Quảng Triệu Hội Quán

Quảng Triệu Assembly Hall (Chinese characters: 廣肇會館), commonly known as Chùa Ông (Ong Pagoda), is a religious establishment located at 32 Hai Bà Trưng Street, Ninh Kiều Ward, Cần Thơ City, Vietnam. This is a pagoda of the Cantonese Chinese community in Cần Thơ and has been recognised as a national historical monument since 1993.

The pagoda's original name in Chinese characters is Quảng Triệu Hội Quán (廣肇會館). It is also known as Minh Hương Pagoda and Chùa Ông (Ong Pagoda).

The name Quảng Triệu Hội Quán (廣肇會館; 广肇会馆) originates from the fact that the pagoda was originally the assembly hall of a group of Cantonese Chinese from the two prefectures of Quảng Châu (廣州) and Triệu Khánh (肇慶) (both in Guangdong Province, China) who migrated and settled in Trấn Giang (the old name for Cần Thơ) in the 17th–18th centuries. However, locals are accustomed to calling it Chùa Ông, because the main hall is dedicated to Quan Thánh Đế Quân (i.e., Guan Gong).

The pagoda was begun on a plot of 532m2 in 1894 (the 20th year of the Guangxu reign, and the 6th year of Thành Thái), and was completed in 1896. Like several other Chinese pagodas, Chùa Ông is not isolated but situated in a densely populated residential area, right in the centre of Cần Thơ City, next to Ninh Kiều Wharf.

Since its construction (1894) until today, the appearance of Chùa Ông has remained almost unchanged. The entire architecture of the pagoda is built in the shape of the Chinese character 'Quốc' (國), with rows of buildings forming a closed square, and in the centre of the pagoda is an open space called the 'thiên tỉnh' courtyard (skylight).

Like many other Chinese pagodas, Chùa Ông is brightly and cheerfully coloured, yet still retains an ancient character. The roof is covered with yin-yang tiles, with the roof ridges glazed in deep green. On the roof ridge are figurines, a pair of dragons contesting a pearl, carp transforming into dragons, phoenixes, etc., all made of colourful ceramics. In addition, at the two ends of the roof are two statues of people holding the sun and the moon (symbolising the harmony of yin and yang). The vaulted roof structure is supported by six rows of round and square wooden columns painted red, with bases made from monolithic stone blocks, and a rather complex system of beams. All the beams here are round wood, carefully painted.

Most of the materials for the architectural details were brought from Guangdong, such as wooden columns, stone column bases, couplets, beams, rafters, bronze bells, incense burners, etc., all inscribed with the date 1896 and donated by benefactors. The carved screens at the Guan Gong altar were made on Thủy Binh Street (now Đồng Khánh Street, District 5, Ho Chi Minh City). The altar base, the statue of Bodhisattva Quan Âm, and the three offering tables in front of the Guan Gong altar were built in 1974 from terrazzo.

The main hall was initiated by Mr. La Ích Xe around the mid-19th century. The guest house was built by Mr. La Thành Cơ (son of La Ích Xe) at the end of that century. The kitchen area was built by Dương Lập Cang in 1931. Although the construction of the pagoda took place over three periods with three somewhat different architectural styles, they harmonise well, forming a unique architectural complex in the style of a Chinese pagoda. Some details include:

A few metres from the pavement is the gate and fence, with pillars rendered in exposed aggregate concrete, connected by iron bars. Atop the two main pillars are a pair of lions, while the other pillars feature figurines and carp transforming into dragons. All are made of colourful ceramics.

Crossing a narrow courtyard is the front hall. In the centre is a carved screen. Above the two entrance doors is a large signboard reading 'Quảng Triệu Hội Quán'.

Beyond the front hall is the 'thiên tỉnh' courtyard, a typical feature of Chinese pagodas. Depending on the pagoda, this may or may not be roofed; here, it is roofed with yin-yang tiles. Hanging from the vaulted roof is a plaque and a large signboard reading 'Hiệp Lực Đồng' (協力同, 'United in Effort'). The roof truss system is built in the 'chồng rường gối mộng' style, with intricately carved wooden brackets, and the surrounding roof is designed to be adjustable to regulate natural light.

The main hall is the most important area of the pagoda. The roof trusses here are built in the 'trồng rường' style, with crossbeams joined together. The most outstanding feature is the bas-reliefs, which are almost everywhere: on the carved screens, horizontal boards, couplets, crossbeams, etc. The reliefs, in high-relief carving, depict a rich variety of themes drawn from Chinese legends and history, or in low-relief carving with motifs such as plum, orchid, chrysanthemum, bamboo, dragons, phoenixes, carp transforming into dragons, rice ears, etc. In addition, there are 'seal script' and 'cursive script' characters carved on the horizontal boards, couplets, incense burners, bronze bells, etc. All these demonstrate the carving skills and calligraphic artistry of the craftsmen of that time.

Front hall: worships General Mã Tiền and the Red Hare horse (on the left), and Phúc Đức Chính Thần (also known as Ông Bổn, worshipped on the right). According to legend, Ông Bổn is Bổn đầu công Trịnh Hòa, who contributed to the development of the overseas Chinese community, and is worshipped by the Chinese on the 15th day of the third lunar month.

Thiên tỉnh courtyard: in the courtyard are two sets of weapons (bát bửu), ornamental pots, and an offering table. There are also several lanterns and many spiral incense sticks brought by people as offerings.

Main hall: In the centre is the altar to Quan Thánh Đế Quân; on the left is the altar to Đỗng Vĩnh Trạng Nguyên and Tài Bạch Tinh Quân (also known as the God of Wealth); on the right is the altar to Thiên Hậu Thánh Mẫu. In addition, the pagoda also has an altar to Bodhisattva Quan Âm.

The statues in the pagoda are made from various materials: wood, plaster, etc.

Chùa Ông holds many festivals throughout the year, but the most notable are the birthday of Quan Thánh Đế Quân, held on the 24th day of the sixth lunar month, and the birthday of Thiên Hậu Thánh Mẫu, held on the 23rd day of the third lunar month.

Besides its artistic value, Chùa Ông also has historical significance. During the war before 1975, this was a place that sheltered and protected revolutionary cadres operating in the city.

With such historical and artistic values, on 21 June 1993, Chùa Ông was recognised as a 'National Monument'.