Kuang Wei, formerly named Kuang Weiting. /Kloc-0 was born in jiaozhou city, Shandong Province in 1967./Kloc-0 was admitted to the Calligraphy Art Research Office of the Central Academy of Fine Arts in 1992, studied with Wang Yong, Chen Ping, Tamia Liu and Liu Shaogang, and held a calligraphy exhibition in Shandong Art Museum./Kloc-0 was selected in the 5th China Calligraphy and Seal Carving Exhibition for Young Calligraphers. At present, he is a doctor of Central Academy of Fine Arts, a teacher of Central Academy of Fine Arts, a member of the Youth Committee of China Calligraphers Association, a visiting professor of calligraphy in Shandong Art Institute, and a consultant of Shandong Calligraphers Association. 1993 works were selected in the 5th Exhibition of Calligraphy and Seal Carving by Middle-aged Calligraphers in China 1994 works were selected in the 3rd Exhibition of Newcomers 1997 works were selected in the 7th Exhibition of Calligraphy and Seal Carving by Middle-aged Calligraphers in China and won the third prize 1 In 1998, at the invitation of Weifang International Kite Festival in China, he held a personal calligraphy exhibition and published Selected Works of Kuang Wei's Calligraphy. In 2000, his works were selected into the Collection of Award-winning Works of China Zhongqing Exhibition. In 2004, he published the Collection of Kuang Wei's Calligraphy. In 2007, he participated in the International Touring Exhibition of Ten Chinese Contemporary Calligraphy and Painting Masters in Beijing 2008 1 In June, he participated in "Han Yi Shen Fei-Invitation Exhibition of Ten Doctors' Calligraphy and Painting" in Beijing. In January, 2008, he held an exhibition of Kuang Wei's personal calligraphy in Penglai. In July, 2009, he held an exhibition of Kuang Wei's calligraphy collection in Laiwu, Shandong, and published a collection of his personal works. In September, 2009, he published a collection of Kuang Wei's personal calligraphy imitating ancient times in Beijing. In April, 2000, famous contemporary calligraphers invited exhibition experts to discuss the calligraphy of Wei, a doctor of calligraphy in Chen Zhongkang Central Academy of Fine Arts and a professional calligrapher in China Academy of Art: It is hard to imagine how a traditional calligrapher can live in a strange "overseas" without China. As a "returnee" who has lived in Australia for more than ten years, Kuang Wei's experience has made me understand a lot. It stands to reason that going abroad in the prime of life is an age that is easily changed by the values of the world, and the contemporary world cultural context abroad is very easy to make people give up their insistence on traditional culture. However, after years of elutriation, Kuang Wei has not developed in the direction we usually imagine, but has become increasingly obsessed with the pen and ink of pure traditional calligraphy, and his overseas life situation is in a strong contrast with his inner traditional cultural aesthetic appeal. There are not many calligraphers like Kuang Wei, and what happened to him is a case worth studying ... Dr. Zhou Xunjun, School of Humanities, Central Academy of Fine Arts: There is an obvious and almost casual fluency in Kuang Wei's works. Even if he deliberately changed the style of writing in rhythm and space at some time, this fluency was still well preserved. This is one of the strongest impressions left by his works. In addition, there is an indifferent attitude towards writing. In most of Kuang Wei's works, we can't spy on a kind of research-oriented writing that is poor in history, but more of a kind of indifferent mind. This makes his writing slightly different from some people's writing in sense of history, which is manifested in the abandonment of some skills in form. Kuang Wei's works bring a kind of simple grace and simplicity ... Zheng Xuefeng, deputy director of the editorial department of China Painting and Calligraphy magazine: What is today? What is ancient? I'm afraid the debate is complicated and difficult to conclude. But in general, the ancients were simple and moderate, and today they are vigorous. The ancients are upright, and the present is still strange. The ancients paid attention to letting nature take its course, while the present pursues subjective initiative. Kuang Wei is a noble scholar and an ancient scholar in today's book world. In his early years, he studied in the Central Academy of Fine Arts, and he also had the complex of "heroic". With the sudden creation of the style of calligraphy, he went to Australia and meditated. He found himself, "feeling that today is right but yesterday is wrong" and began to express himself naturally. I don't know about the early Kuang Wei. The Kuang Wei, who began to express himself naturally, is peaceful, has few words, has a calm manner, is handsome and thick, and is the same as his book style. I can't imagine the early calligraphy style of Kuang Wei in front of me, but I'm really glad for him. Now I can write myself easily from my heart's desire, and I don't have to rack my brains for external factors such as form and paper color ... Wu Chuanhuai, a famous calligraphy theorist: Kuang Wei's calligraphy has a different form from the times, which is a stubborn personality and a conscious choice. Keep your talents in check and return to the tradition. Under the seemingly ordinary appearance, there is a deep strength. This is my deep impression of reading Kuang Wei's calligraphy. I think this is also a wise and plain choice for Kuang Wei in today's bustling book world. He chose the way of combining various styles, paying attention to every point and even breath, keeping close to the tradition, constantly observing and immersing himself in the tradition, and highlighting himself in calm tolerance ...