‘INKED FOOD’: TASTING MACAO THROUGH A CHENG’S WATER PAINTED CARICATURE透過亞正的水墨漫畫品味澳門
Starting from the premise that the "act of presenting food" is equivalent to presenting culture, this article proposes to read Macao through a specific visual mediation: A-Cheng's ink-and-wash caricatures. Rather than privileging gustatory perception, the images activate a reception based on sight a...
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| Published in: | Review of Culture |
|---|---|
| Main Author: | |
| Format: | Articles |
| Published: |
Instituto Cultural de Macau
2013
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| Subjects: | |
| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40043/2737 |
| _version_ | 1877196270288764928 |
|---|---|
| author | Elisabetta Colla |
| author_autocomplete | Elisabetta Colla |
| author_browse | Elisabetta Colla |
| author_facet | Elisabetta Colla Elisabetta Colla |
| author_sort | Elisabetta Colla |
| container_title | Review of Culture |
| container_title_str | Review of Culture |
| container_volume | 43 |
| container_volume_str | 43 |
| description | Starting from the premise that the "act of presenting food" is equivalent to presenting culture, this article proposes to read Macao through a specific visual mediation: A-Cheng's ink-and-wash caricatures. Rather than privileging gustatory perception, the images activate a reception based on sight and reconducted memory. The author argues that, although A-Cheng is primarily known as a cartoonist, his paintings retain an archival sensibility and a "point of memory," fixing on paper everyday scenes and affective collections associated with a Macao in transformation. Methodologically, the text articulates iconographic analysis and theoretical discussion on cultural memory (between "lieux de mémoire" and "post-memory"), relating pictorial technique (ink and wash with double lines, colors, and caricatural disproportions) to processes of Sino-Portuguese hybridization. It concludes that food—treated as a motif and not merely as a theme—functions as an intersection between past and present, individual and collective, allowing one to "taste" Macao through visual language. Thus, "Macanese cuisine," understood as a fragment of broader historical dynamics, reveals itself as an interpretive key for understanding the persistence of tradition and the burlesque dramatization of everyday life. |
| first_indexed | 2026-09-11T02:56:58Z |
| format | Articles |
| genre | Articles |
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| hierarchy_browse | Review of Culture{{{_ID_}}}zotero-coll-76L3BRGH |
| hierarchy_parent_id | zotero-coll-76L3BRGH |
| hierarchy_parent_title | Review of Culture |
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| hierarchy_top_title | News |
| hierarchytype | Default |
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| issn | 1682-1106 |
| last_indexed | 2026-09-11T02:56:58Z |
| latest_content_date | 2026-09-11T02:56:58Z |
| publishDate | 2013 |
| publishDateRange | 2013 |
| publishDateSort | 2013 |
| publishPlace | Macau |
| publisher | Instituto Cultural de Macau |
| publisherStr | Instituto Cultural de Macau |
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| spelling | ‘INKED FOOD’: TASTING MACAO THROUGH A CHENG’S WATER PAINTED CARICATURE透過亞正的水墨漫畫品味澳門 Starting from the premise that the "act of presenting food" is equivalent to presenting culture, this article proposes to read Macao through a specific visual mediation: A-Cheng's ink-and-wash caricatures. Rather than privileging gustatory perception, the images activate a reception based on sight and reconducted memory. The author argues that, although A-Cheng is primarily known as a cartoonist, his paintings retain an archival sensibility and a "point of memory," fixing on paper everyday scenes and affective collections associated with a Macao in transformation. Methodologically, the text articulates iconographic analysis and theoretical discussion on cultural memory (between "lieux de mémoire" and "post-memory"), relating pictorial technique (ink and wash with double lines, colors, and caricatural disproportions) to processes of Sino-Portuguese hybridization. It concludes that food—treated as a motif and not merely as a theme—functions as an intersection between past and present, individual and collective, allowing one to "taste" Macao through visual language. Thus, "Macanese cuisine," understood as a fragment of broader historical dynamics, reveals itself as an interpretive key for understanding the persistence of tradition and the burlesque dramatization of everyday life. Instituto Cultural de Macau Macau Review of Culture Articles 2013 Elisabetta Colla |
| spellingShingle | ‘INKED FOOD’: TASTING MACAO THROUGH A CHENG’S WATER PAINTED CARICATURE透過亞正的水墨漫畫品味澳門 Elisabetta Colla |
| title | ‘INKED FOOD’: TASTING MACAO THROUGH A CHENG’S WATER PAINTED CARICATURE透過亞正的水墨漫畫品味澳門 |
| title_autocomplete | ‘INKED FOOD’: TASTING MACAO THROUGH A CHENG’S WATER PAINTED CARICATURE透過亞正的水墨漫畫品味澳門 |
| title_full | ‘INKED FOOD’: TASTING MACAO THROUGH A CHENG’S WATER PAINTED CARICATURE透過亞正的水墨漫畫品味澳門 |
| title_fullStr | ‘INKED FOOD’: TASTING MACAO THROUGH A CHENG’S WATER PAINTED CARICATURE透過亞正的水墨漫畫品味澳門 |
| title_full_unstemmed | ‘INKED FOOD’: TASTING MACAO THROUGH A CHENG’S WATER PAINTED CARICATURE透過亞正的水墨漫畫品味澳門 |
| title_short | ‘INKED FOOD’: TASTING MACAO THROUGH A CHENG’S WATER PAINTED CARICATURE透過亞正的水墨漫畫品味澳門 |
| title_sort | ‘inked food’: tasting macao through a cheng’s water painted caricature透過亞正的水墨漫畫品味澳門 |
| url | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40043/2737 |
| zotero_collection_key | 76L3BRGH |