{"product_id":"por-sala-tan-copy-142","title":"Por Sala Tan","description":"\u003cp\u003ePST02\u003c\/p\u003e\n\u003ch1\u003e\u003cspan\u003ePhra Pidta See Mue \u003c\/span\u003e\u003c\/h1\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePor Sala Tan\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e1.5 Inches\u003cbr\u003eMainstream Artifact\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003eSacred Craftsmanship\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThis unusual \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePhra Pidta See Mue — Four-Handed Phra Pidta\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e belongs to the earlier period of Por Sala Tan's ritual work, from approximately the same general era as some of his older \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBo Bo Aung\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e pieces.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEach artifact was individually carved and assembled from prepared sacred materials. Natural differences in the Graduk, carving, colour, Takrut placement, gemstones and backing compound make every surviving example unique.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003ePersonal Experiences Shared by Luksits\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eOlder followers remembered these smaller hand-carved pieces as belonging to a quieter side of Por Sala Tan's practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey were not necessarily objects prepared through large public ceremonies. Instead, pieces of this nature were often worked upon gradually, through repeated nights of chanting, candle offerings and individual mantra recitation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmong those who carried Por Sala Tan's Pidta-related pieces, the character was often described as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003estabilising rather than aggressive\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOwners approached them when they wished to remain outside unnecessary disputes, avoid troublesome people or prevent workplace gossip and hostility from developing into larger problems.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe combination with Salika also gave this particular piece a different character from a purely defensive Pidta. Rather than simply “closing everything out”, it was traditionally understood to help the owner \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003espeak when necessary and remain silent when silence was wiser\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor business and livelihood, the Sivali aspect was valued for smoother circumstances, assistance from others and fewer obstacles in obtaining what was necessary.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn this sense, the four-handed Pidta was regarded as both a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eshield and a keeper\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e — closing against what should remain outside while retaining the beneficial circumstances already accumulated by the owner.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003eSummary\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThis is a particularly unusual \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efour-handed Phra Pidta hand-carved from Graduk Chang Graden\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e by Por Sala Tan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts construction belongs to an earlier period when individual artifacts could still be carved and assembled by hand in very limited numbers rather than produced through standardised moulds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe front expresses the traditional Phra Pidta principle of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eclosing the senses and withdrawing from harmful external influences\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse expands its purpose considerably.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSalika Takruts\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e contribute communication, persuasion and Metta Maha Niyom. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSivali-related sacred substances\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003econnect the piece with livelihood, opportunity, travel and support. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePloi Sek\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e adds ritually blessed gemstone material, while the entire reverse assembly serves as the active ritual chamber behind the carved Pidta.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts character therefore combines \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMaha Ut, Klaew Klaad, protection from gossip and hostility, wealth retention, Maha Lap, smooth livelihood, Metta and persuasive communication\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003eHistorical Background\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch3\u003e\u003cspan\u003eThe Meaning of Phra Pidta\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePhra Pidta — literally refers to the sacred figure who closes or covers the eyes.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough individual lineages provide different explanations for the identity of the figure, Phra Pidta is commonly connected in Thai tradition with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePhra Gavampati\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, while other traditions associate the form with enlightened disciples such as Phra Maha Kaccayana or interpret it more generally as an accomplished meditating monk.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe symbolism is more important than assigning every Pidta to one historical individual.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe hands covering the face represent \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ewithdrawal from the senses\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInstead of allowing every sight, sound, opinion, temptation and provocation to enter the mind, the practitioner turns inward.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCertain traditions expand this idea into \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePidta Maha Ut\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, or complete sealing, in which the bodily openings are symbolically closed against disturbing influences.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis concept later developed an important second meaning within Thai amulet culture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf harmful influences can be prevented from entering, beneficial things can also be prevented from unnecessarily leaving.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThus Phra Pidta gradually became associated not only with protection but also with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eholding wealth, preserving livelihood and preventing accumulated fortune from leaking away\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis dual meaning is particularly appropriate to Por Sala Tan's four-handed version.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003eOrigins of the Materials\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe principal material is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGraduk Chang Graden\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePor Sala Tan regarded certain old organic relic materials as particularly suitable for prolonged ritual preparation. Rather than judging them only by rarity, he considered their history, age and responsiveness during chanting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWithin older ritual understanding, materials repeatedly exposed to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003emantra, incense, ceremonial handling and consecration\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e could gradually acquire a deeper ritual character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor this reason, Por Sala Tan did not use the Graduk solely for this Pidta. He carved several forms of sacred artifact from the material, allowing each form to direct the underlying substance towards a different purpose.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse contains several additional components.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSalika Takruts\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e relate to speech, persuasion, negotiation and the ability to communicate in a manner that encourages favourable reception.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSivali-related relic substances\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e introduce another dimension. Phra Sivali is traditionally approached for provisions, benefactors, smooth journeys, livelihood and circumstances in which necessary support appears at the appropriate time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePloi Sek\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, or ritually blessed gemstone fragments, were also inserted into the reverse. Such stones were not included simply for decoration; their significance came from having undergone ritual blessing before becoming part of the finished artifact.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTogether, these materials transform the reverse into a concentrated ritual chamber behind the hand-carved Pidta.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003eRitual\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003ePor Sala Tan's preparation of these smaller hand-carved pieces differed from the larger public consecrations sometimes associated with temple editions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAccording to older followers, he preferred \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003erepeated, quieter blessing sessions\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for certain small batches.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Graduk Chang Graden was first individually carved into the desired sacred form. Because the work was performed by hand, the carving did not seek mechanical perfection. The emphasis remained upon the identity of the image and its eventual consecration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Pidta was then worked upon through repeated chanting sessions, traditionally accompanied by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecandle offerings and mantra recitation\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOnly after the principal chanting process had been completed were the Takruts installed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis order was important within Por Sala Tan's method. He regarded the internal and rear construction as a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecarrier for the accumulated force of the ritual\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than merely as decoration added before blessing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Salika Takruts, Sivali-related substances and Ploi Sek were therefore brought together only after the main preparation of the carved figure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe completed artifact united the quiet protective character of Pidta with a much broader supporting network of speech, opportunity and livelihood wicha.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003eBlessings and Effects\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe foundation is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMaha Ut — sealing and protection\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The covered form traditionally represents closing oneself against harmful influences, danger and unnecessary interference.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eKlaew Klaad\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e concerns avoiding danger and passing safely through unfavourable circumstances.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Pidta symbolism is also traditionally applied against \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003egossip, jealousy, hostile speech and troublesome people\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. In practical terms, it reminds the owner that not every provocation deserves a response.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe four-handed configuration strengthens the symbolism of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eclosure and containment\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor livelihood, this becomes the principle of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ewealth retention\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e: attracting fortune is useful, but prosperity is difficult to build if resources continually disappear through unnecessary expenditure, poor judgement or repeated obstacles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSivali element\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e broadens this towards Maha Lap, provisions, helpful people, smoother travel and the ability to obtain necessary resources.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSalika Takruts\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e provide the complementary quality of communication — Metta Maha Niyom, persuasive speech, negotiation and favourable reception.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe artifact therefore combines two apparently opposite principles particularly well: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eknowing when to close oneself off and knowing when to communicate effectively\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003eModern Application\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThis Phra Pidta is particularly suitable for people who work in environments containing \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecompetition, gossip, negotiation or financial pressure\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBusiness owners may approach its Pidta character for stability and wealth retention, while relying upon the Salika aspect for dealing with customers, suppliers and difficult negotiations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThose working in offices may find the symbolism equally relevant: avoid becoming drawn into every disagreement, protect private information and speak carefully when intervention is necessary.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor people who travel regularly for work, the Sivali-related substances add the traditional qualities of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003esmooth passage, provisions and assistance away from home\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere is also a useful modern lesson within the Pidta image itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNot every criticism must be answered. Not every rumour needs attention. Not every opportunity deserves pursuit.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSometimes protection begins simply by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eknowing what not to see, what not to hear and what not to answer\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003ePhysical Details\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThis is a compact rectangular \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehand-carved four-handed Phra Pidta\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e fashioned from pale aged Graduk Chang Graden.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe front shows the seated figure with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efour arms arranged across the upper body and face\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, creating a considerably more enclosed composition than the conventional two-handed Pidta. Hand-cut details and natural tonal variations remain visible throughout the surface.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse reveals the complexity of the construction. Multiple \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTakrut tubes\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e are arranged horizontally and vertically within a dark sacred backing compound. Two polished reddish \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePloi Sek\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e are visibly embedded to either side of the central Takrut, while traces of applied gold leaf remain across portions of the surface.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003eRecommended Pairing\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eA \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePhra Somdej\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e makes an excellent companion to this piece, adding Buddhist Baramee and composure to the Pidta's protective and wealth-retaining character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePhra Sivali\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is particularly appropriate where the owner's main concern is livelihood, business, travel or continued access to resources and benefactors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor someone working primarily in sales or negotiation, a dedicated \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSalika\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e may reinforce the communication aspect already represented by the Takruts on the reverse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLersi\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e can instead complement the piece through wisdom, judgement and guidance — particularly appropriate where the owner must distinguish between opportunities worth pursuing and situations better avoided.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cspan\u003ePersonal Notes\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe most interesting feature of this Phra Pidta is not simply that it possesses four hands.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is the way Por Sala Tan constructed the entire piece around the idea of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eselective closure\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Pidta closes itself against distraction and harmful influence. Yet behind it, Por Sala Tan installed Salika materials concerned with speech and Sivali-related substances concerned with movement, opportunity and livelihood.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt first these ideas may appear contradictory.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey are not.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA person cannot succeed merely by remaining closed to the world, nor is it wise to remain open to everything.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe deeper character of this artifact lies between those two extremes: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eclose the door to gossip, hostility, temptation and unnecessary conflict; open it to useful communication, opportunity, livelihood and people who genuinely support one's path\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat balance is especially well expressed in this old hand-carved piece — \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efour hands guarding the front, with Salika, Sivali and Ploi Sek quietly working from behind.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"OOBThaiAmulets","offers":[{"title":"Default Title","offer_id":48572410855561,"sku":null,"price":197.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0602\/1831\/0793\/files\/A4_10.jpg?v=1791184853","url":"https:\/\/oobamulets.com\/products\/por-sala-tan-copy-142","provider":"OOBThaiAmulets","version":"1.0","type":"link"}