郑燮《竹石图》,纸本,水墨。纵102、横59厘米。无年款,钤有“爽鸠氏之官”印,为郑板桥五十岁以后作品,现藏河北省博物馆。该画在构图上打破前人陈规,采用柱石居中,左竹右诗的章法。翠竹两竿,前后有别,高低分明。嫩竹取斜势,和柔婉顺;老竹取直势,挺拔坚韧。疏疏密密,或残或断,笔断意连,柱石取偏侧之势,耸立于画面中部,不高,却气势逼人,欲于擎天。柱石右下留出一段空白,落款。款两行,上下让出天地,位置适宜。整个画面高低错落,浓淡整斜,生动自然。在笔墨上,作者以书法入画,用笔简练,中侧锋并施,由于作者本人精于八法,线条鲜活,由写而出,性灵毕现,竹叶、竹枝生机勃勃。柱石用笔所拂淋漓,首重尾 Zheng Xie “bamboo figure”, paper, ink. Longitudinal 102, horizontal 59 cm. No years, there is a “cool dove’s official” seal, for Zheng Banqiao after the works of five, now possession of Hebei Provincial Museum. The composition in the composition of breaking the previous stereotypes, the use of pillars centered, left Zhusei chapter of the law. Bamboo two poles, before and after different, high and low. Tender bamboo tenderness, and soft Wan Shun; old bamboo to take advantage of the upright and tough. Sparse dense, or residual or broken, pen broken meaning even, pillars to take the side of the potential, stands in the middle of the screen, not high, but the momentum is pressing, for Qingtian. Left column to leave some space, inscribed. Two models, up and down to give up the world, suitable location. The entire screen level scattered, shades oblique, vivid and natural. In the ink, the author calligraphy into the painting, pen concise, and the front side and facilities, as the author himself good at eight, fresh lines, written out, the spiritual achievements, bamboo, bamboo vibrant. Pillar brush with the brush, the first heavy tail