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15 records – page 1 of 1.

Other Name
CITY POLICE PANTS
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
WOOL, COTTON, GABARDINE
Catalogue Number
P19770085009
  1 image  
Material Type
Artifact
Other Name
CITY POLICE PANTS
Date Range From
1950
Date Range To
1960
Materials
WOOL, COTTON, GABARDINE
No. Pieces
1
Length
108.0
Width
35.0
Description
WOOL SERGE, BLACK, WITH MAROON STRIPE DOWN EACH LEG. BUTTONS FOR SUSPENDERS, ZIPPERED FLY WITH HOOK CLOSURE. POCKETS FRONT & REAR, 1 HOLE HAS BEEN REPAIRED. LABEL SEWN INSIDE: "ALBERT'S MENS APPAREL" & A SERIES OF NUMBERS.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
STANDARD UNIFORM PANTS OF CITY POLICE.
Catalogue Number
P19770085009
Acquisition Date
1976-09
Collection
Museum
Images
Less detail
Other Name
CITY POLICE GREATCOAT
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
WOOL
Catalogue Number
P19770085011
  2 images  
Material Type
Artifact
Other Name
CITY POLICE GREATCOAT
Date Range From
1960
Date Range To
1970
Materials
WOOL
No. Pieces
1
Length
131.5
Width
51
Description
FULL LENGTH, OPEN PLEATS, BLACK QUILT LINING. DOUBLE BREASTED 6 BUTTONS EACH SIDE. EPAULETS WITH BUTTONS. BLACK WOOL SERGE OUTER BODY. 2 SLASH POCKETS AT WAIST; STRAIGHT FLAPS. INSIDE RIGHT BREAST POCKET. REACH THROUGH SLITS IN SIDES
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
INDIVIDUALLY TAILORED BY TIP TOP TAILORS TORONTO. STANDARD ISSUE. GREATCOAT REPLACED EARLIER BUFFALO COAT OF CITY POLICE. "K. HUTSMAN".
Catalogue Number
P19770085011
Acquisition Date
1976-09
Collection
Museum
Images
Less detail
Other Name
RCMP TROUSERS
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P19970105005
  1 image  
Material Type
Artifact
Other Name
RCMP TROUSERS
Date Range From
1960
Date Range To
1970
Materials
WOOL, COTTON
No. Pieces
1
Length
105.2
Width
40.4
Description
NAVY BLUE WOOL TROUSERS WITH YELLOW STRIPE ALONG LENGTH OF EACH OUTER LEG. WAISTLINE AND POCKETS LINED WITH BLUE COTTON. WHITE TAG WITH "R.C.M.P." AND WASHING INSTRUCTIONS INSIDE WAIST. ZIPPERED FRONT WITH HOOK AND EYE CLOSURE; BUTTONED TAB OPPOSITE ON WAISTBAND.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
DONOR WAS A MEMBER OF THE ROYAL CANADIAN MOUNTED POLICE FROM 1957 TO 1989. FOR MORE INFORMATION REFER TO P19970105001-GA.
Catalogue Number
P19970105005
Acquisition Date
1998-07
Collection
Museum
Images
Less detail
Other Name
RCMP FATIGUES
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
COTTON, BRASS
Catalogue Number
P19970105007
  1 image  
Material Type
Artifact
Other Name
RCMP FATIGUES
Date Range From
1960
Date Range To
1970
Materials
COTTON, BRASS
No. Pieces
1
Length
76.2
Width
42.5
Description
BROWN COTTON TUNIC WITH STAND-UP COLLAR AND FOUR FRONTAL POCKETS. FIVE BRASS BUTTONS AT FRONT CLOSURE; ONE ON EACH BREAST POCKET AND SHOULDER TAB. ALL BUTTONS EMBOSSED WITH RCMP EMBLEM. UNLINED; NO TAGS OR MARKINGS.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
DONOR WAS A MEMBER OF THE ROYAL CANADIAN MOUNTED POLICE FROM 1957 TO 1989. JACKET WORN WITH PANTS (006) BY DONOR TO CLEAN STABLES ETC. FOR MORE INFORMATION PLEASE REFER TO P19970105001-GA.
Catalogue Number
P19970105007
Acquisition Date
1998-07
Collection
Museum
Images
Less detail
Other Name
POLICE CHAPLAIN
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
POLYESTER, COTTON
Catalogue Number
P19960112012
  2 images  
Material Type
Artifact
Other Name
POLICE CHAPLAIN
Date Range From
1960
Date Range To
1970
Materials
POLYESTER, COTTON
No. Pieces
1
Length
80
Description
WHITE COTTON-BLEND SHORT SLEEVE MENS COLLARED SHIRT WITH A BLACK BADGE ON THE RIGHT ARM WITH "CHAPLAIN" WRITTEN AND OUTLINED IN YELLOW TEXT. BOTH ARMS ARE TORN WHERE BADGES WERE REMOVED. INSIDE OF COLLAR HAS A LABEL MARKED "RANGE 600 65% POLYESTER 35% COTTON/COTON FABRIQUE PAR UNION MADE SAINTHILL LEVINE UNIFORMS". SHOULDERS ARE TORN BADLY, BUT REST OF SHIRT IS UNDAMAGED.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
WORN BY THE CHAPLAIN OF THE LETHBRIDGE POLICE DEPARTMENT. POLICE NO LONGER HAVE A CHAPLAIN. FOR MORE HISTORY SEE P19960112116. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING SOME DONATED BY THE CITY OF LETHBRIDGE POLICE SERVICES. FOR A BRIEF ACCOUNT OF THE LETHBRIDGE POLICE COLLECTION, SEE RECORD P19960112001. FOR FURTHER INFORMATION ABOUT THE CITY OF LETHBRIDGE POLICE SERVICES AND TRANSCRIPTS OF INTERVIEWS AND CORRESPONDENCE WITH CURRENT AND FORMER LETHBRIDGE POLICE, SEE PERMANENT FILE P19960112000.
Catalogue Number
P19960112012
Acquisition Date
1996-12
Collection
Museum
Images
Less detail
Other Name
RCMP UNIFORM TROUSERS
Date Range From
1965
Date Range To
1975
Material Type
Artifact
Materials
WOOL
Catalogue Number
P19970084002
  1 image  
Material Type
Artifact
Other Name
RCMP UNIFORM TROUSERS
Date Range From
1965
Date Range To
1975
Materials
WOOL
No. Pieces
1
Length
136
Width
40.5
Description
NAVY BLUE PAIR OF WOOL UNIFORM PANTS WITH TWO FRONT WELT POCKETS WITH BUTTON. BACK OF PANTS HAVE A HIGH WAISTBAND, WITH A "V" SHAPE DIP IN THE CENTRE. PANTS FASTEN WITH A BUTTON FLY. HAS BRIGHT YELLOW STRIPE DOWN SIDE SEAMS OF PANTS, FROM HIP DOWN TO THE CUFF THAT HAVE A BLACK LEATHER BOOT STRAP SEWN ONTO BOTTOM OF EACH LEG. EACH SIDE OF WAISTBAND HAS TWO PLASTIC BUTTONS ON EACH SIDE IN THE FRONT TO FASTEN SUSPENDERS. PANTS SHOW LITTLE WEAR OR DAMAGE
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
FOR HISTORY OF KEN VEALS PLEASE SEE P19970084001-GA, OR P19970111001-GA.
Catalogue Number
P19970084002
Acquisition Date
1996-12
Collection
Museum
Images
Less detail
Other Name
POLICE BREECHES
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
WOOL
Catalogue Number
P19960112105
  1 image  
Material Type
Artifact
Other Name
POLICE BREECHES
Date Range From
1960
Date Range To
1970
Materials
WOOL
No. Pieces
1
Length
71.5
Width
37.5
Description
NAVY BLUE WOOL POLICE UNIFORM BREECHES WITH 3 FRONT & 2 REAR POCKETS. BRASS ZIPPER & METAL CLIP FASTEN FLY. PANTS HAVE A NARROW BURGUNDY WOOL STRIPE DOWN OUTSIDE SEAM OF PANTS, FROM WAISTBAND TO THE CUFF. WAISTBAND HAS BUTTONS INSIDE TO FASTEN SUSPENDERS. HIPS ARE FLARED WITH NARROW CALVES WITH 12 EYELETS ON EACH TO LACE UP. A LARGE PANEL OF FABRIC IS SEWN ON REAR AND INSIDE OFLEGS FOR EXTRA STRENGTH. LABEL ON INSIDE OF WAISTBAND MARKED "TAILORED ESPECIALLY FOR W. WEST" "DATE: JUNE 6-?" "ORDER NO 3415" & "KEN BAKER'S MENS WEAR". PANTS ARE IN VERY GOOD CONDITION, WITH LITTLE DAMAGE OR WEAR EVIDENT.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
ACCORDING TO ONE OFFICER, IN 1961 WHEN THE MOTORCYCLE TRAFFIC DIVISION WAS INTRODUCED, SGT. WEST REQUESTED THEY WEAR DIFFERENT COLOURED UNIFORMS W/ BOOTS & BREECHES. PANTS WERE BORROWED FROM THE CITY OF EDMONTON AS AN EXAMPLE, AND IN 1961 THE PANTS TAILOR MADE BY LEO SINGER IN LETHBRIDGE. SEE P19960112001-GA FOR MORE HISTORY ON MOTORCYCLE CORPS. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING SOME DONATED BY THE CITY OF LETHBRIDGE POLICE SERVICES. FOR A BRIEF ACCOUNT OF THE LETHBRIDGE POLICE COLLECTION, SEE RECORD P19960112001. FOR FURTHER INFORMATION ABOUT THE CITY OF LETHBRIDGE POLICE SERVICES AND TRANSCRIPTS OF INTERVIEWS AND CORRESPONDENCE WITH CURRENT AND FORMER LETHBRIDGE POLICE, SEE PERMANENT FILE P19960112000.
Catalogue Number
P19960112105
Acquisition Date
1996-12
Collection
Museum
Images
Less detail
Other Name
R.C.M.P. TUNIC WITH BELT
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P19970105004
  1 image  
Material Type
Artifact
Other Name
R.C.M.P. TUNIC WITH BELT
Date Range From
1960
Date Range To
1970
Materials
WOOL, COTTON
No. Pieces
2
Length
78
Width
45.5
Description
BROWN WOOL SERGE SERVICE ORDER TUNIC. FOUR WHITE METAL BUTTONS AT FRONT CLOSURE; ALSO ONE ON EACH OF TWO BREAST POCKETS AND TWO ON EACH SLEEVE AND COLLAR TAB. LEFT SLEEVE HAS SHOULDER FLASH WITH "ROYAL CANADIAN MOUNTED POLICE GENDARMERIE ROYALE DU CANADA" IN GOLD. THREE GOLD STARS BELOW, AND FIREARM INSIGNIA ON LOWER SLEEVE. RIGHT SLEEVE HAS SHOULDER FLASH AND TWO GOLD CHEVRONS. TUNIC HAS SOME BROWN COTTON LINING AT COLLAR AND ON POCKETS. INCLUDES WOOL BELT WITH NICKEL-PLATED BUCKLE; LINED WITH BROWN COTTON ON REVERSE. TWO BRASS COLLAR PINS WERE ADDED AT A LATER DATE. THESE ARE NOT A PART OF THE ORIGINAL ARTIFACT AND HAVE BEEN INCLUDED TO MAKE THE ARTIFACT MORE COMPLETE. THESE COLLARS ARE NOT ARTIFACTS IN THE COLLECTION.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
DONOR WAS A MEMBER OF THE ROYAL CANADIAN MOUNTED POLICE FROM 1957 TO 1989. TUNIC'S INSIGNIA DENOTES RANK OF CORPORAL WITH OVER FIFTEEN YEARS' SERVICE. DONOR WAS A MEMBER OF THE ROYAL CANADIAN MOUNTED POLICE FROM 1957 TO 1989. FOR MORE INFORMATION PLEASE REFER TO P19970105001-GA. TWO BRASS COLLAR PINS WERE ADDED AT A LATER DATE, AND ARE NOT A PART OF THE ORIGINAL ARTIFACT. THEY DO NOT SHARE THE SAME HISTORY.
Catalogue Number
P19970105004
Acquisition Date
1998-07
Collection
Museum
Images
Less detail
Other Name
CITY POLICE COAT
Date Range From
1940
Date Range To
1960
Material Type
Artifact
Materials
BUFFALO HIDE, COTTON
Catalogue Number
P19770085004
  2 images  
Material Type
Artifact
Other Name
CITY POLICE COAT
Date Range From
1940
Date Range To
1960
Materials
BUFFALO HIDE, COTTON
No. Pieces
1
Length
135
Width
57
Description
BROWN 3/4 LENGTH BUFFALO FUR COAT, COTTON QUILT LINING. WOOD BUTTONS & LEATHER LOOP. 2 OUTSIDE, 1 INSIDE POCKET. SMALL CHAIN SEWN IN FOR HANGING. BUTTONS NOT ORIGINAL. TORN ALONG BACK & AROUND SHOULDER. SEE CONSERVATION REPORT.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
BUFFALO COATS USED BY CITY POLICE UNTIL ABOUT THE 1960'S. REPLACED BY LIGHTER COATS & JACKETS. BETWEEN 2008 AND 2009, RET. LETHBRIDGE POLICE SUPERINTENDENT GLEN MICHELSON STATED THAT THE FUR COATS WERE “A MUST WALKING THE BEATS ON COLD WINTER NIGHTS” FOR BEAT CONSTABLES. HE BELIEVED THAT THEY WERE TAKEN OUT OF SERVICE SOMETIME “AROUND 1956” AND REPLACED WITH “GREAT COATS AND PEA JACKETS”. MANY FUNNY RET. OFFICER STORIES EXIST AND MICHELSON ADDED THAT “AROUND 1948, GRANT YOUNG CONSTABLE WAS STANDING STILL AT THE CORNER OF 4TH AVENUE AND 6TH STREET AND A DOG USED HIM AS A FIRE HYDRANT.” *UPDATE*: ON NOVEMBER 24TH, 2016, UNIVERSITY OF LETHBRIDGE GRAD STUDENT JOSH READ, FROM THE DEPARTMENT OF HISTORY, INTERVIEWED RETIRED LETHBRIDGE POLICE SERVICE (FORCE) MEMBER MARCEL ST. ONGE ON ACCOUNT OF HIS INTEREST IN THE FORCE’S PAST USE OF FUR CLOTHING IN POLICE PATROLS. ON DECEMBER 2ND, 2016, READ JOINTLY INTERVIEWED RETIREES BILL PLOMP AND GLEN MICHELSON ON THE SAME SUBJECT. TO READ COPIES OF THESE TWO INTERVIEWS, PLEASE SEE THE PERMANENT FILE FOR DONATION P20080002002.
Catalogue Number
P19770085004
Acquisition Date
1976-09
Collection
Museum
Images
Less detail
Date Range From
1951
Date Range To
1968
Material Type
Artifact
Materials
WOOL, RAYON
Catalogue Number
P19960112136
  2 images  
Material Type
Artifact
Date Range From
1951
Date Range To
1968
Materials
WOOL, RAYON
No. Pieces
1
Length
96.3
Width
51.7
Description
OLIVE GREEN WOOL PEA JACKET. DOUBLE-BREASTED, WITH TWO ROWS OF FOUR BUTTONS AT FRONT CLOSURE. BUTTONS EMBOSSED "POLICE FORCE" WITH CROWN AT CENTRE. LEFT SLEEVE HAS TWO WHITE STAR BADGES SEWN NEAR SHOULDER; RIGHT SLEEVE HAS THREE WHITE CHEVRONS. EACH SHOULDER TAB HAS "3" SHOULDER TITLE/PIN. ZIPPERED VERTICAL POCKET AT LEFT BREAST; ALSO TWO FRONTAL WAIST POCKETS AND ONE INNER RIGHT BREAST POCKET WITH TAG EMBROIDERED "TIP TOP CLOTHES BY TIP TOP TAILORS". BLACK THREADS REMAIN ON UPPER SLEEVES WHERE SHOULDER TITLES(?) REMOVED. RAYON LINING.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
BELONGED TO BILL WEST, THE 16TH PERSON ON THE FORCE. HE WAS GIVEN THE NUMBER 3 AFTER BEGINNING SERVICE IN 1951. ORIGINALLY FROM CARDSTON. HE BEGAN HIS TRAINING AT 19 AND WAS THE FIRST MAN UNDER 25 TO BE HIRED. TRAINING CONSISTED OF LECTURES FROM 2-4 DAILY FOR EIGHT MONTHS. WEST SERVED FOR 35 YEARS. HE POUNDED THE BEAT FOR FIVE YEARS (5 NIGHT SHIFTS/4 DAY SHIFTS) THEN SERVED WITH TRAFFIC AFTER 1956 WHERE HE REMAINED UNTIL RETIRING AS SUPERINTENDENT IN 1986. FOR FOUR YEARS, SGT. WEST'S PATROL WAS UNIQUE IN THE HISTORY OF THE MOTORCYCLE SERVICE WHEN HE OPERATED A BIKE AND SIDECAR THROUGHOUT THE YEAR. WHEN THE MOTORCYCLE TRAFFIC DIVISION WAS INTRODUCED, SGT. WEST REQUESTED THEY WEAR DIFFERENT COLOURED UNIFORMS W/ BOOTS & BREECHES. IT IS CLAIMED THAT THE KHAKI UNIFORM WAS PUT INTO SERVICE IN 1951 AND REMAINED IN USE UNTIL 1969 WHEN CHEIF CARPENTER WANTED A CONSISTENCY IN UNIFORM DUE TO THE PUBLIC'S TENDENCY TO TREAT TRAFFIC OFFICERS DIFFERENTLY. AFTER 1969, TRAFFIC OFFICERS WORE THE BLUE UNIFORM WITH BLACK RIDING BOOTS. FOR ADDITIONAL BIOGRAPHICAL INFO ON THE LATE BILL WEST, PLEASE REFERENCE THE PERMANENT FILE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING SOME DONATED BY THE CITY OF LETHBRIDGE POLICE SERVICES. FOR A BRIEF ACCOUNT OF THE LETHBRIDGE POLICE COLLECTION, SEE RECORD P19960112001. FOR FURTHER INFORMATION ABOUT THE CITY OF LETHBRIDGE POLICE SERVICES AND TRANSCRIPTS OF INTERVIEWS AND CORRESPONDENCE WITH CURRENT AND FORMER LETHBRIDGE POLICE, SEE PERMANENT FILE P19960112000.
Catalogue Number
P19960112136
Acquisition Date
1996-12
Collection
Museum
Images
Less detail
Other Name
DETECTIVE'S SHIRT, LONG SLEEVED
Date Range From
1955
Date Range To
1965
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20000017002
  1 image  
Material Type
Artifact
Other Name
DETECTIVE'S SHIRT, LONG SLEEVED
Date Range From
1955
Date Range To
1965
Materials
COTTON
No. Pieces
1
Height
90
Width
50
Description
NAVY BLUE LONG SLEEVED DETECTIVE'S SHIRT. LABEL SEWN UNDER COLLAR "SPORTSMAN MFD BY SAINTHILL LEVINE & CO LIMITED." INK SMUDGE ON LABEL, BUT NO INFO FILLED IN BLANKS. TWO BREAST POCKETS. SILVER KING'S CROWN BUTTONS AND SILVER "POLICE" SHOULDER TITLES. SOME WEAR MARKS TO INTERIOR.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
SHIRT BELONGED TO GLEN B. MICHELSON. MICHELSON JOINED THE LETHBRIDGE CITY POLICE IN 1950, FINGERPRINTING AND PHOTOGRAPHING PRISONERS. HE SET UP THE CITY'S FIRST INVESTIGATION BRANCH IN 1961 AFTER FINISHING A SEVEN WEEK COURSE AT THE ROYAL CANADIAN MOUNTED POLICE IDENTIFICATION BRANCH SCHOOL IN OTTAWA. HIS TRAINING HELPED QUALIFY HIM AS A FINGERPRINT EXPERT IN JUVENILE COURT, MAGISTRATES COURT AND THE ALBERTA SUPREME COURT (NOW COURT OF QUEENS BENCH). MICHELSON WAS NAMED AS A FINGERPRINT EXAMINER BY THE SOLICITOR GENERAL OF CANADA IN 1971, RETIRING AS SUPERINTENDENT IN CHARGE OF CRIMINAL INVESTIGATIONS ON JULY 31, 1984. THE CITY POLICE IDENT UNIT HAD ITS ORIGINS IN 1931, WHEN DETECTIVE SID (SYDNEY) WALLIS TOOK CHARGE OF A NEW CRIMINAL IDENTIFICATION PROGRAM IN LETHBRIDGE. HE COLLECTED PHOTOS AND FINGERPRINTS FOR EVERYONE CHARGED UNDER THE CRIMINAL CODE, SHARING HIS RECORDS AND EQUIPMENT WITH THE ROYAL CANADIAN MOUNTED POLICE IN EXCHANGE FOR THEIR EXPERTISE. QUALIFIED AS A FINGERPRINT TECHNICIAN, DETECTIVE MICHELSON SET UP THE FIRST FORMAL IDENTIFICATION BRANCH IN 1961. ITS MAIN PURPOSE WAS TO PROCESS CRIME SCENES AND THE SURROUNDING AREAS FORE LATENT EVIDENCE. FINGERPRINTING AND PHOTOGRAPHING REMAINED THE BACKBONE OF THE DEPARTMENT'S WORK. HOWEVER, FORENSIC INVESTIGATION EXPANDED TO INCLUDE SUCH PROCEDURES AS BITE MARK IDENTIFICATION, TIRE MARK AND FOOT PRINT ANALYSIS, VOICE IDENTIFICATION (PIONEERED IN LETHBRIDGE), AND NOW DNA TESTING. THE CURRENT IDENTIFICATION UNIT CONSISTS OF ONE SERGEANT AND FOUR CONSTABLES.
Catalogue Number
P20000017002
Acquisition Date
2000-08
Collection
Museum
Images
Less detail
Other Name
POLICE DRESS TUNIC
Date Range From
1967
Date Range To
1981
Material Type
Artifact
Materials
WOOL, RAYON
Catalogue Number
P19960112115
  1 image  
Material Type
Artifact
Other Name
POLICE DRESS TUNIC
Date Range From
1967
Date Range To
1981
Materials
WOOL, RAYON
No. Pieces
3
Length
84
Width
47.8
Description
NAVY BLUE/BLACK HIGH COLLAR DRESS TUNIC. FOUR SILVER BUTTONS AT FRONT CLOSURE. SILVER BUTTON ALSO ON EACH OF FOUR FRONT POCKETS. TWO ON EACH SLEEVE CUFF. LEFT SLEEVE OF UNIFORM HAS MARKSMAN BADGE ABOVE CUFF, AND THREE GOLD STARS ON UPPER SLEEVE. RIGHT HAS CHEVRON WITH THREE GOLD STRIPES. BRASS COLLAR DOGS ARE OF LETHBRIDGE CITY POLICE CREST. BRASS SHOULDER TITLES READING "POLICE" ON BOTH SHOULDERS. DETACHABLE WHITE COLLAR; STAMPED "TIP TOP TAILORED MADE IN ENGLAND". UNIFORM INCLUDES GOLD LANYARD AROUND RIGHT SHOULDER. BELT MISSING TAG INSIDE LEFT BREAST POCKET READS "24239 - JOHN BLACK DON LEE 6-3-68".
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
FROM LETHBRIDGE POLICE COLLECTION. FORMAL DRESS UNIFORM; WOULD BE WORN WITH RED BELT, WHITE GLOVES AND WELLINGTONS. DON LEE CLAIMED IN 2006 THAT THE UNIFORM’S SERGEANTS’ CHEVRON WAS ADDED IN 1981. BASED ON CHEVRON’S LACK OF CROWN AND 3 STARS (1 FOR EVERY FIVE YEARS) ON OPPOSITE ARM’S CUFF, HE WOULD DATE UNIFORM’S LAST DAYS OF WEAR TO APPROXIMATELY 1982. THE GOLD LANYARD WAS STANDARD WEAR WITH THE DRESS TUNIC. ANYONE WEARING THE NON-DRESS, SERVICE TUNIC WORE A WHITE LANYARD. THE UNIFORM WAS THE FIRST FORMAL TUNIC OF ITS KIND TO BE ISSUED TO POLICE OFFICERS. LEE RECALLED WEARING IT ON REMEMBRANCE DAYS, FOR MEDAL CEREMONIES AND FOR THE POLICEMAN’S BALL. IT CAME WITH A WIDE-STRIPPED PANT THAT FEATURED AN ELASTIC STRAP THAT WENT AROUND THE WEARER’S BOOT HEEL. THE PANTS WERE WORN SUSPENDERS – NO BELT. LEE BEGAN HIS SERVICE WITH THE LETHBRIDGE CITY POLICE IN 1967. IN 1995, BY THE TIME OF HIS RETIREMENT, HE HAD BEEN PROMOTED UP THROUGH THE RANKS TO THE OFFICE OF ACTING CHIEF OF POLICE. HIGHLIGHTS OF HIS SERVICE INCLUDE SUPERVISING 70 UNIFORMED RANKS IN TRAFFIC AND PATROL DIVISIONS, 2ND IN COMMAND FOR MAJOR CRIME INVESTIGATION, S.W.A.T. COMMANDER AND MEMBER RECRUITING AND TRAINING. AT THE TIME THAT HE WORE THE UNIFORM, LEE WAS IN THE PATROL AND TRAFFIC DIVISIONS, PROVIDING FIRST RESPONSE TO MAJOR INCIDENTS IN ADDITION TO INVESTIGATING VEHICLE ACCIDENTS AND ENFORCING TRAFFIC LAWS. FOR MORE DETAILS ON HIS CAREER, SEE THE HARDCOPY FILE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING SOME DONATED BY THE CITY OF LETHBRIDGE POLICE SERVICES. FOR A BRIEF ACCOUNT OF THE LETHBRIDGE POLICE COLLECTION, SEE RECORD P19960112001. FOR FURTHER INFORMATION ABOUT THE CITY OF LETHBRIDGE POLICE SERVICES AND TRANSCRIPTS OF INTERVIEWS AND CORRESPONDENCE WITH CURRENT AND FORMER LETHBRIDGE POLICE, SEE PERMANENT FILE P19960112000.
Catalogue Number
P19960112115
Acquisition Date
1996-12
Collection
Museum
Images
Less detail
Other Name
BUFFALO FUR COAT
Date Range From
1940
Date Range To
1960
Material Type
Artifact
Materials
BUFFALO FUR, CLOTH
Catalogue Number
P20080002002
  2 images  
Material Type
Artifact
Other Name
BUFFALO FUR COAT
Date Range From
1940
Date Range To
1960
Materials
BUFFALO FUR, CLOTH
No. Pieces
1
Length
139.7
Width
64.8
Description
BUFFALO FUR COAT, WOODEN BLACK PEG BUTTONS ALONG LENGTH OF COAT, TWO OUTER WAIST POCKETS AND INNER CHEST POCKET. LABEL ABOVE INNER CHEST POCKET READS, "H. D. MERRICK." FUR IS MATTED, LINING IS WORN AND EXPOSED LEATHER PARTS ARE CRACKING.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
DONOR'S FATHER, FRANCIS ALLAN KORTH, RECEIVED FUR COAT WHEN DONOR'S GRANDFATHER AND FORMER LETHBRIDGE POLICE OFFICER FRANCIS (FRANK) RAYMOND KORTH, PASSED AWAY NOVEMBER 27, 1998. BETWEEN 2008 AND 2009, RET. LETHBRIDGE POLICE SUPERINTENDENT GLEN MICHELSON STATED THAT THE FUR COATS WERE “A MUST WALKING THE BEATS ON COLD WINTER NIGHTS” FOR BEAT CONSTABLES. HE BELIEVED THAT THEY WERE TAKEN OUT OF SERVICE SOMETIME “AROUND 1956” AND REPLACED WITH “GREAT COATS AND PEA JACKETS”. MANY FUNNY RET. OFFICER STORIES EXIST AND MICHELSON ADDED THAT “AROUND 1948, GRANT YOUNG CONSTABLE WAS STANDING STILL AT THE CORNER OF 4TH AVENUE AND 6TH STREET AND A DOG USED HIM AS A FIRE HYDRANT.” FOR MORE INFORMATION, SEE P20080002001 AND PERMANENT RECORD. *UPDATE* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING A BUFFALO COAT DONATED BY KELLY KORTH. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. FRANCIS “FRANK” RAYMOND KORTH PASSED AWAY ON NOVEMBER 27, 1988 AT THE AGE OF 74. HE WAS BORN ON MAY 30, 1924 IN WOODHOUSE, AB. HE WAS MARRIED TO EVYON DOROTHY ROBINSON ON JUNE 18, 1947 AND JOINED THE LETHBRIDGE CITY POLICE ON AUGUST 12, 1950. HE RETIRED FROM THE POLICE ON AUGUST 27, 1981 AS A DETECTIVE SERGEANT. SEVERAL ARTICLES ABOUT BUFFALO COATS APPEARED IN THE LETHBRIDGE HERALD OVER THE YEARS. ON JANUARY 22, 1954 AN ARTICLE DISCUSSED THE POSSIBILITY OF THE RCMP SWITCHING FROM BUFFALO COATS TO NYLON PARKAS: “BELIEVED TO BE MUCH MORE PRACTICAL AND COMFORTABLE THAN THE MORE COLORFUL BUFFALO HID, THE PARKA HAS ZIPPERS INSTEAD OF BUTTONS AND WEIGHTS ONLY ABOUT ONE-THIRD AS MUCH AS THE BUFFALO COAT.” ANOTHER ARTICLE PUBLISHED ON FEBRUARY 11, 1956 GIVES MORE DETAILS ABOUT THE COATS: “IN SPITE OF ITS AWE-INSPIRING APPEARANCE, THE BUFFALO COAT HAS ITS DISADVANTAGES. ITS 24 POUNDS HANG HEAVILY ON ITS WEARER’S SHOULDERS. ITS WEIGHT AND BULKINESS ARE A DISTINCT HANDICAP IN A FOOT-RACE DOWN A BACK LANE. AND IN ADDITION TO RESPECTFUL GLANCES THE COAT COLLECTIONS LARGE QUANTITIES OF DIRT AND GRIT. SO THE [WINNIPEG] POLICE DEPARTMENT IS EXPERIMENTING, AS IS ITS COUNTERPART IN EDMONTON, WITH NEW TYPES OF COATS EQUALLY WARM BUT LESS AWKWARD.” *UPDATE*: ON NOVEMBER 24TH, 2016, UNIVERSITY OF LETHBRIDGE GRAD STUDENT JOSH READ, FROM THE DEPARTMENT OF HISTORY, INTERVIEWED RETIRED LETHBRIDGE POLICE SERVICE (FORCE) MEMBER MARCEL ST. ONGE ON ACCOUNT OF HIS INTEREST IN THE FORCE’S PAST USE OF FUR CLOTHING IN POLICE PATROLS. ON DECEMBER 2ND, 2016, READ JOINTLY INTERVIEWED RETIREES BILL PLOMP AND GLEN MICHELSON ON THE SAME SUBJECT. TO READ COPIES OF THESE TWO INTERVIEWS, PLEASE SEE THIS DONATION'S PERMANENT FILE. SEE ALSO PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD.
Catalogue Number
P20080002002
Acquisition Date
2008-02
Collection
Museum
Images
Less detail
Other Name
R.C.M.P. BREECHES
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P19860112003
  1 image  
Material Type
Artifact
Other Name
R.C.M.P. BREECHES
Date Range From
1950
Date Range To
1960
Materials
WOOL, COTTON
No. Pieces
1
Length
97.4
Diameter
86
Description
NAVY BLUE WITH YELLOW LEG STRIPE. 5 BUTTON FLY, 2 SLASH POCKETS, 1 WATCH POCKET, RT SIDE. LACED LEGS AT CALF. FULL PEG (JODPHUR).
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
WORN WITH THE REVIEW ORDER UNIFORM (OTHER RANKS) & WITH THE SERVICE ORDER NO. NIFORM. SEE P19860112001-GA FOR HISTORY & REFERENCES. *UPDATE* IN 2016 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING THE GAUNTLETS DONATED BY BERY ALLAN. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. BERESFORD ‘BERY’ ALLAN WAS BORN NOVEMBER 7, 1907 IN WINNIPEG. RAISED BY HIS GRANDPARENTS, HE SPENT MOST OF HIS YOUTH IN VANCOUVER. HE JOINED THE R.C.M.P. IN 1932 AND WAS POSTED THROUGHOUT CANADA, INCLUDING BRITISH COLUMBIA, ALBERTA, MANITOBA, ONTARIO, AND THE NORTH WEST TERRITORIES. IN NOVEMBER 1937, BERY WAS PART OF THE MUSICAL RIDE AND PERFORMED IN MADISON SQUARE GARDENS IN NYC. HE ALSO SERVED ON THE ESCORT DETAIL FOR KING GEORGE VI AND QUEEN ELIZABETH WHEN THEY VISITED BANFF. BERY MARRIED HIS TRUE LOVE, GRACE HELENA, BEFORE MOVING TO LETHBRIDGE IN 1944. IMMEDIATELY FOLLOWING HIS RETIREMENT IN 1959, AT THE RANK OF STAFF SERGEANT, BERY TOOK OVER AS THE CIVIL DEFENCE TRAINING OFFICER IN LETHBRIDGE. HE ALSO SPENT APPROXIMATELY 15 YEARS WITH THE FAMILY COURT DIVISION OF THE ATTORNEY GENERAL’S DEPARTMENT. BERY PASSED AWAY AT THE AGE OF 93 ON SEPTEMBER 8, 2001. SEE PERMANENT FILE FOR HARD COPIES OF THE LETHBRIDGE HERALD ARTICLES. *UPDATE* IN 2018, COLLECTIONS INTERN KIRSTAN SCHAMUHN CONDUCTED A SURVEY OF PERSONAL ARTIFACTS. ON 19 NOVEMBER 2018, SCHAMUHN INTERVIEWED ROSEMARY ALLAN REGARDING HER FATHER’S, BERESFORD “BERY” ALLAN’S, DONATION. THE INFORMATION BELOW HAS BEEN EXTRACTED FROM THAT INTERVIEW: OF THIS ARTIFACT, ROSEMARY ALLAN EXPLAINED, “THE BREECHES WITH THE YELLOW STRIPE WENT WITH THE RED SERGE, AND THAT ALL WENT WITH THE BOOTS.” “THE RED SERGE WOULD COME OUT FROM TIME TO TIME FOR THINGS LIKE PARADES, OR PEOPLE VISITING FOR CERTAIN REASONS. BUT IT DID COME OUT FROM TIME TO TIME.” “I CAN REMEMBER HIM WEARING THEM FROM TIME TO TIME BECAUSE HE WOULD HAVE TO PREPARE TO WEAR THEM.” WHEN ASKED ABOUT THE BOOTS AND GAUNTLETS BEING PART OF HER FATHER’S SPECIAL OCCASIONS UNIFORM, ROSEMARY ALLAN RECALLED, “YES, THEY WERE.” ON HER FATHER’S CAREER WITH THE R.C.M.P., ROSEMARY ALLAN REMEMBERED “HIS TRAINING HE RECEIVED IN SASKATCHEWAN. I DON’T KNOW WHEN THAT WAS, HE GOT TO LETHBRIDGE AFTER HIS TOUR OF DUTY IN THE YUKON. HE WAS THE ONLY CROWN REPRESENTATIVE IN THE NORTH.” “I DON’T KNOW WHEN THE ALASKA HIGHWAY WAS [BUILT], BUT AFTER IT OPENED HE WAS THERE, MAYBE FOR ANOTHER YEAR, A YEAR AND A HALF OR SO, AND [THEN] HE WAS MOVED AND RELOCATED BY THE R.C.M.P TO LETHBRIDGE.” “HE WAS NEVER MOVED AFTER BECOMING THE STAFF SERGEANT OF THE R.C.M.P. DETACHMENT IN LETHBRIDGE, HE WAS ALWAYS THERE.” “[AFTER LEAVING THE R.C.M.P.] HE WORKED FOR CIVIL DEFENSE FOR A YEAR, AND AFTER CIVIL DEFENSE HE WAS HIRED TO BECOME A PROBATION OFFICER TO WORK WITH THE YOUNG, THE YOUTH OFFENDERS.” PLEASE SEE PERMANENT FILE P19860112001 FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND COPIES OF ARTICLES REGARDING THE FAMILY HISTORY.
Catalogue Number
P19860112003
Acquisition Date
1986-03
Collection
Museum
Images
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

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