戴本孝 溪山訪友

款識：
此種筆趣元時有趙善長、陳秋水，明初有王孟端、徐幼文，皆黃鶴山樵一路。元末最盛，不下十餘家，即陸天游、郭天錫亦相近，蓋此種與郭河陽畫法，似分道而馳，然此得人為多，大底高曠宕逸之士，都由此入。
庚午八月，鷹阿山樵子戴本孝畫并識。

鈐印：「守硯」、「本孝」、「知耻」。

藏印：「培之清賞」、「潤州戴氏倍萬樓鑑真」。

道光年間著名書畫收藏家戴植舊藏。戴氏，字培之，鎮江人，室號「倍萬樓」。戴本孝名作〈華山十二景圖冊〉亦為戴植所得，後歸「寶米齋」周湘雲氏，復轉入上海博物館。
「捨得齋」舊藏
香港蘇富比，二○○三年四月，中國書畫拍賣，編號639

-Paper has turned greyish due to age. Otherwise, generally in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

註：本幅乃戴本孝晚歲之作。他在題跋中自述其取法淵源，謂筆趣近王蒙一路。戴氏筆下具元人意韵，尤重文人畫中簡逸一路，這亦與其時代背景及生平經歷有關。故其畫皆枯筆淡墨，多皴擦，少勾勒，構圖疏約，不採繁複，有別於黃鶴山樵的結構緊湊，用筆綿密。本幅寫溪山訪友，畫面素潔明淨，幾近冷峻，山勢層層而上，中隔房舍、溪流、疏林，部份則以留白處理，似為嵐氣烟霞環繞，有意無意間間斷其連貫性，造成斷續隱晦的效果，畫面遂更見空靈飄渺，直如了無塵埃沾染。寫樹則多孤身傲立，樹呈葉凋枝禿，而枝幹伸延之狀如箕張戟展，造型極奇詭譎異，有冷然肅殺之氣；也許是他隱居鷹阿山情狀之寫照。其構圖用筆可與上海博物館藏〈黃山四景圖〉對比引証。