<HTML><HEAD><TITLE>ANAHATA-&#346ABDA</TITLE>਍㰀猀琀礀氀攀 琀礀瀀攀㴀∀琀攀砀琀⼀挀猀猀∀㸀ഀഀ
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<p class="C1">&#65279ANAHATA-&#346ABDA figures variously in the Gur&#363 Granth S&#257hib as <i>anahada-sabad, anahada-t&#363r&#257, anahada-jhunk&#257ra, anahada bain, anahada-n&#257da, anahada b&#257&#7751&#299</i>and <i>anahada-dhun&#299</i> and in the <i>Dasam Granth</i> as<i>an&#257hada-b&#257&#7751&#299</i>and<i>an&#257hada-b&#257j&#257</i>. The word <i>anahata</i> is from the Sanskrit language. It occurs in P&#257li and Pr&#257krit texts as well. In the Sanskrit original, it implies unstruck; it stands for pure or immaculate in P&#257li and for eternal in the Pr&#257krit. The suffix words like <i>sabad</i> or<i>&#347abda, t&#363r&#257, jhu&#7751k&#257ra, b&#257&#7751&#299</i> and <i>dhun&#299</i> stand for word, rhythm, sound or speech. Thus, <i>anahata-&#347abda</i> would mean the unstruck or pure or eternal sound. In a theistic system, <i>anahata-&#347abda</i> would signify an eternal voice symbolizing the reality of God. Indeed, Kab&#299r uses the word <i>anahata</i> as an epithet of God who is of the form of Light <i> (joti sar&#363p&#257 anahata ) </i>. This interpretation is paralleled in Gur&#363 N&#257nak's <i>Japu</i> where he refers to God, the Creator, as the original, the pure, the beginningless and the eternal (<i>&#257di an&#299lu an&#257di an&#257hati</i>). The Gur&#363s have employed almost all the technical terms of Tantra and Ha&#7789hayoga first used by the <i>siddhas</i>, <i>n&#257thas</i> and <i>yog&#299s</i>, but they have, at the same time, re-evaluated and reinterpreted these doctrines and practices. However, the former were neither theistic in outlook nor bhaktic in practice : their path was chiefly that of ascetic yog&#299s. On the other hand, Sikhism believes in the non-dual dynamic reality realizable through <i>bhakti</i> or loving devotion. Thus, the concept of <i>anahata-&#347abda</i> in Sikhism had to be understood in the light of the Sikh concept of Reality which cannot be realized through <i>t&#257ntrik</i> or <i>ha&#7789hayoga</i> methods, but through <i>n&#257m-simran, </i>i. e. constant remembrance of His Name - <i>har&#299 k&#299 kath&#257 an&#257had b&#257n&#299</i> (GG, 483). In the Sikh ontological view, this mystic sound <i>(anahati-&#347abda)</i> has no meaning if it does not relate to the glory of God. The use of <i>t&#257ntrik</i> and <i>ha&#7789hayogic</i> terminology has to be given a theistic and devotional content to understand it fully in the Sikh context. In Sikhism, the mystic sound in itself is not of much significance, but what matters is the source of this sound. Unlike the<i>ha&#7789hayog&#299s</i> who believed that the source of this sound <i>(n&#257da or &#347abda) </i> is the ku&#7751&#7693alin&#299 passing through the <i>su&#7779umn&#257</i>, the Sikh scripture declares that he who strikes the instrument and produces the sound is no other than God. It is the constant mindfulness of God (<i>n&#257m simran</i>) which has to be made the life-breath (<i>pr&#257&#7751a-pavana</i>) of the devotee; controlling his left and right nerves (<i>i&#7693&#257</i>and <i>pi&#7749gal&#257</i>), he cultivates the central nerve (<i>su&#7779umn&#257</i>), and then starts the reverse process by turning the life breath upwards. When this life-breath made by <i>n&#257m-simran</i> passes in the reverse order through the <i>su&#7779umn&#257</i>, it pierces all the six plexuses on its upward march and it then settles in the void (<i>ul&#7789at pavan chakra kha&#7789u bhede surati sunn anar&#257g&#299</i> - GG, 333). The Gur&#363s are not concerned with the details of <i>n&#257&#7693&#299s, cakras</i>, and <i>ku&#7751&#7693alin&#299</i>; their central concern is to bear the eternal sound signalling the omnipresence of the Almighty. When this is achieved, by the grace of God <i>(gurpras&#257di)</i> the self realizes its innate nature spontaneously<i>(sahaja subh&#257i), </i> enjoys the innate bliss (sahaja-sukha), becomes free<i>(nirmal&#257)</i> of all impurities, merges into the emptiness trance (<i>sunna-sam&#257dhi</i>) and attains supreme peace (<i>nirb&#257&#7751-pada</i>) which characterizes the fourth station (<i>chauth&#257 pada</i>). It is not necessary to stress that the <i>anahata-&#347abda</i> heard by the released sages is not a physical sound to be heard with the physical ears. One has to 'kill' one's sinful existence and live an immaculate existence called <i>j&#299van-mukti;</i> then alone can one hear the <i>anahada-b&#257&#7751&#299. </i></p>਍㰀⼀昀漀渀琀㸀ഀഀ
<p class="BIB">਍䈀䤀䈀䰀䤀伀䜀刀䄀倀䠀夀㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀㰀漀氀 挀氀愀猀猀㴀∀䌀㄀∀㸀㰀氀椀 挀氀愀猀猀㴀∀䌀㄀∀㸀 䔀氀椀愀搀攀Ⰰ 䴀椀爀挀攀愀Ⰰ 㰀椀㸀夀漀最愀Ⰰ 䤀洀洀漀爀琀愀氀椀琀礀 愀渀搀 䘀爀攀攀搀漀洀㰀⼀椀㸀⸀ 倀爀椀渀挀攀琀漀渀Ⰰ ㄀㤀㘀㤀㰀䈀刀㸀ഀഀ
<li class="C1"> Bhattacharya, Haridas, <i>The Cultural History of India</i>. Calcutta, 1969<BR>਍㰀氀椀 挀氀愀猀猀㴀∀䌀㄀∀㸀 䨀漀搀栀 匀椀☀⌀㜀㜀㐀㤀最栀Ⰰ 㰀椀㸀吀栀攀 刀攀氀椀最椀漀甀猀 倀栀椀氀漀猀漀瀀栀礀 漀昀 䜀甀爀甀 一愀渀愀欀㰀⼀椀㸀⸀ 嘀愀爀愀渀愀猀椀Ⰰ ㄀㤀㠀㌀㰀䈀刀㸀ഀഀ
<li class="C1"> Chaturved&#299, Paras&#363r&#257m, <i>Uttar&#299 Bh&#257rat k&#299 Sant Prampr&#257</i>. Allahabad, 1963<BR>਍㰀⼀漀氀㸀㰀瀀 挀氀愀猀猀㴀∀䌀伀一吀∀㸀䰀⸀ 䴀⸀ 䨀漀猀栀椀㰀戀爀㸀㰀⼀瀀㸀㰀䈀刀㸀ഀഀ
</font>਍㰀椀洀最 猀爀挀㴀∀挀漀甀渀琀攀爀⸀愀猀瀀砀∀ 眀椀搀琀栀㴀∀㄀瀀砀∀ 栀攀椀最栀琀㴀∀㄀瀀砀∀ 愀氀琀㴀∀∀㸀ഀഀ
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