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The Vedas mentions various types of the Vina. The Satapatha Brahmana (XIII.1.5.1) and the Taittiriya Brahmana and (III.9.14.1) state that the Vina was an accompaniment for dance (III.4.15.1). There were Vinas (Vana) that consisted of 100 strings (Rg Veda 1.85.10 and Yajur veda VII.5.9.2). Chandogya Upanisad (1.7.6.) refers to Vina. The Ramayana (1.4.8) speaks of Vina (string instrument) played by Lava and Kusa while singing the Ramayana slokas. In the Sundara Kanda of the Ramayana (V-10-41) mention is made on the Vina called Vipanci. Vinas of different names are associated with different Gods and Goddesses. Gods/Goddesses / Puranic Characters Sarasvati Visvavasu Tumburu Narada Daksa Their Vina Kacchapi Brhati Kalavati Mahati Vallaki Tumburu Vina (A list of Vinas of ancient India is given in the appendix) Govinda Diksita, a famous musicologist of 16 th century, designed the present day Vina. The Vina enables a player to render music with all the nuances of South Indian music. It is considered has being closest to human voice. The pitcher like portion of the Vina is carved out of wood of Jack tree. The main body and the Stem are gracefully sculptured and aesthetically decorated. The strings run over a bridge. Twenty-four frets are arranged over the stem in various lengths. In all, there are seven strings, four for rendering the ragas, over the stem and three on the sides of the stem for keeping the beat. The player plucks the string with the right hand index finger near the bridge and with his left hand he presses the strings on the required frets.

83 Till the beginning of 20 th century, Vina was a accompanying instrument for all vocal concerts. There were accomplished artistes who could play the instruments keeping it vertically but more commonly it is kept horizontally, giving it an elevation by keeping one side on the lap.