KHC St1& 2 FinalDesignDocumentLores

© Design Habit, New Delhi, 2008 Final Design Document Stages 1 & 2 1
Khalsa Heritage Centre

2 Final Design Document Stages 1 & 2 © Design Habit, New Delhi, 2008
Table of Contents
Introduction ............................................................................................................................................................................................. 7
Architecture ........................................................................................................................................................................................... 9
Challenges to Museum Design ............................................................................................................................................................11
Design Approach .................................................................................................................................................................................. 13
Storyline ................................................................................................................................................................................................. 15
Graphic Language .................................................................................................................................................................................17
Gallery Overview ................................................................................................................................................................................. 23
Gallery/Area: 0; Triangle: Foyer ..................................................................................................................................................... 28
Gallery/Area: 1; Boat Building: Panj Paani .................................................................................................................................... 32
Gallery/Area: 2; Triangle: The Milieu of 15th Century Punjab.................................................................................................... 60
Gallery/Area: 3; Drum Building: The Concept of One ................................................................................................................ 76
Gallery/Area: 4; Petal 1: Life of Guru Nanak ................................................................................................................................. 84
Gallery/Area: 5; Petal 2: Community Living at Kartarpur ....................................................................................................... 102
Gallery/Area: 6; Petal 3: Guru Angad and Guru Amar Das ..................................................................................................... 126
Gallery/Area: 7; Petal 4: Guru Ram Das ...................................................................................................................................... 148
Gallery/Area: 8; Petal 5: Guru Arjan Dev .................................................................................................................................... 162
Gallery/Area: 9; Terrace Triangle: Guru Arjan Dev’s Martyrdom / Memorial ..................................................................190
Gallery/Area: 10; Grand Staircase: Miri Piri Installation .........................................................................................................198
Gallery/Area: 11; Crescent 1: Guru Hargobind, Guru Har Rai and Guru Har Kishan ......................................................... 204
Gallery/Area: 12; Crescent 2: Guru Teg Bahadur and Guru Gobind Das ............................................................................. 234
Gallery/Area: 13; Crescent 3: Guru Gobind Singh and Khalsa ...............................................................................................260
Gallery/Area: 14; Crescent 4: Guru Gobind Singh: Post Khalsa............................................................................................ 290
History Wall 1 ....................................................................................................................................................................................... 310
History Wall 2 .....................................................................................................................................................................................326
Gallery Introduction Panels............................................................................................................................................................ 344
Visitor Processing Study ................................................................................................................................................................346
Introduction
i n 1499, Guru Nanak founded a unique religious faith rooted in the core values of universalism,
liberalism, humanism and pluralism. The nine Gurus after him consolidated his teachings, and
further spread the faith, leading to the establishment of Sikhism as a way of life.
Two hundred years later at Anandpur Sahib, on the occasion of Baisakhi, the Tenth Master, Guru
Gobind Singh formally instituted the Khalsa Panth of saint-soldiers, an egalitarian and distinctive
social order, committed to peace, equality and justice for all. Today, on the site of this epoch-
making event stands the majestic Gurdwara Takht Sri Keshgarh Sahib.
April 1999 marked the Tercentenary year of the Birth of the Khalsa, an event celebrated all over the
world. To commemorate this event, the Government of Punjab envisioned the Khalsa Heritage
Centre at Anandpur Sahib as an inspiring tribute to the heroic and poignant saga of the Sikhs and
the Punjab. The vision it offers to the world and itself can only be a crafting of the finest sensibility
and aesthetic that convey both the incisive stand taken on behalf of Truth by the Gurus of the Sikh
faith and the grandeur of its history.
The Khalsa Heritage Centre, the first of its kind, will provide a space in which the impassioned
drama of this heritage shall unfold. For the Sikhs, this Centre will serve as a reaffirmation of roots.
For the non-Sikh, it will be an inspiring journey into a spirited culture, providing a fascinating
insight into the Sikh faith and its history.
Design Habit has revisited the approved concept designs and restated them for the respective galleries
in form and content that is in sync with the interior architecture of the spaces and remains within
the approved scope of research. This process finds expression in Idea Diagram and Interpretive Plan
for each of the sections that is consistent with the approved mandates and international expectations
for a museum of such critical importance.
Architectur
chitecturee
Architectur
It was a long journey through the history of the Punjab, before the internationally acclaimed
architect Moshe Safdie, initiated the design process for the Khalsa Heritage Centre. He drew
inspiration from the historic Golden Temple and the rich heritage of Anandpur Sahib — its hills,
natural valleys and streams, the Anandgarh Fort and the glorious Gurdwara Keshgarh Sahib. The
site for the Centre was selected for its direct relationship to all these features. In Moshe Safdie’s own
words, “a building cannot be experienced as independent of the land in which it is rooted.”
The site generated the plan.
Close to completion on a 100-acre site, the Complex has been conceived as two functionally
integrated sets of buildings. The Western complex forms the gateway for the town. It houses
functions that respond directly to the needs of the people — changing exhibit galleries; a two-level
research and reference library centred around a great reading room open to vistas of water gardens,
to house rare archival materials, books, journals as well as audio visual resources; and a 400-seat
auditorium to host seminars and cultural events.
A 165-metre bridge from the Western complex provides pedestrian access to the Eastern complex-
the Khalsa Heritage Centre that comprises permanent exhibit galleries on 500 years of Sikh
heritage along with museum facilities to rival any world-class museum.
A series of reflecting pools create a seven-acre water body between the two complexes. Arcaded
walkways and gardens on either side gently cascade towards the serene pools. Public facilities and a
cafeteria are located at the base of the bridge overlooking this vista. The finest craftsmanship is being
deployed to create a Complex worthy of Sikh aspirations and traditions. In the future new facilities
may be added to make the Khalsa Heritage Centre the world’s foremost, comprehensive Sikh
heritage centre.
The Museum Complex re-interprets recurring themes of Sikh and regional architecture. The
buildings consist of a series of tower-like shafts — cylindrical, square and triangular in shape that
rises out of the sand cliffs. Sheathed with hand-chiselled Gwalior sandstone of the same colour as
the hills, they evoke the fortress architecture of Punjab and Northern India.
Rhythmic columnar arcades, which traditionally contain the Gurdwara courtyards and ceremonial
pools, weave together the tower-like shafts and terraces, towards the valley in a series of hanging
gardens, which gently descend towards the water — a journey towards spiritual cleansing. The theme
of the Earth and Sky, mass and lightness, depth and ascension, represented by the sandstone towers
and reflective silver roofs, is further echoed within the museum galleries.
As a counterpoint to the rich tradition of domes which crown sacred Sikh buildings, the roofs of the
Khalsa Complex are carved out in concave shapes like great receptors facing the sky. Sheathed with
silvery stainless steel, they reflect the sun and light towards the Gurdwara and the Fort — the town
basks in the glory of the light emanating from the Complex. At night, these roofs would be floodlit
and form a visual triangular axis with the illuminated Fort and Gurdwara domes.
The roof geometry projected in the skyline reveals the plan of the individual floors. One cluster,
with five flower-like petals evokes the lotus, projecting skywards. A second crescent-shaped cluster
creates a symphony of shapes against the skyline, dominated by a vertical sword-like triangular spire
that hovers above the roofline. Below, at the centre of the historic
museum is a large multi-level exhibit space, shaped like a ship, rising
dramatically from the water below. Its bow faces downstream towards
the sacred buildings of the town, creating the allusion of dynamic
movement.
Timelessness, according to Moshe Safdie, is perhaps the most
meaningful quality one can ascribe to a building. This Museum shall
stand apart forever — unique, mystical and eternal.
Challenges to Museum Design
Design Habit has been assigned the task of designing the Khalsa Heritage Centre, one of the most
challenging tasks in the history of museum design. The riches that this Museum can offer are
immense. Its requirements fall only between being an archive and a pageant, to chronicle the
triumph of the spirit of a people. In evolving a design strategy and metaphor for this Museum, some
of the many challenges were:
• How to be of relevance and interest to a very wide spectrum of audience who may be physically
covering over a kilometre from the point of entry to the exit?
• How does the Museum / exhibits sustain the interest and inform an audience that covers Sikhs
and non-Sikhs, the rural and the urban, the local to the global, from the non-literate to the
scholar?
• Having defined the large gamut of its audience, how does museum ensure that the intended
communication reaches out to all, given that a fair segment of the visitor type may be unfamiliar
with the written word?
• Any historical narrative is at once linear as it is multi-layered. How can the design encapsulate
the same spirit in a three-dimensional spatial experience?
• The story is about 500 years old, but the communication technology to be used to narrate it is
the most contemporary. How does such technology integrate with the vernacular aesthetic?
• The story to be told is deeply spiritual, passionate and emotional. The design therefore cannot
be passive. How can this spirit be retained and the exhibit also be informative?
• A museum anywhere in the world is defined by its educative role. Whatever is exhibited must
therefore have sterling credentials. How can it be ensured that the narrative though emotional in
nature, retains objectivity so that neither the believer nor the scholar can challenge its
credibility?
• The content for inclusion constitutes a challenge to museum design that must ultimately
consider the practical question of finite space within which infinity can be offered, and where
there can only be these many dioramas and recreations for a visitor to meaningfully handle
physically, mentally and emotionally.
• For a narrative and interpretive historical museum, a key communication issue is that of
representation. The faith itself has well-established norms on visual representation.
Furthermore, the first half of the narrative on the Guru period is philosophical and conceptual
in nature, whereas the remaining story is in essence documented history. How is a balance to be
achieved without resorting to literal depictions? Therefore the selection of appropriate
metaphors and level of abstraction becomes critical so that communication is not compromised.
• Lastly the challenge posed by Moshe Safdie’s architectural design. How does the museum’s
design resonate with the given spatial dimensions, so that a perfect harmony is achieved between
space and content, the envelope and the message?
Design Approach
The Khalsa Heritage Centre, the first of its scale in the world, has been conceived as a storytelling
Museum covering 6500 square metres of fully air-conditioned space. The story to be told within
the Museum’s monumental architectural spaces is deeply spiritual, passionate and emotional. The
exhibition design therefore strives to convey this spirit by the creation of a variety of immersive
environments that transport visitors into a different time and space, thereby enhancing their
capacity to receive the intended communication. A multi-layered communication strategy ensures
that visitor aspirations are met, in a language and level of detail of their choice.
Design is a user-centred discipline and the Khalsa Heritage Centre is ultimately being created for
viewership. The eventual judge of efficacy will be the visitor that comes to this museum not once,
but over and over again. Who are our likely visitors? Sikhs from rural, semi-urban and urban
milieu; non-resident Sikhs; other Punjabis and tourists; the devout and the sceptic; the non-
literate, the scholar and the aesthete; children, teenagers, young and the aged. Each one will find
something in this Museum that interests, informs or touches them, irrespective of who they are,
from where they come and whatever may be their faiths.
Heritage, as the museum design has interpreted, certainly has its fountainhead in history. However,
Heritage is a complex web that also encompasses the visual, the material, the spiritual and the living
worlds of a culture. The design has woven threads of the vernacular aesthetic into the very fabric of
the Museum’s visual language to highlight a robust, living culture. For some, familiarity with
traditional idioms will acts as a magnet. For others, it will add another dimension to their museum
experience.
A narrative museum that endeavors to tell a story that is deeply spiritual, and filled with stirring
emotion. In this case, the simple use of objects and artifacts will not capture the narrative and its
contexts, nor will the images and text. The design approach, therefore, relies on the creation of
unique scenographic environments that effectively engages multiple media to present a truly
immersive experience for all audience types.
To create an experience of this scale, Design Habit firmly believes that the spoken word will play a
role of greater significance over the written one. Thus a trigger based audio mechanism will serve as
a seamless overlay on the scenographic exhibit environments as the visitor moves from one exhibit
and gallery to the other. This abets in doing away with the need for text based exhibit panels, with
the exception of those located at the entrance of every gallery to serve as an overview, the ones used as
visual or in the case of signage.
Thus the audio mechanism will be a crucial element in the comprehension of the museum narrative
and subsequent experience. It will perform the dual function of:
· Preventing a dense textual overlay on the exhibit due to the requisite three languages.
· Addressing the problem of illiteracy which is an unavoidable scenario with museum-goers in the
Indian context.
It will be supplemented with the development of relevant communication material in the form of
handouts, pamphlets, route maps that will the give the visitor the option of disconnecting from the
audio narrative if one desires to do so without losing the essence of the content in relation to the
scene.
Working with time & space, the scenographic exhibit environments endeavor to create a quasi-
theatrical, tactile experience through meaningful reconstruction of the historical content vis-à-vis
its context within each gallery and will comprise of several elements ranging from miniature drawing
styles to woven craft traditions to architectural reconstructions to folk ballads, music, audio visuals
and ambient audio that allows appropriate rendition of the narrative.
Each of these elements will have a distinct process of development depending on their material type
and complexity of design.
Design Habit is committed to use appropriate craft practices, oral story telling techniques, music
and other art traditions that are in context to the narrative of the museum so as to arrive a design
idiom that is distinctively Indian in its expression.
Storyline
The Museum narrative, in the first phase, traces the history of Sikhism from the birth of Guru
Nanak in 1469 to the death of Guru Gobind Singh in 1708 when he declared the Khalsa and the
Granth Sahib to be the Guru, ending the line of personal Gurus. The narrative, in principle, is the
medium through which the ideological and institutional foundations of ‘Sikh identity’ are
unfolded.
The identity of a place or a people is determined as much by its cultural and social vitality as by the
awareness and appreciation of its past traditions. Today, more than ever before, it is of utmost
importance that the people of Punjab revive and renew their complex links with history and
tradition. The Boat Building, in all its grandeur and magnitude, captures the unique and rich co-
existence of the old and the new, this visible layering of time and history in the everyday life of the
people; to celebrate the true Punjabi spirit.
The Triangle establishes the contemporary fifteenth century context as an a priori to the
understanding of the “Guiding Principle” and the section on Gurus beginning with Guru Nanak.
The Drum emphasises on the principles, on which Guru Nanak’s Sikhi rests.
The first five Petals in the exhibit design deal with the establishment of a new faith and the core ideas
propounded by Guru Nanak and reinforced by his successors, coming to a culmination with the
installing of the Adi Granth in the Harmandar during the time of Guru Arjan Dev. The narrative
on Guru Nanak in Petals 1 and 2 emphasizes the basic thoughts of Guru Nanak as the core principles
of Sikhism and the core institution of dharamsaal. In Petal 3, the section on Guru Angad lays
emphasis on the use of Gurmukhi script as his major contribution, and the segment on Guru Amar
Das underscores the ideal of ‘seva’. Petal 4 brings out the importance of ‘kirtan’ in the time of Guru
Ram Das. In Petal 5 the emphasis is on ‘bani’ during the time of Guru Arjan Dev. His visibly
increasing popularity among the people was seen as a political threat by the Mughal emperor who
ordered his execution for blessing a rebel prince.
Guru Arjan Dev’s son and successor, Guru Hargobind, built the Akal Takht, encouraged martial
exercises amongst his followers, and emphasized that the Sikhs should defend their faith with
military means if necessary. Thus, an element of politicization was introduced in the Sikh Panth in a
situation of confrontation with the state.
Crescent 1 highlights the activities of Guru Hargobind as Din Duni Da Padshah, and the stance of
independence kept up by Guru Har Rai and Guru Har Kishan. Crescent 2 depicts the activities of
Guru Teg Bahadur leading to his deliberate martyrdom for the freedom of conscience. Crescents 3
and 4 highlight events of the life of Guru Gobind Singh leading to the institution of the Khalsa
Order, the battles of the Khalsa and the vesting of Guruship in the Granth Sahib and the Khalsa
Panth. As a result, the Khalsa became a political community with claims to a sovereign status.
Conclusion:
The exhibit design takes the visitor through nearly five centuries of Sikh history, its moving spirit, its
institutions, its revolutionary elan, its ideals and its protagonist, the triumph of the spirit in all its
vicissitudes and expression of good will towards all. This experience can infuse a new spirit among all
to work for the common welfare of mankind, bearing witness to the universality of Guru Nanak’s
message and concern for the humanity at large.
For the ease of tracking the progress of such a project spanning over almost five hundred years of
history and heritage, the galleries within Stages 1 & 2 of the project have been categorized into 3
broad groups:
a) Entrance Foyer -The land and People of Punjab (Galleries 00-01)
b) Prelude to the Guru Period (Galleries 02-03)
c) The life & times of the Gurus (Galleries 04 - 14)
The current interpretation and designs are based on the approved scholarly research contained in
the Exhibition Content V olumes 1 and 2 (September 2001) and the preliminary design
Volumes
visualization evolving from the approved Ar chitectur
chitecturee & Museum Design Document (2001).
Architectur
As well, reference is made to the approved documents Design Concept (Phase II, Sub-phase 1
May 2004) and Museum Content (Phase II Sub-phase 1 May 2004) 2004).
Graphic Language
Graphic
As the narrative unfolds in a historical sequence, the visual imagery of the corresponding
scenographic exhibit environments draws upon relevant schools of art of that period & location
(largely North India).
The design draws inspiration from the paintings, art and architecture of medieval India (11th
century- 18th century). Following are the main elements extracted:
· Visual treatment of the exhibit
· Storytelling technique
· Landscape and architecture
· Human behaviour—postures, expressions, costume et al
· Decorative motifs
A broad range of references have been employed to recreate an authentic historical experience:
· Illustrations in Caurapancasika style from Jain paintings, texts like Palam Bhagvat, Isarda
Bhagvat, Laur Chanda, Gita Govind, Shahnama (Jainesque, Sultanate period), Nimat Nama
· Mughal miniature painting from Tutinama, Hamzanama, Baburnama, Akbarnama, the
albums made under Jahangir, Padshahnama
· Pahari style of Kangra, Garhwal and Guler
· Pahari- Sikh and Punjab plains paintings particularly from Lahore
· Janamsakhis (B 40 Janamsakhi, Janamsakhis in Govt. Museum, Chandigarh)
· Murals (Baba Atal Gurudwara, Gurudwara Baoli Sahib, Goindwal et al)
Thus the effort is to base & develop the visual grammar of the scenographic renditions on a
chronological progression of the North Indian art styles as they infuse & validate the exhibit with
their wondrous and unique forms, colours & textures.
Examples of Caurapancasika style:Palam Bhagvat, mid. 16th cent

Nimatnama, early 16th cent.,
Murals, Baba Atal’s Gurudwara, Amritsar, 19th cent.
Lahore city and fort, Pahari- Sikh, c. 1825
Shahrashob reaches Takaw with
Hamza bound in chains,
Hamzanama, Mughal, c.1570
Building operations at Agra fort, Akbarnama, Mughal,

c. 1590
Jagannath temple, Orissa (map)
The Rao’s procession outside Anjar, Rajasthan
A feast in the kitchen, Pahari, c. 1810
Wedding procession of Prince Aniruddha
Chand of Kangra, Pahari, c. 1800
A carpenter at work,
Punjab, c. 1875
Gallery Overview
The galleries are numbered in accordance with the flow of the narrative. The flow proceeds
from Triangle 321 into the Boat Building, to the Triangle and the Drum at the 327.6 level
moving to the Petal Building and Crescent Building at the 330 level.
00 Entrance Foyer
01 Panj Paani
02 The Milieu of 15th Century Punjab
03 The Concept of One
04 Life of Guru Nanak
05 Community Living at Kartarpur
06 Guru Angad and Guru Amar Das
07 Guru Ram Das
08 Guru Arjan Dev
09 Guru Arjan Dev’s Martyrdom / Memorial
10 Miri Piri Installation
11 Guru Hargobind, Guru Har Rai and Guru Har Kishan
12 Guru Teg Bahadur, Guru Gobind Das
13 Guru Gobind Singh and the Khalsa
14 Guru Gobind Singh: Post Khalsa
History Wall: Petals and Crescents
Entrance F
Entrance oyer; T
Foyer; riangle 321
Triangle
The Entrance Foyer houses the Reception for handing out brochures and other communication
material. The visitor sees a three minute film that introduces him / her to the entire Museum
Experience.
The film is an orientation to the site, along with live feed for demonstration of the audio guides.
This familiarizes the visitors with the audio technology. This initiates the starting sequence of
exhibits in the Museum.
Area Overview
Reception
Entry to Boat Building
Access from the Bridge
Celebr ating the Punjabi Spirit
Celebrating
Punjab, the fertile land of the five doabas, draws its name and identity from the mighty rivers that
flow down from the Himalayas to its north. Through its long and tumultuous history, the people
who have inhabited this region have been known for their hard working, openhearted love of life.
The identity of a people is fashioned as much by their cultural and social vitality as by their
awareness and appreciation of their cultural heritage. Punjab today is re-emerging from a period of
tragedy and social unrest. The globalizing winds of change are reaching the remotest corners of the
region, and a previously far-flung Diaspora is eager to return some of its dynamism and energy back
to its roots. Not surprisingly, Punjabis – wherever they may be - are once again seeking to re-assess
and renew their complex links with history and tradition.
The very landscape of Punjab has undergone dramatic changes in modern times, even as the people
have remained attached to their traditional modes of dressing, eating and socializing. Events of
history – such as the partition of Punjab – have also reshaped its social geography. Yet, one only has
walk through the bylanes of Amritsar city or any rural hamlet today - and come across Sikh children
playing with their patkas and kirpans tied proudly; a rugged farmer driving his buffaloes to the
village pond, or a wedding procession with the groom mounted on a bedecked horse, sporting a
curved sword - to see that the many aspects of people’s lives have hardly changed since the times of
the great Gurus and Peers who hold such a special place in the hearts of the people.
So it is this unique and rich co-existence of the old and the new, this visible layering of time and
history in the everyday life of the people, that we must capture if we are to provide a genuine
opportunity for a reflection and celebration of the Punjabi spirit.
1.0: Landscape Mural
Mural
The first gallery of the museum, known as the Boat Building, therefore, is planned as a grand
introductory show that portrays the land and culture of Punjab. Entitled Panj Paani, the show will
be based on a panoramic, painted mural depicting the landscape of Punjab. Water is a key metaphor
for the agrarian culture of Punjab, and the entire floor area of the building is designed as a large
water body, symbolizing the confluence of many streams. Rising out of this pool, the vast landscape
image spans both walls of the interior. The viewer is invited to enter this ‘landscape of the
imagination’ - the watan (homeland) of the Punjabis. The mural will be partially 3 dimensional,
with certain features, like houses and and cityscape elements projecting out from the surface, and
others, like waterbodies being recessesed at a lower level. The land itself would be undulated, with
features such as hillocks, fields of ripening crop and trees treated in low relief.
1.1: Design and Composition
The flanking walls of the gallery are populated with the fields, rivers and villages of the countryside,
while a dense townscape forms along the central vertical apex. The Harmandar Sahib, the spiritual
centre of the Sikh world, is symbolically placed in the centre of the landscape, with the streets and
bazaars of Amritsar spread out around it. Thus, the visitor traverses the countryside of Punjab
before ‘entering’ the city, and then moves out again. At the end of the fourth ramp, the visitor will
physically ‘walk into’ the landscape through a village gateway, to enter the next gallery – a recreation
of Guru Nanak’s birthplace Talwandi as it might have existed in the year 1469.
The landscape will be rich in detail (on a rough estimate, it will be populated with well over a
thousand human figures, ranging in size between 20cm and 1.50 m, for example), and every
important feature will re-appear several times within its network of visual and spatial relationships,
allowing viewers many and varied ways of absorbing these. A partial list of the features that will
appear are listed below:
Countryside (physical)
Low hills, Rivers, Plains lands, Highways, Railways, Bridges, Power lines, Damsites, Canal systems,
Ponds and waterbodies, Plantation trees (eg. Eucalyptus), Forest trees. Rice, sugarcane, wheat and
mustard fields
Countryside (social)
Agricultural technologies and methods, Truck culture: workshops, dhabas, Tourism and travel,
Wildlife, Sanctuaries
Villages (physical)
Gurudwaras,Temples, Churches, Mosques, Sufi shrines, Brick and cement houses, Mud houses,
Village squares, Shops. Brick-lined streets, Dirt tracks, Wells, Vegetable gardens
Villages (social)
Daily routines, Communities, Panchayat and local governance, Festivals, Rituals
Crafts, Arts, Music, Performance, Food and cuisine
Towns and Cities (physical)
Techno-parks, Industrial areas, Streets, Malls and Marketplaces, Residential areas, Temporary
settlements, Slums, Historical structures, Bus and Railway stations, Schools, colleges, institutions,
Government buildings, Parks, Museums, Cinemas, Hotels
Towns and Cities (social)
Communities, Urban trends and lifestyles,Trading and Industrial activities
Educational and cultural activities, Planning and development activities
Festivals and rituals
1.2: Style
Stylistically, the visual design of the mural will draw from an eclectic range of sources. From the
vibrant energy of the Hamzanama and rich colouration of the Lahore and Pahari miniatures, to the
intensely observed detail of medieval European masters such as Pieter Brueghel the elder, to the
complex compositions of Amrit and Rabindra Kaur - and other contemporary artists such as
Ghulam Sheikh, who have demonstrated the expressive potential of the language of miniature styles
in a modern context.
2.0: The Show
Audio Visual techniques will be used to animate the landscape mural, so the visitor experiences it as
a dynamic show, rather than as a static image. The show unfolds through a combination of large
seasonal / time-of-day transformations that span the entire landscape, and a network of smaller
highlighted scenes that draw the viewers attention to the details of human activities, ceremonies and
stories that are associated with these seasonal changes
The rhythm of this cyclic eight-minute show - approximately the time that will be taken by an
unhurried walker to traverse the four ramp levels - is orchestrated by the unfolding of seasonal
cycles and festivals over the landscape. The visitor can witness the passage of Spring, Summer,
Monsoon and Winter - starting at any point of the show, as the show cycles are intended to revolve
continuously. If, for example, one were to enter during cycle 3, one would go through cycles 3, 4, 1
and 2 (in that order) before exiting. The idea behind this is that regardless of when a particular
individual or group enters, they will experience an entire ‘year’ if they spend minutes within the
gallery.
The passage of a year in the seasonal cycles of the land will be linked to the unraveling of a 24-hour
cycle of a day. While the annual cycle takes the visitor through the agricultural and natural patterns,
the passage of a day highlights the everyday life of the people. The relationship between the annual
and daily cycles are : Spring-Morning, Summer-Afternoon, Monsoon-Evening, Winter-Night.
At the center of the landscape is an animated depiction of the cycle of rituals at the Harmandar
Sahib, which is front projected onto a 3m x 4m screen, and runs as a 8min. synchronized
animation loop that is visually seamlessly integrated with the surrounding mural.
2.1: Lighting, Projections and Special Effects
Projections
A combination of optimum technologies will be used to affect these transitions. While sweeping
washes of light would create the transitions from misty winter dawns to white hot summer
afternoons and deep orange sunsets to midnight blues, the blooming of summer flowering trees
would be achieved with a combination of gauze screens and programmed backlighting. Moonlight
glimmering on water would use embedded lights and fiberglass, while dancing mustard fields would
be directly projected onto the mural surface. Seasonal transitions are also marked by major festivals,
which will provide cues for dramatic lighting effects - such as Diwali lamps, the colours of Holi etc.
2.2: Sound
The show will be built around an eight minute song-based soundtrack. This song will be based on
Punjabi folk and contemporary poetry and music. The text of the song will drive the narrative of the
show, and will also provide the cu es for the visual transformations of the landscape. The 8-
minute looped song track will play throughout the entire space, expressing the overall theme and
mood, and will be combined with low decibel environmental sounds that emanate from the specific
highlighted locations within the mural, including fragments of conversations, everyday sounds, folk
songs etc. These will be audible only to visitors directly viewing that image area.
Gallery 01 - Panj Paani
Exhibit Messages Objectives Description

To capture an evocative feel Renew the community’s Intended as a grand introductory show for the entire museum
1.1 Panj Paani of the landscape, history and complex links with its experience, the Boat Building gallery will be dominated by a
social customs of Punjab, history and tradition. vast, panoramic, painted mural that will act as the centerpiece
including: of the show. The building, which is boat-shaped in plan, is 20
Reflect upon the meters tall and 40 meters long. At the widest point it is
- The natural and geographic changing landscape of approximately 20 meters wide. Visitors will be inducted into it
diversity – this fertile land, Punjab, which has by means of a ramp that runs through the center of this ‘well
bounded by six mighty rivers. undergone dramatic like’ space, which enters the building at a height of about 11
changes in modern meters above the floor and ascends through four levels to the
- The multicultural array of times; even as the
festivals, arts, music and exit at a height of about 16 meters.
people have remained
culture, as well as the daily connected to their
life of the common people. traditional modes of
-The collective history and dressing, eating and
traditions of the land, socializing.
including: Portray the spiritual
-The great spiritual traditions values, customs, festivals
of this land, which is home and everyday life of the
to many religions, and is the people
birthplace of Sikhism Experience the great
-Its contribution to the poetry, music, literature
universal values of freedom, and arts that Punjab
compassion and tolerance. has contributed to the
world.
-The forward-looking and
progressive attitude that Celebrate the resurgent
typifies the people of Punjab. Punjabi spirit, which has
survived and re-invented
itself time and again
through the centuries.
1.1.1 LANDSCAPE MURAL With Harmandar symbolically placed in the centre of the mural,
to represent the spiritual centre of the Sikh world, the landscape
on the surrounding walls will showcase two-tier visuals
- Movement from the Countryside to the City and back to

the Countryside
- Elements of modernity and technology concentrated
towards the lower half of the mural, while the upper
portions are replete with the trans-historical or ‘timeless’
features of the land and culture.
This will be designed to induce a subtle sense of ‘moving-back-
in-time’ as the visitor will ascend the two ramp levels to exit
from the show. At this point, the visitor will physically ‘enter’
the landscape through a village gateway to walk through into
the next gallery – a recreation of Guru Nanak’s birthplace
Talwandi as it might have existed in the year 1469.
(Detailed content attached)
1.1.2 SEASONS AND DAILY CYCLE Lighting, projections and special effects will animate the
landscape mural, so the visitor will experience it as a dynamic
show, rather than a static image. An 8 minute show will be
orchestrated by the unfolding of the seasonal cycles over the
landscape. The visitor will witness the cycles of Spring, Summer,
Monsoon and Winter starting at any point of the show, since
the show cycles revolve continuously.
The passage of a year in the seasonal cycles of the land will
be also linked to the unraveling of a 24-hour cycle of a day.
The relationship between the annual and daily cycles will be
as under: Spring-Morning, Summer-Afternoon, Monsoon-Evening,
and Winter-Night.
Visually, seasonal transformations will be represented through
the flowering of bright-red summer-blooming trees, the golden
ripening of the spring wheat harvest, the rolling mists of
winter, and the dramatic storm clouds of monsoon etc.

Seasonal transitions will also be marked by major festivals. While
some festivals fit perfectly in accordance with daily cycle ( Lohri,
Baisakhi, Basant, Holi, Diwali) certain ones can be shown
celebrating at any time of the day (Teejan and Rakhi, and
Punjabi weddings).
An interwoven, lesser narrative will provide glimpses into the
daily life of Punjab. People wake up in the wee hours of the
morning, often starting the day with a cup of hot tea, and
engage in washing, cleaning, buying vegetables and groceries,
preparing breakfast and lunch, and men prepare to go to work
in the fields. The afternoon is the time of rest under the shady
neem tree after a nutritious meal. After a day of hard labour in
the fields, the farmers return home in the evenings, evocatively
referred to in Punjab as Godhuli (literally ‘dust raised by cows’)
– the time of day when herds returning from the graze raise
clouds of dust illuminated by the dying rays of the setting sun.
In the late evenings and nights, kids gather around their
grandparents and other elders to hear the stories of chivalrous
heroes like Dulla Bhatti and legendary romances of Heer Ranjha
and Sohni Mahiwal.
1.1.3 THE AUDIO TRACK The show will be built around an eight minute song-based
soundtrack. This song track will consist of existing folk and
contemporary music styles, woven together with fragments of
voices, conversations and environmental sounds.
1.1.4 THE LANDING AREA The visitor will physically ‘enter’ the landscape through a village
gateway to walk through into the next gallery – a recreation of
Guru Nanak’s birthplace Talwandi as it might have existed in the
year 1469.
Spatial View
Spatial View
The Show Storyboard44 Final Design Document Stages 1 & 2 © Design Habit, New Delhi, 2008
Show Script
The Milieu of 15th Century Punjab
2.1.1 The Cluster of Houses
2.1.1.a No inter-dining amongst caste:

In the fifteenth century, like earlier times, the Hindu social composition was that of the varna
system. The Brahmans generally upheld the varna order, the ideal of four castes, with the Brahmans
at the top and the Kshatriyas below them, followed by the Vaishyas and the Shudras. Alberuni
observed:
‘Each of the four castes when eating together, must form a group for themselves, one group not
being allowed to comprise two men of different castes.’
A line drawn between two persons was deemed to separate them. Even within the same caste, each
person used to eat alone, without sharing food with another.
2.1.1.b Pandit’s Chauka
Pandit’s
The idea and practice of segregation was best exemplified in the chauka. It was a common practice to
prepare ‘a separate table cloth for each person eating by pouring water over a spot and plastering it
with the dung of cows. The shape of the Brahman’s table cloth must be square. The Kshatriya was to
have an ‘angular’ table cloth’.
The Brahman was far more concerned with the chauka than the others because he took the idea of
pollution more seriously than the others.
2.1.1.c Segregated hutments of untouchables
Segregated
The idea of pollution and purity was most tangibly expressed in the segregation of scavengers from
the rest of the population in a village or a town. The hutments of the people regarded as
‘untouchable’ were always on the outskirts of a village, or outside a walled town.
2.1.1.d Sutak
The idea of purity and pollution was extended to women, as well. They were regarded as ‘impure’
during menstruation and child birth.
A woman in childbed did not touch any vessel nothing was eaten in the home, and the Brahman did
not light a fire. These days were eight for the Brahman, twelve for the Kshatriya, fifteen for the
Vaishya, and thirty for the Shudra. No term was fixed for the outcaste people.
2.1.1.e Child marriage
There is a general impression that child marriage became prevalent in India with the coming of
‘foreign rulers’ during the medieval times. However, the Dharmshastras and Smritis prescribe a very
young age for the marriage of boys and girls. Alberuni makes the explicit statement that Indians
married at a very young age and, therefore, the parents arranged the marriage of their sons.
2.1.1.f Muqaddam
The headman, usually called muqaddam or Mehta, was the principal authority in a village. He was
responsible primarily for the payment of revenue assessed on the village.
He was answerable for any crime committed in or near the village. He could father it upon some
poor man to save himself. He could use this position to intimidate his fellow villagers. The position
of the muqaddam was a profitable one, and he could use it to his own advantage at the cost of the
peasants.
2.1.2 The Grove
2.1.2.a Vaishnav Pujari
Vaishnav
In the bhakti movement in medieval India, the human incarnations of Vishnu, that is, Rama and
Krishna were worshipped as deities. Temples were raised with their statues installed in them.
Worship (puja) was offered to these statues. Apart from the offer of fruit, milk, food and other
things to the deity, the praises of the priests were also sung. Vaishnava worship was thus both
emotional and ritualistic.
Gallery 02 - The Milieu of 15th Century Punjab
2.1.2.b Kirtan
Singing praises of the deity, the kirtan was an essential part of Vaishnava bhakti, both in the cult of
Krishna and Rama. It could be performed even outside the temple when it was open to all who
might like to join. In Bengal Vaishnavism, singing and dancing could go together. Kirtan,
therefore, represented the emotional side of bhakti.
2.1.2.c Raslila
The legendary dance of Krishna with Radha and the gopis was an important feature of Krishna
bhakti. The spectacle was known as Ras-lila. In due course, parties of professional performers began
to present Ras-lila on the stage in Mathura for large audiences. At a later stage, they began to move
from place to place to perform Ras-lila in different parts of the country.
Its counterpart in Rama bhakti was the enactment of events in the life of Rama. It was called Ram-
lila.
2.1.3 The Fort P
Fort alace
Palace
2.1.3.a The Shiqdar
During the period of Lodhi Sultans, the kingdom was divided into a large number of administrative
units called shiqs. In the fifteenth century, the shiq covered a considerably large territory.
Therefore, the shiqdar was a counterpart of the later provincial governor called nazim or subedar.
He had a large degree of autonomy in the area under his charge and commanded an army.
Generally, the shiqdars were indifferent to the detail of administration, but they were keen to collect
large revenues.
2.1.3.b The Qazi
The Qazi gave judgment in legal cases. Since he administrated personal law for the Muslims, his
office was established in every town and city with some Muslim population. He was accompanied by
the mufti, who was supposed to be present in the Qazi’s court for adjudication in all cases.
The court of the Qazi was generally close to the fort-palace or the official headquarters. The Qazi
had acquired the reputation of being venal. The balance of justice could be tilted in favour of those
who could afford to bribe the Qazi.
2.1.3.c Fort P
Fort alace
Palace
Construction of forts for security and defence had become an important feature in the medieval
period. The ruler resided within the fort and constructed buildings for his spiritual, domestic and
politico–administrative needs.
The fort-palaces were built at many places other than the capital; for the reason of defense.
However, all of them did not have palace-like structures within them.
The residence of a provincial governor tended to imitate that of the ruler. The provincial governer
also built a fort-palace for himself and also held his court within the fort sometimes.
2.1.3.d Drinking Parties
Parties
Drinking of alcohol was forbidden by the Islamic law but this did not deter the nobles from
drinking. Many of them drank alcohol and some of them held drinking parties, or entertained their
guests by serving intoxicating drinks at dance and music parties.
A few of the nobles could neglect their duties in pursuit of sensual pleasures. The intoxicating cup
of wine became a popular metaphor in Persian poetry.
2.1.3.e Professional Dancers/Concubines
Professional
The Afghan shiqdars, like the Lodhi Sultan, generally had a large household, consisting of a
number of wives and children and also slave girls and slave women who worked in the female
quarters.
Some of the talented slave girls could be taught various arts, including dance and music. There were
professional dancers and singers too in all large cities, particularly the capital towns. Dance parties
could be arranged in the fort-palace of the shiqdar, or elsewhere, for the entertainment of guests as
well as his own.
2.1.4 The Sufi Dargah
2.1.4.a Dargah: the Tomb, the Urs
Tomb,
Islamic mysticism or Sufism arose in West Asia in the early centuries of Islamic history. The place
where a shaikh guided his disciples on the path was called khanqah. By the thirteenth century, the
tombs of the several venerable shaikhs were becoming popular places of pilgrimage. Structures were
built over the graves and fairs began to be held on the death anniversary (urs) of the shaikh
worshipped as a pir.
The dargah of Shaikh Farid at Pakpattan was a popular place of pilgrimage in the fifteenth century.
Similarly, the tombs or places associated with legendary martyrs, known as shahids, were visited by
all sorts of people. The most popular figure in the Punjab in this respect was Sakhi Sarwar, also
called Sultan Sarwar.
2.1.4.b Qawali
The Sufis looked upon music as a means of spiritual exaltation. The practice of listening to music
was called sama‘ (audition). Professional singers, called qawwals, used to sing religious poetry for
the Sufi shaikhs and their disciples.
Qawwali was a popular form of music in the fifteenth century. The urs of a pir was a special
occasion for the performance of qawwals. The Hindvi verses of Amir Khusrau were often sung by
the qawwals, and are still being sung.
2.1.5 The Market
Market
2.1.5.a Poverty of people
Poverty
In spite of the egalitarian ideal of Islam and because of the inegalitarian ideal of the Brahmanical
social order in India, there was a great disparity in the economic means of the various sections of
the population. The rulers and the ruling classes were the most affluent minority in the fifteenth
century. The professional people and the trading communities were reasonably well off. And so
were the rural intermediaries, like the chaudharis and muqaddams.
Most of the peasants, however, were rather poor. The position of the artisans was no better. The
condition of the landless labour was even worse. They were extremely indigent.
Begging for alms was also a common practice, and it was not confined to men. The slaves had no
legal rights, but their condition could be better than that of the beggars and landless labourers, or
even the artisans and the poorest peasants, depending upon the social position of their master. The
poorest people were the beggars and the labourers, always underfed and underclothed.
2.1.5.b Sale of boys & Girlsz
In northern India, the system of ‘official’ slaves became important in the thirteenth century and
remained in existence till the time of the Akbar.
Though slaves were rarely employed in agriculture or industry, the system of domestic slaves
remained popular throughout the centuries. Every large city had a market where slaves, both male
and female, were bought and sold like other goods.
Women and children enslaved in times of war could be sold in the market. Parents could sell their
children in the market in a situation of distress due to famine or scarcity, or to pay the revenue. The
prices of slaves as for other commodities, varied from time to time.
What entered into consideration was the age, health, physical appearance and intelligence of the
person on sale. Generally, strength added to the price of a male and beauty to the price of a female.
The slave (bandah, ghulam, das, gola) was known for his or her complete dependence upon and
dedication to the master. It came to be used as a metaphor in literature.
2.1.6 The River
2.1.6.a Jain Monks
Asceticism became more popular and prestigious with the spread of Jainism and Buddhism in the
Punjab. There were no traces of Buddhism in the region in the fifteenth century, but Jain monks
were quite visible because of their appearance and manners. They remained celibate.
They moved in a single file, following the footsteps of the leader, so that the minimum number of
living beings was trodden under their feet. For the same reason, they plucked the hair of their head
and made the minimal use of water. They covered their mouth with a piece of thin cloth to obviate
living beings entering their bodies with the air. Thus, they took the principle of ahimsa or non-
injury to living things to its logical extreme. They were renunciates and depended for subsistence on
their lay followers.
2.1.5.b Jogis
The ascetical tradition was characterized by Shaiva ascetics. Some of the earliest mathas of the jogis to
be established in the West Punjab were the Tilla of Gorakh Nath, the Tilla of Bal Nath and the Tilla
of Bal Gundai.
The Gorakh Nathi jogis, known as kanphatas or kanpatas, were influential and visible in the
Punjab. They enjoyed reputation for possessing supranatural powers. They were associated with
medicine and alchemy. They remained celibate and practised great austerities. There was a common
kitchen (bhandar) at the Gorakh Nathi matha but food was actually collected from house to house
by the new entrants. A fire (dhuni) was kept burning.
2.1.5.c Sati
In theory, there was no divorce among the higher castes. Husband and wife could be separated only
by death. However, fidelity was the duty of the woman alone. A man could marry more than one
woman. But if a wife lost her husband she could not marry another man.
The widow who burnt herself on the funeral pyre of her husband was called sati, with reference to a
myth depicting the extreme dedication and fidelity of a wife. The practice was prevalent only among
the Brahmans and Kshatriyas. The sati generally became an object of worship. Obviously, she was
held in great esteem.
2.1 The Milieu of 15th Century Punjab To understand the socio- Recreate the times of In this space, the visitors will pick up audio guides at six
political, economic and 15th century Punjab in separate kiosks and pass through them to enter the recreated
religious conditions of the space and time scenes of the times of 15th century.
Punjab of those times.
Grasp the essence of Here, the realistic architecture of 15th century will be offset
To comprehend the times in that era that the space with the colourful miniatures of that time. Some parts of the
the context of the founding is envisaged for. miniature will be used in an enlarged format to match the
of Sikhism. architecture. This will create layers which will add depth to the
space.
2.1.1 The Cluster of Houses Through a recreated set of the house and juxtaposing the
miniature painting, an interesting composition of the
monochromatic mud window frames with colourful miniatures
will depict the various scenes of:
2.1.1.a No inter-dining amongst caste
2.1.1.b Pandit’s Chauka
2.1.1.c Segregated hutments of untouchables
2.1.1.d Sutak
2.1.1.e Child marriage
2.1.1.f Muqaddam
The above episodes will be also contextualized in the audio
narrative.
2.1.2 The Grove The treatment will draw from the prevalent miniature of that
time. The trees will be treated such as the ones in the
foreground are with a translucent dyed glass screen, the
background will merge with the wall treatment. The scenes that
will be depicted visually and in the audio narrative are:
2.1.2.b Kirtan
2.1.2.c Raslila
2.1.3 The Fort Palace A balcony view of the fort palace will be created with the
content visually depicted in old miniature style. Parts of the
image will be treated in layers to add depth. Following will be
the images:
2.1.3.a Fort Palace
2.1.3.b Drinking Parties
2.1.3.c Professional Dancers/Concubines
2.1.3.d The Shiqdar
2.1.3.e The Qazi
The audio narrative will contextualize the above visuals.
2.1.4 The Sufi Dargah Visually a Dargah will be depicted in the same style as above
and depict the following images:
2.1.4.a Dargah: the Tomb, the Urs
2.1.4.b Qawali
The audio narrative will contextualize the visuals.
2.1.5 The Market Recreated columns and arches of the Sultanate period and
Tromp-e-loeil style will show the content visually, employing
forced perspectives to heighten the experience of the visitor
walking through the market place showing:
2.1.5.b Sale of boys & girls
2.1.6 The River River landscape with visual depiction of the content in the
miniature style referred from “Palam Bhagavat” will be drawn.
The images that will be depicted are:
2.1.6.a Jain Monks
2.1.6.b Jogis
2.1.6.c Sati
2.1.6 The River

2.1.1 The Cluster of
2.1.5 The Market Houses
2.1.3 The Fort Palace

2.1.2 The Grove
2.1.4 The Sufi Dargah
The Map
Kiosks
Layout Plan
2.1.5 The Market
Market
Recreated columns and arches

of the Sultanate period and Fort
2.1.3 F Palace
ort Palace
Tromp-e-loeil style will show
the content visually, employing
forced perspectives to heighten
the experience of the visitor
walking through the market
place showing:

2.1.5.b Sale of boys & girls
Visual Narrative
2.1.1 THE CLUSTER OF HOUSES 2.1.1.a No inter-dining amongst caste

Through a recreated set of the house 2.1.1.b Pandit’s Chauka
and juxtaposing the miniature 2.1.1.c Segregated hutments of untouchables
painting, an interesting composition 2.1.1.d Sutak
of the monochromatic mud window 2.1.1.e Child marriage 2.1.2 THE GROVE
frames with colourful miniatures will 2.1.1.f Muqaddam The treatment will draw from the prevalent miniature
depict the various scenes of: of that time. The trees will be treated such as the ones
in the foreground are with a translucent dyed glass
screen, the background will merge with the wall
treatment. The scenes that will be depicted visually:

2.1.2.b Kirtan
Visual Narrative 2.1.2.c Raslila
Treatment Style
Treatment Style
The Concept of One
3.1.1 Beginning of Sikhism
It was in this time that a new religion came into being. Sikhi showed the world a new light- the path
of equality and brotherhood among all human beings.
3.1.2 Shower of Light- Ek Omkar
Sikhi is established on the emphatic idea of One God. He is the only one, there is no other. Only
he creates preserves and destroys everything. He is both transcendent and immanent at one and the
same time. He is all-powerful and compassionate. Nothing happens without his will and his grace.
He is the only true reality. God’s creation is real and not an illusion. God does not assume any
specific form. Therefore, he cannot be worshipped as an idol. He alone is the ever-existent and the
ever-lasting One.
His attributes are given in the mool mantra. The name ‘true’ can be applied only to him. He is the
only creator, preserver and destroyer. He is devoid of fear and enmity. He never suffers death. He is
never born. He is his own creator.
The ‘Ek Omkar’ of the mulmantar symbolizes the emphatic unity of God and represents the
uncompromising monotheism of Guru Nanak and his successors.
The message of Guru Nanak is essentially the message of the Name: Laudation of only the One God
who alone is True and who is simultaneously transcendent and immanent. His omnipotence is
manifested in the universe through his Hukam and his compassion through His Nadar (grace).
“In primal Time, in all Time, was the Creator;
Nothing is real but the Eternal.
Nothing shall last but the Eternal.”
3.1.3 Equality
God is the only creator of human beings and all human beings are his progeny. The fatherhood of
God and the brotherhood of man are the two sides of the same coin: all human beings are all equal
in the eyes of God and they have equal right and obligation to worship the One Lord.
Therefore, the path of Guru Nanak and his successors is open to all human beings, irrespective of
their country, creed, caste or gender. They who follow the Guru are equals in his eyes.
They join the congregational worship as equal and they eat in the community kitchen as equals.
Ultimately, there is no difference between the Guru and the disciple: the two are equal. The climax
comes with the collectivity of the followers becoming the Guru.
The idea of Guru-Panth is uncompromisingly egalitarian. It confers on the individual total equality
in both religious and political terms.
3.1.4 Social Commitment And Liberation

Liberation
Sikhi, as propounded by Guru Nanak, renounces both worldliness and asceticism. There was a clear
preference for the householder as against the celibate. Therefore, the ideal to follow was
detachment-in-attachment, or to live pure amidst the impurities of the world, following all the
pursuits of life in a spirit detachment.
This ideal was closely linked with the idea of liberation as the goal of life. Liberation (mukti) was a
state of bliss. This state could be experienced in one’s life so that one became liberated-in-life
(jivan-mukta). It was not an inert or passive state of bliss.
Gallery 03 - The Concept of One
As for the attainment of this state one had to pursue an active life with social commitment, so after
the experience of this state one remained active in the social order, not only in self-interest but also
for the welfare of others.
The idea of care for others (par-upkar) is built into the idea of divine grace. Gurbani refers to God
is par-upkari. Like God, the Guru is par-upkari, working for the liberation of others. The Sikh of
the Guru follows the Guru’s example and works for the welfare of others. This ideal is not confined
to spiritual matters. It covers the moral and mundane needs of everyday life.
The visitor is now encouraged to follow the teachings of the ten Sikh gurus, or enlightened leaders
and the Guru Granth Sahib.
3.1 The Concept of One To emphasize on the Create an out of time The drum building will discuss the core philosophy of Sikhism.
importance of the Mool and space context into The central installation representing the symbol of ‘Ek Omkar’ will
Mantra as the core of Imminence. be made using Fibre Optics. From a light source on the ceiling
‘Sikh Philosophy’ and will emerge ten strands of side emitting fibre optics representing
visualize the symbol of Grasp the essence of the the ten gurus of Sikhism. From the centre will emerge a shower
‘Ek Omkar’ as core message that the of lights made using end emitting fibre optics which will form
representative of the space is envisaged for. the symbol of ‘Ek Omkar’.
One Manifest and Convey the mystical
Unmanifest in Creation. message of the Mool
Mantra and Ek Omkar to
the visitor.
3.1.1 Beginning Of Sikhism When the visitor enters the Drum space, the audio will
describe the emergence of Sikhism as a result of the disorder
in society as discussed in the Triangle; emphasizing on the
concept of ‘Ek Omkar’ as the core philosophy of Sikhism.
3.1.2 Shower Of Light- Ek Omkar A fibre optics based installation will show a Divine Light source
from which will emerge the ten rays representing the ten Gurus
of Sikhism. From the centre of the light source will emerge a
shower of lights, which will form the symbol of the ‘Ek Omkar’.
3.1.3 Equality While the visual will remain the same, the audio will describe
the idea of equality in all its dimensions as the central belief
of Sikhism.
3.1.4 Social Commitment And Liberation While the visual will remain the same, the audio will
emphasize on the concept of ‘renunciation of renunciation’ and
social commitment as a means of attaining liberation.
3.1.3 Equality
Audio narrative on the core thought
of equality in Sikhism.
3.1.2 Shower Of Light

A fibre optics based installation
shows a divine light source from
which emerge the ten rays
representing the ten gurus of
Sikhism. From the centre of the
light source emerges a shower of
lights which forms the symbol of the
‘Ek Omkar’.
3.1.1 Beginning Of Sikhism

Audio narrative on emergence of
Sikhism as a result of the disorder
in society, the concept of ‘Ek
Omkar’ being the core philosophy
of Sikhism.
3.1.4 Social Commitment &

Liberation
Liber ation
Audio narative on the concept of
‘renunciation of
renunciation’ ; Social commitment
as a means of attaining liberation.
LED Wall representing

Layout Plan the cosmos
Fibre Optics based light installation
Upper Drum
Lower Drum
Sectional Elevation
Shower of Light
An installation showing a divine light source from which emerge
the ten rays representing the ten gurus of Sikhism. From the
centre of the light source emerges a shower of lights which forms
the symbol of the ‘Ek Omkar’.The surrounding walls with
twinkling lights represents the cosmos.
Concept Sketch
Life of Guru Nanak (b. 1469- d.1539)
Guru Nanak, the founder of Sikhism is revered by Sikhs, Hindus and Muslims alike. Nanak’s
primary message to society was ‘devotion of thought and excellence of conduct as the first of duties’.
He gave to the world the gospel of love, goodwill and reconciliation. The gallery deals with Guru
Nanak’s life at Talwandi and Sultanpur and his experience of Illumination in the River Bein. His
travels, known as the Udasis, that continued for 25 years and his discussions with members of
different religious orders are also covered here.
This section covers:
Episodes at Talwandi
Episodes at Sultanpur
The Experience of Illumination
Travels of Guru Nanak (Udasis)
4.1 Talwandi
Talwandi
4.1.1 Birth of Guru Nanak

The Puratan, Miharban Janamsakhi and the Gyan Ratnavali agree on Nanak’s date of birth being the
15th of April 1469. However, the Bala Janamsakhi gives it about 6 months later (the Full Moon of the
month of Kartik).
Nanak was born in his father’s village, Rai Bhoi di Talwandi, now known as Nankana Sahib. Bhai
Gurdas refers to the event in the following terms:
“With the emergence of the true Guru Nanak, the mist cleared and the light scattered all around. As
if at the sunrise the stars disappeared and the darkness dispelled. With the roar of the lion in the
forest the flocks of escaping deer now cannot have endurance.”
Nanak’s father’s name was Mehta Kalu and mother’s Tripta Devi; his parents belonged to the Bedi
sub-caste of the Khatris. His father was a patwari to the Bhatti landlord, Rai Bullar. During his
childhood, Nanak was very close to his elder sister, Bibi Nanaki. She often shielded him from the
wrath of his father’s frustration because Nanak was not interested in the ‘normal’ goals of life.
4.1.2 Sacred Thr
Sacred ead
Thread
Nanak’s father, Kalu made preparations for the ceremony of the sacred thread (janju), a ritual that
had no real significance and was futile in the eyes of the young boy. The Janamsakhis quote the bani
of Guru Nanak which has a bearing on the sacred thread:
“Make compassion the cotton, contentment the yarn;
Continence the knot and purity the twist;
Such is the true sacred thread of the self.
Thou Brahmin-priest! Put this on me shouldst thou have it.
This thread neither snaps nor is soiled;
Neither burnt nor lost.”
Gallery 04 - Life of Guru Nanak
4.1.3 Education
Kalu sent his son, Nanak, to the Brahman teacher (panda) of the village to learn arithmetic and
account-keeping. Then he was sent to the local maulavi to learn Persian. The Janamsakhis refer to
Nanak’s precociousness by suggesting that he knew more than his teachers. He supplemented his
knowledge by associating with the saints and hermits in his neighborhood.
4.1.4 Marriage
According to the Puratan Janamsakhi, Guru Nanak had spiritual leanings from a very young age.
Kalu decided to get his son married when he was twelve years old.
Nanak was married to Sulakhani, the daughter of a Chona Khatri, named Mula, who belonged to
the village Pakho ki Randhawi. He worked as a patwari in the town of Batala where the marriage took
place.
4.2. At Sultanpur
4.2.1 Accountant of the Modikhana

Nanak’s doting sister, Bibi Nanaki, was married to an Uppal Khatri named Jai Ram who worked as a
steward (modi) of Daulat Khan Lodhi at Sultanpur. Jai Ram persuaded Nanak to come to
Sultanpur and take up employment in the modikhana. Guru Nanak was put in charge of the state
granary ‘where the corn collected as part of land revenue was stored and sold out to people’. He
thus started his career as a government servant in December 1487 at the age of 18. At the age of 19,
Sulakhni joined him at Sultanpur from Batala. It was here that his sons, Srichand and Lakhmi Das
were born to the couple. In spite of his growing cares of his family and the efficient management of
his business, Guru Nanak’s love for God was as intense as ever.
4.2.2 Guru Nanak engaging in Kirtan
Guru Nanak would wake up early morning and go the river Bein, take a dip in the river and engage
in meditation. Nanak would then spend the entire day in the service of the modikhana and in the
evenings, after their meals, his like-minded friends would join him to have religious discourses and
sing the glory of God. Mardana, his friend would accompany him with his rabab.
“Firstly Baba himself was in the form of Timeless and secondly, he had his companion Mardana, the
rebeck player.”
4.3 The Experience of Illumination
4.3.1 The Sodar

Towards the end of the fifteenth century, Guru Nanak had a great spiritual experience at Sultanpur,
which is described as ‘The Illumination’ or ‘Enlightenment’.
According to the Puratan Janamsakhi, Guru Nanak used to go to the stream called Bein for bathing
early in the morning. One day Nanak disappeared into the Bein and did not come out for three
days!
He had been taken to the Divine Court. There he was given a cup of the Nectar of the Divine Name,
and commissioned by God to spread the message of the Divine Name.
When Nanak appeared after three days, he was a changed man. He gave away all he had to the poor,
and kept silent. Whenever he was urged to speak, he only said, “There is no Hindu, no Mussalman.”
The bani of Guru Nanak contains statements about his divine commission:
“I have uttered only what Thou hast inspired.”
Guru Nanak’s declaration created a stir and he was summoned by the governor to explain himself.
To clarify his position he led his critics to the mosque where the Qazi led the faithful in the prayer.
Guru Nanak told the governor and the Qazi that both of them were not true Mussalmans as they
were offering their prayers mechanically and not from their heart. The Guru explained that the
Qazi’s mind was distracted by the thoughts of his newborn filly. The Qazi accepted the criticism.
4.4 T
Trravels of Guru Nanak (Udasis)
4.4.1 The T
Trravel Begins (Content for Film on Plasma Scr
Film een)
Screen)
Guru Nanak left the service of Daulat Khan Lodhi. He and his friend Mardana travelled far and
wide. During his travels in the first quarter of the sixteenth century, Guru Nanak, along with
Mardana, visited many places and held debates and dialogues with representatives of different
religious orders in order to propagate his own message. As Bhai Gurdas says:
“In his cosmic vision Baba saw the earth burning,
The whole humanity suffering in ignorance without the Guru,’
‘Baba donned religious garb and initiated the tradition of missionary travels,
He set out to redeem the people of the whole world.”
Guru Nanak viewed the religious systems of his times as inadequate. Therefore he gave a new message
to everyone:
“Performance of millions of good deeds, beneficent actions and approved charities;
Millions of austerities performed at holy bathing-spots and search after enlightenment through
Yoga in wild places;
Millions of heroic deeds ending in death on the battlefield;
Million times absorption, acquisition of learning and meditation;
Recitation of Puranas – Of little avail are all these.”
“There are pirs, paighambars, saliks, sadiqs, faqirs, and shahids;

There are shaikhs, qazis, mullas and dervishes -
All adore Him through their prayers (durud) in the hope of future blessings (barkat).
But Allah does not consult anyone when He makes or unmakes, or when He gives or takes away;
He alone knows His qudrat; He alone is the doer.
He watches everyone and bestows His grace on whomsoever He wills. “
4.4.2 Orthodox Muslims
Guru Nanak was against the ritualistic piety that he saw among his Muslim contemporaries. He
noted that there was a gap between their belief and practice. He also raised objections to their
alignment with the state that was unjust, oppressive and discriminatory.
“Hard it is to deserve the name of Mussalman -
Only one truly so, may such be called.
First, must he hold in love the way of the holy;
Like iron on grindstone should he cast off his possessions.
In the way of the Preceptor should he have faith,
And banish illusion of death and life.
To the Lord’s will should he be obedient:
With faith in the Creator as compassionate he becomes,
May he be called a Mussalman.“
4.4.3 Pandits (At Benar
Pandits as and elsewher
Benaras e)
elsewhere)
The Janamsakhi episode of Pandit Chatur Das clearly states Guru Nanak’s opposition to blind faith
and the empty expression of religious symbols. The Guru and his companion Mardana camped in a
public square of Benaras city and engaged in a conversation with Pandit Chatur Das, the learned
brahmin of the city.
“Recitation of holy texts, penance, residing at sacred bathing-places,
Charities and meritorious acts- without devotion to the holy Lord what good?”
“Many are the Brahmins and astrologers expounding the Vedas,
To contentions inclined – such only to transmigration lead.
Despite all discourses, without the Master’s grace comes not liberation.”
“The true Pandit is he who his mind instructs,
And in his self the Name Divine seeks.”
4.4.4 Jogis and Siddhas
The Guru had discussions with the jogis in Gorakhmata. He spoke against ascetical practices,
renunciation, performance and the belief in miracles and living on charity. Nanak said that mere
appearance without any idea of grace or inner devotion was meaningless.
At Sumer Parvat, the Guru met some siddhas who inquired about the condition of the world they
had renounced. The Guru wondered who would elevate the people of the earth and mitigate their
sufferings if the saints renounce the world.
In Gorakh Hatri (Peshawar) the jogis asked whether the Guru was a householder or celibate and
argued that a householder could not realise God because of his earthly problems. The Guru
answered that one cannot have spiritual elevation by adopting outwardly symbols of a jogi. He said:
“They are thine earrings, the earrings thou hast in thy mind. Make thou the body the patched coat.
Subjugate the five disciples and make this mind thy staff, O yogi.”
The Guru had dialogues with jogis on several occasions in his life, commenting on their ideas and
practices, and putting forth his own message.
“Yoga lies not in the patched quilt, nor in carrying a staff;
Yoga lies not either in rubbing ashes over the limbs.
Yoga lies not in earrings, nor in close-cropping the head,
Nor in blowing the horn.
To abide undefiled amid Maya-defilement
Is the true way to attain success in Yoga-praxis.
Yoga by mere chatter is not practiced.
To regard all with undifferentiating sight
Entitles one a true Yogi to be called.”
4.4.5 Vaishnavs (Puri and elsewher
Vaishnavs e)
elsewhere)
Refusing to worship the Lord with false pomp and artificial worship, Guru Nanak preferred to
worship the Lord with the expanse of his own creation:
“Placed on the salver of heaven are the lamps sun and moon,
With bright pearls of the constellations-
Thy offering:
Fragrant mountain breezes Thy incense, the wind Thy fan;
The entire blossoming vegetation Thy flower-offerings.
Wonderful is this arati, of the entire creation to thee,
Thou annuller of transmigration :
The unstruck harmony
Orchestrates Thy worship.”
4.4.6 Baburvani
Returning from his travels in the west the Guru came to Saidpur. It is said that the Guru was a
witness to the massacre of its inhabitants. Babur writes in his memoirs, “The inhabitants of Saidpur,
who resisted, were put to the sword, their wives and children carried into captivity, and all their
property plundered.”
“The Lord from Babar’s invasion protect Khorasan,
And on Hindustan let loose the terror.
The Lord Himself punishes not:
So the Mughal Babar he sent down,
Dealing death as Yama.”
“Millions of spell-binders tried to stop the Lord Babar,
When reports of his invasion went abroad.
Hindu temples and Muslim sacred spots went up in flames,
And princes cut to pieces with dust were mingled.
No Mughals by such spells was struck blind;
None by their spells was affected.”

4.1 The Questioning Child To acquaint the visitor with Start the narrative of the An undulated surface will be created with fibre glass and painted
the events of Guru Nanak’s Sikh history and the Gurus in old map style to give the visitor a breathtaking visual
early life: childhood and through the representation experience. It will also take the visitor back in time with all the
marriage. of the birth and youth of activities visually depicted on the undulated surface.
Guru Nanak.
Participation and empathy
on the side of the visitor;
that they are seeing the
world in much the same
way as the young Nanak
did, and develop an
understanding of his
concerns about society and
religion at the time.
Portray the intellectual and
spiritual development of
Guru Nanak by
representing different
phases in his experience
and thought; in his own
words.
The overall style will be that of a folk map keeping in mind the
4.1.1 Life at Talwandi
topography of Talwandi; the grassy plains spotted with trees,
ponds, cluster of houses & winding roads. The lower part of this
map will become more participatory with two niches which will
depict the key scenes BIRTH & MARRIAGE highlighting the rural
architecture. These niches will have distinct lighting in accordance
with the visual. There will be some mechanical movements in the
map which will depict some village activities. This will make the
visitor stop here for a minute to trigger & to hear the audio
narrative. The other important stories of Guru Nanak’s childhood
like the Sacred Thread and Education will be treated on the
undulated surface as a part of the painting with other rural
activities seen in the village.
A Dhaddi Singer will introduce the visitor to the birth of the first
Guru of Sikhism with the following verse: “With the emergence of
the true Guru Nanak, the mist cleared and the light scattered all
around. As if at the sun rise the stars disappeared and the
darkness dispelled. With the roar of the lion in the forest the
flocks of escaping deer now cannot have endurance.”
The audio narrative will contextualize the landscape and the
visuals.
4.2 The Seeking Youth To acquaint the visitor with Contextualize the early An undulated surface will be created with fibre glass and
the events of Guru Nanak’s life of the Guru Nanak by treatment is similar map style keeping in mind the urban
life in Sultanpur as in-charge illustrating the historical medieval townscape of Sultanpur Lodhi; the lower part of this
of the Modikhana and importance of Sultanpur map comes alive with some mechanical movements in the
continuation of the search as a major centre of niches which depict the key scenes.
for the Divine; in the larger learning and trade.
historical fabric of Sultanpur.
Portray the young Guru
To accentuate Guru Nanak’s Nanak as a modest
intense love for the Divine. accountant of the
modikhana.
To illustrate the practice of
kirtan.
4.2.1 Life at Sultanpur A. MODEST ACCOUTANT OF THE MODIKHANA

A Visual of the Modikhana courtyard will be depicted where
Nanak will be seen as an accountant; alongside other activities.
In terms of style it will be a layered elevation stuck to the plan
of the townscape as typically seen in early miniatures. Other
visual representations of various activities will be seen which
establishes Sultanpur as a centre for learning and trade. Lighting
will be special in this niche.
B. GURU NANAK ENGAGING IN KIRTAN

A Visual of Guru Nanak walking along the river Bein will be
depicted. Here Nanak will be seen in many postures singing
Kirtan. Lighting will depict the transition of time while he is
walking and singing.
4.3 The Experience of Illumination To acquaint the visitor with Grasp the essence of the The treatment in this section will be drastically different from the
the Experience of Illumination core message that the rest of the gallery. This section will stand out from the rest and
of Guru Nanak in the river space is envisaged for. will be the most appealing to the visitor, as soon as he enters
Bein near Sultanpur. this gallery. A cosmic tree, as represented by the Axis Mundi, will
Convey the mystical be recreated.
message of the
Experience to the visitor.
4.3.1 The Sodar A visual representation of a cosmic tree/Axis Mundi emerging

from the river Bein will be created with light. The foliage of the
tree will represent the cosmic sky with million niches of various
sizes: stars and gods who welcome Guru Nanak. At the bottom
of the tree where the river flows, Guru Nanak will be seen
seated in deep meditation posture under water. There will be
minor mechanical movements to highlight the movement of the
water. Shoals of fish will be shown moving by and the water
lilies will sway with the drift of the water. Light will play a very
important role here. Also, light will emerge from the center of
the tree; and the visitor will be able to read faintly, “Na Koi
Hindu, Na Koi Mussalman” in Gurmukhi. This will essentially
create an interesting play of typography. The light will become
blue towards the bottom and finally will be dark blue in the
river bed with light filtering through mildly touching Guru
Nanak.
The audio will narrate the story of Guru Nanak’s Experience of
Illumination.
4.4 Travels of Guru Nanak To create a travelogue of Participation and An undulated surface will be created with fibre glass; along with
(Udasis) Guru Nanak and Bhai interaction on the part of four colorful niches that will be recreated as Janamsakhis in the
Mardana (their visit to the visitor in questioning Pahari Miniature style.
various religious centers in the existing social and
the sub-continent), over a religious mores through
period of 25 years. an emphasis on Guru
Nanak’s debates with the
To integrate religious debates various religious sects.
into the popular folk stories
as documented in the Understanding on the
Janamsakhis. part of the viewer about
Guru Nanak’s critique of
the State and the rulers
of his time.
4.4.1 THE UDASIS The treatment will be a continuation of the map style in
Talwandi and Sultanpur, though a larger landscape of the udasis;
the places that Nanak traveled for 26 years. The lower part of
this map will come alive with four colourful niches as
Janamsakhis in Pahari style; which will depict the following
episodes:
A. The Travel Begins
B. Pandits (At Banaras)
C. Vaishnavs (Puri and Mathura)
D. Baburvani
In one niche will be an embedded plasma screen showing the
content in a short animation film of duration of 1 min. The
details of each niche will be visually spread out over the rest of
the areas.
The audio will narrate the story of his travels and will reveal
the Guru’s comments on the religion of his times.
Section 4.4 (T
(Trravels of Guru Nanak
(Udasis)
4.4.1 Orthodox Muslims
4.4.2 Sufis & Siddhas/ Jogis
4.4.3 Orthodox Hindus/Vaishnavas
4.4.4 Baburvani
Section 4.3 (The experience of

Illumination)
Depicting the most important
episode of Nanak’s life:
4.3.1 The Sodar experience
Section 4.2 (Sultanpur)

Depicting a couple of scenes
from Guru Nanak’s life in
Sultanpur Lodhi:
4.2.1 Modest Accountant of

the Modikhana
4.2.2 Guru Nanak engaging
in Kirtan
4.1(Talwandi)
Section 4.1(T alwandi)
Depicting a couple of scenes
from Guru Nanak’s early
years in Talwandi:
4.1.1 Birth of Guru Nanak

4.1.2 Sacred Thread
4.1.3 Education
4.1.4 Marriage
Layout Plan
Undulated surface made of
fibre glass to create the
landscape
Spatial View
Treatment Style
Talwandi
4.1.1: Life at Talwandi
Depicting a couple of scenes from Guru Nanak’s early years in

Talwandi:
The overall style will be that of a folk map keeping in mind the
topography of Talwandi; the grassy plains spotted with trees,
ponds, cluster of houses & winding roads. The lower part of
this map will become more participatory with two niches which
will depict the key scenes BIRTH & MARRIAGE highlighting
the rural architecture. These niches will have distinct lighting
in accordance with the visual. There will be some mechanical
movements in the map which will depict some village activities.
This will make the visitor stop here for a minute to trigger & to
hear the audio narrative. The other important stories of
Nanak’s childhood like the Sacred Thread and Education will
be treated on the undulated surface as a part of the painting
with other rural activities seen in the village.
A Dhaddi Singer will introduce the visitor to the birth of the
first Guru of Sikhism with the following verse: “With the
emergence of the true Guru Nanak, the mist cleared and the
light scattered all around. As if at the sun rise the stars
disappeared and the darkness dispelled. With the roar of the
lion in the forest the flocks of escaping deer now cannot have
endurance.”
The audio will contextualize the landscape and the visuals.
4.2.1 Life at Sultanpur
A. Modest Accoutant Of The Modikhana

A Visual of the Modikhana courtyard will be depicted
where Nanak will be seen as an accountant; alongside other
activities. In terms of style it will be a layered elevation
stuck to the plan of the townscape as typically seen in early
miniatures. Other visual representations of various
activities will be seen which establishes Sultanpur as a
centre for learning and trade. Lighting will be special in
this niche.
B. Guru Nanak Engaging In Kirtan
A Visual of Nanak walking along the river Bein will be
depicted. Here Nanak will be seen in many postures
singing Kirtan. Lighting will depict the transition of time
while Nanak is walking and singing.
The audio will contextualize the visuals.
Section 4.1.1(Talwandi) Section 4.2.1(Sultanpur)
4.3.1 The Sodar

A visual representation of a cosmic tree/Axis Mundi
emerging from the river Bein will be created with light. The
foliage of the tree will represent the cosmic sky with million
niches of various sizes: stars and gods who welcome Guru
Nanak. At the bottom of the tree where the river flows, Guru
Nanak will be seen seated in deep meditation posture under
water. There will be minor mechanical movements to
highlight the movement of the water. Shoals of fish will be
shown moving by and the water lilies will sway with the drift
of the water. Light will play a very important role here. Also,
light will emerge from the center of the tree; and the visitor
will be able to read faintly, “Na Koi Hindu, Na Koi
Mussalman” in Gurmukhi. This will essentially create an
interesting play of typography. The light will become blue
towards the bottom and finally will be dark blue in the river
bed with light filtering through mildly touching Guru
Nanak.
The audio will narrate the story of Guru Nanak’s Experience
of Illumination.
4.4.1 The Udasis
The treatment will be a continuation of the map style in

Talwandi and Sultanpur, though a larger landscape of the
udasis; the places that Nanak traveled for 26 years. The lower
part of this map will come alive with four colourful niches as
Janamsakhis in Pahari style; which will depict the following
episodes:
A. The Travel Begins
B. Pandits (At Banaras)
C. Vaishnavs (Puri and Mathura)
D. Baburvani
In one niche will be an embedded plasma screen showing the
content in a short animation film of duration of 1 min. The
details of each niche will be visually spread out over the rest of
the areas.
The audio will narrate the story of his travels and will reveal
the Guru’s comments on the religion of his times.
Section 4.3.1(Immersion) Section 4.4.1(Udasis)
Community Living at Kartarpur
Guru Nanak settled at Kartarpur, where his disciples also joined him. He laid the foundation of the
basic principles of Sikhi: Nam Japna, Remembering the Creator; Kirt Karna, Putting the best of
one’s labor for an honest living; and Vand Chhakna, Sharing fruits of one’s labor with others; the
tangible forms of which were Kirtan, Dharamsaal and Langar.
The gallery includes:
Kirtan
Ardas
Langar
The Guru’s messages
At Achal Batala
At Pak Pattan
The Evening
5.2.1. Kirtan
In the mid-1520s, Guru Nanak settled on the right bank of the Ravi. His wife and sons joined him.
Many other families also settled there to pursue farming and other vocations to make the village as
self-sufficient as possible. Thus was founded the settlement of Kartarpur.
Guru Nanak would address people who came to visit Kartarpur and discuss spiritual matters with
those thus inclined. His teachings were not confined to religious issues alone. For him, ‘righteous
living’ was that which integrated the temporal and the spiritual dimensions. This was the way to
liberation. The whole earth, in a sense, was created by God as the theatre for righteous action
(dharamsaal):
“He created night and day, seasons and occasions,
So also air, water, fire, and the nether regions:
Amidst these has he fixed the earth, the place for righteous action.”
Guru Nanak gave tangible shape to some of his ideals, establishing a place of worship (dharamsaal)
and a common kitchen (langar) at Kartarpur. Guru Nanak performed Kirtan both morning and
evening at the dharamsaal, as his residence was called. This congregational worship and the
community meal embodied the ideal of equality, caste distinctions being irrelevant to Guru Nanak
and his followers.
He sang of the Absolute and Infinite God and regarded devotional music (kirtan) as the best and
easiest method of worship. Those who could not perform kirtan could listen to it; as they would
imbibe the love of God, they would find joy and peace in their hearts. The Guru used kirtan as a
means of union with the Divine Essence. By linking one’s consciousness with the hymns, one
realises the mystic bliss. Guru Nanak says:
“O my soul, singing God’s praise, you shall easily merge in Him.”
He calls kirtan a ladder to reach the Lord’s Mansion. The Holy Word of the Guru established a
bond between the soul and the Creator. A man who performs kirtan with love is not subject to
sorrow or decay. Guru Nanak says:
“The man who performs kirtan is not subject to the harassment of death...
He is awakened with the love of God’s Name and his soul is linked with the Lord.”
Gallery 05 - Community Living at Kartarpur
5.2.2 Ardas
Ardas
Over time, Guru Nanak set up a daily routine that included recitation of the Japji and singing of
Sodar and Aarti as also kirtan of other compositions of Guru Nanak in praise of God. Worship in
sangat was regarded as an important component of devotion:
“One following the Master’s guidance, in holy congregation in the Word is absorbed.”
The Word of the Guru was meant to be sung:
“By dedicating to the Master our heart, in ecstasy we chant Divine laudation.”
Ardas (supplication) was a regular feature of congregational worship:
“Holy is the Divine listener to supplication: holy the supplication of devotees.”
Laudation of the Lord through the bani of Guru Nanak and supplication went together:
“By performing the Master’s service Profit we have brought home,
And by the Master’s utterance and Word the state of liberation have realized.
Should it please Thee, Nanak this supplication makes:
Grant me lodgement in Thy Name,
That Divine laudation I ever sing.”
5.2.3 Langar
According to the Puratan Janamsakhi, food was cooked twice a day at the langar established at
Kartarpur with the contribution from Sikhs in terms of materials and service in the kitchen and
dining space. Washing of vessels used for eating as well as cooking in the kitchen was regarded as
service to the Guru. This service was voluntary (seva). The community kitchen was open to all,
including people from the lowest social background:
“Should any from the higher castes serve the Lord,
Beyond expression is his praise.
But should one from among the lower castes be His servant,
May he wear shoes made from my skin.”
5.2.4 The Guru’s Messages
Guru Nanak’s bani lays huge emphasis on the greatness of God and His gracious self-revelation,
upon the perils of human condition, and upon the paramount necessity of meditation on Divine
Name. The Guru enunciated an integral view of the spiritual and moral life and those who imbibed
it, tried to realize its essence in their own daily conduct.
The Guru’s teachings emphasized on two things in particular; against limiting of the spiritual and
moral conduct to ritual actions, and against confining the moral action to the individual self, or to
such narrow confines as one’s tribe, race or denomination. He was critical of certain discriminatory
or meaningless social practices. He saw neither justification for the concepts of purity and
pollution, especially in relation to women, nor merit in the sacred thread. He said on the existing
caste system:
“Those forgetting the Lord are the truly low caste.
Saith Nanak: Those without the Name are indeed low-born.”
Exalting the importance of woman, he said:
“ Why revile her of whom are born great ones of the earth?
From man is born woman, no human being without woman is born.”
For Guru Nanak, right actions are as important as loving devotion. Verbal professions have no
meaning if they are not accompanied by appropriate action. Good deeds make one a truthful
person (sachiar), who pays equal attention to bhakti and achar. True conduct (sachch achar) is
above all else:
“Realization of the truth is higher than all else.
Higher still is truthful living.”
Devotion to God is offered out of love and complete dedication. One should be prepared to offer
even one’s head. Through the loving devotion taught by the Guru one may attain to liberation:
“My self! To the Lord bear such love as water for milk.
In boiling it burns itself, saving milk from evaporating.”
Liberation for Guru Nanak means dyeing Oneself into the Word and living in accordance with
God’s will. Therefore, the liberated-in-life remains socially active. To live pure amidst worldly
pursuits is the ideal. The householder’s life is preferable to that of the renunciate:
“Saith Nanak: To submit to Him who created man,
Is to be approved, be one householder or renunciate.”
Guru Nanak stresses the importance of service (seva) in his compositions. Service to God is one
level: it consists of right worship. Service to the Guru is another level: it consists of service to the
Guru and his followers. Then there is rendering service to those who are outside the circle of the
Guru and his followers – human kind in general (par-upkar):
“Service of the holy Preceptor is holy action.”
5.2.5 At Achal Batala
Guru Nanak travelled to Achal Batala. He engaged in conversation with the Siddhas at Achal Batala,
which is recorded in the Siddha Gosht. He talked against ascetical practices, renunciation,
performance and belief in miracles and living on charity. He said that mere garb without any idea of
grace or inner devotion was meaningless. He said further:
“How with the teeth of wax iron be chewed?
What is the food by partaking of which may pride be eliminated?
Man lives in a house of snow, wearing a frock of fire-
In what caves may he abide unshaken?
Whom may man realize to be pervasive everywhere?
By what meditation may the mind in itself remain absorbed?
Man from within himself must cast off pride and egoism;
Effacing duality, should in the sole Supreme Being be absorbed.
On thoughtless uninstructed persons is the world hard;
By living the Word may iron be chewed.
Should man know the sole Lord to pervade within and without.
Saith Nanak, then by following the holy Preceptor’s instruction would his fire of desire be assuaged.”
The Name revealed to Guru Nanak represented God in His primal and manifest states as the only
Truth.
“Saith Nanak: Right it is to meditate on God with full faith.
This path without the holy Preceptor’s guidance is not found.”
In the face of the Lord’s omnipotence and His will, self-effort alone cannot take one far. Only
through God’s grace can one follow the right path and attain liberation:
“Should the holy Preceptor show grace, all desires find fulfilment.”
5.2.6 At Pak P
Pak attan
Pattan
At Pak Pattan, Guru Nanak met Sheikh Ibrahim, a descendant and successor of Baba Farid. In
several compositions Guru Nanak raises questions about the Sufi authorization to others for
guidance and their acceptance of revenue free land from the state. The Sufis are criticised:
“Ignorant fools confer caps of distinction,
That those without shame receive:
Like to the rat are they that may not find entrance to the hole
Yet may tie a winnower on its back to drag within.
They die when they confer blessing and those that they bless also die.
Saith Nanak: To them is not visible the Divine Ordinance,
To that its operation may lead.”
5.2.7 The Evening
Guru Nanak was aware of approaching death. He appointed Angad as his successor. The Puratan
Janamsakhi says that Guru Nanak bowed to Bhai Lehna and made an offering to him in recognition
of the Guruship having been passed on to him. Bhai Lehna became Guru Angad.
This event carried great significance as the Guru became a disciple and the disciple the Guru. Apart
from the continuity of Guruship, it made the position of the Guru and the disciple
interchangeable. As Rai Balwand puts it, Guru Nanak started a firm foundation of truth, placing
the umbrella over the head of Lehna. Bhai Gurdas says:
“During his life time, he unfurled the umbrella of Guruship over Lehna’s head.
Merging his own light with his, the true Guru Nanak changed his form.”
In 1539, Guru Nanak informed his followers that he was going to leave the world. According to the
Puratan Janamsakhi, he instructed them not to observe mourning over his death. Instead, they
should perform kirtan. The compositions of Guru Nanak sung on this occasion were the alahanian,
barahmaha, and sohila. The Musalmans said that they would bury Guru Nanak while Hindus said
they would cremate him. Guru Nanak asked the Hindus to place their flowers on his right and the
Musalmans to place their flowers on his left. Whichever community found its flowers fresh in the
morning was to cremate him or bury him, as the case may be. Guru Nanak then lay down and
covered himself with a sheet. In the morning when the sheet was removed, his body was not there
but the flowers of both Hindus and Musalmans were fresh.
At Kartarpur, the offerings given to the Guru were burnt down because Guru believed that this will
create problems amongst the two communities. Also he felt that people should live their lives on
hard work and labour rather than on donation.
5.1 Community living at Kartarpur To acquaint the visitor with Emphasis on Kartarpur A layered composition of multiple woven panels will depict an
the events of Guru Nanak’s as the founding place of environment-scape of community life in Kartarpur with Guru
life in Kartarpur as the Sikh religion (the Nanak as the central highlight.
establishing the tenets of first dharamsaal).
Sikhism. He will be shown in image, seated under a peepal tree (in
Appreciate that Guru abstract rendition) at the center of congregational worship
To understand the foundation Nanak laid down the
of Sikhism as laid by him by formula for a lifestyle The environment-scape will bring forth the various nuances of
establishing certain cardinal and code of conduct community living that will allow the narrative to describe the
aspects of equality through that would enable his Guru’s views on the same that led to define the founding tenets
institutionalization; langar and Sikhs to achieve the faith.
sangat. liberation and The environment-scape will also use a dawn to dusk transition to
enlightenment while signify the end of the Guru and the transfer of Guruship from
To establish that Sikhism is a living the life of
spiritual way of life; with ‘right Guru Nanak to Guru Angad.
householders without
belief, right worship and right taking sanyas.
conduct’.
Understand the concepts
of Naam, Shabad and
Bani and their relevance
to Sikh philosophy.
Emphasis on connection
with the Divine through
Music; which is the most
central to the concept
of Kirtan and Sikh
Worship.
5.1.1 Kartarpur Village On the wall, will be recreated a three layered installation, that will
comprise of-
A) Horizon layer-Painted backdrop of the sky transitioning from
dawn to dusk
B) Landscape/village-scape layer-Imagery woven in the traditional
rough village style with abstract forms.
Visual description
- Cluster of hutments with traditional wall murals
- Courtyard in front of the house with cots and open oven
and well
- Fields with haystacks, Persian wheel, machaan-guard
posts on stilts
- Cattle grazing in the open
- Forests at one end
- Kosminars-distance markers
- River flowing at the back with boats ferrying people
5.2 Aspects of community life in Kartarpur Woven screens taking inspiration from traditional patterns and
colors but working with refined visual forms for ease of
communication, will be used. The layout of visual content on these
screens will allow audio message triggers to be mapped vis-à-vis
the narrative. Following are the audio trigger points:
5.2.1 Woven Panel Visual description

- Scene of kirtan- religious hymns
- Devotees sitting with their hand folded
- Musical instruments to accompany the singing of hymns – a
rabab & mridang being played by a group sitting in proximity to
a low height pedestal on which will be placed a pothi-manuscript
of religious verses that may have been penned by Guru Nanak
himself
Message in audio
The audio narrative will introduce the visitor to the community
life at Kartarpur and underscore the relevance of kirtan.

-Scene of ardas- congregational prayer under a tree, within the
boundaries of the dharamsaal
Devotees standing with their hand folded , gathered around a
low height pedestal on which is placed a pothi-manuscript of
religious verses that may have been penned by Guru Nanak
himself
- Musical instruments to accompany the singing of hymns – a
rabab & mridang being played by a group sitting in proximity
to the pedestal
Message in audio
The relevance of Ardas will be underlined in the audio
narrative.

Scene of Langar - community kitchen:
-People seated in a row & eating
-Bread for the community being made on the oven
-Women sitting together chopping vegetables
-Men stirring cooked food in large vessels
Message in audio
The importance of Dharamsaal and langar in Sikhi will be
conveyed; with an emphasis on ‘equality’, as the core principle in
the religion
5.2.4 Woven Panel

Visual description
-Principal image of Guru Nanak sitting on a cot, with the village-
scape in the background
Message in audio
A composite audio narrative on the different parts of Guru’s
teachings will be imparted.
Tertiary level information on the compositions of Guru Nanak will
also be given here

At Achal Batala
-Guru Nanak and Mardana standing on the banks of a river
with a groups of jogis seated on a raised mound at the back
Message in audio
The conversation between Guru Nanak and the jogis will bring
out the importance of the ‘renunciation of renunciation’.

The Guru at Pak Patan
-Guru Nanak and Mardana sitting within the courtyard of the
house engaged in conversation with Sufi saints
Message in audio
The conversation between Guru Nanak and the Sufis will bring
out the importance of the concept of God’s grace (nadar)
- Guru Angad sitting on a pida - low stool
- Guru Nanak standing beside him
- A thali - plate with all the elements of the transfer of
guruship on it
A group of devotees in the background trekking uphill to offer
their prayers at the Jwalamukhi temple that Guru Angad was
believed to pilgrim to before he met Guru Nanak
Message in audio
The audio will establish the concept of ‘Ape Gur Chela’ through
the transfer of Guruship to Guru Angad.
5.3 Roots of the faith A 3d Element of Tree with a low height plinth around the tree
trunk that becomes a focal point of the gallery exhibit wherein
the tree trunk is seen in the backdrop of the principal image of
Nanak seated in congregational worship.
Floor seating for visitor will be given in a semicircular profile
around the built plinth of the tree in the form of marginally
raised platforms with traditional durries spread for visitors to sit
and reflect on the Guru’s teachings. Also, there shall be the
provision of low height seating (low benches in wood with a
woven choir seat) around the periphery of the floor seating.
This will provide the visitor with a relaxed and comfortable
environment to reflect upon the teachings of the Guru.
Layout Plan
Sectional Elevation
Horizon - Landscape Layer

Woollen screens woven in a
traditional loom depicting a dawn
to dusk rendition of the landscape
in an abstract style
Congr egational W
Congregational orship under a
Worship
Tree
Tree installation with a
surrounding plinth, taking formal
inspiration from a relevant
historical miniature painting
Community Life in Kartarpur

Finely woven screens in cotton,
suspended from the edge of the
ceiling by their warp threads
These screens illustrate a dawn to
dusk sequence of activities that
took place within the community
with the Guru located at the
centre
Principal image of Guru Nanak

located centrally under the tree
Floor Seating
Arranged along the periphery of the
built plinth of the tree - traditional
‘dhurries’ in a curved profile on a
marginally raised platform
Low Height Seating

Low benches in wooden
framework with a traditionally
woven jute seat (charpai)
Simulated mud floor finish to

suggest the ambience of a rural
environment
Spatial View
Spatial View
Leaf Cluster
3-D spherical/elliptical body made out of
wire mesh with multiple leaf modules
covering the external surface
Leaf module type 1: wire profile of leaf with
light in the centre
Leaf module type 2: translucent cloth
stretched on wire frame profile of leaf
Tree Trunk
Wire frame skeleton wound with coir/jute rope to achieve
desired organic form
Reference
Refer miniaturee for the principal image
ence miniatur
of Guru Nank and formal styling of the tree
installation
Tree Installation
Woven
5.2.1 Woven P Panel
anel Woven
5.2.2 W oven PPanel
anel
Scene of kirtan- religious hymns Scene of ardas- congregational prayer
Visual Narrative of Primary Screens
Woven
5.2.3 W Panel
oven Panel Woven
5.2.4 W oven PPanel
anel
Scene of Langar - community kitchen Principal image of Guru Nanak
Woven
5.2.5 Woven PPanel
anel Woven
5.2.6 Woven PPanel
anel
The Guru at Achal Batala The Guru at Pak Pattan
Woven
5.2.7 W oven PPanel
anel
The transfer of Guruship to Guru Angad
Horizon - Landscape Layer
Woollen screens woven in a
traditional loom with abstract forms
in a rough finish
Community Life in Kartarpur

Finely woven screens in cotton.
The primary visuals of the narrative
appear on these surfaces. They take
inspiration for their visual grammar
& aesthetic from historically relevant
Miniature Atelier
Segment of Layered Woven Screens Depicting Treatment Style Variants
Woven Screens: Treatment Style: Mood Board
Guru Angad at Khadur b. 1504- d. 1552 (G: 1539-1552)
Guru Angad carried forward the message and practice of Guru Nanak at Khadur. He also
popularized and taught the Gurmukhi script among Sikhs. Guru Angad recorded Guru Nanak’s
‘bani’, and added his own in the name of Nanak. This act demonstrated that he derived his
authority from Guru Nanak and that he was one with him. The successive Gurus continued the
tradition in the years to come.
This gallery covers:
Guruship and the Centre at Khadur
Gurmukhi Script
Compositions
6.1.1 Guruship and the centr
centree at Khadur
The declaration of Lehna as the next Guru by Nanak was now spread among the people. He was now
Guru Angad:
“The same light permeated him, the same praxis—
Gallery 06 - Guru Angad and Guru Amar Das
Only the Master his visible form had changed.

Over Lehna’s head waved the immaculate umbrella,
As in the Guru’s home on the throne he was seated;
Doing as by the master instructed, licking the tasteless slab of seeking union with the Lord.
The feeding centre of the Master’s Divine Word was operative.”
As a disciple, Angad’s chief quality had been implicit obedience. This, more than anything else, had
endeared him to Guru Nanak. Satta and Balwand said:
“The Master’s son obeyed not his decree,
And from the Preceptor turn their faces away;
With hearts dishonest, in disobedience they went along,
Carrying on head trussed loads of pride.
As Guru Nanak decreed, did Guru Angad act;
By thus acting was he on the throne installed.
Who lost, who won?”
In his homage to Guru Nanak, Guru Angad equates the Guru with God. His reverence for Guru
Nanak’s bani is also seen in equating the shabad with divine self-revelation. His bani lays equal
emphasis on God’s ordinance and His grace.
The centr
centree shifts to Khadur
When the sons of Guru Nanak did not recognize Angad as the Guru, he moved to Khadur to avoid
confrontation with them, and established a new centre there for the extension of Guru Nanak’s
work.
“The same light permeated him, the same praxis –
Only the Master his visible form had changed.”
At Khadur, the sangat gradually grew larger and so did the langar. The Sikhs brought offerings and
contributed their labour to prepare and serve food. Guru Angad’s wife, Mata Khivi looked after the
langar.
“Saith Balwand the bard: Khivi, noble soul,
Was like tree with shade of thick leaves.
In her kitchen was distributed rich fare,
Khir enriched with ghee, tasting like amrita elixir”.
But the Guru himself lived on coarse food earned by him by twisting strings of munj. By his own
example he emphasized the importance of manual labour and honest living.
6.1.2 Gurmukhi Script
Guru Angad established the use of Gurmukhi script among his followers. The script had major
similarities to older scripts of the times; viz; Gujarati, Lande, Nagari, Sharda and Takri. Guru
Angad standardized its thirty-five characters and vowel modifiers. Rather than resorting to Sanskrit
which was restricted to the priestly Hindu class and the elite, the Guru chose a script which was
already in use in a variety of associated forms in the region.
Contrary to popular belief, Guru Angad did not invent Gurmukhi from scratch, but modified the
Landa script. He refined the Landa script to reflect actual pronunciation and the authentic tonal
expressions. Guru Angad’s efforts to establish the script involved teaching it to young children and
Gurmukhi today has much the same form as it did then.
Tertiary Layer information on Gurmukhi
Before the beginning of the Christian era, three scripts were known in the Punjab: Brahmi,
Kharoshthi, and Greek. By the fifteenth century, three major scripts were in use in north-western
India:
· Sharda in Kashmir
· Takri in the Punjab hills, and
· Siddha Matrika in the plains.
There was also a variety of Lande which was used only by traders and shopkeepers for professional
purposes.
The word Gurmukhi literally means “from the mouth of the Guru”. Gurmukhi shares some
features with older Indian scripts of the time. Indeed, more than twenty letters of the Siddha
Matrika are common with Gurmukhi. However, thirty-five characters and vowel modifiers of
Gurmukhi were standardized by Guru Angad.
The alphabets of Gurmukhi script had their origins in the Brahmi script. Guru Angad not only
modified but also rearranged certain alphabets from Brahmi to create the script. Regionally and
contemporarily, Gurmukhi characters have similarities with Gujarati, Lande, Nagari, Sharda and
Takri. But, the first letter in the Gurmukhi arrangement is non-traditional and appears to be so
due to its importance in the Sikh scriptures. It stands for ‘God is One’.
Rather than use Hindu scripts such as Sanskrit, Guru Angad chose to make a new script the
standard for Sikhs. The use of Sanskrit was restricted to the Hindu priestly class, but the Gurus did
not believe in such elitism.
Guru Angad spent his lifetime teaching Gurmukhi to the common people of Punjab. Gurmukhi is
used not only by the Sikhs but by Hindus and Muslims as well, living in Punjab to represent their
common spoken language, Punjabi.
Gurmukhi has played a significant role in Sikh faith and tradition. The script gained popularity
under Maharaja Ranjit Singh and after him under the Punjab Sikh chiefs, for administrative
purposes. It played a great part in consolidation and standardizing the Punjabi language.
For centuries, Gurmukhi has been the main medium for literacy in the Punjab and its adjoining
areas where earliest schools were attached to Gurdwaras. Now it is used in all spheres of culture, arts,
education and administration. Now, Gurmukhi is the official script of Punjab state.
6.1.3 Compositions
Guru Angad composed sixty-three shlokas of about three hundred and sixty lines. In these shlokas,
he uses the epithet ‘Nanak’ for himself, embodying the idea that he derived his authority from Guru
Nanak and that he was one with him.
The bani of Guru Angad is comprehensive and include all the basic ideas of Guru Nanak on
theology and ethics. In the following quotation, obedience to the will of God is emphasized:
“Without eyes to see; without ears to hear;
Without feet to move; without hands to act,
And without the tongue to speak.
Saith Nanak: By realization of the Ordinance, comes union with the Lord.”
Guru Angad put all compositions together in a pothi – which can be described as an unbounded
manuscript. An unbounded manuscript suggested the possibility of adding more and revisiting what
was written. This was the precursor to the Adi Granth, which in contrast is a bound manuscript
suggesting a closure to further additions and editing.
Guru Amar Das b. 479– d. 1574 (G: 1552– 1574)
Guru Amar Das appointed the manjhis to convey the message of Guru Nanak to the people. He
composed the Anand Sahib and compiled the Goindwal Pothis. Guru Amar Das emphasized on
collective action by the Sikhs—prayers, langar, and building of the baoli at Goindwal. He
condemned casteism, sati and the consumption of alcohol. All his actions were directed towards
achieving equality for all.
Guru Amar Das, Goindwal and Goindwal Pothis
The Sikh of the Guru
Baoli
Guru’s Travels and the Manjhis
Compositions of Guru Amar Das
6.2.1 Guru Amar Das, Goindwal and Goindwal Pothis
Pothis
Amar Das, a Bhalla Khatri, was a staunch Vaishnava before he became a Sikh of Guru Angad. Guru
Amar Das was deeply affected by a hymn of Guru Nanak sung by Guru Angad’s daughter, Bibi
Amro, which led to his conversion. He became so committed to the seva of the Guru that he lost all
pride and was considered an old man with no interest in life.
Amar Das was installed as the Guru at the age of seventy-four before Guru Angad’s demise in 1552.
Rai Balwand and Satta refer to Guru Amar Das’s succession from Guru Angad and Guru Nanak:
“With the self-same paste-mark, throne and in the self-same court Was the grandson acknowledged
like father and grandfather –
…Whoever thy word in mind had lodged, the four corners of the universe to him grow visible.
By the mark of they grace transmigration hast thou annulled —
One thus illumined on the earth descended.”
Guru Angad’s centre at Khadur was claimed by his sons, Dasu and Datu, so Guru Amar Das moved
to Goindwal on the right bank of the River Beas to found a new centre. Located on the highway
from Delhi to Lahore, Goindwal developed into a town.
At Goindwal, Guru Amar Das had his own bani and the bani of his predecessors, inscribed and
compiled into four volumes known as pothis. These pothis also included compositions of a lot of
bhaktas. These works express Guru Amar Das’ belief in the continuing nature of revelation and the
inclusiveness of the Sikh community.
Guru Amar Das encouraged not only singers of kirtan but also scribes to record the bani, which had
great sanctity as the revealed word. Guru Amar Das expressed deep appreciation for transcribing
the bani:
“My self! holy and pure are the hands,
That the Lord’s laudation record.”
6.2.2 The Sikh of the Guru
Guru Amar Das impressed upon his followers that human life was immensely precious. He said in
the Anand that mankind has been created in the image of God and that the human body is the
fortress of God.
Congregational worship in the dharamsaal has become the centre of Sikh religious life and Guru
Amar Das dwells on its unique character. His sangat is not any association but the association of
Sikhs. Guru Amar Das uses several terms for the Sikh and presents his conception of the ideal Sikh
in his compositions. There is an awareness of his distinctive identity. Service to God and the Guru
leads the Sikh to liberation.
The divine presence in every human being carries the implication of their equality. Caste is
irrelevant for becoming a Sikh of the Guru and, by becoming a Sikh of the Guru; one acquires a
status of his own. The Guru is concerned with the spiritual regeneration of the whole of humanity.
Women are seen as equal partners in religious life. There is no appreciation for the practice of sati,
which carries the implication of its prohibition among the Sikhs. In the Guru’s eyes the devoted wife
is better than the one who burns herself on her husband’s funeral pyre. The widow who spends her
life in noble deeds and remembrance of God is also better than a sati:
“Not these are the true suttees that perish on their husbands funeral pyres:
Saith Nanak: Those are true suttees who suffer agony of separation.
Such too are known as suttees as pass life in noble conduct and content,
Serve their lord, and rising each day, remember him.”
The killing of a female child is also a heinous act:
“All learning other than the essence of knowledge may be burnt; there is no sin equal to the
forgetfulness of the name divine. It is as heinous as the killing of a Brahman, a cow or an
infant daughter.”
To receive charity for performing the marriage of a girl is also not approved. All intoxicants are
forbidden. The Sikhs should also never beg, and should have no faith in astrology. The grace of
God and the Guru is indispensable for attainments of all kinds. The path shown by the Guru leads
to liberation in life. It is a state of bliss but the liberated-in-life remains active both before and after
this experience and shares it with others.
6.2.3 Baoli
Guru Ram Das’ compositions refer to the celebrations on the completion of the baoli at Goindwal.
This sacred space was built with through collective labour and resources of the Sikhs. And the all
pervading message was ‘equality of all’ in the eyes of the Guru— as all could drink from it without
discrimination on the basis of caste and religion. The baoli met the needs of increasing number of
Sikhs who came for Guru’s darshan:
“At his portal stand in reverence groups of devotees,
Acquiring the treasure of spiritual merit.”
The baoli had a double significance. On the one hand it was constructed by means of seva and on
the other hand it emphasized the importance of daily morning bath, snana alongside naam and dan.
The seva of the body (tan-seva) has significance only when it is graced by the Guru’s presence:
“Even with stern bodily discipline
With austerities performed head downwards,
Egoism still may not leave the mind.
Ritual action bring not realization.
One dying to the world through the Master’s Word,
Shall lodge God’s name in the Self… “
6.2.4 Guru’s T
Trravels and the Manjhis
Guru Amar Das traveled to religious centres like Kurukshetra and to those on the rivers Ganges and
Yamuna. He explained to the masses the futility of rituals and did not pay any kind of religious taxes.
Guru Amar Das provided guidance to the Sikhs at Goindwal. On the festival days of Baisakhi and
Diwali, the Guru enabled distant congregations to come together and participate in the communal
activities there. This served the dual purpose of meeting with the spiritual needs of Sikhs who lived
away from Goindwal and strengthening Sikh solidarity.
The Guru’s langar at Goindwal became a great institution where all were welcome to share food.
Satta and Balwand write:
“The field of noble qualities he cultivated, and of noble qualities spread the canopy.
In thy kitchen was ever dispensed ghee, flour and sugar.”
Whatever was received daily was duly spent and nothing was carried over to the next day. Possibly,
some visitors did not eat the community meal. The Guru, therefore, insisted that all who visited him
should partake of the langar. Even Emperor Akbar is said to have been asked to eat at the langar
sitting in the pangat before he met the Guru. The essence of the institution of langar was that no
distinction was ever made in the name of caste or creed, high or low, Hindu or Muslim.
The Guru’s Sikhs had increased considerably by this time. In order to organise the scattered sangats
into a system the Guru divided his entire domain into twenty-two manjhis, each under the charge of
a devoted Sikh whose responsibility was to keep in touch with the centre and to disseminate the
Guru’s teachings as far and wide as possible.
6.2.5 Compositions of Guru Amar Das

Guru Amar Das composed Anand on the birth of one of his grandson; it subsequently came to be
recited on all joyful occasions. Anand celebrates union with the Divine:
“Mother mine! Bliss have I obtained,
By the holy Preceptor’s touch.
With poised mind the holy Preceptor have I found;
The mind in jubilation revels:
Fairy songsters of the jewel music have descended the holy Word to sing.
Sing you all the Lord’s Word, who in the self have lodged it:
Saith Nanak: Bliss have I found, by the holy Preceptor’s touch.”
The composition Sadd by Baba Sundar in Raag Ramkali refers to the Guru’s last sermon where he
provides instructions as to what needs be done at his death.
“After I am gone, sing the Lord’s praise holy;
Call the learned, versed in the Divine Scripture, to recite the Lord’s teaching, holy like Puranas.
Recite Divine teaching, listen to the Lord’s Name:
Such shall my funeral be:
With joy in the Lord is the Guru pleased.
Rice –offerings on leaves, lamps on the eleventh day you eschew:
Instead, in the pool of holy company you put these.
The holy Guru spoke as pleased the Lord;
With the Lord was the enlightened one united.”
6.1 Episodes at Khadur To acquaint the visitor with Emphasis on village of The key exhibit in this gallery will architecturally divide the space
the contribution of Guru Khadur as the new centre; (into two equal halves) which will be used to highlight the most
Angad to Sikhism as the where the sangat and significant contributions of each Guru. The first side will depict
second Guru; in continuance langar (in terms of the evolution of Gurmukhi script during the times of Guru Angad
with the Sikh way of life as numbers of followers) and the teachings and compilation of pothis by Guru Angad to
propounded by Guru Nanak kept increasing every day. Goindwal pothis during the times of Guru Amar Das. On the other
side is an architectural representation of the Goindwal Baoli –
To highlight the contribution Appreciate the fact that steps coming down into a well created by projection.
of Guru Angad towards the through the process of
compilation and documentation and
documentation of the compilation of the Adi
Contents of the Adi Granth. Granth in Gurmukhi Both the wall surfaces will have distinct mural treatments.
He also started the tradition Script, the vernacular
of adding own’s compositions language gained
under the pen name of prominence.
Nanak.
6.1.1 Guruship And The Centre At Khadur On the curved wall facing the architectural element, the visitor
will be introduced to Guru Angad being established as the next
Guru despite disapproval from Guru Nanak’s sons and
establishing his centre at Khadur, through the audio narrative.
This mural will be created using coloured leather puppets to
depict life at Dharamsaal at Khadur and Guru Angad continuing
the practices of langar, prayer and kirtan as in the times of
Nanak. The audio narrative will contextualize the visual.
6.1.2 Gurmukhi Script The wall surface along the centre of the gallery will follow the
visual language of manuscript of the time using illustrated
borders, images and text inset in frames. The audio narrative
will provide the context and information on the development
and spread of Gurmukhi. Secondary layer information will be
provided on the evolution of the Gurmukhi script.
6.1.3 Compositions While the same treatment will follow on the wall, it will establish
Guru Angad finally compiling the works (written both by him and
his Guru) into ‘pothis’.
The Audio narrative will also mention the tradition started by the
Guru of signing off as Guru Nanak.
6.2 Episodes at Goindwal To acquaint the visitor with Portrayal of the process On the curved wall facing the architectural recreation of the
the contribution of Guru Amar of the creation of the Baoli, a mural will be created using human forms as cut outs
Das to Sikhism as the third Sikh way of Life that which will be layered at different levels and lit from the back.
Guru. had conceptually begun Some elements and motifs will be intricately cut out, while the
with Nanak, and got over all language will be that of silhouetted forms. The
To highlight the contribution institutionalized during background of this mural is a map representing his travels and
of Guru Amar Das towards Guru Amar Das. the spread of the religion across Punjab.
the institutionalization of the
Sikh faith. Emphasize on the
concept of equality and
seva in his life; in the
construction of Baoli and
Langar.
6.2.1 Guru Amar Das, Goindwal And A part of the mural along the central element will establish the
Goindwal Pothis transfer of Guruship to Guru Amar Das. Continuing the story of
the script and pothis in the manuscript style mural, it will
highlight the Goindwal pothis written by Guru Amar Das which
is believed to be the first prototype of the Granth.
6.2.2 The Sikh of The Guru Along the wall of the baoli inset in two niches, will be the
representation of the social order established by the Guru for his
Sikhs. The aspect of Seva and equality will be particularly
highlighted. The audio narrative will contextualize the visual.
6.2.1 Guru Amar Das, Goindwal
and Goindwal Pothis
6.1.1 Guruship & Centre

at Khadur
6.2.4 Guru’s Travels

& the Manjhis
6.2.2. The Sikh of the Guru
6.1.3 Compositions
Layout Plan
Spatial View
Spatial View
The Mural depicts the village life of Khadur where

Guru Angad is shown continuing the practices
initiated by Guru Nanak. A scene of langar, sewa
as well as kirtan is portrayed using images drawn
and painted on leather and lighting them from
behind. The style is modified from the leather
puppet styles of Andhra Pradesh. Scenes of village
life, includong teaching of the Gurmukhi script
and the farms are also shown.
Visual Narrative
Spatial View
The surface of the architectural element in the centre of the gallery will have
a visual portraying the evolution and use of the Gurmukhi script. The
compositions of Guru Angad and Guru Amar Das will be narrated through
the audio triggers along this element. The visual style of the image will be
derived form manuscripts created in the period.
6.1.1 Guruship & Centre at Khadur
Detail of
Amar Das
writing Pothis
Khadur and Goindwal
Gurmukhi
Guru Angad Teaching
Guru Amar Das &

Goindwal Pothis
6.1.1 Guruship & Centre at Khadur

6.2.1 Guru Amar Das, Goindwal and
Sectional Elevation Goindwal Pothis
An architectural recreation of the Goindwal Baoli
forms the central exhibit of this gallery. The niches
along the wall depict the new social order of the
Guru highlighting his vision of equality.
6.2.3 Baoli
6.2.2. The Sikh of the Guru
Sectional Elevation
The background of this mural is created using a map

treatment with the river as the central element. This
surface is with dotted arches that represent the spread
of the faith through the manjhis as well as the Guru’s
travels across North India. The Foreground depicts
the Dharamsaal at Goindwal with people shown
congregating for kirtan.
6.2.4 Guru’s Travels & the Manjhis
Visual Narrative
Guru Ram Das b. 1534– d. 1581 (G: 1574– 1581)
Guru Ram Das organised the Sikhs to build the sacred Sarovar and solicited the founding of the city
of Ramdaspur. His most important contribution is the addition of eleven ragas to the existing
nineteen ragas in the Holy Book. He also wrote verses (lavan) that are sung at Sikh marriages. He
emphasized on kirtan as the means to get spiritually closer to God.
This gallery highlights:
Transfer of Guruship, Gaddi Chak Ram Das and Sarovar
Prosperity of the City, Masands and Diwali
Lavan and Kirtan
7.1.1 T
Trransfer of Guruship, Gaddi Chak Ram Das and Sarovar
Called Jetha at birth, Guru Ram Das was born in a Sodhi family in Chune Mandi, Lahore. He
attracted Guru Amar Das’ attention when he was working on the construction of the baoli at
Goindwal.
Guru Amar Das’ daughter, Bibi Bhani, was married to Jetha Ram Das, who had proved his sincerity
and devotion to the Guru. After his marriage he stayed on with his father-in-law and made himself
indispensable in the Guru’s ministry. When the time came, the Guru nominated his son-in-law as
his successor to the Gurgaddi. This decision was resented by the Guru’s eldest son, Mohan, but was
accepted by his younger son, Mohri.
At the event of Guru Ram Das’s installation, Satta and Balwand wrote:
“Blessed be Guru Ram Das, exalted by Him who created him.
Fulfilled in him is the miracle – the Creator Himself his form has taken.
His disciples and the congregation as the image of the Supreme Being have venerated him.”
The Foundation of Ramdaspur
Ram Das dug a pool that came to be known as Amritsar (the pool of nectar), and he raised a town
that came to be known as Ramdaspur (now called Amritsar). As Bhai Gurdas writes:
“He got dug a perfect pool and sitting in Amritsar spread the light.”
Guru Arjan said that a dip in the tank of Guru Ram Das would absolve one of all sins.
“By bathing in the Pool of Ram Das,
Are annulled all sins ever committed.”
7.1.2 Prosperity of the city, Masands and Diwali night
Prosperity
The masands—representatives of Guru Ram Das—spread the message of the Gurus and collected
offerings from local Sikh congregations in different parts of the country on behalf of Guru Ram
Das. The Guru encouraged the masands to visit Ramdaspur, during Diwali and Baisakhi, with their
collections and with the Sikhs who might like to have darshan of the Guru.
Guru Ram Das also invited people from all trades to live in the city. He established a market known
as Guru Ka Bazaar. The market included traders and sarrafs (money changers) as well as
shopkeepers and craftsmen. People from the countryside brought their produce to the market to sell
and purchase the articles they needed. The settlement gained in prosperity and was a flourishing city
in the time of Guru Arjan Dev.
Gallery 07 - Guru Ram Das
7.1.3 Lavan and Kirtan

According to Bhai Gurdas, Guru Nanak introduced the rite of charan-pahul to initiate others to
the true path. He also used his own compositions in congregational worship. Some of his
compositions were meant to be sung at the time of marriage (sohle) and death (alahanian). Guru
Amar Das composed Anand which was meant to be sung at all ceremonies-especially at the birth of a
child.
As with his predecessors, Guru Ram Das composed verses to be sung at marriages. His ‘wedding
song’, known as lavan is sung at the Sikh marriage ceremony. It consists of four stanzas. The
wedding couple circumambulates Guru Granth Sahib after each stanza. Each circumambulation has
spiritual significance: first, the performance of secular duties; second, the renunciation of ego;
third, detachment from the world and cultivation of divine love; fourth, the attainment of bliss.
Guru Ram Das was a great lover of kirtan. Guru Ram Das wrote eight hundred and thirty five hymns
in thirty ragas. The previous Gurus had composed in nineteen ragas. He added eleven ragas:
Devgandhari, Bihagara, Jaitsri, Todi, Bairavi, Gond, Nat-Narayan, Maligaura, Kedara, Kanra and
Kalyan.
Like Guru Nanak, Guru Ram Das called himself God’s minstrel (dhaddi). He used to perform
kirtan, which was open to all:
“Four are the castes, four the stages of life –
Whoever out of these, saith Nanak, has contact with the Master
Is himself saved and saves all his Forebears.”
Guru Ram Das was critical of an indifferent attitude towards kirtan. He regarded true devotion and
practice of the Guru’s instructions as the criteria of the sacred music acceptable to God:
“All the Sikhs and servants come to worship the Lord and all of them sing the sublime Gurbani.
But God approves the singing and hearing of these who follow the Guru’s commandments and
regard them as perfect.”
Undoubtedly, blessed ones perform kirtan, but salvation comes through God’s grace rather than
man’s efforts.
The Nectar-word of the true Guru-the quintessence-comes to abide in man’s mind by the
Guru’s Grace.
Through it the heart lotus blossoms and his light blends with the supreme Light.”
He regarded kirtan as the means of salvation. He wrote:
“When you sing the Gurbani, divine music is heard again and again.
The generous Lord has given us the gift: through it the human soul merges in the Supreme Light.”
The Guru’s genius lay in linking his hymns to the appropriate raga and the theme composition.
Apart from classical ragas, Guru Ram Das composed his eight vars in folk music and indicated the
traditional tunes for three of them.
Tertiary Trigger: The significance of Music and Kirtan within the Sikh faith
Trigger:
Guru Nanak called himself as a minstrel (dhaddi) and the Janamsakhis depict him as a powerful
performer of kirtan. Indeed, kirtan was the centre of congregational worship from the very
inception of the Sikh community.
Guru Amar Das urged his followers to perform kirtan of the hymns of the Gurus day and night in
order to cleanse the mind of all impurities.
The compositions of Guru Nanak, and his successors, called Guru ka shabad or Gurbani, were used
for kirtan. Guru Ram Das refers to the singing of shabads in the presence of the Guru.
“The holy congregation, where kirtan is performed, is ‘the Guru’s school’.”
Kirtan
According to Sikh religion, kirtan is the devotional singing of the praises of God in melody and
rhythm. It is defined as a laudatory recital, verbal and literary, of the name and qualities of a
person.
According to the Guru Granth Sahib, the praises of God can be sung, tuned, lilted, contemplated,
uttered, intoned, listened to, discoursed on or played on instruments. The aim of kirtan is to hymn
the glory of God and to bet closer to Him, because the goal is union with Him. The Gurus
commended kirtan as the easiest and most effective way of spiritual fulfillment. The feeling of love
and devotion of the disciple is more important than the musical element. According to the Gurus,
mere technical perfection of musical rendering and vocal skill is not kirtan. Guru Ram Das says:
“Some sing of God through vocal music, musical instruments and chanting in various ways, but the
Master is not pleased thereby.
What can crying (crocodile tears) accomplish for those who are full of fraud and sin within.”
The Gurus discouraged the performance of kirtan as means of amassing wealth. Kirtan is meant to
cut the chain of maya or attachment to worldly goods and possessions. Guru Ram Das says:
“Glorious is the Lord’s praise and the Holy Name.
It is the sublime deed in the Dark Age.
By Guru’s teaching, man is blessed with the
Lord’s praise and he wears the necklace of the
Lord’s Name in his mind.”
Kirtan overcomes diseases of the mind and body and of doubt. However, this involves not only the
performance of or listening to the kirtan, but also strictly following the instructions of the Guru
contained therein. It is the means of salvation in these hardened dark times. Guru Amar Das says:
“One who is dyed in God’s colour sings His praises;
Through the Guru’s Word, he naturally merges in bliss.”
Guru Nanak describes the rasa of kirtan as:
“Whatever rasa, other than the true rasa, I have experienced appears to me to be tasteless and
unsavory.
I have tasted the Amrit rasa in Guru’s company; it is sweeter than the juice of the sugar-cane.”
After the devotee has tasted the nectar of naam, he is overjoyed and his mind in full of peace. Guru
Nanak states:
“If one drinks God’s elixir, he is wrapped in trance in his own Home and he then obtains peace.
By the Guru’s grace, he understands his Lord.
His mind wanders not and he restrains its movements.”
This is a condition of spiritual exaltation that is beyond description and analysis.
7.1 Guru Ram Das To acquaint the visitor with Emphasis on the building The exhibit will consist of an image created in layers that ascend
the contribution of Guru Ram of the Sarovar. towards the curved wall of the gallery. The image will be
Das to Sikhism as the fourth embroidered on cloth, layers of which will be mounted on curved
Establish Amritsar as the polycarbonate sheets.
Guru.
temporal city, in which
To highlight the contribution the Guru invited traders The visual will depict the sarovar and the city of Ramdaspur
of Guru Ram Das in three from different fields to created using embroidery techniques of the Punjab such as
aspects: establish themselves phulkari. The visitor will be standing beside a platform in the
around the Sarovar. centre that depicts the point where Guru Ram Das sat in singing
-Music and kirtan, his compositions over the waters of the sarovar.
Accentuate on the musical
-Marriage Ceremony, compositions of Guru Ram The platform will be covered with an embroidered piece in the
Das. phulkari bagh style. A shadow of the beri tree will be projected
-Building of Amritsar.
over the platform and spilling on the visitors. The shadow as well
Underline the importance as the phulkari piece will be representative of the Guru Ka Bagh
of music and kirtan in and the beri trees that still exist today.
the Sikh religion.
7.1.1 Transfer of Guruship, Chak Ramdas The audio trigger on the left will introduce the visitor to Guru
and the Sarovar Ram Das and the construction of a Sarovar and establishment of
Chak Ram Das under the instructions of his Guru, Guru Amar
Das. At this point the visitor will get a glimpse of the beginnings
of the Sarovar and the new city, since the landscape (exhibit)
will not reveal itself completely.
7.1.2 Prosperity Of Ramdaspur, Masands The first layers will depict the sarovar and the effect of ripples
And Diwali Celebration will be created by the use of light between the layers. The city
will be created across this water body and will be shown as
celebrating Diwali, the Festival of Lights.
The audio narrative shall inform the visitor of the
establishment of the city and its growth and prosperity; along
with the Guru’s emphasis on the Kirtan.
7.1.3 Lavan and other Musical The audio trigger on the right of the exhibit will narrate about
Compositions the various compositions of the Guru, with emphasis on the ragas
that he created and compiled. This layer will also mention
important compositions like the Lavan and the rituals they are
associated with. The importance of music and kirtan in the Sikh
faith will form the secondary layer of information.
7.1.2 Lavan and other
Compositions
7.1.2 Kirtan and Diwali
7.1.1 Setting up of
Chak Ramdas & Sarovar
Layout Plan
Celebration of Diwali in
the city
City of Ramdaspur in
layers
Guru’s Kirtan
Platform
Spatial View
Layers
Platform
Cross Section
City of Ramdaspur shown celebrating Diwali Graphic image on Layers
Spatial View
Spatial View
Guru Arjan Dev b. 1563 — d. 1606
Guru Arjan Dev completed the construction of Amritsar and founded other cities such as Taran
Taran and Kartarpur. His most important contribution was the writing of the Adi Granth and
installing it in the Harmandar. The martyrdom of Guru Arjan Dev marks a turning point in the
history of Sikhism.
This section highlights:
Transfer of Guruship
Construction of the Harmandar
The Adi Granth
Compilation of the Adi Granth
Writing of the Adi Granth
Contributors to the Adi Granth
Installation of the Adi Granth
Meeting with Akbar
Spread of Masands
Halemi Raj and Founding the Townships
Events Leading to Guru’s Martyrdom
8.1.1. Guruship
According to popular belief, Guru Ram Das sent Arjan Dev to Lahore with instructions not to
return unless he was asked to do so. From Lahore, Arjan Dev wrote two letters to his father, but
these were intercepted by Prithi Chand. However, when Guru Ram Das received the third letter, he
finally called Arjan Dev back.
Amidst intrigue and misgivings about the ‘succession’ going to the youngest offspring, Guru Ram
Das nominated his youngest son, Arjan Dev, as his successor.
Prithi Chand was admonished by Guru Ram Das presumably because of his disinclination to accept
the father’s decision. Prithi Chand continued to brew trouble for the new Guru. It is said that he
conspired with a Mughal officer urging him to complain to the Emperor to settle the case of his
supercession by Guru Arjan Dev. Despite Prithi Chand’s opposition, Guru Arjan Dev was generally
acknowledged as the successor of Guru Ram Das.
Bhai Gurdas indicated that Guruship would henceforth remain in the family of Guru Ram Das:
“Then came the turn of Arjan, the son was proclaimed as the Guru. The Guruship shall remain with
the Sodhis in their home because none else was bale to shoulder this unbearable office.”
8.1.2 Construction of Harmandar
After assuming Guruship, Guru Arjan Dev completed the work on the tank started by his father.
Sikhs from all over extended their help. Bhai Gurdas took on the management into his own hands.
Guru Arjan Dev laid the foundation of the Harmandar in 1589 (tradition has it that the foundation
stone was laid by Hazrat Mian Mir of Lahore). Its four doors are said to signify welcome to all the
people from all four directions. Guru Arjan Dev refers to it in one of his compositions:
“His devotees’ tasks has the Lord Himself undertaken to fulfill;
These Himself has the Lord come to accomplish.
Beauteous the spot, beauteous the Pool, wherein is filled water amrita – pure:
Gallery 08 - Guru Arjan Dev
Filled amrita – pure is the water, completed are all objects,

Fulfilled all desires.”
Guru Arjan Dev explicitly states that all sins are washed away by bathing in Ramdas Sarovar.
8.2.1 The Adi Granth
Granth
The preparation of the Holy Book is the most valuable achievement of Guru Arjan Dev. The Sikh
belief in the authority of the Adi Granth is based on two fundamental assumptions:
· That its text is revealed and hence immutable and unchangeable, and;
· That answers to all religious and moral questions are available in it.
The Adi Granth consists of approximately 3,000 hymns of carefully recorded authorship. The Adi
Granth reinforces the view of spirituality that rejects asceticism of any kind and instead mandates an
effective fulfillment of the routine obligations while living within society.
Sikhism was the religion of the Name where the recitation and singing was at the core of the belief
system. Certain miscreants like Prithi Chand had tampered with the sacred compositions and added
some of their own compositions. Guru Arjan Dev saw that there was a distinct possibility that the
sangat might be led astray through this and so decided to collect the genuine writings of his
predecessors.
Guru Arjan Dev also wanted to bestow the Panth with an ever-lasting guiding light, a physical and
spiritual phenomenon.
Guru Arjan Dev refers to the Granth he compiled as the abode of God. The equation of bani with
the shabad, of the shabad with the Guru, and of the Guru with God is assumed in this simple
statement. As the source of truth, contentment and contemplation, the Granth is the means of
redeeming mankind.
8.2.2 Compilation of the Adi Granth
Granth
After the determination to compile the sacred volume, Guru Arjan Dev decided to collect the texts
of compositions of his predecessors in the Holy Office from wherever these could be available.
He sent trusted Sikhs such as Bhai Piara, Bhai Gurdas and Baba Buddha across the country to seek
out the original manuscripts. Guru Arjan Dev made trips to Goindwal, Khadur and Kartarpur to
visit the families of the previous Gurus.
The greatest of all tasks was to obtain from Guru Amar Das’s elder son, Baba Mohan, the Goindwal
Pothis. Baba Mohan had shut himself up in an upper chamber of his house in Goindwal. It is
believed that the Guru recited the hymn ‘Mohan Tere Uche Mandar Mahal Apara’ in Raga Gauri.
Baba Mohan’s heart melted at this display of sweet humility of the Guru; Baba Mohan descended,
made obeisance to him, and handed him over the pothis.
Guru Arjan Dev also collected original manuscripts of the Gurus from Datu (son of Guru Angad)
and Sri Chand (son of Guru Nanak).
8.2.3 The Writing of the Adi Gr
Writing anth
Granth
Guru Arjan Dev recommended the inscribing of the Guru’s shabad:
“On paper with ink and pen scribe thou
The Name Divine, the Word ambrosial.”
Guru Arjan Dev started the arduous task of compiling the first edition of the Holy Guru Granth
Sahib. Bhai Gurdas was entrusted as the Guru’s scribe for the master copy. This monumental task
was finally completed after many years. Guru Arjan Dev refers to the Granth as pothi and calls it the
abode of God:
“The Scripture is the Lord’s dwelling-place.
Whoever in the holy congregation Divine laudation sings,
Perfection of Divine enlightenment acquires.”
The assembled material was arranged according to thirty ragas. Banis were arranged according to the
basic thoughts and groups of hymns forming paragraphs always begin with an invocation to the One
Lord. The banis were also arranged in the following order: the Gurus in order of their succession all
using the appellation of Nanak followed by the saints, beginning with Kabir and ending with Farid.
At the end of the Granth are the shaloks of Kabir and Farid followed by the sawaiyyas of the bards
who actually sum up the glory of each individual Guru. The hymns of the bhagats were treated as
distinct units but follow the same principle of organization based on the number of stanzas. Guru
Arjan Dev ended the Adi Granth with a distinctive composition called the Mundavani.
“In this Salver are lying three viands—truth, content and contemplation.
Also lying in it is the Lord’s ambrosial Name,
Sustenance of all existence.
Whoever partakes of it, consumes it,
Saved shall be.
This substance no way can be discarded—
Ever in heart cherish it.”
8.2.4 Contributors to the Adi Granth
Granth
Besides his own and his predecessors’ compositions, Guru Arjan Dev also included selections from
the writings of fifteen Hindu and Muslim saints such as Kabir, Ravidas, Farid, Namdev, Bhikhan.
Most of the authors belonged to the lower classes.
Guru Arjan Dev’s chief qualities as a writer were: intellectual rigour, serenity of emotion arising
from practical needs of life and; the still sad music of humanity. Guru Arjan Dev not only
composed two thousand two hundred and eighteen hymns including shaloks and pauris, he also laid
down rules for the rendition of all gursabads. He standardised the text and the melody of the entire
Adi Granth. The Guru was very fond of kirtan and the Guru’s darbar had many musicians.
8.2.5 Installation of the Adi Gr anth in Harmandar
Granth
This original edition of the Adi Granth was installed on a high pedestal within the Harmandar in
August 1604. Guru Arjan Dev seated himself at a lower level and instructed all Sikhs to bow before
it, not as an idol, but as the book of divine inspiration which instructed living men in the ways of
God and dedicated secular life.
The revered Baba Buddha was appointed the first Granthi (custodian) of the book. Guru Arjan Dev
dictated that unlike the Hindu scriptures, the Pothi Sahib could be open to reading by anyone of any
caste, creed or sex. After its installation in the Harmandar, kirtan was performed daily from pre-
dawn to late in the night. Specific compositions included in the Granth were sung in five sessions
(chaukis). These were known as Chauki Asa di Var, Chauki Anand, Chauki Charan Kamal, Chauki
So-dar, and Chauki Kalyan or Sukh Asan. With short or long interruptions, the tradition of
chaukis has been maintained to the present day.
8.3.1 Meeting with Akbar
It is said that while the Adi Granth was being prepared, news reached Emperor Akbar that the Guru
was misrepresenting some of the prominent Hindu and Muslim prophets and reviling them.
Akbar visited the Guru at Goindwal in 1598 and is reported to have been very pleased on hearing the
bani of the Gurus. He also asked his finance ministers to reduce the taxes and asked the revenue
collectors to grant remissions to the peasants accordingly and not to make excessive demands on
them.
8.3.2 Spread of the Masands
Spread
By this time the sangat had multiplied, prospered and expanded. There were few cities which were
without Sikhs residents.
Bhai Gurdas refers to prominent Sikhs of Sikhs of Guru Arjan Dev in the Punjab, especially in
Sultanpur and Lahore. There were also eminent Sikhs of the Guru in Kabul, Kashmir, and Agra.
Among the Hazuri Sikhs in Ramdaspur was Mian Jamal. The Sikhs of Guru Arjan Dev also engaged
in economically gainful professions and there were no renunciates among them.
Most of the leading masands of the Guru are Jats, and the Brahmans and Khatris, meli and sahlang,
that is, disciples and followers of the Guru. This was an expression of the Guru’s policy of non
discrimination.
The importance of the masands appears to have increased in the time of Guru Arjan. Among other
things, they were authorized to collect a fixed portion of the income of the Sikhs as their
contribution towards the common fund.
Bhai Gurdas refers to the large number of Sikhs and their prosperity by using the metaphor of the
langar of the Word:
“He has conquered all the four directions and the Sikhs come to him in countless number. The
langar of the Guru’s word runs uninterrupted as a perfect creation of the perfect Guru.”
8.3.3 Halemi Raj and Townships
Townships
Guru Arjan refers to the ‘Halemi Raj’ in his bani in connection with the dispensation of Guru
Nanak and his successors. The dispensation had a divine sanction. It was meant to obviate
oppression and to ensure peace through a new kind of social order. There is limitless joy and no
sorrow in ‘the house of Nanak’. His rule is everlasting. Its fame has spread over the world, and it is
praised in every home.
The sanctity attached to Ramdas Sarovar and the Harmandar is extended to the town of Ramdaspur.
“I have seen all places”, says Guru Arjan Dev “is none like you. God Himself founded you and you
are beautiful”. Through His grace, God has established His own rule in Ramdaspur.
In this ideal city, there is no room for the five adversaries (kam, krodh, lobh, moh and ahankar) ;
all sins are removed through the Guru’s instruction; the city wall is made of sachch and dharm; the
seed of nam is sown here; the sahu and his agents are equally prosperous; the shops hold shanti,
sahaj and sukh as merchandise; there is no fine and no taxes; they who trade in nam take large
profits home; the True Guru is the sahu and the Sikhs are his banjaras.
Equally striking was the foundation of the new town of Tarn Taran in 1591 and of Kartarpur (in the
Jalandhar Doab) in 1594. A baoli was constructed in Dabbi Bazaar in Lahore, and a township was
founded on the right bank of the Beas and named Sri Hargobindpur.
8.4.1 Events leading to the Martyrdom
Martyrdom
The compilation of the Granth by Guru Arjan Dev in 1604 was in many ways the climax of his life’s
work. The number of Sikhs had grown and they were not confined to the Punjab alone. Local Sikh
communities were linked with the Guru through the masands. Many were affluent traders.
The Guru was financially independent of the state and its agencies, and his resources enabled him to
undertake large projects. The towns founded by the Guru were under his administrative control.
Together, Guru Arjan Dev and his Sikhs virtually formed ‘a state within the state’.
After Akbar died in 1605, his son and successor Jahangir, was not sympathetic to the Sikh
movement. According to his own statement, Jahangir wanted to put an end to the affairs of
Guru Arjan Dev.
He got the opportunity when Prince Khusrau rose in revolt against him and came to the Punjab. It
was reported to Jahangir that Guru Arjan Dev had blessed the rebel prince’s venture. Without any
serious inquiry into the truth of the report, Jahangir ordered the execution of Guru Arjan Dev.
8.1 Guru, Social Reform and Harmandar To acquaint the visitor with Accentuate on the The path leading to this gallery will be like the walk towards
the contribution of Guru Arjan establishment of the Adi the Harmandar, at the end of this bridge like passage will be
Dev to Sikhism as the fifth Granth as the Guiding an image of the Harmandar at sunrise.
Guru. Spirit of the religion.
The space will be lit creating the effect of morning light. From
To highlight: Establish the Harmandar the entrance the visitor will see the end of the gallery, which
as the house of the Holy will show an image of the Harmandar at sunset.
- The involvement of Guru Book, which will become
Arjan Dev in the construction the nucleus of the SikhInside the gallery the visitors will see an ethereal, glowing
of the Harmandar at Amritsar religion. representation of the Prakash Sthal- the place of the Adi Granth
in the Harmandar. Covering the Prakash Sthal will be a
- Towards the compilation and Showcase the abrupt end beautifully embroidered textile canopy (Chandani) made using
installation of the Adi Granth of non-interference and the traditional craft forms of Punjab. The four corners of the
in the Harmandar. discomfort of the space will be double layered textile panels lit from within which
To bring out evocatively, Mughals towards the Sikhs will almost look like pages from the Adi Granth, covered with
through the tragic event of and their Guru. illuminations (decorations) from the Granth.
martyrdom, the turning point Four doorways in the space will look into different scenes
in the history of Sikhism. describing the life and times of Guru Arjan Dev.
8.1.1 Transfer Of Guruship Panel will give an introduction to Guru Arjan Dev and will discuss
the transfer of Guruship from Guru Ram Das to Guru Arjan Dev.
It will contain the verse written by Bhai Gurdas proclaiming Arjan
Dev as the next Guru:
“Then came the turn of Arjan, the son was proclaimed as the
Guru. The Guruship shall remain with the Sodhis in their home
because none else was bale to shoulder this unbearable
office.”(Var I, pauri 47)
8.1.2 Construction of the Harmandar The entrance of the gallery will show an image of the façade of
Harmandar under construction. In the audio narrative, will be
heard the story of the construction of the Harmandar.
8.2 The Adi Granth Double-layered textile panels lit from within and embroidered
8.2.1 The Adi Granth using architectural motifs from Harmandar and with illuminations
from the Adi Granth, will be shown. The audio will give an
introduction to the Adi Granth, its structure, language and poetics;
at the time it was composed.
8.2.2 Compilation of The Pothis Double-layered textile panels lit from within, and embroidered
using architectural motifs from Harmandar and with illuminations
from the Adi Granth will be shown. The first layer of the textile
screen will have a cutout window through which image on the
second screen will show. That image will show Guru Arjan Dev
outside Baba Mohan’s house. The audio narrative shall discuss the
process of compilation of the pothis.
8.2.3 Writing of The Adi Granth Double-layered textile panels lit from within, embroidered using
architectural motifs from Harmandar and elements from the
illuminations of Adi Granth, will be shown. The first layer of the
textile screen will have a cutout window through which an image
on the second screen will show. That image will show Guru Arjan
Dev and Bhai Gurdas writing the Adi Granth. Audio narrative will
contextualize the visual.
8.2.4 Contributors To The Adi Granth Double-layered textile panels, lit from within, embroidered using
illuminations of Adi Granth, will be shown. The first layer of the
textile screen will have a cutout window through which image
on the second screen will show. The screen will have a miniature
image of Bhakti saints who contributed to the Adi Granth. Audio
narrative will contain verses and information on the various
contributors.
8.2.5 Installation Of The Adi Granth Double layered textile panels lit from within, embroidered using
illuminations of the Adi Granth, will be shown. The first layer of
the textile screen will have a cutout window through which
image on the second screen will show. Image will show the
procession outside the Harmandar with Baba Budha carrying the
Granth and Guru Arjan Dev behind him with a flywhisk. Audio
will narrate the incident.
8.2.6 Inside The Harmandar Double layered textile panels lit from within, embroidered
using architectural motifs from Harmandar and elements
from the illuminations of the Adi Granth, will be shown.
The first layer of the textile screen will have a cutout
window through which image on the second screen will
show. Image will show Baba Buddha as the first granthi
of the Holy Book seated behind the Holy Book inside
Harmandar. No audio trigger points here.
8.2.7 Prakash Sthal A Central installation made of thin, layered slabs/ sheets of a
reflective, luminous material like Onyx which is lit with a soft
glow from within. The installation will appear to be floating, will
suggest the putting together of the divine pages of the Adi
Granth. No audio trigger points here.
8.2.8 Chandani A textile canopy suggestive of a ‘Chandani’ will cover the

central installation. No audio trigger points here.
8.3 Spread of the faith
8.3.1 Spread of Masands A conceptual map of northern India will show the spread of
masands in the context of founding of townships. The audio shall
8.3.2 Meeting With Akbar As an inset on the map, will be an image of the Guru meeting
with Akbar. The image will be treated in Mughal miniature style.
The audio narrative will contextualize the visual.
8.3.3 Halemi Raj And Townships Backdrop image of an ideal city will be created. The image will
represent Guru Arjan Dev’s vision of an ideal city and will also
show new cities coming up. The audio shall contextualize the
visual.
8.4 The Prelude to the Martyrdom

8.4.1 Events Leading To Guru’s Image of Jahangir’s court and the Lahore Fort where the Guru was
Martyrdom tortured, will be created in Mughal minaiature style. Audio will
discuss Khusrau’s visit and Jahangir’s opposition to the Guru.
Layout Plan
Sectional Elevation
Spatial View
Spatial View
Concept Sketch
8.1.2 Construction of
Harmandar
Entrance to the gallery will

show the gateway of
Harmandar under
construction
Treatment Style
8.2.1 Introduction to the Granth
The image will show an

illuminated opening page of the
Adi Granth with Guru Arjan
Dev’s nishaan on it.
Visual Narrative
8.2.2 The compilation of
Pothis
The image will show Guru

Arjan Dev outside Baba
Mohan’s house, this panel
will discuss the activity of
Compilation of pothis by the
Guru.
Visual Narrative
8.2.3 Writing of the Adi Granth
The image will show Guru Arjan Dev and Bhai Gurudas
writing the Adi Granth by the sarovar. Visual Narrative
8.2.4 Contributors to
the Adi Granth
The image will show six

bhakti saints who
contributed to the Adi
Granth. The format of
the image is taken from
illustrated Adi Granth
manuscripts.
Visual Narrative
8.2.5 Installation of the Adi Granth

The image shows the procession to install the holy
book in Harmandar, Baba Budha is seen carrying
the Granth, behind him is Guru Arjan Dev,
Visual Narrative holding the flywhisk over the book.
8.2.6 Inside the Harmandar
Image will show Baba Buddha, the first Granthi of the

book inside Harmandar. Visual Narrative
8.3.1, 8.3.2 Spread of Faith, Meeting with Akbar
A conceptual map of northern India showing the spread of masands

The map will mark places like Kashmir, Kabul and Agra on the map depicting the spread of the
faith. It will also show Akbar’s meeting with Guru Arjan Dev at Goindwal.
Visual Narrative
8.3.3 Halemi Raj
The image will show an ideal city as envisioned by Guru Arjan
Dev.
Visual Narrative
8.4.1 Events Leading to The Guru’s Martyrdom
The image will show the Lahore Fort, the place where Guru Arjan Dev
was martyred. The image will also show Jahangir’s court, where the
orders for the Guru’s execution came from, as an inset.
Visual Narrative
Guru Arjan Dev’s Martyrdom / Memorial
Martyrdom
Jahangir’s use of the term yasa in his statement suggests that Guru Arjan Dev being a holy person was
to be executed- but without shedding blood. Guru Arjan Dev was tied up and kept (in the open) in
desert near Lahore. His death was caused by the strong sun, summer heat and the injuries inflicted
by the collectors.
Guru Arjun Dev was martyred in Lahore in 1606 in the month of May. Being a holy man the Guru
was subjected to yasa. His blistered body was carried to its final rest by the cold waters of Ravi. Bhai
Gurdas describes the composure with which Guru Arjan Dev bore the tortures inflicted on him, and
gave up his life.
“Like the fish in water, abiding constantly in the river-like God, he attained union with Him. Like
the moth on seeing the light, his light mingled with the Divine light. Like the deer absorbed in the
sound, he did not think of anything else in the crisis. Like the black bee enrapt in the flower, he
remained absorbed in peaceful contemplation of the lotus feet of the Lord throughout the night.
Like the rain bird, he sweetly uttered the Guru’s message. By turning to the Guru, meditating on
God with love, one finds bliss in the sangat. I am a sacrifice to Guru Arjan.”
The concept of making sacrifices for one’s commitment to one’s faith runs through the bani of the
Gurus. That path is as sharp as the blade of a double-edged sword. Guru Nanak refers to the ‘game
of love’ involving the sacrifice of life:
“Shouldst thou seek to engage in the game of love,
Step into my street with thy head placed on thy palm:
While on to this stepping,
Ungrudgingly sacrifice your head.”
The successors of Guru Nanak have expressed this idea in their own way in their compositions. Guru
Arjan Dev said that the love of God entails the sacrifice of one’s head:
“Tera kia meetha laagay
Sweet to me is all Thy doing.”
Gallery 09 - Guru Arjan’s Martyrdom / Memorial
9.1 The Memorial To allow the visitor to Evoke through the The corridor leading to the terrace triangle will have 2 panels.
contemplate on Guru Arjan martyrdom, a sense of
Dev’s Martyrdom: one of the shock and melancholy. Upon emerging from the ‘Petal Building’ on to the open space of
biggest episodes in Sikh the ‘Terrace Triangle’, the visitor will be led to an open space
History. Recall, through the water where the story of the martyrdom of Guru Arjan Dev will
fountains, the Shahidi continue. This terrace will be a reflective space commemorating
Diwas of Guru Arjan Dev. the Guru’s Martyrdom.
Evoke the feeling of The Installation will suggest the coming together of the 5 five
humbling and healing (of elements; fire, earth, water, air and space; all of which were
oneself) in the visitor in instrumental in the torture of the Guru and the eventual
an engaging fashion; martyrdom.
through the participatory
gesture of drinking water
in the scorching heat of
Indian summers.
9.1.1 Guru Arjan Dev’s Martyrdom Two panels on the Guru’s martyrdom, in the corridor, will reflect
the torture inflicted on the Guru and his final decision of
immersing himself in the river. The audio will convey the story in
the most evocative manner.
Panel 1: The Martyrdom
Panel 2: Bhai Gurdas’s Quotations on the Event
9.1.2 Memorial The Installation will have a square base, symbolic of earth (based
on the Mandala). On the square base, will be a circular dish
which will contain water. Emerging from the water, will be a
triangular pyramid form, representing fire. Balanced on the tip on
triangle, will be another circular dish representing the tava, on
which the Guru was martyred. The dish will have a mirrored
surface and will reflect the sky and will be symbolic of air.
Etched on the tava, will be the famous words of the Guru. The
infinite reflection of the sky as well as the vignette form behind
the tava with perforations through which the visitor will be able
to see the water on the top of the boat building; as well as the
sky, will suggest space and the mingling of the Guru’s soul with
the Eternal.
Layout Plan
Miri Piri Installation
Vignette like form, merging with
the sky, representing space. An Installation representing the two swords of the Miri-Piri, one
symbolizing the spiritual realm and the other the temporal.
Tava, black metal bottom, top

reflective surface, symbolic of air
Pyramid made of brass

copper alloy
representing fire
Terracotta base (earth) with

circular dish containing water Sectional Elevation
SPACE
AIR
FIRE
WATER
EARTH
Matyrdom Installation
Miri Piri Installation
Piri
The concept of Miri –Piri is traditionally associated with Guru Hargobind in Sikh history. The
adoption of the term “Miri-Piri” in Sikh tradition has been made to connote the temporal and
spiritual components of life. The term represents for the Sikhs a basic principle which has
influenced their political thought and has governed their social structure, political behaviour,
organisation, leadership and politics.
Script
The origin of the concept of Miri and Piri is usually associated with Guru Hargobind who, unlike
his five predecessors, adopted a princely style right from the time of his installation as the sixth
Guru. As a part of the investiture, he wore on his person two swords, one representing miri or
political command of the community and the other piri, its spiritual headship.
According to Macauliffe, the Guru reported to Bhai Buddha Ji as follows:
“It is through thine intercession I obtained birth; and it is in fulfillment of thy blessing I wear two
swords as emblems of spiritual and temporal authority. In the Guru’s house religion and worldly
enjoyment shall be combined - the caldron to supply the poor and needy and scimitar to smite
oppressors.”
The word miri is derived from the Persian mir (Arabic amir) used for commander, governor, lord,
prince. It conveys a sense of orientation towards this world as a ‘man-in-action’.
Piri is derived from the Persian pir, used for old man, saint, spiritual guide, and head of a religious
order. It stands for spiritual authority.
The Sikh tradition represents Guru Hargobind wearing two swords; each signifying miri and piri.
The location of Akal Takht in front of the Harmandar is also seen as symbolic of the close link of
miri with piri. He brought the concept of miri-piri into high relief, by adopting a martial style, and
raising an army for fighting battles.
Writing in the late eighteenth century, Sarup Das Bhalla aptly remarked:
“Raj and Jog were poised together in the time of the first five Gurus. Now (in the time of Guru
Hargobind) Raj has been made manifest, With Jog as its inner core.”
However, the notion of a close link between spiritual and temporal concerns of the Sikhs did not
arise with Guru Hargobind. Fundamentally, the teachings of Guru Nanak do not approve of
renunciation, and enjoin active participation in the affairs of the word. The life of a householder
was seen as no bar to liberation.
The conception of liberation-in-life embodied the notion of socially active life. The phrase used by
Guru Nanak when he addresses the renunciate jogis is ‘asa mahi niras’ (optimism with detachment
oneself). Nanak’s concept of playing the game of love (with the head on ones palm) is also involved
in miri vis-à-vis its militaristic aspects.
The later successors continued to function as temporal as well as spiritual heads of the community.
The blending of Miri and Piri gets consummated by Guru Gobind Singh in the creation of the
Khalsa Panth.
Gallery 10 - Miri Piri Installation
10.1 Miri Piri Installation To introduce the visitor to Impress upon the visitor The twin principles of spirituality and temporality is manifested
the transformation in the of the profound change in in an installation of steel & light that is suggestive of a formal
nature of the religion; in the history of Sikhism. amalgamation of the two ‘larger than life’ scale swords of miri
terms of striking the new and piri, associated with Guru Hargobind. The surface of the
balance between the spiritual Accentuate on the new installation will have a hand beaten finish with calligraphic and
and temporal. persona of the Guru of motif embellishments that are reminiscent of the Guru’s reign.
that of the ‘warrior saint’ Faint sounds- the fluttering wings of a falcon, distant roll of
(the king with an army) battle drums, horses being exercised- is suggestive of the new
in addition to the image times that were heralded from then on.
of the ‘householder-saint’.
10.1.1 Miri Piri Installation In the centre, will be an installation as explained above.
The rest of the space is bare. The audio guide will
communicate of the new times, the significance of miri
piri et al.
Layout Plan
Miri PPiri
iri Installation
An Installation representing the two swords of the Miri-
Piri, one symbolizing the spiritual realm and the other the
temporal.
Sectional Elevation
Gallery 10 - Miri Piri Installation
Piri (Symbolic of Spiritual Realm)

Created in steel, the top face is embellished with
silver inlay work.
Edge of Light
An edge of light traces the contour of the
installation.
Miri (Symbolic of the Temporal Realm)

Created in steel this element is embellished
with intricate gold inlay.
Piri (Symbolic of Spiritual Realm)

The side is engraved and etched with regional
motifs.
Treatment Style for Engraving
Installation
Gallery 11 - Guru Hargobind, Guru Har Rai & Guru Har Kishan
Guru Hargobind b.1595 — d.1644 (G: 1606- 1644)
Guru Hargobind, after assuming the Guruship in 1606, combined in himself the life of a
householder, a saint and a soldier and became ‘the king of spirituality (din) and temporality
(duni)’. He built the Akal Takht as the symbol of temporal authority in close proximity to the
Harmandar Sahib to suggest that a Sikh should be a saint as much as a soldier. This was the turning
point in the history of Sikhism.
The Guru and His Sikhs
The Sikhs of Guru Hargobind
Din Duni Da Padshah and Akal Takht
At Gwalior
Army and Battles
Succession of Guru Har Rai
11.1.1 The Guru and his Sikhs
Hargobind, the only son of Guru Arjan Dev and Mata Ganga, was born on 19 June 1595 at Wadali,
a village near Amritsar. The mantle of Guruship passed on to Hargobind at the young age of eleven.
Hargobind combined within himself the life of a householder, a saint and a soldier. Bhai Gurdas
looked upon Guru Hargobind’s succession in terms of the continuity and unity of Guruship:
“(From Guru Nanak to Guru Arjan) Five pirs were there who drank from five cups (of truth,
contentment, compassion, dharma, discerning wisdom), and now the sixth great pir is holding the
Guruship. Arjan transformed himself into Hargobind and sat majestically. Now the Sodhi lineage
has started and they all will show their selves turn by turn. This Guru, the vanquisher of armies is
very brave and benevolent.”
Prithi Chand had put forth his claim to Guruship after Guru Arjan and was succeeded by his son
and grandson, Miharban and Harji, who claimed to be the seventh and eighth Gurus. According to
the Dabistan-i- Majahib, they called themselves ‘bhagats’, but the followers of Guru Hargobind
called them ‘Mina’ which was a derogatory term. However, Bhai Gurdas emphatically states that
Guru Hargobind was the only legitimate successor in the line of his illustrious successors.
The Sikhs of Guru Hargobind
During the time of Guru Hargobind, Sikh sangats were found throughout the country as far as
Agra, Gwalior, Ujjain, Lucknow, Prayag, Jaunpur, Benaras and Patna. There were Sikh Sangats in
Kashmir, Kabul and Gujarat as well.
In one of the two hukumnamas addressed to the sangat at Patna and other places, Guru Hargobind
stated that ‘the Sangat of the East is the Khalsa of the Guru’. The Sikhs were also asked to perform
kirtan, and to celebrate Gurpurb.
The Sikhs were also asked to send 700 rupees through a hundi; and 15 dresses each for Guru
Hargobind and his eldest son, Baba Gurditta, ilaichis, the cloth called garha, a pair of koils and
white pigeons.
An anecdote in the Dabistan brings out the normative attitude of the Sikhs towards one another.
When a Sikh wanted to know how to identify the Guru whiles away from him, Guru Hargobind
replied, “Every Sikh who, saying Wahe Guru, comes to your house, regard him as the Guru.”
There are many accounts that depict the Sikhs’ profound dedication to their Guru. In the case of
Guru Hargobind, a few instances have been recorded, which illustrate the devotion of his Sikhs to
him. A certain masand was asked by the Guru to get firewood for the kitchen. The masand
disappeared and when the Sikhs went in search of him they saw him carrying a full load of firewood.
The Guru said that his instruction was meant for the Sikhs. The masand replied, “You had spoken
of the Sikhs. I am a Sikh and I don’t know of a station above this one.”
On yet another occasion, the Guru asked this masand to stand outside a garden. Using another
door, the Guru went home. The masand stood there on his feet for three days till Guru Hargobind
heard of it and called him back.
Guru Hargobind’s interest in horses induced his Sikhs to procure good horses for him. A certain
Sikh had heard the Guru telling other Sikhs that they should bring horses for him from Iraq (Iran).
He brought three Iraqi horses, twenty five Turkish horses and one camel besides many other
valuable articles.
As a part of his martial interests, Guru Hargobind also built the fortress called Lohgarh outside the
town of Ramdaspur, close to the present Lohgarh Gate and Katra Lohgarh.
11.1.2 Din Duni da Padshah and Akal T
Padshah akht
Takht
Din Duni da Padshah
Padshah
Bhai Gurdas stated that Guru Hargobind was ‘the king of spirituality (din) and temporality (duni)’;
he was firm in fact as the ‘king of kings’. He was the brave warrior who vanquished armies. His
opponents too marked him out as distinct from his predecessors.
Guru Hargobind’s distinguishing features were his political activities. As the holder of miri and
piri, he wore two swords: one representing temporal authority and the other spiritual:
“The first five Gurus held the hands of the people and the sixth Guru Hargobind is incomparable
God-Guru. He is the king of spirituality as well as temporality and is in fact irremovable Emperor
of all the kings.”
Akal Takht
Takht
Guru Hargobind constructed the Akal Takht in 1608-09 in Amritsar. The Akal Takht was the
symbol of temporal authority and sovereignty of the Guru’s house and his Sikhs. Its close proximity
to the Harmandar Sahib suggested that a Sikh should be a saint as much as a soldier. The Akal Takht
was constructed to conduct the affairs of the panth and to encourage secular activities. Here
Hargobind received gifts of horses and arms and listened to the martial music of the dhaddis. He
adopted the style of soldiers and took to hunting. He encouraged his followers to eat meat.
The Guru now raised, trained and maintained an army at all times. With militarization, the
community witnessed a transformation in its social composition. Until then it was mostly the
trading class who formed the Guru’s community. From then on, the down-trodden and the shudras
entered the Guru’s fold in growing numbers. People could now look upon the Guru for protection
from the tyrannous authorities.
Guru issued letters to the masands asking them to accept donations in arms and horses instead of
money. He built an army of seven hundred horses, three hundred horsemen, sixty musketeers, five
hundred men from Majha, Doab and Malwa. The Guru gave them each a horse and weapons of war.
He made Bidhi Chand, Pirana, Jetha, Ruira and Langaha, each a captain of a troop of hundred
horses.
The tradition of dhaddi sangeet was quite old in the Punjab, and was popular even before the time
of Guru Nanak. The dhaddis used to sing praises of heroic deeds in the form of vars. Guru Nanak
and his successors also used the form of var to convey their own message to the people. Guru
Hargobind is believed to have employed Abdulla and Naththa, two excellent dhaddis of his time, for
singing heroic poetry.
Tertiary Layer information on Dhaddis
Guru Nanak refers to himself as God’s minstrel (dhaddi). Just as the minstrels of his day used to
sing the praises of heroic persons, he sang the praises of God.
The term dhaddi for the singer was derived from the musical instrument dhad, a drumlet which he
held in the palm of one hand and played it with the fingers of the other. Now generally made of
mango, mulberry or shisham wood in the shape of hourglass, the dhad has its heads covered with
goat skin held taught with cords. The player pulls the cords tight or lets them loose to create
different notes. The dhaddi was invariably accompanied by a sarangi player. Therefore, when we talk
of dhaddis, we generally think of a party of dhad and sarangi players, numbering generally from
three to five.
The form in which heroic narratives were composed were known as vars. Portions of some ballads
celebrating battles between the local chiefs of the Punjab have survived from the fifteenth and the
early sixteenth century.
These survivals are indicative of the popularity and supreme literary quality of the vars. Guru Nanak
and his successors composed bani in the form of vars. In Guru Granth Sahib, directions are given
about the tunes in which the vars are to be sung. Guru Nanak’s var in Rag Asa, for example, is to be
sung to the tune of the var of Tunda As Raja.
For singing these and other vars, the dhaddi groups used passages in the verse combined with a
narrative in prose. The tradition was also used later for celebrating the deeds of Sikh heroes, as well.
11.1.3 At Gwalior
The Guru’s activities of empowering the people did not go unnoticed by the Emperor Jahangir. The
construction of the Akal Takht and the martial training of his followers did not augur well for the
imperial throne. Consequently, Guru Hargobind was imprisoned in Gwalior fort where the
political prisoners of the crown were generally lodged. The author of the Dabistan wrote:
“He was not allowed salted food. During that period, the masands and Sikhs went and knelt down in
sijda [i.e. with foreheads touching the ground] before the wall of the fort.”
Through persuasion of Hazrat Mian Mir and Wazir Khan, the Emperor agreed to release the Guru
from Gwalior fort. He had also been deeply touched by the devotion of Guru’s followers who
constantly organised marches from Amritsar to Gwalior to pay obeisance to the Guru. Along with
himself, the Guru secured the release of 52 other princes who had been lodged with him in the fort
as political prisoners. This earned him the title of ‘Bandi Chhor’.
Peace and Friendship with Emperor Jahangir
Friendship
Jahangir eventually recognized that the Guru fought for truth and justice. He extended the hand of
friendship, which the Guru accepted. On the Emperor’s invitation the Guru accompanied him on
his journey to Kashmir. They also went together, frequently, on hunting expeditions.
11.1.4 Army and Battles
Guru Hargobind cultivated a martial spirit and military ethos amongst his followers. He trained his
men in hunting and martial art.
Jahangir died in 1627 to be succeeded by Shahjahan. With Jahangir’s death, the cordial relationship
with the Mughals ended. The Guru had to fight several battles against army commanders sent by
Shahjahan.
With his trained cavalry and guns, the Guru fought four battles with the Mughals at Amritsar,
Kartarpur, Sri Hargobindpur and Gurusar Lehra. These battles boosted the confidence of the
Guru’s soldiers to resist aggression and fight injustice.
Guru Hargobind fought the forces of Shahjahan’s officers who had been sent by the Emperor
himself. The first battle was fought at Ramdaspur probably in 1628. The Guru’s baggage and goods
were plundered. Sikh sources mention the name of Mukhlis Khan as the Mughal commandant who
was killed in the battle. He left Ramdaspur for Kartarpur. Ramdaspur was eventually taken over by
Miharban who had no interest in the Akal Takht, or in the fortress of Lohgarh. Interest in the Akal
Takht would revive later, only with the occupation of Ramdaspur by the Khalsa of Guru Gobind
Singh in or soon after 1699.
In the battle of Kartarpur, fought around 1635, two enemy commandments, Mir Badahra and
Painda Khan were slain. An incident of this battle highlights the swordsmanship of Guru
Hargobind. Painda Khan swung his sword towards the Guru. Turning on him, the Guru told him,
“One does not wield the sword like this. This is how one strikes” – and with that stroke he finished
off the foe.”
After the battle of Kartarpur, Guru Hargobind proceeded to Phagwara and then to Kiratpur in the
hills. This area belonged to Raja Tara Chand who did not pursue ‘the path of allegiance and
obedience’ to the emperor Shahjahan.
Guru Hargobind also established Hargobindpur and Kiratpur in the foothills of the Shivalik.
11.1.5 Succession of Guru Har Rai
Following the tradition of his predecessors, Guru Hargobind installed Har Rai on the gaddi before
his death in 1644.
“After the death of his eldest son, Gurditta (Baba Jiu)] the Guru raised Har Rai, who was the eldest
son of Baba Jiu, with much kindness, and addressed him as Baba Jiu. At the time of his own death,
he nominated him to his own place, and had the robe of honour of succession draped on his body.
He ordered his sons, family members and all persons of the household to obey him.”
Guru Har Rai b.1630 — d.1661 (G: 1644-1661)
Guru Har Rai is known for preserving the sanctity of the Holy Book. He is also noted for his
compassion for life and living things. Though he was peace-loving, he maintained the army that his
grandfather kept.
Humane Nature of the Guru
Maintenance of Army
Dara Shukoh/ Interest in Health and Medicine
Ram Rai/ Commitment to Gurbani
Succession of Guru Har Kishan
11.2.1 Humane Natur
Naturee of the Guru
About a week after the installation of Guru Har Rai, Guru Hargobind passed away. He was cremated
on the banks of Sutlej. When the pyre was lighted, a Rajput named Raja Ram threw himself into the
fire; he walked a few steps in order to reach the Guru’s feet, and put his head upon his soles and did
not move until he died. Then a Jat boy jumped into the fire.
Thereafter a number of people thought of following their example, but Guru Har Rai stopped them
all. Taking one’s own life did not accord with the teachings of his predecessors.
11.2.2 Maintenance of army
Guru Har Rai maintained the army of his grandfather. His strong force comprised of 2200
horsemen ready to be employed whenever necessary.
Guru Har Rai did not wish to embroil himself unnecessarily in local conflicts, or in a conflict
between the local chief and the Mughal authorities. For sometime, therefore, he stayed at a place
called Thapal in the dominions of the chief of Sirmaur.
Guru Har Rai undertook many missionary tours in the region of Majha and Malwa. It was in one of
these tours that he is believed to have blessed Phul, the ancestor of the rulers of Phulkian states. It is
also suggested that the ancestors of Maharaja Ranjit Singh were made Sikhs by Guru Har Rai, as
written by Sohan Lal Suri, the official chronicler of Mahraja Ranjit Singh. The Dharampatra of
1827(in the Public Library at Patiala) stated that Ranjit Singh took oath in the name of
Guru Har Rai.
11.2.3 Dar
Daraa Shukoh/ Inter
Shukoh/ est in Health and Medicine
Interest
Macauliffe records a popular narrative that Aurangzeb once poisoned Dara Shukoh, Shahjahan’s
eldest son and his personal favourite, and that no hakim or vaids could cure him. Then the Emperor
was advised to obtain medicine from Guru Har Rai. The Guru promptly gave the medicine.
“Dara Shukoh, who was the heir-apparent, was very dear to his father. Aurangzeb who was very
cunning, clever, and ambitious, aimed at succeeding to the throne. He administered tiger’s whiskers
in a dainty dish to his eldest brother, who became dangerously ill in consequence. The best
physicians were consulted, but could not devise a remedy. The patient’s illness daily increased. The
Emperor, filled with anxiety, sent for diviners and astrologers from every country, propitiated pirs
and faqirs, and had recourse to all known charms, spells, and incantations, but without avail…The
Guru was pleased that the Emperor had such confidence in him as to write him such a friendly
letter, and consented to give the necessary medicines…The Emperor was naturally very pleased,
forgot all his enmity to the Guru, and vowed that he would never again cause him annoyance. The
medicine was administered and affected a speedy and complete cure.”
Support to Dar
Daraa Shukoh
Shukoh
Dara Shukoh had a very liberal outlook and his Sufi leanings disposed him to seek the company of
saintly people. The Guru and Dara Shukoh were very close to each other. When Dara Shukoh was
being pursued in the Battle of Samugarh, Guru Har Rai had gone to Lahore for Dara’s support with
a large support. However, finding him rather indecisive about the course of action, Guru Har Rai
returned to Kiratpur.
11.2.4 Ram Rai / Commitment to Gurbani
After Aurangzeb ascended the throne, he summoned Guru Har Rai to Delhi. Guru Har Rai sent his
elder son Ram Rai. He was asked to clarify a line from a verse of Guru Nanak. The clarification
sought was on the phrase mitti musalman ki in the following verse:
“The Mussalman’s dust after burial may by the potter be kneaded.
Into vessels and bricks may it be moulded, wailing in flames.
In flames their poor earth cries, as burning cinder over it fall.
Saith Nanak: the creator who made all causes, alone knows the truth of our life and death.”
Ram Rai said that the correct reading was mitti beiman ki, thereby pleasing Aurangzeb but angered
his father, Guru Har Rai, so much that he was disowned.
11.2.5 Succession of Guru Har Kishan
In 1661, after installing his younger son, Har Kishan, in his place, Guru Har Rai left his earthly
abode. It is said that Ram Rai sought Aurangzeb’s intervention, and he summoned the new Guru to
his durbar. Ram Rai was later enabled by Aurangzeb to set up his own centre at Dehradun.
Guru Har Kishan b.1656- d.1664 (G: 1661-1664)
The youngest of all Sikh Gurus, Guru Har Kishan was born on 7 July 1656 to Guru Har Rai and
Krishan Kaur. His age did in no way affected the sanctity of the Office. In spite of his illness, he did
not lose his vision and led the Sikhs to the next Guru.
Guruship and Hukmnamas
Illness and Baba Bakale
11.3.1 Guruship and Hukumnama
Harkishan became Guru at the age of five. The importance of Guruship being far more significant
than the person, the young age of the Guru did not affect in any way the sanctity of his office. His
very sight was regarded as the source of redemption. In the earliest reference to Guru Har Kishan,
in Var Sri Bhagauti Ji Ki, it is stated that:
“Sri Har Kishan be meditated upon whose mere glimpse removes all sorrows.”
The Ardas also contains a line on Guru Har Kishan:
“Let us think of the Holy Har Kishan, whose sight dispels all sorrow.”
Hukumnama
A hukumnama written by a scribe in the name of Guru Har Kishan indicated that his authority was
immediately accepted by devout Sikhs. Addressed to the Sarbat Sangat of Pattan, this hukumnama
stated that the offerings sent with Bhai Baththa had been received, and the Guru was pleased with
the sangat. The Sikhs were asked to continue to send their offerings and advised to go to the
dharamsaal regularly and perform Arti Sohila.
11.3.2 Illness and Baba Bakale
Aurangzeb called the Guru to Delhi presumably in view of the claims of Ram Rai to Guruship. He
agreed to go after the mediation of Raja Jai Singh, and stayed at his Bangla in Raisina at Delhi (the
present site of Gurdwara Bangla Sahib)
The Guru contracted smallpox en route Delhi in March 1664. As his death was approaching near,
the Sikhs asked him about his successor. He uttered “Baba Bakale” (the grandfather in Bakala).
Guru Har Kishan’s grand uncle, Teg Bahadur, was residing in Bakala at this time. Guru Har Kishan
passed away on 30 March 1664.
The Sikhs who were in attendance on Guru Har Kishan went to Bakala to inform him of his
nomination and to pay their homage to the new Guru.
11.1 Guru Hargobind To acquaint the visitor with Portray the ‘Din Duni Da Multiple scenographic treatments of events within the narrative
the contribution of Guru Padshah’ image of the will be rendered in relevant historical illustrative styles and
Hargobind to Sikhism as the Guru [the king of both architectural reconstructions depicting a unique richness and
sixth Guru. the realms of spirituality grandeur that suggests a clear departure from the galleries of
(din) and temporality the first five gurus.
To demonstrate the shift in (duni).
the outlook of Sikhism Establish the Akal Takht
towards raising of the army. as the tangible
To establish the concept of embodiment of the
Miri Piri (the blend of the blend of spirituality and
temporality; where the
temporal and spiritual). activities of the State
To show the empowerment of and other worldly affairs
the Sangat and the additional were governed by
changes in the activities of spirituality.
the Sangat towards Showcase the relevance
militarization. of Dhaddi music to
inspire the congregation.
Highlight the birth of
the Panth as the most
notable feature
11.1.1 The Guru & his Sikhs A layered rendition of multiple scenes in a relevant
miniature style belonging to the Mughal or Pahari or
Rajasthani Atelier will be done. The audio narrative shall
contextualize the visuals.
11.1.2 Din Duni Da Padshah and The seat of royalty on a raised platform will be recreated with a
Akal Takht double layered covered roof supported by two poles. The external
surfaces of this pavilion will be embellished with gold and bronze
foil work on relief motifs. The interior ambience will display
elements that are suggestive of the grandeur of a royal court of
that period in history. The audio narrative shall convey the
relevance of the new ideology.
This exhibit will also include an architectural reconstruction of

the façade of the main gateway leading to the Harmandar, with
a hand painted image of the temple seen in silhouette layered
behind it to simulate distance and depth, placed diametrically
opposite to the symbolic Akal Takht. The façade will be
embellished with appropriate decorative elements in relief.
Layering of multiple screens on the left of the Harmandar exhibit
will depict the community in prayer. The intent of the composite
exhibit will be to communicate a symbolic as well as the
physical relationship of the temporal & spiritual visage of the
Guru’s office. The audio shall contextualize the visual.
11.1.3 At Gwalior A layered rendition of multiple scenes in a relevant miniature

style belonging to the Mughal or Pahari or Rajasthani Atelier will
be done. The audio shall contextualize the visual.
11.1.4 Army and Battles Multiple layered silhouettes in side elevation will be created using
the leather shadow puppet technique in a relevant miniature
visual style and lit from behind. The backdrop will incorporate
arrangement of vertical textile banners to depict the
Hargobindpur landscape using the bandhni technique (tie & dye).
The audio narrative shall contextualize the visual.
11.1.5 Installation of Guru Har Rai Multiple layered silhouettes in side elevation will be created using
visual style and lit from behind. The audio narrative shall
11.2 Guru Har Rai To acquaint the visitor with Highlight the continuity Multiple scenographic treatments of events within the narrative
the contribution of Guru Har of the tradition of Miri- will be rendered in relevant historical illustrative styles and
Rai to Sikhism as the seventh Piri; as shown through architectural reconstructions depicting a unique richness and
Guru. the Guru maintaining the grandeur that suggests a clear departure from the galleries of
army. the first five gurus.
To show the continuity of
practices as laid down by Portray the Guru as a
Guru Hargobind. healer and a lover of
nature.
Emphasize the fact that
the integrity of the Holy
book was maintained by
the Guru.
11.2.1 Humane Nature of the Guru Multiple layered silhouettes in side elevation will be created using
visual style and lit from behind. The backdrop will incorporate
arrangement of vertical textile banners will depict the Kiratpur
landscape using the bandhni technique (tie & dye). The audio
narrative will describe the content.
11.2.2 Maintenance of army Multiple layered silhouettes in side elevation will be created
using the leather shadow puppet technique in a relevant
miniature visual style and lit from behind. The audio narrative
will contextualize the visual.
11.2.3 Dara Shukoh/ Interest in Health and Multiple layered silhouettes in side elevation will be created
Medicine using the leather shadow puppet technique in a relevant
miniature visual style and lit from behind. The audio narrative
will describe the relevant content.
11.2.4 Ram Rai/ Commitment to Gurbani Multiple layered silhouettes in side elevation will be created using
visual style and lit from behind. The audio narrative will describe
the relevant content.
11.2.5 Installation of Guru Har Kishan Multiple layered silhouettes in side elevation will be created using
visual style and lit from behind. The audio narrative will describe
the relevant content.
11.3 Guru Har Kishan To acquaint the visitor with Emphasize that the Guru Multiple scenographic treatments of events within the narrative
the contribution of Guru Har maintained the dignity of will be rendered in relevant historical illustrative styles and
Kishan to Sikhism as the Guruship, even at the architectural reconstructions depicting a unique richness and
eighth Guru. tender age of five. grandeur that suggests a clear departure from the galleries of
the first five gurus.
Highlight the clarity of
vision of the Guru in
selecting Teg Bahadur to
lead Sikhism.
11.3.1 Guruship and Hukumnama A layered rendition of multiple scenes in a relevant miniature
be done. The audio narrative shall contextualize the visual.
11.3.2 Illness and Baba Bakale A layered rendition of multiple scenes in a relevant miniature
be done. The audio narrative shall contextualize the visual.
Guru Hargobind
The backdrop will incorporate
arrangement of vertical textile banners
will depict the Hargobindpur landscape
using the bandhni technique (tie &
dye).
11.1.4 Armies & Battles
11.1.5 Succession of Guru Har Rai
11.1.3 Imprisonment at Gwalior
11.1.2 Akal Takht & Din Duni Da

Padshah
Entrance to Harmandar
11.1.1 The Guru & his Sikhs
Layout Plan
Guru Har Rai
11.2.1 Humane Nature of the Guru
11.2.2 Maintenance of army
11.2.3 Dara Shukoh/ Interest in Health &
Medicine
11.2.4 Ram Rai/ Commitment to Gurbani
11.2.5 Installation of Guru Har Kishan
The backdrop will incorporate

arrangement of vertical textile banners will
depict the Kiratpur landscape using the
bandhni technique (tie & dye) with an
inset image of the Guru rendered in a
relevant miniature style
Guru Har Kishan

11.3.1 Guruship & Hukumnama
11.3.2 Illness & Baba Bakale
Layout Plan
A backdrop arrangement of vertical

textile banners depicting the
Hargobindpur/Kirtapur landscape
using the bandhni technique (tie &
dye).
Multiple layered silhouettes in side

elevation will be created using the
leather shadow puppet technique in
a relevant miniature visual style and
lit from behind.
The visual narrative of the Guru’s

office depicted through the layering
of key scenes within a single
composition & rendered in the
miniature style belonging to the
Mughal Atelier of that period
Recreation of the seat of royalty on a

raised platform with a double
layered covered roof supported by
two poles. The external surfaces of
this pavilion will be embellished
with gold and bronze foil work on
relief motifs. The interior
ambience will display elements that
are suggestive of the grandeur of a
royal court of that period in history.
Sectional Elevation
Recreation of the seat of royalty on a raised platform with a double Live performance of ‘Dhaddis’ Located opposite this platform is the
layered covered roof supported by two poles. The external surfaces of architectural reconstruction of the
this pavilion will be embellished with gold and bronze foil work on façade of the main gateway leading to
relief motifs. The interior ambience will display elements that are the Harmandar with a silhouetted
suggestive of the grandeur of a royal court of that period in history. image of the temple layered behind
it to simulate distance and depth
Akal Takht & Din Duni Da Padshah
Multiple layered silhouettes in side elevation will be created using the leather
shadow puppet technique in a relevant miniature visual style and lit from
behind.
Silhouetted Horse-scape
The visual narrative of Guru Hargobind’s office
depicted through the layering of key scenes within a
single composition & rendered in the miniature style
belonging to the Mughal Atelier of that period
Layered Exhibit on Guru Hargobind
The visual narrative of Guru Hargobind’s office depicted

through the layering of key scenes within a single
composition & rendered in the miniature style belonging to
the Mughal Atelier of that period
Imprisonment at Gwalior & Bandichor

Episode
.
Formation of army & Development of

Forts
.
Relationship with Jehangir

.
The Guru & his Sikhs
Visual Narrative of Exhibit on Guru Hargobind
Formation of army Hunting scene At the Battlefield Maintenance of Army Nature
expedition
Multiple layered silhouettes in side elevation will be

created using the leather shadow puppet technique in
the miniature style belonging to the Mughal Atelier of
that period
Visual Narrative of Multi-layered Horse-scape
The visual narrative of Guru Har Kishan’s

office depicted through the layering of
scenes within a single composition &
rendered in the miniature style belonging
to the Mughal Atelier of that period
Depiction of the Red Fort as the seat

of Aurangzeb’s autocracy, looming
large over the fate of Northern India
and threatening that of the Sikh
community in a relevant miniature
style belonging to the Mughal Atelier
of that period
As seen from within the fort looking
beyond the Lahori Gate towards
Chandni Chowk
Depiction of the Guru giving audience

to followers within the environment of
a Rajasthani Haveli in a relevant
miniature style belonging to the
Visual Narrative of Exhibit on Guru Harkishan
Segment of Exhibit Visual on Guru Hargobind Depecting Treatment Style
A backdrop of an arrangement of vertical textile banners

depicting a bird’s eye view of the Hargobindpur, Kiratpur
landscape using the bandhni technique (tie & dye).
Visual Narrative & Treatment Style of the Backdrop Textile Banners
Guru Teg Bahadur
Teg
Guru Teg Bahadur assumed Guruship at the age of 43. He founded Makhowal, after being denied
entry in the Harmandar. He travelled and met his sangats at places as far as Assam and Dacca. He
was executed by Mughal Emperor Aurangzeb for protecting the Hindus against religious
discrimination.
In his bani, he laid extreme stress on an inward withdrawal as against a forced isolation from the
world. As a ‘jivanmukta’, Guru Teg Bahadur deeply meditated on the phenomenon of death and
conquered the fear of death.
Guru Ladho Re
Missionary Travels: Consolidation Of Sangats
Literary Compositions At Makhowal
Prelude To Martyrdom
The Martyrdom
Gallery 12 - Guru Teg Bahadur & Gur Gobind Das
12.1.1 Guru Ladho Re
Teg Bahadur had settled in Bakala village after the death of his father, Guru Hargobind. Guru
Harkishan on his deathbed had said that ‘Baba Bakale’ would be the next Guru. The only Baba
(grandfather) of Guru Harkishan in Bakala was Tegh Bahadur. Some of the prominent followers of
Guru Harkishan went from Delhi to the village Bakala to inform Teg Bahadur of his nomination.
He accepted his nomination which took place in the year 1664. A legend about the manner in which
other claimants to Guruship got exposed, is recorded by Macauliffe:
“At last a Sikh called Makkan Shah of the Labana tribe came from Gujarat in the Dakhan with an
offering of five hundred gold muhars which some time previously he had vowed to make to the Guru
on escaping shipwreck. What was his surprise when he found that twenty-two Sodhis had installed
themselves as gurus! In this state of confusion and uncertainty he resolved to make trial of the
pretenders. He visited them all, and made them offerings of two gold muhars each. None of them
knew that he had brought five hundred muhars for the real Guru…He then inquired if there were
any one else in Bakala who claimed to be the Guru. He was told there was another man popularly
called Tega, son of Guru Har Gobind; who dwelt there in silence and retirement, but had no
ambition to undertake the onerous duties of the position…On being ushered into his presence,
what did he see? The Guru was in deep contemplation holding his senses under complete restraint.
Makhan Shah, however, fell at his feet, and placed his offering of two gold muhars in front of him.
When the Guru saw the two coins and found Makkhan Shah seated near him, he said, ‘How now, O
Sikh, thou art trying to wheedle the Guru by presenting him with two gold muhars? Where are the
five hundred gold muhars thou didst promise when thy vessel was sinking.’ Makkhan Shah was
delightfully surprised – ‘O Great King, it is true. When my vessel full of merchandise was sinking, I
invoked Guru Nanak, and vowed I would offer him five hundred gold muhars if it ever reached the
shore.’ Makkhan Shah prostrated himself before Teg Bahadur, hailed him true Guru and searcher
of hearts, and presented him the five hundred gold muhars of his vow. He then ascended a housetop
and, waving a flag, proclaimed from there, ‘I have found the Guru! I have found the Guru!’”
This legend is popularly referred to as Guru Ladho Re.
Foundation of a new Centr

Centree at Makhowal
The Guru’s nephew Dhirmal in Kartarpur and the Minas in Ramdaspur did not accept him as their
spiritual head. The Minas did not allow him to enter the precincts of the Harmandar. After a short
stay at Kiratpur, Guru Teg Bahadur moved to Makhowal, a part of the dominions of the Raja of
Kahlur (Bilaspur). Guru Teg Bahadur bought a small tract of land from the Rani of Kahlur (mother
of Raja Bhim Chand of Kahlur who later became the cause for Guru Gobind Singh’s shift to Paonta)
to found Chak Nanaki in 1665 (named after his mother, Mata Nanaki). Makhowal or Chak Nanaki
later came to be known as Anandpur.
12.1.2 Missionary tr avels: Consolidation of Sangats

travels:
Though the Sikhs had accepted Guru Teg Bahadur as their Guru, Harji, the Dhirmaliyas and the
Ram Raiyas continued to oppose the ninth Guru. The Guru then decided to meet the sangats
outside the Punjab, including the sangats at Patna and Dacca.
After starting a preliminary settlement in Makhowal, the Guru along with his mother (Mata Nanaki),
wife (Mata Gujari) and brother-in-law (Kirpal Chand) went on his missionary tours to the East in
1665 itself. En route his travels he visited Mathura, Agra, Allahabad and Benaras. He reached Patna
in 1666. Leaving his family behind, he proceeded to Monghyr, Dhaka and Dhubri on missionary
work him. While staying at Patna, Guru Teg Bahadur took pains to coordinate the missionary work
in this region by placing all sangats of Bihar and Uttar Pradesh.
Gobind Das’s birth at Patna

Patna
Guru Teg Bahadur was in Dacca when he heard the news of the birth of his only son Gobind Das at
Patna. Responding to the news of his son’s birth at Patna, Guru Teg Bahadur wrote to the sangat at
Patna:
“The Lord shall grant the wishes of the entire Congregation of Patna, that has meditated on God.
The Congregation has incurred expense on jubilation at Gobind Das’s birth. At this the Guru
expresses his pleasure. Each rupee spent has earned the blessing of a mohur. The offerings sent
previously too have met with the Guru’s pleasure. Whoever serves the Guru in future, shall earn
merit. The congregation’s prosperity shall increase. Friends! We are sending a robe of honour. Patna
is the Guru’s own home. The congregation thereof shall be blessed.”
12.1.3 Literary compositions at Makhowal

Literary
Guru Teg Bahadur returned to Makhowal in 1671. Makhowal became a thriving settlement. He also
composed bani using the penname of ‘Nanak’.
In his bani he speaks of fearlessness and detachment and the transitory nature of life. By
commenting on the transitory nature of life and the mundane longings of the common man, the
Guru was in effect positing the need to go beyond it in search of the true meaning of life, to be one
with God, following the path of truth through naam.
“In an instant a pauper He makes a king, and a king a pauper.
Filled are the empty and those full emptied—such is His way.
Himself has He spread His maya – Himself the beholder.
Various forms of different hues He assumes, yet from all remains apart. He who the world has
deluded, is beyond count and limit; inaccessible, immaculate.
Saith Nanak: thou creature of God, discarding all illusions thy heart to Him attach.”
“Know the world to be like a dream and a show.

Saith Nanak: nothing in it shall last except the Lord.
As the bubble on water, ever forming and bursting,
Saith Nanak: listen my friend such indeed is creation in the world.”
Guru Teg Bahadur also took keen interest in his son’s education. In the Bachittar Natak Gobind
Das wrote:
“Thereafter I was brought to Madra country (Punjab) where various kinds of maids and nurses very
affectionately brought me up. Protecting parts of my body in different ways, it was made strong and
healthy and I was well educated in various parts.”
Guru Teg Bahadur undertook the tour of Malwa and the south-eastern Punjab in 1673 and
exhorted the people to give up fear and face tyranny with resolute calmness. The Guru stood for the
principle that ‘you do not threaten and you are not afraid of anything.’
“One that strikes not terror in others, nor of others stands in fear—
Saith Nanak: Listen my self, know such a one to be liberated.”
He also added his bani and a new raga—Raga Jaijaiwanti, to the corpus.
12.1.4 P
Prrelude to the Martyrdom
Martyrdom
In accordance with the general orders of Aurangzeb, the governor of Kashmir persecuted the
Hindus of Kashmir. Some Kashmiri pandits approached Guru Teg Bahadur for protection in 1674.
In the words of Macauliffe:
“On their arrival in Anandpur, they told the Guru their sad story – how the Hindus of their
country were being converted notwithstanding the respite granted to them, and how a man and a
quarter weight of janeus had been collected from Hindu converts to Islam…
His darling boy Gobind was then playing in the hall, and on seeing his father sad and thoughtful
went to him and asked for the reason of his silence. [Guru Teg Bahadur told him that the] matter
on which the Kashmiris have come is of vital importance. The world is grieved by the oppression of
the Turks. No brave man is now to be found. He who is willing to sacrifice his life shall free the
earth from the burden of the Muhammadans.’ The child replied: ‘For that purpose who is more
worthy than thou who art at once generous and brave?’
Guru Teg Bahadur … told the Kashmiris to go in a body to Dihli and make the following
representation to the Emperor: ‘Guru Teg Bahadur, the ninth Sikh Guru is now seated on the
throne of the great Guru Nanak, who is protector of faith and religion. First make him a Mussalman
and then all the people, including ourselves, will of our own accord adopt the faith.”
12.1.5 The Martyrdom

Martyrdom
Before proceeding for Agra with five of his Sikhs, the Guru nominated his son, Gobind Das as His
successor. Guru Teg Bahadur was arrested in Agra and taken to Delhi. Macauliffe gives the following
account:
“Meanwhile the Emperor kept his thoughts on the Guru’s conversion. He sent for a Muhammadan
priest and told him to take one of the nobles with him to the prisoner with this message, ‘Thou are
to accept the Muhammadan religion or work a miracle. If thou work a miracle, thou mayest remain
a Guru as thou art. If thou accept Islam, then shalt thou be advanced to an exalted position, and be
happy. If thou fail to accept these offers, thou shalt be put to death. This is my final decision. The
Guru replied in the same purport as before and added—‘ I will never abandon my faith.
I want no honour in this life; I want honour hereafter. The threat of death possesseth no terrors for
Gallery 12 - Guru Teg Bahadur & Guru Gobind Das
me, since I must one day assuredly leave this perishable body. For death I am prepared and I
cheerfully accept it.’
The Emperor on hearing this reply was greatly incensed, and ordered that the Guru should be
executed.”
The event has been recorded in the Bachittar Natak in the following terms:
“As soon as Guru Teg Bahadur left, this world became full of grief. Cries of distress were heard all
around whereas in the heavens resounded ovation and applause.”
The head of the Guru was taken by Bhai Jaita Rangretta to Guru Gobind Singh at Anandpur where
it was cremated. A contractor, Bhai Lakhi Shah, carried the Guru’s body to his house at Rakab Ganj
made it a pyre setting it on fire. On the place where Guru Teg Bahadur was decapitated in Delhi,
stands today the Gurdwara Sis Ganj Sahib and on the place of cremation of his body stands the
Gurdwara Rakab Ganj Sahib.
Guru Gobind Das
Guru Gobind Das, after receiving his father’s head, inspired his Sikhs not to hide their identity. In
his writings, he preached the worship of the One Supreme Being, deprecating idolatry and
superstitious beliefs and observances. He also established and glorified the fact about the use of the
sword as the emblem of manliness and self-respect- that was to be used only in self-defense and as a
last resort.
This gallery covers:
The Transfer of Guruship

Persona of The Guru
Settlement at Paonta & Literary Activities
Battle of Bhangani
12.2.1 T
Trransfer of Guruship
In 1675, before leaving Makhowal for Delhi, Guru Teg Bahadur installed Gobind Das as his
successor. As stated by Sarup Das Bhalla:
“The Guru then called the Sikh Sangat;

All the Sikh Devotees came together.
To the assembled Sikhs the Guru proclaimed;
I have bestowed Guruship on Gobind.”
Sisganj at Makhowal:
The severed head of Guru Teg Bahadur was bought to Makhowal by a devoted Sikh. It was received
by Guru Gobind with great composure, and cremated at the present site of Sisganj in Anandpur
Sahib.
It is said that he delivered an inspiring sermon to his followers from the Akal Bunga, and
proclaimed – “The Sikhs shall not hide their identity”.
12.2.2 The Guru: The Persona

Persona
One of the core teachings of Guru Gobind Singh was that the individual’s moral fibre had to be
strengthened through living and testing his or her basic convictions. With this farsightedness, the
tenth and the last Guru, Gobind Singh, set about honing the faith’s dynamics through innovation
and personal example. His rigorous self-discipline and inner fortitude were exemplified by his
equanimity and poise in the face of tragedies few encounter in their lifetime.
His education as a child was overseen by his uncle Kirpal, mother Mata Gujari and grandmother
Mata Nanaki. Kavi Santokh Singh says that Gobind ‘loved to form the boys of the town in opposing
armies and engage them in sham fights and martial exercises’.
Around 1678-80, Gobind Das assumed the martial appearance of his grandfather, Guru
Hargobind. At the same time, Kirpal recruited for Guru Gobind Das an ‘army’ and made it
publicly known that the Guru would now feel particularly pleased if the gifts were of use to the
soldiers. The Guru’s orders were obeyed with great zeal and devotion.
He himself wore a uniform and bore weapons and induced others to practice archery and musket-
shooting. He encouraged various muscle-developing and strenuous sports as part of a program of
physical culture. Guru Gobind Singh took up his new responsibilities in all earnestness:
“When the work of governance came unto me, I spread religion as much as I could do.
Through various sports, I hunted in the forest and killed bear, nylgao and stags, etc.”
The Guru instructed his followers to lead a well-meaning and disciplined life. He, according to the
customs of his predecessors, used to rise early in the morning and perform his devotions. He was
particularly delighted to listen to Asa di Var. After day-break, he gave divine instructions to his
Sikhs and then practiced martial exercises. In the afternoon, the Guru received his followers, went
shooting or raced horses; and ended the evening by performing the divine service of ‘Rehras’.
The Guru’s striking personality was much admired both by men and women.
He had a natural genius for poetic composition and his early years were given to this pursuit. He
began to compose bani, like most of his predecessors. In the Akal Ustat, Guru Gobind says of God
that:
“He is beyond time and is Akal Being. He is unknowable, formless and beyond maya. He is not
bound by any caste, color or varna. He is formless, beyond death and duality.
He first creates and then subsumes all unto Him. He destroys all maladies, miseries and evils. One
who remembers Him a while with concentration frees himself from the fear of death.”
12.2.3 Settlement at Paonta/ Liter
Paonta/ ary activities
Literary
In 1685, Raja Medni Prakash of Sirmur sent an invitation to the Guru to come and settle in his
domains. The place chosen for his headquarters was Paonta, on the right bank of the river Jamuna,
close to the border of Nahan with the state of Garhwal.
There was long-standing enmity between the rulers of these two states. And the headquarters of
Guru Gobind Das would serve as a sort of buffer between them. The Guru laid the foundation of
Paonta on 6 August 1685. He built a fortress and continued with his martial activities.
Liter ary activity at P

Literary aonta:
Paonta:
Poetry as such was, however, not his aim. For Guru Gobind Das it was a means of revealing the
divine principle and concretizing a personal vision of the Supreme Being that had been vouchsafed
to him. His Jap Sahib, Sawaiyyas and the composition known as Akal Ustat are in this tenor.
Through his poetry he preached love and equality and a strictly ethical and moral code of conduct.
He preached the worship of the One Supreme Being, deprecating idolatry and superstitious beliefs
and observances.
The glorification of the sword itself which he eulogized as Bhagauti was to secure fulfillment of
God’s justice. The sword was never meant as a symbol of aggression, and it was never to be used for
self-aggrandizement. It was the emblem of manliness and self-respect and was to be used only in
self-defense, and as a last resort. For Guru Gobind Singh said in a Persian couplet in his
Zafarnama:
“When all other means have failed, it is but lawful to take to the sword”.
During his stay at Paonta, the Guru used his spare time to practice different forms of physical
exercises, such as riding, swimming and archery.
12.2.4 Battle of Bhangani
In the Bachittar Natak, it is written that Raja Fateh of Garhwal got annoyed with Guru Gobind
without any reason and came to fight. However, the cause of the Raja’s annoyance is not difficult to
understand. He was unhappy with the growing power of Guru Gobind Das close to the borders of
his state. He persuaded some other hill chiefs to join him. Some Pathan mercenaries were also with
him. Guru Gobind Das moved out to a place called Bhangani, about 16 kilometers from Paonta. A
battle was fought there in October 1688.
Two of the Guru’s cousins, Sango Shah and Jitmal, died fighting in the battle. Among the others
who fought bravely on his side were his maternal Uncle Kirpal Chand, Mahnat Kirpal, Daya Ram,
Nand Chand, Ganga Ram, Sahib Chand and Lal Chand. Guru Gobind Das personally took part in
the battle and killed the intrepid Rajput warrior, Hari Chand, with an arrow. The Pathan
commandants killed in the battle were Hayat Khan and Najabat Khan. The allies left the field of
battle. The Guru returned victorious to be hailed all around by songs of victory.
12.1 Guru Teg Bahadur To acquaint the visitor with Portray the personality Multiple scenographic treatments of events within the narrative
the contribution of Guru Teg of the Guru as an will be rendered in a relevant historical illustrative style,
Bahadur to Sikhism as the amalgam of poetic juxtaposed with elements of abstraction to bring forth and
ninth Guru. sensibilities, strength of reiterate the essence of the message.
a warrior and believer
To show the travels of the in meditation.
Guru, towards strengthening
the Sangat; despite all Establish the fact that
opposition from within the he traveled to places
fold. outside Punjab, like
Guru Nanak to meet
To establish the continuity the disciples and
of the concept of Miri Piri; consolidate the Sikhi
which resulted in faith.
confrontation with the
Emperor and his martyrdom. Evoke the emotional
response of the visitor
To reveal the tragic event of to the event of
martyrdom. martyrdom.
12.1.1 Guru Ladho Re Rendition of the key visual elements of the narrative in a
relevant miniature style & format belonging to the Mughal or
Pahari Atelier. The audio narrative will communicate the story of
how the new Guru at village Bakala agreed to assume the
leadership of the Sikhs and his founding of Makhowal.
12.1.2 Missionary Travels: Consolidation An illustrative map taking inspiration from early Jain vigyapti
of The Sangats patras in a scroll format will showcase the primary destinations
of the Guru’s travels. The audio narrative will communicate the
relevant stories.
12.1.3 Literary Compositions At Makhowal Rendition of the key visual elements of the narrative in a
relevant miniature style & format belonging to the Mughal or
Pahari Atelier along with the audio narrative, will communicate
the relevant story.
12.1.4 Prelude to The Martyrdom Rendition of the narrative in a relevant miniature style belonging
to the Mughal or Pahari Atelier, will establish the events leading
to Martyrdom, along with the audio narrative.
12.1.5 The Martyrdom A central installation of conical volume will rise along the height
of the gallery. The installation will be austere and barren on the
exterior. On the interior, will be a singular textile piece
comprising of myriad textures, layers and colours that will take
inspiration from the various metaphors in his writings, and will
emerge from the floor, crossing over to cut through the vertical
surfaces enclosing the opposite corner and rise beyond to meet
the skylight above.
The narrative sequence will unfurl in a pastiche of a relevant
miniature style belonging to the Mughal or Pahari Atelier as an
audio-visual format projected on the two surfaces flagging the
edge of the conical volume. The audio narrative will
contextualize the Guru as the ‘jeevan mukta’ and ‘hind da chadar’
and will provide the visitor an insight into his mind through his
verses.
12.2 Guru Gobind Das To acquaint the visitor with Explore the various Multiple scenographic treatments of events within the narrative
the contribution of Guru facets of the personality will be rendered in a relevant historical illustrative style.
Gobind Das to Sikhism as the of the Guru, through his
tenth Guru; before the birth poetry.
of Khalsa.
Appreciate that the Guru
To highlight on the events was the final amalgam of
(battles and other episodes) all attributes of the
that lead to the birth of the previous Gurus.
Khalsa.
12.2.1 The Guru’s Vision For His A relevant miniature rendition belonging to the Mughal or
Community Pahari Atelier, will be used. The audio guide will narrate the
story.
12.2.2 Activities Of The Guru A relevant, layered miniature rendition belonging to the Mughal
or Pahari Atelier, will be used. This exhibit will use smaller scenes
within the narrative to bring forth the different activities in the
initial years the Guru’s regime. The audio narrative will
contextualize the same.
12.2.3 Settlement At Paonta/ Literary A relevant, layered miniature rendition belonging to the Mughal
Activities or Pahari Atelier, will be used. This exhibit will use smaller
scenes within the narrative to bring forth the writing and other
activities at Paonta. The audio narrative will contextualize the
same.
12.2.4 Battle of Bhangani A relevant, layered miniature rendition belonging to the

Mughal or Pahari Atelier, will be used. This exhibit will
impart information on the battle. The audio narrative will
contextualize the same.
12.1.5 The Martyrdom of

Martyrdom
Guru TTeg
eg Bahadur
Guru Gobind Das

Prrelude to the Martyr
12.1.4 P Martyrdom
dom 12.2.1 The Guru’s
vision for his
community
Literary
12.1.3 Literary 12.2.2 Activities of
compositions at Makhowal the Guru
travels
12.1.2 Missionary tr avels 12.2.3 Battle of Bhangani
Layout Plan
The Martyrdom
A central installation of conical
volume rising along the height of
the gallery. The external surface of
the installation has a barren, austere
finish to contrast with the transient
nature of the installation within
The vertical surfaces enclosing the

opposite corner, fragmented
& offsetted to allow a sharp sliver of
light to bleed through
A singular textile piece comprising

of myriad textures, layers and
colours, emerges from the floor
within the interior of the conical
volume, crossing over to cut through
the vertical surfaces enclosing the
opposite corner and rise beyond to
meet the skylight above
Projection surface layered behind

scenographic cutouts
Sectional Elevation
Spatial View
The vertical surfaces enclosing the edge of the
conical volume fragmented and offsetted to allow
a sharp sliver of light to bleed through Spatial View
Setting out on travels
Guru Ladho Re
Rendition of multiple narrative

elements along a border with the
key visual as an inset in a miniature
style & format belonging to the
Visual Narrative of Exhibit on the

Early Years of Guru Teg Bahadur
Establishment of Makhowal
Guru Gaddi
Literary oompositions
at Makhowal
Spreading the message of

Nirbhaupad
Tutorage of young Gobind Das
Rendition of multiple narrative

elements along a border with the
key visual as an inset in a
miniature style & format
belonging to the Mughal Atelier
of that period
Visual Narrative of Exhibit on

Life at Makhowal
An illustrative map taking
inspiration from early Jain vigyapti
patras in a scroll format to showcase
the primary destinations of the
Guru’s travels
Visual Narrative of Exhibit on the Missionary

Travels of Guru Teg Bahadur
Depiction of the narrative in a
relevant miniature style belonging Visual Narrative of Exhibit on the
to the Mughal Atelier of that period Prelude to the Matyrdom
Events prior to the martyrdom
Scene of the martyrdom:

sense of calm within the Guru
Events post martyrdom

An audio-visual projection of the
narrative sequence treated with a
saturated silhouette effect
Visual Narrative & Treatment

of Audio Visual on Guru Teg
Bahadur’s Matyrdom
Unfurling of the narrative sequence in a
pastiche of a relevant miniature style
belonging to the Mughal Atelier of that period
Visual Narrative of Exhibit on the Early

Years of Guru Gobind Das
Multiple suspended screens of a layered image-scape (like

snapshots) of the battleground in a pastiche of a relevant
miniature style belonging to the Mughal Atelier of that period
Visual Narrative of Exhibit on the Battle of Bhangani
Guru Gobind Singh and Khalsa
“…In whose heart the light of the Perfect One shines, - he is to be recognized as a pure member of
the Khalsa”, wrote Guru Gobind Singh in his Sawaiyyas.
The word ‘Khalsa’ means ‘pure’. Having founded Anandpur and fortified it, Guru Gobind Das
abolished the corrupt masand system and asked the Sikhs to come to Anandpur on the day of
Baisakhi. He initiated his Sikhs into the casteless fraternity of the Khalsa. After the Guru had
administered Amrit to his Five Beloved Ones, he asked them to baptize him in the same way as he
had baptized them. He himself became their disciple—Ape Gur Chela.
The sections cover:
Foundation of Anandpur
Battle of Nadaun
Court at Anandpur
Dissatisfaction with The Masands, Background to the Creation of The Khalsa
Initiation on the Day of Baisakhi/ Khalsa, Rahit of The Khalsa, Guru Gobind Singh’s Regard for
the Khalsa
The Show
13.1.1 Foundation of Anandpur
Foundation
After the battle of Bhangani, Guru Gobind Das did not stay at Paonta. He was annoyed with the
chief of Nahan for not supporting him in the battle. In any case, he had demonstrated his strength
and was in a position to come back. As stated in the Bachittar Natak, he returned to Kahlur and laid
the foundation of Anandpur (as an extension of Makhowal).
For a couple of years, Guru Gobind Das remained occupied with the building of fortresses:
Keshgarh, Lohgarh, and Fatehgarh. His Sikhs were now taught to use muskets and guns. A couple of
undated Hukumnamas of Guru Gobind Das addressed to the sangats of Dhaka, Chatgaon, Sondeep
and Sylhet, ask for a good war elephant, weapons, and shields.
13.1.2 Battle of Nadaun
Raja Bhim Chand, a hill chief, had by now consolidated his position among the chiefs of the
neighboring principalities, and thought of withdrawing his allegiance to the Mughal Emperor. Bhim
Chand and his allies stopped paying tribute. The Mughal governor of Lahore ordered the faujdars
to march against them. Guru Gobind Das also supported Bhim Chand, at the latter’s request. A
fierce battle took place near Nadaun (the headquarters of the Mughal faujdar).
At a critical juncture, Guru Gobind Das also personally participated in the battle. As stated in the
Bachittar Natak, he ‘took over a small gun and, aiming at a king, fired on his chest. He too fought
fiercely but fell on the ground faltering’. Leaving the gun, the Guru caught hold of the bow and shot
arrows by his left hand. ‘Whether they hit or missed the aim, he did not know’. The battle stopped
with the fall of darkness, and Alif Khan, the Mughal faujdar retreated from the field of battle. Bhim
Chand, his allies, and Guru Gobind Das were victorious.
Guru Gobind Das returned to Anandpur and continued to increase his strength with men and
materials. The number of Sikhs who visited Anandpur at the time of Baisakhi and Diwali became
increasingly large. In a Hukumnama of 1691, the Sikhs of Dhaka are asked to come at the time of
Diwali.
Perceiving a threat from the Mughals, Guru Gobind Das was keen to improve the defence of
Anandpur . A Hukumnama of February 1694 asks the Sikhs to come at the time of Baisakhi with a
gun-maker (tupak-saz).
Gallery 13 - Guru Gobind Singh and Khalsa
Appointed to governorship of Kabul and the Punjab, Prince Muazzam (later Bahadur Shah) came
to the northwest in 1696. He directed operations against the rebel hill chiefs. But no forces were
sent against the Guru. Prince Muazzam had a different political outlook. After pacifying the hill
chiefs, he took a large number of Sikhs with him to Kabul. He was later ordered by Aurangzeb to
expel them from the province.
In the rainy season of 1696,the Guru was preparing to meet any possible attack on Anandpur. Two
of his Hukumnamas, dated 2 August, 1696, ask Bhai Taloka and Bhai Rama (the ancestors of the
rulers of Nabha, Jind, and Patiala) and the sangat of Bhai Rupa (the ancestors of the chiefs and
Bhais of Bagarian) to send groups ,of fighting men, including horsemen, armed with various kinds
of weapons.
13.1.3 Court at Anandpur
The young Guru would now meet his daily congregation in a costly tent with elephants and horses as
part of the establishment. Guru Gobind Das would wear an aigrette and sit on a raised platform.
The Sikhs called him ‘Sacha Padshah’. The whole setting was that of a regal court.
His devotees came from distant places and brought him valuable gifts. A devotee called Duni Chand
visited Anandpur in 1681, and presented him a shamiana (a royal canopy or tent) embroidered in
gold and silver, and was studded with pearls.
Ratan Rai, the son of Raja Ram Rai of Assam, visited Anandpur with his mother and several
ministers, and presented several gifts to the Guru, including an elephant called Prasadi (or
Parsadi), Panch Kala Shastra, Chandan ki Chowki and a Beam (the puppets play of a game of dice).
He ordered construction of a war drum (nagara) called Ranjit Nagara to enthuse his soldiers. The
use of such a war drum was limited to the chieftains, within their territory, and the Raja considered
the use of Ranjit Nagara a hostile act.
Guru Gobind Das encouraged scholarly pursuits. At one point of time it is said that there were 52
bards in his court (Sainapat, Bhai Nand Lal ‘Goya’ and Bhai Mani Singh are a few of them). He
attempted the Akal Ustat next in 1691-93. In this eternal composition, he lays his premise bare by
equating the ‘One beyond time’ with the One who is ‘the eternal steel’. He writes:
“Blessed am I with the protection of Akal; Available to me is the defense of Sarabloh; Blessed am I
with the shield of Sarabkal; Available ever is the protection of Sarabloh.”
During1686-87, he sent five scholars to Benaras to become adept in Hindu systems of knowledge.
These scholars later came to be known as Nirmalas. He pursued his scholarly activities but also
continued with hunting and martial practices.
13.1.4 Dissatisfaction with the Masands and Background to the creation of the Khalsa
creation
The Guru was dissatisfied with the masands and asked for their removal. He wrote in his Sawaiyyas
29 and 30:
“They put oil into their eyes to make people that they are shedding tears
If they see any of their own worshippers wealthy, they serve up sacred food and feed him with it.
If they see him without wealth, they give him nothing, though he beg for it; they will not even show
him their faces.
Those beasts plunder men, and never sing the praises of the Supreme Being.”
By the last decade of the seventeenth century, the Sikhs were divided into several groups: the
followers of Prithi Chand and his successors (known as Minas), the followers of Dhir Mal and his
successors (known as Dhir Mallias), and the followers of Ram Rai (known as Ram Raiyas). All these
groups received patronage from the state, and tried to remain on the right side of the authorities.
Apart from these there were the followers of the masands (known as melis or sahlangs). In the eyes of
Guru Gobind, they were greedy and selfish; they ignored the poor Sikhs and pandered to the rich;
they dissembled to deceive people; they neglected their religious duties. Their mediation was an asset
no longer.
For several years now the Guru was free from the threat of war. He seems to have reflected deeply on
his role in the given situation. The Sikhs who were directly affiliated to the Gurus were known as
their Khalsa.
Guru Gobind Das decided to give recognition to only this category. Therefore, a Sikh who wished to
be regarded as Sikh by Guru Gobind Das should acknowledge him alone as the Guru. By
implication, the followers of masands, Minas, Dhir Mallias, and Ram Raiyas were to be regarded as
Sikh only if they acknowledged the sole authority of Guru Gobind Das.
13.1.5 Initiation on the day of Baisakhi/ Khalsa, Rahit Of the Khalsa and Guru
Gobind Singh’s rregar
egard for the Khalsa
egard
He instructed the Sikhs to come to Anandpur straight without any intermediaries. The Guru thus
established direct relationship with his Sikhs. The institution of the Khalsa was given concrete form
on 30 March 1699 when Sikhs had gathered at Anandpur in large numbers for the annual festival of
Baisakhi.
On that fateful day, Guru Gobind Das selected five volunteers who were prepared to lay down their
lives for his mission. The Guru appeared before the assembly dramatically on that day with a naked
sword in hand and spoke:
“Is there present a true Sikh who would offer his head to the Guru as a sacrifice?”
The words numbed the audience who looked on in awed silence. The Guru repeated the call. At the
third call Daya Ram, a Sobti Khatri of Lahore, arose and humbly walked behind the Guru to a tent
near by. The Guru returned with his sword dripping blood, and asked for another head.
Then Dharam Das, a Jat from Hastinapur, and Muhkam Chand, a washerman from Dvarka,
Himmat, a water-carrier from Jagannath puri, and Sahib Chand, a barber from Bidar (Karnataka)
responded one after another and advanced to offer their heads and were taken to the tent. All the
five were led back from the tent dressed alike in saffron-coloured raiment topped over with neatly
tied turbans similarly dyed, with swords dangling by their sides.
They were initiated all afresh. The water to be drunk by the five ‘living martyrs’ (known as the
‘beloved five’) was stirred with the double-edged sword as the symbol of power while Gurbani was
recited over it as the symbol of spirituality.
The ‘beloved five’ were instructed to keep their hair (kesh) uncut and to bear arms. To their names
was added the epithet ‘Singh’ (which was becoming popular among the Rajput rulers in the hills).
After initiating the ‘beloved five’, Guru Gobind requested them to initiate him in the same manner.
Through this rite, he became one with the Singhs. Indeed, it was after this ceremony that he began
to use the epithet ‘Singh’ with his name. Guru Gobind became Guru Gobind Singh. The second
Bhai Gurdas refers to this event in the refrain of his Var:
“Praise be to Gobind Singh who is the Guru and the disciple rolled into one. (Wahu wahu Gobind
Singh ape gur chela)”
The position of the Guru and the Khalsa becomes interchangeable.
The new baptism was voluntary, but the preference of Guru Gobind for the new baptism was
proclaimed loudly through this event. The ‘beloved five’ baptized a large number of Sikhs at
Anandpur. Then, any five of the baptized were authorized to baptize the other Sikhs everywhere.
Now, every Singh was a Khalsa but every Khalsa was not yet a Singh. Eventually, however, the Singhs
came to be equated with the Khalsa. ‘Sikh’ sangats started becoming ‘Khalsa’ sangats, and then
‘Singh’ sangats.The Khalsa was built on the foundation of accepting even martyrdom in espousing
the cause of the Dharma. By instituting the Khalsa, Guru Gobind Singh reaffirmed the faith
propagated by Nanak, and consolidated the Sikh panth to withstand any external interference and to
defend the belief of their conscience at the risk of their lives if necessary.
The ‘five ks’ come to our mind the moment we talk of the rahit of the Khalsa: kesh, kangha, kirpan,
kara and kachh.
It is assumed that we are talking of the baptized Singhs. In their case, it was obligatory to keep their
hair uncut, to wear turban, and to keep a kangha for orderly upkeep of the kesh. It was obligatory for
them to bear kirpan and to wear kara as a part of their armed state. It was obligatory for them to wear
kachh to which the second Bhai Gurdas refers as the symbol of sexual restraint.
Among other injunctions which were equally binding on all the Khalsa, whether Singh or non-
Singh, were:
· Not to use tobacco in any form,
· Not to associate with the masands and their followers, nor with the Minas, Dhir Mallias and the
Ram Raiyas.
· Not to observe any Brahmanical rites and ceremonies.
Guru Gobind Singh laid great emphasis on right belief for the Khalsa. In one of his Sawwaiyas, he
says that a pure member of the Khalsa meditates on the name of God alone, has complete trust in
God and puts no faith in fasting or ceremonies, places of cremation or sepultures, attaches no
importance to pilgrimage, ritual charities, austerities, penance or non-violence; in his heart shines
the light of the Perfect One.
Formal rahitnamas, written in the course of the eighteenth century, complemented or
supplemented Guru Gobind Singh’s ideas. They all agreed on one point: the great importance of
religious life for the Khalsa. In this respect, they were always faithful to Guru Gobind Singh.
The religious faith that Guru Gobind Singh enjoins upon the Khalsa is the’ same as the religious
faith of Guru Nanak and his successors.
“As God’s creation, human beings are all one, irrespective of their caste, creed, scriptures,
institutions or practices. Worship the one God who is the one divine Guru for all; know that His
Form is one, and that He is the one light diffused in all.”
An echo of Guru Nanak is also heard in the Hazare Shabad:
“O man, practice asceticism in this way--
Consider thy house altogether as the forest, and remain an anchorite at heart.”
Guru Gobind Singh had a very high regard for his Khalsa. In Sabad Hazare he says:
“My victories in battle have been though their favour; through their favour I have already made
gifts;
Through their favour all my troubles have been removed; through their favour again my house is
replenished;
Through their favour I have acquired knowledge; through their kindness all my enemies have been
killed;
Through their favour I am exalted; otherwise there are millions of ordinary men like myself.
To serve them pleaseth my heart; no other service is dear to my soul.
To bestow gifts on them is well; to make gifts to others in not profitable for my Sikhs.
To bestow upon the will bear fruit in the next world and will bring honour even in this: to bestow
on others is altogether useless.
All the wealth of my house with my soul and body is for them.”
The Khalsa sangat was unique because the collective body of the sangat assumed the authority of the
Guru. In the words of in Sri Gursobha:
“Gur sangat kichh bhed na hoi
Satgur sangat ek hai.”
There is no difference between the Guru and the sangat. The sangat and the true Guru are one and
the same.
13.1 The Khalsa To acquaint the visitor with Understand the The space will be architecturally recreated as the interior
the episodes leading to and founding principle courtyard of a fort. Along the first wall a layered panorama of
the birth of the Khalsa: underlying the Khalsa. visuals will depict the landscape of Anandpur, the 3 other forts
built by the Guru and the training of his army. At the corner,
· The town of Anandpur Comprehend the the visitor will look through the turrets to see a video recreation
and its fortifications concept of Khalsa in its of the Battle of Nadaun.
· The different wars and socio-religious aspects.
The second wall will be a diorama of the court of Guru Gobind
battles that he fought Accentuate the and will highlight different aspects of his personality and life at
during this phase importance of Anandpur his court in Anandpur. It will lead to Baisakhi at Anandpur, which
· His literary activities Sahib as the birth will lead to the Birth of the Khalsa as viewed through a
place of Khalsa. recreation of the Anandpur Fort Gateway.
· His splendid king like life
style The highlight of this gallery will be a one minute timed show on
projection. In order to create high impact the show will combine
· The birth of the Khalsa techniques like Son-et-Lumiere techniques, film and holographic
on the eve of Baisakhi; projection.
with a large number of
people gathered to meet
the Guru at Anandpur
To understand the philosophy
of the Khalsa as the mental
empowerment of the lower
classes.
13.1.1 Foundation of Anandpur A panorama of exterior photographs of the fort, the hilly
landscape around it and the other forts built by Guru Gobind
Singh in the Annadpur region will be recreated. The foreground
will show the training of the Sikh army at Anandpur. The
audio narrative will inform the visitor of the foundation of
Anandpur as an important centre; where the Khalsa would be
founded.
13.1.2 Battle of Nadaun A layered panorama of exterior photographs of the hilly region
with shots of a battle being fought will be viewed over the
ramparts. A recreation of the battle in video will be viewed
through the gunners’ windows in the turret along the edge. The
audio narrative will inform the visitor of the battle as well as
the skirmishes that took place between Gobind Singh and hill
chieftains along with the Mughals that required the Guru
towards increased militarization.
13.1.3 Court at Anandpur A diorama created architecturally with layered human

forms will depict the court of Guru Gobind Singh at
Anandpur. This diorama will include recreated artifacts
(such as floor textiles, canopies, recreated artifacts like
the weapons of Guru Gobind Singh, writing desks etc) to
allow the visitor to understand the multifaceted
personality of the Guru. The audio narrative will inform
the visitor of the different literary works that he
completed in this phase.
13.1.4 Dissatisfaction with Masands and While the above visual treatment will continue, the audio
Background for the creation of Khalsa narrative will inform of the corruption of the institution of the
Masand system and the need to abolish the same.
The interior panorama will blend into the Gateway to the fort at
Anandpur Sahib and will be treated to show the masses of people
coming to Anandpur on the festival of Baisakhi. The audio
narrative will inform of the same.
Combining photography and painted style will depict the three

13.1.5 Initiation on the day of Baiaskhi/ key events on the day of the Birth of the Khalsa. It will depict
Khalsa, Rahit Of the Khalsa and Guru the Guru calling for surrender from his followers, baptism of the
Gobind Singh’s regard for the Khalsa Panj Pyare and finally the baptism of the Guru by the Panj
Pyare. The audio narrative shall inform of the establishing
rituals, significance, et al of the Khalsa
13.1.6 The Show The show will start as a Son et Lumiere lighting up various
parts of the set created. The show will then move up to the
front wall and will begin from the victory at Nadaun and
then to the Guru calling his followers to Anandpur on
Baisakhi.
The birth of the Khalsa will shown through the ritual of the
baptism of the Khalsa will be shown through an animation of
lights beginning in the circular void in the gallery. The void
will be treated as the vessel in which the sweetened water is
stirred with the double edged. The light will lead the visitors
through a holographic view of the khanda which will appear
to be floating.
The audio narrative in the form of a song will inform the
visitor of rituals, significance, et al of the Khalsa.
13.1.4 Dissatisfaction with Masands

Background for the creation of
Khalsa
13.1.6 The Show
13.1.5 Birth of the Khalsa

Episode
Layout Plan
Spatial View
Spatial View
13.1.1 Training of Army 13.1.2 Battle of Nadaun 13.1.3 Court at Anandpur 13.1.4 Dissatisfaction with Masands
Background for the creation of Khalsa
13.1.1Landscape of Anandpur
(Keshgarh, Lohgarh &
Fatehgarh)
Open Elevation
Detail - Open Elevation
13.1.4 Dissatisfaction with Masands

Background for the creation of
Khalsa
Concept Sketch
A recreation of the battle in video can be viewed through
the gunners’ windows in the turret.
Visual Narrative 13.1.2 Battle of Nadaun
Procession after Guru Gobind Singh Kirtan and Sangat
Literary activity at the Court
victory at Nadaun with his four sons
Visual Narrative
Gateway of Anandpur Fort People gathered on Baisakhi
13.1.4 Dissatisfaction with the

Masands and Background to
the Birth of the Khalsa
13.1.6 The Show Storyboard
The Show Storyboard

Multifaceted personality of Guru Gobind Singh, Victory at Nadaun
The Show Storyboard People Coming into Anandpur upon the Guru’s Orders
People seated, Guru asks for complete surrender The Show Storyboard
The Show Storyboard
People seated, Guru asks for complete surrender
Churning of the amrit, reveal of the Khanda The Show Storyboard
13.1.5 The Birth of the Khalsa Episode
The key element in this visual is the churning of the ‘amrit’ with the double edged
sword and the Khalsa symbol. Flanking this are two principle images of the Guru
baptising the ‘beloved five’ and that of ‘Aape gur chela’.
Treatment Style
This visual will be created in stone using various relief work techniques. Inlay in
brass and steel will be created to highlight details in the composition. The two key
visuals of the Khalsa symbol and the ‘amrit’ will be crafted in steel. This will
layered such as to encorporate dramatic lighting for the entire visual.
Post Khalsa (1700- 1708)
Guru Gobind Singh left Anandpur and was separated from his family and followers. In the battle of
Chamkaur, the elder Sahibzaadas laid down their lives for the cause of Sikhi. The younger
Sahibzaadas refused to accept Islam and embraced martyrdom instead.
The Guru wrote the Zafarnama to the Emperor, which changed his mind about Guru Gobind
Singh. The Guru wrote the Damdama Bir; which was later handed over to the Panth as the Eternal
Guru, at Nanded.
The events in this gallery include:
Battle of Nirmoh
The final siege of Anandpur and its evacuation, 1704
Battle of Chamkaur, Battle of Muktasar and Damdama Bir
Zafarnama, With Bahadur Shah Towards Deccan, At Nanded And Banda Bahadur
Transfer of Guruship
14.1.1 Battle of Nirmoh
The chief of Bilaspur perceived the concourse of armed Singhs at Anandpur as a threat to the
integrity of his dominions. He asked Guru Gobind Singh to pay tribute, or to leave Anandpur. The
Guru replied that the chief would get his tribute ‘only on the point of the spear’. At that point, the
chief of Bilaspur consulted the chief of Hindur (Nalagarh) and, with the help of other chiefs,
decided to lay siege to Anandpur.
Sorties led by the Khalsa, armed with muskets, bows and arrows, spears, swords, and daggers
frustrated the strategies of the hill chiefs. They appealed to the Guru’s sense of honour, who agreed
to move to Nirmoh, a place between Kiratpur and Ropar. The Khalsa occupied the surrounding
villages.
In the meantime, the hill chiefs approached the Mughal suzerain. The faujdar of Sirhind joined the
hill forces with his cavalry and artillery and their combined forces attacked Nirmoh. After nearly a
day’s fight, the allies retreated for rest. Guru Gobind Singh left the place and the allied forces
pursued him to the bank of the Sutlej where another battle was fought.
Guru Gobind Singh crossed the river into the territory of the chief of Bisali. There too, the Khalsa
were attacked but only by the troops of Bilaspur. They suffered defeat and fled. The Khalsa then
invaded the villages of Bilaspur and its chief was unable to resist. Guru Gobind returned to
Anandpur.
14.1.2 The final siege of Anandpur and its evacuation, 1704
As before, the Khalsa began to visit Anandpur in increasing numbers. In a Hukumnama of 1704,
the Khalsa were asked to come with foot soldiers, horsemen and musketeers; neighbouring villages
were soon subjugated. As a result, the hill chiefs asked the Guru to leave Anandpur. When the Guru
refused to do so, the chiefs besieged Anandpur.
The fortresses of Anandpur were equipped with cannon, against which the hill chiefs were helpless.
To overcome this tactical advantage, the chiefs approached the Mughal authorities and the forces of
the Mughal faujdars were mobilized.
But the Khalsa were still well-fortified and well prepared to repel these attacks. Unable, or
unwilling, to storm the fortresses, the allies resolved to stop all supplies from outside.
Food became scarce.
Gallery 14 - Guru Gobind Singh: Post Khalsa
The Khalsa had to attack the chiefs and faujdars to get hold of supplies. As the siege prolonged, the
Khalsa were forced to raid even for water. The residents of the town were thirsty and starving.
There was a general consensus in favour of evacuation, particularly in view of the safety promised on
oath by the Mughal authorities. The Zafarnama refers to oath on the Quran taken by the officials of
Aurangzeb on his behalf, promising safe evacuation and a personal meeting with the Emperor after
Guru Gobind Singh reached Kangar in the country of the Brars.
Guru Gobind Singh was not in favor of evacuation. He asked the Khalsa to take the responsibility
for its consequences. After a written undertaking from the Khalsa, the treasury was disbursed among
them and they armed themselves with five weapons to meet any eventuality. All the property and
goods left behind were seized by Wazir Khan, the faujdar of Sirhind. The Guru, his family and
followers left Anandpur on 5th December, 1704.
14.1.3 Battle of Chamkaur, Battle of Muktasar and Damdama Bir
Despite the sworn promise of safe evacuation on oath, the allied forces pursued Guru Gobind Singh
after he had passed Kiratpur. Bhai Udai Singh and his supporters offered to stand against them on
the bank of the stream called Sirsa. They fought bravely for several hours and died fighting.
Meanwhile, Guru Gobind Singh reached Chamkaur and occupied the fortified haveli of its
zamindar. The allied forces besieged Chamkaur. One by one, the Khalsa emerged from the haveli-
to do battle and ultimately to perish.
The eldest Sahibzada, Ajit Singh, asked Guru Gobind Singh to allow him to taste ‘the cup of love’.
Ajit Singh rode out fully armed, using the bow, the spear, and the sword, before falling in combat.
Ajit’s example was soon followed by his younger brother, Jhujar Singh.
And on a moonlit night, Chamkaur was finally completely surrounded by the hostile forces. But
Guru Gobind Singh succeeded in leaving the fortress unseen. The Guru’s agony at this point of
time can be gauged from his composition, a khyal (Dasam Granth 2.688.1):
“Convey to the Friend the state of this disciple
Without you the luxury of warm covers is an affliction like residing in the lair of snakes
The surahi is a sharp thorn, and the cup a dagger; the separation from you is to suffer knife of
the butcher
The worn out dress of the Friend; the life of luxury with the Kheras is like an oven.”
With the help of the Khalsa of Machhiwara and other well-wishers in the area, Guru Gobind was
able to travel through different villages to reach Kangar.
Meanwhile, Wazir Khan, the faujdar of Sirhind had executed the younger Sahibzaadas, Zorawar
Singh and Fateh Singh, for refusing to accept Islam. The Fauzdar was in active pursuit of the Guru.
In the distrtict of Ferozepur the Guru once again rallied his men. Wazir Khan, the Faujdar of
Sirhind heard of the renewed activities of Guru Gobind Singh and keeping track of the Guru’s
movements overtook the rearguard of the Guru and intercepted him at Khidrana.
Here the 40 Singhs of Majha who had disowned the Guru and left the encampment during the siege
of Anandpur, came back. These 40 disciples led by the legendary Mai Bhago laid down their lives for
their Guru. Their sacrifice allowed the battle to be won. The place of the battle was henceforth
called Muktasar and the martyrs are known as the 40 Muktas (liberated ones).
This was the last Mughal campaign against Guru Gobind Singh.
After the battle of Khidrana, Guru Gobind Singh settled at Talwandi Sabo, now known as Damdama
Sahib. Here, the Guru stayed for nine months and made this place a seat of great learning.
Guru Gobind Singh obtained several recensions of Granth Sahib prepared at Anandpur, which
included the bani of Guru Teg Bahadur. Presumably all of them were lost after evacuation.
There was the need now of an authenticated recension and Guru Gobind Singh prepared one at
Talwandi Sabo. It came to be known as Damdami Bir.
The Adi Granth achieved its final form here. This work of re-editing involved the completion of
Nitnem by the addition of four hymns under So-Purakh and expunging certain unauthorized pieces
that had crept in towards the end of the text.
Talwandi Sabo became an important centre of learning because of Guru Gobind Singh’s association
with it. A number of Sikhs also received baptism from the Guru at this place.
14.1.4 Zafarnama, With Bahadur Shah T

With owar
Towards Deccan, at Nanded and Banda
owards
Bahadur
At Kangar, Guru Gobind Singh had composed a letter for Aurangzeb, presenting his view of the
situation. According to the author of the Gursobha, it was ‘taken to Aurangzeb by Bhai Daya Singh,
accompanied by five Singhs’.
A farman of Aurangzeb in the Ahkam-i Alamgiri refers to the petition received through the Vakil of
Guru Gobind Singh for personal audience. The Emperor’s farman does say that this favour had
been granted.
In fact, a mace-bearer and mansabdar (Shaikh Muhammad Yar) were sent to escort the Guru to the
Deccan, along with another reliable official identified by Munim Khan, the Deputy Governor of the
province of Lahore.
It refers to the promise of safe evacuation given and broken by Aurangzeb’s officials. It justifies the
armed resistance of Guru Gobind Singh to the unjust attack of the hill chiefs and the Mughal
faujdars. It tells Aurangzeb that he had supported the wrong party. And yet, if a farman came from
the Emperor, the Guru would meet him personally to resolve all issues.
The letter in the Gursobha covers all the essential points made in the extant Zafarnama which Guru
Gobind Singh is said to have addressed to Aurangzeb.
A hukamnama of Guru Gobind Singh, dated 21 October 1706, refers to his march towards the
Deccan. The Guru refused to accept an escort, and so traveled on his own. The Khalsa were invited
to join him, and also to provide bullocks and behlas.
Four or five months later, Guru Gobind Singh was in Rajasthan where he heard the news of
Aurangzeb’s death in February 1708. There was now no point in pursuing the journey. Therefore,
the Guru decided to go towards Delhi. From there he marched towards Agra and met Bahadur
Shah, going fully armed into his presence.
A report dated 4 August 1707 says that the Guru offered 100 ashrafis and received a robe of honour
and a medallion set with precious stones.
On 2 October 1707, Guru Gobind Singh wrote to the Khalsa of Dhaul and Khara (both in the
Punjab) that he had received a saropa and a dhukhdhukhi worth 60,000 rupees from the Emperor,
that other matters also were going well, and that he would return to Kahlur (Anandpur)
before long.
Bahadur Shah was not yet free from his troubles. There was a revolt in Rajasthan that demanded his
urgent attention. Bahadur Shah persuaded Guru Gobind Singh to travel with him. For several
months the Guru moved with the camp of Bahadur Shah, expecting an early decision with regard to
Anandpur.
Bahadur Shah did not wish to disturb the peace in the Punjab hills and went on postponing the most
difficult decision. He had yet to deal with his brother, Kam Bakhsh, who had proclaimed himself
King in the Deccan.
After pacifying Rajasthan, Bahadur Shah marched towards the Deccan. By now, Guru Gobind Singh
was rather reluctant by now to accompany Bahadur Shah. At Nanded, the Guru decided to leave the
imperial camp and this proved to be the parting of ways.
At Nanded, Guru Gobind Singh persuaded the ascetic Madho Das to discard renunciation and
pursue an active life as a follower of the Guru. Madho Das accepted the commission and came to be
known as Banda Bahadur.
Accompanied by five of the Khalsa, and with hukamnamas of the Guru for the Khalsa of the Punjab
in their possession, Banda Bahadur secretly marched towards the North in September 1708.
14.1.5 T
Trransfer of Guruship
By the end of September, Guru Gobind Singh was attacked and wounded by Jamshed Khan, an
Afghan connected in some way with the camp of Bahadur Shah. The Afghan was killed at the spot.
His son was given a robe of condolence by the imperial court.
The wound healed outwardly. But on 6 October 1708, a day before his demise, Guru Gobind Singh
announced his departure from this world. The Khalsa were anxious to know who would take his
place.
The Guru declared that the Khalsa represented his form and his office henceforth was vested in the
Khalsa. At the same time, Guruship was eternally embodied in shabad and bani, the true source of
liberation.
Personal Guruship thus came to an end. It was vested in the collective body of the Khalsa and the
Shabad-Bani embodied in the Granth Sahib. The last decision of Guru Gobind Singh’s life became
of the basis of the most important doctrine of the Khalsa: the twin doctrine of Guru Granth and
Guru Panth.
14.1 Guru Gobind Singh: Post Khalsa To acquaint the visitor with Emphasis on the wars and This section will narrate the story from the siege at Anandpur to
the episodes after the birth other associated activities the point where he appoints the Granth as the eternal Guru. A
of the Khalsa: after the founding of the river created on the floor, running through the gallery, will
Khalsa; of consequence symbolize the journey of the Guru after leaving Anandpur while
· Martyrdom of his four with the Mughal Emperor. also representing the river he crossed when leaving the fort.
sons, in and after the
Battle of Chamkaur. Exemplify through his An installation over the triangular void in the gallery will narrate
episodes the teachings of the battles that the Guru fought and the personal loss he faced.
· The Hukumnamas. Sikh principles. He not The installation will be representative of the hardships and
· His travels to the Deccan only taught the principles tragedies Guru Gobind Singh faced and how in adversity, his
to meet the Emperor. of the faith, but also felt beliefs and faith never wavered.
the pain of sacrifice in
To recognize the events of upholding those beliefs.
the Guru at Nanded.
Underscore the importance
To show the establishment of of Nanded in the history
the Granth Sahib as the of Sikhism.
Eternal Guru
Establish the Guru Granth
To introduce Banda Bahadur. Sahib as the Eternal Guru;
which will be elaborated
upon in the next gallery.
14.1.1 Battle of Nirmoh Wall graphics and illustrations will depict the siege at
Anandpur, with a map on the floor showing the Mughal
forces surrounding the fort. The audio narrative will tell the
story of the siege and the Mughal army’s promise of safe
passage for the Sikhs, a promise they did not keep.
14. 1.2 The final siege of Anandpur and The map on the floor will show the river near Anandpur-
its evacuation, 1704 created with backlit graphics- through which the Guru
eventually evacuated the fort. A series of panels on this
‘river’ will depict him crossing the river, an incident in
which he lost the documents and was separated from his
family. The audio narrative will contextualize the visual.
14.1.3 Battle of Chamkaur, Battle of The ‘river’ will continue into the next gallery, leading the visitor
Muktasar and Damdama Bir towards the installation depicting the events following his
evacuation from Anandpur. The installation will be a series of
curved metal sheets rising up towards the skylight, changing
form from a rectangular piece to that of a falcon. The transition
in form will symbolise the Guru’s unwavering faith and sacrifices
he made in upholding the faith.
The audio narrative will tell the story of the Guru losing his
two elder sons and having to retreat across the river. The metal
sheets will have images in a series of panels (like a comic
book/ patachitra frames) depicting the battles scenes and the
loss of his sons.
Another panel will depict the Guru listening to the tragic loss of
his younger sons and mother at Sirhind.
The panel on battle of Muktasar will also portray the story of
the Chali Muktas. The audio narrative will tell the incident
where forty of the Guru’s followers who had deserted him
earlier, returned to fight for him, eventually sacrificing their lives
to save his honour.
The third metal sheet in the installation will portray the Guru
writing the Damdama Bir. The audio will communicate the story
of the writing of the Damdama Bir.
14.1.4 Zafarnama, With Bahadur Shah On the same wall along with the Zafarnama, the later travels of
towards Deccan, At Nanded and Banda the Guru towards the Deccan along with Emperor Bahadur Shah
Bahadur will be illustrated, highlighting the change in attitude of the new
king towards the faith. The audio narrative will contextualize the
visual.
The wall on the right beside the installation will portray the
transfer of the Guruship from Guru Gobind Singh to the Granth
14.1.5 Transfer of Guruship Sahib. A projection screen framed within an image of the Nishan
of the Guru will show the Granth being carried ceremoniously
to the Harmandar signifying the new and equal roles of the
granth and the panth in the faith. The audio narrative will
contextualize the visual and the film.
14.2.1 Battle of Chamkaur

14.2.2 Battle of Muktsar
14.2.3 Damdama Bir
14.1.1 Battle of Nirmoh &

Seige of Anandpur
14.2.4 Zafarnama
14.2.5 Towards the Deccan
14.2.6 Transfer of Guruship
Layout Plan
Spatial View
Spatial View
14.1.1 Battle of Nirmoh & Seige of Anandpur
Floor graphics will depict the Anandpur fort

surrounded by the Mughal Army. An installation
on the floor next to the fort represents the river
Sirsa that the Guru crossed when evacuating
Anandpur. Floor Treatment
The floor graphics merge onto a layered image on the curved wall, which depicts
the Anandpur fort and the surrounding area during the siege. On one side of the
wall, cuts representing the Chali Mukta will have an audio trigger describing the
incident where they leave the Guru’s side. 14.1.1 Siege of Anandpur &
Chali Muktas
Visual Narrative
Visual Narrative
Across the installation representing river Sirsa,

translucent panels will have visuals showing the Guru
crossing the river when leaving Anandpur. The images
will portray the crossing during which the documents
were lost and the Guru was separated from his family.
Installation
14.2.1, 14.2.2 & 14.2.3

The installation depicting the battles and
tragedies the Guru faced after leaving
Anandpur will be created over the void in the
gallery. The lower panels will have images of the
battles of Chamkaur and Muktsar.
Treatment Style
Visual Narrative
14.2.5 Zafarnama
Visual Narrative
The Nishaan of Guru Gobind Singh framed within the
images of the Granth & Panth will represent the transfer
of Guruship to the Granth. The style will be derived
from the Dasam Granth written by the Guru.
14.2.6 Transfer of Guruship Visual Narrative
History Wall 1: 1450 - 1606
Wall
The History Wall runs concurrently with the main exhibits. It establishes a sense of place and time
for the visitors to orient themselves. The History Wall is a structured, layered narrative which covers
events across Punjab, India and the rest of the world.
Iconic events, personalities and stories are illustrated to provide a richer background to the main
exhibit story. The timeline utilizes architectural elements like windows, ledges and wall expanses to
create rich tapestries of time. There will be a judicious balance of illustrations, models and replicas,
accompanied by pithy textual descriptions in three languages (English, Gurmukhi and Hindi).
The use of both 2-dimensional (like: maps, miniature paintings), and 3-dimensional elements
(like: architectural models, replicas of important inventions) will create layers of information that
will invite users to come closer and explore the intertwining stories in greater detail. Selected
elements from the main exhibit are repeated in the history wall as visual cues for connectivity.
1450–1526 ( Petal -1)
Petal
Punjab (Political)
(Political)
1501 AD: Daulat Khan Lodhi becomes the governor of Lahore

1519 AD: Babur occupies Bhera
1520 AD: Babur crosses the Chenab, occupies Sialkot and sacks Saidpur
1523 AD: Dilawar Khan, son of Daulat Khan, goes to Kabul to induce Babur to invade India.
1525 AD: Babur occupies Lahore and Punjab
Punjab (Social / Cultural)

Cultural)
No relevant data
India (Political)
(Political)
1451 AD: Bahlul Khan Lodhi, accedes to the throne of the Delhi Sultanate
1489 AD: Sikandar Lodhi succeeds Bahlul Lodhi to the throne
1517-1526 AD: Ibrahim Lodhi, last ruler of the Lodhi dynasty
1526 AD: After the first battle of Panipat, Babur establishes the Mughal Empire
1433-1468 AD: Rana Kumbha reigns in Mewar
1509-1527 AD: Rana Sanga succeeds Rana Kumbha
1505-40 AD: Vijaynagar Dynasty spreads to the entire Deccan India. Hampi grows as a capital
India (Social / Cultural)

Cultural)
1479-1531 AD:Vallabhacharya was an exponent of the Krishna cult

1486-1534 AD: Chaitanya Mahaprabhu was an ascetic Vaishnava monk in 16th century Bengal
1498-1546 AD: Mira Bai was a mystical Hindu poetess and a disciple of Ravidas
1499-1569 AD: Shankradeva popularizes the worship of Krishna in Assam
15th:16th C: Tombs of Lodhi Sultans, Muhammed Shah and Sikander Lodhi, are built in the
present day Lodhi Gardens, in Delhi
1448 AD: Vijay Stambh marks the victory of Rana Kumbha over the Sultan of Malwa
1498 AD: Vasco da Gama rounds the Cape of Good Hope and reaches India
1501 AD: Nilakantha Somayaji improves Madhava’s theories on infinite series in his astronomy text
Tantrasamgraha
1504-1525 AD: Babur builds the Bagh-e-Babur in Kabul which contains his tomb today.
1526 AD: Babur receives the invaluable Kohinoor diamond from the family of the Raja of Gwalior.
World (Asia)
1474 AD: Gyalwa Gendun Drubpa, the first Dalai Lama of Tibet, dies
1501 AD: Ismail I establishes the Safavid dynasty in Persia
1520 AD: The reign of Suleiman I, the Magnificent, begins in the Ottoman Empire in Turkey.
World (Europe and America)
1453 AD: The Byzantine Empire’s capital of Constantinople is captured by the Ottoman Empire
1485 AD: Henry VII becomes the first Tudor King of England
1517 AD: Martin Luther begins the Reformation in Germany with his 95 Theses
World (Social / Cultural)

Cultural)
1430 AD: The Renaissance begins in Europe encompassing a revival of learning based on classical
sources and educational reform
1448 AD: Gutenberg sets up a printing press in Mainz
1455-56 AD: The first Bible is printed in Europe by Gutenberg
1472 AD: Dante’s epic poem, The Divine Comedy, is printed
1473-1481AD: Sistine Chapel is built in the Vatican City, in Rome, Italy
1474 AD: First book is printed in English
c.1485 AD: Sandro Botticelli paints ‘The Birth of Venus’ in Florence (?)
1482 AD: Leonardo Da Vinci publishes detail sketches of the human body in Milan, Italy
1492 AD: Martin Behaim constructs the oldest known terrestrial globe,The Erdapfel (‘Earth
Apple’), in Germany
1492 AD: Christopher Columbus begins his first voyage and reaches what is now known as The
Bahamas.
1498 AD: Leonardo da Vinci completes ‘The Last Supper’ in Milan, Italy
1499 AD: Michelangelo Buonarroti sculpts the ‘Pieta’ in Rome, Italy
1500 AD: First portable watch is made by Peter Henlein of Germany
1503 AD: Leonardo da Vinci begins painting ‘Mona Lisa’
1504 AD: Michelangelo sculpts the ‘David’ in Florence, Italy
1506 AD: Construction of St. Peter’s Church starts in Rome
1509 AD: The wheel lock is invented
1516 AD: Sir Thomas More writes ‘Utopia’
1519-22 AD: Ferdinand Magellan goes around the world for the first time.
1525AD: William Tyndale’s English translation of the New Testament is published.
Petal 2 (1527-39)
Punjab (Political)
(Political)
1530 AD: Babur’s son, Kamran Mirza, occupies Lahore and its territories.

Cultural)
No relevant data
India (Political)
(Political)
1527 AD: Babur defeats Rana Sangha in the Battle of Khanau.

1530 AD: Babur dies in Agra, succeeded by his son Humayun

Cultural)
1530 AD: Babur completes his Baburnama

1527 AD: Jyesthadeva writes the first text on calculas, the Yuktibhasa
1532-1623 AD: Tulsidas, an Awadhi poet, popularizes the story of Rama through his epic poem
Ramacharitmanas
World (Asia)
1529 AD: The Turkish armies under Sultan Suleiman I capture the city of Vienna, Austria
1534 AD: The Ottomans capture Baghdad
1527 AD: Sack of Rome is regarded as the end of the Italian Renaissance
1531-32 AD: The Church of England breaks away from the Roman Catholic Church under King
Henry VIII

Cultural)
1534 AD: Martin Luther’s German translation of the Old Testament is published.
1536 AD: A newspaper is printed, The Gazetta, in Venice
1536-1541 AD: Michelangelo paints ‘The Last Judgement’ on the altar wall of the Sistine Chapel in
the Vatican City.
Petal 3 (1540-1574)
Punjab (Political)
(Political)
1540 AD: Humayun comes to Lahore pursued by Sher Khan Sur.

1555-56 AD: Abul Maâli is Humayun’s governor at Lahore.
1555 AD: Humayun conquers Lahore
1556 AD: Akbar is coronated at Kalanaur
1556-60 AD: Husain Khan is the governor at Lahore
1560-61 AD: Shamsuddin Muhammad Khan Atka is the governor at Lahore
1568-75 AD: Husain Quli Khan Mahram is the governor at Lahore

Cultural)
1540-50 AD: Sher Shah begins work on the Rohtas fort

1571 AD: Akbar pays homage to Shaikh Farid’s mausoleum at Pak Pattan
India (Political)
(Political)
1540-45 AD: Sher Khan assumes the title of Sher Shah as the ruler of North India.
1545 AD: Islam Shah Suri succeeds Sher Shah.
1555 AD: Humayun regains control of Delhi
1556 AD: Humayun dies, is succeeded by his son Akbar.
1556-1605 AD: Akbar expands the Mughal Empire
1556 AD: Akbar defeats the army of Adil Shah Suri, the last Suri Sultan, led by the military chief
Hemu, in the Second battle of Panipat.
1562 AD: Emperor Akbar marries Jodhabai, mother of Jahangir.
1565 AD: The Battle of Talikota fought between the Vijayanagara kings and the Bahami sultans
marks the end of the Vijayanagara Empire.

Cultural)
1539-40 AD: Sher Shah builds a fort in Delhi, now called the Purana Quila.
1565 AD: Akbar starts building the Fort at Agra.
1562 AD: Tansen, India’s foremost musician comes to Akbar’s court
1564-73 AD: The tomb of Humayun is constructed by Haji Begum, his senior widow
1571 AD: Akbar starts building Fatehpur Sikri
1479-1588 AD: Surdas popularizes the cult of Krishna through his poetry.
World (Asia)
1550 AD: Mongols led by Altan Khan invade China and besiege Beijing
1560 AD: Ottoman navy defeats the Spanish fleet in the Battle of Djerba
1566-1648 AD: Eighty Years’ War of Netherlands independence from Spain leading to the
formation of the Dutch Republic.
1570 AD: Ivan the Terrible orders massacre of the inhabitants of Novgorod, in Russia.

Cultural)
1540 AD: First pistols are made in Etruria, Italy

1542 AD: Francis Xavier, a Spanish Jesuit, reaches Goa.
1543 AD: Nicolas Copernicus’ book De revolutionibus which places the sun at the center of our
universe is printed in Nuremberg, Germany.
1543 AD: Vesalius publishes his De Humani Corporis Fabrica (On the Structure of the Human
Body)
1555 AD: The Muscovy Company, the first major English joint stock trading company is established.
1556 AD: An Earthquake causes great destruction in Shaanxi, China.
1558 AD: Camera obscura is first used in Europe
1558-1603 AD: The Elizabethan Era is celebrated for its achievements.
1563 AD: Plague breaks out in England
1565 AD: Graphite pencil is invented by Conrad Gesner
1572 AD: Supernova SN 1572, a supernova or a stellar explosion, is observed by Tycho Brahe in the
Milky Way
Petal 4 (1574-1581)
Punjab (Political)
(Political)
1578-85 AD: Said Khan is the governor of Punjab

Cultural)
Akbar celebrates the New Year at the Hall of Public Audience, Lahore
1580 AD: Hakim, Akbar’s half brother besieges Lahore but has to abandon the siege.
India (Political)
(Political)
No relevant data

Cultural)
1581 AD: Akbar stimulates the Din-i-Ilahi or ‘Religion of God’ as an eclectic faith.
Abul Fazl writes Akbarnâma
World (Asia)
1575 AD: Oda Nobunaga captures Nagashima fortress in Owari Province along Japan’s Pacific coast.
1571 AD: British navy defeats the Spanish Armada sent by Philip II to invade England.
1576 AD: Due to delay in payments during the Eighty Years War, the Spanish soldiers sack Antwerp
in order to pay themselves.
1580 AD: Spain unifies with Portugal under Philip II of Spain

Cultural)
1576 AD: Titian paints ‘The Pieta’

1577-80 AD: Francis Drake, an English navigator, circles the world
Petal 5 (1581-1606)
Punjab (Political)
(Political)
1585-98 AD: Lahore becomes the Imperial Headquarters of the Mughals
1599-1600 AD: Khwaja Shamsuddin is the governor of Punjab
1600-01 AD: Zain Khan is the governor of Punjab
1601-05 AD: Qulij Khan is the governor of Punjab
1605-10 AD: Said Khan is the governor of Punjab
1589 AD: Raja Bhagwan Das and Raja Todar Mal die in Lahore
Cultural)
1581-1583 AD: Akbar builds the Attock Fort
Four Europeans visit Lahore: Newburry, Fitch, Storey and Leeds
A Christian mission comes to Lahore
Akbar issues orders against the practise of sati
1594-1601 AD: Poet Faizi dies in Lahore
Raja Man Singh builds an edifice at what is now called the Panja Sahib
Sanskrit works are translated into Persian during Akbar’s stay at Lahore
Shah Husain, writes his kafis in Punjabi settles at Lahore
Damodar Gulati writes the ‘Kissa’ of Heer and Ranjha in Punjabi
Trade routes found during this period:
1. Between Lahore and Qandahar
2. Between Lahore and Kabul
3. Between Lahore and Fatehpur Sikri
4. Between Lahore and Delhi and Agra
5. Between Lahore and Srinagar
6. River and road traffic between Lahore and Multan
1594-1596 AD: Large boats are constructed at Lahore
New crops, vine from Kabul and muskmelon from Persia, are cultivated in Punjab
New town of Gujrat is founded on the orders of Akbar
The town of Emnabad (Aminabad) is founded by the Mughal noble Mohammad
Amin Khan
India (Political)
(Political)
1605 AD: Akbar dies, succeeded by his son Jahangir
Cultural)
1600 AD: Putumana Somayaji writes the Paddhati, a discussion of trigonometric series
World (Asia)
1603 AD: Tokugawa Ieyasu seizes Japan and establishes the Tokugawa Shogunate
1603-23 AD: Abbas I expands the Safavid Empire
1585-1604 AD- The Anglo-Spanish War
1588 AD: England repulses the Spanish Armada
1589 AD: Spain repulses the English Armada
Cultural)
1582 AD: The Gregorian calendar is issued by Pope Gregory XIII
1583 AD: Galileo Galilei of Pisa in Italy identifies the constant swing of a pendulum
1588 AD: Christopher Marlowe writes Dr. Faustus
1593 AD: Galileo Galilei invents a thermometer
1590 AD: Edmund Spenser writes The Faerie Queene
1596 AD: William Shakespeare writes A Midsummer’s Night Dream
1597 AD: William Shakespeare’s Romeo and Juliet is published
1603-1606 AD: Shakespeare writes Macbeth
1600 AD: End of the European Renaissance and beginning of the Baroque period
1600 AD: The harp is added to European orchestras
1600 AD: East India Company is formed in England
1602 AD: Dutch East India Company is formed
1604 AD: Johannes Kepler’s work Astronomiae Pars Optica (The Optical Part of Astronomy) is
published.
History Wall 2: 1607 - 1708
Wall
The History Wall runs concurrently with the main exhibits. It establishes a sense of place and time
for the visitors to orient themselves. The History Wall is a structured, layered narrative which covers
events across Punjab, India and the rest of the world.
Iconic events, personalities and stories are illustrated to provide a richer background to the main
exhibit story. The timeline utilizes architectural elements like windows, ledges and wall expanses to
create rich tapestries of time. There will be a judicious balance of illustrations, models and replicas,
accompanied by pithy textual descriptions in three languages (English, Gurmukhi and Hindi).
The use of both 2-dimensional (like: maps, miniature paintings), and 3-dimensional elements
(like: architectural models, replicas of important inventions) will create layers of information that
will invite users to come closer and explore the intertwining stories in greater detail. Selected
elements from the main exhibit are repeated in the history wall as visual cues for connectivity.
1607-1664 (Crescent 1)
(Crescent
Punjab (Political)
(Political)
1607 AD: Shaikh Ibrahim Baba, of Lahore, is imprisoned by Jahangir

1620 AD: Jahangir celebrates the fall of the Kangra fort
1622 AD: Jahangir visits Kangra and a mosque is built within the fort: Qutba is read in his name.
1627 AD: Jahangir is buried at Shahdara, near Lahore
1628 AD: Shahryar is blinded on the orders of Dawar Bakhsh, eldest son of Jahangir
1633 AD: Shah Jahan visits Lahore on his way to Kashmir
1638 AD: Shah Jahan visits Lahore on his way to Kabul
1641 AD: Asaf Khan is buried near the mausoleum of Jahangir at Shahdara
1645 AD: Nur Jahan dies and is buried near the mausoleum of Jahangir
1658 AD: Dara Shukoh reaches Lahore and prepares to stand against Aurangzeb
Cultural)
1606 AD: Hunts are arranged for Jahangir for 3 months and 576 animals are killed
1607AD: Jahangir builds the town of Jahangirabad (Sheikhupura)
1615-16 AD: Bubonic plague spreads from Lahore to Sirhind and Delhi
1619 AD: Itmad-ud-Daula invites Jahangir to his place for celebrating the New Year Day
1619 AD: Hazrat Mian Mir, the Sufi of Lahore, is invited by Jahangir to Agra
1619-1621 AD: The town of Nurmahal is founded
1627-1657 AD: Town of Phillaur is revived by Shah Jahan
1645 AD: Wazirabad town is founded by Wazir Khan, a noble of Shah Jahan
1642 AD: Punjab is hit by Famine and scarcity; 30,000 people in distress
1651 AD: Due to scarcity, revenues are reduced
1658 AD: Due to scarcity of food; public kitchens are established for the hungry
India (Political)
(Political)
1606 AD: Jahangir succeeds Akbar

1606 AD: Prince Khusrau’s revolt is crushed
1608 AD: Ships from the British East India Company dock in Surat, Gujarat
1608-1610 AD: The British Company builds the first factory in the town of Machilipatnam on the
Coromandel Coast
1609 AD: The Dutch open a factory at Pulicat, Tamil Nadu
1611 AD: Jahangir marries Nur Mahal (Jahan)
1612 AD: The naval Battle of Suvali, in Gujarat, fought between the British East India Company and
the Portuguese marks the end of Portugal’s commercial monopoly over India
1615-18 AD: Sir Thomas Roe comes to Jahangir’s court as an envoy of King James of England.
1619 AD: First English factory is built in Surat, Gujarat
1619 AD: Shaikh Ahmad Sirhindi, of the Naqshbandi Sufi order, is imprisoned by Jahangir
1623 AD: Madurai reaches its maximum glory under Thirumala Nayakan
1627 AD: Jahangir erects ‘Chain of Justice’ outside his palace
1627 AD: Jahangir dies, Shah Jahan succeeds to the throne
1627 AD: Shivaji is born in Shivneri Fort, Junnar, Maharashtra
1636 AD: Nizam Shahi dynasty of Ahmadnagar is annexed by Shah Jahan
1636 AD: Aurangzeb is appointed as the Viceroy of Deccan
1639 AD: The British build Fort St.George and Madras becomes a colonial city
1653 AD: Shah Jahan loses Kandahar to the Persians
1655 AD: Shah Jahan wages second war with the Deccan Princes
1657 AD: Royal Charter is bestowed on British East India Company
1658 AD: Shah Jahan falls ill

Cultural)
Jahangir’s interest leads to the advancement of Mughal miniature painting

1605 AD: Jahangir commissions a Persian translation of the Sanskrit epic the Mahabharata, the
Razmnama
c1608-c1650 AD: Sant Tukaram was a Marathi poet of the Warakari sect, a devotee of Vitthal
(Krishna) who popularized Marathi Bhakti poetry in Maharasthra.
1608-1681 AD: Samarth Ramdas was a Hindu Saint and a spiritual guru of Shivaji
1613 AD: Jahangir orders destruction of the temples in Pushkar near Ajmer
1631 AD: Shah Jahan starts building the Taj Mahal
1639 AD: Shah Jahan builds the Red Fort (Lal Quila) in Delhi
1648 AD: Shah Jahan builds Shahjahanabad as his new capital, now known as Old Delhi
1648 AD: Alaol, a poet of medieval Bengali literature, writes his most well known work Padmavati.
1642 AD: Shah Jahan builds the Shalimar Gardens in Lahore
1645 AD: Shah Jahan builds the Moti Masjid (Pearl Mosque) inside the Agra Fort
1656 AD: Jama Masjid is commissioned by Shah Jahan to be built in Delhi.
Shah Jahan also had the Peacock Throne (Takht-e-Taus) built
Shah Jahan builds a mosque in the Dargah premises of Khwaja Moinuddin Chishti in Ajmer.
Lahore, Delhi, Agra and Ahmedabad emerge as large centers of commerce and trade
1658 AD: Francois Bernier, the French traveler, arrives in Surat, Gujarat
1659 AD: Gol Gumbaz is built as the mausoleum of Muhammad Adil Shah II of Bijapur dynasty at
Bijapur.
1659-60 AD: The Moti Mazjid (Pearl Mosque) is built by Auranzeb in the Red Fort, Delhi
1660 AD onwards: Pahari miniature painting develops in Basoli
1660 AD onwards: Miniature painting develops in Rajasthan
1661 AD: Aurangzeb orders the demolition of temples in Mathura and Varanasi and constructs the
Katra Masjid in Mathura.
1664 AD: Dara Shukoh, Shah Jahan’s son, writes the Majma-ul-Bahrain (The Mingling of Two
Oceans
Jean-Baptiste Tavernier, the French traveler, travels in India during the reign of Shah
Jahan and Aurangzeb
Joannes de Laet, a Flemish geographer and director of the Dutch East India Company visits
Shah Jahan’s court
World (Asia)
1644 AD: The Manchu conquer China ending the Ming Dynasty
1620 AD: The Puritan Pilgrims arrive in the Mayflower at Plymouth Rock, Cape Cod in America.
1624-42 AD: Cardinal Richelieu centralizes power in France as the Chief Minister
1639-51 AD: Wars of the Three Kingdoms takes place in Scotland, Ireland and England
1641 AD: The Irish Rebellion
1642-49 AD: Civil War in England; Charles I is beheaded by Cromwell
1643 AD: Louis IV ascends to the throne in France
1648 AD: The Peace of Westphalia ends the Thirty and the Eighty Year’s War which involved most of
the major European powers.
1649-1653 AD: Cromwell conquers Ireland
1660 AD: Monarchy is restored in place of the Commonwealth in England.

Cultural)
1606-1669 AD: Rembrandt van Rijn flourished as a Dutch painter and etcher
1607 AD: Jamestown, Virginia, is settled as what would become the first permanent English colony
in North America
1609 AD: Johannes Kepler publishes laws explaining the elliptical planetary orbits
1622-73 AD: Molière was a French playwright and actor who flourished in France as one of the
greatest masters of comedy
1626 AD: St Peter’s Basilica in the Vatican is completed
1632 AD: Galileo writes his Dialogo in support of Copernicus
1636 AD: Harvard University is founded
1637 AD: René Descartes’ Discourse on Method is published as the basis of the Cartesian philosophy
1645 AD: The first coffeehouses in Western Europe appear in Venice
1660 AD: The first proper European banknotes are issued
1660 AD: The importation of tea begins in Britain
1664-1710: Construction of the Palace of Versailles during the reign of Louis IV in France
1665 AD: Isaac Newton develops his version of infinitesimal calculus
1665-1688 (Crescent 2)
(Crescent
Punjab (Political)
(Political)
1667 AD: Muhammad Amin Khan is the governor of Punjab

1668 AD: Danishmand Khan is the governor of Punjab
1672 AD: Fidai Khan is the governor of Punjab
1675 AD: Amanat Khan/Mirak Muinuddin Ahmad is the governor of Punjab
1678 AD: Qawam-ud-Din Khan is the governor of Punjab
1680 AD: Prince Muhammad Azam is the governor of Punjab
1683 AD: Mukkaram Khan Mir Ishaq is the governor of Punjab
1686 AD: Sipahdar Khan is the governor of Punjab
1688 AD: Mahabat Khan Haidarabadi is the governor of Punjab
Cultural)
1673 AD: The Badshahi Mosque or the ‘Emperor’s Mosque’ is built by Aurangzeb in Lahore
1674 AD: Shah Daula, a Sufi Shaikh, dies in Gujarat.
New commercial crops like Cotton, indigo, sugar and tobacco are introduced
India (Political)
(Political)
1665 AD: Raja Jai Singh of Jaipur is made the viceroy of the Deccan provinces by Aurangzeb
1666 AD: Shah Jahan dies.
1668 AD: Bombay is leased to the East India Company
1670 AD: Shivaji plunders the town of Surat
1671 AD: The Mughal army is defeated by the Ahom Kingdom in the battle of Saraighat
1672 AD: The French settle in Pondicherry
1674 AD: Shivaji crowns himself Chhatrapati as a sovereign ruler
1678 AD: Raja Jaswant Singh Rathor dies. Aurangzeb annexes Marwar
1680 AD: Shivaji dies in Raigarh
1681 AD: Shambhaji, Shivaji’s son, crowns himself the Maratha king
1681 AD: Aurangzeb moves his capital from Shahjahanabad to the Deccan
1687 AD: The Mughal army annexes the city of Bijapur
1687 AD: The seat of Presidency is moved from Surat to Bombay by the English East India Company
1688 AD: Aurangzeb conquers the Deccan and annexes Golconda
Cultural)
1668 AD: Aurangzeb forbids court musicians, dancers and singers to perform in his presence
1670 AD: Bibi Ka Makbara is built in Aurangabad by Prince Azam Khan, son of the Mugal Emperor
Aurangzeb, in honour of his mother
1671 AD: The Toli Masjid is built by the royal architect of Abdullah Qutb Shah in Golconda
1674 AD: Shivaji renovates the Raigarh fort and makes it his capital
1678 AD: Aurangzeb orders destruction of temples and idols in Marwar
1679 AD: Aurangzeb re-imposes Jizya on all non-Muslims
1681 AD: Ranachhoda Bhatta completes the Raja-Prasasti as the genealogical history of Sisodias of
Mewar
1687AD: Aurangzeb completes the Mecca Masjid, located near the Charminar, in Hyderabad
World (Asia)
1672-1676 AD: The Polish-Ottoman War is fought between the Polish-Lithuanian Commonwealth
and the Ottoman Empire.
1676 AD: Russia and the Ottoman Empire commence the Russo-Turkish Wars
1683 AD: China conquers the Kingdom of Tungning and annexes Taiwan
1667-99 AD: The Great Turkish War between the Ottoman Empire and contemporary European
powers halts the Ottoman Empire’s expansion into Europe
1668 AD: Portugal becomes independent of Spain at the signing of the Peace Treaty of Lisbon
1672-78 AD: The Franco-Dutch War
1682 AD: Peter the Great becomes joint ruler of Russia.
1683 AD: The Battle of Vienna finishes the Ottoman Empire’s hegemony in south-eastern Europe
1685 AD: Edict of Fontainebleau outlaws Protestantism in France.
Charles II, King of England, dies.

Cultural)
1665 AD: The Great Plague of London kills 75,000 to 100,000 people in London
1665 AD: Philosophical Transactions of the Royal Society, the first peer reviewed scientific journal
is published
1666 AD: The Great Fire of London destroys 70,000 to 80,000 homes of the city’s inhabitants
1667 AD: John Milton publishes his epic poem Paradise Lost
1668 AD: John Dryden becomes first poet laureate of England.
1672 AD: In England, the first ice cream is served to King Charles II
1685-1750 AD: Johann Sebastian Bach was a prolific German composer and organist of the
Baroque period
1687 AD: Isaac Newton publishes Philosophiae Naturalis Principia Mathematica
1689-1699 (Crescent 3)
(Crescent
Punjab (Political)
(Political)
1689 AD: Prince Muhammad Azam is the governor of Punjab

1691 AD: Khan Jahan Bahadur is the governor of Punjab
1695 AD: Mukarram Khan is the governor of Punjab
1697 AD: Abu Nasar Khan is the governor of Punjab

Cultural)
1695 AD: The Shivratri fair is held at Achal

1695 AD: A large number of people come on pilgrimage to Jwalamukhi.
India (Political)
(Political)
1689 AD: Sambhaji and the rulers of Bijapur and Golconda are captured and executed by
Aurangzeb

Cultural)
The Fatawa-i-Alamgiri is completed through Aurangzeb’s orders as the text of Islamic law.
World (Asia)
1689 AD: The Treaty of Nerchinsk establishes a border between Russia and China
No relevant data

Cultural)
1690 AD: Antonius Stradivarius fashions his violins in Italy

1692 AD: Salem witch trials take place in Massachusetts to prosecute people accused of witchcraft
1693-1694 AD: Famine in France kills 2 million people
1699-1708 (Crescent 4)
(Crescent
Punjab (Political)
(Political)
1700 AD: Prince Muhammad Muazzam is the governor of Punjab
1705 AD: Zabardast Khan is the governor of Punjab
1706 AD: Prince Muhammad Muazzam is the governor of Punjab
1707 AD: Asad Khan is the governor of Punjab
Cultural)
A manual on revenue matters is written in Punjab as Khularat us-Siyaq
India (Political)
(Political)
1689-90 AD: The Mughal armies succeed in capturing the Maratha hill forts in the Konkan
1698 AD: The Jinji fortress falls to the Mughal assault
1698 AD: Aurangzeb declares holy war against the Marathas
1700 AD: The Marathas cross the Narmada river and invades Gujrat and Malwa provinces
1700 AD: Shivaji’s son, Rajaram, dies
1707 AD: Aurangzeb dies, is succeeded by his son Prince Muazzam under the title of Bahadur Shah
1707 AD: War in Maharashtra between Maharani Tarabai and Shahu splits the Maratha Empire into
two divisions
Cultural)
1669-1698 AD: Bhavabhatta, musician and musicologist, composes Anupa Sangita Ratnakara and
Anupa Sangita Vilasa in Sanskrit
1706 AD: Fort William is built in Calcutta
1707 AD: Aurangzeb abolishes the practice of Jharokha Darshan.
World (Asia)
No relevant data
1701-1714 AD: War of the Spanish Succession involved most of the European powers
1703 AD: Saint Petersburg is founded by Peter the Great in Russia
1707 AD: The Kingdom of Great Britain is formed through the Act of Union.
Cultural)
1700 AD: Japan’s Chikamatsu Monzaemon writes The Battle of Coxinga, the most popular of his
domestic tragedies.
1702 AD: The Daily Courant appears as the first daily newspaper in the English language
1704 AD: First edition of John Harris’ Lexicon Technicum, considered as the first encyclopedic
dictionary in English, is published in London.
Spatial View
Trilinguial Decades nos.
information cutout on the
Deep Insets for Architectural Offset with the Frame for (Gurmukhi, outer side of
Monuments and Locations Shallow Insets for Events Personalities Hindi, English) the glass
Treatment Style
Gallery Introduction Panels
Panels
Communication through a trigger based mechanism ensures that the visitor aspirations are met, in a
language and level of detail of their choice.
Nevertheless, the use of text based exhibit panels at the entrance of each gallery will be a crucial
aspect of communication. These introductory text based panels serve the following purposes:
· To serve a visual orientation of the gallery that the viewer is about to see; in addition to the
automated audio introduction.
· To give to the visitor the option of disconnecting from the audio narrative if one desires to do
so without losing the essence of the content in relation to the scene.
· To present a multi-sensory experience.
The introduction panels are located at the entrance of each gallery. The panels will be written in
Gurmukhi, Hindi and English languages respectively. They will contain the following pieces of
information; in that order:
. The name of the gallery
· Key exhibit of the gallery
· The period depicted in the gallery
· Textual introduction to the gallery
· Individual exhibit name
· The content lay-out of the gallery
· The visual lay-out of the gallery
· Trigger point location within the exhibit
Visitor Processing Study
Processing
The visitor processing study is an integral component of the process of museum design. It involves
meticulous calculation of the following:
· Estimate of the number of visitors to the museum
· The optimum number of visitors that each gallery can hold: Occupancy loads
· The time spent to pick up audio guides and in the foyer
· Time spent to listen to the audio track in front of each exhibit
· The automated introduction meant for transition between the galleries
· The optimum number of visitors who can simultaneously access the audio signal of an exhibit
Audio Narrative Duration
Gallery Name and Number Exhibit Name and Number Audio Duration
Gallery/Area: 1; Boat Building 480 secs (8 minutes)

Panj Paani
Gallery/Area: 2; Triangle 165 secs (2.75 minutes)

The Milieu of 15th Century Punjab Automated Introduction 45 secs
2.1.1 The Cluster of Houses 60 secs
2.1.2 The Grove
2.1.3 The Fort Palace 60 secs
2.1.4 The Sufi Dargah 60 secs
2.1.5 The Market
2.1.6 The River
Gallery/Area: 3; Drum Building 120 secs (2 minutes)

The Concept of One
3.1.1 Beginning of Sikhism 10 secs
3.1.2 Shower of Light- Ek Omkar 40 secs
3.1.3 Equality 40 secs
3.1.4 Social Commitment and Liberation 30 secs
Gallery/Area: 4; Petal 1 225 secs (3.75 minutes approx)

Life of Guru Nanak
Automated Introduction 45 secs
4.1 At Talwandi 60 secs
4.2 At Sultanpur 60 secs
4.3 The Experience of Illumination
4.4. Udasis1 60 secs
Gallery/Area: 5; Petal 2 195 secs (3.25 minutes approx)

Community Living at Kartarpur
5.2.1 Woven Panel 1 60 secs
5.2.2 Woven Panel 2
5.2.3 Woven Panel 3
5.2.5 Woven Panel 5
5.2.6 Woven Panel 6
Tertiary Layer Information of Prayers in Sikhism 120 secs
Gallery/Area: 6; Petal 3 240 secs (4 minutes)

Guru Angad & Guru Amar Das
6.1.1 Guruship and the Cenre at Khadur 60 secs
Tertiary Layer Information on Gurmukhi 50 secs
6.1.3 Compositions
6.2.2 The Sikh of The Guru 60 secs
6.2.3 Baoli
6.2.4 Guru’s Travels and The Manjhis 60 secs
Gallery/Area: 7; Petal 4 165 secs (2.75 minutes)

Guru Ram Das
7.1.1 Transfer of Guruship, Chak Ramdas and The Sarovar 60 secs
7.1.2 Prosperity of Ramdaspur, Masands and Diwali Celebration
7.1.3 Lavan and other Musical Compositions 60 secs
Tertiary Layer Information on the Significance of Music and 80 secs
Kirtan within The Sikh Faith
Gallery/Area: 8; Petal 5 185 secs (3.08 minutes)

Guru Arjan Dev
8.1.1 Transfer of Guruship
8.1.2 Construction of The Harmandar
8.2.1 The Adi Granth 60 secs
8.2.2 Compilation of The Pothis
8.2.3 Writing of The Adi Granth
8.2.4 Contributors to The Adi Granth
8.2.5 Installation of The Adi Granth
8.3.1 Meeting with Akbar 60 secs
8.3.2 Spread of Masands
8.3.3 Halemi Raj and Townships
8.4.1 Events Leading to Guru’s Martyrdom 20 secs
Gallery/Area: 9; Terrace Triangle 60 secs (1 minute)

Guru Arjan Dev’s Martyrdom Automated Introduction 60 secs
9.1.1 Guru Arjan Dev’s Martyrdom
Gallery/Area: 10; Grand Staircase Miri Piri Installation 65 secs (1 minute approx)
10.1.1 Miri Piri Installation
Gallery/Area: 11; Crescent 1 285 secs (4.75 minutes)

Guru Hargobind, Guru Har Rai and Guru Har Kishan Automated Introduction 45 secs
11.1.2 Din Duni Da Padshah And Akal Takht
Tertiary Layer Information On Dhaddis 60 secs
11.1.1 The Guru And His Sikhs 75 secs
11.1.3 At Gwalior
11.1.4 Army And Battles
11.1.5 Installation Of Guru Har Rai
11.2.1 Humane Nature Of The Guru (automated) 60 secs
11.2.2 Maintainance Of Army
11.2.3 Dara Shukoh/ Interest In Health And Medicine
11.2.4 Ram Rai/ Commitment To Gurbani
11.2.5 Installation Of Guru Har Kishan
11.3.1 Guruship And Hukumnama (automated) 45 secs
11.3.2 Illness And Baba Bakale

Guru Teg Bahadur, Guru Gobind Das
12.1.2 Missionary Travels: Consolidation of The Sangats
12.1.3 Literary Compositions at Makhowal
12.1.4 Prelude to The Martyrdom 40 secs
12.1.5 The Martyrdom 120 secs
12.2.1 The Guru’s Vision for His Community (automated) 60 secs
12.2.2 Activities of The Guru
12.2.3 Settlement at Paonta / Literary Activities (automated) 60 secs
12.2.4 Battle of Bhangani
Gallery/Area: 13; Crescent 3 375 secs

Guru Gobind Singh and Khalsa (3.25 minutes + 3 minute for the show)
13.1.1 Foundation of Anandpur 60 secs
13.1.4 Dissatisfaction with The Masands/ Background to 90 secs
The Creation of The Khalsa
13.1.5 Initiation on The Day of Baisakhi / Khalsa, Rahit of
The Khalsa, Guru Gobind Singh’s Regard for The Khalsa
13.1.6 The Show 180 secs
Gallery Name and Number Exhibit Name and Number

Guru Gobind Singh: Post Khalsa

14.1.1 Battle of Nirmoh
14.1.2 The Final Siege of Anandpur and its Evacuation, 1704
14.1.3 Battle of Chamkaur, Battle of Muktasar and Damdama Bir 90 secs
14.1.4 Zafarnama / With Bahadur Shah Towards Deccan / 80 secs
At Nanded and Banda Bahadur
14.1.5 Transfer of Guruship 60 secs
Total Duration of Audio Narrative 3170 secs (52.8 minutes approx)
This is excluding of the following:

The time spent in the Foyer (Triangle 321)
The time meant to pick up audio guides (in Triangle
327.6; minus listening to the audio narrative)
The time spent on the History Wall
The time spent on certain trigger points of Tertiary Layer
Information.
NOTE
Occupancy Load: Maximum capacity of a building or a room
given as the total number of people present at any one time.
Assembly areas - concentrated use: 7 sq.ft/person

Assembly areas - less concentrated use -
exhibit rooms: 13 sq.ft/person Occupancy Load Indicative: Lvl. 321
NOTE

NOTE

exhibit rooms: 13 sq.ft/person Occupancy Load Indicative: Lvl. 327.6
NOTE

Visitor Flow Analysis & Related Recommendations
An analysis of the Occupancy Load figures infers the following:
The risk of bottle-necks in visitor flow within the exhibit zones of Triangle 327.6 and Petal 1-5 at
the 330 lvl.
Occupancy Load in the exhibit zone of Triangle 327.6: 40 people
Average Occupancy Load in the exhibit zone of Triangle 327.6: 38 people
Average duration of audio content in these galleries: 3.5 - 4 mins
Given the above data, it is recommended that for a comfortable museum experience on a regular
day, an entry of 10 visitors per minute be allowed in the museum’s first exhibit environment, the
boat building
Thus, in an eight hour day, the museum will be able to accommodate an average of 4800 - 5000
visitors
To accommodate more visitors during peak periods the museum may allow, at the risk of some
discomfort, an entry of 15 visitors per minute
Thus, during these periods, in an eight hour day, the museum will be able to accommodate an
average of 7000 visitors
If the museum desires to, it can stretch its daily operating time during these periods to 10 hours and
thereby allow an average of 9000 visitors
Average duration of the audio content for Stages 1 & 2: 60 mins
Thus, the average duration of the visitor flow cycle for stages 1 & 2: 80 mins (inclusive for buffer
time for transitions)
With an average of 10 visitors entering the museum per minute and the average duration of the
visitor flow cycle for stages 1 & 2 being 80 mins, the number of audio guide devices required on a
regular day: 800 units
During peak periods, when the average number of visitors being allowed in is increased to 15 visitors
per minute, the number of audio guide devices required will increase to 1200 units. The additional
number of audio units may be procured from the manufacturer on a rental basis for this period
Idea Diagram: Audio Duration
Idea Diagram: Overall Time Duration
Design and Copyright
All information contained in this document is the sole Intellectual Property Right of A B Design Habit and Co. Pvt Ltd. Unless specifically
authorized by A B Design Habit and Co. Pvt Ltd. copying or using any information contained in this document would be an infringement of
A B Design Habit and Co. Pvt Ltd.’s IPR and liable for consequent damages.
Disclaimer
Final Design
360visual narrative
The images employed for Document
are artist’s Stagesonly.
impressions 1 & 2They shall serve as references for final reproduction
© Design Habit, New Delhi, 2008
A B Design Habit & Co. Pvt. Ltd.
308, Qutub View Apartments
1043/8, Near Dadabari Jain Mandir
Final Design Document
362 - 110030
Mehrauli, New Delhi Stages 1 & 2 © Design Habit, New Delhi, 2008

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© Design Habit, New Delhi, 2008 Final Design Document Stages 1 & 2 1

Khalsa Heritage Centre

Challenges to Museum Design ............................................................................................................................................................11

Design Approach .................................................................................................................................................................................. 13

Graphic Language .................................................................................................................................................................................17

Gallery Overview ................................................................................................................................................................................. 23

Gallery/Area: 0; Triangle: Foyer ..................................................................................................................................................... 28

Gallery/Area: 1; Boat Building: Panj Paani .................................................................................................................................... 32

Gallery/Area: 2; Triangle: The Milieu of 15th Century Punjab.................................................................................................... 60

Gallery/Area: 3; Drum Building: The Concept of One ................................................................................................................ 76

Gallery/Area: 4; Petal 1: Life of Guru Nanak ................................................................................................................................. 84

Gallery/Area: 5; Petal 2: Community Living at Kartarpur ....................................................................................................... 102

Gallery/Area: 7; Petal 4: Guru Ram Das ...................................................................................................................................... 148

Gallery/Area: 8; Petal 5: Guru Arjan Dev .................................................................................................................................... 162

Gallery/Area: 9; Terrace Triangle: Guru Arjan Dev’s Martyrdom / Memorial ..................................................................190

Gallery/Area: 10; Grand Staircase: Miri Piri Installation .........................................................................................................198

Gallery/Area: 13; Crescent 3: Guru Gobind Singh and Khalsa ...............................................................................................260

Gallery/Area: 14; Crescent 4: Guru Gobind Singh: Post Khalsa............................................................................................ 290

History Wall 1 ....................................................................................................................................................................................... 310

History Wall 2 .....................................................................................................................................................................................326

Gallery Introduction Panels............................................................................................................................................................ 344

Visitor Processing Study ................................................................................................................................................................346

Examples of Caurapancasika style:Palam Bhagvat, mid. 16th cent

Lahore city and fort, Pahari- Sikh, c. 1825

Building operations at Agra fort, Akbarnama, Mughal,

Jagannath temple, Orissa (map)

A feast in the kitchen, Pahari, c. 1810

Entry to Boat Building

Access from the Bridge

Exhibit Messages Objectives Description

- Movement from the Countryside to the City and back to

Exhibit Messages Objectives Description

2.1.1 The Cluster of Houses

2.1.1.a No inter-dining amongst caste:

Exhibit Messages Objectives Description

2.1.6 The River

2.1.3 The Fort Palace

2.1.4 The Sufi Dargah

Recreated columns and arches

2.1.5.a Poverty of people

2.1.1 THE CLUSTER OF HOUSES 2.1.1.a No inter-dining amongst caste

2.1.2.a Vaishnav Pujari

3.1.1 Beginning of Sikhism

3.1.4 Social Commitment And Liberation

3.1.2 Shower Of Light

3.1.1 Beginning Of Sikhism

3.1.4 Social Commitment &

LED Wall representing

4.1.1 Birth of Guru Nanak

4.2.1 Accountant of the Modikhana

4.3 The Experience of Illumination

4.3.1 The Sodar

“There are pirs, paighambars, saliks, sadiqs, faqirs, and shahids;

4.4.4 Jogis and Siddhas

Exhibit Messages Objectives Description

4.2.1 Life at Sultanpur A. MODEST ACCOUTANT OF THE MODIKHANA

Exhibit Messages Objectives Description

B. GURU NANAK ENGAGING IN KIRTAN

4.3.1 The Sodar A visual representation of a cosmic tree/Axis Mundi emerging

Section 4.3 (The experience of

Section 4.2 (Sultanpur)

4.2.1 Modest Accountant of

4.1.1 Birth of Guru Nanak

Depicting a couple of scenes from Guru Nanak’s early years in

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