{"product_id":"lp-anucha-wat-pho-ratchaburana-27","title":"LP Anucha - Wat Pho Ratchaburana","description":"\u003cp\u003eANU01\u003c\/p\u003e\n\u003ch1\u003e\n\u003cstrong\u003eRian Ayu 60 - \u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eLang Yant Na Kongkrapan\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/h1\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eLP Anucha • Wat Pho Ratchaburana, Ratchaburi\u003cbr\u003e1st batch (60th birthday)\u003cbr\u003eTest mould\u003cbr\u003eB.E 2568\u003cbr\u003e1.5 Inches\u003cbr\u003eMainstream Artifact\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBio of LP Anucha: \u003ca href=\"https:\/\/oobamulets.com\/blogs\/news\/lp-anucha-wat-pho-ratchaburana\" rel=\"noopener\" target=\"_blank\"\u003eclick here\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003eSacred Craftsmanship\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRian Ayu 60\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e marks an important point in the sacred-object lineage of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLP Anucha Anuchato of Wat Pho Ratchaburana, Ratchaburi\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Created to commemorate his \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e60th birthday\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, or \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e5 Rob\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, it also represents the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efirst batch of Rian issued under LP Anucha\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etest-mould piece cast in lead\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, produced during the preparation and evaluation of the Rian before the regular issue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eLP Anucha personally hand-Yanted on this individual example on both the front and reverse, composition centred upon Yant Na Kongkrapan.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEach piece is therefore individually prepared and hand worked; natural variations in casting, surface, patina and the master's handwritten Yant make every example unique.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe photographs are representative only. A piece will be selected at random, and the item supplied may differ slightly from the exact piece shown in the images.\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003ePersonal Experiences Shared by Luksits\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eAmong LP Anucha's long-term Luksits are numerous business owners, traders and established local families whose relationships with respected masters extend across generations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDuring visits to Wat Pho Ratchaburana, I have met followers who explained that their fathers had previously been devoted to older masters such as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLP Deang of Wat Khao Bandai-It\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, while they themselves gradually came to follow LP Anucha.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne businessman working within Thailand's beauty industry spoke particularly strongly about this continuity. His father had collected LP Deang, while he later began carrying LP Anucha's sacred objects. As his own business expanded, he came to regard LP Anucha's blessings as an important spiritual companion alongside diligent work and careful judgement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOther entrepreneurs have spoken of smoother negotiations, stronger customer relationships, greater confidence in difficult decisions and a gradual improvement in financial stability.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith personally hand-Yanted pieces, however, Luksits often speak of an additional sense of closeness to the master. The attraction is understandable: rather than carrying only a medal bearing LP Anucha's portrait, the owner carries an object upon which the master personally sat and inscribed his sacred formulae.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor those who specifically sought \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKongkrapan and protective Wicha\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a Lang Liap piece carrying Yant Na Kongkrapan would naturally have held particular appeal.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003eSummary\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThis Rian combines several characteristics that distinguish it from an ordinary first-batch Ayu 60.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt commemorates LP Anucha's \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e60th year and its \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003e\u003cspan\u003ef\u003c\/span\u003eirst Rian batch\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is made from \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003elead as a test-mould piece\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLang Liap\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with the reverse left smooth rather than carrying the standard moulded reverse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth surfaces were \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003epersonally hand-Yanted by LP Anucha\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMost importantly, the reverse was specifically worked with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYant Na Kongkrapan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, giving this individual medal a much stronger emphasis upon protection, endurance and resistance to harm than the broader character normally associated with the standard Ayu 60.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor the collector, it represents not merely another metal variation, but an individually worked piece connecting the developmental stage of LP Anucha's first Rian with his personal protective Wicha.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003eHistorical Background\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe Ayu 60 issue commemorates the completion of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efive twelve-year cycles\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, traditionally expressed in Thailand as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e5 Rob\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA Rob represents one complete twelve-year zodiac cycle. Five cycles therefore equal sixty years, an important milestone traditionally associated with maturity, accumulated experience and the completion of a major period of life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWithin Thai Buddhist Wicha, the number five also carries sacred associations. One of the best-known is the five-syllable formula \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNa Mo Phut Tha Ya\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, traditionally connected with the Five Buddhas of the present aeon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLP Anucha was born on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e23 August 1964\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e in Nakhon Pathom Province. His early development was closely associated with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLP Sanga of Wat Nong Muang\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, through whom he was introduced to meditation, sacred inscription and traditional Buddhist Wicha.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe first entered the monkhood in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eB.E. 2527 (1984)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e at Wat Nong Pho. Following a period in lay life, he returned to the monkhood at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWat Pho Ratchaburana\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e10 August B.E. 2552 (2009)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis later studies combined formal Buddhist education with traditional Wicha. Between B.E. 2556 and 2558 (2013–2015), he completed the Nak Tham sequence while continuing the ritual knowledge transmitted through his teachers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdditional branches of his studies are associated with masters including \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLP Non of Wat Khao Phran Thup, LP Boonkham of Wat Chaiyaphum and LP Od of Wat Bang Muang\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProtective Wicha, sacred Yant inscription, Metta Maha Niyom, prosperity practices and the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNa Ma Pa Ta Wicha \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003econcerning the Four Great Elements are among the traditions particularly associated with his practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003eOrigins of the Materials\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThis particular Rian is made from \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003elead\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than the other versions of the Ayu 60.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts significance therefore lies in a different direction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe lead was used for a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etest mould\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, placing the piece within the preparatory stage of the issue. Such pieces allowed the moulded portrait, borders, lettering and relief to be examined before the wider production process.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLead naturally gives the medal a heavier and visually more subdued character. Over time, the surface can develop dark grey, charcoal and almost black tones, particularly within recessed areas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor this Lang Liap example, the material also provided an extensive reverse field for LP Anucha's personal inscription.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe front therefore records the work of the mould.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse records the work of the master.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat distinction is central to understanding the character of this particular piece.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003eRitual\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eAfter the front had been formed, the smooth reverse remained open for individual ritual work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLP Anucha personally added sacred characters to the portrait side before working much more extensively across the\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e reverse\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the centre of the reverse is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYant Na Kongkrapan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWithin traditional Thai Wicha, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKongkrapan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e concerns resistance and endurance against physical danger. Depending upon the lineage and particular formula used, it may be associated with protection against weapons, violent circumstances, accidents and situations where bodily safety is threatened.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe principle is slightly different from Klaew Klaad.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eKlaew Klaad\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e concerns avoiding or escaping danger.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eKongkrapan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e concerns endurance when danger cannot be avoided.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe two are therefore frequently regarded as complementary protective branches.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe additional sacred characters surrounding the central Na Kongkrapan composition further reflect the individually prepared character of this medal. Because the reverse was not machine engraved or moulded, LP Anucha was free to arrange the inscriptions according to the particular Wicha being applied.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is precisely such pieces can differ so noticeably from one another.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003eBlessings and Effects\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe presence of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYant Na Kongkrapan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e gives this example a more distinctly protective orientation than the standard Ayu 60.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts principal traditional association is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKongkrapan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, understood as strengthening resistance against physical danger and helping the wearer remain protected when exposed to threatening circumstances.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is complemented by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKlaew Klaad\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, concerned with avoiding accidents, harmful situations and unnecessary confrontation before they develop further.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe wider Ayu 60 consecration adds \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBaramee\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, supporting personal standing, confidence and respect, together with the broader protective qualities associated with LP Anucha's Wicha.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMetta and prosperity remain relevant within the character of the original Rian, particularly for businesspeople and those whose livelihood depends upon relationships with others. Yet on this individual piece, these should be understood as supporting qualities rather than its defining emphasis.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts central character is better summarised as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eKlaew Klaad — avoid the danger.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eKongkrapan — withstand what cannot be avoided.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eBaramee — remain composed and respected under pressure.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003eModern Application\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe protective emphasis of this particular Rian makes it especially appropriate for those whose daily lives involve frequent travel, unpredictable environments or significant responsibility.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDrivers and those spending long periods on the road may approach it for traditional Klaew Klaad and protection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBusiness owners who regularly travel, handle valuables or work late hours may appreciate the combination of protection with the broader prosperity and Baramee qualities of LP Anucha's lineage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is equally relevant to people working in physically demanding occupations or environments where situational awareness and personal safety are important.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor the collector, however, its appeal extends beyond function.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003elead test mould\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLang Liap reverse\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eindividual hand-Yant work\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and a clearly identifiable protective Yant together create a much more personal object than a standard production medal.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003ePhysical Details\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRian Ayu 60\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e measures approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1.5 inches\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and this particular example is made from \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003elead as a test-mould piece\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe obverse is moulded and features LP Anucha's portrait in monastic robes within the familiar ornamental frame of the first Ayu 60 issue. Numerous additional sacred characters have been individually inscribed around the portrait and surrounding field.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse is empty \u003c\/span\u003e\u003cspan\u003eland eft smooth rather than carrying the normal moulded reverse design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross this open surface LP Anucha personally engraved the sacred characters and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYant Na Kongkrapan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, creating a visibly freehand composition that differs fundamentally from a machine-produced Yant.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe lead has developed a deep charcoal to blackened appearance, with lighter grey highlights appearing across raised and worked areas. Small surface irregularities and inscription marks contribute to the working character expected of a test-mould piece.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is housed in a fitted \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003esilver-coloured protective casing\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, allowing both the moulded portrait and hand-worked reverse to remain visible.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003eRecommended Pairing\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eFor a stronger emphasis upon avoidance of danger, a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKlaew Klaad Takrut\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e would complement the Na Kongkrapan reverse particularly well: one tradition concerns escaping danger, while the other concerns endurance and resistance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePhra Pidta\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e offers another natural pairing for those seeking a quieter form of spiritual shielding, particularly against harmful influences, hostility and unseen negativity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor livelihood and resources, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePhra Sivali\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e can balance the strongly protective nature of this particular Rian with blessings traditionally associated with sustenance and opportunity.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003ePersonal Notes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe character of this piece is best understood through its reverse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA normal production medal receives its reverse from the mould.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis one received its reverse \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efrom LP Anucha's hand\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe blank Lang Liap field allowed him to choose the Wicha, position the sacred characters and build the composition directly upon the metal. In this example, he chose \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNa Kongkrapan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, turning what began as a lead test mould into an individually prepared protective Rian.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat gives the object three separate layers of history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe test mould records the creation of the first Rian.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eThe Lang Liap reverse records its unfinished state.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eThe hand-Yanted Na Kongkrapan records LP Anucha completing that individual piece through Wicha.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor a collector of LP Anucha, this is where the appeal lies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is not simply one medal from the first batch.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eIt is a piece from the making of the first batch, subsequently completed by the master's own hand.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"OOBThaiAmulets","offers":[{"title":"Default Title","offer_id":48620939378825,"sku":null,"price":1155.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0602\/1831\/0793\/files\/Untitled-349.jpg?v=1791433258","url":"https:\/\/oobamulets.com\/products\/lp-anucha-wat-pho-ratchaburana-27","provider":"OOBThaiAmulets","version":"1.0","type":"link"}