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MOK Kar Leung Harold

Professor

B.A., M. Phil, (HKU); D. Phil. (Oxon)

Professor Harold Mok received his B.A. and M.Phil. degrees from The University of Hong Kong and D.Phil. degree from the University of Oxford, UK. An historian of Chinese art, he taught at The University of Hong Kong before joining the Department of Fine Arts, The Chinese University of Hong Kong, in 1989. Professor Mok teaches courses in the history of Chinese painting and calligraphy, methodology in art studies, etc. He was Head of Division of Fine Arts in 2002-2008 and Chairman in 2008-2017,  now is Professor of the Department, as well as Expert Advisor (Museum) to the Leisure and Cultural Services Department., HKSAR. His research focuses on post-Tang calligraphy and Hong Kong calligraphy.

  • MAJOR PUBLICATIONS

    Books:

    1.  (Co-ed.) Enduring Presence: The Art of Professor Jao Tsung-i in the Collection of the Department of Fine Arts and Art Museum, CUHK. Hong Kong: Department of Fine Arts & Art Museum, The Chinese University of Hong Kong, 2017 (bilingual in Chinese and English).

    2. (Ed.) Double Beauty III: Qing Dynasty Couplets from the Lechangzai Xuan Collection. Hong Kong: Art Museum, The Chinese University of Hong Kong, 2016 (bilingual in Chinese and English).

    3. (Ed.) The Bei Shan Tang Legacy: Chinese Calligraphy. Hong Kong: Art Museum and Department of Fine Arts, The Chinese University of Hong Kong, 2014 (bilingual in Chinese and English).

    4. (Co-ed.) Xianggang shufa nianbiao 1901-1950 (Chronology of Hong Kong calligraphy 1901-1950). Hong Kong: Department of Fine Arts, The Chinese University of Hong Kong.

    5. (Co-ed.) Shuhai guanlan: yinglian, tiexue, shuyi guoji yantaohui lunwenji (Looking at the Sea of Calligraphy 2: Collected Essays from the International Conference of Couplets, Tie-carving and Calligraphic Art). Hong Kong: Department of Fine Arts and Art Museum, The Chinese University of Hong Kong, 2008.

    6. (Ed.) Hong Kong Visual Arts Yearbook 2006. Hong Kong: Department of Fine Arts, The Chinese University of Hong Kong, 2008 (bilingual in Chinese and English).

    7. (Ed.) Double Beauty 2: Qing Dynasty Couplets from the Lechangzai Xuan Collection. Hong Kong: Art Museum, The Chinese University of Hong Kong, 2007 (bilingual in Chinese and English).

    8. (Ed.) Hong Kong Visual Arts Yearbook 2005. Hong Kong: Department of Fine Arts, The Chinese University of Hong Kong, 2006. (bilingual in Chinese and English)

    9. (Ed.) Hong Kong Visual Arts Yearbook 2004. Hong Kong: Department of Fine Arts, The Chinese University of Hong Kong, 2005. (bilingual in Chinese and English)

    10. (Co-ed.) Hong Kong Visual Arts Yearbook 2003. Hong Kong: Department of Fine Arts, The Chinese University of Hong Kong, 2004. (bilingual in Chinese and English)

    11. (Ed.) Xuedao yangchan: Zhongguo yishushi lunwenji (On the path of learning: collected essays of Chinese art history). Hong Kong: Department of Fine Arts, The Chinese University of Hong Kong, 2003.

    12.(Ed.) Bimo lunbian: Xiandai Zhongguo huihua guoji yantaohui lunwenji (Debates on brush and ink: collected essays from the international conference of modern Chinese painting). Hong Kong: Department of Fine Arts, The University of Hong Kong; Department of Fine Arts, The Chinese University of Hong Kong, 2002.

    13. (Co-ed) Xianggang shijue yishu nianjian 2000 (Hong Kong visual arts yearbook 2000). Hong Kong: Department of Fine Arts, 2001.

    14. (Co-ed) Xianggang shijue yishu nianjian 1999 (Hong Kong visual arts yearbook 1999). Hong Kong: Department of Fine Arts, 2000.

    15. (Ed.) Shuhai guanlan: yinglian, tiexue, shuyi guoji yantaohui lunwenji (Looking at the sea of calligraphy: collected essays from the international conference of Chinese calligraphy). Hong Kong: Department of Fine Arts and Art Museum, The Chinese University of Hong Kong, 1998.

     

    Articles:

    1. “Large Characters, Couplet Assemblages, and Courtesy Gestures: A Discussion of a Selection from the Lechangzai Xuan Collection.” Journal of Chinese Studies, no. 65 (July 2017), pp. 215-238。

    2. “On Deng Erya’s Calligraphy.” In Dongguan City CPPCC and Dongguan Municipal Museum eds., Shu wei Xinhua, Xinxian shenwang, juan shang, Erya shuhua (Guangzhou, Lingnan Art Publication House, 2016), pp. 140-149.

    3. “Inheritance, Integrity and Courtesy: Chinese Calligraphy as Viewed from the Bei Shan Tang Collection.” Translated by Tina Liem. In Harold Mok ed. The Bei Shan Tang Legacy: Chinese Calligraphy (Hong Kong: Art Museum and Department of Fine Arts, The Chinese University of Hong Kong, 2014), Book 1, pp. 10-15, Complementary Catalogue, pp. 7-12. (bilingual in Chinese and English)   Chinese version also in Zhongguo shufa, no. 8, 2014, pp. 51-79; Zhongguo shuhua, no. 11, 2014, pp. 5-11.

    4. “Xianggong Zhongwen Daxue Wenwuguan cang Wang Chung Jiequanjuan (Wang Chong’s Loan Agreement in the collection of the Art Museum, The Chinese University of Hong Kong).” In Li Yu-chou ed. Shanggu yu shangtai: Yuan Ming shufa yanjiu lunji (Taipei: Wanjuanlou tushu gufen youxian gongsi, 2013), pp. 325-358.

    5. “Songdai shufa zhongde chidu (Letters in Song calligraphy).” In Li Yu-chou ed., Shangfa yu shangyi: Tang Song shufa yanjiu lunji (Taipei: Wanjuanlou tushu gufen youxian gongsi, 2013), pp. 491-523.

    6. “Jianshi yu shishi: Fu Shen jiaoshou de shuhua yanjiu (Profound scholarship and connoisseurship: Professor Fu Shen’s studies of Chinese painting and calligraphy).” In The 25th Ch’ien Mu Lecture in History and Culture, New Asia College, The Chinese University of Hong Kong (booklet) (Hong Kong: New Asia College, The Chinese University of Hong Kong, 2012), pp. 1-10.

    7. “Qian Dian shufa xilun (Qian Dian’s calligraphy from four perspectives).” The National Palace Museum Research Quarterly, vol. 29, no. 3 (Spring 2012), pp. 31-76.

    8. “Bi Yuan mufu shuji guankui (Looking at the calligraphic works of Bi Yuan’s private secretariats).” Shufa congkan, no. 4, 2011, pp. 66-85.

    9. “Nan-Song shufa zhongde Bei-Song qingjie (The Northern Song complex at play in Southern Song calligraphy).” The National Palace Museum Research Quarterly, vol. 28, no. 4 (Summer 2011), pp. 59-94.

    10. “Chunhuage Tie yu Qingdai shufa lingu (Model Calligraphy of the Chunhua Archive and modeling on the past in Qing calligraphy).” Tsing Hua Journal of Chinese Studies, new series XL, no. 3 (September 2010), pp. 453-484.

    11. “Xiezhao, tiyong and chouchang: Xianggang Zhongwen Daxue Wenwuguan suocang lianzheng Dulitu (Portraiture, inscriptions and literary exchanges: The two scrolls of painting Standing Alone in the collection of the Art Museum, The Chinese University of Hong Kong).” In Lin Yajie and Zhu Wanzhang eds., Guangdong huihua yanjiu wenji (Guangzhou: Lingnan meishu chubanshe, 2010), pp. 293-305.

     

  • CONFERENCES

    1. “Wang Chong’s Loan Agreement in the Collection of the Art Museum, The Chinese University of Hong Kong.” Paper presented in “International Conference of Yuan and Ming Calligraphy” organized by Ming Dao University, Taiwan, 27 March, 2013. (in Chinese)

    2. “The Northern Song Complex at Play in Southern Song Calligraphy.” Paper presented at “Art and Culture of Shaoxing: Conference of Southern Song Art and Culture” organized by National Palace Museum, Taipei, 22 November, 2010. (in Chinese)

    3. “Letters in Song Calligraphy.” Paper presented at “International Conference of Tang and Song Calligraphy” organized by Ming Dao University, Taipei, 20 November, 2010. (in Chinese)

    4. “Model Calligraphy of the Chunhua Archive and Modeling on the Past in Qing Calligraphy.” Paper presented at Beyond Brush and Ink: International Conference of Cross-cultural Disciplines in History of Chinese Calligraphy” organized by Graduate Institute of Art History, National Taiwan Normal University, 1 November, 2008. (in Chinese)

    5. “Positive and Negative Comments on Dong Qichang’s Calligraphy in Early Qing and Related Issues.” Paper presented at “International Conference of Couplets, Tie-carving and Calligraphic Art” organized by Department of Fine Arts and Art Museum, The Chinese University of Hong Kong, 16 March, 2007. (in Chinese)

    6. “Chen Chun and Wang Chong: A Case Study of the Evaluation of Calligraphers of the Ming Dynasty.” Paper presented at “Conference of ‘Breath of the Universe’: Calligraphy and Painting of Chen Chun and Xu Wei” organized by Macao Museum of Art, 11 November, 2006. (in Chinese)

    7. “Model Calligraphy of the Chunhua Archive and Modeling on Ancient Calligraphy.” Paper presented at “Conference for the 1010th Anniversary of the Carving of the Model Calligraphy of the Chunhua Archive” organized by Art Museum, The Chinese University of Hong Kong, 17 December, 2002. (in Chinese)

    8. “Looking at the Culture of Calligraphy Carving in the Southern Song Dynasty.” Paper presented at “International Conference of Chinese Tie-carvings and Calligraphy” organized by Art Museum, The Chinese University of Hong Kong, 28 April, 2001. (in Chinese)

    9. “Model-Calligraphy Rubbings of the Southern Song Dynasty: The Importance of Preserving a Past.” “Symposium of Three Decades of the Art Museum” organized by the Art Museum in association with the Friends of the Art Museum, The Chinese University of Hong Kong, 24 November, 2001

    10. “A Preliminary Discussion on the Seal and Clerical Scripts of the Yuan Dynasty.” Paper presented at “Conference of Chinese Calligraphy 2000” organized by Council for Cultural Affairs, Executive Yuan, Taipei, 14 May, 2000. (in Chinese)

    11. “Preface to the Lanting Gathering and Song Emperor Gaozong: Revival of Classical Calligraphic Styles in Southern Song.” Paper presented at “International Conference of Preface to the Lanting Gathering” co-organized by He Chuangshi Calligraphy Foundation and Canglang Society of Calligraphy. 19 June, 1999. (in Chinese)

    12. “Seal and Clerical Scripts of the Sung Dynasty.” “International Symposium ‘Character & Context in Chinese Calligraphy’” organized by the Art Museum, Princeton University, 27 March 1999.

    13. “Development of the Study of Chinese Calligraphy in the Last Century.” Paper presented at “International Conference of Chinese Culture and the 21st Century” co-organized by Association for Yan Huang Culture of China, The Chinese University of Hong Kong, and The Hong Kong Institute for Promotion of Chinese Culture, 16 December, 1998. (in Chinese)

    14. “The Transformation of Wild Cursive Script in the Song Dynasty.” Paper presented at “International Conference of Chinese Calligraphy 1997” organized by Council for Cultural Affairs, Executive Yuan, Taipei, 20 December, 1997. (in Chinese)

    15. “The Ouyang Xun Tradition in Song Calligraphy.” Paper presented at “International Conference of Chinese Calligraphy” co-organized by Department of Fine Arts and Art Gallery, The Chinese University of Hong Kong, 17 April, 1997. (in Chinese)

    16. “New Approaches in the Study of Southern Song Calligraphy.” Paper presented at “New Studies in Chinese Art and Antiquities: An International Symposium” organized by the Art Museum and Friends of the Art Museum, The Chinese University of Hong Kong, 23 November, 1996.

  • TALKS / LECTURES

    1. “Qing Couplets from the Lechangzai Xuan Collection and Qing Calligraphy.” “Grandeur, Conciseness, Profundity & Beauty Forum” organized by the Nanjing University of the Arts. 30.12.2016.

    2. “Spirit of Antiquity: Professor Jao Tsung-i’s Painting and Calligraphy.” Open lecture organized by the Hong Kong Heritage Museum. 22.07.2017.

    3. “Heralding the Wu School: The Calligraphy of Xu Youzhen, Shen Zhou, Li Yingzhen and Wi Kuan.” Open lecture organized by the Hong Kong Museum of History. 23.01.2016.

    4. “Inspiration from the Calligraphic Works Collected by the Bei Shan Tang.” “‘The Bei Shan Tang Legacy: Chinese Calligraphy’: Talk Series by Masters” co-organized by the Bei Shan Tang Foundation, Art Museum and Department of Fine Arts of the Chinese University of Hong Kong. 4 October, 2014. (in Chinese)

    5. “On Several Issues of the History of Chinese Calligraphy as Viewed from the Collection of Bei Shan Tang.” “Forum on History of Chinese Calligraphy 2014 in Suzhou (Wujiang), China” co-organized by Chinese Calligraphers Association, Joint Association of Literature and Art of the Jiangsu Province, Jiangsu Provincial Federation of Literary and Art Circles, Suzhou Federation of Literary and Art, and the People’s Government of the Wujiang, 20 July, 2014. (in Chinese)

    6. “The Position of Chen Chun and Wang Chong in the History of Calligraphy: As Inspired by the Two Pieces of Thousand-Character Essay in the Bei Shan Tang Collection.” Open lecture co-organized by the University Museum and Art Gallery and The University of Hong Kong Museum Society, 13 May, 2013. (in Chinese)

    7. “From the Elitists to the Popular: Hong Kong Calligraphy from 1901-1950.” “Faculty Colloquium” organized by Faculty of Arts, The Chinese University of Hong Kong, 14 December, 2012.

    8. “Wang Xizhi and Emperors’ Calligraphy through the Ages.” Lecture series of “Chinese Dragon Culture” organized by Art Museum, The Chinese University of Hong Kong, 30 June, 2012.

    9. “Seal Script of the Qianlong-Jiaqing Scholars: As Inspired by Jiansheng.” Talk organized by the Association for Ming and Qing Studies, The Chinese University of Hong Kong, 6 May, 2011. (in Chinese)

    10. “Letters in Song Calligraphy.” Lecture organized by Department of Visual Studies, Lingnan University, 12 April, 2011.

    11. “Calligraphy in the Bei Shan Tang Collection.” Lecture series “The Bei Shan Tang Legacy” organized by the Art Museum, The Chinese University of Hong Kong, 20 March 2010. (in Chinese)

    12. “Song Calligraphy: Art of the Elites.” Asian Art History lecture organized by Crown Cellars, 8 June, 2006.

    13. “Poetry in Chinese Painting.” Open lecture organized by St. Olaf College, USA, 12 May, 2005.

    14. “Words and Images in Chinese Art.” Open lecture organized by St. Olaf College, USA, 10 May, 2005.

    15. “Southern Song Calligraphy: The Importance of Preserving a Past.” Talk organized by Minneapolis Institute of Art, USA, 07 May 2005.

    16. “Hong Kong Calligraphy: Modes of Expression.” “Academic Seminar for 14th International Calligraphy Exhibition” organized by Hong Kong International Calligraphy Association, 3 April, 2005. (in Chinese)

    17. “Southern Song Calligraphy: The Importance of Preserving a Past.” Lecture organized by Department of Fine Arts, The University of Hong Kong, 01 March 2005.

    18. “The Image of “Man-and-Horse” in Liao Mural Paintings.” “Talk series of ‘Noble Riders from Pines and Deserts’” organized by Art Museum, The Chinese University of Hong Kong, 15 January, 2005. (in Chinese)

    19. “The Origin of Seal and Clerical Scripts in Early Hong Kong Calligraphy.” Talk series “Heritage and Prospect of 20th-century Hong Kong Calligraphy” co-organized by Hong Kong Museum of Art and Hong Kong University Museum and Art Gallery, 11 November, 1999. (in Chinese)

    20. “Looking at Late Ming Calligraphy.” Lecture organized by Art Museum, The Chinese University of Hong Kong, 17 April, 1996.

    21. “Return to the Northern Song Tradition: Mid-Ming Calligraphy.” Lecture organized by Art Museum, The Chinese University of Hong Kong, 9 February, 1995. (in Chinese)

    22. “Tang and Liao Ceramics: Vestiges of Cultural Assimilation.” Lecture organized by the Hong Kong Museum Society, 27 September, 1993.

    23. “Calligraphy of the Southern Song Dynasty.” Lecture organized by Hong Kong Museum of Art, 15 May, 1990. (in Chinese)