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 Wat Klang Tung Ayuttaya 2450 BE Ancient Clay Hiding Place Amulet Luang Por Cham Luang Por Bpaen Luang Por Sap

SKU 03251
$75 U.S.
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Product Details

A Classic Sacred Hiding Place Amulet that is well in excess of a Century old, the Pra Kru Wat Klang Tung, which was hidden in the Chedi Stupa 0ver 100 years ago by Luang Por Cham, Luang Por Bpaen, and Luang Por Sap.

The Pra Klang Tung is recognisable for being a baked clay amulet, usually with a rough dry porous surface texture (some smooth surface exhibits are also found in very small numbers). The Muan Sarn Sacred Powders are roughly mixed by hand, and each of the amulets themselves differ slightly, due to the hand pressing method. The amulets were shaped in Gleep Bua lotus petal shape, with a Buddha seated on a dais,


A highly recommendable and affordable ancient amulet of high sacred value, powerful blessings, from over a centruy ago. This amulet is hence not only a sacred Religious Votive Tablet, but is also a perfect study example for students who wish to accustom their eyes to the appearance of baked sacred clay amulets that are in excess of 100 years old. The amulet is typically used by advanced students as a reference for the ageing characteristics of sacred baked Clay amulets.

In the year 2450, some of the Greatest Ayuttaya Masters of that Era were gathered together at Tung Ban Na in the old part of the ancient city of Ayuttaya, and decided that it was an opportune time to create Sacred Amulets, to bury within a Chedi Stupa, for future discovery, as is common practice for the preservation of Buddhism.

These Gaeji Ajarn were namely Luang Por Cham, Luang Por Bpaen, and Luang Por Sap. Luang Por Sap himself was also responsible for having hidden the now famous Pra Nuea Pong Pasom Rae Kru Bpaag Bang, which were found hidden within the Kru Chamber of the Chedi of Wat Mai Bpaag Bang.

Pra Kru Wat Klang Tung

The Pra Kru Wat Klang Tung Ayuttaya was then created under order of Luang Por Cham, who was the abbot of the temple at the time, with the collaboration of Luang Por Bpaen and Luang Por Sap. Luang Por Cham hismelf was extremely famed for his powerful Wicha Takrut Tone, and for his Adept ability in making Magical Sacred Powders.

The three great Guru Master combined their Wicha to create the most powerful Sacred Powders, and empower them according to the Wicha of their respective Kroo Ba Ajarn, which was in those days still so immensely powerful, before the scientific Era, where Magic pervaded everyday life.

The powders were invoked with the various Wicha for the Invocation of the various yantra Formulas, Harmonising Formulas, and the Summoning of Rupa Nama (name and form). All three Masters gathered Sacred earths from the temple enclave, and mixed them together with Pong Bpathamang, Puttakun, Ittijae Trinisinghae, and Maharach powders, to form the sacred clay. The amulets were molded into Buddha images, and empowered by the three masters, with a host of monks to assist in the Buddha Abhiseka Ceremony and the Chanting of the Dhamma Chakra to 'open the eyes of the Buddha'


84,000 votive tablets were made in all, according to the 84,000 verses of the Tripitaka, and the rules of the Dtamra Saiyawaet Grimoire methods of making Buddha amulets. The amulets were subjected to a baking process to harden them, and were then placed inside the Kru Hiding Place Chamber of the Chedi Stupa of Wat Klang Tung.


More than 50 years later in the year 2503 BE, the committee of the temple of Wat Klang Tung decided to open the Chedi Stupa Hiding Place, to remove amulets for distribution to devotees, to raise needed funds for the maintenance of the old Chedi Stupa and temple buildings in need of restoration, and for the further development of the temple.


Thus, a number of the amulets were removed and entered into circulation, and the remainder were returned back to their hiding place within the Chedi, for a future occasion. Since their removal and release in 2503, the amulets have become recognised by the general public, and have already become a rarity, now that over half a century has passed since their release, and very few remain in circulation.


A classic Kong Grapan Chadtri Klaew Klaad Serm Duang amulet from the Ayuttaya Masters of the more than a Century ago, for Protection, Promotion, Prosperity and Auspicious Karma


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


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