Somdej Wat Rakhang Kositaram, Large Mold, First Print, Short Sanghati Mold by the Venerable Somdej Phra Buddhacarya Toh Brahmaramsi

This Somdej amulet is interesting for three reasons, which the teacher explained should be known to those interested in studying how to evaluate Buddha amulets. These points are essential because, when visiting the amulet market, it’s possible to come across similar amulets. If one has prior knowledge or experience, especially visual familiarity, it will help assess the value of the amulet more accurately.

First, the Sanghati line on this Somdej amulet is faintly visible. If members look closely, earlier posted short Sanghati Somdej amulets chosen by the admin had a more prominent line. The teacher mentioned that in the amulet market, one might find short Sanghati Somdej amulets with faint or even barely visible Sanghati lines, more so than those with clear lines. Therefore, he advises members not to mistakenly believe that short Sanghati Somdej amulets must always have clear lines. There are also valuable amulets with faint lines. Out of curiosity, I asked the teacher which he preferred, clearer or fainter lines. He said that it’s a personal preference, but he likes the clear Sanghati line more.

Second, the teacher pointed out that the head of the principal Buddha figure on this amulet appears slightly flattened in the front. This is because this Somdej amulet lacks the usual protrusion around the nose area. The teacher suspects this is due to the mold being pressed too shallowly, causing the Sanghati line to be less defined and the face to lose some depth. This shallow pressing also affects the sharpness of the base. According to the teacher, Somdej amulets with these characteristics are common and might even outnumber those pressed deeply. Therefore, he encourages members to familiarize themselves with amulets pressed shallowly.

Third, the admin personally wondered why this Somdej amulet had a different color from others. It doesn’t seem to have had its surface covered and then peeled off. The surface is a light brownish-black, but not dark. After asking the teacher, he explained that the amulet is naturally white but has developed a light brown patina over time. If you observe the inner frame and the bottom of the first base, you’ll see darker brown patches, which is the same patina but more concentrated. This unique feature makes this amulet stand out, as it’s rare to find such characteristics in others.

The master provided the following comments on the amulet’s artistic details:

The amulet was trimmed along the outer edge of the mold, making the mold’s frame clearly visible. On the left, the frame cuts straight down to the elbow of the principal Buddha figure, which is a distinctive feature of large Somdej Wat Rakhang amulets.

The frame of the niche is large and rounded, resembling a split rattan. The frame on the first mold is the largest compared to other Somdej Wat Rakhang molds and retracts perpendicularly.

The head of the Buddha figure is large and round. For this amulet, it’s slightly flattened in the front (as previously mentioned). The top of the hair is pointed, with the base being large and cone-shaped.

Both ears are sharply defined, with the left ear being more visible due to the molding technique, making the left side appear deeper. This causes finer details like the left ear to stand out more.

The shoulders are squared, and the Sanghati line runs from the left shoulder down to the chest, but it’s faintly visible, casting only a soft shadow. Both arms are rounded and perpendicular. The left arm shows a slight depression, typical of large Somdej Wat Rakhang molds (except the long Sanghati mold). There’s a thin robe line under the left elbow leading to the left knee. The left foot is elongated, lying across the lap to the right knee (which is not clearly visible due to the shallow pressing).

The third base is rounded and long, resembling a pillow, while the second base resembles a lion-legged table. A faint line above the table indicates mold movement. The first base is wide and flat, with the right side cut at an angle resembling an axe head.

The back of the amulet is smooth, with pinholes, insect tracks, and mineral deposits. Most notably, there’s a crack along the edge, commonly referred to as a “spider track”, where the patina is more visible, adding to the amulet’s overall beauty.

I would like to thank Mr. Thanatat Thongniam for generously sharing the image of this Somdej amulet, allowing the teacher to describe its unique features for the benefit of members interested in amulet evaluation. Thank you very much.

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