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今年7月在苏州举行的第三届昆曲艺术节早已落下帷幕，但艺术节上马得先生那些昆曲戏画却让人久久不能忘怀，这些存放于苏州昆曲博物馆桂花厅内的“戏画”，将永远印在广大观众的心中。
今年7月6日，高马得先生的昆曲戏画展出在苏州昆曲博物馆举行。一时间宾客盈门，高朋满座，86岁的高马得先生神采飞扬地端坐中堂，揭开了由中国文联主席周巍峙题写的“马得昆曲戏画艺术馆”披红匾额。从此时起，高马得先生将毕生的100件戏画原作，便永久收藏于苏州昆曲博物馆，这是昆曲界和美术界的一件大喜事。
高马得先生1919年生于江西赣州，后来住在四川重庆海棠溪罗家镇，那是一个常被淡雾笼罩、围着竹篱笆的大院，里面种满了竹子和芭蕉，马得先生就在芭蕉掩映的小楼里生活着。20世纪40年代的马得以漫画崭露头角，50年代开始醉心于戏曲，痴迷戏曲人物画，当时他为《商务时报》和《新民报》编“星期漫画”版，画的都是些时事漫画，后来国民党搞白色恐怖，时事漫画无法继续进行，便转而搞起了“苗夷情歌”之类的画。不想这些画喜欢的人多，获得好评，国内外不少报刊也纷纷转载，法国的新闻社对此很感兴趣，便把这些画介绍到了法国，一直连载了一年多，很为轰动。
“文革”开始后，马得于1969年被下放农村。他是个典型的“乐天派”，吃什么苦、经受何种挫折均不在乎，他觉得只要能画画，便能“乐在其中”。他在乡下盖了房子，房屋后面种了竹子和果树，同时也乐呵呵地画儿童、画农舍、画水牛等等。
由于长期在光线极差的条件下伏案作画，马得先生眼睛高度近视，后来视网膜剥离导致右眼失明。眼睛是文化人的命根子，他为此懊恼不已，但他安慰家里人说：“老天爷不错，总算还给我留下一只眼睛！”
1980年马得先生年逾花甲，被调到江苏省国画院专门从事戏曲人物创作。那时的马得好像真的找到了自己，当即高兴地画了一幅《孙悟空跳出老君炉》，他趁着大好时机争分夺秒地看戏画戏，为了更好地把握戏曲人物的内心世界，他还细读剧本，昆曲《牡丹亭》差不多都被他翻烂了。他一两年就画了数以千计的戏曲人物画，并在国内、国外举办展览，他的夫人陈汝勤做了一辈子编辑，一直有个心愿，想为马得选编一本画册，马得先生80岁之时，这个心愿终于实现，这是他们夫妇俩结婚50周年的珍贵纪念物。
在马得先生所画的戏曲画中，昆曲《浣沙江·寄子》戏画是他的得意之作。画中讲的是春秋时代吴越争霸，吴国大臣伍子胥冒灭族之灾，死谏吴王夫差，谏前伍子胥为留伍家根苗，把儿子伍封寄养在齐国大夫鲍叔家的故事。当时马得先生看了江苏昆剧院名家石小梅扮演的伍封，看完演出后他便专门访问了石小梅，与石小梅一起探讨了这个人物的内心世界。
后来南京《新华日报》在文艺版上辟了《新潮》专栏，让马得先生既画又写，定名为《画戏·话戏》，专栏自1984年5月开始，每周一期。这个栏目一问世便受到欢迎，读者纷纷来信来电，赞扬这个专栏办得好，有看头，有的读者还每期必剪，将其结集成册。
读者喜欢马得先生的戏画是有道理的，他的戏画不但韵味悠长，点染神来，而且变形不失其真，减笔更添其美，堪称神品、妙品。记得有一次马得先生在南京办画展，现场有一位观众央求马得先生画幅《寄子》戏画给他，因为那人在“十年浩劫”中有过一段类似伍子胥寄子那样的心酸经历：那年他早上去上班，预感晚上要进“牛栅”，他想到膝下幼子无人照看，万般无奈之下便将孩子寄养在保姆家中……马得先生听完此事，感慨万千，当即为他画了《寄子》。
近日，正当我写这篇文章之时，不想在杭有幸见到南京江苏省昆剧院的导演王斌，当我们谈及马得先生的“戏画”时，王导说：“天下戏，唯昆曲最难学；天下画，唯昆曲入画难。”我不解其意问：“为何？”王导接口说：“因为传神达意呀！”王导说他欲将马得先生画的《牡丹亭》戏画中的背景融入他们即将上演的精华版《牡丹亭》中，如此，画家的意境、导演的手法、演员的表演在同一舞台上珠联璧合，融会贯通，也许是《牡丹亭》演出中的神来之笔呢！
Master's Stage Paintings
Master Gao Made staged a solo exhibition of his Kunqu Opera paintings at the Kunqu Opera Museum in Suzhou on July 6, 2006. The 87-year-old master donated his 100 popular artworks to the museum.
Gao was born in 1919 in Jiangxi Province and then moved to Sichuan Province. In the 1940s he began to make himself known as a cartoonist.He contributed news-based satirical cartoons to two newspapers. After the genre was banned he turned to paint folk customs of the minority people. Unexpectedly, his new creations became quite popular and were reprinted in many newspapers across the country. They were even serialized for years in France. In the 1950s, Gao became intoxicated with the traditional theater and painted a great number of theater characters.
During the Cultural Revolution (1966-1976) Gao was banished to the countryside. He painted the rural scenes though life there was hard. In 1980 the master was assigned to the Jiangsu Academy of Chinese Painting where he specialized in painting theater characters. The change in the subject theme revitalized the master. He spent a lot of time watching plays and externalizing his expressions. In order to better understand the inner worlds of the characters under his brush, he spent a lot of time reading manuscripts. In the very first two years, he created thousands of paintings and held exhibitions both at home and abroad.
From May 1984 on, the master sponsored a weekly column for Xinhua Daily in Nanjing, capital city of Jiangsu Province. The column published a comment and a painting both from Gao. It was an instant success. Readers wrote letters to the newspapers expressing their favorite comments. Some even collected the clippings of these essays and paintings.
His wife wanted to publish a collection of the best of his paintings. The collection was published when Gao Made celebrated his 80th birthday and the couple celebrated the 50th anniversary of the marriage.
(Translated by David)
今年7月6日，高马得先生的昆曲戏画展出在苏州昆曲博物馆举行。一时间宾客盈门，高朋满座，86岁的高马得先生神采飞扬地端坐中堂，揭开了由中国文联主席周巍峙题写的“马得昆曲戏画艺术馆”披红匾额。从此时起，高马得先生将毕生的100件戏画原作，便永久收藏于苏州昆曲博物馆，这是昆曲界和美术界的一件大喜事。
高马得先生1919年生于江西赣州，后来住在四川重庆海棠溪罗家镇，那是一个常被淡雾笼罩、围着竹篱笆的大院，里面种满了竹子和芭蕉，马得先生就在芭蕉掩映的小楼里生活着。20世纪40年代的马得以漫画崭露头角，50年代开始醉心于戏曲，痴迷戏曲人物画，当时他为《商务时报》和《新民报》编“星期漫画”版，画的都是些时事漫画，后来国民党搞白色恐怖，时事漫画无法继续进行，便转而搞起了“苗夷情歌”之类的画。不想这些画喜欢的人多，获得好评，国内外不少报刊也纷纷转载，法国的新闻社对此很感兴趣，便把这些画介绍到了法国，一直连载了一年多，很为轰动。
“文革”开始后，马得于1969年被下放农村。他是个典型的“乐天派”，吃什么苦、经受何种挫折均不在乎，他觉得只要能画画，便能“乐在其中”。他在乡下盖了房子，房屋后面种了竹子和果树，同时也乐呵呵地画儿童、画农舍、画水牛等等。
由于长期在光线极差的条件下伏案作画，马得先生眼睛高度近视，后来视网膜剥离导致右眼失明。眼睛是文化人的命根子，他为此懊恼不已，但他安慰家里人说：“老天爷不错，总算还给我留下一只眼睛！”
1980年马得先生年逾花甲，被调到江苏省国画院专门从事戏曲人物创作。那时的马得好像真的找到了自己，当即高兴地画了一幅《孙悟空跳出老君炉》，他趁着大好时机争分夺秒地看戏画戏，为了更好地把握戏曲人物的内心世界，他还细读剧本，昆曲《牡丹亭》差不多都被他翻烂了。他一两年就画了数以千计的戏曲人物画，并在国内、国外举办展览，他的夫人陈汝勤做了一辈子编辑，一直有个心愿，想为马得选编一本画册，马得先生80岁之时，这个心愿终于实现，这是他们夫妇俩结婚50周年的珍贵纪念物。
在马得先生所画的戏曲画中，昆曲《浣沙江·寄子》戏画是他的得意之作。画中讲的是春秋时代吴越争霸，吴国大臣伍子胥冒灭族之灾，死谏吴王夫差，谏前伍子胥为留伍家根苗，把儿子伍封寄养在齐国大夫鲍叔家的故事。当时马得先生看了江苏昆剧院名家石小梅扮演的伍封，看完演出后他便专门访问了石小梅，与石小梅一起探讨了这个人物的内心世界。
后来南京《新华日报》在文艺版上辟了《新潮》专栏，让马得先生既画又写，定名为《画戏·话戏》，专栏自1984年5月开始，每周一期。这个栏目一问世便受到欢迎，读者纷纷来信来电，赞扬这个专栏办得好，有看头，有的读者还每期必剪，将其结集成册。
读者喜欢马得先生的戏画是有道理的，他的戏画不但韵味悠长，点染神来，而且变形不失其真，减笔更添其美，堪称神品、妙品。记得有一次马得先生在南京办画展，现场有一位观众央求马得先生画幅《寄子》戏画给他，因为那人在“十年浩劫”中有过一段类似伍子胥寄子那样的心酸经历：那年他早上去上班，预感晚上要进“牛栅”，他想到膝下幼子无人照看，万般无奈之下便将孩子寄养在保姆家中……马得先生听完此事，感慨万千，当即为他画了《寄子》。
近日，正当我写这篇文章之时，不想在杭有幸见到南京江苏省昆剧院的导演王斌，当我们谈及马得先生的“戏画”时，王导说：“天下戏，唯昆曲最难学；天下画，唯昆曲入画难。”我不解其意问：“为何？”王导接口说：“因为传神达意呀！”王导说他欲将马得先生画的《牡丹亭》戏画中的背景融入他们即将上演的精华版《牡丹亭》中，如此，画家的意境、导演的手法、演员的表演在同一舞台上珠联璧合，融会贯通，也许是《牡丹亭》演出中的神来之笔呢！
Master's Stage Paintings
Master Gao Made staged a solo exhibition of his Kunqu Opera paintings at the Kunqu Opera Museum in Suzhou on July 6, 2006. The 87-year-old master donated his 100 popular artworks to the museum.
Gao was born in 1919 in Jiangxi Province and then moved to Sichuan Province. In the 1940s he began to make himself known as a cartoonist.He contributed news-based satirical cartoons to two newspapers. After the genre was banned he turned to paint folk customs of the minority people. Unexpectedly, his new creations became quite popular and were reprinted in many newspapers across the country. They were even serialized for years in France. In the 1950s, Gao became intoxicated with the traditional theater and painted a great number of theater characters.
During the Cultural Revolution (1966-1976) Gao was banished to the countryside. He painted the rural scenes though life there was hard. In 1980 the master was assigned to the Jiangsu Academy of Chinese Painting where he specialized in painting theater characters. The change in the subject theme revitalized the master. He spent a lot of time watching plays and externalizing his expressions. In order to better understand the inner worlds of the characters under his brush, he spent a lot of time reading manuscripts. In the very first two years, he created thousands of paintings and held exhibitions both at home and abroad.
From May 1984 on, the master sponsored a weekly column for Xinhua Daily in Nanjing, capital city of Jiangsu Province. The column published a comment and a painting both from Gao. It was an instant success. Readers wrote letters to the newspapers expressing their favorite comments. Some even collected the clippings of these essays and paintings.
His wife wanted to publish a collection of the best of his paintings. The collection was published when Gao Made celebrated his 80th birthday and the couple celebrated the 50th anniversary of the marriage.
(Translated by David)