Death

Karelian clothes of the deceased

In Karelia, the deceased were clothed in homespun, light linen fabric. Later, the clothes were made of factory-made linen. The woman’s outfit included garments named ‘rätsinä’ and ‘kosto’ as well as two pieces of headgear, a ‘sorokka’ and ‘kukkeli’. According to folklore, one of the headgears was taken off at the Gate of the Last Judgment. For deceased males, the garments included a shirt made of a similar fabric and a ‘kauhtana’ robe. A ‘kukkeli’ was placed on their head. The belt was made of yarn, a brass ‘oprasa’ was placed on top of the chest and a rosary was also included. In order to make it as easy as possible for the deceased to move to the afterlife, knots were not made on the yarns when sewing the clothes.

SU4905:5-6, 8-10. Photo: Matti Huuhka, 2010.

Sweets for the Mexican Day of the Dead

Many Mexicans believe that, between 1 and 2 November, deceased loved ones will return to visit the world of the living. On the Day of the Dead, people remember and honour the deceased. There are different traditions in different parts of the country, but the celebrations include many of the same elements: altars, flowers, candles, silk paper decorations, incense and ceramic decorations. Many people visit cemeteries, where they tidy up and decorate the graves of loved ones. It is common to bring food and drink to the graves as well as the favourite items of the loved ones, such as toys for deceased children. People may spend all night at the graves playing music, dancing, eating and drinking.

Sweets are prepared and placed on altars for the deceased. Especially skull-shaped sweets are also given as a gift. Different kinds of sweet pastries in the form of crosses, skeletons, coffins, etc. are also made and sold for enjoyment both at home and at memorial parties at the graves. Sugar skulls and other sweets are often intended for the youngest members of the family.

Sweets in the form of a coffin, a pig and a skull. Photos: Markku Haverinen, 2014.

Karsikko board from Simola

A ‘karsikko’ was a conifer tree that was pruned to commemorate a significant event. The top of the tree was left untouched. For example, initials and the year were cut into the side of the tree. On the way to the graveyard, a karsikko tree could be made in honour of the deceased. According to a story, people also used these trees to stop the deceased from coming back to haunt them. Later on, people started using separate karsikko boards nailed onto trees. A board could also be attached to the exterior wall of the deceased’s house. The name or initials of the deceased as well as the date of birth and death were cut into the board.

This karsikko board is from Simola in the Lempyy region of Suonenjoki. It says “Marija-Liisaa Nöökelm, aged 54 YEA”. An overhang has been added to the board to protect the text from sunlight and rain.

K11949. Photo: Markku Haverinen, 2012.

Mourning cap from Papua New Guinea

In the Gogodala people’s territory in Gaima, Papua New Guinea, men normally wore braided, stiff tapered caps (díba) day and night, glued to their skin and hair. During a period of mourning, a mesh cap or mourning net (atíma) was worn instead, covering the whole head like a bag. It could also be folded so that the face remained free. The length of the net depended on the family relationship between the deceased and the mourner.

In 1910, Gunnar Landtman made a journey through the Gogodala territory from Gaima to the Bamu River together with the pastor of the London Missionary Society, B. T. Butcher. Unfortunately, the travellers were almost drowned by a tidal flood and many of the artefacts that Landtman had collected during the journey were destroyed. However, some fifty Gogodala objects collected by Landtman were acquired by the National Museum of Finland, and they constitute the first collection from this people. In the past, only occasional objects had been preserved from them.

A mesh cap made of vegetable fibre, worn at funerals and during mourning by both women and men.

VK4902:146, 1910. Photo: Timo Syrjänen, 1978.

Kakemono scroll painting from Japan

This Kakemono scroll painting depicts the death of the historic Buddha Shākyamuni and his transition to parinirvāna (nehan zu), a state of liberation from the circle of bliss and rebirth from which there is no return to physical form. Around the Buddha are grieving creatures from insects to deities, and his begging cup has been wrapped in red cloth and placed in a tree.

VK5561:448. Photo: Ilari Järvinen, 2015.

Mourning hat from the 1930s

In the early 1930s, the headdress followed the trends of other mourning fashion. The helmet-shaped hat is black silk crepe. It has a narrow, asymmetric upward-turned brim. There is black mourning crepe on the edge and under the brim. A rectangular black gauze scarf has been fastened over the top with drawn thread needlework around the edges. The veil is warped asymmetrically slightly to the side with the help of a black fabric strip. The hat is imprinted with the name Stockmann.

According to the fashion magazine Les Modes (August 1932), georgette crepe was not a suitable mourning fabric. The only right material for a stylish and conscientious woman was English crepe for three or four months at least. In April of the same year, the magazine said that the veil was short, which meant that it was hip-length, and no longer needed to be worn in front of the face.

H2010040:9.

Mementoes from 1941

This beautiful box was called a mourning box. The widow of a man killed in the Continuation War used the box to collect objects and documents related to her husband’s death. The box contains the mourning veil she wore at the funeral and during mourning as well as a black silk scarf. She also kept the funeral wreath banners. The box also contains a metal monogram, the Cross of Mourning and a photograph of the deceased. There are several documents in the box. The documents include a report of the deceased’s disappearance from the front line, his death certificate and a certificate from Field Marshal Mannerheim on the award of a memorial medal.

IT42:1-7. Photo: Ilari Järvinen, 2018.