石質細膩瑩潤，隨形圓雕，留皮巧作雙龍戲珠，底無印文。雙龍身形矯健，雙目圓睜，張牙舞爪，威武凜然；祥雲縈繞，龍體若隱若現。壹側草書陽雕「溫其如玉」、「佶」；另壹側陽雕「懷袖之珍」、「吉人」橢圓印。本品碩大，巧手活雕，印墻陽文雕著名書法家林佶印款，可算清初田黃石雕至臻。騰龍戲珠，生動靈活，畫意濃溢，工匠細工慢琢，將繪畫精神轉化到三維圓石上，然不失原材獨有特質，巧妙創思，盡顯清初匠人鬼斧神工之技。印身保留原石雛形，因材而施，別具匠心，通體浮雕，自然流暢，起伏有致，猶如繪畫。如斯處理手法，與傳統有別。清初以前，不乏田石籽料，壹印之成，多為破方雕鈕。本品充分利用印身表面，施淺浮雕飾，取代傳統印鈕的裝飾功能。 

        Stone delicate ying run, with the shape of the vulture, leaving the skin for double dragon play beads, the end of no seal. Shuanglong is vigorous and vigorous, with round and open eyes, jaws and claws, and awe-inspiring force. Auspicious clouds lingering, the dragon looming. One side of the cursive Yang carving "wen qi ruyu", "ji"; On the other side of the Yang carving "sleeve of the treasures", "auspicious" oval seal. This product is huge, the skillful hand lives the vulture, prints the wall yangwen vulture famous calligrapher Lin ji to print the money, may calculate the early qing dynasty huangshidiao to zhen. Tenglong plays with beads, vivid and flexible, and the painting is full of meaning. The craftsman works slowly to transform the painting spirit to the three-dimensional round stone, but without losing the unique characteristics of the original material, ingenious and creative thinking, showing the craftsman's extraordinary skills in the early qing dynasty. India retained the original stone prototype, due to the material and implementation, do not show ingenuity, relief, natural and smooth, ups and downs, like painting. This is a different approach from the traditional one. Before the beginning of the qing dynasty, there is no lack of stone stone seed material, a seal into, many broken carved button. This product makes full use of the surface of the printing body and is decorated with bas-relief, replacing the decorative function of traditional printing buttons.