The pagoda is located on high, spacious land in the middle of the village, surrounded by residential areas. The pagoda faces east. Currently, the pagoda's architectural complex includes many important worship works such as the Three-Entrance Gate, the Three Treasures Hall, the Mother House, the Patriarch House, the Pure Abode, and the Stupa Garden.
Three-Entrance Gate
The Three-Entrance Gate has imposing, balanced architecture and strongly reflects traditional Buddhist style combined with modern features.
The structure was built with three main entrances, divided into three symmetrical bays; each bay has three tiers of overlapping roofs, solemn upturned roof corners, creating an elegant appearance. The roof is covered with multiple layers of fish-scale tiles, the corners curve upward in dragon-tongue shapes, attached with sacred animal statues and intricate patterns.
The pillar system is carved in relief with couplets in Chinese characters; the tops of the pillars are attached with kneeling kylins; the door frames are embossed with dragon-and-cloud motifs and stylized flowers and leaves; the arched door panels are intricately carved with tiger-face motifs, creating splendor and solemnity. The entire gate is built of brick and concrete painted yellow-brown, combined with a wooden door system.
At each passage, stairs lead to the upper levels and are connected to one another through passageways, creating harmonious connection within the overall architecture.
Three Treasures Hall
The structure was built in a modern architectural style, as a two-story building with a flat roof and a square cross-section. Around it is a veranda running on four sides, and stairs lead to the upper floors.
On the roof of the second floor, a building was constructed in traditional architecture, with a structure in the shape of the character Công (工), including two tiers of overlapping roofs, each tier with four roofs and closed gable walls.
The Front Hall has architecture consisting of three bays and two side wings, roofed with traditional Vietnamese tiles, softly curved upturned roof corners shaped like dragon heads, two roof ridges fitted with kìm ornaments, and in the center of the roof peak is a Dharma wheel on a lotus pedestal. The wooden door system of the upper-lattice, lower-panel type further enhances its solemn, ancient look.
The structure is divided into four truss sets, with a uniform structure of the giá chiêng type, the roof with upper and lower sections. The central bay has a carved panel with relief motifs of cloud scrolls interspersed with soft floral and leaf patterns. The two panels in the side bays depict dragons in vivid, winding poses. This entire wooden architectural structure was completed at the end of the 20th century.
The pagoda's current statue system includes 22 large and small wooden statues. Most notable is the Thousand-Hand Thousand-Eye Guanyin statue dating from the 17th–18th centuries. The statue is nearly life-sized, depicted seated on a lotus pedestal, with harmonious and balanced proportions. The lotus pedestal dates later (18th–19th centuries) and consists of many layers of overlapping double petals; the petals are plump, and the inner petals are carved with chrysanthemum flowers and intricate scroll patterns.
Guanyin's face is kind and full, radiating benevolence. The head wears a crown of many small tiers, with a topknot visible at the top. The statue has a total of 36 arms, including two main pairs: the first pair is joined in front of the chest in the Lotus mudra, the second pair rests on the lap in the Meditation mudra. The remaining thirty-two arms are positioned at different heights, the hands all form mudras and do not yet hold ritual objects. The body is slender, the robe leaves the arms bare with many graceful folds. In particular, the edge of the robe at the head is carved in relief, hanging freely into soft pointed lobes, suggesting the stylistic imprint of Mạc dynasty sculpture (16th century), showing the inheritance of artistic essence through many periods.
The rear-worship statues carved in stone include 12 statues, smaller than life-size, all in cross-legged sitting posture, with faces bearing many folk features. These statues are carved on 5 stone steles; each stele has a recessed frame for decoration and to create relief for each statue. Of the total 12 rear-worship statues, only 4 rear-worship statues (on 2 steles) have an image of Guanyin Buddha seated on a lotus pedestal carved on the top of the stele. In particular, the stele carved with 3 rear-worship statues has the central statue with hands in the samadhi mudra, while the two side statues have robes open at the chest, necklaces around the neck, the right hand in the cam lồ mudra, and the left hand placed across the abdomen, bearing the artistic style of the 18th–19th centuries.
Connecting the Front Hall and the Rear Sanctuary behind is the Ống Muống passage. The Rear Sanctuary is spacious, with two roof tiers, and is the main worship space in the Three Treasures Hall.
In particular, all the buildings in the pagoda are connected to one another by stairways linking the buildings within the grounds.
Pure Abode
On both sides of the Three Treasures Hall are two rows of Pure Abodes built in a multi-story architectural style. Each row has two floors, and each floor is divided into many rooms with different functions; this is space for rest and receiving guests, and also includes guest rooms and a kitchen area for daily activities. All the rows are connected to the Three Treasures Hall by a system of crossing stairways.
