Vietnamese buddhism (Phật giáo Vietnam)

French version
We do not know exactly the date Buddhism was introduced into Vietnam but on the other hand, we are however certain that this new faith has come to Vietnam by maritime way by the strait of Malacca. Vietnamese Buddhism is above all Mayahana BuddhismGreat Vehicle or Ðài Thừa in Vietnamese ). It is less pure, often blended with philosophical concepts of Confucianism and TaoismAs Vietnam is situated on the big road of pilgrimage between China and India, the most part of Vietnamese scholars at that time were only Buddhist monks who knew Chinese and Sanskrit perfectly well.

When Vietnam was established as an independent state in 939 at the fall of the Tang dynasty, it was the Buddhist monks who, being the sole true holders of knowledge, helped the first dynasties to consolidate their power. Many among them held important political posts, such as Ngô Chấn Lưu and Ðặng Huyền Quang.

They also provided the first poets and prose writers of Vietnam. One can say that under the earlier Le and Ly dynasties, Vietnamese literature was constituted a great deal of learned poetry and of Buddhist inspiration composed by monks among whom were Lạc Thuận and Vạn Hạnh. Lạc Thuận was assigned by king Lê Ðại Hành to greet Chinese ambassador Li Jiao ( or Lý Giác ). To take the latter across the river, monk Lạc Thuận disguised himself as a sampan rower. When seeing two wild geese playing on the water crests, Li Jiao began to sing:

Ngỗng ngỗng hai con ngỗng
Ngữa mặt nhìn trời xa
Wild geese, look at the two wild geese!
They raise their heads and turn toward the horizon!

Monk Lac Thuân did not hesitate to finish the quatrain on the same rhymes while continuing to row:

Nước biếc phô lông trắng
Chèo hồng sóng xanh khua
Their white feathers stretch out on the blue-green water
Their pink feet, like rows, split the blue waves.

The parallelism of ideas and terms and especially the speed of improvisation of monk Lac Thuan struck the admiration of the Chinese ambassador. As for the second monk, Van Hanh helped king Lý Công Uẩn to get rid of the Ðinh decadents and found the Ly’ dynasty (1009-1225) that transferred the capital to Thăng Long (presently Hanôi). Van Hanh was not only a talented politician, he was also a poet. The Ly dynasty owed it rise to the influence and counsel of this monk, which explained the preeminence of Buddhism since that date. It thus became the state religion with a church run by a spiritual master of the kingdom (or Quốc Sự). Many of the sovereigns of this dynasty belonged to the sects Thiền (or Zen in Japanese or Tchan in Chinese).

Pictures gallery

They granted great favors to Buddhism, in particular Lý Thái Tôn, who, in 1031, after his victory over Champa, had over one hundred fifty monasteries built, not to include the construction of the famous one-pillar pagoda (Chùa Một Cột) following a dream. In spite of the beneficial influence of Buddhism, for the needs of a methodical organization and an effective administration of the country, the Ly dynasty had to adopt the Chinese model at all echelons of administration: the reshuffle of the hierarchy of functionaries (1089), the creation of exams (1075), the establishment of a imperial college (1076) (or Quốc Tự Giám) intended to teaching the children of the nobles, the creation of the Imperial Academy (1086) etc…Thanks to the development of lay education, the learned men began to replace the monks. Likewise, the diffusion of knowlege allowed the opening of a more varied and rich literature.

Buddhism declined and yielded to Confucianism only at the end of 13th century. This was due to several reasons: the struggle against the Mongols gave birth to a new leading class more Confucian than Buddhist lead by general Hung Ðạo Vương Trần Quốc Tuấn, the appearance of a new bureaucracy constituted of scholars and that of historical works to the detriment of Buddhist collections.

The Proclamation to The Troops ( or Hịch Tướng Sĩ ) by Hưng Ðạo Vương Trần Quốc Tuấn or the Grand Victory of Chương Dương celebrated by his lieutenant Trần Quang Khải by means of the following four verses:

Chương Dương cướp giáo giặc,
Hàm tử bắt quân thù
Thái bình nên gắng sức,
Non nước ấy nghìn thu. 

We have taken aggressors’ spears at the port of  Chuong Duong,
And captured enemies at the dock of Ham Tu.
May peace be the object of our supreme effort
And this land last forever.

witnessed  the opening of a literature richer, more national and historical. One continued to see the decline of Buddhism until 1963, the year when monk Thích Quảng Ðức immolated himself by fire to protest the regime of  president Ngô Ðình Diệm of South Vietnam.vehicule

This sacrifice did not turn out to be useless because it permitted the hastening of the fall of Diệm four months later and showed the whole nation that Buddhism, in spite of its spirit of tolerance and non-violence, could constitute a notable counterbalance to combat any forms of dictatorship and totalitarianism whose aim is to undermine moral foundations and conceptions of truth and solidarity found in Vietnamese civilization.

Vietnamese Buddhism thus regains for some decades not only its political role but also the dominating place it has lost for so long.

Papyrus vietnamien (Giấy dó)

Imageries populaires Đông H

Version française

English version

Các  bức tranh dân gian phổ biến nầy  thường được trông thấy trưng bày ở  các ki-ốt dành riêng cho các khách du lịch nước ngoài. Giấy dó (giấy rhamnomeuron) được sử dụng để in những hình ảnh này. Theo một số nhà nghiên cứu Việt Nam,  giấy này được xuất hiện vào khoảng thế kỷ thứ 3 và đạt đến đỉnh cao từ thế kỷ thứ 8 đến thế kỷ 14. Hồ Qúi Ly đã sử dụng nó vào cuối thế kỷ 14 để in các tiền tệ pháp định.

Việc sản xuất giấy này đòi hỏi phải có sự chuẩn bị thật  kỹ lưỡng. Giấy được làm bằng vỏ cây dó. Sau khi thu hoạch vào khoảng tháng 8 đến tháng 10 âm lịch, cần ngâm vỏ cây trong nước một hoặc hai ngày. Sau đó mới  được xử lý bằng cách ngâm nó trong dung dịch vôi cô đặc trong 5 giờ. Sau đó mới  đun sôi nó trong khoảng 20 giờ trước khi đem giã nó trong 5 giờ. Bột thu được bằng cách giã được pha loãng trong một chậu chứa đầy hỗn hợp nước và nhựa từ cây mò (clerodendron). Giấy thu được bằng cách sử dụng khuôn sau khi ép và sấy khô nó.

Cứ một trăm kí lô vỏ cây,  chỉ thu được 5 hoặc 6 kg giấy. Điều này giải thích tại sao thị trường bán giấy nầy rất bị hạn chế. Ngoài ra, giấy dó Việt Nam chỉ mọc ở vùng cao miền Bắc. Nổi tiếng với nghề in vẽ hình trên giấy dó, dân làng Dương Ô và Đông Hồ cũng chịu cùng  chung số phận.

Giá  vốn sản xuất giấy  được tái chế lại cao hơn so với  giá bán giấy dó. Đây chính là lý do khiến ít người tiếp tục quan tâm đến nghề truyền thống nầy  đang bị thất lạc đi qua năm tháng.

 

Les imageries populaires fréquemment visibles sont proposées dans les kiosques réservés aux touristes étrangers. Le papier dó (papier de rhamnomeuron) est utilisé dans l’impression de ces imageries. Selon certains chercheurs vietnamiens, ce papier fut apparu vers le IIIème siècle et connut son apogée du VIIIème au XIVème siècle. Hồ Qúi Ly s’en servit à la fin du XIVème  siècle pour l’impression des monnaies fiduciaires.

La production de ce papier nécessite une préparation minutieuse. Il est fabriqué avec l’écorce de l’arbre do. Après la récolte de celle-ci entre les 8ème et 10ème mois lunaires, on a besoin de l’immerger dans l’eau pendant un ou deux jours. On la traite ensuite en la macérant dans une solution de chaux condensée durant 5 heures. Puis on la fait bouillir durant une vingtaine d’heures avant de la piler pendant 5 heures. La farine obtenue par le pilage est diluée dans une bassine remplie d’un mélange d’eau et de résine de la plante mò ( clerodendron ). Le papier est obtenu grâce à un moule après avoir été pressé et séché.

 

 

Papyrus vietnamien

Galerie des photos

Pour cent kilos d’écorce, on obtient seulement 5 ou 6 kilos de papier. Cela explique la raison pour laquelle le marché est très limité. De plus le papyrus vietnamien dó ne pousse que dans les hautes régions au Nord. Connus pour la fabrication des imageries populaires sur le papier dó, les villageois de Dương Ô et de Ðông Hồ ont subi le même sort.

Le prix de revient  dans  la production du papier recyclé est supérieur à celui de vente  du papier dó. C’est pourquoi peu de gens continuent à s’intéresser encore à ce métier ancestral qui se perd au fil des années.

Version anglaise

Those are often proposed in the kiosks reserved to  foreign tourists. Paper dó (rhamnomeuron paper) is used in the printing of these images. According to certain Vietnamese researchers, this paper had appeared around the 3rd century and knews its apogee from the 8th to the 14th century. Hồ Qúi Ly made use of it at the end of  14th century for the printing of  fiduciary currencies. The production of this paper requires a meticulous preparation.

It is manufactured with the bark of the tree dó. After the harvest of this one between the 8th and 10th lunar months, one needs to immerse it in water during one or two days. After one treats it by macerating it in a lime solution condensed during 5 hours. Then one makes it by boiling  during about twenty hours before crushing it during 5 hours. The flour obtained by crushing is diluted in a basin filled with a mixture of water and resin of the plant mò (clerodendron). Paper is obtained thanks to a mould after being pressed and  dried.

For two hundred kilos of bark, one  gets only 5 or 6 kilos of paper. That explains why the market is very limited. In addition, the Vietnamese papyrus dó grows only in the northern  highlands. Known for making popular imagery on paper dó,  villagers of Dương Ô and Đông Hồ suffered the same fate.

The cost price in the production of recycled paper is higher than the selling  price  of dó paper. That is why a few people still continue to be interesting to this ancient craft that is lost over the years.

Ceramic (Gốm Vietnam)

French version

gom

 

It is greatly surprising to see that, despite the everlasting domination of China on Viet-Nam, the latter was able to distinguish brilliantly starting from 14th century in the domain of ceramics. It became thus an active participant in the flourishing trade of South-East Asia in this domain with its junks and its compass known since 11th century. Tome Pires in his Suma Oriental (1515) summarized all these exchanges and foot-noted even the existence of a Vietnamese ceramic production intended for sale in China. At that time, there was even the counterfeit of Vietnamese blue and white in the Chinese furnaces of Snatow.

Its success was mainly due to the cobalt blue that blew into Vietnamese ceramic art a spirit which will have lasted for two centuries and enabled it to capture a foreign market as far as even the most remote corners of Asia.

It is the case of large a vase-bottle found at the Topkapi palace of Istanbul, carrying an inscription in Chinese characters, in blue under glaze that one can read in Vietnamese: Painted for pleasure by Pei de Nam Sách in the 8th year of Thái Hoà, or of a dish with blue and white floral decoration at the Treasury of Ardebil (Museum of Teheran)

If the cobalt blue was known in Vietnam for a long time even before the Chinese invasion of Ming, it appears that it was used only around the years 1430-1450. It is from this time that the blue and white definitively replace monochromic ceramics. 

Gốm

Vase (Lê dynasty)

It is thanks to the perfect control of manufacturing, decorating and baking techniques that the Vietnamese potter can improve his imagination. Even though constraints of painting under glaze do not prevent any repentance, there appear on the sandstone not only more and more sophisticated drawings but also a variety of pigments, an eruption of form s and original decorations, which made him an artist. If he does borrow a good number of decorative drawings from China ( peonies, lotus, flowers, foliated scrolls etc..), he has on the other hand the idea to create an autonomous style which is less hieratic and more vivacious than his Chinese homologous by the liveliness of his feature and his spontaneity. He can adapt these decorative elements to the Vietnamese style: the Chinese red fish becomes thus the Cá Bông, a Vietnamese freshwater fish.

It is no longer the case of China since China discovers the perspective starting from the reign of Jiajing (1522-1566). On the other hand, the quality of the central motif found on the plates, is definitely higher than that of the surrounding ones. This proves there is an intervention of several craftsmen in the realization of these plates. Because of the war, Viêt-Nam did not set up a systematic program of archaeological excavations. Few sites were exhumed so far. On the other hand one knows that the areas of Tam Tố north of Thanh Hoá, Nam Sách in the province of Hải Dương, Bát Tràng north of Hanoi to name a few sites, are surely witnesses of the manufacture of these Vietnamese ceramic pieces.

Jarres , verseuses et bols en grès à l’époque des dynasties Lý et Trần.

Pictures gallery of Vương Hồn g Sển collection

 

La céramique vietnamienne (Philippe Colomban CNRS)

Des céramiques vietnamiennes chargées d’histoire  (Philippe Colomban CNRS)

 

Art vietnamien (Nghệ thuật)

 Photos 

 

Dương Vân Nga (English version)

French version

 

 
One speaks rarely of Dương Vân Nga in the history of Vietnam. Her name is not as often cited as that of the sisters Trưng Trắc Trưng Nhị or that of Triệu Ẩu. However she was an outstanding woman, the great queen of the first two dynasties Ðinh and Tiền Lê ( anterior Lê ) of Vietnam. Her life and works can be summed up in the following four verses which have been transmitted by oral tradition to our days and left on the wall of Am Tien monastery by a mysterious monk exactly 1000 years now, at his encounter with Dương Vân Nga:

Hai vai gồng gánh hai vua
Hai triều hoàng hậu, tu chùa Am Tiên
Theo chồng đánh Tống bình Chiêm
Có công với nước, vô duyên với đời

On her two shoulders two kings were carried
Queen of two reigns, she retired in Am Tien monastery.
Accompanying her spouse, she had beaten the Song and pacified the Cham
Service she rendered to her country, yet bad luck she got in her life.

Among the ten queens of these two dynasties, she was the only one to be allowed a statue bearing her effigy. During its restoration and transfer in the temple dedicated to King Lê Ðại Hành at the beginning of the Hậu Lê dynasty the statue oozed strangely, perhaps due to it being exposed suddenly to the sun after having been put in a humid place. At that time, it was said that this phenomenon was attributed to atrocious sufferings life has reserved to Dương Vân Nga during her lifetime.

Dương Vân Nga

Her real name was Dương Thị. Vân Nga was the name attributed to her by combining the first word of the name of the region of her father Vân Long and that of her mother Nga Mỹ. She was issue of a very poor background. At her very young age she had to collect wood in the forest and fish in the river to provide to the subsistence of her family in a mountainous and uneven region which is our Hoa Lư. Early morning in the forest, late evening in the river, she became without delay a young hard working, energetic and trouble shooting girl.

She had an innate sense of organization that allowed her to become in the following years the leader of a band of young girls in the area. She arrived at coping with a rival band constituted mainly of young boys led by the buffalo tender Ðinh Bộ Lĩnh by completely disperse his herd of buffaloes by using firecrackers and by her perfect mastery of round floating baskets that helped rapid transport of her troops across swamps and streams. But Ðinh Bộ Linh finally had the last word thanks to his scheme of recourse to poles and light craft of bamboo mat to pierce and immobilize all the round floating baskets of Dương Vân Nga. From then on Ðinh Bộ Lĩnh not only conquered Duong Van Nga’s admiration but also her love. That is why nowadays to evoke conjugal union and predestined love of a couple, it is often referred to the following popular expression: Bamboo mat craft crush round floating baskets ( Thuyền tre đè thuyền thúng )

Thuyền thúng

Thanks to their association, they arrived at gathering under their banner all the young of Hoa Lu and eliminating without delay their opponents in the conquest of power. Thus Ðinh Bộ Lĩnh became the first king of the Ðinh dynasty often known as Ðinh Tiên Hoàng. He was very authoritarian. He used ranks and appointments to buy loyalty of his subordinates. He also used force and cruel and unimaginable punishments to punish his adversaries and those who dared criticize him.

Despite Dương Vân Nga’s advice, he remained unruffled and made several enemies to himself even in his family. Instead of appointing his eldest son Ðinh Liễn, the one who had helped him for several years in his fights for the unification of the country, he chose his youngest son Ðinh Hạng Lang as his crown prince. This provoked Ðinh Liễn’s jealousy and incited him to assassinate his younger brother. Dương Vân Nga was at first witness of the fratricidal fight among her children, then the death of her husband, king Ðinh Tiên Hoàng assassinated by Ðỗ Thích a crank who, after a dream, thought the kingdom should belong to him and the eldest son Ðinh Liễn killed by the rebel troops.

She soon had the pains and sufferings of her daughter, princess Phật Kim, deserted by her husband Ngô Nhật Khánh who, being one of the sons of Ngô Quyền, took refuge in Champa and requested this country to launch a maritime attack against his own land Vietnam in the goal of reconquest of power. Because of the age of her son Ðinh Toàn ( 6 years old ), she had to assume the regency with Lê Hoàn, a generalissimo, head of Vietnamese territories.

But she soon faced the armed resistance of her assassinated husband’s partisans who wanted to eliminate Lê Hoàn at any cost and also the imminent threat of the Song as well as Champa’s. She was placed in front of a dilemma that appeared to be difficult for a woman to overcome alone when she lived in a Confucian era and when Vietnam was just liberated from Chinese domination for about a dozen years. She had the courage to take a decision which appeared doubtful at that time and heavy of harmful consequences for the Dinh dynasty in yielding the throne to Le Hoan and associating with the latter in managing the Ðại Cồ Việt ( ancient Vietnam ).

Pictures gallery of Hoa Lư

This permitted Lê Hoàn to have a massive adhesion of a great part of population and restore not only the confidence but also the unity of the whole people. He thus succeeded in putting down the rebellion, wiping out the Song on the Bạch Ðằng river, starting the Nam Tiến movement ( or descent toward the South ) and restoring peace all over the country. One should place oneself in this troubling political context that Dương Vân Nga experienced in order to see that it was an act well thought out and courageous from the part of a woman who, trained up until then to be submissive to a Confucian yoke, dared accept the dishonor and scorn to assure that our country would not pass under Chinese domination and that Vietnam would not prolong in political chaos.

Her combat appeared to be more arduous than that of the Trưng Trắc Trưng Nhị sisters because it is the matter of not only a struggle against the invaders, but also her own interests, her personal sentiments for the love of this country.
During the reign of Lê Ðại Hành ( or Lê Hoàn ), she ceaselessly advised the latter to practice a politics of magnanimity towards his adversaries, to ban cruel punishments established by Ðinh Tiên Hoàng and to call on talented monks ( Khuông Việt, Ngô Chấn Lưu, Hồng Hiến, Vạn Hạnh ) to the management of the country. Being a warrior by nature, bearing the name of Great Expedition ( Ðại Hành ), he continued to enlarge Vietnam by leading not only a maritime expedition that destroyed the Cham capital Indrapura in presently Central Vietnam in 982 and killed the Cham king Bề Mi Thuế ( Paramec Varavarman ) but also a politics of pacification all over the place in the ethnic minority territories. It was in one of these battles that the last son of Dương Vân Nga and Ðinh Tiên Hoàng, Ðinh Toàn, died assassinated at the place of Lê Hoàn by the Mán. This death was followed by the suicide of her daughter, princess Phật Kim and the death by illness of her son Long Thâu that she had with Lê Ðại Hành. She was taken up by the disappearance of her entourage without complain. She preferred to live her last days in Am Tiên monastery and burry the personal sufferings of a woman facing her destiny.

Is it fair for a patriotic woman like Dương Vân Nga overwhelmed by destiny, not to be cheered and cited like the Trưng Trắc Trưng Nhị sisters in the history of our Vietnam? Is there anything to do with a deliberate omission because of a sacrilege committed by Dương Vân Nga for having married and served two kings in a feudal Confucian society which is ours? One cannot erase the truth of history especially these details, said the Chinese historian Si Ma Qian.

It is time to give back to Dương Vân Nga her notoriety and her place she deserved long time ago in our history pages and make known to future generations the courageous and full of wisdom decision. This one, even though it seemed doubtful and immoral for a Confucian society, was made in the moment where the situation exacted more than ever the cohesion and unity of the whole people facing foreign invasion, but also a man of valor and talent that was our great king Lê Ðại Hành. Without him, the Nam Tiến movement would not have taken place.

Dương Vân Nga-Lê Hoàn (Version française)

Vietnamese version

On parle rarement de Dương Vân Nga dans l’histoire du Vietnam. Son nom est moins cité que celui des deux sœurs Trưng Trắc et Trưng Nhị ou Triệu Ẩu. Pourtant c’est une femme hors du commun, la grande reine de deux premières dynasties Ðinh et Lê antérieurs du Vietnam. Sa vie, son œuvre, on peut les résumer à travers les quatre vers suivants  transmis par tradition orale jusqu’à nos jours et  laissés par un moine mystérieux sur le mur du monastère Am Tiên, il y a eu exactement 1000 ans, lors de sa rencontre avec Dương Vân Nga:

Hai vai gồng gánh hai vua
Hai triều hoàng hậu, tu chùa Am Tiên
Theo chồng đánh Tống bình Chiêm
Có công với nước, vô duyên với đời

J’étais née pour épauler les deux rois
Étant la reine de deux dynasties, je me retirais à la fin de ma vie  dans le monastère Am Tiên.
En accompagnant mon époux,  je me battais contre les Song et je pacifiais le Champa
J’avais la gloire dans le pays et la malchance dans la vie.

Parmi les dix reines de ces deux dynasties, elle était la seule à être autorisée à avoir une effigie statuaire. Celle-ci, lors de la restauration et du transfert dans le temple dédié au roi Lê Ðại Hành au début de la dynastie des Lê postérieurs (Hậu Lê) suinta étrangement, probablement par le fait qu’elle avait été exposée subitement au soleil et placée depuis longtemps dans un endroit humide. On attribua, selon l’on-dit, ce phénomène, à cette époque, aux souffrances atroces que la vie avait réservées à Dương Vân Nga, lors de son vivant.

Dương Vân  Nga

Son vrai nom était Dương Thị. Vân Nga était le nom qu’on lui a attribué en associant le premier mot du nom de la région de son père Vân Long et celui de sa mère Nga Mỹ. Pour certains historiens, elle était la fille de Dương Tam Kha, le beau-frère du généralissime Ngô Quyền.  (déjà signalé dans l’article de  Đinh Bộ Lĩnh).  Elle était issue d’un milieu très pauvre. Dès son jeune âge,  elle était obligée de chercher du bois dans la forêt et de se procurer des poissons dans la rivière pour pourvoir à la subsistance de sa famille dans une région montagneuse et accidentée. De bonne heure, le matin dans la forêt, très tard le soir dans la rivière, elle ne tardait pas à devenir une jeune fille.

Thuyền thúng

Elle avait un sens d’organisation inné lui permettant de devenir quelques années plus tard le meneur d’une bande de jeunes filles de sa région. Elle arrivait à tenir tête à une bande rivale constituée essentiellement de jeunes garçons et dirigée par le  jeune bouvier  courageux et intelligent  Ðinh Bộ Lĩnh en désorganisant complètement les troupeaux de buffles de ce dernier par le crépitement  des feux de bois sec   et par la  maîtrise parfaite des paniers ronds flottants, ce qui permettait  de faciliter le transport rapide des troupes à travers les marécages et les cours d’eau. Mais Ðinh Bô. Lĩnh avait quand même le dernier mot grâce à son stratagème de recourir à  des embarcations légères en natte de bambou et à  des perches pour percer et immobiliser enfin tous les paniers ronds flottants de Dương Vân Nga. Dès lors, Ðinh Bộ Lĩnh conquit non seulement l’admiration de Dương Vân Nga mais aussi son amour. C’est pourquoi pour évoquer, de nos jours, l’union conjugale et la dette originelle d’un couple, on se réfère souvent à l’expression populaire suivante: « Les embarcations en natte de bambou écrasent les paniers ronds flottants (Thuyền tre đè thuyền thúng)».

Galerie des photos de Hoa Lư 

 

 

Grâce à leur association, ils arrivèrent à réunir sous leur bannière, tous les jeunes de Hoa Lư et ne tardèrent pas à éliminer leurs concurrents dans la conquête du pouvoir. Ðinh Bộ Lĩnh devint ainsi le premier roi de la dynastie des Ðinh connu souvent sous le nom de Ðinh Tiên Hoàng. Il était  très autoritaire. Il se servait des grades et des appointements pour acheter la fidélité de ses subordonnés mais aussi de la force et des châtiments cruels et inimaginables pour punir ses adversaires et ceux qui osaient le critiquer. 

Malgré les conseils de Dương Vân Nga, il continuait à rester imperturbable et se faisait de nombreux ennemis même dans sa famille. Au lieu de nommer son fils aîné, Ðinh Liễn, celui qui l’avait aidé depuis tant d’années dans ses combats pour l’unification du pays, il choisit comme prince héritier son plus jeune fils Ðinh Hạng Lang. Cela provoqua  la jalousie de Ðinh Liễn et incita  à ce dernier à assassiner son petit frère. Dương Vân Nga était d’abord témoin de la lutte fratricide de ses enfants, puis de la mort de son mari Ðinh Tiên Hoàng  et de son fils aîné  Đinh Liễn assassinés par un illuminé Ðỗ Thích qui, après un rêve, crut que le royaume devait lui appartenir.  Cet assassin fut pourchassé durant trois jours avant d’être découvert caché sous le toit d’un bâtiment et condamné à mort ensuite par son premier ministre Nguyễn Bặc. Cette hypothèse n’est pas très convaincante aujourd’hui. Certains historiens comme Phan Duy Kha, Lã Duy Lan, Đinh Công Vĩ ou Lê Văn Siêu  trouvent dans l’assassinat de Đinh Tiên Hoàng et de son fils la main de son généralissime Lê Hoàn avec la complicité de Dương Vân Nga. L’ambition de l’assassin est un peu démesurée et excessive dans la mesure où Đổ Thích ne détient  aucune armée comme Lê Hoàn. Il est le seul personnage à assister à cette tuerie car il est  l’eunuque de l’empereur. Dans le récit historique, il n’y a pas d’autres complices. Il y a le doute dans cette logique. Dương Vân Nga ne tardait  pas à voir les douleurs et les souffrances de sa fille, la princesse Phất Kim délaissée par son mari Ngô Nhật Khánh, qui, étant l’un douze seigneurs locaux soumis et issu de la famille de  Ngô Quyền, se réfugia au Champa et demanda à ce pays de monter une expédition  militaire  contre son propre pays, le Viêt-Nam dans le but de reconquérir le pouvoir convoité. 

Pourquoi  Ngô Xuân Khánh demande t-il de l’aide au Champa contre son propre pays? Pourquoi la Chine des Song prend-t-elle le prétexte pour justifier son intervention au Vietnam?

Il faut rappeler que Đinh Tiên Hoàn réussit à unifier le pays à cette époque car il adopta une politique basée essentiellement sur une combinaison de souplesse et d’alliance  vis à vis des forces rebelles issues de la famille du généralissime Ngô Quyền afin d’avoir l’adhésion du peuple vietnamien dans la conquête  et la légalité du pouvoir mis en place. C’est pourquoi  il consentit à donner sa fille  Phất Kim en mariage à Ngô Xuân Khánh et de prendre la mère et la sœur de ce dernier comme épouse pour lui et son fils aîné Đinh Liễn.  C’est avec la mère de Ngô Xuân Khánh qu’il avait un fils cadet  nommé Đinh Hạng Lang. Pour tenter de plaire à Ngô Xuân Khánh et à sa mère, il choisit Đinh Hạng Lang comme prince héritier à la place de  son fils aîné Đinh Liễn. Cette erreur fatale provoqua la colère de Đinh Liễn et incita ce dernier à  commettre le meurtre de  son jeune frère Đinh Hạng Lang.  Au lieu de condamner à mort  Đinh Liễn, Đinh Tiên Hoàng lui accorda  le pardon. Cela enleva à Ngô Xuân Khánh tout espoir d’usurper un jour  le pouvoir à l’image de Wang Mang (Vương Mãng) à l’époque des Han car il pensait à aider son jeune  demi-frère à gouverner le pays  lors la disparition de Đinh Tiên Hoàng.  C’est pourquoi il décida de  demander l’intervention du Champa pour reprendre le trône convoité. Quant à la Chine, elle trouva une occasion inespérée de reconquérir An Nam car jusqu’alors la Chine des Song reconnut seulement la succession légale en la personne de Đinh Liễn en lui accordant le titre « Nam Việt vương (roi du Sud) ».

A cause du jeune âge de son fils (6 ans) Ðinh Toàn,  Dương Vân Nga devait assumer la régence avec Lê Hoàn, généralissime, chef des territoires vietnamiens.  Elle se heurta aussitôt à la résistance armée des partisans de son mari assassiné qui voulaient éliminer à tout prix Lê Hoàn. Elle dut  faire face non seulement à la menace et l’invasion imminente des Song mais aussi à celle du Champa. Elle était placée devant un dilemme difficile pour une femme de surmonter seule lorsqu’elle vit à l’époque confucianiste et  le Vietnam fut libéré à peine d’une dizaine d’années de la domination chinoise. Elle avait besoin d’être protégée ainsi que son fils Đinh Toàn. Elle avait le courage de prendre une décision  douteuse à cette époque et lourde de conséquences néfastes pour la dynastie des Ðinh en cédant le trône de son fils à Lê Hoàn et en s’associant à ce dernier dans la gestion du Ðại Cồ Việt (ancien Viêt-Nam ). Cela permit à Lê Hoàn d’avoir à cette époque  l’adhésion massive d’une grande partie de la population et de restaurer non seulement la confiance mais aussi l’unité de tout un peuple. Il réussit ainsi à mater la rébellion menée par les anciens compagnons de Đinh Tiên Hoàng (Nguyễn Bặc, Đinh Điền), à anéantir les Song sur le fleuve Bach Ðằng, à entamer le mouvement « Nam Tiến (ou la marche vers le Sud) » et à restaurer la paix sur tout le pays. Il faut se placer dans ce contexte politique troublant qu’a connu Dương Vân Nga pour constater que c’est un acte bien réfléchi et courageux de la part d’une femme exceptionnelle, qui, formée jusque là pour être soumise à un carcan confucianiste, ose accepter le déshonneur et le mépris pour s’assurer que notre pays ne repasserait pas sous la domination chinoise et que le Viêt Nam ne se replongerait pas dans le chaos politique.

Son combat parait plus ardu que celui des sœurs Trưng Trắc et Trưng Nhị car il ne s’agit pas non seulement d’une lutte contre les envahisseurs mais aussi contre ses propres intérêts et ses sentiments personnels.

Durant le règne de Lê Ðại Hành (ou Lê Hoàn), elle ne cessa pas de conseiller à ce dernier de pratiquer une politique de magnanimité envers ses adversaires, à supprimer les châtiments cruels établis par Ðinh Tiên Hoàn et à faire appel à des moines talentueux (Khuông Việt Ngô Chấn Lưu, Hồng Hiến, Vạn Hạnh ) dans la gestion du pays. Étant guerrier de sa nature, portant le nom signifiant Grande Expédition (Ðại Hành), il continua à agrandir le Viêt-Nam en menant non seulement une expédition maritime qui détruisit la capitale chame Indrapura dans le centre du Viêt-Nam actuel en l’an 982 et qui tua le roi du Champa Bề Mi Thuế (Paramec Varavarman) mais aussi une politique de pacification de tous azimuts dans les territoires des minorités ethniques. C’est dans l’un de ces derniers que le dernier fils de Dương Văn Nga et Ðinh Tiên Hoàng, Ðinh Toàn mourut assassiné à la place de Lê Hoàn, par les Mán. Cette mort fut suivie par le suicide de sa fille, la princesse Phất Kim et par le décès de maladie de son fils Long Thâu qu’elle avait eu avec Lê Ðại Hành. Elle fut accablée par la disparition successive de son entourage sans broncher. Elle préféra passer les derniers jours de sa vie dans le monastère Am Tiên et y enfouir les douleurs personnelles d’une femme seule face à son destin.

Est-il juste pour une femme patriote comme Dương Vân Nga accablée par le destin, de ne pas avoir le mérite d’être chérie et citée comme les sœurs Trưng Trắc et Trưng Nhị dans l’histoire de notre Vietnam? S’agit-il d’une omission voulue délibérément à cause d’un sacrilège commis par Dương Vân Nga d’épouser et servir deux rois dans la société féodale et confucéenne qu’est la nôtre? On ne peut pas gommer la vérité de l’histoire en particulier ses détails, ce qu’avait dit l’historien chinois Si Ma Qian.

Il est temps de redonner à Dương Vân Nga la justice  et la place qu’elle mérite depuis si longtemps dans notre page d’histoire et faire connaître aux générations futures cette décision courageuse et empreinte de sagesse. Celle-ci, bien qu’elle paraisse douteuse et immorale pour la société confucéenne, est prise à un  moment où la situation politique exige plus que jamais la cohésion et l’unité de tout un peuple face à l’invasion étrangère et aussi un homme de valeur et de talent qu’est notre grand roi Lê Ðại Hành. Sans celui-ci, le mouvement Nam Tiến ne serait jamais engagé.

Bibliographie

Phan Duy Kha, Lã Duy Lan, Đinh Công Vĩ, Nhìn lại lịch sử, Nhà xuất bản Văn hóa thông tin, 2003.
« Việt Nam văn minh sử » – Lê Văn Siêu, Nhà xuất bản VHTT, 2004.
Hoàng Công Khanh: Hoàng hậu hai triều Dương Vân Nga. Nhà xuất bản văn học 12-1996

Bái Đính (English version)

 

baidinh

Tràng An landscaped  complex

French version 

Pagoda Bái Đính

Located on the karst mountain range of Tràng An in Ninh Bình, the Bái Đinh pagoda has a long history dating back several centuries. Its fame has been attested for a long time under successive dynasties: Đinh, Early Lê, and Lý. Today, it has become a religious complex where one can find not only the ancient temple but also new temples under construction since 2003. The Bái Đính pagoda is considered in Southeast Asia as the pagoda housing the gigantic bronze Buddha statue imported from Russia. It has a height of 16 meters and weighs 100 tons. The 500 white marble arhats of the pagoda are spread over approximately 2 kilometers along a corridor. This complex has a total area of 539 hectares, of which 27 hectares are attributed to the old pagoda, 80 hectares to the new temples, a Buddhist study center, reception areas, parking lots, as well as a system of lakes 

World cultural heritage of Vietnam

 

Ninh Bình (Hạ Long cạn

 

 

Being Confucianist (English version)

French version
Vietnamese version

Being confucianist

Vietnamese society is profoundly influenced by Confucianism that was introduced to Vietnam in the era of a long Chinese domination (111 B.C. – 939 A.D.). Therefore Vietnamese people have absorbed more or less the concepts prescribed by the wise Confucius in « The Canonical Book« . Must be done what appears on a moral viewpoint just and appropriate taking into account the Five Relations ( Ngũ Luân ) upon which rests the Vietnamese society: relation between the king and subjects, father and son, husband and wife, elder and younger brothers, friend and friend.

Thanks to this doctrine, a Vietnamese bestows great importance to his family that he always considers as a moral training ground and strongly attaches himself to the forces of the land and his ancestors.

This allows the Vietnamese society to find not only a cohesion but also a consolidation, deep roots and an efficiency to overcome foreign powers in the most difficult and crucial moments of the history of Vietnam. Society is considered on a large scale by Vietnamese as an extension of the family circle. A confucianist Vietnamese never neglects his filial piety, respect of elderly people, ideal of loyalty, friendship and honor.

In order to understand the Vietnamese soul, gentleness should be taken. Generally speaking, a Vietnamese is stripped of his aggressiveness except when someone makes him lose face, in particular his honor. Forgiveness is something very Vietnamese. Those are quintessential traits of the Vietnamese people depicted by the Vietnamese Bob Dylan Trịnh Công Sơn. Honor is one of the qualities a confucianist Vietnamese tries to conserve until the end of his life. The jade that melts can conserve its whiteness, the consumed bamboo still keeps its stem straight. Individual existence is very light compared to that of honor. Those are the sentences that sum up the state of mind of the confucianist Vietnamese.

Pictures gallery

It is the case of general Võ Tánh who, despite the recommendations of his brother-in-law Gia Long to flee, preferred to take sacrifice in 1801 by jumping in a building full of gun powder to defend not only is honor but also the lives of his soldiers facing the powerfully equipped Tây Sơn army immobilized because of the siege at Qui Nhơn, which allowed emperor Gia Long to claim at Phú Xuân (Huế) a thunderous and decisive victory. But the one who illustrated well the confucianist Vietnamese remains the hero Trần Hưng Ðạo. One finds in this general all the qualities of a man of ren (ren includes all virtues prescribed by Confucius in the Canonical Book.

His father, Trần Liễu was the brother of King Trần Thái Tôn. The latter had no children. To consolidate and perpetuate the dynasty, the prime minister Trần Thủ Ðộ did not hesitate to force the Princess Thuận Thiên, the concubine of Trần Hung Ðạo’s father, pregnant for three months, to marry the King. Outraged, his father Trần Liễu told him at the time of agony:

If you couldn’t avenge this offense and to take the throne, I wouldn’t never happy in the land of Sources.

It challenged not the words but never took into account the recommendations of his father. However, one day, to determine the intentions of his children, he asked again their opinion about it. His younger son encouraged him to usurp the throne. He prohibited his son from seeing him until the end of his life after failing to kill this latter on the field. Very pious, he learned that his father had told him, but he tried to leave aside the personal interests to act in accordance with the interests of the nation.

His loyalty toward the king was without failure . On a beautiful day, during an excursion with the king in a jonc, having in his hand a baton whose end bore a sharp piece of metal, he did not hesitate to take it off to show the king his loyalty. It was he who reassured the king to continue the struggle against the Mongols and not to surrender by telling him: « If you want to surrender, you must first behead me ». Thanks to his courage, determination, tenacity and magnanimity, Vietnam succeeded in getting out victor two times in a row against the Mongolian army of Kubilai Khan in 1257 and 1267.

He never took advantage of his military command to grant favor to anybody. He left it to the king to take care of when he was commander in chief of the Vietnamese army. He exerted his power with equal fairness on everyone, big or small. He is perfectly close to the man of ren. It is also thanks to him that Confucianism at his time reached its highest point and thus became the sole model of organization of state and of the Vietnamese society.

In spite of that, Confucianism is blamed for keeping the people in particular women in permanent status of submissiveness and for being one of the causing factors of inertia that works largely to the advantage of the leading class and stifles enterprise spirit and any reforms needed for progress, which provoked at the beginning of 20th century serious and catastrophic consequences for Vietnam with the fall of the Nguyễn empire followed by regrettable events during the last decades.

It is not surprising to see that a man coming from this Confucian society, in particular the Vietnamese intelligentsia of today is confronted often with an insurmountable dilemma. He is always pulled between social progress and moral values of Confucianism which continues to exert a noticeable influence on his heart and mind at the moment when Vietnamese society needs reforms to be able to better adapt with economic and social mutations that are necessary for Vietnam after so many years of war. It is difficult to know today in what way socialism erected on the dogma of state, has really played a role in the current social transformation. But it is also impossible to evaluate the degree of influence of Confucianism at this time.

Today, it is up to us, as Vietnamese to find the right way and to behave with dignity so that we are not ashamed of being the « Children and Nephews of the Dragon and the Immortal », in particular those who live abroad.

 

Religion (English version)

French version

religion

Religion

The main religion in Vietnam remains Taoism. Catholics are about 8 million. The Buddhism practiced in Vietnam is definitely Mayahana or Great Vehicle Buddhism. Caodaism, a synthesis of Christianity, Buddhism and Confucianism, is well established in the region of Tay Ninh in the south of Vietnam with 3,000,000 followers. One finds also in the south of Vietnam toward Châu Ðốc and Long Xuyên, a derivative of Buddhism professed by the Hoà Hão sect (2 million followers). Mountain peoples have their animist cults while the descendents of the Chàm practice Hinduism or Islam. 

 

 

Being Caodaïst (Tôi là người Cao Đài)

French version

 

We, the Caodaïsts, we must know to perfect ourselves. It is not essential for us to fast and call upon Buddha by prayers or to enter a pagoda in order to be able to attain perfection. We have the possibility of attaining it if we always have in us the three following qualities: Love, Wisdom and Will.

At birth, we already had kindness. This is why, our Ancestors were accustomed to saying:

Nhân chi sơ, tính bản thiện. Mankind is naturally good at birth.

But because of the hazards of life, the unjustified competitions and the immoderate desires which continue to monopolize us sempiternally, we thus became dishonest people, perfidious, egoistic, which makes us lose the kindness that we acquired at birth. All the Wise ones of Antiquity had had these three qualities evoked above.

To have an idea on what the individual has or not in terms of kindness, it is enough for us to observe his behavior towards his close relations. It is by this observation that we are able to know him, which had said the Chinese philosopher Jou Mencius.

Love is a quality necessary to the perfection but it cannot be complete because we need wisdom to distinguish truth from falsehood, right from wrong, good from evil. There are plenty of generous people who, in spite of their gifts offered to the construction of the pagodas in a considerable way, continue to be entangled in an inauspicious behavior because they do not manage to distinguish right from wrong. It happens that they may be badly considered sometimes compared to those who never have the occasion to take part in this generous contribution.

In Vietnam, the Lý dynasty was famous for its irreproachable enthusiasm towards Buddhism by the bias of a great number of constructions of pagodas. That unrelentingly led the people to misery because of the too high taxes and ineluctably caused the popular discontent which was the principal cause of its fall.

Whatever his educational level, man always has in him Wisdom because when we act badly or not, we will know it thanks to our own conscience. For example, when one tries to lie, one feels ashamed towards oneself although the person to whom one lied does not know it. It is the wisdom which helps us make this distinction. The French philosopher Blaise Pascal had the occasion to stress that man is a thinking reed.

To continue to lie or act badly or not, we need Will. It is easy to evoke this quality but it appears difficult for us to have it because we are obliged to go sometimes against our own interests or to be losers at times also. Sometimes it happens to us not to have a safe life. I refer to some Chinese or Vietnamese historical facts with an aim of enabling us to be together to reflect and respectfully admire the people whom I regard as knowing how to perfect themselves because they had the three qualities evoked above. They became famous characters in the history of China and Vietnam.

Initially, it was the case of Zhuge Liang ( or Gia Cát Lượng in Vietnamese). He was at the same time Prime Minister and adviser to Liu Bei, the last survivor of the Han dynasty ( Lưu Hoài Ðức ) in China. The Barbarians coming from the steppes of the North of China and directed by Manh Hoạch often liked to raid the territory of his kingdom. Zhuge Liang managed to capture Manh Hoạch 7 times but this latter was released immediately on the order of Zhuge Liang at each capture. He was very generous. He was equipped with an extraordinary wisdom because he found that it was necessary to convince Manh Hoach by the means of love and feelings. If Manh Hoạch had been killed, there would be probably another Manh Hoạch. That obliged him to frequently assemble punitive expeditions and did not allow him to have the free hand to restore the Han dynasty and to bring back peace and happiness to its citizens.

It was why he continued to release impassively Manh Hoach at the time of each capture. He had an incommensurable will because he knew that to prevent Manh Hoach from betraying later, he was to waste much time, to forget the personal interests and to give himself many concerns with his rather advanced age. It would be less tiring for him if he decided to kill Manh Hoach because he was not obliged to assemble up to 7 times the punitive expedition. At the time of the last capture, when he was about to usually release Manh Hoach, this latter started to cry and to surrender definitively. Zhuge Liang had these three qualities evoked above. Although he is not a monk, we can affirm that with the three qualities found in him ( Love, Wisdom and Will ), he knew how to perfect himself and he was already regarded as a Wise one at the time of the Three Kingdoms.

In Vietnam, there are also kings whom we can regard as the Wise ones. It is the case of king Lý Thánh Tôn which had these 3 qualities quoted above. This is why he was known in the history of Vietnam as an intelligent king, distinguished, charitable and valiant. The revolt of the king of Champa, Chế Cũ obliged him to assemble a punitive expedition while leaving regency to his concubine Ỷ Lan. Faced with the determination of Chế Cũ, he was not able to capture him after several months of expedition. Disappointed, he was obliged to return to the country. On his return, he learned that his people did not cease praising the talent of his concubine Ỷ Lan in the art of governing the country. He felt ashamed and decided to return to the front. When he succeeded to capture Chế Cũ, he could have killed this one to alleviate his anger but he preferred to let him return to his country.

It was why Viet-Nam knew a period of peace, prosperity and happiness. He was very charitable because he let the one who had humiliated him in front of his people leave. He lost much time in order to be able to capture him. Are we capable of acting as he did if we were in his place? One fine day, during one period when the winter was hard, he addressed his mandarins in the following terms:

By dressing myself in this manner, I continue to be stiff with cold. How do people manage to resist this rigorous cold especially the poor when it is known that they do not have enough money to feed themselves?. It is necessary to give them as of now additional food and clothes.

Another time, while holding company with his daughter, the princess Ðông Thiên, at the time of an audience, he turned to his mandarins in saying to them:

I have a deep love for my people as that which I always have for my daughter. Unfortunately, the people is so little informed that it does not cease to make mistakes. It is for that that I have so much pity for it. I kindly request you to decrease the punishments and the pains inflicted.

His wisdom was incommensurable. To conquer Champa, he knew that it was necessary to convince and calm Chế Cũ although he was humiliated and upset to compare what he had undergone to what his concubine had done, a woman coming from a rural environment, Y? Lan for his people during his absence. He could kill Chế Cũ to alleviate his anger and to wash this momentary insult. But he was a courageous man who could put the interests of his people before his personal interests. He was really the person having the three evoked qualities.

 
Whatever the situation we are in, we, Caodaïsts, we must try to improve ourselves. That sometimes happened to me to want to continue this step. It is necessary to recognize that it is not easy to concretize it. I do not hide either that I had also the daily difficulties but I feel relieved enormously when I succeeded in concretizing it a little. I am delighted because I realize that I start to improve myself even if that appears negligible.

img_9502

A young Caodaïst

That reminds me of the sentence that Ung Giả Vi wrote in the Conversations of Wise Confucius:

Nhân viên hồ tai! Ngã dục nhân, Tư Nhân chi hỷ!
Nhân có xa đâu! Ta muốn nhân thì nhân đến vậy!

The virtue is not far! One will be able to have it if one really wants it.

that enables me to be convinced that GOOD or EVIL exists well in each one of us. I understand that it is not necessary to go to the pagoda or the church to be able to improve oneself. I am able to do it if I do not forget what God in the bible of the Caodaïsts said that I had the occasion to read:

If you want to be a true Caodaïst, it is necessary that you have Love and the moral principle. It is absolutely necessary for you to improve yourself.

You merit to thus wear this white tunic, symbol of purity. You feel more than ever proud to be a Caodaïst.