In the region of the Red River Delta, there exists a unique type of temple known by historians as the Pre-Buddhist Post-Saint Temple. This is reflected in various aspects such as layout, architecture, and worship practices. The overall structure is relatively stable in terms of architectural standards, with similarities in religious content. These temples not only worship the Buddha but also venerate Saints (sometimes, the veneration of Saints is even more prominent than that of the Buddha). People often visit these temples to seek blessings from the Saints, sometimes leaning towards seeking help from the Buddha. The Saints, also known as Zen Masters in Vietnamese Buddhism, have contributed significantly to the history of each period, reflecting profound changes in Vietnam's politics, economy, society, and thought, especially during the period from the 10th to the 16th-17th centuries, extending to the present day.

A survey indicates that among the well-known Saints in the Pre-Buddhist Post-Saint Temples, figures like Saint Tu Dao Hanh, Saint Duong Khong Lo, Saint Nguyen Minh Khong, Saint Nguyen Giac Hai, and Saint Boi (Nguyen Nhu) are widely revered. Saint Tu Dao Hanh, a renowned monk during the Ly dynasty, played a crucial role in establishing the independence of the country. His biography and contributions are deeply intertwined with the Ly dynasty and the people.

The Dai Bi Pagoda in Nam Giang town, Nam Truc district, not only worships the Buddha but also venerates Saint Tu Dao Hanh. According to folklore, after his father was harmed by Dien Thanh's minister using magical powers, Saint Tu Dao Hanh brought his mother, Mrs. Tang Thi Loan, to seek refuge and build a meditation temple.

The Dai Bi Pagoda is situated on a flat and spacious land with a unique architectural style. According to legend, the pagoda's land has the shape of a dragon's head. On both sides of the temple gate, there are two round wells that locals refer to as the dragon's eyes. Located in the center of Nam Giang town, the pagoda is conveniently accessible for sightseeing, emphasizing the cultural and historical values of the site.

The architectural system of the pagoda exhibits many unique features. The Three Gates (temple gate) are not centered but built diagonally towards the east. Despite several renovations, the Three Gates still retain many carvings dating back to the Later Le dynasty (17th-18th centuries).

Beyond the Three Gates is a spacious courtyard, showcasing a beautifully designed temple. The pagoda's roof is wide and slightly low, with symmetrically pointed corners that create a light and graceful architectural style. The wooden door at the center of the main hall is intricately carved with images of dragons, flowers, and clouds. Inside the pagoda, Buddha statues are arranged, similar to other Vietnamese temples. What distinguishes Dai Bi Pagoda is the right side, where the Tam Bao houses the altar of Saint Tu Dao Hanh and Giac Hai Zen Master, individuals with significant contributions to the nation's Buddhist practices.

The pagoda's stone-carved statues are exquisite, and there are numerous valuable historical and artistic artifacts, such as stone steles and couplets.

Behind the pagoda is a bell tower with a unique candle-shaped bell, featuring eight gently curving edges. This structure is the most valuable contribution to the Dai Bi Pagoda.

After the bell tower is the ancestral house, where the 28th patriarch, Bodhidharma, is venerated as the founder of the Zen sect. The Dai Bi Pagoda also includes a worship area for the Mother, a folk belief that Vietnamese people have practiced for generations.

Despite the ups and downs of history, natural challenges, and foreign invasions, the Dai Bi Pagoda has been well-preserved and regularly renovated. Today, it still possesses many valuable artifacts, such as stone columns from previous constructions at the Three Gates and dragon, leaf, and cloud carvings inside the Buddha worship area, reflecting the distinctive style of the Later Le period.

With a combination of domestic and foreign architectural styles, the Dai Bi Pagoda has around 60 chambers, mostly made of ironwood. The entire structure is well-balanced and sturdy, giving the impression of gradual elevation in architecture and expansion along a central axis, creating a grand overall appearance. Two gradually descending corridors add simplicity and enhance the pagoda's beauty.

Throughout various dynasties, the Dai Bi Pagoda has undergone several renovations and repairs. Today, the pagoda still retains 10 stone steles. The oldest stele dates back to the fourth year of Vinh Tri, during the reign of King Le Hy Tong (1679), and a bronze bell weighing over 2 tons was cast in the 28th year of Minh Mang's reign (1847). The Vân Chàng forge (Nam Giang) also contributed various artifacts to the pagoda, such as iron lamps, tiger-shaped handles, and some uniquely crafted wooden heads, adding richness and uniqueness to the pagoda's festivals.

The Dai Bi Pagoda also preserves numerous valuable artifacts, antiques, and ancient scriptures. Notably, the oldest engraved stone stele, dating back to the Kỷ Mùi year (1679) of the Le Hy Tong dynasty, and ten ordination certificates, including a large bell standing 2 meters tall cast in the 18th year of Minh Mang's reign (1838).

In "Tân Biên Nam Định địa dư chí lược" by the third generation scholar Tiến Sĩ Khiếu Năng Tĩnh, born in the Canh Thi year (1880), there is a mention:

"Wealth or poverty, let's celebrate the spring,
Light incense for blessings, and footsteps in joy.
First and foremost is the assembly at Phu Day,
Joyful as it is, without forgetting the Dai Bi Pagoda."

The Dai Bi Pagoda's festival is renowned throughout the region, similar to the festivals at Thay Pagoda and Lang Pagoda (Hanoi) that venerate Saint Tu Dao Hanh. These temples not only host Buddhist ceremonies but also organize festivals to honor Saint Tu Dao Hanh. The act of venerating the Saint is not only carried out by monks and practitioners but also by temple priests, sometimes referred to as Mr. Thong, Mrs. Tu – respected individuals chosen and elected by the community for their reputation and virtue. According to tradition, the Dai Bi Pagoda festival begins from the 21st to the 24th day of the lunar January, incorporating various Buddhist rituals intertwined with folk beliefs. The schedule includes the Offering Ceremony on the 21st day, according to Buddhist customs, and a procession on the 22nd day involving villages like Vân Chàng, Giáp Tư, Giáp Ba. After the ritual ceremonies, there are folk games such as cockfighting, wrestling, swings, human chess. In the evening, there is a puppet show (figuratively representing the miracles of the Saint), portraying the Saint's life, human morality, and the philosophy of life, culminating on the 24th day with a gratitude ceremony for the Saint. Additionally, the Dai Bi Pagoda hosts the Vieng Fair, a unique market held only once on the 8th day of January, featuring an empty space in front of the temple gate where people trade seeds, ornamental plants, antiques, and vintage items, reflecting an agricultural fair coupled with the distinctiveness of the temple.

In the folk spiritual system of the Vietnamese people, Saint Tu Dao Hanh is considered a god-like figure. Various sources indicate that as time progresses, the Saint becomes more mystical, supernatural, distinctly different from ordinary people. The process of meditation, learning and practicing the teachings of the Saint involves numerous magical feats and contributions to the nation's well-being, elevating him to the status of an elder brother with a magical and authoritative presence, represented under the images of "living Buddha - living immortal - living king," with two incarnations as a king. It is said that he was the forefather of King Ly Thanh Tong and King Le Thanh Tong.

To this day, the role and influence of the Saint in the local community remain significant, reflected in the worship of the Saint, various rituals, customs, and daily life of the people. Even at the Dai Bi Pagoda, one can perceive the Saint's crucial role in the lives of the people, manifested in the pagoda's architecture. The Three Gates, together with the main entrance, are built on the same horizontal axis, not symmetrically. The Three Gates are always closed, only open on temple festival days; the main pathway is dedicated to the Saint, indicating a stronger influence of the Saint's worship compared to that of the Buddha. The Three Gates are not centered but tilted towards the West, directly aligned with the altar of Saint Tu Dao Hanh, emphasizing that this is the spiritual axis of the temple, showcasing the Saint's paramount role. Other structures are symmetrically constructed along this spiritual axis, expressing the Saint's transcendent significance. The clearest manifestation of the Saint's supremacy is during the festival honoring him. According to our field notes, the worship of the Saint is considered more important than that of the Buddha, or in other words, the Saint's ceremony is primary. When people from the Vân Chàng, Giáp Tư, Giáp Ba villages and nearby areas go to the temple, they often refer to it as the Saint's festival, where offerings to the Saint take precedence. This includes both salty and usual offerings, with the ceremony dedicated to the Saint being the primary focus, unlike the regular offerings to the Buddha, which usually consist of incense, tea, and flowers. People attend the festival not only during the scheduled festival days but throughout the year.

The belief in Saint Tu Dao Hanh on the land of Nam Truc, coupled with the unique architecture of the Dai Bi Pagoda – a hundred-chambered pagoda, authentically Vietnamese – flourished in the 17th century and continues to exist today, demonstrating the enduring vitality of the Vietnamese people. With its representative values in history, culture, and artistic architecture, the Dai Bi Pagoda was recognized as a National Heritage Site in 1964.

Source: https://namtruc.namdinh.gov.vn/di-tich-lsvh-cap-quoc-gia/chua-dai-bi-98510
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