Somdej Pra Bhuddhachara Toh Prohmarangsri 圣僧 阿占多

Somdej Pra Bhuddhachara Toh Prohmarangsri 圣僧 阿占多

2010年10月15日星期五

Wat Khun Intapramul

Wat Intapramul is located on an 80-rai plot of land in Bhothitong District, Angtong Province. It was officially recognized as a temple on March 8th, BE 2470.

During ancient times it is known that local farmers would lead their livestock to the temple grounds in November and December to escape local flooding on the surrounding plains.

There are no clear records of the history of this temple but information still exists about the famous reclining Buddha that dominates the temple.

It is recorded that about 800 years ago, King Ler Thai of the Sukhothai Kingdom had traveled through the area and witnessed a strnge ball of light in the night skies. As a result of this he decided to build a sacred Buddhist image in memory of the event.


He called upon about 1,000 labourers to help construct a giant sleeping Buddha, 20-Wa long by five-Wa high.
(Wa is a Thai measurement unit equals to two meters.)

It took about five months to complete the work, and construction was completed in BE 1870. The king named the Buddha as Phra Buddha Siyas Ler Thai Narumit.

He also assigned five men to guard the Image before he returned to his palace in Sukhothai Province, which was then capital of the Thai Kingdom.

The reclining Buddha remained undamged for hundreds of years, until such time thieves became aware of the possibility that beneath could exist precious artifacts.

It was not easy to start excavating under the Buddha but a secret hole was dug. Unfortunately valuables were recovered and removed from the site before monks noticed ground subsidence.The unstable foundations led to the total collapse of the Buddha on October 14, B.E.2541, 11.00am.
Many precious articles were removed but fortunately much of the treasure still remained including sacred amulets.
 AMULETS
Pra Somdej Kru Khun Intapramul amulets, apart from their age, are very interesting indeed as any serious collector will attest. They are remarkably similar to amulets created by Somdej Buddhachan Toh, Wat Rakhang, both in design and composition.

All ancient amulets, which are called “Pra Somdej ”, will have been created by senior monks who were at the very least appointed by Somdej Toh , for example Somdej Pra Buddhacharn Tor, Somdej Pra Sungkarachjao Sook Gaitern.

What is known for sure is that Somdej Buddhacharn Toh had visited this temple on a number of occasions to pay homage to the reclining Buddha. It is believed by most experts that at the very least he would have supported the creation of these amulets if not created by himself.

Many people firmly believe that he did create these amulets and further more many competitions permit these amulets in the Somdej Toh class.

There are four major classes of pim, some of which are quite difficult to distinguish to the untrained eye.
1.Pim Pra Prathan (Chairman Buddha Image style)
2.Pim Yai (Large size)
3.Pim Song Chedi (Chedi-shape)
4.Pim Lek or Pim Kanaen (small size)

NOTE: There is also one other pim known as PHRA SOMDEJ 7 CHAN OK RONG HU BAISRI which is incredibly rare, and well worth collecting in any condition as these pims fetch premium prices.
Wat Lingkob / Wat Bowonmongkhon
Wat Bowonmongkhon was formerly called Wat Lingkob, restored and given to the Mon people for their religious rites by Somdet Phra Bowonratchao Krom Phraratchawangbowon Mahasenanurak. It is located on the banks of the Chaophrya at Thonburi 
In BE 2411, the then current Abbot of the temple was Pra Sumethachan. He entered the priesthood as a novice at the age of 10 before being ordained at Wat Bangput, Nothaburi. In 2399 he moved to Wat Chanasongkram, Banglampu, before being invited to take up the position of Abbot at Wat Lingkob after the death of the previous Abbot, Pra Ramanmunee.


It is recorded that he constructed a new Chedi which he was to fill with many votive tablets such as Phra Kleep Bua made from baked clay and other valuables.

The blessing ceremony attended by many leading monks of the era was presided over by none other than Pra Somdej Buddhachan Toh himself, making these amulets extremely valuable and highly collectible.
Kleep Bua Amulets blessed especially to store in the sacred chedi


What is even more exciting is that these amulets are still affordable and I would highly recommend that any serious collector secure at least a single pim.

These amulets were not recovered until March BE 2509 when part of the chedi collapsed due to water erosion. Originally thieves were first to discover the breach and although the temple was alerted and guarded by local police still more of the cache was stolen. The Religious Affairs Department finally gave permission for the Chedi to be formerly excavated. Amongst the scared amulets other Buddhist relics such as gold rings and takruts were also uncovered.

Many of the amulets are heavily stained with fungus or worn away, but it is still possible to acquire clean examples as shown above. These amulets are generally quite easy to identify although fakes abound. (Note the slight fungal growth and finger prints to the rear.)

Kleep Bua literally mean lotus petal Address:

Charansanitwong 44 Lane ,Charansanitwong Road ,Bangyeekhan Sub-District,
Bangplad District Bangkok ,10700

 ประวัติศาสตร์ที่พร้อมรอการพิสูจน
พระกรุขุนอินทประมูล ได้เริ่มแตกกรุออกมาในยุคแรกๆ นับเป็นเวลากว่า ๒๐ ปี มาแล้ว ระหว่างปี ีพ.ศ.๒๕๓๐-๒๕๕๑ หลายๆท่าน อาจจะเกิดความงงและสงสัยว่าเอ๊ะ....ไม่เห็นจะรู้เรื่องเลย ซึ่งมันก็มิใช่เรื่อง แปลกที่ท่านและคนอื่นๆอีกกว่า ๖๐ ล้านคนจะไม่ได้รู้เรื่องรู้ราวใดๆเลย เพราะพระกรุขุนอินทประมูลที่ได้แตกกรุ ออกมานั้นเกิดจากการแอบขุดของคนบางกลุ่ม โดยการขุดตรงบริเวณด้านหลังกึ่งกลางองค์หลวงพ่อพระใหญ่ ซึ่ง เป็นพระนอนที่มีความยาว ๒๕ วา ของวัดขุนอินทประมูล โดยหัวหน้าขบวนการ เป็นผู้มีอำนาจสูงสุดในสถาน บริเวณแห่งนั้นร่วมกับลูกน้องอีกจำนวนหนึ่งซึ่งมีทั้งหมดไม่เกิน ๑๐ คน อัน เป็นกลุ่มปฏิบัติการที่รู้เรื่องราวมาโดย ตลอด การกระทำโดยการแอบขุดของคนจำนวนไม่ถึง ๑๐ คนนั้น กระทำการโดยการปกปิดมาโดยตลอดกว่า ๒๐ ปีมานี้จะเป็นที่ทราบโดยทั่วถึงกันกับคนอีกกว่า ๖๐ ล้านคน มันคงเป็นไปได้ยากอย่างยิ่งที่จะเห็นและรู้ได้เพราะ การแตกกรุของวัดขุนอินทประมูล ไม่เหมือนกับวัดอื่นๆ ทั่วไป ซึ่งประโคมเป็นข่าวใหญ่โตรู้กันไปทั่วบ้านทั่วเมือง เหตุที่ข้าพเจ้านำข้อมูลมาเปิดเผย ก็เพื่อให้คนอีกกว่า ๖๐ ล้านคนได้ทราบ ได้พิจารณาตามเหตุและผลเพื่อให้ ประวัติศาสตร์ของชาติที่ถูกบันทึกไว้ก่อนแล้วนั้น จากส่วนที่เป็นนามธรรมให้ สมบูรณ์เป็นรูปธรรมชัดเจนยิ่งขึ้น ซึ่ง ก่อนหน้านั้น ข้าพเจ้าก็คืออีกคนหนึ่งที่ไม่เคยรู้เรื่องราวเช่นนี้มาก่อนเลยเช่นกันปฐมเหตุได้เกิดขึ้นกับข้าพเจ้าครั้งแรกเมื่อปี พ.ศ. ๒๕๔๔ มีท่านอาจารย์ รูปหนึ่งที่ข้าพเจ้าเคารพนับถือ เมตตากรุณาให้พระข้าพเจ้ามา ๒ องค์ เป็นพระพิมพ์สมเด็จ ท่านบอกข้าพเจ้าแต่เพียงสั้น ๆ ว่าเป็นพระกรุวัด ขุนอินทประมูลความสงสัยใคร่ที่อยากจะรู้ความจริงก็เกิดจากเหตุที่ได้พระสมเด็จมา ๒ องค์นี้เอง ด้วยอยากรู้ว่า เท็จจริงประการใด จึงได้เกิดการนำสืบ ค้นคว้า พิสูจน์ ทั้งด้านพยานบุคคล พยานวัตถุ หลักฐานเอกสารต่างๆ เท่าที่จะหาได้ เพื่อนำ มาประมวลหาเหตุและผลในการพิสูจน์หาความจริง ซึ่งได้กระทำการค้นคว้าพิสูจน์มาได้ ๗-๘ ปี แล้ว จนมั่นใจได้แล้วว่าทุกอย่างที่ได้รับรู้มาเป็นเรื่องจริง และก็ต้องกราบขออภัย ซึ่งไม่สามารถเปิดเผย ชื่อเสียงเรียงนามของเหล่าขบวนการแอบขุดเหล่านี้ได้ เพราะไม่เป็นผลดีต่อชื่อเสียงวงศ์ตระกูลของคนเหล่านั้น ย้อนหลังกลับไปเมื่อเกือบ ๒๐ ปีก่อนนั้น วัดขุนอินทประมูลยังไม่ค่อยมีคนนิยมมาท่องเที่ยว มากราบไหว้พระมาก มายเหมือนเช่นปัจจุบันนี้สมัยก่อนพื้นที่รอบด้านจะถูกล้อมรอบไปด้วยท้องนา รกไปด้วยป่าด้วยหญ้าไม่ค่อยมีคน พลุกพล่าน

ส่วนการขุดที่ข้าพเจ้าสืบทราบมานั้น จะทำการขุดในยามวิกาลหรือเวลากลางคืน พอกลางวันก็จะใช้ไม้อัด และสังกะสี ปิดปากหลุมที่ขุดโดยโช้ดินกลบทับไว้อีกทีเพื่อป้องกันไม่ให้คนสังเกตเห็น ทำการขุดเช่นนี้ตลอด เวลาที่ล่วงมากว่า ๒๐ ปี การขุดจะขุดในตำแหน่งบริเวณด้านหลังตรงกึ่งกลางองค์พระนอน ห่างจากองค์พระ  นอนออกมา ๑ เมตร หลุมกว้าง ๑ เมตรและขุดลึกลงไป ๑.๕๐ เมตร โดยขุดเจาะเป็นโพรงหรืออุโมงค์ตลอด
ตามแนวความยาวขององค์พระนอนทั้งด้านหน้าและด้านหลังตลอดรอบองค์พระจนเวลาล่วงมาถึง ตุลาคม ๒๕๔๑ ดินชั้นบนที่เป็นฐานรองรับน้ำหนักองค์หลวงพ่อเกิดทรุดตัวเหตุเพราะดินชั้นล่างถูกขุดทำลาย ทำให้ส่วนที่เป็นปูน ที่ฉาบก่อด้านหลังองค์หลวงพ่อ พังครูดทลายลงมาตลอดทั้งแนวทำให้องค์หลวงพ่อใหญ่ อันเป็นพระนอนศิลป์ สุโขทัยยาว ๒๕ วาหรือ ๕๐ เมตร ที่สวยงาม สง่างามและยาวที่สุดของประเทศไทยต้องพังทลายลงคงเหลือ เพียงในส่วนของด้านหน้า ส่วนของพระเศียรและพระบาทขององค์พระเท่านั้นที่ไม่พัง
 เหตุการณ์ในครั้งนั้นได้เกิดขึ้นในเวลา ๑๐.๓๐ น.ก่อนเพลของวันที่ ๑๔ ตุลาคม ๒๕๔๑ เกิดเสียงลั่น ดังสนั่นปานฟ้าผ่า ตรงบริเวณ องค์หลวงพ่อใหญ่ เกิดเสียงลั่นดังสนั่นดังนี้ถึง ๒ คราครั้งแรกเกิดตอนกลางวัน เวลา ๑๐.๓๐ น. ครั้งที่สอง เกิดตอนกลางคืนเวลาประมาณ ๓- ๔ ทุ่ม ซึ่งขณะนั้นวัดมีการจัดงานมีมหรสพ  พอสิ้นเสียงลั่นดัง ครั้งที่สอง องค์หลวงพ่อใหญ่ก็ทรุดลงเป็นกองอิฐกองปูน จุดประสงค์ของกลุ่มที่ขโมยขุดไม่ได้ มุ่งหวังขุดหาพระสมเด็จแต่อย่างใดแต่ หวังของที่มี มูลค่าสูง เช่น พระพุทธรูปบูชาแก้วแหวนเงินทองอัญมณีม ีค่าต่าง ๆ ได้พระพุทธรูปทองคำ ก็นำไปหลอมเป็นทองแท่งแล้วนำไปขายที่ร้านทอง เพื่อทำลายหลักฐานอันนำ
มาซึ่งความผิด อันอาจจะถึงตนเองได้ แต่กลุ่มคนเหล่านี้ก็หาได้หนีพ้นวิบากกรรมที่ตนได้ก่อขึ้นแล้วนั้นได้หัวหน้าขบวนการที่เคยรุ่งเรืองทั้งตำแหน่ง และฐานะในขณะนั้น ต้องมีอันระเห็จระเหเร่ร่อนไปทั่ว หาที่พำนักเป็นหลักแหล่งอันแน่นอนไม่ได้ ทรัพย์สินที่เคยม ีสถานะที่เคยดำรงอยู่ก็เสื่อมมลายสลายไปสิ้น ทุกข์กาย ทุกข์ใจหาทางออกไม่พบ หมดทางต้องหันไปพึ่งพายาบ้า ยาเสพติด เพื่อหวังให้ช่วยคลายทุกข์ในยามมืดมนหมดหนทาง ส่วนคนที่ลงมือขุดบางคน ประสพอุบัติเหตุถึงขั้น สาหัสเกือบแทบจะเอาชีวิตไม่รอด เหตุมอเตอร์ไซค์ที่ขี่ไปล้ม ถูกรถบรรทุกขนาดใหญ่เหยียบซ้ำ จนมอเตอร์ไซค์ และหมวกกันน็อคที่ใส่หลุดออกจากศีรษะบี้แบนพังยับเยินล้วนเป็นฝันร้ายของชีวิต ที่ชะตากรรมต้องประสพอันเกิด จากกรรมได้ลิขิตไว้ทั้งสิ้น  การบูรณะปฏิสังขรณ์ แต่ถ้ามองหาส่วนที่ดีในสิ่งที่ไม่ดีนั้น ย่อมมีอยู่เสมอ ไม่ว่าสิ่งนั้นจะเป็นแค่เพียงเศษขยะหรือแม้แต่จากมหา
โจรร้ายเพราะอย่างน้อยประวัติศาสตร์ที่เกี่ยวข้อง กับพระสมเด็จชุดนี้ก็ได้ ถูกเปิดเผยขึ้นโดยน้ำมือของคนกลุ่มนี้ นับว่าในมุมแห่งความมืดก็ยังมี ความสว่างที่ส่องให้เห็นความจริงอันเป็นประโยชน์ต่อประวัติศาสตร์ของชาติอย่าง เอนกอนันต์ กาลเวลาล่วงเลยมากว่า ๑๐ ปี นับจากปี ๒๕๓๐-๒๕๔๑ ความก็มาแตกเมื่อความจริงเป็นที่ปรากฏว่า ใน วันที่ ๑๔ ตุลาคม ๒๕๔๑ พระนอนที่ใหญ่และสวยงามที่สุดองค์หนึ่งของประเทศไทย ต้องพังทลายลงทั้งองค์ จากน้ำมือของมนุษย์บางกลุ่มที่ทำการแอบขโมยขุด ดังเอกสารสำนวนการสอบสวนที่ลงประกาศไว้ทาง นสพ.ไทยรัฐ หมายเลขข่าวที่ ๑๑-๐๑๒-p๑๙ วันที่ ๒๒-๑๑-๒๕๔๑ หน้า ๑๙-๕ ดาว ประเภทการศึกษา ของอธิบดีกรมศิลปากรในขณะนั้นความว่า ยกเลิกสร้างวิหาร:นายนิคม มูสิกะคามะ อธิบดีกรมศิลปากร ได้มีคำสั่งเมื่อวันที่ ๒๐ พ.ย. ส่งไปถึงเจ้า อาวาสวัดขุนอินทประมูล หมู่ ๓ ต.ขุนอินทประมูล อ.โพธิ์ทอง จ.อ่างทอง ให้ยกเลิกรูปแบบรายการสร้างวิหาร คลุมพระนอนขุนอินทประมูลที่ดำเนินการมานานและยกเลิกกรรมการซึ่งเป็นเจ้าหน้าที่ของกรมศิลปากร ๓ คนที่มา ควบคุมดำเนินการก่อสร้าง เนื่องจากพบว่าองค์พระนอนชำรุดมากมีผู้ลักลอบขุดทำลายจนเกรงเกิดอันตราย นอก จากนี้ยังมีกระแสข่าวว่า กรรมการจากกรมศิลปากรมีส่วนร่วมกับกลุ่มบุคคลขุดทำลายองค์พระ จนพังทลายลงมา แล้วมีการเบิกเงินเพิ่มขึ้น ทางอธิบดีกรมศิลปากรจึงสั่งยกเลิกการควบคุมก่อสร้างและให้หยุดการก่อสร้างไว้ชั่วคราว จนกว่าจะหาวิธีบูรณะองค์พระนอนให้มั่นคงก่อนจะออกแบบสร้างหลังคาคลุมองค์พระนอนต่อไป
 นับเป็นบทสรุปที่ชัดเจนของกลุ่มคนที่กระทำการโดยมิชอบ ส่วนรายละเอียดของประวัติที่มาที่ไปของพระ สมเด็จกรุขุนอินทประมูลนี้ ที่จะนำเสนอทุกท่านเพื่อพิจารณาในลำดับต่อไป จะขอเปิดประเด็นที่ความเชื่อมต่อ
ระหว่างปี พ.ศ. ๒๔๐๙ และปี พ.ศ. ๒๔๑๐ ว่ามีความสำคัญเกี่ยวพันและสัมพันธ์ต่อกันอย่างใด ท้ายสุดนี้ขออำนวยพรให้ทุกๆท่าน จงมีแต่ความสุขความเจริญ เป็นผู้ที่ทรงจิต ทรงในธรรม เจริญในอารมณ์์ ที่ตื่นรู้และเบิกบาน มีนิพพานเป็นบั้นปลาย ด้วยเดชะ อำนาจบารมีแห่งองค์สมเด็จพุฒาจารย์(โต)พรหมรังสี

ฤาษีกลางดง ข้ารับใช้แห่งองค์สมเด็จ(โต)

2010年10月13日星期三

神奇泰国佛牌——坤平将军Khunphan (三个版本)

The Story of Khun Chang Khun Phean
The famous Thai epic "Khun Chang Khun Phan" has been around for hundreds of years. No-one knows for certain when it was first written. However, the events depicted in this classic story are believed to have taken place around 1500. The story was passed from generation to generation by word of mouth. It wasn't until the 19th Century that King Rama II, King Rama III and other prestigious poets of the time, decided to collect all accounts of this story and then write a definitive version.

The following synopsis of the story is illustrated with photographs I took of the wall painting at Wat Pa Lelai in Suphan Buri.
 Phlai Kaeo (later Khun Phan), Khun Chang, and Nang Phim (later Nang Wanthong) are childhood friends in Suphan Buri. Phlai Kaeo grows up to be handsome, clever and brave, but he is poor because the King executed his father. He ordained as a novice monk so that he could be educated at the local temple. He excels in martial arts and develops a love of magic. Khun Chang is his opposite: bald, ugly, and crass but very rich.


By the age of 16, Nang Phim is the most beautiful girl in Suphan Buri. She meets novice Phlai at Wat Pa Lelai during the Songkran festival, and they have a passionate courtship. But, Khun Chang is also smitten by Phim and tries to win her through his wealth. Love triumphs. Phlai Kaeo leaves the temple and they get married, even though Phim can already see that he is a great womanizer. Only two days together after the marriage, Phlai is called up to lead an army on a campaign in the north.

 Phim falls sick from pining. The abbot of Wat Pa Lelai changes her name to Nang Wanthong to revive her luck. Khun Chang takes the opportunity of Phlai’s absence to spread rumours that Phlai Kaeo has died in battle and tempts Wanthong’s mother with his wealth. Wanthong’s mother consents to the marriage. Wanthong resists at first, but soon comes to enjoy a comfortable life and an attentive, faithful husband.


Meanwhile, Phlai Kaeo wins a magnificent victory in the north, and returns with his new fame as a great warrior. He also returns with a new wife, Laothong, who was a prize of the battle. The King gives him the title Khun Phan. When he reaches Suphan Buri he sees what has happened and commands Wanthong to return to his household. Wanthong and Laothong have a jealous quarrel. Things don’t work out and Khun Phan departs for Kanchanaburi and Wanthong stays with Khun Chang.

But, before long, Khun Phan is separated from Laothong by the King as punishment for skipping royal service. He equips himself with a magic sword, a magnificent horse and a powerful spirit, Golden Child. Then he comes to Suphan Buri and kidnaps Wanthong from Khun Chang’s house in the dead of night. They flee deep into the forest. But Khun Phan kills two royal officials sent after them, and so becomes a wanted man. When Wanthong becomes pregnant, he decides to give himself up.


At the trial, he clears himself, but then angers the King by asking for the return of his second wife, Laothong. He is jailed. Wanthong visits and looks after him. But then Khun Chang captures her and takes her back to his home. There she gives birth to Phlai Ngam, a son with Khun Phan.

Khun Chang is jealous of Khun Phan’s son and tries to do away with him by abandoning him in the forest. He survives, but Wanthong decides to entrust Phlai Ngam to a monastery. However, a while later, Phlai Ngam runs away and is brought up by his grandmother in Kanchanaburi.

Khun Phan suffers in prison for many years. He is released when the King needs him to lead another military campaign in the north. His adolescent son, Phlai Ngam, joins him on the campaign. Phlai Ngam starts to follow in his amorous footsteps by winning the hand of Simala, the beautiful daughter of the governor of Phichit. Khun Phaen is again victorious in battle. The King is so pleased that he not only restores Khun Phan to royal favour, but bestows on Phlai Ngam the title of Phra Wai and two wives: his beloved Simala, and a daughter of the defeated King of Chiang Mai.

At the wedding, Phra Wai and Khun Chang get in a drunken quarrel, which ends in a court case. Khun Chang loses and faces punishment, but Phra Wai appeals for him to be freed.

Khun Chang petitions the King to regain Wanthong as his wife. At the hearing, the King insists that Wanthong cannot have two husbands and must choose between them. But she cannot because each has meaning for her in different ways. The king loses his temper and condemns her to death. Phra Wai appeals and wins a reprieve at the last minute. He gallops off on his horse to stop the execution. But, the executioner, on seeing the approaching horse, thinks the King is angry with him for delaying the execution. So, he immediately beheads Wanthong.
Khun Chang Khun Phaen
 Khun Phaen and Wanthong flee to the forest. Mural from sala on Khao Phra, U Thong.


Khun Chang Khun Phaen (Thai: ขุนช้างขุนแผน) is an epic Thai poem which originated from a folktale and is one of the most notable works in Thai literature. Chang and Phaen are the leading male characters, and "Khun" was a junior feudal title given for male commoners. The story is a classic love triangle, ending in high tragedy. Khun Phaen (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 treachery. Ultimately the king condemns Wanthong to death for failing to choose between the two men. The poem was written down in the early nineteenth century, and a standard printed edition first published in 1917–1918. Like many works with origins in popular entertainment, it is fast-moving and stuffed full with heroism, romance, sex, violence, rude-mechanical comedy, magic, horror, and passages of lyrical beauty. In Thailand, the story is universally known. Children learn passages at school, and the poem is a source of songs, popular sayings, and everyday metaphors. The poem is also controversial because of its male bias and violence.

Origins and sepha


 Modern performance of sepha, showing krap.

Khun Chang Khun Phaen is an old story in the Thai language. It originated as a folktale some time before the eighteenth century, developed by storytellers who recited episodes for local audiences, and passed on the story by word-of-mouth. By the eighteenth century, such performances had become the most popular form of entertainment in Siam. The storytellers recounted the story in stylized recitation, using two small sticks of wood (krap) to give rhythm and emphasis. The performances typically lasted a full night. 


The performance of Khun Chang Khun Phaen created a new genre known as sepha. For at least a century, only episodes from this work were known by this term. In the Fourth Reign (1851–1868), parts of the royal chronicles and a few other works were also rendered in this form on royal commission, but all but a few fragments have since disappeared.

The origin of this word sepha is disputed. There is a musical form of the same name, but this seems unconnected. Kukrit Pramoj thought that sepha meant a jail and that the genre was developed by convicts in jail. Sujit Wongthet argued a connection to the Sanskrit word sewa, indicating some original association with ritual.

Khun Chang and Khun Phaen are the names of the two leading male characters. In the era when the poem's events are set, Khun was a title for one of the lowest ranks in the official nobility.

Development as literature
Beginning in the eighteenth century, prominent episodes from the story were written down. After the foundation of Bangkok in 1782, the new royal court made efforts to retrieve all kinds of texts which had survived the sack of Ayutthaya fifteen years earlier. Episodes of Khun Chang Khun Phaen were transcribed from earlier texts, or adapted from recitations by storytellers. No manuscripts of Khun Chang Khun Phaen have survived from the Ayutthaya era.

It became conventional to render these written versions in the then-popular poetic meter, klon, especially the variant with eight-syllable lines known as klon paet. Performance of these episodes were popular in the court and among the aristocracy. In the Second Reign (1809–1824), the performance was often enhanced by adding music. From the Fourth Reign (1851–1868), dancing was also added and more than one performer might share the task of recitation.

Several chapters were written down by members of the literary salon of King Rama II (1809–1824). None of these works are signed, but certain chapters and part-chapters are conventionally attributed to King Rama II, the future King Rama III (r. 1824–1851), and the great poet Sunthorn Phu. Another member of the salon, Prince Mahasakdi Phonlasep, a son of King Rama I (1782–1809) and cousin of King Rama II, may also have contributed to the writing.

Several other chapters were compiled later, probably during the reign of King Rama III, by Khru Jaeng, a performer of sepha and other forms of entertainment. Little is known of him except for an internal reference in the poem. For over half the 43 chapters in the standard version, the author is unknown.

A former missionary, Samuel Smith, printed the first book version in 1872, probably using a manuscript belonging to Somdet Chaophraya Borommaha Sisuriyawong. Another printed version was issued in 1889 by the Wat Ko Press. Five episodes composed by Khru Jaeng were printed around 1890.

The standard modern edition appeared in three volumes in 1917–1918, published by the Wachirayan Library, and edited by its head, Prince Damrong Rachanubhab. Damrong compiled from four sets of samut thai manuscripts and a few other fragments. The earliest of the manuscripts dated from the Fourth Reign (1851–1868). He selected what he believed were the best versions of each episode, and added some link passages. He deleted some passages which he considered obscene, and some which depended on topical jokes and other material which he felt were no longer comprehensible.
Plot Model of Khun Chang's house at Wat Palelai, Suphanburi.
This standard edition is around 20,000 lines divided into 43 chapters. The main story ends in chapter 36, but a further seven chapters were included because the episodes were well-known and popular. Performers and authors had already developed many more episodes which extended the story down through three generations of Khun Phaen's lineage. Damrong decreed that these were not good enough as either narrative or poetry to deserve publication. Around fifty of these later chapters have since been published in various collections.
Old Thai house erected on site of Ayutthaya jail, and called Khun Phaen's House.

Khun Chang, Phlai Kaeo (who later is given the title, Khun Phaen), and Nang Phim Philalai (who later changes her name to Wanthong) are childhood friends in Suphanburi. Khun Phaen is handsome and intelligent, but poor because the king has executed his father and seized their property. He enters the monkhood as a novice to get educated, excelling at military skills and love magic. Khun Chang is ugly and stupid, but rich and well-connected at the Ayutthaya court.

By age 15, Phim is the belle of Suphanburi. She meets Phlai Kaeo when putting food in his almsbowl at Songkran (Thai New Year). Sparks fly. They have a passionate affair, with him shuttling between the wat (Buddhist monastery) and her bedroom.

Khun Chang is also smitten by Phim. He competes for her using his wealth and status. He offers to give her mother Phim's weight in gold. After Phlai Kaeo and Phim are married, Khun Chang maneuvers the king to send Phlai Kaeo on military service, and then claims he is dead. When Phlai Kaeo returns victorious, Khun Chang plots to have him banished from Ayutthaya for negligence on government service.

Phim (now Wanthong) resists Khun Chang. But when Phlai Kaeo (now Khun Phaen) returns from war with another wife, they have a jealous quarrel. Wanthong goes to live with Khun Chang, enjoying his devotion and the comforts afforded by his wealth.

When Khun Phaen's second wife, Laothong, is taken into the palace by the king, Khun Phaen regrets abandoning Wanthong. He breaks into Khun Chang's house at the dead of night and takes Wanthong away. At first she is reluctant to leave her comfortable existence, but the passion rekindles, and they flee to an idyllic but frugal sojourn in the forest.

Khun Chang tells the king that Khun Phaen is mounting a rebellion. The king sends an army which Khun Phaen defeats, killing two of its officers. A warrant is issued for his arrest. When Wanthong becomes pregnant, Khun Phaen decides to leave the forest and give himself up. At the trial, the charges of rebellion are disproved, and Khun Chang is heavily fined.

Khun Phaen angers the king by asking for the release of Laothong. He is jailed, and festers in prison for around twelve years. Khun Chang abducts Wanthong and they again live together in Suphanburi.

Wanthong gives birth to Phlai Ngam, her son with Khun Phaen. When Phlai Ngam is eight, Khun Chang tries to kill him. Phlai Ngam escapes to live in Kanchanaburi with his grandmother who teaches him from Khun Phaen's library.

When the kings of Ayutthaya and Chiang Mai quarrel over a beautiful daughter of the King of Vientiane, Phlai Ngam volunteers to lead an army to Chiang Mai, and successfully petitions for Khun Phaen's release. They capture the King of Chiang Mai, and return with the Vientiane princess and a great haul of booty. Khun Phaen now gains status as the governor of Kanchanaburi. Phlai Ngam is appointed Phra Wai, an officer in the royal pages.

Khun Chang gets drunk at Phra Wai's wedding, and the old rivalry returns. Phra Wai abducts Wanthong from Khun Chang's house, prompting Khun Chang to petition the king for redress. At the subsequent trial, the king demands that Wanthong decide between Khun Chang and Khun Phaen. She cannot, and is dumb-struck. The king orders her execution. Phra Wai pleads successfully with the king for a reprieve, but the order arrives fractionally too late to avoid her execution.

Origins of the story
Prince Damrong believed that the Khun Chang Khun Phaen story was based on true events which took place around 1500 in the reign of King Ramathibodi II. His evidence was a memoir believed to have been taken down from Thai prisoners in Burma after the fall of Ayutthaya in 1767 (Khamhaikan chao krung kao, The testimony of the inhabitants of the old capital). The memoir mentions the name of Khun Phaen in an account of a military campaign against Chiang Mai. However, this memoir is just as much a text of oral history as Khun Chang Khun Phaen itself, and could well have developed from the folktale, rather than vice versa. The campaign against Chiang Mai in the latter part of Khun Chang Khun Phaen seems to be modeled on events which appear in the Ayutthaya and Lanchang chronicles for the 1560s.

The opening chapter of Khun Chang Khun Phaen mentions a gift from the Emperor of China which might be dated shortly before 1600. The third chapter has a date based on a 120-year calendar which can be resolved as 1549/50, 1669/70, or 1789/90.

Most likely Khun Chang Khun Phaen developed over decades or centuries by storytellers absorbing and embellishing several local tales and true stories. Prince Damrong surmised that the original version was much shorter and simpler: Khun Phaen woos and marries Wanthong but then goes to war; Khun Chang seizes her; Khun Phaen returns and in the ensuing squabble, Wanthong is condemned to death. The story then expanded as other episodes were assembled around these leading characters. The whole second half of the standard version shows signs of being an extension which repeats themes and episodes from the first half. Certain episodes are known to have been newly written and incorporated in the nineteenth century. Some episodes are known to be modeled on true events. The arrival of an embassy from Lanchang, for example, is based on the reception of an embassy from Tavoy at Ayutthaya in 1791.

Characteristics Realism
Most major works of old Thai literature are about gods and royalty, and take place in the court or the heavens. Khun Chang Khun Phaen is the great exception. The major characters are drawn from the minor provincial gentry. The authors build an atmosphere of realism by cramming the narrative with anthropological detail on dress, marriages, funerals, temple ceremonies, feasts (including menus and recipes), court cases, trial by ordeal, house building, travel, and entertainment.

In addition, the geography is real. Most of the action takes place in Suphanburi, Kanchanaburi, and Ayutthaya, and the locations are easily identifiable today, including temples and cross-country routes. Several places mentioned in the text appear on some early nineteenth century maps which were recently discovered in the royal palace in Bangkok.

In the later part of the tale there is an expedition to Vientiane which clearly follows one of the routes taken by Bangkok armies during the war against Vientiane in 1827–1828. There are also two military campaigns to Chiang Mai, but here the geography is much less certain. The place names are correct, but temples are located in the wrong town, routes between places make no geographical sense, and other mistakes indicate that the authors had only a hazy idea of the northern region.

Super-realism
Khun Phaen amulet.
As a novice, Phlai Kaeo is schooled in the “inner ways" (Thai: ทางใน, thang nai). This phrase refers to beliefs in supernatural powers which exist within human beings and other natural objects, and which can be activated through taught skills. These beliefs stem from the Tantric school of Buddhism, and are found as a substratum in Buddhism throughout Southeast Asia and other parts of the Buddhist world.

The methods to activate these latent powers include meditation and recitation of mantras or formulas (elsewhere, yoga is another method). The power can also be transferred to objects, especially diagrams known as yantra (Thai: เลขยันต์, lek yan). In India, where they probably originated, such diagrams are composed mostly of geometric shapes with symbolic meanings arranged in symmetrical patterns (the mandala is a yantra). In the Thai tradition, these diagrams also include numbers in sequences with supernatural meaning, pictures of gods and powerful animals (lion, tiger, elephant), and formulas or abbreviated formulas written in Pali or Khmer. To have power, these diagrams have to be drawn by an adept under strict rules (such as reciting formulas continuously, completing the drawing in one sitting), and activated by reciting a formula.

Yantra (called Yant in Thai) diagrams can be carried on the body in various ways: tattoed on the skin (Sak Yant - สักยันต์); imprinted on a shirt or inner shirt; imprinted on a scarf (Thai: ประเจียด, prajiat) tied round the head, arm, or chest; imprinted on a belt, perhaps made from human skin; imprinted on paper or cloth which is then rolled and plaited into a ring (Thai: แหวน พิรอด, Hwaen Pirod); inscribed on a soft metal such as tin which is coiled round a cord and worn as an amulet (Thai: ตะกรุด, Takrud). The main purpose of these various forms of yant designs with Khom inscriptions, is to give invulnerability or protection against various forms of threat.

The same purpose is served by carrying amulets made from natural materials which have some unusual property which seems contrary to nature. A good example is mercury – a metal which has the unusual property of behaving like a fluid. Other examples include cat’s eye, a semi-precious stone which resembles an animal’s eye, and “fluid metal” (Thai: เหล็กไหล, lek lai), a metal-like substance believed to become malleable under the heat of a candle’s flame. These items can be strung on cords and worn around various parts of the body, or inserted under the skin.

Before going into battle or any other undertaking entailing risk, Khun Phaen decks himself with several of these items. He also consults various oracles which indicate whether the time and the direction of travel is auspicious. These oracles include casting various forms of horoscope, looking for shapes in the clouds, and examining which nostril the breath is passing most easily.

Khun Phaen is also schooled in Kata Akom (mantra) or formulas with supernatural power. They are used for such purposes as stunning enemies, transforming his body into other forms, opening locks and chains, putting everyone else to sleep, and converting sheaves of grass into invulnerable spirit warriors. Khun Phaen also uses love formulas to captivate women, and to allay the wrath of the king.

Finally, Khun Phaen has a corps of spirits which he looks after. They defend him against enemy spirits, act as spies, and transport him at speed. In a famous passage, Khun Phaen acquires an especially powerful spirit from the still-born foetus of his own son. This spirit is known as a Gumarn Tong (Thai: กุมารทอง), a golden child.

In the poem, the command of these powers is described using several combinations of the following words: wicha (Thai: วิชา), taught knowledge; witthaya (Thai: วิทยา), similar to the suffix, -ology; wet (Thai: เวท), from veda, the Brahminical scriptures; mon (Thai: มนตร์), mantra, a Buddhist prayer; katha (Thai: คาถา), a verse or formula; and akhom (Thai: อาคม), from agama, a Sanskrit word meaning knowledge, especially pre-vedic texts. These words position the command of these powers as an ancient and sacred form of learning.

Adaptations
While the poetic sepha has become the standard version of Khun Chang Khun Phaen, the story has been rendered into many other forms.

In the nineteenth century, various episodes were adapted into drama plays (lakhon), dance dramas, comedies, and likay. In the twentieth century, episodes were adapted into the poetical form of nirat, and the folk performance of phleng choi.

There have been five film versions, beginning with a silent film in two parts by Bamrung Naewphanit in 1936. The most recent film version, Khun Phaen, was directed by Thanit Jitnukul in 2002.

A first TV version appeared as a single episode in 1955. A 1970 version, based around the exploits of Khun Phaen as governor of Kanchanaburi, extended over 500 episodes. Thai Channel 3 aired a serial version under the name Phim Phlilalai (Wanthong's natal name) in 1985, and Thai Channel 5 aired a serial Khun Phaen in 1998.

A cartoon version, drawn by Sawat Jukarop, appeared in Siam Rath from 1932 to 1950. The latest among many book-length cartoon versions was compiled by Sukrit Boonthong in 2005.

Several famous artists have illustrated scenes from Khun Chang Phaen, especially Hem Vejakorn. In 1917, BAT Co Ltd issues a series of 100 cigarette cards featuring characters from the story.

There have been several adaptations into novels, beginning with Malai Chuphinit, Chai Chatri (The Hero) in 1932. The most famous is Khun Phaen written by the major thriller author Por Intharapalit in 1972.

There have been at least seven re-tellings of the story in modern Thai prose. The first, and most complete of these, was by Premseri in 1964.

Three other works tell the story with the addition of annotations and explanations of old words and forgotten customs. The study by Suphon Bunnag was published in two volumes in 1960, and republished in her cremation volume in 1975. Khun Wichitmatra (Sanga Kanchanakphan) and Phleuang na Nakhon wrote a series of articles in the magazine Withayasan over 1954–57, collected together in book form in 1961. Kukrit Pramoj also wrote a series of articles in Siam Rath, collected as a book in 1989.

In 2002 Sujit Wongthet published a similar work which originated as a series of articles in the magazine Sinlapa Watthanatham (Art and Culture). The book includes a copy of two manuscript versions of chapter 17, which Sujit secured from the National Archives under the Freedom of Information Act. These manuscripts reveal what Prince Damrong had excised in his editing.

Cholthira Satyawadhna wrote an MA dissertation in 1970 using a Freudian approach to analyze aggression in Khun Chang Khun Phaen. The thesis became famous, both as a landmark in Thai literary criticism, and as an early Thai feminist treatise.
In modern life
Shrine to Khun Phaen and his father Khun Krai at Cockfight Hill, Kanchanaburi.
Shrine to Nang Simala at Old Phichit.
Shrine to Nang Buakhli on stalactite in cave at Ban Tham, Kanchanaburi.
Khun Chang Khun Phaen is the source of many sayings in modern Thai, and several songs. The name Khun Phaen is shorthand for a great lover (similar to Romeo or Casanova). It is also the name of a famous amulet, reputed to bring success in love, and the slang for a large "chopper" motorcycle.


In Suphanburi and Phichit, towns which figure prominently in the poem, the major streets have been named after characters in the story.

At several locations featured in the story there are now shrines with images of the characters. Such locations include Cockfight Hill in old Kanchanaburi (images of Khun Phaen and his father Khun Krai), the old town of Phichit (Nang Simala), and Ban Tham in Kanchanaburi (Nang Buakhli).

In Ayutthaya, an old Thai house has been erected on the site of the jail where Khun Phaen was incarcerated in the poem. The house has been renamed “Khum Khun Phaen” and is a major tourist attraction. A similar house, attributed to Khun Phaen, has recently been erected in Wat Khae in Suphanburi. This temple also has an old tamarind tree which is legendarily associated with a passage in the poem in which Khun Phaen is taught how to transform tamarind leaves into wasps.

Wat Palelai, Suphanburi, has erected a model of Khun Chang's house, and commissioned a series of murals from the Khun Chang Khun Phaen story around its main cloister.

Contemporary status

Almost every Thai knows the story of Khun Chang Khun Phaen. Most children have to memorize and recite extracts at school.

Thailand's literary establishment has been rather cool towards Khun Chang Khun Phaen, probably because of the work's origins in the folk tradition and consequent lack of refinement. In addition, feminists have criticized the story for celebrating Khun Phaen as a promiscuous lover, and making Wanthong a tragic victim.

Kukrit Pramoj opened his study of the poem with the remark: “At present there are some knowledgeable people who have expressed the opinion that Khun Chang Khun Phaen is an immoral book and a bad example which should be burnt or destroyed, so no one may read it from now on.”

Kukrit Pramoj is one among many enthusiasts who value Khun Chang Khun Phaen as a great story and as a unique repository of old Thai culture. Other prominent defenders include:

• Sulak Sivaraksa (social commentator, activist): “This immortal story is number one in Thai literature, and cedes nothing to the major literary works of other nations."

• Rong Wongsawan (novelist, essayist): “I like Khun Chang Khun Phaen and still read it today. It's the literary work which best reflects the life of the Thai. In simple words, the voice of the people."

• Naowarat Phongphaibun (national poet): “Every Thai person over 30 should read at least four or five books, starting with Khun Chang Khun Phaen.”

• William J. Gedney (linguist): “I have often thought that if all other information on traditional Thai culture were to be lost, the whole complex could be reconstructed from this marvellous text.”

Translation

There is no full translation into a European language. Prem Chaya (Prince Prem Purachatra) began a précis version, The Story of Khun Chang Khun Phaen (1955, 1959), but completed only two of the three planned volumes. J. Kasem Sibunruang compiled an abridged version in French, with some commentary, as La femme, le heros et le vilain. Poeme populaire thai. Khun Chang, Khun Phen (1960). Klaus Wenk translated the famous chapter 24 by Sunthorn Phu word-for-word into German, in Studien zur Literatur der Thai: Texte und Interpretationen von und zu Sunthon Phu und seinem Kreis. Hamburg and Bangkok (1985).

There are very few studies on Khun Chang Khun Phaen in western languages. Prince Bidyalankarana (Krommuen Pitthayalongkon) wrote two articles on the poem in the Journal of Siam Society in 1926 and 1941 which explain the metrical form of the sepha and give a summary of the plot. E. H. S. Simmonds published an aritlce in Asia Major in 1963 which compares one episode in the standard text with a version he recorded in performance.

Notes

1. ^ a b This section and the next draw on Prince Damrong’s account of the poem’s background.

2. ^ This section draws on works by Anuman Rajadhon, Thep Sarikabut, Textor, and Turton.

3. ^ This section depends on research by Narongsak Sonjai, referenced in the External links section below.

References Thai text

• Sepha Khun Chang Khun Phaen. 3 vols, Bangkok, Wachirayan Library, 1917–1918. Reprinted by Khurusapha. Includes Prince Damrong's preface on the history and background of the story.

• Khun Chang Khun Phaen. 40 vols, Rattanakosin [Bangkok], Wat Ko, 1890. Complete copy in William Gedney collection, University of Michigan library.

Other works in Thai

• Anuman Rajadhon, Phraya. 1965. Prapheni bet set (Miscellaneous traditions). Bangkok: Social Science Association of Thailand.

• Cholthira Satyawadhna. 1970. Kan nam wannakhadi wichan phaen mai baep tawan tok ma chai kap wannakhadi thai (The application of western modern literary criticism to Thai literature). MA dissertation, Chulalongkorn University.

• Kanchanakphan (Khun Wichitmatra) and Nai Tamra na Muang Tai (Pleuang na Nakhon). 1961. Lao rueang Khun Chang Khun Phaen (Telling the story of Khun Chang Khun Phaen). (Reprint, Amarin, 2002).

• Khamhaikan chao krung kao (The testimony of the inhabitants of the old capital). 2001. Bangkok: Chotmaihet.

• Kukrit Pramoj. 1989. Khun Chang Khun Phaen: chabap an mai (Khun Chang Khun Phaen, a new reading). (Reprinted, Dokya, 2000).

• Premseri. 1964. Khun Chang Khun Phaen: chut wannakhadi amata khong thai samnuan roi kaeo (Khun Chang Khun Phaen: series of immortal Thai literature in prose versions). Bangkok Ruamsat (11th printing, 2003).

• Sujit Wongthet. 2002. Khun Chang Khun Phaen saensanuk (Khun Chang Khun Phaen, lots of fun). Bangkok: Sinlapa Watthanatham.

• Suphon Bunnag. 1960. Sombat kawi: Khun Chang Khun Phaen (Poetic treasure: Khun Chang Khun Phaen). Bangkok. (Republished as cremation volume, 1975).

• Thep Sarikabut, Phra khamphi phrawet (Texts of lore). 6 vols. Bangkok: Utsahakam kan phim, n.d.

Khun Paen The Mighty Warrior

Here's a storey for Peter Soerianto who asked about Khun Paen.........


Legendary Khun Paen lived between 1491-1529. He is the legendary Ayuthaya warrior living some 450 years ago. His name later became the name of a kind of votive tablets found at Wat Bankrang, Suphanburi Province, about a century ago. Khun paen was born in Suphanburi Province (some 70 km. northwest of Bangkok) but grew up in the close bordered Kanchanaburi Province, where the world wide well-known "Bridge over River Kwai" situated.

He was a disciple of Archan Kong, a magic-expert guru monk, for magical studies. By his skillful fighting, he was appointed by the king to be Khun or a high ranking military officer.

His biography was far more extended and rather a story by poetic authors of the early Rattanakosin period.

Khun Paen's House

Phlai Kaeo (who later is given the title, Khun Phaen), and Nang Phim Philalai (who later changes her name to Wanthong) are childhood friends in Suphanburi. Khun Phaen is handsome and intelligent, but poor because the king has executed his father and seized their property. He enters the monkhood as a novice to get educated, excelling at military skills and love magic.

He was a disciple of Archan Kong, a magic-expert guru monk, for magical studies.
Khun Chang is ugly and stupid, but rich and well-connected at the Ayutthaya court.

By age 15, Phim is the belle of Suphanburi. She meets Phlai Kaeo when putting food in his almsbowl at Songkran (Thai New Year). Sparks fly. They have a passionate affair, with him shuttling between the wat(Buddhist monastery) and her bedroom.
Khun Chang is also smitten by Wanthong. He competes for her using his wealth and status.

He offers to give her mother Phim's weight in gold. After Khun pean and Phim are married, Khun Chang maneuvers the king to send Phlai Kaeo on military service, and then claims he is dead. When Phlai Kaeo returns victorious, Khun Chang plots to have him banished from Ayutthaya for negligence on government service.

Phim (now Wanthong) resists Khun Chang. But when Phlai Kaeo (now Khun Phaen) returns from war with another wife, they have a jealous quarrel. Wanthong goes to live with Khun Chang, enjoying his devotion and the comforts afforded by his wealth.

When Khun Phaen's second wife, Laothong, is taken into the palace by the king, Khun Phaen regrets abandoning Wanthong. He breaks into Khun Chang's house at the dead of night and takes Wanthong away.
At first she is reluctant to leave her comfortable existence, but the passion rekindles, and they flee to an idyllic but frugal sojourn in the forest.

Khun Chang tells the king that Khun Phaen is mounting a rebellion. The king sends an army which Khun Phaen defeats, killing two of its officers. A warrant is issued for his arrest. When Wanthong becomes pregnant, Khun Phaen decides to leave the forest and give himself up. At the trial, the charges of rebellion are disproved, and Khun Chang is heavily fined.

Khun Phaen angers the king by asking for the release of Laothong. He is jailed, and festers in prison for around twelve years. Khun Chang abducts Wanthong and they again live together in Suphanburi.

Wanthong gives birth to Phlai Ngam, her son with Khun Phaen. When Phlai Ngam is eight, Khun Chang tries to kill him. Phlai Ngam escapes to live in Kanchanaburi with his grandmother who teaches him from Khun Phaen's library.

When the kings of Ayutthaya and Chiang mai quarrel over a beautiful daughter of the King of Vientiane, Phlai Ngam volunteers to lead an army to Chiang Mai, and successfully petitions for Khun Phaen's release. They capture the King of Chiang mai, and return with the Vientiane princess and a great haul of booty. Khun Phaen now gains status as the governor of Kanchanaburi . Phlai Ngam is appointed Phra Wai, an officer in the royal pages.

Khun Chang gets drunk at Phra Wai's wedding, and the old rivalry returns.Phra Wai abducts Wanthong from Khun Chang's house, prompting Khun Chang to petition the king for redress.

At the subsequent trial, the king demands that Wanthong decide between Khun Chang and Khun Phaen. She cannot, and is dumb-struck. The king orders her execution. Phra Wai pleads successfully with the king for a reprieve, but the order arrives fractionally too late to avoid her execution.

The Magical power of Khun paen


Khun Paen- Wat Bang Krang


Based on old legends, Khun Paen was handsome and very attractive to ladies.Although, he had many wives, but still many ladies fell in love with him. Khun Paen had magical knowledge. He used magic to make himself invulnerable and unseen to enemies, to change the marching track of the enemies to become labyrinthine field, and to change leaves of the tree to become wasps to sting enemies etc.

Khun Paen is also a master in mantra or formulas with supernatural power.

They are used for such purposes as stunning enemies, transforming his body into other forms, opening locks and chains, putting everyone else to sleep, and converting sheaves of grass into invulnerable spirit warriors. Khun Phaen also uses love formulas to captivate women, and to allay the wrath of the king.

Khun Paen was also the first who created Guman Thong. He brought the dead baby from the womb of the dead Bua Klee, one of his wives, to the Temple outer area within the chanting hall where the Buddha image is placed. The Temple and its outer area are so sacred place that no mighty ghosts or spirits can enter. Based on the legend descriptions, Khun Paen was chanting some sacred mantras to invoke the spirit of Guman Thong while roasting the dead baby on the fire.

Guman Thong defended him against enemy spirits, act as spies, got for him money and transported him at speed.


 The Lengendary Khun Paen (Khun Paen Bucha in shrine at Old Kanburi)
Legendary Khun Paen lived between 1491-1529. He is the legendary Ayuthaya warrior living some 450 years ago. His name later became the name of a kind of votive tablets found at Wat Bankrang, Suphanburi Province, about a century ago. Khun paen was born in Suphanburi Province (some 70 km. northwest of Bangkok) but grew up in the close bordered Kanchanaburi Province, where the world wide well-known "Bridge over River Kwai" situated.

He was a disciple of Archan Kong, a magic-expert guru monk, for magical studies. By his skillful fighting, he was appointed by the king to be Khun or a high ranking military officer.

His biography was far more extended and rather a story by poetic authors of the early Rattanakosin period.

Special Khun Paen amulets
( Luang Pu Tim Wat Lahanrai Khun paen plai guman)
From above miracle Khun Paen story, many Archans or monks like to make Khun Paen as charming and metta amulets. Personally, I like to collect khun paen amulets as some of it are beautiful and it's effect proven to be good. According to some comments and reviews by the archans, monks and local Thai people, khun paen amulet generally is best for :

1) Able to naturally attract the opposite sex.
2) Get to be liked, trusted, respected and admired by everyone.
3) Get to develop indestructible confidence and courage.
4) Easiler to ask for favour and help.
5) Gain the "upper hand" in business or career.
6) Sucessful in everything that your do.
7) Great luck and great charm.
8) Victories in all aspects of lifes.
and much much more....
Some more of khun paens:
(khun Paen from Wat Bankrang)
(Khun paen from Cambodia)  
(Khun Paen by Archan Monak) 
Khun Paen
Khun Paen was my second votive tablet after the Nang Phaya. Similarly, it was also given to me by my long time Thai friend (actually, it was his - where it was 15 years ago, I had some "diplomatic" business problems and when he got to know about it and take down from his wearing to ask me to start wearing it, strangely, that issue was resolved peacefully). Since then, I started using it daily as one of the three companion amulets.

The rear view of the Khun Paen image I am using for the last 15 years, sounds something like: "Krut Thong Seh-Tie, Chang Wat, Kamphaeng Phet" Khun Paen was a respectful Thai legendary warrior who fenced-off invading Burmese a few hundred years ago near Kanchanaburi Province. The word, "Khun" when translated, was actually a military rank of a "general" in Thailand (and thus "Paen" was the name). The legend says he was raised and taught by Guru Monk, Acharn Kong on magical studies which in turn had helped him won many battles against the aggression of Burmese during those days. Many secondary Thai imageries such as "Guman Thong" - the ritual babe ghost was actually referring to his son who was killed and transformed by Paen into a half human-ghost to help him in his battles. 
 But most of all, other than protective purpose and a mysterious ability in improving human relationship, this all-time men's favorite imageries originated from the general beliefs that Khun Paen has a mysterious "power" to attract women (much due to historical legend that he had plenty of beautiful women in his life). Probably this was also one of the main reasons you can find so many of this Imageries in my site, hehe ...oldman syndrome, you can call this.


Please note that this men-favourite image can also be regarded as one of the most copied tablets on the market and many replicas have surfaced. I don't have the adequate knowledge to command and differentiate the originality of these either but it is advisable to refer to a few experienced Guru-collectors who can help you to authenticate them before committing any heavy financial investment. Some of the images of Khun Paen showcased below come with different origin and with different prices. The image provided by Col. Samay is a good example, it is one of the original version that has liquar-coated finishing. The center two well preserved images, although look very normal but they have been authenticated as old original images. The third from the left was similar to the one that I am using but it is the second version. The one by LP Tim from "Wat Rat Hanrai, Changwat Ratyong", Chun Buri has a Takrut behind, it comes with three versions in white, gold and black colour, the golden finish version was said to be the midrange (price-related) while the black version is the most expensive. Third from the right is an older version of the Khun Paen Ren Keow, "Wat Prarut", Supanburi, the one at the far right is also from the same source but it is not as old. The amulet at the center is named as "Khun Paen Ren Keow Phra Bhudhacharn(Toh) Promrangsi", sealed in "Krut Tad Khow", Changwat Sukhorthai, it was another rare piece - as quoted by some Thai guru collectors' magazines, some amulet Guru believed the famous Toh at Wat Rakang, Bangkok did produced some very limited number of Khun Paen images and this re-surfaced image is an extremely hard to source item - don't ask me how much does it cost... because it is probably meant for collectors. 
 Khun Paen is the name of a legendary Ayuthayan warrior living some 450 years ago. His name later became the name of a kind of votive tablets found at Wat Bankrang, Suphanburi Province, about a century ago.
It is amulets collectors of the previous generation who named such the votive tablets "Khun Paen" just because the name was widely known to Thai people as an important legendary figure. There is actually no relation between the votive tablets themself and Khun Paen. And the figure image appears on the votive tablet is Lord Buddha, not Khun Paen.

据说坤平出身于一个将领的家庭,天生聪慧、正直。年纪小的他已很讲义气,扬言长大后必效力国家,为帝王宝命也绝不言辞。他从小就学习武功,到年纪较长时已是十八般武艺皆精通,对骑马射箭更有他的一套,百发百中。由于他从小习武的缘故,所以他身材健硕,魁壮结实,加上他天生英俊非凡,真可说是一名标准的美男子。也因为家庭背景的助力,坤平自然而然也当上了当地的一名将领,后来要因为减赋有功而被封为将军。因此往后便有流传,坤平将军下面神鸡的佛牌可以改善人缘、异性魅力和化解困难。


将军他不但威勇善战,样貌更是俊朗不凡,深受女孩子欢迎,因此坤平妻妾之多无人能及,而且都能和睦相处,一次,坤平将军接到国家的命令,要攻打妻子的国家,便哀求丈夫不要攻打自己的家乡,但军命难为,坤平将军没有接受妻子的哀求,见丈夫不接受自己的哀求,便在坤平将军的食物中下毒,但坤平将军是天神化身,有天神秘佑,所以未能毒害坤平将军,事件已败露,坤平将军一时气愤,便将妻子杀死,但躺下后,坤平将军,才发现妻子已怀有身孕,便将死去的儿子,制成干骸佩带在身,以作记念,这就是现今人称金童子之鬼仔(泰国称作古曼童)的来历,坤平将军佩带了儿子的干骸金童子后,百战百胜,每当遇上危险都能化险为夷。

据说坤平将军喜爱斗鸡,斗鸡是泰国一种赌博活动,而坤平的斗鸡竟和坤平将军一样威勇善战,百战百胜,有神鸡称号。因此往后便有流传,坤平将军佛牌,能助人缘,特别是异性缘,另外会对偏财、赌运有所帮助。

兴旺发

Wat Prayoon

Wat Prayurawongsawas, commonly known as Wat Prayoon, is a royal monastery, being situated on the west bank of the Chao Phraya River at the foot of the Memorial Bridge in Thon Buri, Bangkok.

It is one of the ancient monasteries of the ealy Rattanakosin period, having been built in 1828 by the Minister in charge of the Royal Treasury, Foreign Affairs and Defence, Chao Phraya Phra Klang (Dit Bunnag) –later to be known as Somdet Chao Phraya Borom Maha Prayurawong–who dedicated his coffee garden for constructing the monastery. In 1832 the monastery was declared a royal monastery by KingRama III under the name of WatPrayurawongsawas.

 Wat Prayurawongsawas was built by Chao Phraya Phra Klang (Dit Bunnag), the Great Noble man of the Bunnag family. He was one of the most politically powerful men of the ealy Rattanakosin period.

The Queen of King Rama I was formerly known as “Nak”, with the title Somdet Phra Amarintaramat, and she had a sister called “Nuan” who was later given the title Chao Khun Phra Ratchaphan.

 Chao Khun Nuan married Mr Bunnag and they founded the Bunnag lineage. Mr Bunnag was the close associate of King Rama I, prior to the King’s enthronement and he looked after the King’s family in the time of the Burmese war. 
 Later Mr Bunnag entered the service of the government and was given the title Chao Phraya Akka Maha Sena in charge of the Defence Ministry.

This noble pair of Mr Bunnag and Chao Khun Nuan had a son called Dit Bunnag, titled Chao Phraya Borom Maha Prayurawong, who was the founder of Wat Prayurawongsawas.
Somdet Chao Phraya Borom Maha Prayurawong

 Somdet Chao Phraya Borom Maha Prayarawong had an original name as Dit who was born in 1788 and built Wat Prayurawongsawas in 1828. At that time, he was serving in the position of Chao Phraya Phra Klang, a Minister in charge of the Royal Treasury, Foreign Affairs and Defence.


Chao Phraya Phra Klang (Dit) played very important role in inviting Prince Mongkut to ascend the throne as the King Rama IV.

Later, he was bestowed into the position of Somdet Chao Phraya Borom Maha Prayarawong in 1851 and appointed Regent of Siam in the early period of King Rama IV. Somdet Chao Phraya Borom Maha Prayarawong passed away in 1855 at the age of 68.

 Revered objects and interesting places
In front of Wat Prayurawongsawas are many revered objects and places of interest that are open to the general public. At the front gate on Prachathipok Road, a red iron fence can be seen leading from the gateway up to the Great Pagoda or Phra Boromthat Maha Chedi.

The group of buildings on the south side of the iron fence, such as the royal chapel (uposatha, or ordination hall), a vihara, and a multi-purpose sala are in all in traditional Thai style.

The buildings on the north side of the iron fence, however, such as the Parindara Pariyattitham sala, and the complex of buildings in the area of the replica mountain (Khao Tao) are a mixture of Thai and Western architectural styles.

Wat Rua Lek (The Iron-fenced Monastery)
Wat Prayurawongsawas is often called the Wat Rua Lek (Iron-fenced Monastery) because of the red iron fence surrounding its walls.

A part of iron fence leads from the gateway up to the Great Pagoda or Phra Boromthat Maha Chedi.
The height of this fence is approximately one and a half metre and is constructed in the shape of ancient weapons, such as the lance, sword and axe. The fence has small arched entrances along its length.

The common people believe that Wat Rua Lek (Iron-fenced Monastery) consists of 30,000 axes, 3 cannons, and 300,000 lances.

There is a story told that this iron fence was ordered on behalf of King Rama III from the United Kingdom by Somdet Chao Phraya Borom Maha Prayurawong.

It was intended to be used as the wall surrounding the Grand Palace but King Rama III did not take the offer.Then Somdet Chao Phraya Borom Maha Prayurawong asked for the iron fence to be erected around Wat Prayurawongsawas instead. The payment was made in sugar-cane equal in weight to that of the iron fence itself.

The Great Pagoda and Relics


 
 The Maha Chedi or Great Pagoda, in the shape of a bell, contains the Buddha’s relics. It is the largest of its kind in the Rattanakosin period, being 60.525 metres in height and 162 meters in circumference.
Somdet Chao Phraya Borom Maha Prayurawong (Dit Bunnag) initiated work on the pagoda but it was not completed within his lifetime. It was left to his son, Somdet Chao Phraya Borom Maha Sri Suriyawong, to finish the work during the reign of King Rama IV.

In 1907, the tenth abbot, Phra Prakrommuni (Plian), had the Buddha’s relics enshrined in the top section of the pagoda, along with the following inscription by Phra Samu Pun:

‘Phra Samu Pun has written this inscription on the principle of the Dhamma for inclusion in this pagoda on Friday, the 10th waxing moon, of the 8th lunar month, in the year of the Goat, when Buddha-Sasana has the year 2450 (1907) as its past and the year 2549 (2006) as its future. May this merit-offering become a refuge for Phra Wiriyaka Phothiyan in the future’.
Although it was long since believed that the Buddha’s relics were enshrined in this pagoda, it was only during its restoration initiated in the year 2006 (B.E. 2549) by the present abbot, Phra Dharmakosajarn, that the Buddha’s relics were discovered in the top part of the pagoda on the 5th of November 2007 (B.E. 2550).

H.R.H. Princess Sirindhon presided over the ceremony of re-enshrinement of 4 pieces of the Buddha’s relics in the pagoda on the 11th of December 2008 (B.E. 2551). Another 5 pieces of the Buddha’s relics remain enshrined in the Vihara of Phra Phutthanak.

Amulets
Many different tyopes of pim were discovered in the secret cell, this is an example of the beautiful pim KonSamor

 Wat Ratchaburana was built by King Boromaraja II (1424–1448) in memory of his two brothers Ay and Yi, who had killed one another in mortal combat for the throne. There are still some pillars and walls belonging to the viharn as well as the ruins of various chedis that surround the prang.
Parts of the surrounding wall with lance-shaped portals also exist. The large prang itself is very well preserved. It features many sculpted details showing garudas attacking nagas. The two crypts in the lower part of the prang have some interesting murals. The painters were probably Chinese artists settled in Ayutthaya, who were able to incorporate a variety of styles such as those of the Khmer and Burmese as well as the Lopburi and Sukhothai styles to create an astonishingly harmonious result.


Archaeological excavations of the prang between 1956 and 1958 also turned up more than 100,000 votive tablets. They were sold and the money thus raised was used to fund the building of the Chao Sam Phraya Museum. Votive tablets like this, which were taken on pilgrimages, were mostly made by shaping clay in moulds.

They featured depictions of especially holy pilgrimage sites or simply pictures of Buddha. Further discoveries in the prang included wide bracelets encrusted with gems, a head-dress made with filigree gold as well as one solid gold head-dress adorned with precious stones, a five-piece crockery set for betel nuts, two spittoons and gold coins with Arabic inscriptions (most of these finds can be seen in the Chandra Kasem Museum).

The Wat Ratchaburana prang is in a mixture of the Sri Lankan and Burmese styles that meld to create a wholly new architectural style. Some of the upper section is been quite well preserved.

There was once a square platform with small chedis at every corner. Two more chedis at the crossroads contained the ashes of the two royal brothers, while a third commemorates Queen Si Suriyothai, who rode on an elephant into battle against the Burmese disguised as a man in 1550 and saved the life of her husband, only to perish herself.

Close to her chedi, next to the totally obliterated Wat Lokaya Sutha, there is a huge reclining Buddha.

That Phanom, Thailand

 Wat That Phanom Chedi


In northeastern Thailand, a kilometer from the shores of the vast Mekong River stands the exotic temple complex of That Phanom on the sacred hill of Phu Kamphra. According to the earliest known legends, the original sanctity of this site derived from visits by Kakusandha, Konagamana, and Kassapa, the Buddhas of the three previous ages. Long after these mythical visits the Buddha of our current age made a pilgrimage to the sacred hill to venerate the relics of the earlier Buddhas. Accompanied by his chief disciple, Ananda, the Buddha journeyed east from India to Phu Kamphra (legends say he actually flew) visiting other sacred places along the way. While at the sacred hill the Buddha telepathically communicated with another disciple, giving him instructions that following his death the disciple should bring the Buddha's breastbone relic to the hill. Legends say that this relic was later brought to That Phanom and that a reliquary was established to protect and enshrine it. In the Theravada Buddhist traditions of Sri Lanka, Burma and Thailand it is commonly thought that the Buddha, shortly before his demise, made an extended journey throughout the region of Southeast Asia to visit sacred sites of earlier Buddhas and also to lend support to the emerging Buddhist monastic tradition. No historical evidence, however, confirms that such a journey ever took place. Scholarly interpretation of the legend suggests that it was a method the Theravada sect used to mark and sanctify Buddhist territory.

A collection of stories known as the That Phanom Shrine Chronicles tell that the first shrine was built shortly after the Buddha's demise. Archaeologists, however, date the earliest structures to between the sixth and tenth centuries AD, with the present form of the temple being established by the Lao kings of Vientiane in the fifteenth or sixteenth century. The centerpiece of the temple is a 57 meter tall That, or Lao style Chedi, decorated with 110 kilograms of gold. The Chedi is known as a popular ‘wish-fulfilling place’ and has a curious ritual whose origins are lost in time. Pilgrims will first purchase a small bird held captive in a finely woven bamboo cage. Carrying the caged bird with them while walking round the temple, the pilgrims will pray at various Buddha images and pre-Buddhist spirit-stones. This period of prayer may last from five minutes to more than an hour. Finally, the bird is freed to the skies in the hopes that its release will speed the pilgrim’s prayers to heaven. While pilgrims visit the shrine of That Phanom throughout the year, during the seven-day period of the annual festival held in late January or early February the temple complex is alive with the energy of many thousands.

The Lak Muang spirit-stone is a pre-Buddhist artifact denoting the center of a place of geomantic importance. It is interesting to compare this ancient Southeast Asian practice of marking power places with a standing stone to the identical traditions found in many other regions of the world. Inspecting the carvings on the stone, we find an iconographic representation depicting a serpent or a dragon; this being an archaic symbol of the Earth spirit, which appears mysteriously and universally at sacred places all across the planet.

That Phanom is also considered an important sacred site because of its listing among the twelve pilgrimage centers of the twelve-year animal cycle. This calendar system, known in Thai as naksat pi, is based on a duodenary cycle of years, each year being associated with a particular animal. The naksat pi system has been in use among the northern Thai since at least the thirteenth century, when they emerged as the dominant people of the area, yet most likely it dates from a much earlier period. In the Yuan tradition of Theravada Buddhism in northern Thailand, it is considered beneficial for a person to make a pilgrimage to that shrine which corresponds to the year of his or her birth. It is usual for the pilgrimage to be taken on the birth date of the person and particularly on the anniversary of the same year of the twelve-year cycle in which they were born (for example, their thirty-sixth or forty-eighth birthday). While at the shrine the pilgrim will utilize the services of a Buddhist monk to conduct the sup chata ritual which is believed to strengthen the pilgrim’s khwan or vital force, ensure their long life, gain merit, and attract the blessings of various pre-Buddhist and Buddhist spirits. These twelve shrines are also considered highly sacred because of their association with the life of the Buddha. According to legendary sources, seven of the shrines were visited by the Buddha, four were not visited by the Buddha but contain his relics, and the fifth, mysteriously, is in heaven. Historically, it is known that a number of these shrines are connected in legend with pre-Buddhist kingdoms and were therefore recognized as sacred places long before they became associated with the life of the Buddha. The names, locations and associated animals of each shrine are listed below: