Architectural and Artistic Relic of Quan Thanh Temple
Architectural and Artistic Relic of Quan Thanh Temple
Architectural and Artistic Relic of Quan Thanh Temple
Architectural and Artistic Relic of Quan Thanh Temple

Introdution

Price: Free

Phone: 02523.850.184

Time to visit a place: 120 phút

857 0

Open Time: 7:00 AM - Close Time: 6:00 PM

Email: vhtt@tuyphong.binhthuan.gov.vn

Address: làng Hiệp Đức Xã Chí Công, Huyện Tuy Phong, Binh Thuan Provice

The Quan Thanh Temple is located in Hiep Duc Village, Chi Cong Commune, Tuy Phong District. The monument faces south and is about 200 meters from the coastline. To the west, it is connected to Phuoc Hiep Pagoda, while 300 meters to the east lies the scenic Gan Son Beach. Further north is the Truong Son mountain range. The Quan Thanh Temple is situated approximately 50 meters northeast of the Chi Cong Commune People's Committee and is located north of a road running east-west, connecting to National Highway 1A at a junction known as Nga Ba Duong.

Quan Thanh Temple was originally the communal house of Hiep Duc Village. When it was first built in the latter half of the 18th century, the temple stood beside the communal house. In 1930, after the temple collapsed, the villagers moved the altar, worship statues, and sacred objects into the communal house. Due to their deep reverence for Quan Cong's virtue and divine power, they placed his altar in the center of the main hall, relocating the village guardian deity’s altar to the left. From then on, the site became known as Quan Thanh Temple rather than the communal house.

The temple is located at the heart of Chi Cong Commune, with well-developed transportation infrastructure, allowing for convenient access via road. From National Highway 1A, approximately 80 km northeast of Phan Thiet City, one can reach the temple by following a 2 km asphalt road leading east from Nga Ba Duong.

Established in the latter half of the 18th century, Quan Thanh Temple was initially a communal house dedicated to the village guardian deity, like many other Vietnamese communal houses. However, over time, the local people moved Quan Cong’s altar to the main hall, while the guardian deity and other deities were relocated to the side halls. This shift reflects the profound influence of Quan Cong’s worship and the strong cultural exchange between the Vietnamese and Chinese communities, who had coexisted in the region during the 18th and 19th centuries. During the resistance against French colonial rule, the temple also served as a hiding place for revolutionary soldiers, and a secret bunker still exists beneath Quan Cong’s altar today.

Despite numerous restorations over time, the temple has largely retained its original architectural features. Its exterior relief decorations and interior wood carvings remain vivid and intricate. The structural layout, construction techniques, artistic roof designs, and woodwork embellishments reflect the folk architectural style of the 18th–19th centuries in Central and South-Central Vietnam.

The Quan Thanh Temple complex covers an elevated and spacious area of approximately 1,200 square meters, enclosed by a solemn perimeter wall. Originally, the architectural ensemble consisted of a Three-Entrance Gate (Tam Quan), the Main Hall (Chinh Dien), the Hiep Tu Hall (House of Pioneers), the Vo Ca House (performance hall), and the Kitchen.

Over time, natural elements and environmental conditions have caused some architectural components, such as the Kitchen, Hiep Tu Hall, and Main Gate, to deteriorate and collapse. However, due to local efforts to preserve their heritage, the community has contributed funds and labor to restore and maintain structures like the Hiep Tu Hall and the Main Gate, ensuring the temple retains its traditional aesthetic. Due to financial constraints, the Vo Ca House and the Kitchen have yet to be restored.

Currently, the temple complex consists of four main roofs: two on the Main Hall, one on the Hiep Tu Hall, and one on the Main Gate. The temple’s main facade faces south, with each roof distinct yet harmoniously interconnected. The architectural design integrates two traditional local styles: the “Trung Thiềm Diep Oc” (overlapping roofs) and the “Tu Tru” (four-pillar) structure, creating a balanced space suited for religious worship.

The Main Gate, situated at the temple’s front entrance, follows the three-entrance style commonly seen in Vietnamese communal houses and other traditional structures. It comprises three openings, with the central passage being the widest. The roof features relief decorations of the “Two Dragons Chasing a Pearl” motif and other sacred creatures, imparting a sense of solemnity and reverence.

The Main Hall, located on the right side of the temple grounds, is a large structure measuring 15.5 meters in length and 11.2 meters in width. The hall comprises two interconnected roof sections in the “Trung Thiềm Diep Oc” style, allowing for an open and airy interior.

The front roof section features two rows of primary columns, each row consisting of four columns dividing the space into three compartments. These are connected by horizontal beams to maintain structural stability. The intricate carvings on the beams depict six-sided floral patterns with smooth, elegant contours. At the ends of the central beams, finely sculpted dragon and sea-serpent heads are prominently displayed.

The rear roof section, standing at 5.4 meters high, is supported by a sturdy wooden framework arranged in a balanced “Tu Tru” formation. Four central wooden pillars elevate and stabilize the roof, interconnecting with surrounding beams and supporting columns. The elaborately carved components feature motifs such as dragon heads, stylized clouds, and auspicious creatures, exemplifying exquisite craftsmanship.

The Main Hall’s rooftop is adorned with ornate relief sculptures made from mortar, porcelain, and ceramic shards. The front section prominently features the “Two Dragons Chasing a Pearl” motif at the center, flanked by pairs of dragonfish and unicorns. Similar decorative elements embellish the rear roof, including phoenix and bat carvings symbolizing prosperity and longevity.

Inside the Main Hall, three solemn altars are arranged. The central altar honors Quan Thanh De Quan (Lord Guan), featuring a 1.15-meter-tall seated statue of Quan Cong with a long black beard, stern yet benevolent expression, and downward gaze. Two standing statues, representing Quan Binh and Zhou Cang, stand on either side, each 1.5 meters tall. Additionally, two sets of smaller statues depicting the same figures are placed on a secondary altar in front.

The left altar is dedicated to the village guardian deity (Thanh Hoang Bon Xu), an unusual feature compared to other Vietnamese communal houses, where this deity is usually enshrined at the central altar. The right altar is devoted to the Four Saintly Ladies (Luc Trinh Than Nu), featuring six seated female statues with a pair of sacred birds.

The Main Hall’s facade includes three removable wooden doors, allowing for ventilation during festivals. Alongside the doors, incense tables are arranged in alignment with the inner altars. These ornately carved wooden altars, coated with red lacquer and gold leaf, depict dragons, phoenixes, unicorns, turtles, and floral motifs, reflecting traditional artistic themes.

To the left of the Main Hall is the Hiep Tu Hall, initially constructed with yin-yang tiled roofs, brick walls, and finely carved wooden beams. However, due to severe deterioration, it was fully restored in 1964. Inside, three altars enshrine ancestral tablets honoring the village pioneers, war heroes, and community leaders.

Behind the Hiep Tu Hall, the Kitchen, measuring 4m x 5m, was renovated in 2001. Originally, it was a smaller 4m² structure built with brick walls and yin-yang roof tiles, similar to the Main Hall.

Despite certain repairs, Quan Thanh Temple has preserved most of its original architectural character. The carvings and artistic decorations reflect folk artistry intertwined with the spiritual beliefs and customs of Vietnam’s feudal society.

Each year, the temple hosts three major ceremonies: the Spring Festival on the 15th day of the second lunar month, the Qingming Festival (held around the second or third lunar month), and the Autumn Festival on the 15th day of the eighth lunar month. These events attract a diverse crowd seeking blessings, prosperity, and spiritual solace. The Chinese community, both local and from other provinces, also attends in large numbers to pay homage to Quan Cong, a revered saint in their culture.

Quan Thanh Temple embodies significant architectural, artistic, historical, and cultural values. Additionally, its Main Hall houses invaluable artifacts, including 27 imperial decrees, a large bronze bell, wooden statues, ancestral tablets, ten horizontal lacquered boards, and 19 carved couplets. These relics honor the legacy of the temple’s founders and their contributions, inspiring future generations to preserve their heritage.

Recognizing its outstanding cultural and historical significance, Quan Thanh Temple has been designated a national architectural and artistic heritage site by the Ministry of Culture, Sports, and Tourism.**

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Introdution

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The Quan Thanh Temple is located in Hiep Duc Village, Chi Cong Commune, Tuy Phong District. The monument faces south and is about 200 meters from the coastline. To the west, it is connected to Phuoc Hiep Pagoda, while 300 meters to the east lies the scenic Gan Son Beach. Further north is the Truong Son mountain range. The Quan Thanh Temple is situated approximately 50 meters northeast of the Chi Cong Commune People's Committee and is located north of a road running east-west, connecting to National Highway 1A at a junction known as Nga Ba Duong.

Quan Thanh Temple was originally the communal house of Hiep Duc Village. When it was first built in the latter half of the 18th century, the temple stood beside the communal house. In 1930, after the temple collapsed, the villagers moved the altar, worship statues, and sacred objects into the communal house. Due to their deep reverence for Quan Cong's virtue and divine power, they placed his altar in the center of the main hall, relocating the village guardian deity’s altar to the left. From then on, the site became known as Quan Thanh Temple rather than the communal house.

The temple is located at the heart of Chi Cong Commune, with well-developed transportation infrastructure, allowing for convenient access via road. From National Highway 1A, approximately 80 km northeast of Phan Thiet City, one can reach the temple by following a 2 km asphalt road leading east from Nga Ba Duong.

Established in the latter half of the 18th century, Quan Thanh Temple was initially a communal house dedicated to the village guardian deity, like many other Vietnamese communal houses. However, over time, the local people moved Quan Cong’s altar to the main hall, while the guardian deity and other deities were relocated to the side halls. This shift reflects the profound influence of Quan Cong’s worship and the strong cultural exchange between the Vietnamese and Chinese communities, who had coexisted in the region during the 18th and 19th centuries. During the resistance against French colonial rule, the temple also served as a hiding place for revolutionary soldiers, and a secret bunker still exists beneath Quan Cong’s altar today.

Despite numerous restorations over time, the temple has largely retained its original architectural features. Its exterior relief decorations and interior wood carvings remain vivid and intricate. The structural layout, construction techniques, artistic roof designs, and woodwork embellishments reflect the folk architectural style of the 18th–19th centuries in Central and South-Central Vietnam.

The Quan Thanh Temple complex covers an elevated and spacious area of approximately 1,200 square meters, enclosed by a solemn perimeter wall. Originally, the architectural ensemble consisted of a Three-Entrance Gate (Tam Quan), the Main Hall (Chinh Dien), the Hiep Tu Hall (House of Pioneers), the Vo Ca House (performance hall), and the Kitchen.

Over time, natural elements and environmental conditions have caused some architectural components, such as the Kitchen, Hiep Tu Hall, and Main Gate, to deteriorate and collapse. However, due to local efforts to preserve their heritage, the community has contributed funds and labor to restore and maintain structures like the Hiep Tu Hall and the Main Gate, ensuring the temple retains its traditional aesthetic. Due to financial constraints, the Vo Ca House and the Kitchen have yet to be restored.

Currently, the temple complex consists of four main roofs: two on the Main Hall, one on the Hiep Tu Hall, and one on the Main Gate. The temple’s main facade faces south, with each roof distinct yet harmoniously interconnected. The architectural design integrates two traditional local styles: the “Trung Thiềm Diep Oc” (overlapping roofs) and the “Tu Tru” (four-pillar) structure, creating a balanced space suited for religious worship.

The Main Gate, situated at the temple’s front entrance, follows the three-entrance style commonly seen in Vietnamese communal houses and other traditional structures. It comprises three openings, with the central passage being the widest. The roof features relief decorations of the “Two Dragons Chasing a Pearl” motif and other sacred creatures, imparting a sense of solemnity and reverence.

The Main Hall, located on the right side of the temple grounds, is a large structure measuring 15.5 meters in length and 11.2 meters in width. The hall comprises two interconnected roof sections in the “Trung Thiềm Diep Oc” style, allowing for an open and airy interior.

The front roof section features two rows of primary columns, each row consisting of four columns dividing the space into three compartments. These are connected by horizontal beams to maintain structural stability. The intricate carvings on the beams depict six-sided floral patterns with smooth, elegant contours. At the ends of the central beams, finely sculpted dragon and sea-serpent heads are prominently displayed.

The rear roof section, standing at 5.4 meters high, is supported by a sturdy wooden framework arranged in a balanced “Tu Tru” formation. Four central wooden pillars elevate and stabilize the roof, interconnecting with surrounding beams and supporting columns. The elaborately carved components feature motifs such as dragon heads, stylized clouds, and auspicious creatures, exemplifying exquisite craftsmanship.

The Main Hall’s rooftop is adorned with ornate relief sculptures made from mortar, porcelain, and ceramic shards. The front section prominently features the “Two Dragons Chasing a Pearl” motif at the center, flanked by pairs of dragonfish and unicorns. Similar decorative elements embellish the rear roof, including phoenix and bat carvings symbolizing prosperity and longevity.

Inside the Main Hall, three solemn altars are arranged. The central altar honors Quan Thanh De Quan (Lord Guan), featuring a 1.15-meter-tall seated statue of Quan Cong with a long black beard, stern yet benevolent expression, and downward gaze. Two standing statues, representing Quan Binh and Zhou Cang, stand on either side, each 1.5 meters tall. Additionally, two sets of smaller statues depicting the same figures are placed on a secondary altar in front.

The left altar is dedicated to the village guardian deity (Thanh Hoang Bon Xu), an unusual feature compared to other Vietnamese communal houses, where this deity is usually enshrined at the central altar. The right altar is devoted to the Four Saintly Ladies (Luc Trinh Than Nu), featuring six seated female statues with a pair of sacred birds.

The Main Hall’s facade includes three removable wooden doors, allowing for ventilation during festivals. Alongside the doors, incense tables are arranged in alignment with the inner altars. These ornately carved wooden altars, coated with red lacquer and gold leaf, depict dragons, phoenixes, unicorns, turtles, and floral motifs, reflecting traditional artistic themes.

To the left of the Main Hall is the Hiep Tu Hall, initially constructed with yin-yang tiled roofs, brick walls, and finely carved wooden beams. However, due to severe deterioration, it was fully restored in 1964. Inside, three altars enshrine ancestral tablets honoring the village pioneers, war heroes, and community leaders.

Behind the Hiep Tu Hall, the Kitchen, measuring 4m x 5m, was renovated in 2001. Originally, it was a smaller 4m² structure built with brick walls and yin-yang roof tiles, similar to the Main Hall.

Despite certain repairs, Quan Thanh Temple has preserved most of its original architectural character. The carvings and artistic decorations reflect folk artistry intertwined with the spiritual beliefs and customs of Vietnam’s feudal society.

Each year, the temple hosts three major ceremonies: the Spring Festival on the 15th day of the second lunar month, the Qingming Festival (held around the second or third lunar month), and the Autumn Festival on the 15th day of the eighth lunar month. These events attract a diverse crowd seeking blessings, prosperity, and spiritual solace. The Chinese community, both local and from other provinces, also attends in large numbers to pay homage to Quan Cong, a revered saint in their culture.

Quan Thanh Temple embodies significant architectural, artistic, historical, and cultural values. Additionally, its Main Hall houses invaluable artifacts, including 27 imperial decrees, a large bronze bell, wooden statues, ancestral tablets, ten horizontal lacquered boards, and 19 carved couplets. These relics honor the legacy of the temple’s founders and their contributions, inspiring future generations to preserve their heritage.

Recognizing its outstanding cultural and historical significance, Quan Thanh Temple has been designated a national architectural and artistic heritage site by the Ministry of Culture, Sports, and Tourism.**

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