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.
A Second Prize winning Competition-Class amulet, and a very rare version, of the Khun Phaen Pong Pra Gumarn of LP Tim. This exhibit is in Prai Kumarn Nuea Khaw Hniaw Sukh Phasom Sai Rae Tong Kam golden flakes applied, one Takrut and a strip of Luang Phu's Jivara robe in the front face, with a sacred powder version of the immortally famous and rare 'Ganha Chali' (children of Vessantara), from the great Luang Por Chaeng of Wat Bang Pang, inserted into rear face, with Certificate of authenticity included. It is not uncommon to find Pra Khun Phaen Pong Prai Kumarn with amulets from associated Master Monks of Luang Phu Tim inserted in the rear face, for indeed, these Dhamma Comrades would often exchange amulets and Wicha, and Muan Sarn Sacred Powders with each other, to help each other's amulets increase power.
This example, is a most pristinely preserved, and attractive Pra Khun Phaen 15 Pong Prai Kumarn Pim Yai, from the Block Tong Hlueang Hlang Dtok Dtaeng (Second Block Press), in Nuea Khaw Hniaw Sukh blessed sticky rice, completely coated in Sai Rae Tong Kam golden flakes impressed with Nam Man Pra Jao Thaksin oil, and made from Pong Prai Kumarn Powders, with the Ganha Chali amulet inserted into the rear. This exhibit comes from the year 2515 BE, blessed by Luang Phu Tim Issarigo, at Wat Laharn Rai, in the year of celebration of the changing of the name of the temple from 'Wat rai Waree' to 'Wat Laharn Rai'.
This Pra Khun Phaen has been authenticated and issued with Certificate of Authenticity in the 11th-12th August 2562 BE competition of the Luead Ban Kaay Luang Phu Tim Amulet Preservation Association, with signature of the committee Presidents. Free Express Shipping is also Included with this amulet, along with the offer of free Solid Silver, waterproof or steel casing, according to your preference. Solid Gold Casing is offered as an option at extra cost.
A most beautiful competition class exhibit with extremely clear details, and highly attractive well preserved design features. This amulet comes with free offer options of Waterproof, or Stainless Steel casing included with the amulet, along with the authenticity certificate which will be sent along with the amulet. Below; The rear face has a Ganha Chali Loi Ongk Statuette in Nuea Pong Wan Saby Luead red bloodsoap herb, from the Great Luang Por Chaeng, inserted into the Muan Sarn.
Below; this amulet (Official registry number #0219) comes with 2nd prize winner certificate of authenticity from the 12th August Amulet competition of the Glum Anuraks Pra Krueang Luang Phu Tim Original Amulet Society amulet association, which we will send with the amulet for you to keep.
This amulet is a Pristinely kept exhibit of an all time Pra Niyom Master Class Amulet of the High End Category. There are few amulets in history that carry the fame of power, and esteem for effectiveness, of the Pra Khun Phaen Pong Prai Kumarn Pim Yai amulet of Luang Phu Tim, of Wat Laharn Rai. This model is a Pra Khun Phaen Pong Prai Kumarn 2515 BE - Pim Yai Niyom Nuea Khiaw Pasom Khaw Hniaw Sukh Pasom Pong Prai Kumarn Fang Ganha Chali Takrut Lae Jiworn. This exhibit is in pristine condition and flawless, with highly refined details and features, already a second prize winner, and extremely worthy of further show.
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. We guarantee authenticity with this item, as we do with all amulets in our showroom. This amulet was taken to the Luad Ban Kaay Association of Ajarn Dr. Phisek, along with our other amulets of Luang Phu Tim in March 2562 BE by Ajarn Spencer Littlewood, to receive confirmation of authenticity, and was confirmed and categorized as authentic.
Below : Macro close up of the Muan Sarn Sacred Powders of Hanumman in the rear face
The reason this amulet became so world famous and popular, even in the time when Luang Phu Tim 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 pristine features and is 'Ongk Kroo Doo Ngaay' - easily identifiable for its classic appearance, with no visual discrepancies, and the evident presence of authentic Pong Prai Kumarn Luang Phu Tim and Poon Kin Hmak.The Hanuman insert on the rear face makes this amulet especially original and adds Kong Grapan and Maha Amnaj Power.
The Block Tong Hlueang mold 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. 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
Below; Pra Khun Phaen Pong Prai Kumarn Block Tong Hlueang (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, and opening up the truth which has been deliberatley hidden by a few powerful monopolists who have controlled the information available about all the many models which were actually made by Luang Phu Tim.
This amulet comes with A4 size certificate of authenticity from the Amulet competition of the Luad Ban Kaay amulet appreciation association, and complimentary box, which we will send with the amulet for you to keep and frame. We also plastify the certificates in sealed transparent plastic for you to avoid wear and tear and protect from moisture.
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 Blockj Tong Hlueang Gon Dtok Dtaeng'. The Block Tong Hlueang press is also known by local devotees of the Era in subdivisions, as 'Pim Sum Khad', or 'Pim Sao Khad', and also other names. All of the different names refer to the very same Pim.
Below: rear face features of a Pra Khun Phaen Pong Prai Kumarn Pim Sum Khad (Variation of Khun Phaen Block Tong Hlueang/Block 2)
Below: examples of Pra Khun Phaen Pong Prai Kumarn from the previous 'Hin Meed Gone' razor sharpening stone block press, which after breaking, was super-ceded by the Block Tong Hlueang Brass Block Press.
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)
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.
The Muan Sarn Sacred Powders of the Khun Phaen Pong Prai Kumarn Luang Phu Tim, are renowned for their power, made from the skullbone of a Hoeng Prai, and are highly renowned for their Maha Lap and Maha Sanaeh Metta Powers.
Luang Phu Tim's Pra Khun Phaen Pong Prai Kumarn, Pim Yai, and Pim Lek amulets are amongst the rarest and most highly sought after amulets in Thailand, and are very difficult to encounter, due to having been made in small number editions, which is nowhere near enough to provide for the masses of devotees around the world who seek such an amulet as the Pra Khun Phaen Pong Prai Kumarn of Luang Phu.
One can see a very dry and textured appearance to 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 each kind of Muan Sarn Sacred Powder mixture 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 surface.
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, recognize the categories of preference within the hierarchies 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 recognize 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. In addition, the presence of the Ganha Chali amulet brings immense Metta Maha Niyom and Maha Sanaeh to the already powerful magic within the amulet, with the additional Wicha of Luang Por Chaeng residing within Ganha Chali.
Who are Ganhā Chalī?
The story of Ganhā Chālī is part of the Jataka tales, which are traditional Buddhist stories about the previous lives of the Buddha. The tale of Prince Vessantara tells the story of a compassionate and generous prince who gives away everything he owns, including his wife and children, to fulfill the wishes of others.
In the story, Ganhā and Chālī are the two young children of Prince Vessantara and his wife, Princess Maddī. When Prince Vessantara decides to give away his children as part of his act of selflessness, they accompany him into the forest. Despite their tender age, Ganhā and Chālī display remarkable understanding and unwavering support for their father's noble actions. As the story unfolds, the children face various hardships and challenges alongside Prince Vessantara. However, their unwavering faith and resilience eventually lead to a happy ending. The children's virtues and selflessness are showcased throughout the story, emphasizing the importance of compassion, sacrifice, and the pursuit of enlightenment. The story of Prince Vessantara and his children is beloved in Thai culture and is often depicted in art, drama, and religious ceremonies. It serves as a moral lesson, inspiring individuals to cultivate kindness, generosity, and compassion in their own lives.
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.
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 Issarigo, 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. His world famous Pra Kring Chinabanchorn is amongst the top 5 Pra Kring of all time and is one of the most highly priced amulets of his pantheon. 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, Rian Huang Chueam, Hyod Nam,and Rian Nakprok Paed Rorp are among the most highly sought after coin amulets of all, with other editions such as the Rian Mae Nam Koo becoming equally rare, popularly revered in recent years.
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).
Below: another example of a Pra Khun Phaen Pong Prai Kumarn 2515 Luang Phu Tim in Nuea Khaw Hniaw Sukh Pasom Pong Prai Kumarn with Wan Thao Hlong Tincture
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 listen to a plodcast from Ajarn Spencer Littlewood revealing the revolutionary change in the mainstream acceptance of the Pra Khun Phaen Pong Prai Kumarn 2515 BE of Luang Phu Tim, and the fall of the odl school monopolists
Below: Second Prize Winning Certificate with the amulet in complimentary box with 2nd prize sticker.
