Walking along the bustling commercial artery of Nguyễn Trãi Street in the heart of Chợ Lớn (near the intersection of Nguyễn Trãi and Triệu Quang Phục streets, just a few hundred meters east of Thiên Hậu Temple (Tuệ Thành Assembly Hall)), and pausing before house number 678 in Chợ Lớn Ward, Ho Chi Minh City, visitors encounter a spacious courtyard shaded by ancient trees behind an iron fence and an imposing triple-arched gateway. Looking up at the bluestone lintel engraved with the four large Chinese characters Nghĩa An Hội Quán (義安會館) beneath green-glazed tubular roof tiles and vibrant ceramic reliefs, one enters Nghĩa An Assembly Hall, the venerable sanctuary that the residents of Saigon - Gia Định have affectionately revered for over two centuries as Chùa Ông Chợ Lớn, Chùa Ông Tiều or Quan Đế Temple.
Founded in the late 18th century by migrant merchants of the Teochew (Chaozhou) and Hakka communities who settled in the river port of Đề Ngạn, Nghĩa An Assembly Hall is not only the most prominent center of Quan Thánh Đế Quân worship in southern Vietnam, famous for the New Year custom of passing beneath the belly of the Red Hare steed for good fortune, but also a living museum of 19th-century gilded Teochew openwork woodcarving, bluestone sculpture and bronze casting.
IThe ancient name of Nghĩa An Commandery, the pantheon of Quan Thánh Đế Quân and the harmony of three cultic streams
To grasp the historical roots of this sanctuary, one must first decipher the two characters Nghĩa An (義安) carved above its main entrance. In the historical geography of China, Nghĩa An Commandery (義安郡, Yì'ān Jùn) was an ancient administrative prefecture established in the 9th year of the Yixi era of the Eastern Jin dynasty (413 CE), encompassing the eastern region of Guangdong province later known under the Ming and Qing dynasties as Chaozhou Prefecture (潮州府, comprising nine counties including Haiyang, Chaoyang, Jieyang, Chenghai, Puning, Huilai, Raoping, Fengshun and Dabu) together with the Jiaying Prefecture area inhabited by the Hakka people. When waves of merchants and settlers from Chaozhou and Jiaying crossed the East Sea to pioneer the trading port of Đề Ngạn - Saigon in the 18th century, they adopted the classical name Nghĩa An of their ancestral homeland for their mutual-aid association, both honoring their lineage and expressing their aspiration to live by righteousness (Nghĩa) and enjoy peace (An) in the southern land.
In terms of its religious pantheon, Nghĩa An Assembly Hall belongs to the tradition of Taoism and Chinese popular religion, centered on the veneration of Quan Thánh Đế Quân (關聖帝君, the deified Three Kingdoms general Guan Yu / Quan Công), which is why the ritual sanctuary itself is formally titled Quan Đế Miếu (關帝廟, Temple of Emperor Guan). At the center of the ceremonial pavilion and Main Hall, inside a multi-tiered gilded wooden shrine carved in intricate openwork, sits a wooden statue of Quan Thánh Đế Quân standing roughly 3 meters tall, clad in an emerald-green dragon robe embroidered with gold thread, his crimson face solemn and his long beard flowing over his chest as he sits upon a dragon throne. Attending him on the left and right are two standing statues about 2 meters tall: on the left is his adopted son Quan Bình (Guan Ping) holding the imperial seal in both hands, and on the right is the fierce general Châu Xương (Zhou Cang) with a dark face and bristling beard, gripping the Green Dragon Crescent Blade.
A defining feature of the pantheon inside Nghĩa An Assembly Hall is the harmonious integration of the martial authority of loyal righteousness with the compassionate protection of the sea goddess and the local earth deity. Within the Main Hall, flanking the central shrine of Quan Thánh Đế Quân are two equally splendid side altars: the left (eastern) bay venerates Phúc Đức Chính Thần (福德正神, widely known as Ông Bổn / Tudi Gong, the Earth God who governs the land, wealth and the well-being of settlers in a new territory), while the right (western) bay venerates Thiên Hậu Thánh Mẫu (天后聖母, Mazu, the supreme goddess who protects merchant vessels across stormy seas, attended by two handmaidens and the two guardian generals Thiên Lý Nhãn, who sees a thousand miles, and Thuận Phong Nhĩ, who hears on the wind).
Stepping back into the Front Hall and the side corridors bordering the Skywell courtyard, the sacred space unfolds into a rich tapestry of folk belief. The right (eastern) bay of the Front Hall houses a wooden statue of the Red Hare steed (赤兔馬, Xích Thố) standing over 2 meters tall, painted a fiery crimson and fitted with a saddle, bridle and brass bell, accompanied by a statue of Mã Đầu Tướng Quân (the Horse-Head General who tends Guan Yu's mount). The left (western) bay of the Front Hall enshrines Phúc Đức Chính Thần, while beside the entrance stands Môn Quan Vương Tả Tướng Quân (Wang Lingguan, the Taoist guardian general of temple gates). Along the corridors linking the Front Hall to the Main Hall are altars dedicated to Tài Bạch Tinh Quân (the God of Wealth governing commercial prosperity) and Văn Xương Đế Quân (Wenchang Dijun, the deity of literature, examinations and scholarship). Through this arrangement, a Teochew merchant entering Nghĩa An Assembly Hall could entrust every dimension of life to the divine: swearing commercial honesty before Quan Đế, giving thanks for safe sea passage before Thiên Hậu, praying for landed stability before Phúc Đức Chính Thần, seeking prosperous trade from Tài Bạch Tinh Quân and praying for the academic success of his children before Văn Xương.
Many visitors to Chợ Lớn confuse the names of the various Chùa Ông and Chùa Bà temples located near one another along Nguyễn Trãi Street. A clear distinction should be kept in mind: at 710 Nguyễn Trãi stands Thiên Hậu Temple (Tuệ Thành Assembly Hall) of the Cantonese community (Guangzhou Prefecture), which is primarily dedicated to Thiên Hậu Thánh Mẫu, whereas at 678 Nguyễn Trãi stands Nghĩa An Assembly Hall (Chùa Ông Chợ Lớn / Quan Đế Temple) of the Teochew and Hakka communities, primarily dedicated to Quan Thánh Đế Quân. The Vietnamese word Chùa in the popular name Chùa Ông reflects the long-standing southern Vietnamese habit of calling revered Chinese temples chùa, even though this monument is a Taoist and folk deity temple combined with a hometown guildhall rather than a Buddhist monastery.
IIOver two centuries from the port of Đề Ngạn to the stelae of the Jiaqing, Daoguang, Tongzhi and Guangxu eras
The history of Nghĩa An Assembly Hall is inextricably linked with the rise of the river port city of Đề Ngạn - Saigon (Chợ Lớn) from the late 18th through the 19th century. The Chinese-character stone stelae mounted along the walls of the Front Hall serve as an authentic chronicle in stone, recording each stage in the building and embellishment of the sanctuary by generations of Teochew and Hakka merchants.
In examining the exact founding date of Nghĩa An Assembly Hall, the library notes the distinction between oral tradition and epigraphic evidence on site so that readers have the complete picture. Several travel accounts and community traditions state that the precursor Quan Đế shrine was erected around the mid-18th century (some citing 1737) or in the late 18th century, when Teochew and Hakka merchants relocated from Cù Lao Phố (Biên Hòa) and other settlements to gather at the Chợ Lớn river landing. In the celebrated gazetteer Gia Định thành thông chí compiled around 1820 by the scholar-official Trịnh Hoài Đức (1765 - 1825, himself of Minh Hương Fujianese descent) under Emperors Gia Long and Minh Mạng, the author vividly describes the urban quarter of Đề Ngạn with its magnificent Quan Đế temples and Chinese assembly halls crowned with gleaming tiled roofs.
The earliest archaeological and epigraphic document preserved intact at Nghĩa An Assembly Hall is the restoration stone stele erected on the 7th day of the 11th lunar month of the 7th year of the Jiaqing era (the Nhâm Tuất year 1802, corresponding to the 1st year of Emperor Gia Long of the Nguyễn dynasty). The fact that the assembly hall underwent a major restoration in 1802 proves beyond doubt that the original sanctuary was founded in the late 18th century (prior to 1802). Of particular historical interest, the 1802 stele and early-19th-century inscriptions at the temple explicitly record that Lady Đỗ Thị, consort of Left Army Commander Lê Văn Duyệt (Governor-General of Gia Định Citadel), donated 200 strings of cash (quan tiền) toward the restoration of the Quan Đế temple. This precious documentary detail demonstrates that from the very beginning of the 19th century, the Quan Đế Temple of Nghĩa An Assembly Hall was revered and patronized not only by the Teochew and Hakka guilds but also by the highest-ranking court officials of the Nguyễn dynasty in Gia Định. Following the 1802 milestone, the assembly hall underwent four major restorations across the 19th and early 20th centuries documented on stone stelae and ritual bronzes in the years Daoguang 10 (Canh Dần 1830), Tongzhi 5 (Bính Dần 1866) and Guangxu 28 - 29 (Nhâm Dần 1902 - Quý Mão 1903), followed by modern conservation campaigns in 1969, 1983, 1994 and 2010.
- Late 18th centuryFounding of the Quan Đế Temple and Assembly Hall of the Teochew and Hakka in Đề NgạnMerchants and settlers from Chaozhou Prefecture and Hakka communities in Chợ Lớn joined forces to establish a temple to Quan Thánh Đế Quân and a hometown guildhall bearing the classical name Nghĩa An.
- 1802 (Jiaqing 7)First recorded major restoration and erection of the oldest surviving stone steleOn the 7th day of the 11th lunar month of the Nhâm Tuất year (Jiaqing 7, corresponding to the 1st year of Gia Long, 1802), the hall completed a major restoration and erected a commemorative stone stele recording donations from Chinese merchant houses and Lady Đỗ Thị, consort of General Lê Văn Duyệt.
- c. 1820 and 1830Recorded in Gia Định thành thông chí (1820) and restored in Daoguang 10 (1830)Trịnh Hoài Đức's gazetteer Gia Định thành thông chí noted the bustling temple. In the Canh Dần year (Daoguang 10, 1830), the assembly hall underwent further expansion and cast additional bronze ritual vessels.
- 1865 - 1866 (Tongzhi 4 - 5)Casting of bronze censers, carving of stone qilin (1865) and major restoration of Tongzhi 5 (1866)In the Ất Sửu year (Tongzhi 4, 1865), the hall commissioned the pair of bluestone qilin at the front gate and cast the large bronze incense burners and candlesticks. In the Bính Dần year (1866), a comprehensive architectural restoration was completed.
- 1902 - 1903 (Guangxu 28 - 29)Grand restoration establishing the masterwork of Teochew gilded woodcarvingA major restoration spanning from the Nhâm Dần year (1902) to the Quý Mão year (Guangxu 29, 1903) added the gilded openwork wooden friezes, shrines, lanterns and ceramic roof tableaux seen today.
- 1969, 1983 and 199420th-century structural repairs and conservation campaignsThe Management Board of Nghĩa An Assembly Hall carried out roof repairs, timber reinforcement and regilding of antique carvings in 1969, 1983 and 1994.
- 1993 and 2010National Architectural and Artistic Heritage ranking (1993) and scientific restoration (2010)On 7 November 1993, the Ministry of Culture and Information issued Decision No. 43-VH/QĐ ranking Nghĩa An Assembly Hall as a National Architectural and Artistic Heritage Site. In 2010, the monument underwent a major scientific restoration.
IIIThe inner-工 outer-國 layout, the pinnacle of Teochew gilded openwork woodcarving and Tongzhi-era antiquities
Set within a spacious compound of roughly 4,000 square meters (with the main architectural footprint covering nearly 2,000 square meters), Nghĩa An Assembly Hall is a classic exemplar of 19th-century Teochew - Eastern Guangdong temple and guildhall architecture. The overall ground plan follows the inner-công outer-quốc (內工外國) configuration combined with a closed mouth-character (Khẩu 口) courtyard plan. Passing through the triple-arched gateway and the wide brick-paved forecourt, one enters the central architectural block arranged along a north-south axis in three successive halls: the Front Hall (Tiền điện), the Ritual Pavilion (Bái đình / Phương đình) and the Main Sanctuary (Chính điện / Đại điện). Between the Front Hall and the Ritual Pavilion opens a wide Skywell courtyard (Thiên tỉnh) that admits natural daylight, vents incense smoke and regulates the microclimate. Flanking the central sanctuary block on the east and west are two continuous side wings, the East Corridor (Đông lang) and West Corridor (Tây lang), which enclose the compound and house the administrative offices and meeting chambers of the Nghĩa An Assembly Hall Management Board.
Whereas Hokkien (Fujianese) assembly halls impress the eye with sweeping boat-prow roof ridges, the Teochew architecture of Nghĩa An Assembly Hall captivates art historians through the consummate mastery of multi-layered gilded openwork woodcarving (Chaozhou woodcarving / Jinqi mudiao). Across every overhead frieze (bao lam), altar tabernacle (khám thờ), ritual arch, horizontal plaque, couplet and hexagonal wooden lantern suspended in the Ritual Pavilion and Main Sanctuary, late-19th and early-20th-century Teochew master carvers employed pierced, three- to four-layered relief carving finished in brilliant gold leaf. Galloping warhorses, spears, battle banners, swirling clouds and expressive figures from Romance of the Three Kingdoms (such as Three Heroes Battle Lü Bu, Guan Yu Crosses Five Passes and Slays Six Generals and The Oath of the Peach Garden), Investiture of the Gods, The Eight Immortals Crossing the Sea and the Eighteen Arhats emerge like miniature three-dimensional dioramas glowing beneath red lanterns.
Placed in the eastern bay of the Front Hall, the wooden statue of the Red Hare steed stands over 2 meters high, lacquered in glossy crimson and fitted with a full saddle, bridle and brass neck bell beside the statue of Mã Đầu Tướng Quân. This sacred steed is the focal point of the custom of passing under the horse's belly for peace and prosperity.
The crowning achievement of 19th- and early-20th-century Teochew woodcarving: the overhead friezes and altar shrines in the Ritual Pavilion and Main Sanctuary are pierced in multiple deep layers depicting scenes from Romance of the Three Kingdoms, Two Dragons Vying for a Pearl, the Four Sacred Animals, phoenixes, pheasants and peonies in radiant gold leaf.
Guarding the main entrance of the Front Hall is a pair of monolithic bluestone qilin (Chinese guardian lions, the male on the right with a paw on an embroidered ball, the female on the left with a cub), while inside stand massive bronze incense burners and candlesticks cast in the 4th year of the Tongzhi era (Ất Sửu 1865).
Set into the side walls of the Front Hall is a series of finely engraved Chinese stone stelae, beginning with the restoration stele of Jiaqing 7 (1802, recording the donation of Lady Đỗ Thị, consort of Lê Văn Duyệt), followed by stelae of Daoguang 10 (1830), Tongzhi 5 (1866) and Guangxu 29 (1903).
The roofs are covered in jade-green glazed tubular tiles (thanh lưu ly) and crowned along the main ridge with polychrome ceramic ensembles portraying Two Dragons Flanking a Pagoda, Carp Transforming into Dragons, the Sun and Moon deities and historical opera scenes.
Flanking the inner wall of the Front Hall entrance are two large painted high-relief murals: on the left (east) the Azure Dragon emerging from clouds and waves, and on the right (west) the White Tiger striding through mountain forests, guarding the inner sacred precinct.
IVThe lie of the land and the facing
This section is the library's own reading through the eyes of traditional form-school feng shui, based on the historical waterway topography of Đề Ngạn - Chợ Lớn and the actual orientation of the monument, rather than content transcribed from the hall's stone stelae. We state this clearly so that readers may distinguish historical record from geomantic interpretation.
Examined on the historical urban map of Saigon - Chợ Lớn at approximately 10.75365 degrees north latitude and 106.66213 degrees east longitude, Nghĩa An Assembly Hall (Chùa Ông Chợ Lớn) occupies a high strip of ground along Nguyễn Trãi Street (historically the main thoroughfare Rue des Marins running parallel to the north bank of the Bến Nghé Creek - Tàu Hủ Canal). In the hydrographic geography of 18th- and 19th-century Đề Ngạn, the Tàu Hủ Canal and the Chợ Lớn canal network to the south formed the great commercial waterway where hundreds of merchant junks from the East Sea, the Mekong Delta and Đồng Nai anchored. By siting the temple in a seated North, facing South orientation (its rear resting against the solid inland terrain to the north as its rear backing (hậu chẩm), and its main facade opening directly south onto Nguyễn Trãi Street toward the Tàu Hủ Canal as its great water-gathering bright hall (đại minh đường tụ thủy)), the Teochew and Hakka founders adhered faithfully to the classical principle of sitting on the solid and facing the open, backed by highland and facing water.
More remarkably still, when read through the Five Elements and directional symbolism of the pantheon, the South corresponds to the Li (Ly) trigram, the Fire element and the color Red. The principal deity of Nghĩa An Assembly Hall is Quan Thánh Đế Quân (depicted with a jujube-red face and riding the fiery crimson steed Red Hare, embodying pure yang vigor and the blazing flame of loyalty and righteousness). Positioning a sanctuary dedicated to the Red-visaged deity of Fire so that it faces due South (Li Fire) while receiving the abundant water qi of the Tàu Hủ Canal in front creates the auspicious configuration of Water and Fire in Harmony (Thủy Hỏa ký tế) and Rightful Placement and Facing (Đắc vị đắc hướng): the water qi of the river port nourishes commercial wealth (water governs wealth), while the fiery righteousness of Emperor Guan radiating in the South subdues malevolent influences, upholds commercial trust and unites the community. Inside the structure, the open Skywell courtyard (Thiên tỉnh) at the central node between the Front Hall and Ritual Pavilion functions as an inner bright hall (nội minh đường) that gathers qi: as fragrant smoke rises from the 1865 Tongzhi bronze censer into the skywell to meet the southern sunlight pouring down, auspicious yang qi circulates smoothly from the triple gate past the reliefs of the Azure Dragon on the left (east) and White Tiger on the right (west) to converge before the throne of Quan Thánh Đế Quân, sustaining a solemn and prosperous energy field for over two hundred years.
VThe Lantern Festival, the birthday of Quan Thánh Đế Quân and the custom of passing beneath the Red Hare steed
In the spiritual and cultural life of both the Chinese and Vietnamese communities in Ho Chi Minh City, Nghĩa An Assembly Hall (Chùa Ông Chợ Lớn) is one of the most vibrant and traditionally rich festival centers, especially during the Lantern Festival (Full Moon of the First Lunar Month) and the Birthday of Quan Thánh Đế Quân (24th day of the 6th lunar month).
| Lunar date | Festival and event | Traditional rituals and cultural activities |
|---|---|---|
| Full Moon of the 1st lunar month (12th to 18th days) | Lantern Festival (Tết Nguyên tiêu, National Intangible Cultural Heritage) and New Year Rite to Emperor Guan | The grandest spring festival at Nghĩa An Assembly Hall: solemn sacrificial rites to Quan Thánh Đế Quân, multi-day performances of traditional Teochew opera (hát Tiều) on a stage in the forecourt, charity auctions of fortune lanterns, receiving golden mandarins and Blessing lanterns, and passing beneath the belly of the Red Hare steed for peace and good fortune. |
| 23rd day of the 3rd lunar month | Birthday of Thiên Hậu Thánh Mẫu (Mazu) | Devotees offer incense and ceremonial gifts at the western side altar of the Main Sanctuary to commemorate the birth of the sea goddess who protects mariners. |
| 13th day of the 5th lunar month | Feast of Crown Prince Quan Bình (and Lord Guan's Lone-Blade Feast) | Commemorating adopted son Quan Bình and the historical episode of Guan Yu crossing the river with a single blade to attend the feast at Lukou (popularly associated with rain that sharpens Guan Yu's blade), drawing merchants to pray for protection. |
| 24th day of the 6th lunar month | Main Birthday of Quan Thánh Đế Quân (Quan Đế Thánh Đản) | The principal annual feast celebrating the birth of Emperor Guan, featuring classical sacrificial rites led by the Nghĩa An Assembly Hall Management Board, offerings of incense, tea and wine, lion and dragon dances and the distribution of peace blessings. |
The most distinctive folk custom at Nghĩa An Assembly Hall each spring and during the Lantern Festival is stroking the mane, ringing the neck bell and passing beneath the belly of the Red Hare steed, alongside the custom of Borrowing and Returning Blessings (Vay - Trả lộc). Tens of thousands of residents and visitors queue in orderly lines in the eastern bay of the Front Hall to bow and pass beneath the belly of the two-meter-tall wooden Red Hare statue, then touch and ring the brass bell hanging from its neck in the belief that the steed's unflagging endurance, swiftness and loyalty will impart robust health and the strength to overcome every obstacle in the new year. Worshippers also request blessing packets (containing a pair of fresh mandarins whose Chinese pronunciation evokes Great Good Fortune, lucky red envelopes and prosperity cakes) under the traditional vow of borrowing one share this year and returning double next year when business flourishes, a living ritual that binds spiritual faith to diligence and commercial trustworthiness in Saigon - Chợ Lớn.
VILocation And How To Get There
- Address
- Số 678 đường Nguyễn Trãi, phường Chợ Lớn (trước tháng 7/2025 là Phường 11, Quận 5 cũ), Thành phố Hồ Chí Minh
- Getting there
- From the Bến Thành Market area (central Ho Chi Minh City), travel west along Trần Hưng Đạo Boulevard for about 4.5 km into the Chợ Lớn quarter, turn right onto Triệu Quang Phục Street and then turn left onto Nguyễn Trãi Street for a short distance to reach Nghĩa An Assembly Hall at 678 Nguyễn Trãi, Chợ Lớn Ward.
- Coordinates
- 10.75365, 106.66213
When visiting and offering respects at Nghĩa An Assembly Hall (Chùa Ông Chợ Lớn), please dress modestly and respectfully. To protect public health and preserve the century-old gilded woodcarvings from heavy smoke soot, the Management Board guides worshippers to light and place incense sticks in the large censers in the outer courtyard or the Skywell rather than carrying burning incense deep into the Main Sanctuary. When participating in the custom of passing beneath the belly of the Red Hare steed on crowded festival days, please queue in order and refrain from climbing onto the altar platforms.
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VIIContribute To This Page
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?Quick Questions
Which Chinese community built Nghĩa An Assembly Hall (Chùa Ông Chợ Lớn) and who is its principal deity?
Nghĩa An Assembly Hall was founded in the late 18th century by migrant merchants from Chaozhou Prefecture (the Teochew people) and Hakka communities who settled in Đề Ngạn - Chợ Lớn (the name Nghĩa An derives from the ancient Eastern Jin commandery name for the Chaozhou - Jiaying region). The temple's principal deity is Quan Thánh Đế Quân (Guan Yu), flanked in the Main Sanctuary by Phúc Đức Chính Thần (Ông Bổn) on the left and Thiên Hậu Thánh Mẫu (Mazu) on the right.
What is the date of the oldest stone stele at Nghĩa An Assembly Hall and what notable historical detail does it record?
The oldest stone stele preserved intact in the Front Hall of Nghĩa An Assembly Hall is a restoration stele erected on the 7th day of the 11th lunar month of the 7th year of the Jiaqing era (the Nhâm Tuất year 1802, corresponding to the 1st year of Emperor Gia Long). Notably, the temple's stelae record that Lady Đỗ Thị, consort of Left Army Commander Lê Văn Duyệt (Governor-General of Gia Định Citadel), donated 200 strings of cash toward the restoration of the temple.
Why do worshippers at Chùa Ông Chợ Lớn practice the custom of passing beneath the belly of the Red Hare steed?
In the eastern bay of the Front Hall stands a wooden statue of the Red Hare steed over 2 meters tall beside the Horse-Head General. In popular belief, the Red Hare mount of Quan Thánh Đế Quân embodies unwavering loyalty, stamina and the power to surmount every peril (crossing five passes and slaying six generals). Worshippers therefore pass beneath the horse's belly and ring its brass neck bell at the start of the year to pray for health, good fortune and smooth endeavors.
What are the most outstanding architectural and sculptural features of Nghĩa An Assembly Hall?
Laid out in an inner-công outer-quốc courtyard plan across roughly 4,000 square meters, the monument is celebrated for its multi-layered gilded openwork woodcarvings crafted by Teochew master artisans in the late 19th and early 20th centuries (especially during the 1902 - 1903 restoration). Its overhead friezes, altar shrines and hexagonal wooden lanterns vividly depict scenes from Romance of the Three Kingdoms, Investiture of the Gods and the Eight Immortals, complemented by a pair of bluestone qilin and bronze censers dated Tongzhi 4 (1865).
When was Nghĩa An Assembly Hall ranked as a national heritage site and what administrative ward does it belong to today?
Nghĩa An Assembly Hall was recognized by the Ministry of Culture and Information as a National Architectural and Artistic Heritage Site under Decision No. 43-VH/QĐ on 7 November 1993. Under Resolution No. 1685/NQ-UBTVQH15 of 2025 on the rearrangement of commune-level administrative units in Ho Chi Minh City (effective 1 July 2025), the monument at 678 Nguyễn Trãi Street belongs to the newly established Chợ Lớn Ward (formed by merging former Wards 11, 12, 13 and 14 of District 5), Ho Chi Minh City.