Thọ Vực Pagoda is a religious and spiritual relic located in the area of Yên Nghĩa Ward, Hanoi City, in the Thọ Vực area. The pagoda is located at Quyết Thắng Road, near the Đáy River dike, within the traditional residential space of the local community.
Thọ Vực Pagoda was built on a relatively flat, spacious plot of land within the landscape space along the Đáy River. This is an area whose terrain is associated with the alluvial system, the drainage basin, and the long-standing residential area of agricultural communities.
In the traditional worldview of the Vietnamese people, the selection of sites for building communal houses and pagodas is usually closely tied to the natural landscape. The space of Thọ Vực Pagoda also clearly reflects that characteristic. In front of the pagoda is a relatively open space, creating a sense of openness; behind and around it are linked with the residential area, trees, and natural landscape elements.
The pagoda grounds have a system of ancient trees, ornamental plants, and courtyards that form transitional layers of space from the outside into the worship area. If considered according to traditional feng shui concepts, the presence of water, the pagoda pond, and the open space in front create a position of “minh đường tụ thủy”, contributing to making the relic landscape more harmonious.
The pagoda space is not merely a place for Buddhist practice but also part of community cultural life. Over time, it has become a place for spiritual activities, Buddhist worship, commemoration of predecessors, and community gatherings on traditional festivals and holidays.
Overall, Thọ Vực Pagoda is arranged according to the traditional architectural style of a Northern Vietnamese village pagoda. The core of the relic is the Tam bảo (Three Jewels) hall, including the Tiền đường (Front Hall) and Thượng điện (Upper Hall), combined with auxiliary structures to form a relatively enclosed complex.
Among these, the Tiền đường and Thượng điện are the two most important parts of the main structure. The connection between the two buildings creates a floor plan in the form of the Đinh (丁) character, a layout type quite common in traditional pagoda architecture in Northern Vietnam.
In addition to the main architectural block, there are auxiliary items, courtyards and gardens, trees, the stupa area, and other landscape components. The structures are organized relatively harmoniously, both meeting usage requirements and creating a spatial transition from the everyday world into sacred space.
The Tam quan is an architectural component that functions to create a focal point and define the boundary between the outside space and the pagoda grounds.
The Tam quan of Thọ Vực Pagoda was built in the form of two tiers with eight roofs and overlapping eaves, creating a relatively prominent architectural form within the overall relic complex. The roof ends have a certain curvature, giving the structure a soft and graceful appearance.
The roof system is organized into multiple layers, both creating height for the Tam quan and increasing the solemnity of the structure. The roof and architectural components are handled according to traditional aesthetic concepts, in which decorative lines are not overly heavy but tend toward balance and harmony.
On both sides of the Tam quan area there is a system of ceremonial pillars (trụ biểu). On the pillar bodies are Chinese-character couplets, whose content mainly praises the Buddhist realm, the merits of predecessors, and the formation and development of the village community.
The tops of the pillars are decorated with traditional sacred-animal motifs such as phoenix and nghê in attendance. These motifs not only have decorative value but also carry symbolic meaning, expressing traditional residents' concepts of protection, sanctity, and good fortune.
The Tam quan therefore not only has architectural value but also contributes to creating the appearance and sacred atmosphere of the entire relic site.
Passing through the three-entrance gate is a courtyard leading into the Tam Bao area. The temple courtyard serves as a transitional space, helping to create a relatively clear separation between the outside area and the area of Buddha worship.
The courtyard space is combined with greenery to form a landscaped buffer. During festivals, lunar new moon and full moon days, or important Buddhist occasions, this is also a gathering place for local people and Buddhists.
The presence of ancient trees within the grounds contributes to enhancing the historic character of the relic site. Large trunks and broad canopies provide shade and at the same time make the temple space quieter than the landscape of the residential area outside.
The Tam Bao Hall is the most important architectural component of Tho Vuc Pagoda and also the center of the entire worship space.
The structure consists of two main parts: Tien Duong and Thuong Dien, connected to each other along the longitudinal axis, forming a Dinh-shaped layout.
The Front Hall consists of 5 bays, is the place where ritual ceremonies, incense offerings, and community religious activities are carried out.
The load-bearing frame of the structure mainly uses traditional wooden construction, combined with a brick enclosing wall system. The truss structure is organized according to traditional forms such as chong ruong, con nhi, and ke chuyen, creating a solid load-bearing system that also has aesthetic value.
Wooden components such as lever ends, corbels, beams, and decorative parts are handled relatively delicately. The decorative themes focus on familiar motifs of traditional art such as:
Dragon;
Ly;
Turtle;
Phoenix;
Pine;
Chrysanthemum;
Bamboo;
Apricot blossom.
These images both create beauty for the architecture and embody concepts of authority, permanence, nobility, good fortune, and harmony between humans and nature.
The art of wood carving tends to use soft, free-flowing lines while still maintaining the solemnity required of a religious structure.
The roof of Tien Duong has a slope suited to traditional architecture, creating balance between the height and width of the structure. The door system opening toward the courtyard increases ventilation and at the same time creates a connection between the ceremonial space and the outside landscape.
Directly connected to the central bay of Tien Duong is Thuong Dien Hall. This is the most important and solemn area in the entire Buddhist architectural system of the relic site.
Thuong Dien is built along the longitudinal axis, forming a layout the Đinh (丁) character. The interior space is relatively deeper, higher, and more enclosed than Tien Duong in order to create solemnity for the area housing the Buddha statue system.
Rows of wooden columns play the main load-bearing role, combining with the system of beams, trusses, and roof to form a traditional architectural frame.
The space of Thuong Dien is organized according to the hierarchical principle of the statue system. The statues are placed on pedestals, niches, or tiers of worship platforms according to rank, thereby creating spatial depth and the solemnity of the Buddha hall.
This is also the place that preserves and promotes the most important value of Tho Vuc Pagoda, namely the system of Buddha statues, Dharma protector statues, and worship objects.
A valuable component within the space of Tho Vuc Pagoda is the area patriarch stupa garden, located on the left side of the Tam Bao Hall.
The stupa garden is arranged relatively separately from the main ceremonial area, forming a quiet space for commemorating the high monks who once practiced, served as abbots, and passed away at the temple.
According to the provided documentation, this area currently has about 6 tomb stupas. The stupas are built of brick, and some locations may have been restored through various periods.
SYSTEM OF BUDDHIST STATUES
The outstanding value of Tho Vuc Pagoda is also reflected in the system of Buddhist statues arranged in the Tam Bao hall.
The statues are arranged hierarchically from high to low, forming a relatively complete artistic and religious whole.
A notable point in the system of Buddhist statues at Tho Vuc Pagoda is the diversity of materials.
Besides traditional wooden statues, there are also statues made of bronze and cast iron. The metal statues have a sturdy structure, relatively full forms, and demonstrate traditional casting techniques.
Some statues still retain layers of red lacquer, gilding, or traces of restoration and repainting over time. These traces contribute to the antique appearance of the statue system.
The altar objects in the pagoda, together with the statue system, incense burners, censers, bells, gongs, and ritual utensils, form a whole that reflects the religious life of the local community.
For inventory and conservation work, each artifact needs to be measured, and its material, dimensions, relative date, condition, and specific arrangement position identified, to provide a basis for fully assessing the value of the relic site.
One of the relics of documentary value mentioned at Tho Vuc Pagoda is the stone stele “Thiên Thọ tự bi ký”, dating to the year 1885.
The stele is erected on a stone base; the top of the stele is decorated with a motif of dragons facing each other, and the border uses a floral scroll motif. The inscription is carved in Han characters.
The existence of the stele inscription is a particularly important source for researching the history of the pagoda. If fully translated and studied, the inscription content could provide information about the construction and repair of the pagoda, donors, abbots, Buddhist activities, as well as the situation of the local population in the 19th century.
In artistic terms, the stone stele is also valuable for its carving technique and Han-Nom calligraphy. The dragon image on the stele’s top, the decorative patterns on the border, and the system of characters carved on the stele surface reflect the level of artistic craftsmanship of Nguyen-era stone steles.
Therefore, the stele “Thiên Thọ tự bi ký” should be regarded as one of the artifacts that should be prioritized for inventory, conservation, and in-depth research within the overall heritage of Tho Vuc Pagoda.
Tho Vuc Pagoda is first of all a space for Buddhist religious practice of the local community. Over time, the pagoda has become a place where people come to worship the Buddha, pray for peace, practice traditional rituals, and maintain the community’s spiritual life.
The architecture, Buddhist statues, tomb stupas, and especially the stone stele system are important sources contributing to research on the formation and development history of the relic site.
Date of the stele “Thiên Thọ tự bi ký” in 1885, together with the system of tomb stupas and ancient artifacts, shows that the relic site has existed at least since before the 19th century and has continued to be maintained and restored through various periods.
The pagoda is a place that preserves many customs, rituals, and religious practices of the local residents.
The pagoda space also expresses the intermingling between Buddhism and folk beliefs, an important feature of the culture of Northern Vietnamese villages.
Items such as the three-entrance gate, Front Hall, Upper Hall, stupa garden, and wooden structural system form an architectural complex of value.
In particular, the layout Front hall – Upper hall in a T-shaped form, the traditional wooden roof-truss system and the art of carving on architectural components are elements that need to be studied and preserved.
The system of Buddha statues, Bodhisattva statues, Dharma protectors, and Encouraging Good – Punishing Evil statues forms a valuable collection of Buddhist art.
The diversity in materials, sculptural styles, and arrangement makes the statue system a source of documentation for research on traditional Buddhist fine arts.
Stele “Thiên Thọ tự bi ký”, the couplets and Han script in the relic are Han-Nom documentary sources that need protection.
The transliteration, translation of meaning, and study of the texts will contribute to further clarifying the history of Thọ Vực Pagoda as well as the history of the local community.
Thọ Vực Pagoda is a religious and belief work of significance in the cultural life of the community Yên Nghĩa Ward, Hà Đông District, Hà Nội City. Located in the landscape space along the Đáy River, the relic still retains the distinctive features of a traditional village pagoda in the Northern Delta region.
The value of Thọ Vực Pagoda is created by the combination of many factors: landscape space, traditional architecture, the statue system, the Patriarch stupa garden, stone steles, and ritual objects. In particular, the Three Jewels layout in the style Front hall – Upper hall, the system of Three Worlds, Amitabha Trinity, Shakyamuni, Nine Dragons, Dharma protectors, and Encouraging Good – Punishing Evil statues creates a relatively complete Buddhist whole.
In particular, the stele “Thiên Thọ tự bi ký” dated 1885 is a source of valuable documentary material on history, culture, and Han-Nom, and needs to be protected and studied.
In the rapid urbanization process of the Yên Nghĩa area, Thọ Vực Pagoda has all the more significance as a space preserving the community's cultural memory, helping identify the traditional cultural layer that has long existed alongside the development of the modern city.
The preservation of Thọ Vực Pagoda therefore not only aims to preserve a religious architectural work but also contributes to protecting village memory, traditional art, Han-Nom heritage, and the belief life of the local community. This is an important basis for continuing research, inventory, scientific documentation, and proposing solutions to preserve and promote the relic's value in contemporary cultural life.
