- Intangible cultural heritage, Culture and People of Vietnam, Comparative Literature, Performance Studies, Folklore, Transculturation, Sino-Vietnamese Relations, Anthropology of Vietnam, and 11 moreRitual, Chinese history (History), Southeast Asian Studies, Vietnamese History, Theatre Studies, Ritual (Anthropology), Southeast Asian history, Theatre History, Intellectual and cultural history, Vietnam, and French colonialismedit
- Name: Lan To NGUYEN (Nguyễn Tô Lan in Vietnamese 阮蘇蘭in Chinese) Address (official): Institute of Sino - Nom Studi... moreName: Lan To NGUYEN
(Nguyễn Tô Lan in Vietnamese 阮蘇蘭in Chinese)
Address (official):
Institute of Sino - Nom Studies, 183 Dang Tien Dong Street, Dong Da District, Hanoi, Vietnam, 10000.
Mobile: +844 - 983 211 983; Email: lanhannom@gmail.com
Academic Interests:
Ritual and belief; Vietnamese classical performance (folk opera, royal theatrical performance and dramatic performance in Buddhist ceremony); cultural interaction between China and Vietnam, overseas minorities (Oversea Chinese in Southern Vietnam, Oversea Vietnamese in Guangxi, China) from linguistics, religion, and cultural transformation aspects; world literature; East Asia studies; Vietnamese medieval culture and history; Nom studies.
Education:
2009 - 2012: Graduate Academy of Social Sciences, Vietnam Academy of Social Sciences, Literature and Linguistics, Ph.D (transferred).
2003 - 2006: University of Social Sciences and Humanities, Vietnam National University (Hanoi), Sino - Nom Studies, MA (transferred).
2004 - 2008: University of Languages and International Studies, Vietnam National University (Hanoi), Chinese Linguistic and Culture, BA.
1999 - 2003: University of Social Sciences and Humanities, Vietnam National University (Hanoi), Sino - Nom Studies, BA.
Honors and Awards:
2019: Beijing Foreign Studies University, Visiting Scholar at the School of Asian and African Studies.
2018: Academia Sinica (Taiwan), Visiting Scholar at the Institute of Literature and Philosophy.
2017: Balaban Award for Young Nom Scholar awarded by the Vietnam Nôm Preservation Foundation (USA).
2015 - 2016: The Robert H.N Ho Family Foundation for Buddhist Studies Award. Collaborative research with Rostislav Berezkin - A.Prof at Shanghai Fudan University.
6/2015 - 12/2015: Harvard - Yenching Institute, Coordinate Research Scholar. Collaborative research with Prof. Ho Tai Hue - Tam at History Department, Harvard University.
10/2014: Kyoto University, Institute for Research in Humanities, Guest Scholar. Invited by Prof. Kin Bunkyo.
8/2013 - 6/2014: Harvard - Yenching Institute, Visiting Scholar. Mentor: Prof. Karen L. Thornber (Former Director of Comparative Literature Department, Director of Harvard Asia Center).
9/2010 - 6/2011: Asian Foundation Scholarships, Research Fellow.edit
This article discusses the origins and special features of the earliest extant Vietnamese version of the Princess Miaoshan story-the National Version of the Original Deeds of Guanyin , which forms a hagiography of Bodhisattva Guanyin;... more
This article discusses the origins and special features of the earliest extant Vietnamese version of the Princess Miaoshan story-the National Version of the Original Deeds of Guanyin , which forms a hagiography of Bodhisattva Guanyin; compiled by the monk Thich Chân Nguyen ca. end of the 17 th century. With the use of comparison of different Vietnamese and Chinese versions of this story, we have detected that the National Version of the Original Deeds of Guanyin was based on the Chinese novel Complete Story of Guanyin of the Southern Sea (ca. end of the 16 th century), thus contesting the previous views of the Vietnamese scholars on the origins and the history of transmission of the Miaoshan story in Vietnam. This early Vietnamese version represents peculiar features of Sino-Vietnamese cultural exchange in the aspect of Buddhist teaching, including the interchange of written (classical) and popular (vernacular) elements in this story. Received: 11 th August 2016; Revised: 24 th Oct...
Research Interests:
Purpose This article traces the transformation of hát bội, a form of traditional opera in Southern Vietnam, from its primary role as entertainment into a religious activity after the Reform (Đổi Mới) were enacted in 1986.... more
Purpose This article traces the transformation of hát bội, a form of traditional opera in Southern Vietnam, from its primary role as entertainment into a religious activity after the Reform (Đổi Mới) were enacted in 1986. Design/methodology/approach This research is based on ethnological fieldwork complemented by a review of historical documents and of the available literature on hát bội, cultural policies and on data collected from interviews with artists and spectators at the festival at the shrine to the Lady of the Realm. Findings Before 1986, hát bội was performed either as a stand-alone entertainment during the fair portion of community festivals or as part of religious ceremonies. The Reform and the accompanying relaxation of state control over religion and culture promoted the resurgence of popular religious fairs across the nation. New opportunities for hát bội to revive opened, artists left state-sponsored troupes to join private companies that catered to religious festiva...
Research Interests:
This article deals with the process of adaptation of Chinese precious scrolls (baojuan) vernacular narratives in Vietnam in the period from the 18th to the early 20th centuries, with the example of the Princess Miaoshan story, which... more
This article deals with the process of adaptation of Chinese precious scrolls (baojuan) vernacular narratives in Vietnam in the period from the 18th to the early 20th centuries, with the example of the Princess Miaoshan story, which served the popular hagiography of Bodhisattva Guanyin (V. Quan Âm). This story was featured in several baojuan texts of the 15th-19th centuries that were transmitted from China to Vietnam in the 18th and 19th centuries. Several Vietnamese adaptations, both in Hán văn and in the indigenous language, transcribed in Nôm characters, were circulated in the printed form. We have collected these adaptations and undertaken a comparative study of the texts, demonstrating the complex nature of the literary exchange between vernacular literature with religious themes in Vietnam and China. We examine the place of these adaptations in traditional Vietnamese culture and demonstrate the differences in the social background of the original Chinese baojuan and their Viet...
Research Interests:
This article deals with the process of adaptation of Chinese precious scrolls (baojuan) vernacular narratives in Vietnam in the period from the 18th to the early 20th centuries, with the example of the Princess Miaoshan story, which... more
This article deals with the process of adaptation of Chinese precious scrolls (baojuan) vernacular narratives in Vietnam in the period from the 18th to the early 20th centuries, with the example of the Princess Miaoshan story, which served the popular hagiography of Bodhisattva Guanyin (V. Quan Âm). This story was featured in several baojuan texts of the 15th-19th centuries that were transmitted from China to Vietnam in the 18th and 19th centuries. Several Vietnamese adaptations, both in Hán văn and in the indigenous language, transcribed in Nôm characters, were circulated in the printed form. We have collected these adaptations and undertaken a comparative study of the texts, demonstrating the complex nature of the literary exchange between vernacular literature with religious themes in Vietnam and China. We examine the place of these adaptations in traditional Vietnamese culture and demonstrate the differences in the social background of the original Chinese baojuan and their Viet...
Research Interests:
This article traces the transformation of hát bội, a form of traditional opera in Southern Vietnam, from its primary role as entertainment into a religious activity after the Reform (Đổi Mới) were enacted in 1986. This research is based... more
This article traces the transformation of hát bội, a form of traditional opera in Southern Vietnam, from its primary role as entertainment into a religious activity after the Reform (Đổi Mới) were enacted in 1986.
This research is based on ethnological fieldwork complemented by a review of historical documents and of the available literature on hát bội, cultural policies and on data collected from interviews with artists and spectators at the festival at the shrine to the Lady of the Realm.
Before 1986, hát bội was performed either as a stand-alone entertainment during the fair portion of community festivals or as part of religious ceremonies. The Reform and the accompanying relaxation of state control over religion and culture promoted the resurgence of popular religious fairs across the nation. New opportunities for hát bội to revive opened, artists left state-sponsored troupes to join private companies that catered to religious festivals. But almost exclusive involvement in religious rites has led to artistic stasis for private hát bội troupes.
This research constitutes novel insights of how the Reform in Vietnam affects the transformation of a traditional performance form.
This research is based on ethnological fieldwork complemented by a review of historical documents and of the available literature on hát bội, cultural policies and on data collected from interviews with artists and spectators at the festival at the shrine to the Lady of the Realm.
Before 1986, hát bội was performed either as a stand-alone entertainment during the fair portion of community festivals or as part of religious ceremonies. The Reform and the accompanying relaxation of state control over religion and culture promoted the resurgence of popular religious fairs across the nation. New opportunities for hát bội to revive opened, artists left state-sponsored troupes to join private companies that catered to religious festivals. But almost exclusive involvement in religious rites has led to artistic stasis for private hát bội troupes.
This research constitutes novel insights of how the Reform in Vietnam affects the transformation of a traditional performance form.
京族分布於廣西東興市江平鎮,是中國的少數民族之一,其民族語言「京語」是越南語的一種方言。承受著來自漢語普通話、漢語白話方言以及通用越南語的巨大壓力,京語正處於消亡的邊緣。保護及傳承該民族語言的需求變得極為迫切,一群老一輩的京族知識份子選擇了以喃字作為傳承京語的手段。本文以2015年兩次在京族三島進行的社會語言學田野調查的考察成果為基礎,初步探索京族人之所以選擇傳承喃字作為傳承語言方式的原因,及喃字傳承方式。相比之下,漢字系統的「喃字」無法如現代越南語(或稱「國語字」)一般,能... more
京族分布於廣西東興市江平鎮,是中國的少數民族之一,其民族語言「京語」是越南語的一種方言。承受著來自漢語普通話、漢語白話方言以及通用越南語的巨大壓力,京語正處於消亡的邊緣。保護及傳承該民族語言的需求變得極為迫切,一群老一輩的京族知識份子選擇了以喃字作為傳承京語的手段。本文以2015年兩次在京族三島進行的社會語言學田野調查的考察成果為基礎,初步探索京族人之所以選擇傳承喃字作為傳承語言方式的原因,及喃字傳承方式。相比之下,漢字系統的「喃字」無法如現代越南語(或稱「國語字」)一般,能呈現京語的語音面貌,在記錄和傳承京語語言方面上並無優勢。本文認為,選擇「喃字」作為京語傳承載體是出於民族生命的考慮,強調「喃字」是和漢字一脈、京族和漢族是部分與整體的關係。
Jing people inhabit Jiangping town of Dongxing city district in Guangxi and constitute a national minority in China. Their language – the so-called Jing language -- is a dialect of the Vietnamese. Now the Jing language faces extinction because of the pressure from standard Mandarin, spoken dialects of Chinese, and standard Vietnamese. In order to protect and promulgate the Jing language, a group of local old intellectuals have decided to use Nôm characters as a tool of transmission of the Jing language. The present article, based on materials collected during two fieldwork trips to the “three islands area of the Jing nationality” in 2015, for the first time discusses the reasons why the Nôm characters have been chosen as the tool of language transmission as well as the ways of transmission of the Nôm characters themselves. In comparative perspective, the Nôm characters belonging to the Chinese characters system, unlike Romanization of modern Vietnamese (the so-called quốc ngữ) cannot represent the exact pronunciation of the Jing language, and therefore cannot offer advantage in the task of transmission of this language. The author argues that the choice of the Nôm characters as the tool of the Jing language transmission is caused by considerations of the survival of this ethnicity; it emphasizes original connections between Nôm and Chinese characters, as well as the status of the Jing as a part of the big Han nation.
Jing people inhabit Jiangping town of Dongxing city district in Guangxi and constitute a national minority in China. Their language – the so-called Jing language -- is a dialect of the Vietnamese. Now the Jing language faces extinction because of the pressure from standard Mandarin, spoken dialects of Chinese, and standard Vietnamese. In order to protect and promulgate the Jing language, a group of local old intellectuals have decided to use Nôm characters as a tool of transmission of the Jing language. The present article, based on materials collected during two fieldwork trips to the “three islands area of the Jing nationality” in 2015, for the first time discusses the reasons why the Nôm characters have been chosen as the tool of language transmission as well as the ways of transmission of the Nôm characters themselves. In comparative perspective, the Nôm characters belonging to the Chinese characters system, unlike Romanization of modern Vietnamese (the so-called quốc ngữ) cannot represent the exact pronunciation of the Jing language, and therefore cannot offer advantage in the task of transmission of this language. The author argues that the choice of the Nôm characters as the tool of the Jing language transmission is caused by considerations of the survival of this ethnicity; it emphasizes original connections between Nôm and Chinese characters, as well as the status of the Jing as a part of the big Han nation.
Research Interests:
"Bảo quyển 寶卷" là một thể loại văn bản văn học đặc thù, dùng để diễn xướng trong nghi lễ Phật giáo ở Trung Quốc. Hương Sơn bảo quyển 香山寶卷 là tên rút gọn của Đại thánh pháp bảo Hương Sơn bảo quyển 大聖法寶香山寶卷, tên gốc là Quan Thế Âm Bồ tát... more
"Bảo quyển 寶卷" là một thể loại văn bản văn học đặc thù, dùng để diễn xướng trong nghi lễ Phật giáo ở Trung Quốc. Hương Sơn bảo quyển 香山寶卷 là tên rút gọn của Đại thánh pháp bảo Hương Sơn bảo quyển 大聖法寶香山寶卷, tên gốc là Quan Thế Âm Bồ tát bản nguyện kinh 觀世 音菩薩本願經. Đây là một trong những tác phẩm tiêu biểu của thể loại này và là văn bản được diễn xướng rộng rãi vào bậc nhất trong lịch sử Trung Quốc và cho tới ngày nay. Nội dung chủ yếu kể về chuyện tu hành của công chúa Diệu Thiện từ khi giáng sinh vào hoàng cung tới lúc thành đạo ở núi Hương Sơn, được tôn xưng là Quan Âm Nam Hải hay Quan Âm Diệu Thiện. Hương Sơn bảo quyển được coi là tác phẩm của thiền sư Phổ Minh chùa Thiên Trúc (Hàng Châu, Trung Quốc) sáng tác vào năm 1103 dưới ảnh hưởng của sự phát triển tín ngưỡng thờ cúng Phật Quan Âm ở Trung Quốc vào thời Tống (*). Điểm đáng chú ý là, văn bản sớm nhất hiện còn của Hương Sơn bảo quyển được trùng san tại Việt Nam vào năm 1772 và đang được lưu trữ tại Viện Nghiên cứu Hán Tác phẩm Phật giáo Trung Quốc Hương Sơn bảo quyển từ tiếp cận tư liệu Hán Nôm (*)
This article deals with the process of adaptation of Chinese precious scrolls (baojuan) vernacular narratives in Vietnam in the period from the 18th to the early 20th centuries, with the example of the Princess Miaoshan story, which... more
This article deals with the process of adaptation of Chinese precious scrolls (baojuan) vernacular narratives in Vietnam in the period from the 18th to the early 20th centuries, with the example of the Princess Miaoshan story, which served the popular hagiography of Bodhisattva Guanyin (V. Quan Âm). This story was featured in several baojuan texts of the 15th-19th centuries that were transmitted from China to Vietnam in the 18th and 19th centuries. Several Vietnamese adaptations, both in Hán văn and in the indigenous language, transcribed in Nôm characters, were circulated in the printed form. We have collected these adaptations and undertaken a comparative study of the texts, demonstrating the complex nature of the literary exchange between vernacular literature with religious themes in Vietnam and China. We examine the place of these adaptations in traditional Vietnamese culture and demonstrate the differences in the social background of the original Chinese baojuan and their Vietnamese adaptations.
This article discusses the origins and special features of the earliest extant Vietnamese version of the Princess Miaoshan story - the National Version of the Original Deeds of Guanyin, which forms a hagiography of Bodhisattva Guanyin;... more
This article discusses the origins and special features of the earliest extant Vietnamese version of the Princess Miaoshan story - the National Version of the Original Deeds of Guanyin, which forms a hagiography of Bodhisattva Guanyin; compiled by the monk Thích Chân Nguyên ca. end of the 17th century. With the use of comparison of different Vietnamese and Chinese versions of this story, we have detected that the National Version of the Original Deeds of Guanyin was based on the Chinese novel Complete Story of Guanyin of the Southern Sea (ca. end of the 16th century), thus contesting the previous views of the Vietnamese scholars on the origins and the history of transmission of the Miaoshan story in Vietnam. This early Vietnamese version represents peculiar features of Sino-Vietnamese cultural exchange in the aspect of Buddhist teaching, including the interchange of written (classical) and popular (vernacular) elements in this story.
This article is partly an outcome of a collaborative research project carried out by A.Prof. Dr.Rostislav Berezkin (Fudan University, Shanghai, China) and Dr. Nguyễn Tô Lan (Institute of Sino - Nom Studies, Vietnam Academy of Social Science), sponsored by the Robert H. N. Ho Family Foundation Collaborative Research Fellowships in Buddhist Studies 2015 (American Council of Learned Society, 2015)
This article is partly an outcome of a collaborative research project carried out by A.Prof. Dr.Rostislav Berezkin (Fudan University, Shanghai, China) and Dr. Nguyễn Tô Lan (Institute of Sino - Nom Studies, Vietnam Academy of Social Science), sponsored by the Robert H. N. Ho Family Foundation Collaborative Research Fellowships in Buddhist Studies 2015 (American Council of Learned Society, 2015)
Research Interests:
VALUABLE ARCHIVES OF A CLASSIC DRAMA IN THE IMPERIAL COURT OF NGUYỄN DYNASTY - THE "QUẦN PHƯƠNG TẬP KHÁNH" (Abstract written and translated into English by The Publisher) The article presents the research results of textual criticism on... more
VALUABLE ARCHIVES OF A CLASSIC DRAMA
IN THE IMPERIAL COURT OF NGUYỄN DYNASTY - THE "QUẦN PHƯƠNG TẬP KHÁNH"
(Abstract written and translated into English by The Publisher)
The article presents the research results of textual criticism on the “Tuồng” scripts of "Quần phương tập khánh" (The whole people wish the Emperor a long life). This is one of the three
famous traditional theatre operas under the Nguyeãn Dynasty handed down to consist of hundreds of acts and performed continuously in hundreds of nights, but now there are only six texts of the first 5 acts left. These archives are very complex with regard to the text as seen from the preserved texts and their steps, signs of the date of texts, works and authors. From the study of the remaining texts, the author suggests that the classic drama of "Quần phương tập khánh" might
be compiled under the reign of Emperor Tự Đức (1848-1883) by his court officials among them the eminent “Tuồng” composer Đào Tấn is likely to participate in compiling or editing (some acts). The date of the remaining texts can be a bit later, possibly recopied around the time of Thành Thái reign (1889-1907) or later.
IN THE IMPERIAL COURT OF NGUYỄN DYNASTY - THE "QUẦN PHƯƠNG TẬP KHÁNH"
(Abstract written and translated into English by The Publisher)
The article presents the research results of textual criticism on the “Tuồng” scripts of "Quần phương tập khánh" (The whole people wish the Emperor a long life). This is one of the three
famous traditional theatre operas under the Nguyeãn Dynasty handed down to consist of hundreds of acts and performed continuously in hundreds of nights, but now there are only six texts of the first 5 acts left. These archives are very complex with regard to the text as seen from the preserved texts and their steps, signs of the date of texts, works and authors. From the study of the remaining texts, the author suggests that the classic drama of "Quần phương tập khánh" might
be compiled under the reign of Emperor Tự Đức (1848-1883) by his court officials among them the eminent “Tuồng” composer Đào Tấn is likely to participate in compiling or editing (some acts). The date of the remaining texts can be a bit later, possibly recopied around the time of Thành Thái reign (1889-1907) or later.
Research Interests:
( English version has been translated from Vietnamese version by publisher. Vietnamese version has been revised after that.) Hùng vương và những vấn đề liên quan đã thu hút được nhiều sự quan tâm và tranh biện của không chỉ các học giả... more
( English version has been translated from Vietnamese version by publisher. Vietnamese version has been revised after that.)
Hùng vương và những vấn đề liên quan đã thu hút được nhiều sự quan tâm và tranh biện của không chỉ các học giả trong và ngoài nước mà còn cả cộng đồng dân cư Việt Nam và cộng đồng coi mình thuộc lệ vào Việt Nam. Sở dĩ có nhiều ý kiến trái chiều xung quanh đề tài này, những ý kiến này có thể nói là phủ định triệt để lẫn nhau là do ít có những bằng chứng trực tiếp về khảo cổ học, sử học v.v…về thời đại này đủ để có thể xác quyết hầu hết các giả thiết, thậm chí có một số quan điểm cực đoan cho rằng Hùng vương là sản phẩm thuần túy của đầu óc tưởng tượng con người Việt Nam nhiều thế kỉ. Bài viết dựa trên việc khai thác một số tài liệu cổ sử của Trung Quốc và đặc biệt là thư tịch cổ Việt Nam (thư tịch Hán Nôm về sử học, văn học, sách giáo khoa đầu thế kỉ XIX, sắc phong, thần tích v.v..) nhằm bước đầu minh giải nội hàm ẩn sâu dưới khái niệm tín ngưỡng thờ Hùng vương, chủ yếu từ hai khía cạnh: Hùng vương là hình ảnh của Thủy tổ người Việt được kiến tạo với dụng ý rõ rệt của người Việt Nam qua các đời nhằm nối dài quốc thống và sự diên trường của quốc gia, ở một khía cạnh khác, từ sản phẩm của ý thức hệ chính thống, hình ảnh Hùng vương đã đi vào tiềm thức của người Việt với tư cách của một thời thái cổ dao viễn tươi đẹp trong lịch sử.
Từ khóa: Hùng vương, thủy tổ, thời thái cổ, biểu tượng, thuần
Hùng vương và những vấn đề liên quan đã thu hút được nhiều sự quan tâm và tranh biện của không chỉ các học giả trong và ngoài nước mà còn cả cộng đồng dân cư Việt Nam và cộng đồng coi mình thuộc lệ vào Việt Nam. Sở dĩ có nhiều ý kiến trái chiều xung quanh đề tài này, những ý kiến này có thể nói là phủ định triệt để lẫn nhau là do ít có những bằng chứng trực tiếp về khảo cổ học, sử học v.v…về thời đại này đủ để có thể xác quyết hầu hết các giả thiết, thậm chí có một số quan điểm cực đoan cho rằng Hùng vương là sản phẩm thuần túy của đầu óc tưởng tượng con người Việt Nam nhiều thế kỉ. Bài viết dựa trên việc khai thác một số tài liệu cổ sử của Trung Quốc và đặc biệt là thư tịch cổ Việt Nam (thư tịch Hán Nôm về sử học, văn học, sách giáo khoa đầu thế kỉ XIX, sắc phong, thần tích v.v..) nhằm bước đầu minh giải nội hàm ẩn sâu dưới khái niệm tín ngưỡng thờ Hùng vương, chủ yếu từ hai khía cạnh: Hùng vương là hình ảnh của Thủy tổ người Việt được kiến tạo với dụng ý rõ rệt của người Việt Nam qua các đời nhằm nối dài quốc thống và sự diên trường của quốc gia, ở một khía cạnh khác, từ sản phẩm của ý thức hệ chính thống, hình ảnh Hùng vương đã đi vào tiềm thức của người Việt với tư cách của một thời thái cổ dao viễn tươi đẹp trong lịch sử.
Từ khóa: Hùng vương, thủy tổ, thời thái cổ, biểu tượng, thuần
Research Interests:
Địa danh Đường Lâm ở Sơn Tây, Hà Nội hiện nay là một cái tên rất nổi tiếng. Đây được xem là “ngôi làng” đầu tiên được xếp hạng quần thể di tích cấp quốc gia, là đất phát tích hai vua (Phùng Hưng và Ngô Quyền), là quê hương của Đại sư... more
Địa danh Đường Lâm ở Sơn Tây, Hà Nội hiện nay là một cái tên rất nổi tiếng. Đây được xem là “ngôi làng” đầu tiên được xếp hạng quần thể di tích cấp quốc gia, là đất phát tích hai vua (Phùng Hưng và Ngô Quyền), là quê hương của Đại sư Khuông Việt Ngô Chân Lưu-một trong những nhân vật kiệt xuất của lịch sử Việt Nam vào thế kỷ X-XI. Trong quá trình đi tìm quê hương của Khuông Việt Đại sư-một vấn đề còn chưa giải quyết thỏa đáng-các tác giả bài viết phát hiện ra rằng, trong suốt lịch sử từ thời Bắc thuộc cho đến trước năm 1964, khu vực Sơn Tây chưa hề có một đơn vị hành chính nào mang tên Đường Lâm. Từ đây, các tác giả đưa ra nhận định bước đầu rằng, dù quê hương của Khuông Việt Đại sư ở đâu thì đó cũng không phải là Sơn Tây, Hà Nội ngày nay.
(Đường Lâm village in Sơn Tây, Hà Nội is a famous place-name in the North of Vietnam. It is considered the first “village” to be classified as the national relic complex and the native village of two kings Phùng Hưng and Ngô Quyền as well as Zen master Khuông Việt, one of the prominent figures in the history of Vietnam in the 10th and the 11th centuries.
However, there is an unsolved question during the course of tracing the native village of Zen master Khuông Việt. The authors find out that during the history of Vietnam, from the period of Chinese domination till 1964, there has not been any administrative unit called Đường Lâm in the region of Sơn Tây. As a result, the authors make an initial remark that wherever the native village of Zen master Khuông Việt is, it cannot be in Sơn Tây, Hà Nội.)
(Đường Lâm village in Sơn Tây, Hà Nội is a famous place-name in the North of Vietnam. It is considered the first “village” to be classified as the national relic complex and the native village of two kings Phùng Hưng and Ngô Quyền as well as Zen master Khuông Việt, one of the prominent figures in the history of Vietnam in the 10th and the 11th centuries.
However, there is an unsolved question during the course of tracing the native village of Zen master Khuông Việt. The authors find out that during the history of Vietnam, from the period of Chinese domination till 1964, there has not been any administrative unit called Đường Lâm in the region of Sơn Tây. As a result, the authors make an initial remark that wherever the native village of Zen master Khuông Việt is, it cannot be in Sơn Tây, Hà Nội.)