Sacred votive tablet in form of the Pra Putta Chinarat Buddha of Pitsanuloke, in Nuea Pong Nam Man Oily herbal Powders, from the early era of LP Guay. A very rare model of Sacred Powder Amulet, from the Great Luang Por Guay of Wat Kositaram, in Chainat Province. The surface of the amulet shows its age to be from the early-mid era of LP Guay, estimated about 2500 - 2504 BE The Pra Putta Chinarat is one of the 'Pra Koo Ban Koo Mueang' National Buddha Images, of which there are five official members.

The amulet is made from Nuea Pong Nam Man, oily herbal powders, and has the sacred Yant Na Mi of Luang Por Guay on reaf face, composed of two Khom Mi syllables and the Mi syllable, with Unalome Yantra above, identical to the Yant seen on the back face of Luang Por Guay's 2504 Edition Pra Somdej. Being a very rare pim from this era, the amulet has immense sacred value as an Ultra Rare and Classic Collector's Masterpiece.

Luang Por Guay was also an Extremely Powerful Sak Yant Tattoo Master, who was highly reputed around the Kingdom, for Kong Grapan Chadtri and Klaew Klaad Maha Ud Power.

The amulet features the Buddha Chinarat image, one of Thailand 5 most Sacred National Buddhas of Historical and Religious Importance, and revered for its power to save lives with Kong Grapan and Klaew Klaad power.

The arch (Sum) is contained well within the edges of the oblong pressed amulet outer frame. The second tier from bottom on the dais, is a 'Thaan Singh' (lion pedestal), notable by its outer edge decoration, reminiscent of a pair of curtains, or baroque interior design.

This amulet and its other models are well documented but only appear with diligent searching, the more common models are the Pim Prok Po Gao Bai (9 leaf Bodhi tree Buddha), and the Chinarat Buddha Image. The rarest of all Buddha Chinarat models is the Pra Somdej Sorng Hnaa two sided Buddha Image from the Wat Rachanadda Series, which is almost impossible to encounter, and only a very few were made in the edition (exact number unknown)

Luang Por Guay Chudtintaro

Luang Por Guay's amulets have reached the highest level of respect and collectorship in their history now, and are considered to have noticeable effects that are felt be everybody who owns and wears one of his amulets. The stories of confirmation of their power are more than can be counted, and his Great Patipata and Exceedingly Powerful applied methods of Sorcery are a large part of what attributes to their power.

His amulets are now extremely rare to find because those who already own any will never wish to part with them again, and they are hence becoming one of the rarest kind of amulets to find these days. Usually this happens because of speculation by the collector scene, but in the case of Luang Por Guay's amulets, it has happened primarily for their Sacred Value, much much more than for their collectorship and artistic value, which is of course also extremely high.

Luang Por Guay is famous for his immensely diligent and complex manner of empowering (Pluk Sek) amulets, which involved daily empowerments at various times of day namely at dawn, morning, midday, afternoon, evening and midnight. Luang Por Guay was also a very famous Sak Yant Tattoo Master renowned for Kong Grapan Chadtri and Klaew Klaad powers.

Read about the Wicha Sak Yant of Luang Por Guay

In addition, he would perform empowerments during the various 'Reuks' (Astrological Influentian moments), to bring total coverage of protection and fortuitous blessings to all who might wear and Bucha his amulets, namely the 'Reuks Mongkol' Buddhist Auspicious alignments, the 'Reuks Jone' (Gangster Alignments) Inauspicious Alignments, and the 'Reuks Bun Paya Marn' Demonic Influential Alignments.

This means that it did not matter who wore his amulets, Good people would wear them, Gangsters would wear them, anybody could wear them without loss of magical effect.

Read full Biography of Luang Por Guay Chudtintaro - Wat Kositaram

Use the Traditional Thai Buddhist Method for Bucha;

1. Chant Maha Namasakara (3 Times)

2. Chant the Trai Soranakom (3 Times)

3. Chant Kata Aaraatanaa Pra Krueang (3 Times)

Kata Maha Namasakara

Namo Dtat-Sa Pakawa-Dto Araha-Dto Sam-Maa Sam-Put-Dtat-Sa

Namo Dtat-Sa Pakawa-Dto Araha-Dto Sam-Maa Sam-Put-Dtat-Sa

Namo Dtat-Sa Pakawa-Dto Araha-Dto Sam-Maa Sam-Put-Dtat-Sa

Trai Soranakom

Puttang Cheewidtang Yaawa Nipaanang Saranang Kajchaami

Tammang Cheewidtang Yaawa Nipaanang Saranang Kajchaami

Sangkang Cheewidtang Yaawa Nipaanang Saranang Kajchaami

Tudtiyambpi Puttang Cheewidtang Yaawa Nipaanang Saranang Kajchaami

Tudtiyambpi Tammang Cheewidtang Yaawa Nipaanang Saranang Kajchaami

Tudtiyambpi Sangkang Cheewidtang Yaawa Nipaanang Saranang Kajchaami

Dtadtiyambpi Puttang Cheewidtang Yaawa Nipaanang Saranang Kajchaami

Dtadtiyambpi Tammang Cheewidtang Yaawa Nipaanang Saranang Kajchaami

Dtadtiyambpi Sangkang Cheewidtang Yaawa Nipaanang Saranang Kajchaami

Kata Aaraatana Pra Krueang

Puttang Aaraatanaanang

Tammang Aaraatanaanang

Sangkang Aaraatanaanang

Puttang Prasittimae

Tammang Prasittimae

Sangkang Prasittimae