Musical instruments in Sangīta Darpaṇam of Catura Damōdara with special focus on Vīna

Paper presented by Dr PN Prabhavathy, Assistant Professor,

School of Kalāyoga, Chinmaya Vishwa Vidyapeeth, Cochin, Kerala
______________________________________________________________________________
Keywords: Sangita Darpanam, Vadya, Music, Vina, Instrumental music, Catura
Damodara
Abstract
This work aims to bring to light, a part of the text Sangīta Darpaṇam that enumerates and
explains the different vādya-s (musical instruments), its classifications, modes of playing them
and the like. In music, Sangeeta Ratnakara of Sarngadeva (1200 AD) collected and presented in
clear terms the practice and theory available from the best traditions and ancient textsi. Sangīta
Darpaṇam selectively gathers useful and clearly intelligible information from Sarngadeva as well
as his predecessors and successors and presents it in simple and clear language. He has omitted
some of the instruments and explanations in Sangita Ratnakara but have added a few which were
relevant to his time and place.
Introduction
At the onset of this work, a few editions and translations of Sangīta Darpaṇam were reffered, one
of them being the text and commentary of the first two chapters of Saṅgita Darpaṇa, first
published in 1881 by Śaurīndra Mōhana Ṭhākura in Kalkattaii. However the current study relies
primarily on the edition published by Tanjore Maharaja Serfoji’s Sarasvati Mahal Library.

The fifth chapter of Sangita Darpanam deals with musical instruments. It is interesting however
to note that the Tāl̥ a adhyāya (chapter on rhythm) comes after the Vādya adhyāya. The author
gives ample reference to various instruments while importance is given to the popular
instruments then in use, namely Vīṇa and Mridangamiii. This study includes the enumeration of
different musical instruments by Damodara with special focus on the different types and
structures of the Veena
Method of study
The relevant verses from the fifth chapter of Sangīta Darpaṇam, vādya adhyāya are presented in
transliterated form. Interpretatopn of the verses with its meaning and comments wherever
necessary.
Catura Damodara
Catura Damodara Pandita lived about the 16th century. He belong to a family versed in music and
literature. His father Lakshmidhara has authored ‘srutiranjini’, the renowned commentary on
Jayadeva’s Gita Govinda. Damodara acquired scholarship in music and dance and was well
versed with the theory and practice of music of the south and north of the country. He was
patronised by the Mughal Emperor Jahanghiriv. Some attribute the prefix ‘Catura’ to Damodara’s
name be a title of honour. However it could indicate a family lineage also. Catura Damodara,
…..was probably a descendant of Kallinatha, the commentator on Sarngadeva and was attached
to the court of Jahangīra (1605-1627 AD)v
gītam nirūpitam tacca vādyādīnāmatō mayā |
vādyam nirūpyatē gītanrutyayoranurañjanam || 532 ||
Meaning: I have already mentioned about gītam and vādya-s. Now I shall explain the vādya-s
(instruments) that make music and dance enjoyable.
Comment: Here Damodara while acknowledging the existence of a variety of instruments,
expresses his intention to concentrate upon those that predominantly accompany dance and vocal
music (during his times) namely mrdangam and vīṇa.

caturvidhantat kathitam tatam suśirameva ca |

avanaddham khanañceti tatam tantrīgatam bhavet || 533 ||
Meaning: The four types of vādya-s are tatam, suṣiram, avanaddham and ghanam. Tata vādya-s
are tantrīgatam (stringed)

vīnādi suśiram vamśam kāhal̥ ādi prakīrttitam |

carmmāvanaddhavadanam vādyate patahādikam || 534 ||
Meaning: vīṇa and the like are examples for Tata vādya-s. vamśam (bamboo) kāhal̥ am and the
like are suśira vādya-s (wind instruments). avanaddha vādya-s are carmmavadana (leather
faced). paṭaha and the like are avanaddha vādya-s.
avanaddhantu tat proktam kāmsyatāl̥ ādhikam ghanam |
ghano mūrttissābhighātā vādyate yatra tadhanam || 535 ||
Meaning: the aforesaid are called avanaddha vādya-s. kāmsya tāl̥ ādhikam (bronze and other
cymbals) come under ghanam (metallic instruments). These instruments have a solid structure
and are played by striking on them.
vīṇātu dvividhā prōktā śrutisvaraviśeṣanāt |
śrutivīṇā purāproktā svaravīṇocyatedhunā || 536 ||
Meaning: vīna-s are of two types. sruti vīṇa and svara vīṇa. śruti vīṇa has been explained earlier.
Now I shall explain svara vīṇa.
Ekatantrītu tatrādya nakulaścatritantrikā |
Citrāvīṇā vipañcīca tatasyānmattakokilā || 537 ||
Meaning:
Ālāpinī kinnarī ca pinākī samjñikāparā |
Tantrībhih saptabhihkkāpi druśyate parivādinī || 538 ||
Meaning: Some other vīṇa-s are ālāpinī, kinnarī and pinākī. Parivādinī is a seven stringed vīṇa.
Comment: Parivādinī vīṇa has been mentioned in the ‘Naiṣadha carita’ (21:44) and ‘Māgha’
(06:09)

Vamśah pāvah pāvikā ca mural̥ ī madhukaryapi |

Kāhal̥ ā śrngaśankhādyāh bhedāh suṣiravādyagāh || 539 ||
Meaning: Various suṣiravādya-s (wind instruments) are vamśah, pāvah, pāvikā, mural̥ ī,
madhukarī, kahal̥ ā, śrngah, śankhah and the like.

Paṭaho marddal̥ aścātha huḍukkā karaṭā ghaṭāh |

Ruñjā ḍamaruko ḍhakkā ḍakkulī ḍhakkarī tathā || 540 ||
Trivalī dundubhirbherī nissāṇastumbakī tathā |
Ityādayovanaddhasya bhedā vādyasya kīrtitāh || 541 ||
Meaning (540 & 541): paṭahh, marddal̥ a, huḍukkā, karaṭā, ghaṭah, ruñjā, ḍamarukah, ḍhakkā,
ḍakkulī, ḍhakkarī, trivalī, dundubhih, bherī, nissāṇah, tumbakī are the popular varieties of
avanaddha vādya-s (leather percussions).

Tālītha kāmsyatāl̥ ah syāt ghaṇṭā ca kṣudraghaṇṭikā |

Jayaghaṇṭā tatah kamrā śuktipaṭṭādayastathā || 542 ||
Khanavādyaprabhedāsyu etenye ca nidarśanāt |
Meaning: Tālī, kāmsyatāl̥ ah, ghaṇṭā, kṣudraghaṇṭikā, jayaghaṇṭā, kamrā, śuktipaṭṭā and the like
are varieties of Ghana vādya-s (metallic instruments/cymbals). One can find other types of such
instruments as well.
Comment: The classification of instruments and several varieties of each type have been
mentioned in śloka-s 532 to 542. In the following śloka-s, the varieties of vīṇa-s and other
stringed instruments are mentioned along with some of their technical specifications.
Angulādipramāṇāttu vīṇādaṇdādi nirmitam |
Tantrī kakubhatumbādi lakṣaṇam dhāraṇam tathā || 543 ||
Meaning: The daṇdu (of the vīṇa is made with angula (a unit of measurement equal to finger
breadth or 8 barley cornsvi) adi (etc) pramāṇam (scale). There are 3 parts for a vīṇa. They are
tantrī (string), kakubha (the long wooden part) and Tumba (the pot shaped portion).
Tadvādane ca vyāpāro vāmadakṣiṇa hastayoh |
Vaiṇikādavagantavyam nātraśāstraprayojanam || 544 ||
Meaning: To play the instrument (tadvādane) both left and right hands are used (vāmadakṣiṇa
hastayoh). How to play this instrument is to be learned from an expert (vaiṇikā) and its irrelevant
to explain the playing technique here.
Prakrutissarvavīṇānām eṣāsyādekatantrikā |
Anibaddhāca sā loke brahmavīṇeti kathyate || 545 ||
Meaning: Eka tantrī vīṇa is the base of all vīṇa-s. This is also known as Bhrahma vīṇa.
Sarvadevamayī tasmāt vīṇeyam sarva mangalā |
Tantrīdvayena nakulā syādanvarthā tritantrikā || 546 ||
Meaning:
Tantrībhih saptabhiscitrā vipañcī navabhirmatā |
Koṇāṅgulī vādanena citrā tadvadvipañcikā | 547 ||
Meaning: 7 stringed vīṇa is called citravīṇā (saptabhiscitrā) and 9 stringed vīṇa is called vipañcī
(vipañcī navabhirmatā).

Citrāyāmaṅgulīmātram vipañcyāmubhayam pare |

Tantrīṇāmekavimśatyā kathitā mattakokilā | 548 ||
Mukhyeyam sarva vīṇānām tristhānaih saptabhih svaraih |
Sampanna sā tatonyāstu tasyāh pratyaṅgamīritāh || 549 ||
Meaning (548 & 549): 21 stringed vīṇa is called Mattakokilā. The peculiarity is that this
instrument is self-sufficient with 7 svara-s (saptabhih svaraih) in 3 octaves (tristhānaih). Rest of
the vīṇa-s are divisions of this Mattakokilā
Eṣaiva kīrtyateloke svaramaṇdalasamñjayā |
Ālāpinyekatumbāsyāt danḍasyānnavamuṣtikah || 550 ||
Meaning: Ālāpinī vīṇa has only one kuḍam (Ālāpinyekatumbāsyāt) and the length of the daṇḍu
is 9 muṣṭivii
Karparam nārikel̥ ottham dorako vorikā tathā |
Paṭṭasūtramayī tantrī yadvā kārpāsasūtrakā || 551 ||
Meaning: The pot/kuḍam of this vīṇa is made up of coconut shell (Karparam nārikel̥ ottham) and
the string (dorako) is made up of …….. and silk thread is used to ……….
Raktacandanajān sarvān vīṇādanḍān parejaguh |
Tumbadvayañcasarveṣuvīṇādaṇḍeṣuyojayet | 552 ||
Meaning: Some people opines that the vīṇādaṇḍu can be made up of red sandal wood as well.
Both the pots/kuḍam are joined with the daṇḍu

Ākhāṭisamñayāloke ālapinyeva kīrtyate |

Kinnarī dvividhā lakhvī brihatīca prakīrtitā || 553 ||
Meaning: Ākhāṭī and ālāpinī are the synonyms of the same instrument. Kinnarī vīṇā is of 2 types
(dvividhā). They are Lakhvī and Brihatī.

Vitastitritayamdaṇḍayerdhye mānam pañcāṅgulādhikam |

Ladhvīdaṇḍasya vistāraḥ pañcāṅgula udāḥrutah || 554 ||
Meaning: The length of the daṇḍu of Laghvī vīṇa is 5 angula-sviii
Vitastyabhyadhikādaṇde bruhatī parikīrtitā |
Grudhravakṣesthināl̥ īkā kaniṣtaṇguli sammitā || 555 ||
Meaning:
Lohakāmsyamayī yadvā kartavyā sārikākhyayā |
Madhūcchiṣtena samśliṣtā daṇṭapruṣthe caturdaśā || 556 ||
Meaning:
Caturdaśa svarasthāne sārikā viniyojayet |
Tumbānām tritayañcātra tiryagyojyam tritīyakam || 557 ||
Meaning: 14 sārikā-s are to be fixed according to 14 svarasthana-s. 3 Tumba-s are to fixed and
the third tumba should be faced sideward.
Śiṣtam granthāntareñeyam madhyamāyāmsti kinnari |
Vādanādiprakāropi granthāt vaiṇikaśikṣayā || 558 ||
Meaning:
Ñjātavyo nātra kathitah gurvadhīno yatotrasah |
Pinākī lokato ñjeyā śāstralakṣaṇalakṣitā || 559 ||
Tumbasthitena dhanuṣā vādyate sā vicakṣanaih |
Aṣvapucchasthitairbālaih guṇo vādanadhanvanah || 560 ||
Jānīyāllokatonyāni tatavādyāni tatvatah |

Reference
1. Damodara, Catura. Sangita Darpanam. Ed: Chandrasekharan T. Tanjore Maharaja
Serfoji’s Sarasvati Mahal Library society, Tanjavur 1989
2. Musicresearchlibrary.net
3. Bake, Adriaan, Arnold. Bydrege Tot De Kennis Der voor-indische muziek
4. Apte Shivram Vaman. The Students Sanskrit English Dictionary, Rashtriya Sanskrit
Sansthan, New Delhi Third Reprint Ed (2017)
i
Chandrasekharan T.Ed Sangita Darpanam of Catura Damodara, P-XVI: Tanjore Maharaja Serfoji’s Sarasvati Mahal Library
society, Tanjavur (1989)
ii
http://musicresearchlibrary.net/omeka/items/show/2612
iii
Supra i, P-XIX
iv
Ibid, P-XV
v
Supra ii
vi
Apte Shivram Vaman. The Students Sanskrit English Dictionary, P-6: Rashtriya Sanskrit Sansthan, New Delhi (2017)
vii
It’s a measuring unit
viii
Ibid