~ Voodoo Priestess Estate ~ ©  

LiDiex Shrine, Lao Wat Mahathat, Mercury Bronze Phra Upakut
 in
Enameled Thai Coin Silver Reliquary Case
with
Bali Sterling Silver, LiDiex Glassworks Fluorite and Swastika Bead, 54 Count Mala Necklace

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This is another of our very long listings with an abundant text and 12 photographs, so please be patient and give them time to load.

If you have come this far, we feel you will find it was worth the wait.

It has now been just over twenty-three years ago since we were called to do the estate that had been closed up for seventeen years! 

  The Voodoo Estate!

This type of call usually gets us excited as they are a treasure trove.  Located here in Florida, there was no electricity or running water so we rigged our own lighting and in we went.  If you have ever seen the Adams Family you will have some idea as to what we were greeted with!  Then the attorney handling the liquidation gave us some background. 

The estate had belonged to an alleged powerful Voodoo Priestess/JooJoo Exorcist, grand daughter of a Marie Laveau, and favored daughter of a Marie Glapion.  These names meant nothing to us, but the late night talk of Voodoo and exorcism in the old mansion did cause some uneasy feelings so we decided to spend the night in a hotel and return in the morning to assess the estate.  The rest is history. 

Our research has shown that this woman was what she claimed and was indeed descended from a long line of well known Vodoun family originating in New Orleans in the early 1800's.  We were somewhat unsettled by this until we discovered they were also devout Catholics!  Although I have to admit this was unlike any Catholic home we have ever been in and some of the items found inside were a little more than unnerving.  There was no feeling of dread or unwelcome in the mansion, however there was quite a bit of contraband and other items we can or will not sell here.

This is one of a few pieces from this estate we will be listing this week, so check our other listings.  We will, upon the new guardian's request, issue a named Letter of Authenticity with each lot from this estate, complying with the terms set forth to us by the estate's attorney.

Some Back Story

This cased Phra Upakut amulet and its LiDiex Glassworks mala necklace were found and recovered from what was named, "The LiDiex Chapel Room."  This was not the largest of the altar rooms but large nonetheless, as it measured 17 x 24 feet!  But it certainly was an unusual room that in describing, we could just as well be describing an ancient Cabinet of Curiosities.  It was indeed used as their chapel, "A place of solace and meditation where ancestors are revered", according to one of her journal entries. 

This is an arranged marriage of amulet, reliquary pendant case and fifty-four count skull mala necklace.  It is an ensemble that has been mostly displayed by our own Uncle Waddy over the last ten years or so, being part of his personal collection.

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The Amulet

Her journaled inventory tells us this amulet was procured by the 1888 LiDiex, "a gift from the monks of the Wat Mahathat" in 1945.  It is one of five such amulets he received from them. 
 
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Coincidentally, where and whenever those associated with this estate happened to be, we find criminal, political and, or religious events have taken place.
 
At the end of the World War II, the collaborationist leadership of Thailand, which included Marshal Plaek, was arrested and tried for war crimes.  Democratic elections for the entire People's Assembly were first held, and the young King Ananda Mahidol returned to Thailand for the first time in seven years.  King Ananda Mahidol had just come of age, turning 20 in September of 1945.  He returned with his mother and Prince Bhumibol in December of 1945.
 
A new constitution, Thailand’s most democratic to date, was drafted in his honor.  Pridi Banomyong called it the constitution that gave the Thai people the most complete democratic rights.  The differences with previous constitutions were the House of Representatives would, for the first time, be fully elected by the people (176 members).  A Senate of eighty members was also established, which would, unlike the British House of Lords, be elected by the House for six year terms.  Active civil servants and soldiers were also banned from serving in the Parliament or Cabinet, reducing the power of the military.  A ban on senior princes from participating in electoral politics was repealed, precluding only the King and four other people from politics.
 
The Constitution was promulgated in 9 May 1946.  One month later, in 9 June 1946, the King was found shot to death.  His death was soon followed by a military uprising in 8, November 1947 that abrogated the 1946 constitution.
 
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1888 LiDiex
 
 
The research generated by this estate provides continuous fascination.  The procurer of this amulet, was a man known only as "LiDiex," a 4th. generation descendant of the original Man Known Only as "LiDiex," who had come to these shores as a survivor and saboteur of the slave Ship Henrietta Marie in 1701.  He then found his way to New Orleans to meet with the young parents of the then infant grandmother of our priestess, Marie Laveau.  It is said he facilitated this disaster using egg shells to cast a spell, and certain folklore concerning egg shells corroborate this.  The original LiDiex was a wood carver and furniture maker as were most of his descendants.
 
This is another case of the multi-generational relationships we have encountered with the families associated with this estate, as the LiDiex all had a strong association with these women.
 
He is the least mentioned of the LiDiex in her journals, yet he kept a suite of rooms with her from his sixteenth birthday.  Apparently he would leave for periods lasting up to a decade before returning, shutting himself in her estate for lengthy periods before leaving again.  There is no record of the death of this LiDiex.
 
He is attributed with the design and consecration of the, "Resurrection Skull Altar" and most of the ceremonial spells associated and used with it.  Her journals, and those of a number of her live in practitioner followers, most notably, those of the LiDiex, tell of this altar being used in ritual resurrection ceremonies.  There are some pretty fantastic tales of animating inanimate objects, particularly, a number of articulated skulls using specific minerals, potions, elixirs and reptiles. 

He is described in her journals as being, "in excess of six feet of sinewy muscle, deceptively strong, easily matching two of his size in their grappling" and, "extensively, shaved, tattooed and pierced" in addition to, "shown to be capable of high magic without devices."

Both their journals claim his ability to heal wounds, shape shift, travel through time and space, telepath and create life with the power of his thought.  They also corroborate the sharing of identities with a number of other LiDiex, "being a master of disguise and misdirection, often with his mere thought" according to these entries.  This gave these men the ability to appear two or more places at once, an old family ploy that was apparently often used by their Mistress.

It is this LiDiex who is attributed with making her introduction to Alexandra David Neel and his journals tell of numerous meetings and short adventures with her.  Claiming at the age of twenty four to have met Neel for the second time in the company of Prince Sidkeong of Sikkim and of being her teacher of the Tibetan language having already spent six years with the Great Hermit as apprentice.

 Much is already written on these subjects, so there is no need to elaborate here in this already overly long text, but we wholeheartedly recommend a cursory search for some very interesting reading.

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Wat Mahathat

The history of this amulet prior to their acquisition is a fascinating study of Southeast Asian Buddhism and its sorcerer monks.

Wat Mahathat or Wat That, is officially known as Wat Pha Mahathat or Wat Si Mahatat.  It is the "Monastery of the Stupa."  It was founded by King Say Setthathirath in 1548, who also erected the imposing Lan Na style 'that' or stupa, that graces the ground in back of the sim.  This stupa-prasat style has a tiered square base surmounted by the stupa with square, octagonal and round tiers above.  The northern Thai influence can be seen in the golden umbrellas at the peak of the stupa and in many other places in the wat.
 
Its sweeping stair and entryway from Thanon Chao Fa Ngum Road and silver seven-headed naga is reminiscent of the more colorful and elaborated longer stairway at Wat Doi Suthep in Chiang Mai, Thailand.  The adjoining wat to the northeast, Wat Ho Xiang, has similar decorative design flanking its stairway.
 
The present sim, or viharn, was rebuilt between 1907 and 1910 by Chao Maha Oupahat boun Kong to replace the one that collapsed during a typhoon that struck during evening prayers in April 1900.  Many lost their lives in that tragedy which destroyed many of the wat’s buildings.
 
The sim, in Luang Prabang style, was rebuilt in 1910, and then restored beginning in 1963.  Recent work beginning in 1991 has created an attractive ornamental facade decorated with rosette columns.  There are interesting relief murals in its front portico and depictions of the legends of King Thao Sithoanh and the Nang Manola, the kinnari (divine half-woman/half-bird reputed for its frolicsome kindness) in addition to stories from the Phra lak phra lam (the Ramayana).  This is a popular Laotian legend of Khmer origin.  The sim has a double-tiered roof with a magnificent fifteen segmented "Dok So Fa" (or nhot so fa), a metallic ornamentation at the center of the roof beam.  The Dok So Fa symbolizes the universe and Mount Meru and is found on most Laotian sims.  This particular Dok So Fa consists of a series of pagoda forms.
 
There are statues of the Earth Goddess, wringing water from her hair, that recall the story of the Buddha when he was threatened by the army of evil spirits and called on her.  The water, accumulated from the meritorious deeds performed in his previous lives, drowned the entire Maran army.
 
Wat That has long served as one of the more significant wats in Luang Prabang.  During the Laotian New Year, leaders of traditionally important Luang Prabang wats (Mai, Xieng Thong, Aham and Vixun) had solemnly visited it by palanquin.  It still remains an important element of the religious structure of the city.  Within the confines of the wat also are the ashes of the revered Prince Phetsarath (believed by many to have had magically invincible powers as a half-deity, half-royal khon kong), who declared Laos independent after the Japanese surrender in 1945, and Prince Souvanna Phouma, his younger half-brother, who served as prime minister and sought to retain Lao independence in negotiations with the Pathet Lao.
 
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But Back to the Amulet
 
Their journals have numerous entries describing the procurement and their use of these amulets.  The LiDiex journals describe its acquisition from the monks of  Wat Mahathat, it being one of twenty-six amulets gifted to him for performance of an unspecified task and donation on their behalf.  In one entry he writes, "Nine of the monks pledged their 'top' amulet as directed by the Abbot."  This unusual, Phra Upakut amulet being one of these twenty-six and one of five Phra Upakuts.
 
The LiDiex journals tell the oral tale as told him of this being one of the Phra Upakut amulets that had been found on the far side of the walled steps of Wat Prathat Doi Suthep, in Chiang Mai Provence by the gifting monk in 1927.
 
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Phra Upakut Khmer Amulet 
 
The legends of the Arahat Upagutta can be found in Somdet Phra Maha Samana Chao Kroma Phra Paramanuchit Chinorasa’s Pathama sombodhi katha.  Others are also mentioned in Kingkeo Attagara’s ‘The Folk Religion of Ban Nai’ and ‘The Legend and Cult of Upagupta’ by John S. Strong.
 
He was a Buddhist monk named Upagupta, (Phra Uppakhut in Thai) who preached and taught meditative practices throughout Northwest India over two thousand years ago.  He is venerated today as a protective figure endowed with magical powers.  In Thailand he is also called, ‘the Lotus Buddha’ or ‘the Buddha of the south’.  In northern Thailand they refer to him as ‘Bua Khem’.
 
His depictions usually show him seated in the Vajrasana position with his hands in the Bhumisparsha mudra, the gesture of touching the earth. He is often depicted in the act of getting ready to bind Mara, either still in meditation or just awakening from it.
 
Underneath the throne upon which the Buddha is seated there is often a stylized decoration of water plants, the lotus and in many examples a fish.  The fish, in connection with the Lotus Buddha is in reference to the legends which describe the origin of Phra Uppakhut from the sea.
 
The Thai belief  is Phra Upakut still  lives in Nirvana at the bottom of the sea.  Every Holy Day on the full moon he disguises himself as a novice monk accepting food offerings at dawn.  Whoever has a chance to offer him food will prosper and become a rich.
 
Wat Uppakhut in Chang Mai was built with the permission of the Sangkha Act of 1902 (B.E. 2445).  A unique tradition performed at the temple is the offering presentation on full moon Wednesdays called the “Peng Put” rites.  This comes from the belief that whoever gets to present offerings to Phra Uppakhut will be blessed and become rich in a very short time.
 
“Loi Krathong”, a festival celebrated annually throughout southwestern Thailand is traditionally performed on the full moon night of the twelfth lunar month.  The floating of a ‘Krathong’, a banana leaf cup which floats away ill fortunes also expresses apologies to Khongkha or The River Goddess Ganga.  Some believers feel this ritual pays homage to the Buddha’s footprint on the bank of the Narmada River, while others say that it is to pay respect to Phra Uppakhut.
 
One of his key roles is to provide protection on the occasions of major Buddhist festivals (poi luang) when he is taken from the river and installed in a temporary pavilion in the temple grounds.  The famous Phi Ta Khon Festival or Ghost festival for example is held annually in the northern province of Loei.  It usually starts with a procession carrying Uppakut, and special white pebbles from the river to the temple.
 
He is a saint (Arahat) in the Sanskrit Buddhist tradition.  He is said to have lived in the time of King Asoka about 100 years after the death of the Buddha.  He was the third Buddhist patriarch and disciple of Ananda, who was the closest disciple of Buddha.  He is associated with miracles, supernatural powers and paranormal phenomena and is known as a great teacher through action and insight.  He was the legendary tamer of Mara, a feared deity, the ''evil one'' of  Buddhist tradition.  In mythology Mara symbolizes the notion of death in its broadest metaphorical sense, that is anything likely to keep an individual from Nirvana or within the realms of death and rebirth.
 
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Many temples, in North Thailand, display a depiction of Phra Upakhut, also known as Phra Buakhem.  His most common imagery is that of  is an image of a sitting monk holding a begging bowl with his head turned upward to the right, while his left his hand holds the bowl and his right hand is slightly inside the bowl and covering it.

 Phra Upakhut is a protector against evil and a symbol of purity.  

The Origins of Phra Upakut

Our research revealed numerous origin myths pertaining to this monk.  He was an arhat who was praised by the Buddha for his magical powers.  Before the Buddha entered Nirvana, he asked Phra Upakhut to remain alive until the coming of the future Buddha, Maitreya, to protect the teachings of the Dhamma.  Other sources tell us Phra Upakhut was a monk from the ancient city of Patna in India who lived after the Buddha during the reign of Emperor Ashoka (268-232 BC). 

After Emperor Ashoka converted to Buddhism he started constructing numerous temples and stupas to house the relics of the Buddha.  The devil threatened to interfere but Phra Upakhut thwarted him.  He himself had reached the state of enlightenment and freedom from suffering.  Theravada Buddhists believe the monk is alive and amongst us.

In another of his origin myths, Phra Upakut was conceived from a mermaid who had swallowed some of the Buddha’s semen that had come off his robes while he washed them in a river.  It is a common known fact in Thailand, that if a mermaid drinks sperm she can get pregnant.  We didn't know that.
In describing their use of these amulets, one of the LiDiex journal entries tell us; "This Amulet has and will always bring Luck.  Good things unexpectedly happen along with prosperity and protection.  This is a Khmer rendition said to grant sexual prowess, power and wealth while thwarting evil spirits and black magic, disease and danger!  But in order for these things to be fulfilled you must give merciful aid to the poor and needy."
 
 There is already a tremendous amount of information readily available on Phra Upakut and the miracles associated with his depictions, so there is no need to further burden this already lengthy text, but we wholeheartedly recommend you research this on your own if you intend on using this amulet.
 
These amulets are made from a metal called Mekapat.  This is a Lead, silver, Leklai and mercury regional alloy depiction of Phra Upakut measuring approximately 1 3/4" x 7/8" x 3/4", and weighing 48.1 grams.

.  This is an ancient recipe for material used to make sacred objects.  It was made by alloying lead, LekLai, copper, cave minerals, herbs, mercury, silver, gold, etc. or any combination thereof.  It is said to be holy material that once hardened into its permanent shape begins a maturing process of supernatural power.  Already powerful at birth, it becomes stronger with age and these amulets are well known to protect one from bodily harm or mishaps.

It also has had numerous gold leaf blessings prior to and after their acquisition.

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Gold Blessed
 
The 22k and 24k gold leaf sheets (pit tong) that were used on this amulet were procured in Thailand and used to perform a blessing ritual called "Na Na Tong".
 
Her journals tell us a small amount of prai oil is to be applied to the forehead, palms and/or ritual object, then any one of a host of symbols were used by drawing them in the oil anointed areas which were then pasted with the gold leaf foil, all the while chanting.  She tells us, "the gold leaf on your skin is now anointed anew to dissolve the gold for absorption through the skin."
 
The LiDiex journals tell us, "Na Na Tong is a great charm.  It brings with it what the Thai calls Metta mahansaney and mahaniyom (to be well liked, have great charm, attract business, attract the opposite sex, provide protection and bring good luck)."

The Case 

Nearly five thousand amulets are said to have been procured from this region over a four decade period, as noted in their inventories.  We recovered just over four thousand of them.  Most of these did not have cases.  Apparently they had individual cases made, much like today, in sizes to fit the variety of amulets, and they used a few cases for them.  These were made from copper, brass, silver, gold and platinum and run the gamut from plain to ornate.
   
This case Is Original To This Amulet and Estate, having been fit at a silversmith monk's temple counter which specialized in amulet cases.  According to the LiDiex journal it is hand made from Thai coins, hammered into sheets used to make these cases.  Hand chased and enameled it is unmarked, with no maker's or assay marks and tests below .800 Silver Standard.

 The case is enameled and is hinged at the bottom for easy access and features clear plastic viewing windows front and back.
 
As cased, this amulet measures approximately 2 1/2" (with bale), x 1 3/8" x 1", and weighs 72.3 grams.
 
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Bali Sterling Silver, LiDiex Glassworks Alchemic Mercury Silicate Teal Fluorite and Black, Left Hand Swastika Silicate Onyx Dzi, 54 Count Mala Necklace 

Her journaled inventory goes on to tell us this single amulet 54 count mala necklace is part of a group that were custom made for the LiDiex that she and three of her practitioner staff made for them during a ceremony of prayer bead making in 1979.
 
Examination reveals a Bali Sterling Silver, LiDiex Glassworks Alchemic Mercury Silicate Teal Fluorite and Black, Left Hand Swastika Silicate Onyx Dzi, 54 Count Mala Necklace, as the title implies.  It was  made to support a single amulet, as described in their journals and inventory. 
 
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The Sterling Silver
 
More often than not, their metal of choice was silver as she notes, "Silver is the mirror of the soul related to the moon energies.  It strengthens connections of the astral and physical bodies.  A metal unmatched in its psychic energies and healing abilities, I have used it as a spell medium, to heal the speech impaired and to help public speakers achieve eloquence.  Induced into the drink, it has expelled the toxins that caused headaches, arthritis, intestinal and blood disorders.  More importantly it attracts, enhances and stores energies of gemstones, driving out negative energies the stone may have absorbed."
 
Sanur Pandai Sudra Sterling Silver
 
The LiDiex journals tell of their dealings with a family of, “Sanur Pandai Sudra” over a four year period of 1957 through 1961.
 
Some of these entries read, “a family of traditional Balinese smiths and sorcerers, descended from a long line of craftsman sorcerers of Sanur.  They are in possession of authentic, ancient Hindu lontars, (Holy inscriptions written on the leaves of the lontar palm) that tell of the mythical history of their arts.”
 
“They are known locally as pande mas, trained by the Gods."
 
“Although they are low caste sudra, they are sought out for their work in silver, gold and sorcery.  They claim to be direct descendants of Brahma.”
 
The word 'pandai' means both 'smith' and 'clever'.
 
Their journal and inventory entries attribute the one hundred and thirty-one assorted hooks, rings, beads and spacers they chose for this amulet mala necklace as being obtained from these, "Sanur Pandai Sudra”.

Unmarked,  all test as .925 Sterling Silver Standard.
 
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Alchemic Mercury Silicate Teal Fluorite Beads
 
Her journaled inventory goes on to tells us of the fifty-four 12.5 mm teal glass beads used in this mala necklace are an alchemic recipe of teal fluorite silicate sands and mercury developed by the 1898 LiDiex and produced in their glassworks  The founder of the LiDiex Glass Works, is known to us as the 1898 LiDiex, but to most, he was known only as "LiDiex."  Their glass works provided a source of income for numerous staff members and is attributed with their, “alchemic spirit glass” which we have noted as being a consistent source of unexplained paranormal activity as those of you who follow the listings from this estate already know.

Her journal entries tell us, "their energy lends well to Ouija and séance being quite beneficial to spiritual awareness.  This energy connects to and focuses on the non-physical forces of the spiritual realms, freeing me from the bonds of their realities."
 
"counting prayer upon these beads improve on one's mind and order, allowing the release of negative thought on all planes.  Once released, it does not allow the negative thought energy to enter into one's realm of influence.  They are made from a healing crystal that will aid and promote the healing work of stones.  A protector of one's health, it has been successful in preventing diseases and possession.”
 
Apparently these beads are a fragile mixture or they were excessively rough with them as only a handful of the items they made with them survived intact.

These are in mint condition with no sign of damage or repair.

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Left Hand Swastika Silicate Onyx Dzi Beads
 
The eight, 11.1125 x 15.875 mm barrel beads, which their journals tell us are, "Alchemic Onyx and Obsidian Silicate Glass" are said to have been a secret formula using silicate sands made from the corresponding gemstones and minerals.
 
Each of the beads display a pair of bleached white left hand swastikas and border rings.  They are of fine grind and polish with deep black color.
 
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According to her journal entries these glass beads were inspired by Tibetan Dzi beads, and the swastika depicted on each of them is an ancient symbol that is found worldwide, but is especially common in Hindu and Buddhist culture.  Its name comes from the Sanskrit word svasti (sv = well; asti = is), meaning good fortune, luck and well-being.  It is used as a charm of good fortune, but has a variety of religious meanings.
 
When facing right, it represents strength and intelligence, and is called the ura (rear) manji.  It is also seen as pointing in all four directions, (north, east, south and west) and thus signifies stability and groundedness.  Its use as a sun symbol can first be seen in its representation of the god Surya.
 
  The swastika is considered extremely holy and auspicious by the Hindu and Buddhist, and is regularly used to decorate items related to their cultures.  Used in yantras and religious designs, it can be seen on the sides of temples, religious scriptures, gift items, and letterheads.  The Hindu God Ganesh is often shown sitting on a lotus flower on a bed of swastikas.  The symbol, as it is used in Buddhist art and scripture, is known in Japan as a manji, and represents Dharma, universal harmony, and the balance of opposites.  When facing left, as depicted here on these beads, it is the omote (front) manji, representing love and mercy.
 
Balanced manji are often found at the beginning and end of Buddhist scriptures.  The swastika is one of the 108 symbols of the god Vishnu as well as a symbol of the sun and of the sun god Surya.  The rotation of its arms imitates the course taken daily by the sun, which appears in the Northern Hemisphere to pass from east, then south, to west.  It is also a symbol of the sun among Native Americans.
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The 1898 LiDiex
 
 This was another member of the family of men known only as, "LiDiex."  A 5th. generation descendant of the original man known only as, "LiDiex" to these shores.  The 1898 LiDiex branched off into glassmaking after returning to New Orleans from an extended stay in Europe where he studied the glass making techniques of Murano and Bohemia.  In addition to being the maker of a proliferous collection of glass, many pieces being described as having a wide variety of metaphysical attributes, he was a meticulous carver, responsible for an array of carvings, wood puzzle boxes and furniture.
 
He is mentioned in numerous journal entries as one of the LiDiex who accompanied her on many of her adventures, being a trusted practitioner and follower of his mistress.
 
Recently found journals show him as one of her chief enforcers and "Zuvembie" leader, often referred to as, "a skilled sorcerer, tactician, warrior and artist" who was deeply involved in her works.
 
He continued making glass with metaphysical attributes for her and her followers right up to the time of his demise in 1968.

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All of these have been hand knotted and strung with black yak sinew to form this unusual fifty-four count mala necklace measuring approximately 33 3/4" in overall length.  It hangs with an approximate 18" drop.
 
She writes of the acquisition of a large quantity of this sinew from a "Chinese healer and talisman maker known for and sought for his works", purchased at the Namche Bazaar of Nepal in 1928.

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The Ensemble
This amulet ensemble also bears the distinction of having been part of our own Uncle Waddy's personal collection.  The amulet, reliquary case and fifty-four count mala necklace are original to this estate, as shown and found.  

Twice we had requested he part with pieces from this extensive collection which he agreed to do, reluctantly and which we quickly sold out.  Going back to the well again so to speak, we did not expect to fare as well if at all this time, as he had told us the last batch was absolutely the last he was parting with!  So much for saying no to his granddaughters.

This amulet ensemble has been mostly stored away except for a short period it was kept on display in his conference room.  It will come to you mounted and blessed (as shown) by at least one senior monk of Wat Buddharangsai who thanks you for the homage paid Theravada Buddhism.
 
This is certainly a fine religious artifact with an extraordinary provenance that is much nicer than the photographs are able to depict.
 
(description exceeds maximum possible length)