A most Exquisite and Officially Certificated Authentic Pra Somdej Wat Rakang Pim Gae Talu Sum Block Chang Luang Wijarn of Somdej Pra Puttajarn (Khrua Dto) Prohmrangsri, the Great Master of Wat Rakang, with Red Lacquered Surface, and all the classic features of an Ongk Kroo Model of this All Time. This particular exhibit is Extremely attractive to the eye, with its perfect balance of lacquer and open surface. The Pra Somdej Wat Rakang Kositaram of Somdej Pra Puttajarn (Dto) Prohmrangsri is the No. 1 Pra Somdej amulet of all time, and the most eminent member of the five regional top amulets within the Benjapakee Pantheon of Classic Thai Buddhist Amulets. On can also say it is perhaps the most famous of all Thai Amulets.
A Master Class ancient amulet of the Benjapakee Immortal Classic Family, the Pra Somdej Wat Rakang Pim Chang Luang Wijarn, with Rak Chart (ancient red lacquer), of the great Somdej Pra Puttajarn (Dto) Prohmrangsri of Wat Rakang Kositaram, this model is an extremely attractive Pim Niyom model of the ‘Chang Sip Moo’ Artisan Chang Luang Wijarn. This amulet comes with free solid silver casing if desired and selected in the encasement options (Please note; the custom casing can take from 3 – 10 days to custom encase). Bespoke Silver Frame casing is always enhanced with waterproof acrylic sealed windows to protect the amulet from the weather). You can order solid gold casing at extra price if desired too and we will invoice you according to current spot prices.
The Legacy of Somdet Phra Phutthācāriya (Toh) and the Sacred Somdet Amulet: “Kesa Thalu Sum” (Topknot Piercing the Arch)
Among the pantheon of Thai sacred amulets (phra khrueang), none is more revered than the Phra Somdet Wat Rakang—especially the archetype known as “Phim Yai Kesa Thalu Sum” (พิมพ์ใหญ่เกศทะลุซุ้ม), often translated as the Large Mold – Topknot Piercing the Arch. This particular design is believed to be among the most spiritually potent and artistically refined sacred objects created under the auspices of Somdet Phra Phutthācāriya (Toh) Phrommarangsi (Somdet To), the legendary monk of the Rattanakosin era (1788–1872), known as an Arahant-like figure and master of sacred sciences (saiyasāt).
The Pra Somdej Wat Rakang Comes with A4 Size Plasticized Authenticity Certificate issued by the Association of Amulets of Siam Thailand, and comes with Free Express shipping, and Free Solid Silver Casing Included in the price. Please choose the free silver casing option to take advantage of this free offer. Free express registered shipping is worldwide and included automatically.
Below, A4 sized certificate of authenticity of this Pra Somdej Wat Rakang Long Rak Chart Pim Gaes Talu Sum Block Chang Luang Wijarn, The Artisan Chang Luang Wijarn was the Kroo Ba Ajarn (teacher) of all the other artisans of the Chang Sip Moo artisans, including the great Chang Luang Sittigarn and Chang Luang Wijit.
Understanding the Term “Gaes (Kesa) Talu Sum”
In Thai Buddhist amulet vocabulary, “kesa” (เกศ) refers to the flame-like ushṇīṣa or “topknot” on the head of the Buddha image. “Thalu” (ทะลุ) means “to pierce” or “go through,” and “sum” (ซุ้ม) is the ornate arched frame or halo encasing the Buddha’s seated image. So, Kesa Thalu Sum implies that the topknot reaches upward and pierces through the apex of the arch, a rare and desirable stylistic detail that only appears in a select few authentic master molds (phim ong krū – พิมพ์องค์ครู) from Somdet Toh’s era.
Below, is an 11 minute long video with full views and 12 x Macro closeups of the Muan Sarn Powders, wth Narrative from Ajarn Spencer Littlewood to enlighten the student on the various aspects of authenticity of a different exhibit which was also a lacquered version, and displays similar characteristics to this exhibit, with highly informative narrative by Ajarn Spencer, explaining various aspects of the studt, perusal and inspection of this tyupe of amulet, and some revelatory information about the amulet itself and the history of its making, and the Sacred Muan Sarn Content. This helps the student to understand and increase their expertise in recognising authentic Pra Somdej Wat Rakang Kositaram amulets of this model and type.
Who Was Chāng Luang Wichān (ช่างหลวงวิจารณ์)?
The iconic Kesa Thalu Sum mold is widely attributed to the craftsmanship of Chāng Luang Wichān Wijit Sittikān (ช่างหลวงวิจารณ์ วิจิตร สิทธิการ), a royal artisan of the Chang Sip Mū (ช่างสิบหมู่)—the Ten Royal Craft Guilds of Siam. These were elite artisans directly serving the Chakri dynasty, skilled in sculpture, lacquer work, gold-smithing, and iconography. Wichān was said to have personally carved molds under the commission or guidance of Somdet Toh himself, resulting in highly refined, geometrically perfect, and spiritually resonant Buddhist images.
His mold—known as the Wichān Block—exemplifies regal aesthetics fused with spiritual subtlety. When found on authentic Wat Rakang specimens, it often features:
- A perfectly symmetrical arch (sum) enclosing the Buddha image
- The kesa (topknot) extending straight upward, piercing the arch
- Subtle curvature of the seated Buddha’s silhouette
- Triple base lines (samchan) with precise spacing
- Signs of aged lacquer (rak chāt chīn) from the original red Chinese lacquer finishing
The Wichān Block vs. Other Blocks
In the study of Somdet amulets, experienced phra sen (พระเซียน – amulet masters) distinguish between various molds (phim) based on micro-details and matrix analysis. Three major molds compared at the elite level are:
- Wichān Block (บล็อกช่างหลวงวิจารณ์) – Characterized by its “Kesa Thalu Sum,” fine lines, and sophisticated surface.
- Sīao Noi Block (บล็อกเสี่ยวน้อย) – Slightly more primitive in depth but very ancient in clay composition. This block is often less crisp but bears classic signs of age and high energy (sāk sit).
- Wang Nā Block (บล็อกวังหน้า) – Possibly produced by artisans from the Front Palace (Wang Nā) under royal patronage, with a broader face and deeper relief.
A truly ancient amulet made Circa 2390 – 2396 BE. The rear face of this exhibit is inimitable and has immensely beautiful markings, of a classic Pra Somdej Wat Rakang. Various exhibits display different textures on the rear faces, for they were laid on various surfaces to sun dry, ranging from marble stone, wood, metal, and other surfaces, resulting in textures ranging from stone-like fossilized effect, granular, crackled, to the fine scratches on the rear face of some, which come from laying them to dry on mai gradan wooden boards.
In truth, no two Pra Somdej Wat Rakang are the same, and each amulet has its own individual character, which is of course one of the many aspects which form part of what makes the Pra Somdej Wat Rakang the title holder of the ‘King of Thai Amulets‘.
“Gaes Talu Sum” as One of Many Pīm within Dtamrā
While “Gaes Talu Sum” (เกศทะลุซุ้ม) refers to a distinct style, it is only one recognized Pīm (พิมพ์) among many listed in the classic reference Dtamrā Phra Somdej Wat Rakang. These canonical molds include:
- Gaes Talu Sum
- Phim Yai (Large block, plain arch)
- Phim Sam Chan (Three-base lines)
- Phim Paa Singha (Lion-cloth border)
- …and others.
The Wichān Block belongs specifically to the Gaes Talu Sum group and is often called a Pīm Ong Krū (พิมพ์องค์ครู – ‘teacher mold’), signifying its canonical status as an original master mold.
The Chang Sip Mū (ช่างสิบหมู่): Ten Royal Artisans of Siam
The Chang Sip Mū (Chāng Sip Mū)—literally “Ten-Craft Guild”—was an elite corps of artisans instituted under King Rama I of Siam. These ten crafts included:
- Carving (chāng chākā) – wood and stone
- Gilding (chāng phliap) – gold leaf application
- Casting (chāng lom) – metals
- Engraving (chāng tschāt)
- Drawing & Painting (chāng phithāng)
- Lacquerwork (chāng ró rät)
- Sculpture (chāng chāt)
- Manufacture of Buddha images (chāng phra pinyo)
- Stucco & inlay (chāng phaeng)
- Hidden relief and finishing (chāng lath)
These artisans were established to revive and preserve sacred craftsmanship such as Buddha-image iconography, temple decoration, and monastic utensils. Chāng Luang Wichān—a Chāng Luang rank artisan—expertly blended multiple crafts, especially casting, engraving, and lacquerwork, to produce master molds like the Wichān Block.
Three Eras of Phra Somdej Production at Wat Rakang Kositaram
According to Dtamrā Phra Somdej Wat Rakang (ตำราพระสมเด็จวัดระฆัง), production under Somdet Pra Phutthācāriya (Toh) Phrommarangsi is traditionally divided into three eras:
1. Yuk Ton (ยุคต้น / Early Era, c. 1860s)
- Mix: Fine limestone crushed to powder, phong itthi (powerful clay blend)
- Pīm: Coarse molds with less defined lines
- Ritual: Solo empowerment with Phra Trisaranāgata paritta
- Marks: No lacquer finish; rough, sandy texture
2. Yuk Klang (ยุคกลาง / Middle Era, c. 1870s–1880s)
- Mix: Addition of phong pārisaṇḍa powders, remnants of old monk’s robes
- Pīm: Molds refined by Chang Sip Mū, including the Wichān block
- Ritual: Multi-stage consecration with Jinapañjara and Mahā Meṭṭhā chants
- Marks: Early signs of Rak Jeen Borān—thin lacquer coat, slight red tint
3. Yuk Plāi (ยุคปลาย / Late Era, c. 1890s until Somdet Toh’s passing in 1872)
- Mix: Highly refined batches with small shell inclusions
- Pīm: Final mold-state perfected; deep relief, crisp lines
- Ritual: Full-scale empowerment ceremonies attended by royal court
- Marks: Visible Rak Jeen Borān with Hān (micro-cracks) and color patina
The amulet comes with the A4 size certificate of authenticity as a Pra Somdej Wat Rakang Long Rak Pid Tong of Somdej Pra Puttajarn (Dto) Prohmrangsri, with definition of the preferred artisan as authentic issued from the Pra Tae Mueang Siam Amulet Association.
An Immortal Classic and one of the most famous Thai Buddhist Amulets of all time, as well as being amongst the top preferred amulets of the serious devotee and wealthy collector of the accepted amulets of Somdej Pra Puttajarn (Dto) Prohmrangsri, of Wat Rakang Kositaram, whose Pra Somdej are the number one amulets of all time, be they from Wat Rakang, Wat Bang Khun Prohm,or Wat Gaes Chaiyo.
Made almost 2 centuries ago, the Pra Somdej Wat Rakang can be considered the number one amulet of all time in Thailand for its historical fame and legendary, and thae reputation of its maker to be the number 1 in all Thai History for Pra Somdej Amulets.
Rak Jeen Borān (ลงรักชาดจีนโบราณ): Ancient Red Lacquer
Rak Jeen Borān is a thin red lacquer derived from ancient Chinese formulas. It was popularly applied to selected pīm in the Yok Klang and Yok Plāi eras. Artisans would:
- Dip the cured amulet in lacquer bath
- Allow it to settle into fine cracks
- Let it cure naturally under temple shade
Visually, it leaves a warmreddish hue, especially in recessed areas and seen as a micro hairline cracks (“hān”). The lacquer gave spiritual seal and aesthetic refinement—only a portion of issued amulets received this treatment, based on batch size and ritual occasion.
The Pra Somdej Amulets of Somdej Dto, are officially recognized as coming from one (or all) of four Royal temples Classed as three, because Wat Bang Khun Prohm Nai and Wat Intra Wiharn Bang Khun Prohm, are both located within the same temple boundary). Namely; Wat Intra Wiharn (Bang Khun Prohm Nai), Wat Gaes Chaiyo, Wat Mai Bang Khun Prom, and of course last but not least, Wat Rakang Kositaram. Most of these amulets are given a Puttapisek blessing ceremony in the temple where they were made, but then travel to at least two or three of the other temples to be laid under the ‘Pra Pratan’ (main Buddha statue in the shrine), and absorb the prayers of the Sangha (Monks), for further sacredness and power.
The Pra Somdej amulet, is one of the ‘Benja Pakee’ official set of five national amulets of Thailand seen as the most sacred, desirable and representative of every region of Thailand. In recent decades various Kru hiding place finds have been discovered in temples where Somdej Dto built statues and traveled, such as the Kru Wat Kanlayanamit, and Kru Wat Sadter finds.
This amulet comes with its certificate of authenticity in form of a A4 sized plastified certificate photo of the Chomrom Pra Tae Mueang Siam Amulet Appreciation society of Siam Thailand, and complimentary box with authenticity confirmation sticker. We offer free Solid Silver, Stainless Steel, or Waterproof Casing with this amulet (or gold at extra price), whichever you prefer. Free Express Shipping is also included in the price
The rear face shows the presence of all the classic features and Muan Sarn ingredients of a true Pra Somdej Wat Rakang of Somdej Dto, with a beautiful lined pattern resulting from shrinkage and drying over almost two centuries of ageing, and which has added to the character and increases the ease of authentication. This kind of rear face pattern is highly preferred among aficionados and serious devotee-collectors, for its classic aged appearance.
The contents of the Muan Sarn Sacred Clay reveal the necessary aspects and content expected from an authentic Pra Somdej Wat Rakang. The design of the front face is exquisite, as were all the block presses carved for Somdej Dto by the artisan Luang Wijarn, one of the royal artisans of the Chang Sip Moo group of artisans.
Pra Somdej Wat Rakang is one of the classic Pra Somdej amulets of Somdej Dto available, along with Pra Somdej Wat Gaes Chaiyo, and the Pra Somdej Wat Bang Khun Prohm amulet as far as popularity, beauty, sacredness of Puttapisek ceremony and price range.
The Pra Somdej Wat Rakang amulet is the Keystone and Master amulet (Ongk Kroo) for all other Pra Somdej amulets. It is an image in the likeness of the Buddha sitting on a Dais, which was essentially created by Somdej Pra Puttajarn (Dto) Prohmrangsri, of Wat Rakang Kositaram. There are various different ‘Pim’ (models) with varying design features.
The Pra Somdej Wat Rakang, are considered to have extremely powerful Buddha magic in them due to the richness of sacred powders and powerful blessings contained within from great master Somdej Dto. Its general appearance is that of an oblong about 2.4 cm wide up to 4 cm high (varies between these sizes), made from white sacred powders mixed together.
The Pra Somdej Wat Rakang Kositaram Pim Gaes Talu Sum is Similar to the Pra Somdej Pim Pra Pratan, but has the ‘Pra Gaes’ Topknot piercing the arch at the top of the amulet. The Pim Jarod Sum touches the arch or approaches it.
The main Ingredients of the amulets (Muan Sarn Samkan) were made from a base of sea shells, dried rice left from alms round, the five sacred magic powders of Somdej Dto, and ‘Nam Man Dtang Iw’ (special oil for mixing). Nam Man Dtang Iw, or Tung Oil in English, is a preferred oil for mixing and curing amulets with, for it is superior to any other oil as far as water resistance is concerned (one reason why Pra Somdej amulets can be soaked in water without going soft). The oil is much more resistant to mold than its derivatives, such as linseed oil.
The Dtamra must be made by creating exactly 84,000 amulets, equal to the number of Suttas of the Tripitaka. There are different Pim Song (shapes and sizes) of Pra Somdej Wat Rakang, but those which are officially recognized and listed by the ‘wongarn Pra Krueang’ as far as Somdej Wat Rakang amulets are concerned, basically consist of the following officially recognised Pim of Pra Somdej amulets; Pim Pra Pratan, Pim Yai Niyom, Pim Chedi, Pim Prok Po, Pim Gaes Bua Dtum, Pim Gaes Talu Sum, and Pim Thaan Saem.
Somdej Wat Rakang amulets have various surface textures, categorized as ‘Nuea Laiad’ (fine texture cement mixture), ‘Nuea Hyaab” (rough textured cement mixture), ‘Nuea Gae Nam Man Dtang Iw’ (old looking textured cement mixture), otherwise known as ‘Nuea Sangkhayaa’, and ‘Nuea Gae Bpoon’ (old cement mixture).The basic structure of the design of the classic Somdej, (and almost all Somdej amulets from other temples too), is that of the Lord Buddha sitting inside a Bell (the word ‘Rakang’ means ‘Bell’ – ‘Wat Rakang’ means ‘Temple of the Bell’).
This is the primary importance of the Somdej amulet in the sense that Somdej from most temples depict the Buddha sitting within a bell which is represented by the arch. The arched structure in amulets is called a ‘Sum’. Although these rules do not necessarily always apply (there are a lot of Somdej which are in circulation which are most certainly authentic, but which are not preferred in the collector scene)
There are many less preferred editions which do not fulfill these standard rules of recognition, which is of course one of the reasons why some Somdej Wat Rakang amulets are able to sell for high prices and enter competition, get certificated etc, and why some are not, despite their most probable authenticity.
The difference in the various mixtures made for each ‘Pim’ have led to differing textures and appearances in the Pra Somdej collections, which provides for a varied and fascinating niche interest, which one can verily spend a whole lifetime studying and accumulating experience and knowledge about this, the King of all amulets.
The Gaes Talu Sum amulet, especially in its Wichān Block manifestation, is more than a religious token. It is a national archetype—an object that embodies spiritual lineage, royal patronage, and artisanal mastery.
To possess such an amulet is to inherit a sacred narrative written not only in clay and lacquer but also in karmic resonance. It is to hold, in one’s palm, a silent sermon from Somdet Phra Phutthācāriya (Toh)—a sermon of stillness, protection, and profound metaphysical elegance.
In the global context of sacred objects, few artifacts match the complexity, beauty, and theological depth of the Phim Yai Gaes Talu Sum. And none so fully encapsulates the unity of Thai spiritual identity, Buddhist doctrine, and royal craftsmanship as the Somdet amulet of Wat Rakang Kositaram.
Pra Somdej
