My Son Sanctuary is set in a small valley belonging to Duy Phu Commune, Duy Xuyen District, Quang Nam Province, about 70km southwest of Danang City and 40km from Hoi An City. Of the 225 Cham vestiges that are founded in Vietnam, My Son possesses 71 monuments and 32 epitaphs, the content of which is still being studied.

The Cham Kingdom had two sanctuaries belonging to two main opposing clans. My Son of the Dua Clan, ruled over the north of the kingdom and was the place for the worship of God Srisana Bhadresvara. The Cau Clan, who reigned over the south had Po Nagar Sanctuary, dedicated to Goddess Po Nagar. Nevertheless, My Son was considered as the sanctuary of the Cham Kingdom.

The first constructions date back to the 4^th century under the reign of Bhadravarman for the worship of God Shiva-Bhadresvara. But later on, the temple was destroyed. At the beginning of the 7^th century, King Sambhuvarman had it rebuilt and rebaptized Sambhu-Bhadresvara. Each new monarch came to My Son after his accession to the throne, for the ceremony of purification and to present offerings and erect new monuments, which explains why My Son is the only place where Cham art flourished without interruption from the 7^th to the 13^th century.

The temples in My Son were built into groups that basically followed the same model. Each group was comprised of a main sanctuary (kalan), surrounded by towers and auxiliary monuments. The kalan, which is a symbol of Meru Mountain (centre of the universe, where the gods live) is dedicated to Shiva. The small temples are devoted to the spirits of the eight compass points. In the towers, topped with tiled, curved roofs, were stocked the offerings and sacred objects of the pilgrims. Cham temples do not have windows, so they are very dark inside. Windows are only found on the towers.

Cham towers and temples are built of bricks associated with sandstone decorations. It is quite noteworthy that no adhesive can be seen in between the bricks, which is amazing since some of the works have survived thousands of years. The structures were built, and only then did the sculptors carve the decorations of floral patterns, human figures or animals. This technique is unique in Asia.