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.
Rare Pim - Phra Somdej Wat Rakang
The TRUTH of the Emperor Amulet!
The mighty Phra Somdej Prok Poh "Kaes Yaw", Powder Mass Amulet created by Somdej Phra Buddhachan Toh Prommarangsi of Wat Rakang Kositaram, is confirmed as the Emperor of Amulets in Thailand. Superb Puttakun for Metta Mahaniyom (Charm), Klaew Klad (Avert Danger), and full of Holy Muan Sarn! For more than 100 years, the Amulet World still argue about the correct Pim (Mold) and Muan Sarn. This item comes with PDF ebook Digital download after purchase 'Phra Somdej Wat Rakang – Rare Pim Plaek (PDF Guarantee Letter from Ajarn Spencer)' With essential information about this amulet.
The Commercial Sector (a.k.a. the Sian network) only recognize a few Pim Niyom (Standard Molds) to easily control the market price and make it easier to transact. But the historical truth? Somdej Toh created a huge amount, giving birth to many Pim Plaek (Rare/Uncommon Molds) or Non-Tarmara Pims (outside the textbook) that are 100% genuine, hold immense value, and are highly sought after by the Conservation Line and Puttakun Line collectors!
I. IDENTIFICATION & NOMENCLATURE
Formal Title: Phra Somdej Wat Rakang Kositaram, Pim Ok Rong Hoo Bai Sri, Tarn 7 Chan (7-Tiered Base). The "Rare Pim" Classification: This specific mold is an exquisite example of the "Cross-Temple Artistic Influence." While the 7-tiered base is a signature of Wat Kaes Chaiyo, the mass composition, arch thickness, and edge-cutting technique identify this as a Wat Rakang creation carved by Royal Artisans to fulfill the 84,000 Dhamma Khandha Vow.
II. AUTHENTICATION REASONING (THE FIVE PILLARS)
- Mass Consolidation (Nuek Num/Nuek Graeng): The amulet displays the "Soft-yet-Firm" texture only achievable through the 150-year oxidation of Tung Oil (Nam Man Tung Lew) mixed with lime.
- Calcite Crystallization: Microscopic analysis reveals a "Foam Tofu" surface (Krub Kru/Calcite). This is the leaching of calcium carbonate from the seashell lime, a natural process that cannot be replicated by modern chemicals or ovens.
- Contraction Marks (The "Fatal Spot"): Visible "Roy Poo Tai" (Crab Walk) and "Roy Non Don" (Worm Tracks) on the edges and reverse. These are caused by the natural decomposition of organic Muan Sarn (rice, pollen) and the subsequent shrinkage of the cement.
- In-Situ Muan Sarn: Presence of "Phra That" (Broken chunks of ancient Kamphaeng Phet amulets) and "Black Grains" (Burnt palm leaf/sacred herbs) embedded deep within the crystallized mass.
- Reverse Signature: The back features a classic "Lang Sangkhaya" (Custard Back) with "Lang Gradaan" (Wood Plank) striations, confirming it was hand-pressed and dried on a wooden board as per ancient Wat Rakang protocols.
III. MAKER & ORIGINS: THE ROYAL ARTISANS
The Maker: Somdej Phra Buddhachan Toh Prommarangsi. The Block Press: This mold belongs to the Middle Era (Chang Sip Moo). The symmetry of the "Ok Rong" (V-Chest) and the graceful "Hoo Bai Sri" (Ear Lobes) suggest the hand of high-ranking artisans—likely Luang Sidthikarn Yotharak or the Palace Craftsmen. Unlike "Villager Pims" which are often shallow or crooked, this "Royal Pim" exhibits deep, sharp relief while maintaining the spiritual "soul" of manual pressing.
IV. MUAN SARN: THE FIVE SACRED POWDERS
This specimen is a repository of Somdej Toh’s legendary alchemy:
- Phong Patamang: For invulnerability and protection.
- Phong Ittijae: For supreme Metta Mahaniyom (Charm and Attraction).
- Phong Maharach: For power, authority, and status.
- Phong Putthakhun: For universal mercy and healing.
- Phong Trinisinghe: To avert all forms of danger and black magic.
- The Binding Agent: A sacred "Krayasart" mixture involving boiled sugarcane, Nam Wa bananas, and high-grade Tung Oil, resulting in a Poon Phet (Diamond Cement) hardness.
"To own this amulet is to own a piece of Thai Royal History. While the market chases 'Standard Molds' for trade, the true Elite Collector seeks the 'Pim Plaek' with 'Poon Phet' mass. This amulet does not speak of commerce; it speaks of the Dhamma. It is a 'LIVING' amulet—the Calcite continues to grow, the mass continues to dry, and the Puttakun (Sacred Power) remains as vibrant as the day Somdej Toh consecrated it at Wat Rakang."
Estimated Age: 158 - 169 Years. Condition: Udom (Supreme Class) – Original Skin, Untouched.
The 84,000 Dhamma Khandha Legend, and the 3 Generations of Master Artisans.
The Grand Spiritual Architecture of Phra Somdej
Somdej Toh’s Quest for 84,000 Amulets
The enduring legacy of the Phra Somdej amulets is not merely a tale of royal craftsmanship but the chronicle of a monumental spiritual endeavor driven by Somdej Phra Phuthtajarn (Toh Prommarangsi) of Wat Rakang. His was a "Grand Vision," a quest rooted in a profound commitment to the Buddhist faith: to press a staggering 84,000 amulets.
This specific number is the cornerstone of the project, holding deep symbolic weight. It represents the entirety of the Dhamma Khandha, the 84,000 distinct teachings, principles, and disciplinary rules that constitute the complete Buddhist canon. By creating an amulet for every single teaching, Somdej Toh intended this massive undertaking as the ultimate act of dharma dana (the gift of Dharma), a physical and spiritual means of extending, protecting, and fortifying the Buddhist Faith for countless generations.
However, the realization of this immense goal by hand—relying on Manual Pressing—during the reigns of King Rama IV and King Rama V represented an unprecedented logistical and artistic challenge. The sheer volume required a scale of production far beyond the capability of a single monk or a small team. This necessity brought about the gradual involvement of diverse groups, leading directly to the distinct characteristics and the wide, fascinating variety of Pims (the specific shapes and designs) we see in Phra Somdej amulets today. The entire production history can be meticulously categorized into three distinct eras, each reflecting the artisans involved, and the materials, techniques, and aesthetic standards they introduced.
The Three Eras of Phra Somdej Production
1. The Early Era (The Birth of the Pim Plaek)
The initial phase of production was a truly grassroots effort, characterized by intense spiritual dedication and rudimentary resources, deeply embedded within the Wat Rakang temple community and its immediate surroundings.
- The Artisans and the Spirit of Faith: The molds were primarily carved by Somdej Toh himself, often in moments of quiet contemplation. Critically, he enlisted the help of dedicated local villagers (such as the historically noted Yai Kham and Ta Yok), and the hands of junior monks residing at the temple. This was a labor of pure faith and devotion, carried out by non-professional hands, rather than a commercially driven artistic project.
- The Molds and Techniques of Necessity: Necessity was the mother of invention. Molds were often improvised, carved from readily available and easily shaped materials like common wood, soft marble, or locally sourced and baked clay. The tools were simple and the process often hurried.
- The Defining Characteristics and Aesthetics: Due to the rudimentary tools and the non-professional nature of the carvers, the resulting Pims from this period possess a charming, yet distinctively unrefined aesthetic:
- They are typically shallow in relief, lacking the sharp depth of later pieces.
- They often exhibit pronounced asymmetry, with the central Buddha image and surrounding elements frequently appearing noticeably tilted or slightly off-center.
- The frames or arch-like borders (Sum) surrounding the Buddha image are commonly crooked or irregular, reflecting the hand-carved, non-standardized nature of the molds.
- The Significance of the Pim Plaek: THIS IS THE SOURCE OF MANY PIM PLAEK (literally 'Strange' or 'Unusual Pims'). These early, rough-hewn pieces are unfortunately often rejected by the Sian (the commercial experts or 'big players' in the modern amulet trade). They are dismissed simply because they are deemed not aesthetically pleasing or do not conform to the symmetrical, detailed standards of the modern collector. Ironically, many true devotees and purists consider these Pims to be the most spiritually potent. They are believed to be FULL of Khem Kon Muan Sarn (Concentrated Holy Mass/Sacred Ingredients), having been created during the initial, most spiritually charged period of Somdej Toh’s personal work.
2. The Middle Era (The Rise of Royal Craftsmanship)
As the fame and spiritual power of the amulets began to spread, and the sheer magnitude of the 84,000 goal became apparent, the project transcended a mere temple undertaking. It began to attract significant attention and vital support from the highest echelons of Siamese society, leading to a demonstrable upgrade in artistic quality and technical execution.
- The Artisans of the Court: The production gained invaluable assistance from high-ranking members of the Royal Court, notably individuals like Somdej Krom Phra Bamrab Porapak, and groups of highly skilled Royal Artisans from the palaces. These professionals were known collectively as the Chang Sip Moo (The Ten Branches of Royal Craftsmen). Their official involvement elevated the production from a temple-based craft to a royal art project, dedicated to serving the spiritual foundation of the Kingdom.
- The Innovation in Material: The introduction of superior materials was a game-changer. Molds were carved predominantly from Soapstone (a soft, easily carved stone also known as talc). This material allowed for the creation of far greater detail and smoother, more consistent carving than the previously used wood or baked clay.
- They were deeper in relief, giving the Buddha image a more three-dimensional, prominent appearance.
- The lines were sharper and significantly more defined, capturing subtle details in the robes and aura.
- The overall design became markedly more symmetrical and beautifully shaped, establishing the consistent prototypes for many of the now-recognized standard Pim forms.
3. The Late Era (The Golden Age and Pim Niyom)
This final period represents the culmination and pinnacle of craftsmanship, technical innovation, and aesthetic refinement. It gave rise to the texture and design features most prized by serious collectors and revered as the ultimate standard today.
- The Key Artisan: Luang Wicharn Jien Nai: The pivotal figure who ushered in this golden age was Luang Wicharn Jien Nai, a highly skilled and respected Royal Goldsmith. His appointment to the project provided the necessary technical expertise to perfect the amulet's form.
- Craftsmanship and Design Innovation: Luang Wicharn Jien Nai carved the most exquisite, consistent, and technically precise Soapstone molds. His most enduring contribution to the aesthetics of the Somdej amulet was a critical innovation known as the “Sen Bangkab Pim” (literally 'Forced Line' or 'Glass Frame'). This sharp, raised line was meticulously carved around the very edge of the Pim. Functionally, it created sharp, neat, and perpendicular edges and perfectly contained the muan sarn (holy mixture) during the pressing process, giving the finished amulet a meticulous, commercially appealing, and finished look.
PRA SOMDEJ STUDY OF THE 3 ERAS
- The Binding Agent Revolution: Nam Man Tung Iew: MOST IMPORTANTLY, Luang Wicharn Jien Nai revolutionized the texture and longevity of the muan sarn. By introducing Nam Man Tung Iew (Tung Oil or Caster Oil) as the primary binding agent, he solved a fundamental problem: prior to this, the amulets were often fragile, brittle, and prone to crumbling or dissolving over time.
- The Resulting Texture: Nuek Num: The use of Tung Oil created a unique, desirable, and immediately recognizable texture known as "Nuek Num." This quality is best described as being soft-yet-firm or buttery to the touch. Crucially, the oil ensured the amulet was not brittle, allowing it to withstand the passage of time and handling.
- The Legacy and The Pim Niyom: These later-era Pims, characterized by their refined design, the presence of the Sen Bangkab Pim, and the superior texture that exhibits the characteristic Nuek Num quality, are what the commercial world and the majority of collectors universally hail as the #1 Pim Niyom (The Popular/Standard Model) today. They stand as a testament to the ultimate perfection of Somdej Toh’s spiritual vision as executed by the finest royal artisans in the Kingdom.
PART 2: The Signature Look of the 3 Somdej Temples
Somdej Toh consecrated and contained Phra Somdej at 3 main temples, each with a clear, distinct signature:
- 1. Phra Somdej Wat Rakang Kositaram (The Original Emperor):
- Context: Primarily created and distributed at Wat Rakang, not focused on Kru (Stupa/Chedi Stashing).
- Mass: Because it was never stashed, the mass is dry with age, showing signs of handling/sweat (Nuea Jat). High concentration of Muan Sarn particles is visible. It has the highest "Nuek Num" or "Nuek Graeng" (Firm-yet-soft/Hard) properties due to the perfect ratio of Tung Oil and Holy Powders.
- Pims: Pim Yai (Main Buddha), Jedi, Tarn Sarm (Three-Tiered Base), Kaes Bua Toom, Prok Poh.
- 2. Phra Somdej Wat Bang Khun Prom (Mass Production for Preservation):
- Context: Created 84,000 Pims to be stashed in the Great Chedi at Wat Mai Amatarot (Bang Khun Prom) at the request of Semian Tra Duang.
- Process: Due to the large volume required quickly, many molds were used (both old Wat Rakang and newly carved ones). The mass has a higher proportion of lime and less Tung Oil than Wat Rakang for faster drying.
- Mass/Kru Stains: Signature is the undeniable Krub Kru (Stash Stain). Being stashed in a humid, hot Chedi led to chemical reactions, resulting in "Foam Tofu" stains, brown/yellow Kee Kru (Stash Scum), and hardened cement. Bang Khun Prom Pims thus look Harder than Wat Rakang.
- Pims: Includes all 5 Wat Rakang Pims plus unique Pims like Sen Dai (Thread Line), Sang Ka Ti, Tarn Koo (Double Base), and Ok Krut (Garuda Chest).
- 3. Phra Somdej Wat Kaes Chaiyo (Filial Piety Memorial):
- Context: Somdej Toh created this to dedicate merit to his Mother (Kaes) and Grandfather (Chai) and contained the Pims in the Great Buddha Image at Wat Chaiyo Worawiharn, Ang Thong Province.
- Mass: Often Tark Lai Nga (Cracked like sesame seeds), more crumbly than Wat Rakang, fine mass with light yellow stains.
- Pims: Unique Pims not found in the other two—Double Glass Frame, V-shaped chest (Ok Rong), Hoo Bai Sri (Ear Lobe), and tiered bases, including Pim 7 Chan (Most Popular), 6 Chan, and 5 Chan.
Deep Dive into the "Pim Plaek" (The Rare, Non-Niyom Molds!)
The term "Pim Plaek" (Non-Niyom Block!) does not mean fake amulet. These are 100% genuine Pims created by Somdej Toh, possibly by the Early Era Villager Artisans, as test pims, or limited special occasion runs. The commercial sector ignores them because they are rare and hard to compare (hard to put a price on!).
Why Pim Plaek is Real: To press 84,000 Pims, 4-5 Soapstone molds would quickly wear out and break. Hundreds of molds—wood, stone, and clay—were used, naturally resulting in differing shapes and aesthetics.
Cool and Rare Pim Plaek Examples:
- Prok Poh "Long Kaes" & "Pim Buddha": Prok Poh Wat Rakang is already super rare. Among the Pim Plaek, you can find the Long Kaes Prok Poh where the tip of the hair (Kaes) clearly penetrates the Arch, and the Bodhi leaves flow differently than the standard Pim. Pim Buddha (Under the Bodhi Tree) is where the Buddha sits with much denser Bodhi leaves. Often carved by Chang Sip Moo for special occasions, rarely seen in the open market.
- Sian Bart Ok Krut (Kaiser Pim): The Plaek version of Kaiser Pim has an abnormally large head (Sian Toh), with a wide, flared chest (like a Garuda). Believed to be a test mold before the lines were finalized. Often features very old mass and clear Muan Sarn.
- Kaes Talu Soom (Special Version): Besides the standard Pim Yai Kaes Talu Soom (Hair Puncturing the Arch), rare Plaek Pims have the hair piercing the mass edge or a twisted Kaes, caused by pulling the block when the mass was still damp or by villager artisan modification.
- Gold Ore Sprinkle / Gem Inlay: Records show Somdej Toh allowed the mixing of Gold Ore (Gold Sand) or Gem Powder into the Mass for important occasions (e.g., offerings to high-ranking royals). These Pims never circulate in the market, having been passed down through noble families. Microscope analysis often confirms genuine gold flakes embedded in the shrunken cement.
The TRUTH of Holy Muan Sarn (The Five Sacred Powders & Calcium Mass!)
The True Heart of Phra Somdej is not the beauty of the Pim, but the Muan Sarn and the Natural Aging Process that NO modern technology can fake!
Core Mass Ingredients:
- Calcined Seashell Lime (Calcium Carbonate): The main structure, made from finely pounded burned seashells.
- Binding Agents: Dried cooked rice, Banana (Nam Wa/Hom Jan), Honey, Boiled Sugarcane, and the CRUCIAL element: Nam Man Tung Iew (Tung Oil).
- The Five Sacred Powders (Material of Might): Phong Patamang (Invulnerability), Phong Ittijae (Charm/Loving Kindness), Phong Maharach (Power/Authority), Phong Putthakhun (Metta), Phong Trinisinghe (Avert Danger).
- Auspicious Materials: 108 kinds of Pollen, Holy Herbs (Waan), Incense Ash, Burnt Palm Leaf, and fragments of broken Kamphaeng Phet Amulets (Phra Soom Kor / Met Khanun) which are the important Phra That (Buddha Relic) in the Somdej Mass.
Types of Mass Found:
- Classic Mass (Standard):
- Nuek Num (Firm-yet-Soft): Moist texture, Ivory or Dried Pikul color, with perfect Tung Oil mix. Looking under a loupe shows a deep, glossy sheen.
- Nuek Graeng (Hard-yet-Firm): Yellow-white, dense, rock-hard, like marble. Less Tung Oil, often found in the Bang Khun Prom area.
- Poon Phet Mass (The Special Mass): Sought after by the Deep Line Sian. Extremely hard, shiny surface like glass or glaze. Formed from Tung Oil reacting with burned shell lime and certain tree gums over 150+ years, causing the cement to Crystallize—so hard you can barely scratch it with a knife! Under high magnification, you see shimmering Calcite Crystal layers.
- Krayasart Mass: Visible mass particles floating on the surface, resembling the Thai sweet Krayasart. Coarse but Nuek Num.
- Krajae Jan Mass: Brownish-olive green tone, fragrant from the Muan Sarn. Puffy but soft texture.
PART 5: Sian Amulet Secret Tips (How to Look at Mass, Age, and Natural Flaws)
To grade a Somdej as Udom (Supreme Class), you must drop the Pim Niyom prejudice first, and look at Natural Science—things man and machine cannot fake!
- Natural Shrinkage, Contraction, Drying (Ageing Process): Amulets 150+ years old: The lime and organic compounds evaporate and shrink, causing specific marks:
- Roy Poo Tai (Crab Walk Marks): Shrinkage marks on the back edge, looks like a crab walking.
- Roy Non Don / Pin Holes: Caused by organic matter (pollen, rice) decomposing, leaving small holes or long tracks, like a worm drilling.
- Shrinkage Around Mass Particles: Hard mass particles do not shrink, but the surrounding cement does, creating deep grooves around them. A FATAL SPOT (Jut Tai) impossible to fake!
- Calcite Growth: Seashell lime, through moisture and time, leaches lime water (like stalactites in a cave). The authentic surface gets coated with Lime Water Stain or Mossy Wrinkle Marks (Foam Tofu). The surface is NOT smooth like fake plastic or resin.
- Back Side Observations: Old artisans pressed the mass into the block and used wood planks to press or a knife/chisel to cut the edges, leaving unique back signatures:
- Lang Gab Mark / Lang Gradaan (Areca Sheath Back / Board Back): Wood grain marks from pressing.
- Lang Sangkhaya (Custard Back): Wrinkle marks like the surface of a Thai custard, due to cement shrinkage.
- Khob Plin (Spill Edge): Mass spilled from the front to the back (often seen in Bang Khun Prom with wood pressing) or right-angled edges with shrinkage marks (Wat Rakang).
- Scientific Testing (For the Research Line): Besides using the Loupe (10x-20x), the Conservation Line now uses Electron Microscopes (1000x+) to view Calcite Crystal structures. Testing with a mild acid (e.g., Acetic Acid) confirms age. If it’s 100+ year old lime, the CO2 gas bubbles will emerge SLOWLY and LARGE, sticking to the surface (because the lime is crystallized). New amulets bubble up FAST like soda water.
OPEN YOUR HEART to the Truth of Phra Somdej!
To truly study Phra Somdej Wat Rakang, Bang Khun Prom, and Kaes Chaiyo, you must step beyond the "Commercial Narratives" and study Historical Context and Natural Science.
The True Value of Authentic Pim Plaek
A Pim Plaek outside the standard books is NOT automatically fake. If the Muan Sarn (Poon Phet Mass, Nuek Num), the Aging Marks (Crab Walk, Worm Drill, Shrinkage), and the Creation Context all MATCH, that Amulet is a GENUINE SOMDEJ with Puttakun and value equal to the multi-million Baht Main Pims.
Collecting Phra Somdej with an understanding of the Chang Sip Moo, the Villager Artisans, and respecting Somdej Phra Buddhachan Toh’s 84,000 Amulet intention is the real way to preserve the Buddhist Faith and Thailand's invaluable heritage.
