Bodhisattva Cave

Terrain

General condition

Tham Phra Bodhisattva is a cave on a limestone mountain known as "Khao Nampu" or "Khao Nam Tok", positioned in the northwest-southeast direction. It is located in the area of ​​Wat Tham Phra Bodhisattva. (The temple was established in 1979 and was granted Wisung Kham Sima when 1985)

Bodhisattva Cave About 60 meters above the ground, the entrance to the cave is in the southwest. It is located about 14.5 kilometers east of the Pa Sak River and about 6 kilometers west of Huai Muak Lek.

The Bodhisattva Cave consists of 6 large and small booths, one with carvings on the wall as a booth next to the entrance. and is the most well-lit booth with dimensions 22.5 meters long, 19 meters wide (other booths are 13.9x11 meters, 8.5x32 meters, 12.6x24.5 meters, 18.6x11.6 meters and 8x4.7 meters, respectively). (Amara Srisuchart 1991 :32)

Booth next to the entrance or the first booth with a picture carved on the wall in the middle of the booth. There is a small pagoda painted in gold and gilded on a plaster base. tiled It is a pagoda built in the present.

Height above mean sea level

Waterway

Pasak River, Huai Muak Lek

Geological conditions

The Bodhisattva Cave is located on a limestone hill in the Subbon rock category. Saraburi Stone Group Permian period It is a mountain that is close to or continually from Khao Yai or the Dong Phaya Yen mountain range.

The Saraburi rock group is found spreading along a long line in the east of Saraburi Province. Continuing from Khao Yai Phanom Dong Rak Mountains parallel to the edge of the Korat Plateau and found dispersed into the mountains in the east and south of Saraburi province.

Archaeological Era

era/culture

Archaeological age

Types of archaeological sites

archaeological essence

Tham Phra Bodhisattva, also known as "Tham Phra Ngam" or "Tham Khao Nam Phu", consists of 6 large and small booths with carved images on the wall as a booth next to the entrance. and is the most well-lit booth with dimensions 22.5 meters long, 19 meters wide (other booths are 13.9x11 meters, 8.5x32 meters, 12.6x24.5 meters, 18.6x11.6 meters and 8x4.7 meters, respectively). (Amara Srisuchart 1991 :32)

Booth next to the entrance or the first booth with a picture carved on the wall in the middle of the booth. There is a gilded pagoda located on a plaster base. tiled It is a pagoda built in the present.

From the information of the Fine Arts Department (Mor Por.) indicates that the first time this cave was found A stone tool was found inside the cave. Shows that there were people in the prehistoric period and may continue until the early history of the Dvaravati period. as shown in the low relief carvings of Buddha and gods on the cave wall There are also other antiquities inside the cave such as the gilded love Buddha image. Remnants of a sandstone Buddha image

The most important evidence inside the cave is the reliefs on the northern wall of the first booth. Located at a height of 3.27-5.35 meters from the cave floor, the scope of the picture is 3.3 x 2.08 meters (Amara Srisuchart 1991)

Illustrated with 6 portraits in different poses, from different poses. of the person in the illustration with the costumes and other accessories making it presumed to be a carved image telling a story when the Lord Buddha preached the Dharma. The gods came to watch and listen to the Dharma. An important Hindu deity appeared in this event as well.

The 6 portraits in order from left to right (of the viewer) consist of (Amara Srisuchart 1991 :30-35)

Picture 1 Size:1.42 meters high, depicts the Buddha sitting with his legs hanging in European style over the Phasthasingh Throne, both of his feet resting on lotus flowers. He held an oblique blanket against him. He could see a man flirting with streaks in front of him. Both of his hands were raised up to meet the Buddha's chest. His left hand holds the hem of the robe or the robe. His right hand clenched his fingers in a gesture known as Vikrakakmutra, which was the posture of preaching the Dharma Chakra preaching. The face is oval, the ear is long, the upside down is slightly convex. Prabhawali is a circle around the head of the first floor, nestled in a large Praphawali around the body. which is connected to the Prabhawali of the next 2 gods.

Picture 2 Size 1.07 meters high, depicts a deity sitting floating in a casual posture (Llitasana), hanging his right foot. There is a cloth hanging on the face in a long two-pointed stripe, with a bunch of beads or a garland hanging in his left hand. right arm perpendicular Spread his hand to the Buddha in a posture similar to inviting or inviting him to preach the Dharma. The oval-shaped face is oval-shaped. Most scholars assume that it is Lord Shiva. Because the symbol of Lord Shiva is a bun in the middle of the head and hair. Decorate your hair with a crescent moon (Sakchai Saising 2004 :215), while some people assume that it is Brahma (Thanit Yoopho 1966 :12).

Keera Chatikavanich (2002 :57) suggested that the deity in the second picture may be Shiva in the sector of Thaksinamurti.

Picture 3 Size:1.82 meters high, depicts a deity standing at the hip (triphang), understood to be a Vishnu depicting four arms, two arms on the Chakra in his right hand and a conch in his left hand, with the other 2 crossed on his chest. (Swasdika Mudra) as a respectful gesture (Sakchai Saising 2004 :215) wears a ruffled hem next to it. His hair was as tall as he was wearing a crown.

Picture 4 Size 0.55 meters high is the highest image. is an image of a flying angel With the left leg and the edge of the cloth raised, the two arms are bent inside the body. as a flying posture Parting the hair in the middle into 2 parts, wearing a bow

Figure 5 Size 0.24 m. is a small picture. Under the 4th picture, between the 3rd and 6th photos, is a crouching woman position. The hair is a bun in the middle of the head. The thorax and waist are seen, both arms stretched forward, hands touching the ground, head lowered towards where the Buddha is sitting. as if bowing down to prostration or listening to the Dharma with reverence.

Picture 6 0.96 meters high, depicts a flying angel in a sitting position. Left leg raised perpendicular to the back. The right leg is bent forward. The cloth man hung his face to the side. His left hand is between his chest. right forward His hand is like holding an object or a garland. understand that it is something to worship the Buddha The hair is split in the middle into 2 parts, wearing a bow, the picture on the far right. (of the viewer)

A study of art styles, beliefs and age determination

Srisakorn Wanliphodom (1989:58-62) said that this area has a community that has been in contact with Lanka since the 12th Buddhist century at a slow pace, considering the inscriptions of Tham Khao Wong, Phra Phutthabat district, inscribed in Pallava characters, in ancient Mon language, mentioning " Anuradhapura, which was the capital and religious center at that time.

Characteristics of the carved image that sits and hangs the Buddha's feet. and Shiva's hairstyle, including the crown and standing posture of Lord Vishnu It can be said that These carvings all show that The people who carved these images Not an ordinary local technician be knowledgeable The ability to understand art and aesthetics quite well.

M.J. Supatradit Diskun (1996:43) proposed that the carvings at the Bodhisattva Cave Age around the 13th-14th Buddhist century

He also described depictions of Hindu gods, namely Shiva, Brahma or Vishnu. come and listen to the Dharma of the Buddha as shown in the carvings at this Bodhisattva cave that It is a testimony that Buddhism in those days was widespread, with more believers than Hinduism (Amara Srisuchart 1991 :35).

Amara Srisuchart (1991:34-35) stated that the carvings on the wall of the Bodhisattva cave were depicted as telling stories in Buddhism. It was probably when the gods came and asked them to preach religion or "turn the wheel of dharma" to please all beings in the world. And when he preached the Dharma, there were great gods, gods, humans, demons, and ghouls who came to hear the Dharma. As detailed in Lalitvistra which is a scripture showing the history of Mahayana Buddhism who understood that the knowledge of this scripture was widespread in those days and if it is considered when the gods offer an oath to preach religion The image of the deity in the second picture next to the Buddha image is probably Brahma (or Maha Brahma Sikhi). According to the Lalitvistra scriptures), who came to see Aradhana along with other Brahma deities. but if you consider it as when he preached the Dharma A great god came to listen to the Dharma. It appears that there is a Sakara (Indra), Brahma (or the worldly deities) and other gods. including Mahesuan (Phra Shiva), who is the supreme ruler of the Suttavas deva. This image (Picture 2) may be a representation of Brahma or Lord Shiva. Although the name of Vishnu is not mentioned in the scriptures, the 3rd picture shows a figure of Vishnu in the presence of devotion to the Buddha's sermons.

From the nature of the art shows that it is a Dvaravati style of art. Probably built around the 13th-14th Buddhist century, the image carved a Buddha image sitting on a throne hanging his feet in a dharma posture like this. Similar to the image carved on the base of the stupa at That Phanom Funan, an early Khmer art. Only the image of the Buddha in this posture appear in bronze Found at an archaeological site in In Buri City, Sing Buri Province, which is an important Dvaravati cultural site in the central region. Other artistic characteristics For example, the hairstyles of gods and angels in this carving. It is a popular style of Dvaravati art in the aforementioned Buddhist century (Amara Srisuchart 1991 :35).

Phasuk Intharawut (1999:166) The carvings show that Buddhism has great power over Brahmanism. which is the belief of Mahayana Tantra Buddhists who grow in northwestern India under the auspices of the Pala dynasty (Buddhist century 14-17)

Kera Jatikavanich (2002:57) suggested that the image of Shiva engraved on the throne and holding Akshamala in the second picture may refer to Shiva in the region of Thaksinamurti. (Referring to the Prophet) of India as sculptures in the Pallava dynasty. This may imply that Hindu Brahmins accept the teachings of Buddhist prophets. and the characteristics of Lord Shiva showing a posture similar to Abhaimudra His left hand holds the Akshamala, the symbol of a priest. at the bottom of the king tying the cloth in a bow, leaving the long hem Similar to Shiva statue of Thaksina Murti, Conjeevaram city in South India.

Vishnu or Vishnu in the 3rd picture who holds the chakra in his upper right hand and conch in his upper left hand. It is a characteristic found in South India. Swastika mudra features are found in Indian and Sri Lankan art, such as standing Buddha images in the Viharn of Kal. and paintings at Tiwanga Viharn including Dvaravati art at Tham Fa Tho, Ratchaburi Province (Kera Jatikavanich 2002 :57-58), while the veil of the Buddha image tied in a knot is common in Indian art in the Gupta style and behind the Gupta (Su Pattaradis Diskul 1994)

Such carvings show part of the Dvaravati belief that Buddhism is greater than Brahmanism. which is the motto of Mahayana Buddhism prevalent in North India (Kera Jatikavanich 2002 :59)

Location factor is the point of belief between Dvaravati and Khmer art. Affected by the competition between Theravada Buddhism, Mahayana Buddhism and Brahmanism, especially from the ancient Khmer Empire during the 12th-14th Buddhist century.

Sakchai Sai Singh (2004:215-219) said that this sculpture is about the Buddha preaching to Shiva and Vishnu. with angels and people coming to listen as well which may appear in any scriptures of Theravada Buddhism Or it may be a combination of Mahayana Batantra (Vajrayana), which can be compared to the sculptures of Bagan of Lord Vishnu and Shiva coming to see the Lord Buddha, for example. and evolved from the art of gupta and after gupta which is classified as the era that has published many things of Dvaravati especially the Buddha image showing Dharma in both hands Seated with European-style feet Aged around the 12th-13th Buddhist century in the early days that are still very close to Indian art. Can be compared with the sculptures at Ajanta Cave No. 19, Ellora Cave, Bodhisattva Cave No. 23 at Nasik, the Devalai Deva. India sculpture in kal temple Sri Lanka's Plonnaruwa Art including the Dvaravati period, early history and Dvaravati period at U Thong, Prachin Buri, Nakhon Pathom and the South.

Piriya Krairiksh (2010 :49) said that the carving of the Buddha image in low relief at the Bodhisattva Cave Age can be determined around half of the 11th Buddhist century from the Buddha's appearance and posture imitated from Indian Buddha images at Nagarjunkonda. As for the throne, it is similar to the mural at Achanada Cave No. 16, written in the early 11th Buddhist century and built in the Mahasanghika sect or a sub-sect of the Maha Sang sect. Gika (eg Orarasila or Puravasila), the person in the fifth picture, in a prostration posture. Might be a cave owner.

In addition, in Bagan art, there are images of the Buddha's life that depict the gods of the Brahmin religion to show respect to the Lord Buddha. Including pictures of Buddha history at Borobudur, Javanese art, there are also images of gods in Brahmanism to pay respect to the Buddha as well (Supatradit Diskul 1994 :61)