GHORIAN, hymns by Guru Ram Das in measure Vadahans in the Guru Granth Sahib. The word `ghorian` in Punjabi is the plural form of ghori, a mare. In Punjabi folk poetry, a type of lyrical songs which are sung on the occasion of marriage are called ghorian. A Punjabi marriage comprises a series of ceremonies performed at different stages. In one of these ceremonies the bridegroom mounts a handsomely caparisoned mare to go to the house of the bride where a reception awaits.
The sisters of the bridegroom feed the marc with crushed gram from a plate, embellish the bridle strings and sing the songs of ghori, other girls and women joining them in chorus, as the bridegroom climbs up on the back of the mare.These eulogize the bridegroom and his ancestry and wish him a happy marriage. In the songs, the word ghon (mare) occurs frequently, almost once in every verse. Raga Vadahans in the Guru Granth Sahib incorporates hymns cast in the moulds of folk songs commonly sung at the time of birth, marraige and death. Guru Nanak has composed poems, in this rdgd, called alahamanor dirges, songs of mourning.
Guru Amar Das has also contributed to these hymns in the same style. Guru Ram Das, the Fourth Guru, has composed two ghondn hymns, reminiscent of ghondn of folk poetry.The folk forms meant for mundane occasions have been utilized by the Gurus to compose verses of spiritual reference and meaning. The ghondn hymns, composed by Guru Ram Das, are lyrics of exquisite beauty, woven round images and symbols appropriate to the occasion of marriage, more particularly, to the ceremony of ghon or mareriding. These hymns hold that human life is a precious opportunity to get united to God as marriage is the opportunity to get united with the bride.
The human body is the mare, riding which the seeker of God could successfully and victoriously reach his goal.The mind is to be harnessed, conquered and controlled, just as the mare is controlled by the saddle and bridle. In the hymns, the mare (ghon) has been called tejani, tun and tukhdi, all synonyms of ghon. The holy men or saints form the marriage procession; God Himself lays out the feast for them.
Thus is the spouse found and begotten. The sustained metaphor, in the ghondn hymns, unfolds itself in eight parts, as follows: 1. This mare, i.e. the human body, has been created by God. It is most valuable and precious, a marvellous specimen of the craftsmanship of the Creator. It is obtained by good fortune only.
It is of immense value in the spiritual journey, for through the faculties and potentialities it is endowed with, man gets an opportunity to obtain union with God. 2. The saddle refers to the subjugation of the mind through the guidance of the Guru. Divine knowledge is the harness that controls the mind. Meditation on the Name enriches the mind and gives it poise. This is the conquest of the mind.
A mind so saddled or controlled is of vital aid in the journey of the soul towards its spouse, the Lord. 3. Bridle is the jnana or divine knowledge. True realization leads to the control of the mind.This directs and guides one on the path of spiritual journey. 4. Love of God is the whip used to urge the mare on its spiritual path.
Love cultivates, chisels and fashions the mind. A cultivated mind remains in perfect balance and poise, and is not swayed by worldly desires and lusts. The nectar of nam (Name) transforms the human personality or mind completely. 5. The journey that the soul has to cover riding this mare is the sansdr. This is an arduous journey with worldly desires and attractions obstructing one at every step. 6.
The holy men and saints form the marriage procession. It is the holy company which inspires and aids man to cross the obstacles.Thus the bridegroom, the seeker, successfully completes the journey, repeating constantly the Name, receiving inspiration from the saints. 7. The experience of bliss is the marriage feast. The marriage procession reaches its destination and crosses into the house of`Hari, the Supreme Being.
There they enjoy and relish the ambrosial food, the nectar of the Name. This is the first taste of bliss, thc supreme state of anand. 8. Union with God is the solemnization of the marriage. The bridegroom finds the spouse within himself. It is his own real self. He realizes himself. This union is eternal and the joy so attained is unending. This is the spiritual meaning oftlie hymns composed by Guru Ram D^s in the style of the popular Punjabi folk form of ghondn.
References :
1. Kohli, Surindar Singh, A Critical Study of Adi Granth. Delhi, 1966
Ghorian—a collection of wedding procession hymns composed by Guru Ram Das, set in the measure Vadahans and included in the Guru Granth Sahib. These hymns, rich in both lyrical beauty and symbolic meaning, play a crucial role in Sikh devotional and cultural life, especially in the context of matrimonial ceremonies.
Overview and Title Significance
Ghorian (also rendered as Ghoreea or Ghoroan) literally refers to “mares” in Punjabi. In the context of Sikh sacred literature, the term alludes to the songs sung during the wedding procession. In these hymns, the image of the mare is both literal and allegorical. Literally, the bridegroom, as part of the nuptial customs, mounts a beautifully adorned mare. Symbolically, the mare and the act of riding become metaphors for the spiritual journey—where the soul, guided by the grace of the Guru, is harnessed and led toward union with the Divine.
Set in Vadahans, a melodic measure typical of folk compositions for festive occasions like marriages, these hymns are found in the Guru Granth Sahib (traditionally appearing around pages 575–576). Guru Ram Das, the Fourth Sikh Guru, masterfully adapted common folk idioms to convey deeper spiritual truths, transforming everyday celebrations into vehicles for devotional expression.
Historical and Liturgical Context
- Cultural Integration:
In the cultural landscape of Punjab, wedding processions are vibrant affairs. The custom of singing ghorian originates from popular folk traditions and is closely associated with marriage ceremonies. By incorporating these songs into the Guru Granth Sahib, Guru Ram Das elevated a routine cultural practice to a spiritual exercise in remembrance and moral reflection. - Liturgical Use:
During a Sikh wedding, the hymns are performed as the bridegroom makes his ceremonial journey to the bride’s home. The recitation not only celebrates the union of two families but also serves as an allegorical reminder that human life is, at its best, a sacred union between the seeker and the Divine. This dual purpose reflects the Sikh emphasis on blending everyday practices with deeper spiritual commitments.
Literary and Poetic Features
- Language and Imagery:
The Ghorian hymns are composed in straightforward yet evocative language. While the hymns conform to the rhythmic and metrical structures of the Vadahans, they are suffused with lively imagery drawn from both nature and human emotion. The repeated references to the “mare” (ghor) not only emphasize beauty and dynamism but also hint at the metaphysical idea of controlling one’s inner passions—the way a bridle and saddle guide a mare. - Musicality and Structure:
The choice of Vadahans, a measure steeped in folk traditions, gives the hymns a buoyant, celebratory quality that is perfectly suited to the joyful atmosphere of a wedding procession. The rhythmic balance and clarity of expression make the verses accessible, allowing them to be easily memorized and sung by all the participants in the ceremony. - Fusion of the Mundane and the Divine:
While the superficial purpose of the Ghorian is to adorn a wedding procession with graceful melodies, the underlying message is deeply spiritual. Guru Ram Das uses the familiar context of marriage to evoke larger themes of union—specifically, the union of the individual soul with the divine presence. In this way, the hymns encapsulate the Sikh ethos that every aspect of life, even marital customs, is an opportunity for spiritual awakening.
Symbolism and Devotional Implications
- Allegory of the Spiritual Journey:
In Ghorian, the mare is more than just a physical animal; it becomes a symbol for the human body or the vehicle of the soul. Just as a mare must be controlled and guided with care, a devotee must harness his or her inner passions and direct them toward spiritual ideals. The bridegroom’s ride on this symbolic mare represents the soul’s journey toward divine union—an allegory for self-mastery and the pursuit of transcendent love. - Celebration of Lineage and Virtue:
The hymns also serve to praise the noble qualities of the bridegroom, calling attention to his virtues, noble ancestry, and readiness for the sacred marriage of life. This mirrors the broader Sikh teaching that worldly conduct and ethical living are integral to achieving spiritual liberation. - Integration of Community and Devotion:
As the songs are sung in unison by women and men during the wedding procession, they foster a sense of communal identity. The collective participation emphasizes that the spiritual journey is not an individual endeavor but a shared path, supported by the community’s strength and collective faith.
Concluding Thoughts
Ghorian stands as a distinctive and enduring part of the Guru Granth Sahib’s vast tapestry. Through these lyrical hymns, Guru Ram Das transforms a popular folk practice into a profound meditation on the nature of spiritual union. The melding of festive, cultural traditions with the lofty ideals of Sikh devotion not only enriches the liturgical experience but also serves as a constant reminder that every moment of joyous celebration can be an opportunity to realize the divine within.
