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Theology

Compiling the Adi Granth: Guru Arjan Dev Ji's Vision, Method, and Universality

Professor: Prof. Sahib Singh Source: SikhLibrary

In 1604, Guru Arjan Dev Ji accomplished one of the most extraordinary acts in the history of world religion: the compilation of an interfaith sacred scripture that included the compositions of Sikh Gurus, Hindu bhagats, a Muslim saint, and others — all organized not by tradition or author but by musical mode (raag). This course studies the vision, methodology, and theological significance of the Adi Granth's compilation, examining its unique character as a universalist scripture, its editorial principles, the sources it drew on, and its subsequent elevation to the status of eternal Guru.

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What you'll learn

  • Explain the historical circumstances that led Guru Arjan Dev Ji to compile the Adi Granth
  • Describe the editorial principles and organizational structure of the Adi Granth
  • Identify the major contributors to the Adi Granth and the significance of their inclusion
  • Analyze the theological vision expressed by the Adi Granth's universalist composition
  • Evaluate scholarly perspectives on the compilation process and the sources Guru Arjan Dev Ji drew on
  • Trace the transformation of the Adi Granth into the Guru Granth Sahib Ji under Guru Gobind Singh Ji

Key terms — ਸ਼ਬਦਾਵਲੀ

ਆਦਿ ਗ੍ਰੰਥ

Adi Granth — 'Original Scripture'; the scripture compiled by Guru Arjan Dev Ji in 1604; elevated to the status of Guru Granth Sahib Ji by Guru Gobind Singh Ji

ਭਗਤ

Bhagat — a saint-poet whose compositions are included in the Guru Granth Sahib Ji; contributors include Kabir, Namdev, Ravidas, and others

ਭਾਈ ਗੁਰਦਾਸ ਜੀ

Bhai Gurdas Ji — scholar, poet, and Sikh devotee who served as scribe in the compilation of the Adi Granth

ਬਾਬਾ ਬੁੱਢਾ ਜੀ

Baba Buddha Ji — venerated Sikh elder who knew all five Gurus; appointed first Granthi of the Adi Granth at Harmandir Sahib

ਕਬੀਰ

Kabir — fifteenth-century weaver-saint from Varanasi; 541 compositions in the Guru Granth Sahib Ji; bridges Hindu and Islamic devotional traditions

ਰਵਿਦਾਸ

Ravidas — fifteenth-century cobbler-saint; 41 compositions in the Guru Granth Sahib Ji; his inclusion challenges caste hierarchy

ਬਾਬਾ ਫਰੀਦ ਜੀ

Baba Farid Ji — twelfth-thirteenth-century Muslim Sufi saint from Pakpattan (c. 1173–1266); 134 compositions in the Guru Granth Sahib Ji

ਪੋਥੀ ਮੋਹਨ

Pothi Mohan — the collection of Gurbani maintained by Baba Mohan, son of Guru Amar Das Ji (the Third Guru); a key source for the Adi Granth compilation

ਰਾਗ

Raag — a classical North Indian musical mode; the primary organizational framework of the Guru Granth Sahib Ji

ਗ੍ਰੰਥੀ

Granthi — the custodian and reader of the Guru Granth Sahib Ji in a gurdwara

Lessons

1. Introduction: Why Compile a Scripture?

Full course contents
  1. Introduction: Why Compile a Scripture?
  2. The Existing Body of Gurbani
  3. The Problem of Apocrypha
  4. Bhai Gurdas Ji as Scribe
  5. The Pothi Mohan: Gathering Sources
  6. The Organizational Principle: Raag
  7. The Guru Contributors
  8. The Bhagat Contributors: A Radical Inclusion
  9. Kabir, Ravidas, and Baba Farid: Case Studies in Universalism
  10. The Mool Mantar and the Opening
  11. Theological Principles in the Adi Granth's Composition
  12. From Adi Granth to Guru Granth Sahib Ji

A Unique Act in World Religious History

The compilation of the Adi Granth by Guru Arjan Dev Ji in 1604 stands as one of the most extraordinary acts in the history of world religion. Here was a religious leader who took the extraordinary step of including in his community's scripture the compositions of saints and devotees from traditions other than his own — not as supplementary material or as examples of error, but as authentic expressions of the same divine truth that his own tradition proclaimed. The resulting scripture is simultaneously a Sikh document and a universalist one, a testament to the conviction that the divine name transcends all religious boundaries.

The Immediate Motivations

The immediate motivations for the compilation were partly practical. By the early seventeenth century, a substantial body of Gurbani existed from the five Gurus up to Guru Arjan Dev Ji himself, but it circulated in multiple manuscripts of varying authenticity. There were already reports of apocryphal compositions being attributed to the Gurus — particularly by Prithi Chand's faction, which reportedly circulated compositions under the name of Guru Ram Das Ji that had actually been composed by Prithi Chand himself (Pashaura Singh 2000, 88). The compilation of an authoritative canon was urgently needed.

The Deeper Vision

But beyond the practical motivation lay a deeper theological vision: the creation of a scripture that would express, in its very composition, the Sikh conviction that the divine truth is universal, that it speaks through sincere seekers of all traditions, and that the Guru's house is open to all who approach with devotion. In this sense, the Adi Granth was not merely a collection of existing materials but a theological statement — a document whose composition enacted the universalism it proclaimed.

2. The Existing Body of Gurbani

A Tradition of Composition

By the time of Guru Arjan Dev Ji's Guruship, four generations of Sikh Gurus had composed Gurbani that was central to the community's spiritual practice. Guru Nanak Dev Ji had composed extensively during his lifetime and his compositions had been transmitted both orally and in written form. The subsequent Gurus had continued this tradition, and a substantial body of sacred compositions had accumulated. This material formed the core of what would become the Adi Granth (Pashaura Singh 2000, 85).

The Pothi Tradition

Before the compilation of the Adi Granth, Gurbani had been organized into pothis — manuscripts containing collections of compositions. The most important of these were the pothis maintained by Baba Mohan, a son of Guru Ram Das Ji. These pothis were not accessible to Guru Arjan Dev Ji by default; according to traditional accounts, he had to make a personal visit to Baba Mohan — singing a devotional shabad beneath his window — before Baba Mohan was moved to share them. The compositions from these pothis were incorporated into the Adi Granth alongside fresh compositions.

Oral and Written Transmission

In the early Sikh period, Gurbani was transmitted both orally — through kirtan performance and recitation — and in written form. The oral dimension was primary in terms of devotional practice, but the written dimension was essential for preservation and authentication. The compilation project required systematically gathering and verifying materials from both written manuscripts and the memories of those who had learned Gurbani in oral performance. This combination of written and oral sources gave the compilation both its depth and its challenges.

3. The Problem of Apocrypha

The Threat of Inauthenticity

One of the most pressing motivations for the compilation of the Adi Granth was the problem of apocryphal compositions — texts circulating as genuine Gurbani that were either of uncertain origin or that had been deliberately composed to serve factional interests. The schismatic movements in early Sikh history — particularly the Minas led by Prithi Chand — had strong motivations to create compositions that supported their claims and circulate them as authentic Gurbani (Pashaura Singh 2000, 88).

The Minas and the Problem of Authentication

According to historical accounts, Prithi Chand's followers were circulating compositions under the name of Guru Ram Das Ji — that is, under the Mahala 4 designation — that had actually been written by Prithi Chand himself. These apocryphal compositions, if accepted as genuine, could distort the Sikh community's understanding of its own spiritual tradition and potentially lend authority to schismatic claims. The compilation of the Adi Granth was thus in part a defensive act: by creating an authoritative and authenticated canon, Guru Arjan Dev Ji closed off the possibility of further unauthorized additions to the scriptural tradition.

Authentication as a Spiritual Act

The process of authenticating compositions — distinguishing genuine Gurbani from apocryphal material — was not merely a scholarly or administrative exercise. It was a spiritual act that required the same quality of discernment that Guru Amar Das Ji had applied in choosing his successor. Guru Arjan Dev Ji and Bhai Gurdas Ji applied careful theological and stylistic criteria to each composition, asking whether it was consistent with the distinctive theological voice and vision of the Guru who had supposedly composed it (Pashaura Singh 2000, 90).

4. Bhai Gurdas Ji as Scribe

A Unique Collaborator

The compilation of the Adi Granth was not accomplished by Guru Arjan Dev Ji alone — it was a collaborative effort in which Bhai Gurdas Ji played an indispensable role as scribe, scholar, and theological collaborator. Bhai Gurdas Ji (1551–1629) was one of the most learned and respected Sikhs of his generation: a poet of considerable gifts in his own right (his vaars are sometimes called the 'key to the Guru Granth Sahib Ji'), a scholar of multiple languages and literary traditions, and a deeply devoted member of the Sikh community who had personal relationships with the Gurus from Guru Amar Das Ji onward.

The Practical Role of the Scribe

As the scribe of the Adi Granth, Bhai Gurdas Ji's role was both practical and interpretive. Practically, he wrote out in his own hand the compositions that Guru Arjan Dev Ji dictated or reviewed, producing the master manuscript from which all subsequent copies would be made. Interpretively, his deep knowledge of the literary and theological traditions represented in the scripture made him an ideal collaborator for Guru Arjan Dev Ji in making decisions about what to include, how to authenticate doubtful compositions, and how to resolve questions of organization.

Bhai Gurdas Ji's Own Compositions

It is notable that despite Bhai Gurdas Ji's profound learning and his deep integration into the Sikh tradition, his own compositions — the forty vaars and other works — were not included in the Adi Granth. This was a deliberate decision: the Adi Granth was to contain only the compositions of the Gurus and the pre-existing bhagats whose works had already been part of the devotional tradition. Bhai Gurdas Ji's compositions, while deeply valued in the Sikh tradition, were understood as commentary and reflection on the scripture rather than as scripture itself.

5. The Pothi Mohan: Gathering Sources

Baba Mohan's Custodianship

Baba Mohan, the second son of Guru Ram Das Ji, maintained a collection of manuscripts containing compositions from the earlier Gurus — including Guru Nanak Dev Ji, Guru Angad Dev Ji, and Guru Amar Das Ji. These manuscripts, known collectively as the Pothi Mohan, represented an invaluable resource for Guru Arjan Dev Ji's compilation project. However, gaining access to them required a personal visit by Guru Arjan Dev Ji to Baba Mohan's residence in Goindwal (Pashaura Singh 2000, 91).

The Devotional Approach

Traditional accounts describe Guru Arjan Dev Ji standing beneath Baba Mohan's window and singing devotional compositions to move him to share the manuscripts. The account — whatever its precise historical details — emphasizes that the acquisition of the manuscripts was approached as a devotional act rather than a demand or a transaction. The compositions that Baba Mohan held were understood as sacred objects, to be approached with reverence and love. Eventually Baba Mohan was moved to share them, and the manuscripts were carefully incorporated into the compilation process.

The Significance of the Pothis

The compositions from the Pothi Mohan represented the most significant body of authenticated earlier Gurbani available to Guru Arjan Dev Ji. Their incorporation into the Adi Granth provided the bulk of the contributions from the first three Gurus and ensured that the scriptural tradition was continuous with what the earliest generations of Sikhs had received. The Adi Granth thus served not only as a new compilation but as a faithful transmission of the oldest layer of the Sikh scriptural heritage.

6. The Organizational Principle: Raag

An Unusual Organization

One of the most distinctive features of the Adi Granth — one that sets it apart from virtually every other major religious scripture in the world — is its primary organization by raag (musical mode). Rather than organizing compositions chronologically, by author, by theological topic, or by the tradition of the composer, Guru Arjan Dev Ji arranged the vast majority of the scripture according to the raag in which each composition was intended to be performed. This organizational decision was not arbitrary — it reflects deep theological convictions about the nature of scripture and its role in the spiritual life.

The Primacy of Music in Sikh Practice

The organization by raag reflects the fundamental Sikh conviction that Gurbani is not primarily a text to be read but a living musical practice to be performed and heard. The kirtan (devotional singing) of Gurbani in its correct raag is the primary means by which the scripture's spiritual power reaches the devotee. By organizing the scripture according to the musical modes in which it is to be performed, Guru Arjan Dev Ji encoded this understanding into the very structure of the canon (Pashaura Singh 2000, 94).

The Symbolic Significance of Raag Organization

The organization by raag also carries a symbolic theological significance: it places all the contributors — Gurus and bhagats, Sikhs and non-Sikhs — within the same musical framework, suggesting that they all participate in the same fundamental musical and spiritual reality. The compositions of Kabir in Raag Gauri appear alongside the compositions of Guru Nanak Dev Ji in Raag Gauri, organized by a musical principle that transcends the boundaries of religious tradition. This placement embodies the Sikh theological principle that the divine truth speaks through multiple voices in the same fundamental key.

7. The Guru Contributors

The Five Mahalas

The Adi Granth includes compositions from all five Sikh Gurus who had served the community up to the time of its compilation. These are identified in the scripture by the Mahala system: Mahala 1 (Guru Nanak Dev Ji, 974 hymns), Mahala 2 (Guru Angad Dev Ji, 62), Mahala 3 (Guru Amar Das Ji, 907), Mahala 4 (Guru Ram Das Ji, 679), and Mahala 5 (Guru Arjan Dev Ji, 2,218). The largest contribution by far comes from Guru Arjan Dev Ji himself — as the compiler and final contributor, he also became the single most prolific author in the scripture he compiled (Pashaura Singh 2000, 54).

The Significance of the Mahala System

The Mahala system of attribution carries a theological significance that goes beyond mere identification of authorship. By using a single Mahala designation rather than individual names, the tradition expresses the conviction that all the Gurus speak with one voice — the voice of the Nanak Joti (divine light of Nanak) that passed from one Guru to the next. The differences in personal style and emphasis between the various Mahalas are acknowledged, but they are understood as variations within a fundamental unity rather than expressions of separate spiritual traditions.

Continuity and Development

Reading across the five Mahalas reveals both a remarkable theological consistency — the same core commitments to the divine name, the Guru's grace, and the dissolution of ego appear across all five — and a progressive development and deepening of specific themes and forms. Guru Arjan Dev Ji's Mahala 5 compositions, while fully continuous with the theological vision of his predecessors, represent the most fully developed and comprehensive statement of that vision, benefiting from the accumulated wisdom of the four Gurus who preceded him.

8. The Bhagat Contributors: A Radical Inclusion

Who Were the Bhagats?

Among the most theologically significant features of the Adi Granth is its inclusion of compositions from fifteen bhagats — saint-poets who were not Sikhs but whose compositions were judged by Guru Arjan Dev Ji to express the same fundamental spiritual truths as the Gurbani of the Sikh Gurus. These bhagats came from diverse backgrounds: some were Hindu, some Muslim, some from high castes, some from the lowest castes. The most significant contributors include Kabir (541 hymns), Namdev (60), Ravidas (41), Baba Farid (134 sloks and 4 shabads), Trilochan, Dhanna, Jaidev, and others (Pashaura Singh 2000, 98).

The Theological Basis for Inclusion

The inclusion of bhagat compositions in the Adi Granth was not simply an act of ecumenical generosity — it was rooted in a specific theological conviction. Sikh theology holds that the divine name (Naam) is present throughout creation and speaks through any sincere seeker who has truly surrendered to the divine. From this perspective, the geographic, cultural, and religious backgrounds of the bhagats were ultimately irrelevant: what mattered was whether their compositions authentically expressed the experience of the soul seeking and finding the divine.

The Criteria for Inclusion

Not all bhagat compositions that were in circulation were included in the Adi Granth. Guru Arjan Dev Ji applied careful theological criteria: a composition was included only if it was compatible with the core theological principles of Sikhism — particularly the rejection of idol worship, the affirmation of the formless divine (Nirankar), and the primacy of the divine name over ritual observance. Compositions that expressed ideas incompatible with these principles — even from figures who were otherwise included — were not incorporated. This selective inclusion reflects the theological rigor of the compilation process.

9. Kabir, Ravidas, and Baba Farid: Case Studies in Universalism

Kabir: The Weaver-Mystic

ਕਬੀਰ (1440–1518), a weaver from Varanasi who is also identified with both Hindu and Islamic devotional traditions, is the most extensively represented bhagat in the Guru Granth Sahib Ji with 541 compositions. Kabir's poetry is characterized by a fierce, often paradoxical critique of religious formalism in both Hinduism and Islam, combined with a deep affirmation of the formless divine that speaks directly to the Sikh theological tradition. His inclusion in the Adi Granth aligns with the Sikh rejection of empty ritual and the affirmation of the divine name as the only true form of worship (Shackle and Mandair 2005, 102).

Ravidas: The Cobbler-Saint

ਰਵਿਦਾਸ (c. 1450–1520), a cobbler from Varanasi considered an 'untouchable' in the caste hierarchy of his time, contributed 41 compositions to the Guru Granth Sahib Ji. His inclusion is a powerful theological statement: by placing the compositions of one of the most socially marginalized groups in the highest religious literature of the Sikh tradition, Guru Arjan Dev Ji enacted in the scripture itself the Sikh theological conviction that caste has no bearing on spiritual capacity. The divine speaks through the cobbler's workshop as readily as through the Brahmin's study.

Baba Farid Ji: The Muslim Sufi

ਬਾਬਾ ਫਰੀਦ ਜੀ (1173–1265), the revered Muslim Sufi saint of Pakpattan, contributed 134 sloks and 4 shabads to the Guru Granth Sahib Ji — making him one of the most extensively represented bhagats. The inclusion of a Muslim saint in a predominantly Sikh scripture expressed the conviction that the divine light does not confine itself within any single religious tradition. Baba Farid's Punjabi verses about longing for the divine, the brevity of life, and the importance of the present moment of spiritual opportunity resonate deeply with the same themes found throughout the Gurbani of the Sikh Gurus.

10. The Mool Mantar and the Opening

The Foundational Statement

The Guru Granth Sahib Ji opens with the Mool Mantar — the 'Root Formula' or 'Foundational Declaration' composed by Guru Nanak Dev Ji. This brief but extraordinarily dense statement encapsulates the core theological vision of Sikhism: ੴ ਸਤਿ ਨਾਮੁ ਕਰਤਾ ਪੁਰਖੁ ਨਿਰਭਉ ਨਿਰਵੈਰੁ ਅਕਾਲ ਮੂਰਤਿ ਅਜੂਨੀ ਸੈਭੰ ਗੁਰ ਪ੍ਰਸਾਦਿ. This statement affirms the oneness of the divine, the truth of the divine name, the creative nature of God, God's fearlessness, God's transcendence of enmity, God's eternal nature beyond time and birth, God's self-existence, and the indispensability of the Guru's grace.

The Ik Onkar Symbol

The Mool Mantar begins with the numeral-symbol ੴ (Ik Onkar) — 'One God' — written in Gurmukhi numerals and script. This symbol, which has become the most recognized emblem of Sikhism worldwide, encapsulates the fundamental Sikh theological conviction: that there is one divine reality underlying all existence, transcending all the multiplicity and diversity of creation. By placing this symbol at the very beginning of the Adi Granth, Guru Arjan Dev Ji declared the theological foundation on which the entire scripture rests.

Guru Nanak's Composition as the Gateway

The placement of Guru Nanak Dev Ji's Mool Mantar — and the Japji Sahib that follows it — at the opening of the Adi Granth was a deliberate theological choice by Guru Arjan Dev Ji. It established Guru Nanak Dev Ji's vision as the gateway through which all subsequent material must be approached and understood. Whatever the particular tradition of a bhagat whose compositions appear later in the scripture, those compositions are always read through the theological lens established at the opening — the lens of Ik Onkar, the one divine reality whose name is truth.

11. Theological Principles in the Adi Granth's Composition

Ik Onkar as the Organizing Principle

The most fundamental theological principle governing the Adi Granth's composition is Ik Onkar — the affirmation of the one divine reality. Every composition included in the scripture, regardless of its author's religious background, affirms this fundamental unity in some form. Compositions that expressed polytheistic or idolatrous views were excluded; compositions that pointed toward the formless divine, the primacy of the divine name, and the path of devotion and seva were included. This theological criterion ensured the consistency of the scripture's vision despite the diversity of its contributors.

The Rejection of Caste

Another important theological principle in the Adi Granth's composition is the complete rejection of caste as a criterion for spiritual worth. This principle is expressed not just in the compositions themselves — which repeatedly challenge caste hierarchy — but in the very fact of the compilation: the inclusion of Ravidas (a cobbler) and Dhanna (a Jat farmer) alongside high-caste contributors, and the organization of all compositions by raag rather than by the social status of the author, embodies the Sikh conviction that spiritual truth is available to all regardless of birth.

The Primacy of Inner Devotion Over Ritual

A third consistent theological principle in the Adi Granth is the primacy of inner devotion over external ritual observance. Compositions from multiple traditions are included precisely because they all affirm this principle in their distinctive ways: Kabir's fierce critiques of empty pilgrimage and idol worship, Ravidas's insistence that the divine is found in the heart rather than in temple rituals, and the Sikh Gurus' consistent emphasis on naam simran over ceremonial observance — all converge on this shared theological conviction. The scripture thus presents a unified vision of authentic spirituality that transcends the particular ritual forms of any single tradition.

12. From Adi Granth to Guru Granth Sahib Ji

The Adi Granth After 1604

After its compilation and installation in the Harmandir Sahib in 1604, the Adi Granth functioned as the central scriptural authority for the Sikh community. It was revered, studied, and performed in kirtan; copies were made and distributed to sangats across the Punjab; and the practice of installing the Adi Granth as the honored presence at the center of Sikh worship became established. The scripture was not yet formally designated as the Guru, but it occupied a position of supreme authority in the community's spiritual life.

Guru Gobind Singh Ji's Addition

When the Tenth Guru, Guru Gobind Singh Ji, prepared his edition of the scripture, he added the compositions of his father Guru Tegh Bahadur Ji (the Ninth Guru) — 116 shabads and 15 raagmaalas — which had not been included in the original 1604 compilation. This produced the definitive edition of what would become the Guru Granth Sahib Ji. Guru Gobind Singh Ji himself, despite being an extraordinarily prolific composer (his own compositions constitute the Dasam Granth), chose not to add his own compositions to the Adi Granth, preserving its original editorial principle.

The Declaration of the Eternal Guru

Near the end of his life in 1708, Guru Gobind Singh Ji made the most consequential institutional decision in Sikh history: he declared that after his passing, there would be no further human Guru — the Adi Granth would be the eternal Guru of the Sikhs. From that moment, the scripture has been known as the ਗੁਰੂ ਗ੍ਰੰਥ ਸਾਹਿਬ ਜੀ (Guru Granth Sahib Ji) — the Guru in the form of the scripture. This declaration transformed the text that Guru Arjan Dev Ji had compiled into a living, eternal Guru whose presence in every gurdwara continues the unbroken line of Sikh spiritual guidance.

References & further reading

  1. Pashaura Singh. The Guru Granth Sahib: Canon, Meaning and Authority. Oxford: Oxford University Press, 2000.
  2. Singh, Sahib. Sri Guru Granth Sahib Darpan. 10 vols. Jalandhar: Raj Publishers, 1962–1964.
  3. Shackle, Christopher, and Arvind-pal Singh Mandair, eds. Teachings of the Sikh Gurus: Selections from the Scriptures. London: Routledge, 2005.
  4. Grewal, J. S. The Sikhs of the Punjab. Cambridge: Cambridge University Press, 1990.
  5. Singh, Khushwant. A History of the Sikhs. Vol. 1. Princeton: Princeton University Press, 1963.
  6. Nesbitt, Eleanor. Sikhism: A Very Short Introduction. Oxford: Oxford University Press, 2005.

From the source text

. It then lays stress on the self mortification and fusion with Soul or God of himself in a mechanical forced way. In this way, they say, ignorance, egoism, desire, aversion and clinging to life, are completely eliminated. The yogic practices are entirely mechanical techniques for suppression of the instinctual forces, to exercise control over the functioning of the body organs for attaining the super-natural powers. The mind is made empty by forceful extermination of the instinctual derives. the emptiness of mind and its forced concentration on void, does not lead one to any virtuous life. It is only the power-seeking technique to subdue others by show of magical feats.
— from About the Compilation of Sri Guru Granth Sahib Ji. Shown as a short study excerpt — refer to the original for an authoritative reading.Read the full work on SikhLibrary ↗

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Course test

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1. What was the primary organizational principle of the Adi Granth as compiled by Guru Arjan Dev Ji?
2. Who served as Guru Arjan Dev Ji's scribe during the compilation of the Adi Granth?
3. What is the name for the Muslim Sufi saint from Pakpattan whose compositions are included in the Adi Granth?
4. Approximately how many compositions did Kabir contribute to the Guru Granth Sahib Ji?
5. What symbol opens the Guru Granth Sahib Ji and represents the oneness of the divine?
6. Why was Ravidas's inclusion in the Adi Granth theologically significant?
7. What significant addition did Guru Gobind Singh Ji make to the Adi Granth before declaring it the eternal Guru?
8. What term refers to the non-Guru contributors to the Guru Granth Sahib Ji?
9. The collection of manuscripts maintained by Baba Mohan, which was a key source for the Adi Granth, is known as:
10. Who declared the Guru Granth Sahib Ji to be the eternal Guru of the Sikhs?

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