Yazh

The Yazh (யாழ்) is a revered ancient Tamil string instrument, akin to a harp, celebrated for its profound cultural and historical significance across South India especially in Tamil Nadu and in Sri Lanka

Description and Construction

The Yazh is an open-stringed, polyphonous instrument. Its general structure includes:

• Strings: Originally made of gut, these strings run from a curved neck to a resonator. The number of strings varied depending on the type of Yazh.
• Resonator: This is typically a boat or trough-shaped wooden body, with its opening covered by a skin (often goatskin) to act as a soundboard.
• Neck/Stem: The stem is often made of ebony and is curved. A distinctive feature is that the tip of the stem was often carved into the head of the mythological animal Yali, which is believed to be the origin of the instrument’s name.
• Tuning: The strings were tuned by pegs or rings of gut that could be moved up and down the string.

Contemporary reconstructions of the Yazh like those crafted by some enthusiastic people feature red cedar wood, chosen for its lighter weight compared to the traditionally used jackfruit wood. These instruments incorporate a hook-and-bracket mechanism that allows for more accessible tonal adjustments, while the soundboard is commonly fashioned from goatskin.

History and Evolution

The Yazh has a long and rich history Ancient Tamil literature like Silappathikaram explains several types of Yazh.

• Ancient Origins: It is considered an ancient Tamil ancestor instrument, and some theories suggest its inspiration came from a hunter’s bow.
• Decline and Resurgence: Both the Indian harp-style veena and the Tamil Yazh saw a decline in use starting around the 7th century CE, as stick-zither style veenas gained prominence. However, through preserved artworks and literary mentions, efforts are being made in modern times to recreate and revive the instrument.
• Relationship with Veena: The Yazh is considered an ancestor of the modern Veena. In later Tamil literature, especially devotional works, the terms “Yazh” and “Veena” are sometimes used interchangeably or the Veena is described as a developed form of the Yazh.

Types of Yazh

Ancient Tamil literature, particularly Silappathikaram (சிலப்பதிகாரம்), mentions several types of Yazh based on the number of strings:

• Periyazh (பேரியாழ்): Had 21 to 29 strings.
• Makarayazh (மகரயாழ்): Had 19 strings. Its name suggests a shape resembling a “makara” (mythical sea creature).
• Cakotayazh (சகோடயாழ்): Had 14 strings.
• Cenkottiyazh (செங்கோட்டியாழ்): Had 7 strings.

Other mentioned types include:

• Mayil Yazh (மயில் யாழ்): Resembling a peacock.
• Vil Yazh (வில் யாழ்): Resembling a bow.

Cultural Significance and References

The Yazh holds immense cultural significance in Tamil tradition and is extensively referenced in classical Tamil literature.

• Sangam Literature: Many major Tamil classical literary masterpieces from the Sangam period (dating back to 200 BCE) mention the Yazh.
• Thirukkural (திருக்குறள்): The ancient Tamil poet Thiruvalluvar mentions the Yazh in his work.
• Silappathikaram (சிலப்பதிகாரம்): This epic, written by Ilango Adigal, provides detailed descriptions of the Yazh, its different types, and its role in music and performance. It describes musicians adept at playing specific types of Yazh, like the Sakotayazh.
• Perumpāṇāṟṟuppaṭai (பெரும்பாணாற்றுப்படை): This Tamil text emphasizes the quality of Yazh strings, stating they should not have any twists.
• Seevaga Sindhamani (சீவக சிந்தாமணி) and Periya Puranam (பெரியபுராணம்): These epics also contain references to the Yazh.
• Thirumurai (திருமுறை): This collection of Shaiva devotional hymns from the first millennium CE frequently mentions various musical instruments, including the Yazh, showcasing its prevalence in religious music. For example, some verses refer to the melodious sound of the Yazh.
• Sculptural Depictions: The Yazh is depicted in sculptures in various ancient temples, including those in Darasuram and Thirumayam in Tamil Nadu, and Amaravati in Andhra Pradesh. It was played in the Madurai Meenakshi Amman Temple in early centuries.
• Jaffna (யாழ்ப்பாணம்): The city of Jaffna in Sri Lanka is known as Yazhpanam in Tamil, a name linked to a legend of a blind musician (Panan) who played the Yazh so beautifully that a king granted him land, which he named after himself, meaning “town of the harper.”
• Yal Nool: Swami Vipulananda, a modern scholar, wrote a comprehensive book of scientific research in Tamil called the “Yal Nool,” which provides detailed information on the instrument, including music theory and construction.

The Yazh indeed has a long and rich history, with evidence suggesting its existence even before major Tamil literary works.

Evidence from Bhārut Buddhist Artwork

The earliest historical evidence for the Yazh, or a similar ancient Indian harp, dates back to the 2nd century BCE.

• Bhārut Stupa: While specific images of the Yazh in Bhārut artwork were not directly found in the search results, several sources confirm that early Buddhist art in India, including at sites like Bhārut and Amaravati, dates from 200 BCE to 400 CE. These artworks often depict musical instruments and scenes from daily life. For instance, the Metropolitan Museum of Art’s exhibition “Tree & Serpent: Early Buddhist Art in India, 200 BCE–400 CE” explicitly states that it features objects from this period, including a “Relics from the Piprahwa stupa” dated “ca. 240–200 BCE,” showcasing the antiquity of art from this era. Early Buddhist art often used symbolic representations and visual storytelling on stupas, and musical instruments are known to be part of these depictions.
• General Buddhist Art: Buddhist art began in the north of the Indian subcontinent, with the earliest survivals dating from a few centuries after Siddhartha Gautama (6th-5th century BCE). Sculptures became more explicit in the 2nd to 1st century BCE, often in relation to the decoration of stupas.

Comparison with Tamil References (Silappathikaram)

• Silappathikaram Dating: The epic Silappathikaram is generally attributed to Prince Ilango Adigal. While traditional dating places it around 171 CE (2nd century CE) due to its links with the Chera king Senguttuvan and the Gajabahu synchronism, many scholars now suggest a later period. Linguistically, it’s often dated to approximately 1,600 years ago, which would place it around the 4th to 5th century CE. Other scholarly estimates range from the 3rd to 7th century CE.

Conclusion: Bhārut is Older

Based on the available information:

• The Buddhist artwork at Bhārut and other early Indian sites dates back to at least 2nd century BCE.
• The Silappathikaram, while an ancient Tamil epic, is generally dated from the 2nd century CE at the earliest, with more scholarly consensus pointing to the 3rd to 5th centuries CE or even later.

Therefore, the depiction of stringed instruments in early Buddhist artwork from sites like Bhārut is older than the earliest widely accepted dates for the Tamil epic Silappathikaram. This suggests that instruments similar to the Yazh, or its predecessors, existed in India well before their detailed mention in classical Tamil literature.

References:

• Tree & Serpent: Early Buddhist Art in India, 200 BCE–400 CE – The Metropolitan Museum of Art
• Cilappatikaram – Wikipedia
• The Tale of An Anklet – Silappadikaram – The Indian Quest Digital
• Silappatikaram | Encyclopedia MDPI
• Buddhist art – Wikipedia

The Yazh stands as a testament to the rich musical heritage of the Tamil people, a symbol of ancient artistry and cultural depth.