Stone carvings at Dong Vu Pagoda

Dong Vu Pagoda (Dao Ly, Ly Nhan) is located in a contiguous plot of land, next to the communal house, facing northeast and southwest, overlooking the well in front of the communal house. Based on the inscription on the "Sung Khanh Pagoda Stele" dated Thong Nguyen 4 (1525) and the "Sung Khanh Bao Pagoda Jade Stone" dated Chinh Hoa 25 (1704), Dong Vu Pagoda was built at the beginning of the Early Le Dynasty. The main structure has a floor plan in the shape of the Chinese character "ding," consisting of two buildings: the front hall (5 bays) and the upper hall (3 bays), built in the style of gable walls with stepped levels, and roofed with southern-style tiles. The front hall and upper hall have intertwined roofs, forming a self-contained structure.

In particular, in front of the temple courtyard stands a stone bell with the Chinese characters "Sùng Khánh Bảo tự ngọc thạch", in the 25th year of the Chính Hoà era (1704). This is one of the two oldest ancient stone bells in Ha Nam province (the oldest bell is the one from Dieu Pagoda, Vu Ban, Binh Luc, dating back to the 13th year of the Chinh Hoa era (1692)). The Dong Vu Pagoda stone bell is shaped like a bat's wing, weighs about 300kg, is 98cm high at its highest point, 1.48m wide at its widest point, and 1.4cm thick. The top of the bell is carved with a pair of dragons in a "descending dragon" pose. The dragons are arranged in a coiled style, with their tails arched upwards and curled backwards, their bodies thick with scales and fins. The dragons have large faces, rounded noses, small eyes, and chins with four pairs of short whiskers. The dragons are decorated with cloud patterns and round pearls. The neck of the bell is divided into 6 squares: 3 squares on the right each have a single character carved in relief, together forming "Bao Ngoc Thach" (Precious Jade Stone), and 3 squares on the left each have a single character carved in relief, together forming "Sung Khanh Tu" (Celebrating the Temple). Interspersed between the first two characters are carved chrysanthemum flowers and Bodhi leaves. In the middle of the neck of the bell is a circular hole with a diameter of 7cm for attaching a hanging rod. Particularly noteworthy are the two elliptical compartments on either side of the bell, each containing two embossed animal figures: one male and one female, in a standing position. The male animal in the right compartment is hunched over, its head turned upwards. The female animal in the left compartment is kneeling, with two offspring below: one reaching its neck to receive its mother's teat, while the other stands on its hind legs, grasping its mother's tail. The bell's interior is engraved with Chinese characters recording the merits of those who contributed to the temple's construction and the village's communal land area. The back of the bell is plain and undecorated; in the center of the bell's neck is a hole for attaching a hanging handle, below which is an inscription in Chinese characters detailing the reign, date, month, and year of the bell's creation.

Regarding the origin of the bell, according to the book "Tuong Khi Tieu" (18th volume), it is recorded: "Master Van Chuong said: the shape of the bell resembles a cloud, so people often call the bell 'Van Ban' (Cloud Bell)." Mr. Tuc Su Lao also recounted: "Emperor Song Taizu believed that the sound of drums startled sleeping people, so instead of using drums, Emperor Song Taizu invented the use of iron bells (iron bells)." This type of bell is also called "chinh," which means cloud bell. The Sanskrit word for bell is "Kien Chui" (in Buddhist law, it is also called "Kien Chua Thanh").

Stone carvings at Dong Vu Pagoda. Photo: Do ​​Hien

The stone bell of Dong Vu Pagoda was created more than three centuries ago. In terms of material, size, weight, content, and decorative artistry, it blends into a unified whole, like a vibrant folk painting combining text and scenery, traditional symbols with folk aesthetics… functioning as one of the sacred objects of Buddhism. The stone bell of Dong Vu Pagoda fully displays symbols with a unique style, quite different from other bronze and stone bells that have been collected and presented by researchers.

Through the study of the stone carvings at Dong Vu Pagoda, the decorative themes clearly demonstrate the intermingling of Confucianism, Buddhism, and folk beliefs.

The Bodhi Leaf Symbol: The Bodhi leaf decoration on the bell focuses on the two ear-shaped compartments. Here, the Bodhi leaf is stylized as an inverted heart, consisting of two borders: the outer border is cloud-like, and the inner border is a smooth, raised edge. According to Buddhist legend, after many years of ascetic practice without achieving enlightenment, Prince Siddhartha sat under the Bodhi tree to contemplate steadfastly, overcoming all threatening and tempting forces. The truth gradually shone through, and he finally attained enlightenment, becoming the Buddha. The Bodhi tree and Bodhi leaf are themes frequently used in the carvings of temples. The Bodhi leaf carries the profound meaning of taking refuge in the Buddha's teachings and achieving enlightenment.

The chrysanthemum and lotus flower symbols: These two flowers are frequently used in Vietnamese art, especially in architecture and religious artifacts. The chrysanthemum is considered a counterpart to the lotus, forming a yin-yang pair, with the chrysanthemum representing yang and the lotus representing yin. The lotus symbolizes elegance, purity, and nobility. In Buddhism, the lotus flower is often associated with Buddhas – Buddhas seated on lotus pedestals. The lotus also represents cause and effect, as the fruit is already present within the flower, symbolizing the Buddhist concept of karma. The chrysanthemum represents the sun and stars, symbolizing the power of nature bringing happiness to humanity.

The image of the dragon: No one knows exactly when the dragon originated in the Vietnamese psyche, but it's possible that it arrived in Vietnam with Buddhism and then merged with the serpent, the guardian of water sources, gradually becoming the Vietnamese dragon. This dragon symbolizes the veneration of Buddhism and, consequently, the veneration of the dragon's spiritual power. The dragon represents good fortune and is associated with sacredness and nobility. When Ly Cong Uan left the capital of Hoa Lu to seek another location, a golden dragon appeared to signal auspicious land, leading to the creation of Thang Long, the capital that is now over a thousand years old. Dragons are frequently depicted in architecture, religious artifacts, and temple relics with various themes and motifs. In each historical period, the dragon in historical sites has different meanings. During the Ly Dynasty, the dragon was associated with the noble and powerful king. During the Tran Dynasty, especially from the latter half of the 14th century, the dragon began to become more common, simple, and approachable. During the Early Le Dynasty, when Confucianism began to flourish, dragons were divided into two ranks: five-clawed dragons for the king and four-clawed dragons for commoners. Whether associated with the king or the people, dragons have long been sacred creatures, representing both authority and embodying the ancient people's dreams and aspirations for water resources and bountiful harvests.

Regarding themes rooted in folk beliefs: Besides symbols of Confucianism (dragon motif) and Buddhism (Bodhi leaf, lotus flower, chrysanthemum), it is noteworthy that the two oval-shaped bell-shaped ornaments also feature a pair of "mythical creatures," one male and one female, clearly representing fertility beliefs. The image of the baby animal receiving its mother's milk evokes the story of the Buddha. When practicing asceticism, Siddhartha Gautama failed, and upon descending the mountain, he was offered milk by a cowherd girl. After drinking it, he cleansed himself, felt refreshed, and sat in meditation, eventually attaining perfect enlightenment (becoming a Buddha). Through this story, the ancients wanted to convey that practitioners should not be dependent on the method of practice but should focus on meditation, elevating their wisdom to achieve enlightenment and liberation. This is a profound expression of the non-attachment aspect of Buddhism.

Compared to the bronze bell of Thien Mu Pagoda, Hue, dating back to the 2nd year of Vinh Tri (1677), the stone bell of Dieu Pagoda (Vu Ban, Binh Luc), dating back to the 13th year of Chinh Hoa (1692), the bronze bell of Dai Bi Pagoda (Hoai Duc, Hanoi ), dating back to the 6th year of Canh Hung (1745), the stone bell of Tam Son Pagoda (Tien Son, Bac Ninh), made at the end of the 17th century… the stone bell of Dong Vu Pagoda, dating back to the 25th year of Chinh Hoa (1704), is one of the earliest surviving stone bells.

The decorations on the bell depict a vibrant picture combining content and artistic decoration. Folk beliefs intertwine with the power and authority of the time and the yearning for the prosperity of Buddhism to become the state religion, recalling the flourishing period of Buddhism in a region with a rich history and culture. Furthermore, the content of the bell is a valuable source of information about the place name, land situation, cultural life, and beliefs of the contemporary inhabitants, which warrants further study and research.

Do Van Hien

Source link: https://baohanam.com.vn/van-hoa/di-san/khanh-da-chua-dong-vu-101344.html