The Antiquities of Orissa v1.c10.316

v1.c10.316

**Musical Instruments:** Looking to the number of works which have been written on art of music by the Hindus, the success with which musical notes have been analysed, the different systems which have been adopted for the classification of the national airs and tunes, and the various kinds of instruments which have been noticed in ancient works, it is to be expected that lithic remains of at least some of the instruments of former times should be met with. Nor are they wanting at Sāñci, Amarāvati, and Bhuvaneśvara. Scenes representing concerts are very common at all the three places, but the number and variety of instruments in use in these parties appear, however, to have been extremely limited. Harps of two kinds are shown at Sāñci and Amarāvati. (Illustrations No. 164 and 166.) But none are to be seen at Bhuvaneśvara, and, indeed, no stringed instrument seems to have been in use there except the *Viṇā*. (Illustration No. 167.) The Amarāvati harp is in appearance very like the ancient Egyptian instrument, but it was held on the lap in a horizontal position, whereas the latter when in use, was kept in an upright position on the ground, or on a stool. The Amarāvati guitar shown on the stone in the Museum of the Asiatic Society, has a sounding board at the lower end, and seven keys, but no bars. (Illustration No. 168.) The *Kalpa Sūtra* of Kātyāyana notices a harp with a hundred strings, but what it was like I cannot say.