Hoi An Ancient Town
UNESCO World Heritage Site
located in Viet Nam’s central Quang Nam Province, on the north bank near the mouth of the Thu Bon River. It is an exceptionally well-preserved example of a small-scale trading port active the 15th to 19th centuries which traded widely, both with the countries of Southeast and East Asia and with the rest of the world. Its decline in the later 19th century ensured that it has retained its traditional urban tissue to a remarkable degree. The town reflects a fusion of indigenous and foreign cultures (principally Chinese and Japanese with later European influences) that combined to produce this unique survival. The town comprises a well-preserved complex of 1,107 timber frame buildings, with brick or wooden walls, which include architectural monuments, commercial and domestic vernacular structures, notably an open market and a ferry quay, and religious buildings such as pagodas and family cult houses. The houses are tiled and the wooden components are carved with traditional motifs. They are arranged side-by-side in tight, unbroken rows along narrow pedestrian streets. The original street plan, which developed as the town became a port, remains. It comprises a grid of streets with one axis parallel to the river and the other axis of streets and alleys set at right angles to it. Typically, the buildings front the streets for convenient customer access while the backs of the buildings open to the river allowing easy loading and off-loading of goods from boats. Source: http://whc.unesco.org
UNESCO World Heritage Site
located in Viet Nam’s central Quang Nam Province, on the north bank near the mouth of the Thu Bon River. It is an exceptionally well-preserved example of a small-scale trading port active the 15th to 19th centuries which traded widely, both with the countries of Southeast and East Asia and with the rest of the world. Its decline in the later 19th century ensured that it has retained its traditional urban tissue to a remarkable degree. The town reflects a fusion of indigenous and foreign cultures (principally Chinese and Japanese with later European influences) that combined to produce this unique survival. The town comprises a well-preserved complex of 1,107 timber frame buildings, with brick or wooden walls, which include architectural monuments, commercial and domestic vernacular structures, notably an open market and a ferry quay, and religious buildings such as pagodas and family cult houses. The houses are tiled and the wooden components are carved with traditional motifs. They are arranged side-by-side in tight, unbroken rows along narrow pedestrian streets. The original street plan, which developed as the town became a port, remains. It comprises a grid of streets with one axis parallel to the river and the other axis of streets and alleys set at right angles to it. Typically, the buildings front the streets for convenient customer access while the backs of the buildings open to the river allowing easy loading and off-loading of goods from boats. Source: http://whc.unesco.org
Hoi An Riverside
From the16th to the 18th centuries, Hoi An attracted international traders because of its location on the banks of Thu Bon River, conveniently flowing into the East China Sea. The merchants chose to stop here to wait for the right wind directions for their next destinations. Among them were traders from China, Japan, the Netherlands, France, Portugal and India. Of all the streets in the Old Town, the one that runs east-west to the river’s edge is the liveliest. The traditional buildings and shops have welcomed foreign merchants since the days when the town was known as Hai Pho (Seaside Town). It is where both traditional and modern boats drop their anchors and where local housewives go every morning to shop at the wet market. The whole town is reintroducing the use of gorgeous and colourful hand-crafted lanterns and on special nights of the month, hundreds of them hang on verandas and windows as they did over 300 years ago. Source: www.vietnam-guide.com
From the16th to the 18th centuries, Hoi An attracted international traders because of its location on the banks of Thu Bon River, conveniently flowing into the East China Sea. The merchants chose to stop here to wait for the right wind directions for their next destinations. Among them were traders from China, Japan, the Netherlands, France, Portugal and India. Of all the streets in the Old Town, the one that runs east-west to the river’s edge is the liveliest. The traditional buildings and shops have welcomed foreign merchants since the days when the town was known as Hai Pho (Seaside Town). It is where both traditional and modern boats drop their anchors and where local housewives go every morning to shop at the wet market. The whole town is reintroducing the use of gorgeous and colourful hand-crafted lanterns and on special nights of the month, hundreds of them hang on verandas and windows as they did over 300 years ago. Source: www.vietnam-guide.com
Japanese Bridge
it was constructed by the Japanese trading community in 1593 to connect them with the Chinese area on the other side of a small stream. It remains until today as a spectacular attraction and is a beautiful trace of the Japanese influence in Vietnam. This nearly-20m bridge connects the 2 major streets of Hoi An’s Old Quarter: Nguyen Thi Minh Khai St. and Tran Phu St., looking over the peaceful Thu Bon River. Since the building of this site was started in 1593 – Year of the Monkey, and finished in 1595 – Year of the Dog, a pair of these two animals’ statues has been placed at both ends. They represent for the guardians of the bridge. Japanese Bridge is renowned for its elaborate decorations, which can be most easily seen at the low entrance. There’s a small temple on the north side of the bridge, right in the middle over the stream. Source: www.vietnam-guide.com
it was constructed by the Japanese trading community in 1593 to connect them with the Chinese area on the other side of a small stream. It remains until today as a spectacular attraction and is a beautiful trace of the Japanese influence in Vietnam. This nearly-20m bridge connects the 2 major streets of Hoi An’s Old Quarter: Nguyen Thi Minh Khai St. and Tran Phu St., looking over the peaceful Thu Bon River. Since the building of this site was started in 1593 – Year of the Monkey, and finished in 1595 – Year of the Dog, a pair of these two animals’ statues has been placed at both ends. They represent for the guardians of the bridge. Japanese Bridge is renowned for its elaborate decorations, which can be most easily seen at the low entrance. There’s a small temple on the north side of the bridge, right in the middle over the stream. Source: www.vietnam-guide.com
Tan Ky Old House
is an almost perfect example of a 18th merchant’s residence in this major commercial port town. The name Tan Ky, meaning “Progress Shop”, was given to the house by the second generation to express the owner’s wish for a prosperous business. In spite of the decline in business of the town and the huge devastation of annual floods, seven generations of the family have continuously strive to keep the house in good condition. Tan Ky is the most well-preserved in Hoi An. There are many of the house’s details, which have remained unchanged to this day, including the storage area, the outside structure made of bricks and tiles, floor covered with Bat Trang bricks. The use of jack-fruit trees, ironwood and peck-wood for inside furniture with thick roofs and wooden walls has kept the house cool in summer and warm in winter. Being the combination of Vietnamese, Japanese as well as Chinese elements, from a time when the three communities lived together in Hoi An during the 16th and 17th centuries, the house strongly represents features of Oriental philosophy, such as the triple-beam structure (stands for heaven, earth and humans), the five round blocks (represent metal, wood, water, fire and earth – the five basic natural elements in Eastern philosophy) and several decorative carvings on the edge of the roof and furniture. Source: www.vietnam-guide.com
is an almost perfect example of a 18th merchant’s residence in this major commercial port town. The name Tan Ky, meaning “Progress Shop”, was given to the house by the second generation to express the owner’s wish for a prosperous business. In spite of the decline in business of the town and the huge devastation of annual floods, seven generations of the family have continuously strive to keep the house in good condition. Tan Ky is the most well-preserved in Hoi An. There are many of the house’s details, which have remained unchanged to this day, including the storage area, the outside structure made of bricks and tiles, floor covered with Bat Trang bricks. The use of jack-fruit trees, ironwood and peck-wood for inside furniture with thick roofs and wooden walls has kept the house cool in summer and warm in winter. Being the combination of Vietnamese, Japanese as well as Chinese elements, from a time when the three communities lived together in Hoi An during the 16th and 17th centuries, the house strongly represents features of Oriental philosophy, such as the triple-beam structure (stands for heaven, earth and humans), the five round blocks (represent metal, wood, water, fire and earth – the five basic natural elements in Eastern philosophy) and several decorative carvings on the edge of the roof and furniture. Source: www.vietnam-guide.com
Phung Hung Old House
The architecture represents the combination of Vietnamese, Japanese and Chinese styles. There are a lot of designs carved by carpenters in the Kim Bong Village. The house used to be a shop trading in cinnamon, pepper, salt, silk, chinaware and glassware. Built in 1780, it is a typical commercial house representative of Vietnam’s urban areas in the 19th century – tubular shape, with a wide façade. It is not as long as some other old-style houses, and it is mainly made of wood, with two stories and four roofs. Here you can see a unique blending of two different architectural styles. The different floors are designed in two different styles: the Japanese style of four-sided roof can be perceived in the ground floor, and the Chinese design of round shaped roofs that reflect a turtle shell is present in the upper floor. The ground floor used to be the shop. Today, it is the family’s living room, furnished with some wooden old-style cupboards containing many precious objects and belongings. The house has 80 columns made of precious wood. Each column stands on a lotus-shaped base in order to minimize subsidence and moisture for the house and to prevent termites from damaging it. There are square pillars on the veranda, and the roof is made of pan-tiles. Source: http://hoian-tourism.com
The architecture represents the combination of Vietnamese, Japanese and Chinese styles. There are a lot of designs carved by carpenters in the Kim Bong Village. The house used to be a shop trading in cinnamon, pepper, salt, silk, chinaware and glassware. Built in 1780, it is a typical commercial house representative of Vietnam’s urban areas in the 19th century – tubular shape, with a wide façade. It is not as long as some other old-style houses, and it is mainly made of wood, with two stories and four roofs. Here you can see a unique blending of two different architectural styles. The different floors are designed in two different styles: the Japanese style of four-sided roof can be perceived in the ground floor, and the Chinese design of round shaped roofs that reflect a turtle shell is present in the upper floor. The ground floor used to be the shop. Today, it is the family’s living room, furnished with some wooden old-style cupboards containing many precious objects and belongings. The house has 80 columns made of precious wood. Each column stands on a lotus-shaped base in order to minimize subsidence and moisture for the house and to prevent termites from damaging it. There are square pillars on the veranda, and the roof is made of pan-tiles. Source: http://hoian-tourism.com
Quan Thang Old House
is currently seen as one of the nicest ancient houses in Hoi An. It is over 150 year old and carries the architecture style of Hoa Ha, China. Throughout the years, the style as well as interior decoration of the house has been lovingly preserved. That helps us at least partly imagine the lifestyle of its generations of owners, who belonged to the merchant class in Hoi An in the past. Built in the early 18th century, this private house was originally owned by a prosperous Captain called Quan Thang. The lively and fine architecture and sculptures were made by craftsmen of Kim Bong carpentry village. The inside is decorated tastefully and the arrangement of the furniture has been kept intact. The walls surrounding the yard are ornate with beautiful blue ceramics shards. The house is very impressive, with artistic work everywhe-re: on the beams, the auxiliary arched roof, the wattles, shutters, balusters and even on the rafter finials - all are masterpieces of decoration in the oriental style. Source: www.hoianworldheritage.org.vn
is currently seen as one of the nicest ancient houses in Hoi An. It is over 150 year old and carries the architecture style of Hoa Ha, China. Throughout the years, the style as well as interior decoration of the house has been lovingly preserved. That helps us at least partly imagine the lifestyle of its generations of owners, who belonged to the merchant class in Hoi An in the past. Built in the early 18th century, this private house was originally owned by a prosperous Captain called Quan Thang. The lively and fine architecture and sculptures were made by craftsmen of Kim Bong carpentry village. The inside is decorated tastefully and the arrangement of the furniture has been kept intact. The walls surrounding the yard are ornate with beautiful blue ceramics shards. The house is very impressive, with artistic work everywhe-re: on the beams, the auxiliary arched roof, the wattles, shutters, balusters and even on the rafter finials - all are masterpieces of decoration in the oriental style. Source: www.hoianworldheritage.org.vn
Duc An Old House
The property has been inhabited by the same family for over 400 years though the present house was built in 1850. It became the most successful bookshop in central Vietnam selling famous Vietnamese and Chinese texts as well as the works of foreign political thinkers like Rousseau and Voltaire. Early Vietnamese non-violent independence advocate Phan Chu Trinh was a regular at the house. A nearby major street is named after him as are streets throughout the country. In the early twentieth century the house was a Chinese medicine dispensary. Soon after, it became the centre of anti French activity in Hoi An. Previous resident Mr Cao Hong Lanh was later decorated by the Communist government and the house contains many images of the now deceased Mr Lanh’s revolutionary past and visits f-rom Communist Party luminaries including national hero, General Vo Nguyen Giap. Source: www.hoianworldheritage.org.vn
The property has been inhabited by the same family for over 400 years though the present house was built in 1850. It became the most successful bookshop in central Vietnam selling famous Vietnamese and Chinese texts as well as the works of foreign political thinkers like Rousseau and Voltaire. Early Vietnamese non-violent independence advocate Phan Chu Trinh was a regular at the house. A nearby major street is named after him as are streets throughout the country. In the early twentieth century the house was a Chinese medicine dispensary. Soon after, it became the centre of anti French activity in Hoi An. Previous resident Mr Cao Hong Lanh was later decorated by the Communist government and the house contains many images of the now deceased Mr Lanh’s revolutionary past and visits f-rom Communist Party luminaries including national hero, General Vo Nguyen Giap. Source: www.hoianworldheritage.org.vn
Tran Family Chapel
one of the oldest and most historical houses in this city, dated back to the beginning of 19th century. This was built by Tran Tu Nhac – a highly-respected mandarin under Gia Long Reign, before he was sent to China as the King's envoys. Originally, it serves as a worshipping place for the family’s ancestors, as well as a reminder about the family’s tradition to the following generations. Sitting amidst a 1500m2-garden of ornamental plants, flowers, fruit trees and century-old plants, with a gate and high surrounding walls is a combination of Chinese, Japanese and Vietnamese architecture, which has remained almost the same as two centuries ago. Made of precious wood and pan-tiles-covered roof, the house has become well-known for its Asian style of architecture: one main part for worshipping, and one supplemental part which houses the leader of family and his guests. The house and the garden were built in harmony following strictly the rules of Feng Shui. The drawing room of the chapel has separate entries for men and women: the left is for men and the right is only for women, according to old belief. There is another door in the center of the room, used for festivals such as Tet, which is said to be the door for souls of the ancestors to enter the house. Every year, the Tran Family Chapel is still the gathering place for all members of the family to meet and express their thankfulness to their ancestors. Also, parents in the family would educate their children about the clan’s traditions. Source: www.vietnam-guide.com
one of the oldest and most historical houses in this city, dated back to the beginning of 19th century. This was built by Tran Tu Nhac – a highly-respected mandarin under Gia Long Reign, before he was sent to China as the King's envoys. Originally, it serves as a worshipping place for the family’s ancestors, as well as a reminder about the family’s tradition to the following generations. Sitting amidst a 1500m2-garden of ornamental plants, flowers, fruit trees and century-old plants, with a gate and high surrounding walls is a combination of Chinese, Japanese and Vietnamese architecture, which has remained almost the same as two centuries ago. Made of precious wood and pan-tiles-covered roof, the house has become well-known for its Asian style of architecture: one main part for worshipping, and one supplemental part which houses the leader of family and his guests. The house and the garden were built in harmony following strictly the rules of Feng Shui. The drawing room of the chapel has separate entries for men and women: the left is for men and the right is only for women, according to old belief. There is another door in the center of the room, used for festivals such as Tet, which is said to be the door for souls of the ancestors to enter the house. Every year, the Tran Family Chapel is still the gathering place for all members of the family to meet and express their thankfulness to their ancestors. Also, parents in the family would educate their children about the clan’s traditions. Source: www.vietnam-guide.com
Nguyen Tuong Family Chapel
built in 1806 by Nguyen Tuong Van (1774-1822), the 14th generation ancestor of the current caretakers. Nguyen served as the headmaster of the Royal Army in the 19th century Nguyen dynasty, under Emperor Minh Mang (r. 1820-1841). The emperor awarded him land in Dien Ban district's Cam Pho commune, which is currently a part of Hoian's old city. When Nguyen Tuong died in 1822 at age 49, the house became a place of worship centering on Nguyen's legacy. A portrait of him, painted in China when Nguyen visited the Qing Dynasty, is preserved at the main altar. Other items of interest are 20 royal decrees issued by the Nguyen Dynasty to Nguyen Tuong Van. The layout of the hall is unusual for a Hoian residence, as most Hoian houses are long and narrow. Instead, it follows 'Nha Ruong' (literally 'beam house') architectural style, which was commonly used in the Hue area for houses that required a large footprint. Source: www.orientalarchitecture.com
built in 1806 by Nguyen Tuong Van (1774-1822), the 14th generation ancestor of the current caretakers. Nguyen served as the headmaster of the Royal Army in the 19th century Nguyen dynasty, under Emperor Minh Mang (r. 1820-1841). The emperor awarded him land in Dien Ban district's Cam Pho commune, which is currently a part of Hoian's old city. When Nguyen Tuong died in 1822 at age 49, the house became a place of worship centering on Nguyen's legacy. A portrait of him, painted in China when Nguyen visited the Qing Dynasty, is preserved at the main altar. Other items of interest are 20 royal decrees issued by the Nguyen Dynasty to Nguyen Tuong Van. The layout of the hall is unusual for a Hoian residence, as most Hoian houses are long and narrow. Instead, it follows 'Nha Ruong' (literally 'beam house') architectural style, which was commonly used in the Hue area for houses that required a large footprint. Source: www.orientalarchitecture.com
Museum of Folk Culture
is the largest wooden two-storey house in the ancient town with a length of 57 meters and a width of 9 meters. It fronts the two parallel streets of Nguyen Thai Hoc and Bach Dang. 490 objects are divided into four themes (plastic fork art, performing fork arts, traditional occupations and artifacts) and are displayed on the second floor of the Museum. While the first floor is the place for vivid performances illustrating the value of Hoi An Culture and Folklore. The museum is considered a cultural institution and particularly rare in the region. By showing pictures and artifacts and performing fork arts, the Museum of Folk Culture shows the value of intangible culture, introducing a long history of culture, creativity, and the contributions of generations of local people during the history and development of the Hoi An area. Source: www.hoianworldheritage.org.vn
is the largest wooden two-storey house in the ancient town with a length of 57 meters and a width of 9 meters. It fronts the two parallel streets of Nguyen Thai Hoc and Bach Dang. 490 objects are divided into four themes (plastic fork art, performing fork arts, traditional occupations and artifacts) and are displayed on the second floor of the Museum. While the first floor is the place for vivid performances illustrating the value of Hoi An Culture and Folklore. The museum is considered a cultural institution and particularly rare in the region. By showing pictures and artifacts and performing fork arts, the Museum of Folk Culture shows the value of intangible culture, introducing a long history of culture, creativity, and the contributions of generations of local people during the history and development of the Hoi An area. Source: www.hoianworldheritage.org.vn
Museum of Trade Ceramics
Built in 1858, the building housing is an elegant example of traditional Vietnamese workmanship which has been kept in first-class condition. There are many antique pieces exhibited including some from a ship wrecked in nearby waters in 1733 and pottery from the Chinese Tang Dynasty dating from the 7th to the 10th centuries. Objects from the Middle East are also estimated from the same era adding to a collection of some 430 artefacts. However, the real beauty of the Museum of Trade Ceramics is its ability to put together all of the history of Hoi An in one place and give foreigners a chance to understand her origins as a vital trade port whilst also offering a detailed glimpse into Hoi An architecture. Source: www.vietnam-guide.com
Built in 1858, the building housing is an elegant example of traditional Vietnamese workmanship which has been kept in first-class condition. There are many antique pieces exhibited including some from a ship wrecked in nearby waters in 1733 and pottery from the Chinese Tang Dynasty dating from the 7th to the 10th centuries. Objects from the Middle East are also estimated from the same era adding to a collection of some 430 artefacts. However, the real beauty of the Museum of Trade Ceramics is its ability to put together all of the history of Hoi An in one place and give foreigners a chance to understand her origins as a vital trade port whilst also offering a detailed glimpse into Hoi An architecture. Source: www.vietnam-guide.com
Museum of HoiAn History & Culture
showcases a range of artefacts such as photographs of local architecture, ceramics and pottery depicting the changing faces of Hoi An including the Champa era dating from 7th-15th centuries and Da Viet from 15th to 19th centuries. The museum offers an interesting insight into the heritage of Hoi An including traditional burial rites with some very old coffins on display alongside what is a very eclectic mix of exhibitions portraying Hoi An throughout the ages. Source: www.vietnam-guide.com
showcases a range of artefacts such as photographs of local architecture, ceramics and pottery depicting the changing faces of Hoi An including the Champa era dating from 7th-15th centuries and Da Viet from 15th to 19th centuries. The museum offers an interesting insight into the heritage of Hoi An including traditional burial rites with some very old coffins on display alongside what is a very eclectic mix of exhibitions portraying Hoi An throughout the ages. Source: www.vietnam-guide.com
Museum of Sa Huynh Culture
The museum supplies plenty of information on the ancient people of Sa Huynh civilization, who were the first owners of the Hoi An trading port, having trading relationships with the people of China, India, and South East Asia. The Sa Huynh culture is a pre historic Bronze Age civilization that occurred in Vietnam, particularly in the central region of the country, near the coast. The Sa Huynh culture specialized in metal wares – especially bronze and iron – and ceramics. The majority of the displays in the museum comprises of articles such as jewelry, weapons and useful implements such as axes. Source: www.hoianworldheritage.org.vn
The museum supplies plenty of information on the ancient people of Sa Huynh civilization, who were the first owners of the Hoi An trading port, having trading relationships with the people of China, India, and South East Asia. The Sa Huynh culture is a pre historic Bronze Age civilization that occurred in Vietnam, particularly in the central region of the country, near the coast. The Sa Huynh culture specialized in metal wares – especially bronze and iron – and ceramics. The majority of the displays in the museum comprises of articles such as jewelry, weapons and useful implements such as axes. Source: www.hoianworldheritage.org.vn
Cam Pho Communal House
This was built in the shape of Chinese c-haracter means the country, which include of the vestibule, left hall, right hall and main hall. The ridge and gable ornamentations are very unique. This communal house worship the tutelary god of village first, and then, after restoring in the early of XX century, combine to worship the ancestors of Cam Pho village, so its name is "Cam Pho Huong Hien " (Ancestors of Cam Pho village). Was built rather early and restored in 1817. Source: www.hoianworldheritage.org.vn
This was built in the shape of Chinese c-haracter means the country, which include of the vestibule, left hall, right hall and main hall. The ridge and gable ornamentations are very unique. This communal house worship the tutelary god of village first, and then, after restoring in the early of XX century, combine to worship the ancestors of Cam Pho village, so its name is "Cam Pho Huong Hien " (Ancestors of Cam Pho village). Was built rather early and restored in 1817. Source: www.hoianworldheritage.org.vn
Minh Huong Communal House
considered as the religious architecture of Minh Huong People - Chinese people obtained Vietnamese citizenship in order to worship heroic ancestors. Minh Huong people were permitted to found their Minh Huong village in Hoi An in the mid 17th century. It is a typical relic and plays a meaningful role in the historic existence and development of the ancient town - commercial port in Hoi An. This architecture obtains a rather big scope of construction and its space arrangement is quite prefect. The skillful hands of the craftsmen in Kim Bong carpentry village had cre-ated this architectural work Minh Huong Tuye Tien Duong was just been restored in 1820, 1849, 1905, 1953, 1970. Source: www.hoianworldheritage.org.vn
considered as the religious architecture of Minh Huong People - Chinese people obtained Vietnamese citizenship in order to worship heroic ancestors. Minh Huong people were permitted to found their Minh Huong village in Hoi An in the mid 17th century. It is a typical relic and plays a meaningful role in the historic existence and development of the ancient town - commercial port in Hoi An. This architecture obtains a rather big scope of construction and its space arrangement is quite prefect. The skillful hands of the craftsmen in Kim Bong carpentry village had cre-ated this architectural work Minh Huong Tuye Tien Duong was just been restored in 1820, 1849, 1905, 1953, 1970. Source: www.hoianworldheritage.org.vn
The Quang Trieu (Cantonese) Assembly Hall
built in 1885 by Chinese overseas who came from Guangdong (China). On the early days, the house was dedicated to Thien Hau Holy Mother, then to Quan Cong, and then to the sages who came from Guangdong Formerly. It was a place for Chinese fishermen and traders to rest temporarily and to exchange goods. In those days, there was a wharf at the front of the house. The complex of Quang Trieu Assembly Hall is rather attractive, with its stone three-entrance gate and four rows of stone pillars at the front. Four Chinese characters, meaning “Quang Trieu Assembly Hall”, are embossed on the upper part of the three-entrance gate. The gate is roofed with green tube-tiles and decorated with images of dragons, small lions, and lemon flowers. Stone pillars supporting the roof are carved with refined designs. The robust frame and decorative designs make the house look imposing. The Assembly Hall holds an amazing fountain that features a dragon. The dragon is a beautiful creation made out of pottery. Besides that, there are more attractions waiting for you inside the Quang Trieu (Cantonese) Assembly Hall in Hoi An. Various Cantonese statues are spread out all over the hall. Some of these statues reflect the musical dramas of the Cantonese culture. In the Assembly Hall, many ancient vestiges have been preserved – a four big horizontal lacquered boards, a big bronze censer, a pair of Chinese terra-cotta seats and noteworthy documents on the Chinese community living in Hoi An. Source: http://hoian-tourism.com
built in 1885 by Chinese overseas who came from Guangdong (China). On the early days, the house was dedicated to Thien Hau Holy Mother, then to Quan Cong, and then to the sages who came from Guangdong Formerly. It was a place for Chinese fishermen and traders to rest temporarily and to exchange goods. In those days, there was a wharf at the front of the house. The complex of Quang Trieu Assembly Hall is rather attractive, with its stone three-entrance gate and four rows of stone pillars at the front. Four Chinese characters, meaning “Quang Trieu Assembly Hall”, are embossed on the upper part of the three-entrance gate. The gate is roofed with green tube-tiles and decorated with images of dragons, small lions, and lemon flowers. Stone pillars supporting the roof are carved with refined designs. The robust frame and decorative designs make the house look imposing. The Assembly Hall holds an amazing fountain that features a dragon. The dragon is a beautiful creation made out of pottery. Besides that, there are more attractions waiting for you inside the Quang Trieu (Cantonese) Assembly Hall in Hoi An. Various Cantonese statues are spread out all over the hall. Some of these statues reflect the musical dramas of the Cantonese culture. In the Assembly Hall, many ancient vestiges have been preserved – a four big horizontal lacquered boards, a big bronze censer, a pair of Chinese terra-cotta seats and noteworthy documents on the Chinese community living in Hoi An. Source: http://hoian-tourism.com
Phuoc Kien (Fukian) Assembly Hall
founded in 1690 served the largest Chinese ethnic group in Hoi An (the Fujian). It contains the Jinshang golden mountain temple and is dedicated to Thien Hau, the goddess of the sea and protector of the sailors. The pagoda is also a place of gathering for the natives of Phuoc Kien. Originally, the house was a thatched pagoda. in 1759 the owners had to sell it to the rich Phuoc Kien traders from China who came to Hoi An, so that it could be restored. Arranging the statues for worshiping means “human happiness”, and it profoundly expresses the oriental philosophy. The Assembly Hall is in fact a temple that holds the sea goddess Thien Hau, the goddess Thuan Phong Nhi, who is able to listen to the sound of a ship even at a distance of thousand miles, and at last the goddess Thien Ly Nhan, who is able to see those distant ships. Source: http://hoian-tourism.com
founded in 1690 served the largest Chinese ethnic group in Hoi An (the Fujian). It contains the Jinshang golden mountain temple and is dedicated to Thien Hau, the goddess of the sea and protector of the sailors. The pagoda is also a place of gathering for the natives of Phuoc Kien. Originally, the house was a thatched pagoda. in 1759 the owners had to sell it to the rich Phuoc Kien traders from China who came to Hoi An, so that it could be restored. Arranging the statues for worshiping means “human happiness”, and it profoundly expresses the oriental philosophy. The Assembly Hall is in fact a temple that holds the sea goddess Thien Hau, the goddess Thuan Phong Nhi, who is able to listen to the sound of a ship even at a distance of thousand miles, and at last the goddess Thien Ly Nhan, who is able to see those distant ships. Source: http://hoian-tourism.com
Trieu Chau Assembly Hall
This assembly hall was built by Chinese overseas coming f-rom Trieu Chau (China) in 1845. It is dedicated to the God of Wind and Big Waves. The house's owners hope this God will always bring luck to them and help them travel smoothly on the sea. Formerly, people often went to the house at night to pray because they thought that all their wishes would come true. The most outstanding features of the house are a sophisticatedly carved wooden frame, decorative designs, beautiful wooden patterns and embossed patterns made of porcelain pieces. Source: www.hoianworldheritage.org.vn
This assembly hall was built by Chinese overseas coming f-rom Trieu Chau (China) in 1845. It is dedicated to the God of Wind and Big Waves. The house's owners hope this God will always bring luck to them and help them travel smoothly on the sea. Formerly, people often went to the house at night to pray because they thought that all their wishes would come true. The most outstanding features of the house are a sophisticatedly carved wooden frame, decorative designs, beautiful wooden patterns and embossed patterns made of porcelain pieces. Source: www.hoianworldheritage.org.vn
Hai Nam Assembly Hall
The house is located at 10 Tran Phu Street. It was built in 1851 by the overseas Chinese of Hainan County, who resided in Hoi An to serve the community and religious activities of Hainan and Jialing people. This Assembly hall is used to worship 108 Chinese merchants who were unjustly killed because they were mistaken for pirates. Later, they were vindicated and named "deities" by King Tu Duc, who granted the money to build this assembly hall in order to worship them forever. Hai Nam Assembly Hall is located in an enclosure; passing through the metal gate and the square pavilion used as sitting room, visitors will reach a large yard with many ornamental trees and the east-wing and west-wing houses, as well as the main hall dedicated to 108 Chinese people killed at sea. The founders of the house are worshipped on the left of the main hall, and the God of Wealth is honored on the right. Source: http://hoian-tourism.com
The house is located at 10 Tran Phu Street. It was built in 1851 by the overseas Chinese of Hainan County, who resided in Hoi An to serve the community and religious activities of Hainan and Jialing people. This Assembly hall is used to worship 108 Chinese merchants who were unjustly killed because they were mistaken for pirates. Later, they were vindicated and named "deities" by King Tu Duc, who granted the money to build this assembly hall in order to worship them forever. Hai Nam Assembly Hall is located in an enclosure; passing through the metal gate and the square pavilion used as sitting room, visitors will reach a large yard with many ornamental trees and the east-wing and west-wing houses, as well as the main hall dedicated to 108 Chinese people killed at sea. The founders of the house are worshipped on the left of the main hall, and the God of Wealth is honored on the right. Source: http://hoian-tourism.com
Quan Cong Temple
made especially for merchants from various places, who used to come here and pay respect their ancestors. The temple is a symbol of their bravery, loyalty, and virtue. Besides two wooden statues, inside the temple there is also a small pond. When arriving or before leaving the port, ships and boats used to come to Quan Cong Temple to make votive offerings to thank the genie or to pray for luck in their trips. The temple was built in 1653 and dedicated to Quan Cong, a prominent mandarin of the Han Dynasty, who lived in the time of “Three Warring Kingdoms” (3rd century AD). He was a talented and virtuous general, a symbol of courage, loyalty, piety moderation and righteousness in the feudal time of China. Source: http://hoian-tourism.com
made especially for merchants from various places, who used to come here and pay respect their ancestors. The temple is a symbol of their bravery, loyalty, and virtue. Besides two wooden statues, inside the temple there is also a small pond. When arriving or before leaving the port, ships and boats used to come to Quan Cong Temple to make votive offerings to thank the genie or to pray for luck in their trips. The temple was built in 1653 and dedicated to Quan Cong, a prominent mandarin of the Han Dynasty, who lived in the time of “Three Warring Kingdoms” (3rd century AD). He was a talented and virtuous general, a symbol of courage, loyalty, piety moderation and righteousness in the feudal time of China. Source: http://hoian-tourism.com
Hoa Van Le Nghia Temple
Central Market
Resting on the banks of the Thu Bon River, bustling Hoi An Central Market is certainly worth a look for its authentic slice of Vietnamese life. The market is busy throughout the day with locals bargaining hard alongside tourists so its best to arrive first thing in the morning. The negotiating over fish usually starts around 07:00 as the fishermen drop their catch off and the market vendors and local buyers dive in to get the best fish. Inside the market there are also plenty of live ducks and chickens tied together and ready for sale alongside row upon row of Vietnamese cooking ingredients. The smell can get quite strong as the day heats up and the market will also become a lot busier and louder as the day progresses. Source: www.vietnam-guide.com
Resting on the banks of the Thu Bon River, bustling Hoi An Central Market is certainly worth a look for its authentic slice of Vietnamese life. The market is busy throughout the day with locals bargaining hard alongside tourists so its best to arrive first thing in the morning. The negotiating over fish usually starts around 07:00 as the fishermen drop their catch off and the market vendors and local buyers dive in to get the best fish. Inside the market there are also plenty of live ducks and chickens tied together and ready for sale alongside row upon row of Vietnamese cooking ingredients. The smell can get quite strong as the day heats up and the market will also become a lot busier and louder as the day progresses. Source: www.vietnam-guide.com
Central Food Hall
in the old town, surrounded by a busy, colourful food market. This is a bustling and sociable spot to hang out with the locals and sample dish after dish of Hoi An’s best cuisine. Row upon row of sparkling stainless steel benches laden with fresh raw ingredients, burners, juicers and oodles of noodles sit under vast, high ceilings, which help to keep things from getting a bit heated in what would otherwise be a vast oven. Each stall offers just one or two dishes. Among the most popular are cau lao, pho and mi quang, but with each vendor sticking to their own family recipe it’s quite possible that no two stalls serve quite the same thing — it’s perhaps a bit like your favourite spag bol, for which we bet you’ve got a ‘secret’ ingredient! Every dish is prepared to order with the broth or slow-cooked meat prepared each morning before the doors open at 07:00, and the noodles, herbs and vegetables topped up fresh from the surrounding market throughout the day. Stall owners work together which means if you want a juice from one stall, plus a cau lao and a country pancake from another, they will bring it all to you in one place, saving you the strain of searching up and down while your lunch gets cold. Source: www.travelfish.org
in the old town, surrounded by a busy, colourful food market. This is a bustling and sociable spot to hang out with the locals and sample dish after dish of Hoi An’s best cuisine. Row upon row of sparkling stainless steel benches laden with fresh raw ingredients, burners, juicers and oodles of noodles sit under vast, high ceilings, which help to keep things from getting a bit heated in what would otherwise be a vast oven. Each stall offers just one or two dishes. Among the most popular are cau lao, pho and mi quang, but with each vendor sticking to their own family recipe it’s quite possible that no two stalls serve quite the same thing — it’s perhaps a bit like your favourite spag bol, for which we bet you’ve got a ‘secret’ ingredient! Every dish is prepared to order with the broth or slow-cooked meat prepared each morning before the doors open at 07:00, and the noodles, herbs and vegetables topped up fresh from the surrounding market throughout the day. Stall owners work together which means if you want a juice from one stall, plus a cau lao and a country pancake from another, they will bring it all to you in one place, saving you the strain of searching up and down while your lunch gets cold. Source: www.travelfish.org
My Son Hindu Sanctuary
UNESCO World Heritage
During the 4th to 13th centuries there was a unique culture on the coast of contemporary Vietnam, owing its spiritual origins to the Hinduism of India. This is graphically illustrated by the remains of a series of impressive tower temples in a dramatic site that was the religious and political capital of the Champa Kingdom for most of its existence. My Son Sanctuary dates from the 4th to the 13th centuries CE. The property is located in the mountainous border Duy Xuyen District of Quang Nam Province, in central Viet Nam. It is situated within an elevated geological basin surrounded by a ring of mountains, which provides the watershed for the sacred Thu Bon river. The source of the Thu Bon river is here and it flows past the monuments, out of the basin, and through the historic heartland of the Champa Kingdom, draining into the South China Sea at its mouth near the ancient port city of Hoi An. The location gives the sites its strategic significance as it is also easily defensible. The tower temples were constructed over ten centuries of continuous development in what was the heart of the ancestral homeland of the ruling Dua Clan which unified the Cham clans and established the kingdom of Champapura (Sanskrit for City of the Cham people) in 192 CE. During the 4th to 13th centuries CE this unique culture, on the coast of contemporary Viet Nam, owed its spiritual origins to the Hinduism of the Indian sub-continent. Under this influence many temples were built to the Hindu divinities such as Krishna and Vishnu, but above all Shiva. Although Mahayan Buddhist penetrated the Cham culture, probably from the 4thcentury CE, and became strongly established in the north of the kingdom, Shivite Hinduism remained the established state religion. The monuments of the My Son sanctuary are the most important constructions of the My Son civilization. The tower temples have a variety of architectural designs symbolizing the greatness and purity of Mount Meru, the mythical sacred mountain home of Hindu gods at the center of the universe, now symbolically reproduced on Earth in the mountainous homeland of the Cham people. They are constructed in fired brick with stone pillars and decorated with sandstone bas-reliefs depicting scenes from Hindu mythology. Their technological sophistication is evidence of Cham engineering skills while the elaborate iconography and symbolism of the tower-temples give insight into the content and evolution of Cham religious and political thought. The My Son Sanctuary is a remarkable architectural ensemble that developed over a period of ten centuries. It presents a vivid picture of spiritual and political life in an important phase of the history of South-East Asia. The monuments are unique and without equal in Southeast Asia. source: http://whc.unesco.org
UNESCO World Heritage
During the 4th to 13th centuries there was a unique culture on the coast of contemporary Vietnam, owing its spiritual origins to the Hinduism of India. This is graphically illustrated by the remains of a series of impressive tower temples in a dramatic site that was the religious and political capital of the Champa Kingdom for most of its existence. My Son Sanctuary dates from the 4th to the 13th centuries CE. The property is located in the mountainous border Duy Xuyen District of Quang Nam Province, in central Viet Nam. It is situated within an elevated geological basin surrounded by a ring of mountains, which provides the watershed for the sacred Thu Bon river. The source of the Thu Bon river is here and it flows past the monuments, out of the basin, and through the historic heartland of the Champa Kingdom, draining into the South China Sea at its mouth near the ancient port city of Hoi An. The location gives the sites its strategic significance as it is also easily defensible. The tower temples were constructed over ten centuries of continuous development in what was the heart of the ancestral homeland of the ruling Dua Clan which unified the Cham clans and established the kingdom of Champapura (Sanskrit for City of the Cham people) in 192 CE. During the 4th to 13th centuries CE this unique culture, on the coast of contemporary Viet Nam, owed its spiritual origins to the Hinduism of the Indian sub-continent. Under this influence many temples were built to the Hindu divinities such as Krishna and Vishnu, but above all Shiva. Although Mahayan Buddhist penetrated the Cham culture, probably from the 4thcentury CE, and became strongly established in the north of the kingdom, Shivite Hinduism remained the established state religion. The monuments of the My Son sanctuary are the most important constructions of the My Son civilization. The tower temples have a variety of architectural designs symbolizing the greatness and purity of Mount Meru, the mythical sacred mountain home of Hindu gods at the center of the universe, now symbolically reproduced on Earth in the mountainous homeland of the Cham people. They are constructed in fired brick with stone pillars and decorated with sandstone bas-reliefs depicting scenes from Hindu mythology. Their technological sophistication is evidence of Cham engineering skills while the elaborate iconography and symbolism of the tower-temples give insight into the content and evolution of Cham religious and political thought. The My Son Sanctuary is a remarkable architectural ensemble that developed over a period of ten centuries. It presents a vivid picture of spiritual and political life in an important phase of the history of South-East Asia. The monuments are unique and without equal in Southeast Asia. source: http://whc.unesco.org