본 논문은 범패의 기원과 관련하여, 인도의 불교미술에 나타난 고고학적 자료를 바탕으로 불교적인 삶과 음악의 의미, 양식, 악기의 특징 등의 추적을 시도한다. 우선 인도를 동·서·남·북·중으로 구분하고 여기에 현존하는 음악 자료를 분석하였다. 도상의 고증을 통해 불교음악에 사용된 악기는 현명악기, 마명악기, 기명악기, 채명악기로 4분된다. 악기에 따른 불교음악을 구체화하면 6종으로 분류할 수 있다. ①부처 찬탄: 독창(비나 반주). ②부처에 대한 예경: 앙상블. ③부처의 일생: 탄생(장엄음악), 태자 시절(악, 가, 무의 궁중음악), 열반(악, 가, 무의 지역음악). ④자타카: 독주, 중주, 앙상블, 춤. ⑤전쟁, 사냥, 성지순례: 행악. ⑥장엄, 비유, 상징: 독주. 이 같은 분류와 분석을 토대로 고대 인도 불교음악의 특성을 추출할 수 있다. 첫째, 음향적으로는 인도 음악의 특징인 지속음을 사용하여 음향적 배음감을 고조시킨다. 둘째, 선율면에서도 다양한 악기들을 사용하여 풍부한 음색을 통해 운율적인 변화를 담아낸다. 셋째, 리듬면에서도 춤, 반주 등을 고려하여 다양한 장단이 표현된다. 넷째, 앙상블의 다양한 구성은 드라마틱한 음악세계를 드러낸다.

Music and religion are so closely linked in relationships with each other. As complex, diverse, and difficult to define as either term in itself. Music has a high positive or negative value that reflects its near-universal importance in the religious sphere. On this point, the extant remains of ancient Indian Art are mainly religious whether Buddhist or Brahmanical, and owe their origin and growth, to the development of their religions. Although the Buddhism in principle was totally averse to music, yet the service of the latter was sought by the followers of that religion for its propagation. Even from the early phases of its history, the religious fervor in the Samgha gave birth to schools of arts and architecture which expressed the inner devotion of the followers of the Lord Buddha. The artists choose to depict in stone and in plaster reliefs important scenes from the life of the Buddha such as the birth, the great renunciation, the attainment of enlightenment, the first sermon and the great Parinivāna, etc. As a proof, there have remained in existence many Buddhist monuments-the gateways, pillars, walls, railings, wall paintings in caves, etc. on which musical instruments are also shown in the narrative-cum-pictorial representations that form part of their sculptures and paintings. The archaeological, epigraphical, mural traditions are the first and last records which help us to study the present theme through the ages. In this review of the available evidence, we cannot overlook the importance of archaeological information relating to music. Many valuable clues are provided which help us in several ways and thus many aspects of the obscure and forgotten music of ancient period get illumined and meaningful in a revealing context. The scenes depicted in Buddhist art forms give an idea of the construction and shape of the instruments, the manner in which they are held and played, the types of concert, and the number of people taking part therein and instruments used by them. Thus, the present study of art portrayals provides the knowledge of the type of music practised at different periods of Buddhist history in general and opens a overwhelming vista of integrated art expressions in particular. A discussion is made with reference to the musical instruments depicted in Buddhist monasteries, stupas, caves, etc. It is commonly agreed that such instruments as portrayed in art are very important not only for the history of Buddhist sect but also in the study of Ancient Indian Music. The archaeological evidence at hand is of utmost importance to certify the fact that many musical instruments existed at a very early date. Some examples in the scenes can be divided into four major classes which are, 1)Ghana Vadya(solid) or idiophones, 2)Avanaddha Vadya(covered vessels) or drums, 3)Sushira Vadya(follow) or wing instruments and 4)Tata Vadya(stretched) or string instruments. Another pivotal concept has been that of the music in Buddhist Art. These instruments can be said to include such as the vina, citra vina, vipanchi vina, sankha, tutiya, bhumi-dundubhi, panava, bhanda, karkari, bheri and mudinga, etc. The representation of these several musical instruments depicted in Buddhist art appears in the form of an essemble. The use of these instruments can be categorized into four broad occasions namely; processions, war, celebrations, rite, Jatakas and worship. It is also available that visible references can be found at Barhut, Ajanta, Sanchi, Ghandhara, Pitalkhora, Sarnath, Mathura, Bodhgaya, Nagarjunakonda, etc.

Music and religion are so closely linked in relationships with each other. As complex, diverse, and difficult to define as either term in itself. Music has a high positive or negative value that reflects its near-universal importance in the religious sphere. On this point, the extant remains of ancient Indian Art are mainly religious whether Buddhist or Brahmanical, and owe their origin and growth, to the development of their religions. Although the Buddhism in principle was totally averse to music, yet the service of the latter was sought by the followers of that religion for its propagation. Even from the early phases of its history, the religious fervor in the Samgha gave birth to schools of arts and architecture which expressed the inner devotion of the followers of the Lord Buddha. The artists choose to depict in stone and in plaster reliefs important scenes from the life of the Buddha such as the birth, the great renunciation, the attainment of enlightenment, the first sermon and the great Parinivāna, etc. As a proof, there have remained in existence many Buddhist monuments-the gateways, pillars, walls, railings, wall paintings in caves, etc. on which musical instruments are also shown in the narrative-cum-pictorial representations that form part of their sculptures and paintings. The archaeological, epigraphical, mural traditions are the first and last records which help us to study the present theme through the ages. In this review of the available evidence, we cannot overlook the importance of archaeological information relating to music. Many valuable clues are provided which help us in several ways and thus many aspects of the obscure and forgotten music of ancient period get illumined and meaningful in a revealing context. The scenes depicted in Buddhist art forms give an idea of the construction and shape of the instruments, the manner in which they are held and played, the types of concert, and the number of people taking part therein and instruments used by them. Thus, the present study of art portrayals provides the knowledge of the type of music practised at different periods of Buddhist history in general and opens a overwhelming vista of integrated art expressions in particular. A discussion is made with reference to the musical instruments depicted in Buddhist monasteries, stupas, caves, etc. It is commonly agreed that such instruments as portrayed in art are very important not only for the history of Buddhist sect but also in the study of Ancient Indian Music. The archaeological evidence at hand is of utmost importance to certify the fact that many musical instruments existed at a very early date. Some examples in the scenes can be divided into four major classes which are, 1)Ghana Vadya(solid) or idiophones, 2)Avanaddha Vadya(covered vessels) or drums, 3)Sushira Vadya(follow) or wing instruments and 4)Tata Vadya(stretched) or string instruments. Another pivotal concept has been that of the music in Buddhist Art. These instruments can be said to include such as the vina, citra vina, vipanchi vina, sankha, tutiya, bhumi-dundubhi, panava, bhanda, karkari, bheri and mudinga, etc. The representation of these several musical instruments depicted in Buddhist art appears in the form of an essemble. The use of these instruments can be categorized into four broad occasions namely; processions, war, celebrations, rite, Jatakas and worship. It is also available that visible references can be found at Barhut, Ajanta, Sanchi, Ghandhara, Pitalkhora, Sarnath, Mathura, Bodhgaya, Nagarjunakonda, etc.

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Archaeological Inquiry, Buddhist Music, Indian Art, Ghana Vadya, Avanaddha Vadya, Sushira Vadya, Tata Vadya, Barhut, Ajanta, Ghandhara, Sanchi