Somdej Wat Rakang, Phim Yai

Somdej Wat Rakang, Phim Yai and Mysterious Surface:

1. Slightly curved hair stem
2. Oval shaped face
3. Slightly appearing ear, some piece needs appropriate lighting direction *****
4. Slightly appearing neck
5. Slightly curved right upper arm
6. Higher left armpit
7. V-shaped body
8. Slightly protruding left foot, can be seen on a good imprinting piece *****
9. Slight cloth line
10. Very narrow edge or no edge on the right side
11. Bigger dome line than Somdej Bangkhumphrom counterpart
12. Protruding edge stage called " Kha Singh" (lion's leg)
13. Holy mass, loosely encircled by amulet texture
14. Holy mass, loosely encircled by amulet texture      Note: ***** = top secret techniques
  Top "Kung Fu"
On Identifying Somdej Wat Rakang

Backside Features:

1. Sweeping trace covering large area
2. Cracks, mostly occurring at the edge

Somdej Wat Rakang, Phim Yai:

1. General feature resembles to the previous one
2. Please notice the followings:
a. loose holy mass on the surface
b. slight left ear shadow
c. slightly curved right upper arm
d. slightly protruding left foot 

Backside of Somdej Wat Rakang, PhimYai:

1. Cracks at the edge due to the pressure on level sweeping

2. Sweeping trace

Somdej Wat Rakang, Phim Yai Please notice loose mass on the front surface. 

The sweeping trace and lower edge cracks on the backside can still be seen.



Phraya Kruith (Garuda) 大鹏金翅鸟迦楼罗(GARUDA)

The most important creatures of the Himmapan forest is probably the Garuda. Garuda is the king of birds, half-man and half-bird, the vehicle of Vishnu, a Hindu God. Descriptions of Garuda vary from legend to legend. He usually represented as having the head, beak, wings, and talons of an eagle. With the torso like that of human. His face appears white, his wings red, and shiny golden body.

Some texts, however, give different descriptions. Sometimes, he is described as having eight limbs, with six being human limbs, two are legs with strong eagle like claws. Another text says Garuda has either four or two limbs.

When he shown with two limbs, he will be holding a Naga in each talon.

There are many Garuda related legends, some are derived from the Pali and Sanskrit literatures. The major Sanskrit literatures are the Ramayana, Mahabharata, and Puranas. The main Pali source is the Tripikata.

In the Sanskrit literature, Garuda is a son of Kasyapa. Legends says that Kasyapa was a powerful sage. He had many wives, two were his favorites. These two were sisters, Vinata and Kadru respectively. Kadru request a blessing from her husband that she should have a large number of children, eventually she gave birth to 1,000 Naga sepents. The Nagas chose to live underworld in the ocean depth. Vinata requested from her husband that she should have only two sons and should be more powerful than the children of Kadru. In time, she laid 2 eggs. Vinata waited for 500 years, but the eggs showed no sign of change. Vinata grew impatient to know what inside and broke one of the eggs herself.

Inside the egg was a boy with a well-developed upper body but has no limbs below his torso. Knowing that his mother was the cause of his premature birth and the reason of his deformity, the boy was furious. He cursed his own mother that she should become a slave of her sister, Kadru, for 500 years. After casting the curse, he rose up high in the sky and flew away, and finally settled down as the charioteer of the Sun God, Surya (Suriya). He was later known as Aruna (Arun).

Vinata second egg finally hatched 500 years later, and out came Garuda. The body of Garuda expended so large in all directions. His top most part reached the sky. His body shone with brilliant lustre that many gods mistaken him for an incarnation of the god of fire, Agni.

The curse of Aruna on his mother finally came true. At the time, Vinata and Kadru were having a quarrel about the color of the horse produced from the churning ocean ceremony. (The main purpose of the ceremony was to produce the Amarita or the elixir of immortality.)

Vinata believed the horse was pure white in color. Kadru said it was grayish in color, hence the horse should have some strands of black hairs. Their quarrel led to a wager by which the loser would become a slave of the winner for 500 years.

The horse was in fact pure white. Kadru knew it and didn want to lose the bet, she then ordered her Naga sons to assume the shape of horse hairs black in color and stick themselves alternating the real hairs to make the horse appear grey. The innocent Vinata lost the bet and became Kadru slave and was kept in custody underworld among the Naga population.

Garuda found this out later from his mother about the cunning trick. He made up his mind to free his mother. Garuda negotiated with Nagas by bringing them the Amarita (elixir of immortality) in exchange for his mother freedom.

He fought a troop of gods led by God Indra. But Garuda too powerful, even the lighting bolt, the most powerful weapon of Lord Indra, was broken. Garuda eventaully obtained the elixir of immortal. The fight intervened by the great God Vishnu (Narayana). The two are very powerful and no one can defeat another. The two then came to terms. Lord Vishnu gave Garuda a boon which made Garuda immortal, and promised him a higher seat than his own. In turn, Garuda agreed to become the vehicle of Vishnu. Garuda planned a trick by asking Lord Vishnu to follow him secretly and take away the elixir after Nagas have released his mother.

It the boon which Garuda obtained from Lord Indra (Some legends said from Lord Vishnu) that makes Nagas the natural food of Garuda. Generally, Garuda catches a Naga by holding the Naga with his talons and beak by Naga tail then split open the belly, eat only the fat and drop the body back to the sea.

泰国国徽

泰国国徽是一个极富宗教神秘色彩的图腾图案。深红色的大鹏鸟，鸟背上蹲坐着那莱王，是泰国民间传说中鹰面人身的神灵，它头顶金色宝塔，裸露的颈部、手臂和手腕都戴着光彩夺目的金色饰品，两臂弯向头部，手指内侧，偏偏起舞，构成泰国民间舞蹈舞姿的典型造型，展现出浓郁的泰国民族特色。大鹏身披深红色双翼和尾巴，戴着金色的盔甲，两只利爪雄健有力，令人顿生虔诚和敬意。
象征
　　泰国的国家和皇室标示叫做"Garuda"（伽楼罗，揭路荼），这是一个神话式的半人半鸟的形象，据传说是印度教主神之一毗瑟挐（Vishnu）的坐骑，用以装饰普密蓬•阿杜德国王的节杖和皇室旗帜。在泰国的许多政府机构部门都将揭路荼运用到他们的徽章上。此外，Garuda还象征着“受皇室任命、指派”的意思，对于那些获得杰出经济成就或在慈善事业显著的公司机构，此标志表示是受皇室正式批准的。但颁发这样的标志的情况是很少的，这将被视为一种崇高的荣誉。
迦楼罗
按照《迦楼罗及诸天密言经》的说法，就是中国的金翅大鹏鸟或大鹏金翅鸟，是印度教和佛教典籍中记载的一种神鸟。

迦楼罗人面鸟身形，其身肚脐以上如天王形。只有嘴如鹰喙，绿色，面呈忿怒形，露牙齿，肚脐以下也是鹰的形象。头戴尖顶宝冠，双发披肩，身披璎珞天衣，手戴环钏，通身金色。身后两翅红色，向外展开，其尾下垂，散开。泰国国徽上的迦楼罗就是此形象。

迦楼罗是古代世界性的巨鸟崇拜在印度地区的体现，如古埃及的长生鸟、起于两河流域而后流传于西方世界的狮鹫（半狮鹫、格里芬）、古希腊的福尼克斯（凤凰、火鸟）、阿拉伯的Roc（大鹏、神雕、神鹰）、中国的大鹏、凤凰、印第安人的雷鸟等等。

　　从迦楼罗临死全身遭火焚的特点来看，其与埃及的长生鸟应该有着更为紧密的联系，由于印度当地多毒蛇，人们又为其加上了捕食毒蛇的能力，作为崇拜的对象。

　　迦楼罗崇拜随着印度教和佛教的传播，在东亚、东南亚和南亚地区，都有很大的影响。人们把迦楼罗当作力量的象征崇拜。印尼的Garuda航空也以它为标志。

　　在中国，迦楼罗结合了古代传说中的大鹏形象，成为了佛祖的坐骑之一，在西游记中也有出场。据传说，名将岳飞，就是金翅大鹏鸟转世。　

大鹏金翅鸟迦楼罗,也被译揭路荼,音译自梵文的GARUDA,现代发音为嘎茹达. 传说之中人头鸟身的神鸟,有时候也绘为鸟头人身.他是维湿奴神的坐骑,鸟中之王.

大鹏金翅鸟的故事在<<摩诃婆罗多>>和诸多<<往世书>>中都有提到.他是迦叶大仙(KASYAPA)和维妮塔(VINITA)的儿子.维妮塔一日生下一个蛋,出生之后就是大鹏金翅鸟.他一出生就长的非常巨大,翅膀可以大的遮天,眼睛的光芒如同闪电,他一振动翅膀连山都要振动.

金翅鸟也有一个名字叫毗那夜迦(VINAYAKA)和象头神同一个名字.因为人们认为他也可以移走一切的障碍.金翅鸟受到印度人的崇拜,来源于他可以吃掉毒蛇.因为他的母亲维妮塔和天蛇的母亲卡杜(KADRU)结有很大冤仇,所以他到处寻找毒蛇来吃掉.(UDAAR注:天蛇,梵文NAGA,发音为那嘎.传说中的毒蛇,通常非常巨大,有无数的头.这个词传到中国的时候,被佛教徒译为了龙.也就是天龙八部中的龙部.所以佛教徒都以为金翅鸟是吃的龙,实际不是如此.很明显的是这个无爪又施毒的蛇形东物和中国的五爪龙是完全不同的概念.龙树菩萨,梵文NAGARJUNA,照理也应该译成蛇树才对.我们可以看到西藏唐卡所绘的龙树菩萨都是以七头巨蛇作为标识,而不是用的中国的龙).

金翅鸟的巨大能力引起了天界的恐慌,给他自己也带了危险.有一次他张开翅膀把月亮都遮住了.雷神因陀罗决定和他开战,结果天界的诸天都被金翅鸟打败了.但是金翅鸟却败在了维湿奴大神的手下,于是他温顺的成为维湿努神的坐骑.而金翅鸟的哥哥乌茹德(URUD),也被称为阿茹那(ARUNA)则是太阳神的御驾师.而金翅鸟的儿子佳塔由（Jatayu)在维湿奴神化现为罗摩的时候，为了保护悉塔女神而死于罗婆那的毒手，罗摩神亲手为他举行了火葬仪式．

还有传说,金翅鸟曾在天界盗取不死甘露去赎去自己被千头天蛇之母卡杜所绑架的母亲.但是被因陀罗发现了.他们发生了激烈的争斗,最后甘露是被夺回去了,但是因陀罗的雷电金刚杵却被打的粉碎.可见金翅鸟的威力之大.

印度是一个很多毒蛇的热带国家,印度人民经常受到毒蛇的袭击.而金翅鸟是毒蛇的克星,所以人们经常念颂金翅鸟的咒语来防范毒蛇的袭击.但是金翅鸟的神像并不单独供奉,他通常在维湿奴的寺庙里,和大神一起接受人间的供奉.

由于金翅鸟的强大保护作用,佛教也将他作为天龙八部之一供奉,并且比丘每日都会用米饭喂养金翅鸟以免其吞食蛇类，不同的是佛教认为世间上有很大鹏鸟，而印度教只相信有一个宇宙里只有一位大鹏鸟.而在泰国,金翅鸟是作为泰国皇家的象征，到处可见其像．而藏传佛教中更流传着世间大鹏鸟，化身大鹏鸟，智慧大鹏鸟等不同分法，智慧大鹏鸟更是作为出世间的菩萨受到信徒的供奉，当然无论哪种金翅鸟，都与它能降伏龙病（蛇）的原型分不开的，据说是莲花生未曾调伏龙（蛇）的心，导致藏地会有龙病不断因此才传下了许多金翅鸟的修法．

龍波醒2522大鵬金翅鳥-鷹神(Garuda)
在泰國有幾位大師制作大鵬金翅鳥(鷹神)很出名的,一位是龍波屈哪,另一位是龍波包,而最有名的應該算是屈班那(Wat Bangna )的龍波醒了。上圖是大師在佛曆2522年制作的第一期大鵬金翅鳥,材質有黃金(聽說但未遇見過)、純銀、那瓦和銅質四種,而上圖這面是純銀制造的。泰國人相信佩戴大鵬金翅鳥能辟邪擋險、令人信服和增加權力與威望,而泰國各大政府機構也用大鵬金翅鳥作為徽章,可想而知大鵬金翅鳥在泰國人民心目中的地位。大師在佛曆2531年圓寂,所以現在市場上很少見到這面大鵬金翅鳥,去年曾在一牌店見到一面銅質的,但純銀制做的還沒在牌店見到過。這面也是拜託泰國友人找回來的,因我對大鵬金翅鳥有一種莫名其妙的鐘愛。



招財女神簡介

招財女神，泰語稱(南掘)，民間相傳為泰國一大戶人家之獨女，心地善良，樂於助人，死後人們為紀念她，製作此佛像。招財女神的造型多以泰國古代淑女形象，穿著泰國古代的服裝，頭髮整齊束起，戴上精美的髮飾 ，上臂和手腕都戴有金鐲子，常常是坐像，外型端莊。其舉手的法相，意味著可為供養者帶來財運及人緣。

一般招財女神主要供俸於店內，對店面招攬生意有很好的效果，不少商店證實，自從店內供奉了招財女神後，生意額果然比以前大有提升使，客人們也樂意走進店裡購物，店內生意興隆。也能對創業以及要開店人士更有很大的幫助！


於家中或者店面供奉招財女神，就必須每天奉上紅水(泰國一種紅色玻璃樽裝，濃縮的糖漿)，鮮花等，如供奉者想祈求生意財進，可奉上一些化妝品，如唇膏，眼影或指甲油，放在家中或商店被供奉的招財女神像旁，再向女神禱告，便可。供奉招財女神不會帶來任何壞處，只會令人事事順心，善意的行為必會獲得好報，心想事成，財源廣進。


招財女神可為善信帶來福運
帶來生意興旺，事業順利
帶來家庭和睦，幸福美滿

Nangkwak
Nangkwak is a very well-known Thai folkloric fortune goddess. Her right hand lifts up in a posture"calling" money to come in or calling clients to come closer and buy goods.So many Thai shopowners and street pedlars worship Nangkwak as a great fortune magnet.

 An old bronze Nankwak with attractive sculptural design.
Nangkwak figures were first built by bronze casting dated back to the early of Ratanakosin period or some 180 years ago, contemporarily

with Ratanakosin bronze Buddha images. Before and after WWII there were also many magic-guru monks made Nangkwak figures from various materials such as bronze, holy-powder plaster, wood, buffalo horn and ivory tusk etc.

Nangkwak story in Thai mythology related to the Thai-version Ramayana epic. Nangkwak was the only daughter of a great saint named Pooh Chao Khao Khieu who had friendship with a demon named Thao Unaraj or Thao Gok Kanak.

 LEFT: Bronze Nangkwak ,Wat Hua Kao Temple
MIDDLE: Holy-powder Nangkwak brushed in colors,Wat Klang Banghkaew Temple.
RIGHT: Bronze Nangkwak ,Wat Suthat Temple.

Rama met his enemy Unaraj accidentally while he was seeking his lover Sida. Rama launched his magic arrow fixed the demon at place. Unaraj's daughter named Prachand took care of her paralyzed father since then. People strongly hated Unaraj and vowed to revenge him for his past cruelties while his daughter Prachand was also shunned .

An ivory tusk carving Nangkwak ,Wat Nong Pho Temple.The essence of Nangkwak magic script, Na-Cha-Li-Ti, carved on the back.


Pooh Chao Khao Khieu had heard that unpleasant news and sent his only daughter named "Nangkwak" to be Prachand's friend-in-escort.

Marvelous enough, people turned back to pay benevolence to Prachand and brought a lot of eatables and valuables for the two ever since.

The appearance of Nangkwak came simultaneously with bonanzas! Thai sellers worship her as a goddess of fortune. Nangkwak figures have popularly been made both large size for house altar, and small size for neck hanging.

NA-SHA-LI-TI is a 4-syllable mantra of Nangkwak praying for the good luck and fortune to come. It's very effective if you pray with a concentrated mind.
 

LEFT: sacred-powder Nangkwak of Wat Dhai Talad, made in the early of Ratanakosin period .
RIGHT: An old Nangkwak medal .

招財女神(KHATHA Nanguat)

Namo Tassa Bagawato Arahato Samma Sam Buddha Sa (3x)

om tap tap maha tap tap sapak tap tap sawahak tuksak maknik om tep tep maha tep tep sapak tep tep sawahak namo putayak

Wat Mahathat SOMDEJ ORAHANG

Wat Mahathat is also known as the Temple of The Great Relic in Bangkok. This temple itself is large and shares its sprawling complex with monastic cells, schools, offices and other buildings. There is a large peaceful garden of palm trees in the back. It is also the home of the Center for Vipassana Meditation and Buddhist University, the most important center for the study of Buddhism and meditation.

Wat Mahathat predates earlier than the founding of Bangkok in 1782. It was then the First Class Royal Monastery of Ratchaworamahaviharn, Maha Nikai Sect, , initially called Wat Salak which was founded since Ayuthaya period. It was a royal temple in Thon Buri period then renovated by Somdej Phra Bowonratchao Maha Surasinghamat in 1783 and renamed as Wat Nipphanaram in 1783. King Rama I had all the Tripitaka thoroughly reviewed in this temple which he renamed it to Wat Phra Sri Sanphet. He eventually renamed the monastery once again to Wat Mahathat. 

 The temple in which the Buddha Relics are enshrined and the Supreme Patriarch resides in the Ubosot (Ordination Hall) is considered the country’s largest.  It is large enough for 1,000 monks to gather at one time.  This temple is of Thai styled buildings with carved gilded mirrors decorating the gables.  The temple also housed Maha Chulalongkorn Ratchawitthayalai, the University for monks inside the temple.

 Although the Phra Somdej amulets first created by Somdej Phra Buddhacharn Toh may be the best known and some of the most expensive amulets in the market, they is another yet famous Phra Somdej amulets in Thailand – “Somdej Orahang” amulets consecrated by Somdej Phra Sungkharach Suk Kaiturn at Wat Mahathat.

It fact this legendary monk was also the teacher of Somdej Toh and King Rama II, III and IV. According to Buddhist records in Thailand, the sacred monk was born on a Friday in the second month of B.E.2276 (A.D.1733) during the reign of King Boromkote of Ayuthaya’s dynasty. He was called only as “Suk” during his childhood. His family was poor and so he was sent to a Buddhist monastery at a young age to become a novice monk. Little novice Suk was a talented child and he easily understood the many difficult scriptures and Buddhist teachings that were taught to him by his Acariyas (teachers).


In the year B.E.2294 (A.D.1751), at the age of 18 years old, little novice Suk was finally ordained as a Bikkhu and followed several learned monks into the mountains to practice the Buddhist faith.

In B.E. 2310 (A.D.1767), when Somdej Phra Sungkharach Suk Kaiturn was 34 years of age, the Burmese army invaded Thailand and destroyed Ayuthaya. Somdej Pra Sungkahrach Suk Kaiturn moved to Thonburi, then the new capital of Thailand and was appointed as the abbot of Wat Tahoy.

King Rama I, also born during the period of King Boromkote in B.E.2279 established Bangkok as the new capital of Thailand in B.E.2325 (A.D.1782). He invited Somdej Phra Sungkharach Suk Kaiturn to take up residence at Wat Rachsittaram or known as Wat Plub.

In B.E.2363 (A.D.1820), he was appointed as the fourth Supreme Patriach of Thailand (then known as Siam). He became resident at Wat Mahathat for around one year before he passed away at the age of 90 in meditation posture in his simple and quiet meditation room. He had predicted the day he would pass away and held the kind benevolent smile just like the Buddhist light during his passing away.

Somdej Phra Sungkharach Suk Kaiturn was respected as an important living witness to Thai history as he was the only Supreme Patriarch to have seen during his lifetime, the Burmese destruction of Ayuthaya city and three different Thai Dynasties namely Ayuthaya, Thon Buri and Ratanakosin.

Somdej Phra Sungkharach Suk Kaiturn was highly respected for his sacred power and many people having experienced his miracles became his faithful devotees. Popular legend says that this great monk could even call wild hens and cocks from the forests into the temple through his sacred spells. So it was that he became known as Kaiturn which literally meant “wild hens and cocks".

The Birth of Somdej Orahang Amulets
It was also recorded that during his stay at Wat Rachsittaram (Wat Plub), Somdej Phra Sungkharach Suk Kaiturn dedicated his life to develop the temple. He was highly respected for his devotion by many Kings of the Ratanakosin Dynasty including King Rama I, II, III, and IV. In particularly King Rama II, III and IV who often visited his temple to listen to his teachings and Lord Buddha's Dharma.

Somdej Phra Sungkharach Suk Kaiturn spread Buddhism for seventy years and there is no clear record as to when he started to make amulets or how many he had made. Because of his fame and sacred power, many devotees then asked him to create a series of sacred amulets and in B.E.2360 (A.D.1817) according to some documented record, the first series of Somdej Orahang amulets were created and known as “Phim Kesplaewplerng”.

These amulets were created during his residence at Wat Plub. After the first series he was asked continuously to create more amulets which he did and were generally distributed free to both the poor and the general public.

It wasn’t until the time that he was appointed as the Supreme Patriach and relocated to Wat Mahathat, he actually retained many of his Somdej Orahang amulets in the temple’s Chedis. Based on some historical account, the amulets are 22 years older than the famous Somdej Wat Rakang amulets.

Materials Used In The Making of Somdej Orahang
According to Buddhist records, there are several materials used in the making of Somdej Orahang. Below are 9 of the most common ingredients used;

1. Flower Stems
2. Bees' Honey
3. Sugar Cane
4. Banana
5. Tung Oil
6. Mussel Shells
7. Lime
8. Scripture Powders
9. Dried rice grains, etc.
The above ingredients seem to have some similarities used by Somdej Toh in making the famous Somdej Wat Rakang. As mentioned earlier, Somdej Phra Sungkharach Suk Kaiturn was Somdej Toh’s teacher.

Note: For the benefit of knowledge seeking, we have managed to source from the internet a well documented picture of an old Somdej Orahang amulet.

In total there are known to be 5 phims of the sacred Somdej Orahang amulets. Namely they are Phim Sungkati, Phim Tankoo, Phim Kesplaewplerng, Phim Toh Kung, and Phim Lek.

The most important feature of Somdej Orahang is the reverse side containing the word “Orahang” that was hand written by Somdej Phra Sungkharach Suk Kaiturn. Some later batches were stamped with the word “Orahang’. The collection values are the same for the amulets that are hand written and those which are stamped.


1. Phim Sungkati The amulet sized is 2cm x 3.5cm and the Buddha image sits on a three-level base. On the reverse of the amulet is engraved with the word “Orahang”. These amulets were then divided into two further groups namely Phim Siarnto (or big-head Buddha image) and Phim Siarnlek (or small-head Buddha image). The most distinguished aspect of the phim is the piece of monk rope which is called Sungkati beautifully detailed in the amulet. The amulets were made of Somdej Phra Sungkharach Suk Kaiturn’s white sacred powders.

2. Phim Tankoo The amulet sized is 2cm x 3.5cm and the Buddha image sits on a three-level base. The most distinguished aspect of this phim is the two laps of the Buddha image which are slightly wider than those of Pim Sungkati.

3. Phim Kesplaewplerng The size of this amulet is 2cm x 3.5cm and the Buddha image also sits on a three-level base, but without the word “Orahang” on the reverse. The most distinguished aspect of this mould is the topknot of the Buddha, which appears like a burning fire flame. This phim is called “Kesplaewplerng” as this literally translated into “Burning-flame hairs”. The materials used were white sacred powder.

4. Phim Toh Kung The size of this amulet is 2cm x 3.5cm and the Buddha image sits on a three-level base and the word “Orahang” was embossed (not carved) on the reverse. The most distinguished aspect of this phim is the colour of the amulet which is quite red in appearance due to the fact that they were made from red sacred powder ground from various kinds of auspicious Thai plants. Hence, the use of red sacred powder is opposed to the mainly white powder in other phims.

5. Phim Lek This amulet is only 2.3cm high and the Buddha image sits on a three-level base and the word “Orahang” was carved on the reverse. The most distinguished aspect of this mould is the size which is clearly smaller than the other 4 phims. Somdej Phra Sungkharach Suk Kaiturn’s white sacred powder is used in Phim Lek.

For comparison purpose, a later made Somdej Orahang B.E.2551 (see picture) is featured here to assist in the analysis. The size of this new amulet is 2cm x 3.5cm similar in actual size to the ancient Somdej Orahang pendants. Please notice the bundle of hair in this new batch has the descriptions of Phim Kesplaewplerng or "Burning-flame hairs". At the reverse side is the sacred word "Orahang" which is Somdej Phra Sungkharach Suk Kaiturn's trademark for all his amulet creations from the past and handed down to today's generation.

We are very fortunate to have the opportunity to showcase this new but yet historical amulet. The purpose for making this new Somdej Orahang batch is for renovating Wat Mahathat's buildings and structures inside its temple compound. In addition, the year B.E.2551 is in conjunction with His Majesty King Bhumiphol's 80th Birthday that was celebrated throughout the Thai Kingdom. Therefore, we felt that this batch of amulet is indeed made with good cause and is worthy for collection.

In addition, each individual piece in this batch will have a single line marking just above the middle tier. This very fine line mark can only be seen under a magnifying glass.   For hobbyist who have collected this batch should be able to take a closer look into this line marking.  

 Below is another fine example of an old personal collection Somdej Orahang tablet for comparison to the above B.E.2551 tablet.  In this older piece the word "Orahang" was not embossed into the tablet unlike the one above but instead hand-carved. 
 The Discovery of Ancient Somdej Orahang
To this present day, some of the early Somdej Orahang age is about 160-190 years old. Three Phims were discovered at Wat Mahathat. There are Phim Tankoo, Phim Sungkati and Phim Lek. Some of the amulets were also covered with gold leaf and the word “Orahang” on the back was slightly larger than that of the amulets found at the Kru (Chedi) in Wat Sroi Tong.

 Only three Phims are discovered at Wat Sroi Tong namely Phim Tankoo, Phim Sungkati and Phim Toh Kung. Though some people believed that all amulets found at this temple were made by Somdej Phra Sungkhrach Suk Kaiturn, it was revealed by a senior monk of the temple here that they were actually created by Luang Por Kui, whom was the close follower of the patriarch.


Interestingly it was also recorded that the Phim Toh Kung amulets were actually created by a Chinese millionaire, who is devoted to the amulets. The Chinese believe that red is the color of prosperity therefore they had chosen the red sacred powder to create this amulet.

There are also many accounts of good experiences and miracles associated with Somdej Orahang amulets.  Actual photos of the Ubosot where the amulet for rent counter are shown below.

 Somdej Orahang B.E.2551 in original temple box casing.



Below are a few more fine examples of Phra Somdej made from Wat Mahathat. Wat Mahathat also produces some high quality Phra Rod just to share with many of us who doesn't know.

Phra Somdej Phim Sendai in white powder B.E.2551 with official Wat Mahathat enblem at the rear.
Phra Somdej Pim Tansaem in white powder B.E.2551 with official Wat Mahathat enblem at the rear.

A low- or plain-quality fake of Seven-tiered Somdej Keschaiyo, Phim Niyom

 Professional Techniques    Fake Seven-tiered Somdej Keschaiyo Phim Niyom
A net reader sent me a message attached with the above pictures and requested for a review or comment.

The following was my comment:
Your Somdej Keschaiyo as on the attached pic: the imprint or Phim and its texture are NOT correct when compare to standard items.

What does it mean by the above answer ?
If you are REAL collectors and read the above message, you will exactly understand-- that's SOFT sentence for a FAKE or IMITATION amulet.

In every amulet examination we will first check its IMPRINT (Phim) and then the TEXTURE. If the imprint is NOT correct, we will go no further. And the examination finishes just right there--it's FAKE. But if the imprint is OK, we will go on checking its texture, i.e. materials, surface pattern, and oldness etc.

 Original Authentic Phra Somdej Keschaiyo Phim Jed Chan Niyom ( Seven-tiered Phim Niyom)
                            

                                     Enlarged head section

Professional Techniques Seven-tiered Somdej Keschaiyo Phim Niyom(Head Section)

1. Phra Kes or the head stem looks like candle flame
2. Both ears are curved type ( Thai= Hoo Bai Sri)
3. Oval-shaped head
4. Long-stemed neck plus with the oval head looks like a conventional match head

 Original Authentic Phra Somdej Keschaiyo Phim Jed Chan Niyom ( Seven-tiered Phim Niyom)

 Enlarged body & arms section


Professional Techniques  Seven-tiered Somdej Keschaiyo Phim Niyom

( Body & Arms Section )
1. The image's curved left arm ( See More Details)
2. Four bends on the right arm, i.e. 2a,2b,2c and 2d. Authentic amulet should have most of these bend traces.
3. Significantly protruded chest
4. Twisted abdomen, looking like the root of a tooth
5. abrupt declination at the overlaping point between the chest and abdomen

 Original Authentic Phra Somdej Keschaiyo Phim Jed Chan Niyom ( Seven-tiered Phim Niyom)

Professional Techniques Seven-tiered Somdej Keschaiyo Phim Niyom( Stages Section 1 )

 . The uppermost stage has ascending ends, it collectively looks like a boat.

2. If the lighting beam comes from the amulet top, the forming of clustered pair of the 2nd and 3rd stages (from the bottom) will often be seen.

 Original Authentic Phra Somdej Keschaiyo Phim Jed Chan Niyom ( Seven-tiered Phim Niyom)
Professional Techniques  Seven-tiered Somdej Keschaiyo Phim Niyom( Stages Section 2 )

 Around 80% of the left end of the bottommost stage is needle-point like and touch the dome line.
The right end of the bottommost stage touches the dome line and looks like watch-band pin.

 Backside of original authentic Phra Somdej Keschaiyo, Phim Jed Chan Niyom ( Seven-tiered Phim Niyom)


Professional Techniques  Seven-tiered Somdej Keschaiyo Phim Niyom
(Backside & Linear Cracks)
Linear cracks are often found on the backside edges of Seven-tiered Somdej Keschaiyo, Phim Niyom. The above backside of Somdej Keschaiyo depicts such the linear cracks.

It is roughly estimated that around 70-80 % of Seven-tiered Somdej Keschaiyo, Phim Niyom carry linear cracks. No linear cracks found on the backside of Somdej Wat Rakang or Somdej BangKhun- Phrom.

 Professional Techniques Originally Fundamental Amulet of 7-tiered Somdej Keschaiyo, Phim Niyom

The above pic is the originally fundamental amulet of 7-tiered Somdej Keschaiyo, Phim Niyom. It's very important for comparative study on the deviative transformation of the image body structure. The understanding on such the transformation will help much on the amulet authentication.

 The originally fundamental amulet of 7-tiered Somdej Keschaiyo, Phim Niyom


Professional Techniques Original Ridge Face
(1) Please notice the slight arc ridge on the original face of 7-tiered Somdej Keschaiyo, Phim Niyom. The amulets with such the complete face have only 1-2 %. Most of the images' face developed to more flatly due to the wear caused by rubbingly using, or mold modifications.

As to the old-time technique the mold was carved from some kinds of soft rock, not from metal as of present popular craftmanship.

 The originally fundamental amulet of 7-tiered Somdej Keschaiyo, Phim Niyom. The amulet depicts the head, chest and arms of high relief, but these details were later developed to different forms due to the wear of the mold itself and mold modifications.


Professional Techniques Original Body and Arms
1. Original sharp-bend upper arm, only 20-30 % of amulets have this specific characteristic, and the 70-80% left have developed to the full curved style.
2. Original semi sharp-bend elbow. Most of the amulets have developed to normal curved elbow.

3. Original high groove chest. Only 10-15 % of the amulets have the chest of this style, and 85-90% left have developed to the low-groove chest type.

4. Original sharp-pointed end of the upper arm pierces into the shoulder, only 2-3 % of the amulets have this specific characteristic. Such the sharp-pointed end was later removed due to mold modifications.

The old-time mold was carved from some kinds of soft rock. The mold was using to manufacture the amulets quite a while, then it began wearing. Mold modifications caused the amulet image organs especially the arms and chest were developed to different forms.

 The originally fundamental amulet of 7-tiered Somdej Keschaiyo, Phim Niyom.


Professional Technique Tip On The Bell Line
The 7 tiered Somdej Keschaiyo of around 80 % have slightly concaved shape at the end of the bell line. Only 20 % of the amulets have straight line characteristic on this area.
 
 The above benchmark amulet is for comparative study on the image organs' transformation.

The head is smaller. The lower chest begins to be fully filled. The image's upper left arm stretches longer, the space between the arm and the body is wider. The arm belt looks like a wine glass.

Professional Techniques Comparative Study On Transformations
The 7-tiered Somdej Keschaiyo has many spots for authentication checking, such as the head stem, head, ears, chest and arm belt etc. The arm belt is the most important spot. Arm belts of the amulets look similarly but they are really subtly different in shape. If we understand it thoroughly, we could differentiated the fakes and the real effectively.

Many times that Somdej Keschaiyos have been errorneously judged in amulet competitions--the real became fake and the fakes became real--due to unqualified judges. In a recent competition, a Somdej Keschaiyo was wrongly judged--again. The real-judge-fake amulet was later bought by a highly authoritative veteran collector who are not involved in competition circle.

 The head is smaller and the neck is longer. The image's right arm is a circular arc and closer to the body. The space between the image's left arm and body is wider.

More transformation developments: the chest is wider, the arm belt is more flat and looks like a symmetrical wine glass.

Soft and fine texture of 7-tiered Somdej KesChaiyo Phim Niyom. Around 85 % of the Somdej amulets have texture of this type.

 Tiny black burnt incense stick fragments, tiny brown fragments of ground dry flowers, and tiny embedded white holy substance can be seen on the back surface.


Professional Techniques:7-tiered Somdej KesChaiyo, Phim Niyom Texture: Fine Type

Seven-tiered Somdej KesChaiyo, Phim Niyom was made from holy powder, ground burnt-shell lime, assorted lotus and flowers, incense ash and burnt sticks, banana etc., with adhesive of Tang oil and natural honey. The Somdej amulets have 2 major kinds of texture:

a. Fine type
b. Coarce or rough type
Most of 7-tiered Somdej KesChaiyo, Phim Niyom have fine type texture. The above Somdej amulet is of fine type.

 Soft and fine texture of 7-tiered Somdej KesChaiyo, Phim Niyom. Tiny black fragments of burnt incense stick, brown dry ground flower fragments, and white embedded holy substance can be seen on the front surface.


Professional Techniques:7-tiered Somdej KesChaiyo, Phim Niyom Texture: Fine Type

Thick-layered skin covers real surface, any tiny fragments which might have could not be seen. Anyway, the surface looks soft of which is the most common characteristic of 7-tiered Somdej KesChaiyo, Phim Niyom.

 Soft and classsic fine texture, 7-tiered Somdej KesChaiyo, Phim Niyom. Tiny fragments are scarcely seen on the surface.
Professional Techniques:7-tiered Somdej KesChaiyo, Phim Niyom Texture: Fine Type

Seven-tiered Somdej KesChaiyo, Phim Niyom has nearly all the same mixture formula as of Somdej Wat Rakang. Rubbingly wearing the old style, dye-cut, heart-shaped case makes partial change on the surface--the heart-shaped area looks very much like classic Somdej Wat Rakang texture.
 Another soft, fine texture of 7-tiered Somdej KesChaiyo, Phim Niyom. Burnt incense stick fragments can be seen on the surface.


Professional Techniques: 7-tiered Somdej KesChaiyo, Phim Niyom Texture: Fine Type

Tiny black fragment of burnt incense stick, brown dry ground flowers, and embedded white holy substance can be seen on the back surface. Scratchingly rainy lines can also be seen, such the lines were derived from flattening effort by sweeping the amulet back with hard-edged material.

 Professional Techniques:Fine Texture & Linear Cracks
From the above pic:
1 = looming linear crack
2 = natural linear crack due to dryness and shrinkage of the amulet mixture substance (mostly shell lime ).
7-tiered Somdej KesChaiyo was made and blessed by Somdej Phra Phutdhacharn (Toh) of Wat Rakang with high age of nearly 150 years. Quite a long time gradual dryness resulted cracks with specific linear patterns.

7-tiered Somdej KesChaiyo Phim Niyom with very fine texture, tiny materials on the surface are scarcely found. The amulet mixture substance of this kind is porcelain like in some degree.

Professional Techniques:Fine Texture & Linear Cracks
The above pic is 7-tiered Somdej Keschaiyo Phim Niyom with very fine texture and porcelain-like surface. Cracks on the front surface of this kind will mostly be geometrically linear characteristics. Linear cracks also help much on the amulet authentication.

7-tiered Somdej Keschaiyo, Phim Niyom Hi-powder Content Texture


Professional Techniques
The above 7-tiered Somdej Keschaiyo, Phim Niyom is of "KaePhong" or hi-powder content texture. The inner white chalky texture looks very much like Somdej Phra Phutdhacharn(Toh)'s old version Phra Somdej BangKhunPhrom(BKP). And if the texture of a Somdej Keschaiyo amulet is hi-powder content, it is often found that crack characteristic in the inner area of amulet front side is like paddy field surface in a hot dry season while edge cracks are still linear pattern. Please see above pic's pointing arrows:
1. SomdejBKP-like chalky texture
2. Linear crack at the edge
3. Paddyfield-like cracks
Conclusion
From the first start to this end page of 7-tiered Somdej Keschaiyo, Phim Niyom series have told you something -- especially on how complicated it is in an amulet authentication. Not only the Somdejs carry such complicated nature but also do many and many rather old amulets. Real veteran experts and real qualified who know amulets thoroughly and deeply have NOT a lot. Their expertise is based on a long year experiences of having seen real pieces and endeavoring researches. Meanwhile, so many QUACK experts have also been seen in amulet circle of today. They have often judged amulets erroneously and reversingly due to their lacking of real profound knowledge.