Below is an interview with Ajarn Apichai from the near-impossible-to-get The Thai Occult: Sak Yant. (There are apparently a few copies left due to an unfilled wholesale order. The rest have been pulped.)
Jenx has been on the podcast a couple of times -first time here, second time here- to talk about Thai animist practices. He informs me he's just started on the next, giant Thai Occult Book which will have rituals, blessings, curses, horoscope and all the amulets types, all of which have interviews from the various makers and sorcerers.
You can follow along with his work here. In the meantime... enjoy!
An Interview with Ajarn Apichai
Location: Phitsanulok
We chose to interview Ajarn Apichai regarding his Sak Yant for two reasons, firstly that his amulets are particularly effective and secondly, his age as he constitutes part of the future of the art. During a previous interview in Chiang Mai, which included being present for a graveyard ceremony, the depth of his knowledge was quite a shock, as was the fact that he delivered it with the tone of a master of the art.
As a boy I was cared for by my Grandparents at their home in Chiang Mai and it is from them that an appreciation of the Thai Occult practices arose at a very early age. My Grandfather was a pupil of the legendary Kruba Sri Wichai but even though requested, a refusal was given when asked to pass on his acquired knowledge due to my age at that time. Soon after this time, I started to study with a monk at a Buddhist school, learning about the protective kata that are used to ward off ghosts and others that provided invincibility, which led to an interest in Sak Yant and a desire to find out if it was real. My grandfather then made the correct introductions to a renowned monk, Luang Phor Wanlop, who passed on the knowledge of how to understand a Yant, as well as how to apply to Sak Yant to the skin.
Meditation played an extremely important aspect in the rising my ability, leading to an extended practice period with flame meditation, which when applied properly can give extra power to any performed Pruk Saek (the Pruk Saek is the blessing and the transfer of power into the Yant) as it strengthens the applied spell. Through traveling to meet respected Masters, I was able to study with Luang Phor Saneah of Wat Chiang Khang and Ajarn Suriyong of Hang Dong, close to Chiang Mai. It was they who passed on the knowledge of how to read and understand both the Khom and Lanna scripts, allowing me to begin practicing the application of Sak Yant with friends and associates.At an early age I moved to
Bangkok, where relatives were able to make an introduction to Ajarn Somchart from Wat Bang Phra, the most famous temple in Thailand for bestowing Sak Yant tattoos. Under Ajarn Somchart’s tutelage, I quickly acquired the skills to perform the temple’s famous tiger Yants and became adept at the Khom script, thus allowing for a period of personal study and a rising understanding of the doctrine of Sak Yant. I have studied the Wicha for Sak Yant from three sources, the Lanna Wicha, the Wicha of Wat Bang Phra and the Wicha of Luang Pu Suk. My knowledge of the various Prai and ghost Wicha (Wicha is 'the knowledge') was acquired from Luang Phor Sanglae as well as from Phor Nan Srikhum and Phor Nan Tan, who were undertakers in Chiang Mai.
The Sak Yant I bestow are generally made using red ink, which is also a personal favourite for the Yants on my skin. There are many Wahn (plants) from the lexicon of the alchemy of Thai Magic that give out a red colour, such as Wahn Sabu Luard and Wahn Gai Dang and these also help with the power of the tattoo. The black ink that is used by most Ajarns to do Sak Yant is usually either a Chinese ink or just ordinary ink, so when I first applied Sak Yant, the red ink used for the tattoo would be mixed with red Wahn that originated from my extensive acquired Wicha knowledge at this time. Over the years, the red Sak Yant has become a signature of my work. Red Yant tattoos are symbolic of the fire element and it is a colour of power. The red ink and the black ink are the same in many ways but in the Wicha of the Lanna region, it is believed that it is best to use a black ink to bestow an invincibility Yants and red ink for Saneah (attraction).
The mixing of the red Wahn extract into the ink is important for each individual Yant and there are specific combinations that have to be used together or the Yant becomes ineffective to a certain extent. Mixing Wahn for an invincibility spell to apply a Sak Yant for charm can work against each other, softening the charming effect from the Yant but it is also about the dominant power bestowed. There is Maha Saneah in the most powerful Kong Grapan tattoos because of the fact that in desperate situations, they can work together to keep the bearer safe from harm.
The extraction of Wahn to mix it with ink is an ancient knowledge that was passed down to me from Phra Ajarn Pichet of Chiang Mai, who has great knowledge of Wahn colour extraction and the magical use of such plants. Some of the Wahn’s are toxic and without the right knowledge they can cause illness. Some Wahn are quite rare and for many of them I have to travel to Chiang Dao to get them or they have to be grown at home. The correct auspicious time and specific Kata are also important in mixing the Wahn, which enhances the effectiveness of the applied Yantra. The consistent recitation of the correct Kata while performing Wahn extraction and before mixing it to the ink will also help enhance the Yants power. There are various types of Wahn for different types of Yant. Wahn Mha Seh Roi Paed which is used for Saneah, Metta and Chok Laap. Wahn Mongkol Roi Paed is for Mongkol, protection and Kong Grapan invincibility and Wahn Hanuman, Wahn Sampan Tumlung and Wahn Thao Nan Hang can also help enhance Kong Grapan. Wahn Kuman Thong is something that I do not use for Sak Yant but it can be used to make amulets instead (due to its harmful nature being absorbed by the body). For Saneah Yants, I use Wahn Chan Thang Song, Wahn Chan Thang Ha, Wahn Chan Khao, Wahn Chan Dang, etc. as well as mixing gold leaf with the ink because gold is an important element for Saneah.
Astrology is a vital component with the knowledge of Sak Yant. At first, I wasn’t really interested in astrology, tending to focus more strongly on the Wicha, Kata and Sak Yant itself but an Ajarn came forward who is an expert at astrology and fortune telling. This Ajarn passed on the understanding of how important astrology is to pick the auspicious time to make amulets, Sak Yant and basically everything to do with occult magic. If the right date and right time can be arranged with the devotee then the result is a more powerful Sak Yant. For example, many say that a Monday is best for a Saneah Yant but other Yants can be done on this day too, if the correct time is calculated.
The difference between the Saiyasart style (occult) of magic and the Puttasart (Buddhist magic) is the doctrine. What both have in common are the Kata but they are used in different ways. The Kata for Saiyasart practices can be used for good or bad. The Saiyasart Wicha is used for supernatural power, which the Buddha omitted from his doctrine but it does have to be stated that there is no such thing as black or white magic. It’s more about the intention of how to use the magic. As soon as any ill intent comes into the spell, things naturally get darker as there is an element of forcing people to do something that they may not choose to do under normal circumstances.
Nam Man Prai isn’t usually used to do Sak Yant as it would allow the Prai spirit to enter the body. This is not good and shouldn’t be done at all and many believe that Nam Man Prai should not even be touched onto the skin of the person who is using it. In the past they would not use their own fingers to apply the oil, instead they would dip a stick into it and then tap it onto others to enchant them. Even in this way, it is believed that if Nam Man Prai touches the body then the Prai spirit will have a chance of entering.
The rules for having Sak Yant are to respect the Buddha, the Dharma and the Sangha (The Triple Gem of Buddhism), respecting our mother, father and teachers. Yant tattoos are connected to the mind and spirit and believing in the Yant will help secure the Yant’s power within the bearer. On the contrary, once someone starts to not believe in the power of the Yant or begin breaking the rules, it will dissipate the Yants magic. When the Yants power has either gone or is depleted, the devotee will have to return to the Ajarn who bestowed the tattoo to perform a Korb Sian ceremony in the hope of returning the power to the Yant once more.
Sak Yant tattoos are becoming ever more popular to the people from outside Thailand, such as the Chinese. Taiwanese or Singaporeans. They come to get Sak Yant but the esoteric nature of them seems to be the primary reason for having the tattoo rather than following the practice in the Thai way. In this modern era, the Westernisation of Thai culture is a reason that some consider that the practice of Sak Yant is in decline. There has also been a growing bad reputation because of some self proclaimed Ajarns, who do not truly have the knowledge of Sak Yant. There are tattoo parlors that also do a Sak Yant tattoo for fashion, following none of the Wicha of the art. In my opinion, the growing use of Ajarns who use tattooing machine doesn’t mean that they don’t have any knowledge of what is truly involved in the application of the Yantra. The machine is a tool and the power of Sak Yant comes from the spirit and the Kata recited, although I think that it is best to keep Sak Yant traditional by only using the Khem Sak rod.
The going into trance by devotees (Khon Khuen in Thai) can either be real or from people’s imagination. Khon Khuen is when the spirit of the bearer accepts the Yant fully and lets it show through physical body actions. In a way, it expresses the body as a vessel for the power of the Yant to go though. There is also mass hysteria to be taken into account, like when there are a lot of people in a ceremony and some might Khon Khuen for real but the others just act the same as they want to show off and not feel left out. This action can only come from very strong Sak Yant. A small animal Yant cannot actually take control of a person’s mind and body, sending them into Khon Khuen. Yants such as a gecko Yant might be able to allow the bearer to feel its presence but it cannot create the reaction of going into trance.
It is a habit of many Ajarns to mix the languages of Khom and Lanna together as a trick to prevent others stealing the relevant Kata from the Yant design. Those who do not know this relatively common practice may think that he made a mistake but it is done purposely. If the Wicha is correct it does not affect the power of the Yant.
My signature design is the tiger Yant in the Lanna style, in which I mix the tiger’s heart Yant Na from Luang Phor Pern with the Lanna style tiger Yant. Another favourite of mine is the Na Oak Taek, which is Wicha from Luang Phor Pina and it was used in the story of Khun Paen. In the tale, Khun Paen put the Na Oak Taek spell on to the love of his life, Nang Wan Thong to charm her, so she will always think of him. Na Oak Taek literally means breaking the chest or ‘heart breaker’. For whoever was under the Na Oak Taek spell will always think of the person who put the spell on, so when they are not together, the person under the spell will miss the caster so badly, it would feel like dying from a breaking heart.