Here Tan Tong combines his earlier Chinese ideograms in mock crypto scripts with simplified human origami of his Yin-Yang Symphony of Paris balletic forms but like in calisthenics instead. The same format of composition is used in another work of such surreal classical bent, Symphonie HMPP Major II, but done in 2004. The Chinese hairline texts are flanked at the sides on top against yellow panels, with a scroll text on white running down the centre with a blue ‘pictorial’on top of a female form in an enticing pose. Some of the texts are shown in miniscule odd shapes, looking like a Calder mobile. It says much of Soka Gakkai Malaysia’s prescience and foresight to accord Tan Tong two major exhibitions showcasing his serious artistic creativity. They were Homage to Picasso (August 2006) and Homage to Tan Tong – His Art and Times (December 2011 - January 2012). In these, he invented his Neo-Cubism and De-Cubism. Tan Tong received a double diplomas (Painting and Drawing) from the Ecole Nationale Superieur des Beaux-Arts (ENSBA) in Paris in 1972-75 after re-enrolling there. His did not get any certificate from his first stint from 1964 to December 1969, because of a foreigner’s ruling. But he was given a rare solo in at the Foyer des Artistes Galerie in 1967. In 1974, he won the La Fondation Rocheron Award for his Buddha Eye painting. He had another French Government scholarship to study the teaching of French language at the Bordeaux University between October 1970 to June 1971. He was to revisit Paris four times on field trips in 1983, 1995, 2002 and 2008. He lectured on Art for 26 years at the Malaysian Institute of Art and retired as head of Art&Design Department in 2002.