Ngọc Giang Temple

Thượng Temple worships five deities: Văn Xương Đế Quân, Phục Ma Đại Đế (Quan Công), Kim Quyết Tuyển Tiên Đế Quân, Tản Viên Sơn Thánh, and Trần Hưng Đạo. These Saints all have their names carved on the tablets at Tam Thánh Temple. However, in the royal edicts still kept at the temple from the 7th year of Duy Tân (1911) and the 9th year of Khải Định (1924), conferments were given only to: Văn Xương Đế Quân, Quan Thánh Đế Quân, Tản Viên Sơn Thánh, and Hưng Đạo Đại Vương. A brief history of the deities worshipped at Tam Thánh Temple may be given as follows:

1.1.1. Cửu Thiên Khai Hóa Văn Xương Đế Quân (a Chinese figure, the deity presiding over literature and education).

Văn Xương Đế Quân (Văn Xương Tinh) is a deity revered by both folk belief and Daoism as the god in charge of scholars’ official careers, blessings, and fortunes. Văn Xương is the name of a star, also called Văn Khúc Star (Văn Khúc Tinh) or Văn Star (Văn Tinh). Ancient Chinese people believed that this was the star that governed people's official careers and literary fortunes.

Daoism had the Văn Xương belief early on; in the Lao Jun Yin Song Jie Jing it is written: “Đương giản trạch chủng dân, lục danh Văn Xương cung trung” (responsible for selecting the ranks of the people and recording their names in the Văn Xương Palace).

By the Yuan dynasty (1279–1368) and the Ming dynasty (1368–1644), Chinese Daoists took advantage of the folk belief in Văn Xương Đế Quân to write “Thanh Hà Nội Truyện” and “Tử Đồng Đế Quân Hóa Thư,” recounting the legends of Văn Xương Đế Quân. The books say that Văn Xương Đế Quân was originally born at the beginning of the Zhou dynasty, passed through 73 incarnations, had once been a scholar-official, and at the end of the Western Jin was born in the land of Shu, with the given name Á, surname Trương, courtesy name Bái Phu; he was ordered by the Jade Emperor to oversee the Văn Xương Palace and the register of official salaries (records of officialdom) of the human world.

The “Đạo Tạng Tập Yếu” collected the volume “Văn Xương Đế Quân Bản Truyện,” written during the Chongde years (1636–1648) of the Qing dynasty (1644–1911). It records: “Văn Xương Đế Quân's surname was Trương, his taboo name was Thiện Huân; he had many miraculous deeds. Whenever people sought to avert disaster, pray for rain, or pray for children, if they were sincere there was always a response; he could subdue demons and sweep away epidemics. He was called Văn Chương Tư Mệnh because people of all classes—noble and base, civil and military, physicians, diviners, scholars, farmers, artisans, and merchants—who hoped for official success all relied on him. He resides in the Văn Xương Palace in the Ziwei constellation, often expounding planchette writings and composing scriptures, revealing dreams and sending messages, dividing his spirit into incarnations to respond, and saving human beings.”

In the book “Tử Đồng Đế Quân Hóa Thư” (written by Đàm Tiểu at the beginning of the 10th century), 17 incarnations of Văn Xương Đế Quân are summarized, but the content is extremely absurd. Perhaps this work by the Daoist Đàm Tiểu sought to consolidate and shift the Văn Xương Đế Quân belief from a folk belief to a Daoist belief.

1.1.2. Phục Ma Đại Đế (Quan Công or Quan Vũ, 162–260, courtesy names Vân Trường or Trường Sinh).

Quan Vũ was a military general at the end of the Eastern Han and during the Three Kingdoms period in China. He contributed greatly to the establishment of Shu Han, whose first emperor was Liu Bei. In folk tradition, Quan Vũ is often regarded as a sworn brother ofLiu BeiandZhang Fei. In fact, historical records do not record that Liu Bei, Quan Vũ, and Zhang Fei ever held a sworn-brother ceremony (they only record that they had a very close relationship, “affectionate as brothers”); the title of the Five Tiger Generals is also fictional (however, it is true that Quan Vũ was appointed General of the Vanguard, the highest position in the Shu Han army).

Quan Vũ is regarded as a talented general with fierce martial skills, described by his contemporaries as “a match for ten thousand men, a tiger-spirit of his time, with the bearing of a talented and skilled national scholar.” In character, although he had the flaws of arrogance, a habit of shouting at others, and occasionally impulsive behavior—all of which led to his death—his strengths were courage, respect for ritual and propriety, chivalry and righteousness, perseverance, and absolute loyalty; these strengths were highly valued by the people, and evenCao Caoalso admired him and regarded him as a “righteous man of the world.” Later generations regard him as a symbol of the virtues: “Wealth and fame do not change his heart, prosperity does not make him licentious, poverty does not weaken his will, and force does not subdue him.”

As one of the Chinese historical figures best known in the regionEast Asia, the image of Quan Công was deified in folk stories, beginning from the periodSui dynasty, fictionalized inRomance of the Three KingdomsbyLuo Guanzhong, and portrayed in art forms such as drama, chèo, tuồng, etc. More than 500 years after his death, in 782, Quan Vũ wasEmperor Dezong of Tanginducted into the Martial Temple, where famous generals in history were worshipped; afterward he was also honored by the emperors of theSong dynasty,Yuan dynasty,Ming dynasty,Qing dynasty granted noble and imperial titles and worshipped in many places. In the 17th century he was honored by the emperors Qing dynasty (1636–1912) as Martial Saint, one of the Ten Saints in Chinese history. He is also the only military general in Chinese history to have a separate shrine at the Temple of Emperors (which was Ming dynasty,Qing dynasty built, where the most talented and loyal civil officials and military generals of successive dynasties are worshipped), and most martial temples in Chinese villages have statues of him modeled with a red face, long beard, holding a Green Dragon Crescent Blade and/or riding Red Hare horse.

1.1.3. Kim Quyết Tuyển Tiên Đế Quân (Lü Zu, a famous Chinese physician).

Lü Zu's real name was Lü Yan. He was a famous Taoist priest who lived in the late Tang dynasty and early Five Dynasties period and was ranked among the Eight Immortals. His sobriquet was Chunyang Zi, and his courtesy name was Dongbin. Legend has it that he was born in the late Tang dynasty and sat for examinations many times without passing. At an inn he met the recluse Zhongli Quan, who enlightened him by giving him a pillow and telling him to rest his head on it and sleep. Lü Yan slept and dreamed that he passed the imperial examination as zhuangyuan, rose to the highest official rank, held the power of prime minister, and later was slandered by treacherous ministers, dragged to the execution ground, and beheaded; he was so frightened that he woke up, only to find that the innkeeper's pot of millet porridge was still not cooked. All the events of fifty years were only a dream of a few minutes (this legend gave rise to the literary allusion “golden millet dream”). Mr. Lü came to his senses and followed Zhongli Quan to cultivate immortality. Lü Dongbin advocated many important methods of internal alchemy cultivation and was therefore highly esteemed by Taoists. In the Yuan dynasty, in 1269, Yuan Shizu bestowed on Lü Dongbin the Taoist title Chunyang Yanzheng Jinghua Zhenjun, and later Chunyang Yanzheng Fuyou Dijun. Because Wang Zhe (i.e., Wang Chongyang), founder of the Quanzhen sect, claimed that he had received the Tao personally from Lü Dongbin and honored Lü as the founding patriarch, Lü Dongbin has since often been called Lü Zu, or Chunyang Patriarch. It is said that the book Gongguo Ge was also transmitted and taught by Lü Zu.

Tản Viên Sơn Thánh is the foremost of the “Vietnamese immortals,” including Tản Viên, Thánh Gióng, Chử Đồng Tử, and Liễu Hạnh. He is regarded as the leading deity among the Patron Saints of the Hundred Trades, teaching the people to make fire and practice many crafts. For the biography of Tản Viên Sơn Thánh, see the sacred legend at Và Temple (Đông Cung).

Trần Hưng Đạo (1226 - 1300), personal name Trần Quốc Tuấn, title Hưng Đạo Great King, was a politician, military strategist, and royal family member of Đại Việt during the Trần dynasty. After his death, the Vietnamese people revered him as Saint Trần, also called Cửu Thiên Vũ Đế. He is known in Vietnamese history for commanding the army to defeat the three invasions by the Yuan-Mongol forces in 1258, 1285, and 1287. Most later historical research documents and folklore often use the short name "Trần Hưng Đạo" instead of the full title "Hưng Đạo Great King Trần Quốc Tuấn," which includes the title conferred on him. He is honored as one of the 14 exemplary heroes of the Vietnamese nation.

Trần Hưng Đạo was the son of the royal kinsman An Sinh Vương Trần Liễu and the grandson of Trần Thái Tổ, Trần Hưng Đạo had a close relationship with the Trần royal family and King Trần Nhân Tôngcalled him uncle. In1257, he was appointed by KingTrần Thái Tôngas the grand general commanding the forces at the border to fight theMongolinvaders. After that, he retreated to his fief atVạn Kiếp. In the tenth lunar month of1283,Yuan dynasty(after the Mongols unified China) threatened to attack Đại Việt a second time, Hưng Đạo Vương was appointed by the Retired EmperorTrần Thánh Tông, and the kingTrần Nhân Tông(respectively his cousin and nephew) as Quốc công tiết chế, commandingthe armyof the whole country. In this position, in1285, he led the soldiers to stop the invading army led by the ninth princeThoát Hoan. After initial defeats, the Vietnamese people and army under the leadership of the two Trần kings, Grand PreceptorTrần Quang Khảiand Hưng Đạo Vương counterattacked strongly, smashing the Yuan army in the battles ofHàm Tử,Chương Dương,Trường Yên,Vạn Kiếp,... completely driving the Yuan army out of the border.

In1288, the Yuan army returned to invadeĐại Việtfor the third time. When he was again appointed Quốc công tiết chế; Hưng Đạo Vương affirmed to the kingTrần Nhân Tông:"This year, fighting the enemy is easy". He successfully applied the tactics ofNgô Quyền, completely defeating the Yuan navy commanded by the generalsPhàn TiếpandÔ Mã Nhiinthe naval battle on the Bạch Đằng River, forcing the Yuan army to withdraw from the country.April lunar year 1289,Trần Nhân Tông officially conferred the title of "Great King" on him, although the authority of head of the court at that time still belonged to Grand Chancellor and Supreme Commander Chiêu Minh Great King Trần Quang Khải.

After that, he retired to Vạn Kiếp until his death in 1300. Before his death, he advised Trần Anh Tông:"Must relax and nourish the people's strength to build a strategy of deep roots and a strong base". In addition, he also left behind classic works such as Proclamation to the Generals and Soldiers,Essentials of Military StrategyandVạn Kiếp Secret Transmission Book laying the foundation for Vietnamese military art from the Trần dynasty to the present day.

In 1984, at the World Military Conference, Trần Hưng Đạo was honored as one of the 10 great marshals in human history; he is the only person revered by the Vietnamese people as a Saint while still alive.

According to documents still preserved at the temple such as the "Vân Hương Thánh Mẫu Ngọc Tích" and the oral tradition of the local people, the Lower Temple is where Mother Liễu Hạnh is worshipped, one of the "Four Immortals" in the folk beliefs of the Vietnamese people.

According to legend, Mother Liễu Hạnh was from An Thái village, Vụ Bản district, Nam Định province, where the largest temple to her is located; every year there is the Phủ Dầy festival, held on the 7th day of the first lunar month, and people from all over the country come to Phủ Dầy to attend the festival and pay homage. Đồi Ngang, Phú Long commune, Nho Quan district, where she helped King Lê Hiển Tôn defeat the enemy, and where she manifested her holiness, the people built a temple to worship her. Since then, people from all over the country have regarded her as the mother of the world, bestowed upon her the title of First Mother, and built temples to worship her. Currently, our country has three major temples dedicated to her: Phủ Dầy (Nam Định), Phủ Đồi Ngang (Ninh Bình), and Phủ Tây Hồ in Hà Nội.

Based on the "Vân Hương Thánh Mẫu Ngọc Tích" kept at the temple and other documents, the Phú Trinh Temple worships Holy Mother Liễu Hạnh, who is the daughter of the Jade Emperor, the second Princess Quỳnh Hoa; she descended to the mortal world three times:

The first time, she was born into the Phạm family (named Phạm Thị Tiên Nga) in Quảng Nạp, Vi Nhuế, Ý Yên, Nam Định.

The second time, she was born into the Lê family (changed from the Trần family), named Lê Thị Thắng with the title Giáng Tiên, in An Thái, Vụ Bản, Nam Định. She married Trần Đào Lang, and at the age of 21, she returned to heaven.

The third time, she descended with the title at Nga Sơn, Thanh Hóa; after more than a year, her term ended and she returned to the immortal realm.

After that, she manifested her power to help the people and the country, so she was bestowed titles by feudal dynasties: "Mã Hoàng Công Chúa, Thượng đẳng Tối linh Tôn thần", Thượng Thượng đẳng tối linh vi bách Thần chi thủ (under King Lê Thần Tôn), Hộ Quốc Bình Nhung Chế Thắng Bảo Hoà Diệu Đại Vương (under King Lê Hiền Tôn).

Ngọc Giang Temple was built from 1902 and completed in 1906. At that time, only the front building was constructed to serve as the activity place of the charity association (patriots led by Nguyễn Quý Các). When first built, the temple was called Tam Thánh Temple or Upper Temple to worship 5 Saints; it is an architectural work of belief worshipping historical figures, legendary figures, or people who contributed to the country and the people. In the temple, there is still a stone stele created in the first year of Duy Tân (1906) recording the construction process of the temple and the celebrities active in the charity association.

In the third year of Bảo Đại (1928), the temple continued to build the rear structure to worship Holy Mother Liễu Hạnh, creating a layout in the shape of the character "Nhị". Currently, on the first beam in the middle compartment, there is still an inscription of the date in Chinese characters: "In the third year of Bảo Đại, Mậu Thìn year, winter, we respectfully set up the main pillar, great auspiciousness" (in the winter of the third year of Bảo Đại, i.e., the year of Mậu Thìn - 1928, the upper beam was erected).

During the resistance wars against the French and the Americans, the temple was a place of activity for the charity association. In 1994, the ancestor house was built; on the upper beam, there is still an inscription in Chinese characters : "Vietnam, year of Giáp Tuất, tenth month, twenty-fourth day, auspicious time, erected the upper beam, great auspiciousness" (1994).

Recently, the temple has undergone minor repairs; in 2006 and 2024, only minor repairs were made such as re-laying the floor with bricks, replacing the roof support system such as beams, rafters, and tiled roof.

- Landscape space:

Ngọc Giang Temple now belongs to Cống hamlet, located in the middle of the village, facing West, on a fairly spacious and airy plot of land. To the right of the temple is the Ngọc Than canal, a canal flowing from Sài Sơn mountain down to the Tích River; the canal never dries up. Behind the temple is the junction of Ngọc Than road and the hamlet's shrine area. Surrounding Ngọc Giang Temple is a densely populated residential area.

- Overall layout:

Ngọc Giang Temple is a closed complex; the temple gate faces West, towards the alley. The temple consists of two structures: the Upper Temple (worshipping 5 Saints) and the Lower Temple (worshipping Holy Mother Liễu Hạnh) lying parallel, separated by a courtyard paved with Bát bricks. To the right of the Lower Temple is the Ancestor House (where Nguyễn Quý Các and members of the charity association are worshipped).

The Ngọc Than Temple gate faces West, built of brick and plaster, with two tiers; the upper tier is covered with cement mortar and imitation tiles. The gable wall - the space between the two roof tiers in the front - has a raised inscription in Chinese characters "Ngọc Đàn mônOn both sides of the gate is an enclosing wall of brick coated with mortar to separate it from the village lane, protect the worship space, and bear a raised relief of the character Tho (Longevity).

The Upper Temple has quite special architecture: from the front main column row it is formed as five compartments, while from the rear main column row it is formed as only three compartments to make the rear sanctuary. The architecture is of the overlapping-eaves type with closed gables and ngai-style braces. The Upper Temple has a single-compartment ground plan, divided into interior spaces; from the front main column row there are doors, combined with brick enclosing walls; from the rear main column row the interior is divided to form the rear sanctuary for placing altar cabinets, worship thrones and memorial tablets of five saints. In the central compartment is the communal altar and a set of ceremonial weapons. On the wall of the central compartment are a horizontal plaque reading 'Tham thien tan hoa' and a couplet.

The floor of the front worship hall is 60 cm higher than the courtyard, with a three-step staircase, paved with Bat Trang bricks in the Cong bond. The frame structure includes four column rows, but the main column row is replaced by brick walls coated with mortar. The porch columns are of stone with square sections. Crossbeams rest on the enclosing walls to expand the interior of the work. The roof trusses are of the overlapping-beam type, with three beams stacked through bracket blocks; the two upper beams are continuous beams, while the lower beam is a short beam. The side trusses at the two front gable ends are of the con me type, while the side trusses of the central and side compartments are of the continuous tie type; these are the side trusses that preserve the most sculptural decorative images of the work. The rear side trusses are of the rafter type, with members of rectangular section chamfered in the bamboo-shoot manner. The porch roof is supported by diagonal brackets. The space between the first and second roof tiers is built with brick walls, on which is raised the inscription 'Tam Thanh tu'.

Decorative carving is concentrated mainly in the front side trusses, with themes of the four sacred animals and four noble plants combined with leaf scrolls, using relief and line carving in Nguyen artistic style. A highlight is that all decorative carvings are displayed on the porch structural members. The continuous tie in the central compartment is mortised from the top of the military column; the tail of the tie supports the side purlin, the body is mortised into the longitudinal beam, and a hidden column connects with the stone column. On the tie body are attached boards with cut-out sockets supporting roof purlins. The side truss of the con me type uses a long side beam of rectangular section; one end joins the body of the military column, the other end presses on the back of the diagonal bracket and is connected by pegs to the porch column. The upper edge of the con me has a cut-out socket supporting the roof purlin. On the body of the con me in the left compartment are carved the four sacred animals; at the center is a dragon with a raised head, surrounded by phoenix, unicorn and turtle. Below the side beam are carved apricot branches with leaf scrolls. The back of this con me is carved with the four noble plants and animals such as deer, stag and birds, creating a lively and joyful picture. On the body of the continuous tie in the central compartment, the four sacred animals are carved similarly to those on the con me, but here the animals are carved running along the tie body. In addition, the tie body is also carved with the four noble plants transformed into dragons, such as bamboo turning into a dragon, apricot turning into a dragon, and chrysanthemum turning into a phoenix. Each carving has its own beauty; each creature has its own appearance, none alike, creating exceptional artistic value for the carved-decorative panels here.

The two gable ends and the rear are enclosed with laterite walls left exposed without mortar rendering. The roof is of the two-tier, four-roof type; the roof-supporting frame includes wooden purlins and rectangular rafters supporting two tile layers: under-tiles and roof tiles of di tile. The corner eaves are rendered in leaf shapes, and the two ends of the ridge are decorated with scroll patterns in the art style of the early 20th century.

The Holy Mother Temple is located behind the Tam Thanh Temple, separated by a 2 m wide courtyard paved with Bat Trang bricks in the Cong bond. The entrance to the Holy Mother Temple is from the right side, built of that bricks in an arched style.

The Holy Mother Temple consists of three compartments. Its floor is 20 cm higher than the courtyard, paved with Bat Trang bricks in the Cong bond. The frame structure includes four rows (two main column rows and two military column rows); the columns are circular in section and rest on blue-stone bases carved in the co bong style. To increase the stability of the wooden frame, the craftsmen used longitudinal beams along the main columns and military columns.

The four roof trusses of the rear sanctuary are made in two types: the two roof trusses of the central compartment are of the overlapping-beam type, with beams stacked through bracket blocks carved with lotus-petal patterns, and the ends of the beams carved with leaf shapes. The two truss sets of the side compartments are of the rafter type; the members are small in section and simply chamfered in the bamboo-shoot manner in the gia chieng - con me style.

The two rear side trusses of the central compartment are of the con me type; above the side beam is a wooden board with a cut-out socket supporting the roof purlin. On the me board are carved scroll patterns combined with leaf scrolls. The two side trusses in the central compartment of the rear sanctuary are made rather specially, both in the same form of crab-shell truss with a convex curve; above, they have sockets directly supporting circular-section roof purlins, and all weight is concentrated on the side beam. The side beam is mortised from the body of the main column through the body of the front military column. The most distinctive feature of the Holy Mother Temple's architecture is the carvings on the side trusses, with themes of tiger tally holding the character 'Longevity', combined with scroll and leaf patterns by relief and line carving, and in some places openwork/ventilation carving in the art style of the early 20th century.

The two gable ends are enclosed with that-brick walls combined with laterite. On the front main column row are folding panel doors, and on the door leaves are carved four noble plants in the art style of the early 20th century. Between the upper and lower beams of the main columns are thin wooden panels. The roof is of the one-tier, two-roof type, covered with di tiles.

Unlike the ancestor houses in temples that worship Patriarch Bodhidharma and the patriarch monks who once served as abbots, the Ancestor House at Ngoc Giang Temple is for worshiping the founders of the charity association, including Mr. Nguyen Quy Cac and his fellow disciples and students.

The Ancestor House consists of five compartments, of which the three central compartments are used for worship and the two gable ends are living rooms for caretakers. In the central compartment is an incense table, on which are placed a worship throne and ritual objects. On the longitudinal beam of the main columns hangs a y-mon plaque made in the Duy Tan Ren Rat year (1912) and a pair of couplets. The Ancestor House has recently been rebuilt; the frame structure is simple, with crossbeams resting on enclosing walls, and the truss sets are of the rafter type, mainly chamfered in the bamboo-shoot manner. The two gable ends and the rear are enclosed with brick walls coated with mortar. The roof consists of one tier and two roofs, covered with di tiles.

Ngoc Than is one of the villages of the former Ngoc My commune and present Kieu Phu commune with a dense number and density of religious and belief relics. In addition to the communal house and pagoda, there are temples, clan houses, etc. These religious and belief works have been recognized by the State as valuable historical relics. Lying in that land with its long history and cultural depth, the Bui clan house contains typical historical and cultural values.

Ngoc Giang Temple was built in 1902, from the reign of King Duy Tan; in the reign of King Bao Dai, the rear work (Holy Mother Temple) was added. To date its technical condition remains relatively good, with damage only at the two gable ends and the roof-supporting frame, not affecting the load-bearing structure of the work.

During the resistance wars against the French and the Americans, Ngoc Giang Temple was in a remote location, so it became a meeting place of the charity association founded by patriots of the same aspiration who established the temple. Ngoc Giang Temple contributed greatly to the revolutionary cause of the village and commune; some families with meritorious service to the revolution were awarded honorary gold plaques.

Ngoc Giang Temple has a main ground plan in the shape of the character 'Nhi', including three main works: the Upper Temple and Lower Temple, rebuilt in the Nguyen dynasty, together with the Ancestor House built later, with similarity in overall layout. This is evidence of the development of Ngoc Than village in general and Ngoc Giang Temple in the early 20th century. The temple has a large scale and open landscape space, surrounded by rich villages, creating for the relic a harmonious and solemn architectural environment. The works are reasonably distributed and stand out above the village's civil architecture. Since its founding, the temple has undergone many repairs but still retains many original values.

Decorative carvings on architectural members in the temple are concentrated mainly on exterior members such as the side trusses in the Upper Temple and Lower Temple. This is a work that still preserves many original elements, especially decorative carvings with rich themes bearing the distinctive art style of the early 20th century. The members are densely carved on both sides, creating a lively picture reflecting the prosperous life of the people of that time. The carved panels on the wooden architecture are expressed quite richly and diversely with many different themes such as the four noble plants (pine, chrysanthemum, bamboo, apricot), images of falling creatures symbolizing the five blessings, etc. Although the decorative carvings on the architecture still bear the Nguyen dynasty art style, they are very rich in imagery, carving technique and carving location; all of this has created a particular beauty for the temple architecture.

The temple still preserves quite a few valuable artifacts such as stone steles, royal edicts, a system of horizontal plaques, incense tables, worship thrones, memorial tablets, etc. These artifacts are all decorated and carved beautifully, with artistic value of the Nguyen dynasty.

Ngoc Giang Temple was built in the early 20th century and has undergone many restorations and embellishments. To date, belief activities here are still well maintained. Every year the temple maintains four festivals: the spring opening ceremony (the 8th day of the first lunar month), the Spring Sacrifice (the 12th day of the second lunar month), the Autumn Sacrifice (the 18th day of the eighth lunar month) and the year-end ceremony (the 13th day of the twelfth lunar month). Through forms of cultural and belief activities at the relic, this is an occasion to unite the village community, preserve and inherit the village's cultural identity traditions, contributing to preserving and passing on cultural values to younger generations.