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.
Pra Kru Kone Samor Pim Sayasana (Tuesday Buddha) - Nuea Din Phao - Ayuttaya Period Buddha Amulet from 2430 BE Hiding Place Find. The Ayuttaya Period lasted between 1893 BE, and 2310 BE, making this amulet well over 2 Centuries Old. This model is the Pang Sayasana (reclining Buddha in the moment of entering Nibbana)
The first discovery of these hiding place Amulets occurred in the time around 2430 BE, during the reign of his Majesty King Rama 5. His Majesty the King had ordered for the construction of the national Museum the area of the Royal Palace in Bangkok. Various other major discoveries included the Temple of the Golden Mount, and Wat Pai Lom, where a batch was found under the Pra Pratan main Buddha Image in the Kuti Chamber of Luang Por Poon, where they must have been hidden at the beginning of the Ratanakosin Era.
The first ever find of these amulets however, were discovered in the ceiling above some of the throne seats such as the Rong Pra Tinang Siva Mukh Throneroom, and the Putai Sawan Throneroom.
Of those amulets found within the palace, most of which were made from Leaden Silver Mercurial Alloy, a large number of them were taken and sealed once more within the golden stupa of the Temple of the Emerald Buddha.
Then, during the celebrations of 150 years anniversary of the city of Bangkok. They were moved to be stored beneath the 'Kone Dton Samor Pipek' (trunk of the ancient sacred Samor Pipek tree).
This Particular Exhibit Measures 9 Cm wide x 6.5 Cm high.
Most people forgot about their existence, until they were discovered beneath the tree and then reentered circulation. They were taken by Jao Khun Vorapongs, and given the name they possess today, after the place where they were rediscovered at the 'Kone Samor' (Samor tree trunk). Hence, the amulets are known as 'Pra Kru Kone Samor'.
The Pra Kru Kone Samor is a perfect amulet to study other famous clay amulets of Ayuttaya Period, such as the famous Pra Lp To Bang Grating Amulet, for the aspects and properties of the sacred clay, is representative of the same age and substance, and baking methods used.
It can be said that the Pra Kru Kone Samor has many different color tones and textures to them due to the ancient baking methods and hand pressing methods varying the result of each individual votive tablet, which makes for a slightly difficult job distinguishing.
Various discoveries were found in the temple of the emerald Buddha, and at Wat Po temple. After the discovery of these amulets, most of them were taken into the care of the Ministry of Arts.
But some of the employees and civil servants within the ministry took some for Bucha, and wearing. And hence, they began to get slowly noticed by the public, and once word got out and they became "the talk of the town", the Ministry of arts decided to release them for 'rental' (the Thai way of referring to the purchase of amulets), to the public.
So many people flocked to the ministry to receive these amulets, that the whole find was depleted very quickly indeed. After this word got out and this series became a nationally accepted and highly revered series of Ancient Sacred Thai Buddhist Amulets which I also have historical and national importance.
Since the first find, various other finds were made, in the Bangkok area and also in various places in the province of Ayuttaya. For example in the year 2506BE at the temple of Wat Cherng Ta, in Nontaburi, Bangkok, another discovery was made. And in the year 251O BE at the temple of Wat Saket (that is to say, the temple of the golden mount), yet another find was discovered inside the Chedi Stupa.
Also at Wat Pra Yura. However, only the baked clay Amulets were found in these of the temples. The silver lead smaller Amulets were only found in the Kru Wang Hnaa hiding place amulets discovery, the National Museum and Temple of Emerald Buddha. In any case these metallic versions, were so few, that most of them already have an owner who is not willing to part with his amulet.
Also, the very few which are still around, are also subject to a lot of fakery. It is the metallic smaller amulets, which have suffered from many forgeries and are very difficult to obtain, both because of the rarity, and all of the amount of forgeries.
The amulets themselves are found to be in various different forms, ranging from standing Buddhas, to seated Buddhas. The Buddha Images are seated or standing, within a crystal arch with Ganok Flame Decoration. These votive tablets are made in the artistic style of the Ayuttaya Period, most of them, are made from baked clay, and quite large (about the size of the palm of a hand).
For this reason we know that this series of Amulets came from the end of the Ayuttaya Kingdom Era, both because of their artistic design in Ayuttaya style, and obvious age, but also for the fact that the votive tablets were found in various hiding places in the province of Ayuttaya.
It is deduced, that, at the end of the Ayuttaya Kingdom when Thailand first became united by king Naresuan Maharach, and that the new capital city was decided to be built in Bangkok it's that time, that's visa me let's were taken to be buried in various edifices which were being built at the beginning of the construction of the city of Bangkok. The national Museum and many of the buildings where these amulets were found, were also some of the oldest buildings in Bangkok, which also supports this evidence.
Apart from the baked clay versions that were also some very small numbers found in different materials, including Nuea Chin Ngern (alchemical silver mercurial leaden alloy), and other metals and sacred powder materials. However, most of them were made in baked clay, and the ones found in of the materials are extremely rare and also manyfold times more expensive than the baked clay versions.
There were quite a number of different models found which revolve around the eight different postures of the birthday Buddhas. There are two different Buddha images for Wednesday and all of the other days have one single Buddha image representing that day. This gives us a total of eight different votive tablets for the eight different birthday Buddhas.
There were also a few other postures, or images found, which were very far and few between. The most popular and rare of all of the different models of large size baked clay votive tablets, is probably the one which is popularly known as Taw Chompoo, which is a standing Buddha image in the posterior all of 'Pra Pratan Porn' (Giving blessings).
Tuesday's Buddha is called "Bpaang Saiyaasana" (or "Saiyaat" in Thai) This stance represents the scene just before Buddha entered Nirvana and passed away from his physical body. As the moment of his death approached, Buddha laid down on his side, with his left hand on his leg and propped up his head using his right hand. His closest companion and friend, Pra Ananda then asked him "Oh Lord, what will we do when you are gone? Even with you here the Human race is so difficult to teach and explain the Dharma to, as you have often remarked yourself. For they are so stubborn?" The Buddha then gave his last Sermon before entering into Contemplation of the fourth jhana to enter Nirvana, and said ; Buddha's First Sermon and Last Words.
THE LAST WORDS OF THE BUDDHA
(Mahaparinibbana-sutta of the Digha-nikaya, Sutta No. 16)
Then the Blessed One addressed the Venerable Ananda: 'It may be, Ananda, that to some of you the thought may come: "Here are (we have) the Words of the Teacher who is gone; our Teacher we have with us no more". But Ananda, it should not be considered in this light. What I have taught and laid down, Ananda, as Doctrine (Dhamma) and Discipline (Vinaya), this will, be your teacher when I am gone.
'Just as, Ananda, the bhikkhus now address one another with the word "Friend" (Avuso), they should not do so when I am gone. A senior bhikkhu, Ananda, may address a junior by his name, his family name or with the word "Friend"; a junior bhikkhu should address a senior as "Sir" (Bhante) or "Venerable" (Ayasma).
'If the Sangha (the Community, the Order) should wish it, Ananda, let them, when I am gone, abolish the lesser and minor precepts (rules). 'When I am gone, Ananda, the highest penalty should be imposed on the Bhikkhu Channa.' 'But, Sir, what is the highest penalty?' 'Let the Bhikkhu Channa say what he likes, Ananda; the bhikkhus should neither speak to him, nor advise him, nor exhort him.'
Then the Blessed One addressed the bhikkhus: 'It may be, Bhikkhus, that there may be doubt or perplexity in the mind of even one bhikkhu about the Buddha, or the Dhamma, or the Sangha, or the Path, or the Practice. Ask Bhikkhus. Do not reproach yourselves afterwards with the thought: "Our Teacher was face to face with us; we could not ask the Blessed One when we were face to face with him".'
When this was said, the bhikkhus remained silent. A second time and a third time too the Blessed One addressed the bhikkhus ... as above. The bhikkhus remained silent even for the third time.
Then the Blessed One addressed them and said: 'It may be, Bhikkhus, that you put no questions out of reverence for your Teacher. Then, Bhikkhus, let friend speak to friend.' Even at this, those bhikkhus remained silent.
Then the Venerable Ananda said to the Blessed One: 'It is wonderful, Sir. It is marvellous, Sir. I have this faith, Sir, in the community of bhikkhus here, that not even one of them has any doubt or perplexity about the Buddha, or the Dhamma, or the Sangha, or the Path, or the Practice.'
'You speak out of faith, Ananda. But in this matter, Ananda, the Tathagata (i.e. Buddha) knows, and knows for certain, that in this community of bhikkhus there is not even one bhikkhu who has any doubt or perplexity about the Buddha, or the Dhamma, or the Sangha, or the Path, or the Practice. Indeed, Ananda, even the lowest in spiritual attainments among these five hundred bhikkhus is a Stream-entrant (Sotapanna), not liable to fall (into lower states), is assured, and is bound for Enlightenment.'
Then the Blessed One addressed the bhikkhus, saying: 'Then, Bhikkhus, I address you now: Transient are conditioned things (Sangkharas). Try to accomplish your aim with diligence.'
These were the last words of the Tathagata.
Tuesday Buddha Kata;
Yassaanupawenadto Yagkhaa Newa Tassendti Pingsanang Yamhi Jewaanuyunchandto Radtintiwamadtantidto Sukhang Subpadti Sudtadto Ja Bpaabpang Ginjina Bpassadti Ewamaatikunuubpedtang Bpraidtandtampanaamase
Below Image; a Master Piece Example of The Pra Kone Samor Pang Taw Chompoo Niyom (most preferred) Amulet
The Taw Chompoo votive tablet is with Thai Ayuttaya Ceremonial Regalia, and was seen by those who possessed on to produce extremely powerful Kong Grapan Chadtri Klaew Klaad Effects. Another very popular model is the 'Pra Khone Samor Pang Sum Prasat' which is a wider model inside a Tryptich Palatial Arched Frame, seated in Mara Vichai Posture (Subduing Mara touching the Earth).
Below Image; An incredibly beautiful example of the Pra Kone Samor Pang Sum Prasat Amulet
Both the immense beauty and the many stories of miraculous powers in connection with this Amulet resulted in this particular model of votive tablet to become the rarest and most popular of all of the baked clay versions. The most highly sought after and prized however, are the silver-leaden mercurial alloy amulets, which are much smaller and more portable to wear and are also much rarer to find, which has also influenced the very high price they carry with them.
Various postures wre also found to exist with this model, the most popular being the 'Pim Hoy Prabat' (Buddha seated with his right hand touching the earth hanging over his right knee). It is said that this amulet is also owned by his Majesty the King. In olden days it has been said that the Pra Kone Samor, was often used to hunt around the Necks of War Elephants and War Dogs, and that they would be protected from the lances and blades of the enemy when stampeding into battle.
The Pra Kone Samor was also one of the protagonists and reasons behind the Americans and the Vietnamese both calling Thailand's soldiers 'Taharn Phī' (ghost soldiers). This was because it was saying that sometimes the Thai soldiers would be outnumbered even 10 to 1 but that they would be unharmed buy bullets and often be completely unscathed despite being outnumbered.
In modern times it is not often that we have to go into battle anymore, and soul in times of peace it came to happen that Thai Buddhist people began to use these amulets, to put on their altars for worship,and to place them inside wooden frames as religious art masterpieces in the homes of the wealthy classes.
These ancient baked clay votive tablets, are most recommendable to place in your altar for Prayer and Bucha. Apart from being sacred and powerful authentic ancient Amulets, they are also extremely pristine museum pieces of historical and religious importance, as well as artistic importance, as far as Periodic Buddhist art forms are concerned.
We like to consider this class of Amulets as being not only Master-Class Amulets of highly sacred origins, but also to be extremely important historical artifacts. They can be considered classic family heirloom Amulets which should be passed on through the centuries for generations within your family, and can be seen as part of your family inheritance and heritage especially if you are Buddhist.
These amulets are already of an age of around two centuries old, and if properly taken care of and prayed to properly, should still be around in another thousand years. The Pra Kone Samor, is considered a 'Pra Nirandtarai' (free from all dangers) Votive Tablet, with immense Kong Grapan Chadtri and Klaew Klaad Powers Who would not be proud and instilled with faith to possess such a sacred, ancient and historically important votive tablet?
