JAPU, with the Punjabi complimentary “ji” commonly suffixed as an honorific, is the opening composition of Sikh Scripture, the Guru Granth Sahib. At the head of the table of contents of the volume, this composition is recorded as Japu Nisanu, meaning the “flag composition Japu” or, according to some other exegesis, “authenticated.” The title Japu is from the verb japna (lit. to repeat orally) or what is meant for meditating or repeating, usually silently, with or without the help of a rosary, of the name of a deity or of a mantra (lit. spell, incantation).
Japuji is the most riveting Sikh prayer recited by the devout early in the morning. The composition is not assigned to any particular raag or musical measure, as is the rest of the Scriptural text. It, however, forms part of the liturgy for the preparation of amrit, the consecrated water used in the Khalsa initiatory rites. Japuji is universally accepted to be the composition of Guru Nanak, the founding prophet of Sikhism, although, unlike other scriptural hymns and compositions, it remains anonymous without being credited individually to any of the Gurus.
Opinion is, however, divided about the date and manner of its composition. One conjecture is that it came to be given its present form and arrangement as a serialized collection of some of Guru Nanak’s revelatory meditations at a later period of his life at Kartarpur on the Ravi, possibly by Bhai Lahina (Guru Angad) at his own behest. The sloka at the close of the Japuji also appears with a slight variation in the Guru Granth Sahib, p. 146, where it has been unambiguously credited to the second Guru (Guru Angad). That the thought was Guru Nanak’s own is evidenced in his sabda in Raag Maru (GG, 102021). But in a fragment of the Puratan Janam Sakhi that has come down to us, the Japuji is recorded to have been uttered by Guru Nanak at the time of his mystical encounter with the Master, which is supposed to have occurred in the River Beas much earlier.
Preceded by what is called the Mul Mantra—the basic statement of creed—the Japu comprises an introductory sloka and 38 stanzas traditionally called pauris, and a concluding sloka attributed by some to Guru Angad. The initial sloka, too, appears again in the Scripture as a preamble to the 17th ashtapadi of Guru Arjan’s famous composition Sukhmam, the Psalm of Peace. The entire composition, including the Mul Mantra, two slokas, and the thirty-eight pauris, forms the sacred morning prayer Japuji Sahib or Japu Nisanu. It serves as a prologue to the Scripture and encapsulates Guru Nanak’s creed and philosophy as a whole. It embodies, in a concentrated and compact style, his vision of the Ultimate Reality and traces the path which a seeker must adopt to realize it.
The Mul Mantra, comparable to the Gayatri Mantra of traditional Hinduism and the Kalimah of Islam, defines the nature of Reality as the One Transcendent, the Timeless Creator, owing its existence to Itself, realizable only through the Guru’s grace. The Truth—or the True One, as the initial sloka announces—ever was, is, and shall forever be. He is unattainable through intellectual workouts or austerities. How can the Truth be realized? How can the barrier of falsehood be demolished? The answer is, by moulding one’s life in accordance with hukam and raaz, i.e. His Will and Pleasure.
The understanding of hukam will rid the seeker of his I-am-ness, which individuates him and throws a wall around him separating him from his spiritual essence. One can attain the truth by glorifying His Name and singing constantly His praises. The self-governing Lord of Lords is unknowable, indescribable, and inscrutable. The individual’s one and only duty is to pray that he always remembers Him who is the sustainer of all that exists.
There is no other way to comprehend Him except to attune our consciousness to Him by listening to or learning about Him (suniai or sravana). Realization will come through reflection, meditation, and faith (manana and mannan) and a loving remembrance (bhadhu or nididhyandsana). Among the objects of reflection and meditation are the illimitable expanse and variety of the created nature. Through this awareness of the vastness of His creation, the ineffability of God—the ever-existent Creator, true King of kings whose will reigns supreme—will break forth upon the seeker’s consciousness.
Man must learn to submit to His will and pleasure. This, in a nutshell, is the substance of the teaching underlying stanzas 1 to 27, couched in a simple and direct style. The remaining stanzas, though exploring the same theme of search for God-realization, are cast in a more concentrated idiom and are pregnant with classical allusions and mystic content. It is for this reason that some commentators ascribe this part of the Japu to a later period of the Guru’s life, pointing the way to realization.
Guru Nanak immediately rejected the path of the Nalha Yogis and their magical and mystical powers and practices. The path to God-realization comprises five stages. Man’s spiritual progress begins in Dharam Khand, that is, the realm of duty or morality. The first requisite is the purity of conduct. This temporal and spatial earth is the field for righteous action.
From here, God in His grace will lead the individual, if he has been living virtuously and if he has been true to his social obligations, to the next stage. The stage following will be that of Gian Khand—the region of knowledge. This will mean the dawning in the individual’s consciousness of the knowledge of the vastness of God’s creation and the comparative puniness and insignificance of the individual’s existence. The third stage is Saram or Srama Khand, the region of toil—not physical hard work but inward cogitation and meditation on knowledge gathered through the physical faculties so as to train the reflective faculty, intellect, and mind in such a way as to acquire an understanding of the godly and spiritual qualities.
But the real spiritual force comes into effect at the next stage, Karam Khand, the region of grace. It is the descent of God’s grace that ushers the seeker’s soul to vistas of indescribable beauty, heroism, and bliss. Beyond these four regions is the region of eternal Truth, Sach Khand—the abode of the Formless One who creates innumerable universes and revels in the vision of His own creation. In the last pauri (stanza 38), the Guru, employing the imagery of the mint, shows how the elixir of the True Word is prepared and eternal bliss is attained by cultivating certain qualities that issue from the Grace of God.
“Patience is to act (diligently) as the goldsmith does and moral discipline the smithy; right understanding his anvil and knowledge his hammer; God’s fear his bellows and sustained hard work his fire; thus does the elixir drop into the vessel of devotion and the Word is realized in the true mint.” In the concluding sloka, the imagery used changes: “Air is the Guru, water the father, and the vast earth the mother. The whole world is playing in the laps of the two nurses, i.e., Day and Night.” The great sustaining principle, Dharma, watches their deeds and categorizes them as acceptable or not.
Those whose actions prove acceptable will obtain seats closer, and others will be cast far behind. Those, sayeth Nanak, “who have cherished the Name Divine will emerge triumphant and save not only themselves, but countless others, too.” The sloka has traditionally become part of the Sikh liturgy and is recited singly or in unison by the sangat at the end of a service. The language of the Japu is old Punjabi mixed with sadh bhadshad or sadhukan, the lingua franca of holy men in medieval India, with liberal borrowings of conceptual vocabulary from Arabic and Persian, as well as from Braj and Sanskrit—their form freely modified to suit the Punjabi idiom, script, and inflectional system.
Even some philosophical terms have been invested with special connotations different from those carried in the source languages. The style is generally terse, compact, and direct, and mythical allusions are minimal. The vision of the poet far transcends time and space, as exemplified in phrases such as “asankh ndv asanakh thdv,” “ddi, anilu, anddi, andhaii,” and “khand, mandal, varbhanad.” The message of the Japu is abiding in nature and universal in application. It simply describes the nature of Ultimate Reality and the way to comprehend it, and is not tied to any particular religious system.
In a word, it simply defines Sikhism—the religious view of Guru Nanak. The Japu carries an important message. Over the centuries, it has shaped the Sikh ethos of devotion and action. JAPU, popularly known as ‘Jap Sahib, by Guru Gobind Singh, is the introductory invocation in his Dasam Granth. In this hymn, the unicity of the Supreme Being is proclaimed, and He is delineated as the One amidst the multiplicity of His creation.
The positive and the negative attributes of the Creator are sung so as to illuminate the human spirit. The exact date of the composition of this poem is not known, but it is commonly accepted as one of Guru Gobind Singh’s earlier compositions. The four years of his early youth he spent at Paonta were the most creative, and the Japu is generally believed to have been composed during that period. Jap is a Sanskrit formation, derived from the root jap which means “to utter in a low voice.” In common usage, Jap means adoration by repeating reverentially God’s name as a sacred formula, and fdp is a regular part of the Indian religious discipline wherein God is remembered by innumerable names signifying and symbolizing His different attributes and deeds. Like Guru Nanak’s Japu, Guru Gobind Singh’s Jdpu is a text for daily recitation.
It is one of the regimen of five Sikh prayers to be repeated every day. It is also one of the five bdms which are recited as amrit is being churned for the rites of Sikh initiation. The composition comprises 199 verse pieces in 10 different metres, namely Chhappai, Bhujangprayat, Chachari, Rual, Bhagvaii, Haribolamana, Charpat, Madhubhar, Rasaval, and EkAchliari, which are repeated with varying effects. How incapable human intellect is of defining and counting all of His names is proclaimed at the very beginning.
Guru Gobind Singh describes the Creator as beyond marks and symbols, castes and hues, forms and garbs. He is immutable, self-luminous, limitless, and the Supreme Sovereign of all the three worlds. Every particle of Nature proclaims, “He is Infinite, He is Infinite.” God is beyond all religions and denominations: Namastan amajabe. Namastasatu ajabe. (Japu, 17).
He is formless, invisible, immeasurably great; His mystery is impenetrable, His glory is indefinable, His holiness is unsurpassable. “Hail Thee, Lord Eternal! Hail Thee, ever Merciful! Hail Thee, Thou Supremely Beautiful! Hail Thee, Sovereign of all” (Japu, 19). He is Destroyer and Creator: He is Death, yet the Sustainer. Darkness and light, tumult and peace may appear contradictory to the finite human mind, but God is above these contradictions. He is darkness as well as supreme illumination.
The Supreme Being, called Akal, the Timeless in Japu, may manifest Himself in many forms, shapes, colours, qualities, and quantities, but ultimately He is One: “ek murali anek darsan, ek rup anek hele kheli, akhel khelan, ant ho phiri ek” (Japu, 81). He is all-pervading and is the essence of all spiritual experience. A significant aspect of this composition is its characteristic language. In the Japu, Guru Gobind Singh has employed, with telling effect, powerful rhythmic and flowing alliterative diction—a mixture of Braj Bhasha, Sanskrit, Arabic, Persian, and Punjabi.
Sanskrit words have been used both in their original (tatsam) and popular (tadhav) forms. Words of Arabic and Persian origin have also been used in abundance. The peculiarity lies in fusing words of Sanskrit origin with those from Arabic and Persian; this is an example of a language popular in varying degrees in northern India when Bhakha or Hindi was developing. Such verbal experiments served the purpose of imparting universality and catholicity to the expression.
Even some philosophical terms have been invested with special connotations different from those carried in the source languages. The style is generally terse, compact, and direct, and mythical allusions are minimal. The vision of the poet far transcends time and space as exemplified in phrases such as “asankh ndv asanakh thdv”, “ddi, anilu, anddi, andhaii” and “khand, mandal, varbhandd”. The message of the Japu is abiding in nature and universal in application. It simply describes the nature of Ultimate Reality and the way to comprehend it, and is not tied to any particular religious system.
In a word, it simply defines Sikhism, the religious view of Guru Nanak. The Japu carries an important message. Over the centuries, it has shaped the Sikh ethos of devotion and action. JAPU, popularly known as Jap Sahib, by Guru Gobind Singh, is the introductory invocation in his Dasam Granth. In this hymn, the unicity of the Supreme Being is proclaimed and He is delineated as the One amidst the multiplicity of His creation.
The positive and the negative attributes of the Creator are sung so as to illuminate the human spirit. The exact date of the composition of this poem is not known, but it is commonly accepted as one of Guru Gobind Singh’s earlier compositions. The four years of his early youth he spent at Paonta were the most creative, and the Japu is generally believed to have been composed during that period. Jap is a Sanskrit formation, derived from the root jap which means “to utter in a low voice.” In common usage, Jap means adoration by repeating reverentially God’s name as a sacred formula, and fdp is a regular part of the Indian religious discipline wherein God is remembered by innumerable names signifying and symbolizing His different attributes and deeds. Like Guru Nanak’s Japu, Guru Gobind Singh’s Jdpu is a text for daily recitation.
It is one of the regimen of five Sikh prayers to be repeated every day. It is also one of the five bdms which are recited as amrit is being churned for the rites of Sikh initiation. The composition comprises 199 verse pieces in 10 different metres, namely Chhappai, Bhujangprayat, Chachari, Rual, Bhagvaii, Haribolamana, Charpat, Madhubhar, Rasaval, and EkAchliari, which are repeated with varying effects. How incapable human intellect is of defining and counting all of His names is proclaimed at the very beginning.
Guru Gobind Singh describes the Creator as beyond marks and symbols, castes and hues, forms and garbs. He is immutable, self-luminous, limitless, and the Supreme Sovereign of all the three worlds. Every particle of Nature proclaims, “He is Infinite, He is Infinite.” God is beyond all religions and denominations: Namastan amajabe. Namastasatu ajabe. (Japu, 17).
He is formless, invisible, immeasurably great; His mystery is impenetrable, His glory is indefinable, His holiness is unsurpassable. “Hail Thee, Lord Eternal! Hail Thee, ever Merciful! Hail Thee, Thou Supremely Beautiful! Hail Thee, Sovereign of all” (Japu, 19). He is Destroyer and Creator: He is Death, yet the Sustainer. Darkness and light, tumult and peace may appear contradictory to the finite human mind, but God is above these contradictions. He is darkness as well as supreme illumination.
The Supreme Being, called Akal, the Timeless in Japu, may manifest Himself in many forms, shapes, colours, qualities, and quantities, but ultimately He is One: “ek murali anek darsan, ek rup anek hele kheli, akhel khelan, ant ho phiri ek” (Japu, 81). He is all-pervading and is the essence of all spiritual experience. A significant aspect of this composition is its characteristic language. In the Japu, Guru Gobind Singh has employed, with telling effect, powerful rhythmic and flowing alliterative diction—a mixture of Braj Bhasha, Sanskrit, Arabic, Persian, and Punjabi.
Sanskrit words have been used both in their original (tatsam) and popular (tadhav) forms. Words of Arabic and Persian origin have also been used in abundance. The peculiarity lies in fusing words of Sanskrit origin with those from Arabic and Persian; this is an example of a language popular in varying degrees in northern India when Bhakha or Hindi was developing. Such verbal experiments served the purpose of imparting universality and catholicity to the expression.
Even some philosophical terms have been invested with special connotations different from those carried in the source languages. The style is generally terse, compact, and direct, and mythical allusions are minimal. The vision of the poet far transcends time and space as exemplified in phrases such as “asankh ndv asanakh thdv”, “ddi, anilu, anddi, andhaii” and “khand, mandal, varbhandd”. The message of the Japu is abiding in nature and universal in application. It simply describes the nature of Ultimate Reality and the way to comprehend it, and is not tied to any particular religious system.
In a word, it simply defines Sikhism—the religious view of Guru Nanak.
References :
- Talib, Gill Bachan Singh, Jehuji: The Immortal Prayer Chant. Delhi, 1977
- Sohan Singh, The Seeker’s Path. Calcutta, 1959
- Puran Singh, The Japji of Nanak. Amritsar, 1929
- Wazir Singh, Humanism of Guru Nanak. Delhi, 1977
- Ram Singh, Japji Da Vichaar Te Roop. Amritsar, 1969
- Vohra, Asha Nand, Japji Da Alaukik Saundarya. Ruhlak, 1975
- Jaggi, Rattan Singh, ed., Gurbani Tike: Anand Gatha. Patiala, 1970
- Jodh Singh, Bhai, Japuji Satvak. Amritsar, 1950
Discovering the Sacred Japu: The Opening of Sikh Scripture, which focuses on the revered Japuji Sahib—the sacred invocation that begins the Guru Granth Sahib—and its enduring significance in Sikh thought and practice.
The Essence of Japuji Sahib
Japuji Sahib is the foundational composition of the Guru Granth Sahib, composed by Guru Nanak Dev. The term “Japu” derives from japna, which means “to recite” or “to meditate upon.” As such, Japuji not only functions as a meditation on the Divine but also establishes the linguistic and spiritual framework for the entire Sikh scripture. It encapsulates the essence of Sikh theology, urging devotees to focus on the One Supreme Reality and to internalize the themes of truth, humility, and divine will.
At the very outset, Japuji introduces the Mool Mantra—a concise statement of the Sikh faith that declares the nature of God as timeless, formless, fearless, and infinite. This mantra serves as the cornerstone of Sikh belief, encouraging individuals to orient their lives toward divine consciousness.
Historical and Cultural Context
Composed during a period of profound spiritual exploration, Japuji Sahib was not only a theological statement but also an invitation to a new way of living. Guru Nanak’s vision was universal—transcending regional boundaries and linguistic diversity. In the context of 15th‑ and 16th‑century India, his words provided clarity amidst a rich tapestry of cultural, religious, and philosophical thought.
Japuji’s universal language and accessible imagery allowed it to become the spiritual touchstone for people across diverse communities. Its composition was meant to speak to both the common devotee and the spiritually inclined seeker, stressing that the journey toward truth and liberation is available to all through continuous remembrance of God.
Literary Structure and Thematic Richness
Japuji Sahib is structured in a series of stanzas that interweave poetic beauty with deep philosophical inquiry. Some key features include:
- Invocation of the Divine:
The hymn opens with the Mool Mantra, firmly establishing the attributes of the Supreme Being. This call to meditate on the Divine sets the stage for the ensuing guidance. - Emphasis on Simran (Remembrance):
Throughout the text, there is an insistence that true spiritual progress comes from an unwavering meditative focus on God. By reciting the teachings contained within Japuji, one can suppress ego and dissolve worldly attachments. - Ethical and Existential Reflections:
Guru Nanak poses fundamental questions about the nature of reality, truth, and the process of spiritual transformation. Japuji challenges individuals to shed falsehood and embrace a life marked by compassion, self-discipline, and devotion. - Illustrative Imagery and Allegory:
The text draws on metaphors from nature and everyday life—for example, comparing the inner spiritual fire to a guiding light—thereby making its abstract teachings tangible and relatable.
The literary dynamism of Japuji has not only inspired the faithful over generations but also stimulated extensive scholarly study, both within and beyond the Sikh community .
Ritual and Devotional Practice
Japuji Sahib holds a central place in Sikh liturgy. Typically recited in the early morning (as part of Nitnem, or daily prayers), it sets the spiritual tone for the day. Its verses are meant to purify the mind, invoke the Divine presence, and remind the listener of the fleeting nature of worldly life. In communal prayer sessions and kirtan (devotional singing), the recitation of Japuji fosters a sense of unity and shared purpose, reinforcing the core Sikh values of honesty, humility, and constant meditation on God’s name.
Its recitation is also viewed as a form of active devotion—a practice that encourages the internalization of the Guru’s teachings and the cultivation of an enduring spiritual discipline.
Enduring Legacy and Contemporary Relevance
Japuji Sahib continues to be a potent source of inspiration and guidance for contemporary Sikhs. Its timeless message helps devotees to navigate the complexities of modern life with spiritual insight. Whether one is grappling with personal challenges or seeking a deeper understanding of the divine, the hymn’s layered teachings provide a roadmap for inner transformation.
By placing Japuji at the very beginning of the Guru Granth Sahib, Sikh tradition underscores its importance as the gateway to understanding the cosmic order and the true nature of existence. The universality of its message—transcending time, space, and cultural differences—ensures that it remains a vibrant and living tradition in the hearts of millions.
Discovering the Sacred Japu is an invitation to immerse oneself in the profound wisdom of Guru Nanak Dev’s earliest composition. Japuji Sahib is not merely an opening hymn; it is a spiritual manifesto that outlines the path to eternal truth and liberation. It teaches that through constant devotion, ethical living, and sincere remembrance of God, every individual can experience the Divine presence and realize their true potential.
