Đỗng Linh Temple

Based on some valuable artifacts and the architectural style of the Tiền tế, Hậu cung, and Tả hữu mạc sections, this temple was built long ago. Đỗng Linh Temple still preserves a number of artifacts such as royal edicts, deity genealogies, stone steles, earthenware incense bowls, long thrones, worship statues, and other items of artistic value from the Nguyễn dynasty. Based on this material and the stories of village elders, the original Đỗng Linh Temple was built in 1795 on a plot of land donated by Mrs. Nguyễn Thị Hiệu Diệu Cận, measuring 1 sào and 2 thước, and by Mr. Nguyễn Như Trinh, who donated 3 thước; the temples today are about 100 m away and were called Bắc điện quán thần Lâu. Later, two families donated land to move it to its current location. Seven years later, Mr. Nguyễn Doãn Hiền of Đồng Bụt Village planted a Bodhi tree at the temple in 1802; it was named Đề Hiền tree and was recognized as a heritage tree on August 20, 2012. In 1941 the nghi môn gate was restored, in 1938 the tả hữu mạc were built, and in 2007 the whole temple underwent major restoration.

3. Introduce an overview of the scope, scale, overall layout of the relic site, and the environmental landscape of the relic area; provide a general assessment of the technical condition of the relic, clearly state the level of damage and deterioration of the relic, and the status of violations at the relic.

Đỗng Linh Temple was originally a temple with a Nhị character layout, consisting of 5 bays of Tiền tế and 3 bays of Hậu cung. Later the temple was rebuilt in the style of Thượng Temple with a Đinh character layout, including 5 bays of Tiền tế and 2 bays of Hậu cung. In front is a path looking out to the village pond, with residential areas clustered on three sides. Đỗng Linh Temple has a Đinh character structure including items such as: Tiền tế gate, Hậu cung, Tả hữu mạc, Tả vu, and other auxiliary items.

The gate is the first structure, built imposingly with three passageways, the central passage wider and more open than the two side passages. The central gate is built in the style of two tiers and eight curved roof corners; in the middle of the roof ridge is a sun image, and at both ends are two stylized kìm ornaments, with imitation red tubular-tile roofing. Between the two roofs is a horizontal plaque bearing three Hán characters Động Linh từ; the lower roof records the date of the recent restoration. Connecting to the two biểu pillars are two low walls, on which are sculpted two warriors holding swords on guard. On the two biểu pillars, the tops are decorated with four phoenixes facing each other, bodies pressed against the diagonal, tails converging toward the sky, heads turned in four directions; below is an empty lantern box without floral decoration; the pillar bodies have raised borders and lines and bear a pair of Hán-character couplets; the pillar bases are in the thắt cổ bồng style. From the biểu pillars, two low walls connect to the two small gates. The gate is built in the style of two tiers and eight curved roof corners, with a sun image in the middle; between the two roofs is a horizontal plaque, decorated with floral patterns in the center. The lower part of the gate is a simple arch. Inside the central gate, two additional biểu pillars were built, larger than the two outer pillars. The pillar tops are decorated with four phoenixes facing each other, bodies pressed against the diagonal, tails converging toward the sky, heads turned in four directions. Below is a lantern box decorated with floral patterns; the pillar bodies have raised borders and lines and bear a pair of Hán-character couplets; the pillar bases are in the thắt cổ bồng style.

From the gate, passing through a courtyard paved with red square bricks 30x30 cm, one reaches the Tiền tế section; stepping up three steps paved with red square bricks leads to the veranda. The veranda is wide and airy.

The Tiền tế section consists of 5 bays built in the style of closed gable walls, roofed with traditional tiles. In the middle of the roof ridge is a tiger-face image; at the two gable ends are two đấu đinh ornaments, and the ridge edge runs down below.

Passing through the threshold of the folding doors leads inside; the folding door system is made of wood, smoothly planed and tightly joined for durability, with the upper part of the doors made with turned balusters, creating ventilation for the relic; the door leaves are not decorated with patterns.

Inside, the floor is paved with red square bricks; there are 6 wooden roof trusses made uniformly in the style of Thượng giá chiêng, hạ kẻ ngồi. On the trusses, which are smoothly planed and tightly joined for durability, there are carved patterns.

In the Tiền tế section, worship objects are arranged as follows: On the beam hangs a bronze bell; in the central bay are a pair of cranes along with a horizontal plaque, a curtain, and couplets.

Connecting from the central bay of Tiền tế is the Hậu cung section, consisting of 2 bays built in the style of closed gable walls, roofed with traditional tiles; the rear gable is decorated with đấu đinh, and the floor is paved with red square bricks.

The trusses are made in the following styles: the central truss is Thượng chồng rường, hạ kẻ ngồi. The side trusses are made in the Thượng cốn, hạ cốn style resting on the two walls. The trusses are smoothly planed and tightly joined for durability.

In the Hậu cung section, worship objects are arranged as follows:

In the central area, a worship altar is arranged with an incense table; on the incense table are candlesticks, a water vessel, an incense bowl, and a fruit tray. The altar inside is arranged with a small incense table. Next is an altar with an incense table, on which are arranged an earthenware incense bowl, a water vessel, candlesticks, and a shrine. There are statues of the Mother and the two maidens, an edict box, a ceremonial stand with a set of ceremonial weapons, a bronze gong, and couplets.

Tả hữu mạc is a section located on both sides in front of the main Tiền tế section; Tả hữu mạc consists of 5 bays built in the style of closed gable walls, roofed with traditional tiles. Four bays are left open without doors; one bay is enclosed with concrete and has a round door. The floor is paved with red square bricks.

Inside, the trusses are made uniformly in the Vì kèo, hạ kẻ style resting on the two wall ends; the trusses are smoothly planed and tightly joined for durability.

In the Hữu mạc section, a system of Nguyễn-dynasty stone steles is arranged along with an incense table, incense tubes, porcelain incense bowls, and fruit trays; in the Tả mạc, an incense table, candlesticks, and incense tubes are arranged.

Tả vu is a section located next to Tả mạc on the inner side, consisting of 3 bays, built in the style of closed gable walls, roofed with traditional tiles. The trusses are made uniformly in the Vì kèo, hạ kẻ style, smoothly planed and tightly joined for durability.

Đỗng Linh Temple is a historical and cultural relic located on a land with a long history rich in patriotic and revolutionary traditions. This place has become the center of cultural and spiritual activities of the villagers, educating generations living today in the spirit of love for their homeland. Over time, the relic has gathered profound historical, cultural, scientific, and aesthetic values, bearing the characteristics of the Đoài region in the past and present.

This place has become the center of cultural and spiritual life for the people of Đồng Bụt village, educating present generations in the spirit of love for their homeland. The relic always gathers and radiates the authentic values of the nation, contributing to preserving traditional cultural values and protecting fine customs and traditions in the spirit of Resolution 05 of the Central Committee (8th tenure) and the Conclusion of the 10th Central Conference (9th tenure) on building and continuing to build and develop an advanced Vietnamese culture deeply imbued with national cultural identity

Đỗng Linh Temple was founded on land with a long history and longstanding cultural tradition. Located in the Red River Delta, the local people here have a rich spiritual and cultural life and strong community cohesion

The presence of the temple is closely tied to the village community and has become a source of pride and a symbol of the community. From a spiritual perspective, the temple and the deity worshipped there always protect the village community.

Set in such a cultural-geographic space, the presence of Đỗng Linh Temple at its current location serves as a historical marker, marking the formation and development of a homeland rich in revolutionary tradition in the past, present, and future, contributing to promoting the cause of building an advanced Vietnamese culture deeply imbued with national cultural identity in the spirit of Resolution 05 of the Central Committee (8th tenure) and the Conclusion of the 10th Central Conference (4th tenure) on building and continuing to build and develop an advanced Vietnamese culture deeply imbued with national cultural identity.

Đỗng Linh Temple is reflected through religious practices associated with the deity worshipped, and it is also connected with other relics in Đồng Bụt village. Đỗng Linh Temple worships the revered Mother Duệ Sơn Thần Tổ Thuật Princess along with her two maids, Mai Hoa and Quế Hoa, showing that the religious consciousness of the local people here is very intense.

That consciousness has been preserved and passed down through many generations to form the common cultural spirit of the Vietnamese people, contributing to the cultural depth and religious life of this land. These spiritual and cultural activities partly reflect the cohesion of the village community here. Through ritual ceremonies during festivals and cultural and religious activities at the relic, it is an occasion to bind the village community together, preserve and inherit the village's traditional cultural identity, and contribute to preserving and passing on cultural values to younger generations.

 The aesthetic value of the relic is an intrinsic value, encompassing aspects such as technical and aesthetic value, value in figurative art, and thinking in the arrangement of artifacts, etc. The presence of the temple has partly met such similarities. The temple's architecture, traditional materials, arrangement of artifacts, and spatial landscape are embodied in this relic, creating a relic with a traditional character.

Although the communal house has been restored in this area, the local authorities and people built a temple with the current architectural style in recent years. The temple still preserves a number of valuable artifacts and worship objects, such as royal edicts, earthenware incense bowls, and a system of stone steles dating from the Nguyễn dynasty; the artifacts and objects are decorated and carved with exquisite patterns.