According to the in situ archived documents, Lanh Giang was constructed a long time ago. It was repaired and renovated many times in different feudal dynasties. The last renovation was completed in the 18th year of Bao Dai (1943). The east-facing temple consists of three buildings (Front Hall, Central Hall, and Rear Hall) and a total of fourteen compartments, laid out in the shape of the character “工”. On the sides of the temple lie the Shrine of the Mistress and the Shrine of the Master and the two rows of reception halls, laid out in the shape of the character 工 in the center and to the shape of the character 国 (which means “country”) on the outside.

The Front Hall is divided into five compartments. Its roof features a main ridge and verges on the two gables. Guarding the hall against evil spirits. Its big, tall columns are embossed with the motif of a dragon twisting and turning gracefully at the top. At the base, the motifs of a tiger head and four divine creatures (dragon, unicorn, turtle, and phoenix) are carved on all the sides of the columns. The doors to the three compartments in the middle of the Front Hall have raised thresholds and are made of iron wood. On each door, spindle-turned mullions are placed above solid wood panels where the motifs of four divine creatures and four precious plants (cedar, chrysanthemum, bamboo, and apricot blossoms) are elaborately carved. The rafters are supported by stacked transversal beams and gong racks (chồng rường – giá chiêng), suspended longitudinal beams, brackets, braces, and outriggers, all in a traditional design. The two truss spaces in the compartments on the gable ends are embellished with tiger head carvings on top and unicorns underneath.

The Central Hall consists of four compartments and features a double-deck structure with upturned scaly tiled roofs. The motif of two dragons facing the moon is embossed on the main ridge. The rafters of the Central Hall are supported by stacked transversal beams and gong racks, and continuous braces. Those of the two compartments on the gable ends are supported by corner braces, grounding columns, and bottom chords. A high-relief carving technique (“chạm lộng” or cut through) is used on the ends of the purlins to create a dragon head motif which feels lively and unrestrained. Notably, the motifs of four divine creatures, dragons and phoenixes facing the moon are intricately carved on four truss spaces in the compartments on the gable ends and on the M-shaped door frame (cửa võng) which separates the altar and the common space. Attached to the Central Hall is the Rear Hall, which consists of five compartments and features curved rafters.

The temple has managed to retain many statues and worship items of artistic value, including traditional kneeling-legged thrones with tiger heads carved on three sides; large altar cabinets with the carvings of two dragons facing the moon, phoenixes, four divine creatures, and tiger heads; incense altars; eight-carrier palanquins; edicule; the statue of Princess Tien Dung; the statues of the three great generals serving under the reign of Hung King; and the statue of King of Eight Seas, all bearing artistic marks of the Hau Le era (the 18th century).