873:
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159:
729:
809:
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36:
793:
171:
497:
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861:
872:
259:. Eka-tantri means single string. The alapini vina may have developed into a multi-stringed instrument. The kinnari veena had two strings in the early to mid-19th century; the early 20th century kinnari vina in the Metropolitan Museum of Art has two main strings, and like the rudra veena that came from it, three side strings. The kinnari vina had waxed on frets, and the alapini vina may also have developed frets.
927:
752:
289:
made of a 2 inch thick rod of red sandal wood or khadira wood, or may have been a bamboo tube. The earliest of these instruments were obvious stick zithers, the stick too narrow to make an effective resonating tube. Later instruments were as thick, the musician's hand barely able to stretch around the tube. Often in sculpture, the stick has curves.
582:
983:
892:
602:, the musician tightens and loosens the gourd to their chest to change tone. The player holds the instrument with their left hand; this limits his ability to move the hand to one stop on the string. While plucking with the right hand, the player uses their forefinger to lightly touch the string for more notes.
288:
tend to be stick zithers, held shoulder to hip with a gourd resonator that is pressed into the musician's stomach, chest or shoulder, the musician's upper hand normally held over that gourd with fingers wide to choose notes, the lower hand plucking the string. The body of the instrument may have been
126:
spread from India to
Southeast Asia, modern scholars have been trying to decide if the tube zithers might have originated in Southeast Asia and spread to India. Whatever the origins, Indian influence on musical culture in Southeast Asia is recorded in the archaeological remains of past civilizations.
280:
are generally tube zithers with wide tubes and a gourd attached to the top, the gourd held over the musician's shoulder and the other end past their hip, with a single string and no frets. Musician's are shown sliding the straightened fingers of their upper hand on the string, or holding a stick to
55:
349:
Koch warns about assuming too much when looking at modern instruments. He said there is no "direct transfer of playing technique, tone supply or repertoire" so that the instruments in medieval India may have been played differently and to different kinds of music compared to modern instruments.
125:
are very similar, it is possible that they have different origins. Early paintings of stick zithers in India date back at least to the 5th century C.E. The earliest currently known stick zither is in the Caves of Ajanta at the end of the 5th century. After a period of assuming that tube zithers
911:
728:
329:
Musicologist Lars-Christian Koch pointed out that modern instruments exist in Orissa or
Radhjasthan, which can help us understand how the instruments might have sounded. Similarly, ethnomusicologist Patrick Kersale has documented modern instruments, including in Cambodia the
939:
712:
955:
696:
971:
301:
In medieval artwork, a second lower gourd has been seen on both stick zithers and tube zithers. Artwork for the eka-tantri vina commonly shows a second carved resonator or gourd resonator near the instrument's lower end.
570:
780:
346:). With the kse diev, the gourd is pressed with different pressures into the player's, and the ring finger of the right hand plucks, while the left hand applies pressure on the string at the players chest.
217:
labeled "tingadee." The spike is a bridge, directing string energy to resonator. In later kinnari vinas a third gourd was added in the center, which was pressed into the chest, similar to the alapini vina.
836:
87:
The alapini vina is represented in sculpture with two thickness of tube or stick. Earliest images show a much thinner stick. By the 10th—12th century C.E., the larger tube zither form was common as well.
999:
792:
848:
808:
106:
in India, with a single string and a gourd resonator. Later forms added more strings. The instruments became prominent in Indian music after 500 C.E. as instruments of court music. Alongside the
448:, which they described as a stick zither. The researchers looked at where the instrument's gourd was placed while playing; they indicated instruments with the gourd over the shoulder were
479:
the gourd (bottom intact) used for the resonance chamber rested over the musician's shoulder. These latter two might have a second or third gourd added further down, creating the modern
820:
164:
Saraswati holding an Eka-tantri vina, ca. 1000 C.E. This image clearly shows the bridge (bottom of instrument) which would sustain the string's note and create a buzzing quality.
1026:
532:, and as an ascetic, Natajara, in his form as the divine dancer. Saraswati is a goddess of flowing things, including water, wisdom and music. Much less frequently,
273:(one-string vina) to different instruments. Iconography can't show whether the rods or bodies are hollow, and researchers have had to look for clues in literature.
204:
471:
was cut to form a cup or bowl, the opening of which could be placed against the musician's body while playing, creating a "closed resonance chamber". On the
933:
India, ca. 12th century C.E. Hoysaleswara Temple. Saraswati playing a stick zither. The gourd at the top of the broken-off instrument is on her left breast.
118:
and lute-style veenas. The instruments were used in
Southeast Asia, both mainland and island nations, and were recorded in sculpture and relief sculpture.
417:
or bamboo rod 2 inches in circumference. The cup (tumba) was made from coconut, and its string was reportedly made of silk, producing a delicate sound.
358:
Based on definitions from Indian literature, the unifying criterion is that both have a single string and a gourd resonator. The literature includes the
504:
that has a figure carved into the vina's tube, just below the upper gourd. The carving resembles a crocodile, in a style similar to that on the
Malayan
1063:
860:
1064:"How the Ancient Indian Vīṇā Travelled to Other Asian Countries: A Reconstruction through Scriptures, Sculptures, Paintings and Living Traditions"
719:
536:
has also been portrayed playing the vina and dancing; the instrument is not iconically associated with him, as his instrument is the flute.
428:, less than a yard long, with a dandam "a stetched palm" (about 5-8 inches) in circumference, and 1.5 inches narrower on the bottom where a
1361:
1366:
962:
946:
588:
Makara or yali (or possibly a bird), from
Saraswati playing alapini vina, from Hindu stone sculpture in National Museum, New Delhi
298:
we're fretted and show traits of both instruments, with gourds that are pressed into the chest and also rise above the shoulder.
467:
a stick zither, in which the stick might be a bamboo or wooden tube. They focused on how the vinas were played. The gourd on the
398:). Frets were possibly introduced as a reaction to the invention of the 12-string scale, ca. 700-800. In 1400, the frets on the
633:
style of pressing to the players chest can be seen in to
Southeast Asia. Examples can be seen in ruins from Malayan culture at
1182:
Kumba (1400 A.D.) attributes the invention of the fourteen fretted kinnari to
Matanga (800 A.D.) the author of Brhad-desi. ...]
598:
When playing the musician could press the cut off side of the gourd into their chest; in modern versions such as the
Cambodian
682:. The instruments were played in the same style as the zithers with a single gourd. These instruments are thus linked to the
158:
1088:
993:. The instrument has no apparent resonator except the thick tube of the body. Alapini vinas tended to have narrower tubes.
516:
Different symbolism appears on the instruments over time. In
Hinduism, the instruments have been associated with the gods
190:
on the top. Fretted tube-zither vinas are mentioned in literature by 800 C.E., coexisting with the non-fretted vinas. The
1119:
Alastair Dick; Gordon Geekie; Richard
Widdess (1984). "Vina, section 4 Medieval stick zithers". In Sadie, Stanley (ed.).
194:
descends from the kinnari veena. The square at the bottom of the instrument is a stylized version of the bridge from the
1014:
898:
799:
314:
1327:
1267:
678:
At least one example of the chest-pressed Southeast Asian zithers has bee-n found in artwork with a second gourd, in
496:
359:
265:
Instruments in paintings and sculpture are not generally labeled, and researchers have had to apply the names
292:
The instruments are fretless, the earliest depictions showing a single string. The later instruments labeled
1312:
170:
977:
Somanathapur, India. Chennakesava Temple, ca. 12th-13th century. Krishna dancing with a stick-zither vina.
1381:
1297:
771:
410:
1376:
641:. Modern instruments related to it or using a similar half-gourd resonance system include the Cambodian
382:
In the 13th century, the Sangita Ratnakara placed vinas into three categories: fretless (into which the
564:'s. Both monsters had forms that included an elephant's trunk, a feature found on some kinnari vinas.
539:
The instrument has been portrayed in Buddhist temple art in the hands of humans, as well as celestial
371:
240:
1207:"Klang und Kultur: Musikethnologische Erkenntnisse als Grundlagen für musikarchäologisches Arbeiten"
35:
1371:
918:
706:, Cave 17. Musician plucking an alapini vina, a stick-zither style veena resting on his shoulder.
671:
have an extra gourd or the phin namtoa multiple strings. This may be seen as "evidence" that the
305:
That is more rare in the alapini vina style stick zithers. Patrick Kersale identified two at the
548:
Some kinnari vinas in museums seem to have bird-related carvings and feathers on the ends. Some
425:
414:
367:
313:, Cambodia, from the 13th century circus scene. Another can be seen in alcove 46 or 47 of the
236:
1173:
561:
429:
738:
culture). Three musicians in right are playing (from center) a 5-stringed lute, cymbals, a
655:
990:
611:
107:
1234:
1282:
1355:
444:
as being a larger instrument, with a "bigger tube" and bigger gourd, compared to the
387:
115:
251:. The gourd of the kinnari vina pressed into the musician's chest is similar to the
767:
703:
505:
363:
339:
294:
178:
111:
100:
42:
814:
India, 7th-8th century C.E. Figure holding an Alapini vina at Kailasanathar Temple
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62:
1005:
743:
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623:
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735:
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634:
521:
66:
718:
Ca. 7th century C.E. Kinnaras playing alapini vina and chime cymbals, from
556:
have very styled ends that resemble the heads of monsters, similar to the
668:
643:
599:
529:
525:
331:
130:
1206:
902:
886:-like drums or pots. Bas-relief at Borobudur near Magelang - 1890-1891.
879:
763:
541:
533:
1161:
1135:
798:
India, ca. 7th-8th century C.E. A kinnara (?) playing Alapini vina at
690:
for the additional gourd, a path that led to the rudra vina in India.
1215:
Sonderheft: Musikarchäologie Klänge der Vergangenheit: Theiss (2015)
664:
557:
509:
440:
Researchers Piyal Bhattacharya and Shreetama Chowdhury described the
310:
210:
901:, ca. 12th-13th century C.E. Shivakamasundari (one of the forms of
842:
9th century C.E. Stick zither with resonator in Borobudur, side view
362:(written sometime between 2nd century B.C.E. - 3rd century C.E.) by
1177:
1136:"The Early History of the Vīṇā and Bīn in South and Southeast Asia"
610:
The instruments were recorded in sculpture and relief sculpture in
243:. The 19th-century kinnari vina appears to have traits of both the
905:) playing an alapini vina, the resonator pressed into her shoulder
759:
679:
619:
517:
306:
255:. The gourd high enough to go over the shoulder is a trait of the
103:
576:
Makara or yali on alapini vina, 12th century, Pala Empire artwork
614:
in the 7th century C.E., Borobudur in the 9th century C.E., the
402:
were attributed to Matanga (800 A.D.) the author of Brhad-desi.
1283:"Kailasanathar Temple, Kanchipuram Alcove 47 Rudra Veena Panel"
1062:
Piyal Bhattacharya; Shreetama Chowdhury (January–March 2021).
786:
Siva Ellora Caves, cave 16, playing alapini vina, colored in
667:). These instruments have different features; some like the
882:
with cymbals and stick-zither veena; they are standing on
1008:, 16th century AD, showing a musician playing a kse diev.
949:, ca. 13th century C.E. Saraswati playing a stick zither.
281:
slide on the string, and plucking with their lower hand.
866:
Indonesia (Java), ca. 900-925 C.E. Kinnara playing vina
528:. Shiva has been portrayed playing it romantically for
409:Śārṅgadeva described an instrument 36 inches long, the
965:, ca. 12th century. Saraswati with stick-zither vina
512:
in Hindi. One early vina was called the makara vina.
424:which Śārṅgadeva described was instrument made of
1077:(1). Vivekananda International Foundation: 50–53.
276:Instruments in surviving images that are labeled
235:were all mentioned in the 12th-13th century book
854:9th century C.E. Left, stick zither in Borobudur
826:9th century C.E. Stick zither with resonator in
129:Similar instruments today include the Cambodian
1261:
1259:
1160:Karaikudi S. Subramanian (Spring–Summer 1985).
1121:The New Grove Dictionary of Musical Instruments
45:, cave 21, 7th-8th century C.E. Shiva with an
8:
1213:. Wissenschaftliche Buchgesellschaft (WBG).
1155:
1153:
921:statue of Saraswati playing a stick zither.
1229:
1227:
1225:
1223:
989:Saraswati with an alapini vina or possibly
686:for the method of playing them, and to the
461:New Grove Dictionary of Musical Instruments
1172:(2). University of Texas Press: 9-13, 19.
452:and those pressed against the chest were
734:Hindu. 650-700 C.E., Thailand, Ku Bua, (
495:
390:, and fretted vinas (which included the
338:people) and in Vietnam the brok zither (
1343:Angkor Wat, north gallery. 16th century
1200:
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1192:
1190:
1114:
1112:
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1146:(1). University of Texas Press: 37–42.
1057:
1055:
1053:
1051:
1049:
1047:
459:The writers for the vīnā entry in the
7:
1134:Louise Wrazen (Autumn–Winter 1986).
675:developed into other instruments.
14:
1239:SARASWATHI VEENA(SARASWATI VEENA)
618:in the 10th—12th centuries C.E.,
545:, half human, half bird figures.
508:drum. The crocodile was called a
151:Development of fretted instrument
1025:
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998:
982:
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954:
938:
926:
910:
891:
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835:
819:
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762:playing a stick-zither vina for
751:
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203:
169:
157:
54:
34:
121:Although the stick zithers and
1:
1313:"Zither - kse diev - ខ្សែដៀវ"
1162:"An Introduction to the Vina"
1123:. pp. 729–730. Volume 3.
917:India, ca. 12th century C.E.
354:The instruments in literature
1205:Lars-Christian Koch (2015).
899:Nataraja Temple, Chidambaram
758:India, ca. 8th century C.E.
500:17th century sculpture of a
370:(written 1210 - 1247 AD) by
770:, image in side passage of
334:, in Laos the kani zither (
1398:
1362:Indian musical instruments
1211:Archäologie in Deutschland
1367:Gourd musical instruments
1268:"Double-resonator zither"
637:and Cambodian culture at
622:in the 13th century, and
176:Sarasvati with a fretted
702:India, 5th century C.E.
1253:P. Sambamoorthy, p. 210
560:water monster's or the
378:According to Śārṅgadeva
65:10th–12th century C.E.
629:Instruments using the
513:
746:with gourd resonator.
626:in the 16th century.
499:
321:, Tamil Nadu, India.
1235:"Varieties of Veena"
800:Kanchi Kailasanathar
720:Mammallapuram relief
315:Kailasanathar Temple
284:Instruments labeled
963:Chennakesava temple
919:Hoysaleswara Temple
182:, with an apparent
1332:soundsofangkor.org
1328:"Monochord zither"
1326:Kersalé, Patrick.
514:
436:Modern researchers
325:Modern instruments
16:Musical instrument
1311:Patrick Kersale.
1296:Patrick Kersale.
1266:Patrick Kersale.
1071:National Security
878:9th century C.E.
659:(among tribes in
432:might be carved.
368:Sangita Ratnakara
237:Sangita Ratnakara
116:harp-style veenas
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1298:"Fretted zither"
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1095:. Archived from
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554:eka-tantri vinas
450:eka-tantrī vīṇās
420:Comparison, the
384:eka-tanktri vina
207:
173:
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141:Identifying the
114:it replaced the
58:
38:
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1020:Modern kse diev
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688:eka-tantrī vīṇā
612:Sambor Prei Kuk
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473:eka-tantrī vīṇā
442:eka-tantrī vīṇā
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108:eka-tantri vina
99:was a medieval
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79:eka-tantrī vīṇā
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1099:on 1 May 2021.
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772:Kailash temple
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1093:rudravina.com
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1089:"The History"
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1377:Tube zithers
1342:
1335:. Retrieved
1331:
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1120:
1097:the original
1092:
1083:
1074:
1070:
768:Ellora Caves
704:Ajanta Caves
687:
684:ālāpiṇī vīṇā
683:
677:
673:ālāpiṇī vīṇā
672:
654:
648:
642:
630:
628:
609:
597:
553:
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540:
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515:
484:
481:kinarri vina
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477:Kinarri vina
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472:
469:ālāpiṇī vīṇā
468:
465:ālāpiṇī vīṇā
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460:
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446:ālāpiṇī vīṇā
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407:alapini vina
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400:kinnari vina
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396:kinnari vina
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392:alapini vina
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364:Bharata Muni
357:
348:
340:Jarai people
328:
304:
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295:kinnari vina
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286:ālāpiṇī vīṇā
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267:ālāpiṇī vīṇā
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253:alapini vina
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245:alapini vina
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233:kinnari vina
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228:
225:ālāpiṇī vīṇā
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215:Kinnari vina
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195:
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179:kinnari vina
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143:ālāpiṇī vīṇā
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123:tube zithers
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112:kinnari vina
101:stick-zither
96:ālāpiṇī vīṇā
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78:
75:ālāpiṇī vīṇā
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61:Bangladesh,
47:ālāpiṇī vīṇā
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43:Ellora Caves
26:
23:Ālāpiṇī vīṇā
22:
1166:Asian Music
1140:Asian Music
1032:Phin namtao
740:tube zither
653:and Indian
650:phin namtao
616:Pala Empire
502:rudra veena
486:rudra veena
463:called the
360:Nāṭyaśāstra
319:Kanchipuram
192:rudra veena
135:phin namtao
71:tube zither
63:Pala period
1372:Monochords
1356:Categories
1038:References
1006:Angkor Wat
744:bar zither
639:Angkor Wat
624:Angkor Wat
475:and later
372:Śārṅgadeva
344:Êdê people
309:temple in
241:Śārṅgadeva
828:Borobudur
774:(cave 16)
736:Dvaravati
661:Jharkhand
635:Borobudur
522:Saraswati
492:Symbolism
133:and Thai
67:Saraswati
880:Kinnaras
669:kse muoy
644:kse diev
600:Kse Diev
542:kinnaras
530:Paravati
526:Nataraja
405:For the
394:and the
366:and the
332:kse diev
247:and the
213:, 1876.
131:kse diev
1337:13 July
961:India,
945:India,
903:Parvati
764:Parvati
647:, Thai
594:Playing
534:Krishna
69:with a
41:India,
665:Odisha
558:Makara
524:, and
510:makara
311:Angkor
211:Madras
184:makara
1067:(PDF)
680:Bayon
656:tuila
620:Bayon
518:Shiva
506:kundu
388:harps
307:Bayon
104:veena
73:, an
1339:2019
884:tifa
760:Siva
663:and
562:Yali
552:and
483:and
430:yali
342:and
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231:and
223:The
188:yali
110:and
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25:and
1174:doi
766:in
742:or
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239:by
227:,
186:or
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