Material: Black altar wood drum body. Tassels tied with hand rope. Embroidered drum cover.

Size: Approximately 11x 12.5 cm

Description:

The black altar wood hand drum (often called "Damaru" in Tibetan, Tibetan: དམ་རུ་, Wylie: dam ru) is an important instrument in Tibetan Buddhism, especially in the rituals of Tantra (Vajrayana), with profound symbolic meaning and practical use. The following will describe its influence in Tibetan Buddhism and related myths and origins.

The influence of the black altar wooden hand drum in Tibetan Buddhism

1. **The core role of ritual instruments**:

- The black altar wooden hand drum is an indispensable instrument in the practice and rituals of Tibetan Buddhism. It is often used in combination with the vajra bell (Tibetan: དྲིལ་བུ་, dril bu). The hand drum represents "convenience" (compassion), and the vajra bell symbolizes "prajna" (wisdom). The combination of the two embodies the core concept of Tantric practice - the unity of compassion and wisdom.

- In Tantric rituals, the sound of the hand drum is believed to have the function of purifying the space, summoning the deity, removing obstacles and harmonizing the energy field. Its rhythm and timbre can guide practitioners into a meditative state and help them focus on the practice.

- Hand drums are also used in rituals such as liberating the souls of the dead, summoning spirits or exorcising ghosts. In particular, in the "Practice of Offering" (Tibetan: གཅོད, Chöd), practitioners use hand drum sounds in conjunction with mantras to symbolize the severing of self-attachment and offering to sentient beings.

2. **Symbolizing impermanence and awakening**:

- The materials and shapes of the black altar wood hand drums contain profound Buddhist philosophy. Traditionally, hand drums may be made of human bones (such as skulls) or specific woods (such as black altar wood) to remind practitioners of the truth of "impermanence of life and death" and inspire the motivation to practice diligently.

- The sound of the drum is regarded as a symbol of "awakening sentient beings", representing the sound of the Dharma, breaking through the fog of ignorance and guiding sentient beings to enlightenment.

3. **Sects and cultural heritage**:

- The black altar wooden hand drum is used in the four major sects of Tibetan Buddhism (Nyingma, Kagyu, Sakya, and Gelug), especially in the tantric practice of Nyingma and Kagyu. For example, in the Padmasambhava tradition of the Nyingma sect, the hand drum is an important tool for practice.

- The production process and use of the hand drum also reflect the uniqueness of Tibetan culture, integrating elements of Bon (Tibetan native religion), and becoming an important symbol of the localization of Tibetan Buddhism.

4. **Social and spiritual impact**:

- In Tibetan Buddhist monasteries, the hand drum is not only a tool for monks to practice, but also plays an important role in public religious festivals (such as the Tibetan New Year or Dharma Assembly), attracting believers to participate and strengthening the religious cohesion of the community.

- Its sound and symbolic meaning penetrate into the daily life of Tibetan people and become a bridge connecting the secular and the sacred.

The myth and origin of the black altar wooden hand drum

The origin of the black altar wooden hand drum is closely related to the inheritance of Tantric Buddhism, mythological stories and the influence of Bon religion in Tibetan Buddhism. The following are some of the main legends and cultural backgrounds:

1. **Padmasambhava and the introduction of Tantric Buddhism**:

- The origin of the black altar wooden hand drum is often associated with Padmasambhava in the 8th century. According to Tibetan Buddhist literature, Padmasambhava was invited by the Tubo King Trisong Detsen to come to Tibet from India in the middle of the 8th century to spread Tantric Buddhism and subdue the forces of Bon religion.

- According to legend, when Padmasambhava subdued the gods of Bon religion, he used hand drums and vajra bells to suppress evil spirits with his voice and mantras to purify the spiritual environment of Tibet. The rhythm of the hand drum is believed to resonate with the pulse of the universe, summon the guardian gods and dispel obstacles.

- Guru Padmasambhava taught his disciples the hand drum as a tool for tantric practice, especially in the Terma tradition of the Nyingma school, where the hand drum became an important ritual tool, symbolizing his historical contribution to the creation of Tibetan Tantric Buddhism.

2. **The legend of the human bone hand drum and the "Ajie drum"**:

- In some Tantric traditions, hand drums (especially the "yin-yang drum" or "Ajie drum" made of human bones) are associated with mysterious and tragic mythological stories. It is said that traditionally some hand drums are made of the skulls or human skins of enlightened practitioners or pure girls, symbolizing dedication and transcendence of worldly attachments.

- For example, the legend of "Ajie drum" tells the story of a girl who was chosen as a sacrifice, whose skin was made into a hand drum, and the sound of the drum embodied her soul and tragedy. This kind of story is used in Tibetan Buddhism to emphasize the doctrine of impermanence and sacrifice, but it has also caused controversy among modern scholars about its ethical background, believing that it may be related to the serf system in Tibetan history.

- Although black altar wood hand drums usually do not use human bones, their shape and symbolic meaning may be influenced by the legend of human bone hand drums, reflecting the profound thinking of Tantric Buddhism on "death and rebirth".

3. **The integration of Bon religion and local beliefs**:

- Before the formation of Tibetan Buddhism, the Bon religion in Tibet had used similar hand drums for shamanic rituals to summon gods or communicate with the spirit world. When absorbing the elements of Bon religion, Tibetan Buddhism combined the function of hand drums with Buddhist philosophy and gave them new religious meanings.

- Black altar wood (or similar hardwood) was selected as the ideal material for making hand drums because of its toughness and resonance characteristics, replacing the use of some human bones or human skins, reflecting the adaptation and innovation of Tibetan Buddhism in the process of localization.

4. **The legend of Mahākāla and the guardian gods**:

- The use of black altar wood hand drums is also related to the guardian gods of Tibetan Buddhism, such as Mahākāla. Mahakala is an important guardian of Tantric Buddhism, symbolizing the power to destroy ignorance and obstacles.

- According to legend, the incarnation or followers of Mahakala will appear in the sound of the hand drum to help practitioners clear internal and external obstacles. The black appearance of the hand drum (especially when made of black altar wood) may echo the image of Mahakala, reinforcing its sacredness as a tool for guardian rituals.

Summary

The black altar wood hand drum is not only a practical ritual instrument in Tibetan Buddhism, but also a cultural and religious symbol with deep symbolic significance. It plays the role of purification, summoning and awakening in Tantric rituals, embodies the unity of compassion and wisdom, and conveys the doctrine of impermanence through its sound. Its origin is closely related to the teachings of Guru Padmasambhava, the integration of Bon religion, and the legend of the human bone hand drum, reflecting the unique development of Tibetan Buddhism in the integration of Indian Buddhism and Tibetan local culture. Although some legends (such as the "Ajie Drum") are tragic, the religious function and philosophical connotation of the hand drum make it an indispensable sacred object in Tibetan Buddhism, with far-reaching influence.

**Note**: Controversial accounts of human bone hand drums (such as the "Ajie Drum") should be treated with caution, as some sources may exaggerate or misunderstand their historical context. It is recommended to refer to academic research or orthodox Tibetan Buddhist texts for a more objective understanding.