Abstract

The violin, one of the most widely used modern string instruments, is often traced back to its origins in the early sixteenth century during the European Renaissance.[i] However, the history of this instrument, particularly in India, extends much further into the past. Evidence suggests that the violin may have been inspired by various ancient stringed instruments, with roots reaching as far back as prehistoric times. The question of whether the violin originated in India holds significant interest for scholars of Indian cultural history and historians of Indian music. There is substantial evidence pointing to the early presence of violin-like instruments in India, including depictions in ancient temple sculptures, inscriptions, and literary sources from which the data was collected. These sculptures provide valuable insights into the instrument’s antiquity and evolution. Furthermore, the violin’s antiquity enhances its cultural importance, especially when tracing its Indian origins. Some scholars even suggest that the term “violin” is a phonetic evolution of the Sanskrit term ‘bahu leen’ and that the legendary figure Ravana was known to play a similar instrument. This theory adds a fascinating dimension to the violin’s global history, highlighting its deep-seated connection to Indian musical traditions.

Keywords: violin, Indian ancestry, origin, development, evolution, Bowed String Instruments

Introduction:

India has a rich history of using the bow, initially as a tool for hunting and later as a weapon in warfare. Over time, the resonating sound produced by the bow, such as the iconic Gandiva bow of Arjuna mentioned in the Mahabharata, may have inspired its use in music. The tonal qualities of the bow, when striking against the string, led to the creation of new musical instruments with rich, resonant sounds. This transformation saw the bow evolve from a weapon into a musical tool, eventually giving rise to the bowing techniques used in modern string instruments like the violin, viola, cello, and double bass.

In ancient India, most stringed instruments were part of the Veena family, also known as Tata Vadya. The Veena developed into various forms, with instruments ranging from single-stringed to those with many strings. One notable predecessor of modern bowed instruments is the Dhanuryantra, a type of Veena played using a bow, which is considered an ancestor of today’s string instruments, particularly the violin. A significant innovation in Indian musical techniques was the introduction of bowing and fretting, which involved using fixed points to define melody, while bowing allowed for fluid, fretless playing by pressing the strings directly against the fingerboard. This technique eventually spread across the world, with bowed instruments being used in various cultures, from India to China, Japan, Africa, and Europe.

Archaeological findings further support India’s early connection to bowed instruments. Excavations at Lothal in Gujarat have uncovered evidence of a two-stringed musical instrument, played with a bone bow, dating back to the Mohenjo-Daro and Harappan civilizations.[ii] Sculptural depictions, especially from the eleventh century in South India, also illustrate early violin-like instruments. A notable example is a relief on a stone pillar in the Agastyeshvara Temple in Karnataka, showing a bowed instrument with a semicircular belly and long neck, closely resembling the modern violin. This history reveals India’s significant contributions to the development of bowed string instruments and the enduring influence of its musical heritage across time and cultures.

Research Methodology:

The research methodology in the document titled “Indian Ancestry of Violin” appears to be a historical and cultural analysis, relying on a combination of literary review, archaeological evidence, and artistic interpretations. The study uses historical texts such as the Vedas and scriptures, temple sculptures, and excavations from ancient civilizations like the Indus Valley to trace the development of the violin and similar string instruments. Sculptural depictions and ancient musical texts serve as primary sources, while interpretations of these artifacts help to connect India’s early contributions to the violin’s global evolution.

Objective of the Study:

The objective of this study is to explore and trace the historical evolution of the violin, focusing particularly on its Indian origins. By investigating ancient Indian musical traditions, artifacts, and instruments like the Veena and Dhanuryantra, the research aims to establish the connection between early Indian bowed instruments and the modern violin. It seeks to provide substantial evidence supporting the theory that the violin’s roots may lie in ancient India, predating its European Renaissance origins. The study further highlights the cultural and spiritual significance of stringed instruments in India’s rich musical heritage and their influence on global music traditions.

Scope of the Study:

The scope of the study encompasses the historical evolution of stringed instruments, particularly bowed instruments, in India from the prehistoric age to the modern era. It examines ancient civilizations such as the Indus Valley, the Vedic period, and the Epic Age to uncover the ancestry of the violin. The research extends to examining temple sculptures, ancient texts, and other cultural artifacts to demonstrate the significance of string instruments in India’s musical history. Additionally, it touches on how these early instruments influenced musical traditions in the Middle East and Europe, thereby situating India at the center of the violin’s historical journey. The study also looks at the violin’s resurgence in Indian classical music and its role in contemporary musical traditions, particularly Carnatic and Hindustani music.

Hypothesis:

The violin, commonly attributed to European origins, has its ancestry deeply rooted in ancient India, where early bowed string instruments such as the Dhanuryantra and Ravanastron were developed, as evidenced by historical records, temple sculptures, and musical texts. These instruments influenced the creation and evolution of the modern violin, connecting Indian musical heritage with global string instrument traditions.

Evolution of the Violin:

The history and evolution of the violin are deeply intertwined with ancient civilizations and musical traditions from India to Europe. Although the modern violin emerged in 16th-century Europe, its roots trace back to ancient stringed instruments and bowing techniques that evolved over millennia. By understanding the journey of this instrument through various historical periods, we can better appreciate its global significance. Below is a detailed exploration of the evolution of the violin, tracing its lineage through crucial periods in history.

Historical Roots of the Violin:

Throughout history, many stringed musical instruments have appeared and disappeared, their legacies lost in the mists of time. The origins of the violin, however, have long perplexed historians and musicologists. While the etymology of the word “violin” points to its European origins, evidence suggests that the violin’s true roots extend much further back in time, especially in India. The search for its historical origins takes us as far back as the pre-historic age when the earliest forms of bow-shaped stringed instruments emerged.

      i. Pre-Historic Age

The pre-historic period, which spans from the emergence of early humans to the advent of written records, is divided into the Paleolithic, Mesolithic, and Neolithic eras. During the Paleolithic period (Old Stone Age), early humans lived as hunter-gatherers, using rudimentary tools like stones and bows. It was in the Mesolithic period(Middle Stone Age) that humans began developing more advanced tools, including composite bows used for hunting and warfare. This is believed to be the first-time humans discovered the resonating sound produced by a bow’s string when plucked or struck—possibly the earliest form of a stringed instrument.

By the Neolithic period (New Stone Age), humans had established early villages, domesticated animals, and developed more complex tools. The bow, which initially served as a hunting weapon, gradually became an early form of a musical instrument.[iii] The Bronze Age and Iron Age that followed saw further advancements in technology and metallurgy, which enabled the development of more refined musical instruments. It was during this time that humans began to explore the musical possibilities of bows, leading to the creation of stringed instruments that were ancestors of the modern violin.

Indus Valley Civilization:

The Indus Valley Civilization (circa 3300–1300 BCE) was a highly advanced Bronze Age civilization located in what is now modern-day India and Pakistan. Excavations in sites like Harappa and Mohenjo-Daro have revealed evidence of a rich cultural life that included music—according to Sir John Marshall, Director of the Archaeological Survey of India, various musical instruments, including a bow-shaped Veena, existed during this period. Sculptures, seals, and terracotta figurines found in these excavations suggest that bow-like stringed instruments were in use.

In the Rig Veda, an ancient Indian text, an instrument called Baana is mentioned, believed to be an early form of the Veena. Similar instruments were also used in ancient Mesopotamia and Egypt, where they were referred to as Paanaor Baana and Ben or Binat, respectively. These early stringed instruments had a semi-circular shape resembling a hunter’s bow and were likely precursors to the harp. The transformation of the bow from a hunting tool to a musical instrument marked a significant step in the evolution of stringed instruments.

     ii. Vedic Age:

The Vedic Age (1500–500 BCE) in India marked the composition of the Vedas, the oldest sacred texts in Indian literature. During this period, stringed instruments like the Veena became central to Indian music.[iv] One such instrument, the Pinga, is mentioned in the Rig Veda as a bow-shaped instrument whose strings were made from animal intestines. Another bow-shaped instrument, Gargara, produced a loud, resonating sound and is considered an ancestor of modern stringed instruments.

In the Atharva Veda, another reference is made to a musical instrument called Vakra, which had a semi-circular shape reminiscent of a bow. Over time, these instruments evolved into the Dhanuryantra (bowed Veena) and, later, the modern violin. The Veena family of instruments, which could have as many as 100 strings, laid the foundation for the development of bowing techniques that became critical in later stringed instruments.

   iii. Epic Age:

During the Epic Age (500 BCE–200 CE), the bow-shaped instruments of the Vedic period evolved further into instruments like the Ravanastram, believed to be the source instrument for the modern violin.[v] Named after the legendary figure Ravana, Ravanastram was a two-stringed instrument played with a bow, which became the model for many future bowed string instruments.

Musicologists believe that similar bow-shaped instruments were developing simultaneously in other parts of the world, such as in Africa, where bowed instruments were used in various tribal music traditions. The earliest forms of bowed string instruments in India, made from bamboo and wood, are considered the forerunners of both the Veena and the lute. The development of Ravanastron and other early string instruments marked a pivotal point in the evolution of bowing techniques, which later spread to other parts of the world.

(Picture Courtsey:https://etc.usf.edu/clipart/4700/4703/ravanastron_1.html)

1. Post-Vedic Period

During the Vedic period, Indian music initially developed using only three notes: udaatta, anudaatta, and swarita. As time progressed, a full scale of seven notes (sa, re, ga, ma, pa, dha, ni) emerged, which laid the foundation for the evolution of many classical instruments like the Kinnari Veena, Rudra Veena, and Saraswathi Veena. These stringed instruments became integral to Indian musical traditions and were played with various techniques, including the use of a bow made from processed horsehair.

The use of bowed instruments is evident in ancient texts and sculptures dating as far back as the 7th century AD. Sculptural and mural art from temples in Andhra Pradesh (Vijayawada), Mysore (Arakeswara Temple), and Bengal (Vishnupur) depict musicians playing bowed instruments that are considered prototypes of the modern violin.[vi] Bowed instruments like the Penafrom Manipur, Kenra, and Banam from Odisha, Ravanahastta from Western India, and the Kinnari or Pradham from Andhra and Maharashtra were some of the earliest forms of bowed string instruments in India.

Sculptures from the Pallava period (circa 7th–8th century AD) provide further evidence of the use of bowing techniques. The monuments at Mamallapuram and Kanchipuram display various musical instruments, including one rare depiction of a bowed instrument at the Kanchipuram temple. The temple at Chidambaram in Tamil Nadu also features a 13th-century sculpture of a female figure holding an instrument resembling a violin, further indicating the presence of such instruments long before the European violin arrived in India. Additionally, a painting from 1784 in Srirangapatnam, Karnataka, depicts a woman playing a violin-like instrument.

The bow as a tool for stringed instruments likely evolved from a simple stick to a more refined bow with horsehair. Many ancient Indian sculptures, such as those at Kazhugumalai (now Madurai), depict a cylindrical rod-like instrument played with a curved bow, which may have been an early version of the fiddle.

Instruments resembling the Ravanayantram, a two-stringed bow instrument played by Ravana, have also been found in the cave paintings of Ajanta and Ellora. However, details like the number of strings are unclear due to the artwork’s age and wear. Sculptures of Veenas and other stringed instruments can be found in Buddhist monasteries and various other historical sites, indicating the prominence of bow-shaped instruments in ancient Indian culture.

The presence of these instruments in both sculpture and ancient texts, such as Brihaddesi, Sangeetha Makarand, and Sangeet Ratnakara, supports the idea that bowing techniques and stringed instruments played a significant role in Indian music. From these sources, it can be concluded that both bowed and plucked instruments coexisted and were integral to the musical landscape of ancient India, further solidifying India’s contribution to the evolution of the violin.

(Picture Courtesy: https://hamsanandi.medium.com/the-musicians-of-halebeedu-7a4f636c1d28 , https://etc.usf.edu/clipart/4700/4703/ravanastron_1.htm )

     v. Medieval Period

During the Medieval Period (600–1600 CE), India experienced a flourishing of music under various dynasties.[vii] Musical instruments like the Ravanastron were introduced to the Arab world, and they evolved into instruments like the Rabab and Rebab, which are played with a bow. These instruments later influenced the development of bowed string instruments in Europe. The Bhakti movement during this period also saw the rise of devotional music in India, with performances featuring instruments like the Veena and Rabab.

The introduction of the Ravanastron into Middle Eastern cultures and its eventual transformation into the Rabab marked an important phase in the spread of bowing techniques across different regions. This period also saw the rise of court musicians like Tansen, whose influence helped popularize the use of bowed instruments in Indian classical music. The transition from traditional folk instruments to more sophisticated bowed instruments set the stage for the later development of the violin.

   vi. Modern Period

The Modern Period saw the formalization of the violin as we know it today.[viii] Many classical texts, including Bharata’s Natya Shastra and Sarangadev’s Sangeet Ratnakara, extensively discuss the evolution and diversity of stringed instruments. In the Sangeet Ratnakara, the sixth canto, known as Vadya Adhyaya, categorizes instruments into Tat (stringed), Avanaddha(percussion), Ghana (solid), and Sushira (wind). It highlights several forms of SwaraVeenas (stringed instruments), such as Ekatantri, Nakuli, Tritantri, Chitra, Vipanchi, Mattakokila, Alapini, Kinnari, Pinaki, Nissanka Veena, and others. Among these, bowed instruments like Pinaki Veena, Nishanka Veena, Pena, Kudukka Veena, and Ravanahatta are of special importance.[ix]

Instruments that use a bow, whether folk or classical, have a distinct melodic flow due to the continuity the bow provides. This quality sets them apart from plucked instruments, which, despite their musical richness, do not offer the same sustained tone. Regional variations in the materials used for crafting these instruments reflect India’s diverse musical heritage.

Some prominent bowed instruments in South and North India include Chikara, Dilruba, Esraj, Kamancha, Mayuri Veena, Pena, Ravanahasta, Sarangi, and Saringda. Among these, Sarangi, frequently used in Hindustani classical music, is believed to have originated from the ancient Ravanahastha Veena. Today, the violin remains an integral part of classical music worldwide. Its origins, deeply rooted in ancient Indian traditions, are a testament to the enduring influence of Indian music on the global stage. From the prehistoric bow to the modern violin, this instrument’s evolution reflects humanity’s quest for musical expression across centuries and continents.[x]

Conclusion:

The evolution of the violin reflects India’s deep spiritual connection to music, creativity, and cultural heritage. Though the modern violin is often associated with the European Renaissance, its true roots lie in the sacred lands of ancient India. From the Veena, Dhanuryantra to the Ravanastron, these early stringed instruments, with their soulful melodies, laid the foundation for the bowing techniques that would later resonate across the world. Sculptures carved in temples, verses from the Vedas, and relics from the Indus Valley Civilization offer a glimpse into India’s role in shaping the violin’s legacy.

The bow, once a tool of survival, transformed into an instrument of divine music in India. Temples like those in South India, with intricate carvings of musicians playing bow-shaped instruments, reveal the violin’s spiritual and cultural ancestry. As these instruments traveled from India to the Middle East, they evolved into the Rababand Rebab, eventually inspiring the modern violin in Europe. However, the violin’s soul remains intertwined with India’s ancient heritage.[xi]

In modern times, the violin returned to its roots through Indian musicians like Baluswami Dikshitar, who infused it into the very heart of Carnatic and Hindustani music.[xii] The violin, now an integral part of Indian classical music, sings with the same depth and emotion as its ancient ancestors, bringing the essence of Indian ragas to life.

The journey of the violin is far from over. Each temple sculpture, sacred text, and musical tradition brings us closer to understanding its rich past. This ongoing story calls upon all who love music to explore its roots. In doing so, the violin’s legacy will continue to weave through the hearts of future generations, binding us together through the timeless language of music. “संगीतं जीवनस्य आत्मा अस्ति” – Music is the soul of life

Endnotes:

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[i] Choudhary, Sisir Khanna Dhar. The Origin and Evolution of Violin as a Musical Instrument.

[ii] Marshall, John. Mohenjo-Daro and the Indus Civilization: Being an Official Account of Archaeological Excavations at Mohenjo-Daro Carried Out by the Government of India Between the Years 1922 and 1927. Cambridge: Cambridge University Press, 1931.

[iii] Rowell, Lewis. Music and Musical Thought in Early India. Chicago: University of Chicago Press, 1992.

[iv] Ayyankar, Rangaramanuja Rangacharya. Sangeetha Ratnakara: A Study.

[v] Prajnanananda, Swami. A Historical Study of Indian Music.

[vi] Kaufmann, Walter. The Ragas of North India. Bloomington: Indiana University Press, 1968.

[vii] Mohanty, Debasish. “The Veena and Its Connection to the Violin: An Indo-European Study.” Journal of Music Heritage, 39 no. 1 (2010): 98-115. https://www.musicheritagejournal.org/veena_violin_study.

[viii] Sarangadeva. Sangeet Ratnakara. Edited and Translated by S. R. Sharma. Delhi: Motilal Banarsidass, 1978.

[ix] Sankaran, T. R. Violin in South Indian Classical Music. Mumbai: Bharatiya Vidya Bhavan, 1984.

[x] Viswanathan, Swarna. The Cultural Roots of the Violin: A Comparative Study of String Instruments in India and Europe. Mumbai: Bharatiya Vidya Bhavan, 2012. https://www.bvb-indianmusic.org/violinroots.

[xi] Swarnalatha, Choodamani. “Violin and Its Evolution in India: Historical Perspective.” Indian Journal of Musicology, 48 no. 2 (2016): 53–67.

[xii] Iyer, Anantharaman. “The Veena and Its Influence on the Violin: Tracing the Ancestry of Bowed Instruments in India.” Indian Classical Journal, 45 no. 2 (2011): 22-38. https://www.indianclassicaljournal.org.