Turning from the village lane into the brick courtyard before the pagoda, visitors immediately face a dark-red square terracotta stupa rising straight toward the sky, tapering tier by tier above all surrounding roofs. Up close, the surface is far from plain, as every casing brick bears relief ornament of sinuous dragons, lions playing with brocade balls, bodhi leaves, and lotus petals.
Behind the stupa stands Vĩnh Khánh Pagoda, known locally as Chùa Then, which is why the tower is also called Tháp Then. It is the tallest surviving ancient terracotta stupa in northern Vietnam and one of the very few monuments preserving intact the carved brickwork of the Lý and Trần era. This article examines three questions, namely what purpose the stupa served, when it was erected, and why the second question still has no single definitive answer.
IA devotional stupa rather than a funerary stupa
Before considering dates or dimensions, the essential point to grasp is the function of this monument. Bình Sơn Tower is a devotional stupa (tháp thờ) erected directly on the central axis in front of the pagoda entrance, not a funerary stupa housing the remains of an abbot.
In Buddhist tradition, the Vietnamese word tháp derives from the Sanskrit stūpa, originally a hemispherical mound raised over the relics of the Buddha. From that origin, stupas in Vietnam developed into two main functional types. The first is the devotional stupa (tháp thờ), erected as a central object of veneration for the entire monastery on its main axis, sometimes enshrining sacred relics or Buddha images. The second is the funerary stupa (tháp mộ or tháp tổ), built over the ashes or remains of deceased monastics, arranged in rows inside a secluded stupa garden on a much smaller scale.
A devotional stupa stands alone in the most prominent forecourt, whereas funerary stupas cluster in quiet side gardens. Bình Sơn Tower belongs to the first category.
The number of stories also carries traditional meaning. Buddhist stupas customarily take odd numbers of tiers, and in conventional studies of Vietnamese temple architecture an eleven-story stupa corresponds to the rank of a Pratyekabuddha (Bích Chi Phật), a solitary realizer just below supreme Buddhahood. Because this numerical correlation reflects scholarly convention rather than a surviving stele inscription at the site, readers should regard it as a traditional interpretive framework rather than an inscribed fact.
A common misconception arises because visitors accustomed to seeing monastic stupa gardens assume this tower is the tomb of a patriarch. Its placement rules that out. A funerary stupa is never erected directly across the central approach to the main Buddha hall, as doing so would place a grave directly before the altar of the Three Jewels. Standing squarely on the main axis and towering above the roofs, the stupa clearly serves as a devotional monument for the entire pagoda.
IIChronology and where sources diverge
Bình Sơn Tower has no founding stele, no dated inscription on its bricks, and no surviving record of its patron. Consequently, its age must be inferred from sculptural style and brick firing technique, areas where scholars have reached differing conclusions.
The first dating, published in the official heritage dossier by cultural management authorities, places the stupa broadly between the 14th and 16th centuries. That wide span is deliberate, as the dossier refrains from tying the monument to a single reign and instead brackets the period supported by its material and decorative traits.
The second dating, much more common in general reference works, local government portals, and press reports, assigns the stupa to the Trần dynasty in the 14th century. This attribution rests on the smooth-bodied undulating dragons, lions playing with brocade balls (sư tử hí cầu), and bodhi-leaf motifs carved on the bricks, all hallmark themes of Lý and Trần Buddhist art.
The third group of datings consists of individual scholarly hypotheses pushing the origin further back. The French researcher L. Bezacier suggested that certain floral patterns reflect the Đại La style and dated the stupa to around the 7th century, whereas Professor Trần Quốc Vượng and several Vietnamese scholars leaned toward a Lý dynasty origin in the 12th century.
Because these three accounts diverge, the library records all three rather than selecting one arbitrarily. The mid-14th-century date shown in the summary card serves only as a conventional reference date for cataloging within the library rather than a documented founding year.
- 14th centuryMost widely cited attributionMost publications date the stupa to the Trần dynasty in the 14th century based on the dragon, lion, and bodhi-leaf carvings on its terracotta casing bricks.
- 14th to 16th centuriesOfficial heritage dossier rangeThe Department of Cultural Heritage dossier records a broader chronological window without restricting the monument to a single dynasty.
- Lê and Nguyễn erasLater reconstructions of the pagodaVĩnh Khánh Pagoda behind the stupa underwent multiple rebuildings over the centuries, and its surviving timber frames belong to periods much later than the terracotta tower.
- 1972Dismantling and brick replication workshopAfter rainwater erosion undermined the base and caused the tower to lean dangerously, cultural authorities dismantled the stupa brick by brick, numbered every piece, and established a replication kiln in the Hương Canh pottery district with specialists from the University of Industrial Fine Arts.
- Mid-1970sFoundation reinforcement and reassemblyProducing replacement terracotta bricks with matching clay shrinkage and relief carving took roughly two years under strict selection. The foundation was reinforced with concrete and the stupa was reassembled according to the numbered bricks.
- 1976Major restoration of the Three Jewels HallAccording to the heritage dossier, the old Three Jewels Hall (Tam bảo) of Vĩnh Khánh Pagoda was restored and shifted back roughly twenty meters, opening a wider courtyard behind the stupa.
- 2015Special national heritage siteRanked under Decision No. 2367/QĐ-TTg dated 23 December 2015 (certificate received on 26 March 2016). The protected zone covers roughly 17,200 square meters, encompassing the stupa, the old and new pagoda halls, the ancient well, and the lotus pond.
Regarding the 1970s conservation campaign, one crucial fact often omitted in popular summaries should be stated clearly, namely that the stupa was completely dismantled and reassembled rather than merely shored up in situ. While the standing tower retains the vast majority of its original medieval bricks, it is a structure re-laid in the twentieth century atop a reinforced concrete base with replica bricks filling damaged gaps. Its original number of stories also remains debated, as some accounts record thirteen tiers and others fifteen, raising questions as to whether the missing upper tiers were lost to weather long ago or omitted during reassembly. The library records that open question as it stands without imposing a conclusion.
IIIStructure and interlocking brickwork
Built on a square plan that tapers upward, the stupa currently stands 16.5 meters high (some articles round the figure to 16 meters) and comprises eleven stories above a stepped base tier, with its original terracotta lotus-bud finial now lost. The lowest story measures 4.45 meters on each side, narrowing to 1.55 meters at the eleventh story. The entire structure is built of high-fired unglazed terracotta. Viewed from afar it appears solid, yet the core of the stupa is hollow, with a narrow vertical shaft running from base to top.
Plain rectangular bricks measuring roughly 22 by 45 centimeters used to build the load-bearing inner wall of the stupa, hidden behind the decorative casing.
Square terracotta tiles measuring roughly 46 by 46 centimeters and 22 by 22 centimeters with L-shaped projections anchoring into the core, their outer faces richly carved across the lower tiers and eaves.
Smaller, lighter bricks tailored for the upper stories to reduce dead weight, with relief ornament becoming simpler as the elevation increases.
The two most prominent figural motifs on the casing bricks. Sinuous crestless dragons and lions sporting with brocade balls (sư tử hí cầu) are classic hallmarks of Lý-Trần Buddhist sculpture.
Bodhi leaves evoke the tree of the Buddha's awakening, lotus petals form the pedestal bands of each tier, and scrolling chrysanthemums frame the panels in continuous borders.
The village pagoda standing behind the stupa. Its surviving timber halls date from much later periods than the tower, and the old Three Jewels Hall was set back twenty meters during the 1976 restoration.
Interlocking tenons and molten lead clamps without mortar
What fascinates architectural historians most about Bình Sơn Tower is how its bricks are locked together. Each brick was molded with projecting tenons and recessed grooves so that adjacent courses bite into one another when stacked. Even more remarkably, at key load-bearing joints the builders cut double-trapezoid dovetail mortises (mộng cá) across adjoining bricks and poured molten lead into the slots, binding the masonry into a unified mass without relying on lime mortar. Total brick counts are commonly cited at roughly thirteen thousand two hundred pieces, meaning more than thirteen thousand custom-molded units had to fit into exact preplanned positions.
That joinery explains why the 1970s restoration proved so demanding. Replacing a cracked brick could not be done by cutting a standard brick to size, as artisans had to mold a piece with the exact dimensions, firing shrinkage, tenon profile, and surface relief of the original. The Hương Canh workshop had to discard numerous test batches before achieving bricks that fit seamlessly.
One practical conservation note concerns the hollow shaft inside the tower, where iron rungs were once inserted as a makeshift ladder. Because climbing inside endangered both visitors and the ancient brickwork, the interior shaft is now closed to entry.
IVThe lie of the land and orientation
This section presents the library's reading through the lens of traditional feng shui, not statements recorded in stele inscriptions or official heritage dossiers. Because Bình Sơn Tower bears no dedicatory inscription, what follows is offered strictly as geomantic interpretation rather than historical documentation.
First is the overall landform. The pagoda and stupa stand atop a raised earthen mound above the surrounding rice fields in the midland transition zone where low hills give way to the alluvial plain not far from the Lô River. In traditional land-viewing, this transition zone joins two complementary forms, with the hills acting as the rear pillow (hậu chẩm), the open fields forming the bright hall (minh đường), and the Lô River in the distance serving as the water course. A mound rising at such a junction is regarded as a place where qi settles, which is why many ancient midland villages sited their communal houses and pagodas on similar knolls.
Second is the position of the stupa within the compound. The tower stands directly in front of the pagoda gate on the central axis. In classical geomancy, erecting a tall vertical mass in the middle of the bright hall serves two functions. The first is anchoring and screening (trấn), akin to a spirit screen in traditional architecture that prevents qi from rushing straight out. The second is establishing an axis (lập trục), making the stupa the visual and spatial pivot around which all pathways and halls orient themselves. For a modest village pagoda, a 16.5-meter terracotta tower standing in the forecourt makes the axial role unmistakable.
Third is form and the Five Phases (ngũ hành). In classical form theory, a square plan belongs to Earth (Thổ), while a tapering form rising skyward belongs to Fire (Hỏa). Because Bình Sơn Tower rises from a square base into a slender tapering spire, it embodies Earth carrying the posture of Fire, using grounded stability to support an upward movement. Its very material echoes that pairing, as raw clay (Earth) is transformed through kiln fire (Fire) into enduring terracotta. Whether the medieval builders intended this symbolism remains unrecorded in written sources.
Finally, regarding orientation, both the pagoda and stupa face the open courtyard toward the south-southwest, following the classic northern Vietnamese preference for southern exposures that welcome warm sunlight while shielding against winter winds. Meanwhile, the hollow vertical shaft running from base to summit reduces structural weight and ventilates the core so moisture cannot accumulate inside the brickwork, a sound engineering choice that also resonates with the Buddhist image of an empty center.
VFestivals and ritual calendar at Vĩnh Khánh Pagoda
Bình Sơn Tower has no separate cult independent of the monastery. All liturgical observances here belong to Vĩnh Khánh Pagoda and the local village community, with the stupa serving as the central devotional monument in the courtyard. Below are the principal annual observances according to the lunar calendar.
| Lunar date | Observance | Activities |
|---|---|---|
| 15th day of the 1st month | Village festival and First Full Moon (Thượng nguyên) | Traditional village festival associated with the pagoda, featuring processions, prayers for peace, and folk games. |
| 8th day of the 4th month | Buddha's Birthday (Phật đản) | Observed according to northern Vietnamese Buddhist custom with the bathing of the infant Buddha and sutra chanting, followed by circumambulation of the stupa. |
| 15th day of the 7th month | Vu Lan Festival (Ullambana) | The second major Buddhist observance of the year, featuring Requiem prayers and offerings for wandering spirits in the courtyard. |
| 1st and 15th of each month | New-moon and full-moon rites (sóc vọng) | Regular twice-monthly devotional services attended by local parishioners without festival processions. |
| 8th day of the 12th month | Buddha's Enlightenment Day | Commemorating the Buddha's awakening under the Bodhi tree, a fitting observance at a stupa whose bricks are covered with carved bodhi leaves. |
Visitors should note that Vĩnh Khánh remains a quiet village pagoda rather than a bustling pilgrimage center. For most of the year the stupa stands peacefully in the brick courtyard, offering ideal conditions for examining its carved terracotta panels up close.
VILocation And How To Get There
- Address
- Xã Tam Sơn, tỉnh Phú Thọ
- Getting there
- Bình Sơn Tower and Vĩnh Khánh Pagoda are located in Tam Sơn Commune, Phú Thọ Province (formerly Sông Lô District, Vĩnh Phúc Province), near the Lô River. Because the stupa stands right in the front courtyard of the pagoda, reaching Vĩnh Khánh Pagoda brings visitors directly to the foot of the tower.
- Coordinates
- 21.4196, 105.4066
Preserving the ancient terracotta is the foremost rule when visiting. Please do not touch, lean against, or rub the carved brick surfaces, as unglazed terracotta wears down easily and every original medieval brick is irreplaceable. Do not climb the stupa steps or enter its hollow core. Because the forecourt in front of the stupa is a ritual space, please do not spread food or place offerings directly on the stupa base. When entering the pagoda halls, remove hats, dress modestly, and speak quietly.
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?Quick Questions
Is Bình Sơn Tower a funerary stupa or a devotional stupa
It is a devotional stupa (tháp thờ). Standing directly on the central axis before the pagoda entrance, it serves as a monument of veneration for the entire temple. Funerary stupas for deceased monks are smaller, grouped in secluded stupa gardens, and never placed across the main approach to the Buddha hall.
When was Bình Sơn Tower built
Scholarly sources offer differing dates. The official heritage dossier brackets the stupa between the 14th and 16th centuries. Most publications assign it to the Trần dynasty in the 14th century based on its dragon and lion reliefs, while individual scholars have proposed earlier dates in the 12th-century Lý dynasty (Professor Trần Quốc Vượng) or the 7th century (L. Bezacier). Because no founding stele survives, the exact year remains open.
How tall is Bình Sơn Tower and how many stories does it have
The stupa currently stands 16.5 meters tall (some sources round to 16 meters) and consists of eleven surviving stories above a base tier, with its top finial missing. The lowest story measures 4.45 meters per side and the eleventh story measures 1.55 meters per side. Its original height is debated, with accounts suggesting either thirteen or fifteen stories.
Is the standing stupa untouched or was it reassembled
The stupa was completely dismantled and reassembled during a major conservation campaign in the 1970s. Beginning in 1972, conservators numbered and removed each brick while establishing a replication workshop in Hương Canh with the University of Industrial Fine Arts. The standing monument reuses the vast majority of original medieval bricks re-laid atop a reinforced concrete foundation, supplemented by replica bricks where originals were broken.
Why is the monument also called Tháp Then
Because the temple standing behind the stupa is Vĩnh Khánh Pagoda, which local villagers call Chùa Then, the tower naturally took the folk name Tháp Then. The name Bình Sơn comes from the village where the monument stands, whereas Vĩnh Khánh is the Sino-Vietnamese title of the pagoda.