PST06

Bobo Aung

Por Sala Tan
1 Inch
Mainstream Artifact

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Individual Craftsmanship

As each relic was individually selected, carved, coated and filled by hand, natural differences in form, texture, colour and placement of the sacred materials make every artifact unique.

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Personal Experiences Shared by Luksits

Among Por Sala Tan's luksits, Bobo Aung pieces are generally regarded as balanced artifacts for livelihood, opportunity and overcoming obstacles, rather than pieces directed towards only one purpose.

Luksits often speak about circumstances beginning to move after periods of stagnation — a delayed matter finally progressing, a useful person appearing, negotiations becoming easier or an unexpected opportunity arriving at the right time.

Business owners and people working in sales particularly associate Bobo Aung with metta and favourable human connections: customers returning, conversations becoming smoother and assistance sometimes appearing through influential or well-connected people.

Others carry Bobo Aung during periods of uncertainty for steadiness and confidence when making important decisions.

These remain personal experiences rather than guarantees, but they closely reflect the traditional reputation surrounding Bobo Aung: wisdom applied to practical life, obstacles gradually overcome and fortune created through knowledge and right timing.

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Summary

This unusual Bobo Aung belongs to a group of artifacts Por Sala Tan created from materials recovered while assisting with damaged graves at an abandoned mountain settlement near Burma.

Severe monsoon flooding had submerged the surrounding village and rice fields. Conditions eventually became unsuitable for habitation, forcing villagers to relocate to safer ground.

Their old burial areas remained behind.

As continuing rainfall damaged the graves, Por Sala Tan was asked to travel into the area and perform the necessary rites.

After communicating with the spirits and completing the appropriate ceremonies, he collected selected relic materials for the creation of sacred artifacts.

Some of these Graduk relics were subsequently carved into images of Bobo Aung.

The choice was particularly appropriate to Por Sala Tan's Burmese-influenced practice: Bobo Aung represents the old Burmese ideal of the accomplished esoteric practitioner — combining knowledge, discipline, medicine, alchemy and spiritual cultivation.

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Historical Background

Bobo Aung and the Burmese Weikza Tradition

Bobo Aung, also written Bo Bo Aung, occupies an important place within Burmese popular spiritual tradition.

He is closely associated with the broader Weikza tradition — esoteric practitioners whose disciplines may include meditation, mantra, traditional medicine, alchemical practice and other forms of spiritual cultivation.

Within popular accounts, accomplished Weikza are remembered as individuals who developed extraordinary spiritual abilities through prolonged discipline.

Bobo Aung consequently became more than the image of an individual master. For many devotees, he represents wisdom, perseverance, protection, successful accomplishment and mastery over difficult circumstances.

This makes his image particularly meaningful in an artifact combining Burmese medicinal substances with Por Sala Tan's own ritual materials.

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Origins of the Materials

The Graduk used for this Bobo Aung originated from the same abandoned settlement where Por Sala Tan had been called to assist with damaged graves.

The village stood in a mountainous region close to Burma.

Following severe monsoon flooding, residents eventually relocated, but the burial grounds remained exposed to heavy rainfall and erosion.

Por Sala Tan travelled there to perform cleansing and settling rites for the disturbed graves.

Only after communicating with the spirits and carrying out the necessary ceremonies were selected materials taken for sacred work.

Rather than treating all of the recovered material identically, Por Sala Tan created several different forms of artifactsfrom the group.

For selected Graduk pieces, he chose Bobo Aung.

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Ritual

The Graduk was first carved into the seated image of Bobo Aung.

Por Sala Tan then applied red lacquer mixed with Burmese red wax, creating a ritual sealing layer over the carved surface before applying the gold finish.

The reverse received a considerably more complex preparation.

Holy powders associated with sacred places in both Burma and Thailand were blended together and packed behind the carving.

Two takruts were inserted into this mixture.

Most distinctive, however, is the inclusion of a Burmese medicinal herb traditionally valued within the lineage in a way comparable to Jindamanee.

Such medicinal and sacred-herb traditions occupy an interesting position in Burmese esoteric practice. Medicine was not always regarded solely in physical terms; certain forest herbs and compounded substances could also acquire ritual significance through preparation, mantra and association with particular masters.

Within this artifact, the herb was incorporated principally for metta, auspiciousness and the harmonising of circumstances.

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Blessings and Effects

The traditional qualities associated with this Bobo Aung centre upon:

• Metta Maha Niyom — goodwill, acceptance and favourable relationships.
• Business and trade — smoother dealings, customers and commercial opportunities.
• Opening opportunities — helping circumstances move when progress has become difficult.
• Wisdom and judgement — clarity when choosing between different paths.
• Prosperity — supporting a stable livelihood and accumulation of resources.
• Protection — traditional safeguarding against unfavourable influences.
• Influential assistance — receiving timely help, introductions or support from others.
• Success — perseverance through obstacles towards eventual accomplishment.

The Burmese medicinal herb gives the piece a particularly strong metta and harmonising character.

Rather than forcing circumstances, its symbolism concerns making conditions more favourable so that opportunities, relationships and practical efforts can develop naturally.

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Modern Application

This is particularly suitable for business owners, salespeople, professionals and anyone whose livelihood depends heavily upon relationships with others.

Its metta aspect may be directed towards customer rapport, communication and being received favourably.

The Bobo Aung aspect adds another dimension: knowledge before action.

For someone facing an important contract, promotion, business expansion or difficult negotiation, the artifact can serve as a reminder to remain patient, understand the situation thoroughly and act when conditions are favourable.

It is therefore an unusually rounded piece — combining metta, prosperity, wisdom, protection and practical advancement rather than concentrating entirely upon aggressive spiritual power.

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Physical Details

The front presents a seated Bobo Aung carved directly into the Graduk relic.

His face, robes and seated posture remain clearly defined beneath the layered finish. Gold covers much of the surface while areas of deep red remain visible around the recessed details, revealing the underlying red lacquer and Burmese red-wax preparation.

The reverse remains deliberately exposed so its sacred construction can be seen.

A dark mixture of holy powders occupies the backing, with two takruts positioned vertically along either side.

At the centre sits the distinctive Burmese medicinal herbal material, surrounded by the powder mixture and remnants of the gold treatment.

The entire artifact is protected within a custom engraved silver casing, allowing both its carved face and ritual backing to remain visible.

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Recommended Pairing

Bobo Aung pairs particularly well with a traditional Buddha or respected monk amulet associated with baramee, metta or wealth.

For business use, a Phra Sivali, Nang Kwak or another established prosperity piece creates a balanced combination: Bobo Aung for wisdom, opportunity and overcoming obstacles, with the accompanying artifact directed towards livelihood and commercial flow.

It can equally be worn alone, as the construction already incorporates both protective and prosperity-oriented materials.

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Personal Notes

What makes this Bobo Aung particularly interesting is the way Burmese lineage, sacred medicine and Por Sala Tan's own practice meet within a single artifact.

The Graduk itself came from Por Sala Tan's work at the abandoned mountain village. Its physical form was then transformed into the image of one of Burma's best-known esoteric masters.

Burmese red wax became part of its outer preparation.

Sacred powders from both Burma and Thailand formed its backing.

Two takruts introduced Por Sala Tan's own wicha, while the Burmese medicinal herb provided another direct connection to the old tradition of sacred medicine.

Nothing about the construction feels accidental.

The Graduk provides the foundation.
Bobo Aung provides the sacred form.
The Burmese herb carries the medicinal tradition.
The powders unite Burma and Thailand.
The takruts complete Por Sala Tan's own ritual work.

For me, this is what gives the artifact its character. It is not simply an image of Bobo Aung carved onto an unusual material; it is a piece in which the image, provenance and ingredients all preserve Por Sala Tan's long connection with Burmese esoteric practice.