VIETNAMESE
'S FAMOUS PAGODAS
Vo Van Tuong - Huynh Nhu Phuong
Translated by Tran Phuong
Lan, Thuy Duong and Nguyen Van
Nghe
Art Publisher - 1995
[Vietnamese
Version]
---o0o---
FORDWORD
By the Most Venerable
Thich Thien Sieu
In the long way history of Buddhism,
an ancient and profound religion which has been constantly developing and modernising,
Buddhist architecture has been changing increasingly both in form and content. From small
buts for some monks in early times, they have gradually become large monasteries or
Pagodas for a community of monks, together with dome-shaped or multi-faceted stupas
enshrining holy Buddhist relics, subordinate structures, stele houses, statues, religious
decorations and musical instruments….Today, one can see in a typical pagoda a
harmonious and original combination of various characteristic of Buddhist architecture.
Once Buddhism has taken root in any new
land, it makes its penetration into all aspects of life there. Take Vietnamese Buddhism
for instance, since its very beginning, it has been closely connected with the country for
over two thousand years, and Buddhist pagodas have witnessed the ups and downs of the
nation’s fortune, as well as the Vietnamese cultural and religious activities through
the ages.
Several research works on Buddhist Pagodas
that have been issued recently arouse interest both in the Vietnamese culture and Buddist
culture.
"45 Famous Pagodas In Vietnam
"edited by Messrs Vo Van Tuong an Huynh Nhu Phuong is a praiseworthy contribution to
that significant effort.
Through pictures and stories of those
famous pagodas, the two authors have made a particular attempt to present different ways
of living, patterns of behaviour and mental attitudes of several Buddhist scholars or
historical figures, and even personal feelings or the delicacy of distinguished men of
letters or skilful craftsman relating to folktales, songs and poems of the time, thus
creating a vivid panorama of Vietnamese history coloured with diverse traditional ways and
customs, now realistic, now romantic.
Despite their careful study of historical
documents, the authors do not intend to lay emphasis on scientific research, but they
merely aim at revealing the originality in Vietnamese sculptural and architectural designs
tinted with a touch of nostalgia.
Statistically there are more than 14,000
pagodas scattered all over the country. In fact, each of them more or less enhanced the
charm of natural scenery with its own attractiveness. The term "Danh lam thang
canh" is a popular Vietnamese expression in which celebrated pagodas and beauty-spots
go in pairs, suggesting that the beauty of pagodas is part of the beauties of nature and
vice versa.
Yet in a bustling city, the presence of a
pagoda can bring a sense of relief from the discomfort of the busy atmosphere or even the
superficiality of modern life.
In this sense, the authors are faced with
a difficult choice from such a wide variety of pagoda patterns.
But what has influenced them most in their
selection of these 45 pagodas ?
It is obvious that within the format
of this book, priority is given to pagodas which, to some extent, represent the
development of Vietnamese Buddhism and the growth of various Buddhist sects and also
special features of some local areas throughout the country.
The reader may not agree with the authors
about the matter preference because of its limitations. However, this selection conveys to
the reader their true attempt to give a general view of our Vietnamese cultural heritage
and in particular, their deep admiration for Vietnamese Buddhism, a religion of compassion
and wisdom which has long been invigorating the national life, but at the same time it has
been imbued with national vigour itself.
Altogether, I think this is a valuable
book which I highly recommend the reader.
Tu Dam Pagoda,
December 1993
Bhikkhu Thich Thien
Sieu
(Translated by Tran
Phuong Lan)
EDITORS' PREFACE
For a long time, many pagodas in Vietnam have been places where
values are preserved as part of the national heritage. A study of Vietnamese Pagodas
consists not only in learning about the development of Vietnamese Buddhism, but also in
exploring various aspects of the Vietnamese culture. All this will help us to intensify
our national pride and our sense of responsibility for preserving our worthy cultural
heritage handed down from earlier generations.
In the changing situation of our country, many pieces of research on
Vietnamese Pagodas have been published, contributing to the trend of restoring and
preserving our national culture. In editing "45 Famous Pagodas In Vietnam", a
modest contribution of ours to the trend, we hope to present a general survey of
Vietnamese history alongside traditional festivals, literary works, monastic architectural
and sculptural designs concerning the 45 famous pagodas scattered all over the country. In
our opinion, they are more or less symbols of the development of Vietnamese Buddhism, the
growth of different Buddhist sects and the main features of some well-known areas
throughout the country. Next too pieces of writing are photographs of diverse monastic
sculptural and architectural shapes. Of course, there are many other pagodas which we have
not been able to present to the reader on account of the limitations of our writing
material and the format of this book. We hope the reader will overlook any shortcomings
which may remain in our book.
In preparing the book, we have made use of historical or literary
documents about Vietnamese Buddhism gathered by previous researchers. In addition, the
facts we have found from our trips to many local areas have helped us to compare and
contrast all material to complete our pieces of writing.
ACKNOWLEDGEMENTS
On the occasion of the publication of the book, we would like to
convey our sincere thanks to all Venerable Elders of the above-mentioned Pagodas and
Monasteries for their assistance in collecting documents necessary for our work.
+ We are greatly indebted to the authors of the book listed in the
bibliography for their useful references.
+ We wish to express our special appreciation to Messrs. Nguyen Thai
Hoa, Tran Tuan Man and Truong Ngoc Tuong for giving us their proper suggestions and
comments.
+ Above all, we would like to express our deep gratitude to the Most
Venerable Thich Thien Sieu, Vice-Chairman of the Standing Committee of the V.B.S Executive
Council and Head of the Department of Monastic Education for his kindness in contributing
a delightful foreword to our book, our English Translators Messrs
Nguyen Van Nghe, Chau Van Thuan and the Poet Thuy Duong for their
translation of the first part of the book concerning 19 pagodas in North Vietnam and Mme
Tran Phuong Lan for her version of the second part covering 26 pagodas in Central and
South Vietnam.
And finally we extend our thanks to the Directorate of My Thuat
Publisher for providing favourable conditions for the publication of this book.
Ho Chi Minh City, December 1993
Vo Van Tuong - Huynh Nhu Phuong
(Translated by Tran Phuong Lan)
TRANSLATOR'S NOTE
This is our English version of "The 45 Famous Pagodas in
Vietnam" edited by Messrs.Vo Van Tuong and Huynh Nhu Phuong as a brief survey of the
Vietnamese Buddhist culture through pictures and stories.
A large number of these pieces of research are a mixture of prose and
verse. Since I undertake the task of translating Part II (Pagodas in Central and South
Vietnam), which contains numerous poems, odes and parallel sentences composed by
well-known Chinese or Vietnamese poets, kings and Ch'an Masters throughout nearly ten
centuries, I think that it is impossible to interpret the spirit and reproduce the beauty
of the original stanzas concerning Buddhism especially Ch'an (Dhyana) Buddhism, into a
prose translation. Moreover, it is extremely difficult to understand thee true feelings
conveyed in the verses uttered by Ch'an Masters and above all, Ch'an Patriarchs.
Before doing the time-consuming translation of these many poems, I have
consulted only the original Chinese texts and some Vietnamese versions without any
available English ones. Therefore, I have tried hard to offer the reader a fair rendering
of the authors' words and not to deviate from the time-honoured traditional interpretation
of Ch'an poetry.
Being fully aware of my limitations in languages as well as Buddhism,
in particular Ch'an Buddhism, I would like to say that this is but a modest attempt of
mine to present a prose translation of a number of Ch'an poems to those who cannot read
the original. In spite of all my efforts, there might still oversights and
misinterpretations in my work.
I sincerely hope to receive valuable suggestions from advanced scholars
and readers who will kindly help me to revise and improve my version for the next edition.
Tran Phuong Lan
(The Vietnamese Institute of Advanced Buddhist
Studies Ho Chi Minh City)
DAU PAGODA
(PHAP VAN PAGODA)
THANH KHUONG, THUAN
THANH, HA BAC PROVINCE
Traveller! Wherever you are going
Come back when you see the tower of Dau
Pagoda.
Among hundreds of trades whichever you are
doing
Don't fail to join the Dau Festival on the
eighth together!
The above popular verses evoke the memory
of a pagoda which is among the earliest temples of our country. Built in the beginning of
the third century, the temple was located in centre of the ancient capital Luy Lau, now
part of Khuong Tu hamlet, Thanh Khuong village, Thuan Thanh district, Ha Bac province, 30
km from Ha Noi. It is now the Dau pagoda or Phap Van Temple, which bore the name of Co
Chau in the Ly Dynasty, Thien Dinh in the Tran and Dien Ung in the Le.
During the early centuries of the
Christian era, the Dau pagoda already witnessed the development of a prosperous commercial
area around the crossing of the main roads of olden times, whose trace is now no more than
the ruin of Luy Lau lying on the Thuan Thanh crossroads (Ha Bac), joining the two
highways: One northward to Dong Trieu-Pha Lai, the other Southward to Khoai Chau-Hai Hung.
The history of the Dau pagoda was
associated with the mythical story of Man Nuong, a virgin from the Man Xa village lying on
the bank on the Duong river. Since the age of twelve, Man Nuong used to cross the river
from the south to north bank to receive religious teaching from Master Khau-Da-La, an
Indian bonze in Linh Quang Pagoda (Phat Tich village, Tien Son). Khau-Da-La was a Ch'an
Master who had associated the preaching of Tantraim (Buddhism in the Esoteric sect) with
local popular beliefs, thus crating a major influence on the population of Luy Lau. But
the religious pursuit of Man Nuong was unachieved since one day, while she was lying
asleep on the floor, Master Khau-Da-La, coming out from his worship hour, accidentally
stepped over her body. She then got pregnant and 14 months later, gave birth to a
baby-girl which she then returned to her master. Khau-Da-La carried the in his arm to the
century-old banian-tree by the river side. He said the incantation, then using his holy
struck at the lower part of the tree, which split open right away.
The baby was put in and the opening shut
up automatically, leaving a nice fragrance exhaling in the air . The last souvenir that
Man Nuong received from her Master was his holy stick.
On his recommendation, wherever came a
drought, as the soil was getting dry and likely to cause crop failures, Man Nuong would
plant the stick into the soil and say prayers…Then miracle would happen: heavy rains
would pour down. One stormy night, the old banian-tree wherein Man Nuong's baby-girl had
been confided, was suddenly beaten down, fell into the river and floated down streams to
the Dau village. The villagers gathered and tried to drag it out of the river, but their
efforts were in the vain. Fortunately, Man Nuong, by using her pink brassier ribbons was
able to pull the old tree up to the river bank . That night, in their dreams, the
villagers were advised by a deity to carve statues out of the wood of the banian tree for
worship. Thence came into existence four statues in adoration of the four goddesses of
Cloud, Rain, Thunder, Lightning, which were named as follows:
Phap Van (or Lady Dau adored in Thien Dinh
pagoda)
Phap Vu (or Lady Dau adored in Thanh Dao
pagoda)
Phap Loi (or Lady Tuong adored in Phi
Tuong pagoda)
Phap Dien (or Lady adored in Phuong Quang
pagoda)
The legend of Man Nuong, the virgin mother
who had become the Holy Mother of the four goddesses, has been commemorated every year on
the eighth day of the fourth lunar month. On this day, Buddhist monks and worshipers from
all parts come back to the Dau Pagoda to join the Festival as said in popular serves
mentioned above. The Dau Festival is an occasion for Buddhists not only to go on a
pilgrimage to the pagoda, but also to participate in the cultural and traditional
celebrations and performances of the agricultural inhabitants. The Festival is celebrated
all over the district with hilarious processions (comprising greeting procession,
welcoming procession and leave-taking procession). The statues of Lady Dau, Lady Tuong and
Lady Dan are "invited" to
come and meet with their eldest sister
Lady Dau at Dien Ung pagoda. After the ceremonies of water dance, water offering, stick
dance, the 4 statues are escorted to Man Xa pagoda to pay homage to their mother Man
Nuong. Also on this festival day, on the Dau pagoda terrace, one can watch dragon dances
"tortoise and crane" dance, drummer dance, wrestling, human chess (where the 32
chessmen are real beautiful young girls and handsome young boys).
Situated on a wide terrace near the Dau
river a branch of the Duong river-Phap Van pagoda has once been a famous Buddhist centre
well known to the whole, country, This very spot used to be the monastery and preaching
tribune of many famous Ch'an masters such as Vinitaruci (a south Indian bonze who came to
Vietnam in 580 and translated the set of canon, Mahayanist Dharanis), Phap Hien, Quan
Duyen, Tri Bat, Dinh Khong, Thien Hoi…The book Thien Uyen Tap Anh (The brilliant
Stars of The Ch'an Garden) has recorded the peculiar meeting with heart-to-heart
communication between Vinitaruci and Phap Hien at the Dau pagoda, marking the initial
appearance of Ch'an Buddhism in the cultural life of the Vietnamese people.
The Dau pagoda, formerly named Phap Van
was repaired and renovated many times: in the middle of the 12th in the Ly
period, in the late 13th century and the 14th century in the Tran,
in the 18th century in the Le, then in the late 19th century in the
Nguyen. Now the pagoda still bears many archicultural signs of the posterior Le. Mac Dinh
Chi made extensive renovation in 1313 as recorded in the Dai Nam Nhat Thong Chi. In the
Tran dynasty Mac Dinh Chi built a pagoda of a hundred compartments, a nine-storeyed tower
and a nine-spanned bridge whose foundations can still be seen nowadays. "the pagoda
was built in the particular style of". I - shaped interior shaped exterior, going
past a brickyard, with the Hoa Phong tower, in the middle, one arrives at the Great
worship. Hall and the Buddha shrine, the Back Hall at the rear. All are surrounded by four
rows of house forming the shape of the Chinese character. In the Buddha shrine, the
statues of Phap Van, of two meters in height was set on a lotus pedestal in the middle
compartment. Closely on both sides of the Buddha shrine are the statues of Kim Dong and
Ngoc Nu, each one 1m57 high, which bear the characteristic features of sculptural art of
the 17th- 18th centuries.
With regard to the architectural art of
the Dau pagoda, one could not overlook the Hoa Phong tower which rising from the brown
stilled roofs, emerges prominently in the sky and verdant bamboos' shades. Established by
Ch'an Master Phap Hien in the late 6th century to preserve the Buddhish relics,
it originally had 9 storeys, but through the destruction of time, now only 3 storeys
remain, with 17m in height, The base storey is of square shape of 7m each side, with thick
walls opening 4 vaulted doors. The two main doors facing the east and the other two facing
west all have flights of stairs in front. On either side of each flight are two stone
squirrels lying in the crawling position-a style very similar to the ancient sculptural of
Champa in the 13th-14th centuries and the animal symbolic sculpture
in the architecture of imperial tombs in the Tuy period. The Hoa Phong tower was renovated
in 1737 in the Le period. Inside the tower, there are the great bell cast in the Canh
Thinh reign and the big bronze gong cast in 1837 under the reign of King Minh Mang.
Built with plain bricks of large size, the
former Hoa Phong tower, with its original lofty height, stood high up as a stone pillar to
block up the karma current coming up from the unenlightened world.
Translated by
Thuy Duong and Nguyen
Van Nghe
PHAT TICH PAGODA
(VAN PHUC PAGODA)
PHUONG HOANG, TIEN SSON, HA BAC PROVINCE)
Phat Tich Pagoda or Van Phuc Pagoda originally named Thien Phuc Tu - is
situated on the side of Lan Kha mountain, Phat Tich village, Tien Du district, presently
Phuong Hoang village, Tien Son district, Ha Bac province.
Tourists from Ha Hoi who want to visit the pagoda can take either of
the two routes: the first one will take you along the left bank of the Duong river. Go
along the dyke for 15km, turn left and go on 1km further down the road you will reach the
pagoda. You may also take the other route by passing Mountain Lim. Then turn right and go
on for about 15km, you will arrive at Phat Tich village, looking out on the Duong river,
just about 1km from the dyke.
As recorded in the historical stele "Van Phuc Dai Thien Tu
bi" set up in the 7th Chinh Hoa year (1686) , "King Ly Thanh Tong(the
3rd king of the Ly dynasty) in the Long Thuy Thai Binh 4th year
(1057), built an exquisite tower of one hundred truong* in height, set up a gilded statue
6 thuoc ** high. He also granted over a hundred plots of rice field, built over a hundred
temples"
This recording stele also praised the beautiful sight of the pagoda:
"Let's watch the beautiful spot of Tien Du : the famous mountain of Phat Tich is
surrounded in the south by the Phuong Linh mountain (Phoenix mountain), on the left by the
Thanh Long (blue dragon) winding stream, on the right by the Bach Ho (white tiger)
mountain. On the summit there stands a stone table"
In 1071, King Ly Thanh Tong, on his visit to the pagoda, wrote himself
the Chinese character meaning :"Buddha" 6.44m long and had it engraved on a
stone stele to be set up in front of the pagoda. Next, in the Tran dynasty the pagoda was
renamed Van Phuc. King Tran Nghe Tong ordered to establish the Bao Hoa Buddha shrine and
the library Lan Kha near the pagoda. It was recorded in the "Dai Nam Nhat Thong
Chi" that in 1384, the King held the Examination "Thai hoc sinh" in this
pagoda to select bright scholars for the service of the country.
In the Chinh Hoa 7th year, under King Le Hy Tong's reign
(1686), the pagoda was rebuilt on an enormous scale and brought up to a high value of art.
This reconstruction owed its main support to Princess Tran Ngoc Am, the first royal maid
of Lord Thanh Do Vuong Trinh Trang, when she had left the imperial palace to become a nun
in this pagoda. The stele "Van Phuc Dai Thien Tu Bi" has recorded: "On the
mountain summit, stands a stone building as splendid ass glittering gem… On the front
veranda are displayed 10 animal statues. In the rear are wide ponds. High storeys are
adorned with painted images of phoenixes and twinkling bright stars and the Moon palace
embellished with colourful flowers…"
The pagoda was built in the shaped interior, shaped exterior"
model with over one hundred compartments. In front of it, stands the "cloud-reaching
tower" as described in the poem "Tien Du Van PhucTu" by Nguyen Xuong. In
the rear are stone houses which are used as lecture rooms. Close to the pagoda is the
Queen Fairy shrine for the worship of Lady Tran Ngoc Am, in which we can see a pair of
parallel sentences written to honour the lady's good deeds.
First imperial maid back to Buddha land
Thirteenth royal court lady to Fairy village
In the war against the French invasion, Van Phuc pagoda was
destroyed by the foreign invaders. The remains are now the ruined foundations of 3 floors
cut in the mountain side, of rectangular shapes, each one about 60m in length and 33m in
width. Here, by the years 1940-11941, archaeologists found large bricks with the dates of
Long Thuy Thai Binh 4th year (1057) and Chuong Thanh Gia Khanh 7th
year (1065) clearly inscribed on them. Among the remaining sculptural masterpieces were
found 5 pairs of animal statues: lion, rhinoceroses, elephants, buffaloes, horses, lying
on lotus pedestals carved out of large stones, slabs about 2m in height. There were also
wall stones, pedestals… with carved images of dragons, musicians, dancers…
The name of Phat Tich Pagoda was associated with the Buddha statue - a
famous sculptural masterpiece which is now worshipped in the small pagoda built
subsequently. A legend has it that once the tower of the pagoda suddenly collapsed and the
statue came out amid the ruin. Since then, Hoa Ke hamlet located by the side of the pagoda
was renamed Phat Tich Hamlet. This statue, carved out of stone, is 1.85m high, or 3m high
including the pedestal. The statue represents Buddha sitting in a meditation posture on a
lotus throne. The pedestal is adorned with, images of dragons, flowers and leaves. The
face of the statue has refined features with an air of serenity and compassion. The
fineness of the carving shows an excellent workmanship.
Translated by Thuy Duong and Nguyen van
Nghe
BUT THAP PAGODA
(NINH PHUC PAGODA)
DINH TO, THUAN THANH, HA BAC PROVINE
If you go across the Doung bridge and the along the dyke on the left
bank of the river or take a left turn at Phu Thuy railway station on the way to Hai -
Phong and then go on for about 15 km you will arrive at Dinh To village, Thuan Thanh
district, Ha Bac province - formerly A Lu hamlet, Nhan Thanp village, Sieu Loai district -
where But Thap Pagoda can be seen in the middle of the field, facing south. The pagoda has
another name - Ninh Phuc Tu (´ ) . When Ch'an Master Huyen
Quang first came to stay here, he began to build a nine-storeyed stone tower decorated
with lotus flower patterns. But this tower no longer exists today. The present Bao Nghiem
tower in shape of a huge writing brush rising high up in the sky as it is seen now, was
built in 1547 by Ch'an Master Minh-Hanh(1596-1659). In 1876, this tower was renamed But
Thap by King Tu Duc. Since then the pagoda was called But Thap pagoda. The tower was built
with adjoined stone, with 5 storeys, in octagonal shape, 113.05 m in height. The top has
the shape of a wint decanter, Between storeys are bent-up-edged roofs. The base storey is
3m wide each side, surrounded by two walls. Inside the base storey is the statue of Ch'an
Master Chuyet Cong (1590-1644), a Chinese bonze from Phuc Kien province who came to
Vietnam in 1633 and stayed as Head monk of the pagoda. Before passing away, in is last
minutes he read to his disciples his last poem as follows:
Thin bamboos and high pines are dropping fragrant dew
While fresh breezes and young moon cool the night
Who are the West High Land dwellers ? Anyone knew ?
Every sunset the bell resounds, chasing off twilight.
(Translated by Thuy Duong)
King Le Chan Tong then bestowed on Most Venerable Chuyet Cong the title
"Minh Viet Pho Giac Quang Te Dai Duc Thien Su".
Later on, the Queen Mother Trinh Thi Ngoc Truc, of Buddist name Phap
Tanh, from A Lu village, requested her father Lord Thanh Do vuong Trinh Trang to have But
Thap Pagoda in their native village renovated. She herself worked together with Ch'an
Master Minh Hanh in the renovation of the pagoda and after King Le Than Tong's decease,
she withdrew to stay and practice here religious beliefs as a nun in the pagoda.
The architectural style of the posterior Le period is manifested
clearly in the structure of But Thap pagoda. Built on the the " shaped interior,
shaped (2) exterior model like Dau Pagoda, But Thap Pagoda is an architectural complex
comprising the three-entrance gate, the bell tower, the front hall, the incense burning
house, the upper shrine, the stone bridge, the nine-staged lotus flower shrine (Tich Thien
Am), the middle hall, the worship hall and the rear hall. All of those ten buildings are
arranged along an axis of over 100m in length. On the left side of the pagoda are the
Patriarch house and the Bao Nghiem tower. Further in the back stands the Ton Duc tower.
Surrounding the upper shrine hall is the stone balcony consisting of 36 stone slabs
resignedly carved with beautiful landscapes of nature, with images of flying cranes over
lotus ponds, swimming fishes, water-buffalo tenders and other mythical creatures and
legends such as dragon-fish, the four sacred animals (dragon, unicorn, tortoise, phoenix),
the journey to India by the Tang Bonze in request for the Conan books.
Inside the Upper Shrine Hall, one could feel a strong impression of a
marvellous workmanship while standing before the famous sculptural masterpiece: the statue
of one-thousand-arm and one-thousand-eye Avalokitesvara. This statue is 3.70m high, made
of excellent wood covered with paint, carved by an artist named Truong in 1656. The statue
has 11 faces, 994 arms with 994 eyes - each eye resting on the palm of a hand. Under the
lotus flower hat, the main front face looks sedate and mild, on both cheeks are still two
other faces. In addition, on the top eight other small heads are piled up in a tower shape
with 3 storeys, on top of which is a small statue. In front of the chest, two arms are
joined; on the back 40 other arms are extending harmoniously like a lotus leaf. Outer are
952 other arms carrying 952 eyes forming a halo circle. On top of the statue stands a pair
of mythical birds with human heads, spreading their broad wings pressing against each
other. The statue is sitting on a lotus pedestal supported by the head of a dragon rising
from the water surface. In the 4 corners are 4 statue of athletes with strong bodies
trying to support the statue pedestal.
Through centuries, Avalokitesvara has been sitting here, with her
thousand eyes perceiving every misfortune of the world, and her thousand arms always ready
to save poor living creatures.
Contemplating the statue with reverence, on had the feeling that
Avalokitesvara Boddhisatva can hear all the living world's echoes and is transmitting to
man her compassion and leniency as well as peace in soul.
Translated by Thuy Duong and Nguyen Van
Nghe
THE TRAN QUOC PAGODA
(TRAN BAC PAGODA)
BA DINH, HANOI CITY
From the Botanical Garden, passing through Hoang Hoa Tham street, you
will come to one of the most romantic roads of the capital city of Ha Noi: Co Ngu street,
presently Thanh Nien Street, lying between two rows of trees and two lakes with tranquil
green wter. These two lakes were formerly only one, called by several names: Xac Cao, Kim
Nguu (Golden Buffalo) , Lang Bac (High Waves), Dam Dam (Foggy Pond). Four hundred years
ago, a road was built across the lake and given the name Co Ngu (which means "trying
to hold"). Later it was pronounced with slight deviation as Co Ngu. This road cut the
lake in two: the smaller part is Truc Bach lake, the large one os Tay lake.
With its area of 466 ha and its perimeter of 17km , and many temples
and beautiful landscapes in the surroundings, Tay lake has been a source of inspiration
for many poets. In the 17th century Nguyen Duc Quy had this nice poem to
describe Tay lake:
The boat embraces the moon palace, as bright
as snow.
The temple’s covered with flowers and leaves
so dampened with dew
Green lotuses wavered the moon through
bamboos’ shadow
Fresh apricot flowers are sending out their hight
perfume
(Translated by Thuy Duong)
Also, the description of Tay lake in the poetic essay "Phu Tung
Tay Ho" by Nguyen Huy Luong was a marvelous piece of literary prose, enriched with
the national cultural tradition and his own poetical inspiration, praising the heroic
spirit of the Tay Son dynasty, which mingled in his impression on the beautiful sight of
Tay lake.
Trinh Cong son, a music composer, by an autumn late afternoon in Ha
Noi, in the twilight on Tay lake has caught sight of " the golden water surface
wavering faraway from the other edge, calling up remote memories. Through the nostalgic
veil of mist, a flock of small cranes are flapping their wings under the fading
sun…..", thus composing a nice song.
From the Co Ngu road, there is a path leading to an islet close to the
edge of Tay lake. Having the shape of a tortoise, it was called Bai Rua (Tortoise
Terrace). It also had another name Kim Ngu terrace (Golden Fish terrace). On this very
islet, the kings of Ly dynasty built the Thuy Hoa palace (Palace of Beautiful Flowers)
where they could enjoy fresh air. Later, in the Tran dynasty, the Kings also established
the Ham Nguyen palace here where they could spend their time contemplating the beautiful
scenery, The foundations of these former palaces are now the very place where stands the
pagoda which is one of the oldest temples of our country : Tran Quoc pagoda.
Originally, this pagoda was a temple name Khai Quoc (Establishing the
Nation) which was first built during the reign of King Ly Nam De (544 – 548 AD). It
was located on a terrace near the Hong Ha river, north east of Yen Hoa ward –
presently Yen Phu, near Long Bien bridge. At this Khai Quoc Pagoda, in the Ly Nhan
Tong’s reign, Queen Y Lan once treated venerable bronzes to elaborate vegetarian
meals. She also frequented the pagoda to have religious talks with the bonzes.
During the reign of King Le Thanh Tong, (1434-1442) the pagoda was
renamed An Quoc (Pacifying the Nation). Every year, the Hong Ha river tide rose up, eroded
and and crumbled the terrace. Therefore in 1615, under King Le Kinh Tong’s reign, the
villagers of Yen Phu moved the pagoda to the Kim Ngu terrace. And it was not until King Le
Hy Tong’s reign (1767-1705) that the pagoda was renamed Tran Quoc (Defending the
Nation). The ornamental signed-board bearing the characters "Tran Quoc Tu" which
is presently hung in the main worship hall was made at that time. In the Le-Trinh period,
this beautiful sot was selected as Tran Quoc journey palace reserved for Kings and Lords
to have relaxations when they take walks on Tay lake area. In 1842, King Thieu Tri, on his
visit to the pagoda renamed it as Tran Bac. Still, people are used to calling the temple
by its old named: Tran Quoc pagoda.
The Tran Quoc Pagoda can be proud not only of being one of the oldest
pagodas, but also of the venerable bonzes and famous persons who have been associated with
the temple. In fact, this pagoda has been the monastary of many Ch’an Masters and
vererabled monks such as Van Phong, Khuong Viet, thao Duong, Thong Bien, Vien Hoc, Tinh
Khong, Tran Tu Uyen. In the year 580 AD, Ch’an Master Viitaruci from Indiam on his
journey to Vietnam, had a long stay in this pagoda.
In 1069, King Ly Thanh Tong led an attack upon Champa, captured the
Champa King Che Cu and a number of prisoners. Among the prisoners, there was a monk who
had a wide knowledge of Buddhist canon . Having discovered his identity, they revealed
that he was Ch’an Master Thao Duong. King Ly Thanh Tong then granted him the titled
Quoc Su (Nation’s Patriarch) and invited him to stay as Head of the Khai Quoc pagoda.
Thence opened the Thao Duong Ch’an school in our country. Also, the pagoda was the
Head Temple of the Tao Dong Ch;an school which was propagated in Vietnam in the Posterior
Le Period.
Since it was moved to the Golden Fish terrace, Tran Quoc pagoda has
been rebuilt and renovated many times. In 1624, under King Le Thanh Tong’s reign, the
Buddha shrine, the incense burning house and the front hall were built . In 1639, the
three-entrance gate, the rear hall and the two lateral corridors were added. On the left
of the main hall, still remains a stele was set up by Prime doctoral graduate Nguyen Xuan
Chinh.
After having been devastated by the war for a long time- as recorded in
the stele set up in 1815 by Doctor Pham Quy Thich- again Tran Quoc pagoda was subjected to
restoration from 1813 to 1815, carried out by the Head Bonze Khoan Nhan. This time, the
main hall, the incense burning house, the front hall, the corridors, the bell tower and
the rear hall were renovated. Also in the reconstruction, the Buddha statue and the great
bell were cast. Particularly Tran Quoc Pagoda is one of a very few temples in North that
has the gilded wooden statue of Sakyamuni entering Nirvana.
Right on the front gate, one could see a pair of parallel sentences
which read:
Resounding in the ears, horse carriages pass on worldly roads
Opening to the face, the river leads to Buddha gate.
Also, on both sides of the front door, another pair of parallel
sentences which read as follows:
Despite the ravages of rain and wind coming from different skies
The Heaven Pillar of Tran Quoc Pagoda still proudly stands high
Here one can live a carefree life in this pagoda over looking Tay lake
Simply with the pleasure of leading a secluded life seeking the
enlightenment way.
In the temple garden, among the luxuriant old trees spreading ample
shadows, there is a bodhi-tree grafted from the original bodhi-tree where 25 centuries
ago, Sakyamuni Buddha achieved complete enlightenment. This bodhi-tree was offered to Tran
Quoc Pagoda by President R. Prasat of India upon his visit to Vietnam in 1958.
The quiet natural scenery surrounding the pagoda in the lotus
blossoming season, with white and pink lotus flowers blooming on Tay lake, evokes in
visitors memorable things of the past…Ba Huyen Thanh Quan, a famous poetess in the Le
Dynasty, on her stopping over the pagoda had the following poem will known to almost every
Vietnamese:
Tran Bac journey palace looks abandoned among withered grass
Twisting the hearts of travellers while looking the past Lotus flowers
seem sending out imperial perfume
Five-coloured clouds recall the former royal costumes…..
Translated by
Thuy Duong and Nguyen Van Nghe
ONE-PILLAR PAGODA
(DIEN HUU PAGODA)
BA DINH, HA NOI CITY
One-Pillar Pagoda is located in the central of Ha Noi capital city. The
pagoda owes its existence to a nice dream of King Ly Thai Tong (1028-1054). A story goes
that one night in the year 1049, the King saw in his dream Kwan Yin led him to a lotus
shine…Walking up, he consulted his officials about the dream Among these officials,
there were Buddhist-monks who were highly cultivated and respectable.
A monk named Thien Tue advised the king to establish a pagoda by
building a stone pillar amidst a pond and settling the Buddha shrine on top of the pillar
as the king had seen in his dream.
The pagoda was built with only one hall called Lien Hoa Dai (Lotus
Flower Shrine), lying on top of a stone pillar in the middle of a small lake called Linh
Chieu lake. That is why it was named Nhat Tru Pagoda (One-Pillar Pagoda). A stele
recording this fact was found in Long Doi Pagoda (Nam Ha) with these inscription lines:
"The Linh Chieu lake was dug, in the middle rose a stone pillar, on top of which open
a thousand-petal lotus flower, on which was set up a green shrine. In the shrine the
statue of Kwan Yin adored. Surrounding the lake is lateral corridor. Another pond, Bich
Tri, was dug, with rainbow-shaped bridge joining two opposite sides. On the front platform
of the bridge, there were gem towers built on both sides."
The pagoda was located in the garden Tay Cam, Thach Bao hamlet, Vinh
Thuan district, Thang Long capital city. On the inauguration day, the bonzes organised a
ceremony wit vegetarian meals, recited prayers praying for the King’s longevity.
Therefore the pagoda had another name, Dien Huu (which means prolonged blessing days).
Every year, on the eighth of the fourth lunar month, the King came to
the pagoda to celebrate the ceremony of Buddha Bathing, was the ceremony of
life-liberation. The King, standing on a high shrine in front of the pagoda, released one
bird which flew away. Following him, the people tossed other birds which flew up, flapping
their wings among the joyful shouts of a festival day.
In 1105, King Ly Nhan Tong ordered renovation work on the pagoda. This
time, an exquisite tower was built in the front yard. In 1108, Queen Y Lan had a very big
bell cast. This bell weighed 12000 can (equivalent to 7200kg) and was named "Giac The
Chung" (the bell that awakens people in the world). It was considered one of Four
Most Precious Objects of our country at the time, which were: the Bao Nghiem tower, the
Quy Dien bell, the Pho Minh cauldron and the Quynh Lam statue. Upon inauguration,
"Giac The Chung" was too heavy to be hung up, and on the ground it didn’t
sound when struck. Finally they had to drop it tint a deep rice-field near the pagoda.
Later. They found many tortoises gathered in this rice-field. That is why the bell was
given the name "Quy Dien Chung" (Tortoise-field bell). In the 15th
century, the Ming invader troops attacked our country and took over the Dong Quan citadel
(Ha Noi).
In 1426, Le Loi leading the Lam Son revolutionary troops, rushed out
and immediately besieged the citadel. Lacking weapons and ammunition, the Ming General
Vuong Thong had the Quy Dien bell broken up to get the bonze. Finally, the Ming troops
were defeated, our country and peopled again rejoiced over peace and prosperity, yet Quy
Dien bell no longer existed.
The One-Pillar Pagoda was renovated in the years between 1840 and 1850,
then in 1922. The Lotus Flower Shrine as we see now was rebuilt in 1955. It is in square
shape, 3km each side, with bent up roofs, set up on top of a pillar 1m in height and 1.20m
in diameter. This pillar consists of two stone cylinders piled up one over the other and
jointed in one block. The upper floor consists of a strong wooden frame supporting the
shrine with tiled roofs bend up at four corners, on top of which is a pair of dragons
greeting the moon. The pagoda has the shape of a lotus flower emerging from a square pond
surrounded by an alley paved with green enamelled tiles. Followings a narrow passage paved
with bricks over the pond. You will come to a staircase leading up to the Buddha Shrine,
in front of which is a sigh bearing the Chinese characters read in Sino-Vietnamese
as Lien Hoa Sai (Lotus Flower Shrine).
Ch’an Master Huyen Quang had the following poem to describe the
sight of Dien Huu temple or One-Pillar pagoda:
The temple bell sounds fading away in autumn
night
Wavering water now quiets down under the
moonlight
Reversed birds’ images impressed on cold
water mirror
Doubled tower’s shape in silver moon looks
clearer
(Translated by Thuy Duong)
The lotus flower, upon blooming, already shows its "fruit"
and "seeds", which symbolises the doctrine of Buddhism *. Lotus flowers are also
a kind of pure flowers which, growing amidst the world, are not infected with worldly
troubles. The One-Pillar Pagoda is thus a symbol of the "untroubled" and
"unworried" world. Closely attached to the history of the capital city, the
pagoda is also a symbol of the one-thousand year cultured Ha Noi.
Translated by
Thuy Duong And Nguyen Van Nghe
Translator’s note:
* "seeds" symbolises the causes and
"fruits’ the consequences. The Buddhist doctrine reminds us that
"seed" and "fruits" are always linked, which makes an unbreakable
chain of causes and consequences-known as "karma". It is clear that bad seeds
never give good fruits.
LANG PAGODA
(CHIEU THIEN PAGODA)
LANG THUONG, DONG DA, HA NOI CITY
The history of Lang Pagoda was associated with the
legend of Tu Dao Hanh, a venerable bonze living during the reign of King Ly Nhan Tong. Dao
Hanh, of worldly name Tu Lo, was the son of a judicial mandarin, Tu Vinh, who, in his
early age, while following his studies, was lodging in Lang village - presently Yen Lang
village, Tu Liem district, Ha Noi. Tu Vinh married Tang Thi Lan who later gave birth to Tu
Lo. Due to some hostility, Duke Dien Thanh asked the wizard Dai Dien to beat Tu Vinh to
death. Making up his mind to revenge his father, Tu Lo withdrew to live a secluded life in
the rocky cave, Tri Son where he trained himself until one day, he knocked the wizard Sai
Dien out and got him ill to death.
To disengage himself from the fatal chain of enmity, Tu
Lo, with his religious name Tu Dao Hanh (1)
Concentrated upon his learning and training of Ch'an
Biddhism had two close religious friends, Ch'an Masters Minh Khong and Giac Hai; the three
of them all having many supernatural powers. Later on, Tu Dao Hanh came back to stay and
train himself at Thien Phuc Pagoda or Thay Pagoda on Saigon mountain. Another legend has
it that later Tu Dao Hanh had embodied his spirit in the reincarnation of the son of Duke
Sung Hien, whose real name is Duong Hoan-King Ly Nhan Tong's brother. Since King Ly Nhan
Tong was childless. Duong Hoan was established as crown prince and later became King Ly
Than Tong (1128-1138). Afterwards King Ly Anh Tong (1138-1175), who was soon of Ly Than
Tong ordered to establish the Lang Pagoda to worship his father King Ly Than Tong and also
his father's reincarnation Ch'an Master Tu Dao Hanh. In the pagoda, besides the statue of
King Ly Than Tong and the statue of Saint Tu Dao Hanh.
Lang Pagoda has its Sino-Vietnamese name "Chieu
Thien Tu". "Chieu", which means "clear", here implies that good
things appear very clearly here. Thien, which means Ch'an refers to the venerable Ch'an
Master who had become Saint in this pagoda.
The 7th day of the 3rd lunar
month, which was the birth day of Ch'an Master Tu Dao Hanh, has become the Festival day of
Lang Pagoda (and also the Festival day of Thay Pagoda)
The following popular verses remind us of the annual
Festival day:
Remember the seventh day of third month
Come back to Lang Festival or out to Thay Festival as
well.
Chieu Thien Tu is located about 7km from the centre of
Ha Noi to the west. Formerly it was built on a nice terrace amidst an immense field.
Surrounding were mango-trees and old banian-trees which made the sight of the pagoda more
tranquil and peaceful. The pagoda has been renovated many times.
The present pagoda owes its architectural design to the
renovation in the 19th century, with its ancient style of a famous temple
building still preserved from as far back as eight centuries ago.
The first particular feature that attracts tourists'
attention is the front gate whose architectural fashion is almost similar to that of the
gates of imperial palaces of olden times. It consists of 4 flower patterned pillars
aligned in a row with elegantly curved-up roofs. These roofs do not cover the tops of the
pillars but are fixed to the their walls, the central roof higher than the ones on either
side. The front yard, paved with Bat Trang tiles, joins the temple gate to the
three-entrance gate, which opens into a wide brick-paved passage, bordered with flower
walls. This passage leads to the Octagonal Hall where on festival days, the Saint statue
is placed for the villagers to come and pay their respect in the ceremony of flower
offering. The innermost part is the main temple comprising the front hall, the incense
burning house, the upper shrine, the veranda, the patriarch house, the bonzes' rooms and
supplementary compartments.
With the imposing sight of its global architecture, in
harmony with the vastness of the area, the Lang Pagoda has been considered the "first
rate pine-wood" west of the Thang Long ancient capital.
Translated by
Thuy Duong and Nguyen Van Nghe
___________________________
Translator's note: (1) Dao Hanh means religious virtue
QUAN SU PAGODA
73 QUAN SU, HOAN KIEM, HA NOI CITY
Quan Su Pagoda was built in the 15th century in An Tap
hamlet, Co Vu ward. Tien Nghiem village (later renamed Vinh Xuong village), Tho Xuong
district – presently Quan Su Street, Hoan Kiem district, Ha Noi.
Formerly this area had no pagoda. There were only a few cottages
gathering in the South corner, where the inhabitants would offer ceremonial gifts to god,
praying for peace and security. This area was called An Tap hamlet
As recorded in the "Hoang Le Nhat Thong Chi" book, under King
Le the Tong’s reign, the neighbouring countries Champ, Shiam, Laos usually sent
messengers or envoys to our country, offering tributes to the King. To welcome envoys and
messengers coming to the capital city of Thang Long, the King ordered to establish an
official building called Quan Su (the House for diplomatic envoys) for them to stay during
their visit. Since the envoys and messengers from these countries were devout Buddhists,
the King ordered to build a pagoda within the Quan Su area so that they could do their
usual worships. Now, time has effaced the traces of the former Quan Su areas, but the Quan
Su Pagoda still remains there.
In 1934, the general Association of Buddhists of North Vietnam was
founded and Quan Su Pagoda was chosen as central headquarters of the Association. In 1942,
the pagoda was rebuilt according to a plan designed by the two architects Nguyen Ngoc
Ngoan and Nguyen Xuan Tung, and approved by the Patriarch Vinh Nghiem. The architectural
are and decoration was the combination of all the fineness of famous temples in North
Vietnam. Quan Su Pagoda might be one of a very few pagodas whose names as well as many
parallel sentences are written in Quoc Ngu (the national Latinised script). Isn’t it
because the pagoda was rebuilt only in the middle of this century and has become ever
since the central headquarters of the General Association of Buddhists of North Vietnam
and presently headquarters of Vietnam Buddhist Sangha that it has become a national pagoda
for all Buddhists all over the country.
The three-entrance gate has three-staged roofs, with the bell story in
the middle. After going past a small courtyard paved with bricks, and up an eleven-stepped
staircase, you will arrive at the main hall. The Buddha shrine is solemnly decorated, the
statues are rather large and splendidly lacquered in red and gild paint. In the back part,
the three statues represent the Buddha’s. Trikaya are worshiped on the highest level
of the altar. On the next level, the statue of Amitabha Buddha is enshrined in the middle;
on both sides are the statue of Avalokitesvara Bodhisattva and Mahasthamaprapta
Bodhisattva. On the next lower level, the statues of Ananda and Kassapa. On the lowest
level, on the outer side is the Nine-Dragon shrine standing between the statues of Kwan
Yin and Kshitigarbha Bodhisattva. In the right compartment of the Buddha Shrine is
worshiped the statue of Ly Quoc Su (the Ly’s Imperial Adviser, namely Master Minh
Khong) with two guards of honour. In the left compartment are enshrined the three statues
of Duc Ong, Chau Xuong and Quan Binh.
All the main supplementary halls of Quan Su Pagoda are very spacious.
This place has once been the office of the Duoc Tue magazine, the Head office of the
General Association of Buddhists of North Vietnam. Presently, the pagoda has an
amphitheatre and a library and is housing the office of the Vietnam’s. Institute of
Buddhist studies and the office of the Asian Organisation of Buddhism for Peace in
Vietnam.
For half a century, Quan Su Pagoda has witnessed many important
landmarks of Vietnamese Buddhism, including the unification of Buddhist organisations
throughout the country and the affiliation of the Vietnamese Buddhism to International
Buddhism. At this very place, on 13/5/1951 (8/4 lunar calendar), for the first time the
International Buddhism flag, brought home from Colombo by Venerable To Lien, flew
in the sky of Hanoi.
Translated by
Thuy Duong and Nguyen Van Nghe
KIM LIEN PAGODA
(DAI BI PAGODA)
QUANG AN, TU LIEM, HA NOI, CITY
Kim Lien Pagoda was built on a trip of land along the north edge of
lake Tay, close to the foot of the Yen Phu dyke. Almost surrounded by lake water, this
area looks like a small island. Standing on the dyke, from the distance, one can see the
mossy grey roofs of the pagoda and towers rising up among green bamboo around the pagoda.
Two hundred years ago this scenery was described as follows by Pham
Dinh Ho in his book "Tang Thuong Ngau Luc": "The temple has its back on to
the Nhi Ha River. In front, lake Tay is spreading around its immense wavy surface blurred
with mist. Far away, water and sky seem to be of one colour. On the left, amidst blue
water, rise some small islets, with a brick tower standing beside wavering thin bamboos
and pines…"
The pagoda is located in Nghi Tam hamlet, Quang An village, Tu Liem
district, Ha Noi; therefore it is also called Nghi Tam Pagoda.
It was formerly the pagoda of Dong Long established in the Tran dynasty
(1225-1413) on the old foundation of Tu Hoa Palace, which had been built in the Ly
dynasty. Folk legends have it that once Princess Tu Hoa, daughter of King Ly Than Tong
(1128-1138) led a group of imperial maids to this area, where they started growing
mulberries and raising silkworms, soon opening a farm called Tam Tang (which means
silkworms and mulberries). Later it was remained Tich Ma and afterwards became Nghi Tam
hamlet. In 1630, under King Le Than Tong's rein, the temple was repaired and named Dai Bi
Pagoda (temple of Great Compassion). A stele on the left of the temple yard, compiled by
Ngo Don Phu, shows the large engraved characters "Trung Tu Dai Bi Tu" (
Renovation of Dai Bi Pagoda). Another stela set up on the left of the front hall also
confirm the former name Dai Bi of
the pagoda. Later, in the Le Du Tong's resign, of dynastic title Bao
Thai (1720-1728), a monk named Hue, who had been a eunuch of Lord Trinh Uy Vuong, came to
stay at the pagoda and this time it was renamed Kim Lien (Golden Lotus). This fact was
recorded on the stela set up by Phan Trong Phien, a civilian mandarin. In the year 1792,
again the the pagoda underwent renovation on a large scale, this time bearing the
characteristic signs of architectural art of the Tay Son periods. The latest renovation,.
Which lasted from 1983 to 1987, restored the pagoda to its original form of 200 years ago.
The Kiem Lien Pagoda is composed of three buildings: the lower temple,
the middle temple and the upper temple, arranged in three parallel lines forming the shape
of the Chinese character "tam" (three). Strong columns and beams were carved
with refined patterns, the walls built of thick ancient bricks without plastering.
The three-entrance gate is of a distinctive wooden structural design,
showing a distinguished air of ancient temples and royal palaces, with high relief images
of dragons and flowers on wood, of extremely refined carvings.
In the pagoda all the statues of Buddhas and Bodhisattvas are well
preserved. Particularly there is a statue representing a man of middle age, with a
three-tufted beard, wearing a shiny satin gown and a crown, holding imperial power symbol,
in standing position. After Pham Dinh Ho, unofficial history said it was the statue of Uy
Nam Vuong Lord Trinh Giang.
Transtated by
Thuy Duong and Nguyen Van Nghe
THAY PAGODA
(THIEN PHUC PAGODA)
PHUONG CACH, QUOC OAI,
HA TAY PROVINCE
It Lang Pagoda had been associated with the earlier period of Ven. Tu
Dao Hanh's life, then Thay Pagoda witnessed the later part ending in disincarnation of the
112th generation's bonze of the Vinitaruci Ch'an School.
The Thay Pagoda leans against the southwester slope of a limestone
mountain which has many caves and grottos. It is the Thay Mountain or Sai Son Mountain,
located in Hoang Xa Hamlet, Phuong Cach Village, Quoc Oai District Ha Tay Province, about
30km from Ha Noi.
In his inscription on the mountain wall, Lord Trinh Can gave a sketch
of the pagoda sight as follows:
"….Like a pearl emerging among
gravels and stones,
Brightened with spring beams throughout four
seasons.
The upper grotto is a real fairyland,
The walls still printed with clouds' shading
colors.
Dragon pond leads to emancipating harbour,
Faairy bridges link Moon an Sun together.
Mountains stand like a high stone screen,
Rivers spread round like a nice silk belt…"
(Translated by Thuy Duong)
Originally, the Thay Pagoda was only a small temple named Huong Hai Am
(Sea Facing Temple), where Bonze Tu Dao Hanh practised his religious training.
King Ly Nhan Tong had it rebuilt into two separate pagodas: The Higher
pagoda or Dinh Son Tu (Mountain Summit Pagoda) built on the mountain; the Lower Pagoda
Thien Phuc Tu (Heaven Blessing Pagoda).
In the early 17th century, Duke Dinh and the Royal family
undertook the renovation of the pagoda. They established the Buddha shrine, the Saints'
altar, then the rear hall, the stele house, the bell tower. According to ancient
water-geomancy, the pagoda was built on a dragon-shaped land.
The left front looks out on the Long Dau Mountain. The right back leans
against the Sai Son Mountain. The Pagoda faces south. In front of it lying between Long
Dau and Sai Son Mountains is a wide pond named Long Chieu or Long Tri (Dragon Pond). The
front grass yard is the dragon's jaw. The Water-Hall rising amidst the Long Chieu pond,
where there are occasional water-puppet show, is the pearl on the dragon's head. The two
wells are the Dragon's eyes. The two ancient tile-roofed bridges built by First Doctoral
Graduate Phung Khac Khoan in 1602 are the dragon's canine-teeth: Nhat Tien bridge (Solar
Fairy bridge) on the left, looking on the Tam Phu Temple built on a small islet amidst the
pond; Nguyet Tien bridge (Lunar Fairy Bridge) on the right, leading to the way up to the
High-pagoda on the Mountain.
Facing the Water-Hall is the Lower Pagoda laid out in the shape of the
Chinese character "tam", comprising three parallel houses established on high
foundations made of green laterite. The outer is the front ceremonial hall, the middle is
the Budda shrine, the innermost is the altar of Chan Master Tu Ado Hahn. Here one can see
three statues representing the three reincarnations of Tu Ado Hahn: Bonze, King and Budda.
On the left is the whole body statue of the bonze carved from sandalwood with automatic
mechanical device for standing and sitting positions. This statue recalled his religious
training period at Huong Hai Am, where he used to make medicines for the treatment of
people's diseases also his invention of the water-puppet playing, which has become a
traditional popular entertainment . In the middle is the statue of Tu Dao Hanh when he has
become Budha, wearing a lotus flower hat and a golden brocade robe, his hands joined
before his chest, On the right is the statue representing his reincarnation as soon of
Duke Sung Hien to become King Ly Than Tong. The statue represents King Ly Than Tong wearing a crown and an
imperial costume, sitting on the royal throne.
In the pagoda there are still the statues of Tu Vinh and Tang Thi Loan
- Tu Dao Hanh's parents and also his two religious close friends Ch'an Masters Minh Khong
Giac Hai. On either side of the pagoda are long corridors in which the 18th
arhats are adored.
The way thorough Nguyen Tine Bridge leads to a stone-stepped path
coming up the mountain where stands the Higher pagoda. Originally, it was the Hien Thuy
temple (Temple of Glory Sleep), with another mane Dinh Son Tu (Mountain Summit Pagoda). On
the walls there are still the inscriptions of improvised poems by famous men of letters
such as Nguyen Truc, Nguyen Thuong Hien. A legend has it that the Phat Thich grotto
(grotto of Buddha's vestiges) at the back of the Pagoda is the place where Ch'an Master Tu
Dao Hanh disembodied himself. That is why it is also called the "Saint Disincarnation
Grotto".
From the Higher pagoda, there is a path leading up to a flat terrace
called "the Heaven Market" with many stones in shapes of tables, stools ,
shelves, wine glasses…. Among which there is a smooth stone plane called
"immortal's Chess - Board". Perhaps this place has been formerly frequented by
immortal or fairies exiled from Heaven, who came around to play chess , drink wine and
recite poems in the moonlight or to watch beautiful sights of nature as described in the
following Tang poem by Nguyen Khuyen, a famous poem in the 19th century:
The Heaven Market
For thousands of generations Creator has
been building
This beauty of spot Sai Son with the Heaven
Market opening
From dawn fresh breeze blow, at noon intense sun
shines
By sunset clouds gather, at night silver moon
smiles.
Flowers and fruits are displayed through out four
seasons
Rivers and Mountains spread out in all directions
Where are those sellers of interests and buyers
of titles?
Why don't they come up to bargain a little?
(Translated by Thuy Duong)
Following a trail along the Mountain edge, climbing up another few
dozen steps, you will come to the Cac Co cave, where in olden times , boys and girls would
meet on festival cays for their flirtations as mentioned in these popular verses:
Unmarried girls dream of Cac Co Cave
Single boys yearn for Thay festival day
From Cac Co cave, there is a path, whee grow many age-old trees,
leading up to the Upper temple. Near the Upper temple is the But Moc Cave with many
old-shaped weather-worn stones looking like Buddha statues. Next is the Cow Cave with a
gloomy entrance, then the Wind cave with the wind constantly blowing through both ends.
At the foot of Thay Mountain on the west side there is the Boi Am
Pagoda also called One-Roofed Pagoda, which has only one roof, the other roof is the vault
of the cave itself.
The distinctive features of the Thay Pagoda beauty spot lie in the
association of its uneven paths, its temple roofs rising high up in the sky, the beautiful
sight of the lakes spreading wide and the mythical aspects of the deep underground caves.
All those three dimensions of space gather in a natural assemblage of various
architectural designs and colours.
The annual festival at Thay Pagoda takes place from the 5th
to the 7th day of the 3rd lunar month. This is an occasion for
people to admire this beautiful landscape. On the Festival day, many Budhist monks and
nuns from all parts of the region come up to participate in the celebration in their
ceremonial costumes, holding each one a flowery stick, reciting prayers in the rhythmical
bass sounds of wooden gongs, The ceremony of Buddha worship and vegetarian food offerings
- a religious performance is realised in coordination with the performance of traditional
musical instruments.
However, the Festival of Thay Pagoda is not only a formal religious
celebration, but it also includes water puppet shows - a traditional popular entertainment
which has been much appreciated in foreign countries. Young men and young ladies from all
parts who find their way to Thay Pagoda festival still wish to satisfy their adventurous
desire while climbing up the mountain and also their yearning to express love in an open
atmosphere of a natural scenery. This has been expressed in the following poem by A Nam
Tarn Tuan Kai, a well-known poet of the early 20th century:
I took my dear friend to see the As Son
scenery
But who's got the stones wet, the road slippery?
O, mountain, tell me! Why do you keep silent?
Is it to somebody that you've got indifferent?
If nature didn't favour my sound yearning
The would you decline my faithful love, darling?
Come on, we'll help each other climb this harsh
way
How many stones the Mountain has our hearts will
equal its weight.
Translated by
Thuy Duong And Nguyen van Nghe
ONE-HUNDRED-COMPARTMENT PAGODA
(QUANG NGHIEM PAGODA)
TIEN PHUONG, HOAI DUC, HA TAY PROVINCE
There are two pagodas in North Vietnam bearing the same name of
One-Hundred-Compartment Pagoda: one in Ha Bac, the other in Ha Tay. Both of them are built
on mountain tops and each has its own original architectural style and extraordinary
scenery.
The One-Hundred-Compartment Pagoda in Ha Tay is particularly associated
with the legend of a venerable monk named Nguyen Lu (0r Nhu), of religious name Binh An,
from Boi Khe village, Thanh Oai district, Ha Tay province. He is popularly known as Saint
Boi.
The legend has it that, once in the Tran dynasty, a woman has a strange
dream in which she saw Buddha infant being born on the earth. She then got pregnant and
later gave berth to a baby-boy. When the child was 6 years old, his parents passed away
and he had to work as water buffalo tender. He has a strong devotion to Buddhsm and
usually made altars for worship, When he was 9, he left home to come and live at Dai Bi
Pagoda in village, where he started his religious training. At the age of 15, he travelled
around to many places. On arriving in Tien Lu hamlet, Tien Phuong village, Hoai Duc
district Ha Tay Province, he was attracted by the beautiful sight there, asked for an
audience with the patriarch in the pagoda on the mountain and was accepted to stay and
become disciple of the venerable monk/
After 10 years of religious training, the young monk mastered all
marvellous supernatural powers. His reputation spread up to the king, who then granted him
the title Most Venerable with the religious name Duc Minh and invited him to come and stay
as Head of a Pagoda in Truong An capital city.
After the decease of the patriarch in Tien Lu Pagoda, Nost venerable
Duc Minh aked for the King's permission to return and establish a new pagoda in his
village. It was said that the Nost Venerable Monk had the power to make appear delicious
vegetarian dinners for the workers who built the pagoda so they could have plenty to eat.
When the construction was completed, wearing wooden sabots he walked to and from the beams
as though he were walking on the ground. Everybody admired his supernatural powers.
At the age of 95, one day he sat in a wooden chest, bade farewell to
his disciples and liberated himself. One hundred days later, his disciples opened the
chest, from his remain exhaled a nice fragrance all over the area. The inhabitants
together with his disciples the built a tower to preserve the remains of the Most
Venerable Bonze and honoured him as Saint Boi.
The book "Linh Nam Chich Quai" has also recorded the legend
of Saint Boi who could make the rain fall and call up the wind. The legend also has it
that at the beginning of the 15th century, the Ming invading troops attacked
our country. Among them, there was a troop who, having heard of the Tien Lu pagoda's
divinity, set fire to the pagoda and damaged the statues. Aroused in anger, Saint Boi then
made a rain-storm lasting for three days and nights, with red water like blood rising up,
drowning those insolent invaders. Afterwards, a five-coloured cloud appeared in the sky,
peaceful life was restored and the pagoda remained untroubled as it had been before. The
inhabitants came to worship all year round. Every time there was a drought, they organised
a ceremony praying for rain at the pagoda and their plea was always granted. Other kings
of the Tran dynasty all honoured Saint Boi as "Thuong Dang Toi Linh Dai Thanh"
(First Grade Most Divine Great Saint).
Above is the history of the One-Hundred-Compartment Pagoda in Tien Lu
village. It has another name - Quang Nghiem Pagoda . According to many documents, the
pagoda was established in 1185 under Ly Cao Tong's reign. It was initially a small temple
with one compartment and two adjoining rooms built on a Mountain 50m, in height called Ma
Mountain. Surrounding are many age-old specious trees spreading ample shades covering the
roofs of the pagoda.
Through many times of renovation, the present pagoda is composed of 3
main groups of buildings with 1104 compartments in all (each four-corner-columned space
counts as one compartment).
The first group, situated near the entrance gate, comprises two tall
pillars with two houses on both sides. Formerly this was the place for humanchess games on
festivals. Next is the Imperial Tribune looing out on the lotus lake, where is placed the
Saint palanquin for watching the water-puppet shows.
The 2nd group is lying on the height of over one hundred
brick steps. Here there is a two-storeyed bell tower with 8 curved-up roofs bearing the
signs of architectural and sculptural art of the 16th -17th
centuries. The bell cast in 1794 bears an inscribed illustration of Phan Huy Ich, a man of
letters of the time.
To get up to the 3rd group of buildings, you have to climb
up 25 steps of green stones, reaching the upper yard, then up another 9 stepped staircase
with balustrades carved with serpentine dragon images. This is the main pagoda comprising
the worship hall, the incense burning house, the upper shrine, the two corridors, the
patriarch house and the drum storey. The pagoda has 3 main compartments for worship: one
is the Buddha shrine, the second is the Saint's alter, the third compartment is reserved
for the worship of Kwan Yin, the family of Admiral Dang Tien Dong and the four princes.
Admiral Dang Tien Dong, a general of King Quang Trung, himself undertook the renovation of
the pagoda.
Among 153 statues in the pagoda, mostly carved from wood, the most
noticeable ones, as regards history, are the statues of Admiral Dang Tien Dong and Saint
Boi, made of woven rattan frameworks covered with painted tissues, each one placed in a
wooden chest. Besides, the statues of Quan Am, Tuyet Son, the set of 18 Arahants statues
are also distinctive sculptural works.
Translated by
Thuy Duong And Nguyen van Nghe
MIA PAGODA
(SUNG NGHIEM TU)
SON TAY TOWN, HA TAY PROVINCE
In the 17th century, in Mia hamlet, present day Duong Lam
village, Son Tay town, Ha Tay province, there lived a women named Nguyen Thi Dong, alias
Nguyen Thi Ngoc Dieu, who was married to Lord Thanh Do Vuong Trinh Trang - hence her
nickname Lady Queen Mia. In 1632, she rendered a most distinguished service to her
homeland by taking the initiative in fully restoring Mia Pagoda a Sung Nghiem Tu (first
built during the Tran Dynasty).
Situated on a laterite hill, Mia Pagoda was originally composed of just
a gate and two parallel buildings (the Upper Hall and the Back Hall), reach of which
consisted of seven compartments. The pagoda was gradually renovated and perfected later in
the 18th and 19th centuries.
The pagoda grounds are partitioned roughly into three sections. In the
front stands are three entrance gate looking out over a wide spread of land adjoined by
Mia Market on one side. In the upper storey of the gate are hung a bronze bell cast in
1743 and a brass gong cast in 1846.
Going past the gate one can notice two adjacent yards separated by a
low wall with a brick gate. In the left-hand corner of the first yard there stands an old
banian-tree that has been there for hundreds of years. The second yard is laid out with
walks bordered with flower - beas. The Patriarch Hall is on the left together with the
Dining Hall. Located at a height of seven steps above the yard level, the main structure
complex of the pagoda consists of the Front Hall, the Central Shrine, the incense burning
house corridors and the Back Hall. The Front Hall is composed of five compartments and two
lean-tos. In the left-side compartment is placed a memorial stela set up in 1632. It
stands on the back of a tortoise and bears a carved text giving details of the work
undertaken by Lady Queen Mia for the building of the pagoda. The Central Shrine
communicates with the Back Hall by means of two corridors surrounding the incense burning
house which is disposed to join the shrine in the form of a mallet handle. The remarkable
art of sculpture in Mia Pagoda consists in the sophisticated carved lines made on the
roof, the rails and the consoles of the bell-tower/
The most precious part of the pagoda's heritage comprised 2287 statues
and statuettes, half of which are carved out of wood, the rest out of baked clay; all are
painted with vermilion and gilded.
Among them are the statues of two Dharma Guardians of such a height
that they almost teach the ceiling and those of the Vajras representing Eight Assemblies
made of baked clay depicting the characteristic appearance and countenance of dignified
and dauntless men ready to safeguard the Buddhist Dharma.
Another statue represents Sakyamuni Buddha of the time he led a
secluded and ascetic life in the Himalayas . It depicts the Holly Lord as a thin - man
with a bony body who still keeps his wits and a bright countenance though. Another
sculptural masterpiece is a statue of Avalokitesvara Bodhisattva with an Infant (usually
called the Statue of Thi Kinh). This work of art, with lithe and vivid carved lines,
represents a gentle and kind-hearted Vietnamese woman carrying a baby in her arms. Her
face is tinted with melancholy, her downcast eyes imbued with great resignation but her
heart is overflowing with compassion for all human beings.
It is no surprise that the inhabitants of Mia
hamlet take great pride in this statue:
How famous Mia Pagoda in our hamlet is!
And it is of the statue of Avalokitesvara
Bodhisattva that comes all this glory.
And we think everyone else may as well share in
pride of the people of the Mia village.
Translated by
Chau Van Thuan and Nguyen van Nghe
HUONG PAGODA
HUONG SON, MY DUC, HA TAY PROVINCE
There was formerly a young girl who, following her father on a
pilgrimage to Huong pagoda in spring, fell in love with a smart and handsome young man who
also took interest in her. Her shy confidence and candid words have been recorded in a
lovely poem written in five - word verses and greatly appreciated in the whole country in
the last few decades. Over the last fifty years Huong Son's scenery has been subject to
some changes but nowadays a pilgrimage to Huong Pagoda is still proved to be a journey
back to nature and our old heritage. Let's follow the path taken by the girl in that
romance to get to "the most beautiful cavern of the South", Huong Pagoda is
situated in Huong Son village, My Duc district, Ha Tay province, 60km from Ha Hoi. It does
not consist in a single pagoda but in fact, it is a system of pagoda, temples, caves and
grottos located in an area of land of about 6km2 with
Limestone mountains and tropical forests.
Folk legends go saying that this mountain region was discovered over
2000 hears ago and named Huong son after a mount in northern Tibet in the Himalayas, where
Lord Buddha sat practising asceticism for quite six years. During the reign of King Le
Thanh Tong (1460-1497) there existed a small temple enshrining Buddhas on the location of
Thien Tru Pagoda.
According to the book "Huong son Thien Tru Thien Phu", Huong
Pagoda was built during the reign of King Le Hy Tong (1680-1705). It is recorded on the
memorial stele of Thien Tru Pagoda that the work of building the terrace, stone steps and
Kim Dung Shrine was carried out in 1686 and that the main statue of the pagoda
representing Avalokitesvara Bodhivattsa- was originally cast in bronze in 1767.
Every year, the Huong Pagoda Festival takes place from the sixth to the
fifteenth of the first lunar month along the three main routes leading to Huong Tich Cave,
Tuyet Pagoda and Long Van Pagoda. In fact, during the first and the second months of the
lunar year, the pagoda offers a merry sight bustling with pilgrims who come here chiefly
by the route of Huong Tich Cave.
From Ha Noi, you can take the coach to the chief town of Ha Dong
province; then, after a 20km drive past Van Dinh townlet, you will arrive at Duc Landing
Place on the Day River. Here is the gateway to the beauty site packed with boats and
people who greet each other by putting their hand palms against each other and murmuring
"Namo Amitabha Buddha" instead of exchange common greetings. After a 1km walk
from Duc Landing, the tourists will reach another landing and get on a boat sailing down a
stream named Yen Vi (Swallow’s Tail)
After passing Duc Landing by boat
I met more and more people on the way
And I was too shy to say
"Namo Aamitabha Buddha!"
Tourist will be carried in their boats gliding by the side of
picturesque mountain such as the Elephant Mount, the Dragon Mount,. The sight of a bridge
in the distance evokes the scenery of the land of Buddhas and immortals.
Streams were winding and murmuring.
Bordered with Blue Mountains.
And a bridge appeared in the distance.
What a pictures landscape it was!
On arriving at Trinh Temple, the boat stop t a landing place to let the
tourists "present themselves" to the local mountain god before landing on the
world of Buddhas. Situated at the foot of a fie-peaked mountain named Ngu Nhac, the temple
is also called by another name Quan Lon (High-ranking Mandrin) built to worship a
subordinate general of King Hung.
After leaving Trinh Temple, tourists continue their journey to behold
the beautiful scenery on either side of the stream.
Having passed several picturesque mountains
teeming with monkeys.
We arrived at Voi Phuc Mountain
Shaped like a reclining elephant in full form
The boats then stop at Tro Landing-place for tourists to land on the
site of Thien Phu Pagoda (Heaven Kitchen), also called Ngoai Pagoda (Outer Pagoda) which,
formerly composed of a core of compartments surrounded by four Mountain walls, was damaged
by the recent war. Its gate, built during King Gia Long’s reign, was also kept in
ruins. There survives an ancient structure Vien Cong Tower, where was buried Ch’an
Master Vien Quang credited with the pagoda restoration after agelong devastation. View
from afar the tower is an impressive structure rising high in the sky. There can also be
seen Thien Thuy Tower a huge rock in upside down position yielding the shape of a natural
tower along which rain water will run from the mountain sides. In 1986 Thien Tru
Pagoda’s bell-tower was rebuilt and the building of the two-storeyed Hall of the
Triple Gem was completed in 1989.
At the beginning of 1994, Nam Thien Mon (Gate to the Southern skies)
was reconstructed, taking the duplicate from of the original structure.
Starting from Ngoai Pagoda, tourists can climb up rocky mountain slopes
to visit Tien Son Pagoda established inside the heart of a mount, where they can notice
four ruby statues, Next come Giai Oan Pagoda where exists a well with clear water called
"Thien Nhien Thanh Tri" (Natural Blue Pond) or Long Tuyen well. In front of the
pagoda, there is a nine sourced stream called Giai Oan Spring. Nearby
There are Tuyet Kinh Grotto and Phat Tich Temple, which as a legend
goes, still keeps Avalokitesvara Bodhisatta’s footprints. Not very far away, the
pilgrims will arrive at Chan Song Mountain to see Vong Temple.
The ultimate destination that all visitors wish to reach is Huong Tich
Cave located deep inside. After going past a large gate, they must go down broad stone
steps to enter the grotto whose opening looks like a dragon’s jaw bearing the Chinese
characters meaning "the most beautiful grotto of Southern Skies". These words
are believed to be King Tinh Do Vuong Trinh Sam’s autograph carved in stone in 1770.
The entrance to the cave is hidden under the luxuriant vegetation of two rows of old
banian trees. The sunlight coming in through the tree leaves casting a dim light over the
stone steps and the incense-smoke rising from inside the grotto create a mysterious
atmosphere which is exactly described by the well-known musician Hoang Quy in his popular
song "Huong Pagoda":
Huong Pagoda is filled with incense and
aquilaria
Smoke spiralling up in the dying sun.
It is the moment when one is held in deep reverie.
Once getting inside the grotto, visitors will admire the statues of
Avalokitesvara Buddha and Arahats. Stalactites hanging from the walls are of various forms
and changing colours.
On the ceiling juts out another one in the shape of nine dragon’s
heads named Nine-Dragon Seat, while watching these nature’s marvellous figures, the
girl in Nguyen Nhuoc Phap’s poem uttered these words:
Oh! Here we’re at Trong Pagoda (Inner
Pagoda)!
The grotto is hidden in green vegetation:
Its ceiling is embroidered with stalactites
Which look like pearls imbued with aquilaria perfume.
Another poem Chu Manh Trinh of the last century wrote the famous poem
entiled "the Delights of Huong Son":
Standing sky high in the land of Buddhas.
Huong Son is a real wonder we have long wished to see
With the sight of mountains covered with clouds
This is undoubtedly "The most beautiful grotto of all".
Looking up, we can notice a beautiful picture
Brocaded with sparkling stones rich in colours.
The cave is so deep, glittering in the moonlight.
The entrance path with abrupt turns is so high.
Beside Huong Tich Grotto, as it is said above, tourist can turn and get
to an apricot forest to visit Hinh Bong Pagoda, Then they can go down Tuyet Spring to
reach Mother Temple, Royal Barge Mountain, Phoenix Mountain, Lion-Head Mountain, Ky son
Rock /Wall before touching at Turet Son Landing to enter Bao Dai Pagoda.
After climbing up a mountain on their way to Bach Tuyet Gate and Co
Temple, they can also visit Tuyet Son Pagoda, otherwise called Ngoc Long Grotto where they
can see a stela engraved with a beautiful poem written in Sino-Vietnamese characters by
Lord Trinh Sam in 1770.
In another direction, tourists will be carried along a branch of Yen
Spring to Ong Su Ba Vai Mountain where, after disembarkation, they can visit Long Van
Pagoda before climbing up another mountain to reach Cay Khe Pagoda and Sung Sam Cave,
which is an archaeological site with age-old vestiges.
After leaving Huong Son beauty spot tourist can take back with them as
souvenirs a bamboo walking-stick they have used on their pilgrimage, son pieces of
apricot-tree bark to be mixed with their drinks, some apricot fruit with thick pulp and
tiny stones or a few batches of herbs to flavour their food with.
But the most precious gain for the pilgrims on their journey to Huong
Pagoda as a stated of mind freed from all earthly dust and filled with an ethereal joy of
having escaped from the worldly life and everlasting impression of Paradise existing right
here on this harsh world of ours.
Translated by
Chau Van Thuan and Nguyen Van Nghe
TAY PHUONG PAGODA
(SUNG PHUC TU)
THACH XA, THACH THAT, HA
TAY PROVINCE
Thirty-seven kilometres west of Ha Noi, in
Yen hamlet, Thach That district, Ha Tay province there is a mountain of a height of around
50 metres located in a beautiful site : it stands, amidst the green and luxuriant
vegetation of a bamboo forest hiding from view a number of thatched cottages built on its
slopes.
The mountain is called Cau Lau . It is
stated in some record that the name originates from the fishhook-like shape of the
mountain But its etymology shows its origin from the archai pronunciation
"K-lau", meaning Buffalo Mountain, which has been recorded as Cau Lau in books
written in Chinese characters. This explanation has an adequate ground if the mountain is
viewed from afar. It is then seen joining up with several hills in Kim Quan region to make
up a long range which runs from the Ba Vi Mountain to the middle of the North delta and
looks like a herd of buffaloes whose mother Cau Lau Mountain, is turning its head to look
back at its offspring.
Let’s climb up the 239 laterite steps
from the foot of the mountain and we will find ourselves in front of the gate of
well-known pagoda, which is a typical example of Vietnamese architecture and sculpture,
The pagoda is called Tay Phuong Pagoda or Sung Phuc Tu, written in Chinese characters, Its
other named is Hoanh Son Thieu Lam Tu.
The pagoda was constructed in 1632 during
the reign of king Le Than Tong and composed of the Upper Hall with 3 compartments, the
Vack Hall with 20 compartments and corridors. In the years from 1657 to 1682 Lord Tay Do
Vuong Trinh Tac had it knocked down to build a new pagoda with a three-entrance gated . In
1794, during the Tay son dynasty extensive renovating were made and the pagoda was
remained unchanged until now.
The pagoda memorial stilled was set up in
1924, bearing a text which read, "Novice monk Thiet Tu, alias Thanh Ngoc, from Cao Xa
hamlet, Dan Phuong district, Ha Dong province, entered the monkhood since his early
childhood. In 1893 he came to live at Sung Phuc, Pagoda that is Tay Phong Pagoda, on Cau
Lau Mountain, This mountain region is a beauty spot potentially productive of the talented
and impregnated with heavenly atmosphere. Therefore; the hamlet authorities and n
