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A history of the neo-Chaupai Sahib. A plea-ful ballad wrought by Guru Gobind Singh Ji to depict the supreme dominance of his monotheistic entity, the 'Kabiyo Bach Bentai Chaupai' was an early victim of Colonial interests during the Anglo-Sikh Wars. Captivated by the mystical initiative imparted by the Khalsa ethos, the Colonial administration despite professing an ardent belief in extreme Abrahamic doctrines was not above indulging in subtle superstitious norms. Incorporating various intelligence emissaries in it's diplomatic delegations to Punjab, the latter hoped to learn the pivotal expressions behind the Khalsa's iron grip upon militant sovereignty. Various analyzations and essaying procedures presented a similar conclusion, highlighting the factor that the Khalsa's socio-textual heritage granted it an almost supernatural willpower which refused to bend under any decisive pressure. Refuting such a 'preposterous notion,' as perceived by the colonial nucleus, the latter dispatched a military agent Captain Murray who was tasked with preparing an elaborate exegesis upon the Khalsa universe and presenting it to the East India Company's military nerve center. Presenting himself as an arduous Bona Fide emissary tasked with advancing the perceived cordial relations between the Khalsa Court and the British Regency, the latter succeeded in assuring the assistance of the elusive Akali-Nihung, Ratan Singh Bhangu. As per Murray's instructions, and the Khalsa court's patronage, Bhangu prepared an excessive memorabilia visualizing the Khalsa's arduous struggle against the sub-continent's xenophobic Islamic rulers and multi-faceted Hindu traitors. His work, aptly entitled 'Sri Gur Panth Prakash' or the Guru's Adherence to Political Sovereignty, was dispatched to the heads of the Colonial polity in Britain and extensively combed through to identify the Khalsa's vulnerable heel. Realizing that the scriptural canons adhered to by the latter were a repository of fundamental and orthodox strength a bid was made, in the aftermath of the Khalsa empire's annexation into Colonial domains, to establish a new superficial evolution of the puritanical Khalsa and render it obsolete in face of Christian advances. Realizing the intensive influence of the Khalsa's heterogeneous parallels, the Akali-Nihungs; Udasis, Nirmalas etc. The later Colonial polity sought to establish a Catholicized precedent via establishing a census to identify and taxonomize the varied traditions permeating the sub-continent. To this end it emboldened various fundamental reformers-cum-revivalists such as the nefarious Arya-Samaj and the decisive Singh-Sabha to ingrain an evolved notion of 'faith' and 'religion' in the minds of their respective adherents. Both movements were constructed via a subtle European influence and easily dismantled the core functionaries of their respective faiths giving vent to intensively fallacious diatribes. Various enlistees of the Singh-Sabha 'revolution' launched an unwarranted offensive against their heterogeneous counterparts, catalyzing in the latter's alienation from the general mainstream. With the commencement of the latter movement's periodical influence into the early 1900's, the Colonial/Missionary aim was rendered blatantly mistimed in face of the various Khalsa revolutions birthed to eradicate all Christian, Hindu and Islamic influences from Punjab. Unfettered, however the regional Punjab polity dispatched the idiotic Teja Singh Bahasuria to render the very canonical heart of the Khalsa obsolete by birthing a new Adi Guru Granth. The Teja manuscript would be passed off as a historical artifact of paramount importance due to it's deliberate exclusion of the 'Raagmala' and be pertained as the authentic Guru of the panth. Teja's imbecilic execution failed, yet the latter succeeded in engineering a new design. The vilification and exclusion of the Dasam Granth from panthic circles. Revered on par with the Adi Guru Granth, the latter canon, parallel to the Sarbloh Granth, was traditionally paid obeisance to and was seen as a scriptural entity of the Guru's body. “Gur Nanak Puran Avtar...Agaya Pai Akaal Ki Tabhi Chalayo Panth Sabb Sikhon Ko hukam hai Guru Maneyo Granth. Dohra: Aad Guru te Dasam Loh Granth Panth Ki Tek. Gehe Puran Thiya Granth Yeh Daya Sarb Har Ek”. 'Guru Nanak is the full manifestation of the lord... only with the latter's blessings did the panth manifest. All Sikhs are commanded to obey the edicts of the holy Granth. This Granth consists of the Adi Guru Granth, the tenth (Dasam) and all-metal (Sarbloh) Granth. These shall consist as entities of veneration for the path and shall herewith be viewed as a singular entity.' -Giani Gian Singh Nirmala, 'Naveen Panth Prakash,' Vol.1, pg. 1840. With the advent of the 1920's, and the formation of the anti-puritanical SGPC, the 'Chaupai Sahib,' among other parallel sibling writings, was excessively shortened and vilified. Consisting of 27 poetic analyzations, it was deliberately minimized to 25 and perpetually reiterated at the Khalsa Vatican, the Darbar Sahib. Under Teja's equally imbecilic contemporary, Giani Kartar Singh Kalasiwala, the dual compositions of 'Chaupai Sahib' were expelled and various traditional norms were discarded. Via the guise of polarity and an Utopian infrastructure, the Khalsa's historic emphasis on retaining weaponry and a militant blue uniform was discarded. This brought the modernist mainstream in conflict with the traditional entities such as the Akali-Nihungs and the various educational entities promoting a puritanical perspective on the Khalsa ethos. Veiling their nefarious elemental offensives via reiterating the need for a 'Sikhism' (the suffix was an European addition to vilify the entire ethos), the latter succeeded in ousting the Akali-Nihung Singh Khalsa from the Akal-Takhat and excessively sidelining and stratifying the Udasis. The Akali-Nihungs commenced an arduous preservation of the various puritanical manuscripts which housed the authentic undiluted essayed essences of the Gurus. An operation which was revamped under the late Akali-Nihung Santa Singh who obtained and operated a printing press at Anandpur Sahib, which commenced an extensive printing of authentic scriptural treatises. Simultaneously various historic orders and schools also established a similar norm, a course which was heavily targeted by the neo-generation of modern Sikhs. The contemporary 'Chaupai' commences from 'Hamree Karo Hath De Racha,' and concludes at 'Gobind Das Tuhar.' It does not house the honorary 'Kirpa Kari ham par Jagmata,' or the 'Arril' nomenclature. Various arguments have been advanced for the latter portions expulsion, but it seems that the expulsion was a choice of random exclusion and there was no operational procedure constructed for the execution. Esoterically a shortened canon, such as the Gurus' recorded reiterations, presents an inescapable abyss, one which threatens to engulf the virgin panth. It is up to the contemporary panthic generation to preserve it's puritanical heritage and re-establish it's historic supremacy. http://tisarpanth.blogspot.co.nz/2013/08/the-minimized-request.html Now I have a facebook page people. So no need for you to say I ignore your righteous criticism. https://www.facebook.com/Tisarpanth

We all understand that when Guru maharaj refers to 'asur malech' in Dasam Bani or turks he refers to the inhumane individuals plaguing the innocent and giving rise to ignorance (via what faith we all know). But what about the term Hindu in Uggardanti and Bhagat Bhagauti Vaar???? Does the term Hindu denote what is the accepted definition of Hindu today, or does it denote the indigenous residents of the sub-continent sprinkled with other non-Islamic adherents???

Sri Shastar Nam Mala. The sacredness of weapons. 'Sri Shastar Nama Mala' or the rosary of weapons is an unique composition found in the second Sikh canon, the Dasam Granth. Written by Guru Gobind Singh Ji it is a work of an intellectually high caliber, and is the Guru's personal treatise on the different weapons used in battle. It reads like a scientific analysation and essays a wide range of weapons, some which are in use today and some which have fallen out of favour with modern day warriors. Formulated in 1,318 poetic sub-sections, 'Sri Shastar Nam Mala' details traditional as well as modern weapons which highlight the seamless relationship between weapon, user and the need for spirituality in order for one to become a true warrior in the fundamental sense of the statement. The Guru, himself, was a great master of weapons and as a result, his composition offers a great insight into the various offensive and defensive techniques employed by the purataan Khalsa warrior. Whether it was the arrow, the quoit, or even a dagger. The Khalsa was expected to master each and every one of them and render the enemy lifeless via their use. Unlike other similar compositions the Guru does not employ any heavy discrimination between one weapon and the other. He highlights their various uses from a strategic perspective and leaves no room for questioning. Often his contemporaries would focus on any singular weapon and defend it's usage and nobility, above the others, to death. The Guru however invokes the use of all weapons and clubs them under one single entity, the warrior, and how in a similar fashion to the perpetual limbs of a civilian; they are the unique limbs of a warrior in battle. The Guru imagined and formulated a diverse fighting force which was constantly engaged in conflict, and employed a various range of weaponry and tactics to win decisively. To this end the Khalsa warrior was taught how to not only offend and defend with a weapon whilst standing, but also how to fight with it in different positions. The Guru blessed the Khalsa with the order to keep as many weapons as possible on it's person. An item as harmless as the 'Kara' was soon transformed into the stuff of nightmares for a foe. Feudalism and social hierarchy had seen the rise of a distinctive warrior class in Asia and Europe. Adorning armor and riding high on their steeds, both the knight and samurai presented a veritable figure of destruction and life to the common peasant. These individuals, he accepted as his Gods, and payed obeisance to them on a level which bordered almost on insanity. His Gods went through the training of arms at a young age and engaged in bloodbaths for his protection. They employed him, protected his family and sheltered him in a siege. The peasant was only alive because of them and thus owed his very life to these individuals. His Gods on the other hand were far from the stuff of Arthurian legends, and were given into bouts of insecurity, tyranny and rage. All three which contributed to the peasant's untimely demise. Their armor made them indestructible and their skill at close quarter combat made them greatly feared. But change was soon in the air. The almost perpetual hegemony of the metal adorning warrior was threatened with the advancement of technology. Soon bows and firearms were made available and the inevitable doom of the knight followed. Rather than spending their wealth on molding boys into men, rulers inducted peasants into their armies and gave them firearms. As was demonstrated in the later half of the eighteenth century, these long-range weapons could easily mow the now-cumbersome knight down and contributed to the leveling of the social hierarchy. The knight or samurai was no longer in the dominant position, as the peasant now won battles. He was cheap to train and equip, whereas the knight himself was a dear fortune. Such changes soon revolutionized warfare and it was not long before the metal warrior became a single of a bygone age and was heavily stereotyped by his underling peasants. The Guru had extensively demoralized social hierarchy and had eradicated it from the Khalsa, he however also knew that praising one limb of an army would incite mutiny in another. To this end he verified and highlighted the different, yet important roles of the diverse weapons employed in any battle. The archer stood on the same steed as the knight, and the peasant was soon evolved into his own master by being tutored in the use of weapons. Such a system soon saw the Khalsa transform into one of the superior fighting forces on the Asian continent, and one which could not remain beaten for long. Foregoing the eradication of a discriminatory hierarchy, one realises that the composition also carries a spiritual element. The Guru pays homage to the lord and his power through his composition. He takes great care to give credence to the lord for the various weapons and invokes his power through them. He does not see Ram Chandar as being a great archer on his own wit, he undermines his character by thanking the lord for granting Ram his skill. Victory too is not won on one's own mental basis, it is only achieved through the will of the lord. By adding a spiritual element to his work, the Guru essentially relates it back to the message of Guru Granth Sahib Ji and also demolishes the concepts of good and evil. The weapon is neither good nor evil. It is only the it's usage which earns it it's image. If used for 'Dharam-Yudh' than it is an instrument of peace and protection. If it is used for any egoistical purpose than it is vice incarnate itself. The composition can be divided into five components with each component focusing on a different concept and principle of weaponry. 1.) 'Ath Sri Shastar Nam Mala Puran'- is the opening component and includes the Guru's invocation to the one supreme creator. In this he explains the respect and value of weapons by labeling them as the Khalsa's elders. 2.) 'Ath Sri Chakra Ka Nama'- defines and names the different usages of the discuss. 3.) 'Ath Sri Ban Ka Nama'- here the Guru describes and praises various types of arrows and analyzes their usages. 4.) 'Ath Sri Pas Ka Nama'- in an almost gladiatorial fashion the Guru describes and elevates the noose, a weapon which in itself is a paradox due to it's different usages. 5.) 'Ath Tupak Ka Nama'- depicts the Guru's modern inclination and approach towards the Gun. Alongwith the prior named weapons, the gun completes and transforms one into an unstoppable force. http://tisarpanth.blogspot.co.nz/2013/04/sri-shastar-nam-mala-sacredness-of.html

With Guru Sahibs kirpa, sevadaars from 1G, have ripped the audio of some of Giani Sher Singhs Katha and made available for the sangat to download in audio form from here: http://www.1guk.com/multimedia/audio Giani Sher Singh is a fantastic kathavaachak, who talks openly with great passion and love about the Guru's Message and Bani. Please download and share. More Katha of Giani Ji comming soon on www.1guk.com Add us on Facebook: http://www.facebook.com/oneGseva Like our page!: http://www.facebook.com/pages/1G/161177807278807?ref=hl Contact us: info@1guk.com Vist www.1guk.com for tons of english talks and katha!!!