（1801—1860）清代官員、畫家。錢塘（今浙江杭工詩書，善繪事。四王以后的山水畫大家，被譽為“四王后勁”，與清代畫家湯貽汾齊名。 山水早年師法王翚，進而摹擬宋元諸大家，對于王蒙、吳鎮(zhèn)兩家筆意更有所得。晚年觀摩巨然真跡，在用墨方面有深切的領會。道光時宮廷書畫多出于其手。又能畫花鳥、人物，以及梅竹石，筆墨皆雋妙。秦祖永的評論是：“臨古之作形神兼?zhèn)洌⑾勇淠园澹瑹o靈警渾脫之致，蓋限于資也。所寫竹石小品停勻妥帖，尚為蹊徑所縛，未能另立門庭也。”戴熙另著有《習苦齋畫絮》，于畫理多有論述。題畫偶錄行世。州）人，字醇士（一 作莼溪），號榆庵、松屏，別號鹿牀居士（一作樚牀）、井東居士。
(1801-1860) officials and painters of the Qing Dynasty. Qiantang is good at painting. The landscape painters after the four kings are known as the "four kings' aftereffect", which is as famous as Tang Yifen, a painter in the Qing Dynasty In his early years, Shanshui learned from Wang Hui and then imitated all the masters of the song and Yuan Dynasties, gaining more from Wang Meng's and Wu Zhen's brushwork. In his later years, he saw the true works of Juran and had a deep understanding of the use of ink. During Daoguang period, most of the palace paintings and calligraphy came from his hands. It can also draw flowers and birds, figures, plum, bamboo and stone. The ink is meaningful. Qin zuyong's comment is: "the works near the ancient times have both form and spirit. They are slightly disrespectful of ink falling, and they are not smart, alert, and muddleheaded. Therefore, they are limited to resources. The written bamboo and stone pieces are even and proper, but they are still bound by a new way, so they can't set up another court. " Dai Xi, another author of "study of kushai painting notes", has much discussion on painting theory. Inscribe paintings and record the world. State) people, the word Chun Shi (a work of Chunxi), No. Yu'an, Songping, No. Lu Yu Jushi (a work of Jushi), Jingdong Jushi.
戴熙山水木石，所作筆調(diào)清雅，墨色腴潤，頗得江浙山川韻致。雖然也是從王翚一路入手，卻能別出心裁。加上清末考據(jù)與金石學的興盛，戴熙也融入了倡導碑學的潮流，在繪畫中吸取了書法篆刻的長處，以金石入畫，形成了一種極其微妙的、富有創(chuàng)造性的繪畫風格。他的山水畫用筆扎實，筆筆有入木三分之感，山嵐河川也由于厚重的墨筆而罩上了老成的色調(diào)，形成了畫面空曠的意境。
Dai Xi's landscape, wood and stone are elegant in style and rich in ink, which is quite charming in the mountains and rivers of Jiangsu and Zhejiang. Although it is also from Wang Hui all the way to start, but can be unique. In addition to the prosperity of textual research and epigraphy in the late Qing Dynasty, Dai Xi also integrated the trend of advocating epigraphy, absorbed the advantages of calligraphy and seal cutting in painting, and made epigraphy into painting, forming a very delicate and creative painting style. His landscape painting has a solid brush, the brush has a sense of three-thirds of the wood, the mountain haze River also because of the thick ink and covered with the mature color, forming the picture of the open mood.
戴熙的山水畫屬“虞山”一派，因受奚岡的影響，所以他的畫風也接近于“婁東”派，他的山水多用擦筆，山石以干墨作皴，然后以濕筆渲染，頗得物象的形象和神髓，世人謂之"蟬翼皴"。詩書畫并臻絕詣，與湯貽汾齊名，曾入值南齋，屢邀宸賞。山水師法王翚，不襲其貌而純雅過之，木石小品，停勻妥貼，亦工花草人物，偶作印亦有古趣。
Dai Xi's landscape painting belongs to Yushan school. Influenced by Xigang, his style of painting is similar to Loudong school. His landscapes are mostly scratched with brush, and the mountains and stones are chapped with dry ink, and then rendered with wet brush, which is quite the image and spiritual marrow of objects. People call it "cicada wing chapped". Poetry, calligraphy and painting have reached the acme of perfection. They are as famous as Tang Yifen. Once they were in Nanzhai, they often invited Chen to appreciate them. Wang Hui, the landscape teacher, is pure and elegant without following his appearance. The wood and stone pieces are well-balanced and appropriate. They are also made of flowers and plants. Even making seals has ancient interest.
