笔架为圆雕五峰式，架底边深刻水波纹，波涛中双龙盘绕于五峰之间，龙腾水怒。
The full-relief brush rack has five peaks with deep water-wave patterns on its sides. Among the waves, two flying dragons wind themselves among the five peaks.
明代中后期，金、玉、竹、木、牙、角雕刻艺术中出现大量赏玩器，并前所未有地迅速发展起来。为了满足社会需求，民间作坊不断设计创新，许多艺术家也在风格上相互借鉴或者标新立异，于是各种精美的文房摆设和雅玩层出不穷，成一时风尚。
In the mid- and late-Ming Dynasty, many cultural relics made of gold, jade, bamboo, wood, ivory and horn emerged and this craft industry witnessed unprecedented and rapid development. In order to meet social demands, folk workshops constantly innovated their designs. Many artists learned from other craftsmen or made independent innovation themselves. The result was a variety of precious ornaments, which eventually became a social trend at that time.
文人书案上的笔架与瓶、盒等，造型和纹饰一般以松、竹、梅居多，有龙纹者则多属皇家御用品。此件龙纹笔架既见刀刻之功，又具雄劲风韵。雕龙蜿蜒盘曲，生动的龙身及龙须、龙嘴均显现出典型的明代风格。整座笔架雕刻得庄重浑朴，刚劲有力，属明代嘉靖、隆庆年间（1522-1572年）北派象牙雕刻艺术中的杰作。
The brush racks, bottles and cases for people studying literature were mainly in the shapes of pine trees, bamboo shoots and plums. Those with dragon patterns were reserved for royal families. This brush rack with dragon pattern demonstrates the carving skill and elegance of the whole piece. The dragons wind themselves among the peaks; the vivid dragon bodies, dragon beards and dragon mouths reflect the typical style of the Ming Dynasty. The whole rack is grand and solid. It is a masterpiece of ivory carvings in north China in from the reigning periods of Emperor Jiajing and Emperor Longqing (1522-1572).
