Exploring the Architecture of Teochew People at Nghĩa An Assembly Hall

Residing in Saigon, my home is merely 3km from District 5, yet between District 7 and District 5, it feels like entering two distinct worlds. Whenever I seek an escape, I venture into Chợ Lớn. There, the temples are dyed with the patina of time, immersed in the lingering scent of incense. Vibrant colors unique to the Chinese community and ancient houses create a picturesque scene.

Nghĩa An Assembly Hall with the Architecture of Teochew People

Nghĩa An Assembly Hall.

Constructed in the 19th century, Nghia An Assembly Hall holds its roots in the Nghia An region of Guangdong, China. The name 'Nghia An' pays homage to their origins. As the Chinese community migrated to Saigon, Nghia An emerged as a vibrant hub for gatherings, worship, and the expression of their spiritual culture. The assembly hall has undergone multiple renovations, with the most recent in 2010. Despite this, the architectural and artistic elements such as couplets, paintings, and sculptures within the hall are exceptionally well-preserved. Recognized as a national architectural and artistic monument in 1993 by the Ministry of Culture and Information, it stands as a valuable testament to the late 19th to early 20th-century art and architecture.

Nghia An Assembly Hall venerates Guan Gong, a heroic figure from the Three Kingdoms period, also known as Quan De Temple or Ong Pagoda. In Chinese culture, Guan Gong symbolizes loyalty and righteousness. 'Ong Quan De Temple, where loyalty and righteousness soar through millennia,' is a testament to the spiritual connection to their homeland.

Situated amidst the bustling Nguyen Trai street, Nghia An Assembly Hall commands attention with its distinct presence. Beyond the entrance lies a strategically designed water feature, promoting harmony and channeling energy for the sacred temple. Moving forward, a spacious and airy courtyard unfolds, offering a panoramic view of the three levels of the assembly hall.

Detailed features of Nghia An Assembly Hall's roof structure.

Distinguishing features of the assembly hall in Trieu Chau style include a roof structure divided into three completely separate sections, with the central part higher than the sides, featuring gently curved but lighter eaves. The triangular apex is adorned with raised edges and a sophisticated porcelain statue of 'two dragons playing with a pearl.' Similar to many Chinese temples, Nghia An Assembly Hall has an overall rectangular architectural layout (囗 shape) with enclosed square-shaped buildings. The remaining sections consist of the front hall, celestial courtyard (skylight), incense house, main hall, and the assembly hall's offices along the sides of the ancestral shrines.

Standing at the entrance, I was overwhelmed by the exquisite and grandiose nature of the assembly hall. Beneath the intricately decorated tiled roof, symmetrically placed stone unicorn pairs captivate the eyes, while colorfully adorned columns and meticulous detailing enhance the spectacle. Notably, the signboard reading 'Nghia An Assembly Hall' and a 1903 bas-relief depicting the 'Six National Heroes' in vibrant yellow caught my attention. On the front facade flanking the shrine doors, intricate Han characters and six distinct bamboo-carved reliefs are subtly embedded.

Detailed features of the roof structure of Nghia An Assembly Hall.

Ornamental details on the apex of the roof.

Stepping through the gate from the courtyard leads to the front hall. In the center stands the ancestral altar with a bronze incense burner crafted in 1825. On the left is the altar dedicated to Phuc Duc, the main deity (also known as Ong Bon or the Earth God), and on the right is a statue of Ma Dau, the General's Head, standing beside a red-painted wooden Xich Tho horse, holding the reins for Guan Gong. Following this is the celestial courtyard, then the incense house, and beyond that is the main hall.

This place exudes solemnity with tall wooden columns adorned with couplets, silk banners, and intricately carved worship accessories. In the center of the main hall is the altar of Quan Thanh De Quan (Guan Yu), embellished with silk banners and a pair of dragons playing with a pearl, framed by intricately carved borders depicting layers of pine and crane, plum and swallow, orchid and egret, and eight celestial beings engaged in aquatic combat. The statue of Quan Thanh De Quan is crafted from painted gypsum, capturing familiar details of Guan Yu such as a red face, a beard cascading to the chest, a hand stroking the beard, a head adorned with a flower-adorned headdress, armor underneath, and a flowing outer robe. To the right of the main hall is the altar of Thien Hau Nguyen Quan (Thien Hau Holy Mother). To the left is the altar of Tai Bach Tinh Quan (God of Wealth) seated on a dragon-headed chair, flanked by Chieu Tai twins standing as attendants.

Nghia An Assembly Hall was constructed in the 19th century

Main hall

The statue of Quan Thanh De Quan is crafted from painted gypsum

Ancient bell in the assembly hall

I spent half a day marveling at every intricate detail in Nghia An Assembly Hall. In addition to the described elements, Nghia An boasts numerous ceramic statues and reliefs on tiled roofs, inverted chisels depicting flowers, unicorn sculptures, valuable couplets, paintings portraying rural life, and more. These artistic expressions, encompassing calligraphy, stone carving, wood carving, and mosaic porcelain, vividly showcase the artistic values of the late 19th to early 20th centuries.

Annually, the temple organizes a ceremony to worship Guan Yu on the 24th day of the 6th lunar month. This occasion brings together the Trieu Chau community in Saigon to express their gratitude to their ancestral homeland.

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