Norbulingka Summer Palace Norbulingka, which means “Treasure Park”, was once the summer palace of the Dalai Lama with many lakes as well as the tallest, largest and most beautiful gardens in the Tibetan plateau. Originally built with just a palace in the 1740s after the 7th Dalai Lama discovered the beauty of this wilderness and remoteness, after nearly 300 years and through many generations of the Dalai Lama Lama, the complex includes 5 palaces: Tsokyil, Kelsang, Takten Migyur, Golden Linka and Lake Heart. The palace has more than 370 rooms and 30,000 cultural relics to explore. Highlights include the Temple of the Dragon King, New Palace murals, Han-style pavilions, the Tibet Museum, and Norbulingka Zoo. Yerpa Nestled on the slopes of Dagze, Yerpa is a series of ancient caves, temples and chapels carved into the limestone cliffs of the Yerpa Valley. These caves were very important in pre-Buddhist times and later became a meditation site for famous Buddhist figures such as Songtsen Gampo, Padmasambhava and Atisha. Today, the slopes are covered in multicolored prayer flags. Yerpa is mainly visited by Tibetan pilgrims, but the fresh air and rural landscape are well worth a visit. Tibet Museum The Tibet Museum is the official museum and the first modern museum of Tibet. Housed in the Norbulingka Summer Palace, it houses more than 520,000 relics and antiquities, ranging from Chinese pottery to ancient Buddhist statues. Built in 1994 with typical Tibetan and Chinese architectural styles, the museum opened in late 1999. Don’t miss the decorative beams and wall hangings in the Prelude gallery, and folk art. Tibetan folklore from handicrafts, costumes to jewelry. Ganden Monastery Overlooking the Kyi-chu valley on the slopes of Mount Wangbur and comprising more than 50 buildings, Ganden Monastery is one of the oldest and largest Gelugpa Buddhist monasteries ever built. The monastery was founded in 1409 by Tsongkhapa, the master of the Yellow Hat sect in Tibetan Buddhism. When he died a decade later, his mummy was buried in a tomb covered with silver and gold. The monastery was attacked during the 1959 rebellion and then shot by Red Guard artillery in 1966, Tsongkhapa’s remains were destroyed. Today, Ganden is one of the three great monasteries of Lhasa. Don’t miss the annual Buddha Painting Festival in June and Ganden Kora, a 45-minute pilgrimage around the sanctuary with incredible views over the Lhasa River. Drepung Monastery Surrounded by mountains on all three sides, Drepung Monastery consists of pagodas and chapels painted in yellow and red along the slopes of the Gambo Utse mountain. With an impressive 600-year history, Drepung Monastery was once the largest and most powerful monastery in Tibet, and was also home to more than 10,000 monks in its heyday. Currently there are only 300 people, but this is still one of the 3 great monasteries of Lhasa. Currently Drepung contains 7 universities including: Deyang, Gomang, Shagkor, Loseling, Gyelwa, Dulwa, Ngagpa and Tosamling, each teaching a different school of Tibetan Buddhism. Visitors can discover 500-year-old Buddha statues as well as spectacular antique murals, porcelain and paintings here. Barkhor Road Located in the old town of Lhasa, Barkhor Street is an ancient circular street that loops around the Jokhang Temple. Built in 647 by the first king of Tibet Songtsen Gampo, the path was formed at the feet of thousands of Buddhist pilgrims. Paved with polished stone slabs flanked by traditional shops selling Tibetan knives, prayer wheels and Tibetan scrolls, Barkhor Street is one of Lhasa’s most popular tourist attractions. Sera Monastery Located at the foot of Mount Pubuchok, Sera Monastery is one of the 3 great monasteries of Lhasa. It was named Sera, which means wild rose, after the hillside covered with roses was chosen to build the monastery. Today, with its tree-lined cobblestone walkways, it remains one of the most beautiful monasteries in Tibet. Founded in 1419, Sera Monastery is dedicated to the golden hat line of Tibetan Buddhism. During its heyday, it had 5 colleges and 5,000 monks. Jokhang Temple Jokhang Temple, also known as Jokhang Monastery, is the spiritual center of Tibet. Located in the heart of the old town, surrounded by Barkhor Road – the holiest pilgrimage route for Tibetan pilgrims. First built in the Tubo period, Jokhang Temple is the oldest and most sacred structure in Lhasa, with 3,000 images of Buddha and other deities. It has been rebuilt and expanded many times and has a harmonious blend of Chinese, Indian and Nepali-influenced architectural styles. Don’t forget to admire the jewel-encrusted Sakyamuni statue, Tibet’s most sacred statue, and climb to the rooftop for captivating views of the pilgrimage trail and the Potala palace. Potala Palace Perched on the slopes of the Red Mountain, the Potala Palace is the tallest ancient palace in the world. Having served as the winter palace of the Dalai Lama since the 7th century, the Potala (meaning High Heaven) is also the seat of the Tibetan government and a major military fortress. Originally built as Srong-brtsan-sgam-po’s palace on Mount Potala, it was demolished and rebuilt on its current site in 1645 – chosen to be located near the Great Monastery Lhasa. Today, this majestic red and white palace has more than 1,000 rooms, including the living space of the Dalai Lama, the ceremony room, the throne, and the gilded burial stupas of the former Dalai Lama.

Storm flowers are milky white, have 5 thin petals, bloom in clusters… In contrast, the flowers of the maple tree are slightly yellow. Storms interweave long lines along the coast. Storms not only have the effect of blocking wind, sand, salt tolerance and preserving soil, but also provide shade and shelter for other plants. In front of the Primary School and Cultural House of Sinh Ton island commune, there are maple trees. Storm tree in front of Nam Yet lighthouse. The storm leaves are almost like the square leaves, but thinner and smaller; soft, not as hard as the leaves, but very easy to crush. The three maple tree on Song Tu Tay Island is recognized as a Vietnam Heritage Tree. The height of the tree from the ground is 25m, the trunk circumference is 3.8m, the canopy is 35m wide. Through many storms, the tree canopy was shaken by the wind many times but still stood firm. The storm flower is so fragile, but the vitality is extremely strong. Sprouts of maple trees continue to proliferate. The storm tree stands proudly and lushly by the seashore, standing proudly in the middle of the sun and wind, burning skin and flesh. Phong Ba has become a symbol of courage, indomitable will of the land and Vietnamese people in the open sea, preserving the sovereignty of the sacred sea and islands of the Fatherland.

The song resounds in the summer wind: From the Lumbini garden the Buddha was born The fresh carefree flower blooms with the fragrance of the ten directions The city of Kapilavastu, the wind cheered, and the sky was bright People joyfully announce good news Prince Siddhartha was born. Lumbini – The sacred garden was officially recognized by Unesco as a world heritage site in 1997. Lumbini is located on a low hill at the foot of the Himalayas, about 25 kilometers east of the ancient Kapilavastu (now Kapilavastu), about 25 kilometers east of the Indian border. – Nepal 36 kilometers. Through the control gate, leave shoes outside, go inside, see a white building. White building At first, it was very strange to see the white building, but when I went inside, I realized that the building was built around to protect the excavated brick foundation to avoid further destruction. Because the camera could not be used, the crew could not record pictures, and memories could not be redrawn. Next to it is a stone that is said to be the footprints of the crown prince, protected in a glass cage. On the wall there is a stone bas-relief talking about the prince’s birth. Looking at the relief, you will see the queen with her hand on the branch of no concern and the birth of the crown prince on her side. Being able to sit quietly for a few minutes, no matter how far apart, the time apart seems to have not existed. But why this footprint is so respected, the answer lies at the base of the Bodhi tree by the Nile River. Next to the building is a stone pillar built by King Ashoka in 249 BC. King Ashoka Pillar Sit back here to meditate, more than 2500 years have passed, all traces remain, excavated and identified by archaeologists. If the location is not determined, everything is still there, but completely lost in the human mind. Confused about whether one person is present in this life, changing the outlook of many lives, just by saying one thing that everyone knows “blood is red, tears are salty” but it seems that everyone never knew. Called rebirth in the footsteps of Buddha. Following in the footsteps of Buddha… Looking across the lake is the Bodhi tree, formerly the tree of no concern. Legend has it that Queen Mada bathed in the pond, and when she went up to the tree to worry, she gave birth to a crown prince. There is no statue here, perhaps afraid of losing the beauty of the landscape, so the statue of the crown prince died and built another place. Came here without trying to walk a little more, so walking in the noonday sun, the group recorded a more brilliant golden image. Statue of the newborn Buddha Heaven and earth, Unique self. The world necessarily, Birth, aging, sickness and death. There are many ways to explain, if you don’t understand it, it’s okay, the conscious things can’t be separated, let life quietly answer. Is there anything outside the cycle of birth, aging, sickness and death? Leaving the garden of Lumbini, went to the city of Kapilavastu (Kapilavastu). Kapilavastu Citadel Kapila city lived peacefully in the life of the first king, who was happy Shakyamuni he had just been born. All the birds sing to celebrate the fragrant flowers and leaves. Bright rays of light shine throughout the mountains and rivers. Tree of no concern so far sentient beings are always reminded, where Lumbini still records how many happy days. Citadel of Ca-pil-la-vai is currently restoring the background of many brick foundations located at the palaces… Passing a place to see the prince standing in front of the room door, silently bid farewell. Once upon a time read Golden light by Uncle Vo Dinh Cuong, the passage about when the crown prince heard the voice: “ The hour has come! The hour has come!” Three times He went out, three times He came back. But the last time with determination, he put the hem of his shirt on his head, pulled back the curtain, and stepped out…” The places where the foundation of the citadel has been excavated, although it has not been determined where, but there is no place here that does not have that image. Go gradually to the gate of the East city, where the prince crossed the city to become ordained. Standing on the ruined brick floor looking to the East, imagine a Kien Trac horse soaring through the city gate like pictures cherished by many people since childhood, a way beyond the ceiling. Not enough time to get to the Anoma River, standing on the city floor and looking at the horizon. “The front is full of dark green water and forest! The majestic scene here makes people shiver: The Anoma River (Anoma) surges and waves. The message on the other side of the bank, each mountain range overlaps. on top of each other. Desolate, desolate, surrounded on all sides. Not a single human footprint has been left here! (Excerpt) Golden light – Vo Dinh Cuong) The Anoma stream undulating green reed banks, Looking at Shakyamuni’s azure water, his heart was steadfast, Come back, let me enjoy the golden light, I have determined to find the bright path to save sentient beings, … Anoma still remembers to set a shining example, We now vow to follow Compassion. Farewell to Kapilavastu, now also go to the East. The direction is sometimes not important, but the destination is in which direction. (Excerpt) “Travel to Indian Relics” – 2019)

Two weeks ago, just as dawn broke over the Ganges, a riverside resident discovered several bodies drifting into the shallows of the river most sacred to Indians. Darsan Nishad – a 35-year-old man working for a local environmental program – pulled the eight bodies out of the water. He then tied these bodies with sacks to take them away to check the cause of death. Finally, the unfortunate victims will be cremated – according to Hindu rites. “We don’t know where these bodies come from. We didn’t even know if they had any diseases,” said Nishad, pointing to the area where he and his colleagues had to carry out this difficult task. Hindus make offerings to the sacred Ganges River after scattering the ashes of their loved ones. Hundreds of bodies were found floating or buried in the river in May. Photo: Washington Post. Saddened by the experience, Nishad shared his belief in the Ganges, which Hindus revere as a sacred river. According to Hindu beliefs, anyone who has bathed in the river will be cleansed of all sins. “The river has great spiritual significance to us. Indians believe that if you dip yourself in this water even once, you will be protected for life,” said Nishad, standing a few feet from the crematorium in the river. “For us, the river is the goddess,” said Nishad. This is just a small number of hundreds of other bodies floating or buried in sand along the length of the river in the context that India suffered the second worst consequences in the world because of the Covid-19 pandemic. after America. Worried fisherman The mystery surrounding the bodies remains unanswered. Authorities have not been able to find out how many people have Covid-19 among those bodies. Many believe that some families have opted for extreme measures – dropping the bodies of loved ones in the Ganges – because they cannot afford to cremate them. Before the second wave of Covid-19 “swallowed” India, the cremation rite cost only 70 USD. However, the number has now risen to more than $400 – almost six times higher – since the end of April. In Sujabad – a large community that depends on the Ganges for a living – many people are currently without work. The Covid-19 pandemic has caused the loss of jobs for river boaters carrying pilgrims and tourists. With bodies constantly dropping into the river causing pollution, local fishermen are worried about their catch and fish stocks being affected. For many people, the source of fish on the sacred river has been a way of life for a long time. The Indian crematorium burns day and night. Photo: New York Times. According to people here, the most prosperous business at this time is providing wood for the crematorium. As of May 23, India recorded more than 26.2 million cases of Covid-19 and more than 295,000 deaths. The number of new infections per day in India has recently decreased, but the average number of deaths in the past 7 days has remained high, above 4,000 people per day. The “tsunami” of Covid-19 has put the Indian economy on the brink of collapse. Like the bodies found in the Ganges – whether they died from coronavirus, heart attacks or old age – residents of communities like Sujabad are falling victim to this virus. Government gets involved Images of floating bodies prompted authorities to step in. Patrol ships are deployed across more than 2,400 kilometers of the Ganges River. State and local governments have established a network of free cremation sites – providing firewood and inviting priests to perform Masses for families who cannot afford it. Hundreds of such crematoriums have been opened across Varanasi, the holy city on the banks of the Ganges in Uttar Pradesh state, and home to a series of steps leading down to the Ganges (called ghats). Usually, Hindus will gather in large numbers at ghats to bathe, baptize their children and scatter the ashes of the dead. However, now the ghats are uninhabited, while the crematoriums operate continuously day and night. In downtown Varanasi, officials have set up a Covid-19 “command center”. Here, thousands of staff will take calls from residents, check on patients, order ambulances for those in need of hospitalization and arrange cremation services. A large screen hung on the wall continuously displays the latest information on the number of hospital beds, oxygen supply and the number of new infections. Government employees patrol the Ganges River. Photo: Washington Post. Share with Washington Post , cleric Satindra Kumar in Varanasi could not hide his fatigue after long days of performing funeral rites. “I have performed the funeral rite 15 times in the past two days, most of the dead are patients with corona virus. People who don’t die from the disease also come here,” Kumar said. “The pandemic is so devastating! Everyone is afraid and suffering. I cannot stop what is happening, but I will continue to pray. I hope that will bring peace to the relatives of the deceased.” Even the poor still have to celebrate However, in rural areas, there is no similar service for the family of someone who has died of Covid-19 or other causes. Despite the extra cost, many people still make trips to the ghats to pray for their loved ones in accordance with Hindu custom. They believe that even with the added economic burden on their shoulders, they still have to bear to follow the ancestral traditions. Journalist of Washington Post witnessed a group of peasants reach out to one of Varanasi’s oldest ghats to perform funerals for three loved ones. Cremation platforms along the riverside. Photo: Getty. They prepare offerings consisting of pellets and spices, wrapped in large leaves under the supervision of a Hindu priest. After the bodies of three loved ones were blessed, the men stepped off the ghats, floated their offerings in the river, and began scattering the ashes. After that, besides the cremation fee, the group also had to pay the ceremony money for the ceremony just now. They anxiously counted every penny they had accumulated, plus the costs of barbers, photographers and gifts. They do not hesitate to pay expensive expenses to fulfill their religious obligations at a time of uncertainty, fear of an invisible and deadly force. “For generations, villagers have come here to perform the last rites of life,” said Lakshmi Singh, a farmer in his 60s. Bringing the ashes of unclaimed Covid-19 victims to the Ganges River Indian volunteers collect ashes from crematoriums to organize funerals for Covid-19 victims in Haridwar city.

The paintings of thousands of years white clouds fly As one of the world’s largest religions, throughout history, Buddhism has left mankind with millions of magnificent works. Among them, the “thousands of years of white clouds flying” paintings always have a very special position. In the world, there can be names like the Four Great Buddhist Mountains of China, Rongbuk Monastery, Tibet or the mountains like Taktsang Palphug (Bhutan), Golden Stone Pagoda (Myanmar) or Huyen Khong Temple (Myanmar). China)… In Vietnam, the holiest temples often have a similar location. Typically in the North, there is Dong Yen Tu pagoda located in Truc Lam Yen Tu complex located on Yen Son peak with an altitude of 1,068 m above sea level. As the “holy land” of the Truc Lam Zen sect, Yen Tu’s pure and secluded space is an ideal place for Zen practitioners to attain the Way. Further south, Linh Son Tien Thach Tu on the slopes of Ba Den mountain in Tay Ninh – the roof of the South is also a destination not to be missed. The 300-year-old temple is associated with the legend of Ba Den’s epiphany not only naming the whole land but also associated with the local residents’ belief in worshiping the Holy Mother Linh Son. Spiritual complex on the top of Fansipan The most prominent is the spiritual complex of Fansipan on the roof of Indochina, with an altitude of more than 3,000 m above sea level. Including 12 works bearing bold architecture of the ancient Vietnamese temples of the North of the 15th-XVI centuries, the complex makes visitors feel like they are lost in a pure region. The Arhat Street was silent and majestic in the mist; The great compassionate Amitabha Buddha statue covers all worlds or amazing natural phenomena such as Buddha light, sea of ​​clouds … all make Fansipan a sacred and peaceful destination. Decoding the sacred circuit of the mountain According to researchers on history – culture, the reason why high monks often choose high mountains to build pagodas is rooted deeply in the original Buddhist beliefs. Accordingly, Theravada Buddhism inherently advocates “out of the world”. Those who go to practice are called monastics, which means letting go of everything that belongs to the world. Buddhism believes that: If you want to practice, the mind must be pure, if you want to be pure, the six senses (eyes, nose, ears, mouth, body and nerves) should not have too much contact with the world. Therefore, the ancients often chose deserted places, away from the temptations of dusty places to study to quickly attain enlightenment. From a feng shui point of view, the terrain on the mountain is one of the ideal places, with good feng shui, receiving a lot of energy from heaven and earth, converging spiritual energy, creating a solemn and solemn atmosphere. If you build a pagoda next to the sacred gas gathering points, you will always get prosperity, the pagoda will be sacred and last for years. That is also the reason why the spiritual population on Fansipan peak is agreed by many feng shui researchers that: The peak of 3,143 m in Vietnam is one of the landmarks on the meridian line starting from the roof of the world to the top of the world. to the Gulf of Mindanao Philippines, converging in itself full of the quintessence, the spirit of heaven and earth. Venerable Thich Duc Thien, Secretary General of the Central Executive Council of the Vietnam Buddhist Sangha also commented: Fansipan – the highest mountain in the thousands of thousands of mountains in the majestic Hoang Lien Son range, the great blood vessel of the country, the source of spiritual energy… Cultural and spiritual complex, including a system of pagodas such as Bao An Thien Tu , Bich Van Thien Tu, Kim Son Bao Thang Tu, Great Buddha Statue of Amitabha, Bodhisattva Avalokitesvara… have enhanced the magical spiritual realm of the majestic Fansipan… continue to arouse abundant spiritual resources, bringing to the well-being of everyone and will further promote the development of Lao Cai “. Located on that “great vein”, each building in the complex has an almost perfect harmony with nature and is especially suitable for feng shui elements. Prominent as Kim Son Bao Thang Tu is designed to adhere to the mountain position, like a mountain. Seen from afar, the shape of the pagoda blends with the great blue color, hidden in the mist, as beautiful as a fairyland. Walking in the spiritual space and feeling the peace between heaven and earth in the place of the national bloodline, Fansipan peak is not only a tourist destination but also becomes an address to worship the sacred Buddha, a heritage for thousands of people. next life.

To date, India has recorded more than 25 million cases and 275,000 deaths from Covid-19. However, many experts say the real number could be many times higher. On the riverbanks, many cremation pylons burned around the clock, many cremation sites had no space left. This phenomenon partly reflects the unprecedented number of deaths and has not been updated in official data. According to the BBC , behind the bodies floating in the river is a story of customs, poverty and a deadly pandemic. Many cremation pylons burn around the clock in India. Photo: Getty. Frighten The horrifying story in the state of Uttar Pradesh first came to light on May 10. The opening was the event of 71 bodies washed up on the riverbank in the village of Chausa in Bihar. Officials said some of the remains may have been leftover body parts that fell into the Ganges after cremations, but they suspect the bodies were dumped in the river. The police put a net across the water to prevent the same thing from happening. A day later, about 10 kilometers from Chausa, dogs and crows were seen swarming with dozens of decomposing bodies on the banks of a river in the village of Gahmar, in the Pradesh Ghazipur region of Uttar state. Locals said the body had been washed up on the embankment for several days. However, the authorities ignored their complaints about the stench until news of the corpses found downstream of Bihar made the news. Dozens of bodies swell and decompose, floating in the river. They were discovered by people when they went for a morning dip in India’s holiest river. Sheet Hindustan Police reported that 62 bodies had been recovered. Meanwhile, in Kannauj, Kanpur, Unnao and Prayagraj, the riverbanks are dotted with shallow graves. Shallow graves by the Ganges River. Photo: Getty. Videos sent to BBC from the banks of the Mehndi ghat in Kannauj shows a series of mounds in the shape of human corpses. Each of these mounds contained a body. At the nearby Mahadevi ghat, at least 50 bodies were found. Crematorium is overloaded Traditionally, Hindus will cremate the dead. However, many communities have a practice known as “Jal Pravah” – the practice of floating the bodies of children, unmarried women, or those who have died of an infectious disease or been bitten by a snake. Many poor people do not have money to cremate their loved ones, so they also wrap their bodies in white cotton cloth and drop them into the water. Sometimes bodies are tied to rocks to ensure they will sink to the bottom of the river, but many bodies are floated without the stones tied. In the time before the pandemic, corpses floating in the Ganges were not an uncommon sight. However, the number of bodies in the river is too much in recent times, still surprising many people. A journalist in Kanpur said the number of bodies in the river was proof of the “big disparity between the official death toll and the actual death toll related to Covid-19” in India. He said that from April 16 to May 5, the official reported number was 196 deaths in Kanpur, but data from seven crematoriums showed there were nearly 8,000 cremations. “All electric crematoriums are open 24/7 in April. Even so, there are still not enough furnaces to cremate bodies, so the government has allowed the use of wood on the outside grounds for cremation,” he said. to speak. “However, crematoriums only accept confirmed Covid-19 bodies from the hospital, while a very large number of people who died at home have not been tested. Families of the dead bring the bodies of their loved ones out. on the outskirts of the city or to neighboring districts like Unnao. When they can’t find wood or a place to cremate, they drop the bodies on the riverbed.” Cremation platforms along the riverside. Photo: Getty. Another journalist in Prayagraj also believes that many of the bodies in the river are those of Covid-19 patients who died at home without being tested, or poor people who can’t afford cremation. “It’s heartbreaking,” he said. “These people are someone’s son, daughter, brother, sister, father or mother. They deserve to be respected when they die. But their deaths are not even recorded – no one knows they died or is known. How to be buried? Burial from 7 a.m. to 11 p.m The discovery of graves and decomposing bodies, along with fears that the bodies could have contracted Covid-19 have sparked panic in villages along the river. Originating in the Himalayas, the Ganges is one of the largest rivers in the world. Hindus consider this river a sacred river, they believe that bathing in the Ganges will wash away sins and use this river water for religious ceremonies. In Kannauj, Jagmohan Tiwari, a 63-year-old resident, reported seeing “150-200 shallow graves” by the river. “The burial took place from 7 a.m. to 11 p.m.,” he said. The discovery of the graves caused panic in the area. People worry that bodies buried on the ground will start to float in the river when it rains and the water level rises. On May 12, the state government banned the practice of “Jal Pravah” and provided support for poor families who could not afford cremation. Relatives of a victim stand near the riverbank while the body is cremated. Photo: Getty. In many places, the police used sticks to retrieve the body from the river and called on the boatman to bring the body to the shore. After being retrieved, the decomposed bodies are buried in pits or burned on a cremation pyre. Ghazipur district judge Mangala Prasad Singh said teams had been set up, patrolling the riverbanks and cremation grounds to prevent people from dumping bodies in rivers or burying them on the banks. Bringing the ashes of unclaimed Covid-19 victims to the Ganges River Indian volunteers collect ashes from crematoriums to organize funerals for Covid-19 victims in Haridwar city.

As one of the world’s largest religions, throughout history, Buddhism has left mankind with millions of magnificent works. Among them, the “thousands of years of white clouds flying” paintings always have a very special position. In the world, we can mention the four great Buddhist famous mountains of China. These are the four sacred mountains where many unique spiritual populations are concentrated. For example, the Marble Mountains in the Shanxi province of this country. With an altitude of 3058m, Ngu Dai Son is known as the “World’s Thanh Luong” by the followers as it has witnessed the development of Buddhism during the past two millennia. Since the Tang and Song dynasties, monks from all over Asia have often come here on pilgrimage to offer incense. Wutaishan – China In Tibet, the most famous is Rongbuk Monastery – the monastery located at the highest altitude in the world. With an altitude of 5,000m above sea level, this is also one of the holiest destinations for Tantric Buddhists. Other famous pagodas can be mentioned as Taktsang Palphug (Bhutan), Golden Stone Pagoda (Myanmar) or Huyen Khong Tu (China). In Vietnam, the holiest temples often have a similar location. Typically in the North, there is Dong Yen Tu pagoda located in Truc Lam Yen Tu complex located on Yen Son peak with an altitude of 1068m above sea level. This is the place where the spiritual energy of Bach Van Son converges, so the clouds are rolling all year round. As the “holy land” of the Truc Lam Zen sect, Yen Tu’s pure and secluded space is an ideal place for Zen practitioners to attain the Way. Further south, Linh Son Tien Thach Tu on the slopes of Ba Den mountain in Tay Ninh – the roof of the South is also a destination not to be missed. The 300-year-old pagoda is associated with the legend of Ba Den’s epiphany not only naming the whole land but also associated with the local residents’ belief in worshiping the Holy Mother Linh Son. Spiritual complex on the top of Fansipan The most prominent is the spiritual complex of Fansipan on the roof of Indochina, with an altitude of more than 3000m above sea level. Including 12 works bearing bold architecture of ancient Vietnamese temples in the North of Vietnam in the 15th and 16th centuries, the complex makes visitors feel like they are lost in a pure region. The Arhat path is solemnly silent in the mist; The great compassionate Amitabha Buddha statue covers all worlds or amazing natural phenomena such as Buddha light, sea of ​​clouds … all make Fansipan a sacred and peaceful destination. Decoding the sacred circuit of the mountain According to researchers of history – culture, the reason why high monks often choose high mountains to build pagodas is rooted deeply in the original Buddhist beliefs. Accordingly, Theravada Buddhism inherently advocates “out of the world”. Those who go to practice are called monastics, which means letting go of everything that belongs to the world. Buddhism believes that: If you want to practice, the mind must be pure, if you want to be pure, the six senses (eyes, nose, ears, mouth, body and nerves) should not have too much contact with the world. Therefore, the ancients often chose deserted places, away from the temptation of dusty places to practice and learn to quickly achieve Enlightenment. Fansipan peak is considered the place Full convergence of the quintessence and spirit of heaven and earth From a feng shui point of view, the terrain on the mountain is one of the ideal places, with good feng shui, receiving a lot of energy from heaven and earth, converging spiritual energy, creating a solemn and solemn atmosphere. If you build a pagoda next to the sacred gas gathering points, you will always get prosperity, the pagoda will be sacred and last for years. That is also the reason why the spiritual population on Fansipan peak is agreed by many feng shui researchers that: The peak of 3143m in Vietnam is one of the landmarks on the meridian line starting from the roof of the world to the end of the world. Mindanao Bay Philippines, full of the quintessence, the spirit of heaven and earth. Most Venerable Thich Duc Thien, General Secretary of the Central Executive Council of the Vietnam Buddhist Sangha also commented: Fansipan – the highest mountain in the thousands of thousands of mountains in the majestic Hoang Lien Son range, the great blood vessel of the nation, the source of spiritual energy… Cultural and spiritual complex, including a system of pagodas such as Bao An Thien Tu , Bich Van Thien Tu, Kim Son Bao Thang Tu, Great Buddha Statue of Amitabha, Bodhisattva Avalokitesvara… have enhanced the magical spiritual realm of the majestic Fansipan… continue to arouse abundant spiritual resources, bringing to the well-being of everyone and will further promote the development of Lao Cai “. Fansipan spiritual complex in snowy season Located on that “great vein”, each building in the complex has an almost perfect harmony with nature and is especially suitable for feng shui elements. The pagoda was built on a superficial surface, but most of the work items are of limited size to suit the landscape and terrain of the high mountains, and at the same time, create a harmonious landscape architectural complex. . Prominent as Kim Son Bao Thang Tu is designed to adhere to the mountain position, like a mountain. The temple is therefore like a part of the natural landscape available at this place. Seen from afar, the shape of the pagoda blends with the great blue color, hidden in the mist, as beautiful as a fairyland. Today, when reaching the top of Fansipan, visitors will not only conquer the roof of Indochina but also get lost in the sacred spiritual domain. There, it seems that all the dust and dirt has stopped outside the meditation door, only the joys of joy, the sincerity of many tourists and Buddhist followers from the ten directions come here to worship. , pay homage. The moment Buddha’s light appeared at the Great Amitabha Buddha statue on the top of Fansipan Walking in the spiritual space and feeling the peace between heaven and earth in the place of the national bloodline, Fansipan peak is not only a tourist destination but also becomes an address to worship the sacred Buddha, a heritage for thousands of people. next life.

But also in the media, it is seen that every morning, hundreds of Indians in the midst of the pandemic go to bathe in the Ganges River. No masks. No spacing. They hardly know or need to know what a Pandemic is… Peaceful Ganges! That’s the real India! Peaceful India is a country of religion! The etymology of the sacred Ganges is “Ganga”, the embodiment of the goddess Ganga – the daughter of the Himalayas – the guardian deity – the great mother of the country. Legend has it that in order to save the people from the severe drought, the god Sihva pulled a river from the sky above the heavens to flow through his hair for thousands of years and then poured down to earth. In the Vedas, there are also the most solemn words praising the Ganges River, which has the function of dissolving all sins and cleansing all impurities. According to Hindu beliefs – the majority of the Indian continent, bathing in the Ganges River means that all sins are washed away. If you drink river water before you die, it is a good omen for both the living and those who return to heaven. Many Hindus also ask to be cremated on the banks of the Ganges and then scatter the ashes into the river. Throughout history, since the legend, every morning, at dawn, tens of thousands of Indians flock to the banks of the Ganges River to bathe, meet, share, and chat. For them it is a great gift of life, so no power can take it away, not even the scary but invisible COVID virus… In the symbol of humanity, “water” which symbolizes the purification of desire directs people to the bright and benevolent domain. Because it is a flow, “river” is a symbol of renewal and rebirth. Moreover, it is also a symbol of purity (because of being purified) and an instrument of liberation. But with Indian culture, the holy Ganges River has a higher symbolic meaning than “giving prosperity and blessed salvation”. Therefore, those who bathe in the Ganges river will be “transmitted purity into their hearts” by the goddess. Most Hindus certainly believe so! The Ganges River becomes the patron god of the life and people of India, the mother river that flows cultural flows into the body of Indian society. Where there is lack of spiritual water from that spiritual flow, that place is not India! The most primitive legend tells that the goddess Ganga was always standing on a sea monster, which was her means of transportation. Her holy face was both stern, tolerant, kind, and holy. Her figure shows a symbol of strength, nobility, courage. She always wears a crown to reveal her high, pure, bright forehead. She always wears a necklace low down to her bountiful breasts symbolizing her ability to bestow prosperity… This legend is the fulcrum for two immortal epics, “Ramayana” and “Mahabharata”, the most massive ancient epics in the world. The “Mahabharata” alone is 7 times the length of the “Iliad” and “Odyssey” combined. A Battle on the banks of the Ganges in “Ramayana”! It can be affirmed that the structure of the massive “Mahabharata” epic is the structure of the great Ganges river flow because the river is like an artistic symbol expressing the spiritual life of the main characters, who govern and direct the people. as a spiritual leader. The opening part of the epic tells about the origin of genealogies with the main core being that the Vasus family sinned against the Taoist Vasita, so they were reincarnated into the world as the children of the goddess Ganges and King Santanu. As soon as they were born, they were thrown into the river by their mother (goddess) to free them from the Taoist spell. This is a great and constant archetype so that everyone wants to bathe in the Ganges River in the future with the desire to wash away sins. The motif of bathing in the sea and sacred river water becomes a common symbol for human culture talking about renewal and rebirth. God of Fire in Greek mythology was a naughty, hyperactive boy who once provoked Dot, so he was thrown into the sea, unfortunately, he fell on an island and lost his leg. Since then, the Fire god has been limping (flashing like fire!). In Egyptian mythology, Prince Morann, son of the king of Cairpe, was born a mute monster and was thrown into the sea. Fortunately, the sea water broke the monster mask so that later the prince became a great judge… But among those episodes, the meaning of bathing in the Ganges river is the most enduring, followed by many people. Best. And maybe forever as long as there is the Ganges! When epic wars occurred, the Ganges River served as a witness to history. Only in the space of the Ganges can the characters “enlighten” the truth and morality as well as the principles of Indian spiritual life, of the Indian spirit of peace and selflessness. Sacred water helps them return to their human roots to neutralize hatred. In front of the Ganges, the sinner will realize his sin and repent… There is an event that no one will miss when reading “Mahabharata” when the villain Aswatthama fled to the banks of the Ganges with the most cruel revenge of killing the Pandava family’s grandson still in the womb. but this action was nullified by the god Krishna. Then the whole Pandava family forgave him… It turned out that the Ganges had sanctified people. Since then forgiveness has become an Indian character, an Indian spirituality. At the end of the war, despite the victory, there is no victory song, because the war is destruction anyway, on both sides. King Yudhisthira triumphantly ascended the throne, but there were no grand festivals. Just a ritual sacrifice: “The king went to the Ganges River and according to the traditional custom of offering sacrifices to pray for the souls of the deceased to rest.” It should be said more clearly that the king prayed for all the dead souls, both on this side, on the other side, regardless. This detail shows more clearly the human meaning of the king’s enthronement without the corresponding ritual. It’s an Indian identity! And yet, King Yudhisthira is also depicted when standing in front of the Ganges River, he is like standing in front of a sacred, sacred and extremely mysterious cathedral, and then the mood rises with torment about what he has caused suffering to people. other. He repented. He judges and punishes himself. He became a symbol of endurance and patience… This symbol entered Indian culture and became a living and action maxim: “Patience is the highest virtue!”, “Tolerance is fame, endurance is glory!”. The Indian cosmology is also: “All things operate according to the principle of endurance!”. So we understand the modern Indian revolution based on the principle of non-violence! Because the moral concepts of endurance and patience have become the spiritual foundation of Indian society! In the epic “Ramayana” the characters always pray and bow to the Ganges. The character always considers the river a fulcrum of strength, a moral fulcrum for action. It is a creed as constant in each character. Legend has it that King Xagara sent sixty thousand sons to find the lost sacrificial horse. Those sons traveled all over the world, finally finding the horse near Kapila. They immediately thought that He was a thief. Enraged, the god Kapila burned all the children of King Xagara. The king’s grandson, Angxumana, received advice: “You must make offerings to the sacred water of Ganga. Okay, then the ashes of these sixty thousand people will go to heaven.” Indeed, when offering water to the Ganges River, the souls of the dead are liberated to the high land of bliss. Legend is deeply ingrained, imprinted in the Indian mind: When you die, you will be cremated on the banks of the Ganges River is a happiness! Tradition must always be in sync with the present for people to enter civilization. To hold on to tradition is to be conservative. The whole world is making the best efforts to prevent the epidemic … but in India it is not yet. That’s the lesson: A traditional gem in the light of modern science will shine even brighter!

According to the folk tradition of our people, the altar is a sacred place to worship ancestors in the house. When placing the altar you absolutely need to avoid including under the rafters, under the stairs or the toilet. You should also not place the altar opposite the toilet or the kitchen because the air is very strong, not good for the place of worship, which can easily affect fortune and health. In addition, the altar wall should not be attached to the kitchen or toilet, above the pipes or drains. At the same time, you should also avoid placing the altar in places where there is a strong wind passing by because it will affect the sacred place. The worship area always needs quiet The place to place the altar you should put away from all kinds of audio equipment such as speakers, radio, TV … or musical instruments such as piano, trumpet, drums … because they will affect the spiritual place of your home. At the same time, because the heat of incense bowls and worshiping items is also incompatible with fans and air conditioners, placing them close together will not be good for electronic devices. If you commit this, it will cause turmoil in the family, not getting along, unstable health, especially the man in the family. Do not place the altar near the toilet Do not place in a dark place The altar is a place that needs quiet and separation. However, on the altar, it is always necessary to maintain enough light for the homeowner to easily observe, and at the same time, create a solemn and solemn atmosphere for the place of worship. When choosing yellow light is the right choice for most living rooms today. In addition, homeowners should avoid overusing decorative flashing lights because they are not good for the water room, which can easily affect the Buddha gods who are always on the higher throne than their ancestors. Besides, when placing the altar of God Buddha and the altar of ancestors, it is better to place them apart or make two separate altars. The reason is that Gods and Buddhas are often vegetarians, while their ancestors can eat salty foods. When you offer food, you should also separate these two altars. Do not place the altar lower than a person’s head The altar must be higher than a person’s head One of the principles when designing the altar is that you should set the height of the altar to be higher than the head to pay respect to the gods and ancestors in the house. When you place the altar lower than eye level, every time you burn incense or pray, the owner has to look down, which will cause difficulties. At the same time, this is a very serious taboo in Asian spiritual culture when the superior is lower than the lower.

The journey “According to the history – The silent footprints – Saigon Villa” will help young people learn the heroic stories of the nation’s history. At the same time, on this journey, young people also visit the places marked by the soldiers of the Saigon Rangers. Itinerary “According to history – Silent Footprints – Saigon Cave” took place in one day. Coming to this tour, young people will learn about the history of Saigon in the 1965-1975 period, explore the old Saigon cuisine, take pictures with the Saigon scenes in the 1960s – 1970s. Young people can even receive souvenirs for themselves. Young people visit the Saigon Villa Coffee Shop (Photo: Lam Giang) Specifically, the tour “According to history – Silent Footprints – Saigon Rangers” will take young people to visit the relics: Secret mailboxes – Floating cellars – Weapon vaults of Saigon Rangers; visit the Saigon Villa Museum – the first private smart museum of the city. HCM City. Here, young people can also chat with “historical witnesses”. In addition, when participating in this tour, young people can watch short films about the intelligence route and enjoy dishes associated with soldiers such as Korean broken rice or butter coffee with sauces. porridge quẩy. For young people interested in spiritual tourism on this occasion, there will be a tour “Back to the sacred place” when coming to Binh Chanh district, where the ancient pagoda of Bat Buu Phat Da is located. This is a temple with bold primitive and ancient features among the green eucalyptus forests, is one of the places of religious and belief activities that attracts a large number of people to come to Buddha, visit … In addition, Binh Chanh also has a incense making village with the age of nearly 100 years, located along the roads in Le Minh Xuan commune. Closer and more realistic, young culinary lovers can explore a lively Saigon in every experience from street food of all regions and the world; from the melodramatic music in the tea room, the youthful music on the acoustic stage to the performance of the opera art, the warm family show of the ethnic artists … In which, two stories were chosen to tell. This occasion is “Exchange with typical families of three generations in Ho Chi Minh City” – the family of Meritorious Artist Tuyet Mai, with three generations of studying bamboo flute performance; and enjoy the Art of Poetry Singing at Ta Quan Le Van Duyet’s Mausoleum (at 9am every Sunday).

The Buddha statues at Trung Son Tu (Photo: Phuong Anh / Vietnam +) Less than 5km from the center of Phan Rang-Thap Cham city to the northeast, Trung Son pagoda is an architectural work with majestic and poetic beauty, located on the slopes of Da Chong Mountain. This is one of the most famous sights in Ninh Thuan today. Initially, the pagoda was just a simple temple worshiping Buddha in the mountains. After 1975, the monk and the Buddhists from near and far raised money and effort to build. Over the years, the pagoda was planned and added a number of new works. Different from many temples and pagodas Trung Son dwell on a prime position. Each architectural line of the temple exudes the characteristic of the land full of sunshine and wind. From the top of Da Chong mountain, just zoom in in the Southeast directions to see the city Phan Rang-Thap Cham , Binh Son beach, Ninh Chu beach, Ninh Chu bridge, Nai market, Dam Vua … all are famous tourist destinations of Ninh Thuan. The other direction is simple images, but bold cultural identity of the land Ninh Thuan sunny and windy like rice fields, vine trusses, Dinh river and peaceful roads passing through villages. On the full moon days or on holidays, tourists flock here a lot, not just to temple ceremony We wish luck and peace but also enjoy the beautiful scenery of the pagoda and nature from the top of the mountain./.

Feng Shui Feng Phuong said Buddha statues are very sacred, so we should pay attention to taboos to avoid bringing unfortunate things to the family. You need to note the following 6 things to not plead guilty to the Buddha to welcome the peace of mind in the house: 1. Location of Buddha statue Buddha statues are not suitable for the bedroom, this will lose your dignity and affect your rest. Buddha statues must be placed in a serious place, should not be stored in cabinets or drawers. Where to place the Buddha statue, you need to choose a place that you think is the most respectful, then with the most respectful affection and choose the most appropriate time to place the Buddha statue. Buddha altars are usually placed in the living room. If the house has many floors, it is possible to place a Buddha altar on the upper floor, avoiding the projection under the toilet or under the bed. 2. Do not post mixed Buddha images It must be remembered that the Buddha altar is definitely not displayed in the direction but must be placed in the middle of the house and the altar of the grandparents should be worshiped on one side. If it is a high-rise building, you must place a Buddha statue on the top floor. At the Buddha altar, it is forbidden to leave any objects other than the vase, lampstand and fruit plate. These items need to be cleaned by care. In addition, pictures with Buddha images are absolutely not rolled up as doing so may cause headaches for those living in the family. When the eyes or fingers of the Buddha statues in the paintings are damaged, they must be repaired or redrawn. 3. When you first invite the Buddha statue to your home, you need to cover it, clear it up and put it in the right place According to folk beliefs, when you want to worship Buddha statues, the first thing is to choose a good date, good direction and before that, you have to ask someone to do the opening ceremony. Doing this ceremony is to show a sense of caution, while choosing a good date is to show the wish for a good day. More importantly, the statue of Buddha, Bodhisattva is not said to buy to worship, but to call it to call because Buddha, gods are not items to buy home. 4. If the Buddha statue is damaged, it means that it is out of conditions, you need to replace it with a new Buddha image and perform the same procedure as placing a new Buddha image. If the Buddha statue in the house is too old or has been for a long time, the landlord is not allowed to throw or throw it in a corner. If the Buddha statue is accidentally broken, it should not be brushed and thrown away, but must be wrapped in yellow paper. On the first day of the day, bring it to light in the sun to see off your Buddha statues. If you accidentally break the Buddha statue’s finger, we have to roll it up with red paper and try to install it. If the Buddha deity breaks, it should be glued with red paper. Instead, the landlord needs to buy a new Buddha statue to replace and bring the old Buddha statue to the temple or temple or can burn with gold coins. When placing the Buddha statue on the altar, under the statue, there must be a plate with red paper to show respect and solemnity to the Buddha. 5. Paper Buddha images should not be rolled up By doing so according to beliefs: will cause headaches for those living in the family. When the eyes and fingers of the Buddha statue in the painting are damaged, they must be repaired or redrawn. If they are not redrawn the same way, the people living in the house are susceptible to reciprocal disease, the damaged Buddha statue. 6. Change daily offerings All offerings on the Buddha statue’s altar, such as fruit or tea, must be changed daily. The offering table can be taken care of depending on the homeowner’s circumstances, neither cumbersome nor show-off. The Buddha deity is a sacred escape, you need to be sincere and sincere when you want to worship and pray for peace for your family. Maitreya Buddha is considered a symbol of joy, happiness and prosperity. He will alleviate all the sorrows, anger, and pains of the world towards joy and happiness. * Information in the article is for reference only.

Ayun is looking to buy new clothes. Although this is the second Ramadan holiday season for Indonesian Muslims to live in pandemic, but the atmosphere to welcome Ramadan of the people of the nation with the largest Muslim population in the world is no less busy. Ms. Ayun, a resident of Pekan Baru city shared: “Every year, before Ramadan, I also go to traditional markets to find clothes, headscarves, hats or rugs to serve prayers. 1 month holiday. We want to wear new and clean clothes to celebrate the holy month. ” The stalls selling Islamic clothing. Unlike the year before the Covid-19 epidemic began to break out in Indonesia, the nation’s inhabitants had to study, work and pray at home. This year, Indonesia eased its ban, allowing people to go to churches to pray with strict medical protocols. Restaurant opening times are also longer to serve the “vegetarian” needs of the people. However, the ban on returning home on this occasion still applies from 6-17 / 5 to prevent the spread of Covid-19 epidemic. Currently, Indonesia is urgently implementing the Covid-19 vaccination to prevent the pandemic. Nearly 15 million Indonesians have been vaccinated. The Ulama Muslim Council, Indonesia’s largest Muslim council, issued a regulation that vaccination against Covid-19 did not affect fasting during Ramadan, so vaccination was still normal. .

The front of Chua Chua wooden incense sticks. Thay Pagoda’s name is “Thien Phuc Tu” in Sai Son commune, Quoc Oai district, Hanoi. The pagoda turns to the south and looks out to Long Chieu lake in front. Decorative art in Thay Pagoda is shown on the architectural composition of all three main buildings (Thuong pagoda, Trung pagoda, Ha pagoda), especially in the pagoda, there is also a seventeenth-century wooden jasmine in the upper court. . This is one of the artifacts of high artistic value typical for seventeenth century sty art that still exists today. In the temple there is also a wooden incense stick of eighteenth century style at Trung pagoda, along with the seventeenth century incense like the form of a mandala, but in terms of size, motif and style different changes compared with incense of the seventeenth century. By the nineteenth century, the form of incense was changed to the tall leg style, the vacuum part was no longer made to the style of the previous century, the size was reduced, the motif, the style of touch had a significant change with the carvings are not sophisticated and complex as in the seventeenth century. The motifs decorated the Buddhist temple incense Decorative motifs of dragons in combination with safflower clouds: Observing joss sticks in the upper court at Thay Pagoda, the dragon-shaped motif is the main one used to decorate incense on all four sides. The decorative art at Thay Pagoda is relatively similar to other pagodas of the same period, the dragon shape has always been a symbol of authority, used flexibly and harmoniously in the Vietnamese temple space. Decorated street frill wooden sentence Chua Thay. The dragon motif combined with the swords decorated on the joss sticks Chua Thay has changed in shape and layout, but has always been a key position on the overall joss sticks. Dragons are carved in the center, body, legs, overalls and without angular ears. For the decoration that is divided into the compartment as in the body of the incense, the dragon motif has changed in style. In the body of the incense, the dragon motif is shown with the front view, clearly showing the face, eyes, nose, mouth, and the blades that radiate sharply above and to the sides. Here the motifs are shown in the composition more visible and energetic, exhibiting strong authority. The dragon-shaped Buddhist temple adoring the sun has always been a popular form on incense in the seventeenth century and also popular in the later period. This motif is in the central part of the camellia, if in the body the direction is not focused, in the bib, the dragon shaped sun against the twisted pattern is the focus point on the overall incense. The two symmetrical dragons, this part combining dragons, cloud clouds, magma clouds, sun, is stretched horizontally, in a very airy and comfortable way. The dragon motif looks sideways to fight in the middle, the blades are pulled backwards, parallel to the long and short layers to change to create a smooth movement in the system of swords. Characteristics of dragons in the seventeenth century carved with pointed swords, straight tail, twisted clouds … Decorative motifs of the phoenix: Decorative motifs of lotus flowers, stylized chrysanthemums: The picture of the phoenix looking at the temple’s incense. Temple court of the Thay Temple, the tip of the Phuong model is arranged in a rectangular frame, posted against each other to create a harmony. In the Mac era, the image of Phuong bird was unified decorated in combination with twisted clouds, flowers and leaves, by the seventeenth century folk elements were developed stronger, the image of the phoenix with soft and flexible wings. .. In general, incense incense sticks of Thay Pagoda are carved in the shape of a side view, not only carved on wooden incense but also closely attached to many other positions in the architecture. In terms of design, whether touching on wood incense or other architectural elements, Phuong still keeps the typical beauty such as quills, pheasant-like hair flying backwards to create soft layers of swords. The neck of a Phoenix bird is usually decorated in a hiccup style, the body has a spear that flies to the back, with the above pose and carries the features of the seventeenth century, the image of the phoenix always in a moving posture. It is also by touching in this way that evokes the space of the previous, the back layer, intertwined, the wings and tail of the phoenix, showing that this is a refinement of the shape, but the writing of the pen is very comfortable. Expressions of fast, thin, deep, bright patterns, clouds, flowers … characteristics of the seventeenth century. The image of phoenix bird is touched in the form of reliefs, sometimes with holes and shallow touches with opposite layout. If the unified dragon motif exists in both the body, the legs and the cover, the Phuong-shaped motif is used less often, usually in a sub-position, a small area on the overall incense and makes the topic. more rich and lively. In general, in terms of decorative artistic features of the bird-shaped phoenix, Master Temple’s sentence still follows the principles and harmony of traditional folk art, most of which is the form expressed in dynamic, refined posture. In the way of touching shapes, blocks, and strokes, the unique characteristics of this phoenix motif are made in this time. The lotus motif in Thay Pagoda as in other pagodas of the same period is decorated in many different positions and has a different role. With Buddhist joss sticks, the lotus motif is mainly decorated to form the fringing of the parts above, on the one hand is to beautify the incense, on the other hand to increase the artistic value and sacredness. incense. On the whole wooden incense line, the lines separating the parts are decorated with a lotus-shaped motif, the expression of different lotus petals makes the distinction between the parts easily. There is no lotus decoration on the face of Thay’s incense stick. One part is the narrow size of Thay incense sticks, stretching the image of a phoenix looking at Thay Pagoda’s side. Spread the parts together to create narrower gaps and wider widths. It is also this change that parts and motifs expressed by the ancient artisans are suitable and delicate for each incense of this period. Techniques and effective art of carving incense sticks of Thay Pagoda Chua Thay incense sticks are mainly embossed, gorgeously carved and punctured on the surface, the carving technique is unified between the four sides. If the chrysanthemum surface is punctured to create a small contour, the next to the technical body has been changed, the combination of embossing and punctures in a predetermined frame and separated by lines just engrave. The dragon figure in Thay pagoda’s incense sticks is very delicate and soft by the ancient artisans, the touch lines become elegant, rhythmically linked together by strokes, blocks and arrays. The exposed part is shown thicker, creating a space deep inside the incense that increases the bold contrast and vividness of the touched array. The contour of the lotus petals in this incense is different from the other ones at the same time, the lotus petals are punctured. Interrupting the body and legs of the incense is punctured, embossed by decorative patterns, this part the old craftsman skillfully created gaps, gaps, voids, and the technique of carving shapes and strokes. making the incense more vivid and rich while still creating a deep sacredness. The dragon image looks directly at the temple of Thay. Through the analysis of the incense, the motifs decorated on the incense, the technique and effectiveness of the art of carving Chua Chua incense, combined with elements from space, light all play one. very important role. The artistic value of Thay Pagoda incense is a complete balance of decorative carvings, highlighting the theme content, creating a visual impression. The master temple of Chua Thay temple is a product that shows the hands and wisdom of an ancient artisan, bearing an important imprint of the seventeenth-century Vietnamese carving and decoration art in particular and the history of Vietnamese art in particular. general.