Hourglass shaped drum, called ‘Yao gu(腰鼓)’ in Chinese, is assumed to originated from Ancient India. Until now the relief figurine on the stupa of Bharhutt Buddhist temple has been to known as earliest archaeological evidence. This drum, called ‘Damaru’ in Indian, has been believed that Great god Shiva used it to make cosmic harmony.
With the diffusion of Buddism into western part of China and Central Asia region, this drum also introduced to each region, which played role as main component of Buddhist music instruments.
This article focuses this drum’s history that is especially on the particular route and time of the diffusion to Korean peninsular. As following could it be summarized my result on this problem.
At first ‘damaru’ assumed to dispersed in western part of modern China region with Buddhism’ diffusion. In this area, especially in ‘Kutya(龜玆)’, this drum was assumed to be successfully settled down, after when flourished even into folk music area.
The turning point of this drum’s way to eastern part is assumed to a series of political event, which most prominent event has been assumed to the conquer of Kutya by China at 384 AD. Thereafter western music style, of course originally from Buddhist music, was widely dispersed and rooted in folk music area in mainland China, at which is generally approved around 5 century under Northen Wei(北魏) reign.
By historical records is it plausible that at that times ‘Koguryo(高句麗)’ had the chance to meet with China western polities, with this article’s focus on ‘Kutya’ etc. Containing China western region’s polities. Not disagreeing with records hour glass shaped drum, assumed to be called ‘Yao gu’ drum had appeared in ‘Koguryo’ tomb’s mural figure, now Korean scholar approve as the time of late 5th ~early 6th century. On the another hand ‘Backje(百濟),’ which located in now southern part of Korean peninsular with frequent relationship to southern China polities, also assumed to had knowledge of the fashionable trend in the Buddhism music. At least 5th century southern China polity particularly in ‘Song(宋)’ period, some record on the this drum already appeared.
Although the historical records has been never found supporting archaeological evidence yet. Although with some unresolved problems author considered the recently found archaeological data as the possible evidence of hourglasss shaped drum’s first diffusion into southern part of Korean peninsular, which was assumed to be some pieces of hourglass shaped drum of later 5th century.
Thereafter was this drum gradually rooted in Korean music ecology, especially in ‘Unified Shilla(統一新羅)’ so called Buddhism’s florescence numerous figurine has attested the importance of hourglass shaped drums’s meanings. Just in this times this drum had been diversified in the rhythmical pitch, resulted in main and subsidiary drum in the records known as ‘Zheng gu(正鼓)’ and ‘Hua gu(和鼓)’ or each ‘Du tan gu(都曇鼓)’ and ‘Mao yuan gu(毛員鼓)’. ‘Zheng gu’ or ‘Du tan gu’ was played with hands, but ‘Hua gu’ or ‘Mao yuan gu’ with stick in right side and hand in left side. Because stick was called ‘Zhang(杖)’ in Chinese, ‘Hua gu’ had been often called ‘Zhang gu(杖鼓)’.
Now ‘Jang go(杖鼓)’ in Korean name is just same with ‘Zhang gu(杖鼓)’ in Chinese, which basically begun in later ‘Tang(唐)’ period. And the transition of archaeological attributes of this drum is summarized in <Table 1>.
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