款識：
不過數片葉，滿紙俱是節；
萬物要見根，非徒觀半截。
風雨不能搖，雪霜頗能涉；
紙外更相尋，干雲上天闕。
甲寅歲寒，並錄板橋句於海上去住隨緣室中。
安吉吳昌碩。

鈐印：「吳俊卿印」、「染於蒼」、「虛素」。

-Light foxy, paper loss, and signs of restoration could be found on the screen. Paper is yellowish due to age. generally in fair condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

註：昌碩好寫「四君子」。寫竹則琅玕直上，又或倚松伴石。本
幅不循慣見者，袛見佈竹前後起伏，序列繁疏不一，題字穿插其
間，縱放無拘，結體或欹或側，不規章法，惟氣息貫通，如此佈
局蓋效板橋居士寫竹之法，兼錄其句，也具神肖之妙！

缶老取此法作畫甚稀，而同期有兩幀傳世之迹，俱存日本藏家手
中，似為同時應求畫者訂製而寫。一為立軸，未悉尺幅四呎或六
呎。本幅乃日式兩摺屏風，上裱灑金箋紙。此非畫家慣用者，恐
屬當年東瀛仰慕者親攜供指定作畫之材料，因其適合當地居室擺
放佈置之用。

由於屏風畫面空間寬廣，筆墨縱橫馳騁無礙，故佈局疏約，叢竹
分佈較散落，呈空靈之感。而灑金箋材質平滑，行筆觸紙順而不
滯，且吃墨能力不強，故墨色趨淡，缶老一慣剛勁筆力反被削
弱，逸筆草草之意趣卻溢於紙上，豈非刻意難求之自然韵致！

參考資料：
另幅相類〈墨竹〉可參見〈吳昌碩書畫集〉，松丸東魚編（東京，西東
書店，一九七一年六月），圖版34