Introduction to the Mother Goddess Worship of Tam Phu
The Mother Goddess Worship is an indigenous folk belief with a long history and an important place in the spiritual life of the Vietnamese. Unlike many religions that focus on a distant supernatural world, this belief focuses on human daily life with ordinary wishes for health, wealth, luck, and peace. With its openness, syncretism, and rich humanistic values, this belief is not only a spiritual need but also a bond linking communities, contributing to the unique cultural identity of the nation.
On December 1, 2016, at the 11th session of the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in Addis Ababa (Ethiopia), the dossier "Practices of the Vietnamese Mother Goddess Worship of Tam Phu" was officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity. This event not only affirmed the great cultural values of the belief but also recognized, by the international community, a cultural practice passed down through centuries.
Origins and Formation Process
From Goddess Worship to Mother Worship
The origin of the Mother Goddess Worship is believed to date back to prehistoric times, when ancient Vietnamese worshipped natural deities such as the Cloud God, Rain God, Thunder God, and Lightning God. In the worldview of wet-rice agricultural dwellers, the sky, earth, rivers, and mountains all had life and governing deities. These deities were gradually personified and incorporated into the concept of the Holy Mother, or the Mother Goddess. The image of the Mother, with her role of procreation, growth, and protection, became a sacred symbol, meeting the spiritual need for protection by supernatural forces over human life.
The Formation of Tam Phu and Tu Phu
Through history, the Mother Goddess Worship gradually developed and systematized into the Tam Phu belief, comprising three governing realms: Thien Phu (Heavenly Realm), Nhac Phu (Mountain and Forest Realm), and Thoai Phu (Water Realm). Later, with the addition of Dia Phu (Earth Realm), the belief expanded to Tu Phu. This division reflects a conception of a complete universe with four main spatial realms, each governed by Holy Mothers and deities. By the 16th century, with the emergence of Holy Mother Lieu Hanh, a nascent indigenous religion was formed on the basis of Tam Phu and Tu Phu beliefs, marking an important development in the history of the belief. This belief has been transmitted since the 16th century through the practice and teaching of temple keepers, mediums, and disciples.
The Divine Pantheon in the Mother Goddess Worship
The divine pantheon of the Mother Goddess Worship is rich and diverse, arranged in a specific order. At the center are the Three Holy Mothers, governing the three realms of the universe:
- First Mother (Thien Phu): Governs the heavenly realm, often dressed in red.
- Second Mother (Thoai Phu): Governs the water realm, often dressed in blue or white.
- Third Mother (Nhac Phu): Governs the mountain and forest realm, often dressed in green.
In some variations of Tu Phu, there is also a Fourth Mother (Dia Phu) governing the earth realm, often dressed in yellow. Alongside the Holy Mothers, the pantheon includes other deities such as the Ladies (Chau Ba), Great Mandarins (Quan Lon), Princes (Ong Hoang), Young Ladies (Co Be), and Young Gentlemen (Cau Be). Each has a distinct character, temperament, and power, creating a spiritual world that is both familiar and sacred. The harmonious combination of indigenous beliefs with Taoist and Buddhist elements in the pantheon clearly shows the syncretic and open nature of the Mother Goddess Worship, fostering tolerance among ethnicities and religions.
Core Values and Humanistic Significance
"Tam" (Heart/Mind) is considered the core value of the Mother Goddess Worship. The belief teaches people to live virtuously, keep the soul pure, know how to treat others well, worship ancestors, and be grateful to those who have contributed to the people and the country. Through worshiping the Mother, people aim to eliminate evil, aspire to goodness, and cultivate compassion and tolerance. These are deeply humanistic moral values that attract all strata of society.
From a social perspective, the Mother Goddess Worship has played an important role in creating a spiritual bond linking communities that practice the heritage. The heritage is shared by different ethnic groups in Vietnam, and its practice enhances dialogue and promotes respect for cultural diversity. Moreover, this belief enriches cultural capital and becomes an important component of festivals, where artistic elements such as costumes, dance, and music play a key role, contributing to the creation and preservation of national cultural identity.
The Hau Dong Ritual: A Typical Practice
Concept and Meaning
Hau Dong (also called hau bong or len dong) is the most typical ritual in the practice of the Mother Goddess Worship of Tam Phu. It is a ceremony in which it is believed that deities enter the body of a medium (thanh dong) to bestow blessings, cure illnesses, resolve misfortunes, and convey advice to disciples. Hau Dong is not only a form of communication with the divine but also a composite art form, skillfully combining music, singing, costumes, and dance.
Steps and Components of the Ritual
A Hau Dong session is usually held at temples, palaces, or shrines dedicated to the Mother, with the participation of several components:
- Medium (male or female): The person performing the ritual, seen as an intermediary between humans and deities.
- Cung van (ritual singers): Those who sing Chau Van (or Hat Van), creating a sacred atmosphere and guiding the narrative throughout the ceremony.
- Disciples and followers: Those who observe, participate, and receive blessings.
The ritual begins with offering incense and prayers, then the Cung van performs opening melodies to invite the deities. When a deity "possesses" the medium, the medium changes costumes (wearing the deity's attire), performs characteristic gestures, movements, and speech, and bestows blessings on the disciples. Each "gia" (possession) has its own color, ritual, and meaning. The ceremony can last from a few hours to a full day depending on the scale.
The Art of Chau Van
Closely linked to the Hau Dong ritual is the art of Chau Van (or Hat Van), a unique traditional folk art form. Chau Van uses folk melodies combined with traditional instruments such as the moon lute, flute, drum, and castanets to create a musical space that is both solemn and captivating. The lyrics often praise the merits of the saints, recount their legends and histories, and convey profound life philosophies. Therefore, Chau Van has been recognized as a National Intangible Cultural Heritage and is an inseparable part of the Mother Goddess Worship.
Other Rituals and Practices
In addition to the Hau Dong ritual, the practice of the Mother Goddess Worship includes many other rituals and customs, such as:
- Ceremony of installing the incense burner (Le doi bat nhang): A ritual to set up an altar for the Mother at home or at temples.
- Ceremony of dedicating one's destiny (Le ton nhang ban menh): A ritual establishing a spiritual bond between an individual and a specific deity, considering that deity as one's "destiny."
- Ceremony of offering to the stars and resolving misfortunes (Le dang sao, giai han): A ritual to pray for stellar protection and to ward off misfortunes.
- Ceremony of offering gifts (Le cung tien, dang le vat): Preparing and offering items such as clothes, fruits, money, and votive paper to deities, expressing devotion and wishes.
These rituals are performed systematically, adhering to strict rules of form and content. Specific instructions for these distinctive rituals are often shared and taught by renowned temple keepers, mediums, and singers, contributing to the maintenance and promotion of heritage values across generations.
The Mother Goddess Worship in Contemporary Life
In modern society, the Mother Goddess Worship retains its vitality and adapts flexibly. Practices occur regularly at temples and shrines across the country. Additionally, the belief is expressed through various art forms, such as Hat Van on traditional stages and lacquer paintings on Mother Goddess themes. The UNESCO inscription has created new momentum, promoting more systematic and scientific research, preservation, and promotion of heritage values.
Many books and research works on the Mother Goddess Worship have been widely published as a way for people to recognize, honor, and contribute to protecting heritage values. Books like "Tu Phu Mother Goddess Worship: Sacred Realm in the Real World" not only provide clear explanations of the pantheon and important rituals but also compile specific guidance from artisans, bringing the heritage closer to the public. However, alongside positive values, there remain deviations and commercialization in practice. Identifying and eliminating negative manifestations and aiming for authentic values is a shared responsibility of society, so that the Mother Goddess Worship truly remains a precious cultural heritage reflecting the aspiration for goodness and the soul of the Vietnamese.
Conclusion
The Mother Goddess Worship of Tam Phu and the Hau Dong ritual are an invaluable intangible cultural heritage crystallizing the historical, cultural, artistic, and spiritual values of the Vietnamese nation. From a purely Vietnamese folk belief, through a long historical process, it has developed into a rich cultural practice with wide influence and international recognition. Preserving and promoting heritage values is not only the task of the practicing community but also the responsibility of society as a whole, so that the humanistic values and the spirit of goodness in the belief endure with the nation.
