Deciphering Chinese Calligraphy as the Architectural Essence of Tao Fong Shan Christian Center in Hong Kong
References:
[1] H. Deng and Y. Situ, (eds.), Hong Kong Calligraphy (bilingual). Hong Kong: Urban Council, 1990.
[2] G. Ma, “Xianggang Jinbainian Shutan Gaishu” (A Brief Account of Hong Kong Calligraphy in the Past Hundred Years), in Shuhai guanlan: Zhongguo shufa guoji xueshu huiyi lunwenji. Hong Kong: The Art Museum, Department of Fine Arts, Chinese University of Hong Kong, 1998.
[3] R. Li, “Cong Xiangjiang xianxian moji kan Xianggang shufa yishu de jicheng yu fazhan”, in Shuhai guanlan: Zhongguo shufa guoji xueshu huiyi lunwenji. Hong Kong: The Art Museum, Department of Fine Arts, Chinese University of Hong Kong, 1998, 175-187.
[4] J. Mo and Y. Chen (eds.), Xianggang shufa nianbiao 1901-1905 (The Chronicle of Hong Kong Calligraphy 1901-1950). Hong Kong: Department of Fine Arts, Chinese University of Hong Kong, 2009.
[5] J. Mo, “Xiangjiang xianxian moji—wenhua chengchuan yu shufa”, in Xiangjiang xianxian moji. Hong Kong: Art Museum, Chinese University of Hong Kong, 2006, 15-24.
[6] Y. Chen, “Chuantong de yizhi—Xianggang shufa yanjiu (1911-1941)”. M.Phil. thesis, Chinese University of Hong Kong, 2008.
[7] Y. Chen, “Xianggang zaoqi shufa: yi wenhua wei shijiao”, in J. Mo (ed.), Hong Kong Visual Arts Yearbook 2004. Hong Kong: Department of Fine Arts, Chinese University of Hong Kong, 2005, pp. 42-63.
[8] H. Zhang, “Minguo shiqi yilao shufa yanjiu”. Ph.D. dissertation, Chinese University of Hong Kong, 2002.
[9] H. Zhang, “Yueji yilao shufajia yu ershi shiji chuqi xianggang shutan”, in Y. Lin (ed.), Zhu Wanzhang (eds.), Lingnan shuxue yanjiu lunwenji. Guangzhou: Guangdong renmin chubanshe, 2004, 108-129.
[10] H. Zhang, Xianggang shuhua tuanti yanjiu. Hong Kong: Department of Fine Arts, Chinese University of Hong Kong, 1999.
[11] J. Mo, “From the Traditional to the Modern: Thoughts on Calligraphy in Hong Kong Art Biennials” (bilingual), in Hong Kong Visual Arts Yearbook 2005. Hong Kong: Department of Fine Arts, Chinese University of Hong Kong, 2006, pp. 63-99.
[12] H. Deng, “Xianggang yishu shuangnianzhan he xianggang shufa”, in Shuyuan duouing – dangdai xianggang bairen shufazhan. Hong Kong: Jiazi Society of Calligraphy, 2003, 6-7.
[13] H. Deng, “Cong shuangnianzhan dejiangzhe guankui sanshinian lai de xianggang shufa”, in Y. K. Chan Yuk-keung and H. Mok (ed.), Hong Kong Visual Arts Yearbook 1999. Hong Kong: Department of Fine Arts, Chinese University of Hong Kong, 2000, 40-47.
[14] J. Mo, “Hong Kong Calligraphy: Modes of Creation”, (In English, Chinese and Japanese), Special Issue for the 14th International Calligraphy Exhibition, 2005, 1-31.
[15] J. Mo, “Chuancheng yu xinyi: erlinglingqu shizhaizhiyou shufazhan xu yi” (Heritage and innovation: Shizhaizhiyou calligraphy exhibition: Preface 1), in J. Li (ed.), Chuancheng yu xinyi: erlinglingqi shizhaizhiyou shufazhan. Hong Kong: Shizhaizhiyou, 2007.
[16] “Christian Monastery in the Shatin Hills: Novel Method of Attracting Buddhist Monks to the Christian Religion,” The South China Sunday Star, 10 January, 1932.
[17] Karl Ludvig Reichelt, “Buddhism in China at the Present Time and the New Challenge to the Christian Church,” in The International Review of Missions: (International Missionary Council, 1937), pp. 154-166.
[18] The Christian Mission to Buddhist, Tao Fong Shan (Hong Kong: The Christian Mission to Buddhist, n.d.), pp. 1-28.
[19] Notto R. Thelle, “The Legacy of Karl Ludvig Reichelt,” International Bulletin, April, 1981, pp. 65-70.
[20] C. C. Wang, “What is in the Holy Temple,” 1962, pp. 1-8. Retrieved on3 March 2019 from Documentation of Chinese Christianity Programme. http://lib-nt2.hkbu.edu.hk/sca_fb/book_pub/04_reichelt/060_temple/data/assets/basic-html/index.html#1
