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。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,24,25,51,52,53,54,55,56,57,58,59,60,61,7,62,63],"长卷","水墨","大写意","书法","牡丹","石榴","荷花","梧桐","菊花","南瓜","扁豆","葡萄","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","纸本","1053.5X30厘米","山水画精选",[67,69],"水墨画精选",448,"795548",{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":82,"material":83,"size":84,"collection":37,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":41},237156,"zi-wei-gui-hua-tu-zhou-yun-huai-e-237156","紫薇桂花图轴","恽怀娥","北京故宫博物院","恽怀娥为恽源濬长女，字纫兰，善画花卉， 尤其善画桃，窦镇《国朝书画家笔录》称其“花 卉精雅”，《耕砚田斋笔记》 则称其“著色鲜 润，一本家法”，都是指其花卉画而言，并言 其继承了恽南田一路的“家法”。传世作品目前 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