Veena - the divine instrument

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Follow us:WhatsappFacebookTwitterTelegram.cls-1{fill:#4d4d4d;}.cls-2{fill:#fff;}Google NewsAmong the innumerable musical instruments of the world, the Indian veena stands as an instrument with an ancient past, dating back to the Rig Veda age (3500 – 2500 BC). Certainly, it occupies the first place in the list of ancient instruments, among the venu and mridangam. It is interesting to note that the shape of the primitive veena was curved like the body of the bamboo bow.It is also indicative that in Vedic literature, different kinds of veenas have been mentioned and most post Sangeetha Rathanakara writers of music have described the characteristics of different kinds of veena in their works.Music lovers in South India should be interested to know that the Kudimiyan Malai inscription near Pudukottai mentions the Sapta Thanthri (seven strings) Veena, during the Pallava Kingdom.The Indian veena has always been considered an instrument of the gods, hence the name ‘Divine Instrument’. The flute is inseparably connected with Lord Krishna and the mridangam is associated with Brahma, Nandhi and even Vishnu. The veena is stated to be a companion of Saraswathi, Narada and Shiva. In fact, the very name of our veena is ‘Saraswathi Veena’. Lord Shiva is also depicted as being fond of the music produced by a veena. He is described as the ‘Veena Vadana Loludu’ by Thyagaraja in his song Mokshamu Galada. In this aspect, Shiva is known as Veena Dakshinamoorthy. Divine Sage Narada’s veena was known as Mahati.It is said that it is not enough if one merely knows to play the veena, he should also know the secrets of the instrument and how it responds to a devoted votary. The question that arises now is that if there are any differences between the veena and the yazh, which are two different instruments. Tamil literature is full of references to veena and yazh.Manickavasagar speaks of veena players and yazh players, sitting on different sides of a hall. A verse starts with the words Masil veenaiyum, maalai madiyamum. However, Silapathikaram concentrates on the yazh, the instrument played by Madhavi.It is interesting to note that there was a royal patronage for the veena. Samudra Gupta was a veena exponent and the Pallava kings were also veena players. From Bharatha Muni to Subburama Dikshitar, we find that the music theory is explained with the aid of a veena, the reason being that musical phenomena like sruthi and gamakas cannot be explained with the help of wind instruments like the flute or nadaswaram. Earlier, all important aspects of Carnatic Music like Swarasthanas, Thala Nirnayas, playing technique and Raga Lakshanas were explained through the medium of the veena alone.It is a well-known fact that Dikshitar was a great votary of the veena and was a Vainika-Gayaka. His two brothers were also great exponents of music. The 20th century produced many illustrious maestros from different parts of South India like Vijayanagaram, Mysore, Tanjore and Trivancore who developed their own styles of play.It is evident that the unique musical instrument veena, which traverses many centuries from the Rig Vedic period to present day, is perennial and celestial. Naturally, the veena is an instrument par excellence of the Indian music and is a true symbol of Indian culture.first published:August 13, 2012, 08:58 ISTlast updated:August 13, 2012, 08:58 IST
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Among the innumerable musical instruments of the world, the Indian veena stands as an instrument with an ancient past, dating back to the Rig Veda age (3500 – 2500 BC). Certainly, it occupies the first place in the list of ancient instruments, among the venu and mridangam. It is interesting to note that the shape of the primitive veena was curved like the body of the bamboo bow.

It is also indicative that in Vedic literature, different kinds of veenas have been mentioned and most post Sangeetha Rathanakara writers of music have described the characteristics of different kinds of veena in their works.

Music lovers in South India should be interested to know that the Kudimiyan Malai inscription near Pudukottai mentions the Sapta Thanthri (seven strings) Veena, during the Pallava Kingdom.

The Indian veena has always been considered an instrument of the gods, hence the name ‘Divine Instrument’. The flute is inseparably connected with Lord Krishna and the mridangam is associated with Brahma, Nandhi and even Vishnu. The veena is stated to be a companion of Saraswathi, Narada and Shiva. In fact, the very name of our veena is ‘Saraswathi Veena’. Lord Shiva is also depicted as being fond of the music produced by a veena. He is described as the ‘Veena Vadana Loludu’ by Thyagaraja in his song Mokshamu Galada. In this aspect, Shiva is known as Veena Dakshinamoorthy. Divine Sage Narada’s veena was known as Mahati.

It is said that it is not enough if one merely knows to play the veena, he should also know the secrets of the instrument and how it responds to a devoted votary. The question that arises now is that if there are any differences between the veena and the yazh, which are two different instruments. Tamil literature is full of references to veena and yazh.

Manickavasagar speaks of veena players and yazh players, sitting on different sides of a hall. A verse starts with the words Masil veenaiyum, maalai madiyamum. However, Silapathikaram concentrates on the yazh, the instrument played by Madhavi.

It is interesting to note that there was a royal patronage for the veena. Samudra Gupta was a veena exponent and the Pallava kings were also veena players. From Bharatha Muni to Subburama Dikshitar, we find that the music theory is explained with the aid of a veena, the reason being that musical phenomena like sruthi and gamakas cannot be explained with the help of wind instruments like the flute or nadaswaram. Earlier, all important aspects of Carnatic Music like Swarasthanas, Thala Nirnayas, playing technique and Raga Lakshanas were explained through the medium of the veena alone.

It is a well-known fact that Dikshitar was a great votary of the veena and was a Vainika-Gayaka. His two brothers were also great exponents of music. The 20th century produced many illustrious maestros from different parts of South India like Vijayanagaram, Mysore, Tanjore and Trivancore who developed their own styles of play.

It is evident that the unique musical instrument veena, which traverses many centuries from the Rig Vedic period to present day, is perennial and celestial. Naturally, the veena is an instrument par excellence of the Indian music and is a true symbol of Indian culture.