10-28-2007, 06:49 PM
(This post was last modified: 10-28-2007, 06:52 PM by Bharatvarsh.)
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->1) History of SHIROMANI GURDWARA PARBANDHAK COMMITTEE, who were founders and why it was created?<!--QuoteEnd--><!--QuoteEEnd-->
It arose out Gurudwara reform movement where there was a struggle for control in the 1920s:
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->8. The Sikh assembly held on 15 and 16 November elected a committee of 175 members representing all the districts, Sikh states of the Punjab, other Indian provinces, and Sikh organizations in Burma, Malaya, China and North America. It also included the 36 government nominees in the committee which it named the Shiromani Gurdwara Parbandhak Committee, SGPC for short.
9. The inaugural meeting of the SGPC was held at the Akal Takht on 12 December 1920. It appointed a subcommittee to draft the Committee's constitution. It elected Sardar Sundar Singh Majithia as president, Harbans Singh, of Atari, as vicepresident and Sundar Singh Ramgarhia as secretary.
10. The Majithia Sardar resigned early in 1921 to join the ministry set up under the Government of India Act, 1919, and Baba Kharak Singh was elected in his place president of the SGPC. The Committee was registered under the Societies Registration Act, 1860, on 30 April 1921.
http://www.sikhiwiki.org/index.php/SGPC<!--QuoteEnd--><!--QuoteEEnd-->
The struggle was for control from Udasis or other Mahants who were incharge of Gurudwaras until then.
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->2)Why Anglo-educated Sikhs get preference over Gur Sikh in Indian Gurdwara?<!--QuoteEnd--><!--QuoteEEnd-->
No clue.
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->3) Why and when Gurdawara stopped showing Bhrama ,Vishnu and Shiva.<!--QuoteEnd--><!--QuoteEEnd-->
Depends, whitewashing was done & still being done in many Gurudwaras where they painted over these frescoes, but it started about 1900 I guess, in 1898 Kahn Singh Nabha came out with "Ham Hindu Nahin" which laid the foundation, in 1879 Tat Khalsa was founded to counter Santan Singh Sabha (which considered Sikhs to be Hindus), so from around this time it was done.
But many Gurudwaras still have the frescoes & some of them can be found in this Nihangs picture collection:
http://flickr.com/photos/chitrakari/
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->4) Chandi Charitar<!--QuoteEnd--><!--QuoteEEnd-->
It is part of the Dasam Granth which is attributed to Guru Gobind Singh ( but questioned by some Sikhs since it is too "Hinduistic"), there are 3 compositions, Chandi Charitra 1 & 2 in Braj, Chandi Di Var in Punjabi.
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->CHANDI CHARITRA
The Chandi Charitra follows and in fact is a part of the Bachittar Natak. The aim of writing this piece was to inspire the common man to rise up against the tyrannical rulers of the time and to fight and sacrifice all they had for their freedom. He invokes the blessings of the Almighty God thus.
Deh Shive bar mohe ihe.
Shubh karman tey kabhoo na taron.
This composition is in the form sawaiye-an Indian metre of one and a quarter line. The mood is essentially forceful and fierce. The descriptions of the battles have been brought out beautifully through the use of similes and metaphors. The battle scenes are a true portrayal of the strategies and maneuvers of warfare as practiced in the times. The style is lucid and clear leading to a vivid and true presentation of the theatre of war. Although based on the Durga Saptashati of the Markandey Puran, the writings have an independent form and style giving them an identity of their own.
The third piece of writing associated with the portrayal of Chandi is called Chandi di Vaar. Written in fifty-five stanzas, this is the only composition this is in Punjabi. The first stanza of Chandi di Vaar forms the introductory part of the ardaas, the Sikh prayer.
Pritham bhagouti simar key
Guru Nanak layin dhyay....
Following the invocation, this composition highlights the major events and incidents about Chandi as mentioned in the ancient writings. The remaining portion is a description of war. Since it is written in such a clear style and deals with matters related to war it appeals strongly to soldiers and warriors. In the ancient times literature of this kind was read during the wars to enthuse the warriors to heights of glory and heroism even today the same tradition prevails.
The main reason for writing about Chandi so many times was that Guru Gobind Singh Ji wanted to affect a sea change in the mental make up of the society, to enthuse and encourage them for the war of Righteousness that he planned to undertake. Thus Chandi the embodiment of might in the female form was described in all her majesty and glory, her strength and might. And as expected through his inspirational writings the Guru was able to transform the character of the multitudes totally. At the same time, he agrandised the image of the mother placing it on a pedestal unequalled by any.
http://www.gobindsadan.org/dasamgranth/glory.shtml<!--QuoteEnd--><!--QuoteEEnd-->
Bir Ras (warrior themes) dominate these compositions.
On another note "Deh Shive" has been selected as "Khalistans national anthem".
It arose out Gurudwara reform movement where there was a struggle for control in the 1920s:
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->8. The Sikh assembly held on 15 and 16 November elected a committee of 175 members representing all the districts, Sikh states of the Punjab, other Indian provinces, and Sikh organizations in Burma, Malaya, China and North America. It also included the 36 government nominees in the committee which it named the Shiromani Gurdwara Parbandhak Committee, SGPC for short.
9. The inaugural meeting of the SGPC was held at the Akal Takht on 12 December 1920. It appointed a subcommittee to draft the Committee's constitution. It elected Sardar Sundar Singh Majithia as president, Harbans Singh, of Atari, as vicepresident and Sundar Singh Ramgarhia as secretary.
10. The Majithia Sardar resigned early in 1921 to join the ministry set up under the Government of India Act, 1919, and Baba Kharak Singh was elected in his place president of the SGPC. The Committee was registered under the Societies Registration Act, 1860, on 30 April 1921.
http://www.sikhiwiki.org/index.php/SGPC<!--QuoteEnd--><!--QuoteEEnd-->
The struggle was for control from Udasis or other Mahants who were incharge of Gurudwaras until then.
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->2)Why Anglo-educated Sikhs get preference over Gur Sikh in Indian Gurdwara?<!--QuoteEnd--><!--QuoteEEnd-->
No clue.
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->3) Why and when Gurdawara stopped showing Bhrama ,Vishnu and Shiva.<!--QuoteEnd--><!--QuoteEEnd-->
Depends, whitewashing was done & still being done in many Gurudwaras where they painted over these frescoes, but it started about 1900 I guess, in 1898 Kahn Singh Nabha came out with "Ham Hindu Nahin" which laid the foundation, in 1879 Tat Khalsa was founded to counter Santan Singh Sabha (which considered Sikhs to be Hindus), so from around this time it was done.
But many Gurudwaras still have the frescoes & some of them can be found in this Nihangs picture collection:
http://flickr.com/photos/chitrakari/
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->4) Chandi Charitar<!--QuoteEnd--><!--QuoteEEnd-->
It is part of the Dasam Granth which is attributed to Guru Gobind Singh ( but questioned by some Sikhs since it is too "Hinduistic"), there are 3 compositions, Chandi Charitra 1 & 2 in Braj, Chandi Di Var in Punjabi.
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->CHANDI CHARITRA
The Chandi Charitra follows and in fact is a part of the Bachittar Natak. The aim of writing this piece was to inspire the common man to rise up against the tyrannical rulers of the time and to fight and sacrifice all they had for their freedom. He invokes the blessings of the Almighty God thus.
Deh Shive bar mohe ihe.
Shubh karman tey kabhoo na taron.
This composition is in the form sawaiye-an Indian metre of one and a quarter line. The mood is essentially forceful and fierce. The descriptions of the battles have been brought out beautifully through the use of similes and metaphors. The battle scenes are a true portrayal of the strategies and maneuvers of warfare as practiced in the times. The style is lucid and clear leading to a vivid and true presentation of the theatre of war. Although based on the Durga Saptashati of the Markandey Puran, the writings have an independent form and style giving them an identity of their own.
The third piece of writing associated with the portrayal of Chandi is called Chandi di Vaar. Written in fifty-five stanzas, this is the only composition this is in Punjabi. The first stanza of Chandi di Vaar forms the introductory part of the ardaas, the Sikh prayer.
Pritham bhagouti simar key
Guru Nanak layin dhyay....
Following the invocation, this composition highlights the major events and incidents about Chandi as mentioned in the ancient writings. The remaining portion is a description of war. Since it is written in such a clear style and deals with matters related to war it appeals strongly to soldiers and warriors. In the ancient times literature of this kind was read during the wars to enthuse the warriors to heights of glory and heroism even today the same tradition prevails.
The main reason for writing about Chandi so many times was that Guru Gobind Singh Ji wanted to affect a sea change in the mental make up of the society, to enthuse and encourage them for the war of Righteousness that he planned to undertake. Thus Chandi the embodiment of might in the female form was described in all her majesty and glory, her strength and might. And as expected through his inspirational writings the Guru was able to transform the character of the multitudes totally. At the same time, he agrandised the image of the mother placing it on a pedestal unequalled by any.
http://www.gobindsadan.org/dasamgranth/glory.shtml<!--QuoteEnd--><!--QuoteEEnd-->
Bir Ras (warrior themes) dominate these compositions.
On another note "Deh Shive" has been selected as "Khalistans national anthem".