{"product_id":"por-sala-tan-copy-109","title":"Por Sala Tan","description":"\u003cp\u003ePST02\u003c\/p\u003e\n\u003ch1\u003e\u003cstrong\u003e\u003cspan\u003eOng Krut Keow Moo Tong Deang\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h1\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePor Sala Tan\u003cbr\u003e5 Inches \u003cbr\u003eMainstream Artifact\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003e\u003cspan\u003eSacred Craftsmanship\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThis imposing \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOng Krut\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e was personally prepared by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePor Sala Tan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as a working ritual artifact rather than simply as a piece intended for ordinary carrying.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEach artifact of this nature was individually carved and assembled from old natural and ritual materials. Variations in the fang, carving, inscriptions, relics, bindings, colour and surface patina form part of the character of the piece and its history of use.\u003c\/span\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\u003eAccording to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAc Lek\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this was not an artifact that remained stored away after its consecration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Ong Krut was a substantial working piece, approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efive inches in size\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, which Por Sala Tan kept within his ritual environment and personally used during ceremonies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt could be held during ritual work or positioned beside him when dealing with particularly heavy conditions. Accounts from those close to the lineage associate its use with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eclearing harmful energies, breaking or dissolving occult interference, stabilising ritual spaces and supporting demanding consecration work\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInterestingly, its use was not limited to Por Sala Tan himself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAc Lek recalled that visiting monks and masters would sometimes \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eborrow the Ong Krut for use during their own ceremonies\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e when additional ritual support was required. It was therefore regarded less as a personal amulet and more as a recognised \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eworking instrument\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e within Por Sala Tan’s circle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt was also brought into ceremonies involving \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMetta and Saneh work\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Here, its purpose was not necessarily to provide attraction by itself, but to establish and control the ritual environment so that other workings could proceed within a stable field.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors of Por Sala Tan’s lineage, this history of repeated ceremonial use is particularly important. Its significance comes not simply from the rarity of the materials, but from having been \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eactively worked with over many ceremonies\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\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 \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOng Krut Keow Moo Tong Deang\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e represents the heavier protective and ritual side of Por Sala Tan’s practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCarved from Keow Moo Tong Deang with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLersi Ser Ming Pai\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e upon its face, the reverse combines \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e100+ year-old Nga Chang Graden Boran, ancient Kon Chang and two takruts\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e into a powerful traditional construction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts principal qualities centre upon \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBaramee, protection, obstacle clearing, command and the stabilisation of difficult spiritual environments\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMore significantly, this example was remembered as one of Por Sala Tan’s own \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eworking ritual pieces\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. It was used during ceremonies and, according to Ac Lek, was occasionally loaned to visiting monks and masters who required its support.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is therefore better understood as a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eritual tool with accumulated history\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e rather than simply an oversized personal amulet.\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\u003eLarge Ong Krut pieces occupy a different position from the smaller amulets normally associated with personal wear.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWithin traditional practice, certain sacred objects were deliberately made larger because their intended environment was the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ealtar, ritual room or ceremonial space\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. They could be held during a rite, placed beside the practitioner or positioned among the materials being consecrated.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe imagery of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLersi Ser Ming Pai\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is particularly appropriate to such an object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWithin Por Sala Tan’s lineage, Lersi traditions were closely connected with the transmission of wicha, discipline, knowledge, protection and the management of forces encountered during ritual practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Lersi is therefore not treated simply as a protective figure. He represents the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ekru — the body of knowledge and authority behind the practice itself\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis explains why a piece of this scale could remain relevant across very different ceremonies. Its underlying purpose was to provide Baramee, protection and stability while the specialised work of the ceremony was carried out.\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\u003eThe principal body is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKeow Moo Tong Deang\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOld fang materials occupy an established place within Por Sala Tan’s work, particularly where a strong natural material was required to carry carved yantra, Lersi imagery or protective wicha.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse contains \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNga Chang Graden Boran\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, described within the lineage as being more than a century old. Such old Nga Chang material was not treated casually and was generally reserved for artifacts where Baramee, strength and ritual authority were important.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAccompanying it is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKon Chang\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, likewise said to be more than 100 years old.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than being added merely as another relic, the Kon Chang was incorporated into the physical binding of the rear assembly, connecting the old elephant materials into a single construction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFinally, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etwo takruts\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e were installed beside the central relic, strengthening and balancing the protective and commanding aspects of the artifact.\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\u003ePor Sala Tan worked the artifact through \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLersi Ser Ming Pai wicha\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Lersi image carved directly into the Keow Moo Tong Deang provided the central ritual form. Through invocation, katha, concentration and the practitioner’s established wicha, the piece was consecrated so that the Lersi influence was directed into the carved relic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts subsequent ceremonial history became another important layer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than receiving one blessing and then being completed, the Ong Krut continued to be present during Por Sala Tan’s ritual work. It was repeatedly exposed to chanting, consecrations and the preparation of other sacred materials.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn traditional understanding, this repeated use matters. A working object gradually becomes associated not merely with its original consecration but with the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003emany ceremonies in which it subsequently participated\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis helps explain why experienced practitioners within the circle were willing to borrow it when carrying out demanding work of their own.\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 principal quality attributed to this Ong Krut is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBaramee\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e — spiritual authority, presence and the strength to remain composed when confronted by difficult circumstances.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts protective aspect is traditionally directed towards \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eharmful energies, occult interference, hostile spiritual conditions and unseen obstacles\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Lersi Ser Ming Pai component further connects the artifact with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eguidance, discipline, wisdom and the practitioner’s ability to work through complicated situations without becoming overwhelmed by them\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe old Nga Chang materials add another dimension of firmness and commanding presence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor this reason, the piece is traditionally understood not as uncontrolled aggression, but as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003econtrolled ritual force\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e: establishing authority, holding a space and preventing disruptive influences from easily entering or taking hold.\u003c\/span\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\u003eBecause of its approximately five-inch scale and its history as a ceremonial object, this Ong Krut is best understood as an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ealtar or premises-based artifact\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWithin a home, it may traditionally be kept in a respectful dedicated location for protection, Baramee and the stabilisation of the surrounding environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWithin a business, its character is particularly suited to owners, senior decision-makers or individuals who require \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eauthority, resilience and protection while operating in competitive surroundings\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor practitioners or serious collectors maintaining several consecrated objects, it may also serve as a central \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLersi and Baramee piece\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, particularly where the collection includes stronger spirit-based or protective artifacts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts original history, however, remains its most natural application: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ea ritual guardian and supporting instrument positioned where serious wicha is being practised.\u003c\/span\u003e\u003c\/strong\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\u003eA substantial Ong Krut measuring approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efive inches\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, carved from \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKeow Moo Tong Deang\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e with the image of Lersi Ser Ming Pai and sacred inscriptions across the surface. The reverse houses an ancient \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNga Chang Graden Boran\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e relic, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e100+ year-old Kon Chang\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and two protective and harmonising takruts. Its aged surface, natural cavities, carving marks and variations belong to the original fang material and traditional handmade construction.\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\u003eAs a large working artifact, this Ong Krut does not require another piece to complete its principal purpose.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor an altar arrangement, it can nevertheless form the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBaramee and protective foundation\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e around which more specialised pieces are placed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMetta, Saneh, wealth or opportunity artifacts may complement it particularly well. Those pieces address attraction, relationships and commercial movement, while the Ong Krut maintains the stronger foundation of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eauthority, protection, obstacle clearing and ritual stability\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts most appropriate role remains the one for which Por Sala Tan himself is remembered as using it: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003estanding behind the work, strengthening the practitioner and holding the ceremonial environment steady.\u003c\/span\u003e\u003c\/strong\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\u003eWhat distinguishes this Ong Krut is not simply the age or rarity of its materials.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMany artifacts can contain unusual relics. Far fewer have a remembered history as an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eactual working piece belonging to the master who created them\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAccording to Ac Lek’s account, Por Sala Tan kept this piece close during his ceremonies and allowed other visiting monks and masters to use it when necessary. That history gives the object a very different character from an artifact prepared solely for distribution.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Keow Moo Tong Deang, old Nga Chang Graden, Kon Chang, takruts and Lersi Ser Ming Pai carving are important individually. Together with decades of ceremonial use, however, they form an artifact closely connected with the practical side of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePor Sala Tan’s wicha and ritual life\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"OOBThaiAmulets","offers":[{"title":"Default Title","offer_id":48472121704585,"sku":null,"price":2250.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0602\/1831\/0793\/files\/G_5.jpg?v=1765279471","url":"https:\/\/oobamulets.com\/products\/por-sala-tan-copy-109","provider":"OOBThaiAmulets","version":"1.0","type":"link"}