THANJAVUR: The rhythmic sound of wood being chopped fills the air near the entrance of the centuries-old Sivaganga Park, adjacent to the Thanjavur Big Temple, piquing the curiosity of visitors from far and near. A closer look reveals workers carving mace-like structures from wooden logs.
These artisans, members of the Thanjavur Veenai Workers Welfare Association, are preparing the wood for crafting the Thanjavur veenai, a string instrument. The renowned Thanjavur veenai (veena), which is being made in the historic city — the capital of the imperial Chola kings — received Geographical Indication (GI) certification in 2013. The present structure of the Thanjavur veenai was designed by Thanjavur Nayak King Raghunatha Nayak (1614-1632).
“Raghunatha Nayak, who wrote a treatise on music titled “Sangeetha Sudha”, was adept at playing the veena. He was an expert in playing the Vipanchi veena. Raghunatha Nayak modified the veena used in his time, creating the version we now recognise as the Thanjavur veenai,” says historian Kudavayil Balasubramanian.
Highlighting the uniqueness of the Thanjavur veenai, former principal of Tiruvaiyaru Government Music College and veena teacher Rama Kausalya explains, “The structure of the Thanjavur veena itself is unique. Until Raghunatha Nayak’s time, the frets on the fingerboard (thandi) were movable, similar to those on the sitar today. He introduced fixed frets and increased their number to 24.”
She adds the veena designed by Raghunatha Nayak also has a distinctive shruti. The Thanjavur Musical Instruments Workers Cooperative Cottage Industrial Society Limited, which applied for the GI certification, stated in its application that the craftsmanship involved in making the functional resonator (Kudam) is unique to the Thanjavur veena, distinguishing it from other veenas.
The Thanjavur veenai is made from the wood of jackfruit tree. “We use jackfruit wood because it can withstand extreme temperatures. Musicians use the veena in the US, where temperatures can drop below freezing, and in Middle Eastern countries, where extreme heat prevails,” says M Narayanan (75), a fourth-generation Thanjavur veenai maker. “Earlier, we sourced wood from nearby places like Gandarvakkottai, Pudukkottai, Vaduvur, Aranthangi and Marungulam. However, as trees in these areas were cut without being replanted, we now procure wood exclusively from Panruti,” Narayanan adds.
T Gunasekaran (51), another fourth-generation veena maker, elaborates on the preference for Panruti jackfruit wood. “The soil in delta districts is loose, resulting in trees with a smaller girth compared to those in Panruti. Additionally, farmers in Panruti replant saplings immediately after cutting mature trees, ensuring a sustainable supply. These saplings mature in five years and are then ready for harvesting,” he explains.
At Sivaganga Park, workers use axes to cut and shape the tree trunks into a mace-like form with a solid half-round head. These are then taken to artisans’ workshops.
“Once, veena-making artisans lived exclusively on South Main Street (near the Big Temple) and its bylanes, including Nanayakkara Chetti Street and Javuli Chetti Street. Due to space constraints, they now reside in areas like South Main Street, Srinivasapuram, Reddypalayam, and East Main Street," says Narayanan, a recipient of Tamil Nadu’s Vaazhum Kaivinaignar Pokkisham (Living Artisan Treasure) award.
Once the wooden log is shaped, artisans hollow out the half-round head to create the resonator. Similarly, they carve a groove along the fingerboard to fit the 24 frets and strings. Based on the main body of the veena, it is classified as either Ekanta or Sada veena. In an Ekanta veena, both the resonator and fingerboard are made from a single piece of wood, whereas in a Sada (ordinary) veena, they are made separately and then joined.
The resonator and fingerboard are then adorned with intricate carvings, often depicting deities such as Saraswati and Ashtalakshmi. “We customise the designs based on buyers’ preferences. We've even engraved the image of Jesus on request,” says Narayanan.
Earlier, inlays around the resonator and fingerboard were made of ivory and stag horn, but due to ban on these materials, artisans now use ivory plastic. Some buyers prefer carvings instead of inlays. After securing the frets along the fingerboard with a wax base, artisans attach the metal strings.
The veena has seven strings: four main strings for playing melodies and three auxiliary strings that enhance depth and resonance.
The cost of a veena varies depending on its type, the intricacy of carvings, and whether inlays are used. An Ekanta veena is more expensive than a Sada veena, which is made from three separate parts. Similarly, a veena with elaborate carvings costs more due to the additional craftsmanship involved.
In earlier times, a single artisan would craft an entire veena, taking about a month to complete one. “Now, to meet demand and compensate for the shortage of skilled workers, the work is divided among three or four people,” says Narayanan. Previously, buyers had to wait upto six months to receive a veena, but today, with the help of three assistants, Narayanan produces three to four veenas per month. In Thanjavur, an estimated 50 veenas are made every month.
“There is a shortage of skilled artisans. Many carpenters prefer construction work, which offers higher wages. Moreover, mastering veena-making requires years of practice," Narayanan explains. This scarcity of craftsmen comes at a time of increasing demand, as more people are learning music. "Previously, only one community dominated the music landscape. Now, people from diverse backgrounds are eager to learn, leading to higher demand,” he adds.
There was a time when musicians visited veena makers to place orders. Now, most purchase it from retailers, though a few still prefer buying the instrument directly from artisans.
Retailers sell veenas for anywhere between Rs 35,000 and Rs 60,000, including their margin. Buyers who purchase directly from artisans pay slightly less than retail prices.