Temple of the Horn Comb Craft Ancestor, Thụy Ứng Village, Thường Tín Commune, Hanoi City

From Hanoi, follow National Highway 1A south to Thường Tín Station, turn onto Provincial Road 427 heading west, and after about 3 km you reach Thụy Ứng Village. Thụy Ứng is one of four villages in Hòa Bình Commune. Besides farming, the village has a famous horn comb making craft; it is the only craft village in the country making combs from buffalo and cow horn and has entered Thường Tín folk songs. The temple is located near a pagoda and overlooks an open space and lively landscape. At present, the temple has a front in the shape of the character 'nhất' and rear in the shape of the character 'đinh' architectural structure, including the main items: gate, front hall, great hall, and rear sanctuary.

In addition, there is a system of courtyards and walls surrounding the relic. The first item is the gate. The temple gate has a simple structure with four symmetrical pillars on both sides and one main passage. Two large pillars are topped with four phoenixes facing the sun, followed by a panel with four guardian beasts holding the character 'longevity', then a lantern frame decorated with the four sacred creatures; the pillar bodies are edged and outlined and bear a pair of parallel sentences with the following content:

Transliteration:

Nha giác thiết tha tạo thành thủ lang lưu truyền hậu thế

Mộc qua tinh nghiên chế tác hình xã hội điểm trang

Rough translation:

The virtue of the Ancestor: grinding and cutting horn to make combs, handed down to later generations; researching and seeking ways to craft exquisite objects to adorn society

Transliteration:

Đình từ sùng kính thâm nghiêm nhật nguyệt hương đăng bất tuyệt

Cung điện nguy nga tráng lệ xuân thu diệu kỷ thường niên

Rough translation:

The temple is deeply revered; day and month incense and lamps never cease

The palace is majestic and splendid; every year the spring and autumn seasons are efficacious.

From the two large pillars, two small pillars are connected by a low wall; above are molded seal-script patterns, below are two raised characters Phúc and Lộc. The two small pillars are topped with lotus buds, the lantern frames have the character Thọ in relief, and the pillar bodies are left plain. The bases are tied in a gourd-neck shape, creating a solid and imposing appearance.

From the gate, past a yard paved with bat bricks, one reaches the front hall. The temple's front hall is a three-bay structure with closed gable ends, two sloping roofs covered with ri tiles. From the outside, the front hall has a ridge and sloping edges with pointed borders. At both ends of the ridge are two ridge ornaments; at the ends of the sloping edges, stepped brickwork creates a façade with three arched main entrances. The façade of this front hall was made by artisans in the style of a pillar gate. Above the main passage is a faux two-tier, eight-roof design; at both ends of the ridge are stylized floral garlands; the four upper roof corners are leaf-shaped, and the four lower roof corners are softly curved dragon heads. On the eave wall are three Chinese characters: Dân tiên giác - Knowing before the people. From this eave wall, on both sides are two faux pillars with rhombus bands and lemon-flower patterns. On top of the pillars are two nghê creatures acting as spiritual guardians of pilgrims and local people before they enter to worship the Ancestor. The pillar bodies bear a pair of parallel sentences as follows:

Transliteration:

Cổ tại tích tiền nhân chế tác sơ trang giáo hương kĩ nghệ

Kim dĩ lai hậu thế cải tiến long ngư giao tiếp thị trường

Rough translation:

In the past, it was because the predecessors crafted decorative combs and taught the people the craft; today, later generations improve dragon-fish designs and connect with the market. Inside, the front hall is divided into bays for openness; the roof trusses are uniformly made in the Giá chiêng style, with simple kèo kẻ quá giang, leaning toward smooth planing and tight joinery. This place is where the two groups of elders and the village's departments and organizations meet, and where offerings are checked before being presented to the Ancestor.

Through the three main passages one enters the great hall. The temple's great hall is a transverse building similar to the front hall, but with a larger area because the architecture makes use of a veranda.

The roof trusses are uniformly made in the traditional quá giang truss style with four precious woods. In the central bay, ritual objects are arranged; above is a horizontal plaque bearing four Chinese characters: Sơ hiển thánh nhân. Below is an altar in the Nguyễn dynasty style, 128 cm high, 174 cm long, and 86 cm wide, with an incense bowl, two bronze candles, a pair of vases, and other ritual objects. Next is the statue pedestal of the craft Ancestor. Also in the great hall, besides the plaque, there is a pair of wooden parallel sentences with the following content:

Transliteration:

Tiên giác tiên tri mộc giác tạo sơ trang truyền hậu thế

Đa tài đa nghệ sáng tác thành sản khí niệm tiền nhân

Rough translation:

The Ancestor was enlightened and foresighted, using wood and horn to create decorative objects and pass them down to later generations.

Talented and skilled, creating products and remembering the predecessors. Chinese characters:

Transliteration:

Công vân tự giác do xảo thủ phương viên chế tác

Thành khí lợi sơ trang phi tư tri xuyên di chúng hình

Rough translation:

Skilled work from horn material also comes from skillful hands, shaping square and round forms.

Making fine products, knowing how to pierce many patterns.

Connected from the central bay is the Rear Sanctuary, giving the temple a 'đinh' character architectural structure (also called 'chuôi vồ' in folk terms). The rear sanctuary of the comb craft ancestor temple consists of two longitudinal bays; inside, the roof trusses are simple. Here is placed a shrine cabinet structured like a long đình palanquin. This shrine cabinet is carved with many lively themes. At the four corners are four dragon heads, the tops converge to form four roof panels of the cabinet. The body of the cabinet is divided into two parts; the outer upper border is carved with the motif of two dragons flanking the moon and floral vines, and the inner border is decorated with a band of seal-script patterns. Here are placed a mother-of-pearl inlaid portrait of the craft Ancestor, a tube holding royal edicts, and many other ritual objects.

Standing in the spiritual place and lighting incense to remember the craft Ancestor, the first person to ponder and seek ways to craft exquisite objects from rough horn material and to pass on to the villagers of Thụy Ứng a craft with many unique features that not every village has. And above all is pride in a precious tradition, like a radiant halo shining for all future generations.