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 Po Jak Bai Po is one of the more famously renowned and well known amulets of the Pantheon of Pra Niyom category amulets made by the Great Luang Por Lee, of Wat Asokaram. This model measures 4 x 3 Cm, and is a Pim Yai Niyom, made from Nuea Gesorn Muan Sarn Sacred Flower Pollens and Muan Sarn Powders.This is a Pim Yai measuring 4 x 3 Cm, and is preffered model for its fluffy grainy Gesorn pollen powders, and the Yant Duang on rear face.
The front face features the Budda seated in meditation, within a Bodhi Leaf, with four Khom Agkhara inscriptions around the Bodhi Leaf. These inscriptions compose the syllables 'Pu Ta Ja Gga' - the Sacred Yant Puttajak (Buddha Chakra - Wheel of Buddhas).The rear face has the Sacred Yant Duang Horoscope Improving Karmic Shield Spell engraved into the surface of the clay.
The Pra Po Jak amulet is a series which was made using various block press molds, resulting in this series having its own Pantheon of different Pim, made from different substances, which included Nuea Gesorn (pollens - very rare and highly preferred), Nuea Bailan (burned sacred parchment powders), Nuea Din (reddened sacred clay), and the ultra rare and extremely highly prized 'Nuea Chocolate' (dark brown colour with smoother texture).The Nuea chocolate Muan Sarn amulets are the most highly preferred of all, and fetch many ten times the price of any other model. This Muan Sarn was made by LP Lee himself in private and nobody ever knew the ingredients except himself. They are considered the most powerful of all the various sacred powders.
There are also some very rare versions such as the Khorb Tong model (Golden Edges Pim), which has golden or orange flamed markings on a predominantly darker main surface area. In addition there were many slight variations, due to the final stages before the beginning of the blessing ceremony, as time was running out, more and more devotees were called upon to help press the amulets, to get the finished before Luang Por Lee performed the blessing and empowerment.
And so there are many different appearances on the models pressed during the final stages, as some tired hands pressed the clay more shallow, and other hands pressed deeper with more strength. This of course results in each amulet having a slightly different appearance, which makes it difficult for all except the true dedicated students of this series of amulets, to be able to distinguish one model from the other.
The Pra Bai Po Jak was made in both Pim Yai and Pim Lek (large and small versions), with various rear face designs, from the Hlang Riab (smooth rear face), and there were two kinds of different Yant inscriptions on the two 'Hlang Yant' models. one model was the Yant Pra Putta Jak, and the other was the Yant Kroo of Luang Por Lee himself. There are also a very few models with an indented Buddha Image, within an arched dais on rear face, which are seen rarely.
This amulet is extremely popular and already tried and tested, and accepted for its power, not only by Thai Buddhists, but by devotees of Luang Por Lee and his amulets, around the world. The amulets of Luang Por Lee are becoming ever harder to find these days.
They have enjoyed the honorable status of Pra Niyom category for many years already, but in recent times, his amulets have risen to even higher importance than before, and this trend does not seem to be slowing down. We have hence decided to begin to present those few remaining amulets of this great Master we can find available, for your enjoyment and perusal.
Luang Por Lee was not only a Master Gaeji Ajarn Guru Monk of the Thai Buddhist Folk, nor was he solely famous for his amulets. In truth, Luang Por Lee is one of the great Kroo Ba Ajarn of some of the greatest monks and Arya Sangha realized Masters of the last Century. His teachings were so great, that they inspired and led some of the great Masters of the present day and recent past.
He was an iconic teacher for the western forest tradition monks who came to Thailand to ordain with the great Ajahn Chah Supatto of Wat Nong Pha Pong, and his teachings are translated into English, and are considered immensely important teachings for the dedicated practitioner of Vipassana Kammathana practice, and especially for Monks.
Luang Por Lee began to make amulets at Wat Pha Klong Kung around 2496 BE, and used a desing he had obtained from his visit to India as the model to carve the block press molds from. The original images were from two different carved Buddha images which Luang Por Lee had from India which were carved in Ivory.
One of the images was seated in the 'Pang Samadhi' meditation posture with clasped hands on the lap, seated within a Bodhi Leaf, with four Yant in Khom Agkhara around the Buddha. This image had a Yantra on the rear face (Hlang Yant Duang). Some were also pressed with no Yant on rear face (Hlang Riap) The other image had the Buddha with one hand raised in the first sermon posture (Dhamma Dhesana).
This model was made with no Yant Puttajak (four Khom letters) on the front face, just smooth surface with leaf veins (Hlang Riap). However one can stil find variations in authentic models. There were also some which were cut around the Buddha image into a five sided triangular shaped amulet, which became known as the 'Pim Ha Liam'.
Because of the many slight variations which can be found in authentic models, it is not the best criteria to use the visual details as the main authentication method. Knowledge of the Muan Sarn Sacred Powders and their appearance, and how the clay should look, is a very important tool to use with this kind of amulet. Each Muan Sarn Clay is different, be it Gesorn Pollens, Red Clay Earth (Nuea Din), Nuea Chocolate, or black Bailan Parchment Powders.
Luang Por Lee collected the best Muan Sarn Sacred Powders from some of the greatest masters of that era to use for this edition, including sacred powders from the following; Pra Ajarn Sao, Pra Ajarn Mun Puritadto, Pra Ajarn Fan Ajaro, Ajarn Tes, Pra Ajarn Gongma, Luang Ta Maha Boowa, and the Great Ajarn Chah Supatto (Wat Nong Pha Pong). He mixed those with 108 kinds of Gesorn (flower pollens), and flowers from the monks praying to the Buddha. The powders were mixed with 100 year old prayer water from Prajinburi, and baked.
Luang Por Lee also added earths and other substances taken from the place of the Buddha's Enlightenment, and his Passing into Nibbana, which he had brought with him from India. Another very powerful and less known ingredient of the Muan Sarn Sacred Powders, was the addition of 'Sai Tham Gong Sai', which is a magical sand found inside a very hard to access cave in the mountainous forests of the south of Thailand.
He also used some 'Khaw Ruesi' which was a mysterious substance found within a strange anomaly within a sacred cave in the north eastern Isan region, which when broken open was found to have long white rice like pieces of hardened substance, which was thousands of years old.
This 'Khaw Ruesi' is believed to be rice which the Lersi Hermits living in caves to meditate in ancient times, had taken rice which they had left over, and placed it within a magical shell, and attached it to the cave wall. Fossilised Seashells from within a mountain cave were also used with the aforementioned substances, to grind down into the Muan Sarn Sacred Powders of the Pra Po Jak Bai Po
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
