37. Long Huong Communal Temple Historical and Cultural Architectural Relic

Long Huong Communal Temple is perched on an elevated mound, offering a picturesque setting with advantageous feng shui. It is bordered by the Dinh River to the East, National Highway 51 to the West, the Dinh River to the South, and the Dinh Mountain to the North.

To reach Long Huong Communal Temple from Vung Tau City, follow National Highway 51 to kilometer 65, then turn into the administrative center of Ba Ria City, pass the historical relic of Round House, cross the Long Huong Bridge, and arrive at the Long Huong Ward People’s Committee. From there, take a right turn onto a local road and proceed for about 600 meters to reach the temple. Alternatively, if coming from Bien Hoa City, take National Highway 51 to kilometer 64, turn left at Long Huong intersection, reach the Long Huong Ward People’s Committee, and turn left onto a local road for about 600 meters to reach Long Huong Communal Temple.

Formerly known as Phuoc An Communal Temple, also called Tong An Phu Tan in ancient times, the temple was renamed Long Huong Communal Temple after 1975. It was established around 1850 to worship the Than Hoang Bon Canh and served as a meeting place for villagers to discuss communal matters. In 1852, the Nguyen Dynasty granted a royal edict for the Than Hoang Bon Canh (during the reign of Tu Duc, 5th month, 11th day, the 29th year). Museum documents suggest that this royal edict bestowed the title “Grand Marshal of the Naval Infantry Division Grand Marshal” upon Than Hoang Bon Canh. However, as we haven’t seen this edict, its authenticity remains uncertain.

Long Huong Communal Temple sits on a beautiful piece of land with a commanding view of the Dinh River. The temple garden boasts various ancient trees, providing shade throughout the year. The temple’s architecture follows a “Three Letters” design, with its back against the Dinh Mountain and facing the Dinh River. In the past, Long Huong Communal Temple had thatched roofs without surrounding walls. Besides the main temple, there was a martial arts stage and a few solidly built houses. In the early 20th century, Long Huong Communal Temple underwent renovations, with many wooden structures connected in a “Three Letters” design. The surrounding walls were constructed using materials like cement, green stone, honeycomb briquette, and the roofs were covered with yin-yang tiles. In 1925, Mr. To Tan Hoi and his children, To Thi Kinh and To Xich Phung, generously supported the temple with a substantial sum for restoration, painting, building, and decorating the Main Hall, Front and Rear Auxiliary Halls. In 1940, brothers Vo Van Ngo, Vo Van Du, and Mr. Le Van Tam financially supported the temple for repairing and renovating the martial arts stage and other auxiliary structures.

The architectural design of the Long Hương Communal Temple is characterized by a complex of interconnected rectangular houses, each supported by four round columns exceeding 100cm in diameter. Adorned with intricate dragon carvings, these columns are fondly referred to by the local villagers as “Dragon Columns.” The houses extend in all directions, featuring expansive areas supported by evenly distributed beams. The tail ends of these beams showcase dragon carvings that appear and disappear, creating an enchanting effect known as “hidden dragons.” In pursuit of a spacious interior, the Long Hương Communal Temple ingeniously integrates its houses in a style reminiscent of “trung thiem diep oc” (Double Eaves and Interlocking Roofs). The temple’s roof is adorned with yin-yang patterned tiles and the apex of the temple roof features delicate porcelain decorations portraying “Luong long tranh chau” (two dragons playing with a pearl), “ca hoa long” (dragon transforming into a fish), “ong mat troi” (sun god), and “ba mat trang” (moon goddess), all meticulously created with glazed ceramics. These decorative elements not only enhance the temple’s aesthetic appeal but also symbolize the harmonious balance of yin and yang, abundance, fulfillment, and sanctity.

Upon entering the temple gate, visitors encounter the Dan Xa Tac, a brick altar standing approximately 20 meters from the entrance. Dedicated to Than Nong (Agricultural Deity), this altar is revered for its association with mountains and rivers in agricultural activities. Worship practices for Tho Than (Earth God) and Than Nong (Agricultural God) are deeply rooted in the agricultural context. This sacred connection materializes visibly behind the Xa Tac Altar (Altar for Earth and Agricultural Gods), adorned with a captivating depiction of a dragon entwined with a tiger,  symbolizing the harmony of Yin and Yang, favorable weather conditions, and a prosperous environment. Adjacent to the Xa Tac Altar is the martial arts stage. Once an open structure without walls, doors, or drums, this area served as a venue for traditional opera performances and various ceremonial rituals.  Therefore, the martial arts stage area is intricately adorned, featuring numerous ornate archways and decorative couplets that delve into the expansive realm of theatrical arts.

Following the martial arts stage is the Main Hall. This Hall comprises three sections, with the central part being larger than the adjacent ones. The Main Hall opens its doors during festive occasions, while on regular days, only the side doors are slightly ajar to allow the light of burning incense to filter through.  The Main Hall is adorned with grand decorations, exhibiting numerous ornate archways and couplets praising the pure cultural traditions, such as the couplet: “Facing the world with harmony, even amidst the chaos of the four directions, unity prevails.” The decorative themes include the Four Supernatural Beings, the transformation of fish into dragons, dragons and tigers, the eight immortals, clouds, storks, dragon columns, and hidden dragons, all depicted in magnificent and vivid sculptures. In the center of the Main Hall, there is an intricately carved altar, gilded and radiant. Behind it is a large worship table where various gods are revered. On both sides of the altar, there are two storks standing on tall, majestic turtles, surrounded by intricately arranged parasols and altar of weapons. Next to the Rear Hall wall is the main worship table, which worships the gods and bears the inscription “Than” (God). On this main worship table, in addition to the usual sacred symbols, there is a set of three ceremonial hats. On both sides of the main worship table, there are four auxiliary worship tables: the left table and the right table, where local guardian gods are revered.

The Front Hall and Rear Hall are places to worship those who have meritorious contributions to the community, establishing hamlets and contributing significantly to the construction of special structures within the village. Therefore, the couplets and decorative archways at the Front Hall and Rear Hall often express the theme of gratitude. Currently, there is an altar in the temple dedicated to the worship of 51 fallen heroes. The fallen soldiers are placed right at the Front Hall, including 28 martyrs from the period of resisting the French, 23 martyrs from the period of resisting the Americans, who bravely sacrificed themselves during the years 1960-1962. The number of martyrs from 1963 onwards has not been consolidated into the temple yet.

During the 9-year Anti-French Resistance War, Long Huong Communal Temple served as a shelter for revolutionary activists like Pham Van Cong, Le Van Truong, and Tran Van Sau. The temple’s ancient resin trees were strategically used by guerrilla forces for observation and guarding against the enemy from multiple angles, facilitating revolutionary activities and proactive attacks.

Long Huong Communal Temple hosts four annual worship ceremonies. The Village Guardian Ceremony is on the 10th day of lunar January, the Lady Thien Hau and Five Elements Ceremonies on the 23rd day of lunar March, Ancestors’ Honor Ceremony on the 11th day of lunar May, and the Peaceful Period Ceremony on the 15th, 16th, and 17th days of lunar November.

Long Huong Communal Temple serves as the venue for the community to hold grand ceremonies, seeking blessings for national prosperity, peace, favorable weather, abundant harvests, and family reunions. It embodies spiritual values and symbols, ensuring its enduring presence in folk culture. It converges the cultural essence of the villages in the Southeastern region in general and specifically of Ba Ria-Vung Tau province.