Bia Gae Cowry Shell Animist Charm with Turtle Casing from the Great Luang Phu Kam, of Wat Po Bplam
A very rare and beautiful example of the turtle shape encased version of the Bia Gae Aathan, of the Great Luang Phu Kam, of Wat Po Bplam. The Bia Gae of Luang Phu Kam of Wat Po Bplam, in Ang Tong Province, is counted as one of the five ‘Benjapakee’ Bia Gae of all time, along with the other 4 being the Bia Gae of LP Rod (Wat Nai Roeng), LP Bun (Wat Klang Bang Gaew), Luang Por Perm (Wat Klang Bang Kaew) and Luang Por Pak (Wat Bote). It is believed by devotees, that the Bia Gae of Luang Phu Kam, have immense power to ward off demons, ghosts and evil eye spells, as well as dissovle curses, and protect against poisonous beasts, and jungle fevers. They are said to also possess Maha Ud Gunstopper magic, and Metta Maha Niyom Mercy Charm, that recalls good luck into one’s life. This particular exhibit is encased within the form of the Paya Tao Ruean Turtle
In the early era of his Bia Gae making, Luang Phu Kam would be able to get his ‘Bia’ cowrie shells from the local area around the temple, but after the year 2493 BE, as his Bia Gae became increasingly famous and renowned for their power, it became necessary to send devotees to places by the ocean, in order to find enough cowrie shells to satisfy the needs of devotees. As to the Channaroeng and Krang Pastes used to seal the Bia Gae, it was taken from stingless beesnests found in the forest. or taken from Jom Pluak giant termite nests which were found in the vicinity around the temple.
As the needs of devotees rose, there was not enough Muan Sarn available from these sources of magical ingredients, and Luang Phu Kam was forced to have to seek farther afield for the sacred ingredients necessary to continue making Bia Gae amulets in the numbers needed for his devotees.
The Bia Gae of Luang Phu Kam differ from those of other masters in their making method; Luang Pu Kam would smelt sacred leaden alloy in a pot until it liquified, and then pour it into the interior of bamboo sticks about one foot in length. The bamboo was then sealed with simple cloth, and the bamboo was quicly shaken and agitated. This would cause the cooling leaden sacred alloy to form into small pellets. These leaden pellets were then used to ‘feed’ the Parort Mercurial Metal. This caused the Mercury to make a different sound when shaking the Bia Gae, more like a rattle than a soft ‘thud’ from the mercury sliding around within interior of the Bia shell.
Luang Phu Kam would then take the Mercurial Alchemical substance and use Incantations to make the Parort Mercurial alloy flow into the Bia Gae shells. To do this, he would place the Bia Gae on a large tray, and use Ya Kaa grass to beat the tray whilst chanting Kata incantations, until the Parort Mercury would flow into the Bia shells of their own accord. Then they would be sealed with Chanaroeng, and a Takrut foil with Khom Agkhara inscriptions.
There are some special models, enclosed within a metallic casing, some oval with decorative borders, others shaped like a turtle. Very few special models (Dtua Kroo) were made, whereas most of them would be left bare, or cord wrapped with the shell poking out visibly. In the case of his Bia Gae that are not enclosed within metallic frames, the copper Takrut Tong Daeng is visibly affixed to the Channaroeng Paste which closes the mouth of the Bia shell. It is said that some devotees once removed the Parort Mercury, and that it was seen to glow with an aura, like neon light.
Once Luang Phu had finished the creation and primary empowerment process, he would take the Bia Gae into his Kuti hut and perform further solo empowerments in privacy.One can recognize the early, mid and later eras of Bia Gae, from the difference in Channaroeng paste found in the seal of the BIa.
Early era amulets will have Channaroeng paste from the stingless bee or the giant termite nests around the temple. Mid era ramulets have Channaroeng paste with Ya Ruea, a herbal paste often used by fishermen and sailors to seal their wooden boats against leakage with. The third and later era, is seen to be made from Ya Ruea mixed with Pong Ittijae Yantra powders.
Devotees would often take the Bia Gae of Luang Phu Kam to be specially framed at an artisan, and framed with gold, silver or other brazen metal type frames. The Artisans would always stamp the enclosure of the Bia Gae frame with the Thai letters ‘Hor Mor Ngor’ (หมง), or sometimes the word ‘Kam’ (คำ), or ‘Heng’ (เฮง). In the case of exhibits which have the word ‘Heng’ stamped on the frame, this was the name of the Artisan. In the case of exhibits that have the letters ‘Hor Mor Ngor’ (หมง), this was and still is the code stamp of the firm of the Hor Mor Ngor Artisans, who to this day still use the same Hor Mor Ngor stamp to encase amulets with custom metal frames.
The Paya Tao Ruean, as far as amulets are concerned, is associated with the powers of luck, long life, good health, good fortune , kong grapan and klaew klaad. Long life is insinuated due to the long lifespan of the Turtle. Metta, because of the Turtle’s pleasant and non-agressive disposition. The Tao Ruean Magic imbues the elemental qualities of both Water and Earth, due to the amphibian reptilian nature of this creature. The Paya Tao Ruean Turtle is indeed a significant part of Thai folklore and Buddhist beliefs. The turtle is considered sacred and holds a special place in Thai culture. While I cannot confirm every detail of the story you mentioned, I can provide information based on the general understanding of the Tao Ruean Turtle in Thai mythology and Buddhism. The Tao Ruean Turtle is believed to be an embodiment of Lord Buddha in one of his past lives. According to the story you mentioned from the ‘Ha Roi Chati’ (500 Lives of Buddha), the turtle lived on a desert island atop a mountain, where he dedicated his life to practicing purity and morality.
In the tale, when sailors were shipwrecked on the turtle’s island and faced starvation, they resorted to desperate measures, including attempting to eat inedible Areca nuts. Eventually, they turned to cannibalism, with one of them dying and the others contemplating killing each other for survival. Moved by compassion, the Tao Ruean Turtle decided to sacrifice himself by offering his own body as food to save the starving sailors. His act of selflessness and mercy is considered a profound demonstration of the Buddhist virtue of compassion. The turtle’s noble deed allowed the sailors to safely return to port and survive. As a gesture of gratitude and reverence, people began creating replicas of turtles, either made from clay, metal, or carved from wood, to serve as objects of worship and remembrance. These turtle representations are often placed in homes, temples, or sacred spaces as a way to pay respect to the Tao Ruean Turtle and to remind individuals to cultivate compassion and uphold moral values. They are also believed to provide protection from dangers and bring blessings such as long life.
The story of the Paya Tao Ruean Turtle exemplifies the Buddhist teachings of compassion, selflessness, and the potential for spiritual growth and enlightenment through virtuous actions. It has become an integral part of Thai cultural and religious traditions, inspiring people to emulate the turtle’s virtues in their own lives.
Bia Gae Thak Chueak Perd Hlang Mee Hoo Luang Por Tat Intachodto Wat Karuhabodee, Sacred Cowrie Shell with 32 teeth Mercury Filled, and wrapped with cord. This exhibit is a Pim Perd Hlang Mee Hoo (opened hole, with pendant hoop), which is one of the preferred versions made by Luang Por Tat.
Free EMS Express Airmail Shipping Wiorldwide is Included. Ancient Bia Gae Cowrie Shell Cord Bound amulet, of the Great Luang Por Tat, of Wat Karuhabodee, (first apprentice of Luang Phu Rod of Wat Nai Rong). This exhibit is a perfect ‘Dtua Kroo’ example for examination, for it possesses all the necessary facets and aspects of authenticity for students to examine and train the eyes with, and is hence not only a powerful amulet of immense repute, but also, most certainly a Dtua Kroo (Teacher Exhibit for Reference Study).
Luang Por Tat Intachoto was the 7th Abbot of Wat Karuhabodee temple in Bang Yee Chan in Bang Plad (Now part of Bangkok, then still countryside). He was ordained by the Great Luang Phu Rod of Wat Nai Roeng.
Luang Por Tat became the first apprentice in Wicha Saiyawaet and Puttasart Occult Magic and Buddha Magic to Luang Phu Rod, especially the Wicha Bia Gae, which was his first and foremost Wicha. He developed his methods of sorcery so far as to equal those of his Kroo Ba Ajarn Luang Phu Rod, and became equally recognised for his powerful Bia Gae amulets.
Both Luang Phu Rod of Wat Nai Rong, and Luang Por Tat himself have little recorded history about their biographical details, apart from what has been retold by aged members of devotees in olden days. Both Luang Phu Rod the Mentor, and Luang Por Tat himself, were equally highly renowned for Wicha Bia Gae Cowrie Shell amulets, and Hmak Tui.
The Bia Gae of Luang Phu Rod and Luang Por Tat, are considered among the legendary Talismanic Charms of Historical fame, and classed among the members of the ‘Benjapakee’ Top 5 Bia Gae amulets of all time, along with LP Bun, LP Kam, LP Perm and LP Pak.
Kata Bucha Bia Gae
He distributed them to his devotees constantly throughout his trajhectory, which resulted in many tales of success, miraculous ending of indebtment, lucky windfalls, and wondrous tales of lifesaving miracles from those who wore them.
This caused Luang Por Tat’s Bia Gae to become renowned around the whole nation, and eventially his fame and popularity spread devotees in other South East Asian countries, especially with those who were seekers of powerful magic, and serious collectors of authentic magical amulets of authentic Masters of Old.
When Luang Por Tat passed away (exact Date Unknown), the Wicha had already been passed down to his own apprentice Luang Phu Ploi, who also made many Bia Gae during his trajectory onwards after LP Tat, until the year 2491, when Luang Por PLoi made his last edition, and decided to leave Wat Karuhabodee, and passed the secrets of the Wicha of LP Tat on, to reside within the Grimoires of the temple of Wat Karuhabodee.
Luang Phu Ploi left Wat Karuhabodee, to return to his birth-land of Nakorn Sri Tammarat, leaving the Wicha Bia Gae of Luang Phu Rod. passed through Luang Por Tat, to remain at the temple of Wat Karuhabodee.
The Bia Gae of Luang Por Tat (and his Looksit LP Ploi) are said to be highly powerful protectors against black magic and poisonous animals, and to evade debts, and attract wealth, as well as for their evasive and protective powers, and the power to heal.
Officially Certificated Pra Pid Ta (Pid Tawarn) Hoo Gradtay (rabbit eared) model of the sacred Maekasit alchemical metal amulet of the great Luang Phu Nak, of Wat Huay Jorakhae. Th Pid Ta Maekasit is a highly revered amulet created by the late great Thai monk Luang Phor Nak of Wat Huay Jorakhae temple in Nakhon Pathom, Thailand. The Pra Pid Ta, also known as “the closed-eye Buddha,” is a representation of the Lord Buddha in deep meditation, entering the state of Nirodha, and is believed to bring blessings of protection, good luck, and wealth to the wearer.
This item includes a free download of the Ebook “Pra Pid Ta Loha Ebook (printable version 212 MB)” and a 3 megabyte Light mobile version to carry on mobile phone for fast scrolling.
The Pra Pid Ta amulet created by Luang Phu Nak was made usually in Nuea Maekasit alcemical metal, but also in sacred loha chanuan bronze and other brazen metal mixtures (less often seen). I is said that Luang Phu Nak himself, was a great master of alchemical metallurgy, and the Wicha Pra Pid Ta. It found in medium and small sizes (Pim Lek & Pim Yai) and has various models sch as the Pra Pid Ta Hoo Gradtay ‘Rabbit Ears’ model.
It is believed that the Pra Pid Ta amulet of Luang Phu Nak has the power to protect its wearer from harm, bring good luck, and attract wealth and prosperity. Some of the Pra Pid Ta of LP Nak possess hand inscriptions scraped onto the surface of the metal, with Khom Agkhara and Sacred Yant.
Pra Pid Ta amulet represents a meditating Buddha entering into the state of Nirodha. Nirodha is the third of the Buddha’s Four Noble Truths and refers to the attainment of the cessation of suffering. The image of a meditating Buddha is representative of the amulet’s ability to bring peace and block out all forms of inauspicious events and bad luck, protect against all dangers and black magic. The amulet is believed to have the power to block out negative energy and to protect the wearer from harm due to the reputation of the creator and his spiritual energy.
LP Nak was a well-known Thai Buddhist monk and the abbot of Wat Huay Jorakhae temple in Nakhon Pathom, Thailand. He was well-known for his spiritual teachings and wisdom, as well as his ability to craft powerful amulets. His reputation as a powerful spiritual leader, combined with his ability to craft powerful amulets, ensures that his legacy lives on, and his amulets are highly sought after. He died in 1959, but his teachings and amulets are still revered and respected by many Thais and people all over the world.
Many people in Thailand and around the world believe that the Pra Pid Ta amulet of Luang Phu Nak is particularly powerful for Kong Grapan/Klaew Klaad Protection Magic, due to the reputation his Pid Ta developed over the years as many stories of lifesaving miracles were recounted by devotees who wore the Pid Ta of Luang Phu Nak. Luang Phu Nak was known for his deeply spiritual teachings, and his ability to create very powerful amulets, and many people believe that his amulets possess his spiritual mind energy even after his passing. The Pra Pid Ta amulet of Luang Phu Nak is also highly sought after by collectors and those interested in Thai Buddhism and culture. Many people consider it a valuable possession and it is often passed down from generation to generation as a family heirloom amulet.
The Pra Pid Ta amulet of Luang Phu Nak is a highly revered and powerful amulet created by the late Thai monk Luang Phor Nak of Wat Huay Jorakhae temple in Nakhon Pathom, Thailand. It is believed to bring blessings of protection, good luck, and wealth to the wearer, and is highly sought after by collectors and those interested in Thai Buddhism and culture. The reputation of Luang Phu Nak as a powerful spiritual leader, and his ability to create powerful amulets, makes this amulet particularly valuable and powerful.
LP Nak, was a Thai Buddhist monk who lived in the 19th- 20th century. He was the abbot of Wat Huay Jorakhae temple in Nakhon Pathom, Thailand. He was born in 2358 BE (1884) and passed away in 2452 BE (1972). LP Nak was known for his great compassion and spiritual wisdom, and was a great giver of spiritual teachings, as well as his skill in creating powerful amulets. He was highly respected by the local community and by other monks in Thailand. He was also known for his generosity and mercy, and his dedication to helping others.
During his tenure as abbot, he worked to strengthen the spiritual community at Wat Huay Jorakhae and to provide guidance and support to the local population. In addition to his work as an abbot, LP Nak was known for his skill in creating powerful amulets. He was able to create amulets using various materials, including clay, metal, and even human bone. His amulets were believed to possess spiritual power and provide protection to the wearer. They were often inscribed with sacred texts or mantras, and were highly sought after by the local population and by collectors. LP Nak’s amulets are very highly valued in the present day, and many people in Thailand and around the world believe that they possess spiritual power. His amulets are often passed down from generation to generation as a family heirloom, and are considered a valuable possession.
LP Nak may have passed away long ago, but his legacy continues to be felt in Thailand and around the world. He is remembered as a wise and compassionate spiritual leader, and his amulets are still highly sought after by aficionados, faithful devotees, collectors, and those interested in Thai Buddhism and Thai culture. To this very day, the lineage of abbots of Wat Huay Jorakhae still make and release Pra Pid Ta amulets of the Wicha passed down to them through a constant succession in the magical lineage of LP Nak.
The Pra Pid Ta amulet of Luang Phu Nak, is believed to be particularly powerful because it is believed to possess the magical energy of the monk who created it. As LP Nak is considered a highly respected and powerful spiritual leader, it is believed that his Pid Ta amulets will always possess his spiritual energy even after his passing, without ever fading. Thew Pid Ta Maekasit amulet, is considered the most famous and powerful amulet created by LP Nak.
Background Info on Pra Pid Ta
Since very early times in Thailand, Pra Pid Ta amulets, as well as Pra Pid Ta in the shape of Pha Yant and Bucha sculptures, have been made as objects of adoration and protection. Using the Buddhist sculpture and art that was accessible at the time, the artisans of that era developed a variety of styles and interpretations. Various Buddhas, Bodhisattvas, or Deities are fashioned into the posture of Pra Pid ta, or Pid Tawarn (meaning “closing the orifices”), to create the Pid ta posture (‘Pid Ta’ means “covering the eyes”). Pid Tawarn can seal 7, or 9 orifices (the number 7 is referred to as Pra Pid Sadtatawarn, while the number 9 is known as Pra Pid Navatawarn). The Pra Pid Ta amulet, also known as “the closed-eye Buddha,” is believed to bring blessings of protection, good luck, and wealth to the wearer.
The Pra Pid Ta amulet, represents a meditating monk entering into the state of Nirodha. Nirodha is the third of the Buddha’s Four Noble Truths and it refers to the attainment of the cessation of suffering. In Buddhist teachings, Nirodha is understood as the state of being where all mental defilements, such as ignorance, greed, and hatred, have been completely eliminated. This state is reached through the practice of meditation and the cultivation of wisdom, and it is considered the ultimate goal of Buddhism.
The third of the four noble truths, according to Buddhist tradition is defined as Nirodha Sacca (also spelt Nirodha Sacca in Pali; Nirodha Satya in Sanskrit). Sacca denotes “truth” or “reality,” whereas Nirodha means cessation or extinction. Therefore, the translation of nirodha sacca is generally “truth of cessation” or “truth of the cessation of suffering.” It explicitly refers to the cessation of Dukkha (suffering) and its causes; the resultant experience is defined as nirvana. Nirodha can indicate a variety of things, such as release, cessation, extinction, the end of dukkha, and “control or restraint.” The cessation of all unsatisfactory experiences and their causes in a way that prevents them from occurring again is what Nirodha Sacca means. It is their elimination, complete absence, cessation, and ceasing from existing.
The Pra Pid Ta image, is that of a meditating Buddha entering Nirodha, is representative of the amulet’s ability to bring peace, and block out all forms of inauspicious events and bad luck. It is believed that by wearing the Pra Pid Ta amulet, the wearer will be protected against all dangers and black magic. The amulet is believed to have the power to block out negative energy, and to protect the wearer from harm. The Pra Pid Ta Maekasit alchemical metal Norodha Buddha amulet, is a most famous amulet for self protection, with Kong Grapan Chadtri, Klaew Klaad, Metta, Maha Pokasap, and Maha Lap Magic.
Namo Puttassa Kawambadtissa Namo Tammassa Kawambadtissa Namo Sangkassa Kawambadtissa Sukha Sukha Warang Na Mo Puttaaya Ma A U Tugkhang Anijjang Anatta Jewa
The Pra Pid Ta is one of the Great All Time Classics of Thai Amulets. Signifying the Buddha Entering Nirodha, this douses out all Sufferings. Some Pidta are for Maha Lap (Riches and Luck) and some are to remove debt (Plod Nee) and some are for Protection (Kong Grapan/Klaew Klaad, Maha Ud). Some people believe the Pid ta to be e bringer of 'Blind Luck' and Gambling Fortunes.
A rare small version of the immortal Look Om Jinda Manee Montr, in Nuea Chompoo Pink Tone, of Pra Palad Parn, of Wat Tukata, (Nakorn Pathom). This exhibit is made in Luang Por Pra Palad Parn’s World Famous Jinda Manee Powders, in small Pim Lek size (Circa 1.2 cm), in perfect condition, and a very fine exhibit of this Great Master.
Pra Palad Parn, was an Adept at Muan Sarn Sacred Powders and the Wicha JInda Maha Mani Montr.He was also Kroo Ba Ajarn of such World Famous Top Masters as the Great Luang Phu Bun of Wat Klang Bang Gaew.
The Look Om of Pra Palad Parn, is considered by many to be among the Top 5 Look Om of all time, undisputedly by most aficionados. However, we must add, that for us, the ‘top 5, top 10’ are human opinionated concepts, and are matter of opinion and general trending thought more than a measure of magical power.
Hence, one may see different publications name different top master amulets Pra Palad Parn was the Kroo Ba Ajarn of the Great Luang Phu Bun of Wat Klang Bang Gaew, who received and perpetuated the famous Wicha Jinda Manee Montr, which he received from Pra Palad Parn, and passe down the lineage further at Wat Klang Bang Gaew to give to Luang Por Perm, Ajarn Bai, Luang Phu Juea, and Luang Por Kong (Sanya) thoughout the ages.
Pra Palad Parn was a Master of the Wicha Jinda Manee Montr, and known for his power of Metta Maha Niyom, and was reputedly able to call crows and vultures to land on his arm and stroke their heads, as well as being able to call the fish up to the surface of the water in the Kong Bang Gaew river. He would call the animals and fish, to appear during the Kathina robe offering ceremony, which Thai Buddhists perform every year, to donate robes to the Monks.
The Look Om of Pra Palad Parn, are considered one of the top 5 Look Om of all time, along with the Look Om Yant Grao Patch of Luang Por Parn (Wat Bang Nom Kho), Look Om Maha Gan of Luang Por Kong (Wat Bang Gaporm), Look Om Jet Paya Chang Sarn of Luang Por Ding (Wat Bang Wua), and the Look Om of Luang Por Pring (Wat Bang Bakork). One of the most difficult Look Om amulets of all to find in the present day.
Below; A study and synopsis, of the Look Om Muan Sarn Sacred Powder Ball amulets of Pra Palad Parn, of Wat Tukata, in Nakorn Pathom, with Information about both Pra Palad Parn, and authentication factors of the Look Om, Narrated by Ajarn Spencer Littlewood.
Sacred Hmak Tui Mad Chueak, cord bound lacquered Blessed Areca Nut, from the Great Luang Phu Iam, of Wat Hnang. The Hmak Tui Sacred Areca Nut amulet is one of the top World Famous Classic Pra Niyom Master Class Ancient Amulets from the Great Luang Phu Iam Suwannasarō (2375 – 2469 BE), of Wat Hnang (and Wat Ko Non). Estimated Mid Era Circa 2450 BE
Free Registered Air Parcel Shipping Worldwide is Included with this Amulet. The Hmak Tui is further eghanced in traditional fashion, with magical spellbound ritual cord wrap, with herbal laquer coating. This Hmak Tui is a very rare, but well documented model, which stands out for its classic and easy to recognize ageing characteristics, style of cord wrap, appearance of the lacquer, and of course, the emanation of the magical vibratyory energies imbued within the sacred areca nut amulet, by Luang Phu Iam.
Released in the Era that Luang Phu Iam was already abbot of Wat Hnang, in the decade between 2445 and 2450 BE. The amulet has been coated in Rak Dam Black Herbal lacquer, which was a common practice in Olden days, to preserve amulets and give them a long life. The Sacred Rak Boran ancient lacquer has gathered immense character in its surface appearance over the years, showing the natural aging characteristics, as is expected in that of an authentic Pra Niyom Class Ancient Amulet.
The Hmak Tui is estimated to have been made around 2440 – 2450 BE. Luang Phu Iam made amulets from an early stage, ever since the times he was still following his Mentor Luang Phu Rod, at Wat Ko Non. He began to make amulets long before his famous first edition Pra Pid Ta Yant Yung and Pra Pid Ta Pid Tawarn, which were released at Wat Hnang around 2440 – 2443 BE.
His famous and incredibly expensive Pra Pid Ta Yant Yung/Pid Tawarn were made from metallic alchemical metals, after Luang Phu Iam had moved there as abbot, and were made one by one, in the same method as Pra Pid Ta Wat Tong of Luang Por Tap (No.1 Pra Pid Ta Amulet of all Time).
Luang Phu Iam was a World Famous Master Monk of the previous Century, and maker of the Number 2 Amulet of the Top 5 ‘Benjapakee’ of Pra Pid Ta of all Thai Buddhist History, the Pra Pid Ta. His most famed of all were the Pra Pid Ta Yant Yung and Pra Pid Tawarn amulet.
Luang Phu Iam also made a large variety of other amulets, such as his famous hand carved Pra Pid Ta, many of them being originals from different artisans who hand carved them from various sacred woods, ivory, and other materials.
Luang Phu Iam is the No.2 Master of all History, renowned for Pra Pid Ta Amulets, and his Rare and Powerful First Edition 2467 BE Monk Coin, which fetches extremely high prices in auctions (Circa 100 Thousand Dollars).
Pra Pāwanā Gosol Thēra (Luang Phu Iam Suwannasārõ)
Luang Phu Iam was a born on Friday the 7th October 2375 BE. Luang Phu Iam was born a Citizen of Bang Khun Tian, whose household lived on the banks of the Klong Bang Hwa Canal, behind the temple of Wat Hnang. Luang Phu Iam was born during the reign of His Majesty Prabat Somdej Pra Nang Glao Jao Yuu Hua King Rama 3.
Luang Phu Iam was given the birthname of ‘Iam’ and his surname was ‘Tong U’. The devotees of Wat Hnang temple did not call him Luang Phu Iam, rather, preferred to call him ‘Luang Por Phu Tao’. People in General, and the collectors of the amulet appreciation societies like to refer to Luang Phu Iam as ‘Luang Por Wat Hnang’. His father and mother’s names were Mr. Tong, and Mrs. U, with the surname ‘Tong U’.
Luang Phu Iam’s family were market gardners, and were relatively prosperous. At the age of 9 years old, Luang Phu Iam was taken to the temple of Wat Hnang, to learn to read and write, and practice Khom Agkhara, under the tutelage of his first mentor, Luang Phu Rod, then Vice Abbot of Wat Hnang.
In the year 2387 BE, Luang Phu Rod then began to teach him Wicha Akom Buddha Magic and also to teach him in the Pali Sanskrit scripts, and the Khom Agkhara used for Magical Inscriptions. At the age of 11, in the year 2386 BE, Luang Phu Iam also went to study Pali Sanskrit with Pra Maha Yim at Wat Bovornives Voraviharn.
After he finished his studies with Pra Maha Yim, Luang Phu Rod then went to practice under the tutelage of Pra Pidok Gosol (Luang Por Chim), at Wat Liab. Thereafter, he returned to Wat Hnang, and ordained as a Samanera Novice Monk, and studied the Dhamma in his original place of learning at Wat Hnang. Luang Phu spent many years focused on study and practice, for about one decade, until the year 2394 BE.
Luang Phu was now coming of age where he should ordain from Samanera to become full status of an adult Bhikkhu, and had to go to the Royal Sanam Luang to take his Pali Sanskrit exams, which were at that time, done orally, answering in front of the teacher without any written questions to answer. Luang Phu did not pass the test. Because of failing his Pali exam, Luang Phu decided to disrobe and go to help his parents and relatives at home.
But Luang Phu only managed to remain a layman for three years, and his true calling became evident, and Luang Phu returned in the year 2397 BE to Re-Ordain as a Bhikkhu in the Buddha Sasanā at Wat Jom Tong, at the age of 22 years old.
Luang Por Gerd was his Upachaya Ordaining Officer, and gave Luang Phu Iam the Ordained Name of ‘Suwannasaro’. His Pra Gammawājājārn was Pra Tamma Chedi (Luang Por Jeen), with Pra Pawanā Gosol Thēra (Luang Phu Rod) as his Prompting Officer.
Once he had Re-Ordained again, Luang Phu Tao (Luang Phu Iam) went to stay at Wat Nang Nong, which was across the other side of the path to Wat Nang Nong. Here he continued his written studies of the Dhamma and Sorcery Grimoires, and Mastery of various Wicha, in the Samnak of Luang Por Jeen, with supplementary tuition from Pra Sangworn Wimol (Luang Por Hmen).
This time Luang Phu Iam went to finish his exams once more at Sanam Luang, and passed with flying colours. The ordained professor of Pali who was examining him, then said he had given very good translations, and invited Luang Phu Iam to come and practice at the same Samnak.
Luang Phu Iam however, refused, and continued with his usual trajectory. He then focused deeper on his practice of Vipassana Mindfulness Practice, and Puttakom (Buddha Magic) with Luang Phu Rod (who was now abbot of Wat Nang Nong).
Some time after the passing of his Mentor Luang Phu Rod, in the year 2441 BE, Luang Phu Iam was called upon by his Majesty King Prabat Somdej Pra Julajom Glao Jao Yu Hua (Rama 5), to become the abbot of Wat Hnang, and perform the duty of its maintenance and further development.
Luang Phu Iam proved to be a Great Abbot, and diligently restored and developed the temple and its facilities. Luang Phu Iam was a highly favoured Monk of His Majesty King Rama 5, and was more often than not always requested to attend the most important Blessing Ceremonies, and Buddhist Rituals of the Royal Palace. His name ‘Pra Pawana Gosol’ was bestowed upon him by his Majesty the King, at the time he was given the charge of Wat Hnang temple.
Luang Phu Iam then spent 27 Years working selflessly for the temple and devotees of Wat Hnang, for another 27 years, until his passing on the 26th April 2469 BE, at the age of 94.
LP Iam’s Pra Pid Ta Yant Yung metallic amulet, is equally highly regarded as top five, and revered for its Klaew Klaad Kong Grapan Chadtri Maha Ud power, and seen as the equal to the famous Pra Pid Ta Rae Bang Phai, and the Pra Pid Ta Wat Tong, and the Pra Pid Ta Pim Tapap of Wat Sapan Sung.
It can be seen from historical documentation, that Luang Phu Iam followed the footsteps of of Luang Phu Rod, in the same way that Somdej Pra Puttajarn (Dto) Prohmrangsri of Wat Rakang Kositaram had followed in the footsteps of his Mentor Pra Sangkarach (Sukh Gai Thuean). Luang Phu Iam hense masters the various Wicha with his diligence and unquestioning service to Luang Phu Rod as his Mentor.
This comparison is also extendible to the amulets of both Masters, just as Somdej Pra Puttajarn (Dto) Prohmrangsri learned the Wicha Pra Somdej from Somdej Pra Sangkarach Sukh (maker of the Pra Somdej Arahang Benjapakee Amulet), so, in turn, did Luang Phu Iam make powerful Pra Pid Ta and Pra Pid Tawarn amulets, in the same Dtamra (formula) of his Mentor Luang Phu Rod.
The third Comparison between the two Monks, reveals that both Somdej Pra Puttajarn (Dto) Prohmrangsri and Luang Phu Iam managed to attain the same fame and reverence as their Mentors, and their amulets became equally reputed for their magical power.
Luang Phu Iam created the same style of imagery as Luang Phu Rod for both kinds of Pid Ta amulets, his Bia Gae, Look Om, and Hmak Tui, and his Wicha is so equal in power to that of Luang Phu Rod, that one will often seen devotees collecting the amulets of both masters with equal fervency. It is not uncommon to see a high-end collector wearing a Luang Phu Iam amulet alongside one from Luang Phu Rod on the same necklace.
A Truly Ancient Septa-Centenarian Pra Kru Amulet (over 700 years old in origin), the Pra Pong Supan Pim Hnaa Gae, in Nuea Din, with certificate of authenticity, this exhibit is in a dark colored sacred baked earthen clay. An all time ‘top 5’ classic amulet of the Benjapakee Family. A Master-Class status amulet of the High End Category of Pra Kru Hiding Place Ancient Amulets. The Pra Pong Supan amulet is known for its powerful Puttakun Metta Maha Niyom Merciful Blessings and Kong Grapan Klaew Klaad Protective Power.
This amulet comes with A4 size certificate of authenticity included. The Pra Pong Supan Kru Wat Pra Sri Mahatat is the Number One Amulet of all Time for the Province of Supanburi, and an eminent member of the top 5 Benjapakee Amulets of Historical Fame and Legend. The Pra Pong Supan of the highest preference is the Pra Pong Supan Nuea Din Phao baked clay amulet, made from sacred earths of the Supanburi Province, which were mixed with sacred magical herbal powders and bound into clay with holy water.
The amulets are seen to have been baked for a long time slowly, until the clay became hard, but smooth and dense like marble, which is a texture that modern ‘Nak Niyom Pra’ amulet aficionados call ‘Nuea Neuk Num Seung Jad’, which means ‘soft and smooth to the touch with highly refined features’.
There were also a very small amount (one potful) of leaden Pong Supan amulets found, which were found residing on the upper section of one pot, and are known as the Pong Supan Yord Tho, and are the rarest and most sought after of all Pra Pong Supan of the Kru Wat Pra Sri Mahatat.
Below : The extremely rare leaden version Pra Pong Supan Yord Tho Amulet, of which only very few were ever found
We shall be covering the documentation of the Pim Yord Tho in a different article on the pages of our website.
The method of baking the amulets resulted in a very hard and resilient amulet that does not break easily, which has contributed to its preservation over many centuries. The features of the Pra bordered edges and outer frame of the various models (Pim) of the Pra Pong Supan Amulet are highly varied, and cannot be said to fit any rigid form.
Some have four or five sided edges, some are completely cut to shape, some have wider edges, and others thinner edges, some are even others uneven. Some may be tapered, whereas others have the tapered top cut off flat.
The Pim is notable for its beautiful color tone to the surface of the Muan Sarn Sacred clay, accumulated over centuries,. This exhibit displays the presence of a very rich Muan Sarn admixture, and the surface sheen and detailed relief of the Buddha Image, combine to render an outstanding example of a Master-Class Pra Pong Supan amulet. The ears are elongated, with anomalous forms (‘Dtamni’), that reveal the authenticity of the amulet, through the inimitable idiosyncrasies of the block press, which are ever present despite the individuality of each amulet.
One thing most Pra Pong Supan have in common is that most often one finds the presence of thumb or fingerprint line markings, or thumb indents on the rear face. Another classic and essential feature of the Pra Pong Supan Wat Pra Sri Ratana Mahatat is that due to being buried under the earth for centuries, the Kraap Kru earth residues which are seen stuck to the surface of the amulets within the deeper recesses such as the armpits and ridges between finer detailed features.
Below : Encyclopaedic work documenting the ancient find of the Kru Wat Pra Sri Ratana Mahatat amulets
These residues are completely affixed and one and the same with the clay, and cannot be removed by simply scratching it off with a fingernail.
The Pra Pong Supan is a perfect choice of Amulet for Ladies or Children, but is also a very preferred and popular amulet for Males to wear. We have before us a Sacred Amulet whose Religious Value is of course that of a True sacred Amulet from the Master Class Category.
The Pra Pong Supan amulet is an image of the Buddha seated in the Mara Wichai posture of conquering the Demon Mara in the style of the U-Tong Periodic Era. The Buddha Image is seated on a single tiered dais, with a large head, graceful arms and protruding chest. There are various Pim (Models) of Pra Pong Supan, ranging from the Pim Hnaa Gae, Hnaa Num, Hnaa Klang, and other lesser known forms. Some very rare versions in black Nuea Bailan Powders are also found, but only very rarely
The Pim Hnaa Gae (old face) has one single type of face model but still has many different appearances, because of the various stages of heat during the baking process, which caused some amulets to experience shrinkage or curvature, or other anomalous reshaping during the process. Some may even have similar triangular appearance to the Pra Nang Paya, another Benjapakee amulet of Immortal fame. Various other amulets were also found including the Pra Mahesworn, Pra Ta Maprang, Pra Patum Mas, Pra Pim Lila (many versions), Pra Nakprok (small and large), and the Pra Sum Rakang.
The Pra Pong Supan and Benjapakee Class Amulets are truly world class amulets that receives the esteem and faithful reverence of all Thai Buddhist People of all social strata, and which is considered part of the Cultural and Historical heritage of the History of Siam.
They are amongst the most difficult of all amulets to find at any price, and are mostly already worn since generations by the same family members as handed down family heirlooms of their ancestors. The rest lie in the hands of the lucky, and of course the high end collector showrooms of Thailand’s Amulet Societies and Non Profit heritage Associations, as well as the museums of the state and of major temples.
Above; Macro Closeup of the Sacred Clay and the Kraap Kru earthen substance affixed to the muan sarn from centuries of burial within the hiding chamber. It is said that in the year 1265 BE, the Ruesi Hermit Pilalai decided to make a series of powerful amulets with truly effective powers. At that time the ruler of the Kingdom Pra Sri Tanmasokea Racha was a faithful devotee to the four great Ruesi Sages, who brought a large collection of magical herbs, minerals and summoned the angelic beings of the celestial realms to assist with the empowerment ceremony on the immaterial planes.
The great Pra Maha Thera Bpiya Dtassasisri Saributra was present to preside over the blessing ceremony, and assist with empowerment and the hand molding and pressing of the Pra Pong Supan. The muan sarn sacred clay was given the name of ‘Nuea Rae Sangkwanorn’.
Below : An example of a Pra Pong Supan amulet that has been treated with red Chinese Lacquer by a devotee
The great Pra Maha Thera Bpiya Dtassasisri Saributra was present to assist with empowerment and the hand molding and pressing of the Pra Pong Supan. The amulets were blessed during three whole months of rainy retreat (Traimas Blessing) as was traditional in ancient times and is still the practice to this very day. Once the Traimas empowerment was completed, the amulets were buried within the Chedi Stupas of Supanburi
The rediscovery of the Kru
In the year 2456 BE, a Tudong Monk was passing through and asked for the whereabouts of the temple of Wat Pra Sri Radtana Maha Tat. He asked a young boy named Pin, who pointed him in the right direction. The boy Pin heard later that this Forest Wanderer monk had hired some Chiinese-Thai devotees to dig up some holes in the temple, and that a horde of treasures were found along with a large repository of hiding place amulets (Pra Kru).
The Monk himself found a solid golden bowl which he took for preservation, but left all the rest of the contents of the Kkru within the Chedi. However, many of the Chinese devotees who were working on the opening of the Kru did take a large number of amulets rainging from the Pra Pong Supan to the Pra Gampeng Sork.
Once the authorities and Sangha Office heard of this, they ordered the Chedi Stupa to be hermetically sealed to prevent further theft of National heritage treasures.
Later the same year Praya Suntorn Buri (Also knownn as ‘Ee Gan Suudt’), who was the Minister of the Province of Supanburi invited his Majesty Pra Mongkut Glao Jao Yuu Hua to come and open the Kru Chamber. Once the chamber was opened, many ingots of solid gold and silver with Khom Agkhara inscriptions were found, and a large repository of amulets. The King was given a large number of the Pra Pong Supan and other amulets to his Majesty.
In olden days when the Pra Pong Supan was still very common and easy to find, many of the bullfighting arena players would like to grind up broken Pong Supan amulets and mix the powders into the hay they would give their fighting bulls to eat. This was seen to make the bull who ate hay with Pra Pong Supan powders fight more fiercely, evade the horns of its opponent and be impenetrable when taking a hit.
A very hardly known but ancient traditional way to Bucha Pra Pong Supan Amulets, is to immerse the amulet in perfume and chant Puttakun Tammakun Sangkakun 108 Times, then chant the Kata Pahung 3 times. The perfume can then be used to smear on oneself for Mercy Charm and Protection. If one wishes to empower further, one can chant the following Kata;
Ka Dtae Lig Gae Garanang Mahaa Chayyang Mangkalang Na Ma Pa Ta Gi Ri Mi Dt Gu Ru Mu Tu Gae Rae Mae Tae Ga Ra Ma Ta
'Pra Kru', or, 'Pra Gru' or even sometimes called 'Pra Kroo, are various kinds of amulets, made from various materials (lead, clay, sacred powder), which are buried, or stashed in a hiding place to gather power, and also in the case of Buddha Images or Buddhist Imagery, to preserve the faith and the knowledge of the existence of a Buddha, far into the Future. The hiding place, can be one of a number of different places, for example a Chedi Stupa, or with the 'Look Nimit' Arahant ball buried under the Uposadha, or under the Dais of the Buddha in the Uposadha, or under the earth in a Sacred place.
Kanha Jali Loi Ongk Sattuette,’Pim Hua Gleung Niyom’ (preferred pointed head model), in smaller Pim Lek version, released 2491 BE with Blessings by Luang Por Chaeng, Luang Por Jong, Luang Por Chuan, and Luang Por Phueak, of Wat Molee. The Kanha-Jali amulet (Ganha-Chali), is in the form of Prince Jali and Princess Kanha as children, embracing each other shoulder to shoulder.
The image radiates the potent energy of Metta Maha Niyom Mercy Charm. Kanha and Jali were born to the Royal Prince Vessantara (a previous life of the Buddha), and their story, is to reveal the profound generosity and sacrifices made by the Buddha, on the path to enlightenment.This amulet, is usually catalogued within the pantheon of amulets of LP Chaeng, despite the collaborative ceremony.
The story of Prince Vessantara’s last incarnation plays a significant role in the Wicha for this amulet, Thai Buddhism. In this tale, Jali and Kanha, were the son and daughter of Prince Vessantara and Queen Maddi. Eventually, the generous Prince Vessantara gives away his children to the Brahmin Jujaka as part of his ultimate act of generosity before attaining Buddhahood.
In the tale of Vessantara, part of Buddhism’s revered Jataka stories, Kanha and Jali play a central role in their father’s pursuit of Dhāna Paramī—the tenth and culminating perfection required for attaining Buddhahood. Their father faced the challenging decision of giving away his own family to the greedy Beggar Jujaka, (‘Choo Chok‘ in Thai). Jujaka, a Brahmin from a distant village, heard tales of Prince Vessantara’s unparalleled generosity and selflessness.
Jataka tales are especially important in Theravada Buddhism, more than other traditions.
Intrigued by these stories, he set off to find the prince and test the limits of his benevolence. As Jujaka arrived at the secluded wilderness where Vessantara resided with his wife Maddi and their two children, Jali and Kanha, he marveled at the austere surroundings. Approaching Vessantara with humility, Jujaka revealed his desire, “O benevolent prince, I have traveled far seeking a gift from someone as virtuous as you. Grant me the extraordinary boon of receiving your children, Jali and Kanha, into my care.” The words hung in the air, creating an undeniable tension.
Vessantara, torn between his commitment to unconditional giving and the natural instincts of a father, hesitated. Maddi, sensing the internal struggle, clutched their children protectively. The surrounding forest seemed to hold its breath as Vessantara grappled with the monumental decision.Finally, after a heavy pause, Vessantara spoke with a heavy heart, “Brahmin, I am bound by my principles of generosity.
Prince Vessantara gives away the State Elephant to the Brahmans
If this is your earnest request, I shall fulfill it, though it pains me deeply.” The weight of his words echoed through the wilderness. As Jujaka took custody of Jali and Kanha, the atmosphere shifted from serenity to sorrow. Maddi, with tearful eyes, whispered words of reassurance to her children.
Vessantara, suppressing his emotional turmoil, maintained composure, realizing that this act of unparalleled sacrifice was a crucial step on his path toward enlightenment. Jujaka, with the children in tow, disappeared into the depths of the forest, leaving behind a somber silence. The echoes of Vessantara’s sacrifice lingered, setting the stage for the unfolding of a profound narrative on the virtues of selfless giving and the spiritual journey toward Buddhahood.
As Kanha and Jali questioned their father’s choice, Prince Vessantara explained the profound purpose behind this act of supreme generosity. Giving away one’s own family represented the final and most challenging step in achieving the perfection of Dhāna Paramī. Kanha and Jali, understanding the greater purpose, willingly accepted their fate as slaves to Jujaka, supporting their father in completing this ultimate act of selflessness.
The Kanha Jali Loi Ongk Statuette, infused with Metta Maha Niyom, stands as a powerful reminder of the unwavering spirit of generosity and compassion that defined Prince Vessantara’s journey towards enlightenment.
This sacred amulet, mostly attributed within the pantheon of amulets of Luang Por Chaeng, was actually blessed by various Great Monks in unison. Originally commissioned by Pra Luang Por Kloy, the abbot of Wat Bang Kra Nok, Nonthaburi Province.
The first model was released in the year 2491 BE. During the consecration ceremony, Pra Kloy, along with other respected monks, invoked blessings, making it a powerful and sought-after amulet. The Kanha Jali is renowned for its remarkable efficacy, believed to bring prosperity, charm, and success to its bearer. The amulet is imbued with a Magical Kata Spell which contains the sacred chant: Chaalee Ganhaa Maa Laew Hrueyang Sangkadtang Lokawituu. This Kata is to invoke blessings and communication between the amulet and its wearer, and should be used when performing Bucha or asking for blessings, and daily to empower the amulet before wearing.
Devotees who have experienced success often choose to encase the amulet in gold. It is believed that successful ventures and accomplishments are likely when this practice is followed. This statuette is not only a treasured amulet with historical and religious significance, but also a symbol of compassion, generosity, and the pursuit of enlightenment in the story of Prince Vessantara.
Here is a Basic Breakdown of the Thai Jataka Tale;
1. Prince Vessantara, known for his extreme generosity, gives away everything he owns, including a magical white elephant that brings rain.
2. The kingdom suffers without the elephant, and Vessantara is banished with his wife, Maddi, and their children, Kanha (daughter) and Jali (son).
3. A cunning beggar named Jujaka demands Vessantara’s children as slaves.Despite the pain, Vessantara, determined to practice perfect generosity, gives his children away. The children are eventually rescued by the king, Vessantara’s father, who recognizes them.
4. The story emphasizes the importance of generosity in Buddhism, even if it comes at a great personal cost.
5. There are many variations of the tale depending on the region. In Thailand, for instance, the story of Vessantara is a popular festival (Jataka tales are especially important in Theravada Buddhism).
6. Prince Vessantara, known for his extreme generosity, gives away everything he owns, including a magical white elephant that brings rain.
7. The kingdom suffers without the elephant, and Vessantara is banished with his wife, Maddi, and their children, Kanha (daughter) and Jali (son).
8. A cunning beggar named Jujaka demands Vessantara’s children as slaves. Despite the pain, Vessantara, determined to practice perfect generosity, gives his children away. The children are eventually rescued by the king, Vessantara’s father, who recognizes them. The story emphasizes the importance of generosity in Buddhism, even if it comes at a great personal cost. There are many variations of the tale depending on the region. In Thailand, for instance, the story of Vessantara is a popular festival.
The Vessantara Jataka, considered one of the most significant stories in Thai Buddhist literature, narrates the final and tenth life of Prince Vessantara before his incarnation as Siddhartha Gautama, who would later become the Buddha. The tale emphasizes the perfection of generosity and self-sacrifice. Here is a summary:
Key Events:
Vessantara’s Generosity: Prince Vessantara was known for his extreme generosity, which led him to give away anything asked of him. His charitable acts gained immense popularity and admiration.
The Gift of White Elephant: Vessantara’s father, King Sanjaya, became concerned about the prince’s habit of giving away possessions. To prevent potential issues, Vessantara gave away a magical white elephant meant for royal rain ceremonies. This act angered the people, leading to his exile.
Life in the Wilderness: Vessantara, along with his wife Maddi and their two children, Jali and Kanha, lived in the wilderness, where he continued to practice generosity. However, circumstances led to their separation.
Jujaka’s Request: The family encountered a Brahmin named Jujaka, who, learning about Vessantara’s generosity, approached him requesting the gift of his children. Vessantara, upholding his commitment to give anything asked, reluctantly agreed.
Suffering and Return: The children, Jali and Kanha, were taken by Jujaka, leading to immense suffering for the family. Eventually, the hardships and divine intervention revealed Vessantara’s true identity. The family was reunited, and Vessantara returned to his kingdom.
Moral of the Story: The Vessantara Jataka illustrates the perfection of generosity (Dāna) as an essential quality on the path to enlightenment. Vessantara’s unwavering commitment to giving, even at the cost of personal sacrifice and the well-being of his family, underscores the selfless nature of true generosity. The tale teaches that the journey towards Buddhahood involves overcoming attachments, practicing unconditional giving, and embodying compassion for all beings. The moral encourages individuals to cultivate the virtue of generosity as a means to attain spiritual enlightenment and benefit others.
Luang Por Chaeng, Silapanya, born on December 18, 2428 BE, was ordained as a Samanera Novice Monk at 12 and became a fully ordained Bhikkhu Monk at 20. A notable figure in Thai history, he served as the second abbot of Wat Bang Pang in Nontaburi, Bangkok, succeeding Luang Por Pra Atigarn Jaroen. Renowned as a Pra Gaeji Ajarn Master Monk during the Second World War, Luang Por Chaeng was a highly respected exponent of Vipassana Kammathana practice, attracting devotees nationwide. His expertise extended to empowering amulets, making him a sought-after participant in significant Buddha Abhiseka ceremonies, including those for the Thai Military’s magical protective items. In the era of the second world and Indo-China wars, Luang Por Chaeng, along with other revered monks, stood out for their magical prowess. Notable among them were Luang Por Jong of Wat Na Tang Nork, Luang Por Jad of Wat Bang Grabao, and Luang Por Opasi.
During the Indochina War, a ceremony was conducted to empower protective items for the Thai Military, including Pha Prajiad Sipsee Pan Tong by Luang Por Chaeng. The consecrated items, worn by soldiers, became legendary for rendering them impervious to bullets, earning the Thai Military the moniker ‘Taharn Phi’ (Ghost Soldiers) by the French Military. Luang Por Chaeng inherited Wicha from esteemed Kroo Ba Ajarn, such as Luang Por Parn of Wat Bang Nom Kho, Ph Khai of Wat Cherng Lane, Luang Phu Chay of Wat Panan Cherng, Pra Kanajarn Say (Luang Por Say), Luang Phu Sukh of Wat Pak Klong Makham Tao, and Luang Por Jong of Wat Na Tang Nork. Devotees sought Luang Por Chaeng for blessings, amulets, and healing. He welcomed all requests and, for those aspiring to learn his Wicha, emphasized moral development and meditative skills before revealing the secrets of incantations.
With influence from Luang Por Parn, Luang Por Chaeng’s amulets, particularly the Buddha riding animal models, gained popularity. He crafted a variety of amulets, including Monk Coins, Pha Yant Tong Yantra Flags, Sai Sek blessed sandgrains, Pra Kring, Pra Chaiyawat Loi Ongk Statuettes, and Pra Sivali metallic Loi Ongk Statuettes.
In 2484 BE, Luang Por Chaeng released powerful amulets to protect devotees during wartime. These amulets became a world famous historic edition, and were distributed for free during a large ceremony attended by numerous devotees. Luang Por Chaeng passed away peacefully on July 26 (some say 22nd), 2500 BE, at the age of 72. His legacy endures through his teachings and the amulets he created, cherished by those seeking protection and blessings in Thai Buddhism.
A very ancient and beautifully carved Animist Charm in Sacred Ivory (highly Aged), of the Suea Morb Elephant-Lion, from the great ex Monk and Lay Master-Sorcerer, Ajarn Heng Praiwan
The Sacred Ivory shows its age through the crevices formed over time, and the agéd yellow patina which has evolved through many decades of contact with the skin. The Suea Morb is known for its power of Mercy Charm (attraction), and to evade Bad Karma and Deadly Accidents, as well as to be in constant readiness to pounce when opportunity for success knocks.
The Suea Morb in ancient ivory is an animist charm believed to be extremely powerful in its effect to attract the auspicious, and deflect the inauspicious. The Tiger is one of the most powerful creatures, and adept hunters on earth, and do not really have any predators above them in the food chain (except Humans!). Hence, the Lion and Tiger are seen as Kings of the Forest, and enjoy a life without having to fear too many dangers.
Free EMS / DHL / FedEx Express Shipping and the option of free solid silver Waterproof Casing is included with this item. An extremely rare to see, and exquisitely beautiful Ancient Ivory Carving, that is among the very rare amulets to encounter by Olden days Lay Master Ajarn Heng Praiwan. A Powerful and Highly Sought After amulet by high-end talismanic amulet, as well as an important historical and cultural religious artifact.
The Suea Morb, as all amulets of Ajarn Heng (due to his empowerment method), can not only protect from dangers, black magic and ill fate, but is also known to be a Wicha for invoking Great Mercy Charm (Metta Maha Niyom), to bring Great Preference to You above Others. The amulet is designed to Attract Helpfulness, Popularity and Success, Imbue power and influence (Serm Yos), Command over Others (Maha Amnaj) & clear the way of difficulties, whilst making all ventures successful.
An excellent choice for those increased ‘Dtaba Decha’ (Recieve Honors, Glory, Respect and Promotion, Dominion and influence), The Sacred Ivory shows its age through the crevices formed over time, and the agéd yellow patina which has evolved through many decades of contact with the skin. The Suea Morb differs from other Wicha Suea, in that, apart from increased Maha Amnaj, and Imposing Influence, protection and Invincibility, it is also known for immense power of Metta Mahaniyom.
If asking for assistance from the amulet, please do not be too greedy each time you pray to the amulet for things, rather set yourself reasonable goals. If you find the right balance, you will experience safe evasion from dangers and immunity to Black Magic, a constant rise in success and status, and standard of living. The Suea Morb can also use its Metta to assist in bringing Victory in Legal Battles, if you are in defense, or pleading of a Court Hearing, in order to receive merciful treatment.
This Hand carved amulet of Ajarn Heng Praiwan, was one of only two we could find over a long period of searching (4 years), and can be considered to be an eternal rarity, which is always sadly more in demand than available. We try to find them as fervently as possible, but even we end up losing the battle often. This is of course, due to the massive imbalance of availability, against demand, and the immense rarity, and small quantity of amulets made by this master.
Tigers, Lions, and other Big Cat type Himapant Animal Deities (such as the Suea Maha Amnaj, Paya Kochasri, Kilen, and Singha), especially when carved from Ivory, are naturally imbued with the Sorcerous Powers of Maha Amnaj (commanding power and influence), Serm Yos Status Increase for positions of command, Gae Aathan Anti Black Magic, and opportunities of promotion, and Metta Mahaniyom Mercy Charm, to lull your Subjects and Charm them into Obedience. Maha Pokasap treasure Accumulation and Cornucopia of Requisites is also Imbued. These powers are said to be present within the ivory itself, even without empowerment, and that people wore ivory in ancient times for this purpose, and over time, developed artistic designs to shape them into animals and other objects of reverence, Deities and the like, to add spiritual significance.
Below: an example of one of the various Roop Tai Kroo Ba Ajarn Ajarn Heng which were released during his Era
Ajarn Heng Praiwan was a great Lay Master and Adept Necromancer of olden days, of the Ayuttaya Province. Ajarn Heng was born in the year 2428 BE, and was ordained as a Buddhist Monk when he came of age, at Wat Suwan in Ayuttaya. During his ordained years, he studied many ancient magical Wicha of the grimoires of Wat Pradoo Rong Tam, which was a great library of ancient magical grimoires, perhaps the largest in the country. He became extremely able in the inscription of Khom Agkhara Sanskrit Spells, Kata Incantations, and Sacred Yant, and became very well known as a great Master of Sak Yant Thai Temple Tattoos.
Ajarn Heng Praiwan, studied the Wicha Grimoire of the Dtamra Radtana Mala, until attaining full Adept Mastery, after which he disrobed for a time, to help his parents. After which, he ordained again once more, at Wat Prayatigaram in Ayuttaya, with the Great LP Glan Tammachodti, Abbot of Wat Prayat, as his Upachaya Ordaining Monk. He spent a long period of time learning and mastering the full Dtamra of the Wicha of Luang Por Glan, after which he disrobed again, and became a lay-sorcerer until the end of his days, when he passed away at the age of 75, in the year 2502 BE.
It is said that Ajarn Heng’s father, was either a police officer, or a prison officer, and sent Ajarn Heng to Penang, and Singapore, to be educated. But Ajarn Heng did not finish his schooling, and left, because of his immense fascination and interest in the study of Saiyasart, & the Dtamra Saiyawaet Grimoires, of Thai Buddhist, Animist, and Necromantic Occult Practices. He even traveled to the South of Thailand to learn the most ancient Magical Practices of the Southern Khao or Sorcery Lineages.
After his time practicing and mastering the Southern Lineage Magical Practices, Ajarn Heng returned to his home Province of Ayuttaya, in Central Thailand. Ajarn Heng was now a Master of the Wicha of Luang Por Glan, and the Southern Wicha of Sorcery which dates back to the Sri Vichai Era of Siam. The Wicha Mastered in Entirety of Wat Pradoo, whgich Ajarn heng has undertook, came from the time when King Naresuan Maharach, ordered the Wicha Saiyasart Grimoire texts to be inscribed and stored at Wat Pradoo Roeng Tam.
The inscriptions were begin and finished between the years 2133 – 2148 BE. It was King Pra Mahesuan Maharach, who united the city Kingdoms of Siam and Unified the country into one Land, namely ‘Siam’, or ‘Thailand’, and made the city of Ayuttaya the first capital of the Kingdom (Later to be moved to Bangkok, for logistical and geo-political reasons).
Ajarn Heng began to serve the public and accept devotees, at first by only performing Sak Yant Tattoos, and became known as one of the Top Sak yant Masters in the Country of his Time. Another later Kroo Ba Ajarn and Friend in Dhamma, Luang Phu Si, of Wat Sakae in Ayuttaya (Temple of LP Doo), once told that during the time of King Rama the 3rd, during a time of military dispute, around the year 2475 BE, many regiments of Thai soldiers, of both high and lower standing went to Ajarn Heng for his protective Yant, due to the miraculous powers attributed to them, all one the same day. On this occasion, Ajarn Heng constructed the ritual place at Wat Hantra Temple. Ajarn Heng invited a host of powerful Monks with Psychic Powers to assist in the ceremony of Blessings.
In this occasion (around 2476 BE),Ajarn Heng had to work very hard to gather a large number of Master Monks to come and perform the Suad Nam Puttamont Chanting Ritual, and this was a very had task in those days in Ayuttaya, to travel around and fine enough top masters who knew the chanting of the Nam Pra Puttamont and the Putta Pisek (Buddha Abhiseka) ceremonie. He was assisted in this task, by the great Luang Phu See of Wat Sakae.
But on this occasion, Luang Phu Si could not attend as well, because he was busy with Dhamma Duties at Wat Liab. But, after this Ceremony, Ajarn Heng would always invite Luang Phu Si to attend all of his subsequent Blessing Ceremonies, and assist with empowerment.
Ajarn Heng was a relatively wealth person with two houses and land stakes, one in the countryside in Tung Hantra, and one in Bangkok. And so, he would have devotees seek him out in Bangkok and in Hantra, for Sak Yant Tattoos, and his powerful Takrut amulets. It became popular to get high class artisans to carve his amulets, as well as village people would carve animist charms from ivory, wood, and sometimes, necromantic Ban Neng skullbones, which are of course, along with his famous metallic, and inimitably designed Takrut Maha Jakkapat Metallic Scroll Spells, the most highly valued, rare, and sought after by devotees of the great anbcient Ayuttaya Lay Sorcerer. Finally, Ajarn Heng moved to stay in Suan Malee, until the Wars in Asia Broke Out, whereupon he left the Capital, and returned to his home Province of Ayuttaya.
During this time, there were many Gangsters and Highwaymen, and a lot of need for Sak Yant Tattoos for Kong Grapan Chadtri and Klaew Klaad protective Magic, and Ajarn Heng became a highly acclaimed master, renowned for his Yant Gao Yord (A Wicha Obtained from the Great LP Hrun). Ajarn Heng was able to receive additional Wicha from the famous temple of study of Sorcery, Wat Sam Jeen, as well as receiving Wicha from the great Luang Phu Tong, of Wat Rat Ayotaya, and Luang Phu Kam Wibun.
Ajarn Heng’s Kong Grapan magic was so famous, that it became popular for police and military to get his tattoos, but also that they did not like the fact that so many Gangsters had them too, and were impossible to shoot dead. His Takrut Jappapattirach was also both infamous, and those who wore one were feared to be invincible. There was once a time when Ajarn Heng was parked in a boat on the banks of the river at Wat Cherng Lane Temple, where the Police came, and had to forbid Ajarn Heng from tattooing more, because the area was overflowing with Gangs of Highwaymen, and his tattoos were making it impossible for the police to catch them.
Ajarn Heng was known to have been highly able himself with Buddhist Arts, and Carvings, in wood, ivory, bone, and skull Ban Neng, as well as being highly famed perhaps most of al, for his famous Takrut, and Carved Ban Neng. It is even said, that the Great Artist Kroo Hem Waechakorn said of Ajarn Heng that “If there is anyone who can draw the four faced Brahma Image better than anyone, it is Ajarn Heng Praiwan”. Ajarn Heng was extremely adept in Wicha Hanuman for Invincibility, Kong Grapan, Victory, and Loyalty, which were very popular of course with all devotees, be they Police, Civil Servants, Ganster Mafias, Triads, or Military. Ajarn Heng made so many different forms of carved amulets and animist charms, that it is very hard to catalogue all of them, but if one is to say ‘which amulets are the most well known?’ One would say perhaps his carved Ivory amulets and Necromantic Ban Neng, and his famous Rian See Hnaa 4 faced Brahma coin.
A very rare exhibit that is hardly ever encountered in the rpesent day, the Pra Pim Tao Rit Luang Por Thuat Wat Chang Hai, of Luang Por Tong Sukh. This amulet is renowned for its Extremely rich Nuea Krang Sacred Stingless Beepaste, and Putsa Paste Magical Muan Sarn, this amulet is most certainly a ‘Dtua Kroo’ (‘Teacher Model’ instantly recognizable and hence usable as reference of authenticity) This exhibit of the Pra Luang Por Tuad Pim Tao Rit in Nuea Krang, and a very beautiful early era amulet of Luang Por Tong Sukh,of Wat Tanode Luang. The amulet is in Nuea Pong Pasom Krang Kluk Rak, resinous sacred muan sarn, visibly aged, compliant with Krang or Lacquer from this Era. One of the most highly renowned and powerful amulets of the Great Master of Olden days, Luang Por Tong Sukh, of Wat Tanode Luang, in Petchburi.
Luang Por Tong Sukh was born in 2420 BE, and lived 80 years, until his passing in 2500 BE. He was, and remains in History, as one of the top masters of all time of the Petchburi region. whose powers of Kong Grapan Chadtri Klaew Klaad and Maha Amnaj were legendary. He made a number of different varieties of amulets, many of which are found in the high end Tamniab Wadthu Mongkol Pra Niyom (official catalogues of preferred amulets of the National Amulet Appreciation Societies).
Free Registered Air Parcel Shipping Worldwide is Included with this Amulet, along with the offer of free Waterproof Casing if desired. Many of his amulets are eminent figureheads of the Pra Niyom Master Class category of amulets, and are extremely rare items to find.
Luang Por Tong Sukh was the Kroo Ba Ajarn of many other Great Monks of the following Generation, who are now famous names in their own right, beginning of course with the most obvious, Luang Por Phaew, Abbot of Wat Tanode Luang. It was Luang Por Phaew who inherited his Magical Wicha and also the Administration of the temple of Wat Tanode Luang as its Abbot. The Nuea Krang amulets of Luang Por Tong Sukh Wat Tanode Luang, are often found to be made from the famous Krang Putsa Magical Resinous Paste of the great Master Sorceror Monk of Wat Tanode Luang. Among the amulets with most preferred and holding renowned fame are the Takrut Pork Krang, the Look Om Nuea Krang, Pra Roop Muean LP Tong Sukh, and Pra Roop Muean Luang Por Tuad. Sometimes one may see a Sacred Guru Monk Coin of LP Tong Sukh with Krang paste on the rear face too (very rare indeed). Other amulets include of course Pra Rian Momk Coins, and his world-famous Hua Hwaen Na Bad Dtalord Magic Ring.
Luang Por Tong Sukh was also the Kroo Ba Ajarn of many of the Top Masters of the Era which followed him, including the Great Luang Por Jang, and of course of Luang Por Phaew, the abbot who succeeded him. The amulets of Luang Por Tong Sukh are incredibly rare, and carry a relatively high price-tag, enough to demand faith in his amulets, but still affordable to any serious collector who seeks an amulet of the calibre of Luang Por Tong Sukh.
The list of great masters who studied and practiced under Luang Por Tong Sukh were;
Luang Por Un (Wat Tan Gong – now Deceased), Luang Por Huan (Wat Nikom Wachiraram – now Deceased), Luang Por Yid (Wat Nong Jork – now Deceased), Luang Por Jantr (Wat Mareuka Tayawan – now Deceased), Luang Por Nim Mangkalo (Wat Khao Noi – now Deceased), Luang Por Yorn (Wat Tanode Luang – now Deceased), Luang Por Phaew (Wat Tanode Luang – now Deceased), Luang Por Thaem Silangwaro (Wat Chang Taeng Grajat), Luang Por Heng (Wat Huay Sai Dtai, and Pra Ajarn Ji, of Wat Nong Hwaa
Amulets :
The most famously powerful and highly sought after amulets of Luang Por Tong Sukh in his lifetime were;
1. His Sak Yant tattoos. His Look Om Nuea Krang Ying Mai Ork Gunstopper Sacred Powder Ball ‘Bonbon Amulet’. One of the rarest kinds of Look Om of all to be found in the Pra Niyom Category of amulets. Reputed to have saved the lives of many devotees through gunstopper magic.
Below : Luang Por Tong Sukh and his famous Krang Putsa sacred resinous Substance
2. The first and second edition Rian Kanajarn Luang Por Tong Sukh Monk Coin, renowned for Kong Grapan Chadtri Maha Ud Klaew Klaad Protective Miracles, with extra power to protect against poisonous beasts in a spell written on the rear face.
Below : 1st edition monk coin Luang Por Tong Sukh
Below : 2nd edition monk coin Luang Por Tong Sukh
3. The Hwaen Hua Na Bad Talord Gan Asurapit Luang Por Tong Sukh Magic Ring of Protection, with special ability to defend against all Poisons, Venomous or Wild Animals. highkly renowned for its rare power to guard against wild beasts and poisonous plants and animals. Extremely rare to encounter. This Wicha continued to be famous with Luang Por Phaew, who inherited the Wicha from Luang Por Tong Sukh, and whose Hwaen Hua Na Bad Dtalord rings are almost equally famous, but much more affordable.
Below; Hwaen Hua Na Bad Dtalord Luang Por Tong Sukh
4. The Takrut amulets of Luang Por Tong Sukh are various, and serve different purposes, ranging from the Takrut Jet Dork (7 scrolls on a cord) for Multiple Blessings, the Takrut Sam Kasat (triple Takrut with bronze, silver and brass concentric scrolls) , for Kong Grapan Chadtri, the Takrut Klord Ngaay, for easy childbirth without pain, and the Takrut Sariga for Mercy Charm and Prosperous Business.
Below; Various types of Takrut from Luang Por Tong Sukh
Miracles
One of the more famous folk tales about the miraculous powers of Luang Por Tong Sukh, is the story of the ability to inscribe Sacvred Yantra Spells on the surface of material objects with his Psychic Powers; One time Luang Por was at Wat Ta Kham, and soime devotees came to beseech him for some ‘Ya Dtom’ Healing Potion from him. To make this potion, Luang Por required some Bai Magaa leaves, which needed to also be pre-inscribed with the Yant Pra Jao Ha Pra Ongk (Na-Mo-Put-Yaa-Ya). So Luang Por Tong Sukh sent his Samanera Novice apprentice monks out to collect some, and help him inscribe them all before boiling the potion.
Luang Por asked the Samaneras to help him inscribe the Yant on each leaf of the Magaa tree. But the Samaneras were taking a long time to inscribe the yantra on each single bai magaa leaf, and so Luang Por exclaimed ‘This is going to take all day, bring all the leaves over to me in a pile on top of each other and i’ll finish the job’
The Samanera carried the leaves to Luang Por and gave him a pile of about 20 leaves in his hand. Luang Por then inscribed the top leaf performing incantations, and lo and behold, as he gave the pile back to the Samanera, every single leaf was inscribed with the Yant Pra Jao Ha Pra Ongk!!
Important Ceremonies
Luang Por Tong Sukh was present to empower amulets in some of the most important and powerful blessing ceremonies in the History of Thai Buddhism, invited by a high ranking official of government to attend to bless with his powers, in the ceremonies of Wat Rachabopit for the 2495 BE Mongkol Gao edition and the Pra Kring Yord Hmud with 18 other Great Masters. Luang Por Tong Sukh also attended the Ceremony to bless the Military and distribute amulets in the Great Indo-China war ceremony. Luang Por Tong Sukh was also one of the many Masters present to empower the large series of amulets blessed in the celebration of 2500 years of Buddhism, the ‘Yee Sip Haa Satawat’ 25 Centuries Edition
Palad Khik Hua Chamot Dtua Kroo 10 Inch Jumbo Size Luang Por Pina
Special Jumbo‑size, 10‑inch‑long Dtua Kroo version of the all‑time classic *Civet‑Head Palad Khik* from LP Pina, this remarkable piece boasts a striking green gemstone emerald for its eyes, adding a vivid, almost hypnotic depth to its gaze. The intricate design features a Kring Met Gan Fa Pha bead rattle embedded within the body, while a delicate sea‑pearl is carefully set into the belly, creating a subtle play of light and texture. Hand‑inscribed gold‑leaf blessings adorn the surface, each stroke conveying reverence and craftsmanship.
Surrounding the Palad Khik are a horde of Khom Agkhara spell inscriptions—Sacred Na, Yant Hua Jai Na, and Ok Dtaek—each etched with meticulous detail, suggesting ancient protective charms. Weighing in at 360 grams, the heavy wood construction gives the piece a substantial, grounded presence, while a Chueak Kart Aew cord belt, once attached, hints at its ceremonial use or display. The overall effect is a richly layered artifact that blends artistry, symbolism, and tactile allure into a single, commanding object.
When speaking internationally, we behold here a very large and pristine example of one of the Most Famous Palad Khik amulets of all time, and one of the rarest and most sought after; The Palad Khik Hua Chamot Mai Gae carved wooden Palad Khik of Luang Por Pina (Wat Sanom Lao), with gemstone eyes, Met Gan Fa Pha rattle inserted within the body, pearl insert, and golden Takrut spell as the tongue
The Yant Hua Jao Na Ok Dtaek is inscribed on the shaft, with gold leaf blessing.. The Palad Khik is as is Ubiquitous with Luang Por PIna, empowered with hand inscriptions of the Sacred Yant Na Ok Dtaek, and the invocation of the four elements.
These amulets are highly regarded for their power to invoke the power to attract others, treasured possessions, and ward off black magick. They are also full of Metta Mahaniyom, Maha Lap Klaew Klaad and Maha Pokasap Powers as well as the obvious Power of Serm Duang ability to improve fate and destiny.
Free EMS Registered Airmail Worldwide is included with this amulet The Palad Khik is in truth symbolic of the Shiva Lingam; The belief in the Shiva Lingam, or ‘Leungk’ (Thai pronunciation) phallic energy of the Palad Khik, is derived from the Brahman influence which has been inflected on Thai Theravada Buddhism, since both belief systems came to Siam more than one or two thousand years ago. It is believed that the Palad Khik Lingam energy is the source of all life forms in the Universe. This is the root of the act of reverence (Bucha/Poojah) to the Palad Khik as a Shiva Lingam, which honors Shiva as the Lord of the World.
In India, not only is the Shiva Lingam worshiped, bit there exists also a
cult which reveres the female sex organ, which is called the ‘Yoni’(Vulva, female counterpart). The same thought is applied as that used to revere the Palad Khik Shiva Lingam, that is to say, that all created things must spring out of the Yoni instead of the Lingam.
Below; hand scratched etchings of Luang PorPina’s Famous Sacred Na Inscription on the shaft of the Palad Khik, conceal a Kring Bead inserted within the interior of the Palad Khik
The practice of making Palad Khik as a portable amulet, for ‘Bucha Siwalingk’ (praying to Shiva Lingam phallic Deity), entered Siam with the influence of the Khom race, whose language and alphabet the Thais absorbed and adapted into their own personalized fashion.
Some have said that the integration of Pre-Buddhist beliefs and traditions, into the Thai Theravada Buddhist practice of the common Folk, such as worshiping amulets like the Palad Khik, is not in contradiction to the practice of Buddhism and presents no obstacles. In fact it is believed that since Buddhism sprang out of the roots of
Brahman Cosmology, and that the people of Siam adopted Pre-Buddhist
Brahman traditions and incorporated them, that this is even a benefit to
the preservation of ancient knowledge, and of Thai history and
tradition. Most of these ceremonies do not come into any kind of dispute
with Buddhist thought. In fact, Buddhist Thought bases itself on many
concepts found in Hinduism, and in Thailand, the two Belief Systems can
hardly be separated.
This amulet is ‘Doo Ngaay’ (easy to see it is real), for its clearly recognisable from its inscriptions and appearance. It is hence considered Ongk Kroo (usable as a teacher), as a reference model for further study to increase the powers of recognition of authenticity of the top preferred Palad Khik amulets of Luang Por Pina. However, the Pantheon of amulets of LP Pina is one of the more difficult genres to study, for many were hand made, each individual, and only a small percentage of all the amulets he made has been officially documented to date.
This is for its easily recognisable features, which 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 recognize Luang Por’s famous amulets, as well as the effects of aging over the years (especially important with Sacred Powder amulets)
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. Below you can see another Sacred Amulet from this Master, the Famous Pra Pim Tao Wua Luang Por Pina.
It is said that Luang Por Pina 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 fulfillment (Sarapat Neuk). There are many stories of Miraculous Events occurring through his amulets, which have been recounted around the country over the years, which have also brought his name to the ears of people around the world.
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.
Above Pic; The corpse of Luang Por Pina which was found in meditation posture, dead since over 12 Hours, but was still warm, and not stiff, to the immense surprise of those who found him. The surprise was because a corpse that is dead for over 12 hours, should be stiff as a board and cold.. his body was not mummified or given any special treatment according to his wishes and placed in his mausoleum.
Below; Golden Brass Takrut spell as tongue of the Chamot Civet Cat, is visibly inserted into the mouth of the Palad Khik Hua Chamot of Luang Por Pina, revealing an attention to detail and adherence to the Ancient Wicha of Empowerment of the Palad Khik Hua Chamot, that is both impressive, and faith instilling in its certain magical power.
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;
If you wish to know more about another famous amulet of Luang Por Pina, then you can listen to the three quarter of an hour talk and explanation of the Sacred Daw Aathan along with a short Biography of Luang Por Pina, recounted and narrated by Amulet Expert Ajarn Spencer Littlewood in the below Podcast. In the podcast, You will be amazed to learn about the very deep meanings contained within the Daw Aathan Hnun Duang Lucky Star amulets of Luang Por Pina.
Please Enjoy the Biography, and Explanation of another very famous Amulet of Luang Por Pina, revealed; Perd Dtamnan Daw Athan Hnun Duang, and increase your knowledge of the amulets of Luang Por Pina.
A truly rare, certificated authentic, and the most ancient, top class close to Bicentennial amulet (almost 200 years), and a ‘first lineage-master’ amulet, estimated made between the years 2395 and 2418 BE (Pre 1797 C.E.), and individually personalized exhibit, covered with red lacquer from the Originating Master of the Wicha Bia Gae of Wat Klang Bang Gaew, a certificated authentic antique ancient exhibit of the Bia Gae of Luang Pu Tong, of Wat Klang Bang Gaew, the Master who transmitted the Wicha further on to the Great Olden days master and his first apprentice, Luang Pu Bun. The Bia Gae of Luang Pu Bun are in themselves considered top 5 Bia Gae, but one must consider the fact that hardly anybody except the niche collector, devotee of LP Tong and the Lineage Masters of Wat Klang Bang Gaew.
LP Bun, his apprentice, is much morer well-heard of both in Thai and Foreign circles. LP Bun Had two main Kroo Ba Ajarn, namely Pra Palad Tong (the creator of this most ancient amulet), who taught LP Bun Wicha Bia Gae, as one of two mentors, the other, was the Great Pra Palad Parn, who taught the great LP Bun the Wicha Jinda Mani Mont, for Ya Wasana Jinda Mani powders), covered in red ancient herbal lacquer, and inscribed with hand made Khom spell inscriptions, of the immortally famous Bia Gae Cowrie Shell Alchemical Mercury filled Talismanic Amulet of the Master of this Wicha, the Great Luang Phu Bun, of Wat Klang Bang Gaew.
The Bia Gae being perhaps one of the early era and known to be powerful, is an extremely Rare Amulet of the Pra Niyom Master-Class of the Pantheon of Luang Phu Bun, of Wat Klang Bang Gaew, in Nakorn Pathom, especially for its highly recognised inscription visible through the gold leaf. The Bia Gae is a Cowrie Shell Animist Charm for Healing, Prevention of Poverty, and solution to all problematic obstacles in life, including Black Magick Curse Protection, Wealth Increase to Ward off Poverty, and Good Health.
The Bia Gæ (sometimes written “Bia Kae”) is a traditional Thai protective amulet made from a copper‑plated “shell” (the bia). It is created by a line of senior monks from Wat Klang Bang Gaew (formerly Wat Kongkaram). The craft has been handed down for many generations, beginning with Luang Pu Thong, the teacher of Luang Pu Bun, and continuing through Luang Pu Perm, Luang Pu Bai, Lu Pu Juea, and then Pra Ajarn (Kong) Sanya. Because the method is preserved in a small, secretive lineage, authentic Bia‑Gæ from this temple are now extremely rare and command high prices.
2. The Lineage of Masters
Monk (Thai name)
Position
Approx. Period
Notes
Luang Pu Tong (Wat Klang Bang Gaew)
First known master of the craft
Early 20th c.
Teacher of Luang Pu Bun
Luang Pu Bun (Wat Klang Bang Gaew)
Main exponent, popularized the amulet
Mid‑20th c.
Produced many Bia‑Gæ for laypeople
Luang Pu Perm (Wat Klang Bang Gaew)
Continued Luang Pu Bun’s method
Late 20th c.
Same potency as his predecessor
Luang Pu Bai (Wat Klang Bang Gaew)
Received the technique from Luang Pu Perm
Late 20th c.–early 21st c.
Served as the bridge to the current master
Luang Pu Juea (Wat Klang Bang Gaew)
Current holder of the secret method
Present day
Works together with Luang Pu Perm when filling the amulet
Only these three monks (Luang Pu Bun, Luang Pu Pherm, and Luang Pu Juea) are known to have received the full transmission. Their Bia‑Gæ are now highly prized by collectors and devotees.
3. Materials & Requirements (as explained by Luang Pu Bun)
One Tael (≈ 1 lb) of elemental mercury – considered a sacred substance.
A “shell” (ho bia) – a small, hollow copper‑plated container.
32 tiny “fangs” (sui) – the number must be counted precisely.
A flat lead sheet – sometimes a piece of red cloth is added.
A tray, incense, candles and flowers – for the offering ceremony.
The seeker who wishes to obtain a Bia‑Gæ must bring all of the above items to the monk after the monk has completed the morning or evening ubosot (ordination hall) rites.
4. The Ritual Process (as performed by Luang Pu Bun)
Consecration of the mercury – the monk invokes the Buddha‑Veda and blesses the mercury.
Filling the shell – the blessed mercury is poured into the ho bia, then the 32 fangs are inserted and the opening is sealed with the lead sheet (or the red cloth).
Further chanting – the monk recites additional Pali verses while the amulet is still in the temple.
Encasing in lead – the sealed shell is wrapped in a thin layer of lead together with Buddha images from the temple, then returned to the monk for a second inscription of sacred numerals (the yantra).
Final consecration – the amulet receives one more blessing and the monk writes the final akhar (protective characters).
Delivery to the devotee – the finished Bia‑Gæ is handed back to the requester. The owner may then have a monk thread the amulet with a cord of his choosing (often rope, silk, or rattan); the cord is believed to increase durability.
5. Continuation after Luang Pu Bun
When Luang Pu Bun passed away, his disciple Luang Pu Pherm inherited the complete procedure and produced Bia‑Gæ using the same formula, preserving the same level of potency.
Later, as Luang Pu Pherm grew older, he passed the knowledge to Luang Pu Bai, who became the next “master of the Bia‑Gæ”.
Today, Luang Pu Juea works closely with Luang Pu Pherm; when the mercury is poured into the shell, Luang Pu Juea applies the lead covering and performs the final inscription and blessing.
6. Purpose & Buddhist Merit of the Bia‑Gæ
Protection from spirits, demons, and sorcery (khwan‑phii, khui‑phii).
Shield against “forest fever”, poisonous herbs, and harmful substances (e.g., insect venom, poisonous plants).
Neutralises black magic, curses, and malicious intent from both human and supernatural sources.
Strengthens the wearer’s mental clarity and guards against ignorance and delusion.
Because the mercury is regarded as a sacred element in Thai esoteric tradition, the amulet is said to carry strong Buddhist merit (puñña). Practitioners use it for personal safety, health, and success in business, politics, or any competitive field.
7. Suggested Use & Prayers
Preparation – set a small altar with holy water, a Buddha‑image or Phra Phuttha (e.g., Phra Phuttha Rakhsa), red flowers, incense, candles, and a offering of rice, sweet foods, and medicinal herbs.
Recitation – chant the Three Refuges and Five Precepts, then invoke the Buddha‑Veda while placing the Bia‑Gæ on the altar.
Specific petitions (examples from oral tradition):
For protection against disease, poison, and poison‑induced madness.
To ward off evil spirits that cause hallucinations, nightmares, or disturbances.
To secure success in battles (literal or metaphorical), politics, business, or examinations.
To protect families, especially children and the elderly, from harmful influences.
The amulet can be worn around the neck, carried in a pocket, or placed in a vehicle, home, or workplace. Many believers keep several Bia‑Gæ and position them according to the direction of potential threats (e.g., front for overt enemies, rear for hidden foes, right side for royal patrons, left side for feminine influences, etc.).
8. Historical Background of Wat Klang Bang Gaew
Original name: Wat Kongkaram (Temple of the “Kongka” Tree).
Architectural evidence: The ubosot, viharn, and stone Buddha images suggest an Ayutthaya‑period origin, later restored repeatedly during the early Rattanakosin era.
Artistic highlights: Early‑Rattanakosin wall paintings inside the ubosot display high craftsmanship.
Literary reference: In Sunthorn Phu’s Nirat Phra Phuttha, the poet describes the temple’s splendor:
(Translation: “When looking toward Bang Gaew one sees no glass, only the tangled roots of the sacred Kongkha tree; a great temple stands near the Saraburi river, its lofty spires touching the sky, and the monk’s dwelling rests beneath a steep cliff, protected by the shade of takian trees.”)
Renaming: In 1922 (B.E. 2465), during the tenure of Luang Pu Boon, the Supreme Patriarch Somdet Pra Wachirayan Voras, recognizing the temple’s location at the mouth of the Khlong Bang Gaew, officially renamed it Wat Klang Bang Gaew (Middle Bang Kaeo Temple).
Neighbouring temples: It shares borders with Wat Mai Suphadit (south) and Wat Tuk Tata (west).
9. List of Abbots (as far as records allow)
“The Master of the Building” – name unknown; early patron who erected the first shrine.
Pra Palad Thong – died ~1915 CE (B.E. 2458); served roughly 40 years.
Pra Atikarn Jaeng (called “Luang Pho Gae”) – died ~1925 CE (B.E. 2468).
Pra Phuttawittī Nayok (Luang Pu Boon Khan‑tcho‑ti) – abbot 1886–1935 (B.E. 2429‑2480), 49 years.
Pra Palad Loh – acting abbot for 4 years (mid‑1930s).
Pra Phuttawittī Nayok (Pherm Punyawatsano) – abbot 1939–1973 (B.E. 2482‑2526), 44 years.
Pra Palad Bai (Kun Wiro) – acting abbot until 1973 (B.E. 2526).
Pra Kru Sirichai Kanarak – current abbot (as of 2025).
10. Buddhist Merit & Modern Appeal
The Bia‑Gæ from Wat Klang Bang Gaew is reputed for:
Great “metta” (loving‑kindness) and “karuṇa” (protective) merit – believed to bring safety, health, wealth, and career advancement.
Strong “kamma” (karma) power, making it popular among businesspeople, government officials, military personnel (especially those serving in the three Southern border provinces), teachers, doctors, entertainers, athletes, and ordinary folk who seek any competitive edge.
Because authentic pieces are scarce, their market price is high, but many devotees consider the investment worthwhile for the long‑term spiritual and material protection they provide.
11. Concluding Note
The Bia‑Gæ of Wat Klang Bang Gaew embodies a living tradition that intertwines Thai esoteric Buddhism, local folk belief, and a carefully guarded monastic lineage. Its creation involves a precise combination of sacred materials, ritual chanting, and the hands of monks who have inherited a secret method for over a century. Whether viewed as a religious talisman, a cultural artifact, or a collector’s item, the amulet continues to hold a respected place in Thai spiritual practice today.
In truth, the Bia Gae helps health in more than just its Sacred Healing magic, for it also Prevents Poverty, allowing us to afford the necessary medicines and healthy lifestyle. Good health can also only be maintained, when one has all the necessary requisites, and in this day and age, money is a daily requisite, and one cannot have good health if attacked by black magick, or sorcerous curses. To use and ensure the effectivity of the Bia, it should be carried with you always and you should speak to it within your heart and connect with it, until you feel one with it. Then you should be able to feel the vibrations, protective or passive stance it takes when others approach. Bia Gae can be used as a magical ritual tool, to make Holy Prayer Water and use the water to wash wounds, and even drink. This is also a good remedy against ‘Ya Sang’ – Black magic curses which have been applied by putting magic into someone’s food, a kind of spiritual ‘blood poisoning’. Hence, the Bia Gae works against all obstacles which can slow down your progress.
The Bia is at best worn on a waist cord and slid around for different purposes, rather like the Takrut Maha Ruud; Wearing the Bia Gae to the front (on a waist cord or necklace) will protect if entering into battle, war or conflicts. To escape from, evade and protect against Enemies or those who Pursue You, wear the Bia Gae facing to the Back. For Metta and Mercy from Superiors, Job interviews, or Legal cases, wear to the right flank. For Maha Sanaeh Charm and Enchantment to charm Lovers and be convincing in Business Talks, wear the Bia Gae to the left flank.
Free Express Shipping Worldwide is Included with this amulet. Luang Phu Bun was one of the Top Master Guru Monks of Thai Buddhist History in both Patipata (Dhamma Practice), as well as for his Magical Prowess in Amulet making, Puttasart, and Saiyasart (Occult Sorcery and Buddha Magic). Luang Phu Bun’s amulets, grace the pages of almost every famous catalog and amulet magazine in the High End Collector Publications, and are among the highest priced ranging from many hundreds of dollars for the most commonly found amulets, to hundreds of thousands of dollars for his rarest amulets.
A Centenarian Amulet of Immense Value for the Sacred Powerful Blessings of the Great LP Bun, and Rarity as an Ancient Amulet of Master-Class Status, as well as for being a masterpiece of antique magical heritage and Buddhist Historic importance.
Apart from Parort Mercurial Alloy, a highly unknown fact is that the Wicha Bia Gae of Wat Klang Bang Gaew, uses a very Special Herbal and Magically Empowered Ingredient, Nuea Khee Nok Khao Bplao (Thick Billed Green Turtle Dove Faeces – considered to have Magical Properties), and Nuea Wan (Herbal Extracts and Pollens).
The famous Pong Ya Wasana Jinda Manee, and Pong Khamin Sek Muan Sarn Powders (also known as ‘Pra Ya Horm’), carry legendary status for their immensely powerful magical properties. These are two very Sacred Powders within the Dtamra, with Pong Khamin Sek
having a pungent aroma, with Powers of Protection and Wealth Increase, and the legendary Pong Ya Wasana Jinda Manee having an aromatic Sacred
Powder, which uses of course the famous ‘Ya Wasana (‘Wasana’ meaning Lucky Fortunes). Ya Wasana Jinda Manee, and Khamin Sek Sacred Cumin powders, are the most famous Muan Sarn of all.
Kata Bia Gae
Suggested Use and Prayers
Set up a small altar with holy water, a Buddha image or Phra Phuttha (e.g., Phra Phuttha Rakhsa), red flowers, incense, candles, and an offering of rice, sweet foods and medicinal herbs.
Recite the Three Refuges and the Five Precepts, then invoke the Buddha‑Veda while placing the Bia‑Kæ on the altar.
Specific petitions (derived from oral tradition) may include:
Protection from disease, poison and madness.
Defense against evil spirits that cause hallucinations, nightmares or disturbances.
Success in battles (literal or metaphorical), politics, commerce or examinations.
Safeguarding families—especially children and the elderly—from harmful influences.
The amulet can be worn around the neck, kept in a pocket, or placed in a vehicle, home or workplace. Many believers keep several Bia Gæ, and position them according to the direction of possible threats (e.g., front for overt enemies, rear for hidden foes, right side for royal patrons, left side for feminine influences, etc.).
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 rō 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.
Ancient Amulet - Thai Buddhist Pra Niyom Category Amulets
Ancient Amulet - Thai Buddhist Pra Niyom ('Pra Niyom'; meaning 'High End Preferred Class Antique amulets') Fine Authentic Amulets from the Great Thai Buddhist Sorcerer Monks, Lersi Ascetics, and Lay Masters of Olden Days
The Pra Pid Ta Hlang Baeb of LP Kaew, Wat Kruea Wan temple, in white powders, is a very rare model, and a truly remarkable and classic exhibit, widely regarded as the number one amulet of the esteemed monk, Luang Por Kaew, of Wat Kruea Wan (formerly of Wat Pak Tale). This ancient amulet, created and empowered by the Great Ancient Sorceror-Monk of Olden Days, Luang Por Kaew, is a a legendary amulet that has attested to his exceptional skills and mastery in the art of amulet-making. The Pra Pid Ta is made from a unique blend of sacred powders, known as Nuea Pong Wised, composed of 5 special magical Yantra Powders (Bpathamang, Puttakun, Trinisinghae, Ittijae, Maharach).
.One particularly striking feature of this amulet is the concave indented Pid Ta on its rear face, which is a hallmark of Luang Por Kaew’s work. This intricate detail, along with the slender arms and perfectly detailed relief of the Buddha image, creates a sense of depth and character that is truly captivating. Luang Por Kaew created this masterpiece during his time as a monk in Chonburi Province, around the year 2365 BE. This was a significant period in Thai history, as Pra Jao Thaksin Maharaj was leading the effort to restore Siam to freedom from invaders. The Pra Pid Ta Hlang Baeb Wat Kruea Wan is not only a beautiful and well-preserved example of Luang Por Kaew’s work, but also a tangible piece of Thai history that speaks to the enduring power and significance of Buddhist amulets
The amulet radiates a captivating glow, enhanced by the unique ‘Nuea Graeng’ marbling effect. This is a result of the sacred Muan Sarn powders, which contract and dry over time, creating distinctive surface cracks. This particular Buddha image showcases intricate details, a slender build, and a high level of craftsmanship, making it a fine specimen of the Pra Pid Ta Luang Phu Kaew. The amulet’s powerful sacred clay composition is known for its Kong Grapan, Klaew Klaad, Metta Mahaniyom, and Maha Lap properties, attributed to the esteemed monk known for his world-class mastery.
An all time Pra Niyom High End Classic Ancient Amulet, renowned for its power and status from Luang Phu Gaew, who first began his legendary of Wat Pak Tale in Petchburi (Later moved to Wat Kruea Wan in Chonburi). The Pra Pid Ta of Luang Phu Gaew of ancient fame comes with free express shipping. The Pra Pid Ta of Luang Phu Gaew is widely regarded as the number one Pidta amulet of all time by devotees of the Chonburi Lineage Master Amulet Collector Scene, as well as by those who are devoted to the Petchburi Masters. This amulet is a true Master Class piece, and its rarity is such that it is incredibly difficult to encounter in the present era.
Free Express Shipping is included with this item. Apart from being so highly regarded for their powerful Metta Maha Niyom and Maha Lap, of the highest power of all Pid Ta, the Pid Ta of Luang Phu Gaew are considered to be the top Pra Pid Ta amulet in Thailand, which carries one of the highest prices within its Genre.
The Pra Pid Ta Luang Phu Gaew is a truly exceptional amulet, one that is held in the highest regard by collectors and devotees of Thai amulets. Its reputation is such that when it changes ownership, it is often considered “news” within the amulet community. This is true whether the amulet was crafted during Luang Phu’s time at Wat Pak Tale, or after he moved to Wat Kruea Wan.
This truly ancient amulet is one of the extremely rare amulets of the Pra Niyom Master Class category of Both Petchburi and Chonburi Masters, and has a cult collectorship following in the Wongarn Pra Niyom Sai Chonburi and Sai Petchburi (Chonburi and Petchburi Province High End Collector Scene). The exclusivity factor of this amulet is indescribably high, and coming from the both Chonburi and Petchburi Provincial Collector scene only serves to evidentiate it as a High Class and Ultra rare Pra Niyom Master Class Amulet of ancient times. One of the reasons for the Pra Pid Ta’s enduring popularity is the powerful and protective qualities it is believed to possess. The amulet is said to offer Kong Grapan (protection against sharp objects), Klaew Klaad (protection against deadly accidents), Metta Mahaniyom (charm and popularity), and Maha Lap (luck and prosperity) to the wearer. These qualities, combined with the amulet’s undeniable rarity and historical significance, make it a true collector’s item.
The Pra Pid ta Luang Phu Kaew, is known for its power being made from Luang Phu Kaew’s ancient and powerful sacred Muan Sarn. There is a famous tale of the Billionaire Chawapon Rerm Wanich, buying a number of Pra Pid Ta Pim Lek Hlang Riab (plain rear face small model) amulets of Luang Phu Kaew, for a sum of 10 million Baht each (about 350,000$US)!
It is said that the only thing harder to find than the Pid Ta of Luang Phu Kaew, is the Photo of Luang Phu Gaew himself. However, despite these true stories, that some millionaires pay immensely high prices for such amulets, the standard price which true collectors and aficionados consider to be universal ranges between the 1000$ for a less well kept or lesser preferred model with or without certificate, to 11000$ for a top class prizewinner.
Luang Phu Gaew was one of a group of Master Monks who all possessed and practiced the Wicha of making Pra Pid Ta, all of whom are famous names, such as Luang Phu Jeen of Wat Ta Lad, Luang Phu Pu (2351 -2361 BE), Luang Porn Daeng of Wat Ang Sila, and the great Luang Por Plord of Wat Pak Tale, who was the premiere apprentice to Luang Phu Gaew, and famous in his own right for his famous Look Om amulets which he made with the remaining powders inherited from Luang Phu Kaew, as well as adding powders of his other Kroo Ba Ajarn such as Luang Por Tong Sukh’s powders of Luang Phu Iam (Wat Sapan Sung).
Luang Phu Gaew was born sometime between 2337. This is known by devotees who met and worshiped Luang Phu Gaew as he appeared on Tudong wandering in Khao Bandai it district of Petchburi, to escape being asked to become abbot of Wat Pak Tale, as the current abbot had just passed away, and he preferred the forest wandering and meditation, to administration of the worldly aspects of running a temple. Luang Phu Gaew wandered onwards until he came to rest at Khao Luang Temple, and saw it was in total disarray.
He thus rounded up devotees to help and slowly restored the temple to original condition, and the local devotees begged him to be the abbot of Wat Khao Luang. But in the eyes of Luang Phu Kaew, this was tantamount to chasing him away, as he was not inclined to accept limitations on the practices and austerities of Tudong. So Luang Phu Gaew wandered off again and disappeared into the forests on Tudong.
Later after some years of disappearance and no documentation of his life during those years, he later appeared in Chonburi and built the temple at Wat Kruea Wan, where he stayed till the end of his life, and became the great Master of Wicha Pra Pid Ta of the Chonburi Province who is considered the top number one master of all, despite the absence of a full biography and a lack of knowledge about the full details of his life. His Wicha was passed to great Masters who he was associated with all of whom became Top Masters of Historical Fame in their own Right, with some of the greatest names being his apprentices.
Below : one of the only photos we have in existence to date of Luang Phu Gaew, which has the date R.S. (Ratanakosin Year) 124 (2449 BE), and his age being 55 years old in this picture.
Even the world famous Payak Kampant, Sian pra Maestro of the Thai Amulet Society, who released a book with 108 biographies and pictures of Great Master Monks, was not able to include the Biography and Picture of Luang Phu Kaew, due to the rarity. The Muan Sarn of the amulet, with all the aspects of an ‘Ongk Kroo’ (teacher model to accustom the eyes to the true authentic sacred powder content).
The rear face features the image of the Pra Pid Ta Ongk Pra Buddha embossed in concave. The Muan Sarn of the amulet is clear and easy to appreciate with the eye with no need of an eye loupe or magnifying glass to authenticate. This level of pristine clarity in an amulet of this age and status is so very rare to encounter indeed, making this exhibit a definite ‘Ongk Kroo Masterpiece Version’
This particular exhibit displays all the features necessary for prize winning competition entry, and already possesses a certificate of authenticity from the Samakom Song Pra Tae Mueang Siam.
The front face of the amulet glows with a truly seductive aura of beauty and its surface texture of ;Nuea Graeng’ marbled effect of the Muan Sarn sacred powders, which are the result of the contraction of the different particles within the sacred clay mixture of the amulet, as time passes and the amulets dries, and shrinkage causes small surface cracks to appear. This renders a truly beautiful example of the Pra Pid Ta Luang Phu Kaew. The features of the Buddha Image with its slender arms and its perfectly detailed relief, full of depth and character, leave the eyes unstrained when authenticating and appreciating its subtle features, and evident age. True beauty in subtlety, with a sacred muan sarn powder content that assures the wearer of high Puttakun Power and effective Kong Grapan, Klaew Klaad, Metta Mahaniyom, and Maha Lap effect. We behold before us a Master Class authenticated amulet from one of the greatest olden days master sorceror monk, of world class status.
One of a the very rare ancient amulets of this Great Lanna Master, the Pra Rahu Kala Ta Diaw one eyed coconut shell carving, in classical ‘swallowing the moon/sun’ eclipse shape (Pim Rahu Om Jantr/Suriya), in ‘Nok Hook’ (Owl face) style, with an ancient and exquisitely filigrain inscriptions of Lanna Agkhara spell inscriptions, In rare One Eyed Coconut Shell, coated with ‘Rak Chart Jeen Boran’ ancient Chinese herbal Lacquer.
Hand carved by one of the preferred Master Looksit Artisans of the Guru, and hand inscribed with the Wicha Pra Rahu by Olden days Lanna Master Guru Monk Kroo Ba Nanta Nanto Bhikku, of Wat Tung Man Dtai, in Lampang. Kroo Ba Nanta was the Kroo Ba Ajarn of Kroo Ba Lerd, of Wat Tung Man Dtai. This amulet comes with a coput of the ebook “The First Book of Thai Lanna Sorcery”, written by myself (Ajarn Spencer Littlewood), as a gift, for it contains the Biography and amulets of Kroo Ba Nanta covered within its pages. 🙂
KATA PRA RAHU KAM DUANG
The rear surface texture reveals true ageing of a centenarian+ amulet, and the age of the inscriptions of Kroo Ba on the Yant Duang Sacred Geometry Spells inscribed within the central section of the amulet, shout out the word ‘ancient’
Free Registered Air Parcel shipping Worldwide is included with this amulet. The Pra Rahu of Kroo Ba Nanta is a very rare thing to come by, and is highly revered by Business Owners and those who are in High Administrative Positions, as well as those who seek to turn their fate around. Kroo Ba Nanta was one of the Greatest Lanna Masters in Living memory, before whose time, little is known of the names of the Masters who lived, so long ago was his Era.
Because of this, and his constant absence on forest Tudong wandering,, it is not known when Kroo Ba Nanta began making Rahu Amulets, nor how many he made, except that old people who lived during his time, say that he had made them as long as they could remember. Many different shapes and forms can be found, but the trained eye can recognize his inscriptions, and the natural ageing process of the coconut shell, ivory, wood or sacred powders used to make the amulet.
The earliest actual evidence of his making the Rahu amulets was found inscribed on a Kala ta Diaw Rahu Image from Kroo ba Nanta with the year 2456 BE, which is considered to be one of his earlier one eyed coconut shell carvings.The amulet measures 5 x 4 Cm, and is made from one eyed albino coconut shell. Kroo Ba Nanta Nanto Bhikkhu was considered the older of the 2 Greatest Masters of the Wicha Pra Rahu of that particular Era, the other most famous Master being of course Luang Por Noi, of Wat Srisa Tong.
Kroo Ba Nanta was born in 2415 BE, and was indeed the older of these two Great Guru masters of Wicha, both of whom were famous for the Pra Rahu, and also the Wua Tanu Sacred Arrow Bull animist charm.Many people believe that Kroo Ba Nanta was the Kroo Ba Ajarn of Luang Por Noi, but this is in fact a myth. Each of these Masters had their own personal Trajectories and their amulets differ in style and empowerment methods.
It would be more accurate to not compare the two, and to see that Kroo Ba Nanta and Luang Por Noi are equally Meritorious in their Mastery, and were perhaps the greatest Adepts of Wicha Pra Rahu in living memory.
Kroo Ba Nanta was an Upachaya Monk (entitled to ordain people as monks, which is one of the highest statuses), and was responsible for having built many important Buddhist Edifices in Lampang, Chiang Rai, Payao, and surrounding provinces, including Uposatha Shrine Rooms for temples, Chedi Stupas (22 in all), Kuti Huts, and 26 Vihara Shrines.
It is said that during the times of great difficulty of the Monk Kroo ba Srivichai, as Kroo ba Srivichai was placed under house arrest, that Kroo Ba Nanta made a Pra Rahu Kala Ta Diaw Amulet to pray to for the release of Kroo Ba Srivichai, and that he was released shortly after this.
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
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.
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;
If you listen to the three quarter of an hour talk and explanation of the Sacred Daw Aathan along with a short Biography of Luang Por Pina, recounted and narrated by Amulet Expert Ajarn Spencer Littlewood in the below Podcast. In the podcast, You will be amazed to learn about the very deep meanings contained within the Daw Aathan Hnun Duang Lucky Star amulets of Luang Por Pina, and for those of you who are devoted Buddhists and Practitioners of Dhamma, you will feel incredibly inspired to own and apply the meanings found in the amulet to your Buddhist practice of Dhamma, Meditation and Vipassana.
For indeed, in its highest level of Bucha, this amulet is a powerful tool not only to increase your Fortunes and Improve your karma in a worldly sense, but can be used as a contemplative focal point of self transformation and empowerment of manifest Buddhist Kammathana Meditative Practice. It points to the path towards enlightenment, and can assist you in walking the path, if this is your intention, and leads far above and beyond simple worldly desires.
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.
Ancient Amulet - Thai Buddhist Pra Niyom Category Amulets
Ancient Amulet - Thai Buddhist Pra Niyom ('Pra Niyom'; meaning 'High End Preferred Class Antique amulets') Fine Authentic Amulets from the Great Thai Buddhist Sorcerer Monks, Lersi Ascetics, and Lay Masters of Olden Days
Presenting a triple-set of the immensely rare and revered Look Prakam Ya Wasana Jinda Manee, Blessed Rosary Bead of the Great Ancient Master of Wicha, Luang Phu Bun, of Wat Klang Bang Gaew (Nakorn Pathom). Gathered into a set of 3 beads for the triple gem Buddhos, Dhammo, Sangko (Buddha, Dhamma, Sangha). The Look Prakam (Look Om), is molded by hand, in Nuea Ya Wasana Jinda Manee powders, highly regarded for its healing power, and ability to assist to focus in meditation when holding it. The Look Om / Look Prakam Ya Wasana Jinda Manee, measures 1.8 Cm Diameter, and has a hole for threading onto a cord if wished to wear as a neck chain or waist cord belt attached.
The Look Prakam Ya Wasana Jinda Manee, is an extremely Rare Amulet of the Pra Niyom Master-Class of the Pantheon of the Great Luang Phu Bun, of Wat Klang Bang Gaew, in Nakorn Pathom. Luang Phu Bun was one of the Top Master Guru Monks of Thai Buddhist History in both Patipata (Dhamma Practice), as well as for his Magical Prowess in Amulet making, Puttasart, and Saiyasart (Occult Sorcery and Buddha Magic).
Free Shipping Worldwide is Included with this amulet. Luang Phu Bun’s amulets, grace the pages of almost every famous catalog and amulet magazine in the High End Collector Publications, and are among the highest priced ranging from many hundreds of dollars for the most commonly found amulets, to hundreds of thousands of dollars for his rarest amulets. This masterpiece, is a Centenarian Amulet, of Immense Value, for the Sacred Powerful Blessings of the Great LP Bun, and Rarity as an Ancient Amulet of Master-Class Status, as well as for being a masterpiece of antique magical heritage and Buddhist Historic importance.
Luang Phu Bun was a close friend and accomplice in Wicha with the Great Somdej Pra Sangkarach (Pae) of Wat Sutat, whose amulets belong to the priceless treasures category, and are only to be found in the possession of wealthy devotees, high-end amulet africionados, millionaires, and high ranking persons of state importance, as well as of course, those who were lucky enough to have inherited one from their great grandparents.
Luang Phu Bun
Otherwise. the rest mostly reside with a few lucky extreme collectors and devotees, who have kept them throughout the generations, or inherited them as heirlooms down the ages, from their family members. Almost anybody who owns such an amulet, will be hard pressed to part with it in any circumstances.
The amulet was made using 3 different types of Muan Sarn; Nuea Pong Ya Jinda Manee (Special Herbal and Magically Empowered Ingredients), Nuea Khee Nok Khao Bplao (Thick Billed Green Turtle Dove Faeces – considered to have Magical Properties), and Nuea Wan (Herbal Extracts and Pollens).
The famous Pong Ya Wasana Jinda Manee, and Pong Khamin Sek , and Herbal Muan Sarn Powders of Luang Phu Bun (also known as ‘Pra Ya Horm’), carry legendary status, for their immensely powerful magical properties. These are two very Sacred Powders within the Dtamra, with Pong Khamin having a pungent aroma, with Powers of Protection and Wealth Increase, and the legendary Pong Ya Wasana Jinda Manee having an aromatic Sacred Powder, which uses of course the famous ‘Ya Wasana (‘Wasana’ meaning Lucky Fortunes) Ya Wasana Jinda Manee Pellets were also often and indeed, still made at Wat Klang Bang Gaew, as medicinal treatment, for its renowned healing powers.
Ya Wasana Jinda Manee, and Khamin Sek Sacred Cumin powders, are the most famous Muan Sarn of Luang Phu Bun, and have become his Legendary ‘Dtamra’ (Traditonal Legend of Inheritance Wicha).
The Wicha of Ya Wasana Jinda Manee was developed by Luang Phu from an Ancient Teaching through his Kroo Ba Ajarn, and has since his making the Muan Sarn famously powerful, has been inherited as a Wicha of Muan Sarn powder making for the amulets of the Wat Klang Bang Gaew lineage throughout the ages from Luang Phu Bun, to Luang Por Perm, to Pra Ajarn Bai, to Luang Phu Juea, and now the present holder of Luang Phu’s now ancient Wicha, Luang Por Kong (Sanya), one of the senior monks of Wat Klang Bang Gaew.
We can see that LP Sanya now holds a Wicha that has been passed through three already Great and Famous Guru Masters who have inherited this Wicha from Luang Phu Bun, through Ajarn Bai and Luang Phu Perm, to Luang Phu Juea, who have all now passed away, after their long lives and trajectory. We are hence looking at the amulet of a Master who is already 4 generations of Abbots the predecessor to the current Abbot of Wat Klang Bang Gaew, making his amulets truly worthy of the title ‘Ancient’.
The amulets of Luang Phu Bun are famous for their immense Klaew Klaad and Metta Mahaniyom Powers and their Power of ‘Serm Duang’ (improve fate and destiny). The Ya Wasana Jinda Manee Sacred Muan Sarn powders are hence the most popular Muan Sarn ingredient of all his different amulets, and the preferred substance of all, for the fact that they seem to improve success in life and protect with immensely good results.It is said that he who revers the Amulets of Luang Phu Bun, will never be penniless or poor, and will never make a loss in business but will always profit.
Wat Klang Bang Gaew famous mainly with the Public for its great Master Luang Phu Bun, is an Ancient Temple in Nakorn Pathom. It is home to a Lineage History of 4 great Ordained Masters, 3 who have Passed On (Luang Phu Bun, Luang Por Perm & Luang Phu Juea), and the Current Master, Luang Por Kong (Sanya). Luang Por Sanya is proving to continue in the same Trajectory as his Predecessors, and has created a long History of Deeds and released a large Pantheon of Amulets in the Lineage tradition of his Mentors, Luang Phu Bun, Luang Por Perm and Luang Phu Juea.
The Wat Klang Bang Gaew Master Lineage is a fantastic choice for Hunters & Collectors of Fine Master Class Amulets. This is because the Amulets of this Temple, and its Masters, range from the present Day master Luang Por Kong (Sanya), back through Luang Phu Juea, Luang Por Perm, and on, to the Great Luang Phu Bun.
A powerful continued Lineage of Masters have brought Wat Klang Bang Gaew to the Forefront of both the Ancient and the Modern Amulet Scenes, stretching back to the times of Luang Phu Bun, through the Era of Luang Por Perm, and the Great Luang Phu Juea Bpiyasilo, to its present Abbot, Luang Phu Sanya (Kong).
After his Enlightenment, the Buddha went to meditate under the Mucalinda tree (a jackfruit tree) during the sixth week of his ascetic practice. During this period, a heavy storm raged continuously for seven days. The Nāga king Muchalin emerged from the underground, coiling its body seven times around the Buddha. It then spread out its seven-headed hood over him, forming an umbrella that protected him from both the rain and malevolent creatures, according to Buddhist tradition.
The Pali Tipiṭaka records that one week after his Enlightenment, the Buddha sat in meditation beneath the Mucalinda (jackfruit) tree at Prachin (or the Bodhgaya area), when a heavy rain fell. The nāga king named Muchalin emerged from the underworld, coiling its body into seven coils to support the Buddha’s seat, and then spread out its seven-headed hood to shelter the Buddha from the rain and demonic disturbances. When the rain stopped, the nāga transformed into a young Brahmin, bowed before the Buddha, and asked to give up his mortal life. The English Pali text (Udāna) describes this event clearly: “Muchalin, the nāga-king, left his dwelling place…encircled the Lord’s body seven times…and stood with his great hood over the Lord’s head…in order to prevent wind and rain from harming the Lord.”. Similarly, in the Vinaya (monastic code) there is evidence that Muchalin also revealed his Brahmin form at the end of the episode. Later Buddhist commentaries explain that the nāga’s act symbolizes the merit of steadfast faith: “Those who are full of unshakable truth, if they honor these deities, they will bring protection to us” (Udāna Commentary). Ancient Chinese and Sanskrit Buddhist texts (e.g. the Mahāvastu and the Mahāyāna Lalitavistara) contain similar stories, noting that the nāga-king Muchalin was a great nāga who revered the Buddha and once used his nāga-parasol to shield the Buddha from a great storm during meditation (Lalitavistara 19.15). The notion of the “Nākatanāmāna Muchalin” (the nāga-King Muchalin) even appears in Emperor Ashoka’s inscriptions, corroborating this episode.
Classification of Nagas and Mythical Beings in Tradition
Nagas (nāga; Thai naak) in original Indian belief are serpent-like semi-divine beings associated with water, treasures, and fertility. In the Buddhist cosmos, they are regarded as second-tier deities (a class of subterranean gods) inhabiting the “Naga realm.” Some dwell in rivers, streams, or the ocean (water is the element of the Nāga); others live in underground cave chambers. Nagas are attendants of Viroopaksha (the guardian of the West) and have the role of protecting Mount Meru from assaults by asuras. In Indian cosmology there are also asuras, an ancient tribe of powerful deities often said to dwell in the lower worlds; they are depicted as fierce and hostile toward Brahma and Indra. Likewise there are yakṣas, spirit beings of forests, rivers, and gold; originally sometimes malicious ghosts, in Buddhism they were elevated into guardian deities of wealth, sacred objects, and protection for local people.
Group/Rank
Role/Characteristics
Habitat/Origin
Nak (Nāga)
Semi-divine, serpent-like beings dwelling in water and floods; revered as protective deities (guardians of the Buddha, preservers of sacred relics)
Inhabit the Naga-world (caves, rivers, ocean); retinue of Viroopaksha (guardian of the West)
Yak (Yakṣa)
Nature spirits of forests and treasures; often guardians of land and wealth (legends sometimes portray them as malign, but Buddhist tradition envisions them as Dharma-protectors)
Found everywhere (forests, lakes, mountains); normally attendants of Kubera (Vishnu), the north-direction deity
Gandharva
Semi-divine celestial musicians (males sing or play the lute, females are dancers)
Inhabit Indra’s heaven (Trāyastriṃśa, often as celestial guests of the gods); serve Indra (providing musical ambience)
Asura (Asura)
Powerful and mighty deities; in some legends of the same lineage as the gods but are aggressive and resentful toward the higher deities
Cast down into the lower worlds (hellish realms); sometimes described as descendants of Avīci or the 33rd hell (in opposition to higher gods like Indra)
Origins of Pra Nakprok Iconography
Belief in the Pra Nakprok is attested in Buddhist art as early as India’s Gupta period. It appears as low-relief stucco decorations on temple spires and gateways. Later, free-standing Buddha statues in the Pra Nakprok posture are found: beginning around the late 2nd century CE in southern India (in regions such as Champa and Nalanda), and by the 11th–12th Buddhist centuries in Sri Lanka (Anuradhapura period). In Southeast Asia, Pra Nakprok reliefs and statues appear in the Dvaravati civilization (Central Thailand) during the 12th–15th Buddhist centuries, and in ancient Khmer art of the 16th–19th Buddhist centuries (e.g. Bayon temple at Angkor).
Above; Statue of the golden Pra Nakprok Buddha at Wat Phra That Doi Suthep, Chiang Mai (an eight-headed Naga canopy covering the Buddha’s head).
Development of Pra Nakprok Veneration in Thailand
In Thailand, veneration of the Pra Nakprok Buddha has a long history. It began with constructing large Pra Nakprok Buddha images enshrined in temples. For example, traces of a Dvaravati-period Pra Nakprok (found at Suphanburi) have been discovered. In the Sukhothai–Ayutthaya period, Khmer- and Lopburi-style Pra Nakprok statues were produced; for instance, a Pra Nakprok Buddha was found at Wat Mahathat, Ayutthaya (dating to the Lopburi period, around the 20th Buddhist century). In the late Ayutthaya and Thonburi eras, many Pra Nakprok amulets were buried in the ground for protection. Entering the Rattanakosin era, early Rattanakosin craftsmen made small terracotta and metal Pra Nakprok figures (for household worship), while in the later Rattanakosin period several major temples cast large principal Buddha images in the Pra Nakprok pose.
For example, the principal statue at Wat Benchamabophit in Bangkok (an 8-headed Pra Nakprok image, cast in 1973 CE). Regarding amulets, the Pra Nakprok design became extremely popular.
Beyond antique sets, many Pra Nakprok amulets were created by famous monks, such as Luang Pu Suk of Wat Pak Khlong Makham Thao (a Pra Nakprok image with decorative regalia) and Luang Pu Toh of Wat Pradoochimplee (1980 CE).
Types of Pra Nakprok amulets include yantra-inscribed coins, small metal plates, and tiny cast Buddha images. It is said in Thai astrology that the Pra Nakprok is the personal Buddha image of those born on Saturday, so Saturday-born devotees receive special auspicious protection from it.
Example Pra Nakprok Amulets / Characteristics
Period/Origin
Material/Style
Powers & Inscriptions
Pra Nakprok of Wat Nuwa (Ayutthaya)
Late Sukhothai – Early Ayutthaya (recast during Thonburi)
Silver/china-metal with light gold leaf; leaf-shaped form
Great invulnerability (ancient accounts say it was especially effective for Saturday-born people)
Mango Leaf Pra Nakprok (Luang Pu Suk)
Rattanakosin (Dvaravati Revival)
Dark bronze or gold-plated; special thin patina
Wealth, great charm; commonly used for protection
Pra Nakprok (Luang Pu Toh, 1980)
Rattanakosin (1980)
Mixed alloy, lacquered and partly blackened finish
Augments prestige and invulnerability (large cast for temple veneration)
General Pra Nakprok Amulets
Rattanakosin
Powdered clay or small metal casts (neck pendants)
Protection from harm; auspicious for Saturdays (most have no inscriptions)
Symbolism and Powers of the Pra Nakprok Image
In Thai belief, the Pra Nakprok is a symbol of protection and inner peace. It represents the Buddha calmly meditating amid crisis, since he is sheltered by the Naga from wind and rain. Thus it is believed to help ward off disasters, accidents, and evil magic, and to strengthen the stability of the devotee (both in destiny and mind). The sacred power of the Pra Nakprok image is thought to emphasize invulnerability (especially against black magic) and great popularity; in particular, people born on Saturday receive special blessings from it (since it is the Buddha image for Saturday). Historical chronicles note that the Pra Nakprok amulet of Wat Mahathat “has no mercury plating” (the highest standard among Ayutthaya amulets) because it provides the utmost protection.
Rituals of Chanting and Offerings
Thai tradition often honors the Pra Nakprok Buddha with special mantras, especially by those born on Saturday, accompanied by devotional offerings of flowers, incense, candles, and clean water. A commonly chanted Pali invocation for the Pra Nakprok is:
“… Yato haṃ thakini ariya sattha, yo nāpichā nāmaṃ sanjijjhati pāṇāṃ cittā, voraṃ petā tena satthī, sotaṭhī kopā vora (sic)….”.
Traditional masters say this has protective power, and Thai astrologers often advise reciting it ten times during meditation or before sleep to enhance auspiciousness. Other chants include “Nakaporokkā parittaṃ mahātejaṃ…” or the protective verses of Angulimala (chanted for safe childbirth). Offerings to a Pra Nakprok statue follow standard Buddhist custom: lotus flowers, jasmine garlands, three incense sticks, two candles, and pure water, in remembrance of the Buddha’s serenity and to beseech the removal of obstacles as per the legend.
Scholarly Analysis
Scholars suggest that the Pra Nakprok legend reflects a blending of folk beliefs with Buddhism. In ancient homiletics, the powerful Nāga was symbolized as a guardian of the Buddha, similar to how a divine prince governs the earthly realm (as in Jambudvīpa mythology). This led even some Mahayana (and Tibetan) traditions to venerate the “Naga” as a star or serpent deity, aligning with the doctrine of shared merit (e.g. the Mahākathina pañcaviha records).
However, art historians debate whether some Sukhothai – Ayutthaya Pra Nakprok images (13th–14th centuries) were influenced by Brahmanical iconography (e.g. Vishnu standing on a nāga) or Hindu Naga motifs.
This confusion caused earlier observers to misinterpret certain figures: for example, a figure seated on a seven-headed nāga might actually represent Indra or a local spirit rather than the Buddhist Pra Nakprok.
Some scholars note that belief in the supernatural power of Pra Nakprok amulets grew with popular faith, but archaeological or textual evidence confirming their alleged powers is lacking.
Such beliefs may instead stem from Brahmanical traditions relating to water and agricultural fertility combined with people’s desire for protection. In summary, the Pra Nakprok legend is a syncretic symbol merging Buddhist and Brahmanical elements, grounded in scripture and folk tales.
Today, Pra Nakprok amulets in Thailand have become media of contemporary protective rituals. Academics view this belief as a social phenomenon, studied in the context of cultural disaster management and popular faith.
Ajarn Spencer Littlewood & Sovereign Amulet Agent (SAA) for ancientamulet.com All rights reserved.
Pra Nakprok, Pra Sum Gor, Pra Pong Supan, Pra Sangkajjai, Pra Lila, Pra Nang Paya, Pra Somdej, Pra Yord Khun Pol, Pra Pruhnang, Pra Prok Po, Pra Saiyasana, Pra Putta Chinnarat, Pra Navagote, Pra Upakut, Pra Sivali, and many others Buddha Amulets.
Luang Por Sawai Tidtawanno, of Wat Bridaram was a respected monk of Sam Pran District in Nakorn Patom Province, closely associated with the Klong Jinda area where he lived, practiced, and carried out religious activities for much of his monastic life. Within local tradition and the Thai amulet community, he is remembered as a monk of strong discipline, deep meditation practice, and applied Buddhist magic rooted in lived experience rather than formal status or public display.
Luang Por Sawai was known for strict observance of sila, sustained Vipassana practice, and a calm, grounded presence. Accounts from Thai-language sources describe him as a monk who learned from a large number of teachers across both meditation and wicha lineages.
Listen to Podcast on LP Sawai
He is often described as having studied under more than twenty teachers over the course of his life, reflecting the traditional Thai pattern of direct transmission rather than a single linear lineage. This breadth of instruction is frequently cited by devotees as the reason his consecrated objects were regarded as especially complete in both metta and protective qualities.
Periods of Tudong practice form part of his remembered life. These forest-wandering years are described as times when he practiced meditation in remote areas, traveling through undeveloped land, forests, and rural regions, enduring physical hardship and isolation as part of ascetic training. Such practice is traditionally associated with confronting fear, cultivating endurance, and refining mental stability. In local recollection, these years shaped his character and reinforced his reputation for inner strength and quiet authority.
Wat Bridaram itself is a modest temple serving the surrounding communities of Yai Som and Klong Jinda. While detailed architectural or early historical records of the temple are scarce, its identity in modern memory is inseparable from Luang Por Sawai. The temple became a focal point for devotees seeking blessings, guidance, and later, sacred objects consecrated by him.
Luang Por Sawai’s reputation today is preserved primarily through the objects associated with his consecration. Thai amulet circles consistently list him as a monk whose amulets emphasize metta, protection, and authority. Among the most discussed are carved talismans made from wild boar tusk, particularly the Khiaw Gae carved with tiger imagery. These objects are traditionally associated with Kong Grapan and Maha Amnaj qualities and are valued for their material, hand carving, and the presence of sacred inscriptions attributed to his hand.
He is also associated with metal Buddha-image amulets, including Pra Kring types and Pra Pidta forms, as well as commemorative medallions issued by Wat Bridaram during different periods. Later in his life, Takrut scroll amulets are recorded, described as emphasizing metta and social harmony. Palad khik and other traditional charms, carved from bone, ivory, or wood, also circulate under his name and are regarded as part of the temple’s ritual output rather than mass production.
Luang Por Sawai passed away in 2000 at the age of eighty. Devotional accounts state that his remains became an object of veneration at Wat Bridaram, reflecting the depth of faith placed in him by followers. Within the Thai amulet world, his name continues to be spoken with respect, not as a monk of national administration or public renown, but as a practitioner whose life followed a steady meritorious trajectory rooted in discipline, meditation, and service. His enduring popularity rests on the belief that his objects carry the accumulated force of that life, shaped by practice rather than proclamation. evident.
Moo Tong Daeng, Moo Maha Lap, Moo maha Amnaj - various kinds of Sacred Copper Pig and Vahara Boar Animist Amulets, for Power, Protection, and Lucky Fortunes
Free EMS Registered Airmail Worldwide is included with this amulet The Palad Khik is in truth symbolic of the Shiva Lingam; The belief in the Shiva Lingam, or ‘Leungk’ (Thai pronunciation) phallic energy of the Palad Khik, is derived from the Brahman influence which has been inflected on Thai Theravada Buddhism, since both belief systems came to Siam more than one or two thousand years ago. It is believed that the Palad Khik Lingam energy is the source of all life forms in the Universe. This is the root of the act of reverence (Bucha/Poojah) to the Palad Khik as a Shiva Lingam, which honors Shiva as the Lord of the World.
Free Express Shipping is included with this item. Apart from being so highly regarded for their powerful Metta Maha Niyom and Maha Lap, of the highest power of all Pid Ta, the Pid Ta of Luang Phu Gaew are considered to be the top Pra Pid Ta amulet in Thailand, which carries one of the highest prices within its Genre.
Luang Phu Bun
Periods of Tudong practice form part of his remembered life. These forest-wandering years are described as times when he practiced meditation in remote areas, traveling through undeveloped land, forests, and rural regions, enduring physical hardship and isolation as part of ascetic training. Such practice is traditionally associated with confronting fear, cultivating endurance, and refining mental stability. In local recollection, these years shaped his character and reinforced his reputation for inner strength and quiet authority.
