齐白石有一首《画藤》诗：
青藤灵舞好思想， 百索莫解绪高爽。
白石此法从何来，飞蛇舞乱离草莽。
齐白石对紫藤情有独钟，画藤如蛇，几串紫藤开得姹紫嫣红，在紫藤的一片热闹中，白石老人用重墨和焦墨镇住画面，几笔纵横交错的藤，显得画面更富有层次感，而且色彩对比也酣畅淋漓，整个画面繁而不乱，静中有动，让人感觉姿态婀娜的紫藤在随风摇曳。
齐白石 紫藤
齐白石画紫藤，早年主要学徐青藤，笔墨枯瘦纵逸，色彩清淡素雅，后吸收吴缶翁画风，笔墨凝重浑厚，色彩浓郁鲜艳。藤萝是齐白石热衷创作的题材，究其原因，一方面是白石老人曾亲种藤萝，故乡天恩，历历在目。另一方面则是以花寄寓，1919年齐白石动身赴京，正是紫藤开候，即有“春园初暖闹蜂衙，天半重藤散紫霞。雷电不行笳如鼓，好花时节上京华。”
抵京后的齐白石先后在城南法源寺、龙泉寺、石灯庵居住，三处皆是庙产，白石老人亦自觉与佛有缘，并作诗以志“法源寺徙龙泉寺，佛号钟声寄一龛。谁识画师成活佛，槐花风雨石灯庵。”在白石老人的笔下，由此多了些许的禅意。
如此件《紫藤》，白石题“花瓣散飞衣上着，始知前世是阿难”即是以佛家“天女散花，花瓣沾衣”之题材题画。画中紫藤用笔细致，嫩枝及叶片取势横斜，老藤自上垂下，正与绿叶之势相打破。藤萝以浓淡花青写就，通过色彩与水相互调和的差别，营造出藤萝花的层次效果，以洋红点出花蕊。干笔重墨写成的老藤，质感立现，画面上方盘结虬曲，在右侧一藤垂下，既在色彩使画面更为稳重，又在结构使画面归于平衡。设色的花朵与墨笔的老藤交替掩映，若静若动，似雨飞花，一派天然之趣。
齐白石 紫藤蜜蜂 扇面
蜂蝶也知色香味。乙亥（1935年）五日，作于借山，齐璜。
齐白石 紫藤蜜蜂
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石 紫藤
齐白石（1864年1月1日—1957年9月16日），原名纯芝，字渭青，号兰亭，后改名璜，字濒生，号白石、白石山翁、老萍、饿叟、借山吟馆主者、寄萍堂上老人、三百石印富翁，祖籍安徽宿州砀山，生于湖南长沙府湘潭（今湖南湘潭），近现代中国绘画大师。
曾任中央美术学院名誉教授、中国美术家协会主席等职。1953年被文化部授予人民艺术家称号，也曾入选世界文化名人。
齐白石擅画花鸟、虫鱼、山水、人物，笔墨雄浑滋润，色彩浓艳明快，造型简练生动，意境淳厚朴实。所作鱼虾虫蟹，天趣横生。其书工篆隶，取法于秦汉碑版，行书饶古拙之趣。
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