BHATT BANI, recorded under the title Savaiyye, is the name popularly given to the compositions of the Bhatts as included in the Guru Granth Sahib (pp. 13891409). Bhatts were bards or panegyrists who recited poetry lauding the grandeur of a ruler or the gallantry of a warrior. Bhatt was also used as an epithet for a learned Brahman. In the Sikh tradition, Bhatts are poets with the personal experience and vision of the spirituality of the Gurus whom they celebrate in their verse. According to Bhai Santokh Singh, Sri” Gur Pratap Suraj Granth, `They were the Ved`as incarnate” (p. 2121).
The Bhatts aresaid to have originally lived on the bank of the River Sarasvati which is also the name of the Indian mythological goddess of knowledge.They were thus called Sarasvat, i.e. the learned Brahmans. Those living on the other side of the Sarasvati were called Gaur. They showed little interest in learning and contended themselves with alms given them by their patrons whose bansavalinamas or genealogies they recorded in their scrolls called vahis. They are still found on the bank of the Sarasvati in the Talauda (Jind), Bhadson (Ladva) and Karsindhu (SafTdon) villages in Haryana.
Some of these families shifted over to Sultanpur Lodhi, now in Kapurthala district of the Punjab, and settled there.Bhikha and Toda of these families embraced the Sikh faith during the time of Guru Amar Das. Bhai Gurdas also gives in his Varan, XI. 21, a brief account of these Bhatts.What was the number of Bhatts whose compositions are included is a question not yet firmly answered. According to a tradition, Kalh, a leading Bhatt poet, took it upon himself to note down some of the verse of the Bhatts from the vahis and passed it on to Guru Arjan at the time of the compilation of the Holy Book.
As for the number of Bhatt contributors to the Guru Granth Sahib, Sahib Singh, Teja Singh, Taran Singh and other modern scholars count 11 of them, whereas Santokh Singh (Sri Gur Pratap Suraj Granth), Bhai Vir Singh (Guru Granth Kosh) and some others among the traditional scholars count 17, and Pandit Kartar Singh Dakha puts the figure at 19.This variation in numbers is owed to the fact that the Bhatts used to sing in chorus and sometimes the chorus sung by a group went in the name of the leader and at other times individually in the names of the members of the group. From among the 17 Bhatts whose compositions figure in the Guru Granth Sahib, Bhikha, son of Rayya, was a resident of Sultanpur Lodhi and had been a follower of Guru Amar Das. Of the total 123 savaiyye in the Guru Granth Sahib two are of his composition, both in praise of Guru Amar Das. Of the remaining sixteen Bhatt contributors, four are his sons; Kalh, also called Kalsahar or Kal Thakur, who is reckoned to be the most learned of all the Bhatts has 53 savaiyye, 10 in praise of Guru Nanak, 9 each in praise of Guru Arigad and Guru Amar Das, 13 in praise of Guru Ram Das and 12 in praise of Guru Arjan; Jalap who had migrated to Goindval with his father has four savaiyye, to his name all of which are in praise of Guru Amar Das; Kirat (d. 1634) has eight savaiyye four each in praise of Guru Amar Das and Guru Ram Das; and Mathura 12, all in praise of Guru Ram Das. Salh who has three savaiyye extolling the preeminence of Guru Amar Das (1) and Guru Ram Das (2), and Bhalh who has one savaiyya in praise of Guru Amar Das were the sons of Sekha, a brother of Rayya. Balh who has five savaiyye stressing the spiritual oneness of the Gurus was the son of Tokha, another brother of Rayya. Haribaris, the eldest son of Gokha, a brother of Rayya, has two savaiyye both in praise of Guru Arjan.
Nalh has five savaiyye all in praise of Guru Ram Das. Das, also spelt as Dasu or Dasi, has composed ten savaiyye including one written conjointly with Sevak who, in addition to this one, has four savaiyye of his own. Parmanand`s five savaiyye are in praise of Guru Ram Das, Tal`s single one in praise of Guru Arigad. Jalan has two savaiyye, both in praise of Guru Ram Das.Jalh one in praise of Guru Amar Das and Gayand five which glorify Guru Ram Das.
Of the total 123, ten each pay homage to Guru Nanak and Guru Angad, 22 to Guru Amar Das, 60 to Guru Ram Das and 21 to Guru Arjan.The main purpose of these savaiyyas is to acclaim the Gurus, not as individuals but as the revelation they embodied. The Bhatts see the Gurus as one light, as one spirit passing from one body to the other. Bhatt Kirat, for instance: `Just as (Guru) Arigad was ever the part of Guru Nanak`s being so is Guru Ram Das of (Guru) Amar Das`s” (GG, 1405). Again, Bhatt Kalh: “From Gu.`u Nanak was Arigad; from Arigad, Amar Das received the sublime rank.
From Guru Ram Das descended Guru Arjan, the great devotee of God” (GG, 1407). This concept of all the Gurus being one light, one voice has informed all along the Sikh belief and development and constitutes today a fundamental principle of the faith.
References :
1. Taran Singh, Sri Guru Granth Sahib Ji da Sahitik Itihas. Amritsar, n.d.
2. Sahib Singh, Bhattan de Savaiyye Satik. Amritsar, 1972
3. Gurdit Singh, Giani, Itihas Sri Guru Granth Sahib. Delhi, 1990
4. Kohli, Surindar Singh, A Critical Study of Adi Granth. Delhi, 1961
Bhatt Bani
Bhatt Bani refers to the collection of hymns composed by a group of bards (or “Bhatts”) whose poetic expressions are incorporated into the Guru Granth Sahib. Although these compositions are not direct revelations of the Sikh Gurus, they form an integral part of the scripture by:
- Celebrating the Divine Light: The Bhatts compose verses that vividly praise the spiritual and historical qualities of the Sikh Gurus. Their works celebrate the progressive merging of divine light from one Guru to the next.
- Preserving Historical Memory: Many of the hymns include genealogical details, biographical notes, and descriptions of the Gurus’ congregations, providing historians and devotees with a glimpse into early Sikh patronage and community life.
- Enhancing Devotional Practice: With their metrical precision, most often rendered in the savaiye style, these compositions lend themselves to rhythmic recitation and communal singing (kirtan), deepening the meditative and devotional atmosphere in Sikh liturgy.
The Individual Bhatts of the Guru Granth Sahib
The Guru Granth Sahib includes hymns from a group of eleven Bhatts, each of whom brings a distinct voice and perspective. Here is a detailed look at each individual Bhatt:
Bhatt Kalshar (also known as Kalh or Talh)
- Role & Leadership:
Recognized as the foremost among the Bhatts, Bhatt Kalshar is often regarded as the leader of the group. His verses set the tone for Bhatt Bani by asserting that the divine light radiated by Guru Nanak merges seamlessly into the light of successive Gurus. - Literary Style:
His compositions are known for their rich imagery and command over both Sanskritized diction and Punjabi expression, effectively bridging the gap between courtly erudition and popular devotion.
Bhatt Jalap (also recorded as Jalh)
- Focus & Contribution:
Bhatt Jalap is credited with composing five swaiyas that primarily extol the virtues of the Third Guru, Guru Amar Das. His verses are celebrated for their lyrical cadence and heartfelt emotion. - Stylistic Signature:
His work typifies the devotional fervor of the period and employs a style that is both accessible and deeply poetic.
Bhatt Kirat
- Personal Background:
Believed to be the son of Bhikha, Bhatt Kirat not only composed devotional hymns but is also noted for having served in the military contingents of Guru Hargobind Sahib—thus merging the spirit of martial valor with spiritual devotion. - Thematic Emphasis:
His swaiyas reflect themes of sacrifice, bravery, and the intertwining of duty with spiritual consciousness.
Bhatt Bhika
- Origins & Discipleship:
A Brahmin bard hailing from Sultanpur Lodhi, Bhatt Bhika received the rites of initiation from Guru Amar Das. His inclusion signifies the transformation of learned Brahmins into devoted Sikh practitioners. - Contribution:
His verse(s) primarily focus on the glorification of Guru Amar Das, encapsulating the essence of spiritual humility and devotion.
Bhatt Salh
- Literary Craftsmanship:
Known for his sophisticated expression of Gurmat philosophy, Bhatt Salh’s three swaiyas are laden with metaphysical insights that explore the relationship between the ephemeral world and eternal truth. - Devotional Message:
His verses encourage the devotee to dissolve the ego and merge with the divine through the remembrance of the Guru’s light.
Bhatt Bhalh
- Conciseness with Impact:
Though only one swaiya by Bhatt Bhalh survives in the Guru Granth Sahib, consisting of four poignant lines, it is celebrated for its distilled expression of praise for Guru Amar Das. - Stylistic Note:
His work exemplifies how brevity in poetic form can evoke deep and resonant spiritual imagery.
Bhatt Nal
- Volume and Variety:
Author of sixteen swaiyas, Bhatt Nal’s contributions are predominantly devoted to praising Guru Ram Das. His style is often noted to be similar to that of Bhatt Kalshar. - Key Themes:
His compositions mark the transition and continuity of the divine light from one Guru to another, emphasizing the cyclical nature of spiritual wisdom.
Bhatt Gyand (also rendered as Gayand)
- Innovative Contributions:
A learned and revered bard, Bhatt Gyand is credited with introducing the term “Waheguru” into Gurbani—a word that resonates as a universal expression of awe and divine majesty. - Literary Importance:
His swaiyas add a rich layer of linguistic and devotional depth, further embellishing the sacred tapestry of the Guru Granth Sahib.
Bhatt Mathura
- Volume of Work:
Bhatt Mathura is known for his fourteen swaiyas, which articulate a profound understanding of the spiritual revelations of the Gurus. - Narrative Role:
His verses often serve as historical markers, recounting the spiritual milieu of the early Sikh period and reinforcing the legacy of divine continuity.
Bhatt Bal
- Philosophical Insight:
Bhatt Bal’s swaiyas are notable for discussing the theme of transmigration—the soul’s journey through life and the seamless passage of divine light from one Guru to the next. - Spiritual Message:
His verses illuminate how the Guru’s divine presence remains unbroken, inspiring devotees to embrace the eternal cycle of spiritual rebirth and renewal.
Bhatt Harbans
- Eyewitness Testimony:
Bhatt Harbans is revered for having witnessed the congregations of the Fourth and Fifth Gurus. His compositions provide a valuable testimonial account, blending historical narrative with spiritual exaltation. - Devotional Emphasis:
His work emphasizes the evolving nature of Sikh practice and the imperishable bond between the devotee and the Divine.
Conclusion
The individual contributions of these eleven Bhatts collectively enrich the Guru Granth Sahib with historical, poetic, and devotional dimensions that complement the teachings of the Sikh Gurus. Their swaiyas stand as unified testaments to a tradition of heartfelt devotion—a tradition that underscores the Sikh belief in the seamless continuity of divine light from Guru Nanak to his successors. The Bhatt Bani not only elevates the literary quality of the sacred text but also preserves the memory of those who ardently celebrated the Guru’s glory and vision.
