한반도 요고 전래고

The Diffusion of Hourglass shaped drum to Korean Peninsular

요고(腰鼓)는 인도 고대 종교의 창조신 시바(Shiva)가 우주를 조화롭게 하는 데에 썼던 악기인 다마루(Damaru)에서 비롯되었다. 불교 성립 이후, 부처를 공양하는 기악(伎樂)의 중요한 악기로 편성되어 불교의 전파와 더불어 서역(西域)으로 유입되었다. 요고는 쿠차 지역의 불교악과 민간악에서 모두 보이나 기원후 4세기 무렵의 도상자료가 가장 이르고, 중앙아시아 서단에 해당하는 지금의 사마르칸트지역에도 요고가 수용되었다. 중국에 파급된 요고는 쿠차 지역과 밀접한 관련이 있다. 쿠차에서 요고는 악률의 차이를 가지는 도담고와 모원고로 분화 발전되었는데, 그것이 중국으로 파급될 수 있었던 중요한 계기는 384년 여광(呂光)의 쿠차 정복이다. 이때 다수의 쿠차 악공과 재기(才伎)가 중국 하서(河西) 지역으로 이주되었기 때문이다. 이후 지금의 감숙성(甘肅省) 일대에 해당하는 양주(凉州)를 중심으로 한 서량악(西凉樂)으로 정착된다. 머지않아 북위가 이 지역을 평정하면서 서량악은 중국 내지로 확산된다. 대략 5세기 전반경 대동(大同) 지역의 고분 벽화에 요고상이 등장하고 있으며, 남조 지역 역시 5세기 중엽경의 화상전에서 요고상이 확인된다. 요고의 한반도 전래 시점은 5세기 후반~6세기 초 무렵으로 볼 수 있다. 백제에서는 요고가 중국 남조를 통해 유입되었고, 그것은 다시 일본열도로 확산된다. 고구려의 요고는 5세기 전반 이후 어느 무렵에 북위를 거쳐 서역의 음악과 함께 들어 왔을 것으로 판단된다. 당대(唐代)에 서역악이 궁중의 연악(燕樂)으로 수용되면서 요고는 불교음악 및 궁중연악에서 빠지지 않는 악기로 확고하게 자리 잡는데, 동시기 통일신라에서도 역시 궁중연악 및 불교음악에서도 필수적 구성 요소로 정착되었다.

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 >.