਤ ਪਰਮਾਨੰਦ) + +Saint Parmanand [1483 - ?], a Hindu Maharashtrian poet, one of whose hymns is included in the Guru Granth Sahib, is believed to have resided at Barsi, situated to the north of Pandharpur, in present day Sholapur district of Maharashtra. Parmanand was a devotee of Lord Vishnu and wrote his songs in the Indian classical melody of Sarang, which is the mood of a rain bird who is ever thirsty for a rain drop. Similarly, Saint Parmanand always longed for God whom he worshipped in the Vaishnavite manifestation of Lord Krishna. He used to make, it is said, seven hundred bows daily to God on his uncovered, often bleeding, knees. diff --git a/assets/docs/md/authors/16.md b/assets/docs/md/authors/16.md new file mode 100644 index 0000000..01b6ff2 --- /dev/null +++ b/assets/docs/md/authors/16.md @@ -0,0 +1,3 @@ +# Saint Ravidas (ਭਗਤ ਰਵਿਦਾਸ) + +Saint Ravidas [1377 - 1528] was a Hindu shoemaker of the Chamar caste, who taught that a person is distinguished not by their caste, wealth or social status but instead by their actions. Meerabai, the famous saint poetess is also said to have adopted Saint Ravidas as her Guru. diff --git a/assets/docs/md/authors/17.md b/assets/docs/md/authors/17.md new file mode 100644 index 0000000..9bafdc5 --- /dev/null +++ b/assets/docs/md/authors/17.md @@ -0,0 +1,3 @@ +# Saint Ramanand (ਭਗਤ ਰਾਮਾਨੰਦ) + +Saint Ramanand [1400 - 1476], also known as Swami Ramananda, was a Hindu Vaishnava born in Allahabad, Uttar Pradesh, who lived in the holy city of Varanasi and pioneered the Bhakti devotional movement. When Saint Ramanand was as young as twelve, he left home and decided to become a Sannyasi and live an ascetic, celibate life. Saint Ramanand was known for accepting disciples of all castes, and all his twelve disciples are very famous: Anantananda, Bhavananda, Saint Dhanna, Saint Kabir, Nabha, Naraharyanda, Saint Pipa, Saint Ravidas, Saint Sain, Sukhanada, Ranka and Tulsidas, many of whose writings are included in the Guru Granth Sahib. However, only one hymn of Saint Ramanand himself is included in the Guru Granth Sahib on Page 1195. diff --git a/assets/docs/md/authors/18.md b/assets/docs/md/authors/18.md new file mode 100644 index 0000000..33cadb2 --- /dev/null +++ b/assets/docs/md/authors/18.md @@ -0,0 +1,3 @@ +# Saint Surdas (ਭਗਤ ਸੂਰਦਾਸ) + +Saint Surdas [1529 - ?], whose original name was Madan Mohan, is said to have been born in a high ranking Hindu Brahmin family. As he grew up, he gained proficiency in the arts of music and poetry for which he had a natural talent. He soon became a celebrated poet, singing with deep passion lyrics of divine love. He attracted the attention of Moghul Emperor Akbar who appointed him governor of Sandila, but his heart lay elsewhere. He renounced the world and took to the company of holy men dedicating himself solely to God. He died at Benares. A shrine in the vicinity of the city honours his memory. The Guru Granth Sahib contains one hymn by Saint Surdas in the Indian classical melody of Sarang. diff --git a/assets/docs/md/authors/19.md b/assets/docs/md/authors/19.md new file mode 100644 index 0000000..b67cc22 --- /dev/null +++ b/assets/docs/md/authors/19.md @@ -0,0 +1,3 @@ +# Saint Sadhana (ਭਗਤ ਸਾਧਨਾ) + +Saint Sadhana [12th - 13th Century], was a butcher by profession who, through his devotion, had gained enlightenment. He is believed to have been born at the village of Sehvan, in Sindh and cremated at Sirhind, in the Punjab, where even today a tomb stands in his memory. Saint Sadhana is believed to have lived during the time of Saint Namdev. Saint Sadhana lived by selling meat, though, it is believed, he never butchered the animals himself. His only hymn in the Guru Granth Sahib written in melody Bilaval indicates his belief that all evil deeds of a man - or even a butcher - could be washed away by devoted meditation on the Name of God. diff --git a/assets/docs/md/authors/2.md b/assets/docs/md/authors/2.md new file mode 100644 index 0000000..b170778 --- /dev/null +++ b/assets/docs/md/authors/2.md @@ -0,0 +1,3 @@ +# Guru Angad Dev (ਮਃ ੨) + +Guru Angad Dev [1504 - 1552], originally called Bhai Lehna, was born at Harike, a small village in the Ferozepur district. His father was named Pheru and worked as a small businessman. Bhai Lehna always did everything that Guru Nanak asked, which is why Guru Nanak renamed Bhai Lehna as his Ang or limb of his body. Guru Angad Dev simplified the old Punjabi characters into a new alphabet, called Gurmukhi. He thus gave the people the gift of literature. He took great interest in the education of children and opened several schools. diff --git a/assets/docs/md/authors/20.md b/assets/docs/md/authors/20.md new file mode 100644 index 0000000..f6e2456 --- /dev/null +++ b/assets/docs/md/authors/20.md @@ -0,0 +1,3 @@ +# Saint Sain (ਭਗਤ ਸੈਣ) + +Saint Sain [14th - 15th Century], whose one hymn has been included in the Guru Granth Sahib, is counted among the disciples of the famous Saint Ramanand. Guru Arjan Dev, the fifth Sikh Guru, says in one of his hymns that Sain means a devotee with rare devotion. In another hymn, he refers to him as an example of dedication to the service of holymen. Saint Ravidas in one his hymns, ranks Saint Sain as the same as Saint Namdev, Saint Kabir, Saint Trilochan and Saint Sadhana in terms of virtue. All accounts agree that Sain was a barber, some stating that he served at the court of Raja Ram, King of Rewa, then called Bandhavgarh, while others hold that he was attached to the court of the ruler of Bidar in South India. diff --git a/assets/docs/md/authors/21.md b/assets/docs/md/authors/21.md new file mode 100644 index 0000000..7870bf7 --- /dev/null +++ b/assets/docs/md/authors/21.md @@ -0,0 +1,3 @@ +# Saint Sheikh Farid (ਭਗਤ ਸੇਖ ਫਰੀਦ) + +Saint Sheikh Farid [? - 1552], also known as Baba Farid, Sheikh Brahm or Farid Sani, was the tenth successor to the famous Fariduddin Shakarganj [1173 - 1266], a Muslim Sufi of the Chishti Sufi order who was the first major poet of the Punjabi language. Saint Sheikh Farid met Guru Nanak Dev in Pakpattan, where a disciple of the Sheikh had overheard Guru Nanak, along with his two disciples Bhai Bala and Mardana, singing hymns about God. The disciple went to his master, Saint Sheikh Farid, and at once upon hearing the hymn from his disciple he set off to meet Guru Nanak himself, which gave him the peace and joy he was looking for. diff --git a/assets/docs/md/authors/22.md b/assets/docs/md/authors/22.md new file mode 100644 index 0000000..6930e48 --- /dev/null +++ b/assets/docs/md/authors/22.md @@ -0,0 +1,3 @@ +# Bhai Gurdaas Ji (ਭਾਈ ਗੁਰਦਾਸ) + +Bhai Gurdas (1551- 23 September 16371) is a much honoured Sikh scholar, missionary, and literary master who is also respected for his Sikh way of life. He was a leading figure in Sikhism who enjoyed the company of Guru Arjan, the fifth Sikh Guru. It was under the supervision of the fifth Sikh Guru that he inscribed the first copy of Sikh Scripture, then called The Adi Granth, which is now respected as the perpetual Guru of the Sikhs and is central of the Sikh religion. He was also responsible for various writings in his own right which have gained much respect in the Sikh community. His Varan have been referred to by Guru Arjan as the \"Key\" (\"khungee\") to the Guru Granth Sahib. Bhai sahib is also responsible for composing the composition known as \"Kabit Savaiye Bhai Gurdas\". diff --git a/assets/docs/md/authors/3.md b/assets/docs/md/authors/3.md new file mode 100644 index 0000000..b744835 --- /dev/null +++ b/assets/docs/md/authors/3.md @@ -0,0 +1,3 @@ +# Guru Amar Das (ਮਃ ੩) + +Guru Amar Das [1479 - 1574] was the third Guru of the Sikhs, born at Basarke in Amritsar. His father, Tej Bhan and mother Bakht Kaur were orthodox Hindus. He became the oldest Sikh Guru. Guru Amar Das put an end to tradition of sati, the burning of the widow on her husbands funeral pyre, and encouraged the remarriage of widows. He opened 22 preaching centres called Manjees and founded the town of Goindwal as the headquarters for the Sikh community. diff --git a/assets/docs/md/authors/30.md b/assets/docs/md/authors/30.md new file mode 100644 index 0000000..19e508e --- /dev/null +++ b/assets/docs/md/authors/30.md @@ -0,0 +1,3 @@ +# Poet Bhalh (ਭਲੇ) + +Poet Bhalh [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Bhalh wrote one hymn in praise of Guru Amar Das, the third Guru. Poet Bhalh and Poet Salh were brothers, both sons of Sokha. diff --git a/assets/docs/md/authors/31.md b/assets/docs/md/authors/31.md new file mode 100644 index 0000000..1e4b82e --- /dev/null +++ b/assets/docs/md/authors/31.md @@ -0,0 +1,3 @@ +# Bhai Balwand and Satta (ਬਲਵੰਡਿ ਤੇ ਸਤਾ) + +Bhai Balwand and Satta [15th - 16th Century], were brothers and Rebab players who played music for Guru Arjan Dev, the fifth Sikh Guru, primarily in the Indian classical melody of Ramkali. Bhai Balwand, also known as Rai Balvand, was by birth a Mirasi, part of a community of genealogists for families in Northern India and Pakistan. diff --git a/assets/docs/md/authors/32.md b/assets/docs/md/authors/32.md new file mode 100644 index 0000000..5c541fc --- /dev/null +++ b/assets/docs/md/authors/32.md @@ -0,0 +1,3 @@ +# Baba Sundar (ਬਾਬਾ ਸੁੰਦਰ) + +Baba Sundar, celebrated for his six stanza composition, the Ramkali Sadu, incorporated into the Guru Granth Sahib, was the great grand son of Guru Amar Das. His father, Anand Das son of Baba Mohri, was a man of a devotion. Sundar grew up in an environment of spirituality and developed deep affection and reverence for Guru Amar Das, his great grandfather. The theme of his poem, Sadu meaning call, is the ascension of Guru Amar Das, described in terms of his having been recalled by God. The hymn states how Guru Amar Das had completely surrendered himself to the Will of the Supreme Being, ever remaining absorbed in meditation on the Name of God, how he had, through the favour of Gurus, attained the office of Guru, how he, at the time of his departure, had appointed Guru Ram Das as his successor and how he had told his family to abide by the Will of the Lord and not to weep for him after his death. diff --git a/assets/docs/md/authors/33.md b/assets/docs/md/authors/33.md new file mode 100644 index 0000000..5f46cdd --- /dev/null +++ b/assets/docs/md/authors/33.md @@ -0,0 +1,3 @@ +# Poet Gayand (ਗਯੰਦ) + +Poet Gayand [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Gayand wrote thirteen hymns in praise of Guru Ram Das, the fourth Guru. Poet Gayand also uses the popular Sikh mantra Vaheguru for the first time in the entire Guru Granth Sahib. He was the son of Chokha, and brother of Poet Kalshar. diff --git a/assets/docs/md/authors/34.md b/assets/docs/md/authors/34.md new file mode 100644 index 0000000..9c01241 --- /dev/null +++ b/assets/docs/md/authors/34.md @@ -0,0 +1,3 @@ +# Poet Harbans (ਹਰਿਬੰਸ) + +Poet Harbans [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Harbans wrote two hymns in praise of Guru Arjan Dev, the fifth Guru. The importance of his hymns lies in describing the time when Guru Ram Das, the fourth Guru, left for his heavenly abode and Guru Arjan Dev succeeded his spiritual throne. diff --git a/assets/docs/md/authors/35.md b/assets/docs/md/authors/35.md new file mode 100644 index 0000000..e61ce51 --- /dev/null +++ b/assets/docs/md/authors/35.md @@ -0,0 +1,3 @@ +# Poet Bhika (ਭਿਖਾ) + +Poet Bhika [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Bhika, was originally a Brahmin poet of Sultanpur Lodhi, in present day Kapurthala district of Punjab, who joined the congregation of Guru Amar Das at Goindwal, and composed two hymns in praise of the third Guru. He later became a Sikh, receiving the rites of initiation at the hands of Guru Amar Das, and lived up to the time of Guru Arjan Dev, the fifth Sikh Guru. Poet Mathura, Poet Jalap and Poet Kirat were his sons. diff --git a/assets/docs/md/authors/37.md b/assets/docs/md/authors/37.md new file mode 100644 index 0000000..68cf95d --- /dev/null +++ b/assets/docs/md/authors/37.md @@ -0,0 +1,3 @@ +# Poet Jalap (ਜਲ੍ਯ-ਜਾਲਪ) + +Poet Jalap [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Jalap also wrote under the name of Jalh, and wrote 5 hymns, all in praise of Guru Amar Das, the third Sikh Guru. He was the son of Poet Bhika, and brother of Poets Mathura and Kirat. diff --git a/assets/docs/md/authors/38.md b/assets/docs/md/authors/38.md new file mode 100644 index 0000000..88c2d4a --- /dev/null +++ b/assets/docs/md/authors/38.md @@ -0,0 +1,3 @@ +# Poet Kirat (ਕੀਰਤੁ) + +Poet Kirat [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Kirat, son of Poet Bhika, besides being a poet, had the privilege of being an enrolled soldier in the army of Guru Hargobind, the sixth Sikh Guru. When it came to writing hymns he chose to praise Guru Amar Das and Guru Ram Das, writing four praises each for them, totalling eight. He was the son of Poet Bhika, and brother of Poets Mathura and Jalap. diff --git a/assets/docs/md/authors/4.md b/assets/docs/md/authors/4.md new file mode 100644 index 0000000..9ae8669 --- /dev/null +++ b/assets/docs/md/authors/4.md @@ -0,0 +1,3 @@ +# Guru Ram Das (ਮਃ ੪) + +Guru Ram Das [1534 - 1581] is the fourth Guru of the Sikhs, whose original name was Jetha and who was born in Lahore. Bhai Jetha married Bibi Bhani who was the daughter of the third Guru, Guru Amar Das. Guru Ram Das founded the city of Ram Das Pur, now called Amritsar, and built the central Sikh temple, the Harimandir Sahib or Golden Temple. He initiated the concept of community voluntary service known as Kar Seva. diff --git a/assets/docs/md/authors/40.md b/assets/docs/md/authors/40.md new file mode 100644 index 0000000..d45715a --- /dev/null +++ b/assets/docs/md/authors/40.md @@ -0,0 +1,3 @@ +# Poet Kalshar (ਕਲ ਸਹਾਰ) + +Poet Kalshar [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Kalshar, who is also known as Kalh and Talh, was the leader of the poets, and taking into consideration the total contribution of hymns by the poets which is 123, Poet Kalshar alone has contributed a considerable 54 hymns. Poet Kalshar wrote ten hymns in praise of Guru Nanak Dev, ten in praise of Guru Angad Dev, nine in praise of Guru Amar Das, thirteen in praise of Guru Ram Das and twelve in praise of Guru Arjan Dev. Also, he was the son of Chokha, and brother of Poet Gayand. diff --git a/assets/docs/md/authors/42.md b/assets/docs/md/authors/42.md new file mode 100644 index 0000000..5831ebd --- /dev/null +++ b/assets/docs/md/authors/42.md @@ -0,0 +1,3 @@ +# Poet Mathura (ਮਥੁਰਾ) + +Poet Mathura [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Mathura wrote seven hymns in praise of Guru Ram Das, the fourth Guru and seven hymns in praise of Guru Arjan Dev, the fifth Guru. He was the son of Poet Bhika, and brother of Poets Jalap and Kirat. diff --git a/assets/docs/md/authors/43.md b/assets/docs/md/authors/43.md new file mode 100644 index 0000000..22af7dd --- /dev/null +++ b/assets/docs/md/authors/43.md @@ -0,0 +1,3 @@ +# Bhai Mardana (ਮਰਦਾਨਾ) + +Bhai Mardana [1459 - 1534] was the first follower and life-long companion of Guru Nanak Dev, the first Sikh Guru, and played the Rabab, a stringed instrument. He was with Guru Nanak in all of his journeys across India and Asia. Mardana was a Muslim, born to a Mirasi couple, Badra and Lakkho, of Rai Bhoi di Talwandi, now Nankana Sahib of Pakistan. Mardana was named by his parents as Marjana meaning, is going to die, as all his previous siblings had died and he was sure to die also. But Guru Nanak as a young boy, went to his parents and told them that so long as he stayed with him, he would not die, and so renamed him as Mardana, meaning will never die. One hymn of Mardana is included in the Guru Granth Sahib on Page 553. diff --git a/assets/docs/md/authors/44.md b/assets/docs/md/authors/44.md new file mode 100644 index 0000000..5308095 --- /dev/null +++ b/assets/docs/md/authors/44.md @@ -0,0 +1,3 @@ +# Poet Nalh (ਨਲ੍ਯ) + +Poet Nalh [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Nalh wrote sixteen hymns in praise of Guru Ram Das, the fourth Guru. diff --git a/assets/docs/md/authors/45.md b/assets/docs/md/authors/45.md new file mode 100644 index 0000000..7f4b861 --- /dev/null +++ b/assets/docs/md/authors/45.md @@ -0,0 +1,3 @@ +# Poet Salh (ਸਲ੍ਯ) + +Poet Salh [15th - 16th Century] was part of a group of eleven poets and singers known as Bhatts, who were all Vaishnavites, followers of Lord Rama and Lord Krishna, who had come to the congregation of Guru Arjan Dev, the fifth Sikh Guru, seeking spiritual solace. Poet Salh wrote three hymns, one in praise of Guru Amar Das, the third Guru, and two in praise of Guru Ram Das, the fourth Guru. Poet Salh and Poet Bhalh were brothers, both sons of Sokha. diff --git a/assets/docs/md/authors/46.md b/assets/docs/md/authors/46.md new file mode 100644 index 0000000..e6fcae5 --- /dev/null +++ b/assets/docs/md/authors/46.md @@ -0,0 +1,3 @@ +# Poet Talh (ਟਲ) + +Poet Tal is one of the seventeen Bhatts whose compositions (one swayya in his case) have been included in the Adi Granth diff --git a/assets/docs/md/authors/47.md b/assets/docs/md/authors/47.md new file mode 100644 index 0000000..fd15e19 --- /dev/null +++ b/assets/docs/md/authors/47.md @@ -0,0 +1,3 @@ +# Guru Gobind Singh (ਗੁਰੂ ਗੋਬਿੰਦ ਸਿੰਘ) + +Guru Gobind Singh ji (Friday, January 5, 16661, in Patna, Bihar, India - Thursday, 21 October, 1708) was born \"Gobind Rai\" and was the tenth and last of the ten human form Gurus of Sikhism. He became Guru on November 24, 1675 at the age of nine, following in the footsteps of his father Guru Teg Bahadur ji. Before Guru ji left his mortal body for his heavenly abode, he nominated Sri Guru Granth Sahib ji (SGGS) as the next perpetual Guru of the Sikhs. Guru Gobind Singh molded the Sikh religion into its present shape, with the formation of the Khalsa fraternity and completion of the Guru Granth Sahib as we find it today, which some will say was his greatest act. The author of this line is unknown. diff --git a/assets/docs/md/authors/48.md b/assets/docs/md/authors/48.md new file mode 100644 index 0000000..bd9d177 --- /dev/null +++ b/assets/docs/md/authors/48.md @@ -0,0 +1,3 @@ +# Khalsa Panth (ਖਾਲਸਾ ਪੰਥ) + +Khalsa Panth is the collective body of all initiated Sikhs represented by the five beloved-ones and can be called the Guru Panth, the embodiment of the Guru, and the final temporal Guru/leader of the Sikhs along with Guru Granth, the mind of Guru. The first time that this ceremony took place was on Baisakhi, which fell on 30 March 1699 at Anandpur Sahib in Punjab, India. The word \"Khalsa\" is derived from Arabic khalis (literally meaning \"pure\" or \"unsullied\") and Perso-Arabic khalisah (literally pure; office of revenue department; lands directly under government management), is used collectively for the community of baptised Sikhs. diff --git a/assets/docs/md/authors/5.md b/assets/docs/md/authors/5.md new file mode 100644 index 0000000..53fe49b --- /dev/null +++ b/assets/docs/md/authors/5.md @@ -0,0 +1,3 @@ +# Guru Arjan Dev (ਮਃ ੫) + +Guru Arjan Dev [1563 - 1606] was the fifth Guru of the Sikhs, born at Goindval. He was the youngest of the three sons of Guru Ram Das, the fourth Sikh Guru. Guru Arjan Dev finished the construction of the Harimandir Sahib, the Golden Temple, and compiled the first Sikh scripture, known as the Adi Granth. Shortly after he became the first martyr of the Sikh religion, which formed a turning point in the development of the faith. diff --git a/assets/docs/md/authors/6.md b/assets/docs/md/authors/6.md new file mode 100644 index 0000000..91e9f23 --- /dev/null +++ b/assets/docs/md/authors/6.md @@ -0,0 +1,3 @@ +# Guru Tegh Bahadur (ਮਃ ੯) + +Guru Tegh Bahadur [1621 - 1675] was the ninth Guru of the Sikhs, and the son of sixth Guru, Guru Hargobind Sahib. The Guru travelled extensively in the Punjab and in other parts of the country to spread the teachings of Guru Nanak. The ruler at the time was the Moghul Emperor Aurangzeb who was forcing the Hindus to accept Islam. Some of these Hindus went to visit the Guru and ask for his help. Guru Tegh Bahadur decided to give up his life to protect the right of all people to practice whatever religion they choose. After his martyrdom, his son, Gobind, succeeded him as the tenth and final Sikh Guru. diff --git a/assets/docs/md/authors/7.md b/assets/docs/md/authors/7.md new file mode 100644 index 0000000..425b68d --- /dev/null +++ b/assets/docs/md/authors/7.md @@ -0,0 +1,3 @@ +# Saint Bhikhan (ਭਗਤ ਭੀਖਨ) + +Saint Bhikhan [1480 - 1573] is a medieval Hindu saint, two of whose hymns are included in the Guru Granth Sahib. There are in fact two saints of that time sharing the same name - Bhakta Bhikhan and Bhikhan the Sufi. Bhakta Bhikhan was a devotee in the tradition of Saint Ravidas and Saint Dhana, born at Kakori near Lucknow in present day Uttar Pardesh. His hymns in the Guru Granth Sahib reflect his dedication to the Name of Hari (God) which he describes as: cure for all ills of the world. Saint Bhikhan was the most learned man of the time of Moghul Emperor Akbar. For many years, he was engaged in teaching and instructing people. He stated that this spiritual succession was from Mir Saiyid Ibrahim of Irij. He left several children who were adorned with piety, wisdom, knowledge and virtue. The hymns of Saint Bhikan resemble those of Saint Sheikh Farid. \ No newline at end of file diff --git a/assets/docs/md/authors/8.md b/assets/docs/md/authors/8.md new file mode 100644 index 0000000..cb1ecde --- /dev/null +++ b/assets/docs/md/authors/8.md @@ -0,0 +1,5 @@ +# Saint Beni (ਭਗਤ ਬੇਣੀ) + + Saint Beni [15th - 16th Century] was a Hindu mystic whose teachings have been incorporated in the Guru Granth Sahib. It is believed he spent most of his time in prayer and meditation, and often neglected his household needs - so God himself intervened and physically appeared to help him several times. + + Saint Beni has three hymns in the Guru Granth Sahib marked by an intense spiritual longing. They also indicate the various paths tried by him in his quest, his practical experience of life and his mastery of religious lore of diverse traditions. \ No newline at end of file diff --git a/assets/docs/md/authors/9.md b/assets/docs/md/authors/9.md new file mode 100644 index 0000000..470e1c7 --- /dev/null +++ b/assets/docs/md/authors/9.md @@ -0,0 +1,5 @@ +# Saint Dhana (ਭਗਤ ਧੰਨਾ) + +Saint Dhana [1415 - 1475], whose three hymns are included in the Guru Granth Sahib, was born to a poor Hindu farmer family of Jat caste in the village of Dhuan Kalan located in the Tonk region of Rajasthan. From his very childhood, Saint Dhana was very simple, hardworking and innocent. He enjoyed being in the company of saints and scholars and soon became a follower of the famous Saint Ramanand. + +It is written that Saint Dhana asked a Brahmin about God who gave him a stone to worship. Dhana offered food and milk to the stone, and refused to eat till God accepted his food. 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similarity index 100% rename from assets/docs/md/Sukhmani Sahib.md rename to assets/docs/md/baanies/Sukhmani Sahib.md diff --git a/assets/docs/md/Tva Prasad Svaye.md b/assets/docs/md/baanies/Tva Prasad Svaye.md similarity index 100% rename from assets/docs/md/Tva Prasad Svaye.md rename to assets/docs/md/baanies/Tva Prasad Svaye.md diff --git a/assets/docs/md/raags/0.md b/assets/docs/md/raags/0.md new file mode 100644 index 0000000..cf1a62b --- /dev/null +++ b/assets/docs/md/raags/0.md @@ -0,0 +1,3 @@ +# None () + +There is no raag or mood associated with this line, which may be because it is the preamble to the hymn, or is not meant to be read in any particular raag or mood. \ No newline at end of file diff --git a/assets/docs/md/raags/1.md b/assets/docs/md/raags/1.md new file mode 100644 index 0000000..04ff9a8 --- /dev/null +++ b/assets/docs/md/raags/1.md @@ -0,0 +1,3 @@ +# Jap () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/10.md b/assets/docs/md/raags/10.md new file mode 100644 index 0000000..1abac73 --- /dev/null +++ b/assets/docs/md/raags/10.md @@ -0,0 +1,3 @@ +# Devgandhari (ਦੇਵਗੰਧਾਰੀ) + +Devgandhari conveys the feeling of satisfaction that comes from making an achievement. These emotions make the listener feel empowered to do more and diminish any feelings of laziness. This state of satisfaction is that of extreme happiness and contentment, and leaves the listener with the feeling of being in paradise.. \ No newline at end of file diff --git a/assets/docs/md/raags/11.md b/assets/docs/md/raags/11.md new file mode 100644 index 0000000..c730b0f --- /dev/null +++ b/assets/docs/md/raags/11.md @@ -0,0 +1,3 @@ +# Bihagara (ਬਿਹਾਗੜਾ) + +The mood of Bihagara is that of extreme sadness and pain, which gives rise to the need to find peace and understanding. The heightened emotional state of sadness is only harnessed by the craving for truth and meaning.. \ No newline at end of file diff --git a/assets/docs/md/raags/12.md b/assets/docs/md/raags/12.md new file mode 100644 index 0000000..c3bcbdf --- /dev/null +++ b/assets/docs/md/raags/12.md @@ -0,0 +1,3 @@ +# Vadhans (ਵਡਹੰਸੁ) + +Vadhans is based on Punjabi Folk music and is set in the traditions of ‘Ghoreea’, ‘Suhag’ and ‘Alohnian’. The feelings instilled by this Raag can be compared to those of a bride on the day of her wedding; she is happy and sad. Although she is going to her groom, who fills her with hope and joy, she is also sad to be leaving her family.. \ No newline at end of file diff --git a/assets/docs/md/raags/13.md b/assets/docs/md/raags/13.md new file mode 100644 index 0000000..3bbf6b6 --- /dev/null +++ b/assets/docs/md/raags/13.md @@ -0,0 +1,3 @@ +# Sorath (ਸੋਰਠਿ) + +Sorath conveys the feeling of having such a strong belief in something that you want to keep repeating the experience. In fact this feeling of certainty is so strong that you become the belief and live that belief. The atmosphere of Sorath is so powerful, that eventually even the most unresponsive listener will be attracted.. \ No newline at end of file diff --git a/assets/docs/md/raags/14.md b/assets/docs/md/raags/14.md new file mode 100644 index 0000000..2e13d1c --- /dev/null +++ b/assets/docs/md/raags/14.md @@ -0,0 +1,3 @@ +# Dhanasari (ਧਨਾਸਰੀ) + +Dhanasari is a sense of being completely carefree. This sensation arises from a feeling of contentment and ‘richness’ from the things we have in our lives and gives the listener a positive and optimistic attitude towards the future.. \ No newline at end of file diff --git a/assets/docs/md/raags/15.md b/assets/docs/md/raags/15.md new file mode 100644 index 0000000..c986ee3 --- /dev/null +++ b/assets/docs/md/raags/15.md @@ -0,0 +1,3 @@ +# Jaitsiri (ਜੈਤਸਰੀ) + +Jaitsiri conveys the heartfelt emotion of not being able to live without someone. Its mood is preoccupied with feelings of dependence and an overwhelming sense of desperately reaching out to be with that person.. \ No newline at end of file diff --git a/assets/docs/md/raags/16.md b/assets/docs/md/raags/16.md new file mode 100644 index 0000000..6f1fc8b --- /dev/null +++ b/assets/docs/md/raags/16.md @@ -0,0 +1,3 @@ +# Todi (ਟੋਡੀ) + +Todi consists of both wisdom and humbleness. It is through these sentiments that the Raag takes a simple approach to explain things that we may be aware of, but fail to ponder upon. The Raag draws the attention of the listener to contemplate these things and gives an explanation with such conviction, that we are compelled to agree.. \ No newline at end of file diff --git a/assets/docs/md/raags/17.md b/assets/docs/md/raags/17.md new file mode 100644 index 0000000..bea4f76 --- /dev/null +++ b/assets/docs/md/raags/17.md @@ -0,0 +1,3 @@ +# Bairari (ਬੈਰਾੜੀ) + +Bairari stimulates the feeling of improving and continuing with a task, which has already been accomplished. It is an unmoving belief that what has been achieved is true and positive, which leads to a hunger and desire to progress to the next stage. Although there is immense confidence in the achievement, there is no conceit or vanity in the accomplishment.. \ No newline at end of file diff --git a/assets/docs/md/raags/18.md b/assets/docs/md/raags/18.md new file mode 100644 index 0000000..98fa067 --- /dev/null +++ b/assets/docs/md/raags/18.md @@ -0,0 +1,3 @@ +# Tilang (ਤਿਲੰਗ) + +Tilang is full of the feeling of having tried hard to impress, but the feeling that the effort made has not been appreciated. However, the atmosphere is not of anger or upset, but of brooding, as the person you are trying to impress is very dear to you.. \ No newline at end of file diff --git a/assets/docs/md/raags/19.md b/assets/docs/md/raags/19.md new file mode 100644 index 0000000..a6ca72f --- /dev/null +++ b/assets/docs/md/raags/19.md @@ -0,0 +1,3 @@ +# Suhi (ਸੂਹੀ) + +Suhi is an expression of such devotion that the listener experiences feelings of extreme closeness and undying love. The listener is bathed in that love and genuinely comes to know what it means to adore.. \ No newline at end of file diff --git a/assets/docs/md/raags/2.md b/assets/docs/md/raags/2.md new file mode 100644 index 0000000..34e512e --- /dev/null +++ b/assets/docs/md/raags/2.md @@ -0,0 +1,3 @@ +# So Dar () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/20.md b/assets/docs/md/raags/20.md new file mode 100644 index 0000000..cbab893 --- /dev/null +++ b/assets/docs/md/raags/20.md @@ -0,0 +1,3 @@ +# Bilaval (ਬਿਲਾਵਲ) + +Bilaval conveys the emotions of great happiness that come from having attained a goal or achieved an aim. It is an overwhelming feeling of fulfilment, satisfaction and joy, that is experienced when the accomplishments is very important and dear to you. The happiness felt is like laughing out loud, there is no planning or any ulterior motive; it’s just a natural expression of heartfelt happiness arising from a sense of achievement.. \ No newline at end of file diff --git a/assets/docs/md/raags/21.md b/assets/docs/md/raags/21.md new file mode 100644 index 0000000..ff944cf --- /dev/null +++ b/assets/docs/md/raags/21.md @@ -0,0 +1,3 @@ +# Gond (ਗੋਂਡ) + +Gond is an expression of triumph, however these feelings are balanced and in perspective ensuring that there is also an aspect of humility. Therefore, although there is a sense of knowing and understanding the achievement, there is not a feeling of becoming obsessed or getting lost in the achievement itself.. \ No newline at end of file diff --git a/assets/docs/md/raags/22.md b/assets/docs/md/raags/22.md new file mode 100644 index 0000000..f8da3f2 --- /dev/null +++ b/assets/docs/md/raags/22.md @@ -0,0 +1,3 @@ +# Ramkali (ਰਾਮਕਲੀ) + +The emotions in Ramkali are like those of a wise teacher disciplining their student. The student is aware of the pain of learning, but is still conscious of the fact that ultimately it is for the best. In this way Ramkali conveys the change from all that we are familiar with, to something we are certain will be better.. \ No newline at end of file diff --git a/assets/docs/md/raags/23.md b/assets/docs/md/raags/23.md new file mode 100644 index 0000000..89cb6a5 --- /dev/null +++ b/assets/docs/md/raags/23.md @@ -0,0 +1,3 @@ +# Nat Narayan (ਨਟ ਨਾਰਾਇਨ) + +Nat Narayan consists of feelings of hastiness and impatience, however simultaneously there is stability and control. Although there is control in the Raag, there is still the impression that it is unbalanced and prone to topple at any time.. \ No newline at end of file diff --git a/assets/docs/md/raags/24.md b/assets/docs/md/raags/24.md new file mode 100644 index 0000000..3db3d90 --- /dev/null +++ b/assets/docs/md/raags/24.md @@ -0,0 +1,3 @@ +# Mali Gaura (ਮਾਲੀ ਗਉੜਾ) + +Mali Gaura conveys the confidence of an expert, whose knowledge is self-evident in both their outlook and actions. This knowledge is learned through experience and therefore creates an air of ‘coolness’. However, this sense of ‘coolness’ is an aspect of true happiness because you have learned how to manage things with expertise and skill.. \ No newline at end of file diff --git a/assets/docs/md/raags/25.md b/assets/docs/md/raags/25.md new file mode 100644 index 0000000..0b8c781 --- /dev/null +++ b/assets/docs/md/raags/25.md @@ -0,0 +1,3 @@ +# Maru (ਮਾਰੂ) + +Maru was traditionally sung on the battlefield in preparation for war. This Raag has an aggressive nature, which creates an inner strength and power to express and emphasise the truth, regardless of the consequences. Maru’s nature conveys the fearlessness and strength that ensures the truth is spoken, no matter what the cost.. \ No newline at end of file diff --git a/assets/docs/md/raags/26.md b/assets/docs/md/raags/26.md new file mode 100644 index 0000000..5bca68a --- /dev/null +++ b/assets/docs/md/raags/26.md @@ -0,0 +1,3 @@ +# Tukhari (ਤੁਖਾਰੀ) + +Tukhari conveys the soul’s strong ambition to highlight the greatness of The Creator to the mind. This goal is of paramount importance to the soul and it will therefore, not give up even if stubborn mind is unresponsive. This Raag illustrates the soul’s focus on its goal, by conveying its message to the mind directly and then adopting a softer approach. The feelings of this Raag are dominated by the soul’s burning desire to convince the mind to follow its plan of enlightenment and hence becoming one with Akaal (God).. \ No newline at end of file diff --git a/assets/docs/md/raags/27.md b/assets/docs/md/raags/27.md new file mode 100644 index 0000000..967bb56 --- /dev/null +++ b/assets/docs/md/raags/27.md @@ -0,0 +1,3 @@ +# Kedara (ਕੇਦਾਰਾ) + +Kedara expresses and makes the mind aware of the true character and nature of the soul. It conveys the emotions of honesty, integrity and truthfulness in a practical and caring way. This approach highlights the soul’s character and is memorable, so that the mind is made aware, without arousing cynicism.. \ No newline at end of file diff --git a/assets/docs/md/raags/28.md b/assets/docs/md/raags/28.md new file mode 100644 index 0000000..5f3f8b4 --- /dev/null +++ b/assets/docs/md/raags/28.md @@ -0,0 +1,3 @@ +# Bhairao (ਭੇਰੳ) + +Bhairao embodies the soul’s faith and heartfelt devotion towards The Creator. It is a kind of fanaticism, where there is a feeling of not being aware or caring about anything else. The emotions conveyed are those of contentment and of being absorbed in a steadfast belief or faith. In this Raag, the soul is relaying the happiness that the mind could potentially experience if it joined in with this devotion.. \ No newline at end of file diff --git a/assets/docs/md/raags/29.md b/assets/docs/md/raags/29.md new file mode 100644 index 0000000..2f87002 --- /dev/null +++ b/assets/docs/md/raags/29.md @@ -0,0 +1,3 @@ +# Basant (ਬਸੰਤੁ) + +Basant denotes the changing of the season and the newness of spring. This Raag encourages the mind to brush away its selfishness, just like spring-cleaning removes all the cobwebs and creates a fresh start. There are feelings of hope and expectation of a new beginning and the start of a new cycle. However, these emotions are not dependent on the physical change of the season, but are an encouragement of an internal effort to change.. \ No newline at end of file diff --git a/assets/docs/md/raags/3.md b/assets/docs/md/raags/3.md new file mode 100644 index 0000000..f9250cc --- /dev/null +++ b/assets/docs/md/raags/3.md @@ -0,0 +1,3 @@ +# So Purakh () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/30.md b/assets/docs/md/raags/30.md new file mode 100644 index 0000000..de1d87e --- /dev/null +++ b/assets/docs/md/raags/30.md @@ -0,0 +1,3 @@ +# Sarang (ਸਾਰੰਗ) + +Sarangs character is soothing and has the ability to extinguish the minds smouldering selfishness and negative nature. The emotions of Sarang quench the minds burning desires, by expressing and highlighting the souls pure and true thoughts. This is a positive and fulfilling change.. \ No newline at end of file diff --git a/assets/docs/md/raags/31.md b/assets/docs/md/raags/31.md new file mode 100644 index 0000000..a8852cd --- /dev/null +++ b/assets/docs/md/raags/31.md @@ -0,0 +1,3 @@ +# Malhar (ਮਲਾਰ) + +Malhar is a communication of feelings from the soul, to show the mind how to become cool and refreshed. The mind is always burning with the desire to reach its goals quickly and without effort, however the emotions conveyed in this Raag are able to bring composure and fulfilment to the mind. It is able to bring the mind into this calmness, bringing a sense of satisfaction and contentment.. \ No newline at end of file diff --git a/assets/docs/md/raags/32.md b/assets/docs/md/raags/32.md new file mode 100644 index 0000000..cd4f8d7 --- /dev/null +++ b/assets/docs/md/raags/32.md @@ -0,0 +1,3 @@ +# Kaanara (ਕਾਨੜਾ) + +Kaanara invokes feelings of being overcome by a personality, which is so impressive that its character is difficult to stop thinking about. The personality conveyed has a magnetism, which makes you think of them as your own and is able to win you over with its remarkable qualities and outlook.. \ No newline at end of file diff --git a/assets/docs/md/raags/33.md b/assets/docs/md/raags/33.md new file mode 100644 index 0000000..8a2912e --- /dev/null +++ b/assets/docs/md/raags/33.md @@ -0,0 +1,3 @@ +# Kalian (ਕਲਿਆਨ) + +Kalian has a forceful, yet flexible nature. It conveys a desire for something and a resolve to attain it, by whatever means possible. Although determined in its desire, Kalian sometimes uses an accommodating approach and at other times has an aggressive approach, in order to reach its goal. This Raag has a determined, forceful, yet persuasive character, through which it fulfils its desire.. \ No newline at end of file diff --git a/assets/docs/md/raags/34.md b/assets/docs/md/raags/34.md new file mode 100644 index 0000000..e4d7884 --- /dev/null +++ b/assets/docs/md/raags/34.md @@ -0,0 +1,3 @@ +# Parbhati (ਪ੍ਰਭਾਤੀ) + +The emotions conveyed in Parbhati are those of extreme devotion; there is an intense confidence and love for the entity it is devoted to. This affection arises from knowledge, common sense and a detailed study. There is therefore an understanding and a considered will to devote itself to that entity.. \ No newline at end of file diff --git a/assets/docs/md/raags/35.md b/assets/docs/md/raags/35.md new file mode 100644 index 0000000..8c020cc --- /dev/null +++ b/assets/docs/md/raags/35.md @@ -0,0 +1,3 @@ +# Jaijavanti (ਜੈਜਾਵੰਤੀ) + +Jaijavanti expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. An apt simile for this Raag is that of a king winning a battle, however he is then told that his son has perished on the battlefield. This Raag conveys a sense of having to put your duty first, no matter what your inner feelings may be. The duality of the emotions of joy and sorrow help to keep you stable and prevent you revelling in your own achievement.. \ No newline at end of file diff --git a/assets/docs/md/raags/36.md b/assets/docs/md/raags/36.md new file mode 100644 index 0000000..334231f --- /dev/null +++ b/assets/docs/md/raags/36.md @@ -0,0 +1,3 @@ +# Salok Sehshritee () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/37.md b/assets/docs/md/raags/37.md new file mode 100644 index 0000000..fe6ce44 --- /dev/null +++ b/assets/docs/md/raags/37.md @@ -0,0 +1,3 @@ +# Fifth Mehl, Gaatha () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/38.md b/assets/docs/md/raags/38.md new file mode 100644 index 0000000..2dcd220 --- /dev/null +++ b/assets/docs/md/raags/38.md @@ -0,0 +1,3 @@ +# Phunhay Fifth Mehl () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/39.md b/assets/docs/md/raags/39.md new file mode 100644 index 0000000..6b3f515 --- /dev/null +++ b/assets/docs/md/raags/39.md @@ -0,0 +1,3 @@ +# Chaubolas Fifth Mehl () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/4.md b/assets/docs/md/raags/4.md new file mode 100644 index 0000000..d14b0ce --- /dev/null +++ b/assets/docs/md/raags/4.md @@ -0,0 +1,3 @@ +# Sohila () + +No information for this raag \ No newline at end of file diff --git a/assets/docs/md/raags/40.md b/assets/docs/md/raags/40.md new file mode 100644 index 0000000..25de7b2 --- /dev/null +++ b/assets/docs/md/raags/40.md @@ -0,0 +1,3 @@ +# Salok Kabeer Jee () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/41.md b/assets/docs/md/raags/41.md new file mode 100644 index 0000000..6e7533a --- /dev/null +++ b/assets/docs/md/raags/41.md @@ -0,0 +1,3 @@ +# Salok Fareed Jee () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/42.md b/assets/docs/md/raags/42.md new file mode 100644 index 0000000..87c5d1b --- /dev/null +++ b/assets/docs/md/raags/42.md @@ -0,0 +1,3 @@ +# Svaiyay Mehl 5 () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/43.md b/assets/docs/md/raags/43.md new file mode 100644 index 0000000..ad8081d --- /dev/null +++ b/assets/docs/md/raags/43.md @@ -0,0 +1,3 @@ +# Salok Vaaran Tay Vadheek () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/44.md b/assets/docs/md/raags/44.md new file mode 100644 index 0000000..fba61f7 --- /dev/null +++ b/assets/docs/md/raags/44.md @@ -0,0 +1,3 @@ +# Salok Mehl 9 () + +Salok Mahala 9 are the saloks by the ninth Sikh Guru, Guru Tegh Bahadur which form the concluding portion of the Guru Granth Sahib. They precede Guru Arjan's Mundavani and appear from page 1426 to 1429 of the Sikh current Guru Guru Granth. This composition consists of 57 (fifty seven) saloks and span just 4 pages of Gurbani. Each salok is a couplet consisting of 2 lines. This Bani was incorporated into the Guru Granth Sahib by Guru Gobind Singh, the last human Guru of the Sikhs.. \ No newline at end of file diff --git a/assets/docs/md/raags/45.md b/assets/docs/md/raags/45.md new file mode 100644 index 0000000..96767dc --- /dev/null +++ b/assets/docs/md/raags/45.md @@ -0,0 +1,3 @@ +# Mundavani Fifth Mehla () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/46.md b/assets/docs/md/raags/46.md new file mode 100644 index 0000000..ce1b463 --- /dev/null +++ b/assets/docs/md/raags/46.md @@ -0,0 +1,3 @@ +# Raag Maala () + +Raagmala literally means a beaded string of musical melodies. \"Mala\" means \"a beaded string\" and \"Raga\" is a \"musical composition\". It is the name given to the last composition in the Guru Granth Sahib appearing after Mundavani (riddle) and a Salok by Guru Arjan Dev. Like Japji Sahib, which appears at the beginning of the Guru Granth Sahib this composition has no heading to show the name of the author.. \ No newline at end of file diff --git a/assets/docs/md/raags/47.md b/assets/docs/md/raags/47.md new file mode 100644 index 0000000..f73f0a9 --- /dev/null +++ b/assets/docs/md/raags/47.md @@ -0,0 +1,3 @@ +# Vaaran () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/48.md b/assets/docs/md/raags/48.md new file mode 100644 index 0000000..35ae13a --- /dev/null +++ b/assets/docs/md/raags/48.md @@ -0,0 +1,3 @@ +# Dasam Granth Sahib () + +. \ No newline at end of file diff --git a/assets/docs/md/raags/49.md b/assets/docs/md/raags/49.md new file mode 100644 index 0000000..d0f400d --- /dev/null +++ b/assets/docs/md/raags/49.md @@ -0,0 +1,3 @@ +# Uggardanti (ਉਗ੍ਰਦੰਤੀ) + +Ugardanti is a poetic composition written by Guru Gobind Singh, after the creation of the Khalsa Panth at Anandpur Sahib. The composition is present in Dasam Granth Bir Patna Sahib. The bani contains information about the creation of the Khalsa Panth, the dress code of the Sikhs, and is strictly against ritualism. Etymologically, Ugardanti is a feminine term made of two words, Ugar means Fierce and Danti means Tooth. One having Fierce Tooth, is called Ugardanti. Guru Gobind Singh is praying to Ugardanti, writing various attributes of Ugardanti and asking for blessings of prospering of new Panth which is free from hypocrisy, ritualism, casteism, avtarvada, human worship and worship only one immortal god. In Gurmat, Fierce Tooth is explained as Hukam/Command/Will Power(Shakti) of God which tears off and destroys enemies. In Bansavalinama Dasan Patshahian ka (1769), the author Kesar Singh Chibbar explains and quotes a few passages from Guru Gobind Singh's Ugardanti. In Hum Hindu Nahi(1898 ), the author Bhai Kahn Singh Nabha, believed that Ugardanti Bani was not written by Guru Gobind Singh but by Bhai Sukha Singh, a priest at Patna. Nihang Sikhs believe it to be written by Guru Gobind Singh and is part of their daily liturgy. It was and is read to inspire warriors to stand up for truth and righteousness in the face of tyranny and oppression. The Composition is divided into six verses called Chhands in which the syllables and the rhythm are arranged in a precisely controlled pattern. The Type of Chhandd used is Bhagvati Chhand.. \ No newline at end of file diff --git a/assets/docs/md/raags/5.md b/assets/docs/md/raags/5.md new file mode 100644 index 0000000..9fd83d6 --- /dev/null +++ b/assets/docs/md/raags/5.md @@ -0,0 +1,3 @@ +# Siri Raag (ਸਿਰੀ ਰਾਗੁ) + +The basis of this Raag is steeped in the traditions of mainstream Indian Classical music. Siri Raag is serious and thought provoking in its nature and creates an atmosphere where the listener is led to heed the advice given therein. The listener (the mind) is made aware of the truth of the message and with this ‘education’ is given the strength to face the future with both humility and the ‘gained’ knowledge.. \ No newline at end of file diff --git a/assets/docs/md/raags/50.md b/assets/docs/md/raags/50.md new file mode 100644 index 0000000..6d73f3e --- /dev/null +++ b/assets/docs/md/raags/50.md @@ -0,0 +1,3 @@ +# Amrit Keertan () + +Amrit Kirtan is a collection of verses from Sri Guru Granth Sahib traditionally sung in the Sikh congregations. The poetry of the Sri Guru Granth Sahib is worthy of the highest consideration in singing the hymns. Music forms the basis of the rhythms and classification of the hymns of Sri Guru Granth Sahib. They follow a definite metrical system called raags. A raag in Indian classical music means a pattern of melodic notes. This form is not only used to preserve the originality of the composition, as the poetry written in this form is difficult to imitate, but more so to provide the divine experience through the medium of music and the sounds of God’s creation. The total number of ragas is 31. The gurus themselves invented some of those. Under each Raag, the hymns are arranged in different meters as Chaupadas and Ashtapadas; long poems include Chhands, Vars, and Bhagat verses. In the congregation, kirtan only of Gurbani (Guru Granth’s or Guru Gobind Singh’s hymns) and, for its elaboration, of the compositions of Bhai Gurdas and Bhai Nand Lal, may be performed.. \ No newline at end of file diff --git a/assets/docs/md/raags/51.md b/assets/docs/md/raags/51.md new file mode 100644 index 0000000..4f70e41 --- /dev/null +++ b/assets/docs/md/raags/51.md @@ -0,0 +1,3 @@ +# Gauri Deepaki (ਗਉੜੀ ਦੀਪਕੀ) + +In the Guru Granth Sahib, there is one shabad (hymn) under the title Raag Gauri Deepaki. In this shabad, Sohila is a lorrie (lullaby), which is narrating a kind of bedtime story.

This Raag generates feelings of warmth and security, just like a mother singing a lullaby to her child. Lullabies were traditionally used not only as a way of comforting a child, but also as a means in which mothers shared their past experiences and knowledge.

Similarly this Raag enlightens the listener through knowledge and experience and brings them to the realisation that to gain the truth, you must first realise that you are in darkness. This enlightened state gives the listener a feeling of certainty, fearlessness and a new hope for the future.. \ No newline at end of file diff --git a/assets/docs/md/raags/52.md b/assets/docs/md/raags/52.md new file mode 100644 index 0000000..4b77948 --- /dev/null +++ b/assets/docs/md/raags/52.md @@ -0,0 +1,3 @@ +# Gauri Purbi (ਗਉੜੀ ਪੂਰਬੀ) + +Gauri Purbi contains strong emotions of experience along with feelings of preparation, in order to go further and to achieve more. Although there are confident feelings in this Raag, there is a sense of uncertainty as there is a heart felt request for help to achieve the desired goal. The sentiments of this Raag are well considered assessments of the circumstances, without excess confidence or extreme helplessness.. \ No newline at end of file diff --git a/assets/docs/md/raags/53.md b/assets/docs/md/raags/53.md new file mode 100644 index 0000000..93efda4 --- /dev/null +++ b/assets/docs/md/raags/53.md @@ -0,0 +1,3 @@ +# Gauri Guarairi (ਗਉੜੀ ਗੁਆਰੇਰੀ) + +Gauri Guarairi contains a mixture of calmness and control in feeling, however the emotional message of the Raag is open and truthful in its approach. The emotions are conveyed in a direct and disciplined way. The balanced and focused character of this Raag is evident in its structure, in that its scale is restricted to ‘madh saptak’ (middle scale).. \ No newline at end of file diff --git a/assets/docs/md/raags/54.md b/assets/docs/md/raags/54.md new file mode 100644 index 0000000..2d5df08 --- /dev/null +++ b/assets/docs/md/raags/54.md @@ -0,0 +1,3 @@ +# Gauri Dakhani (ਗਉੜੀ ਦਖਣੀ) + +Gauri Dakhani has a similar nature to Gauri; however, the South Indian style of this Raag, including the taal (rhythm) highlights the strict and disciplined aspect of Gauri.. \ No newline at end of file diff --git a/assets/docs/md/raags/55.md b/assets/docs/md/raags/55.md new file mode 100644 index 0000000..6916519 --- /dev/null +++ b/assets/docs/md/raags/55.md @@ -0,0 +1,3 @@ +# Gauri Chayti (ਗਉੜੀ ਚੇਤੀ) + +Gauri Chayti generates a deliberate sensation of fear by creating a conscious reminder of what may occur if we loose the things we take for granted. It awakens feelings of panic and regret, by exposing the listener to the possible outcome of what might happen should this warning not be heeded.. \ No newline at end of file diff --git a/assets/docs/md/raags/56.md b/assets/docs/md/raags/56.md new file mode 100644 index 0000000..4f94eff --- /dev/null +++ b/assets/docs/md/raags/56.md @@ -0,0 +1,3 @@ +# Gauri Bairagan (ਗਉੜੀ ਬੈਰਾਗਣਿ) + +As the title suggests Gauri ‘Bairagan’ is a Raag of bairaag (sadness of separation). The listener is left with an intense feeling of sorrow and emptiness. However, the balance of Raag Gauri ensures that this sense of loss and sadness motivates the listener to try to discover exactly what is missing. Gauri Bairagan therefore evokes feelings of sadness, which become a lesson, as opposed to creating a sense of depression.. \ No newline at end of file diff --git a/assets/docs/md/raags/57.md b/assets/docs/md/raags/57.md new file mode 100644 index 0000000..32d86b3 --- /dev/null +++ b/assets/docs/md/raags/57.md @@ -0,0 +1,3 @@ +# Gauri Purbi Deepaki (ਗਉੜੀ ਪੂਰਬੀ ਦੀਪਕੀ) + +The tone of this Raag is that of self-assessment with a positive attitude of improvement. It creates an atmosphere of constantly progressing with confidence and experience, as well as instilling a positive belief of enduring achievement.. \ No newline at end of file diff --git a/assets/docs/md/raags/58.md b/assets/docs/md/raags/58.md new file mode 100644 index 0000000..8c56589 --- /dev/null +++ b/assets/docs/md/raags/58.md @@ -0,0 +1,3 @@ +# Gauri Malva (ਗੌੜੀ ਮਾਲਵਾ) + +Gauri Malva is based on Punjabi Folk music and is influenced by the ‘Malva’ region of Punjab and the Malvaee hospitality. The nature of this Raag can be compared to the thoughtful, very serious, yet caring advice given by a true friend. The Raag persuades the listener with such truth and friendliness, that it is impossible to disagree, even if the listener does not like the advice being given.. \ No newline at end of file diff --git a/assets/docs/md/raags/59.md b/assets/docs/md/raags/59.md new file mode 100644 index 0000000..01192be --- /dev/null +++ b/assets/docs/md/raags/59.md @@ -0,0 +1,3 @@ +# Gauri Mala (ਗਉੜੀ ਮਾਲਾ) + +The essence of Gauri Mala is a combination of good, pure, true and positive thoughts added together one by one. There is a feeling of having worked hard and an increased energy, which encourages more devotion towards the truth.. \ No newline at end of file diff --git a/assets/docs/md/raags/6.md b/assets/docs/md/raags/6.md new file mode 100644 index 0000000..69bf1d9 --- /dev/null +++ b/assets/docs/md/raags/6.md @@ -0,0 +1,3 @@ +# Majh (ਮਾਝ) + +Raag Majh was composed by the Fifth Sikh Guru (Shri Guru Arjun Dev ji). The Raag’s origins are based in Punjabi Folk Music and its essence was inspired by the Majha regions traditions of ‘Ausian’; the game of waiting and yearning for the return of a loved one.The feelings evoked by this Raag have often been compared to that of a mother waiting for her child to return after a long period of separation. She has an anticipation and hope for the child’s return, although at the same moment she is painfully aware of the uncertainty of their return home. This Raag brings to life the emotion of extreme love and this is highlighted by the sorrow and anguish of separation.. \ No newline at end of file diff --git a/assets/docs/md/raags/60.md b/assets/docs/md/raags/60.md new file mode 100644 index 0000000..305baf1 --- /dev/null +++ b/assets/docs/md/raags/60.md @@ -0,0 +1,3 @@ +# Gauri Sorath (ਗਉੜੀ ਸੋਰਠਿ) + +Gauri Sorath has a definite feeling of attraction and appeal, which woos the listener’s attention to the subject matter or target. However, the feelings of being enticed and lured are balanced with a sense of duty and realisation, of needing to obey the warning given.. \ No newline at end of file diff --git a/assets/docs/md/raags/61.md b/assets/docs/md/raags/61.md new file mode 100644 index 0000000..8b7569f --- /dev/null +++ b/assets/docs/md/raags/61.md @@ -0,0 +1,3 @@ +# Aasaa Kafi (ਆਸਾ ਕਾਫੀ) + +Aasaa Kafi has a carefree and self-assured nature. It is confident in its outlook and does not hold onto any false hopes. The feelings of boundless energy, along with the confidence gained by previous experiences, create an inspirational atmosphere for the listener.. \ No newline at end of file diff --git a/assets/docs/md/raags/62.md b/assets/docs/md/raags/62.md new file mode 100644 index 0000000..cc7acac --- /dev/null +++ b/assets/docs/md/raags/62.md @@ -0,0 +1,3 @@ +# Asavari (ਆਸਾਵਰੀ) + +Asavari has an atmosphere of real energy and enthusiasm, which encourages the listener to complete the necessary tasks. However, the mood of this Raag is genuine and there is therefore no pretence of showing off its hardworking nature.. \ No newline at end of file diff --git a/assets/docs/md/raags/63.md b/assets/docs/md/raags/63.md new file mode 100644 index 0000000..38762ba --- /dev/null +++ b/assets/docs/md/raags/63.md @@ -0,0 +1,3 @@ +# Aasaa Asavari (ਆਸਾ ਆਸਾਵਰੀ) + +Aasaa Asavari provides a sense of assurance to achieve your desired goal with courage, love and confidence. It is a precise direction toward achieving a set outcome, with confidence and positivity fuelled with a burst of energy. The nature of this raag is to produce a strong sense of capability in the listener, converting energy into passion with the motivation to repeat this positivity. The strength of this raag churns out the best of a personality providing the individual with the necessary knowledge to bring thoughts into action.. \ No newline at end of file diff --git a/assets/docs/md/raags/64.md b/assets/docs/md/raags/64.md new file mode 100644 index 0000000..2b1ab03 --- /dev/null +++ b/assets/docs/md/raags/64.md @@ -0,0 +1,3 @@ +# Vadhans Dakhani (ਵਡਹੰਸੁ ਦਖਣੀ) + +The mood of this Raag is very similar to Raag Vadhans, however due to its South Indian style of expression, it is more disciplined in its nature.. \ No newline at end of file diff --git a/assets/docs/md/raags/65.md b/assets/docs/md/raags/65.md new file mode 100644 index 0000000..f969a5a --- /dev/null +++ b/assets/docs/md/raags/65.md @@ -0,0 +1,3 @@ +# Tilang Kafi (ਤਿਲੰਗ ਕਾਫੀ) + +As with Tilang, this Raag contains the feeling that your effort has been unappreciated, when trying to impress someone. However, in contrast to Raag Tilang, the individual is unperturbed by this feeling. This differentiating aspect arises from the deep love for the person concerned, which prevents the individual from becoming annoyed at the apparent lack of approval.. \ No newline at end of file diff --git a/assets/docs/md/raags/66.md b/assets/docs/md/raags/66.md new file mode 100644 index 0000000..a188077 --- /dev/null +++ b/assets/docs/md/raags/66.md @@ -0,0 +1,3 @@ +# Suhi Kafi (ਸੂਹੀ ਕਾਫੀ) + +Suhi Kafi expresses feelings of deep love and security, like that of a child and a parent. A young child feels secure and safe, when surrounded in their parents love. The love felt is so strong that there are no worries and the individual gains a certain confidence from being so secure.. \ No newline at end of file diff --git a/assets/docs/md/raags/67.md b/assets/docs/md/raags/67.md new file mode 100644 index 0000000..1927361 --- /dev/null +++ b/assets/docs/md/raags/67.md @@ -0,0 +1,3 @@ +# Suhi Lalit (ਸੂਹੀ ਲਲਿਤ) + +Suhi Lalit contains feelings of emotional resolve. However, there is also a volatile characteristic in that although there is love in these emotions, there is a willingness to step over the line to attain the goal.. \ No newline at end of file diff --git a/assets/docs/md/raags/68.md b/assets/docs/md/raags/68.md new file mode 100644 index 0000000..4984558 --- /dev/null +++ b/assets/docs/md/raags/68.md @@ -0,0 +1,3 @@ +# Bilaval Dakhani (ਬਿਲਾਵਲ ਦਖਣੀ) + +This Raag is full of energy, which is shown by the fast rhythm and singing of the South Indian style of expression. The feelings of Bilaval Dakhani are of confidence and happiness, which arises from having achieved the unachievable.. \ No newline at end of file diff --git a/assets/docs/md/raags/69.md b/assets/docs/md/raags/69.md new file mode 100644 index 0000000..98a11b4 --- /dev/null +++ b/assets/docs/md/raags/69.md @@ -0,0 +1,3 @@ +# Bilaval Gond (ਬਿਲਾਵਲ ਗੋਂਡ) + +Bilaval Gond consists of emotions of courage and conviction. The atmosphere created by the Raag is that of abstract happiness, however it is still disciplined enough to not be out of control. This Raag expresses its emotions poignantly, with insight and has a thoughtful strategy. It expresses feelings of confidence and happiness, but without any pride.. \ No newline at end of file diff --git a/assets/docs/md/raags/7.md b/assets/docs/md/raags/7.md new file mode 100644 index 0000000..0fbf7bb --- /dev/null +++ b/assets/docs/md/raags/7.md @@ -0,0 +1,3 @@ +# Gauri (ਗਉੜੀ) + +Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This therefore creates the atmosphere where the listener is encouraged, but still prevented from becoming arrogant and self-important.. \ No newline at end of file diff --git a/assets/docs/md/raags/70.md b/assets/docs/md/raags/70.md new file mode 100644 index 0000000..7325237 --- /dev/null +++ b/assets/docs/md/raags/70.md @@ -0,0 +1,3 @@ +# Ramkali Dakhani (ਰਾਮਕਲੀ ਦਖਣੀ) + +The emotions created by Ramkali Dakhani are those of change from old to new and there is a surety that this alteration is advantageous. These feelings are highlighted and emphasised by the South Indian rhythm and style of expression.. \ No newline at end of file diff --git a/assets/docs/md/raags/71.md b/assets/docs/md/raags/71.md new file mode 100644 index 0000000..7128666 --- /dev/null +++ b/assets/docs/md/raags/71.md @@ -0,0 +1,3 @@ +# Nat (ਨਟ) + +Nat creates the impression of being wild and uncontrollable and appears extreme in its feeling. It conveys the feeling of being out of control and on the edge, however it returns from the brink, by reestablishing control and stability, and hence creating a sense of relief. This Raag uses its expertise in this way to create feelings of suspense.. \ No newline at end of file diff --git a/assets/docs/md/raags/72.md b/assets/docs/md/raags/72.md new file mode 100644 index 0000000..4c68752 --- /dev/null +++ b/assets/docs/md/raags/72.md @@ -0,0 +1,3 @@ +# Maru Kafi (ਮਾਰੂ ਕਾਫੀ) + +Although Maru Kafi is forceful and blunt in its nature, it still expresses its emotions in a sweet and attractive way. This Raag is uncompromising in its nature, yet it retains the ability and charm to win the listener over with its relaxed and self-assured approach. As the listener, it makes you feel willing to listen even though the sentiments are harsh and direct.. \ No newline at end of file diff --git a/assets/docs/md/raags/73.md b/assets/docs/md/raags/73.md new file mode 100644 index 0000000..88dd824 --- /dev/null +++ b/assets/docs/md/raags/73.md @@ -0,0 +1,3 @@ +# Maru Dakhani (ਮਾਰੂ ਦਖਣੀ) + +Maru Dakhani expresses feelings of truth and reality in an uncompromising and outspoken way, which is emphasised by the South Indian style of expression and taal.. \ No newline at end of file diff --git a/assets/docs/md/raags/74.md b/assets/docs/md/raags/74.md new file mode 100644 index 0000000..8ab571b --- /dev/null +++ b/assets/docs/md/raags/74.md @@ -0,0 +1,3 @@ +# Basant Hindol (ਬਸੰਤੁ ਹਿੰਡੋਲ) + +Basant Hindol conveys the freshness and happiness of a new start and expresses the type of contentment, which comes from working hard to make a change. This Raag is full of hope and creates a sense of being at ease and being satisfied because a new chapter is beginning.. \ No newline at end of file diff --git a/assets/docs/md/raags/75.md b/assets/docs/md/raags/75.md new file mode 100644 index 0000000..846a54e --- /dev/null +++ b/assets/docs/md/raags/75.md @@ -0,0 +1,3 @@ +# Kalian Bhopali (ਕਲਿਆਨ ਭੋਪਾਲੀ) + +Kalian Bhopali’s nature is direct and insistent. Just as in Kaliyaan, this Raag conveys the feeling of determination to fulfil its desires. However, in contrast it is not flexible in its approach, as the desired goal is tackled head-on and in a regimented fashion. There is no hesitation and it is only focused on its goal.. \ No newline at end of file diff --git a/assets/docs/md/raags/76.md b/assets/docs/md/raags/76.md new file mode 100644 index 0000000..2cab60c --- /dev/null +++ b/assets/docs/md/raags/76.md @@ -0,0 +1,3 @@ +# Parbhati Bibhas (ਪ੍ਰਭਾਤੀ ਬਿਭਾਸ) + +Parbhati Bibhas expresses the feelings of compromise between the mind and the soul; a common understanding between the selfishness of the mind and the devotion of the soul evolves. The atmosphere created is like the calmness and serenity of daybreak, along with a sense of preparation for the day to unfold. The ‘partaal’ rhythm represents the change in the method, which is induced by compromise, however it also highlights the balance of concentration.. \ No newline at end of file diff --git a/assets/docs/md/raags/77.md b/assets/docs/md/raags/77.md new file mode 100644 index 0000000..ce25158 --- /dev/null +++ b/assets/docs/md/raags/77.md @@ -0,0 +1,3 @@ +# Parbhati Dakhani (ਪ੍ਰਭਾਤੀ ਦਖਣੀ) + +The nature of Parbhati Dakhani is very similar to that of Parbhati, except that the feelings of devotion are more disciplined. This discipline arises from the South Indian style of expression of this Raag.. \ No newline at end of file diff --git a/assets/docs/md/raags/78.md b/assets/docs/md/raags/78.md new file mode 100644 index 0000000..e45bf12 --- /dev/null +++ b/assets/docs/md/raags/78.md @@ -0,0 +1,3 @@ +# Bibhas Parbhati (ਬਿਭਾਸ ਪ੍ਰਭਾਤੀ) + +Bibhas Parbhati has a self-assured character and has a sense of certainty, which arises from the knowledge gained through awareness. It conveys the wisdom achieved from learning, which inspires contentment. However, this wisdom is not arrogant, but is gentle in its persuasion because there is not a need to ‘show-off’ this knowledge, but a desire to share it, so the recipient is able to learn.. \ No newline at end of file diff --git a/assets/docs/md/raags/79.md b/assets/docs/md/raags/79.md new file mode 100644 index 0000000..c8b79d2 --- /dev/null +++ b/assets/docs/md/raags/79.md @@ -0,0 +1,3 @@ +# Gauri Majh (ਗਉੜੀ ਮਾਝ) + +Gauri Majh is a well-planed emotional ‘act’, which reaches out to fulfil a yearning created by the Raag. This yearning is similar to that of Raag Majh’s regret, hope and anticipation, however in this instance it is created deliberately in order to sway the listener to react to the longing.. \ No newline at end of file diff --git a/assets/docs/md/raags/8.md b/assets/docs/md/raags/8.md new file mode 100644 index 0000000..aa9ee0c --- /dev/null +++ b/assets/docs/md/raags/8.md @@ -0,0 +1,3 @@ +# Aasaa (ਆਸਾ) + +Aasaa has strong emotions of inspiration and courage. This Raag gives the listener the determination and ambition to put aside any excuses and to proceed with the necessary action to achieve the aim. It generates feelings of passion and zeal to succeed and the energy generated from these feelings enables the listener to find the strength from within to achieve success, even when the achievement seems difficult. The determined mood of this Raag ensures that failure is not an option and motivates the listener to be inspired.. \ No newline at end of file diff --git a/assets/docs/md/raags/9.md b/assets/docs/md/raags/9.md new file mode 100644 index 0000000..23e9061 --- /dev/null +++ b/assets/docs/md/raags/9.md @@ -0,0 +1,3 @@ +# Gujari (ਗੂਜਰੀ) + +If there is a perfect simile for Raag Gujari, it would be that of a person isolated in the desert, who has their hands cupped, holding water. However, it is only when the water begins to slowly seep through their joined hands that the person comes to realise the real value and importance of the water. Similarly Raag Gujari leads the listener to realise and become aware of passing time and in this way comes to value the precious nature of time itself. 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- -
- {data.description || 'No information'} -
-
- ) - } +
+ + +
); } @@ -24,4 +16,4 @@ Author.propTypes = { match: PropTypes.object, }; -export default Author; +export default shouldComponentUpdateEnhancer((c, n) => c.match.params.id !== n.match.params.id)(Author); \ No newline at end of file diff --git a/src/pages/Authors/index.js b/src/pages/Authors/index.js index ace874c..186578e 100644 --- a/src/pages/Authors/index.js +++ b/src/pages/Authors/index.js @@ -4,7 +4,7 @@ import { Card, LinkButton } from '../../components'; const mapItemToView = author => ( More Info, + More Info, ]} /> ); diff --git a/src/pages/Baani/index.js b/src/pages/Baani/index.js index 1b3f1c2..232cdc3 100644 --- a/src/pages/Baani/index.js +++ b/src/pages/Baani/index.js @@ -17,7 +17,7 @@ export default class Baani extends React.Component { return ( - + ); } diff --git a/src/pages/Main/Content.js b/src/pages/Main/Content.js index c54b36c..c24ee59 100644 --- a/src/pages/Main/Content.js +++ b/src/pages/Main/Content.js @@ -33,9 +33,9 @@ const Content = () => ( - + - + diff --git a/src/pages/Raag/index.js b/src/pages/Raag/index.js index 9731f74..ea8df63 100644 --- a/src/pages/Raag/index.js +++ b/src/pages/Raag/index.js @@ -1,20 +1,14 @@ import PropTypes from 'prop-types'; import React from 'react'; -import Toolbar from '../../components/Toolbar'; -import Json from '../../components/Json'; +import { Toolbar, Markdown } from '../../components'; +import shouldComponentUpdateEnhancer, { notEqualsSome } from '../../components/shouldComponentUpdateEnhancer'; -function Raag ({ match: { params: { id } } }) { +function Raag ({ match: { params: { id, name } } }) { return ( - { - ({ data = [] }) => ( -
- -
- {data.description || 'No information'} -
-
- ) - } +
+ + +
); } @@ -22,4 +16,4 @@ Raag.propTypes = { match: PropTypes.object, }; -export default Raag; +export default shouldComponentUpdateEnhancer((c, n) => c.match.params.id !== n.match.params.id)(Raag); diff --git a/src/pages/Raags/index.js b/src/pages/Raags/index.js index 0386bd5..abe34e9 100644 --- a/src/pages/Raags/index.js +++ b/src/pages/Raags/index.js @@ -7,7 +7,7 @@ const mapItemToView = ({ raag, gurmukhi, granth, id, ang }) => ( granth !== 1 || ang === 0 ? '' : {`Open Ang ${ang}`}, - More Info, + More Info, ]} /> );