118 » Musicians and Performance Fig. -4. Rabaib, Saljuk painted bowl (Metropolitan Museum of Art), no. 57.61.16 this type of rabab is documented as early as the 12th century, long be- fore its appearance in India, We may note in passing that the Indians developed another shape of rabab which had a single circular corpus which was entirely covered in parchment. It was also characterized by two essentially non-functional horns or wings which flared out from the top of the corpus near the neck (cf. Miner 1993:60-4). This mor- phological type was transported to Central Asia in the past th turies and produced several hybrid rabdbs in East Turkestan and a pear-shaped ee cen- ‘Transoxiana. In the Pamirs and the mountains of Kashm rabab with an extremely narrow waist and an extremely deep body de- veloped in relatively recent times (Greig 1987:473; Vyzgo 1980:pl. 85— 6). These eastern types of rahdb do not seem to have traveled to Iran and Anatolia Mariighi mentioned one rahab type which was played in Fars, an- other popular in northern Azerbaijan (Sirvin), called rad-i hdni, an120 - Musicians and Performance Fig, 1-5.“Sarname” of Murad II (1582), fol. 404a: “ad, ceng, kemange, kopuz with (a) curved tuning-board, lower left, and (6) straight tuning-board, lower right144 - Musicians and Performance scended from the fazbzir Khorasani described in the 10th century by al-Farabi. The general form of the modern Persian sefar is visible on Safavid miniatures of the 16th century, but with rather larger dimen: than the modern version. None of the modern éanbiirs of Central Asia, whether Uzbek/Tajik, Uighur or Pamiri show a very specific relationship to the Orroman lanbiir, The relation of corpus to neck, the construction of the corpus, the number of strings, dimensions and method of plucking all show no resemblance to the Ottoman sanbéir. The most that can be said is that they are all fretted Jong-necked Jutes, ‘There is however a unique iconographic representation, originat- ing in a 15th-century Herat “Shabnamab,” which portrays Isfandiyar holding an instrument whose dimensions seem rather close to the Ot- toman tanbér (Fig, 1-15). The shape of the corpus and its relationship to the neck, as well as the position of the bridge all bear a striking resemblance to the 17th century Ottoman farbir. The method of plucking is not specified, ap- parently because Isfandiyar is not playing, but rather offering a pzyala of wine with his right hand to a female figure. There are frets on the long neck, and three pegs are clearly indicated. This illustration proves that an instrument with a tangible relationship to the later Ottoman Janbar was already in existence in 15th-century Khorasan, Thus there was evidently some earlier basis, not just for the long-necked lute in general, but for a more specific type of éabar which became the Otto- man fanbiir in 17th-century Turkey. In the early 15th century in his “Magdsid al-Albén”, Maraghi had mentioned a number of long-necked lutes, three of them with the names. “tanbiir” and “seslar,” eg. tanbiri sirvdniyan, lanbiire tirki, rishefeé, yeyldy (= seylar), tarab-rid. The tanbar.i sirvéniydn appears to be an ancestor of the dular: “Its shape is like a pear, frets are tied to its neck Tt has two strings ...” (Maraghi 1977:127). The tanbiire-i tirki was a smaller version of the latter. It is the rih-efzd which is the most relevant to the Ottoman tanbir: sio Rah-efza: Its corpus resembles a fare, six strings are attached to it; four of them are of silk. They are in pairs and are tuned like the tanbtire-é tiirk. The other two, which are of brass can be tuned as desired (Maraght 1977:128) ‘The composition of the strings are identical to the ritd-i hani. What is most significant here is the shape of the corpus. The Jurunj was an archaic Mediterranean citrus fruit, which was considerably larger than the modern orange and closer to a modern grapefruit. What is unusual is the rounded nature of the corpus of the instrument. All other lutes