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.
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
Pra Sivali Long Rak Pid Tong Hlang Yant Bai Pad 2520 BE – A rare Classic Pim Niyom Amulet from the Great Luang Phu Toop, of Wat Kae Nang Lerng (2441 – 2533 BE). This amulet comes with authenticity certificate from the association of amulets of Siam Thailand. This exhibit is in extremely pristine condition, and has highly detailed relief, and is immensely easy to authenticate with the naked eye, even without its accompanying certificate. The surface sheen of the sacred chanuan metal amulet has an aura that causes the eye to be drawn to the image of Luang Phu Toop
Pra Racha Dhamma Wicāra, or, as common folk know him, ‘Luang Phu Toop’ of Wat Kae Nang Lerng, was a highly revered monk and esteemed acclaimed member of the ten officially recognised makers of Pra Somdej amulets within the legendary Dtamra of Somdej Pra Puttajarn (Dto) Prohmrangsri’s classic methods of creating Pra Somdej amulets.
He was acclaimed by devotees for his powerful Wicha Akom, and was the creator of a vast range of different amulets, all of which are now extremely rare to encounter, and highly prized within his cult inner circle of collectors and devotees.
This Rian Roop Muean Guru Moink Coin amulet is yet another member of LP Toop’s panthheon that are classed as extremely rare, and is an extremely beautiful exhibit, which has been certificated authentic by the Association of amulet of Siam Thailand.
He was acclaimed by devotees for his powerful Wicha Akom, and was the creator of a vast range of different amulets, all of which are now extremely rare to encounter, and highly prized within his cult inner circle of collectors and devotees. This Pra Sivali Amulet is one of the rarest items, and is an extremely beautiful exhibit, which has been covered with ‘Rak’ herbal lacquer and pure 96% gold leaf.
Luang Phu Toop was born in Tambon Bang Luang Iang in Ayuttaya, on he 11th of April 2411 BE. His Father was called ‘Dech’ and Mother went under the name of ‘Phong’. Luang Phu Toop lost his parents about the time of hs first birthday, after which he stayed with relatives in Bangkok, who were Lordly Family Lineage, namely Jao Praya Racha Supamidtr, and Tan Phu Hying Plaek. Luang Phu Toop learned Khom Agkhara Script and Pali Sanskrit at an early age as he was still attending school, at the temple close by to his relatives home.
Below; Authenticity Certificate issued by the Association of amulet of Siam Thailand, signed by its president
In the year 2463, Luang Phu Toop ordained at Wat Suntorn Dhamma Dhana (pronounced ‘Wat Suntorn Tamma Tan’ in Thai), popularly known as Wat Kae Nang Lerng. HIs Upachaya Ordaining Officer was tan Jao Kun Tamma Warodom, the Abbot of Wat Benjamabopit. His Pra Gamma Wājājarn was Pra Ariya Muni, the Abbot of Wat Tewarachagunchorn. Pra Kroo Puttaban (Luang Por Naedtr), the Abbot of Wat Sontorn Tamma Tan was his Pra Anusawanajarn Witness.
He received the ‘Chāyā’ (Ordained Monk’s name), of ‘Khema Siri’. Once he was Ordained, Luang Phu Toop studied Kammathāna Vipassanā, and Dhamma, and Putākom (Buddha Magic) with the Great Luang Por Parn of Wat Bang Nom Kho in Ayuttaya for a long time.
After Luang Phu Toop returned back to Bangkok thereafter, he would still return often throughout the years, to continue his studies with Luang Por Parn. As time went on, Luang Phu Toop came to become friends with Luang Por Khant of Wat Nok Grajarp, who introduced him to the ‘Wicha Chueak Kart Aew’ (magical cord belt making), which he mastered under the tutelage of Luang Por Khant.
Luang Phu Toop also went on to master a number of other magical Wicha with the great Luang Por Chaem of Wat Ta Gong in Nakorn Pathom, and with the Legendary Luang Por Ngern of Wat Don Yai Horm, because Luang Por Ngern would often visit wat Ta Gong to see Luang Por Chaem, and so Luang Phu Toop was blessed to receive Wicha from both of these Immensely Powerful Sorceror Monks.
Luang Phu Toop was a very diligent monk who would accept and fulfil all the requests he received from his superiors, and was never lazy or selfish in his behaviour. He became highly respected and beloved by his companions in the Sangha during his early years as a Samanera Novice Monk, and was a shining example to the other Novice Monks, inspiring and driving them to excel in their duties.Luang Phu Toop was responsible for a great deal of helpful activities in assisting the Abbot of Wat Kae Nang Lerng in the development of the temple, and eventually was elected Vice Abbot.
In the year 2471 BE, Luang Phu Toop was elected to become the Abbot of Wat Sontorn Tamma Tan (Wat Kae Nang Lerng), and developed the Temple until it grew to become a Great Temple, as seen today, and in the Year 2477 BE, he was given the Honorable Official Status of Pra Kroo Sanya Badtr. Consequently, in the Year 2495 BE, he was given the Official Status of Pra Racha Kana (Bishop) by Royal Decree.
Luang Phu Toop is known for his many different Amulets which he created, which he began to make in the Year 2482 BE, by co-creating an edition with the Legendary Luang Por Chaem of Wat Ta Gong.
This first edition was the Pra Somdej Sam Chan Buddha on 3 Tiered Dais, The Pra Rod Buddha Amulet, The Pra Pim Nang Kwak Supawadee Amulet. All of these Amulets were created in Nuea Pong Pasom Din Buchaniyasathan (Muan Sarn Sacred Powders mixed with earths from Sacred Shrines), and also in a second Sacred Substance, namely Pong Bailan Long Rak Chab Nuea Nai Si Dork Tao (Black Parchment Powders with Lacquered Surface and Gray Inner Color). All models had deep hand spell inscriptions in the rear face.
Every time Luang Phu Toop created an Edition of Amulets, he would distribute them to devotees who came to the temple and helped out. The Amulets which remained left over afterwards would be then hidden in the base of the Buddha Statue within the Uposatha Shrine Room. The Amulets of Luang Phu Toop include Sacred Powder Amulets, Chueak kart Aew Macic Cord Belts with Takrut. His most famous editions are the 2504 and 2513 Editions. The 2513 Edition saw his first edition Guru Monk Coin released, which is a Highly Preferred Pra Niyom Master Class Amulet. Various other editions were of course beseeched and releasaed over the years to mark different events, such as this 2520 BE installation of the Putta Sema Temple Boundary Monument Memorial edition.
Luang Phu Toop remained as Abbot of Wat Kae Nang Lerng and was highly respected and beloved by the Local Folk, until his final passing on the 29th May 2533, at the age of 92 Years Old
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
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.
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.
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
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
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.).
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
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
Sacred solid Wild Boar’s Tooth carved Palad Khik with Tiger and Sariga Yantra spell Inscriptions, and Carved Tiger on the hilt from Luang Por Sawai, of Wat Bridaram. The Carved Talismanic Animist Charms with their famous and instantly recognisable Hand Inscriptions of Luang Por Sawai, are amongst the most highly sought after and preferred amulets of Luang Por’s Pantheon, and are very rare to encounter.
This exhibit is carved from a Wild Boars Tusk into the shape of a Palad Khik Lingam with a Tiger seated on the hilt of the Lingam. The tusk is not just any old Boars Tusk, rather, ‘Khiaw’ Dtan’. Khiaw Dtan is a tusk that has no hollow inner, which is very rare anomaly, and seen to be powerful magic especially for Kong Grapan Chadtri and Maha Amnaj.
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. 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.
This talismanic charm amulet is imbued with a multitude of different types of Magic which complete the powers needed for almost all walks of life, with the Wicha Suea Tiger Magic, fyued with the Wicha Sariga Celestial Magpie and the Wicha Palad Khik.
Thai amulet circles consistently list LP Sawai 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
Kata Bucha Nok Sariga
Kata Bucha Nok Sariga (Golden Tongued Celestial Magpie) is chanted to invoke immense Metta Mahaniyom (loving-kindness) and Maha Sanaeh (seductive charm), primarily for improving business, speech, and persuasion. The most common short mantra is:
“Wanna Wannaa Saligaayo Puttang Siro Waa Ha”.
The shaft of the Palad Khik has inscriptions of the Yant Suea Tiger Wicha, for Maha Pokasap Maha Amnaj Maha Ud Kong Grapan Chadtri Klaew Klaad, and the Head of the Palad Khik has the Inscription of the Yant Sariga Celestial Magpie spell, for Metta Maha Niyom Maha Sanaeh Jerajaa Kaa Khaay Magic.
Kroo Sathidt Chodtikun (Luang Por Sawai Thidtawanno), was an elder monk of the pre 2500 BE generation of Guru Masters, who was born in 2464 BE in Ayuttaya, and became the abot of Wat Bridaram in Nakorn Pathom. His father’s name was ‘Suea’ (meaning ‘Tiger’) and his Mother’s name was ‘Yim’ (meaning ‘Smile’). Luang Por Sawai became known as one of the Great masters of Nakorn Pathom Province, but indeed is highly revered by Devotees in Ayuttaya too, for he was born there.
Luang Por Sawai passed away during Loi Kratong period, on the 11th November, in the year 2543 BE. He was known for his powerful Kong Grapan Chadtri Klaew Klaad Maha Amnaj (Commanding Power & Dominion) carved hand inscribed talismans. Luang Por Sawai’ possesses great fame for this kind of ‘Krueang Rang’ Talisman is legendary.
Below; another classic example of Palad Khik Luang Por sawai with his inimitable inscriptions, including the Sariga Birds on the head of the Palad Khik, for your comparison, and to reveal the signature details of the hand inscriptions which Luang Por Sawai used for his Carved Talismanic Charms.
All of his carved talismans are equally popular, be it the carved Khiaw Moo Dtan solid Boar Tooth, Palad Khik carved from tooth, ivory, bone, wood and coral, or his other animist charms. His Muan Sarn Sacred Powders amulets are manyfold and also highly revered, and well documented in encyclopaedic works.
Above; The tip of the tusk has Luang Por Sawai’s highly recognisable Sariga Birds engraved into the head of the Palad Khik
Luang Por Sawai’s Patipatā (practice and diligence), was highly regarded by devotees all around Thailand, for his great Purity and Meritorious Behaviour and Charitable Acts became heard of far and wide. The power of his amulets and the stories of success, is of course an additional factor involved in the cause of Luang Por Sawai becoming such a popular and famous Master for his Talismanic Charms.
Luang Por Sawai is highly renowned for his Mastery of the Yant Maha Gamnerd Narai ‘Birth of Vishnu’ Spell, which is said to be amongst the most powerful and Universally Effective Magic Spells in the Dtamra Saiyawaet of Vedic and Khmer Sorcery
Kata Bucha Luang Por Sawai of Wat Bridaram.
Use for Bucha to Luang Por Sawai, and his amulets, and especially those with the image of tiger will have great benefits from this Kata also. Those who are familiar with Tiger Wicha amulets will notice the presence of certain phrases which are invovations or praises to the Payakka Tiger. This is part of Luang Por Sawai’s Wicha, and even his own father was named ‘Tiger’, and the Tiger Wicha is one of the various Animist Talismanic Spells he mastered during his lifetime. The Kata works for any amulet of Luang Por Sawai or for paying Reverence to Luang Por Sawai himself (Bucha).
Luang Por Sawai was a Gaeji Ajarn Master of the Nakorn Pathom Province, which is the land where the Dhavaradi Period of Buddhism arose, and is known as the ‘Daen Sri Dhavaradi’. Nakorn Pathom is the location of the Great Pathom Chedi first Stupa which is said to commemorate the Buddha’s first place of resting when his alleged journey to Siam took place. Thai Buddhist legend states that the Buddha did visit what was then still Suvarnabhumi before the Chakri Kingdom of Siam arose, and that he stopped to rest where the Great Chedi Stupa of Nakorn Pathom now stands. This Chedi is the oldest Chedi well over 1000 years old, and was built to commemorate the Buddha’s first resting place in Siam.
His famous Palad Khik, Khiaw Moo, and of course his final edition Takrut Bailan 100 Pi are amongst the many world famously powerful (and beautiful!) amulets of his pantheon to be accepted and highly regarded by the amulet appreciation societies of Thailand. The amulets of Luang Por Sawai are seen to grace the pages of encyclopaedic volumes of amulet aficionado societies, and has enjoyed a place of high status in national amulet magazines over the last few decades.
This Palad Khik is carved from a piece of natural Tusk, and has been inscribed with a mass of sacred Khom agkhara spell inscriptions, and Yant. The true ancient formula of inscriptions of the Dtamra Palad Khik are most impressively inscribed on the surface of the most difficult to fashion tusk. The Yant Suea Phaen ‘Leaping Tiger Yantra” is inscribed with immense detail, and a host of Khom Agkhara Inscriptions embellishing its power, with Invocations of Tiger Magic.
The invocations and awakening and turning of the four elements were performed, the heart Mantra to awaken the Palad Khik (Kata Hua Jai Jone – Heart of the Gangster Kata), and the Akarn 32 Incantation to reanimate it and bring it to life, with the spirit of the Magic of the Suea (tiger), Sariga (Celestial Magpie), and the Lingam of Shiva Wicha Palad Khik.
The Palad Khik is an Ancient Wicha, whose development can be traced right back to the Vedic Brahman Occult practices of Thousands of Years ago. Palad Khik amulets must be empowered by the repetition of incantations, which Thais call ‘Kata Bucha’. Kata Bucha are derived from the Devanagari word ‘ghata poojah’.
The incantations for Palad Khik depend on the creator’s lineage in each school of traditional Animist magic, but in truth, one can use any or all of the many different Kata given for Palad Khik..
Kata Bucha Palad Khik
Ganha Nē Ha – Na Ma Pa Ta
or
Ja Pa Ga Sa – Na Mo Put Taa Ya – Gan Ha Nē Ha Na – Ma Pa Ta – Om Siwaling – Sabbha Metta – Sabbha Pokaa – Sabbha Laapo – Sabbha Tanaa – Sabbha Yasa – Sabbha Pranee – Sabbha Mangalaani Bhavantume – Om Laluay Mahaa Laluay Samsip Sorng Hee Hae Hom Lorm Dtorm Kuay Khor Hai Guu Ram Ruay Pro Hua Kuay An Nii Da Daa Di Dii Duu Dii Hee Maa Kuay Maa Burut Maa Dii Sadtrii Mii Maa Swaa Home
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.
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.
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
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.
Pra Somdej Pim Yai, in ‘Nuea Dtaek Lai Nga’ (marbled stone hard clay with Crackled Ivory surface effect ) released in 2495 BE, made from ‘Nuea Pra Somdej Wat Rakang Gao’ (broken pieces of ancient Pra Somdej Wat Rakang Kositaram amulets of Somdej Pra Puttajarn (Dto) Prohmrangsri).
Luang Pu Nak was a highly respected and virtuous monk. He used many broken pieces of Phra Somdej Wat Rakhang amulets from that era as ingredients in creating dozens of different Phra Somdej amulets. The amulet’s composition included a high proportion of lime and oil. For the consecration ceremonies, Luang Pu Nak invited many renowned monks of the time to participate. Older amulet collectors said that Luang Pu Nak’s Phra Somdej amulets could be used as substitutes for the old Phra Somdej Wat Rakhang amulets. In the past, he always gave amulets to people who came to make merit or pay respects at the temple. He didn’t create these amulets for commercial purposes; he made them to give away, as Wat Rakhang was a large temple with many people visiting daily. Therefore, he needed enough amulets to distribute to everyone.
Luang Pu Nak’s Phra Somdej amulets from Wat Rakhang are made with a significant amount of fragments of broken Phra Somdej amulets from Wat Rakhang. These fragments were collected from people who left them at the temple and from the discovery of many broken amulets on the roof of the temple’s main hall. Luang Pu Nak combined these fragments with his own sacred powder, following the formula of Somdej Toh, resulting in his Phra Somdej amulets, especially those from the early period (1942-1952), having a rich and potent composition, making them highly desirable.
They are considered to contain the highest proportion of Wat Rakhang fragments in Phra Somdej amulets, rivaled only by the Phra Somdej of Phra Kru Moon of Wat Suthat, the 1942 Chedi-shaped amulet. Furthermore, their spiritual power is exceptionally high, particularly in attracting compassion and popularity. Therefore, they are highly sought after. However, because he created many different styles of Phra Somdej amulets, collectors tend to focus on only certain popular styles with distinctive characteristics, such as the Three-Tiered Angel with Bayasri Ears style. The most sought-after types are the Phra Somdej amulets with Bodhi leaf design, pumpkin-shaped design, Somdej Toh image design, and bell-shaped design.
Other types are less popular. Phra Somdej amulets with a rich, concentrated Somdej powder composition, or those with embedded takrut (1, 2, or 3 takrut), are extremely rare and highly sought after, commanding prices many times higher than normal. Surprisingly, Luang Pu Nak’s Phra Somdej amulets from Wat Rakhang have become incredibly famous in Malaysia and Singapore. Many tourists from these countries are buying them in large quantities, significantly reducing the current supply. In the future, this series of amulets is likely to become as popular and valuable as the Phra Somdej Bang Khun Phrom 1966.
A very attractive votive tablet with Buddha in the ‘Khat Samati’ posture seated on a single tiered dais, within an arch. The Dais is shaped like a cushion, which is what gives the name to this model. Three different Masters of the Somdej Pra Puttajarn (Dto) Prohmrangsri lineage and makers of the Pra Somdej within the Dtamra of Somdej Pra Puttajarn (Dto) Prohmrangsri, have made this model of amulet, namely Luang Phu Nak, Luang Phu Hin, and Luang Por Supoj. Each Master pressed and blessed his own versions. LP HIn and LP Supoj would reputedly be present with LP Nak for the blessings of his amulets too.
The clay of this exhibit can be classified as Nuea Graeng Dtaek Lai Nga (Crackled Ivory surface effect and Stonelike Hardened Muan Sarn Clay) and has visibly similar characteristics to the clay of Pra Somdej Wat Rakang Kositaram of Somdej Pra Puttajarn (Dto) Prohmrangsri, except the fact that the clay is visibly somewhat younger.
The study of the ageing characteristics of the clay is in itself, is part of the study of the Muan Sarn Sacred Powders of Pra Somdej Wat Rakang Kositaram, to see how authentic Pong Gao Wat Rakang Kositaram amulets made in different time periods develop their appearance and surface textures, and how to learn to recognise authentic Pra Somdej Wat Rakang Kositaram, by being able to estimate how old the clay is of a particular amulet. This exhibit is a perfect study model, as well as being a very rare and sacred votive tablet for Bucha.
This pim is one of a pantheon of Pra Somdej amulets released around 2495 BE, by the great Luang Phu Nak of Wat Rakang Kositaram, and is a rare Pim that has its own special Niche group of devotees who collect and revere them especially.
A very rare authentic Ancient and Sacred amulet from Luang Phu Nak, one of the Great Abbots of Wat Rakang Kositaram temple. The Pra Somdej of Luang Phu Nak are extremely sought after by both Thai Buddhists and Foreign Devotees alike, for the fact that Luang Phu Nak used more old Pra Somdej amulets from LP Dto Prohmrangsri than any other masters of Wat Rakang History.
This exhibit has a smooth dense marble-like creamy clay, that is well hardened with age (Nuea Graeng), and is an extremely attractive exhibit for these features.
The 2495 BE edition is a highly recommendable amulet for devotees who seek a top class amulet at a still affordable price. that is prestigious, sacred, and of high Pedigree. Luang Phu Nak is known to have released editions in the years 2485 – 2495, 2499, 2500, 2504, 2507 and 2509 BE and his final edition Sae Yid 7 Rorb of 2511 BE, as well as releasing editions at other temples.
These amulets are the perfect and best second choice to the Pra Somdej Wat Rakang amulets made by Somdej Dto Prohmrangsri which have now become either unavailable, or too expensive to even consider renting.
The amulets of Luang Phu Nak are also a perfect reference material for the study of Muan Sarn Sacred Powders of the Wat Rakang Kositaram amulet of Somdej Pra Puttajarn (Dto) Prohmrangsri, due to the presence of large quantity of original Pra Somdej Somdej Pra Puttajarn (Dto) Prohmrangsri within the sacred clay of Luang Phu Nak’s amulets.
Luang Phu Nak’s first edition of amulets was made in 2485 BE along with the Pra Somdej Song Taewada Ok Dtan, the Pra Somdej Sam Liam (triangle shape), and the Pra Somdej Dto Nang Borigam models.
The Pra Somdej amulets made by Luang Phu Nak contained a massive quantity of crushed up Pra Somdej amulets made by Somdej Dto Prohmrangsri of Wat Rakang.
The amulets were from a repository which Luang Phu Nak had collected over the years, from Looksit who brought their broken amulets to return to the Temple, as well as a sackful he found in the roof of the Prayer Room (‘Bote’ in Thai). They are thus the second choice of those wishing to posess the magic of Pra Somdej Wat Rakang LP Dto Prohmrangsri.
Luang Phu Nak believed that the Pra Somdej amulets made by Somdej Dto had inimitable magical qualities and special power within the Muan Sarn (sacred powder used to make the amulets), and because of the meditative power of Somdej Dto who blessed them.
Therefore apart from being made by one of Thailands great gaeji Ajarn, and being an authentic ancient Wat Rakang Amulet, it is also Sacred for the fact that it contaiins original Somdej Dto Wat Rakang Amulets in the Sacred Powder mixture, rendering them powerful through the incantations and Yantra Inscriptions of Somdej Pra Puttajarn (Dto) Prohmrangsri himself, through transmission of Muan Sarn Sacred Powders.
In our opinion, the only main difference between this amulet and an original Somdej Dto is the price, and the face that the Somdej Dto amulets are perhaps more of something to brag about, which is not really the intended reason for owning an amulet. Sacred Thai Amulets are intended primarily as Puttanussadti (remembrance and respect to the Buddha), especially Pra Somdej.
The surface of the amulet is smooth to touch, and shows authenticity through its dryness and the signs of aging when examined using the criteria used by experts for authentication of sacred ancient amulets. This exhibit has a very crisp and clear relief and is highly defined, which is referred to in the special vocabulary of the amulet community as ‘Nuea Graeng’, which is a more marble-like domino-dense admixture which despite dryness, tends to have a shiny ‘wet-look’ to it. The other main type of texture used in amulet communities is ‘Nuea Jad’ meaning something like ‘very crisp detailed relief’
This Pra Somdej, apart from being made by one of Thailands great Gaeji Ajarn, and being an authentic ancient Wat Rakang Amulet, it is also Sacred for the fact that it contaiins original Somdej Dto Wat Rakang Amulets in the Sacred Powder mixture too. This also makes complete sense, with Luang Phu Nak being a subsequent Gaeji Ajarn of Wat Rakang Kositaram, and a Looksit of Somdej Pra Puttajarn (Dto) Prohmrangsri.
Luang Phu Nak’s amulets are of great popularity because they are a great alternative to the original and extremely expensive Somdej Dto amulets, and are considered to be powerful and sacred through their use of the broken amulets and powders of Somdej Pra Puttajarn (Dto) Prohmrangsri, and the blessings of Luang Phu Nak.
The chances of owning an amulet like this are becoming less and less in recent years, and soon it will be practically impossible to obtain authentic old Wat Rakang amulets. There are ever more collectors and ever less amulets on the market, and there is no higher esteemed amulet than the Pra Somdej Wat Rakang Kositaram family. The amulets were made using the following ingredients
Powder from the chalk sticks used in the making of Pong Saksit (sacred powder for amulet making), Rice fragments kept by Luang Por Dto, the 5 Sacred Powders of; 1. Pong Putta Kun, 2. Pong Bpatamang, 3. Pong Trinisinghae, 4. Pong Maha Rach, 5. Pong Itti Jae Powder
The chalks used in the making of the Bpatamang, Trinisinghe Maharach and Itijae powders were mixed with sacred water that squeezed from the leaves of seven kinds of Thai plant including Bai Tamlueng , Yord Sawad, Yod Ga Hlong, Yod Raksorn,Chaiyapruek, Rachapreuk and Dork Mali (jasmine).
All of the ingredients of the Wat Rakang amulets were mixed with;
Nuea Pong (powder substances), Klee Saema (broken pieces of temple wall stones, Gaesorn Sut Bongot (pollen from the Bongot lotus flower), Kluay Nam Tai (a kind of Thai banana) mixed with sap from the rubber tree (Yang Madtum), Plueak Hoy (white clam shells), Nam Man Jantr (jasmine oil), Nam Man Dtang Iw (aromatic resinous oil used to congeal and cement the amulet mix with).
One hundred and eight kinds of flowers collected by LP Dto Prohmrangsri, Sacred powders and pollens (Pong Saksit), Pong Bpatamang – Klaew Klaad Kong Grapan, (protection from injury and accidents), Pong Puttakun – for great charm and avoid danger (Maha Sanaeh and Klaew Klaad magic), Pong Tri Ni Singhe – attractiveness…., Pong Maha Rach – power and respect.
Pong Itijae Powder – Metta Mahaniyom – this increases the likability of the wearer of this magic, Sacred Flowers and magical plants, Dork Sawad – Metta Mahaniyom, Sanaeh, Dork Gahlong – love charm., Dork Raksorn – love and metta, Dork Ga Fag Rak – love and attraction charm…., Dork Chayapruek – power and protection from danger, Dork Rachapruek – Amnaj and Klaew Klaad (commanding power and avoid accidents), Dork Waanangkurm -Kong Grapan Klaew Klaad, Dork Waan – Klaew Klaad, Dork Waan Sanah Junkhao – charm and protection from danger.
Dork Wan Sanah Jundum – charm and protection from danger, Dork Wan Sanah Jundang – charm and protection from danger, Dork Wannangkuak – charm, Waan Pra Buddha Jaoluang – charm and protection from danger, Bai Plu Ruam Jai – charm, Bai Plu Song Tang – charm and protection from danger, Pong Gaesorn Ha Bua – five lotus pollens, Kesorn 108 – charm and protection from danger.
Luang Por Tong Sukh Intachoto, who was later bestowed the ecclesiastical title Pra Kroo Pinit Suttakun, was an immensely revered monk of Phetchaburi Province, and abbot of Wat Tanode Luang. He has long been revered by local communities and devotees in nearby regions, particularly among those who place faith in amulets connected with Maha Ud, Klaew Klaad (Pronounced ‘Klew Klaart’), Kong Grapan Chadtri (Pronounced ‘Kong-Grapan-Char-Tree) protection, invulnerability, and danger avoidance.
According to historical accounts consistently found across Thai-language sources, Luang Por Tong Sukh was a monk strict in monastic discipline and deeply accomplished in protective esoteric knowledge (wicha). His mastery belonged to a traditional central-Thai lineage emphasizing kong grapan, klaew klaat, and maha ud. He played a significant role in the administration, restoration, and support of Wat Tanode Luang during a period when social conditions were unstable and personal security was a major concern for the local population.
His reputation became especially prominent during the mid-20th century. At that time, his amulets were widely sought by individuals in high-risk professions such as local toughs, gunmen, police officers, and soldiers. This reflects the social realities of the era rather than an endorsement of such lifestyles, and provides historical context for the strong belief in the protective and invulnerable qualities attributed to his sacred objects.
The sacred amulets attributed to Luang Por Tong Sukh, that are consistently recognized in Thai sources can be categorized as follows.
First, coin amulets of Luang Por Tong Sukh. The most important and widely accepted is the second generation coin, created in Buddhist Era 2498 (1955). This coin is regarded as the principal amulet of the Wat Tanode Luang lineage. It was produced in several metals, including copper, silver, and gold. Copper examples are the most commonly encountered and are the most popular in the collector market.
A key point of classification is the die detail of the vowel “I” above Luang Por Tong Sukh’s name. These are divided into the “I touching the rim” type and the “I floating” type. The “I touching the rim” variety is regarded as the popular block and commands higher demand. The attributed powers repeatedly cited are maha udom, kong krapan, klaew klaat, and good fortune, with many experiential accounts traditionally associated with these coins, especially within Phetchaburi and surrounding provinces.
Second, takrud amulets. These include lacquer-coated takrud and takrud associated with protective and Sariga (celestial magpie pronounced ‘Saa-ri-gar) bird Wicha related traditions. They are typically metal sheets inscribed with sacred formulas, rolled into tubes, and coated with lacquer or ritual substances according to established formulas. Their primary attributed qualities are protection, danger avoidance, and charm. Sizes and forms vary depending on the period of creation.
Third, look om and look sakot krang. These are small bead-like charms made from lacquer or herbal mixtures prepared according to traditional methods. They are intended for personal carrying and are believed to provide general protection and safety. These items are usually handmade and do not follow standardized molds.
Fourth, krang-based powder amulets. These are folk-style molded amulets made from powder or lacquer-based materials. Thai sources describe them as having been distributed on specific occasions within the temple or to close disciples, rather than produced in large commercial quantities.
After the passing of Luang Por Tong Sukh, the lineage of his wicha at Wat Tanode Luang continued through his principal disciple, Luang Por Phaeo. Luang Por Phaeo was the prime apprentice (looksīt) of Luang Por Tong Sukh and later became abbot of Wat Tanode Luang. He is widely recognized as the direct inheritor of Luang Por Tong Sukh’s ritual knowledge, protective formulas, and consecration methods, ensuring continuity of the temple’s spiritual lineage rather than a break or reinvention.
Luang Por Phaeo’s role was not merely administrative. Thai sources consistently describe him as actively practicing and transmitting the same core wicha of protection and invulnerability learned directly from his master. This continuity is an important factor in how collectors and devotees understand the posthumous legacy of Luang Por Tong Sukh.
The sacred objects of Luang Por Phaeo of Wat Tanode Luang, as recognized in Thai collector circles, include coin amulets issued during his abbacy, takrud prepared according to the Wat Tanode Luang lineage, and other consecrated objects created for temple construction, merit-making, or specific ceremonial occasions. These items are generally regarded as lineage extensions rather than substitutes for the original-era amulets of Luang Por Tong Sukh and their value and status are assessed accordingly.
Within the Thai amulet market, Luang Por Tong Sukh’s amulets—especially the second generation coin—are firmly established as core items of the Phetchaburi lineage. They are often sought as companion pieces to the first generation coin of Luang Por Daeng of Wat Khao Bandai-It, a contemporary monk from the same regional and temporal sphere of belief.
Market value varies greatly depending on condition, metal, and die type. Coins in original, well-preserved condition and of popular dies command significantly higher value. Price figures commonly cited in Thai sources function as general market references rather than fixed or guaranteed valuations.
Luang Por Tong Sukh (official name: Pra Kroo Pinit Suttakun) of Wat Tanode Luang, was a historically famous and incredibly highly revered holy sorcerer-monk, whose amulets possess a distinct lineage identity, focused and centered on his famous protective wicha. That lineage continued directly through his prime disciple Luang Por Phaeo, ensuring continuity of ritual mastery and consecration practice at Wat Tanode Luang. The information presented here represents the core body of knowledge consistently shared across Thai language sources and reflects the generally accepted framework within the Thai amulet community.
The Somdej Wat Rakang Jaek Taan (First Edition, 2011): Origins, Significance, and Cultural Legacy
Thai sacred amulets (phra khrueang rang) hold profound religious and cultural importance in Thailand. These objects symbolize deep faith and are widely believed to confer blessings and protective qualities upon devotees who worship them. Beyond their spiritual role, such amulets have historically been instrumental in fundraising initiatives to support the maintenance and activities of Buddhist temples. In exchange for monetary or material donations, temples often bestow these amulets as tokens of gratitude. Over time, however, these objects have come to be regarded not merely as symbolic gifts but as items imbued with auspicious qualities capable of influencing various aspects of life. Moreover, it has long been a traditional practice to place amulets within the foundations of stupas or temple structures during construction. When these structures deteriorate over time, ancient amulets from past centuries are occasionally unearthed, further enhancing their historical and cultural significance. As such, Thai amulets are not merely religious artifacts but also enduring symbols of historical and spiritual heritage.
Among the various categories of Thai sacred amulets, the “Somdej” amulet stands out as one of the most revered and highly esteemed, often referred to as the “King of Amulets.” This type of amulet is intrinsically linked to the venerated figure of Somdej Phra Phutthachan (To Phrommarangsi) of Wat Rakang Kositaram, an influential and widely respected monk in Thai Buddhist history. Consequently, the Somdej amulet represents not only an object of devotion but also a confluence of cultural narratives, artistic craftsmanship, and the enduring legacy of one of Thai Buddhism’s most celebrated figures.
This report delves into the analysis of the Somdej Wat Rakang Jaek Taan (First Edition, 2011), an amulet of considerable interest among both devotees and collectors. The discussion encompasses its origins, the significance of its nomenclature, the revered monks involved in its consecration, the materials used in its creation, its defining characteristics, and its current relevance in the Thai sacred amulet community. By exploring these aspects, this analysis seeks to illuminate the cultural and spiritual value of the Somdej Wat Rakang Jaek Taan (First Edition, 2011) within the broader context of Thai sacred amulet traditions.
Understanding the Tradition of Somdej Amulets The Somdej amulet category is recognized as one of the most powerful and spiritually significant types of Thai sacred amulets. Often regarded as the pinnacle of amulet craftsmanship and faith, these objects are believed to have been created by Somdej Phra Phutthachan (To Phrommarangsi) of Wat Rakang Kositaram during the 19th century. Somdej To, as he is colloquially known, was born on April 17, 1788, and passed away on June 22, 1872. His legacy, particularly during the Rattanakosin period, has cemented his reputation as one of the most venerated monks in Thailand’s history. Revered for his spiritual powers and extensive contributions to Buddhism, his amulets remain highly sought after to this day.
Somdej To’s close association with the Thai royal family played a pivotal role in elevating his status and the prominence of the amulets he created. Historical accounts highlight his connections with King Rama II and his mentorship of Prince Mongkut, who later ascended the throne as King Rama IV. The royal patronage bestowed upon Somdej To enhanced both his personal reputation and the prestige of the amulets attributed to him.
Devotees widely believe that Somdej amulets possess profound spiritual power, granting blessings, protection from harm, and prosperity to those who carry them. These beliefs stem from the compelling accounts of Somdej To’s piety, meditation skills, eloquence in teaching Buddhist principles, and deep knowledge of the Dharma. These qualities have imbued his amulets with a sacred aura, drawing devotees and collectors alike to their symbolic and spiritual significance.
The original materials employed in the creation of Somdej amulets during Somdej To’s lifetime included powdered seashells, lime powder, and sacred “magic powders” (pong wises), among others. The incorporation of these materials creates a tangible connection between past and present, reinforcing the continuity of sacred traditions and practices. Consequently, Somdet Wat Rakang amulets are regarded as invaluable cultural and spiritual artifacts, commanding high respect and desirability in collector circles.
Analysis of the Name: “Jaek Taan (First Edition, 2011)” The name Somdet Wat Rakang Jaek Taan (First Edition, 2011) comprises several key elements that provide insights into its origin and purpose. The term Somdet denotes the specific category of amulet closely associated with Somdet Phra Phutthachan (To Phrommarangsi). The phrase Wat Rakang refers to Wat Rakang Kositaram, a historically significant temple in Bangkok that shares a profound connection with Somdet To.
The phrase Jaek Taan translates to “distribution of offerings” or “charitable giving,” highlighting the altruistic intent behind the creation of this amulet. This term suggests that the amulet was produced as part of a charitable initiative, likely distributed to donors who supported temple activities or other philanthropic projects. The inclusion of Jaek Taan in the name emphasizes the amulet’s role in promoting generosity and the accrual of merit, core principles in Buddhist practice.
The designation “First Edition, 2011” specifies that this amulet represents the inaugural release of its particular design or series, produced in the Buddhist year 2554 (2011 CE). First-edition amulets often hold special significance for collectors, symbolizing the commencement of a new series or tradition. The explicit reference to its first edition reinforces the unique status and authenticity of this specific amulet, enhancing its appeal within the sacred amulet community.
The Historical Significance of Wat Rakang Kositaram
Wat Rakang Kositaram, located in Bangkok, boasts a history that dates back to the Ayutthaya period. Originally known as Wat Bang Wa Yai, the temple underwent significant restoration and was elevated to the status of a royal temple during the reign of King Taksin the Great. Later, under the rule of King Rama I, the temple gained its current name, which translates to “Temple of the Bells,” after the discovery of a melodious bell on its grounds. The bell was relocated to Wat Phra Kaew, and five new bells were gifted to Wat Rakang, solidifying its name and historical identity.
Wat Rakang holds immense significance in Thai Buddhist history, particularly as the residence of Somdet Phra Phutthachan (To Phrommarangsi) during his tenure as abbot from 1852 to 1872. This period, often referred to as the temple’s golden age, marked the widespread recognition and reverence of Somdet amulets. The enduring association of Wat Rakang with Somdet To has cemented its status as a focal point for the tradition of Somdet amulets and its cultural legacy.
The Revered Legend of Phra Somdej Wat Rakhang: A Scholarly Examination of its Origins, Significance, and Enduring Legacy
Phra Somdej Wat Rakhang, often hailed as the “King of Amulets” within Thailand, stands as an icon of profound cultural and religious significance. Its very name evokes a sense of history, spirituality, and the revered figure of Somdej Phra Phutthachan (To) Phrommarangsi, the esteemed monk credited with its creation. This amulet is not merely an object of veneration but represents a deep-seated cultural narrative interwoven with faith, artistry, and the legacy of one of Thailand’s most respected Buddhist figures. This report aims to provide a comprehensive and scholarly examination of the legend surrounding Phra Somdej Wat Rakhang, delving into the life of its creator, the history of its sacred origins, the intricate details of its making, the diverse forms it takes, and the myriad stories of its perceived miraculous power. The enduring reverence for this amulet across all levels of Thai society underscores its unique position as a unifying symbol within Thai Buddhism.
The narrative of Phra Somdej Wat Rakhang is inextricably linked to the life and times of Somdej Phra Phutthachan (To) Phrommarangsi, a monk whose influence permeated Thai society during the early to mid-Rattanakosin period. Born in Ayutthaya on April 17, 1788 (B.E. 2331) during the reign of King Rama I, his early life is shrouded in some mystery, with varying accounts suggesting a possible connection to the royal lineage, either as an unacknowledged son of King Rama I or King Rama II 4. At the age of 13, he embarked on his monastic journey, taking his novice vows in Phichit before moving to study Buddhist scriptures in the centers of learning at Chainat and Bangkok. His exceptional piety and intellectual prowess garnered royal attention, leading to his royal ordination as a monk at the esteemed Wat Phra Si Rattana Satsadaram (Temple of the Emerald Buddha) at the age of 20, where he received the monastic name “Phrommarangsi”. The differing accounts surrounding his parentage, particularly the potential for royal blood, likely contributed to the elevated regard in which he was held throughout his life 6. This element of ambiguity in his early history only adds to the mystique surrounding this revered figure.
Somdej Pra Puttajarn (Dto) Prohmrangsri Wat Sadter Amulets
Somdej Toh’s dedication to his monastic studies was evident in his rapid acquisition of knowledge and the high praise he received from his teachers, including the venerable Sangkharat Suk. He embraced ascetic practices, adhering strictly to the traditional dhutanga, which included eating only from his alms bowl, possessing a mere three robes, and engaging in meditative practices in secluded and often challenging environments such as cemeteries. Despite his profound understanding of Buddhist scriptures, he initially displayed a notable disinterest in pursuing high monastic ranks during the reign of King Rama III, preferring the simple designation of “Phra Maha To”.
This reluctance to seek worldly recognition for his spiritual achievements underscores his focus on inner development. However, the reign of King Rama IV marked a turning point. The King held Somdej Toh in great esteem, and in 1852 (B.E. 2395), at the age of 65, bestowed upon him his first official monastic title, “Phra Thammakiti,” concurrently appointing him as the abbot of the historically significant Wat Rakhang. His ascent within the Sangha continued, with promotions to “Phra Thep Krawee” in 1854 (B.E. 2397) and ultimately to the highest monastic rank of “Somdej Phra Phutthachan” in 1864 (B.E. 2407). Somdej Toh’s initial resistance to formal titles, followed by his eventual acceptance and rapid progression under King Rama IV, reveals a nuanced relationship with authority. It suggests a leader who prioritized spiritual practice yet recognized the potential to serve the Buddhist community more effectively from a position of influence, particularly under the patronage of a supportive monarch.
Somdej Dto with the famous Pra Somdej Gang Pla amulet of the Kru Tap Khaw Hiding Place Find
Somdej Toh’s contributions to Buddhism extended far beyond his administrative roles. He was widely celebrated as an exceptional preacher and teacher of the Dharma, considered unparalleled in the Siam of his time, and known for his distinctive and engaging teaching methods. A significant aspect of his legacy is his rediscovery and popularization of the Chinabanchorn Katha, a powerful Buddhist prayer. Recognizing the ancient text’s profound spiritual efficacy, he adapted and simplified it, making it more accessible for contemporary recitation by the laity. Furthermore, Somdej Toh was a driving force behind the construction and restoration of numerous temples and Buddha images across Thailand. His patronage extended to significant projects such as the massive Buddha image at Wat Intharawihan (Wat Bangkhunprom Nai) in Bangkok, the revered reclining Buddha at Wat Satoe in Ayutthaya, and the large Buddha image at Wat Chaiyo in Ang Thong. His life, dedicated to the propagation and preservation of Buddhist teachings and sacred sites, came to a close in 1872 (B.E. 2415) during the reign of King Rama V, at the venerable age of 84. Somdej Toh’s multifaceted contributions as a teacher, builder, and spiritual leader underscore his profound dedication to the flourishing of Buddhism in Thailand, placing the creation of Phra Somdej within the broader context of his remarkable life and work.
Somdej Pra Puttajarn (Dto) Prohmrangsri Wat Rakang Kositaram
The origins of Phra Somdej Wat Rakhang are deeply rooted in the history and sanctity of Wat Rakhang Khositaram Woramahawihan itself. The temple’s history traces back to the Ayutthaya period, where it was originally known as Wat Bang Wa Yai, situated in proximity to Wat Bang Wa Noi (later known as Wat Amarinthraram). Its status was elevated during the Thonburi period under King Taksin, who established his royal palace near the temple, recognizing its importance and bestowing upon it the status of a royal temple. A significant event in the temple’s history occurred during the reign of King Rama I in the early Rattanakosin period. An ancient bell with a particularly melodious sound was discovered within the temple grounds. This discovery led to the temple being renamed Wat Rakhang, meaning “Temple of the Bell”. King Rama I, recognizing the bell’s unique quality, had it moved to Wat Phra Si Rattana Satsadaram but compensated Wat Rakhang by commissioning five new bells for the temple. Wat Rakhang also enjoyed the patronage of King Rama I’s sister, Princess Thepsudawadi, who, along with the King, oversaw significant restoration efforts at the temple. Further highlighting its religious significance, Wat Rakhang served as a primary residence for the Supreme Patriarch during the early Rattanakosin period, with Somdej Sangkharat Si holding the distinction of being the first Supreme Patriarch of Bangkok to reside there. The temple’s deep historical roots and its close association with the early Rattanakosin dynasty underscore its pivotal role in the religious and political landscape of the time, establishing it as a sacred and historically significant location.
The connection between Somdej Phra Phutthachan (To) and Wat Rakhang solidified when he was appointed as the sixth abbot of the temple in 1852 (B.E. 2395) during the reign of King Rama IV. His tenure as abbot is widely regarded as a golden era for Wat Rakhang, a period marked by his profound spiritual influence and, most notably, the creation of the Phra Somdej amulet. Even before Somdej Toh’s abbacy, Wat Rakhang housed significant structures with royal connections, such as the Ho Phra Trai Pidok (Tripitaka Hall). This hall, a beautiful example of Thai architecture, was originally King Rama I’s residence during the Thonburi period before being moved to Wat Rakhang and renovated at his command to serve as the temple’s scripture hall. The murals adorning the interior of this hall are particularly noteworthy for their artistic and historical value. The strong and enduring association between Somdej Toh and Wat Rakhang is perhaps best exemplified by his popular appellation, “Somdej Wat Rakhang”. This almost synonymous relationship underscores the temple as the central stage for his most significant contributions, with his long period as abbot firmly cementing this connection in the collective memory and highlighting Wat Rakhang as the birthplace of the revered Phra Somdej legend.
The genesis of the Phra Somdej Wat Rakhang legend is attributed to Somdej Toh’s inspiration drawn from the ancient traditions of Buddhist monks who created amulets as a means to preserve and propagate the teachings of the Buddha. These venerable practices often involved embedding sacred objects within the structures of pagodas and other religious monuments. It is also believed that Somdej Toh’s inspiration may have been kindled by his discovery of ancient amulets during a visit to his relatives in Kamphaeng Phet around 1849 (B.E. 2392), a city renowned for its rich history of producing sacred amulets. His primary motivation in creating the Phra Somdej was to provide a tangible spiritual anchor for people, guiding them towards virtuous actions and away from harmful ones, while also encouraging the practices of prayer and adherence to the principles of the Eightfold Path. The very form of the Phra Somdej, a rectangular tablet featuring an image of the Buddha, is seen by many as a symbolic representation of Buddhist cosmology, with the earth as the foundation and the Buddha figure embodying enlightenment. Additionally, historical accounts suggest that some Phra Somdej amulets were created to commemorate specific auspicious occasions or as tokens of gratitude for donors who provided financial support for various temple projects. The diverse motivations behind the creation of Phra Somdej reveal a multifaceted intention, encompassing the preservation of Buddhist heritage, the provision of moral and spiritual guidance, and the practical needs of the temple community.
Wat Rakang Kositaram Woramahaviharn Temple, in Bangkok.
The creation of Phra Somdej Wat Rakhang was not a singular event but rather a process that unfolded over several distinct periods, generally categorized as the early, middle, and late eras. These periods roughly correspond to the reigns of Kings Rama III, IV, and V, although some historical accounts suggest an even earlier commencement of amulet production during the reign of King Rama II, around 1812 (B.E. 2355). The early period, likely during the reign of King Rama III, saw the creation of Phra Somdej using simpler molds, possibly crafted by local artisans or even by Somdej Toh himself. These early amulets often exhibit a less refined appearance compared to later examples, lacking the sharp definition and intricate details that would become characteristic of subsequent molds. The middle period, coinciding with the reign of King Rama IV, witnessed the development of more refined molds and a greater variety of designs. It was during this time that the iconic Phim Prok Pho (Bodhi Leaf Covered Mold) is believed to have been introduced. The late period, occurring during the reign of King Rama V, is notable for the involvement of Luang Vicharn Chearanai, a royal goldsmith, who crafted more elaborate and standardized molds. This is particularly significant around 1866 (B.E. 2409), with the ambitious intention of producing 84,000 Phra Somdej amulets. The extended timeline of Phra Somdej’s creation and the evolution of the molds employed reflect a gradual refinement in both the amulet’s form and its perceived significance. The engagement of a royal artisan in the later period underscores the increasing prestige and importance of the amulet, aligning with Somdej Toh’s own growing stature within the religious and royal spheres. The intended large-scale production in the later years suggests a burgeoning demand and widespread recognition of the amulet’s spiritual power and cultural value.
Phra Somdej Wat Rakhang Kes Talu Sum
The creation of Phra Somdej Wat Rakhang involved a meticulous selection and combination of sacred materials, each imbued with its own spiritual significance and often sourced from revered locations. The primary binding agent and a key component of the amulet’s substance was white lime, derived from the burning of seashells. Various types of lime, including limestone and “poon phet” (diamond lime), were also incorporated into the mixture. Central to the spiritual potency of Phra Somdej are the five sacred powders, collectively known as Pong Wised Ha Praphet. These include Pong Pathamang, believed to confer invulnerability; Pong Itthije, associated with popularity and kindness; Pong Maharach, thought to bestow authority and power; Pong Phutthakhun, representing general merit and the virtues of the Buddha; and Pong Trinisinghe, known for its power to attract and charm. The creation of these powders was a ritualistic process, involving the inscription and erasure of sacred formulas on slate boards, often performed within the consecrated space of the temple’s main prayer hall. In addition to these core ingredients, other sacred materials were commonly included, such as burnt rice collected from the bottom of Somdej Toh’s alms bowl, various types of sacred soils gathered from seven forests, seven salt licks, and the pillars of important cities, pollen from 108 different types of flowers, and fragments of old, broken amulets, including those from the historically significant amulet-producing region of Kamphaeng Phet. The careful and deliberate selection of these diverse materials, each carrying its own symbolic weight and perceived spiritual power, underscores the profound intention behind the creation of Phra Somdej Wat Rakhang. The inclusion of substances from revered sites and fragments of previous sacred objects suggests a desire to amplify the amulet’s spiritual efficacy and connect it to a broader lineage of sacred power.
To bind these diverse materials together, Somdej Toh employed natural binding agents such as tang oil (tung oil), honey, and mashed banana 33. Sugar cane juice was also occasionally used as a binding agent. Furthermore, the amulets often contained other significant items that held personal and spiritual meaning, such as remnants of saffron robes worn by monks, fragrant incense ash collected from temple altars, and even food offered to monks, particularly leftover rice and ripe bananas that Somdej Toh himself would dry and grind into the mixture. Less common but still notable ingredients included paper pulp, derived from soaking straw or mulberry paper, betel nut residue from Somdej Toh’s own chewing, and various types of auspicious woods and medicinal herbs believed to possess protective and beneficial properties. The inclusion of these everyday items, particularly those directly associated with Somdej Toh’s personal practices and the temple’s rituals, suggests a deep and intimate connection between the creator and the creation of the amulets. It reinforces the notion that the sacredness of Phra Somdej originates not solely from rare or exotic materials but also from the blessings, intentions, and personal touch of Somdej Toh, imbuing even seemingly mundane substances with spiritual significance through his dedication and prayers.
The traditional process of crafting Phra Somdej Wat Rakhang was a hands-on and deliberate undertaking, reflecting the personal involvement of Somdej Toh in the creation of these sacred objects. The various sacred materials and binding agents were meticulously mixed and pounded together in a mortar until they formed a cohesive, clay-like substance. This mixture was then carefully shaped into rectangular tablets, often referred to as “chin fak,” a term that likens their form to pieces of winter melon. These tablets were subsequently pressed firmly into molds, which were typically made of slate, stone, or occasionally wood. After pressing, the edges of the amulets were meticulously trimmed into a neat rectangular shape using a thin, sharp bamboo tool traditionally employed for the delicate art of weaving flowers. To ensure the clay filled the mold completely and to eliminate any air pockets, a flat wooden board was often placed behind the mold, and gentle tapping with another piece of wood or a hard object was applied to the back. This relatively simple yet careful creation process underscores the personal dedication and intention that Somdej Toh invested in each Phra Somdej amulet. The direct connection between the revered monk and the crafting of these sacred objects likely contributed significantly to their subsequent revered status and the strong belief in their inherent sacredness.
Beyond the physical creation, the spiritual efficacy of Phra Somdej Wat Rakhang is deeply attributed to the rituals and blessings bestowed upon them by Somdej Toh himself. It is widely believed that Somdej Toh personally blessed each amulet through his extensive meditative practices and the recitation of powerful sacred incantations. A particularly significant aspect of these blessings was the prominent use of the Chinabanchorn Katha, the powerful Buddhist prayer that Somdej Toh had popularized. This Katha is believed to imbue the amulets with profound protective qualities, safeguarding the wearer from harm and misfortune. Historical accounts also describe Somdej Toh placing the newly created amulets in bowls or baskets within the temple’s main prayer hall, positioning them in front of sacred Buddha images, and connecting them with a sacred thread known as “sai sin.” This thread was believed to channel the blessings and sacred vibrations emanating from the Buddha images to the amulets during monastic chanting sessions. Notably, Phra Somdej amulets were primarily created for distribution directly to devotees as acts of merit and spiritual guidance, rather than being stored or buried within temple crypts. It is estimated that Somdej Toh created a vast number of these amulets, potentially as many as 84,000, a figure that aligns with the traditional number of teachings within the Buddhist canon. The direct involvement of Somdej Toh in both the creation and the blessing of Phra Somdej, particularly through the powerful Chinabanchorn Katha, is central to their perceived efficacy and sacredness. The act of personally distributing them to devotees further emphasizes their intended purpose as objects of faith, protection, and spiritual benefit for the wider community.
Phra Somdej Wat Rakhang is not a monolithic entity but rather exists in several distinct forms, known as Phim (molds), each possessing its own unique characteristics and often associated with different periods of creation. The five widely recognized standard molds, revered by collectors and devotees alike, are Phim Yai (พิมพ์ใหญ่), Phim Song Chedi (พิมพ์ทรงเจดีย์), Phim Ket Bua Toom (พิมพ์เกศบัวตูม), Phim Than Saem (พิมพ์ฐานแซม), and Phim Prok Pho (พิมพ์ปรกโพธิ์) 31. These different molds not only represent variations in artistic style but also potentially reflect the evolution of the amulet’s design and production over time. The existence of these distinct forms underscores a deliberate artistic and possibly symbolic progression in the creation of Phra Somdej, providing a rich tapestry of visual diversity for those who study and collect these sacred objects.
The Phim Yai (พิมพ์ใหญ่), translating to “Grand Mold” or “Principal Mold,” holds the distinction of being the most popular and highly regarded among the five main Phim. It is often referred to as the “Phim Pra Prathan,” signifying its representation of the Principal Buddha Image. The general characteristics of Phim Yai include a depiction of the Buddha seated in a cross-legged meditative posture atop a three-tiered base. Early examples of this mold often lack intricate facial details 54. However, later iterations, particularly those attributed to the royal goldsmith Luang Vicharn Chearanai, tend to exhibit more defined features. Within the Phim Yai category, several variations exist, most notably differences in the style of the Buddha’s chest, classified as Ok Wi (อกวี – V-chest) and Ok Krabok (อกกระบอก – cylindrical chest), as well as the presence or absence of a subtle horizontal line beneath the Buddha’s lap, known as Sen Saem Tai Na Tap (เส้นแซมใต้หน้าตัก). Experts in the field have further identified up to four distinct sub-variations within the Phim Yai mold, based on minute differences in the lines, curves, and overall proportions of the Buddha figure and the surrounding arch. The existence of these numerous variations within the Phim Yai mold suggests a continuous process of refinement and evolution of this most popular design. These subtle distinctions are highly valued by collectors and serve as crucial identifiers for determining the authenticity and approximate age of individual Phim Yai amulets, reflecting the deep level of scrutiny and nuanced understanding applied to this primary mold by amulet enthusiasts.
The Phim Song Chedi (พิมพ์ทรงเจดีย์), translating to “Chedi Shaped Mold” or “Stupa Shaped Mold,” is characterized by the depiction of a stupa-like structure (chedi) situated above the image of the Buddha. This chedi symbolizes the relics and the teachings of the Buddha, adding a distinct symbolic layer to this particular mold. Notably, the size of Phim Song Chedi amulets can vary; some examples are larger than certain variations of the Phim Yai, while others are smaller and referred to as Phim Yom (พิมพ์ย่อม – smaller version). Specific identifying features of this mold include a smaller and more slender arch (Sen Sum Krop Kaew – เส้นซุ้มครอบแก้ว) compared to the Phim Yai, and a pointed tip on the second tier of the base, often referred to as “Hua Rua Iam Chun,” a term that evocatively describes its resemblance to the prow of a small traditional boat. The distinctive chedi shape clearly distinguishes this mold, while the variations in size and the specific details of the arch and base provide further characteristics for identification and appreciation by collectors.
The Phim Ket Bua Toom (พิมพ์เกศบัวตูม), translating to “Lotus Bud Topknot Mold,” is readily identifiable by the distinctive lotus bud-shaped topknot (Yot Ket Muean Bua Toom – ยอดเกศเหมือนบัวตูม) that adorns the Buddha’s head. This lotus bud shape is a powerful symbol of purity and the potential for spiritual enlightenment within Buddhism. Amulets of this mold often feature a thicker and more rounded arch (Sen Sum Krop Kaew) surrounding the Buddha figure, and the earlobes (Phra Kan – พระกรรณ) sometimes exhibit an outward curve, resembling the graceful shape of “Bai Sri,” traditional ceremonial decorations, adding an element of elegance to the overall design. Within the Phim Ket Bua Toom category, variations exist, most notably the “Than Singh Kwang” (ฐานสิงห์กว้าง – wide lion base) and “Than Singh Khaep” (ฐานสิงห์แคบ – narrow lion base). These terms refer to the shape and width of the second tier of the base, which is designed to resemble the paws of a lion, a symbol of strength and majesty. The unique lotus bud topknot and the variations in the base design, along with the distinctive arch and earlobes, contribute to the aesthetic diversity and symbolic richness of the Phim Ket Bua Toom mold, making it a cherished form among collectors and devotees.
The Phim Than Saem (พิมพ์ฐานแซม), translating to “Layered Base Mold,” is characterized by the presence of additional, smaller tiers (Than Saem – ฐานแซม) that are inserted between or below the main three-tiered base of the Buddha image. These “saem” tiers often appear as subtle protrusions or additions to the standard base structure. Compared to the more robust figures found in other Phim, the Buddha figure in the Phim Than Saem generally exhibits a more slender and elegant artistic style. Variations within this mold include differences in the number and prominence of the “saem” tiers, with some amulets displaying more pronounced additions than others 63. The layered base is believed by many to carry symbolic meaning related to the different levels of Buddhist teachings or stages of spiritual attainment, representing a more complex and nuanced understanding of Buddhist philosophy. The variations observed in the “saem” tiers may reflect differences in the mold’s origin or intended symbolism, possibly representing specific interpretations of Buddhist principles or the artistic preferences of the mold maker.
The Phim Prok Pho (พิมพ์ปรกโพธิ์), translating to “Bodhi Leaf Covered Mold,” is distinguished by the depiction of Bodhi leaves (Bai Pho – ใบโพธิ์) that surround the image of the Buddha 29. These leaves directly reference the pivotal moment of the Buddha’s enlightenment under the Bodhi tree, making this mold particularly symbolic of spiritual awakening. Variations exist in the number of leaves depicted, with common arrangements including six, seven, eight, or nine leaves on each side of the Buddha figure. Some interpretations associate the number of leaves with the age of Somdej Toh during the time the amulet was created. Notably, this mold sometimes appears in combination with other characteristic features, such as a layered base (Phim Than Saem) or a lotus bud topknot (Phim Ket Bua Toom), blending symbolic elements from different mold types. The inclusion of the Bodhi leaves directly links the amulet to the foundational narrative of Buddhism, while the variations in leaf number and the combination with other mold features add layers of symbolic meaning and artistic diversity to this revered form.
The legend of Phra Somdej Wat Rakhang is further enriched by a multitude of stories, legends, and perceived miracles associated with the amulet, illustrating its profound impact on the lives and faith of devotees. Numerous accounts exist of individuals who have miraculously survived accidents, recovered from severe illnesses such as cholera, and escaped other life-threatening dangers, all attributed to the protective power and sacred blessings of Phra Somdej. One particularly well-known tale recounts the story of a woman named Thup who, during a major cholera epidemic in Bangkok in 1873 (B.E. 2416), made a remarkable recovery after consuming water that had been blessed by a Phra Somdej amulet. The amulet is also widely believed to offer potent protection against black magic, malevolent spirits, and various forms of negative energies and curses. These narratives of miraculous protection and recovery are central to the amulet’s enduring legendary status, fueling the unwavering faith of those who venerate it. They transform the Phra Somdej from a mere religious artifact into a tangible source of spiritual intervention and a powerful symbol of hope and resilience in the face of life’s challenges.
Beyond protection, Phra Somdej Wat Rakhang is strongly associated with the power of Metta, or loving-kindness. It is a widespread belief that possessing and venerating the amulet fosters loving-kindness within the wearer, attracting kindness, assistance, and popularity from those around them. Furthermore, the amulet is believed to bring good fortune, facilitate career advancement, promote financial success, and contribute to overall prosperity in life. Many devotees believe that Phra Somdej helps to attract positive opportunities and material wealth into their lives. The attribution of both protective qualities and the ability to attract Metta and prosperity highlights the multifaceted benefits associated with the amulet, extending its influence beyond safeguarding from harm into the realm of everyday well-being and aspirations for success and happiness. This dual appeal makes Phra Somdej Wat Rakhang a highly sought-after amulet for those seeking both spiritual and worldly blessings.
Adding to the rich tapestry of the Phra Somdej legend are the numerous personal experiences reported by devotees. Many individuals recount feeling a distinct sense of coolness, profound peace, or a tangible spiritual energy emanating from the amulet when they hold or wear it. These personal sensations are often interpreted as direct evidence of the amulet’s sacred power and its connection to Somdej Toh’s spiritual presence. Ultimately, the perceived power and efficacy of Phra Somdej Wat Rakhang are deeply personal and intrinsically linked to the individual’s faith, devotion, and adherence to Buddhist principles. These subjective experiences serve to strengthen the devotee’s connection to the amulet and its creator, solidifying their belief in its power and fostering a deeper sense of spiritual reassurance and connection to the sacred.
In conclusion, the legend of Phra Somdej Wat Rakhang stands as a testament to the enduring power of faith, the artistry of sacred objects, and the lasting legacy of a truly remarkable spiritual figure. Revered as the “King of Amulets,” Phra Somdej embodies not only the spiritual prowess of Somdej Phra Phutthachan (To) Phrommarangsi but also the rich history and deep-seated religious beliefs of Thailand. From the enigmatic details of Somdej Toh’s early life and his eventual rise to the highest echelons of the Sangha, to the sacred history of Wat Rakhang and the meticulous process of the amulet’s creation using a unique blend of sacred materials and blessed through potent rituals, the story of Phra Somdej is a captivating narrative. The diverse forms of the amulet, each with its distinct characteristics and symbolic nuances, and the countless stories of its perceived miracles, all contribute to its unparalleled status and enduring appeal. Phra Somdej Wat Rakhang remains more than just a religious artifact; it is a powerful symbol of faith, protection, artistry, and the enduring spiritual heritage of Thailand.
Table: Chronology of Somdej Phra Phutthachan (To) Phrommarangsi’s Life and Key Events
Year (B.E.)
Year (C.E.)
Age
Key Event
Source Snippet(s)
2331
1788
0
Birth in Ayutthaya
4
2343
1800
12
Ordination as a novice in Phichit
4
2350
1807
19
Royal patronage for ordination
6
2351
1808
20
Royal ordination as a monk at Wat Phra Si Rattana Satsadaram
4
2395
1852
65
Appointed Abbot of Wat Rakhang and given the title Phra Thammakiti
4
2397
1854
67
Promoted to Phra Thep Krawee
4
2407
1864
76
Elevated to Somdej Phra Phutthachan
4
2415
1872
84
Passing
6
Table: The Five Main Phim (Molds) of Phra Somdej Wat Rakhang and Their Key Characteristics
Phim Name (Thai)
Phim Name (English Translation)
Defining Characteristics
Associated Symbolism
Source Snippet(s)
พิมพ์ใหญ่
Grand/Principal Mold
Buddha seated in meditation, three-tiered base, variations in chest style and base details
Represents the Principal Buddha Image
33
พิมพ์ทรงเจดีย์
Chedi/Stupa Shaped Mold
Stupa depicted above the Buddha, smaller arch, pointed tip on the second base tier
Symbolizes Buddhist monuments and the preservation of Dharma
29
พิมพ์เกศบัวตูม
Lotus Bud Topknot Mold
Lotus bud-shaped topknot, often thicker arch, earlobes resembling Bai Sri, variations in base (wide/narrow lion base)
Lotus bud symbolizes purity and enlightenment
29
พิมพ์ฐานแซม
Layered Base Mold
Additional smaller tiers inserted in or below the main base, more slender Buddha figure
Layered base may symbolize different levels of Buddhist teachings
29
พิมพ์ปรกโพธิ์
Bodhi Leaf Covered Mold
Bodhi leaves surrounding the Buddha image, variations in the number of leaves, sometimes combined with other Phim features
The Main Powers of Thai Amulets are chiefly considered to be among the following;
Thai amulets and their powers, which are deeply intertwined with the country’s culture and Buddhist traditions, are believed to amulets which possess various powers that can help protect, heal, and improve the lives of those who wear them. These powers are derived from centuries of spiritual practices and teachings, and are often linked to the blessing of monks or spiritual leaders who imbue the amulets with sacred energy. While there are many different types of Thai amulets, the most common powers they embody are Maha Sanaeh, Metta Maha Niyom, Kong Grapan Chadtri, Maha Lap, Serm Duang, Serm Yos, Maha Amnaj, Gae Aathan, and Serm Baramee. Each of these powers addresses a specific need, offering protection, good fortune, love, and spiritual growth to the wearer.
1. Maha Sanaeh (มหาสเน่ห์) – Power of Attraction and Personal Magnetism
The term Maha Sanaeh is a combination of two words: Maha, meaning “great” or “powerful,” and Sanaeh, meaning “affection” or “charm.” In the context of Thai amulets, it refers to the power of attraction and personal magnetism. Wearing a Maha Sanaeh amulet is believed to help the wearer attract affection, admiration, and attention from others. It can be particularly helpful in love and relationships, where it is believed to enhance one’s personal charm and increase their influence over others. Beyond romance, Maha Sanaeh can also be used to gain favor in professional or social situations, boosting one’s ability to create positive connections.
2. Metta Maha Niyom (เมตตาหมายนิยม) – Power of Loving-Kindness and Favor
Metta means “loving-kindness” or “compassion” in Pali, while Maha means “great,” and Niyom refers to being favored or admired. When combined, Metta Maha Niyom signifies a great form of loving-kindness that draws favor, admiration, and affection from others. In the context of amulets, these are often used to help the wearer cultivate positive relationships and foster harmonious interactions. Metta Maha Niyom amulets are believed to create an aura of kindness and goodwill, making the wearer more likable and respected. These amulets attract not only love and affection but also help in situations where one needs support or goodwill from others.
3. Kong Grapan Chadtri (คงกระพันชาตรี) – Power of Protection and Invincibility
Kong Grapan Chadtri is a term used for amulets that provide protection from harm. Kong means “to endure,” Grapan means “unbreakable,” and Chadtri refers to “warrior.” Together, this phrase translates to “invincible warrior” or “unbreakable protection.” These amulets are designed to provide physical and spiritual protection to the wearer, particularly from harm, weapons, or dangerous situations. Individuals such as soldiers, police officers, martial artists, and anyone whose work involves risk often carry Kong Grapan Chadtri amulets, as they are believed to provide strength and resistance to any form of physical danger.
4. Maha Lap (มหาลาภ) – Power of Wealth and Prosperity
Maha Lap translates to “great fortune” or “great wealth,” with Maha meaning “great” and Lap meaning “fortune” or “wealth.” Amulets imbued with the power of Maha Lap are believed to attract financial prosperity, success, and abundance into the wearer’s life. These amulets are highly prized by business owners, entrepreneurs, and anyone seeking financial success. Maha Lap is often linked to opportunities, investments, and the overall flow of wealth, helping the wearer to achieve financial stability and growth in various ventures.
5. Serm Duang (เสริมดวง) – Power of Enhancing Luck and Destiny
The term Serm Duang refers to the act of improving one’s luck or life path. Serm means “to enhance,” and Duang refers to “luck” or “fate.” Serm Duang amulets are used to improve various aspects of life, including health, career, relationships, and overall well-being. It is believed that these amulets can enhance a person’s fortune, bringing about a more favorable destiny and helping the wearer overcome obstacles or bad luck. People seeking to improve their life path or align with positive circumstances often turn to Serm Duang amulets for assistance.
6. Serm Yos (เสริมยศ) – Power of Status and Prestige
Serm Yos refers to the act of enhancing one’s social standing, rank, or prestige. Serm means “to enhance,” and Yos means “rank” or “title.” Individuals seeking professional success or social recognition often use Serm Yos amulets to gain favor in their careers or to elevate their status. This might include gaining promotions, receiving more respect from peers, or being recognized for one’s achievements. Serm Yos amulets help the wearer attract recognition and appreciation, which can lead to enhanced authority and influence.
7. Maha Amnaj (มหาอำนาจ) – Power of Authority and Control
Maha Amnaj represents great power and authority. Maha means “great,” and Amnaj means “power” or “authority.” Wearing an amulet with Maha Amnaj is believed to help the wearer gain control and command respect. These amulets are favored by individuals in leadership roles, including business owners, politicians, and those who need to exert influence over others. Maha Amnaj helps the wearer gain the ability to dominate situations, create opportunities, and wield power effectively.
8. Gae Aathan (แก้อาภัพ) – Power of Remedying Bad Luck
Gae Aathan refers to the act of removing or fixing bad luck or misfortune. Gae means “to fix,” and Aathan means “misfortune.” People seeking to remove bad luck or negative forces in their lives often use Gae Aathan amulets. These amulets are believed to counteract misfortune, resolve obstacles, and bring good fortune back into the wearer’s life. Gae Aathan is commonly used by individuals experiencing a series of unfortunate events or those who wish to break negative cycles in their lives.
9. Serm Baramee (เสริมบารมี) – Power of Merit and Spiritual Power
Serm Baramee refers to enhancing one’s merit, virtue, or spiritual power. Serm means “to enhance,” and Baramee refers to “merit” or “spiritual power.” In Buddhism, merit is accumulated through good deeds, acts of kindness, and devotion. Serm Baramee amulets help the wearer increase their spiritual power and accumulate positive karma, which can lead to blessings, protection, and overall well-being. These amulets are often worn by individuals who seek to improve their spiritual health and progress on their path toward enlightenment.
The Multiplicative Power of Thai Amulets
While each of these amulets focuses on a specific area of life—be it love, protection, wealth, or spiritual growth—it is important to note that many Thai amulets possess more than one of these powers. In fact, some amulets are imbued with multiple blessings or influences, offering the wearer a combination of benefits. For example, an amulet might provide both protection (through Kong Grapan Chadtri) and wealth (through Maha Lap), or combine the influence of attraction (Maha Sanaeh) with the power of enhancing luck (Serm Duang). This layered empowerment allows individuals to benefit from a broader spectrum of blessings, enhancing their ability to achieve success, maintain good health, and live a more prosperous life.
Through rituals and blessings by monks, many amulets receive empowerment from multiple spiritual powers, offering the wearer a harmonious blend of influence that can support them in various aspects of their lives. Whether the goal is attracting love, securing wealth, or achieving spiritual growth, Thai amulets offer a unique and powerful spiritual tool that reflects the deep cultural and religious traditions of Thailand.
The Pra Somdej Sai Rung (Rainbow Powders) Pae 9000 Edition 2536 BE Gammagarn Takrut 3K and the Pra Somdej Pae 2000 Edition BE Ongk Kroo Takrut Ngern Koo
The Pra Somdej amulets created by the renowned Thai Buddhist monk Luang Por Pae are among the most revered and sought-after sacred objects in Thailand. Two particularly iconic examples are the Pra Somdej Sai Rung (Rainbow Powders) Pae 9000 Edition 2536 BE Gammagarn Takrut 3K and the Pra Somdej Pae 2000 Edition BE Ongk Kroo Takrut Ngern Koo. These amulets are highly prized by both devotees and collectors for their spiritual significance, historical value, and exquisite craftsmanship.
The Pra Somdej Sai Rung (Rainbow Powders) Pae 9000 Edition 2536 BE Gammagarn Takrut 3K is an exceptionally rare and valuable amulet within the Pra Somdej master class category. This amulet is distinguished by its unique “Pim Gammagarn” design, featuring an arched image on the reverse side and the inclusion of three Takrut (sacred scrolls) made of bronze, silver, and gold. The use of the sacred “Sai Rung” (Rainbow Powders) in its creation further enhances its spiritual potency and desirability.
Luang Por Pae’s Pra Somdej amulets are renowned for the “Pong Puttakun” (Buddha Powders) that rise to the surface, leaving a fine layer of white mildew that reveals the empowerment and purity of the monk’s practice. This Pra Somdej Sai Rung 9000 Edition amulet is no exception, with its distinctive appearance and the spiritual energy it is believed to possess.
The Pra Somdej Pae 2000 Edition BE Ongk Kroo Takrut Ngern Koo is another highly prized amulet in the Luang Por Pae collection. This amulet features the classic Pra Somdej design, with the seated Buddha image on the obverse and the inclusion of three Takrut (one each in bronze, silver, and gold) on the reverse. The “Ongk Kroo” or “Master Class” designation further enhances the amulet’s spiritual significance and value.
The Pra Somdej Pae 2000 Edition is considered one of the rarest and most sought-after among Luang Por Pae’s creations, along with the 1000 and 4000 Editions. These limited-edition amulets were produced with great care and attention, using the sacred “Pong Puttakun” (Buddha Powders) and other rare and powerful materials.
Luang Por Pae’s dedication to his craft extended beyond the creation of the amulets themselves. He is said to have spent three years blessing the final set of Pra Somdej amulets before his passing in 2523 BE, imbuing them with even greater spiritual power and significance. This final edition of amulets has become particularly rare and highly valued by devotees and collectors alike.
The Pra Somdej Sai Rung 9000 Edition and the Pra Somdej Pae 2000 Edition are not only revered for their spiritual efficacy but also for their historical and artistic value. These amulets are considered part of the “Benja Pakee,” a set of five national amulets representing different regions of Thailand, further highlighting their cultural significance.
The Pra Somdej Sai Rung (Rainbow Powders) Pae 9000 Edition 2536 BE Gammagarn Takrut 3K and the Pra Somdej Pae 2000 Edition BE Ongk Kroo Takrut Ngern Koo are two exceptional examples of the revered Pra Somdej amulets created by the legendary Thai Buddhist monk, Luang Por Pae. These amulets are highly prized for their spiritual power, historical importance, and artistic craftsmanship, making them treasured possessions among devotees, collectors, and those seeking to connect with the rich Buddhist heritage of Thailand.
Thai amulets, known as “Phra Khruang” or “Krueang Rang,” are deeply embedded in the cultural and spiritual fabric of Thailand. These sacred objects are revered not only for their spiritual significance but also for their historical and cultural value. The tradition of wearing amulets in Thailand is a practice that dates back centuries, intertwining with the country’s religious beliefs, history, and social customs.
The creation of Thai amulets is a diligent and complex ritual process, that involves a blend of spiritual rituals, sacred materials, and artistic craftsmanship. These amulets are often made by revered Buddhist monks, Ruesi hermits, or lay sorcerers who are skilled in mystical arts. The process begins with the selection of sacred materials, which may include powdered herbs, sacred earths, metals, and other substances believed to possess inherent protective qualities. These materials are then mixed with holy water and sacred oils, and often inscribed with ancient scripts or symbols known as “Yant.”
Yant Rachasri
Yant Ongk Pra, which has inscriptions saying; “I believe in the Buddha in the Center of the Lotus”
The empowerment of amulets is a crucial aspect, involving the chanting of sacred mantras or “Kata” and the invocation of spiritual entities. This ritual is believed to imbue the amulet with “Itti-rit” or psychic powers, granting it the ability to protect the wearer, bring good luck, or enhance personal attributes such as charm and popularity. This form of magic is known as “Metta Maha Niyom,” which focuses on increasing the wearer’s attractiveness and social influence.
Kroo Ba Nikorn Blessing Nam Tao Gourd Amulets
Thai amulets can be categorized based on their origin, form, or purpose. Naturally occurring objects such as certain types of iron, boar tusks, and tiger fangs are believed to have intrinsic protective qualities and are often guarded by spirits. Man-made amulets, on the other hand, are crafted using sacred clay admixtures or metallurgical processes, often involving ancient alchemical practices.
The imagery on Thai amulets varies widely, encompassing depictions of the Buddha, noble monks, Bodhisattvas, Devas, and even gods and demi-gods. Some amulets also feature elements of the dark arts, invoking the spirits of ghosts or otherworldly entities. Despite the diversity in their forms and purposes, all Thai amulets share a common goal: to bring Buddhist virtues and protection to those who wear them.
The historical significance of Thai amulets is profound. They are not only religious artifacts but also cultural symbols that reflect the beliefs and values of Thai society. The practice of wearing amulets is documented as far back as the Rattanakosin period during the reign of King Rama IV, although it likely predates this era, especially considering it is recorded that King Naresuan maharaj wore a Takrut across his chest on a cord, which shows that the practice dates back many centuries more, as well as the Kru Hiding place burial finds which reveal amulets having been made 700-1000 years agot already in Siam. Throughout history, amulets have been used as protective talismans in battles, as symbols of faith, and as objects of personal devotion.
One of the most revered figures in the history of Thai amulets is Somdej Toh, a legendary monk known for his profound spiritual wisdom and the creation of the famous Pra Somdej amulets. These amulets are highly valued for their spiritual efficacy and exquisite artistry, making them sought-after items among collectors and devotees alike. The authenticity and age of these amulets are of paramount importance, requiring a keen understanding of the materials and techniques used in their creation.
In modern times, the popularity of Thai amulets has only grown, with many people around the world collecting and wearing them for various reasons. Whether for spiritual protection, good fortune, or as a connection to Thai culture, these amulets continue to hold a special place in the hearts of many. The enduring appeal of Thai amulets lies in their ability to bridge the spiritual and the material worlds, offering a tangible connection to the divine and a source of comfort and inspiration in everyday life.
Somdej Pra Puttajarn (Dto) Prohmrangsri Wat Rakang Kositaram
For those interested in exploring the world of Thai amulets, there are numerous resources available. Websites such as ancientamulet.com and thailandamulet.net, authored by Ajarn Spencer Littlewood, provide extensive information on the history, types, and significance of these sacred objects. These platforms offer insights into the art of evaluating and authenticating antique Thai Buddhist amulets, helping collectors and enthusiasts navigate this fascinating realm with confidence and understanding.
Thai amulets are more than just religious artifacts; they are an integral parts the rich cultural heritage and spiritual beliefs of Thailand. Whether crafted from sacred materials or naturally occurring objects, these amulets serve as powerful conduits of protection, embodying the timeless wisdom of the Buddha and the enduring faith of the Thai people.
Luang Phu Bun
Phra Somdej Wat Rakhang, often hailed as the “King of Amulets” within Thailand, stands as an icon of profound cultural and religious significance. Its very name evokes a sense of history, spirituality, and the revered figure of Somdej Phra Phutthachan (To) Phrommarangsi, the esteemed monk credited with its creation
