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Earlier it has been mentioned that Korean Pompae was introduced by Jin-gam-guksa, the monk of Shilla who studied in Tang of China. However, there are many evidences which show its earlier arrival than Jin-gam-guksa's time. It seems very natural that Pompae was introduced to Korean peninsula at the same time as Buddhism's arrival. Its existence was traced at an ancient poem named 'Dosolga', written by Wolmyeongsa, which appeared in [non-orthodox history of Three Kingdom, written by Ilyeon, the monk]. Also Jagak-daesa Won-in(794-864), Japanese monk, wrote in his book, [travelogue to Tang in search of Buddha's words], that there was three kinds of Pompae, which were Tang style, Shilla style, and Japanese ancient style (which introduced to Japan through Korean peninsula before Tang dynasty), played in Jeoksan. Thus, Pompae seemed to be played in Korean peninsula from earlier times. Buddhism in Three Kingdom period flourished well enough to leave its trace throughout many cultural heritage. In Koryeo dynasty Buddhism thrived under the royal protection as a state religion. Kings held Yeondeunghoe [lotus lantern ceremony] and set up Baekjwa-doryang [hundred seated auditorium] in the palace. King Munjong held special Yeondeunghoe [lotus lantern ceremony] for five days and nights at Heungguksa, the temple, in January 1067. King Uijong(1147-1170), participated in Yeondeunghoe [lotus lantern ceremony] at Bongeunsa, the temple, with 16 chwigak-gunsa, the soldiers, standing on his both sides and 24 chwira-gunsa, the soldiers, standing his behind. From historical evidences of frequent ceremonies it seemed that Pompae might have been considerably popular in Koryeo dynasty. Pompae was on the decline in Yi(Chosun) dynasty, when confucianism was a political ideology. Still, the record shows that in August of 13th year of King Sejong(1431) Pompae was played. There are some Pompae books such as [new revised edition of Buddhist music] (1713), [patterns in Buddhist dance performance](1823), written by Baekpa, the monk, and [tables and scores of buddhist music] (1478). In 1748 (24th year of King Yeongjo) Daehui, the greatest master in Pompae, wrote [collections of buddhist music]. According to the fact that many names of Pompae monks appeared on [sector registry of Buddhist music], Pompae was continued as a principal body of Korean folk belief. In June 1911, under the rule of Japanese imperialism, the ordinances on buddhist temples and the individual regulations on main and peripheral temples were established. They prohibited Korean monks from engaging in Pompae and Jakbeop. Also some buddhist ceremonies became simplified. An Jinho, the monk, wrote [Models of buddhist ceremony] in 1931, which covered a wide range of many buddhist ceremonies, and it became a must book for the monks who were in charge of ceremonies. After Korean Independence the buddhist worship ceremonies were on the decline. However, the designation of Yeongsanjae as Intangible Cultural Assets, no. 50, helped Beom-eum [Buddhist music], which has been succeeded mainly in the region of Kyeongsang, Cholla, and Kyeonggi provinces, to continue its legacy.