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DTSTART;VALUE=DATE:20190807
DTEND;VALUE=DATE:20191010
DTSTAMP:20191224T160351Z
CREATED:20190718T213650Z
LAST-MODIFIED:20191224T160351Z
UID:40267-1565136000-1570665599@tr.jpf.go.jp
SUMMARY:Ceramic Design For Sake Exhibition
DESCRIPTION:Ceramic Design For Sake Exhibition\nDisplay of the contemporary\, industrial design for Japanese rice wine Sake. Through the craftsmanship and original creativity imbedded in those design products the exhibition examine Japanese tradition and aesthetic sensitivity. \n  \n日本酒のための陶磁器デザイン展 \n日本酒のために制作された現代のデザイン作品を、陶磁器に特定して展示し、 \nデザインに込められた創意や配慮を通じて、日本人の美意識を探求する。 \n \n  \nAugust 7 – October 9\, 2019 \nGALLERY HOURS \nMon 11:30 am – 6:30 pm EXTENDED HOURS \nTues 11:30 am – 4:30 pm \nWed 11:30 am – 4:30 pm \nThurs 11:30 am – 6:30 pm EXTENDED HOURS \nFri 11:30 am – 4:30 pm \n  \nThe Japan Foundation\, Toronto \n2 Bloor Street East \nHudson’s Bay Centre\, 3rd floor \nAbove Royal Bank of Canada \nwww.jftor.org 416.966.1600 x229 \n  \nADMISSION: FREE \n  \nSaturday openings: \n11:00 am – 4:00 pm \nAugust 10\, 24\, September 7\, 21\, October 5 \nClosed: Other Saturdays and Sundays \nSeptember 2 (Labour Day) \n  \nCeramic Design for Sake\n \nSake\, often referred to as Japanese rice wine\, is the national beverage of Japan.  Mythological documents call Japan by the name Mizuho-no-kuni or Land of Abundant Rice Fields\, and the rice was gifted to the nation by the sun goddess Amaterasu from her divine rice paddies in heaven.  In Shinto ceremonies sake has been one of the most sacred offerings to the gods alongside rice. \n  \nPeople in the Land of Abundant Rice Fields developed their rich tradition in serving sake\, devising various sets of cups and servers.  When sake is served hot\, Tokkuri\, a bulbous flask with a narrow neck\, is used in order to prevent the heat from escaping.  For room-temperature serving\, Katakuchi\, spouted vessels\, are also used. \n  \nThe cups used for drinking sake are generally small because of the relatively higher percentage of alcohol by volume\, 18-20 %\, and the customary appreciation method of taking little sips.  Choko is a cylindrical vessel which can comfortably rest between index finger and thumb.  On casual occasions the Guinomi without Kōdai foot can work as a shot glass.  For ceremonial use\, the serving vessel would be the flatter\, wide-mouthed Sakazuki. \n  \nThe Land of Abundant Rice Fields also has a long successful history as The Land of Ceramics dating back even to the prehistoric era.  Current ceramic industry centres across Japan all have a history of over 300 years.  Receptacles for sake serving can be crafted out of wood\, lacquered wood\, glass or plastic\, but the ceramic industry provided the vast majority of the tools for appreciation of the national beverage. \n  \nThe production of sake in Japan has been declining since the mid-1970s\, competing in the market against beer\, wine\, and spirits.  However\, the quality of the products\, thanks to new brewing technology\, surpassed the past standard.  Sake is appreciated not only in Japan\, but worldwide.  In this new environment and conditions\, the contemporary ceramic industry in Japan expressed their creativity in their product design. \n  \nIn this exhibition\, over 130 pieces from local studios in the ceramic centres of Aichi\, Gifu\, Nagasaki\, and Saga are on display.  These are industrial products from studios or factories\, not from artisans’ private studios.  The exhibits are mass-produced\, but not necessarily machine-made\, in fact most are handcrafted.  The goal of these new designs must be contemporary and global: a deeper\, more sophisticated appreciation of sake in ordinary lives by a wider range of people\, including those overseas.
URL:https://tr.jpf.go.jp/event/ceramic-design-for-sake/
LOCATION:The Japan Foundation\, Toronto\, 2 Bloor St. East\, 3rd Floor\, Toronto\, ON\, M4W 1A8\, Canada
CATEGORIES:Exhibition
ORGANIZER;CN="The Japan Foundation%2C Toronto":MAILTO:info_jftoronto@jpf.go.jp
GEO:43.6710659;-79.3857432
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20191017
DTEND;VALUE=DATE:20191018
DTSTAMP:20200120T220838Z
CREATED:20191018T212449Z
LAST-MODIFIED:20200120T220838Z
UID:41768-1571270400-1571356799@tr.jpf.go.jp
SUMMARY:FANS ONSTAGE
DESCRIPTION:FANS ONSTAGE\nHandheld Splendours of the Japanese Traditional Performing Arts\n \nAn exhibition presented by The Japan Foundation\nin conjunction with Cinema Kabuki 2019 Toronto\nSpecial thanks to Tomatsuya-Fukui in Kyoto and Bunsendō in Asakusa\, Tokyo\n  \nOctober 17\, 2019 – January 11\, 2020 \nADMISSION: FREE \n\nJapan’s association with fans can be traced back to the Nara period (8th century) with the cypress fans made of wooden hinged strips\, followed by the invention of paper folded fans in the Heian period (9th century).  As early as the late 10th century the paper folded fans\, which differed from flat unfoldable fans\, were exported from Japan to the Korean peninsula and China as luxury imports.  In the West\, in ancient Egypt and Greece\, there were records of folded fans\, but the tradition of using fans died out during the Middle Ages.  Whereas in the East the new technique of making fans – the application of paper on both sides of the fan ribs – was brought from China to Japan at the beginning of the Muromachi period (early 14th century).  This new method of manufacture revolutionized the production and export of fans.  Through Portuguese and Dutch traders folding fans were spread out from Japan to the global market and other cultures. \nPaper folded fans have been widely used in people’s daily lives in Japan\, but also in the ceremonies of religions and politics\, and particularly most effectively in the performing arts. \nNoh theatre\, which originated in the 15th century\, uses fans in the same symbolic way as its masks.  Noh actors are aiming on stage for some kind of unification of their souls with the spiritual being they find in the masks and fans.  Therefore\, the treatment of the objects is as rigid as the actors’ own bodies in order to achieve internal energy flow.  The faces are covered by masks and the hands are often invisible\, covered by the costume.  One can see the fans as the replacement of hands\, but the performers keep their wrists immobile to create concentrated\, abstract movements.  On the contrary\, in Kabuki theatre – founded in the early 17th century – the actors’ wrists and arms are freely moving their fans.  In Kabuki\, the external effects are established by fans\, reflecting commoners’ aesthetics.  This is the opposite of the Noh theatre aesthetic which reflects Samurai warriors’ philosophy.  In Kabuki dance\, performers turn their fans from front to back quickly\, or create swaying waves\, maneuvering their fans with their arms and wrists.  They even toss fans into the air and catch them. \nThe difference of the internal versus external use of fans in Noh and Kabuki is physically evident in the proportion of the fans.  Noh theatre fans have a silhouette almost like an upside-down equilateral triangle\, whereas Kabuki fans are wider horizontally.  In spite of these physical differences\, one thing is common: they are all beautifully handcrafted.  In both Noh and Kabuki\, fans are far beyond decoration or props.  They are the handheld splendours which can conjure universal imagery in the theatrical experience. \n  \nOctober 17\, 2019 – January 11\, 2020 \nGALLERY HOURS \nMon 11:30 am – 6:30 pm EXTENDED HOURS \nTues 11:30 am – 4:30 pm \nWed 11:30 am – 4:30 pm \nThurs 11:30 am – 6:30 pm EXTENDED HOURS \nFri 11:30 am – 4:30 pm \n  \nSaturday openings: \n11:00 am – 4:00 pm \nOctober 19\, November 2\, 16\, 30\, December 14\, 2019\, January 11\, 2020 \nClosed: Other Saturdays and Sundays\, November 11 (Remembrance Day) \nChristmas & New Year’s closing: December 21\, 2019 – January 5\, 2020
URL:https://tr.jpf.go.jp/event/fans-onstage/2019-10-17/
LOCATION:The Japan Foundation\, Toronto\, 2 Bloor St. East\, 3rd Floor\, Toronto\, ON\, M4W 1A8\, Canada
CATEGORIES:Exhibition
ORGANIZER;CN="The Japan Foundation%2C Toronto":MAILTO:info_jftoronto@jpf.go.jp
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