The

Thai
Occult
by

Jenx
Translations by Bon

For anyone wishing to visit Thailand to meet the Ajarns in this book,
please contact the author through the website
www.thethaioccult.com
 1 . Ajarn Verataep in his Samnak in Bangkok.

2
Glossary

Ajarn - A lay practitioner of the Occult arts.

Akhara - The letters of the scripts used in the regional Occult practices.
Animism - The belief in the supernatural power of nature.
Arahant - A Buddhist saint.
Athan - Supernatural in nature. Chin Athan - a piece of something supernatural.
Ban Sakul Pen - A ritual to construct a spirit.
Ban Sakul Tai - A ritual to help a spirit pass on.
Barang - An object that contains a supernatural being.
Boon - A gift or action to gain merit.
Boraan - Ancient.
Brahmin - The priestly class from the Indian traditions.
Bucha - To praise, to worship.
Charnel Grounds - A cemetery or a place where bodies were left to decompose.
Chok Laap - The attribute to attract wealth .
Dek Wat - A young helper at a Temple.
Dharma - The teachings of The Buddha.
Esaan - The region of North East Thailand.
Fang Khem Thong - A gold needle.
Farang - The Thai term for a foreigner.
Hoon Payon - A protective Animist spirit.
Horasart - The science of Thai Astrology.
Kata - A chant, prayer or spell, from the Sanskrit word Gatha.
Khan Kru - A construction that marks the level of Wicha attained under a Master.
Khmer - The name of the language, and the ancestors of present-day Cambodia.
Khom - One of the scripts of The Thai Occult, which originated in Cambodia.
Khong Khun - The act of possession.
Khun - The polite way to address a Thai Person, followed by their name.
Klaew Klaat - The attribute to bestow the avoidance of danger.
Kom - A type of spell to control a person, often with the help of a ghost.
Kong Grapan - The attribute of invincibility.
Lanna - A language and the ancient kingdom of Northern Thailand.
Leklai - A legendary substance that bestows invincibility and other protective traits.
Lersi/Ruesi - A hermit sage and conduit to the gods.
Luksit - A student of an Ajarn or monk.
Mae - The Thai for Mother, but also applied to the names of spirits and deities.
Mae Chee - A Buddhist Nun.
Maha - A suffix meaning greatness.
Maha Amnat - The attribute that bestows authority.
Maha Niyom - The attribute that bestows popularity.
Maha Saneah - The attribute of attraction or great charm.
Mantra - Kata - A rhythmic chant of empowerment.
Metta - The attribute of loving kindness and compassion for the self and others.
Mhor Phi - The original shaman or spirit doctors of Thailand.
Miit Mhor - A ritual knife.
Mon - One of the people’s of Burma, their script and language.

3
 Muan Sarn - A mixture of sacred ingredients.
Naen - A young monk.
Nam Man Prai - An oil extracted from a corpse.
Namo Dtassa - A famous chant to the Buddha.
Opatika - A person’s Guardian Spirit.
Pali - The original language of the Buddhist scriptures.
Panneng - An occult talisman made from a part of the human skull.
Pha Yant - A cloth with applied Yantra.
Phi - The Thai name for a ghost (pronounced ‘Pee’)
Prai - Materials from a corpse or items containing the essence of the dead.
Precepts - The rules of abstinence followed by Buddhists.
Pruk Saek - A blessing or activation of a talisman meaning ‘to blow life’.
Puttakun or Puttasart - The Wicha of pure Buddhist or ‘white magic’.
Roop Pan - A wood statue.
Roop Lor - A metal statue.
Sai Sin - A blessed thread that may come from Buddhist rituals or the ceremonies
for the dead.
Saiyasart - The science of influencing life through supernatural forces.
Sak Yant - The magical tattoos of Thailand.
Samathi - An intense state of focus.
Samnak - The workplace of an Ajarn.
Sangha - The Buddhist organisation of Thailand.
Sanskrit - The liturgical language of Hinduism.
Serm Baramee - The attribute of raising the person’s prestige.
Serm Duang - The attribute to realign the fate to be of more benefit.
Somdej - Meaning ‘his holiness’ as well as a style of an amulet.
Sompoi - A seedpod that is soaked in water to bathe with that acts to spiritually
cleanse the body.
Sutta - From the word Sutra, meaning a discourse of The Buddha.
Taep - An Angel.
Taewadaa - A type of Angel or guardian spirits.
Takien - Both a type of tree, its wood and the name of the spirit within - Mae Takien.
Takrut - Yantra or a spell on a thin sheet of metal that can be rolled and worn.
Tamboon - The act of giving to gain merit through kindness or donations.
Tammayut - One of the sects of Thai Buddhism, meaning The Order Adhering To
The Dharma.
Tripitaka - The Buddhist Scriptures, also known as the Pali Canon.
Tudong - A period of spiritual practice undertaken in nature.
Wahn - Plants, their parts or their extracts that are used for their magical qualities.
Wat - A Thai Temple.
Wai - The Thai gesture with the hands together as a greeting or to offer respect.
Wai Kru - An appointed day to show devotion to an Ajarn and receive his blessings
in return.
Wicha - In Pali, Wicha means knowledge gained through study or practice.
The Occult practices of the region have Wicha, and the word is also used for the
more normal sciences, for example, the Wicha of Mathematics.
Yantra - A mystical diagram of Indian origin.

4
2. Sompoi, a seed pod that is soaked in water and used as a spiritual bath to cleanse the
body of ghosts and negative influences.

5
 Introduction

As my mum always says, ‘We don’t know where we got you from’.

It had never crossed my mind to write a book, any book, let alone a series of
works on The Thai Occult, but you never know what will happen in life. The
first Thai Occult book with the red cover is difficult for me to read now as
it’s too rough, but the enthusiasm about the subject was both catching and
compelling. What’s there not to love about a magical system that uses spirit
familiars to influence the thoughts of other people, baby ghosts that can kill,
and love magic that involves getting people to ingest the oils from a corpse?
Rituals that use a photograph and date of birth to either harm, influence or
bring good fortune, knowledge to fill an encyclopaedia on the herbal lore,
and the use of human materials as long as they come from people who died
terrible deaths. And what about a demon/deity that encourages you to fuck
anything that moves and a doll that acts as a bodyguard? It is THAT that got
the first book released, and the fact that I could not understand why no one
had released a book on the subject before.

That first book was about looking at the information that was available at
that time and putting it together, referencing everything that could be found
in print, and opening the door to a closer look at this ancient style of magic.
After spending many years in Thailand, I knew that if a book on The Thai
Occult was produced, the Ajarns would want to tell their story in the second
volume, The Thai Occult Sak Yant. That book set the style for this one and
the interviews are excellent, but with that volume came difficulties and crazy
people. It was a weird test in many ways, something that had to happen to
force me to get my shit together, and as Ajarn Sala Boon Khong commented
at the time, ‘Your next book will be amazing’.

What you hold is ‘the next book’, which is the culmination of a journey that
was laid out before me, and all that was necessary was to follow the path
while enjoying the view.

Quite a few times in my life I have been given an opportunity to work on

something that was meant to be done; like a door opening, and the only
action needed was to step through it. The first two books in this series
showed that I could make things happen, but with this one, the path was
laid out, and my skills were there to show the world of The Thai Occult in
the correct manner. With being an older man who has spent a long time in
The Land Of Smiles, and having produced two books already, the Ajarns
put their trust in me to do the best job possible with this work. That is quite
a responsibility, so this had to be something good because who would want
to upset powerful magicians?

My partner, Bon, was critical in producing this book, in detailing precisely

what the Ajarn in question had said using the best translation possible,

6
which is tricky in the Thai language. It almost drove him crazy, but that is a
small part of the burden of being my partner. Love you, Bon.

The Ajarns interviewed in this book have been incredible, giving freely of
their time, and once they understood how I wanted to pitch this work, they
knew what information to give. A few of the rituals witnessed through the
course of constructing this work will stay with me till the day I die, and
depending on how I die, I may end up in an amulet or two. It’s OK, I don’t
mind, and Ajarn Ting can cremate me when I pass too; such is my respect
for the Ajarns interviewed here. What is astonishing to me is that the Ajarns
do not know how special they are as they are a part of their Lanna culture,
but that may change as outsiders can now read their words as well as visit
them. A few of them have said that it is now my job to help the world understand
them and I consider that role a privilege.

This book has involved my moving home from Bangkok to Chiang Mai to
finish it, such were the complexities encountered. There is a community of
astonishing magicians in this region, and the knowledge that they hold is
breathtaking. Groups of magicians are not common, but what is incredible
is that while they are all Lanna Ajarns, they all have their own ways and
methods of creating magic. A few of them have the area they live in as part
of their title, like Ajarn Ting of Doi Lor and Ajarn Suea of Ban Fon as a mark
of their importance. Many of them were monks for many years, and most
have had numerous Masters from systems as varied as Karen magic and
the Burmese cults. The depth of occult knowledge is mind-blowing, and this
is an introduction to their art.

My aim for this book is that it opens this regions’ magic to the outside
world, ensures its survival, and that some of the Thai and Lanna techniques
are used to refresh other forms of magic. The world needs magic, and the
world needs the people who have the intelligence and dedication required
to become a magician. This book is dedicated to the collection of studious,
spiritual men that have given their time to try to help the reader understand
who they are, and the magic they perform. Find a comfortable chair, fluff the
cushions and get ready for the journey contained within. You may have to
read this numerous times to ensure that it is absorbed correctly.

The Ajarns expect it of you.

With love,

Jenx

To visit the Ajarns in this book for any of the rituals or Sak Yant contained here,
please contact the author at www.thethaioccult.com

7
 Contents

A Funny Kind of Buddhism 11 Thai Amulets 299

Thai Spirits 18 Attributes of Thai Magic 304
Mae Takien 21 The Lersi 310
Mae Tanee 26 Khun Paen 324
Thai Ghosts 29 Kuman Thong 339
Thai Attitudes to Death 55 Luk Krok 367
Magical Ability 60 Phra Ngang 375
Gaining Samathi 61 Mae Per 395
Tudong 66 Prai Krasip 404
32 Parts of the Body & 4 Elements 69 Rahu 409
Kata 75 Hoon Payon 416
Ajarn Tay 78 Inn Khoo 424
Ajarn Perm Rung 102 4 Ears 5 Eyes 432
Ajarn Nahn Khong 110 Nang Kwak 435
Burmese Magic 119 Maa Saep Nang 435
Ajarn Nahn Ting 131 Puttakun Amulets 439
Ajarn Sala Boon Khong 151 9 Tail Fox 439
The Khan Kru 161 Nang Prai 443
Burmese Fortune Telling 162 Hong Prai 444
Candle Magic 165 Prai Thong 444
Graveyard Magic 177 Yoni 447
Ajarn Suea 182 Luk Krok Meow 448
Curses 195 Animal Amulets 451
Ajarn Khaw 196 Leklai 456
Kasin Fai Ritual 207 Panneng 459
Gold Needles 221 Burmese Panneng 470
Inserting Leklai 225 Extreme Prai 473
Ajarn Verataep 226 The 5 Head Ghost 473
Na Naa Thong 229 The Phi Yen 474
Old Lanna Fortune Telling 234 Finger Bowls 478
The Satuang Ritual 242 Suicides 481
The Wai Kru 248 The Load 482
Strange and Ancient Sak Yant 257 Prai Materials 482
Salika Yants 257 The Earths 493
The Human Heart Spell 258 Other Items in the Load 494
Slapping Hand Kata 263 Muan Sarn 497
Ajarn Tui 264 Wood Statues 503
The Suea Jet Pod Yant 264 Nam Man Prai 509
A Rare Lanna Rahu 268 Yaa Faet 521
Yants in a Graveyard 273 Ritual Instruments 523
The Sex Yants of Ajarn Khaw 277 Appendix of Photographs 526
The Sex Yants of Ajarn James 280
The Sex Magic of Ajarn Suea 286
Burmese Sak Yant 287
The Development of Sak Yant 290
Ajarn Daeng’s Rules of Sak Yant 296

8
Ajarn A - Old Lanna Fortune Telling 234-241, Mae Hong Prai 444.

Ajarn Aek - Candle Magic 165, Quote 171, Phra Ngang 384.

Ajarn Apichai - Quote 16, Ghost Types 33, 32 Parts Body & 4 Elements 71, The Yant
Neap 128, Graveyard Ritual 177, Kasin Fai 209, Gold Needles 221, Na Naa Thong
230, Khun Paen 336, The Hoon Payon 420, the Inn Khoo Yant 429, Panneng 466, The
Earths 493, Nam Man Prai 515, Yaa Faet 521, The Maai Kru 525.

Ajarn Daeng - The Development Of Sak Yant 290, The Rules of Sak Yant 296.

Ajarn James - Sex Yants 280-285, Mae Per 400.

Ajarn Khaw - Men & Women in Magic 100, Black & White Magic 106, Possessions
109, Bio & Samathi 196, Graveyard Ritual 200, Sex Ritual 234, Salika Yant 257, Sex
Yants 277, The Lersi 320, Phra Ngang 380, Nang Yaem 399, Rahu 409, Inn Khoo 425,
Maa Saep Nang 436, 9 Tail Fox 439, Salika 440, Phi Suea 440, Quote 465, 5 Head
Ghost 473, Nam Man Prai 517.

Ajarn Nahn Khong - Bio 110, Altars/Offerings 115, Lersi 319, Kuman Thong 363.

Ajarn Perm Rung - Using Kata 82, Bio 102, Visiting A Samnak 105, Black and White
Magic 106, Performing Black Magic 107, Possessions 107, Kasin Fai Ritual 214, Gold
Needles 222, Salika Lin Thong 254, Kuman Thong 358, Phra Ngang 383, Mae Per 403,
The Prai Krasip 406, Rahu 410, The Hoon Payon 423, Inn Khoo 426, Nang Kwak 435,
Puttakun Amulets 439, Prai Thong 444, Luk Krok Meow 448.

Ajarn Piyasitti - Comparing Lanna and Burmese Magic 157, Burmese Fortune
Telling 162, Inserting Leklai 225.

Ajarn Sala Boon Khong - On The Burmese Occult 151, The Datlon 155, Burmese
Sak Yant 287, Burmese Panneng 470.

Ajarn Suea - Quote 63, Possessions 109, Offerings 116, The Khan Kru 161, Bio 182,
Graveyard Rituals 182 & 190, The Serm Duang Bath 209, Satuang Ritual 245, Human Heart
Spell 258, Mue Mon Top 263, Sex Magic 286, Phra Ngang 387, Mae Per 394, Inn Khoo 430,
Animal Amulets 451, Panneng 469, Finger Bowls 478, Wood Statues 503, Yaa Faet 521.

Ajarn Tay - A New Amulet 78, On Kata 78, Quote 81, Backlash 82, Tamboon 83,
Death Meditation & 32 Parts Of The Body 93, Phor Sala Tan 94, Na Naa Thong 229.

Ajarn Ting - Quote 69, On Phor Sala Tan 98, Bio 131, As An Exorcist 137, As An
Undertaker 137, Miit Mhor 146, The Shrine of Mae Surasatee 146, Curses 195, Phra
Ngang 388, Prai 489, Made by Prai 490, Quote 493, Nam Man Prai 512.

Ajarn Tui - Candle Magic 192, Bio 264, Suea Jet Pod Yant 264, A Lanna Rahu 268,
Graveyard Yants 273-277, Maa Khow Sai Yant 278.

Ajarn Verataep - Bio 226, Na Naa Thong 229, Yant Na for Attributes 258, Nang Prai 443.

9
 3. A spirit house for a highly unusual tree in central Bangkok.

10
A Funny Kind of Buddhism

From the conversations with Buddhists, and in particular, the more strident
Western followers, that have arisen since starting the process of gaining
an understanding of the occult practices in Thailand, the most common
response to many of the beliefs in Thailand is ‘That’s not Buddhism!’. While
this response is often a little hysterical or defensive, it is factually correct.
During His pursuit of enlightenment the Buddha rejected magical practices,
but only after He had explored the magical world with the help of a Lersi.
In the end, the Buddha considered magic as a distraction to the aim of
His philosophy, which has lead to antagonism between Buddhism and the
practices of The Thai Occult. The fact that magic is still widely practised in
the region after the influence of Buddhism for a couple of thousand years is
remarkable, but the conflict between the practices negates the history of the
area, the needs of the people and the realities of life itself.

Although religions, practices and philosophies have numerous functions,

they all act as a refuge or way to help their devotees cope with the periodic
suffering that comes with life. They do this by explaining the suffering, and
then attempt to provide techniques by which the suffering is avoided, or its
burden diminished. While Thailand is a predominantly Buddhist country,
there are older systems here that offer alternative, logically incompatible
explanations for the same phenomena, and the people may hold both to
be true. Where Buddhism is practised it is often accompanied by some
other spiritual system, and one reason for it flourishing in Asia is due to the
philosophy easily accommodating the native beliefs of the cultures it came
into contact with 1 . In Thailand, this second system is a folk religion, which
presumes the existence of beings that are supernatural in nature as well as
the practice of magic. Generally termed as Animist, the system has become
hopelessly intertwined with a Buddhism that can be viewed either as a
veneer to the older traditions, or the Animist system can be seen as surviving
in the presence of the organised religion.

While the Thais hold tradition and culture as an essential aspect of their
society, it seems insufficient as a single idea to explain the survival of many
ancient Animist practices. The reason for this may lie within in the structure
of the method of Buddhism itself, or is allied to the frailties of the human
race, something which Buddhism is trying to rectify. Looking at the Buddhist
treatment of suffering, it is important to distinguish its explanation for the
origin of suffering from the reason for its cause. For Buddhism, the source
of suffering is rooted in desire, but since desire is an attribute of all sentient
beings, it follows that suffering can only be eliminated by the transcendence
of sentient existence, i.e., by the attainment of enlightenment. The problem
is that the origin of suffering does not fully explain the cause of personal
suffering through illness, bad luck, the death of a child, oppressive poverty
and so on; all attributed by Buddhism to the inexorable working out of one’s
karma, which consists of the consequences of the good and evil deeds

11
 committed in all previous existences. The person cannot escape or even
alleviate present suffering. The only hope is to preclude future suffering
through eliminating those desires which produce the sins, which creates the
karma, which produces the suffering. 2

However satisfying the doctrine of Buddhism is, the cause of suffering is

less than satisfying emotionally because it places the responsibility of the
suffering exclusively onto the person, precluding the possibility of coping
with it because there is no escape from one’s karma. This aspect is a factor
that allows the ancient Animist practices to survive, as these practices can
often provide the tools sought during the times when human nature comes
to the fore to alleviate the problems associated with daily life. All research
undertaken in Buddhist societies has found Animistic beliefs and practices
that are often incompatible with the doctrine itself, and this is also the case
in Thailand 3 . As E.O. James wrote in a 1961 work on comparative religions,
‘The thought and practice of civilised peoples cannot be cut off from the
underlying customs and beliefs which have played a part in shaping their
world, however much subsequent knowledge and ethical evaluation may
have modified and transformed earlier cultures.’

The ancient beliefs of this region grew from the idea that the natural world
holds magical power, and the people sought to harness that power for their
benefit. Human beings have always attempted to maximise pleasure, which
often expresses itself as the granting of wishes and fulfilling desires 4 . Many
animals instilled awe or wonder because of their qualities, be it the power of
a Tiger or the way an insect attracted a mate. To a hunter that killed a Tiger,
keeping the teeth, fur and claws meant that he could claim the power of the
beast he had slain, and be seen to have done so by the members of his
society. Certain beetles and insects that either attracted a mate through the
sound they made or their beautiful colours attained a relevance within the
belief system that could be used to help young people find a partner. There
was also an ancient practice of tattooing, which predominantly consisted of
the images of animals in the attempt to gain the attributes of those beasts
5 . The Shaman of the tribes would have also held the knowledge of how to
control spirits and the alchemy of nature, filling the role of both spiritual and
natural healers, and it has to be presumed that this is the source for the
Thai version of necromancy as there is none within the Theravada system
itself. This presumption comes from the fact that the only time an offering of
alcohol is made at a Thai altar, it is to the spirits of the dead or an ancient
Deva such as Mae Per or Phra Ngang, even though one of the five Buddhist
precepts forbids the consumption of alcohol. Only the dead and the ancient
ones get a periodic glass of booze as a reward for services rendered, and
that practice has survived the introduction of the Buddhist philosophy.

The alchemy of the Thai practices is vast, with many plants, flowers, roots,
herbs, seeds, stones, earth’s, woods, gems, metals and human materials
holding perceived magical power. How much of this knowledge existed

12
4. A mural about the frailty of life in Wat Umong, Chiang Mai.

13
 5. Ajarn Suea performing the Pruk Saek for empowerment.

14
before the first wave of religious influence from India to the West with the
arrival of the Lersi (or Ruesi) can only be presumed, but it is thought that the
Lersi brought the magical texts of the Fourth Veda, and the first use of kata.
As with all Shamanic societies, a system must have been already present to
provide the magical assistance that people sought, but it became influenced
by the newer practices of the Lersi, and what was relevant or worked was
absorbed by the magicians of that time. The Lersi must have also adapted
their methods to fit with those already being used in the area in an attempt
to be accepted in their new home, adding to and developing this region’s
collective knowledge. For instance, it can be presumed that magical tattoos
existed here before the Lersi and that the Lersi then accepted that practice,
because the placing an image of a being that holds spiritual power onto the
skin was taboo in India, and it still is.

In the modern Thai magical and Buddhist practices, there is the Pruk Saek,
which means ‘to blow life’ or ‘blow an awakening’, essentially adding ‘magic’
into an object. It is unknown whether this action started with the influx of the
Brahmanism of the Lersi or with the later Theravada Buddhism as it is not
linked to any specific religion. It may have started with the ancient Shaman
of the Tai Yai tribes, meaning that there could have been a similar action
present before the influence of the later practices. Some sort of activation
that constituted a blessing would have almost certainly existed before the
arrival of the Pruk Saek, be it through tribal dances, rituals or the Shaman
himself 6 .

The modern Pruk Saek is firmly rooted in Buddhism, but it is at odds with
a Theravada style in which the practice and belief in magic is taboo. Pali
is the original language of the Theravada Buddhist system, and the word
Wicha translates as correct knowledge. Awicha is incorrect knowledge, and
magic falls squarely into the latter category in that it does not follow actual
Buddhist principles, although it seems that the people of Thailand choose
not to listen at this point. Although the Buddha admitted that a person could
attain supernatural abilities through certain intense meditational practices,
He decreed that it was not to be performed for entertainment, or used for
monetary gain and the modern magical methods come from the mixing of
the ancient traditions and beliefs present before Buddhism arrived. Many
Thai monks have become famous because of their magical abilities, an
indication of how sincerely the belief in the practice of magic is held by the
people, as well as the presumption that it can be of benefit in life.

It can be quite tricky to construct a question regarding some of the practices

in Thailand, but in a recent conversation with Ajarn Apichai of Chiang Mai,
an indication was given by this talented young magical practitioner as to
how effective the Pruk Saek can be. On separating two amulets and placing
one in front of each of us the question could be formulated that if we had
both made the same amulet in the same way, but only Ajarn performed the
Pruk Saek, what would the difference in magical power be?

15
 The ingredients themselves hold a great deal of magical power because
the Prai has been sourced from a supernaturally powerful corpse, and the
plants have been grown using the correct methods, but my Pruk Saek will
double the power of this amulet.

Ajarn Apichai, July, 2017.

This is the importance of the Pruk Saek stated in very simple terms.

While the Buddhist philosophy has had a profound influence on the magic
in Thailand, complementing the Buddhist practices are beliefs and rituals
that assume the existence of several types of spirits whose behaviour is
considered to affect human welfare. There is an outwardly organised state
religion with strict rules, but the people of Thailand will use pretty much any
spiritual practice available to aid them through the difficulties of life, and
perceive it as being okay to do so. A farmer who calls himself a Buddhist
often has no problem with performing rites that are Animist or Shamanistic.
They will attempt to appease the spirits around them, ask the advice of
fortune-tellers and seek blessings or help from any source that is seen to
work, and there is a firm belief in the efficiency of these practices. The Thai
methods are more complicated than two religious systems existing side by
side as separate practices as there is a syncretism involved, with many
people considering that the two are part of a single spiritual path. Buddhism
in Thailand is perceived as a long-term goal towards a more enlightened
state, a philosophy to follow for a good life, whereas the Animist side is for
the problems that arise in daily life. These short-term issues are tackled by
using items and practices that are occult based, but almost everything in
these arts is undertaken at the same time as seeking the protection of the
Buddha himself.

The Shamanic traditions developed in Thailand to deal with troublesome

entities such as ghosts and spirits, and those traditions have been accepted
by the practice of Buddhism to enable the monks and Ajarns to aid the lay
population that seeks their help. Helping people in this way occurs despite
the fact that strictly, the Buddhist organisation here decries these matters.
In these cases, the beliefs of the people hold sway and the help is seen as
an act of Metta (loving-kindness) as it aids others. The views differ between
the people in cities and the rural areas due to the variations in lifestyle and
experience, further adding to the complexity of the spiritual system. The
Buddhism of the Thai villagers, and even of rural monks is often at odds
with the official religion in the towns and cities. In practical terms (and the
Thais are practical people), the Buddhism that overlays the ancient animist
beliefs of this region has evolved to serve the demands and needs of its
people, wherever they reside.

16
The powerful animistic belief system in Thailand involves what is known as
Phi, spirits or ghosts, either of people or those residing in natural objects.
(Phi is pronounced like ‘Pee’ with a breath out on the P, which is similar
when pronouncing the name of the town of Phuket, which is not pronounced
‘Fuck it’ despite many people’s tendency to do so). The Thai spirits are
considered powerful enough to bring illness and misfortune, or on the contrary,
provide protection, healing and even good luck for those who follow proper
ethics and appease them. When first visiting Thailand it was surprising to
see Thai people both Wai as they went past a famous Buddhist shrine and
then do the same when making offerings to a spirit table, which is essentially
an Animist practice. A tree near to the hotel had dresses hung from it, and
the first festival witnessed here was dedicated to the waters that enable the
bounty and fertility of this land. This was also at a time where even a joke
about a ghost being around caused a mild panic, and the fear was palpable,
so while being cruel, it was deliciously funny to continue. The spirit world
remains a serious business in the Land of Smiles, despite all the outward
modernisation.

Spirit worship is probably the oldest form of religion in the world 7 . The
spirits in Thailand are thought to play a part in many different aspects of
life, and because they are believed to be mischievous and meddlesome, are
appeased with offerings and incantations. Thai spirits are known for their
fickleness and unpredictability, which is due in part to a lack of hierarchy
within their ranks although luckily, they are also considered as easily bribed
as the police and politicians. This has led to the practice of seeking luck
and help from any source available, which may seem surprising to those
living outside Asia. There is no contradiction in Thailand between following
Buddhism, and then popping to the shrine of a famous ghost and asking for
help with getting a good exam result. If the results are good, an offering in
thanks is given, and the fame of the shrine grows because of the success
of the request.

1. Kamala Tiyavanich - Forest Recollections - 1997 p3

2. Melford E Spiro - Burmese Supernaturalism - 1978 p4
3. Melford E Spiro - Burmese Supernaturalism - 1978 p3
4. Melford E Spiro - Burmese Supernaturalism - 1978 p xxvii
5. Ajarn Metta interview - The Thai Occult Sak Yant - 2017 p12
6. Ajarn Metta interview - The Thai Occult Sak Yant - 2017 p15
7. Mircea Eliade - The Sacred and The Profane

For a better understanding of the occult system in Thailand, it is important

to separate the spirits from the Phi (ghosts) to understand the differences
between them, although the Thais tend to group them as one.

17
 Thai Spirits

The most important of the spirits in Thailand is the Chao Thi, or guardian
spirit of the house compound that is restricted to the land on which the
dwelling resides. Fixed on a post in the compound of most houses in the
central region is a small spirit house that the spirit is encouraged to occupy
to keep it satisfied and stop it from hopefully, being unruly and adversely
affecting the lives of the residents. The rules and procedures involved in
fixing and consecrating these spirits houses are decided on by monks and
are of great importance, such is the effect an unruly land spirit can have
on those in or close to its domain. Almost every building in Thailand has
a spirit house within their grounds, and the nature of the spirit house will
reflect the size, structure and grandeur (or otherwise) of the place it protects.
The land spirits will be persuaded to reside in that house rather than affecting
the occupants of the main building, and there are good reasons for doing
this. Having once undertaken a photographic project to document these
spirit houses it quickly became apparent that my presence and activities
were not appreciated, and that project came to a very abrupt end.

The guardian spirits are essentially the rulers of their area, and their power
is focussed in their respective shrines and the land around it. To tap their
potential, a person needs to go there as with an increasing distance from
their shrine, their power declines, with little influence outside the borders of
their realm. The practice of placating the land spirits is Animist in principle,
and as with all Animism, it deals with power and the morality of that power
is immaterial 1 .

With the Guardian spirits, and pretty much every other spirit or ghost in
the Thai practices, the dealings are businesslike and tend to constitute the
principle of ‘favour for a favour’. The general belief is that any power that is
available is there to be tapped, and the person who does not avail himself
of the opportunity once presented is considered a little foolish or ignorant.
Where you get particularly strong guardian spirits or spirits that inhabit a
certain area, a spirit house is often constructed to both appease the spirit
and allow the chance to seek favours from them. Rows of these ornate,
small houses are found on dangerous bends or in places where accidents
frequently occur, as well as with haunted trees that have strong associated
spirits. With the guardian spirit for the home compound (the Chao Thi),
requests are generally made for protection when a member of the family is
travelling or for the day to day problems of life, such as with business, love
matters, and even the health of a relative. The practice of appeasing the
land spirits is undertaken by people from all the levels of society, even by
the ones who may not believe in such things, where a ‘just in case’ attitude
prevails.

18
6. Old spirit houses and statues placed at the base of a Bodhi Tree.

19
 7. The Mae Takien Shrine at Nakhon Pathom that was at the centre of a scandal.

20
The Tree Spirits

Mae Takien

The economic effect of having a strong spirit in the vicinity has lead to a
few strange happenings, most of which end up in the pages of the salacious
newspapers or as features on TV programmes, which often feature magical
incidents in the country. The Thais lap up these stories and many will visit
the site in question, spending money on food, amulets and souvenirs, and
because of this, some of these events are faked.

In 2003 there was a story in the media about five young women being
caught dancing topless to thank the spirit of a haunted tree for helping them
with a win on the lottery. With further investigations, it turned out that the
teenage girls from Bangkok did not win the lottery, but had been hired to
show up at the Takien tree in Nakhon Pathom’s Kampaeng Saen district and
perform. They had been paid to go there and strip, which caused a small
stampede of the men present and their actions coincided with efforts by
the temple next to the shrine to increase its popularity with both local and
travelling worshippers. Despite the fact that the organisers were caught
out, people still visit this shrine and rub the fallen trunk of this famous tree
in the hope that numbers will appear magically on their fingertips that they
can then gamble on. Certain bookmakers are reluctant to take any bets from
customers who are either devotees of this spirit, or are known to live close
to some of the important Mae Takien shrines in this country. The accepted
belief here in Thailand is that people who get their weekly lottery numbers
with the help of a Takien tree or shrine do win more often than those who
do not. 2

The large trunk at the temple is believed to contain a potent female spirit
known as Mae Takien, (one of the Nang Maai - ‘lady of the tree’, which is a
spirit akin to kind of fairy). The Takien tree is of the same family of the Bodhi
tree, the tree that stood over The Buddha as he attained enlightenment, and
they can be enormous. The spiritual lore around this tree probably arose
because if this tree is cut down, it emits a terrible and woeful cry as it falls,
which lead to the tree being paid homage to before a felling could take
place to appease the spirit within. The legend of this spirit states that Mae
Takien sings mournful songs to attract any wandering men, drawing them
closer before squeezing the life out of them in a deathly embrace. This tree
spirit is a powerful enchantress who is entreated by people who live in the
vicinity of this tree because the Thais believe that these lesser spirits grant
boon with ease when compared to the rather hassled, higher deities. Mae
Takien may hurt wicked or immoral people, but the righteous have nothing
to fear from her. 3

Legends in Thai folklore say that the spirit in the Takien tree sometimes
appears as a beautiful young woman with her hair brushed to one side and

21
 8. The Mae Takien shrine at Wat Nang Kui, Ayuthaya.

22
9. A Mae Takien shrine on the banks of the Chao Phraya, Bangkok.

23
 10. A rare statue to Mae Takien. The oil in the glass phial is theTakien Oil that flows
from the tree when extremely haunted.

24
wearing traditional Thai attire, usually in red or gold. It is odd that when
found in nature, the area around the tree rarely has underbrush and seems
to be tidy, as if someone has swept up. The tree is massive and can live
for centuries, with a wide-spreading root system and is, therefore, rarely
planted close to homes.

Mae Takien inhabits the area around the tree, but she may also haunt areas
where the wood is used in a house as beams or pillars, and therefore this
wood is avoided for that use. Because of this, it is rarely cut as it infuriates
the spirit and she will follow the wood to where ever it is to be used unless it
is in a Wat, where the merit of the monks is considered sufficient to appease
her fury. Where her wood is used for a specific purpose like building a boat,
the makers can entreat her spirit to protect the ships and the men within.
Unfortunately, in modern times, and with the value of these hardwoods,
even the wrappings placed on these trees by monks to protect them rarely
stop them being cut down, which can be dangerous to the workers if the
correct permission has not been sought from the resident ghost. This spirit
is very protective of her domain.

Mae Takien is a seductress, and her presence in an amulet or statue seeks

both to enchant the opposite sex and provide boon. She bonds well with her
devotees, bringing the protective fury she is known for and granting boon
with ease. Her works are easy to spot due to the colours of her dress, and
she often comes with Prai materials. The Prai enhances her spiritual power,
and is usually sourced from a female who died violently. One of the best
uses of Takien wood is when it is carved into the image of other spirits and
deities as she adds a spiritual charge to their presence. Amulets carved
from Takien wood can also be placed into Nam Man Prai for ‘extra battery
power’ and some superb examples are seen. Phra Ngang is often carved
from this wood, but the wood can be used for any figure, depending on the
Wicha and lineage of the maker.

If driving through a rural area or even in the towns and cities in Thailand,
there are often trees that have a row of elegant dresses next to them and a
shrine placed below. While some are for other ‘Nang Maai’ tree spirits, they
are predominantly for Mae Takien, and the local people upkeep the shrine,
making sure that she is satisfied and praised 4 . An altar is not constructed at
every Takien tree, just the ones where she has been seen or has answered
wishes made by the local folk and her shrine has risen as a result of her
boon rather than just because it is a Takien tree.

There are quite a few superb Mae Takien shrines in Thailand with the most
famous being at Wat Koh Wang Sai in Nakhon Pathom, Wat Nang Kui in
Ayuthaya and the “Chao Pho Khao Chang” shrine located in Sattahip. Mae
Takien shrines have a particular feeling, and anyone interested in The Thai
Occult can experience this when visiting the Land of Smiles through visiting
one of her places of worship and making an offering.

25
 Mae Tanee - The lady of the banana tree

Mae Tanee is another famous tree spirit that belongs to the class of the
Nang Maai, but in this case she inhabits one type of banana tree known as
Tanee, which dies after it flowers. Like Mae Takien she is represented as
a beautiful young woman but here her dress is green, and she is wearing
an old style of Thai top which exposes the midriff. She hides in the clumps
of banana trees and is difficult to see, only emerging on the nights of a
full moon to show her green complexion, blending well with the trees. Mae
Tanee can appear as standing, but her feet do not touch the floor (although
in some representations her feet cannot be seen) and her dress ends in a
wisp that drifts into the banana tree from whence she came.

Mae Tanee is a spirit that is believed to offer food to passing monks, but she
is also known to visit young men, overpowering them with her wild sexual
favours while feeding on their life force. The men may die in the end from
being sexually overloaded so please avoid having sex with the tree spirits
in Thailand. Mae Tanee is also renowned for having a vengeful disposition
and being jealous to the point where, if a man has sex with Mae Tanee and
then goes with another woman, she will hunt him down and snap his neck. If
anyone out there likes a more obsessive type of lady in his life, Mae Tanee
might be a perfect match.

Strangely, with the bearers of Sak Yant tattoos, one of the rules from some
lineages is that the holder should not sleep under a banana tree, because
if it is a Tanee, the spirit can find its way through the Yant and possess the
body. Due to this danger and as most people had Sak Yant until this current
generation, few Thais who grew up watching their grandparents grow Tanee
banana trees within the confines of their picket fences.

This type of banana is not cultivated within the villages but are prevalent
in the wilder areas, and although they look like a regular banana tree, the
fruit is not edible. Offerings are made to Mae Tanee in the wild in the form of
incense, sweets, and flowers and often, the locals will wrap a cloth around
any banana tree that is believed to be haunted. The leaves of her tree are
used to wrap various foods to no ill effect, and in Thai traditional medicine
it is used for the treatment of ulcers.

While rare to see statues of Mae Tanee, her image is sometimes used for
amulets where she is depicted as a seated or standing lady in a green dress
under a banana tree. One recent statue to Mae Tanee contained the skin
of a certain frog and they always feel strongly enchanted. Her charms are
generally Prai based but this must be Prai from a woman, and her works are
particularly compelling for attraction and enchantment. They can be worn
by either sex.

26
 11. A large talisman to Mae Tanee from Phra Ajarn O.
The Wicha for Mae Tanee can involve the use of frog skin and various mushrooms.

27
 12. Mae Tanee in the Hell Gardens of Wat Mae Kaet Noi, Chiang Mai.

28
Thai Ghosts

The Thai people believe in ghosts, and not as some abstract idea while
imagining a man with a sheet on his head running around going ‘Woo’.
Ghosts are a fact of life to most Thais, and each ghost has characteristics
that should be feared and given respect. Believing such as this can be seen
as making it so, but people believe in ghosts here because the boundary
between this world and the world of the spirits is thin 5 . These ghosts are
deemed able to affect the lives of the living, and the Thai people have a
healthy respect for their abilities, as well as for the techniques used to limit
their possible adverse effects on their lives.

Many visitors to Thailand who have made Thai friends will have spent a
night talking about ghosts or telling ghost stories, and the fear produced is
palpable. Their reaction to telling these stories is to lower their voices, and
check that no one is listening because to voice these things may bring the
ghosts closer to them. The Thai film industry survives on a steady release of
ghost stories and horror, and excellent ones have been made over the past
few decades. Going to the cinema to watch these with Thai friends is a joy
as because their fear is physical, the relief of laughter is grabbed at every
opportunity. The belief in the presence of ghosts is deep within the Thai
psyche and they are perceived to be around us all the time, affecting our
lives and our relationship to others. Whether they originate from the dead
or the natural world, there’s more Phi in The Land of Smiles than you can
wave a penis at. (Flashing the genitals is one way to send a ghost running,
although this may depend on the size and look of the genitals being flashed)

One look at a brief list of Thai ghosts is enough to see how deep this goes
into the culture, and this is not just the ghosts of people, these are specific
ghost types. The ghosts of people are taken as a class of their own and can
result from violent death, incorrect funeral rights or being wronged in life,
and almost all can be malevolent unless adequately approached, appeased
and respected. Some famous ghosts fall under this category like the legend
of Mae Nak, a mighty female ghost that even has a shrine in her honour in
Bangkok, where she gets a steady stream of visitors asking for her help.
Shrines to spirits are numerous in Thailand, and some will be listed at the
end of this section but first, here is a list of famous ghost types as relayed
by the family of the author’s Thai partner.

Phi Krasue – The Phi Krasue is one of the most feared ghosts in Thailand,
and it is depicted as a head that floats with its partial intestines hanging
below, often covered by a dress. A Phi Krasue usually takes the form of a
beautiful woman (well, the head anyway) in a long flowing dress and are
known to mesmerise their victims. These ghosts are also part of Laotian,
Cambodian and Malay beliefs and are prone to try to find pregnant women
either immediately before or just after birth. The ghost will then attempt to
enter them with her long tongue to consume the foetus, or the placenta.

29
 During the daytime this ghost lives in the body of an ordinary person, but
as soon as they fall asleep the Phi Krasue can roam. The person whom the
ghost inhabits may not even be aware of it, and it is a parasitic relationship
that can be hereditary, passing from one generation to the next. If a family
is thought to harbour these ghosts, the locals can make their lives difficult
in an attempt to force them to leave the area 6 .

Phi Krahang – This is a male ghoul that is akin to a male version of a Phi
Krasue as it too only comes out once the host is asleep, but this ghost flies
around looking for filth to eat. These originate from men who have done too
much Saiyasart magic, and it eats them from the inside to form this ghoul.
In the North of the country, this is known as a Phi Phong.

Phi Phob – This is an evil ghoul that is used and directed by witches that
can enter the host and consume the internal organs, only leaving once the
host has died. This ghost hides well, but those possessed by Phi Phob will
often pretend to be ill, although at some point they will be spotted stealing
uncooked meat to eat when alone. The Phi Phob ghost is also known to
affect magicians who have acted immorally with the Wicha of their spells,
which evolves into the ghost itself. A transformation such as this can occur
if the occultist stops his profession, uses his spells for absolute harm to
others, charges excessive fees, fails to respect his lineage or breaks the
taboos associated with it. The ghost can then also move along the familial
line, and there are examples in Thailand of whole families having to relocate
due to a Phi Phob possessing one member. This possession usually shows
itself as an illness where the ghost is seen as consuming the insides of the
person, which is often allied to some a mental disturbance. In this case, an
exorcist is called to both identify the spirit and begin the process to remove
it.

The origin of Phi Phob comes from an old legend of a Prince who was fond
of magic, and he found the way to enter people’s bodies and take control
of them. He then also learned the incantations to enable him to move into
animals but while he was practising, his servant, who had memorised the
words, repeated them and entered the body of the prince. As a result, he
became the Prince! The real Prince, having entered a bird, rushed to tell the
truth to his wife and she then destroyed the servant’s body and managed to
persuade the false Prince to pass into the body of an animal to demonstrate
his abilities. The real Prince then returned to his body, but the servant was
not able to re-enter his own body and the Phi Phob of today comes from this
original wandering spirit.

Phi Am – This is a ghost that sits on the chest of sleeping people, causing
discomfort. To defend against this ghost, men put on lipstick before retiring
to bed in the belief that these female widow ghosts are women, who won’t
harm other ladies. The Thais will take any action to avoid attention from
ghosts, and sometimes seek any excuse for cross-dressing tendencies.

30
13. The spirit familiars of an Ajarn.

31
 Phi Dued Luat – This ghost resembles the Western Vampire in that it sucks
the blood of its victims. There’s also the vampires that have entered the
Thai ghost lore from the Chinese community here, which hop and are called
Phi Dip Chin. These are a favourite in many Thai horror films as a relief from
the terror due to their comical aspect, making two-footed jumps with their
arms extended. There’s also a forest vampire with one leg called Phi Khong
Koi, and it is possible that there are many more regional variations, as with
all the types of ghost in this section.

Phi Pret - This is a suffering ghost that is also known as an Asurakai - an

inhabitant of the netherworld. In Thai beliefs, after death, a person that has
a deficit of good deeds is assigned to a particular level of hell until such a
time that the debt is repaid. A Pret has such a burden of karma that it will
never be reborn in the human world, remaining stranded in the netherworld,
which leads to an eternity of suffering. Tall, with long hair, an elongated
neck, protruding belly and a mouth as small as a needle so it can never
manage to get enough to eat 7 .

The Phi Pret is a bad-tempered and aggressive ghost that can be heard
whistling at night (whistle at night in Thailand and see the response of Thai
friends), looking for someone to make merit for them. These are a part of
Buddhist mythology rather than being specifically Thai, and the name is
related to the Sanskrit word Preta 8 , (the same ghost in Hindu Mythology).
In China, this is the ‘hungry ghost’, and there is a yearly festival in their
honour.

Phi Ka – These are spirits that dwell inside women that can be violent and
attack people. The treatment for these is force the host to eat raw eggs as
this ghost detests them.

Phi Pong - a type of forest spirit that lives near salt licks and appears in the
shape of a langur but with its upper lip drawn back to expose the teeth. It
likes drinking blood 9 .

There are blind ghosts, ghosts of old men, the ghosts of the sea that are
related to maritime phenomena like St Elmo’s Fire, and there’s a ghost with
a large wound on its back. There is the ghost that is able to move a glass,
luminescent ghosts, ghosts related to snakes and the ghosts of termite
mounds. Some spirits can transform, ghosts that appear as two small boys
and even a female ghost that lures, and then attacks and kills young men.
It is amazing anyone goes out at night! Especially considering that this is
a brief list of only some of the ghost types in Thailand, but it does give you
an indication of the sheer quantity. Everyone knows these types due to
their presence in everything from the steady stream of Thai TV soap operas
(and many of the characters have severe spiritual problems at one time or
another) to popular Thai films. Through the eyes of the Thai people, ghosts
are everywhere, and this has all had an effect on the culture. Most of the

32
author’s Thai friends merely shrug and ignore them all, holding their centre
and not allowing their presence through any worry or acknowledgement.
They regard being ‘haunted’ is as much a mental state as it is spiritual
and through the practice of meditation and Buddhism since birth, many are
able to resist the pull of ghosts. The same Thai friends will then be utterly
terrified when watching a ghost film, and many a trip to watch a movie has
resulted in a grip mark on an arm, outlined with bruising.

With a newborn child, it is considered essential to deceive the ghosts of

the vicinity, achieved by giving the child two names, an official name that
is used on their ID card and their short name. The short name is given at
birth and reflects typically, something related to the pregnancy, the situation
of the family, the year of birth or the child itself. Many children are named
Bon, because they were born in the year of the world cup (Bon is the Thai
pronunciation of Ball as a word ending in an ‘l’ becomes an ‘n’). Another one
is ‘Joke’, who was called that because his mum craved Joke (a Thai rice
porridge) while pregnant. This habit is said to have originated to confuse
the ghosts and protect the child. The short name can also be changed after
periods of bad luck or life-changing events to cast off any harmful elements
associated with the name.

And finally, the following two ghost types are the most used within the Thai
Occult practices, described here by Ajarn Apichai. In the Thai Occult, many
consider that the strongest talismans have to contain some part of the body
of one of the two sources discussed with this young, talented magician.

The Phi Tai Hong - A Phi Tai Hong is the ghost from the person that died
in an accident (either male or female) and as far as being useful in the
creation of Thai Occult talismans, the more terrible the accident the more
supernaturally powerful it is. The death of the person has to be very sudden
because this results in the fact that the spirit does not realise that they have
died. A person who died before their time is also classed as a Phi Tai Hong,
meaning that suicide victims and murder victims are also valuable to Ajarns,
as are people who died with a grudge. These circumstances make the spirit
quite ferocious, and they cannot enter the spiritual world or move on to
their next life. They are stuck in this world, and because they have died so
suddenly, the spirit retains all the desires they had in life. They died clinging
to this world. The Phi Tai Hong is very strongly supernatural, and this type
of corpse is one of the best sources of materials to use to make amulets,
statues and Nam Man Prai. Nam Man Prai (corpse oil) from a Phi Tai Hong
is potent and highly protective.

The Phi Tai Tang Glom - A Phi Tai Tang Glom is the ghost of a woman who
died while giving birth or during pregnancy, which also results in the death
of the baby. It can also be considered to be a Phi Tai Hong ghost if both die
before the birth of the baby, but the principle is that the mother and child
will always be together, doubling the power of the ghost and making it an

33
 awesome supernatural entity. The power of the Phi Tai Tang Glom can be
boosted further if they die in a sudden accident or by suicide, and of the
choices of accident available, a drowning is considered to be the ultimate
source. In amulets made from these remains, the mother spirit is good for
bestowing the attributes of Metta and Maha Saneah. The child spirit, as with
a Kuman Thong brings luck and fortune, making the combination of the two
spirits highly desired in Occult circles.

There is a famous old Master Sorcerer called Phor Sala Tan, who has been
responsible for the training of many of the new generations of Ajarns who
specialised in magic from the Lanna traditions (Lanna is the name of the
old Northern Kingdom). He was renowned for working with five spirits in his
practices, all of which were Phi Tai Tang Glom and they are of such force
that he was known for cross-dressing when performing rituals to confuse
these ghosts to avoid them harming him. Phor Sala Tan was a spritely and
accomplished practitioner, still following this method up to his passing away
recently at 92 years of age. He reputedly had many wives and lovers, even
up to his death.

If anyone thinks that the tapping of exceptional spiritual and occult forces
is a thing of the past, the story of a politician who is known to use magic
of all kinds to achieve his goals will serve as a caution. A scandal erupted
some years ago when he started to project to renovate the Erawan Shrine
in Bangkok, where hundreds of people pray and make offerings daily to
grab the chance to redirect the spiritual energy towards himself. There was
outrage when the details were released, and his opponents rushed to cut off
this source of power, but the mere attempt to do it was a fascinating insight
into his and the world of his opponents.

Elite intellectuals, avant-garde filmmakers, members of the royal family and

millions of monks, novices, nuns and laypeople in urban and rural areas
respect the power of ghosts and the efficiency of the protective chants that
are used to combat them. In 2010, for the first time in the history of Thai
filmmaking, a Thai film, Uncle Boonmee Who Can Recall His Past Lives, by
Apichatpong Weerasethakul won the Cannes Film Festival Palme d’Or, and
of course, it was about ghosts! In an interview with the BBC after he won
the prize, the esteemed director stated,

“I would like to thank all the spirits and the ghosts in Thailand, who made it
possible for me to be here.” 10 .

34
Famous Ghost Shrines

The City Pillar, Bangkok

It may seem very odd to start with the pillar that can be viewed as the heart
of the capital city of Thailand, fulfilling the role of the guardian spirit of the
metropolis itself. The national records for the placing of this pillar were lost
during the sacking of Ayuthaya by the Burmese in the mid-1760’s and what
remains is the legend, embellished over the centuries. Quite a number of
Thai films have been produced of this salacious tale.

Before the placing of any City Pillar, the auspicious time and place must be
determined by the Royal Court, who receive advice from their Royal fortune
tellers and Brahmin Priests. On deciding the correct position of the pillar,
four names were postulated as the best for the people to use in this ritual,
and the residents of the area were asked if their names were In, Jan, Man
or Khong. These people were then collected and brought to have the details
of their lives checked. The correct people to use for the ceremony had to be
respectable with no criminal record, no man should have a tattoo, and no
woman should have their ears pierced. They had to be decent people and
neither too rich nor too poor. Those acceptable were then fed and taken
care of by the King.

On an auspicious day and at the correct time, all the people chosen were
forced into the hole that had been made ready for the city pillar, and it was
dropped onto the people below from a height thought sufficient to kill them,
at least one of whom was pregnant. The legend says that there were more
than four people that fit the correct description for the poor, unfortunate folk
who were chosen and they remain there to this day. Their families were
given recompense for their loss, and now Bangkok is protected by both Phi
Tai Hong and Phi Tai Tang Glom ghosts, all in one place, which is frankly
terrifying.

This is high necromancy as practised by the old state of Siam and the effect
is there for all to feel and witness as it stands close to The Grand Palace,
possibly the most popular tourist destination in Bangkok.

Pop in.
Check it out.
It is interesting.

(Unfortunately, due to the passing of The King, it was not possible to gain
access to the shrine to take a photograph, but one will be added to The Thai
Occult Books facebook site at a later date)

35
 Mae Nak

The story of Mae Nak (‘Mother Nak’ or sometimes also known as Nang Nak
– Miss Nak) is set in the district of Phra Khanong (now in modern Bangkok)
and is without doubt, Thailand’s most famous ghost story. It has been the
subject of many films, an animated feature, TV shows and even a musical.
It’s earliest known telling was as part of a folk performance that dates back
to the 1920’s. In this, her name was ‘Ee Nak’ (the title of Ee in modern Thai
means ‘lower class woman’, still used by Thai Katoey and people working
in the nightlife industries).

The story 11 is generally accepted to be accurate and based on real events,

but there are so many versions of it that it seems that every Thai person
knows a slightly different tale. The tale of Mae Nak is a living story that goes
to the heart of the culture, playing on the superstitions of the people and
their fascination with tragic love stories, in many ways like the legend of
Khun Paen. It is thought to date from somewhere in the middle of the 19th
Century, but some accounts have it at least 100 years before then. In the
Thai custom, stories of this type evolve with the telling over the generations,
each version developing twists of their own, continuing the oral and folk
traditions of this land.

Mae Nak was a beautiful young woman who was married to Mak, and they
lived in the district of Phra Khanong, near to Wat Mahabut. Mae Nak was
pregnant when her husband was called off to war, but which war varies in
the tales between fighting the Shan, the Vietnamese or battles in the North
of Thailand. Tragically, both Nak and the child died during childbirth before
Mak could make it back to his home, effectively creating one of the most
feared types of ghost, a Phi Tai Tang Glom.

Mak returned some time later (either after being severely injured or not,
depending on the version of the tale) but is unaware of what has happened
to his pregnant wife, and is greeted by the ghosts of his dead wife and child.
Blissfully ignorant of the fact that they are not alive he resumes his life with
his family, not believing other villagers who tell him that his family is dead;
a deceit which ensures a quick end to their life from a vengeful Mae Nak. In
one of the classic scenes, Mak drops something on the floor (what fell also
varies wildly), and Mae Nak extends a ghostly arm to retrieve the item from
some distance away. Mak sees this and realises that the warnings from the
villagers were justified and he runs from the house, taking refuge in the Wat,
where she cannot enter due to its inherent spiritual protection. At this point,
the Thai people are touched that her love has extended to beyond the grave
and that she only wanted to be with her husband, even as a ghost. Cut off
from Mak and enraged, she goes wild, terrorising the people of the area,
but eventually a monk manages to confine her to an earthenware pot that is
thrown into the nearby canal. (The Wat and canal are still there to this day
if anyone fancies trying to find this pot?) 12

36
14. One of the very few bronzes ever made to Mae Nak, and by a renowned monk
too! The baby was made separately but don’t take it away or she gets pissed.

37
 15. The shrine of Mae Nak, Wat Mahabut, On Nut, Bangkok.
The shrine has recently been renovated, this is an image from around 4 years ago.

38
Some versions of the story say that the villagers had an almighty battle with
the spirit, attempting to banish her using various magical methods before
the famous monk, Somdej Tho was called upon to intervene. One version
has the pot found by two fishermen, and eager to see the possible riches
inside, release her for another spiritual battle to ensue. In this version, she
is even wilder as Mak has moved on with his life and found a new girlfriend!
This one is a highly dramatic tale, like many Thai stories but in the classic
version, Somdej Tho manages to subdue her spirit and controls it by taking
her third eye skull piece (her Panneng), tying it to his belt (This is one of
the few mentions of a Panneng in the written history of Thailand) 13 . In yet
another alternative version, Somdej Tho also helps her pass on, away from
the earth and all the chaos that she has brought, to eventually be reunited
with the spirit of her husband once he passes too, affirming their bond even
after death. The Thai people tend to get all slushy at that version because
it confirms their belief in a love that lasts an eternity, even through many
reincarnations, because one lifetime is never enough for a love that is true.

This story does not end there though, as many accounts of appearances of
Mae Nak continue to this day, as do versions of the films and TV series of
her story. One of the great aspects of this tale is that it feels fresh and could
easily have happened in ‘modern’ Thailand, where ghost stories of a similar
type arise quite often. If in Thailand, it is always fun to ask friends about
the story of Mae Nak, and they will pass on their version of the tale, usually
spoken with a hushed voice in case she hears.

The Shrine Of Mae Nak

The temple in the tale, Wat Mahabut is a popular place of worship in a busy
part of the city of Bangkok, near to On Nut Skytrain Station. At the back of
the temple grounds is the shrine of Mae Nak, surrounded by amulet shops,
fortune tellers and food stalls. The shrine attracts a stream of visitors, and
is favoured by those looking for good exam results or for people who have
problems with a partner or loved one. If the wish of the devotee is granted,
a new dress may be bought for the spirit to thank her (which are for sale
at the counter) or some makeup offered so she can still feel beautiful while
dead. The author once left an amulet of Mae Nak as a gift after a particular
scenario worked out well, in a demonstration to show her that she is still
loved to this day.

With any visit to this shrine, because of the popularity and the fearsome
ladies who take care of the place, please be calm, polite and discreet with
photographs to ease the visits of any future foreign visitors. For a 20 baht
donation, the lady at the counter will pass a yellow candle, two sticks of
incense and a small piece of gold leaf; flowers can also be purchased as
part of the act of devotion. First go to the shrine on the right, kneel, light
your incense and stand them in the trough, while the candle should stand
on the bar closest to you. Then do your devotions and pay your respects in

39
 any way you feel comfortable and don’t worry about any set rules, this part
is relaxed, and it depends on the person to a great extent.

Looking up at this point, you will see the figure of Mae Nak is in the raised
room ahead, and she is something to behold. Of all the ghost shrines in
Thailand, this is the strongest one and the feeling from her radiates. Now
go to this second level and Wai in front of her to ask a wish before pressing
the gold leaf on her hand while keeping the request in mind. Placing the
gold leaf on her hand involves being next to Mae Nak, and it is a creepy
experience.

Then, quietly exit.

One hundred and nine years after the origin story of Mae Nak, a child known
as Nong Ae died at the age of just 39 days and since he died an unnatural
death, he was buried instead of cremated, which is an ancient practice. The
problem was that within a short time he rose to the surface during a flood
and his distressed parents asked the abbot of Wat Mahout to take care of
Baby Ae. He can be found to this day in the temple grounds (Two Ghost
Shrines in one temple!), so do search him out. It is worth going to see him,
and please take a toy for the boy.

Mae Niyom

Mae Niyom Chiwasuwan was born in 1925 in Thonburi and was a local
beauty who loved Thai dancing. Her life was happy until World War 2 when
she tragically died from diarrhoea at the age of 17, but her family was in
a position to hold her funeral, and they asked the undertaker to keep her
body at the temple during those terrible times. In 1960 the temple decided
to clear the 70 or 80 unclaimed bodies that had accumulated during the war,
and when they opened her coffin, they found her to be mummified rather
than having suffered decomposition. In Thailand this is considered to be a
highly auspicious event, only occurring with the bodies of some high monks.

The Abbot and the Temple Committee thought that she must have been
born with great merit. They decided to dress her in white, put her in the
corner of the temple grounds and give a chance for the locals to praise her
spirit. People flocked to her as they believed that she embodied Maha Niy-
om (Great Popularity to improve business and personal relationships) and
she was also excellent at granting lottery wins for her worshippers. As her
fame spread, the present shrine was built for her and she is there to this
day, waiting for visitors to pop by and offer their devotions.

She stands in a case in the corner of a temple’s grounds and is a real body,
mouth slightly agape and now desiccated, having been there for over 70
years. On one recent visit, an older helper at the temple said that once per
year they change her clothes, and he helps with that task. He said that

40
16. Nong Ae.

41
 17. Mae Niyom.

42
18. And each year her clothes are changed.

43
 19. As with many ghosts, Mae Niyom is famous for granting wishes.

44
some of her flesh is still soft and pliant, particularly at the back of the arms
and legs. The changing of her clothes occurs at around Thai New Year in
April, and an invite has been given next year to witness and photograph
the event. Often, as a Westerner with an interest in the strange things that
many Thais consider an ancient belief, it is refreshing for them to share
their experiences and often offer a chance to join in with a ritual.

Mae Niyom is a powerful ghost and there are numerous accounts of her
haunting people. There was once a Chinese man who lived close to the
temple who dreamt about her, and she told him that if he photographed
and praised her, he would become wealthy. He did exactly that and wealth
came. Mae Niyom is renowned for granting wishes and people have offered
her clothes, perfume and even gold as a gift for the wishes she has granted.
There were so many offerings at one time that they had to clear the shrine,
which included many gifts of gold, selling everything to raise funds for the
temple itself.

At this present time, her shrine is a little messy as she is not as popular as
she once was so if the reader decides to visit, please take her flowers, burn
incense and offer a prayer for her to grant you a wish. As always, please be
polite and remove the shoes before making the necessary devotions. The
temple has many cats so also take food for them, if possible. If she grants
a wish, buy her a dress, makeup or more flowers, and slowly this amazing
place will be a spiritual battery that can serve the community once more.
Watch how she stays in the mind after a visit, she is persistant. This action
is described as her ‘pull’, which also occurs with strong occult talismans and
other powerful ghosts, where they repeatedly come to mind, and to dreams
as well.

Mae Niyom grants the attribute of Maha Niyom (popularity), something quite
unusual in the range of attributes that spirits or deities commonly bestow on
their followers. She resides in Bangkok at Wat Bang Sakae, which is near
to the Sky Train Station Talad Phlu, over the river in the Thonburi side of the
city. Take her some flowers and say hi, she would be delighted to see you.

Mae Nang Phim

There are some instances where a spirit or deity will approach a monk or an
Ajarn during their periods in deep Samathi, which can lead to new types of
amulets; with some eventually becoming nationally popular.

Until modern times, the Thai people have had to cope with illness and
health problems without any organised national health system, relying upon
the ancient use of herbs and the abilities of those who practised the natural
ways of magic. The time of pregnancy was a period particularly fraught with
dangers due to there only being the knowledge of the midwife or the elders
of the village, nothing like the luxurious clean hospitals and Western-trained

45
 staff of today. There were no gynaecologists or doctors, and many wom-
en died during labour because of blood loss or the complications that can
occur with birth. This same tragedy happened with Mae Nang Phim, there
were complications with the birth, leading to the loss of the child and she
knew she was also going to die.

As death approached, she prayed to the beings above, beseeching them

so that no other woman should experience the pain she was going through,
and asked for blessings for all women to have a smooth delivery when their
time came. As she did not ask for the help for herself, the Buddha himself
was touched by this noble woman who fought till her last breath for her
child to live while asking for help for all in her position, not just for herself.
After she passed away, she was raised to be a Deva to look after all people,
and she took her place to reside on the mountain. This mythical place is for
earthbound spirits that have been raised to be a Deva, such as Mae Per
and Phra Ngang and therefore, they are above all ghosts and spirits. This
idea of the mythical mountain may come directly from the region’s ancient
Indian influences.

One day, Mae Nang Phim approached a monk called Luang Phor Up who
resided at Wat Thong Sai in Nakhon Pathom while in Samathi and taught
him about herself, her Wicha and how to consecrate her amulets to be
able to help people. Luang Phor Up became the first person to make her
talismans and what marks them in particular, is the feeling and beauty.
At the Wat, there is a large shrine to Mae Nang Phim, shining bright and
golden and emitting a light magical essence of beneficence. Many locals
go to request her help with relationships, business, health and childbirth
and the Wat is a vibrant place, even after the passing of Luang Phor a few
years ago. It is not easy to find Wat Thong Sai in Nakhon Pathom, but it is
well worth a visit for anyone interested in Thai Magic and how it still affects
Thailand to this day.

Luang Phor Up was born in 1921 and was ordained at 20 years of age at
Wat Thong Sai for nine years before he went for Tudong training. Tudong is
‘a means of shaking off’ and were practices of renunciation undertaken by
the Tammayut forest monks. This is a branch of Thai Buddhism that follows
the natural ways and often achieve highly magical states of being. The
practice of Tudong can involve wandering in the wilds for years with few
possessions, handling illness, collecting food and coping with dangers, with
the eventual aim of ridding the mind of fear. Tudong involves meditating for
prolonged periods in nature while being expected to uphold the necessary
skills for survival. During his Tudong, Luang Phor Up studied with some
very famous teachers, acquiring the knowledge and expertise with Thai
herbs and learning the Wicha of many renowned guru monks.

Luang Phor Up returned to Wat Thong Sai in 1966 and became famous for
his ‘Chae Naam Mon’ or holy water, through which he acquired fame and

46
20. The fabulous Mae Nang Phim shrine of Wat Thong Sai, Nakhon Pathom.

47
 21. The shrine of the last man executed by beheading in Thailand.

48
many followers due to the water’s healing abilities. With the visitation of
Mae Nang Phim during meditation, he also became famous for her amulets
as they brought great charm, success and luck in love, while protecting
from the dangers of life. She is also one of the very few styles of amulet or
statues that is believed to heal and cure sickness. As an offering, Mae Nang
Phim likes a little alcohol and even makeup as a gift when a wish is fulfilled.
Her kata is always ‘U Ka Pa Sa Ha Na Pudh’, repeated nine times, and
Luang Phor Up recommended repeating the set of kata often and rubbing a
little alcohol on her image for the best effect.

Her image is often as a lady with a golden Thai style headdress, naked,
with large breasts and the two feet of her baby emerging from her body,
forever in the act of painful childbirth. Most of her amulets are carved from
select woods, but there are also some that contain the Prai materials from a
woman who died in childbirth, a source which suits Mae Nang Phim’s story.
Her rather beautiful statues are usually made from a scented wood (Maai
Khayun or Maai Tun) and have a Takrut spell inserted to invoke the deity.
These statues are always brightly magical, and should be sought after by
anyone interested in this beautiful Deva.

The Last Beheading

It strikes many as odd that the Thai people will ask for luck from the spirit
of what is considered a very unlucky man, but ask they do at the shrine for
Boonpeng Heep Lek. He was the last person to be publicly beheaded in
Thailand on the 19th of August 1919, in the grounds of Wat Phasee, which
at the time was on the outskirts of Bangkok.

The process for his execution was a rather grisly affair as they followed
the guidelines to those used at the time of the story of Khun Paen, which is
believed to have originated around the year 1500 15 . Following these rules,
once a prisoner had been found guilty and sentenced to death, his case
would be presented to the King for final approval. If that was granted, on
the appointed day the prisoner would be whipped for three rounds, with 30
strokes for each round, in an attempt to help him to accept his demise or
at least lessen his resolve to live. Then, on the way to the execution place,
the prisoner might be punished further with the five instruments of restraint,
which were leg chains, handcuffs, a neck chain, solid wooden stocks and
waist chain.

A last meal would be given the prisoner, and then a monk would be invited
to preach to him before being led out to where the prisoner had to sit with
both his legs stretched forward, and his body fastened to a wooden cross.
The prisoner’s ears and mouth were filled with clay, and the base of his
neck was marked to help the aim of the executioner (minus the words ‘cut
here’). An assistant of the executioner would then rhythmically dance with
his sword in front of the prisoner and as soon as the prisoner’s mind was

49
 calm, the first executioner would then behead him from behind. After the
execution of the prisoner, both of his feet would be cut off at the ankles to
take the leg chains off, which was also seen as an action to stop his ghost
wandering around. His flesh would be removed from the bones, chopped
up into pieces and given to the vultures and crows. Boonpeng’s head was
placed on a sharp stick and displayed for everyone to see.

Today, the old graveyard for the executed is now built over by the temple
school, and it can be presumed that it would be an eerie place after dark
when deserted. The temple itself is an unusual design, which seems to be
covering all the religions. There are shrines to some Chinese gods, the
Buddha’s for the days of the week, Thai royalty, an altar to Rahu, a trunk
of Takien wood and a Naga shrine at the back; with the temple itself being
of an Indian style. The temple has a troubled feeling, which is unusual for
a place of worship.

At some point after the death of Boonpeng Heep Lek, locals were praying
for his soul or making an offering at his grave and they must have received
some good luck. The praising of the last executed man has come about
due to the experience of the people, and many have had wishes granted.
Shrines such as this do not just appear, they are as a result of the spirit
of Boonpeng being kind to devotees by bestowing boon. Today, his shrine
still receives a steady stream of people asking their wishes in the hope of
them also being granted to improve their lot in life. What’s in it for the spirit
of Boonpeng? He gets the attention he craves as a spirit by being given
the opportunity to give something back to the ones with life before them.
In effect, this spirit should be classed as a Phi Tai Hong as his life was cut
short by circumstances beyond his control, and the merit from the granting
of boon will help his spirit rise towards an eventual rebirth.

The Cult of Pumpuang

Pumpuang was an incredibly popular singer of the traditional style of Thai

music called Luk Thung at around the time when the economy of Thailand
was booming. In the 1980’s, there was considerable migration from the
rural areas to the urban centres and for many of the young people then,
she represented the ability to go to the city and become successful. The
unfortunate reality was often a poorly paid labouring job or prostitution for
those with little education, like Pumpuang herself but she had an incredible
voice. Her life mirrored that of many of the young folk who sought a better
existence in the cruel city to support their families back home, contributing
to her massive following. The love of her is deep because through out her
short life, Pumpuang was exploited by managers, husbands, lovers, record
companies and promoters. While there was tragedy surrounding her life,
on stage she was the queen and the surviving films of her performances
are remarkable. She had come up with a new electronic style of traditional
music, and her lyrics expressed the problems of life as well as all the joy.

50
22. The Shrine of Pumpuang, Wat Thab Kradan, Suphanburi.

51
 23. The shrine is so popular that there are overspill shrines, where locals hang
cloths and leave gifts for Pumpuang.

52
She was the fifth child of twelve children in the Suphan Buri area, and as
her parents were itinerant workers, she received little of the compulsory
education given in Thailand at that time. She sang from a very young age
and became known as ‘Nampung Na Rai Oi’ (Honey From The Sugarcane
Fields) because female stars at that time rarely went by their real names.
Instead, they tried to find auspicious names to help make them famous.
After working with a series of bands, she found someone who trained her to
play with the music more, added elements of other styles, dance and made
it all sexy. She broke nationwide in the mid-1980’s with two very successful
albums, a string of movie appearances and incessant touring that sadly
inflicted a toll on her health. Unfortunately, in combination with her hard life,
she had two auto-immune diseases that lead to her untimely death from
kidney failure in 1992 at the age of just 30 years old.

At the time of her death, the family thought she had been cursed with black
magic, and her brother showed journalists a nail that had been retrieved
from her ashes, claiming it as evidence of malicious sorcery. There were
terrible problems after she passed on, and the squabbles over her estate
became nasty and prolonged. Even though she had earned 80 million baht
in her career (an incredible sum at that time) it had all been squandered,
embezzled or stolen; this added to the tragedy of her life and the shock at
the loss of her talent.

Such was her popularity that she was granted a Royal Cremation, headed by
the beloved Princess Sirindhorn and 150,000 people attended, marking the
largest funeral for a non-Royal in Thailand’s history. Subsequently, annual
fairs were held at the temple to honour her, which generated much-needed
revenue for the Wat and refreshed the public memory of the late singer.

The worship of Pumpuang’s spirit did not become popular until people made
the connection between the lottery and the singer’s supernatural power,
which was aided by a frenzied media. As Pattana Kitirsa wrote in the book
Mediums, Monks & Amulets in 2012,

“The pop queen’s ghost has been ritually elevated from the spirit of a young,
famous lady to the status of a goddess of luck through popular belief in, and
worship of her supernatural power and reputation for generosity in granting
people winning lottery numbers and other kinds of luck”.

The singer is also seen as a representative of the act of mourning, of sorrow

and also hope, becoming a beacon of light for the disenfranchised of the
land. Even as a ghost she is seen as helping others, to the point where fans
built her a shrine in the temple where she was cremated and elevated her
spirit to become a Taep (angel). People came to her shrine wanting their
wishes to be fulfilled and eventually, the singer appeared in the dreams of
her sister and encouraged her to use her ashes for amulets to ease their
economic plight. The abbot at Wat Thab Kradan agreed, and everyone wins

53
 from this; the family, the temple and even the spirit of Pumpuang as she
gains merit from helping others.

Pumpuang has been the beneficiary of the fact that the creation of any new
deity is intertwined with socio-economic forces, in this case, the craze for
winning the lottery in the 80’s. She represents the transformation of the
economy of the countryside as well as the way that popular Buddhism can
incorporate the spirit of a dead celebrity, and the resulting cult in a Wat’s
compound. The connections at that time between the belief in luck, spirit
worship, gambling and the desire for material wealth all are evident within
the cult to this dead superstar. 16

1. Neils Mulder - Journal of the Siam Society - Vol 17, 1979.

2. Suksit Magazine February 2014
3. From an interview with a successful seller of Thai Amulets, March 2016.
4. C Baker - Khun Chang Khun Paen p248.
5. A quote from Peter Christopherson of Coil, 2004.
6. Berend Jan Terwiel - Monks and Magic 1975 p53
7. C Baker - Khun Chang Khun Paen 2010 p2
8. Berend Jan Terwiel - Monks and Magic 1975 p53
9. Berend Jan Terwiel - Monks and Magic 1975 p288
10. Justin Thomas McDaniel - The Lovelorn Ghost and The Magical Monk 2011 p99
11. Justin Thomas McDaniel - The Lovelorn Ghost and The Magical Monk 2011 p95
12. The process of neutralising Mae Nak in this version was to seal the corpse with wax and Sai
Sin, with her child still inside her and submerge her into water. According to Chris Baker in Khun
Chang Khun Paen p373 it is an ancient practice to trap a spirit in an earthenware pot, the lid
closed and sealed by mantra and then submerged in a river.
13. Justin Thomas McDaniel - The Lovelorn Ghost and The Magical Monk 2011 p97
14. Justin Thomas McDaniel - The Lovelorn Ghost and The Magical Monk 2011 p169
15. Chris Baker - Khun Chang Khun Paen 2010 p33
16. Pattana Kitiarsa - Mediums, Monks & Amulets 2012 p57 - 81

54
Thai Attitudes To Death

It is important to discuss this aspect of the Thai culture before proceeding

further because some details in this book may lead the reader to think that
the Thai people are uncaring, or even inhuman in the way they perceive and
deal with death.

When first visiting Thailand in 1991, on waking on the first day, very jet
lagged and went down to get water from the local newsagent; a glance at
the front page of The Bangkok Post was a little shocking. There was a story
detailed there about someone they must have considered famous enough
to be on the front page, after an accident in his Mercedes Benz. The body of
the departed had gone through the windscreen and was lying on the bonnet
with the top of his head open, displaying his brains. The man who owned
the shop noticed the display of shock and pointed to the photo laughing and
saying something in Thai. In a situation like this, as a new visitor, the only
possible reaction was to laugh along with him and point as well, but it was
an event that stayed in mind.

Within Buddhism, death is as much a part of life as being born, and a culture
with an acceptance of this relates to it in a different way than people in The
West. The wheel of life applies to everyone and dying is only the first step
towards being reborn into a new life, through which the person will carry
their accumulated karma. Some rebirths have a terrible burden, coming
back to endure awful circumstances, while some are very privileged indeed
and they are both seen as the natural course of things. This system not only
allows plenty of room for a dark version of Thai comedy, but also instils in
the people respect for the rich because they can be seen to have spiritually
earned a better rebirth. Each person does attempt to avoid this by leading a
life as in tune with the Buddhist ways as that rebirth can accomplish.

The Buddha once asked his disciples about how often they contemplated
death, and they all tried to better each other, finally ending at the point
where one monk said that he considered death with each breath, because
that is all that separates us from dying. That’s all it takes, the inhalation
comes in, it goes out, and one day it won’t come in again. The Buddha said
that this is an essential part of meditation as it removes the fear of death,
the process of which starts the day we are born. The removal of fear brings
the freedom to be happy, and leads to a life that has proper values, with the
hope that one day we will die a good death. It is natural, as is rebirth to the
Buddhists.

The Buddhist view is that the impersonal stream of consciousness flows

from life to life, impelled by ignorance and craving, with the eventual aim
of gaining enlightenment to relieve us of the burden of living and coping
with all the entailed suffering once more. The theory is a complex one, here
briefly stated but the reality of the attitudes to death in Thailand often

55
 leaves the visitor shocked at the presumed flippant, disrespectful attitude
that can be seen on a daily basis.

The newspapers and magazines used to be stuffed with vivid pictures of

terrible accidents, but this has slowly declined out of the understanding that
others do not always see death in the same way. With friends and guests
to Thailand, one of the places to visit that was a jaw-dropping must on the
list of things to do, was to take them to what came to be known as ‘suicide
window’. The window was at a Wat in central Bangkok, well known as a
charitable organisation that paid for the cremation of the bodies of suicides
and accident victims. While being a worthy charity that fulfils a vital role in
society, they often placed photographs of many of the victims in the window
of their office, and this was on the main road! Pictures of electrocutions,
terrible accident, gunshot wounds, drownings, murders, knife wounds, kids
who had been mauled by propellors, the effects of exploding gas canisters
and the bloated corpses of bodies not found till the rot had set in. An odd
thing was that whenever visited, there were always some Thai people there,
pointing at particular photos and giggling while holding the hand of a loved
one.

The Thai people are as loving towards each other as any other people, but
with the structure of society here, these concerns tend to be confined to the
immediate family and friends. A part of Buddhist teaching is that death’s
suffering is relieved only by the knowledge that it is universal, giving an
underlying mood of resignation to the passage of life. The upset of losing a
loved one is the same the world over, although the Thai’s do tend to revere
their departed loved ones on shrines in the home. Here, the life of the living
is shared with the dead in a way alien to all but Western necromancers.

So why the attitude to the death of someone unknown to them? Why is it

not unusual for ambulance drivers to pose with dead bodies and accident
victims and post them on Facebook? From one blog, someone wrote:-

“I still remember vividly a horrible crash I had attended a while ago where
a drunk Thai guy ran into some girls on a motorbike. One girl died instantly,
and she was not a pretty picture to see. Another girl was in a bad way. As
the crowd of gawkers gathered to rubberneck, children stood in front of their
parents looking at the scene while parents talked. It made me sick to see
this, and I couldn’t believe that people could be such terrible parents. There
are things that kids can see and other things that they shouldn’t see.” Isaan-
style blog, February 26, 2009.

The Thai people are generally not offended by these displays as death is
common on the roads here, with the country ranking as one of the most
dangerous in the world for road fatalities, despite the efforts of a succession
of governments. It is a tradition for the ambulance workers to be volunteers
and many young Thai men perform this duty as part of their Buddhist path

56
24. It’s now becoming more difficult to source images that shock in Thailand.

57
 25. But some can still be found.

58
to be able to become accustomed to the frailty of life. Some of the extended
family of the author also became volunteers to collect the dead, with the
cousin of my partner becoming an ambulance worker. His parents viewed
this charitable action with pride as he is fulfilling his duty to understand life,
while offering Metta to the dead.

The most famous of these charitable organisations is the Por Teck Tung,
and it was they who came to collect a friend after he had died in his sleep
on November 25th, 2010. Being the first Westerner on the scene after being
called by one of his resident lads, who was in a panic at his passing, there
were two burly and rough looking Por Teck Tung guys taking care of Peter
Christopherson. Everyone was crying and in a state of shock, but it was
good to see that Peter had passed peacefully, so quietly that the friend he
had slept with that night awoke to find him dead beside him.

The two men from the Por Teck Tung had him wrapped in a white shroud
and were struggling to get him down some narrow stairs as Peter was a
big chap. Everyone was worried that they would drop him. Someone joked
at this, and all his friends added laughter to the crying. It is the Thai way
to let go of upset so it is not an emotional burden. The Por Teck Tung lads
eventually got him in the van and then did a beautiful thing, they lifted his
dogs up to be able to lick Peter’s hand to say goodbye and even Pan, who
was a bad-tempered sod took this action with kindness (he often snapped
at strangers). Maybe the two men were more gentle because Peter was
English or another Westerner was present, but they showed Metta to our
dead friend, to a level that was quite beautiful. Beside suicide window at the
Wat and the book of the photographic work on the Por Teck Tung by Phillip
Blenkinsop, ‘The Cars That Ate Bangkok’, it was easy to get a glib idea of
their work. The way they acted on that morning when Sleazy passed was
exemplary, albeit a little gruff and down to earth, but at no time did they not
respect the remains of the dead or the people present. There is a tendency
for the Thai folk to laugh at something outside their understanding or when
confronted with something embarrassing or shocking, which is just their
way, it is cultural. Laughing is their default position.

As they have become more accustomed to the sensitivities of Westerners

about death, these attitudes are changing and now many of the images of
horrific accidents posted online are pixelated a little. They are not used to
the Western horror of death and find that as odd as the foreigners view of
their apparent callousness. For Thai people, it is just as sad to say goodbye
to a friend or loved one, but they see it as the end of one journey and the
start of another. They wish them well on their next journey, and they often
hope to meet them in the next life to be friends or lovers once more.

If that is not a beautiful sentiment, nothing is.

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 The Building of Magical Ability

The activity to attain the ability to construct a magical item or to use what is
termed as magic to influence others is primarily through sharply focussed
intention or as the Thais term it, Samathi (pronounced Sa-Ma-Tee). The
state of focus is a factor in all forms of magic, and through that, various
sources of power become available. Samathi is an innate ability in some
individuals, which can then be enhanced through rigorous training in many
if not all of the practices discussed in the following section. When gaining
a controlled, focussed and calm mind, further magical power can then be
sought through the harnessing of a spirit such as a stillborn child or person
who has died a violent death, as a spirit familiar that aids the performance
of magical tasks. Another branch of magic consists of the training in the
direct manipulation of objects from the intended victim of their actions, such
as sperm, hair, body fluid, fingernails and even clothing. And lastly, magic
can be created through the utterance of spells, although in general, it is a
combination of some, if not all of these elements, and Samathi is essential
for each of these available sources 1 .

The practices within Buddhism that are used in the pursuit to the attainment
of enlightenment in this lifetime can also bestow various magical abilities.
The Buddha rejected the practice of magic as a distraction, but many see
these abilities as a useful tool to gain merit by helping their followers with
the mundane problems of life. The earliest reference to this aspect came
from one of the close disciples of the Buddha himself, Maha Moggallana,
who seems to have been a fascinating character, endowed as he was with
the most amazing supernatural powers. Being dedicated to his practices,
Maha Moggallana went to the forests near the village of Kallavalaputta in
Magadha (India) and tried to practice meditation with great zeal. However,
due to exhaustion, he was often overcome by sleep and his mind would not
settle enough to attain the correct meditative states. The Buddha aided his
disciple by guiding him through a shared supernatural vision, enabling him
to complete his spiritual mission in an incredibly short space of time. Thus
Maha Moggallana attained all the Jhanas within one week, to become an
Arahant or Buddhist saint. (Jhanas are the eight states of consciousness
which are produced from meditative practices that are closely related to
Samathi itself)

Moggallana’s mind-reading powers enabled him to penetrate his students’

minds to give them specific advice that related to their quest, accelerating
their growth and with that, mirroring what the Buddha had done for him.
Various Suttas in the Tipitaka give us a glimpse of the range of the powers
he possessed:
1. Telepathy - the ability to know the thoughts of others.
2. Clairaudience - the ability to hear across long distances.
3. Clairvoyance - the ability to see the imperceptible.

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4. Astral Travel - the ability to travel to celestial realms.
5. Telekinesis - the ability to move items from a distance.
There are accounts of these abilities being present to varying degrees in
most of the famous monks and Ajarns of Thailand, and their presence is
perceived both as a boon to their followers and evidence of a heightened
state of being. Possessing magical abilities is also seen as a gauge of that
persons’ dedication to their studies as well as their moral goodness, and
many of the Luang Phors and some Ajarns exemplify the quality of Metta
(loving-kindness). Concerning the Thai Occult, as an Ajarn raises in his
abilities through dedicated practice, he also exudes a natural attraction to
those around him, gaining followers of his works and devotees alike. For
those practitioners with an innate ability with these arts, it is often seen
as a natural calling, raising the prospect of a practitioner being the rebirth
of a magician. Many Ajarns come from a familial lineage of sorcerers and
have had the dedication to follow the magical path, often at the expense of
extensive formal education. The latter comment in no way reflects on their
intelligence, as the study of Saiyasart magic requires the use of numerous
written scripts and an encyclopaedic knowledge of spells, rituals, plants,
woods and kata.

In this section, the aim is to get the opinions of some Ajarns to the many
questions that have been raised by Western practitioners since the opening
of The Thai Occult to outside scrutiny. This will include their advice on the
practices used to gain Samathi, and the methods that are important when
working with the occult talismans they produce. Most of the systems outlined in
this section are pure Theravada Buddhist in nature, but as with many aspects
of The Thai Occult, these practices are also a vital component of Saiyasart
Wicha. Contained here are descriptions of the techniques used to build
Samathi. Having Samathi is essential to raise the powers of the individual,
but to go any further, a teacher must be found and a period as a Luksit must
be undertaken. The Ajarns consider Saiyasart impossible to study without
a Master because the system is an oral tradition, and each student needs
an accomplished guide to be made fully aware of the use of spells, training
techniques, scripts and rituals. Some Ajarns have stressed that it is entirely
possible for a foreigner to become accomplished in The Thai Occult 2 and
this book may constitute the start of a journey for a few of the readers of
this work.

Gaining Samathi

It is not the purpose of this book to fully outline the practices involved in
meditation as there are a considerable number of opportunities to explore
this practice, and there are thousands of books on the subject already.
Instead, here is some advice from one of the best-written examples of the
difficulties in the process of attaining Samathi from the book by Richard
Randall - Life As A Siamese Monk, published in 1990, which is highly

61
 recommended and still readily available. He studied Vipassana meditation
(insight meditation) at a famous temple called Wat Paknam and had been
given exercises to help withdraw the mind from the world of the senses; to
turn it within himself. His journey started with the following instruction:-

The theory states that first, it is important to sit comfortably in a position,

which can be held for hours if necessary and then fold the hands in the lap.
The right hand should be on top of the left, with the index finger of the right
hand touching the thumb of the left. Close the eyes and try to concentrate
the mind to achieve the opening of the right nostril. Then repeat the words
Samma Arahant three times. Next, focus the mind at the inside corner of
the right eye and repeat the words as before. Next, try to concentrate all
the attention in the centre of the skull and then the back of the mouth and
then to the bottom of the throat. Then right down to the navel and finally, at
a position two fingers breadth below the navel. At each of these positions,
repeat the words Samma Arahant three times, but when finally at the last
place the devotee should keep on repeating the phrase. If the mind wanders
at this point, go straight back to the final position, do not go through all the
positions again. If this practice is successful, a devotee will be conscious of
a pinpoint of light, seen as if in the mind’s eye.

Having managed to get comfortably seated, squatting on the floor, Richard

closed his eyes and tried to fix his whole attention in the opening of the nos-
tril, and failed. He tried again and again, but could not do it. He tried to help
himself by visualising the nostril, but no sooner had he arrived at a mental
picture of the nostril he found it fading and the mind being drawn to some
sound or other. He became aware of innumerable sounds, which he had not
heard before and the more he struggled to attain even the slightest degree
of concentration on the nasal area, the more he became conscious of some
sensory stimulation. His mind wandered everywhere but where he wanted it
to be. He remembered feeling that he was just on the point of success when
he heard what he took to be a riverboat in the distance. He was immediately
caught up in a mental game of conjecturing how far away it was and what
type of boat it was, becoming so involved that he was not even aware of the
point when he left that mental playground. The next time he caught himself he
was going through the act of boarding a number nine bus in Piccadilly Circus.

Again he tried to clear the mind to bring himself back to the task in hand,
only to become conscious of the pain in the legs. Richard determined that
he would not move until attaining some semblance of concentration. Then he
became painfully aware of being bitten by what felt like hordes of mosquitos.
Try as he might he could not put the thought of mosquitos out of mind. He
thought that his hands and feet must by now be swollen beyond recognition!
Grasping at this excuse, he got up from the floor and as it was not yet daylight
he lit a candle to see how severe the damage was. There was but one bite,
and it was amazingly small, considering that he had inadvertently left both
windows open during the night.

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By this time, Richard had become furious with himself as he had always
prided myself upon his powers of concentration and will. Sitting again on
the floor and calling himself a long string of uncomplimentary names in the
process, he applied his mind to the exercise once more and progressed
very well, as he thought, when he heard a knocking at the door. He opened
his eyes and found that he was lying on his side on the floor, having been
fast asleep.

Opening the door, Richard saw that a table had been laid with his breakfast.
He went over to it and sat down, pouring out a large cup of coffee he began
to drink. For a moment he closed his eyes and was immediately conscious
of a clear mental picture of his right nostril. As the fact that he had attained
this small degree of success came, the whole experience was gone.

Over the next two weeks, it dawned on him that the times when he had
the best success were when the mind appeared to have tired itself out and
could not find anything else to titillate itself with. It would then fall back into
the meditation exercise. In this way, he learned not to be upset when the
mind darted from one thing to another in rapid succession, and would tell
himself that this is but the nature of the brain. It argued back and forth about
the need for the words or the exercise, somehow determined by conflict,
doubt and scepticism.

This remarkable man tells an honest story about how he broke through his
problems to become one of the first English people to be ordained as a
monk in Thailand. It is a thoughtful and funny book.

1. Watson & Ellen - Understanding Witchcraft and Sorcery in SE Asia - 1993 p10
2. Ajarn Korn, Ajarn Chalerm and Ajarn Dang to name but three.

It does not matter how strong or good is the magic from any tattoo or amulet
that you may possess; if you are not a good person, these things will not
help you. When you have an amulet or a tattoo you should keep precepts
and say the kata with the aim of improving yourself.
Ajarn Suea,
January 2018.

On numerous occasions, Ajarns and monks have expressed the belief that there are
many ways to attain Samathi. One of the great meditation Masters of the recent age was
Ajarn Man (or Luang Pu Man, who was a member of the Tammayut sect of Theravada
monks), renowned for the practice of Tudong. Although this practice is now less
common, it is worth explaining as an example of the many methods available in the
pursuit of gaining Samathi as it had a profound effect on the magic of Thailand.

63
 26. Ajarn Suea in Samathi.

64
27. Ajarn Perm Rung in Samathi.

65
 Tudong - A ‘shaking off’ of mental defilements, derived from a Pali word
meaning ‘ascetic practices’.

This section draws heavily from two influential books on the subject, the
biography of the legendary Ajarn Man by his pupil, Ajarn Maha Bua (2004) and
Forest Recollections by Kamala Tiyanavich (1997). Both of these publications
are highly recommended.

Buddhism has flourished in Asia by accommodating the native beliefs of

the cultures with which it came into contact. The styles of Buddhist philosophy
practised in the area that is now called Thailand was as varied as the
Buddhism in Tibet, coloured and enriched by its interactions with the
indigenous cultural traditions in each region. In the early nineteenth century,
Thailand had not yet become a centralised country, instead consisting of
smaller states that sent tribute to the more powerful kingdom, which acted
as a protector rather than the controller of religious customs and practices.
Substantially different Buddhist systems existed in the different regions,
for example, in the Lanna Kingdom to the North there were 18 lineages
in the city of Chiang Mai alone. This aspect was similar in all the regions,
and each of these Buddhist traditions was infused with the various forms of
indigenous spirit worship and by the Mahayana and Tantric traditions that
flourished before the fourteenth century.

A reform movement sprang up within Buddhism in the third decade of the

nineteenth century, the founder of which was a 33-year-old Siamese Prince
named Mongkut, who had been impressed by the strict discipline observed
at a Mon (Burmese) Monastery. Mongkut set up a new sect that would follow
this discipline, which he named Tammayut, meaning the order adhering to
The Dharma. He introduced a style of the monastic robe that covered both
shoulders, (a Mon tradition) and strict adherence to Pali Buddhist studies,
revised rituals and routines and new religious days to observe. This was an
invention of the Bangkok elite that disdained the folk stories and parables
that were used to teach the Dharma, as well as how local culture had been
integrated into the Buddhist philosophy. Mongkut had an intellectual image
of Buddhism, and he accepted the view of the Christian missionaries at that
time that Buddhism was too superstitious. The eventual popularity of this
sect helped cement the formation of the modern Thai State by spreading
the idea of one language for Buddhism, one Buddhism to override local
traditions and all told in the Thai language. The process of reform is still
occurring to this day, but traditions are strong and the old ways linger.

During the late nineteenth century and the early decades of the twentieth,
it was customary for young men to ordain in their local traditions to learn
the Dharma and acquire the practical knowledge that was relevant to rural
communities. Those who were committed remained in the robes, but many
young men left after a period to become householders. Some of the monks
followed another path, that of a lifelong monastic who wandered in the wilds

66
for several decades on a spiritual quest. Many monks found this discipline
too difficult as it was an austere life in the wilds, in which hardship and
suffering lead to self-knowledge. The first great monk to follow this tradition
came from Ubon (of Lao descent, as are most people in Esaan), the legendary
Ajarn Man, who found the Tammayut methods conducive to his meditative
inclination after first being ordained into a Lao sect.

At this time, the North and North-East of Thailand were sparsely populated,
roads were few and vast areas covered with forests that were home to
elephants, tigers, leopards, panthers, bears and snakes. Animals ruled not
only the wilderness but also in the fears and fantasies that dwelled in
everyone’s imagination, monk and villager alike. Ajarn Man dictated that
until a monk faces these dangers, he will not know how much or how little he
fears them. Many people were terrified of ghosts and spirits, but if someone
wanted to live the life of a Tudong monk these fears had to be rooted out.
Advancing along the path of Dharma meant developing the mind and staying
in the wild was a proven method for reducing, and eventually eliminating
this defilement. The thick forest and the cemeteries were training grounds
for the Tudong monk to battle the destructive forces within, with the aim of
spiritual liberation.

Samathi is a gathering of the mind’s energies to give it great strength and

the ability to uproot attachments, cleansing it so that it is, for the moment,
bright and clear. In the early part of the training, a novice stayed with his
teacher, participated in the daily rituals, received instruction and learned by
observing. In the wilds, a student had to be ever cautious of dangers, which
forced him to be alert, defenceless except for his mind. If fear was defeated,
an inner peace could be found, but if fear were the victor, it would multiply
itself prodigiously. In the second stage of training, a monk wondered
with other monks and practised their methods of meditation, attuning their
senses to the environment. They had to get used to the dangers of the
forest, which included tigers, who often came close at night. The presence
of Tigers forced the monk to try and hold his meditative state and banish
the fear within, resigned to his karma if the Tiger should attack. These
situations challenged the mind, and Ajarn Man taught that if you are terrified
of tigers, be where the Tigers are and make friends with them, a parable
for all aspects of fear. Ajarn Man was a spiritual warrior who’s meditation
practices instilled a mental fortitude that was used to combat the hardships
and dangers they faced each day.

Even when wandering alone in the forests, the confidence of the Tudong
monks was striking. They wholeheartedly believed that due to the merit of
the practice, the Dharma would protect them. They had trust in their Ajarn
and believed in the good they had done by not harming any creature. The
Tudong monks also believed that many dangerous animals were guardian
spirits in disguise that had come to test their faith and with discipline, they
could overcome such situations and survive.

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 Another important Tudong practice was that of staying in a charnel ground.
In the past, cemeteries in Thailand were not like they are today. Unburied
bodies were all over the place, old corpses and new scattered like logs and
it gave the monks a chance to have an encounter with both ghosts and the
local spirits. The experienced monks often sought the places avoided by
others so they could practice meditation undisturbed and for many monks
who were afraid of ghosts, the experience was often transformative. The
bodies were carried to the grounds on a bamboo bed and to overcome their
fear, Tudong monks often chose these beds as a place to rest for the night.
During these periods, the monks had the chance to view their fears and
begin the process of uprooting the cause, understanding the fear of death
and the realms of ghosts and spirits. They would meditate on the rotting
corpses to know that they too would rot one day, it is an aspect of everyone’s
life so why be afraid? In these, like all the circumstances where fear rises,
the monks have the chance to gain wisdom and learn to face his fears with
mindfulness. Eventually, he will be transformed, having no fear at all.

Through his training, Ajarn Man possessed the ability to communicate

directly with beings from many different realms of existence. He was continually
in contact with beings in the higher and lower celestial realms, spirits of
the terrestrial realms, ghosts of many sorts and even the denizens of hell
through inner psychic faculties. This training included a period where Ajarn
Man used the image of a bloated, seeping corpse that he contemplated on at all
times until it changed into a translucent disc that appeared suspended before
him. As he focussed on the disc it changed constantly and he followed these
changes for three months, with a seemingly endless series of developing
images, permanently in flux. Ajarn Man continued to practice Samathi in this
way but eventually realised that he was not attaining the beneficial results
of calmness and peace to convince him that this was the correct method, so
he changed it. Instead of traveling with the mind he brought in inside and
focussed on his own body, investigating every part and bringing everything
within. With practice, his mind calmed and he achieved the Samathi he
sought, his body appearing to be separate from himself and he had found
his way. As one of the foremost meditation Masters Thailand has ever
produced, his insights into meditation have influenced every generation
since, and his following continues to this day.

Ajarn Man possessed a mastery of psychic skills, and over the years his
proficiency grew to the point where the monks living with him took great
care to be mentally self-controlled at all times. They couldn’t let their minds
wander lest their wanderings became the subject of a Dharma talk that evening
and had to hold extreme focus when meeting him as he made an issue of
any stray thoughts. It became the subject of much joy with his disciples,
always on the lookout as to ‘who got caught today?’

The students of Ajarn Man continued his teachings after he passed away,
giving rise to such remarkable monks as Luang Phor Pina and what can be

68
termed as the great generation of magical monks, almost all of which have
now passed away. Although the tradition of wandering meditation ascetics
has become a victim of Thailand’s relentless modernisation and rampant
deforestation, Tudong can still be undertaken in the more remote parts of
the country. A period of Tudong is still part of the training for some monks,
Ajarns and Lersi who observe at least some of the 13 ascetic practices
mentioned in the Buddhas discourses. These include eating only one meal
per day, sleeping outdoors in a forest or cemetery and being content with
the very fewest possessions. This acetic life tests their skills and offers the
chance to hone the piercing focus that comes with such practices, which
can then be put to use with any aspect of the Thai Occult system.

One common question since the release of the first books on The Thai
Occult is, What are the feelings associated with the practice of attaining
Samathi? What are we looking for? What is the state of being?

The feeling that a practitioner is seeking with Samathi is that of the spirit
growing and filling the whole body. It is light and bright and should bring
about a calm but sharp focus, without the constant mind chatter that many
experience in daily life.
Ajarn Nahn Ting 2018.

The 32 Parts Of The Body Meditation

and the 4 Elements

As was mentioned in the previous piece on the influence of Ajarn Man,

one of the significant aspects of the meditation techniques undertaken in
Thailand is the exploration of the body, with the aim being to build Samathi
and an understanding of impermanence. That’s the Buddhist aspect of the
32 parts of the body meditation but as with many practices here, it also has
an occult usage, which will be covered with an interview with Ajarn Apichai
following a brief description of this style of meditation. As with all practices,
a teacher is essential to explore this properly. This passage on this style of
meditation is a rough guide, but hopefully one that will encourage people to
explore the techniques involved with an expert teacher.

The 32 parts of the body meditation practices aid an understanding of the

true nature of the body, to begin the comprehension that the body consists
of the four elements of earth, water, air and fire. The use of the four
elements within the Thai Occult will also be covered in the interview with
Ajarn Apichai, but only to a depth that Ajarn is willing to share. This aspect
is new to the outside world, and few would cover it in any depth as it is
generally only to spoken of with a Luksit or a fellow Ajarn.

Practising the 32 parts of the body meditation can help build immense
levels of focus as well as increase the potential for self-healing. The idea of

69
 this practice is that the devotee will use their Samathi to discover their own
body, every single component of it. When a person ‘thinks’ in the body,
blood goes there, and through the expansion and prolonged efficiency of
the blood supply, robust health can be attained. Tai Chi Chuan also uses
this principle to good effect, and it is the reverse of the ageing process,
which generally constricts the blood supply in the body as a person curls
up and withers with age, like an old piece of orange peel. The practice also
helps the devotee discover that there is no self, it is just a body with all its
frailties, and the levels of sensitivity attained can be astonishing.

Outlined here is a rough guide as to how to use the 32 parts of the body in
daily meditative practices, but not for every part as it would take too long.
A good teacher is essential. Find one. The reader is holding a book on The
Thai Occult, not a meditation book and a teacher is needed for this practice.
The 32 parts are listed below and let’s take the example of the first part, the
hair on the head to give an idea as to what the practice involves.

Put full attention into the hairs on the head. Each can have different colours,
brown, grey, maybe black or dyed. Become aware of the shape of the hairs,
and where they are on the head. Some are short, some long, and they
can go in different directions. How each hair protrudes from the top of the
head, where they start above the face and finish on the neck. How each is
a thread like an outgrowth of flexible shafts of hardened cells. The average
skull has about 100,000 hairs, and it is important to envisage them all.

The practice of the full 32 parts should take about 30 minutes, to begin with,
but it can also be used when outside the house, on a walk or at any time
when the need arises for a meditative state. As the practice develops, some
of the parts of the body begin to break down into the primary elements of
solidity, liquidity, motion and temperature to reveal the impersonal nature of
the body and mind. This idea expresses the link between this and the use
of the four elements in The Thai Occult practices.

The 32 parts of the body are:-

1 - The hair on the head.
2 - The hair on the body.
3 - The nails.
4 - Teeth.
5 - Skin
6 - Muscles.
7 - Tendons.
8 - Bones.
9 - Bone marrow.
10 - Spleen.
11 - Heart.
12 - Liver.
13 - Diaphragm.

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14 - Kidney.
15 - Lungs.
16 - Intestines.
17 - Colon.
18 - New food in the stomach.
19 - Old food in the stomach.
20 - Brain.
21 - Bile.
22 - Phlegm
23 - Puss.
24 - Blood.
25 - Sweat.
26 - Condensed Fat.
27 - Liquid Fat.
28 - Tears.
29 - Saliva.
30 - Snot.
31 - The liquid in the joints.
32 - Urine.

(These are often written in slightly different ways depending on the source
materials)

The use of the 32 Parts of the Body Meditation and the 4 Elements in
The Thai Occult - an interview with Ajarn Apichai

Knowledge of the 32 parts of body is fundamental when creating the entity

contained in a talisman. The Thai Ajarns, through their knowledge and the
understanding of the 32 parts have worked out a way to construct a spirit,
very much like reversing the study of the 32 parts within themselves. It is
the first thing studied in the process of making talismans and the 32 parts
of body can be divided into sections depending on which of the 4 elements
they are associated with. If an Ajarn has knowledge and a good ability
regarding the use of the four elements, then it is sometimes not necessary
to do the 32 parts of body. The four elements are Na Ma Pa Ta or earth,
water, wind and fire if said in the Western way. This knowledge and practice
is used in making amulets, combining the 4 elements with the 32 parts of
body. Here’s the groupings:

The earth element has 20 parts

1 - The hair on the head.
2 - The hair on the body.
3 - The nails.
4 - Teeth.
5 - Skin
6 - Muscles.
7 - Tendons.

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 8 - Bones.
9 - Bone marrow.
10 - Spleen.
11 - Heart.
12 - Liver.
13 - Diaphragm.
14 - Kidney.
15 - Lungs.
16 - Intestines.
17 - Colon.
18 - New food in the stomach.
19 - Old food in the stomach.
20 - Brain.

The water element has 12 parts

1 - Bile.
2 - Phlegm
3 - Puss.
4 - Blood.
5 - Sweat.
6 - Condensed Fat.
7 - Liquid Fat.
8 - Tears.
9 - Saliva.
10 - Snot.
11 - The liquid in the joints.
12 - Urine.

The fire element has 4 parts (all very metaphorical)

1 - Fire that warms the body.
2 - Fire to burn.
3 - A living fire that makes you old.
4 - The fire to digest the food.

The Wind has 6 parts

1 - The wind that blows above.
2 - The wind that blows below.
3 - The wind that circulates around the stomach.
4 - The wind that circulates inside the stomach.
5 - The wind that circulates around the whole body.
6 - The wind of the breath.

So in effect, there are 42 parts of the body, but ten parts are not tangible
and are therefore not counted, but they are essential in the construction of
a new spiritual entity. It needs highly focussed concentration and mental
power to combine the four elements to create amulets. The knowledge of
Kata and the Wicha were passed down from his master who has now

72
28. Correct training and good knowledge brings magical ability.
Ajarn Apichai.

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 29. Ajarn Apichai blessing Panneng.

74
passed away. When constructing an amulet, it will have enough power with
the ingredients that are present, but it can be more powerful if the 32 parts
of body are also combined within the amulet.

Everything is created by a combination of the four elements. A human being

is considered to consist of these four elements; breath is the wind, blood
is the water and flesh is the earth, etc. Na is the water element, Ma is the
earth element, Pa is the fire element, and Ta is air and to combine these,
elemental Kata can be used to assist in raising the power of the amulet
when making it. The water element is used for Metta because water is the
coolness, the ease, the comfort. If an Ajarn wants to add Maha Saneah,
it will need the wind element to help to pass the power to the person and
carry the message of attraction. The earth element is vital for Kong
Grapan or invincibility magic. Combining the earth and water element helps
with protection, like if the fire was the danger, water is there to put it out.
If need protection from black magic, the fire element is used to burn away
the magic.

The four elements are an essential knowledge when creating most amulets
and they are part of the building of the talisman with kata. If the Ajarn then
combines the use of the four elements with the 32 parts of the body, that’s
when the amulet can become very powerful indeed.

No one else would give that interview! Ajarn Apichai has a natural openness
that is quite disarming, speaking the words as if the knowledge they contain
is as normal as when talking about eating or sleeping.

Thank you for this interview, Ajarn.

The Power of Sound

One of the aspects of The Thai Occult practices that help in attaining
Samathi is the kata given by each maker for any of their talismans. Some
Ajarn’s use only one kata for everything produced at their Samnak, whereas
others create a different kata for each type of talisman. Let’s now look at
Kata by reproducing a piece in the first book on The Thai Occult and then
talk to a monk about the way kata are used by the devotee, what their
purpose is and any advice that he can offer with their use.

Kata

In 1984, a Delhi publication house brought out an English translation of

Mahidara’s Mantramahodadhi, a treatise on Mantra and at the beginning of
the publication a ‘warning’ was given in which they disclaimed responsibility
for any consequences if the mantra within were used irresponsibly.

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 If any person, on the basis of any information provided in this book commits
commits any nefarious acts, the author and publisher will not be responsible
in any way. Mantras are practised and used for the help of and services to
Mankind and should not be abused in any way. 1

A Mantra is a sacred utterance using words in Sanskrit that are believed to

have psychological and spiritual powers 2 , and the practice of this principle
has spread into many other forms of worship, from Buddhism to Taoism. A
Gatha is a Sanskrit term for song or verse, and this term has been accepted
into Buddhist practices as a verse recited in rhythm with the breath 3 . In
Thailand, the word has developed into kata, and they form the principle
method of worship for the general Buddhist practices, and all aspects of
The Thai Occult. Repetitions of Kata are an accepted fact for the collectors
of Thai Occult items, but few katas have been translated to give an idea as
to what is being said in a way that can be understood.

In Thailand, the power of kata is considered real. In the legend of Khun

Paen, it is written on numerous occasions that he uses a ‘Sakot’ kata to
immobolise, suppressing or restraining anyone within earshot 4 . Kata are
analogous to the action of prayer in the West, but prayers are not prone to
actively create what can be considered as magic. Kata are a tool of human
intentionality, and therefore it is the power of the Samathi that renders the
kata powerful. The Samathi that must be built to gain magical abilities 5 .

Thai kata generally originate from the Pali Canon, the Tipitaka (the standard
collection of The Buddha’s writing in the Theravada Buddhist tradition in
the Pali language) but over time many kata words have been bastardised,
or words included from the Lanna language (Northern Thailand), Laotian
or even Khmer. Because of the various languages, Kata can be difficult to
decifer, and the language used needs to be taken back to the Pali to be able
to be translated correctly into a form non-Thai speakers can understand.
When the words do not originate from the Pali Canon, the kata is referred to
as a ‘dirty kata’ and it is then believed to evoke darker powers.

When people first start devotions to Thai Occult items, they often find the
kata difficult to pronounce and say with conviction, but it is important to
keep trying and a recording of the kata from the maker or the dealer it came
from helps. If the kata is not being spoken correctly, how can the resident
spirit or the deity in question understand? It can also be helpful to some
people to have an idea of what the kata means, and the following Hoon
Payon kata is famous here in Thailand.

Kata Hoon Payon (Luang Phor Naen Kampiro Lineage)

Om Na Ma Pa Ta Jaedta Phuudto Maha Phuudtang Hun Payondtang

Nimidtang Gang Ruubpang Bpiyang Ma Ma Aehi Aehi Na Mo Put Taa Yaa
(chant 7 Times)

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The translation for the kata may come as a surprise considering the Hoon
Payon is an ancient Animist deity associated with the land that can contain Prai
materials, such as bone, skin, corpse hair and Nam Man Prai oils. These
are the meanings from the Pali used, and where that has been changed
through time into Thai, it has been taken back to the original Pali before
translation.
Om - Awakening the Universe through the resonance of sound.
Na Ma Pa Ta - The four elements.
Jaedta - To be born
Phuudto - Buddha the being
Maha Phuudtang - The Great Buddha
Hoon Payontang - The servant
Nimidtang Gang - The sign or omen that proceeds
Ruubpang - That figure, image or object of the eye
Bpiyang - Dear beloved or desired object
Ma Ma - Come
Aehi Aehi - Come here, hey! Calling for attention!
Na Mo Put Taa Yaa - In the name of the 5 Dhiyana Buddhas of this eon.
The Hoon Payon Kata has a mixture of Brahman and Buddhist influences
due to the presence of Om, and begins by evoking the four elements
together before sending requests the great one, The Buddha to stay with
the bearer. Hoon Payon is a Thai word but adding the ‘tang’ means that it
calls the Hoon Payon to come, it is a calling spell, to come, come, come and
help. It ends with reverence to the five Buddhas, or the spirit of the Buddha
as back up or protection in case the Hoon Payon attacks the bearer. It is
often the case that the kata has a backup plan, just in case something goes
awry, although that would be very unusual for such a stable entity as the
Hoon Payon.

Strictly speaking, with being Buddhist, the bearer should not play around
with spiritual items such as this and this kata infers that yes, the bearer is
making a small mistake here, but is asking in the name of The Buddha to
stay with the bearer while seeking help for a problem. The same is true
when the devotee is asked to perform the Namo Dtassa chant to the Buddha
before saying a kata to any Prai items. It is said to seek refuge with The
Buddha, protection from what the devotee is about to beseech for help. It
may come as a surprise to most reading this that the Thai Occult items and
their associated kata are so firmly rooted in Buddhism, but that is generally
the case as Buddhism is the refuge from any possible harm from the forces
being called upon. 6

1. Harvey Alper - Understanding Mantra p1

2. Wikipedia definition
3. ditto
4. C Baker Khun Chang Khun Paen p282
5. Harvey Alper - Understanding Mantra p6
6. The explanation of the meaning of kata comes from an interview with Ajarn Metta, June 2016.

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 Ajarn Tay

Ajarn Tay is a hard working monk in the Chiang Mai region, and on arriving
at the temple the first thing to notice is that there are lots of people around
as this Wat is the centre of the local community in a traditional way. The hall
is full of locals making devotions for a Buddha day, and there were many
younger monks who were all orphaned hill tribe people from the Mae Hong
Son area. At that time, they were helping out with a new building and soon,
they will start work on expanding the Wat further. Ajarn Tay has enabled all
of this work. He raised the money to buy the five rai of land (about 4 acres)
needed to officially register the Wat from the donations it receives, which
are also used to help many of the locals with education. The work involved
in creating this expression of his devotion and compassion is remarkable,
and his manner while achieving this feat is something to be respected.

The renowned old magician, Phor Noi Tan helped raise Ajarn Tay as a boy,
and Ajarn was a student of both Phor Noi and of the legendary Phor Sala
Tan, some thoughts on whom he shared at the end of the interview. The
primary aim of this interview was to request the advice of Ajarn Tay on kata,
Samathi and helping Westerners understand some of the issues around
starting to acquire products from The Thai Occult.

An Interview with Ajarn Tay - July, 2017

Bringing a new amulet or statue to the home

The actions a person needs to take regarding what to do when they receive
a talisman from a maker depends on the maker involved, what the rules are
pertaining to that piece and the purpose of the amulet. With amulets made
by Ajarn Tay, the first thing to do is for the owner to tell their Opatika (their
guardian spirit) that a new spirit has come to the home. Every single human
being has an Opatika that takes care of them, and in the aggressive forms
of Thai magic, this spirit is what an Ajarn will try to weaken to influence that
person with any particular spell. Knowing the birthday of an intended target
is essential with that type of magic as the Ajarn can then work out the day
when their Opatika is at a low ebb.

If the devotee has a spirit house, which holds the land spirits on which their
residence is located, it also needs informing, which they can do with their
mind. If there is another altar of any type from any style of practice in the
home, then that should be informed as well as any Buddha present that a
new spirit has come to stay. Sometimes, a maker will also give a welcoming
kata, which helps with this process, and is a general kata for such purposes.

Ajarn Tay on Kata

With regard to the offerings and kata, it depends on the owner, and the time
available in their life. Everyone offers water, usually every day but as long

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30. The remarkable Ajarn Tay.

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 31. Ajarn Tay’s Pruk Saek during a Na Naa Thong ritual.

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as the water does not run dry in the cup, glass or bowl, it is okay, everyone
has a life to live, and Western people always seem very busy. The same
goes regarding food; it is at the person’s convenience. Flowers and candles
tend to be for the Buddha, but the food is for the ghosts and spirits in the
talismans, both as sustenance and to help them to feel that they are part of
the world of the living. Regarding the kata, if the devotee is a foreigner and
they chant the wrong kata, it does affect the amulet. It is akin to damaging
the spell by talking gibberish to the resident spirit. If they cannot say kata
correctly, they should learn to focus the mind to contact and communicate
with the spirit directly. If unsure of the pronunciation of a kata it is better for
a foreigner to learn to focus their thoughts, because once the mind is clear,
it holds power. Then they can contact the spirit with the mind. If this can be
done, the person should simply make their wish instead of chanting kata.

The clearness of the mind is of the utmost importance, and every single
kata acts to calm the thinking, which is one of the primary functions of kata.
Kata is for this purpose, to help the devotee as much as the resident spirit.
Saying kata is the beginning of the process to attain Samathi, and the more
kata is practised, the greater the clarity that will come to the mind. Some
kata are complicated, which can be a challenge and some are said quickly,
easily tripping up the brain but keep practising it till perfect. At first, the mind
can get in the way of doing any kata correctly, but that stage can be pushed
through with a little effort. Kata have a purpose and they need to be said.

It is better if a Westerner does not know the meaning of the kata.

Ajarn Tay 2017

Ajarn recommends this as many Western minds are not calm, so it is better
not to think of the meaning of the kata, only say the kata or the brain will
be busy and that is not what is being sought from this practice. It can also
be the case that if the meaning of the kata is given, the person may think,
‘is that it?’, which may result in a loss of faith. Sometimes having too much
knowledge about these things leads to a loss of belief, and to make the
amulet powerful it is essential to believe. A Thai Occult item has power for
a very long time but people often buy new ones as their faith in that amulet
wanes with time. Thinking in this way is wrong, but that is sometimes how
people are.

As far as the practices to gain Samathi, Ajarn says that Samathi can be
achieved in many ways. There’s no need to only chant to the Buddha; it can
be to Jesus Christ or whatever you believe in. Samathi is built with anything
that the devotee can hold on to strongly with their mind, and the practice
is constructed to attain focus, it doesn’t matter what religion it is from, that
is not important. Samathi can also be gained by focussing on the breath,
watching the air move in and out, and in Buddhist practices one aspect is
to focus on the nostrils, to feel the breath there. The human mind is like a
monkey’s and the ‘monkey mind’ never stays in one place. To acquire

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 Samathi is to focus the mind on to an object or to focus on the self, to know
how existence is, to be conscious and aware of the thoughts. It depends
on the person who is trying to find a way to be focused and attain Samathi,
which can be compared to catching and taming that monkey, but it is always
trying to find a way to escape and be free to do whatever it wants.

Using Kata - an interview with Ajarn Perm Rung

As the topic has turned to the importance of kata, this is a good point to ask
Ajarn Perm Rung to about a common question, is it possible to cut down on
saying kata if a devotee has a lot of amulets and statues?

With all of his amulets, Ajarn Perm Rung fixes a kata into the amulet during
the process of construction. This means that with some charms, a person
only needs to carry it to receive the benefit of the magic within it, such as
Metta and Saneah. With some amulets, it is essential to say the kata if a
wish needs to be granted. With others, reciting the kata is not as important,
but the kata still needs to be remembered and pronounced correctly for
when the devotee has a special request. Some amulets contain Prai, they
have a spirit, and the kata is the way to call them to service. The kata is a
way to communicate with them. It is like a language, and if it is not spoken
correctly, it can be misunderstood; resulting in the fact that the spirit does
not know what is required of them, or how to help.

As far as trying to cut down on the amount of kata said, if it is a Puttakhun

amulet it is OK to use Namo Dtassa and say it three times, because most
amulets of this type do not have a kata anyway. If an amulet has a spirit held
within by the Prai materials, it will have a kata. With Prai, it is essential to
know all the kata for the amulets on the altar as each maker uses a different
Wicha. The kata can be said every day, time permitting or the kata can be
said whenever the amulet is called upon for a service. Either way, the kata
has to be fixed in the brain, said clearly and pronounced correctly.

Ajarn Tay on Backlash

Backlash refers to a period where there is a general crash of good fortune,

which can happen to the devotees of The Thai Occult as well as to Ajarns.
It comes from having broken the rules of practice, or having acquired an
item from a Master who produced something extremely powerful but did not
have sufficient skills to control it. Once such an item is in the possession
of a person who does not have enough power to control it, things can go
wrong. If a person worships lots of Prai, this process can occur and the best
way to stop it is with a Sompoi bath, which is regarded as spiritual first aid.
Sompoi comes from a tree and when soaked in water, bathing in it removes
any clinging or powerful spirits from the body, and its use is recommended.
After the bath, return to the strict rules of practice and make Tamboon; then
donate the merit from that to the spirits in the home.

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Tamboon is an act that gains merit (the most basic of which is giving to
charity or a temple, but it can also be through helping others directly) and
donating the merit from any Tamboon performed to the spirits on the altar
keeps a balance. The Prai in talismans survives on Tamboon more than
they do the offerings, as it charges and empowers them. When having Prai
items, not all of the ghosts will be loyal to their ‘owner’ as they have been
forced to be present in the talisman, but making merit can bring the spirits
closer and persuade them to have a better relationship, just like making
friends. Merit can also be made through meditation and spreading loving
kindness to all living beings, known in Thai as Pae Metta Bhavana, but a
good teacher is needed to study this. On a simpler level, once Samathi is
present within a person and has worked at starting to calm the mind, the
ability to choose a beneficial action arises in any situation. When watching
and listening to a monk, it is an education in the way the monk chooses the
way of kindness, bringing Metta to all and through that, Tamboon to himself.

(If when on holiday or living in Thailand, it is easy to see people making this
choice all the time)

Tamboon

Tamboon means to ‘make boon’ to make good things and it can be done
in many ways. The simplest way is through kindness to others. Where this
kindness is chosen and the person being kind comprehends the choices
available fully, then that is an action that makes merit through tamboon. An
action such as this can be done by anyone as it does not involve an offering
or a donation, meaning that everyone can tamboon.

There are many ways to tamboon but the one that is the most common for
foreigners is to donate to charity, or help someone with either money of
something given freely. The help can be the gift of time where help is given,
or the gift of an item that is no longer required. If making merit through the
gift of money, a gift to help a single person is the best, which is why many
people buy coffins for the poor. Making a donation to a temple or giving food
to monks in the morning also generates merit and then this merit can be
given through the mind to both spirits and deities on the altar of a devotee
of The Thai Occult.

An opportunity to tamboon came through Ajarn Khaw, who had been asked
to raise some money by Kruba Insom to help with the funeral of an important
monk, Phra Kru Winitsiriwat. The friends of The Thai Ocult Books were very
generous and 18,000 baht was raised to help with the costs, which is a
large amount to tamboon! Over the coming pages is the story of the funeral,
which was about 3 hours away, near to the border of Burma and it was quite
an adventure. There were hundreds of people needing to be fed and both
Ajarn Khaw and Kruba Insom were great hosts. Being invited to the funeral
of a monk is rare, and hopefully, the coming photographs tell the story well.

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 32. The coffin of Phra Kru Winitsiriwat is in the tower, which was been built by hand.

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33. Then three ropes were attached, two on either side for his devotees and the one
in the middle for the monks to hold, giving their energy to the spirit of Phra Kru.

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 34. The amazing thing then was that the hundreds of people present started pulling
the tower! It was built on the trunks of coconut trees and easily slid along the floor.

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35. While being pulled, (and here, turning a corner!), the man on the structure was
throwing sweets for everyone to catch, bringing a joy that was very Thai.

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 36. The hundreds of people present helped in taking a monk they respected to be
cremated.

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37. My thanks to Ajarn Khaw for both the chance to tamboon and the experience of
being at Phra Kru’s funeral.

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 38. As the sun set, the mournful funeral music began and a Thai dancer performed
for the spirit of Phra Kru. Kruba Insom was also talking to help the spirit pass on.

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39. Then some fantastic fireworks...

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 40. The flame was delivered to the pyre by the figure of an angel on a wire.
The fire was intense and after this photograph, there came the long drive home.

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Death Meditation, Tudong and the 32 parts of the body
An interview with Ajarn Tay

Death meditation is an old practice where a monk would meditate while

looking at a corpse rotting, but it is not a common practice any more. In
these modern times, the body will be kept in the hospital and injected with
formalin to stop decomposition. The purpose of the practice was to enable
the monk to accept death as a part of life, and to let go of the fear of dying
as fear is the enemy of Samathi.

For the 32 parts of the body meditation, it is essential to have a highly

experienced teacher. It is a monk practice that aids the understanding of
the body’s components, and brings the knowledge that all these parts will
rot on death. This meditation practice secures a lack of attachment to this
process, dramatically raising the focus and intention within the body of the
practitioner. Considering the structure and contents of the body is one of
the essential elements in Samathi practices. In the making of an amulet, the
ability that comes from the 32 parts of the body meditation helps to create
a new spiritual entity (a process called Ban Juthat) from the four elements
- earth, water, air and fire. The use of the 32 parts of the body meditation
and the four elements gives the talisman life, without this it has no power.

The action of Tudong is linked to the Tammayut sect (The Forest Tradition),
and it is not a common Northern Thai practice, but in actuality, the Lanna
people also perform a kind of Tudong, although only for short periods. Most
of Ajarn Tay’s training can be termed ‘in-house’ but in the winter time, a
group of monks may go on pilgrimage and stay for a week in a graveyard or
a forest. This is to practice the quality of the mind and to Pae Metta Bhavana,
bring loving kindness to all beings. When performed in the graveyard, the
purpose is to give Metta to the ghosts, but in both places, the hoped result
is to focus the mind and uproot attachments.

One aspect that a Westerner should consider with his practices is keeping
the 5 precepts (to abstain from harming any living being, stealing, sexual
misconduct, lying and intoxication), which is more of a promise than a rule
as they help keep the peace in any society. If a person cannot keep any of
these promises, they are not normal so they can choose just a few to begin
with, but please remember that sin is part of normal human life. Don’t worry
too much about mistakes as the precepts are just a control method, so the
people in a community don’t end up killing each other. The initial stage is
to acquire enough Samathi to know themselves and what they are doing.

Monks keep 227 precepts, of which, these are some of the stranger ones:-
No discharging of semen or getting someone to help discharge your semen
but if it is a wet dream, it is ok.
No lustful bodily contact with a woman, including kissing or holding hands.
No building a hut without permission.

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 No having someone else build that hut without permission.
No requesting sexual favours from a woman, or telling her that she would
benefit spiritually from having sex with a monk.
No rejecting well-grounded criticism.
A monk cannot keep an extra robe for more than ten days after receiving a
new one.
A monk cannot carry raw wool for more than 48 km.
No tickling with the fingers.
No hitching up the robe.
No shaking the head.
No walking on tip toe.
Not to teach Dharma if someone holds an umbrella.

In these modern times, a monk should hold enough respect and faith in the
Buddha to be able to choose his precepts. Most of these precepts were
made by the Buddha thousands of years ago and society is not the same
now. Not keeping to all the 227 precepts does produce a schism between
many Buddhists as some prefer to use the rules set by the Buddha, thinking
that everything else goes against Buddhist practice. Keeping precepts does
not necessarily help with magical practices although having the mental
strength to uphold them does indicate that you have good Samathi, and that
is essential for the creation of magic. The two aspects can be linked, but in
the history of Occult practices, there are records of bad people with magical
abilities due to a strong will, a powerful mind, and a secure connection to
their Master. For anyone who has amulets, the most important thing to make
them useful is to have a sharp mind and good willpower, as well as keeping
any promises made to the Ajarn. The rest is a matter of choice.

Phor Sala Tan - an interview with his Luksit, Ajarn Tay

Ajarn Tay was Phor Sala Tan’s only true Luksit, while many other Ajarns
did learn from him at one time or another, it tended to be for specific Wicha
rather than to pass on his full knowledge. Ajarn Tay often uses the name
Phor Nahn for his old Master, because the word Nahn indicates a period
of time that was spent being a monk. There was much laughter during this
interview, and much love expressed, despite how the words may read.

Phor Nahn was a wild person (Ajarn Tay described him as ‘so peacock’)
who was kicked out of a temple as a young man, but no one is exactly sure
of the reason for this. During the time as a monk though, when any female
devotees came to the temple and blessed water could be used in any way,
he usually laced it with Nam Man Prai to win their favours. Phor Nahn was
so cheeky and the Prai Wicha he held was very extreme, but actions such
as this may account for the acquiring the reputedly over 60 wives in one
lifetime. Phor Nahn also loved to do horoscopes and was famous for them,
but if a beautiful woman came, the Nam Man Prai was put on them to catch

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41. The pot that holds the ashes of Phor Sala Tan and resting beside his remains,
two of his Miit Mhor for cutting open bodies.

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 42. A candid photograph of Ajarn Tay, showing him working on some Rahu Galaa
while being interviewed. He rarely stops working.

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them, making the girl akin to a sex slave. The use of Nam Man Prai in this
way brought the recognition of him being an infamous playboy, and with the
same action, the Nam Man Prai brought followers too. Even though Ajarn
Tay learned the full Wicha of Phor Nahn there has never been a temptation
to use Nam Man Prai in the same way; they are different people with
different personalities. The stories around Phor Nahn express the wildness
of this famous magician and the extreme nature of the Wicha that was
passed on to Ajarn Tay.

There was a local man who sold meat but his business was failing, and he
sought Phor Nahn’s advice. The old Master recommended the application
of Nam Man Prai to all the meat, although at no time was the man informed
that if people consume corpse oil, the ghost can eat them from the inside.
Later, the man came back with a distended belly and feeling ill, and Phor
Nahn just said, ‘oh yeah, the ghost is eating’ and then set about curing him.
During every visit to see his Master, Ajarn Tay never consumed any food
or drink, and it was best to keep out of arms reach as well because of the
constant use of Nam Man Prai. Ajarn Tay saw Phor Nahn scooping it up in
handfuls on many occasions and using it on visitors, later wiping his hands
on everything and even picking things up to eat!

His Samnak was in Fang and it was renowned for being made from the
wood from coffins, but after Phor Nahn’s passing, his last wife dismantled
all of it because the spirits went wild. With his death, there was no one to
control all the Phi Tai Tang Glom ghosts that he had used through a long
life of necromancy. This often happens when strong Ajarns pass away as
the spirits in the Samnak are no longer under any sort of control, they go
everywhere with impunity and can cause havoc amongst the living.

In the times past, there were no medical services in the remote districts so
if a woman in the area was having a problem with giving birth and needed
to get the baby out, Phor Nahn would be called upon to operate. The locals
appreciated his skill in this matter, but If the child died and was then buried,
Phor Nahn would go back and get it to use in talismans. If both the mother
and child died, materials would be collected from both of them because that
is one of the ultimate sources of Prai, despite the fact that these ghosts can
be vicious. Phor Nahn was known to collect Prai of this type by going to
the cemetery, getting undressed, crawling in on all fours and digging at the
grave with his bare hands. These sources of Prai were incredibly potent,
and there are many stories from devotees as to their power.

When Phor Nahn died, the news travelled a little slowly, meaning that at
the Samnak, everything concerning the making of talismans had gone by
the time Ajarn Tay got there. Other people had taken the belongings and
photographs of his Master, and even a guitar made out of a coffin lid, the
thought of which brings happy memories to Ajarn of Phor Nahn singing and
playing. A few things came to the temple though, which included the hand

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 shaped pestle that was used to mix Muan Sarn but in the end, it had to be
donated to the Buddha as it was too powerful to have around.

The urn in the photograph contains the cremated remains of Phor Nahn and
the only things that came from his Samnak was two of his knives, which
he used on dead bodies. If a corpse has not had formalin injected, within a
few days the contents of the gut start to liquify and if pierced at the front,
it can spurt into the face, reputedly with the power to kill the practitioner.
These knives were used to open the corpse at the side, and then another
hooked knife was used to cut the intestines, allowing the putrefying liquids
to escape away from the Ajarn. The hooked knife also went, but if anyone
ever sees Phor Nahn’s old guitar, Ajarn Tay says that it would be wonderful
to have the chance to buy it.

Phor Sala Tan - an interview with Ajarn Nahn Ting

Phor Nahn Tan was a very kind person, and whatever an Ajarn would like
to learn, Phor Nahn Tan would share the knowledge in a calm, friendly way.
The Nam Man Prai from Phor Nahn has to be considered to be one of
the best ever made, especially his five lady Nam Man Prai, which was
exceptional. Phor Nahn’s Nam Man Prai is still being used to this day, and
many Ajarns use it as a base agent for their own NMP.

The remains of the five ladies were kept because Phor Nahn performed
their funeral service and knew of the spiritual quality of their remains. As
all these ladies died while pregnant, it is traditional for the relatives to ask
the undertaker to separate the babies from the mother. If this was not done,
the spirit will die with attachments, so they put them in separate coffins.
Separating the bodies hopefully avoids any active hauntings that can result
in these circumstances, and it also allowed Phor Nahn access to the Prai
materials more safely than would otherwise be the case.

Phor Nahn passed on the Wicha for summoning ghosts to Ajarn Ting, how
to use them as a servant and to get them to help with specific rituals. At that
time, Phor Nahn lived in San Patong in South Chiang Mai, before his move
to Fang, a few hours north by car where his Samnak was constructed using
old coffins. While there was never an organised Samnak for the public to
visit in San Patong, Phor Nahn was very well known and accepted anyone
who wanted to study.

Phor Nahn did a lot of rituals with the bodies of pregnant ladies and was
haunted by them, which was why dressing as a woman became the norm,
in an attempt to fool the spirits. This habit continued right up to his death in
his mid 90’s (no one knows his exact age) and considering the powers Phor
Nahn played with, it has to be considered a very long life. People warned
him of these dangers many times through his life, that the ghosts and the

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43. Ajarn Nahn Ting with his undertaker’s hammer.

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 Wicha he used would shorten his lifespan. This is because these ghosts are
known to take revenge on people as they grow weaker with age, but Phor
Nahn lived longer than any of those that issued the warnings (laughter).
Phor Nahn Tan had over 20 wives, but the last one stayed the longest and
all of his wives were much younger than the lovely old rogue.

Ajarn Ting is sure that they were all under the influence of his magic….

The Role of Men and Women within the Lanna Traditions

an interview with Ajarn Khaw

This question is an important one because it may seem that females are a
rare sight within both the temple structure and the magical system of Thailand.
Ajarn Khaw was the best Ajarn to ask about this as he was a monk for 20
years and because a lady taught Ajarn’s Master some serious magic.

It is probable that everyone will have their own opinion with this question,
which has been asked before by Westerner visitors. A long time ago, a
woman could be a monk in India and we call them Piksanee, but this is not
possible in Thailand at this time because the Buddhist organisation does
not support the idea. So if the lady wants to be a monk, the ritual needs
to be done in India and then she would travel to Thailand, but they cannot
be ordained here. In Thailand, there is only the Mae Chee, who are like a
nun who wears white clothes and after a time being a Mae Chee, they also
shave their heads in the same manner as the male monk. A Mae Chee with
long hair does exist but it means that she has only spent a short time in
service.

In the Wat a Mae Chee is like a monk, they pray, say kata, study Pali and
even hold certain ceremonies, but they only hold eight precepts rather than
the 227 held by most monks. It is impossible to say why a lady cannot be a
monk, it is just this way in Thailand but it may change one day.

Every person can do magic but there is some magic that a lady cannot
perform, although they can teach it. There are now female Sak Yant Ajarns,
and this marks a rising interest from ladies towards the magical arts. In the
Lanna traditions, some aspects of magic are only for men and some rituals
can only be held by a man who has been a monk before; a lady cannot use
that Wicha. Many of the well known Ajarns in this region were monks for a
long time, which gives them the right to add the word Nahn to their names,
should they choose to do so but Ajarn Nahn Khaw is too long (laughter),
Ajarn Khaw is easier.

There is a photograph of a lady who looks like a Buddhist Nun in Ajarn’s

Samnak, but it is not permissible to take an image of her. It is this way with

100
some old Masters, and with some, it is also forbidden to repeat their names
because they come. The lady Master was called Mae Kru Krua (translates
as ‘Mother Teacher Krua’) who was renowned for being able to invite a
deity to possess her body, which in this case was Lersi Naa Wua, the bull
faced Lersi. The Master who taught Ajarn Khaw was a carefully sceptical
man about such things (he believed that there are too many fakes) but after
meeting Mae Kru Krua, was stunned at her abilities, asking to be a disciple
on the first visit. Mae Kru Krua passed on to Ajarn’s Master many Wicha,
including the knowledge for Naa Kasan Thoranee, which is a very special
magic.

Many women now learn magic and they study with an Ajarn but in general,
men like magic more so there are more male Ajarns. If a woman has an
interest in magic, many Kruba Ajarns will teach her, and some women have
already become Ajarns, but as with all Ajarns, it is essential to know the lineage
that they are part of as it indicates the quality of the Wicha bestowed. Many
new Ajarns only learn from magic books, but in reality, the only way to be
sure of the knowledge is to both receive it from a Master and have them as
a guide through the process of studying.

(This is a rare interjection on a subject. The author has had conversations

with other Ajarns about this in the past, and there is also the issue of a
woman’s period blood. In some forms of magic, the menstrual blood is a
potent magical agent that can be used to destroy or annul certain types of
spells, which may have a bearing on the subject discussed above. There
are also ancient curses here that use menstrual blood that are not going
to be covered in this book as too dark to put into print. There is as yet, no
Ajarn to back these thoughts though as it is phenomenally difficult to frame
this question correctly, even by a Thai person.)

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 Ajarn Perm Rung

Ajarn Perm Rung became interested in Thai magic as a young child because
of living next to the crematorium of a temple in Nakhon Sawan. As with many
children who come from a poor background, he became a Dek Wat (a child
of the Temple) when young because it meant regular meals and a well-structured
life, helping the monks with chores in return for an education. There was
magic all around him as a child, and the study of kata came naturally after
being present at so many chanting sessions, held in the mornings and
evenings in the Wats of Thailand. Living at the temple also brought an interest
in collecting amulets as everyone wore them then, and with that came a
natural curiosity as to the language used on them, it wasn’t Thai. With being
in the Wat it was easy to ask questions of knowledgeable people, and some
of the monks were amused at this precocious child wanting to learn about
the Khom script from Cambodia, with his aim to read and write the script.

Ajarn enjoyed being at the Wat as the days there also offered the chance to
meet many Ajarns whom he could study with, both through their teachings
and watching them work. Interest in everything concerning the world of
magic was like a fire within him and his knowledge slowly accrued, rather
than through specific organised study or anything forced by teachers or
parents. The Ajarns’ passed down their knowledge through the experiences
that came through being with them, how to make an amulet, use the Yant
and what kata to use with each stage of the production. This situation then
leads to Ajarn Perm Rung becoming a supplier of items to the Ajarns for
their empowerment, such as Hoon Payon, which would be constructed by
hand during periods of free time. The Ajarn in question would then write their
own Yant and Takrut to complete the talisman. Through being surrounded
by magic and becoming part of the magical world, Ajarn Perm Rung gained
enough knowledge to understand Yantra and apply Sak Yant at a young age.

The process of becoming an Ajarn started in earnest after a period of being

ordained as a monk, and formally studying Buddhism. Buddhism helps a
person understand which is the right way and the wrong way with magic,
teaching him about the choices available in life and the extremes of both
black and white magic. It is correct behaviour for an Ajarn to study both
the light and the dark, but Ajarn Perm Rung chose only to keep and use the
knowledge of the magic that benefits and protects people. Learning both
black and white magic is essential because if someone is cursed, an Ajarn
has to understand what has happened and then counter that with a white
magic remedy. White magic is used more for protection and to grant wishes,
bestow Metta, Maha Niyom, Saneah and other attributes, but without using
Prai. It is Puttakhun magic, Buddhist magic. Black magic usually uses Prai
materials, and these categories are two entirely different forms of knowledge,
completely separate from each other, like doing a good deed and commit-
ting a crime. The critical element of performing both types of magic is the
psyche and Samathi, because without these there is no power.

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44. Ajarn Perm Rung with an offering.

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 45. Ajarn Perm Rung’s Pruk Saek can knock your socks off.

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In improving Samathi and the psyche, it is essential to calm the mind and let
go of everything, only concentrating on both the doctrine of Buddhism and
the Buddha himself. Another method is to focus on the candle flame, which
is a whole system in itself but a person must have an excellent teacher to
study this method. There is yet another form of meditation which explores
the various parts of the body using the mind, but again, it is very difficult,
and a teacher is essential. With the practices Ajarn followed, keeping the
precepts is also crucial as it hones the qualities of the person and their
determination, but they do not specifically enhance the practices followed
themselves. The precepts are a way of building the merits of the self, which
helps with these studies.

As with all good magicians, Ajarn Perm Rung’s studies continue to this day,
as do the practices that are essential in gaining a stronger Samathi and an
iron psyche.

How to behave when visiting a Samnak - an interview with Ajarn Perm

Rung

As everything with Thai magic is new to foreigners, Ajarn wants to help

them by passing on some information about what to do, and how to behave
when visiting a Samnak to save any embarrassment. The first thing to know
is that after entering they should first pay respect to the Buddha and the
Ajarn and behave like they are visiting a temple. Try to be quiet and respectful,
gentle when speaking and slow to move around.

There was one time when a foreigner who didn’t know about Thai culture
walked into the Samnak wearing a skirt and stepped over some amulets.
In Thai culture, the feet are the lowest part of the body and to step over
something shows disrespect. Through this action, it destroyed the effect of
the blessing of the amulets and Ajarn had to repeat the blessing, which can
take a long time. It is also impolite to point the feet at the Ajarn or towards
his altar, which has an image of the Buddha. The basic rule is that if in
doubt, ask, and Ajarn will be happy to answer as it provides the chance for
him to help. The Thai people try to find a good way for people and avoid any
difficulties, enabling everyone to have a good relationship and be friends.

Unlike a monk, an Ajarn can be touched by a lady because of being a

layperson like everyone else, but he cannot have an affair with a lady due
to the precepts he keeps as part of his practices. Ajarn is married, and if
he had an affair it breaks his vow of correct behaviour. As Ajarn Perm Rung
says, how can he make magic work for other people if it is not possible for
him to keep a pledge? This is just one of the many rules that have to be
followed to keep the magic strong. Another one is that because Ajarn Rung
uses his mouth to chant spells and say kata, words which have to be fully
respected as they are often part of Buddhism, one of the vows kept is that
it is not permitted for him to perform oral sex.

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 Black and White Magic in Thailand
An interview with Ajarn Perm Rung

Thai White Magic has no involvement with ghosts and does not use any part
of the human body as a source of power, but Thai Black magic does. White
magic is constructed using Wahn (magical plants) and sacred items, such
as ancient Buddha amulets that are crushed and mixed in with the herbal
mixture. These ancient talismans, many of which many are found buried in
temple grounds, are considered to be sacred and a source of power as they
have absorbed the earth element. White magic or Buddhist magic is known
as Puttakhun (Putta = Buddhism and Khun = value), and the practice of it
follows Puttasart Wicha.

The effect of White and Black magic is the same as they both offer the
attributes such as Saneah and Metta, but white magic cannot be used to
harm another or bring someone under their control through lust or love.
Each of the types are praised in different ways. Any amulet that contains
Prai or a ghost is considered to be black magic, although not necessarily
magic to harm people. It is just magic with a spirit, and it needs to be
praised with offerings that include food, alcohol and cigarettes, offerings from
the human realm that act as bribery. With Puttakhun magic, the offerings
remind yourself of the value of Buddhism, with water, flowers and incense
although most shrines have a combination of both styles of talismans.

Black and White Magic in Thailand - an interview with Ajarn Khaw

Many people misunderstand the differences between dark and light magic
in Thailand, and they ask, ‘is this Kuman Thong black or white magic?’
Actually, it is just Kuman Thong magic. Ghost materials are placed there
for more power, and this is not black magic, black magic is magic to hurt
people, to do something bad to them. Most amulets and statues are not
black or white magic, they are just magic, and magic is beneficial.

Some people also think that magic that makes attracts them against their
wishes is black magic, but no, that is just Saneah, charming magic. If a person
has charming magic, people will look at them and feel good, and that is a
nice thing for everyone, not black magic at all.

Making black magic brings negative elements, and an Ajarn has ways to
clear this through Sompoi baths and offerings to the Masters. Ajarn Khaw
performs very little black magic as it is not correct practice to hurt others,
and an Ajarn needs to care for himself. He uses protective spells because
of working with many ghosts, but if an Ajarn works with them too much,
problems can arise. Sometimes a spirit that an Ajarn has been working with
may try and attack, so an Ajarn has to have reliable protection. There are
many Kata to help protect against this problem and keep Ajarns safe from
harmful entities.

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The Effects of Performing Black Magic
An interview with Ajarn Perm Rung

This is an important question that has been raised many times in conversations
with practitioners of the art. With the Thai language, it is difficult to interview
concerning some subjects to make sure that the question was understood
correctly, and to then to translate accurately to pass on the nuances of an
Ajarns answer. This interview is about the cost of working with Black Magic
and the way the Ajarns protect themselves as they age.

When an Ajarn who has performed a lot of Black Magic gets older, they will
become weaker physically and mentally due to the ageing. At that time, they
do not generally practice magic as much or as carefully as they did in their
youth. The Ajarn can lose their immunity to the spirits, and it is easier for
malevolent ghosts that they may have upset through their works to attack
them. As evidence for this, as the Ajarns age, they slowly stop working
Black Magic but keep the Puttakhun and work mostly with the White. The
result of losing power when they age means that some Ajarns get haunted
by a particular spirit, which might even cause their death or send them
insane. There was also a recent case where we all believe that a famous
Ajarn from this region committed suicide because of a malevolent ghost.

Phor Sala Tan was one of the best known Lanna Ajarns of this past 100
years and the ageing process brought with it the need to cut down on the
black magic. Due to the fear that a spirit may seek revenge, Phor Sala Tan
dressed as a woman to fool the ghosts, but before passing away, Phor Nahn
went back to dressing like a man and suddenly died. Mind you, Phor Sala
Tan was 92 (laughter), which is very old for an Ajarn. The only way to avoid
the problems of ageing and being attacked by strong ghosts is to stop Black
Magic, and Ajarn Perm Rung is slowly starting to cut down on the use of
Prai. Ajarn now practices strict Buddhism, keeps more precepts and makes
merit to any spirit that he could have wronged during the process of making
magical items.

Possessions within The Thai Occult Practices

an interview with Ajarn Perm Rung

This is a difficult subject and quite contentious in the world of The Thai
Occult as many people fake possession. The question posed as as simple
as possible in the hope is that this raises the point as to whether Ajarns
themselves become possessed, because possession is a big part of other
magical systems.

Khong Khun is one of the Thai words for ‘possession’, and it occurs in
two circumstances. Khong Khun happens with devotees who have Sak Yant
tattoos when they have either not been able to hold the precepts or break

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 46. A devotee goes into Khong Khun at the hands of Ajarn Khaw.

108
the rules that have been given by the Ajarn. It is prone to happen during the
Wai Kru ceremony due to the energetic atmosphere that comes with all the
devotees being present, and it is the time when everyone present affirms
their precepts and actions. It also depends on the person who holds the
tattoos as some are more prone to react than others. As far as the Ajarns
becoming possessed, it happens rarely and only to a few Ajarns. It depends
on the person, but it can happen because they act as a medium or a conduit
to channel the power through their body when making an amulet or doing
magic. Some perceive this as not a traditional possession, but it can be
seen as a style of possession although the Ajarn will not appear to Khong
Khun by anyone present. It is internal and not visible to a bystander.

Possessions - an interview with Ajarn Suea

It is quite easy for devotees to become possessed by the power in their tattoos,
but an Ajarn does not act in this way because the Ajarn has a stronger psyche.
It is very rare to see an Ajarn Khong Khun, but it can happen if that Ajarn
has not followed the correct rules pertaining to the magic he practices or the
Ajarn in question is not yet proficient enough to hold the title.

If a Thai devotee sees the Ajarn Khong Khun, they will lose respect.

Possessions - an interview with Ajarn Khaw

The old belief is that if someone breaks the rules of practice that have been
set by the Masters they can Khong Khun and be possessed during the Korb
Sian ritual, even Ajarns. The state of Khong Khun makes people appear
crazy and they cannot control themselves, but my Master’s Master used to
be possessed by the Bull Head Lersi, and this is not the same. In this state,
Mae Kru Krua was controlled by the Lersi, was a conduit to the gods and in
the Thai language, there are many ways to describe this, which shows how
common this state is within the culture. The simplest way to say this would
be Lang Song (possession). Ajarn Khaw’s Master never believed in Lang
Song before meeting Mae Kru Krua, and Ajarns Master only ever believed
Mae Kru. Ajarn Khaw is not convinced by people in Lang Song either but
hopes to meet someone who becomes truly possessed one day, someone
who is real.

During a ceremony, Ajarn admits to sometimes getting a strong feeling from

the Lersi, but has to hold steady and not lose Samathi. This is not possession,
Ajarn Khaw is inviting the Masters and many Lersi to come to help with the
blessing and they work through Ajarn. He is a conduit.

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 Ajarn Nahn Khong

Ajarn Nahn Khong’s interest in magic arrived quite late in life, at 25 and it
came because of a period of ill health. If a Thai person is chronically sick
early in life, the cause can be attributed to something spiritual and to combat this;
some become a monk to cleanse their existence and regain their health.
Monks follow the teachings of the Buddha and pursue a life of giving to the
community they serve, part of which is the study of kata, chanting, and the
scripture used when constructing Yantra. Each monk has a Kruba Ajarn
who will pass on their knowledge of attaining Samathi to enable a monk to
practice the use of the psyche when constructing Yantra as well as which
kata to use to boost their power. Ajarn says that the building of Samathi and
the psyche brought balance to his body through the four elements and the
raising of the spirit, returning him to robust health.

Ajarn Nahn Khong’s Kruba Ajarn was Kruba Tom, who taught Ajarn for many
years but during this time Ajarn was also encouraged to go and study with
other monks. Being a monk for more than a decade is the reason why Ajarn
is referred to as Ajarn Nahn Khong, with the Nahn added to the name de-
noting the extended time in the orange robes. The title of Nahn is a Northern
Thai or Lanna tradition, but these traditions are different in other parts of
the country.

Ajarn Nahn Khong has continued to study to this day because with the
deepening of Samathi or increased psyche comes new ways to relate to
Wicha, an action that refreshes magical practices. Ajarn has many Luksit
and has even been asked by Westerners whether they can study to be an
Ajarn, and the answer is, of course! Firstly though, it is best to ordain
as a monk as it is the perfect training, highly beneficial to the practice
of making magic but many people now have busy lives. The responsibilities
of modern life can make things difficult for devotees, but it is still possible
to study to be an Ajarn as long as the Luksit is dedicated. One of the first
stages would be to know the Thai language and the scripts used, and many
achieve this before becoming a Luksit. A knowledge of Pali and Buddhism is
also essential, and from that point, a person can learn about magic.

The Lanna Masters

Ajarn Nahn Khong is the head of the Lanna Masters group, which is a
collection of the strongest magicians in the area, minus the wonderful Ajarn
Sala Boon Khong as he is an ‘indie Ajarn’ (his words). The group gathers for
the Wai Kru ceremonies of each member and also for the special construction
of talismans that are made to aid the community. In the example of the
photographs here, this was a meeting to consecrate some amulets to make
tamboon for a local school. This kind of grouping of magicians must be quite
rare in the world of magic, and they all both respect and take care of each
other because they are stronger together.

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47. Ajarn Nahn Khong looking very smart at a Lanna Masters event at his Samnak,
south of Chiang Mai.

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 48. This was a big event and as always, monks take precedent over Ajarns. Note
the Sai Sin thread hanging from above for each person to add their spiritual force.

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49. Monks always lead the chanting and there were some very important Luang
Phor’s and Kruba’s in attendence.

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 50. A small Lersi shrine in Ajarn’s Samnak on a level below the Buddha.

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The Construction of an Altar and the Offerings
an interview with Ajarn Nahn Khong

An altar should either face to the North or the East and neither be in direct
sunlight or the bedroom if the devotee enjoys Prai, because the ghosts can
come to your dreams. With the direction of the altar, the Buddha, Lersi, and
deities look to the East or North and Prai look West. Facing West or South
is not good, so please avoid those directions. The description of the levels
given here is for a full altar in the style of an Ajarn, but if a devotee does
not have one of the levels, it is just missed out. Everyone is different and
they should follow the way that they perceive is best for them.

The very top of the altar should have The Buddha, the enlightened one.
A level below this should be for his close disciples such as Phra Sivali and
Katyayana.
Below this, please place the statues of monks and on this level, there should
be a bowl of incense in the middle. On the same level can be placed any
god, goddess or Lersi and this often marks the top of many people’s altars.

The amulets on any altar should also be separated into these levels and
not all placed on one, they go with their statues, if there is one. The figures
on each level are physical representations of the Buddha and the higher
beings, but if a person does not possess a Buddha or Lersi for example,
holding them in mind during practice will suffice. Keeping them in mind is
important because the higher deities protect and provide some control of
the lower spirits.
The deities are on the next level, which includes Mae Per, Phra Ngang,
Khun Paen etc and if these have p[rai in them, they face West.
And finally, the last level is for the spirits and the ghosts that also face West.

When offering food, flowers and water to the altar, they act as a payment
of respect to what is present on the altar to remind the devotee of their
existence. Water is pure and needed by all living things, and the food is
sustenance and flowers bring a scent, the essence of nature and sense of
the beauty of life. Other offerings on the lower levels of deities, ghosts and
spirits are decided on by the Master who made them, who will advise on
what they need. The tidiness of the altar also represents the peaceful
nature of the life of the devotee (or not!), if it is messy, the action of caring
and cherishing for the items on the altar brings great benefit to both the
practice and a person’s daily existence.

In a recent chat, Ajarn Suea repeated the advice about an altar facing to the
North or East, and confirmed that anything that contains Prai should face
West. This can be done on the same altar by turning them around or having
a separate altar for those items, as Ajarn Suea has in his Samnak in Chiang
Mai. There are altars that face South but these are for the angelics, the
Taep’s and the Taewadaa, which are rarely seen on a shrine.

115
 Ajarn Nahn Khong recommends that is it best for everyone to either wear a
Buddha or the image of an important monk as they raise the essence of the
spirit and provide protection from the lower spirits. These items are hung
around the neck only, and any Prai items are placed around the waist. If a
devotee only wears Prai items, then they can wear them where they want, it
is ok, but if there is a Lersi present, the Lersi should go round the neck and
the Prai round the waist. The levels also have to be correct for Phra Ngang,
Mae Per and the deities if worn with Prai talismans; the deities go round
the neck and the Prai on the waist. In this way, the way an amulet is worn
follows the rules for the levels of the altar.

Offerings to an Altar - an interview with Ajarn Suea

Please note here that Ajarn’s personal altar is made up of the Lersi and the
Buddha only, which affects the offerings.

And why are there often Pig’s Heads?

Ajarn Suea’s tradition sometimes involves the use of pigs heads and other
foods for offerings at the shrine in the Samnak. Sometimes, even a cows
head is used but only when the Ajarn in question has an iron psyche and
strict personal practice, meaning that this is rarely seen now. If pigs heads
are used as an offering during the Wai Kru, it is an offering that acts to help
the Ajarn break through an obstacle. If a pig’s head is used at other times, it
is usually because of an important request being made, where Ajarn needs
help from above.

(There is a distinction here between this and the public Wai Kru. Here,
Ajarn Suea is referring to performing Wai Kru to his Lersi altar as they are
his teachers and this is not an event for the public, it is part of the personal
practices of Ajarn Suea)

The offerings to the Lersi altar include pigs heads, chicken, sweets and
fruit. The different Lersi prefer different types of food. The Tiger faced Lersi
eats the meat, other Lersi are vegetarian, and the offerings are given in a
way that the Lersi can choose what they want, like a buffet at a spiritual
party.

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51. The use of pig’s heads during the Wai Kru of Ajarn Ting.

117
 52. The Nats of Ajarn Piyasitti.

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Burmese Magic

Because of Burma’s proximity to Thailand, the Burmese Occult system has

influenced many Ajarns in the Lanna region, and a review of it is relevant
to this book. The information that came to light on this subject through the
interviews is astonishing, and contradicts much of what is known at this
juncture. In this first section, let’s construct what is understood from existing
works and then the Ajarns can relate what they know about this fascinating
subject. Building an understanding of the Burmese Occult has to be done
slowly because it is complicated.

The religious cults in Burma have been of interest to anthropologists for

quite some time, but there is little understanding of it on a magical level.
There are three major reference works available on the subject, from which,
here is an attempt to construct an idea of what is known before moving on
to interview a few practitioners of Burmese Magic. The three works are:-

Melford E Spiro - Burmese Supernaturalism - 1978

G Rozenberg - Champions of Buddhism - 2014 and
G Rozenberg - The Immortals - 2015.

As always, sifting through the anthropological slant of the subject to source

the magical references is a time-consuming job. The most readable of the
books is Champions of Buddhism by Rozenberg, but all are worth absorbing
for a deeper understanding of the mysteries found within the Burmese magical
traditions. This section hopes to answer many of the questions that have
been raised by interested parties regarding the Burmese system, which is
complex and decidedly strange.

Burmese magic is considered to have four levels of practitioners with the

spiritually lowest one being the witch, of which there appear to be many
hidden within the society, reflecting the old Burmese proverb, ‘without witches
we cannot build our villages’. In one village of 146 households, a village
elder estimated that he had 20 witches, suggesting that it is a widespread
practice, almost akin to folk art. Some believe that the witches are evil spirits
in the form of a human being but what is sure is that they possess the
supernatural powers to cause suffering thorough curses and rituals, so this
is aggressive magic in a similar way to the Mhor Phi in Thailand. The powers
that witches possess are considered to be innate rather than learned as
they wield forces that are latent within the practitioner rather than in the
magic itself and the witches are predominantly women. It is generally
considered that men have to study the magic intently and therefore follow
a different way. The sexes delineate the two types of Burmese witch, which
are known as souns (female) and aulan hsayas, the latter of which can also
be called a Master of the Lower Path (which refers to it being an occult path)
or a Master Witch. It is interesting that the Master Witch can help the witch
to gain more power through his knowledge with a ceremony where they go

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 to a cemetery, dig a pit and then she is buried up to the neck. The Master
would then call upon various dark spirits within the graveyard to enter the
woman through her mouth, and those spirits will then instruct the witch in
the use of magical power, acting as familiars.

The souns practice through personal spite, whereas the aulan hsayas
usually perform for a client and are considered to be more powerful due to
their control of the techniques used. The souns practice their evil through
an innate power and spells, rites and material substances but the aulan
hsaya does the work through ghosts, Nats and other evil spirits. The Nats
are not part of Buddhism and are considered to be a group of spirits, around
which have grown elaborate systems of beliefs, rituals and even sects.
There seems to be a vast number of these Nats although devotees usually
dedicate themselves to the top 37, the members of which change often.
These 37 Nats (‘evil’ Nats and the 37 number is not specific, akin to 108 in
the Thai system, it just means a large number) are ghosts, and they include
those that have died violent deaths, which are known as ‘green deaths’ in
Burma. The Nats can also be strong nature spirits associated with a feature
such as a waterfalls, hills, trees and paddy fields (nature Nats that also
include Chao Thii, land spirits where a house or village resides) and the
third category of Nats comprises the lower devas from the Buddhist realms
(good Nats). It appears that the Nat cults praise the world of the spirits and
the aulan hsayas can direct these powers to both cure or cause illness, or
even death.

The aulan hsaya attains magical power through dedicated studies to

coerce spirits to perform magical tasks by feeding them raw meat until they
become dependent on this source of extreme nourishment. The offerings
must consist of both sacred and the profane elements, and through these, the
magician gains power over the Nats. The profane elements may comprise of
the beak of a crow, the penis of a dog, a woman’s skirt or cemetery earth
and the sacred may be a Buddhist streamer from a shrine or earth from an
ordination ground. A Master Witch may then set fire to this mixed offering
at the shrine of Mahagiri Nat (for example), a Nat who is repelled by
fire to gain control of the Nat chosen as his agent. If that technique is not
sufficient, a more usual way is to smear the face of a Nat with this type of
mixture. The Burmese are scared to talk of the Lower Path practitioners as
they are considered malicious, but Melford Spiro did include one case study
in his work on Burmese Supernaturalism.

The case involved a philandering husband and his wife’s attempt to break
up his latest affair. For a fee, the Master witch coerced some Nats to cause
the husband and his mistress to argue during coitus. The magic worked so well
that they became violent, leading to their arrest and eventual incarceration. He
achieved this is the following way. From the wife he obtained the husband’s
horoscope, which he placed on the ashes of an In (a cabalistic square, more
on this later in this section). He then chanted certain kata,

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repeating them 18 times, while holding in his hand one end of a string
that was wrapped round his big toe. He then used that string to make the
wick of a candle, onto which he carved some Yantra and carried that along
with a tray holding beef, fish, flowers and charcoal, to the cemetery. There
he lit the candle and while chanting more kata, waited for flies to come
and eat the food before raising his heel over the candle (this is to reduce
the object person’s power to be able to affect them with the ritual, akin to
a Kom ceremony and remember here that the feet are the lowest part of
the spiritual body). The flies were Nats that he had called and once they
had eaten, he could command them to do his bidding. These actions break
taboos within the culture regarding etiquette, but does lead to powerful
magic, with the principle of it being ‘to force someone to enjoy what is
given is to gain power over them’ which in this case refers to one of the
Nats.

Above the Master of the Lower Path there is the Master of the Higher Path.
The Masters of the Lower Path may use the same techniques of the Masters
of the Higher Path, the ahtelan hsaya but with greater malicious intent. The
Masters of the Higher Path give Sak Yant, practice meditation in graveyards,
and some have a tattoo that represents the Buddha under their feet (which
is considered to be an astonishingly dark action in this region). The aulan
hsaya also call on ogres and malevolent spirits to watch over their Yantra
and spells. The distinction between the lower and higher Masters is not
well defined, and even if the Higher Path Master is a monk, an ambiguity
may remain. The terminology used to describe these Masters in Burmese
is deliberately vague to avoid offence 1 . The ahtelan hsaya is a layman or
a monk who is devoted to meditation and to respect the Buddhist morality.
This Higher Master prevents and cures any aggressive magic that has been
directed at a person with the help of the Weikza and deities, using consecrated
water and Yantra to help people rather than harm 2.

The next level in the Burmese system is one that many strive to reach but
the journey to reach that point is arduous, and many spend a lifetime on
this path but fail. The ultimate aim of the devoted spiritual life in Burma is
to become a Weikza.

The Weikza

A Weikza is a human male who has successfully complied with the prescribed
moral precepts, meditation practices and mastery of one among the
specialised Weikza arts of alchemy, yantra and medicines. A Weikza is a
cult figure who sooner or later leaves the visible world to live as a spirit in
the realm of the Weikza, who either reside in the forests or mountains of
Burma or on the slopes of the Himalaya. From this position, a Weikza will
frequently enter into a relationship with the living as a guide to a higher
spiritual realm through visions, possession and the transmission of energy
or power 3 .

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 A Weikza can be considered to be a ‘double-being’ who combines and joins
the mundane and the supramundane, who coverts magic into mysticism and
thereby modifies its value. Significantly, the Pali term Vijja (Wicha in Thai)
from which the term Weikza derives, is used for either a mundane form of
knowledge (such as Mathematics), a magical knowledge such as the science
of spells or a supernatural one 4. The Weikza are on the edge of conventional
Buddhism and are often compared to a Arahant (Buddhist Saint), but they cut
a very different figure. They are Masters of the esoteric arts and possess
extraordinary magical potency, making full use of their powers to assist
good people and defend the Buddha’s teachings 5 . Interestingly, they
only made their appearance as a Buddhist hero in the early 19th-century
folklore in the figure of a wizard named Bo Bo Aung, who is recognisable
as a white-turbaned layman. Bo Bo Aung’s appearance corresponded to the
time when Vipassana meditation became extremely popular in the region
but whether there is any connection between the two is yet to be devised.

To have the chance of becoming a Weikza, a devotee follows an esoteric

religious system that requires initiation under a High Master or Hsaya, and
instruction in a repertoire of occult sciences whose mysteries are kept secret
from outsiders. The root is in the practices of Buddhism (and in Burma, the
Weizka are considered to be Buddhist wizards) and devotion to the Hsaya
is essential for progress to be made within the art. Apprenticeship entails
several disciplines: the use of magical incantations and spells, alchemy,
particularly those associated with the manipulation of mercury and iron, the
traditional medicine of indigenous, Chinese and Ayurvedic origins as well
as the construction of Yantra. In Burma, Yantra are considered as essen-
tial devices for healing and protection and are applied to talismans that
are either worn, placed under the skin, tattooed on the body or consumed.
In the latter respect, they are written on paper which can be either rolled
and swallowed like a pill or burned into ash and swallowed as medicine 6 .
While training in the esoteric sciences is essential for a Weizka, the usual
Buddhist practices are not neglected. The essential aspects of the method
are the observance of the five precepts and the practice of Samathi; the
focus attained through strong meditative practice, which equips the Weizka
practitioner with the moral authority and mental strength needed to exercise
control over a host of spirits (Nats). These Nats range from the demonic to
the benign and their power must be tapped to unlock the essential elements
of certain herbs, potions and incantations 7 .

In keeping with the ultimate aim of the system, Weikza practitioners also
work for their physical perfection, applying the same sciences to their bodies
to render them invulnerable to injury or decay. The principal metaphor is
alchemical, as the corruptible body is transformed into a stable substance,
just as base metals which tarnish are transmuted into gold. It is upon
completing this transformation that the practitioner becomes what is known
as a Weikza-do, a ‘possessor of [esoteric] knowledge.’ Another term that
needs to be introduced is the htwet-yat-pauk, which means ‘exit place’

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and signifies the adept’s own body at the point of exit whence he escapes
the mortal plane. In Weikza manuals, the final stage of transition from a
mortal master to an immortal wizard is portrayed in a variety of ways
depending on the sectarian affiliation of the authors. In one of the more
dramatic scenarios the Master has his disciples prepare for him a coffin in
which he will lay unconscious. The coffin will be sealed and placed within
a specially prepared chamber, perhaps an ordination hall because of its
sanctity, or buried in the ground. At this time, the hsaya will be helpless
against the forces of darkness that will surely try to destroy him. To defend him,
disciples will draw protective diagrams, recite the appropriate incantations and
arm themselves with alchemical stones (dat-lon) to hurl at evil forces as
they try to enter the consecrated space 8 .

(Note: The construction of a dat-lon can take a lifetime and it is a risky

process that results in many deaths due to the use of mercury. Burma is
rich in mineral wealth and there are caves where mercury drips from the
ceiling. One of the aspects of those on the Weizka path is the attempt to
change the mercury into a crystallised metal using mixtures of iron and
other metals with the mercury, and this is a process that can take decades.
The dat-lon is then imbued with the spiritual energy of the practitioner, and
the resulting ball of metal is said to have power beyond what is possible.
They are highly prized and can be phenomenally expensive (depending on
the source), often to be seen on the rich and powerful sections of Burmese
society, either in rings or around the neck. Because mercury is a liquid,
and theoretically impossible to make into a solid unless below -39 degrees,
making it into a solid is considered to be a supernatural process as it goes
against nature. The process of making these balls invokes the idea of the
lifespan of the practitioner, passing from gestation in the womb, through
childhood and into adulthood but the process also leads to ‘death’. A ball is
considered ‘dead’ when it is no longer affected by fire and is deemed then
to have transcended life, akin to the Weizka themselves. Once the ball is in
this state, the action of deep Samathi can imbue it with extreme power as
it acts to cleanse the ball of all defilement, which links it to the body of the
practitioner who seeks the same action within himself.)

After a pre-determined amount of time the coffin will be opened, and if

the disciples find it empty with only clothes left behind, they will know that
their Master had successfully de-materialised his body and escaped as an
immortal. A person who makes the transition in this manner is called an
ashin-htwet, or one who ‘exits alive.’ A variation on this scenario has the
successful practitioner leave behind an incorruptible body in the form of a
mummy to serve as a kind of relic for veneration by the faithful. A Weikza-do
who departs in this way is called an athay-htwet or one who ‘exits through
apparent death’: apparent because although the body is dead, the mind of
the practitioner did not itself die when exiting the body but ascended to the
realm of the immortals perfectly alive. A third possibility, of course, is that
upon opening the coffin the disciples find a rotting corpse, at which point

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 they will realise that the Master had failed in his purpose and died a mortal
death. The techniques used by the Weizka practitioners to ‘exit’ the mortal
plane have close parallels with Chinese Daoist procedures for attaining
immortality through ‘corpse deliverance’ in which the physical body is shed,
and the immortal spirit set free. Of the many scenarios envisioned in Daoist
sources, leaving behind an incorruptible body and leaving behind little or
nothing at all closely match the Burmese transitions. While possible Indian
and Chinese influences on the Burmese Weizka traditions could go back
centuries, it was not until the turn of the twentieth century that the Weizka
in Burma became well known and respected 9 .

1. G Rozenberg - Champions of Buddhism - 2014 p185

2. G Rozenberg - Champions of Buddhism - 2014 p177
3. G Rozenberg - Champions of Buddhism - 2014 p ix
4. G Rozenberg - The Immortals - 2015 p47
5. Patrick Pranke - On Saints and Wizards - 2008 p467
6. G Rozenberg - Champions of Buddhism - 2014 p14
7. Patrick Pranke - On Saints and Wizards - 2008 p470
8. G Rozenberg - The Immortals - 2015 p86
9. Patrick Pranke - On Saints and Wizards - 2008 p473 - 479

Burmese Yantra

The making, manipulating, and mastering of sacred Yantra diagrams is an

essential practice in the Burmese magical system, adding to the arsenal of
techniques acquired on the path to becoming a practitioner. Hung in homes,
monasteries, shops, cars and around the neck; inscribed on gold, copper
and silver plates; written on paper; carved into candles; or tattooed on
bodies, these devices (known as In and Sama) are used for a variety of
purposes. These purposes range from the mundane (acquiring love and
wealth) to the supramundane (transforming oneself into a Weizka). The
source of the words In and Sama in unknown and appear to be purely
Burmese with no origin in Pali or Sanskrit 1 .

An In is a geometrically designed square consisting of cells, the number of

which is determined by, among other things, the number of the syllables in
the kata used as the foundation of the In. A Sama is a drawing that is made
up of Burmese characters compiled in such a way as to produce images of
Buddhas, holy figures and animals. Both can be classified as Yantra in the
sense that they are linear representations consisting of letters, numbers,
syllables or kata and they are used to bring about desired results on behalf
of the user. Most Yantra employed by Burmese practitioners originate from
one of the following sources:

1. Holy figures or hermits can appear in dreams or in person to present a

practitioner with a Yantra.

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 53. A Burmese Panneng with a Sama, an image constructed using Akhara.

2. Yantra can arise in the mind during periods of intense meditation.

3. Using the knowledge of the laws and properties of Yantra, a practitioner

can attempt to develop their own Yantra by combining parts of other Yantra
in the hope of uncovering a potent number/letter combination.

4. Yantra can be revealed by Weikza saints through a visual or auditory

experience.

There are many grimoires of ancient Yantra, but the Burmese believe
that they cannot be used by a practitioner unless he has had the correct
guidance as doing so can both harm the user and be utterly useless. There
are some Yantra that cannot be used by an inexperienced person. They can
be harmful without the proper training and publishers of the works of the
Weikza are also wary of them being used for malevolent purposes. The
Burmese way to use Yantra has meant that most written sources for them

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 are scant in both detail and instructions on usage. Using a Yantra incorrectly
can cause harm to the person wielding it because they do not have the
correct knowledge, training or moral discipline required. In Burma and
Thailand, the magical path is predominantly an oral tradition that needs a
skilled guide and absolute dedication.

The Yantra discussed here is firmly rooted in Buddhism and is considered

to be one of the foundational Yantras studied by novices and Masters alike
as part of a first step into the art. The first step in making the In is to follow
a prescribed set of preparatory rituals to ensure that both his body, the
instrument of production and the area chosen has been cleansed of
malevolent forces. Before starting to write, the Namo Dtassa chant has to
be performed three times while holding the instrument before drawing the
outside border. With every line, there is a kata, and it needs to start and
finish as the line starts and finishes, meaning that a kata is said for each
of the four sides. Kata has to be spoken to draw the two inner horizontal
and vertical lines to create a square that is made up of 9 squares. The
numbers in the Yantra then starts to fills in the nine boxes with numbers
corresponding to the constituents of enlightenment, and they are set down
in a manner that has its origins in Burmese chess! Each number has a kata,
but the central square is saved till last as that number activates the Yantra.
The completed Yantra is then blessed with kata, ending with an action to
‘breathe life’ into it (the Pruk Saek). 2

There are 16 rules that the maker must adhere to for the Yantra to be
effective, which can be summarised under three categories:

1. The uncleanliness of the inscriber and his writing instruments.

2. Faultiness in the Yantra’s construction (like leaving a space between

lines that should be connected).

3. The practitioners lack of Samathi while constructing the Yantra.

These rules must be adhered to diligently, or the Yantra loses potency,

which can be devastating for the inscriber who has devoted enormous
amounts of time and effort to the process.

For the practitioner to access the power of the Yantra, it must be ingested
by burning it and swallowing the ash with water. Some do not burn it before
consuming it for fear that some of the Yantra may be lost, making to whole
process ineffective, and instead, they roll it up and swallow it whole. The
practice of ingesting the Yantra involves a three-stage process that is
completed over several months: drinking first 108, secondly consuming
1,000 and thirdly, consuming 5,000 Yantras. Completing the first stage will
give the practitioner the power to cure those under the magical influence of
others and to be loved by celestial beings. Finishing the second stage will

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provide the practitioner with clairvoyant powers, and if he manages to perfectly
inscribe and ingest the 5,000 Yantra, he will attain the supernatural forces
that are associated with the Weikza. These powers include being able to
visit the astral beings and deities in realms not accessible to non-Weikza,
being taught by them and continuing in the process of ingesting the In for
another nine months can ensure this path.

Under the guidance of a teacher, a practitioner would follow a prescribed

regimen of drawing, burning and ingesting thousands of Yantra over the
course of several months in the hope of acquiring the supernatural powers
associated with the chosen In or Sama. As one practitioner said, “Dealing with
Yantra can drive a person mad. After spending months drinking thousands and
thousands of In/Sama, if it doesn’t work, a process begins where the devotee
has to decide if it was because one letter was too big or maybe it was
because the timing of the chanting of the kata was not correct. The process
then has to begin again from the beginning.”

Eventually, one of the aims of this process is to master one of the specific
devices, to have ‘ownership’ of it and any associated powers it may offer,
which would then settle into the practitioner’s body, giving the practitioner
the ability to use the power at will.

Sak Yant Tattoos for protection and invulnerability are used by the Burmese,
but their inks are often vermillion in colour due to the addition of cinnabar
and various herbs. Besides the power of the invoked symbol, the mixture
itself is an essential element, giving power to the applied tattoo, which may
often be just a dot. The most important aspect of this is that the mixture
enters the bloodstream and here it is essential that the reader understands
the dangers of making such potions for use in tattooing. Cinnabar is mercury
ore and incredibly poisonous, so it has to be prepared by a Master to render it
usable, a practice that even the people interviewed in this section declined
to share with non-initiates.

Any representation of a Yantra tattoo on its own is not as effective as the

mixture used 3 . This mixture is often one that was left behind by a Weikza
who has exited the world, leaving elemental substances that can be used
by disciples. The lineage uses the same mixture as their Weikza, almost
adding a biological element to the group’s bond and the mixture itself
is deemed powerful enough to initiate a disciple to be an exorcist. The
mixture gives the authority and the power needed to perform such actions
as it taps into the origins of the brotherhood of disciples all the way back to
the Weikza who created it.

1. G Rozenberg - Champions of Buddhism - 2014 p160

2. G Rozenberg - Champions of Buddhism - 2014 p144-156
3. G Rozenberg - Champions of Buddhism - 2014 p195

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 The construction of a Lanna Yant Neap
An Interview with Ajarn Apichai

As a comparative piece, here is an interview with Ajarn Apichai on the

construction of the Yant Neap magical square to get an indication as to
any sharing of construction techniques between the Lanna and Burmese
systems.

The making of a square Yant is the same as making any Yant as there are
kata associated with any mark made, including for the drawing of the lines
that form both the external and internal boundaries of the construction. The
same rule is followed when drawing on cloth, skin, or in this case, a thin
sheet of metal. Each part of the drawing has a different kata, so there is a
kata for the external square (drawn in a clockwise direction and the drawing
instrument does not come off the medium until the full square is complete)
and different kata for the internal lines. These lines are known as the bones
of the kata, in direct relationship to how the bones support a person, and the
rules follow the ancient way and they cannot be altered.

The Yant Neap is a Lanna construction for Metta Maha Niyom, Maha
Saneah and protection from harm. The Yant Neap is drawn on a rectangle of
thin metal that is then folded inwards, meaning that the drawn Yant is on the
outside. If a devotee is in love, write their name on a Mayom leaf, a Plu leaf
or a palm leaf (or their photo suffices) and put it inside the folded metal to
carry around. Chant the kata every day, carry it all the time, and it will come
true. If the person has a problem or misunderstanding with anyone, write
their name onto one of the leaves and say the kata every day while thinking
of the problem dissolving and the problem will go away. If they put money or
something valuable in the folded metal, it will help bring wealth. If the Yant
is put into water and the devotee washes their face with that water, it helps
with Maha Saneah. There are many uses for this powerful Yant.

Each Lanna letter that is drawn in the squares of the Yant Neap also has
an associated kata, and while the letters can be read clockwise, they are
not drawn in that order. They start in the top left, then middle right and the
order is strictly adhered to, but the middle one is left till last, although in
this old Yant, the middle one is empty, meaning that there’s eight kata for
the construction of the spell. In ancient times the middle one could be used
to carry a name, the object of desire or the name of the person holding the
Yant. The same Yant Neap is drawn on the other half of the rectangle of
metal and the centre square can have the name of the person you love and
fold them together would bring you together. This Neap can also be used
for darker purposes because if the centre square carries the name of a couple
that you want to break up, it is folded the other way so that the drawn
Yants face each other, rather than being on the outside. This action has
similarities with some forms of candle magic and works to break the object
couple apart.

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In the modern version of this Yant Neap, the middle one is left empty, and
people place a photo of their heart’s desire inside or put money into the fold
to bring good fortune. As with the ancient ways of construction, there are
kata for the male side and different kata for the female side, which makes
this a technically difficult construction that differs from other Yant squares
in the Lanna system, as well as square Yants from the Burmese system.

54. The Lanna Yant Neap by Ajarn Apichai.

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 55. Ajarn Nahn Ting and his astonishing statue to Suea Yen.

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Ajarn Nahn Ting

Ajarn Ting had been surrounded by magic from a young age due to having
sorcerers on both sides of the family, but he only took the first steps to study
it from the age of 14. Having a sorcerer within the family is the way with the
culture of the Lanna region, and many Ajarns begin their studies by being
influenced by familial lineages. At first, Ajarn studied from books and scrolls
without any guidance, learning the alphabets used in the various magical
systems available and took up the practice of meditation before beginning
to help the family elders with rituals and following them to the graveyards.
They considered him to be an odd child because from an early age Ajarn
expressed the desire to be an undertaker, even though there are no other
family members who perform this task and it was that that lead him into
learning magic. Ajarn Ting’s brother had the same interests and they
explored many forms of dark magic together, but unfortunately, he passed away
some years ago. The family thinks this to have been the consequence of
going too far to the dark side, and consider that it was the extreme forces
within the Wicha he studied that killed him.

There has to be a balance in the Wicha that is held within an Ajarn as much
as there is a balance that must be kept in life and from that point, Ajarn
Ting turned to white magic to bring a balance to the magic within in him.
There are crossroads in the path of magic and his brothers death pushed
Ajarn towards a white magic system from Burma, as well as deepening his
studies of the extensive herbal lore of the Lanna region. Burmese magic is
considered to be a high ranking and pure form of magic (Sai Prachao Ha
Pra Ong - this is magic from the 5 Masters that are often seen as statues in
Burmese magic), and it has many differences to Thai or Lanna magic. The
Lanna style of magic was strongly influenced by the Tai Yai system, which
shows how the knowledge has travelled. Ajarn Ting is sure that outsiders do
not understand the depth and complexity of the magic within this region,
which is expressed in the fact that Ajarn has had 28 Masters pass on their
knowledge, and he hopes that more teachers will come forward in the
future. It is considered possible to study from a total of 32 Masters (which
relates to the components of the human body) but then an Ajarn has to stop,
or it can cause death because the body becomes overloaded.

For a period of time, Ajarn Ting studied under a Karen Master (The Karen
are one of the hill tribes of Thailand and Burma), but Karen magic is strange
because they worship ghosts in a different way to the Lanna people. It is
necromancy, but in the style of a Mhor Phi (‘Spirit Doctor’ and therefore
no Buddhist influence), and they produce very few amulets. Karen magic
is for both helping and harming others, but they are extremely secretive
because if found harming others, they could be killed by the people in their
village. Causing harm to others also has consequences for the magician,
who will face many obstacles in life, misfortune, unsuccessful businesses

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 and worse. It has been important for Ajarn to learn many of the skills of the
darker side of the regional magic traditions, because it is then possible to
combat its effects in its victims.

Burmese magic is mainly about building the practitioner’s qualities through

specific forms of meditation, yantra construction and the strict holding of
the five precepts. A practitioner must not have an affair, consume alcohol,
eat beef or buffalo, not lie or cheat and of course, must not kill anything.
Following the precepts is cleansing and the purifying of the self to show our
determination to both the spirits and the Masters (and here Ajarn means
the Masters both dead and alive) to aid any wishes to come true. In the
Burmese system, there are groups of what the Thais see as Rishi (The
Weikza), and they are spirits that can come and visit any practitioner of the
art, an energy source that can be tapped. In life, they had their tongue and
mouth tattooed to enable them to communicate freely to their Luksit, even
after what is regarded as their mortal death.

Much of the Burmese magic of the cult that Ajarn Ting is a member of is
directed towards blessings and countering the spells of others, something
that the Sui Yin Jor Wicha is renowned for. Ajarn has also studied the
Wicha of a deva called Mae Surasatee, but this is usually for great fortune,
Metta and intelligence (Mae Surasatee is a Burmese Deva who is depicted
as riding a swan, and Ajarn Ting is currently building a shrine in honour of
this Deva). This Wicha does not deal with ghosts, and the products from this
deva are mostly potions, and mixtures of Wahn and oils; pure white magic
for helping or healing people only. The Wahn from this sect is constructed
in the shape of a Chedi, which is different from the cult of Ajarn Saya Boon
Khong, whose Wicha has more varieties of mixtures. Only a person of high
virtue can construct many of the potions from the Sui Yin Jor Wicha, and
Ajarn freely admits that he is not at that level yet.

Ajarn Nahn Ting has reached the level with the Burmese Wicha to be able
to have his two index fingers tattooed, which reflects an old Burmese proverb
that says, ‘Two Fingers Are Medicine’. The finger on the right hand is used
against evil spirits, as well as dipping into the water to bless it, whereas the
index finger on the left hand is for treating poison. The Rishi (or Weikza)
associated with the lineage of the Sui Yin Jor sect tattooed their tongues
and mouths to enable them to communicate to the three worlds, which in
Western culture would be hell, the earth and the heavens. This sect has four
principle Guardians, who can be summoned by a devotee to aid them in the
removal of evil spirits through exorcism. The study of this Wicha is different
for men and women, with five levels of study for women but nine for men,
and when each level is achieved, a tattoo is added to the mouth. People
who have reached the top level are the Burmese equivalent of an Ajarn, who
can then be guided by and talk freely with his immortal Masters.

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56. Offerings to Ajarn’s Masters and the Weikza, seeking their help with a ritual.

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 57. A symbol of the cult that Ajarn Ting is a member of.

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58. And the same tattoo on the right hand of Ajarn.

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 59. ‘Two fingers are medicine’ - one for blessing water and one for treating poison.

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Ajarn Ting - Exorcist

To perform an exorcism using the Burmese system, Ajarn has to check

whether the afflicted person has been possessed by a ghost, or if they have
been attacked using black magic. The first thing to do is to have them lie
down and after chanting kata, command them to lift their arms or legs. If
they have been possessed or attacked, their body will feel so heavy that
they are unable to do it. This ritual will only be performed after first asking the
person if they are truly seeking help in the hope that they have no scepticism
regarding the exorcism. The next action is to summon the spirits of the
Masters of the Wicha to come to their aid.

In some cases, the first sign of possession can be seen because the person
will be reluctant to walk in the Samnak, or they will cry when they see
Ajarn. The process of the exorcism is to chant the correct kata, call on
the Masters for help and to shower them with blessed water, but the time
taken to achieve success depends on the case and there may be the need
for return visits. The person will also need to drink the holy water, which is
made by mixing it with herbs and summoning the Masters to bless the
water. Once the ghost or the black magic leaves the body, the person will
feel numb in the tips of their fingers and toes. After this ritual, they will be
asked to stop eating meat, take the five precepts and have a Sak Yant using
an oil that contains herbal mixtures on their head or body for protection.
This tattoo is barely noticeable as it is just five dots, sharply administered
to a specific region of the head.

Ajarn Ting - Undertaker

Ajarn Nahn Ting is a traditional Lanna style undertaker, who often gives his
services for free, depending on the situation with the family concerned. The
knowledge an undertaker must possess is ancient and rarely documented,
but Ajarn is keen to talk about his calling, to share it with the world. In this
way, people can have a better understanding of both the culture of the
region and the roles taken on by the Lanna people. During this description,
particular reference will be made towards the products of a funeral that
Ajarn can use within the magical system, which depends on the age, sex
and manner of death of the deceased.

The first thing to do with a funeral is to prepare the body for the ceremony
itself. The corpse is tied with enchanted thread (Sai Sin), which is applied
in loops, the number of which represents the attachments in life and the
concerns of the dead. The loops are around the neck, hands and feet and
this ritual is called Mat Tra Sang. The threads around the neck represent the
concerns of the person towards their children, very much in the way a young
child will hold their parent round the neck while being carried. The second
is the loop around the hands (which are in a Wai) that represents holding
hands with their partner or lover, be they deceased or living. The last loop

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 is around the feet, and represents their concerns for money, belongings,
property and possessions. All these concerns can block the path of the
spirit and stop it from moving on. These actions come from a Buddhist
riddle that says that one cannot be free unless they are able to let go of the
three attachments. In practical terms, the tying of these loops helps hold
the body in place during the start of decomposition. (Please note that Ajarn
Nahn Ting does funerals for the rural poor, who do not embalm due to the
cost involved)

After the tying of the loops of the three parts, which is all one thread, the
body is then taken outside the coffin to be held by the monks during the
funeral service in the hope that the dead person will receive virtue. Before
the cremation itself, the undertaker will wash the dead one last time with
coconut water that has to come from freshly broken shells. These shells will
then be tossed away and watched to see whether they land face up or face
down, which can indicate whether the dead person still has worries or not
and if so, the washing is repeated.

In some areas, there is also a ritual called Rod Nam Sop, which lets family
members pour water on to the dead body’s hand as one last goodbye before
Mad Tra Sang and putting the body in the coffin. In some Lanna traditions,
the Rod Nam Sop ritual will be omitted, and the Undertaker will give the
body shower with Sompoi instead. (Being showered with Sompoi is akin to
a ritual cleanse to remove negative elements)

Another ritual performed over the corpse is called Bang Sakul Tai, which is
to aid the spirit of the deceased to move on, but this ritual can also be useful
to the living who believe that they are afflicted with unusually bad luck. In
this case, the Bang Sakul Tai ritual is used to trick the spirits afflicting that
person to think that the person is dead in the hope that they cease affecting
their lives. Following this, another ritual called Bang Sakul Pen is enacted
to spiritually ‘bring them back to life’, as if born again without any bad luck
or illnesses. (Please note that this is a version of the ceremony that is used
to construct a new spirit body within an amulet)

During the ceremony, the undertaker will make an offering to land spirits to
ask for permission from them to proceed and to request their help to allow
the spirit of the dead to pass on peacefully (akin to opening the gates for
them to leave). Two offerings are given at this point, which contains food
and tobacco. One is underneath a big tree for the land spirits and the
second offering to Pu Dam and Yaa Dam, the spirits of the crematorium.
In Lanna beliefs, Pu Dam and Yaa Dam are the spirits associated with the
stove, house spirits who protect the property and family members. People
often pray to Pu Dam and Yaa Dam to protect their home while they are
away and they are also the spirits associated with kilns and crematoriums;
anything to do with the action of burning.

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 60. A cremation with Ajarn Ting.
Here, the relatives of the deceased carry the coffin to the cremation pit.

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 61. Ajarn Ting breaking a coconut over the face of the deceased.

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62. The top of the funeral construction is then placed over the coffin to both hold
the heat in and provide extra fuel.

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 63. The funeral flag that is carried in front of the coffin.

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64. Ajarn pierces the intestines to aid burning and this bamboo then becomes a
very useful form of Prai if it has been used with the right body source.

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 65. The Sai Sin thread that has been used during funerals.

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During the procession to take the funeral to the place of burning (which is
outside, in a graveyard, not in a temple), the funeral cortege is lead by a
handmade flag. The flag has three tails (Ajarn said that the middle tail of
the three holds strong Saneah), into which the undertaker places the spirit
of the dead person. Depending on the manner of death, some Ajarns will
use these flags to write a spell on and use as the wick for a magic candle as
they have become supernatural, strengthening the magic undertaken. The
flags of a Phi Tai Hong ghost of young people are the most useful in magic
rather than those from an old person because of the strength of the spirit
involved. The Sai Sin thread that emerges from the coffin of a Phi Tai Hong
can also be used for a myriad of purposes but is especially beneficial with
forms of candle magic that use a ghost.

There is a great difference when burning the body outdoors rather than in
a crematorium, where they use gas as a burning medium. In the traditional
way we use hay and wood, and the intestines have to be opened up as they
contain a lot of water and the body can pop or not burn well. Ajarn Ting uses
a bamboo stick to pierce the body at this time, and the intestines ooze out
during the burning. This bamboo can then be used to make a Paladkhik, a
very effective Hoon Payon, or for extreme forms of black magic if the body
has come from what is known as a Prai Death, a death that produces
supernatural qualities.

The body only takes two or three hours to burn fully, which is quicker than
using a gas oven. Sometimes, a relative will hope to see that a strong
Yant that the deceased wore may have survived the burning process but
as an undertaker, Ajarn is trained to remove the power of any Yants before
cremating the body. This action is a part of the ritual where Ajarn breaks a
coconut above the face of the deceased, and kata are used to remove any
magic that the person may hold. The coconuts used in this way become
Athan, and they can be used to mix into a See Pung. There is also the belief
that people who grind their teeth when asleep should eat the flesh of that
coconut to make it stop.

Ajarn often performs his undertaking for free, and is a service that he offers
to poor people in his district south of Chiang Mai. The relatives of the dead
are giving Ajarn the responsibility for their loved one, to take care of that
person on their last journey, and this is a duty that Ajarn Ting takes pride in
performing.

The Coconut Hammer of an Undertaker

This hammer was given to him by an old undertaker, and it is for breaking
the coconuts so that the juice can fall on to the face of the dead person.
The hammer is now considered to be Athan as it has performed this task
hundreds of times, and the handle is inscribed with Akhara that are spells
for protection. Ajarn Ting uses it for every funeral, and its power of it grows

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 every time as the hammer is blessed for each service. The top of the
hammer is also equipped with a claw to remove the nails from a coffin, and
each action will again increase its power. This hammer has been used for
hundreds of cremations and is around 60 years old. The photo opposite is
of the coconut hammer with the spells along the shaft.

The Miit Mhor of Ajarn Nahn Ting

This Miit Mhor has a wide array of metals mixed into the blade, which include
7 Takrut sheets from 7 renowned Ajarns from different regions of the country,
metal from a stupa, door furniture from a Wat (hinges, nails), various forms of
mercury, Leklai and Lek Nam Phi. Kata was recited throughout the process of
melting the metal and making it into a blade. This Miit Mhor was not scripted
when Ajarn Ting received it, because the Master who made it said that this
should be done by the Ajarn who wields it. The blade contains an Athan Heart
kata called Hua Jai Khut, making it usable for anything concerning strong
supernatural sources, such as creating a Nam Man Prai, cutting bodies etc.
The wood for the knife came from the Wat of the renowned monk, Luang Phor
Derm with one side having a carved Lersi and the other a Yak called Yan San
Taa, of which ghosts are very afraid.

There is a process for making every different aspect of this knife, and many
Ajarns added their skills and knowledge in its construction, making it a
collective effort to aid the work of Ajarn Ting.

Many Ajarns coming together to help a fellow adept is an aspect of the

magicians of this region that may surprise outsiders. It is part of the tradition
to help each other, to support the work of others, and periodically pass on
knowledge to the right people. The Ajarns of Chiang Mai are all part of a
group, and they often meet in support of making an amulet together; usually
for a local cause like building a school. It’s quite intense to be present
when they are all working together, using their Samathi and psyche but
afterwards, the friendliness is charming. Seeing Ajarn Ting at these meetings
is always a pleasure because Ajarn is a good man, happy with life.

The Shrine of Mae Surasatee - an interview with Ajarn Nahn Ting

Mae Surasatee is an angelic Nat from Burma and she is praised as the
guardian of the Tripitaka, the Buddhist scriptures. She is easily recognised
by her appearance as a beautiful lady sat on a golden swan holding the
scriptures in her hand. Her original statue is in Burma’s highest temple,
Shwedagon Pagoda in Yangon and she is also the goddess of wisdom,
knowledge and charm; linking her to the source of her existence, the Indian
goddess of Saraswati. People often make wishes to her and they believe
that if they praise her, everything will be okay. Her shrines in Burma are
often full of students seeking help when taking their exams, and she is
thought of as the deity to seek help from when things get rough.

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66. The undertakers hammer of Ajarn Ting.

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 67. Ajarn Ting at his shrine to Mae Surasatee.

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68. And his fearsome Miit Mhor.

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 69. The shrine of Mae Surasatee with magic candles on the day of Ajarn’s Wai Kru.

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The Burmese image is of her riding on a swan, but Ajarn decided to change
the Burmese style swan into a golden swan from Thai mythology (which
marks the usual adaptation of ideas that travel between the local cultures).
This type of image is used in Royal Thai Brahman ceremonies, aa well as
on the prow of some of the Royal barges.

Ajarn only gives two different styles of Sak Yant for Mae Surasatee even
though there are 12 that can be applied to the skin, because some of the
images are not as beneficial as others. The first one is usually placed on
the upper spine and is constructed using only Akhara, whereas the second
one is more recognisable as being her as it contains the swan. The first one
is for Saneah and Metta and the second one is for Maha Amnat, a natural
authority in life. For the people who have her tattoo, they should sometimes
put perfume on the Yant as she likes beautiful scents, and scent can also be
placed on any amulets in her honour. Ajarn himself praises her by lighting
scented incense, candles and offers fresh flowers as well as bananas,
coconuts and honey. If someone has a locket, they should also follow this
way, but if residing outside Thailand, any fruit or flower is acceptable.

Ajarn became a follower of Mae Surasatee because he made a request

to her during the building of his Samnak. He had little money at that time
and promised that if she helped him get the funds he needed, he would
build a shrine in her honour. Slowly but surely, the recognition as a good
Lanna Ajarn came, allowing the fulfilment of his promise to her, building her
shrine as a show of devotion and thanks. Mae Suarasatee is now becoming
quite well known and is gaining Thai followers as many people know of her
wish-granting capabilities. Ajarn Ting is now making amulets to her that are
constructed using magical mixtures from Burma, including the herbal mix
of the seven angels, herbs that protect against evil spirits and herbs that
are specifically for Mae Surasatee. Ajarn believes that because of her, now
many people come to visit the Samnak from many countries in Asia and
even the West.

The Burmese Occult - An Interview with Ajarn Sala Boon Khong

As with many Ajarns, the first question to Ajarn Sala Boon Khong about the
history of the Burmese Occult brought a comical reaction, with him saying
that as he is not thousands of years old, he cannot say for sure. Everyone
has a different opinion about the history, and there are no scholarly works
to reference on this subject. It is like trying to write the history of eating food
with your hands in this region as the rules for politeness and conduct differ
from the North, the South, the central areas and Esaan but it was more
likely that they had no spoons. Depending on the people of each region,
how they accept any information or ‘way’ differs, and it varies because of
the way it mixes with what was there before. Burma and Thailand can be
considered to have ‘co-cultures’ and finding the roots of this shared history
is almost impossible.

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 One type of Yant in Burma is known as an In. In Thailand, they do not eat
Yantra but in Burma, they are consumed; eaten on the right day and at the
right time. To perform this action involves many precepts so it is something
that Ajarn Sala Boon Khong has avoided because if he cannot keep the
necessary precepts, it could send him into madness. The process of eating
Yants is a challenging practice, and not many Thai Ajarns have followed
this way due to the strict rules. For instance, the people who are following
the process of eating Yants can only eat once per day and have to sleep
on a mat. Another type of Yant is a Sama, which is a picture constructed
from Akhara, the script of Yantra but again, the way they make these differs
from region to region. Long ago, the borders between the lands were either
different from today or very porous, and without the rigidity of the current
nation, information flowed freely.

Some of the aspects of Burmese magic are similar to the Thai system,
although with knowing both systems, Ajarn Boon Khong considers Burmese
Magic to be 90% unique. Most of the Thai magic came from the East (Laos
and Cambodia) and the people’s explorations, whereas the Burmese
system remained closed to outsiders. Thailand has been open to commerce
for a longer time and accepted the influence of others readily, such as the
Lao people and the Khmers but their history with Burma has always been
fractious. Burma also received what can be considered to be the real Ruesi
from India, and they had more access to their core knowledge, whereas
Thailand seemed to get a watered down version. The Lersi in Thailand
today, look like they come from the images in movies rather than being the
sages of old, who lived an ascetic, spiritual life without a wife.

When studying Burmese magic, the practitioner starts from a place that
suits them; they do not need to move through the system from the witch up
to the Master of the Higher Path. They do not need to study the malicious
forms and can choose to do white magic alone to become a Master. There
are many paths to become skilled at various aspects of Burmese magic,
and those ways are chosen by the practitioner and his teachers.

Ajarn Sala Boon Khong is a Burmese Master, a Saya (but it is pronounced

Sayaa) and Ajarn’s name should be Ajarn Saya Boon Khong although he
says that Ajarn Boon Khong is fine too. He decided to change it to Sala
Boon Khong because Sala is the Tai Yai way to say ‘Master’.

Ajarn Nahn Ting is a member of the congregation, or Nikai, Sui Yin Jau and
each group praises or follows particular spiritual entities. Each Nikai has an
associated and unique mixture of Muan Sarn that is either from the original
holy man who made it or has been reproduced by the sect. When doing
this, they may also mix some of the original Muan Sarn with the reproduced
mixture and these mixtures are then used in the magic performed by each
sect. This mix can be consumed for health as well as for spiritual purposes,
or used as part of the oils and colour used for Sak Yant.

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70. A fine photo Ajarn Boon Khong in front of his altar.

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 71. Ajarn Boon Khong blessing some amulets.

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The statues on Ajarns altar are of some of the Masters praised by the various
Nikai and are known as the Weikza. There is a belief that while they were
real people, some of these Weikza can extend their lives for so long that
they can disappear and the followers often do not know whether that Master
is still living or has passed on. They enter into a different realm but are
considered to be still alive, but everyone will pass on eventually. Ajarn Boon
Khong actively connects to these entities to help with any magical work,
which is very much like when visiting a beautiful place, it is easy to later go
back there in the mind to experience the beauty of it again. In the same way,
Ajarn can reconnect to the blessings given by the Weikza and pass them on
through blessings, rituals, Sak Yant and constructed talismans. With these
actions, Ajarn considers himself as a medium, through which these entities
can send their power into the world. He freely admits to having never seen
these entities manifest but that may be because Buddhist doctrine teaches
that anything that manifests can be a trick of the mind, so Ajarn thinks that
his attitude blocks this process.

The Weikza can be placed in categories depending on which part of the

magical system they have been successful in. Some Weikza are associated
with the making of In because it was through expertise in that medium
that they became a Weikza. Another type is a Seh Weikza, who attained
Mastery through the use of herbs and creating Muan Sarn. The Weikza do
not need to be experts in all the disciplines within the magical system of
Burma, attaining Mastery in one is enough. If the Master of one aspect of
the Burmese system then wanted to study another discipline, it would be
essential to forget everything learned and practised and started again from
scratch. Otherwise, the Wicha involved can work against each other and be
dangerous.

Ajarn Boon Khong has studied the high forms of Burmese magic but is
also still involved in the making of Prai with the lower spirits, because of
the personal belief that his knowledge of working with Prai is not complete.
There is a split in Ajarns works but like any person, Ajarn has to make a
living to be able to eat, enjoy his life and follow his spiritual calling. Ajarn
Sala Boon Khong has created a unique path of working with and studying
the magic of Burma, Laos and the Lanna region, producing both exceptional
Prai talismans and high spiritual magic.

The Datlon
(or Taat-lung the way Ajarn pronounces it. This is the Thai version of the
name and the meaning of it refers to their alchemical nature)

A Datlon is a talisman made from a metal amalgam that is highly valued in

Myanmar, with prices of a few thousand dollars for the best ones being the
norm. These are virtually unknown in the West, and this interview marks
one of the first with a person who has knowledge on the subject, Ajarn Sala
Boon Khong. Ajarn is currently studying the process of making a Datlon.

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 In the olden days, the alchemists in Burma used mercury in an attempt to
find the elixir of life to extend their lives beyond what is possible, which is
an activity that came directly from India. The renowned Weikza, Bo Bo Aung
got the original Wicha from the lands to the West and translated the ‘way’
to construct the elixir. Bo Bo Aung is considered to be the creator of the
Weikza movement and was born in the 18th century.

The process of making Datlon can be considered analogous to the meditation

method called Kasin, which is a meditation with flame or candlelight, in
that both are an analogy to the process of trying to burn away desire. The
Datlon represents the body of the person going through the process of
being purified, and these things have considerable power. In the mercury,
the process of purification drives away the poisonous nature of the element
and replace it with an amalgam that can hold the same spiritual energy as
the purified devotee. This knowledge spread out from Burma, and there
is an example where a Chinese Lord came to Burma for the wisdom to
extend his life, but he died from mercury poisoning, as many people do.
The knowledge never came to Thailand as the Thais rejected it, believing
that their culture already held everything they needed.

In magic, there are different branches of knowledge and Alchemy is one of

them, with magicians often using metals like gold, silver and copper but in
Burma they use Mercury. The making of a Datlon is a complicated process
to study, and Ajarn Boon Khong is in the process of acquiring the knowledge,
but it is a very costly exercise due to the materials involved to make a single
Datlon. By working with the alchemy of mercury the magicians are attempting
to discover how to extend the lifespan, hopefully to the point where they
can meet the 5th and final incarnation of the Buddha. To make a Datlon,
the Ajarn is working as a blacksmith but with added Samathi throughout the
whole process, the correct kata during various stages and all tied to the
breath of the practitioner. The practice also builds the Samathi and at the
same time, it can be seen as akin to the magical goal of changing lead into
gold. They already use mercury in Myanmar as both a remedy for ailments
and to make their red inks but in both cases, the poisonous nature of the
ore has been driven off.

The makers will keep the best Datlon, and with others, they will turn them
into rings and pass them on to devotees. The people who obtain these are
usually looking for very high attributes, not just things like Chok Laap or
good fortune. It may sound odd, but the best ones of these can raise the
person in the spiritual realm to become a divine being, from where they can
decide their own fate and destiny. There are some that also claim that a
good Datlon can help bring supernatural qualities such as levitation, although
Ajarn says that he has never come across anyone that can actually levitate
(laughter).

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Comparing Lanna and Burmese Magic - an interview with Ajarn Piyasitti

Please read this interview very carefully as Ajarn Piya explains one of the
core practices within the Lanna system that is virtually unknown to the outside
world. In each Ajarn’s Samnak there is a strange offering near his altar but
up to this point, it has been difficult to both pose the correct question to find
out what it is and get the Ajarn to open up about their use.

To compare magical systems is difficult to compose and the only way to

do it is to talk about the magic Ajarn Piyasitti himself performs because
there are many different lineages in each system and they all have a different
Wicha. There are three choices of magic to compare, the central Thai, the
Lanna and the magic from Myanmar. The magic from central Thailand
is derived from the knowledge of Cambodia. To the north of this regional
magic there is Laos and the old nation of Lanna (Laan Naa, the land of a
million rice fields) and to the West is Burma or Myanmar. These regions are
akin to three separate melting pots of magical knowledge, and then there
is the Khmer influenced region although there is, of course, some overlap
of ideas. The Wicha of Laos has differences from the Wicha of Lanna, and
again, from the Wicha of Myanmar, and within each region are lineages
being propelled forwards through the work of talented Kruba Ajarns. So in
each land, there are similar forms of magic that use different methods,
kata and rituals to the same ends. The magic of the Lanna region and
Myanmar is quite close, because the old state of Lanna was under the
control of the Burmese people for around 200 years, although there are
still some distinct differences.

While there are lineages of knowledge within the Lanna system that
come from generations of talented Masters, in Burma it is different and
the Masters that people follow there are either in a group of 10 or a group
of 5 (as with Ajarn Ting and Ajarn Sala Boon Khong). Within the Wicha of
these Masters, there is both black and white magic but much of the power
is passed on by the Masters themselves. Ajarn Piya follows the 5 Masters -
Sai Prachao Ha Pra Ong - and another old Master called Orataa, of whom
there are two statues on the altar, one in gold and one coloured but both
showing a bearded man with long hair and crossing his legs in a unique
fashion. Orataa is Ajarn Piya’s Master even though Orataa has been dead
for centuries, but Ajarn Piya’s teacher, Ajarn Maeyo in Mandalaya is a
member of the lineage. The magic of Orataa is for fortune telling, healing
and dark magic, but all for helping the people. It might sound odd to have
the dark magic for helping others but sometimes it is the only way to combat
what afflicts them.

Ajarn Piyasitti has been studying the magic of Myanmar for five years now.
Before that, there was Cambodian magic and originally, Lanna magic but
now Ajarn’s direction has changed, which is part of the development of any
magician. Ajarn Piyasitti is also a Saya, a Master like Ajarn Sala Boon

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 Khong and to become a Master depends on your practice of meditation.
The five Weikza Masters help with everything related to these studies; the
teaching, the Wicha and the power of the magic, as does Master Orataa.

In Lanna magic, an Ajarn relies on what he refers to as the ‘Master Ghost’.

In the corner of the Samnak is Ajarn Piya’s Master Ghost, surrounded by the
relevant offerings and the white material can contain a skull, depending on
the lineage. Ajarn Piya was a Luksit to Ajarn Deycha Rangsee, and during
every new year celebration the material around the Master Ghost has to be
changed. The Lanna system is taught in stages, starting with level 5, then 8,
12, 32, 36 and finally 108, all of which are levels of Wicha. To rise through
the levels depends on both yourself and the Master Ghost, who will test and
check all the innate abilities present before allowing the Luksit to continue,
otherwise, it can be dangerous for the apprentice The Master Ghost tests
the Luksit all the time and if a mistake is made it will restrict any progress
until that mistake is corrected. If a Luksit works diligently, practices and
believes in what is being done, the Master ghost will bring great fortune to
life and make it very smooth.

For everything done in the Lanna system as an Ajarn, be it black magic in a

graveyard or whatever, the Ajarn prays to the Master Ghost first to ask for
success in that endeavour. The difference with the Myanmar magic is that
the help is regarded as human rather than being a Master ghost because
these old Masters (the Weikza) are still considered to be alive and active.
They are more akin to a Buddha rather than being a ghost.

There are two types of Master in Myanmar, one high and one low. The lower
Masters are the ones who make the black magic and the higher Masters
follow a higher spiritual path. Only the low Masters make things like
Panneng and deal with ghosts, or in the Burmese case, Nats, which consist
of land spirits, Phi Tai Hong ghosts and forms of black magic. The Nats are
given offerings in a similar way to the ghosts of the Lanna system, but the
offerings to the Masters is vegetarian, usually fruit like bananas, coconuts,
etc. The white magic in Myanmar, the higher spiritual path is one of intense
meditation, and people either wear white or are monks. Many people will
study the low forms of magic before rising but some are happy to stay with
the darker arts, it all depends on the practitioner.

For anyone who wants to study either Lanna or Myanmar magic, it is

essential to study with a Master. The teaching of a true Master is necessary
to learn how to help the people, how to work with the ghosts and deities,
how to write and understand Yantra and Wicha; there are so many things
to study. A problem in the present day is that people think that they can
learn magic from a book and not have a Master, which is totally wrong. Yes,
eventually, after years of study with Masters a person can acquire enough
practical knowledge to make it possible to learn from books but everyone
needs a good Master to help form the foundation of magic within, which

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72. The Lanna ‘Master Ghost’ of Ajarn Piyasitti.

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 73. The Khan Kru is in the top left of the photograph, above Ajarn Suea, who is
performing the Korb Sian ritual for Khun Leon.

160
can then be built on. Once the Master is inside the Luksit, the Master can
then help with the understanding of any book or Wicha. The Master helps
with contacting the ghosts, the devas and the spirits and is the guide to
becoming a magician. Meditation is the key to all this as it bestows the
sensitivity necessary to be able to bond with the Master to receive help and
become successful at magic.

Ajarn Piya has learned from many Ajarns from many regions and even from
a man within his family, who was a member of a lineage of black magicians
in this region. If an Ajarn studies enough it is possible to tell what is good or
not, what is real or not and being an Ajarn gives the freedom to follow the
magical path in any chosen way. The important thing is to know the self and
know the quality of magic. At this time, Ajarn Piya places great faith in the
Burmese style of fortune telling as well as blessing rituals, both of which he
considers highly effective.

The Khan Kru - an interview with Ajarn Suea

Ajarn Suea is a Lanna Ajarn from an ancient lineage and interviewing him
concerning this aspect of the Lanna system was a joy. Th Khan Kru is what
Ajarn Piyasitti referred to as ‘The Master Ghost’ but please remember here
that Ajarn Suea was a monk for a long time and his Master was also a monk,
so some of the rules are different.

The Lanna Khan Kru in the Samnak is considered to be a representation

of the Master of the Ajarn, and every Lanna Ajarn must have a similar item
from their teacher. The Khan Kru are passed down to the disciples of the
Kruba Ajarn, and there are levels of receiving the Khan that mark the
Luksit’s journey through the essential studies of the art. There is Khan 8,
Khan 10, Khan 12, Khan 24, Khan 36 and then finally, Khan 108, which is
the highest level attainable. Each level has different meanings, and at each
stage, the Luksit is allowed to perform certain Wicha. The Khan 8 marks
the time spent practising the prescribed precepts, Khan 12 is the beginning
level to becoming an Ajarn and finally, the Khan 108, which is also called
the Khan Luang, is only available for people that have held the 227 precepts
of a monk at some time in their life. If a Luksit receives the Khan Luang
(The Golden Khan), it means that his Master has already passed on all the
knowledge held by the Kruba Ajarn. Ajarn Suea’s Master is Kruba Duang
Dee, who is a very important monk, and devotees respect Ajarn Suea as the
holder of Kruba’s Wicha.

The Khan Kru contains betel nut, white cloth for a teacher who has passed
away or red for one that is still alive. There are also flowers, alcohol (rice
wine is good, but Ajarn said that the stronger it is, the greater the power that
can be accessed and Ajarn Suea has a locally made bootleg liquor), crispy
rice, candles, incense and other items. The Khan 12 is for the knowledge
of Saneah, Metta and Maha Niyom. If a Luksit wants to study Sak Yant and
candle magic with Ajarn Suea, he has to reach the level of Khan 24 before

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 being taught. The Khan 24 has to be presented to Ajarn to get the knowledge
but to be able to practice it; the Luksit has to return the following year with
the Khan Kru 36 or Khan Ruesi. At different levels, the appearance of the
Khan Kru may look the same, but other items are present. The Khan 108 is
the highest available to an Ajarn but there is also a Khan 227 for monks, but
if that monk then became a layperson, that Khan 227 has to be given back
to be replaced with the Khan 108.

The Khan is a representation of the Ajarns Master, and it acts as a reminder

of the knowledge given, the promises made regarding behaviour, such as
never dishonouring the Master’s name and holding to the precepts that
were given. Even though it may seem that the Khan Kru may not hold much
power, they are a force within the practices of an Ajarn as they can call on
the Khan Kru to get the help of the Master with rituals and also for advice.

There is another type of Khan called the Khan Phi Kru, which is now rarely
seen. The Khan Phi Kru is the skull of an Ajarn which is passed down the
lineage to a disciple. This type of Khan Kru is usually from a Master that is
not a monk. It is placed on the altar, often under a Lersi mask or kept in a
white cloth bound with string (see opposite photograph). If an Ajarn has one
of these skulls, they tend to be more on the side of black magic, some to
the point where they cannot pay their respects to a monk or the Buddha any
more. There was a man in this village who had this type of magic, and as he
aged it became essential to stop using this magic and go back to Buddhism
or the power can kill an older person.

Burmese Fortune Telling - an interview with Ajarn Piyasitti

There is a fortune telling system in Thailand, but it is not the same as

the Burmese system. Anyone can study Thai fortune telling in Bangkok,
and a certificate is available with about six months of study. Everything is
taught by a teacher, almost like a science subject. The course will give great
knowledge about how the position of the stars and astrology affects the life,
but there is no magic involved there. The fortune telling system Ajarn Piya
follows comes from a Burmese Master of magic.

It is not easy to explain, but the Burmese Fortune Telling uses the psychic
abilities that are gained through extensive meditation practice to help a
person change their lives. An often posed question is whether this system
came to Burma from one of their primary sources of knowledge, but no,
this is not Indian in origin, it is a purely Burmese system. Myanmar Masters
created it. Some of the practices in Burmese magic have other effects on
the mind, and one of those is a psychic ability to know others, sincerely and
truly. With the extended study of various meditation techniques, an Ajarn
can get an understanding of the way that others think, a side effect of high
meditation known since the time of the Buddha and the Burmese Masters
use this to help people.

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74. A rare example of a Khan Phi Kru, tied in this way when the Ajarn wants some
peace and quiet.

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 75. The confident Ajarn Piyasitti.

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When people visit Ajarn for this, yes, their name and birthday have to be
given and studied using a form of numerology that is very complex (see
photo), and this takes around 30 minutes. This numerology influences the
course of action, but then it is essential to talk with the devotee because
this technique is not for deciding if it is, for example, an excellent time to
do business or when to marry someone, this is for life, for the whole of the
person’s life. Burmese Fortune Telling concentrates on the character of the
person because if it is possible to repair or redirect someone’s character,
their existence will change for the better. There are also some rituals
involved here, and these rituals are made to restore the person and improve
their lives. Everything is possible.

The central part of the ritual for this type of fortune telling is a big blessing,
which also involves the ingestion of exceptional herbs and Muan Sarn that
has come from the Masters, and these are their original formulas. As with
the magical system, these are mixtures for the spirit rather than for the
health and sometimes the red powder that originates from cinnabar is also
used, although the poison has been removed. Sak Yant are also sometimes
used during this blessing, but they are to bless the person, or for health
and the actions are decided on during the ritual itself, which also includes
periods where the Ajarn and the devotee meditate and pray together. Some
Sak Yant may be applied during the ceremony and some at the end to seal
the changes and protect the person. In the photograph of the stamps for
these Sak Yant, the lower one is for ladies, the one on the right is for
men, and the other two are to make Yantra on paper for eating, which is
sometimes necessary too. The amount of Yantra eaten depends on the level
of the practitioner and the reason for consuming the Yant. There may also
be a prescribed period of only eating vegetarian food and abstaining from
sex to help the ritual work effectively.

The function of the Burmese Fortune Telling from Ajarn Piya is to cleanse
the body and the mind, thoroughly and comprehensively with the aim that
the fortune will change because the person has changed.

Candle Magic - an interview with Ajarn Aek

It was difficult to decide who to interview concerning candle magic as most

Lanna Ajarns make magic candles. In the end, other Ajarns suggested that
Ajarn Aek would be best, which expresses the strength of community here
as everyone wants everyone else included in this project. The knowledge of
the forms of candle magic is enormous and should realistically be covered
in a single volume rather than being a part of this book.

There is extensive knowledge in the Lanna region for the making of candle
magic, which has been passed down through the generations but the origin
of the magic itself is unknown as it is ancient. In the Lanna culture, the
lighting of candles is part of many rituals and ceremonies, including ones

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 for healing and bringing couples together and with these rituals, each candle
spell is constructed differently. Some had to use an exact weight of wax,
others burned in specific places, and some had to contain other items; the
range of the knowledge involved here is quite incredible. There is also a
vast amount of specific Wicha for each candle type, including the number of
threads in the wick, how to construct the Yantra spell and whether that spell
is rolled with the wick so the beeswax covers them both. The spell can also
be wrapped around the outside of the candle, allowing it to be seen.

For certain types of candle magic, there has to be 37 threads in the wick,
and in other types, the amount is related to the age of the client who is going
to use the candle. Each thread consists of Sai Sin, which holds the power
of a blessing in a temple (these are the non-Prai types, Puttakhun magic).
Long ago, people would have collected cotton from the cotton bush and woven
that into a thread, but nowadays, everyone uses Sai Sin thread as there is
a power within that thread that is used to help the magic. There are also
candle Wicha that requires the number of threads to be related to aspects
of the Buddhist scriptures. If it is a candle for healing, it is lit at the head
of the bed, and the person would lie down until the candle has finished
burning. Candles are made for students who want to pass their exams,
candles to help with uppity land spirits and pretty much anything you can
think of, showing how deep this magic is within the Lanna culture.

There are thousands of types of candle magic, and an Ajarn is able to adapt
the magic to fit with a devotees request from the knowledge held within
him. Ajarn Aek specialises in the making of candles for Sadau Kloh (to turn
around bad fortune), Sueb Cha Daa (to renew or prolong good destiny/fate,
like Serm Duang), Noohn Duang Cha Daa (boosting the destiny/fate) as well
as Phra Sivalee candles, Sang Ka Jai candles and Phra Upakut candles,
which are all candles to deities. Phra Sivalee is an idol for good luck, trade
and business with the attribute of Khaa Khaay. Sang Ka Jai represents
fertility, wisdom and bounty. Phra Upakut is for protection against malicious
spirits and then once removed, the candle will also call for better things to
come to life. Candle Wicha is complex magic. Ajarn Aek’s love candles are
the most popular, and there are now also moulded candles in many styles,
for Rahu, the Lersi, Inn Khoo, and Phi Suea, so many types and they
are particularly popular with the Chinese people. If an Ajarn has good
knowledge, the candle Wicha he uses cannot be categorised as the maker
decides what goes into the spell. During the process of mastering this
Wicha, there arises a vast range of magic candles for every purpose. It is a
fluid and beautiful magic.

In the Lanna tradition, when people feel their luck turning or are feeling
down, they will often light a magic candle. The generic candles will not have
any name or birthday in there (this is a bespoke service which produces
strongly directed magic) but the instructions will tell the best time of day
it is to be lit and the location. The time depends on the time zone where a

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76. Ajarn blessing a pile of candles purchased for friends.

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 77. Candles that contain spells for Rahu are a particular favourite.
These come as a typical candle type or one of the more fancy molded versions.

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78. Ajarn Aek comes up with some cool designs for his magic candles.

169
 79. The industrious Ajarn Aek!

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person lives, not the time in Thailand; it is the time of day where the person
is that is important. Sometimes, when lighting a particular type of candle, a
kata must also be spoken, and the amount of kata varies, all depending on
the purpose of the candle.

One of the most famous rituals is for Ajarn Aek to make and burn a candle
for devotees for a specific purpose, burned at the correct time to give the
best chance for that magic to work. Usually, people will come and see Ajarn
and arrange this or may also send him some personal information through
the internet (name, birth date and sometimes day of birth will be written
into the spell in the candle) and even some personal items if the Wicha
dictates it. A picture is also essential for most types of personal magic using
a candle and by that he means magic performed by Ajarn Aek for a devotee
and directed towards a specific person. The handmade candle is lit above
the picture of the object person, and Ajarn focusses on that person when
chanting the kata. The person who brought the ritual does not need to be
present, and they do not need to make any action during the ceremony,
Ajarn is doing all the work. Some clients request a video especially for
them, but Ajarn generally videos the rituals being done anyway and shares
the video on the web. These rituals are made on the best night, chosen
astrologically, and many candle rituals will be performed on the same night
at the optimum time. Choosing the best day and time gives the spell the
best chance of working.

Magic works the best when the person who brought the request believes
wholeheartedly in the power of the magic.
Ajarn Aek, Febuary, 2018.

Most of the candle rituals performed are for love and binding couples
together, and in that case, the spell has blank spaces where their names
are written. The names and birthdays of the people involved in the magic
are also used with a ritual for those who want to equalise a relationship with
someone dominant or to subjugate them, in which case it is a Kom spell.
These are active spells to control another person, and there are many types
available. Ajarn Aek receives some bizarre requests for candle magic, but
he often finds a way to help. Candles made for a specific purpose and sent
directly to the customer have instructions as to where and when to light the
candle. It is sometimes the case that a person wants to perform the ritual
themselves rather than having Ajarn make it and Ajarn is cool with that.

In many ways Ajarn Aek is like a Doctor for the spirit of his devotees, helping
them with whatever they need to help improve their lives, Chok Laap, Maha
Niyom, Metta, Saneah, whatever they need. Ajarn has had some highly unusual
requests with candle magic, even from people who want to kill others but
Ajarn does not do that sort of thing, it is too terrible for him. Yes, there are
many forms of Wicha to kill people with candle magic but not by Ajarn Aek,
he does not want that burden in life as he is too busy being happy.

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 Candle Ritual 1 - for Serm Duang with Ajarn Aek

It is always good to see an Ajarn wanting to improve the services he offers

as well as confirm his Buddhist practices by inviting monks to help with the
evening’s ritual. The ritual in the following photographs was a Puttakhun ritual
(purely Buddhist magic) to raise the luck and good fortune of the people
who had bought candles for this service and their names and birthdays were
attached to each, about 35 in all. Throughout the ceremony, films was taken
for many of the people who had decided to buy a candle for this purpose
and have Ajarn work the best magic possible to help them in life. On this
evening, Ajarn Aek performed his duties well, giving the magic involved the
best chance of working. The ceremony was quite beautiful to witness and the
chanting exemplary.

The ritual started with praising the Buddha, and the monks present before
they began the evening’s chanting to aid the luck of the devotees. Ajarn
James also came along to help, as often happens in Chiang Mai where
an Ajarn will take part in the rituals of another Ajarn to add their spiritual
force to the proceedings. The candle magic, in this case, was Maha Chaiya
Mongkhon, which translates as ‘the greatest, most sacred victory’, a spell
that is specifically designed to raise the fortunes and change the luck of the
people involved.

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80. Each candle has been bought for the ritual by devotees in China.

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 81. Ajarn Aek lights the candles to begin the ceremony.

174
82. Each person present is holding the Sai Sin thread to combine their energies and
aid the magic. A beautiful and well organised ritual by Ajarn.

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 83. Ajarn Apichai performing a Kom ritual on the ground where a body is cremated,
in this case, the place where the feet would be.

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Ajarn Apichai

There is something ancient in Ajarn Apichai. He is an exceptionally studious

young man with great ability who’s interest in the study of magic started as
a child. It is always a pleasure to talk to Ajarn as his interviews are beauti-
fully structured and pitched directly. Pay attention to what he says, there are
some gems of knowledge in his interviews.

Ajarn’s studies have included time with some very famous monks such
as LP Saneah for the Wicha for Saneah and candle magic. Luang Phor
Wanlop taught him his nine points of the body gold blessing and his gold
face blessing. LP Naenkaew taught him his gold needle Wicha and the
legendary Ajarn Subin is now tutoring him as well. There is going to be a
lifetime of magic from Ajarn Apichai.

There is a full biography for Ajarn Apichai in The Thai Occult Sak Yant Book,
so little is reproduced here and instead, let’s dive straight in with Graveyard
magic, a very juicy topic!

Graveyard Rituals - An Interview with Ajarn Apichai

These rituals use a written spell that is similar in format to those found
in general candle magic, but here, an Ajarn will use a ghost to add a
considerable amount of extra force to aid the request of the person who
has asked him to perform a ritual on their behalf. An appeal was received
by the author for Ajarn Apichai to cast a Kom spell, which is a type of magic
that is used to reduce a person’s power and there are many forms of this
ceremony. As this was the first Kom ritual the author had brought to Ajarn,
it ended up being quite an adventure!

Kom Rituals are performed to bring people under control by reducing their
power, which gives a chance for a better balance with the person who
requested the ceremony from the Ajarn. There are many forms of these
rituals, with some using very dark magic, especially the more ancient types
of curses that involved the use of animals to affect the object person. These
actions are more akin to the practices of a Mhor Phi than a Buddhist Ajarn
but the Lanna Ajarns will use the most suitable magic that has the best
prospect of working. In this book, there is the space to only list a few of
these Kom rituals to give the reader an idea of what they are and how they
work, but in reality, there are probably enough for a book on their own.

For this ritual, the written spell for this magic is in the shape of a human
being with the name of the object person on the chest. The paper is then
inverted so the head of the victim is lower than their feet (turning good luck
to bad or strength to weakness) and rolled with either 27 or 37 enchanted

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 threads. These threads form the wick and then it is rolled into a candle of
pure beeswax (in this case red and yes, some rituals need a specific colour
of wax). The number 27 is used because it is related to the movements of
the moon during a year, but the choice of the number of threads also
depends on the most auspicious time to attack the victim and the best time
to boost the power of the recipient of the ritual. For Kom spells (Kom means
‘controlling’), Ajarn needs the birth date and the day of birth of both parties to
calculate the best astrological timing to make the ritual work in combination
with strongly focussed intention. The timing of performing this ritual
depends on the combination of a low ebb for the recipient of the spell and
a more favourable period for the person who has made the request, all
calculated through Thai astrological knowledge.

The ritual has to be performed in a graveyard to allow Ajarn to communicate

directly with the chosen spirit and the best choice for this is either a soldier
or policeman, because they are both used to being ordered and performing
a requested task. Before this task, Ajarn first has to get the permission of
the spirit that protects the graveyard by lighting 16 incense sticks and making
an offering. It is like asking the boss for approval before doing some work.
This request also has another purpose in that it calls the angels and the
spirits below to watch and assist if it is necessary, akin to calling for aid from
all the spirits of the area. Then, Ajarn started to communicate with the
spirits present in the graveyard and ask if there are any spirits there who
have the power to fulfil the request, offering them merit in return. At this
point, Ajarn Apichai needs to keep an eye on the candles and the incense
for any signs. If the spirits are not willing to help on that day, the incense
or the candles will go out, and it is necessary to return home and check
the best astrological time to perform the ritual once more. There can be
absolutely no deviation from this action.

One aspect of the Kom spells to reduce someone’s power is that they are
performed on the floor of the cremation area in the position where the
undertaker places the feet of the deceased. The feet are the lowest part of
the spiritual body, which aids the reduction of the intended person’s power
akin to be put under the foot of a ghost. The actual spell is cast when Ajarn
touches the floor, pulling the ghost to the task and when Ajarn is happy
with the results, the photograph of the object person is burned and left on
the floor. These rituals can be effective for up to six months, and the ghost
will act when it is the best time to affect the person, waiting for when their
guardian spirit is weak through either astrology or illness.

After the ceremony, Ajarn Apichai was 100% certain that this ritual would
work because he said that he had chosen a good ghost for the job. When
leaving the graveyard, Ajarn cleansed all those present using blessed water
and requested that everyone takes an extra spiritual bath when home to
ensure nothing had attached itself during the ritual.

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84. With the graveyard spell for good fortune, Ajarn made this on the sides of the
cremation pit and in the position where the head would be.

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 85. The photographs used in the ritual are always smudged to ensure discretion.

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There are many graveyard rituals, such as for extreme Saneah, cursing,
changing fortune or fate, bringing lovers or friends back together (which is
the most popular request) and others. The same rituals are also made in a
Wat or Samnak without the use of a ghost, and with those, Ajarn estimates
that the success rate is around 65%, but in the graveyard, it would be 85 to
90%, purely because of the use of a spirit that acts for Ajarn to gain merit. It
is like hiring them to do a job, and they will do anything to get the ‘bribe’ of
merit. The risks of performing this ritual would be that if not done correctly,
the spirit can come back to haunt Ajarn or the person who wanted to do the
ritual. That’s why every time before commencing with rituals of this type it is
best to shower myself with blessed water and ensure every action within the
ceremony is correct. To this point, no client has ever reported an ill effect
from requesting a ritual in a graveyard.

The reason for asking clients if they wanted any rituals performing was
because it is essential to test the efficiency of various types of graveyard
spells. The response of the person who brought this action was unequivocal,
and it took just a few days to show an effect.

Yes, there has been a change in the man, who is now more subdued in a
way, it is very strange. It’s difficult to explain it but it is there, it is akin to
some sort of internal conflict. Whatever Ajarn did, it was the right magic for
what this man needed to balance him and keep him under control. It is very
impressive to see.

Ritual 2
In this case, the person requesting the ritual wanted to raise the fortunes
with the specific request for increased windfall luck. Ajarn Apichai said that
the best ritual would be for Chok Laap to raise his general good fortune,
which relates to increased luck and opportunities in all aspects of life. This
is a difficult spell to cast because it relies on the actions of the person who
brought the ritual and if it was that easy, Ajarn would do this for himself and
retire.

These spells are identical to the structure of the candle magic for luck, but
with the graveyard version, Ajarn is attaching a ghost to pull the prospect
of luck and good fortune to the intended person. Some people test this
ceremony by going to the casino and betting like a crazy person but
gambling is gambling, and casino’s in Asia have protection from the actions
of ghosts and Kuman Thong amulets. The best way to work with these
spells is for the recipient to hold their Samathi and keep a focused eye on
all the opportunities that may arise.This spell is cast on top of the side wall
of the cremation area and at the position where the head would lie because
it is a higher form of beneficial magic. In this case, the photograph is taken
back to the Samnak and is kept on Ajarns personal shrine for the duration
that the spell will work. After the ceremony, Ajarn was confident that the
ritual would be successful.

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 Ajarn Suea of Ban Fon

Ajarn Suea became interested in magic at a very young age due to being
very scared of ghosts, and magic offers protection from them. As a child,
he lived at the temple of Kruba Duangdee in the village of Ban Fon near to
Chiang Mai, first as a temple boy at the age of 10. Kruba was a kind and in
equal measure, a very strict Master, allowing no TV, and after 9pm all the
lights were turned off. Kruba would tell stories about his Wicha, and the kata
used most frequently, which was an excellent way to instruct a young man,
and Ajarn absorbed everything. Kruba Duangdee introduced Ajarn Suea to
local magicians to go and study magic with from the age of 13 as a Naen, a
young monk and eventually, as a monk from the age of 21. All his formative
years were with Kruba Duangdee, and Ajarn Suea now holds the full Wicha
of this legendary Kruba, which is proven by Ajarn having the Khan Kru 108
in his Samnak.

Kruba Duangdee is now 105 years old and still resides at the temple but
is unable to perform his duties due to his great age. Ajarn holds the Wicha
book collection of Kruba Duangdee and appears to have a quite incredible
memory for the contents of this extensive library of magical grimoires.
This Wicha is exceptionally complex and follows many ancient ways of
construction, which would again deserve a book in its own right.

A Graveyard Ritual for Love - An Interview with Ajarn Suea

Before a love ritual in a graveyard, a Kom ritual is often performed to attack

that person’s protective spirit (the Opatika) to weaken them and enable
the love spell to work more effectively. There are many rituals of this type,
where a magic candle is made and burned in certain places and the correct
kata recited. A Kom ritual can be done with the candle placed between the
toes, on a termite mound, under the stairs, where they cremate bodies in a
graveyard and also in the cemetery toilet. The funny thing is that the local
villagers have asked Ajarn Suea not to do the candle ritual in the toilet any
more as it makes a mess, and that they cannot use it if a candle is burning.

While waiting to go to the graveyard, Ajarn Suea offered the people present
food from the altar but not food that had been offered to ghosts, it was
food to Phor Gae. Ajarn said that consuming food that has been given to
the Lersi strengthens any Yants, Akhara or spells on the skin and makes the
magic more solid. It was delicious and an excellent way to help protect from
any malicious ghosts in the cemetery grounds.

The ritual tonight is called Peng Pai, and it is generally requested by ladies
to tighten their relationship and bring their lover under their control. They
give Ajarn the name of the object person, a piece of clothing, some of
their hair and the birthday of both the lady and her lover. The Yant inside
the candle has a picture of the man and woman, and it is folded so that the

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86. The evening began with the ritual to reduce the object person’s power.

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 87. The inside of a magic candle where the spell is wrapped with clothes or hair.

184
88. The offerings for the ghost, which includes pig’s blood.

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 89. And with the ritual, the way the candle is stood and their position is important.

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90. Ajarn slapping the side of the cremation pit to call a ghost to work.

187
 91. Ajarn Suea working his magic.

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pictures face each other. With the Wicha of Ajarn Suea, the candle used
in the graveyard is small because it delivers the ingredients inside in a
quicker fashion, which in Ajarns experience makes a more effective ritual.
For a love ritual, the candles have to be stood in a line, and the wax dripped
to make them stand has to come from the burning candle itself. If the ritual
were for separation, a lighter would be used to melt the bottom of the candle
to affix it to the floor. The candles are in two lines, and the distance apart
is in relation to where the object people for this ritual are situated, being
further apart if they are a long way away and bundled together if actually
present for the ceremony.

The offering trays are made from a folded banana leaf and consist of rice,
banana, some fish, flowers, Miang (a Northern Thai pickle made from young
tea leaves), tobacco and pig’s blood, poured on the offerings after being
placed in the cremation pit. The spirits love alcohol and there were two
offering trays given with two small bottles of local liquor next to them at the
end of each line of candles, all of which have the requisite spells inside. The
offerings are payment for the ghost, the bribe to get him to work and there
is also a promise made to bring another offering of this type later. Ajarn also
explained that each Master has a different style of offering and a different
way to perform this ceremony but their way works for them and his method
works for him.

Ajarn then calls the ghost with his hand out and slaps the side of the
cremation pit while reciting kata and then calls the spirits again so Ajarn can
choose the one he wanted to perform the task. He cast a spell in his hand
and slapped the side once more. Then, there were footsteps on the leaves
from behind, and Ajarn called that ghost to come. Ajarn explained that he
chooses the spirit that wants to both help and is eager to take the offering.
Ghosts are always hungry, but Ajarn likes to select a Phi Tai Hong ghost for
these tasks although he prefers to choose a good person who died tragically,
one who is wanting the merit to move towards their rebirth.

When home, Ajarn blessed some water with Sompoi, and everyone washed
their hands, splashed the water on our shoes and then used the wet hands
to wipe the face, the back of the neck and the clothes to remove any spirits
that may tag along.

With ghosts that do any work for him, Ajarn is polite with them, and only
requests work to be done, never forcing them. He believes that when
getting older, if an Ajarn has tried to force the ghosts to work for him they
may attack as the Ajarn weakens with age. If it is a request to the ghosts,
after feeding them and giving them merit with kindness, these attacks are
less likely to happen.

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 A Candle Ritual to Separate Couples
A graveyard ritual with Ajarn Suea

Magic always has two sides and the knowledge for this ritual for separation
came to Ajarn while learning how to bring people together through a ritual
for Saneah.

When a married person finds out that their partner is unfaithful, the spouse
will come to see Ajarn Suea with the request to break up their wayward
partners’ new relationship. The first thing to do in this case is to check
the wayward partners’ astrology to see if they are of a strong mind, and
whether they are suitable for the ritual. If that person’s mind is presently
not susceptible, then a ritual must be done first to weaken their mind, thus
giving the break-up ritual more chance of working. The right preparation for
all magic of this type is essential as we need to ensure the best possible
chance of success. There are two types of Saneah ritual, one to bring them
together and the reverse of that spell, which will break them apart and here,
the spell is reversed.

If a husband has started to have an affair, Ajarn first has to perform a ritual
to break that relationship and then another to bring the husband and the
wife back together again. These rituals are both done in a graveyard, and
the first thing to do is make an offering of food. For most practitioners, this
usually comprises of a spoonful of rice and banana, but the Wicha of Ajarn
Suea calls for a spoonful of rice, a banana, a piece of raw meat and fish, a
glass of alcohol, food wrapped in a leaf and a cigarette. It is necessary to
bribe the spirits properly to get them to carry the power of the candle ritual
to the target. Ghosts are like humans; there are good ones and bad ones. A
good spirit will be more willing to work as they want to collect the merit from
helping someone and be reborn again. A bad spirit is one that will accept
the bribe and not do the work, possibly even harming the people involved in
the action of the magic, so great care is taken at all times.

Before any ritual in a graveyard, permission must first be granted from the
guardian spirits of the cremation ground. It is vitally important that both the
humans and the spirits keep their promises. The spirits work must be done
as they have been bribed and it is promised during the ritual that if it is
successful, another offering to them will be given. This action helps ensure
‘clean work’ with no negative effects to anyone involved.

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92. Ajarn Suea flicks through one of his library of Wicha books, left to him by his
Master, Kruba Duangdee.

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 93. A Kom ritual with Ajarn Tui, performed in a dirty place to pull down a person’s
prestige.

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94. This Kom ritual involves two figures being made, with the oppressed person put
over the other. This is then placed under a bridge for people to walk over.

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 95. A cursing ritual by Ajarn Ting.

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Curses - an interview with Ajarn Ting

There are many forms of curse known to Thai magicians, but they are a
malicious style of magic that does not sit well within the modern system.
Most of these curses come from old forms of tribal magic and the Mhor Phi,
having no Buddhist influences. Initially, it was not intended to put any of
the curses in the book, but as this aspect of The Thai Occult holds great
interest in the outside world, Ajarn Ting granted an interview. Ajarn knows
many forms of dark tribal magic but refuses to teach these arts, and some
of the details are too terrible to put into print. There is a whole branch of
curses involving dogs, and the ones that use fish are awful, meaning that
these two are the only ones written about here.

On this tray is a figure in the form of a wax doll that was made from the
candles that were used during a cremation to mark the four directions. The
doll has the name of the enemy being cursed inside, and it is then given the
32 parts of the body spell to bring it to life. The name and birthday of the
object person are also placed inside the doll with the blessing, effectively
recreating the object person as a wax figure.

When making the ritual in the graveyard, offerings are given to the ghosts,
which include raw meats, blood, alcohol and cigarettes. Ajarn will then
pierce the wax doll with needles, usually 7 in number or using the bamboo
stick that has been used to pierce a corpse’s stomach to aid the burning of
a corpse during a cremation. The needles can be placed anywhere on the
doll that Ajarn wishes to create the pain; the mouth, stomach, legs or arms,
anywhere. Some of the methods used to make this curse require Ajarn to
bury the doll in the graveyard, a strongly haunted place or a termite mound,
and it is buried head down to continually force the luck and health of the
enemy to be terrible.

These dolls cause illness, bad luck and obstacles to come to the life of the
person who has been cursed, or in the worst case, to bring death. In this
case, the curse is for an enemy who attacked first, and the doll remains in
the Samnak until the magic has worked. The flowers under the figure are
ones that have been used to praise the higher spirits, but at first, a spiky
red flower is used to force the curse forward. If it is the wrong time of year
for the red flower, a red cloth can also be used to begin the process of the
evil taking effect.

Ajarn Ting rarely performs this magic for others, but he knows many forms
of ancient curses, some of the details of which are jaw dropping. Another
curse he explained was for adversely affecting people who travel a lot for
business, binding the registration of their car into the curse and using the
wheel of the trolly that is used to carry a corpse to the cremation grounds.
This curse was to cause them to have an accident and Ajarn states that this
style of curse is particularly effective (with a wry smile).

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 Ajarn Khaw

Ajarn Khaw is a remarkable man who has followed the magical path for
most of his life. He is an Ajarn who genuinely helps people and has the
heart of a monk, which shows itself in his manner and the way he expresses
himself. Humble and self-effacing but exuding an air of extensive knowledge,
Ajarn Khaw quickly draws both respect and trust from devotees. An example
of Ajarn Khaw’s way was when there was a small disaster with losing the
recording of an interview, and without a flicker, Ajarn just said to turn it back
on as he could remember everything said.

Ajarn Khaw was ordained as a Naen at the age of 12 in a temple that is

very close to his family home. On the first night in the temple though, there
were sounds, scary sounds, like they came from a ghost and all the Naen’s
thought it was a Phi Lok (a wondering ghost). Everyone was terrified, to
the point where they could not move or walk outside, everyone trembling
on their beds or hiding. Near the temple was Phor Nahn Duang, who was
very old, but still a mighty magician at the age of 94. He could not walk by
that time, but his mind was very sharp, so Ajarn went to ask him to teach
some of his magic to beat the ghosts. Ajarn Khaw also studied many other
Wicha, such as making holy water and charm magic over a three month
period before Phor Nahn passed away. Much of the influence of magic
was also familial, and Ajarn inherited the Wicha books from the brother
of his grandfather, who was a renowned monk from this region. These
Wicha books contained complex magic, and Ajarn Khaw is still absorbing
the knowledge from these ancient grimoires.

A move to Lopburi to learn the books available to a Naen also involved

being taught by an old monk, Luang Ta Li, who repaid this keen young
Naen’s interest in magic with much knowledge. There then came a move
to Bangkok to formally study the Pali language but Ajarn found it difficult,
studiously avoiding it to learn magic from another old Luang Phor instead.
Because of that Ajarn failed the Pali exams and had to leave the temple.
Ajarn thinks that he would have passed if the test had been on magic!

A year after returning home, Ajarn ordained again and went to Wat Chai
Mongkhon, a very famous temple near to Pattaya to try the Pali exams
again and met Luang Phor Sawai, a famous old monk. He didn’t know how
to talk to him though because he was a scary, fat old monk with a fearsome
face, so Ajarn went to his Kuti every day to clean and brought him small
gifts. After a time Luang Phor Sawai accepted him and taught from his
magic books for one year, but again, Ajarn failed the Pali exams and had to
leave. The next time, Ajarn ordained near to Chiang Mai in Wat Doi Khoo
but this time as a monk to take care of the temple and it was here that Ajarn
started to perform magic. Having learned magic for many years it was now
the time to test it, and the first items were Takrut, Pha Yant and amulets and
people liked them, which was encouraging.

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96. A few grimoires of knowledge from the library of Ajarn Khaw.

197
 97. Ajarn blessing some Phra Ngang for Santiago Barela.

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In the next year, during a seven day trip to Chiang Rai for meditation with
many monks, it was possible to meet Kruba Wong, who was from the Shan
State and very old too. Instead of the meditation, Ajarn studied with Kruba
Wong and what he taught was both important and powerful, which included
the two tiger magic and some forms of Burmese Wicha. The two tiger magic
was the most powerful form that Kruba Wong possessed, one tiger for luck
and good fortune and the other for protection, always together. The twin
Tigers is also a Sak Yant, but it is a very expensive Yant because it is
important magic and Ajarn thinks that important magic should be expensive.
In this way, people value it correctly. Ajarn Khaw holds a few forms of magic
that he considers exceptional and will not apply unless people appreciate
it properly.

Kruba Wong also taught Ajarn many forms of black magic to hurt people,
including many types of candle magic. The thought of a monk knowing black
magic is often confusing to foreigners, how can a renowned Kruba learn
and teach black magic? Well, Kruba never used it but had to know how
to perform the magic because when people have black magic cast upon
them, he could assist them due to an understanding as to the cause of the
problem. Kruba Wong was an influence on Ajarn Khaw who helped him
understand that if an Ajarn or monk learns too much Wicha, it can be a
problem. Many forms of magic have rules that must be abided by, and these
rules must followed. They must be remembered, and this limits the amount
of magic that can be absorbed by any Ajarn.

From this point, Ajarn Khaw focussed on his work as an abbot in the temple
although there was always time to perform magic for people, but shortly
after this period, he disrobed and became an Ajarn. There are so many
rules when a monk, cannot do this, cannot do that and it restricts the
practice of magic. If Ajarn still performed magic as a monk, it could bring
bad karma, and he did not have the feeling to be a monk any more.

Becoming a layperson gave Ajarn the chance to go and study with Ajarn
Phor Daeng in Bangkok, who had learned magic from a deva and was very
famous at that time. His magic is complicated but highly effective, and the
essential Wicha of this Kruba Ajarn was Na Kasan Thoranee, which is for
charming and attracting sex. Many famous Masters learned from him but
Ajarn Phor Daeng checked every disciple before accepting them, he was a
strict teacher. At one time Ajarn Khaw had a break from practising and went
to travel, forgetting to practice kata or do meditation at the correct times that
had been set by Phor Daeng who later called, shouted a lot and refused
to teach him any more because he knew that his rules were not being
followed. The deva associated with Phor Daeng had told him that Ajarn was
not doing the work as prescribed.

Ajarn’s new Master is Phor Sang Wa Na, who is from the Shan State in
Burma, is now 91 years old and lives near to Chiang Mai. Phor Sang’s

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 speciality is with Sak Yant, rare forms of candle magic and uses the practice
where the Luksit tries to master a Yant on paper before burning and eating,
which in this case is from the Tai Yai tradition. In this way, a person can
absorb the power of the Yant. The Lanna, Burmese and Tai Yai forms of
magic are similar, like brothers, all with something to offer.

Ajarn Khaw has many disciples around the world, and if a person wants to
become a Luksit, Ajarn considers it best to be a monk first as that is that best
way to acquire the Samathi necessary to be an Ajarn. Studying as a monk
creates a balance between the light and the dark aspects of magic, and many
people who have not been monks are pulled too much into darkness. Being
a monk also helps because of the study of the Pali language and some of
the words used in the Wicha are very difficult and need to be said correctly.
Performing ‘Wai Phra’ (paying respects to the Buddha) every day helps with
practising kata and the pronunciation, essential elements in creating magic.

There are many ways to do meditation to start the process of gaining

Samathi. An easy way is to sit in any way that is comfortable, because it
makes it easier not to think. Just relax and follow the breath, focus only on
the breathing and show no interest in anything else. Do this when alone,
and it is OK to have the eyes open or closed, whichever is easiest but
closed is better for most as there are fewer distractions from the practice.
If the legs start to ache, know it is leg ache and don’t let the mind wander.
When it does, go back to the breath, which is comfortable and relaxed. All
thoughts need to cease in meditation, and if this is possible for even a
couple of minutes, that is a good start, it is ok already, no need to do too
long at the beginning. There are many, many levels to attain but each one
needs a teacher, it cannot be rushed or it won’t work. If a person begins to
like meditation the teaching must be step by step, and it is essential to have
a teacher because if attempted without one, it will make you crazy.

The saying of kata is just another way to get Samathi, and a person should
choose the best kata to say, there’s no need to say every kata. The important
thing is to find an excellent kata and then practice it a lot, with closed eyes
if it helps to focus. If there is a distraction with the resulting loss of focus,
start again, which can mean that saying a kata 108 times may take all day
(laughter). On waking up, say kata and also before sleep is good because
rest comes quickly when a person has a clear mind. Three or four kata is
enough, no need to do too much as all kata are effectively the same.

A Graveyard Ritual for bringing partners back together by Ajarn Khaw.

This is a ritual to bring a couple back together and to love each other once
more. Ajarn will not perform this ritual for everybody, only to bring married
couples back together once they have separated. A ceremony like this is not
just for girlfriends and boyfriends; this is magic that is constructed under the
right circumstances, when a person needs their loved one to come back.

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98. Ajarn Khaw’s ritual to bring couples back together.

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 Ajarn Khaw thinks that this is a complicated ritual, not only because of
the magic involved but because of the materials needed. Ajarn needs the
hair, nails and clothing from both partners as well as the most unusual
thing, which is the dirt from under their feet and this has to come from the
right foot of the man and the left foot of the woman. Needing items from
the right and left side is because the magic aims to make the two of them
become one again, and actions such as this are in many forms of Wicha.
The Horasart of this ritual is also important, so it is necessary to have their
birth details to work out the best day to make the ceremony, which brings
the best results.

Once the collected items are mixed into candle wax, two dolls are made,
that are then bound together using the Sai Sin blessed thread from a dead
body. The figures are placed inside a rolled photograph of the couple
together and united in happier times. Seeing an image of them together
when making the magic is important and helps make the magic strong.
The ritual is made in the cemetery, but the dolls are not left there, they are
brought back to the Samnak and blessed every day for one week. If the
couple wants, the wax dolls can be returned to them, which some people
ask for but if not, after one week they are taken back to the cemetery and
buried.

Some people can get all the materials that are needed but some people
cannot. The magic can still be made but the percentage chance of it working
becomes less, which is explained to the person wanting the ritual before
proceeding. It is a difficult time when people separate, and the devotee who
wants their love back needs everything explained clearly.

Ajarn uses the Sai Sin from a dead body because it adds power but the
main work here is performed by the ghost that is asked to do the task. After
three months, if the ritual has not worked, the items can be blessed again.
This ritual is more powerful because it is not just from a man, this also has
a ghost, and the ceremony uses materials from the people involved, which
boosts the magic. Ordinary candle magic is around 50% to 60% successful,
but from this type of ritual, it is 75% to 80% successful; there cannot be a
success for everybody. One disciple asked for this ceremony to bring back
his wife and she came back in three days, but the man hit her and fought
with her again because he got angry that she had left. Now they are
separated for good, which is sad, but he could not let go of his anger at her
and she understandably went away to start a new life. A person needs to
change their life and attitude after making this ceremony. It will provide a
chance to be back together but the person who brought the ritual must be
prepared to change, or it will not work out well.

Take a rest. Look at some photographs.

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99. This is a short photo essay on another ritual to bring a couple back together.
Here, Ajarn Ting used 9 hand made magic candles to his deities.

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 100. The previous photo showed the candles to Suea Yen and here, there are three
candles to Mae Surasatee. Ajarn Ting is asking the deities for help.

204
101. And a further candle to Ajarn’s other Suea Yen bucha.

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 102. Part of the shrine to Ajarn’s Masters and Lersi with a pig’s head offering.

206
103. Magic to bind.

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 104. The Serm Duang ritual bath with Ajarn Suea.

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The Serm Duang Bath - An interview with Ajarn Suea

The Serm Duang bath is ritual bathing with holy water to change the luck
of the disciple, for someone who had good things in their life but suddenly,
everything has gone wrong. To prepare the holy water, Ajarn needs the
water from 7 wells, the rainwater from the month of May and then mix these
with drinking water and Sompoi, a seed pod that is renowned for removing
harmful elements within the body. Jasmine flowers are also added in praise
of the Buddha and for their sweet smell. The water is then strongly blessed
with specific kata that acts to cleanse whatever or whoever it touches.

The bath itself is given when the sun goes down because the setting sun
will carry away the harmful elements that have affected the person involved,
instead of those elements affecting anyone else present. During the pouring
of the water on the head, there is specific cleansing kata spoken, and all the
contents of the bucket must fall on the persons’ head, even the last drips,
the flower buds and the pieces of Sompoi.

There are quite a few forms of the Serm Duang bath, including one that
removes any black magic cast on the person. In that case, the ritual water
is also drunk, which the person will then vomit, ejecting the curse.

The Kasin Fai Ritual - a fire ritual with Ajarn Apichai

A friend was visiting Chiang Mai and wanted to remove the effects of the
past and begin life afresh. The first thought for this was to have a Serm
Duang bath with Ajarn Suea (Ajarn’s baths are famous in Chiang Mai) but
the Horasart was not correct; the friend was here on an inauspicious day so
Ajarn Suea would not give that particular ritual. Ajarn puts the effectiveness
of the procedure and the client before any monetary gain. The other good
option was the Kasin Fai ritual as it also burns away the past. Firstly, Ajarn
chanted kata while he melted a hand full of candles into a glass. Ajarn
Apichai then took a mouth full of this wax and sprayed it over the devotee,
letting it pass through the lit candles in his hand. The intensity of the heat
produced and the size of the ball of fire was quite shocking and of the four
people watching, two fell over. Everyone was trying to photograph this ritual,
but this photograph is the only one that caught the intensity of the
fireball, which was somewhat lucky as the photo was taken while falling
back to avoid being burned. Chris, on the other hand, emerged looking
years younger.

The Kasin Fai ritual uses the wax from melted canles and the Wicha of
Maudgalyayana, who was a close disciple of The Buddha. Maudgalyayana
could use his psychic power to travel through the realms of hell and ease
the suffering of the spirits found there. This Wicha is used along with other
katas to rid the devotee of unhappiness and ill fortune, which allows the

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 105. Chris under the sheet.

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106. Waiting for the Kasin Fai ritual while attached to Ajarn Apichai with the Sai Sin.

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 107. Ajarn chants the kata.

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108. This is an intense ritual.

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 good luck to return. Good fortune is coming to us all the time, but when
people become negative or depressed, it finds it difficult to enter. This ritual
cleanses through a blast of fire from a cloud of melted candle wax, which
envelopes the person to symbolise the burning away of any clouds of
despair while Ajarn chants kata to add a spell to the process.

According to Wikipedia, Maudgalyayana had the most celebrated psychic

powers of all the disciples of the enlightened one. In varying accounts from
the Pali Canon (akin to the Buddhist Bible), Maudgalyayana was said to be
able to speak with the horrific ghosts in hell (specifically Preta’s) to explain
to them their appalling conditions. In this way, by helping them understand
their suffering, the hope rises that they could release themselves from it.

And this is from Chris, the man under the sheet.

While under the sheet it only felt warm but nothin anywhere close to being
burned, it was quite comforting. Afterwards, the awful feeling that had been
in the chest area had lifted. It felt like a spider and had been there a long
time. Without it, Chris feels that his life has transformed. He is happier, feels
more serene, and is saying this months after this ritual itself.

The Kasin Fai Ritual - an interview with Ajarn Perm Rung

Many Ajarns perform the Kasin Fai ritual and in many different ways, but
Ajarn Rung uses it to get rid of bad things from inside the devotee, like lousy
fortune or bad energy. It takes type of strong Samathi to be able to perform
the Kasin Fai ritual, built through the specific practice of candle flame
meditation. The fire ritual is usually made after other ceremonies for raising
the good fortunes of the person to make sure everything negative is burned
out; it is like a closing ritual for work performed on a devotee.

In this ritual, a flame is sprayed over the person three times and each time
has a different purpose. During the first blast, Ajarn uses the Thao Waesuwan
kata to protect the person from evil spirits. With the second blast, Ajarn
turns the bad fate to a better direction, and now that the adverse luck has
gone, with the last explosion of flame Ajarn uses the Mongkut Phrajow kata
(The God’s Crown kata) to cover the person with goodness and block any
of the bad things from returning.

This Kasin Fai ritual was requested by a person who had already changed
the direction in his life but wanted to clean the past and man, the blast of
fire with this was powerful, with only moderate singeing of the hair. It was
a mighty blessing. Ajarn Rung then felt that it would be appropriate to tag
another ritual on the end of the fire ritual and with no comment, began to
drip the wax from a handful of burning candles into a bowl of blessed water.
This ritual was to check the fate of the client, to see if the Kasin Fai worked.

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109. Ajarn Perm Rung is connected to the devotee with the Sai Sin thread.

215
 110. Burn away the past to begin afresh, it is one hell of a ritual.

216
111. After the Kasin Fai ritual, Ajarn started to drip candle wax into blessed water.

217
 112. To start the pulling the candle wax ritual to check the client’s fate.

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113. And then wrapped the wax onto his head while reciting kata and blessing.

219
 114. Ajarn Apichai inserting gold needles.

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Inserting Gold Needles with Ajarn Apichai

Ajarn Apichai was the best Ajarn to interview about inserting gold needles
into the body because Ajarn has 108 of these inside him. He has done this
as part of a magical journey as well as part of his personal love magic, the
results of which have become quite legendary. Sets of three needles have
been inserted into various parts of the forehead to influence how people
see him as well as many in each arm, but the body is balanced, with equal
amounts on each side. When discussing this, Ajarn described the effects
as many fold, but his body feels electrified when either touched or when he
touches someone. Ajarn demonstrated this by touching the author’s arm
lightly with an index finger, and a current ran straight to his groin, which
was funny at the time. On another occasion when discussing whether they
could cause harm with rough actions, he said no and allowed those present
to touch his upper arm, where some needles are under the skin. The feeling
coming from this area was powerful.

The use of gold needle insertions in the Lanna region is ancient, and
although there is little-recorded history to rely on, the techniques used in
creating them (primarily the kata) indicate that the practice dates back to
the olden days. In this region, gold is considered to be the purest element
in nature, and while the body can absorb some gold, the needles remain in
the body intact, continuing to work throughout the persons’ lifetime. These
can be felt and seen under the skin of Ajarn Apichai, but the body does not
feel any pain if they are touched or even if someone uses strength where
they are inserted.

The gold needles are made by drawing a Yant on thin sheets of gold and
then the gold is melted and made into a needle, which is very small. The
Yant placed onto the gold and the kata used depends on both where the
needle is placed, and its purpose but specific regions of the body are used
depending on the attributes that the needle holds. Of course, Ajarn uses
modern health guidelines for any work where blood may come from the
devotee’s body, but the system itself predates all of the contemporary
concerns for sterility and caution with such matters.

If the needles are inserted into the arm, it offers protection from all harm,
which makes them popular with the Police and those in the armed forces.
When the person with these insertions is in danger, the needles move and
alert that person. If attacked, the needles will move to protect against any
weapons being used by either not allowing them to penetrate the body or in
the case of a gun, making it misfire or miss their target. Placing gold needles
in the back brings protection from the angels. Putting them in various parts
of the forehead offers either strong authority (and here the person should
already be in a position of authority rather than assume that they should be
in) or what Ajarn terms ‘superstar Saneah’, so the devotee should be ready
mentally to become very popular. Time is needed for the person to adjust

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 to the increased attributes bestowed, which can be a little disorienting at
first.

The kata for the gold needles is specifically designed to bring them to life
and enable them to run through the body to perform the desired tasks.

Gold Needles - Fang Khem Thong - an interview with Ajarn Perm Rung

The needles for this ritual have to be of real gold, not gold leaf over a pin,
which has caused problems in the past with infections, only real gold. When
making these needles, the gold has to be rolled and stretched out to be
about as thick as a thread of cotton and then cut into sections.

The insertion of gold needles into the body is to increase Saneah, bring
Serm Duang, Chok Laap or Metta to the person and each region of the body
into which they are inserted has a different effect. Ajarn Rung considers that
when a person increases the gold element in their body, it has the effect
of increasing their intrinsic value to the point of almost ‘being gold’ which
attracts people to them. The needles can be inserted into five different parts
of the body, the forehead, the two arms and the two legs. Men usually
request the needle for the forehead (around the third eye or between the
brows) for extreme Saneah, but in Thailand today there are many people
with plastic surgery, so Ajarn now places them above the hairline. Being
above the hairline hides the needle well, and it still does its job. This needle
insertion is similar to the ritual Na Naa Thong, but here, the gold needles
will stay in the body forever, continually doing their job.

The use of gold needles evolved from an ancient practice of inserting actual
gold or silver Takruts into the body, but this has changed with time. Now, the
needle itself does not have any Yant or script on it, but the Ajarn will place
the attribute required by the devotee into the gold through a blessing. The
gold will not dissolve in the body, but it can move to a different place, without
causing harm to the body. People are very rarely allergic to gold, and the
recording of infections from these is tiny but some people have used a silver
needle with gold over it, and quite a few people are allergic to silver, so it
had to be taken out. It HAS to be pure gold and not mixed with other metals,
which can rust within the body. This aspect of the ritual is essential.

The history of inserting items within the body dates back to prehistory in this
region. There is also Wicha for inserting ivory, Jade (for cooling the spirit),
gems (generally for the protection of warriors), Leklai and even mercury
into the body but Ajarn Rung stays away from inserting these items. He only
uses gold because it causes the least trouble if done correctly; it is bright,
beautiful, valuable and has purity. Inserting Leklai for protection is thousands
of years old, but it is a more difficult procedure, and it can rust like metal,
so Ajarn Rung avoids it. To insert Leklai, the flesh under the arm is pulled
down and cut a little to open a hole, into which the Ajarn pushes the Leklai.

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115. Gold needles on the palm of Ajarn Perm Rung.

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 116. The inserting of Leklai with Ajarn Piyasitti.

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The same process can also be followed on the chest to bring the protective
element to the front of the body, but it is a painful process. This region has a
history of putting many items into the body but it is often for the same effect
of the gold needles, and the kata is often similar, so Ajarn Rung opts for the
safest option. Some people insert just one needle for one attribute whereas
others feel that they need more for the same job and it depends on the level
of satisfaction that the person requires. They all do their job, and this is a
very popular ritual that can have outstanding results.

Inserting Leklai into the Body - an interview with Ajarn Piyasitti

Leklai has proved to be a difficult subject to cover in this book. It is such a

mysterious element that it is possible that much of what is known as Leklai
could be fake and the book is missing an interview with someone who
collects Leklai or can explain it satisfactorily from a Western perspective.
The substance used in this insertion by Ajarn Piyasitti is mysterious in itself
but this example can be trusted, and the interview is excellent.

The Wicha held by Ajarn Piyasitti dictates that the Leklai is inserted in the
soft flesh under the arm and near the armpit. A new blade cuts a small nick
under sterile conditions, and the Leklai is pushed in. It looks like a small
capsule of stone, but this is not stone, it is Leklai from a cave in the forest,
and a Master of Leklai collects it. It has a greenish hue that reminds one
of jungle, and it is very odd indeed. It is not from the amulet market, where
pretty much everything is fake.

Leklai is put into the body because it has power within it. It is there to
balance the four elements within the person (Na Ma Pa Ta - earth, air, fire
and water) and adjusting the magic that dwells within. A good balance of
the four elements can help with the ability to converse with the spirits
from various realms, and especially with the spirits that reside in amulets. It
brings a stronger connection to all the things related to the magical systems
of the region and protects the persons’ spirit while dealing with the various
entities as well as the Masters of old. Many believe that Leklai is for Kong
Grapan, but that is not the case, having Leklai under the skin is like adding
a battery to your inner power, and having a better reception to all things
related to magic. It lifts the person up!

A Master sourced this Leklai, and only he can do this. If the Master sent
his Luksit, the forest could kill him. There are many types of Leklai
but unfortunately, most Leklai is fake, so it has to come from a true Master.
Ajarn Piya does not believe the stories about cave Leklai dripping from the
roof of caves during a ritual, and thinks that it is a myth or legend. Leklai is
considered to have been made by the forest itself, and it is also not magnetic,
as many people think. Leklai has to be given by a god or deity, and each has
a different name. There are hundreds of Leklai, and yes, it is very confusing,
but it is a deeply held knowledge that is not shared by the Masters.

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 Ajarn Verataep of Bangkok

As with many Thai people, Ajarn Verataep had the opportunity to witness
Ajarns performing Saiyasart magic from a young age. Seeing its effects
brought a keen interest in magical practices, which grew to become a
significant part of Ajarns life, and it remains this way to this day. As with
many practitioners, the learning first started by attending local rituals and
there was once a curing ritual that was held by the village witch doctor
(Mhor Phi) that had a profound effect on Ajarn as a young boy. At the age of
10, he actively started to look into studying the magical arts, and has never
stopped since that time.

As in many villages, the temple was the centre of knowledge, a place where
people went to study both Buddhism, and to gain a general education from
the resident monks. Ajarn entered this world as a temple boy, learning first
about chanting and meditation, and following that, there naturally arose the
subject of magic. In the rural areas of Thailand, the world of magic is seen
every day, and the people rely on it to get through the trials of life.

The monks and people in the village were very helpful with regard to his
pursuit of knowledge, but as soon as age permitted, Ajarn started to travel
to other towns to study magic in places such a Phitsanulok, Nakhon Sawan,
Uthai Thani and Buriram. He studied with different monks, some of whom
were from Cambodia and their Wicha knowledge was extensive. Some of
them passed on old Wicha books which aided the study of the Khom script
(the script prevalent in the central regions, Esaan and Cambodia itself) as
well as the use of kata for spells, but the most important aspect of studying
magic is the practice of building the psyche. Everyone, with some effort, can
chant and learn about the katas for spells, but to make it effective it must
come from an iron psyche.

If Ajarn makes a Golden Boy and wants it to be powerful, it has to have the
correct Wicha and be constructed using both a dominant psyche and good
Samathi. Meditation is the best method to raise the abilities of one’s psychic
power and contemplation, and continual practice is essential. The deeper
the practice of meditation, the better the psyche and hence, the better the
results when using that power.

Before becoming an Ajarn, there was a period of practice concerning the

methods used to make amulets, which were then usually given away to
build interest. As Ajarn improved, people started to ask for various talismans
and wanted to pay for the service, which gave him the confidence to continue.
Ajarns’ first amulets are from around 20 years ago, and the process of trying
to perfect the art never stops as he considers that it is always possible to
do better. Ajarn Verataep opened the Samnak in 2002, and it is where Ajarn
lives and works to this day.

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117. Ajarn Verataep blessing the gold before applying to the body of a devotee.

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 118. Ajarn Tay during his Na Naa Thong blessing.

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Na Naa Thong - The Gold Face Blessing - an interview with Ajarn Verataep

The Na Naa Thong ritual has been popular since ancient times, and it is
considered to have originated at the same time as the creation of Thai
Saiyasart magic itself. The face is the first thing seen by others, and the Na
Naa Thong focusses on this moment, a moment which can change the life
forever. The ritual attracts others to the person who has had the ceremony,
it gives them charm, which is incredibly important in life.

Gold is used on the face because it is both valuable and it shines like the
rising of the sun. Blessing gold onto the face brings that shine, metaphorically
making your face more valuable, akin to being made of gold itself. The idea
is that whoever sees your face looks at it like looking at gold, with awe and
wonder. Ajarn Verataep is famous for this ritual.

Each region of Thailand has a very similar ritual for Na Naa Thong, but each
region uses different kata. There are many Na kata, and their usage will
depend on that Ajarns expertise with each Yant Na, which means that there
are many ways to make the ritual - Na Naa Thong Metta, Na Naa Thong Saneah,
Na Naa Thong Ruchaa (to make oneself well known), so many styles, and it
all depends on what the devotee feels that they need in their life.

Na Naa Thong - an Interview with Ajarn Tay

The gold face blessings are known as Na Naa Thong in the Thai language,
and the ritual is generally considered to be for both Metta and Maha
Niyom, but that is not always the case. Ajarn Tay is regarded as the best
with this blessing in the Lanna region, and has gained his knowledge from
the old Wicha books of Kruba Sri Wichai (A legendary Lanna monk. The
term Kruba, is a Northern Thai suffix to denote that he was a ‘teacher monk’
and the lineages that studied his knowledge are vast) where he lays out
108 practices for Na Naa Thong blessings (108 is a number often used to
denote a vast amount, there are not only 108 various gold face blessings).
Depending on the position of the gold on the face and the spell used, the
Gold Face Blessings can also bestow the attributes of Kong Grapan, Maha
Saneah, Chok Laap, help with business, trade and fortune etc.

According to the Northern Thai knowledge, sesame oil is applied first to

help the gold adhere to the face, and there are so many of these blessings
that Ajarn Tay freely admits that he cannot remember them all. Everything is
in the relevant Wicha books from the region, but most Masters who perform
this ceremony are unaware that they are not only for bestowing Metta on
the devotee. Besides using a different spell for each attribute that is to be
given, it also depends on the maker’s intention, and his ability to invite his
Master to come to help to bless that person.

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 The Na Naa Thong is by far the most popular blessing for devotees of both
Ajarn Tay, and of Thai magic itself. Not only does it give personal time with
Ajarn, allowing him to influence the life of the devotee directly, it is also
quite beautiful due to the application of gold on the face. Gold is considered
to hold the blessing well, and it also enters the skin and body of the person
involved, accepting the intention and magical skills of Ajarn Tay.

With Leon, the client in the photograph, the request was for Metta, but what
was striking was the various forms and rhythms of the kata used, some of
them guttural from deep within Ajarn’s body and some of a more recognisable
form. Leon said that when Ajarn was drawing the Na onto the gold on his
forehead it felt like he was pushing a pin through his brain, and he emerged
from the whole process entirely blown away.

Na Naa Thong - an Interview with Ajarn Apichai

The gold face blessings are a divine knowledge that improves a persons
virtue and merit. Moreover, it helps with Metta Maha Niyom, Maha Saneah,
luck and prosperity. If the person who receives the Na Naa Thong blessing
doesn’t have a lover, it will bring lovers to them. Whoever has difficulty in
business, it will help make it a success. All good things will come, and all the
presently bad influences will turn to good. It’s called Na Naa Thong because
the ritual is using pure gold on the face, and the Na scriptures that are
constructed specially for the ceremony. The essential Yant has to be passed
on from the Master in question, which varies with every Master, meaning
that each Ajarns techniques are unique from the others. Depending on the
skill of the Ajarn with the specific Yant or Na scriptures, he will choose those
that will have the best possible effect for the client.

Using gold is ancient knowledge, and the gold element has an enchanting
property in itself. It has natural shine the gold is seen to be akin to the light
from the sun. It also has auspicious qualities, representing goodness, beauty,
and brightness. Gold has a resilience, resisting damage or change even if
exposed to fire, wind or water, as these elemental forces cannot reduce the
value and qualities of the gold. Thus Na Naa Thong was invented long ago
as a ritual for all forms of prosperity, and magical attributes.

Na Naa Thong is usually performed on the forehead but the complete ritual
uses many parts of the upper body, and each area of the person employed
has significance.

1. The Forehead - The largest visible area on the face, and it is considered
to be the place where grace is centred, making it the most important area
used for this ritual.

2. The Eyelid or under eye – This area is used to enchant whoever looks
into our eyes, influencing them to have empathy, and show love toward us.

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119. Ajarn Apichai chanting the spell into his hand.

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 120. And then slaps the magic in.

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3. The Cheeks – This helps our face to be loved and to receive benevolence
from others by calling the power of the 4 faced Brahma.

4. The Jaw line – This is to be seen as reliable, to be trusted by others when

we speak to them.

5. The Nape of the Neck – This is to be loved when people are looking from
behind.

6. The Tongue – This is also called Salika Lin Thong, another form of Wicha
using gold that is performed as a separate ritual.

7. The Top of the Head – This is an area believed to be an entrance point to

the spirit and the soul of the devotee, the centre point of life, and the place
where our guardian angel resides.

8. The Chin – The lowest part of our face, and the ritual is done here to give
us power over others.

Additional places for the ritual are on the palms, which is believed to bring
fortune, and luck to whatever is touched. There are also other areas of the
body that can have gold applied during the ritual, and all have significance.
If at all possible, a devotee who receives this blessing should try and return
three times in one year to repeat the routine. A repeat blessing gives
the opportunity to be able to place the gold on different areas of the
body, effectively spreading the benefits bestowed throughout the person.
Ajarn also states that if the disciple receives this ritual three times, the effect
of Saneah, good fortune, prestige and protection should last a lifetime.

Before the gold leaf is applied, a Nam Man Waan Saneah oil is dabbed onto
the area. This oil is a combination of 8 other Waan oils, which is kept in a
tub along with 2 Takrut spells and an Inn Khoo made from Maai Taep Taroe
wood, a wood that bestows Chok Laap and Maha Saneah. Ajarn Apichai made
everything in the tub, the Takrut and the wood Inn Khoo and each process in
the making of each item involves specific kata and strong intention.

Once the gold is on the skin, Ajarn chants a spell into his hand and slaps
the magic into the devotee, which can be quite a shock as he hits with
some force. Ajarn is cautious to explain what he will do before he starts
and has to have permission for this action, but it is an essential aspect of
this style, derived from the very famous monk, Luang Phor Wanlop. Luang
Phor was renowned for striking people during various blessings, and he
said that it is an important action that pushes the magic in. Ajarn Apichai’s
gold face blessing Wicha book was passed from Luang Phor Wanlop to his
Grandfather, who personally taught him the Wicha. Ajarn then added certain
aspects from the Wicha of Kruba Sri Wichai, which is the prevalent ‘way’
in the Lanna region.

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 A Sex Ritual - an interview with Ajarn Khaw

Some devotees ask Ajarn to perform an extreme sex ritual for them, which
can be very useful for ladies of the night or people who want to enchant others
through sex, and this is a ritual that can be done for men too. The ceremony
for both men and women is the same, with Ajarn first putting charming oil
all over the body. He then writes the correct kata in the oil on the front side,
the back, but also with a particular emphasis on the erogenous zones. Gold
leaf put on the mouth, the penis or vagina and the ass; all the erotic zones.
A ritual such as this is intense magic.

Ajarn does not make this ritual very often as it is expensive, and he feels
shy when making it but the magic works. The ceremony takes about 15 minutes
and is very difficult for an Ajarn because he has to control himself fully,
retaining his Samathi even when confronted with a beautiful naked person.

Old Lanna Fortune Telling with Ajarn A Klongkarn

A trip to see Ajarn A Klongkarn came about because a good friend had not
seen this style of fortune telling performed since she was a child, and it is
marked by the use of ghosts to tell of future events. Both the author and a
visitor have taken part in these rituals, and some indication of their effects
will be shared.

There are very few people who can now do the old Lanna style of fortune
telling, and a Lanna Master from Chiang Rai taught Ajarn A the necessary
skills. There are a few styles of this art, and they all involve using a ghost to
help decipher future events.

The Fortune Telling Coconut (Mua Galong in Lanna or Duu Duang Nai
Galaa in Thai)

For the first ritual, Ajarn A got out a metal frame for supporting the person,
and then put a piece of wood on top of half of a one-eyed coconut for the
person to balance on. Ajarn is told the question for the ghost, and then
he has the person balance so that each end of the wood is raised off the
ground while on the one eye of the coconut. Ajarn then chants some very
old style kata, while watching the persons actions. The first person to try
this ritual had studied Tai Chi, which is excellent for balance, but he said
that his left leg kept being pulled down while Ajarn was chanting.

The one-eyed coconut is very rare to find and the chanted kata was a spell
to invite Ajarn’s Kuman Thong spirit to inhabit the space in the coconut shell,
and influence the actions of the person who asked the question about their
future. Ajarn only uses a Kuman Thong ghost for this ritual and has trained
him for this purpose. This method dates back to ancient times and originates
in Burma, with Ajarn A’s teacher learning this from a tribal magician who

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121. Ajarn A’s Samnak is amazing, Wicha books everywhere! And a Khan Kru!

235
 122. A very open Ajarn, happy to share his knowledge.

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123. His Fortune Telling Coconut and board.

237
 124. The ‘Bat Mun’.

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lived in the border regions between Thailand and Myanmar. The wood plank
used can be of any type but the most important thing is the one-eyed coconut.
As these are rare, if it breaks it can take months to find one to replace
it. The length of time taken also depends on not only finding a one-eyed
coconut but finding one that ‘speaks’ to Ajarn, and has the correct feeling
for the task at hand.

During the ritual, the ghost in the shell is instructed to find the answer to
the question that has been given by the client. Pull the leg down on a
particular side if the response is positive, and on the other side if the answer
is no. In this case, the leg dropped on the positive side more times than on
the other side so in answer to the question about whether the next year will
be a happy one, the answer is mostly yes, but there will be difficult times.
The ghost in the galaa also speaks in the mind of Ajarn, which helps him
form an understanding as to how the next year will be for the client.

In retrospect, he was correct with this reading as the ritual was made in
July, and this interview is being transcribed around ten months later. When
later holding the galaa used for this ritual it felt like Prai, rather than like a
galaa and on asking Ajarn about this, he said yes, it becomes a Prai item,
because it is akin to a ‘ghost’s house’.

Fortune telling with an alms bowl (Bat Mun - ‘circling alms bowl’)

The Bat Mun is a method that is used to predict the future luck associated
with the wealth of the devotee, and with a persons’ health. Where a person
is sick, it predicts whether they will recover, how long that process will take,
or how long someone has to live. The bowl has kata inscribed upon it in both
Lanna and Khom script, and again, a spirit is put into the pot to aid Ajarn to
determine the results of the ritual.

With this ritual, the person sits in front of Ajarn A, and places both index
fingers onto the edge of the bowl while Ajarn chants. The fingers are placed
very lightly on the bowl, which allows it to spin one way or the other, and this
is what reveals the answer to Ajarn. Inside the bowl are flowers, incense
sticks, candles, puffed rice (*Puffed rice - is to rice as popcorn is to corn).
The rice will be dried off and heated in a pan until it pops out of its chaff and
the chaff removed. Puffed rice is often used in any auspicious ceremonies with
flowers as it is believed to bring luck and fortune. A little money is placed
in the bowl by people requesting the ritual as a bribe to the ghost, and this
then cannot then be used by the living, it becomes ‘ghost money’ for it to
‘spend’. If the bowl gets too full of notes, Ajarn removes them and places
the pile near to his Kuman Thong.

The Bat Mun is a very popular ritual for the local people, and Ajarn has
even had movie stars coming to ask for advice, which always creates a lot
of interest with the neighbours.

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 The Phi Maai Kan Ritual (The spirit in the wood ritual)

In this method, two lengths of wood (each over a metre long) are balanced
on the middle finger of each hand while the person sits in the position for
meditation and performs Samathi. Ajarn uses the same ghost with this
ritual, and he affects the balance of the wood to give the required answers
to the question posed. The pieces can move up or down and left, or right
and each direction tells Ajarn the answer but, of course, Ajarn A gives no
information to the client as to what the directions indicate. It is also good
to often change the way the instructions are provided to the ghost so Ajarn
cannot be second-guessed and in this way he can be sure that the answer
is genuine.

These pieces of wood come from a farm and have been used to beat the
husks from the rice (the patina is exceptional), but it can be any wood that
is used for manual labour, like the wood traditionally used for carrying the
two baskets on the shoulder. Old wood also weighs less, and this makes it
easier for the ghost to move it. This method of fortune telling is quite well
known but the one using the galaa is rare, and Ajarn A knows of no one else
performing that ritual.

Phi Phu Yaa (Grandfather Ghost Yaa)

The bowl is old and used for making sticky rice, but the shirt did not belong
to anyone, it is only for the spirit inside to feel a sense of life. When local
people want to know the future, it is common to say, ‘let’s ask Phi Phu Yaa’,
and they will come for a reading. Usually, the person would come with a
small tray as an offering that would have rice, a candle and a small amount
of money for the request. The bowl itself is kept resting on rice when not
being used and the rice is akin to an offering. With this method, the ghost
is not my Kuman; it is an ancestor ghost that helps Ajarn tell the fortune of
the person who makes the request. The ritual involves a person letting the
‘body’ rest on both hands, and then Ajarn chants a very old-fashioned kata
which includes the question that needs answering. Holding the bowl feels
very strange indeed, and there was a spirit inside, and during the kata Ajarn
rocks the bowl from side to side, allowing the ‘arms’ the strike the floor.

Ajarn prefers using the other systems to tell fortunes because this is heavy
and the ghost is very rough with the actions, which is tough when sat in
the position of Samathi as it hurts his back a little. The problem is that Phi
Phu Yaa is efficient in his predictions and is often specially requested by
the person enquiring about their future. Many local people and rich people
come here when they have a difficult decision to make and asking the advice
of this spirit helps them at that time. A simple question is always best, they
don’t need too many details about the situation, and the ghost prefers it this
way. The ghost will answer any problem, but sometimes it refuses to if it
thinks that the person asking does not want to accept the answer.

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125. Ajarn A with his Phi Phu Yaa. Ajarn said that he would readily accept a Luksit
to learn this method of fortune telling as he does not want it to die out.

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 126. The Satuang Ritual. Some of the work to contruct these has to be done by
ladies and some by men. These local ladies will love it that they are in the book.

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127. Ajarn Suea blessing water in readiness for the client, who is looking to clean
their past.

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 128. The Satuang ritual is to release problems from the past or previous lives.

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The Satuang Ritual - an interview with Ajarn Suea

After seeing this ritual performed many times, information about the process
has been added to the interview with Ajarn, who is famous for this ceremony
and only Ajarn Suea holds the full Wicha for the Satuang ritual.

The Satuang ritual is a traditional, ancient Lanna ceremony that was often
made when a man returned from war, but it is now rarely made with this in
mind. In today’s world, it is now performed primarily to improve the life of a
person, or to bring success in business. The Satuang ritual relies strongly
on the calculation of the correct day through astrology, and is not effective
unless performed on the most auspicious day. When devotees request this
ritual they are often a little disappointed that it cannot be done immediately,
but it will not work if not on the correct day. One of the roles of an Ajarn is to
help people, and therefore he has to be strict with the rules of any process
to ensure the best results.

There are many varieties of this ritual and the most popular is to cast off some
evil or inauspicious attachment, which harks back to its original purpose as
it was made after a war. In Thailand, many believe that when someone has
an abortion, they can be haunted by the child’s spirit, and the Satuang ritual
can be performed to stop this, getting the child’s spirit to be reborn. The
same result can be achieved when a person dies in some horrific way,
because that spirit will not be able to let go of this realm and be born again.
Some times, people also have a ghost plaguing them from a previous life,
attached to them because of a bad deed and this ritual will break that
attachment. With this ritual, the person requesting it is present, but if that
is not possible, they can provide their name, birth date, the day on which it
fell, their animal and a small lock of hair to represent them.

This Wicha was passed to Ajarn by Kruba Duang Dee, who is very famous
in this region and Ajarn Suea was his Luksit. Satuang in Thai means an
offering in the form of a kratong (like a basket or boat) and the Satuang
itself is constructed from the banana tree. With the building of the Satuang,
ladies make most of the inside offerings, which included gold and silver
paper that represents jewellery for the Grandmother and Grandfather
spirits of Pu Taen/Yaa Taen (ancient ancestor spirits). There was Papaya on
sticks of wood that had been used to pierce people’s ears, the berries from
palm, Miang leaves, rice, bread, apples, boiled eggs, bananas, wrappings of
curries, sugar cane carved into spears, betal nut and flags. There are two
Satuang made for different purposes, and one has 12 flags and one 9, with
the nine flag Satuang having nine sections for food offerings. There are
also clay figures of animals, angels, cats, mice, cows and tigers, and they
are made to be deliberately primitive, so Pu Taen/Yaa Taen will not think
that the person is rich already, and therefore doesn’t need their help.
These figures have to be made by men. There is also talcum powder and
even small clothes for Yaa Taen, and there are around ten different ways to

245
 make the Satuang Ritual, depending on the required effect. The process of
making a Satuang is strictly divided into work for men and work for women.
Men cannot do women’s work, and vice versa or the ritual will be void.

If the person is present, they will sit in front of Ajarn while he chants the
spell and then that person will Sompoi water poured on their head, allowing
it to fall onto the Satuang, which is then circled three times over the client.
The number of offerings is calculated through their birthday astrology to get
the correct amount of dolls present, and the placing of the clay dolls also
has great importance. If the astrology denotes that there should be a mouse
clay doll, it has to be at the front while a corresponding cat clay doll must
be at the back. If there is a cow clay doll at the front, then there must be
a tiger at the back, and these animals represent the different astrological
characteristics of the person involved. In this ritual, a mouse represents
misfortune, and any placed in the Satuang has to have a cat at the back to
chase it away.

There are many of these Satuang rituals for different purposes, and they
are used to help people through difficult times. Recently, there was a
client who was going through a period in their astrology called Tok Soon in
the Northern traditions, which means that the person will meet with great
misfortune, maybe losing money, a business failing, having an accident or
even death, and they came for the corresponding Satuang ritual to attempt
to avert this fate.

Having now witnessed Ajarn Suea perform this ritual for three people, two
of them present and one of them not, it has been interesting to see how the
client is affected. With the ceremony where the client was not present, he
was asked to sit in Samathi at the exact time that the ritual was performed
and to ‘accept’ the ritual. The people who were present were often given
other tasks. One was asked to release some none scaly fish (which in this
case were catfish) into the river after the ritual. Ajarn explained that saving
a life that was to be ended has the highest merit associated with it, which he
thought appropriate with this client. The other was asked to burn a magic
candle at the temple of Kruba Duang Dee and to make tamboon, but these
actions are dictated by Ajarn Suea as he is aware of the steps that need
to be taken to fix the life. The ritual is quite long and intense, and on each
occasion, the devotee reported feeling oddly refreshed. Two of them later
stated that the feeling has remained, months after the ritual itself.

After the ceremony, the Satuang are put into a flowing river, but the side that
it is put in first is important, as is every aspect of this strange and ancient
ceremony.

From page 248, a few photographs from Wai Kru Ceremonies.

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129. The Satuang is both a popular and important ritual.

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 130. Photographs from Wai Kru Days, where devotees and Ajarns congregate in
support of an Ajarn. Here, the Wai Kru of Ajarn Khaw.

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131. As part of this Wai Kru, the Ajarns present collectively made a Saneah oil.
The Wai Kru is great to witness; a chance to see the Ajarns working together.

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 132. Blessings are also given by the Ajarns present to locals and devotees alike.
These two photographs are again from the Wai Kru of Ajarn Khaw.

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133. The Wai Kru of an Ajarn is a popular and happy event, usually held in the first
few months of the Thai New Year (May and June).

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 134. More photographs from the Wai Kru Day of Ajarn Ting.
Here is a good view of his old style Lanna Sak Yant as he gives a blessing.

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135. Rows of Ajarns giving their services, donating in support of the Wai Kru day for
Ajarn Nahn Ting.

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 136. Rare forms of Sak Yant - The Salika Lin Thong.
The ritual involves tattooing a Yant Na onto the tongue for enchanted speech.

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137. With being on the tongue, it is not an easy Yant to receive by the devotee but
at least it is quick (fortunately).

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 138. After the tongue is tattooed, Na are also drawn onto the face.

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Strange, Ancient and Rare Sak Yant

The Salika Lin Thong for enchanted speech

An interview with Ajarn Perm Rung

The Salika Lin Thong is akin to a cross between a Sak Yant and a ritual
where the tongue is tattooed with an oil, with the Nam Yaa Wahn 108 and
Wahn Saneah oils being the most commonly used. The ritual begins with
placing gold leaf on to the tongue, and a Yant is written on the gold using
a Maai Kru. Then, a Yant Na is tattooed using the rod, which can be quite
a shock to the devotee as the tongue is a delicate area. During the whole
process, Ajarn will chant the relevant kata, which are both involved and
energetic.

There are rules for having a Salika Lin Thong, and not following them
renders the Yant ineffective. A person who holds the Salika Lin Thong can
not swear or use bad words, and cannot say bad things either to or about
their parents. It is also forbidden to disrespect the Ajarn or anything sacred,
and the devotee must know this before having this Yant. The time of tattooing
is quite short, but because it is on the tongue, it can be quite a challenge for
the devotee. After tattooing the Yant, gold leaf is put on the face, which can
be seen as an extra part of the ritual to boost the attributes of the Salika
Lin Thong. Ajarn places gold leaf on the two cheeks, the forehead and the
chin to represent the four directions, and for every direction travelled,
the Salika Yant will help with negotiations and charming speech. With
this ritual, each Ajarn has a different method, with some using little gold and
some covering the face completely.

During the time that Ajarn Perm Rung applied the Salika Lin Thong onto the
tongue, the kata could be felt physically, and had a strong effect on all those
present. The Salika Lin Thong is a popular and effective form of magic, and
Ajarn Rung does an exceptional job with this ritual. Rituals such as this con-
stitute ‘one on one’ magic, which is important devotees of magic. Some peo-
ple worry about the pain, but this is a small, quick tattoo, although the shock
of someone jabbing a needle in the tongue requires a little adjustment.

A Salika Yant Na by Ajarn Khaw

During an interview with Ajarn Khaw about his Salika amulet, the conversation
drifted onto other ways to bring enchantment to speech using the Salika
Wicha. Ajarn Khaw bestows a very ancient Yant for Salika that is a type of
Yant Na, and the position of it on the body has to be on the front shoulder.
It is only given in oil as it is believed that some magic needs to be hidden,
but the power of it can be accessed at any time. The Yant is placed on the
front shoulder to make it within reach of the tongue, and when the devotee
needs enchanted speech with lovers or in business, the Sak Yant is licked.

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 The Human Heart Spell for the Mouth

This is a variant of the Salika Lin Thong Yant ritual by Ajarn Suea

When an Ajarn makes the Salika Lin Thong ritual for enchanted speech,
some devotees are disappointed that the tongue will not hold the ink, so
this variant allows for a permanent tattoo inside the lower lip. The tattoo
consists partly of the Hua Jai Manut kata (Human Heart Kata) and the
Salika kata, meaning that it works like the better known Salika Lin Thong
in that the tattoo enchants the words as they are emitted from the mouth.

There are also two other types of tattoo that can go into the mouth, which
are for extremely strong Saneah - the Hua Jai Phu Chai (Male Heart Kata)
and Hua Jai Phu Ying (Female Heart Kata). The male version goes under
the top lip, and the female under the bottom lip, and both Heart Katas act
to enchant the speech. The Hua Jai Phu Chai tattoo can never be shown to
anyone or it nullifies the magic, but luckily it is placed as high as possible
under the top lip. A man usually has the heart kata for the lady in his mouth,
and the lady the heart kata for the man as these are for attracting people
of the opposite sex, but Ajarn Suea has both as he draws all people to him.
The only rule for having the male heart kata is that the person cannot then
perform oral sex, but they can if they have the female heart kata.

Sak Yant for Specific Attributes - an interview with Ajarn Verataep

On arriving at the Samnak of Ajarn Verataep to interview him about his

history and the Nang Prai, Ajarn was giving Sak Yant to a lady. When she
emerged, she had various pieces of gold leaf on her lips, forehead, hands,
stomach and legs, so an interview was undertaken with Ajarn concerning
this work.

There are many ways to bestow Sak Yant, and one of them is through applying
Yant Na for specific purposes that have been requested by the devotee,
in this case, a rather beautiful lady. These can be applied in ink or one
of many specific oils, and can be for many purposes, Saneah, Klaew
Klaat (avoidance of danger), Kong Grapan (invincibility), Nang Niew
(impenetrable skin), Metta or anything the person desires. In this case, it
was for Saneah, so a Wahn Saneah oil was mixed in with the sesame oil that
is normally used for a Yant in oil, and a Yant Na tattooed on specific areas
of the body. These areas also vary depending on the attribute required. For
charming speech the Yant Na is tattooed in the mouth or on the tongue. To
be famous or to make themselves appealing to others, then it would be the
Na Naa Thong ritual, where the Na is drawn onto the gold on the face

In this case, the lady was tattooed on the stomach for bringing a lover as
well as on the thigh, meaning that the Saneah will work when she walks as
movement activates that tattoo. For the Yant Na on the face, it is obvious as

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139. The Human Heart Spell for the Mouth. My thanks to Leon for all the photos.

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 140. A Korb Sian blessing after the Human Heart Spell for the Mouth Yant.

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141. Yant Na for specific attributes by Ajarn Verataep.

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 142. Judge from the strength of grip as to how much these hurt.

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to their effect, and the same with the hands, where the Saneah is passed
through touch. If the lady had wanted say Chok Laap, the Na would be
tattooed on the hand to call money to it. There are hundreds of Yant Na for
each attribute, and each can be applied depending on the Ajarn’s ability
with that particular Yant.

In this case, Ajarn is fulfilling the role of a kind of spiritual doctor, applying to
the skin what each person requests and helping them with their life.

Mon Meu Top - Slapping Hand Kata - an interview with Ajarn Suea

The slapping action in the name of this spell means to slap the heart to fulfil
any wishes (please note that emotions and feelings are expressed through
using the word heart in Thailand, so instead of say, hot-headed, they say
hot heart). The Mon Meu Top are a class of tattooed spells, and there are
many variations. They are used to influence other people, to get rid of ill
fortune as well as for calling good luck.

Each of the variations involves the tattooing of kata on to a specific part of

the hand. The kata involved consists of words that describe an action, like:

I can beat down an elephant

I can beat any person down

I can beat the water and fire

I can beat the sky

I can beat her heart to call for me. Many different types.

The kata being tattooed in the photograph was for Metta and Maha Niyom,
and the devotee can use it in negotiations and for business, influencing the
people present with a touch. There is no need to slap or to beat down, which
is another translation of Top, the kata adds magic to the hand that can be
passed on to others.

There are two positions used on the hand for these spells, one in line with
the thumb and one in line with the little finger but both places are quite
painful (look at how the hand in the photograph is being held to stop any
movement). The one close to the little finger is usually for Kong Grapan and
the ones near the thumb are for charming through Saneah, Metta or Maha
Niyom. The Kong Grapan spell near the little fingers works against people
trying to inflict harm on the devotee, and it acts to turn back a beating,
meaning that they hurt themselves instead.

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 The Rare Sak Yant of Ajarn Tui

The modern industry of Sak Yant bears only a passing resemblance to the
Sak Yant of old, and unfortunately, much of the ancient knowledge is being
lost. With the old Masters passing away, many do not leave a dedicated
Luksit to take on their Wicha, and often, the family will burn a renowned
magicians Wicha books. When a powerful magician dies, things can get
a little wild because the person controlling everything has passed on, and
some Wicha books are considered to be alive. Burning them can ease the
burden on the family or spouse of a strong Ajarn, but it does mean that the
culture loses knowledge.

In the old times, there were not the age restrictions on having a tattoo that
there is today, and people could be given a Sak Yant when as young as four
years old, which was usually for the protection from evil spirits. The Lanna
region was more dangerous at that time, full of wild animals, and wars were
common, so people needed protection and magic. If a person takes the
time to understand some of the Yants held by Ajarn Tui, they will see that
the magic within them follows ancient rules that can be very complex, but it
produces strongly enchanted tattoos. Ajarn Tui believes that in time, the
bestowing of Sak Yant will split into two categories with the first category
producing the modern Yants, the Yants that are tattooed by the thousand
every year in Thailand. The second category will be for the very old Yants,
which are now rarely bestowed, but the interest in them is rising as some
people want the original Sak Yant. These ancient Yants cost more due to
the time it takes to make them, and the devotee needs to plan because
sometimes, they can only be tattooed on certain days. The Wicha of some
Yants requires their application to be in a specific place, and Ajarn’s most
special Yant involves FOUR locations. Ajarn Tui and the devotee has to
move four times to finish the Yant - the Suea Jet Pod.

The Suea Jet Pod Yant

The Suea Jet Pod is a famous, ancient Yant, but what is not well known is
that the people who were born in the year of the Tiger should never receive
it and the same is true for those born in the year of the cow. A person who
has a bad temper should also not have this Yant; it is not good for the
hot-headed as they will lose control due to the power in this Yant. Before
tattooing this Tiger Yant, the devotee would have to take a vow with the
Ajarn about the rules for the behaviour. If the devotee cannot keep their
word they should not have the tattoo because otherwise, they could become
what is referred to as a Suea Yen, effectively being possessed by a Tiger.
There are two types of Tiger possession in the Lanna traditions. The Suea
Saming is the fixed state of having a Tiger inside, dominating the person,
and it can send people crazy. If a devotee becomes a Suea Yen, they have
a chance to be normal again, but they are seen as having a Tiger’s body
and a human face.

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143. One version of the classic Lanna Sak Yant - The Suea Jet Pod.
(and folks, I have altered all the Yants in this book to stop copying)

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 144. A Lanna Wicha book on Yants in a graveyard.

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‘Pod’ is an old word that means parts, inferring that when the parts used
to make this Yant come together, it boosts the power, akin to seven Tigers
in one body. Ajarn Tui tattoos the head of the Tiger in front of the Buddha
image in a temple, and the old Wicha dictates that there has to be raw beef
hanging above him. Once the tattooing of the head is complete, the devotee
would then have to leap up like a Tiger and grab the meat in his ‘claws’ to
eat it. Many of the main halls of Wats are now much taller than they used to
be so where this is not possible, the raw meat is passed to the devotee.
A piece of fresh beef is consumed after each part of the Yant has been
completed, meaning that the person has to eat seven pieces in all.

Tattooing the front legs are done in a Wat, but not in front of the Buddha.

Tattooing the central Yant is done in the graveyard in the place where they
burn the body.

Tattooing the back legs occurs in a place that has been made evil through
the presence of a bad spirit, and the tail is applied anywhere.

The final part of this process is where the Ajarn and the devotee return
to the Samnak for the Pruk Saek. All the parts need to be tattooed on the
same day, but there is also an astrological aspect, so the day needs to be
arranged in advance. Sometimes, a devotee will have to wait for a month,
and that is very difficult for many people, especially these days as everyone
wants everything done immediately.

The components of the ink used for this Sak Yant are also essential as
it has to contain Tiger Oil, which includes the gallbladder of a Tiger and
ground Tiger tooth, and it has to be mixed using a fang. Ajarn Tui makes
this ink, and it will not be black as it is hand blended, usually coming out
as grey, with the colour sitting back in the skin. This Tiger Yant can only be
placed higher than the waist but can be of any size that the devotee desires.

The Suea Jet Pod Yant offers extreme Kong Grapan and Maha Amnat and is
only applied to the skin of a person who is already in a position of authority.
People who are of an angry disposition should beware, and those born in
the years of the cow and Tiger should not have this Yant. The ancient Lanna
rules about having a Suea Jet Pod include not consuming water or food left
by somebody else (a monk or the Ajarn is OK), which is a rule that is easy to
break. It is also forbidden to eat at a funeral or sleep with someone else’s wife.
The bearer should not walk under a house, the staircase or under-garments on
a washing line, but if a hat is worn, it is OK, though the cap has to have a
kata on it. In many old Lanna houses, the floors often have two layers of
wood rather than one as the extra layer protects the people who have Sak
Yant who may be below. If the devotee makes a mistake with this rules, it is
OK as long as they use a Sompoi bath to clean away any defilement and
actually, it is best to use Sompoi regularly to help the Yant anyway.

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 This magic is famous and very old, but is now rare to see. It is a legendary
Lanna Wicha, but Ajarn believes that the image of this tiger came from Tibet
a long time ago, gaining it’s magic as it travelled through Burma, and is now
regarded as ancient Lanna Wicha.

A Rare Lanna Rahu - an interview with Ajarn Tui

This Yant is a Rahu in the traditional Lanna Muang script, and the design
can also be a Pha Yant for the home. Unusually, it is for all Rahu, the god
Rahu in general, rather than being one for the sun or the moon, because it
is an ancient Yant from before they separated his roles. (Normally a design
is either for a Sak Yant or a Pha Yant and the ones that can be either are
rare)

This Yant works the best if tattooed on the day of a full moon, but it is not
necessary to bestow it in the moonlight, on the same day is perfect. It can
also be applied to the skin when the moon is in eclipse, and this does not
need to be a full eclipse, a half or a quarter is fine. Ajarn Tui consults the
astrological calendar before setting the date that this can be tattooed.

This Yant is bestowed with the 32 parts of the body during the blessing
process, effectively making Rahu alive on your skin. It is considered to be
an amulet in the skin, not a normal Sak Yant. This Rahu is for Serm Duang,
the attribute to change the fate and destiny of the bearer, but it is also
for strong protection when travelling or in strange places. This Rahu also
brings a natural authority and protects against black magic attack as well as
the lower ghosts. Ajarn reagrds it as one of the best Yants for people who
work with the spirits. Rahu protects you from the Prai, and even Masters
need protection like this.

Another remarkable aspect of this Yant is that it changes a persons Feng

Shui, helping the person be more at ease in the energies in the home,
protecting them from any negative aspects that may be present. As a Pha
Yant, this is particularly useful to protect a house that is considered to be in
a wrong location, like at a crossroads.

The rules for having this Yant are the same as for the Suea 7 Pod. Do not
drink the water or eat the food that has been left by somebody else (a monk
or the Ajarn is OK), which is a rule that is easy to break. It is also not allowed
to eat at a funeral or sleep with someone else’s wife. The bearer should not
walk under a house, the staircase or under-garments on a washing line but
if a hat is worn, it is OK, although the cap has to have a kata written on the
inside. In many old Lanna houses, the floors often have two layers of wood
rather than one as the extra layer protects the people who have Sak Yant. If
a mistake is made with these rules, it is OK as a Sompoi bath can be taken
to clean away any defilement and actually, Sompoi should be regularly to
help the Yant remain strong and pure.

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145. An ancient Lanna Rahu Yant, held together with selotape.

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 146. Cat Yants for evasion should be made in the cemetary.

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147. The excellent Ajarn Tui.

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 148. Applying a Yant to Khun Leon while sat in the cremation pit.

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Yants applied in a Graveyard

There are specific reasons to apply a Sak Yant in a graveyard, and it is

related to the power that resides in the grounds. The power comes from the
spirits of dead people, some of whom die when it is not their time, and some
who die when it is their natural time to pass. Applying a Yant in a cemetery
is not just asking for help from the spirits there, it is also using the power
within the location as well as the energy from the Ajarn and his Masters.
Making a Sak Yant in a graveyard is a long-held tradition in the Lanna
system of magic because it makes the Yant powerful. Lanna tattoos used to
be only made outside as they gained extra power from the location it was
bestowed. For the quality of Metta for instance, it is best that the Yant be
tattooed in a new crematorium, one that has never been used. The rules for
these Yants varies with each Samnak, but generally, for Metta and Saneah
Yants, the devotee is not allowed to have an affair.

The primary type of Yants applied in a graveyard are for protection and
invincibility, but there are other famous examples.

Cat Yants

In the past, people who wanted a Cat Yant had to go into the graveyard, and
be buried up to the neck. The Ajarn would then compact the earth down
and leave them there before praying to the land spirit guardian of the
graveyard, and those who got out of the ground unassisted could have the
Cat Yant. No one does this now for obvious reasons, but if these Yants are
applied in a graveyard, they have more power.

This Cat Yant consists of two tattoos, one of a male black cat and female
black cat on each shoulder, and you lick them when you need the quality
of evasion, tricking people’s eyes into not being able to focus or follow the
holder of these Yants. Cat Yants are famous for thieves, and those who
need to evade the law. There’s also a 12 Yant set of cat tattoos that go
round the waist, and the last one has to be paid for with money that was
stolen. This 12 Cat Yant is again for thieves or those that make a living
illegally with the attribute of being able to escape any situation, not being
caught. The Cat Yants are wonderfully simple old Lanna style tattoos that
have a beauty all of their own.

Tiger Yants

Some Yants have to be made on top of the grave, like this Tiger Yant, which
is called Suea Ahn and comes from an old grimoire that belongs to Ajarn
Tui. The Suea Ahn is an ancient Yant for extreme Maha Amnat. The flags
on the Sak Yant design are for victory in all aspects of life, and this Yant is
a classic of the Lanna system that was heavily influenced by Burmese Sak
Yant. Some Tiger Yants come in a set, a set of three and one must go on

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 149. The Ajarn seeks the aid of the spirits of the graveyard when blessing the Yant,
which makes it magically strong.

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150. A Yant in a graveyard is a strong experience.

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 151. The Na Kasan Thoranee Yant. This is a powerful Yant Na; it makes the eyes go
fuzzy in the same way as when looking at a strong amulet.

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the left arm, one on the right and the final one can be placed anywhere on
the body. This example can be done on a grave, but it can also be tattooed
in the Samnak although the power of it would be higher if tattooed in the
graveyard.

Now people don’t care much about the traditional Sak Yant, they care
more about the beauty and the design rather than the magic. Everyone
appreciates the beauty of the modern tattoos, and if a man has a Tiger Yant
today it is usually fantastic prowling Tiger with the Akhara around it, but the
original Tiger tattoos had the spells inside the body to power the Yant. There
was more of a concern then with the quality of the magic, rather than the
modern concepts of beauty.

The Sex Yants of Ajarn Khaw - Na Kasan Thoranee

Ajarn Khaw considers that this is the magic from a god for charm and sex.
It is a Yant Na that can be put on the body as a Sak Yant and it has two
positions. It is tattooed on the front of the body as an oil tattoo placed below
the belly button in the area of the Dantien in Chinese acupuncture, and on
the back of the body with ink. The position of the ink tattoo corresponds
to the location of the oil tattoo on the front, like a line going through the torso.
This Yant is an important tattoo that is rarely bestowed, but Ajarn does
place it on his Luksit because of the power it brings. The photograph of this
Na was interesting to take because sometimes, a talisman is so potent that
it can make the vision a little fuzzy, and this was the case with this Yant.

The Na Kasan Thoranee is the sex magic of Shiva and Uma, and in Chinese
principles, it evokes Yin Yang, the male and female elements and brings
them together for powerful Metta. This knowledge came down to Ajarn through
the Master of his Master, Ajarn Phor Daeng and there is a photograph of her
in the Samnak, but no one is allowed to either photo or copy it. The Master
is Mae Kru Krua, and Ajarn Khaw holds great respect for her.

This same Yant Na is also made as a Takrut for similar kama sutra powers,
but it has to be written while resting on a naked lady’s vagina. Ajarn held
this ritual recently and during the same ceremony also made some Paladkhik
(phallus amulets), and each was inserted a little way into the vagina. This
blessing took almost two hours but the lady gained from the ritual too,
attaining very strong Saneah.

There are numerous kinds of Yant for strong sex attraction in the Lanna
system, with perhaps the Maleng Wan Kham (The Golden Fly) being the
most famous. Most of the Lanna Masters know about making a Maleng
Wan Kham, but they are all different because this Yant is in many lineages.
Ajarn’s Wicha for Maleng Wan Kham dictates that they are done in oil and
put in the middle of the chest to attract people from the front, and in the
same place on the back to attract people from behind.

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 The secret of Sak Yant for sex is to make them with oil so no one can see
them as they may understand that magic is being used on them, which
could break the spell. Many ink Sak Yant can go on the body for sex as well
but they must either go close to the groin or on the upper leg - these include
Inn Khoo, Maa Saep Nang, Phra Ngang and Mae Per. Ajarn recently had a
playboy come to the Samnak asking for help as he wanted to have sex all
the time, and Ajarn applied a Sak Yant to his dick with oil. The vagina can
also be tattooed in the same way, pulling lovers to it and enchanting them
in the process. The tattoo itself is made very gently and does not hurt too
much, or so the playboy said. There are also many types of extreme sex
magic rituals, but he cannot advertise them because Ajarn thinks they would
break all the rules of decency and facebook would melt. Sex rituals such as
these have to be requested.

Maa Khow Saai Yant - a Sex Yant from Ajarn Tui

(The name of this Yant means ‘The Dog Enters Your Intestines’ inferring
that this love magic goes deep into the body) Long ago, the image of a dog
was not put on to the skin, so with this Yant they often just tattooed the kata.
The script under the Maa Khow Saai Yant is similar to an old Maa Saep
Nang kata, and this is used today for the modern Lanna 9 Tail Fox Yants.
This Yant consists of two tattoos that represent a female and a male dog,
one of which goes on the left side and one on the right. The power of these
Yants acts to change the bearer’s skin into a Yaa Faet, which is a legendary
substance for enchanting a person into becoming a sex slave, wholly fixated
on the person who drugged them.

For the person who holds this Yant, if they like someone, they rub some of
their skin into the person’s drink or food to enchant them. The rubbed skin
is not only from around the Yant but anywhere on the body. Long ago people
used a lot of Yaa Faet for sexual enchantment, and the magic for this Yant
goes deeply into the person, making every part of them a Yaa Faet.

When applying this Yant the ink must contain Ajarns constructed oils for
Metta and Maha Niyom (including Wahn Dok Thong oil), and this tattoo
can be made on any day as long as it is not a Buddha day. It can be
placed anywhere on the body, which is unusual for low love magic such
as this. During the blessing, the fire element kata is used to do the job of
transforming the body into one that strongly attracts others, making them
besotted. Originally, only men used to apply this Yant but times change, and
women can also have this Yant.

When applying this Yant, Ajarn tattoos the dog first, and then the 32 parts
of the body Pruk Saek is used to give it life, as with many amulets in the
Lanna tradition. If the 32 parts of the body spell is not used, the dog cannot
be a complete body. Following this, the script circles it to hold the magic in
place. The dog is considered alive in this Yant, which helps it be powerful.

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153. The original Wicha for the Maa Khao Sai Yant. Old magic.

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 153. Ajarn James with his corpse cloth Pha Yant to Phra Ngang.

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154. He makes his own oils and inks from the original Wicha. Ajarn has to have two
rods, one for above the waist and one for below.

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 155. His hand drawn Mae Per (edited here) is a Lanna classic, for strong Saneah,
Metta and Khaa Khaay.

156. Square Lanna Yants for Lust.

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The Lanna Sex Yants of Ajarn James

Yants for sex magic are tattooed below the waist and are made using oil or
ink, which can be black or red. Into the ink or oil, Ajarn James also places
the correct herbal mixture. There are many recipes for the inks, which are
dictated by the Wicha of each Yant, but by adding certain herbs, oils and
even Leklai it will boost the power of the Yant beyond what is ordinarily
possible. Giving the Yant the greatest power possible is essential to the role
of an Ajarn as he is then helping the devotee with all his skills.

Ajarn James has two Sak Yant rods, because one is for above the waist and
one is for below. If a rod is used to tattoo on the wrong part it would have to
be thrown away after using it as Ajarn is not allowed to change the role of
the rod. There are two pots of inks for a similar reason, and into these inks
are put the various herbal mixtures that are a source of magical potency.
These mixes are split into two categories, one for lower ranked Yants, and
one set from the deities for spiritually higher Yants. There are also a few
samples of real Leklai kept near to the inks, because it is an essential
element for Kong Grapan and other forms of protective Yants.

Phra Ngang Heart Kata Yant

Phra Ngang Yants are exceptional for the sexual attraction that men strive
for to gain many lovers, and this heart kata consists of both a complex Yant
Na (Na Dang Meow, because it looks like a Cat’s Nose) and three lines of
Lanna script. The Phra Ngang Yant Na is placed around the area below
the stomach, a few inches below the belly button and is a beautiful Yant to
tattoo. There is also the full image of Phra Ngang as a Sak Yant for the right
leg, which is one of Ajarn’s favourite Yants, and he has this as a Pha Yant
on corpse cloth. To bestow a highly effective Sex Yant, a Yaa Faet is also
added to the ink to give it the power to enslave others sexually.

Mae Per Heart Kata

The Mae Per Heart kata is for lust and sexual needs, and is tattooed on the
left leg. This kata can also be carried as a Takrut for a similar effect. There
is also the more normal Mae Per Yant which would be placed on the left
thigh of the lady, and it is a classic of the Lanna style. With the Wicha of
Ajarn James, the Mae Per Yant is only for ladies and the Phra Ngang Yant is
for men. For both of these styles of Yant, a Kata is also given to the bearer
to help with the power of the Yant, which is the ancient style.

There are also Yants for around the nipples and for the pubic area, which
act when a lover licks the nipples or the lower bits, and their purpose is to
bind the lover to them. The Mae Per Heart kata is a tattoo that is often
given to couples that may be having some problems in life to draw them
back together.

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 Heart Kata for Lust

The Heart Kata for Lust is another classic and ancient Lanna Yant for sex.

The Thai word for lust is from the Pali for pleasure, and both are the root
of the modern word for ‘the price’, which comes from lusting for something.
This heart kata can be placed on both men and women and will work in the
same way. The second square from the left of this set of magic squares is
called Pa Saw Pa Sa, which generates a desire in others to touch you. In
another of the squares, there is the action within it that ensures that this
magic works on people born on any day of the week and between the four
squares are all the elements of sexual desire that anyone can hope for.
These are for exceptional levels of Saneah and have applied in this region
for centuries. Ajarn James tattoos these Yant squares on the top of the
thighs, with the two on the left, applied to the top of the left leg and the two
right-hand ones on the right.

157. Opposite. Ajarn James in Samathi in his Samnak

Maa Saep Nang Yant

The Maa Saep Nang Yant is tattooed on the skin of either sex, and it is
bounded on the four corners by representations of the penis that spread the
magic in the four directions. The Maa Saep Nang brings Metta and Maha
Niyom (popularity), and although commonly found on Pha Yant all over the
Lanna region, it is also famous as a tattoo. With this sex Yant, Ajarn also
includes a Yaa Faet in the ink, and part of the kata around the figures
specifically affects people born on any day in the week. If this Yant is to help
people with business, a Heart Kata for merchants is added with the specific
intent to charm people to part with their money.

The script below the lady is a Lady Heart Kata to loosen the hearts of
women, and the one in the lower right corner is called the Laughing God
Heart Kata, which makes the bearer of this Yant easy to get along with.
The top right script is called the Dog’s Heart Kata and is for pure Saneah.
As with many Sex Yants, this is tattooed on either the ladies left leg or the
man’s right.

The image of a horse fucking a woman may be a little too much for modern
tastes, but this is a Yant that is placed on the upper thigh, making it rarely
seen. The magic this classic Yant offers can be valuable in life, and it can
also be made in oil if the bearer is shy regarding the image.

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285
 The Sex Magic Tattoos of Ajarn Suea

Most of the sex magic tattoos from Ajarn Suea consist of Hua Jai Kata such
as, Hua Jai Yoni, Hua Jai Rakhaa and Hua Jai Paladkhik. There are many of
these, and they are spells written in the groin area, which is a painful place
for tattoos. Mostly, these are tattooed above the pubic hair region, but some
also go along the crease between the legs and the private area. As there
are so many of these, it is best to look at the persons Horasart aspects
(astrology) before deciding which Heart Kata should be applied.

Ajarn Suea often tattoos a Heart kata in conjunction with an image. For
instance, if a Phra Ngang Sak Yant is on the upper thigh, around it would
be the Phra Ngang Heart Kata, and underneath is the kata that wakes the
Ngang to bring him to life. Many of these sex tattoos are applied to the skins
of night workers, and in that case, the Ngang is more commonly tattooed on
a lady than a man, because more ladies are in that line of work. Generally,
Ajarn Suea recommends a Mae Per Yant for ladies and a Phra Ngang Yant
for men, but either sex can have them if requested. These Yants are for
strong sex magic, which is very useful for people in the night industry or for
those who want to enhance their enchantment.

When Ajarn Suea makes a sex tattoo close to the private parts, the Pruk
Saek cannot be done in the same way due to the restrictions contained in
the rules of being an Ajarn. All that is possible in this region is to apply gold
leaf. Usually, four leaves will be used unlike the usual three, so the tattoo
is then not disrespecting Buddhist beliefs. Ajarn Suea makes an oil to an
ancient recipe to add to the ink, and this oil takes the attributes directly into
the body of the devotee, ensuring that Ajarn Suea’s sex magic has good
results. The Wahn in the oil includes Wahn Dok Thong, Wahn Mae Phe
(which is very rare!), Wahn Saneah, many different types.

There are also Sak Yant for the nipples as it is an erogenous zone. Men
have the spell on the right nipple and ladies on the left, and they are again
for attraction, utterly enchanting anyone who licks or sucks that nipple.

These tattoos are spells, just Akhara in a line and usually in a private
place. Ajarn Suea has many more examples of these, and at the end of
the interview he pulled out a thick Wicha book that contains his collection
of Hua Jai Kata. This small selection appears to be a drop in the ocean of
knowledge that is held by Ajarn Suea. Just before this book went to press, a
friend had a Yant for attraction from Ajarn and the actions after its application
produced a magic that almost knocked me off my feet. This needs more
investigation as they are a strong source of magical force.

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Burmese Sak Yant - an interview with Ajarn Sala Boon Khong

The Sak Yant from Burma and Thailand were very similar in the past, when
it was common for those enslaved to have Sak Yant tattoos as a mark of
ownership but they were not usually applied to the noble classes. One of
the main differences between the Thai and Burmese systems is that in
Thailand they use Wahn to give power to their oils (the recipes for which
varies between every maker) but in Burma they use a mixture that comes
from the various Nikai cults that praise the Weikza (Ajarn described these
as a herbal drug rather than a Wahn, but he could not explain precisely
how it differs). In Burma, there are also considerations as to which day and
time the Yant should be performed as well as which place. This astrological
aspect of the tattooing has been all but lost in Thailand but is still of
paramount importance in the Burmese system.

There are similarities between the cultures of Thailand, Cambodia, Laos

and Burma which can be seen in the temples of this region and this is the
same with Sak Yant. It does not mean that each culture took things from
each other, cultures share knowledge over the centuries, especially when
there was often no solid border in the same way as there is today. The
traditional Sak Yant of Thailand usually has what can be termed as a high
class of magic that is aimed at the Buddha, the Lersi or various deities. In
Burma the tattoos have various classes of magic, either low, middle or
high, giving choices as to which magic to use to achieve the wishes of
the devotee. The lower class tattoos in Thailand are often related to sexual
needs and desires, which are usually placed below the waist. There is no
such distinction within the Burmese system and tattoos for anything can be
placed anywhere, but the power varies depending on position. Some of the
higher ranked Yants can be tattooed on the lower part of the body in Burma
as well because they do not follow the rule that the different parts of the
body have different effects. In Myanmar, a sex tattoo can be placed anywhere
on the body as there is no cultural taboo regarding its position although as
stated previously, the power available in each location may vary.

For someone who decides to have a tattoo under the Burmese system, it is
not only about having a Yant for good luck or Saneah. Most of the people
who have Sak Yant in Burma have a serious interest in magic and study the
art deeply. To research magic or to have power over ghosts takes a strong
magician, and the person has to be willing to disregard Buddhism as much
as possible as well as lower the boon within themselves. In this regard,
some magicians in Burma have a Buddha tattooed on their feet, and Ajarn
freely admits with an added wry smile that he would like one of these.
Ajarn Boon Khong considers this action analogous to a Westerner having
an upside-down cross tattoo, it gives them magical options and brings
dominion over a religion, adding power to any magic undertaken. A Thai
Ajarn would judge this as following the way of a Mhor Phi, but really, it is
just another option in the pursuit of magical knowledge.

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 In Burma, the place where the Yant is applied is important, such islands in
a dry river, on top of a stand-alone hill, under a big tree, a graveyard, in a
cave, in a freshly dug hole or an abandoned temple and the chosen location
depends on the magic the devotee desires. In each place, the Ajarn will ask
for help from the guardian spirits, a ghost, a deva or an angel and each will
bring a different power to the Yant. In Thailand, the Yant will have only the
power of the deva or deity chosen, and they do not use ghosts or guardian
spirits to help with the power of the tattoo. In Burma, they use every source
of energy that is available to them, and for example, many types of ghosts
can be used rather than ‘a generic ghost’. The Burmese will use any spirit
they can because there are limitations when only using the higher spirits,
but the lower spirits can be called upon to do anything (The Nats).

If the same Yant is tattooed in a different location, it produces different magic.

If a Tiger Yant were done at home or done in an abandoned temple, the power
would not be the same as the surrounding spirits would have different levels
of energy to help with the empowerment. The Ajarn will choose the location
for the placing of the Yant depending on what he considers is best for the
devotee. There are different levels of tattoo for different people. For some
one who wants to become an Ajarn, he may get the full power tattoo, using
a powerful spirit but ordinary people may not be able to handle it, and some
Akhara may be omitted. It all depends on who the devotee is, what they
want and what the Ajarn considers is best for them. Some tattoos come
with specific rules, and if those rules cannot be followed, it may not just
make the magic stop working but could end up harming the bearer of the
Yant. With some, it is forbidden to walk under a coffin or eat at a funeral or
wedding. The devotee cannot eat anything that has come from any spiritual
activity, and all these considerations need to be taken into account when
deciding on what to bestow on a person’s skin.

There is distinct imagery in the Burmese Sak Yant system, but this aspect
is less important than the ink used because the ink contains the herbal
mixture that bestows much of the power to the Yant. The scripts are also
just Akhara, but these seemingly isolated letters have specific meanings
depending on the arrangement, and their construction seems to be unique.

When people come for a Burmese Yant tattoo, they first need to say what
they desire, and Ajarn will then consider which Yant to bestow and how
strong the magic should be because if that person cannot follow the rules,
it can bring harm to them. There is much interest in this system at this time
as these Yants are ancient and many devotees want to return to the old
ways. Ajarn Sala Boon Khong is currently having many of his Burmese Yant
designs copied from the original grimoires by an artist friend because the
grimoires are delicate. Hopefully, these will be completed by the time the
book goes to print but you know how artists are, they take their time. The
Yants include the original Suea Jet Pod, many styles of Yaksa and tattoos
that are made up only of Akhara, which is typical of the Burmese style.

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158. A Wicha book of Burmese style Sak Yant belonging to Ajarn Sala Boon Khong.

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 159. Ajarn Daeng is a busy man, but always makes time for everyone.
Of note here is his Khan Kru to the top right of the photograph.

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The Development of Sak Yant - an interview with Ajarn Daeng

Ajarn Daeng began the study of Sak Yant as a novice monk, and has been
applying these magical tattoos for well over 20 years. Sak Yant at that time
were all done by hand with the rod, the machine was not in use, and
everybody followed the original tradition. The rod then was made from brass
or stainless steel, and the makers often attached the sharpened tip of an
umbrella and turned it into the needle for the tattooing. Hypodermic needles
could also be attached to the rod in the same way, which made a fine point
to apply the designs. Ajarn made his first tattoo gun himself, using a small
motor, but if people saw that now they might be terrified (laughter). Back
then, everyone had a ‘make do’ attitude, and people used any way they
could to be able to apply Sak Yant.

The first inks Ajarn used were from China, the kind that was an ink stick that
had to be ground by hand, which many people use for calligraphy and then
hand-made oils were added. The Wahn plant oils also included things like the
gall bladders from different animals, depending on the attribute needed, and
other items such a Leklai, all dictated by the Wicha for the Yant. A Yant for
Kong Grapan would have Phet Noi, Phet Dam, Phet Glap and Sabu Luat in
the oil, all well known herbal additives for this attribute mixed into the ink. If
it was a Metta Yant, Jan Khaw, Jan Daeng, Jan Hom and Saneah Jan herbs,
100 Jan, Wahn Kai Daeng and Wahn Sow Long would be mixed in. All these
are Wahn for Saneah, and are also great for any Metta Maha Niyom tattoo
as well. Besides adding the attributes, the Wahn also contain herbal drugs to
both help the tattoo heal and stop any infections occurring. A type of Leklai
called Pek is essential for Kong Grapan Yants, which is a famous additive
in the Lanna lands. The alchemy of the inks, and the variety of inks used
then was greater than today. Depending on the Ajarn in question, it is
always good to ask before commencing the application of a Yant if there
are additions to the ink, because the correct additives add power to a Yant.

Traditionally, there are only two colours for Yant tattoos, red and black and
that cannot change (the oil Yants are not coloured). The red tattoos were
for Metta, Maha Niyom, Chok Laap, Maha Saneah and the black ink was for
Klaew Klaat and Kong Grapan Yants. The black ink then usually had more
Wahn and ingredients, because the additives did not change the colour, but
there was a limit to what could be put into the red ink varieties. Ajarn is sure
that at some point someone will start adding more colours, but he disagrees
with that as it disrespects the tradition.

When Ajarn began his studies, the tattoos were mostly done in a Wat, because
all the people who applied Sak Yant at that time could only study the script
at the temple. Only the people who had ordained as a monk could become
a Sak Yant Master, and it was only when those people left the temple that
devotees could go and see him as an Ajarn. Most of the people at that time
got tattooed in the Wat, but the Wicha for some Yants dictated that they

291
 had to be applied in other locations, and the Ajarns filled that demand. The
most famous example of this is the original Lanna Yant, the Suea Jet Pod.
In this case, Pod means bits or pieces, so the meaning of the Yants name is
the Tiger with seven parts, and each piece had to be tattooed in a different
location. It is a famous and powerful Yant, the Wicha for which has been
distilled as it travelled to the different regions. One of the sites for applying
one of the parts of the Suea Jet Pod was the graveyard, and the cemetery
is also useful when applying various styles Yants on the skin. The reason
to do it in the graveyard, or where they burn the bodies, is that the Ajarn
gets the help from the spirits in the area to make the tattoo very strong. This
practice is now unfortunately rare to see.

Ajarn Daeng has spent a lifetime collecting the Wicha for Sak Yant from
many old Ajarns, monks and Wicha books. One time, Ajarn Daeng even
found the Wicha for a Sak Yant on the walls of a cave! The Mae Um is a Yant
that shows a person covering their private parts, and it can be adapted to
hold any attribute, but it is low magic that can only be tattooed on the legs.
There is only one rule for this Yant, and that is that it cannot be stepped on
or it loses its power.

Astrology is also part of the tradition of Sak Yant. In the Northern Thai
beliefs, some days that are very bad concerning receiving a tattoo are
known as bloody days (Chok Luat), meaning that it is a day where the dev-
otee will bleed a lot. These are days where it is best not to give a tattoo for
Kong Grapan or Maha Ut, but these days Ajarn rarely refuses to do them.
He does try and persuade a devotee to get something else on that day
without telling them why so as not to disappoint them. It is the Thai way to
try to please people.

The traditional Sak Yant was originally only known to Thai people, but as
Ajarn has tattooed thousands of people, many of them told their friends,
and Ajarn Daeng is now a famous Master of the art. Some of these friends
then slowly found friends from abroad, and foreigners started to come to
the Samnak for Sak Yant. With the modern technology of the internet and
social media, Sak Yant has become more international, and foreigners are
starting to travel to Thailand to get real Sak Yant. Only today, someone
inquired about a Yant from the UK, which is astonishing to Ajarn when sat
in his Samnak in Chiang Mai.

Foreigners now know more about Sak Yant from various books, and usually,
come with an idea of what they want, but Ajarn recommends that the first
Yants are Puttakun Yants like the Phra Chao Ha Phra Ong (5 Gods) or Na
Mo Phutta Ya, Yants made from the Buddhist scriptures. These are Yants
that lift up the fortunes to improve the life and are a better place to start than
say a Tiger or Hanuman tattoo, which only gives power instead of a good
foundation. Don’t choose the symbol because of its beauty as some tattoos
are powerful and they can bring chaos to life if the devotee does not know

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160. During one of our many chats, Ajarn pulled out all the different Wicha for Yants
to Mae Surasatee.

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 161. Sak Yant Master, Ajarn Daeng. He exemplifies Metta.

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how to follow the rules of these Yants. The first tattoo should not be a lust
or sex tattoo either as they can be too strong, and please do not put any
scripture tattoos below the waist as they are high magic. Not following these
rules can lead to problems. Many people who come to see Ajarn later tell
him that their Sak Yant has improved their life. Some people change to a
better direction in life, get a better job and find a loyal lover. Sometimes
Ajarn Daeng also tattoos monks, and the monks then get more followers,
enabling them to raise more donations to build a temple, which brings the
local community together. Ajarn has tattooed for a few decades now and
sees the effect of Sak Yant as being very positive.

Over his time applying Sak Yant, Ajarn Daeng has seen many changes in
the art. People’s opinion of Sak Yant has developed, becoming more
widely accepted by Thai society, open to every class of people, as well as
all genders. Before it was only for men, but now many ladies come for a
Sak Yant tattoo, which has been made easier due to the greater number of
Ajarns, because monks cannot tattoo a lady; it is against his precepts.
There has also been a change in the technology regarding the equipment
used and the modernisation of the imagery has made it more appealing
to modern tastes. New Ajarns now try to sell their design skills, but they
sometimes get the script wrong due to having copied something that was
also wrong. For example, Ajarn recently saw a Cat Tattoo with a Tiger Kata,
which is wrong, it goes against the rules and can cause problems for the
bearer. Changing the imagery is fine as long as you understand the Wicha
of Sak Yant correctly, what can work and what does not. Some new Ajarns
proclaim themselves to be Sak Yant Masters a little too quickly, and with the
boom in Yant tourism, they can become famous without having the correct
knowledge of the Wicha involved. Unfortunately, this is especially true in
South Thailand.

Even though the image has been modernised, the Wicha, the script and
the kata are still original, and the given attributes as effective as they have
always been. It doesn’t matter how beautiful the image is if the script and
the kata are wrong, that makes it merely a fashion tattoo, and that is disap-
pointing because the person will not receive the benefits that are possible
through Sak Yant. Ajarn Daeng has also seen foreigners now proclaiming
themselves to be Sak Yant Ajarns or even Masters, but these people don’t
truly understand the art.

As for the changes in the future, Ajarn believes that the imagery will
continue to be adapted and in some cases, hark back to a more ancient
style again, possibly splitting the development of the art. He also believes
that many people will start to claim to be an Ajarn falsely. So for the final
words of this interview, Ajarn Daeng reminds people that it is the responsibility
of the person who wants to have a Sak Yant to do the research, find the best
maker and get what they want. In this way, they can be the proud bearer of
a true Sak Yant!

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 Thank you to Ajarn Daeng for his advice, and passing on his knowledge of
the art of Sak Yant tattooing. Ajarn is highly respected in this region because
he exudes Metta, and is the Ajarn of choice when fellow Ajarns want to have
some Sak Yant. With being a Lanna Ajarn, he is also concerned that the
Lanna script and language may become lost with modernity and gives his
time freely to teach others, to keep this knowledge alive.

As a final word on the subject, Ajarn Daeng asked for his rules of conduct
to be reproduced in this book as they are only written in Thai in his Samnak
in Chiang Mai.

Do not eat the meat of a dog or a snake, the food from an altar or left over
food from someone else
( The latter part of the first rule is very difficult to keep ).

Do not walk under clothes lines, under the stairs or steps and do not go
under banana trees.

Do not disrespect Parents or Ajarns.

Please keep the five precepts, especially the third precept concerning not
having an affair.

Please say kata every day. If your Yants have no kata, then say Namo Dtassa
to The Buddha.

If any rules are broken, please return to the Samnak and make an offering
of flowers, incense and candles to the altar and bathe in Sompoi to cleanse
the Yants of defilement.

And as a final note, Ajarn Daeng will not apply Sak Yant to anyone who is
drunk, unwashed or showing erratic behaviour. A person should always visit
a Samnak in the same way as visiting a temple in Thailand.

The Yant on the back cover of this book was designed by Ajarn Daeng.

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162. Mae Nang Phim now welcomes you to the section on amulets and statues.

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 161. A Yoni made from the skin of a Phi Tai Tang Glom.

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Thai Occult Magic

Thai Amulets

Under the umbrella of Thai Buddhism, there is a significant difference

between the principles of the religion and how it pertains to the people
in each stratum of the society. The faith of the farmer can be seen as
magico-animistic, while those among the elite who adhere to religion may
be regarded as having organised an intellectual appreciation of Buddhism.
The mere inclusion of Buddhism within the rural magico-animistic view has
meant that most folks are the members of several different religious systems
at the same time 1 without necessarily knowing it, which tends to be ‘the
Thai way’. The dualism of beliefs has lead to a schism between those who
strictly adhere to the great philosophy, and the more esoteric accretions
that have become manifold over time with the non-Buddhist practices
coming from ancient beliefs 2. It can be presumed that the indigenous beliefs
of the Thais must have been Animist, a system that prevailed until the
moment that Buddhism and Brahmanism came from the West, but survives
in many of the magical practices undertaken in this land. As with many
societies, each incoming influence tends to overlay the ancient ones, but
rarely ever entirely removes them.

‘It must not be forgotten that to the vast majority of the Siamese peasants,
Buddhism is, and always has been what can be called ‘The Decoration of
Life’, and the people themselves have remained animists at heart.’ 3

The Thai people are pragmatic, and will use any Buddhist or magical means
to get through the difficulties of life. From the early documentation of the
story of Khun Chang, Khun Paen (The classic folk tale in Thailand) it is
often stated throughout the story that the people seek protection against
threats to ward off sorrowful hardship, and achieve peaceful content 4 . They
look for someone to depend on, who will feed and support them while also
taking care of their safety. When the main protagonist of the story, Khun
Paen comes under attack, he exclaims, ‘How can I protect myself?’ and
goes off to acquire his magical sword, a horse, and a spirit familiar for the
tasks at hand.

The demand for protection is a dominant theme in the story, and that there
are three sources of danger - natural, human wickedness and through
authority 5 . In the story, they seek to combat all sources of risk with skills
and devices, including divination to locate future threats and avoid them.
They adorn themselves with protective talismans, and recite formulas that
have the supernatural power to avert weapons, repeal wild animals, and the
malicious intentions of enemies. The story denotes the use of substances
that defy the laws of nature such a Leklai, powdered clays that have been
sacralised by mantra, oils from a corpse, potent herbs, and other materials
from the dead 6 . Some of these methods originated in India, but have been
adapted over the centuries. The roots go back to the Vedas, the great texts
of Hinduism, with the 4th text being particularly relevant as it is an inventory

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 of the threats to man, and how to resist them. The methods include natural
substances with supernatural powers, recited formulas, and devices that
can be constructed, which is the same as in the story of Khun Chang, Khun
Paen 7 . It is interesting that the primary role of Buddhist monks in the story
is to provide services of divination and protection and to teach those skills 8 .

In the Siamese tradition, the methods of Athan (supernaturalism, from the

4th text Atharva Veda 9 ), the idea of self-mastery, and the belief in spirits
have become closely intertwined. As in many parts of the world, the belief
exists here that the presence of spirits and deities determines processes in
the natural world. In modern Thailand, the complex practices that influence
hidden forces in nature are called Saiyasart, derived possibly from the
Sanskrit word Sayasastra, 10 meaning dark science, or from the Khmer
word meaning excellence or expertise 11 . It has to be noted that this word is
only used twice in the story of Khun Chang, Khun Paen and only in the more
modern versions of the story, so it may be a more contemporary word than
is presumed. From all the interviews that are in this book, it appears that
everyone has a different version of what Saiyasart practices involve, and
what one may consider ‘dark’, another does not. Reading between the lines,
what seems to constitute a ‘good’ Ajarn (as in a good person, pure of heart
and intent) has got nothing to do with the actual practices undertaken, but
his position within those practices. There may be two Ajarns who construct
the same rite to acquire the legendary substance Nam Man Prai from a
corpse, and yet one may be considered as a black magician, and the other
may not 12 . Many Thais are comfortable with this ambiguity as it grants
freedom to their practices, and often, the process of so-called Buddhist rituals
employ the same methods as what some see as Saiyasart practices 13 .

Initially, one of the primary devices for protection of the physical self from
harm or bad fortune was through the Sak Yant tattoo, the history of which
disappears into the mists of time. During the reign of King Taksin of Thonburi
(1767-1782) there was still a Krom Wichakan, a Department of Knowledge,
among whose duties was looking after texts on warfare, and distributing
charms and formulas for invulnerability to soldiers 14 . Yantra played a vital
and central role, either as cast spells, invocations for objects, or inked into
the skin.

The amulet is the lineal descendant and modern equivalent of Yantra 15 .

Like Yantra, they are carried for protection, attraction, winning love, and
gaining favour, but in the legend of Khun Paen, they are not mentioned at
all in their modern form. The modern amulet seems to have developed from
votive tablets, with the added attraction of being as portable as a Takrut,
and this is when the contemporary amulet is considered to have started. In
the mid 19th century, Somdej Tho described how to make a charm using
powerful materials, following strict rules, and to activate it through ritual, but
only if made by an adept with acquired supernatural powers 16 .

Over the 19th century, amulets became popular amongst the elite, but it
wasn’t until the 20th century that they were being produced in all regions of

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162. A Hoon Payon constructed from bone in a disco style.
From the hands of Ajarn Korn.

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 the country. With the slow modernisation of Thailand, and the spreading of
income, the people of the smaller towns could now acquire an amulet, and
with the coming of roads, it was possible for people to travel to see famous
monks and collect their items. Through this, the amulet trade began, and it
is said to account for many billions of baht for the economy.

Two other periods helped popularise the amulet throughout the country. The
first was with the advent of World War 2, when people sought protection
from any source available, and then in the 1970’s and 80’s, officialdom got
involved in sponsoring amulets from the famous monks, producing many
thousands 17 .

Amulets have slowly become THE protective device, supplanting Sak Yant,
formulas, and other traditional methods although it must be said that in
recent years the popularity of Sak Yant has exploded throughout the region.
The Sak Yant tattoo has recently lost some of its social status as only being
for the violent underclass of Thai society, and the bearers were often looked
down on. This lead to the practice where should a person wish to acquire
the magic of these tattoos without the accompanying negative perceptions,
many adepts chose to make them using a sacred oil as they are more
difficult to see. The interest of non-Thais in this art has undoubtedly helped
in this respect, and long may it do so as it is one of the finest traditional
tattoo systems in the world. It is an amulet in the skin and should be taken
seriously as that, and a maker of renown sought out because they can bring
beneficial changes to life.

With Sak Yant originating as a protective device for soldiers, warriors, the
royalty and boxers, the magic tends to be towards physical protection and
authority, and some aspects of their attributes are still best acquired through
these tattoos rather than with an amulet or statue. The advantage amulets
have is that they are easily worn, and the bearer can ‘rent’ (amulets are
always considered to be rented rather than owned) many types depending
on what help they require in life at that time. Some of the most popular
monks became avidly collected, and the amulet also then became an art
form, with each maker expressing themselves through their designs as well
as with the attributes that they bestow.

References
1. Edmund R Leach - Pulleyar and the Lord Buddha p84.
2. Berend Jan Terwiel - Monks and Magic p5
3. Reginald Le May - The culture of South-East Asia p163
4. C Baker - Khun Chang Khun Paen p923
5. C Baker - Protection and Power in Siam p215
6. p225
7. p228
8. C Baker - Khun Chang Khun Paen p924

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9. The Royal Institute of Thailand insists on a connection between the word Athan, which they de-
fine as “Rites following Saiyasart manuals to create auspiciousness and protect against danger,
or to cause danger to others . . . recondite power believed to cause effects.” and the name of the
4th Veda in Indian literature.
10. J.TMcDaniel - The Lovelorn Ghost and The Magical Monk p109
11. C Baker - Protection and Power in Siam p230
12. A long interview with the helper of a famous Ajarn.
13. Justin Thomas McDaniel - The Lovelorn Ghost and the Magical Monk p111
14. C Baker - Khun Chang Khun Paen p55
15. C Baker - Protection and Power in Siam p232
16. p233
17. p236

165. An old Rahu Galaa from the collection of Santiago Barela.

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 The Attributes of Thai Magic

Wearing an amulet fulfils the desire to access magic to help with the
everyday needs in life, and is a means of transferring an adepts power to
their devotees. Wearing a Prai amulet is seen as a more direct way to get
these things, but the path is a little rockier. These items are considered to
be Saiyasart occult items and used for nefarious or malicious purposes,
but Saiyasart is not an exclusive or firm category 1 . There is a dizzying
number of opinions as to what Saiyasart denotes in Thailand. Some people
interviewed considered it dangerous, some irrational, some necessary for
protection, and some the sole reason why Thailand was never colonised!
Some see it as a skill only to be used by advanced monks (good) or for
aggressive (bad) ends. Some see it as practical, and at times necessary
to get through difficult periods. Some biographers have even described
the practices of one of Thailand’s most revered monks, Somdej Tho as
Saiyasart, but only in the form of protective magic, and he did not use it to
attack others or be aggressive. Perhaps it is not a case of being good or
bad, but of being effective or not 2 .

In interviews with two famous Ajarns, both stressed the same points
concerning the best actions when wearing Saiyasart talismans. Firstly,
always follow the path of correct actions to gain merit, and secondly, install
Metta (kindness) into life. Both of the Ajarns in question display these traits,
and have had the mastery of the self that is necessary to follow the path of
Saiyasart. They consider that Prai items offer a quicker, and more efficient
way to attaining the goals of life, but that the devotee must take more care
to stay ‘on the path’. It is well known to aficionados of this art that some have
a form of ‘crash’ (a sudden drop in good fortune) in their lives because of not
sticking to the rules, focussing solely on the advantages that these items can
bring. Oddly, this can end up helping them become more knowledgeable
of themselves, and through that, attain a better existence; it is part of the
journey for many 3 . As with Somdej Tho, although he used incantations,
holy water, mantras and the like, Somdej Tho never claimed to be a magician,
he was only a man who was attempting to find the path to enlightenment 4 .

Most Thai people look for some sort of help to cope with life and get ahead
- to find a job, a lover, a partner, get money, be protected, attract kindness,
gain wealth, and the Thai system offers this through amulets. Makers
still advertise the qualities of newly made talismans with advanced press
releases to the shops and magazines that usually list the supernatural
ingredients of the charm, the methods of the magic used, the date they were
consecrated (where relevant), whether other makers were involved with the
process, the name of the person that was the source of any Prai materials
present, and even the way they died! The attributes held within each amulet
will also be listed to aid the people to decide whether that talisman is what
they need in their lives.

Maha Saneah - The granting of Maha Saneah is the most popular attribute
because it is the quality of attraction. Maha Saneah is effective at work

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166. Now that’s Saneah folks!

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 167. And Saneah can be for everyone.
A great hand drawn Pha Yant by Ajarn Poosex.

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with attracting friends and finding sex or a partner. Almost all modern
amulets offer an element of Saneah, and the quality is gleaned from the
use of herbs, specific soils from various spiritually active regions (7
graveyards for example), certain woods, Prai materials, and even things
like centipedes, because they have a strong enchantment. The use of these
materials is then enchanted with the necessary spells to boost the power of
the attribute itself.

The ultimate Maha Saneah items would be both Panneng (front skull piece
amulets) and the legendary oil, Nam Man Prai corpse oil. These are the top
occult items in Thailand, and all the people interviewed have recommended
them, but neither should be taken lightly. The bearer should feel a good
Maha Saneah item envelop them, which can be a little odd at first.

It has to be noted here that the Thai makers believe that it is up to the bearer
to work out how to use the quality of Maha Saneah that is bestowed by the
amulet they wear, and with that process, they grow as people 5 . These items
are not ‘Abracadabra’ in nature; they do not suddenly make you famous,
they offer an advantage that the bearer must grow into and use.

Love magic is the most popular form of enchantment, be it to find a new

lover or binding a lover to them. This is especially true for Thai women,
because even though polygamy is now outlawed, large numbers of Thai
men have a ‘minor wife’. Of note to male visitors who use the sex services
available in Thailand is that prostitutes often use powerful magic in the
absence of respectability to win a man’s heart 6 .

Metta - This is a beautiful evocation that encourages those close to express

kindness. What is truly astonishing is that Metta means ‘Mother’s Eyes’ in
Thai (Meh - Mother, Taa - Eyes) and everyone knows how kind the eyes of
a mother can be.

Maha Niyom - This is the quality of popularity, to help those close feel at
ease in the presence of the bearer of the amulets made with this quality. A
similar idea is with the attribute of Metta Maha Niyom, which is the effect of
loving-kindness bestowing popularity.

Chok Laap - The attribute to bring wealth and good fortune, whereas the
very similar Maha Laap means great fortune. These amulets attract riches,
but again, the bearer still has to work to attain them. The amulets offering
Chok Laap are considered able to bring opportunities, but these opportunities
must be spotted and worked upon, and one must also consider what is great
fortune? Happiness? Enough to eat? People often mistake great fortune as
winning the lottery. If only it was that easy.

Maha Amnat - The bestowing of great charismatic power, which instils fear
in others, and grants authority. Uncommon in an amulet (Khun Paen, Rahu
and Lersi have elements of Maha Amnat), but not with Sak Yant, which has
many forms of this attribute as it is essential in times of war.

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 Kong Grapan - The bestowing of physical invincibility, an attribute again
more associated with Sak Yant but also occurs in amulets, with Khun Paen
being the best example.

Klaew Klaat - Freedom from all things that harm - accidents, gossip,
malicious intent and it helps the bearer avoid danger.

Maha Ut - Invincibility, impenetrability and protection. The magical substance,

Lek Lai often has qualities of Maha Ut due to its nature, which can flow and
be able to move, even though it is a solid substance. A good Lek Lai can
flow to form a barrier to stop bullets and knives, but a volunteer is needed
to test this. Anyone?

Khaa Khaay - Good selling power, and the ability to secure business deals.

Serm Baramee - The attribute to raise a persons prestige.

Serm Duang - The attribute to realign or refresh the fate of a person to be

of greater benefit.

Nang Niew - impenetrable skin.

Within the practices of The Thai Occult is a massive range of styles of

amulets that can be changed to appeal to the tastes of each generation or
recently, with the opening of new markets. The biggest change to hit the
Thai market in recent times is from the rising demand for magical constructs
from mainland China, drastically changing both the imagery used, and the
type of talisman made. Of some concern, is that fact that recently, the
Buddhist organisation has issued guidelines to restrict monks from making
amulets due to the over-commercialisation of some Wats, with Wat Bang
Phra being a prime example. There is also an active movement from the
conservative elements within Thai society to clamp down on the use of
human materials in The Thai Occult, so this is a period where the makers
will either have to become very smart with the way they present their works
or change their methods when producing magical items. The opening of
new markets in The West will help this process and protect the art itself.

Let’s now look at some of the amulet types by firstly using edited passages
from the first book on The Thai Occult (the red cover) and then seek the
help of some knowledgeable Ajarns for their opinions. There is a critical
process involved here. Over the past ten years, the knowledge of this style
of magic is perceived by many makers to have become confused, and in
many cases, wrong. It has been surprising how many Ajarns have been
eager to be interviewed, to put the record straight in a printed form that
everyone can read. As the world of The Thai Occult opened to outsiders
and foreigners started to visit the Ajarns, the knowledge that those people
carried away with them either became twisted through incorrect translations,
or through extreme marketing techniques. Everyone is guilty of this
process, which has also been noticed during the writing of this book, but.

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with the best translator and the help of the Ajarns interviewed, this book will
constitute a better appraisal of this system than has been available before.
The problems with translation generally come from the cultural references
that are an inherent part of the language so by choosing my partner, Bon,
to translate, he could spend the time necessary to get as close as possible
to what the Ajarns were trying to pass on.

Now is time to quote the Ajarns and to give them their system back. It
is they that are the source of both the knowledge and the magic,
not the sellers, and it is the Ajarns that deserve to be recognised as
the remarkable people they are. At the same time, it is important that they
also become available to visitors to Thailand, and then together, to fans of
magic, devotees and Luksit’s alike, the Ajarns can be in the position that
they deserve to be.

As most of the Ajarns in this book are Lanna magicians, there are bound
to be regional differences in ideas, but the important thing is that the
knowledge is referenced. This work is not trying to dominate any beliefs
held by others, merely offering the words of knowledgeable people on an
ancient system of magic that is yet to be fully understood by the outside
world.

To the Ajarns in this book, thank you.

Jenx

1. J.T McDaniel - The Lovelorn Ghost and The Magical Monk p109
2. p111
3. An interview with Ajarn Maha Metta January 2016
4. J.T McDaniel - The Lovelorn Ghost and The Magical Monk p110
5. An interview with a successful seller in Bangkok, February, 2016.
6. Watson & Ellen - Understanding Witchcraft and Sorcery in SE Asia p35

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 The Lersi

Before the interviews with the Ajarns, this is an edited version of the original
text concerning the Lersi from the first book in The Thai Occult series to
show the progress in the understanding of this deity. There is great interest
in the Lersi in the West, but as yet, little information from the Ajarns has
been passed on, which this section hopes to correct.

The Lersi (also known as Ruesi and the names are interchangeable) hermit
tradition is pre-Buddhist and is closely related to the Rishi of India. A Lersi
is a hermit sage that follows the natural law, wonders the forests and lives
a simple but magical life close to nature. For historical context, a Lersi
reputedly visited the parents of The Buddha when he was born, and the
Buddha himself sought out a Lersi for advice on his path to enlightenment.
The Lersi are traditionally represented as men of advanced age, with long
hair in a top knot, a long beard and as wearing a tiger skin. They are
usually depicted as aged and bent men, carrying walking sticks and wearing
the traditional mala beads. In Thailand, the most common types of Lersi
depicted in statues and amulets are that of a seated man with the head of a
tiger or cow or as an aged man with the distinctive hat of the Lersi.

The Lersi will traditionally spend their time meditating to develop their
psychic powers and collecting magical herbs, minerals and other substances.
These they use to make love charms and protective amulets to pass on
to their devotees. They wish to help other beings to be happier in life and
do this by telling fortunes, performing rituals, casting spells to reduce bad
karma, chasing away evil influences and spirits, offer protection from enemies,
or even increase one’s luck and wealth with a spell. Many Lersi wear a
tiger skin or reddish brown robe, whereas others don white, and devote
themselves exclusively to the healing arts. This kind of Ruesi follows Phor
Chiwok, named after the Rishi Chivaka who was the official doctor of the
Lord Buddha. A Chiwok Ruesi would collect herbs, minerals and healing
substances to make potions, and could be compared to the druid bards
in Western mythology. A Chiwok Ruesi will also be expert in orthopaedic
massage and other matters, such as Astrology. 1

When the Buddha was on his ascetic path to enlightenment, a Lersi taught
him how to meditate and also taught him the natural way of magic, something
The Buddha later rejected due to what he considered to be an impure
relationship with the pursuit of Nirvana. The Buddha realised that the
magical practices were not going to lead him to enlightenment with the purity
He perceived as being possible, only to higher realms of existence and the
abilities related to acquiring a favourable rebirth, clairvoyance, manipulation
of the elements, the power to command, healing and mastery of the
environment. His understanding of what He was seeking was the genius
of Lord Buddha, who rejected the use of the powers that can be attained
through some Buddhist practices as a distraction to a pure life. It has to be
noted here though that in Thailand, all the top monks are graced with, and
adored due to their magical powers, which brings a duality to their

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168. The Lersi shrine outside the Samnak of Ajarn Tui, which he built by hand.

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 169. An astonishing Pujow Samingprai by Ajarn Suea.
Carved from a Teak tree that grew on top of a termite mound.

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knowledge and a schism in the Thai way. Some consider that the accumulation
of what can be termed magic or even their making of amulets as not strictly
Buddhist, whereas others will see it as helping their devotees. As with most
contentious issues in Thailand, everyone seems to have their own opinion.

Another translation of the name Lersi would be ‘seer’, and an analogy can
be drawn with the wizard in Western mythologies. He represents the
mysterious, secretive hermit who lives a solitary existence, dwelling in caves,
the forest or on remote mountains. He can see the realms that ordinary human
beings cannot perceive, such as the three times (the past, the present and the
future), and he has special abilities attributed to his mastery of the natural
lore. The Lersi represents knowledge, and the acquirement of that through
studious intelligence, and can reputedly remember their past lives. In the
Thai pantheon, there are 108 Lersi, but only a handful are well known, and
praised as individual deities, a list of which follows. 2

Phor Gae

Phor Gae is the top Lersi who could cause fire when he opened his third
eye, relating him directly to Shiva and Hinduism as the source of all Lersi.
Phor Gae is the Lersi that transmits all knowledge to the world, and he
is the one who is often channelled by the Sak Yant Masters during the
initiation of disciples and for some, with the blessing of the tattoo (the Pruk
Saek). Some renowned Sak Yant Masters such as Ajarn Toy in Bangkok,
perform the task of giving a Sak Yant possessed by Phor Gae, and with
his eyes covered by a mask of this Lersi. The mask renders the Master
blind, which is seen as proof by his devotees of his abilities, and to see
the transformation of Ajarn Toy into Lersi Phor Gae is something to behold.
There are few examples of channelled magic in Thailand, where the practitioner
is possessed rather than the magic produced within, generated as a result of
prolonged meditative practices. 3

Chiwok

Chiwok is the Lersi that is dressed in white and is the Lersi for healing,
being the doctor of The Buddha himself. He holds the knowledge of the
herbs and natural medicine, and his statues are said to contain the power to
heal. In Thailand, a statue of Chiwok is often to be seen in Thai orthopaedic
massage establishments, but generally, only the reputable ones that offer
healing services, rather than the ones that provide a ‘happy ending’.

The Animal Headed Lersi

The animal-headed Lersi arose from devoted Lersi who, through high levels
of Samathi attained the ability to change their head into any animal of their
choice. The legend is that together, the Lersi with this ability were trying to
impress each other by transforming in turn until tricked to stay in that form.
The most common of these types to be seen in Thailand is the Tiger face
Lersi (Pujow Samingprai), followed by the deer, the bull, the monkey and

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 most rarely, the Naga headed Lersi (The Naga is a mythical dragon or
serpent-like creature associated with the story of the Buddha attaining
enlightenment, also known in Thailand as Phaya Nak).

The Tiger faced Lersi is the one that controls spirits and witchcraft. He is
the one sought for help in relation to all necromancy and Barang, giving
his devotees protection from all evil spirits and black magic, as well as
keeping the ghosts and spirits in line. Pujow Samingprai grants authority
in these matters, and it is common for anyone worshipping or working with
the spirits to have the Tiger-face Lersi on the top layer on their shrine. Pujow
Samingprai is depicted as carrying a book or a skull in his left hand, which
symbolises his knowledge and control of the spirits. Besides his proficiency
with all things related to dealing with the dead, many also praise him as
a teacher, asking for guidance and as a conduit to attain success in all
aspects of life. Most of the Ajarns visited during the making of this book either
has a public shrine to Lersi, or he acts as a significant part of their altar.

The Nine Face Lersi

In the past few years, quite a few of the old guru monks have made statues
and amulets invoking the nine face Lersi, with the most recent and exceptional
example being from Luang Phor Nong. Before his death at the grand age
of 93, this spritely monk brought together some of the remaining monks of
his generation to collectively produce an astonishing range of items. In the
outline for this work in one of the Thai amulets magazines, it reported that
the difficulty in making a nine face Lersi is the fact that the realms that have
to be accessed are so far from the human realm that the mind can get stuck,
unable to return. Luang Phor Nong was a monk for most of his life with
astonishing abilities, and this marked the zenith of his spiritual production.
After a full and long life filled with great vigour, Luang Phor Nong was ill just
for a few days before he passed away in 2015 4 .

From the same article on this production, it listed who the 9 faces
represent:-

1 . Lersi Parotmuni or Phor Gae is the sagely secretary/scribe who’s purpose

is to transmit knowledge to the world and is therefore the Lersi that is
channelled the most often devotees who Khong Khun (go into trance).

2. Lersi Narot is a musical Deva who’s purpose is to grant success through

Maha Saneah, Maha Metta and Maha Niyom.

3. Lersi Narai is the great wizard. Practitioners in every esoteric field must
respect him, not only in the field of magic or traditional medicine. His
purpose is to grant influence, and the authority necessary to perform their
duties and services.

4. Lersi Tafai is another powerful ascetic. Lersi Tafai has the strongest
supernatural powers, and his advice is sought with rituals. His purpose is to.

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inspire Wicha practitioners, those who follow the way of magical knowledge.

5. Lersi Tawa Having achieved success in the field of alchemy, his purpose
is to help others in this field, and he is called upon when producing Samlit,
the metal that contains both gold, silver and copper that is often used in the
finest amulets and statues.

6. Phra Lersi Ped Chalugan or Bull-head Lersi has vast supernatural

powers and knowledge. This Lersi is believed to be the first incarnation of
Phra Narai or Vishnu. His purpose is to grant supernatural power and high
influence onto devotees. He brings with him Metta for all humankind.

7. Lersi Pujowsamingprai or Tiger-face Lersi. This Lersi is an expert in the

suppression and subduing of enemies, and who’s purpose is to lead and
govern followers. Very good for authority over the spirit realm, and is
regarded as the controller of all the spirits and ghosts, making him an often
essential and common addition to the shrines of Ajarns.

8. Lersi Promma Paramit. His supernatural powers are on par with the rest
of the Lersi but he also possesses Metta, despite being fierce, and speaking
with a booming voice. He is the Lersi for Brahma, often depicted with four
green faces and eight arms, and his purpose is for granting influence.

9. Lersi Chiwok The great physician who took care of Lord Buddha during
his time on earth. He is a Master of natural medicine and he grants health,
and hence, he is seen in all the reputable establishments for therapeutic
massage.

The modern Lersi

In Thailand, Lersi Tafai Akhadamo is considered to be the last of the ‘true’

Lersi, and he passed away in 2005. He is considered to be the last Lersi
because of the difficulty of the lifestyle expected of them, as not many
people would spend decades as a hermit in the jungles and caves. Another
difficulty in following the old way is that a person wanting to be a true Lersi
cannot now find a Lersi to train them correctly as none remain. Many people
are claiming to be part of Lersi Tafai Akhadamo’s lineage, but none have
followed what is seen as the correct Lersi path in the way he did.

The life of the Venerable Tafai Akhadamo is a fascinating story. He trained

as a medical doctor, but he also acquired vast knowledge of the ancient
herbal medicine of the region, although he ended up as a brigand for many
years during a tumultuous time in Thailand’s history. At the age of 40, he
sought out a more spiritual path and became a student of Ajarn Thongdam,
living with his Master to study his ways, which included seeking out Leklai
in the most dangerous and hidden caves. After some time together, it was
Ajarn Thongdam who suggested that he wanted to perform the ritual
required to help him become a Lersi and as the time spent with his Master
enchanted him, he readily accepted.

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 This ritual was prepared following the strict rules of this ancient style of life.
He could not cut his hair for three years and had to cease eating meat or
blood for seven years before the actual initiation as, without this required
purity, there is reputedly a risk of insanity from the ceremony. At the same
time, he also had to adhere to 8 precepts:-
1 - Not to kill or cause injury to other beings.
2 - Not to take possession of anything that has not been given.
3 - To refrain from all sexual practices including masturbation and even
kissing.
4 - Not to lie, speak ill of anyone, be vain in speech or swear.
5 - No intoxicants, even coffee but medicines are allowed.
6 - No solid food after noon but in cases of severe hunger, sweet liquids
are allowed.
7 - No entertainment such as films, TV or music and no adornment of the
body for attraction.
8 - Do not sit above a noble or a senior in spiritual terms.

The initiation ceremony finally took place in the wild regions between Loie
and Uttaradit in Northern Thailand, and the spirit of a Lersi manifested itself
physically and asked what was required of him, eventually entering Lersi
Tafai to take up residence within him. The spirit of the Lersi was said to be
visible for over an hour, which is extraordinary as he usually would offer
just a few words via being channelled while in a trance. The ceremony was
reported to have lasted for three days and nights, which must have been an
ordeal. Lersi Tafai was then inhabited by this Lersi, who is a Deva that acts
as an intermediary between the world of men and the realm of the gods.
Lersi Tafai then went to reside in the thick jungle and only rarely appeared
amongst humans, when he would share his blessings. Towards the end of
his life, fearing that his failing health would no longer allow him to live alone
in the jungle, he established a Wat and spent his final years at peace 5 .

While this traditional role and path of the Lersi are now no longer possible
due to the modernisation of Thailand, there are still many famous Lersi
here, but according to numerous interviews with sellers and collectors of
talismans, they can now no longer find the solitude necessary for the truly
natural path. Few would say that this diminishes their role or abilities and it
is too easy to state that the Lersi is no longer a force to be reckoned with
as many now following the new Lersi path. All over the world, traditional
magical roles have changed by modernity, but their lore and nature can still
be kept by some and passed down their lineage. Notable modern Lersi
includes Lersi Sompit and Lersi Petmunee, and there are stories and legends
of ancient Lersi that appear sporadically in a few parts of the country. This
old path seems to be changing, and with these changes, there is a rise in
those becoming a Lersi.
1 Wikipedia entrance for the Ruesi.
2. www.lersi.net, a website that has influenced all writing on the Lersi tradition
3. Joe Cummings - The Sacred Tattoos of Thailand p164
4. Suksit Magazine December 2015
5. www.lersi.net

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170. A fabulous bronze to Lersi Ped Chalugan from Wat Bang Phra.

317
 171. A mask to Phor Gae.

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The Lersi - an Interview with Ajarn Nahn Khong
(The names Ruesi, Rishi and Lersi are all used for the same deity)

The history of the Lersi dates back to the period before the birth of the
Buddha, and originates from Brahman beliefs. The Buddha was a disciple
of a Lersi as part of his journey towards enlightenment, at which point,
many Lersi became a disciple of the Buddha, which is a natural part of the
constant flux within spiritual practices. The Lersi hold similar principles to
many of the great religions in that they want to follow a life of happiness
and goodness. They are renowned for solitary practices in the jungles and
caves of this region, and are depicted as the wandering hermit. There has
been an intermingling of the traditions of Buddhism and the methods of the
Lersi, as once Brahmanism was well established in India, the knowledge
spread with these wondering ascetics, bringing it to the region as a whole,
not just Thailand.

There are Lersi that are mentioned in both legend and history, Lersi Narot,
Lersi Tafai and Lersi Narai; many, many Lersi but we say that there are 108
although that number just means a lot, it is not a specific amount regarding
the Lersi. Each Lersi has mastered a different knowledge regarding the
attributes, such as Chok Laap or Kong Grapan, and they can be requested
to help an Ajarn when working with that attribute. Each of them also has
specific skills which can be called upon, Lersi Tafai is usually praised for
helping get rid of evil spirits, and Pujow Samingprai has the magical
power to control the lower spirits, he has authority over them, represented
as Maha Amnat. Most Lersi amulets do not usually have Prai, because they
use the power of the Lersi rather than the power of the Prai. The ingredients
of a Lersi amulet are often sourced from profoundly spiritual places; certain
mountains and caves, and they use specific Muan Sarn.

In many Samnaks, you will see representations of the Lersi as a statue

or mask, and they can be considered the great teachers or Kruba Ajarns
of ancient history. The Lersi can be called upon when help is needed with
many aspects of Thai magic, including the giving of Sak Yant, the making
of amulets, and even rituals. In Thai culture. A case in point is that when
starting to make a new movie or an actor begins a role, there will be a
ceremony where a Lersi mask will be used in a blessing (a Korb Sian
ceremony) to help and protect the people involved.

Many Ajarns become a monk as part of their early training, which is not
necessary, but in the Lanna culture, to become an Ajarn and have the respect
of others, being a monk at some point is essential. Ajarn Nahn Khong was
a monk for an extended period, and studied Pali in University. His whole
period of being a monk had a structured education with specific practices
that help build knowledge and Samathi. All magical and spiritual roles in
Thailand are blessed with having great teachers, and there is an in-depth
knowledge associated with them that takes a lifetime to learn. Being a monk
is the best practice to follow to prepare us to be an Ajarn as the practice of
Buddhism is an integral part of Thai magic, whatever the region. It brings

319
 balance to the magical system as the light is always there to combat the
dark, and Buddhism gives the Ajarns an opportunity to help devotees in
every possible way.

The practices of the Lersi have changed over the millennia, and now some
lineages of Lersi can marry, and the method appears to have become
more commercial. Some of the doctrines of the Lersi have been lost, and
the journey to becoming a Lersi is not as strict, or as principled as it was in the
past. Ajarn Nahn Khong considers that the modern Lersi are self-proclaimed,
and they dress up as a Lersi, claiming to have great magical power, but in
fact, they live like an average person, and never practice what is necessary
to gain the ability to bestow magic. There are few that practice in solitude
as they should, and the knowledge seems lost. To Ajarn Nahn Khong, it all
smacks of a scam.

Everybody has to make their own mind up regarding this issue, and decide
whether the Lersi they meet are genuine.

It has to be noted here that two Lersi were interviewed for this book but
neither interview can be printed because they were not worth reading. The
Lersi in question may have felt threatened by the questions posed, but they
were questions that most people who read this book could answer without
any problem.

The Lersi - An Interview with Ajarn Khaw

The Lersi were the disciples of Phra Shiva who now live in the higher realms,
and as we cannot contact the higher gods directly, we use the Lersi as a
conduit. The Lersi have a special magic, and can teach good meditation, so
every Master believes deeply in the Lersi. The Lersi have two names, Phor
Gae and Lersi but here, Phor Gae means all Lersi, not just the one Lersi.
Some Masters say Phor Gae, some Phor Lersi, and they are referring to the
same thing.

There are over 100 Lersi, but the top Lersi are Lersi Tafai, Lersi Naa Hua (Bull
Head), Lersi Pujow Samingprai, Lersi Narot, Lersi Narai, Lersi Phetchalukan
and Phor Chiwok. On Ajarn Khaw’s altar are statues to Lersi Tafai, Lersi
Naa Hua and Lersi Pujow Samingprai, because they are the ones he is
close to, the ones he believes in, the ones who bring power to his work like
an electricity line from the gods. Some Ajarns worship the same Lersi as
Ajarn Khaw and some worship others, it all depends on their perception,
and their magical lineage.

The first magic Ajarn studied for the Lersi was for Lersi Tafai, but it depends
on the Master and experience as to which Lersi each Ajarn or devotee feels
an attachment. Each has a different Wicha, and each Lersi will help if you
believe and have the right Wicha. They are used in a similar way to our
Masters who have passed away; the Lersi are energy to draw upon, to be
invited to come to help with any blessing or ritual.

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172. Lersi Kasem of Bangkok.

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 173. Lersi Kasem’s Lersi-mobile.

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It is not necessary to believe in all the Lersi; one is enough. If a devotee
wears a Lersi amulet, they can gain the good things from the Lersi, but they
have to believe with all their heart, and follow the correct path. Most Lersi
charms do not have Prai, but it is OK if you have Prai with the Lersi, if a
person likes Prai, it is fine as it is just a source of power. Generally, though,
Lersi amulets contain only sacred materials. An old Lersi Tafai amulet that
Ajarn wears has Leklai and Lek Nam Phi, both substances which have a
resident deity. A Master will use any holy material like a stone from a strongly
spiritual place, from sacred sites like Wats, from caves and mountains, and
the Muan Sarn also has to be special for Lersi. Even if it is the same Muan
Sarn that you see in other amulets, with these plants they must also come
from the holy place. Everything has to be very special.

Ajarn Khaw has made a Lersi Samingprai that has a Luk Om in the back,
which is a ball of special Muan Sarn (please see photograph 174 below).
The amulet itself though is made from a blessed powder (Pong), which,
when wet, an Ajarn uses to write magic and then delete it, over and over
again. So it has been used in many rituals, and for a lot of magic, making it
special enough for use in constructing a Lersi amulet. Lersi Pujow Samingprai
and Lersi Tafai are the most potent protection from spirits and black magic.
Each Lersi has a different character of magic to offer or drawn upon, and there
are many kata for each Lersi. The study of the Lersi is very time consuming,
and we must be truly dedicated to the Lersi to achieve our goals.

174. A Pujow Samingprai talisman by Ajarn Khaw

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 Khun Paen
(Khun was an honorific title equivalent to Baronet, but today is used as Mr or Mrs for
polite discourse with friends and guests)

The epic story of Khun Chang/Khun Paen is the outstanding work of

literature in the Thai language, a folk epic combining the social panorama
of a novel with the grand storytelling of an ancient saga. It was originally
developed in the oral tradition as a fast-paced tale of romance, tragedy and
farce spiced with sex, warring, adventure and the supernatural. The story
was written down, adapted and extended at the 19th century Siamese court
with two kings amongst the authors, but in effect, there are many versions
of the story 1 . The Thai linguist, William Gedney believed that “if all other
information on traditional Thai culture were to be lost, the whole complex
could be reconstructed from this marvellous text”.

The story of Khun Paen can be considered to be the Thai ‘Lord of the Rings’,
full of magic, mystery and intrigue, and it influences Thai storytelling to this
day, as can be seen on any Thai TV soap opera. Many of the soaps have a
spiritual and magical bent with women and men trying to outdo each other
in any way possible, including the use of black magic to capture the person
of their desire and get on in the world. They can be quite wonderfully barmy.

There is an incredible new translation of the tale from the authors Chris
Baker, a Cambridge University lecturer and Pasuk Phongpaichit, a Professor
of economics at the prestigious Chulalongkorn University in Bangkok. This
section of the book will quote from their work liberally as it serves as the
best and often only source for a range of Thai magical traditions that survive
today due to the total loss of most historical documents after the sacking of
Ayuthaya by the Burmese in 1765. It also has to be remembered that many
of the magical practices of this region are passed on orally, or with Wicha
books that can deteriorate within a lifetime due to the climate.

It is believed that the tale of Khun Paen is based on actual events in around
the year 1500, but that the story absorbed several other tales and stories as
well as any natural embellishment that occurs through the constant retelling
of this classic fable. All Thai school children study this story as part of their
education, but it is usually from a sanitised, state-sanctioned version and
some of the content here has come as a surprise to Thai friends. The powers
that be do not tend to promote stories of baby roasting, spirit familiars and
the casting of spells to the general populace, but as you will see, the story
provides a historical context to this book that is invaluable.

The story itself is a classic love triangle that ends in tragedy. Khun Paen
(dashing but poor) and Khun Chang (rich but ugly) compete for the lovely
Wanthong from childhood for over fifty years. Their contest involves two
wars, several abductions, a suspected revolt, an idyllic sojourn in the forest,
two court cases, trial by ordeal, jail, and betrayal. Ultimately the King
condemns Wanthong to death for failing to choose between the two men
and causing so much trouble. It is fast paced and stuffed full of heroism,

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175. A fabulous Khun Paen bucha by Ajarn Subin.

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 176. Khun Paen roasting his baby.

177. A coloured and carved Panneng

to Khun Paen.

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romance, sex, violence, rude comedy, magic, horror and passages of lyrical
beauty (again, modern Thai TV soap operas!). The story is so universally
known here that it is a source of songs, popular sayings, and common
metaphors, but it is the magical content that this book is going to reproduce
from this excellent newly translated source. The book itself by Professor
Chris Baker and Pasuk Phongpaichit is highly recommended, and the
extended version is well worth the extra effort, all 1,500 plus pages of it.

Khun Paen - The Master Sorcerer

Khun Paen was surrounded by war, magic and soldiers from a young age,
growing up as the son of a valiant soldier in violent times. After his father
died in battle, Khun Paen begged his mother to allow him to ‘gain the
knowledge’ 2 to follow in his father’s footsteps, and he was sent to the
abbot of Wat Som Yai to begin his studies. These studies included reading,
writing, numerical skills, religious and ethical teaching, astrology, the
military arts, and mastery of supernatural practices through yantra and other
devices. It has to be noted here that up to the late 1700’s there was still
a Department of Knowledge in the Thai government, among whose duties
was looking after texts on warfare, and distributing charms and formulas for
invulnerability to soldiers. The magical path seems to have been an integral
part of the martial way for the Siamese, as it is considered here that many
battles are won before the fight, not just during the campaign itself.

At the temple, he was to be taught the ‘inner ways’, meaning skills in tapping
the exceptional forces that are believed to be latent in the individual, using
various methods including meditation, kata and knowledge of yantra. The
‘Inner ways’ is a phrase that nicely captures the depth of knowledge,
its arcane origins, and its reliance on the talents of the practitioner. These
skills stem from a tradition of asceticism and self-mastery embedded within
Thai Buddhism that has then been passed to its martial and classical arts.
Khun Paen learned quickly, and was eventually taught everything the abbot
knew until he was sent to Wat Palelai to continue with a higher Master of the
inner ways. Khun Paen was taught how to make a sword for war, a buffalo
charm (against black magic attack), how to enchant ‘dummy soldiers’, the
raising of spirits, invulnerability, invisibility and illusions, and how to charm
a woman so that once their eyes met, she would never forget him 3 .

In parts of the text, it is easy to glean his abilities.

He scattered rice mixed with the bones of the dead, ensuring that all in the
house were overcome with drowsiness, and fell asleep instantly. 4

In the forest there will be no one to rely on, only my spirits and spirit
dummies. 5

The spirit dummy here was referred to as Hun Phi, some material moulded
into human shape, and then enchanted so that a spirit resides in it,
effectively bringing it to life. Later in the story, Khun Paen creates armies of
such figures from grass.

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 He cut grass, tied it into 1,000 dummies, scattered enchanted rice and the
dummies came to life as people.

These are accepted to be a variety of Hoon Payon; an ancient animist spirit

protection figure still made using similar techniques today in the more rural
parts of the country. Khun Paen created hundreds of these for a battle with
terrifying effect, and it seems that the armies of each side used to wield
supernatural forces in the pursuit of victory.

Dummy attacked dummy, stabbing and parrying, clashing pike against pike,
wrestling hand to hand in uproar.

One of the most incredible sections of the story comes when Khun Paen
decides to arm himself with all he will need to win.

I’ll forge a sword, buy a horse and find a spirit son to give me the expertise
and knowledge to overcome my enemies.

In Thai folklore, Khun Paen is credited as the inventor of the Kuman Thong,
the ‘golden child’, a spirit type that is legendary for both its power, and
connection to his bearer. 6

The reading of this tale is vital for an understanding of the history of the Thai
Occult, because this is the first reference to the making of a Kuman Thong
in all Thai literature. Kuman is from the Sanskrit Kumar, which means son or
Prince and Thong is gold, so the Kuman Thong is a golden spirit son. These
spirit sons are derived from a child that died before or during birth, but the
most powerful of these are the spirits of infants that died in their mother’s
womb, along with the mother. These are believed to be especially potent,
perhaps because they not only contained the energy of the life not lived with
the child, but added to this is the protective energy of the mother. This ghost
is classified as a Phi Tai Tang Glom, one of the most potent supernatural
forces in Thai magic. Another famous form of these child spirits is a Luk Krok,
a stillborn baby, small, and not fully developed. This is dried and kept as a
powerful protective charm, to be nurtured and enchanted so it will love, and
hence protect its Master. Both of these types can be astonishingly violent
and powerful spirits, reputedly capable of killing people.

In the old version of the story, to acquire his spirit son, Khun Paen found
a suitable graveyard, cordoned it off using blessed thread (Sai Sin) and
raised the spirits within to create an army, cutting the tongues from each of
them to be assured of sublimation (and also a quieter life). In return for their
obedience, he promised to praise and feed them, to give them a taste of the
life they missed, and they rallied to him! 7 He then found the grave he was
searching for, dug up the corpse and cut the spirit of a child from the womb
of a woman who died while pregnant, and her ghost failed in the attempt to
stop Khun Paen. The older versions of the story are more ghoulish, and they
fully express Khun Paen’s power to control the spirits of the dead, especially
this violently powerful and potentially malicious Phi Tai Tang Glom ghost.

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178. Ajarn Apichai, the Lanna Khun Paen.

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 179. Ajarn Apichai blessing his Khun Paen Prai amulets in the graveyard; seeking
the help of the spirits present to make the amulet strong and effective.

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These types of ghost can be recruited and directed by adepts with the right
skills, such as Khun Paen, who can use them to deliver messages and
serve as soldiers or assassins.

In one of the newer versions of the story, Khun Paen is shown to be utterly
ruthless in his desire for a spirit son, and the power it will bring, because
he kills his concubine, Phim and cuts his son from her pregnant belly! 8 He
then took his dead son to within temple grounds so his mother’s vengeful
spirit could not enter, and affect the process. The recitation of learned,
powerful kata was used to achieve his will, but he did not follow the modern
practice of instilling the Kuman Thong into a figure or amulet. Instead, he
created a spirit familiar from the carcass of a baby, bound to him by magic.
First, Khun Paen constructed a ritual area with posts of armour wood in the
four directions, a ceiling of white cloth with inscribed Yantra and seven circles
of sacred thread. He then used holy woods to build a fire, and grilled the
body evenly, finishing the rite before dawn and then applying lacquer and
gold leaf. The application of lacquer was an old practice carried out on corpses
to make them less disgusting to the living. This action disguises any of
the rapid decomposition that occurs in the tropics, as was the application
of gold. 9

There are constant references to magical practice in the tale, with another
version of the story of Khun Paen saying that he had a Panneng. A Panneng
is an amulet or altarpiece that uses the third eye region of the skull, and is
one of the most powerful tools within the magical arts of Thailand. There’s
no mention of how he acquired it or whether he made it, but it can be taken
as confirmation that the art was practised at that time. In fact, in the book,
there are a few references to the use of Panneng, and this suggests that it
was a common ancient practice. 10

…a belt made by digging up the corpse of someone who died a violent

death, sawing the skull into strips, weaving the strips into a belt with a
checkered pattern and inscribing Yantra.

… awesome looking spirit-skull belts, bandeaus infused with power.

The best reference to the use of Panneng was to create a type of vest or
chest armour of pieces of skull, woven together using the hair of the corpses
they came from. (Which sounds amazing!)

Khun Paen Makes A Sword

The legend of Khun Paen provides an early reference to how the Thai
people made magically powerful swords. The procedure for creating Khun
Paen’s sword is still mirrored today in the method for producing a Miit Mhor,
an adept’s knife, which would be made from metal from various sources,
fired with auspicious woods and Yant inscribed blades. 11 (A Miit Mhor is
used in Thai magical and spiritual practice to channel energy, bless,
exorcise and empower other ritual objects. 12 )

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 180. The modern day Miit Mhor still follows many of the
metallurgical rules from the time of Khun Paen.

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The metals used in the sword came from the peak of a stupa, a palace and
a gateway, the metal of a coffin ornament, metal used in a Wat, which could
be a hinge or nail, metal from various old weapons and the metals used to
cast a Buddha, which is generally a mixture of gold, iron, copper, bronze
and silver. The final addition would have been a substance called Lek Lai,
that can be a naturally occurring metal-like compound that is believed to
convey invincibility, and this substance still holds a mystical status in
Thailand. Lek Lai possesses both life and spirit, and can even be used as
an insert into the body to protect from both spiritual and physical attack.
Many modern-day Ajarns have Lek Lai inserted into their flesh for this very
same purpose.

In all, the sword for Khun Paen would be doused and beaten seven times,
and inaugurated on an auspicious day, usually at around midday when the
sun is at its highest point. The handle was inscribed with the Buddhist wheel
of the law, and finally, the hair of a fierce spirit was sealed into it. In the
story, when he raised the sword the sky grew dark, rain fell, and thunder
rumbled; so he named the sword, Skystorm 13 .

In the Siamese tradition, the methods of protective magic, the idea of mastery,
and the belief in spirits have become closely intertwined. Knowledge of
oneself gives the adept the ability to control spirits, and activate natural
forces using a repertoire of formulas, unusual substances, and other devices
14 . In the making of his sword, Khun Paen draws on all three of these
techniques, and instils the weapon with exceptional power.

It should be noted that initially, Khun Paen received his training from abbots
who had no sense of the modern idea of the incompatibility of their ways
with the strict tenets of Buddhism. At that time, it was considered that they
both followed the ‘natural way’. These magical practices seem to have
always been part of the Thai Buddhist way, even after the reforms of later
kings and the changes by the Sangha, (the Thai Buddhist governing body)
and these practices are still to be found to this day 15 . Monks still carry
out rites that are not strictly part of Buddhism, and the forest monks are
often accredited with supernatural powers through a life of asceticism and
dedication to kata 16. Devotees are drawn to these monks, and associate
themselves with these remarkable people to have their abilities influence
their lives in the pursuit of happiness, love and success.

The Modern Worship of Khun Paen

Despite the fact that in modern Thailand, Khun Paen is viewed with
suspicion for his cruelty and womanising ways, he still holds the position
of a national male deity to the point where he is placed on a higher level
on an altar, above the ghosts and spirits. He is traditionally regarded as an
example of manhood, a bold, daring warrior, a womaniser, and a mystic with
a following of female admirers and protective spirits. The makers of amulets
and statues use the deity of Khun Paen as a source of magic to bestow
certain qualities on his followers:-

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 To naturally attract the opposite sex, rather than through force.

According to Ajarn Apichai, there is a significant perception problem with

this ability, in that people think it will give them power, and an excuse
for inappropriate behaviour. Ajarn asks why would you want a slave rather
than a willing participant? And why would someone want to be with you if you
behave in this manner? (Except for some of the more esoteric sexual practices).
What the attributes of a Khun Paen talisman do give is an advantage
that you can then grow into, and develop within the confines of the magic
available. As mentioned many times in conversations, wearing a Khun Paen
talisman is a chance for you to grow as a person, not an excuse for bad or
arrogant behaviour.

To influence those present to like, trust, respect, and admire the bearer.

Develop an indestructible confidence, bolstering courage in all aspects of

life.

Makes it easier for people to grant favours, and give help.

Helps gain the upper hand in business or career.

Attracts luck, and bestows charm.

Gives victories in all aspects of life.

Strong protection from all harm.

These are all aspects of life that the devotees of the Thai magic want to
boost within themselves, which is why Khun Paen is such a popular deity.
His amulets can be classified into two major types according to the way
they look. There is a mainstream Khun Paen, where he is shown on his
own, very much looking like a Buddha and the Kuman Thong Khun Paen.
The mainstream type is usually made with herbs, natural earth soils and
incantation spells, whereas the second type is made using cemetery soils
and corpse materials.

Very often the question arises as to whether a Khun Paen amulet is suitable
for members of the opposite sex to use as a talisman, and the answer is
entirely yes 17 . There is no restriction for women if they choose to wear a
Khun Paen amulet. It works for both male and female, because the essence
of Khun Paen is about bestowing a charming ability to its owner, along with
its protective power.

It has been stated by the makers and sellers that Khun Paen amulets never
do any harm to its owner, but instead increases the good fortunes in the daily
life of the worshipper, although the owner must share the merits accrued
from performing good deeds. With many good amulets, becoming involved
in vice activities is thought to weaken an amulet’s efficiency, but not a Khun

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Paen, as he promotes a wild but controlled behaviour. The limit to this
behaviour would be where the devotee creates bad karma, which will
generate suffering, no matter how expensive or strong the amulets in question
may be. In the West, it is considered that magic and the occult is a matter
of power, which can lead to all sorts of problems as the thought that we
are powerful is terrible for the ego, and this can affect behaviour. What is
important with all aspects of the Thai Occult is to gain the Samathi required
to understand our actions, and to use the magic in a balanced way.

It is quite common to find an image of a Kuman Thong on a Khun Paen

amulet, where a baby Kuman is seen to be lying below Khun Paen. It can
also be depicted with two Kuman Thong at each side with hands clasped
in reverence of Khun Paen. A famous example of this type was made
by Luang Phor Timm of Wat Lahanrai, who was dubbed “The King of Khun
Paen” due to the power of his amulets. Luang Phor Timm ascribed this
power to the sacred components within the amulets that contained powdered
bone from an unborn baby (known as Prai Kuman) and soils from 7 cemeteries.
Luang Phor Timm’s Khun Paen amulets are the earliest ones of note, but it
can be presumed that the practice of making these amulets predates this
Master.

Luang Phor Timm is the most famous maker of Khun Paen amulets (he
passed away in 1975), and his are some of the most expensive charms to be
found in Thailand, which has lead to umpteen versions of suspicious origin.
In 1971, Luang Phor was informed that it was a particularly auspicious year
to produce efficacious amulets, and he set about searching for the right
ingredients. LP Timm needed a baby that had died with its mother on a
Tuesday, and was going to be cremated on a Saturday, as this would be the
best source of the Prai element to power the amulet. He would then need a
ritual performed that involved a special Pha Yant (magic cloth drawn by LP
Timm), special Kata and a Miit Mhor to break bonds, and affix new links to
the spirit of the dead child.

A temple helper managed to find a deceased lady that fulfilled these criteria,
and the family was approached for permission to use their relative for magic.
In these cases, the family will worry that when a lady dies when pregnant
there is a good chance that the spirit will turn into a vicious ghost, and be
unable to rest in peace. By offering the corpse to LP Timm to be used for
his ritual, they hoped that the beneficial karma gained from using her body
in this way (to benefit others) would aid their relative into a better rebirth.
Once permission was granted, the temple helper removed the corpse of the
child from the mother using the instructions from LP Timm, and as he was
carrying the body back to Luang Phor, he could hear the ghost of the mother
demanding the return of her child. LP Timm performed rituals for many days
and nights in the main hall of Wat Lahanrai, and when finished, he asked
his helper to go and bake the corpse and later, to grind the skull into a
powder. It is these powders that made his Prai Kuman Khun Paen amulets
so strong. The author has held some real LP Timm amulets and can attest
to their potency, they are incredible (but so is the price).

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 A disciple once asked LP Timm why he chose to use the skull of a dead child
in this process. He answered, ‘When we plant a tree, we want to eat the
fruits quickly, so it is best to use good soil and to give the tree everything
it needs to grow. It is similar to wearing an amulet. We want the charm to
provide merit, and bring protection to our lives, so it needs to be made in
the best way. The Prai Kuman Khun Paen amulet will provide merit from
Lord Buddha, but the intense power and protection will come from the Prai
Kuman” 18 .

In recent years, there have been many Khun Paen amulets produced that
display a sexual element, which have been incredibly popular. Often they
show the consorts of Khun Paen as nude females surrounding him, or even
indulging in various wild sexual acts. This style of Khun Paen amulet has
the sole purpose of generating Maha Saneah, or opposite sex attraction for
the worshipper. An amulet of this type is for the Casanova ideal that some
men desire (Khun Paen is often called The Thai Casanova, and men with
many ladies are likened to Khun Paen) and the amulet will be blessed with
specific spells and potent ingredients, to benefit the owner in achieving his
desire for love, sex and affection.

In modern Thailand, Khun Paen is perceived as a hero, and a national figure

who’s ideal can be drawn upon in times of national unrest. The worshippers
of Khun Paen do not necessarily worship him because of who he was and
what he stands for, but because of the attributes that his amulets and statues
bestow. The characteristics of Maha Saneah and Metta Niyom are the most
popular attributes to acquire to aid life, and Khun Paen acts as one of the
best sources of these attributes.

An Interview with Ajarn Apichai - The Lanna Khun Paen

One of the many Lanna magical formulas to make a Khun Paen is that first,
Ajarn Apichai has to collect soil from a graveyard as well as ashes, as many
ashes as he is allowed to take after requesting the permission of the guardian
spirits of the graveyard. The correct kata must also be recited throughout
the process of collection, and great care has to be taken to choose what to
take, and where it should come from in the cemetery. With the Wahn content,
he uses many of the Wahn Saneah Jan (special herbal mixtures and there
are many of these used in the Thai system), that offer Maha Saneah, Maha
Niyom and Chok Laap, and as the combinations of these mixtures affect the
outcome, they can be balanced in many ways. Added to this mixture is a
powder that comes from making a particular type of Yant. Ajarn would write
a Yant, and then thoroughly erase it to get the powder for the mix. During
the whole process, there have to be astrological calculations to find the
best time and day to both make these mixtures, as well as when assembling
them before moulding the amulet itself.

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It is when moulding the mixture that Ajarn has to chant the kata that places
the 32 parts of the body into the amulet to construct the new spirit body
within (if it is a Prai Khun Paen). There are two opportunities to Pruk Saek
a Khun Paen, the first gives power to the basic mixture, and the second
is performed when adding the Prai to the mix. Adding the Prai element is
useful for Saneah, but if it is a Khun Paen without Prai, that amulet is better
for Kong Krapan (although all Khun Paen’s do have an element of both
attributes whether Prai is present or not). When Prai is present, to follow
the Lanna Wicha the bone must come from three sources; a male source, a
female source and a child source. Having three bones sources results in the
fact that there are three ways to access wishes from the Khun Paen, which
significantly expands its usage. If wishing for wealth and fortune, seek the
Kuman Thong within the amulet with your mind, and make the wish. When
wishing for lovers, the devotee has to pray to the female Prai element to
have that wish fulfilled, and If wishing for Saneah or Kong Grapan, pray to
Khun Paen directly through the male spirit. It is possible to Pruk Saek a
Khun Paen amulet anywhere, but where Prai is present in the amulet,
performing it in a graveyard is best, because the spirits present support
Ajarn Apichai in the task of consecration. The correct procedures bring the
best possible outcome with the finished product.

There are many recipes for a Khun Paen and all of the ingredients add
power to the amulet, although the spell still has to be for Khun Paen. Here
is an example of the contents of one Khun Paen amulet that was released
by Ajarn Apichai.
1. Waan Maha Saneah 108 (a mixture of many different plant sources that
add attraction)
2. Ground old amulets.
3. Saneah Yaa Faet - a powder that helps attract, and control prospective
lovers.
4. Dirt from 9 graves, 9 Temples, 9 markets, the four corners of the lands,
and 9 rice fields.
5. Bone ash from four Phi Tai Hong ghosts, two male, and two pregnant
females.
6. A mix of ground bone powders given to Ajarn by a Master of Lanna magic.
7. Waan oils that include Waan Sow Long oil, Waan Dok Thong oil, Waan
Kai Daeng oil, and Waan Saneah Jang oil. Waan Kai Daeng oil is renowned
for it’s sex attraction, and it gives the red colour to any Nam Man Prai where
it is part of the mixture. This oil is often described as the best for a Kama
Sutra effect.
8. A mixture of 9 generations of Nam Man Prai.
9. Takrut Hua Jai Khun Paen Prai Kaew - the heart kata of Khun Paen.
Much of Ajarn’s Wicha for Khun Paen talismans came from Luang Phor
Saneah of Wat Thian Khang and Ajarn speaks very warmly of the old monk,
who is famous for his Saneah Wicha.

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 For ease, when a reference is from Chris Baker . Pamuk Phongpaichit - Khun Chang/Khun Paen
- 2010 only a page number will be given.
1. xi
2. p55
3. p59
4. p333
5. p316
6. p316
7. p323
8. p1193
9. p992
10. p616, p621, p878
11. p318
12. www.mitmor.com
13. p320
14. p943
15. p945
16. Tambiah, Buddhism and the Spirit-cults 49-51 Tambiah, Buddhist Saints of the Forest 45, 315
17. An interview with Ajarn Verathep, August 12, 2015.
18. The amulet magazine Saksit, August, 2014.

181. The front and back of one of Ajarn Apichai’s classic Khun Paen’s, which has
three bone sources, including a chip of Panneng.

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The Kuman Thong

The word Kuman (from Kumar) comes from the Sanskrit to mean son or
Prince 1 , while Thong comes from the Chinese for gold 2 . The earliest
reference to Kuman Thong in Thai history is with the story of Khun Paen, a
warrior who is reputed to have lived around the year 1500, and the folktale
forms the style of storytelling that still pervades Thai culture today. In this
incredible saga of magic, intrigue, war, love and betrayal, there are numerous
descriptions of the magic of that time, making it the earliest historical reference
for the Thai practices. The invention of the Kuman Thong or ‘Golden Child’
has been accordingly accredited to Khun Paen although it does state in
the tale that he learned the knowledge to perform this task from the skilled
adepts of the time 3 , which suggests that the source of the Wicha is lost in
the mists of time.

In the Thai magical system, there are a few types of child spirit that can be
used as a powerful ally, and they mention the most powerful ones in the story
of Khun Paen 4. The spirits of infants that die in the womb are believed to be
magically potent, considered such because they contain all the energy of
the life not lived. A child has no comprehension of the behaviour expected of
it until it is taught, and these spirits can therefore be made into a devastating
force. The magical lore can be said to adapt to the times in which they are
used, and this story takes place during numerous wars and periods of social
strife.

There are a few versions of the story that depict how Khun Paen made
his Kuman Thong, some highly sanitised and some extremely raw. The tale
has been rewritten many times, but in the most famous one by Prince
Damrong, Khun Paen cordoned off a graveyard with blessed thread, and
raised the ghost of a mother who had died while pregnant, cutting the spirit
son from her belly 5 . This type of ghost is technically known as a Phi Tai
Tang Glom and is supernaturally potent because there is both the spirit of
the child that is craving for life, and the ghost of the mother protecting it. After
a long and terrifying battle in the graveyard, Khun Paen showed that he had
the abilities to deal with this ghost, which in modern terms, ranks him as a
high adept. While in that graveyard, he also persuaded hundreds of other
spirits to follow him in exchange for adoration, and they rallied to his call!

Another version of the story by Khru Jaeng has Khun Paen murdering his
consort, and cutting his son from her belly 6 (it’s one hell of a story). He then
roasted it over a fire to desiccate it, all the while chanting powerful mantra
to bind the spirit to him. He may have also used any resulting oils, which
is another astonishingly powerful necromantic tool, and then the tradition
states that the baby, once dried and desiccated would be covered by a type
of lacquer or beeswax before finally adding gold leaf 7 . Adding gold to the
face was an old practice to beautify the dead, making them less disgusting
to the living, and it is one of the possible sources of the name ‘golden child’.
In the versions of the story, Khun Paen creates a Kuman Thong that either
resulted in the death of the mother or came from a mother that died before

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 the child tasted life. The strength of character he would need to be able to
cut out his own baby, or take the ghost of a dead baby from its spirit mother
is beyond anything imaginable. From this procedure, Khun Paen acquired
the most potent type of Kuman Thong, a spirit familiar that could kill, deliver
messages, and deceive his enemies 8 .

An idea of his relationship with his spirit familiar can be gathered from the
story, who would either appear when called, or would whisper in his ear
when not summoned but had something to pass on to his Master. He would
even perform tasks:-

Goldchild entered the Palace and sat upon the King, immobilising him.
Baker - Khun Chang Khun Paen p661

Goldchild replied, I won’t make him die, just so hurt and ashamed that blood
flows from his eyes. p346

There are many instances in the tale where the Kuman Thong showed what
he was capable of, suggesting that this was not like the modern Kuman
Thong, where an effigy carries the ghost. Khun Paen’s Kuman was a spirit
that he could see and hear, and it had the capabilities to kill or bewitch his
enemies, making it equivalent to a familiar in Western magical practices.
There is no mention in the story of Khun Paen carrying his Kuman, so the
body must have been kept elsewhere. The way of making his familiar by
roasting it also seems closer to the way a Luk Krok is made rather than a
Kuman Thong, but more on that in a later chapter.

Many Kuman Thong use the remains of children that died before birth without
the mother’s associated death, and this type constitutes the bulk of Kuman
Thong amulets and statues made during modern times. A Kuman Thong of
this type can still be a powerful necromantic ally, but they are generally more
aligned towards bringing luck and wealth rather than any violent actions.
The other kind of child spirit, the Luk Krok, differ in their nature. The Luk
Krok is an enchanted spirit that builds a loving relationship with his bearer
to become an entity that can be highly protective. They used to consist of
an actual desiccated child or foetus that had been made into an amulet
although nowadays, the maker would use Prai materials from a suitable
corpse and place them in an effigy of a Luk Krok. Their nature is entirely
different from a Kuman Thong, and therefore, the Wicha that created them
should differ too.

Even though the practice of killing one’s concubine and cutting out the body
of your dead son and roasting the carcass, may have lost its allure to most
modern people of right mind, it is thought that this still occurs in some rural
areas, or remote parts of South East Asia. The spirit produced from this
process is of such power that those adepts who follow the Saiyasart
traditions of this region have been known to desire to attain familiars similar
to that of Khun Paen. There can be a terrible price to pay with this path,
although in the short term the practitioner may get everything he could have

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182. THE classic, modern Kuman Thong were made at Wat Sam Ngam, near to
Nakhon Pathom, where this 8 feet tall Kuman resides.

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 183. Luang Phor Yaem of Wat Sam Ngam died in 2017 at the grand old age of 102.
One of the fathers of the modern Kuman Thong.

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hoped from the golden child. The belief of monks like Luang Phor Amnat
about this path is that the rewards are excessive, but at some point, it all
crashes down unless the adept adheres to a strict balance between what
is given, and what the practitioner puts back into his ‘karmic bank’ through
merit and good deeds. The problem is that often, power corrupts, and the
warnings of others have no effect on those who turn to the black side. Luang
Phor said that it takes a highly focussed person not to be pulled astray.

The aspects of a spell, and whether it can be said to be black or white magic
can be defined in many ways, but in the opinion of most people interviewed,
it depends on whether it does harm to the person in question, or whether it
forces them to do something they do not want to do. In general, all the Maha
Saneah (attraction) amulets are classed as white magic, because they give
us an advantage that the individual can then act upon, they do not force the
subject to conform to the will of others, they charm them. Charming magic
differs from using a powerful necromantic oil to enslave someone, or using
a Kuman Thong to attack a rival or enemy. It has been stressed strongly by
the makers themselves that to use a strong Kuman Thong to attack others,
and cause harm, is a path that should be avoided.

In the Thai beliefs, there are four different types of the Kuman Thong that
can do serious harm to others, listed here out of interest.

Kuman Thong Pretsoon – This version of the spirit can travel and get into
the minds of the subject who is being attacked, and can reputedly drive
them insane.

Kuman Thong Pretdub – This is regarded as a cold-blooded killer that

waits for its intended victim, and can slice open their throat as fast as any
professional assassin. The adepts who can wield this Kuman Thong have to
be assured of their own protective abilities due to the ferocity of this spirit.

Kuman Tong Pretkong – This type prefers to stay near its altar, but once
disturbed can chase the victim anywhere, and is relentless. He is a wild
black magic child that is difficult to subdue once enraged.

Kuman Thong Pretmun – This one only operates within its own sphere of
influence, and is perfect for strong protection of the home or business.

Many stories have emerged of people unexpectedly dying while robbing

a house, and some of the deaths have been associated with a resident
Kuman Thong, gifting a salacious story to the eagerly superstitious media
of Thailand.

No one is 100% sure whether these types of Kuman exist or whether they
are a part of the lore of these necro kids, but the same classifications and
types have been mentioned in interviews more than five times, suggesting
that doubting them may be foolish. The same five people also spoke in a
whisper when talking about them.

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 The vast majority of Kuman Thong do not conform with the vision of the
makers of the above types. Instead, they are more interested in helping
their followers and devotees have a better lot in life, rather than following
a path of revenge or violence, which only leads to bad karma. The modern
Kuman is designed to lift the fortunes of their owners, and come with a spirit
which is entirely different from the dangerous versions mentioned above.
The power for this type of Kuman comes from the desire for life from a
spirit who lost its chance to live, and the Thai makers can use that power,
and turn it to the advantage of the bearer of the item. The magic for these
talismans comes from the Prai materials, which have to constitute some of
the remains of a child. These remains predominently consist of bone, but
hair, fingernails, teeth, and body oils that are expelled during a ritual before
cremation can also be used.

It would be wrong to imagine that there is a culture of baby stealing, and

the roasting of them on a spit in Thailand, although some articles would
certainly suggest otherwise. The quantities of these Prai materials needed
to hold the spirit to the statue or amulet is small, but they are essential for
the item to be of any use. Some makers have suggested that a Kuman
Thong can be made without the presence of such materials, but some
people are not convinced of that as there would be nothing present in the
item that the spirit can bind to, and consider it as part of its body. Some have
suggested that the presence of Prai materials is faked due to the difficulty in
obtaining them, but that is not the case (unless the whole thing is a fake,
which happens). The rural areas of Thailand have a higher mortality rate than
the cities during pregnancies, and this is the same with the fetal remains from
abortions or miscarriages. Many of the abortion clinics here are quite
secretive and therefore, away from scrutiny, which serves to save the blushes
of those who make a mistake amidst their sex life. Thailand has a high rate for
teenage pregnancies, and the aborted remains would be invaluable to any
maker of these items, should they be able to acquire them.

From the stories that come into the news feed in Thailand, it seems many
makers have followers who work with the dead. For instance, there is an
organisation here called the Por Teck Tung, a group of volunteers who
collect the bodies of the dead from road accidents, suicides and murders. It
is an act that is considered beneficial for a Buddhist to experience the frailty
of life, and can be a part of their studies in the philosophy. Should the dead
collected include suitable candidates for the work of a local Ajarn, there is a
good chance that he would be informed, and then some Prai materials may
be obtained at a later date. There is also one Ajarn who works at cremating
bodies, and he gets the chance to make some of the best Nam Man Prai
made today. Add to this the plethora of backstreet abortion places, and
it is not difficult to perceive that the acquirement of suitable materials
is possible, especially when you consider that most of the population is
cremated. There is ample opportunity to acquire these items, and plenty of
people who will either profit from it financially, or through their association
with a monk or Ajarn. The government is presently trying to restrict access
to these materials, an effort which is having some effect.

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184. A fantastic Kuman Thong bronze from the monk, Luang Phor Sanit but with the
new regulations regarding the posting of bucha, these are going to become rare.

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 185. This is an original Kuman Thong Duud Lok bucha from Luang Phor Pina, and
he has followed the old way of construction. Inside is a piece of the correct child
source, and then he has built a rough exterior from a mixture of earths. There are
also Akhara inscribed in his hand into the Kuman, making this both powerful and
very rare indeed.

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Styles of Kuman Thong

The Kuman Thong is a popular talisman in Asia, and this presents to the
makers a vast marketplace to test their magical and artistic prowess. There
are chat sites dedicated to Kuman Thong, pages on Facebook and websites
offering what they consider to be the best Kuman Thong available. Some
of these get a little extreme with the marketing, as is the way in certain
parts of Asia. In Singapore, there are websites that promise wins on the
4D lottery, with flashing headers proclaiming, Buy this Kuman Thong and win
big!!! 9 While being a little comical and a reflection of the gambling culture in
certain parts of Asia, it also displays aspects of each culture’s relationship
to their spiritual and personal needs. China, Malaysia and Taiwan are also
centres for the sale and promotion of Kuman Thong, and it seems that the
further the distance from the source, some of the spiritual aspects of this
ghost veneration are lost.

Each maker of Kuman Thong talismans uniquely expresses their art. Some
Kuman Thong are produced in a raw but vital way, and these will tend to
show what they are made from, what they contain. They may be encrusted
with bone chips from a child, or simply made from a moulded mixture of
earths and Prai materials. These earth mixes can vary between lineages,
but the one used by one of the older and most famous makers, Luang Phor
Yaem of Wat Sam Ngam is a benchmark for the art. His Kumans consist of
the earth from 7 cemeteries, 7 Chedis, 7 salt licks, 7 sacred caves, 7 fields,
7 river mouths and the bones from 7 dead children 10 .

Other lineages use other magical sources such as the dust from burned
incense at temples, earths from markets and crossroads, wood from trees
that someone has hanged themselves on, a child’s hair and oils, and a
mothers tears. The list is probably endless andhighly adaptable, depending
on the item being constructed 11. Many Kuman are made to offer the bearer
Maha Saneah, and contain herbs specifically for that purpose, while others
are directed towards luck and gambling, and therefore, the mixture used will
differ. There are a few ways to put the correct spirit within the talisman,
either using the original spirit in the Prai materials, inviting the angel of a
child into a spiritually active item, or creating a new spirit. The power of these
talismans depends on the strength of the materials present, the abilities of
the Ajarn, and the correct Wicha.

The making of a Kuman Thong is not just an ancient art; it is also a living
art that continually seeks to expand the Wicha of making these items. All
makers use magical mixtures, the secret of which has been passed down
through the generations of their lineage. When bone or other Prai materials
are present, it is a mark of the openness and raw honesty of some makers
in not holding back from showing what these items are made from, with
bone crumbs or chunks of skull often being visible.

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 An old image of the Kuman Thong that is less represented now is called ‘Ku-
man Thong Duud Lok’, and this shows the Kuman sucking on his intestines, in
a cycle of consuming his magic, and growing continually stronger. The image is
quite disturbing to most folk, but it is still produced in the mainly rural areas
of the North and North East, and is considered to be a stronger version of
the normal Kuman. Most people are freaked out by this image, and it tends
to be only for those devotees who are genuinely into the magic of these
items.

The modern way tends to be to hide both the contents, and the concept of
the Kuman Thong behind a cute representation to make it more palatable to
the general populace. Hence, there are images of smiling happy children, a
kid carrying a money bag, a statue of a child at play, or even that of a baby
wanting to be held. There is still something mildly creepy about them, but
their happy demeanour distracts from any distaste that may arise from the
necromantic practice of making them. Many devotees have reported that
they still work in the same way, it is merely masking their true nature for the
sake of the taste of the bearer.

Some of the great makers often carve Kuman Thong amulets by hand from
spiritually active woods, such as Takien wood, the wood from the Jack Fruit
tree, wood from an old temple that has absorbed spiritual energy from the
devotions within or the Star Gooseberry tree to name but a few. The woods
chosen have such a spiritual resonance that there is no need for Prai in
these circumstances, as the wood holds enough power to carry the angel of
a child by itself, invited there by the maker. Some of the strongest Kuman
Thong are made solely from the bones of a child or youth, and these are
highly valued, especially when it is a child’s Panneng or forehead bone.
These are very rare indeed, and command high prices from collectors.

Many Kuman Thong are also cast from various metals, which can include
coffin nails, meteorite, metal from city gates and temples, old statues etc.
These amulets can have powdered bone with an inserted Takrut, or just the
Takrut itself, which is considered powerful enough to activate the talisman.
The metals used can hold a strong spiritual charge, and the activation Takrut
brings the attributes of Maha Saneah and Chok Laap, but these attributes
can vary with the written spell chosen.

The statues and amulets rely on their appearance, the maker, their Wicha
and their artistic abilities to attract the fans of Kuman Thong. Some of the
designs are downright scary, expressing their power and this draws many
as they can be associated with that power, and become part of it. Some
show how their forces have been directed with one or both hands raised,
beckoning in the same way as Nang Kwak or those electric cats that
continuously wave to try to pull money to the owner by its actions. A few of
the famous statues from highly respected makers use the image of fat and
happy babies, and with one, the baby has fangs, and is holding a skull on
a stick. One of the most amazing ones is encrusted in cemetery earths and
bone chips, its power and influence radiating like heat from a fire.

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186. A bronze Kuman encrusted with bone chips from Ajarn Verataep.

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 187. A Taep Doll from Ajarn Perm Rung.

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The Taep Dolls

Ajarn Taep’s new style of Kuman Thong exploded onto the scene a number
of years ago and changed the way many of these items are made, because
he hit the big time by making them acceptable to more people, expanding
the market beyond its traditional limits. He invented the Luuk Taep (Angel
Child) by putting a Kuman Thong angel into a doll that could be loved as a
child, and not raise too many eyebrows when seen in public. In these dolls,
there was just a Takrut and no Prai, and while many swear as to their power,
it will be a gentler acting energy without the clout of Prai materials. These
Taep dolls were bought by many Thai celebrities who then swore as to their
effectiveness, which ensured Ajarn Taep’s fame, and a steady stream of
Bangkok’s rich and famous to his Samnak in North Bangkok. According to a
seller, the cost of the Taep dolls depended on the quality of the doll with the
very realistic ones from the US commanding the highest prices, while Ajarn
charged a set fee to activate them spiritually.

Ajarn Taep’s dolls hold no Prai materials, and he assures everyone that
he has placed a child’s angel into them rather than a ghost. The angels
are considered less powerful and more benign, which in itself has made
them more palatable to the general public. Other makers have then turned
around and used other dolls, but made them using Prai materials, leading
to a great deal of confusion amongst people as to the nature of these items.
During numerous interviews, both sides of the discussion have been stated
with some sellers saying that no Prai is present, and others suggesting that
it is impossible due to the nature of child ghosts, in that they need to be able
to bond with something human that they recognise, or they will not stay in
the doll.

Due to the explosion in popularity of the Taep dolls, one enterprising soul is
now offering a babysitting service for them if their parents go on holiday, or
are otherwise unable to care for the dolls and the occupying spirits. They go
to the house to feed, praise and chat to the Taep dolls, so they do not get
lonely and cause mischief.

The latest development in the popularity of these is occurring while this

is being typed in early 2016. On TV today (Channel 3) was a computer
teaching company, whose owner has Taep Dolls, and he is offering courses
in computer programming for the dolls (This is serious). The course is
designed to raise their intelligence, logical thinking, technical knowledge
and then another category titled ‘others’, and it is anyone’s guess what that
may entail. There is nowhere else in the world that is working with the dead
in the way of the people of this wonderful country - with love, happiness,
kindness and care.

Another new idea is from the Thai Smile Airline, who are now offering a spe-
cial seat service for Taep dolls, so they can travel in style! The Taep dolls
have hit the big time. The latest development is that some restaurants have
announced special Taep Doll nights where they are cared for, along with

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 their owners 12 but today, the immigration Police have put out a warning that
they have caught someone with a Taep doll smuggling drugs, so they will
now be throughly checked at airports. Ghost doll drug smuggling seems to be
taking hold, and some dolls and their owners may next be accommodated in
Thailand’s jails. (The Nation, January 20th, 2016).

On many occasions, the rich kids of Bangkok could be seen going shopping
or hanging out with their dolls, which can cost the equivalent of a month’s
wage, (even for the well educated middle classes) making it a status symbol,
as well as a spiritual accessory. The funny thing is that now these have
become so well known, the general public is as wary of these as they are of
Kuman Thongs themselves, despite the fact that the spirit is said to come
from a different realm, and that they seem less wild or demanding. The
higher the child’s spirit, the more benign they are, but they do still offer the
opportunity for people to take care of the spirit of a child, as well as hoping for
the bestowed boon. There is a karmic interplay during this process which
is beneficial to both parties. While sitting in a room full of these dolls it is
easy to feel their presence, and the owners interviewed dispute any idea that
these are not as effective as any other Kuman Thong. One of the advantages
of the Taep Dolls is that the bond between the doll and their bearer
can be enhanced with this style as it plays on the history of doll adoration,
but in this case, with a little ghost or angel thrown in. This style has now
been adopted by the makers of actual Kuman Thong, much to their financial
advantage and the acceptance of the art, meaning that the boundary between
the Luk Taep’s and Kuman Thong’s is now blurred.

Is anyone aware of anywhere else in the world with such a thriving and
popular form of necromancy?

Adopting a Kuman Thong

People from the West are often freaked out when discussing or reading
about the practice of making and keeping a Kuman Thong because they
often perceive it to be cruel, due to the capturing of a child’s ghost. As this is
an art that comes from the Asian mindset, and the ancient art of necromancy,
(which is the use of the dead to aid or in some cases, harm the living) the
people’s of The West are being confronted by ideas that have been unknown
to them till this point.

While this is an ancient art (perceived as being pre-Buddhist), the effect

that Buddhism has had on this practice cannot be underestimated. What
may have once been a much darker occult practice that created a spirit
familiar, has been softened over the centuries to specifically raise the boon
of the bearer of the Kuman, bringing luck and fortune. An interview with a
Luksit of Ajarn Verataep in 2015 brought up some interesting points about
the adoption of a child’s spirit. He said that there has to be some advantage
to the spirit for it to want to stay in the talisman, or it would move on. The
first aspect of this is that it is believed that the spirit gets to feel like it has
a taste of the life it missed, or had for only a short time. A wandering child

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spirit suffers in the realms of hell 13 and being placed into an effigy is
believed to alleviate some of that suffering, which is a Buddhist act. The
maker of these items is also showing compassion to the spirit to place it
somewhere safe, as they lack the condition to be reborn into the higher
realms. Admittedly, it is there to be of use to their owner, but it is better that
there is an interplay which serves both parties to build the connection between
them, with the owner showing compassion, and care to the child. The
responsibility of owning a Kuman Thong should not be taken for granted,
and it is better not to adopt if there is any chance of abandoning them later.
The Thais believe that these spirits deserve a second chance to be loved.

It is a Buddhist concept that we have to seek the right understanding of

knowledge for wisdom to arise, and this approach runs through all aspects
of existence. When adopting a Kuman Thong, it is taking responsibility for
the spirit of a child, and like all children, they have both emotional and
practical needs. This spirit needs care and attention, it requires love,
understanding, communication and nourishment like any child, but on top
of that, it also needs spiritual care with kata and offerings. Any parent of a
Kuman Thong is trying to build a beneficial symbiotic relationship with the
doll, and from that care comes the boon that can be granted by these lesser
ghosts. They can bring great wealth and luck to the home.

Caring for a Kuman Thong can be quite time-consuming, until it becomes

part of daily life, as it would with any kid, ghost or not. A Kuman Thong is
not an evil spirit as they are considered to have accepted a vow from the
monk or Ajarn who made them to not harm, and it is believed that it takes
an evil person to make an evil Kuman Thong. A Kuman Thong is a supernatural
being, and it should not be corrupted, especially as it is a child and to corrupt
a child will only lead to difficulties. Teaching the Kuman to be evil will accumulate
problems and affect karma, which leads to misery. A good parent will teach
their adopted child to cultivate Buddhism and gather merit, rather than do
anything wrong to satisfy something deficient in the parent. The Kuman
Thong is a supernatural child and a force to be reckoned with, but do not be
tempted to teach them to be bad, or the wheel of karma will turn.

The instilled objective of the Kuman is to respect and to give a helping hand
to his new parent. The parents are then expected to be an example and to
pass on the merit they earn from good deeds to the Kuman Thong to help its
spirit, and it will then bring boon in the form of luck and wishes. It is easy to
see this Buddhist interplay at work. In the pursuit of improving himself and
accumulating good merit for the Kuman, that then gets returned, meaning
that together the bearer and the Kuman Thong can grow towards a better
existence.

Having a Golden Child

It can be quite a shock to realise that these can be naughty and rowdy little
chaps.
An amulet shop owner once said with a smile.

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 The sound of a child playing at night is reported as common by many, as
well as things being moved around while they sleep, and the Kuman is also
prone to come to dreams, especially if the Kuman is kept in the bedroom.
The other strange thing is that a good Kuman, one that is correctly made
and from a good maker can also be quite chatty. He is not audible; it is in the
brain. When people consider owning a Kuman, many recommend waiting
until one speaks and is friendly and then make an agreement to take care of
him before purchasing (or renting, as they say, as a spirit cannot be owned).
It is from this standpoint that the relationship begins, and he will expect his
new parent to keep their side of the bargain.

The process of attaining a still enough mind for the voice of the Kuman
to get through the mental babbling that is prevalent with most people is
something that many folks would benefit from, and this is considered part of
the spiritual growth. Not just from being able to chat to a Kuman Thong, but
because of its effect on life itself. If the mind is still it is possible to get in touch
with the instincts, which can be of great benefit to all, because the instincts are
rarely wrong. The mind is considered to be a tricky beast in Thai Buddhism,
and the clarity attained from making it calmer can change the path of life to a
better direction. The results of this process bring a chance of greater happiness
and understanding, as well as an increase in perception and focus. The
chanting of Kata and the practice of meditation helps with the process
of calming the mind. Kata also calms the Kuman Thong, and feeds him
spiritually, as much as any sweet drink or bowl of rice.

Here is a story of the experience of an expat in Bangkok who collects Thai

amulets.
While walking one day on the amulet market in Bangkok on the streets
around the Grand Palace, where rare and wonderful things could be found,
on one small stall was an old Kuman Thong. On picking it up to look at it, the
Kuman started asking to be taken home in a clear and distinct voice coming
from the middle of the back brain. It was a shocking experience as one had
never talked before, especially with such clarity, and judging from the look
on the sellers face, he could also hear it, and was eager to pass it on to a
new parent. The best action at this point was to calmly explain to it that he
was talking to a person who was not responsible enough to take care of a
cat, let alone a golden child. On putting him down and slowly walking away,
looking at the stalls and enjoying the morning, the Kuman kept chatting
away. The best option here was to use a reassuring voice, wish it the best
and send it some merit, but it was only when about 100 metres away that
the voice faded. That Kuman would have been an awesome spirit guest in
the house, but he could have also been a bit of a handful.

People who own a Kuman Thong do so for many reasons, for business (it
is said that he leads customers in by the hand), the protection of assets,
some luck when asked for and a small advantage in life in general, but his
power also depends on the karma of the parent. The effectiveness of the
Kuman Thong is seen as a reflection of the individual’s accumulated merit,
otherwise everyone would become rich, and life does not work that way.

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Which one?

Choosing a Kuman Thong can be difficult as there are so many on the market
and it is worth taking time, and being sure that the Kuman is suitable. Here’s
a few pointers that were shared by the lady in a shop that only sells Kuman
Thong in North Bangkok.

There are no good Kuman Thong for just a few dollars, so buy something
cheap and it will not contain the spirit of a child. These can be found on
many websites, and while they are generally well made and even attractive,
there is zero spiritual input into these items. It is better to either talk to a
specialist, or find a reputable seller for the best Kuman Thong. Even better,
come to Thailand, and find an Ajarn or Luang Phor who makes them to buy
direct. Not only will the Kuman receive an extra special blessing from the
maker, but the experience is appropriate for such an important talisman.

Do the research! Read as many articles as possible, and find the right people
to buy from, a real one is often no more expensive than buying a fake. Only
get items from reputable makers, and these should come with a kata, as
well as a card insert if it is an amulet. Without this, don’t buy anything. It
is different with buying statues in that they are now difficult to post from
Thailand due to restrictions on the export of religious items. It is worth
considering combining a holiday to The Land Of Smiles with a spiritual
quest to come home with a beautiful Golden Child to care for and love, in
the hope that he will then bring boon to your life.

Instructions for Care - from a Kuman Thong devotee in Bangkok

It is vital that when bringing a Kuman Thong into the home that he is
introduced to his new environment in a loving voice. It is better not to place him
with other idols of worship, and to place him on a shelf below the Buddha, if
one is present. Do not have him facing West, at the foot of the bed, or under
the stairs, and if there are other Kuman Thong’s in the house, inform them
that they have a new brother coming to stay with them. Also, tell the spirits
of the land that the house is on that a new spirit has come into the home.

Welcome the Kuman to the family by having a place for him to stay, and
maybe put a small bed, cushion or cot there for the idol. He likes candles,
incense and chanting the kata, because it helps with his merit and helps the
parent calm the mind, which improves your connection to this spirit. Like
any child, the Kuman likes sweets, fruits, milk and in Thailand, the red and
very sweet bottle of soda, with a straw in it so he can drink. If he grants
any luck or wishes, reward him with a toy or some clothes, and get some
flowers, especially jasmine. Talk to him at all times in a loving voice, as
a parent would talk to any young child. He prefers to be fed daily in the
morning before the residents of the home, and his name should be called so
he can receive the food (a small bowl of rice is fine). If that is not practical,
he can be fed more infrequently, as long as he is told in advance as, like
all kids, he enjoys structure to his life.

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 He is best fed in the morning and then the food removed at night. The offerings
of food should be regular, but if that is difficult due to lifestyle, he can be
invited to eat anything he finds in the house without your permission. If you
wear a Kuman you should invite him to eat whenever you do, he will like
that, and the bond will grow stronger, which is excellent for the resulting
boon.

Many parents like to give a name to their Kuman, and the maker will advise
on the necessary way of doing this, which usually involves an associated
kata. With the kata for praise, the maker will recommend one, but according
to most people, these kata are interchangeable and if there are many Kuman
Thong in the home, choose the one that feels the most comfortable. After
saying kata (and some have a profound effect like a mild possession with
the associated tingling in the body), this is the time to ask for the desired
favours from the Kuman. He can grant luck, extra charm, attractiveness,
finding a new lover or partner, whatever is needed.

The most common way for the Kuman Thong to contact his parent is through
dreams, and keeping a dream diary helps the process of retaining the
memory long enough to see what he was doing. Some people achieve a
strong connection with their spirit son, and if they have an unusually calm
mind, he can communicate directly. The parent must put the work in to get
to this stage, but it is possible, and the rewards are excellent, although the
first time he communicates in this way can be a bit of a shock.

A Kuman Thong is a spirit child, and as such, they tend to misbehave and
interfere with other children that may be in the house. The parent needs to
tell the Kuman what is acceptable and what is not, but the kata should be
recited before doing so. If a family is adopting him, he needs to be introduced
to all the members, and they should know his name. When away from home,
he needs to be told for how long and to take care of the property, but if he
resides in an amulet, it is easy for him to accompany his parent.

There may come a time when it is best to leave or disown the Kuman Thong,
to stop offering him food, kata and care, but this has to be done carefully.
He needs to be told in a loving voice that it is time to move on, but he cannot
just be thrown away or left somewhere as he will come back, and may not
be very pleased. One of the best ways is to return him to the temple he was
made at, to return him to his spiritual home, to the place he was born. If
that is not possible, it is also OK to take him to any Thai temple and ask the
monks to take care of him, they will know what to do, and have the compassion
to help his spirit. Please remember to take his belongings, and maybe buy
him a new toy to welcome him to his new home.

Merit should be made when leaving the Kuman and dedicate that merit to
him. Tell him that he will have new friends at the temple, and to be a good
boy. This process should not be taken lightly, or he may become wild, and
possessions have been known to occur.

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A visit to Wat Sam Ngam

Two of the famous monks from this temple in Nakhon Pathom are responsible
for bringing the Kuman Thong into the modern era. Luang Phor Tae (1891 -
1981), and his follower Luang Phor Yaem (who has now sadly passed away,
also at a grand old age) are monks of high repute, and a visit to the temple
is essential for anyone interested in this art. Within the main hall is an 8
foot tall Kuman in the style of the temple that has the spiritual energy that
one would expect, and the author was lucky to see Luang Phor Yaem as he
lived in a room that looks out into the hall. His countenance was something
to behold, even at his great age.

Travel to Nakhon Pathom by train from Bangkok, exit the station and turn
left. Within around 50 metres there is often a truck with seats in the back on
the right side of the road. Tell them the name of the Wat and they will help,
it is not too complicated and to return, stand on the opposite side of the road
and flag down a similar truck.

References
1 Chris Baker - Khun Chang/Khun Paen p.316
2 Justin Thomas McDaniel - The Lovelorn Ghost and the Magical Monk p.171
3 Chris Baker - Khun Chang/Khun Paen p59
4 p316
5 p325 This is the Prince Damrong version of the story of Khun Paen
6 p1174 The version of Khun Paen by Khru Jaeng
7 p992 A section on the process of beautifying the dead.
8 p1174 and on, the story of taking his son from the stomach of his mistress, Buakhli.
9 http://kumantong-4-u.blogspot.com/2012/09/training-kumantong-for-lottery.html
10 The amulet magazine Saksit September 2014.
11 Information collected from over 4 years of Saksit magazine and translating the articles.
12.http://bangkok.coconuts.co/2016/01/25/demanding-doll-buffet-joint-launches-promotion-look-
thep-haunted-dolls.
13. J T McDaniel - The Lovelorn Ghost and the Magical Monk p270

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 The Kuman Thong - an Interview with Ajarn Perm Rung

Kuman Thong are mentioned in the legend of Khun Paen, and he is credited
with its invention. Khun Paen was an ordinary man who became a monk,
learned about kata and after he left the monkhood, he had a wife named
Wanthong before becoming a soldier. As a soldier he met many beautiful
women, and often used his kata to make them fall in love with him, bringing
them under his spell. A lady named Phim became his lover, and she became
pregnant with his baby at the same time as Khun Paen’s wife! Khun Paen
decided that he wasn’t going to leave his wife, but he still wanted the baby,
so he killed Phim, and took the baby to make a Kuman Thong, to be with
him spiritually everywhere he went.

The legend says that he took the baby, and grilled it to make the carcass
dry. The process of creation in the saga is more akin to the making of a Luk
Krok, a different type of child spirit that he could summon to help him in his
life. Part of the process of making mentioned in the legend is that once the
Luk Krok had dried, he could boil it with magical herbs to make Nam Man
Prai Luk Krok, or use the ground bone and ashes. Once the boiling down
was complete, he then used the residue left to form his Kuman Thong,
meaning that he got many powerful products from his murdered child. A
Kuman Thong usually has ashes or pieces of bone embedded within it as
they carry strong spiritual power, but this power can be dangerous in equal
measure.

Some people who obtain a Luk Krok or Kuman Thong complain that they
do not feel the power, but these cases generally arise because they have
not cared for the spirit properly. These spirits are children that have to be
taken care of, and like normal kids they enjoy playing, eating, and they have
desires of their own. If someone does not take good care of them, they can
be difficult to control, in the same way as any parent who does not take the
time to train their child. Many Ajarns use the Khun Paen method to make
Kumans, and the most famous modern era KMT’s are from Luang Phor Tae
and Luang Phor Yaem of Wat Sam Ngam in Nakhon Pathom.

Please remember here that there is no mention in the story of Khun Paen
carrying his spirit son as either an effigy or amulet, but he could still summon
him at will, meaning that he had a powerful connection to his golden child.
There is also no record of the actual origin of Kuman Thong’s or who invented
them as the knowledge already existed at the time of Khun Paen, and he
followed that knowledge. There are some legendary types of Kuman Thong,
but really, it depends on the Ajarn as some can produce very aggressive
types, making them superb for protecting a home. And yes, some of these
have been known to kill or drive people crazy.

What is a surprise to many devotees is that some Ajarns can make Kuman
Thongs from adult bones as long as they carry the spiritual charge that
results from a violent death. The Ajarn can then give the bone source a new
identity through strong psychic abilities, and be able to use it as a superb

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188. Ajarn Perm Rung with his wonderfully designed Kuman Thong.

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 189. Ajarn blessing his Kuman Thong in the graveyard.

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source for a golden child. There are many types of Kuman Thong, even ones
that have no Prai materials or ghost. These carry their power in a Takrut that
can draw an angel or higher spirit of a child into the talisman. These are the
Kuman Taep or ‘Angel Child’ types that are very popular in Asia.

There is a difference between the modern processes to make a Kuman and

the ancient one. Originally, they would obtain a piece of a deceased baby,
the correct Muan Sarn mixture, and then mix it with clay to mould it as a doll.
They were roughly made and very powerful. In the modern day, the maker
will just put the magical mixture in the hollow base of a statue, which can be
an actual doll, made from carved wood or even cast metal. There are also
many images of a Kuman that a maker can use, such as the Kuman Thong
Duud Rok, where the baby is sucking on his umbilical cord from the placenta.
The Kuman Thong Duud Lok is an old idea that represents the continual
cycle of energy with the Kuman constantly feeding himself and renewing,
much like the Ouroboros in Western magical cultures where a snake eats
his tail. These different types of Kuman are just images, like a car maker
that uses the same engine with different bodies.

Ajarn Rung’s Wicha comes from the Central regions of Thailand, and he
uses spells in the Khom script. He learned this method from many Ajarns,
and through experience, then combined the knowledge to make his own
unique style. Many Ajarns of worth do this as their bodies become the
mixing bowl for many methods to create talismans, eventually making their
product unique. If Ajarn makes a batch of say 50 Kuman Thong talismans
that contain the bone of a drowned baby (an extremely potent source), this
will be shared between the amulets, and they will have the same ghost. It
all depends on Ajarn’s feeling with the source of the ingredients as to what
to add to that batch. Another batch from a different bone source may have
very different Muan Sarn, depending on what Ajarn wants to achieve with that
Kuman. Many mixtures can be made to vary the qualities of the attributes,
but the bone source has to be correct to be a Kuman Thong. Ajarn also
states very clearly that once he acquires a good bone source, he will make
everything at once and not save any of the bone as it is better to create
a Kuman with everything available. The spirit ‘sits’ better in the amulet by
following this method.

To ensure that each amulet made has an equal mixture of the bone and
Muan Sarn it has to be mixed very well indeed, and it can take a long time
until the process is complete. The mixing is an essential process, because
there has to be an equal mix of the ingredients to ensure that all the amulets
made will carry the spirit equally. The one that a person is attracted to
enough to acquire it will not be the same one that others will choose, and
Ajarn believes that the amulet is selecting the person rather than the other
way round.

Ajarn Perm Rung goes to the graveyard to bless any mixture made before
constructing a Kuman talisman as this brings more power to them. To hold
this ceremony, he needs the permission of the guardian spirits of the cemetery,

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 which is an essential part of creating his golden children. He only uses the
original spirit in the acquired bone source rather than building a new spirit.
Others may disagree, but Ajarn finds this to be a better way. Please remember
that there are two different types of Kuman Thong, Kuman Taep or Luk Taep
versions that do not have a spirit or ghost and instead, a Takrut is used to
bring power as well as various Muan Sarn to bring other attributes. The
other version of the Kuman Thong holds Prai, has a ghost and follows the
ancient method of creating a golden boy.

A question often arises about the two genders of Kuman Thong, the Kumaree
and Kuman Thong, and the only difference between them is that the Kumaree
is a girl and the Kuman Thong a boy. Initially, the magicians of old only
used a boy spirit, but like all living forms of magic, this can change over
time. The reason the Kumaree became very popular is that of the modern
interest from women regarding the Kuman Thong magic, but because of the
raw appearance of many Kuman, they were deterred from acquiring them.
The Ajarns answered this demand by making the image more appealing to
women. The Wicha for the two types is the same, but the difference with the
Kumaree is that we add more attributes to the magic. There are kata added
and more elements in the Muan Sarn. Before the modern times, resources
were limited to the local area but now, through the internet everything is
available, and an Ajarn can construct a more complex item.

If you do not take care of a Kuman Thong well, whatever they grant, they
can take away. When devotees forget to offer food to the Kuman or forget
about caring for them, it is impossible to predict what the child ghost will do
in return. Ajarn Rung knows of one devotee who won the lottery and bought
a new car, a new house and more but forgot about his deal with his Kuman
and strangely, he had an accident in the car and then problems came with
the house. Any bargains made with spirits need to be kept, and that is the
same for all types of prai talismans.

When people ask for wishes from their Kuman, always make sure that it
is something that they can do, don’t be unrealistic or make complicated
requests. It is also important to keep the language simple and clear. Then
gifts need to be given in return for the excellent boon that they can bring.
It is best to spoil them a little with sweets, make merit for them, provide
them with a toy, or make an offering at a temple in their honour every time
they bring something good, and this will keep them happy. When making
Tamboon at a temple, think of the Kuman so he can receive that merit and
benefit from it, eventually rising in the spiritual realms. They have to be
treated like a child and reward them when they have been good. Never offer
them alcohol, fresh meat or savoury food as they can become addicted to
these things and become more aggressive. Everything has to be cooked or
ready-made to keep them calm and happy, just like a kid.

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The Kuman Thong - an Interview with Ajarn Nahn Khong

The modern process of making Kuman Thong has changed considerably

since the time of Khun Paen. There are many legends about how to make
them, such as roasting the baby first or pickling it in a jar and then drying
it. The maker would then have to take the baby to the graveyard, cordon
off an area with Sai Sin and say the kata to construct the 32 parts of the
body, some of which will also serve as a method to adopt the Kuman Thong
as a child. There are many kata that have to be spoken in this method of
construction, using the real baby as a Kuman Thong that has to be kept.

In modern times, a doll is used as a substitute for a real child, but the kata is
original, which of course depends on the lineage of the Ajarn but basically,
the kata have not changed since ancient times. In the base of the doll, they
will insert the Prai and Muan Sarn materials, and reconstitute the child spirit
from this collection of spiritually active materials. Some Ajarns will write the
kata on the gold or silver metal and put inside the doll along with an array
of soils from 7 graveyards, 7 markets, 7 ant hills, 7 fields and 7 shores as
a representation of the fertility of the land, the bounty of it and the energy.
Sometimes they will use some objects that have been used for gambling to
boost the attribute of luck or trading in business. It depends on the purpose
the Kuman Thong is designed for by the Ajarn, some are used for good
fortune and success, and others are made to protect the house and guard
the property. Each purpose of the Kuman Thong calls for the use a different
kata, and if a person understands some of the ways these are constructed
they will realise what an involved process it is to create them.

Regarding the Muan Sarn that are placed in the Kuman Thong, if it is being
created by an Ajarn who wants Metta within the item, it requires a different
Muan Sarn, Takrut and Kata. This aspect is the same for the other attributes
such as Saneah, Chok Larp, Maha Amnat etc., where a different recipe and
different kata are followed. Some Ajarns even use all the soils mentioned
before, using them to make an effigy with a hole at the base where they can
put the Muan Sarn and the Prai materials. With the complexities involved
in making these, it is easy to understand that many Ajarns can come up
with a different method of creation as well as different ways to represent
and house their magic, which is particularly true in the case that some now
make resin casts and basically, any method they can think of to create the
Kuman.

When Ajarn Nahn Khong creates a Kuman Thong, much of the magic used
is elemental, and the kata for earth, air, fire, water and the four directions
is repeated consistently until the elements are sufficiently powerful within the
doll. In Lanna Wicha, the day of making a Kuman Thong plays an important
role as the number of the kata spoken varies with each particular day of the
week. The day is important because the Ajarn has to convince the spirit of
the child to be an obedient, good spirit for the owner, and this quality varies
with the day of construction. This method must be followed diligently;
otherwise, the spirit will be unruly. When Ajarn obtains enough of the correct

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 Muan Sarn for a batch of Kuman Thong, he only adds the bone from one
child and makes sure that this is well mixed before the creation, so one
batch is one spirit, but each of the dolls is given the 32 parts of the body
enchantment.

The appearance of the Kuman Thong is influenced by the commercial

nature of modern Thai magic. Some raise one arm, some both, some suck
on their intestines, some beckon for money in the same way as Nang Kwak.
There are so many styles that can develop into the new varieties that will
refresh the demand for these spirit children.

The beliefs concerning Kuman Thong have been passed down through the
generations and today; people still believe in this spirit because they bring
luck and can change the course of a person’s fortune. Some people in Thailand
can see whether another person has started to worship Kuman Thong
as their wealth may increase very quickly, leading to many beginning to
worship this child spirit, and good ones are passed through the generations
of a family. If the family did not want to keep a Kuman once their relative has
passed away, it can be given away to a different owner or a ritual is performed
to free the spirit. After this, the doll itself should either be destroyed, put into
flowing water or given to a monk at a temple for him to care of it. At temples,
there are often many broken Kuman Thongs, broken spirit houses and other
spiritual items that have been replaced by their owners, and these cannot
be just thrown away so are again, left to be cared for by the temple.

For any foreigners obtaining my Kuman Thong, first burn 16 sticks of incense
to their guardian spirit before bringing it into the house. For some people,
even though they have a Kuman Thong, their fate may not be good with
each other, and the Kuman spirit will not stay with them. Once the Kuman
Thong is in the house, they have to light another five incense sticks to inform
the spirits of the land and the house spirits to open a way for the Kuman
Thong to live in the house. Once he is in the house, he should not be on
an altar close to the toilet or in the bedroom, because it can make him
naughty. The food suitable for a child should be offered to the Kuman as
well as sweets and fruit, for bribing him via his sweet tooth. These can
be provided as infrequently as once per week but if your time is stretched,
it can be every 15 days but no longer than that or he may go searching
in your food cupboards (laughter). As a reward for wishes granted or good
boon, clothes and toys are often offered and please care for him well; he is
just a child.

A Kuman Thong Statue by Ajarn Nahn Khong

Ajarn Khong’s Kuman Thong statue is from golden Teak wood (Maai Sak
Thong) from a tree that had been struck by lightning, which makes this
wood special enough for it to be used as a Taep style Kuman Thong.
Because of the supernatural power in the wood, Ajarn could use this to create
an angel style of Kuman Thong. Many special kinds of wood can be used to
make this style of statue, and a lightning wood is an excellent choice.

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With the correct praise, this statue offers Metta and Maha Amnat through
the Takrut present, which also creates and holds the angel to the figure.
Everything under the statue was inserted at the same time and then blessed
together, rather than individually, and this is often the case when producing
small runs of figures (there were only five made). Each Kuman Thong like
this has to have strong, spiritually active elements and the primary source
for this was the power of the lightning, which was then enhanced through
the ritual of consecration, adding the attributes and creating the angel. The
important thing with all Kuman Thong is to make merit. Go to the temple,
do good deeds, live a good life and donate some of this merit to help your
Kuman Thong rise in the spirit world, and then receive his help in return. It
is a beautiful cycle.

190. The Kuman Thong statue of Ajarn Nahn Khong.

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 191. A still birth Luk Krok that is taken care of by monks.

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The Luk Krok

The spirits of stillborn or miscarried babies are supernaturally potent,

because they contain the energy of the life not lived 1 . One now rare form of
these infant spirits is the Luk Krok, which can be constructed as a talisman
in a few ways; as an effigy in an amulet that will contain the relevant child
materials, as a dedicated enamel panel talisman, or as a real stillborn baby.
The most highly valued Luk Krok talismans are small, real foetus’s that are
not fully developed; then baked dry and kept as powerful protective charm,
to be nurtured or enchanted, so it will love and hence protect its master 2 .
It differs from the Kuman Thong in two ways. Firstly, the Luk Krok has to be
a stillborn child, and the mother remains unharmed, which can occur at any
point during the pregnancy whereas the Kuman Thong can be made from
a foetus or unborn child that has died through any process; or even a child
that died before puberty. And secondly, the Wicha for creating the Luk Krok
differs substantially, making the Luk Krok a little less ‘chatty’, acting more
like a spirit guardian or bodyguard. It can still help the bearer with prosperity
and wishes, but the relationship between the holder and the spirit is not the
same as with a Kuman Thong.

The way to create a Luk Krok depends on the lineage of the maker, but a
dead foetus needs to be obtained, dried over heat to desiccate and preserve
it. Depending on the maker, the carcass will then be lacquered or have gold
leaf added, which follows an ancient practice where lacquer or beeswax
was used to hide any purification from a corpse, while the gold was purely to
beautify 3 . During the process of creating the Luk Krok, which is made at an
auspicious time; specific and ancient incantations are cast on the body. The
person creating the Luk Krok will request the child spirit to enter its bodily
remains or the effigy that contains a portion of them, and remain there. Due
to the power of the magic associated with the Luk Krok, some are said to be
very dangerous, with the ability to kill, and these items are justifiably feared
in Thailand.

There is a famous Luk Krok in one particular Wat in Thailand that was kept
in the residence of the monks, but these baby spirits are sometimes naughty.
The Luk Krok at the monastery started to tease the young novice monks,
and it finally had to be brought to the ordination hall to be contained 4 . Like
all strong spirits, great care has to be taken so that they do not interfere with
the lives of the living in any negative way.

As with the origin of the Kuman Thong, the Wicha of making the Luk Krok
dates back before recorded history and through the interviews conducted,
there seems to be marked differences between the lineages as to how to
make a Luk Krok. The differences in Wicha has resulted in a variety of ideas
about this spirit, and due to the rarity of these items it would be difficult to
surmise that any are wrong. Another case of ‘same same but different’ as
the Thais often say. The different methodologies may all work, and no one

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 is yet in any position of authority on these matters to say otherwise. It
would take a national plotting of lineages and their techniques to come to a
concrete conclusion on this, and that is not likely to happen as the makers
protect their Wicha, which has been held a secret for generations.

A real Luk Krok is considered to be one of the most potent magical items
within the Thai system and as such, command very high prices. The scarcity
of the source materials also adds to the value, but it does appear that the
Wicha for creating these is more widespread than once thought as quite
a few practitioners have produced these potenmt talismans over the past
few years. Collectors and practitioners are currently driving the demand for
Luk Krok in China, Singapore and Taiwan, but this may change as the Thai
Occult system becomes better known in The West. The value of a Luk Krok
depends on the size (the larger ones cheaper) and the maker. Foetal Luk
Krok’s are the most valued of all, and are as expensive as they are rare.

The Taiwan Affair

There was a famous case some years ago of a Taiwanese man who held a
British passport being caught trying to take six gold covered, real Luk Krok
out of the country, and quite brazenly too. He was going to sell them to
practitioners in Taiwan and China, where there is a ready market for these
amongst a particular circle of collectors at very high prices.

Stories of the procurement of these items also arise periodically, with the
last one being of a nurse who had collected them from the hospital where
she worked, and she had 14 when the Police searched her house. The trade
in these is thought to be quite large but very underground, and the porous
borders surrounding Thailand aids their export. Where there is a demand
and considerable financial gains involved, people will always find a way.

Many devotees of the Thai magical arts are wary of the Luk Krok because of
their reputation, but the makers still produce both amulets and statues to fill
the need of the market. The artistic expression of these items is excellent,
and some collectors swear by their efficiency although, in the West, many
find this use of a child’s spirit to be a little too much to handle. The people
of South East Asia do not have the same relationship to death as Western
folk, and they see these purely as an aid to gain benefit in life.

1. C Baker - Khun Chang Khun Paen p316

2. C Baker - Khun Chang Khun Paen p316
3. as above p992
4. Suksit magazine January 2013

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192. A real Luk Krok has the power to shock.

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 193. A highly prized small Luk Krok and two hands drying in the sun in the garden
of an Ajarn. The small Luk Krok was very expensive.

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The Luk Krok - These interviews are anonymous for obvious reasons but
both makers are renowned for creating astonishing Luk Krok’s.

A Luk Krok and a Kuman are often confused, but they are from different
sources. A Kuman is made from a baby, but the Luk Krok has never been
born alive, either because of an accident with the mother, a stillborn birth, or
from a miscarriage. With a stillborn birth, this does not mean that the baby
is fully developed, it has died sometime before full gestation, and the foetus
is small. The old people believe that a Luk Krok has energy in itself, a power
within and it doesn’t have to be blessed or created with magic in any way.
The process of obtaining a Kuman Thong differs from that of a Luk Krok. A
Kuman has to be blessed and worked on through a specific method to give
it power, whereas the Luk Krok has the power within already. Ajarn is not
talking here about the modern type of Kuman that is a doll or effigy with the
Wicha of a Hoon Payon, but with a child spirit in it. This statement is about
a full body Kuman, a real Kuman from legend and yes, they are still made
in Thailand today.

The process of making a Luk Krok is that first, the Luk Krok must be dried,
and in the past people only used salt and turmeric for the process. This
was to preserve it and then some makers then covered it with gold leaf.
It can be either dried with the aid of fire, or dried in the sun and because it
is so small, this does not take long. The real Luk Krok often doesn’t need
to be blessed, but there are stories about giving power to it and what to do
when you acquire one of these potent beings. Some people say that when
receiving a Luk Krok, it must be fed with milk for the first seven days and
taken care of like a real baby. Put it in a crib, pretend to bathe it and care for
it as you would if it was alive, and others suggest that this should be done
for a month. When the tragedy of a stillbirth occurs, the parents may ask
an Ajarn to prepare the child as a Luk Krok so that they can take care of it
as if it was alive, and look after its spirit. Other parents would be scared of
this and donate it to an Ajarn for him to decide who should have this spirit
to care for properly, and to love.

Where a full body is too expensive or not available, parts of the Luk Krok
are also used as an amulet, which can be extremely powerful. For instance,
the finger of a baby can be potent with love magic and Maha Saneah, which
is the same for the whole hand but in modern times, the belief is that the
hand is an excellent talisman for gambling. That is not the only function for
this though. The finger is like a hand pointing so that when a man likes
a woman, he can suggest to the spirit of the Luk Krok that he wants the
woman to be the Luk Krok’s mother, pointing at her with the finger to direct
the power. If someone has the feet of a Luk Krok, the spirit can use the
feet to run to people to persuade them to do the bidding of his Master. In
effect, each part of a Luk Krok has similar power as it is all strongly Athan,
but there are also beliefs about the specific powers relating to the various
components of its body. In reality, though, the owner can decide how it is
used, for love, for business or whatever but the important thing is the spirit
and to keep it happy with the correct devotions, feeding and care.

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 A Luk Krok can be compared to a knife; it can be used in many ways. It can
be used to cut, to prepare food or be used to harm other people. However a
person wants to use the spirit of a Luk Krok is up to them but yes, these can
cause great harm and even kill, but only if the owner dictates that direction.
Depending on how it is used, the spirit will be different, and the ones able
to kill or encouraged to cause harm to others can become quite wild. In the
past, the use of spirits and ghosts in this type of magic was not used for
Saneah, business or charm for good luck, they used them for fighting in
wars and against enemies. They were used to harm, by causing illness or
even death.

With a Luk Krok, it depends on how you want to use it. It can be used to
help yourself or harm others, but the spirit is the same as ordinary people,
and sometimes they feel lazy. The kata for a Luk Krok is used to give it
commands and to keep it in line, but it does not mean that everyone who
has a Luk Krok and knows the kata can direct it correctly. A Luk Krok needs
attention as well as jobs; it needs taking care of as well as being made to
work. Some Ajarns who have a Luk Krok will not offer food unless the spirit
works first and if successful, the spirit gets fed because if they overeat before
working, they get lazy. Why work when you get fed every day anyway? In
the past, some people would not keep the spirit at home, they preferred to
keep it in a graveyard or under a big tree, and when they wanted to use it,
they would go to where they kept it. These would be fed very infrequently
and therefore, the spirit would be very eager to perform the tasks given.

The Luk Krok - an interview with another famous maker

The Kuman Thong is the spirit of a child that is used to possess a doll but
with the Luk Krok, an Ajarn uses the actual body of the baby, and it has to
be dead at birth. The best Luk Krok is where the mother dies with the child
in an accident or some other way, and they are crazy powerful. In the past,
if a lady miscarried or the child was stillborn the parents could feel that the
child can still be of some benefit to the family (they were tough times), and
there was bound to be some remorse at their loss, so some would ask for
their baby to be made into a Luk Krok. In this way, they could keep it so that the
spirit could protect the household and still help the family. This action still occurs
within some remote temples where the monks will perform the ceremony for
them openly, but generally, this is now an illegal trade, and so the makers
must be very cautious. This Ajarn has had mothers come to him to offer their
miscarried baby, because they could not bear the total loss of their child.

Between the Kuman Thong and the Luk Krok, the latter is much more powerful
because the Luk Krok already have their own 32 parts of the body (except
for their teeth). With a Kuman, the Ajarn often has to create its body
magically to make it work as a talisman. When creating a Luk Krok the
correct astrology is essential; it has to be on the right day and at the right
time. It’s more difficult to make a Luk Krok because a ritual needs to be made
to separate the bond between the mother and the child first, which can be
tricky. Even though it is often considered to be difficult to obtain a baby to

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make into a Luk Krok, it is easier nowadays because of the availability of
aborted materials. The demand is also still there because some people who
believe in Luk Krok’s, once they have one and their magical child aids their
life, they get more and more. There is one guy who has over 10, and is still
buying! In the past, Luk Krok’s were only made to be praised, but nowadays
with the internet, there are more people interested in this knowledge and
want to have one. Prices are still rising for these magical children. They are
expensive, and one recently went for one million baht although that one got
confiscated at the airport.

To bucha a Luk Krok is more difficult than a Kuman Thong because it is a

real child and it needs to be fed three times per day, caring for it as if it is
alive. The new parent has to take excellent care of it because there are
downfalls with having such powerful items. Never, ever offer raw meat to a
Luk Krok because it addicts the spirit, and they become aggressive. They
can also become more potent than the Ajarn originally intended them to be,
and then they will be difficult to keep under control. On the other hand, if
they are not properly fed, they will not help, and in these circumstances, can
also take back two or three times what they have bestowed. They are quite
vengeful when improperly treated.

194. A dressed Luk Krok with corpse hair, sat on the panneng of the mother.

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 195. A fabulously expensive Phra Ngang from Ajarn Phrot.

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Phra Ngang

Of all the spirits and deities discussed in this book, Phra Ngang has the
best chance of becoming a worldwide phenomenon. There are no reliable
reference materials on him, not even a Wikipedia post, but he is the one that
Westerners seem to be attracted to the most due to his nature and sensibilities
1 . Of all the Thai deities, Phra Ngang is considered easy to relate to and
is thought to be the closest to understanding the human heart 2 . From this
aspect, it is easy to understand the modern phenomenon of Phra Ngang, which
has its subculture in Asia with associated chat sites, and even Facebook pages.
On one of these is a steady stream of posted photos of various Phra Ngang
for people to admire, comment on and be jealous of.

Phra Ngang is easily recognised with his pointed hat, which can be straight
or bent (generally, he dresses to the right) and sometimes, his protruding
red eyeballs. He can also be depicted as bald with a rounded head, almost
like a Buddha, in which case he is known as Phra Chai, who inhabits a higher
spiritual realm than Phra Ngang. Many forms of Phra Ngang have many
names - Phor Ngan, Phor Ngat and Phor Per, and with these it is a simlar
Wicha that use some of his old names for amulets and bucha that house
similar entities. All the forms of Phra Ngang are considered to be a type of
demon, some with bulging red eyes that suggest that he can see more than
this realm and has the the ability to adapt the future of his followers 3 . Phra
Ngang tends to attract people from the edges of society as he is easy going,
likes a drink, enjoys loads of sex and brings good fortune to your life.

The usual story put forward by the online chat sites is that Phra Ngang
originated as a deity after the fall of Ayuthaya to the Burmese in the 18th
century. After the battle, some Buddha statues were found on the battlefield
that had been soaked with the blood of the fallen, encrusting around the
eyes and giving a different magical feel than the usual Buddha statue. The
holders of these items found that they granted wishes readily and the worship
of Phra Ngang was born. From chats with two famous Ajarns, they stated
that the deity is much older than this tale, leaving the story as an example of the
Thai tendency to appoint various practices to specific people or events. The
same has happened with the Kuman Thong, in that his creation has been
attributed to Khun Paen, even though Khun Paen learned the Wicha from his
teachers, who were themselves part of a lineage of Masters 4 .

Phra Ngang is an animist nature deity that is said to reside on a mountain

5. Some think that he is a real creature and others that there are many Phra
Ngang, all with a slightly different character and attributes. His actual age
can be related to the fact that he is often depicted as having a wife or
partner, represented as a female with her legs open, happily displaying her
vagina. This is the pre-Buddhist figure of Mae Per (or E Per), the deity
associated with fertility who holds the power of the female force through
the blood spilt during childbirth. She is bounty, and the energy of creation
itself, while Phra Ngang is the seed. In the Northern Thai, Lanna traditions,
Phra Ngang is depicted as her consort 6 . They sometimes even share a kata

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 due to having a similar root and both bring a naturalism to life through the
forces of nature and the understanding of the self. Both deities appreciate
alcohol as an offering, and both accept devotees of any gender, race or
creed. It is this open, natural aspect that draws many to them. They work to
enhance the self, bringing about change through the experience of life and the
intelligence their devotees possess.

Phra Ngang is said to influence the bearer to choose his path, and make
decisions as to how life should be lived. Should his follower decide to use
Phra Ngang to attract wealth and sexual partners while being an adulterer
or lying to and cheating people, Phra Ngang will encourage that person to
go further down that path. He reacts to the direction the bearer has chosen
and will then accentuate it, becoming more naughty if the devotee is naughty
but also guiding them to be a better person if that direction is selected. Phra
Ngang places the responsibility of all actions firmly and squarely upon the
bearer, as well as any resulting problems for those choices.

Associated with his path is Phra Ngang’s ability to attract females. He is

said to often goes missing in the home, only to be found in a ladies knicker
drawer, and offering knickers that have been worn to him will encourage wild
sexuality. A similar experience has been reported by many devotees in that
when first becoming a follower of Phra Ngang, they take the wilder path, but
as awareness comes, a natural evolution can take place. A self-awareness
from having Phra Ngang can arise, and from that, a better way is generally
chosen because if all the devotee expects are benefits without making merit
to balance the gifts there can be a readjustment through some adversity.
Mastery of the self is the key. 7

Phra Ngang’s intent is to gain spiritual merit. His origins are believed to be
that of a spirit who was raised higher through attaining merit, and he desires
to rise further in the spiritual hierarchy. 8 He is also seen as a kind of karmic
loan shark, able to bestow boon, but only at the cost of the future boon, which
is why it is crucial to make merit if a person becomes a follower in order
to keep the balance. The worship of Phra Ngang calls for an attentive
understanding of life and how it works, with nothing considered as being
free, and the devotee having full responsibility for themselves. It is this
aspect that seems to be one that is eventually cherished the most by the
followers of Phra Ngang, because he cultivates growth in the individual, an
awareness of the nature of life. For every advantage Phra Ngang bestows
the devotee must balance that by dedicating acquired merit to Phra Ngang
in the form of charity, kindness to others or making merit at a temple. This
path is considered the way of personal growth, and with that wisdom can be
attained, along with a bestowed 6th sense that comes from worshiping Phra
Ngang with kata and offerings.

Phra Ngang gives the attributes of Maha Saneah, Maha Niyom and Chok
Laap, drawing people to the bearer, then leaving it to the holder to work
with that attraction. Like all of these items, these do not enslave or entirely
enchant, and the bearer has to develop himself to grow to understand and

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196. Two hand carved Phra Ngang in Ngiew Dam wood from a graveyard.
By Ajarn Phun.

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 197. And this is Phra Chai, a ‘higher’ form of Phra Ngang. This fabulous statue was
made by one of the greatest makers for Phra Ngang, Ajarn Poon of Ubon.

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work with the advantage that is given. Phra Ngang is also considered to be
the deity to turn to when things get sticky as he grants wishes with ease.
He can do this, but it is generally at the cost of future luck and fortune, like
a spiritual banker but sometimes, everyone needs a bridging loan to get
through a bad patch. This deficit is later restored through making merit.
Making merit is the key. How many times does this need saying?

When wearing a Phra Ngang from a reputable maker, the devotee should
feel enveloped, reportedly like an extra aura, and many followers also
recommend having a statue at home, a leader of the pack who keeps order.
Very few statues are made of Phra Ngang, and good ones often sell out
quickly. Phra Ngang generally come in a few forms.

Ayuthaya Phra Ngang - Generally, these are a 4” to 7” metal figure of

Phra Ngang that often have earth underneath, which has to come from
a spiritually active place. This style has been made for a long time and has
been popular for generations, especially in the Isaan region (NE Thailand).
The most collected ones have copper eyes and are known as Taa Daeng,
(red eyes), but like all things, the way it was constructed and blessed is the
most crucial aspect. This style of Phra Ngang can be made of any metal,
but the Samlit metal is most valued. Samilt is a mix of three metals, and it
holds the blessing well enough for there to be no need for any Prai element.

Wood Phra Ngang – Many types of wood in Thailand are considered to hold
magical properties and to use those types to make a Phra Ngang offers
another source of power. They may still be Prai based, but the wood can
also bring great power if it is from a good source. The choice of wood used
depends on the lineage of the maker and the scented woods, or woods
associated with spirits, natural phenomenon and myths are best. 9

Moulded Phra Ngang - The bulk of Phra Ngang’s available from the Thai
makers are made from a spiritually active mixture, that will include cemetery
earths, bone, herbs for Maha Saneah and whatever else the Wicha of the
maker dictates. This mix is then cast into an image of the makers choice,
and extra elements pressed into the back before drying.

There are no public shrines in Thailand to Phra Ngang as he is generally

considered to be an occult deity, a type of demon, which makes many a little
wary of him. Many devotees actually think of him as real, and holding great
influence in their lives.

The worship of Phra Ngang

Besides the sex, drugs and rock n’roll reputation of this deity, the worship of
Phra Ngang is said to help in finding your soul mate, increase gambling and
wealth luck, improve relationships, and grant an assured calmness to
his devotees. The consensus is that he likes fresh water every day, fruit
(especially coconuts and bananas), incense, flowers and also a glass of
rum or whiskey along with the odd cigarette too! The latter two items are left

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 as thanks for granted wishes or for a bit of downtime for the deity, where he
can kick back and enjoy a drink and smoke.

The kata for Phra Ngang vary wildly and depend on the maker but again,
these are considered to be interchangeable and should the devotee have
many Phra Ngang from many makers it is best to choose just one, usually
the one for the dominant statue, and the rest will benefit from his influence.
If there’s more than one amulet, vary which one is worn as they all have
slightly different attributes depending on their construction. Some are
angled towards gambling, some towards sex, some to love and some have
a higher dose of the feeling of being enveloped by this deity. 10

From chatting in the online sites, it seems that the most important thing is to
get a Phra Ngang from a reputable maker; otherwise, it could be something
spiritually empty. Take time to understand any deity or spirit that appeals
and then explore how to attain the real thing.

1. Interview with a dealer, January 2016.

2. Interview with Soo Boon Ang, March 2016
3. Ajarn Chalerm, May, 2016
4. Chris Baker - Khun Chang Khun Paen p55
5. Ajarn Spencer 2014
6. Ajarn Chalerm, May 2016
7. Chris Baker Khun Chang Khun Paen p943
8. Ajarn Chalerm, May 2016
9. The Luksit of Ajarn Chalerm, May, 2016.
10. Phra Ngang chat site based in Singapore.

Phra Ngang - an interview with Ajarn Khaw

There are many old stories about Phra Ngang, but who knows which is
correct, no one really knows. Phra Ngang is for charming and for sex. He
likes dirty places, loves used underwear, and adores the period blood of
women. Phra Ngang is a low deity, but he is often depicted to look a little
like the Buddha, even though he is not the enlightened one. So people
changed the top to have a bend in the hat, and sometimes add large red or
copper eyes to give him a more definite identity.

The worship of Phra Ngang is ancient, and it is impossible to say if he

comes from Cambodia as the Lanna region also has Phra Ngang, Burma
has a version of it too, the same for the Tai Yai. He is often put with Mae
Per because life has Yin/Yang. Phra Ngang is the male form, Mae Per is
the female, and together they have the power of the couple combined, like
the Indian male gods have a female partner. They represent THE balance
in life, the male and female balance that creates life itself.

This statue of Phra Ngang is made from Maai Sak Thong (Golden Sak
Wood, which is so hard that it can be worked to a sharp point to make Sak
Yant tattoos). It is a beautiful and expensive wood, but these pieces are

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198. A Phra Ngang made from Suicide Wood by Ajarn Khaw.
A photograph of Ajarn blessing this Ngang is on p198.

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 199. A magnificent Phra Ngang carved from lightning wood.
By Ajarn Perm Rung.

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special because people have hung themselves from this branch, which is
why there were only 5 of these made. The authorities cut the branch they
died on to deter other suicides on that tree, and a friend kept the branch for
Ajarn to use for these statues. There is energy in the wood, but the items
underneath add extra power. There is bone from a man who had many
wives and a phial of Nam Man Waan for Saneah; Ajarn also made the Phra
Ngang placed under the statue, and that contains bone too. The Samlit metal
Inn Khoo, like everything else underneath this statue has to be blessed
individually to have the energy of what it represents before inserting it, so
each item there has power. The Takrut was written in a cemetery, and it is
for charm. All of these items bring energy to the Phra Ngang.

Phra Ngang - an interview with Ajarn Perm Rung

The origin of Phra Ngang is unclear, but this type of ancient magical knowledge
is deeply involved with sexual desire. Any Sak Yant to Phra Ngang is
generally placed on the thigh, and an amulet to Phra Ngang is usually worn
below the waist, the area reserved for sex magic. Phra Ngang may exist
as a physical being but he is also a legend or myth, and it is impossible
to be sure as to what is true, although one thing is for sure, the power of
magic rises if the devotee believes. An Ajarn cannot be entirely sure that
Phra Ngang exists, so it is vital to only focus on the kata of creation and the
knowledge of the Wicha to create talismans to this popular deity.
(Please remember that Ajarn holds precepts and has to avoid lying or
deceiving people in any way)

The kata for making a Phra Ngang or a Sak Yant to him is very rude, and an
Ajarn will usually chant it very quietly so people cannot hear. Ajarn Rung’s
Wicha comes from a translation of a Khmer Wicha for their creation, and its
rawness still surprises him. One of the old beliefs is that Phra Ngang likes
menstrual blood and this is sometimes given as an offering from devotees,
but this should only be done if the maker recommends it. Get the advice
of the maker with this aspect because some Phra Ngang will go a bit wild if
offered the wrong things, especially where blood is concerned. In Thai magic,
anything to do with menstrual blood is usually associated with a low type of
occultism that affects the higher magical items, removing all its power. If a
man has a high amulet or a Sak Yant that is high on the body (and therefore
more highly spiritual), they should not allow a woman to walk over them due
to the effect of menstrual blood. In the past there are stories of people who
had strong magical powers such as invincibility and to be able to harm or
attack that person, they had to soak a bullet in menstrual blood.

These days, most Phra Ngang do not need menstrual blood, but do enjoy
alcohol, cigarettes and some raw meat, and he is mostly for Saneah, Chok
Laap and Metta. The blessing or making of a Phra Ngang statue sometimes
includes the placing of the Phra Ngang on a woman’s breasts or private
parts to strengthen this ancient form of sex magic. There’s also some wilder
stories than that, but it is best not to share such things as it tempts people
to be extreme.

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 Now let’s discuss the fact that in some countries where he is popular, Phra
Ngang is often associated with ‘backlash’ (backlash is where there is a
sudden crash in fortunes). Backlash can happen because Phra Ngang can
sometimes lead people to become addicted to sex, and this results in the
taking of the body’s energy, reducing the power of the person, which leads
to the fall. Some devotees can also become addicted to the good fortune
aspect, and people then forget to praise Phra Ngang, but backlash is more
commonly associated with Kuman Thong and Luk Krok, rather than Phra
Ngang. If a devotee goes through a period where there is a collapse in good
fortune, it is best to begin the process of praising again, but these talismans
are like people and once upset with a person, their help may not return to
what it was before.

Phra Ngang - an interview with Ajarn Aek

The precise history for Phra Ngang is unknown, but Ajarn Aek believes
that Phra Ngang is a representation of Phra Chai, which originated from
Ayuthaya. The appearance of a Phra Chai amulet is very similar to a
modern-day Phra Ngang, except that he has a bald head or a pointed
crown, rather than the bent crown that Phra Ngang wears. Phra Chai was
originally made for a soldier either before or after a war to celebrate their
victory or to embolden the soldier (one of the meanings of ‘Chai’ in Thai is
‘Victory’). In the years after the war, people forgot about the Phra Chai
until they were found in old Chedis and temple areas. As these areas were
thoroughly searched and excavated over the past few decades, these small
old statues became a highly collectable item.

The appearance of Phra Chai became adapted into the Phra Ngang, but we
are not sure whether it is the same thing. Ajarn Aek thinks Phra Chai was
the source of the Phra Ngang image, but not of the legend of Phra Ngang
sex magic. Phra Ngang is often made from wood or metal, but the old ones
usually have a ring attached to the back so it can be worn around the waist,
hung towards the groin. This action is vital because there are also legends
about the power of Phra Ngang’s sex magic, often disappearing and then
found in a ladies soiled underwear. Because of his wanderings, devotees
had to tie him around the waist, to stop him going off to look for his beloved
soiled ladies underwear.

Some people believe that the image could also come from an unconsecrated
Buddha statue, but he has no robes (akin to a low demonic Buddha). Others
think that the small figure itself can be used as a physical and spiritual
weapon when the pointed hat is facing out. He seems to be something more
readily used by the common person and is still very popular in the North
East of Thailand.

Usually, when a Phra Ngang of this type is made (see photo), it is just blessed
to push the Saneah and the Metta into the Samlit metal, with the Thai earth
stuffed inside. There is nothing special about the earth with this style; it is
the blessing that is special.

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200. Wonderful, old style Phra Ngang and Phra Chai from Ajarn Aek.
The ‘Taa Daeng’ or red eye ones are highly desired by devotees.

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 201. A recent Phra Ngang amulet from Ajarn Suea that was carved from a palm tree
that was hit by lightning. Ajarn Suea only makes very special Phra Ngang amulets
because he wants them to be of the most benefit to his devotees.

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Phra Ngang - an interview with Ajarn Suea

There are two legends about Phra Ngang, both claiming him to be a mighty
magician who holds dominion over ghosts and having immense invincibility
(Kong Grapan). With the first legend, Phra Ngang is obsessed with sexual
activity, and if he finds any pretty girl, he can use his magic to make every
one to fall asleep in her house, so he can enter and have sex with that lady.
By the time Phra Ngang got older, he had acquired so many enemies that
his parents advised him to join the monkhood to be safer, and to bring a
balance to life. When he was about to ordain, he went through the ceremony,
dressed in white clothes and mounted a horse to circle the temple, but then
saw a beautiful woman, jumped off the horse to pursue her, but he fell. It
was during this fall that he bent his crown into Phra Ngang’s distinctive
shape. Some of the Lanna legends about Phra Ngang say that he did not
wear a crown as he was entering the monkhood, and this is the source of
the bald-headed version of Phra Ngang, often called Phra Chai. The reason
Phra Ngang usually has red eyes is that he has been hit by so many angry
parents as they found him pursuing or having sex with their daughters.

In the second legend, Phra Ngang is a Lersi, one of the 108 Ruesi who’s
name is Ruesi Nok Kaew. This Lersi holds potent magic for Maha Saneah,
and strong magic for invincibility. This Lersi was obsessed with sex, and he
used his Saneah magic to extremes. Any woman who saw him ended up
either having sex with him or becoming his lover, but as time passed, he
decided to turn himself around, often disguising himself with old clothing, a
bent crown and sometimes with swollen eyes (there are versions of Ngang
with swollen eyes). No matter what he looked like, Phra Ngang was still
easy to find as he always passed gas and sometimes, when the amulet of
this Lersi is made they sometimes make it with metal, keep it hollow inside
and put in a pea or bell that signifies the sound of passing gas. Eventually,
this Lersi became known as Phra Ngang and even though there are two
different legends, no one has any idea if either is correct.

In the past, Ajarns considered Phra Ngang as a Grand Master of Prai magic,
and there are other legends about Phra Ngang, but even though he is called
Phra, which is a term to address a monk, he never entered the monkhood
because he chose to jump off the horse and chase a woman. Phra Ngang
also has many names - Phor Per, Phor Ngat and Ai Ngang and these can
be considered to be avatars of Ngang, and each has a different pose, but
essentially, they are all Phra Ngang. It is the pose that dictates the name,
rather than him being a separate entity.

People don’t know whether Phra Ngang has ever existed. We use him as
a representation of the idea of Phra Ngang but having a Phra Ngang can
sometimes bring perverted thoughts, even if the devotee has never been
that type of person. Some people have reported that Phra Ngang has
possessed them, but these are people with a very weak psyche although it
can also depend on how the Phra Ngang has been blessed or made. A good
Phra Ngang brings great Saneah and invincibility but if the bearer has a

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 good relationship with his Ngang, he can also bring great fortune and support
from their superiors. Phra Ngang rewards dedication and devotion, but if
you don’t take care of Phra Ngang well, the fortunes can drop as he expects
a lot from his followers.

Some Phra Ngang are so strong that they have become legendary. With one
Ngang that is known to Ajarn, if he is placed face down on the floor and a
lady stands over him, the amulet will flip for him to see up her skirt. There
are also many stories of followers becoming scared of the power of their
Ngang and if that is the case, either return it to the Ajarn or bury him under
a big tree.

This wood Phra Ngang amulet with red gem eyes (p386) has been carved
from a sugar palm tree that was struck by lightning, which rendered it a
supernatural substance (Athan). The Takrut at the base was written on a
woman’s body and contains a strong sex kata from Phra Ngang. Inside
the carved figure is a Prai and incense ash mixture that was passed on
to Ajarn Suea by an old Master. Ajarn also made statue of Phra Ngang from
golden Maai Sak wood (p507), which is considered a royal wood, full of Maha
Amnat. Underneath it is a piece of Panneng from a female night worker and
a collection of Takrut for strong Saneah and sex power, all containing kata
related to Phra Ngang. The best way to praise Phra Ngang is to remember
that he usually has a ghost in there, so remember that he likes kata and offer
food. Sometimes offer him some ladies hair, especially is she is attractive, and
he also loves an offering of alcohol, as with all items that contain ghosts.

Phra Ngang - an interview with Ajarn Ting

Phra Ngang is well known for Kong Grapan invincibility, Saneah, Klaew
Klaat (avoiding dangers) and Metta. When Ajarn Ting was young, his Uncle
used to wear Phra Ngang round the waist in a position where it hung near
his cock. He was a bit of a petty thief, and many people tried to shoot him
over the years but every time they tried, the gun would jam, or they missed
their target. Most people think that Phra Ngang is only good for attraction
and Metta but in the Lanna traditions he is also superb for protection, and
my Uncle believed that his Ngang saved his life many times. Ajarn Ting likes
and collects the very old Ngang from this region, and even though they do
not have Prai, they are extraordinary items.

At this point, Ajarn got out a tray of old Phra Ngang and talked about them.

Formerly, Phra Ngang was called Phra Chai, but they are essentially the
same thing, and they have been made for centuries in this region. This one
in the plastic case is an old Phra Chai that was found when building the
railway near to Lampang, and the man who found it could not cope with how
strong it is so he gave it to Ajarn for safe keeping. The larger Ngang that is
covered in the netted string was given to Ajarn by the relative of a very old
man who passed away. They first put the Phra Ngang with the body, but at
the funeral service, he asked if he could keep him. The son of the old man

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202. Ajarn Ting with two of his graveyard wood Ngangs.
This pair are now in the US.

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 203. Old Phra Ngang, Phra Chai and Per Stones for grinding Muan Sarn.

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then decided to give it to Ajarn despite other relatives wanting to keep it as
they believed that is was magically powerful. It had been worn so much that
the metal loop at the back had broken and the string was knitted over to be
able to wear the Ngang. The smaller Phra Ngang in the string was sold to
Ajarn by an old man who was a tough guy when he was younger. This man
once fought a lot but got hit on the head with a hammer, and he always
believed that his Ngang had stopped him dying when he had a hole in his
skull. These old Ngangs only contain sacred earth, with no Prai present, but
they are very powerful items.

Phra Ngang and Mae Per are the representation of the ancient belief in the
regional sex magic, even though in the past they may not have given them
the same names. The stones on the right that are shaped like a doughnut
are natural representations of the female sex organs and are called Per or
Yoni Stones, and the stone next to them is a Paladkhik (the penis shaped
rock). Both of these items have to occur in nature and cannot be cut or
shaped. Both of these were found in the jungle and had the hole, but the
area around the gap has been shaped because the Paladkhik stone has
been used to grind Muan Sarn in the Per Stone. The same stones are also
used for making the herbal mixtures in the oils used for Sak Yant tattoos as
they add power. These came from Ajarn Ting’s deceased brother, and he
has not used them for a long time; keeping them to praise and caring for
them in memory of his sibling.

Phra Ngang - an interview with Ajarn Apichai

Ajarn Apichai has studied two original Phra Ngang Wicha, with the first one
being called Phra See Sara Ngang and the second Wicha is from the Lanna
traditions. The first Wicha is for Phra Chai and Phra Ngang; the Lanna
Wicha is marked as being exceptionally strong for Kong Grapan. Phra Chai
is Cambodian, and either has a bald head or straight crown and robe, but
Ngang has a bent crown, for which he is famous.

Phra Ngang is usually for invincibility (Kong Grapan), but nowadays, magical
Masters typically use a Phor Per (another form of Ngang) kata to make a
Ngang, which brings a substantial amount of sex magic into the amulet.
The katas from both regions are quite similar, but the power of Saneah
has been added to both as the understanding, and use of Phra Ngang has
changed, giving him a force that is similar to a Khun Paen.

There are a few origin stories for Phra Ngang, one of which is where he
was originally a poor man who had such Saneah that he could even choose
wealthy women for sex, a power which he gained from Shiva himself.
Another story about him says that he got everything through phenomenal
good luck, but there are so many stories about the origins of Ngang that it
is impossible to tell which, if any, is true.

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 The Cambodian version can either be a type of Payon or strongly Saneah,
but with all the Phra Ngang Wicha, the body of Phra Ngang is assembled
with the 32 parts of the body magic. Ajarn has the skills to construct the
body of Phra Ngang inside an amulet, which is why some of his devotees
see Phra Ngang in real life.

With a recent Phra Ngang from Ajarn Apichai, he used Maai Ngiew Dam
because it already has a spirit and a power within the wood, very much like
Maai Takien. It is an Athan wood, whether it is from the forest or graveyard,
but it is always stronger if from a cemetery. Takien wood is regarded as
being from a haunted tree and is not grown in the grounds of a house or the
temple so has to be sourced from the forest or graveyard. Trees in Thailand
are usually classed as either enchanted or haunted, but it is the haunted
trees that are used for making magical amulets such as this Ngang.

204. It is a little geeky, but fine Yantra application should always be appreciated.
The skills of Ajarn Apichai in applying script are exceptional, especially as there’s
no room for mistakes, because they cannot be corrected. The photograph opposite
is the back of a 16” bronze Phra Chai that Ajarn Apichai has in his Samnak, which is
a fantastic bucha but so big that it is very difficult to post.

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393
 205. Rarely, a maker will make a pair of bucha to Phra Ngang (here as Phor Per)
and Mae Per. This fine example is from the wonderful Ajarn Poon of Ubon.

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Mae Per

The introduction to Mae Per comes from the original book on The Thai
Occult by Jenx, following which are interviews with a few Ajarns to try and
clear up some of the confusion about this deity.

This instantly recognisable figure represents the essence of the female,

both in nature and in her magic. She is often described as a Deva who
resides on the mountain, implying that she has risen above the realms of
the spirit world, the underworld and that of the living. She represents nature
itself and the continuation of the world with procreation as we are all born of
Mae Per. Bounty emerges from her vagina, and her image is an idea that is
prevalent in many of the ancient cultures of the world. In the Thai pantheon
her consort is Phra Ngang (and Phra Ngang is part of a group of male deities
that include Phor Per, Phor Ngang, Phor Ngat and more), another spirit
that has been raised to a Deva and as such, Ajarns say that she requires
spiritual merit to raise herself further. From chatting with devotees who buy
amulets of Mae Per, they report that she is a highly efficient animist deity
that draws a more shamanistic collection of devotees because she is bound
to nature itself.

Mae Per is depicted as a seated lady with her legs open, either showing her
vagina or holding open her vagina to allow a child to pass while in the act of
giving birth. The vagina is the source of her magic; she is creation itself as
the female bears the trauma of childbirth, propitiating the continuation of the
species. Mae Per is also heavily involved in the act of sex, and all the powers
of magic related to the sex act. When in the position of giving birth, she is in
great pain but the blood spilt brings forth life. It is the burden she has to
bear, repaying her karmic debts from previous incarnations. She is the power
of the mother, and her protective qualities emerge during difficult times we
all encounter as she allows no one to harm her children. Like all matriarchal
powers, she has the strength of thought and decision making capabilities
that are unswayed by the testosterone of man, able to be both beneficent
and brutal when the situation necessitates.

Information about Mae Per is impossible to find as there are no reference

works on her of any sort. The one thing that is known though is that the Wicha
for Mae Per is ancient and the makers use this fact to hazard a guess at her
age rather than through any legend or myth. Statues of Mae Per are rare as
not many have the Wicha, but the Northern Thai Lanna lineages still carry
the knowledge. There are few talismans of Mae Per, which is either due to
the strength of her image, a lack of understanding of the deity or the Wicha
not being easily sourced.

One of her main attributes as a magical invocation is to protect the wearer

from black magic, evil entities, ghosts and demons but her magic is four-sided,
also assisting with romance, business, safety or conflict. Depending on the
lineage of her maker, if her amulet is rubbed on the left side of the body, it
evokes Maha Niyom and Maha Lap to attract friendliness and helpfulness

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 in others, which draws them either to you or your business. If the amulet is
rubbed on the front of the body, it evokes Kong Krapan, Maha Ud and Klaew
Klaad, which protects you from weapons, accidents and black magic. If her
amulet is rubbed on the right side, it evokes Maha Saneah to attract lovers
and bestows an ability to charm others of the same or the opposite sex. If
the amulet is rubbed on the back of the body, it evokes the power of Maha
Amnaj and Chok Laap, enhancing the abilities to win difficult discussions
or conflicts with smooth speech and an ability to get through to the most
stubborn of people.

Mae Per accepts people of any persuasion and is a loving, kind Mother
Deva who keeps her flock together with the skills and protective nature
of any matriarch. She is particularly useful as a love charm and works for
everyone, men, women, gays and transgender folk, which is unusual for a
single Thai deity. Where she has been taken into the Buddhist canon (some
monks do make Mae Per amulets), the three gems chant or Namo Dtassa
will suffice as a Kata, but other kata used are so old as to be odd. Mae Per
is beautiful, wise and loving and it is strange why she is not better known
or more accepted here in Thailand. There are no public shrines to her, and
it would be great if this changed in the future, maybe with a crowdfunding
project to fund a bronze of Mae Per to be put in every city on earth? Her
image crosses the boundaries of cultures, race and gender and is enriched
as a deity because of that fact.

Mae Per - an interview with Ajarn Suea (see opposite photo)

It is typical of the knowledge of Ajarn Suea that he has an origin story for
Mae Per, which is a revelation! Ajarn Suea often comes out with gems of
information because he is part of an ancient lineage. Pay attention to Ajarn,
this is a great interview!

Mae Per is from the legend of a daughter of a female merchant from long
ago. Her mother sold sweets but was not very good at it, and she decided
to ask Mae Per to see if she would try to sell them to see how she does.
In ancient times, a person would sell while sat down on the floor rather
than sitting in a shop as they do today. The problem was that Mae Per was
always falling asleep, but whenever she woke up, all her sweets would be
sold out! Her mother wondered why this kept happening, so she decided to
watch her daughter from a distance, and of course, Mae Per fell asleep in
no time while sat cross-legged on the floor. A lot of men started to come to
buy her sweets once she had fallen asleep, but while bending down to look
at the desserts they were also looking at her private parts.

When Mae Per found out from her mother that this was happening, she
then started to pretend to fall asleep with her legs open, because her
family was doing very well! From this story, the method of selling these
sweets became the magic of Mae Per. It is not that lady as an entity; it is
the magic of sexual attraction to sell something which embodies all Mae Per
amulets and statues.

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397
 206. Two incredible Mae Per from bone by Luang Phor Pina, circa 1990.

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From Ajarn Suea’s Wicha, the best way to make a Mae Per talisman is to
use the bone of a female who died in an accident, and he also has to know
the behaviour of that woman before she died. She had to be recognised
for enjoying men and having many lovers, which makes her perfect for a
Mae Per. When creating a Mae Per, Ajarn Suea cannot force the spirit to be
there; it has to be requested to help and persuaded to reside in exchange
of the bargain made where the person who has her talisman will make merit
for her. This type of spirit comes from a severe accident or a suicide (Phi Tai
Hong), and they need help with balancing their sins in life with merit. If this
is done correctly, they can be a rewarding amulet. To select the best spirit,
Ajarn tosses coins to check what the spirit wants, and whether that spirit is
the best choice for a Mae Per. If it doesn’t work out, time has to be taken to
find another good source to make this style of talisman and the other bone
will be used for something else.

Besides the bone content, Wahn is added that will boost the Saneah for
the mixture - Wahn Dok Thong, Wahn Sowlong, Krua Khow Long and many
more strong Saneah plants. To make a Mae Per statue, it is best to use one
of the woods for love such as Maai Rak or Maai Yom, but they are difficult
to post from Thailand now because of her image. Mae Per is usually for
females for sexual attraction, but males can use her also because she is
also great for selling and trading. The kata for Ajarn’s Mae Per is purely for
Saneah, but if a man had this, he would not say the kata as then better
for trade and business. Mae Per has a spirit in it, so it enjoys offerings of
women’s clothing, makeup, food every day, and here, the owner should
always feed themselves first before feeding the spirit, or it raises them
above the living. The devotee has to have the power to be above them,
so they eat first, then the ghost gets fed after, which is the case with all
spirit amulets. On the Buddhist days, Ajarn also offers Mae Per a raw egg,
cracked into a dish.

Nang Yaem - an Interview with Ajarn Khaw

This amulet is the same as Mae Per, but Ajarn changed the name because
he didn’t want people to feel the same as they would with a Mae Per, he
wanted to refresh their beliefs and attitude towards her. He hopes that
devotees can find a new understanding of this old female deity, which Ajarn
Khaw thinks works well both for the person wearing it and for the deity herself.
Many Masters make Mae Per, but only Ajarn makes Nang Yaem, which can
bring new people to this deity and help them trust that what Ajarn Khaw
makes is effective magic. It is just another way to change talismans and
make them more recognisable, a form of constant development designed to
pull more people into magic.

The image of Nang Yaem, like Mae Per is bold, strong and confident and the
skulls under her mean that the amulet has a spirit from the Nam Man Prai
on the back, as well as the bone inside. The bone for the Nang Yaem had
to be female, and this bone is from a lady of the night, which works well for
this talisman. It also suits the attributes of this Nang Yaem as it is for love

399
 and for charm, a special charming enchantment that only a lady of the night
can bring. Some people like the image on this amulet but some people are
scared of it, although it has to be said that people are attracted to what they
are meant to have in their lives.

There are many stories about Mae Per, and she is linked to Phra Ngang.
Ajarn used to hear their names a lot when he was a little boy, and the people
around him wore them. They believed that they were a couple, and while
there are many stories about them, he doesn’t know which ones are true.
They are legends, and then the myths develop over the generations. He
sees Phra Ngang and Mae Per as representing the original Yin Yang of
Thai magic (like Shiva and Uma). The one thing Ajarn is sure of is the
age of the Wicha, it is ancient; surmised from the kata used for both its
construction and praise. That is the best indication as to the origins as far
as he is concerned, and it is the same with Inn Khoo, and also Nam Man Prai.
Old, old magic. This amulet has to be made in one day, constructed in the
cemetery during the daytime and then blessed in the same place on the
same night, a night chosen through astrological calculations.

Ajarn Khaw sees Nang Yaem/Mae Per as very beautiful; a raw and magnificent
female force.

Mae Per - an interview with Ajarn James

Ajarn James has made two fantastic Mae Per amulets, one made from bone
and one from the pitch black wood, Maai Ngiew Dam. They both feel like a
very deep lake that is unfathomable, which is a feeling that devotees often
look for in a good Mae Per.

The Mae Per of the Lanna region comes from a Wicha of sex magic that is
remarkably similar to the one for Maa Saep Nang, but the actual history of
Mae Per is lost in the mists of time. Ajarn’s teachers have instructed him to
believe that these amulets are for ladies, and to make them using natural
substances is the best way. Ngiew Dam is the best wood to use for these,
and his other version was made from the jaw bone of an elephant. Ngiew
Dam is often referred to as a ‘high’ wood as it has a guardian spirit within,
which is the same for the elephant bone. Sometimes he uses the wood
that has died in a graveyard, which is of use because it adds supernatural
qualities.

Under the base is a cavity for the spiritual load, which in this case is made
from the earth from a graveyard and a bone powder from a lady who died in
an accident on a Saturday and was cremated on a Tuesday. There are no
Wahn plants in this mixture, no herbs or organic materials, which is typical
of very old Wicha. Mae Per works very well for ladies of the night but less
so for business women as she is not for trade. Mae Per offers strong Metta
and Maha Saneah but for men, it is best to wear a Phra Ngang, but they can
strike a balance in life by wearing both, should they feel the need.

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207. Bone and Ngiew Dam wood Mae Per amulets in the hand of Ajarn James.

401
 208. Put quite simply, this is the finest Mae Per amulets that has been made in
recent years. It has been carved from Takien wood, set into a Prai oil and is sat on
a piece of Panneng that came from a prostitute.
Made by Ajarn Perm Rung.

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Mae Per - an interview with Ajarn Perm Rung

The legend of Mae Per states that she was a beautiful lady who sold produce
in the market and one day she fell asleep, but on this day her legs were
open. The men who were on the market started to come and try to look
at her private parts, while she was asleep. When she woke up the men
then pretended to be buying from her stall. Mae Per’s mother saw this and
thought it a good idea for her to pretend to sleep with her legs open as it
improved sales. Mae Per is not a mythical being; her legend originates
from the story of one particular strategy to sell things. She is not a ghost or
spirit; it is only a story about a lady who could use her looks, and her body
to influence others with business. Ajarn thinks that the history of Mae Per
is different in the different regions, but they all amount to a similar story
about a lady who sold things well, despite what someone may think about
her methods (laughter).

Generally, a Mae Per talisman does not contain Prai, but some makers use
Prai to boost her power by getting help from a spirit. In Cambodia, they
sometimes use the birthday of the person who will praise Mer Per and place
that within the Wicha of creation. No matter whether the amulet contains
Prai, a Mae Per is always for Metta, Saneah and Chok Laap as charm and
attraction added to good fortune is the best help for business.

In the past, Ajarn used to carve a Mae Per from Takien wood, and to give it
more power he would use the ashes from a dead pregnant lady, or from the
body of a suicide victim. If he didn’t want to make a Mae Per Prai talisman,
he would use Star Gooseberry wood or the wood from the Jackfruit tree
to make her image, and then create the magic using Puttakhun techniques.
Mae Per is becoming more popular, so he now makes both versions of this
type of amulet to satisfy the devotees who don’t want a ghost with their Mae
Per.

Some people think that Phra Ngang and Mae Per go together and they carry
both, but the correct way is that men use a Phra Ngang and women use
Mae Per. Mae Per is used by a lady because she is carrying an amulet that
makes men go to her, because they are attracted by her legs being open
and she is ready for them to penetrate her.

To praise Ajarn Rung’s Mae Per, please offer things that a lady would enjoy
like perfume, makeup or flowers. His Prai version has female Panneng
or ashes and the spirit would enjoy those offerings as well as a bowl of
rice for food, and rice wine. The Puttakhun version has the same offerings
although the devotee would leave out the rice wine, but with both versions,
lots of kata. In the past when they used ashes or Panneng for a Mae Per
they would also choose a woman’s ashes that depended on her behaviour
when she was alive, but that is now very difficult to find, so we pursue the
remains of a woman who died an unnatural death. It is also important to
pick the right day to collect the bones as there is an astrological imperative
within the Wicha.

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 The Prai Krasip

The imagery of the Prai Krasip makes them both attractive and accessible
to the modern tastes, through the use of a skull to portray the presence of
this ghost. This ghost is considered to be a very stable entity that establishes
a bond with the bearer and acts as a warning system for approaching luck,
problems or danger. The other name these are known by is ‘The Whispering
Ghost’ because of the way he works, the spirit whispers to you, not in the
ear but in the mind. 1

It is thought essential with these amulets that the bearer recites the kata
for the Prai Krasip often as this helps both calm the mind and open the
connection with the spirit. Most people’s minds are too busy to hear
anything outside their mental chatter, and the meditative practice of reciting
kata can open the gateway necessary to listen to the ghost. The whisper
is heard in the back of the brain, and comes when least expected. The
whispering of the Prai Krasip is not a conversation, and their murmurs are
said to be short and succinct, often heard between breaths when there
could be a pause in the personal dialogue. 2

Due to the nature of this ghost, it is also recommended to further calm the
mind with some meditation through the chanting of one of the classic kata’s
in the Thai Buddhist practices - Namo Dtassa, which is astonishingly beautiful
and repeated in a rhythmic fashion with circular breathing. There are
recordings of this famous Kata online that can be followed until it becomes
second nature. Starting with three repetitions until a familiarity is built with
the language, it can then be extended to 9 and following that, 108, to build
Samathi. Ajarn Khaw said that if the chatter pulls the devotee away from
the pure focus while reciting kata, one should start again from the beginning
until all 108 are said with a clear mind, which can take time.

Namo Dtassa Pagawadtoe Aharadtoe Samaa Sam Phutta Sa

The amulets themselves (this type of ghost is normally only present in amulets,
with very few statues made) typically represent the Prai Krasip in his usual
form as a skull. The eyes are often picked out using red gems, denoting his
ability to see into the future realms, keeping an eye on what approaches
and warning the bearer to be careful when a time is coming that necessitates
caution. Having the red eyes is by no means essential though, and highly
effective Prai Krasip are made without these. What is crucial in the amulets
are the correct Prai materials, usually in the form of a bone chip in the back.
The bone gives the ghost something to bind to, that it recognises as once
being part of its living body. The Wicha for these amulets is thought ancient
by the makers 3 but as is usual with this predominantly oral lineage, there is
zero historical evidence for this talisman.

Another reason that these are the perfect entry point into the Thai Occult
is that the ghost is calm and obedient, like a spiritual servant, but it is the
imagery of the Prai Krasip that attracts most. Working to find the whispers

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 209. A magnificent Prai Krasip from Ajarn Nahn Khong.

is also very important as it helps the devotee make an effort to clear the
mind, which is beneficial with all aspects of this occult art. To help make the
connection to Prai Krasip, try chanting the kata while looking into his eyes
(and yes, the ghost is always male), it speeds up the process in making him
a very useful asset in life 4 .

A man in the US acquired one of Luang Ta Naen’s superb Prai Krasip’s and
then sent an email a week or so later with the title ‘This amulet is fucking
awesome!’ so it looked like there was a good tale to read. He reported
that the day after its arrival the amulet woke him up because his house
was being robbed and he managed to chase the thieves away. In the same
week, he also won a court case that he expected to lose and that would
have cost him a lot of money, all because a whisper from the amulet that
told him how to proceed. He now holds this amulet very dear.

Many people write to relay the stories that come from having this type of
amulet, rendered more effective through being cared for by the bearer in the
correct way to enable the bond between them to be strong.

1. Suksit Magazine, February 2013.

2. Barang discussion group, Singapore.
3. Ajarn Chalerm, January 2016
4. The dealer for Luang Ta Naen amulets, January, 2016

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 The Prai Krasip - an interview with Ajarn Perm Rung

Krasip in Thai means ‘a whisper’, so the Prai Krasip amulet is there to

help the bearer hear a whisper to warn you about dangers ahead, to issue
warnings to be cautious. Whispers can also be heard from items like Kuman
Thong but with them they can also be full conversations (laughter), whereas
the Prai Krasip is a quiet whisper, not chatting all the time. If a foreigner
has a Prai Krasip amulet, Ajarn has been asked before as to whether they
will be able to understand each other but Prai Krasip have their own ways
to inform you. They may still be able to speak of the danger as language is
often no barrier to ghosts, or they will find a way to make you sense some-
thing to help you avoid the perceived danger.

The Prai Krasip is not only found in an amulet, and there are other forms
of whispering ghosts. Sometimes a Guardian Spirit of a haunted place can
warn you of something, and in that case, they are also a Prai Krasip. The
whispers can also be from your own Guardian Spirit (the Opatika), and the
practice of having spirit amulets to listen to can assist with gaining the help
of the spirits that are present at all times.

The Prai Krasip is made in every region of Thailand, but each Wicha creates
them using different materials in a different way, although they all have a
similar effect. The Prai Krasip is always portrayed as a skull and is usually
made from a mixture of bone powder and Muan Sarn. For a foreigner who
wants to start with praising or collecting Prai, it is best to start off with items
that are weaker in power with mixtures of bone rather than pieces of skull.
If they start with a strong Prai amulet and are a weak minded person, the
spirit might overpower their fortune and cause bad luck because they know
that the person does not have control over them. Sometimes they can even
change the bearer into a moody person and make them bad tempered,
which may not be their normal character. It is best to start with something
that has more Puttakhun magic than Prai magic at first, and then work from
that point.

210. A pile of Prai Krasip in both bone and metal.

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211. Rahu is here! This incredible example of a Rahu galaa is from Ajarn Khaw that
was made on the best night to make a Rahu for 20 years.
The interview with Ajarn about this mysterious deity is over the page.

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 212. A fine, large Rahu Pha Yant that was consecrated on the night of the super
moon at the end of January, 2018.

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Rahu - An Interview with Ajarn Khaw
It is considered extremely difficult to contact the higher gods, but Rahu is
a little easier as he can be regarded as being half god and half devil. Many
people have a period in life where their luck is bad, business is terrible, and
there are many problems; then this is the time to pray to Rahu to clear away
the negative elements in life and bring better things.

Ajarn Khaw makes Rahu using coconut shell (galaa), but it has to be the
special coconut with one eye, which is supernaturally potent and there are
also no eye coconut; an item that is even more special. The no eye coconut
is known as Galaa Maha Ut, and both of these types occur as a freak of
nature, no actual tree produces this type of coconut. There are no legends
or stories about the origin of the use of the one eye coconut, but maybe they
have been forgotten as the use of these is ancient. Galaa can be used for
many types of amulet but the most popular is for Rahu as the galaa looks
like the moon but this is Rahu magic, not moon magic (although Ajarn adds
later that making amulets on a full moon is good for charm).

Rahu talismans can be blessed and made at any time, but if it is a full moon,
it is better. If there is an eclipse of the moon, it is best and the combination
of the two is fantastic. There is a very special day coming at the end of January
(2018) where there is a full moon, an eclipse AND it is on a Wednesday,
which in Thailand is regarded as Rahu’s day. An alignment such as this is
the best combination for 20 years, and Ajarn Khaw is making some special
Rahu amulets from galaa on that day, performing the consecration with
Kruba Insom and Kruba Win. These will be fantastic for Serm Duang, the
cleaning of the lines of fate and removing bad luck. Ajarn Khaw wholeheartedly
believes in Rahu and considers him very special. He wears one that was
made by his Master that he values so dearly that he had it cased in pure
gold.

The second part of this interview.

The ritual held on January 31st, 2018 for Rahu was very special indeed,
and many people made offerings to Rahu on that day. Rahu is considered
to be a demon in the Hindu beliefs, and many people will act to ‘close’
their shrines, covering them to protect them from the influence of Rahu and
therefore, this ritual was held outdoors and in the moonlight. Rahu cannot
be forced into the galaa amulets as he is a god, so all the Masters present
prayed with good mantra and asked him to come. Some powerful monks
helped at the ritual but they chanted to the Buddha, not to Rahu, and the
night started with Chinese fireworks to scare away any negative elements.
Ajarn Khaw was the one inviting Rahu, and he repeated his mantra over 108
times, which took almost two hours while being fully immersed in Samathi.

During this consecration, he also blessed some Pha Yant to Rahu. On this
cloth, there are two kata, one to the left side and one to the right. There are
two different kata present because one is for a Rahu that eats the sun and

409
 one is for a Rahu that eats the moon.

The kata for Rahu Eats the Sun.

Ya Taa Tang Tang
Ya Ma Ma Wa
Tang Ma Ma Tang
Kaa Kaa Sae Tang

The Kata for Rahu Eats the Moon, which is the more common type
Ku Sae Toe
Toe Moe Ma Ma Laa
Laa Ma Ma Moe
Toe Tidt Kut Hee

These kata can be used when praising Rahu, and both types of Rahu are
praised in the same way, with the same offerings, but one is praised
specifically on a lunar eclipse and one on a solar eclipse (the eclipse can be
full or partial). While creating these Rahu, Ajarn also took the opportunity to
help some of his devotees on this highly auspicious day by holding a ritual
for them to persuade Rahu to change their fate and raise their fortunes. It is
good practice for an Ajarn to help people at the best time to do so.

Rahu is always offered black food, and in the Thai traditions there are eight
types, which include black chicken, black eggs, black coffee, anything black,
but there is no significance to each food, all the black foods are considered
the same to Rahu, the devotee can use what they want. They can also offer
to Rahu at any time if they feel like they need a change of luck. Ajarn Khaw
recommends Rahu to people who are going through difficult times, and this
happens because Rahu the devil has entered their life. If Rahu has entered
their lives already the person must wear Rahu, respect Rahu and praise him
and he will give his blessings to turn their life around.

Rahu - An interview with Ajarn Perm Rung

Rahu is considered to be a very powerful god, but he once upset the Sun
god in Hindu mythology by stealing the water for immortality and drinking
it. When the Sun god found out, he hunted him down and cut him in half. In
the Indian legends they usually say that he cut the head off Rahu but in the
Thai beliefs, he kept his arms, although, of course, he could not die after
drinking the water and was left to float around in space. Whenever he sees
the Sun god he will try to swallow him but as he was cut in half, the Sun god
always escapes, which is the same as when he eats the moon, and each
of these three are considered to be siblings. Rahu is the youngest of these
siblings, who were once mortal men and when they offered food to monks,
Rahu always used a galaa as a bowl, which matched his black colour. So,
Rahu and the moon and sun gods are just like brothers arguing, with Rahu
always trying to consume them.

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213. Consecrating Rahu Talismans with
Ajarn Khaw and Kruba Insom on the
night of the supermoon, January 2018.

411
 214. The front and back of galaa amulets to Rahu made by Ajarn Khaw on the night
of the supermoon. Ajarn considered this such an important event that his name and
the date are on the amulets.

412
215. Because of it being supernatural in nature, Galaa can be used in many ways.
Over the past few years the author has seen them used for amulets to Pujow
Samingprai, Nang Prai and other Lersi, but never like this.
This is a carved Galaa from Luang Phor Pina from around 1990.

413
414
Most of the amulets to Rahu show him swallowing the moon as this is a
more common event, and he can be worshipped more often in this role.
There are some talismans made that show him swallowing the sun, but
they use a different kata, and with both of them there are rituals to be made
during the 7 phases of an eclipse. The one-eyed coconut (galaa) is the best
material used for a Rahu because it represents the mouth of Rahu and once
good fortune goes into the galaa, it is difficult for it to escape. The galaa is
also like the shape of the moon, and the galaa is considered to be strongly
supernatural in nature. Most galaa are made into Rahu Om Jan (Rahu eats
the moon), but if made into a Rahu Om Phra Aathit, the only difference will
be the kata carved into the coconut.

The people most likely to have a Rahu is the man because it helps with
authority, especially for those working to serve the public through government
offices and the armed forces. If a man is a farmer, Rahu will help with the
harvest, and if the man is in business, he helps with wealth. Rahu also
protects against ghosts and dark magic and while Ajarn did not say that
a woman should not have Rahu, most of the people who bucha Rahu in
Thailand are male because males are more likely to be in the Police, Army
and government services. The primary attribute he bestows for everyone is
Serm Duang, a change of the fortunes of the worshipper and many people
come to Rahu after a period of bad luck. He is an active and useful god.

It is OK to bucha Rahu every day, and offer food in the same way as a normal
amulet, but when there is a lunar eclipse, the Rahu should be taken out to
bathe in the moonlight, which boosts the power of Rahu. For an eclipse of
the sun, where a person has a Rahu Sun talisman, all the offerings need to
come in sixes, six grapes, six incense etc., it can be three different types
of food, but there has to be six pieces of each offering. For the Rahu moon
talisman, during an eclipse, it has to be 15 food offerings and as with the
Rahu Sun talisman, all the offerings have to be black, including the incense
sticks. The offerings can also include flowers, but they have to be black too,
coffee is fine, even coca cola, all fine as long as black.

At the end of the interview the question was posed concerning the rarity
of one eye galaa in nature, and Ajarn Rung guessed at around 4 or 5 per
10,000 coconuts. For no eyed coconuts (Galaa Maha Ut), Ajarn thought it
would be 1 or 2 per 10,000 coconuts, and for an albino galaa (white galaa),
they are one in a million.

A similar question to other Ajarns brought various answers, but as one Ajarn
said, ‘Having not counted them, it is difficult to be sure’.

216. Opposite. Ajarn Perm Rung with his fine Rahu Galaa.

415
 Hoon Payon (also spelt Hun Payont, Hoon Pa Yon etc)

The Hoon Payon (Robot Ghost) is generally considered to be a spirit amulet that
is closely associated with the land, arising first in the agricultural heartlands of
Thailand, and the roots of Thai culture. The action of creating a doll from
various materials to perform a magical purpose is part of most of the world’s
magical traditions. From the little historical evidence available, this is an
ancient spirit that has been used for many millennia to protect both the
person and the home, while also bringing good fortune to the bearer. Hoon
Payon (or in this case, Hun Phi) are mentioned in the tale of Khun Paen 1 ,
where he made a thousand Hun Phi soldiers help fight one of his wars

He cut grass, tied it into 1,000 dummies, scattered enchanted rice and the
dummies came alive as people, with weapons in hand, filling the forest with
noise and movement.

…and he gave orders to his army of mantra dummies “You will march as an
army into battle… Only round up people and hit them, don’t kill.” 2

There are even stories of battles between these spirit dummies and how
Khun Paen subdued the opposing dummies with enchantment 3 . There’s
even an account of them fighting each other in battle!

Dummy attacked dummy, stabbing and parrying, pushing and pulling, clashing
pike against pike, wrestling hand to hand in an uproar. 4

The practice of making Hoon Payon originates from the Khmer/Thai Saiyasart
traditions, and it is considered to be a problematic Wicha 5 . A Hoon Payon
serves to assist the bearer in various tasks and improve conditions in life,
which has directly led to its popularity in the rural areas because these
talismans are cheaply constructed. The first popular maker of this effigy
found fame with his work as Thailand started to become a wealthier country,
and the people could afford to buy protective figures of this type rather than
them being made by the local magician for a pittance. This maker was Ajarn
Loy, and his Hoon Payon are now a valued item to both collectors and the elite
classes. Ajarn Loy’s lineage is still active today and their Hoon Payon are
sought after for their effectiveness, although many makers hold the Wicha
to make superb Hoon Payon.

They are made from a multitude of materials, but traditionally, the maker
used agricultural materials (particularly grasses, including one called Yaa
Kaa, which is used for roof laying and it is often cut from a cemetery for
a Hoon Payon), soil, metal, wood or bamboo that has been made into the
shape of a person and bound with ‘Sai Sin’ ceremonial thread 6 . This thread
is used when a monk or Ajarn cordons off an area for protection while he
performs a ritual, as well as the thread used during funeral rites. If more
clout is needed for the talisman, the maker will use the Sai Sin from a funeral
as it is considered to be Prai in nature, added to both increase the power to
the item and to bind the spirit in the effigy.

416
217. A magnificent 8 armed Hoon Payon with weapons from the talented maker,
Phra Ajarn Supasit.

417
 218. A woven Hoon Payon by Ajarn Perm Rung.

418
While being able to attract luck and wealth, the primary role of the Hoon
Payon is to block out danger and misfortune, acting as a substitute body
that is attacked instead of the bearer 7 . According to one famous maker,
a Hoon Payon amulet or figure may suddenly break, and it is said to have
taken a ‘hit’ in the course of its duties. It is also known to protect from black
magic and evil spirits, and by blocking out these disruptive forces it allows
boon to come to the person or the home 8 . The Hoon Payon is an obedient
assistant that is ready to act in defence of the wearer, akin to a magical
bodyguard.

There are many types and styles of this effigy, which often reflect the
strength or intended purpose of the Hoon Payon itself. Ajarn Loy’s classic
talismans are made from woven wire and generally carry a weapon, enabling
the Hoon Payon to be efficient in its protection. More modern makers depict
it with 4, 6 or even 8 arms, all carrying weapons in the manner of some of
the Hindu deities. This variation of styles has enabled the makers to allow
their artistry to come through, and now the Hoon Payon can be seen depicted
as a Muay Thai fighter, a soldier, a general or even the angel of death. The
colour of the Sai Sin thread that often binds the body is said to denote the
intended strengths of that particular effigy. Black protects against black
magic, red protects the person from intended physical attack and white
protects the home and wealth, but actually, this all depends on the intent
and the lineage of the maker.

While most Hoon Payon contain only the spirit in question, this is often
bolstered by the addition of Prai materials, particularly bone or Nam Man
Prai oil to make a Prai Payon or Hoon Payon Prai. These amulets are often
shown with the head of a skull to denote the Prai present, and they are a
potent defence. They can also be made containing coffin nails, corpse hair,
cemetery earths, metal pieces from a city gate or Wat, and even pieces of
dried skin or flesh. These dolls are not empty shells or mnemonic devices. 9

The perceived advice about wearing a Hoon Payon as an amulet is that

the bearer should feel the envelopment of its protective powers, something
which needs adjusting to over time to find comfort in this feeling. It alters
the way people see and interact with the bearer, a change which should
be understood and accepted by the owner and not abused. It offers the
chance for spiritual growth as an individual and the opportunity should not
be missed. There are many styles of kata used from the various lineages
with some using ancient language and invocations. Others evoke the primary
elements in expanding the effectiveness of the Hoon Payon and beseech its
presence to care for and help the bearer.

When bringing a Hoon Payon into the house, the correct practice is to make
an offering of incense and pray to the spirits of the land, informing them that
the Hoon Payon is another welcome member of the family. The effigy enjoys
kata, and like all the ancient spirits or deities he also enjoys alcohol, either
in a glass, dabbed onto it by a finger or sprayed on with an atomiser. Do
not do this too often though, it is a treat, like a periodic night on the town.

419
 1. C Baker - Khun Chang Khun Paen p316
2. p1034
3. p1049
4. p1051
5. p943
6. Saksit magazine, August 2015.
7. Saksit magazine, August 2015
8. Justin Thomas McDaniel - The Lovelorn Ghost and The Magical Monk p1175
9. ditto

The Hoon Payon - An Interview With Ajarn Apichai

Interviewing Ajarn Apichai is a joy as he knows exactly how much to say,

but this does not mean that he understands the effect of interviews, it is just
how he is. For example, after the release of the Sak Yant book as part of
this series of works, he was booked to work at an amulet shop in Singapore
to perform Sak Yant and blessings. When he got there, he happened to mention
to the owner about being featured in a new book, and was admonished for
not telling him sooner! Ajarn then requested both a pdf of his interviews and
the author’s last copy of the book to help with marketing. Ajarn Apichai is
a genuine person, he has no guile and is trying to help people understand
more about the Thai Occult.

There are two types of Hoon Payon.

The first type is the Hoon Payon Taep, a Hoon Payon Angel and therefore,
no Prai materials are present. The Hoon Payon Taep is made by using the
kata for the four elements and the 32 parts of the body kata to create a new
and pure entity, on to which is cast a strong spell for protection.

The second type is a Hoon Payon Phi, which is constructed by putting a

ghost into the effigy. When making this type of Hoon Payon, Ajarn has to
use haunted items, such as soil from graveyards and bone, which will be
embedded into the doll. The making of these is quite similar to the making of
a Kuman Thong, but the spirit in a Hoon Payon Phi is an adult rather than a
child. There is a specific protection spell used for the Hoon Payon Phi that
is extremely effective against vicious spirits and being attacked by black
magic. To make this talisman is more difficult than making a Kuman Thong
as the Hoon Payon created has to act as the owners double, meaning that
any bad things that may come to the owner are passed on to the doll
instead. The important thing when making a Hoon Payon is the kata, which
is the kata for Phra Karn, the god of destruction.

In the past, the Hoon Payon was also made in the shape of a buffalo or
bull, which is again used for protection and to cause harm to an enemy. The
old human shaped effigies had no face in the belief that when it attacks an
enemy, it can remain anonymous. The history of the making of these items
dates back thousands of years and was made using grass or clay to make
a doll. In modern times a face started to be added, but only for aesthetic

420
219. Ajarn Apichai weaving a Hoon Payon from wire.

421
 220. This huge Hoon Payon protects the Samnak of Ajarn Perm Rung.

422
reasons. It is impossible to say where this Wicha originated as each region
makes these useful talismans, and while there are variations in the way
they are constructed, these variations are small.

It is easy to mark the resurgence of the making of these items as one maker
restored their popularity, Ajarn Loy, who had great knowledge about the
construction of the Hoon Payon. Ajarn Loy’s pieces became renowned for
being highly effective, and he made them using woven wire or bamboo.
Ajarn Apichai has been studying his method and has constructed some
small pieces by hand, chanting kata while bending the wire into shape,
which he says is a highly enjoyable process. His Hoon Payon are all Taep
style and have a particular kata called the heart kata of 56 hearts, which is
then combined with the elemental kata’s for earth, air, wind and fire.
Watching Ajarn making the small wire figure in the photograph was a study
in Samathi itself. It took hours!

The Hoon Payon - an interview with Ajarn Perm Rung

The Hoon Payon acts like a soldier or guardian to protect the person and
their property. There are two types of Hoon Payon, Prai and Taep, but Ajarn
only makes Hoon Payon Prai, because they are more effective. An Ajarn
usually uses a male ghost for the Hoon Payon, and it is often made using
coffin nails, ashes, shroud, 7 graveyard soils, the soils from 7 ant hills and
other items too numerous to mention. In the past, the Hoon Payon was used
for fighting in a war against all enemies, and some were made with human
flesh to bolster their powers, quite different from those made today. During
times of strife the magicians will pull on the strongest sources available to
ensure success, but in today’s world, these methods are considered too
extreme. The modern Hoon Payon is an adaptation of an ancient form of
magic that remains popular to this day.

Ajarn himself uses a large Hoon Payon to protect his home against black
magic attack. They are made both in Thailand and in Cambodia, but the
Cambodian ones are often more powerful because they use the remains
of a Phi Tai Hong Ghost. Some also use Panneng or flesh to make a Hoon
Payon, but it is now difficult to find the materials, and therefore, this type
is presently rarely seen. There is always the question posed as to whether
Thai magic or Cambodian magic is stronger? Ajarn believes that the Thai
version is stronger because more people believe in it, whereas in many
regions of Cambodia, it is now hazardous to be a magician. He thinks that
the original Wicha of the Hoon Payon may have been Cambodian, but the
Cambodians have lost their faith in such matters now and belief is a potent
force in all magical systems.

To Bucha a Hoon Payon Prai, offerings such as boiled eggs, rice, alcohol
and cigarettes should often be given, but for the Taep type, it is usually just
rice, eggs and cigarettes. Raw pork can also be offered to a Prai version,
but never to the Taep. Ajarn Perm Rung believes that this type of spirit is
extremely effective and places great faith in their abilities.

423
 The Inn Khoo

The act of love can be considered magical in itself and magicians from all
the ancient cultures have sought to assist in the pursuit of love, partnership
and sex since society took shape. In Thailand, the general Maha Saneah
amulet helps to attract a partner, create friendships and gives a boost to
working relationships (and virtually all the amulet types have Maha Saneah)
but the Inn Khoo is the specific incantation to attract a partner and build a
loving relationship.

The traditional representation of the Inn Khoo is the loving couple, bound in
an embrace for eternity, but in the last few years many highly sexual versions
have appeared, reflecting both a liberalisation of the Thai conservative nature
and more active marketing. The Inn Khoo is considered to represent the
power of duality (we are all stronger and balanced when together) through
the binding of the male and female, the strong and the gentle, the seed
and the yoni, and in this manner evoke the principles of Yin and Yang. The
Inn Khoo aims to give the bearer balance through being with a partner
and benefitting from the gentle reforming of life through one lived with the
guiding force of love and friendship. These can be either Prai based or
non-Prai, but the Prai ones are more active, which is generally the case with
all amulet styles. Inn Khoo Prai come in many forms, and the Prai can also
be represented by a coffin nail, with a classic version of this amulet being
one with two figures wrapped around the nail. The Prai can even come as
bone, corpse hair and Nam Man Prai oils, lending an effectiveness that one
should expect with a love charm.

While the effect of an Inn Khoo can be significant, in general, they only
serve to give the bearer an advantage with the object of their desires, they
do not force or capture. Kruba Porn stated that with his Inn Khoo, it works
the best with the first object of desire, but does continue to influence after
that. The Inn Khoo is one of the oldest types of charm, spell or amulet
that developed from an ancient practice that involved burying an Inn Khoo
where someone slept 1 . The old Inn Khoo was strongly Prai, helping to
bewitch visitors and attract a suitor to ‘home ground’ as it were. There’s
also historical evidence for Inn Khoo with Prai materials. According to an
old death custom, during the ceremonies before a cremation the face of a
corpse was covered with beeswax, around half an inch thick to disguise any
degradation and if the family was wealthy, gold leaf might also be added to
beautify 2. The mask would be taken off before cremation, and the beeswax
could then be used by the spirit doctors (Mhor Phi) as a powerful Prai
ingredient due to it absorbing some of the oils of the dead. This beeswax
from the face would then be mixed with ash from a cremation, sacred earths
and potent herbs and moulded into two figures, one of them often bearing
the name of the one who wants to attract, and the person pursued on the
other. The figures would then be bound together using the thread that tied
the hands of a corpse, and the figure was buried under where the person
slept. Within a day, the person desired would come 3 .

424
There is also historical evidence that states that they originally mixed the
ingredients for an Inn Khoo in the bowl of a skull, which would certainly add
potency 4 .

Whether the Inn Khoo was worn around the neck or on the body in ancient
times is not known. Many of the newer styles of Maha Saneah amulets and
statues are now more popular than this old type (there is a definite fashion
aspect to many of these types, some come into style while others drift out)
but the Inn Khoo is still famous as an evocation, often present in the items
on the rear of the amulet or under a statue. The Inn Khoo is also commonly
used as extra power in a See Pung balm for Maha Saneah, with a small
brass figure of the loving couple pressed into the magically active cream.
The See Pung is another ancient device for enchantment that is usually put
onto the lips, and is a combination of beeswax, coconut milk and various
herbs for Maha Saneah but more on that in a later chapter.

1. C Baker - Khun Chang Khun Paen p287

2. p992
3. Berend Jan Terwiel - Monks and Magic - p72
4. C Baker - Khun Chang Khun Paen p1063

The Inn Khoo - An Interview with Ajarn Khaw

The Inn Khoo is a traditional Lanna amulet, and Ajarn makes two kinds
for appealing to different people. A red one that is a spirit Inn Khoo that
includes bone chips, Sai Sin from a corpse and herb powder. The Inn Khoo
locket has just the herb powder, the same powder but no Prai. The magic
is the same, but the spirit amulet of two people hugging has more power to
achieve the aims of the Wicha.

Inn Khoo means ‘man and woman together’, sit together, hug each other, and
there are also sex images used for Inn Khoo, but the magic is the same.
The power comes from the ingredients and the correct Wicha. The Akhara
on the locket is a kata but not an Inn Khoo kata; it is a kata for charm. The
back has some Saneah oil, a gold and silver Inn Khoo and 7 Takrut on this
Master version, which are not all the same. It has 7 kinds of charming magic
in the amulet for the attraction of love.

The Wicha is old Lanna, which is different from say the Isaan Wicha, and
Ajarn Khaw thinks that the Lanna is the original, but who knows for sure. If
anyone goes to the amulet markets, they will see old Inn Khoo, which are
usually either in copper or made from wood like Maai Rak or Maai Mayom,
two popular kinds of wood for love attraction. They were also made in stone,
and those are very old. Silver is also used, but mainly to express the wealth
of the bearer and this is the same with the copper versions of old, it showed
they were rich and had status. In modern times there are Ong Kru versions
that the Master spends more time on and therefore, charges more for them,
for the people who have more money for talismans.

425
 The Inn Khoo - an interview with Ajarn Perm Rung

Ajarn cannot postulate on the history of the knowledge of the Inn Khoo
because there are many versions of this Wicha, which includes those from
the Lanna regions and Burma. One of the most famous people in this region
regarding Inn Khoo was Kruba Taa, and his were one of the best Saneah
amulets ever made by Lanna magicians. With a real Inn Khoo, they would
use the names and birthdays of two people and put them into dolls before tying
them together. These were made for a person who adored someone, to make
that union happen. It is like the Wicha for a one-sided love to bring them
together, and then the doll was buried in the graveyard during a particular
ritual, which used alcohol, blood and meat in a similar way to most graveyard
work. These products are offered to the chosen spirit for its help in binding
the two people together in love.

The Inn Khoo is one of the most popular Saneah amulets in the Lanna
region. When a couple feels that their love is drifting, or they have lost
their deep connection, they will often have an Inn Khoo made to bind them
back together. The couple will put their names onto a prepared gold and
silver Takrut, which are then placed into two dolls that are tied together
to increase their love. This bespoke ritual is for people who visit Ajarn’s
Samnak to give the details and some personal items, but for many people
this is difficult. For people who cannot come to the Samnak, an amulet can
also be used and carried around. Ajarn’s Inn Khoo amulet is made from Sai
Sin magical thread that has been wound into dolls and had a Takrut placed
inside; excellent for Saneah and Metta, two essential elements in finding a
life partner or someone just for sex.

221. The beautiful Inn Khoo recently produced by Ajarn Perm Rung.

426
222. A Lanna Inn Khoo spell that is in the special edition of this book.
Made by Ajarn Apichai (description over the page).

427
 223. According to the Wicha, for these to be effective, the Yant has to be drawn on
a ladies private parts. This action means that Ajarn’s Samathi has to be strong to
accomplish the task.

428
The Inn Khoo Yant - the special edition extra by Ajarn Apichai

On the metal sheet is the Lanna version of the Inn Khoo, which carries an
image of a man and woman in an embrace. The Inn Khoo is a symbol of
fertility. The male has the name of Kham, and the woman is called Kaew,
and the ancient version of the Inn Khoo was often called Inn Kaew, Inn Kham.
They were also referred to as Inn Ngun and Inn Thong, which translates as
the silver and gold couple. In the Lanna region, these were the first man
and woman that brought about life, which relates it directly to Adam and
Eve in the West. The Inn Khoo is the original representation of the father
and mother of all of us but as times changed, this belief was made into a
Yant, and sex magic was added to give Metta, Maha Saneah, Originally, the
Inn Khoo was for love but over time it became more about sex and frivolity,
although it also protects from black magic. The original image for the Inn
Khoo was not as lewd as it is now with the figures often being clothed. Old
people have the Inn Khoo in their homes to bring love to their abode, which
is a more ancient belief than the modern day sex images.

This Yant follows the modern belief and it draws people into wanting
sex with the bearer of this Yant, and the spell in this piece will break
any restrictions they may have towards the physicality of sex.

The kata for the special Yant on metal

Om Inn Rak Inn Nan Taen Ko Kor Yaen Jut Kaen Yaen Kai Hua Hu Pen Mia
Poo Gun Tao Blaa Tor Tao Yaa Wa Chi Wang See Ni Hang Pee Yang Ma
Ma x 3

This image can also be used for candle magic, but here is was drawn onto
a metal plate using the Maai Kru, and drawn while resting on a woman’s
private parts. After each session of making these Yants, Ajarn had sex with
her to seal the magic spell within. These plates are kept under the mattress
to draw people to your bed, and are recharged whenever the bearer of the
Yantra has sex.

The Inn Khoo is a specific Wicha, but there are many types of amulets that
are not. With these amulets, an Ajarn will construct a talisman with the
attributes of Saneah or Metta or Chok Laap and put that behind a recognisable
image. In this way, fashion can play a part in the Thai Occult practices. A
few years back, for instance, 4 Ears 5 Eyes had a bit of a resurgence, and
many amulets came out to him, but they were just a collection of attributes
behind that image. The same is as true for Nang Kwak as it is for the
4 Ears 5 Eyes demon, two classic amulet types that are but a group of
magical characteristics.

As new markets open, the Thai Ajarns will try to please them by producing
a style they like, which was the case with the 9 Tails Fox for the Chinese
market. The 9 Tail Fox is again but a collection of the attributes that

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 devotees desire the most, but please note that some Ajarns can place an
image into a strong Prai item. There is a famous maker of carved skull
pieces in Chiang Mai and a Vodou Priest friend insists that the picture of 9
Tail Fox is within those pieces. There is no reason to doubt this man as he
is an incredibly talented magician and this ability has been mentioned more
than once by the Ajarns themselves. The same can be done with Phra Ngang,
other deities and ghosts as well, but as yet, an Ajarn has not come forward
to explain the process. Hints about this action have arisen during interviews
as well as conjecture from devotees who have the required Samathi needed
to be sure that an image is present.

Inn Khoo - an interview with Ajarn Suea

Ajarn Suea’s Inn Khoo amulet is made up of two dolls that have been made
of thread, and then bound to each other in an eternal embrace. Between
them is part of the stick that has been used to pierce the body during a
cremation to stop the intestines popping due to their water content. The
thread comes from a funeral and has been applied to bind the body; it also
acts to transmit the energy of the monks to aid the deceased’s spirit. The
dolls are soaked in a mixture of Nam Man Prai and the bone powders from
a woman who died by drowning, which is one of the most potent sources of
Prai. Two coffin nails have also been included in the embrace, one of which
represents the female, and one of the male.

Three catagories of bone that can be used to make the bone powder in a
Lanna Inn Khoo. The first is the bone from a Phi Tai Hong (a person who
died a horrific death), the second is from a person who died Tai Prai from
nature, like drowning or being struck by lightning and the third one is called
Lai Tai or ‘sudden death’. In this case, the bone used is from Tai Prai as it
was from drowning.

Ajarn often makes the Prai Inn Khoo because the non-Prai versions are
considered to be higher magic and it is difficult to obtain the materials that
are required by his Wicha, such as certain products from two beehives that
grow on one branch of a tree. The Prai versions of the Inn Khoo are more
forceful, but Ajarn would also make the non-Prai versions if he could find
the materials, because he considers that magic extraordinary.

Ajarn Suea’s Inn Khoo can be used towards any desired person, and not
only for love. To use it, carry it around, especially after dark when it is more
powerful. If the holder wishes to attract a specific person, hold them in mind
or look directly at them and call to the Inn Khoo to tell it that this person
is beautiful. Tell it to help in capturing the person’s heart and that it will
be repaid with merit or offerings. As this is lower magic, it is good to keep
this in the pocket and to tap it when calling it to action. Talk to it often and
befriend the ghost, it will serve the bearer well.

224. Opposite. A full tray of Inn Khoo Prai amulets by Ajarn Suea, which sold out
very quickly due to their forceful nature.

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431
 The 4 Ears 5 Eyes Demon

See Hua Haa Taa is the Thai name for a monster that derives from a Hindu
legend where Indra transformed herself into this demon to help people. In
Thailand, the following legend is associated with this demon although there
are many versions of this story due to the oral tradition in this part of the
world, taking us well away from the Vedic roots. Written here is one version,
but like many of the myths here, everybody seems to have their own.

There was a beggar family of a father, mother and son, and after the mother
died, the father told his son that when he dies, he should bury him until the
flesh has all left his bones and then dig him up, and roll his skull along the
ground. Where it stopped the son should build a trap for an animal that will
come, and it will bring with it great bounty. Once his father passed away, the
son dutifully fulfilled his wishes, and one day a monster was trapped, just as
his father had said and it looked like a gorilla with four ears and five eyes!
Under the instructions from his father, he fed it and made a bonfire to keep
it warm, but the creature was so hungry that it started eating the red-hot
coals from the fire. That the monster ate the coals was surprising enough
for the son to see, but then the animal began to pass faeces of pure gold!
There was so much gold that he had to store it away as fast as the demon
produced it; otherwise, someone may see.

It then came to pass that the King of the land was looking for a suitor for his
daughter, but with the stipulation that he should offer enough money to build
solid gold gutters around the Palace. It these old times no one had enough
money to do such a thing except for the son, and he married the Princess
as soon as the task was completed. The son had no worries about using
his gold for this purpose as he believed that his supply of gold would never
run out. The thought of all this gold played on the mind of the King, and he
became intrigued as to how this young man came across so much gold.
Eventually, the son foolishly told the story of the four ears five eyes demon,
at which, the King sent his soldiers to take the animal into the Palace for his
use. Unfortunately, the animal escaped and has never been seen since but
he remains part of the folklore of Thailand, especially in the Lanna region.

In Thailand the 4 Ears and the 5 Eyes represent part of the maintenance
of the Buddhist principles of Dhamma practice; namely, Bhramavihara
(the four ears representing; four practices of Compassion, Metta, Mutitaa
(Mutual concern for the welfare of others) and Upekha (equanimity). The
five eyes represent the five precepts (not killing not stealing not indulging in
perverse sexual or adulterous behaviour, not lying and not taking alcohol or
intoxicating substances such as drugs). The talismans produced of 4 ears
5 eyes are quite wonderful but have yet to become popular outside Asia,
which is a surprise considering the beauty of both the idea, the image used
and the product made. The wonderfully odd thing about having this demon
at home is that one of the offerings is a piece of coal and that it should be
given at midnight on the day of a full moon. It also loves flowers, certain
fruits and water to quench its thirst after eating all those hot coals.

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225. The See Hua Haa Taa at Kruba Insom’s Temple.

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 226. The Nang Kwak below are by Ajarn Suea
and made from a Teak Tree struck by lightning,
which adds a supernatural force to the statue.
On the left is something rather rare, a bone that
has been hand carved by Ajarn Phor Na to be
Nang Kwak’s hand. This is used by holding the
bone and pulling money in with it, like the arms
of the mechanical cats, waving constantly for
money to come.

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Nang Kwak - an interview with Ajarn Perm Rung
One of the strongest amulets that the author has ever come into contact
with was a Nang Kwak from Luang Phor Pina, which was nuclear. Let’s see
what Ajarn Perm Rung has to say about this popular style of amulet.

The original story of Nang Kwak comes from the legend of a merchant’s
daughter, who was very beautiful. She could sell anything that no one else
could sell because of her charm, calling out to people, ‘come here darling
and buy this’, beckoning with her hand and no one could resist. She was
the greatest seller, and any statues of her usually show a representation of
the woman from the legend, in many ways similar to most religious objects.
Her figures can be seen everywhere, beckoning people into shops and to
market stalls, but usually they are just made of plastic, sometimes with a
mechanical arm.

Generally, an Ajarn will bless the Nang Kwak statue to give it a super strong
Metta, Chok Laap and Maha Niyom effect and they are rarely Prai, but
Ajarn makes Prai versions because they are even more effective. Ajarn
once made one with Prai and carved from Takien Wood that was on top of
a bone fragment from a beautiful woman. Nang Kwak is not a Wicha in the
same way as a Kuman Thong; it is a statue in the shape of a legendarily
beautiful woman that is blessed with the attributes that can help with a great
business.

Maa Saep Nang

There is a Thai fable about a wealthy family with a beautiful daughter who
was pursued by many suitors, but the family was wary of letting any of them
close to her without vetting them thoroughly. The family also reared horses
for a living, and their horses were famous for both their abilities and their
incredible beauty. Their daughter took care of the horses every day until one
day she felt an intense desire for a particular horse, eventually consummating
her passions with the stallion. When the family found out about the event,
they were incredibly offended, and they killed the horse on the spot,
thinking it had bewitched their daughter. The daughter heard of this, and
became so sad that she died of a broken heart, from sorrow for the loss of
her horse and exceptionally virile lover.

The ancient Ajarns and Mhor Phi (spirit doctors) of old believed that this
particular horse had incredible Maha Sanaeh, so strong that even a human
woman could fall in love with a horse and allow it to have sexual contact.
The Thai makers will evoke any deity, spirit or legend that shows such powers,
be it for attraction, kindness, invincibility or popularity. For this reason, an
invocation of Maa Saep Nang is a potent love charm, and that whoever
carries it will undoubtedly have the charming effect on others around them.
Mae Saep Nang means ‘horse take woman’.

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 The Maa Saep Nang is a rare type of invocation mostly used in amulets
and Pha Yant but very rarely made as a statue. The strong image of the
woman being mounted by a horse can be a little too much for many but as
an alternative spell for Maha Saneah, ir works and there are collectors of
this type of talisman. It only takes one maker to produce a Maa Saep Nang
that captures the imagination of the people and yes! There would be a Maa
Saep Nang swinging from the inside mirror of every car in Thailand.

The magical legend of the Maa Saep Nang has been interpreted in a few
ways 1 . The image of Maa Saep Nang may portray a loving husband who,
due to his karma was reincarnated as the horse and the woman recognised
him as her former husband from a previous life. This action of the horse
having sex with her was them continuing their loving relationship. Another
way that this has been interpreted is that it is a way for a woman to
attain magical power by taking semen from a strong animal, and there
are versions of this style of amulet with various animals having sex with a
woman; bull takes lady, the elephant takes the lady, a tiger takes the lady,
etc. The imagery represents a power transfer from a large and powerful
animal to a smaller one.

1.Susan Conway - Tai Magic - p70

Maa Saep Nang - and interview with Ajarn Khaw

The image on Ajarn Khaw’s Maa Saep Nang is very raw, and has been
influenced by modern pornography. If people see this amulet, it is easy for
them to know who made it as that image was his idea. It is okay to change
the image for a charm, all of which develop over time, but the Wicha must
remain the same. In the old images of Maa Saep Nang, the image is viewed
from the side, and the lady hugs the horse’s stomach while being entered,
an image often used on the Pha Yant that you see in shops and businesses. A
more modern image is where the lady is kneeling and the horse mounting
her from behind, but these are just images, it is the magic that has to be
correct.

Maa Saep Nang is for charm and sex, for love and luck too. It is a favourite
of Lanna Masters, a traditional and original Lanna style, and on the amulet
markets, it is easy to see a lot of this kind of amulet. The Wicha is very
old and an adaptation of other Wicha that bring Saneah, charm and good
fortune.

The Takrut on the back of this is a Lanna style Takrut that has been blessed
in a cemetery. It has to be written and consecrated on the same night in the
graveyard for this to be an effective Maa Saep Nang. The Takrut holds
the power of the Wicha and is a written spell rather than any Yantra
construction such as a square. Below the Takrut is Ajarn Khaw’s Samnak
name pressed into the mix.

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227. Ajarn Khaw’s fabulously filthy Maa Saep Nang.

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 228. A tray of beautiful Puttakun amulets in the Samnak of Ajarn Perm Rung.

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Puttakun Amulets - an interview with Ajarn Perm Rung
The trend today is to make Puttakun Magic amulets for the Asian market
that have no ghosts, because many people are scared of haunted talismans.
Ajarn Rung is now making many White Magic charms because of the increasing
demand for these from foreigners, the majority of which are women, and they
want something both beautiful and effective, but not ghosts.

Recently, many amulets have been made to appeal to the Chinese market,
which includes images from Chinese legends and dedicated to Thai Ajarns
of Chinese origin, but the magic and the kata are still correct. The imagery
with these things makes zero difference to the effectiveness of the amulet
as the magic always helps the way it is meant to, which is primarily for Chok
Laap and Metta. The use of such imagery brings more people to experience
Thai Magic; there is nothing relating to the imagery in the amulet itself, but
the Yantra is correct, as it should always be.

The best example for this modern trend is with the 9 Tail Fox, but there’s
also Ah Pek, who was an old Ajarn of Chinese ancestry, and his imagery
has become very popular indeed. Ajarn Ah Pek was very good at Yant Faa
Prataan (which translates as ‘bestowing from the sky Yant’), and the Chinese
market has taken to these amulets because they have a cultural connection to
them. That Yant and amulets dedicated to him sell very well to those devotees
who feel a secure connection to his Chinese ancestry.

All these amulets are all very much the same and it is only the imagery that
changes, but underlying that is the desire for each Ajarn to want to help people
with their lives. Yes, amulets of these types can also have Prai in them,
but currently, most people do not want that in their charms. Ajarn wants to
makes something clear to all devotees and says that when he makes am-
ulets for good fortune, people often misunderstand the attribute and go to
the Casino. If these amulets were good for the Casino, Ajarn says he would
be in there every day, winning loads of money! (laughter). Many devotees
misrepresent the attribute, and are misunderstanding what Chok Laap is.
Chok Laap is for good fortune, not for people to go crazy with the lottery or
like a man with four arms at the roulette table.

The Nine Tail Fox - an Interview with Ajarn Khaw

Ajarn Khaw is not sure about whether the 9 Tail Fox is a devil or a deity, so
he does not want to say, he doesn’t want to make a mistake and mislead
people, but Chinese people love 9 Tail Fox. They started first by coming to
Thai Ajarns and asking them to bless their 9 Tail Fox, and slowly, the Thai
Ajarns began to make them because people wanted that magic.

In these amulets, we put the lucky magic and charming magic inside, but we
don’t have this lady with nine tails in our culture. In Thailand, we have a dog
with 9 Tails in our legends and stories but not a lady deity. The Chinese people
started this trend, and it became extremely popular. Now many Masters

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 make and bless these amulets, but this is Thai magic, not Chinese and Thai
magic can bring help to any culture, especially if the item has resonance
within that culture.

The Salika Riak Nang Amulet - An Interview with Ajarn Khaw

The Salika is represented by a bird or pair of birds, whose song is so

enchanting that the mind drifts away into bliss, like listening to the birds
sing beautifully in the morning in your garden while drinking coffee, having a
slow life. The Salika amulets are good for talking as they bring enchantment
to what is said, making them great for work and social situations. Ajarn’s
Salika Riak Nang is a Salika amulet to call the lady to come (Nang means
Lady in Thai), but they work for both sexes, everybody can use them. The
Salika is another ancient magic, and the old Salika were made from Maai
Mayom wood, which is excellent for talismans aimed towards popularity and
charm. There are also other ways to bring the Salika effect into a person’s
life. With Sak Yant, Ajarn Khaw has the Wicha to make an oil Sak Yant to
Salika on the front of the shoulder, and when a person needs more charm
in their speech, they say the kata and touch their tongue onto the Yant. Lick
it for more charming speech, and it is oil because it is best not to let people
see some forms of magic.

The Salika tattooed with ink are usually on the back of the shoulder, like a
bird sat singing near their ear and there’s also Salika magic for inside the
mouth and the tongue. There is a Lanna Wicha for a Sak Yant of a spell
inside the lip, just Akahara in the Lanna script and there is also a Sak Yant
for the tongue, but people are scared of that one as they fear the unusual
quality of pain. It is a quick Yant, just a small Yant Na, known as Na Salika
and is applied quickly. For those people who are scared of the pain, there
is also a gold leaf blessing for the tongue without a Sak Yant, which is very
popular. The gold used is then left for the body to absorb the Wicha. With
the amulet itself, it is designed as a piece of jewellery because people like
this style and it hides the magic, which is what many people want. The back
of the amulet has charming oil, the cupid is for beauty as it holds no function
and that’s the same with the gems and the glitter. The image is beautiful,
not scary or raw like before, when a bird was roughly cut from wood. Now it
is art. The jewellery style of talisman started 5 or 6 years ago when people
wanted gems, and that is fine, the magic is in the mixture.

Phi Suea Amulet - the butterfly lady - An Interview with Ajarn Khaw.

Ajarns use lots of animal images, which originates from a long time ago.
The tiger for power, the dragon for authority and animals for charm and
beauty. The butterfly is used for amulets too, for beauty, which is an old
idea but the style is modern, akin to magical jewellery. Some styles of magic
are kept the same, and some change over time. If the image is good it can
be continually developed by Ajarns in the hope of pleasing their followers
and devotees alike. It is all beneficial magic, which at present is presented
as cute and beautiful but the power is the same, and the Wicha is correct.

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On the front of the enamel locket is a special Yant for charming, which is to
break to bonds of the heart but here it is there for beauty. Some like Yant
on their amulets as they believe that they are more powerful but where an
Ajarn has not drawn each Yant individually, the power of the Yant is low. A
strong blessing is the most important aspect, along with the best ingredients
and a correct Takrut. There are many forms of this style of amulet, and
they all follow a similar Wicha. The images can change but the magic is
the same, and this fact enables the Ajarns to fill the demands of devotees
from any region of the world although as yet, there are none that have been
designed specifically for the Western market. As The West is outside Asia,
it may involve too much of a shift in the mindset of the makers but on this
matter, only time will tell.

229. Two of Ajarn Khaw’s Puttakun amulets, his Salika Riak Nang and Phi Suea.

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 230. The amazing Nang Prai Ong Kru from Ajarn Verataep.

231. And his deliciously funky Phor Hong Prai bucha from a few years back.

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The Prai Family

The Nang Prai - an interview with Ajarn Verataep

Ajarn Verataep has made many types of amulets, and all of them are superb,
but his Nang Prai has had stunning reviews from friends and buyers alike.
Here, Ajarn Verataep discusses an old release, but few Nang Prai of this
quality have been released since these were made. There are two grades
of Ajarn Verataep’s Gold Faced Nang Prai, the normal one and the Master
Version (known as an Ong Kru), which has corpse hair and was blessed
over the period of a year. Both are good, but the Master version is something
extraordinary.

These two Nang Prai are moulded from a collection of soils from 7 temples,
7 markets, 7 cities, 7 wealthy family’s houses and 7 graveyards, which in
many ways is akin to making a Kuman Thong. These soils were then mixed
with haunted items, such as powdered Takien wood and the bones of a
wealthy man who died in an accident on a Saturday and was cremated on
a Tuesday. There is a difference in the magic between the two versions
with the first one being superb for business and protection and the Master
Version best for attracting people and calling for good things to come to life.
If a devotee wants a particular lover to come, write their name on the back
of this Nang Prai (here he holds up the Master Version), chant the kata and
make that wish before sitting the amulet on a photograph of that person. If
a devotee wants to make the wish stronger, just put some Saneah oil on the
amulet but when making the request and calling for that person, don’t forget
to say their name as well.

Once Ajarn assembled the ingredients for these amulets, a spoken kata
calls out to the spirits to ask who wants to do a good deed and become a
Nang Prai. The Nang Prai spirit is constructed by the Ajarn using the 32
parts of the body knowledge and the four elements in a very similar way to
the Hoon Payon, but a Nang Prai is more like a type of Nymph, not the spirit
of the dead. Some Ajarns also put a ghost in the amulet with the Nang Prai
spirit, but Ajarn Verataep’s Wicha does not do that; if it is a good Nang Prai
there is no need for anything else. The Nang Prai Wicha is ancient magic,
and the language used to create these reflects that. She is a guardian angel
that protects the owner of a Nang Prai, and she is empowered in return
through merit, which has to be dedicated to her. How well a Nang Prai does
with helping the owner depends on the owner taking good care of the spirit,
the more merit that is given, the more the Nang Prai will help in return.

To praise a Nang Prai, offer her water and beautiful flowers and when she is
doing well, rice wine but don’t forget the merit, she becomes stronger with
merit. Once the devotee is close to the Nang Prai they can make any wish
to her, whether for prosperity, protection, lovers, anything, work hard for
her, and she will return this tenfold. These can be a highly beneficial amulet
when looked after correctly, and praised in the recommended way.

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 The Mae Hong Prai - an interview with Ajarn A Klongkarn

The mixture for Ajarn A’s Hong Prai (either a Mae Hong Prai or Phor Hong
Prai) is dirt from 7 graveyards, dirt from 7 haunted places such as a place
of accidents or suicide, soil from 7 abandoned temples, 7 ant hills, dirt
from where 7 buffaloes lay, dirt from 7 shores, dirt from 7 pottery makers
and coffin nails. When each item of the mixture is collected, Ajarn needs to
chant the relevant Kata to ask the land spirits for allowance before taking
the soils. The mixture can be used to make other amulets as well, so in this
case, Ajarn will collect as much as is needed for this batch of talismans,
then more for making other charms later. If he wants to make Nang Prai,
he can use the same mixture, but the Nang Prai has a different spell. The
coffin nails on each side of the figure can be from the coffin of any dead
body. The corpse cloth on this occasion has to come from a female body,
but Hong Prai can be made from both male or female remains as long as
they died horrifically.

When something wished for happens after using Ajarn’s amulets, the amulets
will need to be praised and offered food. Anything red, like raw meats, is
fine and they can be beef or pork, but any bloody meat is good in this case.
The Hong Prai is made from the spirit of the person who died horrifically, and
they prefer raw, bloody food. The kata is essential with both the creation of
the amulet and when offering praise, the kata has to be correct according to
the Wicha and spoken correctly by the devotee. The kata for each function is
different. The kata to praise is not the same as the kata for creation, which
is quite complicated and never shared publicly.

The Prai Thong - an interview with Ajarn Perm Rung

People often mix up the Prai Thong and the Hong Prai types of amulets. The
Phor Hong Prai and the Mae Hong Prai are just male and female ghosts but
the Prai Thong can use any good Prai source, and the sex of that Prai is
irrelevant. Ajarn can even use a child bone source for this style of talisman;
it works just as well. All the available bone sources make a good Prai Thong
as long as the source has a strong supernatural power.

It has to be said here that the ghosts in Prai and the regular spirit are different.
Normal ghosts are everywhere but a Prai ghost has been placed in an amulet
using the Pruk Saek, so in effect, Ajarn makes that Prai ghost. The more
unique the Prai used, the stronger and more useful the spirit in the amulet
is. The Muan Sarn that is used when making this amulet varies depending
on the gender of the ghost, but the Prai Thong amulet when finished is of
no specific gender.

The Prai Thong Wicha is for bringing wealth and is extremely good for both
business and business type relationships.

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232. Another wonderful bucha from Ajarn Verataep, his Mae Hong Prai.

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 233. These are exceptionally rare and raw examples of a Yoni, an amulet which are
usually molded Muan Sarn and earths. The talismans above are real Yoni that have
been taken from accident victims. The access required to obtain such pieces is
now rare and these have come from a remote area of the country, harvested by an
undertaker. They follow the traditional Lanna style by having a Takrut for activation
but in some cases, that Takrut is large and pushed into the hole.
As Thailand modernises further, these examples may be the last seen.

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The Yoni

The Yoni is an immensely potent sensual talisman. It is the passive feminine

energy of the cosmos, which entwines with the active phallic power of the
Shiva Lingam. The amulet, which is usually a representation of a vulva, is
an occult charm that can be worn close to the private parts to pull at the
eroticism of others. It is, despite common belief, not only for ladies to use
but can also be used by men to attract the opposite sex in that they feel
more affinity with the bearer. This amulet uses the most ancient and
primitive method of attraction and enchantment, that of mother nature by
working on the libido and also emanating from the aura of being ‘in heat’. It
brings an animal lust into play, promoting an effect akin to being in the midst
of the ‘mating season’.

The Yoni is an ancient style of talisman that is also often preferred by gay
women (but obviously not for gay men) in their pursuit of a partner. The
Yoni is as strong as any phallus but has a less forceful and more beguiling
nature, allowing the person attracted to pursue the bearer vigorously, becoming
more and more desperate as arousal takes hold. It works the same way with
attracting people with business, by increasing arousal for a deal or even a
product, distracting the customer from the goal of attaining the best deal.
It bestows confidence in the abilities of the bearer to be more passive in
letting those who are charmed come forwards and enables a motherly
guidance, gently nudging the person into the direction the bearer wishes
them to go. The Yoni encourages the willingness of the subject to take the
leap and risk opening their tender heart, which most people hide away to
protect. It also raises the mutual trust that is expected in a true and loving
relationship. Little is known about the ancient Wicha of the Yoni but much
has been heard of the powerful effect it has upon the opposite sex (or same
sex with gay women) and of its ability to bring great prosperity to business
owners, gamblers and those who work in social or public positions.

On rare occasions, it is possible to find an amulet that contains the actual

Yoni from a corpse that usually includes the clitoris, and these are highly prized
for their effectiveness. There is strong magical lore surrounding these items
in the cultures where they have been made, and in the Western traditions,
it is believed that one can see spirits when looking through the hole of the
vagina of a deceased woman. Where they are found in Thailand, they come
in two styles. The first is where the actual vagina has been removed and
dried before making into an amulet, or the fresh flesh is cased and oil added
to help its preservation (usually olive oil or sesame oil is best). In this case,
the Yoni should be cut from a Phi Tai Hong ghost, someone who has died
in a violent manner or through suicide and these items are astonishingly
strong, to the point where great care has to be taken by the bearer, lest they
end up being controlled by the ghost within.

When amulets are made that are extremely powerful, they have to be
sourced from the best makers so that the correct controls are in place, or
the ghost can play havoc with the life of the bearer. These are now rarely

447
 made in Thailand due to the lack of source materials but when one comes
onto the market, they both shock through their rawness and their potency.

There is another Wicha used to make a Yoni talisman, and here, they slice
the full groin area away and therefore, it does not include the clitoris. It is
like a thin, dried wafer of flesh and the name is usually given of the corpse
that this originated. The relationship between the owner of this piece and
the talisman is different with this Wicha too because the makers say that a
bond has to be made between the spirit and the person who holds her Yoni
to the point where the name of the bearer is part of the Wicha of creation.
Working directly with a strong ghost is only for high practitioners and those
of great experience. (see page 296)

Animal Amulets

The Luk Krok Meow

Due to the difficulty in obtaining a human Luk Krok, one of the latest fads in
Thailand has been to make Luk Krok from a stillborn animal, with cats being
the creature of choice. The cat is used because of their spiritual nature, their
ability to see ghosts and the fact that they reside on the edges of reality. The
relationship that a cat has with human beings is also important, but if that is
the case, why don’t they make Luk Krok from puppies? (The resulting howls
of protest from The West are already resounding)

Besides the effigy type of amulet, some of which are beautiful and artistic,
there seem to be two types of the Luk Krok Meow amulets that use the actual
body of a cat. The first is where a fetus has been baked and had gold leaf
applied in a similar way to making a real Luk Krok, but with the second, the
animal is larger and dried slowly, desiccating and preserving the flesh while
leaving the fur intact. Both styles have a strong feeling to them, and the
choice between them depends on the taste of the bearer. If the umbilical
cord remains on the fetal type, they are particularly sought after.

Besides the common cat, Luk Krok have also been made from Pigs and
Buffalo, but the cat is by far the most popular. One scarce example is where
a dead Tiger kitten from a Northern zoo was turned into a cased Luk Krok,
and it was beautiful but very costly.

The Luk Krok Meow - an interview by Ajarn Perm Rung

The Luk Krok Meow is popular because the character of a cat is adored and
they have an imploring nature. It is like when you have a cat, and it always
comes to be around you and rubs your legs, it makes people want to play
with it, take care of it and hold it, which can be seen as very strong Metta
from the cat. In Thai culture, a cat is compared to a novice monk as they
are both harmless and have innocence. There is a saying that anyone who
can kill a cat can kill a novice monk, branding the killer of either as a vicious

448
234. The Luk Krok Meow of Ajarn Perm Rung.

449
 235. Scorpions, ready to be cased in the Samnak of Ajarn Suea.

450
person. How can someone harm a cat or a novice monk? This is an apt met-
aphor for the levels of Metta that a Luk Krok Meow can bring to its owner.

Other parts of a cat are also used in magic. The umbilical cord is considered
to be the most difficult item to attain because if a kitten dies at birth the
mother will eat the kitten, and the cord but sometimes, they carry it and
give it their owner. If the Luk Krok Meow has an umbilical cord, it will make
someone exceptionally lucky, enhancing the usual levels of Chok Laap that
comes with this amulet.

When making a Luk Krok Meow, the cat has to die naturally, which is the
same with other animals that can be turned into amulets such as scorpions,
centipedes and two-tailed gecko’s. Luk Krok’s can also be made from pig’s,
birds, bats, tigers and bears. Any animal can be used, but the finished
result depends on what magical attributes the Ajarn puts in them as well
as the personality or nature of the animal itself. For instance, with the Luk
Krok Tiger, besides the usual Metta and Chok Laap comes Maha Amnat
and Serm Baramee (a raising of your prestige), which follows people’s view
of this animal. The bat is a favourite for the people who work at night, and
with the pig, the bearer can attain all the good things in life with ease, which
comes from a saying about the pig in Thai, that everything is easy.

To praise the Luk Krok Meow, treat it like a real cat. Give it water or milk and
either cat food or fish, whichever is easy. Say the kata and make wishes for
protection, luck and attraction. They can be extremely rewarding talismans.

Animal Amulets - an interview with Ajarn Suea

Our ancestors believed that certain animals, such as cats, tigers, elephants,
rats and pigs, for example, have power within them. From the Wicha held by
Ajarn Suea, animal parts can be used to make Takruts, and these amulets
are given the powerful attributes directly from creatures of nature, such
as Chok Laap, Metta and good fortune with business (an example for this
would be the rolled skin Takruts from wild cats). All the animals that can be
used to make amulets have to be found dead and not be killed by the Ajarn,
otherwise, the body or its products would be of no use whatsoever.

One of the Buddha’s reincarnations was troubled by an evil spirit that

disguised itself as a rat, so The Buddha used the flakes of his skin and
made the model of a small tiger. This story is considered by the ancient
people of Thailand to be the origin of cats, which is why even today, they
believe that whoever can harm a cat is akin to someone who could hurt a
novice monk. Cats are interwoven into Thai culture, which is why there are
quite a few amulet types involving cats and two that use their body or body
parts.

The Rok Meow is a cat’s placenta that must also include the umbilical cord,
and it is regarded as having a magical power within itself. If it is then blessed
and enhanced by the Ajarns knowledge of the correct process to do this,

451
 it can have twice that power, making it a highly effective amulet. People
believe that cat amulets have the power to bring good fortune for business
and protect their owner’s property, acting like a wildcat bound to the home.
The spirit of the cat is also believed to have the power to stop the money
leaving the house and draining away, and magically, the action of the cats’
claws when purring and treading keeps grabbing the money and pulling it
in. In the past, the process of making the Rok Meow amulet involved drying
it entirely in the sun, but nowadays, as it is considered to be a rare item, it
can sometimes get stolen or taken by other animals for food. When Ajarn
makes a Rok Meow, he leaves it in the sun for three days and then bakes
it until completely dry, and the process of making the Luk Krok Meow is the
same before turning them into amulets.

In magical principles, the Rok Meow is seen as being like a wallet or money
bag. The placenta has a natural pocket that needs to be cleaned out and
not cut, or the money will fall out, and the best Rok Meow look like a money
bag. The Takruts on the back of the placenta are male and female versions
for ‘Noo Kin Nom Meow’, which has an image of mice feeding on the teats
of the mother cats, representing bounty. The Phra Ngang on the back acts
to stimulate the power further.

The Luk Krok Meow is a type of Payon, closely following the Wicha of
the Hoon Payon but having the cat’s spirit within it rather than a ghost. To
bucha the Luk Krok Meow is like taking care of a cat, by offering fish, milk
or cat food. The kata for a Luk Krok Meow is generally very long, and no
one seems able to remember it, so Ajarn Suea blesses the kata within the
amulet as it is being made to make having it more comfortable. Whoever
obtains this cat will have to name it, and for that they need a kata. There is
a second kata given for everyday use that is a summoning and controlling
kata to bring the cat spirit to them and keep it in line, which has to be done
with a spirit pet. The Luk Krok Meow Ajarn obtains generally come from a
cat that has miscarried, or kittens that were stillborn. The miscarried kittens
are very rare as they get typically eaten by the mother, and are the best
source for this type of Luk Krok.

As other animals have attributes already within them, it means that they
too can be used as a Luk Krok. A rat foetus can be used to make a Luk
Krok Rat because rats are considered exceptionally lucky, bringing luck to
the owner with a particular emphasis on gambling. An Ajarn should be able
to see which animal is best to bring a specific attribute, and then use the
same process as making a Luk Krok to emphasise that attribute. The rat is
excellent to use because rats can survive in any environment and there is
a saying in Thai, ‘a rat falls into a bucket of rice’ meaning its luck is never
used up, will never end.

Bat Amulets

This bat amulet has a kata called Kang Khow Kaew that gives the attribute
of Metta Maha Niyom but specifically in the hours of darkness. To obtain the

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236. The Luk Krok Meow of Ajarn Suea before casing.

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 237. Bat amulets for the people of the night.

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bat, Ajarn hires a man to go into the caves around Chiang Mai that hold bat
colonies and check whether any young bats can be found dead on the floor.
The bat cannot be killed to make these amulets; they have to die naturally or
again, the magic does not work.

The amulet consists solely of the dead bat, and it brings its power at night
and the later at night, the stronger it is for attracting and befriending others.
These are for people that work at night, particularly for workers in the sex
trade, but also good for anyone who is a night animal. The phial of oil on the
back is called Waan Hom Daeng, which is for further attraction. Some have
an Inn Khoo on the back, and some a dice that was used in a whore house
but both are for luck at night. The Takrut holds the kata for Kang Khow
Kaew, acting to empower this bat to help the person who wears it.

Scorpion Amulets
The scorpion brings with it the power of authority (Maha Amnat) because
when anyone sees a scorpion, they usually run in the opposite direction.
Scorpions are quite easy to find as people eat them but Ajarn gets his when
a farmer burns the rice stubble on the field before the wet season, and then
they bring them to Ajarn Suea. Again, these cannot be used if they have
been intentionally killed, their deaths have to be incidental. The batch of
scorpions on page 450 were put into Waan Gai Daeng oil, which adds the
element of extreme sexual attraction to the Maha Amnat already present in
the body of the scorpion itself.

Centipede Amulets
Centipede amulets are different from scorpion amulets, despite being equally
as scary. The centipede has the power of both black and white magic. When
it is the time of year for the annual donation for the local temple, they will
always hang a crocodile or centipede flag, and they represent protection
against evil spirits. In black magic, they use it as part of a curse where they
use the spirit of the centipede and place it inside someone’s stomach to eat
their intestines. In an amulet, the centipede protects against the evil spirits
and spiritual attack, and are particularly effective in this role.

Ciccada Amulets
These insects are used to call a lover in the same way a Ciccada screeches
during the mating season, and the screeching can be very loud indeed. With
Beetle Amulets, Thai Ajarns only usually use the emerald green beetle
because they believe it to be a reincarnation of Shiva, but Ajarn Suea does
not make those. Ajarn does make Snake Amulets though, which are primar-
ily for keeping and acquiring money. The snake used has to have died while
hatching or killed while inside the egg.

When a snake wants to eat something they let animals come to them, trespass
into their domain and they wait motionless until something comes close
enough. The effect is very similar to a Boa Spur amulet, which represents
the ability to allow a person to enter into the business premises, waiting to
act at the right time to secure a good deal.

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 Leklai

There is a problem with Leklai because even though the Ajarns for this
book are some of the best in Thailand, there is no expert in this substance
to give answers that are worth being put into print. These are only collected
thoughts on Leklai, which have come from talking to various Ajarns and
collectors but a dedicated piece of work on Leklai is sorely needed. It is the
most mysterious substance within the practices of The Thai Occult.

Leklai is a mysterious, sacred substance that is the subject of legendary

tales of miracle powers and has become a cult item in recent years.
Although other cultures in the region know Leklai, it is considered to be a
Thai phenomenon to those who follow the regional magical practices. It is in
Thailand and Thailand alone that there are still to be found a number of Master
Ajarns who are adept at sensing the presence of the best Leklai because
it needs to be coaxed from hiding. Leklai is considered to have a life of its
own, to choose its owner and come and go by its own will. The Thai makers
are experts in the art of transforming Leklai into various forms of amulet
and even the insertion of Leklai under the skin of devotees. One very famous
Ajarn has a ball of this in his left arm, placed there by a prestigious monk
to both continuously cleanse his body of any harmful influences derived
from working with the spirits and protect him from all harm.

There appear to be many forms of Leklai, but it usually looks like a metallic
element that is considered a living being of the Deva classification but
a Deva that has been born on Earth. There are many varieties of this
substance available on the market and more continually comes to light but
much of it is of a dubious nature. Some of it resembles Haematite as it
becomes like a mirror when polished and it also possesses magnetic
qualities that are helpful to health. Other forms look like a meteorite, and
still, another looks like a conglomerate of small black crystals, which has
lead to confusion in this field as they all purport to serve a similar function
for the bearer. Having handled many Leklai amulets, it is the opinion of
the author that it can be placed into two categories. Firstly, a metallic and
magnetic mineral that can be used by the makers to help cleanse the body,
much in the same way as the plethora of magnetic amulets available in the
world today and secondly, true Leklai, which can be from many sources and
of many types. It can come in many colours and must have a property that
is supernatural, in that it does not conform to the laws of nature.

If there is any form of Leklai, or place where it is said that real Leklai is
found, it is the cave, and many strange stories have come to light regarding
its collection. Before the public interest in Leklai began some years ago, it
was almost always assumed to come from caves in mountain forests, and
that Leklai of this type can be stretched when heated. It is collected from
the caves by anointing the area of stone that contains Leklai in honey (its
favourite food) and then heating it under a candle flame until the Leklai
hidden within it runs out to come and eat the honey. The Leklai can also be
made to drip down in a long thin line from the side or roof of the cave and

456
then it is cut using a specially consecrated Miit Mhor knife. It is not
possible for any person to cut Leklai because the substance is guarded
over by the spirits and Devas of the cave and the forest, as well as the local
Yaksa giants who protect it. The adept has to be pure in thought during the
whole of this collection process so as not to be killed or consumed by the
spirit in Leklai.

Some monks and Ajarns are renowned for sourcing cave Leklai, but they
have to have a profound knowledge of the natural law and the resulting
magical abilities to achieve this task. Periodically, grainy photos appear of
these makers coaxing Leklai from the walls and ceilings of caves where it
hangs down like grey, sinuous plastic but none can be reproduced here
due to the low quality of these images. In the circumstances where this
happens, flash photography is banned as the light will both affect the maker’s
trance and ‘shock’ the Leklai. For this reason, it should be presumed that
much of this has been faked, but some adepts can reputedly collect Leklai
from caves, and some adepts can find Leklai in the forests. Forest Leklai
is said to ‘grow’ in the ground near to sacred trees and at the mouths of
caves but only a person who is close to the spirit of the Leklai can find this
material. Having held real forest Leklai, it does feel like holding something
sacred from and out of the forest; there is a sense of ‘jungle’ within the bead
of stone.

Leklai is said to protect the bearer from guns or sharp objects (such as
a knife or sword) and all other harmful weapons by flowing to the areas
needing protection. It is a potent cleanser for any black magic within the
body and can heal disease, making it one of the few amulets with a health
aspect. It is also known to become light and heavy in succession and to
disappear suddenly, to be found in a different place later. With being highly
sought after there are many fakes and only the ones from the best makers
can be trusted, even though the costs are higher. Please be careful with this
type of amulet or money can be wasted with no apparent benefit.

Please see page 223 regarding the inserting of Leklai into the body.

238. Leklai Bullets.

457
 239 Both sides of a fabulous full Panneng from the Lanna traditions.

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Panneng

Panneng is an ancient word with two meanings; the first is from the Javanese
for a belt for items worn as part of a costume for traditional dance, usually
as a strip of cloth about 15cms wide 1 . The word is also used in the Thai
Saiyasart practices because a Panneng is also a talisman made from part
of the skull, especially the more spiritually active region of the forehead
around the third eye. According to the story of Khun Paen, there is a
tradition in Thailand of using the skull from the corpse of a person who died
a violent death, sawing the skull into strips and weaving the strips into a
belt in a checkered pattern with Yantra inscribed on each piece 2 . Another
note in the story of Khun Paen describes a type of amulet as skull pieces
interwoven with the hair from the dead into a kind of vest or chest plate, a
technique not seen in modern times (but it sounds fantastic!) 3 .

Another legend associated with Panneng is that of the tale of that ghost Mae
Nak and one of Thailand’s most famous monks, Somdej Tho, who helped
subdue this incredibly powerful spirit. Mae Nak was the pregnant teenage
wife of a soldier left behind when he went to fight in the Siam – Vietnamese
war of around 1830. Unfortunately, Nak died before her severely wounded
husband returned home, only to be cared for by her ghost, even to the point
where she killed some villagers who tried to warn her man that his wife was
in fact dead. This violent ghost was only persuaded to pass over by Somdej
Tho, leaving her husband for this life and Somdej Tho then cut the Panneng
from her skull to help both release and control her spirit to protect the
people in the vicinity.

In Thailand, the region of the skull between and above the eyes is considered
to hold extreme magical potency as it resides in the highest part of the body,
and is the seat of the third eye. The crown area is also of significance in
some Wicha in certain magical lineages, but generally, the forehead is the
most desirable area to be used in The Thai Occult practices. In the Samnak’s
of some Ajarns, it is possible to see some full skulls but these are on their
shrines and are spirit familiars. There is one in the Samnak of a very famous
Ajarn in Bangkok that is often wrapped in blessed cloth, and when asked
about it, Ajarn said that it is nice to get some peace.

The modern use of Panneng is primarily for amulets, and only a part of the
skull is used, which enables it to be worn discretely, without losing any of
the inherent magical potency 4 . These can be plain bone with added Yant
geometry, painted to show the deity or spirit the Panneng is invoking or
even beautifully carved. Panneng that use a combination of these styles are
also made, expressing the maker’s artistry as well as their spiritual skills.
As you will see later in this book, some of the Panneng that combine these
styles are quite stunningly beautiful, and this art is developing at quite a
rate, as with all living and vibrant cultures. The most desirable items are
known as full Panneng, which use both the forehead and a section of the
top part of the skull. In rare cases, the whole top of the skull is used in a
similar way to Kapala (the skull bowls of Tibetan Buddhist origin), but here

459
 they are as a magical item rather than any specific reference to the
impermanence of life. The inherent magic firmly places this art as a form of
necromancy, albeit with Buddhist overtones 5 .

When an Ajarn uses a section of skull to make an amulet, the region of the
third eye is the most desirable although in modern times, pretty much any
part of the skull is used, mainly due to the scarcity of source materials and
the desirability of the item itself. Currently, a Panneng’s value is calculated
from its size, the cause of death of the person, whether the name of the
person it came from can be attributed to the piece, the region of the skull
used and the perceived skills of the maker. The cause of death of the
person the Panneng came from is essential as this can add considerable
spiritual power and therefore, value. At the point of death, when the
physical body has naturally reached the end of its time, the astral body will
know that the body is going to die and slowly ease itself out of the body. The
astral body will then be able to move around and continue for a while but
with being subject to the Dhamma of Impermanence (as are all things), will
eventually reach the point of cessation 6 . When death occurs suddenly
or unexpectedly due to abnormal circumstances, such as being murdered
or dying in an accident, the astral body does not have time to see death
coming. The spirit of the person is suddenly separated from its body without
warning and is said to wander around, confused and unable to pass on.
Sometimes, such a spirit will appear and become visible because it is trying
to stay in the world of the living as it does not yet comprehend or accept that
it has died. This spirit can be full of anger and wrath, and it is this emotional
power that the maker uses to create a strong Panneng talisman, while at the
same time appeasing the spirit so that it does not harm the bearer.

It is worth noting here that in a land where most people are cremated,
some are not as it is considered better to bury them. These include the
bodies of those who have died from suicide, accidents or by violent means
and while this action seems to coincide with the demand for the use
of these particular bodies, this action is tied to Buddhism rather the
native traditions of necromancy. In the last ten years the popularity
of these amulets has spread throughout Asia, and with the demand for
them from Singapore, Malaysia, Hong Kong, Taiwan and China some of the
ideas about the areas used has changed because of the various cultural
influences. Some now believe that certain parts of the forehead are better
for gambling and the lottery 7 and that the cheekbone holds special powers
but the Thais do not follow this belief. The makers may adapt their products
to pander to the demand from outside Thailand, but they do not believe in
these ideas themselves, sticking to the point that the third eye region has
to be there to be a top quality Panneng. Saying that, a renowned seller of
these items considers that any part of the skull fills the desired role of these
magical objects with any inherent variations in power dependent on both the
maker, the source of the bone and the deity or spirit invoked. 8

The most sought-after Panneng are from younger people who have died a
violent death, died in childbirth or committed suicide due to the violence and

460
240. A carved and painted full Panneng, which are becoming rare.

461
 241. The Panneng of a 14 year old boy has two of his teeth in the load on the back.
Teeth are sometimes added to the rear to infer that the magic is tenacious.

462
and ferocity of the resident spirit 9 . When a life is lost through violence or
during pregnancy, the life force is angry, and it is this that makes them the
best Panneng to use as the maker has an emotional power to work with.
In the past, the families of suicide victims often donated the skull of their
loved one in the hope that as a ghost they can improve their karma by doing
good deeds for others. The makers will then spend up to a year working
with the spirit and calming its nature while trying to retain its spiritual power.
For particularly tricky spirits, it can be beneficial to ordain it as a Buddhist
monk, for as a monk it is bound to a peaceful life and is expected no to harm
others. The making of these talismans involves a deep knowledge that is
gained from an apprenticeship with a Master, prolonged meditation to build
Samathi and an effective Wicha 10 .

Nowadays, many of the skulls used originate from ‘unusual sources’.

Demand has raised the value of Panneng to a point where sourcing these
things has become a way to supplement an income, especially in the rural
or more impoverished areas of both Thailand and the surrounding countries.
Today, it seems that the source of the Panneng is less important to the buyers
than what the maker can instill into the Panneng. The monks and Ajarns
here can redirect emotional and spiritual power into something that can be
beneficial to their followers, and it constitutes the act of Metta (kindness) to
both the spirit and the devotee. They regard the making of these items as
a regular part of what they do. Life and death are a natural process and if
the life of someone can be improved by using these necromantic amulets,
then everyone benefits. The makers gain Karma when they help other
people, including the spirit within as it gets to earn merit for its actions and
the bearer gains an aid to life. The average person in the West may find this
difficult to comprehend.

Panneng are one of the strongest necromantic tools in The Thai Occult,
and many devotees want to acquire them when they have necessary
experience. These are powerful Occult items, and it is best not to be in a
position where a Panneng overwhelms them. The makers and distributors
will sell Panneng to people who ask for them, and it is up to the buyer to
decide whether enough spiritual work has been achieved to be able to
handle such an item. In Thailand, the devotee is responsible for their actions,
and they are expected to know when they are ready to have a Panneng.
These are not toys or things to impress others; they are high occult items.
Owning them is an act of responsibility and a mark of being ready for such
things. Panneng from the top makers are spiritually stable but very strong,
and care must be taken.

The primary attribute bestowed by Panneng is Maha Saneah attraction in

all aspects of life; in work, socially and with love. A Panneng envelopes
the bearer with their magic and influence to the point where the person will
have to remain focused while wearing it, building of their personal Samathi.
In all Thai magic, the burden of responsibility lies with the devotee
concerning gaining the mastery of the self 11 . One of the functions of Kata
and the practice of Buddhism is to relax the mind and bring focus; to centre

463
 and be able to withstand the battering that life sometimes brings. Being
focused puts people in touch with their instincts, enabling them to make better
choices in life and to see and think clearly. All these aspects are part of the
spiritual growth associated with the practice of the Thai magical ways.

Panneng also protect against lower spirits and black magic attack. One
recent full Panneng had a spiritual load on the back that was the maker’s
mix of active materials, into which had been pressed a Takrut and 4 brass
bulls 12 . The bull is an ancient traditional protection from the black arts that
carries a similar spell to a Hoon Payon and to find a Panneng loaded in this
way is rare, but the maker usually is working to fill a demand from his
devotees. The most important thing with Panneng is to keep on the side of
good merit 13 . Never use it for wrong and follow the basic precepts of life.
Make a periodic offering of food, chant the kata often, burn incense and
offer fresh water. If the spirit of the Panneng brings boon or grants a wish,
reward it with rice wine and more kata, the spirits enjoy alcohol but only
offer as a reward or the spirit will become drunk, spoiled and lazy.

Choosing a Panneng 14

The most important thing when choosing a Panneng is that the devotee
is attracted to it, their hand may be almost pulled towards it, and it is also
better to find something that feels comfortable. Try not to be drawn by the
ego into getting something too scary because of wanting to be perceived as
powerful by others and take time in this process. Find something that feels
good to wear as something that is spiritually heavy becomes difficult to bear
after a while.

When on any chosen spiritual journey it is essential to have an idea as to

how Thai magic works and what it can bestow before deciding to own a
Panneng. During this process, it is beneficial to meet some of the monks
and Ajarns to get a sense of how they are and how their amulets and
statues feel. From this journey, it can then be decided as to whom the Panneng
should come from and what spirit or deity feels the most compatible. It is
now starting to occur where the best makers will make these to order
and design the Panneng for the bearer. A process such as this allows
the person some control, leading to more trust between the owner and the
maker involved.

The maker of these items is vitally important, as the Panneng will have
the feeling that his Wicha and skills bestow and there is a vast difference
between the Panneng of various makers. It is not only dependent on the
Ajarns abilities, but each maker also seems to have their attributes passed
into his work. Some Panneng have a light and happy feeling because of the
maker, his Wicha and the deity or spirit chosen, whereas others can feel
spiritually heavy and create weight in the chest or vibrations. These effects
have nothing to do with whether the maker is ‘dark’ or ‘light’ or whether he is

464
‘good’ or ‘bad’ as a person; it just is that way, almost as unique as personal
genetics. If given the opportunity to meet the makers in question, please
doso as they are beautifully magical people and the contact enables a bet-
ter connection between the Panneng, the maker and the devotee.

The ‘Pull’ of a Panneng

The spirits in all barang items seem to want more spirits around them, like
inviting friends to the party, pushing some devotees into a buying frenzy and
this is especially true of Panneng. There is a real encouragement to acquire
more of these items until at some point the devotee realises this and resists
the pull. For each person, this takes a variable amount of time, and some
never get out of this stage, enjoying and feeling comfortable with all these
spirits around them.

Ghosts like to have friends as much the living. 15

You don’t choose an amulet, an amulet chooses you.

Ajarn Khaw January 2018

1. C Baker Khun Chang Khun Paen p1414

2. p616
3. p332
4. From an interview with The Collector
5. ditto
6. From an interview with Ajarn Maha Metta January 2016
7. Suksit Magazine January 2015
8. Interview with a dealer in Panneng, March 2016
9. Interview with an Ajarn February 2016
10. Interview with a Luksit 2016 - sorry to be vague on names but aspects of this art are secret.
11. C Baker - Khun Chang Khun Paen p943
12. A renowned maker and the item sold immediately due to its strong protective qualities.
13. Advice offered in every interview undertaken on Panneng
14. From interviews with wearers of Panneng
15. From a well known seller of Panneng

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 Panneng - an Interview with Ajarn Apichai
Pay attention to this interview please, it is superb. This is how an Ajarn
makes a good panneng, and it is one of the most insightful interviews in
the book.

To Pruk Saek the Panneng in the photo Ajarn Apichai used his knowledge
of the 5 Khan (The Five Aggregates: Corporeality, feeling or sensation,
perception, mental formations and consciousness), which is one of the reasons
that there are five candles. During this process, one candle is in the middle
and four are on each corner. The four candles at the corners also represent
the four elements of earth, water, wind and fire and the central one
represents the spirit. The ritual begins with the four elements, but Ajarn
predominantly uses the water and wind elements for blessing Panneng as
they help the Panneng acquire the traits of luck and good fortune.

With every Panneng that he makes, Ajarn will first remove any residues of
the original spirit and then create a new spirit entity by using the kata for
the four elements and the 32 parts of the body. Extra power is then given
to the skull pieces by using the heart katas associated with the Prai and
ghost elements. When these processes have been completed, Ajarn will
then chant the kata to bestow Chok Laab and strong Maha Saneah.

There are two ways to perform the Panneng ritual, and it depends on whether
it has a resident spirit or whether that spirit has already moved on. If the
original spirit is still present it can be made into an amulet by binding or
inviting the spirit to stay, which then means that there is no need to use the
four elements or to create a new spirit body. Ajarn Apichai believes that to
make a good Panneng it is best to have the skull pieces without a resident
spirit, enabling him to build a new spirit and that new spirit will be of a more
pure form. With a Panneng that has a remaining soul, it often does not work
as well as one built by an Ajarn. For example, if he wants to make a
Panneng amulet for affection or attraction but the original spirit in there is
an ugly older man, then the piece may not have the power he is aiming for
or achieve the right effect. Also, if the Panneng with a resident spirit was not
made properly, the spirit may leave, be taken away or pass on to the next
realm and the amulet will be less useful than required.

The skull pieces that have a spirit that has been created are constructed
from kata and consciousness. The spirit can be made in any form, and it will
not leave or be taken away. When inviting or binding the original spirit the
offerings are prepared first, and usually, Ajarn will use pork, chicken or fish.
Beef, either from a cow or buffalo is not as useful as it is believed that these
are animals associated with certain angels that can be seen riding those
beasts in old grimoires. Pigs have been used in these rituals since ancient
times as a sign of fertility and abundance, but in Thai culture, they usually
signify a relaxed and open nature. Alcohol and cigarettes are also offered,
which is an ancient practice. Together, these offerings also represent the
four elements and 32 parts of the body; pork is flesh, alcohol is water and
cigarettes have all the elements of earth, water, wind and fire.

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242. Ajarn Apichai blessing his recent Panneng.

467
 243. Ajarn Apichai blessing some old Burmese Panneng.

468
The best original spirit Panneng are sourced from two types of body. The
first is from a person who died on a Saturday and was cremated on a
Tuesday and the second is from an accident victim, a Phi Tai Hong ghost.
The first type is used because in Thai beliefs, a person who dies on a
Saturday and is cremated on a Tuesday will become an aggressive or powerful
spirit, while the power from one that came from a sudden death comes from
the fact that they have yet to realise that they are dead. If a person has died
from natural causes they have had the time to accept that they are about to
pass away and the spirit moves on easily. These can still be used for Panneng
but the spirit in these has to be made by the Ajarn, and the power of those
talismans depends on the abilities of the maker.

To use Ajarn Apichai’s Panneng, make offerings of raw pork and cigarettes
and pray with one incense stick, which is usually stuck into the pork. Ajarn
made the Panneng in the photograph very well indeed, and because of this,
the bearer can make a wish without chanting Kata, contact the spirit inside
and make the request. Ajarn Apichai’s Panneng are for luck, good fortune,
Maha Saneah and strong protection from harm. While his skull pieces do
not need the bearer to always chant the Kata, they do need him to speak to
or talk to them like a friend and become a familiar or confidant. The katas
for Panneng are constructed from various Buddhist chants along with more
rogue-like elements that have come into use through the countless centuries
that these potent magical items have been made.

Panneng - an interview with Ajarn Suea

In the past, Panneng were used by leaders or commanders as protection

from malicious black magic during times of strife. The Panneng were worn
as a belt buckle, and they brought the protection of strong ghosts to keep
them safe from spiritual attack. The use of these has changed over the
centuries and are now items desired for their extreme Saneah, but they still
protect against black magic through the ghost within.

The best Panneng are from the skulls of a deceased pregnant lady, a
drowning victim, and the rarest one (which is also the best) is from a person
that has been struck by lightning. In the past the makers only used the skull
between the eyebrows and the top of the forehead, meaning that they were
often triangular, but today it is difficult to get the best materials. The rarity
of the source of correct skulls means that when found, the Ajarn uses the
whole of the skull or the price for the single third eye triangular Panneng
would be prohibitive.

There is a difference between the Lanna Wicha for Panneng and the Wicha
from other regions. Nowadays, from the other areas, the Panneng will be
obtained and the spirit will be constructed by the Ajarn using the 32 parts of
the body, but in Lanna Wicha, the spirit in the Panneng would be the owner
of the skull. If that spirit has passed on, another ghost in the graveyard
would be invited in, meaning that true Lanna Panneng do not have a spirit
that has been constructed by the Ajarn.

469
 The best way to bucha Ajarn Suea’s Panneng is to say the kata and give the
correct food, but please eat before offering food to the ghost as it helps the
devotee keep them under control.

Burmese Panneng

An interview with Ajarn Sala Boon Khong

The objective of a Panneng, be they from Thailand or Burma is the same, to

try and use a ghost as a servant in magical workings. The techniques and
knowledge concerning the use of ghosts have been around for a very
long time, be it from arm bones, the leg bones or Nam Man Prai, but with
Panneng, they use the crown of the skull and the region of the third eye.
These are the powerful regions of the skull.

In Burma, a maker of Panneng will choose a skull piece only from a body
that was killed through being struck by lightning. The reason for this is that
the person was killed by the violence and power of nature itself, the ultimate
source of the supernatural. Some people believe that those who have died
this way have great virtue, while others think it is terrible. Some believe
that at that time of being struck, heaven does not have enough people so
they send down lightning to that person so they can rise and work for them
in the celestial realms. The Panneng from a person who died this way has
great power.

With these Panneng, the maker will decorate it with anything that the residing
spirit is afraid of to hold it to performing their given tasks. It is like having
a servant. The tasks they can perform can be varied, and that depends on
the owner although the spirits in the best examples of these are renowned
for the ability to kill others. Ajarn Sala Boon Khong knows that there is a
terrible retribution for such actions, but some magicians are able protect
themselves enough to be able to perform these murders with impunity. The
use of items such as these for violent acts is a throwback to ancient times
but it still occurs to this day.

The old Panneng usually have a picture of a demon carved or moulded onto
the Panneng, which is usually in the form of what we call a Yak, a type of
ogre that is for protection. These have high power in the Burmese traditions
as they can even subvert the many forms of tiger magic that originated
from the tribes of the region. Some people also think of these skull pieces
as a mixing bowl for various Waan elements but really, would you eat or
consume something that was mixed in a skull? Doing this would allow the
ghost inside, and it can be a difficult process to get them out. Any rubbing
inside the skull is part of the contacting the spirit within, where the fingers
are rubbed in a clockwise motion but after this action, a spiritual bath with
Sompoi would be appropriate.

244. Opposite. Two fine Burmese Panneng, which are now becoming rare.

470
471
 245. The 5 Head Ghost Statue of Ajarn Khaw. Ajarn is being polite here as he has
covered the ghosts stiff cock, which he always displays proudly.

472
Extreme Prai

There are quite a few styles of Talisman from The Thai Occult practices that
can be a surprise to outsiders, either through the ingredients used or the
raw nature of the talisman itself. These items and the components in them are
steadily becoming more rare, either due to the action of the government and
police, the changing practices associated with the dead or even through the
competition between the makers in the acquirement of some of the more
wildly esoteric ingredients. These competing forces are either forcing the
practice of making strong necromantic talismans underground or acting to
price the item out of the grasp of most devotees.

Let’s start with the amulet that made Ajarn Khaw famous, due to both
the abilities of the maker and the associated potency of the rare items
contained within it. It would be easy to make this a large section as some
wild Prai items are produced in Thailand but to do so would give a biased
view of the magic here.

The Five Head Ghost of Ajarn Khaw - Prai Pan Jaak

Before making this amulet, Ajarn Khaw had made many talismans using
different spirits so he thought that if he combined five ghosts in one charm,
many people would be interested. The problems came when trying to source
the best materials to construct the amulet, what he considered to be the scary
materials that are the best to use. He waited to collect these materials for
two years before assembling the talisman, paying over 100,000 baht
for the collection (a considerable amount of money in Thailand). He first
constructed the statue in the photograph and put into it some costly magical
materials, and it came into being with magic, was born by magic.

Inside the amulet, it has the bone of a pregnant lady who died by drowning in
a river (a death by drowning offers one of the most potent sources of power),
a pregnant woman who died by being struck by lightning, a monk who was
killed by lightning, Prai from a couple who committed suicide together and
the bone from many children who drowned in the river. There’s also materials
from some animals who were struck by lightning, a Takien tree that was
struck by lightning, a Bodhi tree that was struck by lightning and there are
also Prai materials from a woman who committed suicide while pregnant.
Added to this collection were rare herbs for charm from Cambodia, Laos,
Thailand and some herbs from Burma that are very, very special.

Even though many items were sourced from a poor country like Burma,
it still cost Ajarn 100,000 baht and the prices there are cheap! If he had
sourced these from Thailand, the cost would have been three or four times
that amount. In Thailand, it is now difficult to get this type of materials,
but Burma is terrific because there are still many wilder areas where it is
possible to get the best products for magic. Many people in Burma die by
lightning, and if the people Ajarn knows can find a suitable body, he asks
them to take some bone and write the name of the person on the bag along

473
 with how that person died. Another vital ingredient of the five head ghost are
the bones from many soldiers, which again is easy to find in Burma because
they have been at war for many years.

Ajarn made this amulet to be the King of the Ghosts and consecrated it in a
cemetery, blessing it with magic. It has just one spirit but with 5 heads and
many devotees have seen him, with his massive body like King Kong and
dark skin but they cannot see his face. Some devotees have returned the
amulet to Ajarn after witnessing this ghost due to fear, but others realise
the power that this amulet holds and keep it, praying to it every day. Ajarn
depicted him as having 5 heads to show everyone how strong he is, in many
ways like some of the higher gods who are shown as having many heads.
Showing him in this way expresses the power that is available, which has
come from Ajarn Khaw’s abilities and the extraordinary materials it contains.

The name of the Wicha to create this is called Maha Phut, and it is a Wicha
that creates a spirit amulet, but in this case, the power depends on
the contents of the charm as well as the abilities of the Ajarn. An Ajarn
cannot make something powerful if there is no power in the ingredients.
Many Masters can make every type of amulet but what is the feedback from
the people who wear them? Do they see the ghost? Has it had a good effect
on their life? When making the first batch of these amulets a black smoke
came to the graveyard when he was blessing them, and Ajarn knew then
that it was going to be special. This first run cannot be found now, and they
were only 300 baht but later runs have risen to 3,000 baht, purely because
of the demand and the capabilities of the amulet. Important magic should
be expensive.

Making this amulet started a trend and many Master now make ‘many head’
amulets, which shows the success of this release. It works this way here
in Thailand, design something beautiful, with good power and a new trend
begins. Some people have also made a 5 head ghost, but they are not the
same as Ajarn Khaw’s 5 head ghost even if they use the same ingredients.
The magic for these also comes from inside, and all Ajarns are different
people. Ajarns also call upon the help of their Masters to consecrate these
items, and they also have different powers, so things are never the same.

The Phi Yen Amulet

Due to its extreme nature, itt is best to keep the maker of this amulet secret,
but it is included because both this amulet and the next are a new Wicha
from an experienced magician, which is rare.

What sets this amulet apart is that it contains a section of a young person’s
arm and the Takrut at the top is meant to represent a finger. It also contains
a piece of the clothes worn at the child’s funeral service. The small bottle of
Turmeric on the back that has been rubbed onto the body of a Phi Tai Tang
Glom and left there for one year. The other bottle contains something called
Phayon Dam powder that came from one of Ajarns old Masters, and it was
passed along to the next generation.

474
246. The Phi Yen.

475
476
The body of the Phi Yen is made from the soils from 7 graveyards, 7 salt
licks, 7 ant hills, 7 forests, 7 lakes, 7 pieces of earth excavated by crabs,
lichen from 7 Buddha statues and the lichen from 7 holes that have been
used to tie elephants. The reason that all these had to be collected for this
amulet is that each earth is enchanted and protected by a Guardian angel,
which adds to the energy, but the strongest source of power in the mixture
is the bones of a man who was killed by lightning. Bone from this source is
one of the ultimate supernatural elements an Ajarn can find.

The black spot on the head of the Phi Yen is a substance that has come
from a very old Ajarn who was famous for making wildly strong Hoon Payon
and this substance was used on his famous black Hoon Payon. A Muan
Sarn mix such as this is both rare and powerful, which is why it has been
used to mark the third eye.

People can use this type of amulet to get whatever they wish for. It can be
asked to guard the house, help with work issues or any desire, the essential
thing is to connect to the spirit within, strike a bargain with it and then he
will work in any way required.

A Yak with a Tongue

This amulet has a similar makeup to the last amulet but on the back of this
amulet is a piece of umbilical cord. The umbilical cord represents the greatest
amount of love available in any Prai as it passes the love and nutrition from
the mother to her child. The Yak face itself has the same ingredients as
the last amulet but in the form of a demons face, which is used a lot in the
Burmese traditions as it brings power to the item.

Ajarn has also used a child’s tongue as part of this amulet, and it represents
the power of the amulet to influence other people by talking in their minds.
The Wicha for this amulet is his, he created it, and no one has done this
before. There were only four made as the materials in this are very difficult
to source and the maker considered it a great success. It is similar to the
last amulet in that you have to connect to this spirit and make a bargain with
it. Look after it, give it merit, and it will take care of its owner.

With some items, especially the rare and powerful ones, what they require
most is that the bearer connects to the spirit, makes a bargain with it and
then works together at whatever magic is needed. When rare and potent
talismans of this kind of extreme Wicha are produced, there is rarely a kata;
the maker will give the ghost’s name. how they died (if it is known), and the
rest is up to the devotee.

247. Opposite. Child’s tongues are a very rare form of Prai, so there were only 4 of
this amulet made. As a part of this series, there were also some Yak amulets made
that had the vagina of a very young child, and there were just 2 made.
Extremely rare and potent items.

477
 The Finger Bowls

Ajarn Suea made these, and he followed the Lanna method, but all the regions
of Thailand have a Wicha for the use of fingers as a magical tool, as long
as they come from the correct corpse. The talismans consist of wooden
bowls that contain a handmade See Pung, into which has been placed a
male finger and a female finger, both covered in gold leaf. The See Pung
was made separately, using a Nam Man Prai from the same body source of
the fingers in that bowl, as well a tooth from each corpse that is under the
surface. All the Wahn in the See Pung was sourced from a graveyard and the
collecting of them corresponded with the necessary astrological alignment.
The teeth are present because of the chewing action on any magical job,
making these magically tenacious items, working like grinding tough meat,
added to which, the fingers themselves can scratch at all the tasks given.
One interesting aspect of this type of talisman is the method of collection
as some versions of the Wicha insist that the magician bites off the fingers
rather than removing them with a knife, as was the case here.

The female finger is from a Phi Tai Tang Glom ghost, from a pregnant lady,
and the See Pung in this bowl also contains Nam Man Prai from her unborn
child. Ajarn has here used the 32 components of the body practice to create a
new and potent spirit that has control, which is common when using such
compelling sources of magic. The male finger came from a well-known
gambler and womaniser who died in a terrible raod accident (making him a
Phi Tai Hong ghost). With these fingers, it is also vital that they come from
the dominant hand of the person. In this case, the male fingers are from
the right hand and the female from the left. When the task of constructing
these was completed, both bowls were then consecrated in a graveyard at
an astrologically significant time.

It is essential when working with such powerful items that merit is offered
to the spirit of each and Tamboon must be made when they grant a magical
wish (the easiest way to do this is by giving to charity). While Ajarn does
pass these on separately, he recommends that they are used as a pair as
they offer a balance in the practice of working with the talismans. The female
ghost is best for Saneah and wishes, while the male is best for gambling
and windfall luck and each spirit should be sought with the mind. They can
also be used together and are some of the strongest items available in The
Thai Occult as it brings together the two most powerful ghosts types in the
Thai system as well as both sexes, making them highly adaptable pieces.

248. Opposite. The finger bowls are special enough but below is the finger from the
dominant hand of a female suicide victim.

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479
 249. Above, is the full rope from a suicide that had
been sold on by a Policeman who had been at the
scene. They can also come from ambulance workers,
but sourcing these is now becoming more difficult as
the country modernises and access to such materials
is restricted.
Even if the Ajarn in questions is trusted completely,
when passing on items such as this, photographic
evidence adds value. Such was the case with the
photograph fon the left here, where a name, reason for
suicide and an image of the person was provided. The
rope in this was was actually speaker wire, which was
cut into sections and sold as amulet cords. Knowing
his name allows direct access to the spirit, enabling
the devotee to make deals with him for tasks in return
for merit and offerings.
Suicide ropes are now becoming very rare indeed as
they are commonly cremated with the victim.

480
Items from a Suicide

There is an inherent supernatural power within items that are associated

with a suicide, as with Ajarn Khaw Phra Ngang on page 381 but there are
other items that can be used from such tragic events.

Suicide Rope

As in many forms of necromancy and spirit worship, any item that has been
used to kill someone through suicide or murder is a source of supernatural
power. On rare occasions, a bullet that has passed through a person’s brain
has been made into an amulet, but for obvious reasons, these can only
come from a very trusted source. The rope that has been used for a suicide
is more highly desired, but they should come with the name of the person
who killed themselves, the date it happened and hopefully, photographic
evidence. In this way, the devotee acquiring such an item can be assured
of its authenticity.

These items rarely have a kata, and instead, the devotee relies on working
directly with the spirit and making a bargain with it to care for it with
offerings and offer merit whenever a wish gets granted. The person working
with such items needs to be secure within their practices, have excellent
Samathi and excellent protection from this type of ghost but if all that is in
place, many report amazing results from such objects.

Suicide ropes can come in two forms. Firstly, as the full rope that includes
the noose and to use this, the devotee will place the noose around their
neck while contacting and working with the spirit in question. The other way
is for the rope to be made into sections that can then be used to hold an
amulet, creating a dual purpose ensemble of necromantic tools. One
problem is that as a form of suicide, hanging is now less popular than it
used to be and the gun is the go to weapon of choice. The bullets from
suicides can be used but authenticating that it is the actual bullet is difficult
for the Ajarn, who does not want to be accused of lying about what he has
sold.

Besides ropes and cords for hanging, the knives used for suicides can be
either used as a connection to the ghost, or even as a Miit Mhor. Knives
used in murders are of particular interest in some Western forms of magic,
but are not collected in Thailand, despite the efforts of some practitioners.

The Finger (photo on the previous page)

This has many uses but primarily it acts like a finger acts, by pointing. The
bearer uses it like a wand, pointing at what is desired or what he wants the
spirit to work on. Asking that the spirit helps with capturing someone’s heart
or pursuading people to do certain things in business; there are a multitude
of uses, only limited by the persons imagination or skills. Babies fingers
were also used this way in the past, but are now exceptionally rare.

481
 THE LOAD

The load is a term that has been invented by Western devotees of the Thai
magical arts to describe the items either under a statue or at the back of an
amulet, because in Thai they would say, ’underneath’. This word does not
convey the importance of the items added to any spiritual talisman as they
add power to it. The items added can also aid the devotee to decide whether
the statue or amulet is directed in the way which they require, whether it is
fit for the purpose they seek. For instance, if a Mae Per amulet has a dice
placed in her vagina, it shows that the charm is directed towards luck while
taking risks, either in gambling or business ventures. If she had a ball of
Leklai in a similar place, the amulet would be more protective of the dev-
otee. Any item contained within the charm affects the quality of magic, the
strength of magic and the direction the magic is focussed and this should be
considered before acquiring a talisman.

When an amulet is released onto the market, accompanying it will be a paper

with a list of the items present in the piece and the primary element of Athan
will be shared by the Ajarn. For instance, with a recent Roop Pan to Phra
Ngang from Ajarn Khaw, the power for that piece came from the fact that the
branch it was carved from had been used for three suicides. Three people
had killed themselves in nature by hanging themselves from something
natural, and that is a high source of Athan power. Yes, there were also items
in the load but the use of the branch was the main selling point, and it was
why the five statues made sold in just a few days. Much can be gleaned
from the written descriptions for amulets and statues alike, and this section
hopes to help all devotees of The Thai Occult ‘read’ a Thai talisman.

Prai Materials

Prai materials are sourced from the bodies of people who died in specific
ways and at various stages of their lives and bring strong magical power.
All talismans that contain Prai are thought to have an advantage over non-Prai
amulets because the inclusion of Prai adds a robust spiritual battery. Prai
talismans are believed to work faster and have more clout, but it is not
as clear-cut as that as it also depends on the maker and what is being
sought from the item itself. Having Prai items does not automatically mean
that the devotee’s life will improve by doing nothing, but powerful amulets
help those who engage in life by giving them an advantage through luck
and attraction. It is also not an Abracadabra effect, where everything the
devotee wishes for is suddenly granted; a thought pattern considered
extremely childish by the Thais. Work also needs to be done by the bearer
of Thai talismans and as one Ajarn said, ‘If you want money, work harder, if
a person wants attraction, make more of an effort to educate and enhance
themselves and if they want love, be a better person so anyone who likes
them can be at ease in their company and in time, offer their heart’. From
this, Ajarn was saying that people should improve themselves as their life
improves through magic. Magic often acts as the first step up for the
devotee, and it then also supports the rest of the journey.

482
250. Ghosts can help bring wealth.

483
 251. A suicide amidst the ghosts of aborted babies.
The Hell Gardens of Wat Mae Kaet Noi, Chiang Mai.

484
The process of the way Prai works has to be taken seriously and merit needs
to be made and put back into the ‘bank’ from which was borrowed the boon
or good luck (please remember that merit is achieved through conscious
good deeds). Prai amulets are considered as much a style of spiritual growth
as any in the Thai Buddhist tradition, and it is best to temper the desires and
greed inherent in most people to achieve a ‘middle way’. Dedication to
kata is essential as kata generally seeks refuge and protection from the
Buddha, and an overall view of our existence needs to be gained so as not
to ask too much of these items. They are there as an aid to growth rather
than the devotee expecting Gandalf to appear to make them gorgeous and
wealthy with a wave of his phallic wand.

Amulets with Prai are made by most of the makers of magical items with-
in Thailand, including famous monks, which marks a critical point in that
the philosophical boundaries and ideas surrounding these items are both
adaptable and fluid. One of the most respected Buddhist monks in Thai
history, Phra Somdej fashioned a Panneng from the skull of Mae Nak. More
recent highly magical monks such as Luang Phor Pina are famous for their
powerful Prai amulets such as a Mae Per carved from the hip bone of a
pregnant woman and the tongue of a child in an amulet that works like a
strong Prai Krasip. Some Buddhists see this as a result of a temptation for
the monk to show their powers, while others see it only as a natural result
of having those powers and wanting to grant boon to the bearer of the items
in question. Magic is presently a sticky subject within Thailand, and recent
moves by the Sangha here to limit both the belief in magic and the use of
such materials is slowly having an effect.

In many of the Prai amulets, a piece of actual bone can be seen, and it is
this that the spirit recognises as being familiar from its old existence, and
resides in it. A bone powder can also be used in the same way and can be
found either in a phial or stuffed inside a Takrut. The Prai element can also
be a part of the general matrix of the amulet, and in many cases, it is noted
in the description where these materials have been sourced.

Bone of a police officer who died in the line of duty who had many wives.

The most important ingredient is bone powder from 108 ladies that has
been blessed for 1 year.

Powdered ashes from a woman who died on a Saturday and was cremated
on a Tuesday.

Prai from woman who died on Tuesday and was cremated on Saturday.

The powdered ashes of children from nine urns.

Bone powder from a lady who died by suicide.

485
 The source of the bone is of paramount importance because much of the
resulting products depends on the supernatural nature of the Prai. Thailand
is a country where most people are cremated, and access to the bones of
people who died in a specific way is not too difficult, especially if one of the
workers with the dead is the follower of an Ajarn, monk or spiritual Master.
The same goes for access to child materials for Kuman Thong and Luk
Krok’s due to the high rate of abortion, and much of the practice being
carried out in secret. It would not be too difficult for the makers to have
access to these materials should they have a devotee who works in the
clinics, at a crematorium or with a body post-mortem. It is not only bone that
can provide a home for the residing ghost and many other corpse materials
are often used, which are then the Prai element, regarded as necessary for
an effective amulet.

Hair - Amulets and statues containing the hair taken from a corpse have
fans and collectors, and offer a personal connection to the source of the
hair, often to a rather creepy effect. The hair can come from the head or
pubic region depending on the Wicha of the maker and the desired effect.

Teeth - Yes, teeth (see page 462). While rare, some amulets contain the
teeth of a corpse to evoke the action of chewing and gnawing at a problem
in a magical fashion; helping to masticate and digest the changes that need
to occur either within the bearer or on his behalf.

Finger Nails or even a full finger - Is nothing safe on a corpse? A full finger
from a suitable corpse can also be used as a powerful wand.

Skin - Often used in Inn Khoo Prai amulets due to skin being an erogenous
zone.

Tongue - As mentioned on the previous page, there is one very famous

amulet from Luang Phor Pina that contains the tongue of a child in oil, and
its power is legendary amongst collectors of these things. The tongue is the
conduit through which the spirit of the child talks to the bearer.

Breast - Pieces of dried breast are used with strong female deities such as
Mae Per, 9 Tail Fox or the Thai representations of Kali. It looks a little like
a brown chewing gum, and when held it is as hard as amber. It evokes the
way of feeding the young, giving nutrition.

Corpse Cloth - The cloth that is used to wrap the dead is considered to be
a Prai material because of the chance that it will have absorbed some of
the fluids and oils that seep from a body after death. Again, items with this
style of Prai have many collectors, and it is regarded as an effective source
of Athan. Corpse cloth is also used as a talisman in itself, where an Ajarn
will use it to create a Pha Yant Prai, and the more stained this cloth is,
the better. The source for this cloth is generally the body bags used when
collecting accident victims from the road and the power within them can be
quite shocking. One famous Ajarn acquired a pile of these cloths and was

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252. There are many forms of Prai. The piece above is a Pha Yant, drawn on a very
stained piece of shroud that was collected from an accident victim.
Necromantic art by Phor Noi Tan.

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 253. These beautifully scripted pieces are known as grip bones, and can be used
to hold while meditating, to contact the spirit directly.

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considering making one into shorts, even though they were so strong that
they were difficult to touch. That Ajarn has no fear, but that’s what comes
with having been a monk, and he thought the shorts would make him happy.

Sai Sin Thread - This is the blessed thread that is used to either bind the
hands of a corpse or to connect the corpse to the monks present, relatives
and friends of the deceased during a funeral rite. The spiritual energy of
the monk or Ajarn has been passed through this thread, making it a useful
source of magic in both amulets and statues. Sai Sin helps protect an area
and acts to cordon it off from outside influences.

Coffin Nails - These are also considered to be a Prai item due to them holding
the lid of the coffin closed, in close proximity to the deceased. Particularly
associated with Inn Khoo Prai, but can also be found in the load of many
amulets and even as an amulet in its own right.

Nam Man Prai - Often present in talismans because of its power, usually in
a phial pressed into the back of the amulet or the base of a statue.

While most Thai talismans rely upon pieces of bone or corpse products,
some magical items here in Thailand are made from a bone itself, more
often than not from the arm or leg due to them being used for hard work.
These are used to grip in the hand when meditating and working with the
spirit in question and can be beautifully decorated, which is an act that
involves strong Samathi. The decoration is also the invocation and written
in both Khom and Lanna script, depending on the region it was made.

An Interview about Prai with Ajarn Ting

Besides the usual sources that have already been discussed concerning
the use of Prai materials, there are other forms commonly quoted. One of
these is that the deceased must die on a Saturday and be cremated on a
Tuesday, which renders their Prai supernatural, providing more options for
the Ajarn to attain good materials. Other extreme supernatural sources
originate from dying by being hit by lightning or by drowning as these are
both deaths from nature, and in nature itself. These are also known in Thai
as Tai Prai (prai deaths) and they are an accessible source of incredibly
strong supernatural materials that can be used by skilled Ajarns.

I will not use any bone where I do not know the cause of death or the source
of the Prai.
Ajarn Ting September, 2017.

The sex of the person the Prai was sourced from is also important. A male
source is used for Khun Paen and Phra Ngang, a female source for Mae
Per, and a child’s remains for Kuman Thong. These are just examples, but
the character of the person before they died is also important. If the man
was a playboy, he would be useful in making a Phra Ngang, and if a good

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 gambler, he could be used for other specific types. A prostitute is very
useful when she dies a Prai death as she can be used for Mae Per, and
pretty much all the female uses. With extreme sources of Prai, such as
when a monk is killed by lightning, that would be best used for Panneng,
which is actually the same with anyone killed in this way. Ajarn Ting used to
make Panneng from a mixture of 32 different bone sources, which mirrors the
parts of the body and Ajarn accordingly made 32 of them, otherwise it would
weaken the power. There are many very odd types of Prai that people do
not know about, in the same way as the 32 body Panneng.

A Talisman made by Prai ( 254. Opposite. Ajarn Ting and the See Pung by Prai) )

Near Mae Hong Son, there was a monk called Kruba Mai Hong, and a lon
time ago he made a very special See Pung using the body of a Phi Tai Tang
Glom, a lady who died while pregnant. Kruba found a very good looking
man, and got him to dig up the corpse. This man then sat behind the body
and held its hands to mix a See Pung in a monks bowl, so while it does not
contain Prai, it has a Prai spirit within it because the Phi Tai Tang Glom
ghost effectively made it. The lady had to die while holding her first-born in
her stomach and that firstborn had to be a son to fulfil the demands of this
rare Wicha. Even though the See Pung only has Wahn and many herbs, the
feeling is that the ghost is very present and she can be called upon at any
time. A See Pung like this has never been made again as the process is
both challenging and dangerous, and the ones here are from a disciple of
the old monk, who died about 60 years ago.

This See Pung cannot be used on anyone unless it is OK that he or she will
spend their life together with the devotee. The person who has this amulet
can only ask for either one of two wishes, and that is it, then the wish never
changes. The wish can be either for good business or love, but Ajarn Ting
does not recommend it for love as the bearer may get swamped (laughter).
The See Pung from Kruba Mai Hong was made a long time ago and is a
legendary substance. It is usually sold in a quantity that is like the head of
a match, it is that strong, but here it has filled a small silver box. The ghost
who made this See Pung may also come to the dreams of the bearer, but
the relationship between the ghost and the substance is not the same as
any usual Prai amulet. She likes to be fed regularly and an offering of fresh
water every day. She also likes perfume and sometimes, when things go
well, apply some gold leaf to the case.

The See Pung is considered to be a Prai because it was made by Prai, even
though there is no Prai in it. Ajarn also blessed this to include the name of
the person who will keep this See Pung, to introduce that person to the Phi
Tai Tang Glom ghost.

As far as child Prai goes, a dead child is classed as a very young Phi Tai
Hong, and it is both the age and the style of death that renders child materials
to be extremely powerful. In Ajarn’s opinion, the best child materials come
from a natural miscarriage or stillbirth, rather than from abortion as it

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491
 255. The pitter patter of tiny feet, and other extreme Prai.

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conforms to the laws of nature. The same is true for any animal, not just
human beings, a natural death enables them to be made into Luk Krok (here
Ajarn gets out some fetus from a cat that he will soon make into a Luk Krok
Meow). The real Luk Krok has to emerge with the umbilical cord, and he
considers it essential that a baby without the umbilical cord is not good to
make into a Luk Krok, even if it is a stillbirth.

Ajarn Ting makes incredible items because he is strict with his Wicha. When
a suitable body becomes available to make a Luk Krok (and this can be
any animal as well as human), the first thing one should do is to put it into
formaldehyde or the body will rot and Ajarn dries these indoors rather than
in the sun as otherwise, they turn black.

Here, the question was posed to Ajarn about the uses of specific parts of
the body in an amulet, for instance a tooth to give a chewing action to the
magic, to make it tenacious.

He replied. It makes no difference as to the action of the parts used. If it is

Athan it will work in the same way, and the rest is only marketing or a good
story from the seller. Ajarn Ting is a Lanna Ajarn and he speaks directly,

It is the source of the Prai that is important. It is that that provides the power
Ajarn Ting 2018

People make assumptions as to what various parts of the body can be used
for, but really, it makes no difference. Hair, fingers, nails, teeth, eyeballs,
they are all the same as long as the source corpse is good, but using these
various parts can be helpful in giving an amulet a particular look, which can
appeal to different people.

The Earths - an interview with Ajarn Apichai

Earths from many places have a power residing within and all the earths
collected to use in magical talismans contain the power of the earth
goddess, Mae Thoranee. There are different powers within the earths collected
from different places, and here are some examples. The soil from a temple
has an angel spirit that guards and protects the Wat, the earth from the
graveyard has the ghosts and spirits that haunt the place. The soil that is
excavated by crabs is also considered an Athan, soil from a salt lick is also
Athan as it provides essential minerals to animals like elephants that cannot
be found elsewhere.

The soil in a rice field represents the fertility of the land, and it holds the guardian
spirit of the fields. The soil from a market is another common content for
amulets, because it carries with it the energy of people who come to the
market to spend money. The land in this case is considered to have the
power to attract people to spend, akin to the attribute Khaa Khaay. Soils
from a shore are used because in the past the transportation was mainly by
rivers, with exports and imports going near and far. The soils from this place

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 have the energy of commerce and carry the attraction for people to come
to that place. Foreigners come, strangers come, and then the region grows,
and everyone prospers. Every soil from different areas have the elements
of earth, wind, fire and water and these elements are also used in the
construction of all magical talismans. Soil gives life to trees, to people and
then when we die we go back to the soil, enriching the earth again. It is a
constant cycle.

Other items in The Load

Many other items can be put into the load and this depends on the Wicha of
the maker, the skills of the Ajarn and the availability of what are considered
to be supernatural items.

Takrut are THE main item for activation of an amulet that is usually placed
at the back. These hold both spells, and heart katas (condensed kata) and
Takrut hold more power than is generally realised by devotees who want
strong Prai. A good Takrut can really fizz in the hand and are highly valued
in Thailand, but as yet, few understand them in the outside world.

Dice represent the amulet’s efficiency with risk-taking rather than with
gambling itself. According to the Ajarns interviewed, no spell can help solely
with gambling or the lottery because if it were that easy, they would all
make one amulet and then retire on the proceeds. This misunderstanding
seems to have come about through the aggressive marketing of some of
the products within The Thai Occult and promoting them as being good with
gambling to help sales. There are even websites for this purpose, but
the Ajarns that have expressed an opinion on this matter suggest that
the sellers are misrepresenting the quality of Chok Laap, which is to lift the
general fortunes, not for winning at roulette.

Glass Eyes are a contemporary addition to the back of amulets and under
both Panneng and statues, but this is a relatively recent occurrence. The
maker here is suggesting that the talisman can see into more than this
reality or that that amulet is looking out for opportunities that may arise.
These glass eyes can bring great beauty and presence to the talisman in
question, but they serve no other purpose. Sometimes, very rarely, a real
eye is used from a Luk Krok or young child.

Samlit figures. Yellow metal figures are often pressed into the back of
other amulets that have either been blessed on their own or as part of
the consecration of the whole piece. These figures are of Samlit, a metal
that holds the blessing well, and it is also used to make both in statues and
amulets. The most common ones are the Inn Khoo, Phra Ngang, Mae Per
and the Paladkhik but many can be used, with money spiders and Jing Jok
lizards also being common.

Seeds. Technically, these are a Muan Sarn, but are included here because
the section on Muan Sarn is going to be complex enough. The most

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 256. (Top Photo) Some of the most powerful Takrut are written on the vagina.
(Bottom Photo) A fine example of the use of glass eyes, in this case on the rear of a
full Panneng (note the eye sockets).

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 257. The Muan Sarn that was used to make the oil during Ajarn Khaw’s Wai Kru.

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common seed seen in amulets is called Maet Makham, easily spotted with
its post box red colour. The trees that produce these used to be common in
Thailand until the hippies came and found out that these seeds are a mild
narcotic. Because of the hippies, the Police removed many from this land
and they are now scarce.

Skulls, when seen, can either be plastic, bone or Samlit metal and denote
the presence of Prai, or the ability within the amulet to be able to see more
than this realm.

Prai materials are often put at the back of an amulet to disguise the type
of talisman it is, to be more discrete. The most common Prai found in this
position is the bone chip, but presently, a bone powder is becoming popular
because it is difficult to determine what it is if mixed into the matrix. Devotees
who look for good Prai talismans generally want their Prai to be seen and
will eagerly buy any amulet where a top source of Prai is used, such as a
Luk Krok’s hand, the finger of a Phi Tai Tang Glom, teeth, coffin nails, pieces
of a child’s arm, chunks of Panneng etc.

Glass Phials are another common addition, and here they may contain Prai
materials or pure Wahn materials. The Prai will often be in the form of Nam
Man Prai or bone powder but can also be a Luk Krok Oil, fat from a corpse
or even turmeric that has been spread onto a dead body to absorb the Prai
element. The Wahn can be any of the multitude of oils for Saneah and Metta
such as Kai Daeng oil.

Woods are also put at the back of amulets, but they have to be very special
indeed. The woods that hold supernatural power are discussed in the section
after this one on the Muan Sarn used in The Thai Occult.

The Muan Sarn in The Thai Occult

The herbal lore of The Thai Occult is enormous and will be covered in a
single book when the top Ajarns are willing to be interviewed on the subject,
and time permits. In the meantime, the author is collecting all the old books
on the Muan Sarn that can be found, every single one of which is out of
print, and none are available in bookshops even if reading Thai is not a
problem. Primarily, these books are about which plants are the best to grow
in the home to bring a peaceful and loving environment, attract business,
enchant lovers and bestow Metta. Some of these plants can also be used as
ingredients in amulets, and the interest in growing these arose on moving
to Chiang Mai to finish this book, as there is a market to the north of the city
that sells magical plants. Yes, a market that sells magical plants.

The idea of growing magical plants was exciting; to be able to see how they
grow, how to care for them and the energy they hold. The author had once
been kindly given some bulbs to grow Kuman Thong flowers by Ajarn Ting,
but they got confiscated at the airport as nothing was allowed to be taken
on the plane that has some soil on them, so they got seized. Losing them

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 was particularly devastating because Ajarn Ting had explained how to grow
them, and how to bless the water. Many plants have an associated kata, and
these were from Ajarn’s garden, so they had been grown in an environment of
magic, and had been given the correct loving care.

Many Ajarns grow the most common magical plants at home, as well as
some of the rare ones that they appreciate and can use in their works. The
plants chosen must offer the attributes they usually require for their talismans,
but the range of magical plants is so vast that the Ajarn would need many
acres to grow all the types they know, although some of the strongest and
most desirable plants will only grow in the wilds. The reference books found
on the herbal system often say that there are 108 Wahn, but 108 is just
a number that means ‘great’ rather than referring to how many there are.
Yes, there are the common ones (and there’s way more than 108 of those)
but some will only grow in the forests, and some bloom for only one night,
which is the time the flower needs to be picked. Many of the environments
that these rare plants need have now disappeared in Thailand because
the woodlands are managed, giving rise to Burma and Cambodia being the
only sources available. There are people in those countries who survive by
finding products for the Thai Ajarns that are no longer available in Thailand,
and this also includes the rare and powerful forms of Prai.

An adventurous spirit helps with finding the weird and wonderful places
in Thailand. There are many markets where it is possible to buy magical
plants, and each of the sellers is, of course, utterly charming, but all the
descriptions are in the Thai language. On recognising some of the plants
in the photographs and chatting to the seller, it was possible to replace the
lost Kuman Thong bulbs and in addition, to buy some Wahn Kai Daeng (Red
Chicken Plants) as well as six other famous additives to amulets to try and
grow them around the home. On the long trip back, six sacks of cow and pig
shit compost were also added to the load, meaning that the smell in the car
was a little earthy.

After planting the bulbs in large pots and watering them in, the first thing
that happened was that next door’s black chicken dug up the Red Chicken
bulbs. There was some chicken competition going on here, and the black
chicken was in danger of ending up in a Thai Green Curry. The chicken fight
went on for weeks and not one single bulb showed any sign of growing,
which was odd as everything grows like crazy in the tropics.

One of the great things about being a foreigner in Thailand is the ability to
amuse the locals, in this case, the Ajarns of Chiang Mai. With no action in
the growing becoming apparent, it was best to ask Ajarn Suea as to what
the problem may be, and on showing him the signs in Thai of the bulbs
purchased, he started to roll around in laughter. These were bulbs that
had already been grown for magic, and then dried, ready for use in either
making oils or amulets, so there’s no way they would grow. There was then
a small period of recovery from the disappointment related to the fact that
there were not going to be magical plants around the home, but that short

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258. Waan Sabu Luat for Kong Grapan, and it is fed with blood.

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 259. Waan Kuman Thong in the garden of Ajarn Ting.

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260. And Waan Kuman Thong being sold in the magical plant market.

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 261. There’s no mistaking that arm.
A photo from when Ajarn Ting was explaining the uses of Ma Krua Baa.

502
period of time was enough for Ajarn to share the comedy on the phone with
other Ajarns, and he still giggles about it to this day.

The one thing that this steep learning curve did enable was the breaking
open of these bulbs while redistributing the compost on the garden. Opening
the Kuman Thong bulb felt like a Thai amulet as there was a feeling of Sa-
neah, which was quite strong, and while at the Wai Kru of Ajarn Khaw, the
Ajarns present made a Saneah oil together using the chopped up pieces of
similar bulbs, at which Ajarn Suea was smiling, with a glint in his eye. The
other thing that has happened since this episode is that my partner, Bon has
asked that no magical plants be grown near the house because they can
affect personal relationships, and can be weird in general. There goes the
idea of having a tree at the front of the house that has an associated ghost
that serves to protect the property, (but does need to be fed blood regularly)
and the desire to have a Ngiew Dam tree at the back. The magical trees and
plants can have as much of an effect on the area they grow in as they can in
an amulet, and they can tamper with the balance of personal relationships
if the correct care is not taken.

At some point in this journey into The Thai Occult, there will be a Westerner
who receives the offer to become a Luksit, an apprentice to a magician and
then the herbal lore would open. Whether an Ajarn would ever interview on
the subject to any depth cannot be said at this point in the understanding of
the art, and it may take an outsider to open this aspect to the world entirely.

Making Wooden Statues - an interview with Ajarn Suea

Ajarn Suea follows some ancient rules about which woods he can use to
make a statue and his works have clout. Most of the Roop Pan in the pho-
tograph are now on the author’s personal altar, and this interview was ea-
gerly anticipated! Please read the words of Ajarn Suea, this is an excellent
interview but as with many of the times he was interviewed, there is always
the sense that what is being given is but a drop in the ocean of knowledge
held by Ajarn.

The making of a statue is done with certain types of wood, such as:-

Teak - Maai Sak - Sak in Thai sounds like the word that means rank, title or
status although it is not written in the same way. It is such a hard wood that
it is also used to make a Sak Yant rod as it keeps a very fine point.

Tamarind wood - Maai Makhaam - The word Khaam sounds like the Thai
word Graeng Khaam, which means imposing, something which has a power
that is fearful.

Star Gooseberry Wood - Maai Mayom - This sounds like the word Niyom,
which is the attribute of popularity and it also means ‘to admire’. This is the
wood that is used to make the collection of sticks that monks and Ajarns dip
into holy water to spray onto others during a blessing.

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 Black Bombax Ceiba wood - Maai Ngiew Dam - This wood is believed to
protect against black magic and in Thai legend, it is the tree that is climbed
to get out of hell. It is quite difficult to find because it is regarded as only
growing in magical forests, and it is protected by a guardian angel.

Black Varnish wood - Maai Rak - Rak in Thai means love.

Other woods that can be used are from the Bodhi tree or the wood from any
tree that has been struck by lightning. A tree struck by lightning is believed
to have been killed by the lightning from a god, and these trees are great
for making amulets for protection against evil. If a tree is struck by lightning
in the middle of the tree, and may even be split in half, it is very good for
making the handles of a Miit Mhor. If a tree is struck by lightning in such a
way that it explodes the bark off the tree while killing it, this wood is superb
for making statues of Yak’s, an underworld demon known as Waesuwan.
Huge statues of Waesuwan can see at the gates of Wat Po in Bangkok
and is considered to be akin to the king of the demons with the power over
ghosts and things of an evil nature. Any wood that was struck by lightning
and fell across the river is excellent for making a Tiger statue as it has the
power to pass on an imposing nature to their owner. There are many types
of this wood, and a myriad of usages.

As with lightning woods, to be able to use any wood, the tree has to die in
a certain way, an Ajarn cannot just go and cut these woods. If he wants to
use the Star Gooseberry Tree, it has to be a significant example, and the
type of this wood that can be used for making statues is called Mayom Tai
Prai, which means that it has died in the most useful magical way by falling
across a road or a river. For another type of Mayom Tai Prai wood, the tree
has to die from parasite plants or trees that have grown on top of it, and
it died while still standing. This wood can be used for statues of a Kuman
Thong, a Nang Prai or a Nang Kwak as well as an amulet that is made to
provide an element of Metta to the bearer.

The Pujow Samingprai statue in the photograph over the page is made from
Teak wood, and the tree grew on top of a termite mound, (which is very rare
to find) and when one appears, Ajarn will make many Lersi statues. This
tree has to have no insects within the wood as well as no termites, and
it is considered to be one of the best woods to use. Any statue or amulet
made from this wood is powerful, and Ajarn also uses it to create a Nang
Kwak or Chu Chok, and other charms that help with business luck. This teak
wood is also particularly suitable for people who work in the public services
as it encourages a rising in the rank of that person, raising them up akin to
promoting them. Ajarn’s Lersi statues all use Teak wood from this source
because of this attribute, which is called Serm Baramee.

If someone has a statue of the Ruesi at their place of work, it will help
protect the person and their business from any black magic cast their way;
it bounces away curses. The correct way to bucha the Lersi statues are with
bananas and coconuts on the Buddhist days or on a Thursday, which is

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Lersi day. In Thailand, there are four Buddhist days per month, the full moon
day, two half-moon days, and the black moon day when there is no moon.
Luckily, all Thai calendars have these days marked to make it easy for
devotees of both Buddhism and magic.

A Mae Per is usually made from Teak wood that has fallen across the road,
which brings Saneah and Metta to the statue. If Ajarn wants to make a Nang
Kwak, the ultimate way is to use Ngiew Dam wood as it regarded as the king
of woods, and it brings Metta. Ajarn used to create a Waesuwan statue from
the Maai Tan Phi wood (Bombay Ebony), which is a super rare wood. The
wood from this tree is very black, and the tree itself is difficult to see in the
daytime as it looks like other trees, but at night it has a natural luminance.
Ajarn used to enjoy walking the woods at night to look for this tree when he
was able-bodied, but now it is more difficult for him. This tree has a special
scent, and when it is rubbed with the fingers, they smell rotten.

Each of the woods listed here have their magical properties within them as
long as it dies correctly and each can be used for most spirits and deities,
depending on what attributes the Ajarn decides he wants in that statue. The
Thai magical lore for the woods is extensive, and not many Ajarns know
them all. Another magical wood is called Maai Faak, which is a parasite tree
that grows in the recesses of big trees. It eventually grows higher than the
host tree to the point where it steals its sunlight and can subsequently mean
the death of the host. The wood from Maai Faak is best for a Hoon Payon
Phi that is used for cursing and causing harm.

There are many kinds of wood used to make statues, but the most common
ones also include Maai Phayung (Siamese Rosewood and the meaning of
Phayung in Thai is to support or assist) and its primary attribute as a wood
is to lift the fortunes of the person who has it. The tree itself is considered
sacred with magical characteristics of its own even if grown in the garden,
but an Ajarn usually uses this wood to make talismans and puts a kata into
it to boost its natural attributes. This wood can be used for anything.

The Tamarind wood (Maai Makhaam) is used to make Buddhist beads, but
the wood has to come from an ancient tree that has gained the black core
that comes with age. It is this wood that is the best to make the strings of
108 beads that are worn and used by Buddhists for counting kata. These
are then known as Pakham Beads. This wood can also be used for the
handles of knives or its sheath, but it is challenging to carve, and this purpose
is generally reserved for the weapons carried by Royalty.

Gahlong Wood (The Snow Orchid Tree) is used to make amulets for Metta
Maha Niyom and is excellent for attracting others. ‘Long’ in Thai can mean
lost through allure, lost because someone is so beautiful, and this meaning
decides its uses in the magical system.

The Takien Tree (The Ironwood Tree) has a guardian spirit and is considered
to be a strongly haunted tree. It is believed that if a Takien tree has a lot of

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 ghosts living within it, the tree itself will drip out an oil, which can be used
in Mae Takien amulets. This wood is especially good when making a Nang
Prai or a Hong Prai statue, and the extra spirit in the Takien wood gives
these great power. This wood lasts for a very long time when submerged
in water, and even when it has been buried in the ground. Even if it is
submerged for decades, it is barely affected. This tree is so haunted that
even when buried, the resident ghost remains active enough to be able to
influence the living. There are stories of the ghost appearing in people’s
dreams and telling them where the tree is so that they can dig it up. Not
all Takien trees have a strong spirit, and the Ajarn has to check first before
using that wood to make an amulet.

Another type of wood used is where a tree has one trunk that then splits
into two, creating the appearance of open legs, and a pattern between
the branches that looks like a vagina. As this tree ages, the ‘tree vagina’
becomes a place for ghosts to reside, and this type of ghost is called a Phi
Song Nang, a Two Lady Ghost. According to the magical lore of Thailand,
if anyone uses a strong type of this wood as a pillar in the house, all
the males residing there will die. Any tree can grow in this way and gain
supernatural power; it is a tree that grows in a certain way rather than any
specific wood.

All the types of spiritual woods mentioned here can be used for making a
statue, but what is considered to be the ultimate source is if the bucha is
made from the wood of a tree that had been a parasite of another tree. The
tree that it grows on has to be a magical wood, and the parasite tree (not
a vine but an actual tree) has to kill the host. This phenomenon usually
happens when a bird has a seed in its droppings, and it starts to grow in
a recess in a large tree. As an example, if a parasite tree grows on a Maai
Ngiew Dam tree and kills it, the wood from the parasite tree is one of the
top sources of power available in the Thai Occult system to make a statue.
Due to all the possible combinations of trees that this can happen with,
this dramatically increases the types of wood that can be used for magical
purposes, especially when the woods that are grown in the graveyard are
taken into account as well.

There will be more on the magical woods of Thailand from Ajarn Suea at
some point in the future.

Opposite Photograph
262. Ajarn Suea with four hand made statues that are now part of the author’s altar

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507
 263. This Miit Mhor was the knife used by Luang Phor Pina to cut open bodies.
It was blessed each time it was used, bringing life to the knife.

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Nam Man Prai

Nam Man Prai (which translates as ‘Ghost Oil’) is one of the most potent
necromantic tools available in the Thai Occult system and is the stuff of
legend due to its potency, the effects on those anointed, and the stories
around its creation. There are many practices involving this oil, some of
which are decidedly aggressive or dark in nature. One of them is the belief
that a single drop of a good Nam Man Prai in the food of someone desired
can make a sex slave of them 1 (although there is also said to be a risk of
mental derangement). This Prai oil has also been known to be added to the
ink when making Sak Yant for particularly effective magical tattoos 2 but the
downside here is that you are placing a ghost within the bloodstream, which
can then be very difficult to remove. There are two ways that this is used in
Sak Yant, with the first being that an Ajarn can sometimes use it to capture
a client and secondly, by choice, but most Ajarns will either not use it or only
perform the Sak Yant in this way after lengthy consultation.

Nam Man Prai can be used to help capture the heart of the people the
practitioner desires, and a small amount is put on the skin of that person.
Nam Man Prai can also be part of any shrine as part of a talisman to raise
its power or even on its own, where it is then considered a bucha (a type
of statue). All Prai materials add ‘extra battery’ to any item, but a good
Nam Man Prai is deemed to be able to raise the potency beyond anything
comparable 3 . It is THE charm oil, and it is in constant demand because of
this, despite the cost or any possible negative consequences.

The most potent type of Nam Man Prai is a mixture of sacred herbs, and
body fluids ritually obtained from a pregnant woman who died an unnatural
death (suicide or accident by drowning is the most desired source). Due
to the loss of life through either violence, accident or personal misery, the
spirit is very potent and vengeful, because it suffers from the grief of having
not given birth to the child, as well as the loss of life. These types of death
instil emotional energy that the maker can work with, making it an incredibly
powerful oil, and a known source can add significant value to the finished
product 4 . Various lineages suggest a different amount of time has to elapse
after the death for the most effective oil 5 . One Ajarn of repute works at the
crematorium and produces some of the best Nam Man Prai available today,
but he does have to be very careful when performing his ritual, lest he is
seen, although funeral rituals with the dead are a part of Thai Buddhism.

If the specific body the Ajarn would like to tap has been buried, the Wicha
generally dictates that he should wait three nights before going to the grave
along with some of his helpers, who will keep watch while the ceremony is
performed. On entering the grounds, he must ask the permission of the
guardian spirits of the area, and a sizeable offering of rice, eggs, fish,
cigarettes and whiskey is made to appease them. One incense stick is lit,
and the Ajarn will call the guardian of the cemetery to ask permission to take
some Nam Man Prai, stating the name of the person in question. The Ajarn
asks that if the guardian does not agree, he must extinguish the incense

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 and if it goes out, permission is denied and the ceremony must be stopped;
otherwise, the guardian spirit would arouse the ghosts of the area to attack.

If he can continue, the Ajarn will then place three small boulders in line at the
head of the grave, start to remove the protection spells of the undertaker and
cut the ground with his Miit Mhor, prying the earth up in the eight directions
6 . Assistants will then dig to the top of the coffin where the Ajarn will remove
the nails without opening the lid and put them to one side for later use in
other amulets as they carry a tremendous spiritual load. Now the assistants
will be told to move back so they cannot see what happens next so as not
be a distraction, which can affect the focus of the Ajarn. At this is the point,
the Ajarn is in danger because he now has to deal with the power of the
smell of the corpse as the lid opens, which can induce vomiting or cause
fainting that makes him lose focus. The ghost will also often rise from the
coffin with a scream in an attempt to distract the Ajarn to give it the freedom
to attack him. All thoughts must be blocked except for the chanting of the
magical spells, and he makes invocations until the ghost surrenders. Now
he can cut the Sai Sin blessed thread that binds the wrists, and announces
his intention to collect Nam Man Prai to the spirit of the body. If the ghost
agrees it will notify him mentally the region from which he can obtain the oil.
He uses the flame of the beeswax candle to encourage the oil to flow, be it
yellow slime or body fat 7 , and it should be collected using a ceramic bowl.
In most cases, only around ten drops of the oil will be extracted, which will
then be mixed with sacred oils, and boiled with coconut oil in his Samnak,
during which further kata have to be recited.

Once all this has been achieved, the oil is taken to the shrine room of a Wat
for further empowerment under the direct gaze of the principal Buddha image
in that room. The Ajarn does this by following the eyes of the statue, placing
the oil in that spot, and he chants kata for empowerment. The same process
is repeated in a total of 7 temples before the empowerment is considered
complete. Those ten drops of pure oil (the number varies between lineages),
when mixed with everything else makes the usual Nam Man Prai quite
distilled. If this oil is then used as the Prai element in amulets, it will be
diluted further to make up just a few percents of the total volume, and it is
still strong enough to do its job. With some famous makers, they sell the
pure ten drops in a tiny phial direct to eager customers, and the value is
exceptional, around $3,000 for the best. These ten drops are worn as a
single amulet, but the power is crazy strong.

Modern Nam Man Prai

People have written to express their unhappiness about the fact that they
have spent thousands of dollars on Nam Man Prai to either receive nothing
or what seemed to amount to cooking oil and a bit of soil. This Prai oil is of
such interest to many that they will risk much of their hard earned money to
be able to get a bottle, and many have been disappointed.

The price of Nam Man Prai varies as much as its perceived effects, and

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it does not need to cost any more than $100, even from the best makers.
When from a lesser known maker from the more impoverished regions,
they are even cheaper although an expert on these oils reported that the
cheaper oils seem a little ‘wild’ 8 . The main difference between these and a
Nam Man Prai from a top maker is considered to be the refinement of the
ghost and its directed power. Advice from a trusted seller on which of these
oils should be acquired is essential, and do not spend too much, it is not
necessary.

Recently, the helper of a very famous Ajarn said that she would not touch
his latest NMP as it made her arm go dead, and she felt woozy or like going
into a trance; this was with just touching the bottle. Even the Ajarns do not
touch this oil; such is its potency. It is recommended that Nam Man Prai
does not get on the skin and it is best to use a brush or a dropper when
applying it to whatever chosen purpose. Take great care with this product.

See Pung

A See Pung is a balm that is applied to the face (for attraction) or hands
(usually when calling for wealth) for magical effect, and it is like wearing
an amulet on your skin. Depending on the maker, a small amount is either
applied to the eyebrows, in the hair or on the lips and they can either be Prai
or non-Prai in nature. The non-Prai varieties are an expression of the skills
of the maker in the use of Maha Saneah herbs, and oil extracts. They
are also often beautifully scented in a unique but distinctly Thai Buddhist
manner. None of these items has been tested in the way of a Western product,
but as yet there have been no side effects that can be recalled (maybe they
all died?). Evidence of their usage is lost to history, but they are mentioned
in the legend of Khun Chang Khun Paen from 400 years ago 9 .

‘An enchanted beeswax applied to his lips to enhance the impact of his
words on the listener.’

Some makers specialise in strong See Pung Prai, which adds the power of
Prai materials to something applied to the face or hands. These balms are
sometimes full of either small pieces of bone (or even huge chunks), corpse
hair or even teeth, which makes the application a challenge to most devotees.
These items can be powerful, and the residue of bones and the figure of the
deity or spirit invoked will then act as a personal fetish or bucha on an altar,
still of use, once the balm has finished.
1. Barend Jan Derweil - Monks and Magic p138.
2. Justin Thomas McDaniel - The Lovelorn Ghost and The Magical Monk p173.
3. An interview with Ajarn Chalerm, September 2015.
4. Ajarn Chalerm October 2015.
5. Suksit Magazine January 2016
6. An interview with a famous Ajarn who would prefer to remain anonymous.
7. Barend Jan Derweil - Monks and Magic p138
8. An interview with a collector of Nam Man Prai.
9. C Baker Khun Chang Khun Paen p74

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 Nam Man Prai - An interview with Ajarn Nahn Ting

Nam Man Prai is made by extracting oil from the corpse of a woman that
preferably died while giving birth, and it is considered more potent if that
person died on a Saturday. Corpse oil taken from a man is not usually
used, even if he died a tragic death because it is not considered powerful
enough. Using a male source for Nam Man Prai does not follow the tradition
of the Saiyasart practices of the Lanna region. Each Ajarn has a different
procedure in the making of this oil, and only Ajarns who are from the same
lineage may use the same spell, but this is not always the case as it
depends on the experience of the maker in question. This Wicha is part of
many lineages, and all have differences, but the ancient nature of the kata
is generally the same.

To make Nam Man Prai an Ajarn has to bind the ghost of the person the
oil is taken from into the oil itself, and spells have to be cast to make the
spirit obeys the wishes of the maker. It is essential to request permission
to extract the oil before beginning to work with the corpse and sometimes,
there is a strong spirit that won’t give consent. Some spells can be cast to
help get permission, enchanted food can be offered, and there are spells to
calm them down. Spirits are like the living in that they need to be persuaded
before asking for something in return. If the ghost eventually agrees, the
effect of the Nam Man Prai will be more significant than if too much force is
used in this process.

The Nam Man Prai from each region of Thailand as well as from Burma and
Cambodia are all different, which has led to contradictions in the information
on Nam Man Prai. In Ajarn Ting’s experience, the inconsistencies relate
to specific types of oil and the makers in question; there is no ‘one way’.
In the method Ajarn Ting uses it is essential to use Horasart to know the
best day to extract the oil, to know which date is the best for the traits of
Saneah, Metta or business. Nam Man Prai is usually sourced at night to
avoid being seen by others, and the correct date to do so depends on the
day the person died or sometimes, the day on which they were buried. If
extracting corpse oil from a lady who died while pregnant, the baby needs
to be removed from the corpse first, following which, Ajarn needs to chant
a spell to ask for permission from the spirit to continue. If permission is not
given the ritual must be stopped, and everyone goes home as permission
is essential. This aspect corresponds to the making of a Luk Krok where if
both the mother and father freely give the corpse, it will make an incredible
Luk Krok!

Ajarn Ting’s Nam Man Prai is a mixture of both corpse oil and Wahn, specific
magical plants that enhance the effectiveness of the oil, and to make it more
appealing he often adds perfume. One of the most popular Wahn plants is
Wahn Kai Dang (Red Chicken), which enhances the power of Metta Maha
Niyom (popularity), and the oil from this plant has excellent kama sutra
qualities. The various Wahn in the Nam Man Prai must be ground into a
powder to be put in as a mixture, and because the oils extracted from a

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264. Ajarn Ting making his Nam Man Prai.
The upper two photographs are of the
blessing in the graveyard and the lower
one, the blessing in the Samnak. For each
place, the photos of Phor Sala Tan were
present as he taught Ajarn the Wicha.

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 265. Ajarn Apichai making the Nam Man Prai from many sources in his Samnak.

514
corpse have a strong smell, it is essential to cover that stench in some way.

The Nam Man Prai Ajarn produces has to be praised and receive an offering
of food before every use, and through this action, the user can make a deal
with the spirit to make it work. People often use the oil for success in
business or with matters of love, and it is very effective with those wishes,
but in the opinion of Ajarn Ting, it should never be used for making a Sak
Yant as it is best not ingest or touch Nam Man Prai. Touching Nam Man
Prai or putting it into the bloodstream can harm the user when they are at
their weakest as the ghost can eat at your life force, or even possess. It is
for carrying around only, to help with Saneah and Metta, success in making
deals or trading at business. Ajarn stresses the point that the rules state
that it is just for carrying around, devotees should not put on themselves or
anyone else because this action lets the ghost in, and they can be difficult
to remove once inside.

Some people do apply the oil to their skin, and that is up to them but they
only need to apply the smallest drop to be effective and using a toothpick is
the way Ajarn recommends. The amount involved does not matter with Nam
Man Prai as tiny amounts work just the same as a full bottle. If the bottle
becomes empty or very low, it is OK to top it up with a pure oil (sesame oil
or olive oil is excellent), and it will work just the same until the essence of
the Nam Man Prai has been depleted. At that point, it is best to dispose of
the bottle into running water while telling the spirit that it is time to pass. Let
it go with your mind while reciting kata.

Nam Man Prai - an interview with Ajarn Apichai

In this interview, Ajarn Apichai discussed the making of two different Nam
Man Prai that he had produced, the first being one with a single spirit, which
came from a named corpse, Mae Pinn Thip.

Ajarn Apichai’s single ghost Nam Man Prai is from a person who became
a Phi Tai Tang Glom ghost. This single source type of oil is scarce and
is regarded as ‘Hian’, meaning very wild and powerful; highly desired by
lovers, and those who involved in trading and selling. Ajarn kept this oil
for many years, working on satisfying the spirit before finally making it into
a good charm, into which he Wahn plants, the thread that bound Mae Pinn
Thip’s hands as a corpse, and a Takrut that held a specific spell.

This second oil is one that contains Nam Man Prai from 9 different sources
(all Phi Tai Hong). Added to these oils were 9 coffin nails that had been used
with Phi Tai Hong spirits, graveyard soils from 9 different sources, the ashes
from 9 Phi Tai Hong, Nam Man Luk Krok, and 108 types of Wahn. It contains
a Takrut called Maleng Wan Kham (The Golden Fly), which is an old Lanna
spell that brings luck and increased attraction towards sex. The Takrut was
written on the private area of a female body, and rolled at an auspicious
time. Adding this makes this Nam Man Prai superb for business sales and
workers in the red light districts, with the offerings being raw pork, raw eggs,
one incense stick, and alcohol.

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 When Ajarn Apichai makes a mixture of many different supernatural herbs,
various items and Prai materials from many bodies, he has to first perform two
ceremonies - Ban Sakul Pen and Ban Sakul Tai. These ceremonies are related
to some of the practices for the dead here in Thailand as well as sometimes
for the living. If someone who is being plagued by a troublesome spirit,
often sent by a dark magician to cause harm, an Ajarn can use a shroud
from a corpse, and perform Ban Sakul Tai on the person, effectively making
them ‘dead’ as Bang Sakul Tai is to help a spirit pass on. Ajarn would then
follow the Bang Sakul Tai ritual with the Bang Sakul Pen ceremony to ‘bring
them back to life’ as it is a ritual to reconstruct a life form. The idea of
this ceremony is to fool the troublesome entity into believing that the person
has died, allowing them to escape the curse but it is risky as a lot of spirits
around will also consider that you are dead, and try to grasp on to the living
body.

Ajarn Apichai repeated this information because it is important. The Bang

Sukun Tai ceremony is for the spirit of the dead to persuade them to move
on to the next realm. It is a funerary practice where a shroud is placed over
the body to help the spirit to understand that they have passed away and
the mind of the Ajarn will then help them let go of the earthly realm. The
Bang Sakul Pen ritual is to create a new body from what is available.
(This was the first time the author encountered this knowledge and it
became influential in the structure of other interviews)

It is essential to consider the correct date and time to collect any bone or
soil from the graveyard, and again when adding these materials to the mix
in question. The best days revolves typically around the full and dark moon
days. Permission will also be needed from the guardian spirits of the graveyard,
and if that is not granted, an Ajarn will have to try another day.

There are many types of Nam Man Prai, and they are similar, like a Benz
and BMW. It all depends on the correct timing, correct method, and the
power of the mind of the maker. He can make NMP from one ghost or many
ghosts, be they male or female, but the mixture has to be correct, and the
Wicha must be followed precisely. The amount of ghosts in the Nam Man
Prai is not relevant as Ajarn Apichai is going to make a new spirit body
within the mixture. The Nam Man Prai Maleng Wan Kham contains a base
mix from many materials, and many ghosts from people that died in different
ways, even including Nam Man Luk Krok, which boosts the power of the
supernatural nature of this oil. There is no difference between a mixture
of many ghosts than there is when mixing many magical plants, what is
important is to follow the correct Wicha, the correct Pruk Saek and make it
on the best day and time. The process of making it is more important than
the Pruk Saek; the right date and time of creation, and the correct mixture
is paramount.

All the types of Nam Man Prai effectively fall into the two examples above,
two categories. The first is to collect the oil from one body, which allows the
Pruk Saek to go directly into the oil to bind the spirit well, because there is

516
little interference from anything else present in the oil. The second way is to
use the oil from many bodies and mix them with Wahn plants, and anything
else that will help the power of the Nam Man Prai. With there being so many
different spirits in the oil it is necessary to then perform the ritual Ban Sakul
Tai to all the bodies, and spirits within the mixture, in effect, blessing the
dead and helping them move on. In this case, the Pruk Saek involves the
making of a new entity, one new spirit, which is created by the Ajarn, and he
does not use any of the old spirits present in the mixture.

Using a Nam Man Prai by Ajarn Apichai

Here Ajarn explains how to use Nam Man Prai on others for love and sex.

When using his Nam Man Prai, the devotee can praise it to ask the resident
spirit to help with what is desired, like luck or good fortune or they can use
Nam Man Prai on others for love and sex. Ajarn strongly recommends that
a person should not use his Nam Man Prai on themselves as it may invite
the ghost into their body. To use it on others, the spirit in the oil will need
an offering first. If using the Nam Man Prai to make someone love them,
the devotee needs the name of the object person, and to make offerings
of alcohol, pork, cigarettes and an incense stick. They then need to tell the
spirit in the Nam Man Prai that they would like this person, say the name
while holding their image in mind, and ask the Nam Prai to connect to that
person’s spirit. Perform this focussed action until the incense stick is burnt
out before going to see the desired person, and put some Nam Man Prai on
them in a way that the oil does not get onto the devotee’s skin. They should
not touch the Nam Man Prai, or the spirit can eat them up little by little, and
ghosts that have been eating people are very difficult to remove. After using
Nam Man Prai, they will need to wash their hands because they might have
touched it by accident and it is also prudent to have a regular spiritual bath
using Sompoi to cleanse away any spiritually unwanted magical residues.

Nam Man Prai - an interview with Ajarn Khaw

Many years ago, when Ajarn made Nam Man Prai, he must source the
oil from the corpse of a pregnant lady. Some Ajarns used a candle flame
under the chin to get the oil, some Ajarns cut the fat on the stomach,
and used the flame there, which had definite advantages because the
stomach produces much more of the corpse oil than under the chin.
Depending on the traditions of each region of Thailand, pregnant ladies
who died in terrible circumstances were buried, allowing access for the
Ajarn and sometimes, the family had no money, just leaving the corpse in
the charnel grounds. At that time there was no news on TV, no cameras,
no facebook, no telephones, nothing, so the Ajarns then could do anything
they wanted. As Thailand becomes more modernised, getting access to a
suitable corpse has become very difficult. Now they cremate everyone, and
strict regulations are in place as to who can get access to the body.

The real Nam Man Prai from the correct source can still be found but not
only is it hard to source, there is also the chance that the Ajarn can get into

517
 big trouble. The current circumstances make real Nam Man Prai very expensive,
and how does the buyer know that it is from the correct source and made in
the proper way? Now, many Ajarns use bone to make a version of Nam Man
Prai by adding various Wahn oils in a pan with the bone, and boiling them
together. People ask which type is more powerful, and of course, the real
Nam Man Prai is more strong, but as time passes, Ajarn Khaw expects all
Nam Man Prai will be made from bone rather than in the original way. If the
Ajarn can get any part of the body from a person that has died a Prai Death
it can be used, which is why you now get Nam Man Prai from blood, and
the source can be either from a pregnant lady or people who die in a violent
accident (Phi Tai Hong). The Phi Tai Tang Glom is more powerful, but a Phi
Tai Hong is a strong enough source for most people’s needs.

Nowadays, there are Nam Man Prai advertised as being for gay men, gay
ladies, night workers etc. and Ajarn himself made a gay oil from the bones
of a gay man, which was very popular. He always tells devotees that this
is not pure Nam Man Prai, it is made from boiling bones, and the correct
herbal oils. A new form of Nam Man Prai is now advertised as 59 dead body
Nam Man Prai, and this is also from bone. Ajarn also sees mixtures of Prai
materials like coffin nails, hair, flesh and even brains being used to make
modern Nam Man Prai. Ajarn Khaw used to have a great collection of bones
to use in his works, but a few years ago the Police went to see many Ajarns
to check what they had, so they had to either hide them or dispose of them
in a suitable way.

The Wicha for corpse oil is strong, but the Ajarn must have power over the
spirit, and most of all, he must protect himself. He does not know the spirit
involved, whether it is from a good person or an evil one, and however it
is, an Ajarn has to have the ability to control it. Every time an Ajarn makes
a spirit amulet, he has to protect himself all the time. He needs to pray to
the Buddha, and pray to our Masters every night because many Ajarns die
because of their works. There was a recent example in Chiang Mai when
an Ajarn committed suicide because he worked with a particular spirit too
much. A monk then took that spirit into his care, bringing it to his temple and
later, he died too! He was a famous, good monk but they both came across
a deadly spirit, and there was nothing they could do.

With the pure Nam Man Prai, people would touch some onto the skin of
someone they liked, and then they would fall in love with them. This is not
good because Nam Man Prai is black magic and the object person may
become crazy or die. It is all very negative, and no one benefits from that
in the end. Ajarn often gets asked by some Chinese people for pure Nam
Man Prai, but they do not know how strong it is, and they are not an Ajarn,
so they do not know how to control it. The spirit of a dead pregnant lady is
angry and will attack people, so now Ajarn Khaw’s Nam Man Prai is softer,
not pure Nam Man Prai. If he is selling Nam Man Prai to people, as an Ajarn,
he has to be sure that they can use it without problems, so Ajarn asks people
if they are used to Prai talismans, and if not, he won’t sell to them. They can
use Ajarn’s oil on their own body to actively attract others, which is much

518
stronger than any herbal oil. And as far as caring for it goes, there is no
need to feed it because, as with all of these corpse oils, please Tamboon
often and dedicate the merit to the spirit in the oil. That is enough.

If you are interested in Nam Man Prai, ask the Master who made it how to
use it and take care of it because there are many kinds of this oil, and some
will bring bad things to life.

266. Cooking Ghost Oil.

519
 267. Maybe Ajarn Apichai will put a little Yaa Faet on you?
Turn you into his sex slave......

520
Yaa Faet - an interview with Ajarn Apichai
The Yaa Faet is a legendary substance that is used to control people and
make them into sexual slaves, but is rarely seen in anything other than the
Cambodian style powder.

There are many different Wicha for making a Yaa Faet. The Wicha for the
Esaan versions is from Cambodia, but the Central regions have a version of
this powder, and there is also a Lanna Wicha for Yaa Faet. The Cambodian
version is low magic (in this Ajarn means a darker magic), but in the Lanna
region they use Wahn, although not the same Wahn that are used in amulet
making. One ingredient is called Maa Krua Baa, which is a plant that is
meant to drive people crazy with lust, the Dok Rak, a rare flower for love,
and many rare Saneah plants from the Lanna area.

Yaa Faet is a powder and Ajarn Apichai’s most recent Khun Paen amulet
was made purely of Yaa Faet, because of its qualities of attraction. To
do this, the Yaa Faet was mixed with the more common plants for amulet
making, Wahn Dok Thong, Wahn Galong, and then moulded into shape and
a Takrut added. In the story of Khun Paen, he is always making magical
powders to place in the food of others to control them or bind them to him,
and Ajarn believes that these were various recipes for Yaa Faet.

There are two types of Yaa Faet, the first one is a Yaa Faet made from
Wahn and the second one is the Cambodian version, into which a devotee
will mix skin from various parts of their body to bind a person to them in
different ways. The Khmer version does not necessarily make the person
love the user but it will influence them to do what the devotee wants them
to do, and in many ways it is like they are drugged. The Lanna versions
contain Wahn that makes a person fall in love with the devotee, and as this
version does not include Prai it can be put into food.

Ajarn also mixes his Yaa Faet with wax to make it into a See Pung (and here
Ajarn pulled out his brass container of the balm, which he was careful not to
let me touch), that can be put onto someone’s skin as well as be consumed.
Ajarn Apichai considers that his Yaa Faet is better than a Nam Man Prai
because that can be dangerous due to the ghost, and Ajarn believes the
Saneah element in his Yaa Faet is higher than in his corpse oil. There is
another type of Yaa Faet called Yaa Sang, which is like a curse potion that
can make a person die or go crazy. Both kinds of Yaa powder follow an an-
cient Wicha that may even date back before any Buddhist influences came
to this region, originating from the Mhor Phi.

Yaa Faet - an interview with Ajarn Suea

In the Lanna system of magic, Yaa Faet is called Yaa Oy, and it is used to
force another person to fall in love with the person using it by putting it into
their food or drink. It is not only to make a person fall in love, but it is to
make a person obey, meaning it is forceful magic. In the past, recipes of Yaa

521
 Faet were used by a war general, or a King and Yaa Faet would be mixed
into the food of the army to make them obey. It is also used to feed dogs,
elephants and horses to ensure their sublimation too but each of these uses
would call for a slightly different formula.

The Yaa Faet is mixed into food that is not too hot or too cold to ensure its
full effect, but it has to be combined with the dead skin from the body. If a
man is using this Yaa Faet, he uses the skin rubbed off his balls, and if it is
a lady, she mixes it with the white discharge that comes before their period.
For each application, a piece of Yaa Faet the size of a match-head is used,
and the additive should be around three times that volume.

Ajarn Suea’s Yaa Faet also contains bone powder, which makes it Prai but
its inclusion ensures its dynamic nature even though the amount of bone is
small. There is another form of Yaa Faet that does not contain Prai, which
helps the object person fall in love with the user physically and mentally.
This one has Prai, and it is only used to force a person to be under the
control of the user physically, although they may not love them mentally.

268. The Lanna Yaa Faet by Ajarn Suea.

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 269. Two ritual instruments.
THE SUN Miit Mhor from Luang Phor Pina and a Maai Kru for inscribing Takrut.

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 270. The Maai Kru of Ajarn Apichai.

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Ritual Instruments

There are very few ritual instruments used in The Thai Occult, and most of
them are made by Ajarn’s themselves or passed along lineages. The most
common would be the Miit Mhor, and the Mitt Mhor of Ajarn Nahn Ting is
discussed on page 146.

The Miit Mhor is usually used for breaking magical bonds, or any of the
obstructions that get in the way of a magical goal. As with both Luang Phor
Pina’s (p516) and Ajarn Ting’s Miit Mhor, they can also be more practical,
acting as protection when cutting open bodies or working with Prai.

Let’s now close this work on The Thai Occult with a discussion on the Maai
Kru.

The Maai Kru - an interview with Ajarn Apichai

This Maai Kru is a representation of Phra Kaet Kaew Chulamanee, one

of the angels in heaven, and a Maai Kru is the medium for connecting
the magical power of the heavens and the earth. It has a point at one
end, which is like the tip of the Chedi or Stupa, a shape that represents
the highest point to the heavens in the old days. A Maai Kru can also be
considered to be a weapon from a god because of the power that it taps
into..

The Maai Kru is the medium to connect the power of the heavens and to
transfer that power into the amulet. It is also used to write the script on the
Takrut if it has a point on one end. A Maai Kru can be made from many kinds
of wood, Maai Sak, Maai Khayun and the one in the photograph is made
from Maai Ngiew Dam. The Maai Ngiew Dam Maai Kru belonging to Ajarn
Apichai has no point on the end, so it is for transferring power only, almost
akin to a wand.

The Maai Kru is generally passed on from the Master of a Luksit while
studying but then once a person becomes an Ajarn, they usually have to
construct a Maai Kru for themselves. In the past, the use was restricted to
Royal ceremonies and rituals by the Brahmin Priests, but their use spread
to the magical practitioners over the centuries.

Some Maai Kru use a point that is an ordinary metal, but Ajarn made his
other Maai Kru’s point (he has two Maai Kru for different purposes) from a
coffin nail as it has a particular charge that he likes. A coffin nail is Athan,
and that adds power. This one side is for the writing Yantra onto metal
sheets to make Takrut, and the other end is for blessings.

Next will follow an Appendix of photographs that should be seen or have been taken
during making of The Thai Occult Book. This is to clear the drawers, folders and
files, and move on to the next project.

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 271. The beautiful Khan Kru of Ajarn Apichai.
The Lanna Khun Paen suits having swords in his Khan Kru for Saneah.

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 272. The Wicha for some Candle Magic to kill.
Permission to use this photo was only given after extensive Photoshop alterations.

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 273. A Master at work in the graveyard. Note the candles are clumped together but
when asked for the reason, Ajarn Ting said, ‘It’s Windy’.

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274. Ajarn Ting performing a love binding ritual with the help of ghosts.

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 275. A portrait of Ajarn Ting in the light of magical candles in a graveyard.

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276. A Photograph that came from the rooms of Luang Phor Pina.
Here, resting on an Asian magazine about his works.

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 277. The tree that is climbed to get out of hell by LP Pina, Wat Sanomlao, Saraburi.

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278. Kids who have misbehaved in The Hell Gardens of Wat Mae Kaet Noi.

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 279. A tray of old Luang Phor Pina items that were sold to support the restoration of
his temple, Wat Sanomlao. A mixture of Dao, bones and heavy Prai.

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280. A statue of Luang Phor Pina supporting the collapsing roof of his old temple.
The floors were made of layers of concrete and bottles of Red Bull, his favourite drink.

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 281. A very rare and strongly supernatural example of a parasite wood consuming
the host. From the collection of Ajarn Suea.

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282. The storeroom of Luang Phor Pina’s temple, Wat Sanomlao.
That was quite a day!

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 283. Three original photographs of the body of Luang Phor Pina in a glass case,
which would become a prai item due to the decomposing corpse.

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284. Below. Figures in the room where they laid out the dead, sitting in judgement.
All made during the time of Luang Phor Pina, Wat Sanomlao.

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 285. The altar for the Wai Kru day of Ajarn Tui.

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286. Which started with Ajarn calling on the Lersi to bless the day.

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 287. Ajarn Ting helped train Ajarn Tui and is blessing his student.

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288. Then Ajarn Tui helped with the blessings for all the devotees present.

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 289. Ajarn Suea asked for a Sak Yant from a Kruba Ajarn of Ajarn Tui.

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290. Phor Nahn Chalerm Saen By blesses his student, Ajarn Tui.

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 291. Ever wondered what happens to the rest of the skull after the Panneng have
been cut out? Usually, the remaining bone is crushed for the load but sometimes,
they make a talisman out of the face. The top is male and the bottom, female.

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292. Before the finished book was sent to Timeless Editions, the author received the
Yant Kru’s from Ajarn Suea to mark him as a close disciple.

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 293. This Luksit’s role is to help Ajarn Suea with rituals, blessings and photos..

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294. This is a ritual to bind lovers back together.

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 295. A ghost helps the binding and is paid with offerings that include blood.

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296. The figures are then buried in the graveyard.

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 297. And finally, a supernatural cat for all you supernatural freaks!
Have fun,

Jenx xx

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where you can ask any questions that arise from this work and arrange to visit the
Ajarns in this book.

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