{"product_id":"ajahn-plian-panyapatipo-wat-aranyawiwek-21","title":"Ajahn Plian Panyapatipo - Wat Aranyawiwek","description":"\u003cp\u003eMS07\u003c\/p\u003e\n\u003ch1\u003eRoop Tai \u003c\/h1\u003e\n\u003cp\u003e\u003cstrong\u003eAjahn Plian Panyapatipo · Wat Aranyawiwek · Chiang Mai\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBefore B.E. 2519\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e4.5cm\u003cbr\u003eMainstream Artifact\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eIndividual Craftsmanship\u003c\/h2\u003e\n\u003cp\u003eBio of Ajahn Plian Panyapatipo can be found here:\u003c\/p\u003e\n\u003cp\u003ehttps:\/\/oobamulets.com\/blogs\/news\/ajahn-plian-panyapatipo-wat-aranyawiwek\u003c\/p\u003e\n\u003cp\u003eThis particular example has subsequently been preserved in a finely worked \u003cstrong\u003esilver casing with coloured enamel decoration\u003c\/strong\u003e. As these early photographs were individually printed, handled and distributed, differences in colour, texture, stamping and natural ageing are expected from one surviving example to another.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003ePersonal Experiences Shared by Luksits\u003c\/h2\u003e\n\u003cp\u003eEarly photographs of Ajahn Plian have a character quite different from the formal portraits produced after he became widely known.\u003c\/p\u003e\n\u003cp\u003eThis B.E. 2519 photograph captures him as a relatively young forest monk, seated simply in meditation. The original image itself is uncomplicated, reflecting the modest environment of the monastery during that period.\u003c\/p\u003e\n\u003cp\u003eFor collectors of Ajahn Plian, the \u003cstrong\u003eearly Samnak Song marking on the reverse\u003c\/strong\u003e is particularly meaningful. It connects the photograph to the formative period of the monastery rather than merely presenting a later reproduction of his image.\u003c\/p\u003e\n\u003cp\u003eThis particular photograph is also documented among the early images appearing in biographical material concerning Ajahn Plian, adding another layer of historical interest to an already uncommon early Roop Tai.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eSummary\u003c\/h2\u003e\n\u003cp\u003eThe \u003cstrong\u003eB.E. 2519 Roop Tai of Ajahn Plian Panyapatipo\u003c\/strong\u003e is an early photographic devotional artifact from Wat Aranyawiwek's formative years.\u003c\/p\u003e\n\u003cp\u003ePrinted on traditional \u003cstrong\u003eKradas Nang Kai\u003c\/strong\u003e, the front depicts Ajahn Plian seated cross-legged in meditation. The reverse carries an early monastery stamp associated with \u003cstrong\u003eSamnak Song Ban Pong Aranyawiwek\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe example shown remains in particularly attractive condition and has been protected within an elaborate silver casing decorated with red and amber enamel.\u003c\/p\u003e\n\u003cp\u003eIts importance lies not in elaborate sacred materials, but in something simpler: it preserves the image of an important Thai Forest Tradition monk at an early stage of his teaching life.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eHistorical Background\u003c\/h2\u003e\n\u003cp\u003eAjahn Plian Panyapatipo was born on \u003cstrong\u003e16 November 1933\u003c\/strong\u003e in Ban Khok Kon, Sakon Nakhon.\u003c\/p\u003e\n\u003cp\u003eHis interest in monastic practice began while he was still young. Before ordination, he encountered forest monks and learned walking meditation from \u003cstrong\u003eLP Phrom Jirapunyo\u003c\/strong\u003e, a disciple within the tradition associated with \u003cstrong\u003eLP Mun Bhuridatta\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAjahn Plian was ordained on \u003cstrong\u003e31 March 1959\u003c\/strong\u003e at Wat That Michai and received the monastic name \u003cstrong\u003ePanyapatipo\u003c\/strong\u003e. He subsequently devoted himself to the Dhammayuttika forest tradition, travelling and seeking instruction from accomplished meditation masters.\u003c\/p\u003e\n\u003cp\u003eAmong the important teachers associated with his development were \u003cstrong\u003eLP Phrom Jirapunyo, LP Thet Thetsarangsi and LP Waen Sujino\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch3\u003eThe Early Years of Wat Aranyawiwek\u003c\/h3\u003e\n\u003cp\u003eAjahn Plian became abbot of \u003cstrong\u003eWat Aranyawiwek, Mae Taeng, Chiang Mai\u003c\/strong\u003e, in 1966.\u003c\/p\u003e\n\u003cp\u003eThe monastery of that period was considerably more modest than the institution later generations would know. Early material consequently sometimes carries references to \u003cstrong\u003eSamnak Song Ban Pong Aranyawiwek\u003c\/strong\u003e, reflecting its earlier status and identity.\u003c\/p\u003e\n\u003cp\u003eThe B.E. 2519 photograph belongs to this important period.\u003c\/p\u003e\n\u003cp\u003eAjahn Plian would remain closely associated with Wat Aranyawiwek for the rest of his life, becoming widely respected for meditation practice, strict observance of monastic discipline and clear teachings centred upon the path towards liberation.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eOrigins of the Materials\u003c\/h2\u003e\n\u003cp\u003eThe principal material is the \u003cstrong\u003eKradas Nang Kai photographic print\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThis type of textured photographic paper is immediately recognisable by its fine raised surface. Rather than the smooth finish of modern photographic prints, it gives the image a distinctive patterned appearance when viewed closely.\u003c\/p\u003e\n\u003cp\u003eSuch photographs were practical devotional objects. They allowed disciples to keep an image of their teacher at home, on an altar or personally with them.\u003c\/p\u003e\n\u003cp\u003eOn this example, the reverse preserves part of the original paper surface together with the \u003cstrong\u003eSamnak Song marking\u003c\/strong\u003e, while the photograph has later been protected inside its silver casing.\u003c\/p\u003e\n\u003cp\u003eUnlike a conventional pressed powder or cast metal amulet, the importance of a Roop Tai lies primarily in the \u003cstrong\u003eimage, period, provenance and association with the monk represented\u003c\/strong\u003e.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eRitual\u003c\/h2\u003e\n\u003cp\u003eWithin Thai Buddhist practice, portraits of respected teachers can serve as objects of \u003cstrong\u003eAcariyanussati\u003c\/strong\u003e — recollection of one's teacher.\u003c\/p\u003e\n\u003cp\u003eAjahn Plian's own practice belonged firmly to the \u003cstrong\u003eKammatthana\u003c\/strong\u003e, or meditation, tradition. His teaching emphasised mindfulness, \u003cem\u003esamadhi\u003c\/em\u003e, observance of the precepts and investigation of the nature of mind and body.\u003c\/p\u003e\n\u003cp\u003eThe photograph therefore carries a different character from an artifact centred upon elaborate occult construction.\u003c\/p\u003e\n\u003cp\u003eIts purpose is closely connected with remembrance: seeing the teacher and recalling the discipline and Dhamma for which he stood.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eBlessings and Effects\u003c\/h2\u003e\n\u003cp\u003eFor disciples, carrying the image of a respected forest master is traditionally associated with remembrance of the teacher, confidence in Dhamma and encouragement towards mindful conduct.\u003c\/p\u003e\n\u003cp\u003eAjahn Plian was particularly associated with disciplined meditation and steadiness of mind. His Roop Tai can therefore be understood as a reminder of:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003emindfulness and composure\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003esteadiness during uncertainty\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ediscipline and right conduct\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003efaith in the Triple Gem\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003erecollection of one's teacher and practice\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eRather than being centred upon promises of immediate worldly results, its significance is grounded in the relationship between \u003cstrong\u003eteacher, disciple and Dhamma\u003c\/strong\u003e.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eModern Application\u003c\/h2\u003e\n\u003cp\u003eThe photograph may be worn as a personal devotional artifact or preserved as part of a collection devoted to Ajahn Plian and the Thai Forest Tradition.\u003c\/p\u003e\n\u003cp\u003eIts B.E. 2519 dating makes it especially interesting beside later photographs and amulets, where it helps illustrate how devotional objects associated with Ajahn Plian developed as his reputation expanded.\u003c\/p\u003e\n\u003cp\u003eThe substantial silver-and-enamel casing also allows the fragile early photograph to be worn while keeping the original paper protected.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003ePhysical Details\u003c\/h2\u003e\n\u003cp\u003eThe artifact contains an early \u003cstrong\u003eB.E. 2519 Kradas Nang Kai photographic portrait\u003c\/strong\u003e of Ajahn Plian seated in meditation. Its characteristic magenta colouring and textured paper surface remain clearly visible. The reverse carries the early \u003cstrong\u003eSamnak Song marking\u003c\/strong\u003e associated with the monastery's formative period. This example is housed in a substantial hand-worked silver casing decorated with red and amber enamel, with a circular viewing window at the reverse retaining visibility of the original backing and stamp.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eRecommended Pairing\u003c\/h2\u003e\n\u003cp\u003eAn appropriate pairing would be an early Buddha image or an artifact connected with the \u003cstrong\u003eLP Mun Kammatthana lineage\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003ePieces associated with \u003cstrong\u003eLP Mun, LP Phrom, LP Thet or LP Waen\u003c\/strong\u003e are particularly relevant because they place Ajahn Plian within the broader forest tradition in which he trained and practised.\u003c\/p\u003e\n\u003cp\u003eThe Roop Tai itself, however, is already complete as a personal remembrance of the teacher and does not require another artifact to give it meaning.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003ePersonal Notes\u003c\/h2\u003e\n\u003cp\u003eAjahn Plian passed away peacefully on \u003cstrong\u003e15 February 2018\u003c\/strong\u003e, aged \u003cstrong\u003e84\u003c\/strong\u003e, after \u003cstrong\u003e59 rains retreats\u003c\/strong\u003e. His royal cremation ceremony was held at Wat Aranyawiwek on \u003cstrong\u003e16 February 2019\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAmong the many later photographs and sacred objects connected with him, early Roop Tai such as this preserve something that cannot easily be recreated: \u003cstrong\u003eAjahn Plian as he appeared during the formative years of Wat Aranyawiwek\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eB.E. 2519 date, Kradas Nang Kai photographic paper and early Samnak Song marking\u003c\/strong\u003e place the piece firmly within that period.\u003c\/p\u003e\n\u003cp\u003eThe elaborate silver enamel casing came later, but at its centre remains a remarkably simple object — an early photograph of a forest monk seated quietly in meditation, long before his name became familiar to disciples throughout Thailand.\u003c\/p\u003e","brand":"OOBThaiAmulets","offers":[{"title":"Default Title","offer_id":48414842126473,"sku":null,"price":513.53,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0602\/1831\/0793\/files\/Untitled-244-2.jpg?v=1790132749","url":"https:\/\/oobamulets.com\/products\/ajahn-plian-panyapatipo-wat-aranyawiwek-21","provider":"OOBThaiAmulets","version":"1.0","type":"link"}