Product: Phra Mahesuan

Origin: Two-Sided Phra Mahesuan Amulet with Naga Canopy_Luang Pho Boey (LP Boi)_Wat Manow, Suphan Buri province.

Period: Unknown

Enclose casing (Color): Decorative Gold Micron Case with Clear Acrylics Display

Size of Amulet (approx): 26.1 mmW x 39.4 mmH x 5.8 mmT

Size of Case (approx): 31.0 mmW x 54.7 mmH x 16.5 mmT

Luang Phor Boi of Wat Manao

Luang Phor Boi was born in 1892 (B.E. 2435), in the Year of the Dragon, in Ban Sam Muang, Bang Pla Ma District, Suphanburi Province. His father, Chomsi, was a rice farmer. The village of his upbringing was not only agricultural but also known for its ironworking craftsmanship, where many families engaged in blacksmithing to supplement their livelihood.

At the age of twenty-one (B.E. 2456), he was ordained as a monk at Wat Manao, a temple dating to the Rattanakosin period. He remained there for three rains retreats before departing to further his religious education. Around 1916 (B.E. 2459), he traveled to Thonburi to study the Dhamma and Vinaya at Wat Srisuttharam (Wat Chee Pa Khao), where he resided for approximately eight to nine years.

Upon returning to Wat Manao, he later sought advanced meditation training under two renowned masters of the era: Luang Phor Niam and Luang Phor Phan of Ayutthaya. In 1924 (B.E. 2467), he returned permanently to Wat Manao, where he remained in residence for the rest of his life.

Luang Phor Boi was widely respected for his ascetic discipline and humility. He declined ecclesiastical titles, refused substantial monetary offerings, and adhered strictly to a simple and secluded monastic life. His conduct reflected detachment from material concerns and unwavering dedication to spiritual practice.

Sacred Amulet Creation

Around 1930 (B.E. 2473), Luang Phor Boi began creating sacred amulets. Devotees donated various metals—brass, bronze, silver, gold, as well as household utensils and old tools—which were melted down and recast into amulets. Because of the diverse composition of metals, each piece displayed subtle variations in tone and texture.

A notable characteristic of his brass amulets is their naturally wrinkled surface and visible filing marks along the edges—features regarded today as hallmarks of authenticity.

In 1936 (B.E. 2479), he produced a series of clay amulets known as “Phra Chao Ha Phra Ong” (The Five Buddhas). These incorporated symbolic forms such as the Naga, Cow, Lion, Turtle, and Bird (often interpreted as a rooster), each representing auspicious qualities within Buddhist cosmology.

One of his most significant creations emerged in 1957 (B.E. 2500), when he produced amulets bearing his own likeness. The materials used were deeply personal: betel nut residue he had preserved for 15 to 20 years, blended with incense powder, dried flowers, sacred earth, and bound together with palm sugar. From this mixture arose three principal types:

• Chahn Mark (betel nut) type – light in weight, predominantly composed of aged betel nut.

• Incense powder type – heavier in incense content.

• Clay type – denser and weightier due to higher earth content.

In 1965 (B.E. 2508), during the consecration ceremony marking the boundary of the ubosot at Wat Manao, he created two commemorative coin amulets: a square-cut version and a full-body image coin. Both were distributed freely to devotees.

Final Years and Legacy

Luang Phor Boi passed away on 18 January 1965 (B.E. 2508). His cremation ceremony drew an immense gathering of disciples and lay supporters, reflecting the profound respect he commanded. On that occasion, a special round half-body commemorative coin was struck and distributed in his honor.

Throughout his life, he never sold his amulets nor accepted donations in exchange for them. All were given freely as acts of merit and faith. For this reason, his sacred objects are regarded not merely as amulets, but as spiritual legacies of a monk who embodied simplicity, integrity, and compassion.

Today, the amulets of Luang Phor Boi—whether cast in brass, molded from clay, or formed from sacred powders—are considered classical works of Suphanburi province, esteemed for both their distinctive craftsmanship and their reputed spiritual efficacy.