Open your heart and turn towards the Ancestral Land.
The Hung Kings era is a period in the history of the Vietnamese nation, shrouded in mystery and steeped in legend.
Therefore, there are many questions surrounding the chronology and reign periods of the Hung Kings: Citing King Kinh Duong Vuong with the kingdom of Xich Quy in 2879 BC; while the eldest son of Lac Long Quan ascended the throne as Hung Vuong, naming the country Van Lang, also in 2879 BC, shows that this is indeed a complex problem.
Or, like me, one might ask: Who was the person who "married" the 50 children of Lac Long Quan and Au Co from the mountains (or the 50 children of the sea) to produce the descendants that have flourished for generations—me and over 80 million people in Vietnam today? It's impossible to answer. But I don't bother searching for an answer. I only want to set foot on the ancestral land, light an incense stick for the 18 Hung Kings, and silently bow before the vast expanse of incense smoke, giving thanks for a supernatural energy that instilled courage in the nation, enabling it to rise again during times when it seemed on the verge of complete collapse.
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Ceremony of offering incense to commemorate the Hung Kings (2010). |
It's not that Hung Temple is the altar of the Vietnamese Fatherland, as I've been exaggerating. Just setting foot on the Lower Temple alone is enough to feel the sacred spirit surging and enveloping every branch and leaf, pervading the unspoken thoughts of each person climbing the steps to the summit of Mount Soul.
Arriving at Hung Temple on the opening night of the Ancestor Commemoration Ceremony, choosing a precarious spot on the mountain overlooking the entire colorful festival scene, it felt as if, from the time of King Hung until now, this nation has only lived in peace. The resounding sound of the Dong Son drums echoed in my chest...
Touching the artifacts from the Hung King era, I still believe that the truth is being unveiled layer by layer. Dong Son is the closest period to other cultural sediment layers such as Go Mun - Dong Dau - Phung Nguyen in the development process of the Hung King era.
Therefore, the accidental discovery of the bronze drum in Hy Cuong commune, right at the foot of Nghia Linh mountain on August 7, 1990, is the clearest evidence of the existence of advanced technology that could only have existed under a developed and stable political system in Southeast Asia during the Bronze Age. Why? Human history is intertwined with countless invasions and struggles to defend national borders. The sound of the drum was a stirring of pride in the land where the generals stood, and also a way to "calm" the ferocity of the Shang-Yin invaders who always knew how to trample on what did not belong to them.
During the Hung Kings era, the drums were a powerful rallying cry to repel invaders. The drums were joyful and passionate, symbolizing the unity of brotherly tribes, and the joyful reunion of young men and women. The drums also served as the final prayer, a final wish for peace of mind for those departing to the other world. Today, inheriting the Bronze Drum Festival of the Muong people in Thanh Son region, at Hung Temple on the 10th day of the 3rd lunar month, the anniversary of the Hung Kings' death, the bronze drum ceremony has been restored and is a highlight deeply rooted in the spiritual heritage of the nation.
In the world, no war is more difficult to resolve than religious conflict. In other words, no belief is more deeply felt when people are immersed in spirituality. Just look at the throngs of people from all over Vietnam lining the steps to offer incense at Hung Temple; you'll understand the boundless strength, the very strength that once kept the borders secure until the Ly and Tran dynasties, and the heroic spirit of just three or four decades ago.
On my first visit to the ancestral land, which was also the first night of the National Commemoration Day, with only two hours available, I left behind the dazzlingly lit auditorium, the performance of hundreds of young, energetic professional actors and actresses, and the wild, untamed spirit of the Ta Xeng, Thai, and Muong dancers, who infused their dances with the essence of the mountains and forests. I climbed to the Lower Temple, the Middle Temple, and the Upper Temple – where the winds from the Sea and Mountains carried the spirit of the hundred children of Lac Long Quan and Au Co, who grew up strong amidst the ups and downs and turmoil of their Mother and Father's era.
Located within the Hung Temple complex, the Jade Well can be likened to a mirror; anyone who comes to Hung Temple to offer incense should look at their reflection in it to examine their own heart. Sitting on Nghia Linh mountain, enjoying the gentle breeze, I recall a beautiful day when the 18th Hung King led his wife, children, and courtiers here to purify their souls, praying for the people's well-being, a prosperous society, and the accumulation of virtue for generations to come to continue the imperial legacy...
Like me, many poets have probably gazed into the crystal-clear well, imagining the figures of Tien Dung and Ngoc Hoa lurking amidst the hazy clouds. No one wants to draw a sip of water like the two goddesses drank, the dew that gathered in the Jade Well, fearing that the gentle ripples would erase their faces from the poet's imagination. The only difference is that I cannot find any poetic words for this seemingly endless source of sacred water, silently flowing from the heart of the mountain since the 17th century, when the Well Temple was built to worship the drop of Jade!
Nguyen
