Phra Somdej Wat Rakang, Pim Kaes Iang Jarot Sum (Ongk Kroo Niyom Preferred), Luang Wichān Chīaranai Master Block

Greetings to you, discerning scholar, advanced in the Dhamma and in faith. Your meritorious interest in the Phra Somdej Wat Rakang Khōsitārām, Pim Ket Jarot Sum, certificated authentic and from a block press crafted from the master block of Luang Wichān Chīaranai, demonstrates a level of intellectual curiosity that transcends that of a mere collector. It signifies the mindset of a true conservator and an intellectual of the sacred amulet discipline.

The subject you have interested yourself for by clicking into this write-up, is central to the erudite study of Phra Somdej, demanding a synthesis of both science and art. Let us now delve into the ocean of knowledge and sacred power that defines this masterwork amulet, using the lexicon of a Tha Phra Chan grandmaster and a postgraduate scholar.

This model is an extremely attractive Pim Niyom model of the 'Chang Sip Moo' Artisan Chang Luang Wijarn. This amulet comes with free solid silver casing if desired and selected in the encasement options (Please note; the custom casing can take from 3 - 10 days to custom encase). Bespoke Silver Frame casing is always enhanced with waterproof acrylic sealed windows to protect the amulet from the weather). You can order solid gold casing at extra price if desired too and we will invoice you according to current spot prices.

The Transcendent Power of Somdej Phra Phutthāchān (To Prommrangsī) and the Genesis of an Emperor Amulet

To comprehend the amulet, one must first understand the fount of its sanctity. The Phra Somdej amulets created by His Eminence Somdej Phra Phutthāchān (To Phrommarangsī) are not merely votive objects; they are consecrated representations of the Buddha (buddha-pratimā), each imbued with the purest spiritual power and supreme incantations (vijjā-āgamā) from His Eminence's profound meditative states.

Below; a macro close up shows the Gaes (Kesa) topknot to have the preferref block press wavy line, making this a Pim Gaes Iang Niyom preferred model, one of the priceless models of Somdet Toh

The sacred composition (mūan sārn) is a symphony of the most auspicious elements:

• The Five Sacred Powders (Phong Wisēt Hā Prakān): This refers to the legendary powders of Paṭhamaṃ, Itthije, Mahārāj, Buddha-guṇa, and Trī-nisinghe. These are the ultimate catalysts for universal loving-kindness (mettā-mahā-niyom), evasion of peril (khlaēo khlāt), and overarching sovereign power.
• Raw Seashell Lime (Pūn Pleūak Hǫi Dip): The primary binding agent, which, over a century of aging, produces the unique "natural antiquity" (thammachāt khwām kao). This includes natural shrinkage (kān yup tūa), the efflorescence of calcite crystals (kān ngǫk khǫng khaēlsai), and a texture that is described as "firm yet soft" or "densely supple" (neūa nheuk nùm).
• Other Auspicious Aggregates: These include 108 varieties of flower pollens (kēsǫn dǫk māi), dried cooked rice (khāo suk), bananas (klūay), sacred earths, and, most notably, powders from ancient Phra Kamphāēng Sum Kǫ amulets, which His Eminence procured from Kamphaeng Phet province. This ingredient is considered the apex of materials for enhancing fortune and prosperity (bhogasampadā).

The consecration ceremony (pluk sēk) performed by Somdej To is legendary. He would conduct the rites within the main chapel (uposatha) of Wat Rakang, invoking through his formidable psychic concentration (jhāna) the protective virtues (bāramī) of all Buddhas, Arhats, and Devas. Each Phra Somdej amulet is thus considered to possess a "life force" and a pure, sacred energy. Its buddha-guṇa (the inherent power of the Buddha) is therefore universally acknowledged, making it the undisputed "Emperor of Buddhist Amulets" (Jakraphat haēng Phra Khreūang).

The 'Chang Sip Moo': Royal Artisans of the Rattanakosin Era: The Genesis of Supreme Buddhist Art

During the reign of His Majesty King Mongkut (Rama IV), the Kingdom of Siam was opening to the West, yet its traditional arts flourished, spearheaded by the Royal Bureau of the Ten Crafts (Krom Chāng Sip Mū). This name is a collective term for the kingdom's elite artisans who specialized in various disciplines: painting, sculpting, casting, engraving, and more.

Among the preeminent artisans of this era was Luang Wichān Chīaranai. As a master goldsmith to the Royal Court, his skill in engraving and designing royal regalia was unparalleled. Possessing deep faith in Buddhism and in Somdej To, he volunteered his superlative skills to carve the master molds (mae phim) for the Phra Somdej amulets.

Molds carved by a royal artisan are distinctly superior to those of folk craftsmen. They exhibit a quality best described as "sharp, clear, and deep" (khom chat leuk). The proportions are aesthetically perfect, and the lines possess a graceful fluidity (ǫn chǫi) that simultaneously conveys elegance and power. This is the origin of the "Royal Artisan Blocks" (blǫk chāng lūang), a category believed to also include the work of masters such as Luang Wichit Nareumon and Luang Sitthikān.

An In-Depth Analysis of the Phra Somdej, Pim Ket Jarot Sum, Luang Wichān Chīaranai Block: Aesthetics and Diagnostic Points

The Pim Ket Jarot Sum ("The Mold Where the Finial Touches the Arch") is a premier niyom (preferred) model. The Luang Wichān block is considered its most aesthetically perfect rendition. A rigorous examination requires meticulous attention to the following diagnostic points (tamni):

1. Overall Aesthetics: The image is majestic (sāngā ngām) and robust (lâmsan), yet balanced with graceful lines. The amulet appears "full in the mold" (tem phim), with the outer frame (krǫp krachok) and the arch in perfect harmony with the Buddha figure within.
2. The Flame Finial (Phra Ket): This is the defining feature. The ket is long, slender, and sharply defined, with its apex precisely touching the inner curve of the arch (sum). It is neither short of the arch nor does it press into it. The finial's form is like a vibrant, elongated lotus bud (plī yāo), not a stiff, lifeless rod.
3. The Face (Phra Phak): The face on a Luang Wichān block is a classic "Bael fruit shape" (rūp phon matūm)—plump and rounded, tapering slightly at the chin, conveying profound meditative tranquility. The eyes (phra nēt), nose (phra nāsik), and mouth (phra ōt) are subtly suggested rather than sharply delineated, inspiring a contemplative rather than literal interpretation. The ears (phra kan) are long, descending to the shoulders in the elegant hū bāi sī style.
4. The Arch (Sum Khrǫp Kaēo): The arch of a royal block is distinctively "plump and robust, with an inward-curving contour" (ūap im laē mī kān mūan tūa khao dān nai). Imagine a thick rattan cane split lengthwise; the inner and outer edges are sharply defined. This curvature creates a sense of depth. Critically, the arch on the Buddha's left side (our right) is slightly higher than the right side, a key asymmetrical feature of this master block.
5. The Torso and Chest (Lam Phra Ong and Phra Ura): The torso is majestic, with broad, commanding shoulders. The chest is a "cylindrical chest" (ok krabǫk), appearing rounded and full, not V-shaped. The saṅghāṭi robe is visible, draping naturally from the left shoulder.
6. The Arms and Hands (Phra Kǫn and Phra Hat): The arms descend and bend at the elbows to form the meditative posture (samādhi mudrā). In a brilliant stroke of artistic balance, the Buddha's left arm is positioned slightly higher than the right, mirroring the asymmetry of the arch above it.
7. The Lap and Base (Phra Phēlā and Thān): The lap (phēlā) is perfectly proportioned. The three-tiered base is a critical diagnostic area:
   • Top Base (Thān Mǫn): The "pillow base," shaped like an axe-head pillow with slanted sides. A slight depression in its center from the pressing of the mold is often visible.
   • Middle Base (Thān Sing): The "lion base" is the clearest testament to the royal artisan's skill. Its top edge is "razor-sharp" (khom khwān), and its ends curve up gracefully. A crucial identifying mark (tamni) is the faint "table leg" (khā tō), a small vertical line just beneath this base on the Buddha's left side.
   • Bottom Base (Thān Khīeng): The "chopping-block base" is thick, solid, and stable, appearing to firmly support the entire structure.
8. The Background Wall and Edges (Pheūn Phanang and Tat Khǫp): The background field is taut and smooth, yet will show authentic signs of aging like shrinkage wrinkles (rǫi yôn) or fine crazing (rǫi pū tài). The edges were cut with a sharp bamboo strip (tǫk māi phai), leaving characteristic striations and an authentic, slightly irregular finish.

A Special Case Study: The Ancient Chinese Lacquer and Cinnabar Finish (Long Rak Chāt Chīn Bōrān)

The application of lacquer (rak) and cinnabar (chāt) in ancient times served the primary purpose of preservation (raksā saphāp) against moisture and insects. However, it also created a unique and highly prized aesthetic. Examining such a piece requires an even more discerning eye.

• The Nature of Old Lacquer: The ancient lacquer is rak samuk (lacquer mixed with fine ash). Over a century, it dries completely, developing a distinctive crazing pattern known as "lāi sangkhalōk" (like the glaze on Sawankhalok ceramics) or, more poetically, "lāi yai maēng mum" (a spiderweb pattern). This crazing is natural and cannot be convincingly faked. The surface is matte, not glossy like modern lacquer.
• The Infusion of Cinnabar: The red cinnabar pigment (chāt) seeps into the cracks of the lacquer and the pores of the amulet's surface. It appears as a dry, "pigeon's blood red" (sī deāng leūat nok) color within the web of crazing.
• Penetrative Analysis: The lacquer may obscure minute details, but the fundamental structure and form of the Luang Wichān block must remain evident. One must learn to "see through" the lacquer to confirm the sharpness of the arch, the Bael-fruit face, and the razor-like lion base.
• Windows to the Core: Areas where the lacquer has flaked away (rak poēt) are invaluable. They provide windows to "examine the core substance" (sǫng neūa), allowing for the crucial analysis of the mūan sān and its nheuk nùm texture, which is the ultimate arbiter of authenticity.

Conclusion: A Value Beyond Valuation

A Phra Somdej Wat Rakang, Pim Ket Jarot Sum, from the Luang Wichān Chīaranai block—especially a piece preserved in ancient lacquer and cinnabar—is not merely an object of immense monetary value. It is a "living historical document" (ban-theuk haēng prawattisāt). It is a perfect synthesis of supreme faith (the bāramī of Somdej To), supreme artistry (the skill of the Chāng Lūang), and supreme sacred materials.

To study, appreciate, and perhaps one day be the custodian of such an amulet is a great honor. To look upon it is not just to search for diagnostic points for valuation, but to perceive the Dhamma embedded in its serene artistry, to feel the pure energy (phlang-ngān an bǫrisut) consecrated within, and to preserve a priceless national heritage (mǫradok an lamkhā khǫng chāt) for generations to come.