Color painting as a Buddha image, ancient cave art site

Terrain

General Condition

Tham Sin is located in the south on "Khao Tham Phra Non" which is a limestone mountain. (Khao Tham Phra Non is located about 4 kilometers from Khao Yala to the southeast). The cave is about 28.2 meters high from the foot of the mountain. The cave faces west. The cave hall is in the north-south axis. The ceiling of the southern cave at its highest is quite large. causing light to shine into the cave at some point Further up to the north is a slightly lower cave hall. There are colored paintings on 2 sides of the cave walls:the east wall of the cave. a black painting It is a group of people who blow darts and shoot arrows. And there are paintings in color, the condition is quite obliterated. It is a symbolic image and appearance. and the west wall of the cave are colored paintings depicting the Lord Buddha and some parts of the Buddha's life. Nearby archaeological sites include:Phang Pha Tham Art that found evidence of living and doing activities in the prehistoric era Located at the foothills of Khao Tham Phra Non, next to Tham Silp. (Charnrungroj 2005)

Height above mean sea level

Waterway

Pattani River

Geological conditions

Tham Sin is located in the south on "Khao Tham Phra Non" which is a limestone mountain. surrounded by sediment deposition area Khao Tham Phra Non is approximately 30-200 meters above sea level.

Archaeological Era

era/culture

Archaeological age

Types of archaeological sites

archaeological essence

The area inside Tham Sin, including the area around the cave in Khao Tham Phra Non, shows signs of the use of space by people from prehistoric times to historical eras. Important archaeological evidence includes color paintings and evidence from excavations.

Color painting Can be divided according to the position of the image as follows:

Color painting on the northeastern cave wall a black painting Write a group portrait of about 8 people. The scope of the picture is 65 centimeters and 60 centimeters. Position the picture in a triangular shape. The image of a person assumed to be a hunter with a blowtorch blowing darts used for hunting from a distance, about 30 centimeters high, above the darts person, is a picture of a person standing about 24 centimeters tall, in front of the dart blower is a person standing on the stomach, about a height of about 24 centimeters. 16 cm. Behind the dart player is a person standing bowing the bow, about 19 cm high. Below the dart player is a sitting person or a small person with a height of about 12 cm, 15 cm and 16 cm. Behind the edge of the standing image there is messy condition All of the people are straight facing and facing in the same image. (Half-profile style) The image is made by engraving technique as an outline first and then the solid color is painted within the outline (Attasit Sukkham 2010; Amara Srisuchart 1989 :49; Torsakul Thiraphat, Phawit Mahatthanasing and Somphop Pongpat 1997) assumed to be a prehistoric painting (The Fine Arts Department 2012).

Color paintings on the eastern wall of the cave next to a group of people blowing darts It is a red painting, symbolic pictures and Buddha history. The color faded, only a brown mark was visible. on the northeast wall and from the remaining traces, it can be seen in various images, namely, at the top is the image of eight seals Next is a picture of two people sitting facing each other. The bottom picture in the middle is a picture of three sitting people (Attasit Sukkham 2010).

Color painting on the western wall of the cave Color paintings depicting the Buddha and the Buddha's history. Written with black, red and white techniques. The group of images is about 2-4 meters high, consisting of the top image of about 15 Buddhas sitting side by side, still clear, 3 of them are images of Lord Buddha sitting in the attitude of subduing Mara with disciples. Two Buddha images flanked below are the images of Buddha images in the posture of Naga, meditation, the three daughters of Mara, namely Tanha, Price and Oradi. Next is a standing Buddha image in a dance posture, Rattanajong Klom, and a Buddha image in the attitude of subduing Mara sitting on a high throne. There are bodhisattvas or disciples flanking it. Below is a picture of the Buddha image in the meditation posture. is a thumbnail which may be the image of the devil The bottom of the image of the sitting Buddha image is an image of flying angels written in red (Silpa Bhirasri 1958). The Buddha image in a posture of posture found on the wall of the cave is similar to the Sukhothai style Buddha image (Department of Fine Arts 2012 :605). )

Archaeological evidence from excavations

Only one archaeological excavation was carried out in 2005 by the Fine Arts Office 13 Songkhla and Charnrungroj Co., Ltd. 4 holes were excavated inside Tham Silpa 3 holes and 1 at Tham Sin Pha Shen ( It is a rock shelter located lower from Tham Silp) total excavation area 31 meters. Archaeological evidence found. (Charnrungroj 2005; Atthasit Sukkham 2010), including:

1. scraps of earthenware (Earthenware) There are both flat surface and decorated with straight lines and flower-like patterns. Rope pattern is assumed to be a historical era pottery. and is a household container Produced in a local stove. In addition, some smooth surface fragments have a fine texture. Outside and inside are white-cold. Which is similar to the clay pots of the Kunthi type from the Pa-O furnace source. It is an item that is brought in with other communities in the Gulf of Thailand.

2. Shards of tough earthenware (Stoneware) decorated with cracked clear glaze. assumed to be Chinese wares Age around the 18-20th Buddhist century and wares from the old Sukhothai hearth. Age around the 19th-20th Buddhist century, which may have been an importation with other communities along the Gulf coast and along the route across the peninsula.

3. Animal bones, including deer, barking deer, pigs, birds, frogs, assumed to be animals that were hunted for human food in the past from the archaeological area. Due to the excavated soil layer is mixed with many ancient artifacts. Therefore, the age of animal bones cannot be analyzed.

4. Pointed animal bone tools

5. Deer Antler Pieces

6. Parts of raw clay amulets

7. Iron ore chunk

8. Polished stone ax

Art translation archaeological evidence and preliminary age determination (Attasit Sukkham 2010)

Prehistoric

Prehistoric art Including the art on the stone wall depicting a group of people hunting with bows and blowers. The east wall of the cave which reflects the red painting with natural grooving (Naturalistic) or virtual images (Realistic) or images of appearance (Figures) images of people in the standing position blowing a blowgun in the middle, with people shooting arrows and animals around in a circle. Next are portraits of people and animals in a straight line. Both sides of the image are circled. Shows that the creation of art is the story of daily life. and may show beliefs as symbolic images Techniques for painting paintings are painted with charcoal mixed with rubber wood. Dr. Amara Srisuchart (1989) assumed that it was a group of people who lived their lives by hunting and hunting. And a special feature of people is drawing the two arms converge by using curves and drawing a pointed head like a bird's head. May represent the manner of respecting the totem of the tribe and Assoc. At present, however, from archaeological excavations by the Fine Arts Office 13 Songkhla and Charnrungrot Co., Ltd. (2005) around Tham Sin and Pha Tham Sin Evidence of prehistoric people's inhabitants around 3,000 years ago, thus defining the age. Color paintings depicting a group of people hunting with bows and blowing blowers were written in prehistoric times 3,000 years ago.

Prehistoric archaeological evidence found from the excavations in the area of ​​Tham Sin (Excavation holes 1-3) consisted of beads, shells and earthenware fragments. The area of ​​the cave art shelter (Excavation hole 4) consisted of clay pottery fragments, clam shells, seashells, snail shells, animal bones, pointed bone tools. perforated shell terrazzo tools and iron ore These evidence clearly reflect the evidence of prehistoric culture. (In the cave art, there is a lot of disturbance inside. It also shows that the area around Tham Sin and Pha Tham Sin has been used for activities both as a residence and a source of human art since prehistoric times. come The area around the Pha Tham Silp shelter was used as a dwelling place only in the prehistoric era. which is probably only a short time After that it was abandoned. Tham Sin area has continued to use the area until the historical era. but changed from using the area for living to using the area to be an important religious place in Buddhism.

Some details of the prehistoric evidence are:

earthenware fragments Decorated with grafted rope pattern, soiled water, smoked on the surface.

Animal bone parts and sharp animal bone tools According to the classification, fragments of rats, birds, pigs, deer, cattle/buffaloes, etc. have been found, suggesting that they may have been hunted from near the archaeological site. Because the animal bone fragments that were found were mixed with many parts. Both legs and body Both the vertebrae, the skeleton of the skull, from the types of animals found, it is known that the area of ​​​​the food source is an animal that lives in mixed forests and grasslands. In addition, aquatic animals such as fish are caught from bodies of water close to archaeological sites. Some of the animal bone fragments were taken from long bone fragments and polished with a sharp rain to use as tools for further hunting. From the archaeological excavations of Tham Mo Khieo in Krabi Province and Tham Sakai Archaeological Site in Trang Province, sharp-pointed tools were found made from animal bones. The age was determined by comparison about 3,020 ± 230 years ago (Surin Phukajorn 1996:25). In addition, the excavation of the rock shed behind the school found similar bone tools (Anderson 1990; ). Rassamee Choosongdej 2002), it is assumed that the prehistoric culture at Tham Sin and Pha Tham Sin is 3,000 years ago.

For tools used in hunting should consist of sharpened tools. which may be made into arrows for archery Or it could be compared to a color painting recording the events of a hunt inside a cave art.

Evidence of shell type suggests that different types of freshwater mollusks were obtained as food. Corresponds to the environment with a small natural stream flowing through the front of the archaeological site. They may also be in contact with communities that are closer to the shores that are further away. Because sea shells are found in the same culture as freshwater shells.

shell beads Found only one piece at Tham Sin. round and flat Probably made from sea shells that are quite thick. It is therefore possible that the item came from contact with distant archaeological sites.

perforated shell It is something that can be produced within an archaeological site due to the availability of raw materials in the area. The shells collected as food may be used to poke holes with a sharp tool. The functional part of perforated shells is made for jewelry like beads.

terrazzo tools Made of fine-grained chert stone, but no evidence of stone tool production was found. Therefore, it is possible that this terrazzo ax may have been brought from another area by bringing it in, or it may have been made within the archaeological site.

From the archaeological excavations of Tham Mo Khieo, Krabi Province and Tham Sakai Archaeological Site, Trang Province by Prof. Surin Phukajon (1996), sharp-pointed tools made from animal bones and polished stone axes were found in the same cultural layer. which determines the age by comparing about 3,020 ± 230 years ago, so it can be said that the prehistoric culture at the archaeological site of Tham Sin and Pha Tham Sin They lived in the same period, or about 3,000 years ago.

Historical art It is an art on the stone wall related to Buddhism, Prof. Silpa Bhirasri and Ajarn Khian Yimsiri (1958). The age of comparison can be no older than the 15th Buddhist century, written by local artisans in the Srivijaya period. Continuing to the 19th-20th Buddhist century according to the Sukhothai art style Influenced by Indian art especially the Buddha image in posture This is consistent with the archaeological excavations at Tham Sin that found evidence of the use of the area as a religious site for rituals according to Buddhist beliefs. Around the 14th-20th Buddhist century, Srivijaya period and continued to be used until the Sukhothai period.

historical archaeological evidence Found from the excavation of the archaeological site of Tham Silp (excavated holes 1-3) only, consisting of fragments of clay pottery. Tough earthenware fragments gilded plaster parts and parts of raw clay รวมไปถึงหลักฐานที่เป็นภาพเขียนสีเกี่ยวกับพุทธประวัติลงสีดำ สีแดง และสีขาว อยู่ทางผนังด้านทิศตะวันตก

หลักฐานประเภทภาชนะดินเผา แบ่งออกเป็น 2 ประเภท คือเศษภาชนะดินเผาเนื้อดิน ตกแต่งด้วยลายกดประทับ ลักษณะคล้ายดอกไม้ น่าจะเป็นภาชนะที่ผลิตขึ้นจากแหล่งเตาพื้นเมือง ส่วนที่มีผิวเรียบไม่มีการตกแต่ง สีของภาชนะมีสีขาว/นวล เนื้อละเอียด น่าจะเป็นภาชนะที่ของแหล่งเตาปะโอจากบริเวณคาบสมุทรสทิงพระ โดยนำเข้ามาพร้อมกับการติดต่อระหว่างชุมชนและนำเข้ามาใช้ในหน้าที่เฉพาะ ซึ่งลักษณะเช่นนี้ ศ.ดร.ผาสุข อินทราวุธ (2527) กล่าวไว้ว่า ลักษณะเนื้อดินของหม้อกุณฑีที่พบในคาบสมุทรภาคใต้ แบ่งออกเป็น 2 กลุ่ม คือ กลุ่มเนื้อค่อนข้างหยาบ มักจะพบในพื้นที่ อ.ไชยา จ.สุราษฎร์ธานี และกลุ่มเนื้อละเอียด พบบริเวณคาบสมุทรสทิงพระในเขต จ.นครศรีธรรมราช และ จ.สงขลา ผลิตออกขายเป็นจำนวนมากในช่วงราวพุทธศตวรรษที่ 19-20

สำหรับเครื่องถ้วยจีนและเครื่องถ้วยจากแหล่งเตาเมืองสุโขทัยเก่า กำหนดอายุได้ราวพุทธศตวรรษที่ 18-20 และ 19-20 ตามลำดับ แสดงให้เห็นว่ามีการติดต่อกับชุมชนภายนอกที่มีการติดต่อค้าขายกับต่างประเทศหรืออาจเป็นการส่งผ่านมาจากชุมชนขนาดใหญ่ที่อยู่ไม่ห่างจากแหล่งโบราณคดีมากนัก เช่น เมืองโบราณยะรัง ซึ่งเป็นเมืองโบราณที่ตั้งอยู่ในเส้นทางข้ามคาบสมุทรระหว่างเส้นทางสายรัฐเคดาห์ ประเทศมาเลเซีย ผ่าน จ.ยะลา และ จ.ปัตตานี (อมรา ศรีสุชาติ 2530)

ในด้านความเชื่อของชุมชนบริเวณถ้ำศิลป์ พบหลักฐานจากการขุดค้น คือ ชิ้นส่วนพระพิมพ์ดินเผา แต่จากสภาพของพระพิมพ์ที่พบไม่สมบูรณ์ เหลือเฉพาะบริเวณมุมเท่านั้น จึงไม่สามารถทราบได้ว่าเป็นพระพิมพ์รูปแบบใด อย่างไรก็ตาม รศ.ศรีศักร วัลลิโภดม (2546) ได้กล่าวถึงโบราณวัตถุที่พบจากแหล่งโบราณคดีวัดถ้ำคูหาภิมุข ซึ่งตั้งอยู่บนภูเขากลุ่มเดียวกับถ้ำศิลป์ โดยกล่าวถึงว่า พระพิมพ์ดินดิบแบ่งออกเป็น 2 แบบ คือ แบบพระพิมพ์ขนาดใหญ่ มีรูปพระพุทธรูปนั่งห้อยพระบาท พระพุทธรูปยืน และพระพุทธรูปนั่งขนาบข้างด้วยสถูปทั้งสองข้าง ลักษณะคล้ายกับศิลปะสมัยทวารวดีในภาคกลางของไทย และพระพิมพ์ขนาดเล็ก ส่วนใหญ่เป็นรูปพระโพธิสัตว์บางองค์มีจารึกกำกับอยู่ด้านหลัง ลักษณะเป็นแบบศรีวิชัย นอกจากพระพิมพ์ดินดิบแล้วยังพบพระพุทธรูปสำริด อายุราวพุทธศตวรรษที่ 14-15 และพระพุทธรูปรุ่นหลังลงมา ตั้งแต่ราวพุทธศตวรรษที่ 18 ลงมาจนถึงสมัยอยุธยา

จากการลำดับสมัยวัฒนธรรมของแหล่งโบราณคดีในพื้นที่คาบสมุทรภาคใต้โดย ดร.อมรา ศรีสุชาติ (2530) ได้กล่าวถึงในช่วงระหว่างพุทธศตวรรษที่ 16-18 มีการค้าขายกับจีน โดยเฉพาะการค้าขายเครื่องถ้วยชาม อิทธิพลของพุทธศาสนามหายานกลับมาฟื้นฟู มีการนำพระพิมพ์ฝังตามถ้ำ ซึ่งถือเป็นศาสนสถานระหว่างพุทธศตวรรษที่ 19 ยังคงทำการค้าขายกับสุโขทัยและอยุธยา เนื่องจากพบหลักฐานที่สำคัญ คือ เครื่องถ้วยชามสังคโลก จากการลำดับสมัยวัฒนธรรมของแหล่งโบราณคดีในพื้นที่คาบสมุทรภาคใต้นี้ จะเห็นได้ว่ามีความสอดคล้องกับหลักฐานทางโบราณคดีที่พบจากการขุดค้นแหล่งโบราณคดีถ้ำศิลป์ ในพื้นที่หลุมขุดค้นที่ 1-3 ที่มีอายุอยู่ในช่วงเวลาเดียวกัน ตั้งแต่ราวพุทธศตวรรษที่ 14-15 เป็นต้นมา (ชาญรุ่งโรจน์ 2548 :79-84)