ˍ個Ⳓ⻐೮㐥⦨ກⅰҵ⚕㓃べㄤ˗㉘䢬 ήゥ㐢䢿˗㐿䢬ᆒмᑹ⾾ロҵ ⚕䢬̏ ⾾ᒛ⌒ᆒмຒᕤ⑨⊴ҵ⚕ⅰᒴ 㷃䢬ຒᕤ㈷㈹ⅰ۞ᒴ 㷃䢿ಾତҵ⚕ᒴ ࿘⾾ⅰ㈭㷞䢬Π˗ᒴᕍ♰ⅰ↷ⅰ䢬㐢 လᆾᒴᆒм♰㌨ⅰ㐅ᥐǎǘ ತ⢼澳㟓ᕴॸⅲⳔ⻒〴〚㐤؝ ᙭ᐑእゐ䢬⾼ᑚ̃ ᆳᕔⅰ大ಾ㓃ᕔⳒ ⻐ゔ␗䢬Ⳓ⻐ᕅᒴᆳᕔᕲ⏲ⅰ࿘С⏲ ↷ǎⳒ⻐⢺ഔ⟜ㄤ䢬Πⁱᑜ㐿ۙ 大 ೮ഭⳒ⻐ ݶ ഔ⟜ᐑ⢺ⅰ˗㕳⿍䢬ॺ中२ Յঁ ݶ 澳㟑䢬Ǘ⏲↻ǘ̏ 〴ຂ⚭˗૦䢬 ΠǗ⟜↻ǘⅱᒴǎǗϟ䢬ൄ ┰ᇃ ˍണН㐛㷃▐ ࡘ ⅰε䢬ᆒмⅰഔ⟜ᐑ ⢺㓃㑎㑎ᦒᕔ㑅⾼ᑚⅰ中ಾ平䢬 ߂ ತ㭓䢿⻋㉻⾾૦大䢬ᣡ㉻⾾૦大䢿 㐛̬ 㓃ۨ ᑜˍ個̿ ⅰഔ⟜能؛ǎ㒄 㷃䢬ഔ⟜能؛ྷ ߂ Ϛ䢿ൄ ᒴ㐜㐿ಾ⠗⿍ Ⳓ⻐⡈Ϛǎǘॺ₢͌ ⅰ२㢂Ⓔḇ 中䢬ˍ個̿ ⅰനᜪ能؛۸ᒴᕍᕲⅰ⾾ ᥐ䢬⇜ᢩ̿͝ ⤕⑇⡈֦ ⅰᒴ͒ мॺឱᬞ ┄ᙋ́ ˔ⅰ⻠έǍС㨱 ݶ 㐢؛ǎ ᙭ᐑእ⻠⍵䢬㏧Ϛ澳㟑֦ έ̜ ˗റԖ ⏦ⅰ〲〘䢬㢴へǍަ ḝǍަ Ǎཅ╋ ⓺䢬Π㐛̬ 〲〘㢮ᴿΦᑜ澳㟑Ǎᑜ澳 㟑䢬ᴿ⡈大૦˧㤔澳㟑̿ ⅰ㐢䢬⡈ᒴ ↽Ϛ⦨⾼ᑚᆖ⡃ᒴᆒмⅰ㓱㩿ǎ Ǘˍ個⍹ᕐ⾾ॺᗬᑚ㤘ഫᥐ發ൠ䢬ॺ㒄 ᑚ㤘ⅰᐑ⢺ൄ ⾾ԯ⻋䢬 ࡘ 㤖ཙ㐫 ݶ ᩓ㇇ૣ ϚⅰⳒ⻐〲〘䢬澳㟑᥇㑎ᴮᧈ㟊֦ ⦨ກⅰ〲〘能؛ ݶ 㭗ༀ䢬᥇㑎ᴮᧈཅ⒢ ㈭⦨ກᅞᕔⅰ㍇؛ǎⁱᑜঁ ৴ẝയ䢬̿ ۲˗૦䢬澳㟑ॺྩ ૦㦦৴ⅰⒺḇ؛ 㓃ᒴ⇀ഭᕔ㡉ⅰ䢬ΠⳒ⻐〲〘 ݶ ᑓః 㭓㦦৴᳤् ᇷ㇒㍦റǍ⿇ᐅ㍦Ǎ⡈ ˜澳㟑ᕲ㌨ൄ ᕔ大㕵ⅰ㣍ᥐ䢬ᒴ ˍ個ྩ ᕔᯂ؛ⅰ㦦৴䢬̮ྦ 發ൠǎΠ ⾾ಢ⢺֦ ൰ᑜ澳㟑ⅰ㐢؛䢬澳㟑࿘ 㦘首ԯॺ大ಾ⼿ཅ⒢㈭२㢂平ⅰⳒ ⻐〲〘٨平台 ݶ ב ǎ⡈۸ᕔധ⦨ ກⅰᐵ٨Ǎ ߈ ಾ⸧ՄⳒ⻐〲〘䢬ᆾ ᕔ ۽ 能ѵ֦ ḿ⨑Ǎѵ֦ 平䢬ˍ↽ಾׄ̿ ⅰ䢬᥇㑎۸能㉼ॺׄ̿ྭ 㤘ǎǘ ̿ ḳന〯 • EXCLUSIVE INTERVIEW 澳大ᑓゆ • 2019 UMAGAZINE 20 49 the Minneapolis Institute of Arts. The city of San Francisco proclaimed 19 November 1999 to be ‘Lampo Leong Day.’ Cultivating creativity needs nourishment from one’s cultural background. Whatever the medium, be it oil painting, ink painting, or multimedia art, Leong’s works have subtle yet unmistakable elements of Chinese cursive calligraphy and ink painting. Influenced by Western abstract expressionism and postmodernism, his painting series Inkscape, Moving Marks, and Contemplation • Forces are embedded with a palpable Eastern quality. Prof Leong believes that only by thoroughly understanding the tradition can one achieve an innovative breakthrough. He says, ‘I received formal training in Chinese painting and calligraphy, so even though I lived in the West for many years, Chinese traditions are in my DNA. If one doesn’t even understand his or her own cultural traditions, how can one create something new? That said, we should also be clear about which part of the tradition we want to keep and which part should break with or surpass. Remember, mastering the tradition is just the starting point and the learning process, not the destination. The ultimate goal for an artist and designer is innovation.’ Developing Macao’s Own Soft Power in Art, Design and New Media Prof Leong says almost all universities in the West offer art courses. Indeed, art is a compulsory subject for all undergraduates, as art education is considered to be an effective vehicle for cultivating aesthetic consciousness and creative ability. ‘Scientific illiteracy’ may be rare in mainland China and Macao now, but ‘aesthetic illiteracy’ is very common because of the neglect of art education in the past. ‘Let’s say a simple task like typing a letter, for example, it is obviously that our tertiary education in aesthetics are not on a par with that in the high schools in the West,’ says Prof Leong. ‘Which font should be used? What is the appropriate line spacing? What is the appropriate paragraph spacing? These questions may appear technical but they are really a test of one’s aesthetic sense. In a highly competitive world, professional expertise is considered as basic requirement. What truly makes one stand out is one’s personal qualities, knowledge in arts and culture and creativity.’
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