Withdrawn in the 17th century from the stage of history, the çeng can be defined as a small lap harp unique to the Near East. An instrument frequently encountered in Persian and Ottoman book illustrations of the medieval and early modern period, the çeng is an angular harp, played sitting on the floor. Featuring approximately 25 strings, it is considered to be one of the ancestors of the harp. 

The çeng, which derives the special color of its sound from the leather covering its body, is often associated with political power as it was favoured in medieval courts. The çeng is also attributed a prominent mystic symbolism due to its hunched body structure that rises upwards and bends at the top. Quoted as a favourite theme among poets, its delicate frame, however, could not keep up with the developments in music and fell out of use over time. The last written testimony known is to be found in Evliya Çelebi’s ”Seyahatname”, a famous travelog which states that in 1660 there was only one type of çeng and ten çengi (çeng players) in Istanbul. The çeng is presumed to have been a preferred instrument since it is extensively depicted in miniature paintings, reliefs and ceramics. However, no example of this historical harp has survived to the present day.

Since 2008, Şirin Pancaroğlu has been involved in the revival of the çeng. Her work is centered around building prototypes with instrument makers and creating various musical contexts and media for the discovery and appreciation of this historical harp. While unearthing the çeng, she has formed collaborations to highlight its other-worldly identity and sound. By reintroducing the çeng to the service of the cultural and musical traditions of its native lands, today she proposes a multi-faceted and ongoing journey of research and musical archeology .