Welcome to the Third issue of Buddha Magic, which is now beginning to delve into some of the

more common Folk Ceremonies and Beliefs, for you to access. Things which you may or will have
seen many times in Thailand will be explained to you in great detail. The usual academic study of
Pra Somdej Amulets continues with the Third part of the series, which couples with the Somdej Pra
Puttajarn (Dto) Prohmrangsri Biography and Legends. The Issue begins with a detailed investigaton
into the sacred Wicha of Wat Plab and its Candle Magic Ritual. Unfortunately (or Fortunately), I
have added extreme detail to some articles and run out of time for the promised article on Pichai
Songkram, which I promise will be the first Article of Issue 4 of Buddha Magic. Instead, we have
some very useful and practical Articles which you will be able to use in your Dhamma practice at
Home. Namely how to set up an altar, and how to dedicate Merits to Dead Relatives.

The Biography of Master Tudong Monk Luang Por Kasem Khemago, a Host of Kata (Mantras) for
you to Chant with explanations and synopses of their uses and application methods. The Pra
Somdej article will present many valuable and interesting related amulets for you to get to know
and appreciate their beauty and sacredness. The Eight Eras of Thai Buddhist Art are also continued
with two more important Sacred Sculptures that are of Deity status in Thailand. The first comes
from the Sukhothai Period and the second one is styled in the late Ayuttaya style.
The Kata Section actually contains many other Chapters of the Magazine interspersing each group
of Kata. This is because many Kata are for a Deity and so I explain a little about each Deity after or
before the Kata is given for you to practice Chanting. Buddha Magic is still a very small readership
and a Cult Publication that is dependent on more readership. Its like one of those rare animals in
danger of the extinction list. So if you enjoy Buddha Magic, then please share News of its existence
by sharing it around the World Wide Web and with your friends to help the Buddha Magic Ezine
ensure its continuity.
Please Share news of Buddha Magic on Facebook or MySpace, Digg and the like. Like us or review
us on stumbleupon.com, or join our facebook fanpage.
 Buddha Magic Issue 3
30th December 2010 New Year Edition
Contents
1. Intro
2. Candle Magic used in Theravada Buddhism – Chapter Two; Tian Look Sagod Magic Bead
Candle Meditation and the Wicha of Wat Plab temple.
3. Pra Somdej – King of Thai Amulets - Part Three of the ongoing series about Pra Somdej
amulets, all amulets of the Six E
4. Somdej Pra Puttajarn (Dto) Prohmrangsri (Wat Rakang Kositaram). Part Three of the
Biography and Legends of Somdej Dto Prohmrangsri, maker of the Legendary Pra Somdej
Wat Rakang – King of Thai amulets. This third part of the series begins with what is perhaps
one of Somdej Dtos signature works, and the subject of Legend – the 'Pra Kata
Chinabanchorn' – The Chinabanchara Mantra. This Kata is chanted by almost all Thai people
everywhere in Thailand, and is considered to be one of the most Sacred Kata for Chanting -
Kata Chinabanchorn - The Kata is transliterated for Chanting phonetically.
5. Luang Por Kasem Khemago - Tan Khemago Bhikkhu (Luang Phu Kasem, or, Luang Por
Kasem, Khemago), is an extremely revered monk of the Lanna tradition who the is
considered one of the greatest Ajarn of modern Thai history, and has a massive and
devoted following in the North of Thailand (and indeed all over the country). His devotees
believe that to pay reverence to him or wear his amulets, results in receiving protection
and safety wherever they go. His amazing dedication to his practice and purity is common
knowledge with Thai people, which is easy to see since the very beginning of his path as he
gave up the title of abbot of the temple and went to practice Vipassana Kammathana forest
tradition methods residing in an old cemetery in the forest on a mountain side, which is
where he remained practicing in humility and simplicity to the end of his mortal days
6. About Kata Chanting – The Benefits of Chanting Pra Kata - Chanting is an essential part of
the Thai Theravada Buddhist Practice. The blessings and benefits of Chanting Kata are
evident in various aspects of life. The Buddha himself stated that there are 5 ways to
enlighten to any Dhamma or to become fully enlightened, and that one of them was whilst
Praying, or Chanting Prayers. (Authors personal writing)
7. Somdej Dto's Sermon on the Benefits of Chanting Prayers - Tan Jao Prakhun Somdej Dto
Prohmrangsri was once invited to the Ngan Mahad of Jao Praya Sanpaetcharapakdee, in the
times of King Rama 4, to give a sermon - this is the transcript of that Sermon (rough
Translation).
8. Pra Kata Chinabanchorn of Somdej Dto - The Legend of the Chinabanchara and where it
came from.
9. Pra Kata Bucha Khor Laap Jed Wan – Seven Day Chant for Luck and Riches – A set of seven
Kata to be chanted during the whole week. It is a Kata to improve your Fortune and to
increase Riches, as well as acquiring Metta Mahaniyom charm and Happiness, Respect and
related Auspicious Blessings.
10. Kata For When Luck and Business Sales are Down; Ancient Kata from the hand of Por
Hnaan Bun Ban. The Kata is called 'Montr Kaa Khaay Bpen Dtok, meaning 'Kata to sell till
you drop'
11. How to Empower Nam Montr - Methods for making your own Magical Prayer Water (Nam
Montr) using Kata Chanting (and candles as an optional addition)
12. Kata for various Deities; Brahma, Garuda, Naga, Vishnu, Pra Laks, Various Ruesi (Por Phu
Narot, Por Phu Narai, Por Phu Hnaa Suea).
13. What to offer the Deities – The necessary offerings for making Bucha to the Deities. How
to make Bucha offerings to the Ruesi Deities.
14. About Animal headed Ruesi; Legends of the Monkey, Tiger and Deer Faced Ruesi Deities.
15. Naga Head Ruesi – Pra Rasi Gasirotha
16. Kata Pra Laks Hnaa Tong - The Mantra for Pra Laks - Deity of attraction charm and luck.
17. Deity Portrait - Pra Laks - In Thai Culture and spiritualist belief, there is a very popular and
powerful magical charm and incantation which bears the Name of Pra Laks, called 'Na Hnaa
Tong' or 'Na Pra Laks Hnaa Tong'. This means literally “Golden Faced Pra Laks”.
18. Various Kata for Riches
19. Kata for Deity Taw Waes Suwan – The correct Mantras for Lord Taw waes Suwann,
Northern King of the Jatumaharachiga Realm, iconic Asura Deity of the those with great
riches.
20. Kata Hua Jai - Important Heart Mantras - short abbreviated easy to remember, but
extremely powerful root Kata to chant and invoke your protective, healing or charming
energy with.
21. Saan Pra Poom – Saan Jao Tee Jao Tang, Saan Prohm – Spirit Shrines; A shrine house for
the local spirits, ghosts or Deities to reside in. Almost every Buddhist home has one of
these in Thailand.There are three main forms of spirit house; Saan Pra Poom, Saan Jao Tee
and Saan Prohm; This article explains in great detail (10 pages) about this tradition and the
ceremony which is performed to invoke the Deities.
22. Pitii Gruad Nam – Pouring Water Ceremony to offer Fruits of your Merits to the Dead;
What instruments to use forGruad Nam? When is the best time to perform Gruad Nam
Ceremony?,Benefits of Dedicating Merit. Dtamnan Gruad Nam – legendary Origins of the
Ceremony.
23. Dto Hmuu Bucha – How to set up a tiered Bucha Altar Thai style. A detailed synopsis of the
correct methods for setting up a sacred Altar for practice using the tiered Thai Bucha tables
known as 'Dto Hmuu Bucha'. A useful article for those wishing to know the proper method
for setting up an Altar according to Thai Theravada Tradition.
24. Pra Putta Roop Bpaed Samay - Continuation of the series; 'Eight Eras of Buddhist Art and
Sculpture', which began in Issue one with a full synopsis of the Eight Main Artistic Eras of
Thai Buddhist Art and Sculpture, and continues every issue presenting different Buddha
Statues from Different Eras and Cultural Styles, and the story behind their origin. This
Month the following Two Sculptures are presented;
25. Pra Luang Por Dto - Luang Por Dto is a classic example of Sukhothai Period Sculpture.
26. Luang Por Tong Kam - late Ayuttata Period Buddhist Sculpture

Dedicated to my Wife and Son, who had to put up with my absence despite my
physical presence in the room for many months, and endured it whilst waiting
for me to finish this Issue, which has cost me so much hard work and effort with
many interruptions and obstacles preventing me from continuing. In the end I
have managed to finish this, my most difficult of all issues to complete.

Thanks to my beloved Wife and Son for your Patience!

 Candle Magic used in Theravada Buddhism – Chapter Two

(Part Two of the series - Continued from Buddha Magic Issue One)

Although Theravada Buddhism's stance on Saiyasart (Occultism), and Animist practices is clearly
non-supportive of the practice of Occult Magick, it is still evident that Thai Theravada Buddhism
doe have a great deal of Practitioners of Occultism within the folds of the Sangha, and in almost
every temple in Thailand, you will find either Magic amulets, Tagrud, statues of Brahman Deities
and Animist effigies, as well as shamanistic practices such as Sak Yant tattooing.

The only places you wont find any Occultism going on in a Thai temple is mainly the Kammathana
Forest tradition lineage temples (see LP Mun and LP Cha Lineages). However, there are also
practices using candles whose purpose are not to make any kind of Magical result happen, rather
to test and improve ones ability in Jhanic meditation, which is one of the requirements for being
able to bless amulets and empower magical objects, as well as for attainment of insight, precepts
and wisdom.

I shall attempt to present some of the practices made by Thai Theravada Monks, be they for Occult
or Dharmic purposes (meaning with Buddhist goals, not Magical). I found a great example of
Candle Magic being used for Meditational purposes and Vipassana related practices. This is a good
opportunity to show how sometimes the very thing which Vipassana tends to lean away from
(ritual magic), can be a useful tool in the practice, and leads ultimately to the honing of ones skills
in Dhamma practice, and the increased capabilities of a Yogic Master. This is also useful for
developing the power to empower Sacred Amulets.
Tian Look Sagod Magic Bead Candle Meditation
Picture right; Luang Por Jiw makes a 'Tian
Look Sagod' (candle with Look Sagod beads
inserted, used in the practice of controlling
the 'Pra Beedti Haa' from the 'Hong
Kammathan' of Wat Plab temple.
Most of the Famous Magic Monks, amulet
makers and Gaeji Ajarn Master Monks of
fame have passed through the Hong Pra
Beedti Haa at wat Plab and learned their
Wicha there. In this article, I shall attempt
to explain the various phases of this ritual
meditation practice (and test of ability), and
the instruments used, in this Kammathana
Vipassana related practice which is
simultaneously a source of Magical and
Psychic power. This information is available
because of the openness and Metta of Gaeji
Ajarn Luang Por Jiw, at Wat Rachasitaram.
Luang Por Jiw allowed a Looksit, and
journalist for a high quality Thai amulet
publication attend a demonstration of how
the Tian Look Sagod is used to develop and test the level of ones practice in Meditation and the
attainments in absorption (meditative state of Jhana, Arupajhana.
Luang Por Jiw – Wat Rachasitaram – Present Master of the Wicha Tian Look Sagod

Before we begin to look at the ritual practice itself, I

would like to lay a firm foundation of knowledge as
is traditional, by telling a little about Luang Por Jiw
(Pra Kroo Sitti Sangworn), and his Lineage trajectory
and precedence in this Wicha of Tian Look Sagod.
Please remember and take care to respect the fact
that in Saiyasart, it is both forbidden and dangerous
to practice it without a Master Guru to guide you, as
Madness can ensue with the techniques involved, so
don't go trying it unless you find a true teacher who
can preside over your practice.
Biography of Luang Por Jiw
in the first period of three years of his ordination,
Luang Por Jiw concentrated on the base by focusing
on 'Bpariyati Dhamma' (theoretic and academic
study of the Dhamma – this is usually the best way
to form a solid base for ones practice, before
stepping further into more advanced practical methods). After three years, in 2526 BE, he passed
his Bachelor of Arts in Dhamma, and then, in 2527, he received his Doctorate, following up with a
Masters in 2528 BE, which he received at Wat Rachasitaram.

After this, Luang Por Jiw finished his

theoretical studies and decided to return
to his practice of Kammathana Vipassana
and Samatha Jhanic meditation with Pra
Kroo Banya Wutakun (Luang Por Sam
Aang). He entered into extremely
intensified practice, until finally he began
to achieve results in the 'Hong
Kammathan Pra Pīti Haa' (Mastery of the
five Raptures), and became expert in
controlling his inner states of
consciousness regardless of outside
disturbances.

Left Pic; Pra Kroo Banya Wutakun

(Luang Por Sam Aang) – Guru teacher
who taught various ancient Wicha to
Luang Por Jiw.

Pra Pīti Haa – Wicha of the Samnak

Sila Pra Kammathan
Having used the phrase 'Pra Pīti haa' several times now, you may find yourself asking 'what is Pra
Pīti Haa'? Well, the word 'Pīti' means Rapture, 'Haa' means the number five. The word 'Pra', does
not really mean anything rather is a prefix to elevate the importance, purity and
respectability/sacredness of an object, concept, person or Deity. In Kammathana Vipassana
practice in Thai Theravada Forest Tradition Buddhism, there are five kinds of Rapture which may
occur in the consciousness of the practitioner. These five Raptures are precisely what is being
referred to when speaking of the 'Pra Pīti Haa'.
Pīti - Five Kinds of Rapture
• Pra Khutagaa Pīti - Weak rapture only causes.
• Pra Khanigaa Pīti – Thunder claps explodes inside the body, like waves. You may feel
as if your cartilage is twitching, or flashing lights like lightning
• Pra Oggandtigaa Pīti - Descending or Falling rapture feels like a boat on the water,
or waves lapping against the shore, sometimes a rocking effect and even the body
may rock like a boat, and the heart tremble.
• Pra Uppengkaa Pīti - Exalting rapture – a floating feeling as if one is slightly raised
off the floor surface, sometimes said to even cause levitation to occur.
• Pra Pharanaa Pīti - Fulfilling rapture is compared to a rushing flow of water like a
stream flooding over the practitioner. As if someone has poured cold water over
 you.
Luang Por Jiw states, that although many practitioners of Jhana Absorption may think that it is
easy to arouse each of these five states in turn under a controlled environment, it is in fact
extremely difficult to pass through all five of the Hong Pra Pīti.
If the practitioner manages to access and pass through each stage, he must then pass through the
test known as 'Khao Sagod Pra Pīti Haa' (meaning to enter into each state of rapture, then control
and master each one in sequence). The method used for testing the ability of the practitioner to
master the Pra Pīti Haa used in the Wicha of Wat Plab is that of using 'Look Sagod' beads in
conjunction with a candle.
Look Sagod is a a kind of amulet which looks like a bead (normally made from lead) which has
magical spells inserted into it.
Below; Look Sagod amulets by Luang Por Parn

Traditionally, Look Sagod amulets were used to protect from danger and sharp objects (Kong
Grapan magic) as well as to extinguish any negative energies. But in the Wicha of Wat Plab temple,
the Look Sagod is used solely as an instrument for testing the ability to control the Pra Pīti Haa.

The Method
In order to perform the test of Hong Pra Pīti Haa, the following ritual paraphernalia is needed. Six
Look Sagod beads, two beeswax candles (one 'baht' in weight, and six inches long), one alms bowl,
one 'Mai Dtin Gaa ( a three legged wooden ritual instrument), and some 'Mai Glad' (sticks, or
toothpicks for inserting into the candle)
 First, the Mai Glad are inserted into
the first of the two candles, making
sure that they are equally spaced and
placed around the candle, in a
downwards spiral. The Mai Dtin Gaa is
then taken and placed on top of the
'Badtr' (almsbowl). Then the Look
Sagod beads are inserted on the sticks
which were inserted into the candle,
which is then balanced on the top of
the Mai Dtin Gaa. It is important to
make sure that the Look Sagod do not
hang over any of the wooden struts of
the Mai Dtin Gaa, in order to prevent
any of the looks Sagod from falling
onto the struts as the candle burns
down and the Look Sagod fall down
one by one as the candle melts.
Once the equipment is set up, the
candle is lit and the practitioner then
sits in position next to the alms bowl
and candle, and enters Samadhi,
invoking the states of rapture in
sequence, one after the other. The raptures are controlled and focused to reside in a fixed position
and area of the body, beginning with the navel, and slowly ascending through various points of the
body until reaching the heart. Once this has been passed through, the sequence is repeated in
reverse order. This may sound easy, but in fact it is extremely complex because the five points of
focus where the five Pīti must be contained ('Sagod' means to control and contain – to hold fast),
must be held at equal distances from each other, and that the practitioner must maintain his state
of stillness as he moves his mind from one point of focus to the next, maintaining control of the
raptures, containing them within the limited spaces of the five body points between the navel and
chest.
In addition when the Look Sagod drops into the bottom of the alms bowl, the practitioner must
maintain the rapture without being disturbed in any way by the sound of the Look Sagod hitting
the metal bottom of the alms bowl. The falling of the second Look Sagod symbolizes that the
practitioner must now move his focus and control of the Pīti to the next of the five point of focus.
The sequence must be performed exactly according to this formula, and it is forbidden to change
the location or 'mood' of the Pīti from the given sequence. This continues through all five stages
from the navel to the heart. Once the final Look Sagod has fallen, the Kroo presiding over the test
will then remove the first candle and place the second set of candle and Look Sagod on the alms
bowl, and the practitioner must then begin the sequence once more, this time in the opposite
direction, starting at the heart, and slowly moving down, step by step. If the practitioner is able to
pass the five stages of each candle and be completely unmoved or undisturbed by the sound of
falling Look Sagod beads hitting the metal alms bowl, then it can be said that he/she has passed
the test of Kammathan in the Hong Pīti.
Although most people may never have heard or read about this Wicha of Kammathan Pra Pīti Haa
of Wat Plab, it is in fact a Wicha which many great Masters of Thai History have visited Wat Plab to
receive and develop. Some of the most well known Ajarn who have passed the test of Pra Pīti Haa
Nai Hong Kammathan Wat Plab are;
Luang Phu Paetch Wachiro– Wat Ampawan (Koh samui), Luang Por Pring – Wat Bang Bakok,
Luyang Phu Sao Kantasilo – Wat Liab (Ubon Ratchatani) Luang Por Cheuy – Wat Jesadaram
(Samutr Sakorn), Luang Phu To – Wat Pradu Chimplee, Luang Por Sodh, Wat Pak Nam Pasi
Jaroen, Pra Bplad Dtaeng Guay – Wat Pradu Chimplee, Luang Phu Khaw Analayo – Wat Tham
Glong Play, Khun Luang Wisaladorunagorn (Ajarn An Sarigabutra)

The importance of Wat Plab as a foundation of Wicha knowledge and practical learning
When we consider that every single Bhikkhu
who stayed and practiced at Wat Plab passed
through the Hong Kammathan Pra Pīti Haa, it
becomes evident that this wicha has had a
part to play an a great deal of the magic
spells and sacred amulets made by various
masters and temples throughout the
country. For example, top Master monk of
History, Luang Phu Sukh once came to Wat
Plab to stay too, which may have some part
in the immensely powerful Wicha which LP
Sukh was famed for (such as turning banana
flowers into rabbits or leaves into bees). Wat
Plab has also always been a place of power
for the making and blessing of sacred
amulets; Ajarns such as Luang Phu To of Wat
Pradu Chimplee, often came to Wat Plab to
chant and bless amulets. Luang Por Jiw has
received a multitude of Wicha at Wat Plab,
mostly form Luang Por Sam Angk as the 21st
generation of apprentice students of Wat
Plab. Some of the Wicha he has received
include that of making Pong Itaje, Pong
Bpatamang and Pong Ongk Pra (sacred powder mixtures used for amulets). The last of these three
sacred powders was used by Pra Sangkharach Sug Gai Tuean to make the famous 'Somdej
Arahang' amulets (featured in Issue One of Buddha Magic under the Pra Somdej amulets article).
Apart from Ordained members of the Sangha, there are also still living heirs to the Wicha of Wat
Plab learning under LP Jiw, who are Lay Practitioners too. LP Jiw claims that he has forgotten the
formulas for many of the Wicha he learned from his many teachers, but that of the Wicha which
he still knows, and whose tradition he still preserves, are; The Wicha 'Raksaa Roke Lom Pe Lom Pat'
(curing all kinds of various illness), Wicha Tam Nam Tao Gan Fai (make an enchanted gourd that
wards of fire hazard), as made famous by Luang Phu Chum (Pra Sangworanuwongs Thaera). LP Jiw
learned to make Nam Tao Gan Fai. As he was on Tudong in Kanjanaburi province. He made many
Nam Dtao Gan Fai gourds in those days, both small and large sized, as well as making much Pong
Itaje and Pong Puttakun sacred powders (used in amulet making and for magic spells). He gave all
of the gourds away over the years to Looksit who came to see him, but still always has some
around as the Looksit are always bringing gourds to give to him to write the heart Yantra on and to
stuff the hole of the gourd underneath with Pong Puttakun, Pong Ongk Pra, and Pong Pra Hak ('Pra
Hak' means 'broken Buddha amulet'. Broken amulets are left in the temples by devotees and are
sometimes then taken and used to make sacred powder with and put in new editions of amulets.

Above: LP Jiw sits alongside the Kana Songk (Sangha committee) of Wat Rachasitaram
Another important and rare Wicha which LP Jiw has in his armory is the Wicha to make an image
of the Ruesi Pokasap Ha Praongk (five Ruesi of great wealth and fortune), which is a Dtamnan
which comes from Pra Jao Jakapat Talahanemi ( a King/Emperor in the times of the Buddha). Pra
Jao Jakapat Talahanemi became an ordained Ruesi (called 'Pra Racha Rasi Jakapat Talahanemi).
This Reusi of Royal blood once was able to listen to the Dhamma from Kassapa Buddha, and
became enlightened instantly to both the path and fruits of the Anakami level of Enlightenment
(level 3 of the four possible levels). After his passing, it is said that he went to reside in the
Suwaasa Prohmaloke (High Brahma Realm). The Royal Prince Regent (son of King Pra Jao Jakapat)
also followed suit and ordained along with four of his entourage as a Ruesi. The did this in order to
be of service to their people and the Kingdom. Then a Miraculous event occurred; As Pra Jao
Jakapats Son and the four courtiers were ordained as Ruesi, they were all very slenderly built
figures. But, after the Jakapats Son and his entourage of four Ruesi Sages had practiced for a
period of a mere three days, they became extremely plump, or even as far as to call fat like
pampered lords of 'Pokasap' (Poka means to consume, Sap means belongings or possessions) – Jao
Pokasap means lord of possessions and consumables, and refers to any Being or Deity that is
capable of endowing those who pay reverence with riches and good things in life.).
The Five Ruesi of great wealth and enjoyment were thus given names after this event;
The son of Pra Jao Jakapat was known as 'Pra Ruesi Tamma Rachabodee”, and the remaining four
Ruesi were named as Pra Ruesi Klang Tong, Pra Ruesi Klang Gaew Hwaen (Ruesi Pokasap), Pra
Ruesi Klang Tanyaharn (Ruesi Posop) and Ruesi Karuehabodee.
About the relationship between their Ruesi names and their professions in life before their
ordination;
Each of the four Courtiers were also ministers in charge of various tasks – Klang Tong was in charge
of the treasury (tong means gold), Klang Hwaen was in charge of Consumer goods (thus his
allocation to Pokasap), Klang Tanyaharn was in charge of the Granaries (Tanyaharn means cereals
and grain), and Ruesi Karuehabodee was in charge of Mercantile products (Karuehabodee means
rich merchant, or Mercantile).
The four Ruesi then heard Pra Ruesi Jakapat Talahanemi give a sermon on the Dhamma, and all
four of them instantly became Anakami on hearing the Dhamma. After this, legend tells that the
five Ruesi would give Dhamma sermons and teachings every full Moon. The Dhamma taught by
the Ruesi Sages was both graceful and poetic to the earm as well as clear to listen to and
understand. The Ruesi would teach 'Jakawatitam' ;
1. Dhammas for use in the present time, or present day
2. Dhammas that are of use in the Future
3. Dhammas that bring in great wealth and treasures
4. Dhammas that cause belongings and riches to dwindle
5. Dhammas which are the causes of Prosperity and Entropy
Any of the Folk ho heard the Ruesi give these sermons, would see great change in their life and
increase in prosperity, luck and likeability.
Ruesi Bpanjapokasap – Ruesi Deity with five qualities of Prosperity
Luang Por Jiw had always noticed how in the
present age and time, the Folk have a very
difficult task to practice the Dhamma, for it
is even a difficult task to find a way to make
enough money to survive, never mind be
able to take time off to practice meditation
and renunciation to advance in the
Dhamma, and make real merit. It is so
difficult even to find a profession that is
'Sammaa Aachiwa' (right profession
according to and as defined by the Noble
Eightfold path as taught by Lord Buddha.
So he created the statue of Ruesi
Bpanjapokasap, in order to give some
encouragement to the local villagers and
farmers and other common Folk. He made
the statue using the traditional Dtamnan of
the temple, with the application of two
kinds of magical qualities ; Sitti Choke Rerk
and Racha Choke Rerk in order to invite the
power and merits of the five Ruesi of
Prosperity to inhabit the statue. But when
locals ask Luang Por Jiw what kind of special
powers the statue has, he always simply replies; “I made it as a bit of encouragement to help those
who don't have any strength left to believe in anything. But for those who have no depression or
lack of confidence, they should practice Kammathana Mindfulness (Vipassana) and turn to
practicing the Dhamma and make some renunciation steps. If you do this and put your hand to
really practicing, the benefits and blessings will appear of your own actions and will. “Practice
yourself, and you will know for yourself, and in the end, the magic power will arise of your own
efforts, not of those outside such as the statue!”

The Goodness of Luang Por Jiw

Anyone who has ever visited, or spent time received teachings from Luang Por, will know well that
Luang Por is a real 'Pra' ( a True Bhikkhu) who is a 'Kroo Ba Ajarn' (Guru Teacher), who truly loves
his disciples. One time when he was giving a teaching to a student who was undergoing the test of
controlling the 'Pra Pīti Haa', Luang Por became worried that the student would make a mistake,
and sat closer to the student, to watch carefully as he passed through the stages of five control
points of the Pra Pīti in the Hong Kammatan. The student became aware, as the sound of Evening
Prayers had begun, and asked Luang Por; “Aren't you going to say Evening Prayers Reverend Sir?
Are you not afraid of Bhapa (sin)?”
Luang Por then replied;
“Teaching someone to Master Kammathana methods, or saying Prayers in the chapel, which one
do you think has more Merit”? If you consider the meaning of this, you will understand that Luang
Por was making a sacrifice for the rapid opening of the Path to Enlightenment of a student, above
his own needs to say prayers. In addition, the Buddha gave us three ways of making Merit;
• Taan (Dhana – the practice of Generosity and giving Alms)
• Siin (Sila – Moral Virtiue – the keeping of minimum 5 Moral Precepts, which is
the minimum practice for a genuine Buddhist)
• Pawanaa (Bhavana – actual practice of renunciation, meditation, and
Kammathana mindfulness, in other words to practice the first two, as well as
to consider the Dhamma constantly whilst attempting to remain meditative
and mindful of ones thoughts, speech and actions – this is the true Path to
Enlightenment, as taught by the Buddha.) The best way to encounter the true
Pawanaa is to practice Vipassana Mindfulness.
The practice of these things allows the following three qualities to be developed and natural
instinct in the heart and mind of the practitioner;
Sila – Moral Virtue, the five, eight or 227 precepts
Samadhi – One Pointed Concentration, Meditation – this arises more easily when
the Sila are kept
Panya – Wisdom, Discretion, Circumspection – Panya arises when Samadhi is
attained. These three qualities are the three components which lead to the causes
for Enlightenment, and are the causes of Enlightenment. We must first develop
these causes, in order to attain Enlightenment. This is done with the practice of both
Vipassana, and Samatha meditation methods as a co-supportive symbiosis.
Because of his dedication to his
students in spreading the Wicha and
the practice of the Meditation
Techniques of the Hong Pra
Kammathan of Wat Plab, Luang Por
Jiw has been able to begin a
Kammathana museum to keep the
history and Wicha of Wat Plab
complete for posterity and future
generations.
He is now in the process of building a
museum with wax effigies of the fore
bearers of this Wicha 'Somdej Pra
Sangkaraj (Sukh Gai Tuean). He also
has built the 'Suan Badibat Tam
Somdej Pra Sangkaraj Sukh Gai
Tuean'.

He is a Kroo Ba Ajarn of many Masters degree

students of Kammathana practice and has even
taught Foreign students from the West, such as
Dr. Olivier de Beton from the Institute of Far
Eastern Studies, and Dr. Katherine Newell, from
London University. Both of them received their
diplomas from Somdej Prataep Radtana
Rachasudaa Siam Boroma Rachagumarii, who
performed the honors in stead of her Father the
His Royal Majesty King Bhumipol Adulyadej (Rama
9).
Left; Nam Dtao Gan Fai – which Luang Por Jiw
made with the Wicha of Ajarn Chum. Contains
Yant, Itaje and Ongk Pra powder inserted.
Luang Por Jiw invites all true Buddhists who wish to help
to build the Kammathan Museum by donating or help to
raise funds, and coming to practice and learn the Wicha of
Pra Pīti Haa at Wat Plab. Anyone wishing to help and also
learn can contact Luang Por on the following number; 084-6517-023
Notes about the five Pīti
The five kinds of Pīti experienced by practitioners of Vipassana Kammathana meditative methods,
are inextricably connected with the state of Absorption known in Buddhism as Jhana (Ongk Chaan
in Thai). The Jhanas are various levels of Absorption attained using meditative methods of
controlling the mind and breath, leading eventually to the fourth Jhana, known as 'Aruphajhana
(formless state). Aruphajhana has four different levels of ever more tenuous connection to the
world of form and the sensation of self, which leads to attainment of various factors of
Enlightenment, as well as a host of psychic powers possibly arising as a side effect of the practice.
The various Jhanas (states of Absorption) can be recognized and defined by the presence (or
absence) of five mental factors., which are listed and explained in brief below;

1. Vitakka (Widtok in Thai) – translated as 'Applied Thought' – I personally prefer to

translate this as 'Analytical Thought'.
2. Vicāra (Wijarn in Thai) – Sustained Thought
3. Pīti – Joy, or Rapture – this is a form of Happiness of course, but is not happiness
in itself, rather a sensation which emanates happiness. The Visuddhismaggha
explains Pīti by saying that where there is Rapture (Pīti) there is also Bliss
(Sukha/Happiness), but that when there is Bliss (Happiness), there is not
necessarily also Rapture (Pīti) present. This is easily seen that every normal
person who has never experienced any of the 5 Pīti has known moments of
Happiness, or Bliss, which proves that Pīti is not always present when Sukha
(Happiness/Bliss) occurs.
4. Sukha – Happiness/Bliss
5. Upekkhā – Equanimity

The practice of Jhana meditation involves passing from first to fourth Jhana and then o0nwards to
the fourth level of fourth Jhana (sometimes incorrectly called eighth Jhana), beyond which lies
Enlightenment. The mental factors present or absent in each of the levels of Absorption are as
follows;
• The first Jhana will have the following mental factors present; directed thought,
evaluation, rapture, pleasure, unification of mind, contact, feeling, perception,
intention, consciousness, desire, decision, persistence, mindfulness, equanimity &
attention.
• The second Jhana will have the following mental factors present; internal
assurance, rapture, pleasure, unification of mind, contact, feeling, perception,
intention, consciousness, desire, decision, persistence, mindfulness, equanimity, &
attention.
• The third Jhana will have the following mental factors present; equanimity-
pleasure, unification of mind, contact, feeling, perception, intention, consciousness,
desire, decision, persistence, mindfulness, equanimity & attention.
• The fourth Jhana will have the following mental factors present; equanimity,
neither pleasure nor pain; an unconcern due to serenity of awareness; unification of
mind, contact, feeling, perception, intention, consciousness, desire, decision,
persistence, mindfulness, equanimity & attention.
Once the fourth Jhana has been entered into, there are four formless dimensions, or states which
can be passed through;

• Dimension of Infinite Space

• Dimension of Infinite Consciousness
• Dimension of Nothingness
• Dimension of Neither Perception nor Non-Perception.

Please note that the techniques explained in this article are not intended for inexperienced
practitioners to try out, and is simply a synopsis and explanation for academic purposes. It
should not be attempted without the supervision of an experienced teacher, because if this
technique is attempted alone without supervision, then there is a great danger of the
practitioner straying from the path, and even going Insane.

Amulets from Luang Por Jiw are made to raise funds for the completion of the Museum project.
Wat Plab was the origin of the Somdej Arahang Wat Plab amulets which were made by Ajarn
Saeng, the Master who gave the Wicha of making Pra Somdej amulets to Somdej Pra Puttajarn Dto
Prohmrangsri of Wat Rakang. Since then, Wat Plab has been one of the secret Universities of magic
and amulet making for many of Thailands great and famous Master Ajarn throughout History.
 Ruesi Bpanja Pokasap Jantr Loi Bpenja Pokasap Deity statue

The ancient Wat Plab amulets from Pre Somdej Dto Era, made by Ajarn Saeng, are talked about in
Issue One of Buddha Magic, in the Pra Somdej Legends series.

Reference Links;
Pīti - Wikipedia
http://www.accesstoinsight.org/tipitaka/an/an05/an05.176.than.html
Skandhas – the Five Khandas - Wikipedia
Explanation of Vipassana – Dhamma.Org
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This concludes the Article on Yant in Candle Magic, and Candle magic in Buddhist Vipassana
Kammathana meditation techniques. There will be more on this subject in later issues, when I
have gathered, practiced and initiated into further Wicha for candle Magic. Having said this, the
lesson actually continues in the Pra Kata section of this Issue, which presents you with some Kata
Chanting which can be used to make Sacred Prayer Water. This is sometimes done using a Magic
Candle.
Pra Somdej – King of Thai Amulets
Part Three of the ongoing series about Pra Somdej amulets, all amulets of the Six Eras of Pra
Somdej, with the main focus being upon the Pra Somdej Wat Rakang amulet. The study of the six
Eras of Pra Somdej however, covers a multitude of other amulets and amulet makers has two main
aims;
• To increase knowledge and appreciation of all Somdej type amulets, and to increase
knowledge of the massive pantheon of valuable, sacred and collectible amulets from both
Pre and Post Wat Rakang dated Eras.
• To offer a refined study of how various Somdej amulet mixtures dry shrink and age over
time periods, in order to fine tune the ability to recognize the age of a Pra Somdej Wat
Rakang amulet through observing the dryness, surface texture and aging signs (such as
cracks appearing from shrinking as the amulet dried over the years)

The Series goes hand in hand with its Sister-Story – the Biography, Life and Legends of Luang Por
Dto Prohmrangsri (Wat Rakang Kositaram), which is also entering the third Chapter of the series.
This Chapter begins with a display of Somdej related amulets for your enjoyment and appreciation.
This will serve to fine tune the eye to various surface textures, and to get familiar with some
amulets which you may not yet have had the luck to encounter or study. So to get warmed up and
in the mood for study, we can start with the following interesting Masterpieces from Luang Por
Heng, Luang Phu Puu Masterpiece 'Pra Somdej Pim Sae Yid Khaen Hak Sork', and the 'Somdej Pim
Rasamee Bua Med' Masterpiece by Luang Phu Sukh of Wat Pak Chong Makham Tao, and Pra
Somdej Luang Por Heng – Wat Ban Khorm, Samutr Sakorn.

Left Pic; Pra Somdej Luang

Por Heng – Wat Ban Khorm
(Wat Sopanaram), Samutr
Sakorn.

Luang Por Heng is a Gaeji

Thaera Ajarn with
Kampuchean roots. When
he came to Thailand and
arrived at Samutr Sakorn,
the local people felt very
inspired and faithful
towards him.

They begged him to stay at

Wat Bang Khom temple,
which he agreed to do. He
was very obedient to the
Vinaya rules, and was greatly respected for his strength in renunciation. He would even always
wear his Civara covering the Angsa shirt, whilst within the temple enclave, which is rarely done by
monks, in such a hot country. This is considered Pra Somdej for being made in a quantity of 84,000
amulets, which is the number of Suttas of the Tripitaka, and the official number required for Pra
Somdej amulets. This Pra Somdej amulet was revered and sought after by factory workers and
fishermen, boat owners and the like.
 Pra Somdej Luang Por Heng

This edition in the above picture, was found on a Thai Auction which started at a minimum bid of
ten thousand baht, which is about 350 US Dollars. It can be expected that this edition would
probably stop at somewhere between 18 to 29 thousand baht in an auction. Much of the price is in
the casing too. A fine amulet for collectors.

The amulet was very popular with the local folk because his name 'Heng' means 'Luck', and also
because it was said that boats which carried his amulet on board would not run into any danger or
accidents.

The front of the Somdej has Yant Noon written on it in Khom Sanskrit;

• Na Ma Pa Ta A Ra Hang Ja Pa Ga Sa

The rear face has Yant Pra Joa Haa Pra Ongk (5Buddhas Yantra) on it;

• Na Mo Put Taa Ya Na Ma A U
Pra Somdej Luang Por Heng Wat Ban Khom currently is running at a price of ten to many tens of
thousands of Baht, depending on the condition. The one in the picture featured here would go for
around.
Pra Somdej Luang Phu Puu – Pim Sae Yid Khaen Hak Sork , Wat Intrawiharn

Made by Luang Phu Puu at Wat

Intrawiharn (Bang Khun Prohm),
other wise known as Wat Bang Khun
Prohm, or Wat Intr.
Luang Phu Puu was a close Looksit of
Somdej Dto Prohmrangsri of Wat
Rakang Kositaram, and was an Old
Master who lived till the age of 103
years old. His Pra Somdej amulets
contain the five kinds of Sacred
Powder ('Pong Wised') obtained from
Somdej Dto Prohmrangsri. The same
powder which was used by Somdej
Dto himself to make the Pra Somdej
Pim Yai, Pim Pra Pratan, Pim Chedi
and Pim Kanaen amulets which are now so expensive and highly sought after. One aspect to notice
about Luang Phu Puu's Pra Somdej amulets is that they are very slim, with very fine surface
texture, dry and smooth to touch. The rear face of this amulet feels almost the same as Pra Somdej
Wat Rakang amulets by Luang Por Dto Prohmrangsri, as far as hardness, silky smoothness and
aging signs (shrinking cracks etc). Collectors may find themselves paying up to a few hundred
thousand Thai Baht to even half a million for a very outstanding example.
Pra Somdej Pim Rasamee Bua Med - Luang Phu Sukh
Pra Pim Rasamee Bua Med, is a most beautiful example of Luang Phu Sukh amulet. Luang Phu
Sukh is one of the most famous and respected Magic Monks of Thai History, and was the Kroo Ba
Ajarn of Grom Luang Chumporn Udom Sakd. He was renowned for his ability to convert Banana
flowers into rabbits, and Tamarind leaves into bees and crickets.
He made this amulet in two various substances,
both of them metallic; Copper and Lead. His
Abhinya powers extended into his amulets, and
many people who received an amulet from him
came to experience Miracles occurring. Luang
Phu Sukh amulets are amongst the most sought
after and difficult to find amulets on the Thai
Marketplace, and are thus considered to have
as much importance as a Pra Somdej Wat
Rakang in terms of Magical Power. Nothing can
be obtained of course, from studying the Muan
Sarn, as a comparison, because they are
metallic amulets not 'Nuea Pong Wised' (sacred
powder). Such an amulet as this one begins at
about one to three hundred thousand Thai baht
for starters (2010).

Left Pic; Pra Somdej Rasamee Gru Klong Khom

This was made and blessed by Luang Phu Sukh
but was made in conjunction with Luang Por
Um of Wat Klong Khom, who was then given
the amulets to keep in the Gru of the Chedi at
Wat Klong Khom. These amulets are
immensely sacred ancient amulets which are
still affordable and able to find (with a little
diligent seeking). The amulets were made in
about 2460 BE but were first found in the
opening of the Gru in 2527 or so.

The amulet is made from 'Nuea Pong Bai Lan'

(black Lan leaf powder). If authentic black
powder amulet, it should have white stains
from the Gru which are hard to remove and
seemingly well affixed with the long time
period spent in the gru. It is becoming ever
harder to find magic amulets by the Great
Masters such as LP Sukh, and this is one of the
best and most affordable items still available
on the Thai sacred Amulet markets around
the country. The amulet has begun to receive
cases of fakes turning up, which shows how
the rarity and popularity of this amulet is
rising, as well as the expected price range,
which is shown by the existence of fakes.
Pra Wat Plab

Above; Pra Wat Plab Pim Pum Bpong Yai

The Gru of Wat Plab was broken open in the year 2465 BE. The amulets were found because of a
white squirrel ('Grarork Pueag' in Thai), which ran into the temple and hid in a hole in the side of
the Chedi. The person who saw it ran after it and used a stock to poke into the hole, and
accidentally broke the inner chamber wall, and suddenly a load of sacred powder amulets fell out,
which turned out to be the Pra Wat Plab amulets we are now looking at. Ancient Folk called these
amulets – Pra Grarork Khaw (albino squirrels).
The Wat Plab amulets are perhaps one of the most important amulets to study for the aging of the
Muan Sarn. Apart from being useful as an instrument of study and comparison for the
authentication and classification of Pra Somdej Wat Rakang amulets, the Wat Plab amulets possess
immense beauty of their own and stand up alone on their own grace as ancient sacred amulets
which are also Masterpieces. Why these amulets are not as expensive as the Pra Somdej Wat
Rakang amulets from Somdej Dto baffles the Author completely. For the Author, these amulets are
amongst the most attractive that can be found in the Thai amulet pantheon, whose creamy-white
porcelain texture never fails to attract ones attention. The simplicity of design of this amulet is also
part of its charm.
Wat Plab amulets is a sacred powder type amulet using a mixture of ground sea shells, pollens and
flowers, incense powders, temple wall bricks. The mixture used by Somdej Pra Sangkarach (Suk)
was the basic formula of Pra Somdej made before any other ever, and is thus the keystone of Pra
Somdej amulet making, and the origin of the Pra Somdej Wat Rakang.
The amulets texture is fine to the touch like porcelain, and very dense, and pure white. Usually, it
will be possible to perceive small particles of pollen in the cement mixture. Some amulets will form
a reddish brown stain on the surface in some places, and even making the surface in that place
become more rough. There will normally be some cracks in the amulet surface, which this kind of
pattern is referred to as 'Khai Nok Brord'. In some cases small pimply growths rise up on the
surface.
This was considered to be desirable by collectors of the older Generation. The amulet with bobble
like growths (Nuea Ngork), will be harder and more dense cement, and the little growths will have
a more transparent color than the white of the amulet itself. This kind of Wat Plab example of
amulet is called 'Pra Wat Plab Nuea Ngork', and is normally almost identical in appearance (as far
as the Muan Sarn is concerned at least) to the Pra Somdej Bang Khun Prohm amulets. Its
usefulness and importance, to students of Pra Somdej Wat Rakang Kositaram amulets however,
cannot be stressed enough. The Muan Sarn used in these amulets Has Pra Somdej Wat Rakang
traits all over it, except they are even older in some cases, and thus can show how Pra Somdej by
Somdej Dto Prohmrangsri will look like in future years.

Left; Pra Somdej Wanta Saema made at Wat Plab by Somdej Pra Sangkarach (Suk). The most
common legends say that it depicts a sleeping Buddha in the Saiyasana posture, but in fact what
the Author believes to be the true story is that this is a depiction of His Majesty the King holding
the lotus as a Monk and praying to the temple wall.

The reason I believe this story is because I found it in some literature from Wat Boworniwes, which
is one of the Royal Temples. This is the largest of all the Wat Plab pantheon of amulets. Just looking
at the Muan Sarn is like looking at the surface of a Pra Somdej Wat Rakang amulet indeed. This
amulet is a keystone for study of Muan Sarn used in Pra Somdej Wat Rakang, and extremely useful
for refining ones ability to recognize the subtle, but special difference that separates true Pra
Somdej amulets from those which were not made according to what is prescribed in the Dtamnan.
The Wicha, or, 'Dtamnan' of the method to make Pra Somdej amulets, was discovered by Ajarn
Saeng and practiced by himself, Somdej Dto and Somdej Pra Sangkarach (Suk Gai Tuean) as the
method of making authentic Pra Somdej amulets
Pra Wat Plab Pim Dtugadtaa
Thie Pim Dtugadtaa is split into Pim Yai and Pim Lek, and have some slight differences in
appearance. The Pim Lek holds the Nickname of 'Pim Khai Jing Jok. The legs are in the pose of
'Khad Samati Raap' (Sitting in lotus
position for meditation). The ears are
more prominent and curve outwards
on the Pim Lek, which is also more
egg-shaped in comparison to the Pim
Yai.
Left Pic; Pra Wat Plab Pim Dtugadtaa
Lek. This one is classifiable as 'Nuea
Ngork' (with the bobble like growths.
The arms and elbows are more tightly
tucked in alongside the chest in the
Pim Lek, whereas the Pim Yai ha the
elbows at more of a protruding angle.
The brown stains on this one suggest
that it may be from the second Gru.

Below; Pra Wat Plab Pim Dtugadtaa Yai

You can see the double top knot more easily in the Pim Dtugadtaa Yai edition. The face is slightly
rounder, as is the chest. The amulet itself has more of a bean shape than the oval egg shape of the
Pim Lek
 Pra Gru Wat Plab Pim Samati

Above Pic; Pra Gru Wat Plab Pim Samati Lek

This Pim has two versions, 'Pim Samati' and 'Pim

Samati Khao Gwaang' The word 'Khao' means 'Knees'
and 'Gwaang' means 'Wide'.

So 'Pim Samati' means 'In Meditation' posture' and

'Pim Samati Khao Gwaang' means 'meditation pose
with widely spread out knees'. In addition each of
these two kinds of Pim Samati, are split into 'Pim Lek'
and Pim Yai' (small and larger sizes).

The small Pim Samati (Pim Lek) is more longer and egg
shaped than the larger one (Pim Yai). Pim Yai is much
more rounded.

Left; Pra Wat Plab Khao Gwaang Pim Yai

 Pra Wat Plab Pim Samati Khao Gwaang

This is a prize-winning example of Pra Wat Plab Khao Gwaang amulet, and can be considered a
'Masterpiece Amulet'. Such a fine example will be given the Title of 'Ongk Kroo' meaning that it is
the teacher amulet, or reference model for judges to measure qualification criteria with. This
amulet still fails to take first place in major competitions though because of damage on rear face
Pra Somdej Wat Ngern Klong Dteuy

Pra Somdej Wat Ngern Klong Dteuy was found

in the Gru of the Chedi Stupa at Wat Ngern. It is
made from 'Pong Wised' (sacred powder) and
seashell powder. Made in the early Ratanagosin
Era, it was buried in the Chedi at Wat Ngern.

It is recognizable for the 'Kraap' stains of

cement growths deriving from calcium
formation and chemical reactions in the
mixture of the amulet.

These have resulted in a surface texture of a

type, which is known as 'Kraap Fong Dtao Hoo'
(Tofu foam stains).

The word 'Ngern' means 'Money' so Wat Ngern

was a very popular temple due to its auspicious
name.

Those who revere this amulet are successful

in Business and Professional life. The
merchants of Klong Dteuy market like to wear
this amulet because of its Choke Laap and
Klaew Klaad abilities.

This kind of Pre Wat Rakang Somdej amulet

can be obtained for not more than ten to
thirty thousand baht, depending on condition
and if it is able to enter competition or not.

Examination of the Muan Sarn of this amulet

gives a real indication as to the aging process
of Pra Somdej Wat Rakang amulets, due to
the similarity in ingredients and storage
methods, as well as the Puttapisek
empowerment having come from Ajarn
Saeng, the teacher of Somdej Dto in making
Pra Somdej amulets.
I would like to stress once more the
importance of studying many kinds of amulets which are found within the categories of the six Eras
of Pra Somdej; The most important aspect of expertise on Pra Somdej amulets is definitely the
knowledge of the Muan Sarn and its aging process. After this, in order to recognize and categorize,
a broad knowledge of the History of the Pra Somdej amulets is also needed. Mostly, knowing that
an amulet is not a Pra Somdej Wat Rakang will normally come from knowing what the amulet is.
 This requires that you learn about all the other
amulets which are within the Pra Somdej category,
and thus learn to recognize which is which, as well as
see from knowing their respective ages, how the
Muan Sarn has aged and dried over time, and thus
become more expert in judging the age of an amulet.
This will allow you to know if a Somdej Wat Rakang
amulet is from the time of Somdej Dto or not, and
thus aid you in deciding on its authenticity.
Left Pic; Pra Somdej Wat Rakang 2495 BE, made by
Luang Phu Nak. The amulets made by LP Nak
contained more old Somdej Wat Rakang amulets
from Somdej Pra Puttajarn Dto than any other
amulets ever made, along with perhaps those of Pra
Kroo Mool. These amulets have become second
choice of amulet for those seeking the almost
impossible to find Pra Somdej Wat Rakang by Somdej
Dto. The LP Nak Somdej amulets are now becoming
ever rarer and increasing in price steadily. The Pim
Niyom are almost now all disappeared from the marketplace.

Pra Somdej Wat Rakang Luang Phu Nak amulets are worth collecting as both a Sacred item as well
as a study item for increasing your knowledge of Pra Somdej Wat Rakang amulets, and recognizing
an authentic Somdej Dto amulet based on your collective learning.
Above; Pra Somdej Wat Rakang by Luang Phu Nak, made in 2485 BE. This edition is 'Pim Brok Po'.
Otherwise called 'Pra Nuea Kroo #49 Pra Somdej Wat Rakang Luang Phu Nak 2485 BE'.
Luang Phu Nak Amulets are considered to belong to the fifth category between 2481-2494 BE
called 'Yuk Tee Haa' (see Buddha Magic Issue One for a full synopsis of the six Eras)

Above; Another fine example of Pra Somdej by Luang Phu Nak of Wat Rakang Kositaram. A close
study of the various surface textures will fine tune your eye to the signs of authenticity. This
particular example is of competition quality, and it is hard to find such examples on the market
these days. This amulet is officially named 'Pra Nuea Kroo #46 Pra Somdej Wat Rakang Luang
Phu Nak 2485 BE'.

Above 'Pra Nuea Kroo #47 Pra Somdej Luang Phu Nak Wat Rakang 2485 BE'
It is advised to obtain whatever Luang Phu Nak amulets can be obtained for study and collection,
for those which remain are slowly but surely being bought up by foreign collectors, and will soon
become rare and too expensive to obtain anymore.
 Below; Pra Somdej Luang Phu Nak Nuea Kroo #48 2485 BE

Luang Phu Nak is perhaps one of the strangest phenomenon when we consider that his amulets
are still available. This is of course due to the fact that he made a large quantity of amulets, which
are only now beginning to become hard to find. Just seeing how many different textures and
surface markings are present in each of the pictures, may lead you to conclude that there is no one
particular look and feel for a Pra Somdej amulet. This is not the criteria to use when trying to find a
Pra Somdej Wat Rakang. The real measurement or judgment factors do not come from the
particular appearance of the amulet, rather, more from recognizing the age and contents of the
Muan Sarn. The appearance of the Pim must fit in the basic description of course, but there were
so many Pim made of each edition, which are s so varied, that you cannot always judge accurately
using only this method. You need to get to know all the different aging results and accustom
yourself to seeing the difference by looking at authentic amulets (and touching some if you can!).
Somdej Pra Puttajarn (Dto) Prohmrangsri (Wat Rakang Kositaram)
Part Three of the Biography and Legends of Somdej Dto Prohmrangsri, maker of the Legendary Pra
Somdej Wat Rakang – King of Thai amulets.

This third part of the series begins with what is perhaps one of Somdej Dtos signature works, and
the subject of Legend – the 'Pra Kata Chinabanchorn' – The Chinabanchara Mantra. This Kata is
chanted by almost all Thai people everywhere in Thailand, and is considered to be one of the most
Sacred Kata available for Chanting.

The Pra Kata Chinabanchorn is one of the top 5 Kata which the Thai People prefer to Chant in
Prayer. The basic foundation of the Kata refers to;
 • The group of 28 Buddhas ('Pra Putta Jao Jee Sip Bpaed Pra Ongk')
• The Names of the fifteen Arahant Savaka (Disciples) of Lord Samma
Sam Putta Jao (the Lord Buddha Sakyamuni)
• The Suttas which were composed as a seven Verse set for Chanting
and Praying called the 'Jed Dtamnan'
The Kata is aimed at Protecting the person who Chants it and pays reverence to it with Faithful
Diligence, and is classed also as a booklet about the 'Pra Ariya Saawok Pra Putta Jao' (the Arahant
Disciples of the Lord Buddha. Basically, it recounts the story of each of them and their moments of
Enlightenment, as well as the special Powers or Qualities of each of them. As to where the
Chinabanchorn Kata was created, and who Composed it; Some people say, that it was Composed
by Somdej Pra Puttajarn (Dto) Prohmrangsri, of Wat rakang Kositaram. They believe this because it
is known as a fact that he used to Chant this Pra Kata regularly. Others Maintain that it was
Composed by a Pra Thaera from Chiang Mai whose name is not recorded. This Kata is so widely
used by Thai people that it has been printed in many editions and versions by many publishers.
Once, many years ago Mr. Chantich Grasae Sintu once brought a copy to Somdej Prayan Sangworn
and asked him to translate it. He declined because after reading the version, it was as had been in
other versions and printed editions he had seen; some were wrongly spelled, had parts added, or
omitted. He was suspicious of which version was the real original version, and became unsure if
Somdej Dto Prohmrangsri had really composed it himself, and if not, from where had he got it?

Whatever the truth is, about whether Somdej Dto composed the Kata himself, or otherwise, it has
come to pass now that Jao Prakhun Somdej Prayan Sangworn Jaroen Suwattano of Wat
Boworniwes published new copies of the Chinabanchorn Kata, with a statement from Jao Prakun
Somdej Prayan Sangworn that the Kata in this printing, was obtained from a monk who came to
see him and showed him a book of prayers from Sri Langka. The book was printed in 2503 (1961),
called 'The Mirror of Dhamma' in Pali, using both Singhala and Roman characters, with translation
in English. After looking at the book, he saw that amongst many commonly used Kata and prayers,
(triple refuge, 5 precepts, 8 precepts, 10 precepts etc), that the Chinabanchorn Kata also stood
there. He then read through it, and realized that the versions in Thailand may have various
mistranslations or were wrongly composed, which have caused whole sentences to lose their
meaning. He then felt relieved because he now had a keystone to work with and make
comparisons to the Thai edition. The main difference he noticed, was that the Langka version has
22 verses, whereas the Thai version has only 15.

The last passage of the 15th Verse in the Thai version is within the same meaning as the missing 7
Verses which are to be found in the Sri Langkan version, but is cleverly and adeptly abbreviated
into on short passage. But the second line of the ninth Verse, seemed to be much to long
somehow, but was still useable in principle meaning. As for Verses 12 an 13, a rearrangement and
correction would be needed. The Kata Chinabanchorn which Jao Prakun Somdej Prayan Sangworn
(Jaroen Suwattano) published on 2518 BE as a double publication containing both the Langka and
Thai versions, so that readers can see and compare for themselves the differences, and students of
Pali Kata can join in the examination of differences. Both Kata are provided with Translations. This
publication can be considered a gift of Knowledge to the Thai people, who have inherited
Buddhism from the Chompoo Tweep (India and Sri Langka) but have also suffered the usual
phenomenon of 'lost in translation' which always happens when a Culture, Empire or Religion
makes an Exodus and is absorbed by other Nations and Cultures. Thailand is admired for its Magic
and its Great Buddhist masters, but this does not mean that everything is always right. Confusion is
rife in the world and the Language barrier is something that I myself with 7 languages under my
belt can say is a cause of many a misunderstanding which goes unnoticed for sometimes years or
even centuries. It has never ceased to amaze me when I notice similarities in Languages or certain
expressions, and see how the expression somehow changes its meaning from Country to Country.

In 2528 BE, Jao Prakun Somdej Prayan Sangworn (Jaroen Suwattano) met with Pra Tammananta
Thaera ( A Burmese Monk), of Wat Ta Ma-O, Lampang. He was told by Pra Tammananta Thaera,
that the Kata Chinabanchorn also existed in Burma. Most temples would let the young Bhikkhus
chant it as a protection from dangers and evil. Common folk generally used it in Burma to chant,
and it was a relatively common Kata.
Kata Chinabanchorn
Namo Dtassa, Pakawadto, Arahadto Sammaa Samputtassa ( Chant 3 Times )

CHAYASANAGATA BUDDHA CHETTAVA MARANG SAVAHANANG

JATUSAJJASAPANG RASANG YE PEVINGSU NARASAPA.
TANHANKARATHAYO PUTTHA ATTHAVISATINAYAKA
SABBE PATTHITA MAIHANG MATTHAKE TE MUNISSRA.
SISE PATITTHITO MAIHANG PUDDHO DHAMMO THAVIROJANE
SANGKO PATITHIYO MAIHANG URE SAPPAKUNAGARO.
HADAYE ME ANURUTTHO SARIBUDTO JA TAKKHINE
KONTHUNYO BITTHIPAKASMING MOKKANRANO JA VAMAKE.
TAKKINESAVANE MAIHANG ASUNG ANANTHARAKHULO
KASSAPO JA MAHANAMO UPHASUNG VAMASUTAKE.
KESATO BITTHIPHAKAS MING SURIYO VA PAPANGARO
NISINNO SIRISAMBANNO SOPHITO MUNPIBUNGAVO.
KUMARAKASSABHO THERO MAHESI JITTAVATHAGO
SO MAIHANG VATHANE NICHJANG BATITHASI KUNAKARO.
BUNNO ANGULIMALI JA UPALI NANTHASIVALI
THERA BANJA IME CHATA NALATE TILAKA MAMA.
SESASITI MAHATHERA VICHITA CHINASAVAKA
ATESITI MAHATHERA CHITAVANTO CHINORASA.
RATANANG PURATO ASI TAKKINE METTASUTTAKANG
TACHUKKANG PAICHATO ASI VAME ANGULIMALAKANG.
KHANTHAMORA PARITTNAJA ATANATIYASUTTAKANG
AKASE CHATHANANG ASI SESA PAKARASANTHITA.
CHINA NANAVARASANGYUTTA SATTAPPAKARALANGKATA
VATAPIDTHATHISANCHATA PHAHIRATCHADTUPATTHAVA.
ASESA VINAYUNG YANTU ANANTACHINATECHASA
VASATO ME SAKITJENA SATHA SAMPHUTTHAPANCHARE.
CHINAPANCHARAMADCHAMHU VIHARANTANG MAHITHARE
SATHA PALENTU MANG SAPPE TE MAHAPURISASAPHA.
ITJEAMANTO SUKUTTO SURAKKHO
CHINANUPAVENA CHITUPADTHAVO
THAMMANUPHAVENA CHITARISANGKO
SANGKANUPAVENA CHITANTARAYO
SATTHAMMANUPAVAPALITO JARAMI CHINAPANCHARETI
Above; Pra Kata Chinabanchorn in Thai – Composed from an ancient Tome given to Somdej Dto,
as a gift to the Brahma Deity.
Luang Por Kasem Khemago
Tan Khemago Bhikkhu (Luang Phu Kasem, or, Luang Por Kasem, Khemago), is an extremely revered
monk of the Lanna tradition who the is considered one of the greatest Ajarn of modern Thai
history, and has a massive and devoted following in the North of Thailand (and indeed all over the
country). His devotees believe that to pay reverence to him or wear his amulets, results in
receiving protection and safety wherever they go. His amazing dedication to his practice and purity
is common knowledge with Thai people, which is easy to see since the very beginning of his path
as he gave up the title of abbot of the temple and went to practice Vipassana Kammathana forest
tradition methods residing in an old cemetery in the forest on a mountain side, which is where he
remained practicing in humility and simplicity to the end of his mortal days.

Above; His Majesty and Royal Highness, King Bhumipol Adulyadej greets Luang Por Kasem
Khemago with reverence, and obvious intimacy. A picture tells more than a thousand words, it is
said.

Luang Por Kasem passed his Patipataa (Meditation and Dhamma practice), alone in solitude which
is a cause of his being able to attain entrance to the points of Samadhi and subsequent Jhana
access, controlling his bodily instincts and those of his psyche (psychological make-up and related
aspects of his being). He attained an extremely high level of ability in the psychic regions and was
able to empower amulets with massive power. His amulets (including Monk Coins with his image)
have been the source of many a tale of miracle events, and are extremely sought after and revered
by Thai people of the Central, Northeastern and especially the Northern areas. It is a known fact
that he was not even attached to his food, and that it was seen that the food he was offered as
alms often simply went putrid and was not eaten.
He only ate to keep his body alive, but never for pleasure or mental need. Luang Por would always
receive any offerings in his Badtr (alms bowl) and then 'Phae Metta' (send Metta offerings back) to
the people. Tan Luang Por Kasem Khemago was a good Bhikkhu with Pure heart and Sila (Moral
Precepts/Virtue), and was full of Dhamma, living the Dhamma as it arose, stood fast and then
faded away in the sequence of Tilakkhana as expounded to be the nature of all things (Anicca –
Impermanence, Dhukkha – Unsatisfactoriness, and Anatta – Non-Self).

Above; Samnak Songk Susaan Dtrailaks – Lampang Province

It is said that Luang Por has done away with all his Kilesas, and is full of the Baramee (Ten
Perfections), and is to this day the source of well being and confidence of those who revere him,
wear his amulets, and follow his teachings, and example of a good practitioner of the Dhamma,
and a good Savaka (disciple) of the Lord Buddha.
I would like to therefore record his Biography and Patipataa for the record so that future
Generations will still know of this Great Master who has perhaps gone undocumented by the
popular press so much but whose Patipataa is so strong, Pure and great that few other masters can
compare to his level of renunciation – LP Kasem Khemago Krap;

Biography of Tan Khemago Bhikkhu (Luang Phu Kasem, or, Luang Por Kasem, Khemago)
Most Monk Biographies traditionally begin with where and when a Monk was born and then name
his Family, mother and father. But the story of Luang Por Kasem, does not begin there, rather
slightly before his birth, when the Great master Kru Ba Srivichai made a prediction;
“There will be a Meritorious One born in Lampang”. Some time after, Kroo Ba Srivichai passed
away, and one of his last wishes was to give this prediction to the people of Lampang, to keep in
their memory, and await the arrival of the Meritorious One's Birth.
Many decades passed, and still there was no Meritorious One appearing, but the people of
Lampang still remembered the Prophecy of Kroo Ba Srivichai, and kept faith in his coming. In the
year 2455 BE, there was a Family of Ruler-Lineage of Lampang, whose head of the Family was a
man called 'Jao Hnu Noi Na Lampang'. He later changed his name to 'Manee Arun', and was the
Bpalad of the Ampher (the Municipal Cheiftain). His wife was named 'Jao Mae Bua Jorn Na
Lampang'. They were the grandchildren of 'Por Bunwit Wongs Maanidt', who was the last Ruler of
Lampang.

The Family lived in Ban Taa Gao Muang near Nam Wang in the Municipality of Lampang. They were
a happy Family with no financial hardships. One day, Jao Mae Bua Jorn became pregnant, and on
Wednesday, the 28th November in the year of the pig (2455 BE/1912 AD), she gave birth to the first
male born of the Family. At the time, no one had yet thought that the Meritorious One mentioned
in the Prophecy of Kroo Ba Srivichai had been born. The boy was given the name of 'Kasem Na
Lampang' due to his noble lineage. As the boy grew, people began to respect him and called him
'Jao Kasem'.

After some years passed, Jao Mae Bua Jorn gave birth to another child, this time a girl, who
unfortunately died whilst she was still a young child, and never got the chance to know that she
was the sister of the Meritorious one who the people of Lampang had been awaiting for since
many decades. In additon to this, it has come to light (from information given by the grandson of
Luang Por Kasem), that Jao Mae Bua Jorn actually gave birth to another child of male gender by
the name of Sawaad, who also died as a small child. This is provable because evidence has been
presented (birth certificate with the date of Birth and name of the child). This third child was born
on Wednesday, the 4th May 2458 BE. 2458 BE. This part of the Biography of LP Kasem was only
updated in 2547 BE, and was obtained due to the kindness of Mr. Pallop, whose Mother was the
older sister of Luang Por Kasems Mother.

Luang Por Kasem in his Youth

Luang Por was rather scrawny as a child and slim with light skin, but somehow seemed strong and
enduring, despite his thinness and small stature. He was very able bodied and considered an
extremely clever boy. He was rather a naughty little boy; not naughty in the bad sense, but in the
sense that he had a lot of curiosity and wanted to know everything – putting his fingers where they
had no business to be. When the time came for him to go to school, he attended Bun Tuang
Anugul primary school, which was the main school in Lampang for primary school students, and in
2466, he finished his schooling with very high marks (in those days the highest school year was the
fifth year of Primary school, there was no high school or college). He was now eleven years old.

After he finished primary school, he did not continue his studies, and stayed home for a period of
two years. Then, in the year 2468 BE, at the age of thirteen, the young 'Jao Kasem Na Lampang'
became a Savaka of the Lord Buddha, and was ordained as a Samanera Novice Monk, in what is an
uncommon situation (these days) – namely 'Buad Hnaa Fai' (sometimes called Buad Hnaa Sop).
Buad Hnaa Fai means to be ordained in front of a funeral pyre.

He was ordained in front of the funeral pyre of the Abbot of Wat Pha Dua. He only stayed as a
Samanera for a period of one week, and then underwent 'La Sikhaabot' (disrobed). Then, two
years later in 2470 BE, he once again was ordained as a Samanera at Wat Bun Yern, in Lampang. He
began his training there at Wat Bun Yern by studying the Vinaya (Buddhist Canon). Samanera Jao
kasem was the kind of person who never did anything half heartedly and always took his
undertakings seriously and gave full efforts in what he did. He studied very diligently until in the
year 2474 BE, he obtained his major in Dhamma studies, and was ordained as a fully fledged
Bhikkhu in the Buddha Sasana in 2475 BE. He was ordained as a full Bhikkhu at the Puttasima of
Wat Bun Yern. His ordaining officer (Upachaya), was 'Tan Jao Khun Pra Tamma Jindaa Nayok
(Luang Por Fay), who was the Abbot of Wat Bunwanwiharn, and was also the Jao Kana Ampher
(Head monk of the Municipal district).

Pra Khun Jao Tan Pra Kroo Uttarawongs Taadaa (Kroo Ba Banyaa Lin Tong), was his
Gammawajajarn (otherwise known as 'Koo Suad' – the monk appointed to help remember all the
lines to chant during ordination ceremony). Kroo Ba Banyaa Lin Tong was the Abbot of Wat Hmern
Taet, and was also a Jao Kana of the Ampher Mueang central district of Lampang. Pra Tamma
Jindaa Nayok (Un Ruean), gave him the Chaya (Monk Name) of 'Khemago', which means 'He who
has perfect Dhamma.

Bhikkhu Kasem began his ordination period with the study of Pali, which was one of the Wicha
taught at Wat Sri Lom, a temple with various accomplished teachers of Pali, such as Pra Maha Dta
Kam and Pra Maha Mongkol. He studied additionally at Wat Bunyawat Wiharn under the
teachership of Pra Maha Mua Prohm Wongs, and Pra Maha Gowit Gowityaano.

Following this, he continued his Dhamma studies under Pradej Prakhun Tan Jao Khun and Pra Taep
Wisutti Sope, who was the Jao Kana Jangwat of Lampang at the time. Luang Por Kasem passed his
Masters degree in 2479. As to Pali studies, Luang Por was able to easily read, write and translate
Maghhada Pali (Pasa Makot, in Thai – the high form of Pali used by the Bhikkhus to write and
speak the Dhamma).
But he refused to take the exams to get his degree, which led all of his teachers to agree that Luang
Por Kasem did not seek any kind of honor or status, rather just studied in order to be able to follow
the teachings of the Buddha and to use it for his own practice and seek out the Buddhas teachings.
Once he had attained enough knowledge of the Buddhas teachings to be able to practice without
losing the way, he then turned to the practice of renunciation and meditation. Although even this
was not enough for him, he sought out further Kroo Ba Ajarn who he had heard was a great
practitioner and teacher of Vipassana Kammathana method of practice. The teacher was 'Kroo Ba
Gaen Sumano', the ex Abbot of Wat Bpradtu Bpong.
Kroo Ba Sumano was a Vipassana Orientated Bhikkhu who was of the Tudong tradition, wandering
constantly through the Province. He believed that the forest was the place to practice. Apart from
his fame as a dedicated practitioner of Vipassana, he was also Adept in the teachings of the Vinaya.
So Bhikkhu Khemago went to offer himself as a Looksit, and explained his reasons for wanting to
practice Vipassana.
Kroo Ba Gaen saw the dedication and genuine wish of Luang Por Kasem to practice and develop
Vipassana, and thus accepted him as a student. He then took Luang Por Kasem on Tudong, and
showed him the techniques of practice in the deep forest. Kroo Ba Gaen was thus the First ever
Ajarn to teach Vipassana to Luang Por Kasem.
Luang Por Kasem then advanced steadily in Vipassana. Due to his great diligence and true wish to
practice, instead of finding great hardship in the forest, he found true peace and the happiness of
the destitute Monk. He found the subtle Dhammas which are discovered in aimless wandering
Tudong practice. He practiced as truly and with as much dedication as he could. Kroo Ba Gaen
watched over him closely during these times as they passed through mountains, cemeteries and
temple ruins on their travels.
The Practice of Luang Por Kasem whilst on Tudong

Eating was done in one meal a day, mixing both sweet and salty foods all together at the same
time into the alms bowl. Food was not eating in group sharing, rather each Bhikkhu mixing it all in
his bowl and eating once a day before mid-day only. This kind of eating method is called 'Chan
Aegaa' in Thai Buddhism.
In the afternoons, they practiced 'Dern Jong Grom' (walking meditation, where one paces to and
fro between a marked out area, to still the mind and observe the Dhamma). Once Jong Grom had
been performed, Luang Por would return to sitting in Samatha Meditation until about 11:00 in the
evening, when he would perform 'Wadtr Yen' (Evening Prayer session). After Wadtr Yen, he would
not sleep straight away as did other practitioners, but would perform 'Gruad Nam', and offer his
Merits to all Sentient Beings.
When 'Khao Pansaa' would arrive (the Rainy Season Retreats), Bhikkhu Kasem would have to stop
the Tudong wanderings, for it was forbidden in the Vinaya to wander during the Rainy Season. A
Bhikkhu must remain in one place in the time of Rains, be that in a temple, or also , an old
cemetery can be used, but must be marked out according to the traditional ceremony of marking
boundaries of a temple.
So in this time, Luang Por Kasem returned to Wat Bun Yern. As soon as the Rainy Season ended,
Luang Por would then once more seek out his Master Kroo Ba Gaen, and continue his Tudong
practice. He did this continually every year, until Jao Atigarn Hmeuy , the Abbot of Wat Bun Yern
passed away. The position was left empty The Sangha committee board of Governers had to elect a
new Abbot who had the right qualities and ability to run the temple auspiciously and effectively.
After a Conference, they all decided that the most likely choice would have to be Bhikkhu Kasem
Khemago, because he had the honorable aspect worthy of an Abbot, and would bring good repute
to the temple. Luang Por Kasem was told of his being appointed Abbot of Wat Bun Yern, to which
he displayed neither joy nor dissatisfaction, rather took it seemingly neutrally. However, once
appointed the position of Abbot, he was very diligent in developing the place, because he had
stayed in the temple long enough, and knew what things were necessary to improve and build
upon. So he set to work on improving the temple.
Kroo Ba Jao Kasem (Luang Por Kasem) Khemago remained as Abbot of Wat Bun Yern until the year
2492 BE, when he decided to relinquish the position of Abbot of Wat Bun Yern. He made the
official paperwork of renouncing the position with Pradej Prakhun Tan Jao Pra Intrawichaajaarn
(Tan Jao Khun In – the ex provincial Bishop of Lampang).
But he was told to remain as Abbot for another 6 years first, and that he would not empower the
papers until the Bishop of the whole Province approved the resignation. He then travelled to
Chiang Rai to obtain the approval of the Bishop of the Province ('Jao Kana Jangwat' in Thai), who
promptly refused the request.
The story of his Farewell to being the Abbot of Wat Bun Yern is a strange one; as the Rainy Season
of the year 2492 approached, and only one day was left before the time to remain in the temple,
Luang Por Kasem fled the place. Nobody noticed him leaving the temple grounds at all.
As the morning came of the first day of the Khao Pansaa celebrations, and hordes of devotees
began appearing with offerings in the Vihara shrine room to give alms to the Sangha, the absence
of Luang Por Kasem became apparent. After asking around a bit, the people became panicked and
wandered from hut to hut asking the whereabouts of Luang Por.
Then they arrived at the hut of Luang Por Kasem, and found a letter pinned on the back of the
Tammamasn (the red and gold throne-like chair that a monk or Ruesi sits on to give sermons and
blessings, teachings etc). The letter was a whole two pages long and was addressed to the villagers,
and said;
“I have taught you what to do already – do not think to follow after me, because I resign from
being Abbot now. It is comparable to many burdens, which do not fit with my practice. I seek
homelessness and endless wandering, and ask to not have to return here again”.
But the locals did not give up due to the fact that they believed in Luang Por, had much Faith in
him, and in addition, knew where he would be in the forest. So, when they had gathered about
forty to fifty people together, and went to find Luang Por, whom they found at the Sala Wang Taan,
practicing Dhamma. They Begged him to return to the temple, some people even in tears because
the loved Luang Por so much and believed in him.
But Luang Por Kasem just sat there listening and said nothing, remaining quite still. All that year,
Luang Por remained at the Sala Wang Taan alone, and did not return to the temple. Some villagers
went to find Luang Por Kasems Mother, who when she heard of the news, traveled to the Sala
Wang Taan where Luang Por was staying, and begged him to return to the temple. Luang Por
Kasem was her only son, and she was very worried. But Luang Por Kasem answered her;
I don't wish this any more Mother, I do not fit with staying in a temple, I like to wander, and
beseech thee to wander in the desolate forests of Mae Ang. In the end his Mother had to give up
trying to convince him otherwise, and Luang Por Kasem traveled from the Sala Wang Taan, to stay
in a cemetery on the side of Mount Mae Ang.
He practiced advanced Vipassana Kammathana techniques and great effort of renunciation. After
about one year there practicing, his Mother, who had sold up everything to move and live in a
'Gratom' (simple wooden hut), near where he practiced, was missing her son terribly, and went
further into the forest to find him. The villagers saw this and decided to build here a hut in the
forest close to where Luang Por would practice, so she could find him easily. But she caught a
jungle fever, and became very ill.
The villagers ran to get the doctor to come and give her sleeping injections to rest, but she was
resistant, and made an effort to tell them where she had saved and hidden 21 baht (a lot of money
in that time), and that if she died that they should tell Luang Por about it. Then she closed her
eyes. The Samanera who had been told this by the Mother, ran to tell Luang Por Kasem, who then
came to where his Mother was resting. Luang Por sat and chanted prayers as he watched over her.
As he chanted the prayers, a swarm of bees began to gather and fly around for a while. Then his
mother passed on peacefully, as Luang Por Kasem made dedication of Merits to his mother and
uttered – We shall not cry again after this.
The body of Khun Mae Bua Jorn underwent a very good funeral, due to a total of 700 baht being
raised by local villagers (which was a great deal of money in those days). The funeral pyre was set
in the cemetery of Mae Ang. After some time, Luang Por Kasem moved back to the cemetery at
Sala Wang Taan again. After one year there, he wandered onwards to stay at the cemetery of Na
Bpor, and finally ending up at the cemetery in Bpradtu Ma, which is what we know today as the
'Samnak Songk Sussaan Dtrailaks', which means 'Sangha Office of the Tilakkhana Cemetery'.

Above; The body of Luang Por Kasem Khemago is on view in a glass coffin at Susaan Dtrailaks
temple.
Luang Por Kasem practiced the Dhamma very diligently and was evidently extremely pure and
dedicated to his practice, and not affected by worldly desires. Although he was thin and frail, due
to his renunciation and disinterest for food as a source of pleasure, his mind and heart were those
of a great warrior, brave and diligent in not giving up the quest of renunciation and purity.
Luang Por Kasem remained practicing in the Susaan Dtrailaks till the end of his days, when he
passed away in the ICU unit at the Central Northern Provincial hospital of Lampang on Monday the
15th of January at 19:40 p.m. Of the year 2539 BE. His greatness is mourned and revered by the
people of Lampang province and all Thai people, to this very day. His amulets are becoming ever
rarer, for those devotees who cherish Luang Por are swiping them up to use as Bucha items.
Amulets by Luang Por Kasem Khemago
The amulets of Luang Por Kasem, and those in his image, are many. It would require a whole book
to cover all the pantheon of amulets by and of LP Kasem, so I have selected a gallery of some of
those which I find to be both sacred and beautiful, as well as the important collector pieces.

LP Kasem Monk Coins ( called 'Rian Pra' in Thai) in Previous Pic;

1. Silver coin by Gong Tap Lampang (Thai Army defense of Lampang District were
the donators for the making of the amulet). 2517 BE.
2. 2. Rian Sawadee 2514 BE
3. 72nd Aniversary of Luang Ppor Kasem – coin released in 2526 to finance the
building of a Sangha Hospital in Lampang.
4. Rian yern – Luang Por Kasem Khemago – 'Ti Raleuk' (in memory of an event).
Issued by Wat Hnang Hliaw 2526 BE
Below Pic; Rian Rakang Luang Por Kasem Khemago – Block Niyom Sao Agaas -
2516 BE. This is a collectors item and mostly kept by true devotees of Luang Por
Kasem.

This is something which is inherent with those who collect LP Kasem amulets. Those
who revere his amulets, also revere him, which is why there are so many in his
likeness indeed. His Patipata (practice) and renunciation was that of a Noble Person,
and perhaps that of an Arahant, for which reason his amulets are to be considered
extremely sacred Religious Artifacts in their own right as far as Thai People are
concerned.…......…... The end
About Kata Chanting – The Benefits of Chanting Pra Kata
Chanting is an essential part of the Thai Theravada Buddhist Practice. The blessings and benefits of
Chanting Kata are evident in various aspects of life. The Buddha himself stated that there are 5
ways to enlighten to any Dhamma or to become fully enlightened, and that one of them was whilst
Praying, or Chanting Prayers.

Apart from this, Chanting Kata will increase your focus and concentration and is a form of Samadhi,
as well as Iryapata (Iryaabot in Thai), meaning to be mindful of ones bodily movements as well as
to control ones diligence, being diligent includes making the effort to not be lazy and to chant Pra
Kata Prayers as part of your accumulation of Baramee and Merit. The Buddha taught there are
various ways to accumulate merit. The supreme way is to develop Panya (wisdom insight mind)
and Purify the Heart from desires, but this is a difficult and long path, which requires a lot of
strength. So, in order to develop that strength, we should accumulate Baramee through the other
ways of accumulation of Merit such as Dhana (Taan in Thai - the practice of Generosity – giving
alms to Monks and other good causes, poor people.

Kata Chanting can even be used to attain Psychic powers if the right level of concentration and
breath control is applied with sufficient effort.

The Blessings of Chanting Kata are multiple, including;

• Pra Kata are sacred Suttas and Dhammas which come directly from the Lord Buddha, and is
the pleasure of Deities and Gods to come and Listen (In Thai Evening Prayers, there is even
one Kata which calls the Deities to come and listen to the Dhamma, before the Prayers
begin). The Deities will love and protect those who sing the Psalms of the Dhamma.
• Pra Kata is a form of self Purification and contemplation of the Dhamma, and thus is both a
case for the eventual Liberation from Suffering of the Practitioner, and also a cause of
Metta Mahaniyom charm which will arise within the Aura of the person who chants with
Faith and Respect towards the Triple Gem.
• The Mind and Heart of the person who Chants Pra Kata regularly and with a Pure Heart, will
feel light and unstressed, Happy and Radiant. Illnesses will not befall you often, only when
it is part of your 'Wibaak Gam' (Culmination of Previous Causes which are now leading to
Negative results, due to one's own actions in the Past or Previous Lifetimes). Karma can not
be avoided, but it can be lightened as far as the way we take our Karma is concerned. Pra
Kata can help us in this too, if we study and take time to understand a little of what our
Kata Mean and are talking about.

Lets take the famous Funeral Chanting of Thai Theravada Monks for example know commonly as
'Suad Phii' and officially called 'Suad Pra Apitam – which refers to the Abhidhamma);
Thai Folk in General call this Suad Phii because it means 'Chant to the Ghosts' or 'Chant for the
Dead'. I have often heard many an Abbot of Temples complain how in Thailand people think that
this Kata is something for the dead to listen to, for in Truth, it is not at all. It is a teaching which the
Buddha once gave to lighten the burden on the hearts of the Relatives who were left behind to
suffer the Loss. The Kata explains how Life is not Permanent and subject to Change and Entropy. It
teaches to accept that even we our self must Die and wither and fade, and so why should we be so
sad for others, when even we ourselves will be going the same way indeed.
Somdej Dto's Sermon on the Benefits of Chanting Prayers
Tan Jao Prakhun Somdej Dto Prohmrangsri
was once invited to the Ngan Mahad of Jao
Praya Sanpaetcharapakdee, in the times of
King Rama 4, to give a sermon. It is
recorded in the writings of Jao Praya
Sanpaetcharapakdee that Somdej Dto
walked to his home for to attend the
invitation along with a host of Looksit. At
the house, there was a very large number
of Ubpaasog and Ubpaasigaa (lay
practitioners in white), sitting with their
legs crossed waiting eagerly to listen toe
the Sermon from Maha Dto (Somdej Pra
Puttajarn Dto Prohmrangsri).
Somdej Dto climbed up onto the Dais, and
said the Prayer to give respects to the
Triple Gem, after which, he began his
sermon on the Benefits of Chanting
Prayers and Kata;
He said that that most people believe that Chanting doesn't really make much effect, and mostly
just is unintelligible and useless because often people do not understand what they are chanting.
But that in Truth, Chanting Prayers and Kata in Pali is extremely Beneficial and useful, because the
Chanting of the Buddhist Suttas in the form of Pra Kata, is speech in reference to the Perfections
and Purity of the Lord Buddha Sakya Muni, and declares the special qualities of the Buddha, of the
Dhamma teachings he expounded to the Human Race and the Deities,and speaks of the Merits
and Virtues of the Arahant Savaka of Lord Buddha too.

The Chanting of Pra Kata using the greatest effort over a period of Time, enables the mind to
maintain concentration (Samadhi) and use Mindfulness to examine the Kata. This causes Wisdom
to arise. He said that the highest result available from Chanting Pra Kata, is that it assists in the
causes of eventual Liberation, because it enables your efforts to be fruitful until you reach
Arahantship.

It is recorded in the Buddhist Canon that there are 5 ways to become Enlightened;

• When listening to the Dhamma

• When Teaching the Dhamma
• When Chanting Prayers (Kata)
• Whilst considering or examining/observing the Dhamma
• From practicing and developing the Vipassanayaan (Yana of Vipassana - this is the Body
of Enlightenment as was taught as a complete practice by the Lord Buddha)

Somdej Pra Puttajarn Dto is famous for the use and promotion of two particular Pra Kata, namely
the Pra Kata Chinabanchorn, and the Pra Kata Yod Pragant Dtrai Pidok, which is the favourite Kata
of the author, for the simple reason that no other Kata has ever brought so much noticeable
effects than the Pra Kata Yod Pragant Dtrai Pidok. His speech went like this;

“To Chant Kata in the Morning and Evening is a Tradition that Buddhists have kept
since the times when Lord Buddha still walked the Earth, and declared the Dhamma and founded
the Budha Sasana to the people of the World. The people thronged to come and listen to the
Dhamma. The Sermons were split into two Time Periods, in the Mornings, and in the Evenings,
where the congregation would gather to listen to the Dhamma teachings of Lord Buddha.

Listening to the Dhamma unlocks the Mind from its boundaries and burdens and cleans the Heart
and Mind from Illusions and Impurities. it is the Greatest Medicine for our Sickness (Avicca), and is
the Sweetest Nectar that the World has ever known. It releases us from Sadness which has no
Ending, and is the Way to Enlightenment, and the Truth of all Things.

To Chant Prayers (Kata) is Beneficial in three different ways, namely;

Your Physical Body will feel relaxed, and calm, and all your actions will be Mindful and well
enacted, without mistakes or clumsiness.

Your Heart will feel Great Love and Respect towards the Triple Gem and be auspicious in its
algorithms of thought

Your Speech will be that of Great Psalms of Heaven (through practicing Chanting), and you will be
speaking of the three great Perfect forms of Speech, in asking forgiveness for wrong things done
thought or said (if any), and in Giving Thanks and Praises to the Highest things, which is considered
the accumulation of Merit and Auspicious Karma , which is the Highest Blessing one is able to
receive in Life. I ask to give my Guarantee to you all, that whoever Chants Prayers Mornings and
Evenings, will be calm and peaceful without any disturbances in their hearts, and
will Enter the Land of the Arahants without a shadow of a doubt.”
“One more reason why Chanting Prayers is useful in your Meditative Practice, is that the sound of
the Montra will block out the sounds from outside and prevent them from entering the Mind,
resulting in the Chanting of Mantras being a cause of Peace and Quietude, Stillness arise in the
Citta, which is the Wat to Nibbana. From this Samadhi (Concentration), and Panya (Wisdom Mind)
arise within the Citta of the Practitioner.”
“As for those who hear the Mantras and Prayer, their Minds will become unrestrained and
Knowledge will be born, which leads to the arising of the Wisdom Mind (Panya. They will feel
Peaceful and Tranquil, which is also a Merit to the Practitioner who has Chanted the Prayer which
has benefited those who hear it, because of his Generosity (Dhana) in giving the Prayers to them”.
“There are a Great number of Brahmas, Devas and Devata, who like to listen to Prayers being
Chanted, and it is often that they will come and gather to listen to the Dhamma in Prayers,
surrounding those who chant in great numbers. For those who Chant the Prayer Morning and
Evening, no dangers will be able to come near them, and even the area around their Homes will be
armored by the Brahma Deities who shall keep those who Chant the Montra safe”.

“Dear Lord Praya, and Ubposok, Ubpasigaa who are here for this Sermon, the Chanting of these
Prayers is a reminder of the Buddha, The Dhamma and the Sangha when the Citta has the Triple
Gem as its Refuge. There will be no kinds of danger able to harm those who Chant their Prayers
both Morning and Evening”.
Pra Kata Chinabanchorn of Somdej Dto
The Legend of the Chinabanchara Kata (Kata Chinabanchorn), begins when Somdej Dto
Prohmrangsri traveled to Gampaeng Paetch to visit some relatives, and paid a visit to a very old
temple there, by the name of Wat Sadet. There was a Chedi there with Buddha relics close by to
the Bping river where an ancient Kampir (Grimoire) had been found. It was in Singhala and was
found buried inside the Chedi Stupa, and Somdej Dto was given this kampir to take with him,
which he did, and placed it in his Guti at Wat Rakang. That evening, about 3 a.m. Somdej Dto saw a
Nimitta (Vision) of a tall young man with sharp eyes and a white robe standing at the top of the
bed. Somdej Dto controlled his mind and saw that this was not a Human standing there, and so
asked in Samadhi meditation;
“That I am able to admire you with my eyes must mean perhaps that I have done something
outside of the Path of the Buddha's Teachings? Please teach me and let me listen to the Dhamma
and find out where I went wrong”

“You are walking the Path very close to the Way of the Pra Samana Kodom (The Lord Buddha)
Himself, but your idea to make amulets to give to the people as a memento and reminder of the
Triple Gem, they must be made properly”, said the messenger. “Tan Dto (Somdej Dto), you believe
in the power of the Mind and in the existence of the Vinyana (Winyaan in Thai) So you must know
how to and, use the correct methods and ways to Empower the blessing of these amulets – you
have to project your mind”.

“Khrua Dto (another name for Somdej Dto), let me the Messenger, and tell you about the various
directions which are auspicious and those which are not auspicious, in setting up the incense,
candles, flower garlands and Tian Chai. This is the Tradition and Law of the Devas and Brahmas.”
“These Laws are especially important for blessing amulets. Seeing you send your Mind to
investigate even deeper who I am, I can respond to you that I am Taw Maha Prohm Chinabanchorn
(Lord Brahma Chinbanchara) and am the disciple of Pra Mokkhalana, who attained the highest
attainments”.

After this was communicated, Somdej Dto came out of Samadhi, and took the Kampir Grimoire out
of the Yaam (Monks bag) and began to study it. He found out that the Banchara Sutta invokes the
Merits of the Buddha and the Arahants to come and protect who Chants the Mantra. He then
began to take extracts of what he could translate, and recompose them omitting perhaps some
parts which were untranslatable. He completed the composition and prepared to offer it to Taw
Maha Prohm Chinabanchorn.
Pra Kata Bucha Khor Laap Jed Wan – Seven Day Chant for Luck and Riches
The following is a set of seven Kata to be chanted during the whole week. It is a Kata to improve
your Fortune and to increase Riches, as well as acquiring Metta Mahaniyom charm and Happiness,
Respect and related Auspicious Blessings.

Sunday (Chant 6 Times)

• Chimpalii Ja Mahaa Naamang Sappa Laapang Pawissadti
• Thaerassaanupawaena Sataa Hondtu Bpiyang Ma Ma

Monday (Chant 15 Times)

• Yang Yang Bpuriso Waa Idthii Waa Turaehi Waa Samii Bpaehi Waa
• Thaerassaanupawaena Sataa Hondtu Bpiyang Ma Ma

Tuesday (Chant 8 Times)

• Chimpalii Ja Mahaa Thaero Soraho Bajjayaa Timhi
• Cheuya Laapo Mahaa Laapo Sappa Laapaa Pawandtu Sappataa

Wednesday (Chant 17 Times)

• Tidt Dtidt Tha Pawae Raachaa Bpiyaaja Karadtumae
• Yae Saaradt Dti Nirandtarang Sappa Sukhaa Wahaa

Thursday (Chant 19 Times)

• Chimpalii Ja Mahaa Thaero Taewadtaa Nara Bpuchidto
• Soraho Bpajjayaa Timhi Ahang Wantaami Sappataa

Friday (Chant 21 Times)

• Chimpalii Ja Mahaa Thaero Taewadtaa Nara Bpuchidto
• Soraho Bpajjayaa Timhi Mahaa Laapang Garondtu Mae
• Laapaena Udt Dtamo Hodti Sappalaapa Pawandtu Sappataa

Saturday (Chant 10 Times)

• Chimpalii Ja Mahaa Naamang Intaa Prahmaa Ja Buchidtang
• Sappa Laapang Bpasitti Mae
• Thaerassaanupaawaena Sataa Sukhii Bpiyang Ma Ma
 Kata For When Luck and Business Sales are Down

This is an Ancient Kata from the hand of Por Hnaan Bun Ban. The Kata is called 'Montr Kaa Khaay
Bpen Dtok, meaning 'Kata to sell till you drop'. The word Montr means Mantra, or Kata.

This Kata or 'Montr' (Spell) is

derived from Lanna Tradition,
and is easy to obtain because
it is a Wicha that the
Boranajarn (Ancient Masters)
gave freely to the Thai Folk so
they had some protection
and blessings to help through
life's hardships.

What Makes this Kata Easy

for people to use to make
'Khong Khlang' (Magical
items), is the fact that it isn't
necessary to 'Yok Kroo'
(invoke the Guru Master of
Lineage), which is normally
the case with specialized
Montra* (*Montr is singular,
Montra is Plural). In Lampun
Por Nam Bun Ban Prapen Tong (Wat Mahawan), is an Adept of Northern Magic in the Lampun
Tradition.

He gives the following Kata for you to use for immensely improving Sales and getting Customers in
your place of business;

Puttang Pahuu Chanaanang, Aehi Jidtang Aehi Manussaanang Aehi Laapang Aehi
Maedt Dtaa Chompoo Lompae Manussaanang Idthiiyo Bpuriso Jidt Dtang Pantang
Aehi
How to Empower the Nam Montr
This Montr is for making Nam Montr (sacred prayer water) with. When making Nam Montr, one
special way to make it powerful, is to balance a candle over the edge of the water, and let the wax
drop into it, whilst concentrating upon the dropping of the candle, and chanting the incantation
with extreme focus. Por Hnaan Bun Ban says it brings noticeable effects. And that many people
have come to express their satisfaction with the success of the Kata. Chant it facing a bowl of pure
water and focus on the water in the bowl. Once finished Chanting, spray the water over the goods
you are hoping to sell.

You must raise your mind into Samadhi (something which Thai people learn at a young age from
the fact that most male children ordain as novice Monks for a while, and Meditation is part of their
training). Once you have attained Samadhi, then you must chant the Kata with your utmost focus
and concentration. If you succeed in creating the cause of Magic to arise, through Samadhi and
one pointed intent, the spell will work (this can be said for all magical spells), and you will 'Sell till
you Drop'.

In order to perform the Chanting of this Kata, you must first do the usual preliminaries Chant
'Namo Dtassa Pakawadto Arahadto Sammaa Sam Putassa' 3 Times first, and arrange incense
burning and flower offerings before doing this. Then make three prostrations to the Triple Gem,
Face the Buddha and think of Lord Buddha, and all that you believe is sacred, think of Por Hnaan
Bun Ban, the creator of the Dtamnan, and then ask for success in the creating of the prayer water.
Chant until you become one with the Kata and vibrate in unison. Yous mind should feel vibrant and
tingle with the respiration and rhythm of the chanting, and you feel sure you have given it your full
honesty and intent. Don't forget, Success in Magical Spell-casting has one major rule; The Heart of
Success in Magic is – 'All things come out from your own Mind'.
More Kata for Bucha and Chanting
Before praying and chanting Katas to any Deity, you should always chant the kata for resverence to
the Lord Buddha first;
to do this, bow three times to the Buddha, and say;

'Namo Tassa Bhagavato Arahato Samma Sambhuddhassa 3 times. After this, you can begin your
chanting to other Deities.

Kata for the Brahma Deity (Pra Prohm)

Kata Bucha Pra Prohm

• Om Bparamesana Namasagaaram
Angkaaranissawarang
Prahmaressayam Phubpassa Wis
Sanu Waiyataanamotodtiluug
Bpamtaramaa Yigyaanang Ya
Waiyalaa Kamulam Sataa
Nandtara Wimusadtinan Na
Madtae Namadtera Ja Agaarang
Dtathoewaaja
Aedtaamaadtaarayadt Dtaman
Dtaramaa Gadtanaa Ramalaa Ja
Sarawa Bpadtidtam Sampopagallo
Tiwatiyam Madtamya
Kata Bucha Pra Prohm (short version)
• Om Aham Bprahmaa Asmi
• Thai -โอม อหม ปรหมา อสม

He who makes Bucha and chants the Kata

to Pra Prohm (Brahma) will experience
success in their professions and be loved
by all people(Metta Mahaniyom).

Klata Bucha Pra Prohm (Version)

Namo Mae Prahmmaa Ja Logaatibadii
Kata Pra Bpajjaega Pra Putta Jao
(Great kata of Riches of Luang Por Parn, Wat Bang Nom Kho)

• Puttang Saranang Kajchaami - Tammang Saranang Kajchaami - Sangkang Saranang

Kajchaami
• Putta Ma A U Na Mo Put Taa Ya
• Wiratayo Wirakonaayang Wirataasii Warataasaa Wira Idt Thiyo Puttassa
Maanii Maana Puttassa Swaa Home
Kata Bucha Payaa Krut (Mantra for Poojah to Garuda)
• Karubija Gidti Mandtang Ma A U Om Payaa Krut Ruj Ruj Laew Ruay
• Na Dai Ngern Na Dai Tong Na Dai Sap Na Mettaa Na Jaroen
• Na Man Kong Na Laang Aathan Atitaami

Making Bucha and chanting the Kata to Payaa Krut (Garuda), will bring riches, gold, possessions,
and Metta (Popularity and preference from others) as well as cleaning out any black magic or bad
Karmic influence, negative energies etc from your psyche, and in the household.

Kata Bucha Pra Narai Song Krut Bpratap Rahu

(Vishnu riding Garuda and Rahu - good for

Pha Yant and Amulets, Sak Yant etc).

This Kata has strong Choke Laap power,

good for business, commanding or
administrative positions. The Kata must be
chanted 12 Times, in tune with Pra Rahu,
who is the caretaker of all belongings and
treasures, silver and gold, and pray to ask
for what you wish for.

Pic Left – Pra Narai Song Krut. Narai

(Vishnu), riding on the Garuda. If Rahu is
added underneath the Garuda, then it is
called 'Pra Narai Song Krut Bratap Rahu' or
'Pra Narai Chud Pised'

• Aega Jagkhu Naaligaelaa Suriya

Bparapaa Rahuu Kaahaa Sadt-
Dta-Radt-Dta-Na Sambanno
Manii Chodti Raso Yathaa
Suwanna Rach-Cha-Dta Samitaa
Ahang Wantaami Mae Sataa

• Aega Jagkhu Naaligaelaa Jantra Bparapaa Rahuu Kaahaa Sadt-Dta-Radt-Dta-Na

Sambanno Manii Chodti Raso Yathaa Suwanna Rach-Cha-Dta Samitaa Ahang
Wantaami Mae Sataa
 Katas for Revering the Ruesi

Kata Bucha Pra Ruesi 108

Ugaasa Imang Akii Paahu Bpupphang Ahang Wantaa Aajariyang Sappa Seuyang
Winaassandti Sittigaariya Abparabpachaa Imasming Pawandtumae
Tudtiyambi Imang Akii Paahu Bpupphang Ahang Wantaa Aajariyang Sappa
Seuyang Winaassandti Sittigaariya Abparabpachaa Imasming Pawandtumae
Dtadtiyambpi Imang Akii Paahu Bpupphang Ahang Wantaa Aajariyang Sappa
Seuyang Winaassandti Sittigaariya Abparabpachaa Imasming Pawandtumae
Short Kata for the Ruesi Deity
• Namasa Dtisadtawaa Isisitti Lokanaatathang
• Anudt Dtarang Isee Ja Pantanang
• Saadtraa Ahang Wantaami Dtang Isisittiwesa

How to Pray to the Ruesi Narot

There are many ways and traditional ceremonies to make Bucha to the Ruesi,
depending on the Ashram or Master of the Ashram/Samnak/Dtamnak.

A short abbreviated way for daily practice would be to Offer Hmak Plu (Betel nut and
Areca leaf), tobacco and grapefruit. Also offer flower garlands which have jasmine
flowers in them. As far as lighting incense goes, you should use 9 or 16 incense sticks
(called 'Toop Horm' in Thai).

This is because of the 16 Chan Fa (16 levels of Heaven). Which is the domain of the
Ruesi. In great rituals to call upon the powers one lights 16 to the 16 Chan Fa
(heavens) 15 sticks for the 15 Chan Din (earthly planetary levels) and 14 Chan Badan
(the 14 levels of the Underworld). This is the kind of ceremony to call upon all the
Deities of the three Worlds to attend and assist. This should only be done on
occasions such as Wai Kroo ceremony, where the Deities are invited.
Kata for Bucha Ruesi Narot
Ugaasa Wantami Bhante Sappatang Abparaatang Kha Ma Dta Mae Bhante Mayaa
Gadtang Bpunyang Saaminaa Anumotittappang Saaminaa Gadtang Mayhang
Naadtappang Saatu Saatu Anumotaami
Wantaami Narata Burapaajaariyang Sappa Maetosang Khamadta Mae Bhante
(Info source - Buddhist Amulets)

It should be noted that to correctly Bucha Ruesi Deities, one should also have Korb Kroo ceremony
performed on you in order to receive protection and lineage of the Ruesi Masters.
Kata Bucha Ruesi Por Gae Narai (Ajarn Gaew Jantr version)
• Om Muniwarawajanang Naray Jaewa
• Om Isiro Mae Ja Go Dti
To give an example of how each particular Ajarn might have special instructions as to how to make
Bucha to the Deity in the amulet, I will take an example of a couple of Ruesi amulets from different
Ajarn, and explain their method of Bucha, plus a bit about the making of each amulet, and the
Master who made them.

The first of which is a very magically charged Ruesi Deity 'Loi Ongk' (statuette) amulet, made by
Luang Por Daeng of Wat Huay Chalong in Uttaradit. He made the amulet after a visitation from
the Deity in a Nimitta vision.
Por Phu Ruesi Narai Amulet – Luang Por Daeng

Left; Por Phu Ruesi Narai – Loi Ongk

Stauette
Luang Por Daeng (Duang Sethee) made
and blessed this Powerful Ruesi Deity
amulet. Ruesi Narai is not a Human
Ruesi, but a Deity of the Angelic
Realms. He is depicted with 4 arms.
This Ruesi is an emanation of Pra Narai
(Vishnu Avatar), who is one of the
three lords of Heaven (Shiva, Vishnu
and Brahma). This Ruesi is the Vishnu
Avatar who came down and was born
as Boroma Kroo (the Guru Yogi Ruesi
Narai).
He has great Magical power and is an
adept magician, radiating much Metta
Mahaniyom power for luck, and
preferential treatment towards those
who Bucha this Deity. Whoever prays
to this amulet is praying
simultaneously to all ten Avatars
(Incarnations) of the God Vishnu.
Pra Ram (Rama), Pra Krisna (Krishna),
the Buddha and Maitreya are included
in this list of ten (some people even say that Jesus was one of the Avatars - but this is arguable).
Whoever makes Bucha with the Narai Ruesi amulet will receive help from friends and strangers
alike, preferential treatment, and be loved by all people who surround the wearer. Deities, fairies
and benevolent spirits will come to your aid, and take care of you, lending protection and favor.
Por Phu Ruesi Narai was made by LP Daeng of Wat Huay Chalong (Uttaradit) for the Wai Kroo
Master Day ceremony of his 92nd year of life. He made the amulets because many years ago he
was very ill and paralyzed, and went to hospital for many days to be treated. As he was there, he
had a Nimitta vision appeared of a Ruesi with four arms and a purple skinned body.
This Ruesi had a weapon in each of the four arms; Bow/arrow, Conch shell, Trident and Chakra
disc. The entity approached him holding the Conch shell and gave it to him, and promptly
disappeared. As morning came, Luang Phu Daengs illness had completely disappeared, and he was
able to leave the hospital and return to the Temple.
How to Make Bucha to Por Phu Ruesi Narai (LP Daeng Version)
You should chant the Kata to Por Phu Ruesi Narai three times. You can also use this Kata in
conjunction with the amulet to Make Nam Montr (Prayer Water) with. If you wish to make 'Nam
Montr' to break a spell with or defend against black magic, demons and ghosts, then take some
pure clear water and place it in a fitting receptacle (in Thailand we would use a 'Khan nam Montr'
(special receptacle for Nam Montr). Then take Por Phu Ruesi Narai and place him in the water.
Leave him to stand in the water at least one evening, but if in an emergency and must rush, then
you should take 9 incense sticks and offer them. Let Por Phu Ruesi Narai sit in the water until all
the incense sticks burn out first, then you can take the Nam Montr and spray it over yourself or
objects, house etc to do away with inauspicious entities, bad luck and other negative energies.

If you wish to make Nam Montr for Metta Mahaniyom blessings and charm spells, good business
sales and the like; Offer flower garlands that have jasmine and red or pink lotus flowers(you can
offer these in front of the Ruesi in the prayer water, or place them in the water with the Ruesi
Narai). Light 8 Toop Horm (incense sticks) (the number eight is the auspicious number of Pra
Narai). Chant the Kata Por Phu Ruesi Narai eight times, and then pray to him and also to the Ruesi
in all ten forms and directions – to all the 108 Boroma Kroo.

You can then use the prayer water to spray (spraying prayer water in Thailand is called 'Praprom')
your shop or wares in the shop, to increase the probability of sales. 'Praprom' the prayer water
over your own head and use to wash your face with, clean your eyes and mouth; Your
salesmanship will improve incredibly with the power of Maha Sanaeh and Metta Mahaniyom
endowed by Por Phu Ruesi Narai to the Nam Montr.

If you wish to win a quarrel or

contest with somebody, make the
ceremony at night. Offer Tian
Prateep Pae (floating candle boat)
and float it in the water (if the
receptacle is big enough, if not,
you can lay it in front of the
receptacle).

Offer 9 Toop Horm, and Chant the

Kata eight times. Use the water to
spray on your head and forehead.
You will win against your enemies
and competition.

Left Pic; Tian Prateep – floating

candle boats. These are seen used
in Loi Kratong festivals, but are
also used as an offering to Deities.

Por Phu Ruesi Narai is also a powerful guard against all dangers and protects with invincibility and
evasion magic (Kong Grapan and Klaew Klaad). The amulet was made in two forms, the first is the
statuette presented here (statuettes are called 'Loi Ongk' in Thai – please get used to this phrase as
I shall be using it often enough in future issues of Buddha magic).

The second is a 'Siarn Phu Ruesi Narai' (just the face/head of the deity. These Siarn Phu Ruesi were
made in sacred powder or in Navaloha nine alloy sacred metal.
Kata Por Phu Ruesi Narai
• Om Namo Por Phu Ruesi Narai Na Ma (chant three times), then chant;
• Sahassa Naedt-Dto, Por Phu Ruesi Narai, Tippa Jagkhung Wisotaaya
• Om Imasming Saggaara Wantanang Por Phu Ruesi Narai
• Buchidt Dtawaa Mahaa Laapo Sukhang Palang Pawandtume

This amulet was made using the ancient

methods of casting, with a mix of 4 sacred
metals known as Nuea Samrit Phiw Din Thai
Boran.
The Por Phu Ruesi Narai amulets were made
in a very limited edition of 999 statuettes).
Left Pic; Earth and crystals inserted into the
base of the Por Phu Ruesi Narai amulet from
Luang Por Daeng.

Some of the Sacred contents used in the amulet; Din Jet Bpong (earth from seven salt licks), Pong
Paya Gai Gaew (crystal cockerel powder), Wan 108 (108 types of sacred pollens, herbs and
powders), and a coded coin inside the base.

Puttapisek Blessing; LP Daeng first awakened

the eyes of Ruesi Narai by meditating and
empowering the amulets for 9 days and nights
alone.
Pic Right; Luang Por Daeng, of Wat Huay
Chalong – creator of the Por Phu Ruesi Narai
amulet.
After this there was a grand Puttapisek
ceremony at Wat Sutat temple in Bangkok on
the 27th May 2551, with LP Daeng as the
presiding Monk of the ceremony. Many other
Nationally famous Gaeji Ajarn were attending
to add their magic to the blessing.
Some of the Masters present were; Luang Por
Siri (Wat Dtan, Nontaburi), Luang Por Foo
(Wat Bang Samak, Chachoeng Sao), Luang Por
An (Wat Rong Koh, Utay Tani), and Luang Por
Som Kid (Wat Nern Satara, Utay Tani).
Apart from the Por Phu Ruesi Narai amulets,
LP Daeng has also become very famous for his
Paya Gai Gaew Duang Sethee amulets, which feature a crystal Cockerel for increasing Riches.
 Ruesi Hnaa Suea - Tiger head Ruesi and Ruesi Hnaa Gwang/ Hnaa Nuea
The legend of three animal faced Ruesi, How to make offerings, pray and chant Kata.

Ruesi Hnaa Suea is the commonly

used name for this Hermit Sage.
Also known as Boromakruu Jao
Samingpray. In Thai, his real name
and title is 'Tan Taw Himawat' (ทาน
ทาวหมวต). Taw Himawat was the
father of Pra Uma (Kali). The
famous master monk Hluang Phu Ga
Hlong (who passed away in 2552,
currently famous for his amulets),
used this Ruesi as his mentor. Luang
Phu met this Ruesi in the forest in
the middle of a storm, and became
inextricably involved with him, for
the Ruesi with the Tiger face had
once been a colleague of LP Ga
Hlong in a previous incarnation
where they were both Bhikkhus
working for preservation and
spreading of the Buddha Sasana.
Tan Taw Himawat was a very
powerful member of the family and
as Pra Isworn's (Shiva's) father-in-
law, was often called upon to punish
or control evil Yaksas and demons.
His great power is that of bringing
great fortune and riches, luck to his
devotees who keep their precepts
and revere him properly, as well as
having extreme Kong Grapan magic
to protect you from dangers and
enemies.

There are many versions of Kata for

praying to the Ruesi, but one in particular is allotted for any Ruesi with tiger face, which I have
included below. This Kata can be used with any tiger faced Ruesi, but not with human faced ones
or other animal faced, for it refers directly to tiger Ruesi specifically.

The Classic Kata (mantra) for Ruesi Hnaa Suea (tiger head Ruesi) is as follows;
• Oem Rue Reur (Leu Leur if you like), Mahaa Rue Raa Payakkae Payakkoe
• Ittirittae Ittirittoe Sirae Sirae Kuroe Kuroe Yaadoe Bpen Man
• Naa Ham Guu Diar Bang Giar Doer Doer

The language used to communicate this Kata with the Ruesi is 'Pasa Gubodte' which is a language
of the Deities.
How to Bucha Taw Himawat
Use Hmak Plu (betel nut and areca leaf) – offer 9 pieces, use 'Puong Maalay' (fower garlands) with
jasmine flowers, and a glass of pure drinking water. Place the offerings on a high table or 'Hing
Bucha' (the high pedestals seen in Thai houses used for Bucha). Light 9 sticks of incense. And chant
the Kata to Por Gae (If you are Buddhist, then always remember to use 'Namo Dtassa' first before
chanting any Buha to Deities);

Chant 'Namo Dtassa Pakawadto Arahadto Sammaa Samputtassa' (3 times) then Chant;
• “Ugaasa Imang Akee Paahubuppang Ahang Wantaa Aajariyang
Sappa Sayyang Winaassandti Sittigaariya Abpara Bpachaa
Imasming Pawandtumae
• Tudtiyambpi Imang Akee Paahubuppang Ahang Wantaa Aajariyang
Sappa Sayyang Winaassandti Sittigaariya Abpara Bpachaa
Imasming Pawandtumae
• Dtadtiyambpi Imang Akee Paahubuppang Ahang Wantaa Aajariyang Sappa Sayyang
Winaassandti Sittigaariya Abpara Bpachaa Imasming Pawandtumae”
Kata Buchaa Ruesi Hnaa Suea
This Ruesi Hermit Sage, is also known as
Boromakruu Jao Samingpray. In Thai, his
real name and title is 'Tan Taw Himawat'
(ทานทาวหมวต) The famous master monk
Hlwong Phu Ga Hlong (currently famous
for his amulets), uses this Ruesi as his
mentor.
Pic Left – 'Pra Ruesi Hnaa Suea Dern
Dong'; Tiger face Ruesi wandering in the
Forest. This amulet was made by Luang
Por An of Wat Tamma Kosok, in Utay
Thani. His Wicha of making Ruesi amulets
is considered to be that of an Adept in
Thailand.
Luang Por An provides us with a special
Kata for Chanting to the tiger face Ruesi;

Munii Warawajanang Yonarawaarana

Reu Reur (Leu Leur, if you like) Arahang
Yoo Laew Hrueyang Por Phu Suea, Khor
Sadet Jong Ma Yoo Dtua Aehi Bang Gerd
Reu Reur (once again, 'Leu Leur', if you
prefer), Pakawaa Uttang Atto Ja Pa Ga Sa
Kong Kong A (Chant Nine Times)
People who are Astrologers or involved in Magical Wicha or has practiced Meditation, especially
one ore more of the Kasina absorption staring meditations, will receive the Yana (mental
attainments of higher states) and develop a fine sensitivity in Occult Crafts. For those who have
undergone Sak Yant, who revere the Ruesi Hnaa Suea, will have their Yant made powerful, and not
diminish. But the power of the Ruesi Hnaa Suea will take the hotness of the magic in the Yant, and
cool it down, so that you will always be feeling calm and concentrated. Even in the time when
Khong Khuen may happen (that the magic arises, this happens and even I myself have had to give
in and accept that this phenomenon is real, for I have had to experience it myself. He who thinks
that Sak yant has no Magic in it, and makes one on his skin, will sooner or later have to notice and
recognize that something is present in ones body since the tattooing of the Yant, which is beyond
normal explanation. Luang Por An wishes that the Looksit who Bucha Pra Ruesi Hnaa Suea will be
diligent in practicing the four Brahma Vihara, and maintaining the Sila (Moral Precepts).

If the devotee pays regular respects and Bucha to Phu Ruesi Hnaa Suea, he will have much fortune
and wealth, feel calm and undisturbed, attain higher state of consciousness and be able to
communicate more clearly with the Ruesi Deity, and connect more strongly. You will be safe from
dangers. Making Merit by revering the Ruesi Hnaa Suea as Boroma Kroo is a way of reducing bad
Karma which we accumulate, and is a way of developing our Merits.

Amongst the sacred ingredients in these amulets were;

Powdered bone from the skulls of seven tigers,ancient bronze from the Khom Empire, Various
magical metals such as Yord Dtri Nopasun (the spires of nine Chedi Stupas), metal from nine shrine
rooms in nine temples, old Pra Kring amulets from Wat Sutat powder from the statue of Phu Ruesi
of Luang Phu Ka Long at Wat Khao Hlaem, powdered earth from seven salt licks, Wan 108 (108
types of herbs), Pong Puttakun (powdered chalk residue from the writing of 'Sacred Yant' and
'Sacred Na' on blackboard, which is then used for mixing in the amulets)

About Animal headed Ruesi;

There are many different types and classifications of Ruesi, who are believed to exist on differing
levels/worlds. The most animal headed Ruesi are classified as "Ruesi Chan Taep" ( ฤษชนเทพ),
meaning "Angelic" or "Divine" level Ruesi. The three Ruesi in the picture (left), are (from left to
right; Ruesi Hnaa Ling (monkey), Ruesi Hnaa Nuea (deer) and Ruesi Hnaa Suea (tiger).

They each have of course their own story;

Both Ruesi Hnaa Suea and Ruesi Hnaa Kwang were loyal friends long before they became reusi.
They studied under the same Ajarn, Ruesi Wasid. When they have improved their skills
considerably, they separated from the ashram of their master, Ruesi Wasid. They journeyed further
into the forest and form their own ashram nearby to the foot of Mount Krailash, where they
continued to develop in their practices. Each of the Hermit Sages took off in separate paths, and
found a peaceful place in order to practice Dhamma in an undisturbed manner. The two Ruesi,
were, of course, still with human heads, and had other names, such as 'Hnaa Suea' and 'Hnaa
Kwang' (this comes later in the story); They were named “Pra Ruesi Gaalasit”, and "Pra Ruesi
Bpadtaapaa". Ruesi Gaalasit practiced in the Southern quarter of the Ashram, and Ruesi
Bpadtaapaa practiced in the Northern quarter. They both devoted all their time to Samadhi
(concentration meditation), for a very long period of time, practicing with the utmost diligence.
Once every period of time, they would visit each other, but sometimes, very long periods of time
would pass between the visits. The time came when both Ruesi had practiced long enough to have
attained a multitude of abilities and Kata, and were even able to change their shape into the shape
of another animal.

One day, Ruesi Gaalasit was missing

Bpadtaapaa, so decided to pay a visit. Apart
from this, he was in the mood to show off
his most recently acquired skills and put his
comrade to the test in a battle of wits and
spells, to see who is the best. As they were
chatting, they discussed who had discovered
the best Magic Kata, and who had attained
the most merits to perform miracles. Each of
the two maintained that it was them self
who was the most powerful.

As a test, they decided to both do their trick

at the same moment, without warning, and
see who had the best idea. Pra Ruesi
Bpadtaapaa (otherwise called “Pra Ruesi
Bpiidton”), cast a spell using a Kata into the
“Nam Montr” (holy water), and gave it to
Gaalasit as prevention and cure for any
unfortunate incidents that might occur from
their magic.

Ruesi Gaalasit performed a similar ceremony, and gave the prayer water to Bpadtaapaa in
exchange for the gesture.

Suddenly, with the power of the Nam Montr, Ruesi Bpadtaapaa mutated, and converted his head
into the likeness of a golden deer, so beautiful, that his friend Gaalasit was forced to admire the
feat with wide open eyes - Upon which, Ruesi Gaalasit invoked the sacred power of his Nam Montr,
and suddenly, appeared with the head of “Suea Kroeng” (Bengal Tiger) , with beautiful yellow fur
shiny and golden. Both friends were pleased to encounter their synchronicity and likeness in their
attainments, feeling each other to be peers and equals.

Here is where the where the twist in the story comes;

In the trees at the edge of the Ashram, there was a Ruesi by the name of Udtri watching them both
display their abilities, upon seeing which, Udtri walked over and approached them, raising a hand
to salute and revere them. All three Ruesi sat down to chat, and talked for hours in Equanimity.

After some time, Udtri began to speak lengthily on the fact that both Ruesi looked extremely
handsome and beautiful at the same time with their strange looking, majestic animal heads.

He mentioned that they should think that such a strange and never seen before thing, was so
unusual, and had never ever happened in all history to date, and therefore should most probably
never wish to return back to their normal state. Perhaps they should rather maintain and revere
this wonderful miracle.
Pra Ruesi Udtri then began to talk endlessly about all kinds of topics, luring the two hermits to
forget to partake of the sacred water they had prepared, and Ruesi Udtri slowly, but surely
approached nearer, until he was able to sit between the two bowls of prayer water, and the Ruesi
Bpadtaapaa and Gaalasit.

All of a sudden, he jumped up, grabbing the Nam Montr and flinging it through the air - scattering
it on the grass. Gaalasit and Bpadtaapaa looked onwards as the last drops of Nam Montr sank into
the earth, and knew instantly that their chances of returning to normal were no more.

They were Infuriated with Ruesi Udtri ,and raised their concentration to focus and cast a Kata to
curse Udtri with unhappiness. Ruesi Udtri’s face was converted into that of a Monkey. This is the
legend of how the three animal faced Ruesi and their legends came to be.

After the 3 Ruesi regained their calm, and accepted their fate, they forgave each other and went to
their respective places of solitude and continued their practices.

The Animal Headed Ruesi have caused some confusion with many Looksit because it seems that
most people are unaware of the identity or history of most of them, and do not realize that some
names represent exactly the same being or Deity.

For this reason I have included the following list below, in order to clarify any doubts people may
have about who they are paying Bucha offerings to.

• Ruesi Hnaa Suea (tigerfaced) is also known as “Pra Ruesi Galasit” , or Tan Taw Himawat.
• Ruesi Hnaa Gwang Tong is Ruesi Pathaapaa, or, Ruesi Bpidton.
• Pra Ruesi Hnaa Ling (monkey faced) is none other than the Ruesi Udtri himself .
Kata Berk Naedt – Kata to open the eyes of a Bucha Statue
• Sahassa Naedtradto Taewinto Tippajagkhung Wisotaaya

This Kata is useful if you buy a Buddha, Deity or Ruesi statue that has not undergone Puttapisek or
Berk Naedt ceremony. This Kata will invite the Deity to inhabit the statue. There should be more
than this to performing this, which is a topic I shall delve into in a later issue in much more detail.

To do this correctly one should at least keep the five precepts all day before performing the Kata,
and make prayers and offerings before this. One should consider ones seriousness about the
ceremony and develop the right attitude of mind before attempting to perform this act. Some
Candles, five kinds of auspicious fruits, perfumed water in a conch, drinking water, incense, and
flowers should be placed on the altar too. Meditation should be practiced first, then the calling of
the Deities to listen to the Dhamma (called 'Chumnum Taewada') then prayers, followed by the
Kata Berk Naedtr (opening the eyes of the Deity image), and finalizing with dedication of merit.
Pitiigam Berk Naedtr
The Ritual to open the eyes of a Ruesi mask or a Buddha Statue, or other Deity. In the case of Ruesi
Khone masks, this is a ceremony intended to make the image authentically Sacred, and install
magical power into the image. The ceremony originates form the Brahman tradition. This
ceremony will be explained in full detail in Issue 4 of Buddha Magic

Naga Head Ruesi – Pra Rasi Gasirotha

 Pra Ruesi Gasirotha is a Ruesi from the
Deva Realm and is a relative of Vishnu. He
is the epitome of Wealth and Treasures.

He has the following form;

Human form, with the face of a Naga, with
white skin. He is decorated with much
ornamentation and valuable jewelry all in
white.
He has extreme powers of Choke Laap and
Kong Grapan invincibility magic, which
makes him useful both in attaining riches,
as well as being protected from ones
enemies and other dangers too.

To pay reverence and make Bucha

offerings to Naga Head Ruesi (Pra Rasi
Gasirotha), brings great Wealth and
Material blessings. Lots of possessions and
riches.

There are various Kata used for praying to

and asking for help from the Naga Deities,
and it can be seen that this Ruesi is in fact
a Naga, and thus worthy of the Psalms to
the Nagas as Kata for Bucha, and Chanting
to empower Ruesi and Buddha Amulets or
Statues

Kata for the Nagas

To pay respects and bow to the Naga Deities;
• Gaaya Waaja Jidt Dtang Ahang Wantaa Waa Sugrii Naakaraach Wisutti Taewa
Buuchaemi
• Gaaya Waaja Jidt Dtang Ahang Wantaa Naakaatibodii Srii Sutto Wisutti Taewa
Buuchaemi
• Gaaya Waaja Jidt Dtang Ahang Wantaa Naang Paya Naakinii Srii Bpatum Maa
Wisutti Taewa Buuchaemi

A shorter Version;
• Naakataewa Bparidtaa Pawandtiha Kaandtimaa Bpanodti Waen Wipii Sam
Saandti Loke (pronounced as in 'poke', or 'joke') Maa Saatya Motadtae Saasdich
Samaach

Kata Kata Hua Jai (abbreviated condensed Heart Mantra)

• "Kad Sa Ma U Ma" (Chant Nine Times per session)
Kata Anchern Paya Naak – Kata to invoke and invite the presence of the Naga Deity
Chant 'Namo Dtassa Pakawadto Arahadto Sammaa Samputtassa' (3 times)
• Nadti Dtang Pyaama Naakaaya Apinang Naakaa Saatuno Pandte Ya
Ma Ya Ma
Chant 'Namo Dtassa Pakawadto Arahadto Sammaa Samputtassa' (3 times)
• Namaami Lila Saa Khae Bpadt Tha La Bpa Tammae Saka Labdtii
Sayae Dtaa Naaka Laa Chae Naya Bpi Sa Dto

Another Important Kata for many kinds of amulets, as well as Ruesi, is the Kata Pra
Laks Hnaa Tong, which is a magic charm spell used in amulets, Ruesi heads, gold leaf
ceremonies and Tagrud
Kata Pralaks Hnaa Tong
• Om Pra Pakdtr Pra Laks Hnaa Tong
• Suwann Phud Phong Hnaa Tong Pra Pakdtr
• Chaay Haen Chaay Rak Saaw Haen Saaw Rak
• Phuu Hyai Haen Gor Rak Paa Gan Somanas
• Krai Haen Krai Gor Rak Ruu Jag Guu Tua Hnaa Mai Waa Krai
• Na Jab Jidt Mo Jab Jai Put Yoeng Yai
• Taa Hlong Hlai Ya Rorng Hai Ma Haa Guu
• Bpa Sa Sam Bpadti Thaani
• Om Pra Laeng Bpen Saeng Pra Laks
• Pra Rasii Jab Bpaag Gaa Pra Laks Jab Hnaa
• Jab Dtaa Swaa Ha
• Na Haen Hnaa Guu Yuu Mai Dai
• Mo Rorng Hai Kruan Kraang
• Put Gord Wai Mi Krai Ja Waang
• Taa Kruan Kraang Sa-Eun Hai
• Ya Hlong Hlai Nai Jidt
• Hying Dai Chaay Dai Peng Pis Haen Hnaa Guu
• Gor Yorm Yuu Mi Da Rorng Hai Ma Haa Guu
• Om Sitti Gae Guu Swaaha Aehi Chayya
• Aehi Sappae Chanaa Pahuu Chanaa Aehi
 Pra Laks

Pra Laks is one of the central core

figures of the Ramakian story, brother
of Pra Ram, he is featured almost
constantly in the presence of Pra Ram
throughout the story. He appears much
more often than the other brothers,
Pra Prot and Pra Satarut.

Despite this, his popularity and the

amount of public interest in this
character is not shown too much by
Thai people. He is perhaps seen simply
as someone who follows on the heels
of his older brother Pra Ram.

Pra Laks is one of the four brothers

who are emanations of the Vishnu
Avatar as told in Ramakian. The main
figure and Hero of Ramakian, who is
considered in general to be the Avatar
of Vishnu (Pra Narai in Thai).

This Avatars name, is Pra Ram.

Although Pra Ram is seen as the Avatar
of Vishnu, in fact, all Four brothers
including Pra Laks, are aspects of the
same Deity.

Pra Laks has a Golden Face, and is

believed to have reincarnated from his previous existence as the Naga throne which Pra Narai
(Vishnu) sat upon. Pra Narai incarnated on Earth as the Four brothers, Pra Ram, Pra Laks, Pra
Satarut, and Pra Prot. Pra Laks was born of Tao Tosarot (Dhasarata) and his concubine Nang Samut
Tewi (Samutra Devi, or alternatively known as Nang Samutracha). In Ramakian family Hierarchies,
things get rather complicated due to the fact that most of the Human, Asura (Yaksa) and Vanora
had more than one wife. This means that not all brothers and sisters have the same parents on
both sides, rather often are found to share the same father but not the same mother, and vice-
versa. Pra Laks and all the other brothers share the same father (Tao Tosarot), but only shares the
same mother with one of the brothers, namely Pra Satarut.
Pra Laks Role in the Ramakian
The role of Pra laks is that of a faithful younger brother, whose love and dedication to his older
brother Pra Ram, and his wife Nang Sida. He tends to always take the pain for his brother and is a
surrogate for any ills which are aimed at befalling Pra Ram. In this sense he acts as a shield for Pra
Ram who is the central, most important aspect of the four emanations of Vishnu Avatar of Pra
Narai.
A perfect example of his love and dedication to Pra Ram can be seen in the part of the story where
Pra Ram is ordered into exile, and Pra Laks offers his life in exchange for Pra Ram’s pardon. But Pra
Ram insisted on obeying the orders of his Father Tao Tosarot, and left, to wander in the forest.
Upon hearing this, Pra Laks insisted on accompanying Pra Ram and Nang Sida and serving them.
The whole time of the exile, Pra Laks gave complete loyalty and selfless service to his brother and
sister in law, in a way which is hard to find a comparison.

He would always go out first to scout the area and remove any obstacles. He built the Ashram
where Pra Ram resided in the forest. As Nang Sida heard the Yaksa Marees’ voice faking Pra Rams
voice calling for help in the forest, she asked Pra Laks to go and search for her husband and help.
But Pra Laks recognized this was not the real voice of his brother, and told Sida not to worry. But
Sida did not believe Pra Laks and called him an unfaithful coward.

Pra Laks was thus forced to disobey his brothers orders to remain in the Ashram and guard Nang
Sida (this was how The demon Totsagan and his accomplice Marees managed to kidnap Sida).
There are a multitude of times where Pra Laks showed his loyalty and love for his brother Ram,
which led to Pra Ram offering the city of Romakala to Pra Laks for him to rule over; But Pra Laks
refused and preferred to remain close to Pra Ram, despite the honor and power he was offered.
Pra Laks was injured in battle defending Pra Ram various times; He was pierced by the Mokhasak
spear of Kumpagan, the Nakabat arrow, and the Promasatra arrow of Intarachit. He was wounded
by the Mulaplan spear and the Kabilapatra spear of Totsagan .

Above Pic; Pralaks is hit by the Nakabat arrow of Intarachit, which can be seen as a Naga snake
wrapped around his arm, which Hanuman is attempting to remove.
 He almost died on each of these
occasions where he was wounded. he can
thus be considered to be an extremely
brave warrior, and an able one too, when
you count the number of Yaksa who died
by his hand in battle.

It is important to note that the injuries

and near death of Pra Laks on three
occasions are intertwined with the role of
Hanuman, the Vanora general of Pra
Ram’s army, who was called upon each of
these three times to bring Pra Laks back
to life, which he did successfully.

In Thai Culture and spiritualist belief,

there is a very popular and powerful
magical charm and incantation which
bears the Name of Pra Laks, called 'Na
Hnaa Tong' or 'Na Pra Laks Hnaa Tong'.
This means literally “Golden Faced Pra
Laks”.

This is because the merit of Pra Laks and

his beautiful gold colored complexion is
considered to carry the blessing of charm
and likeability, as well as the protection
aspect.

There are various ways to apply this

magic charm, be it by rubbing gold leaf
and inscribing sacred mantras in Khom
lettering and blowing on it, or by
tattooing a design called a “Sacred Na” on
the skin, and even by inscribing the Kata
(mantra) of Pra Laks Hnaa Tong on a scroll
and rolling it up into a pendant amulet to
be worn (called a Thagrud). Another
rarer but powerful application is the Siarn Pra Laks Hnaa Tong, which is a Ruesi Pra Laks mask, used
to chant and rub over your face, or if life sized, place over your head. This is supposed to bring
great success in business and love matters.

Above left Pic; 'Siarn Pra Laks Hnaa Tong' Pra Laks mask with magical spells for ritual use in Pra
Laks Metta magic. Made by Luang Phu Ka Long Khiaw Gaew of Wat Khao Hlaem in Sara Buri. This
piece has become very rare and collectors item. 2999 of them were made, which after lUang Phus
passing away became extremely sought after, as did all amulets made by this Master of the Tiger
faced Ruesi Wicha; Phu Saming Prai.
 Pra Kata Pakawambodii (Pra Gajjayana)

Pra Kata Pakawambodii (Kata Pra Pid Dta – Buddha covering Eyes/orifices), is one of the most
powerful Kata to Chant for increasing Riches as well as protection, reducing sufferings and illnesses
and incre

Pra Pakawambodii is also known as Sangajjayana (the famous sitting laughing Buddha with round
curly hair knots, and a large belly – the Buddha of Happiness and wealth), called 'Pra Sangkajai in
Thai).

• Tamma Jaggang Bpatang Sudt Dtawaa

• Puch Chidt Dtawaa Adt Dtang Bpatang
• Sandtigae Arahaa Laapo Logaanang
• Hidtagaranaa Pandtae Pawam
• Bpadtinaama Dtisulokae Subpaagadto
• Prahma Budt Dto Mahaa Thaero
• Araho Chaedtago Muni Bpidt Dti Thaero
• Samo Inta Kantappaa Asuraa Taewaa
• Saggo Prahmaa Pi Bpuchidto
• Na Mo Put Tas Sa Kawam Bpadtissa
• Na Mo Tammassa Kawam Bpadtissa
• Na Mo Sangkassa Kawam Bpadtissa
• Sukhaa Sukha Warang Tammang
• Tammajagga Bpawarang Warang
Pra Kata Mahaa Saedthii (Millionaire Kata)

• Jadt Dtaaro SadtiBpadthaanaa Jadtaaro Ittibpaataa Sammaawo

(Chant Three Times)
Pra Kata Khaay Khong (Kata to sell your goods)

• Om Terb Mahaa Terb Sarapad Terb Sawaaha

This Kata must be Chanted One Hundred and Eight Times to be effective. Chant it facing a bowl of
pure water and focus on the water in the bowl. Once finished Chanting, spray the water over the
goods you are hoping to sell
Kata Taw Waes Suwann
Kata Taw Waes Suwann is The Kata of Lord Guberan, or, as he is called in Thailand 'Taw Waes
Suwann'. He is the Lord of the Northern Quarter of the Jadtumaharachiga Asura Realm, and in
addition, the Deity of Great Riches and Treasures, who also gives Protection from Black Magic and
Demons.

Bucha Method;
Light Nine Incense sticks for Bucha Taw Waes Suwann, and Chant;

• Om Nidti Bpataye Wae Wae Si Yaa Ma

Heart Mantra for Taw Waes Suwann (Kata Hua Jai )

• Wae Sa Pu Sa
Kata to Bucha Taw Waes Suwann (Long Version)

• Idtibpiso Pakawaa Yamma Raachaano

• Taw Waes Suwanno
• Maranang Sukhang Ahang Sukadto Na Mo Put Taa Ya
• Taw Waes Suwanno Jadtu Maharachigaa Yagkha Pandtaa
• Pata Puuridto Waes Sa Pu Sa Puttang Arahang Putto
• Taw Waes Suwanno Na Mo Put Taa Ya
Kata Kata Hua Jai Hanuman Heart Mantra

• Na Ma Pa Ta
• Om Hanumaana Waato No
• A Ma Ma Wa
• Ja Pa Ga Sa
• Na Ma A U
Kata Kata Hua Jai - Important Heart Mantras
Kata Hua Jai Pra Apitam (Heart Mantra of the Abhihamma)
• Sang Wi Taa Bu Ga Ya Ba
Kata Hua Jai Prasut (Heart mantra of the Suttas)
• Tika Sang Angku
Kata Hua Jai Pra Winay (heart Mantra of the Vinaya)
• Aaa Bpaa Ma Ju Bpa
Kata Hua Jai Sadt-dta Pochongk (Heart Mantra of the Seven Bojjhankas)
• Sa Ta Wi Bpi Bpa Sa U
Kata Hua Jai Pra Radtana Dtrai (Heart Mantra of the Triple Gem)
• Iswaa Su
Kata Hua Jai Pahung (Heart Mantra of the Victories of the Lord Buddha)
• Paa Maa Naa U Ga Sa Na Tu
Kata Hua Jai Pra Putta Jao (Heart Mantra of Lord Buddha)
• I Ga Wi Dti
Kata Hua Jai Bpadtisangkhaayo (Renunciation of Material attachments and Refuge in Triple Gem)
• Ji Bpi Sae Ki
Kata Hua Jai Pra Dtrai Pidok (Heart Mantra of the Tripitaka)
• Sa Ra Na Ma
Kata Hua Jai Yord Siin (Heart Mantra of the utmost Virtues)
• Putta Sang Mi
Kata Hua Jai Tammabot (Peta Mantra for the Hungry Ghosts)
• Tu Sa Na So
Kata Hua Jai Bpatamang (heart Mantra for making Pong Bpatamang - first of the five sacred
powders used for Pra Somdej amulet making)
• Tu Sa Ma Ni
Kata Hua Jai Itaje (Heart Mantra for making Pong Itaje - another of the five sacred powders used
for Pra Somdej amulet making)
• I Ta Ka Ma
Kata Hua Jai Dtrini Singhae (Heart Mantra for making Pong Dtrini Singhae - third of the five sacred
powders used for Pra Somdej amulet making)
• Sa Cha Dta Dtrii
Kata Hua Jai Sonti (Heart Mantra of returning things to harmony - Harmonic Sutra for repairing or
empowering Yant)
• Nga Ya Na Ma
Kata Hua Jai Baramee
• Pha Wi Saj Jae Ae Chi Ma
Kata Hua Jai Pra Bparidt (Heart Mantra of the Parittas)
• Sa Ya Sa Bpa Ya A Ja
Kata Hua Jai Wirubpagkhae
Mae Dta Sa Ra Puu Muu
Kata Hua Jai Pra Nippaan (Heart mantra of Nibbana)
 • Siwang Puttang
Kata Hua Jai Yaani
• Ya Ni Ra Dta Nang
Kata Hua Jai Garaniyamettasudt (heart Manbtra of the Karaniya Metta Sutta)
• Ae Dtang Sa Dting
Kata Hua Jai Wipassanaa (Heart Mantra of Vipassana)
• Wira Sadti
Kata Hua Jai Mangkalasudt (Heart Mantra of the Mangkala Sutta)
• Ae Dta Mang Ka Lang
Kata Hua Jai Aayandtu Pone Dto
• Aa Ni Cha Ni
Kata Hua Jai Mahaa Samay
Gaa La Gan Taa Ma Haa Pi Sa Maa
Kata Hua Jai Saedthan
• Sae Pu Sae Wa Sae Dta A Sae
Kata Hua Jai Bpadtimokh (Heart mantra of the Pattimokkha)
• Mae A Ma U
Kata Hua Jai Paetch Sii Daan (Heart Mantra of the four sided Diamond)
• Asis Sa Dta Dti Ba Pa Sa Ming
Kata Hua Jai Siin Sib (Heart Mantra of the Ten Moral Precepts)
Bpaa Su U Chaa
Kata Hua Jai Ariyasaj See (Four Noble Truths Heart Mantra)
• Tu Sa Ni Ma
Kata Hua Jai Tamma Jakr (Heart Mantra of the Dharma Chakra - the turning of the wheel of
Dhamma)
• Dti Dti U Ni
Kata Hua Jai Nipaana Jakrii
• I Sa Ra Ma Saa Pu Tae Waa
Kata Hua Jai Tosa Chaadt (Heart Mantra of the Ten last Lives of the Buddha if Buddhist, or Vishnu
if Brahman)
• Dtae Cha Su Nae Ma Pu Ja Naa Wi Wae
Kata Hua Jai Mae Pra Toranii (Mother Earth)
• Mae Ga Ma U
Kata Hua Jai Ya Dto hang
• Na Hi So Dtang
Kata Hua Jai Pra Gugu Santo
• Na Ma Ga Ya
Kata Hua Jai Pra Gonakom
• Na Ma Ga Dta
Kata Hua Jai Pra Gassop (Kassapa Bhikkhu)
• Ga Ra Ma Ta
Kata Hua Jai Sangkaha
• Ji Jae Ru Ni
Kata Hua Jai Nor Mo
• Na U Ae A
Kata Hua Jai Nam (Heart mantra for Water Element)
• Aaa Bpaa Nu Dti
Kata Hua Jai Din (Heart Mantra for Earth Elemental)
• Bpa Ta Wi Yang
Kata Hua Jai Fai (Heart Mantra for Fire Elemental)
• Dtae Cha sa Dti
Kata Hua Jai Lom (Heart mantra for Air Elemental)
• Waa Yu La Pa
Saan Pra Poom – Saan Jao Tee Jao Tang, Saan Prohm – Spirit Shrines

Above Pic; Saan Pra Poom – a shrine house for the local spirits, ghosts or Deities to reside in.
Almost every Buddhist home has one of these in Thailand.There are three main forms of spirit
house; Saan Pra Poom, Saan Jao Tee and Saan Prohm.
Kata Bucha Saan Pra Poom (Luang Por Kasem)
IdtiSugadto Arahang Putto Namo Puttaaya Bpatawii Kongkaa Prapumma Taewaa
Khamaa Mihang
In Thai belief, every place or location has a 'Jao Tee'. The Jao Tee is believed by most Thais to be
the spirit that guards over a particular region or area. But not many Thais really know the details
behind who is the Jao Tee of each place, and what his true functions are in the spirit world. What is
generally known is that the Jao Tee guards over the region allocated to him, and protects it from
those who will cause disturbances.
The Saan Pra Poom is split onto three categories. The Jao Tee have a hierarchy with different kinds
of Jao Tee, which are as follows; Saan Pra Poom Taewaa (celestial Deity shrine), Saan Pra Poom
Jao Tee (Local Guardian Spirit) and Saan Phii (Ghost house). Sal Pra Poom Taewaa will have any of
the following nine kinds of Deity inhabiting the Saan. A Saan Prapoom Taewaa must have one
column support and Saan Jao Tee or Saan Phii can have four or more stilts or pillars.

• Prachaymongkol (Looks after the Nation)

• Pra Nakararach (protects Defence structures, such as army barracks)
• Pra Taepaen (protects mountains and forests)
• Pra Chayasopn (protects the Barn/rice storage building)
• Pra Kon Tan (protects the house and buildings
• Pra Tamma Hora (protects the farm fields)
• Pra Taewa Thaera (protects the temples)
• Pra Tammigarach (protects the plant kingdom)
• Pra Taasataaraa (protects the rivers, streams)

The Thai Buddhist people believe in placing a shrine/house for the Jao Tee Jao Tang to reside in,
and to whom they can make offerings to keep the spirit on their side and protect the home.
The Word Jao Tee refers to the Guardian spirit of a particular place, whereas the word 'Jao Tang'
refers more to the spirits who reside on the paths between, or entrances and exits. This shrine
house is called 'Saan Pra Poom'.

The reason for having a Saan Pra Poom, is in order to be able to pray , make offerings to, and
appease the spirit of the Jao Tee, who many Thai Folk believe is the ghost of the previous owner of
the land or the house, who can do harm to the new residents if not contented with them. So it is
important to pray, and make offerings, dedicate merits to the Jao Tee, and to provide them with
their own space in order to avoid any disputes between the old owner and the new one. The Saan
Pra Poom should be set up outside the House, in the garden for example. This is almost always the
rule, but there are a few exceptions when the Saan Pra Poom should then be placed within the
House itself;

• A house that is next door to a temple, or next to a cemetery.

• A house that has only empty houses, rubbish and/or dirty unruly surroundings around it.
• A house that is next to a triple fork in the road.

This is because in all of these cases such places will have various ghosts and demons, as well as
other Jao Tee guardians protecting nearby places which makes it necessary to place the Saan Pra
Poom in the house to stop any evil spirits entering the Home. This is the general belief and practice
of common Thai Folk. However, for the more learned or those who practice Ruesi-Ism and
Saiyasart (Thai Buddha Magic), there is a much more complex Heirarchy given to the different
kinds of spirits and Deities who inhabit the Saan Pra Poom, and fulfill the task of being Jao Tee Jao
Tang. The true higher Wicha of Saan Pra Poom, involves a Master performing a Ceremony to invite
the Devas to come and inhabit the Saan Pra Poom.

The Master of Ceremony will normally perform the invitation of the Devas to come and inhabit the
Saan ranging from the first level right up to the sixth level of Heavenly Realm. Even then rising up
to invite the Brahma Deities from level one right up to level 20 of the Celestial Brahma Realms.
Which kind of Deity from which Realms we have in our Saan Pra Poom is thus dependant on the
Master of Ceremonies who has performed the invitation of the Deities. If the practitioner
performing the Ceremony is not of pure heart and mind and without the precepts of Moral
Virtues, then the Saan will be inhabited only by Devas of the lower levels of the Celestial
Kingdoms.
'Garn Dtang Saan Jao Tee Jiu' - Erecting the Chinese Saan Pra Poom, or Saan Jao Tee
The Huang Jui tradition gives the following
method for erecting a Saan Pra Poom;
The Saan must be in line with the entrance to
the house.
It is not permitted for anything to block the
way or the view in front of the Saan
It is forbidden to place next to the wall of the
bathroom or the sewer.
Forbidden to place against a wall where a
bathroom or toilet is on the second floor
above.
The Saan must be placed on the floor, and is
not allowed to be higher than five inches off
the floor at the base, if placed on any kind of
pedestal.
Fish tanks are not allowed to be higher than
the Saan Jao Tee.
The Saan is not allowd to be placed near the
entrance or passageway to the toilet, or the
stairs.
There must be a solid surface or wall behind
the Saan, it is not permitted to place against
a column or pillar in the middle of a room.

The Saan Pra Poom Jao Tee or Saan Jao Tee is a common sight in Thailand, be it in homes or even
civil buildings, gas stations and other workplaces, even in the middle of a farmers field, it is
possible to see a Saan Pra Poom. It can even happen that no Deities come at all in such a case.
Other practitioners who are not Adept may use special Kata to bind or force the Deities, instead of
the correct respectful invitation, which is very dangerous indeed for the people who live in the
house, because the Deity has been forced against their will to inhabit the place and are not happy
about it. This will result in the household having many problems, be they health, work or family
problems. Such a household will live without happiness. So how can we know if the Master of
Ceremonies? If the person performing the ceremony is not successful or adept enough, then the
Saan will get wandering ghosts and fairies inhabiting the Saan instead of Deities, because the Sila
(Moral Precepts) of the person performing the Ceremony were not. Also it can happen because the
offerings made in the ceremony consisted of 'Hlao Khong Kaaw' (whisky and rich titbits, salty
savory smelly foods). The Deities do not consume this kind of sustenance, and will ignore it. In the
case of only lower level ghosts inhabiting the Saan, then the requests for help from the people
who make offerings in the household will not be fulfilled very often, because the lower kinds of
spirits such as the Sampawaesi (phantoms and fairies) do not have very strong powers at all, and it
is difficult for them to fulfill our wishes. Sampawaesi are suffering themselves even with their
situation, so are not in a position to help us much either. To properly make the right invitation to
Deities, a true Master who knows how to make the Ceremony properly, with take the
Householders profession and other aspects of life into consideration. If the house owner is an
officer, Civil servant or in the military or commanding position, then the Master will invite Deities
that are related to Amnaj (power and commanding). A householder who is a merchant or market
seller, would have to invite a Deity that is more inclined to generate Metta powers for riches,
popularity, attraction and charm.

Some Saan may end up empty after a while because the Deities, and spirits that inhabit them may
only have a short time before they dissolve and are reborn again in another ghost form. Some live
for seven days only, some for a hundred, some for a long time. They repeat this being reborn as the
next kind of ghost with a longer lifespan each time, until their Karma is completed and they can
then be reborn into the next form of existence on the next level. When such a Saan is left by the
Deity, and we make Bucha offerings to the empty Saan, then the Sampawaesi and wandering
ghosts may come and eat. They may even inhabit the Saan so as not to need to wander and find
food anymore.

What items are placed inside a Saan Pra Poom shrine?

In general, the following are things you will most probably see placed inside a Saan Prapoom are;
• Jao Tee (normal spirit guardian)
• Dta Yaay (also called 'Por Gae Mae Gae') – Most Thai people believe that these
represent the ancestors, but in fact they don't.
• Pra Poom /Taewadaa – Celestial Deities
• Pra Prohm – Brahma Deities
• Ti Joo Ia – A 'Sian' something like an old wizard
Origins of the San Pra Poom
Returning to the classic Thai Spirit house,'Saan Pra Poom' is believed to be almost certainly taken
on from the Brahman Faith, which entered into the border regions of Suvarnabhumi since ancient
times. This practice was absorbed into the already existing belief system in Siam, and became part
of Thai Culture. Nit received influence from Thai belief system as it was absorbed too;

The Origins of Pra Chaymongkol (Pra Poom) Deity – Protector of Nations

The word 'Pra Poom' (Pra Bhumi) means 'Lord of the region/area'. Saan Pra Poom means 'House
for the Protector Deity of the Region'
It is believed that in Olden Times there was a great King living in Suvarnabhumi (Siam) named 'Taw
Tosarach'. He was the ruler of the city of Pali, which was an exceedingly large empire. He had a
consort named Nang Santaratuk Taewii. He had 9 Princely sons;

• Pra Chaymongkol – wears a high Mongkut crown, has bracelets and necklace.
His left hand holds a purse, and his right hand holds a short sword. He
watches over houses and living places, shops and edifices.
• Pra Nakararach – wears the same kind of dress and decorations as Pra
Chaymongkol, except in his left hand, he holds a bouquet of flowers. He
watches over the entrances to cities, barracks and forts, fighting arenas, and
stairways.
 • Pra Tae Pael or, Pra Tae Paen - wears the same kind of dress and decorations
as Pra Chaymongkol, and Pra Nakararach, except in his left hand, he holds a
Grimoire book (Kampir). He watches over Farms and stables etc.
• Pra Chayasopn - wears the same kind of dress and decorations as Pra
Chaymongkol, except in his right hand, he holds a spear. The left hand is held
in the waist region. He watches over the store rooms, and haystacks, barns.
• Pra Kon Tan - wears the same kind of dress and decorations as Pra
Chaymongkol, except in his left hand, he holds a 'Pra Ob'. He watches over
wedding ceremonies, and places of entertainment, music halls etc.
• Pra Tamma Hora (or, Pra Yaow Phaew) - wears the same kind of dress and
decorations as Pra Chaymongkol, except in his left hand, he holds a Peacocks
Tail. Watches over the field and the forest the mountain and the hedgerows,
gardens and natural habitats.
• Pra Taewa Thaera (Pra Wayatadt, or even Pra Taewa Thaera Wayatadt) –
watches over the 'Buchaniyasathaan' (places of worship and spiritual practice)
such as the Wat (temples) Aram (larger temple), Shrines, and Chedi Stupas.
• Pra Tammigarach (or Pra Tammamikarach)- wears the same kind of dress and
decorations as Pra Chaymongkol, except in his left hand, he holds a 'Pwong
Maalaa (flower garland)'. He watches over the business of the Plant Kingdom,
anything that affects vegetables or cereal crops is under his supervision. He
also watches over and guards the Royal Parks and Gardens.
• Pra Taanataaraa- wears the same kind of dress and decorations as Pra
Chaymongkol, except that he is not holding anything at all in his hands. He
watches over the marshes, bogs and swamps, streams and lakes, reservoirs,
even the rain water which falls is under his supervision.

Each of the Nine Princes possessed incredible military and psychic powers, and because of their
great greed and desire for power, they ruled the country with no morality or virtue. Without
Justice. They oppressed the Folk with no fear of Sin or wrong doing.

Wherever they went they forced the people to present them with offerings so much that the
people were suffering terribly struggling to survive. The news reached the ears of Pra Isworn
(Shiva), who sent Pra Narai (Vishnu) to incarnate and punish Taw Tosarach.

Pra Narai then Avatared down to Earth and was born as a Prahm (Brahman). He then traveled to
see Taw Tosarach. The King was so instilled with Faith at the sight of the serene Brahman in white
who appeared before him, that he asked him what he would like as a Bucha offering of respect and
reverence?

The Brahman then asked for a mere three steps worth of space (as much as he could cover in three
steps). He then told the King Tao Tosarach to pour water over his hands ('Hlang Nam Putta Montr')
to show his promise to the Three Worlds to be witnesses.
 Left Pic; 'Hlang Nam Puttamontr' – pouring of Prayer
Water over the hands. In Thailand this is most often seen
either at Wedding Ceremonies, or when children pour
water over their Parents Hands at Songkran Festival.

Pra Sukr, who was the Kroo of Taw Tosarach, anticipated

Pra Narais bluff, and transformed himself and flew into the
spout of the water jug, preventing the water from flowing.
But Pra Narai took a piece of straw, and stuck it in the
spout, poking Pra Sukr in the eye.

It was so painful that Pra Sukr couldn't take the pain and
flew out of the spout, and the water was able to flow out
in the end.

Pra Narai then transformed himself back to his true shape,

which was that of a God – immense! He took three of his
gigantic strides, and covered the whole circumference of
the Kingdom of Pali, encircling it entirely. When Taw Tosarach saw that he had lost everything, he
began sobbing and bowed down in reverence and humility.

He immediately begged forgiveness from Pra Narai, who was Vishnu himself. Pra Narai chased Taw
Tosarach, Nang Santaratug Taewii and the nine Sons away, forcing them to go live in the
Borderlands of the Himapant Forest. The Folk were freed and lived happily and freely again after
this.

In the end of the story, Taw Tosarach, his Consort and his 9 Sons all had to experience great
suffering and difficulty, due to their greed and selfishness. When they realized the results of their
deeds and the Karmic Law, they went to the place where Pra Narai resided and entered his Palace
to beg his forgiveness. They realized their wrong doings and were genuinely sorry and repentant in
their hearts when they approached Pra Narai to beseech him.
They promised to live within the Moral Precepts of Virtuous Behavior. Pra Narai, the Vishnu Deity,
used his mind reading power to look into their hearts and found true honest intention. So he lifted
their punishment and allowed him and his Consorts to return to Pali Kingdom.
But not to return as the King, rather that he was only allowed to reside in a Conservatory or Sala
(Saan) with one pillar/column supporting it, which is driven into the ground.
And also that Taw Tosarach and Entourage must live to the rules of the promise very strictly,
otherwise they would not be allowed to hang around the Human Realm ever again. Because of
this, Thai people have the custom of erecting a one pillared Saan dwelling in order to provide a
place for these Deities to reside, and to be able to invite them to come and guard the homestead.
So when you see the single pillared Spirit House, you will know that it is (or should be if properly
consecrated), a 'Saan Pra Poom Taewaa'.
You will know that it should have Taw Tosarach or one of his 9 Princely Sons residing there, or Pra
Chaymongkol, Pra Chayasopn or the like.
The Erection of the Saan Pra Chaymongkol
The act of invoking and inviting Pra Chaymongkol to come and protect and watch over the
householder and home, must be performed at an auspicious time. The Ceremony must be
correctly composed and have all the necessary
components included, be they the Kata and Prayers, or
the offerings and ritual paraphernalia needed for the
Ceremony. If it is not performed properly, then things can
go wrong and cause problems in the Homestead, or even
great dangers.
Left Pic; Pra Chaymongkol – Guardian Deity of the Saan
Pra Poom. Knowing the places and objects in the hands
of the various Deities of different places ans buildings, is
to know instantly which Deity is inside the Saan Pra Poom
Taewaa.
You may feel lucky learn about this Dtamnan which even
few Thai people get the chance to read and study. This
article reveals much about the true Wicha which
underlies the tradition of the Saan Pra Poom Taewaa and
the general Thai Spirit Ghost house.
If your household has a Spirit House and you are
experiencing a lot of unrest and bad luck, problems etc in
the home, then you should consider the possibility that
your Spirit House is not a Saan Pra Poom Taewaa, rather,
may be a Saan Phii, or a Saan Jao Tee.
If the Deities really inhabit the Saan then your Household
will be full of luck and happiness, or at least be without
many problems. But if you have a Saan Pra Poom and still
have bad luck, then you should consider the possibility
that the Master of Ceremonies has not performed the
Ceremony of 'Dtang Saan Pra Poom Taewaa' properly.
If a Saan has ended up falsely invoked, then this is called in Thai 'Dtawng Toranii Saan'. If you wish
to take care of and ask help from the ghosts of the previous owners of the house, then you must
'Dtang Saan Jao Tee' – make the proper Ceremony for inviking and inviting the ghosts.

9 Kinds of Auspicious Wood for Pitii Dtang Saan (Ceremony for Erecting a Saan Pra Poom Taewaa)
The use of nine kinds of sacred woods is an ancient bleif and tradition, which is derived from the
belief that the woods will have the qualities or powers which are found to be in the actual name of
that tree, or plant. These woods were then taken and incorporated into the Ritual of erecting a
Saan Pra Poom.

If properly performed, each type of wood must have its own Yant (Yantra – sacred
geometrical/magical symbol) inscribed on it, and face in a particular direction.

The Yant and Agkhara must be made by a Prahm (Brahman) and be in Khom script. The woods
must be laid out in the sequence of directions of the nine Yant (Yant Gao Mongkol). The Prahm
Master of Ceremonies must perform the inscriptions on the correct kinds of Auspicious Woods
(called 'Mai Mongkol' in Thai) in the correct sequence, and according to the Kampir Waet (Vedic
Lore) as transmitted since over 5 thousand years;

• Mai Sak Tong – Means 'Has Honor, and is Wealthy'

• Mai Tong Hlaang – Means 'Beautiful Horoscope/destiny, and has Meritorious
attainments'
• Mai Rachapreuks – Means 'Is peaceful and happy, unperturbed wherever he is in the
Kingdom'
• Mai Chaiyaprueks – Means 'Has Victory, wins all battles, goes unharmed and in
Peace throughout the Kingdom
• Mai Phai Sii Sukh – Means 'Happy and Peaceful'
• Mai Khanun – Means 'Hnun Duang', 'Hnun Choke Laap' – the word 'Hnun' means to
invoke and increase. To instigate Luck and good Fate.
• Mai Payung – means 'High position, Respect and Honor, receives assistance from
others always'
• Mai Song Badan – means 'There will be Peace and Quiet, Quietude, Happiness,
Comfort'
• Mai Glan Glao – means 'The people in the house only do good deeds and auspicious
undertakings (they dont break the Moral Precepts)
If you are installing a new Saan and still have an old one, it is necessary to perform a Ceremony to
remove the Saan and allow the Deity to move on. If this Ceremony (called 'Thon Saan Pra Poom') is
not performed and the old Saan is merely taken away and destroyed, then very inauspicious things
can happen. In such a case, the Deity may still be bound to the place or the Saan, and the new
Deity in the new Saan will be inhabiting his only space.
Many times has it occurred in Thailand that people have removed a Saan Pra Poom unknowingly
and later had to invite a Prahm to come and put things right. Not even all Thai people know the
proper way to perform this Ceremony and there are many digressions from the True Wicha.

Pitii Thon Saan Pra Poom

If you are to remove a Saan Pra Poom Spirit Deity House, then you must invite a Prahm Master of
Ceremonies to do this for you. For it is he who must assemble the positioning, Auspicious date,
time etc of the Ceremony. After this, the Householder must seek and purchase the necessary items
needed for the removal or erection of the Saan Pra Poom Taewaa.
In most cases, Saan Pra Poom are set up without any fences around their area. This is so that the
Guardian Spirit Deities can see any enemies coming. The 'Reuks' (Auspicious times) must be
chosen well. All in all there are 4 Reuks;
Racha Reuks, Taewii Reuks, Mahatano Reuks, and Bhumibpaalo Reuks.
The offerings must all be Auspicious in nature and this will bring us great Prosperity and Happiness
in the Household if performed properly.
Lunar Cycle
The Ceremony must be held either on the 2nd, 4th, 6th, 9th, or 11th day of the Waxing Lunar cycle, and
the 2nd, 4th, 6th, 9th, or 11th days also, in the case of the Waning cycle.
• Wednesday and Thursdays for Dwellings and Houses
 • Thursday or Friday for Farm Fields, Gardens and Temples
• Sunday, Tuesday and Thursday for barracks, Gateways, and places of Martial activity
• Sunday for Exits, Entrances doorways and stairways
• Mondays and Wednesdays for Wedding Halls

Days and Months that forbid 'Pitii Dtang Saan Pra Poom Taewaa'
• 1st 5th 9th Month - Thursdays and Saturdays of those months
• 2nd 6th and 10th - Wednesdays and Fridays of those months
• 3rd 7th and 11th - Tuesdays of those months
• 4th 8th and 12th Mondays of those months

Once the Saan has been physically installed and the pillar safely fixed into the ground, and
Ceremony made, the arrangement of the Saan and the Deity inhabitants must be correctly
arranged. The Saan must be raised about to eye level, or even a little higher than eye level. It can
be made of wood or stone, cement. The 'Taewaroop' (image of the Deity) within the Saan must
have a sword in his right hand, and a book or a money purse in his left hand. It is forbidden to
place the Deity statuette facing the door of the House, which would cause problems to those
entering and leaving the House. The direction in which the Deity faces and the Saan entrance
faces, is the decision of the Master of Ceremonies, depending on the place and occasion.
Directions to face the Saan Pra Poom;
• If the Homesteader is a person in Official Professions, then he must set up the Saan facing
Northerly direction
• If the Householder is a 'Sethee' (very wealthy person), or a Merchant, then the Saan must
be set up facing in a Southerly direction
• If the Householder is a Farmer or Gardener, Tree Surgeon etc, then the Saan must be set
up in a Westerly direction.
• If the place to be installed with a Saan is a place of Worship, Temple, Pagoda or Water
Well, then the Saan must be set up facing in an Easterly direction.
• Family houses in general, should erect their Saan Pra Poom Taewaa facing in a North-
Easterly direction, or in a South-Easterly direction.
• The Master of Ceremonies should be able to make the decision between these two
directions.

Offerings
The traditional offerings found in most recorded Wicha of the Kampir I have found and read, the
following items must be offered in the Pitii Dtang Saan Pra Poom Taewaa Ceremony, which I
personally think to be distorted for the presence of pigs head, which is actually forbidden to offer
to the Taewaa if Saan Pra Poom Taewaa. For the sake of Posterity however, and preserving the Thai
Tradition (whilst still seeking the differences which arose from the migration of Brahmanism and
Buddhism from India, and seeking to uncover the true Wicha and remove any mistakes), I prefer to
list the Traditional Items in commonly performed Thai ceremonies to erect the Saan Pra Poom
Taewaa. We uproot things to find the Brahman roots, but in the end we are studying Thai Culture
and beliefs here, not Indian. So whether they developed from India or not, they are now their own
Wicha, independently co-existing with the Brahman Faith. They have taken on their own
peculiarities and identity, which is of course typical Thai;
Hua Hmoo (Pigs Head), Bai Sri Pak Cham (cone decorative offering bowl with flowers), young
coconut (one), one boiled egg in the top of rice, and three boiled eggs placed around it.Yellow
flower garlands, roasted sesame seeds, roasted Grajae beans, perfumed oil a bunch of Kluay Nam
Tai bananas red and white Khanom Dtom sweets, pumpkin, and eight lumps of Khao Ram. One
chicken one boiled crab, one Pae Sa soup with whole fish in it, and one plate of Oy Wan sugarcane,
butter and milk (one bowl), Betel leaf and Areca Nut. Some tobacco, one cup of tea, two pieces of
white cloth; one for the Master of
Ceremonies one for hanging for hanging
diagonally over the shoulder.
Pic Left; The Prahm Master of Ceremonies at
this Traditional Thai Wedding wears the
white cloth over his shoulder exactly as in
the Pitii Dtang Saan Pra Poom Taewaa.
There are a multitude of Prahm Masters
who are available for a service fee to erect
your Saan Pra Poom Taewaa correctly.
Please be careful and prudent in your choice of Master of Ceremonies. Only take recognized and
trustworthy Masters to do this task for you, for it could affect the whole household in either a
negative, or a Positive way, for the rest of your days.

Left; This is the ideal kind of white cloth to use

for the Prahm to make the Ceremony with.
This would be a fitting example of the correct
way to make offerings.
If you Truly wish a Deity to inhabit and protect
the Vicinity and the inhabitants of your Home,
then you should give them a fitting reception
indeed, not True?

More Likely will it be so, that the Taewaa will

answer your invitation with an acceptance, and
watch over you as well as you care for them.

I hope to explain more about inviting some of the other Deities to inhabit the Saan (such as Dtang
Saan Pra Chaiyasopn), in a later Issue of Buddha Magic. There are many questions to answer, such
as 'Can I change the effigies within the Saan or do I have to perform some special Ceremony?'
Or 'Who are the Dtaa Yaay Deities; the old couple you see in the Saan Pra Poom shrines?'

Above Pic; Khun Dtaa Khun Yaay Spirit House Deities

End of Article. (For Now at least... theres still much more to tell really)
Pitii Gruad Nam – Pouring Water Ceremony
Gruad Nam is a ceremony performed by almost all Thai people when
receiving blessings from monks after giving alms. You may have seen
Thai people pouring water out of a metallic receptacle into a bowl,
whilst a monk chants a Kata or prayer.

The water is usually poured either into a receptacle or onto a tree or

the ground.

The word 'Gruad Nam' comes from a Khmer word; 'Jurwaj' and the
word 'Nam' (water in Thai). In Khmer they call it 'Jurwaj Teuk'. The Thais took the word 'Jurwat'
and turned it into 'Gruad'.
For Brahmans, it is the action of pouring water into the Earth for Pra Mae Toranii (see the previous
issue of Buddha Magic for the story of Pra Mae Toranii) to take the Punya (Merits) and pass them
on to those who have already passed away. For Thai Buddhists, there is no difference in meaning
from the Brahman meaning when this ritual is performed.
Two versions of Gruad Nam
There are two ways in which people
make the prayer and ceremony of
Gruad Nam;'Gruad Nam Bpiak' and
'Gruad Nam Haeng'.

Gruad Nam Bpiak – the pouring of

water whilst simultaneously
chanting the Kata to offer the fruits
of ones Merits to the dead.

Gruad Nam Haeng – simply holding

ones hands in the 'Wai' position
(praying hands in front of the
forehead – tips of thumbs at the
eyebrows), and just to pray chant
and offer the prayers of dedication
of Merit.

Two ways to offer the Merits

• One way is to speak out the
names of particular people who we may wish to dedicate merits to
• Another way is to dedicate Merits in an impersonal manner and offer it to all beings, such
as; Buddha, Dhamma and Sangha, Mother and Father, teachers and Kroo, those we have
hurt or bothered, those who have bothered us, animals, hungry ghosts, monsters, Deities..
even to the Maras. This second way is in fact the more correct way to perform Metta
practice, but in the case of a person having much Karmic involvement and need to dissolve
that karma, then the first method is also valid and an important practice. For this reason
both methods are accepted.
The water must be pure and clean, with no odor or discoloration, and must be poured into a clean
receptacle. Do not pour into a dirty receptacle or down the drain.
Water is the communication medium, and Earth is the witness. When you offer the water, you are
not offering water for the dead to drink; You are using the water as the medium to transmit your
Merits with, and the Earth you pour it on to, is the witness to the fact that you are offering your
Merits.

What instruments to use for Gruad

Nam?
In principle, you can use any worthy
receptacles you wish to, but the official
paraphernalia which is available in any
'Raan Sangkataan' (Buddhist offerings
shops), is a Brass or Pewter Phial and
bowl, with a stopper and chain to close
the phial with.

When is the best time to perform

Gruad Nam Ceremony?

You should perform this as a Monk gives

blessings, or immediately after giving
alms. It is not a good idea to do it later,
because if you forget, not only do you
relinquish the good Karma, the person
you were offering the Merit to who was
waiting is left empty handed too, which
is rather inauspicious.

You should begin to pour the water into

the receptacle as the Monk begins to
chant the Kata, beginning with; 'Yathaa
Wirawahaa Bpuuraa'.... and allow the water to run out as he is chanting; 'Manii Chodti Raso
Yathaa'.. Then you must place your hands together in 'Panom Meur' posture (praying hands), as
the Monks then begin to chant the bestowal of blessings beginning with 'Sappiidtiyo Wiwach
Chandtu'.. until they finish chanting, then bow three times. This is the correct way to perform the
ceremony. Some Bhikkhus do not Sincerely approve of people being attached to this ceremony for
they maintain the Academic viewpoint that it is a Brahman ritual and not part of the direct path
indicated in Buddhism. However, even such monks agree that it is hardly imaginable that Thai Folk
will ever really wish to let go of the Brahman influenced factors of worship which are peculiar to
Thai Theravada Buddhist practice and belief system.
Benefits of Dedicating Merit;
Gruad Nam is a Ritual connected to Gaayasit – sacred objects. The rewards are reflected back
upon he who dedicates his Merits selflessly, resulting in both the people who received the Merits,
and he who gave them to receive fruits and blessings from the act of dedication.
Dtamnan Gruad Nam – legendary Origins of the Ceremony
Pra Jao Pimpisarn was a King of the City of
Rajaghiri in the Maghada district (and Father of
the Lord Buddha Sakyamuni).

When he heard that his son, the Enlightened

One, was in the forest nearby, he travelled to
visit him, to ask him to give up his ascetic life and
return to Rule the Kingdom with him again.

When the Buddha declined, King Pimpisarn then

said that whatever thing the Buddha sought and
found out about, he should come and tell his
Majesty about it first before anyone else.

When the Buddha became Enlightened, and had

taught the Bpanjawakii (the first five dsiciples)he
then sent 60 of the Arahants out to spread the
Dhamma, and then took his leave to Rajaghiri to
find his father Pra Jao Pimpisarn, and keep his
promise to share the Dhamma with him.

When the Buddha considered how Pra Jao

Pimpisarn was a King, with many followers, he saw that if his father was to become a Faithful
believer in the Dhamma, and become a devotee of Buddhism, then many people would follow in
his wake. So he set out for the city of Rajaghiri, and his Father called his two Brothers to attend and
hear the Dhamma too. This was traditional in Rajaghiri because all three Royal Princes were
equally popular with the Folk, so whenever an important hearing was to be attended, King
Pimpisarn would have to call his two other brothers to be present. Once the Buddha finished his
Sermon, all three brothers were interested in the Buddhas words. And Lord Buddha led them on
to the Sugar cane gardensof Rajaghiri. Here it was that King Pimpisarn saw his own Kroo bow to
the Buddha and give up his Brahman faith to convert to Buddhism. This caused Pimpisarn to lose
any suspicions or doubts he may have had, to see his own Kroo Ba Ajarn accept the Dhamma. And
King Pimpisarn then accepted the Triple Gem as refuge, and the next day, made alms offerings to
the Sangha at the Palace, in reverence. Just a few days later, King Pimpisarn donated a bamboo gar
den to the Sangha, which was the first ever 'Wat' of the History of Buddhism – Wat Weluwan.

Pra Jao Pimpisarn offers Wat Chetuwan as the first ever temple in Buddhism
After this he offered a large piece of land to the Sangha, which became Wat Chetuwan, the first
ever temple in the History of Buddhism. After he has made hits gift of Generosity, Pra Jao Pimisarn
had a nightmare that a Peta ('Praedt' in Thai) which was so fearful in appearance that came and
moaned at him. In the morning he went to see the Buddha, the Buddha then told him that the
dead relatives were coming to ask for a dedication of some of the Merits, and then recommended
that Pra Jao Pimpisarn performed 'Gruad Nam' for them. The next day, Pra Jao Pimpisarn invited
the Buddha and the rest of the Sangha to eat alms in the Palace, and he performed the ceremony
of Gruad Nam, whilst receiving the Blessings after making food offerings. That very evening, the
Petas appeared again, but this time they were smiling and happy, came and made friendly gestures
of thanks, and then disappeared. Gruad Nam is considered a Ceremony, that can be practiced at
any time, not only after making offerings. Whenever you make any kind of merit, including after
the effort to say prayers and meditate for a while (efforts to Enlighten are considered the highest
form of Merit by the Lord Buddha).
The Ceremony Method;

After making offerings to the Sangha, you should then take the paraphernalia (phial and
receptacle) and kneel on the floor with it. Then start to pour it slowly (in order to try to finish
pouring the last drops as the monks finish chanting the Blessing) into the receptacle. You must
concentrate and think of the Merits you might have made giving alms, and think of those you have
harmed or spoken or thought of badly in the past, and all beings in suffering, and dedicate the
fruits of your Merits to them. Do this in your heart not only with words. Make it clear to yourself
that you really do wish some fruits of your Merits to go to remove the sufferings of those we have
harmed in the past (The 'Jao Gam Nai Waen' in Thai – the agent of Karma – the shadow which
follows us – the negative energy of those we have harmed). Only one person need perform the
water pouring, but the other people can touch hand or side of receptacle if they wish to join in.

As you do this, the Monks will Chant;

• Yathaa Waariwahaa Bpuuraendti Saakarang
• Aewa Maewa Idto Tinnang Bpaedtaanang
• Ubpa Gabp Bpa Dti Ijchidtang Bpadtagidtang
• Dtuyhang Khibp Bpa Maewa Samich Cha Dtu
• Sappae Bpuuraendtu Sangabp Bpaa
• Janto Bpannaraso Yathaa
• Manii Chodti Raso Yathaa
The Kata translates as; 'Just as A stream that is overflowing with gives its extra water into the sea,
so is The Dhana (offerings) which Relatives are giving from the world of the Living, to those who
have passed on into the next world. They will receive the fruits of those Merits accordingly, may
your wish to offer them be fulfilled completely like the full moon and shine like the Mani Chote
crystal'.

As the Kata reaches the words 'Manii Chodti Raso Yathaa', you must let the last drops fall out of
the phial into the receptacle, because the next thing the Monks will do is say the Kata for offering
the fruits of the Merits to the dead.

There are three main aims to performing Gruad Nam Ceremonies;

It is symbolic action of giving. The reason a small bottle of water is used is because it is small and
easy to use, as to use large objects for giving would make the ceremony too cumbersome. It
represents the flow of love and compassion from your heart in the act of giving.
It is a way of swearing a kind of Oat, as Pra Naresworn Maharach did when he poured water on the
Earth, to cut Amity ties with the Burmese.

It is the offering of accumulated Merits to share with those who have already died. This third factor
of the ceremony of Gruad Nam is the one which Thai people consider the most important and
Sacred, because the use of water ('Nam' in Thai) is synonymous with the word for Compassion and
helpfulness ('Nam Jai' – meaning 'Heart Water' derived from the allusion to the flowing passivity of
water, which does not let itself be retained easily.) Gruad Nam is therefore metaphorical for the
'Nam Jai' which we let flow out from our hearts to those who have passed on into the next World,
our Elders or even anyone we wish to think of.

The Gruad Nam ceremony has been

performed since of course before even the
Buddhist Era began, and has been used in
Buddhist practice since the times when Lord
Buddha still walked the Earth and taught the
Dhamma. It is recorded even in a story;
Once, as the Lord Buddha was residing at
Wat Chetuwan Maha Vihara with the
Sangha, there was a Brahman merchant
from Saawathii who had a fortune of over
eighty Ghodas (a lot of money). He had a
son who he loved very much, but, when the
son reached the age of about 17 years old,
he became ill and died. He was heartbroken,
and ordered his servants to burn the corpse
in the forest and build a small house and ordered a servant to stay there and take care of the place.
The servant should bring food every day for his son. He behaved as if his son was still alive, and the
food was sent daily without fail.

One day, the rain was falling very heavily and flooded the path to the Salon of the Brahmans son;
The servant was unable to cross the flooded area to reach the Salon, and prepare the food. As the
servant was making his way back to the Merchants mansion, he came upon a Bhikkhu who was
wandering on alms round, and offered the food to him. The servant performed Gruad Nam
ceremony and made offering of Merits to the son of the Brahman. The son of the Brahman
appeared to his father in a dream, and said “Father I am already dead, but I never ate anything at
all until today, which is the first time I have eaten”.

The Brahman was puzzled by this Nimitta vision, and sent some people to go and find the servant
who had taken the food. The servant explained that he took the food every day, but that today, he
was not able to cross the flooded area to reach the tomb of the Brahmans son. He continued to
explain that he had encountered a Bhikkhu on the way back, offered the food, and then made the
wish to offer the Merits to the son of the Brahman merchant, so that he may be able to eat one
more time. When both the Merchant and the servant saw that this was an uncanny event, they
decided to go and see the Buddha, to see what the Enlightened One had to say about it.
The Brahman took offerings of flowers and incense, candles and fine thing, and gave them, then
sat in a suitable position. He then asked the Lord Buddha what benefits, if any, there would be
from making a salon shrine room for dead Relatives in the forest, and placing animals, gifts
possessions and other offerings, cows, goats and horses?

The Buddha then said that if you really wish to send some kind of help, or benefits to your dead
Relatives, you should rather make offerings to the Bhikkhus, and then make Gruad Nam ceremony
and offer the Merits to the dead That if they did this, then both them self and their relatives would
find an end to suffering. After hearing the Buddhas Sermon, he was very pleased, and invited the
Lord Buddha and the Bhikkhus to his Mansion. He then gave alms, in the form of food and 'Bajjay
See' (the four requisites), and performed Gruad Nam ceremony, offering the fruits of his Merits to
his son. The Buddha told him to not bother going back to the forest cemetery of his son, but
instead to keep the Sila (Moral Precepts) and practice the Dhamma, and that his son would then
be reborn again in the Dawadingsa heaven with a thousand angels to ward him. It is said that the
Brahman kept the five and eight precepts (alternately) until the day of his death, and both he and
his son were reborn in Heaven as predicted.

There is a much shorter and a much longer Version of Kata Gruad Nam

Short version;
• Itang Mae Yaadtiinang Sukhidto Hondtu (3 times)
Long Version;
• Yanginji Gusalang Gammang Gadtuppang Giriyang Ma ma
• Gaayaena Waajaamnasaa Dtitasae Sukadtang Gadtang
• Yae Sadt Dtaa Sanyino Adt Thiyae Ja Sadt Dtaa Asniyo
• Gadtang Bunyaphalang Mayhang Sappae Paakii Pawandtudtae
• Yae Dtang Gadtung Witidtang Tinnang Bunyaphalang Myaa
• Yae Ja Dtatha Na Chaaandti Taewaa Dtan Dtawaa Niwaetyung
• Sappae Logamuhi Yae Sadt Dtaa Chiiwandtaahaara Haedtugaa
• Manunyang Pochanang Sappae Lapandtu Ma Ma Jaedtasaa
Common Questions;
'If I perform Gruad Nam with just my imagination but don't really pour any water as I do it, does
the person I am dedicating fruits of Merits to receive them?'
If you say it with all your heart, and mean it, then the person will receive those fruits of Merits
surely, regardless of whether you pour the water according to ceremony or not.

So to develop a pure heart and intention when praying is the most important aspect of creating
the cause for auspicious blessings to occur. You don't have to pour the water, but you have to pour
the compassionate thought from the well of your heart. Some people only offer the fruits of their
Merits to their own relatives. When this happens, the dead ghosts who are not relatives walk
around moaning, for they did not receive any fruits.

Can Monks perform this Ceremony themselves for dedicating their Merits?

Yes they can. At least they are seen to do this sometimes. It depends on the Monk and his practice
whether he sees it as fitting or not. The ceremony is of course always fitting, but those Bhikkhus
who seek Arahantship are trained not to hold fast to ideologies or dogmas. Obviously then, for this
reason, they are therefore not encouraged to become too attached to the necessity for such a
ceremony.

The wise Masters teach that what really matters is what is in your heart when you do something,
and here is precisely where the real transformation takes place; In your own heart. All of the
teachings I have found which come from any Master of Supreme worth, all indicate and attempt to
convey the key message that says 'It is your own effort, mindfulness and intention which causes
the process of Self Transformation, nothing else.'
Must I chant in Pali?
No. In fact, if you don't understand the words in Pali, it may be even better to say it in your own
heart in your own language, for this way, what you say will be exactly in line with what your heart
is feeling and intending. To effectively chant Kata in Pali and get best results, it is best always to
study the meanings of each Verse of a Kata until you have memorized the basic meaning of each
line.

Should we offer fruits of Merits to those who have already entered Nibbana?

Yes you can, even the Buddha deserves our

offerings of Merits despite the fact that he is
beyond suffering, and in fact does not need
it. What is of most importance, is that you
give gladly and rejoice in sharing the fruits of
your Merits. This is the important act which is
the cause for not falling into the nether
worlds and the hell worlds in future lives.

Think about it, when your son or daughter

comes home and gives you something they
have brought with them for you. Even if it is a
small worthless object, you are pleased and
see what a good child one has.

If we can see goodness in even a young child

when they give generously, then we must
understand that if we do the same and offer
out merits to the Buddha, in respect and
reverence, then we are being good children,
good Looksit.

Which if we do with genuine effort, will surely bring all the blessings which are of auspicious
nature, and create causes for our future Enlightenment.
Conclusions;
The act of of pouring water comes from the fact that King Pra Jao Pimpisarn was a Brahman, and in
those times, the ceremonial method for offering was to pour water over the hands, as is seen in
the Thai home in Thai New year, when children go back to their parents and pour water over their
hands.

The Buddha thus gave Pra Jao Pimpisarn a way of practicing the Dhamma of offering the fruits of
ones accumulated Merits, by giving him a well known ritual method which he was familiar with as
a Brahman. The Buddha always chose a language that each particular person would best
understand, for he had the special ability of reading peoples characters, and would know what
explanation would work best for which person.
 Dto Hmuu Bucha – Thai Buddhist multiple stack altar

Above Pic; Dto Hmuu Gao – a Nine Tiered Bucha Altar set

The word 'Hmuu Dto' means 'a group of tables'. The word 'Bucha' means 'Poojah' or 'Ceremony of
Reverence and Prayer/Offerings'. The Hmuu Dto Buchaa is the Classic form of Ritual altar to have in
the home, and even in Temples and Monks Huts for practicing in front of. It helps to focus and to
keep an orderly sequence to the practice of of Generosity, Morality and Wisdom Insight through
Mindfulness (Dhana, Sila, Bhavana).These three methods are the three ways of practicing the
Dhamma and Karma Yoga (improving ones Fate).
In the Present day, the mounting of a Hmuu Dto Bucha for Ceremony is usually done for 2 different
cases;
• Buddhist Ceremonies and Rituals, such as Merit Making and Alms giving, Attending and
giving Dhamma Sermons
• In Official Blessings and Celebrations, or Royal receptions for the King or Queen.
Correct and Aesthetic arrangement or the Hmuu Dto Bucha
The arrangement of the Hmuu Dto Bucha Thai is a National Cultural pastime since generations. But
there is little evidence as to which Era it came from. In the Present Era, in Ceremonies involving the
Sangha (Buddhist Monks), Royal or National or Folk Ceremonies, it is a preferred Tradition to erect
a Hmuu Dto Bucha altar set. The main reason for this is to be able to install a Buddha Statue (Pra
Bucha).

In the times of Lord Buddha, when people wished to pay reverence, or have their Ceremony
blessed, the preferred method of doing this was to invite the Buddha and the Sangha and thus
have all three of the aspects of the Triple Gem present. The installment of the statue is to invite the
Buddha to preside over the Ceremony, and the statue is placed there in his stead.

As Time passed,Thai people began to invent variations on the plain table used to place the Buddha
on as an altar, and began to invent various designs and models of altars. Thus was born the 'Hmuu
Dto Bucha Thai' - the Traditional Thai many tiered altar of worship.

There are now a multitude of different shapes and sizes of Hmuu Dto Bucha available with various
decorative finishes, as well as services to set them up for you gracefully and correctly.
 Left Pic; Grathaang Toop –
receptacle used to place the
incense sticks in.
The bowl is normally filled with
fine white sand or
alternatively, rice grains, which
the incense sticks are stuck
into vertically standing.

Although in Thai Buddhist

temples people light all three
incense sticks in a bunch, in
the case of Hmuu Dto Bucha,
the incense sticks are placed in
a line side by side next to each
other and lit separately.

The Grathaang Toop (incense bowl) should have 3 incense sticks in it. The lighting of three incense
sticks is to pay reverence and think of the three qualities of the Buddha;

• Bucha Pra Bpanyaakun – To pay reverence to the quality of Panya – Great

Wisdom and Circumspection.
• Bucha Pra Wisuddhikun – To pay reverence to the quality of the Purity and
incorruptibility of the Buddha.
• Bucha Pra Maha Garunatikun – To pay reverence to the quality of Loving
Kindness, Generosity and Compassion of the Buddha (Metta, Karuna, Muttita
Upekhaa – the four Brahma Viharas).

The lighting of two candles is the act of reverence to the Dhamma, and the Vinaya (Buddhist
Canon).

• The candle to the right of the Buddha (your left if facing the altar) is the
candle for the Dhamma.
• The candle to the left of the Buddha (your right if facing the altar) is the
candle for the Vinaya.

Correct Thai Method of making Bucha

Here are some things you may find interesting about Thai Ceremonial Religious Tradition and how
to make Bucha correctly using a Thai Hmuu Dto Bucha.
Which Direction will affect my Bucha Table in which way?
• North; If your 'Dto Bucha' (altar and Buddha shrine) faces the North, then your
Household will have a rather mediocre time. Everything will be medium, Neither too
good nor too bad.
• North-East; If facing the North-east, then your Household will prosper in Material
Fortunes.
• East; If facing the Easterly direction, then you will be Great in all things. You will
succeed and prosper in whatever you do.
• South-East; If facing the South-Easterly direction, then you will not fall into poverty
but also not prosper. Just enough to live on.
• South; If facing the South, then you will have to work very very hard and tire your
self out to achieve any progress in Material Gains.
• South-West; If facing the South-Westerly direction, then there will be trouble and
strife in the Household even between same family members. Everything will be
problematic.
• West; If facing the West, then you will encounter obstacle after obstacle, and
perhaps even contemplate or Commit a Serious mistake or offense against yourself
or others.
• North-West; If facing the North-West, then you will be pretty much up in the air all
the time, one person says this, but then the other says that. Nothing will be certain.
Unsurety and Insecurity.

How to Make Bucha;

There are two official ways to make Bucha to the Altar;
The first is Aamis Bucha - offering incense, sweetmeats and flowers etc
The second is 'Bpadtibadt Bucha', meaning to practice developing Samadhi and Vipassana
The second of the two is the one which the Buddha said is the Supreme method of Bucha.

The arrangement of the objects on the Hmuu Dto Bucha is the central base of the ceremonial
practice in Thai Buddhism, and is the focal point when practicing. It is an important aspect of
Religious practice as well as having aesthetic importance in the home too. In Thailand, even
competitions are held, with shows and prizes for who decorates the best Hmuu Dto Bucha.

The basic method for decorating the various sorts of Hmuu Dto Bucha is almost the same, with just
some small omissions or additions, depending on how many tables are in the altar set, some may
have 5, 7 or 9 tables in the set.

The most popular sets used by most people, including temples, are the five, seven and nine table
sets. When choosing a Hmuu Dto Bucha, you should measure the place where you are going to
place it to help in seeing how many tables in a set you need.
 Dto Hmuu Gao – Nine tiered Bucha Altar

Notice from the two previous pictures, that the nine tiered altar must have six pairs of candles
arranged upon it. A 'Grathaang Toop' (incence stick bowl with fine sand, or rice in it), is placed in
the central frontal table that is lowest. Seven flower trays (Phaan Dork Mai), and six flower vases
(Jaegan Dork Mai), should be placed on each of the seven remaining smaller peripheral tables.

When a Hmuu Dto Bucha is assembled for a Public Ceremony or an official occasion, that does not
have the Sangha present in the Ceremony, then The Flag should be to the right of the Buddha
statue and the Kings image should be to the left of the Buddha. You can see an example of this in
the image on the next page, which is a very nicely set out Hmuu Dto Bucha indeed, with mother of
pearl inlays. In State ceremonies where the Hmuu Dto Bucha is arranged with the National Flag
and a picture of the King, the meaning is 'Chaat, Sasana, Pra Mahagasatri' (Nation, Religion and
King). These are the three things all Thais swear to uphold and protect, and thus all three aspects
of a solid Nation are symbolically included and represented in the Ceremony.
As for the candles, one each should be placed in the far corners of each of the outer lateral tables,
and two candles should go on each of the central tables, one on each side. When using the Hmuu
Dto Bucha for practicing, then the two candles in the central front table which is lowest should be
lit. The other candles are just for decoration. They must have other candles either side of them.

Left Pic; Altar peripherals.

If the Buddha Bucha statue you have is
rather large, and wide at the base, you
can reduce the amount of candles by
one pair and one pair of flower trays .

You can see this in the first picture, in

the table directly in front of and below
the Buddha .

These can be removed). As for the

'Jaegan Dork Mai' (flower trays), they
should not have the flowers standing
higher than the Buddha statue, and
should never stand vertically.
Note; for important Ceremonies where the continuity of the Ceremony is important, you should
use 'Yaa Hmong' (tiger balm oil) to rub on the incense tips, and candle wicks, to ensure successful
lighting of them in the moment of Ceremony, with no disturbance from the wind.

Above; This otherwise beautifully arranged Hmuu Dto Bucha only has one set of candles. This is
not necessarily inauspicious, but does leave an aspect of official Tradition out. It is however a
matter of interpretation, which is part of what has led to Hmuu Dto Bucha becoming a competition
pastime. In personal Ceremonies, such as the building of a house or moving in to a house, or other
kinds of blessing ceremonies, which in most cases have a very limited space, and finances are also
not unlimited. In such a case, it is normal to adapt to ones limitations and make the best that one
can out of it using the following guidelines;

The Buddha Image must be higher than all the other Bucha items on the Hmuu Dto Bucha/Altar
The Minimum ritual ornamentation permitted is; One pair of flower vases (Jaegan Dork Mai), one
pair of candle holders (Cherng Tian), and one Grathaang Toop (incense holder)
The trays with flowers can be left out, but the vases must be included.
'Krueang Bucha'
Krueang Bucha means objects of reverence or used for giving reverence.
One kind of Krueang Bucha used in Hmuu Dto Bucha decoration is the Phaan Pum, or 'Phaan Dork
Mai'. The Phaan Pum is a cone shaped tray whose cone is shaped out of flowers or petals laid onto
a carved fruit or vegetable, or in modern times, even foam. Some Phaan Pum use fancy materials
instead of flowers to decorate the surface of the cone.

Above Pic; 'Phaan Pum' decorative offering for the Hmuu Dto Bucha. Also used in Wai Kroo

The amount of Phaan Pum placed on the Hmuu Dto Bucha depends on the number of tiers or
tables in the set, but usually replaces the flower trays and follows the same numerical sequence as
them in their stead. In fact. the Phaan Pum are just a more fancy version of the Phaan Dork Mai. In
the home, most people wil have a Hmuu Haa (set of five tables), because of limited space, whereas
the Hmuu Jed (7 table set) and the Hmuu Gao (9 table set) are normally seen in State, Religious,
and other official Ceremonies.
Above; Various styles of assembly of Dto Hmuu Bucha from different Eras and places.
It is considered important to arrange and maintain the Hmuu Dto Bucha well and to out an effort
into decorating and making beautiful the Hmuu Dto Bucha, as a sign of ones respect for the Triple
Gem, as well as for the Worldly reason of showing ones hand at artistically arranging the Altar in
an eye-pleasing manner.

The person who arranges the Hmuu Dto Bucha must be informed and experienced in the
placement of the various Ceremonial items, in order for them to be correctly and auspiciously
placed according to Traditional method.
Variations to the Modern Norm

Dto Hmuu Bucha 4 Radtanagosin Era (four table Altar)

The Dto Hmuu See (four table Altar) commonly used in the
Radtanagosin Era, has two main varieties; normal variety and
'Dto Sad' ( a table with wings, meaning separate side tables like
guardians)

Left Pic; 'Dto Hmuu Bucha 4 – Radtanagosin Era style Altar in

the 'Dto Sad' method of mounting. This type of Altar was place
in one corner of the room with its corners facing the opposite
corner. This kind of altar can also be used as the 'wings' of a
larger multiple table set, such as the 'Dto Hmuu Jet' and the
'Dto Hmuu Gao' are often seen to have them.

They will normally only be used in large Official Ceremonies and

Rites. The Dto Hmuu See is composed of; One Grathaang Toop,
one pair of candle sticks (instead of 3 pairs), two Phaan Dork
Mai, and one Jaegan Dork Mai (instead of 2 pairs).

In the case of Royal Ceremonies receiving the Royal Family, then

it is not necessary to install a Buddha statue, and is a ceremony
of State, in which the picture of the particular member of the
Royal Family is placed in the highest position in the center

These are the basics for arranging the Hmuu Dto Bucha Thai –
there are many more variations and additions to this, which will
be documented in future editions of Buddha Magic. I hope you
have learned something from this Article.
Pra Putta Roop Bpaed Samay
Continuation of the series; 'Eight Eras of Buddhist Art and Sculpture', which began in Issue one
with a full synopsis of the Eight Main Artistic Eras of Thai Buddhist Art and Sculpture, and
continues every issue presenting different Buddha Statues from Different Eras and Cultural Styles.
Some issues will have longer articles featuring selections of Art from different Eras. The aim of the
series is to accustom you to being able to recognize the various Eras and Styles when you see
Buddhist Sculpture, which will enrich your appreciation and understanding of Thai Buddhist Art, as
well as allow you some insights into the Cultural History of the Siamese Kingdom, and how war and
political change influenced Arts and Culture throughout the various Eras. Knowing about the Art
and History in the past of a Culture, is to know that Culture in the Present . This month presents
two Nationally famous shrine room sculptures, Pra Luang Por Dto, ow Wat Bang Plee Yai Nai, and
Luang Por Tong Kam of Wat Payao, Sao Hai, Sara Buri.
Luang Por Dto sculpture – Wat Bang Plee Yai Nai, Samutr Prakarn

Luang Por Dto is a Buddha Statue in the 'Marn

Wichai' (Conquering Mara) posture. Sat in the
Lotus position, the base is just over 1.5 Meters
wide. The statue is made from Bronze,'Long Rak
Bpid Tong' – meaning that it has been covered
with 'Rak' (lacquer) , and then covered with fine
pure gold leaf. It is fashioned in the style of the
Sukhothai Era. The statue is installed at Wat
Plab Pla Chai Chana Songkram (commonly
known as Wat Bang Plee Yai Nai), in Samutr
Prakarn province, near Bangkok. Luang Por Dto
is one of Thailands Nationally revered Buddha
images which can be said to be of considerable
importance for Thai Folk.

Origins
The legend says that the statue came floating down the Jao Praya river along with two other
statues. When the Thai Folk saw them, they believed that the statues had escaped the unrest and
fighting that was going on in Burma (now called Myanmar). For a time, the Buddhas were taken
from place to place, and traveled a while. Each place they were in, derived their Village names
from something which referred to the Statues (for example the township of Sam Pra Tuan, which
refers to the three floating Buddhas). After some time, the three sculptures were separated and
moved to other locations. The other two sculptures were sent to reside at Wat Sotaworaram and
Wat Ban Laem. Luang Por Dto floated again down the Jao Praya river until it turned up in the
Samrong water channel in Samutr Prakarn. The locals tried to raise it out of the water, but were
unable to do so, so they took a boat with a winch and hauled it down the river and prayed for the
Buddha to make the boat stop where it wished to reside. The boat came to a halt in front of Wat
Plab Pla Chai Chana Songkram (Wat Bang Plee Yai Nai). Amazingly, they were able to lift the
statue easily. Because the shrine room was too small, the statue statue was invited to reside in the
Sala first temporarily. Once the Uposadha was built, the statue was installed where it still stands
today, and is revered by throngs of devotees daily from all parts of the Country.
 Pra Luang Por Dto

Luang Por Dto is a classic example of Sukhothai Period Sculpture. Notice the heavy upper arms and
the gesture of the contours of the hands, and the fullness of the face, the topknots on the head,
flames etc. Each Artistic Cultural Period has its traits. It is these traits which you must develop a
feeling for in order to really be able to know how to recognize Buddhist Sculptures.
 Is Luang Por Dto the image represented in the Pra Gru Luang Por Dto Bang Grating?

Close examination of the features of the Buddha in this amulet reveals startling similarities to the
Luang Por Dto sculpture. This amulet is from the Ayuttaya Period, whereas Luang Por Dto is a
Sukhothai Period sculpture. The eyelids are semi closed and looking down, three hair knots are
present. The lotus petals under the Buddha are in a straight horizontal line with no curves (which
would be the usual), as is in the case of the Luang Por Dto statue.
This amulet is now very collectible, despite the fact that many are still around. Thai people like to
rent this amulet and it is seen going for prices ranging from about 100 Dollars to 1000 Dollars an
amulet.
 Luang Por Tong Kam statue - Wat Payao, Ampher Sao Hai, Sara Buri

Luang Por Tong Kam is a Buddha Sculpture in the late Ayuttaya period styling. Seated in the Mara
Wichai posture, the statue radiates a Majestic and Triumphant air of Serene Benevolence. Seated
in the Khad Samadhi Raap lotus posture. The Buddhas eyes are closed in Meditation. The red walls
of the shrine room reflect a warm radiance from the reflective golden surface of this dazzling
example of Ayuttaya Buddhist art.

The sculpture is made out of an alloy of thirty percent iron mixed with seventy percent Gold. It is
1.05 meters wide from knee to knee and 1.45 meters high. It is a Sacred, and meaningful statue for
the people of Payao and especially the people of the Township of Sao Hai.
 This statue has a wonderful story behind it,
which goes approximately like this;

The statue was originally a cement sculpture

which had been left in complete disarray to
bake in the blazing sun and pouring rain for
years without maintenance in a temple in
Utay Thani, Pra Nakorn Sri Ayuttaya.

In the year 2420 BE, the villagers of Moo 3

(street number), Tambon Saree Thai Ampher
Sao Hai built a 'Samnak Songk' (Sangha
Office*) which they named 'Wat Utis
Samosorn'.

The temple (Sangha Office) was still without

a 'Praputta Roop Bpadtimaa' (or, 'Pra Pratan'
– Main Buddha statue for the Shrine room).
So they went looking for a suitable statue
which may not be needed to install in their
temple as prescribed by the Vinaya.

Then they hard about the statue in Utay

Thani which had been left to rot in the wind and rain, so they traveled to petition the statue to
come and be installed at Wat Utis Samosorn, where it was indeed taken and installed. The statue
remained there without attracting any further undue attention until, in the year 2478 BE, Wat Utis
Samosorn became a 'Wat Raang' (deserted temple).

This happened because the local villagers had lost their natural water source, and had moved away
to seek better places to plant their crops. The statue was once again left to rot in the deserted
temple. In the year 2484, Wat Payao needed a 'Pra Pratan' (Buddha statue in Conquering Mara
posture), for the main shrine room of the new Uposadha (Ubosot in Thai – the Chapel). Thus they
went and invited the old cement Buddha statue at Wat Utis Samosorn to come and be installed at
Wat Payao.

In the year 2493 BE, 'Pratep Wimol Molee' (Jao Kana Jangwat of Sara Buri** ), told Luang Por
Gliang (abbot of Wat Payao) to polish the Buddha statue and improve its appearance a bit. As they
were cleaning the cement, they found some places where the cement was chipped off, and they
saw it was a coating. They then removed all the cement and saw that the statue was in fact a 70
percent pure gold Buddha in all its Majesty, and is the object of admiration and faithful Worship
which such a Masterpiece of Sacredly empowered Thai Buddhist Sculpture deserves, and remains
a Cultural and Religious Heritage of Payao to the present day.

• *Sangha Office; A Sangha Office is the name for a place that is like a temple, but still
without Chapel and Shrine room.
• **Jao Kana Jangwat Sara Buri - Head monk of the Provincial committee of Sangha ruling
over the province of Sara Buri.
That's all from me for Issue 3 Folks.
Issue 3 will begin with the promised story of Pichai
Songkram ceremony, and will see a return of the
'Tudong Tales' series, featuring the legends of Master
Monks as they were travelling on Tudong. Sacred
Yantra for amulet making should also be included in
issue 4 if everything goes as planned. I am still
thinking what else I will include in Issue 4 but I can
give a few clues; There will most probably be an extensive
article on Luang Phu Iam of Wat Saphan Sung and his
Tagrud amulets, a mega long article on the importance
of Wai Kroo ceremonies, Cutting Lek Lai methods, the
ceremony for opening the eyes of a Buddha statue (Pitii
Berk Naedtr), a large Story about the origins and
identity of the Yaksa Asura Giants, an extensive article
on the Brahma Deities and Brahma Worlds... plus the
usual Pra Somdej, Somdej Dto series, as well as the
return of the Tudong tales series. Two different versions of Nang Gwak legends are also to be
included. A couple of Monk Bios should also be included, most probably that of LP Yaem of Wat
Sam Ngam, which was already promised..
If you like Buddha Magic and wish to support my
efforts, then please help by sharing the links on
your social networks like facebook, stumble upon
and my space etc. In the moment we are a readership
of about 40 people as this Issue goes out, so you can
count yourselves of the very few in the world who
have accessed many inner secrets of Thai Buddha
Magic.
Regards;

All Text and Content ©Spencer Littlewood and Buddha Magic E-Zine – Original Articles on Thai Mysticism. You
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