THE RELATIONSHIP BETWEEN HIEP MINH TEMPLE (DAN TIEN CAI KHE CAN THO) AND CAO DAI RELIGION

 THE RELATIONSHIP BETWEEN HIEP MINH TEMPLE (DAN TIEN CAI KHE CAN THO) AND CAO DAI RELIGION

THE RELATIONSHIP BETWEEN HIEP MINH TEMPLE

(DAN TIEN CAI KHE CAN THO) AND CAO DAI RELIGION

Collected by Thien Vo 

I. Historical Context and the Birth of Dan Hiep Minh 

In the early years of the twentieth century, the socio-economic situation in Vietnam was very slow to develop. The level of public education was limited. The deadlocks in material and spiritual life easily led people to seek beliefs and spirituality to alleviate some of their worldly concerns. For this reason, scholars, intellectuals, and even government officials tended to turn to the metaphysical world through the practice of spirit mediumship. 

The spirit mediums gathered at the altars included people from all walks of life with various purposes. They can be divided into three main groups:

1. The group of intellectuals concerned about the times: They used divination to inquire about the heavenly secrets, especially the fate of the country during the French colonial period. (These divinations often operated in secrecy.) 

2. The group of poets and scholars: They used divination to compose poetry and engage in artistic expression with deities, nurturing their spirits. 

3. The common people: This group includes those seeking medicine for ailments, praying for longevity, or even further, exploring moral cultivation - these divinations are the most widespread and diverse. 

Through immediate divine responses, a large number of people have developed faith in the metaphysical. In Southern Vietnam, at the beginning of the twentieth century, several such divination groups emerged in the Mekong Delta. Among them, the most representative and well-organized is the Hiệp Minh group, also known as the Tiên Cái Khế group. 

The Tiên Cái Khế group was founded in 1907 and officially inaugurated its worship facility in the year of the Pig, 1911, at Rạch Cái Khế, Thới Bình village, Cần Thơ province.

II. The connection between the Đàn Tiên Cái Khế in Cần Thơ and Ngài Ngô Văn Chiêu (Saint name Ngô Minh Chiêu), the leader who founded the Cao Đài religion. 

Looking at the organizational structure of Đàn Tiên Cái Khế and the Cao Đài religion, there are similarities that lead many people to mistakenly believe that Đàn Tiên followers are Cao Đài believers and vice versa. The similarity lies in the fact that both religions wear all-white robes (differing only in the ranks of their officials) and both have Đàn cơ as a guiding principle for spiritual practice. 

It is also due to the organization of Đàn cơ that there is a close connection between Đàn Tiên Hiệp Minh and Đức Ngài Ngô Minh Chiêu, the elder brother of the Cao Đài groups formed in 1920 and established in the year Bính Dần (1926).

Originally a diligent and honest civil servant, a practitioner of meditation and particularly a believer in spirit writing, Master Ngô Minh Chiêu often visited famous spirit writing ceremonies, especially the Hiệp Minh Ceremony (also known as the Tiên Cái Khế in Cần Thơ). In the Year of the Snake (1917), he came to request to participate in the Hiệp Minh Ceremony to learn about spirit writing and to seek medicine for his ailing mother. Upon arrival, the ceremony had already begun; two mediums were receiving divine messages – so he did not dare to enter abruptly, fearing to disturb the sacred place, and quietly waited outside the main hall. It was truly surprising and interesting! The divine spirit rhythmically tapped, inviting him to join the ceremony and particularly granting him a prescription along with two six-eight verse poems that resonated with his consciousness – the content of the first poem is as follows:

The sky remains, and the sea still exists 

Everywhere, the world beneath the mountains is rich and vibrant 

During the Qingming festival in the spring garden 

The phoenix pays homage, the crane dances, and the wild rooster crows 

The path goes over the mountains and under the passes 

Silently seeking high and low, having to climb through thorns and hardships 

As a filial child, I cannot be lazy, 

Knowing the means to seek the Buddha of Bồng Lai 

Looking back, reflecting on ancestors, 

A vast sky and land of integrity, ripe and full 

He was very pleased with this instructive poem. Later, he requested to add four couplets to complete the content, serving both as a guiding principle for study and as a prayer when attending the altar for spirit communication in the future:

“Golden buffalo and jade are still fresh,

Steadfast in following the Buddha for people to reflect,

The upper part is not far at all,

With a heart to admire, the spirit descends.”

He took some precious time to discuss and learn about organizing the ritual with elders such as: Mr. Hoa Linh, Nghiêm Hòa, Chơn Từ, Khánh Nhơn, Phước Khương, and especially the Dharma Master of the Tiên Quang Kiển altar to receive the meditation teachings and partake in some ceremonial offerings of wine, cakes, and sticky rice...

After a period of receiving the divine elixir granted by the Buddha from this altar, the health of his mother gradually improved. However, in the year of the Goat (1919), his mother fell ill again. He returned to the Tiên Hiệp Minh altar in Can Tho to request a ritual and medicine with the hope of a final remedy. But the Buddha did not grant medicine, only a hidden long poem! By the end of the year of the Goat (1919), his mother passed away!

With the knowledge accumulated from the initial séances and especially the experiences gained from the senior dignitaries at Hiep Minh Pagoda (the Tiên Cái Khế séance in Can Tho), before being transferred to a new position in Ha Tien, Ngài Ngô Minh Chiêu often held experimental séances in Tân An with intellectual dignitaries in the group that later founded the Cao Đài religion. It was during these séances that Đức Cao Đài Tiên Ông proclaimed His name, laying the foundation for the establishment of the Cao Đài religion from the period of anonymity (1920) to the official and legal founding in the year of Bính Dần (1926); 

“Cao Đài manifests according to the hearts of beings, 

Who can know the name of Cao Đài?”

It can be said that Mr. Ngo Minh Chieu is the elder brother who took on the organization of the Divine Ceremony and was fortunate to receive Cao Dai as the supreme deity to worship as a purely Vietnamese religion, with a philosophy that harmonizes elements from Buddhism, Taoism, and Confucianism. 

In fact, Cao Dai appears in 12 different sects but shares the same root. Mr. Ngo Minh Chieu is the elder brother who founded Cao Dai Chieu Minh, with its main temple located in Can Tho, focusing on cultivation through meditation practices aligned with the "internal teaching of the heart." The largest sect, which has a well-established organization spread across the country and some parts of the world, is likely the Cao Dai Holy See in Tay Ninh, led by the Cao Pham group, founded by Mr. Cao Hoai Sang (1900-1959) and the Holy Law Protector Pham Cong Tac (1890-1959). This group is known for its outreach with the principle and purpose of "external teaching of the heart." Additionally, there are also Cao Dai sects in Ben Tre and Bac Lieu.

With some references based on the evidence from the ancestors of Hiep Minh Pagoda, we believe there is a close relationship between Hiep Minh Pagoda (the Dai Tien Cai Khe founded in 1911) and the Cao Dai religion (established in 1926) in general, and particularly with Mr. Ngo Minh Chieu. During his lifetime, Mr. Ngo Minh Chieu also confirmed this relationship and regarded Hiep Minh Pagoda as the founding temple – a stepping stone towards the establishment of the Cao Dai religion throughout Vietnam and in several countries around the world! 

On the 6th day of the 7th month of the Year of the Tiger (1926), Mr. Phan Quy (a member of the founding group of Cao Dai Chieu Minh in Can Tho, which included Mr. Tu Huynh, Mr. Vo Van Thom, the principal of the famous Vo Van private school, Mr. Phan Quy, and Mr. Ngo Minh Chieu…) had the opportunity to pay homage at Hiep Minh Tien Dan to express the roots of the true spiritual teachings. Later on, occasionally, other Cao Dai sects from Tay Ninh and the Central region also visited Hiep Minh Pagoda (Dai Tien Cai Khe, Can Tho).

III. Conclusion: We do not aspire to extensively develop the Đàn Tiên Cái Khế and especially the organized structure of the Cao Dai religion within the scope of this brief article, nor do we dare to underestimate the importance of linking the relationship between Đàn Tiên Hiệp Minh and His Holiness Ngô Minh Chiêu. With a little sincerity and genuine intent, we would like to record some fortunate and benevolent events regarding Chùa Hiệp Minh (Đàn Tiên Cái Khế), a spiritual establishment that worships the Three Teachings and has a close relationship with the organization of Đàn cơ, which receives teachings from the divine beings, alongside the establishment of the Cao Dai religion, of which His Holiness Ngô Minh Chiêu is the elder brother in its founding. 

We sincerely hope to receive contributions from esteemed elders, knowledgeable friends, and especially fellow practitioners from a common origin. Thank you very much! 

Can Tho, December 31, 2017

Historical Overview of Hiệp Minh Pagoda

Brief history of Hiep Minh Pagoda

HISTORY OF HIỆP MINH PAGODA

(THE FAIRY TABLE )

100 YEARS ANNIVERSARY: 1911 - 2011

 

 I.      Historical Context

In the early 20th century, the Minh Su sect (also known as MinhSu Dai Dao) emerged in the Southwest region, drawing comparisons to China's Shaolin sect.

In Binh Thuy village (Can Tho), Minh Su Pagoda, also known as Duc Te Phat Duong or Nam Nha Pagoda, was founded by Elder Nguyen Giac Duyen. This pagoda is renowned for its beautiful, majestic, and solid architecture that harmonizes seamlessly with nature.

The abbot at the time, Master Kinh, frequently hosted gatherings of intellectuals and dignitaries. These individuals, sharing a keen interest in literature and refined pastimes, would engage in activities such as playing chess, drinking wine, reciting poetry, singing, and notably, inviting fairies through planchette. The planchette sessions primarily focused on religious teachings and providing medicinal remedies. Often, a local deity named Dinh Cong Chanh, who had held the position of Boi Bai during his lifetime, would descend during these sessions to offer poems and words of encouragement.

In Long Xuyen, Mr. Tu Thien Phuoc (real name Ung), son-in-law of Mr. Pham Ngoc Nguu (founder of the later Dan Tien Quang Xuan), similarly hosted spirit medium sessions at his residence. A prominent figure among the 'Trich Tien' and other spirit mediums was Mr. Cu Duong Ba Trac, a respected patriotic scholar.

Mr. Pham Nguu regularly attended spirit medium gatherings in Binh Thuy and Long Xuyen, drawn by his interest in the practice and, more critically, by his search for cures for his family's intractable illnesses. In an era of widespread illiteracy and severely limited healthcare infrastructure, the demand for medicine was overwhelmingly urgent. Compounding this, the Cai Khe canal area, though near Can Tho town, faced formidable transport challenges due to its labyrinthine canals and isolated dirt roads, alongside a pervasive lack of illumination. One chilling historical anecdote recounts a night of cholera devastation: terrified residents desperately lit torches, repeatedly pleading for assistance and medicine, only for dozens to succumb by dawn.

Faced with such adversity, people instinctively turned to the unseen, embracing spirituality to implore divine protection. Was this faith, this crucial spiritual anchor, the very essence of human resilience and the will to survive?

Witnessing these societal struggles, Mr. Pham Ngoc Nguu, as a conscientious citizen, decided to establish his own pagoda. His objective was to offer a sanctuary for his family and the local populace to engage in spiritual practice and, significantly, to access much-needed remedies.

Previously, Can Tho town contain only two simple Buddhist temples: Thoi Long temple, founded by teacher Lam Van Phan's family (Thay Phan) near Doi Moi bridge (now Hung Vuong Street), and Cay Bang temple, situated in the Ca Dai market area.

 

II.    THE BIRTH OF QUANG XUAN PAGODA, THE CRADLE OF TIENDAN SECT:

Mr. Pham Ngoc Nguu, with the support of his enthusiastic son-in-law and right-hand man, Mr. Tu Thien Phuoc, and others like Mr. Tran Ngoc Diem and Mr. Doan Huu Luong (father of Mr. Doan Huu Cau, owner of the famous Thay Cau garden in Rach Chanh alley), decided to establish an Altar behind his house. Its purpose was to invite Immortals for religious instruction, poetic composition, and the provision of healing medicine.

In addition to these core individuals, Mr. Nguu enlisted capable and educated collaborators, largely from his wife's family. These included Ho Anh Tuan, Ho Van Vinh, Ho Thi Chiem, and Truong Van Giap. Members of the Phan family—Phan Chanh Tam, Phan Thong Tanh, Phan Thong Ngan, Phan Thong Y, and Phan Thong Giai—also participated, as did intellectual neighbours such as Mr. Muoi Truong and teacher Hai Su.

The altar, a simple structure of planks and thatched roofs, measured approximately 45 square meters. Its 2-meter-high wooden floor was accessed by stairs on either side. An altar for Immortals and Buddhas occupied the west, while a statue of Bodhisattva Guanyin stood to the east. This rustic design, combined with the quiet landscape, created a pure and serene atmosphere, ideal for sacred ceremonies involving Buddhas and Immortals.

This Altar was located directly behind Mr. Pham Ngoc Nguu's garden at 89/16 Paul Emery Street (later renamed Cong Quynh and Huynh Thuc Khang) within the Mit Nai Market area, now known as An Nghiep Market.

The inaugural spirit mediumship session occurred on the night of July 1, Dinh Mui year (1907). Monk Phan Chanh Tam served as the master of ceremonies, assisted by Mr. Phan Thong Tanh. Mr. Ho Van Tu was the primary medium, supported by Mr. Nguyen Thien Su. Teacher Ba Huy (from Nghe An, often called Mr. Ba Hue), a neighbouring Chinese scholar, also attended. Mr. Phan Thong Ngan and Phan Thong Y recorded the proceedings as scribes. Many practitioners, mainly descendants of the Pham and Phan Thong families, were present.

During this session, the Buddha taught worship rituals, chanting, and assigned Dharma names to the first Buddhist followers. The altar was officially named Quang Xuan Pagoda. Subsequent renovations in 1910 and 1930 upgraded the pagoda with brick walls, tiled roofs, and spacious tiled floors.

Quang Xuan Pagoda is widely recognized as the foundational site for the Tien Dan sect. Hiep Minh Pagoda (Dan Tien Cai Khe), a later development, directly originated from Quang Xuan Pagoda.

 

  III.        THE ESTABLISHMENT OF HIEP MINH PAGODA (CAI KHE FAIRYALTAR)

The timely establishment of Quang Xuan Pagoda in 1907 immediately drew in many of Pham Ngoc Nguu's relatives, particularly his wife's family and the Phan Thong family. All their descendants embraced the new spiritual center, joining Quang Xuan Pagoda and becoming its dedicated disciples.

However, among the Phan ancestors (on Mr. Pham Ngoc Nguu's wife's side), Mr. Phan Thong Ly, also known as Mr. Ca Ly, stands out. Though he lived along the Cai Khe canal in Thoi Binh village and was a fellow practitioner in principle, he wasn't particularly "enthusiastic" about integrating with Quang Xuan Pagoda.

It seems that, perhaps due to a stroke of fate, and possibly even divine intervention, Mr. Ca Ly had a sudden realization and "joined" the Tien Dan movement. Mr. and Mrs. Ca Ly's youngest and beloved son, Phan Thong Sung (Chin Sung), was gravely ill, suffering from muteness and a stiff jaw, and despite the family's extensive efforts to find doctors and remedies, there was no cure. In this hopeless situation, a neighbor and fellow practitioner advised Mr. and Mrs. Ca Ly to visit Quang Xuan Pagoda, where they could request a spirit medium session and medicine for their son. As if awakened, Mr. and Mrs. Ca Ly immediately went to Quang Xuan Pagoda to atone and requested the organization of a planchette session to seek medicine. And truly, the Buddhas and Heavens did not fail the sincere devotion of the followers and all beings. The medicine provided by the Buddha gradually led to Mr. Chin Sung's recovery.

In gratitude to the Buddhas and Heavens, Mr. Ca Ly vowed repentance, committed to visiting the pagoda, and donated a 6,000 square meter plot of land to build a new pagoda for his own family lineage. This land bordered Quang Xuan Pagoda at the rear (separated by a ditch less than 3 meters wide). However, from the front, facing Huynh Thuc Khang street, the pagodas were 200 meters apart. In mid-Tan Hoi year (1911), Chanh Minh Pagoda was formally established as a humble structure of wooden planks, thatched roofs, and a 2-meter-high wooden floor with stairs (this is now Hiep Minh Pagoda).

 

illustration

 This was the temporary setup for the original Chanh Minh Altar, providing a dedicated space for worship and inviting Immortals.

On October 25, 1911, the very first altar ceremony was held. It saw the full participation of all existing followers from Quang Xuan Pagoda, encompassing everyone from the Dharma Master to the children, scribes, and altar guardians. This complete involvement was due to all current Quang Xuan Pagoda followers having joined the congregation (entered the sect) at Quang Xuan Pagoda, including Mr. and Mrs. Ca Ly.

   

Bàn cơ

 

 

Ngọc cơ

 

The divine beings who delivered teachings through poetry were identified as two Bodhisattvas: Tu Dao Hanh, whose Dharma name is Tu Dai Cong Vuong Bo Tat, and Nguyen Giac Hai, whose Dharma name is Nguyen Dai Cong Vuong Bo Tat. These divine beings expounded upon the Three Religions (Confucianism, Buddhism, and Taoism). Later, the two Bodhisattvas shifted their teaching method to primarily reciting Buddhist sutras. However, they maintained specific sutras unique to Quang Minh Pagoda (including Quang Xuan and Chanh Minh), the Tien Dan Sutra, and certain special chanting rituals (such as offerings of wine, sticky rice, and sweet soup).

The Chinese scriptures were requested by Mr. Phan Thong Ngan (Buddhist name Hoa Linh) at Phi Lai Pagoda, Chau Doc. Later, Mr. Phan Thong Y (Chon Tu) and Mr. Hoa Linh translated them into Vietnamese. The parallel activities of the Tien Dan sect of Quang Xuan and Chanh Minh Pagodas were closely linked. At all the festivals, the followers performed the ceremony at Quang Xuan first and then went to Chanh Minh.

By 1916, Chanh Minh Pagoda was officially built on a new foundation on the donated land of Mr. Ca Ly (the application for permission to build an altar and for permission to worship was dated August 8, 1916, by the Dinh Bao General Official and Can  Tho Province through the Thoi Binh Village Council. It is clearly stated in the notes). Mr. Ca Ly himself wrote and signed the application, and it was approved. (2)

Chanh Minh Pagoda was later renamed Hiep Minh. The pagoda was rebuilt in 1932 with heavy materials and was renovated in 1942, 2003, 2009...

 

 

 

 

 

 

 

Mr. Ca Ly's application for permission to establish an Altar

 

 

IV.      MATERIAL FACILITIES OF HIEP MINH PAGODA (CAI KHE FAIRY ALTAR)

Located at 97 Huynh Thuc Khang, An Nghiep ward, Ninh Kieu district, Can Tho city, Chanh Minh Pagoda presents a series of defined structures visible from its exterior. These include the Tam Quan gate, flagpole, and open-air Buddha Mother statue. Moving inward, the complex features a back room, refectory, and forbidden room. Behind the back room, visitors will find the Tien Truong yard, a rockery, the main hall, the unique "seven-seven-thousand-year-old" row, a treasure tower, and finally, the cemetery designated for the disciples of both pagodas.

1.     Tam Quan Gate: Originally, the pagoda had a very sturdy, round iron gate (designed by the French Public Works Department) with two sliding panels. In June 2009, this old gate was rebuilt as a Tam Quan gate, now featuring brickwork, curved arches, and a concrete roof. Its design incorporates decorative Buddhist patterns and motifs. Inside and out, both the main and auxiliary gates display couplets, conveying the message of purifying the mind and character through the principles of Buddhism and the Tien Dan sect.

Tam Quan Gate

2.      Flagpole: Standing 25 meters tall in front of the temple yard, the flagpole at Hiep Minh Pagoda is a remarkable sight, built in 1935 by a devout disciple, foreman Tran Quang An. Legend has it that one day, as Mr. An drove to work, a large monitor lizard suddenly blocked his path. He stopped just in time, and upon turning back, learned of a fatal accident that had occurred on the road he was about to take. His mother, seeing this not as an ill omen but a blessing, urged him to return to the temple, repent, and donate a flagpole in gratitude to the Buddha.

At 25 meters, the flagpole truly stands as an architectural and artistic wonder amidst the serene expanse of Cai Khe canal. Constructed from reinforced concrete, its octagonal shaft features a circular base wide enough for two people to embrace. A cable and steel pulley system at the top hoists the flag, which itself is an elaborate wooden carving, over 8 meters long and nearly 60 centimetres wide, attached to the flagpole's peak. Inscribed on the flagpole's body are the balanced Chinese characters: "Nam mo A Di Da Phat - Dai phong hao quang - Chung minh."

The flag is traditionally raised for the Tet Nguyen Dan Festival, from the 30th day of the 12th lunar month until the 15th day of the 1st lunar month. During the annual Vu Lan Festival, it flies from the 1st to the end of the 7th lunar month. In 2009, the flagpole underwent an aesthetic enhancement: its base was reshaped into a gold-plated lotus, and the towering shaft was adorned with gold-plated lotus petals spiralling upwards to a gold-plated dragon's head at the very top.

 

Flagpole

3.      Open-air statue of Bodhisattva Avalokitesvara: located in a square fence with inlaid ceramic tiles. The surrounding area is decorated with flowerpots and ornamental plants that are easy to see. In front of the statue of the Buddha's mother, there is a daily altar for Buddhists and fellow believers to come and burn incense and bow to Buddha before entering the back room and main hall.

 

 

 

 

 

 

 

Open-air Guanyin Buddha Statue

4.      Back Room: Despite its name, the Back Room at Hiep Minh Pagoda is not a traditional ancestral hall or a refectory for abbots, as seen in many other Buddhist temples. Instead, it features three spacious and airy rooms. The central room houses an exquisitely carved and gilded wooden altar dedicated to Buddha Quan Am. The left room is reserved for the worship of female deities and spirits, while the right room is for male deities and spirits. In 1932, Mr. Doc Phu Quoi (Chau Phu Quoi) and his son, Mr. Huyen Hai (Chau Van Hai), along with Mr. Truong Van Tu, also known as Luc Su Tu (Buddhist name My Duc), collaborated to rebuild and modernize the Back Room using durable materials, making it more beautiful and expansive. Further renovations took place continuously from 2003 to 2009, including raising the foundations, adding new bricks, and adorning the roof with dragons and eight-petaled, golden-leafed chariots.

The Back Room regularly hosts prayers for peace and salvation. Notably, during the annual Thanksgiving ceremony for the Buddhas and the Dead on the night of the 16th of the 7th lunar month, a special offering ceremony is held here. This includes traditional items such as sticky rice, sweet soup, banh xep, wine, and tea, accompanied by specific prayers from the Altar of the Immortals.

 

Offerings of thanksgiving for the perfect Vu Lan ceremony

On days when ceremonies are held in the main hall (with its sound system connected to the Back Room), parallel ceremonies are also organized here, though typically attended by fewer Buddhists.

 

Furthermore, the Back Room serves as the primary preparation area for all temple offerings—flowers, fruits, tea, water, and wine—ensuring they are ready for distribution to various worship ceremonies across the temple grounds, including the main hall, the Back Room itself, the rockery, and the four-star shrine. It is also a common gathering point for Buddhists to prepare their "can y chinh tuc" (neatly arranged clothes and scarves) before entering the worship hall.

  

 

Back Room

 

5.      Forbidden rooms: Extending along the left side to the rear of the Back Room, a row of five spacious and well-ventilated chambers are designated as the Forbidden Rooms. These rooms are fully equipped with electricity and water. Historically, they functioned as a specialized retreat for vegetarian devotees committed to a "forbidden room" regimen—a period of highly disciplined, pure living lasting from a minimum of one week to a maximum of 100 days. During this intense spiritual isolation, interaction with the outside world was strictly limited to a small aperture, a wooden door measuring merely 20cm in width and 30cm in height, used solely for the delivery of provisions such as food, water, and medicine. After 1975, the practice of the "forbidden room" gradually diminished in frequency, largely due to a perceived decline in the required standards among the monastic community. As a result, these rooms underwent renovation, being made more expansive to accommodate new functions. They now serve as the administrative office for the Board of Trustees, provide guest accommodations, and function as designated visiting rooms for both male and female monks.

 

 

 

 

 

 

 

    

    

                                                                                                             Cấm phòng 

6.      Vegetarian dining hall: Situated on the right side of the temple grounds, directly opposite the row of Forbidden Rooms, stands the Vegetarian Dining Hall. This important facility, comprising a spacious dining area that can comfortably accommodate up to 100 people and an adjoining kitchen, benefited from several significant renovations carried out between 2003 and 2009.

	Trai đường

 

 

 

 

 

 

 

 

7.      Tien Truong Courtyard: An integrated architectural complex, the Tien Truong Courtyard combines a captivating bonsai yard with its namesake altar. The courtyard is graced by an array of rare and precious bonsai trees, some boasting centuries of age—among them, kumquat, pine, cypress, star fruit, and willow. These living sculptures craft an elegant and transcendent aesthetic, evoking the serene beauty of a "fairyland" or "temporary ornamental paradise." At the precise centre of this artistic landscape rests the Tien Truong altar. This significant structure, a creative endeavour of fellow practitioner Truong Van Tu (Buddhist name My Duc) completed in 1926, consists of a cement table and two cement sofas, notably surfaced with tiles sourced from France. This entire assembly is elevated on a substantial platform, measuring 80cm high, 5m long, and 3m wide. In keeping with its nomenclature, the Tien Truong altar serves as a revered space for the worship of Saints and Immortals, offering a visual and spiritual testament to their presence within this hallowed ground.

  

  

Tien Truong Table: top view of Hau Lieu

 

Every year, on the sixteenth night of the seventh lunar month, an outdoor ceremony is held here to recite the Tien Dan Sutra. This sacred text, specifically taught by Buddha for the Tien Cai Khee Altar, was originally engraved in Chinese characters on five double-sided pieces of agarwood. The recitation serves to thank Buddha, Immortals, Saints, and Gods for their protection, ensuring the successful completion of the grand Vu Lan Thang Hoi Prayer Ceremony.

 

 

 

 

 

The original Tien Dan Sutra is carved in two-sided agarwood.

 

Recently, a former member of the former Quang Xuan pagoda (who is the grandson of Tien Vang Pham Ngoc Nguu) contacted the Board of Trustees of Hiep Minh pagoda to request the transfer of the Quang Xuan Tien Truong altar to the Hiep Minh Tien Truong courtyard because the altar was not in use. On the 9th day of the 8th lunar month of Tan Mao (September 6, 2011), the groundbreaking ceremony was held to renovate and install another Tien Truong altar, following the old altar of Hiep Minh pagoda.

 

8.      Seven-dimensional life span: Thất Trùng Hàng Thọ Garden, just beyond the Tien Truong courtyard, flanking the two paths leading to the main hall, lies the Thạ Thất Trùng Hàng Thọ flower garden. It earned the name "thạ thất trùng" (seven folds) because the monk Mỹ Đức originally designed it with seven winding paths, paved with small, egg-shaped stones, creating distinct sections and scenic views throughout the garden. However, due to recurring annual high tides that frequently flooded the ornamental plants, the pagoda later renovated the garden. They replaced the original layout with elevated cement beds, allowing for the replanting of valuable ornamental species such as star fruit, yellow apricot, water-based apricot, four-season apricot, ngau, and laurel. While the garden may have lost its original "seven folds" design, this cherished ornamental garden, a feature since the pagoda's founding, continues to stretch gracefully around the main hall and the Tien Truong courtyard.

 

 

 

 

 

 

 

 

 

 

9.     

The Rockery: A Mountain of Immortals At the far end of the Tien Truong yard, directly in front of the main hall, stands a remarkable rockery. This unique piece of architectural art was robustly constructed in 1927 by the devout Buddhist Truong Van Tu. Its decorative stones were sourced from Nha Trang, while the intricate work was carried out by skilled artisans from Go Cong. Towering over 6 meters high, the rockery nestles gracefully within a lake built from massive boulders. It’s designed as a miniature mountain, featuring numerous winding paths that traverse its slopes, leading to serene, secluded pagodas and caves inhabited by wild animals. The rockery truly embodies a scene of the Immortals—a space where the earthly intertwines with the spiritual, reflecting a religion of purity and inaction. Annually, this site hosts a ceremony to worship the Mountain God and the Earth God, a vital part of the 12 worshiping ceremonies of Tien Dan. Concurrently, Mr. Truong Van Tu also built a second, smaller rockery nearby, parallel to the main hall, featuring a similar architectural style.

 

 

 

 

 

 

 

 

 

 

 

 

 

10.  The Main Hall: The Main Hall at Hiep Minh Pagoda, initially a temporary structure erected in 1911, began as a simple thatched house. To counter annual flooding, it was built on a raised wooden floor with steps leading up and down. In its early days, attendance was modest, primarily limited to Buddhists from the founding families of the two Quang Minh pagodas (Quang Xuan and Hiep Minh). Significant renovation and embellishment took place in 1942 when Buddhist My Duc (Truong Van Tu, originally from Go Cong province) brought in a team of workers from his hometown. Under the supervision of the Three Powers (Mr. Phan Thong Y, Mr. Phan Thong Giai, Mr. Nguyen Van Bay), the Main Hall was rebuilt using solid construction materials.

Today, the Main Hall stands on a brick foundation, 1 meter high, 40 meters long, and 15 meters wide, oriented in an East-West direction. Its brick walls and tiled roof provide a durable enclosure, with two main doors and three windows at both the front and back, ensuring ample ventilation for ceremonies.

 

 

 

 

 

 

 

 

 

In front of the main hall

 

 

 

 

 

 

 

 

 

A ceremony at the main hall

 

The main hall was renovated in 2003 and 2009 with bright ceramic tiles, the worshiping altars and parallel sentences made of ebony wood are meticulously carved and beautifully gilded.

The roof of the main hall is cast in the shape of a dragon decorated with patterns, motifs and a wheel symbolizing the Noble Eightfold Path. The lighting system, fans and sound system are gradually being completed.

   

 

 

 

 

 

 

 

 

Preparing to "walk" in the Great Prayer Ceremony

 

The Main Hall is thoughtfully designed with specific altars for various deities and revered figures. Above, in the west direction, are altars dedicated to: Altar 1: Buddha Shakyamuni Altar 2: Jade Emperor Altar 3: Ten Kings of Hell Altar 4: Quan Thanh De Quan Altar 6: The Immortals Altar 5: The Holy Mother (note: this worshiping ritual is arranged in the back room). Looking back towards the east direction are: Altar 7: Medicine Master Altar 8: Angelic Assembly Altar 9 (center): The two Patriarchs Tu Dao Hanh (also known as Vietnam Tu Dai Cong Vuong Bodhisattva) and Nguyen Giac Hai (also known as Vietnam Nguyen Dai Cong Vuong Bodhisattva). These two Bodhisattvas descended to teach the Dharma during the initial dharma talks at the two Quang Minh pagodas. Additionally, other altars within the complex include: Altar 12: The Quang Minh Predecessors who were ordained. Altar 10: The Messenger of Tinh Dan, located behind the back room. Altar 11: The Mountain God and Earth God, positioned at the two mountains in front and behind the main hall.

   

The Dharma throne right in front of the Medicine Buddha table

 

In the Main Hall, the altar of the Master of Confession (master of ceremonies) is strategically placed in front of the Buddha altar. Directly opposite, at the rear, is the revered throne of the Dharma Master of Confession, known as the Treasured Dharma Seat, used during worship ceremonies.

The remaining expansive area provides ample space for nearly 100 Buddhists and fellow believers to kneel and worship. The Main Hall serves as the primary venue for all official ceremonies, conducted according to the pre-determined worship calendar throughout the year. These include monthly repentance ceremonies on the 30th and 14th, the Bai Yeet ceremony on the 1st and 15th, and the birthdays of Buddhas, Immortals, Saints, and Gods. Most notably, it hosts the Anniversaries and Holy Days of the venerated Predecessors.

Among the year's events, two Grand Ceremonies stand out: a week-long prayer for peace held in the first week of January, and an extensive prayer for the deceased conducted throughout the entire seventh lunar month

 

14/. Treasure Tower: Tower 1: is the stupa located on the right side behind the main hall. This tower was built by Phan Chanh Luan (Buddhist name Giac Ngo) and dedicated on December 8, At Suu year (January 18, 1986). The stupa is cast from polished stone, the tower door is made of iron with a bronze plaque engraved in Vietnamese with the ancient poem "Ba nien thanh dai mong" (The Great Dream of a Hundred Years).

 

 

 

 

 

 

 

 

 

 

  

Tower 1 was built by Mr. Phan Chanh Luan in 1986.

   

 

 

 

 

 

 

 

 

 

 

 

Tower 2 was built by Mr. Phan Thong Tu in 1995.

The main purpose is to worship the remains of the father and also the deceased Nguyen Chanh Tam (Buddhist name Quang Kien) and the remains of the ninth generation of the Phan Thong family (after his death, the family name was changed to Nguyen Phan Thong) (3)

 

Tower 2, situated on the left behind the main hall and opposite Tower 1, was built and dedicated on February 12, 1995, by the Buddhist Phan Thong Tu, whose Dharma name was Thien Tu. As the then Head of the Board of Guardians, Mr. Phan Thong Tu envisioned this tower not only for his own remains but also as a widely accessible place for fellow Buddhists, both within the community and those outside, to inter the ashes of their loved ones. From its inception, the number of remains brought to the tower has steadily increased, making it widely known among the populace.

The tower itself is a straight octagonal structure. In 2009, it underwent renovations to become more spacious, featuring a cast roof with tiles. Both the tower's foundation and the shelves designed for the urns are inlaid with white ceramic tiles. The interior is designed to be airy and bright, and the outer perimeter is also paved with clean ceramic tiles.

 

Directly in front of both Tower 1 and Tower 2, there is a spacious dome where Buddha Ksitigarbha is worshipped. This area serves as the site for the "entering the tower" ceremony, which involves gathering five urns of ashes to perform a single ceremony. Annually, on the 16th day of the 7th lunar month at 3 PM, the pagoda organizes a memorial service for the deceased here. In front of each tower lies a lotus pond, symbolic of the Western Region. Additionally, at the four corners of the ancient Seven-Seven-Thousand-Year-Old Tower and the main hall, there are shrines dedicated to the Four Guardians, who are worshipped as Gods of Protection and Security.

   

Tower Entrance Ceremony

 

12/.    Cemetery: This is the outskirts of Hiep Minh Pagoda, located outside the main fence with the name "Hiep Minh Thieu An cemetery". The cemetery is quite large, later raised to avoid flooding (in 2010). The first followers who had no land or house when they passed away were buried here under the shade of cool trees. The cemetery is firmly fenced and isolated from the residential area on three sides (in 2003). Every year, on Tet or Thanh Minh holidays, many children and grandchildren from near and far return to visit the graves of their grandparents, parents, and ancestors, making us recall the image:

Thanh Minh in the March weather

The ceremony is to sweep the graves, the festival is to go out

Near and far, people are excited to pay their respects to their ancestors...

 

V/. THE RELATIONSHIP BETWEEN QUANG XUAN AND HIEP MINH PAGODAS:

 

As previously discussed, the initial followers of the Tien Dan sect were all initiated at Quang Xuan Pagoda between 1907 and 1911. It was only with the establishment of Chanh Minh Pagoda (the predecessor of Hiep Minh Pagoda) and its subsequent organization of spirit mediumship sessions that new followers began to join the sect through this second location.

Despite being distinct entities, the two pagodas maintained remarkable unity in their spirit mediumship practices, often holding sessions interchangeably at Quang Xuan and Hiep Minh. This close collaboration suggests that, while seemingly two separate pagodas, they effectively operated as a unified entity in terms of organizational leadership. Furthermore, although each pagoda had its own spirit master stemming from its founding family, their management was cohesive, adhering to the same overarching master, scripture master, and worship rituals.

Regarding the ceremony, the fellow practitioner worshiped at Quang Xuan first and then returned to Hiep Minh. Although they were two temples, they were essentially one.

 

Following the passing of Mr. Pham Ngoc Nguu and Mrs. Ho Thi Tin, Quang Xuan Temple saw a succession of caretakers, including Mr. Pham Ngoc Thanh, Mr. Tran Ngoc Diem, and later, Mr. Quang Chieu, Mrs. Ngoc Sanh, and Ngoc Bieu. A pivotal moment arrived in 2001 when Quang Xuan Temple was officially donated to the Can Tho Buddhist Sangha for management, leading to the appointment of new abbots. From this point forward, Quang Xuan Temple and Hiep Minh Temple (also known as Tien Cai Khe Temple) effectively merged into a single entity: Hiep Minh Temple. To honour the founders of Quang Xuan Pagoda and their contributions to the Tien Dan religion, the Board of Trustees of Hiep Minh Pagoda extended an invitation for the spirits of the Quang Xuan ancestors to be worshipped alongside the Hiep Minh ancestors. These esteemed Quang Minh ancestors are now venerated in the main hall of Hiep Minh Pagoda, where a photo frame commemorating them, complete with the date of the royal decree, is also displayed.

 

 

 

 

 

 

 

 

 

   

Past Photo Frame

 

 

 

 

 

 

 

 

 

 

Worship of the Dead

At Hiep Minh Pagoda, after the Patriarch Phan Thong Ly (Nghiem Hoa) passed away, his younger brother Phan Thong Ngan (Hoa Linh) replaced him. Next in turn were the three powerful people: Mr. Phan Thong Y (Chon Tu), Mr. Pham Thong Giai (Khanh Nhon), and Mr. Nguyen Van Bay (Thien An). Next were Mr. Phan Thong Chi (Phuoc Khuong), Mr. Phan Thong Quang (Nhut Quang), Mr. Phan Thong Thao (Giac Kim). After 1975, Hiep Minh Pagoda established the Tu Tu Board of Trustees, in turn, including Mr. Phan Thong Tu (Thien Tu), Phan Thong Tham (Thien Truong), Phan Thong Chan (Thien Hung), Phan Thong Chieu (Thien Hao), Vo Ba Hai (Thien Vo) and currently Mr. Phan Thong Chieu (Thien Hao), Phan Thong Huan (Thien Chon), Phan Thong Hiep (Thien Hieu), Vo Ba Hai (Thien Vo).

The masters (ie the celebrants) Quang Minh was assigned to be in charge of performing the ceremony at Quang Xuan pagoda, namely Mr. Huynh Trung Thuan (Minh Can), Phan Thong Hy (Hoang Dang Bao), Phan Thong Hon (Thien Luat), Nguyen Quang Trieu (Minh Khanh) and Vo Nguyet Anh (My De)... The masters of ceremonies at Hiep Minh included the masters: Phuoc Khuong, Minh Can, Hoang Dang Bao, Thien Luat, Thien Truong, Hoang Dang Tri, Nhut Quang, Dieu Nghia and later Dieu Nghia, Thien Hao, Thien Chon, Minh Nguyen, Thien Khoa, Dieu Hau, My Hanh, My Tiet, along with several trainee masters.

 

Hiep Minh Pagoda's Influence and Notable Figures: Hiep Minh Pagoda's spiritual reach extended beyond its immediate vicinity, attracting devout followers from various regions like Saigon, Go Cong, and Long Xuyen during its early years. These individuals sought teachings and subsequently established temples, notably including Tu Chau Temple in Ba Chieu (Gia Dinh), Minh Chau Temple (later renamed Linh Chau) in Go Cong, and Huynh Chau Temple in Trang Bang (Tay Ninh).

Among these early patrons were Mr. and Mrs. Tran Khac Tinh, owners of the Tam Huu Long Xuyen bus company. Of particular note were Mr. and Mrs. Le Van Duoc, proprietors of the Le Phan bookstore on Le Loi street in Saigon, who generously printed scriptures for Hiep Minh Temple under the imprimatur of Tu Chau Temple.

Significantly, between 1911 and 1917, Mr. Ngo Minh Chieu (real name Ngo Van Chieu) visited Hiep Minh Pagoda to attend spirit medium sessions and seek medicine for his ailing mother. Upon her recovery, he returned to express his gratitude and formally received the Dharma of Zen Meditation from Dharma Master Phan Chanh Tam. During this period, Mr. Ngo Minh Chieu meticulously copied the specific offerings of wine, sticky rice, sweet soup, fruits, and cakes, adhering to the unique Tien Dan rituals.

Later, Mr. Ngo Minh Chieu returned to Can Tho to organize and establish Cao Dai Chieu Minh alongside Master Niem, Mr. Tu Huynh, Mr. Vo Van Thom (of Vo Van Can Tho Private High School), and Mr. Trong Quit (also known as Ho Vinh Qui). Mr. Ngo Minh Chieu himself affirmed Hiep Minh Pagoda as the ancestral temple and the foundational cradle for the religion he later established.

On the 6th day of the 7th lunar month of Binh Dan (1926), Mr. Phan Qui personally journeyed to Dan Tien Cai Khe, the ancestral temple of Mr. Ngo. It was here that he received crucial spiritual advice from the Immortal, guiding him to practice and foretelling a future encounter with the true transmission of the Dharma. This pivotal event subsequently inspired his related branches to also make visits to Dan Tien Cai Khe.

 

VI/. PRINCIPLES AND GOALS OF STUDYING:

From the very inception of the Quang Minh altar (established at Quang Xuan in 1907 and Chanh Minh in 1911, which later became Hiep Minh Dan Tien Cai Khe), the founders, including Pham Ngoc Nguu, Phan Chanh Tam, Phan Thong Y, and Phan Thong Ly, frequently invited Immortals to descend and impart Dharma. Given that most of these founders were Confucian scholars influenced by the literati of their era, they often communed with Immortals such as Ly Thai Bach and Tran Doan. These sessions typically revolved around discussions of poetry and literature, or the revelation of miraculous prescriptions for incurable diseases. It was from these origins that Dan Tien Cai Khe began to gain prominence. Initially, Dan Tien Hiep Minh embraced the Three Teachings: Confucianism, Buddhism, and Taoism. Its core motto was cultivating the mind, nurturing character, and adhering to the Three Bonds and Five Constants to fulfill the human way. It further incorporated teachings of compassion, joy, forgiveness, and diligence, drawing closely from Buddhist principles, with an added emphasis on purity and inaction for spiritual refinement. While the practice initially blended these three philosophies, the teachings gradually leaned more towards Buddhism, with chants performed according to Buddhist scriptures. However, the unique Tien Dan scriptures, which were taught by Buddha, were exclusively reserved for Hiep Minh Pagoda (Dan Tien Cai Khe) for use during repentance periods. It can be said that Tien Dan represents the origin, and its current goal has fully converged with Buddhism, which is considered the True Dharma. Followers of Tien Dan are essentially lay Buddhists who practice for self-salvation and spiritual growth.

 

Before 1975, during the monthly Bai Yeet (prostration to Buddha) ceremony held on the fifteenth day, the Dharma Propagation Committee—comprised of senior Buddhists—played a pivotal role. They would often draft concise Dharma sermons, tailored to various levels of understanding, and deliver them to fellow Buddhists for collective listening and learning. However, with the increasing popularity and accessibility of media, the approach to Dharma propagation evolved. Most Buddhists were subsequently guided to watch Dharma sermon tapes in their own homes. Additionally, during temple festivals, projections of Dharma sermons were also made available in the back of the temple for the community to watch and absorb.

 

VII/. RITUAL OF A FEAST CEREMONY:

The master of ceremonies performs the following order depending on the content of the ceremony:

1. Painting the talisman

2. Sprinkling water - Sprinkling fruits and flowers

3. Inviting Buddha to witness

4. Offering wine and 12 rituals of worship

5. Prajna

6. Wishing incense

7. Opening the sutras:

a/. Bai Yeet Ceremony (full moon and first day of every month)

Chant 6 sentences of worship (4 above, 2 below) bow 3 times like that

b/. Repentance:

Normal days: Tien Dan Sutra

Major holidays: Amitabha Sutra, Hong Danh Sutra, Vu Lan Sutra

c/. Ky Sieu: Amitabha Sutra, Hong Danh Sutra, Vu Lan Sutra (if Vu Lan Festival adds Pho Mon, Kim Cang, Dia Tang, Bat Duong, Lang Nghiem)

d/. Pray for peace: Pho Mon - Cuu Suffering - Avert Disaster

8. Heart Sutra

9. Buddha Recitation

10. Repentance

11. Dedication

12. Saying Tát

13. Bringing the Buddha

 

VIII/. CHARACTERISTICS OF HIEP MINH PAGODA:

 

1/. About the organization: Organizational Structure of Hiep Minh Pagoda for a century since its founding, Hiep Minh Pagoda has maintained a distinctive organizational structure, notably without a formally ordained monk or nun serving as an abbot, unlike other orthodox Buddhist pagodas. Instead, the responsibility for Dharma propagation and ceremonial rituals falls to specific monks. These individuals, some of whom were formerly ordained by royal decree, preside over ceremonies and ensure adherence to religious laws and rituals. These presiding monks, categorized by their spiritual levels (Tam, Tu Dieu, and the newly-trained Nhi Dieu), lead ordinary family lives, much like other lay practitioners within the pagoda community. The key distinction for these presiding roles lies in their rigorous selection, based strictly on their morality, spiritual ability, and demonstrated confidence. After a dedicated period of practice under the supervision of the Sangha Council, a monk is deemed proficient enough to lead ceremonies. Other monks who participate in these ceremonies are referred to as kinh su.

2/. About the uniform: Regarding the aAttire for worship at Hiep Minh Pagoda At Hiep Minh Pagoda, all Buddhists attending worship ceremonies, whether in the back room or the main hall, adhere to a strict dress code of all-white attire. For new initiates and those at the First and Second Dieu levels, the religious attire consists of a white robe, complemented by a black turban (or head wrap) adorned with fresh flowers. Buddhists at the Third and Fourth Dieu levels also wear all-white clothing but distinguish themselves with a yellow robe and a yellow turban, similarly decorated with fresh flowers. A notable exception to this general rule occurs during prayers for the deceased outside the Pure Land. In these ceremonies, the main presiding monk wears a yellow robe and turban, while all other participating monks wear white robes.

 

3/. On the principle of going to the Pure Land: Fellow practitioner Dan Tien Cai Khee is ready to serve people (regardless of whether they are religious or not) when there is a funeral at home or when they ask for prayers at the temple. Fellow practitioners are only allowed to drink soft drinks at home. Absolutely do not eat or receive remuneration from the bereaved family.

 

4/. On management and operation: The Board of Trustees of Hiep Minh Pagoda was established and approved by the People's Committee of Ninh Kieu District and the Buddhist Sangha of Can Can Tho City and issued a decision of recognition with a round seal for use. The decision of recognition of the Board of Trustees is No. 2995/QD-UBND dated March 25, 2011 signed by the Chairman of the People's Committee of Ninh Kieu District. The certificate of registration of seal sample No. 3872/DKMD dated October 13, 2009 signed by the Head of the Administrative Police Department on Social Order.

- Decision to recognize the Board of Trustees of Hiep Minh Pagoda No. 149/QD/BTS dated November 20, 2010 signed by Venerable Dao Nhu.

Members of the Board of Trustees:

-   Head of the Board: Mr. Phan Thong Chieu, aka Nguyen Van Chieu, dharma name Thien Hao.

-   Deputy Head of the Board: Mr. Phan Thong Huan, dharma name Thien Chon

-   Secretary: Mrs. Phan Thi Ha Thanh, dharma name Dat Chau

-   Treasurer: Mr. Vo Ba Hai, dharma name Thien Vo

-   Controller: Mr. Phan Thong Hiep, dharma name Thien Hieu

The Board of Trustees nominates committees to support all activities of the temple such as: Advisory Committee, Dharma Propagation Committee, Monk Committee, Reception Committee, Construction Committee, and Seventh-day Adventist Committee.

Head of general management, in charge of worship rituals, deputy head in charge of construction and renovation of facilities.

At Hiep Minh Pagoda, key administrative roles ensure the smooth operation and meticulous upkeep of the temple: The Secretary is responsible for recording minutes, preparing reports, and drafting essential documents. The Treasurer meticulously manages the temple's public finances. This includes maintaining clear and detailed records of all income and expenditures from each donor, along with producing monthly financial books and documents that are subject to approval by the head of the committee. Beyond overseeing all temple activities, the Supervisor also takes charge of the maintenance and care of the ornamental plants, ensuring the temple's aesthetic beauty is preserved.

The above-mentioned temple organizations, though simple, have been operating very effectively for many decades, especially during their existence.

To foster the continuous growth of the Dharma, Hiep Minh Pagoda conducts significant Entering the Sangha and Dang Dieu ceremonies every five years. Entering the Sangha signifies the initiation of new disciples, while Dang Dieu represents a promotion in Dharma level for senior Dharma friends who have demonstrated virtue and merit.

Historically, before 1975, these solemn ceremonies were facilitated by a medium, allowing the Buddha to descend to the altar to bestow Dharma names and approve promotions in Dharma level. During such events, the medium would draw a special talisman, known as "dau dot," on the forehead of the Dharma friend as a mark of recognition.

More recently, Hiep Minh Pagoda has organized Entering the Sangha and Dang Dieu sessions in 1999, 2004, and 2009. A special Entering the Sangha session was also held in 2011, at the end of July of the Tan Mao year. The increasing number of Dharma friends receiving Dharma names through these ceremonies reinforces faith in this centuries-old temple.

The selection of Dharma names is a responsibility entrusted to the Council of the Sangha Master within the Dharma Propagation Board. This council comprises senior Dharma friends and those at the Tu Dieu level. Following a long-standing list of instructions, virtuous individuals must perform the ceremony with sincere hearts and pay homage to the Buddha.

 

 

 

 

 

 

 

 

 

The opening ceremony was fully assembled.

  Ascend to the Second Dieu (white shirt), ascend to the Third and Fourth Dieu (yellow shirt)

 

Hiep Minh Pagoda is deeply integrated with the local community through its extensive charity work, embodying a philosophy of harmonious living between life and religion. The pagoda actively participates in various philanthropic endeavours, including:

Distributing rice to aid the impoverished during the annual Vu Lan Festival, contributing to scholarship funds to support education, aiding for disaster relief efforts, supporting funds for the poor and contributing to public labour initiatives. These acts of generosity demonstrate the profound sincerity of each Buddhist at Hiep Minh Pagoda (Dan Tien Cai Khe), reflecting their guiding motto: "good life, good religion."

 

 

 

 

 

 

 

 

 

People holding coupons line up to receive rice on the 16th day of the 7th lunar month every year.

 

IX/. CONCLUSION:

The designation "Dan Tien" for Hiep Minh Pagoda stems directly from its very establishment, when the literati and founders frequently organized spirit mediumship sessions. Anecdotes abound of great spirits, notably Ly Thai Bach and Tran Doan, descending during these sessions to engage in discussions on poetry and literature with the Confucian scholars of the era. As noted by writer Sơn Nam in his work Famous Southern Regions: "In the early years of this century (20th century), Cần Thơ was a place famous for spirit mediumship, specifically spirit mediumship. For example, Binh Thuy communal house worships Dinh Cong Chanh, Cai Khe Spirit Mediumship invites the Spirits to come and write poems. People who practice spirit mediumship are always calm in the face of death as if the Spirits are taking them to paradise." This historical context clearly illustrates why the pagoda came to be known as "Dan Tien," a place where the human and spiritual realms converge through poetic and literary dialogue.

The profound beauty of Hiep Minh Pagoda lies in the seamless harmony between its religious architecture and the surrounding natural environment. This blend creates a deeply quiet and peaceful scene, further enriched by supernatural and otherworldly legends that once brought Dan Tien Cai Khe widespread fame. Overall, the natural beauty of Dan Tien is both serene and elegant, possessing a poetic and romantic charm that particularly resonated with the youth of former students, especially those from Phan Thanh Gian school.

The Enduring Legacy of Dan Tien Hiep Minh Pagoda is that the Dan Tien Hiep Minh Pagoda is cherished for its distinctive features, which are works of art imbued with Eastern philosophy, evoking a shimmering and profound sense of spirituality. These include the artificial mountains, the Tien Truong courtyard—often described as a "temporary landscape" – the towering flagpole, and the ancient seven-seven-thousand-year-old row of longevity statues. Despite the passage of many years and numerous challenges, Hiep Minh Pagoda has steadfastly maintained its traditional religious rituals and the harmonious beauty of its quiet and solemn setting. It remains an ancient pagoda belonging to the Can Tho Buddhist Sangha. Beyond its religious significance, it stands as a cultural heritage site, offering a poetic green space in the heart of the city, abundant with ornamental plants, fragrant flowers, and unique grasses, all contributing to a tranquil environment that helps people relax and nourish their spirits.

I would like to borrow the idea of ​​the article written by author Hoai Phuong, a teacher and writer whose youth was closely associated with the poetic beauty of Dan Tien and the garden of Thay Cau, to summarize the history of Hiep Minh Pagoda. The article talks about Dan Tien Cai Khe in the "beloved Can Tho" column of Can Tho newspaper.

 

Can Tho rightfully takes immense pride in such a significant cultural work as Hiep Minh Pagoda, also known as Dan Tien Cai Khe. For the followers of Daoist Dan Tien and the people of Can Tho alike, this temple is a profound source of local pride. It's a place where the elderly can pause and reminisce about its storied past. For the current generation, a visit to Dan Tien offers a unique opportunity to explore its rich history, delve into its spiritual traditions, and experience a taste of its deep Buddhist essence.

 

 

Representatives of the government, organizations, and people of An Nghiep ward and Ninh Kieu district visited the pagoda

 

APPENDIX

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LIST OF MERITS

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Word annotation:

 

(1)    Co-Dan: is a ceremony to ask the Immortals (Saints and Gods) to come down to the altar through the form of communication using a planchette. The components of a co-dan include:

1.   The Dharma Master who directs and presides over the communion session (prayer) is called the Dharma altar.

2.   The altar attendants stand around the altar/table.

3.   Two disciples (main and secondary) holding the Jade Machine

4.   The scribes (one reads the figurative language, one writes it down in the Tich Dan book)

 

To use the planchette, the shaman first prepares the medium and the Jade Co. This involves drawing a water-sprinkling charm on the medium's head and the Jade Co itself, then adding four directional 'protection of the altar' symbols. These actions purify the space and ward off malevolent spirits. The medium then ties two charms to their thumbs, holding the Jade Co calmly on both sides, and awaits.

 

The Ngoc Co, a pivotal instrument in planchette control, is intricately designed in the likeness of a turtle. Crafted from woven rattan fibers, its main body measures 32cm in length and 27cm in width. A substantial 40cm long pen body is securely integrated, extending from the Ngoc Co's elongated tail to its central structure. From the planchette's tip, the pen's neck extends 17cm. The pen itself is a testament to purposeful design, fashioned from a long, slender, circular cypress branch. Ideally, this branch would have grown facing East, believed to imbue the tool with greater vitality. The outer third of this pen body transitions into a square shape, meticulously drilled with two distinct holes. The outermost of these, a square hole, is specifically for attaching a fixed wooden pen—this is what draws shadows on the planchette table. Adjacent to it, the inner, round hole serves as an attachment point for various brushes, employed for marking the commencement of a session or for drawing diverse talismans, whether for suppressing evil or invoking peace. The Ngoc Co's base gradually narrows into an oval, measuring 24cm in length and 20cm in width. Each side of this bottom section is equipped with three small rectangular holes, strategically placed to provide precise gripping points for holding the planchette.

 

With the Dharma master's command given and a prayer recited, the Jade Mechanism would stir, moving with remarkable smoothness and grace. The medium's hands, no longer under their own control, yielded to an invisible force. The way the mechanism moved suggested the influence of a Saint or Immortal: at times it was gentle and unhurried, while at others it became so forceful that the medium would be moved to dance or stand. Once stable and having announced its presence, the divine mechanism would elegantly trace words and symbols across the black rubber table with white chalk, leaving glossy lines and dots. The resulting messages varied widely. They could be complex seven-word, eight-line poems following strict poetic rules, or even detailed medical prescriptions. What was most remarkable was that the content was always beyond the mediums' very limited understanding. For instance, the divine mechanism once produced text in French, a language the medium wasn't fluent in, requiring a knowledgeable scribe to read and transcribe it. Similarly, a Chinese sutra once appeared, again demanding a scribe proficient in Chinese. This consistent display of knowledge beyond the mediums' capabilities is the true enigma of this metaphysical phenomenon, drawing modern science to investigate the supernatural.

 

 

(2) Application for permission to build a pagoda and operate by Mr. Ca Ly

Can Tho, August 1916

 

Canton of Dinh Bao

From Phan Thong Ly

"Your Excellency,

I present this petition to inform you that I have personally financed and constructed a devotional path in my garden for the worship of Buddha and the Immortals. I respectfully request Your Great Official's magnanimity in granting me access to this path twice monthly, on the 1st and 15th days of the lunar calendar, for the purpose of worship. I further request dispensation to access the path during nocturnal hours when afflicted by illness, to solicit medicinal intercession from Buddha and the Immortals. The veracity of my claims can be substantiated by the village authorities. I fully acknowledge that any contravention of state law will result in my acceptance of punitive measures.

In humble supplication, I prostrate myself a hundred times before Your Great Mandarin, trusting in your generosity to favourably consider my request.

Respectfully,

Phan Thong Ly

 

On the right side of the application: Must have the signatures of the Council ofVillage Officials: Village Chief, Village Chief, Village Manager, Village Elder,and Village Elder.

Village chief signed and sealed

 

(3) The Nguyen Thong famil, driven by circumstance and the need to earn a living, adopted the surname Phan Thong. However, upon their deaths, all family members reverted to their original surname, Nguyen, and incorporated Phan as a secondary surname, thus becoming Nguyen Phan Thong. The only exception was Phan Chanh Tam, who used "Chanh" in place of "Thong" as his middle name.

 

Can Tho, September 1, 2011

Board of Trustees of Hiep Minh Pagoda

 

(based on the synthesis of documents by the late Buddhist Thien Luat - Thien Truong, documents by Buddhists Hoang Tri and Dieu Hau)