戴本孝

　　 戴本孝（1621－1693），清代画家，字务旃，号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，和州（今安徽省和县）人。性喜交游，与画家、诗人渐江、龚贤、石涛等友善。善画山水，创作上主张学古人而不拘泥于古人成法，强调要“以天地为真本”和“我用我法”。所作多为卷册小景，风格学元代倪瓒、王蒙、黄公望等而自出新意。善用干笔焦墨，构图疏秀，意境清远枯淡，内容多借山水抒发自己荒僻幽寂的心境和对社会变迁的沧桑之感。画史将其列入清初新安派。戴本孝生性放达，遍游名山大川，一路广交朋友，纵情山水，作诗绘画，创作出诸多精品。戴本孝的画作精品多以黄山为素材，最有影响的有《望天都峰》、《炼丹台》、《登莲花峰》等。亦工书法及诗，著有《前生诗稿》、《余生诗稿》等，部分画稿收藏于中国博物馆。 　　相传，戴本孝每年恰逢其时都去和县丰山赏宋时诗人杜默手植蝴蝶梅和画梅。传说这一次又去写生画了数笔，终不满意。直到入夜时分，月亮从云层中钻出，露出笑脸。是时皓月当空，梅树疏影横斜，暗香浮动，婆娑起舞。戴本孝见之灵感大发，急忙展纸泼墨，运笔如神助之，尽兴挥毫，丝丝入扣，出神入化。谁知刚画了半树梅花，云遮月隐，月亮又悄然躲进云层。他只得手执半树梅稿，怏怏作罢而归。然而这已经画好了的半枝梅花别具风姿，深得众赞：“画别出心裁，画出梅的风骨，正因半枝梅而别开生面。”戴本孝遂心大悦，于画面题款“半枝梅”。从此，半枝梅的传说也就不胫而走了。

 

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