624:
708:
692:
652:
537:. The body of the instrument, was 3 arm-lengths long and a hand's breadth wide, hollowed out to form a tube, with a bore of 1.5 forefinger widths. A borehole (perpendicular to the instrument's bore) allows the resonating sound in the tube to pass into each gourd resonator; the perpendicular bores are 2 forefingers or 3 pinky-fingers wide. The gourds are secured to the eka-tantri's wooden stem using gut cord, passing through holes made in the stem, down through a hole in the top of the gourd; the thread goes through a pair of holes in the top of a coconut, set inside the gourd (with the rounded side, pressing against the sides of the gourd and toward the stem). On the instrument's lower end, the bridge (kakubh) is attached, its surface not flat but rounded like a tortoise shell. On top of the bridge a
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323:. 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.
651:
127:
a period of assuming that tube zithers 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.
707:
691:
357:
While the eka-tantri vina had only one string (the meaning of its name), it may have been modified to add additional strings and frets, moving toward the development of the rudra veena. The manner of holding the instrument is similar too. The kinnari veena with its multiple strings and frets also may
126:
Although the tube zithers and stick zithers 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
340:
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
481:
a stick was slid on the string to determine the notes. 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. The purpose of the bridge may also have
723:
667:
790:
353:
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.
735:
81:: the longer length of the instrument, thick tube, the large gourd at the top, the playing style over the shoulder, the stylized mouth at the bottom of the instrument, a bridge on the rectangle just above the mouth.
639:
281:
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.
778:
421:, less than a yard long (alternative translation says 3 arm lengths long), with a dandam "a stetched palm" (about 5-8 inches) in circumference, and 1.5 inches narrower on the bottom where a
100:
in India, with a single string and one or more gourd resonators. The instrument became prominent in Indian music in about the 10th century C.E. as instruments of court music. Alongside the
456:, 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
747:
513:
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
679:
123:
The instrument is very closely related to the one-stringed alapini vina, an instrument which started out a stick zither but became a tube zither like the eka-tantri vina.
661:
or possibly eka-tantri vina. The instrument has no apparent resonator except the thick tube of the body. Alapini vinas tended to have narrower tubes. 12th century C.E.
358:
also be related in the development of the rudra veena, although this instrument was held vertically in artwork, different from the manner the rudra veena was held.
333:(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.
577:, 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,
268:
350:
we're fretted and show traits of both the ekatantri vina and the alapini vina, with gourds that are pressed into the chest and also rise above the shoulder.
505:
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
366:
Based on definitions from Indian literature, the unifying criterion is that both have a single string and a gourd resonator. The literature includes the
440:
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.
869:
870:"How the Ancient Indian Vīṇā Travelled to Other Asian Countries: A Reconstruction through Scriptures, Sculptures, Paintings and Living Traditions"
228:, 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.
581:
has also been portrayed playing the vina and dancing; the instrument is not iconically associated with him, as his instrument is the flute.
549:
475:, a long instrument with a squared base and raised bridge-like piece (that lengthened the time the string would sound). Like on the modern
763:
729:
Date unknown. Saraswati playing an eka-tantri vina in
Kathmandu, Nepal. The resonator depicted is not a gourd but carved (possibly wood].
1085:
629:
Bengal, India. 11th century C.E. Saraswati playing Eka-tantri vina. Her left hand is holding a stick, which may be like the slide on a
1090:
42:
501:
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
406:). Frets were possibly introduced as a reaction to the invention of the 12-string scale, ca. 700-800. In 1400, the frets on the
1007:
Kumba (1400 A.D.) attributes the invention of the fourteen fretted kinnari to
Matanga (800 A.D.) the author of Brhad-desi. ...]
52:
951:
218:
561:
Different symbolism appears on the instruments over time. In
Hinduism, the instruments have been associated with the gods
254:
on the top. Fretted tube-zither vinas are mentioned in literature by 800 C.E., coexisting with the non-fretted vinas. The
848:
Alastair Dick; Gordon Geekie; Richard
Widdess (1984). "Vina, section 4 Medieval stick zithers". In Sadie, Stanley (ed.).
258:
descends from the kinnari veena. The square at the bottom of the instrument is a stylized version of the bridge from the
196:, shall stick held against string by musician. Sometimes replaced in sculpture by one or two fingers held straight.
367:
329:
Instruments in paintings and sculpture are not generally labeled, and researchers have had to apply the name
1065:
526:
234:
1050:
483:
433:
1100:
633:. That stick is not uncommon in the Pala Empire made sculptures. The gourd is resting over her shoulder.
390:
In the 13th century, the
Sangita Ratnakara placed vinas into three categories: fretless (into which the
609:'s. Both monsters had forms that included an elephant's trunk, a feature found on some kinnari vinas.
584:
The instrument has been portrayed in
Buddhist temple art in the hands of humans, as well as celestial
379:
304:
61:
1026:"Klang und Kultur: Musikethnologische Erkenntnisse als Grundlagen für musikarchäologisches Arbeiten"
344:
The instruments are fretless, the depictions showing a single string. The later instruments labeled
1095:
754:
593:
Some kinnari vinas in museums seem to have bird-related carvings and feathers on the ends. Some
437:
418:
375:
300:
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606:
422:
924:
1079:
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as being a larger instrument, with a "bigger tube" and bigger gourd, compared to the
395:
109:
315:. The gourd of the kinnari vina pressed into the musician's chest is similar to the
658:
630:
371:
346:
242:
105:
101:
959:
784:
Image from the
Harshnath Temple with side view of the eka-tantri vina's resonator
823:
519:
477:
472:
255:
94:
17:
113:
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have very styled ends that resemble the heads of monsters, similar to the
574:
570:
1025:
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and lute-style veenas in sculpture. It was possibly a forerunner of the
586:
578:
986:
895:
77:
The far-right image shows many details missing from depictions of the
1034:
Sonderheft: Musikarchäologie Klänge der
Vergangenheit: Theiss (2015)
741:
Musician with body of snake playing eka-tantri vina, from
Parsvanatha
602:
487:
448:
Researchers Piyal Bhattacharya and Shreetama Chowdhury described the
274:
117:
685:
A Buddhist artwork with a person playing eka-tantri vina (far left).
370:(written sometime between 2nd century B.C.E. - 3rd century C.E.) by
1002:
896:"The Early History of the Vīṇā and Bīn in South and Southeast Asia"
673:
Eka-tantri vina, from sculpture "Guardians of the eight directions"
307:. The 19th-century kinnari vina appears to have traits of both the
116:. It shares its name with the modern single-string drone lute, the
801:
797:
562:
548:
319:. The gourd high enough to go over the shoulder is a trait of the
97:
410:
were attributed to Matanga (800 A.D.) the author of Brhad-desi.
162:, hollow box at bottom end, top curved slightly, bridge sits on
868:
Piyal Bhattacharya; Shreetama Chowdhury (January–March 2021).
645:
Saraswati with alapini vina or eka-tantri vina, 12th century.
432:Śārṅgadeva described was an instrument 36 inches long, the
717:, from Rajasthan, displayed at National Museum, New Delhi
482:
been to create a "buzzing" quality to the note (known in
341:
slide on the string, and plucking with their lower hand.
146:, anchoring point for string at the top of the instrument
952:"Excerpts from Bharatiya Sangeet Vadya - Ektantri Veena"
541:(metal plate forming a spike) was placed in the center.
701:
from Rajasthan, displayed at National Museum, New Delhi
573:. Shiva has been portrayed playing it romantically for
67:
India, 10th century C.E. Image of Saraswati holding an
713:Eka-tantri vina, from the feet (right side) of the
697:Eka-tantri vina, from the feet (left side) of the
883:(1). Vivekananda International Foundation: 50–53.
336:Instruments in surviving images that are labeled
299:were all mentioned in the 12th-13th century book
1044:
1042:
985:Karaikudi S. Subramanian (Spring–Summer 1985).
850:The New Grove Dictionary of Musical Instruments
8:
1032:. Wissenschaftliche Buchgesellschaft (WBG).
980:
978:
168:, anchoring point for string at the kakubham
919:
917:
915:
913:
553:Ca. 10th century C.E. Makara or yali on an
495:New Grove Dictionary of Musical Instruments
417:Śārṅgadeva described an instrument made of
997:(2). University of Texas Press: 9–13, 19.
460:and those pressed against the chest were
398:, and fretted vinas (which included the
1019:
1017:
1015:
942:
940:
843:
841:
839:
837:
815:
796:Side view of an eka-tantri vina at the
619:
533:used Śārṅgadeva's work to describe the
471:to a 10th century tube zither from the
906:(1). University of Texas Press: 37–42.
863:
861:
859:
493:The writers for the vīnā entry in the
135:Parts of the vinas from Sarnga Deva's
956:Oneline Musical Education, omenad.net
7:
894:Louise Wrazen (Autumn–Winter 1986).
467:Patrick Kersale applied the label
25:
929:SARASWATHI VEENA(SARASWATI VEENA)
753:Woman playing Eka-tantri vina at
590:, half human, half bird figures.
211:Development of fretted instrument
53:Mukteshvara Temple of Bhubaneswar
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804:. Circa early 15th century C.E.
1:
1066:"Zither - kse diev - ខ្សែដៀវ"
987:"An Introduction to the Vina"
852:. pp. 729–730. Volume 3.
362:The instruments in literature
190:, carved figure on bottom end
1024:Lars-Christian Koch (2015).
378:(written 1210 - 1247 AD) by
131:Parts of the eka-tantri vina
1117:
1086:Indian musical instruments
1030:Archäologie in Deutschland
1091:Gourd musical instruments
240:Sarasvati with a fretted
71:, a type of tube zither.
605:water monster's or the
527:Bharatiya Sangeet Vadya
386:According to Śārṅgadeva
55:, ca. 10th century C.E.
558:
484:Indian classical music
552:
224:Saraswati holding an
925:"Varieties of Veena"
428:In comparison, the
246:, with an apparent
798:Hazara Rama temple
755:Ambika Mata Temple
715:Stone Made Parvati
699:Stone Made Parvati
657:Saraswati with an
559:
444:Modern researchers
27:Musical instrument
1064:Patrick Kersale.
1049:Patrick Kersale.
877:National Security
425:might be carved.
376:Sangita Ratnakara
301:Sangita Ratnakara
110:harp-style veenas
16:(Redirected from
1108:
1070:
1069:
1061:
1055:
1054:
1051:"Fretted zither"
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958:. Archived from
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599:eka-tantri vinas
458:eka-tantrī vīṇās
392:eka-tanktri vina
271:
237:
221:
201:Identifying the
156:the body or tube
108:it replaced the
64:
45:
21:
18:Eka-tantri veena
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555:Eka-tantri vina
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507:eka-tantrī vīṇā
450:eka-tantrī vīṇā
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415:eka-tantri vina
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364:
338:eka-tantrī vīṇā
331:eka-tantrī vīṇā
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93:was a medieval
90:eka-tantrī vīṇā
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79:eka-tantri vina
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69:eka-tantri vina
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49:Eka-tantrī vīṇā
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34:Eka-tantrī vīṇā
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962:on 2008-09-08
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828:rudravina.com
825:
824:"The History"
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595:alapini vinas
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462:ālāpiṇī vīṇās
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438:Khadirah wood
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419:Khadirah wood
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1101:Tube zithers
1059:
1033:
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1006:
994:
990:
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964:. Retrieved
960:the original
955:
932:
928:
903:
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876:
849:
827:
818:
714:
698:
659:alapini vina
631:Pinaka veena
613:
598:
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585:
583:
560:
554:
538:
534:
525:In his book
524:
518:
515:kinarri vina
514:
511:Kinarri vina
510:
506:
503:ālāpiṇī vīṇā
502:
499:ālāpiṇī vīṇā
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454:ālāpiṇī vīṇā
453:
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430:alapini vina
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414:
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408:kinnari vina
407:
404:kinnari vina
403:
400:alapini vina
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391:
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372:Bharata Muni
365:
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347:kinnari vina
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309:alapini vina
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297:kinnari vina
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289:ālāpiṇī vīṇā
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279:Kinnari vina
278:
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243:kinnari vina
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106:kinnari vina
102:alapini vina
89:
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68:
48:
33:
991:Asian Music
900:Asian Music
520:rudra veena
497:called the
478:pinaka vina
473:Pala Empire
368:Nāṭyaśāstra
256:rudra veena
180:, resonator
166:Naagapaasam
95:tube-zither
1096:Monochords
1080:Categories
966:2007-10-27
810:References
614:Eka-tantri
535:Eka-tantri
509:and later
380:Śārṅgadeva
305:Śārṅgadeva
114:rudra vina
567:Saraswati
545:Symbolism
469:ekatantri
144:Biradaalu
137:Ratnakara
587:kinnaras
575:Paravati
571:Nataraja
413:For the
402:and the
374:and the
311:and the
277:, 1876.
174:, bridge
160:Kakubham
579:Krishna
194:Kramica
172:Patrika
603:Makara
569:, and
539:patuli
488:jivari
275:Madras
248:makara
188:dorika
150:Dandam
118:ektara
873:(PDF)
802:Hampi
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