The Pra Somdej Mongkol Maha Lap amulet series of 2499 BE, was released at Wat Sarnath, in Rayong, to fund the creation and installment of the Pra Putto Pas Chinarat Jom Muni Buddha statue, which was made at Wat Sapmant Wongs, in Bangkok, and donated to be installed at Wat Sarnath, as the Pra Pratan main Central Buddha image within the Uposatha shrine room.
Below; a rare version of Pra Somdej Nakprok Mongkol Maha Lap Nuea Pong Maha Solos Daeng 2499 BE Mae Chee Bun Ruean Wat Awut
in Nuea Daeng
The amulets were made in various powders, white nuea solos, brown nuea wan, and red nuea wan sabu luead, as well as nuea bailan and other admixtures. Some received the inscription of the Yant Putto, or the Yant Dto Rasamee, of Mae Chee Bun Ruean, and others were left with ‘Hlang Riab’ ‘smooth faced’ rear sides. All versions contain the famous pong Maha Solos Maha Lap (Pong Guubose), which is legendary for its powers
This amulet comes with the existing Stainless Steel Casing – The alternative of Free Waterproof Casing is also an Optional Offer with this Amulet, if you wish to encase with Waterproof Casing at no extra cost. Free Registered Airmail Shipping Worldwide is offered included with this amulet, as is the case with all amulets in Ancient Amulet Store.
There was never a ceremony to invite the Devas so majestic as the ceremony performed by Mae Chee Bun Ruean, which included not only the ubiquitous incenses, puffed rice, flower garlands in 7 different colors, but also a total of 375 Kinds of Food Offerings! The Benja and 9 Saewadta Chadtras offered, 5 sork high (‘sork’being a Thai form of measurement, meaning ‘5 elbows’, slightly over 2 Feet per ‘sork’). Five Golden and Silver Bai Sri were place in offering, also 5 sork high in stature.
The chanting ceremonyn to bless the holy water with the assistance of the attendiing Devas, was then mixed with the sacred powders used for the muan sarn clays of the amulets. Many great and psychically attained monks were invited to empower and bless the sacred ingredients for the amulets, and the amulets themself after their pressing;
1. Pra Prohm Muni (LP Phin Suwajo), of Wat Bovornives Vora Viharn, 2. Pra Worawaet Kunajarn (LP MIan Bpappasaro), of Wat Pra Chetupon Wimon Manghalaram, 3. Pra Maha Racha Manghalajarn, 4. Pra Kroo Winaiton (LP Fueang Yana Bpaheebpo), 5. Pra Sa-Ard Apiwattano, of Wat Sampant Wongs, 6. Pra Kroo Nor, of Wat Klang Ta Ruea, in Ayuttaya, 7. Pra Ajarn Bung, of Wat Mai Nong Sen, and 8. Pra Luang Por Chorp Sammajaree, of Wat Awut Wigasitaram in Thonburi, as well as the prior and later blessings and empowerments made by Mae Chee Bun Ruean Herself.
In Addition, during the Deva Abhiseka, the Ruesi Yogi Ajarn Rerb (Ajarn Chern Jantr Paetch), who was a very powerful and famous Ruesi of the Era, assisted in empowering the amulets.
Then a second empowerment session was performed, with the amulets pressed and placed covered with 7 layers of 7 green and 7 white cloths covering them, placed upon an altar in the center of the shrine room.
Many people in the amulet world have been interested in knowing what was used in the making of the sacred powder admixtures, and so we find it impportant to document and list them in this article, for posterity and study;
1. Sacred Powders from a Host of Great Masters of that Era and Previous Eras, through the lineage of each Master who donated and empowered the powders.
2. Powders from Wat Chetupon, Wat Sri Totsataep, Wat Sampant Wongs(Wat Sampantawongs).
3. Broken powdered pieces of ancient sacred amulets.
4. Powdered up herbal ingredients with magical properties, ground up to make a brownish herbal powder.
5. Earths from 7 Prosperous Ports, and the banks of 7 Sacred Lakes. 6. Powders made from taking ancient Kampir Grimoires of Sorcery (Sacred in themself), of both the Bailan Beige Parchmnent variety, and the Samut Khoi black Parchment variety of Grimoire, and burn them and grind into powders, with 5 repetitions of admixture, adding powders from previous editions of amulets.
6. Earths from sacred Pilgrimage Places of the Life of the Buddha in India, brought back to be used for the admixture, to bring Sacred Buddhakhun Power to the amulets, with earths from the important places of the Buddha’s Life, such as the Buddha’s birth, earths from around the Bodhi Tree where the Buddha’s Enlightenment occurred, the place where he gave his first sermon in Varanasi (the Dhamma Chakra), and earths from the place of the Buddha’s Passing into Nibbana.
7. Earths from important places where the Buddha performed great Sermon, or Important Events in his Life occurred, and which are to this day, all sacred places and shrines to the Buddha.
8. Pong Poon Khaw Hin Rachaburi powders.
9. Sacred Talcs invoked with Negative Space inscribed Yantra Spells.
10. Nam Oy Sugarcane Juice.
The amulets are made from a Muan Sarn Sacred Powders composed of a large variety of sacred clay earths, herbal pollens and powders, and Puttakun powder. Herbs and Sacred ingredients with all sorts of different blessings and powers were added to give a complete range of blessings.
All these Muan Sarn ingredients were ground into fine powders, and separated into different admixtures, and mixed with holy water from the first Buddha Abhiseka and Deva Abhiseka Blessing Ceremony. The amulets were pressed as the Pra Somdej Pra Putta Mongkol Maha Lap (Buddha Manghala), Pra Nakprok, Pra Putto, and other forms such as various kinds of Pra Somdej, Nang Kwak, and other amulets.
Above and beyond this, the amulet is a Sacred Artifact of Buddhanussati, an authentic Sacred Buddha Image Votive Tablet, blessed and made in 2499 by Kun Mae Chee Bun Ruean, in two ceremonies held at Wat Sampantwongs and Wat Sarnath, both Mae Chee Bun Ruean Lineage Temples.
The amulets were handed out to devotees during a later ceremony who came to donate and support the installation of the Putta Sima temple boundary of Wat Sarnath, and many of the amulets were of course held for burial within shrine rooms and Chedi Stupas of choice, for later distribution, or accidental rediscovery long into the future.
This is a common practice with amulets, where they are placed in a hiding place chamber (Kru), or buried under the ground or under the floor of sacred places, as a way of preserving the fact that there was once a Buddha who walked upon this earth. Hiding Place amulets are also stored in Kru Chambers as a repository to use for fundraising by removing a number and distributing them to devotees who donate to the temple (Note; The placement and removal of amulets from Kru for providing a method of creating fundraisers only became a practice during the last century, after Buddhist amulets became a source of fundraising).
According to the written documentation of Luang Phu Tet Nitesago, the Pong Solos powders made by Mae Chee Bun Ruean to make the amulets, were made using the Wicha Prohmasat (Brahma Sastra), which invokes High Brahmas and Ariya Sangha (Enlughtened Beings), of the Sutawas celestial level, to empower the powders. They were made to distribute to devotees, and fund the installation of the Pra Putto Chinarach Jom Muni Buddha statue of Wat Sarnath.
The amulets have become very famed for their miraculous powers, due to many stories of miraculous events connected with devotees and the amulets. Mae Chee Bun Ruean invoked the spiritual Connections of the angelic beings of the Buddhist, Christian and Islamic Faiths to imbue their blessings, to protect people of all religions, who keep the precepts of goodness and abstention from evil acts. The real name of the powders is ‘Pong Maha Prohm Ariya Bodhisattva Phuu Bpen Jao’ (Powders of the Enlightened Brahmas who are Lords of their Existence’).
This was because of Ajarn Seng, who taught and revealed that all three religions, speak of the same one Super-consciousness or ‘God’ (Buddha-hood for Buddhists), but which different cultures over time split and adapted into their own social structures, and changed them according to their needs, but that all three are derived from the same fact that enlightened beings gave teachings to unenlightened humans, and were worshiped for it as messiahs, prophets, or gods, and became founders of these religions.
The great Luang Por Lee is said to have found the 2499 BE Somdej Mongkol Maha Lap so powerful that he basked for some of the broken ones to be given to him to mix into the sacred clay of his famous sacred Pra Bai Po Jak amulets of the 2500 BE 25 Centuries of Buddhism Mega Nationwide Amulet Ceremony.
According to the Pra Tamma Khant, all Somdej amulets must be made in numbers of 84,000, but it is rumored that the Pra Putta Mongkol maha lap amulets were made in much less numbers, which is an unconfirmed rumor, and would be dubious considering Mae Chee Bun Ruean’s tendency to be a stickler for proper ritual and adhere to the dtamrta of the Wicha.
The Pra Putta Mongkol Maha Lap amulet is often used as a substitute for the Pra Pong Solos of Luang Phu Tim (much more difficult to find and much more expensive). Luang Phu Tim himself was also invited to perform Nang Prok meditative empowerment on thje amulets, as he was 70 years old. Considered one of the best amulets of the 2500 BE Era of Thai Buddhist Amulets.
Kot Kala Phueak Pra Rahu Mai Mee Ta Albino Eyeless Coconut Carved Asura Deva Eclipse God Luang Por Pin Wat Srisa Tong
A beautifully hand carved miniature Look Kala Mai Mee Ta eyeless coconut careved Asura Deva God amulet, and one of the extreme rarities of the amulet pantheon from a highly preferred top master of Wicha Pra Rahu, Luang Por Pin, of Wat Srisa Tong, in Nakorn Pathom. There are many levels of detail found in the carved Kala Mai Mee Ta of Luang Por Pin, ranging from that of the simple village artisan, to the fine master craftsman.This exhibit is a Kot Kala Mai Mee Ta Phueak, minature self enclosed eyeless coconut shell, and is in very rare albinbo coconut shell.
The word 'Kot' means 'anomaly'. Eyeless Coconut is even more powerful than one eyed coconut in Thai Magical Belief System. The Albino Eyeless Kot Kala Mini Coconut Anomaly is of course considered perhaps the rarest of all Kot Kala.
This amulet comes (as do all) with free registered air parcel shipping worldwide, and a free gift. The Kot Kala amulet is exquisitely carved with Laoatian influenced Buddhist Art eminently visible with the triangular crown worn by Pra Rahu, and other fine details which show the carving was made by one of the Lao Ethnic Artisans who had moved since earlier generations to Nakorn Pathom, and blessed and inscribed with Agkhara by Luang Por Pin.
A rare Ritual Artifact for Wearing as an amulet, or a Mini Bucha for Altar Worship with the World Famous Wicha of Wat Srisa Tong, empowered with the Magic of the preceding Lineage Masters of Wat Srisa Tong; Luang Por Dto, Luang Por Dtrai, Luang Por Dtan, Luang Por Lee, Luang Por Tong, Luang Por Choi, and his Kroo Ba Ajarn Luang Por Noi before him.
The Look Kala Ta Diaw, and Kot Kala Mai Mee Ta and Pra Rahu Sema Glab amulets of Luang Por Pin are for Bucha to Pra Rahu Asura Deva of the Solar and Lunar Eclipse. Tjhis exhibit is carved by a top artisan of Wat Sri Sa Tong, and empowere in ceremony during the eclipses of sun and moon, in Bucha Ceremony at Wat Srisa Tong, with Luang Por Pin, presiding over the Blessing Ceremony.
Luang Por Pin was the Looksit Aek (first and roemost apprentice in Wicha), to the Great Luang Por Noi, previous abbot of Wat Srisa Tong, who bestowed the Wicha onwards to Luang Por Pin in its entirety. The Wicha Pra Rahu Kala Ta Diaw of Wat Srisa Tong is perhaps the most famous of all temples in Thailand, with its lineage of great Guru Master Sorceror-Monks who have practiced this Wicha in lineage transmission since ancient times.
Both Luang Por Noi, and Luang Por Pin enjoy top status for Pra Rahu Kala Ta Diaw amulets, as does the temple of Wat Srisa Tong itself. When we speak of the Pra Rahu Sema Glab amulet in carved coconut shell, one immediately comes to mind with the names of Luang Por Noi, and Luang Por Pin being synonymous.
If you feel that your Fate and Horoscope is not Auspicious, then it could be that Pra Rahu is interfering. You can solve this problem by making Bucha offerings to Pra Rahu every Wednesday;
Light 10 black incense sticks (‘Toop’ in Thai), and five types of black offerings (e.g. black sticky rice, black jelly grass drink, black semolina or sago pudding and the like).
12 repetitons of the Kata Bucha Pra Rahu are to be Chanted;
Idtipiso Pakawaa Pra Rahuu Sataewaa Samaa Winyaana Idtipiso Pakawaa Putta Sangmi
Below; Magazine from the 1980's showing an example of the Kot Kala of Luang Por Pin, which already carried a price of 8000 Thai Baht half a century ago (circa 280$)
Kata Surya Buppaa (to be chanted in the daylight)
Gusaedto Ma Ma Gusaedto-dto Laalaa Ma Ma Dtolaamo Tolaamo Ma Ma Tolaamo Ma Ma Tolaamodtang Haegudti Ma Ma Haegudti
Kata Jantra Bupaa (to be chanted in the night time)
Yadt-thadtang Ma Ma Dtangthaya Dtawadtang Mamadtang Wadtidtang Saegaa Ma Ma Gaasaegang Gaadtiyang Ma Ma.Gaadtiyang Ma Ma Yadtigaa
When you begin to Bucha Rahu Deity, you should make the first ever session in the evening of a Wednesday (any time from 7 pm onwards). After you have done this once, you can make Bucha in the daytime if you wish, but the first time you must include the food offerings of black foods as well as the black incense. The second time onwards, only the incense is necessary in the daytime, if it is a lot of trouble to get the food offerings.
The Pra Rahu Kala Ta Diaw of Luang Phu Noi and Luang Por Pin, are the most prestigious of all in the eyes of the Pra Niyom Collector Community, with the exception of the Great Lanna Master Kroo Ba Nanta of Wat Tung Man Dtai
The Rahu amulets of Wat Srisa Tong themselves were made by Artisans, who were devoted Looksit of Luang Por Noi, who were mostly immigrants from Vientiane, in Laos, who moved to Thailand during the early Ratanakosin Period of Thai History. Luang Por would then would distribute them back to the devotees for protection and Serm Duang (improve fate and destiny).
As the Lao artisans began to develop their skills and experience repeatedly carving the coconut shells, the design became ever more finely tuned and increasing in beauty, but due to the fact that there were a large number of artisans all making these carvings, the designs would be varied both in appearance of features, and in the quality and amount of detail.
Wat Srisa Tong
As the earthen foundations of the temple of Wat Srisa Tong were being dug for the building of the temple, a golden Buddha Head was discovered, and because of this, the Temple was first given the name 'Wat Hua Tong' which means 'Temple of the Golden Head'. The word 'Hua' means 'head' in colloquial Thai, but for referring to a Sacred Image of a Deity or a Buddha (or a Monk), the word 'Srisa', which also means 'Head', in high speech, is preferred. So the name was then changed later to 'Wat Srisa Tong'
The first Abbot of the temple was Luang Por Dto, who was one of the Laoatian people who had immigrated from Vientiane. Luang Por Dtrai developed the temple continually. The Lao people who built the temple had many artisan who knew that Luang Por Dtrai had powerful Wicha Akom and the sectrets of the Laoatian Wicha Pra Rahu Om Jantr, and so they carved Rahu Amulets from one eyed coconut shells using the traditional Lao Artistic style, to give to Luang Por Dtrai for empowerment.
Over the years, Wat Srisa Tong grew constantly throughout the lineage of Abbots, from a small temple into a large impressive temple over the years. After Luang Por Dtrai's passing, he was succeeded by the new Abbot, Luang Por Dtan, who was succeeded by Luang Por Lee, who was then succeeded by Luang Por Tong, after which came Luang Por Choi, and then cam the fifth Abbot, Luang Por Noi Kantachodto.
It was the second Abbot, Luang Por Lee, who inherited and continued the Wicha Pra Rahu Om Jantr in the Lao tradition from Luang Por Dtrai. Luang Por Noi was also one of the Lao People of Srisa Tong municipality in Nakorn Chaysri, who during his time as a Buddhist Monk before becoming Abbot, was practicing at Wat Srisa Tong, and learned the Wicha of Luang Por Dtrai from Luang Por Lee, and ascended later to become the next Master Adept.
This adepthood was supported by a strong foundation in the Wicha Pra Rahu Om Jantr from Luang Por Noi's Father, who was also a Laymaster of Lao Sorcery too, and who made carved Rahu amulets and empowered them.
So Luang Por Noi got to learn this Wicha from his Father from a very early age, and this made him the perfect apprentice for Luang Por Lee to pass on his Wicha of the Pra Rahu Om Jantr Kala Ta Diaw. Luang Por Noi brought the Wicha Pra Rahu Om Jantr Gae Kala Ta Diaw begun by Luang Por Dtrai, passed to him through Luang Por Lee, to World Fame, through his higher development of the artistic features of the artisanry and design of the carved coconut shell images.
Below; Luang Por Noi- Kroo Ba Ajarn of Luang Por Pin
Luang Por Noi did this by raising a more stringent rule for the magical requirements in allowing only coconuts with one single eye to be used for the carving of the Rahu image. Luang Por Noi then passed on in turn all of his accumulated knowledge and prowess and the secrets of empowerment of the Pra Rahu Kala Ta Diaw, to Luang Por Pin. It is then with Luang Por Pin that the Wicha Pra Rahu Kala Ta Diaw was given to preserve and continue. Luang Por Pin then became the Master of the Wicha after the Passing of Luang Por Noi.
Below; Luang Por Pin
The Wicha continued on with the next abbot Luang Por Manich, which also passed away now in 2559 BE. We await the appearance of the next Master of the Wicha Rahu of Wat Srisa Tong, and hope to find and present as many examples of the amulets of this lineage as we can over the coming years, to collect and admire.