P.

 HARIHARA IYER, Thiruvananthapuram

VEENA− The Sacred Musical Instrument

P. HARIHARA IYER
Veena Vidwan
Thiruvananthapuram

We have seen many musical instruments, in many shapes and forms. Each of them
has some peculiarity in the sound produced and the effect of that on the listener. Some
are recent, some relatively new and some ancient. Veena is one of the ancient Classical
instruments that is recently loosing its importance in South Indian Music. However, it is
still revered as a Divine instrument. I am sure that the readers have had the opportunity
to see a Veena and know the parts of it. This article is an endeavour to understand the
sacredness from the facts related to Veena, its sound and Vainikas, from various sources.

THE INSTRUMENT & DIVINITY

Temple paintings and scriptures show that most of the Hindu pantheon of Gods and
Goddesses are associated with Veena in one form or other. Goddess Saraswathi−Deity of
Education and Art− holding Veena (Kachapi with 7 strings), Books etc. is the first example
of sacredness of this instrument. Lord Siva is said to have Veena Analambi (with one
string). Some texts say it is pinaka. Lords Ganesa, Dakshinamoorthy, Hanuman, Lakshmi,
etc. are also shown in pictures and sculptures of certain temples with Veena in one of its
forms. Sage Narada used a Veena Mahati with 4 strings, Thumburu used Bruhathi and
Viswavasu used Veena named Kalavathi.

Vedas describe Lord Siva with 5 faces (Pancha Vakthra) namely Sadyojatha,
Vamadeva, Aghora, Thatpurusha and Esana. Of them Esana is described as facing
upwards and is the progenitor for all musical instruments.

There is a saying in some books that Veena was first made by the Creator Brahma
and given to Goddess Saraswathi (His wife) and to his Son Narada. The latter brought it
to Earth and popularised. Sangeetha Makarandam by Sage Narada says about two
veenas− Deivi Veena or Gatra Veena and Daru Veena or Manushi Veena. The human
body a creation of God is conceived as a Veena, i.e., Gathra veena and shown as divided
into various parts. Nabhi, Hrud, Kanta, Rasana etc. passing through which ultimately the
sound comes out. This is Deivi veena or Gathra veena. When the veena is of wood, it is
Daru veena or Manushi veena−meaning created by man−with parts made in wood
corresponding to those mentioned above. In certain books, there are also some pictures
showing the comparison of veena and its various parts with that of a man and his various
organs inside the body.

Parts of Veena are said to represent various Gods. Sangeetha-ratnakara of

Sarangadeva says:−

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 P. HARIHARA IYER, Thiruvananthapuram

Seeing or touching the Veena takes away the sins like Brahmahatya and gives
Swarga (heaven) and Moksha (Salvation). Veena Danda represents Siva, strings Uma,
shoulder Vishnu, pathrika (bridge) Lakshmi, Gourd Brahma, Nabhi (navel, Meru)
Saraswathi, Doraka (connecting wires1−the portions of Danda with gourd and Vyali)
Vasuki, Jeeva Moon and Sarika (pegs or frets) Sun. All these parts are Gods and
Goddesses and so capable of giving all auspiciousness (prosperity).

Veena can be said as Gayatri Veena in one aspect that the present veena contains
24 frets as 24 letters of Gayathri Mantra. The 24 frets are said to correspond to the 24
letters of the Mantra. Hence certain people say that it is Gayathri veena.

Even the wood usually used for the construction of the Veena, Jackwood, is
considered a sacred one. This may be one reason that in Northern Kerala many Manas
(Ashtagruha) are constructed using Jackwood because of the prosperity that is brought
by the presence of Goddess Mahalakshmi. In fact, Tamil Vedas and works of various
Alwars consider Veena as an incarnation of Goddess Mahalakshmi.

Veena, however old it may be, and whether it is being played or not, is usually kept
in tact and worshipped during Navarathri Pooja. Veena is not a mere instrument and
woodwork2.

The sacredness of veena is described by Ranga Ramanuja Iyengar3 as follows:−

“The Veena is credited with so much sanctity that Yajur Veda about 4000 years ago
declared that a debased Philistine Outcast can enter a holy sacrificial ground if he has a
Veena in his hand.”

THE MUSIC OF VEENA

Devotion to God (Bhakti), the ancient contribution of India, is said to be in 9 forms
in texts like Bhagavatam (Navavidha Bhakti). They are Shravanam, Keertanam,
Smaranam, Padasevanam, Archanam, Vandanam, Dasyam, Sakhyam and
Atmanivedanam. Of these, the second one, Keertanam, is singing in praise of God.
Keertanam or Gaanam is praised as the most powerful path in the sloka

1
Earlier, this was made of wood and later on it was substituted with ivory joints. Now, plastic sheets are
also used.
2
I remember an incident that happened during my childhood. One veena tutor took a newly made Veena
to his student’s house who was a house-wife. The student was shocked to hear the price as Rs.40/-. She
was not prepared for the high price and made a remark that buying firewood for that money would have
been much more beneficial. The teacher advised her to avoid using bad remarks about Veena and
suggested that she could buy one whenever she could afford. Unfortunately, that night the house caught
fire and the family faced a considerable loss. Such is Veena’s Divine power!
3
Ranga Ramanuja Iyengar, “History of South Indian (Karnatic) Music” 1972

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 P. HARIHARA IYER, Thiruvananthapuram

Further, the music of the instrument, Veena has a prestigious place in the 3
subdivisions of music, the other 2 being Gaanam and Nritham.

Saint Thyagaraja has sung in his famous composition Mokshamu Galada4 as

“Veena vadanaloludou Siva mano” meaning that Lord Siva is residing in the mind of
Veena player. There is also another interpretation that Lord Siva is immersed in playing
sama gana on veena. Those who are not aware of this fact cannot attain salvation.

There are many stories in Puranas and also facts in Smritis that relate Lord Siva and
Veena. In olden days, Veena playing was arranged as a part of temple rituals in prayers,
especially in Siva temples, like Vaikom, Ettumanur in Kerala. My grandfather, late
Suchindram Padmanabha Bhagavatar, was fortunate to have entrusted with such a boon
in Vaikom Mahadeva temple from 1886 for some years. Subsequently, late Vaikom Kittu
Bhagavatar5 and Krishnanmuthadhu and others continued for some years and it was
stopped. Recently, a Deva prasnam conducted in this temple suggested that the Veena
music should be continued and is restored now6.

It is well known that in Ramayana, Ravana obtained Lord Siva’s grace by pleasing
him with Veena music. Ravana was so fond of the instrument that his flag was painted
with the picture of Veena. In Uthara Ramayana, Lava and Kusha, sons of Lord Rama,
sang the entire Valmiki Ramayana with the accompaniment of Veena in the court of Lord
Rama during Aswamedha.

Yoga Connection:− The sound of Veena is related to even yogic experiences. A yogi
through his Sadhana is able to ascend the Kundalini from the Mooladhara Chakra to the
6th Sahasrara Chakra. It is written in texts that such yogis hear Veena sound and the
ringing of bells7 at the 3rd Chakra and beyond that no sound. But the next stage below
that, it is said that one hears the sound of flute and even below that is the sound of
Conch, Cymbals and the Mrudangam.

It is said in olden books that when Aswamedha conducted, Kings used to listen to
Veena playing of two Vainikas and to the singing of one woman in the Yaga mandapa.
The conviction is that he regains all the wealth and prosperity lost while conquering
countries. The significance is that Veena is Goddess Mahalakshmi – Goddess of prosperity
and the sound coming out of it is prayer to God.

The influence of Veena in Carnatic Music is beyond measure. It is even said that
Classical music is developed based on Vainika Sampradaya. Great Composers like
Muthuswamy Deekshitar, Thyagaraja swami, Maharaja Swathi Tirunal, Vina Kuppaiyer,
Pachimiriyam Adiyappayya8 etc. were great Veena players.

4
In Saramathi raga
5
Father of Flute vidwan Sri Sivaramakrishna Iyer, Thiruvananthapuram
6
Private communications with Sri Vasudevan Moothathu, owner of Kailash Lodge, South gate, Vaikom
7
It may be noted that we use incense sticks, bells, camphor etc. during poojas to represent the yogic
experiences. They create a holy feeling in our mind. Similarly, the Veena nadam creates a holiness or
divinity in feeling and thoughts.
8
Pachimiriyam Adiyappayya is the composer of the celebrated Ata thala varnam “Viriboni” in Bhairavi
raga and is believed to have systematised the concert pattern with Ragam, Tanam and Pallavi

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In olden days, the marriage conducted by Brahmins was used to start by

constructing a Pandhal. There was a religious ceremony called `Muhurtha Kaalnaattu’ in
which an auspicious wooden pillar with flower decorations was installed and one
gandharva is supposed to be seated there by means of avahana (calling). For pleasing
him, music concerts including Veena playing is usually arranged as a sacred ceremony.
Similarly, in Brahmin customs, when a lady is pregnant, there is a religious ceremony
called `Pumsavana Seemantham’ usually conducted after the 3 rd month of pregnancy.
One of the religious ceremonies is Veena recital with the objective that the child in the
mother’s womb should listen to it. It is believed as a sacred action9.

I remember two incidents now. One listener, after listening to a veena performance
expressed that he felt like going to temple after bath10. Another gentleman after listening
to a veena concert said that his fever, headache etc. dis-appeared and felt completely
energetic11. I fully believe that it was due to the divine power of veena!

Present day veena has 7 strings. Of them, 4 strings are used for producing the
swaras (notes) and the 3 strings are used for the rhythm (laya, thala)12. The concept of
“Sruthi matha, Laya Pitha” is brought together well in veena. Further, veena is specially
praised for the rendering of Thanam, with syllables Aanandam and Anantham, which
represent eternal bliss. It is quite appropriate that these aspects find their place in this
sacred instrument. It is needless to mention, since it is an accepted fact, that all the
various gamakas or graces of South Indian Classical music can be produced well or
demonstrated with veena13. An exception is the gamaka “Mudritha” which is peculiar to
Vocal music.

An interesting remark by Popley14 is worth-mentioning here. After describing the

South Indian Classical music and its peculiarities, the author goes to the extent of stating
that those who have not heard the veena playing of experts have no right to give final
judgement on Indian music itself!

9
The story of Prahlada, while he was in his mother’s womb, hearing the greatness of Narayana narrated
by Sage Narada is relevant.
10
Veena was played by my father, late Parameshwara Bhagavatar at Judge K. G. Seshayyar’s house. The
remark was by Natarja Sharma, son of the latter and father-in-law of Bombay Veena expert Kalyani
sarma.
11
This incident happened in one of my concerts. During a wedding at Chembai Memorial Hall,
Sreevaraham, Thiruvananthapuram, one gentleman was listening seriously in the front row throughout
the concert. After the concert he approached me and said that in the beginning he was not in a mood to
listen due to fever, headache etc. But, after listening to it he felt that not only the fever, headache etc.
disappeared but he felt completely energetic also as before.
12
The three strings serve as rhythm during rendering of songs. At the same time striking them during
Raga and Thana serve as Sruthi.

Readers may remember the lines “veena gana dasa gamakakriye” in “meenakshi me mudam” by Sri
13

Muthuswamy Deekshithar.
14
H A Popley, `Music of India’, p.107

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VAINIKAS
All of us have heard of Nada yogi Muthuswamy Dikshitar. He was certainly a Vainika
and Gayaka of supreme quality15. As instructed by his teacher Chidamabara-natha yogi,
he took a dip in the Ganges thinking of his favourite instrument and he got a Veena as
boon. We may recall the well-known story that Sri Muthuswamy Deekshithar attained
salvation while listening to the song Meenakshi Memudam.

It can be seen in history that most of the rulers placed Veena and Vainikas at high
status. Many vainikas adorned the royal courts. One incident16 connected with the
eminent Vainika named Sambanna of Mysore17 is like this. King of Mysore had held him at
high esteem. Sri Sambanna was such a vidwan that Goddess Saraswathi herself would
be present and dance while he was playing on the veena. Some court musicians
overheard this sound of bells and misunderstood that Sri Sambanna was keeping a lady.
They informed the King about this and Sri Sambanna received a cold reception in the
royal court for some days. But subsequently, King himself personally verified, who
listened to Sambanna’s veena play at his residence inabsentia, and understood the
sacredness of his Veena playing. Thus Sambanna’s respect was restored.

Sri Sangameswara sastri (1874-1931) was a great veena expert of Andhra Pradesh
and an ardent devotee of Goddess Lalitheswari. He played veena by holding it vertically.
By virtue of his hectic incessant daily practice, he possessed a high degree of perfection
on the instrument. Sri Rabindranath Tagore, the great poet, got very much fascinated by
Sastri’s veena and took him to Santhiniketan, Calcutta. Sri Tagore enjoyed the aesthetic
pleasure of Sastri’s veena recital for some months, greeted him with presents and sent
him back along with two persons to learn veena under him. Later, during his last days, Sri
Sasthri realised that his end is approaching and breathed his last while playing
Anandabhairavi raga on the veena. Very sacred soul indeed!

Veena playing gives the vainika a pious, peaceful and healthy life and ultimately a
peaceful passing away of soul also.

CONCLUDING REMARKS
Here I have presented whatever available limited knowledge acquired by me
through tradition and external sources related to the Veena, the art of Veena playing and
the Life of Vainikas. Certainly, there could be much more to be found out in Scriptures
and the life history of many greats that undoubtedly establish the divinity of this
instrument. Since I myself had some divine experiences connected with Veena playing in
my life, I consider this as a good endeavour and opportunity as God’s boon to recollect
the sacredness of the instrument that was passed on to me by my ancestors. Before
concluding, I would like to remember the Yagyavalkya smrithi:

15
Sri Deekshithar is admired as a Vainika Gayaka as he has written in his composition Balagopala in
Bhairavi raga..
16
Heard from my grandfather, Suchindram Padmanabha Bhagavathar
17
Some books say as Sambaiya

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Meaning, one who is well-versed in veena playing with the principles contained in it
and who has mastered sruthi, jathi(raga) and laya (rhythm) attains salvation easily. That
is the sacredness of the Veena!!

SUGGESTED READING
1) N. Maheswari Devi, “Veena tutor”, Indian Music Series No.2, 1935.
2) H. A. Popley, “Music of India”, 2nd Edition, Calcutta 1950.
3) C. S. Anantha Padmanabhan, “The Veena−its Technique, Theory and Practice”, 1954.
4) P. Sambamoorthy, “Great Musicians”, 1958.
5) P. Sambamoorthy, “The History of Indian Music”, 1960.
6) K. V. Santhanagopalachariar, “Vedame Ramayanam”, Golden Jubilee Souvenir, Sree
Seetharama Bhaktha Sabha, Thiruvananthapuram, 1968.
7) L. Muthiah Bhagavathar, “Sangeetha Kalpadrumam” (1947) (Malayalam translation by State
Language Institute, Thiruvananthapuram, 1977).
8) Rangaramanuja Iyengar, “History of South Indian (Karnatic) Music”, 1972.
9) S. Subramoniam, Thesis, Asian Music Journal, vol. XIV-2, Society for Asian Music in Canada,
1985.
10) G. N. subramoniam, “The Veena”, 1993.
11) M. Sambasivan, “Veena”, Sree Swathi Thirunal Sangeetha Sabha, Thiruvananthapuram,
Souvenir Sept. 1997.

ABOUT THE AUTHOR

P. Harihara Iyer was born in Thiruvananthapuram on
10th December 1932. He started learning veena at the age of
7 under his father−the veena maestro of erstwhile
Travancore− Parameswara Bhagavathar. He had also training
under his paternal grandfather Sucheendram Padmanabha
Bhagavathar and brother Padmanabha Sarma. Harihara Iyer
started performing veena concerts at the age of 15 along
with his father. For more than 5 decades, he has been
entertaining the audiences both inside and outside the state through the unique
traditional style of veena playing at venues numbering above 250. As a dedicated tutor
of veena he has a great number of students to his credit. He regularly writes about veena
and music and gives lectures at different seminars and meetings. Harihara Iyer is a
performing veena artist B (High) grade of All India Radio, TVM. He is a Mathematics
graduate from Travancore University and a retired employee of Life Insurance
Corporation of India, TVM. Harihara Iyer considers himself as a student of Music and
keeps Veena as part and parcel of his life.

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