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 most beautiful and masterfully well carved ivory Pra Pikanes (Ganesha) Khao Or Southern Sorcery Tradition hand carved Master-Class amulet, and fine piece of Miniature Thai Buddhist Arts. Empowered by the from the Great Olden Days Khao Or Sorcery Masters, such as Ajarn Iad, Ajarn Jek (2425 - 2491), and Pra Ajarn Parn, Great Sorcerer Monks of Historical Fame and Legend.
This exhibit has Sacred Inscriptions visible on the back, viewed under light, and is a most elegantly and streamlined fashioned ivory Pra Pikanes Elephant God Image. Thhe image is designed with 'Hua Jaruad' (Rocket Head). and the typically slender and flowing lines of design features expected in many of the carved amulets of the Khao Or Tradition. The Ivory reveals its truly ancient origins with its beautiful ochre patina.
Luang Por Jek and Luang Por Iad, and Luang Por Luang Por Parn Bpalatammo, after the Tutelage of Ajarn Tong Tao (Wat Khao Or), were the first and foremost Looksit of Wat Khao Or Sacred Cave Temple, the famous originating temple of the Dtamnak Kunjae Saiyawaet Dtak Sila Khao Or Southern school of Sorcery and Buddha Magic. The Sacred Ivory and Metallurgical Nga Gae Amulets is a Wicha of Serm Duang, Serm Yos, Maha Lap Lucky Fortunes, Kong Grapan Chadtri, and Klaew Klaad Evasive Protection, is effective as a success and promotion, professional luck bringer, and protective spell, against all forms of black magic, sorcery, evil eye, demons and physical dangers, which derive from weapons of war, sharp and blunt instruments.
Free Express shipping is included by either DH, /Fed-Ex or EMS, depending on Availability. Pra Pid Ta amulets have been produced as objects of reverence and protection since very ancient times in Thailand. The artisans of that time created various styles and interpretations, using the various periodic influences of Buddhist art and sculpture available at the time. Various Deity forms were used to make the Pra Pikanes Posture, some with two, four, or multiple arms, seated, standing, slim, smooth and pointed, or plump and highly detailed.
Ganesha has many different Emanations and Postures, but the most Common Traditional Posture of Ganesha, is four armed with Whip Goad, Ritual Axe, an Om in the palm of raised hand, and Fruits as consumable offerings. This Posture and combination induces not only the removal of obstacles and success, but also wealth and plentiful treasures and possessions and well being. The hand wielding an axe, is a symbol of the retrenchment of all desires, bearers of pain and suffering. With this axe Ganesha can both strike and repel obstacles. The goad restrains all inner and outer enemies.
Ganesha, has varius forms, 2, 4, and multiple four arms, which symbolize his status as the universal ruler and, in the case of the four armed emanation, establishes his power over the four categories of beings – those who can live only in water, those who can live in water and on earth, those who can live only on earth and those who can fly in air. It was God Ganesha who instituted the four castes and the four Vedas. One hymn in Sri Bhagavat Tattva, says: ‘In heaven, this child will establish the predominance over gods, on earth over men, in the nether world over anti-gods and serpents.
He causes the four ruling forces of the elements to move, for which he has four arms. You can use the Chants to Ganesha (Pikanes) to epower the potion before use, and to beseech blessings, to attract, and improve your profession, charm, wealth, status, and remove any obstacle that may be preventing you from succeeding in your goals, be they amorous, financial, professional or social goals. Ganesha helps you in all these areas of life.
The Pra Pikanes is carved in the same Nirodha posture of the Pra Pid Tawarn (Buddha with closed eyes/ears/orifices), and is considered not only to be an amulet of auspicious success from Ganesha, but through the Wicha Maha Ud and Nirodha Karma, is also an amulet with ‘Maha Ud’ and ‘Kong Grapan’ power (invincibility and gunstopping power), but is also made as a wealth bringer, in which case, the amulet will be called ‘Pra Pikanes Pid Twarn Maha Ud Maha Lap’. In order to inflect a greater resonance for wealth attraction and auspicious blessings, and Protective Power.
LP Parn, Ajarn Jek (Kroo Ba Ajarn of Khun Pan Rachadej), and Ajarn Iad, were Great and Immensely revered Monk of the Khao Or tradition, with LP Parn initiated directly through the Great Pra Ajarn Tong Tao, initiator of Wat Khao Or, one of the Most Highly favored Ancient Sorceror-Monks of the Southern Tradition in Olden Days.
When mentioning the names of the greatest Khao Or Masters in remembered history, one cannot avoid the name of Luang Por Parn Bpalatammo, along with the other Great Names of Pra Ajarn Tong Tao, Pra Ajarn Kong, Ajarn Jek, Ajarn Iad Bpatumasaro, Pra Ajarn Nam Puttasaro, and the Great Lay Masters; the Police Sergeant Khun Pantagij Rachadech (famous as Master Adept maker of the Jatukam Ramathep amulets, and for catching the greatest Highwaymen and Gangsters in Siam), Ajarn Chum Chai Kiree and Ajarn Plien.
Below; Ajarn Parn Bpālatammo
Luang Por Parn was a Looksit Aek (primary apprentice in Magic), after Ajarn Iad, to the founder of the tradition at Wat Khao Or, the Great Pra Ajarn Tong Tao himself. Pra Ajarn Parn then became his most intimate and entrusted student, and continued the job of Abbot to lead the temple and the tradition onwards after the passing of Pra Ajarn Tong Tao. Ajarn Iad was a secondary apprentice, and also fully versed in the Wicha of Wat Khao Or, and Wat Don Sala. Ajarn Jek has always held his own inimitable reputation for his powerful magic within the Khao Or Lineage, but deemed Ajarn Tong Tao's decision to appoint Luang Por Parn.
Below; Ajarn Iad (Wat Don Sala)
The reason he became Abbot instead of Ajarn Iad, who was the Prime first apprentice, was that that Pra Ajarn Tong Tao had already previously trained and prepared Pra Ajarn Iad for the task of continuing the Dtamnak Dtak Sila Khao Or, but due to the needs of the Buddhist Sangha, Ajarn Iad was called to take over the position of Abbot of the nearby temple of Wat Don Sala, along with his Looksit Pra Ajarn Sri Ngern, who later became the succeeding Abbot of Wat Don Sala.. The devotees of Wat Don Sala came to beseech Ajarn Tong Tao for one of his greatest monks, as they knew that Wat Don Sala and Wat Khao Or had been closely connected with the Wicha Khao Or, since many ages. The devotees were insistent, as Wat Khao Or and the Master Monks of this Samnak, were highly famed for being the most powerful Sorceror-Monks of all, with the most ancient and powerful Sorcery Spells.
Pra Ajarn Tong Tao Hence allowed the devotees of Wat Don Sala to invite Pra Ajarn Iad to take control of Wat Don Sala, and placed his second apprentice in his stead, as the next Looksit Aek, to be trained for full mastery of the Wicha Khao Or, and prepared Ajarn Parn for eventually taking over the temple of Wat Khao Or after his passing. Pra Ajarn Parn was then instructed, as Ajarn Iad before him, in every single spell and ritual practice of the Khao Or Magical Tradition, until he had completed the full Dtamra, and mastered every spell. The Khao Or Tradition of Sorcery has long been considered to be the most powerful in all of Siam, with roots tracing back to well over 1000 years, containing magical spells of the ancient Ruesi Sages and Sorcerers of those times, the magic is of course untouched by modernisation and preserved with its complete original Dtamra.
Wat Khao Or and its Magical Sorcery style derives from the fact that the sacred place of the Khao Or Cave was a place of practice of the ancient Ruesi Sages and Brahmans in the Pre Buddhist Era, and the many magical practices and rituals of that time were written and passed on through the lineage sincde then. This makes the Wicha Khao Or one of the most untarnished and purest of lineages from those days to this time, and is what makes the Khao Or Southern Magic such a worldwide popular phenomenon, with hundreds of thousands of devotees of this magical lineage.
Most Devotees of the Tradition revere all the Masters of the lieage, with ony a few collectors and devotees focusing on one particular master. For us hence, Luang Por Parn and his amulets, and all the other Khao Or Masters mentioned in this document are awarded the same level of faith and respect, and considered equally powerful, regardless of the 'who came first, and who came after' thing, which many people follow, but in fact, it is erroneous, to think that the preceding master is always more powerful than the latter succeeding master.
If we look for example, at the amulets of a Monk made at age 90, who taught another monk half his age, but who also later, also at age 90, after the same years of practice, releases his amulets, we can deduce, that all the Khao Or ancient masters spent the same time, and diligent practice, to master the Wicha, merely lived in different generations. This does not affect ability, mastery, diligence, purity or power in one's practices. Such assumptions should hence be disposed of if one is to be a true student and devotee of the great Sorceror Monks, the Ascended Master Monks, and their Deeds and Amulets, Wisdom and Magical Prowess.
The Wicha Khao Or is perhaps the most complicated of all Wicha (typical Brahman attention to ritual detail and rules), where some spells are fitting for Monks, others better for Lay Masters or Ruesi. Some spells or amulets cannot be touched by ladies, some spells cannot be made by men, only women. Some spells cannot be made by Lay Masters and only by Monks, some spells can only be made by Lersi, or Lay Masters. But he who becomes the head of the temple, must at least know every single Wicha, including the ones they are not allowed to perform themself, depending on if they are a monk, a Lay Master, or a male or female Karavasa devotee.
Below; Sacred Ceremony within the Cave at Wat Khao Or.
This is so that they can teach all the Wicha to each type of student who comes to learn the Wicha.
There is also a strict regulation of protocols for choosing which Master is to become the succession inheritor of the Wicha as the Grand Adept of each generation. Every student who attends the Khao or school of Sorcery must choose whhich Wicha is fitting for them to learn and practice, according to their status of Lay Master, Ruesi, Monk or Karavasa.
1. The person has to possess an auspicious horoscope according to the Prohmachadt (Brahma Jati) Grimoire of Astrological Vedic Knowledge.
2. The person has to be a moral and well behaved, kind and have ggreat equanimity.
3. The person has to have powerful meditative abilities and great spiritual wisdom.
It is of great importance according to the ancient Vedic roots of the Grimoires of Khao or, that the head of the Lineage generation should have a goog Karmic Horoscope, as it has been seen in history that many lineages, be they magical, or even those of the pharoaahs and ancient rulers, we have seen good and bad generations of leaders. So choosing a master whose Karma is auspicious is immensely important to ensure the continued purity of the Tradition, and evade that any generation may have an unfitting Master. The good behavior and morality of the chosen successor, must also be good for reasons, being that this will avoid that there would ever be any events occurring that are inauspicious. He should have great self renunciation, great compassion, and like solitude above the company of others. The succession Master Adept of each generation should be highly devoted to helping others, and selfless, for this is the intention of the Samnak Dtak Sila Khao Or, to be of service to the people and the nation, with a Master of Great Spiritual Wisdom and Compassion, and Immense Miraculous and Magical Powers. We would like to add however, that one should observe that all Miracles are obviously Magical, but not all Magical Spells are Miracles. Miracles are Spiritual in Nature, whereas magic in itself is a form of Wicha (Sacred Art/Science) to which non Miraculous aspects belong, and indeed forgotten sciences, such as alchemical Metallurgy, Ayurvedic Medicine, Herbal and Pranic healing, Crystal Gazing, and the like.
The succession Master of Wat Khao Or must also have great Wisdom and Self Mastery, and be above all a seeker of solitude, for any Monk who seeks too muc conversation and socializing is likely to bring the downfall of the Purity of the Samnak, for they would get lost in the ways of the world too much, and perhaps even develop greed and ignorance. The Wisdom aspect is important, because the Kroo Ba Ajarn Master must not only be self Adept, rather, also be enabled to speak and teach his students in all the myriad of Wicha to be found within the Dtamra of the Wicha Samnak Dtak Sila Khao Or Magical Heritage. Only a monk with wisdom can do this, and only a monk with wisdom is fitting to be master of the Samnak Khao Or Lineage.
Pra Ajarn Parn was hence the second Looksit of the founder of Wat Khao Or, Pra Ajarn Tong Tao, after his first Looksit was given the duty of attending to Wat Don Sala, and is one of History's most revered Khao or Masters. He is also considered to have been the last of the Great Masters of Wat Khao or, after which only the other Khao Or loineage temples have continued with their unbroken lineage of Grand Master Adepts, such as Wat Ban Suan and Wat Don Sala, which both still have living Masters. However, many great ceremonies with blessings and amulets are still released at Wat Khao or to this day with the Khao Or Masters of the Lineage temples attending to empower, despite the fact that Wat Khao Or itself, no longer has a Permanent Master Adept attending as Abbot. This is the law of Anijja, tne first of the 3 Marks of Existence taught by tyhe Buddha,, that all things are born, have their time, and cease to be, and so it was with the Master Lineage of Wat Tham Khao Or, begun by Pra Ajarn Tong Tao through the hundreds of years of lineage mastery passed on to him through his lifetime, of the thousands of years old southern Thai Magical Sorcery sciences. There is little documentation on Pra Ajarn Pal before his appearance at Wat Khao Or, for he was known to be a very private and solitary monk, who never boasted or told stories about his life to others.
It is said that he was a born resident of Ranode in the Songkhla most southern province, who moved with his family to live near the Khao or Mountain in Pattalung. But others say he was born in Ban Khao Or and lived there since birth. Either way, it is known that he ws at Ban Khao or at least since school age, for evidence of his attendance at school is found. His parents were devout followers of Ajarn Tong Tao, so he was sent to be schooled with the Master, and this is how his presence was first documented. Pra Ajarn Parn was said to have been a fast learner, but also a a helpful and beloved friend of the other temple children, for he would often take the blame for the wrongdoings of others in their stead, and take the punishment for them. Once he reached the age of ten he was ordained as a Samanera Novice Monk by Pra Ajarn Tong Tao himself. He is said to have advanced in Wicha very fast even during his time as a novice monk, and onwards after full ordination as a Bhikkhu, became quickly an Adept Sorceror Monk in his own right. Pra Ajarn Parn was renowned fir his Wicha Niw Paetch Diamond Finger spell, which can allow the holder to point to the right and freeze a person as if they were paralysed, or create a myriad of effects, including causing death.
It is said that the Niw Chee Paetch diaond finger of Pra Ajarn Parn would not burn during his funeral, and was unable to cremate. It is rumored that the finger of Pra Ajarn Parn of Wat Khao Or is kept at the Khao or Lineage temple of Wat Ban Suan in Pattalung. Pra Ajarn parn was always the presider over the major ceremonies of that Era, in all the Khao or lineage temples, be it the famed herbal oil bathing ceremony for healing, or the black sticky rice eating ceremony for Kong Grapan. He was a master of Herbal healing Arts, and Talismanic Charm Making, as well as alchemical metallurgy (Len Bprae Taat). He was also renowned in the Wicha Hwaen Pirod Fire Ring of Magical Power and Protection using the Wicha Pra Pirod.
He made many Magical items which are preserved within the annals of historical documentation, such as the Mai Tao Gayasit with Kaya Siddhi substances witjin it, used for healing or exorcisms, and the Prakam Dee Kwai Forest Berry Rosary. As the modern era began to bring changes to Siam, the government began taking over the duty of building schools, and official state education overtook what was until then the duty of Thai Buddhist Temples (schooling). This decreased the number of students attending temple, which was the cause nof the decline in number of monks at Wat Khao Or when the government opened a school, and the scattering of the tradition, which continued through the remaining Looksit oif the tradition, such as the Lay Master Ajarn Plien and Abbot, Pra Ajarn Sri Ngern of Wat Don Sala, and Luang Por Prohm, of Wat Ban Suan, who is the first Looksit of Pra Ajarn Kong of Wat Ban Suan, who passed his apprenticeship with Pra Ajarn Tong Tao.
The amulets of Pra Ajarn Parn Wat Khao or are both far and few between to find, and are extremely tightly held on to by devotees, who revere and have faith in the true power of his amulets and the Wicha of the Lineage of Pra Ajarn Tong Tao, of Wat Khao Or.
Kata Pra Pikanes
Om Pikanesuan Sitti Bprasittimae Mahaa Laapo
Tudtiyambpi Om Pikanesuan Sitti Bprasittimae Mahaa Laapo
Dtadtiyambi Om Pikanesuan Sitti Bprasittimae Mahaa Laapo
Kata Pra PikanesOm Sri Kanesaya Namaha
Use when putting the amulet on and off each day, and as a short Kata when passing Holy Places with Images of Ganesha, or when during daily activities.
Kata Bucha Pra Pikanes (Thai Brahman) from Thailand Amulets on Vimeo.
Kata Bucha Pra Pikanes (Thai Brahman Pali Adaptation)
Ongaarapintunaathang Ubp-Bpannang Prahm-Mano Ja Into Pikanesadto Mahaa Taewo Ahang Wantaa Mi Sappadtaa Sittigijjang Sittigammang Sittigaariyang Bprasitti Mae
Chant this 3, 5, 9 or 108 Times
