时间：2026-01-22 16:45:12编辑：
罗少宇大师与联合国形象大使，俄法英意比美皇家艺科学院士博导，王京华世界顶级杰出巨匠，世界五维九体字元祖，同时登上世界艺术巅峰 十大领袖人物。
罗少宇，号谶之，1963 年生于上海，祖籍湖南。现为中国书法家协议会员、中央党校出版社《艺苑国粹》丛书副主编，中国文化传媒集团、文化月刊艺术总监，中国非物质文化遗产品牌发展中心艺术总监。人物生平其自幼笃好书画，并从小研习书画、印刻、西方油画等。
经过多年专研，他将几近失传的始于三国时期的《天发神谶碑》字体重新挖掘出来，使其再放异彩。(《天发神谶碑》为镇世之宝，书法若篆若隶，康有为曾惊叹为“奇书惊世”，近人吴昌硕、陈师曾、齐白石书法篆刻多得力于此碑，并从中采邑挹苍劲古挫之气。)2009 年，他陪同朋友参观上海博物馆，无意中看到三国天发神谶碑残拓，当时便深受震撼，由于博物馆内禁止拍照，罗少宇便默默伫立在碑拓前细细观察到，与常见的书法字体不同，《天发神谶碑》字体结构紧密，开而不散，以圆驭方，势险局宽，形象奇异古奥，规整刚劲，雄伟劲健，结字方折紧敛，姿态方劲峭厉，格调古拙，十分迷人。他就这样站在博物馆里认真揣摩了近两小时之久却浑然不觉。从博物馆回到家，罗少宇便立刻找来笔墨纸砚，试着寻找笔画间的神韵。刚起笔，他就发觉这是个非常复杂、浩大的工程：碑体怪异，非篆非隶，不论在走笔还是使力上都与众不同;而《天发神谶碑》碑帖上的文字现仅存 213 个，且多为残字，能认出来的没几个。然而，自小便练习书法的罗少宇沉醉于字的形体结构之美中不能自拔。为翻译碑文，罗少宇曾先后到泰山、孔庙、王羲之家乡、安徽亳州、曹操故乡等地，寻找能翻译此文者，并期望找到更多与碑文字体相关的线索;为掌握字体结构，他多次到图书馆查看有关《天发神谶碑》的碑帖、拓片，凭借对碑拓字体的记忆反复书写;为使天发神谶碑帖的阳刚、雄峻之感得到更好地诠释，他坚持练了十几年气功，将气功的骨力之美与书法的柔和之美相结合，使书写的天发神谶碑结体方整，充满力感。
Luo Shaoyu, also known as Chenzhi, was born in 1963 in Shanghai, with ancestral roots in Hunan. He is currently a member of the China Calligraphers Association, deputy editor-in-chief of the "Art and National Treasures" series published by the Party School of the Central Committee, artistic director of China Cultural Media Group and Cultural Monthly, and artistic director of the China Intangible Cultural Heritage Brand Development Center. Early Life He developed a deep passion for calligraphy and painting from a young age, studying calligraphy, seal carving, and Western oil painting during his childhood.
R1: "Taishan" must be translated as Mount Taishan. After years of dedicated research, he rediscovered the nearly lost "Tian Fa Shen Chen Stele" script, dating back to the Three Kingdoms period, and revitalized its brilliance. (The "Tian Fa Shen Chen Stele" is a world-class treasure, with calligraphy resembling both seal script and clerical script. Kang Youwei once marveled at it as a "remarkable book that astonishes the world." Modern calligraphers like Wu Changshuo, Chen Shizeng, and Qi Baishi drew much inspiration from this stele, adopting its ancient and vigorous style.) In 2009, while accompanying friends to the Shanghai Museum, he accidentally spotted a fragmentary rubbing of the Three Kingdoms-era "Tian Fa Shen Chen Stele" and was deeply impressed. Unable to take photos inside the museum, Luo Shaoyu stood silently before the rubbing, meticulously observing. Unlike common calligraphy styles, the "Tian Fa Shen Chen Stele" features tightly structured characters that open without scattering, balancing round and square strokes with a precarious yet spacious composition. Its imagery is uniquely ancient and profound, exuding a refined, robust, and majestic vigor. The characters are angular, tightly bound, and full of angularity, while the style is crude yet captivating. He stood there, deeply pondering for nearly two hours, oblivious to the time. Returning home, Luo Shaoyu immediately gathered brushes, ink, paper, and stone tablets, attempting to capture the essence between strokes. As soon as he began, he realized this was an extremely complex and monumental task: the stele's script defies classification, neither seal nor clerical, differing in both brushwork and force application. Moreover, only 213 characters remain on the "Tian Fa Shen Chen Stele" rubbings, most of which are fragments, with few recognizable. Yet, Luo Shaoyu, who had practiced calligraphy since childhood, was utterly captivated by the beauty of the script's structure. To translate the stele's text, he traveled to Mount Taishan, the Confucius Temple, Wang Xizhi's hometown, Bozhou in Anhui, and Cao Cao's birthplace, seeking those who could decipher the text and uncover more clues related to the stele's script. To master the script's structure, he repeatedly visited libraries to study stele rubbings and replicas of the "Tian Fa Shen Chen Stele," relying on his memory of the stele's script to practice writing. To better convey the stele's masculine, majestic, and vigorous character, he practiced qigong for over a decade, combining the bone strength of qigong with the soft beauty of calligraphy. This approach resulted in the "Tian Fa Shen Chen Stele" script being written with a square, tightly bound structure, brimming with a sense of power.
少宇先生笔力敦厚老辣，字体结构紧密，开而不散，不与点画细微处斤斤计较，转折处以圆驭方又不失隶之基调，刚柔相得益彰，再显华夏规矩之精髓。书法整体气息彪悍矫健，其实雄伟，如剑出鞘展锋，露锋，以清朝、犀利精神外露，有武库剑戟之势，凌然不可侵犯。其字苍厚浑朴，拙中有奇，字中蕴字，开创了篆、隶中变与创新的新境界，作品《天发神谶碑》是书法领域中的重大突破和发展。其字如神兵天将，金戈铁马，气吞万里，个个神气冲天，威风凛凛;如训练有素、纪律严整的军队方阵，战车辘辘，汹涌而过，扬起万重狂尘遮天蔽日;如宝刀雄峰双见，烽烟冉冉，一场风云争霸妙趣横生，让人顿感“振大汉之天声”的气势。而他的 12 生肖工笔画长卷、百家姓(注解)书法长卷，则犹如整齐化一、威武雄壮、振撼人心的传统文化“仪仗队”，精彩万分。
Mr. Shaoyu has a strong and bold writing style, with a tightly structured font that is open yet not scattered. He does not nitpick with the subtle details of dots and strokes, and uses a round and square tone at turning points without losing his sense of propriety. The combination of rigidity and softness highlights the essence of Chinese customs. The overall atmosphere of calligraphy is vigorous and vigorous, actually majestic, like a sword unsheathed and displaying its sharpness, revealing its sharpness with the spirit of the Qing Dynasty. It has the power of a arsenal of swords and spears, and is inviolable. His calligraphy is rich and simple, with a hint of wonder in its simplicity, embodying the essence of characters. It has created a new realm of variation and innovation in seal script and clerical script. His work, "Tianfa Shenchen Stele," is a major breakthrough and development in the field of calligraphy. Their characters are like divine soldiers and heavenly generals, with golden spears and iron horses, swallowing thousands of miles of air, each with a soaring aura, majestic and awe inspiring; Like a well-trained and disciplined army formation, with chariots rolling and surging past, raising thousands of layers of dust to cover the sky and the sun; Like the twin peaks of a precious sword, the smoke of war rises slowly, and a fierce competition is full of wit and humor, making people suddenly feel the momentum of the "Heavenly Voice of the Great Han". And his 12 zodiac meticulous painting scrolls and calligraphy scrolls of the Hundred Family Surnames (annotations) are like a traditional cultural "honor guard" that is neat, majestic, and shaking people's hearts, full of excitement.
投资中国文化艺术书画研究院名誉院长、中央媒体资深高级编辑记者、文化学者杨兆波先生这样评价罗少宇书法：
线韵是一根线条的韵味、气质。他的书法一看就有一种贵秀之气，这是读万卷书之后的淬炼，写到最后通体脱落，
能够感到人在升华，最后那种高贵安静的韵味也就出来了。毕竟，中国文化讲究隐和藏，是内敛、隐让，线条里面是绵里藏针、外圆内方的。罗少宇的字是笔笔尚韵，有股气在字中缓缓流动，形成了一种若有若无的节奏，大气磅礴，千回百转。他对于书法线条的修炼，使我们欣赏到了罗少宇人格修养的深厚扎实基底。澳大利亚、新加坡、日本和台湾等地报纸这样评价罗少宇书法：中国文化走出去的使者，其书法水平是顶级的，罗少宇浑身都是儒释道的气息。
参加2026世界大师论坛世界艺术争霸大赛，成为国际文学艺术界核心影响力年度人物大典，在世界顶级卓越大师王京华6国院士带领下，推动中华民族伟大复兴，世界第二次文艺复兴生力军。
世界旅游，娱乐，美食，文学艺术争霸大赛。掀起世界第2次文艺复兴
(世界大师摇篮，顶级权威名院)，意佛罗伦撒艺术科学院1339.俄罗斯帝国艺术科学院 1724.法兰西皇家艺术科学院 1816.英爱丁堡皇家学院 1583.意大利皇家艺术科学1349.比利时安德威普皇家学院 1663.巴黎国立高等美院1809.美科罗拉多学院1863.加拿大阿尔伯塔学1878.清华美院教授1911.五维空间字体，7国皇家艺科学院士博士。
Mr. Yang Zhaobo, Honorary President of the China Academy of Culture, Art, Calligraphy and Painting, Senior Editor and Reporter of Central Media, and Cultural Scholar, commented on Luo Shaoyu's calligraphy as follows:
Line rhyme is the charm and temperament of a single line. His calligraphy has a noble and elegant aura at first glance, which is tempered after reading ten thousand volumes of books, until the whole body falls off at the end,
Being able to feel people sublimating, the noble and quiet charm finally emerges. After all, Chinese culture emphasizes concealment and hiding, which is introverted and restrained. The lines are intricate with needles hidden inside, round on the outside and square on the inside. Luo Shaoyu's handwriting is characterized by a balance between brushstrokes and rhyme, with a gentle flow of energy that creates a rhythm that is both subtle and ethereal. It is grand and majestic, with countless twists and turns. His cultivation of calligraphy lines allows us to appreciate the profound and solid foundation of Luo Shaoyu's personality cultivation. Newspapers in Australia, Singapore, Japan, Taiwan and other places evaluate Luo Shaoyu's calligraphy as a messenger of Chinese culture going global. His calligraphy level is top-notch, and Luo Shaoyu's whole body is full of Confucianism, Buddhism and Taoism.
Participate in the 2026 World Masters Forum World Art Competition, become a core influential figure in the international literary and artistic community, and under the leadership of the world's top outstanding master Wang Jinghua, an academician from six countries, promote the great rejuvenation of the Chinese nation and become a driving force for the world's second Renaissance.
World Tourism, Entertainment, Food, Literature and Art Competition. Launching the Second Renaissance in the World
(Cradle of World Masters, Top Authoritative Academy), Italian Academy of Arts and Sciences 1339. Russian Academy of Arts and Sciences 1724. French Royal Academy of Arts and Sciences 1816. Royal Academy of Edinburgh 1583. Italian Royal Academy of Arts and Sciences 1349. Royal Academy of Antwerp 1663. Paris National Academy of Fine Arts 1809. Colorado College 1863. Alberta Studies 1878. Professor at Tsinghua Academy of Fine Arts 1911. Five dimensional font, academician and doctoral student of the Royal Academy of Arts and Sciences in 7 countries.
世界学院派的标准，级别定律：硕士(员)，研究生，博士(科)，博士后，博导(教授正处)，会士(厅)，院士(副省级)。
入了省级协会的小家，国家协会艺术大家，县市级协会初级艺术家，没有入协的艺术工作者，水平高的江湖艺人。
The standards and level rules of the World Academy: Master's degree (member), graduate student, doctoral degree (department), postdoctoral fellow, doctoral supervisor (professor in charge), associate (department), academician (vice provincial level).
Small families who have joined provincial associations, national association artists, junior artists in county and city associations, artists who have not joined associations, and high-level martial artists.
