Bà Nài hill is not high, taking only a few minutes to climb. Yet on reaching the summit, visitors immediately see why ancient builders chose this spot, as to the south and southeast open the Phú Hài estuary and Phan Thiết Bay with salt winds blowing straight inland, while to the north and northeast stretches a long belt of coastal sand dunes. Three fired-brick towers stand on the crest of the hill, the tallest rising sixteen meters, more compact in scale than many other Cham sanctuaries yet proportioned to fit this coastal ridge.
This complex belongs to an early layer of Cham temple architecture, erected in the late 8th to early 9th century, roughly five hundred years before Po Klong Garai Towers in Phan Rang. The bricks have weathered, the carvings have softened, and several wall sections have been consolidated. Inside the main sanctum, however, the stone altar remains the original 8th-century ensemble, still bathed in sacred herbal water each year according to ancestral rite.
IShiva and Princess Po Sah Inư
An initial clarification prevents misclassifying the site. This is a Cham Hindu temple complex, known locally as Cham Balamon, neither a Buddhist pagoda nor a shrine of the Kinh majority. Its custodian community is the Cham Balamon population of the former Bình Thuận province.
The sanctuary preserves two superimposed layers of worship separated by six to seven hundred years. The original layer, for which the three brick towers were built, is dedicated to the god Shiva. The second layer, added from around the 15th century, honors Princess Po Sah Inư, whose name eventually became the common designation for the entire monument group.
In Shaivite doctrine, Shiva is venerated not through an anthropomorphic statue but through the linga, an upright stone cylinder set into a square yoni pedestal carved with a drainage spout. The linga embodies the generative principle and the yoni the nurturing principle, forming an indivisible pair. The monolithic dark green-black stone Linga and Yoni ensemble inside the main tower here dates to the original construction of the sanctuary rather than a later addition.
Around the main sanctuary, a full Shaivite temple cluster also includes a structure housing the sacred bull Nandin, Shiva's mount, and a structure keeping the sacred fire used in liturgy. Those three functions are distributed across the three surviving towers here, explaining why their dimensions differ so markedly, as the main sanctum rises tall while the fire tower is no larger than a single small chamber.
The central liturgy preserved at the site is the ritual bathing of the Linga and Yoni altar. Fragrant water infused with herbs is poured over the stone emblem and flows along the yoni channel, where devotees collect it as a blessing for peace and abundant harvests.
In Cham historical memory, Princess Po Sah Inư is recorded as the elder sister of King Po Dam and the daughter of King Para Chanh, whom Vietnamese chronicles call La Khải, living in the 15th century. Local accounts highlight two aspects of her legacy, praising her virtue and courtly conduct while crediting her with teaching the inhabitants wet-rice cultivation, brocade weaving, pottery making, and animal husbandry. The library records both strands of local Cham tradition.
Material evidence comes from archaeological investigations. In the 19th and early 20th centuries, the French scholar Henri Parmentier in his descriptive inventory of Cham monuments referred to this group by its locality as the Phố Hài Towers. After Princess Po Sah Inư passed away in the 15th century, the Cham royal court erected a separate shrine to her within the Phố Hài enclosure, and from around the 16th century, after that separate shrine collapsed, the Cham brought her worship into the main tower originally dedicated to Shiva. Archaeological excavations conducted between 1991 and 1995 uncovered the brick foundations of collapsed 15th-century shrines buried beneath nearly two meters of earth and rubble, along with ritual artifacts including a ceramic horn, a stone grinding slab (Rasun batau / Pesani), ceramic vessels, and notably a stone ear fragment and hoof of the bull Nandin carved from dark granite.
Two frequent misconceptions about the site merit historical clarification.
First, the brick towers were not originally built to honor the princess. Because the complex bears her name, visitors often assume the Cham erected these three towers for her. The historical sequence is the reverse, as the three towers were built around the late 8th century to worship Shiva, whereas Princess Po Sah Inư lived in the 15th century and her shrine was added much later. Her name became attached to the complex roughly seven centuries after its foundation, eventually replacing the geographical name Phố Hài.
Second, spellings and numerical figures vary slightly across published sources. The princess's name appears as Po Sah Inư, Pô Sah Inư, or Poshanư depending on the publication. Regarding the date of foundation, summary plaques state the 8th century, while architectural surveys specify the late 8th to early 9th century. The archaeological excavation campaign is cited as 1991 to 1995 in some official reports and 1992 to 1995 in others. Similarly, the height of the main tower is recorded as 16 meters in most official dossiers and around 15 meters in a few news articles. The library notes these variants directly so readers can reconcile different texts.
IITwelve centuries on Bà Nài hill
The complex belongs to the Hòa Lai style, one of the early architectural styles of Champa, named after the Hòa Lai tower group in the former Ninh Thuận province. Characteristic features of this style include compact, sturdy massing, restrained wall relief, arched doorways, and flat pilasters running vertically along the tower body. Visitors who have seen late-period monuments such as Po Klong Garai before coming here will notice a simpler silhouette, and that simplicity is the hallmark of 8th- to 9th-century Cham architecture.
- Late 8th to early 9th centuryConstruction of the Phố Hài tower groupThree fired-brick towers are erected in the Hòa Lai architectural style on Bà Nài hill to worship the Hindu god Shiva.
- 15th centuryAddition of the shrine to Princess Po Sah InưThe Cham royal family erects a temple honoring Princess Po Sah Inư, daughter of King Para Chanh, within the complex. After her separate shrine collapses in the 16th century, her veneration is merged into the main Shiva tower, and her name becomes the title of the entire site.
- 1991National heritage designationThe temple group is ranked a national architectural and artistic heritage site by the Ministry of Culture and Information under Decision 1371/QĐ on August 3, 1991.
- 1991 to 1995Archaeological excavations and restorationExcavations uncover the foundations of collapsed 15th-century shrines buried beneath nearly two meters of rubble, accompanied by structural consolidation of the three standing towers.
- 1994Discovery of Nandin bull fragmentsArchaeologists unearth a dark granite ear fragment and hoof of the sacred bull Nandin alongside a Rasun batau ritual grinding stone and a ceramic horn.
- 2005Revival of the annual Katê Festival at the towersThe Katê Festival is revived in its full liturgical and festive form and held annually at the temple complex from this year onward.
- 2022Katê Festival inscribed as national intangible heritageThe Katê Festival of the Cham people in the former Bình Thuận province is inscribed on the National List of Intangible Cultural Heritage under Decision 776/QĐ-BVHTTDL on April 4, 2022.
Following the 2025 administrative reorganization resolutions, Bình Thuận province was merged into Lâm Đồng province, and the former Phú Hài ward was merged with Phú Thủy and Thanh Hải wards to form the new Phú Thủy ward (under Resolution 1671/NQ-UBTVQH15). Because publications prior to July 2025 list the monument under Phú Hài ward, Phan Thiết city, Bình Thuận province, this entry notes the former administrative names alongside the current ones for ease of reference.
IIIThree brick towers and the Hòa Lai style
The three surviving towers on the hilltop are arranged in a staggered layout rather than a single straight line, with the main sanctuary in the center, the medium tower to the north, and the small tower set slightly apart to the east in front. This disposition corresponds to the distinct ritual function of each building.
Rising 16 meters high in three diminishing roof tiers, pierced midway up the superstructure by four ventilation openings facing the four cardinal directions. One true doorway opens to the east, while the other three sides have false doors. Inside stands the original dark stone Linga and Yoni altar where ritual bathing and prayers are performed.
Standing 12 meters tall in three tiers modeled on Tower A on a smaller scale, built to house the sacred bull Nandin. The intact bull statue still seen by locals in the early 20th century was subsequently lost, leaving only the granite ear and hoof fragments recovered during excavation.
Standing 5 meters tall on a nearly square plan measuring just under 4 meters per side, built as a single story with one doorway opening to the east. Originally dedicated to the Fire God (Agni), following restoration it serves as the chamber where offerings are prepared before entering Tower A.
Surrounding the three standing towers are brick foundations and roof tiles from 15th- to 16th-century structures uncovered during the 1991 to 1995 excavations, including the remains of the shrine built by the Cham royal court for Princess Po Sah Inư.
In terms of materials, the entire structural mass and surface carving of all three towers are made of fired brick, without using stone for load-bearing lintels or doorjambs on the body or roof, apart from the Linga and Yoni altar and statues inside the sanctums. How the bricks were bonded remains a subject of scholarly investigation, as the walls show no visible mortar joints after more than twelve centuries of coastal wind and rain. Heritage documentation at the site points primarily to plant resin, specifically Dipterocarpus (dầu rái) resin, as the binding agent.
The corbeling technique of stepping bricks inward course by course to close the vault without stone beams, combined with the four ventilation shafts midway up the roof of the main tower that release hot air and balance interior pressure, illustrates the structural mastery of Cham builders during the Hòa Lai period.
IVThe lie of the land and orientation
A direct clarification is needed before proceeding. Hinduism does not teach East Asian geomancy. Geomancy (phong thủy) is an East Asian divinatory system, and the Cham did not use it when choosing this hill. The rule that the true doorways of Tower A and Tower C open to the east follows Hindu sacred architecture, in which east is the direction of the rising sun whose first rays must reach the altar. The observations below are a comparative reading offered by the library for readers familiar with traditional Vietnamese siting, not a doctrine recorded in Cham inscriptions.
Read through traditional Vietnamese landform principles, the first feature is a low coastal hill overlooking an estuary. The complex crowns Bà Nài hill, looking south and southeast over the Phú Hài estuary and Phan Thiết Bay, while to the north and northeast rises a long belt of coastal sand dunes stretching toward Mũi Né. In traditional Vietnamese siting, this approximates a water-facing (hướng thủy) configuration, with a broad expanse of water in front and to the right serving as the bright hall (minh đường) and the hill providing a dry, elevated seat. Where it departs from the textbook mountain-backed, water-facing (tựa sơn hướng thủy) model is that behind the hill lie coastal sand dunes rather than a high rocky mountain range.
The second feature is east orientation and sea light. The sanctuary doorways open to the east in accordance with Hindu temple canons, directly facing the sunrise over the East Sea and the Hòn Rơm headland. In traditional Vietnamese geomancy, the east belongs to the Wood phase, corresponding to the generative qi of morning, and having the open bay adjoin on the southeast (the Tốn palace) brings early sunlight and sea breeze together before the temple threshold. The two traditions arrive at their orientation through distinct lines of reasoning, and the value of comparing them lies in understanding that difference.
The third feature is coastal wind. Whereas traditional Vietnamese siting on inland delta plains rarely contends with salt gales, along the south-central coast wind is a primary concern. Bà Nài hill receives sea breezes year-round, and salt air corrodes fired brick. The builders selected a hill set back just far enough from the surf to command a view of the Phú Hài estuary without jutting directly into the breaking waves, and across twelve centuries that balanced position has helped the three brick towers endure.
Finally, there is the mountain within the tower. Traditional Vietnamese siting reads the lie of the land from the outside in, seeking a physical mountain behind the structure for support. Hindu architecture reverses this logic, as the three-tiered kalan tapering toward its apex is an architectural image of sacred Mount Meru. Although this coastal strip lacks a high mountain range behind it, the central sanctuary tower itself stands as a miniature cosmic mountain raised atop Bà Nài hill.
VThe Katê Festival and annual rites
Unlike many Cham monuments that survive only as archaeological ruins, the Po Sah Inư complex remains an active ritual center for the Cham Balamon community of the province. All ceremonies follow the traditional Cham calendar, so their Gregorian dates shift from year to year.
| Ceremony | Cham calendar date | Description |
|---|---|---|
| Rija Nagar | Early 1st month | The Cham New Year fire-treading ritual, praying for favorable weather and sweeping away the misfortunes of the old year, accompanied by ritual dance, ghi năng and paranưng drums, and saranai oboes. |
| Poh Mbang Yang | First half of the year | Tower-opening ceremony praying for rain and abundant crops, tied to the agricultural cycle of the surrounding plains. |
| Katê | Early 7th month | The principal annual festival honoring deities and deified royal ancestors, usually falling in late September or October of the Gregorian calendar. |
| Opening the tower and bathing the altar | During Katê | Officiating priests ask permission to open the main tower door, pour fragrant herbal water over the Linga and Yoni altar, and dress the emblem in ceremonial cloth. Devotees collect the water flowing from the yoni spout as a blessing. |
| Procession and celebratory dances | Courtyard before the main tower | Procession of the palanquin carrying the vestments of Princess Po Sah Inư, presentation of offerings, hymn chanting, fan dances, and water-carrying dances, open for visitors to witness. |
| Village Katê and family Katê | Following the temple rites | After two days of ceremonies at the temple towers, Katê celebrations continue in the Cham villages and then within individual clans and households. |
One common conflation should be avoided. Katê is the festival of the Cham Balamon community, the branch practicing localized Hinduism at the temple towers, whereas Ramưwan is the sacred month observed by the Cham Bani community, the branch practicing localized Islam at clan cemeteries, Bani mosques, and homes. Because the two observances differ in their deities, officiating clergy, and calendar, they should not be grouped together as a single holiday.
VILocation And How To Get There
- Address
- Đồi Bà Nài, phường Phú Thủy (phường Phú Hài, thành phố Phan Thiết cũ), tỉnh Lâm Đồng
- Getting there
- Located on Bà Nài hill in Quarter 5, Phú Thủy ward (formerly Phú Hài ward, Phan Thiết city, Bình Thuận province before July 2025), Lâm Đồng province, about 7 km northeast of central Phan Thiết along Nguyễn Thông road toward Mũi Né.
- Coordinates
- 10.9361, 108.1462
Because this sanctuary is an active place of worship rather than an empty ruin, Cham temple etiquette applies. Visitors are expected to dress modestly, remove hats and footwear before entering the main sanctuary, refrain from sitting or placing personal items on the ancient Linga and Yoni altar, and never climb on the brickwork of the towers. During festival days, liturgy inside the narrow sanctum is performed by Cham priests, while visiting guests watch from the outer courtyard as guided by staff.
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?Quick Questions
Who is worshiped at Po Sah Inư Towers
The original layer of worship dating to the late 8th century honors the Hindu god Shiva, represented by the monolithic dark stone Linga and Yoni altar preserved inside the main tower. From the 15th century, the Cham also venerated Princess Po Sah Inư (daughter of King Para Chanh), later merging her worship into the main sanctum, and her name became the title of the entire complex.
When were the Po Sah Inư Towers built
Around the late 8th to early 9th century in the Hòa Lai architectural style, one of the early stylistic phases of Cham temple art. The complex thus predates the Po Klong Garai Towers in Phan Rang by roughly five centuries.
Which province and ward do the Po Sah Inư Towers belong to today
Following the administrative reorganization effective July 1, 2025, Bình Thuận province was merged into Lâm Đồng province, and the former Phú Hài ward was merged into the new Phú Thủy ward (under Resolution 1671/NQ-UBTVQH15). The monument now lies in Phú Thủy ward, Lâm Đồng province, within the area of former Phan Thiết city.
Why is a temple dedicated to Shiva named after a princess
Because the two layers of worship are separated by roughly seven hundred years. The three brick towers were built in the late 8th century to worship Shiva and were formerly known by the place name Phố Hài. Princess Po Sah Inư lived in the 15th century and initially had a separate shrine within the enclosure, and after that shrine collapsed in the 16th century, her veneration was brought into the main Shiva tower.
When does the Katê Festival take place at Po Sah Inư
In the early 7th month of the Cham calendar, which usually falls in late September or October of the Gregorian calendar. Revived in full form at the towers in 2005, the festival was inscribed on the National List of Intangible Cultural Heritage in 2022. The complex also hosts the New Year Rija Nagar ritual and the Poh Mbang Yang rain-praying ceremony.