[This article is the original version of the one written for and published at Deccan Herald Spectrum. You can read the published version here.]
For a country abundant with heritage oriented legacies, conservation is indeed a challenge. India has had its generous share of people who built stone castles and sold gold on streets, but the remains we have of such stories are merely fragments of the original saga. Regardless, when we get hold of fragments of the sort, the sense of worth is no short of ecstatic.
The Manjusha Antique Museum at Dharmasthala houses many a souvenirs of the kind, most of which shall catch a viewer’s eye and inspire inquisitiveness. One such artefact placed within an isolated setup, lit by a stealthy shade of red light over orange felt and radiating an aura of sober importance is a musical instrument; which could be a common sight but the eerie isolation of it sure conveys that behind it is a story worth telling. Behind the instrument is the picture of the man who laid hands upon it and made it what it is today – a rare artefact that was lucky enough to be a part of great old the musical legacy of Carnatic in Karnataka.
Veene Sheshanna was a legend placed at the zenith of the musical evolution in Karnataka. As the royal musician in the courts of three consecutive Wadiyars of Mysore, he is known to have elevated the standards of Carnatic music to levels unseen before, and heralded a beginning of innovation and higher standards in the area. Veene Sheshanna, as the prefix on his name suggests, was a master Vainika, or a player of the Veene, a popular string instrument belonging to Indian music. The artefact within the isolated set-up mentioned above is the very Veene used by this legendary musician during his time, which is a very recognizable piece of art owing to its physical features.
Veene Sheshanna lived from 1852- 1926, a time frame during which he grew to be one of the most skilled musicians seen in history. The Veene that he used was a standard one, which was preserved for more than a century before it was handed over to the antique collection of Dharmasthala by Sheshanna’s great-grandson, famed music analyst V Subhramanya. The instrument was created out of a single tree and has silver icons fused to the body. Surprisingly, the instrument is still under working condition. It is distinguished by the icons of Garuda – or the Gandabherunda, which was then the sigil of the Mysore dynasty. And there is a Saraswathi on top of the reverberating surface, which is said to have been gifted to Sheshanna by Nalvadi Krishnaraja Wadiyar for his enchanting performance at his durbar. However, what clearly marks it is the silver serpent delegated atop the other end of the reverbating surface, just above the string keys. An interesting story backs this feature, though it would be hard to validate the truth of it.
It is said that a serpent made its appearance at the royal durbar of Chamarajendra Wadiyar as Veene Sheshanna was delivering an impeccable performance on his instrument. To the shock of everyone present, it seemed to heed his music before sliding away a while later, causing no harm or unrest within the packed durbar. Recognising this incident as a testimony for the unmatched musical skills of Veene Sheshanna, the ruler gifted to him the silver serpent, which was incorporated in the instrument. This distinguishing feature on the Veena affirms its role in the legacy of Sheshanna in Carnatic music, and makes it an artefact worth every bit of preservation and exhibition.
The display also houses a couple of original pictures of Veene Sheshanna which portray him deep in action, with the same instrument in hand. A masterpiece amongst them is a life-like painting of Sheshanna in his youth, created by Raja Ravi Varma. It is said that Raja Ravi Varma was one of those music lovers who ardently loved Veene Sheshanna’s disciplined devotion and talent in Veene, alongside others like Rabindranath Tagore. Veene Sheshanna’s musical bequest was as far stretched as the British empire back then, validated by the fact that there is still a portrait of him at the art gallery of Buckingham palace, incorporated there by George the Fifth – the then King of India.
Other than the Veene, Sheshanna was a master of many other instruments including the violin and piano, and was as well a vocal artist. His expertise with the Veene was such that he changed the very style of playing it – the musicians previously played the Veene holding it in a vertical position like the Sitar. Sheshanna began playing it in a horizontal manner, which then became the mandate for all Vainikas. Quoting his words, “I can give my best, who can give the best that the Veene is capable of?’ The instrument must have been a rather fortunate one to have functioned through the skilled hands of Sheshanna – for his devotion was such that he attempted to reach the full capacity of the Veene, even more than himself.
He has composed 53 compositions, most of which are in Telugu and 5 in Kannada. His compositions include Swarajatis, Padas, Javalis and many Tillanas. He had a commendable understanding of Hindstani music as well. References of his works can be seen in books named ‘Music of Hindustan’ by Fox Strangways and ‘The Music of the Orient and the Occident’ by Margaret E Cousins. Also, Sangeeta Kalabhivruddhi Sabha of Mysore has published his compositions for public access.
Titled ‘Vainika Shikhamani’ for his unparalleled endowment in Veene, Sheshanna was by all means an asset that the music world documents in golden letters. His instrument, proudly displayed at Manjusha is a souvenir of his lifelong successful bequest with music. Ritesh Sharma, the Director of the museum states that the instrument is amongst the most precious artefacts they have, and combined with Raja Ravi Varma’s depiction, it makes for a highly valuable entourage which has earned it a specialised display setup. More so, it is an artefact that came looking for Manjusha through the events of history, which is why it is regarded here with much reverence.
What it reminds us of is the fact that if a single artefact could represent a tryst that intense; and open a door to a study this elaborate, all the antique materials we have so far managed to preserve must collectively represent a whole other India. This must be why museums generally constitute the sober air of omniscience – Manjusha is no exception!
[You can learn more about Manjusha Museum here.]
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