李安忠画作

 工画花鸟、走兽，尤长于“捉勒”（鹰鹘之类），《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”

 画迹有《牧羊图》，著录于《书画记》；《宜春苑训狮图》著录于《绘事备考》。传世作品有《晴春蝶戏图》，现藏故宫博物院《野菊秋鹑图》册页，绢本，设色，纵24.1厘米，横40.5厘米，藏台北故宫博物院；《鹑图》团扇相传为其所绘，藏日本东京根津美术馆。

 Painting flowers, birds and animals, especially good at "catching Le" (Eagles and the like), "Painting Following Supplementary" said that its "painting to catch Le, get its grip and avoid the situation. Also intercropped with landscapes. Ma Jun titled his poem "Snow Crow Picture": "The north wind blows rocks and cracks for thousands of miles, the ancient tree branches destroy decaying iron, the crowd is dumb and hungry, and the fatigue flies to the empty forest rest. The lonely village is so cold that it can eat far away. It pecks the snow by the sand at dusk. It has different feelings and feelings. It is more sincere to envy and kill the painter. I try to remember Tian Sui's poems. Up to now, the heart of reading them has become more and more intense. Women's skirts are pretentious, and they begin to be raised in golden cages. Lao Wu, Lao Wu, Er's body is black and separated, and the world is restored to weariness. Why don't you fly to my father-in-law's house and my father-in-law's house is green in spring and willows in spring?