Lucky Goat Pae Maha Lap Luang Por Am

When speaking of the Pae Maha Lap lucky goat amulet, there is one name which stands above all others, and that is the name of Luang Por Am, of Wat Nong Grabork, in Ban Kaay Rayong. Luang Por Am was, along with Masters like Luang Por Horm of Wat Sak Hmak, Luang Por Rerm of Wat Juk Gacher, and Luang Por Chaem, considered among the top Masters of the Province, long before even the Great Luang Phu Tim of Wat Laharn Rai acheived his fame. Luang Por Am was the Kroo Ba Ajarn of the Great Luang Por Lat (Wat Nong Grabork), who is famed in his own right for his powerful Pae Maha Lap Hand Carved Goat Amuletsม which he of course mastered under the tutelage of Luang Por Am.

Pae Maha Lap Lucky Goat amulets of LP Am

Pae Maha LapLucky Goat and other carved amulets of LP Am

The male Goat is known for the fact that it is able to keep a whole herd of dozens of females under his ownership, through merciful and protective influence. It is thus believed that who wears the Pae Maha Lap Khao Kwai Gae Sacred buffalo horn Goat amulets of Luang Por Am, will be an owner and controller of great possessions and wealth, with grand entourage.

Below; Luang Por Am, of  Wat Nong Grabork

Luang Por Am

Luang Por Am, or ‘Pra Kroo Taep Sittaa, was one of the Great Masters of the Central-Eastern Provinces during His Era, and the ex abbot of Wat Nong Grabork from 2431 – 2490 BE. He was rrespected and revered all around the Province, and had Great fame around the Nation for his Powerful Wicha. During his lifetime he became known as the top Master for carved Lucky Goat amulets. What is less known, and is of immense interest to investigate the lineage Wicha of the Pae Maha Lap, is the fact that Luang Por Am himself received this Wicha from Luang Por Dtaeng of Wat Ang Sila.

Luang Por Am was abbot of Wat Nong Grabork between the years 2431 to 2490 BE, being a Gaeji Ajarn of around 150 years ago, and was the Kroo Ba Ajarn teacher of many other great names of the time, such as Luang por Rerm of Wat Juk Gacher, and Luang Por Lat of Wat Nong Grabork (his successor and apprentice in magick). The Pae Maha Lap Nuea Khao Kwai Gae of Luang Por Am, is believed to possess the power to absorb Black Magick and protect the wearer/devotee from being affected.

It can be said that the Pae Maha Lap of Luang Por Am, Luang Por Lat, and now Pra Atigarn Surasit Akkawaro, the current abbot (written 2562 BE), are considered the ‘cream of the crop’, by serious devotees of the Pae Maha Lap, along with those other Great Chonburi Masters whose names carry fame for this Wicha such as Luang Phu Tim, uang Por Sakorn, Luang Phu Sin.

The Pae Maha Lap of Luang Por Am, was almost always made by carving a goat from ‘Khao Kwai Fa Pha Dtaay’, which is the horn of a buffalo which died struck by lightning in a field. It is an ancient magical belief that the horn of a lightning-struck bull or buffalo has the power of angelic beings in it, for indeed, the angelic beings of the elemental realms who control the weather, are who control these divine forces of Nature.

After the carving of the shape of the goat, Luang Por Am would then empower the Goats with incantations, and invocations of elemental powers and angelic beings, with Buddhist Blessings on top. Sometimes he would immerse them in aromatic sacred oils to consecrate them, mixed with herbal oils made from herbs and vines and flowers of the forest, with magical, healing, protective, and attraction powers. He would rebless them again and again until he felt the amulets were completely stuffed as full with magic as possible, and unable to insert any more. The magic within the amulets was hence always filled to the brim before distribution.

Pra Kru Samati Pim Pong Lek 2516 BE Nuea Pong Gao Blessed by Luang Phu To Wat Pradoo Chimplee Royal Initiation Ceremony - Wat Plab

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$85 U.S.
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Product Details

The Pra Pim Tukata Lek is the classic Pim of old, and a famously esteemed, and highly revered Pra Niyom amulet, of the Dtamra of the famous temple of Wat Plab.

This particular 2516 BE Edition Blessing Ceremony was initiated and presided over by his Majesty the King Bhumipol Adulyadej (Rama 9), with the Great Luang Phu To of Wat Pradoo Chimplee presiding over the empowerments of the Buddha Abhiseka. 'Nuea Graeng Gae Pong Puttakun' (hardened with age with high quantity of Puttakun powders).

A large number of these amulets were not released directly in 2516, but were hidden away in the Kru hiding chamber in the Uposatha Shrineroom underneath the main Buddha Image, and empowered with the prayers of the monks, and passed through subsequent Buddha Abhiseka Ceremonies which were held in the shrineroom over the years. they were then removed from the Kru Chamber in the year 2534 BE, to celebrate the 169th Anniversary of the completion of the Uposatha Shrineroom building.

The origins of the Pra Wat Plab amulets are so old, that they precede the Pra Somdej Wat Rakang amulets, and is classed as an essential tool in developing knowledge and expertise in recognizing authentic mixtures and surface aging of Pra Somdej Wat Rakang amulets, due to these amulets using the same method as that used by Hlwong Por Dto Prohmrangsri of Wat Rakang did to create all of his Pra Somdej amulets with.

In addition, the original Pra Wat Plab amulets of early editions, were made by Ajarn Saeng, who was the teacher of Hlwong Por Dto in the Wicha of making Pra Somdej amulets using ancient methods obtained from an ancient stone tablet written in Khom Agkhara lettering.

Features;

The surface features and texture of the Muan Sarn Sacred Powders of this amulet reveal great subtlety and classic eminence, of an amulet that carries a name of legendary proportions, and is a member of the Dtamra of accepted members of the 6 Eras of Pra Somdej amulet making.

The Pragan (ears) of the Buddha are slightly curved outwards like crescent moons (Jantr Seek). The 'Pra Ongsa' (shoulders) of the Buddha image are small and tightly fitted which also causes the Pra Paha (arms) of the Buddha to be tight agaiinst the 'Pra Ura' (chest). The forearms (Pra Pahu) then curve in in a U shape for the hands (Prahadth) to clasp together.

The Pra Ura (chest) and 'Pra Utorn' (belly) are quite swollen and protruding rather like a pregnant lady (Tong Pong), which is where this particular model (one of various models famously known from Wat Plab), namely the 'Pim Pong Lek'. There is also a 'Pim Pong Yai' which is the same design, but larger (the word 'Yai' meaning 'large' and 'Lek' meaning 'small).

The 'Pra Pela' (lap) of the Buddha is curved like a frying pan base (some editions curve upwards and others downwards), and form the posture of Samati (Samadhi meditative posture of folded legs in lotus). The 'Pra Chanu' (knees) are widely set apart.

Above; Collector's Magazine Catalogue cover of the Dtamra of amulets of Wat Plab

'Did You Know?'

It is said that the famous 13 models of Pra Somdej of Luang Phu To of Wat Pradoo Chimplee also possess the magical powders of the original ancient Wat Plab amulets, and that he received assistance in their making from the Samaneras and the Lay Masters of Wat Plab temple. This is the reason that the Amulets of Luang Phu To also possess Sacred Powders of Wat Plab in them too.


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