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.
Pra Khun Phaen Pong Prai Kumarn 2515 BE - Pim Yai Nuea Khaw Sukh Pasom Pong Prai Kumarn Ta Ya Wan See Fa, Block Tong Hlueang (Block 2), in its rarest color of all, with Wan Thao Hlong Blue Herbal Tint. 'Fang Takrut Maha Bpraab, sacred metallic scroll spell, in Nuea Tong Daeng' (copper Takrut inserted in rear face). Free Express Shipping Worlwide is included, along with the offer of free Solid Silver Waterproof Casing Included too if desired. This exhibit is in excellent condition and has been very well preserved with highly refined details and features. The amulet is in white powders and has been treated with blue herbal tincture, and 'Sai Rae Tong Kam' gold flakes, applied during the pressing, through adding Nam Man Prajao Thaksin oil into the block press with gold flakes, before pressing the Sacred Clay into the molds. This resulted in the amulets absorbing the oil and the gold flakes covering and affixing themselves to the surface of the amulets, in those which were treated and pressed in this manner.
A Pristinely kept certificated First and Second Prize winning competition exhibit of an all time Pra Niyom Master Class Amulet of the High End Category, the Pra Khun Phaen Pong Prai Kumarn Pim Yai amulet of Luang Phu Tim, of Wat Laharn Rai. This exhibit won a first prize trophy winner in the Glum Anuraks Ban Kaay amulet society competition in March 2561 BE, and as Champ of Show was awarded a Trophy with the certificate, and shown on stage, and is hence a Supreme Champion Class Amulet.
This amulet is particularly famed for its purported ability to attract prosperity and success in business, making it a highly sought-after treasure for those seeking to enhance their fortunes. The power of attraction associated with this amulet is believed to extend beyond material wealth, drawing in goodwill and compassion from those around the wearer. The mercy charm it is said to bestow is believed to bring harmony and peace to the wearer's life.
This amulet also includes free Shipping Worldwide Included.
The Original Wat Laharn Rai Release of the Sacred Pra Khun Phaen Pong Prai Kumarn amulet is widely regarded as a supreme embodiment of one of the most cherished amulets in history. This revered artifact is a creation of Luang Phu Tim, the esteemed abbot of Wat Laharn Rai, who was renowned for his profound spiritual insights and remarkable craftsmanship. This amulet is particularly famed for its purported ability to attract prosperity and success in business, making it a highly sought-after treasure for those seeking to enhance their fortunes. The power of attraction associated with this amulet is believed to extend beyond material wealth, drawing in goodwill and compassion from those around the wearer. The mercy charm it is said to bestow is believed to bring harmony and peace to the wearer's life.
Below : First Prize winner certificate of the Luead Ban Kaay Luang Phu Tim Amulet Society
Free Shipping Worldwide, is Included. The amulet comes with its original Certificate of Authenticity first made at the Glum Anuraks Luead Ban Kai, as well as a 1st prize Trophy. Thecertificate comes in A4 size included with the amulet.
This is a highly prized version of the all-time classic Original Wat Laharn Rai Release of the Sacred Pra Khun Phaen Pong Prai Kumarn of the Great Luang Phu Tim of Wat Laharn Rai is one of the most famous amulets of all time, and highly renowned for its true power to bring prosperity and good business, power of attraction and mercy charm to the wearer. e Sacred Pra Khun Phaen Pong Prai Kumarn amulet is widely regarded as a supreme embodiment of one of the most cherished amulets in history. This revered artifact is a creation of Luang Phu Tim, the esteemed abbot of Wat Laharn Rai, who was renowned for his profound spiritual insights and remarkable powers.
We guarantee authenticity with this item, as we do with all amulets in our showroom.
In essence, this amulet is not just a historical artifact or a symbol of spiritual faith; it is a potent tool for those seeking to enhance their lives, embodying the timeless wisdom and spiritual power of its creator, Luang Phu Tim. The reason this amulet became so world famous and popular, even in the time when Luang PhuTim was still alive, is because everybody who owned one, recounted that business and personal success and prosperity had increased constantly and steadily since wearing the amulet.
This particular exhibit has blue herbal tincture, one of various coloured herbal tinctures which were applied in the 2515 BE edition, which only recently came to light and authenticated by true 'Looksit Aek Korb Kroo' first hand initiates of Luang Phu Tim, those whose names are found in every encyclopaedic work and publication of the Tamniap of the amulets of Luang Phu Tim.
Being certificated, and later gaining first prizewinner status, AND a first prize champ of show trophy, has given this amulet the status of a true Pra Niyom Master Class amulet of the highest esteem, confirming its immense beauty in the eyes of all aficionados.
The amulet is easily identifiable for its classic appearance, and its Muan sarn made from Nuea Khaw Hniaw Sukh with Pong Prai Kumarn.
The Pim is 'Madtathaan' (standard classic features), with no visual discrepancies, and the evident presence of authentic Pong Prai Kumarn Luang Phu Tim, which is visibly present within the sacred powders. This Pim belongs to the 'The Block Tong Hlueang' brass mold, which was created after the previous block press mold broke, the 'Block Hin Meed Gone', which was carved from the sharpening stones used by monks to sharpen their razor blades to shave their heads.
Below : Certificate of authenticity of the Luead Ban Kaay Luang Phu Tim Amulet Association
Block Tong Hlueang is preferred over the Block Hin Meed Gone, and carries a slightly higher price-tag and eminent status to the Block Hin Meed Gone with the Wongarn Pra Niyom Collector Circles. The Block Tong Hlueang Brass mold press was also known as 'Block Sorng' (Block 2). It was later further refined, and used to press a further series, and the block press was given its final name of 'Block Hneung (Block One)
This has opened up the truth, which has been (possibly deliberately) hidden, until recently, by a few powerful monopolists who have controlled the information available about all the many models which were actually made by Luang Phu Tim.
Below : Certificate of Authenticity with First Prize Winner Competition Ribbon from the Chom Rom Pra Tae Mueang Siam Amulet Original Society Meeting
This amulet has since also won a second prize in the February 2018 Luead Ban Kaay Khun Phaen Luang Phu Tim Amulet Competition, which is still waiting for arrival of its certificate. The amulet also wont Champ of Show Trophy in its Category in the Siam Amulet Original Society Competition, which we will send to you along with all certificates prizewinner boxes and the amulet, per free EMS Shipping.
In the modern days of internet however, the truth has eventually come out about the Pi 15 and other editions which Luang Phu made and blessed, to the point where now we see famous magazined and experts such as the Amatasiam Group, and the Badtiharn publication fill their pages with the Pra Khun Phaen Pi 15 amulet, sealing the faith and public acceptance of this now classic amulet.
Below : Pages of the Amata Siam Cataologe of Master Class amulets published in September 2560 BE (2017) - showing multiple exhibits of the Pra Khun Phaen 15 for auction.
Since the confirmation of the reality of the Block 2 Khun Phaen Luang Phu Tim of 2515 BE, this edition has become one of the hottest prospects of the decade. Now is the time to study and collect, for the near and far future will make the Block 2 Edition as unaffordable as the Block Raek has become in the present day.
Below : the Khun Phaen Song Pol Yai Nak Glam 2510 BE, Pim Dara Boran, and Khun Phaen 15 amulets featured in badtiharn Magazine
This and many other conclusive evidence has served to open up the truth and reveal this edition, which has been deliberately, or through oversight hidden by a few powerful monopolists for many decades. The edition has stayed with the local folk, and did not fall into the hands of the speculators, who have controlled the information available about all the many models which were actually made by Luang Phu Tim. That era is now over, and the Khun Phaen Pi 15 has taken its rightful position amongst the ranks of Pra Niyom amulets of the Tamniab Official Pantheon of Luang Phu Tim.
Above; Ajarn Pisek of the Glum Anuraks Pra Krueang Luang Phu Tim speaks on National TV to break the News and destroy the Myths about the Pra Khun Phaen Prai Kumarn of Luang Phu Tim (created by Monopolists who only managed to get the 2517 BE edition in their possession, and 1. were unaware of the truth, as well as jealously blocking any editions they did not control, out of greed and prejudice). Luang Phu made other editions throughout the years between 2505 to his passing, with the 2515 BE edition now becoming the most preferred of all, overtaking the 2517 BE 'Block Raek' series
Ajarn Pisek has broken these myths, by revealing that Luang Phu Tim began to make and distribute Pra Khun Phaen in the year 2493 (Year of the Tiger). He then made his second edition in the year 2505 BE, and continuously distributed them throughout until his passing. But that in truth, the old devotees who grew up around Wat Laharn Rai (including Ajarn Pisek), did not wear the 2517 BE so called Pim Niyom edition, rather, that the true preferred edition of the local devotees who we close to Luang Phu, wear and collect the 2515 BE edition as the most preferred edition.
Below : Ajarn Pisek presents a Khun Phaen Luang Phu Tim Pi 15 amulet to her Majesty Princess Maha Chakri Sirindhorn Prataep Radtana Rachasuda Siam Boroma Rachakumaree
The Block Tong Hlueang was used to press Pra Khun Phaen Pong Prai Kumarn before the block press was given fine tuning, and then also again after having been filed down and carved to a more detailed and subtly styled detail, with the first pressings being known as 'Long Pim Block Tong Hlueang Gon Dtok Dtaeng'. The more refined version was then given the name 'Block Tong Hlueang Hlang Dtok Dtaeng (Niyom)'. The Block Tong Hlueang press is also known by local devotees of the Era as 'Pim Sum Khad' or 'Pim Sao Khad', and also other names. All of the different names refer to the very same Pim.
Below; Pra Khun Phaen Pong Prai Kumarn Block Tong Hlueang (one of various variations, called 'Block Sorng Pim Sum Khad') - a rare Pim of the pantheon. Since recent years, some of the aged looksit of Luang Phu Tim have revealed many unheard of facts about the Pra Khun Phaen Pong Prai Kumarn of Luang Phu Tim, making public knowledge of the many different Pim and Block presses more widespread, and breaking the tight grip monopoly of the 'Sian Pra Niyom' Experts.
The Block Tong Hlueang has two officially recognised versions. The first was called 'Gorn Dtok Dtaeng' (still not recarved with increased details). The first mold was used to press Pra Khun Phaen Pong Prai Kumarn before the block press was given fine tuning, and then given a more highly refined reworking, and used again after having been filed down and carved to a more detailed and subtly styled detail, with the first pressings being known as 'Long Pim Block Tong Hlueang Gorn Dtok Dtaeng'.
The second pressing was given the name 'Hlang Dtok Dtaeng'. The Block Tong Hlueang press is also known by local devotees of the Era as 'Pim Sum Khad' or 'Pim Sao Khad', and also other names. All of the different names refer to the very same Pim, and is a mere variation of preferred terminology used by devotees of different groups.
Below : rear face features of a Pra Khun Phaen Pong Prai Kumarn Pim Sum Khad
The Pra Khun Phaen Pong Prai Kumarn is a preferred choice of both the wise investor and devotee, as well as the perfect choice for those Devotees who seek the immense power of Luang Phu Tim's now Legendary Pra Khun Phaen Pong Prai Kumarn Pi 15. Since the confirmation of the reality of various previously undiscovered editions of Khun Phaen Luang Phu Tim, and 'coming out' of various Looksit Aek (direct initiates of LP Tim who were involved in the making of the Khun Phaen Prai Kumarn amulets between the years 2505 BE and 2515 BE, the amulet world has been taken by storm, and turned upon its head. Below; Luang Phu Tim is seen with Ajarn Piarn Wit (left), thirtheenth direct initiate of Luang Phu Tim, during the time around 2514 BE when he was helping Luang Phu as a lay practitioner. Ajarn Piarn Wit and various other direct devotees and initiates of Luang Phu have now come out into Public to reveal the facts, for documentation and confirmation.
Below : Ajarn Piarn Wit as a young man seen in the left side of photo, at Luang Phu Tim's side.
The 2515 BE Block 2 series was the first edition to come to light in this revolution, that was undiscovered by the Samakom Pra and the 'Chang Ga Buay Puttapanich' commercial monopolists (self claimed 'experts'), who forced acceptance of only the 2517 BE edition, and demanded the amulet world should only accept the amulets which they themselves possessed to be classified. One big mistake the Chang Ga Buay Puttapanich and Samakom Pra had made, was to put the name of Ajarn Piarn Wit and Ajarn Sukhothai and other Ajarns such as Ajarn Maeng, into their catalogues and encyclopaedic publications, as being the Ajarns involved in the making of the Khun Phaen Pong Prai Kumarn amulets of Luang Phu Tim. because after the denial of the 2515 BE edition, and statements that Ajarn Piarn Wit was the maker of a later edition in 2517 BE were made.
Below; Ajarn Piarn Wit watches Luang Phu Tim perform a blessing on the car of a devotee circa 2514 BE
But then suddenly, Ajarn Piarn Wit came out to speak thorugh this provocation, and provided photographic evidence and official confirmations to show that firstly, Ajarn Piarn Wit was ordained and initiated by Luang Phu Tim in 2514 BE, and assisted in the ,making of the 2515 BE 'Sao Khad Block 2' edition with Luang Phu. he provided many pieces of evidence, and the fact that he was already stated to be the 13th direct initiate of Luang Phu Tim and directly involved in the making of thr Khun Phaen Pong Prai Kumarn.
Above; Video interview conducted by Mor Grit Confirms, famous collector of Amulets of Luang Phu Tim, and Talkshow host whose fame is for confirming the facts about things, inquires with Ajarn Piarn Wit, the 13th direct Initiate of Luang Phu Tim, who ordained with Luang Phu and was one of his close assistants, about the truth of the 2515 BE and earlier editions of Pra Khun Phae, and receives direct confirmation of the facts, authenticating these editions. The beginning of the video shows photographic evidence of Ajarn Piarn Wit as a young man ordained with Luang Phu, as well as serving him as a Lay Practitioner over the years, helping Luang Phu to make amulets, and serving his needs.
Below Picture : Ajarn Piarn Wit as he was Ordained in his early years, at the side of Luang Phu Tim.
The Samakom Pra were dumbfounded when he came out to confirm the edition which is as good as 'from the horses mouth'. In video interview with a famous expert and collector and TV star, he called Ajarn Sukhothai, the official expert who first catalogued all the officially accepted Khun Phaen into their respective series block presses, and named them. In the telephone conversation with Ajarn Sukhothai (who can be considered to be amongst the top 3 officially accepted people in the Know), Ajarn Sukhothai confirmed the existence and authenticity of the 2515 edition, and the previous editions which were made between 2505 BE and 2515 BE.
Below : examples of Pra Khun Phaen Pong Prai Kumarn from the previous 'Hin Meed Gone' razor sharpening stone block press, which after breaking, was superceded by the Block Tong Hlueang Brass Block Press.
Below : Ajarn Piarn Wit once more walking beside Luang Phu Tim, holding his betel nut and areca tray (Chan Hmak)
Below; Ajarn Piarn Wit reveals the truth of the pressing of the 2515 BE Khun Phaen 15, and that Luang Phu blessed them. He explains to 'Mor Grit Confirms', that the till now preferred 'Block Raek supposed 'first block' was actually the third block press development, and that the Block Sorng (2nd Block Press), preceded it. Ajarn Piarn Wit confirms the reality of the Khun Phaen 2515 BE, with great sincerity, and authenticates the edition, which is presented in the book seen in the video.
Below : a Recent Encyclopaedic Work released of the pantheon of Pi 15 Block Tong Hlueang (Block Sorng Hlang Dtok Dtaeng) amulet series, otherwise known as 'Sum Khard' or 'Sao Khard'
Below : Ajarn Piarn Wit Seated once more at the side of Luang Phu Tim, as one of his close 'Looksit Aek' direct initiate apprentices.
Below : some more examples of the Pra Khun Phaen Pong Prai Kumarn - these belonging to the Block Hin Meed Gone amulet, in a Samakom Pra amulet appreciation society encyclopedia.
Below; Mr Chui, direct grandson and initiate of Luang Phu Tim, confirms the reality of the Block 2 Sereies, blessed by Luang Phu Tim. The beginning of the video shows Mr Chui as a Samanera Monk at the side of Luang Phu Tim's corpse at the time of his death. Mr. Chui was at the temple at the time of the making of the Pi 15 series, and assisted with Ajarn Piarn Wit and other Looksit, to press the amulets before Luang Phu Tim Blessed them.
One can see a very fluffy and rich texture to the Muan Sarn on the surface of the amulet, in reaction with the Muan Sarn Sacred Powders. It is a part of the amulet appreciation society expert's method of authentication to examine and study the appearance of how Khaw Hniaw Sukh develops in surface texture, tonality and porosity of the surface, as well as the appearance of Luang Phu Tim's famous Pong Prai Kumarn which rises up and through the fine golden painted surface. In the cases of Sai Rae Tong Kam/Bronze Wanich golden coated amulets, the same priority is taken in perusal of the fluffiness of texture.
We ourselves feel that all of Luang Phu Tim's amulets are equally Sacred and Powerful in their own way, regardless of which edition or which temple he blessed them at, but we do, as do all Amulet Appreciation Fanatics, recognise the categories of preference within the heirarchies of different editions, which is for us one of the more subtle and fascinating parts of the study of high end amulets within the collector scene, and part of the fine art of learning how to recognise and value Sacred Amulets of High Preference and Rarity.
The Pra Khun Phaen Pong Prai Kumarn Luang Phu Tim amulet, has has been one of the most popular amulets in the whole Pantheon of Thai Buddhist Amulets of the last century, and of all time, and is now almost impossible to encounter commonly anywhere in any amulet emporium, except for the most elite showrooms, and at elevated prices.
The Sacredness of the Pra Khun Phaen Pong Prai Kumarn is legendary and unquestioned in Thailand, and its magical power is commonly accepted by all. The Muan Sarn Sacred Powders of the Pra Khun Phaen Pong Prai Kumarn are considered to be amongst the most powerful powders to empower amulets in existence. This amulet is a wonderful opportunity for devotees who seek the true power of a world class amulet from a world class edition, and also a wonderful Ongk Kroo reference study exhibit to peruse under the eye loupe.
The amulet is a perfect and authentic study material, to train the eyes as to the appearance of the Muan Sarn and Surface textures of the Classic amulets of Luang Phu Tim Hence, the amulet is also a perfect 'Ongk Kroo' reference study material for students of the Pantheon, and will increase your chances of spotting an essential rarity at the right price, and without danger of risking a fakery.
We highly recommend this amulet as a sound investment and an extremely rare opportunity to obtain and be the proud owner of an authentic Wat Laharn Rai release model of the Eternal Classic Pra Khun Phaen Pong Prai Kumarn 2515 BE, of Luang Phu Tim. Below is an example of a Block 2 Pim Yai from a famous Amulet Auctioneer Magazine in Nuea Chompoo from some years ago now, which auctioned for 65,000 Thai baht (Roughly 1950$ US) - the Pi 15 amulets have already quadrupled the below price in various auction rooms and shows.
The Khun Phaen Pi 15 is now perhaps one of the hottest properties currently in the forefront of the amulet world. Its rise to fame and preference is now no longer in question, rather, it is only a matter of time before they begin to deplete, and they enter the annals of unattainable acquisitions which are only seen around the necks of the truly wealthy.
A highly attractive and rare Sacred Amulet, that is truly Powerful and stands as the Master Class Amulet of its Category, and is considered a Most Highly Prized addition to any Master Class Collector's Showcase, and more importantly, is a most powerful amulet to possess for Bucha, and receive its Blessings, which History has proved time and time again to be one of the most powerful and famous amulets in Thai Amulet History.
The making of the Muan Sarn Sacred Pong Prai Kumarn powders Luang Phu Tim, came from the Wicha which Luang Phu had inherited through apprenticeship form one of his high Kroo Ba Ajarn, Kroo Ba Sangkh Tao, who was also his true Uncle. Part of the formula included Pong Prai Maha Phuudt, which was made from the Skull of a male Kumarn who died in the Womb, and who died on a Saturday and was cremated on a Tuesday. This is part of the ancient Khmer Necromantic Formula for Authentic Powerful Prai Occult Magic, as practiced in Ancient Times. It is said that Pra Kroo Sangkh Tao's Wicha Akom was so powerful that when he spat on the floor, the floor would crack where his spit would fall.
Due to the fact that Monks are not allowed to seek and find this Sacred and Extremely Powerful Necromantic Substance, Luang Phu would perform Korb Kroo Initiation for protection against Black Magic and the Phuudtaa Spirit Phantoms, so they could go forth to seek and find the substances to donate to him for the making of the Pong Prai Kumarn.
The Initiated Lay Devotees and Apprentices to his sorcery, would then wait for the news of the right circumstances of death of Kumarn Ghosts, and go out to collect the substances and prepare them as instructed with the Wicha. They would seek the permission of the relatives of the dead, to obtain the substances to enable the ghosts of the deceased to receive merits to free them from their Karmic residues by donation of their mortal remains to be made into amulets.
Below : A Pra Khun Phaen Pong Prai Kumarn Luang Phu Tim Pim Yai Niyom Block Raek 1st Block Press Model in Nuea Khaw Hniaw Sukh Ta Bronze
They would receive the ceremonial ritual liberation of their souls from Luang Phu Tim, who would speak with the spirits of the dead to receive their acknowledgement for the process of transformation through the Nibbana Sutra, and the Muan Sarn would then be prepared according to the Dtamra Saiyasart of Necromancy, to make the Pong Prai Kumarn.
Luang Phu instructed his apprentices and the relatives of the Funerals to take care not to incinerate the whole skeleton, but to keep the skulls to bring to Luang Phu to use them for the making of the Pong Prai Kumarn. This is one of the reasons why his Pong Prai Kumarn is so powerful, because it does not contain the skeleton bone powders, rather, only those of the skulls.
As a result, Luang Phu Tim's Pong Prai Kumarn has been recorded by experience of devotees to posses the highest Maha Pokasap Power of all Pong Prai Kumarn ever made, with Immense Metta Maha Niyom and Klaew Klaad Power, to induce Mercy Charm, Attract Lucky Fortunes (e.g. Lottery Winnings), and to Protect from Deadly Accidents and Disasters.
The Pra Khun Phaen Pong Prai Kumarn is a preferred choice of both the wise investor and devotee, as well as the perfect choice for those Devotees who seek the immense power of Luang Phu Tim's Legendary Pra Khun Phaen Pong Prai Kumarn
Luang Phu Tim Isarago, is of course not only one of the most highly acclaimed and sought after Guru Monks for his amulets, he is the holder of the highest esteem in Thai Buddhist amulet history for Pong Prai Kumarn powders. Luang Phu Tim, is Internationally Acclaimed, for his famous Pra Khun Phaen Pong Prai Kumarn, and Look Om powder balls. As to the classic 'Rian' type coin image amulets which have become all time favourites, and eternally, world famous classic amulets of the high end variety. His rian Jaroen Porn, and Rian Nakprok Paed Rorp are amongst the most highly sought after coin amulets of all time.
Since his passing, his devotees and apprenticed monks, have now become the world's top living masters for the making of Pra Khun Phaen Pong Pra Kumarn, and literally dozens of encyclopaedic books, have been printed, documenting both this great master monk, and his classic amulets of high esteem.
Buddhist monk coins with his image and others with Buddha images and other deities and imagery are amongst the most highly collected amulets and most expensive of all of the great Luang Phu Tim. He has various direct lineage apprentices, Who are continuing to progress and spread his most powerful and world-famous Wicha.
Of all of these masters, perhaps the most famous, preferred, was Luang Por Sakorn, of Wat Nong Grub, who is also now deceased, and whose amulets are fast becoming just as highly sought after. In second place one could possibly estimate the great Luang Phu Sin, of Wat Laharn Yai, and in third place, possibly, Pra Ajarn Somkid, of Wat Beung Tata (Rayong). However, Luang Phu had many other 'Sahaay Tam' (Dhamma Companions, such as Luang Phu Gaew (Wat Laharn Rai) whose Pra Khun Phaen Pong Prai Kumarn in miniature form and other amulets were in fact part of Luang Phu Tim's bestowed Wicha, and it was Luang Phu Gaew
Kata Pra Khun Phaen Prai Kumarn Luang Por Tim
Puttang Ārātanānang Tammang Ārātanānang Sangkang Ārātanānang
Na Maedtaa Ja Mahaa Raachaa Taewiraacha Budtra Dtraa Budtra Dtrii Sa Ma Na Praahm Chiitaasaa Taasii Grasadtrii Paab Raacha Idthii Naarii Sappa Aehi Much-Chi Sappang Sappa Grotang Winaasandti Bpiyo Taewa Manussaanang Bpiyo Prahmma Namudt-dtamo Bpiyo Naaka Subannaanang Bpinintriyang Namaa Mihang Wikring Karae
Below you can see an authentic exhibit of one of Luang Phu Tim's Look om Pong Prai Kumarn (small pim lek) in HD video, for comparison of the features and aspects of the Muan Sarn Sacred Pong Prai Kumarn Powders.
The Truth about the Amulet Society Moguls;
Luang Phu Tim made a very large number of Pra Khun Phaen Pong Prai Kumarn which he distributed over the years between 2508 and 2515 BE, many of which slipped the grasp of the 'Sian Pra' high end collectors and powerful monopolists of the scene, for they were given to the local devotees of Rayong and Chonburi province who were devotees of Luang Phu Tim, before the monopolists could get their hands on them. Up until recent years, the Wongarn Sian Pra Niyom tried to prevent knowledge of such editions becoming public knowledge, to preserve their own commercial interests.
But as the era of Internet came some 20 years ago, and especially during the last decade, the many individual devotees of old age who had amulets of Luang Phu Tim oin their possession, were able to communicate and gather, and the new age of amulet aficionados were able to find and come into contact with the 'old school devotees'. This has resulted in the deadlock which was maintained by the greedy monopolists to be broken, and the news and proof came out, with highly respectable older generation Looksit of Luang Phu coming out on TV and even Youtube channels to be interviewed and present their photographic evidence and historical facts. Hence, the Pantheon of amulets of Luang Phu Tim has not been forced into acceptance by all amulet collector cisrcles, and publications of the new encyclopaedias of the 'Tamniap' amulet pantheon of Luang Phu Tim has finally grown in its official capacity, to revere and accept the many wonderful amulets he made and released before the monopolists 'closed the doors' on the amulets they did not have in their own possession.
Below you can see a video interview with Ajarn Piarn Wit Jarusathidti, one of Luang Phu Tim's closest first Looksit apprentice devotees, who has come out along with some of the other more important and authenticated direct first Looksit Ek of Luang Phu Tim, to reveal and confirm the truth about the many wonderful editions of Pra Khun Phaen Pong Prai Kumarn and other amulets which Luang Phu tim made before he came into the eye and interest of the monopolists of the amulet scene. The video is currently in process of transcribing into English Subtitles by Ajarn Spencer Littlewood, and we will replace the below video with the English Subtitle version as soon as it is complete, so you can read and understand the facts he reveals.
We at ancient amulet have never followed the lead of the monopolists, knowing the game they play, which is based in self interest and has never benefitted the amulet scene at all, except those who were manipulating the information for their own interests (e.g. 'the ones our group have in our possession for sale are valid, but the ones we dont have, we don't accept). The truth is the truth, and all amulets of Luang Phu Tim should be properly recognised and documented for the good of all. Thankfully, the Khun Phaen Pi 15 has now taken its rightful place in the Tamniab Wadthumongkol of Luang Phu Tim, and all that remains is for the Legend to Continue..
