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.
Pim Lek small version (2.2 x 1.5 Cm), of the 'Hlang Yant U Niyom' preferred model of the Pra Roop Muean Luang Por Tarb Guru Monk amulet, in Nuea Pong Dam Pasom See Pheung Khiaw (Hlang U). A very rare and popular amulet for Metta, Maha Lap, and Klaew Klaad Kong Grapan, from Luang Por Tarb, of Wat Grabok Kheun Pheung. This amulet isd also beloved by devotees of Luang Phu Tim (Wat Laharn Rai), who was present to join Luang Por Tarb for the empowerment ceremony. Luang Por Tarb (2420 - 2509 BE), of Wat Mai Grabok Kheun Pheung, was a Master Gaeji Ajarn Guru Monk of Yesteryear, famous for Metta Mahanyom Magic, and a well known companion in Magical Studies with the Great Luang Phu Tim, of Wat Laharn Rai.
The amulet is made in black Pong Bailan powders other Muan Sarn collected over years of forest wandering, mixed with Luang Por Tarb's legendary See Pheung Khiaw Green Prai Oil Balm. Released in the Ngan Phuug Putta Sima temple boundary installation celebration, in Buddha Abhiseka Ceremony of 2506 BE
The Muan Sarn Sacred Powders contained the following; Pong Wised Gao (old sacred powders from Luang Por Tarb's repository) 2. See Pheung Khiaw Luang Por Tarb, 3. Pong Bpathamang and Pong Ittijae from Ajarn Pathom Arj Sakorn 4. Pong Thaan Kampir Bailan (Parchment Grimoire soot) 5. Pong Wised special powders from Luang Phu Bun Mee of Wat Po Sampant, and 6. Pong Din Mongkol of Luang Por Tarb.
The See Phueng Khiaw Green Prai Oil Potion used to mix with the Muan Sarn powders of this edition is a legendary substance in itself, and is one of the most highly preferred See Pheung Potions with serious aficionados of the 'Krueang Rang' talismanic amulets Genre. Luang Por Tarb used the See Pheung to mix with all of his Sacred Powder amulets, which has made them a Genre of their own, with a very devoted following of devotees and collectors who value the magic of the Pra Pong Pasom See Pheung Khiaw amulets.
The front face of the amulet features the image of Luang Por Tarb, within the classic tapered arch we have all come to know as the classic 'Pim Tao Reed' clothes-press shaped amulet which has come to be synonimous with Luang Por Tuad. This series featured Luang Por Tuad Tao reed amulets, and so the Roop Muean images of Luang Por Tarb were made using the same shape and style as the Luang Por Tuad models, to remain in style with the edition.
There were various sizes of Roop Muean and LP Tuad models, all of which are now very rare, and immensely sought after acquisitions. Although it is still sometimes possible to find the odd amulet of Luang Por Tarb, it is becoming ever rarer these days to see one in circulation in the Public Amulet Exchanges, and one can definitely say that his amulets are amongst the rarer ones to see in the present day. This series has always enjoyed extreme popularity, as the Pra Pong Pasom See Pheung Khiaw series amulets of Luang Por Tarb, are considered very powerful Metta, Maha Lap, Klaew Klaad and Kong Grapan Chadtri magic.
If the subject of the Genre of See Pheung, Nam Man Prai and Occult Talismans is raised in the circles of aficionados, when speaking of See Phueng, the name of Luang Por Tarb will be spoken, as one of the top Masters of his Era in this Genre of Puttakom Sorcery. Luang Por Tarb and his Amulets are highly renowned for their Metta Maha Niyom and Maha Sanaeh Power.
Kata Bucha See Pheung Luang Por Tarb (used for calling your wishes to come true)
Jidt-Dti Midt-Dti Arahang Bpiyang Ma-Ma
Kata Bucha
Ugaasa Sambpadti Jidt-Dti Midt-Dti Arahang
Luang Por Tarb (2420 - 2518 BE), was a Master Gaeji Ajarn Guru Monk of Yesteryear, famous for Metta Mahanyom Magic, and a well known companion in Magical Studies with the Great Luang Phu Tim, of Wat Laharn Rai. Pra Kroo Athagosol or better known as 'Luang Por Tarb', of Wat Mai Grabok Kheun Pheung, in Ban Kaay, Rayong, was born in Ban Na Dta Khwan, Tambon Na Dta Khwan, Amphoe Mueang, Rayong Province, on a Friday of the sixth lunar month of the year of the Ox, in the Year 2420 BE.
Luang Por Tarb's Father was called Mr. Un Paetch Nakorn, and his Mother went by the name of Mrs. Chim Paetch Nakorn, who originally came from Jantaburi Province. Luang Por Tarb was the eighth and youngest of siblings. Luang Por Tarb was renowned as a Young boy for being very compassionate to other beings, and was often found guilty of having freed the fish which people has trapped for eating, and let them escape back to freedom, because he felt sorry for them.
Luang Por Tarb began school between the age of 4 and 5 years old, and continued his studies until the age of 20, when he was called into the Army to do his National service, where he remained for almost 4 Years. Here was where the Young Tarb decided to Ordain as a Bhikkhu (Buddhist Monk), to honor his Parents, and was Ordained by Pra Kroo Samutr Saman Kun (Luang Por Hyaew), the then Abbot of Wat Pha Pradoo as his Upachaya.
Pra Ajarn Mak, the Abbot of Wat Na Dta Khwan was his Pra Gammawajajarn (Prompting Officer), and Pra Ajarn Ruam, of Wat Ban Laeng, was his Pra Anusawanajarn Witness. Once Luang Por Tarb was Ordained, he immediately showed great effort and strength in his diligent practice, and kept very strict rules with himself.
He studied the Dhamma Vinaya , and was already ablte to accurately interpret it for his Professors in Dhamma during his first year of Ordination, showing immense Prowess in his advancements. Apart from his advancements in Dhamma Vinaya and the Pariyatti Dhamma, Luang Por Tarb also made immense efforts to study and discover the secrets of Wicha Akom Buddha Magic and Thai-Khmer Sorcery. He received initiations into Wicha Akom from Luang Por Mak first, and then spent 2 Years of further training under Luang Por Hyaew, to complete his Mastery of the Various Spellcasting Methods, Inscriptions and Formulas for Amulets, and their empowerment.
The Wicha of Luang Por Hyaeng in itself which was passed down to Luang Por Tarb, was a very famous Wicha in the Rayong Province, for LP Hyaeng was one of the Great Monks of the Province, and indeed the Arch Bishop of the Province, with immense experience and practice in Wicha Akom. Luang Por Hyaeng's Pha Yant Pat Boke Yantra Cloth was considered to be a Most Powerful possession to have for increasing good Business and Attracting Good Luck, with Metta Maha Niyom Mercy Charm.
The Powerful Metta Maha Sanaeh Magical Wicha of Luang Por Hyaeng, inherited by Luang Por Tarb is part of the reason why the amulets of Luang Por Tarb are also of strong Metta Maha Sanaeh leanings. For indeed, they utilize the same Wicha, of Luang Por Hyaew, who received it from the long line of his preceding Masters. In the end, all the Wicha which are passed down from Kroo Ba Ajarn to their Apprentices, who in turn become great Masters, and pass it down to their apprentices, are Ancient Wicha, which have survived for centuries, and some for even thousands of years. We are blessed to be able to still enjoy these authentic Ancient Wicha of the Thai Buddhist Sorcery Transmission Lineages in the Present Day.
Tudong Tale - LP Tarb Befriends LP Tim on a Mutual Quest for Wicha
When Luang Por Tarb reached his 5th year of Ordination, he then passed above the Navaka Monk status (Newbie), and was allowed to go out on Tudong Forest Wandering, to seek solitude and wander around the deep Jungly regions and mountainous caves of the wilderness, to raise his level of practice, and overcome the Kilesa (Defilements).
Luang Por Tarb wandered around the haunted and enchanted forests, caves and mountains of Thailand, seeking Great ascetics in their caves to receive their wisdom and Wicha. In this time Luang Por Tarb came across and became close friends with another Great and World Famous Guru Monk, Luang Por Tim Issarigo, of Wat Laharn Rai (Rayong). The two of them became close companions and ventured out on Tudong to seek more Wicha together on various occasions.
Luang Phu Tim of Wat Laharn Rai is known to have said, that he travelled with Luang Por Tarb on Tudong, which is highly remembered for the anecdote which Luang Phu Tim recounted of an occasion where Luang Por Tarb missed out on one of the Wicha, which was only given to Luang Phu Tim on that Occasion. The devotees of Luang Phu Tim wanted to know why Luang Por Tarb had not received this Wicha.
Luang Phu Tim then explained, that he himself had known beforehand that Luang Por Gaj, who was the Master they were seeking for his Wicha Pha Yant Pat Boke, liked to smoke 'Ganja', and Luang Phu Tim had brought a small bag of it to give to Luang Por Gaj, before asking him for the Wicha. Luang Por Gaj hence was more pleased with Luang Phu Tim for the gift, and parted with the Knowledge of his Pha Yant Pat Boke. The Pha Yant Pat Boke is of course a Famously Powerful Wicha of the Pantheon of Amulets of Luang Phu Tim, and this is indeed where he got the Wicha from during his Tudong travels with Luang Por Tarb.
The Pha Yant of Luang Por Gaj was famously known to be made on red cloth, and using black chinese ink. But when the cloth is held to the eye loupe, the presence of herbal ingredients such as Wan Sau Hlong and Wan Gai Gug herbs, is seen within the Chinese ink. This was part of the secret Wicha within the Pha yant Pat Boke Sacred Geometry spell of LP Gaj, which was passed to Luang Phu Tim directly, but not to Luang Por Tarb, who used a different Wicha for the Pha Yant Pat Boke of his own.
Luang Por Tarb himself also Mastered the Wicha Pha Yant Pat Boke over time from various Masters, but only once ever released it once on white cloth to devotees present at the Ngan Phuug Putta Sima temple boundary installation ceremony at Wat Mai Grabok Kheun Pheung, and it is a very rare item to find from this Master.
During his years of on Tudong, Luang Por Tarb gathered many herbs and magical substances which he would seek and find in the forests, according to the formulas he had learned from Luang Phu Hyaew. His Tudong wandering took him as far as Cambodia and Burma, and his time of wandering lasted for many years, as he gathered and stored as many rare and powerful magical plants and substances, which he would then put in his repository every time he returned to his temple in the rainy retreats. After many years, Luang Por had managed to gather the full formula of different herbs, roots, vines, flowers and pollens necessary to fulfil the Wicha and complete the formula he had inherited from Luang Phu Hyaew.
Once his wandering was over, he returned to the temple and took all the herbs roots and plants he had gathered and dried out in the sun over the years, and ground them into Muan Sarn Sacred Powders, to mix into See Pheung Waxy Balm Potion. This potion was of course the legendary See Pheung Khiaw of Immortal Fame and Reputation. The See Pheung is green due to the formula of herbal ingredients from the ancient recipe given by Luang Phu Hyaew. The Wicha is predominantly Metta Maha Niyom and has gained a very high reputation for attracting good business and good relations with others.
Luang Por Tarb's Rise to Great Fame
The thing which caused Luang Por Tarb to become Nationally and later Internationally famous for his Powerful Metta Mahaniyom Magic, was of course his Legendary See Pheung Khiaw Green Prai Oil Balm. Luang Por began to make the See Pheung Khiaw at about the age of 80 years old, after 4 years of gathering and formulating the various sacvred Muan sarn Ingredients and Herbs for the making of the Potion.
Luang Por Tarb began to become popular with the local devotees, and news of his powerful See Pheung travelled further afield, until devotees began arriving from distant towns and villages to ask for his See Pheung Khiaw potion. Luang Por Tarb became increasingly popular as news of the effectiveness of his See Pheung got out, and when the Abbot of Wat Mai Grabok Kheun Pheung passed away, the Devotees begged Luang Por Tarb to take up the task of maintaining the Temple as new Abbot. Luang Por Tarb was unable to refuse their needs, and accepted the task. He fulfilled his duties with rapidity and easy by constructing Kuti monk residences, Vihara shrines, Uposatha Chapel and other great achievements. This increased the faith and popularity of Luang Por Tarb, which began to reach far further afield to other Provinces around Thailand. In 2481 BE LP Tarb was raised in status to the rank of Jao Kana Tambon (Bishop of the Municipality), and in 2490 BE, he was awarded the Royal Decree of the title of Pra Kroo Sanyabadtr.
The See Pheung Khiaw of Luang Por Tarb became so popular in those days, and was so hard to get Luang Por Tarb to hand some out, that Devotees would sometimes have to sleep at the temple waiting for a few nights, to prove they really needed it, before Luang Por Tarb would allow each devotee to take just a tiny dab of See Pheung with them. The devotees would often encase the See Pheung in gold casing or waterproof casing, to carry with them and pray to. Its powers are undoubted for the simple fact that there are so many reports and stories which came back to the temple from so many devotees, that the power of the See Pheung Khiaw was undeniably recognisable.
Luang Por Tarb also was very famous for his Pra Somdej See Pheung Khiaw amulets, and his Pra Pong Dam black powder amulets, of which the remainder were removed from the Kru Hiding Place by LP Liam, the current Abbot of Wat Mai Grabok Kheun Pheung, most of which over 4000 to 5000 amulets were snapped up by the Devotees who flocked to the temple in less than 5 days, making the Pra Pong Dam, and Pra Somdej See Pheung Khiaw amulets yet another two immensely rare and hard to find items, from a Great Master of Wicha Metta Mahaniyom.
The empowerment was performed on two separate occasions, the first being with Luang PorTarb performing nightl;y empowerments for one whole year in solo. The next empowerment was at the Buddha Abhiseka ceremony, with the following monks present to empower; 1. Luang Por Tarb (Wat Grabok Kheun Pheung), 2. Luang Phu Tim Issarigo (Wat Laharn Rai), 3. Luang Por Horm (Wat Sak Hmak), 4. Luang Por Yen, of Wat Ban Laeng, and 5. Luang Por Lat, of Wat Nong Grabork
Below; Luang Por Tarb and ordained colleagues preparing for blessing the amulets
The Pra Pong Pasom See Pheung Khiaw amulets were based in a mixture of sacred Muan Sarn mixed with See Pheung Prai Oil Balm, and made in various colours of clay, mostly black, but also seen in red and beige and gray tones. The below picture shows just a few of the many pim he made.
Luang Por Tarb made many different amulets during his trajectory as a monk including Rian Guru Monk Coins, Pha Yant Pat Boke, Pra Pong (Sacred Powder amulets) usually mixed with his See Pheung Khiaw, Takrut and other talismanic charms. His Pra Pong powder amulets were made in many different Pim, including the Pra Gleep Bua, Pra Pid Ta, Pra Somdej, Pra Roop Muean, and Pra Nang Kwak. Luang Por Tarb's See Pheung Khiaw is extremely rare, because Luang Por refused to distribute during the latter part of his life, for fear of its power being abused.
Below; Various Pra Somdej and Pra Pid Ta amulets of Luang Por Tarb
The Pra Pong Pasom See Pheung Khiaw amulet series was released in the year 2505 BE, in the 'Phuug Putta Sima' Temploe Boundary Installation Ceremony at Wat Grabok Khuen Pheung. The Muan Sarn Sacred Powders were mixed with See Pheung Khiaw, with Luang Por Tarb presiding over every single stage of the process, and defining every detail of the mixing of the sacred clay. Luang Por Tarb controlled the whole process starting from the empowerment of the Mae Pim Block Press Mold right up to the final Buddha Abhiseka Blessing Ceremony.
Below : Pra Pid Ta Nuea Pong Pasom See Pheung Khiaw Luang Por Tarb
Luang Por Tarb also invited the great Luang Phu Tim of Wat rai Waree (the earlier name for Wat Laharn Rai), to assist in the empowerment in the Buddha Abhiseka, as both Monks were intimate colleagues.Other monks he invited to attend were Luang Por Horm of Wat Sak Mak, and Luang Por Hiang (Wat Pha Chonburi). The Buddha Abhiseka Blessing is still famous to this day for the fact that it continued throughout the day and night to the next dawn. It is also said that various mysterious events happened during the ceremony, which local devotees still talk about to this day. Many amulets were distributed to devotees during the ceremony, and the remaining amulets were hidden and stored within the cement arches of the temple boundary, and within the roof of the shrine room.
Luang Por Tarb passed away in the Year 2509 BE, at the age of 89 years old, leaving us with many legends told during his lifetime of his merits and his powerful magic, and with the legacy of his See Pheung Khiaw, Pha Yant Pat Boke, Pra Somdej See Pheung Khiaw, and Pra Pong Dam amulets, amongst others, to remind of that there was once a powerful Sorceror Tudong Master, who walked the earth, with Immense Metta Mahaniyom, whose name was Luang Por Tarb.
