Thai Buddhist amulets, or Phra Krueang (พระเครื่อง) in the Thai language, are sacred objects highly revered in Thai culture for their perceived spiritual and protective powers. Thai amulets and talismans, typically worn around the neck or carried on the person, are deeply embedded in Thailand’s religious, cultural, and historical landscape. They are intrinsically connected to the country’s Theravada Buddhist tradition and play a significant role in daily life, serving as both spiritual icons and symbols of faith.
Historical Background
The tradition of wearing amulets in Thailand dates back centuries and is intertwined with the spread of Buddhism across Southeast Asia. Buddhist monks and devotees have long believed in the power of consecrated objects to offer protection, bring good fortune, and promote spiritual growth. Some of the earliest Thai amulets are thought to have originated during the Sukhothai (1238-1438) and Ayutthaya (1351-1767) periods, reflecting the influence of Indian and Khmer Buddhist art.
U Tong Buddhist Art
During the Ayutthaya period, amulets became popular not only among commoners but also among royalty and military figures. Kings and warriors were known to carry amulets into battle, believing in their ability to shield them from harm. These amulets were often made from materials such as clay, stone, or metals and were blessed by revered monks or in temple ceremonies, further enhancing their spiritual significance.
Dvaravadi Thai Buddha Forbidding the Ocean
The U-Thong era of Thai Buddhist art, named after the city of U-Thong in present-day Suphan Buri province, refers to a distinct period and style in the history of Thai Buddhist art that flourished during the 13th to 15th centuries. The U-Thong style emerged as a result of the convergence of various artistic influences, particularly those from the Dvaravati, Khmer, and Sukhothai periods. This era is considered significant in the development of Thai Buddhist sculpture and temple architecture, especially for its unique depictions of the Buddha and the evolution of Buddhist iconography in Thailand.
Historical;
The U-Thong era is believed to have developed concurrently with the rise of the Kingdom of Ayutthaya (1351-1767), although its artistic roots can be traced back to earlier periods, particularly the Dvaravati and Khmer civilizations. The city of U-Thong was an important trade and cultural hub, and this facilitated the fusion of various regional and external artistic traditions. As Ayutthaya expanded its influence over neighboring regions, including the former Khmer Empire and Sukhothai, it absorbed various artistic and cultural elements from these regions, contributing to the synthesis of the U-Thong style. This period is seen as a transitional phase in Thai art history, as it helped bridge the gap between earlier Buddhist traditions and the later, more distinct Ayutthaya style.
Pra U Tong Buddha Statue
Characteristics of U-Thong Buddhist Art
- Buddha Images: The U-Thong era is best known for its Buddha images, which exhibit a blend of Indian, Khmer, and Dvaravati influences. These sculptures are typically cast in bronze, although some stone and stucco images also exist. U-Thong Buddha statues are characterized by:
- Square face: Buddha statues from this era often feature a broad, square-shaped face, with prominent, arched eyebrows and a downward gaze, evoking a sense of calm and introspection.
- Hair and ushnisha: The Buddha’s hair is depicted as tightly curled, often with small, distinct curls. The ushnisha (a protuberance on the top of the head representing wisdom) is usually low and smooth, contrasting with the tall ushnishas seen in later periods like Sukhothai.
- Facial expression: The facial expression is serene, with the eyes half-closed, reflecting deep meditation. The lips are often thin and slightly curved into a subtle smile, embodying the Buddha’s compassion and enlightenment.
- Body proportions: The body of U-Thong Buddha images tends to be stocky and solid, with broad shoulders and a thick torso, which gives a sense of stability and strength.
- Hand gestures (Mudras): U-Thong Buddha images typically depict common hand gestures such as the Bhumisparsha Mudra (touching the earth), symbolizing the Buddha’s moment of enlightenment, or the Abhaya Mudra (fearlessness), signifying protection and reassurance.
- Robes and Drapery: The depiction of the Buddha’s robe in U-Thong art is distinctive. The robe clings closely to the body, with clearly defined lines, giving the figures a sense of gravity and formality. Unlike the Sukhothai style, which often features a transparent, clinging robe, the U-Thong style tends to depict a more structured robe, often covering both shoulders or with one shoulder exposed, depending on the regional variation.
- Influences: The U-Thong style is a synthesis of different artistic traditions:
- Dvaravati: The influence of the earlier Dvaravati period can be seen in the roundness and solidity of the Buddha figures. Dvaravati, an ancient Mon civilization, had already established Buddhist iconography in central Thailand, and its influence continued into the U-Thong era.
- Khmer: Khmer art, especially from the Angkor period, influenced the form and decoration of U-Thong sculptures, particularly in the intricacies of facial features and body proportions.
- Sukhothai: Although U-Thong art predates the full flowering of the Sukhothai style, it overlaps in time, and there are occasional stylistic borrowings. However, the U-Thong Buddha is generally more rigid and formal compared to the fluid grace of the Sukhothai Buddha images.
The Dvaravati era of Thai Buddhist art refers to the artistic and cultural developments during the Dvaravati period, which lasted from approximately the 6th to the 11th century CE. The Dvaravati culture, believed to have been Mon in origin, emerged in the central region of present-day Thailand and was one of the earliest civilizations to establish Buddhism, particularly Theravada Buddhism, in the region. This era is recognized for its significant contributions to the early formation of Thai Buddhist art and religious architecture, laying the foundation for later Thai artistic developments in periods such as Sukhothai and Ayutthaya.
Wat Phra Singh Temple Chiang Saen Era style Thai Buddhist Art form
Historically speaking, Dvaravati was not a unified kingdom in the strict sense, but rather a series of city-states and principalities in the Chao Phraya River basin. These city-states were heavily influenced by Indian culture, which had spread across Southeast Asia through trade, religious missions, and political exchanges. The Mon people, who were instrumental in the development of Dvaravati, adopted Buddhism as their primary religion, particularly Theravada Buddhism, though Mahayana Buddhism and Brahmanism also had an impact on the region.
The Dvaravati culture is known primarily through archaeological remains, inscriptions, and religious monuments, many of which depict early forms of Buddhist iconography. The art produced during this era reflects the syncretism of Indian religious and artistic traditions with local Southeast Asian elements, forming a unique style that is distinct from other regions in the region.
Characteristics of Dvaravati Buddhist Art
Tvaravadi Buddha in Maravijjaya Mudra
Buddha Images: Dvaravati Buddha images are among the earliest representations of Buddhist iconography in Thailand. These sculptures often show a heavy influence from Indian Gupta and Amaravati art, as well as early Pala art from Bengal. Key features of Dvaravati Buddha images include:
Facial features: The Dvaravati Buddha typically has a rounded face, with a serene expression, and large, almond-shaped eyes. The eyebrows are arched, and the nose is prominent but rounded. The facial expressions often exude calm and peacefulness, reflecting the meditative state of the Buddha.
Hair and ushnisha: The Buddha’s hair is usually depicted in small, tight curls, and the ushnisha (a cranial protuberance symbolizing the Buddha’s wisdom) is prominent but simple.
Body proportions: Early Dvaravati Buddha images tend to have heavy, stocky proportions, with broad shoulders and a thick torso, giving the figures a sense of solidity and permanence.
Hand gestures (Mudras): The Bhumisparsha Mudra (touching the earth) is commonly depicted in Dvaravati Buddha images, symbolizing the Buddha’s moment of enlightenment. Other common mudras include the Dhyana Mudra (meditation gesture) and the Abhaya Mudra (gesture of fearlessness).
Materials and Techniques: Most Dvaravati Buddha images are made of bronze, stucco, or stone. These materials were locally sourced, and the techniques used in their creation demonstrate a blend of local craftsmanship with Indian artistic traditions. Bronze casting was particularly advanced during this period, and many surviving examples of Dvaravati art showcase intricate detailing and a high level of technical skill.
Symbolism: Dvaravati art is deeply symbolic, reflecting core Buddhist principles such as the impermanence of life (anicca), suffering (dukkha), and non-self (anatta). These themes are subtly expressed through the serene and meditative postures of the Buddha figures, as well as in the religious narratives depicted in reliefs and stupas.
Tvaravadi Era Buddha Heads
Stupas and Religious Architecture
The Dvaravati era saw the construction of numerous stupas (Buddhist reliquary structures), which were central to the religious life of the period. These stupas served as places for devotion, housing sacred relics of the Buddha or important monks. Dvaravati stupas typically follow a simple design, with a hemispherical dome (anda) sitting on a square base, which was often elaborately decorated with carvings and reliefs.
Specific features of Dvaravati stupas:
Stupa Shape: The dome shape of Dvaravati stupas resembles early Indian models, reflecting the influence of Indian Buddhist architecture. However, local innovations were also evident, such as the addition of tiers and terraces surrounding the main stupa.
Phrathat Yakhu; Phrathat Yakhu represents the most significant site in Fa Daed Song Yang City.
Image source; https://www.bangkokpost.com/life/travel/345808/dvaravati-art-in-isan
Decorative Reliefs: Many stupas were decorated with narrative reliefs that depicted scenes from the Jataka tales (stories of the Buddha’s past lives) or events from the Buddha’s life. These reliefs were intricately carved into stucco or stone and showcased both religious and artistic significance.
Phra Pathom Chedi
One of the most famous Dvaravati stupas is the Phra Pathom Chedi in Nakhon Pathom, considered one of the oldest and largest stupas in Thailand. It has been rebuilt and renovated over the centuries, but its origins date back to the Dvaravati period. Phra Pathom Chedi, located in Nakhon Pathom, Thailand, is considered the world’s tallest stupa and holds great significance as it marks the site where Buddhism was first introduced to Thailand. Its name translates to “the first chedi,” symbolizing the beginning of the Buddhist faith in the region. The chedi serves as a major pilgrimage site for Buddhists and represents both historical and spiritual importance in Thai culture. It is recognized as the world’s tallest stupa, standing at 127 meters. Its construction dates back to the 19th century, initiated during the reign of King Mongkut (Rama IV) in 1853. The chedi was built to commemorate the introduction of Buddhism to Thailand and to restore the ancient stupa that existed on the site.
The construction involved traditional methods and local materials, primarily bricks and mortar. The design reflects a blend of Indian and Thai architectural styles, with a large circular base and a tapering dome. The project was overseen by various architects and craftsmen, including the famous Italian architect, who contributed to its grandeur. In 1870, after 17 years of construction, Phra Pathom Chedi was completed and consecrated. It serves not only as a religious site but also as a symbol of Thai cultural heritage and the historical significance of Buddhism in the region. Today, it attracts numerous visitors and pilgrims from around the world.
Narrative Reliefs and Decorative Art
In addition to Buddha images and stupas, the Dvaravati period is known for its decorative art, especially its narrative reliefs. These reliefs, often found on the walls of stupas and temple structures, depict key events from the Buddha’s life, such as his birth, enlightenment, and the first sermon at Sarnath.
One unique aspect of Dvaravati reliefs is the depiction of the Buddha using symbolic forms. In early Indian and Dvaravati art, it was common to represent the Buddha not in human form, but through symbols such as the Bodhi tree (symbolizing enlightenment), the footprint (symbolizing the Buddha’s presence on Earth), or the wheel (representing the Dhamma or Buddha’s teachings). Over time, these symbolic representations gave way to more anthropomorphic depictions, though they remained an important part of Dvaravati artistic tradition.
In addition to Buddhist themes, the Dvaravati period also produced reliefs and carvings that reflected Brahmanical (Hindu) influence, depicting Hindu deities such as Vishnu and Shiva. This highlights the religious syncretism of the period, with Brahmanism and Mahayana Buddhism coexisting alongside the dominant Theravada tradition.
Influence on Later Thai Art
The Dvaravati period laid the groundwork for much of the religious and artistic development in Thailand in subsequent centuries. The themes, techniques, and forms developed during the Dvaravati era were passed down to later periods, including the Sukhothai and Ayutthaya kingdoms.
For example, the Bhumisparsha Mudra, prominent in Dvaravati Buddha images, remained a key element in later Thai Buddha sculptures. The rounded, solid form of the Dvaravati Buddha also influenced the more graceful and refined images of the Buddha seen in the Sukhothai period, where a new emphasis on fluidity and elegance in religious art emerged.
The architectural styles of the Dvaravati period, especially in the design of stupas, also influenced later Thai Buddhist architecture. Many of the stupas and chedis constructed during the Sukhothai and Ayutthaya periods retained the tiered and terraced designs first seen in Dvaravati architecture, though these later structures became more elaborate and ornate.
Conclusion
The Dvaravati era is a pivotal period in the history of Thai Buddhist art, representing the earliest phase of Buddhist artistic expression in Thailand. It is marked by its synthesis of Indian and local traditions, creating a unique style that reflected the religious and cultural dynamics of the time. The art and architecture of this period not only served religious functions but also helped establish the foundational visual vocabulary of Thai Buddhist art for centuries to come.
Through its Buddha images, narrative reliefs, and religious architecture, the Dvaravati era made lasting contributions to the Buddhist artistic heritage of Thailand. Even today, the influence of this period can be seen in the religious practices, artistic traditions, and cultural identity of the Thai people.
U-Thong Temple Architecture
In addition to Buddha images, the U-Thong period also saw developments in temple architecture. U-Thong temples typically feature elements that reflect a combination of Dvaravati and Khmer styles. For instance, chedis (stupas) from this period are often square at the base with tapering forms, resembling early Khmer temples. Some of these structures were influenced by the classical Khmer design of prasats (sanctuaries) but were adapted to the specific Buddhist context of Thailand.
These temples were often decorated with stucco reliefs and Buddha images, many of which have survived to the present day. The architectural forms from this era laid the groundwork for the more complex and elaborate structures seen during the Ayutthaya period, which followed the U-Thong era.
Cultural and Religious Significance
The U-Thong period is a reflection of the eclectic nature of Thai art, which absorbed and integrated elements from different regions and periods into a uniquely Thai interpretation of Buddhist iconography. The Buddha images from this era were not just objects of worship but also served as cultural symbols representing the consolidation of Buddhist influence in Thailand, particularly during the rise of the Ayutthaya Kingdom.
In a religious context, U-Thong amulets and Buddha images were believed to provide protection and bring good fortune. Many of these artifacts were created as part of merit-making activities, with donors commissioning the creation of Buddha statues or the construction of temples to gain spiritual merit. Today, U-Thong Buddha images are still revered, and the style remains influential in Thai religious art, particularly in central Thailand. The U-Thong era, most definitely marks an important phase in the history of Thai Buddhist art, characterized by its synthesis of various artistic traditions and its contributions to the development of Buddhist iconography in Thailand. Its distinctive Buddha images, marked by square faces, serene expressions, and carefully detailed robes, remain among the most iconic representations of Buddhist art in Southeast Asia. The U-Thong style laid the foundation for the later artistic developments of the Ayutthaya period, continuing to influence Thai Buddhist art well into the future.
Chiang Saen, Sukhothai, U-Tong eras (left to right)
Types and Symbolism
Thai Buddhist amulets come in various forms and serve different purposes, with their materials, design, and associated rituals contributing to their individual power and significance. Broadly, these amulets can be categorized into the most famous of all-time types:
- Phra Somdej (พระสมเด็จ): Perhaps the most famous and highly revered type of amulet, Phra Somdej was created by the monk Somdej Phra Buddhachan Toh during the 19th century. It is often considered the “King of Amulets” and is known for bringing safety, good fortune, and spiritual advancement to its bearer. These amulets are typically made of sacred powder mixtures, including relics, herbs, and other consecrated materials.
- Phra Pidta (พระปิดตา): This amulet depicts a figure covering its eyes, symbolizing the renunciation of worldly desires and distractions. The wearer of this amulet is believed to receive protection from evil forces and misfortune, while simultaneously deepening their spiritual awareness.
- Phra Khun Phaen (พระขุนแผน): Named after a legendary warrior and folk hero, Phra Khun Phaen is associated with charm, attraction, and personal magnetism. It is often worn by individuals seeking to enhance their charisma, success in relationships, or business dealings.
- Phra Nang Phaya (พระนางพญา): Often referred to as the “Queen of Amulets,” Phra Nang Phaya is linked with female empowerment and is believed to provide its wearer with grace, beauty, and leadership qualities. This amulet is particularly popular among women.
- Luang Phor Thuad (หลวงปู่ทวด): An amulet dedicated to the legendary monk Luang Phor Thuad, who lived in the 16th century and is revered for his miraculous deeds. These amulets are believed to offer protection from physical danger and accidents, making them especially popular among travelers and those seeking physical safety.
Each of these amulets is believed to possess specific powers, which may include protection from danger, enhancement of personal charisma, promotion of health, prosperity, or spiritual development. The efficacy of these amulets is often tied to the intentions and blessings of the monk or temple that creates them.
Creation and Consecration
The process of creating a Thai Buddhist amulet is steeped in religious ritual and tradition. Amulets are usually crafted from a variety of materials, such as clay, bronze, silver, or even wood. Some amulets are made using special powders that include relics of deceased monks, crushed herbs, or soil from sacred sites. The choice of materials is significant, as they are often believed to enhance the spiritual potency of the amulet.
The creation of an amulet typically involves chanting sacred mantras, and once the amulet is complete, it undergoes a consecration ceremony known as phutthaphisek. During this ritual, monks will invoke the protective powers of the Buddha, as well as other revered figures, to imbue the amulet with spiritual energy. The length and intensity of these rituals vary depending on the amulet and the temple, but they are always conducted with utmost reverence.
Amulets blessed by highly respected monks, or those made in temples with historical significance, are considered to be the most potent. As a result, they are highly sought after by collectors and devotees alike.
Role in Society
Thai Buddhist amulets hold a unique position in Thai society. They are not merely religious objects but also cultural artifacts that reflect the deep-rooted Buddhist faith of the Thai people. Many Thais wear amulets daily, believing that they offer protection from accidents, illness, and misfortune. Soldiers, police officers, and business people are among the most prominent wearers, as they seek both physical safety and professional success.
Luang Phu Doo of Wat Sakae in Ayuttaya, handing out amulets and giving blessings
Amulets are also a form of charitable giving and merit-making in Thai culture. Monks often distribute amulets to devotees in exchange for donations to the temple, with the proceeds going toward the upkeep of the temple, charitable activities, or community projects. This exchange strengthens the bond between laypeople and the monastic community, reinforcing the central Buddhist concept of dana (generosity).
Amulets as Collectibles
In addition to their religious and cultural significance, Thai Buddhist amulets have become valuable collectibles. Amulet trading is a thriving market in Thailand, with some amulets fetching high prices due to their rarity, the reputation of the monk who created them, or the historical period in which they were made. Amulet fairs and shops are common throughout Thailand, and collectors often spend years seeking out rare or highly revered pieces.
Despite the commercialization of amulets, their spiritual essence remains central to their significance. Collectors and devotees alike believe that the true value of an amulet lies not in its monetary worth but in the spiritual protection and guidance it provides.
Thai Buddhist amulets have, and still do serve as both sacred objects of devotion, and cultural symbols that reflect Thailand’s rich religious heritage. Their importance in Thai society cannot be overstated, as they bridge the spiritual and material worlds, offering comfort, protection, and a tangible connection to the teachings of the Buddha. Whether worn for personal safety, spiritual advancement, or as collectibles, these amulets embody the enduring faith of the Thai people and the profound influence of Theravada Buddhism on their daily lives.
One of the rarest individual hand made ancient amulets of this Great Lanna Master, the Ban Neng Necromantic Skull Bone of a Hoeng Prai Ghost. with the Yant Paya Tao Ruean, Great Turtle Yantra. This exhibit from Lanna Thai Yai Hilltribe Master Monk Kroo Ba Nanta, is a very ancient Ban Neng Human Skull-Bone carving of a Khmer Hoeng Prai Ghost, exhumed from the grave many many years ago in ancient times. Being so ancient, this exhumed Ban Neng comes from a Hoeng Prai Ghost from Ancient times, when Magic was at its most believed in and powerfully present in the world.
This skull bone carving, is empowered with the Wicha Paya Tao Ruean, with an ancient and exquisitely carved Spell Inscriptions in Aghkara Lanna Magical Script. This carving is so visibly, recognizable as having the inscriptions of the Great Kroo Ba Nanta, diligently inscribed with the highest level of prowess. The exterior surface of the Ban Neng has been inscribed by hand with the image of the Paya Tao Ruean Yantra.
Free Express Shipping and the option of free solid silver Waterproof Casing is included with this item. An extremely rare, and exquisitely beautiful carving that is among the finest one could encounter by Olden days Lanna Master Guru Monk Kroo Ba Nanta Nanto Bhikku, of Wat Tung Man Dtai, in Lampang. Carvings of this level of fine detail, adherent to the ancient rules of the Dtamra of Lanna Necomantic Sorcery
This particular Ban Neng in fact, is beyond any kind of true price estimation (Hence 'Priceless'), for its beauty, spiritual and cultural value, & prowess of the inscriptions, with the immediately recognizably factors of an amulet of Kroo Ba Nanta, makes it a piece of fine art in itself, in a collector niche of 'The Man who has everything', that would not even blink to pay ten times what we would ask for this item. But we do not like the concept of traders offering different prices for the same item, depending on how wealthy the buyer is - we consider that fraudulent behavior, and unethical trader-attitude, same price for all with us. The price of an item such as this is not low in any case, so we see no reason why dishonest traders and those who sell to millionaires should 'bump up the price'. That is not necessary to succeed as an honest trustworthy trader. This is the philosophy of our curator Ajarn Spencer Littlewood.
Kroo Ba Nanta was the Kroo Ba Ajarn of Kroo Ba Lerd, of Wat Tung Man Dtai. Ban Neng Skullbone carvings are now truly a global rarity, and can mostly only be found as antiques from the Ancient Masters, although some years ago many lay masters began to revive the practice, which rose the attention of the government who noticed people beginning to become grave robbers to obtain skulls for making Ban Neng, and made a law to forbid the making of new age Ban Neng, and only accept antiques. Anyone now making them these days, if caught, is charged with criminal charges. It is hence very difficult to obtain this kind of powerful necromancy. The rear face reveals the pattern of the interior to be that of a human skull-bone.
Free Express shipping Worldwide is included with this amulet. The Ban Neng of Kroo Ba Nanta is a very rare thing to come by, and is known for extremely powerful magic for Maha Lap and Maha Pokasap, Wealth and Treasure accumulation, Gambling to convince the Ghost of the Gambling Dens to Gaze in your Favor, and for Maha Sanaeh Power of Attraction to Seduce. This kind of Ghost, and of course all Ban Neng Forehead Bone Carvings, are highly revered by Business Owners and those who are in sales, as well as those who seek to turn their fate around with lottery wins or lucky windfalls. 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 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 of amulet can be found, but only the well trained eye can recognize his style of art, and when found, the inscriptions, and the natural ageing process of the coconut shell, ivory, bone, wood or sacred powders he used to make the amulets.
The earliest actual evidence of his making Ban Neng & Ban Nang Skull Bone, and famous Kala Ta Diaw one eyed coconut shell 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.
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. But although both Masters made Pra Rahu amulets, only Kroo Ba Nanta is known to have made Ban Neng skull bone carvings, but not Luang Por Noi.
The Paya Tao Ruean Turtle, is a very popular and sacred image in Thailand, which exists within local legends, and in Thai literature, magical occultism, sacred geometry, and Thai Buddhist Cosmogony. The Tao Ruean Turtle, is a very special Turtle, for it represents the Lord Buddha in one of his past lifetimes, as he was born as the Tao Ruean Turtle. It is recounted in the 'Ha Roi Chati' (500 Lives of Buddha) story. The Buddha was Incarnated as the Tao Ruean turtle, who lived on a desert island on top of a mountain, practicing purity and morality. The Tao Ruean Turtle, is one of a plethora of the Thai Buddhist Pantheon of Deities. The Tao Ruean turtle grew so large over the years, as to be as big as the size of a house. One day some sailors were shipwrecked on his island, and began to starve. They tried to eat the Areca nuts, which are of course inedible, and then when one of them died, they trussed the dead man up, and roasted him, to eat his flesh for survival. But this did not feed them for long, and they began to starve again. As time passed and they got desperate, and it began to seem as if they were going to begin killing each other, and become cannibals.
The Paya Tao Ruean turtle, looked down from the mountain, and was filled with mercy. He thought, 'I do not have anything to give these poor humans to eat, except for my own body. May i donate my large body, and its meat, for these humans to survive, and may i attain Nibbana one day for this deed'.
When the people got safely back to port and came home, they began to fashion turtles from clay or metal or carved from wood and place as an object of reverence in their homes, to pay respect and as a memorial of the Paya Tao Ruean who saved their lives, and to remind them to practice compassion, and to keep them protected from Danger, and bring them Long Life. The turtle then threw itself off the cliff, and fell bouncing down hitting the walls of the cliff, breaking its shell open, to land dead at the foot of the mountain on the beach in front of the sailors. The sailors then celebrated and paid respects to the great Paya Tao Ruean Turtle for his Mercy and Self Sacrifice, and survived until they were rescued by a passing ship.
The turtle is also a very meaningful Spiritual Symbol in many other Cultures of the World, such as the American Indian Belief system; Many Eastern North American aboriginal peoples tell how Sky Woman, Atanaesic, fell from heaven to land on the back of Turtle. The Buddha used a sea turtle to illustrate the precious rarity of opportunity afforded by our human birth. The turtle example appears in the scripture called in Pali, the Chiggala Sutta that is classified as LVI.48 of the Samyutta Nikaya. It is a metaphor known in English as The Hole:
"Monks, suppose that this great earth were totally covered with water, and a man were to toss a yoke with a single hole there. A wind from the east would push it west, a wind from the west would push it east. A wind from the north would push it south, a wind from the south would push it north. And suppose a blind turtle were there. It would come to the surface once every one hundred years. Now what do you think - Would that blind turtle, coming to the surface once every one hundred years, stick his neck into the yoke with a single hole?"
"It would be a sheer coincidence, Lord, that the blind turtle, coming to the surface once every one hundred years, would stick his neck into the yoke with a single hole."
"It is likewise a sheer coincidence that one obtains the human state. It is likewise a sheer coincidence that a Tathagata, worthy and rightly self-awakened, arises in the world. It is likewise a sheer coincidence that doctrine and discipline expounded by a Tathagata appears in the world.
"Now, this human state has been obtained, a Tathagata, worthy and rightly self-awakened, has arisen in the world. A doctrine and discipline expounded by a Tathagata appears in the world".
"Therefore your duty is the contemplation: `This is stress (Suffering). This is the origination of stress. This is the cessation of stress. This is the path of practice leading to the cessation of stress (Suffering)."
One of the best known Jatakas (Buddhist Fables of previous Incarnations of the Buddha Sakyamuni), is sometimes called The Turtle and the Geese. The story tells about a turtle who travels with a flock of geese, and does so by holding a wooden stick in his mouth, while two of the birds hold each end. When the turtle was unable to restrain himself from responding to a some young children who shouted out in surprise upon seeing the unusual sight, the turtle naturally fell to the ground and was killed.
The moral of the Jataka was of course: "Disaster can come from opening your mouth at the wrong time."
The Yant Paya Tao Ruean spell has so many different applications; you can inscribe it on a cake of face powder and use to powder your face with; People will feel pleased to see you, and you will be protected from people becoming unfriendly to you; even if your Boss at work is extremely angry with you, his anger will disappear immediately.
Use it to powder your face before entering a Court Case and our opponent will be silenced. Inscribe the name of the Person desired to be affected by the yant in the place where the letter “Pu” is (The centre square) write the person’s name first, then the letter Pu on top of it. If you wish to use this Yant to help you in an Exhibition/competition, inscribe the Yant on a sugar palm leaf along with the name of the targeted person.
Place the Yant under running water (such as a stream, fountain etc).Our opponent will be useless against us. Another application is as a love charm; Inscribe the Yant on a sugar palm leaf along with the name of targeted person. Use the leaf to roll a cigarette with, blow the smoke towards the person we wish to lure, and they will fall in love with us.
Give the rice to dogs to eat and chant the following:-Ta Hmaa Pood Dai; Hai Man Wa Kwam Chana Gae Rao - Ta Hmaa Pood Midai Ya Hai Man Wa Kwam Chana Rao Dai Ley The Kata means; “If the dog can speak - let him speak out against us and win - if the dog can’t speak - forbid him to speak out against us and win”.
Then take your foot and tap the dog’s mouth 3 times, whilst saying; “A” (3 times). If it is a very serious matter to be dealt with; inscribe the Yant on paper along with the name of the other person involved. Roll the Yant up and stuff it in the mouth of a “Pla Duk” (Catfish), take the hair of a corpse who died a violent death or drowning and use it to sew up the mouth of the catfish (use exactly three stitches to sew it up).
Chant the “A” Syllable three times whilst sewing.
Pierce the catfish with a skewer and roast it on a grill fire whilst chanting the following; Pla Nan Pen Yang Rai, Khor Hai Man Pen Yang Nan Terd.
Once the fish is roasted, give it to a dog to eat. You can give the dog one fish a day for three days and your problem will disappear. If your employer is angry with you; Inscribe the Yant on candle wrapping (thin paper) along with your employer’s name.
Soak it in perfumed oil and light the candle in the same manner as one does when praying to Buddha. The person targeted will be unable to be angry with us. If someone is making accusations (legal for example), take the yant on paper and a “Khong” seashell (a kind of clam). Close the lid of the clam again, and for Paya Dtao Luean/Ruean. Our accuser will be powerless to speak out against us.
Competition Winning Magic;
If you are competing in an exhibition or test or competition of some kind, inscribe Yant Paya Dtao Ruean on a sugar palm leaf. Inscribe the name of our competitor in the middle and the letter Pu in Khom on top of it. Place the Yant under running water (a brook, stream or waterfall for example). As the water flows offer the Leaf, our competitor will become weak and powerless. Can also be inscribed on a Banana leaf, rolled up into a cigarette using “Yaa Sen” (a thai tobacco alternative). Light the cigarette and blow the smoke towards the person we wish to charm; they will fall in love with us increasingly.
Please take heed, that if you use a love charm on somebody and it works, there is a very strict rule you have to follow; Namely, that if the spell works, you must never break up with him/her! For indeed, if you make them love you, they will be unable to live without you. Throwing that person away may lead to them killing themselves, or at least undergoing pain and sadness, more than the normal level that humans can usually withstand! So please be very considerate towards your newly gained lover if you use this kind of spell. abuse of a love spell on a person will bring you extremely Bad Karma.
If there is a matter to be solved inscribe Yant Paya Tao Ruean on candle paper (sai tien) and write the name of the other person/people involved, plus the name of the matter to be solved (write all over the Yant). Use the paper to wrap a candle with and light it:- Chant the kata until the candle goes out, take the ash residue from the candle and mix it together with some cooked rice (using your hand) - make 3 cakes out of it.
Miscellaneous
Water-divers like Otter, Beaver and Muskrat tried to bring up mud to form the earth. Traditions vary as to which one was successful. Sky Woman dies there, giving birth to her twins who embody the principles of Good and Evil.
The Astrological meanings within the Turtle Shell, and amulets, tattoos or cloth sacred geometry designs containing the Yant Paya Tao Ruean Spell, are also immensely powerful. It is well known, that the number of lunar months are embodied in the number of plates of a turtle shell: "13 moons on Turtle's back." Turtle amulets have of course the special magical quality of generating long life. All achievements will come steadily, if perhaps not rapidly but surely and secure growth will be certain.
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, and many forms of Thai Lanna animist charms. 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.
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. For this reason and for the experience of devotees, the Pra Rahu amulets of Kroo Ba Nanta are perhaps the most world famous of all his amulets.His Thai Lanna animist ghost charms are as little known, as the names and numbers of the numerous different Thai Ghosts found in folklore, number in the hundreds. He also blessed hand carved deities of other kinds as his famous Pra Rahu, and other Deities, but these are much much rarer, & harder to find in the pantheon of amulets of Kroo Ba Nanta.
To perform Bucha, use the following methods and incantations for the Hoeng Prai Spirit of the Skullbone;
When bringing the amulet into the home the first time, if you have other animist spirit charms such as Kumarn Tong or the like, please inform them of the new arrival of a new spirit as member of household, and, if possible with your home, light 16, 15, and 14 sticks of incense outside, before entering the building to call the angels of the 16 heavens, the spirits of the 15 dimensions of earth. and the deities of the 14 levels of the dimensions of the underworld, to give their blessings.
If you live in a condo or a place that is difficult to burn incense, you can either just use 5 sticks in the home (open the window if smoky), or use aromatic oil burner, as the numerology is not absolutely necessary. rather, it is necessary to make an effort to invite, welcome and make offerings of goodwill. What is in your heart is what matters more than the details of the ritual, but we document the full methods for those who both have the premises that allow it, and who enjoy performing the full form of ritual magick. However, one can keep it more simple if the heart is in the right place. After the first welcoming ritual, only one stick of incense only is needed when praying to the Hoeng Prai Ghost of the forehead bone, being a Prai Ghost. You can perform Rituals to the Paya Tapo Ruean Turtle in normal Fashion, and do not need to include the ghost in the announcement to the local spirits, because the Paya Tao Ruean dwells above and beyond Hoeng Prai Ghosts in the celestial realms, and is of much higher status and power, and need not ask permission from anybody to go where he wishes.
However, for most people who use Ban Neng, Necromantic Power is there to be used, and you can use the below Incantation for all kinds of Phuudtaa (Bhūta Ghosts) and Hun Payont type animist charms, to awaken the spirit of Hoeng Prai to assist when needed, chanting it either out loud, or silently within before approaching someone to use enchantment.
Call the spirit of a Ghost
Om Na Ma Pa Ta Jaedta Phuudto Maha Phuudtang Hun Payondtang Nimidtang Gang Ruubpang Bpiyang Ma Ma Aehi Aehi Na Mo Put Taa Ya
(chant 7 Times)
Bring it to Life and Command/Beseech it to assist.
So Sa A Ni So Sa A Ni Sa A Ni So A So A So Ni Ni Sa A So Ni So A So A Ni Yo Sa A A Ni So Sa Sa Ma Su
Alternative Kata
Sappa Bulo Su Sang A Wisang A A Gusalā Tammā Abpayā Kadtā Tammā - A Sang Wi Su Lo Bù Sa Pú Pá - Pá Pú Sa Bù Lo Su Wi Sang A Na Ma Pa Ta Hanumāna Wā Tō Nō A Ma Ma Waa Na Mo Put Tā Ya - Ja Pa Ga Sa
NA MA A U!!!! - U A MA!!!
Kata for giving food and offerings to Hoeng Prai Ghosts, Spirits and Devas
Yanginji Jidtang Itawaa Arungwaa Pochanangwaa Punchandti Aehi Na Ma Pa Ta Na La Poo Dtaa
Kata for Seducing others
Namo Poog Jidt Namo Poog Jai Namo Rak Krai Na Pag Jai Sangko Tanya Udti Sangkhodti
You can be flexible with what you offer, depending on what is convenient or what you feel your Deities will like to receive.
