PST06

Lanna Musician

Por Sala Tan
2 Inches
Mainstream Artifact

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Sacred Craftsmanship

Rather than being prepared as a fierce protective object, the piece was developed around Metta, artistic confidence, favourable reception and successful performance. Natural differences in carving, lacquer, wax and oil treatment give each handmade artifact its own individual character.

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Personal Experiences Shared by Luksits

This particular carving became especially popular among people involved in the entertainment, music and performance industries.

One experience shared with Por Sala Tan concerned an upcoming musician who was trying to pass an important audition and secure an opportunity within the music industry.

She was under considerable pressure. The audition represented an important chance to move forward, but anxiety and self-doubt were affecting her confidence.

After listening to her situation, Por Sala Tan gave her this type of musician artifact to carry.

She subsequently attended the audition and later felt that carrying the piece helped her maintain the confidence, mental composure and determination needed to perform at her best.

She succeeded in progressing beyond that stage and regarded the experience as an important step towards the next level of her career.

For devotees, this story came to represent the principal character of the artifact: not simply “luck”, but the ability to enter the moment prepared, confident and mentally steady when an opportunity finally arrives.

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Summary

This unique Por Sala Tan artifact depicts a Lanna musician playing a Sueng.

It was carved from old Graduk Chang Graden and finished with red lacquer mixed with Burmese wax, before being soaked in Naman Wan.

The symbolism differs from many of Por Sala Tan's more familiar spirit or protective creations.

Here, the emphasis is upon performance, artistry, confidence, favourable reception, Metta and opportunity.

The musician also carries a deeper symbolic importance. Ceremonies do not depend only upon the principal master or ritual specialist. Many people contribute to creating the correct atmosphere and rhythm of an event, and music can be an important part of that collective participation.

For this reason, the figure represents the often-overlooked role of those whose skill helps support the ceremony and bring it towards successful completion.

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Historical Background

The Sueng (ซึง) is a traditional plucked fretted lute closely associated with the musical culture of Northern Thailand and the historical Lanna region.

It belongs primarily to the world of Lanna folk and classical music, rather than being an occult instrument in itself.

However, music has long accompanied many forms of northern community life, including celebrations, processions, devotional gatherings, spirit-related performances and traditional ceremonies.

Within this wider cultural setting, musicians occupy an important position.

Their contribution is not necessarily that the instrument itself possesses supernatural power. Rather, the musician provides timing, atmosphere, continuity and emotional direction to the gathering.

Traditional musicians also maintain a strong culture of Wai Kru — respect for teachers and lineage.

Knowledge of music is passed through teachers, families and local traditions. Skill is therefore not viewed simply as individual talent, but as something inherited, trained and refined through discipline.

This makes the musician an appropriate sacred image for artists, performers and those whose success depends upon cultivated skill.

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Origins of the Materials

The foundation of the artifact is an old piece of Graduk Chang Graden.

According to the provenance surrounding this group of carvings, the material was presented to Por Sala Tan by a wandering practitioner who had travelled into Cambodia seeking higher occult knowledge.

During the journey, the practitioner was directed to continue north and seek Por Sala Tan for further learning.

When they eventually met, he gave the old Graduk Chang Graden to Por Sala Tan as a gesture of respect for his wicha.

Por Sala Tan later divided the material and carved it into several different sacred forms according to the character he considered suitable for each section.

One section became this Lanna musician playing a Sueng.

Rather than treating the carving with Tid Jai, Por Sala Tan prepared it using Naman Wan, giving the artifact a more auspicious and Metta-oriented character.

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Ritual

After the musician had been carved, Por Sala Tan finished the surface with red lacquer blended with Burmese wax.

The completed figure was then soaked in Naman Wan.

Naman Wan preparations vary according to lineage, but they commonly incorporate auspicious herbs, flowers, forest woods and pollen associated with Metta, favourable reception, good fortune and smoother interpersonal dealings.

This treatment suits the musician form particularly well.

A performer does not succeed solely through technical skill. Confidence, audience response, timing, opportunity and relationships with other people all play an important part.

The ritual intention of this piece therefore brings together artistic ability, Metta, confidence and favourable opportunity.

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Blessings and Effects

The traditional emphasis of this musician artifact centres upon confidence, performance and favourable reception.

For musicians and entertainers, it may be carried with the intention of remaining composed before an audition, performance or important public appearance.

Its Naman Wan treatment adds Metta Maha Niyom, supporting the aspiration that audiences, clients, judges or collaborators receive the wearer favourably.

The artifact is traditionally associated with:

• Confidence during performance
• Metta and favourable audience response
• Creativity and artistic expression
• Recognition of one's abilities
• Successful auditions and opportunities
• Better communication with collaborators
• Mental steadiness under pressure
• Respect for teachers and artistic lineage
• Smooth progress within one's chosen craft

Its underlying message is particularly suitable for artists:

opportunity matters, but preparation and confidence determine what one does when that opportunity arrives.

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Modern Application

This artifact is especially relevant for people working in the music, entertainment and creative industries.

Musicians may carry it before auditions, recordings or live performances. Actors and performers may use it before casting sessions or stage work.

It is equally relevant to singers, dancers, presenters, DJs, content creators and other professionals whose success depends upon performing confidently in front of others.

The same symbolism can extend to anyone required to present their abilities publicly — including interviews, competitions or important demonstrations of skill.

Its Naman Wan character makes it less forceful than some of Por Sala Tan's Barang creations and particularly appropriate where the intention is goodwill, confidence and being appreciated for one's ability.

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Physical Details

The artifact is a three-dimensional seated Lanna musician carved from old Graduk Chang Graden.

The front depicts the musician holding and playing a Sueng, with the instrument crossing the body diagonally.

The figure is seated upon a raised base, with detailed folds and posture giving the piece a distinctly traditional northern character.

The reverse continues the full carved form of the musician, including the body, instrument and seated base.

The surface carries a dark red-brown appearance from the red lacquer and Burmese wax, with surviving gold highlighting the raised areas.

The carving was subsequently soaked in Naman Wan.

The example shown is protected within a fitted silver casing for everyday preservation.

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Recommended Pairing

This musician artifact can comfortably be carried alone when the intention is performance confidence, Metta and artistic opportunity.

For entertainers whose work also depends heavily upon communication and public appeal, it may be paired with a Salika artifact.

Those seeking career advancement or business opportunity may combine it with Phra Pikanet, creating a particularly complementary arrangement: Phra Pikanet for removing obstacles and opening the path, and the musician for performing well once that path has opened.

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Personal Notes

What I find particularly meaningful about this carving is that Por Sala Tan chose to create an ordinary musician rather than another deity or spirit figure.

A ceremony may have a respected master at its centre, but many other people contribute towards making the event complete.

Musicians are among them.

Their timing, discipline and ability to create the correct atmosphere can become an important part of the experience, even though their contribution is sometimes overlooked.

That makes this artifact especially appropriate for people working in entertainment and the arts.

The experience of the young musician who carried one before an important audition captures the character of the piece well. Por Sala Tan could not perform the audition for her.

What the artifact represented was the confidence and mental steadiness to step forward, perform properly, and make the most of the opportunity when it appeared.