{"product_id":"por-sala-tan-copy-20","title":"Por Sala Tan","description":"\u003cp\u003ePST04\u003c\/p\u003e\n\u003ch1\u003ePhra Khun Paen Roon Raek (Tamlar)\u003c\/h1\u003e\n\u003cp\u003e\u003cstrong\u003ePor Sala Tan  \u003cbr\u003eB.E. 2550 (2007)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBarang Artifact  \u003cbr\u003e2 Inches\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eSacred Craftsmanship\u003c\/h2\u003e\n\u003cp\u003eEvery Khun Paen was individually prepared and assembled by hand from these limited sacred materials. Natural differences in the Nur Hom, embedded relics, Tamlar paper and finishing therefore make every one of the 49 pieces individually unique.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003ePersonal Experiences Shared by Luksits\u003c\/h2\u003e\n\u003cp\u003eBack in \u003cstrong\u003e2014\u003c\/strong\u003e, these pieces were personally collected \u003cstrong\u003edirectly from Por Sala Tan himself\u003c\/strong\u003e. At the time, very few people knew about the significance of what had been created. This was his \u003cstrong\u003efirst official batch of Phra Khun Paen\u003c\/strong\u003e, produced as a deliberately limited release of only \u003cstrong\u003e49 pieces\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eBefore this period, Por Sala Tan's artifacts were generally created individually or in extremely small quantities rather than as structured batches. The \u003cstrong\u003eRoon Raek (Tamlar)\u003c\/strong\u003e therefore marked an important transition in his work, bringing together some of the old and increasingly limited materials he had accumulated through many years of practice.\u003c\/p\u003e\n\u003cp\u003eMany of these 49 pieces subsequently remained with the original luksits and collectors who obtained them during that period. As a result, examples have seldom circulated widely and are often kept closely by those who have used them for many years.\u003c\/p\u003e\n\u003cp\u003eAmong these owners, experiences are frequently associated with \u003cstrong\u003eMaha Saneh, Metta Maha Niyom and increased personal attraction\u003c\/strong\u003e. Some describe people becoming noticeably more receptive towards them, conversations developing more naturally and previously distant contacts becoming easier to approach.\u003c\/p\u003e\n\u003cp\u003eIn business and work, luksits have similarly reported customers becoming more receptive, negotiations progressing more smoothly and new connections developing into unexpected opportunities.\u003c\/p\u003e\n\u003cp\u003eFor the early collectors, however, the importance of this Khun Paen extends beyond individual experiences. Having received these pieces directly from Por Sala Tan during that period, they regard the Roon Raek as a surviving record of his earlier wicha — \u003cstrong\u003e49 pieces combining the Five Prai, their sacred materials and the old Tamlar within his first official Khun Paen batch.\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eSummary\u003c\/h2\u003e\n\u003cp\u003eThe \u003cstrong\u003ePhra Khun Paen Roon Raek (Tamlar), B.E. 2550\u003c\/strong\u003e, was Por Sala Tan's first structured Khun Paen release and was produced in a highly restricted quantity of \u003cstrong\u003e49 pieces\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIts foundation centres upon \u003cstrong\u003efive separate Prai Nur Hom\u003c\/strong\u003e, representing five Prai spirits whose materials had been retained by Por Sala Tan for his wicha.\u003c\/p\u003e\n\u003cp\u003eAdditional components include \u003cstrong\u003ehair relics, a coffin nail connected with earlier Pii Tai Hong ritual work, a takrut and a Paneang fragment belonging to one of the five Prai\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe front carries perhaps its most recognisable feature: an old strip of sacred paper originating from the \u003cstrong\u003eTamlar of the Five Prai\u003c\/strong\u003e, incorporated directly into the amulet.\u003c\/p\u003e\n\u003cp\u003eThe resulting Khun Paen was intended principally for \u003cstrong\u003eMaha Saneh, Metta Maha Niyom, attraction, opportunity, persuasion and overcoming difficult circumstances\u003c\/strong\u003e.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eHistorical Background\u003c\/h2\u003e\n\u003cp\u003eBefore this batch, Por Sala Tan's sacred objects were generally not produced as conventional numbered releases.\u003c\/p\u003e\n\u003cp\u003eMany were made individually for particular people or circumstances. Others existed only in micro quantities determined by whatever old materials happened to be available.\u003c\/p\u003e\n\u003cp\u003eThe Roon Raek represented a departure from that approach.\u003c\/p\u003e\n\u003cp\u003ePor Sala Tan was already conscious that many of the unusual materials he had accumulated throughout decades of practice were finite. Once consumed, certain materials — particularly old relics with established ritual histories — could not simply be replaced.\u003c\/p\u003e\n\u003cp\u003eRather than allowing these materials to remain unused, he selected some of them for a formal Khun Paen project.\u003c\/p\u003e\n\u003cp\u003eOnly \u003cstrong\u003e49 pieces\u003c\/strong\u003e were prepared.\u003c\/p\u003e\n\u003cp\u003eFor this reason, the importance of the Roon Raek lies not merely in rarity. It records a transitional moment when Por Sala Tan gathered several older components of his Prai wicha into a single, deliberately structured series.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eOrigins of the Materials\u003c\/h2\u003e\n\u003cp\u003eAt the centre of the composition are the \u003cstrong\u003efive Prai Nur Hom\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eWithin Por Sala Tan's tradition, these materials were associated with five separate female Prai whose spiritual current was particularly connected with \u003cstrong\u003eSaneh, attraction and merit-making through assisting the living\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eHair relics were added, further connecting the physical composition with the Five Prai tradition.\u003c\/p\u003e\n\u003cp\u003eMaterials from earlier \u003cstrong\u003ePii Tai Hong\u003c\/strong\u003e consecrations were also incorporated, including a coffin nail visible on the reverse.\u003c\/p\u003e\n\u003cp\u003eThe most exceptional inclusion is a small \u003cstrong\u003ePaneang chip associated with one of the five original Prai\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eWithin Barang traditions that employ such relic materials, Paneang is regarded as exceptionally concentrated. Even a very small fragment may therefore carry considerable ritual importance to practitioners.\u003c\/p\u003e\n\u003cp\u003eA takrut completes the principal visible components on the reverse.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eThe Five-Prai Tamlar\u003c\/h2\u003e\n\u003cp\u003eThe old paper covering part of the front is integral to the identity of this batch.\u003c\/p\u003e\n\u003cp\u003eIt originates from the \u003cstrong\u003eTamlar — the traditional ritual text or wicha record — associated with the Five Prai\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003ePor Sala Tan incorporated this element deliberately.\u003c\/p\u003e\n\u003cp\u003eWithin the ritual logic of the piece, bringing together five separate Prai currents required more than simply combining their physical materials. The Tamlar element served to \u003cstrong\u003esettle, organise and direct those currents towards a common purpose\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eRather than suppressing the Five Prai, its function was to establish clarity and harmony so their qualities could be directed towards the keeper.\u003c\/p\u003e\n\u003cp\u003eThis feature ultimately gave the edition its familiar designation:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKhun Paen Roon Raek (Tamlar).\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eRitual\u003c\/h2\u003e\n\u003cp\u003eThe consecration centred upon establishing the five Prai together within a single Khun Paen structure.\u003c\/p\u003e\n\u003cp\u003eEach possessed its own provenance and character. Por Sala Tan therefore worked not only towards awakening the individual materials, but towards bringing them into a coordinated relationship.\u003c\/p\u003e\n\u003cp\u003eThe Tamlar was particularly important during this process.\u003c\/p\u003e\n\u003cp\u003eThrough invocation, meditation and the relevant Prai wicha, the five currents were directed towards the intended qualities of \u003cstrong\u003eSaneh, Metta Maha Niyom, attraction, persuasion, opportunity and assistance\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe additional takrut and older ritual materials broadened the composition beyond attraction alone, giving the finished artifact a more complete working character.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eBlessings and Effects\u003c\/h2\u003e\n\u003cp\u003eThe principal quality of this Khun Paen is \u003cstrong\u003eMaha Saneh\u003c\/strong\u003e — strong personal attraction and the ability to draw attention towards the keeper.\u003c\/p\u003e\n\u003cp\u003eClosely connected is \u003cstrong\u003eMetta Maha Niyom\u003c\/strong\u003e, traditionally associated with goodwill, acceptance, popularity and people becoming more receptive.\u003c\/p\u003e\n\u003cp\u003eFor relationships, the piece is associated with attraction, affection, reconciliation and strengthening interpersonal connection.\u003c\/p\u003e\n\u003cp\u003eWithin work and business, the same current is applied differently: \u003cstrong\u003ecustomers listening, negotiations becoming easier, superiors becoming receptive, contacts remembering the owner and opportunities becoming easier to develop\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe Roon Raek is also associated with persuasion and overcoming resistance. In this context, Saneh is not understood merely as romantic charm, but as the ability to create favourable human connections.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eModern Application\u003c\/h2\u003e\n\u003cp\u003eDespite the old materials and Prai-based construction, its traditional purposes translate readily into contemporary life.\u003c\/p\u003e\n\u003cp\u003eBusiness owners may use it where customer relationships and repeat business are important. Salespeople and negotiators may value its association with receptiveness and persuasive communication.\u003c\/p\u003e\n\u003cp\u003eThose working in highly social professions may keep it for personal presence, networking and recognition.\u003c\/p\u003e\n\u003cp\u003eFor relationships, its traditional focus remains Saneh and interpersonal harmony.\u003c\/p\u003e\n\u003cp\u003eThe underlying principle is consistent across these applications:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere progress depends upon another person becoming receptive to you, the Five Prai wicha becomes relevant.\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003ePhysical Details\u003c\/h2\u003e\n\u003cp\u003eApproximately \u003cstrong\u003e2 inches\u003c\/strong\u003e, formed from the prepared Five Prai material into a traditional Khun Paen shape. The front retains the distinctive aged \u003cstrong\u003eTamlar paper\u003c\/strong\u003e, while the reverse exposes the embedded \u003cstrong\u003ecoffin nail, Paneang fragment and takrut\u003c\/strong\u003e. The natural fibres, powders and irregular surface remain visible beneath the clear protective casing.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eRecommended Pairing\u003c\/h2\u003e\n\u003cp\u003eThe Roon Raek is already a concentrated Saneh and Metta piece and can comfortably function alone.\u003c\/p\u003e\n\u003cp\u003eFor commercial use, it pairs naturally with \u003cstrong\u003ewealth or Choke Lap artifacts\u003c\/strong\u003e, combining human receptiveness with financial opportunity.\u003c\/p\u003e\n\u003cp\u003eThose requiring greater authority may pair it with tiger-form or Maha Amnaj pieces. The Khun Paen encourages people to become receptive, while the authority piece strengthens the keeper's ability to lead once the opportunity has opened.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003ePersonal Notes\u003c\/h2\u003e\n\u003cp\u003eThis batch carries particular significance because of its place within Por Sala Tan's history.\u003c\/p\u003e\n\u003cp\u003eThese pieces were personally collected directly from Por Sala Tan during the earlier period when examples remained close to his circle. At the time, few collectors outside that circle understood how limited the release would eventually become.\u003c\/p\u003e\n\u003cp\u003eOnly \u003cstrong\u003e49 were made\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eMore importantly, the number could not simply be increased.\u003c\/p\u003e\n\u003cp\u003eThe Nur Hom belonged to five specific Prai. The hair relics were finite. The older Pii Tai Hong materials had their own histories. The Paneang could only be divided so far. And the Tamlar represented an older body of wicha rather than something created merely for production.\u003c\/p\u003e\n\u003cp\u003eOnce those materials were exhausted, precisely the same combination could not simply be manufactured again.\u003c\/p\u003e\n\u003cp\u003eThat is why the Roon Raek occupies an unusual position among Por Sala Tan's Khun Paen.\u003c\/p\u003e\n\u003cp\u003eIt is not simply his \u003cstrong\u003efirst batch\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt preserves the \u003cstrong\u003eFive Prai, their materials, the old Tamlar and Por Sala Tan's method of bringing them together\u003c\/strong\u003ewithin one of the earliest structured releases of his work.\u003c\/p\u003e","brand":"OOBThaiAmulets","offers":[{"title":"Default Title","offer_id":47980151767177,"sku":null,"price":325.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0602\/1831\/0793\/files\/Untitled-234_3ee0948c-007c-4270-9c62-2fbdf06e47a2.jpg?v=1787279599","url":"https:\/\/oobamulets.com\/products\/por-sala-tan-copy-20","provider":"OOBThaiAmulets","version":"1.0","type":"link"}