Sobha Singh’s iconic portrait of Guru Tegh Bahadur takes centre stage during 350th martyrdom anniversary events

As the country observes the 350th martyrdom anniversary of the ninth Sikh Guru, Guru Tegh Bahadur, with major commemorative events — especially in Anandpur Sahib and across North India — the timeless portrait of the Guru, created by the celebrated artist Sobha Singh, has once again taken centre stage.

From Assam to Punjab, the painting has been prominently used by government departments, cultural bodies, and major Sikh religious organisations in their print, digital, and visual communication marking the historic occasion.

Painted in 1975 and housed at the Sobha Singh Art Gallery in Andretta, Himachal Pradesh, this masterful image has become the most widely recognised portrayal of Guru Tegh Bahadur. Its spiritual depth, symbolic richness, and meditative aura have made it a favourite among devotees for nearly five decades.

According to Hirday Paul Singh, grandson of the legendary artist, Sobha Singh approached the creation of this portrait with extraordinary devotion and scholarly rigour. “He undertook a deep study of historical and academic sources before putting brush to canvas,” Paul said.

Sobha Singh drew extensively from publications of the SGPC, Guru Nanak Dev University, Punjabi University, and, notably, the authoritative biography of Guru Tegh Bahadur by Trilochan Singh. Every element of the painting was rooted in years of research and spiritual contemplation, he said.

He further said that the portrait is laden with profound symbolism. Nine candle-like flames placed near the hilt of the sword before the meditating Guru represent the spiritual continuum from Guru Nanak to Guru Tegh Bahadur — the nine Gurus engaged in an unbroken chain of divine reflection. The sword itself signifies Guru Gobind Singh, representing the culmination of the Guru tradition and the emergence of the spiritual-strengthened temporal path that followed the Ninth Guru’s ultimate sacrifice, Paul said.

Sobha Singh portrayed Guru Tegh Bahadur seated on a slightly elevated platform, subtly conveying dignity, perspective and serene authority. A few subdued flowers complement the composition, ensuring that the gaze remains fixed on the Guru’s radiant, contemplative presence. The artist took exceptional care with light, shade and glow, creating an ethereal atmosphere that many viewers have described as spine-tingling. On the 300th anniversary of Guru Tegh Bahadur’s martyrdom, more than 25,000 prints of this portrait were produced, and original copies are still cherished by Sikh households worldwide, he said.

Sobha Singh often spoke about the spiritual surrender required to paint a Guru. His words remain etched in the memory of admirers: “Painting a Guru requires devotion of the highest order, complete surrender, and self-negation. When I paint a Guru, I am in his company,” he said.

Hirday expressed concern over the widespread use of altered or unauthorised versions of the artwork during the current commemorations. He said that many publicity departments, organisers, and agencies have reproduced the image without seeking permission and often removed the artist’s name from the artwork. “Ethics and the law demand that due credit be given when using the iconic artwork of a world-renowned artist,” he said. He added that the family would have gladly provided a high-resolution image had anyone formally approached them.