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Prasat Nakhon Luang — Attraction in Nakhon Luang District

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Prasat Nakhon Luang
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Mong Korean Grill
FJ56+FW8, āļ—āļēāļ‡āļŦāļĨāļ§āļ‡āđāļœāđˆāļ™āļ”āļīāļ™āļŦāļĄāļēāļĒāđ€āļĨāļ‚ 329, Pak Chan, Nakhon Luang District, Phra Nakhon Si Ayutthaya 13260, Thailand
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Nakhon Luang, Nakhon Luang District, Phra Nakhon Si Ayutthaya 13260, Thailand
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Prasat Nakhon Luang
ThailandPhra Nakhon Si Ayutthaya ProvinceNakhon Luang DistrictPrasat Nakhon Luang

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Prasat Nakhon Luang

FJ86+4H5, Nakhon Luang, Nakhon Luang District, Phra Nakhon Si Ayutthaya 13260, Thailand
4.7(1.5K)
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Reviews of Prasat Nakhon Luang

4.7
(1,478)
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5.0
27w

Prasat Nakhon Luang & Ganesha Shrine – A Hidden Gem of Ayutthaya’s Spiritual Heritage

Historical Background Nestled in the quiet outskirts of Ayutthaya, Prasat Nakhon Luang is a unique and lesser-known royal structure that dates back to the reign of King Prasat Thong (17th century). It was inspired by the grandeur of Hindu temples in Cambodia and India, originally built as a royal residence and ceremonial space for kings traveling to important temples in the region. The architecture reflects a blend of Ayutthaya and Khmer styles, with towering prangs, red-brick corridors, and ornate passageways that echo the magnificence of the past.

Sacred Ganesha Shrine One of the most remarkable spiritual highlights here is the ancient Ganesha statue, housed within the brightly painted yellow building of the inner sanctum. This form of Lord Ganesha, the Hindu deity of success and remover of obstacles, draws devout followers who come to pray for prosperity, wisdom, and protection in business and family matters.

Despite the statue’s weathered appearance, it exudes a powerful aura of sanctity. Beneath the figure are sculpted heads symbolizing karma and wisdom, enhancing the spiritual symbolism. Devotees gently touch the deity’s feet, forehead, and hands while making wishes — a gesture believed to bring fortune and blessings.

The Beauty of the Architecture Walking through the ruins of the red-brick palace, visitors are taken on a journey through time. The arched gateways, weathered walls, narrow corridors, and cross-shaped brick ceiling domes make for a dramatic and photogenic experience. The contrast between the aging bricks and the vibrant golden-yellow paint of the shrine creates a unique harmony of decay and divinity.

The footprint of the Buddha, housed in a quiet inner room, further adds to the temple’s sacred ambiance — visitors often sit in meditation, offering coins and prayers at this peaceful spot.

How to Make a Wish at the Ganesha Shrine Light incense and offer marigolds or fresh flowers. Whisper your wish into Lord Ganesha’s ear or gently touch your forehead to his hand. Leave coins or offerings as a token of respect. Ring the small bells nearby if you wish to announce your prayer to the heavens.

Many worshippers return to pay gratitude once their wishes come true, often with offerings like garlands, sweets, or miniature elephant statues.

Getting There by Private Car From Bangkok, take Highway 1 (Phahonyothin Road) and connect to Highway 32 toward Ayutthaya. After entering Ayutthaya province, head toward Nakhon Luang District. The site is clearly signposted as “Prasat Nakhon Luang” and is about 1.5–2 hours from central Bangkok by car. Parking is available at the temple.

âļŧ

Final Thoughts Prasat Nakhon Luang is a place where history, art, and spirituality intertwine. Whether you’re exploring the ruins, admiring the yellow stupa rising above the ancient walls, or making a heartfelt wish to Ganesha, the site offers a deeply personal and enriching experience. It’s a hidden gem well worth the journey for those seeking peace, beauty,...

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4.0
3y

Prasat ( Thai tongue means castle ) Nakhon ( means city ) Luang ( means capital ) is located on 184/1 Moo ( village ) 1, Tambon ( sub district ) Nakhon Luang, Amphoe ( district ) Nakhon Luang, Changwat ( province ) Phra Nakhon Si Ayutthaya 13260, on the east bank of Pasak river. It was built in 1604 A.D. ( 2147 B.E. ) in the reign of King Prasat Thong ( means gold ), the first king of the Prasat Thong dynasty which is the fourth dynasty of the Siamese Ayutthaya kingdom ( during 1629- 1656 A.D. or 2172- 2199 B.E. ).The purpose of establishing either temporary residence en route a visit to the Lord Buddha 's footprint in Saraburi province and used for a trip to Lopburi province or the belief of religious place in Buddhasm. In 1631 A.D. ( 2174 B.E. ) King Prasat Thong ordered to build a castle near Wat Thep ( means deity ) Chandra ( means moon ), celebrating the king 's honor due to the victory over Cambodia and taken back, the temple 's architecture imitated Prasat Sila in the kingdom of Cambodia.The Prasat ( castle ) was gorgeously yellow, mondop was built too, four Buddha footprints inside the castle, castle made of bricks and cement, surrounded by triforium in square- shaped including Prang Tidarl Prang Rai. In front of the castle is Sara ( pavillion ) Prachan ( moon ) Loy ( floating ) made of huge granite plate from Wat Thep Chandra Loy ( Wai Mai Prachum Pol is close by ), Ubosot and Prang are Ayutthaya architecture style. construction had not finished once it had started, might have been abandoned. Before 1809 A.D. in the reign of King Rama 1, Tapakhao Pin ( Mr. Pin in white outfits ), continued the construction of the palace and built the Nakhon Luang temple, four replica of Lord Buddha 's footprints in Thai style, square- shaped hall on the palace open porch. Nakhon Luang palace 's architecture is mixture of the ancient construction and modern restoration, a Thai style square- shaped building called " Mondop Prachan Loy " ( means floating moon mondop ), round- shaped two meters diameter of Dhammachak ( wheel of Buddhism ) stone was unfinished job. Prasat Nakhon Luang was registered as archaeological site by the Fine Art Department, published in the Government Gazette volume 52 chapter 75 on March 8, 1935 ( 2478 B.E.). Open every day from 0600 am....

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5.0
1y

This ancient temple is just extraordinary, which gives huge Angkor vibes due to the fact it has deep ties to the ancient empire.

Visited on Mother's Day this year which was busy, but not what it could have been. These are just some beautiful ruins that you can take lots of unique photos of as well as go up to the top to pray at Ganesha. I don't have the exact instructions on how to pray, but on the one hand will grant good fortune for work or business the other will give good health in the future. The key to making this prayer is to wish for something that can be obtainable, not something that would be impossible to gain. Before you visit the ruins you will have to pray at the temple at the entrance while you should make sure to touch the statue and make a wish for something that you can possibly obtain.

Theirs a cafe on the grounds multiple parking spots nearby, restrooms, as well as a small market area across the road with plenty of shade and food. Make sure to visit Wat Mai Pra-Chumpol āļ§āļąāļ”āđƒāļŦāļĄāđˆāļ›āļĢāļ°āļŠāļļāļĄāļžāļĨ which is just a nearby walk and just a short drive to Wat Klang āļ§āļąāļ”āļāļĨāļēāļ‡. It's said that if you pray at all these temples you will obtain the possible wish that you are praying for. You would just have to come back to give thanks if your wish...

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Sutthiphat IeamsukmongkholSutthiphat Ieamsukmongkhol
Prasat Nakhon Luang & Ganesha Shrine – A Hidden Gem of Ayutthaya’s Spiritual Heritage Historical Background Nestled in the quiet outskirts of Ayutthaya, Prasat Nakhon Luang is a unique and lesser-known royal structure that dates back to the reign of King Prasat Thong (17th century). It was inspired by the grandeur of Hindu temples in Cambodia and India, originally built as a royal residence and ceremonial space for kings traveling to important temples in the region. The architecture reflects a blend of Ayutthaya and Khmer styles, with towering prangs, red-brick corridors, and ornate passageways that echo the magnificence of the past. Sacred Ganesha Shrine One of the most remarkable spiritual highlights here is the ancient Ganesha statue, housed within the brightly painted yellow building of the inner sanctum. This form of Lord Ganesha, the Hindu deity of success and remover of obstacles, draws devout followers who come to pray for prosperity, wisdom, and protection in business and family matters. Despite the statue’s weathered appearance, it exudes a powerful aura of sanctity. Beneath the figure are sculpted heads symbolizing karma and wisdom, enhancing the spiritual symbolism. Devotees gently touch the deity’s feet, forehead, and hands while making wishes — a gesture believed to bring fortune and blessings. The Beauty of the Architecture Walking through the ruins of the red-brick palace, visitors are taken on a journey through time. The arched gateways, weathered walls, narrow corridors, and cross-shaped brick ceiling domes make for a dramatic and photogenic experience. The contrast between the aging bricks and the vibrant golden-yellow paint of the shrine creates a unique harmony of decay and divinity. The footprint of the Buddha, housed in a quiet inner room, further adds to the temple’s sacred ambiance — visitors often sit in meditation, offering coins and prayers at this peaceful spot. How to Make a Wish at the Ganesha Shrine 1. Light incense and offer marigolds or fresh flowers. 2. Whisper your wish into Lord Ganesha’s ear or gently touch your forehead to his hand. 3. Leave coins or offerings as a token of respect. 4. Ring the small bells nearby if you wish to announce your prayer to the heavens. Many worshippers return to pay gratitude once their wishes come true, often with offerings like garlands, sweets, or miniature elephant statues. Getting There by Private Car From Bangkok, take Highway 1 (Phahonyothin Road) and connect to Highway 32 toward Ayutthaya. After entering Ayutthaya province, head toward Nakhon Luang District. The site is clearly signposted as “Prasat Nakhon Luang” and is about 1.5–2 hours from central Bangkok by car. Parking is available at the temple. âļŧ Final Thoughts Prasat Nakhon Luang is a place where history, art, and spirituality intertwine. Whether you’re exploring the ruins, admiring the yellow stupa rising above the ancient walls, or making a heartfelt wish to Ganesha, the site offers a deeply personal and enriching experience. It’s a hidden gem well worth the journey for those seeking peace, beauty, and blessings.
Curtis SheltonCurtis Shelton
This ancient temple is just extraordinary, which gives huge Angkor vibes due to the fact it has deep ties to the ancient empire. Visited on Mother's Day this year which was busy, but not what it could have been. These are just some beautiful ruins that you can take lots of unique photos of as well as go up to the top to pray at Ganesha. I don't have the exact instructions on how to pray, but on the one hand will grant good fortune for work or business the other will give good health in the future. The key to making this prayer is to wish for something that can be obtainable, not something that would be impossible to gain. Before you visit the ruins you will have to pray at the temple at the entrance while you should make sure to touch the statue and make a wish for something that you can possibly obtain. Theirs a cafe on the grounds multiple parking spots nearby, restrooms, as well as a small market area across the road with plenty of shade and food. Make sure to visit Wat Mai Pra-Chumpol āļ§āļąāļ”āđƒāļŦāļĄāđˆāļ›āļĢāļ°āļŠāļļāļĄāļžāļĨ which is just a nearby walk and just a short drive to Wat Klang āļ§āļąāļ”āļāļĨāļēāļ‡. It's said that if you pray at all these temples you will obtain the possible wish that you are praying for. You would just have to come back to give thanks if your wish was granted.
Jakkrit SriyaJakkrit Sriya
⛔ïļāļ›āļĢāļēāļŠāļēāļ—āļ™āļ„āļĢāļŦāļĨāļ§āļ‡Â āļŠāļąāļ™āļ™āļīāļĐāļāļēāļ™āļ§āđˆāļēāļŠāļĢāđ‰āļēāļ‡āđƒāļ™āļŠāļĄāļąāļĒāļŠāļĄāđ€āļ”āđ‡āļˆāļžāļĢāļ°āđ€āļˆāđ‰āļēāļ—āļĢāļ‡āļ˜āļĢāļĢāļĄ āļ•āđˆāļ­āļĄāļēāđƒāļ™āļŠāļĄāļąāļĒāļŠāļĄāđ€āļ”āđ‡āļˆāļžāļĢāļ°āđ€āļˆāđ‰āļēāļ›āļĢāļēāļŠāļēāļ—āļ—āļ­āļ‡ āđ€āļĄāļ·āđˆāļ­āļž.āļĻ. 2147 āļžāļĢāļ°āļ­āļ‡āļ„āđŒāđ„āļ”āđ‰āđ‚āļ›āļĢāļ”āđƒāļŦāđ‰āļŠāđˆāļēāļ‡āļˆāļģāļĨāļ­āļ‡āđāļšāļšāļĄāļēāļˆāļēāļāļ›āļĢāļēāļŠāļēāļ—āļ—āļĩāđˆāļāļąāļĄāļžāļđāļŠāļēāđāļĨāđ‰āļ§āļŠāļĢāđ‰āļēāļ‡āđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļ›āļĢāļ°āļ—āļąāļš āļāđˆāļ­āļ­āļīāļāļ–āļ·āļ­āļ›āļđāļ™āđ‚āļ”āļĒāļ™āļģāļĄāļēāļŠāļĢāđ‰āļēāļ‡āđƒāļāļĨāđ‰āļāļąāļšāļ§āļąāļ”āđ€āļ—āļžāļˆāļąāļ™āļ—āļĢāđŒ āđ€āļžāļ·āđˆāļ­āđ€āļ›āđ‡āļ™āļāļēāļĢāđ€āļ‰āļĨāļīāļĄāļžāļĢāļ°āđ€āļāļĩāļĒāļĢāļ•āļīāļ—āļĩāđˆāđ„āļ”āđ‰āļāļĢāļļāļ‡āļāļąāļĄāļžāļđāļŠāļēāļāļĨāļąāļšāļĄāļēāđ€āļ›āđ‡āļ™āļ›āļĢāļ°āđ€āļ—āļĻāļĢāļēāļŠāļ­āļĩāļ â›”ïļ āļ›āļĢāļēāļŠāļēāļ—āļ™āļ„āļĢāļŦāļĨāļ§āļ‡Â āļŠāļĢāđ‰āļēāļ‡āđ„āļĄāđˆāđāļĨāđ‰āļ§āđ€āļŠāļĢāđ‡āļˆāđƒāļ™āļŠāļĄāļąāļĒāļ™āļąāđ‰āļ™ āļ•āđˆāļ­āļĄāļēāļĢāļēāļ§āļ›āļĩ āļž.āļĻ. 2352 āļ•āļēāļ›āļ°āļ‚āļēāļ§āļ›āļīāđˆāļ™ āđ„āļ”āđ‰āļŠāļĢāđ‰āļēāļ‡āļ§āļąāļ”āļ™āļ„āļĢāļŦāļĨāļ§āļ‡āļ‚āļķāđ‰āļ™ āđāļĨāļ°āļĄāļĩāļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļžāļĢāļ°āļžāļļāļ—āļ˜āļšāļēāļ—āļŠāļĩāđˆāļĢāļ­āļĒ āļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™āđ„āļ§āđ‰āļšāļ™āļĨāļēāļ™āļŠāļąāđ‰āļ™āļšāļ™āļ‚āļ­āļ‡āļ›āļĢāļēāļŠāļēāļ— āļ•āđˆāļ­āļĄāļēāļˆāļēāļāļāļēāļĢāļ”āļģāđ€āļ™āļīāļ™āļ‡āļēāļ™āļ—āļēāļ‡āđ‚āļšāļĢāļēāļ“āļ„āļ”āļĩ āđ„āļ”āđ‰āļžāļšāļ§āđˆāļēāļ§āļąāļ•āļ–āļļāļ›āļĢāļ°āļŠāļ‡āļ„āđŒāđāļĢāļāđ€āļĢāļīāđˆāļĄāļ‚āļ­āļ‡āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļ›āļĢāļēāļŠāļēāļ— āđ€āļ›āđ‡āļ™āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āđ€āļžāļ·āđˆāļ­āđƒāļŦāđ‰āđ€āļ›āđ‡āļ™āļĻāļēāļŠāļ™āļŠāļ–āļēāļ™āđƒāļ™āļžāļĢāļ°āļžāļļāļ—āļ˜āļĻāļēāļŠāļ™āļē āļĄāļīāđƒāļŠāđˆāļ—āļĩāđˆāļ›āļĢāļ°āļ—āļąāļšāļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ—āļēāļ‡āđƒāļ™āļāļēāļĢāđ€āļŠāļ”āđ‡āļˆāđ„āļ›āļ™āļĄāļąāļŠāļāļēāļĢāļžāļĢāļ°āļžāļļāļ—āļ˜āļšāļēāļ—āļ”āļąāļ‡āļ—āļĩāđˆāđ€āļ‚āđ‰āļēāđƒāļˆāļāļąāļ™āļĄāļēāđāļ•āđˆāđ€āļ”āļīāļĄ ðŸŸĄāļŠāļīāđˆāļ‡āļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆāļ āļēāļĒāđƒāļ™āļ›āļĢāļēāļŠāļēāļ—āļ™āļ„āļĢāļŦāļĨāļ§āļ‡āļ•āļąāļ§āļ›āļĢāļēāļŠāļēāļ—āļžāļĢāļ°āļ™āļ„āļĢāļŦāļĨāļ§āļ‡ ðŸŸĄ āļ›āļĢāļēāļŠāļēāļ—āļžāļĢāļ°āļ™āļ„āļĢāļŦāļĨāļ§āļ‡āļāđˆāļ­āļ”āđ‰āļ§āļĒāļ­āļīāļāļ•āļąāđ‰āļ‡āļ­āļĒāļđāđˆāļšāļ™āđ€āļ™āļīāļ™āļŠāļđāļ‡ āļ‹āļķāđˆāļ‡āļ—āļģāļ‚āļķāđ‰āļ™āđ‚āļ”āļĒāļāļēāļĢāļ™āļģāļ”āļīāļ™āļĄāļēāļ–āļĄāđƒāļŦāđ‰āļŠāļđāļ‡āļ‚āļķāđ‰āļ™ āđƒāļ™āļ­āļ”āļĩāļ•āļžāļĢāļ°āļ•āļģāļŦāļ™āļąāļāđ€āļ›āđ‡āļ™āļ›āļĢāļ°āļ—āļąāļšāļŠāļģāļĢāļēāļāļžāļĢāļ°āļĢāļēāļŠāļ­āļīāļĢāļīāļĒāļēāļšāļ–āļ‚āļ­āļ‡āļŠāļĄāđ€āļ”āđ‡āļˆāļžāļĢāļ°āđ€āļˆāđ‰āļēāļ›āļĢāļēāļŠāļēāļ—āļ—āļ­āļ‡ āļ›āļĢāļēāļŠāļēāļ—āļžāļĢāļ°āļ™āļ„āļĢāļŦāļĨāļ§āļ‡ āđ€āļ›āđ‡āļ™āļ­āļēāļ„āļēāļĢāļāđˆāļ­āļ­āļīāļāļŠāļĩāđˆāđ€āļŦāļĨāļĩāđˆāļĒāļĄāļ‹āđ‰āļ­āļ™āļāļąāļ™ 3 āļŠāļąāđ‰āļ™ āļĄāļĩāļĢāļ°āđ€āļšāļĩāļĒāļ‡āļ„āļ•āļĨāđ‰āļ­āļĄāļĢāļ­āļšÂ  āđāļ•āđˆāļĨāļ°āļŠāļąāđ‰āļ™āļĄāļĩāļ›āļĢāļ°āļ•āļđāđ€āļ‚āđ‰āļēāļŠāļđāđˆāļŠāļąāđ‰āļ™āļŠāļđāļ‡āļŠāļļāļ”āļ™āļąāļšāļŠāļīāļšāļ›āļĢāļ°āļ•āļđ āļĢāļ°āđ€āļšāļĩāļĒāļ‡āļ„āļ• āđ€āļŠāļ·āđˆāļ­āļĄāļ•āđˆāļ­āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ›āļĢāļēāļ‡āļ„āđŒāđāļ•āđˆāļĨāļ°āļŠāļąāđ‰āļ™āļāđˆāļ­āļœāļ™āļąāļ‡āļ”āđ‰āļēāļ™āļ™āļ­āļāļ•āđˆāļ­āļāļąāļ™ Â āđāļ•āđˆāļĨāļ°āļ—āļģāļŠāđˆāļ­āļ‡āļŦāļ™āđ‰āļēāļ•āđˆāļēāļ‡āļ›āļĨāļ­āļĄāđ€āļĨāļĩāļĒāļ™āđāļšāļšāļŠāđˆāļ­āļ‡āļĨāļđāļāļĄāļ°āļŦāļ§āļ”āļ„āļĨāđ‰āļēāļĒāļĻāļīāļĨāļ›āļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄāļ—āļĩāđˆāļ™āļīāļĒāļĄāļ—āļģāļāļąāļ™āđƒāļ™āđ€āļ‚āļĄāļĢāļŠāļĄāļąāļĒāļ™āļ„āļĢāļ§āļąāļ” ðŸŸĒāļ›āļĢāļēāļ‡āļ„āđŒāļ›āļĢāļ°āļˆāļģāļ—āļīāļĻāļŠāļĩāđˆāļĄāļļāļĄÂ āļĢāļđāļ›āļ—āļĢāļ‡āļ„āļĨāđ‰āļēāļĒāļ›āļĢāļēāļ‡āļ„āđŒāļ‚āļ­āļĄāļāđˆāļ­āļ”āđ‰āļ§āļĒāļ­āļīāļ āļ­āļ‡āļ„āđŒāļ›āļĢāļēāļ‡āļ„āđŒāļĄāļĩāļāļēāļĢāļĒāđˆāļ­āļĄāļļāļĄāđ„āļĄāđ‰āļĒāļĩāđˆāļŠāļīāļš āļĄāļĩ āļ—āļąāđ‰āļ‡āļŦāļĄāļ” 30 āļ­āļ‡āļ„āđŒ āļĢāļđāļ›āļ—āļĢāļ‡āļ„āļĨāđ‰āļēāļĒāļ›āļĢāļēāļ‡āļ„āđŒāļ‚āļ­āļĄ āļ­āļ‡āļ„āđŒāļ›āļĢāļēāļ‡āļ„āđŒāļĄāļĩāļāļēāļĢāļĒāđˆāļ­āļĄāļļāļĄāđ„āļĄāđ‰āļĒāļĩāđˆāļŠāļīāļš āļ āļēāļĒāđƒāļ™āļ›āļĢāļēāļ‡āļ„āđŒāļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™ āļ­āļ‡āļ„āđŒāļžāļĢāļ°āļžāļļāļ—āļ˜āļĢāļđāļ›āļ āļēāļĒāđƒāļ™āļ›āļĢāļēāļ‡āļ„āđŒāļ„āļĨāđ‰āļēāļĒāļāļąāļšāļ›āļĢāļēāļ‡āļ„āđŒāļ—āļĩāđˆÂ āļ§āļąāļ”āđ„āļŠāļĒāļ§āļąāļ’āļ™āļēāļĢāļēāļĄ ðŸŸĒðŸŸĒāļžāļĢāļ°āļžāļīāļ†āđ€āļ™āļĻāđ‚āļšāļĢāļēāļ“ðŸŸĒðŸŸĒ āļžāļĢāļ°āļžāļīāļ†āđ€āļ™āļĻāļ›āļēāļ‡āļŠāļ™āļ°āļĄāļēāļĢ āļ­āļēāļĒāļļāļāļ§āđˆāļē 100āļ›āļĩ āļ›āļĢāļ°āļ—āļąāļšāļšāļąāļĨāļĨāļąāļ‡āļāđŒāļāļ°āđ‚āļŦāļĨāļ āļ‹āļķāđˆāļ‡āļ•āļąāđ‰āļ‡āļ­āļĒāļđāđˆāļ āļēāļĒāđƒāļ™āļ›āļĢāļēāļŠāļēāļ—āļ™āļ„āļĢāļŦāļĨāļ§āļ‡ āļĢāļ§āļĄāļ–āļķāļ‡āļāļĢāļ°āļ‹āļīāļšāļŦāļđāļŦāļ™āļđāļĄāļļāļŠāļīāļāļ°āđ€āļžāļ·āđˆāļ­āļ‚āļ­āļžāļĢāđāļĨāļ°āļ•āļīāļ”āļŠāļīāļ™āļˆāđ‰āļēāļ‡āđƒāļŦāđ‰āđ„āļ›āļšāļ­āļāļāļąāļšāļžāļĢāļ°āļžāļīāļ†āđ€āļ™āļĻ āđ€āļžāļ·āđˆāļ­āđƒāļŦāđ‰āļžāļĢāļ™āļąāđ‰āļ™āļŠāļģāđ€āļĢāđ‡āļˆ ðŸ”ĩāļžāļļāļ—āļ˜āļšāļēāļ—āļŠāļĩāđˆāļĢāļ­āļĒāđƒāļ™āļĄāļ“āļ‘āļ›āļˆāļ•āļļāļĢāļĄāļļāļ‚ðŸ”ĩ āļžāļļāļ—āļ˜āļšāļēāļ—āļŠāļĩāđˆāļĢāļ­āļĒ āļ—āļĩāđˆāļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™āđƒāļ™āļĄāļ“āļ‘āļ›āļˆāļ•āļļāļĢāļĄāļļāļ‚āļ‹āļķāđˆāļ‡āļĄāļĩāļĨāļąāļāļĐāļ“āļ°āđ€āļ›āđ‡āļ™āļžāļĢāļ°āļžāļļāļ—āļ˜āļšāļēāļ—āļ‹āđ‰āļ­āļ™āļāļąāļ™āļŠāļĩāđˆāļĢāļ­āļĒāļĨāļķāļāļĨāļ‡āđ„āļ›āđƒāļ™āđ€āļ™āļ·āđ‰āļ­āļŦāļīāļ™ āđ‚āļ”āļĒāļĢāļ­āļĒāđƒāļŦāļāđˆāļ—āļĩāđˆāļŠāļļāļ”āļāļ§āđ‰āļēāļ‡āļ›āļĢāļ°āļĄāļēāļ“ 2.50 āđ€āļĄāļ•āļĢ āļĒāļēāļ§ 5.50 āđ€āļĄāļ•āļĢ āļ™āļ­āļāļˆāļēāļāļ›āļĢāļēāļŠāļēāļ—āđāļĨāđ‰āļ§ āļžāļĢāļ°āļ›āļĨāļąāļ”āļ›āļĨāļ·āđ‰āļĄāđ„āļ”āđ‰āļŠāļĢāđ‰āļēāļ‡āļĻāļēāļĨāļēāļžāļĢāļ°āļˆāļąāļ™āļ—āļĢāđŒāļĨāļ­āļĒ  āđ€āļ›āđ‡āļ™āļ­āļēāļ„āļēāļĢāļ—āļĢāļ‡āļˆāļąāļ•āļļāļĢāļĄāļļāļ‚āļĨāļ‡āļšāļ™āļŠāļ–āļēāļ™āļ—āļĩāđˆāļ—āļĩāđˆāđ€āļŠāļ·āđˆāļ­āļ§āđˆāļē  āđ€āļ”āļīāļĄ āļ„āļ·āļ­Â  āļžāļĢāļ°āļ•āļģāļŦāļ™āļąāļāļ™āļ„āļĢāļŦāļĨāļ§āļ‡āļ‚āļ­āļ‡āļžāļĢāļ°āđ€āļˆāđ‰āļēāļ›āļĢāļēāļŠāļēāļ—āļ—āļ­āļ‡Â  āļĻāļēāļĨāļēāļŦāļĨāļąāļ‡āļ™āļĩāđ‰āļŠāļĢāđ‰āļēāļ‡āļ‚āļķāđ‰āļ™āļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™āļžāļĢāļ°āļˆāļąāļ™āļ—āļĢāđŒāļĨāļ­āļĒ  (āđāļœāđˆāļ™āļŦāļīāļ™āļĢāļđāļ›āļāļĨāļĄāļ„āļĨāđ‰āļēāļĒāđ€āļŠāļĄāļēāļ˜āļĢāļĢāļĄāļˆāļąāļāļĢ  āđāļāļ°āļˆāļēāļāļŦāļīāļ™āđāļāļĢāļ™āļīāļ•  āļ‚āļ™āļēāļ”āđ€āļŠāđ‰āļ™āļœāđˆāļēāļĻāļđāļ™āļĒāđŒāļāļĨāļēāļ‡ āđ’.āđ“āđ• āđ€āļĄāļ•āļĢ  āļŦāļ™āļē āđ’āđ āđ€āļ‹āļ™āļ•āļīāđ€āļĄāļ•āļĢ  āļ”āđ‰āļēāļ™āļŦāļ™āđ‰āļēāļ•āļ­āļ™āļšāļ™Â  āđāļāļ°āļŠāļĨāļąāļāļžāļĢāļ°āļžāļļāļ—āļ˜āļĢāļđāļ›āļ™āļđāļ™āļ•āđˆāļģ  āļ‚āļ™āļēāļ”āđ€āļĨāđ‡āļāļˆāļģāļ™āļ§āļ™ āđ“ āļ­āļ‡āļ„āđŒÂ  āđāļĨāļ°āđ€āļˆāļ”āļĩāļĒāđŒāļ”āđ‰āļēāļ™āļ‚āđ‰āļēāļ‡āļžāļĢāļ°āļžāļļāļ—āļ˜āļĢāļđāļ›āļ­āļĩāļāļ”āđ‰āļēāļ™āļĨāļ°āļ­āļ‡āļ„āđŒÂ  āļ”āđ‰āļēāļ™āļĨāđˆāļēāļ‡āđāļāļ°āļĨāļēāļĒ  āļ•āļĢāļ‡āļāļĨāļēāļ‡āļĨāļēāļĒāļ—āļģāđ€āļ›āđ‡āļ™āļĢāļđāļ›āļ āļēāļžāļ•āđˆāļēāļ‡āđ† āļ—āļĩāđˆāļžāļ­āļĄāļ­āļ‡āđ€āļŦāđ‡āļ™āđ„āļ”āđ‰āļŠāļąāļ”āļ„āļ·āļ­āļĢāļđāļ›āļ›āļĨāļē āđ’ āļ•āļąāļ§Â  āļ™āļ­āļāļ™āļąāđ‰āļ™āļ„āđˆāļ­āļ™āļ‚āđ‰āļēāļ‡āļĨāļšāđ€āļĨāļ·āļ­āļ™āļĄāļ­āļ‡āđ„āļĄāđˆāļŠāļąāļ”) āļŠāļēāļ§āļšāđ‰āļēāļ™āđ€āļĨāđˆāļēāļ‚āļēāļ™āļāļąāļ™āļ§āđˆāļēāđāļœāđˆāļ™āļŦāļīāļ™āļžāļĢāļ°āļˆāļąāļ™āļ—āļĢāđŒāļĨāļ­āļĒāļ™āļĩāđ‰Â  āđ€āļ”āļīāļĄāļ—āļĩāļĨāļ­āļĒāļ™āđ‰āļģāļĄāļēāļ•āļēāļĄāđāļ„āļ§āļ›āđˆāļēāļŠāļąāļ āļĄāļĩāļœāļđāđ‰āļžāļšāđ€āļŦāđ‡āļ™āļ„āļĢāļąāđ‰āļ‡āđāļĢāļāļ—āļĩāđˆāļšāđ‰āļēāļ™āļĻāļīāļĨāļēāļĨāļ­āļĒ  āļ•āļģāļšāļĨāļĻāļēāļĨāļēāļĨāļ­āļĒ  āļ­āļģāđ€āļ āļ­āļ—āđˆāļēāđ€āļĢāļ·āļ­Â  āļ›āļĢāļ°āļŠāļēāļŠāļ™āđƒāļ™āļ—āđ‰āļ­āļ‡āļ–āļīāđˆāļ™āļ™āļąāđ‰āļ™āđ„āļ”āđ‰āļžāļĒāļēāļĒāļēāļĄāļ™āļģāļ‚āļķāđ‰āļ™āļˆāļēāļāļ™āđ‰āļģāđāļ•āđˆāđ„āļĄāđˆāļŠāļēāļĄāļēāļĢāļ–āļ‰āļļāļ”āļ‚āļķāđ‰āļ™āđ„āļ”āđ‰Â  āđāļœāđˆāļ™āļŦāļīāļ™āļˆāļķāļ‡āļĨāļ­āļĒāļ™āđ‰āļģāđ€āļĢāļ·āđˆāļ­āļĒāļĄāļēāļˆāļ™āļ–āļķāļ‡āļ§āļąāļ”āđ€āļ—āļžāļˆāļąāļ™āļ—āļĢāđŒ[āđ—]   āļŠāļēāļ§āļšāđ‰āļēāļ™āļāđ‡āđ„āļ”āđ‰āļŠāđˆāļ§āļĒāļāļąāļ™āļĨāļ‡āđ„āļ›āļ‰āļļāļ”āđ€āļžāļ·āđˆāļ­āļˆāļ°āļ™āļģāđ„āļ›āđ„āļ§āđ‰āļ—āļĩāđˆāļ§āļąāļ”  āđāļ•āđˆāļāđ‡āļ—āļģāđ„āļĄāđˆāļŠāļģāđ€āļĢāđ‡āļˆāđ„āļĄāđˆāļŠāļēāļĄāļēāļĢāļ–āļ‰āļļāļ”āļ‚āļķāđ‰āļ™āļĄāļēāđ„āļ”āđ‰āđ€āļŠāđˆāļ™āđ€āļ”āļĩāļĒāļ§āļāļąāļšāļŠāļēāļ§āļšāđ‰āļēāļ™āļĻāļīāļĨāļēāļĨāļ­āļĒ  āļŠāļĄāļ āļēāļĢāļ§āļąāļ”āđ€āļ—āļžāļˆāļąāļ™āļ—āļĢāđŒāļœāļđāđ‰āđ€āļĢāļ·āļ­āļ‡āļ§āļīāļŠāļēāļĄāļĩāļ­āļēāļ„āļĄāđƒāļ™āļĒāđˆāļēāļ™āļ™āļąāđ‰āļ™āļĢāļđāđ‰āđ€āļĢāļ·āđˆāļ­āļ‡āđ€āļ‚āđ‰āļēāļˆāļķāļ‡āļ™āļģāļ”āđ‰āļēāļĒāļŠāļēāļĒāļŠāļīāļāļˆāļ™āđŒ āđ“ āđ€āļŠāđ‰āļ™Â  āļĨāļ‡āđ„āļ›āļ„āļĨāđ‰āļ­āļ‡āđāļĨāđ‰āļ§āļ‰āļļāļ”āļ‚āļķāđ‰āļ™āđ„āļ›āđ„āļ§āđ‰āļ—āļĩāđˆāļ§āļąāļ”āđ„āļ”āđ‰āđ‚āļ”āļĒāļ‡āđˆāļēāļĒāļ”āļēāļĒ  āļžāļĢāļ°āļˆāļąāļ™āļ—āļĢāđŒāļĨāļ­āļĒāļˆāļķāļ‡āđ„āļ”āđ‰āļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™āļ—āļĩāđˆāļ§āļąāļ”āļ™āļĩāđ‰āļ­āļĒāļđāđˆāļŠāļąāđˆāļ§āļĢāļ°āļĒāļ°āļŦāļ™āļķāđˆāļ‡āļˆāļ™āļ–āļķāļ‡āļĢāļąāļŠāļŠāļĄāļąāļĒāļžāļĢāļ°āļšāļēāļ—āļŠāļĄāđ€āļ”āđ‡āļˆāļžāļĢāļ°āļˆāļļāļĨāļˆāļ­āļĄāđ€āļāļĨāđ‰āļēāđ€āļˆāđ‰āļēāļ­āļĒāļđāđˆāļŦāļąāļ§Â  āļāļĢāļ°āļ—āļĢāļ§āļ‡āļĄāļŦāļēāļ”āđ„āļ—āļĒāļˆāļķāļ‡āđ„āļ”āđ‰āļ™āļģāļŠāđˆāļ‡āđ„āļ›āđ€āļāđ‡āļšāđ„āļ§āđ‰āļ—āļĩāđˆāļ§āļąāļ”āđ€āļšāļāļˆāļĄāļšāļžāļīāļ•āļĢ  āļāļĢāļļāļ‡āđ€āļ—āļžāļĄāļŦāļēāļ™āļ„āļĢ āđ€āļĄāļ·āđˆāļ­āļžāļĢāļ°āļšāļēāļ—āļŠāļĄāđ€āļ”āđ‡āļˆāļžāļĢāļ°āļˆāļļāļĨāļˆāļ­āļĄāđ€āļāļĨāđ‰āļēāđ€āļˆāđ‰āļēāļ­āļĒāļđāđˆāļŦāļąāļ§ āļ—āļĢāļ‡āļ—āļĢāļēāļšāđ€āļĢāļ·āđˆāļ­āļ‡āļžāļĢāļ°āļ›āļĨāļąāļ”āļ›āļĨāļ·āđ‰āļĄāļšāļđāļĢāļ“āļ‹āđˆāļ­āļĄāđāļ‹āļĄāđāļ›āļĨāļ‡āļ›āļĢāļēāļŠāļēāļ—āļ™āļ„āļĢāļŦāļĨāļ§āļ‡Â  āļ•āļēāļĄāļŦāļ™āļąāļ‡āļŠāļ·āļ­āļāļĢāļ°āļ—āļĢāļ§āļ‡āļ˜āļĢāļĢāļĄāļēāļāļēāļĢāļāļĢāļēāļšāļšāļąāļ‡āļ„āļĄāļ—āļđāļĨāđāļĨāđ‰āļ§Â  āļ—āļĢāļ‡āļĄāļĩāļžāļĢāļ°āļĢāļēāļŠāļāļĢāļ°āđāļŠāļ§āđˆāļē  “āļ­āļ™āļķāđˆāļ‡Â  āļžāļĢāļ°āļˆāļąāļ™āļ—āļĢāđŒāļĨāļ­āļĒāļ‹āļķāđˆāļ‡āļāļĢāļ°āļ—āļĢāļ§āļ‡āļĄāļŦāļēāļ”āđ„āļ—āļĒāļ™āļģāļĄāļēāļ­āļĒāļđāđˆāļ—āļĩāđˆāļ§āļąāļ”āđ€āļšāļāļˆāļĄāļšāļžāļīāļ•āļĢ āļ™āļąāđ‰āļ™āļāđ‡āđ„āļĄāđˆāļ­āļąāļĻāļˆāļĢāļĢāļĒāđŒāļ­āļ°āđ„āļĢ āļ–āđ‰āļēāđƒāļŦāđ‰āļžāļĢāļ°āļ›āļĨāļąāļ”āļ›āļĨāļ·āđ‰āļĄāļĢāļąāļšāļāļĨāļąāļšāđ„āļ›āļ•āļąāđ‰āļ‡āđ„āļ§āđ‰āļ—āļĩāđˆāļ§āļąāļ”āļžāļĢāļ°āļ™āļ„āļĢāļŦāļĨāļ§āļ‡ ðŸ”šïļðŸ”šïļðŸ”šïļ
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Prasat Nakhon Luang & Ganesha Shrine – A Hidden Gem of Ayutthaya’s Spiritual Heritage Historical Background Nestled in the quiet outskirts of Ayutthaya, Prasat Nakhon Luang is a unique and lesser-known royal structure that dates back to the reign of King Prasat Thong (17th century). It was inspired by the grandeur of Hindu temples in Cambodia and India, originally built as a royal residence and ceremonial space for kings traveling to important temples in the region. The architecture reflects a blend of Ayutthaya and Khmer styles, with towering prangs, red-brick corridors, and ornate passageways that echo the magnificence of the past. Sacred Ganesha Shrine One of the most remarkable spiritual highlights here is the ancient Ganesha statue, housed within the brightly painted yellow building of the inner sanctum. This form of Lord Ganesha, the Hindu deity of success and remover of obstacles, draws devout followers who come to pray for prosperity, wisdom, and protection in business and family matters. Despite the statue’s weathered appearance, it exudes a powerful aura of sanctity. Beneath the figure are sculpted heads symbolizing karma and wisdom, enhancing the spiritual symbolism. Devotees gently touch the deity’s feet, forehead, and hands while making wishes — a gesture believed to bring fortune and blessings. The Beauty of the Architecture Walking through the ruins of the red-brick palace, visitors are taken on a journey through time. The arched gateways, weathered walls, narrow corridors, and cross-shaped brick ceiling domes make for a dramatic and photogenic experience. The contrast between the aging bricks and the vibrant golden-yellow paint of the shrine creates a unique harmony of decay and divinity. The footprint of the Buddha, housed in a quiet inner room, further adds to the temple’s sacred ambiance — visitors often sit in meditation, offering coins and prayers at this peaceful spot. How to Make a Wish at the Ganesha Shrine 1. Light incense and offer marigolds or fresh flowers. 2. Whisper your wish into Lord Ganesha’s ear or gently touch your forehead to his hand. 3. Leave coins or offerings as a token of respect. 4. Ring the small bells nearby if you wish to announce your prayer to the heavens. Many worshippers return to pay gratitude once their wishes come true, often with offerings like garlands, sweets, or miniature elephant statues. Getting There by Private Car From Bangkok, take Highway 1 (Phahonyothin Road) and connect to Highway 32 toward Ayutthaya. After entering Ayutthaya province, head toward Nakhon Luang District. The site is clearly signposted as “Prasat Nakhon Luang” and is about 1.5–2 hours from central Bangkok by car. Parking is available at the temple. âļŧ Final Thoughts Prasat Nakhon Luang is a place where history, art, and spirituality intertwine. Whether you’re exploring the ruins, admiring the yellow stupa rising above the ancient walls, or making a heartfelt wish to Ganesha, the site offers a deeply personal and enriching experience. It’s a hidden gem well worth the journey for those seeking peace, beauty, and blessings.
Sutthiphat Ieamsukmongkhol

Sutthiphat Ieamsukmongkhol

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This ancient temple is just extraordinary, which gives huge Angkor vibes due to the fact it has deep ties to the ancient empire. Visited on Mother's Day this year which was busy, but not what it could have been. These are just some beautiful ruins that you can take lots of unique photos of as well as go up to the top to pray at Ganesha. I don't have the exact instructions on how to pray, but on the one hand will grant good fortune for work or business the other will give good health in the future. The key to making this prayer is to wish for something that can be obtainable, not something that would be impossible to gain. Before you visit the ruins you will have to pray at the temple at the entrance while you should make sure to touch the statue and make a wish for something that you can possibly obtain. Theirs a cafe on the grounds multiple parking spots nearby, restrooms, as well as a small market area across the road with plenty of shade and food. Make sure to visit Wat Mai Pra-Chumpol āļ§āļąāļ”āđƒāļŦāļĄāđˆāļ›āļĢāļ°āļŠāļļāļĄāļžāļĨ which is just a nearby walk and just a short drive to Wat Klang āļ§āļąāļ”āļāļĨāļēāļ‡. It's said that if you pray at all these temples you will obtain the possible wish that you are praying for. You would just have to come back to give thanks if your wish was granted.
Curtis Shelton

Curtis Shelton

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Trending Stays Worth the Hype in Nakhon Luang District

Find a cozy hotel nearby and make it a full experience.

⛔ïļāļ›āļĢāļēāļŠāļēāļ—āļ™āļ„āļĢāļŦāļĨāļ§āļ‡Â āļŠāļąāļ™āļ™āļīāļĐāļāļēāļ™āļ§āđˆāļēāļŠāļĢāđ‰āļēāļ‡āđƒāļ™āļŠāļĄāļąāļĒāļŠāļĄāđ€āļ”āđ‡āļˆāļžāļĢāļ°āđ€āļˆāđ‰āļēāļ—āļĢāļ‡āļ˜āļĢāļĢāļĄ āļ•āđˆāļ­āļĄāļēāđƒāļ™āļŠāļĄāļąāļĒāļŠāļĄāđ€āļ”āđ‡āļˆāļžāļĢāļ°āđ€āļˆāđ‰āļēāļ›āļĢāļēāļŠāļēāļ—āļ—āļ­āļ‡ āđ€āļĄāļ·āđˆāļ­āļž.āļĻ. 2147 āļžāļĢāļ°āļ­āļ‡āļ„āđŒāđ„āļ”āđ‰āđ‚āļ›āļĢāļ”āđƒāļŦāđ‰āļŠāđˆāļēāļ‡āļˆāļģāļĨāļ­āļ‡āđāļšāļšāļĄāļēāļˆāļēāļāļ›āļĢāļēāļŠāļēāļ—āļ—āļĩāđˆāļāļąāļĄāļžāļđāļŠāļēāđāļĨāđ‰āļ§āļŠāļĢāđ‰āļēāļ‡āđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļ›āļĢāļ°āļ—āļąāļš āļāđˆāļ­āļ­āļīāļāļ–āļ·āļ­āļ›āļđāļ™āđ‚āļ”āļĒāļ™āļģāļĄāļēāļŠāļĢāđ‰āļēāļ‡āđƒāļāļĨāđ‰āļāļąāļšāļ§āļąāļ”āđ€āļ—āļžāļˆāļąāļ™āļ—āļĢāđŒ āđ€āļžāļ·āđˆāļ­āđ€āļ›āđ‡āļ™āļāļēāļĢāđ€āļ‰āļĨāļīāļĄāļžāļĢāļ°āđ€āļāļĩāļĒāļĢāļ•āļīāļ—āļĩāđˆāđ„āļ”āđ‰āļāļĢāļļāļ‡āļāļąāļĄāļžāļđāļŠāļēāļāļĨāļąāļšāļĄāļēāđ€āļ›āđ‡āļ™āļ›āļĢāļ°āđ€āļ—āļĻāļĢāļēāļŠāļ­āļĩāļ â›”ïļ āļ›āļĢāļēāļŠāļēāļ—āļ™āļ„āļĢāļŦāļĨāļ§āļ‡Â āļŠāļĢāđ‰āļēāļ‡āđ„āļĄāđˆāđāļĨāđ‰āļ§āđ€āļŠāļĢāđ‡āļˆāđƒāļ™āļŠāļĄāļąāļĒāļ™āļąāđ‰āļ™ āļ•āđˆāļ­āļĄāļēāļĢāļēāļ§āļ›āļĩ āļž.āļĻ. 2352 āļ•āļēāļ›āļ°āļ‚āļēāļ§āļ›āļīāđˆāļ™ āđ„āļ”āđ‰āļŠāļĢāđ‰āļēāļ‡āļ§āļąāļ”āļ™āļ„āļĢāļŦāļĨāļ§āļ‡āļ‚āļķāđ‰āļ™ āđāļĨāļ°āļĄāļĩāļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļžāļĢāļ°āļžāļļāļ—āļ˜āļšāļēāļ—āļŠāļĩāđˆāļĢāļ­āļĒ āļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™āđ„āļ§āđ‰āļšāļ™āļĨāļēāļ™āļŠāļąāđ‰āļ™āļšāļ™āļ‚āļ­āļ‡āļ›āļĢāļēāļŠāļēāļ— āļ•āđˆāļ­āļĄāļēāļˆāļēāļāļāļēāļĢāļ”āļģāđ€āļ™āļīāļ™āļ‡āļēāļ™āļ—āļēāļ‡āđ‚āļšāļĢāļēāļ“āļ„āļ”āļĩ āđ„āļ”āđ‰āļžāļšāļ§āđˆāļēāļ§āļąāļ•āļ–āļļāļ›āļĢāļ°āļŠāļ‡āļ„āđŒāđāļĢāļāđ€āļĢāļīāđˆāļĄāļ‚āļ­āļ‡āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļ›āļĢāļēāļŠāļēāļ— āđ€āļ›āđ‡āļ™āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āđ€āļžāļ·āđˆāļ­āđƒāļŦāđ‰āđ€āļ›āđ‡āļ™āļĻāļēāļŠāļ™āļŠāļ–āļēāļ™āđƒāļ™āļžāļĢāļ°āļžāļļāļ—āļ˜āļĻāļēāļŠāļ™āļē āļĄāļīāđƒāļŠāđˆāļ—āļĩāđˆāļ›āļĢāļ°āļ—āļąāļšāļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ—āļēāļ‡āđƒāļ™āļāļēāļĢāđ€āļŠāļ”āđ‡āļˆāđ„āļ›āļ™āļĄāļąāļŠāļāļēāļĢāļžāļĢāļ°āļžāļļāļ—āļ˜āļšāļēāļ—āļ”āļąāļ‡āļ—āļĩāđˆāđ€āļ‚āđ‰āļēāđƒāļˆāļāļąāļ™āļĄāļēāđāļ•āđˆāđ€āļ”āļīāļĄ ðŸŸĄāļŠāļīāđˆāļ‡āļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆāļ āļēāļĒāđƒāļ™āļ›āļĢāļēāļŠāļēāļ—āļ™āļ„āļĢāļŦāļĨāļ§āļ‡āļ•āļąāļ§āļ›āļĢāļēāļŠāļēāļ—āļžāļĢāļ°āļ™āļ„āļĢāļŦāļĨāļ§āļ‡ ðŸŸĄ āļ›āļĢāļēāļŠāļēāļ—āļžāļĢāļ°āļ™āļ„āļĢāļŦāļĨāļ§āļ‡āļāđˆāļ­āļ”āđ‰āļ§āļĒāļ­āļīāļāļ•āļąāđ‰āļ‡āļ­āļĒāļđāđˆāļšāļ™āđ€āļ™āļīāļ™āļŠāļđāļ‡ āļ‹āļķāđˆāļ‡āļ—āļģāļ‚āļķāđ‰āļ™āđ‚āļ”āļĒāļāļēāļĢāļ™āļģāļ”āļīāļ™āļĄāļēāļ–āļĄāđƒāļŦāđ‰āļŠāļđāļ‡āļ‚āļķāđ‰āļ™ āđƒāļ™āļ­āļ”āļĩāļ•āļžāļĢāļ°āļ•āļģāļŦāļ™āļąāļāđ€āļ›āđ‡āļ™āļ›āļĢāļ°āļ—āļąāļšāļŠāļģāļĢāļēāļāļžāļĢāļ°āļĢāļēāļŠāļ­āļīāļĢāļīāļĒāļēāļšāļ–āļ‚āļ­āļ‡āļŠāļĄāđ€āļ”āđ‡āļˆāļžāļĢāļ°āđ€āļˆāđ‰āļēāļ›āļĢāļēāļŠāļēāļ—āļ—āļ­āļ‡ āļ›āļĢāļēāļŠāļēāļ—āļžāļĢāļ°āļ™āļ„āļĢāļŦāļĨāļ§āļ‡ āđ€āļ›āđ‡āļ™āļ­āļēāļ„āļēāļĢāļāđˆāļ­āļ­āļīāļāļŠāļĩāđˆāđ€āļŦāļĨāļĩāđˆāļĒāļĄāļ‹āđ‰āļ­āļ™āļāļąāļ™ 3 āļŠāļąāđ‰āļ™ āļĄāļĩāļĢāļ°āđ€āļšāļĩāļĒāļ‡āļ„āļ•āļĨāđ‰āļ­āļĄāļĢāļ­āļšÂ  āđāļ•āđˆāļĨāļ°āļŠāļąāđ‰āļ™āļĄāļĩāļ›āļĢāļ°āļ•āļđāđ€āļ‚āđ‰āļēāļŠāļđāđˆāļŠāļąāđ‰āļ™āļŠāļđāļ‡āļŠāļļāļ”āļ™āļąāļšāļŠāļīāļšāļ›āļĢāļ°āļ•āļđ āļĢāļ°āđ€āļšāļĩāļĒāļ‡āļ„āļ• āđ€āļŠāļ·āđˆāļ­āļĄāļ•āđˆāļ­āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ›āļĢāļēāļ‡āļ„āđŒāđāļ•āđˆāļĨāļ°āļŠāļąāđ‰āļ™āļāđˆāļ­āļœāļ™āļąāļ‡āļ”āđ‰āļēāļ™āļ™āļ­āļāļ•āđˆāļ­āļāļąāļ™ Â āđāļ•āđˆāļĨāļ°āļ—āļģāļŠāđˆāļ­āļ‡āļŦāļ™āđ‰āļēāļ•āđˆāļēāļ‡āļ›āļĨāļ­āļĄāđ€āļĨāļĩāļĒāļ™āđāļšāļšāļŠāđˆāļ­āļ‡āļĨāļđāļāļĄāļ°āļŦāļ§āļ”āļ„āļĨāđ‰āļēāļĒāļĻāļīāļĨāļ›āļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄāļ—āļĩāđˆāļ™āļīāļĒāļĄāļ—āļģāļāļąāļ™āđƒāļ™āđ€āļ‚āļĄāļĢāļŠāļĄāļąāļĒāļ™āļ„āļĢāļ§āļąāļ” ðŸŸĒāļ›āļĢāļēāļ‡āļ„āđŒāļ›āļĢāļ°āļˆāļģāļ—āļīāļĻāļŠāļĩāđˆāļĄāļļāļĄÂ āļĢāļđāļ›āļ—āļĢāļ‡āļ„āļĨāđ‰āļēāļĒāļ›āļĢāļēāļ‡āļ„āđŒāļ‚āļ­āļĄāļāđˆāļ­āļ”āđ‰āļ§āļĒāļ­āļīāļ āļ­āļ‡āļ„āđŒāļ›āļĢāļēāļ‡āļ„āđŒāļĄāļĩāļāļēāļĢāļĒāđˆāļ­āļĄāļļāļĄāđ„āļĄāđ‰āļĒāļĩāđˆāļŠāļīāļš āļĄāļĩ āļ—āļąāđ‰āļ‡āļŦāļĄāļ” 30 āļ­āļ‡āļ„āđŒ āļĢāļđāļ›āļ—āļĢāļ‡āļ„āļĨāđ‰āļēāļĒāļ›āļĢāļēāļ‡āļ„āđŒāļ‚āļ­āļĄ āļ­āļ‡āļ„āđŒāļ›āļĢāļēāļ‡āļ„āđŒāļĄāļĩāļāļēāļĢāļĒāđˆāļ­āļĄāļļāļĄāđ„āļĄāđ‰āļĒāļĩāđˆāļŠāļīāļš āļ āļēāļĒāđƒāļ™āļ›āļĢāļēāļ‡āļ„āđŒāļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™ āļ­āļ‡āļ„āđŒāļžāļĢāļ°āļžāļļāļ—āļ˜āļĢāļđāļ›āļ āļēāļĒāđƒāļ™āļ›āļĢāļēāļ‡āļ„āđŒāļ„āļĨāđ‰āļēāļĒāļāļąāļšāļ›āļĢāļēāļ‡āļ„āđŒāļ—āļĩāđˆÂ āļ§āļąāļ”āđ„āļŠāļĒāļ§āļąāļ’āļ™āļēāļĢāļēāļĄ ðŸŸĒðŸŸĒāļžāļĢāļ°āļžāļīāļ†āđ€āļ™āļĻāđ‚āļšāļĢāļēāļ“ðŸŸĒðŸŸĒ āļžāļĢāļ°āļžāļīāļ†āđ€āļ™āļĻāļ›āļēāļ‡āļŠāļ™āļ°āļĄāļēāļĢ āļ­āļēāļĒāļļāļāļ§āđˆāļē 100āļ›āļĩ āļ›āļĢāļ°āļ—āļąāļšāļšāļąāļĨāļĨāļąāļ‡āļāđŒāļāļ°āđ‚āļŦāļĨāļ āļ‹āļķāđˆāļ‡āļ•āļąāđ‰āļ‡āļ­āļĒāļđāđˆāļ āļēāļĒāđƒāļ™āļ›āļĢāļēāļŠāļēāļ—āļ™āļ„āļĢāļŦāļĨāļ§āļ‡ āļĢāļ§āļĄāļ–āļķāļ‡āļāļĢāļ°āļ‹āļīāļšāļŦāļđāļŦāļ™āļđāļĄāļļāļŠāļīāļāļ°āđ€āļžāļ·āđˆāļ­āļ‚āļ­āļžāļĢāđāļĨāļ°āļ•āļīāļ”āļŠāļīāļ™āļˆāđ‰āļēāļ‡āđƒāļŦāđ‰āđ„āļ›āļšāļ­āļāļāļąāļšāļžāļĢāļ°āļžāļīāļ†āđ€āļ™āļĻ āđ€āļžāļ·āđˆāļ­āđƒāļŦāđ‰āļžāļĢāļ™āļąāđ‰āļ™āļŠāļģāđ€āļĢāđ‡āļˆ ðŸ”ĩāļžāļļāļ—āļ˜āļšāļēāļ—āļŠāļĩāđˆāļĢāļ­āļĒāđƒāļ™āļĄāļ“āļ‘āļ›āļˆāļ•āļļāļĢāļĄāļļāļ‚ðŸ”ĩ āļžāļļāļ—āļ˜āļšāļēāļ—āļŠāļĩāđˆāļĢāļ­āļĒ āļ—āļĩāđˆāļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™āđƒāļ™āļĄāļ“āļ‘āļ›āļˆāļ•āļļāļĢāļĄāļļāļ‚āļ‹āļķāđˆāļ‡āļĄāļĩāļĨāļąāļāļĐāļ“āļ°āđ€āļ›āđ‡āļ™āļžāļĢāļ°āļžāļļāļ—āļ˜āļšāļēāļ—āļ‹āđ‰āļ­āļ™āļāļąāļ™āļŠāļĩāđˆāļĢāļ­āļĒāļĨāļķāļāļĨāļ‡āđ„āļ›āđƒāļ™āđ€āļ™āļ·āđ‰āļ­āļŦāļīāļ™ āđ‚āļ”āļĒāļĢāļ­āļĒāđƒāļŦāļāđˆāļ—āļĩāđˆāļŠāļļāļ”āļāļ§āđ‰āļēāļ‡āļ›āļĢāļ°āļĄāļēāļ“ 2.50 āđ€āļĄāļ•āļĢ āļĒāļēāļ§ 5.50 āđ€āļĄāļ•āļĢ āļ™āļ­āļāļˆāļēāļāļ›āļĢāļēāļŠāļēāļ—āđāļĨāđ‰āļ§ āļžāļĢāļ°āļ›āļĨāļąāļ”āļ›āļĨāļ·āđ‰āļĄāđ„āļ”āđ‰āļŠāļĢāđ‰āļēāļ‡āļĻāļēāļĨāļēāļžāļĢāļ°āļˆāļąāļ™āļ—āļĢāđŒāļĨāļ­āļĒ  āđ€āļ›āđ‡āļ™āļ­āļēāļ„āļēāļĢāļ—āļĢāļ‡āļˆāļąāļ•āļļāļĢāļĄāļļāļ‚āļĨāļ‡āļšāļ™āļŠāļ–āļēāļ™āļ—āļĩāđˆāļ—āļĩāđˆāđ€āļŠāļ·āđˆāļ­āļ§āđˆāļē  āđ€āļ”āļīāļĄ āļ„āļ·āļ­Â  āļžāļĢāļ°āļ•āļģāļŦāļ™āļąāļāļ™āļ„āļĢāļŦāļĨāļ§āļ‡āļ‚āļ­āļ‡āļžāļĢāļ°āđ€āļˆāđ‰āļēāļ›āļĢāļēāļŠāļēāļ—āļ—āļ­āļ‡Â  āļĻāļēāļĨāļēāļŦāļĨāļąāļ‡āļ™āļĩāđ‰āļŠāļĢāđ‰āļēāļ‡āļ‚āļķāđ‰āļ™āļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™āļžāļĢāļ°āļˆāļąāļ™āļ—āļĢāđŒāļĨāļ­āļĒ  (āđāļœāđˆāļ™āļŦāļīāļ™āļĢāļđāļ›āļāļĨāļĄāļ„āļĨāđ‰āļēāļĒāđ€āļŠāļĄāļēāļ˜āļĢāļĢāļĄāļˆāļąāļāļĢ  āđāļāļ°āļˆāļēāļāļŦāļīāļ™āđāļāļĢāļ™āļīāļ•  āļ‚āļ™āļēāļ”āđ€āļŠāđ‰āļ™āļœāđˆāļēāļĻāļđāļ™āļĒāđŒāļāļĨāļēāļ‡ āđ’.āđ“āđ• āđ€āļĄāļ•āļĢ  āļŦāļ™āļē āđ’āđ āđ€āļ‹āļ™āļ•āļīāđ€āļĄāļ•āļĢ  āļ”āđ‰āļēāļ™āļŦāļ™āđ‰āļēāļ•āļ­āļ™āļšāļ™Â  āđāļāļ°āļŠāļĨāļąāļāļžāļĢāļ°āļžāļļāļ—āļ˜āļĢāļđāļ›āļ™āļđāļ™āļ•āđˆāļģ  āļ‚āļ™āļēāļ”āđ€āļĨāđ‡āļāļˆāļģāļ™āļ§āļ™ āđ“ āļ­āļ‡āļ„āđŒÂ  āđāļĨāļ°āđ€āļˆāļ”āļĩāļĒāđŒāļ”āđ‰āļēāļ™āļ‚āđ‰āļēāļ‡āļžāļĢāļ°āļžāļļāļ—āļ˜āļĢāļđāļ›āļ­āļĩāļāļ”āđ‰āļēāļ™āļĨāļ°āļ­āļ‡āļ„āđŒÂ  āļ”āđ‰āļēāļ™āļĨāđˆāļēāļ‡āđāļāļ°āļĨāļēāļĒ  āļ•āļĢāļ‡āļāļĨāļēāļ‡āļĨāļēāļĒāļ—āļģāđ€āļ›āđ‡āļ™āļĢāļđāļ›āļ āļēāļžāļ•āđˆāļēāļ‡āđ† āļ—āļĩāđˆāļžāļ­āļĄāļ­āļ‡āđ€āļŦāđ‡āļ™āđ„āļ”āđ‰āļŠāļąāļ”āļ„āļ·āļ­āļĢāļđāļ›āļ›āļĨāļē āđ’ āļ•āļąāļ§Â  āļ™āļ­āļāļ™āļąāđ‰āļ™āļ„āđˆāļ­āļ™āļ‚āđ‰āļēāļ‡āļĨāļšāđ€āļĨāļ·āļ­āļ™āļĄāļ­āļ‡āđ„āļĄāđˆāļŠāļąāļ”) āļŠāļēāļ§āļšāđ‰āļēāļ™āđ€āļĨāđˆāļēāļ‚āļēāļ™āļāļąāļ™āļ§āđˆāļēāđāļœāđˆāļ™āļŦāļīāļ™āļžāļĢāļ°āļˆāļąāļ™āļ—āļĢāđŒāļĨāļ­āļĒāļ™āļĩāđ‰Â  āđ€āļ”āļīāļĄāļ—āļĩāļĨāļ­āļĒāļ™āđ‰āļģāļĄāļēāļ•āļēāļĄāđāļ„āļ§āļ›āđˆāļēāļŠāļąāļ āļĄāļĩāļœāļđāđ‰āļžāļšāđ€āļŦāđ‡āļ™āļ„āļĢāļąāđ‰āļ‡āđāļĢāļāļ—āļĩāđˆāļšāđ‰āļēāļ™āļĻāļīāļĨāļēāļĨāļ­āļĒ  āļ•āļģāļšāļĨāļĻāļēāļĨāļēāļĨāļ­āļĒ  āļ­āļģāđ€āļ āļ­āļ—āđˆāļēāđ€āļĢāļ·āļ­Â  āļ›āļĢāļ°āļŠāļēāļŠāļ™āđƒāļ™āļ—āđ‰āļ­āļ‡āļ–āļīāđˆāļ™āļ™āļąāđ‰āļ™āđ„āļ”āđ‰āļžāļĒāļēāļĒāļēāļĄāļ™āļģāļ‚āļķāđ‰āļ™āļˆāļēāļāļ™āđ‰āļģāđāļ•āđˆāđ„āļĄāđˆāļŠāļēāļĄāļēāļĢāļ–āļ‰āļļāļ”āļ‚āļķāđ‰āļ™āđ„āļ”āđ‰Â  āđāļœāđˆāļ™āļŦāļīāļ™āļˆāļķāļ‡āļĨāļ­āļĒāļ™āđ‰āļģāđ€āļĢāļ·āđˆāļ­āļĒāļĄāļēāļˆāļ™āļ–āļķāļ‡āļ§āļąāļ”āđ€āļ—āļžāļˆāļąāļ™āļ—āļĢāđŒ[āđ—]   āļŠāļēāļ§āļšāđ‰āļēāļ™āļāđ‡āđ„āļ”āđ‰āļŠāđˆāļ§āļĒāļāļąāļ™āļĨāļ‡āđ„āļ›āļ‰āļļāļ”āđ€āļžāļ·āđˆāļ­āļˆāļ°āļ™āļģāđ„āļ›āđ„āļ§āđ‰āļ—āļĩāđˆāļ§āļąāļ”  āđāļ•āđˆāļāđ‡āļ—āļģāđ„āļĄāđˆāļŠāļģāđ€āļĢāđ‡āļˆāđ„āļĄāđˆāļŠāļēāļĄāļēāļĢāļ–āļ‰āļļāļ”āļ‚āļķāđ‰āļ™āļĄāļēāđ„āļ”āđ‰āđ€āļŠāđˆāļ™āđ€āļ”āļĩāļĒāļ§āļāļąāļšāļŠāļēāļ§āļšāđ‰āļēāļ™āļĻāļīāļĨāļēāļĨāļ­āļĒ  āļŠāļĄāļ āļēāļĢāļ§āļąāļ”āđ€āļ—āļžāļˆāļąāļ™āļ—āļĢāđŒāļœāļđāđ‰āđ€āļĢāļ·āļ­āļ‡āļ§āļīāļŠāļēāļĄāļĩāļ­āļēāļ„āļĄāđƒāļ™āļĒāđˆāļēāļ™āļ™āļąāđ‰āļ™āļĢāļđāđ‰āđ€āļĢāļ·āđˆāļ­āļ‡āđ€āļ‚āđ‰āļēāļˆāļķāļ‡āļ™āļģāļ”āđ‰āļēāļĒāļŠāļēāļĒāļŠāļīāļāļˆāļ™āđŒ āđ“ āđ€āļŠāđ‰āļ™Â  āļĨāļ‡āđ„āļ›āļ„āļĨāđ‰āļ­āļ‡āđāļĨāđ‰āļ§āļ‰āļļāļ”āļ‚āļķāđ‰āļ™āđ„āļ›āđ„āļ§āđ‰āļ—āļĩāđˆāļ§āļąāļ”āđ„āļ”āđ‰āđ‚āļ”āļĒāļ‡āđˆāļēāļĒāļ”āļēāļĒ  āļžāļĢāļ°āļˆāļąāļ™āļ—āļĢāđŒāļĨāļ­āļĒāļˆāļķāļ‡āđ„āļ”āđ‰āļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™āļ—āļĩāđˆāļ§āļąāļ”āļ™āļĩāđ‰āļ­āļĒāļđāđˆāļŠāļąāđˆāļ§āļĢāļ°āļĒāļ°āļŦāļ™āļķāđˆāļ‡āļˆāļ™āļ–āļķāļ‡āļĢāļąāļŠāļŠāļĄāļąāļĒāļžāļĢāļ°āļšāļēāļ—āļŠāļĄāđ€āļ”āđ‡āļˆāļžāļĢāļ°āļˆāļļāļĨāļˆāļ­āļĄāđ€āļāļĨāđ‰āļēāđ€āļˆāđ‰āļēāļ­āļĒāļđāđˆāļŦāļąāļ§Â  āļāļĢāļ°āļ—āļĢāļ§āļ‡āļĄāļŦāļēāļ”āđ„āļ—āļĒāļˆāļķāļ‡āđ„āļ”āđ‰āļ™āļģāļŠāđˆāļ‡āđ„āļ›āđ€āļāđ‡āļšāđ„āļ§āđ‰āļ—āļĩāđˆāļ§āļąāļ”āđ€āļšāļāļˆāļĄāļšāļžāļīāļ•āļĢ  āļāļĢāļļāļ‡āđ€āļ—āļžāļĄāļŦāļēāļ™āļ„āļĢ āđ€āļĄāļ·āđˆāļ­āļžāļĢāļ°āļšāļēāļ—āļŠāļĄāđ€āļ”āđ‡āļˆāļžāļĢāļ°āļˆāļļāļĨāļˆāļ­āļĄāđ€āļāļĨāđ‰āļēāđ€āļˆāđ‰āļēāļ­āļĒāļđāđˆāļŦāļąāļ§ āļ—āļĢāļ‡āļ—āļĢāļēāļšāđ€āļĢāļ·āđˆāļ­āļ‡āļžāļĢāļ°āļ›āļĨāļąāļ”āļ›āļĨāļ·āđ‰āļĄāļšāļđāļĢāļ“āļ‹āđˆāļ­āļĄāđāļ‹āļĄāđāļ›āļĨāļ‡āļ›āļĢāļēāļŠāļēāļ—āļ™āļ„āļĢāļŦāļĨāļ§āļ‡Â  āļ•āļēāļĄāļŦāļ™āļąāļ‡āļŠāļ·āļ­āļāļĢāļ°āļ—āļĢāļ§āļ‡āļ˜āļĢāļĢāļĄāļēāļāļēāļĢāļāļĢāļēāļšāļšāļąāļ‡āļ„āļĄāļ—āļđāļĨāđāļĨāđ‰āļ§Â  āļ—āļĢāļ‡āļĄāļĩāļžāļĢāļ°āļĢāļēāļŠāļāļĢāļ°āđāļŠāļ§āđˆāļē  “āļ­āļ™āļķāđˆāļ‡Â  āļžāļĢāļ°āļˆāļąāļ™āļ—āļĢāđŒāļĨāļ­āļĒāļ‹āļķāđˆāļ‡āļāļĢāļ°āļ—āļĢāļ§āļ‡āļĄāļŦāļēāļ”āđ„āļ—āļĒāļ™āļģāļĄāļēāļ­āļĒāļđāđˆāļ—āļĩāđˆāļ§āļąāļ”āđ€āļšāļāļˆāļĄāļšāļžāļīāļ•āļĢ āļ™āļąāđ‰āļ™āļāđ‡āđ„āļĄāđˆāļ­āļąāļĻāļˆāļĢāļĢāļĒāđŒāļ­āļ°āđ„āļĢ āļ–āđ‰āļēāđƒāļŦāđ‰āļžāļĢāļ°āļ›āļĨāļąāļ”āļ›āļĨāļ·āđ‰āļĄāļĢāļąāļšāļāļĨāļąāļšāđ„āļ›āļ•āļąāđ‰āļ‡āđ„āļ§āđ‰āļ—āļĩāđˆāļ§āļąāļ”āļžāļĢāļ°āļ™āļ„āļĢāļŦāļĨāļ§āļ‡ ðŸ”šïļðŸ”šïļðŸ”šïļ
Jakkrit Sriya

Jakkrit Sriya

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