Dr. Lau Chak Kwong, Daniel

Associate Professor
Art History, Chinese Calligraphy

Dr. LAU Chak Kwong, Daniel received his Ph.D. (Art History) from the University of California, Santa Barbara (USA) and his and M.Phil. (also in Art History) from the University of Hong Kong . He is currently Associate Professor at Hong Kong Baptist University and Member of the China Calligraphers Association. Prior to joining HKBU, he taught at the California Polytechnic State University at San Luis Obispo and the University of California (UCSB), where he received the GSA Outstanding Teaching Award Honorable Mention in Humanities and Fine Arts (2005-06).

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He has also received the HKBU School Performance Awards of “Outstanding Young Researcher” (2011) and “Excellence in Teaching” (2012). He was a Visiting Scholar at Peking University (2012) and at the Institute of Modern History of Academia Sinica (2008). In 2010, he received a General Research Fund (GRF) from the Research Grant Council of Hong Kong for his research on 20th-century Hong Kong calligraphy, and another grant from the Hong Kong Arts Development Council to publish the bilingual book Harmony: Synergy between Tradition and the Contemporary—Chinese Calligraphy and Seal Engraving, 300 Tang Poems in Small-Standard-Script Calligraphy, Volumes 1 & 2 and Not the Constant Way: New Explorations into the Art of Chinese Seal Engraving.

Dr. Lau has published more than forty academic articles and exhibition catalogue entries on his research in Chinese art, including contributions to Encyclopedia Britannica. He has held seven solo exhibitions in USA and Hong Kong, participated in many influential group exhibitions at local and international museums and galleries, and has won many calligraphy awards at national and international exhibitions and competitions. His calligraphy and seal engravings are collected by museums and art galleries in Hong Kong, Mainland China and the USA, including Hong Kong Museum of Art, the University Museum and Art Gallery of the University of Hong Kong, and the University Art Museum of the University of California, Santa Barbara (USA).

Solo Exhibition “Going Rural from Studio: Chinese Calligraphy and Seal Engraving by Daniel C.K. Lau”(從書齋到野外——劉澤光書法篆刻展), invited and organised by Hong Kong Baptist University Jao Tsung-I Academy of Sinology, exhibited at Jao Tsung-I Academy of Sinology, Hong Kong, August- September 2015.

Solo Exhibition “The Journey of the Brush: Works of Chinese Calligraphy and Landscape Paintings by Dr. Daniel Chak-Kwong Lau” (Chinese landscape paintings and calligraphic works), invited and organised by Central Library at Santa Barbara (USA), exhibited at Faulkner Gallery West, Central Library, Santa Barbara, California, USA, 2007.

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Solo Exhibitions

“What is Mankind: Big-Character Calligraphy by Daniel C.K. Lau”, Koo Ming Kown Exhibition Gallery, Communication and Visual Arts Building, Hong Kong Baptist University, July-August 2012. (Exhibition proposal has been approved by the AVA Exhibition Committee after a peer review process.) The PI’s solo exhibition (Koo Ming Kown Exhibition Gallery, HKBU, July- August 2012), features 10 works of “big-character” (榜書) Chinese calligraphy including What is mankind (a set of 16 hanging scrolls, each measuring 350 x 170cm) in a monumental scale. The exhibition is an extension of the PI’s previous art-historical research on Chinese calligraphy entitled “Big-Character Couplet by Kang Youwei,” published in Shuhai guanlan 2 (書海觀瀾二) (Department of Fine Arts and Art Museum, Chinese University of Hong Kong, 2008, 475-492). This research not only sheds light on the eclectic theory and practice of calligraphy by Kang Youwei (1858-1927), who is a major figure in the field, but also serves as the theoretical foundation of the PI’s solo exhibition in which Kang’s theory on the Stele School (beixue碑學) and the aesthetics of austerity and naturalness had been highlighted.

“Neoclassical Calligraphy and Seal Engraving by Daniel C.K. Lau” (劉澤光新古典主義書法印章), organised by Academy of Visual Arts, HKBU AVA Gallery, Hong Kong Baptist University 12 – 25 October 2011. Exhibition proposal has been approved by the AVA Exhibition Committee after a peer review process (funding source: Academy of Visual Arts, HKBU).

“Harmony : Synergy between Tradition and the Contemporary — Chinese Calligraphy and Seal Engraving by Daniel C.K. Lau,” organized by Academy of Visual Arts, HKBU, funding source: Office of Vice-President (Administration) and Secretary of HKBU, Koo Ming Kown Exhibition Gallery, CVA Building, HKBU, 4 Dec 2010-28 Jan 2011. (Exhibition proposal has been approved by the AVA Exhibition Committee after a peer review process.)

Major Juried (Refereed) Group Exhibitions

Entitled “The Analects of Confucius in Semi-Cursive Standard Script,” my huge-scale calligraphy (350cm x 4300cm) has been selected by the International Adjudication Panel for “Hong Kong Contemporary Art Awards 2012, and this work was exhibited in Hong Kong Contemporary Art Awards 2012, Hong Kong Museum of Art.

The Third “Tradition and Modernism” Invitational Exhibition of Contemporary Chinese Painting and Calligraphy, organized by Moke Art Exhibition Institution, Art Museum of Zhengzhou, Zhengzhou, PR China (第三回傳統與現代華人水墨書法創作邀請展), 洛陽美術館, 2010.

“Hong Kong Contemporary Art Biennial Awards 2009 Exhibition,” (香港當代藝術雙年獎 2009) ( internationally refereed exhibition), Hong Kong Museum of Art, 2010.

“The Power of Word,” juried theme show presented by Westmont Reynolds Gallery, Westmount College, Santa Barbara, California, USA,

“Exhibition Celebrating The Centennial of the Xiling Seal Engraving Society,” seal engraving exhibition, Xiling Seal Engraving Society, Hangzhou, PR China, 2003.

“The First Guangdong Province Small-Character Calligraphy on Fan,” juried exhibition organized by The Calligraphers of Guangdong Province Association, Guangzhou, PR China. Guangzhou Heritage Garden, Guangzhou, PR China., 2000.

“Shiji zhijiao qianren qianzuo: The Seventh National Calligraphy and Seal Engraving Exhibition,” juried Exhibition organized by Chinese Calligraphers’ Association, PR China. China Art Gallery, Beijing, PR China, 1999-2000.

Lau Chak-kwong. Harmony: Synergy between Tradition and the Contemporary — Chinese Calligraphy and Seal Engraving. Hong Kong: Asia One Books & Academy of Visual Arts, Hong Kong Baptist University, 2010, 300 pages, ISBN: 978-988-19716-4-7 (AVA Refereed Publication-this publication has been assessed by international academics)

Lau Chak Kwong, “Clerical Script of the Han Dynasty as the Foundation of a Convergence of the Stele and Model-book Studies: The Calligraphy of HanYunshan” (漢隸為本、碑帖兼融—— 韓雲山的書法藝術), a bilingual article entitled published in Hong Kong Visual Arts Yearbook 2013, edited by Tong Kam-tang (Hong Kong: Department of Fine Arts, The Chinese University of Hong Kong), ISBN 978-962-7055-24-2, 2014, pp. 64-131. (Another research output of the aforementioned GRF project)

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Refereed Article under Publication Contract with International Academic Journal

Lau Chak Kwong, “In Search of Identity: Chinese Calligraphy in Twentieth-Century Hong Kong,” article under publication contract for publication in The International Journal of Arts Theory and History (Part of the research output of the aforementioned GRF project)

Books

Lau Chak-kwong Daniel, Not the Constant Way: New Explorations into the Art of Chinese Seal Engraving (Hong Kong: Asia One Books 2014), ISBN 978-988-16978-7-5, 224 pages. (As Principle Investigator (PI), I received a grant ($ 100,000) from Hong Kong Arts Development Council for this book publication project.)

Lau Chak-kwong Daniel, 300 Tang Poems, Volumes 1 &2, in Small-Standard-Script Calligraphy (Hong Kong: Asia One Books, 2014), ISBN 978-988-13179-1-9, 200 pages. (As Principle Investigator (PI), I received a grant ($ 65,000) from Hong Kong Arts Development Council for this book publication project.)

Lau Chak Kwong, ed. Literati Arts — Inheritance and Transformation. Hong Kong, 2003. ISBN: 988-97351-1-3, 93 pages (this publication accompanies an exhibition project funded by the Leisure and Cultural Services Department, The Government of the Hong Kong Special Administrative Region)

A bilingual book featuring my creative works (calligraphy: 39 pieces, water-and-ink painting: 15 pieces; seal engraving: 24 pieces) and two essays of Chinese art historical research: “The Tradition of Chinese Literati Painting —— Conceptions and Practices, and Its Reinterpretation in the Twentieth Century,” 70-76.

“Kang Youwei’s (1858-1927) Reformist Theories and Practice of Calligraphy: Inspirations from Japan and Impact on the Japanese Recipients,” 77-91.

Single-authored Books / Solo Exhibition catalogues

Lau Chak-kwong. Impression: Seal Engraved by Daniel Chak-kwong Lau. Hong Kong: Academy of Visual Arts and Gallery, Hong Kong Baptist University, 2009, 130 pages, ISBN: 978-988-99763-8-5.

Lau Chak-kwong. The Void-Solid Reciprocity: Black-Tiger Calligraphy by Daniel Chak-kwong Lau, Academy of Visual Arts and Gallery, Hong Kong Baptist University, 2009, 130 pages, ISBN: 978-988-99763-7-8.

Lau Chak-kwong. The Inter-Referencing of Elegance and Vulgarity: Daniel Chak-kwong Lau’s New Exploration into Calligraphy and Seal Engraving, (bilingual), Hong Kong: Academy of Visual Arts, Hong Kong Baptist University, 2009, 68 pages, ISBN: 978-988-99763-4-7.

Co-authored Book/ Exhibition catalogue

Wan Qingli, Lau Chak-kwong, Koon Wai Bong. Highlights of Dao Revealed through Brush and Ink: Chinese Paintings and Works of Calligraphy & Seal Engraving by Wan Qingli, Daniel Lau Chak Kwong and Koon Wai Bong, (bilingual). Hong Kong: Academy of Visual Arts, Hong Kong Baptist University, 2009, ISBN: 978-988-99763-5-4.

Chapters in Books

劉澤光〈漢碑對鄭簠的啓示〉(將出版論文),載《豪素深心──明末清初遺民金石書畫學術研討會論文集》,澳門:澳門藝術博物館(將出版)。

Lau Chak Kwong (劉澤光). “Early-Twentieth-Century Hong Kong Culture: The Arts of Calligraphy and Painting,” (二十世紀初香港文化掃描 —書畫藝術) in A Survey of Regional Cultures in China: The Volume of Hong Kong (Chinese Simplified Character Edition) (《中國地域文化通覽‧香港卷》), edited by Wang Guohua (王國華) (Beijing: Zhonghua shuju 中華書局, 2014), 507-516. This book project is part of a large compilation consisted of 34 volumes of scholarly writings on Chinese regional cultures, organized by the Central Research Institute of Culture and History (中央文史研究館) under The State Council of the People’s Republic of China (中華人民共和國國務院).

Lau Chak Kwong (劉澤光). “Early-Twentieth-Century Hong Kong Culture: The Arts of Calligraphy and Painting”, in A Survey of Regional Cultures in China: The Volume of Hong Kong, (Chinese traditional character edition), edited by Wang Guohua (Beijing: Zhonghua shuju 中華書局, 2014)

劉澤光〈康有為的榜書對聯〉, 載莫家良陳雅飛 (編),《書海觀瀾二:楹聯.帖學.書藝國際研討會論文集》, 香港:香港中文大學藝術系及香港中文大學文物館,2008,頁475-492。

Lau Chak-kwong, ‘The Clerical Script of the Eight Masters of Xiling,’ (西泠八家的隸書) in Harold Mok (ed.), Double Beauty II: Qing Dynasty Couplets from the Lechangzai Xuan Collection, Hong Kong: Art Museum, The Chinese University of Hong Kong, 2007, 44-53.

Lau Chak Kwong, “Master Han Yunshan’s Art of Calligraphy”, in Collection of Works of Calligraphy by Master Han Yunshan, edited by Zhen Yingkuan. Hong Kong: Zhongbuhui tang shuhuahui, 2013, 7-9.

Lau Chak Kwong, “Harmony: Synergy between Art Historical Research and Creative Works,” in AVA Magazine, co-edited by Lau Chak Kwong and Jack Lee. Hong Kong: Academy of Visual Art, Hong Kong Baptist University, 2013, 20-34.

Articles in Academic Journals

Lau Chak-kwong. “The Recluse-Artist Han Yunshan and an Approach of Appreciation of His Art of Chinese Calligraphy.” in Besides: A Journal of Art History and Criticism. 2001, vol. 3, 51-67.

Entries in Encyclopaedias and Major International Exhibition Catalogues

Lau Chak-kwong. Revision of entries on “Chinese Calligraphy” in Encyclopaedia Britannica (extended edition, 2001).

Lau Chak-kwong. Contribution of 36 bilingual entries to Double Beauty: Qing Dynasty Couplets from the Lechangzai Xuan Collection, edited by Peter C. Sturman & Jason C. Kuo, Hong Kong: Art Museum, The Chinese University of Hong Kong, 2003.

This bilingual publication accompanies a major travelling exhibition (Art Museum of The Chinese University of Hong Kong, February-May 2003; Honolulu Academy of Arts, February – March 2004; and University Art Museum of the University of California, Santa Barbara, March – May 2004) of 150 pairs of Chinese calligraphy couplet scrolls from one of the most important private collections of its kind in the world.

Contribution of 36 substantial entries, in English and Chinese, reporting research findings on the following works of calligraphy:

  • Gu Yanwu 顧炎武 (1613-1682), Seven-Character Line Verse in Semi-Cursive Script, dated 1645《行書七言聯 1645年作》, English: cat.no. 5, Chinese: p. 360
  • Shi Runzhang施閏章 (1618-1683), Seven-Character Line Verse in Semi-Cursive Script《行書七言聯》, English: cat.no.7, Chinese:p.360
  • Zheng Fu鄭簠 (1622-1693), Five-Character Line Verse in Clerical Script, dated 1690 《隸書五言聯 1690年作》, English: cat.no.8, Chinese: p.361
  • Zha Sheng 查昇 (1650-1707), Five-Character Line Verse in Semi-Cursive Script《行書五言聯》, English: cat.no.13, Chinese: p.363
  • Wang Shihong汪士鋐 (1658-1723), Five-Character Line Verse in Semi-Cursive Script《行書五言聯》, English: cat.no.14, Chinese: p. 363
  • Wang Shu王澍 (1668-1743),Five-Character Line Verse in Standard Script 《楷書五言聯》, English: cat.no.18, Chinese pp.364-365
  • Gao Fenghan高鳯翰 (1683-1749), Six-Character Line Verse in Clerical Script《隸書六言聯》, English: cat.no.21, Chinese:p.366
  • Yuan Mei 袁枚 (1716-1797), Five-Character Line Verse in Seal Script, dated 1765《篆書五言聯 1765年作》, English: cat.no.35, Chinese: p.371
  • Liu Yong 劉鏞 (1719-1804), Seven-Character Line Verse in Semi-Cursive Script《行書七言聯》, English: cat.no.38, Chinese: p.372
  • Tong Yu 童鈺 (1721-1782), Seven-Character Line Verse in Clerical Script《隸書七言聯》, English: cat.no.40, Chinese: pp.372-373
  • Weng Fanggang翁方綱 (1733-1818),Seven-Character Line Verse in Semi-Cursive Script《行書七言聯》,English: cat.no.47, Chinese: p.375
  • Zhang Yanchang張燕昌 (1738-1814),Seven-Character Line Verse in Flying-White Script《飛白七言聯》, English: cat.no.52, Chinese: pp.376-377
  • Deng Shiru 鄧石如 (1743-1805),Nine-Character Line Verse in Clerical Script, dated 1803 《隸書九言聯 1803年作》, English: cat.no.60, Chinese: p.379
  • Ba Weizu 巴慰祖 (1744-1793),Eight-Character Line Verse in Clerical Script《隸書八言聯》, English: cat.no.61, Chinese: p.380
  • Feng Minchang馮敏昌 (1747-1808),Seven-Character Line Verse in Clerical Script《隸書七言聯》, English: cat.no.65, Chinese: p.381
  • Tiebao鐵保 (1752-1824), Six-Character Line Verse in Semi-Cursive Script《行書六言聯》, English: cat.no.69, Chinese: p.383
  • Sun Xingyan孫星衍 (1753-1818),Seven-Character Line Verse in Clerical Script, dated 1793《隸書七言聯 1793年作》, English: cat.no.71, Chinese: p.384
  • Wang Qisun王芑孫 (1755-1817), Six-Character Line Verse in Semi-Cursive Script《行楷六言聯》, English: cat.no.75, Chinese: p.385
  • Song Xiang 宋湘 (1756-1826),Five-Character Line Verse in Semi-Cursive Script《行草五言聯》, English: cat.no.77, Chinese: pp.385-386
  • Zhang Huiyan張惠言 (1761-1802), Seven-Character Line Verse in Seal Script, dated 1794 《篆書七言聯 1794年作》, English: cat.no.82, Chinese: p.387
  • Zhang Kaifu 張開福 (18th-mid-19th Century), Five-Character Line Verse in Flying-White Script, dated 1832《飛白五言聯 1832年作》, English: cat.no.98, Chinese: pp.393-394
  • Bao Shichen包世臣 (1775-1855), Eight-Character Line Verse in Cursive Script《草書八言聯》, English: cat.no.105, Chinese: p.396
  • Zhao Zhichen趙之琛 (1781-1860),Seven-Character Line Verse in Clerical Script《隸書七言聯》, English: cat.no.109, Chinese: p.397
  • Guo Shangxian 郭尚先 (1785-1832),Seven-Character Line Verse in Semi-Cursive Script《行書七言聯》, English: cat.no.110, Chinese: pp.397-398
  • Cheng Enze程恩澤 (1785-1837), Ten-Character Line Verse in Seal Script《蒃書十言聯》, English: cat.no.111, Chinese: p.398
  • Yi Nianzeng 伊念曾 (1790-1861),Ten-Character Line Verse in Seal Script, dated 1853《隸書十言聯 1853年作》, English: cat.no.113, Chinese: p.399
  • Dashou 達受 (1791-1858),Seven-Character Line Verse in Seal Script, dated 1832《蒃書七言聯 1832年作》, English: cat.no.114, Chinese: p.399
  • Weng Xincun翁心存 (1791-1862), Seven-Character Line Verse in Semi-Cursive Script《行書七言聯》, English: cat.no.115, Chinese: p.399
  • Mo Youzhi 莫友芝 (1811-1871),Five-Character Line Verse in Seal Script《蒃書五言聯》, English: cat.no.127, Chinese: p.404
  • Chen Jieqi 陳介祺 (1813-1884),Seven-Character Line Verse in Seal Script《蒃書七言聯》, English: cat.no.134, Chinese: p.407
  • Yu Yue俞樾 (1821-1906),Eight-Character Line Verse in Seal Script《蒃書八言聯》, English: cat.no.137, Chinese: p.408
  • Xu Sangeng徐三庚 (1826-1890), Six-Character Line Verse in Clerical Script, dated 1882《隸書六言聯 1882年作》, English: cat.no.140, Chinese: p.409
  • Zhao Zhiqian趙之謙 (1829-1884),Five-Character Line Verse in Clerical Script《隸書五言聯》, English: cat.no.142, Chinese: p.410
  • Yang Shoujing 楊守敬 (1839-1919),Five-Character Line Verse in Clerical Script, dated 1905 《隸書五言聯 1905年作》, English: cat.no.146, Chinese: pp.411-412
  • Zhang Zuyi 張祖翼 (1849-1917) Five-Character Line Verse in Clerical Script《隸書五言聯》, English: cat.no.148, Chinese: p.412
  • Kang Youwei康有為 (1858-1927)Five-Character Line Verse in Semi-Cursive Script《行書五言聯》, English: cat.no.150, Chinese: p.413

Articles in International Conference Proceedings

Lau Chak Kwong (劉澤光), “Entering the Past and Exiting the Present : Inheritance and Innovation in Chinese Calligraphy (入古出今:中國書法的承傳與創新), in The Second Mainland China, Taiwan, Hong Kong Chinese Aesthetics Academic Conference Proceedings (第二届两岸三地中國美學學術研討會論文集), Guangzhou, 2012.

Lau Chak-kwong, “The Embodiment of Confucian Aesthetics in Kang Youwei’s (1858-1927) Theories and Practice of Calligraphy”(論康有為(1858-1927)書法理論及實踐中蘊含的儒家美學思想), in Conference Proceedings of “The Modern Interpretation of the Confucian Aesthetics: The First Mainland China, Taiwan, Hong Kong Chinese Aesthetics Academic Conference” (儒家美學思想的現代闡釋 —— 两岸三地首屆中國美學學術研討會論文集). Xian: 2009, pp 79-86.

Lau Chak-kwong, “The Artistic and Intellectual Dimensions of Chinese Seal: Ding Jing’s (1695-1765) Seal Engraving and Its Signification of the Elite Identity in Eighteenth-Century Hangzhou.” In Conference Proceedings (ISSN# 1541-5899) of the 2005 Hawaii International Conference on Arts and Humanities, held in Honolulu, USA, from January 13-16, 2005.

Articles in Edited Anthologies

Lau Chak-kwong, “The Ball and the Brush,” in Michael Lee and Cornelia Erdmann (eds.), Preoccupations: Things Artists Do Anyway. Hong Kong: Studio Bibliothèque, 2008, pp 108-109.

Lau Chak-kwong, “Point Duo: The Harmonious Integration Between Calligraphy and Seal Engraving,” (bilingual) in LAU Chak-kwong Daniel (ed.), Point Duo: Works of Chinese Calligraphy and Seal Engraving by Students of Academy of Visual Arts. Hong Kong: Academy of Visual Arts, Hong Kong Baptist University, 2008, 4-6.

Lau Chak-kwong, “Education of Chinese Calligraphy and Seal Engraving at the Academy of Visual Arts” (bilingual) in LAU Chak-kwong Daniel (ed.), Point Duo: Works of Chinese Calligraphy and Seal Engraving by Students of Academy of Visual Arts. Hong Kong: Academy of Visual Arts, Hong Kong Baptist University, 2008, 7-17.

Lau Chak-kwong, “Embracing Tradition in the Spring Couplet,” in Lau Chak-kwong Daniel (ed.), The Auspicious Image. Hong Kong: Academy of Visual Arts, Hong Kong Baptist University, 2007, v.

Lau Chak-kwong, “The Calligraphy Couplet as the Embodied Image of Literary Game,” in Lau Chak-kwong Daniel (ed.), The Auspicious Image. Hong Kong: Academy of Visual Arts, Hong Kong Baptist University, 2007, vi-ix.

International Conference Paper Presentations

Lau Chak Kwong, “In Search of Identity: Chinese Calligraphy in Twentieth-Century Hong Kong,” paper presented at the 8th International Conference on the Arts in Society, Budapest, Hungary, 2013

Lau Chak Kwong, “Entering the Past and Exiting the Present : Inheritance and Innovation in Chinese Calligraphy, paper presented at The Second Mainland China, Taiwan, Hong Kong Chinese Aesthetics Academic Conference Proceedings (第二届两岸三地中國美學學術研討會論文集), Guangzhou, 2012.

Lau Chak-kwong, “Zheng Fu’s Insight into the Han Dynasty Stelae” (漢碑對鄭簠的啓示), invited paper presented at the International Conference of “Against Or Away: Artworks by Ming Loyalists in Early Qing Dynasty from the Collection of Shanghai Museum” (豪素深心──明末清初遺民金石書畫學術研討會), The Macao Museum of Art, Macao, 5-6 September 2009.

Lau Chak-kwong, “The Embodiment of Confucian Aesthetics in Kang Youwei’s (1858-1927) Theories and Practice of Calligraphy”(論康有為(1858-1927)書法理論及實踐中蘊含的儒家美學思想), invited paper presented at “The Modern Interpretation of the Confucian Aesthetics: The First Mainland China, Taiwan, Hong Kong Chinese Aesthetics Academic Conference” (儒家美學思想的現代闡釋 —— 两岸三地首屆中國美學學術研討會), Xian, PR China, May 2009.

Lau Chak-kwong, “A New Merge: Visual Arts Education in Hong Kong,” paper presented at the international conference “Teaching Art When Art Is Everywhere,” organized by the Department of Fine Arts, The Chinese University of Hong Kong, Hong Kong, May 18-19, 2007.

Lau Chak-kwong, (劉澤光)〈從樂常在軒藏聯看清代廣東碑學和榜書〉, paper presented at the international conference “Shuhai guanlan er—Yinglian, tiexue, shuyi: International Symposium of the Art of Chinese Calligraphy” (書海觀瀾二:楹聯.帖學.書藝國際研討會), organized by 香港中文大學中國文化研究所文物館及藝術系, Lecture Theatre of Hong Kong Museum of Art, Hong Kong, 16-17 March, 2007.

Lau Chak Kwong. “The Artistic and Intellectual Dimensions of Chinese Seal: Ding Jing’s (1695-1765) Seal Engraving and Its Signification of the Elite Identity in Eighteenth-Century Hangzhou,” paper presented at the Hawaii International Conference on Arts and Humanities, January 13-16, Honolulu, Hawaii, USA, 2005.

Lau Chak Kwong. “Kang Youwei’s (1858-1927) Reformist Theories and Practice of Calligraphy: Inspirations from Japan and Impact on the Japanese Recipients,” paper presented atthe Annual international conference of the Association for Asian Studies (AAS), Inc., New York, USA, 2003.

2012

Visiting Scholar, Peking University (北京大學), Beijing

2008

Visiting Scholar, Institute of Modern History, Academia Sinica (中央研究院), Taipei

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Professional Organisations

2012 – present

Executive Member of China Calligraphers Association Hong Kong Branch (中國書協香港分會)

2010 – present

Member, China Calligraphers Association (中國書法家協會), a nationwide professional organisation, of which membership is both a national and international recognition of achievement in the field of Chinese calligraphy

2008 – 2013

Member, CDC-HKEAA (One) Committee on Visual Arts (Senior Secondary), established by Curriculum Development Institute and Hong Kong Examinations and Assessment Authority, Education Bureau of the Hong Kong SAR Government

Teaching & Research Awards

2011 – 2012

Faculty / School Performance Award in Teaching, HKBU

2010 – 11

Faculty/ School Performance Award (Outstanding Young Researcher), HKBU

2006

GSA Outstanding Teaching Award Honourable Mention in Humanities and Fine Arts, University of California, Santa Barbara, USA.

Research Grants

General Research Fund, Research Grant Council (RGC), (Grant Holder and Principal Investigator: Lau Chak Kwong), HK, 2010-13

Publication Grant, Hong Kong Arts Development Council (HKADC), Project Title: Not the Constant Way: The Impressions of Laozi (非常道:老子印象), 2013

Publication Grant, Hong Kong Arts Development Council (HKADC), Project Title: Tang Poems in Small-Standard-Script Calligraphy (小楷唐詩), 2013

Publication Grant, Hong Kong Arts Development Council (HKADC), Project Title: “Harmony: Synergy between Tradition and the Contemporary — Chinese Calligraphy and Seal Engraving by Daniel C.K. Lau”, 2010

Honours/Awards/Achievements

2011 – 2012

Faculty / School Performance Award in Teaching, HKBU, 2012.

Faculty / AVA nomination for President’s Award for Outstanding Performance in Teaching, HKBU

Performance Award (for successful application of General Research Grant (GRF 2010-11), Research Committee, HKBU, Chaired by Vice-President (Research and Development), HKBU.

A grant of $70,000 for “Teaching Relief for PI of GRF Project” for my GRF project, granted by Research Committee, Chaired by Vice-President (Research and Development) , HKBU.

Incentive Award (for Research Council endorsement of Application for General Research Grant), Research Committee, HKBU, Chaired by Vice-President (Research and Development).

Travelling Grant for Junior Academics, Research Committee, HKBU, Chaired by Vice-President (Research and Development)

2010 – 2011

Nominated Candidate of the President’s Award for Outstanding Performance 2011, HKBU

2008

Shortlisted Entry, Invitational Competition for the Hong Kong Arts Centre 30th Anniversary Award (internationally refereed by Curators of the Asian Art Museum, San Francisco, USA)

2004

Excellence in Chinese Studies Award, University of California, Santa Barbara, CA, USA

2003 – 2004

Asian International Student Award, Office of International Students and Scholars, University of California, Santa Barbara, USA

2002 – 2006

WTF Academic Excellence Fellowship, Department of Art History, University of California, Santa Barbara, USA

2003

Merit Award, Couplet Calligraphy Competition, Art Museum, the Chinese University of Hong Kong

2002

Connoisseurship Fellowship, Henry Luce Foundation & Institute of Connoisseurship in Chinese Calligraphy and Painting, USA

1998 – 2000

University Studentship Award, The University of Hong Kong, HK

As an art historian and practicing artist, I always emphasize the synergy between art history and practice, ensuring that my students can learn the most up-to-date knowledge and research methodologies in the fields of art history and in the practices of Chinese calligraphy, painting and seal engraving. Designing and implementing highly interactive teaching-and-learning contents and activities, I inspire my students to develop the awareness that there is an amazingly wide spectrum of approaches to art, and to experience and embrace the multi-faceted dimensions of creativity.