息斋竹石古木为会稽韩季博士题
老竹叶稀多秃枝，新竹碧润含幽姿。
箨中龙子振春蛰，突出雷雨头参差。
旁蹲怪石石罅裂，裂处恍惚疑龙穴。
山中有树皆十围，活干撑青死槎折。
霜皮食尽乾藓文，半顶斩立双桠分。
最后一枝身出群，垂枝倒走阴崖云。
李侯标致不可得，小字亲题别涂黑。
纵横不在摩诘下，萧爽直与洋州敌。
玉堂学士欣见之，浓墨大书真崛奇。
森然一片铁石笔，妙甚七字琼瑰词。
此诗此画今两绝，把玩微风动毛发。
只应真宰泣雕镂，一夜山窗冷秋月。
Old bamboo leaves are sparse and many branches are bare, New bamboo is green and moist with a graceful appearance. Inside the sheaths, dragon offspring stir and awaken spring thunder, Springing up with strength, like lightnening striking and towering above. Beside them, weird rocks squat, with cracks that seem like the gaping mouths of creatures, The cracks are so real that one could mistake them for the home of dragons. All trees in the mountain are huge, with trunks so thick that one cannot hug them all around, Their branches reach out, green and alive, or broken and dead from the past. Their frost-bitten bark is covered with lichens, as if they were eating the dry winter to reveal the spring within, Their tips are cut off sharply, and the two branches split into distinct halves. The last branch stands out from the crowd, with hanging branches that seem to touch the clouds on the shady side of the mountain. The beauty of Lord Li cannot be captured, his small name hidden within even if someone tries to change it and cover the truth. His paintings are unparalleled in their versatility, not even below the level of the great artist Vuiet but also standing up to that of Yangzhou's style which is so clear and refreshing. Scholars in the Imperial Palace eagerly took up his works, using rich ink to boldly present them with grandeur and originality. Each stroke is like a piece of iron or stone, so strong and vivid. The seven characters he wrote are like precious gems full of wit and beauty. This poem and painting are both unparalleled works of art that bring life and energy into every fibre of the observer. They seem like the tears of the divine craftsman, wrought under a cold autumn moon through the night in a mountain hut.
《息斋竹石古木为会稽韩季博士题》一诗，犹如一幅生动的画卷，缓缓展开在读者眼前，引领我们步入一个充满自然韵味与文人情怀的世界。开篇即以“老竹叶稀多秃枝，新竹碧润含幽姿”勾勒出一幅新老竹子并存的景致，老竹的萧瑟与新竹的勃勃生机形成鲜明对比，既展现了时间的流转，也寓含了生命的更迭与希望。
随后，“箨中龙子振春蛰，突出雷雨头参差”一句，以龙子喻新竹，形象地描绘了春雨过后，竹笋破土而出的壮观景象，如同沉睡的龙子在春雷中苏醒，带着勃勃的生命力，冲破土壤，直指云霄，其形态参差，各具风姿。
诗中“旁蹲怪石石罅裂，裂处恍惚疑龙穴”则将视角转向一旁的怪石，石缝裂开，仿佛隐藏着神秘的龙穴，增添了几分奇幻色彩，也映射出大自然鬼斧神工的创造力。
接下来，“山中有树皆十围，活干撑青死槎折”等句，通过对山中古木的描绘，展现了自然界的生存法则：有的树木茁壮成长，枝干粗壮；有的则因岁月侵蚀而枯死，枝干折断，这种生死相依的景象，让人不禁思考生命的顽强与脆弱。
特别值得一提的是，“最后一枝身出群，垂枝倒走阴崖云”一句，以一枝独秀之姿，象征着超越群芳、孤高清逸的品格，那低垂的枝条似乎在与阴崖之云对话，营造出一种超脱尘世的意境。
诗人还提及了画作上的题字，“李侯标致不可得，小字亲题别涂黑”，以及画作本身的艺术成就，“纵横不在摩诘下，萧爽直与洋州敌”，不仅赞扬了画家的技艺高超，可与王维（摩诘）等大家相媲美，还体现了画作风格的清新脱俗，直追洋州画风。
“玉堂学士欣见之，浓墨大书真崛奇”则从侧面反映了这幅画作所受到的赞赏，连玉堂学士都为之倾倒，挥毫泼墨，留下赞语，可见其艺术魅力之大。
最后，“此诗此画今两绝，把玩微风动毛发”一句，将诗与画完美结合，表达了诗人对这幅作品的极高评价，读诗观画，仿佛微风拂面，令人心旷神怡，甚至“只应真宰泣雕镂，一夜山窗冷秋月”，以神来之笔，将人与自然、艺术与情感的交融推向极致，留给读者无限的遐想空间。
整首诗如同一首悠扬的乐章，旋律起伏跌宕，既有对自然美景的细腻描绘，也有对生命哲理的深刻感悟，更有对艺术创作的崇高赞美，让人在品味中感受到一种超越物质的精神享受。