The historic town of Miraj has been a vital centre of India’s classical music tradition for over 150 years. Located near the Karnataka border, in southern Maharashtra’s Sangli district, Miraj is famed not just for its rich musical heritage, but for a unique craft rooted in one narrow street—Sitarmaker Galli—renamed Faridsaheb Sitarmaker Marg to honour the man who transformed a dying martial craft into a thriving artisanal legacy.

Faridsaheb Sitarmaker, born in 1827, came from a family of Shikalgars—metalworkers who originally migrated to Miraj during the 17th-century Adil Shahi rule of Bijapur. Traditionally skilled in repairing arms and armour, the Shikalgars found themselves displaced by the rise of firearms and the decline of traditional weaponry during the 18th century. As the demand for their military craftsmanship faded under Maratha rule and British influence, many turned to carpentry and household tools to sustain their livelihoods.

Concurrently, a cultural transformation was underway. Under the patronage of the Patwardhan dynasty—particularly Shrimant Balasaheb Patwardhan II—Miraj blossomed into a musical hub. Classical vocalists and instrumentalists from across North India began to settle in the town, bringing with them the need for high-quality instrument care. At the time, musical instruments were primarily made in cities like Varanasi, Gwalior, and Lucknow. Local musicians had little access to repairs or custom-made instruments in the Deccan.

Seeing an opportunity to serve this emerging need, Faridsaheb began repairing stringed instruments. What began as a practical service grew into a deep intellectual and artistic pursuit. He studied the inner anatomy of sitars and tanpuras, noting materials, construction methods, and acoustic properties. His breakthrough came when he discovered that locally available gourds—used by ascetic sadhus as water vessels—could serve as natural resonators. With the help of his brother Moinuddin, he developed new methods to craft instruments entirely by hand, refining key components like the javari, which shapes the tonal character of the strings.

Faridsaheb’s instruments quickly earned a reputation among India’s finest musicians, many of whom waited weeks or months for his services. His legacy was continued by his descendants, who established Miraj as a premier centre of sitar-making, a tradition now in its seventh generation. Artists such as Pandit Ravi Shankar and Ustad Vilayat Khan ordered custom-made instruments from Miraj, with certain sitar styles still bearing their names. 

In Miraj, craftsmen still rely on hand tools, oral knowledge, and collective workshop practices. Much of the skill remains intangible, transmitted through observation, mentorship, and experience. Each instrument is made with meticulous attention, tailored to the preferences of individual musicians. This intimate collaboration between maker and player lies at the heart of the craft.

The story of sitar-making in Miraj is not just about musical instruments; it is about resilience, adaptation, and an enduring passion for art. What began with one man’s curiosity and reverence for music has become a globally respected heritage, resonating through every note played on a Miraj-made sitar.

Nazrul Haque is a faculty at Azim Premji University, Bengaluru. Nazrul is a passionate traveler, drawn not just to places but to the stories they hold, often seeking out voices of elders, local customs, and everyday human experiences.