Opening the stage in the first week of the third month with Phra Somdej Bang Khun Phrom, middle Akruth print, Wat Mai Amataros, Bangkok. The statue is beautiful and complete, with a form that meets specifications. The print is clearly defined, and the material is rich with a slightly rough texture, showing a thin layer of crust.
On the back, there is no logo stamp. The statue has a pagoda design with purple ink, indicating that it is an ‘old temple amulet’ that was discovered before the official opening of the temple on October 9, 1957. The characteristics of old temple amulets show a smooth surface with slight crust residue, and the material is quite coarse without any tofu bubbles or sand grains.
Separate prints, standard 8 prints, are: large print, pagoda print, lotus bud print, sam base print, thread line print, sangkhathit print, Akruth print, and double base print—not counting the Phra Pok Phong print and the reclining Buddha print, which are very rare.
This piece, from Veerachai Chaiyajaroen, is a middle Akruth print, which is categorized into large, medium, and small prints. These amulets are rare, especially the beautiful ones in original condition, which are charming and appealing to collectors. Upon seeing it, negotiations began and concluded at 3.2 million.
At this point, I would like to answer the question regarding the different prints of amulets: why were certain prints created and what are their origins? For example, why was the Akruth print created instead of the elephant chest print or the tiger chest print, etc.?
Many knowledgeable individuals explain the history that aligns with the hypothesis that in the early days of Buddhism, which originated in India, sculptures were created based on beliefs to commemorate the Buddha, known as Phra Phim. As Buddhism spread to various regions, the prints absorbed cultural influences from those areas, evolving into the amulets we see today.
However, the forms still adhered to the beliefs surrounding the creation of prints in India. For instance, in Thailand during the Dvaravati period, the forms and intentions of creation were still Indian in style. In the Srivijaya period, Mahayana Buddhism became prominent, focusing on merit-making to become a Bodhisattva, which further changed the creation of prints.
During the Sukhothai and Ayutthaya periods, there were times of peace and times of war, leading to the creation of prints believed to possess power and auspiciousness. In the early Rattanakosin period, Buddhist concepts changed again—the creation of amulets and talismans, collectively referred to as ‘Phra Khruang Rangsang,’ which later became simply known as amulets, followed the beliefs of each monk.
As for why the Akruth print was chosen instead of prints of other animals, such as the crow or the frog, the short answer is that Thai Buddhism incorporates Hindu-Buddhist beliefs that regard Garuda as a great creature, a semi-divine being with royal power, and the vehicle of Lord Narayana. In Thai governance, the Garuda symbol is used as a national emblem and represents the monarchy, which was historically believed to be an incarnation of Narayana. Therefore, when monks created amulets, they incorporated these beliefs into the creation of the Garuda print to invoke the power and blessings of Garuda.
The second piece is an authentic and easily recognizable amulet from the North, Phra Rod, large print, from Wat Mahawan, Lamphun. It is distinguished by its form, featuring wings, with a clearly defined and deeply impressed print. The material is fine, soft, and dense, with no sand grains.
The surface on both the front and back shows signs of use, revealing a rich inner texture, characteristic of ‘rich material,’ indicating its age. This is a highly marketable amulet with strong demand, making it difficult for Mr. Joke from Lamphun to keep his phone lines free.
The next piece is an old temple amulet, the most popular in the city of Nan, Phra Yod Khun Phon Nan Oi, made of silver alloy, middle print, from Wat Na Luang, featuring art from the Chiang Saen period, crafted by Lanna artisans.
The prints are categorized by size: large, medium, and small. The face is clear, with prominent eyes and a raised chest, and the artistic lines are thick. The hair is adorned with a halo, and the sides have rays and lotus petals. The back is smooth, with around 1,000 pieces made of silver alloy, along with some made of clay and herbal material.
When first discovered, it was not popular due to its unappealing art. However, after some individuals used it and experienced miraculous protection from the dangers of war, the amulet gained popularity. The price for beautiful, original pieces like this one from Mr. Arm, Muang Nan, is in the mid-hundred-thousand range.”
Next, we have the small spade coin of Luang Por Ngern Phutthachoti from Wat Bang Klan, Phichit, an ancient cast coin that is very popular.
It was created as the first edition around 1907-1917 by local craftsmen who designed and carved the molds, melting the metal to cast at the temple, with Luang Por Ngern presiding over the process. The villagers were allowed to contribute metal for the casting of the statue in the eye-ointment print and the small spade coin, which has four sub-prints: 1. Raised foot print, 2. Striped eye print, 3. Attached leg print, and 4. Straight leg print.
This particular straight leg print belongs to ‘Mr. Kob,’ Thikarn Supawirachbhancha, and is a beautiful champion piece, with a price range from the high hundreds of thousands to over a million.
Next is the first edition stamped statue, year 1942, print C, Luang Por Derm, Wat Nong Pho, Nakhon Sawan.
Created for the celebration of the ubosot in the year 1942, it is a miniature statue of him in meditation, stamped from a metal alloy, including copper and alpaca. The prints are categorized into A, B, C, and D. This particular piece, from M.B. Nakhon Sawan, is a print C in excellent condition, and has been valued in the mid-hundred-thousand range for a long time.
Finally, we have the Yant Duang (Thalu) coin from Luang Pu Du Phrompanyo, Wat Sakha, Ayutthaya, an immortal monk from the old capital who focused on teaching Dharma and creating amulets for his disciples to use as a support in their practice. As he said, ‘It is better to hold onto auspicious objects than to cling to inauspicious things.’
This coin was issued in 1983 and is one of the popular coins. It is a stamped coin made of silver and copper.
It comes in a regular block and a Thalu Yant block, where the Yant character is stamped on the back and extends through to the front at the shoulder. This particular piece from Mr. Thanat Yodsri Mongkol is a popular block, with a beautiful price in its original condition, ranging from tens of thousands.
To conclude, there is a story about Mr. Pui, the owner of a pet food shop in the new market along the Pin Klao-Nakhon Chai Si road, who is a plump man and has been having knee problems. Whenever he consulted a doctor, he was told to lose weight.
Mr. Pui tried his best, taking medication and dieting, but after a month, he had only lost 3 kilograms and began to feel discouraged, yet his knee still hurt.
He then thought of relying on the monk he admired. Upon reading that there was a young, hot monk creating popular amulets known for their effectiveness in solving problems, preventing issues, and granting wishes, he decided to visit.
The next day, Mr. Pui stood prominently in front of the amulet cabinet at the monk’s kuti, being the first one there. The staff asked what amulet he was looking to buy, and Mr. Pui replied that he wanted any amulet that could help him lose about 30 kilograms.
The staff looked at Mr. Pui, who weighed around 200 kilograms, and shook their heads, saying that this would be quite difficult, as losing 30 kilograms is no small feat. They mentioned that even the monk himself was trying to lose 20 kilograms and had not succeeded in nearly a year. Amitabha.
Sika Ang
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