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div鹦鹉飞鸣于御园杏枝间，其姿态万千，令徽宗为之动容。此画在技法上属当时画院中流行的典型的工笔重彩画风，然而用笔敷色调和、清灵、透明，石绿等矿物质颜料的运用恰当得法，画上并未出现因石绿等色的强覆盖性而导致的“粉气”现象，恰恰相反，全画色彩厚薄匀净，显示出作者驾驭色彩的高超表现技巧。
“陈老板，听闻你对字画颇有研究，您看看这幅画如何？”胡老板在旁边，抱着肩膀，一脸坏笑向陈阳问道。
“三米外观画，主要考验的不是你对画风、画细节的观察，”杜明德在之前，曾经给陈阳恶补过三观五道，“距离如此之远，想把一幅画的细节看仔细，那是根本不可能呢，所以我们要先观整体画风、画的韵味、气势！”
陈阳脑海中回忆着师傅跟自已说的话，趴在红绫子后面，抻着脖子往前面看着，整副画工笔重彩，写实水平较高，在对鹦鹉细致观察的基础上，画中对鹦鹉的描绘精致逼真而栩栩如生，鹦鹉的羽毛层层渲染，立体感强烈，对鹦鹉的动态刻画比例准确到位，而鹦鹉的眼神炯炯有神，实为点睛之笔。
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div图中的杏花在绢丝质地之上略施白粉，加上花骨朵处的浅粉之色，显得朵朵杏花既晶莹剔透，又轻盈立体；鹦鹉全身以“墨黄红白绿”五色着色，羽翼斑斓、喙爪坚实，神采动人。但仔细观察鹦鹉的眼神，虽显深邃，却似乎又仿若实物。
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div再看书法，其书法运笔灵动快捷、酣畅淋漓，笔迹锋芒毕露、如同断金割玉一般瘦劲而不失其骨，完全符合赵佶独特的瘦金体。
幅上的落款只剩下“制”“并”二字和残损的花押，画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾隆、嘉庆内府鉴藏印。
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