PST08

Mae Per 

Por Sala Tan
3 Inches
Barang Artifact

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Sacred Craftsmanship

Each artifact was individually handmade from naturally aged sacred material. Variations in surface, colour, markings, carving and form are inherent to the original Paneang and make every surviving piece unique.

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Personal Experiences Shared by Luksits

This particular Mae Per was later collected from one of Por Sala Tan's luksits. According to its previous history, it is one of only a small number made in this unusually large size.

Feedback surrounding these Paneang Mae Per pieces has consistently centred upon two areas: wish fulfilment and Metta.

Some luksits carried the piece when they wanted movement in matters that had become stagnant. Reports included wishes concerning increased sales, important career decisions and opportunities that required favourable responses from other people.

Others associated it more strongly with Maha Saneh and opposite attraction, describing greater attention, easier communication and people becoming noticeably more receptive towards them.

The larger Paneang pieces became particularly valued among those familiar with Por Sala Tan's early Barang work.

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Summary

A large Mae Per carved directly from single-spirit Paneang, originating from unmarked remains discovered while villagers were clearing agricultural land.

Por Sala Tan was originally involved because of disturbances affecting the village. After communicating with the associated presence, he retained selected ritual materials while arranging for the remaining remains to receive proper cremation rites.

The resulting Mae Per combines the traditional current of Metta Maha Niyom, Maha Saneh, wish fulfilment and worldly opportunity with the concentrated character of a single Mae Prai.

Among luksits, its most frequently discussed applications concern sales, career movement, attraction, favourable human relationships and the opening of opportunities.

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Historical Background

Mae Per belongs to the broader Thai–Khmer tradition of female talismanic figures associated with attraction, fertility, prosperity and maternal power.

Her characteristic open-legged seated posture can appear provocative when viewed without its traditional context. Within older interpretations, however, the form is also associated with childbirth and the female capacity to create and sustain life.

This helps explain why Mae Per developed meanings extending considerably beyond romantic attraction.

One traditional account tells of a young woman whose presence attracted people towards her family's market stall. Customers gathered around her and subsequently purchased goods, establishing the connection between Mae Per, personal attraction and prosperous trade.

Other interpretations emphasise the mother herself: the figure who gives life, protects her children and draws affection naturally. From this developed associations with Metta, protection, fertility and the creation of new opportunities.

For Por Sala Tan, however, the meaning of an individual Mae Per could also be determined by its actual ritual material. This example belongs specifically to his Prai-based Barang tradition.

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Origins of the Materials

The central material is Paneang from a single Mae Prai.

Its history begins with the discovery of unidentified remains in agricultural land being cleared by villagers. Because the burial was unmarked and the identity unknown, there was no established family or recognised grave associated with the remains.

Por Sala Tan's involvement came through the disturbances subsequently experienced around the area.

After communication and ritual work had taken place, selected relic material was preserved. The remaining remains were treated respectfully and cremated through the appropriate ceremony.

The Paneang retained by Por Sala Tan subsequently became material for several sacred artifacts, including this Mae Per.

Its significance therefore lies not simply in the rarity of Paneang, but in the fact that its origin and spiritual association were kept together rather than mixed with material from multiple Prai.

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Ritual

The first stage of the working occurred before the Mae Per itself existed.

Por Sala Tan's initial responsibility was the resolution of the disturbance surrounding the discovered remains. Communication with the associated presence came first, followed by the separation of selected ritual material and the proper cremation of what remained.

Only afterwards were portions of the retained material used for sacred objects.

For this artifact, Por Sala Tan carved the Mae Per directly upon the Paneang, transforming material associated with an unresolved death into a defined ritual form through which the Mae could assist a future keeper.

This distinction is important within Por Sala Tan's Barang practice. The intention was not simply to obtain spiritually charged material, but to establish a relationship and purpose before that material was incorporated into an artifact.

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Blessings and Effects

The principal traditional workings of this Mae Per centre upon Metta Maha Niyom, Maha Saneh and wish fulfilment.

Metta Maha Niyom concerns goodwill — encouraging people to receive the keeper favourably, listen more readily and respond with greater kindness.

Maha Saneh concerns attraction and personal magnetism. This may be applied towards romantic relationships, but also towards customer interaction, negotiation and circumstances where being remembered or noticed is important.

The traditional wealth aspect of Mae Per is closely connected with this attraction principle. Rather than representing wealth independently, the current is understood as drawing people, customers and opportunities towards the keeper, from which livelihood and prosperity may develop.

For this particular artifact, luksit accounts have especially associated the working with:

• stronger sales and customer response;
• career opportunities and important decisions;
• favourable treatment from others;
• opposite attraction and relationship matters;
• wishes involving movement from stagnant circumstances.

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Modern Application

In modern circumstances, this Mae Per is particularly relevant to people whose livelihood depends upon human relationships and favourable interaction.

Business owners may keep it where customers are received. Those involved in sales, trading, hospitality or negotiation may carry it when meeting clients. Others may approach Mae Per for personal relationships, attraction or an important wish requiring cooperation from another person.

Its application should therefore not be reduced simply to romantic Saneh.

Within the older understanding of Mae Per, attraction can mean drawing people, affection, customers, assistance, opportunity and prosperity towards oneself.

As a single-Prai artifact, this piece is also suited to collectors who specifically appreciate Por Sala Tan's older Barang workings in which the history of an individual spirit and the physical material remained directly connected.

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Physical Details

An unusually large oval Mae Per individually carved from aged Paneang associated with a single Mae Prai. The front carries the seated female form surrounded by extensive hand-inscribed sacred characters and yantra markings, while the reverse retains the heavy, naturally irregular surface of the original material. Ageing, darkening, fissures and differences in texture are intrinsic to the Paneang and its subsequent ritual preparation.

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Recommended Pairing

Because this is a Prai-based Mae Per with a concentrated single-spirit origin, a Baramee-oriented piece may be paired with it when the keeper wants a broader balance between attraction and authority.

A Buddha, Lersi or other strong Baramee artifact can provide the stabilising foundation, while Mae Per remains focused upon Metta, Saneh, opportunity and wish fulfilment.

For those already comfortable working with Por Sala Tan's Barang tradition, the Mae Per may also be kept as an individual artifact, allowing its original single-Prai character to remain the principal focus.