Naskar Sur-Bahar Full Front View.
The only other Sur-Bahar I've seen that's even close to the appearance of this one is on an album cover featuring Ustad Imrat Khan from the 1960's. Beautiful proportions, elegant carving and trim make this instrument a true classic!
Naskars Sur-Bahar Tabli Back Profile.
Very often the cutout on the tabli will be forward of the main bridge. Naskars shop chose here to set that opening behind the main bridge instead. With the forward position, a channel is usually cut out to allow the bottom strings to remain low. Here, the tabli remains smooth across the entire surface.
Naskars Sur-Bahar Tumba Carving.
The present line of thought is to have six lobes of carving to reinforce the gourd. Five lobes, as seen here tells me at a glance this is vintage material. What beautiful deep clean carving! Note that the edges are cut to follow the actual design of the leaves. A lot of alleged high end instruments will leave a smooth border around the carving from the rough carved pieces. It cuts production time and cost down as well as the overall appeal and value.
Naskars Sur-Bahar Tabli Carving Detail.
Here is a classic case of "less is more". Good stuff !
Naskars Sur-Bahar Support Leg.
The function of this carved bird is to serve as a support for the instrument while being held in a playing position.
Naskars Sur-Bahar Head Stock.
The one potential drawback having the main pegs in this layout is that it is difficult to reach the bottom two pegs while holding the instrument, especially when there is an upper tumba attached. The shallow shape of the upper tumba reduced the problem enough that tuning with these pegs was not awkward.
Naskars Head Stock Profile.
What a beautiful graceful curve to the neck of this gorgeous creature! The smooth petals on the tuning pegs also add to the overall sleek effect.
Naskars Head Stock Side View.
This view shows the flattened shape of the upper tumba. Most Sur-Bahars have this shape while sitar upper tumbas tend to be fuller and more rounded, especially when a gourd is used instead of a turned wood bowl. The white bone tips on the ends of each carved lobe add a nice touch. These haven't been seen on sitars or Sur-Bahars since the 1960's. One can see this cosmetic touch on tanpuras today but they will just a piece of flat plastic instead.
Naskars Sur-Bahar Upper Tumba.
Don't mess with the classics!
Naskars Sur-Bahar Upper Tumba Back View.
I was surprised at how large the opening on the back of this tumba was. I've only seen this on sitars from Sarat Sardar of Calcutta. Since it is spun wood, the resonance is not as obvious as one made from a gourd. Were a gourd used, getting it to this shape would involve extensive cutting and shaping.
Naskars Sur-Bahar Badge.
Every instrument with this particular era badge that I've encountered has been of very high quality.
Naskars Sur-Bahar Pick Guard.
Isn't that just a piece of beauty ! ? ! I usually sand these smooth when setting up repairs to these instruments. This piece and the rest of the trim has such a lovely aged patina. There was no way that I would touch this area other than to dust it.
Naskars Sur-Bahar Tabli.
I was in Mumbai in 1976 and saw one sitar with this type of carving in a simply awful pale over creamed coffee color. Without all the busy detail carving, the design reads very clear even twenty rows back at a concert. I hope the sitar builders in India steal this design and start making it appear again. Shristi Musicals of Calcutta especially. After they stole the layout of the teak sitar in the custom section here, this Sur-Bahar should be an easy lift. Have at it, guys !!!