An early-mid era example of Luang Por Pina’s most Sacred and Powerful Daw Nai Pan Nai Pon Star Amulet – Sacred Karma Improving Lucky Star for Protection, Wealthy Fortunes, Status Increase, Promotion, and Auspicious Fate. This exhibit is a Pim Lek (small size) measuring 2.5 x 2 Cm. The five sided star face is painted red, and the eight sided star side is painted silver. This exhibit is especially desirable to collectors for the fact that this exhibit has almost a full set of Ploi Sek Gemstones on both sides, which is rare to see in this early-mid era model, for most examples of this Pim, are found without gemstones.
This is the two sided 5 and 8 Pointed Pentacle version, in red/silver painted Muan Sarn Sacred Powders wth Ploi Sek Maha Pokasap Gem inserts. This particular example has special Necromantic Powders stuffed into the edge of the amulet, and, as a Pim lek model, is not only suitable for men, but also a very recommendable model for lady devotees due to the smaller size.
It is very hard to find Daw Nai Pan Nai Pon amulets in a suitable size for ladies to wear.. It is in any case extremely difficult to find one of these amulets in any circumstances, but to find one with an almost complete set of gemstones is doubly lucky.
This exhibit is a Pim Lek (small size) measuring 2.5 x 2 Cm, and is a very early era model in pure muan sarn, made from a very highly concentrated admixture of sacred Necromantic and Magical powders.
The Daw Aathan Hnun Duang has different stars on each side, one as a 5 pointed star similar to the Military Star, and one in 8 pointed Pentacle similar to the Police Force star. Despite their importance for the meaning which is attributed for the Military and Police force, which was of course intentional, there are deep spiritual meanings imbued within the symbolism of each star design.
This amulet is commonly know for its Wealth Increasing Maha Lap Magick, but in truth, the amulet possesses an massive repository of attributed Buddhist Blessings of very sacred and Auspicious Influences on the Forces of Karma.
The amulet is recommended to be encased with,with the pendant ring at an angle, which is a tradition with the Dao Nai Pan Nai Pon, as was originally decreed with the first edition Mae Nuea Horm (Perfumed Mother) Lucky Star (‘Mae Nuea Horm’ 1st edition, was differentiated being somewhat Larger with a crescent moon below the star).
The base of the amulet has a special code stamp embossed into it by Luang Por Pina. The powers of the Daw Nai Pan Nai Pon are manyfold, but has a special ability given by Luang Por Pina which Luang Por Pina would say goes like this; ‘whoever is not straight with you and cannot be trusted, will be spotted and exposed by the Dao Nai Pan or the Mae Nuea Horm, if you wear it at an angle like this’
When understood, the meanings within the sacred Lucky Star Pentacle amulets of Luang Por Pina, are very extensive and comprehensive, and aligned to the focal points of Advanced Buddhist Vipassana Kammathana Practices, with the accompanyiing Miraculous Power of transformation that comes with the 40 Kammathanas.
Luang Por Pina is the deceased Abbot of Wat Sanom Lao in Sra Buri and was said to have possessed Abhinya Powers, and to have Mastered the 10 Kasina Powers of Elemental Magical Dominion.
It is said that he was able to read the minds and intentions of other Humans, and bring amulets to life with is Empowerment Methods, and that his amulets were able to give signs and also can be beseeched and prayed to for wish fulfilment (Sarapat Neuk). There are many stories of Miraculous Events occurring through his amulets.
The Daw Nai Pan Lucky Star is made from a mixture of Highly Sorcerous Ingredients, Herbal and Prai Necromantic Powders, which are both incredibly difficult to find and obtain, and also very easy to recognise their presence within the sacred Muan Sarn Powder mixture.
Those who have had an authentic Daw Aathan before their eyes, will be able to see instantly that this amulet is a very recognisable and distinguished exhibit with the clear to see presence of Luang Por Pina’s Sorcerous Muan Sarn Sarn Powders.
Below is a different model (Namely the Mae Nuea Horm First Edition Amulet), for you to enjoy looking at and for study.
The holes in the amulet also have meaning, some of the daw Nai Pan Nai Pon can be found to have gemstones (Ploi Sek) embedded within the indentations, which are even rarer to find.
This particular exhibit is a Classic Pim from the Early period of Making (Circa 2500), and also one of the highly Preferred ‘Pim Niyom’ Master Models and can be considered ‘Ongk Kroo’ (Teacher Reference Model) for a perfect reference comparison of authenticating other less recognisable Star amulets of lesser preference.
‘Ud Mai Gon Fa Pa’ (Wood from a tree that was truck by Lightning), and many Sacred Relics within its Sacred Powder Muan Sarn. Luang Por Pina’s Daw Nai Pan, exspecially this model above others, is now extremely rare and sought after.
Its price is constantly rising, because only a few hundred Daw Nai Pan are assumed to have been made in the early Era, and they are mostly all already in the possession of the Devotees, many of whom are high ranking Policemen, Army Officers and Top Doctors and Medics.
This model is an early edition which is evidend by its extreme dryness and the texture of the Muan Sarn Sacred Powders which reveal its age, and the authenticity of the amulet
The title of ‘Ongk kroo’ is fitting for this amulet, is for its easily recognisable features and Muan Sarn Powders allow one to easily distinguish the authenticity of any other exhibit when held side by side for comparison, making it a Master Key for teaching the eyes to recognise Luang Por’s famous Sacred Powders, as well as the effects of aging over the years, as to how discoloration and surface mildews should appear in a true authentic example of the Daw Nai Pan. Despite being a painted model, the edges of the amulet are highly visible to reveal the Muan Sarn Sacred Powders content and aging characteristics, and the true appearance of the Muan Sarn used by Luang Por Pina for these inimitable and famously powerful amulets
Luang Por Pina is known to have performed strange Magical feats in front of the eyes of his disciples many times, especially when devotees would ask him for an amulet. He would ask the devotee to lay down and open their eyes, and would take a handful of sand and pour it over their face, as they would hold the amulet in the hand.
But the sand would bounce back before it hit their eyes, and no matter how much was poured on the face, not a single grain of sand would be able to enter the eyes of the devotee, becoming repelled as if by a force field before it touched the eyes.
Kata Luang Por Pina
Light 5 sticks of Incense, and chant the Maha Namasakara 3 times before chanting the special Kata for Luang Por Pina Bpiyataro
Namo Dtassa Pakawadto Arahadto Sammaa Samputtassa
Namo Dtassa Pakawadto Arahadto Sammaa Samputtassa
Namo Dtassa Pakawadto Arahadto Sammaa Samputtassa
Then chant the Kata for Luang Por Pina (3 times);
Ahang Sukhadto Pina Bpiyataro Naamadtae Aajaariyo Ma Pandtae Hohi
Kata Pluk Khong (Call the power within the amulet)
Puttang Gandtang Saranang Haa
Puttang Gandtang Saranang Hae
Puttaaa Namo Ya
Kata Pra Som Hwang (Fulfilment of Wishes)
Chant the following for as many repetitions as your age (for example, if you are 35 years old, then chant the Kata, repeatedly for 35 times)
Nadtae Sudtae
The last repetition, change the words to
Mahaa Sudtae Nachaa
As an example, let us pretend a four year old were to recite the mantra, which would result in four lines like this;
Nadtae Sudtae, Nadtae Sudtae, Nadtae Sudtae, Mahaa Sudtae Nachaa
We invite you to listen to the podcast below, and be amazed at the depth of meanings within the Star Amulet.
Below; The remains of Luang Por Pina in the Sussaan Pina, as he requested to be unpreserved Unmummified, and left to rot naturally according to the laws of Nature, without a grand funeral ceremony or chanting, and forbidden to be cremated.
Presenting a Classic and rare Version of The Bia Gae Cowry Shell Amulet, of Luang Phu Kam of Wat Po Plam, in Ang Thong Province. The Bia Gae of LP Kam are counted as one of the five 'Benjapakee' Bia Gae of all time, alongside the other four: the Bia Gae of LP Rod (Wat Nai Roeng), LP Bun (Wat Klang Bang Gaew), Luang Por Perm (Wat Klang Bang Kaew), and Luang Por Pak (Wat Bote).
Devotees believe the Bia Gae of Luang Phu Kam possess immense power to ward off demons, ghosts, and evil eye spells — dissolving curses, protecting against venomous beasts and jungle fevers. They are also said to carry Maha Ud Gunstopper magic and Metta Maha Niyom Mercy Charm, drawing good fortune back into the life of the bearer.
In the early years of his Bia Gae making, Luang Phu Kam sourced cowrie shells locally around the temple — mostly cord-wrapped, lacquered, or both. After BE 2493, as demand grew due to the amulet’s rising fame and proven efficacy, devotees were sent to coastal regions to gather sufficient shells. The sealing pastes — Channaroeng and Krang — were traditionally harvested from stingless bee nests found in nearby forests, or from Jom Pluak giant termite mounds within the temple vicinity.
As demand surged, local supplies of sacred ingredients dwindled. Luang Phu Kam was compelled to seek materials from farther afield — ensuring the continuity of his sacred craft while preserving its potency for generations of faithful.
The Bia Gae of Luang Phu Kam differ significantly in method from those of other masters. He would smelt sacred leaden alloy until molten, then pour it into bamboo tubes approximately one foot in length. Sealed with cloth, the bamboo was shaken vigorously — causing the cooling alloy to form small pellets. These pellets were then used to ‘feed’ the mercurial substance, altering its internal resonance. When shaken, the Bia Gae emits not a soft thud, but a distinct rattling sound — unique to his lineage.
Luang Phu Kam would then place the cowrie shells on a large tray, using Ya Kaa grass to strike the tray rhythmically while chanting sacred Kata incantations. Through this ritual, the Parort Mercurial substance would flow autonomously into each shell. Once filled, they were sealed with Channaroeng paste and adorned with Takrut foil inscribed with Khom Agkhara script.
Beyond the classic forms, rare special models exist — encased in metallic housings, some oval with decorative borders, others shaped like turtles. Very few “Dtua Kroo” variants were ever made; most remained bare or cord-wrapped, with the shell visibly exposed. In unframed versions, the copper Takrut Tong Daeng is visibly affixed to the Channaroeng seal at the mouth of the shell. Some devotees have reported removing the mercury — which, upon exposure, was said to glow with an ethereal aura, akin to neon light.
After completing the initial creation and empowerment, Luang Phu Kam would take the Bia Gae into his private Kuti hut for further solitary consecrations. One can distinguish early, mid, and late eras by the composition of the Channaroeng paste sealing the shell.
Early-era amulets feature Channaroeng paste derived from stingless bee or giant termite nests near the temple. Mid-era pieces incorporate Ya Ruea — a herbal paste traditionally used by fishermen to seal wooden boats. Late-era amulets combine Ya Ruea with Pong Ittijae Yantra powders, enhancing their spiritual potency through layered alchemy.
Many devotees entrusted their Bia Gae to skilled artisans for custom framing — often in gold, silver, or brass. Artisans typically stamped the frame with Thai letters 'Hor Mor Ngor' (หมง), sometimes 'Kam' (คำ), or 'Heng' (เฮง). When 'Heng' appears, it refers to the artisan’s name. 'Hor Mor Ngor' denotes the workshop mark — still in use today by the same firm, preserving tradition through generations.
The true hallmark of Luang Phu Kam’s Bia Gae lies not only in its materials or form, but in its voice. When shaken gently near the ear, it does not produce the heavy, liquid sloshing “kluk-kluk” common to other schools. Instead, it emits a dry, grainy, whispering “sak-sak” — the sound of sacred sand and powdered yantras mingling with aged mercury, settled over decades. This is no mere acoustic quirk. It is the signature of his hand, the echo of his chant, the proof that the spirit within remains alive.
This sound — subtle, unmistakable — is the final seal of authenticity. It cannot be replicated. It is born of time, devotion, and the alchemical union of earth, metal, and mantra. Those who know, listen. And when they hear the “sak-sak,” they know they hold not just an object — but a vessel of enduring grace.
