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.
A most Sacred and Spiritual Acquisition for Bucha, with Truly Ancient Origins; Noppagao Pra Prang - a piece of tile stucco from the ancient Chedi Stupa relic monument at the temple of Wat Pra Sri Radtana Mahatat in Pitsanuloke.
The Stucco piece derives from over 100 years ago, during the restoration period where the stucco tiles were replaced in the year 2454 BE. Luang Por Plien, tha Abbot of the time, had requested for stucco tiles to be comissioned from Italy, with a thick layer of gold on the outer smooth face, and nine squares in three lines on the inner side. The nine partitions of the rear face give the artefact its name 'Noppagao'.
Each of the nine squares, has three small round protuberances. The protuberances were to help the tile to stick to the Chedi Stupa using Cement.
Noppagao is the name given to this kind of Stupa Tile, because 'Gao' means the number 9, and the stucco tile has nine squares on the rear face. An extremely Rare and Sacred artefact that can be considered an immensely lucky opportunity to obtain such a Sacred and Ancient Religious Object.
Wat Pra Si Radtana Mahatat (Thai: วัดพระศรีรัตนมหาธาตุ; "Temple of Great Jewelled Reliquary"), also colloquially referred to as Wat Yai (Thai: วัดใหญ่; "Big Temple"), is a Buddhist temple (wat) in Phitsanulok Province, Thailand, where it is located on the bank of the Nan River near Naresuan Bridge.
The temple is famous for its gold sculpture of the Buddha, known as Phra Phuttha Chinnarat (Thai: พระพุทธชินราช; "King of Victory"). Some people consider it to be the most beautiful buddha in Thailand. Wat Pra Si Radtana Mahatat, known among the locals as "Wat Yai", was founded in 1357 by King Lithai of Sukhothai.
The face of the stucco tile is covered with a layer of gold, which is the outer face which was stuck to the top of the golden Chedi Stupa spire (see below pic).
The temple of Wat Pra Sri Radtana Mahatat was built at the same time as Wat Phra Phuttha Chinna Si, and “Wat Phra Si Satsadaram. During the reign of Ekathotsarot of Ayutthaya, its Buddha image was gilded and the temple was later developed by Chulalongkorn and Bhumibol Adulyadej of Rattanakosin.
The temple's large Vihara Shrine has an immense main entrance with mother-of-pearl inserts donated by King Boromakot in 1756. Beyond the wihan is an Ancient Khmer style Prang (Chedi Stupa), the inside of which can be accessed via a stairway. The prang is said to enshrine relics of the Buddha.
This piece of Stucco is from the restoration of 2555 BE, where tiles of the outer surface of the Prang Stupa, were removed to be replaced by new tiles. The ministry of Arts and Culture commissioned the restoration, and so the old tiles were removed and blessed in Buddha Abhiseka Ceremony, with Sincana cords stretching from within the Stupa Chedi, to enter into the Shrine Room of the Uposadha at the temple, to connect to the Nopagao tiles, and channel the energy from the Stupa and the Buddha Relic into the Noppagao Pieces. The Noppagao were then blessed, empowered, and distributed to some of the faithful devotees.
The Stupa is an extremely sacred relic shrine which has stood for many Centuries, recieving the prayers of monks and devotees, and which has housed the Sacred Buddha Relics within it, which emanate their Sacred Power through the Stupa.
A Prang is a tall tower-like spire, usually richly carved. They were a common shrine element of Hindu and Buddhist architecture in the Khmer Empire. They were later adapted by Buddhist builders in Thailand, especially during the Ayutthaya Kingdom (1350–1767) and Rattanakosin Kingdom (1782-1932). In Thailand it appears only with the most important Buddhist temples.
A powerful Sacred Votive Tablet of Pure Buddhist Nature, which is of immense Religious and Historical significance, and an extremely faith instilling Sacred Artifact, which any true Buddhist would wish to have as a Personal Religious Relic.
A centuries old artifact that has recieved the prayers of monks over many hundreds of years, and which has been a sacred edifice housing a Buddha Relic, is indeed, a most desirable Sacred Artefact which can be kept on the Altar, or which can be encased and worn as an amulet, for Klaew Klaad, Metta Maha Niyom, Maha Lap, Kong Grapan Chadtri and Serm Duang.
Use the Traditional Thai Buddhist Method for Bucha;
1. Chant Maha Namasakara (3 Times)
2. Chant the Trai Soranakom (3 Times)
3. Chant Kata Aaraatanaa Pra Krueang (3 Times)
Kata Maha Namasakara
Namo Dtat-Sa Pakawa-Dto Araha-Dto Sam-Maa Sam-Put-Dtat-Sa
Namo Dtat-Sa Pakawa-Dto Araha-Dto Sam-Maa Sam-Put-Dtat-Sa
Namo Dtat-Sa Pakawa-Dto Araha-Dto Sam-Maa Sam-Put-Dtat-Sa
Trai Soranakom
Puttang Cheewidtang Yaawa Nipaanang Saranang Kajchaami
Tammang Cheewidtang Yaawa Nipaanang Saranang Kajchaami
Sangkang Cheewidtang Yaawa Nipaanang Saranang Kajchaami
Tudtiyambpi Puttang Cheewidtang Yaawa Nipaanang Saranang Kajchaami
Tudtiyambpi Tammang Cheewidtang Yaawa Nipaanang Saranang Kajchaami
Tudtiyambpi Sangkang Cheewidtang Yaawa Nipaanang Saranang Kajchaami
Dtadtiyambpi Puttang Cheewidtang Yaawa Nipaanang Saranang Kajchaami
Dtadtiyambpi Tammang Cheewidtang Yaawa Nipaanang Saranang Kajchaami
Dtadtiyambpi Sangkang Cheewidtang Yaawa Nipaanang Saranang Kajchaami
Kata Aaraatana Pra Krueang
Puttang Aaraatanaanang
Tammang Aaraatanaanang
Sangkang Aaraatanaanang
Puttang Prasittimae
Tammang Prasittimae
Sangkang Prasittimae
General Knowledge;
A Stupa Tile that has nine segments equal measurement are called 'Noppagao', Stupa Tiles with nine unequal segments is called 'Nopparadt', and Atupa Tiles with only one single protuberance instead of three in each segment, is called 'Noppasoon'
