此畫名為《喜鵲登枝 富貴錦雞 花鳥圖》由宋代著名書畫大家 李成 老師作品、 畫風喜慶，線條流暢，上有喜鵲登枝，下有富貴錦雞、此畫一目瞭然，觀此圖給人一種繁華富貴感覺、此畫在這個流傳當中，由明代著名畫家 祝枝山 先生收藏鑑賞過、後流傳到清宮舊藏、由清代乾隆皇帝鑑賞，乾隆帝尤其喜歡，特意加蓋鑑賞印章，到了晚清慈溪太后也有鑑賞加蓋印章、尤為凸顯出此畫的收藏價值、此畫在民國時期流傳至民間、目前具有很高的收藏價值！此畫規格長126cm寬63cm總共七平尺。
This painting is called "Magpie Tengzhi Rich Brocade Chicken Flowers and Birds Picture" by the famous calligrapher and painter Li Cheng of the Song Dynasty. The painting style is festive, the lines are smooth, magpie Tengzhi is on the top, and rich brocade chicken is on the bottom. It is clear at a glance that viewing this picture gives people a sense of prosperity and nobility. Zhuzhi is a famous painter of the Ming Dynasty. Mr. Shan collected and appreciated the old collection of the Qing Palace, which was appreciated by Emperor Qianlong of the Qing Dynasty. Emperor Qianlong especially liked it. Empress Dowager Cixi of the late Qing Dynasty also had the appreciation and stamp, which highlighted the collection value of the painting. The painting spread to the people during the Republic of China, and the specifications of the painting were 126 cm long and 63 cm wide. Seven square feet
北宋初期的畫壇，范寬、關仝、李成稱雄，但此消彼長，到中期時就只有李成一枝獨秀了。李成是唐宗室的後裔，此時已家道衰落，雖獨創畫格，名重當時，但似乎仍無意以此為業，“吾儒者，粗識去就。山水，弄筆自適耳，豈能奔走豪士之門與工技同處哉”。然而才命不遇，遂放意於詩酒間，終醉死客舍，年僅四十九歲。但其堅挺圓健的勾勒，淡墨精秀的墨法，獨創的“蟹爪樹”、“鬼臉石”，卻後繼有人。
In the early Northern Song Dynasty, Fan Kuan, Guan Ting and Li Cheng were the most powerful painters, but in the middle of the Song Dynasty, only Li Cheng was outstanding. Li Cheng, a descendant of the Tang imperial clan, was in decline at this time. Although he created his own painting style and was well-known at that time, he still seemed to have no intention of taking it as his career. Landscape, make a pen to suit your ears, how can you run through the door of the hero and work together? Nevertheless, he was only forty-nine years old when he met his destiny, and was at ease in the poetry and wine room and eventually drunk to death in the guest house. But its strong and round outline, light ink exquisite ink, original "crab claw tree" and "grimace stone", but successors.
李成畫的特點、宋畫大多用絹作畫本，絹利於勾勒，溼筆皴、染。李成的雄強遒勁、弧曲而極富折轉韻律的勾線，
可以說將中國畫的線條之美髮揮到。然而，隨著元代文人畫的興起，漸漸改用紙作畫本，紙利於幹筆皴擦，而文人崇尚“平淡天真”的意趣，於是改以五代的董源、巨然為宗師，勾、皴的線條漸漸變得松秀率意，與宋畫的鐵畫銀鉤、法度謹嚴大相徑庭。這種技法上的演變，在山水畫中尤為明顯，那是因為文人對山水畫情有獨鍾，至“元四家”崛起，其技法已臻佳境。然而人物、花鳥畫卻在元以後漸遭冷落，故雖也受山水畫變法的影響，但畢竟沒有形成一整套完善的新技法。
The characteristics of Li Cheng's paintings and Song paintings mostly use silk as picture books. Silk is conducive to sketching, wet brush and dyeing. Li Cheng's strong, strong, curved and rhythmic lines.
It can be said that the beauty of lines in Chinese painting can be brought into play. However, with the rise of literati paintings in the Yuan Dynasty, paper was gradually used as picture books, which was beneficial to dry brush rubbing, while literati advocated the "plain innocent" interest, so they changed to Dong Yuan and Juran of the Five Dynasties as masters, and the lines of Gou and Chao gradually became loose and straightforward, which was quite different from the iron and silver hooks and rigorous law of Song paintings. The evolution of this technique is particularly evident in landscape paintings, which is because the literati have a special love for landscape paintings, to the rise of the "Four Families of the Yuan Dynasty", its technique has reached a good state. However, figure and flower-and-bird paintings were gradually neglected after the Yuan Dynasty, so although they were also influenced by the landscape painting reform, after all, they did not form a complete set of new techniques
.此畫現委託深圳藝拍國際展覽服務有限公司全權交易，此畫即將在2019年1月份在新加坡國際拍賣會上競價拍賣，有對此畫有興趣的收藏家和投資者， 可以聯繫本公司工作人員，前來公司實物觀賞。This painting is now entrusted to Shenzhen Art Painting International Exhibition Services Co., Ltd. for full trading. The painting will be auctioned at the Singapore International Auction in January 2019. Collectors and investors interested in this painting can contact our staff to come to the company for in-kind viewing.
