獨特傳神的馬得戲畫

今年7月在蘇州舉行的第三屆昆曲藝術節早已落下帷幕，但藝術節上馬得先生那些昆曲戲畫卻讓人久久不能忘懷，這些存放于蘇州昆曲博物館桂花廳內的“戲畫”，將永遠印在廣大觀眾的心中。

今年7月6日，高馬得先生的昆曲戲畫展出在蘇州昆曲博物館舉行。一時間賓客盈門，高朋滿座，86歲的高馬得先生神采飛揚地端坐中堂，揭開了由中國文聯主席周巍峙題寫的“馬得昆曲戲畫藝術館”披紅匾額。從此時起，高馬得先生將畢生的100件戲畫原作，便永久收藏于蘇州昆曲博物館，這是昆曲界和美術界的一件大喜事。

高馬得先生1919年生于江西贛州，后來住在四川重慶海棠溪羅家鎮，那是一個常被淡霧籠罩、圍著竹籬笆的大院，里面種滿了竹子和芭蕉，馬得先生就在芭蕉掩映的小樓里生活著。20世紀40年代的馬得以漫畫嶄露頭角，50年代開始醉心于戲曲，癡迷戲曲人物畫，當時他為《商務時報》和《新民報》編“星期漫畫”版，畫的都是些時事漫畫，后來國民黨搞白色恐怖，時事漫畫無法繼續進行，便轉而搞起了“苗夷情歌”之類的畫。不想這些畫喜歡的人多，獲得好評，國內外不少報刊也紛紛轉載，法國的新聞社對此很感興趣，便把這些畫介紹到了法國，一直連載了一年多，很為轟動。

“文革”開始后，馬得于1969年被下放農村。他是個典型的“樂天派”，吃什么苦、經受何種挫折均不在乎，他覺得只要能畫畫，便能“樂在其中”。他在鄉下蓋了房子，房屋后面種了竹子和果樹，同時也樂呵呵地畫兒童、畫農舍、畫水牛等等。

由于長期在光線極差的條件下伏案作畫，馬得先生眼睛高度近視，后來視網膜剝離導致右眼失明。眼睛是文化人的命根子，他為此懊惱不已，但他安慰家里人說：“老天爺不錯，總算還給我留下一只眼睛！”

1980年馬得先生年逾花甲，被調到江蘇省國畫院專門從事戲曲人物創作。那時的馬得好像真的找到了自己，當即高興地畫了一幅《孫悟空跳出老君爐》，他趁著大好時機爭分奪秒地看戲畫戲，為了更好地把握戲曲人物的內心世界，他還細讀劇本，昆曲《牡丹亭》差不多都被他翻爛了。他一兩年就畫了數以千計的戲曲人物畫，并在國內、國外舉辦展覽，他的夫人陳汝勤做了一輩子編輯，一直有個心愿，想為馬得選編一本畫冊，馬得先生80歲之時，這個心愿終于實現，這是他們夫婦倆結婚50周年的珍貴紀念物。

在馬得先生所畫的戲曲畫中，昆曲《浣沙江·寄子》戲畫是他的得意之作。畫中講的是春秋時代吳越爭霸，吳國大臣伍子胥冒滅族之災，死諫吳王夫差，諫前伍子胥為留伍家根苗，把兒子伍封寄養在齊國大夫鮑叔家的故事。當時馬得先生看了江蘇昆劇院名家石小梅扮演的伍封，看完演出后他便專門訪問了石小梅，與石小梅一起探討了這個人物的內心世界。

后來南京《新華日報》在文藝版上辟了《新潮》專欄，讓馬得先生既畫又寫，定名為《畫戲·話戲》，專欄自1984年5月開始，每周一期。這個欄目一問世便受到歡迎，讀者紛紛來信來電，贊揚這個專欄辦得好，有看頭，有的讀者還每期必剪，將其結集成冊。

讀者喜歡馬得先生的戲畫是有道理的，他的戲畫不但韻味悠長，點染神來，而且變形不失其真，減筆更添其美，堪稱神品、妙品。記得有一次馬得先生在南京辦畫展，現場有一位觀眾央求馬得先生畫幅《寄子》戲畫給他，因為那人在“十年浩劫”中有過一段類似伍子胥寄子那樣的心酸經歷：那年他早上去上班，預感晚上要進“牛柵”，他想到膝下幼子無人照看，萬般無奈之下便將孩子寄養在保姆家中……馬得先生聽完此事，感慨萬千，當即為他畫了《寄子》。

近日，正當我寫這篇文章之時，不想在杭有幸見到南京江蘇省昆劇院的導演王斌，當我們談及馬得先生的“戲畫”時，王導說：“天下戲，唯昆曲最難學；天下畫，唯昆曲入畫難。”我不解其意問：“為何？”王導接口說：“因為傳神達意呀！”王導說他欲將馬得先生畫的《牡丹亭》戲畫中的背景融入他們即將上演的精華版《牡丹亭》中，如此，畫家的意境、導演的手法、演員的表演在同一舞臺上珠聯璧合，融會貫通，也許是《牡丹亭》演出中的神來之筆呢！

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)