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The Saraswati Veena
Shrikanth
Chary & Co at the Cleveland Aradhana 2002
This section complements the audio interview and essay. Return to the previous section on the Veena
and fingering techniques.
Top - The covers help reduce the accumulation of dust under the fret board
and also protects the frets/strings during transportation. The latch
to keep the neck of the dragon closed, can be seen clearly.
Top - A nice angle of the bridge. Also the decoration at the bottom is
clear. Here the maker has used another piece of wood to support the
joint between the resonator and fret base. Sweat and oils from the
right hand's wrist have caused a darker stain on the edge of the
instrument.
Top - Shrikanth Chary (center), Raja Sivamani (left), and Akhilesh Sista
(right). Chary's training was guided by Devakotai
Narayana Iyengar, Kalyani Sarma and has, since the early
1980s, been influenced by the violin style of Lalgudi
Jayaraman. He resides in the Bay area (USA).
Top - Notice the hinge on the neck of the dragon, that helps support the
cover for the unused storage space. Incorporation of guitar keys can
be clearly seen. The gross tuners are purely cosmetic now.
Top - Modern makers seem to use vibrant multi-colored ink for the art work.
Top - The wire plectrums and fine tuners are the focus here, but one can
hardly ignore the gorgeous carving. The longer nail on the little finger
helps with a strong pluck of the taalam strings.
Top - The veena on the right is stripped of the traditional gross
tuners.
Continue to Ravikiran and the Chitravina
at the Cleveland Aradhana 2002.
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