高马得是20世纪著名的戏曲人物画家之一，他的戏曲人物画以昆曲为主要题材，展现出别具一格的艺术风貌。他不仅在继承水墨戏曲人物画的基础上，融入了个人独特的创意与技法，而且在拓展戏曲人物画的表现形式和内涵上取得了显著成就。高马得的戏曲人物画优美、轻快、清秀，似昆曲般意蕴悠远。他既吸收了中国传统水墨写意的画法，同时借鉴了漫画和民间艺术的表现形式，最终形成了秀雅含蓄的绘画风格。
本文以高马得的戏曲人物画为研究对象，共分为五章。第一章从宏观上梳理戏曲人物画的历史发展、20世纪时代背景以及高马得的生平。第二章主要从主客观两个方面的因素探讨高马得戏曲人物画的形成。其一，结合高马得的漫画生涯来分析其由漫画转为戏曲人物画的原因驱动；其二，以绘画创作的主观角度来分析其戏曲人物画的创作追求。秀雅含蓄之美的追求、非功利性的心灵沉醉、改造社会道德的愿望、道家思想的影响是高马得戏曲人物画风格形成的关键诱导因素；其三，得出高马得戏曲人物画形成的意义。第三章按照时间顺序对高马得的戏曲人物画作品进行分期，通过对高马得戏画作品的研究，将其戏画分为初创、发展、成熟三个时期进行具体论述。第四章介绍了高马得戏曲人物画的最大特征，并将高马得与同时代戏画家进行比较。首先从剧情取材、笔墨韵味、构图意境、落款钤印四个方面入手，结合具体作品进行详细分析，归纳出高马得戏曲人物画的最大特征——秀雅含蓄，进一步加深对高马得戏曲人物画的理解。其次，通过选取关良、韩羽这两位戏画家与高马得进行比较，旨在更客观清晰地认识高马得的艺术风格。最后，阐述高马得戏曲人物画对笔者自身创作的影响。其中第二章至第四章是本文的重点，笔者进行了详细论述。

Revised sentence: Gao Mader, a renowned opera figure painter of the 20th century, pioneered a distinctive artistic language in ink painting with Kunqu opera as his primary subject, making significant contributions to the preservation and advancement of Chinese figure painting. His portrayal of opera figures is elegant, ethereal, and imbued with the essence of Kunqu opera. He not only incorporated traditional Chinese freehand ink painting techniques but also drew inspiration from cartoon and folk art expressions, resulting in a refined and nuanced painting style.
The article focuses on Gao Mader's opera figure painting as the research subject, and is divided into five chapters. The first chapter examines the historical development of opera figure painting, the 20th century background, and Gao Mader's life. The second chapter mainly discusses the formation of Gao Mader's opera character painting from subjective and objective factors. It analyzes his transition from comic to traditional Chinese opera figure painting in relation to his comic career, as well as his pursuit of elegant and implicit beauty in painting creation. The third chapter categorizes Gao Mader's drama figure paintings into three stages based on time order. The fourth chapter highlights the major characteristics of Gao Mader's opera figure painting and compares him with his contemporaries such as Guan Liang and Han Yu. Finally, I will explain the influence of Gao Made's opera character painting on my own creation. Chapters 2 to 4 are the focus of this paper, and the author discusses them in detail.