More palaces were built within the Thăng Long Citadel throughout the era of the Trần kings (1225-1400). Following the war of resistance against the Mongols in the 1280s, architectural styles became bolder, reflecting the newfound confidence of a nation which had successfully repelled foreign invaders. However, as palace architecture itself became more robust, decorative sculpture became plainer and more rough-hewn. The dragons which decorated the Trần palaces were markedly shorter than those of their Lý counterparts, taking on a rigid, less natural appearance. The appearance of landscaped gardens with a system of corridors connecting different palace buildings may be traced back to this period.

The pious Trần kings also sponsored a massive programme of pagoda building. The layout of Phổ Minh Pagoda (1262) in Nam Định and Thái Lạc Pagoda (early 14th century) in modern Hưng Yên Province typify the style of this period, which was to predominate until well into the later Lê era. Known as tam after the Chinese character 三 (three, the shape of which resembled), it featured three rows of buildings - the main sanctuary (nhà chính điện or nhà thượng điện), the 'incense-burning hall' (nhà thiêu hương) and the 'ancestor-worshipping house' (nhà tiền đường) - located parallel to each other.

The pagoda towers of the Trần period, such as the one at Phổ Minh Pagoda and the Bình Sơn tower (all that now remains of the original Vĩnh Khánh (Then) Pagoda) in modern Vĩnh Phúc Province, are of especial architectural interest. Several major temple complexes, notably the Hùng King Temples at Phú Thọ in Vĩnh Phúc Province and the temples of the Trúc Lâm (Bamboo Forest) Zen Buddhist sect at Yên Tử in Quảng Ninh Province, also date from this time. During the Trần era too, decorative statues became more numerous and diverse, with the appearance of the first multi-armed and multi-eyed Boddhisattvas.