A gallery of bow holds
http://www.sruti.com/images/for%20cover ... r%2013.jpg
- Ganesh Kumaresh
http://im.rediff.com/news/2013/apr/23la ... raman4.jpg
- LGJ (The way he put his little finger on the bow was unusual, it was almost Galamian style over a German bow hold).
- Dr. N Rajam (Also Russian)
http://www.thehindu.com/migration_catal ... 5/07KI-MSG
(Parur Sundaram Iyer is a clear Franco Belgian, but MSG was a bit unusual in that he held the bow closer to the tips of his fingers)
http://images.mid-day.com/2013/dec/03-M ... ishnan.jpg
-- MSG. This is a clear Franco Belgian
http://eambalam.com/blog/wp-content/upl ... aram-2.jpg
-- Dwaram Venkataswamy Naidu was probably the best example of an Indian violinist to use a "true" german hold.
- Dr M Narmadha.
http://www.reocities.com/southindianmus ... agaraj.jpg
- Mysore brothers (It's actually Franco Belgian with a raised elbow)
https://www.carnaticography.com/wp-cont ... G_8630.jpg
- VV Subramaniam
https://upload.wikimedia.org/wikipedia/ ... e_2010.jpg
- T N Krishnan
https://upload.wikimedia.org/wikipedia/ ... ramoni.JPG
- L Subramaniam tends to hold it in a more Russian manner.
- Chowdiah. From the video, it's clear he used a Franco Belgian with a raised pinky.
- T K V Ramanujacharyulu. Among modern violinists, he is the only one I've seen who uses a German bow hold.
The key to these differences starts with the where the bow stick meets the index finger. In german bow holds, the bow stick makes contact only with the finger tip (the first third). In franco belgian bow holds, the bow meets the index finger at the 1st joint from the tip to the 2nd third of the index finger. In the Russian, the contact point is pushed up to the 2nd joint and the final third of the index finger. This in turn affects the wrist position from absolutely flat to supinated (German), between pronated at the tip and supinated at the frog (Franco Belgian), and pronated continuously (Russian). And the elbow as I wrote earlier follows the wrist.
https://maestronet.com/forum/uploads/mo ... 173563.png
(This is a good picture, however the Russian bow hold has the wrist even more pronated than this)
The second most important thing is the little finger. Depending on the length of the 'pinky" and the pronation of the wrist, it may or may not contact the bow stick all the time. However, forcing the little finger to touch the stick will cause your wrist to get "locked". At the tip, the weight balance shifts to the index finger, causing the wrist to pronate more and it may result in the little finger going off the stick. At the frog, the weight balance shifts towards the ring and little fingers, and some violinists nearly remove the index finger.
Also the difference between the sitting and the standing posture -- while sitting, the wrist tends to pronate more. While standing, the bow is nearly horizontal with the ground, so the wrists tend to be flatter.
And here are some pictures of Western violinists - https://i.ytimg.com/vi/g_cejqS9-RU/maxresdefault.jpg
- Elman (classic Russian)
http://l7.alamy.com/zooms/d942dcc18fa04 ... c45mj2.jpg
- Heifetz (Russian)
- Zuckerman (Franco Belgian)
https://chrismcgovernmusic.files.wordpr ... tanbul.jpg
- Hilary Hahn (Franco Belgian)
- Isaac Stern (Franco Belgian)
http://ftnnews.com/images/stories/music ... erlman.jpg
(His hands are very large, so his is an eccentric kind of FB bow hold)
Owing to the efforts of modern teachers, the Franco Belgian is now the most popular hold out there (there are some practitioners of the Russian bow hold) and the German bow hold is virtually an extinct species now as it wasn't the best option for virtuoso bowing techniques and modern Tourte style concave bows. However, about 200 years ago, it used to be standard and that's why you might find pictures of very old gen violinists holding the bow in the German style (even in India). For example :
https://chennaiviolinproject.files.word ... g_0394.jpg
- Valadi Radhakrishna Iyer...
And the demon of 'em all - Paganini ! http://www.vanedwards.co.uk/bowpics/paganini1.jpg
The key is for the student to find out exactly what hand position suits his hand formation the best and allows the student to play the full range of techniques without strain and injury, rather than strictly trying to copy another violinist.