《锁谏图》卷，清，罗聘绘，纸本，墨笔，纵32厘米，横208厘米。
本幅楷书落款：“仿阎立本锁谏图，寄萧生湘客装藏。扬州罗聘。”钤“罗聘”白文方印、“遯夫”朱文方印。本幅另有“清玩草堂”、“半丁审定”等鉴藏印五方。尾纸有谢兰生于道光甲申年（道光四年，1824年）抄录的《晋书》中关于陈元达锁谏故事的一段文字，还有张唯屏于道光己丑年（道光九年，1829年）题写的对于《锁谏图》的考证文字。
此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。
画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。
以此图与现藏美国弗利尔艺术馆、相传为唐代阎立本所绘的《锁谏图》相比照，人物的位置、动作基本没有太多变化，罗氏之作只是省略了皇后一侧的假山石与树丛，添加了陈元达右侧的几名侍卫。另外，罗聘还将原本用设色之法图写的表现形式改作白描，使画作平添了些许雅致
--------Introduction in English--------
"Lock Exhortation Picture" Volume, Qing Dynasty, Luo Bin Painting, Paper, Ink, 32 cm in length, 208 cm in transverse.
This regular script is inscribed: "Imitate Yan Li's lockstitch map and send it to Xiao Shengxiang for passenger collection. Luo Bin, Yangzhou." Jun's "Luo Bin" white square seal and "Zuo Fu" Zhu's square seal. In addition, there are "Qing Play Cao Tang" and "Half Ding Examination and Approval" in this picture. The end paper contains a passage about Chen Yuanda's story of Suo Jian in Jin Shu copied by Xie Lan, who was born in Daoguang Jia Shennian (Daoguang 4 years, 1824), and a textual research on Suo Jian Tu written by Zhang Weiping in Daoguang's ugly year (Daoguang 9 years, 1829).
The most successful part of this painting is the detailed depiction of the characters'facial expressions: Chen Yuanda holding his hands tightly to the tree, shouting his advice, full of loyalty and diligence; two guards pulling Chen's belt and jacket and pulling them out, although their beards are flying, their eyes are round, and so on. Liu Cong, wearing casual clothes, looked fierce and put his left hand on his knee, apparently very excited, and his anger remained on the paper. Queen Liu, standing hand in hand, saw that things had arisen because of herself, and she was distracted and urgently sent her maids to deliver the imperial envelope to alleviate the urgent situation.
The rendering of the tense atmosphere and the depiction of the figure's form and spirit attracted the attention of the viewer, showing the artist's unique and exquisite conception. From the point of view of painting method, the figure's face is depicted with fine brushes, which need to be delicate, the face is slightly light ink to show ups and downs, the lines of dress wear describe setbacks and turns with their own rules and regulations, and have a simple and simple interest, from which the viewer can feel Luo Bin's excellent ability of mastering the brush and ink skillfully.
Comparing this picture with the Lock Picture drawn by the Flier Museum of Art and Yan Liben in the Tang Dynasty, the position and movement of the characters have not changed much. Roche's work only omitted the rocks and bushes on the Queen's side and added several guards on the right side of Chen Yuanda. In addition, Luo Ping also changed the original form of expression described by the method of setting colours into white sketch, which added a little elegance to the painting.
