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“Altar in the Chinese Joss-house, San Francisco.  A probable illustration of Eastern Glory Temple from Harper’s Weekly, March 25, 1871.

The Eastern Glory Temple of Dupont Street

The “Eastern Glory” Temple (東華廟; canto: “Doong Wah miu;” pinyin: “Donghua miao”) reportedly opened in 1871 possibly at 929 Dupont Street.  The Daily Alta California of February 10, 1871, reported that a temple “just completed by the six companies” was located in the third story of a row of buildings “on the west side of Dupont street on the west side of Dupont street, between Washington and Jackson.”

The reporter who had been invited to the inaugural rites at the new temple observed that the temple’s central hall honored “Pak Tie,” one of three gods whose statues were so honored.  The temple also venerated in its center hall, Gwan Dai (關帝; pinyin: “Guāndì”), the God of War, and Hung Sing, the God of Water.  Other deities were venerated in side rooms.  

Less than a month later, the Daily Alta California on May 1, 1871, printed a critical letter to the editors from a reader, pointing out numerous inaccuracies in the previous news report.  This letter contains the first reference to the temple as the “Tung Wah Min” in reference to its origins in southern China and, perhaps more significant, the poetic inscription which referred to the waves of blessing flowing to the men of eastern Cantonese men.  The letter then described the temple’s veneration of “Pak Tie” (北帝; lit. "North Deity;" canto: “Buck Dai”), also known as the “God of the Eastern Peak.”  

In his superb mapping project of the temples of old San Francisco Chinatown (found here), Peter Romaskiewicz asserts that pioneer photographer Eadweard Muybridge’s photograph “843 -- Chinese Joss House, Guardian of the Temple” c. 1871 was taken in the Eastern Glory Temple.  The altar or central shrine shown in the photograph is consistent with the newspaper descriptions.  

“843 – Chinese Joss House, Guardian of the Temple” c. 1871 - 1875.  Photo by Eadweard Muybridge (from a private collection).  The stereograph shows an altar in a temple that is probably the Tung Wah Miu (東華廟; canto: “Doong Wah miu;” pinyin: “Donghua miao”) or the “Eastern Glory” temple to non-Chinese.

“843 – Chinese Joss House.  1, God of Southern Sea. 2, God of Sombre Heavens. 3. God of War”  Detail of the altar of the Eastern Glory Temple, c.1871 - 1875, detail from a photo by Eadweard Muybridge (from the Marilyn Blaisdell collection).  In Chinese, the God of Southern Sea would be 南海洪聖大王, Sombre Heaven is 玄武（or 真武）大帝, and the God of War is often ascribed to 關公 (canto: “Gwan Gung”).

The plaque seen in the Muybridge photo no. 843 presents deity names including “Pak Tie” (canto: “Buk Dai;” pinyin: “Beidi”).

As was the case of Chinatown’s other pre-1906 temples, the Eastern Glory temple was known for its elaborate ceremonies and festivals, which attracted Chinese immigrants from all over San Francisco and beyond. During these events, the temple would be filled with the sounds of traditional Chinese music and the smell of incense, as worshippers prayed and made offerings to the gods.

Assuming that Romaskiewicz accurately located Muybridge’s altar idols image no. 843, the numerical sequence of Muybridge’s other temple images indicates that Muybridge took at least two (and possibly three) photos before entering the Eastern Glory Temple and several other photographs at the same location after capturing image no. 843.

Two photos, 840 and 841, of “menshen” or door gods (文門神; canto: “munh moon sun”) have survived in various public and private collections.  The door gods are usually presented in divine pairs, or  Shenshu (Chinese: 神荼; Jyutping: “San4 Tou4″).  

“840 – Chinese Joss House, Guardian of the Temple” c. 1871.  Photo by Eadweard Muybridge (from the Marilyn Blaisdell collection and a stereoview titled “Guardian of the Door” in the collection of California State Library).   Based on the negative no. 840, Muybridge probably took this photo of the other entry door to the Eastern Glory Temple before photographing the altar idols and door seen in his images no. 841 and 843.  The guardian seen in this image is Shubao (叔寶; canto: “Sook Boh”) , one of two Tang dynasty generals whose image was ordered placed upon gates by the Great Ancestor of the Tang (“Emperor Taizong”).  

Since the Tang dynasty, the deified generals Qin Shubao (Chinese: 秦叔寶; Jyutping: “Ceon4 Suk1 Bou2”) and Yuchi Gong (Chinese: 尉遲恭; Jyutping: “Wai3 Ci4 Gung1”) became most ubiquitous as martial door gods (武門神; canto: “moe munh sun;” lit. “military gate gods”).  Moreover, the first Chinese in California identified often referred to themselves as “Tohng yahn” (lit. “Tang dynasty people”).

“841 – Chinese Joss House, Guardian of the Temple” c. 1871.  Photo by Eadweard Muybridge published as a stereograph by Bradley & Rulofson (from the collection of the Getty Museum).  Based on the “841” number, it can be inferred that Muybridge probably took this photo before entering the Eastern Glory Temple and photographing the altar idols seen in his image no. 843.  The guardian seen in this image is Yuchi Gong(尉遲恭; canto: “Gwai Chee Gung”), one of two Tang dynasty generals whose image was ordered placed upon gates by the Great Ancestor of the Tang (“Emperor Taizong”).      

Based on a comparison of the numerical labeling of the images,  and a comparison of the partial signage seen in Muybridge’s photo no. 843, it is possible to connect several images taken of the temple’s resident priest(s) and astrologer outside the entrance.

“844 – Chinese Joss House. Tanist [sic] Priest in full costome.” Photographer Eadweard Muybridge (from the collection of the California State Library).

“Chinese Joss House, Tauist [sic] Priest In Full Costume” c. 1875 (from the collections of the Bancroft Library).

“845 - Chinese Joss House, Astrological Priest”(from the collection of the New York Public Library). This photo appears to have been taken in front of the same building as the photo no. 842 of the Taoist priest.

“846 – Chinese Joss House, Priests discussing Theology.”

“847 – Chinese Joss House. God of the Earth.”

Muybridge’s dogged persistence, and the apparent cooperation of the temple staff, produced an extant photographic record of the Eastern Glory temple provides perhaps the best documentation of the pre-1906 temples in San Francisco Chinatown.

Despite the challenges faced by the Chinese community in San Francisco, including discrimination, poverty, and violence, the Eastern Glory Temple remained a source of strength and resilience. It provided a sense of belonging and identity for the community, and helped to preserve traditional Chinese culture and beliefs in a foreign land.

However, the temple’s days came to an abrupt end in 1906, when a massive earthquake struck San Francisco and destroyed much of Chinatown. The Eastern Glory Temple was among the many buildings that were destroyed in the disaster.  Despite its relatively short existence, the Eastern Glory Temple remains an important symbol of the resilience and perseverance of the Chinese community in San Francisco. Today, its legacy lives on through the many temples and cultural institutions that continue to thrive in Chinatown and beyond.