Pra Khun Phaen Pim Plai Koo double-twin Khun Phaen model amulet, from the Great Luang Phu Doo of Wat Sakae. Made from rare earths and the finest Paeng Poon Khaw, ‘Pong Jakkapat’ sacred Powder of Luang Phu Doo, and Sacred Yantra Powders (Pong Lob), which are made through inscription of chalk board Yantra spells.
The powders are created using ‘Dinsor Lersi’ magic chalk, and which thereafter become Pong Bpathamang, Puttakun, Ittajae, Dtrinisinghae, and Maharach Powders. These are of course the famous five Sacred Powders used in the making of Pra Somdej amulets according to the Dtamra of Somdej Pra Puttajarn (Dto) Prohmrangsri Wat Rakang Kositaram and Khrua Saeng.This piece is known as the Pra Pim Khun Paen Plai Koo, a paired Khun Paen image, a genuinely rare early print created by Luang Pu Doo Prompanyo of Wat Sakae in Ayutthaya, dating to the year 2507 BE.
The amulet heralds from his earliest period of amulet making. In 2507, Luang Pu Doo undertook the creation of Pra Pim Luang Por To images for the very first time. The earliest batch was made from fired clay, and even at this initial stage there were already several distinct print styles. After this, production expanded to powdered sacred material mixed with lime, resulting in both small and large prints, each retaining the same underlying intention and spiritual function.
All powdered amulets created by Luang Pu Doo were specifically intended for holding during meditation and mantra recitation. He consistently emphasized actual practice over collection, and these amulets were conceived as tools for inner work rather than objects of display. Beyond this, his powdered amulets were also used to make nam mon, sacred water. The amulet could be placed into water, followed by an earnest aspiration calling upon the barami of Luang Pu Doo, and the water then used for healing. It could be drunk, used for bathing, washing the face, or even sprinkled over goods or possessions, entirely according to the practitioner’s intention.
There was no concern about the amulet dissolving in water. Because the mixture contained lime and cement, immersion only made the material harder and more resilient. These cement-cast amulets were extremely inexpensive to produce, yet regarded as exceptionally potent in spiritual efficacy, precisely because the intention behind them was pure. They were made to be given away freely to those who came to the temple, so they could be used as supports for meditation and contemplative practice. Notably, many accounts of tangible experiences and results are associated not with rare or costly pieces, but with these frequently distributed amulets, created solely to serve practice rather than prestige.
Luang Phu Doo was a great Monk of National Importance, and of Great Purity of practice in his Patipatā, who is believed by many to have attained Arahantship. The amulets were released sometime after 2517 BE at Wat Sakae.
This amulet belongs to the Master Class Amulets of Luang Phu Doo, and is extremely sacred not only because it was made as Luang Phu was still alive and Blessed by his own hand, but because of the belief that Luang Phu Doo was also a Manifestation of a specific Bodhisattva (Luang Phu Tuad), who returned to Earth to Help Living Beings.
Luang Phu Doo Ordained in 2468 at the age of 21 Years Old in the Uposadha of Wat Sakae in Tambon Tanū, Amper Utai, Pra Nakorn Sri Ayuttaya. His Upachaya Ordaining Officer was Luang Por Glan of Wat Prayatikaram, and Luang Por Dae (Abbot of Wat Sakae), as his Pra Gammawājājarn. His pra Anusawanājarn was Luang Por Chay of Wat Klang Klong Sra Bua. He was given the Ordained Name of ‘Prohmabanyo’ (Wisdom of Brahma).
In his first year of Ordination, Luang Phu Doo studied the Pra Pariyatti Dhamma (Academic Concepts of Dhamma) at Wat Pradoo Song Tam (in those days it was known as ‘Wat Pradoo Rong Tam). His teacher was Jao Khun Nueang (Luang Por Rod). Luang Phu Doo also practiced and developed his skill in Vipassana Kammathana practices with Luang Por Glan, and Luang Por Phao (an Adept Apprentice of Luang Por Glan).
Luang Phu also studied the Jatakas and the Dhammapada. Once he had become well studied in all these aspects of practice, he then went on to seek Wicha with other Masters. he travelled to learn under Guru masters of the Province of Supan Buri and of Sra Buri and other Provinces.
Luang Phu Doo was known to revere the ancient Thai Bodhgisattva Monk, ‘Luang Phu Tuad’, with Incredible Fervor, but it was also believed by many of Luang Phu Doo’s most faithful devotees, that Luang Phu Doo was also a Manifestation of Luang Por Tuad himself, reborn on Earth to make further Merits.
Luang Phu Doo was close friends with many famous masters, but one strange thiing is that, although he never met the Arahant Luang Por Kasem Khemago of the Sussaan Trailaks in Lampang, he always stated himself to be a Devote Admirer of Him and a Student of his Teachings. Luang Por Kasem in turn, was also heard to have recommended his own Devotees to go and obtain of of Luang Phu Doo’s Luang Por Tuad Perd Loke amulets.
Luang Phu Doo passed away on 17th January 2533 BE at the age of 85 Years and 8 Months Old, in his 65th year of Ordained Life. He left his degotees Devastated, and his Legacy is contined by his apprentice Masters who follow is footsteps, namely; Luang Ta Ma of Wat Tham Mueang Na, Kroo Ba Bun Chum, and Luang Por Dtiw of Wat Mani Chonlakhant.
Amongst Luang Phu Doo’s other famous amulet editions, apart from the world famous Pra Sri Maha Prohm Brahma amuets, and the miraculous Luang Por Tuad Perd Loke, many other editions of Luang Por Tuad amulets have received ultimate acclaim. All Luang Phu Doo’s amulets are Sacred, and Revered, but if there is one amulet which Luang Phu would hand out to his devotees more than any other, it was the Pra Nuea Prohm ‘Buddha over Brahma’ amulet in pure powdery white Puttakun Powders.
Biographical;
Luang Pu Doo Prompanyo of Wat Sakae in Ayutthaya became widely known as a supatipanno monk, one whose conduct was exemplary and whose moral discipline was unwavering. He was especially respected for his mastery in teaching Vipassana meditation, consistently directing his disciples toward actual contemplative practice rather than attachment to amulets or sacred objects.
His reputation rested not on ritual display, but on lived Dhamma and the depth of his personal realization. He is also known as the composer of the sacred Maha Jakkrapat chant, a formula widely recited to accumulate merit and recalibrate one’s life conditions. Among his consecrated objects, the Pra Nuea Phrom is regarded as the most renowned.
He frequently distributed cement based amulets that he had personally empowered through intention and meditation. These were not given as collectibles, but as skillful means, tools for disciples to hold while practicing meditation. He repeatedly reminded people that it was better to take what was real, meaning direct practice, rather than becoming attached to amulets themselves. In his view, the true sacred object was the trained mind, and everything else existed only to point back to that truth.
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