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.
Phra Somdej Run Jaek Tan 2554 BE - Wat Rakhang Kositaram
Thai Buddhist amulets, known as Prra Kreuang Raang, hold a position of profound religious and cultural significance within Thailand. These objects transcend mere ornamentation, embodying deep faith and serving as tangible sources of blessings and protection for those who venerate them. Historically, the creation and distribution of these amulets have also played a vital role in supporting the upkeep and activities of Buddhist temples, often offered as tokens of gratitude to those who contribute monetary or material donations. Furthermore, a long-standing tradition involves placing amulets within the foundations of stupas or other sacred temple structures during their construction. This practice not only consecrates the space but also imbues the amulets with an additional layer of historical and archaeological importance, as ancient examples are occasionally unearthed when such structures undergo deterioration over time.
Among the diverse categories of Thai amulets, the Pra Somdet stands out as one of the most revered and spiritually significant. Often regarded as the pinnacle of amulet craftsmanship and faith, it has earned the esteemed title of the "King of Amulets" within Thai amulet culture. The genesis of the Pra Somdet tradition is attributed to Somdet Pra Putaajaarn Toe Promrangsee, of Wat Rakang Kositaram, a temple of immense historical and spiritual importance in Bangkok. This report undertakes a comprehensive examination of a specific and noteworthy edition within this revered tradition: the 'Pra Somdet Run Jaek Tarn amulet. By delving into its origins, significance, creation, and reception, this analysis aims to provide a thorough understanding of its place within the broader context of Thai Buddhist amulets.
The Revered Legacy of Phra Somdet Amulets
The genesis of Phra Somdet amulets can be traced back to the mid-19th century, approximately around the Buddhist Era year 2409, which is corresponding to 1866 AD. The creation of these sacred objects is primarily associated with the highly venerated monk Somdet Pra Putaajaarn Toe Promrangsee, of Wat Rakhang Kositaram 6. The initial intention behind their creation was deeply rooted in the propagation of Buddhist teachings (Dharma) and the desire to bestow blessings upon all living beings, fostering good karma, rather than for any personal or material gain on the part of Somdej Toe. This altruistic motivation has significantly contributed to the enduring spiritual significance and reverence accorded to Phra Somdet amulets.
Somdet Pra Putaajaarn Toe, widely known as Somdet Toe, or Krua Toe, was born on April 17, 1788, in Ayuttaya province. His life journey was marked by profound spiritual dedication and intellectual pursuit. He embarked on monastic studies under several esteemed masters, rapidly acquiring extensive knowledge of Buddhist scriptures. His exceptional piety and wisdom garnered the attention and respect of the Thai Royal Family, establishing a close relationship with King Rama II and later becoming a preceptor and trusted advisor to Prince Mongkut, who ascended the throne as King Rama four. Somdej Toh was renowned for his remarkable spiritual powers, his deep understanding and eloquent articulation of the Dharma, and his exceptional skill in preaching and composing Thai poetry that reflected the beauty of Buddhism.
His literary contributions include the revered Chinabanchara, better known as the Kata Chinabanchorn, which is a powerful protective incantation widely recited and utilized by Thai Buddhists. Notably, he served as the abbot of the historically significant Wat Rakang Kositaram, further cementing his legacy and association with this sacred temple. Somdet Toe's extraordinary life, characterized by spiritual attainment, intellectual prowess, and royal patronage, established him as an exceptionally revered figure in Thai history, imbuing the Pra Somdet amulets he created with immense prestige and perceived spiritual efficacy.
The Pra Somdet amulet holds a position of deep cultural significance and is the subject of strong beliefs within Thai society. There is a widespread conviction in their profound spiritual power, with devotees believing that these amulets bestow blessings, offer protection from various forms of harm, including malevolent energies, black magic, and evil spirits, and enhance prosperity and good fortune in the lives of those who possess them. Beyond their protective and prosperity-enhancing qualities, Phra Somdet amulets also serve as tangible reminders of Buddhist principles and are considered to be agents of the Buddha's divine power, fostering a deeper connection to the teachings and the spiritual realm. This intertwining of faith, tradition, and perceived spiritual efficacy has firmly established Phra Somdet amulets as cherished objects within Thai culture.
The term 'Jaek Tarn', in the name 'Pra Somdet Wat Rakang Run Jaek Tarn 2554 edition, carries a specific and significant meaning within the context of Thai Buddhist amulets. It directly translates to "distribution of offerings" or "charitable giving," clearly indicating that the creation of this particular amulet edition was intrinsically linked to a charitable initiative. It is highly probable that these amulets were produced with the intention of being distributed to individuals who made donations, whether in the form of money or materials, to support the activities and maintenance of Wat Rakang Kositaaraam or other philanthropic endeavors. The inclusion of 'Jaek Tan' in the amulet's name underscores its role in promoting the core Buddhist principles of generosity, known as Daana, and the accumulation of spiritual merit. This charitable aspect often enhances the spiritual value of the amulet in the eyes of devotees who seek to support virtuous causes.
The phrase 'Run Raek', meaning first edition, further clarifies the specific nature of this amulet edition. Translating to mean, first edition, it signifies that the 'Pra Somdet Run Jaek Tarn 2554' represents the inaugural release of this particular design or series of amulets in the Buddhist Era year 2554, which corresponds to 2011 in the Common Era calendar. Within the realm of amulet collecting, first editions often hold a special significance for enthusiasts. They are frequently viewed as symbolic of the commencement of a new series or artistic tradition, and their status as the very first in a line can contribute to their rarity and increased desirability, potentially enhancing their value within the collector market.
The creation of the 'Phra Somdet Run Jaek Tan 2554' amulet in the year 2011 was a significant event at Wat Rakhang Khositaram, presided over by the then abbot, Phra Dhamma Tiraraacha Mahaa Munee, or commnly called, Jao Kun Tiang. As the "first edition" of a charitable giving series, its production and blessing were undertaken with considerable care and spiritual intention. Jao Kun Tiang himself played a central role, reportedly undertaking an intensive 9-day and 9-night blessing ritual for the amulets. This extended period of consecration was conducted within the sacred confines of his Guti (monk's living quarters) and the Viharn (sanctuary) that houses the revered image of Somdet Pra Putaajaarn Toe. This personal and prolonged blessing by the abbot within such spiritually significant locations underscores the high level of sacredness and spiritual empowerment intended for this particular edition of the Phra Somdet amulet.
Monks Involved in the Making and Blessing
The creation and blessing of the 'Phra Somdet Run Jaek Tan 2554' amulet involved a revered assembly of monks from Wat Rakang Kositaram, signifying a collective spiritual endeavor to imbue the amulet with sacred power.
Pra Dhamma Dhiraracha Mahaa Munee (Jao Kun Tiang), who held the esteemed position of abbot of Wat Rakang Kositaram in the year 2011, was the central figure in the making and blessing of this 'Jaek Tan' edition. As the spiritual head of the temple, his role was paramount in initiating and overseeing the entire process. Notably, Jao Kun Tiang personally conducted an extended 9-day and 9-night blessing ritual, demonstrating the profound importance and spiritual significance attributed to this particular release of the Pra Somdet amulet. His direct and dedicated involvement underscores the temple's commitment to the spiritual efficacy of the amulet.
Pra Kroo Siri Dhamma Pipit, commonly known as Luang Por Cherd) was another highly respected monk from Wat Rakang Kositaram who participated in the blessing ceremony of the 'Pra Somdet Run Jaek Tan 2554'. Holding the title of Pra Kroo, signifying a venerable teacher within the monastic order, Luang Por Cherd's presence alongside the abbot and other esteemed monks further enhanced the spiritual authority of the amulet. His participation reflects a collective endorsement from the monastic community of Wat Rakhang.
Pra Kroo Wimon Dhamma Taadaa, or, better known commonly as Luang Por Suang also contributed to the sacred blessing of the 'Jaek Tarn 2554 Buddhist Era amulet. As a Pra Kroo associated with Wat Rakang, his involvement in the ceremony underscores the broader spiritual support from the temple's monastic body. While biographical information on Luang Por Suang sometimes refers to a monk from Wat Chee Ba Khaaw, his inclusion in the list of monks blessing the 'Jaek Tarn 2554' at Wat Rakang indicates his presence and contribution to this specific event.
Than Jao Kun Pra Boworn Rangsee, a high-ranking monk holding the honorific title of Tan Jao Kun within Wat Rakang Kositaram, also participated in the blessing ceremony. His involvement, alongside the abbot and other respected Pra Kroo, signifies a comprehensive spiritual empowerment of the amulet by monks of various ranks and seniority within the temple.
Finally, Pra Kroo Palad Jeerawat, who holds the title Pra Kroo Palad, indicating a specific administrative role within Wat Rakang, also participated in the blessing of the 'Pra Somdet Run Jaek Tan 2554' amulet. His presence further reinforces the collective spiritual intention and endorsement from the monastic community of Wat Rakang towards this particular edition.
The involvement of this assembly of revered monks, each contributing their spiritual merit and blessings, underscores the sacred nature and intended efficacy of the Pra Somdet Run Jaek Tarn 2554 Wat Rakang amulet.
Muan Sarn, The Essence of Sacredness
The term Muan Sarn, refers to the sacred powders and materials, that constitute the core of the 'Pra Somdet Run Jaek Tarn 2554 Buddhist Era amulet. These materials are not merely physical components but are believed to possess inherent auspicious qualities and spiritual power, often derived from traditional formulas, blessings by revered monks, and inclusion of remnants from older sacred objects. The Muan Sarn of this specific edition is particularly significant as it reportedly incorporates elements connecting it to the esteemed lineage of Pra Somdet amulets.
A key aspect of the Muan Sarn in the Pra Somdet Run Jaek Tarn, is the inclusion of 'Pong Wised Haa Chanit, which translates to, The five special sacred powders. These five powders are fundamental ingredients in the creation of many powerful Thai amulets, particularly those following the tradition of Somdet Pra Putaajaarn Toe Promrangsee. The specific five powders are:
- Pong Batamang. This is recognized as one of the principal sacred powders in Thai amulet making 6. While its precise meaning is not explicitly detailed in the provided snippets, its consistent listing among the five kinds of sacred powders signifies its foundational importance within the traditional formula. It is often considered to be associated with the initial stages of creation and empowerment. Indeed in Paali Sanskrit, Batamang means first and foremost.
- Pong Ittijay. This is another essential sacred powder, frequently mentioned alongside Pong Batamang. Some sources suggest that Phong Ittijay is particularly associated with charm, attraction, and influence. Its inclusion is believed to enhance the amulet's maettaa mahaaniyom qualities, fostering loving-kindness and popularity for the wearer.
- Pong Treeni Sing Hay, As the third of the 'Pong Wised Ha Chanid, Pong Treeni Sing Hay, holds a significant place in the traditional composition of sacred powders. Similar to Pong Batamang, its specific detailed meaning is not readily apparent in these snippets, but its consistent presence underscores its traditional importance in imbuing amulets with spiritual power.
- Pong Phuttakun.This sacred powder carries a meaning that is more explicitly revealed in the snippets. 'Puttakun' directly translates to "Buddha's grace" or embodies the virtues and blessings of the Buddha. Its inclusion in the Sacred Muan Sarn admixture directly connects the amulet to the core spiritual essence of Buddhism, believed to bestow positive energy, protection, and overall well-being upon the devotee.
- Pong Mahaa Rart. Completing the set of five sacred powders, Pong Maha Rart, is also a crucial component of the Muan Sarn. Some sources suggest a connection to royalty from the original Sanskrit Maharaja, meaning great king in Sanskrit or great power and leadership. Its inclusion is believed to contribute to the amulet's ability to enhance the wearer's authority, influence, and bestow significant blessings.
In addition to these five special sacred powders, the 'Phra Somdet Run Jaek Tan edition amulet also incorporates holy water sourced from Somdet Pra Putaajaarn Toe's water well at Wat Rakang Kositaram. This well is revered as it is believed to have been used by Somdet Toe himself, and the water drawn from it is considered to carry his personal blessings and spiritual essence. The inclusion of this holy water provides a direct and tangible link to the revered creator of Pra Somdet amulets, further enhancing the sacredness and historical connection of this particular edition. The 'Pra Somdet Run Jaek Tarn adheres to the traditional design principles of Pra Somdet amulets while incorporating specific features unique to this edition.
The front design typically features an image of the Buddha seated in Samaa Ti, the meditative posture, on a three-tiered throne. This three-tiered base is symbolic of the three realms of existence within Buddhist cosmology. In line with the classic Pra Somdet style, the Buddha image often lacks distinct facial features, emphasizing the spiritual essence over physical representation. This simple yet profound design has become the hallmark of Pra Somdet amulets, focusing on the core of Buddhist meditation and cosmology.
The reverse side of the Pra Somdet Run Jaek Tarn amulet, typically features a distinct set of characteristics. A prominent feature is the inclusion of an image of Somdet Pra Putaajaarn Toe' himself, serving as a direct visual connection to the amulet's revered originator. Additionally, the Thai words Jaek Tarn are inscribed, clearly indicating the charitable purpose for which this edition was created and distributed.
A particularly noteworthy feature of the Pra Somdet Run Jaek Tarn edition is the existence of a limited number of amulets that contain an embedded mask of Somdet Pra Putaajaarn Toe''s face. According to available information, this special variation was limited to only 3,199 pieces. This embedded mask, likely a small metallic representation, adds a unique and tangible element connecting the amulet to Somdet Toe, making these specific pieces highly sought after by collectors for their exclusivity and enhanced sacred association.
To further ensure the authenticity and provenance of the amulet, authentication marks are typically present. These often include a rubber stamp bearing the symbolic signature of Somdet Pra Putaajaarn Toe Promrangsee, a traditional way of honoring the revered monk. Another common authentication mark is a bell symbol, called the traa rakang, which directly represents Wat Rakang Kositaram, the temple of origin. These marks serve as crucial indicators for collectors and devotees to verify the amulet's legitimacy and distinguish it from potential imitations, which are unfortunately prevalent in the amulet market.
Collector's Lens. Interest and Significance in the Amulet Market.
The 'Pra Somdet Run Jaek Tarn has garnered significant interest, from both Thai and international collectors and enthusiasts within the vibrant world of Thai Buddhist amulets. This interest stems from a combination of factors, including the amulet's inherent beauty, the perceived high quality of its sacred materials (Muan Sarn), and the powerful and well-documented blessing ceremony conducted by the esteemed monastic assembly of Wat Rakang. The direct connection to the revered Somdet Toe and the historical significance of Wat Rakang Koesitaaraam further contribute to its appeal.
The limited edition Pra Somdet featuring the embedded mask of Somdet Pra Putaajaarn Toe is of particular interest to serious collectors. The scarcity of these amulets, with only 3,199 pieces reportedly created, significantly enhances their desirability and potential market value. Collectors often seek out such limited editions due to their rarity and unique characteristics, viewing them as prized additions to their collections.
The perceived value of the amulet is influenced by several key factors. Its status as the first edition of a charitable series adds to its collectibility and potential for appreciation in value over time. The strong association with Wat Rakang Koesitaaraam, a temple deeply intertwined with the legacy of Somdet Toe, is a fundamental factor in its perceived sacredness and worth. The involvement of a distinguished assembly of respected monks in the blessing ceremony, led by the abbot Jao Kun Tiang, further enhances its spiritual provenance and desirability. The inclusion of the sacred Pong Wised powders, and holy water from Somdet Toe's well in the Muan Sarn are also considered to significantly contribute to its value, as these materials are believed to imbue the amulet with potent blessings and protective qualities. While specific market prices can fluctuate based on condition, features, and current demand, the 'Phra Somdet Run Jaek Tarrn amulet is generally regarded as a valuable and significant piece within the Thai amulet market, particularly the limited edition with the embedded mask.
A Cherished Amulet of Faith and Heritage.
The Pra Somdet Roon Jaek Tarn 2554 Buddhist Era Year release Wat Rakang Khositaram amulet, stands as a significant and cherished piece within the vast pantheon of Thai Buddhist amulets. Carrying the esteemed legacy of Somdet Pra Putaajaarn Toe, this edition was specifically created for charitable giving, embodying the core Buddhist principle of daana. The amulet received a powerful and extended blessing from a distinguished assembly of monks from Wat Rakhang Koesitaaraam, led by the abbot Pra Dhamma Tiraraacha Mahaa Munee, meaning Jao Kun Tiang, further enhancing its spiritual efficacy. Its Muan Sarn, carefully composed of sacred powders, including the revered Pong Wised, and holy water from Somdet Toe's well, connects it directly to a lineage of sacred power and the blessings of one of Thailand's most venerated monks. The unique design, particularly the limited edition featuring an embedded mask of Somdej Toh, along with authentication marks, adds to its distinctiveness and appeal. As a result of its historical connection, spiritual provenance, material composition, and the rarity of specific variations, the Pra Somdet Jaek Tarn amulet holds considerable interest and value within the Thai amulet collector community, both domestically and internationally. Ultimately, this amulet is yet another addition in the long line opf an enduring legacy of amulets that began with Somdet Toe and the profound traditions of Thai Buddhism, remaining a cherished object of faith and a tangible representation of a rich cultural heritage.
|
Monk's Name |
Title/Role at Wat Rakang |
Specific Involvement in Blessing |
|
Pra Dhamma Tiraraacha Mahaa Mune Jao Kun Tiang |
Abbot |
Presided over 9-day blessing |
|
Pra Kroo Siri Dhamma Pipit Luang Por Cherd |
Venerable Teacher |
Participated in blessing |
|
Pra Kroo Wimon Dhamma Taadaa Luang Por Suang |
Venerable Teacher |
Participated in blessing |
|
Tan Jao Kun Pra Boworn Rangsee |
High-Ranking Monk |
Participated in blessing |
|
Pra Kroo Palad Jeerawat |
Administrative Role |
Participated in blessing |
|
Name of Powder |
Meaning/Significance (based on research) |
|
Pong Batamang |
One of the five principal sacred powders (specific meaning unclear) |
|
Pong Itti Jay |
Associated with charm, attraction, and influence |
|
Pong Trini Sing Hay |
One of the five principal sacred powders (specific meaning unclear) |
|
Pong Puttakun |
"Buddha's grace," embodying Buddhist virtues and blessings |
|
Pong Maharaat |
Potentially linked to royalty, great power, and authority |
- Cleanliness: Wash your hands and make sure you are in a place of respect.
- Positioning: You can hold the amulet in your palms, or place it on an altar.
- Mental Preparation: Have positive and peaceful intentions for your prayer.
- Chant "Namo Tassa, Bhakawato, Arahatho, Samma Sam Budeh Sassa" three times.
- General Kata (Kata Aaraatanaa Pra Krueang): This can be used as a general prayer before wearing, taking off, or travelling. Chant "Puttang Aaraatanaanang, Tammang Aaraatanaanang, Sangkang Aaraatanaanang. Puttang Prasittimae, Tammang Prasittimae, Sangkang Prasittimae" three times.
- Kata for specific amulets: Some amulets, such as Phra Khun Paen, Lek Lai, or those related to Shiva have specific formulas to chant. These can be found in resources such as those provided by Thailand Amulets.
- Chanting the Kata: Chant the Kata 3, 5, 7, 9, or 108 times. The specific number depends on the deity or amulet.
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Specific Deities:
- To Shiva: The altar for Shiva can also have other deities present, such as Brahma, Ganesh, Kali, Vishnu, Parvati, Lakshmi, or the Shiva Lingam, and the altar should be covered in white, red, blue cloth or tiger skin pattern cloth.
- Metta and Maha Sanaeh: For love, attraction, and preferential treatment, there's a specific Kata to be chanted before sleep.
3. Post-Praying:Remember:If taking the amulet off, place it on a clean, higher place, or ideally on an altar.Respect:Do not put the amulet on the floor, in your pocket, or hang it lower than your waist.
Tips for Success:Practice Regularly:Make your prayers a regular part of your routine, particularly if you are working towards a specific outcome.Seek Guidance:Look for guidance and resources from Thai Buddhist practitioners or those knowledgeable in Thai amulet practices.-
Be Respectful:Remember that amulets are religious objects, so treat them with respect and reverence.
