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.
Extremely Ancient and Sacred 1200 Year Old Buddist Sacred Artifact Votive Tablet from the early Sri Vichai Mahayana Period, created during the Advent of Buddhism, Found in an Archeological Dig at Nakorn Sri Tammarat in South Thailand.
The only other example of this amulet we have found in existence that is available for the Public Eye, is a Pristine example which has been lovingly and carefully restored by Experts from the Archeology department and Installed at the Museum of the University and Ministry of Ancient Buddhist Arts of Thailand, in the Archeology Section of the Department of South-East Asian Studies.
This exhibit is half as old as Buddhism itself, and is truly worthy of the title of 'Ancient Amulet'.
The clay is made from 'Nuea Din' earthen clays as was ubiquitous in the Sri Vichai Era of Silapa Nakorn Southern Thai Amulets, Statues and Molded Images, and is very dense and hard, as can be expected from such an immensely ancient amulet, which has been lost and buried under the ground for at least a thousand years.
The rear face has some figures barely visible, which are a scene depiction, but which we are yet unable to decipher. The edges of the votive tablet have indentation as has been seen to be common in various archeologial dig finds of Ancient Amulets of the Sri Vichai Period, and which are most commonly noticeable in the famous 2525 BE discovery of the Pra Kru Met Gradum Sri Vichai Archeological Dig Find, from Khao Sri Vichai Mountain district of Surat Thani.
For True Buddhists, this is of course one of the most highly Sacred Votive Tablets one could Possess, and for Mahayana and Vajrayana Buddhists, even more so, being a depiction of the Mahayana Bhodisattva Avalokiteshvara ('Chenrezig' in Tibetan).
The rear right arm (to our left) carries a Stupa, which is typically common in Ancient Mahayana Buddhist depictions of the Avalokiteshvara Bodhisattva in Indian Paava Periodic Art (Sri Vichai). It was at this period of Thai Buddhism, that Indian and Sri Langkan Buddhists travelled over the Indian Ocean and Andaman Sea to bring Buddhism to South Thailand, and this is the reason why the Sri Vichai and the Silapa Nakorn Southern Buddhist arts of this period are so highly influenced by the Indian Artistic Impression. Most of the Images were made by the Indian Vedic Peoples who had come to inhabit the Southern Territories of the Sri Vichai Kingdom, long before it became Siam.
Below; The same image from the same archeological dig (Priceless restoration piece) in Nakorn Sri Tammarat -(See; http://www.archae.su.ac.th/art_in_south/index.php/map/catagories/nakornsrithammarat/item/46-museum-nakorn-a06.html)
if you examine very closely, you will see the bricks to the side of the right of the Bodhisattva (our left) and will also find them evident in both above and below exhibits - the Stupa in the Bodhisattvas rear right hand, and the curved arm and torso of the Bodhisattva are also notably similar, confirming the same origins from the same dig. The front pair of arms are in the meditative position with the front right hand resting on the knee and the front left hand in the lap. The Bodhisattva's left arm (on our right), has an elegant curve, both exhibits possessing the same posture. The oval line around the head representing an Aura is also visibly the same design. The below image is enhanced with some thin white lines drawn on the contours of the features to indicate the similarities. One can also notice the V shaped collar jewelry on both images.
This is a most sacred item and can only serve to empowere one's faith and Buddhanussati (remembrance of the Buddha and the Enlightened Ones) and can be considered a true Buddhist Relic for Prayer and reverence, and bestowal of Buddhist BVlessings, and the Powerful protection of the Bodhisattva Avalokiteshvara. Imbued with the authentic ancient Buddha Abhiseka Blessings of the Ancient Masters, from a time when the most powerful ceremonies by the most authentic Monks of Ancient Times will have been present to empower the votive tablets.
Having said that, we must stress that this item is also above all a most eminent and serious Museum Piece, which is to be highly respected and cared for. To own this amulet one should realise that it should not be used oir taken frivolously, and that it should be respected and kept for Preservation. It is only for truly Devoted Buddhists of High Faith, and those who are devoted to Preservation of Ancient sacred Arts, and Historical Artifact Collection.
This Votive Tablet is most certainly a Priceless Artifact, that is Suitable for Official Museum Exhibition.
Free casing be it in custom silver or gold is available included in the price if you do wish to keep it as a personal Votive Tablet for Bucha and Prayer, which is of course what it was originally intended for when it was created over a thousand years ago, but we feel that the amulet is also extremely valuable and attractive as a free standing museum exhibit, and can be appreciated at best without any casing to obscure it from clear inspection. hence, you should seriously consider the options according to how you intend to keep and use this Sacred Ancient Amulet.
The truth is, that we do not feel that it is easy to place this exhibit for release to the General Public, but we decided that it is important to allow it to be placed available, for it may find its way to a fitting residence worthy of its eminence. The price commands seriosity, and that it will only fall into the hands of a true collector and preserver of such Ancient Artifacts. It is fitting for this Exhibit to carry its prohibitive price in order to ensure that it can only be available to serious individual collectors and personal museums, or public museums through their preservation and acquisition funds.
May whoever owns this Votive Tablet please give it its due respect and install it in a fitting place of preservation, such as a glass showcase within your personal museum, or in the research facility of your institution.
We would like to thank the Thailand Department of Archeology Buddhist Aart of South Thailand Section Tammasat university South east Asian Studies for their great work in documenting this particular line of inquiry, and Providing the Public with a base of study for such rare and difficult to research works of Ancient Art.
