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* NOTRE DAME CATHEDRAL
    After the first French colonizing force arrived in Viet Nam in the mid-19th Century, it took only 21 years before the country had a cathedral to match the hulking Gothic edifices of France itself.
    The cathedral is supposed to represent the glory of the French Empire. Yet, as is always the case with colonization, this attempt to import French traditions into Viet Nam transformed the colonizers’ culture in the process. Even though the cathedral is built in a Western architectural style, it has a uniquely Eastern aspect.
    The resplendent Governor’s Palace, completed in 1875, symbolized the regime’s political power in Asia. And five years later, the Duc Ba (Our Lady’s) Cathedral was inaugurated, and became the spiritual and cultural crucible of the French presence in the Orient.
    Several architects put forward design proposals for the cathedral, but in 1877 the authorities selected Mr Bourard, who was famed for his religious architecture. He envisaged, and executed, a basilica-like structure with a square plan. The church is composed of two main central bays with two sidereal corridors, with tall pillars and light coming in through sets of high windows, and a semi-circular shrine. The style follows a Roman pattern, although the outside contains some modifications: the cathedral’s vaults are Gothic, and a modern steel skeleton supports the whole building.
      In 1894 a pointed minaret was added to the bell tower, at the behest of an architect named Gardes, who was also responsible for the Xa Tay Palace, the building that now houses the Municipal People’s Committee. The cathedral is a lot smaller than those in France, but it was the largest in the French empire. The interior is very large: the principal shrine and two additional bays are 93m long, and reach 35m in width at one point. The semi-circular shrine at the rear seats a choir during services, and there are five chapels. The walls are made of Bien Hoa granite, combined with red tiles from Marseilles, all without coating. Red tiles from France were also used on the roofs, but they were later replaced with tiles of equal quality from Phu Huu. Natural light streams in through stained-glass windows which were made by the Lorin company from the French town of Sartre.
    The whole building is well-ventilated thanks to a system of air-holes placed above and under the windows. The belfry is 57m high. For a long time it was the highest structure in the city centre, and was the first thing an arriving traveler would see when approaching the city by boat. The cathedral bells weigh a combined 28,850kg.In 1885, the floor was taken apart and new pillars were added, because the original foundation could not bear the cathedral’s weight.
      Stepping inside the cathedral, tourists see a line of Chinese characters eulogizing the Jesus’ mother, "the innocent and unblemished Virgin Mother", and stained-glass portraits of Vietnamese believers amid Asiatic plants. On the square in front of the cathedral, there is a statue of the Virgin Mother made of white marble, symbolizing peace. All told, it’s an unusual building: a Western architectural and religious style that has been transplanted into, and adapted to, the East. The colonizers were trying to impose French beliefs and customs onto Viet Nam; but once that culture arrived on Asia’s shores, it took on a life of its own. The cathedral is seen as a unique synthesis, adding an unmistakable Oriental flavor to an ancient Occidental recipe.

* VINH NGHIEM PAGODA Vinh Nghiem pagoda is located at 339 Nam Ky Khoi Nghia Street in Ho Chi Minh City. It was constructed between 1964 and 1971 following the design of architect Nguyen Ba Lang. This classic style seven story tower with strong Japanese influences was built with the assistance of the Japan-Vietnam Friendship Association. The Kwan-Yin tower is located on the left of the pagoda. This structure is the biggest of the Vietnam Buddhist Association. A Devotee Relic Tower was erected behind the pagoda in 1982. * GIAC VIEN PAGODA *( Giac Vien Pagoda is located on Lac Long Quan Street in Ho Chi Minh City. )* Giac Vien Pagoda is located about 10km south-west of downtown Ho Chi Minh City, amid a quiet area near Dam Sen (lotus pond) tourist park. It has the ancient architecture of the pagodas built in the Nguyen dynasty of the 19th century, and typical characteristics of the southern area in terms of the architecture, design and arrangement of the worshipping shrines. In 1789, a monk who was in charge of taking care of the restoration of Giac Lam Pagoda, built a small pavilion for his daily prayers, called Quart Am Cac (Kwan Yin Pavilion). In the third year under king Tu Duc's reign (1850), the pavilion was rebuilt and named Giac Vien Pagoda. When building Dam Sen tourist park, the Management Board decided to preserve Giac Vien Pagoda intact and incorporate it into the park, making the park more attractive due to its cultural-historical value. Giac Vien Pagoda has typical features, of southern Vietnam. The main shrine, also a big hall, is 360 sq. meter in area, and used to worship Buddha. To its East and West, there are corridors, a room for the monks to prepare clothing before assisting the Superior Monk, and a large and spacious compartment at the rear. Along the corridors, there are small altars with worshipping items. In particular, there are rows of wooden pillars engraved with parallel sentences. The letters are carved delicately and painted with red lacquer and trimmed with gold. Around them there are decorative designs of leaves and climbing plants. All 153 statues in the pagoda are made of jack wood. The faces and postures of the statues look honest and they are placed low, creating a close feeling between them and the viewers. The most attractive items are 60 plates, which are engraved on both sides made of jack wood. They are and made with gold. The most beautiful plate is engraved with 18 fat, honest and smiling Aghast, with each riding on the back of a buffalo, a cow, a pig, a goat, etc. Some plates are engraved with birds, ducks, fish, etc., but all looking alive. Other plates are carved with fruits popular in the South, such as coconut, mangos teen, durian, rebuttal, etc. These wooden engravings are the only ones that have been kept intact in Vietnam. The Buddhist spirit of the ancient Viet people, during their migration South, accepted different religious tendencies and sects, on condition that they were useful to society. This is clearly seen through the items preserved at Giac Vien pagoda. For this reason, Giac Vien Pagoda became a center for worshipping ceremonies and discussions on Buddhism of the six southern provinces in the 19th century- a prosperous time for Buddhist followers and talents whose works remain valuable until today. Giac Vien Pagoda has been classified by the State as a cultural relic and a mini-museum of wooden engrave inks of historical and artistic Value. For this reason, it attracts a lot of researchers and visitors all year round.




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