{"id":4252,"date":"2024-12-13T12:14:42","date_gmt":"2024-12-13T12:14:42","guid":{"rendered":"https:\/\/hoangthanhthanglong.vn\/en\/?p=4252"},"modified":"2025-11-25T03:55:00","modified_gmt":"2025-11-25T03:55:00","slug":"the-tinh-bac-pavilion-hau-lau-a-significant-daoist-architecture-of-the-nguyen-dynasty-19th-20th-century-within-the-thang-long-imperial-citadel-heritage-site-hanoi","status":"publish","type":"post","link":"https:\/\/hoangthanhthanglong.vn\/en\/the-tinh-bac-pavilion-hau-lau-a-significant-daoist-architecture-of-the-nguyen-dynasty-19th-20th-century-within-the-thang-long-imperial-citadel-heritage-site-hanoi\/","title":{"rendered":"The T\u0129nh B\u1eafc Pavilion (H\u1eadu L\u00e2u): A Significant Daoist Architecture of the Nguy\u1ec5n Dynasty"},"content":{"rendered":"

The article will be divided into two parts: Part one introduces<\/em> The T\u0129nh B\u1eafc Pavilion: A Significant Daoist Architecture of the Nguy\u1ec5n Dynasty within the Thang Long Imperial Citadel Heritage Site \u2013 Hanoi; Part two: Distinctive Features of the Architecture and Decorative Art of the T\u0129nh B\u1eafc Pavilion Monument<\/em><\/p>\n

By \u0110\u1ed7 \u0110\u1ee9c Tu\u1ec7, M.A.<\/em><\/p>\n

The T\u0129nh B\u1eafc Pavilion (H\u1eadu L\u00e2u) was constructed by Emperor Minh M\u1ea1ng in October 1821 within the inner sanctum of the Hanoi Citadel\u2019s imperial residence (now part of the central area of the Thang Long Imperial Citadel \u2013 Hanoi). Built entirely of brick, its architectural design follows a symmetrical, radial structure with three compartments, three tiers, and three roofs, adorned with exceptionally refined decorative elements. On the second tier, statues of the Tam T\u00f4n were placed to invoke blessings for the people. Over more than two centuries, the pavilion has undergone a complex process of transformation, yet its fundamental original features remain intact. During these transformations, the structure acquired alternative names, such as H\u1eadu L\u00e2u and Pagode de Dames (Pagoda of the Ladies), the latter emerging when French forces occupied the Hanoi Citadel in 1882. This article will examine the history of its construction, the phases of its transformation, its symbolic functions, and its chronology. Through this analysis, I argue that the T\u0129nh B\u1eafc Pavilion is an original structure with deep connections to Daoism, playing a critical role for the Nguy\u1ec5n dynasty within the imperial residence of B\u1eafc Th\u00e0nh (Hanoi) in the 19th century.<\/p>\n

I hereby would like to express my heartfelt gratitude to Associate Professor Dr. T\u1ed1ng Trung T\u00edn, President of the Vietnam Archaeological Association, for his insightful guidance and sharp observations during the reexamination of this monument. I am also deeply appreciative of Mr. L\u1ea1i Qu\u00fd D\u01b0\u01a1ng (a teacher at B\u1eafc \u0110\u00f4ng Quan High School, Th\u00e1i B\u00ecnh) for his dedication to heritage conservation and his valuable contributions in providing historical evidence and suggestions, which have greatly enhanced this article on the T\u0129nh B\u1eafc Pavilion.<\/p>\n

    \n
  1. T\u0129nh B\u1eafc Pavilion: The Nguy\u1ec5n Emperors\u2019 Aspiration for Stability<\/strong><\/li>\n<\/ol>\n

    Following the establishment of the Nguy\u1ec5n Dynasty, Emperor Gia Long designated Hu\u1ebf as the imperial capital. In 1803, he ordered the demolition of the L\u00ea Dynasty\u2019s Th\u0103ng Long Citadel to construct a new fortress in the Vauban style, which retained the name “Th\u0103ng Long” (\u5347\u9f8d), symbolizing prosperity (see Image 1). Within this citadel, he built the Flag Tower and the Imperial Residence (H\u00e0nh cung), which served as the administrative headquarters for the Governor of B\u1eafc Th\u00e0nh\u2014a region comprising 11 provinces. This residence became a key center of economic, political, and cultural activity and the sole venue for grand diplomatic ceremonies with the Qing Dynasty (China) during the first 46 years of the Nguy\u1ec5n Dynasty (1802\u20131848). In 1820, Emperor Minh M\u1ea1ng commissioned the reconstruction of the B\u1eafc Th\u00e0nh Imperial Residence. In October 1821, while stationed in Th\u0103ng Long, the emperor ordered the construction of the T\u0129nh B\u1eafc Pavilion. According to the \u0110\u1ea1i Nam Th\u1ef1c L\u1ee5c Ch\u00ednh Bi\u00ean<\/em> (Chronicles of \u0110\u1ea1i Nam), “The emperor ordered the construction of a tall pavilion to the north of the rear hall of the B\u1eafc Th\u00e0nh Imperial Residence, naming it T\u0129nh B\u1eafc Pavilion (<\/em>\u9756\u5317<\/em>\u697c<\/em>). The entire structure was built using bricks and tiles. It featured three tiers with layered roofs connected by a single wall, and each floor was accessible via a spiral staircase. The windows and balconies were delicately crafted, offering a clear view in all directions. The uppermost tier housed statues of the Tam T\u00f4n (<\/em>\u4e09\u5c0a\u50cf<\/em>) to pray for blessings for the people, while the area beneath the pavilion was planted with litchi trees and other valuable flora<\/em>” <\/a>[1]<\/em><\/strong><\/a> (see Image 2<\/em>). The name “T\u0129nh B\u1eafc” combines two Chinese characters: T\u0129nh<\/em> (\u9756), meaning peace or tranquility, and B\u1eafc<\/em> (\u5317), referring to B\u1eafc Th\u00e0nh. Together, the name embodies the aspiration for B\u1eafc Th\u00e0nh to remain peaceful, with harmony prevailing in all directions<\/em>.<\/p>\n

    \"\"<\/p>\n

    Image 1:<\/em><\/strong> Overview of Hanoi Citadel and the B\u1eafc Th\u00e0nh Imperial Residence, dated to the 36th year of Emperor T\u1ef1 \u0110\u1ee9c\u2019s reign (1883). The T\u0129nh B\u1eafc Pavilion is depicted behind the Long Thi\u00ean Hall<\/em> (Source: EFEO, 2010<\/em>).<\/p>\n

    During the reign of Emperor Thi\u1ec7u Tr\u1ecb, the T\u0129nh B\u1eafc Pavilion played a prominent role during his northern tour and the grand diplomatic ceremony with the Qing Dynasty held at the K\u00ednh Thi\u00ean Hall from January to April 1842. In February 1841, the emperor ordered Prince H\u1ed3ng H\u01b0u to organize a ritual at the T\u0129nh B\u1eafc Pavilion to honor Quan Th\u00e1nh \u0110\u1ebf Qu\u00e2n, the deity of loyalty and righteousness, at the H\u00e1n Th\u1ecd \u0110\u00ecnh H\u1ea7u (Marquis of Longevity<\/em>) Temple\u00a0<\/a>[2]<\/a>. Around the same time, while discussing the scenic beauty of H\u1ed3 T\u00e2y (West Lake) with his court official Tr\u01b0\u01a1ng \u0110\u0103ng Qu\u1ebf, Emperor Thi\u1ec7u Tr\u1ecb lavished praise on the architectural splendor of the T\u0129nh B\u1eafc Pavilion, describing it as \u201ca towering structure, reaching toward the heavens, the likes of which are rarely seen in history<\/em>\u201d\u00a0<\/em><\/a>[3]<\/a>. Although Emperor Thi\u1ec7u Tr\u1ecb returned to Hu\u1ebf in April 1842, in October of the same year, he commanded his court to select poems from his northern tour and ensure their preservation for posterity, celebrating the nation\u2019s sublime landscape. Of the 173 poems composed during his journey, 18 were engraved on stone, while three\u2014\u201cHo\u1eb1ng Ph\u00fac Pagoda\u201d in Qu\u1ea3ng B\u00ecnh, \u201cT\u0129nh B\u1eafc Pavilion,\u201d and \u201cCh\u00e2n V\u0169 Shrine\u201d in Hanoi\u2014were inscribed on horizontal plaques to be displayed prominently at the respective sites\u00a0<\/a>[4]<\/a>. <\/a>These events underscore the enduring significance of the name \u201cT\u0129nh B\u1eafc Pavilion,\u201d originally bestowed by Emperor Minh M\u1ea1ng. Not only did Emperor Thi\u1ec7u Tr\u1ecb uphold this name, but he also elevated the structure, lauding it as an architectural rarity that reflected the glory of the Nguy\u1ec5n Dynasty\u2019s two-century-long legacy [5]<\/a>. Based on its architecture and the rituals performed within, the T\u0129nh B\u1eafc Pavilion is identified as a quintessential Daoist temple. It held supreme importance as a site where the emperor prayed for blessings upon the people of B\u1eafc K\u1ef3 (Northern Vietnam). It symbolized the Nguy\u1ec5n emperors\u2019 aspirations for universal harmony (Thi\u00ean h\u1ea1 th\u00e1i b\u00ecnh<\/em>) and the enduring prosperity of the nation (Qu\u1ed1c gia tr\u01b0\u1eddng t\u1ed3n<\/em>).<\/p>\n

    \"\"<\/p>\n

    Image 2: <\/em>Document recording the construction of the T\u0129nh B\u1eafc Pavilion in the 2nd year of Emperor Minh M\u1ea1ng\u2019s reign (1821), from \u0110\u1ea1i Nam Th\u1ef1c L\u1ee5c Ch\u00ednh Bi\u00ean, Second Series, Volume 11, page 1585(167). (Source: The Oriental Institute, Keio University<\/em>).<\/p>\n

      \n
    1. T\u0129nh B\u1eafc Pavilion \u2013 H\u1eadu L\u00e2u: A History of Decline and Transformation<\/strong><\/li>\n<\/ol>\n

      H\u1eadu L\u00e2u<\/em>, another name for the T\u0129nh B\u1eafc Pavilion, likely emerged during a period of decline for the H\u00e0 N\u1ed9i Imperial Residence (H\u00e0nh cung H\u00e0 N\u1ed9i<\/em>). This downturn began in May of the third year of Emperor T\u1ef1 \u0110\u1ee9c\u2019s reign (1849), when the grand diplomatic ceremony with the Qing Dynasty was officially relocated to the imperial capital of Hu\u1ebf. This pivotal shift led to the cessation of all construction activities at the B\u1eafc Th\u00e0nh Imperial Residence. Many structures were dismantled and redistributed to S\u01a1n T\u00e2y and Nam \u0110\u1ecbnh provinces or transported to Hu\u1ebf. The once grand H\u00e0 N\u1ed9i Imperial Residence, planned as a miniature version of the \u0110\u1ea1i N\u1ed9i<\/em> (Imperial City), was reduced to just the Long Thi\u00ean Hall and the T\u0129nh B\u1eafc Pavilion. H\u00e0 N\u1ed9i and its H\u00e0nh cung<\/em> (Imperial Residence) were thus demoted to the status of a provincial town. Photographs taken by \u00c9mile Gsell in 1873<\/p>\n

      \"\"<\/p>\n

      Image 3: <\/em>Section inside Hanoi Citadel from Long Thi\u00ean Hall to T\u0129nh B\u1eafc Pavilion, viewed from the East Gate. Photograph by \u00c9mile Gsell, 1873 (Source: Citadelle de Hanoi, EFEO, 2010)<\/em><\/p>\n

      <\/a>\u00a0[6]<\/a>\u00a0<\/a>from the East Gate of H\u00e0 N\u1ed9i Citadel show the central area of Long Thi\u00ean Hall surrounded by an expansive empty space extending to the base of the T\u0129nh B\u1eafc Pavilion (see Image 3<\/em>). Without the support of the inner palace of the H\u00e0nh cung<\/em>, the T\u0129nh B\u1eafc Pavilion gradually lost its prominence, and the name “H\u1eadu L\u00e2u” emerged. This designation primarily reflected its positional significance as the “rear pavilion” behind the main hall of the H\u00e0nh cung<\/em>. The exact origin of the name “H\u1eadu L\u00e2u” remains uncertain. According to Professor Ho\u00e0ng Xu\u00e2n H\u00e3n\u2019s writings in C\u00e1c V\u0103n c\u1ed5 v\u1ec1 H\u00e0 Th\u00e0nh th\u1ea5t th\u1ee7 v\u00e0 Ho\u00e0ng Di\u1ec7u<\/em> (Ancient Texts on the Fall of H\u00e0 N\u1ed9i and Ho\u00e0ng Di\u1ec7u), it was on April 25, 1882, during the French assault on H\u00e0 N\u1ed9i Citadel, that the gunpowder depot at H\u1eadu L\u00e2u exploded. It is said that Ho\u00e0ng Di\u1ec7u, the governor of H\u00e0 N\u1ed9i, had hidden gunpowder in the H\u1eadu L\u00e2u warehouse [7]<\/a>. Following the French victory, they initiated forced interventions to erase traditional elements of the ancient citadel, replacing many historic structures, including Long Thi\u00ean Hall, with colonial buildings that symbolized the power of the French regime. The T\u0129nh B\u1eafc Pavilion was not exempt from these interventions, though the extent of the alterations\u2014whether it was fully demolished or merely transformed\u2014remains unclear. Photographs of H\u1eadu L\u00e2u from approximately 1885\u20131887 reveal that the T\u0129nh B\u1eafc Pavilion had been repurposed as a French military defense station. The lower levels had their doors on the first and second floors boarded up with wooden planks, and a signal transmission mast was installed atop the central roof (see Image 4<\/em>). The windows were later sealed with mortar, leaving only small loopholes for observation and defense. One photograph carries the caption HaNoi Pagode de Hao Loa (Pagode des Dames)<\/em> or “Pagoda of the Ladies,” referring to the H\u1eadu L\u00e2u (see Image 5<\/em>). It is likely during this period that the French removed the original Daoist altars from the T\u0129nh B\u1eafc Pavilion. Unfortunately, there are few surviving photographs from this time that document the pavilion\u2019s internal changes. Between 1894 and 1900, H\u00e0 N\u1ed9i and its central areas experienced the most severe destruction, alongside intensive new construction under French administration. During this time, the T\u0129nh B\u1eafc Pavilion (H\u1eadu L\u00e2u) underwent significant alterations in both its appearance and function, transforming it into a permanent French military garrison. A 1905 map of the military district indicates the area from Long Thi\u00ean Hall to H\u1eadu L\u00e2u as E \u2013 Direction d\u2019Artillerie<\/em> (Artillery Headquarters). It also shows three barracks structures and two smaller buildings flanking H\u1eadu L\u00e2u\u00a0<\/a>[8]<\/a>.<\/p>\n

      \"\"<\/p>\n

      Image 4: <\/em>T\u0129nh B\u1eafc Pavilion (H\u1eadu L\u00e2u), photographed in 1885, with doors and windows temporarily boarded up with wooden planks.<\/em> \u00a0(Source internet: manhhai, flickr, 2019).<\/em><\/p>\n

      \"\"<\/em><\/p>\n

      Image 5: T\u0129nh B\u1eafc Pavilion (H\u1eadu L\u00e2u), photographed in 1885\u20131886, with windows sealed and loopholes added \u00a0(Source: manhhai, flickr, 2020)<\/em><\/p>\n

      <\/a>After the liberation of Hanoi in October 1954, the Hanoi Citadel became the headquarters of the General Command [9]<\/a>, <\/a>The architecture of H\u1eadu L\u00e2u was preserved intact during the handover from the French military. Between 1998 and 1999, as part of a series of historical and cultural research activities organized by Hanoi to commemorate the 990th anniversary of Th\u0103ng Long \u2013 Hanoi and to prepare for the Millennium Celebration of Th\u0103ng Long \u2013 Hanoi, several field studies focusing on the history, architecture, and archaeology of the central area of the Hanoi Citadel were initiated. However, these studies were conducted on a relatively modest scale. Archaeological excavations at the H\u1eadu L\u00e2u site uncovered a dock, a well, and a significant collection of royal ceramics from the Early L\u00ea Dynasty. These findings provide compelling evidence that this area once served as a residential space for the royal family during the L\u00ea period [10]<\/a>.<\/p>\n

      \"\"<\/p>\n

      Image 6: The T\u0129nh B\u1eafc Pavilion (H\u1eadu L\u00e2u) prior to renovation, photographed in 1999\u20132000. (Source: World Heritage Nomination Dossier, 2010)<\/em><\/p>\n

      \"\"<\/p>\n

      Image 7: Detail of the rear annex behind H\u1eadu L\u00e2u<\/em>. (Source: Tr\u1ea7n Thanh Nh\u00e2n, <\/em>H\u00e0 N\u1ed9i \u2013 Past and Present, 2009)<\/em><\/p>\n

      As for the architecture of H\u1eadu L\u00e2u, its state during this period featured a three-story structure with a two-story rear annex attached to its back. The building was painted in a reddish-purple hue, which had faded over time. The first floor had a central entrance, leading to a large interior room supported by four pillars, two of which were round steel columns embossed with the inscription “Baudet-Donon & Cie \u00e0 Paris.” Behind the steel columns was the main door that provided access to the annex, which contained a small corridor leading to two side rooms. In these rooms, a narrow and steep staircase led to the second floor. The walls were 67 cm thick, and the plaster remained relatively intact. The doors and windows were equipped with green-painted wooden panel shutters with jalousie slats. The roof of the pavilion and the annex featured curved designs characteristic of traditional Vietnamese architecture. However, a chimney\u2014indicative of a French-style fireplace\u2014was present on the roof of the western wing (see Images 6\u20137<\/em>). Surveyors noted that certain technical elements and architectural features were reminiscent of other French colonial structures in the area. In 2002, the Hanoi Department of Culture and Sports carried out renovations, during which the rear annex was dismantled, the central door and side windows were sealed, and the wooden shutters were removed, restoring the structure to its current appearance. The name “H\u1eadu L\u00e2u,” as an alternative to T\u0129nh B\u1eafc Pavilion, appeared in documents and photographs from the late 19th century. H\u1eadu L\u00e2u reflects not only the decline of the H\u00e0 N\u1ed9i Imperial Residence but also the architectural transformations and interventions made by the French military. Some of these elements remain visible in the monument today.<\/p>\n

        \n
      1. The Function and Historical Significance of the T\u0129nh B\u1eafc Pavilion<\/strong><\/li>\n<\/ol>\n

        \"\"<\/em><\/p>\n

        Image 8: <\/em>Tam Thanh statues at H\u01b0ng Th\u00e1nh Temple (Ch\u00f9a Mui), Th\u01b0\u1eddng T\u00edn, Hanoi (Source: Internet, bachviet18)<\/em><\/p>\n

        According to the \u0110\u1ea1i Nam Th\u1ef1c L\u1ee5c<\/em> compiled by the National History Bureau of the Nguy\u1ec5n Dynasty, the second floor of the T\u0129nh B\u1eafc Pavilion was dedicated to enshrining statues of the Tam T\u00f4n<\/em> (\u4e09\u5c0a\u50cf) for the emperor to pray for blessings upon the people of B\u1eafc K\u1ef3 (Northern Vietnam). To begin, it is necessary to clarify the term Tam T\u00f4n<\/em>. This term refers to supreme deities in either Daoism or Buddhism. In the absence of the original statues, the identification of these deities relies entirely on the architectural features\u00a0<\/a>[11]<\/a>\u00a0and symbolic decorations preserved in the monument. The T\u0129nh B\u1eafc Pavilion, with its towering structure reaching skyward, was designed to honor celestial deities. Moreover, its decorative features reflect distinctive characteristics of both Daoist and Confucian traditions. Consequently, it can be hypothesized that the Tam T\u00f4n<\/em> venerated on the second floor of the T\u0129nh B\u1eafc Pavilion represented the three supreme Daoist deities: Ng\u1ecdc Thanh Nguy\u00ean Th\u1ee7y Thi\u00ean T\u00f4n (\u7389\u6df8\u5143\u59cb\u5929\u5c0a), Th\u01b0\u1ee3ng Thanh Linh B\u1ea3o Thi\u00ean T\u00f4n (\u4e0a\u6df8\u9748\u5bf6\u5929\u5c0a\u4e3b), and Th\u00e1i Thanh \u0110\u1ea1o \u0110\u1ee9c Thi\u00ean T\u00f4n (\u592a\u6df8\u9053\u5fb7\u5929\u5c0a) (see Image 8<\/em>). These deities were widely worshiped during the L\u00fd, Tr\u1ea7n, L\u00ea, and M\u1ea1c Dynasties to pray for blessings and longevity for the nation and its people. However, during Emperor Thi\u1ec7u Tr\u1ecb’s reign, official records provide a more detailed account. In February of the second year of his reign (1842), while discussing the T\u0129nh B\u1eafc Pavilion with his court official Tr\u01b0\u01a1ng \u0110\u0103ng Qu\u1ebf at the H\u00e0 N\u1ed9i Imperial Residence, the emperor not only praised the architectural beauty of the pavilion but also provided the following explanation: \u201cThis pavilion was constructed in the second year of Minh M\u1ea1ng\u2019s reign (1821) using bricks and tiles. It is divided into separate sections: the central section is dedicated to Huy\u1ec1n Thi\u00ean Ch\u00e2n V\u0169 \u0110\u1ea1i \u0110\u1ebf (<\/em>\u7384\u5929<\/em>\u771f\u6b66\u5927\u5e1d), the left section to Buddha Gi\u00e0 Lam, and the right section to Ng\u00f4 \u0110\u1ea1o T\u1eed. The pavilion was established with the purpose of offering blessings to Northern Vietnam, hence its name, the T\u0129nh B\u1eafc Pavilion.<\/em>\u201d\u00a0<\/em><\/a>[12]<\/a>.<\/p>\n

        Huy\u1ec1n Thi\u00ean Ch\u00e2n V\u0169, also referred to as Th\u1ea7n Huy\u1ec1n V\u0169 or Huy\u1ec1n Thi\u00ean Th\u01b0\u1ee3ng \u0110\u1ebf, holds a prominent place in Daoist cosmology. According to the Th\u00e1i Th\u01b0\u1ee3ng thuy\u1ebft Huy\u1ec1n Thi\u00ean \u0110\u1ea1i Th\u00e1nh Ch\u00e2n V\u0169 B\u1ea3n truy\u1ec7n Th\u1ea7n ch\u00fa di\u1ec7u kinh<\/em> (The Supreme Exposition on the Mysterious Heavenly Great Sage Ch\u00e2n V\u0169\u2019s Sacred Incantation and Biography<\/em>), Ch\u00e2n V\u0169 \u0110\u1ea1i \u0110\u1ebf was the 82nd incarnation of Th\u00e1i Th\u01b0\u1ee3ng L\u00e3o Qu\u00e2n (the Supreme Elder Lord). Born in the celestial realm of \u0110\u1ea1i La C\u1ea3nh Th\u01b0\u1ee3ng V\u00f4 D\u1ee5c Thi\u00ean Cung, Ch\u00e2n V\u0169 left his home upon reaching maturity, bidding farewell to his parents to ascend Mount V\u0169 \u0110\u01b0\u01a1ng, where he pursued Daoist cultivation. After 42 years of devoted practice, he attained spiritual perfection and ascended to the heavens in broad daylight. The Jade Emperor then decreed that Ch\u00e2n V\u0169 would be titled Th\u00e1i Huy\u1ec1n<\/em> and appointed as the guardian deity of the North. Known as Huy\u1ec1n V\u0169, the deity is associated with the seven northern constellations of the Nh\u1ecb th\u1eadp b\u00e1t t\u00fa<\/em> (Twenty-Eight Lunar Mansions). In Vietnamese tradition, Huy\u1ec1n V\u0169 is revered as Huy\u1ec1n Thi\u00ean Tr\u1ea5n V\u0169, a major deity in Daoism who governs the North and rules over aquatic creatures, earning him the titles of Water God (Th\u1ee7y Th\u1ea7n<\/em>) or Sea God (H\u1ea3i Th\u1ea7n<\/em>) \u00a0<\/a>[13]<\/a>. In the imperial capital of Th\u0103ng Long (modern-day Hanoi), the deity is venerated at Tr\u1ea5n V\u0169 Temple, situated in the northern part of the city. As one of the T\u1ee9 Tr\u1ea5n<\/em> (Four Sacred Guardians) protecting the Th\u0103ng Long Citadel, Tr\u1ea5n V\u0169 enjoys deep reverence among the people. Other notable temples dedicated to him in Hanoi include: Huy\u1ec1n Thi\u00ean C\u1ed5 Qu\u00e1n (Huy\u1ec1n Thi\u00ean Pagoda) on H\u00e0ng Khoai Street; Huy\u1ec1n Thi\u00ean \u0110\u1ea1i Qu\u00e1n (\u0110\u1ec1n S\u00e1i) in Th\u1ee5y L\u00f4i, \u0110\u00f4ng Anh; \u0110\u1ec1n Tr\u1ea5n V\u0169 in Th\u1ea1ch B\u00e0n, Long Bi\u00ean; \u0110\u1ec1n \u0110\u1ed3ng Thi\u00ean (Kim C\u1ed5 Pagoda) on \u0110\u01b0\u1eddng Th\u00e0nh Street.<\/p>\n

        The deity referred to as Ph\u1eadt Gi\u00e0 Lam<\/em>, worshiped in the left wing of the T\u0129nh B\u1eafc Pavilion, is likely Quan V\u0169, the guardian deity of Buddhist monasteries (Gi\u00e0 Lam<\/em>). According to the Ph\u1eadt T\u1ed5 Th\u1ed1ng K\u00fd<\/em> (Records of the Buddha\u2019s Lineage<\/em>), General Quan V\u0169 (also known as Guan Gong) of the Three Kingdoms period became a deity after his death and later adopted the Five Precepts of Buddhism, transforming into a Dharma Protector within the Buddhist tradition\u00a0<\/a>[14]<\/a>. A significant detail supporting the identification of Ph\u1eadt Gi\u00e0 Lam as Quan V\u0169 is the event in February 1842 when Emperor Thi\u1ec7u Tr\u1ecb ordered Prince H\u1ed3ng H\u01b0u to conduct a ritual honoring H\u00e1n Th\u1ecd \u0110\u00ecnh H\u1ea7u Quan Th\u00e1nh \u0110\u1ebf Qu\u00e2n<\/em> (the Marquis of H\u00e1n Th\u1ecd, the title of Quan V\u0169)\u00a0<\/a>[15]<\/a>. This title, H\u00e1n Th\u1ecd \u0110\u00ecnh H\u1ea7u<\/em>, symbolizes loyalty, filial piety, and righteousness, qualities for which Quan V\u0169 is renowned. In Chinese religious history, Quan V\u0169 is an extraordinary figure, evolving from a mortal into a saintly being and achieving immense status as the “Foremost Divine Being” (\u0110\u1ec7 nh\u1ea5t Th\u1ea7n minh<\/em>), venerated across the Three Teachings<\/em> (Confucianism, Buddhism, and Daoism). Confucianism<\/strong> honors Quan V\u0169 for his exemplary loyalty and righteousness, which align with the Confucian ethical principles of filial piety and moral integrity. Buddhism<\/strong> venerates Quan V\u0169 for his miraculous appearances and contributions to the establishment of temples, fostering a unique spiritual connection. Daoism<\/strong> regards Quan V\u0169 as a deity who suppresses demons and restores peace, invoking his power to ward off evil. The worship of Quan V\u0169 extends far beyond China, spreading through Chinese diaspora communities and gaining significant influence in countries worldwide, including Vietnam\u00a0<\/a>[16]<\/a>.<\/p>\n

        Ng\u00f4 \u0110\u1ea1o T\u1eed<\/em>, a renowned Chinese painter of the Tang Dynasty (circa 685\u2013758), rose from humble beginnings as an ordinary artisan to achieve legendary status as a master of painting, earning him the title “H\u1ecda Th\u00e1nh” (Saint of Painting). His extraordinary skill in artistic expression, particularly in the realm of religious art, left a profound legacy in both Buddhist and Daoist traditions. Ng\u00f4 \u0110\u1ea1o T\u1eed is credited with creating hundreds of murals for Buddhist and Daoist monasteries, solidifying his reputation as a pioneering figure in religious art\u00a0<\/a>[17]<\/a>. The enshrinement of Ng\u00f4 \u0110\u1ea1o T\u1eed in the right wing of the T\u0129nh B\u1eafc Pavilion raises intriguing questions regarding his veneration within this architectural context.<\/p>\n

        <\/a>It can thus be affirmed that the T\u0129nh B\u1eafc Pavilion is a Daoist structure where the Nguy\u1ec5n royal family conducted rituals to pray for blessings and peace in B\u1eafc K\u1ef3, symbolizing their aspiration for “peace under heaven” and the nation’s prosperity [18]<\/em><\/a>.\u00a0<\/strong> However, a point of uncertainty arises: historical records from the second year of Emperor Minh M\u1ea1ng\u2019s reign (1821) state that the upper level of the pavilion enshrined the Tam T\u00f4n<\/em>. Based on the architectural features and the remaining artifacts, we identify the Tam T\u00f4n<\/em> as the three supreme Daoist deities: Ng\u1ecdc Thanh Nguy\u00ean Th\u1ee7y Thi\u00ean T\u00f4n, Th\u01b0\u1ee3ng Thanh Linh B\u1ea3o Thi\u00ean T\u00f4n, and Th\u00e1i Thanh \u0110\u1ea1o \u0110\u1ee9c Thi\u00ean T\u00f4n. The spatial arrangement and Daoist symbolism in the central chamber of the second floor align perfectly with a sacred space designed to honor these three deities, who are traditionally worshiped together on a shared altar. Nevertheless, a later account from February 1842 provides a different description, stating that the second floor was divided into three sections: the central section was dedicated to Huy\u1ec1n Thi\u00ean Ch\u00e2n V\u0169, the left wing to Ph\u1eadt Gi\u00e0 Lam (Quan C\u00f4ng), and the right wing to Ng\u00f4 \u0110\u1ea1o T\u1eed. This discrepancy raises a significant question: were the Tam T\u00f4n<\/em> venerated during Minh M\u1ea1ng\u2019s reign the same as the three figures worshiped during Thi\u1ec7u Tr\u1ecb\u2019s reign? This inconsistency suggests the possibility that the deities enshrined at the T\u0129nh B\u1eafc Pavilion may have changed over time, warranting further investigation into the evolution of its sacred functions and symbolic meanings.<\/p>\n

          \n
        1. Architectural Transformations of the T\u0129nh B\u1eafc Pavilion and the Chronology of the Monument<\/strong><\/li>\n<\/ol>\n

          The architectural transformations of the T\u0129nh B\u1eafc Pavilion primarily occurred during the French colonial period, involving highly complex and unpredictable interventions at various times. These changes, coupled with challenges in directly accessing the monument (due to its management by the military), have made studying the T\u0129nh B\u1eafc Pavilion (H\u1eadu L\u00e2u) particularly difficult. For instance, when studying the Hanoi Citadel, Hanoi scholar Nguy\u1ec5n V\u0103n U\u1ea9n observed, \u201cBehind the K\u00ednh Thi\u00ean Hall, the H\u1eadu L\u00e2u Temple no longer exists; that area has become a row of single-story barracks\u201d\u00a0<\/em><\/a>[19]<\/em><\/strong><\/a>. Similarly, French scholar Olivier Tessier noted, \u201cBy 1873, the H\u1eadu L\u00e2u (built in 1821) was already in a state of ruin\u201d\u00a0<\/em><\/a>[20]<\/em><\/strong><\/a>. These scholarly opinions, alongside others that support similar views, underscore the complexity of clarifying the historical and architectural significance of the T\u0129nh B\u1eafc Pavilion (H\u1eadu L\u00e2u). Despite these challenges, in 2024, the Thang Long \u2013 Hanoi Heritage Conservation Center conducted comprehensive research on the T\u0129nh B\u1eafc Pavilion, focusing on various aspects of its history, artistic features, and architectural characteristics. This study has been particularly significant in delineating the stages of transformation and providing a solid foundation for evaluating the monument\u2019s chronology.<\/p>\n

          \"\"<\/p>\n

          Image 9: Simulation of architectural modifications inside the T\u0129nh B\u1eafc Pavilion by the French military. The sections highlighted in blue indicate areas renovated by the French. (Source: Thang Long \u2013 Hanoi Heritage Conservation Center).<\/em><\/p>\n

          \"\"<\/em><\/p>\n

          Image 10: Detail of the round iron column embossed with the inscription \u201cBaudet-Donon & Cie \u00e0 Paris\u201d.<\/em> (Source: Thang Long \u2013 Hanoi Heritage Conservation Center<\/em>).<\/p>\n

          To determine the chronology of the H\u1eadu L\u00e2u monument, it is necessary to analyze the later components layer by layer across different time periods. First, we arranged photographs taken by the French in chronological order to track the transformations of the T\u0129nh B\u1eafc Pavilion. At the site itself, we evaluated areas renovated in 2002 and during the period of French intervention. A significant breakthrough was made by examining two iron columns bearing the embossed inscription \u201cBaudet-Donon & Cie \u00e0 Paris\u201d<\/em> and their relationship to the brick architrave located above the doorway. The iron columns were likely replacements introduced to support the upper floors while simultaneously bearing the load of the decorative brick architrave. This architrave, crafted in a traditional Vietnamese style, functioned as an ornamental feature positioned in front of the rear annex entrance (see Images 9\u201310<\/em>). Therefore, the iron columns serve as a critical element in identifying the major renovation conducted by the French military. According to Jean Lambert-Dansette\u2019s Enterprises and Entrepreneurs in France<\/em>, published in 2009 \u00a0<\/a>[21]<\/a>, \u00a0the Baudet-Donon & Cie company was based in Paris and established in 1878. In 1921, it merged with the Roussel company to become Baudet-Donon-Roussel. Specializing in steel construction, railway manufacturing, and mineral extraction, Baudet-Donon & Cie was one of six companies that bid on the construction of the Long Bi\u00ean Bridge in Hanoi, though it did not win the contract\u00a0<\/a>[22]<\/a>. \u00a0Based on this information, the French military renovation of H\u1eadu L\u00e2u can be dated no later than 1921, the final year the Baudet-Donon company\u2019s branding appeared on its steel products. This timeline is further supported by an aerial photograph of the Hanoi Citadel area, taken between 1926 and 1930, which confirms that the T\u0129nh B\u1eafc Pavilion had undergone modifications by that time (see Image 11<\/em>).<\/p>\n

          \"\"<\/p>\n

          Image 11: T\u0129nh B\u1eafc Pavilion (circled) in an aerial photograph of the Hanoi Citadel, taken between 1926\u20131930. The central door was added, and the rear annex was constructed. (Source: Internet, manhhai, Flickr, 2022).<\/em><\/p>\n

          \"\"<\/em><\/p>\n

          Image 12: \u00a0A map of Hanoi Citadel created by L. BEZACIER in 1942. (Source: National Archives Center I).<\/em><\/p>\n

          Another significant piece of evidence is a map of Hanoi Citadel created by L. BEZACIER in 1942. This map includes street layouts, major new structures, and historical buildings (H\u1eadu L\u00e2u – A, K\u00ednh Thi\u00ean \u2013 B, \u0110oan M\u00f4n \u2013 C, and C\u1ed9t C\u1edd \u2013 D). As a renowned researcher of Vietnamese architecture and cultural history, Bezacier had the opportunity to directly observe the monument during this period. He labeled H\u1eadu L\u00e2u as \u201cPalais du roi,\u201d<\/em> meaning “Palace of the King,” which further confirms that despite renovations, H\u1eadu L\u00e2u retained much of its original architectural form (see Image 12<\/em>).<\/p>\n

          Based on the above analysis, it can be concluded that the transformation of the T\u0129nh B\u1eafc Pavilion only began with French colonial intervention in the Hanoi Citadel area. This process can be divided into two phases:<\/p>\n

          Phase 1 (1885\u20131887): During this period, the T\u0129nh B\u1eafc Pavilion was converted into a defensive station. French soldiers removed decorative elements, such as the sun emblem or the gourd at the peak of the third-floor roof, to install an antenna mast. Doors and windows were sealed, leaving only small loopholes for defense. However, the interventions during this phase were relatively minimal.<\/p>\n

          Phase 2 (1910\u20131921): This period witnessed the most extensive architectural interventions. The French military constructed a large two-story annex at the rear of the T\u0129nh B\u1eafc Pavilion, directly connected to the central chamber. This addition triggered a series of systematic changes, including: The replacement of two square columns with round iron columns embossed with the inscription \u201cBaudet-Donon & Cie \u00e0 Paris\u201d<\/em>. The construction of a decorative architrave above the two iron columns at the entrance to the annex. The addition of a central doorway as the main entrance to the structure. The creation of a secondary entrance on the western side. Modifications to the second-floor windows, which were outfitted with wooden shutters. The installation of a fireplace and a chimney protruding from the roof of the western wing.<\/p>\n

          \"\"<\/p>\n

          Image 13: Simulation of the T\u0129nh B\u1eafc Pavilion (H\u1eadu L\u00e2u)’s exterior structural transformations over time. (<\/em>Source: Thang Long \u2013 Hanoi Heritage Conservation Center).<\/em><\/p>\n

          Conclusion<\/strong><\/p>\n

          The T\u0129nh B\u1eafc Pavilion (also known as H\u1eadu L\u00e2u) is a significant monument of the Nguy\u1ec5n Dynasty preserved within the Thang Long Imperial Citadel heritage site. It can be affirmed that the T\u0129nh B\u1eafc Pavilion is a Daoist structure dedicated to the worship of the Tam T\u00f4n<\/em>, where Nguy\u1ec5n emperors conducted rituals to pray for blessings and peace for the people of B\u1eafc K\u1ef3, reflecting their aspiration for harmony and stability in B\u1eafc Th\u00e0nh, as encapsulated in the name T\u0129nh B\u1eafc L\u1ea7u<\/em> (\u9756\u5317\u697c). Over more than two centuries, the pavilion has also been referred to by other names, such as H\u1eadu L\u00e2u and the Pagode des Dames<\/em> (Pagoda of the Ladies). Moreover, the structure underwent renovations and expansions by the French military during their occupation of the Hanoi Citadel from 1883 to 1954. Based on its current state and reliable historical sources, the T\u0129nh B\u1eafc Pavilion is confirmed as an original architectural relic with an absolute date of construction (October 1821). It holds exceptional value in terms of artistic design, construction techniques, and building technology from the early Nguy\u1ec5n Dynasty. The T\u0129nh B\u1eafc Pavilion stands as a vivid testament to the continuity of a center of power, as well as the technological and cultural exchanges between East and West. These core values not only authentically reflect the history of Th\u0103ng Long \u2013 Hanoi but also enhance and reinforce the outstanding universal value of the Thang Long Imperial Citadel as a UNESCO World Heritage Site.<\/p>\n