Brief
history of Hiep Minh Pagoda
HISTORY OF HIỆP
MINH PAGODA
(THE FAIRY TABLE )
100 YEARS
ANNIVERSARY: 1911 - 2011
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
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."
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.
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.
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.
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
:
:
LIST OF MERITS
:
:
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)
Không có nhận xét nào:
Đăng nhận xét