KOCHI: The air is filled with the rhythmic chiselling of tools. The scent of paint and polish wafts out of an old building tucked away at the end of a narrow street, a few kilometres away from the famous Thanjavur temple. As we get closer to the building, a handful of craftsmen are seen immersed in their work – in the courtyard, a man is cutting big chunks of wood into small pieces; inside the hall, elderly artisans, each in their eighties, sketching out Goddess Saraswati on a round wooden plaque, and the rest is focused on the final polishing touches.
A small room adjacent to the workshop showcases a collection of veenas — both finished and in progress — neatly lined up. The walls are adorned with framed photographs of deities and several certificates of achievement.
Prominently displayed is a photo of the man who earned acclaim for his exceptional craftsmanship. He has received numerous district and state awards in recognition of his contributions to the art of handcrafted Thanjavur veenas, which found a place in the Geographical Indication Registry in 2013.
Donning a green lungi and a white banyan, V Chinnappa, the man in the photograph is holding an unfinished veena. He has been into veena-making for the past 40 years. His family’s legacy in this craft dates back a century when his forefathers settled in Thanjavur and began perfecting the craft. Over the generations, this cherished tradition was handed down. While once many families were engaged in this revered work, today only around 100 artisans continue to carry on the tradition.
Art of making veena
The Thanjavur veena or Saraswati veena, which is mostly used in South India, is different in appearance from the Rudra veena, usually seen in the Northern part of the country. The main parts of a veena consist of a peg box (with birdas), a fingerboard (dandi) and a main resonator (kudam). Each veena is made from jackwood which is carved, shaped, polished and finally assembled. These types are called joint veenas which are most commonly used by veena artists (vainikas).
The Thanjavur handcrafted veena stands out from the rest for its wood and sound quality. “The wood used for making veena should be at least more than 30 years old, the older the wood the better the sound quality,” says Chinnappa. He has been running three workshops in the district, managing a few dedicated workers. Earlier, tonnes of wood had been procured from Thanjavur itself but now it is mainly sourced from Panruti near Neyveli in Cuddalore district.
“Jackwood from Panruti is of the best quality as it has less fibre content when compared to the ones we get in Kerala. The wood is then cut and carved into different parts. Every stage of the process, including the final artwork, is carried out by skilled artisans. In the final phase, the pieces are assembled into a complete veena, ready for sale,” says Chinnappa.
The price of a joint veena at Chinnappa’s workshop starts at Rs 29,000 and sometimes it may go up to Rs 1 lakh, depending on the quality of the wood used in its making.
According to Chinnappa, it takes around 25 days to finish the work of a single veena. Whereas, an ekanthaveena, the one that is carved out of a single log of wood (sometimes even 150-200 years old) which weighs around 2 tonnes, requires around 40 days to finish. Therefore, the price is a bit higher and comes to around Rs 40,000-1,00,000. The cost may vary depending on the artwork on the kudam (main resonator) and other parts of the instrument.
Keeping a tradition alive
Chinnappa knows all the intricate work involved in the great heritage of veena-making. “We may not be formally educated, but we’ve worked in this craft for many years. We don’t play the veena, but we know how to tune it. Our expertise comes from listening and practicing, passed down through generations. The knowledge has been passed on to our generation by our forefathers and we are trying to keep this tradition alive,” says a proud Chinnappa.
Chinnappa has been supplying veenas to customers both abroad and across major Indian cities, including Bengaluru and Hyderabad, as well as to dealers in Kerala. He also counts a number of high-profile veena artists among his clientele.
“Nowadays, Madhura veenas are in high demand because they are convenient and frequently used in music concerts,” Chinnappa notes. His son, a graduate, is assisting with online marketing to help expand their reach.
Challenges ahead
Chinnappa, now 63, is worried a lot about carrying on this work and passing it on to the next generation. He says the community of artisans making these melodious instruments are struggling to meet ends.
“My periyappa (uncle) is now 86 years old. He, along with my father and his younger brother, has been into veena-making for more than half a century. The upcoming generation is not so keen to take up this work as they see it unprofitable. The work of a single veena involves the labour of many skilled artisans as each part is made exclusively. The daily wages for these artisans range from Rs 500 to Rs 1,000, and we also face a monthly rent of Rs 20,000 for this old building,” says Chinnappa.
Managing the cost of wood, paying workers, and covering workshop and house rents have been challenging for Chinnappa. Despite these difficulties, he finds satisfaction in preserving the tradition passed down through generations. He hopes for support from the state government to help keep this valuable craft alive
Additionally, the members also demand a larger workspace as they find it difficult to store huge wood pieces away from humid conditions.
“We have been requesting the Tamil Nadu government to provide us with a better place or make arrangements to do our work without any hassle. Though some of the political leaders paid a visit to our workshops after we won a few awards, they haven’t responded to our requests so far. We expect immediate intervention from the state government so that we can carry on our work with pride,” adds Chinnappa.
Call for government support
This is not the lone story of Chinnappa. He is just a representative of many artisans who are involved in the work in and around Thanjavur, and Kumbakonam facing similar struggles. Many of these ageing craftsmen are deeply rooted in their traditional skills and lack the expertise for other types of work.
They live in rundown buildings on narrow streets, enduring poor living conditions while trying to make ends meet. Their earnings are modest, and they often face exploitation by middlemen who buy veenas at low prices and resell them at significant markups.
“We are not entitled to any kind of pension or financial assistance, we pin our hopes on the government. We deserve better living conditions and aid to preserve the craft with dignity and honour,” says Chinnappa.