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The sculptured V墨峁嚹� in the K膩m膩k峁Ｄ� Amman temple in
K膩帽c墨puram, in the temples in Maturai, in Gankaik艒n峁璦 C艒lapuram,
Sriranka and in Pa峁�峁璱caram have an interesting story to tell us of the
development of frets. It is surprising that though the V墨峁嚹� shape in its
modern form is recognized in the Nayak period is similar to the stringed
musical instruments sculptured in the temples at Tirunelv膿li. An artiste
playing on a V墨峁嚹� seems to have been favourite object of the sculptor.
The V墨峁嚹� is figured in the sculptures in the Sri M墨n膩k峁�i temple, Maturai,
and also at Pa峁�峁璱caram.
We also see the bard-saints figured as carrying musical
instruments in sculptures; these instruments probably are 艢ruti
accompaniments. "Tantu" is one of the names given to this instrument
and the "V墨峁嚹� ta峁囜弓u" referred to in the early Tamil literature is also
probably a synonym. These instruments could have been used just for
droning.
In the early sculptures stringed instruments do not seem to have
an important place in the orchestral accompaniment to these dances.
Circular drums and small cylindrical or hourglass shaped drums are
more common.
Hindu iconography has accorded a special place to musical
instruments, which are assigned to a few specific deities when they were
sculptured. The V墨峁嚹乨hara Dak峁�in膩m奴rthi was a favourite subject as is
witnessed by the powerful sculpturing in the Ell艒ra temples and other
monument of that period. The right end of the instrument rests on the
right thigh and it is held diagonally across and played on.