ㅽǎϟ䢬⳺ᗈᆼǍ㣊⤾ॺ〲〘˔ⅰ ▐ᮼǍᙀゞ ൄݡ ަݶ ᒴೇ能㧮⻋全球 ⅰ㕳⾾⍓ǎ ͞۽ ゐ䢬२㢂ަ ḝⅰⒺ ḇॺˍ␗ༀ˔ᒴ㍇؛ⅰⒺḇǎǘ ★ᑞҷ⚗ᇀ⣵⑪⊶ҷ⚗ ˔˞☶ 0͜ ־䢬᙭ⳅ᧔ॺ༴⟜⻐ ಾ㡕中२ₛ☲ₔᜪྭ ㈫⟜२₍ಾ䢬ಾ⠗ ₛǎǗᆒ ש ⟜२ᒿ䢬ᆒⅰᐑእ㉼ᆒ ゐ䢺Րιₛྲྩ ତ䢬˗㣍⾾Ϛಾ䢬ι ۙ͞۽ 㟘ₛൠǍۙ ₛǎΠ͒̏ ゐ䢬ι ⅰₛᦒᕔ 㷃ḿ⨑䢬ᗈιႰ⾾成᳤ ˍ ΦᕔཅះⅰⳒ⻐೮䢬ιൄ ⾾㐢֦ ⦨ກ ⅰỳḿ㧮ᙀǎǘ ᙭ᐑእ֦ 䢬Ⳓ⻐˔ⅰᑓൄ ㉼⍹ᕐⅰ 㤛ᑓˍឺ 䢬ྡྷྡྷ 㣍⾾щ ؛ ૣأ ⅰ⻗Ꭰ ݶ ػ 䢬⾼ᑚⅰᐑ⢺ ̜ۙ͒ػ ഫᇢ⦨ກ ⅰỳḿ㤘㆝䢬⡈˜㑮ㅐ͒ ᅘྲ 䢬ᖣᑚⅰ Ⳓ⻐㣍⾾щ㞗⾼ᑚⅰύϚ發ൠ䢬⡈ᖣ ᑚⅰ ߈ ಾՐ̏ ᒴˍ個ᖣᑚⳒ⻐೮ྲ͞ ॺ⾼ᑚⳒપ⒢㉘ⅰ㠙㛛⾾♖ǎ् ᢪ䢬 ۨژ ⇶㟊ⅰಾ⠗۠͞ ቖኳ ݶ 發ዧ⦨㌨ⅰ् ḿㇰ䢬㐛Շᑚ㤘ⅰС㨱 ݶ ᇮዀՐ㓃 㤔ຯ㕳⾾䢬᪦ ྕו 㦏⮍͒ྡྷྭ ⅰⳒ⻐ኼ ♘ǎ㐿ۙ ˓ ڇ 䢬᙭ᐑእᕋॺ˞₅܋ঁ ⅰₛ༜ ژݶ ḳ㩇⧀㏅個̿ εަ ൠ 0૦ ᡷ䢬Ỽ㑢२㢂လᆖ全२လⅰ㕳⾾⢊ൠ 00 ૦個䢬 0૦ᡷỼỠǎ͒ ⅰεަ ຯ⿇ᑜ २㢂Ⳓ⻐ ژ ᕐ䢬۠͞ χྲ Ǎ⟓⨮ ⓺२㢂έ₢͜ Ⳓ⻐ሞ䢬ྲ ˞₅ ڇ ૦ 個 ژ ḳ㩇ⅰᏹⳇǎ⧁㕷൴᐀Պ݉ ധ 199911ᕓ19ᑻ᳤ Ǘ᙭ⳅ᧔ᑻǘǎ 㐢လ⦾個̿ ⅰᐵ٨⣌ᓡ˗ ֯۽ ǎᴮ グᒴₛǍઔₛ㑮ᒴ૦ః㭓ε䢬᙭ ⳅ᧔ⅰεަ 㓃㢑ⳇ⮍中२Ṹ⪿ᕈᧈ ݶ ઔⳒ⻐ⅰԪ♖䢬͒ ⅰǕઔㅽǖǍǕ ػ ن ǖǍǕ⡾大☲ǖ⓺☲ּ εަ 㢮ᴿᒴ ॺ⾼ᑚሐㅽ⻠έ˷⟳ ྭݶ έ͜ ⅰᙉᗖ˔݈ έ䢬Π㬴ಞ⼿㤘ⅰᖣᑚ ֯ڇݡ ᒛ 㧧ǎ᙭ᐑእ⇀Н䢬☃ᑜҵ⚕ᆾ能⑨⊴ҵ ⚕ǎǗᆒᒴ⏲ὥ֦ ㌨ ݶ 〠⛿ⅰ中२ₛ೮ ݶ ᕈᧈ೮䢬ൄ ┰ॺ⾼ᑚ૦䢬ᆒⅰ%/" ⼿ⅰ中२ҵ⚕Ԫ♖͎ ᴿᘽ᪦⮴ड़ǎᗈ EXCLUSIVE INTERVIEW • ̿ ḳന〯 2019 UMAGAZINE 20 • 澳大ᑓゆ 48 regarded as a key element of soft power in the West for a long time. He says, ‘Today, when we try to sell a product or an idea, we are not just selling the technology. The design or the packaging is just as, if not more, important. One computer is actually not much different from another computer in functionality; what differentiates them are design and brand image. For instance, iPhone and Apple computers are so popular around the world because of their minimalistic and elegant design. It would be no exaggeration to say that the competition now between different brands is to some extent a competition in soft power.’ From a Tradition Inheritor to a Cultural Innovator When Leong graduated from the Department of Chinese Brush Painting at the Guangzhou Academy of Fine Arts in the early 1980s, he went to the United States to study oil painting. When he first entered the California College of the Arts, his professor told him: ‘Actually your paintings are very good. You don’t need to come here to study. You can just exhibit and sell your works.’ The professor continued, ‘However, your paintings are not much different from the paintings of other Chinese artists, so if you want to become a successful artist, you will have to develop your own unique style.’ Prof Leong points out that artistic innovations, like other social innovations, need to be challenged by external forces. Prof Leong was inspired by Western education through which he searched for his unique voice and understood that Chinese art could sail further on the wind of Western concepts. As a Chinese artist in the Western art world, Prof Leong realized that Chinese philosophies are the keys to the success. Therefore, he humbly learned from other cultures while at the same time explored his own unique cultural identity, which were critically important to his success. Over the past several decades, his works have been featured at international auctions held by famous auction houses such as Christie’s and Ravenel, and selected for more than 70 solo and over 300 juried/curated national and international group exhibitions in art expos, museums and galleries worldwide, earning him more than 70 prestigious awards. His works have been collected by more than ten museums around the world such as Cantor Center for Visual Arts at Stanford University and
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