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 very rare model to encounter amongst the many models made by Luang Por Niam, of Wat Noi, is the Pra Pim Pra Pratan Klang Ongk Kroo Fang Takrut Ud Pong, in Nuea Chin Takua Sanim Khiaw, Sacred Alchemical Metal Artifact alloy (with green malachite Kraap Kru), especially preferred as being an original version made and empowered by LP Niam at Wat Noi, which holds a higher status with collectors to those of the Kru Wat Suwan Hiding Place Find amulet blessing and series he made (which are in truth, one and the same and of equal value, and only differ academically, but otherwise, are equal to each other).
Luang Por Niam was the number one Kroo Ba Ajarn and Ordaining Officer of the great Master Monk Luang Por Parn of Wat Bang Nom Kho, who was witnessed to have died in complete happiness and relaxation, in meditative bliss, as an attained ascended Master. For this reason, Luang Por Noi has many faithful devotees around the world, who worship him and his teachings, and revere his attainments, and wish to wear one of his blessed amulet.
Luang Por Parn is worshiped as one of the Top 10 Greatest Guru Monks of present-day in Thailand & many worshippers all around the world. He was the closest disciple of Luang Por Niam
Luang por Niam, was responsible for blessing the many amulets found in the Kru Wat Suwan in Ang Tong, and added his own amulets from Wat Noi,, which are despite being the same amulets, received a second blessing (making their slightly cheaper price hard to understand). The two different releases are easily and visibly different, due to the surface effects from being hidden within a Kru Chamber.. This exhibit of the Pra Sangkajjai is evidently a direct release from Wat Noi, due to the slightly greenish-black tone, with white Kraap mildew, whereas the exhibit which he buried at Wat Suwan.
The Pra Gru Wat Suwan Series
The natural appearance of an authentic Pra Kru Wat Suwan leaden amulets, is that they have a fine layer of Kraap Kru arising on portios ofthe surface, showing red rust from oxidisation. It is also important to note that the Pra Kru Wat Suwan amulets did not have their edges filed off into perfect frames, and have rough unfiled edges because of this factor. This is one of the first things to look for when collecting authentic Pra Kru Wat Suwan artifacts.
According to historical records, the great master Monk of Wat Noi in Supannburi, Luang Por Niam, was invited to assist in the making, casting, and empowerment of the additional amulets which were being made. This makes the ra Kru Wat Suwan enter into the Pantheon of aficionados of this Monk and his Amulets, and their popularity has become ever more legendary, to the point where the Pra Kru Wat Suwan is now a piece of National Historical Heritage.
The age of the ancient burial find models ranges up to 700 years to 1000 years old, and the edition added by Luang Por Noi is dated around the Mid-Ratanakkosin Era, making them past the Centenarian level (more than a Century Old).
Many different Pim (models) of amulets were found in lesser and greater numbers, all differing slightly, due to the ancient casting methods used during olden days, making it impossible to make thousands of identical amulets as seen in the modern era, with modern block press engineering technology. The amulets were cast from ancient mercurial leaden sacred alloy, & also were found in reddish baked Eearthen sacred clay. The amulets exist in many forms;
Such as the Pra Upakut, Pra Sangkajjai, Pra Rod Lampun, Pra Ruang Rang Pern, Pra Lila Laweng, Pra Lila Kampaeng Gaew walking Buddha votive tablets, Pra Pratummaas, Pra Supann Hlang Pra,Pra Mahesworn Nuea Chin Ngern silver leaden amulets, Pra Pong Supan Benjapakee amulets, identical to those found at the Kru Wat Pra Sri Mahatat find, Pra Lor Pim Pra Pratan Buddha Immages (in small and large sizes), and Pra Paruhnang Loi Ongk Buddha statuette amulets, Pra Pim Mokkhala Saribut (Maugdalyayana and Saributra) Buddha amulet, the Pra Tham Suea Ruesi Amulet in both Pim Hnaa Gae and Pim Hnaa Ruesi, Pra Kum Nakorn Khosa, Pra Pim Wat Rachadesa, Pra Put Pim Siarn Hlaem pointed head Buddha votive tablet in leaden alloy, The Pra Kong Lampun Benjapakee amulet, all versions of the Khun Phaen Ban Krang earthen amulets in all models, such as the Pim Khaen Orn, Pim Bai Mayom, Pim Pra Pratan, Pim Lueay, Pim Song Pon Yai, Pim Plai Dtat Diaw, Pim Plai Koo, Khun Phaen Pim Pha Seek, and so on.
Pra Sangkajjai
He has a golden tinted skin complexion, and was originally so similar in appearance and stature to the Lord Buddha, that sometimes people would mistake him for the Buddha if seen from a distance. For this reason, he used his mind powers to force his body to grow fatter and not so handsome as before, in order to not confuse others if he was the Buddha or not.
The ancient masters would often use the visual symbolism of Pra Sangkajjai’s features to create statues in this image, which has served as an important preserver of the Faith over the Centuries, and a very old form of Buddha image dating back to the early times of Buddhism.
Pra Maha Sangkajjai was originally called ‘Ganjana’, which means ‘Gold’ in Pali. He was the son of a Brahman called Bpurohidtgajjayana Kodtra in the City of Usenni He studied and completed the Traiwaet (Tri Veda). After his father passed away, he inherited the title of Bpurohidt (advisor to the King). This happened in the time of the King Jantabajjodti Pra Sangkajjai had 7 close companions who cam,e with himn to attend the Buddhas teachings at Wat Weluwanaram, and after listening to the Dhamma, becamse Arahants instantly and asked to ordain. In the Turasutra it is mentioned that Pra Sangkajjai lived to the age of 120 years old.
The True Understanding of Prayer to Buddha Image Amulets.
Although it is customary amongst Buddhists to keep Buddha images and to pay their respects to the Buddha, Buddhists are not idol worshippers. Idolatry generally means erecting images of unknown gods and goddesses in various shapes and sizes and to pray directly to these images. The prayers are a request to the gods for guidance and protection. The gods and goddesses are asked to bestow health, wealth, property and to provide for various needs; they are asked to forgive transgressions. The 'worshipping' at the Buddha image is quite a different matter. Buddhists revere the image of the Buddha as a gesture to the greatest, wisest, most benevolent, compassionate and holy man who has ever lived in this world. It is a historical fact that this great man actually lived in this world and has done a great service to mankind.
The worship of the Buddha really means paying homage, veneration and devotion to Him and what He represents, and not to the stone or metal figure. The image is a visual aid that helps one to recall the Buddha in the mind and to remember His great qualities which inspired millions of people from generation to generation throughout the civilized world. Buddhists use the statue as a symbol and as an object of concentration to gain a peace of mind. When Buddhists look upon the image of the Buddha, they put aside thoughts of strife and think only of peace, serenity, calmness and tranquillity. The statue enables the mind to recall this great man and inspires devotees to follow His example and instructions.
In their mind, the devout Buddhists feel the living presence of the Master. This feeling makes their act of worship become vivid and significant. The serenity of the Buddha image influences and inspires them to observe the right path of conduct and thought. An understanding Buddhist never asks favors from the image nor does he request forgiveness for evil deeds committed. An understanding Buddhist tries to control his mind, to follow the Buddha's advice, to get rid of worldly miseries and to find his salvation. Those who criticize Buddhists for practicing idol worship are really misinterpreting what Buddhists do. If people can keep the photographs of their parents and grandparents to cherish in their memory, if people can keep the photographs of kings, queens, prime ministers, great heroes, philosophers, and poets, there is certainly no reason why Buddhists cannot keep their beloved Master's picture or image to remember and respect Him. What harm is there if people recite some verses praising the great qualities of their Master? If people can lay wreaths on the graves of beloved ones to express their gratitude, what harm is there is Buddhists too offer some flowers, joss-sticks, incense, etc., to their beloved Teacher who devoted His life to help suffering humanity? People make statues of certain conquering heroes who were in fact murderers and who were responsible for the death of millions of innocent people. For the sake of power, these conquerors committed murder with hatred, cruelty and greed. They invaded poor countries and created untold suffering by taking away lands and properties of others, and causing much destruction.
Many of these conquerors are regarded as national heroes; memorial services are conducted for them and flowers are offered on their graves and tombs. What is wrong then, if Buddhists pay their respects to their world honored Teacher who sacrificed His worldly pleasures for the sake of Enlightenment to show others the Path of Salvation? Images are the language of the subconscious. Therefore, the image of the Enlightened One is often created within one's mind as the embodiment of perfection, the image will deeply penetrate into the subconscious mind and (if it is sufficiently strong enough)can act as an automatic brake against impulses. The recollection of the Buddha produces joy, invigorate the mind and elevates man from states of restlessness, tension and frustration. Thus the worship of the Buddha is not a prayer in its usual sense but a meditation. Therefore, it is not idol worship, but 'ideal' worship. Thus Buddhists can find fresh strength to build a shrine of their lives. They cleanse their hearts until they feel worthy to bear the image in their innermost shrine. Buddhists pay respects to the great person who is represented by the image.
They try to gain inspiration from His Noble personality and emulate Him. Buddhists do not see the Buddha image as a dead idol of wood or metal or clay. The image represents something vibrant to those who understand and are purified in thought, word and deed. The Buddha images are nothing more than symbolic representations of His great qualities. It is not unnatural that the deep respect for the Buddha should be expressed in some of the finest and most beautiful forms of art and sculpture the world has ever known. It is difficult to understand why some people look down on those who pay respect to images which represent holy religious teachers. The calm and serene image of the Buddha has been a common concept of ideal beauty. The Buddha's image is the most precious, common asset of Asian cultures.
Without the image of the Buddha, where can we find a serene, radiant and spiritually emancipated personality? But the image of the Buddha is appreciated not only by Asian or Buddhists. Anatole France in his autobiography writes, 'On the first of May, 1890, chance led me to visit the Museum in Paris. There standing in the silence and simplicity of the gods of Asia, my eyes fell on the statue of the Buddha who beckoned to suffering humanity to develop understanding and compassion. If ever a god walked on this earth, I felt here was He. I felt like kneeling down to Him and praying to Him as to a God. Once a general left an image of the Buddha as a legacy to Winston Churchill. The general said, 'if ever your mind gets perturbed and perplexed,
I want you to see this image and be comforted.' What is it that makes the message of the Buddha so attractive to people who have cultivated their intellect? Perhaps the answer can be seen in the serenity of the image of the Buddha. Not only in color and line did men express their faith in the Buddha and the graciousness of His Teaching. Human hands wrought in metal and stone to produce the Buddha image that is one of the greatest creations of the human genius. Witness the famous image in the Abhayagiri Vihara in Sri Lanka, or the Buddha image of Sarnath or the celebrated images of Borobudur.
Below; Borobudur
The eyes are full of compassion and the hands express fearlessness, or goodwill and blessings, or they unravel some thread of thought or call the earth to witness His great search for Truth. Wherever the Dhamma went, the image of the great Teacher went with it, not only as an object of worship but also as an object of meditation and reverence. 'I known nothing, 'says Keyserling,' more grand in this world than the figure of the Buddha. It is an absolutely perfect embodiment of spirituality in the visible domain.' A life so beautiful, a heart so pure and kind, a mind so deep and enlightened, a personality so inspiring and selfless -- such a perfect life, such a compassionate heart, such a calm mind, such a serene personality is really worthy of respect, worthy of honor and worthy of offering. The Buddha is the highest perfection of mankind. The Buddha image is the symbol, not of a person, but of Buddhahood -- that to which all men can attain though few do. Source :budsas.org
Below; Sarnath
For Buddhahood is not for one but for many: 'The Buddhas of the past ages, the Buddhas that are yet to come, the Buddha of the present age; humbly I each day adore.' However, it is not compulsory for every Buddhist to have a Buddha image to practise Buddhism. Those who can control their mind and the senses, can certainly do so without an image as an object. If Buddhists truly wish to behold the Buddha in all the majestic splendor and beauty of His ideal presence, they must translate His Teachings into practice in their daily lives. It is in the practice of His Teachings that they can come closer to Him and feel the wonderful radiance of His undying wisdom and compassion. Simply respecting the images without following His Sublime Teachings is not the way to find salvation. We must also endeavor to understand the spirit of the Buddha. His Teaching is the only way to save this troubled world. In spite of the tremendous advantages of science and technology, people in the world today are filled with fear, anxiety and despair. The answer to our troubled world is found in the Teaching of the Buddha.
