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84 records – page 1 of 5.

Other Name
COMMUNION PLATE
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
SILVER
Catalogue Number
P19970041215
Material Type
Artifact
Other Name
COMMUNION PLATE
Date Range From
1950
Date Range To
1960
Materials
SILVER
No. Pieces
1
Height
1.2
Diameter
13.2
Description
CIRCULAR SILVER DISH WITH FLARED EDGE. STAMPED INTO BOTTOM IS "E.P.N.S." AND "BENEDICT PROCTOR CANADA" AND "921".
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
PATEN WAS USED BY DONOR'S FATHER AS A MISSIONARY & IN THE CHURCH AT COALDALE. REV. NAKAYAMA AND HIS FAMILY MOVED TO COALDALE IN 1945 AFTER BEING RELOCATED FROM VANCOUVER IN 1942 TO SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA. AT COALDALE HE FOUNDED THE ANGLICAN CHURCH OF THE ASCENSION WHERE HE WAS RECTOR FROM 1945 TO 1970. SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041215
Acquisition Date
1997-01
Collection
Museum
Less detail
Other Name
FOOD FOR THE SOUL
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19970041221
Material Type
Artifact
Other Name
FOOD FOR THE SOUL
Date Range From
1950
Date Range To
1960
Materials
PAPER
No. Pieces
142
Height
4.0
Length
10.9
Width
9.9
Description
BROWN CARDBOARD BOX WITH ROUGH STYLE SKIN COVERING. LID HAS WHITE PAPER LABEL THAT HAS JAPANESE CHARACTERS WITH "DAILY FOOD FOR THE SOUL" ACROSS BOTTOM. BOX HAS 139 CARDS AND ONE DIVIDER CARD. EACH CARD HAS A BIBLE VERSE ON IT BOTH IN ENGLISH AND JAPANESE. BOX IS IN POOR CONDITION WITH LID BEING TORN ALONG CORNERS.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
INSPIRATIONAL CARDS WERE USED BY DONOR'S FAMILY WHILE GROWING UP. DONOR RELATES THAT BOX OF CARDS SAT UPON THE KITCHEN TABLE IN COALDALE. HER FATHER REV. NAKAYAMA AND THEIR FAMILY MOVED TO COALDALE IN 1945 AFTER BEING RELOCATED FROM VANCOUVER IN 1942 TO SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA. AT COALDALE HE FOUNDED THE ANGLICAN CHURCH OF THE ASCENSION WHERE HE WAS RECTOR FROM 1945 TO 1970. SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041221
Acquisition Date
1997-01
Collection
Museum
Less detail
Other Name
SOUVENIR MINIATURE RED ENSIGN
Date Range From
1950
Date Range To
1965
Material Type
Artifact
Materials
NYLON, WOOD
Catalogue Number
P19990035104
Material Type
Artifact
Other Name
SOUVENIR MINIATURE RED ENSIGN
Date Range From
1950
Date Range To
1965
Materials
NYLON, WOOD
No. Pieces
1
Height
0.3
Length
27.2
Width
15.5
Description
RED ENSIGN. HAS A DARK BROWN WOODEN POLE, WITH A GOLD KNOB ON TOP. A WHITE STICKER WRAPPED AROUND THE BOTTOM OF THE POLE HAS "MADE IN JAPAN" PRINTED ON IT IN BLACK. THE FLAG ITSELF IS TIED ONTO THE POLE WITH RED THREAD. THE FLAG IS A SHEER RED NYLON. IN TOP LEFT HAND CORNER IS A UNION JACK. AT THE RIGHT OF THE FLAG IS A CREST THAT CONSISTS OF A RED BLOCK ON TOP WITH LIONS IN YELLOW; A BLUE BLOCK IN THE MIDDLE, WITH A WINGED HARP AND FLEUR DE LIS' IN YELLOW; AND A WHITE BLOCK AT THE BOTTOM WITH YELLOW MAPLE LEAVES WITH RED VEINS. THE CREST IS BORDERED IN WHITE AND BLUE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
COMMEMORATIVE
History
UNSURE WHY THE MAPLE LEAVES ARE YELLOW. FROM 1922-1957 THE MAPLE LEAVES ON THE RED ENSIGN WERE GREEN, AND FROM 1922-1965 THEY WERE RED. RELATED CATALOGUE # P19990035105-GA. SEE P19990035001-GA FOR ADDITIONAL HISTORY.
Catalogue Number
P19990035104
Acquisition Date
2000-07
Collection
Museum
Less detail
Other Name
SOUVENIR MINIATURE RED ENSIGN
Date Range From
1950
Date Range To
1965
Material Type
Artifact
Materials
NYLON, WOOD
Catalogue Number
P19990035105
Material Type
Artifact
Other Name
SOUVENIR MINIATURE RED ENSIGN
Date Range From
1950
Date Range To
1965
Materials
NYLON, WOOD
No. Pieces
1
Height
0.3
Length
27.2
Width
15.5
Description
RED ENSIGN W/ YELLOW LEAVES. HAS DARK BROWN WOODEN POLE, WITH A GOLD KNOB ON TOP. A WHITE STICKER AROUND BOTTOM OF POLE HAS "MADE IN JAPAN" PRINTED ON IT. THE FLAG IS ATTACHED TO THE POLE WITH RED THREAD. THE FLAG ITSELF IS SHEER RED NYLON. IN THE TOP LEFT CORNER IS A UNION JACK. ON THE RIGHT OF THE FLAG IS A CREST CONSISTING OF A RED BLOCK ON TOP WITH LIONS IN YELLOW; A BLUE BLOCK IN THE MIDDLE WITH YELLOW FLEUR DE LIS' AND A WINGED HARP; AND A WHITE BLOCK ON THE BOTTOM WITH YELLOW MAPLE LEAVES WITH RED VEINS. THE ENTIRE CREST IS BORDERED IN WHITE AND BLUE. A BIT OF THE BLUE BORDER HAS RUN.
Subjects
CEREMONIAL ARTIFACT
Historical Association
COMMEMORATIVE
History
UNSURE WHY THE MAPLE LEAVES ARE YELLOW. FROM 1922-1957 THE RED ENSIGN HAD GREEN MAPLE LEAVES, AND FROM 1957-1965 IT HAD RED MAPLE LEAVES. RELATED CATALOGUE # P19990035104-GA. SEE P19990035001-GA FOR ADDITIONAL HISTORY.
Catalogue Number
P19990035105
Acquisition Date
2000-07
Collection
Museum
Less detail
Other Name
BUTSUGU
Date Range From
1963
Date Range To
2007
Material Type
Artifact
Materials
VARIOUS
Catalogue Number
P20070020001
Material Type
Artifact
Other Name
BUTSUGU
Date Range From
1963
Date Range To
2007
Materials
VARIOUS
No. Pieces
106
Description
BUPPANKI: A. CUP, BRASS, HEIGHT 12.0, WIDTH 9.7. JAPANESE NAME IS, “BUPPANKI,” WHICH TRANSLATES TO, “BUDDHA FOOD VESSEL.” KANJI CHARACTERS ON BOTTOM, READ, “DONOR, MR. DONJI OMATSU.” 1 PCE. B. CUP, BRASS, HEIGHT 12.5, WIDTH 10.5. JAPANESE NAME IS, “BUPPANKI,” WHICH TRANSLATES TO, “BUDDHA FOOD VESSEL.” 1 PCE. BUSSETSU MURYJU KYO-BAKO: C. WOODEN BOX, BLACK LACQUER WITH GOLD TRIM, HEIGHT 13.0, LENGTH 32.5, WIDTH 11.8. PAINT ON BOX SEVERELY BLISTERED. JAPANESE NAME IS, “BUSSETSU MURYJU KYO-BAKO,” WHICH MEANS BOX FOR BUSSETSU MURYJU KYO. TWO SYMBOLS ON BOX LID, THE JODO SHINSHU CREST AND KIRI. 2 PCES. CANDLE SNUFFER: D. BRASS CANDLE SNUFFER, INNER DOME OF SNUFFER BLACK WITH WAX RESIDUE, HEIGHT 4.5, LENGTH 28.5, WIDTH 3.0. 1 PCE. FLAG POLE: E. WOODEN FLAG POLE, LOWER SECTION RIBBED AND PAINTED BLACK, UPPER SECTION STAINED DARK RED, SEVERAL METAL BANDS AFFIXED TO BOTTOM, TOP AND MID SECTION OF POLE, 2 RINGS PROTRUDE FROM TOP-MOST METAL BANDS, ALLOWING FOR ATTACHMENT OF FLAG. LENGTH 187.5, DIAMETER 4.5. 1 PCE. GOBUNSHO-BAKO: F. WOODEN BOX, BLACK LACQUER WITH GOLD TRIM, HEIGHT 5.8, LENGTH 30.8, WIDTH 26.0. JAPANESE NAME IS, “GOBUNSHO-BAKO,” WHICH MEANS BOX FOR GOBUNSHO, A BOOK. TWO SYMBOLS ON BOX LID, THE JODO SHINSHU CREST AND KIRI. 2 PCES. GOKUDEN: G. GOLD-PAINTED WOODEN HOUSE-LIKE STRUCTURE WITH JAPANESE ARCHITECTURAL ELEMENTS, COMPRISED OF 2 PCES, TTL HEIGHT 218, LENGTH 167, WIDTH 102. JAPANESE NAME IS, “GOKUDEN,” WHICH TRANSLATES TO, “AMIDA BUDDHA’S HOUSE.” BOTTOM PIECE HAS ALCOVE IN WHICH GOHONZON IS PLACED, FLOOR OF ALCOVE PAINTED BLACK, 2 PILLARS ON EITHER SIDE OF ALCOVE, MARKED, “NAIJIN #4,” IN BLACK MARKER ON BACK. TOP PIECE IS ROOF-LIKE STRUCTURE WITH LIGHT-BULB FIXTURE AFFIXED TO UNDERSIDE OF ROOF WITH CORD. SURFACE OF BOTH PIECES DECORATED WITH ETCHED BRASS PLATES OF THE JODO SHINSHU CREST AND CARVED WOODEN RELIEF OF CHRYSANTHEMUMS, A BIRD, AND DRAGON-LIKE ANIMALS. 2 PCES. CONSERVATION TREATMENT PERFORMED ON GOKUDEN IN 2009. FOR DETAILS, PLEASE SEE THE PERMANENT FILE. KAHIN: H. VASE, BRONZE, SET OF 2, EACH SET CONTAINS 3 PCES, HEIGHT 26.3, DIAMETER, 22.0. JAPANESE NAME IS, “KAHIN,” WHICH TRANSLATES TO, “FLOWER-VASE.” KAHIN CONSISTS OF CYLINDRICAL BASE, THE TOP OF THE VASE WIDER THAN THE BASE, WITH TWO SMALL HOOKS PROJECTING FROM EITHER SIDE. TWO DECORATIVE HANDLES RESEMBLING DRAGON HEADS WITH TONGUES STICKING OUT ATTACH TO HOOKS. SURFACE OF KAHIN DECORATED THROUGHOUT. MARKINGS ON BOTTOM ARE CHINESE CHARACTERS, WHICH READ, “TIME, HEAVEN, TRANSMISSION, AND MANY.” 6 PCES TTL. I. VASE, BRONZE, HEIGHT 19.0, DIAMETER 15.6. JAPANESE NAME IS, “KAHIN,” WHICH TRANSLATES TO, “FLOWER-VASE.” CONSISTS OF CYLINDRICAL BASE, TOP OF VASE WIDER THAN THE BASE. TWO HOOKS PROJECT FROM EITHER SIDE OF VASE, PRESUMABLY DECORATIVE OBJECTS WOULD HOOK HERE. 1 PCE. KASHA: J. INCENSE BURNER WITH LID, BRONZE, HEIGHT 18.0, WIDTH 13.0, 3 PCES. JAPANESE NAME IS, “KASHA,” WHICH TRANSLATES TO, “FIREHOUSE.” BASE PIECE IS BOWL-SHAPED WITH THREE SHORT LEGS MADE TO RESEMBLE DRAGON HEADS, SURFACE OF KASHA DECORATED THROUGHOUT. 2 CIRCULAR SHELVES PROJECT HORIZONTALLY FROM BASE, HENCE OBJECT ALSO KNOWN AS DOUBLE-TIERED INCENSE BURNER. MIDDLE PIECE IS DISH THAT SITS WITHIN BASE PIECE. TOP PIECE IS LID, DECORATIVE SURFACE AND OPENINGS IN LID. 3 PCES. KEBYO: K. VASE, BRONZE, SET OF TWO, HEIGHT 18.7, DIAMETER 9.5. JAPANESE NAME IS, “KEBYO,” WHICH TRANSLATES TO “FLOWER-VASE.” VASE NARROWEST JUST AFTER BASE, WIDEST AT 2/3 HEIGHT, SURFACE OF VASE DECORATED THROUGHOUT. ASIAN TEXT ON BOTTOM. FOUND WITHIN ONE KEBYO IS YELLOW PACKAGE OF PLANT FOOD WITH RED ELASTIC AROUND IT (HEIGHT 1.0, LENGTH 7.0, WIDTH 5.0), PACKAGE LABELED, “CRYSTAL CLEAR UNIVERSAL,” ON FRONT AND DIRECTIONS LISTED ON BACK. THIS KEBYO IS HEAVILY CORRODED INSIDE, AND FRAGMENTS ARE CONTAINED WITHIN PLASTIC BAGGIE. 4 PCES. KIKU-RINTO: L. HANGING LANTERN, BRASS, SET OF TWO, EACH SET CONTAINS 14 PIECES, TOTAL HEIGHT 102.5, WIDTH 41.5. JAPANESE NAME IS, “KIKU-RINTO,” WHICH TRANSLATES TO, “CHRYSANTHEMUM CIRCULAR-LAMP.” BOTTOM PIECE IS DISH WITH SCALLOPED EDGES. TWO INCREASINGLY SMALLER SIMILAR DISHES SIT INSIDE. LIGHT BULB AND FIXTURE SIT IN THIS SMALLEST DISH, WITH ELECTRICAL CORD RUNNING ALONG LENGTH OF LANTERN TOWARDS CEILING. SEMI-CIRCULAR BAND DECORATED WITH CHRYSANTHEMUM FLOWERS ARCHES OVER DISHES, ATTACHES TO BOTTOM-MOST DISH WITH TWO PEGS. HOOK. ATTACHING TO TOP OF SEMI-CIRCULAR ARCH IS LONG HOOK WITH SHELF-LIKE PROJECTION. SITTING ON SHELF IS LARGE DISH, BOWL FACING FLOOR, WITH WIDE LIP AND SCALLOPED EDGES. TWO METAL DISCS SIT ON TOP OF DISH, BOTTOM-MOST DISH HAS DECORATIVE SPOKES RADIATING FROM CENTRE POINT, TOP-MOST DISC RESEMBLES A FLOWER. DOORKNOB-LIKE OBJECT WITH CLOVER-LEAF SHAPED HANDLE IS FINAL PIECE TO SIT ON SHELF, AND PEG SECURES ALL THESE PIECES TOGETHER (PRESUMABLY PEGS FOR THESE KIKU-RINTOS ARE THOSE CATALOGUED UNDER P20070020002). VERTICAL BRASS PLATE DECORATED WITH CHRYSANTHEMUMS ATTACHES TO TOP OF DOORKNOB-LIKE OBJECT. SINGLE CHAIN LINK ATTACHED TO TOP HOOK OF VERTICAL BRASS PLATE. CHAIN WOULD THEN BE USED TO HANG ENTIRE STRUCTURE FROM CEILING. 28 PCES TTL. KORO: M. INCENSE BURNER, BRONZE WITH GOLD JODO SHINSHU CREST, SET OF 3, HEIGHT 9.3, DIAMETER 12.6. JAPANESE NAME IS, “KORO,” WHICH TRANSLATES TO, “INCENSE BURNER.” KORO IS BOWL-SHAPED WITH THREE SHORT LEGS. 3 PCES TTL. N. INCENSE BURNER WITH LID, BRONZE, HEIGHT 18.3, WIDTH 21.0. JAPANESE NAME IS KORO, WHICH TRANSLATES TO, “INCENSE BURNER.” BASE PIECE IS BOWL-SHAPED WITH TWO WING-LIKE HANDLES AND THREE SHORT LEGS MADE TO RESEMBLE DRAGON HEADS. LID HAS SCULPTURE OF MYTHICAL CHINESE DRAGON ON TOP WITH DECORATIVE OPENINGS ALONG SIDE OF LID. 2 PCES. MAE-JOKU: O. GOLD-PAINTED WOODEN TABLE, SCROLL LEGS REST ON A RECTANGULAR FRAME, DECORATED WITH CARVED PATTERNS AND ETCHED BRASS PLATES. SIDES AND FRONT OF TABLE DECORATED WITH CARVED WOODEN RELIEFS OF DRAGONS, AND VARIOUS BIRDS AND FLOWERS PAINTED BLUE, GREEN, WHITE, PINK AND GOLD. HEIGHT 85.0, LENGTH 167.0, WIDTH 56.0. JAPANESE NAME IS, “MAE-JOKU,” WHICH TRANSLATES TO, “FRONT TABLE.” TWO BLACK PAINTED WOODEN DOORS FIT INTO SLOTS IN BACK COMPARTMENT OF MAE-JOKU, DOORS SLIDE TO REVEAL STORAGE SPACE. 3 PCE. CONSERVATION TREATMENT PERFORMED ON MAE-JOKU IN 2009. FOR DETAILS, PLEASE SEE THE PERMANENT FILE. ROSOKU-TATE: P. CANDLE-STICK HOLDERS, BRONZE, SET OF 2, EACH SET CONTAINS 4 PCES, HEIGHT 39.2, WIDTH 10.8. JAPANESE NAME IS, “ROSOKU-TATE,” WHICH TRANSLATES TO, “CANDLE-STICK HOLDER.” SHAFT OF BASE PIECE HAS UNDULATING STRUCTURE. TWO HOOKS ON UPPER PART OF BASE SUPPORT TWO SMALL DECORATIVE DRAGONS. TOP PIECE DISH-SHAPED TO COLLECT WAX, SCREWS INTO SHAFT. 8 PCES TTL. Q. CANDLE-STICK HOLDER, BRONZE, HEIGHT 28.8, WIDTH 10.5. JAPANESE NAME IS, “ROSOKU-TATE,” WHICH TRANSLATES TO, “CANDLE-STICK HOLDER.” BASE PIECE NARROWS BEFORE WIDENING OUT INTO A LOTUS FLOWER BUD. SECOND PIECE FITS WITHIN TOP OF BUD, TWO WING-LIKE DECORATIONS PROJECT VERTICALLY FROM EITHER SIDE. TOP PIECE DISH-SHAPED TO COLLECT WAX AND PLACE FOR CANDLESTICK TO AFFIX, SCREWS INTO SECOND PIECE. CHINESE MARKING ON BOTTOM TRANSLATE ROUGHLY TO, “COMING” AND “TRANSMISSION.” 4 PCES. SHUMIDAN: R. BLACK PAINTED WOODEN STRUCTURE WITH RED TRIM, DECORATED WITH ETCHED BRASS PLATES AND CARVED, GOLD-PAINTED WOODEN RELIEFS OF CHRYSANTHEMUMS AND DRAGONS. TTL HEIGHT 124, LENGTH 197, WIDTH 105. JAPANESE NAME IS, “SHIMUDAN.” BOTTOM PIECE MARKED, “NAIJIN BASE #1,” IN BLACK MARKER ON UNDERSIDE, WHITE-PAINTED WOODEN PIECE RUNS HORIZONTALLY ALONG BOTTOM LENGTH OF STRUCTURE. MIDDLE PIECE MARKED, “NAIJIN BASE #2” IN BLACK MARKER ON UNDERSIDE, CONTAINS MAJORITY OF CARVED GOLD-PAINTED WOODEN RELIEFS, THIS PIECE IS NARROWEST SECTION OF SHIMUDAN. TOP PIECE MARKED, “NAIJIN BASE #3,” IN BLACK MARKER ON UNDERSIDE, THE PIECE WIDENS OUT SUCH THAT OVERALL SHIMUDAN SHAPED LIKE FLATTENED SPOOL. ONTOP OF SHIMUDAN ARE 4 RED-PAINTED WOODEN FENCE-LIKE STRUCTURE WITH 4 GOLD-PAINTED WOODEN SPOOLS THAT SIT ON PEG ON EACH FENCE. LONG AND SHORT FENCE PCES AFFIX TO GIVE TWO L-SHAPED STRUCTURES, WHICH THEN SLOT INTO TO SURFACE OF SHIMUDAN ALONG SIDES AND PART OF FRONT. 11 PCES. TASSLE: S. PURPLE CORD, KNOTTED IN DECORATIVE WAY, TASSLES ON EITHER END, METAL SAFETY PIN AND WIRE AFFIXED TO TOP, LENGTH 33.8, WIDTH 18.5, HEIGHT 2.5. 1 PCE. TSURI TORO: T. HANGING LANTERN, GOLD-PAINTED COPPER, SET OF 2, EACH SET CONTAINS 6 PCES, TOTAL HEIGHT 43.7, WIDTH 34.5. JAPANESE NAME IS TSURI TORO, WHICH TRANSLATES TO “HANGING LANTERN.” SURFACE OF BOTTOM AND TOP PIECE ORNATELY ETCHED WITH DECORATIVE CUT-OUTS, ALLOWING LIGHT FROM LANTERN TO SHINE THROUGH. BOTTOM PIECE IS HEXAGONAL BASE RESTING ON SIX LEGS WITH METAL RODS EXTENDING UPWARDS FROM BASE. HEXAGONAL CYLINDER SITS ON TOP OF BASE, SURROUNDING METAL RODS. TWO SIDES OF HEXAGONAL CYLINDER ARE HINGED DOORS, LATCH ON FRONT SECURES DOORS CLOSED. ATTACHED TO METAL RODS IS LIGHT BULB WITH FIXTURE. TOP PIECE CONSISTS OF UPSIDE-DOWN DISH-SHAPED STRUCTURE, WITH WIDE LIP AND HIGHLY DECORATED EDGE, WHICH SLIDES ON TOP OF A VERTICAL PLATE WHICH RISES FROM METAL RODS. DOORKNOB-SHAPED HANDLE SITS ON TOP OF VERTICAL PLATE AND TOP PIECE, AND PEG SECURES ALL PIECES TOGETHER. CHAIN WOULD THEN BE USED TO HANG ENTIRE STRUCTURE FROM CEILING. 12 PCES TTL. UWA-JOKU: U. GOLD-PAINTED WOODEN TABLE, CONSISTS OF 4 PCES. BOTTOM-MOST PCE IS RECTANGULAR FRAME INTO WHICH TABLE STRUCTURE WITH SCROLL LEGS SLOTS INTO, FLAT TABLE SURFACE SLOTS INTO TBALE FRAME, TABLE RUNNER SITS ON TABLE SURFACE, DECORATED WITH ETCHED BRASS PLATES, CUT-OUTS AND DEPICTIONS OF CHRYSANTHEMUMS PAINTED PINK AND GREEN. ONE LEG HAS DETACHED FROM TABLE. LEGS ARE AFFIXED TO TABLE BY SMALL EXTENSION THAT SLOTS INTO HOLES. HEIGHT 34.9, LENGTH 75.7, WIDTH 29.4. JAPANESE NAME IS, “UWA-JOKU,” WHICH TRANSLATES TO, “UPPER TABLE.” 5 PCES. YORAKU: V. HANGING ORNAMENTS, GOLD-PAINTED WOOD, SET OF TWO, HEIGHT 52.5, WIDTH 20.3. JAPANESE NAME IS, “YORAKU,” WHICH TRANSLATES TO, “CORNER ORNAMENTS.” SIX STRINGS OF ORNAMENTS HANG FROM A CANOPY-LIKE STRUCTURE THAT IS SUSPENDED FROM THE 2 FRONT CORNERS OF THE GOKUDEN. THE ORNAMENTS CONSIST OF SMALL BEADS AND GOLD-PAINTED WOODEN FILIGREE. 2 PCES. W. HANGING ORNAMENTS, GOLD-PAINTED WOOD, SET OF TWO, HEIGHT 52.0, WIDTH 7.2. JAPANESE NAME IS, “YORAKU,” WHICH TRANSLATES TO, “CORNER ORNAMENTS.” SINGLE STRING OF ORNAMENTS WHICH HANGS FROM THE TWO BACK CORNERS OF THE GOKUDEN. THE ORNAMENTS CONSIST OF SMALL BEADS AND GOLD-PAINTED WOODEN FILIGREE. 2 PCES. WHITE CANDLE: X. PARTIALLY BURNED DOWN, LENGTH 27.7, DIAMETER 2.2.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
THESE OBJECTS REPRESENT THE BULK OF RELIGIOUS ITEMS OWNED BY THE TABER BUDDHIST CHURCH. NEARLY ALL OF THESE OBJECTS ARE THOUGHT TO HAVE BEEN ACQUIRED FROM JAPAN IN 1962. FOR 60 YEARS, THE TABER BUDDHIST CHURCH WAS A SPIRITUAL AND SOCIAL GATHERING PLACE FOR THE MANY JAPANESE AND JAPANESE-CANADIANS RESIDING IN VAUXHALL, BOW ISLAND AND TABER. THE ESTABLISHMENT OF THE TABER BUDDHIST CHURCH, AS WELL AS SEVERAL OTHER BUDDHIST CHURCHES IN THE AREA, IS, HOWEVER, RELATED TO A DARK CHAPTER IN CANADIAN HISTORY, NAMELY THE FORCIBLE RELOCATION OF JAPANESE IMMIGRANTS AND THEIR DECEDENTS FROM THE WEST COAST OF BRITISH COLUMBIA. IN “JODO SHINSHU IN SOUTHERN ALBERTA: FROM RURAL RAYMOND TO AMALGAMATION” JOHN HARDING WRITES, “THE HISTORY OF JAPANESE IMMIGRANTS IN SOUTHERN ALBERTA IS INSEPARABLE FROM THE RELOCATION, INTERNMENT AND LABOR FORCED ON JAPANESE AND JAPANESE-CANADIANS IN 1942.” MANY EVACUEES CHOSE, FROM A LIMITED NUMBER OF OPTIONS, TO MOVE TO SOUTHERN ALBERTA, AS THIS ALLOWED FOR FAMILIES TO STAY TOGETHER. AS A RESULT OF THIS RELOCATION, SOUTHERN ALBERTA’S JAPANESE AND JAPANESE-CANADIAN POPULATION INCREASED IN SIZE DRAMATICALLY. PRIOR TO THE WAR, LESS THAN 600 JAPANESE AND JAPANESE-CANADIANS RESIDED IN ALBERTA. APPROXIMATELY 3,000 EVACUEES MOVED TO SOUTHERN ALBERTA FOLLOWING THE INTERNMENT, MANY OF WHICH SETTLED ON FARMS IN THE TABER AND RAYMOND AREA. MANY BUDDHIST CHURCHES WERE ESTABLISHED IN RURAL COMMUNITIES IN SOUTHERN ALBERTA FOLLOWING THIS INCREASE IN JAPANESE AND JAPANESE-CANADIAN POPULATIONS. THE TOWNS OF PICTURE BUTTE, ROSEMARY, COALDALE AND TABER ALL SAW THE ESTABLISHMENT OF BUDDHIST CHURCHES IN THE 1940S AND 1950S. THESE CHURCHES ENABLED MEMBERS TO MAINTAIN THEIR SPIRITUAL AND CULTURAL IDENTITY WHICH WOULD HAVE BEEN ESPECIALLY DIFFICULT DURING THE INITIAL PREJUDICES AGAINST JAPANESE AND JAPANESE-CANADIANS DURING AND FOLLOWING WWII. THE TABER BUDDHIST CHURCH CLOSED IN SEPTEMBER OF 2007. THIS CLOSURE, ALONG WITH THE CLOSURE OF SEVERAL OTHER BUDDHIST CHURCHES IN SOUTHERN ALBERTA, IS PART OF AN ATTEMPT BY THE BUDDHIST CHURCHES OF SOUTHERN ALBERTA TO AMALGAMATE CHURCHES AND CREATE A NEW TEMPLE, THE BUDDHIST TEMPLE OF SOUTHERN ALBERTA (BTSA), BASED IN LETHBRIDGE, ALBERTA. THIS DECISION WAS BROUGHT ABOUT PRIMARILY BECAUSE MEMBERS WERE AGING AND MEMBERSHIP HAD BEEN DECLINING STEADILY FOR THE PAST SEVERAL DECADES. MANY OF THE SHRINES BELONGING TO THESE CHURCHES WERE DONATED TO MUSEUMS THROUGHOUT ALBERTA. THE GALT MUSEUM AND ARCHIVES IN LETHBRIDGE, ALBERTA IS THE RECIPIENT OF THE TABER BUDDHIST CHURCH SHRINE. THIS REPORT IS A SUMMARY OF THE HISTORY OF THE TABER BUDDHIST CHURCH, AND IS BASED ON PUBLISHED SOURCES AND INTERVIEWS OF PAST CHURCH MINISTERS AND MEMBERS. ESTABLISHMENT AND HISTORY OF THE TABER BUDDHIST CHURCH: KOJIRO SAKAMOTO WAS INSTRUMENTAL IN THE ESTABLISHMENT OF THE TABER BUDDHIST CHURCH. SAKAMOTO MOVED TO TABER FROM PITT MEADOWS IN 1942, FOLLOWING THE INTERNMENT OF JAPANESE AND JAPANESE-CANADIANS DURING WORLD WAR II. ASAYE SAKAMOTO, KOJIRO SAKAMOTO’S DAUGHTER-IN-LAW, REMEMBERS KOJIRO, ALONG WITH HER HUSBAND MR. SAKAMOTO AND TSURUKICHI MISHIYAMA, TRAVELING THROUGHOUT THE TABER AREA TO MEET WITH VARIOUS FAMILIES TO DISCUSS THE IDEA OF ESTABLISHING A BUDDHIST CHURCH. IN 2008, IRENE SAKAMOTO, KOJIRO’S GRANDDAUGHTER, RECALLED HIS APTITUDE FOR GATHERING DONATIONS: “HE (KOJIRO) WOULD PUT UP SOME MONEY TO SAY, HERE’S HOW MUCH I’M GOING TO DONATE TO THE CHURCH. YOU SHOULD DONATE THIS MUCH, OR WHAT YOU CAN…HE WANTED THAT CHURCH BADLY.” IRENE SAKAMOTO REMEMBERED A LOCAL WOMAN, RUBY KRENSKE, PICKING HER UP AT HER HOME IN ORDER TO TAKE HER TO THE TABER GOSPEL HALL TO ATTEND A CHRISTIAN SERVICE. IN, “FROM TANK 77 TO TABER TODAY,” KRENSKE WROTE, “I FIRST MET WITH THE CHILDREN ON THE STREET WHO WENT NOWHERE TO SUNDAY SCHOOL…WE ARRANGED FOR BRINGING THEM IN TO SUNDAY SCHOOL AT THE GOSPEL HALL AND THEY ALL CAME.” MANY CHILDREN WOULD GO TO THE GOSPEL HALL WITH KRENSKE, SO LONG AS THEIR PARENTS APPROVED. IRENE SAKAMOTO WONDERS IF THIS DID NOT BOTHER HER GRANDFATHER, PERHAPS MOTIVATING HIM TO ESTABLISH THE TABER BUDDHIST CHURCH. IN 1945, A COMMITTEE WAS ORGANIZED IN ORDER TO ESTABLISH A BUDDHIST CHURCH IN TABER. KOJIRO SAKAMOTO, MISHIYAMA AND OTHERS ARRANGED FOR BUDDHIST MINISTERS REVEREND IKUTA AND REVEREND YUTETSU KAWAMURA, WHO RESIDED RESPECTIVELY IN PICTURE BUTTE AND RAYMOND, TO VISIT TABER AND CONDUCT SERVICES WITHIN PRIVATE HOMES. KOJIRO SAKAMOTO HAD AN EXTRA ROOM BUILT ONTO HIS HOME IN ORDER TO ACCOMMODATE MORE PEOPLE FOR THESE SERVICES. KOJIRO SAKAMOTO WAS ALSO INSTRUMENTAL IN THE IMPLEMENTATION OF A ‘KODEN,’ A MONETARY GIFT MADE TO A RECENTLY DECEASED PERSON’S FAMILY DURING THE FUNERAL. IRENE SAKAMOTO REMEMBERS HER GRANDFATHER ASKING EVERYONE IN THE CHURCH TO DONATE A DOLLAR OR TWO TO THOSE WHO HAD SUFFERED A RECENT DEATH IN THEIR FAMILY. THE MONEY ENABLED FAMILIES TO PURCHASE A COFFIN FOR THEIR DECEASED LOVED ONES. BY 1947, THE TABER BUDDHIST CHURCH WAS ESTABLISHED, AND THE SOUTH HUNGARIAN HALL WAS BEING RENTED FOR WEEKLY SERVICES. IN 1949, THE TABER BUDDHIST CHURCH PURCHASED THE HUNGARIAN HALL FROM DONATIONS RECEIVED BY CHURCH MEMBERS. CHURCH MEMBERSHIP CONSISTED OF MORE THAN 90 FAMILIES AND IT WAS QUICKLY REALIZED THAT THE HALL WOULD NOT ACCOMMODATE ALL OF THE CHURCH MEMBERS. IN THE SUMMER OF 1950, AN ANNEX WAS ADDED TO THE BUILDING FOLLOWING A VERY SUCCESSFUL FUND-RAISING CAMPAIGN. TO HELP COVER THE COSTS OF THE NEW EXTENSION, THE ESTABLISHED FARMER MEMBERS DONATED THE PROFITS FROM TWO ACRES OF SUGAR BEET CROPS TOWARDS THE CHURCH WHICH, WERE THINNED AND CARED FOR BY THE CHURCH MEMBERS. OTHER MEMBERS CONTINUED TO MAKE MONETARY DONATIONS. IN 1951, THE TABER BUDDHIST CHURCH WAS THE RECIPIENT OF A GOHONZON, A STATUE OF AMIDA BUDDHA, FROM THE NEW YORK BUDDHIST CHURCH. MR. AKISABURO SATO FROM TABER TRAVELED REGULARLY TO THE EAST COAST, AND ACCEPTED THE GOHONZON ON BEHALF OF THE TABER BUDDHIST CHURCH FROM THE NYBC. AN INSTALLATION CEREMONY WAS CONDUCTED IN APRIL 1951 FOLLOWING THE DONATION. IN 1952, THE LADY YOSHIKO OHTANI AND LORD KOSHO OHTANI, ALSO KNOWN AS THE ABBOT, VISITED THE TABER BUDDHIST CHURCH. THIS VISIT WAS PART OF THE LADY OHTANI’S DESIRE TO REVITALIZE THE BUDDHIST WOMAN’S ASSOCIATION BY VISITING SHIN BUDDHIST TEMPLES IN JAPAN AND OVERSEAS. AS A RESULT OF HER EFFORTS, THE WORLD WOMAN’S BUDDHIST CONVENTION, ONE OF WHICH TOOK PLACE IN VANCOUVER AND WAS ATTENDED BY MANY TABER BUDDHIST CHURCH MEMBERS, WAS HELD EVERY FOUR YEARS. THESE CONFERENCES ALLOWED FOR THE VARIOUS SHIN BUDDHIST CHAPTERS TO COMMUNICATE WITH EACH OTHER AND SHARE DIFFERENT CULTURAL TRADITIONS. IRENE SAKAMOTO RECALLED ATTENDING THIS EVENT IN TABER AND BEING BAPTIZED BY THE ABBOT, ALONG WITH SEVERAL OTHER PEOPLE. THOSE WHO WERE BAPTIZED WERE GIVEN THEIR BUDDHIST NAME, WHICH WAS WRITTEN ON A PLACARD, AND IS TRADITIONALLY PLACE IN THE BUDDHIST TEMPLE DURING THEIR FUNERAL SERVICE. AS EARLY AS 1958, THE TABER BUDDHIST CHURCH BEGAN TO MAKE INQUIRIES TO JAPANESE SHRINE DEALERS IN ORDER TO PURCHASE A SHRINE. FURTHER INQUIRIES WERE MADE IN JULY, 1961. AFTER RESEARCHING POTENTIAL SHRINE DEALERS IN JAPAN, A SHINE WAS DECIDED UPON IN FEBRUARY OF 1962. THE TOTAL COST WAS ABOUT $3500.00. THE SHRINE ARRIVED IN LETHBRIDGE IN APRIL, 1963 AND WAS ASSEMBLED BY MR. KAWADE OF RAYMOND. IN MARCH 1964, AN INSTALLATION CEREMONY WAS HELD. IT WAS ATTENDED BY APPROXIMATELY 400 MEMBERS AND GUESTS, DESPITE INCLEMENT WEATHER, AND ABOUT $3950.00 WAS RAISED VIA RAFFLES AND DONATIONS. IN APRIL 1964, AN INSTITUTIONAL SPLIT DIVIDED THE BUDDHIST CHURCHES IN ALBERTA. THE SPLIT WAS A SENSITIVE ISSUE AND IMPACTED RELATIONS BETWEEN MEMBERS OF VARIOUS BUDDHIST CHURCHES IN SOUTHERN ALBERTA FOR DECADES. THE REASONS FOR THE SPLIT REMAIN UNCLEAR, ALTHOUGH IT APPEARS THAT DIFFERING OPINIONS ABOUT THE DIRECTION OF THE BUDDHIST CHURCHES AND PERSONALITY CONFLICTS WERE THE MAIN CAUSES. THE MAJORITY OF MEMBERS OF THE TABER BUDDHIST CHURCH, ALONG WITH THE NORTHSIDE LETHBRIDGE, COALDALE, AND THE PICTURE BUTTE BUDDHIST CHURCHES, REMAINED WITH THE BUDDHIST CHURCHES OF CANADA, WHILE THE ROSEMARY, RAYMOND, AND HONPA BUDDHIST CHURCHES EXISTED INDEPENDENTLY OF THE BCC. THE INSTITUTIONAL SPLIT WAS RECONCILED, TO A DEGREE, FOLLOWING THE CREATION OF THE BTSA IN 2007. BITTER FEELINGS, HOWEVER, ARE STILL APPARENT. THE TABER BUDDHIST CHURCH CELEBRATED 25TH, 30TH, 35TH, 40TH, AND 50TH ANNIVERSARIES IN 1972, 1977, 1982, 1987, AND 1997, RESPECTIVELY. AT THESE EVENTS, A SPECIAL SERVICE WAS HELD AND PHOTOGRAPHS WERE TAKEN TO COMMEMORATE THE EVENT. IN 1984, THE ABBOT AND LADY OHTANI VISITED THE TABER BUDDHIST CHURCH. THE VISITING ABBOT WAS THE SON OF LORD KOSHO OHTANI, THE ABBOT WHO CAME TO S. ALBERTA IN 1952. IN 1988, CHURCH MEMBER JACK NAGAI SPEARHEADED THE MOTION TO GET THE TABER BUDDHIST CHURCH INCORPORATED. THE GOAL WAS TO BE ABLE TO REGISTER THE CHURCH SO THAT TAX RECEIPTS COULD BE ISSUED TO THOSE WHO GAVE A DONATION. DURING THE SAME YEAR, THE CANADIAN GOVERNMENT ISSUED REDRESS COMPENSATION TO THE JAPANESE CANADIANS WHO ENDURED INTERNMENT DURING WORLD WAR II. MANY RECIPIENTS OF REDRESS MADE DONATIONS TO THE TABER BUDDHIST CHURCH, ALLOWING FOR REPAIRS AND CONTINUATION OF CHURCH ACTIVITIES. IN 2008, SEVERAL TABER BUDDHIST CHURCH MEMBERS TOLD GALT MUSEUM STAFF THAT THEY DONATED REDRESS COMPENSATION, AWARDED IN THE LATE 80S, TO THE BTSA FOR THE CONSTRUCTION OF THE NEW TEMPLE. IN 1989, THE TABER BUDDHIST CHURCH HOSTED THE 11TH ALBERTA BUDDHIST CONFERENCE. THIS ANNUAL EVENT CONSISTED OF A WEEKEND OF ACTIVITIES, INCLUDING AN OPENING SERVICE, GUEST SPEAKERS, A BANQUET, A TOUR OF ROGER’S SUGAR FACTORY, A SPECIAL SESSION ON BUDDHISM FOR YOUTH ATTENDEES AND A CHURCH SERVICE. APPROXIMATELY 230 ATTENDED AND OVER 2500 RAFFLE TICKETS WERE SOLD. TICKETS WERE $20 AND WERE SOLD BY THE HOSTING CHURCH MEMBERS. THE EVENT WAS A HUGE SUCCESS, WITH MORE TICKETS BEING SOLD THAN ANY OTHER PREVIOUS ALBERTA BUDDHIST CONFERENCE. ON SEPTEMBER 9TH, 2007, THE TABER BUDDHIST CHURCH WAS CLOSED. THE BUILDING WAS SOLD ON OCTOBER 1, 2007. THE INFORMATION ON THE PLACEMENT, FUNCTION, AND SIGNIFICANCE OF THE OBJECTS LISTED BELOW WAS GATHERED FROM REVEREND IZUMI, A LOCAL BUDDHIST MINISTER. ALL TRANSLATIONS WERE MADE BY REVEREND IZUMI. BUPPANKI: THESE ARE OFFERING VESSELS, USUALLY FOR COOKED RICE. THEY ARE OFTEN PLACED IN FRONT OF THE STATUE OF AMIDA BUDDHA (GOHONZON) ON THE SHUMIDAN. IN SHIN BUDDHISM, OFFERINGS ARE EXPRESSIONS OF GRATITUDE, AND CAN COME IN A SPIRITUAL OR MATERIAL FORM. SPIRITUAL OFFERINGS INCLUDE THE READING OF PRAYERS AND CHANTING OF SUTRAS, WHEREAS MATERIAL OFFERINGS INCLUDE RICE, CAKES, PASTRIES, CANDIES, FLOWERS, AND INCENSE. THERE ARE SEVERAL OBJECTS THAT ARE USED TO HOLD OFFERINGS: THE DANMORI, BUPPANKI, AND KESOKU. BUSSETSU MURYJU KYO-BAKO: THE BUSSETSU MURYJU KYO-BAKO IS THE BOX USED TO CONTAIN THE THREE PRINCIPLE SUTRAS OF SHIN BUDDHISM. THEY ARE SUTRA OF IMMEASURABLE LIFE (MURYOJU-KYO), WHICH CONSISTS OF TWO VOLUMES, MEDITATION SUTRA (KAMMURYOJU-KYO), AND, AMIDA SUTRA. ADORNING THE BOX LID IS THE JODO SHINSHU CREST AND KIRI. JODO SHINSHU CREST IS ALSO KNOWN AS, “SAGARIFUJI,” WHICH IS A WISTERIA VINE. THE FLOWERS OF THE VINE HANG DOWN AND SIGNIFY HUMILITY. THE SAGARIFUJI WAS ORIGINALLY THE FAMILY CREST OF THE FUJIWARA CLAN, OF WHICH SHINRAN SHONIN, THE FOUNDER OF SHIN BUDDHISM, WAS A MEMBER. THE KIRI REPRESENTS THE PRINCESS TREE AND/OR PAULOWNIA FLOWER AND IS A SYMBOL OF THE OFFICE OF THE PRIME MINISTER OF JAPAN. CANDLE SNUFFER: THIS WOULD SIT IN THE DRAWER OF THE MAE-JOKU, AND WOULD HAVE BEEN USED TO EXTINGUISH CANDLES. ALL FLAMES WOULD HAVE BEEN EXTINGUISHED BY A CANDLE SNUFFER, AS HUMAN BREATH IS CONSIDERED IMPURE. CANDLE SNUFFER WAS KEPT IN THE DRAWER OF THE MAE-JOKU, AND WAS LIKELY PURCHASED LOCALLY. FLAG POLE: THIS WOULD SIT IN THE GEJIN (NON-STAGE AREA) OF THE CHURCH, IN THE RIGHT CORNER AGAINST THE NAIJIN (STAGE), FROM THE AUDIENCE’S PERSPECTIVE. A BUDDHIST FLAG WOULD HAVE BEEN ATTACHED TO THE FLAG POLE. GOBUNSHO-BAKO: THIS BOX WOULD SIT ON THE KYO-JOKU (SUTRA TABLE) IN FRONT OF RENNYO SHONIN’S SCROLL. CONTAINED WITHIN THE BOX WOULD HAVE BEEN A BOOK KNOWN AS, “GOBUNSHO.” THE BOOK CONTAINS A SELECTION OF ABOUT 80 LETTERS WRITTEN BY RENNYO SHONIN, WHO LIVED FROM 1415-1499. HE IS THE 8TH DESCENDANT OF SHINRAN, THE FOUNDER OF THE JODO SHINSHU SECT. RENNYO SHONIN WAS A REFORMER OF THE JODO SHINSHU DENOMINATION, AND IS SEEN AS RESPONSIBLE FOR A RE-EMERGENCE OF SHIN BUDDHISM. THE LETTERS WERE WRITTEN TO HELP CLARIFY THE TRUE MEANING OF THE NAMU AMIDA BUTSU AND SHINRAN SHONIN'S TEACHINGS. FOR SYMBOLISM OF JODO SHINSHU CREST AND KIRI, SEE HISTORY OF BUSSETSU MURYJU KYO-BAKO ABOVE. SEE ARCHIVES. GOKUDEN: IS USED TO HOUSE THE GOHONZON (AMIDA BUDDHA). THE GOKUDEN SITS ON THE SHUMIDAN . THE FOUR PILLARS SURROUNDING THE ALCOVE WHERE THE GOHONZON SITS ARE REPRESENTATIVE OF THE FOUR NOBLE TRUTHS, A CENTRAL COMPONENT OF BUDDHIST TEACHINGS. THE ANIMALS DEPICTED IN RELIEF ON THE GOKUDEN ARE SEEN AS PROTECTING AMIDA BUDDHA. THE GOLD COLOUR SEEN THROUGHOUT THE GOKUDEN AND OTHER RELIGIOUS ARTIFACTS IS SYMBOLIC: TRUTH, LIKE GOLD, DOES NOT TARNISH OVER TIME. FOR SYMBOLISM OF JODO SHINSHU CREST, SEE HISTORY OF BUSSETSU MURYJU KYO-BAKO ABOVE. KAHIN: THE KAHIN (FLOWER VASES) SIT ON THE MAE-JOKU OR SHOKO-DAI. THE BUTSUGU WHICH SITS ON THE MAE-JOKU ARE ARRANGED IN EITHER A THREE OR FIVE SET ARRANGEMENT. THE THREE SET ARRANGEMENT IS CALLED A, “SANGUSOKU,” WHICH HAS AN INCENSE BURNER, A VASE, AND A CANDLE-STICK HOLDER ARRANGED LEFT TO RIGHT FROM THE AUDIENCE’S PERSPECTIVE. THE FIVE SET ARRANGEMENT IS CALLED A, “GOGUSOKU,” AND THE BUTSUGU ARRANGEMENT IS A VASE, A CANDLE-STICK HOLDER, AN INCENSE BURNER, A CANDLE HOLDER AND A VASE. THE GOGUSOKU IS TRADITIONALLY RESERVED FOR SPECIAL OCCASIONS, ALTHOUGH THE BUDDHIST CHURCHES IN SOUTHERN ALBERTA USED THIS ARRANGEMENT FREQUENTLY, ACCORDING TO REVEREND IZUMI. FLOWERS ARE A COMMON SYMBOL IN SHIN BUDDHISM, SIGNIFYING THE IMPERMANENCE OF LIFE. MANY CHURCHES IN SOUTHERN ALBERTA COULD NOT AFFORD TO PURCHASE FRESH FLOWERS YEAR ROUND, THUS FAKE FLOWERS WERE OFTEN USED. THE DRAGONS WHICH APPEAR ON THE HANDLES OF SOME OF THE KAHIN ARE SYMBOLIC OF GOOD OMENS. KASHA: THE KASHA (INCENSE-BURNER) SITS ON THE UWA-JOKU (UPPER TABLE). THE BUTSUGU THAT SIT ON THE UWA-JOKU ARE ARRANGED IN A FOUR ELEMENT ARRANGEMENT. FROM LEFT TO RIGHT, FROM THE AUDIENCE’S PERSPECTIVE, THE ARRANGEMENT IS AS FOLLOWS: KEBYO (FLOWER-VASE), ROSOKU-TATE (CANDLE HOLDER), KASHA, AND KEBYO. SOME PHOTOGRAPHS, HOWEVER, SUGGEST THAT THIS ARRANGEMENT WAS FLEXIBLE. THE THREE LEGS OF THE KASHA AND OTHER BUTSUGU ARE SYMBOLIC OF THE THREE TREASURES: (1) BUDDHA, THE SOURCE OF ENLIGHTENMENT AND TRUTH, (2) DHARMA, THE TEACHINGS AND EXPRESSIONS OF TRUTH, AND (3) SANGHA, A FRIENDLY, HARMONIOUS GATHERING. BUTSUGU WITH THREE LEGS SHOULD BE POSITIONED SUCH THAT ONE OF THE THREE LEGS FACES DIRECTLY OUTWARDS. INCENSE-BURNING WAS A COMMON RITUAL PRACTICED IN BUDDHIST CHURCHES, SIGNIFYING ONES RESPECT AND GRATITUDE TOWARDS AMIDA BUDDHA. KEBYO: THESE FLOWER VASES WOULD SIT ON THE UWA-JOKU (UPPER TABLE), PER PLACEMENT OF KEBYO, SEE SEE HISTORY OF KASHA ABOVE. PER SIGNIFICANCE OF FLOWERS IN SHIN BUDDHISM, SEE HISTORY OF KAHIN ABOVE. KIKU-RINTO: THIS CHRYSANTHEMUM HANGING LANTERN WOULD HANG FROM THE CEILING, GENERALLY ON EITHER SIDE OF THE MAE-JOKU (FRONT TABLE). IN SHIN BUDDHISM, LIGHT SYMBOLIZES AMIDA BUDDHA’S WISDOM AND TRUTH. THE FLOWERS FOUND THROUGHOUT THE KIKU-RINTO ARE SYMBOLIC OF THE TRANSIENCE OF LIFE. SPECIFICALLY, THE CHRYSANTHEMUM FLOWER IS FOUND ON THE CREST OF THE EMPEROR OF JAPAN, AND A SYMBOL OF THE EMPEROR AND THE IMPERIAL HOUSE. TRADITIONALLY, SUCH LANTERNS WERE OIL-BURNING, BUT THESE LANTERNS ARE ELECTRIC. KORO: THESE KORO (INCENSE-BURNERS) WERE TYPICALLY PLACED ON A SHOKO-DAI (INCENSE BURNING STAND). PER SIGNIFICANCE OF THREE LEGGED BUTSUGU AND INCENSE BURNING, SEE HISTORY OF KASHA ABOVE. THE DRAGONS DEPICTED ON THE KORO ARE SYMBOLS OF GOOD OMENS. FOR SYMBOLISM OF JODO SHINSHU CREST, SEE HISTORY OF BUSSETSU MURYJU KYO-BAKO ABOVE. MAE-JOKU: THIS TABLE WOULD BE CENTERED IN FRONT OF THE GOKUDEN (AMIDA BUDDHA’S HOUSE) ON THE NAJIN (STAGE). FOR KINDS OF BUTSUGU AND THEIR PLACEMENT ON MAE-JOKU , SEE HISTORY OF KAHIN ABOVE. THE CARVED WOODEN RELIEFS ON THE TABLE INCLUDE DRAGONS, CRANES (SYMBOLS OF GOOD OMENS AND LONGEVITY, RESPECTIVELY), PEACOCKS, AND LOTUS AND CHRYSANTHEMUM FLOWERS. LOTUS FLOWERS ARE ESPECIALLY IMPORTANT SYMBOLS IN BUDDHISM. THE LOTUS PLANT BEGINS ITS LIFE AS A SEED, AT THE MUCKY BOTTOM OF A POND. AS IT GROWS, THE PLANT ASCENDS THROUGH THE MURKY WATER, EVENTUALLY COMING TO THE SURFACE AND BLOSSOMING INTO A BEAUTIFUL FLOWER. THE LOTUS FLOWER IS THUS AN EXAMPLE FOR FOLLOWERS OF THE BUDDHIST FAITH. THE MUCK AND MUDDY POND IS SYMBOLIC OF OUR WORLD, AND THE SINS AND TEMPTATIONS THAT EXIST WITHIN IT, YET FROM THIS, A BEAUTIFUL FLOWER IS BORNE. BY FOLLOWING AMIDA BUDDHA’S TEACHING AND STRIVING FOR PURITY AND ENLIGHTENMENT, ONE IS ABLE TO MOVE BEYOND SIN, AND ASCEND TOWARDS ENLIGHTENMENT. PER SIGNIFICANCE OF CHRYSANTHEMUM FLOWERS, SEE HISTORY OF AND KIKU-RINTO ABOVE. THE ANIMALS AND PLANTS REPRESENTED APPEAR AS THEY ARE DESCRIBED IN THE AMIDA SUTRA, ONE OF THE 3 PRINCIPLE SUTRAS OF SHIN BUDDHISM. RESTING ON TOP OF THE MAE-JOKU WAS THE UCHISHIKI AND MIZUHIKI AND TABLE RUNNER (SEE P20070020012). ROSOKU-TATE: THESE PARTICULAR ROSOKU-TATE WOULD SIT ON A SHOKO-DAI. THE DRAGONS DEPICTED ON THE ROSOKU-TATE ARE SYMBOLIC OF GOOD OMENS. THE FLAME WOULD HAVE BEEN EXTINGUISHED BY A CANDLE SNUFFER, AS HUMAN BREATH IS CONSIDERED IMPURE. PER SIGNIFICANCE OF LIGHT IN SHIN BUDDHISM, SEE HISTORY OF KIKU-RINTO. SHUMIDAN: SAT ON THE CENTER OF THE STAGE (NAIJIN) IN THE TABER BUDDHIST CHURCH. THE GOKUDEN SITS ATOP THE SHIMUDAN, AS DOES THE UWA-JOKU AND OTHER VARIOUS BUTSUGU. DRAGONS DEPICTED ON THE SHIMUDAN ARE SYMBOLIC OF GOOD OMENS. PER SIGNIFICANCE OF CHRYSANTHEMUMS, SEE HISTORY OF KIKU-RINTO. TASSLE: THIS HUNG INSIDE THE GOKUDEN, ABOVE THE HEAD OF THE GOHONZON. TSURI TORO: THESE WOULD HANG FROM THE CEILING, ON EITHER SIDE OF THE GOKUDEN (AMIDA BUDDHA’S HOUSE). THE TSURI TORO WERE ORIGINALLY USED TO LIGHT PATHS AT NIGHT TO AVOID THE ACCIDENTAL KILLING OF INSECTS AND SMALL CREATURES ON THE ROAD. TRADITIONALLY, SUCH LANTERNS WERE OIL-BURNING, BUT THESE LANTERNS WERE ELECTRIC. PER SIGNIFICANCE OF LIGHT IN SHIN BUDDHISM, SEE HISTORY OF KIKU-RINTO. UWA-JOKU: SITS ON THE SHIMUDAN, IN FRONT OF THE GOKUDEN. SITTING ON TOP OF THE UWA-JOKU IS UCHISHIKI 1(TABLE CLOTH). SEE P20070020013 FOR DESCRIPTION AND PLACEMENT OF THIS UCHISHIKI. A FOUR ELEMENT ARRANGEMENT SAT ON THIS TABLE WHICH, FROM LEFT TO RIGHT, AUDIENCE’S PERSPECTIVE, WERE: KEBYO, ROSOKU-TATE, KASHA, AND KEBYO. PER SIGNIFICANCE AND FUNCTION OF THESE OBJECTS, SEE RESPECTIVE HISTORIES LISTED ABOVE. YORAKU: THESE WOULD HANG FROM THE FOUR CORNERS OF THE GOKUDEN; THE LARGER YORAKU HANG FROM THE FRONT CORNERS AND THE SMALLER YORAKU HANG FROM THE BACK CORNERS. THEY ARE DERIVED FROM ORNAMENTS WORN AROUND THE NECK OF BODY OF ARISTOCRATIC MEN IN ANCIENT INDIA. SHAKYAMUNI BUDDHA, THE FOUNDER OF BUDDHISM, ADVOCATED THAT NOBILITY WAS NOT THE RESULT OF ONE’S BIRTH, BUT RATHER THE RESULT OF ONES DEEDS. THESE YORAKU REPRESENT THE ATTAINMENT OF NOBILITY THROUGH NOBLE DEEDS. WHITE CANDLE: WOULD HAVE BEEN USED WITH ROSOKU-TATE.
Catalogue Number
P20070020001
Acquisition Date
2007-01
Collection
Museum
Less detail
Other Name
BUTSUGU
Date Range From
1947
Date Range To
2007
Material Type
Artifact
Catalogue Number
P20070020002
  5 images  
Material Type
Artifact
Other Name
BUTSUGU
Date Range From
1947
Date Range To
2007
No. Pieces
46
Description
BELL STAND: A. BELL STAND, CIRCULAR WOODEN SHELF, PAINTED RED WITH GOLD TRIM, CONSISTS OF 2 PCES, HEIGHT 28.2, DIAMETER 30.2. BASE OF STAND HAS CIRCULAR DISC ON WHICH FOUR-LEGGED STRUCTURE AFFIXED. FOUR SMALL PEGS ON BASE INSERT INTO TOP PIECE. BELL STICK: B. WOODEN RED-PAINTED HANDLE, LEATHER STRIKING SURFACE, LENGTH 31.8, DIAMETER 3.1. PAINT ON HANDLE HEAVILY WORN. 1 PCE. BOX: C. BLACK-PAINTED WOODEN BOX WITH LID, 2 PCES, HEIGHT 44.7, LENGTH 37.0, WIDTH 36.5. INSIDE OF BOX AND LID UNFINISHED. CHUKIN: D. BELL, BRASS, BOWL-SHAPED, HEIGHT 18.1, DIAMETER 27.1. JAPANESE NAME IS, “CHUKIN,” WHICH MEANS A MIDDLE-SIZED BELL. FINISH OF BELL APPEARS TO RESEMBLE BRONZE, INSIDE OF BELL PAINTED BLACK. LARGE DENT ON UNDERSIDE OF BELL. ASIAN CHARACTERS ON SIDE OF BELL TRANSLATE TO, “GENRYU (THE MAKER OF THE BELL), KYOTO.” 1 PCE. DANMORI: E. WOODEN STAND WITH FOUR SHELVES, PARTIALLY PAINTED BLACK, SET OF TWO, HEIGHT 53.5, DIAMETER 22.0. JAPANESE NAME IS, “DANMORI,” WHICH TRANSLATES TO, “TIER-PILE.” SHELVES ATTACHED TO FOUR PILLARS, ONLY EDGES OF SHELVES, PILLARS AND BASE OF STAND PAINTED. 2 PCES TTL. KIKU-RINTO: F. HANGING LANTERN, BRASS, SET OF TWO, EACH SET CONTAINS 14 BRASS PCES, TTL HEIGHT 84.0, WIDTH 34.0. JAPANESE NAME IS, “KIKU-RINTO,” WHICH TRANSLATES TO, “CHRYSANTHEMUM CIRCULAR-LAMP.” BOTTOM PIECE IS DISH WITH SCALLOPED EDGES. TWO INCREASINGLY SMALLER SIMILAR DISHES SIT INSIDE. RING SITS IN TOP-MOST DISH, AND LIGHT FIXTURE WOULD SIT HERE. SEMI-CIRCULAR BAND DECORATED WITH CHRYSANTHEMUM FLOWERS ARCHES OVER DISHES, ATTACHES TO BOTTOM-MOST DISH WITH TWO PEGS. (ONE PEG MISSING FROM ONE SET). VERTICAL BRASS PLATE DECORATED WITH CHRYSANTHEMUMS ATTACHES WITH HOOK TO SEMI-CIRCULAR ARCH. ATTACHING TO TOP OF VERTICAL PLATE IS LONG HOOK WITH SHELF. SITTING ON SHELF IS LARGE DISH, BOWL FACING FLOOR, WITH WIDE LIP AND SCALLOPED EDGES. TWO METAL DISCS SIT ON TOP OF DISH, BOTTOM MOST ON HAS SPOKES RADIATING FROM CENTRE POINT, TOP-MOST DISC RESEMBLES A FLOWER. DOORKNOB-LIKE OBJECT WITH SEMI-CIRCULAR HANDLE IS FINAL PIECE TO SIT ON SHELF, AND PEG SECURES ALL THESE PIECES TOGETHER. CHAIN WOULD THEN BE USED TO HANG ENTIRE STRUCTURE FROM CEILING. 27 PCES TTL. KORO: G. INCENSE-BURNER AND LID, BRONZE, HEIGHT 27.0, DIAMETER 25.7, 3 PCES. JAPANESE NAME IS, “KORO,” WHICH TRANSLATES TO, “INCENSE-BURNER.” BASE PIECE IS BOWL-SHAPED DISH WITH THREE LEGS AND TWO ‘L’ SHAPED HANDLES, SECOND PIECE IS DISH THAT SITS INSIDE BASE AND CONTAINS BURNT INCENSE REMAINS, THIRD PIECE IS ORNATE LID WITH SCULPTURE OF MYTHOLOGICAL CHINESE DRAGON ON TOP. ROSOKU-TATE: H. CANDLE-STICK HOLDERS, BRONZE, SET OF TWO, 55.1 X 19.5 X 19.5. EACH SET HAS 3 PCES. JAPANESE NAME IS, “ROSOKU-TATE,” WHICH TRANSLATES TO, “CANDLE-STICK HOLDER.” BOTTOM PIECE HAS BASE WITH THREE LEGS, LEGS MADE UP OF DRAGON HEADS WITH TONGUES STICKING OUT. MIDDLE PIECE DEPICTS TWO CRANES WHOSE WINGS ARE SPREAD AND PROTRUDE HORIZONTALLY FROM CANDLESTICK SHAFT. TOP PIECE THAT COLLECTS WAX IS DISH-SHAPED WITH WIDE LIP, SCALLOPED EDGES. UNDERSIDE OF DISH HAS PLANT VEIN MOTIF. 6 PCES TTL. SCROLL: I. PAPER, HEIGHT 147.0, WIDTH 46.8. SCROLL DEPICTS FIGURE, SHINRAN SHONIN, WITH MEDITATION BEADS, RED AND DARK PURPLE DECORATIVE BORDER. BOTTOM OF SCROLL AFFIXED TO RED DOWEL, TOP OF SCROLL HAS STRING FOR HANGING. LOWER RIGHT CORNER OF SCROLL MARKED WITH KANJI CHARACTERS READING, “HUMBLY COPIED,” AND STAMP OF THE ARTIST. 1 PCE. ZABUTON: J. CIRCULAR CUSHION, HEIGHT 8.9, DIAMETER 26.5. WHITISH-YELLOW AND BLUE, RED TASSEL EMERGING FROM CENTER OF TOP SIDE OF CUSHION, CIRCULAR BAND OF ROPE ALONG BOTTOM OF CUSHION. JAPANESE NAME IS, “ZABUTON.” 1 PCE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
THE TABER BUDDHIST CHURCH ACQUIRED THESE SECONDARY RELIGIOUS OBJECTS, KNOWN AS BUTSUGU, BETWEEN 1947 AND 1955. ALL THESE OBJECTS, WHICH EXCEPTION OF THE DANMORI, MAY HAVE BEEN PURCHASED FROM JAPAN OR DONATED TO THE TABER BUDDHIST CHURCH FROM ANOTHER BUDDHIST CHURCH, EITHER A BUDDHIST CHURCH IN WESTERN BC UNDERGOING INTERNMENT OR THE RAYMOND BUDDHIST CHURCH. IN THE TABER BUDDHIST CHURCH MINUTES, THERE IS MENTION OF MONIES BEING NEEDED TO PURCHASE UNIDENTIFIED BUTSUGU IN 1949 AND 1955, AND IN 1952 THERE IS A RECORD OF AN INCENSE BURNER BEING PURCHASED FROM JAPAN. THE DANMORI WERE LIKELY HANDMADE BY A LOCAL CARPENTER IN SOUTHERN ALBERTA, AND MAY HAVE BEEN MADE BY SPECIFIC REQUEST OF THE TABER BUDDHIST CHURCH. ALL THESE OBJECTS, WITH THE EXCEPTION OF THE KIKU-RINTO AND THE SCROLL, WERE USED CONTINUOUSLY FROM 1947-2007. THE SCROLL AND THE KIKU-RINTO WERE LIKELY RETIRED FOLLOWING THE ACQUISITION OF THE SHRINE IN 1962. INFORMATION OBTAINED FROM REVEREND IZUMI, A LOCAL BUDDHIST MINISTER, IN 2008. ALL TRANSLATIONS MADE BY REVEREND IZUMI. FOR MORE INFORMATION, SEE PERMANENT FILE AND P20070020001. BELL STAND, BELL STICK, BOX, CHUKIN AND ZABUTON: THE CHUKIN WAS RESTED ON A CUSHION CALLED A ZABUTON WHICH SAT ATOP THE RED BELL STAND. THE STAND WAS LOCATED ON A BLACK-PAINTED WOODEN BOX NEXT TO THE MINISTER IN THE NAIJIN (STAGE). THE CHUKIN IS A LARGE INVERTED BELL WHICH IS STRUCK ON THE OUTSIDE LIP WITH A BELL STICK, OFTEN A LEATHER-COVERED CLAPPER MADE OF LACQUERED WOOD OF CHINESE ORIGIN, THE CHUKIN IS IN THE SHAPE OF THE BUDDHA SHAKYAMUNI'S BEGGING BOWL. THE DEEP, RESONANT TONE OF THE CHUKIN SYMBOLIZES THE IMPERMANENCE OF ALL THINGS. THE CHUKIN WOULD HAVE BEEN USED BY THE MINISTER TO RING THE BELL AT THE START, MIDDLE, AND END OF A SUTRA CHANT. DANMORI: THE DANMORI WOULD SIT ON THE SHUMIDAN (THE BASE ON WHICH THE GOKUDEN SITS). OFFERINGS OF FRUIT, VEGETABLES, OR SWEET PASTRIES WOULD BE PLACED ON THE DANMORI. THE DANMORI HAS A SIMILAR FUNCTION TO THE KESOKU, ANOTHER TYPE OF OFFERING VESSEL, EXPECT THE DANMORI IS USED WHEN MORE THAN ONE VARIETY OF FOOD IS BEING OFFERED. PER SIGNIFICANCE OF OFFERINGS, SEE HISTORY OF BUPPANKI UNDER P2007000001. KIKU-RINTO: PER SIGNIFICANCE, FUNCTION, AND PLACEMENT OF KIKU-RINTO, SEE HISTORY OF THE KIKU-RINTO UNDER P20070020001. KORO: THIS PARTICULAR KORO (INCENSE-BURNER) WOULD SIT ON THE MAE-JOKU. PER SIGNIFICANCE, FUNCTION AND PLACEMENT OF KORO, SEE HISTORY OF KAHIN AND KASHA UNDER P20070020001. THE CHINESE-MYTHOLOGICAL DRAGON ON THE LID OF THE KORO IS KNOWN AS, “KIRIN,” AND IS RECOGNIZED AS A GOOD OMEN. ROSOKU-TATE: THESE PARTICULAR CANDLESTICK HOLDERS SIT ON THE MAE-JOKU. CANDLE-STICK HOLDERS ARE ADORNED WITH MANY SYMBOLS: CRANES AND DRAGONS, SYMBOLS OF LONGEVITY AND GOOD OMENS, RESPECTIVELY, AND LOTUS FLOWERS. PER SIGNIFICANCE OF LOTUS FLOWERS, SEE HISTORY OF MAE-JOKU UNDER P20070020001. THESE ROSOKU-TATE ARE DECORATED WITH PEOPLE PLAYING MUSICAL INSTRUMENTS, REFERENCING THE PROMISED LAND DESCRIBED IN THE AMIDA SUTRA. FOR SIGNIFICANCE, AND FUNCTION, AND PLACEMENT OF THESE ROSOKU-TATE, SEE HISTORY OF ROSOKU-TATE AND KAHIN UNDER P20070020001.PER SIGNIFICANCE OF OBJECTS WITH THREE LEGS, SEE HISTORY OF KASHA UNDER P20070020001. SCROLL: THIS SCROLL WOULD BE HUNG ON THE WALL TO THE RIGHT PROPER OF THE GOHONZON. OFTEN, A KYO-JOKU (SUTRA TABLE) WOULD BE PLACED IN FRONT OF THE SCROLL, WITH A SUTRA BY SHINRAN SHONIN ON THE TABLE. THE SCROLL DEPICTS VENERABLE MASTER SHINRAN SHONIN (1173-1263), FOUNDER OF JODO SHINSHU ALSO KNOWN AS SHIN BUDDHISM. ONE OF THE GREAT FIGURES OF JAPANESE BUDDHISM, SHINRAN WAS BORN IN KYOTO AS THE ELDEST SON OF THE FUJIWARA CLAN. HE TAUGHT ORDINARY PEOPLE AN EASY PATH IN THEIR QUEST TO ATTAIN THE PURE LAND OF ENLIGHTENMENT (NIRVANA) BY THE WORKING OF AMIDA BUDDHA. *** NOTE: THIS SCROLL CONTEXT WAS EDITTED ON 19 NOVEMBER 2009 AFTER THE ORIGINAL INFORMATION, ATTRIBUTING THE IMAGE TO RENNYO SHONIN, WAS DEEMED TO BE INACCURATE BY BTSA'S REV. IZUMI.
Catalogue Number
P20070020002
Acquisition Date
2007-10
Collection
Museum
Images
Less detail
Other Name
GOHONZON
Date Range From
1946
Date Range To
2007
Material Type
Artifact
Materials
METAL, WOOD
Catalogue Number
P20070020006
Material Type
Artifact
Other Name
GOHONZON
Date Range From
1946
Date Range To
2007
Materials
METAL, WOOD
No. Pieces
6
Description
GOHONZON: STATUE OF AMIDA BUDDHA, GOLD-PAINTED METAL, AFFIXED TO ORNATE STAND, GOLD-PAINTED WOOD, AND DISC WITH SPOKES RADIATING FROM CENTER, GOLD-PAINTED WOOD AND COPPER, AFFIXED TO TOP OF STAND BEHIND BUDDHA’S HEAD. JAPANESE NAME FOR THIS LATTER PIECE IS KO HAI, TRANSLATING TO ‘BACKGROUND OF LIGHT.’ HEIGHT 60.7, WIDTH 20.5. KO HAI CONSISTS OF TWO PIECES: DISC WITH 48 SPOKES, RADIATING FROM LOTUS FLOWER, AND FLAT RING, WHICH HAS BECOME DETACHED FROM DISC. STAND IS COMPRISED OF 3 PCES: BOTTOM-MOST PIECE IS OCTAGONAL RING WITH MINIMAL DECORATION CARVED INTO 5 OF ITS SIDES, MIDDLE PIECE SLOTS INTO HOLLOW CENTER OF BOTTOM-MOST PIECE, MARKING ON BOTTOM READS, “AUGUST 23, REV. E NEKODA” ALONG WITH JAPANESE TEXT. FIVE DECORATED PEGS ARISE VERTICALLY FROM SHELF OF MIDDLE PIECE AND SUPPORT TOP PIECE OF STAND, FOUR SMALL PEGS ON MIDDLE PIECE INSERT INTO TOP PIECE OF STAND, WHICH HAS SEVERAL TIERS, DECORATIVE CARVINGS, AND SYMBOLS, SUCH AS CHRYSANTHEMUM FLOWERS. FLAT VERTICAL STRUCTURE RISES FROM BACK OF TOP PIECE OF STAND. STATUE SECURED IN PLACE ON STAND USING WIRE. STATUE MARKED ON BACK, “© 1946, NYBC”, (NEW YORK BUDDHIST CHURCH), DEPICTS AMIDA BUDDHA IN TYPICAL POSTURE. 5 PCES. STAND: WOODEN BOX-LIKE STRUCTURE WITH 3 CLOSED, GOLD-PAINTED SIDES AND TOP SURFACE PAINTED BLACK, HEIGHT 26.0, LENGTH 40.8., WIDTH 28.5. 1 PCE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
IN 1951, THE TABER BUDDHIST CHURCH WAS DONATED THE GOHONZON FROM THE NEW YORK BUDDHIST CHURCH (NYBC). MR. AKISABURO SATO FROM TABER TRAVELED REGULARLY TO THE EAST COAST, AND ACCEPTED THE GOHONZON ON BEHALF OF THE TABER BUDDHIST CHURCH FROM THE NYBC. AN INSTALLATION CEREMONY WAS CONDUCTED IN APRIL 1951 FOLLOWING THIS DONATION. THE GOHONZON IS THE PRINCIPLE OBJECT OF REVERENCE, AND CAN TAKE THREE DIFFERENT FORMS: 1. A SCROLL WITH THE WORDS ‘NAMO AMIDA BUTSU’ WRITTEN UPON IT, MEANING I TAKE REFUGE IN AMIDA BUDDHA (“NAMO” IS A SHORTENED VERSION OF, “NAMASTE,” WHICH MEANS RESPECT) 2. A SCROLL WITH A PICTURE OF AMIDA BUDDHA 3. A STATUE OF AMIDA BUDDHA THE WOODEN STAND WAS LIKELY HANDMADE BY A LOCAL PERSON, USED TO ELEVATE THE GOHONZON TO INCREASE VISIBILITY FOR THE CONGREGATION. THIS STAND IS THOUGHT TO HAVE BEEN USED FROM 1963 TO 2007. INFORMATION OBTAINED FROM REVEREND IZUMI, A LOCAL BUDDHIST MINISTER, IN 2008. FOR MORE INFORMATION, SEE P20070020001 AND PERMANENT RECORD.
Catalogue Number
P20070020006
Acquisition Date
2007-10
Collection
Museum
Less detail
Other Name
BUTSUGU
Date Range From
1947
Date Range To
2007
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20070020007
Material Type
Artifact
Other Name
BUTSUGU
Date Range From
1947
Date Range To
2007
Materials
WOOD, PAINT
No. Pieces
27
Description
DANMORI: A. WOODEN STAND WITH FOUR SHELVES, PAINTED GOLD, SET OF 4, HEIGHT 53.5, DIAMETER 15.1. JAPANESE NAME IS, “DANMORI,” WHICH TRANSLATES TO, “TIER-PILE.” SHELVES ATTACHED TO 3 DOWELS, WHICH ARE TOPPED WITH DECORATIVE WOODEN SPHERES. ONE DANMORI IS MISSING 2 OF ITS 3 SPHERES, ONE OF WHICH WE HAVE. 4 PCES TTL. KESOKU: B. OFFERING CONTAINER, GOLD-PAINTED WOOD DECORATED WITH PAINTINGS OF BLUE, RED AND PURPLE LOTUS FLOWERS. SET OF 2, EACH SET CONTAINS 3 PIECES, HEIGHT 21.8, WIDTH 18.0. JAPANESE NAME IS, “KESOKU,” WHICH TRANSLATES TO, “OFFERING VESSEL.” BOTTOM PIECE IS OCTAGONAL CYLINDER, MIDDLE PIECE IS OCTAGONAL DISH AND SITS WITHIN BOTTOM PIECE. BOTH PIECES HAVE DECORATIVE CUT-OUTS ON ALL EIGHT SIDES. TOP PIECE IS OCTAGONAL DISH, PAINTED BLACK ON OUTSIDE AND YELLOW INSIDE WITH SMALL HOLE IN CENTER. TOP DISH SITS WITHIN MIDDLE PIECE. 6 PCES TTL. C. OFFERING CONTAINER, GOLD AND BLACK-PAINTED WOOD. SET OF FOUR, HEIGHT 24.2, WIDTH 19.2, TWO OF THE FOUR CONTAIN TWO PIECES, HEIGHT 28.2, WIDTH 19.2. JAPANESE NAME IS, “KESOKU,” WHICH TRANSLATES TO, “OFFERING VESSEL.” PRIMARY PIECE IS HEXAGONAL CYLINDER WITH HEART-SHAPED CUT-OUTS ON THREE GOLD-PAINTED CONTINGENT SIDES, REMAINING THREE SIDES ARE PAINTED BLACK. SECOND PIECE IS HEXAGONAL DISH WITH SIDES OF DISH MIMICKING LOTUS FLOWER PETALS. THREE CONTINGENT SIDES PAINTED GOLD, REMAINING THREE SIDES PAINTED BLACK. 6 PCES TTL. KYO-JOKU: D. BLACK-PAINTED WOODEN TABLE WITH DECORATIVE GOLD-PAINTED CORRUGATED CARDBOARD SIDE INSERTS, SET OF 2, HEIGHT 70.3, LENGTH 60.5, WIDTH 31.0. LEGS OF TABLE FLARE TOWARDS BOTTOM AND AFFIXED TO RECTANGULAR SUPPORT. JAPANESE NAME IS, “KYO-JOKU,” WHICH TRANSLATES TO, “SUTRA TABLE.” 2 PCES. CONSERVATION TREATMENT PERFORMED ON TABLES IN 2009. FOR DETAILS, PLEASE SEE THE PERMANENT FILE. MAE-JOKU: E. GOLD AND BLACK-PAINTED WOODEN TABLE WITH CURVED LEGS TERMINATING IN SPHERE, SIDES OF TABLE WITH DECORATIVELY CARVED GOLD-PAINTED PANELS, ENDS OF TOP OF TABLE SURFACE WITH WING-LIKE PROJECTIONS, HEIGHT 84, LENGTH 150, WIDTH 63. JAPANESE NAME IS, “MAE-JOKU,” WHICH TRANSLATES TO, “FRONT TABLE.” 1 PCE. SHOKO-DAI: F. BLACK-PAINTED WOODEN TABLE WITH GOLD-PAINTED TOP AND TRIM, DECORATIVE CUT-OUTS WITH MESH ON SIDE OF TABLE, STRAIGHT LEGS, SET OF 4, HEIGHT 81.6, LENGTH 70.8, WIDTH 32.5. JAPANESE NAME IS, “SHOKO-DAI,” WHICH TRANSLATES TO, “INCENSE-BURNING STAND.” 4 PCES. G. BLACK-PAINTED WOODEN TABLE WITH GOLD-PAINTED TOP AND TRIM, DECORATIVE HEARTS CARVED INTO GOLD-PAINTED SIDE PANELS OF TABLE, CURVED LEGS, SET OF 2, HEIGHT 83.2, LENGTH 92.7, WIDTH 37.6. JAPANESE NAME IS, “SHOKO-DAI,” WHICH TRANSLATES TO, “INCENSE-BURNING STAND.” 2 PCES. STANDS: H. STAND, WOODEN BOX-LIKE STRUCTURE WITH 3 CLOSED, BLACK-PAINTED SIDES WITH GOLD-PAINTED TOP SURFACE, HEIGHT 12.0, WIDTH 29.6, LENGTH 61.2. 1 PCE. I. STAND, WOODEN BOX-LIKE STRUCTURE WITH 3 CLOSED, GOLD-PAINTED SIDES, GOLD-PAINTED TOP SURFACE, HEIGHT 11.8, WIDTH 24.7, LENGTH 41.0. 1 PCE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
ALL OF THESE SECONDARY RELIGIOUS OBJECTS, KNOWN AS BUTSUGU, WERE LIKELY PRODUCED BETWEEN 1947 AND 1963. IT IS NOT KNOWN IF THE ARTIFACTS WERE MADE BY SPECIFIC REQUEST OF THE TABER BUDDHIST CHURCH, OR DONATED BY OTHER CHURCHES IN THE REGION. THESE OBJECTS WERE LIKELY HANDMADE BY A LOCAL CARPENTER IN SOUTHERN ALBERTA. MR KAWADE WAS A CARPENTER FROM RAYMOND WHO MADE SEVERAL BUTUGU ARTICLES FOR THE RAYMOND BUDDHIST CHURCH. HIS SONS, SAM, GEORGE AND GENE, INSPECTED THE HAND-MADE WORKS AND CONCLUDED THAT THEIR FATHER IS A LIKELY CANDIDATE FOR HAVING MADE THE MAE-JOKU, BUT NOTHING ELSE. THE DANMORI AND KESOKU WERE, THEY FELT, TOO CRUDE TO BE THE WORK OF THEIR FATHER. SOME OBJECTS EXHIBIT SIMILAR STYLES, SUCH AS THE DECORATIVE CUT-OUT HEARTS APPARENT ON THE SHOKO-DAI AND KESOKU, AND WERE LIKELY MADE BY THE SAME CARPENTER, ALTHOUGH NO ONE COULD SAY WITH CERTAINTY WHO WOULD HAVE MADE THEM. SALLY KANAGAWA RECALLS HER HUSBAND STAN TELLING HER THAT DENJIRO KITAGAWA WAS THE CARPENTER WHO CONSTRUCTED THE 2 KYO-JOKU (SUTRA TABLES). INFORMATION OBTAINED FROM REVEREND IZUMI, A LOCAL BUDDHIST MINISTER, IN 2008. FOR MORE INFORMATION, SEE P20070020001 AND PERMANENT RECORD. DANMORI: PER SIGNIFICANCE, FUNCTION, AND PLACEMENT OF DANMORI, SEE HISTORY OF DANMORI UNDER P20070020002. KESOKU: OFFERINGS OF FRUIT, VEGETABLES, OR SWEET PASTRIES WOULD BE PLACED ON THE KESOKU. . THE KESOKU WOULD SIT ON THE SHUMIDAN. PER SIGNIFICANCE OF OFFERINGS AND LOTUS FLOWERS, SEE HISTORY OF BUPPANKI AND MAE-JOKU, RESPECTIVELY, UNDER P20070020001. KYO-JOKU: THESE TABLES WOULD BE ON THE NAIJIN (STAGE), SITUATED AT A RIGHT ANGLE TO GOKUDEN. A CHAIR WOULD BE PLACED BEHIND THE KYO-JOKU, AND VARIOUS SUTRAS WOULD BE PLACED ON THE TABLE SO AS TO BE ACCESSIBLE BY THE MINISTER. MAE-JOKU: PER PLACEMENT OF TABLE, SEE HISTORY OF MAE-JOKU UNDER P20070020001. PER KINDS OF BUTSUGU AND THEIR PLACEMENT ON MAE-JOKU, SEE HISTORY OF KAHIN UNDER P20070020001. THIS MAE-JOKU WAS LIKELY MADE BY A LOCAL CARPENTER, POSSIBLY MR. KAWADE OF RAYMOND, ACCORDING TO HIS SONS WHO INSPECTED THE PIECE. ONCE THE TABER BUDDHIST CHURCH OBTAINED A MAE-JOKU FROM JAPAN IN 1963, THIS MAE-JOKU WAS USED AS THE SHOKO-DAI THAT SITS IN FRONT OF THE NAIJIN (STAGE). SHOKO-DAI: SEVERAL SHOKO-DAI WOULD SIT ON THE NAIJIN (STAGE) AGAINST THE BACK WALL BELOW HANGING SCROLLS, WHILE A SINGLE SHOKO-DAI WOULD SIT IN FRONT OF THE STAGE. THE SHOKO-DAI HAD UCHISHIKI (TABLECLOTHS) AND BUTSUGU ON TOP, SUCH AS A KAHIN (FLOWER VASE), KORO (INCENSE-BURNER) AND ROSOKU-TATE (CANDLE-STICK HOLDER). FOR SIGNIFICANCE, AND FUNCTION OF THESE OBJECTS, SEE RESPECTIVE HISTORIES UNDER P20070020001. STANDS: THESE STANDS WERE LIKELY USED TO ELEVATE THE GOHONZON PRIOR TO THE ACQUISITION OF THE SHRINE IN 1963. AFTER 1963, A DIFFERENT STAND WAS USED TO ELEVATE THE GOHONZON (SEE P2007002006). AFTER EXAMINING PHOTOGRAPHS, IT IS THOUGHT THAT THESE STANDS WERE SUBSEQUENTLY USED TO ELEVATE OTHER BUTSUGU ON THE SHIMUDAN, SUCH AS DANMORI.
Catalogue Number
P20070020007
Acquisition Date
2007-10
Collection
Museum
Less detail
Date Range From
1947
Date Range To
2007
Material Type
Artifact
Materials
CLOTH
Catalogue Number
P20070020013
Material Type
Artifact
Date Range From
1947
Date Range To
2007
Materials
CLOTH
No. Pieces
4
Description
UCHISHIKI 1: TABLE CLOTH WITH FLOWER MOTIF, BLUE, SILVER AND WHITE DOMINANT COLOURS. LENGTH 100.0, WIDTH 48.0. JAPANESE NAME IS, “UCHISHIKI,” “HIKI,” TRANSLATES TO, “ROLL OF CLOTH.” TABLE CLOTH 5 SIDED. 1 PCE. UCHISHIKI 2: TABLE CLOTH WITH FLOWER MOTIF, OCHRE DOMINANT COLOUR WITH WHITE, RED, GREEN AND GOLD. LENGTH 94.0, WIDTH 56.0. JAPANESE NAME IS, “UCHISHIKI,” “HIKI,” TRANSLATES TO, “ROLL OF CLOTH.” TABLE CLOTH 5 SIDED. LOSS VIA BURN PRESENT ON CENTER OF CLOTH. STORE LABEL AND TEXT READING, “MADE IN JAPAN” ON BACK OF CLOTH. 1 PCE. UCHISHIKI 3 AND 4: TABLE CLOTH WITH FLOWER MOTIF, RED, PURPLES, GOLD AND WHITE DOMINANT COLOURS. LENGTH 93.0, WIDTH 55.0. JAPANESE NAME IS, “UCHISHIKI,” “HIKI,” TRANSLATES TO, “ROLL OF CLOTH.” TABLE CLOTH 5 SIDED. WAX AND WATER STAINING APPARENT ON BACK OF CLOTH. 2 PCES.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
THE ORIGIN OF THESE UCHISHIKI ARE UNKOWN. PHOTOGRAPHS WERE EXAMINED TO DETERMINE WHEN THESE CLOTHS WERE ACQUIRED, AND IF THEY WERE PART OF THE BUTSUGU THAT WAS ORDERED FROM JAPAN WITH THE SHRINE IN 1962, WITH NO CONCLUSIVE RESULTS. WHEN DONATED TO THE GALT MUSEUM & ARCHIVES, THESE CLOTHS WERE WRAPPED IN A PAPER PACKAGING. SEE P20070020014 FOR MORE INFORMATION. INFORMATION OBTAINED FROM REVEREND IZUMI, A LOCAL BUDDHIST MINISTER, IN 2008. FOR MORE INFORMATION, SEE P20070020001 AND PERMANENT RECORD. UCHISHIKI 1, 2, 3 AND 4: UCHISHIKI 1 WAS USED AS A TABLE CLOTH FOR THE UWA-JOKU, WHILE UCHISHIKI 2,3 AND 4 WERE USED AS TABLE CLOTHS FOR THE KYO-JOKU (SUTRA TABLES). THE CLOTHS ARE POSITIONED SUCH THAT THE CENTRAL CORNER OF THE CLOTH IS DRAPED OVER THE FRONT END OF THE TABLE.
Catalogue Number
P20070020013
Acquisition Date
2007-10
Collection
Museum
Less detail
Other Name
HANAMATSURI RITUAL OBJECTS
Date Range From
1963
Date Range To
2007
Material Type
Artifact
Materials
METAL, WOOD, PAPER
Catalogue Number
P20070020015
Material Type
Artifact
Other Name
HANAMATSURI RITUAL OBJECTS
Date Range From
1963
Date Range To
2007
Materials
METAL, WOOD, PAPER
No. Pieces
4
Description
BABY BUDDHA: BRONZE FIGURE, DEPICTS BABY BUDDHA STANDING ON STAND, ONE ARM OF FIGURE POINTS UPWARDS WHILE OTHER ARM POINTS DOWNWARDS, HEIGHT 17.5, WIDTH 6.2, 1 PCE. HANAMIDO: WOODEN HOUSE-LIKE STRUCTURE WITH FOUR OPEN SIDES AND ROOF, HEIGHT 176.0, LENGTH 41.0, WIDTH 41.0. ROOF DECORATED WITH FLOWER-PATTERNED PIECES OF CLOTH AND HOME-MADE PINK AND YELLOW TISSUE PAPER FLOWERS. TISSUE PAPER FLOWERS AND GRASS-LIKE TISSUE PAPER LINE BOTTOM EDGE OF STRUCTURE. JAPANESE NAME IS, “HANAMIDO,” WHICH TRANSLATES TO, “FLOWER TEMPLE.” 1 PCE. LADLE: ALUMINUM LADLE, SHAFT OF LADLE WRAPPED WITH BROWN PAPER, LENGTH 31.0, WIDTH 4.0, 1 PCE. TRAY: SILVER TRAY, BOTTOM AND INNER SURFACE OF TRAY HAVE MIRROR FINISH, SIDES OF TRAY DISPLAY RELIEF DECORATION, HEIGHT 5.6, DIAMETER 21.2, 1 PCE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
THESE OBJECTS WOULD HAVE BEEN USED IN CONJUNCTION WITH HANAMATSURI, A SPECIAL EVENT IN EARLY APRIL THAT CELEBRATES AMIDA BUDDHA’S BIRTH. DURING THIS SPECIAL SERVICE, THE HANAMIDO (FLOWER TEMPLE), IS PLACED ON A TABLE IN FRONT OF THE STAGE. THE TRAY WOULD BE SITUATED WITHIN THE HANAMIDO AND CONTAIN HOT, SWEET TEA. BABY BUDDHA WOULD BE PLACED IN THE TRAY AND CONGREGATION MEMBERS WOULD BE INVITED TO USE THE LADLE TO SCOOP UP THE TEA AND POUR IT OVER BABY BUDDHA’S HEAD AS AN OFFERING. THE HANAMIDO AND TISSUE PAPER FLOWERS WERE HANDMADE BY LOCAL BUDDHIST CHURCH MEMBERS. INFORMATION OBTAINED FROM REVEREND IZUMI, A LOCAL BUDDHIST MINISTER, IN 2008. FOR MORE INFORMATION, SEE PERMANENT FILE AND P20070020001.
Catalogue Number
P20070020015
Acquisition Date
2007-10
Collection
Museum
Less detail
Other Name
NENJU
Date Range From
1947
Date Range To
2007
Material Type
Artifact
Materials
PLASTIC, CORD
Catalogue Number
P20070020018
Material Type
Artifact
Other Name
NENJU
Date Range From
1947
Date Range To
2007
Materials
PLASTIC, CORD
No. Pieces
2
Description
NENJU: BEADED BRACELET OF ORANGE AND CLEAR BEADS STRUNG WITH BROWN CORD, TASSEL HANGS FROM END OF BRACELET, HEIGHT 0.5, LENGTH 12.5, WIDTH 2.4. JAPANESE NAME IS, “NENJU,” WHICH TRANSLATES TO, “THOUGHT BEADS.” 1 PCE. BEADED BRACELET OF WHITE, BROWN AND GREEN BEADS, STRUNG WITH WHITE CORD, BROWN TASSEL HANGS FROM END OF BRACELET, HEIGHT 0.8, LENGTH 17.5, WIDTH 3.0. JAPANESE NAME IS, “NENJU,” WHICH TRANSLATES TO, “THOUGHT BEADS.” 1 PCE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
THESE BEADED BRACELETS WOULD HAVE BEEN AVAILABLE TO CHURCH MEMBERS WHO MAY HAVE FORGOTTEN THEIR NENJU AT HOME. DURING ‘GASSHO’, A GESTURE OF RESPECT THAT IS PAID TO AMIDA BUDDHA, THE BEADS ARE PLACED AROUND THE HANDS, WITH THE TASSEL HANGING DOWN DIRECTLY IN THE CENTER. THEY ARE ALSO USED DURING MEDITATION. THESE PARTICULAR NENJU ARE SIZED FOR CHILDREN. INFORMATION OBTAINED FROM REVEREND IZUMI, A LOCAL BUDDHIST MINISTER, IN 2008. FOR MORE INFORMATION, SEE PERMANENT FILE AND P20070020001.
Catalogue Number
P20070020018
Acquisition Date
2007-10
Collection
Museum
Less detail
Other Name
MEMORIAL STAND
Date Range From
1947
Date Range To
2007
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20070020017
Material Type
Artifact
Other Name
MEMORIAL STAND
Date Range From
1947
Date Range To
2007
Materials
WOOD
No. Pieces
1
Height
67.5
Length
30.0
Width
10.3
Description
WOODEN MEMORIAL STAND, VERTICAL PLANE RISES FROM HORIZONTAL BASE, ALONG HEIGHT OF VERTICAL PLANE ARE ASIAN CHARACTERS WHICH READ, "DECEASED SPIRIT." PLY WOOD UNFINISHED.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
STAND WAS HANDMADE BY LOCAL BUDDHIST CHURCH MEMBER. THE MEMORIAL STAND WOULD BE DISPLAYED IN A PROMINENT PLACE ON THE NAIJIN (STAGE) DURING MEMORIAL SERVICES. OTHERWISE, IT WOULD SIT OFF TO THE SIDE OF THE NAIJIN. INFORMATION OBTAINED FROM REVEREND IZUMI, A LOCAL BUDDHIST MINISTER, IN 2008. FOR MORE INFORMATION, SEE PERMANENT FILE AND P20070020001.
Catalogue Number
P20070020017
Acquisition Date
2007-10
Collection
Museum
Less detail
Other Name
DONATION BOX
Date Range From
1947
Date Range To
2007
Material Type
Artifact
Materials
WOOD, METAL
Catalogue Number
P20070020011
Material Type
Artifact
Other Name
DONATION BOX
Date Range From
1947
Date Range To
2007
Materials
WOOD, METAL
No. Pieces
1
Height
71.0
Length
70.6
Width
35.5
Description
PLYWOOD BOX, UPPER SURFACE OF BOX HAS OPENING WITH PERPENDICULAR CROSS BARS, SIDES OF BOX WITH BLACK METAL HANDLES, FRONT OF BOX WITH ASIAN CHARACTERS WHICH READ, “DONATIONS,” BACK OF BOX WITH METAL LATCH THAT SECURES CLOSED DRAWER.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
DONATION BOX SAT NEAR THE ENTRANCE OF THE TABER BUDDHIST CHURCH. CONGREGATION MEMBERS WOULD PLACE DONATIONS IN BOX, USUALLY WITHIN ENVELOPES. DONATIONS WERE ESPECIALLY COMMON DURING CERTAIN EVENTS. DONATION BOX HANDMADE BY LOCAL BUDDHIST CHURCH MEMBER. INFORMATION OBTAINED FROM REVEREND IZUMI, A LOCAL BUDDHIST MINISTER. FOR MORE INFORMATION, SEE P20070020001 AND PERMANENT RECORD.
Catalogue Number
P20070020011
Acquisition Date
2007-10
Collection
Museum
Less detail
Other Name
UNION JACK
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, BRASS
Catalogue Number
P19890028002
Material Type
Artifact
Other Name
UNION JACK
Date Range From
1950
Date Range To
1960
Materials
COTTON, BRASS
No. Pieces
1
Length
119
Width
94.5
Description
BRITISH FLAG, UNION JACK WITH 2 BRASS GROMMETS AT CORNERS. COTTON BODY, DYED RED, WHITE, BLUE STRIPE. SMALL STAINS THROUGHOUT. DYED "BRITISH MADE" IN CORNER OF ONE SIDE. SOLID; NO TEARS.
Subjects
CEREMONIAL ARTIFACT
Historical Association
ASSOCIATIONS
History
FROM DR. F.H. MEWBURN O.B.E. CHAPTER OF I.O.D.E., NOW DEFUNCT. I.O.D.E. IS A WOMEN'S SERVICE ORGANIZATION FOUNDED IN 1900. "BRITISH MADE" IN CORNER. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BRIEF HISTORY OF THE I.O.D.E. AND ITS LETHBRIDGE CHAPTERS WAS DEVELOPED WITH INFORMATION FROM THE I.O.D.E. WEBSITE, GALT ARCHIVES, AND AN ARTICLE FROM THE APRIL 21, 2014 ISSUE OF THE LETHBRIDGE HERALD. THE IMPERIAL ORDER DAUGHTERS OF THE EMPIRE (IODE) WAS FOUNDED IN 1900 BY MARGARET POLSON MURRAY OF MONTREAL WHO WANTED TO INCREASE HOMELAND SUPPORT FOR CANADIANS FIGHTING WITH THE EMPIRE FORCES IN SOUTH AFRICA DURING THE SECOND BOER WAR. MURRAY INITIATED THE FORMATION OF A FEDERATION OF WOMEN TO PROMOTE PATRIOTISM, LOYALTY AND SERVICE TO OTHERS BY SENDING TELEGRAMS TO THE MAYORS OF CANADA'S MAJOR CITIES ASKING THEM TO CALL TOGETHER THE PROMINENT WOMEN IN THEIR COMMUNITIES. THE FIRST CHAPTER WAS FORMED IN FREDRICTON, NEW BRUNSWICK IN JANUARY 1900. THE FOLLOWING MONTH A CONSTITUTION AND LIST OF OBJECTIVES WERE DRAFTED IN MONTREAL. IN 1901 THE HEAD OFFICE MOVED TO TORONTO AND THE FEDERATION WAS INCORPORATED. CHAPTERS WERE QUICKLY STARTED ACROSS CANADA AND IN INDIA AND THE BAHAMAS. FUNDRAISING CAMPAIGN PROJECTS MOUNTED BY VARIOUS I.O.D.E. CHAPTERS HAVE INCLUDED A MONUMENT TO CANADIAN SOLIDERS KILLED IN BATTLE IN SOUTH AFRICA, A GATEWAY IN TORONTO TO COMMEMORATE THE 1901 VISIT OF THE DUKE AND DUCHESS OF YORK, INCREASED BEDS IN A TUBERCULOSIS SANITORIUM IN HAMILTON, ONTARIO, NUMEROUS CHILD WELFARE PROJECTS, VARIOUS WAR MEMORIAL FUNDS AND SCHOLARSHIPS FOR CHILDREN OF VETERANS, THE PURCHASE OF HOSPITALS, AMBULANCES, SHIPS, AND AIRCRAFT IN BOTH WORLD WARS TO PROVIDE AID TO CANADIAN SOLDIERS, COMMEMORATIVE GARDENS, INTERNATIONAL RELIEF FOR PERSONS DISPLACED BY WAR, AND DOMESTIC RELIEF FOR CANADIANS DISPLACED BY NATURAL DISASTERS. LETHBRIDGE'S FIRST I.O.D.E. CHAPTER WAS THE SIR ALEXANDER GALT CHAPTER, FORMED IN 1914. AT ITS PEAK OF ACTIVITY, THE I.O.D.E. HAD FIVE CHAPTERS IN LETHBRIDGE, INCLUDING THE DR. FRANK H. MEWBURN CHAPTER AND THE MAJOR JACK ROSS CHAPTER. LOCAL I.O.D.E. EFFORTS INCLUDED THE WROUGHT-IRON GATEWAY OF MOUNTAIN VIEW CEMETERY, THE SOLIDER'S PLOT IN THE CEMEMTERY, AND PLAQUES AT BATTERY POINT IN HENDERSON LAKE PARK. IN 1989 THE TWO REMAINING LETHBRIDGE CHAPTERS MERGED, AND BY 2014 THERE WERE NO CHAPTERS OPERATING LOCALLY. THE CALGARY MUNICIPAL CHAPTER STILL RAISES FUNDS FOR A VARIETY OF CHARITABLE CAUSES THROUGH HOTDOG SALES AND A THRIFT STORE. SEE PERMANENT FILE P19900051000 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19890028002
Acquisition Date
1989-07
Collection
Museum
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
WOOD, BRASS, ALUMINIUM
Catalogue Number
P19890028004
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
WOOD, BRASS, ALUMINIUM
No. Pieces
1
Height
75.9
Diameter
60.8
Description
PLYWOOD, HAND CONSTRUCTED I.O.D.E. LOGO OR CREST. CROWN OVER FLAG, "IMPERIAL ORDER DAUGHTERS OF THE EMPIRE" ENCIRCLING FLAG. "DONATED BY MRS. A.M. MEREDITH" PAINTED ON BOTTOM. REVERSE BRASS CHAIN & METAL LEG. "PROPERTY OF DR. FRANK H. MEWBURNE O.B.E. CHAPTER I.O.D.E." MARKED IN PENCIL ON BACK TOP "PUT BACK IN CASE FOR PROTECTION". SEVERAL STAINS ON FRONT FACE OF PLAQUE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
ASSOCIATIONS
History
FROM DR. F.H. MEWBURN CHAPTER I.O.D.E. NOW DEFUNCT. DESIGNED TO HANG OR STAND. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BRIEF HISTORY OF THE I.O.D.E. AND ITS LETHBRIDGE CHAPTERS WAS DEVELOPED WITH INFORMATION FROM THE I.O.D.E. WEBSITE, GALT ARCHIVES, AND AN ARTICLE FROM THE APRIL 21, 2014 ISSUE OF THE LETHBRIDGE HERALD. THE IMPERIAL ORDER DAUGHTERS OF THE EMPIRE (IODE) WAS FOUNDED IN 1900 BY MARGARET POLSON MURRAY OF MONTREAL WHO WANTED TO INCREASE HOMELAND SUPPORT FOR CANADIANS FIGHTING WITH THE EMPIRE FORCES IN SOUTH AFRICA DURING THE SECOND BOER WAR. MURRAY INITIATED THE FORMATION OF A FEDERATION OF WOMEN TO PROMOTE PATRIOTISM, LOYALTY AND SERVICE TO OTHERS BY SENDING TELEGRAMS TO THE MAYORS OF CANADA'S MAJOR CITIES ASKING THEM TO CALL TOGETHER THE PROMINENT WOMEN IN THEIR COMMUNITIES. THE FIRST CHAPTER WAS FORMED IN FREDRICTON, NEW BRUNSWICK IN JANUARY 1900. THE FOLLOWING MONTH A CONSTITUTION AND LIST OF OBJECTIVES WERE DRAFTED IN MONTREAL. IN 1901 THE HEAD OFFICE MOVED TO TORONTO AND THE FEDERATION WAS INCORPORATED. CHAPTERS WERE QUICKLY STARTED ACROSS CANADA AND IN INDIA AND THE BAHAMAS. FUNDRAISING CAMPAIGN PROJECTS MOUNTED BY VARIOUS I.O.D.E. CHAPTERS HAVE INCLUDED A MONUMENT TO CANADIAN SOLIDERS KILLED IN BATTLE IN SOUTH AFRICA, A GATEWAY IN TORONTO TO COMMEMORATE THE 1901 VISIT OF THE DUKE AND DUCHESS OF YORK, INCREASED BEDS IN A TUBERCULOSIS SANITORIUM IN HAMILTON, ONTARIO, NUMEROUS CHILD WELFARE PROJECTS, VARIOUS WAR MEMORIAL FUNDS AND SCHOLARSHIPS FOR CHILDREN OF VETERANS, THE PURCHASE OF HOSPITALS, AMBULANCES, SHIPS, AND AIRCRAFT IN BOTH WORLD WARS TO PROVIDE AID TO CANADIAN SOLDIERS, COMMEMORATIVE GARDENS, INTERNATIONAL RELIEF FOR PERSONS DISPLACED BY WAR, AND DOMESTIC RELIEF FOR CANADIANS DISPLACED BY NATURAL DISASTERS. LETHBRIDGE'S FIRST I.O.D.E. CHAPTER WAS THE SIR ALEXANDER GALT CHAPTER, FORMED IN 1914. AT ITS PEAK OF ACTIVITY, THE I.O.D.E. HAD FIVE CHAPTERS IN LETHBRIDGE, INCLUDING THE DR. FRANK H. MEWBURN CHAPTER AND THE MAJOR JACK ROSS CHAPTER. LOCAL I.O.D.E. EFFORTS INCLUDED THE WROUGHT-IRON GATEWAY OF MOUNTAIN VIEW CEMETERY, THE SOLIDER'S PLOT IN THE CEMEMTERY, AND PLAQUES AT BATTERY POINT IN HENDERSON LAKE PARK. IN 1989 THE TWO REMAINING LETHBRIDGE CHAPTERS MERGED, AND BY 2014 THERE WERE NO CHAPTERS OPERATING LOCALLY. THE CALGARY MUNICIPAL CHAPTER STILL RAISES FUNDS FOR A VARIETY OF CHARITABLE CAUSES THROUGH HOTDOG SALES AND A THRIFT STORE. SEE PERMANENT FILE P19900051000 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19890028004
Acquisition Date
1989-07
Collection
Museum
Less detail
Other Name
SICK CALL STOLE
Date Range From
1940
Date Range To
1960
Material Type
Artifact
Materials
SILK, COTTON
Catalogue Number
P19900013005
  1 image  
Material Type
Artifact
Other Name
SICK CALL STOLE
Date Range From
1940
Date Range To
1960
Materials
SILK, COTTON
No. Pieces
1
Length
114.1
Width
4
Description
SILK & COTTON RIBBON, PURPLE REVERSE, WHITE WITH HANDPAINTED FLOWER AT EACH END, BADLY FADED. FRINGED ENDS. PROBABLY HAND MADE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
THE SICK CALL STOLE IS WORN AROUND THE NECK. TWO COLORS, PURPLE FOR BLESSING & ANNOINTING OF THE SICK, & ABSOLUTION OF SINS. WHITE FOR GIVING HOLY COMMUNION. OBLATES ACTIVE IN LETHBRIDGE AREA SINCE 1ST BAPTISM AT FORT HAMILTON BY FATHER SCOLLEN IN 1873. FATHER VAN TIGHEM CELEBRATED THE 1ST MASS IN 1884 IN COALBANKS. THEREAFTER ESTABLISHING A PARISH IN 1886 & BUILDING 1ST ST. PATRICKS CHURCH IN 1887 IN SEPTEMBER VAN TIGHEM MOVED TO NEW PARISH AS ITS PRIEST. THE OBLATE OF MARY IMMACULATE (OMI) HISTORICALLY SOMETIMES CALLED THE BLACKROBES BECAUSE OF THEIR CHARACTERISTIC BLACK ROBES. THE OBLATES ARE RETIRING FROM LETHBRIDGE IN JULY .1990. THIS ROBE WAS NORMALLY WORN WITH A CINCTURE OR BELT SNAP FASTENED AT THE WAIST WITH A LARGE CROSS (12.7 X 20.4) & HUNG BY A CORD FROM THE NECK.
Catalogue Number
P19900013005
Acquisition Date
1990-03
Collection
Museum
Images
Less detail
Other Name
LETHBRIDGE BREWERY CHALLENGE TROPHY; LOVING CUP
Date Range From
1915
Date Range To
1970
Material Type
Artifact
Materials
WOOD, ELECTROPLATED SILVER
Catalogue Number
P19900020035
Material Type
Artifact
Other Name
LETHBRIDGE BREWERY CHALLENGE TROPHY; LOVING CUP
Date Range From
1915
Date Range To
1970
Materials
WOOD, ELECTROPLATED SILVER
No. Pieces
2
Height
47
Diameter
24.2
Description
TROPHY CUP C/W LID, MOUNTED ON LAMINATED BLACK WOOD BASE, ORNAMENTAL HANDLES. LID TOPPED WITH LAUREL LEAVES TO FORM HANDLE. SITTING AT BASE OF TROPHY, A PAIR OF CROSSED BATS WITH LAUREL LEAF WREATH. ENGRAVED LAUREL LEAVES IN CIRCLE FORM FACE IN WHICH IS ENGRAVED: "THE LETHBRIDGE BREWING AND MALTING CO. LTD. CHALLENGE TROPHY MAJOR MENS FASTBALL LEAGUE" AROUND WOOD BASE ARE 6 ENGRAVED CRESTS WITH WINNERS FROM 1960 TO '63 INCLUSIVE & 1966 & 1968. TROPHY IS VERY TARNISHED, SEE CONSERVATION REPORT.
Subjects
CEREMONIAL ARTIFACT
Historical Association
INDUSTRY
SPORTS
History
MAKER & ENGRAVER OF TROPHY UNKNOWN. THIS TROPHY WAS INTRODUCED BY THE LETHBRIDGE BREWING & MALTING COMPANY (1905-1920) AND WAS CONTINUALLY USED, EVEN AFTER MOLSON'S TOOK OVER THE COMPANY IN 1958. MOLSON'S SUPPORTED A
Catalogue Number
P19900020035
Collection
Museum
Less detail
Other Name
TABLETS OF THE COVENANT, REPRODUCTION
Date Range From
1956
Date Range To
1980
Material Type
Artifact
Materials
WOOD, METAL, PAINT
Catalogue Number
P20130024001
  2 images  
Material Type
Artifact
Other Name
TABLETS OF THE COVENANT, REPRODUCTION
Date Range From
1956
Date Range To
1980
Materials
WOOD, METAL, PAINT
No. Pieces
1
Height
3
Length
64
Width
50
Description
TWO WOODEN PANELS, CARVED INTO RECTANGULAR SHAPES WITH ARCHED TOPS, FASTENED TOGETHER WITH TWO METAL HINGES AT BACK. SLATS OF WOOD ATTACHED WITH NAILS ALONG BOTTOM EDGE, TO ACT AS A BASE WHEN OBJECT STANDS VERTICALLY. PANELS ARE PAINTED WHITE AND MARBLED WITH GREEN AND RED STREAKS OF PAINT TO MIMIC STONE. HEBREW LETTERS ARE PAINTING ON THE FACE OF BOTH PANELS IN BLACK, AND EACH ARCHED TOP HAS A SYMMETRICAL FLOWER DESIGN IN BLACK. FLAKING, CHIPPING, AND PAINT LOSS THROUGHOUT; RUST ON METAL HINGES AND SCREWS.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
ON MAY 14, 2014 COLLECTIONS TECH KEVIN MACLEAN INTERVIEWED THE DONOR, GARRY KOHN, ABOUT HIS ROLE IN LETHBRIDGE’S JEWISH COMMUNITY SINCE 1968 AND THE DONATION OF TWO RELATED ARTIFACTS, A STAR OF DAVID THAT WAS INSTALLED ON THE OUTSIDE OF THE BETH ISRAEL SYNAGOGUE BUILDING (P20130024002-GA) AND A HANDMADE REPRODUCTION OF THE TABLETS OF THE COVENANT (P20130024001-GA). REGARDING THIS ARTIFACT, KOHN SAID “I FOUND [IT] WHEN I WAS DOWN IN THE BASEMENT OF THE SYNAGOGUE –NOT THE BASEMENT, WHAT YOU CALL THE BOILER ROOM AND STORAGE AREA, AND THERE WAS A PORTION OF EVERYTHING THAT WAS UPSTAIRS THAT WASN’T NEEDED WAS JUST CHUCKED DOWN THERE SO THERE WAS ALL KINDS OF THINGS DOWN THERE. THERE WAS SCHOOL DESKS FROM THE CLASSROOMS, TO HADASSAH MEMORABILIA, THE HADASSAH BEING THE LADIES’ AUXILIARY TO THE JEWISH COMMUNITY. IT WAS ONE OF OUR ORGANIZATIONS. AND HERE WAS THIS SET OF TABLETS THAT WAS DOWN THERE. WHERE THEY ORIGINATED, I HAVE NO IDEA AND NOBODY THAT WAS AROUND COULD TELL US… AND I FOUND THEM AND I SAID, “NO.” THEY WENT UPSTAIRS AND THEY STAYED UPSTAIRS FOR MAYBE FIVE, SIX YEARS ON THE PLATFORM NEXT TO THE, ON THE STAGE AREA THAT WE USED TO CONDUCT SERVICES AND IT WAS ONE OF THOSE THINGS THAT I JUST MADE SURE ENDED UP IN MY POSSESSION SO THAT WE COULD HAVE IT. THEY COULD HAVE STAYED IN THE CHAPEL BUT IT WASN’T NECESSARY. I FELT THAT THAT WAS AN ARTIFACT, ALONG WITH THAT THAT SHOULD BE HELD BY THE CITY OF LETHBRIDGE AS AN ARTIFACT TO COMMEMORATE THE CONTRIBUTIONS OF THE LETHBRIDGE JEWISH COMMUNITY TO THE CITY… THEY’RE THE TEN COMMANDMENTS IN ABBREVIATED FORM – THE “THOU SHALTS AND THOU SHALT NOTS”, FIVE AND FIVE. THAT’S THE FOUNDATION OF JUDAISM AND CHRISTIANITY. THAT’S IMPORTANT, AND I THINK THAT’S A NEAT THING TO HAVE FOR ANYBODY TO BE ABLE TO SEE.” REGARDING LETHBRIDGE'S JEWISH COMMUNITY KOHN SAID, “I AM CURRENTLY THE PRESIDENT OF THE LETHBRIDGE HEBREW CONGREGATION, AND PROBABLY THE RELIGIOUS CHAIRMAN, THE SPIRITUAL LEADER OF THE COMMUNITY BECAUSE WE DO NOT HAVE A RABBI AND I’M WELL ENOUGH VERSED TO CONDUCT SERVICES AND LEAD THE COMMUNITY ALONG WITH THE HELP OF ONE OTHER PERSON, MR. JOEL BERMACK… I’M NOT A RABBI BUT RABBI MEANS TEACHER AND LEADER OF THE SERVICES, THE RELIGIOUS SERVICES, AND THAT’S BASICALLY WHAT I DO. BEING PRESIDENT AND LEADER OF A SMALL CONGREGATION THAT NUMBERS MAYBE TEN FAMILIES NOW, AT THE MOST… IT’S AN AGING COMMUNITY; WE HAVE PEOPLE WHO ARE DYING OR PASSING AWAY. I CONDUCT THE FUNERAL SERVICES, MAYBE ONE OR TWO A YEAR. IN THE LAST TEN YEARS, I WOULD SAY, I’VE CONDUCTED FIFTEEN BURIALS. IT’S A DWINDLING COMMUNITY… WE DON’T HAVE MUCH LEFT OF A COMMUNITY IF YOU COMPARED IT TO THE CONTRIBUTING MEMBERS AND THE PEOPLE WHO WERE HERE IN 1956 WHEN THE SYNAGOGUE WAS DEDICATED AND AFTER IT WAS BUILT. IT’S THE VERY SHADOW OF ITSELF, OF A VERY VIBRANT COMMUNITY THAT WAS IN LETHBRIDGE, WITH PEOPLE FROM VARIOUS WALKS OF LIFE, A LOT OF THEM BUSINESS PEOPLE, AND MAJOR PLAYERS IN THE DOWNTOWN LETHBRIDGE CORE… IT WAS SUCH A TIGHT COMMUNITY AND SO WELL KNOWN THAT NOBODY DATED EACH OTHER; THEY JUST DID EVERYTHING TOGETHER IN THE YOUTH GROUPS AND THAT TYPE OF THING. AND FOR AS MANY PEOPLE AS THERE WERE, AFTER HIGH SCHOOL AND THAT, THEY HEADED OUT AND FOUND PARTNERS ELSEWHERE… WHEN WE HAVE TO HAVE A RELIGIOUS SERVICE IN THE JEWISH FAITH, YOU HAVE TO HAVE TEN PEOPLE THERE, TEN MEN THEY SAY. THE CONSERVATIVE AND ORTHODOX BEND THAT TO INCLUDE WOMEN. IF YOU WANT TO SAY THE MEMORIAL PRAYER FOR THE ANNIVERSARY OF THE DEATH OF A PARENT, CALLED THE KADDISH, YOU HAVE TO HAVE TEN PEOPLE. IT’S REALLY TOUGH TO GET TEN PEOPLE ON ANY GIVEN DAY TO COME. ON THE HOLIEST DAY OF THE YEAR, YOM KIPPUR, THE DAY OF ATONEMENT, LAST YEAR WE HAD FIFTEEN PEOPLE. AND YOU HAVE TO HAVE THEM; YOU HAVE TO KEEP THAT QUORUM FOR THE ENTIRE LENGTH OF THE SERVICE, WHICH IS A MORNING SERVICE FROM NINE TILL TWELVE THIRTY OR TO ONE O’CLOCK. AND A LATE AFTERNOON AND EVENING SERVICE WHICH IS ANOTHER THREE HOURS. IT’S TOUGH TO KEEP PEOPLE WHO AREN’T OVERLY OBSERVANT IN THEIR FAITH, TO TIE THEM DOWN FOR THAT LENGTH OF TIME. AND YET IT’S THE OLD STORY, WHEN YOUR BACK’S AGAINST THE WALL, IF SOMEBODY EVER SAID ANYTHING OR MADE DEROGATORY COMMENTS, THEY WOULD COME, THEY WOULD BE AT THE FOREFRONT FOR DEFENSE. SO I AM INTENSELY PROUD OF MY HERITAGE. I THINK YOU’VE PROVED THAT ONE OUT, BUT WE DON’T GO OUT AND PREACH IT. IT’S NOT ALLOWED IN OUR FAITH… WHEN I CAME IN ’68, EVEN SOME OF THE PEOPLE WHO WERE HERE IN ’56 HAD PASSED ON, AND SO I DIDN’T KNOW SOME OF THEM BUT IT WAS A PRETTY VIBRANT COMMUNITY. WHEN WE HELD OUR SERVICES WE HAD A RABBI IN THOSE DAYS AND SERVICES WERE HELD FOR FRIDAY NIGHT AND SATURDAY MORNING SERVICES. WE HAD SUNDAY SCHOOL FOR THE CHILDREN IN THOSE DAYS, AND THAT WAS BEFORE WE’D HAD OUR CHILDREN. BY THE TIME WE HAD OUR CHILD IN 1974, THERE WAS NO LONGER A RABBI HERE, RABBI KALMAR BEING THE LAST ONE, WHO MOVED ON TO CALGARY. HE WAS SOMEWHAT OF A CHALLENGE FOR THE COMMUNITY HIMSELF, AND DIDN’T QUITE FIT THE BILL HERE, AND SO AT THAT POINT THERE WAS NOT ENOUGH OF A COMMUNITY TO ATTRACT A FULLTIME RABBI… SO FOR THE HOLY DAYS, THE HIGH HOLY DAYS, WE WOULD IMPORT A TEACHER OR AN EDUCATED PERSON OR SOMEBODY WHO COULD LEAD THE SERVICES, THAT WAS FULLY FAMILIAR, FROM CALGARY OR VANCOUVER TO WOULD COME IN FOR ROSH HASHANAH, THE NEW YEAR, OR YOM KIPPUR, THE DAY OF ATONEMENT, TEN DAYS LATER, AND LEAD THE SERVICES FOR THE CONGREGATION THERE. FOR THE REST OF THE YEAR, WE HAD ENOUGH PEOPLE WERE STILL CONVERSANT WITH THE RITUALS, THE PRACTICES, THE HEBREW, THE LITURGY, WHO COULD LEAD THE SERVICES BETTER THAN I CAN – SOME OF THE OLDER PEOPLE. SO WE JUST DID OUR OWN THING, AND WE DID IT… THIS NUMBER OF FAMILIES, CONSIDERING WHAT HAD BEEN DONE, FOR THE NUMBER OF FAMILIES WE HAD, WAS PRETTY IMPRESSIVE IN TERMS OF COMMITMENT TO THE LETHBRIDGE COMMUNITY AND INTEGRATION INTO IT. THE LETHBRIDGE JEWISH COMMUNITY DID NOT SECULARIZE ITSELF OR INSULATE ITSELF. WE TRIED TO BE ACTIVE IN ALL ASPECTS OF THE SOCIAL LIFE, THE FABRIC OF THE COMMUNITY… I WAS ONE OF THE ORIGINAL BOARD MEMBERS OF THE SOUTHERN ALBERTA ART GALLERY. I AND SEVERAL OTHER PEOPLE WERE MEMBERS OF THE KIWANIS CLUB. I CHAIRED THE MUSIC FESTIVAL FOR FIVE YEARS… THE OTHERS, MORE SO JUST IN BUSINESS AND BEING GOOD CORPORATE MEMBERS OF THE COMMUNITY, I WOULD SAY THAT… WE RAISE MONEY, AND AT FIRST HALF THE MONEY WAS KEPT TO SUPPORT AND SUBSIDIZE THE SYNAGOGUE BECAUSE OUR DUES COULDN’T DO THAT, AND THE OTHER HALF WAS GIVEN AWAY INTO THE LETHBRIDGE COMMUNITY. SO FOR YEARS… WE HAVE SUPPORTED, WE HAVE DONE THINGS LIKE UH, FURNISHED ROOMS AT ST. MICHAEL’S; AT THE REGIONAL HOSPITAL OVER THE YEARS. WE HAVE SCHOLARSHIPS FOR OUR COMMUNITY AT ALL THE HIGH SCHOOLS INCLUDING THE CATHOLIC SCHOOLS. WE HAVE SUPPORTED A NUMBER OF OTHER ORGANIZATIONS IN TOWN – THE BOYS AND GIRLS CLUB, THE HABITAT FOR HUMANITY, TO THE TUNE OF WELL IN EXCESS OF $5000 TO $7000 A YEAR. NOW THAT WE DON’T HAVE A SYNAGOGUE, ALL OF IT IS GOING TO IT, FOR THE PAST FOUR YEARS WE’VE GIVEN $5000 AND $6000 STRAIGHT OUT TO THE KIWANIS MUSIC FESTIVAL FOUNDATION… THE MONEY THAT WE RAISE GOES TO THAT, SO THAT’S PART OF THE CORPORATE CITIZENRY THAT WE TRY TO MAINTAIN. WE’VE MADE OUR LIVINGS HERE; THIS IS HOW WE CAN GIVE BACK TO THE COMMUNITY… [A FEW YEARS AGO] WE REALIZED HOW THE COMMUNITY WAS GETTING SMALLER AND SMALLER. THE COST OF KEEPING UP A BUILDING, ALTHOUGH THERE WAS NO TAXES TO PAY BECAUSE CHURCHES ARE EXEMPT FROM PROPERTY TAXES, THE MAINTENANCE ON A BUILDING AND HEATING IT IN WINTER TIME, WHETHER IT WAS USED OR NOT - OF 6700 SQUARE FEET - IT WAS PRETTY OLD, AND AS THE POPULATION WAS DWINDLING, HOW MUCH CAN YOU ASK PEOPLE TO GIVE TO SUPPORT SOMETHING THAT ONLY GETS USED A HALF DOZEN DAYS OF THE YEAR?... SO WE HAD A MEETING AND DECIDED THAT WE SHOULD TAKE A LOOK AND SEE WHAT WE COULD DO, IF WE COULD SELL THE BUILDING. THE IDEA WAS TO TRY AND GET A PLAN, A SUCCESSION PLAN, THAT, IF WE DID SELL IT, THEN WHAT WOULD WE DO? WE STILL WANTED A PLACE TO GATHER. WE DIDN’T WANT TO RENT A ROOM RANDOMLY IN A MALL OR A STRUCTURE OF SOME SORT, AND IT WAS ONLY THROUGH – WE PUT A SIGN IN THE WINDOW THAT IT WAS FOR SALE AND WE HAD ONE OR TWO PEOPLE CALL AND SAY THAT THEY MIGHT BE INTERESTED, BUT NOTHING THAT REALLY CAME TO FRUITION. IT WAS GOING TO BE AN EXPENSIVE PROPOSITION FOR EVERYBODY, BECAUSE WE HAD THE BUILDING APPRAISED, AND IT WAS WORTH A FAIR CHUNK OF COIN. BUT IT WAS GOING TO NEED SOME UPGRADING AND THAT TYPE OF THING. WELL, IN A CASUAL CONVERSATION OVER LUNCH AND CHATTING WITH ART FERRARI AND DAN WESTWOOD, MORE ART FERRARI, WHO WAS A GOOD FRIEND OF LES CALMAN AND MYSELF AND DAN SHAPIRO, HE SAID, “YOU KNOW, YOUR PREDECESSORS DESIGNED THIS BUILDING. YOU’RE IN A PRETTY SMALL SPACE ON 13TH STREET NORTH AND YOU’RE GROWING AND YOU’RE VERY BUSY, WHY DON’T YOU TAKE A LOOK AT THIS?” AND WE HAD A COUPLE OF LUNCHEONS AND IT JUST FELL, IT CAME TOGETHER. AND ART HAD WORKED FOR A JEWISH FAMILY WHEN HE WAS IN HIGH SCHOOL. HE’D WORKED FOR THE SCHECTORS AT HERB’S WESTERN WEAR AND HE HAD A LOVE FOR SOME OF THE PEOPLE HERE AND A RESPECT FOR THEM; LET’S PUT IT THAT WAY. AND HE SAID, “I’LL TELL YOU WHAT.” I SAID, “WE COULD LEASE YOU THE BUILDING AND KEEP THE SMALL SANCTUARY AND YOU COULD DO THE RENOVATION ON THE REST, AND HE SAID, “NO”, HE SAID, “HOW ABOUT WE BUY THE BUILDING FOR A MUTUALLY AGREED UPON APPRAISED PRICE, MINUS EXPENSES THAT WOULD BE ENCUMBERED WITH IT, THE SOIL TESTING AND THAT TYPE OF THING THAT HAS TO BE DONE”, HE SAYS, “AND WE’LL LEASE YOU BACK THE CHAPEL AS PART OF THE CONSIDERATION AGAINST THE ASKING PRICE. WE’LL LEASE IT TO YOU FOR NOTHING, FOR A DOLLAR, FOR TEN YEARS.”… AND THAT JUST FELL TOGETHER, SO WE DID A MINOR RENOVATION, REDECORATING AND REPAINTING AND FIX-UP OF THE SMALL CHAPEL, WHICH IS 600 SQ. FT. AND IT’S GOT A SMALL OFFICE, A 10 X 10 ROOM, IF THAT - 8 X 10? AND THEY TOOK OVER THE REST OF THE BUILDING [IN 2010]… IT’S BEEN A WONDERFUL RELATIONSHIP… THERE IS A JEWISH PRESENCE IN LETHBRIDGE STILL, EVEN THOUGH VERY MINUTE, AND WE TRY AND INVOLVE OURSELVES IN OTHER AREAS OF THE COMMUNITY TO LET PEOPLE KNOW THAT WE WANT TO BE GOOD CITIZENS AND PART OF THE CULTURAL FABRIC OF THE LETHBRIDGE COMMUNITY… “ SEE PERMANENT FILE FOR A TRANSCRIPT OF THE INTERVIEW, AND HARDCOPIES OF THE PROGRAM FROM THE 1956 DEDICATION SERVICE OF THE BETH ISRAEL SYNAGOGUE AND THE BOOK ‘LAND OF PROMISE; THE JEWISH EXPERIENCE IN SOUTHERN ALBERTA’.
Catalogue Number
P20130024001
Acquisition Date
2013-10
Collection
Museum
Images
Less detail
Other Name
BOY SCOUTS, “COYOTE”
Date Range From
1958
Date Range To
1963
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20140034007
  1 image  
Material Type
Artifact
Other Name
BOY SCOUTS, “COYOTE”
Date Range From
1958
Date Range To
1963
Materials
COTTON
No. Pieces
1
Height
0.4
Length
41
Width
38.5
Description
PENNANT MADE OF WHITE CANVAS, WITH ONE FLAT SIDE OPPOSITE A CURVED, TAPERED POINT. PRINTED WITH A STYLIZED IMAGE OF A DOG AND TEXT RUNNING VERTICALLY ALONG FLAT SIDE READING “COYOTE” IN RED INK. CURVED EDGES LINED WITH RED INK. CANVAS IS FOLDED UNDER ALONG THE FLAT SIDE AND SEWN TO FORM A TUBE, WITH TWO PIECES OF WHITE COTTON TWILL TAPE HANGING FROM BOTTON EDGE. GENERAL WEAR AND STAINING THROUGHOUT, SOME FRAYING ALONG RED EDGES; OVERALL VERY GOOD CONDITION.
Subjects
CEREMONIAL ARTIFACT
Historical Association
ASSOCIATIONS
History
THIS PENNANT BELONGED TO THE DONOR, DON CHAPMAN. THE FOLLOWING INFORMATION ON THE CHAPMAN FAMILY WAS PROVIDED BY THE DONOR AT THE TIME OF DONATION. THE CHAPMANS RESIDED IN LETHBRIDGE FROM 1958 TO 1963. THEY MOVED TO LETHBRIDGE FROM LACOMBE, ALBERTA, AFTER DON’S FATHER STUART ACCEPTED THE POSITION OF ADMINISTRATOR OF THE GALT REHABILITATION CENTRE, LOCATED IN THE OLD GALT HOSPITAL BUILDING. IN 1963 THE FAMILY MOVED TO LANGLEY, B.C. WHERE STUART BECAME THE ADMINISTRATOR OF THE LANGLEY MEMORIAL HOSPITAL. WHILE IN LETHBRIDGE, DON WAS ACTIVE IN BOY SCOUTS, ATTAINING QUEEN’S SCOUT STATUS AND BEING CHOSEN AS ONE OF TWO LETHBRIDGE SCOUTS TO TRAVEL TO NEW MEXICO ON AN “ADVENTURE TRIP” IN 1963. ON SEPTEMBER 16, 2014, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON CHAPMAN ABOUT HIS FAMILY’S TIME IN LETHBRIDGE AND MEMORIES RELATED TO THE SPECIFIC DONATED OBJECTS. CHAPMAN SAID: “I WAS BORN IN 1947 AND WE CAME [TO LETHBRIDGE] BECAUSE MY FATHER GOT A JOB HERE… IT WAS EXCITING. WE HAD NO IDEA WHERE LETHBRIDGE WAS… IT WAS KIND OF LIKE, FINALLY THE FAMILY IS GETTING A FINANCIAL FOOTING AND THERE WAS A CAREER PATH AHEAD… THE MOVE TO LETHBRIDGE WAS KIND OF LIKE A NEW START… CERTAINLY FOR ME, LETHBRIDGE WAS FORMATIVE YEARS… SCOUTING WAS A SIGNIFICANT UNDERTAKING IN MY LIFE, I WAS QUITE COMMITTED TO IT… IT WAS A WAY TO LEARN FUNDAMENTAL LIFE SKILLS AND MEMBERSHIP… YOU WOULD LEARN WHAT IT’S LIKE TO BE IN A GROUP, WHAT IT’S LIKE TO BE ON A TEAM… I BELONGED TO THE 14TH LETHBRIDGE SCOUT TROOP AND IT WAS CENTERED IN THE MCKILLOP UNITED CHURCH… A LOT OF IT WAS CENTERED AROUND AN ANNUAL CAMP. WE WOULD GO OUT FOR AT LEAST A WEEK… INTO THE EASTERN SLOPE OF THE ROCKIES… YOU HAD TO LEARN HOW TO COOK… YOU HAD TO LEARN SURVIVAL SKILLS, YOU HAD TO LEARN HOW TO TIE KNOTS, SINGING AROUND THE CAMPFIRE AT MEETINGS… IT WAS KIND OF A FRATERNAL ORGANIZATION FOR YOUNG PEOPLE.” IN AN EMAIL DATED NOVEMBER 6, 2014, CHAPMAN PROVIDED THE FOLLOWING INFORMATION ABOUT THIS OBJECT: “THE PENNANT IS USED TO IDENTIFY A PATROL WITHIN THE BOY SCOUT GROUP. IN THIS CASE, IT IS THE ‘[COYOTE] PATROL’, [OF WHICH] I WAS THE PATROL LEADER… LATER I WENT ON TO BE THE TROOP LEADER [OF] THE 14TH LETHBRIDGE TROOP… THE PENNANT WAS DESIGNED TO BE PLACED OVER THE TOP OF THE PATROL LEADER’S STAFF… ALL SCOUTS AT A CERTAIN POINT WOULD BE ENCOURAGED TO HAVE A STAFF – USUALLY MADE BY ONE’S SELF… THEY WERE 5’6” TALL. THEY WERE MADE OF WOOD AND WERE MARKED – USUALLY BY WOOD BURNING OR PAINT – AT ONE-FOOT INTERVALS AND THE UPPER SIX INCHES WERE MARKED AT ONE-INCH INTERVALS… SCOUT TRAINING INCLUDED USING THE STAFF FOR OUTDOOR SURVIVAL AND FOR ORIENTEERING… ONE LEARNED HOW TO USE THE STAFF AND BASIC GEOMETRY TO ESTIMATE THE HEIGHT OF DISTANT OBJECTS, SUCH AS BUILDINGS [OR] TREES… MOSTLY THE STAFF WAS MOST APPARENT DURING FORMAL EVENTS SUCH AS PARADES OR INSPECTIONS… MY OWN STAFF… WAS SOURCED FROM A WILLOW STAND AND WAS DEBARKED, THEN SANDED AND MARKED… THAT PENNANT WOULD BE AFFIXED TO THE TOP OF THE STAFF FOR ALL PARADES AND INSPECTIONS.” SEE PERMANENT FILE FOR HARDCOPIES OF FULL INTERVIEW TRANSCRIPT AND NEWSPAPER CLIPPINGS REPORTING ON CHAPMAN’S NEW MEXICO TRIP.
Catalogue Number
P20140034007
Acquisition Date
2014-09
Collection
Museum
Images
Less detail
Other Name
SCISSORS & KEY, “LETHBRIDGE MUNICIPAL HOSPITAL OFFICIAL OPENING”, CASED
Date Range From
1955
Date Range To
1963
Material Type
Artifact
Materials
LEATHERETTE, CHROME, BRASS
Catalogue Number
P20140006013
  2 images  
Material Type
Artifact
Other Name
SCISSORS & KEY, “LETHBRIDGE MUNICIPAL HOSPITAL OFFICIAL OPENING”, CASED
Date Range From
1955
Date Range To
1963
Materials
LEATHERETTE, CHROME, BRASS
No. Pieces
4
Height
3
Length
33
Width
11
Description
.A – BLACK LEATHERETTE RECTANGULAR BOX, WITH HINGED LID AND TWO METAL LOCKING CLOSURES. INSIDE OF LID IS LINED WITH WHITE SATIN. BOX CAVITY IS FITTED WITH BLOCKS TO SUPPORT .B AND LINED WITH PURPLE VELVET. TWO ENGRAVED GOLD-COLOURED METAL PLATES ARE GLUED TO THE VELVET. THE PLATE IN THE UPPER LEFT CORNER READS “LETHBRIDGE MUNICIPAL HOSPITAL – GALT SCHOOL OF NURSING – BUILDING – OFFICIAL OPENING – MAY 10 1963”. THE PLATE AT CENTRE BOTTOM READS “LETHBRIDGE MUNICIPAL HOSPITAL – NURSES HOME – OFFICIAL OPENING – WEDNESDAY JAN. 11, 1956”. STAINING ON SATIN LINING FROM METAL OF .B, MINOR WEAR ON LEATHERETTE ON BOX’S OUTER EDGES; OVERALL VERY GOOD CONDITION. 3 X 33 X 11 .B – METAL SCISSORS WITH STRAIGHT, TAPERED BLADES AND GOLD-PLATED HANDLES. HANDLES HAVE DECORATIVE MOULDING ON ENDS AND BELOW FINGER GRIPS. ENGRAVED TEXT ON BLADE READS “GRIFFON”. OVERALL VERY GOOD CONDITION. 0.75 X 29.5 X 6.5 .C – GOLD-COLOURED METAL KEY. ROUND HOLE AT CENTER TOP. ENGRAVED TEXT ON BOTH SIDES, READING “DAN’S LETHBRIDGE – MADE IN CANADA” ON THE FRONT AND “DL – DOMINION LOCK CO. – MONTREAL CANADA” ON THE BACK. OVERALL VERY GOOD CONDITION. 0.1 X 6 X 3.5 .D – GOLD-COLOURED METAL PLATE, ENGRAVED WITH TEXT READING “LETHBRIDGE MUNICIPAL HOSPITAL – OFFICIAL OPENING – WEDNESDAY MAY 25, 1955”. ROUND HOLES IN EACH CORNER OF PLATE. GLUE RESIDUE ALONG TOP BACK. SLIGHT OXIDATION THROUGHOUT; OVERALL VERY GOOD CONDITION. 0.1 X 7.5 X 2
Subjects
DOCUMENTARY ARTIFACT
CEREMONIAL ARTIFACT
Historical Association
HEALTH SERVICES
COMMEMORATIVE
History
AT THE TIME OF DONATION, GALT SCHOOL OF NURSING ALUMNAE ASSOCIATION PAST ARCHIVIST ELAINE HAMILTON IDENTIFIED THE SCISSORS IN THIS CASE AS BEING “USED TO CUT THE RIBBON ON [THE] OPENING OF THE MUNICIPAL HOSPITAL”. THE TEXTS ENGRAVED ON THE BRASS PLATES ALSO COMMEMORATE THE OPENING OF THE MUNICIPAL NURSES HOME ON JANUARY 11, 1956 AND THE OPENING OF THE GALT SCHOOL OF NURSING BUILDING AT THE MUNICIPAL HOSPITAL ON MAY 10, 1963. IN SUMMER 2014, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF THE COLLECTED ARTIFACTS. HIGA, THE EARLIEST GSN COLLECTION ARCHIVIST, SAID: “I TRAINED MOSTLY AT THE GALT. THE STUDENTS, WE ALL KNEW EACH OTHER, HELPED EACH OTHER BECAUSE THERE WERE MOSTLY STUDENTS THERE: ONE REGISTERED NURSE FROM 7AM TO 7PM. THE REST WERE ALL US STUDENTS THAT RAN THE HOSPITAL SO, BUT WE WERE REALLY GOOD FRIENDS AND WE HELPED EACH OTHER… WE HAD SUCH GOOD RAPPORT BETWEEN THE STUDENTS IN MY CLASS… I JOINED [THE ALUMNAE] WHEN I GRADUATED IN 1955… I WAS INTERESTED IN HOW EVERYBODY TURNED OUT, AND THE ALUMNAE SORT OF KEPT IN CONTACT WITH THEM, AND IT WAS QUITE IMPORTANT TO ME. I FELT QUITE HAPPY TO HEAR ABOUT ALL THE OTHER [NURSES]… IT’S NICE WHEN THEY CAME FOR THE REUNIONS. YOU SEE ALL THESE GIRLS YOU WORKED WITH, MAYBE ONLY FOR A LITTLE WHILE, BUT YOU REMEMBER THEM… I REALLY DIDN’T WANT TO BE THE ARCHIVIST, BUT WE DON’T HAVE TOO MANY PEOPLE THAT OFFER TO DO THINGS… I WAS INTERESTED IN ALL THE HISTORY AND ALL THE THINGS THAT THE GIRLS THOUGHT ABOUT IT… [THE ARCHIVIST WAS TO] KEEP TRACK OF ALL THE HISTORY AND THE PEOPLE THAT WERE INVOLVED, AND KEEP TRACK OF THE STUFF WE COLLECT[ED]… [THE COLLECTION IS IMPORTANT TO ME BECAUSE] I LIKE EVERYBODY TO KNOW ABOUT THE GALT AND HOW WE TRAINED AND HOW IT PROGRESSED… AS YOU GET OLDER YOU KIND OF HAVE MEMORIES THAT YOU WOULD LIKE TO KEEP, AND YOU KNOW YOU THINK ABOUT THOSE THINGS… [WHEN] YOU LOOK AT [THE OBJECTS] YOU REMEMBER.” ELAINE HAMILTON BECAME THE GSN COLLECTION ARCHIVIST IN THE LATE 1980S AFTER SHIRLEY HIGA STEPPED DOWN. OF THE ALUMNAE ASSOCIATION, HAMILTON SAID: “I THINK THE RETIRED NURSES DECIDED THAT THEY SHOULD FORM A GROUP TO HELP THE STUDENTS… I WASN’T THERE BUT IT WAS ’45 WHEN THEY FORMED, AND THEY DID THINGS FOR THE NURSES STUDENTS LIKE, THEY BOUGHT FURNITURE [FOR STUDENT RESIDENCES]… THEY DID A WHOLE BUNCH OF BAKE SALES AND CRAFT SALES; THEY WORKED AT THE BULL SALE OUT AT THE EXHIBITION GROUNDS. THEY DID A LOT OF THINGS LIKE THAT TO RAISE MONEY FOR LITTLE THINGS THAT COULDN’T BE BOUGHT OTHERWISE, LIKE THE PATIENT COMFORT, LIKE PATIENTS WOULD COME IN WITHOUT TOOTHBRUSHES AND COMBS… THEY HAD A BANQUET [FOR NURSING STUDENTS], AND THEY HAD A TEA WITH OUR PARENTS TOO, FOR US IN THE RESIDENCE… FOR ME, THE MOST IMPORTANT THING WAS THE BANQUETS, AND HAVING MY CLASSMATES COME EVERY FIVE YEARS, BECAUSE THEY ARE LIKE SISTERS TO ME… OF COURSE I LIKE HISTORY AND ARCHIVES TOO SO [THE COLLECTION] IS KIND OF IMPORTANT TO ME TOO… WE LIVED TOGETHER, AND ATE TOGETHER, AND CRIED TOGETHER AND DID EVERYTHING TOGETHER FOR THREE YEARS, BECAUSE WE LIVED RIGHT IN A RESIDENCE. SO, WE BECAME VERY CLOSE… AND IF YOU WORK IN THE ALUMNI, YOU BECOME KIND OF LIKE A LITTLE FAMILY TOO BECAUSE THERE’S NOT THAT MANY OF US THAT GO TO OUR MEETINGS, SO WHEN WE GET TOGETHER, IT’S KIND OF NICE TO SHARE WHAT’S BEEN GOING ON… IT’S A FELLOWSHIP.” OF THE GSN COLLECTION, HAMILTON SAID: “IT’S AN ACCUMULATION OF ARTIFACTS FROM THE HOSPITALS AND FROM OUR TRAINING DAYS. AND, IT’S PART OF THE HISTORY OF LETHBRIDGE IN A WAY, BECAUSE THE SCHOOL WAS HERE FOR QUITE A WHILE… I’M A CARE GIVER AND I LIKE TO LOOK AFTER STUFF. SO, IT WAS IMPORTANT TO ME THAT IT GOT CARED FOR… I THINK WITH THE CLOSING [OF THE GALT SCHOOL OF NURSING, IN 1979] WE GOT ALL THE CHARTS, AND WE ALREADY HAD THINGS FROM THE GALT HOSPITAL IN OUR STUFF THAT PROBABLY SOMEBODY [BEFORE HIGA] ACCEPTED… WHEN WE WENT INTO THE MUNICIPAL HOSPITAL [IN 1955] IT WAS ALL BRAND NEW, STAINLESS STEEL, SO THERE WAS NONE OF THE ENAMEL STUFF, AND THEN WHEN THE MUNICIPAL CLOSED [IN 1988], THE OPERATING ROOM GAVE US A LOT OF THINGS. THERE WERE A LOT OF DONATIONS THEN FROM DIFFERENT SPOTS BECAUSE THEY DIDN’T WANT TO MOVE STUFF SINCE IT WAS OLD… WE GOT A PLACE [FOR STORING THE COLLECTION IN THE REGIONAL HOSPITAL], ACTUALLY ABOVE THE WASHERS IN THE LAUNDRY FIRST. BUT IT WAS PRETTY MOIST UP THERE. AND THEN THEY GAVE US A ROOM IN THE SEWING ROOM, WHICH WAS VERY NICE, OUR OWN SEPARATE LITTLE ROOM THERE FOR OUR STORAGE… WE HAD THINGS UP ON A SHELF AND WE HAD A TRUNK IN THERE, AND… WE HAD ALL THE LETTERS FROM THE RESIDENCE… WE HAD A DISPLAY CASE THAT THEY BUILT AT THE REGIONAL [IN THE HOSPITAL ATRIUM] AND WE HAD STUFF IN THERE, AND WE’D MOVE IT AROUND… HAVING THE DISPLAY CASE WAS IMPORTANT TO ME, AND CHANGING THE UNIFORM ON [THE DISPLAY MANNEQUIN] EVERY ONCE IN A WHILE, AND HAVING HER IN DIFFERENT OUTFITS… I ALWAYS HAD IT ALL TIDY FOR A REUNION… I WOULD CHANGE THE UNIFORM FOR THEM, DEPENDING ON WHAT CLASS WAS HAVING THEIR REUNION.” SUE KYLLO BECAME THE GSN COLLECTION ARCHIVIST IN 2010 AFTER ELAINE HAMILTON STEPPED DOWN. OF THE ALUMNAE ASSOCIATION, KYLLO SAID: “[I ATTENDED THE GALT SCHOOL OF NURSING] FROM ’66 TO ’69, AND I JOINED IN 1976 AFTER I CAME BACK TO LETHBRIDGE. I HAD TWO LITTLE KIDS AND I WANTED TO GET OUT AND MEET PEOPLE AND THE ALUMNI GAVE ME THAT… I WANTED TO STAY IN TOUCH WITH MY NURSING FRIENDS AND SEE IF I CAN HELP OUT IN SOME WAY… THE ALUMNI IS THE WAY TO GO TO KEEP OUR NURSING MEMORIES ALIVE AND I WANT TO DO THAT. SO NOW IT’S IMPORTANT TO ME WAY MORE THAN WHEN I WAS A YOUNG MOTHER THAT WANTED TO GET OUT… IT MEANS COMPANIONSHIP [AND] TO HELP EACH OTHER.” OF THE GSN COLLECTION, KYLLO SAID: “I DON’T KNOW HOW IT GOT STARTED. I WOULD THINK THAT MRS. BOYCHUCK WOULD HAVE A LOT TO DO WITH IT BECAUSE [SHE] WAS VERY ACTIVE IN THE ALUMNI AT THE BEGINNING, AND I WOULD THINK THAT IF ANYBODY, IT WOULD BE HER THAT STARTED COLLECTING THE ODD LITTLE THING, AND THEN IT WENT TO SHIRLEY. I DON’T KNOW THAT THERE WAS ANYBODY BEFORE SHIRLEY… OUR ALUMNI ONLY STARTED IN [1945], SO THERE WERE THOSE PERIODS WHERE I DON’T THINK ANYBODY CARED ABOUT ANY OF THIS STUFF… TO ME, IT MEANS AN AWFUL LOT. IT MEANS THAT WE EXISTED REALLY… IF WE DIDN’T HAVE ALL THIS STUFF, WELL WHAT WERE WE? A NURSE, WHAT DOES A NURSE DO? WITH THIS WE CAN SHOW THEM THAT WE DIDN’T JUST GIVE BEDPANS. WE DID A LOT OF THINGS, AND I’M REALLY PROUD THAT WE HAVE WHAT WE’VE GOT.” OF THE SITUATION LEADING UP TO THE DONATION OF THE GSN COLLECTION TO THE GALT MUSEUM, KYLLO SAID: “WE HAD A DISPLAY AT THE NORTH END OF THE HOSPITAL [THAT] WAS GOING TO STAY THERE [AND ADDITIONAL COLLECTION STORAGE] AND WE DIDN’T HAVE A PROBLEM... WE WERE ALWAYS UNDER THE IMPRESSION OF ALL THE PAST ADMINISTRATIONS THAT WE ALWAYS HAD A PLACE IN THAT HOSPITAL… NOW THAT ALL THE OLD GUYS HAVE GONE, THEY JUST UP AND MOVED [THE COLLECTION, IN FALL 2012] AND DIDN’T CARE. THEY WERE BUILDING A NEW WING AND ‘TO HECK WITH YOUR GUYS’ STUFF’… NOBODY WANTED TO EVEN TALK TO US ABOUT IT. I FINALLY GOT AHOLD OF THE GUY IN CHARGE OF MAINTENANCE, [HE] SAID, “WELL IT’S UPSTAIRS IN THE PENTHOUSE.” WELL, WE KNEW WHAT THE PENTHOUSE WAS LIKE, BECAUSE IT WAS VERY HOT AND YOU DON’T WANT [THESE ARTIFACTS] IN SOMEPLACE REALLY HOT, SO I WANTED IT OUT OF THERE… SO THAT’S WHEN IT WENT OUT INTO A STORAGE LOCKER. AND IN THE STORAGE LOCKER… IT WAS JUST NOT CLEAN ENOUGH TO BE IN THERE… WE WERE VERY DISAPPOINTED.” HAMILTON ADDED: “WE DIDN’T HAVE ANYWHERE FOR [THE COLLECTION], AND IT’S IN PEOPLE’S GARAGES AND BASEMENTS AND LIVING ROOMS… [THE MUSEUM IS HOUSED IN] THE GALT HOSPITAL. AND A LOT OF OUR MEMBERS TRAINED HERE. SO IT’S PRETTY SPECIAL TO THEM, AND THEY WOULD LIKE TO LEAVE SOMETHING HERE TO BE REMEMBERED BY… IT’S VERY IMPORTANT TO US TO LEAVE SOMETHING BEHIND.” SEE PERMANENT FILE FOR HARDCOPIES OF FULL INTERVIEW TRANSCRIPTS.
Catalogue Number
P20140006013
Acquisition Date
2014-03
Collection
Museum
Images
Less detail

84 records – page 1 of 5.