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.
Roop Tai Ad Krajok Hlang Dtra Singh Nuea Dradat Hnang Gai Luang Por Guay, released in the year 2504 BE, for Gurunussati, Serm Duang, Metta Mahaniyom and Kong Grapan Klaew Klaad Protective Magic. A rare early edition Roop Tai, from the Legendary Luang Por Guay of Wat Kositaram. The amulets of Luang Por Guay, are among the most highly renowned for their Power of Protection, and Auspicious Fortunes.
The Roop Tai, as all amulets of Luang Por Guay, is imbued with a compendium of Magical Powers; Maha Ud, Klaew Klaad, Kong Grapan Chadtri, Maha Lap Metta Maha Niyom, Serm Yos, and Serm Duang. A truly powerful early era Guru Monk amulet with temple ink stamp on rear face, from the legendary Deceased Master, Luang Por Guay, of Wat Kositaram in Chainat.
The amulet was empowered in Traimas 3 month rainy season trimester of nightly empowerments during the yeaR 2503 BE for release in 2504. Empowered with incantations to invoke and seal Protective Spells and Auspicious Buddhist Blessings within, to increase invulnerability, evasion of deadly accidents and to generate prosperity and Mercy Charm.
Luang Por Guay Chudtintaro
Luang Por Guay's amulets have reached the highest level of respect and collector-ship in their history now, and are considered to have noticeable effects that are felt be everybody who owns and wears one of his amulets. The stories of confirmation of their power are more than can be counted, and his Great Patipata and Exceedingly Powerful applied methods of Sorcery are a large part of what attributes to their power.
His amulets are now extremely rare to find because those who already own any will never wish to part with them again, and they are hence becoming one of the rarest kind of amulets to find these days. Usually this happens because of speculation by the collector scene, but in the case of Luang Por Guay's amulets, it has happened primarily for their Sacred Value, much much more than for their collectorship and artistic value, which is of course also extremely high.Luang Por Guay is famous for his immensely diligent and complex manner of empowering (Pluk Sek) amulets, which involved daily empowerment at various times of day namely at dawn, morning, midday, afternoon, evening and midnight.
Luang Por Guay was also a very famous Sak Yant Tattoo Master renowned for Kong Grapan Chadtri and Klaew Klaad powers. In addition, he would perform empowerments during the various 'Reuks' (Astrological Influential moments).
This was done to bring total coverage of protection and fortuitous blessings to all who might wear and Bucha his amulets, namely the 'Reuks Mongkol' Buddhist Auspicious alignments, the 'Reuks Jone' (Gangster Alignments) Inauspicious Alignments, and the 'Reuks Bun Paya Marn' Demonic Influential Alignments. This means that it did not matter who wore his amulets, Good people would wear them, Gangsters would wear them, anybody could wear them without loss of magical effect.
Luang Por Guay was born on 2nd of November 2448 in the year of the snake, in Soi 9, Ban Kae , Tambon Bang Khud, Sakburi, Chainat. He was the son of Mr. Dtui Bpan Son, who originally came from Wiset Chaichan, Ang Tong Province. His Mother was named ‘Khun Mae Dtuan Daechma, from Ban Kae. He had four Siblings; first came his three Brothers, Dtu, Khaad, Cheun and then his Sister Nak, and last came the youngest, Guay. All of the Brothers and Sisters, and Luang Por Guay himself have passed away, and are no longer with us. Luang Por Guay was the last born and the most loved of his Parents.
When he grew up a bit, they took him to stay with Luang Phu Khuad at Wat Ban Kae (Wat Kositaram), to receive some schooling. In those days, the area of Ban Kae was still far from infrastructure and Civilization, and too difficult to reach a real school. Luang Phu Khuad asked his Parents beforehand, what Guays birthdate and Birth Year were, as well as questioning them as to his skin complexion, manner of speech.
It turned out that the young Guay had the astrological alignments of a ‘Maha Burut’ (Great Person), who would be sure to end up in a high position. Guays skin complexion was lighter than that of his parents, more yellowish and light in complexion, which in Thailand is believed to be the sign of a person with great wisdom and intelligence. He was a child of little speech, but with eyes that reflected daring and penetrating. He was a person with a grand aura of power and strength, but whose manner and movement was gentle and graceful.
He learned to read and write and to use mathematics with LP Khuad, and at the young age of six or seven, he was already able to read the Dhammapada and Pali Prayers. So Luang Phu Khuad then continued to teach Luang Por Guay ‘Pasa Khom’ (Ancient Khmer Sanskrit). Luang Phu continued to share as many Wicha as possible with Luang Por Guay.
He did this with the knowledge that perhaps one day the young boy might Ordain into the Buddha Sasana as a member of the Sangha, and then these teachings would serve him to be able to become a Great master, in line with his ‘Duang Chadtaa’ (Horoscope reading) which LP Khuad had already examined. When Luang Phu Khuad passed away, the young Guay was taken from the temple by his parents to continue studying Khom with Luang Por Dam (sometimes spelled ‘Dum’), of Wat Hua Den, which was quite close to Wat Ban Kae (Wat Kositaram).
Once he had mastered Khom, he went on to learn at Wat Praw school in Don Gam. He had to travel there, but not too far. He learned up to the level of Por Sorng, (about twelve years old) and then became bored with learning because he was already far ahead of most others in his age, and could even already read Khom fluently. He turned to assisting his Parents in running the farm at home. The whole time he spent helping his parents, he could not get Luang Por Khuad and the temple out of his head. He saw no purpose in spending ones life farming for harvest.
Older generation Thais tell that Luang Por Guay was not a selfish or hedonistic child like many others of that time, but when Luang Por Guay was asked about this, he said that he was a very naughty boy, and that he used to like to make arrow shaped projectiles and shoot them out of his gun with gunpowder.
When evening would come, whoever had left their windows open would get a warning shot from the young Guay to warn them to close their windows properly. As he was still a layman, he would always say to his Parents that if he ordained as a Monk, then he would ‘Buad Mai Seug’ (Ordain forever, and never disrobe).
He once explained this to his grandmother, and told that as he was young, he once had a person who he held very dear to his heart. He would climb up to the window of their room (Luang Por did not say if this was something he did often or just a few times, and also does not reveal who the person in question was). One evening, he was longing to see the person he loved, and climbed up to the window as arranged. But when he got there, the full moon was shining so brightly, that he did not dare to appear
He thus waited until the Moon fell, and it was late. The darkness fell, and he dared to climb up to the window of his loved one with no fear of her Father seeing him. His lover was asleep already, tired of waiting, and the sight he was greeted with made him stand frozen in surprise. She lay with her hair all tangled, and her mouth open in an unmannerly fashion. Spittle was dribbling from the side of her mouth, and she lolled with the covers arranged as the sheets on a corpse. It was not possible to find any beauty there at all in this impression. In this moment, he released his attachments to such matters completely, and fled.
He never returned to look for his lover again. Since then, he never had another affair with any lover. This shows that Luang Por Guay was already realized in the renunciation of Sexual Sensory pleasures since before he ordained as a Monk. When he came of age and was sent by his Parents to Ordain, he asked to have a quiet Ceremony at the temple and not to indulge in any of the social celebrations that are traditionally performed and undertaken in Thai Buddhist Culture, which were a simple waste of money in his view, and nothing to do with the Buddha Sasana and the seriosity of the renunciation of a Bhikkhu.
He was accustomed to say ‘The Preacher must know the right time to preach, and the Faithful believer must know the limits of his resources’ – this means that the Merit – Maker must donate or arrange for a ceremony that is within their financial limits, and not en-debt themselves just to follow the tradition. The young Guay was brought to his Upachaya Pra Chainat Muni, who shaved his head and Ordained him, along with Luang Por Bpa as the Pra Gammawajarn, and Pra Ajarn Hring as the Anusawanajarn.
He was Ordained on the 5th of June 2467 at 15:17 pm. He was aged 20 years old. The Ordination Ceremony was held at the Uposadha shrine room of Wat Po Ngam In Sakburi, Chainat. His Ordained Name was ‘Chudtintaro’, meaning “This world is full of turmoil of the ways of the world, burdened by defilement and desire, which is greed anger and ignorance – He who cuts off the defilement and craving, will reach the far shore of Nibbana”. After his Ordination as a Bhikkhu, Luang Por Guay resided at Wat Kae, where Luang Phu Ma was the Abbot at that time.
Pra Guay Chudtintaro began to practice recital of the Vessantara Jataka (Life of Vessantara, a previous Incarnation of Lord Buddha, and one of the ten last lifetimes leading up to his Enlightenment). He also studied other works such as the Khantakumara and the Dhanakhanta. In that time, there was hardly any other student who could equal his knowledge and Mastery of the topic. After his Ordination, he resided at Wat ban Kae, where Luang Phu was the abbot. He began practicing recital of the Vessantara Jataka, and soon used it as a tool when people asked him to preach to them. He would preach about how if Nang Matri had not followed Pra Duassandorn into the forest.
Then he would have been a spinster. He would then preach about spinsters, female and male, and tell how if this person was left by his wife, that he must be intolerable, and if a woman was without husband, its must be because this or that. People who were spinsters or widows would not be able to sit in the Sala and listen, for embarrassment, and would have to go hide behind a wall or a tree to listen to the sermon. It became clear then, that Luang Por Guay did not have the art of preaching very polished. Some people would even break out in tears listening to his sermons about being a lonely spinster.
The real reason why he could not give sermons using the Vessantara Jataka, was that it is necessary to use quirkiness and humor to tell the tale and make parables. Luang Por Guay did not like to behave in this manner. In order to evade further embarrassments, Luang Por evaded preaching by going to learn traditional medicine with Hmor Khian, who was famous for being able to suppress plagues and epidemics. In Koke Chang village many people were dying from an epidemic, and even all the other doctors had died. Only Hmor Khian remained who was able to cure the ‘Roke Khai Torapis’ disease which was quickly killing off all the villagers. On the 19th May 2472, Pra Guay began to learn Bpariyadtitam (Theoretical Dhamma), in order to develop in his understanding and practice of the Buddha Sasana, studying at Wat Wang Khorn for two years, and then continuing his studies to the Doctorate degree.
As he was just about to enter the exams for his qualifications, he became very ill, and was unable to continue. He then decided that he had studied enough, and that he should now focus on Vipassana Kammathana practice and Wicha Akom, and received training in how to make and empower magic charms and amulets, effigies and talismans.
He traveled to learn Wicha from Luang Por Sri Wiriya Sopat of Wat Prang (Singhburi), who is said to have been the greatest Vipassana Kammathana Master of the region at that time. It was here that Luang Por learned the Wicha of making magic rings. This is belief is supported by the fact that Luang Por Sri Wiriyas magic rings had the Khom Letters ‘Idti’ inscribed, which are also found to be present on magic rings from Luang Por Guay.
Luang por continued to gather Mastery in various other magical Wicha from Luang Por Sri Wiriya. After this, he traveled to stay at Wat Nong Dta Gaew, in Koke Chang, Supannburi. He planted a Samor tree at this temple, which can still be seen standing there where he planted it to this day. Luang Por Saman once went to stay at Wat Nong Dta Gaew, and took a cockerel and placed it in Luang Por Guays tree (chickens sleep in trees). Apparently, the Cockerel refused to sleep all night in this tree.
Nobody knows what kind of Wicha Luang Por Guay placed into the tree, but for a Cockerel to refuse to sleep when it is sitting in its most natural sleeping habitat, reveals that there was something unnatural about Luang Por Guays tree. Luang Por Guays powers must have developed rapidly because at the time he planted the tree, he was only 32 years old and had been a Monk for 8 years. This shows that Luang Por Guay had attained Magical abilities at a very young age already. He stayed at Wat Nong Dta Gaew for one year, and then traveled on to Wat Nong Khaem in Sakburi (Chainat Province), where he remained for a period of one year.
Whilst he was there, he learned traditional medicine with Yome Buan, a Lay Master from Ban Nong Khaem, and he then continued his studies with Hmor Yai in Ban Bang Nam Pra, close by to Ban Nong Khaem. At Wat Nong Khaem, there was another Bhikkhu befriended with Luanbg Por Guay, by the name of Jaem. One day, Pra Jaem found an ancient ‘Samut Khoi’ (Grimoire in Bai Lan parchment leaf), as he was wandering. But he was not able to bring the book, because it had some kind of protective spell or Deity watching over it. So Pra Jaem invited Luang Por Guay to come and have a look. Whjen they arrived at the tree stump where the book was hidden, Luang Por Guay saw that Pra jaem had told the truth, the Grimoire was indeed there. There were signs of someone having brought flowers, incense and candles to make Bucha with to the Grimoire and placed them beneath the tree stump.
So Luang Por Guay lit the candles and the incense, and prayed; “If the Devas who protect this book wish me to take it and preserve the Wicha, then let this incense stick burn out completely”. But the incense stick did not burn completely, so Luang por Guay began again and this time said; “If you let me take the Dtamra with me, I promise I shall only use it for the benefit of the temple and help all Sentient Beings”. This time, all three of the incense sticks burned completely to the ground. Luang Por then performed ‘Gruad Nam’ (the pouring of water to dedicate the fruits of ones merits to the dead – a story covered in Buddha Magic Issue 3), and dedicated the fruits of his merits to the Master of this Dtamra he had discovered, and the Deities who protected it.
He then performed the ceremony to invite the Grimoire to come with him to the temple. There was a story circulating after this, that someone once took the Dtamra home with them and put it in their room, but the household experienced much disaster, sickness and even death, so the person had taken it and placed it under the tree stump. When he heard the story, Luang Por Guay opened the book and began to read it, and he found a passage which mentioned that it was forbidden to take into anybodys house at all, if not, there would be great loss and misfortune. Luang Por Guay then began to learn the various Yant and Wicha, memorizing and practicing the magic spells within the ancient Grimoire.
This is where he got a great deal of his powerful Wicha from. The Grimoire is still there at the temple. The cover says ‘Kroo Raeng’ in red on it. Few people have been lucky enough to open this Dtamra, but It was written from someone who has opened it, that the Grimoire contains hundreds of Yant and magic Kata. One extremely powerful Kata within the Grimoire is the “Pramontr Pra Putta Jao Chana Marn” (Mantra of the Buddha Conquering Mara), which is a spell so powerful that it is forbidden for a layperson to recite. This Montr Kata has both ways to perform white magic and also harmful black magic. These ancient manuscripts are now in the Kuti hut of Ajarn Samruay (abbot of Wat Nong Khaem). Most of the books are at the temple, on a ‘Pan’ (offerng tray) beside the Hmoo Dto Bucha of Luang Por Samruay.
A couple of the books are kept in other temples too; One book is in posession of Ajarn Hwian Kontamtong in his Kuti at Wat Ta Tong (Supannburi), another is in the care of Ajarn Dtua, and one book with Ajarn Sawaeng at Wat Nong Iduk (Chainat). When Luang Por Guay left Wat Nong Khaem, he travelled on and stopped at Wat Bang Dta Hngay (Nakorn Sawan). As he was residing here, he went to learn Wicha from Luang Por Derm of Wat Nong Po. He learned how to make magical armbands and rings, Tagrud, and Meed Hmor, as well as many other peripheral Wicha and spells. He also learned the Wicha of healing broken bones from Luang Por Kane of Wat Dong Sethee (Utay Thani). It is also believed that Luang Por Guay assembled many other Wicha which he gathered from various Ajarn who are not documented.
This is believed to be substantiated by some tell-tale hints, such as the fact that Luang Por Guay made a Pra Yord Khunpol amulet which had a monk coin from Luang Por Gan inserted in the rear face, which suggests that he may have learnt Wicha from LP Gan and thus used his lockets to inset in his own amulets, as a sign of respect toward and faith in his Kroo.cFamous Master Monk, Luang Phu Pimpa, once said of Luang Por Guay that ‘Pra Guay he understands Magic perfectly – before he went to the North to learn their Wicha, he didn’t have any more power than your average monk, but after he returned from learning the Lanna Wicha (referring to his stay in Nakorn Sawan), he kept himself to himself, and spoke little. When he did speak however, it was evident that LP Guays mind was elevated, and that he had a gift of speech’. It is strongly believed that LP Guay really did receive Wicha from LP Derm, because a fotograph of LP Derm with LP Derms handwriting to LP Guay was found in his Kuti. A Looksit of LP Guay remembers also that just after the second world war, LP Guay went to ask LP Derm to teach him the Wicha Tam Tong and the Wicha of Len Prae Taat (minerals and crystals/elements etc), but that at that time, Luang Por Derm did not show him.
The next news of Luang Por Guay returning to Wat Ban Kae (Wat Kositaram) was officially recorded in 2484, which was when he began to make Sak Yant on the Looksit of Wat Ban Kae (Wat Kositaram). Luang Por Guays Sak Yant became so legendary, because a large number of the local folk had experienced multiple cases of being shot at and the gun either not firing, or the bullets not penetrating the skin. This made people flock to the temple for Sak Yant tattoos from the surrounding areas, and the temple was overflowed with people all day and night. In the end, as Luang Por retired from Sak yant, he once commented to a Looksit that if he didn’t stop tattooing, then he could take 100 Baht notes and use them to tile the roof of his Kuti with! (a weeks wages back then may have been not more than a couple of Baht). On the 1st September 2491, Luang Por Guay was elected Abbot of Wat Ban Kae.
Luang Por Guay saw that the folk of Ban Kae were very poor and many people did not have enough to eat, and thus took up the practice of only eating one meal a day instead of the two before midday which are normally allowed for a Maha Nikaya Buddhist monk, in support of the people and to consume less. He would help the poor and needy and heal the sick, give Buddha amulets to those who needed some confidence and something to help them fight on in life, and try his best to improve the life of local Folk in general. He was very loved for this by the local Folk. Luang Por was not a monk who liked to build things or develop, he liked simplicity and stillness. Even his Kuti was old ‘Song Thai’ (Thai style wooden house), that he had given the temple lay committee and some Looksit the task of building it to save money, and only hired special craftsmen for the most difficult pieces of the building. The temple thus only had old rickety Kuti huts and no fancy buildings except for the Uposadha shrine room, the Kuti Chudtintaro (memorial Kuti hut for LP Guay), and the Sala Tam Bun building. On the 5th December 2511, Luang Por Guay received the honor of status of ‘Pra Kroo Chan Pratuan’. Luang Por Guay passed away, on the 12 April 2522 at the age of 75 years old. He passed on in peaceful recline.
The year before he died, he fell ill, and was carried to Paya Tai hospital for examination. The examining Doctor concluded that Luang Por Guay was suffering from food deficiency since over 30 years, and gave him some protein supplements for a period of a whole month, which turned out to still not be enough for his physical needs. But when Luang Por returned to the temple, he continued his habit of eating only one meal a day without paying attention to the warnings. It seemed that since his return from hospital though, that his casting of magic spells and empowerment of amulets had become even more effervescent and intense. He seemed very strong physically as far as outside appearances went. In the year 2522, Luang Por wrote down two notes in his calendar; Pra Luang Por Guay marked the day he would become ill with blue pen, and the day he died was marked in red pen. The days were the 11th March, and the 11th April 2522 BE. Luang Por had written the Pra Kata Namo Dta Bord, and the words “I Pra Guay Na Dtandto Namo Dtandti Dtandti Dtandto Namo Dtan Dtan – will die on the 11th April at 7:55”. As the 11th came nearer, Luang Por Guay fell ill, but it was not possible to detect any fever or recognizable illness.
He could not eat, and would even spit his rice out and refuse any more, instead grabbing a piece of Tagrud and inscribing spells. In the night he would hold the Sai Sincana cord and empower amulets. He would inscribe lottery numbers on the palm of his hand, and sometimes show to Looksit with Choke Lap who came to pay last respects. As the tenth arrived, everybody came to await his passing, but on the 11th he was still alive. Some of the temple committee suggested that his Kuti was full of magic and even images of the Kroo, perhaps no Deities could enter to take him.
So they moved Luang Por Guay to the chanting room, where he opened his eyes in farewell for the last time, placed his hands together, and then, something amazing happened; The temple bell fell down from where it was hanging, and crashed to the floor ringing out loud with a resounding echo. The Looksit then realised that Luang Por Guay had passed on in this moment, and tuned to look at the time. It was exactly 7:55 am on the 12th April. The 12th of April every year is the date for paying reverence to Luang Por Guay at Wat Kositaram, where Looksit gather each year to pray to Luang Por Guay and ask for his blessings to continue to protect them and improve their lives.
