Skip header and navigation

25 records – page 1 of 3.

Other Name
LADIES TRAINMEN
Date Range From
1922
Date Range To
2002
Material Type
Artifact
Materials
WOOD, COTTON
Catalogue Number
P20060010001
Material Type
Artifact
Other Name
LADIES TRAINMEN
Date Range From
1922
Date Range To
2002
Materials
WOOD, COTTON
No. Pieces
1
Height
3.5
Length
28.5
Width
7.5
Description
WOODEN GAVEL WITH GRN,RD AND WHT RIBBONS. DECORATIVE TURNED HANDLE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
ASSOCIATIONS
History
GAVEL WAS USED BY THE PRESIDENT TO BRING MEETINGS TO ORDER AND "TO STOP THE GOSSIPING". RIBBONS DECORATING THE GAVEL WERE THE LODGE'S COLOURS. DONOR CAME INTO POSSESSION OF THE ARTIFACT(S) AS THE LAST PRESIDENT OF THE CPR LADIES LODGE. SINCE THERE WERE NO NEW MEMBERS AND FIVE MEMBERS WERE NEEDED TO HAVE A MEETING, THE LODGE AMALGAMATED WITH MEDICINE HAT. THE PAST SECRETARY MOVED TO A NURSING HOME AND THE DONOR BECAME BOTH PRESIDENT AND SECRETARY. THE AUXILIARY OF THE UNITED TRANSPORTATION UNION, FORMERLY THE LADIES AUXILIARY OF THE BROTHERHOOD OF RAILROAD FRIENDSHIP LODGE NO. 729 WAS A CHAPTER OF THE LADIES TRAINMEN. THE LADIES AUXILIARY WAS ORGANIZED INFORMALLY BY SOPHIA J. GRANGER SHORTLY AFTER THE FORMATION OF THE BROTHERHOOD OF RAILROAD TRAINMEN (BRT) ON 16 SEPTEMBER 1886 IN FORT GRATIOT, MICHIGAN. THE LADIES AUXILIARY WAS FORMALLY RECOGNIZED AT THE BRT CONVENTION IN OCTOBER 1888, AND THE FIRST CHARTER WAS GRANTED TO THE GRAND LODGE LADIES AUXILIARY TO THE BROTHERHOOD OF RAILROAD TRAINMEN AT FORT GRATIOT ON 23 JANUARY 1889. THE AIMS OF THE LADIES AUXILIARY TO THE BROTHERHOOD OF RAILROAD TRAINMEN ARE HERE QUOTED FROM THE CONSTITUTION AND GENERAL RULES REVISED TO 1951. "TO UNITE THE FAMILIES OF THE BROTHERHOOD OF RAILROAD TRAINMEN; TO PROMOTE THEIR WELFARE SOCIALLY, MORALLY AND INTELLECTUALLY, AND TO ENCOURAGE THEM IN ALL THINGS PERTAINING TO THE GOOD OF THE BROTHERHOOD, THE AUXILIARY HAS BEEN ORGANIZED. CONVINCED THAT IT IS FOR THE GOOD OF THE BROTHERHOOD IN GENERAL, AND FOR OUR OWN WELFARE, THAT A MUTUAL GOOD FEELING SHOULD, AT ALL TIMES, EXIST BETWEEN BOTH ORGANIZATIONS, IT SHALL BE OUR CONSTANT AIM AND ENDEAVOR TO CREATE AND MAINTAIN THE SAME. SUCH ARE THE AIMS AND INTENTIONS OF THE LADIES AUXILIARY TO THE BROTHERHOOD OF RAILROAD TRAINMEN." ON 10 MARCH 1970 THE BRT MERGED WITH THREE OTHER UNIONS TO BECOME THE UNITED TRANSPORTATION UNION, AND THE NAME OF THE AUXILIARY WAS CHANGED TO LADIES AUXILIARY OF THE UNITED TRANSPORTATION UNION. THE ORGANIZATION CONTINUES TO EXIST AT THE TIME OF THIS WRITING. FRIENDSHIP LODGE NO. 729, LADIES AUXILIARY OF THE UNITED TRANSPORTATION, WAS FORMED AT MEETING HELD IN THE MOOSE HALL IN LETHBRIDGE ON 3 FEBRUARY 1922 AS FRIENDSHIP LODGE NO. 729, LADIES AUXILIARY OF THE BROTHERHOOD OF RAILROAD TRAINMEN, THE 14 CHARTER MEMBERS OF THE LODGE WERE: MARY E. CAMPBELL, AMANDA CHOINIERE, LORETTA DAVIDSON, MARAGET GOODALL, JESSIE GORDON, MARY V. HIGHTON (SECRETARY), MABEL KEIVER (PAST PRESIDENT), LILLIE MAHON (PRESIDENT), ETTA MACDONALD, LUCY MURPHY, ANNA ROY, CLARA R. SMITH, BLANCHE WANS (VICE PRESIDENT) AND LEORA V. WRAY (TREASURER).MRS. WRAY PROPOSED THE NAME "FRIENDSHIP" FOR THE LODGE, WHICH WAS APPROVED UNANIMOUSLY. A LIST OF PRINCIPAL OFFICERS OF FRIENDSHIP LODGE NO. 729, AS WELL AS ALL MEMBERS WHO JOINED FROM 1922 TO 1989 THAT IS AVAILABLE IN THE LODGE HISTORY. THE AIMS OF FRIENDSHIP LODGE WERE THE SAME AS THOSE OF THE PARENT ORGANIZATION. IN ADDITION, THE LODGE REGULARLY CONTRIBUTED MONEY AS WELL AS VOLUNTEERED GOODS AND TIME TO ORGANIZATIONS SUCH AS THE SALVATION ARMY, LETHBRIDGE HANDICAPPED RIDING ASSOCIATION, LETHBRIDGE SOUP KITCHEN AND LETHBRIDGE REGIONAL HOSPITAL. IN THE MID 1990S, THE MEMBERSHIP OF THE LODGE BEGAN TO DECLINE AS MEMBERS GREW OLDER, AND NO NEW MEMBERS WERE RECRUITED. THE CHARITABLE ACTIVITIES OF FRIENDSHIP LODGE NO. 729 CEASED ABOUT THE TURN OF THE 21ST CENTURY AND THE LODGE SURRENDERED ITS CHARTER ON 31 DECEMBER 2004.
Catalogue Number
P20060010001
Acquisition Date
2006-05
Collection
Museum
Less detail
Other Name
PENNY JAR
Date Range From
1922
Date Range To
2002
Material Type
Artifact
Materials
TIN
Catalogue Number
P20060010003
Material Type
Artifact
Other Name
PENNY JAR
Date Range From
1922
Date Range To
2002
Materials
TIN
No. Pieces
1
Height
12
Diameter
13
Description
HOMEMADE PIGGY BANK MADE FROM JAM CAN. BLK TIN PENNY JAR. HAND PAINTED GRN TEXT READS "PENNY JAR". TOP OF JAR HAS SLOT OPENING TO DROP COINS.
Subjects
CEREMONIAL ARTIFACT
Historical Association
ASSOCIATIONS
History
BANK WAS USED BY MEMBERS TO COLLECT PENNIES FOR MEMBER'S BIRTHDAY AND USED FOR OTHER LIKE DONATIONS. DONOR CAME INTO POSSION OF THE ARTIFACT(S) AS THE LAST PRESIDENT OF THE CPR LADIES LODGE. SINCE THERE WERE NO NEW MEMBERS AND FIVE MEMBERS WERE NEEDED TO HAVE A MEETING, THE LODGE AMALGAMATED WITH MEDICINE HAT. THE PAST SECRETARY MOVED TO A NURSING HOME AND THE DONOR BECAME BOTH PRESIDENT AND SECRETARY. SEE P20060010001 FOR COMPLETE HISTORY ON THE CPR LADIES LODGE.
Catalogue Number
P20060010003
Acquisition Date
2006-05
Collection
Museum
Less detail

ORNAMENT, CHRISTMAS TREE

https://collections.galtmuseum.com/en/permalink/artifact12007
Other Name
CHRISTMAS TREE
Date Range From
1959
Date Range To
2005
Material Type
Artifact
Materials
ALUMINUM, CARDBOARD, WOOD
Catalogue Number
P20060032018
  2 images  
Material Type
Artifact
Other Name
CHRISTMAS TREE
Date Range From
1959
Date Range To
2005
Materials
ALUMINUM, CARDBOARD, WOOD
No. Pieces
49
Height
17
Length
62
Width
17
Description
ALLUMINUM CHRISTMAS TREE IN BOX. TOP OF BOX MARKED " STAINLESS ALUMINUM 43 BRANCHES 6FT CHRISTMAS TREE WITH TRIPOD STAND FOR ADDED BEAUTY". STAND CONSISTS OF TRIPOD WITH TWO WOODEN RODS. BOX ALSO CONTAINS A PIECE OF TREE GARLAND AND A THIN METAL ROD. BRANCHES ARE INDIVIDUALLY WRAPPED IN BROWN PAPER.
Subjects
CEREMONIAL ARTIFACT
Historical Association
DOMESTIC
History
ACCORDING TO DONOR TREVOR BENNET AT TIME OF DONATION, HE RECALLED THE TREE BEING PURCHASED IN CALGARY FROM THE DOWNTOWN HUDSON BAY STORE IN 1959-60. BENNET SAID, "I ALWAYS SET IT (THE TREE) UP IN THE AREA WHICH SERVED AS A MUSIC ROOM IN MY PARENTS' HOME. IT STOOD ON A LOW WOODEN TABLE. A STRING OF PARALLEL WIRED - C -7 LIGHTS WOULD BE TAPED TO THE EDGE OF THE TABLE SO THE LIGHTS WOULD REFLECT OFF THE TREE." THE DONOR WOULD DECORATE THE TREE WITH UNBREAKALBE BELLS AND SOME BREAKABLE GLASS BALLS. BENNET SAID, "I MADE A NEW TOP FROM A LENGTH OF COAT HANGER WRAPPED IN TREE GARLAND." THE NEW TOP ALLOWED THE DONOR TO USE A GLASS TREE TOPPER ON THE TREE. THE DONOR CLAIMS THAT ALL OF THE BRANCHES ARE IN THEIR ORIGINAL WRAPPING PLUS THE EXTRA BRANCHES THAT THE DONOR MADE HIMSELF. THE TREE WAS LAST USED IN 2005 WHEN IT WAS PLACED IN THE DONOR'S FRONT ENTRANCE TO GREET HIS VISITORS. THE DONOR STATED THAT HE FELT IT WAS TIME TO RETIRE THE TREE. FOR MORE INFORMATION SEE PERMANENT FILE.
Catalogue Number
P20060032018
Acquisition Date
2006-10
Collection
Museum
Images
Less detail
Other Name
ALTER CROSS
Date Range From
1912
Date Range To
2003
Material Type
Artifact
Materials
BRASS
Catalogue Number
P20060021001
Material Type
Artifact
Other Name
ALTER CROSS
Date Range From
1912
Date Range To
2003
Materials
BRASS
No. Pieces
1
Height
78
Length
44
Width
24
Description
BRASS ALTER CROSS. CROSS SITS ON A THREE TIERED BRASS BASE. CENTER AXES OF CROSS READS "IHS". FOUR POINT OF CROSS HAS A CLOVER-LIKE SHAPE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
ALTER CROSS IS BELIEVED TO BE ORIGINAL TO THE BUILDING (1912) OR EARLIER. WHEN THE ALTER WAS MOVED FROM THE EAST WALL OF THE CHURCH IN 1966, IT WAS FOUND THAT THE CROSS WAS TOO LARGE, OBSCURING THE PRIEST WHEN HE STOOD "BEHIND" THE ALTER. DURING THESE SERVICES, THE CROSS WAS MOVED TO ANOTHER TABLE IN THE SANCTUARY, BUT WAS ALWAYS RETURNED TO ITS PLACE OF HONOR AFTER EACH SERVICE. THE LETTERS "IHS" IN THE CENTER SECTION OF THE CROSS, ALTHOUGH COMMONLY BELIEVED TO BE AN ABBREVIATION FOR "IN HIS SERVICE" ACTUALLY ARE THE FIRST THREE LETTERS OF JESUS' NAME IN GREEK. ST MARY’S ANGLICAN CHURCH BEGAN EARLY IN THE 1900S. THE EARLIEST ARCHIVAL RECORD IS A STATEMENT MADE IN JANUARY, 1906 THAT A GROUP OF PROMINENT MEMBERS OF ST. AUGUSTIN’S PARISHIONERS AGREED TO COVER A DEFICIT IN THE OPERATION OF ST. MARY’S MISSION UP TO $300. APPARENTLY, ST. MARY’S EXISTED BEFORE THIS DECISION, BUT IT IS UNKNOWN FOR HOW LONG. A FORMAL ORGANIZATION MEETING FOR ST. MARY’S MISSION WAS HELD ON APRIL 20. 1908. THE SEPARATE PARISH OF ST. MARY’S WAS ESTABLISHED ON FEBRUARY 1, 1910. THE “NEW” CHURCH WAS BUILT IN 1912, AND USED BY THE PARISH UNTIL IT CLOSED IN 2003. THE NORTH SIDE CHRISTIAN FELLOWSHIP THEN RENTED THE BUILDING UNTIL 2006, WHEN THE PROPERTY WAS SOLD TO A PRIVATE INDIVIDUAL. THERE WERE AT LEAST EIGHT RECTORS (PRIESTS) AT ST MARY’S BETWEEN 1910 AND 1944, INCLUDING SOME PERIODS OF TIME WHEN NO PRIEST WAS AVAILABLE (OR AFFORDABLE). IN 1944, ROBERT COWAN ARRIVED AND SERVED ST. MARY’S FOR THE NEXT 37 YEARS UNTIL 1981, A TERM UNPARALLELED IN THE ANGLICAN DIOCESE OF CALGARY. IT WAS DURING THIS TIME THAT ST. MARY’S BECAME KNOWN HAS ST. MARY THE VIRGIN. CANON COWAN RETURNED TO ST MARY’S AS A PARISHIONER FOR A FEW YEARS LATER, AND REMAINED UNTIL HIS DEATH IN 1999. MICHAEL EBSWORTH SERVED AS RECTOR FROM 1981 UNTIL 1994, WHEN HE RESIGNED DUE TO HEALTH REASONS. FATHER EBSWORTH REMAINED A RESIDENT OF LETHBRIDGE, OFTEN SERVING AS A “VISITING” PRIEST, AND HE TOOK PART IN THE FINAL SERVICE AT ST. MARY’S HELD ON AUGUST 14, 2003. IN THE FINAL DECADE OF ST MARY’S EXISTENCE, FIVE OTHER PRIESTS SERVED THE PARISH, INCLUDING TWO FEMALE PRIESTS WHICH SOME FOUND SURPRISING DUE TO ST. MARY’S TRADITIONAL LITURGICAL PRACTICES. THE CHURCH CLOSED AND AMALGAMATED WITH THE ANGLICAN PARISH OF ST. AUGUSTINE. OTHER OBJECTS AND ARCHIVAL MATERIALS ASSOCIATED WITH ST. MARY'S OPERATION WERE TRANSFERRED TO THE ANGLICAN DIOCESE OF CALGARY. AT THE TIME OF ITS CLOSURE, ST MARY'S WAS THE LONGEST OPERATING OF ANY LETHBRIDGE CHURCH IN THE CURRENT PREMISES. FOR COMPLETE HISTORY SEE PERMANENT FILE.
Catalogue Number
P20060021001
Acquisition Date
2006-08
Collection
Museum
Less detail
Other Name
CHURCH STEEPLE BELL
Date Range From
1912
Date Range To
2003
Material Type
Artifact
Materials
IRON
Catalogue Number
P20060021007
Material Type
Artifact
Other Name
CHURCH STEEPLE BELL
Date Range From
1912
Date Range To
2003
Materials
IRON
No. Pieces
2
Height
60
Length
56
Diameter
5
Description
CAST IRON STEEPLE BELL WITH CLAPPER. CAST IRON MOUNT AND CORD HOLDING MOVEMENT WHEEL (SEPARATE PCE) FOR BELL OPERATION. ROPE ATTACHED TO ARM OF MOUNT. RD PAINT CAN BE SEEN ON INTERIOR OF BELL THROUGH WEAR OF METAL. BELL IS VERY RUSTED.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
BELL WAS USED UP TO THE CLOSURE OF THE ST. MARY'S CHURCH IN 2003. IT WAS RUNG BEFORE EACH SERVICE TO SUMMON THE FAITHFUL. THE BELL DOES NOT HAVE A MUSICAL SOUND, AND IT IS SAID THAT THE BELL CAME FROM THE FIRST LOCOMOTIVE USED IN THE LETHBRIDGE COLLIERY. AS MANY OF THE EARLY PARISHIONERS OF ST. MARY'S WERE MINING FAMILIES ASSOCIATED WITH THE NUMBER 3 MINE, IT IS A VERY PLAUSIBLE STORY. THIS STORY HAS BEEN REPEATED IN A NUMBER OF PRINTED ARTICLES, SOME OF WHICH ARE IN THE ARCHIVES IN CALGARY. ST MARY’S ANGLICAN CHURCH BEGAN EARLY IN THE 1900S. THE EARLIEST ARCHIVAL RECORD IS A STATEMENT MADE IN JANUARY, 1906 THAT A GROUP OF PROMINENT MEMBERS OF ST. AUGUSTIN’S PARISHIONERS AGREED TO COVER A DEFICIT IN THE OPERATION OF ST. MARY’S MISSION UP TO $300. APPARENTLY, ST. MARY’S EXISTED BEFORE THIS DECISION, BUT IT IS UNKNOWN FOR HOW LONG. A FORMAL ORGANIZATION MEETING FOR ST. MARY’S MISSION WAS HELD ON APRIL 20. 1908. THE SEPARATE PARISH OF ST. MARY’S WAS ESTABLISHED ON FEBRUARY 1, 1910. THE “NEW” CHURCH WAS BUILT IN 1912, AND USED BY THE PARISH UNTIL IT CLOSED IN 2003. THE NORTH SIDE CHRISTIAN FELLOWSHIP THEN RENTED THE BUILDING UNTIL 2006, WHEN THE PROPERTY WAS SOLD TO A PRIVATE INDIVIDUAL. THERE WERE AT LEAST EIGHT RECTORS (PRIESTS) AT ST MARY’S BETWEEN 1910 AND 1944, INCLUDING SOME PERIODS OF TIME WHEN NO PRIEST WAS AVAILABLE (OR AFFORDABLE). IN 1944, ROBERT COWAN ARRIVED AND SERVED ST. MARY’S FOR THE NEXT 37 YEARS UNTIL 1981, A TERM UNPARALLELED IN THE ANGLICAN DIOCESE OF CALGARY. IT WAS DURING THIS TIME THAT ST. MARY’S BECAME KNOWN HAS ST. MARY THE VIRGIN. CANON COWAN RETURNED TO ST MARY’S AS A PARISHIONER FOR A FEW YEARS LATER, AND REMAINED UNTIL HIS DEATH IN 1999. MICHAEL EBSWORTH SERVED AS RECTOR FROM 1981 UNTIL 1994, WHEN HE RESIGNED DUE TO HEALTH REASONS. FATHER EBSWORTH REMAINED A RESIDENT OF LETHBRIDGE, OFTEN SERVING AS A “VISITING” PRIEST, AND HE TOOK PART IN THE FINAL SERVICE AT ST. MARY’S HELD ON AUGUST 14, 2003. IN THE FINAL DECADE OF ST MARY’S EXISTENCE, FIVE OTHER PRIESTS SERVED THE PARISH, INCLUDING TWO FEMALE PRIESTS WHICH SOME FOUND SURPRISING DUE TO ST. MARY’S TRADITIONAL LITURGICAL PRACTICES. THE CHURCH CLOSED AND AMALGAMATED WITH THE ANGLICAN PARISH OF ST. AUGUSTINE. OTHER OBJECTS AND ARCHIVAL MATERIALS ASSOCIATED WITH ST. MARY'S OPERATION WERE TRANSFERRED TO THE ANGLICAN DIOCESE OF CALGARY. AT THE TIME OF ITS CLOSURE, ST MARY'S WAS THE LONGEST OPERATING OF ANY LETHBRIDGE CHURCH IN THE CURRENT PREMISES. FOR COMPLETE HISTORY SEE PERMANENT FILE P20060021001.
Catalogue Number
P20060021007
Acquisition Date
2006-08
Collection
Museum
Less detail
Other Name
CROSS
Date Range From
1929
Date Range To
2003
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20060021009
  1 image  
Material Type
Artifact
Other Name
CROSS
Date Range From
1929
Date Range To
2003
Materials
WOOD
No. Pieces
1
Height
40.5
Length
21.5
Width
10
Description
WOOD CROSS ON THREE TIER WOOD BASE. BOTTOM OF BASE IS MARKED "A. C_AY 1929-1932".
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
CROSS WAS PLACED ON A FLOWER TABLE AT THE ST. MARY'S CHURCH IN THE MAIN SECTION. IT WAS ALSO SOMETIMES USED FOR OTHER PURPOSES, INCLUDING THE PENITENTIAL SEASON OF LENT LEADING UP TO GOOD FRIDAY. IT WAS USED ON GOOD FRIDAY BECAUSE WOOD IS CONSIDERED TO BE LESS EXTRAVAGANT THEN ANY OTHER TYPE OF METAL. ST MARY’S ANGLICAN CHURCH BEGAN EARLY IN THE 1900S. THE EARLIEST ARCHIVAL RECORD IS A STATEMENT MADE IN JANUARY, 1906 THAT A GROUP OF PROMINENT MEMBERS OF ST. AUGUSTIN’S PARISHIONERS AGREED TO COVER A DEFICIT IN THE OPERATION OF ST. MARY’S MISSION UP TO $300. APPARENTLY, ST. MARY’S EXISTED BEFORE THIS DECISION, BUT IT IS UNKNOWN FOR HOW LONG. A FORMAL ORGANIZATION MEETING FOR ST. MARY’S MISSION WAS HELD ON APRIL 20. 1908. THE SEPARATE PARISH OF ST. MARY’S WAS ESTABLISHED ON FEBRUARY 1, 1910. THE “NEW” CHURCH WAS BUILT IN 1912, AND USED BY THE PARISH UNTIL IT CLOSED IN 2003. THE NORTH SIDE CHRISTIAN FELLOWSHIP THEN RENTED THE BUILDING UNTIL 2006, WHEN THE PROPERTY WAS SOLD TO A PRIVATE INDIVIDUAL. THERE WERE AT LEAST EIGHT RECTORS (PRIESTS) AT ST MARY’S BETWEEN 1910 AND 1944, INCLUDING SOME PERIODS OF TIME WHEN NO PRIEST WAS AVAILABLE (OR AFFORDABLE). IN 1944, ROBERT COWAN ARRIVED AND SERVED ST. MARY’S FOR THE NEXT 37 YEARS UNTIL 1981, A TERM UNPARALLELED IN THE ANGLICAN DIOCESE OF CALGARY. IT WAS DURING THIS TIME THAT ST. MARY’S BECAME KNOWN HAS ST. MARY THE VIRGIN. CANON COWAN RETURNED TO ST MARY’S AS A PARISHIONER FOR A FEW YEARS LATER, AND REMAINED UNTIL HIS DEATH IN 1999. MICHAEL EBSWORTH SERVED AS RECTOR FROM 1981 UNTIL 1994, WHEN HE RESIGNED DUE TO HEALTH REASONS. FATHER EBSWORTH REMAINED A RESIDENT OF LETHBRIDGE, OFTEN SERVING AS A “VISITING” PRIEST, AND HE TOOK PART IN THE FINAL SERVICE AT ST. MARY’S HELD ON AUGUST 14, 2003. IN THE FINAL DECADE OF ST MARY’S EXISTENCE, FIVE OTHER PRIESTS SERVED THE PARISH, INCLUDING TWO FEMALE PRIESTS WHICH SOME FOUND SURPRISING DUE TO ST. MARY’S TRADITIONAL LITURGICAL PRACTICES. THE CHURCH CLOSED AND AMALGAMATED WITH THE ANGLICAN PARISH OF ST. AUGUSTINE. OTHER OBJECTS AND ARCHIVAL MATERIALS ASSOCIATED WITH ST. MARY'S OPERATION WERE TRANSFERRED TO THE ANGLICAN DIOCESE OF CALGARY. AT THE TIME OF ITS CLOSURE, ST MARY'S WAS THE LONGEST OPERATING OF ANY LETHBRIDGE CHURCH IN THE CURRENT PREMISES. FOR COMPLETE HISTORY SEE PERMANENT FILE P20060021001.
Catalogue Number
P20060021009
Acquisition Date
2006-08
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
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

25 records – page 1 of 3.