The descriptions of this province, situated on the eastern shore of India, has appeared with different names in the old literature. Out of these names, Audar, Paundar, Kaling, Utkal, etc. are available in Mahabharat. Ashoka Maurya conquered this province in 261 CE. -Vijendar Kumar Mathur, Itihasik Sthanavali, Hindu Granth Academy, Jaipur, 1990, page 148.
In different regions of Hindustan (including Bengal), a particular idol of Vishnu or Krishan called Jagan Nath is worshipped. It has a huge following in Puri (Odisha). People from all over the world gather for the rath-yatra festival (in which the idol of Jagan Nath is brought out on a chariot), celebrated during June-July (Har Sudi 2nd). On this occasion, the idol of Jagan Nath is placed on a forty-eight foot high chariot made of sixteen wheels. This chariot is accompanied by two more chariots, one of Balram and another of Bhadra. The chariot of Balram is forty-four feet high with fourteen wheels, while the chariot of Bhadra is forty-three feet high with twelve wheels. In the ancient times, people used to give away their lives by throwing themselves under the wheels of these chariots in order to attain liberation.
...there is an interesting story in the Sakand Puran (a collection of myths and legends of Sanatan tradition) regarding Jagan Nath, [which says that] when the hunter ‘Jar’ killed Krishan, his body decayed lying under a tree. After some time, a devotee secured his bones in a box. Vishnu (one of the three principal deities in Hinduism, who preserves the creation) ordered the king of Odisha, Indradyuman, to make an idol of Jagan Nath and place Krishan’s remains within that idol. On the request of Indradyuman, Vishwakarma, the mason among the deities, started making the idol on the condition that if someone saw the idol before it was completed, he would stop working on it. Within a fortnight, the king lost patience and went to see Vishwakarma. Vishwakarma, in anger, stopped working on the idol. Consequently, the idol was left incomplete without hands or feet. Accepting the request of King Indradyuman to complete the idol, Brahma (one of the three principal deities in Hinduism, who has created the creation) gave eyes and life to the idol, and installed it with his own hands but historical facts prove that Jagan Nath temple was made by King Anant Verma, who ruled the region between the river Ganga and the river Godavari from 1076 through 1147. -Adapted from Bhai Kahn Singh Nabha, Mahan Kosh, Bhasha Vibhag, Panjab, 2006, page 500.
Now a Gurdwara stands at the place where the Guru took rest which is known as Gurdwara Guru Nanak Datan Sahib or Gurdwara Kaliaboda. It is believed that while brushing his teeth with a twig (datun) from the Sahra tree, the Guru planted a little twig of the Sahra tree at the site which grew into a big tree with time. This old tree fell some time ago, and a log from its trunk is preserved in the Gurdwara. From the roots of the old tree, another tree has grown up. When the author visited this tree in June 1969, he noticed a small inscription on a wooden slate around the tree which bears the Mul Mantra (opening verse of Guru Granth Sahib), the name of Guru Nanak Sahib and the word Vahiguru (a synonym for the Divine in Sikh parlance). Close to this inscription, there is a small Sivalingam (a symbolic representation of the Hindu deity Shiva) and a small statue of Nandi Bull of Shiva that indicated the claim of the Shavites of Cuttack, to this place. The priest of Dhavaleshwar Mahadeva temple was highly inspired by the Guru’s thoughts and he expressed his wish to be a disciple of the Guru. The ruler of this place also came to see the Guru and donated the piece of land to him. A part of this land is under the possession of the management of the Gurdwara and partly under the possession of the Udasis. It is said that an Udasi from Panjab settled here. He advised the local people to remember ‘Vahiguru.’ For this reason, the Gurdwara also came to be known as ‘Vahiguru Math.’ -Translated from Surinder Singh Kohli, Travels of Guru Nanak, Panjab University, Chandigarh, 1997, page 58-59.
During the times of the Guru, a king named Paratapurdev,
Meharban has recorded his name as Bharthari. -Kirpal Singh, Shamsher Singh Ashok (editor), Janamsakhi Sri Guru Nanak Dev Ji, Khalsa College, Amritsar, 1962, page 200.
L.S.S. O’ Malley, Bengal District Gazetteers, The Bengal Secretariat Book Depot, Calcutta, 1908, page 31.
A major Hindu festival, associated with Lord Jagannath (an incarnation of Lord Vishnu), is held at Puri in India during the month of June or July.
It was here that the Guru uttered this Sabad in Rag Dhanasari (a musical mode). By virtue of the Guru’s teachings, many hypocrites and transgressors like the main priest Kaliyug Pandit attained the status of Guru-centered (Gurmukhs). The place where the Guru stayed during this visit is known as ‘Mangumat.’ There is also a deep well (bauli) named after the Guru at this place. This place is looked after by the followers of Udasi
A Sikh denomination from the seventeenth-eighteenth century who preached as well as took care of the Sikh religious places.
Adapted from Bhai Kahn Singh Nabha, Mahan Kosh, Bhasha Vibhag Panjab, Patiala, 2006, page 500.
In contrast to this popular belief, Meharban Janamsakhi suggests that this Sabad was uttered in Rameshwaram.
Kirpal Singh, Shamsher Singh Ashok (editor), Janam Sakhi Sri Guru Nanak Dev Ji, Khalsa College, Amritsar, 1962, page 211-212.
Dr. Kirpal Singh, Janam Sakhi Parampara: Itihasak Drishtikon Tom, Punjabi University, Patiala, 2009, page 71.
When the Pandit asked the Guru why he did not participate in the Arti being performed inside the temple, the Guru uttered the Sabad (Arti), which refers to the natural Arti that is continuously being performed in nature all the time. This has been described in the Janamsakhi of Bhai Mani Singh like this:
“tab mardāne nūṁ bāhar baiṭhāi kar bābā jī jagan nāth ke duāre par jāi baiṭhe. tāṁ pāṁḍe jagan nāth kī ārtī lage karan ate bābā jī samādh lāike baiṭh rahe. tab sabh pāṁḍe ārtī karke bābe pās āe baiṭhe ar unṁ kahiā, tusīṁjātrī āe ho. ar asāṁ mahārāj dī ārtī kītī hai ar tusīṁ kiuṁ nahīṁ kītī. tāṁ bābe kahiā, ki ek īsvar kī ārtī hai ar ek jīv kī ārtī hai. so hameshā ham suṇate haiṁ ar dekhade hai so aür ham kaisī ārtī karaiṁ. tāṁ pāṁḍe kahiā ki tusīṁ kaun sī ārtī suṇī hai. tāṁ babe sabad ākhiā: gagan mai thālu ravi candu dīpak bane tārikā manḍal janak motī… dhanāsarī mahalā 1. ārtī.9. -Guru Granth Sahib 663
“Then Baba Ji made Mardana sit outside and went to Jagan Nath temple and sat at its entrance. Then, the Pandits began performing the Arti of Jagan Nath and Baba Ji remained sitting in meditation. After the Arti had finished, all the Pandits approached Baba Ji and asked him, ‘You are a pilgrim. We performed the Arti of the king, why didn’t you join us?’ Then Baba replied, ‘There is one Arti of the Supreme Being and there is another Arti of a [human] being. That Arti I hear and witness all the time, then which other Arti should I perform?’ Then the Pandit said, ‘Which Arti have you heard?’ Then Baba uttered the Sabad: gagan mai thālu ravi candu dīpak bane tārikā manḍal janak motī”… -dhanāsarī mahalā 1. ārtī.9. -Guru Granth Sahib 663
… tan eh bacan suṇke pāṁḍe carnā par gir paṛe. ate phir rāt ko jagan nāth supne maiṁ āiā ar tinoṁ pāṁḍiū ko kahā ki main hī nānak rūp dhāriā hai. jagat de udhār karan vāste. so tusīṁ prithme jis asthān te bābā jī baiṭhe han tis jagā dīvā ar pūjā karnī. bābā jī uthoṁ uṭh ke samundar ke kināre ā baiṭhe.
…then, hearing these words the Pandit fell at his feet. Later that night, Jagan Nath appeared in the dream and informed all the three Pandits that I myself have taken the form of Nanak, for the emancipation of the world. Therefore, first light a lamp and worship at the place where Baba Ji is sitting. Baba Ji moved from that place and sat near the sea shore.”
Dr. Kirpal Singh, Janam Sakhi Parampara: Itihasak Drishtikon Ton, Punjabi University, Patiala, 2009, page 380.
Here while addressing the head Pandit Kaliyug on their meeting, it is believed that the Guru uttered the Sabad ‘motī ta mandar ūsarahi ratanī ta hohi jaṛāu,’
Dr. Kirpal Singh, Janam Sakhi Parampara: Itihasak Drishtikon Ton, Punjabi University, Patiala, 2009, page 380.
In Guru Granth Sahib, the term Nam is vast. Thus the native term is retained for its literal representation. For its interpretive representation, the term “identification” is used as one active noun or verb form to represent our relationship with, connection to, and response to Nam at a human level.
A description of the term Nam is as follows:
Nam (noumenon, generally used in contrast to phenomenon) is a key term and the central principle in Guru Granth Sahib. According to Professor Puran Singh, “Nam” is the supernaturally natural function of a poetical genius who though in body, is at all times of day and night under the influence of the higher Soul-worlds of Freedom...It is the pure subjectivity of love bursting up under the sole and invisible spiritual guidance from below the crusts of earthiness, from under the hard conditions of earthly life.” -Puran Singh, Spirit of The Sikh, Part II, Volume Two, page 36
Often, Nam is considered merely a word which is to be recited or repeated. Though literally a name or an identifier, Nam alludes to something much more vast, deep, and subtle than a mere name of the Supreme Being. Although numerous names or words for the Supreme Being (such as Ram, Hari, Gobind, etc.) are used in Guru Granth Sahib, Nam also frequently appears instead of those names. Consequently, Nam also appears as a synonym for the Supreme Being among the many contexts in which it is invoked in Guru Granth Sahib.
Primarily, Nam is the central principle of Sikhi, around which the entire Sikh worldview revolves and evolves. When seen in the totality of Guru Granth Sahib, in addition to being a synonym for the Supreme Being, Nam represents the active and creative facet of the Supreme Being, that is constantly creating, pervading, governing, and sustaining everything in the entire creation: nām ke dhāre sagle jant. nām ke dhāre khanḍ brahmanḍ. –Guru Granth Sahib 284
In Indic traditions (Buddhism and Hinduism) the term ‘nāma’ (name) is used to describe the spiritual or essential properties of an object or being, as opposed to ‘rūpa’ (form) that describes the physical presence that it manifests.
In this way, Nam is also the Law or the Principle that governs the entire phenomenal world, and is the sum total of all the qualities and attributes of the Supreme Being.
