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Skull drum
Vernacular name:Damaru
Vernacular name:Thod rnga
Date: 1850 ca.
Place Made:Tibet, Asia
Serial No: none
Signednone
Markingsnone
DescriptionThe two-piece body of this small drum is made of bone with stretched skin heads. Pieces are joined by a band of siler with inset coral and tourquoise. Two small pellets are tied to this band, swinging freely when the drum is played to strike the heads alternately. The hanging tassel is of pieced silk brocade.
Often paired with the thighbone trumpet in ritual use, the skull drum existed as part of traditional Bön ceremonies prior to Buddhism's arrival in Tibet. Held in the right hand, the skull drum is symbolic of the coming together of the male and female entities of the universe, illustrated by two triangular shapes forming one vessel and acting as a singular unit in ensemble.
It is common for mantras to be inscribed on the interior walls of the skulls prior to stretching and gluing the skins. In this way, the purpose of the skull drum, summoning the Buddhas and inspiring them to supreme joy, can be accomplished not only by the voice of the practitioner (or trumpet) but also by the voice of the drum.
Traditionally, construction could include the use of human or animal body parts; however, it is unknown from which this drum is made. While this practice may seem taboo to those unfamiliar with Tibetan Buddhist traditions, the intention is grounded in the utmost respect.
Often paired with the thighbone trumpet in ritual use, the skull drum existed as part of traditional Bön ceremonies prior to Buddhism's arrival in Tibet. Held in the right hand, the skull drum is symbolic of the coming together of the male and female entities of the universe, illustrated by two triangular shapes forming one vessel and acting as a singular unit in ensemble.
It is common for mantras to be inscribed on the interior walls of the skulls prior to stretching and gluing the skins. In this way, the purpose of the skull drum, summoning the Buddhas and inspiring them to supreme joy, can be accomplished not only by the voice of the practitioner (or trumpet) but also by the voice of the drum.
Traditionally, construction could include the use of human or animal body parts; however, it is unknown from which this drum is made. While this practice may seem taboo to those unfamiliar with Tibetan Buddhist traditions, the intention is grounded in the utmost respect.
DimensionsDrumheads: 105-135 mm
ProvenancePurchased in 1976 from H. M. Lissauer, Melbourne, Australia.
Terms
Credit Line: Ringley Fund, 1976
On view
Published ReferencesCross, Thomas E., Instruments of Burma, India, Nepal, Thailand and Tibet, SMM Catalog, II (1982), p. 29.Cross, Thomas E., Instruments of Burma, India, Nepal, Thailand and Tibet, M.M. Thesis, University of South Dakota, May 1983, pp. 73-75."Important Acquisitions Received," Shrine to Music Museum, Inc., Newsletter Vol. 4, No. 1 (October 1976), p. 2.
Object number: 01383