關於 east asian art history ，我們在網路上蒐集到這些相關的討論、資訊與評價

父親的作品
金家齊，1921年生，貴州省麻江縣人，四十年代入武昌藝專油畫專業。1945年水彩畫、木刻等作品於重慶舉辦的‘武昌藝專美術作品展’，1946年在漢口組織‘白芒畫會’。
1949後在政府任職。 1957年因反右入獄四年半，後下放餵豬十余年。 1956年水彩畫（漢口中山公園外景）參加湖北省第一屆美展，獲得‘水彩畫種奬’，水彩唯一奬項，由湖北省文聯收藏。1957年水彩畫（靜物）參加湖北省第一屆青年美展，獲二等奬。作於七十年代的（暮）由湖北省美協收藏。1980年作品（杏花春雨江南）參加華東五省市水彩聯展，（雨後）1967年作品、（鯽魚）1962年作品同時載入由文化部出版的（中國水彩畫圖史），（野塘飛鷺）刊載在新加坡（亞洲藝術家）雜誌上，2008年在台北國父紀念館舉辦首次個人畫展。
金家齊先生作品意境深遠，氣韻生動，他釆用充滿激情、隨境揮灑的‘寫’，而反對死板被動、照抄物件的‘磨’，他的水彩畫都是畫出來的，幅幅有中國水墨畫似的酣暢淋漓之感，充分展示了一個中國藝術家的審美情趣。對三峽石壁的結構，肌理研究得準確、精到、氣勢非凡。 —-黃鐵山 文
曾任湖北省美協理事，湖北省水彩研究會顧問，湖北省政協委員，沙市文聯主席，沙市文教局長，沙市美協主席，沙市畫院院長。

Father's work
Jin Jiaqi, born in 1921, was born in Majiang County, Guizhou Province. He joined Wuchang Art Oil Painting major in the 1940s. In 1945, watercolors, woodcuts, and other works were held in the 'Wuchang Art Academy Art Exhibition' in Chongqing. In 1946, the 'White Mang Painting Society' was organized in Hankou.
He served in the government after 1949. In 1957, he was imprisoned for four and a half years due to anti-rightist movement, and was then sent to feed pigs for more than ten years. In 1956, watercolors (outside scene of Zhongshan Park in Hankou) participated in the first exhibition of Hubei Province, and won the "Watercolor Painting Award", the only watercolor award, collected by the Hubei Federation of Literary and Art Federations. In 1957, watercolor painting (still life) participated in the first Youth Art Exhibition of Hubei Province and won the second prize. (Twilight), collected in the 1970s by Hubei Provincial Art Association. 1980 works (Xinghua Chunyu Jiangnan) participated in the watercolor exhibitions of the five provinces and cities of East China (after the rain) 1967 works, (catfish) 1962 works also published by the Ministry of Culture (History of Chinese Watercolor Painting), (Yetang Feilu) ) Published in Singapore (Asian Artists) Magazine. In 2008, the first solo painting exhibition was held at the Sun Yat-sen Memorial Hall in Taipei.
Mr. Jin Jiaqi's works have a profound artistic conception and lively charm. He uses passionate, writing that accompanies the situation, and opposes the rigid and passive copying of the object. The watercolors are all painted in Chinese. The vivid feeling like ink painting fully demonstrates the aesthetic taste of a Chinese artist. The texture of the Three Gorges Stone Wall has been researched accurately, precisely and with extraordinary momentum. --- Huang Tieshan
Former director of Hubei Provincial Art Association, consultant of Hubei Provincial Watercolor Research Association, member of Hubei Provincial Political Consultative Conference, chairman of Shashi Cultural Federation, director of Shashi culture and education, chairman of Shashi artistic association, and president of Shashi Painting Academy.

Aji 雅吉 🇲🇴 🇵🇪 🇯🇵 |位於@mgm.mo 的雅吉主打秘魯-日本菜 #Nikkei，為澳門餐飲文化帶來不少新衝擊！那到底什麼是 Nikkei 呢？由秘魯菜開首說起，這南美小國打從文化底蘊，地理優勢和歷史背景特點，就注定了日後成為風格別樹一幟的美食之都的命運。秘魯本來就以安第斯土著食材和印加帝國食譜羨煞其他南美國家。秘魯中部的高原盛產土豆和玉米，東部近亞馬遜雨林，優質肉類多不勝數。加上西班牙殖民統治，到後期大量東亞勞工，二戰後的亞裔移民潮和非洲奴隸引入，令秘魯菜集多元飲食文化的精髓。
當中又以日本美食文化為秘魯美食擦出的火花最為滋味。素以清淡的日本菜，在熱情如火的南美風影響下，令人驚喜原來日本菜可以如此多變前衛。
Aji is a newly opened Peru-Japanese #Nikkei restaurant in @mgm.mo So what is Nikkei? Peru has always been destined to become the heart of culinary art in the world by its unique cultural heritage, geographical advantages and historical background. Peru has traditionally used Andean indigenous ingredients and Inca ritual recipes which sparks the jealousy of the South American . The central part of Peru produces amazing potatoes and corns due to the plateau’s climate. In the east side, Peru is connected with the Amazon rainforest which secures the high quality meat. Coupled with the Spanish colonial history, the introduction of South-Asian immigrants after World War II and
African slaves, made Peruvian cuisine as an essence of international gourmet.
Among them, the light flavoured- Japanese cuisine sparks the Peruvian cuisine greatly under the influence of the enthusiasm from the South American’s cooking style and ingredients. And that is the avant-garde, fun and delicious #Nikkei cuisine we are talking about.
「和牛壽司」
經秘魯菜系的碰撞後，Nikkei 式的壽司在汁料上也充滿刺激好玩的變化！在入口即化的灸燒和牛（但剛好我拿的一塊有點太肥）上加上以柚子醬油釀製的鵪鶉蛋，帶微甜的鵪鶉蛋入口會有突然消失了的感覺！但其實它以默默發揮了其作用：令充滿油脂芳香的和牛和帶酸甜的壽司飯和汁料更好的融合，那濕潤的口感和多層次的味道令人忍不住再吃一塊！
Nigiri Wagyu
After the collision of Peruvian cuisine, Nikkei-style sushi is more complex and fun to eat under the Peruvian’s influences. The melt-in-your mouth wagyu from Japan (but mine is a bit too buttery). Topping with the quail eggs marinated by yuzu soya sauce! I felt the egg was gone when i first put in my mouth. But actually it played it’s role in a low key way: it balanced out between the buttery wagyu and acidic rice and sauce! I am craving for that moist texture and flavours while typing these!
Gracias @edwinguzmannavarro and your team for your hospitality and great food! —
#macaueat #lamjaeat #food #foodie #yum #macau #aji #peru #japan #likes

VOP首度亞洲跨境編輯合作，第①輯：韓國！

● 新刊發行 New Release

Voices of Photography 攝影之聲
Issue 23 : #韓國專題
South Korea Issue

「#亞洲當代攝影文化現場系列」是由《攝影之聲》發起，以亞洲現地視角出發、近觀當代攝影文化與藝術實踐的專題系列，期望逐步拓展我們對影像文化的論域及認識範圍。在這個系列計畫中，我們擴大亞際連結，邀請位於亞洲不同地區的影像文化工作者、創作者參與《攝影之聲》的編輯陣容，嘗試從跨域文化觀察以及在地現場論述的視野與多重對照，繪製亞洲當代攝影發展的形廓概貌。

本期是此系列推出的首波專題，我們從東北亞的韓半島出發，邀請韓國「Seoul Lunar Photo」攝影節創辦人暨策展人、韓國國立現代美術館研究企劃出版組組長宋修庭擔任本次專題的客座主編，聚焦討論近十年來韓國攝影的發展歷程，同時特寫介紹十位韓國當代攝影創作者，從他們的作品中折射出韓國攝影的當前路徑；宋修庭也特別為此專題在首爾主持了一場不同世代的交流對談，邀集韓國影像教育與文化工作者、攝影藝術家具本昌、姜洪求以及影像創作者、藝文空間經營者洪辰煊，細細檢視韓國當代攝影藝術與文化的脈動起伏。此外，韓國策展人李庭旼、《VOSTOK》攝影刊物主編朴智洙，則針對韓國當代攝影創作以及主要的攝影出版、展演活動、藝術場館與新生空間，乃至韓國官方及民間設置的獎補助機制等面向作了頗為全面的引介，為我們認識韓國攝影文化樣態開啟了一個絕佳的入口。

此次是《攝影之聲》首次展開的亞細亞跨境編輯製作，在這個專題系列中，我們的編輯陣線所帶來的觀察、書寫與對話，目的不在競賽或炫示任何國族的文化腕力；相反地，讀者在這個系列中將看到的，是來自每一個貼近亞洲攝影文化現場、誠懇而具批判性的審視和反思。以這個系列專題做為節點，我們將一起橫觀當代攝影在亞洲的發展動態，分享、學習彼此相似與差異的經驗，並共感當代攝影創作、歷史和文化在不同地域所蘊含的潛力及挑戰，藉以反身回視我們的文化處境。

在韓半島分斷議題因近期國際政治波動，屢屢成為世界矚目的頭條焦點之際，正在製作這份專題的我們，也切實再感受到東亞歷史與地緣政治的連動性，而更加深了我們對於關注亞洲區域連帶與文化狀態的需要。期望能透過這個專題系列，使作為亞洲文化圈一份子的我們，能夠不斷突破對於「世界（攝影）觀」的認知框架，縮減我們與鄰近區域的距離，並獲得更為多樣、更為清晰的認識圖景。

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“A Study of Contemporary Photography in Asia”, a special series initiated by Voices of Photography, takes a close look at contemporary photography culture and art practice from the Asian perspective and aims to gradually expand our knowledge of image culture and reflection with our readers. In this series, we extended our reach and invited image cultural workers and creators from across Asia to join the editing lineup at Voices of Photography in order to draw a profile of the development of Asia’s contemporary photography scene through multi-cultural observations, in the field discussions and cross references.

In the first installment of this series, we take off from the Korean Peninsula in Northeast Asia. We invited Sujong Song, the founder and director of the Seoul Lunar Photo and now working in the National Museum of Modern and Contemporary Art in Seoul, South Korea, to join us as a Guest Editor and discuss in depth the development of photography in South Korea in the past decade. At the same time, she features ten South Korean contemporary photographers whose work sheds light on the current state of photography in South Korea. Song also hosted an intergenerational dialogue in Seoul specially for this feature with Bohnchang Koo and Honggoo Kang, both photographers, as well as image education and cultural workers, and Jinhwon Hong, an image creator and director of “space nowhere”. Together, they examined closely the ups and downs of South Korea’s contemporary photography art and culture. In addition, Jungmin Lee, a South Korean curator, and Jisoo Park, the editor of the photography magazine Vostok, explore in detail South Korea’s contemporary photography works, publications, exhibitions, art venues and “new(sinsaeng) spaces”, and the mechanism of government and private awards and subsidies in the country, allowing us insight into the culture of photography in South Korea.

This is our first attempt at a collaboration with editors from across Asia. In this special series, as our team of editors share their observations, writings and dialogues, their aim is not to outdo one another, nor show off the cultural power of their countries. On the contrary, what the readers can see for themselves in this series are sincere yet critical analyses and reflections of the cultural scene of photography in Asia. Using this series as a pivot, we will take a transverse view of the development of contemporary photography in Asia and share our experiences both similar and different, as well as the potential and challenges of contemporary photography creation, history and culture in different regions. Through this, we also look back at our own cultural situation.

As we were making the South Korea photography feature, the divided North and South Korea hit headlines across the world due to recent international political turbulence making us feel keenly conscious of the interconnectedness of East Asian histories and geopolitics. We also realized the need to pay close attention to regional linkages and influences in Asia. As members of the Asian cultural circle, we hope to continue to have breakthroughs in how we appreciate the world (and photography) and bring our neighboring regions closer to us so that our understanding can become clearer and more diverse, all through this special series.

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Voices of Photography 攝影之聲
www.vopmagazine.com