MS06

Phra Phuttha Chinnarat

Wat Thong Noppakhun · Bangkok
B.E. 2463 
Mainstream Artifact
Samakom Certification Card (GI04-7A16E)

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Sacred Craftsmanship

Each piece was individually cast and hand-finished. Natural differences in surface texture, metal flow, mould seam, colour and oxidation therefore make every surviving artifact unique.

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Personal Experiences Shared by Luksits

Among serious collectors, this is one of those old mainstream pieces whose historical importance can appear greater than its present market position.

The attraction lies in the combination of age, recognisable casting characteristics, strong lineage and an exceptional group of masters associated with the ceremony.

Collectors who favour older protective amulets often regard this issue as especially strong in Maha Ut, Klaew Klad and Kong Kraphan, while others keep it for Baramee, business support and general protection.

The old story surrounding the ceremony also gave rise to its famous association with the name “Klai Puen Thiang” — Far from the Noon Gun.

According to the traditional account, while the sacred casting and chanting were being conducted around noon, the ceremonial cannon normally fired from the Sanam Luang area to mark midday repeatedly failed to discharge. Even after the ammunition and gun were changed, the cannon would not fire.

Only later was the coincidence linked with the amulet consecration taking place at precisely that time.

Whether approached as history, lineage tradition or collector lore, the account became deeply attached to the protective reputation of the batch.

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Summary

The Rian Lo Phra Phuttha Chinnarat of Wat Thong Noppakhun, B.E. 2463 is an important early Bangkok–Thonburi cast amulet produced during the lifetime of some of Thailand's most respected masters.

The project was connected with Phra Khru Hem Noppakhun, or LP Phueak of Wat Thong Noppakhun, who reached the age of 84, or seven traditional twelve-year cycles, in B.E. 2463.

The Phra Phuttha Chinnarat medals were cast using the same metal preparation associated with the important Phra Kring ceremony of the period.

The front depicts Phra Phuttha Chinnarat, while the reverse carries sacred Khom characters and yantric inscriptions.

What gives this issue particular historical weight is the extraordinary group of senior monks traditionally recorded as having taken part in the casting, inscription or consecration.

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Historical Background

Wat Thong Noppakhun, historically known as Wat Thong Lang, stood within the old Thonburi Buddhist landscape and developed a strong reputation for meditation practice and sacred-object production.

In B.E. 2463, LP Phueak of Wat Thong Noppakhun reached the age of 84 years.

To commemorate the occasion, sacred objects were prepared for distribution to disciples and supporters.

LP Phueak had previously been involved with important metal-casting traditions associated with Wat Thong Thammachat, sometimes referred to historically as Wat Thong Bon.

The front mould used for the Phra Phuttha Chinnarat medal subsequently became influential in other cast issues. Closely related front designs were later used at Wat Khao Takrao in B.E. 2465 and by LP Chum of Wat Bang Na Nai in B.E. 2467, although their reverse designs differed.

For collectors, these closely related issues form an interesting early group of Phra Phuttha Chinnarat cast medals sharing a common artistic ancestry.

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Origins of the Materials

The medals were produced from Loha Pasom, or mixed sacred metal, with a characteristic yellow-green to dark brown appearance after prolonged ageing.

Traditional accounts state that sacred metal sheets prepared by numerous masters were combined with older consecrated metal.

The alloy was associated with the same preparation used for the Phra Kring produced in connection with the Wat Thong Thammachat ceremony.

An old account describes certain inscribed metal sheets resisting the furnace during the casting process.

LP Suk of Wat Pak Khlong Makham Thao, who was acting as the principal casting master, is said to have used a stick wrapped with Sai Sin to press the metal into the molten mixture, after which it finally dissolved.

Such accounts became part of the ritual history of the batch and contributed greatly to its reputation among later collectors.

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Ritual

The ceremony is remembered for bringing together a remarkable generation of masters from Bangkok, Thonburi and the central provinces.

LP Suk of Wat Pak Khlong Makham Thao is traditionally recorded as the principal master overseeing the sacred metal pour.

Among the monks associated with the ceremony were Somdet Phra Phutthachan Nawam of Wat Anongkharam, LP Thap of Wat Anongkharam, LP Iem of Wat Nang, LP Phueak of Wat Thong Noppakhun, LP Klan of Wat Phra Yat, LP Boon of Wat Klang Bang Kaew, LP Im of Wat Hua Khao, LP Klin of Wat Saphan Sung, LP Pring of Wat Bang Pakok, LP Phueak of Wat King Kaew and LP Ee of Wat Sattahip, together with many other respected masters of the period.

More than thirty names are traditionally connected with the ceremony.

The importance of this group lies not merely in quantity. Many of these masters later became foundational names within entirely separate Thai amulet lineages.

This makes the B.E. 2463 ceremony particularly interesting as a meeting point between several major traditions.

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Blessings and Effects

The traditional reputation of this Phra Phuttha Chinnarat issue is especially strong in protection and Maha Ut.

Klaew Klad refers to avoidance of danger, accidents and unexpected harm.

Kong Kraphan concerns physical resilience and protection.

Maha Ut is traditionally associated with protection from firearms and weapons, an association strengthened further by the story of the noon cannon failing to fire during the ceremony.

The participation of masters known for different branches of Wicha also broadened the reputation of the amulet.

LP Boon's lineage is commonly associated with wealth and fortune.

LP Iem and LP Pring contribute a strong traditional association with Metta, prosperity and support.

LP Ee is remembered particularly for Metta and attraction traditions.

LP Suk brings a major reputation for Baramee, authority and protection.

Taken together, the amulet developed the reputation of a well-rounded protective piece rather than one restricted to a single purpose.

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Modern Application

For a modern wearer, this artifact is particularly suitable for those wanting a strong all-round mainstream amulet with genuine historical depth.

It may be carried for travel, personal safety, leadership responsibilities and situations involving uncertainty or competition.

Its Metta and prosperity associations also make it relevant to business owners, sales professionals and people who rely heavily upon relationships and negotiation.

For collectors, however, the deeper attraction lies in its historical positioning.

Instead of acquiring individual amulets from every master connected with the ceremony — many of which have become expensive, heavily reproduced or difficult to authenticate — this single artifact provides a direct connection with an important shared ritual gathering of that generation.

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Physical Details

The front depicts Phra Phuttha Chinnarat seated beneath the characteristic flame-like aureole, rendered in the heavy sculptural manner of early cast medals.

The reverse carries a field of sacred Khom characters and yantric inscriptions, framed within the shield-shaped outline.

The metal displays a deep brown-black patina with areas of naturally exposed yellow-bronze tone along raised surfaces.

The original horizontal suspension loop remains integral to the casting.

Its strong mould definition, age-consistent surface and clearly visible casting character make it particularly suitable as a reference example.

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Recommended Pairing

Because this artifact already carries strong protective qualities, it pairs naturally with a Phra Somdej for Baramee, Metta and spiritual balance.

For stronger prosperity emphasis, it can be paired with Phra Sangkatchai or Phra Sivali.

Collectors interested specifically in early metal traditions may instead pair it with a recognised old Phra Kring, especially from a closely related early Bangkok ceremony.

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Personal Notes

For me, one of the strongest reasons to own this piece is that it provides access to an unusually important group of masters without entering the very high prices now associated with many of their individual amulets.

Original pieces directly attributed to masters such as LP Suk and LP Boon can command very substantial prices, and the market for their most famous amulets is also complicated by highly convincing reproductions.

This Wat Thong Noppakhun medal occupies a very different position.

Its mould, casting method, alloy character and ageing are comparatively straightforward to study, while the historical record places it within a ceremony connected with many of the same major masters.

That makes it particularly interesting for a collector who values historical authenticity over hype.

The ceremonial story, the old double-mould casting, the shared sacred metal tradition and the remarkable concentration of masters all give this amulet a depth that is difficult to reproduce in modern releases.

More than a century later, the Phra Phuttha Chinnarat B.E. 2463 of Wat Thong Noppakhun remains one of the more compelling old Bangkok cast medals for anyone seeking a combination of protection, lineage, history and collectability.