《墨笔竹石图》轴，清，郑燮绘，纸本，墨笔，纵127.6厘米，横57.7厘米。
画上自题：“饮牛四长兄其劲如竹，其清如兰，其坚如石，行辈中无此人也。屡索予画，未有应之。乾隆五年九秋过予寓斋，因检家中旧幅奉赠。竹无竿，兰叶偏，石势仄，恐不足当君子之意，他日当作好幅赎过耳。板桥弟郑燮。”钤“郑燮印”、“克柔”印。乾隆五年为1740年。
郑燮最喜画兰、竹、石，认为它们有节、有香、有骨。他笔下的“四君子”在立意上扩大了文人画自娱的内涵，或用以寄托“用世之志”，或歌颂不为俗屈、挺然坚劲的精神。这种画外意突破了文人画自我表现的藩篱。此图是郑燮赠与友人的，从题诗上看，是他临时找来一幅自藏的画作，再补题诗以赠。图中以竹之劲挺、兰之清雅、石之坚韧来比喻“饮牛四长兄”的高尚品格。兰、竹置于陡峭的岩石之间，纵横交错，天机自然，秀逸洒脱中更见一种顽强的生命力。在画法上用具有力度的隶书笔法画竹，以纵逸的草书之法画兰，陡峭的岩石则以侧峰用笔简括勾勒出轮廓，略作皴染，三者交相辉映，相得益彰。岩石上的题款使画面本身倾斜的对角线构图变得平稳厚重，此外以楷书融入篆隶的“六分半”书欹正相生，清劲纵逸，亦增强了主题的内涵。
--------Introduction in English--------
"Ink Bamboo and Stone Pictures" axis, Qing Dynasty, Zheng Xie drawing, paper, ink, 127.6 cm vertical, 57.7 cm horizontal.
On the painting, the title is: "Four elder brothers who drink cows are as strong as bamboo, as clear as orchid, as firm as stone, and there is no such person in their generation." Repeated requests for paintings have not been answered. Qianlong in the 5th and 9th autumn of Qianlong passed his residence and was presented with old pieces at home. Bamboo without a pole, orchid leaves slant, stone potential, fear not enough to be a gentleman's meaning, he as a good ransom over the ear. Banqiao brother Zheng Xie." Jun "Zheng Seal" and "Kerou" seals. The fifth year of Qianlong was 1740.
Zheng Xie likes to paint orchids, bamboos and stones. He thinks they are festive, fragrant and bony. His "Four Gentlemen" enlarged the connotation of self-entertainment in literati paintings, or used it to express "the will to use the world", or to praise the spirit of not being vulgar and firm. This kind of artistic conception breaks through the barrier of self-expression of literati painting. This picture was presented by Zheng Xie to his friends. From the poem inscription, he temporarily found a painting from his own collection, and then supplemented it with poems. In the picture, the vigor of bamboo, the elegance of orchid and the tenacity of stone are used to describe the noble character of the four elder brothers who drink cows. Orchid and bamboo are placed between steep rocks, criss-crossing, natural, elegant and free, and there is a kind of tenacious vitality. In painting, we use powerful Li calligraphy and brushwork to draw bamboo, leisurely cursive calligraphy to draw orchids, and steep rocks to sketch outlines with side peaks and brush to make a slight dyeing. The three complement each other and complement each other. The inscriptions on the rocks make the diagonal composition of the skewed picture smooth and thick. In addition, regular scripts are integrated into the "six-and-a-half" books of Zhunli, which are vigorous and leisurely, and enhance the connotation of the theme.