Top 13 Best Essays on Festivals

At the beginning of the third lunar month, everyone in my village gets busy preparing for the Phu Day Festival. According to my father, every year, on the 6th of the third lunar month, we remember Princess Lieu Hanh from the village of Kim Thai, Van Cat, Vu Ban, which is about 10 kilometers from our village.

Today, our family woke up early, had breakfast while it was still dark, in preparation for the festival. Everyone dressed nicely, and my sister and I wore our newest clothes. When we got to the main road, we could already see groups of people walking and laughing joyfully, so we joined in to keep the spirit alive.

By 8 AM, we arrived at Phu Day. Oh, wow! The roads leading to the main temple were packed with people. Cars and motorcycles honked loudly, but traffic was so dense we couldn’t move quickly. Sometimes, my mom had to lift my sister so we could squeeze through the crowds, and I held my dad’s hand tightly to avoid getting lost.

When we reached the main temple, it was crowded with people dressed in colorful robes, singing and dancing as they walked. The main temple was a vast building with a bell tower, and the deeper we went, the more majestic and dazzling the sight became, with golden and red altar pieces hidden among the thick incense smoke.

After visiting the main temple, my dad took us to the mausoleum of the princess. The story goes that she once had a dream in which she told the king she would bear him a son, so the king ordered the construction of a grand and beautiful tomb using five-colored stones and rare woods from Hue.

Before we left, we stopped by Kim Thai village to see the small temple and nearby sacred banana tree. A few years ago, this tree produced a cluster of bananas with 120 to 150 bunches. On our way out, my dad bought us frog drums, which made a delightful “bong bong” sound when tapped.

As we walked away, I looked back at the majestic Phu Day landscape. For generations, builders have contributed to creating this historic site dedicated to Princess Lieu Hanh, a symbol of the beauty and heritage of Nam Dinh that everyone, even those who have left, often remember fondly.

Vietnam, the land of festivals, comes alive every spring as people across the country gather in great numbers to visit the various festivals. Whether it's for pilgrimage or praying for good fortune for themselves and their families, these age-old beliefs have made festivals a deeply ingrained cultural tradition in Vietnam.

I was fortunate enough to witness such a sacred yet lively festival when I went with my grandmother to offer incense at a nearby temple. We happened to visit during the festival period, so I got to experience the vibrant and unforgettable atmosphere of the celebration.

The festival I attended was the Bia Temple Festival, held annually on the 20th of the first lunar month. This marks the post-Tet period, when the people of the region eagerly prepare for the event. Bia Temple, located in Cam Van commune, Cam Giang district, Hai Duong province, is dedicated to Tuệ Tĩnh, a legendary Vietnamese physician, known for his skills in medicine as well as his virtue.

Legend has it that Tuệ Tĩnh was sent by the king as an envoy to China, where his extraordinary medical talents saved the life of the Empress of the Ming Dynasty. As a result, he was honored with the title of “Great Physician Monk.” However, he could never return home to Vietnam and remained in China.

Despite being far from his homeland, Tuệ Tĩnh never forgot his roots. Upon his death, he asked that the words “Anyone returning to Nam will take me with them” be inscribed on his gravestone, a heartfelt wish. Later, a scholar named Nguyễn Danh Nho came across this request, deeply moved, and had it engraved on a stone tablet, which he brought back to Vietnam. Unfortunately, during the journey, the boat capsized, and the tablet was lost in the water. It was later found at the site where Bia Temple now stands, and the locals built the temple in his honor.

Every year, after Tet, pilgrims from all over flock to this temple to pray for health, wealth, and good luck, as it is believed to be a very sacred site. On the day I went with my grandmother, the temple was especially crowded with people, and the long road leading to it was filled with parked motorcycles and cars, with visitors coming in groups to offer prayers. It was a challenge for us to get inside, but we were lucky enough to arrive just in time for the festival procession to begin.

Despite the bustling atmosphere, when the procession started, everyone lined up neatly along the sides of the road, creating a respectful space for the procession to pass through. There was something about the atmosphere at that moment that felt more solemn and reverent. Though I didn't fully understand the significance, I stood alongside my grandmother, quietly observing with respect.

The procession included fifteen people, with five carrying the palanquin of Tuệ Tĩnh, a red statue sitting majestically and solemnly on a matching red chair. The palanquin was draped in a mysterious red cloth. The rest of the procession consisted of flag bearers, drummers, and gong players, all adding to the vibrant atmosphere.

Once inside the temple, everyone, young and old, offered incense and prayers for good fortune. The temple was crowded with people of all ages: elderly women, young mothers, and even teenagers, all bowing in reverence. In front of the temple stood a large incense burner where offerings were made.

The inner sanctum and surrounding temples didn’t allow incense offerings due to the high volume of visitors, as the smoke could be overwhelming and potentially cause a fire hazard. However, the temple grounds were alive with activity, with calligraphers writing Chinese characters and fortune tellers offering readings to visitors.

This was my first time attending a temple festival like this, and I came away with a deeper understanding of the Bia Temple Festival and the rich cultural traditions it represents. I sincerely prayed for the health of my grandparents and parents, and I also wished for success in my studies to honor my parents' efforts.

Every region has its own unique customs, and festivals are no exception. Each one stands apart from the other, contributing to the distinctive charm of that area. Last year, during the first month of the lunar year, I had the opportunity to visit Hai Phong and experience the Buffalo Fighting Festival. It was my first time witnessing such a dramatic and impressive event.

The Buffalo Fighting Festival is not held everywhere; in my hometown, there is no such tradition. In Hai Phong, it takes place during the spring, a time when people have the leisure to enjoy festivals and celebrations that mark the season.

The villagers prepare a large, open field for the event, where two villages each bring their strongest buffalo to face off in a fierce battle. The buffalo that falls first loses, and the other wins. The buffaloes are dark in color, their glossy skin gleaming with strength, and their sharp, focused eyes locked on each other.

As the buffaloes draw closer, their hooves stomp on the ground and they breathe heavily through their nostrils. Their horns curve upward, strong and ready, as though they are bracing themselves for the toughest fight of their lives. They charge at each other, their horns clashing, pushing and shoving, neither giving an inch in the struggle.

The atmosphere around the buffalo fighting festival is filled with cheers and excitement from the spectators, adding to the lively and festive ambiance. The buffaloes fight vigorously on the grassy arena, their hooves tearing up patches of grass, leaving behind bare patches of earth. Occasionally, one buffalo would strike the other hard, making its opponent stumble and sink into a small hole, intensifying the dramatic nature of the battle.

The buffalo from the neighboring village, stronger and more resilient, delivered a powerful charge that sent the other buffalo reeling. But the latter fought back bravely, pushing the contest to the edge. The crowd gasped with each close call, and in the end, the larger buffalo from the other village succeeded in bringing down its opponent, and the result of the Buffalo Fighting Festival was declared. I was truly impressed by this unique and thrilling tradition in Hai Phong.

Lively and vibrant festivals are an inseparable part of the spiritual life in Vietnam. These festivals are held to express gratitude toward the deities and national heroes. The Giong Festival is a sacred occasion dedicated to commemorating Saint Giong, also known as Phu Dong Thien Vuong.

The Giong Festival is a traditional celebration honoring the heroic deeds of Saint Giong, one of the four immortals in Vietnamese folk beliefs. The festival vividly reenacts the legendary battles between Saint Giong and the ancient people of Van Lang as they fought against the An invaders, helping to raise awareness of ancient tribal warfare, while also promoting patriotism, martial traditions, resilience, and the desire for independence and freedom.

The festival is celebrated in several locations in the northern plain of Vietnam, with the most prominent events taking place at Phu Dong Temple and Soc Temple (Hanoi). The festival at Soc Temple (Phu Linh commune, Soc Son district, Hanoi) is held annually from the 6th to the 8th day of the first lunar month. According to legend, after defeating the An invaders, Soc Linh was the last stop for Saint Giong before he ascended to heaven.

To honor the Saint's contributions, the locals built the Soc Temple relic complex, which consists of six structures: the Lower Temple (or Trinh Temple), the Dai Bi Pagoda, the Mother Temple, the Upper Temple (or Soc Temple), the statue of Saint Giong, and the memorial house. Among these, the Upper Temple is where Saint Giong is worshiped, and the festival is celebrated with various traditional rituals such as the Mộc Dục ceremony (statue bathing), procession rituals, incense offering, and symbolic rituals of elephant and horse transformation.

To prepare for the main festival day, on the night of the 5th, the Mộc Dục ceremony (bathing of the statue) takes place to invite Saint Giong to join the celebration. On the 6th, the people from eight villages surrounding the Soc Temple complex—Tân Minh, Tiên Dược, Phù Linh, Đức Hòa, Xuân Giang, and Bắc Phú—bring offerings to pray for prosperity and happiness in their lives.

One of the most notable rituals is the offering of bamboo flowers by the Vệ Linh village (Phu Linh commune) at the Upper Temple. These bamboo flowers are crafted from 50 cm long bamboo sticks with a diameter of about 1 cm, and their ends are stripped and dyed to resemble the horsewhip of Saint Giong. After being offered at the Upper Temple, these bamboo flowers are carried to the Lower Temple and distributed to festival-goers for good luck.

On the 7th, the main festival day (the legendary date of Saint Giong’s ascension), a reenactment of Saint Giong’s battle against the An generals at Vệ Linh mountain takes place. In the afternoon of the 8th, the festival concludes with the ritual of burning large paper models of the elephant and iron horse, which are significant symbols representing the victory of Saint Giong and his battle to protect the country.

All attendees of the festival hope to take part in carrying the paper elephant and horse to the riverbank for the symbolic burning, as it is believed that anyone who touches the sacred offerings will be blessed with good fortune. During the festival, many folk games are also held, such as rooster fighting, Chinese chess, ca tru singing, and cheo opera performances.

The Giong Festival at Phu Dong Temple is like a vast folk theater, with hundreds of performers following a well-established script. Each role contains deep symbolic meanings, such as the “Ông Hiệu” (the generals of Saint Giong), “Phù Giá” (the regular army of Saint Giong), “Cô Tướng” (representing the 28 invading generals of the An dynasty), “Ông Hổ” (the combined military forces), “Làng áo đỏ” (the scouts), and “Làng áo đen” (the militia).

The festival also features processions such as the “Rước khám đường” (scout procession), “Rước nước” (ritual to prepare weapons before battle), “Rước Đống Đàm” (peace talks procession), and “Rước trận Soi Bia” (reenactment of fierce battles).

The global significance of the Giong Festival lies in its role as a cultural phenomenon that has been preserved and passed down continuously over many generations. The festival not only unites the community but also carries creative ideas, symbolizing the longing for peace, prosperity, and happiness for the people. On November 16, 2010, at the 5th meeting of the Intergovernmental Committee for the 2003 Convention in Nairobi, Kenya, the Giong Festival at Phu Dong and Soc Temples was officially recognized as an Intangible Cultural Heritage of Humanity by UNESCO. The UNESCO description of the festival succinctly captures its essence as 'A cultural museum of Vietnam, preserving multiple layers of cultural heritage and beliefs.'

In Dong Thap commune, Dan Phuong district, lies the village of Dong Van, nestled by the Da River. The people here live mainly by rice farming, growing crops, and crafting baskets. Every year, on the 15th day of the first lunar month, the Dong Van village hosts a water procession, singing, and a rice cooking competition.

The Rice Cooking Competition here is unique due to the way fire is kindled and the traditional cooking methods, filled with the humor and charm of folklore.
Contestants are selected from different neighborhoods of the village. The competition kicks off with the sound of drums and gongs, signaling the start as teams line up to perform a ceremony to honor the village's guardian spirit, a historical figure who saved the villagers and the nation.

The contest begins with the lighting of fire from the top of a banana tree. When the signal is given, four young men from each team swiftly climb the slippery banana trunk, greased to make it more challenging. Some slip and fall, others climb again, creating a lively and humorous scene. Once the incense is lit, the organizers give them three matches to ignite the fire.

The team members then shave dried bamboo into rice cooking sticks and light torches. Meanwhile, other team members husk rice, sift it, fetch water, and begin cooking the rice. Small rice pots are hung on bent branches shaped like arcs, skillfully arranged with a rope running in front. With one hand holding the torch and the other stirring the rice, the flames flicker brightly.

The teams move gracefully across the courtyard, their rice cooking skills cheered on by the spectators. After about an hour and a half, the cooked rice is presented in front of the temple. Judges open the pots and evaluate the rice based on three criteria: the rice should be white, sticky, and free from burnt spots. Each pot is numbered to keep the contestant's identity secret from the judges.

Every competition is filled with excitement, and winning has become a source of pride for the villagers. The Rice Cooking Competition in Dong Van is a traditional cultural activity that dates back to the ancient Vietnamese military expeditions along the Da River. It’s an opportunity for the young men of the village to display their strength and wit in fire starting, and for the village women to showcase their culinary skills by preparing perfect rice to feed the soldiers.

The festival also fills the air with hearty laughter, a welcome release after the hard work of the harvest. Thanks to its unique traditions, the Rice Cooking Competition in Dong Van plays an important role in preserving and celebrating the ancient cultural values in the modern-day community.

On the 4th day of the Lunar New Year, our village holds various activities for everyone to come together and celebrate. Among them, the Boat Racing Festival is the most popular and widely anticipated.

Every year, on the afternoon of the 4th day, villagers gather at the village's temple to watch the boat race, rice cooking competition, duck shooting, and other games. When it’s time for the boat race, everyone rushes to the race venue, located at a large pond behind the temple. This year, my older brother participated in the race. He was very excited and had everything prepared the day before.

Since our village is divided into 9 groups, we have 9 teams, each with a different color shirt and their own boat. The 9 boats line up, ready for the race at the sound of the horn. The village head blows the whistle, signaling the start of the thrilling race. A loud whistle echoes, and the young men and middle-aged villagers row their boats forward with all their might.

The boats jostle for the lead, constantly bobbing up and down on the water. Amidst the intense focus, the cheers from the crowd, the sound of drums, and the clinking of bottles being smashed together all create a festive atmosphere. These sounds fill the air, making the entire area come alive. Some people even take out their phones to record the joyful moments, capturing the rare times when everyone is gathered together.

The crowd that came to watch the boat race is huge, adding to the excitement of the paddlers. People eagerly discuss which team will reach the finish line first. Ultimately, the victory goes to Team 6, which my brother was a part of, making me very happy. Cheers of celebration fill the air, while others express their disappointment. As the crowd begins to disperse, they move on to watch the tug-of-war competition.

In the evening, the awards ceremony takes place. Team 6 is honored with a certificate from the village head, bringing pride to their team. Everyone gathers once more to chat about the past year and share hopes for a prosperous new year. I really enjoy watching the boat racing festival because it strengthens the bond between villagers and preserves our cherished traditions.

Our homeland is closely tied to beautiful cultural traditions and customs. Especially during the Lunar New Year, when those who have moved away return home, various festivals connected to our historical landmarks and cultural heritage are held. Among them, the Chicken Fighting and Wrestling Festival at the village's temple is one of the most special.

People often say that without songs, dances, and festivals during the New Year, there would be no festive atmosphere. The Chicken Fighting and Wrestling Festival is held annually on the 28th day of the lunar New Year. When everyone returns home from all directions, the festival takes place at the village temple, where the spacious and airy surroundings are perfect for large crowds.

The village temple is a sacred place, where those in leadership positions or the elders of the village gather to plan important events. The ancient banyan trees, the sprawling lotus ponds, and the lush green grass all seem to welcome the arrival of spring. On the morning of the 28th day of the lunar calendar, participants in the chicken fighting competition bring their roosters to the temple.

The fighting roosters, with red combs and necks, sharp eyes, are ready to jump into the fray. Those not participating in the fight still arrive early to secure a good spot to watch the match. Strong young men, muscular and fit, stand out in the crowd as they prepare for the wrestling event. When the festival begins, the crowd cheers loudly, supporting the winners while others beat drums rhythmically to add to the lively atmosphere. Stalls selling spinning toys, drinks, and snacks are set up for spectators to take a break.

This all creates a vibrant atmosphere steeped in traditional hometown culture. After the matches, folk songs are performed in the temple, accompanied by traditional Cheo opera performances by the village elders. I love the folk melodies, the songs, the traditional art, and all the festivals that showcase our rich cultural heritage.
Festivals like these bring us closer together, creating a vivid picture of unity, filled with laughter and the deep connection of village life.

Bac Ninh – the land of Quan Ho folk songs, where just mentioning the name stirs emotions with its enchanting melodies. When spring arrives, it not only fills Bac Ninh with life but also marks the time for the renowned Lim Festival. The Lim Festival is one of the most iconic spring festivals in Vietnam.

In ancient Kinh Bac, known for its folklore and cultural legends, it is believed that the Lim Festival originated from temple festivals and songs. Some say it is tied to the famous story of Truong Chi, with remnants of the tale reflected in the Tiêu Tương River near Lim village. The festival embodies the cultural heritage of Quan Ho singing.

The Lim Festival evolved into a regional celebration in the 18th century. Nguyen Dinh Dien from the village of Dinh Ca donated land and resources to rebuild temples and promote local festivals. His efforts led to the construction of the Hong Van Tomb on Lim Mountain. After his death, the people of Nội Duệ village honored him as a deity, commemorating his contributions in a memorial inscription. Over the years, the festival has absorbed new cultural layers and evolved.

The Lim Festival is held annually from the 12th to the 14th of the lunar New Year in Tien Du District. The festival consists of two parts: the ceremonial and the recreational. Preparation begins on the 9th and 10th, ensuring everything is ready. Lim Hill, with the Lim Temple dedicated to Hieu Trung Hau, the founder of Quan Ho singing, serves as the festival's center, drawing crowds from surrounding regions such as Noi Duệ, Lien Bao, and Lim Town.

On the main day (the 13th of the lunar New Year), ceremonial activities take place, including processions and offerings to the village's deities and heroes at sites like the Co Lung Temple, Hong Van Tomb, and the shrine of General Do Nguyen Thuy. The procession is grand, with villagers dressed in colorful traditional attire, walking for nearly a kilometer. A unique aspect of the ceremony is the singing of Quan Ho songs to honor the deities. Male and female singers from Nội Duệ perform these songs while standing at the tomb’s entrance, singing praises to the gods.

The festival’s recreation part is equally lively, featuring traditional games such as wrestling, martial arts, chess, weaving, and rice cooking. However, the highlight is the Quan Ho singing contest. Near midday, the singing competition takes place on dragon boats, where the melodious voices of Quan Ho singers fill the air. On the boat, female singers in graceful four-part dresses and cone hats face the male singers in long robes with hats. On the 12th evening, the different Quan Ho villages compete in the singing contest. Each village sets up a tent on Lim Hill, creating a vibrant atmosphere that showcases the depth of this folk tradition.

The Lim Festival is a remarkable cultural and artistic event that reflects the rich tradition of Quan Ho folk songs, which have become a treasured cultural asset of Vietnam. The festival not only represents the beauty of Bac Ninh but also symbolizes the collective cultural identity of the Vietnamese people. Visiting the Lim Festival is a journey into a land of music, poetry, and festive spirit, where traditional costumes like the four-part dresses, conical hats, and embroidered silk sashes showcase the vitality of spring. The hospitality and warmth of the locals leave a lasting impression on all visitors.

Through centuries of history, the Lim Festival has grown from a springtime tradition to a national symbol, evoking deep pride in both the land and people of Vietnam. As the songs of Lim echo in the air, they create a deep connection that remains unforgettable:

“My Quan Ho village

In the month of January, the singing festival

The moonlit nights call out, with the river near the village so green”

In the springtime, families gather together, birds showcase their beauty, and plants bloom with fresh life. It’s also the season when numerous traditional festivals take place. These festivals have long been an inseparable part of the Vietnamese New Year celebrations. Among these, the Kei An Ceremony at the Tran Temple stands out as one of the most unique and significant.

The Kei An Ceremony at the Tran Temple is one of Vietnam's most famous spring festivals, honoring the contributions of the Tran kings. The origin of this festival is deeply tied to the history of the Tran Temple.

The Tran Temple, located on Tran Thu Street in Nam Dinh, is dedicated to 14 kings and their officials of the Tran dynasty. The temple was built on the ruins of the ancient Thai Mieu of the Tran dynasty, which was destroyed by the Minh army in the 15th century. The Tran family established their kingdom in the Tức Mạc region, a land that witnessed the rise of the Tran empire. In 1239, King Tran began constructing royal buildings in this area. By 1262, King Tran Thanh Tong held a banquet, renamed Tức Mạc to Thiên Trường, and built magnificent palaces. Thiên Trường served as the second capital after Thang Long. After the fall of the Tran dynasty, the palace and temple turned into ruins. However, after defeating the Minh invaders, the local people erected the Tran Temple to honor the great achievements of the Tran kings and established the festival to commemorate their lasting legacy.

Historical records reveal that the Tran Temple was initially known as the Đại Tôn Temple. It was not until 1695 that the temple was built with lim wood. In 1705, it officially became known as the Tran Mieu (the Tran Temple). In 1852, the Thiên Trường Temple was expanded, during which a stone stele bearing the inscription “Hưng Đạo thân vương Cố Trạch” (The House of Hưng Đạo King at Cố Trạch) was discovered. From this point, the Cố Trạch Temple was built to honor Hưng Đạo Vương, his parents, and his wife, the Thiên Thành Princess.

The Tran Temple comprises three main architectural structures: Thiên Trường Temple (the Upper Temple), Cố Trạch Temple (the Lower Temple), and Trùng Hoa Temple. To enter the temple complex, visitors must first pass through the five-arched gate. Beyond the gate lies a rectangular pond, and at the center behind it stands the Thiên Trường Temple. To the west of Thiên Trường is the Trùng Hoa Temple, and to the east is the Cố Trạch Temple. All three temples share a similar architectural style, with each featuring a five-bay front hall, a five-bay central hall, and a three-bay main hall.

During the resistance against the Mongol invaders, the Tran dynasty implemented a strategy of abandoning farms to focus military efforts at Thiên Trường. Over the years, the Tran dynasty’s seal was lost. It wasn't until 1822, when Emperor Minh Mạng visited Thiên Trường, that a new seal was created. The old seal bore the inscription “Trần triều chi bảo” (Treasure of the Tran Dynasty), while the new one read “Trần triều điển cố” (Tradition of the Tran Dynasty) with the additional phrase “Tích phúc vô cương” (Endless blessings). The KeI An Ceremony at the Tran Temple starts with the act of sealing the new seal.

The first Kei An Ceremony took place during the Tran dynasty, around the 13th century, specifically in 1239. Historical records indicate that it was originally a ritual to honor the ancestors of the Tran family. King Tran held a banquet to honor officials who had served the court well at the Thiên Trường Palace. The festival was interrupted during the Mongol invasions, and it wasn’t until 1269 that King Tran Thanh Tong revived the ceremony.

Since then, the Kei An Ceremony at the Tran Temple has been held annually on the 15th day of the first lunar month, from 11 PM on the 14th to 1 AM on the 15th. This is also seen as a signal to mark the end of the Lunar New Year holiday and the beginning of the work year.

During the festival, various villages bring their palanquins to the Thiên Trường Temple to pay respects to the Tran kings. The elderly villagers, dressed in long robes and turbans, join the villagers at the Cố Trạch Temple for a ceremony before the Kei An Ritual begins. A sacred box containing two wooden seals is placed on the altar. One seal is small, inscribed with the words “Trần Miếu” (Tran Temple), while the larger seal bears the inscription “Trần triều tự điển” (Tran Dynasty Tradition) along with the smaller words “Tích phúc vô cương” (Endless blessings).

At exactly midnight (23:00 - 1:00), the chief priest conducts the ceremony at Cố Trạch Temple, requesting to bring the seal to the Thiên Trường Temple. There, incense is offered to heaven and earth at the altar, and the seal is placed in the inner sanctum for the sealing ritual.

The chief priest then places a piece of “Điệp” paper (a traditional Vietnamese paper) in front of the priest, and the sound of drums and gongs fills the air. The priest solemnly seals the paper with red ink, ensuring the inscription is complete, with the final character being “Sinh” (life). The person receiving the sealed paper takes it home to display at their temple, house, or ancestral hall, hoping to ward off evil spirits, avoid misfortune, and bring prosperity for the year ahead.

On the morning of the 15th, a water procession takes place. Before setting out, the chief priest prays for incense at the ancestral altar, as well as 14 incense offerings at the altars of the emperors. The procession, with its solemn attire and flags, moves from the temple gate and heads towards the Hữu Bị dock, about 3 kilometers from the temple.

Upon reaching the dock, the organizers place a water vessel on a boat decorated with flags and flowers. Drums sound as the boat drifts into the river, where the chief priest scoops water from the river into the vessel. Once full, the vessel is carried back to the temple, where the water is poured into bowls and offered to the ancestors. Afterward, the water is shared among the Tran descendants to ensure they never forget their ancestral roots.

Quảng Ninh is known as the "Cradle of Vietnamese Buddhism" and is closely associated with Emperor Trần Nhân Tông. The province is home to the famous Yên Tử Temple complex, a significant historical site tied to the Trúc Lâm Yên Tử Zen sect. It is often described as a celestial paradise and remains one of the most popular spiritual destinations for both domestic and international visitors.

Yên Tử Mountain, located in Uông Bí, Quảng Ninh, stands tall as the "most sacred mountain" or "Phật Mountain" of Vietnam. The Yên Tử complex is renowned for its rich cultural heritage, Buddhist history, and association with Emperor Trần Nhân Tông. The history of Buddhism in Yên Tử dates back to 1299 when Emperor Trần Nhân Tông abdicated the throne in favor of his son and retreated to this mountain for meditation, establishing a system of temples, pagodas, and stupas, each with its own historical significance.

The Yên Tử scenic area features a peak that rises 1,068 meters above sea level, often shrouded in mist. The area is rich in natural beauty, home to diverse flora and fauna, including a 700-year-old pine tree and animals like the red-faced monkey and wild goats. Surrounding the temple complex are famous landmarks such as the Tây Yên Tử Nature Reserve and the Trần Dynasty Historical Site.

Your journey up Yên Tử Mountain begins at the Giải Oan stream and its accompanying Giải Oan Pagoda, which was named by Trần Nhân Tông to honor the spirits of his former concubines who tragically drowned themselves in the stream. The Giải Oan Pagoda is renowned for its spiritual significance and sits against the mountain backdrop, facing the flowing stream. From this vantage point, the towering Yên Tử peak looms overhead. The Hoa Yên Pagoda, perched mid-mountain, is considered the main temple in the Yên Tử complex, offering stunning views and surrounded by blooming flowers and misty clouds.

The pilgrimage path to the summit is lined with ancient stone steps and towering trees, including the impressive 700-year-old pine trees. At the heart of the temple complex lies the Tháp Tổ area, home to 64 pagodas and tombs, along with smaller temples like Ngự Dược Pagoda and Thung Pagoda, where medicinal herbs are studied and prepared. The most unique of these is the One Roof Pagoda, which is hidden deep within a cave, with only half of its roof visible. The tranquil atmosphere here feels like a retreat from the mundane world. In addition to the pagodas and stupas, the Trúc Lâm Yên Tử Zen Monastery, the largest of its kind in Vietnam, stands tall as an architectural marvel.

The highest pagoda in the Yên Tử complex is Đồng Pagoda, a serene spot chosen by Trần Nhân Tông for meditation. Built entirely from copper to withstand the region’s damp climate, Đồng Pagoda remains a spiritual hub for practitioners. If you prefer not to trek the rugged 6-kilometer mountain trail, modern cable cars offer an easier way to ascend, with panoramic views of the Yên Tử range. With its status as the "Cradle of Vietnamese Buddhism," Yên Tử Temple is a prominent site for international visitors during Buddha's birthday celebrations. The Yên Tử Festival, held annually from the 10th day of the Lunar New Year to the end of March, attracts millions of pilgrims who come to pray for peace and good fortune.

Yên Tử Temple and its surrounding Buddhist heritage sites are a source of immense pride for the Vietnamese people, symbolizing the rich cultural and spiritual legacy of the nation. Visiting Yên Tử is like returning to the roots of Vietnamese Buddhism, to the sacred land of the nation's spiritual origins.

Spring is the most vibrant and exciting season of the year. It creates an atmosphere filled with joy and energy, largely thanks to the lively and festive spring festivals, which are both lively and sacred. The day that my hometown eagerly awaited has finally arrived, the sixth day of the Lunar New Year, when the traditional village festival takes place.

The village festival is said to be a tribute to the village’s patron deity, who helped clear land and establish the village. According to custom, in the morning, a dragon procession takes place. From early in the morning, people dress in their finest clothes and gather on the streets to await the procession. Those whose homes are along the procession route quickly set up a small altar in front of their houses, with incense smoke rising in the air.

"Tung tung tung cack, tung tung tung tung..." the sound of drums suddenly fills the air. The procession draws near, led by a dragon figure created by the village’s dragon dance team. It twists and turns in beautiful patterns, and its head sways continuously, creating a majestic spectacle! Following it is a noisy, energetic group of drummers and cymbals, clearing the way for the procession carrying the village’s deity's palanquin.

The palanquin, carried by eight people, is exquisitely designed and painted with golden details, symbolizing respect and grandeur. Behind the palanquin are two large red canopies. Following them is a life-like wooden horse. After that, people carry sacred objects, and bright multicolored flags wave proudly.

Next come representatives from various social groups in the village: the elderly, women’s group, farmers, and children’s teams. Each group wears a unique uniform: four-part dresses, headscarves, and traditional long dresses, all in bright colors. At the end of the procession are the villagers of all ages, walking together, praying for good fortune in the new year.

The procession continues on, but the faces of the participants remain cheerful, filled with pride and happiness. The morning ceremony is completed, while the afternoon brings the festival’s lively activities. The atmosphere of the festival is overwhelming, with a rare level of bustling excitement.

Along one side of the road are stalls selling souvenirs, operated by locals who come to sell in hopes of bringing luck and prosperity for the year ahead. Deeper in the festival grounds, traditional games are being played. On the left, there's a human chess game, while on the right, wrestling competitions are held, and further down, people cook in clay pots.

The clay pot cooking game is fascinating. A male and female pair participate, with the male carrying a pot of rice, and the female running behind him to light the fire until the rice is cooked. Nearby, there's a tug-of-war competition with two teams of ten people each, pulling a long rope until one side gives in. Other games like blindfolded goat catching, spear throwing, and modern games like merry-go-rounds and electric trains also take place.

At the end of the festival, everyone leaves feeling joyful and elated. The village festival is a beautiful cultural tradition, and we hope that this custom of celebrating the new year will be passed on for generations to come.

After longing for years, this year I finally had the chance to join my parents on a pilgrimage to the sacred Hung Kings Temple on the 10th of the third lunar month.

As we crossed Bạch Hạc Bridge, I saw the towering Hung Mountain rising majestically against the sky. Surrounding it were vast, imposing hills, which, according to legend, represent the elephants that once knelt before the ancestral land. One of these elephants still bears a scar on its tail from a knife cut, a mark that remains today.

The festival atmosphere was vibrant: the elders wore traditional headscarves and long dresses, while the younger generation donned red-collared outfits, echoing the attire of ancient times. The weather was perfect, with the sun casting its golden light on the lush trees surrounding the area. The forests of pine and palm were thriving, their green hues blending with the grandeur of Nghĩa Lĩnh Mountain.

As the processions moved with decorated palanquins, the air was filled with the sound of drums and gongs. The Hung Kings Temple, located at the foot of the mountain, required climbing 495 stone steps, winding up the mountainside. At the base, there is the well-known Giếng Temple, which contains two wells said to have been used by Princess Mị Nương, the daughter of the 18th Hung King.

Higher up is the Lower Temple, where it is believed that Mother Âu Cơ gave birth to a hundred children, who later divided to rule the various regions. Climbing 200 more steps, you reach the Central Temple, where the Hung King and his officers used to discuss state matters. Further up, there is a temple dedicated to Phù Đổng, and at the very top, a sacred site honoring Heaven and Earth.

The springtime festival is always the most lively. The descendants of the Vietnamese people come here to remember their roots and offer incense and offerings to their ancestors in accordance with tradition. Regardless of one's religion or ethnic background, the shared belief in returning to the origins of the nation unites all who visit.

After the speech by the Minister of Culture about the importance of national heritage, the celebrations erupted into various joyful activities. Young men and women took turns beating a wooden drum in rhythm, while others performed lion dances and folk dances like sạp. Everyone had a radiant smile on their face, enjoying the festive spirit. The stories of old times, like those about the strong and harmonious reign of the kings, filled the air, leaving behind countless unforgettable legends.

One of the legends tells of an event at Thậm Thình village at the foot of the mountain, where the King once stopped to rest while hunting. It is said that the locals offered him a full plate of sticky rice and pairs of cakes to honor him.

As night fell, the sky lit up with dazzling fireworks, signaling the end of a fantastic day, though the joy remained in my heart. I had visited the sacred land of our ancestors, a place that has stood for millennia, and I felt an immense sense of pride for my heritage. The landscape of hills, rice fields, and rivers, combined with the winding paths, made this ancient capital a place of true splendor.

The Huong Pagoda Festival has a long history. Every year, it starts on the sixth day of the first lunar month, right after the Lunar New Year, and lasts for almost the entire spring. Pilgrims from all over the country, as well as overseas Vietnamese and foreign tourists, flock here to pray for a prosperous new year and immerse themselves in the enchanting landscape of Huong Son.

Huong Son, located in My Duc District, Hanoi, is about 70 kilometers southwest of the city center. By car, you pass through Ha Dong and Van Dinh towns until you reach Ben Duc, where the pilgrimage officially begins. From here, visitors board boats that glide along the crystal-clear Yen Stream, surrounded by lush rice fields. Ahead, a range of mountains stretches out, bathed in a misty, purple hue, creating an indescribably beautiful view.

The Huong Son complex is a perfect blend of natural beauty and human craftsmanship. The pagodas are scattered along the limestone mountain slopes, partially hidden by thick forests. Visitors climb thousands of steep stone steps to visit several pagodas, including the Outer Pagoda, Inner Pagoda, the Pagoda of Exoneration, and the Heavenly Pagoda, with the famous Hinh Bong Cave and Huong Tich Cave along the way.

Each pagoda exudes an ancient and solemn atmosphere, with flickering candles and incense smoke creating a mysterious, sacred ambiance. Every person who visits Huong Pagoda carries a personal wish, but a common feeling unites them all—the sense of releasing the burdens of daily life, with both body and soul feeling light and spiritual.

On the winding stone paths, people of all ages, from all regions, move in procession. The elderly, wearing headscarves and traditional clothes, walk with the same vigor as the youth, supported by bamboo canes. The air is filled with the chanting of "Nam Mo A Di Da Phat" as pilgrims ascend and descend.

Among the many caves in Huong Son, the most impressive is the Huong Tich Cave. Upon reaching the cave, the majestic landscape opens up, and all fatigue seems to vanish, replaced by an extraordinary sense of joy. The mountains rise and fall in the mist, while apricot flowers bloom white as snow, filling the air with their delicate fragrance.

The sound of birds chirping and the stream's gentle flow create a serene, harmonious melody, making the scenery feel like a traditional landscape painting. Standing at the entrance of the cave, visitors take a deep breath of the fresh, fragrant air before entering the cave. The Huong Tich Cave, praised by Lord Trinh Sam as "The Best Cave in the South", appears like the open mouth of a giant dragon from the outside.

The cave extends deep into the mountain, with a spacious and flat floor capable of holding hundreds of people. Inside, the flickering lights and candles illuminate the stunning stalactites and stone columns, glimmering in a rainbow of colors. Among the formations are the Father and Mother Rocks, the Silkworms, the Golden and Silver Trees, and the Rice Storage. Pilgrims light incense and offer heartfelt prayers, hoping for blessings, wealth, or love.

A visit to the Huong Pagoda Festival typically takes at least two days to explore the various pagodas. Sitting in the Hinh Bong Cave, listening to the melody of the wind creating a soothing, rhythmic tune, visitors lose themselves in the dreamlike atmosphere. At the mountain's peak, a large, flat stone known as the "Immortal Chessboard" is said to be where the Immortal Gods descend each year to play chess, testing their skills.

Countless legends surround Huong Pagoda, enhancing its mystical and sacred aura. When leaving, each visitor takes home a souvenir: a mother-of-pearl bell tied with red string for good luck, a bamboo cane from the journey, or a rosary bead. As they board their vehicles to return, there is a lingering feeling of nostalgia and longing for the next festival season, with everyone secretly wishing for the chance to experience the mesmerizing beauty of Huong Son again.