Thai Buddhist amulets, or Phra Krueang (พระเครื่อง) in the Thai language, are sacred objects highly revered in Thai culture for their perceived spiritual and protective powers. Thai amulets and talismans, typically worn around the neck or carried on the person, are deeply embedded in Thailand’s religious, cultural, and historical landscape. They are intrinsically connected to the country’s Theravada Buddhist tradition and play a significant role in daily life, serving as both spiritual icons and symbols of faith.
Historical Background
The tradition of wearing amulets in Thailand dates back centuries and is intertwined with the spread of Buddhism across Southeast Asia. Buddhist monks and devotees have long believed in the power of consecrated objects to offer protection, bring good fortune, and promote spiritual growth. Some of the earliest Thai amulets are thought to have originated during the Sukhothai (1238-1438) and Ayutthaya (1351-1767) periods, reflecting the influence of Indian and Khmer Buddhist art.
U Tong Buddhist Art
During the Ayutthaya period, amulets became popular not only among commoners but also among royalty and military figures. Kings and warriors were known to carry amulets into battle, believing in their ability to shield them from harm. These amulets were often made from materials such as clay, stone, or metals and were blessed by revered monks or in temple ceremonies, further enhancing their spiritual significance.
Dvaravadi Thai Buddha Forbidding the Ocean
The U-Thong era of Thai Buddhist art, named after the city of U-Thong in present-day Suphan Buri province, refers to a distinct period and style in the history of Thai Buddhist art that flourished during the 13th to 15th centuries. The U-Thong style emerged as a result of the convergence of various artistic influences, particularly those from the Dvaravati, Khmer, and Sukhothai periods. This era is considered significant in the development of Thai Buddhist sculpture and temple architecture, especially for its unique depictions of the Buddha and the evolution of Buddhist iconography in Thailand.
Historical;
The U-Thong era is believed to have developed concurrently with the rise of the Kingdom of Ayutthaya (1351-1767), although its artistic roots can be traced back to earlier periods, particularly the Dvaravati and Khmer civilizations. The city of U-Thong was an important trade and cultural hub, and this facilitated the fusion of various regional and external artistic traditions. As Ayutthaya expanded its influence over neighboring regions, including the former Khmer Empire and Sukhothai, it absorbed various artistic and cultural elements from these regions, contributing to the synthesis of the U-Thong style. This period is seen as a transitional phase in Thai art history, as it helped bridge the gap between earlier Buddhist traditions and the later, more distinct Ayutthaya style.
Pra U Tong Buddha Statue
Characteristics of U-Thong Buddhist Art
- Buddha Images: The U-Thong era is best known for its Buddha images, which exhibit a blend of Indian, Khmer, and Dvaravati influences. These sculptures are typically cast in bronze, although some stone and stucco images also exist. U-Thong Buddha statues are characterized by:
- Square face: Buddha statues from this era often feature a broad, square-shaped face, with prominent, arched eyebrows and a downward gaze, evoking a sense of calm and introspection.
- Hair and ushnisha: The Buddha’s hair is depicted as tightly curled, often with small, distinct curls. The ushnisha (a protuberance on the top of the head representing wisdom) is usually low and smooth, contrasting with the tall ushnishas seen in later periods like Sukhothai.
- Facial expression: The facial expression is serene, with the eyes half-closed, reflecting deep meditation. The lips are often thin and slightly curved into a subtle smile, embodying the Buddha’s compassion and enlightenment.
- Body proportions: The body of U-Thong Buddha images tends to be stocky and solid, with broad shoulders and a thick torso, which gives a sense of stability and strength.
- Hand gestures (Mudras): U-Thong Buddha images typically depict common hand gestures such as the Bhumisparsha Mudra (touching the earth), symbolizing the Buddha’s moment of enlightenment, or the Abhaya Mudra (fearlessness), signifying protection and reassurance.
- Robes and Drapery: The depiction of the Buddha’s robe in U-Thong art is distinctive. The robe clings closely to the body, with clearly defined lines, giving the figures a sense of gravity and formality. Unlike the Sukhothai style, which often features a transparent, clinging robe, the U-Thong style tends to depict a more structured robe, often covering both shoulders or with one shoulder exposed, depending on the regional variation.
- Influences: The U-Thong style is a synthesis of different artistic traditions:
- Dvaravati: The influence of the earlier Dvaravati period can be seen in the roundness and solidity of the Buddha figures. Dvaravati, an ancient Mon civilization, had already established Buddhist iconography in central Thailand, and its influence continued into the U-Thong era.
- Khmer: Khmer art, especially from the Angkor period, influenced the form and decoration of U-Thong sculptures, particularly in the intricacies of facial features and body proportions.
- Sukhothai: Although U-Thong art predates the full flowering of the Sukhothai style, it overlaps in time, and there are occasional stylistic borrowings. However, the U-Thong Buddha is generally more rigid and formal compared to the fluid grace of the Sukhothai Buddha images.
The Dvaravati era of Thai Buddhist art refers to the artistic and cultural developments during the Dvaravati period, which lasted from approximately the 6th to the 11th century CE. The Dvaravati culture, believed to have been Mon in origin, emerged in the central region of present-day Thailand and was one of the earliest civilizations to establish Buddhism, particularly Theravada Buddhism, in the region. This era is recognized for its significant contributions to the early formation of Thai Buddhist art and religious architecture, laying the foundation for later Thai artistic developments in periods such as Sukhothai and Ayutthaya.
Wat Phra Singh Temple Chiang Saen Era style Thai Buddhist Art form
Historically speaking, Dvaravati was not a unified kingdom in the strict sense, but rather a series of city-states and principalities in the Chao Phraya River basin. These city-states were heavily influenced by Indian culture, which had spread across Southeast Asia through trade, religious missions, and political exchanges. The Mon people, who were instrumental in the development of Dvaravati, adopted Buddhism as their primary religion, particularly Theravada Buddhism, though Mahayana Buddhism and Brahmanism also had an impact on the region.
The Dvaravati culture is known primarily through archaeological remains, inscriptions, and religious monuments, many of which depict early forms of Buddhist iconography. The art produced during this era reflects the syncretism of Indian religious and artistic traditions with local Southeast Asian elements, forming a unique style that is distinct from other regions in the region.
Characteristics of Dvaravati Buddhist Art
Tvaravadi Buddha in Maravijjaya Mudra
Buddha Images: Dvaravati Buddha images are among the earliest representations of Buddhist iconography in Thailand. These sculptures often show a heavy influence from Indian Gupta and Amaravati art, as well as early Pala art from Bengal. Key features of Dvaravati Buddha images include:
Facial features: The Dvaravati Buddha typically has a rounded face, with a serene expression, and large, almond-shaped eyes. The eyebrows are arched, and the nose is prominent but rounded. The facial expressions often exude calm and peacefulness, reflecting the meditative state of the Buddha.
Hair and ushnisha: The Buddha’s hair is usually depicted in small, tight curls, and the ushnisha (a cranial protuberance symbolizing the Buddha’s wisdom) is prominent but simple.
Body proportions: Early Dvaravati Buddha images tend to have heavy, stocky proportions, with broad shoulders and a thick torso, giving the figures a sense of solidity and permanence.
Hand gestures (Mudras): The Bhumisparsha Mudra (touching the earth) is commonly depicted in Dvaravati Buddha images, symbolizing the Buddha’s moment of enlightenment. Other common mudras include the Dhyana Mudra (meditation gesture) and the Abhaya Mudra (gesture of fearlessness).
Materials and Techniques: Most Dvaravati Buddha images are made of bronze, stucco, or stone. These materials were locally sourced, and the techniques used in their creation demonstrate a blend of local craftsmanship with Indian artistic traditions. Bronze casting was particularly advanced during this period, and many surviving examples of Dvaravati art showcase intricate detailing and a high level of technical skill.
Symbolism: Dvaravati art is deeply symbolic, reflecting core Buddhist principles such as the impermanence of life (anicca), suffering (dukkha), and non-self (anatta). These themes are subtly expressed through the serene and meditative postures of the Buddha figures, as well as in the religious narratives depicted in reliefs and stupas.
Tvaravadi Era Buddha Heads
Stupas and Religious Architecture
The Dvaravati era saw the construction of numerous stupas (Buddhist reliquary structures), which were central to the religious life of the period. These stupas served as places for devotion, housing sacred relics of the Buddha or important monks. Dvaravati stupas typically follow a simple design, with a hemispherical dome (anda) sitting on a square base, which was often elaborately decorated with carvings and reliefs.
Specific features of Dvaravati stupas:
Stupa Shape: The dome shape of Dvaravati stupas resembles early Indian models, reflecting the influence of Indian Buddhist architecture. However, local innovations were also evident, such as the addition of tiers and terraces surrounding the main stupa.
Phrathat Yakhu; Phrathat Yakhu represents the most significant site in Fa Daed Song Yang City.
Image source; https://www.bangkokpost.com/life/travel/345808/dvaravati-art-in-isan
Decorative Reliefs: Many stupas were decorated with narrative reliefs that depicted scenes from the Jataka tales (stories of the Buddha’s past lives) or events from the Buddha’s life. These reliefs were intricately carved into stucco or stone and showcased both religious and artistic significance.
Phra Pathom Chedi
One of the most famous Dvaravati stupas is the Phra Pathom Chedi in Nakhon Pathom, considered one of the oldest and largest stupas in Thailand. It has been rebuilt and renovated over the centuries, but its origins date back to the Dvaravati period. Phra Pathom Chedi, located in Nakhon Pathom, Thailand, is considered the world’s tallest stupa and holds great significance as it marks the site where Buddhism was first introduced to Thailand. Its name translates to “the first chedi,” symbolizing the beginning of the Buddhist faith in the region. The chedi serves as a major pilgrimage site for Buddhists and represents both historical and spiritual importance in Thai culture. It is recognized as the world’s tallest stupa, standing at 127 meters. Its construction dates back to the 19th century, initiated during the reign of King Mongkut (Rama IV) in 1853. The chedi was built to commemorate the introduction of Buddhism to Thailand and to restore the ancient stupa that existed on the site.
The construction involved traditional methods and local materials, primarily bricks and mortar. The design reflects a blend of Indian and Thai architectural styles, with a large circular base and a tapering dome. The project was overseen by various architects and craftsmen, including the famous Italian architect, who contributed to its grandeur. In 1870, after 17 years of construction, Phra Pathom Chedi was completed and consecrated. It serves not only as a religious site but also as a symbol of Thai cultural heritage and the historical significance of Buddhism in the region. Today, it attracts numerous visitors and pilgrims from around the world.
Narrative Reliefs and Decorative Art
In addition to Buddha images and stupas, the Dvaravati period is known for its decorative art, especially its narrative reliefs. These reliefs, often found on the walls of stupas and temple structures, depict key events from the Buddha’s life, such as his birth, enlightenment, and the first sermon at Sarnath.
One unique aspect of Dvaravati reliefs is the depiction of the Buddha using symbolic forms. In early Indian and Dvaravati art, it was common to represent the Buddha not in human form, but through symbols such as the Bodhi tree (symbolizing enlightenment), the footprint (symbolizing the Buddha’s presence on Earth), or the wheel (representing the Dhamma or Buddha’s teachings). Over time, these symbolic representations gave way to more anthropomorphic depictions, though they remained an important part of Dvaravati artistic tradition.
In addition to Buddhist themes, the Dvaravati period also produced reliefs and carvings that reflected Brahmanical (Hindu) influence, depicting Hindu deities such as Vishnu and Shiva. This highlights the religious syncretism of the period, with Brahmanism and Mahayana Buddhism coexisting alongside the dominant Theravada tradition.
Influence on Later Thai Art
The Dvaravati period laid the groundwork for much of the religious and artistic development in Thailand in subsequent centuries. The themes, techniques, and forms developed during the Dvaravati era were passed down to later periods, including the Sukhothai and Ayutthaya kingdoms.
For example, the Bhumisparsha Mudra, prominent in Dvaravati Buddha images, remained a key element in later Thai Buddha sculptures. The rounded, solid form of the Dvaravati Buddha also influenced the more graceful and refined images of the Buddha seen in the Sukhothai period, where a new emphasis on fluidity and elegance in religious art emerged.
The architectural styles of the Dvaravati period, especially in the design of stupas, also influenced later Thai Buddhist architecture. Many of the stupas and chedis constructed during the Sukhothai and Ayutthaya periods retained the tiered and terraced designs first seen in Dvaravati architecture, though these later structures became more elaborate and ornate.
Conclusion
The Dvaravati era is a pivotal period in the history of Thai Buddhist art, representing the earliest phase of Buddhist artistic expression in Thailand. It is marked by its synthesis of Indian and local traditions, creating a unique style that reflected the religious and cultural dynamics of the time. The art and architecture of this period not only served religious functions but also helped establish the foundational visual vocabulary of Thai Buddhist art for centuries to come.
Through its Buddha images, narrative reliefs, and religious architecture, the Dvaravati era made lasting contributions to the Buddhist artistic heritage of Thailand. Even today, the influence of this period can be seen in the religious practices, artistic traditions, and cultural identity of the Thai people.
U-Thong Temple Architecture
In addition to Buddha images, the U-Thong period also saw developments in temple architecture. U-Thong temples typically feature elements that reflect a combination of Dvaravati and Khmer styles. For instance, chedis (stupas) from this period are often square at the base with tapering forms, resembling early Khmer temples. Some of these structures were influenced by the classical Khmer design of prasats (sanctuaries) but were adapted to the specific Buddhist context of Thailand.
These temples were often decorated with stucco reliefs and Buddha images, many of which have survived to the present day. The architectural forms from this era laid the groundwork for the more complex and elaborate structures seen during the Ayutthaya period, which followed the U-Thong era.
Cultural and Religious Significance
The U-Thong period is a reflection of the eclectic nature of Thai art, which absorbed and integrated elements from different regions and periods into a uniquely Thai interpretation of Buddhist iconography. The Buddha images from this era were not just objects of worship but also served as cultural symbols representing the consolidation of Buddhist influence in Thailand, particularly during the rise of the Ayutthaya Kingdom.
In a religious context, U-Thong amulets and Buddha images were believed to provide protection and bring good fortune. Many of these artifacts were created as part of merit-making activities, with donors commissioning the creation of Buddha statues or the construction of temples to gain spiritual merit. Today, U-Thong Buddha images are still revered, and the style remains influential in Thai religious art, particularly in central Thailand. The U-Thong era, most definitely marks an important phase in the history of Thai Buddhist art, characterized by its synthesis of various artistic traditions and its contributions to the development of Buddhist iconography in Thailand. Its distinctive Buddha images, marked by square faces, serene expressions, and carefully detailed robes, remain among the most iconic representations of Buddhist art in Southeast Asia. The U-Thong style laid the foundation for the later artistic developments of the Ayutthaya period, continuing to influence Thai Buddhist art well into the future.
Chiang Saen, Sukhothai, U-Tong eras (left to right)
Types and Symbolism
Thai Buddhist amulets come in various forms and serve different purposes, with their materials, design, and associated rituals contributing to their individual power and significance. Broadly, these amulets can be categorized into the most famous of all-time types:
- Phra Somdej (พระสมเด็จ): Perhaps the most famous and highly revered type of amulet, Phra Somdej was created by the monk Somdej Phra Buddhachan Toh during the 19th century. It is often considered the “King of Amulets” and is known for bringing safety, good fortune, and spiritual advancement to its bearer. These amulets are typically made of sacred powder mixtures, including relics, herbs, and other consecrated materials.
- Phra Pidta (พระปิดตา): This amulet depicts a figure covering its eyes, symbolizing the renunciation of worldly desires and distractions. The wearer of this amulet is believed to receive protection from evil forces and misfortune, while simultaneously deepening their spiritual awareness.
- Phra Khun Phaen (พระขุนแผน): Named after a legendary warrior and folk hero, Phra Khun Phaen is associated with charm, attraction, and personal magnetism. It is often worn by individuals seeking to enhance their charisma, success in relationships, or business dealings.
- Phra Nang Phaya (พระนางพญา): Often referred to as the “Queen of Amulets,” Phra Nang Phaya is linked with female empowerment and is believed to provide its wearer with grace, beauty, and leadership qualities. This amulet is particularly popular among women.
- Luang Phor Thuad (หลวงปู่ทวด): An amulet dedicated to the legendary monk Luang Phor Thuad, who lived in the 16th century and is revered for his miraculous deeds. These amulets are believed to offer protection from physical danger and accidents, making them especially popular among travelers and those seeking physical safety.
Each of these amulets is believed to possess specific powers, which may include protection from danger, enhancement of personal charisma, promotion of health, prosperity, or spiritual development. The efficacy of these amulets is often tied to the intentions and blessings of the monk or temple that creates them.
Creation and Consecration
The process of creating a Thai Buddhist amulet is steeped in religious ritual and tradition. Amulets are usually crafted from a variety of materials, such as clay, bronze, silver, or even wood. Some amulets are made using special powders that include relics of deceased monks, crushed herbs, or soil from sacred sites. The choice of materials is significant, as they are often believed to enhance the spiritual potency of the amulet.
The creation of an amulet typically involves chanting sacred mantras, and once the amulet is complete, it undergoes a consecration ceremony known as phutthaphisek. During this ritual, monks will invoke the protective powers of the Buddha, as well as other revered figures, to imbue the amulet with spiritual energy. The length and intensity of these rituals vary depending on the amulet and the temple, but they are always conducted with utmost reverence.
Amulets blessed by highly respected monks, or those made in temples with historical significance, are considered to be the most potent. As a result, they are highly sought after by collectors and devotees alike.
Role in Society
Thai Buddhist amulets hold a unique position in Thai society. They are not merely religious objects but also cultural artifacts that reflect the deep-rooted Buddhist faith of the Thai people. Many Thais wear amulets daily, believing that they offer protection from accidents, illness, and misfortune. Soldiers, police officers, and business people are among the most prominent wearers, as they seek both physical safety and professional success.
Luang Phu Doo of Wat Sakae in Ayuttaya, handing out amulets and giving blessings
Amulets are also a form of charitable giving and merit-making in Thai culture. Monks often distribute amulets to devotees in exchange for donations to the temple, with the proceeds going toward the upkeep of the temple, charitable activities, or community projects. This exchange strengthens the bond between laypeople and the monastic community, reinforcing the central Buddhist concept of dana (generosity).
Amulets as Collectibles
In addition to their religious and cultural significance, Thai Buddhist amulets have become valuable collectibles. Amulet trading is a thriving market in Thailand, with some amulets fetching high prices due to their rarity, the reputation of the monk who created them, or the historical period in which they were made. Amulet fairs and shops are common throughout Thailand, and collectors often spend years seeking out rare or highly revered pieces.
Despite the commercialization of amulets, their spiritual essence remains central to their significance. Collectors and devotees alike believe that the true value of an amulet lies not in its monetary worth but in the spiritual protection and guidance it provides.
Thai Buddhist amulets have, and still do serve as both sacred objects of devotion, and cultural symbols that reflect Thailand’s rich religious heritage. Their importance in Thai society cannot be overstated, as they bridge the spiritual and material worlds, offering comfort, protection, and a tangible connection to the teachings of the Buddha. Whether worn for personal safety, spiritual advancement, or as collectibles, these amulets embody the enduring faith of the Thai people and the profound influence of Theravada Buddhism on their daily lives.
One of the 'Jaek Mae Krua' (give to the ladies) type smaller amulets used to distribute to devotees who came to the temple to make merits, the Pra Put Nga Gae carved ivory Buddha in 'Pra Somdej' style small oblong form, from the Great Olden Days Master Luang Por Horm of Wat Sak Hmak, top master of the mid 20th Century (2433 - 2520 BE).
Luang Por Horm, was in his time much more famous and highly esteemed, than even the Great Master Luang Phu Tim, whose abilities became recognised later than LP Horm.
In the present era more than 2500 years after the passing of the Buddha, we still find the teachings available, and there are still truly attained practitioners, within the large fold of other monks who have not yet attained special powers, there have always been a few monks who have exelled in their practices and attained the Abijna Powers. It is said the Luang Por Horm was one of these special attained Masters, who was in his time, much more famous than many other monks of the time in the province, who have more famous names in the present day (such as Luang Phu Tim Issarigo of Wat Laharn Rai).
LP Horm was one of the top Masters of the province,and indeed the whole country. Other great masters of his time considered his peers included Luang Phu Sukh of Wat Pak Klong Makham Tao, Por Tan Klai of Wat Suan Khan, Luang Por Ee of Wat Sattaheeb Luang Por Wat Pak Nam, the Great Kroo Ba Srivichai, Luang Por Him, Luang Por Thin, Lueang Por Te of Wat Sam Ngam, Pra Ajarn Fan, Luang Por Opasi, and Kroo Ba Indto.
Amongst all of these Masters, Luang Por Horm was given the comparison to the be like the white elephant of Siam, and who was a monk whose temple was very small on the shores of the eastern coast of the gulf of Central Thailand, for his powers and attainments gained him great fame amongst his devotees and respect from his peers in the Sangha.
Luang Por Horm was invited by the Sangha to almost every important Buddha Abhiseka blessing ceremony and religious ceremony, around the country, for his great abilities, and was seen present in some of the most sacred and important blessing ceremonies in Thai History. He would only be absent when ill, or had other duties to perform on the same date, otherwise would always concede to travel and assist in empowerment rituals. His presence was always asked for because the devotees in Thailand believe very strongly in the Abijna powers of LP Horm, and so any edition blessed by him in solo or in unison is highly revered by the devotee for its powerful Buddha Magic.
When speaking of the amulets which Luang Por Horm made himself for his own temple, the pantheon is extensive, ranging from talismanic amulets such as See Pheung Wax Potions, Singh Nga Chang Ivory Himapant Lions, Pra Put Nga Gae Ivory Buddha Images, Singh Gae carved wooden Himapant Lions, Sai Mongkol fishtrap money catchers, Pra Kring Roop Muean Loi Ongk Statuettes, Hnaeb Roop Muean Blazer Pins with image of Luang Por Horm, Cavred Ivory and Wooden Nang Kwak, and Buddhist amulets such as the Rian Roop Muean Guru Monk Coins, Hwaen Tong Daeng Roop Muean copper magic rings with image of LP Horm, Lockets, Pha Yant, Suea Yant shirts, and Takrut Amulets.
In the year 2500 BE, the government decided to instate an official national celebration of 25 Centuries of Buddhism, with the greatest blessing ceremonies of amulets in world history of Buddhism. Many Masters and Temples were invited to submit their amulets for inclusion in the grand blessing ceremonies which were to take place. Luang Por Horm was one of the various great Master Monks invited to contribute, selected as one of 108 of the most powerful Monks in the country, under invitation of the King and the Government.
- After the ceremony, Luang Por Horm spent some time at Wat Sutat to rest, but many devotees from the Grand ceremony of 25 Centuries of Buddhism followed to Wat Sutat to beseech his blessings and amulets. LP Horm was merciful and generous and came out every day to distribute and spent the days giving blessings instead of getting some rest, until one of the overseers of the temple asked the devotees to let Luang Por Horm rest a bit. But Luang Por Horm used the word 'Chang Khao Teu Look' (never mind my son), and continued to bless and empower and distribute his amulets to the devotees during his stay. Luang Por Horm remained as tireless and merciful throughout his whole ordained life, and gained the love and respect of his devotees, not only for his Merciful Heart, but also for his Immensely Powerful Magical Powers.
Kata Bucha
1. Chant Maha Namasakara 3 times
Namo Dtassa Pakawadto Arahadto Sammaa Samputtassa
Namo Dtassa Pakawadto Arahadto Sammaa Samputtassa
Namo Dtassa Pakawadto Arahadto Sammaa Samputtassa
Then Chant;
2. Puttang Aaaraatanaanang Tammang Aaaraatanaanang Sangkang Aaaraatanaanang
(means 'I beseech the Buddha Dhamma and Sangha these things' - then think of your wishes/prayers)
3 Puttang Bprasittimae Tammang Bprasittimae Sangkang Bprasittimae
(means 'May the Buddha, Dhamma and Sangha bestow Me with These Things/Blessings)
The Kata Brings wish fulfilment and answers your prayers. Remember, sometimes it takes time for Angelic Beings and Spiritual Giardians to set up the right alignment of events for your Prayers to be answered, and that Prayers, are not always answered overnight.
Once Luang Por Horm had found and selected the trees to use for the wood to build and restore the temple, he called the local devotees and villagers to help bring the wooden tree trunks down the mountain to the temple. But when they villagers tried to achieve this goal, they found the forest too thick and impossible to get the tree trunks down the mountain, and gave up for the day.
The next morning, Luang Por Horm walked towards the foot of the mountain to try to find the right pathway to drag the wooden tree trunks down, but, as he arrived at the permimeter of the forest near the temple, he saw all the wood they had collected piled up at the bottom of the mountain. Around the wood piles, were many elephant footprints. Luang Por Horm then said that this was the handiwork of seven elephants he had made friend with during his time in the cave, and that they had helped to bring the wood down Khao Nang Hyong Mountain for Luang Por Horm.
This was the first documented miraculous event of Luang Por Horm, but not the last. Since that moment, the devotees of the area gained immense faith in Luang Por Horm's Miraculous Power, and his Diligent and Kind Efforts to Build the Temple being a sing of selflessness and tireless practice of Metta.
Below; Uposatha Shrineroom of Wat Sak Hmak in front of which Luang Por Horm would perform his Magic
The Miracle of Speaking with Elephants
When Luang Por Horm began to build the Uposatha Shrineroom (equivalent of a chapel), during the time of construction, another event occurred, as the local farmers turned up to recount that the wild elephants had come down from the hills and had begun to eat up all the fruits and vegetables in the farm fields. The devotees begged Luang Por Horm to help them, and Luang Por Horm conceded, and walked over to another place apart from the devotees, and began to pray and chant in front of the Uposatha Building he was constructing, calling upon his merits of construction to perform a Miracle. He then shouted out loudly "Look Hlaan paya Chattandt Yaa Hai Hyiab Yam Rai Khong Khao Leuy" (Descendants of the Grea Paya Chattandt, who was a past life of the Lord Buddha, Don't step on and destroy the farms of these Buddhist people). Thereafter, the elephants never bothered the farmers or their crops again, and indeed, the fruits and vegetables returned and grew faster and more than before, improving the prosperity of the farmers. This second Miraculous event further increased the faith of the Devotees in Luang Por Horm's special abilities with Metta Magic, and Protective Magic.
Another time that is recorded historically about Luang Por Horm, is that around the year 2481 BE, as Luang Por Horm was into his 12th year as an Ordained Bhikkhu (Monk), an elephant herder from the jungle came to ask if he could stay one night at the temple to rest for a while, so he could go into the jungle nearby and hunt elephants.
Luang Por Horm allowed the hunter to sleep the night in the safety of the temple enclave, but in the night went over to the Uposatha Shrineroom he was building once more and called upon the merits of his efforts to assist, and Chanted "Look Hlaan Paya Chattandt Tang Hlaay, Wan Nee Yaa Awk Bai Haa Kin Glai Wat Sak Keun Gorn" (Descendants of the Grea Paya Chattandt, who was a past life of the Lord Buddha, Don't come out to seek food outside of the temple tomorrow or the next day, as there is a hunter who will shoot and kill you in the area). The next day as the hunter went out into the jungle to hunt, it seemed that he was unable to find even a trace of a single elephant in the area, because all of the elephants had come down from the mountain and entered the temple enclave, and were being fed there. So because it is forbidden to kill animals in a temple, the Hunter was foiled, and went on his way.
A Tudong Tale
One time as Luang Por was leading five other monks on Tudong Forest Wandering, in the hope of finding the Sacred Bai Kaprao Jet Om Herb, they came across an altar in the depths of the thickets of the Jungle, with an inscription on it, which said 'anyone who stays here should sleep on this stone altar as a bed because the forest floor is full of dangerous beasts here' Luang Por Horm told the monks to set up their 'Glod' umbrellas with mosquito nets and he then walked around each one and sprinkled some Sai Sek enchanted sand grains in a circle around each of the monks' meditation parasol-nets, and laid some hay and grass out as feed for animals.
He then instructed everybody to spend the night meditating the Metta Compassion and Merit sharing meditation to all animals. During the night, a horde of poisonous snakes, scorpions, and predatory animals came and wandered around the monks where they were meditating, and the floor was full of dangerous beasts, insects, snakes and the like. But not a single animal entered the meditation area of any monk, and all of them departed before sunrise without further incident.
Luang Por Horm then took his Bhikkhus and continued on the journey, which was very mountainous, and they ended up passing two or three days without seeing a single human dwelling, and unable to beg for alms, and went without food. On the fourth day, a lay person came across them and offered alms of Khanom Jeen white fresh noodles to the monks. Once they had eaten, Luang Por Horm asked the traveler "when we continue this way, how long will it take to reach the next dwelling places where humans are living?" The traveler said 'As the darkness falls, you will see the lights of houses', and walked off into the forest.
So Luang Por Horm then instructed the Monks under his Mentorship to set off again and continue the journey. Throughout many many hours not a single dwelling place was spotted, only thick Jungle, and darkness was beginning to fall, and the monks began to wonder who the traveler was who had offered the Khanom Jeen noodles and told them they would see house lights, because if the traveler was just a normal person, he could not have been so deep in the forest alone in that way. But as it because fully dark, indeed, the lights of a house became visible, and so Luang Por Horm told his Monks to make camp in the forest nearby to the households, so they could beg for alms. Once they had recovered, they traveled back to Wat Sak Hmak, without having found the Sacred Bai Kaprao Jet Om As to the strange traveler they had met on the fourth day who had given them food, he remained a mystery, and nobody has ever found out who it was.
Dtamnan Roop Lor Pra Kring Run Raek Luang Por Horm - The Legend of LP Horm's Pra Kring Gunstopper Amulets
During the days that the nearby U Tapao district was inhabited by American Soldiers Navy and Airforce, there once was a coloured (* See Note 1.) airforce officer who was married to a Thai lady from the Isan country, who came often to visit Luang Por Horm at the temple. They 'rented' (bought) a Pra Kring Roop Lor amulet of Luang Por Horm. One day, the American airforce officer was ordered to fly a plane to Nakorn Phanom, and an accident happened, causing the plane to crash in mid flight. The airplane itself was smashed to smithereens, and all the people in the plane were either killed or seriously injured. But the American Airforce Officer who had worn the Pra Kring of Luang Por Horm was completely unharmed, and without a single scratch. This then caused the furor that raised Luang Por Horm to be one of the most famously powerful Masters of his time, much more than even the Great Luang Phu Tim at that particular time. The American Pilot would then often visit Luang Por Horm to make donations and help with the work, and when he returned to America, he continued to send donations to help the temple, in gratitude for the life saving miracle from the Roop Lor Pra Kring amulet, and Protective Blessings of Luang Por Horm.
Below; a Rare Ivory Singha Lion amulet of Luang Por Horm- one of his classics preferred amulets.
During the yearly celebrations of the temple, in the year of the making of the first edition Roop Lor Pra Kring of Luang Por Horm, a regiment of soldier came to the temple, and each of them rented a Roop Lor Pra Kring of Luang Por Horm. The soldiers then decided to take the amulets to the back of the temple behind the school building, and test the power of the amulets to be sure of their effectiveness. So they all took out their amulets and laid them out together, and took a .38 revolver to shoot at them for the test of Kong Grapan or Maha Ud, or Klaew Klaad. However many times they fired the gun, the bullets would not fire. But when they pointed the gun away from the amulets, it would shoot as usual (every bullet). The soldiers then ran back to the temple and spent all the rest of their money in donations to rent as many of the Pra Kring amulets as they could. When they got back to the barracks they retold the story and all of the amulets were rented to the other soldiers, and since then, every time Luang Por Horm would have his yearly celebration and release amulets, the soldiers of this regiment would fill the temple awaiting his blessings and amulets.
Dtamnan Singha Luang Por Horm - The Legend of LP Horm's Famous Himapant Lion Amulets
There was a time when all the newspapers around the country were reporting about a large group of gangs of teenagers and youth who were from bang Rak in Bangkok, who were fighting and having heavy casualties and deaths, but that there were some cases of people attacked with deadly weapons, who were completely and astonishingly unharmed. After further investigation, it turned out that every one of the people who had miraculously survived knife and gun attacks, all had worn the Singha Himapant Lion amulet of Luang Por Horm!
Below; a Rare and extremlely highly valued Ivory Version of the Singh Luang Por Horm
So many of the youth thereafter flocked to the temple to beg Luang Por Horm for his Singha amulets, but Luang Por said "My Singha amulets are not for Hooligans, and from this day shall no longer protect the devotee who uses the amulet to protect himself whilst harming other innocent people", and he refused the hooligans.
There was once a local chieftan called Mr Trai Trong of Samnak Torn Yai Municipality, who was traveling to Samut Prakarn with 8 of his assistants, and had an accident on the way, where the pickup flipped over and rolled many times, and was smashed like a concertina. A Policeman was nearby and saw it and ran over to look with the feeling that nobody could have survived, but to check if there were any survivors he could help get to hospital. As he arrived and checked, and the emergency services cut open the car wreck to help the survivors out, everyone was astonished to see that all the occupants were unhurt. This caused some confusion in the mind of the Policeman and he inquired as to how they had escaped death without a scratch. It turned out that all of the occupants were wearing the Singh Chang of Luang Por Horm (Ivory Singha Version).
Below; Shrineroom of Luang Por Horm at Wat Sak Hmak
Wicha Garn Gor Chadtaa Din
A lay devotee and student of Luang Por asked to learn this Wicha of changing the fate of earth from bad to good, but Luang Por said that the only person who can receive the Wicha has to ba an Ordained Monk who has promised to never disrobe. Luang Por Horm said that to ordain as a Monk is not something to take lightly, and that in truth, one should ordain and never disrobe, which is the only reason the Buddha himself would ordain a person.
Luang Por Horm was also highly adept in healing methods, both spiritual, herbal, and scientific, because he had studied and mastered these subjects as a lay person before his ordination already.
Usually at least 50 ill people would come to the temple every day for Luang Por to give his healing blessings and herbal medicines, and his level of success with healing raised him to become a Nationally Revered Monk for his adept abilities and great compassion to alleviate the sufferings of sentient beings. Luang Por Horm had devotees from around the world visiting him from China to America, Hong Kong to Singapore, and even Sikhs from India. When he passed away, his funeral and song nam ceremonies (cleaning the corpse) were always so overfilled with devotees that it took all day for the queues of faithful Buddhists to complete the ceremony.
