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罗振玉著述宏富,学问精博,书学与书艺似平仅为其中一端,而其实不然。因其学术根柢,正在碑刻。由考文,进而论艺,故能造有清诸家所不到之处。合朴学与书学,又合碑学与帖学,且开书家以新出古器物文字为临写运用对象之局,为清代书法与现代书法之转关,不可小觑。本文据此,就罗氏书学内容及书艺表现,略析其要,以说明罗振玉在书法史上的地位。
Luo Zhenyu describes Hong Fu, a well-educated, book study and book art resemblance to just one end, but actually not. Because of its academic roots, is inscriptions. From Coventry, and then on the arts, it can create a place where Qing Zhu various. Concise learning and calligraphy, but also learn and calligraphy, and open book authors to use the new ancient utensils to write and use of the Progenitor Bureau, for the Qing Dynasty calligraphy and modern calligraphy turn off, should not be underestimated. Based on this, I will analyze Luo’s content and performance of calligraphy and art to explain Luo Zhenyu’s position in the history of calligraphy.