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270:. 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.
938:
763:
300:
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.
593:
994:
903:
613:, 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.
299:
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
137:
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.
291:
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
66:
360:
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.
136:
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
922:
739:
340:
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
950:
723:
966:
707:
982:
312:
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.
581:
791:
357:). 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.
228:
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.
847:
98:
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.
1010:
803:
859:
819:
117:
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
459:, 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
490:
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
831:
175:
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.
1037:
543:, 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,
284:(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.
215:
482:
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
944:
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.
129:
and lute-style veenas. The instruments were used in
Southeast Asia, both mainland and island nations, and were recorded in sculpture and relief sculpture.
428:
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.
369:
Based on definitions from Indian literature, the unifying criterion is that both have a single string and a gourd resonator. The literature includes the
515:
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
1074:
871:
1075:"How the Ancient Indian Vīṇā Travelled to Other Asian Countries: A Reconstruction through Scriptures, Sculptures, Paintings and Living Traditions"
730:
547:
has also been portrayed playing the vina and dancing; the instrument is not iconically associated with him, as his instrument is the flute.
439:, 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
1372:
1377:
973:
957:
599:
Makara or yali (or possibly a bird), from
Saraswati playing alapini vina, from Hindu stone sculpture in National Museum, New Delhi
309:
we're fretted and show traits of both instruments, with gourds that are pressed into the chest and also rise above the shoulder.
478:
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
409:). Frets were possibly introduced as a reaction to the invention of the 12-string scale, ca. 700-800. In 1400, the frets on the
644:
style of pressing to the players chest can be seen in to
Southeast Asia. Examples can be seen in ruins from Malayan culture at
1193:
Kumba (1400 A.D.) attributes the invention of the fourteen fretted kinnari to
Matanga (800 A.D.) the author of Brhad-desi. ...]
609:
When playing the musician could press the cut off side of the gourd into their chest; in modern versions such as the
Cambodian
693:. The instruments were played in the same style as the zithers with a single gourd. These instruments are thus linked to the
169:
1099:
1004:. The instrument has no apparent resonator except the thick tube of the body. Alapini vinas tended to have narrower tubes.
527:
Different symbolism appears on the instruments over time. In
Hinduism, the instruments have been associated with the gods
201:
on the top. Fretted tube-zither vinas are mentioned in literature by 800 C.E., coexisting with the non-fretted vinas. The
1130:
Alastair Dick; Gordon Geekie; Richard
Widdess (1984). "Vina, section 4 Medieval stick zithers". In Sadie, Stanley (ed.).
205:
descends from the kinnari veena. The square at the bottom of the instrument is a stylized version of the bridge from the
1025:
909:
810:
325:
1338:
1278:
689:
At least one example of the chest-pressed Southeast Asian zithers has bee-n found in artwork with a second gourd, in
507:
370:
276:
Instruments in paintings and sculpture are not generally labeled, and researchers have had to apply the names
303:
The instruments are fretless, the earliest depictions showing a single string. The later instruments labeled
1323:
181:
988:
Somanathapur, India. Chennakesava Temple, ca. 12th-13th century. Krishna dancing with a stick-zither vina.
1392:
1308:
782:
421:
1387:
652:. Modern instruments related to it or using a similar half-gourd resonance system include the Cambodian
393:
In the 13th century, the Sangita Ratnakara placed vinas into three categories: fretless (into which the
575:'s. Both monsters had forms that included an elephant's trunk, a feature found on some kinnari vinas.
550:
The instrument has been portrayed in Buddhist temple art in the hands of humans, as well as celestial
382:
251:
1218:"Klang und Kultur: Musikethnologische Erkenntnisse als Grundlagen für musikarchäologisches Arbeiten"
46:
1382:
929:
717:, Cave 17. Musician plucking an alapini vina, a stick-zither style veena resting on his shoulder.
682:
have an extra gourd or the phin namtoa multiple strings. This may be seen as "evidence" that the
316:
That is more rare in the alapini vina style stick zithers. Patrick Kersale identified two at the
559:
Some kinnari vinas in museums seem to have bird-related carvings and feathers on the ends. Some
436:
425:
378:
324:, Cambodia, from the 13th century circus scene. Another can be seen in alcove 46 or 47 of the
247:
1184:
572:
440:
749:
culture). Three musicians in right are playing (from center) a 5-stringed lute, cymbals, a
666:
1001:
622:
118:
1245:
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1366:
455:
as being a larger instrument, with a "bigger tube" and bigger gourd, compared to the
398:
126:
262:. The gourd of the kinnari vina pressed into the musician's chest is similar to the
778:
714:
516:
374:
350:
305:
189:
122:
111:
53:
825:
India, 7th-8th century C.E. Figure holding an Alapini vina at Kailasanathar Temple
1107:
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81:
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17:
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746:
671:
645:
532:
77:
729:
Ca. 7th century C.E. Kinnaras playing alapini vina and chime cymbals, from
567:
have very styled ends that resemble the heads of monsters, similar to the
679:
654:
610:
540:
536:
342:
141:
1217:
913:
897:-like drums or pots. Bas-relief at Borobudur near Magelang - 1890-1891.
890:
774:
552:
544:
1172:
1146:
809:
India, ca. 7th-8th century C.E. A kinnara (?) playing Alapini vina at
701:
for the additional gourd, a path that led to the rudra vina in India.
1226:
Sonderheft: Musikarchäologie Klänge der Vergangenheit: Theiss (2015)
675:
568:
520:
451:
Researchers Piyal Bhattacharya and Shreetama Chowdhury described the
321:
221:
912:, ca. 12th-13th century C.E. Shivakamasundari (one of the forms of
853:
9th century C.E. Stick zither with resonator in Borobudur, side view
373:(written sometime between 2nd century B.C.E. - 3rd century C.E.) by
1188:
1147:"The Early History of the Vīṇā and Bīn in South and Southeast Asia"
621:
The instruments were recorded in sculpture and relief sculpture in
254:. The 19th-century kinnari vina appears to have traits of both the
916:) playing an alapini vina, the resonator pressed into her shoulder
770:
690:
630:
528:
317:
266:. The gourd high enough to go over the shoulder is a trait of the
114:
587:
Makara or yali on alapini vina, 12th century, Pala Empire artwork
625:
in the 7th century C.E., Borobudur in the 9th century C.E., the
413:
were attributed to Matanga (800 A.D.) the author of Brhad-desi.
1294:"Kailasanathar Temple, Kanchipuram Alcove 47 Rudra Veena Panel"
1073:
Piyal Bhattacharya; Shreetama Chowdhury (January–March 2021).
797:
Siva Ellora Caves, cave 16, playing alapini vina, colored in
678:). These instruments have different features; some like the
893:
with cymbals and stick-zither veena; they are standing on
1019:, 16th century AD, showing a musician playing a kse diev.
960:, ca. 13th century C.E. Saraswati playing a stick zither.
292:
slide on the string, and plucking with their lower hand.
877:
Indonesia (Java), ca. 900-925 C.E. Kinnara playing vina
539:. Shiva has been portrayed playing it romantically for
420:Śārṅgadeva described an instrument 36 inches long, the
976:, ca. 12th century. Saraswati with stick-zither vina
523:
in Hindi. One early vina was called the makara vina.
435:which Śārṅgadeva described was instrument made of
1088:(1). Vivekananda International Foundation: 50–53.
287:Instruments in surviving images that are labeled
246:were all mentioned in the 12th-13th century book
865:9th century C.E. Left, stick zither in Borobudur
837:9th century C.E. Stick zither with resonator in
140:Similar instruments today include the Cambodian
1272:
1270:
1171:Karaikudi S. Subramanian (Spring–Summer 1985).
1132:The New Grove Dictionary of Musical Instruments
56:, cave 21, 7th-8th century C.E. Shiva with an
8:
1224:. Wissenschaftliche Buchgesellschaft (WBG).
1166:
1164:
932:statue of Saraswati playing a stick zither.
1240:
1238:
1236:
1234:
1000:Saraswati with an alapini vina or possibly
697:for the method of playing them, and to the
472:New Grove Dictionary of Musical Instruments
1183:(2). University of Texas Press: 9-13, 19.
463:and those pressed against the chest were
745:Hindu. 650-700 C.E., Thailand, Ku Bua, (
506:
401:, and fretted vinas (which included the
349:people) and in Vietnam the brok zither (
1354:Angkor Wat, north gallery. 16th century
1211:
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1203:
1201:
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1123:
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703:
577:
1157:(1). University of Texas Press: 37–42.
1068:
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1062:
1060:
1058:
470:The writers for the vīnā entry in the
7:
1145:Louise Wrazen (Autumn–Winter 1986).
686:developed into other instruments.
25:
1250:SARASWATHI VEENA(SARASWATI VEENA)
629:in the 10th—12th centuries C.E.,
556:, half human, half bird figures.
519:drum. The crocodile was called a
162:Development of fretted instrument
1036:
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993:
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773:playing a stick-zither vina for
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214:
180:
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65:
45:
132:Although the stick zithers and
1:
1324:"Zither - kse diev - ខ្សែដៀវ"
1173:"An Introduction to the Vina"
1134:. pp. 729–730. Volume 3.
928:India, ca. 12th century C.E.
365:The instruments in literature
1216:Lars-Christian Koch (2015).
910:Nataraja Temple, Chidambaram
769:India, ca. 8th century C.E.
511:17th century sculpture of a
381:(written 1210 - 1247 AD) by
781:, image in side passage of
345:, in Laos the kani zither (
1409:
1373:Indian musical instruments
1222:Archäologie in Deutschland
1378:Gourd musical instruments
1279:"Double-resonator zither"
648:and Cambodian culture at
633:in the 13th century, and
187:Sarasvati with a fretted
713:India, 5th century C.E.
1264:P. Sambamoorthy, p. 210
571:water monster's or the
389:According to Śārṅgadeva
76:10th–12th century C.E.
640:Instruments using the
524:
757:with gourd resonator.
637:in the 16th century.
510:
332:, Tamil Nadu, India.
1246:"Varieties of Veena"
811:Kanchi Kailasanathar
731:Mammallapuram relief
326:Kailasanathar Temple
295:Instruments labeled
974:Chennakesava temple
930:Hoysaleswara Temple
193:, with an apparent
1343:soundsofangkor.org
1339:"Monochord zither"
1337:Kersalé, Patrick.
525:
447:Modern researchers
336:Modern instruments
27:Musical instrument
1322:Patrick Kersale.
1307:Patrick Kersale.
1277:Patrick Kersale.
1082:National Security
889:9th century C.E.
670:(among tribes in
443:might be carved.
379:Sangita Ratnakara
248:Sangita Ratnakara
127:harp-style veenas
16:(Redirected from
1400:
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1309:"Fretted zither"
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1106:. Archived from
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565:eka-tantri vinas
461:eka-tantrī vīṇās
431:Comparison, the
395:eka-tanktri vina
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152:Identifying the
125:it replaced the
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1031:Modern kse diev
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453:eka-tantrī vīṇā
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282:eka-tantrī vīṇā
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119:eka-tantri vina
110:was a medieval
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1110:on 1 May 2021.
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783:Kailash temple
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1104:rudravina.com
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1100:"The History"
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18:Alapini veena
1388:Tube zithers
1353:
1346:. Retrieved
1342:
1332:
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1302:
1287:
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1253:
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1225:
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1180:
1176:
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1108:the original
1103:
1094:
1085:
1081:
779:Ellora Caves
715:Ajanta Caves
698:
695:ālāpiṇī vīṇā
694:
688:
684:ālāpiṇī vīṇā
683:
665:
659:
653:
641:
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608:
564:
560:
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492:kinarri vina
491:
488:Kinarri vina
487:
483:
480:ālāpiṇī vīṇā
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476:ālāpiṇī vīṇā
475:
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469:
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457:ālāpiṇī vīṇā
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432:
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418:alapini vina
417:
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411:kinnari vina
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407:kinnari vina
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403:alapini vina
402:
394:
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375:Bharata Muni
368:
359:
351:Jarai people
339:
315:
311:
306:kinnari vina
304:
302:
297:ālāpiṇī vīṇā
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278:ālāpiṇī vīṇā
277:
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267:
264:alapini vina
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259:
256:alapini vina
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244:kinnari vina
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239:
236:ālāpiṇī vīṇā
235:
226:Kinnari vina
225:
206:
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190:kinnari vina
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154:ālāpiṇī vīṇā
153:
139:
134:tube zithers
131:
123:kinnari vina
112:stick-zither
107:ālāpiṇī vīṇā
106:
105:
103:
89:
86:ālāpiṇī vīṇā
85:
72:Bangladesh,
58:ālāpiṇī vīṇā
57:
54:Ellora Caves
37:
34:Ālāpiṇī vīṇā
33:
1177:Asian Music
1151:Asian Music
1043:Phin namtao
751:tube zither
664:and Indian
661:phin namtao
627:Pala Empire
513:rudra veena
497:rudra veena
474:called the
371:Nāṭyaśāstra
330:Kanchipuram
203:rudra veena
146:phin namtao
82:tube zither
74:Pala period
1383:Monochords
1367:Categories
1049:References
1017:Angkor Wat
755:bar zither
650:Angkor Wat
635:Angkor Wat
486:and later
383:Śārṅgadeva
355:Êdê people
320:temple in
252:Śārṅgadeva
839:Borobudur
785:(cave 16)
747:Dvaravati
672:Jharkhand
646:Borobudur
533:Saraswati
503:Symbolism
144:and Thai
78:Saraswati
891:Kinnaras
680:kse muoy
655:kse diev
611:Kse Diev
553:kinnaras
541:Paravati
537:Nataraja
416:For the
405:and the
377:and the
343:kse diev
258:and the
224:, 1876.
142:kse diev
1348:13 July
972:India,
956:India,
914:Parvati
775:Parvati
658:, Thai
605:Playing
545:Krishna
80:with a
52:India,
676:Odisha
569:Makara
535:, and
521:makara
322:Angkor
222:Madras
195:makara
1078:(PDF)
691:Bayon
667:tuila
631:Bayon
529:Shiva
517:kundu
399:harps
318:Bayon
115:veena
84:, an
1350:2019
895:tifa
771:Siva
674:and
573:Yali
563:and
494:and
441:yali
353:and
280:and
242:and
234:The
199:yali
121:and
104:The
36:and
1185:doi
777:in
753:or
424:or
385:.
250:by
238:,
197:or
88:or
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