PAINTIS AKKHARI, lit., a poem based on paintis or thirty-Five letters, is a composition in the form of an acrostic utilizing for successive verses the thirty-five characters of the Gurmukhi alphabet. The poem is sometimes attributed to Guru Nanak but mistakenly, for it is not included in the Guru Granth Sahib. Had it been Guru Nanak`s work it would have formed part of the holy corpus. It seems to have been composed by a Vedantin sadhu, apparently after 1604, the date by which the compilation of the Guru Granth Sahib had been completed.
No historical account concerning the preparation of the Holy Book refers to Paintis Akkhari having reached the hands of the compiler, Guru Arjan, the Fifth Guru. The Naslhat Ndmd and Prdn Sangah or the manuscripts of the sufi saints such as Pilu, Shah Husain, Kahna and Chhajju which did reach him were rejected. Guru Nanak`s own poem in this style, called Patti, is incorporated in the Guru Granth Sahib, wherein the letters are pronounced in Gurmukhi style as sassd, hdhd, kakkd, etc., and not in the Devanagri style as sd, hd, kd, etc., as happens in the Paintis Akkhari. Philosophically and religiously also the two poems have nothing in common.
The verses in Paintis Akkhari are arranged in the order of the Gurmukhi letters as they occur in the alphabet. The poem has seven stanzas, each with six to nine lines. The Name Nanak occurs once at the end of the composition. Stylistically, it is marked by simple versification nowhere reaching the sublimity of Guru Nanak`s poetry. Its contents relate to monistic metaphysics, i.e. the concept of monism, of supremacy of knowledge obtained through the true Guru and the experience of bliss in the realization of`That I am.` It preaches the complete identity of isvara and jiva, of a saint and a thief; and does not accept duality in any form. As for Brahm, Paintis Akkhari says that He is present everywhere.
He is the essence of the spirit, a nondoer and immortal. The One, indivisible and without a beginning, resides in an elephant, in an ant, and in all things from a straw to a mountain. He is the cause of causes and is still a non-doer. He is the light from which all light emanates. As the true jnana or realization dawns, all ignorance born of daulity vanishes. The ruler of the body, viz. the jiva (soul) transcends the three states of waking, dreaming and deep sleep and attains to the fourth, turyd, which is the state of Nirguna (unattributed) Brahman and which signifies the end of duality, of the notion of the empirical subject and object.The symphony of the sounds of un-struck music is heard, but only a yogi who has the ecstatic realization of unity with the Divine experiences this bliss.
The true Guru alone can grant the supreme gift of muklior liberation, for he gives true light, removes doubts and washes away the sins. He purifies the jiva by banishing doubt and annuls duality. One can realize advaita (nonduality) only when one surrenders oneself to the Guru completely. By the Guru`s grace are banished evil and malady. As one is rid of ignorance, of the false sense of duality, one experiences the supreme bliss. As one realizes one`s true self, all suffering ends and true knowledge dawns. One merges with Brahman as water merges with water. There is none without Vasudeva, 0 Nanak, He is the One, He is I, He is that. The Paintis Akkhari is one of the oldest acrostics on Gurmukhi characters. It was popular reading in Sikh homes until the rise of the Singh Sabha, which discouraged the recitation of this non-scriptural text. Older people still read it daily and derive solace from it.
References :
1. Sahib Singh, Sri Guru Granth Sahib .Darken. Jalandhar, 1962-64
2. Kohli, Surindar Singh. A Critical Study of Adi Granth. Delhi, 1961
An Ode to the Sacred Letters
The title “Paintis Akkhari” alludes to the thirty-five letters of the Gurmukhi alphabet, a script imbued with deep religious and cultural significance in Sikhism. In this poem, the alphabet transcends its role as a medium of communication to become a symbol of divine expression. Each letter embodies an aspect of cosmic order and spiritual nuance, suggesting that even the smallest components of language contribute to the grand tapestry of creation.
Structure and Literary Craft
Ordered Composition:
The poem is crafted around the systematic progression of the alphabet, with each stanza or verse linked to one of the thirty-five letters. This methodical structure is not accidental but serves as a reminder of the fundamental order underlying both language and the universe. In arranging the letters in their natural sequence, the poem mirrors the notion that there is an inherent rhythm and balance to existence—a balance that devotees are invited to contemplate.
Acrostic and Symbolism:
The use of an acrostic or a similar pattern where each letter is highlighted creates a layered meaning. It encourages readers to look not only at the individual identities of the letters but also at how their combinations form words imbued with life, wisdom, and the sacred “Naam” (the divine Name). The poem suggests that just as letters come together to form words—each contributing its unique vibration—individual experiences and virtues coalesce to form a life of spiritual depth.
Spiritual and Mystical Dimensions
Divine Resonance in Language:
In Sikh tradition, the written word—epitomized by the Guru Granth Sahib—is far more than mere communication; it is a manifestation of divine will. The Paintis Akkhari poem taps directly into this mysticism, subtly reminding the reader that every sound and every letter carries its own divine resonance. This perspective transforms the act of reading into a meditative experience, where one contemplates the interplay between the tangible forms of letters and the intangible, eternal truths they symbolize.
Microcosm of the Universe:
The poem presents the Gurmukhi script as a microcosm of the universe. Each of the thirty-five letters is portrayed as a building block of not only language but creation itself. In this light, the poem examines the idea that the entirety of the cosmos can be understood through its smallest parts. This meditation on the finite versus the infinite invites the reader to see the divine in every detail of their existence, encouraging a holistic view of life where every element is interconnected.
The Journey from Form to Meaning:
At its core, Paintis Akkhari is a meditation on transformation. The letters, in their raw, simple forms, are given extraordinary meaning when arranged thoughtfully. This transformation mirrors the spiritual journey: from the unrefined, raw experiences of life to the elevated state of enlightened understanding. The poem, therefore, becomes a guidepost for those on a quest for spiritual growth, illustrating how order and beauty can emerge from what might at first seem elementary.
Cultural and Historical Resonances
Reaffirming Sikh Identity:
By centering on the sacred script, the poem reinforces the crucial role of language and literature in preserving Sikh heritage. The Gurmukhi alphabet is not only a tool for writing but also a cultural emblem—a symbol of the community’s resilience and unity. The poem’s careful attention to each letter serves as both a celebration of this legacy and a call to remember that the spiritual insights of the Gurus are timeless, encoded in every syllable of the holy texts.
Meditative Practice and Devotional Literature:
The act of reading or reciting such a poem becomes a devotional practice in itself. The rhythmic and ordered nature of the poem lends it a musical quality that can be both soothing and enlightening. In reciting the verses, one is reminded of the inherent peace that accompanies the disciplined repetition of sacred sounds—a tradition found in many spiritual practices around the world.
Concluding Reflections
Paintis Akkhari is more than an exploration of the alphabet; it is an invitation to see the extraordinary within the ordinary. Through its interplay of form, structure, and deep spiritual symbolism, the poem challenges its readers to perceive language as a reflection of divine order. It blurs the line between the literary and the sacred, demonstrating that every letter—every small element—plays a part in the unfolding of cosmic truth.
