Gulistan Art 古丽·斯坦

张江舟

中国国家画院副院长

我觉得Gulistan古丽斯坦是一位有价值，非常有意义的艺术家。目前在中国美术界像她一样画画的人不多，就是用心画画。我认为大量的人在用手画画，在画技术，很少进行心灵体验，情感体验。而这对于艺术家应该是最珍贵的，而且应该是艺术的终极目的，终极目标。为什么说她珍贵，因为相对于当今天的画坛能够用心画画，能够画出自己内心体验的画家不多。我认为Gulistan古丽斯坦是非常用心画画的一个人，她画出了微妙细腻的心灵体验，情感体验的东西。

姿态系列－双鹤

看Gulistan古丽斯坦的画有一种迷人的诗性色彩。和她绘画语言方式有关。她的绘画进入了对语言的自觉把握，或者说是自觉的语言的自然选择。在很多画家里面是找不到的，一辈子不知道怎么画画。我们这个年龄段有这种体会，经过了这种专业的院校出来以后都画成一样的了。作为一种天性的、自然的、本真的东西没有了。我们这个年龄段，到一定时候都有一个过程，就开始学习古典、经典，大量地以它为模版，大量地学习、研究、临摹，最后的结果四年本科下来，后来还有研究生、博士生学下来，所有人都画成一个模式了。之后发现问题后又拼命地往外逃，逃离经典。目的是什么呢？目的是找到自己内心真实的感受，画出自己内心的感受来。这点你非常难，逃出来的都成为大的艺术家了，逃不出来的最后都淹没在经典的当中了。这种画家非常多，占绝大多数。Gulistan古丽斯坦很难得，她经历了系统的训练，但又保留了纯真的、天然的清纯气。

修复记忆

对Gulistan古丽斯坦我想到两句话一个是迷人的诗性色彩，一个是自觉的语言选择。过去看过她的作品，发现近作变化很大。过去多半是朦胧的，色彩相对比较灰色调的，现在比较丽。我认为她有着非常自觉的逻辑关系。看她的画感觉像搞电视、做航拍，高悬于5000年人类文明之上，然后俯瞰文明，带大家悠悠地、慢慢地去荡漾在5000年文明之中。她大量地选材于西方古典图像元素，武士、宫女、建筑形象，还有丝路上图案纹样，大量选择西方古典的图案元素。Gulistan古丽斯坦对文明源头、古代文明的内心极端的迷恋。这中间让我们感觉到时间和空间的东西，勾起我们对过去美好原始积累的美好记忆。看她的绘画整体印象，似乎为我们和她自己建立了一个精神的乌托邦，像陶渊明的《桃花源记》一样。渔夫是不管不顾地打鱼，她是不管不顾地画画。看她的画感觉远离城市，好像跟现实生活没有关系，是一种远离城市，隔世的。也不管外面雾霾有多大，她的画中永远是清纯的。从社会文明建设，从当代文明的进程讲，她是有现实文化意义的绘画，她的绘画有一种作用，对人心灵的一种塑造，对理想的一种塑造。看她的画有一种感觉，很清新、美好、幸福。忘掉很多城市烦恼，有着现实文化意义的一种体验。从这个角度讲，我认为她的绘画是有价值的。

向经典致敬I

再有就是她的绘画是一种非常自觉的语言选择。因为我们知道绘画也好，其他艺术门类也好，语言的纯粹性是衡量艺术品高下的一个重要标准。我们知道西方古典绘画、油画，进入现代绘画有个分水岭。美术史书上都会把印象派当成一个分水岭，很重要的临界点。我也不否认，在印象派之前，现实主义、浪漫主义有了更多语言生的选择。我认为古典绘画一直存在，有很大的记录功能，因为那时候没有相机、摄像机，绘画肩负着记录社会事件功能。我们看西方古典绘画，有宫廷画、宫廷生活、皇帝的加冕、皇家贵族的肖像。它肩负了相机和摄像机的记录功能。当然18世纪西方照相机的出现，逼着绘画转向丢弃记录功能，进入了审美的体验。印象派出现从造物状到表现状，对自然的真实的描摹转向对内心情感的表达。绘画进入现代以后，更多的是审美功能。要求我们调动更多的绘画自身的语言元素。就是绘画做绘画的事，也不要想照相机的事。西方古典形态，写实绘画，几乎全部退出主流艺术圈。

记忆中的肖像I

这种写实的记录性的事交给相机、摄像机好了。所以绘画纯粹语言的独立语言是什么，就是色彩、造型，就是点线面，表达情感，传达内心体验的功能，是衡量一个绘画的品质高效的很重要的因素。我认为她的绘画在语言的选择上非常准确：第一她是在语言上自觉，第二是语言的选择非常符合她的内心的体验和需要。她的绘画是虚和的、靓丽的、清纯的、有着记忆色彩的、诗性色彩的，这一切都与她绘画自身语言选择有关。看她大量人物形象，没有对每一个对一个人物形象的深入刻画，在一般人眼里感觉是不是没有画完？是不是能力不足？完全不是，我认为这是她语言方式非常自觉的一种选择，她把形象的弱化、或者朦胧化，在一般人眼里没画完的这种感觉，我认为恰恰是非常好地传达了她内心需要的东西。她希望我们观众对每一个对具体的每一个人物的关注，走出来到人类的，共有的人类的命运、情感，具有终极意义和价值问题的关注。她不希望每一个人物想象是具体的，个性的，生活中的某一个人，她不希望是这样。她希望它们仅仅是人而已，放大的，大写的人，是人的概念。这和古希腊雕刻又着不谋而合的东西。古希腊雕刻在一般人的眼里是具象的、写实的。我认为他是具象的不是写实的，有点像中国古代的宗教雕刻，在艺人手下传达的一个艺人对人的综合美的判断，塑造人的美的化身。古希腊雕像很美，你很难感觉它跟一个具体的，生活中、很个性化的人挂钩。它是一个美的化身，她是一个理想中的美，对整个一个人理想化一个美的化身。她不希望关注每一个具体的人，希望大家思路拉开，空间放大，关注文明进程，和人相关的终极价值和意义的相关话题。

记忆中的肖像－纯真年代II

在她画面中有很多非常迷人的东西，微妙的色阶变化。包括我身后的这张画，有非常靓丽的黄颜色和灰颜色对比关系，给人透出一种极端的、清新的、非常迷人的色彩。从色彩、从造型、从语言的运用，在古丽斯坦的绘画中，体现出娴熟、自觉、准确。我认为在她的绘画中感受到她的人生经历，情感经历相关的体验，不是她描绘的物像本身，更多的是绘画自身的语言的一种编排，传达出来的不同的审美感受，这中间像音乐，因为音乐是抽象的。高级的音乐，一定不会模仿大海的声音，模仿鸟叫声，模仿人类自然的声音，一定是抽象的旋律，在过程中体验生中、处于某种场景中类似的情感。我觉得这种艺术转换和通过一种艺术语言的一种编排，重新的一种组合所传达出的和我们精神情感相关的体验，这种体验处艺术高级、高贵。基于这两点，她不愧是一位学术启智意义的一位画家。我想她的绘画对我有作用，对其他的画家也有作用，对整个当代绘画的创作研究，都有种学术的启示意义。所以我认为她是一位优秀的画家，同时也是一位有价值意义的画家。

Zhou Rong

Professor of Tsinghua University’s School of Architecture

The Memory

Many people will understand art as a way to beautify life, and Gulistan’s art creates new life. Architecture does need light, and it is difficult to feel the charm of architecture in the vast darkness. There is no external light in Gulistan’s work, the light comes from within. Her light source is subjective, the light cast by thought. Gulistan’s works will be like garden architecture, like the garden of human spirit, with the abundance of spiritual life. She is running her own spiritual garden. Each work is like an ever-opening undefeated garden, in which architecture and art reflect the level of civilization.

In my opinion, the poetry in Gulistan’s works is a kind of mercy. Although this mercy is very light, it is very deep. Such a Mercy is a kind of Mercy’s Taoism that everything exists and grows in time, and then disappears in time at the same time. Such a state of mercy is actually a kind of compassionate poetry. Then this is the true origin and deep meaning of art.

周榕

清华大学建筑系教授

漫游欧洲系列-梦境

很多人会把艺术理解为一种美化生活的方式，而Gulistan古丽斯坦的艺术创造了新的生活。建筑确实需要光，在茫茫黑夜里面很难感受到建筑的魅力。Gulistan古丽斯坦的作品没有外在的光，光来自自己内部。她的光源是主观的，是思想投射出来的光芒。Gulistan古丽斯坦作品会像花园建筑，像人类精神的花园，有精神生活的丰盛性。她在经营自己精神的花园。每幅作品都像一个常开不败的花园，于其中，建筑与艺术辉映了文明的程度。

Gulistan古丽斯坦作品里的诗意在我看来是一种怜悯，虽然这种怜悯非常淡，但是非常的深沉。这样的一种怜悯感是对万物在时间中存在生长，那么同时又在时间中消逝的一种怜悯的道行。这样的一种怜悯的状态其实也是一种慈悲的诗意。那么这也是艺术的真正的本源和深意所在。

Laura Barbarini

Presidente dell’International Federation of Female Artists

L’International Federation of Female Artists è particolarmente lieta del riconoscimento che viene conferito all’opera di On Gulistan con l’importante mostra delle sue opere pittoriche al National Museum of China di Pechino che si terrà nel mese di aprile di questo anno.

Un meritato riconoscimento per questa artista che da molti anni dedica il suo lavoro a diverse discipline artistiche. E che in questa esposizione presenta un nucleo consistente di opere che testimoniano il suo percorso creativo nell’ultimo ventennio nella pratica pittorica.

La pittura di On Gulistan è estremamente raffinata e nelle sue opere l’originale eleganza compositiva è sempre accompagnata da una fantasiosa sensibilità poetica.

The Shape of Gulistan’s Psyche

On Gulistan ci permette, attraverso il suo lavoro, di accedere al suo mondo femminile con la creazione di immagini che traggono spunto dalla realtà, una realtà di oggetti, figure e natura che è però sempre filtrata dalla sua visione interiore ricca di invenzioni e associazioni fantastiche.

Dalle sue opere emerge il forte legame che questa artista ha con la tradizione pittorica cinese ma anche la particolare attenzione che ha costantemente rivolto alla tradizione pittorica dell’occidente ed in particolare a quella italiana.

On Gulistan afferma con la sua pittura ,il ruolo determinante delle artiste donne nella società contemporanea, le quali con il loro lavoro creativo offrono un consistente contributo allo sviluppo e alla crescita culturale. Attraverso la creazione artistica pongono interrogativi e forniscono indicazioni di percorsi da compiere per una sempre maggiore integrazione tra le differenti culture riducendo le distanze culturali, sociali e di costume tra i popoli.

劳拉· 巴巴里尼

国际女艺术家联合主席

意大利国际女艺术家联合会对今年4月即将在北京中国美术馆举办的Gulistan古丽斯坦个人绘画展感到非常的高兴，并对她的作品表示高度的认可。

对于这位多年来致力于不同艺术学科的艺术家而言，这次展览是当之无愧的认可。在本次展览展出的作品核心也是证明了她在过去二十年的绘画实践中的创作之路。

曾经的辉煌III

Gulistan古丽斯坦的绘画精致绝美，在她的作品中的高雅构图也总是带着想象力的诗意感。Gulistan古丽斯坦从属于物质世界中的物品、人体和自然获得灵感，带领我们进入她的女性世界并了解她对物质世界的奇思妙想和梦幻般的视觉感知。

在Gulistan古丽斯坦的作品中会发现她不仅与中国传统艺术绘画有着深厚的联系，也持续关注着西方传统艺术绘画，特别是意大利传统艺术绘画，这两个元素在她的作品中都体现了出来。

Gulistan古丽斯坦通过她的作品确认了女性艺术家在当代社会中起到了决定性的作用，并强调女性艺术家的创造性作品为文化的发展与增长做出的巨大的、持续性的贡献。她通过艺术创作提出问题，并指明了如何促进不同文化之间实现融合的道路，并减少各民族、文化和习俗之间距离的新方向。

Fan Yong

Dean of Asia Institute of Art & Finance (AIAF)

Memory of the portrait － Prayer of the earth

Goethe once sighed with emotion in his poet’s romantic brushwork: “Beauty is actually an original phenomenon, although it never appears in itself, but it is reflected in the countless different manifestations of the creative spirit, which can be witnessed, and it is in harmony with nature. Just as colorful.” In the art world, Gulistan’s gentle, delicate and elegant brushstrokes are like a clear stream in nature, a bird chirping, or a soft moonlight, never deliberately carved, but can naturally make the viewer feel like a spring breeze. At the same time, the work also carries a sense of historical heaviness. The two civilizations of the east and the west meet naturally. The characters in Gulistan’s paintings have both the serene Zen of traditional Chinese Buddha statues and the tranquility and solemnity of ancient Greece. The colors of Napok yellow and Van Dyke brown are intertwined and reminiscent To the connotation of the winding and continuous landscape painting. Through the integration of fragmented, fragmented and discontinuous images, the story scrolls full of exotic sense unfold slowly. This sense of foreignness may contradict the intimacy of color, but in the process of viewing flashbacks of consciousness, this contradiction leads to classicism and romanticism, past and present, individual and collective consciousness completed again and again Silent communication. Gulistan does not follow the script of classicism. In her writing, the classic techniques and artistic conception are reborn, just like the new shoots from the dead wood, which have both the color of hope and the fragrance of life.

范勇

亚洲艺术品金融商学院院长

向经典致敬

歌德曾用他诗人的浪漫笔触如是感慨过：“美其实是一种本源现象，它本身固然从来不出现，但它反映在创造精神的无数不同的表现中，都是可以目睹的，它和自然一样丰富多彩。”在艺术世界中，Gulistan古丽斯坦温婉、细腻而优雅的笔触宛如自然界中的一道清溪，一声鸟鸣，又或者是一道柔和的月光，从不刻意雕琢，却能自然而然令观者感到如沐春风。与此同时，作品又同时承载着一丝历史的厚重感。东西两种文明自然而然地交汇了，Gulistan古丽斯坦笔下的人物同时兼具了中国传统佛像的安详禅意与古希腊的宁静肃穆，拿波克黄与范戴克棕的色彩交织又让人联想到山水画逶迤绵延的意蕴。通过对碎片化、片段性、非连续图像的整合，充满异域感的故事画卷徐徐展开。这种异域感或许与色彩给人的亲切之感有些矛盾，但在意识闪回般的观赏过程中，这矛盾引领着古典主义与浪漫主义，过去与现在，个人与集体意识完成了一次又一次无声的交流。Gulistan古丽斯坦并不对着古典主义照本宣科，在她的笔下，经典的技法和意境重获新生，就像枯木上重新抽出的新芽，既有希望的色彩，也有生命的芬芳。

Yuan Wenbin

Professor of Tianjin Academy of Fine Arts

Gulistan is a beautiful and talented female painter. In my impression, she is always quiet, gentle, intelligent and elegant. Perhaps because of her mysterious blood, her paintings are both exotic and poetic from the East.

Wandering Reader

Gulistan herself is like a painting, she is always so delicate and beautiful, aesthetic Lyric; and her painting is like a poem, she is good at using fragments of image symbols, jumping thinking image, to express time and memory in her painting, creating a familiar strange feeling on the canvas. She likes all the beautiful and historical images, from the ruins of ancient Rome to the crane palace of song Huizong, from the side statue of ancient Greek goddess to the delicated hand reading poetry, from the Persian pattern of the Silk Road to the European beautiful scenery of the Mediterranean, all the beautiful things can arouse her interest in painting. She is good at using bright colors and elegant gray block to create a quiet picture effect. The simple plane picture is full of modern feeling. There is no specific narrative in her paintings, only poetic feelings. Gulistan and her paintings make people feel like a lyric light music, with both classical nobility and modern fashion. There is no secular pyrotechnic atmosphere, shielding the hardships and troubles in life, and only showing their best side to the world.

Musical notes of the earth

Gulistan uses the unique sensitivity of female painters to depict the clear sound of mountains and rivers, the feeling of empty valley and blue land, and the joy of all things growing. She has the romantic gaze at the flowers, the philosophy of Cultural Meditation, and the noble dialogue with the classic. This is a female painter’s colorful spiritual world, a poetic spiritual life.

袁文彬

天津美术学院教授

Gulistan古丽斯坦是一位美丽而富有才情的女画家，在我印象中，她总是神情恬淡，语调温婉，知性而优雅。或许正因为她神秘的血脉，所以她的作品也是既有异域的风情又有来自东方的诗性。

东方的漫游-花语

Gulistan古丽斯坦自己就像一幅画，她总是那么的精致靓丽，唯美抒情；而她的画又像一首诗，她擅长运用片断的形象符号，跳跃的思维意象，把时间和记忆表现到自己的画中，在画布上营造出一种熟悉的陌生化感觉。她喜欢一切精美而有历史感的形象，从古罗马断垣残壁到宋徽宗的仙鹤皇宫，从古希腊的女神侧像到翻看诗书的纤纤玉手，从丝绸之路的波斯纹样到地中海的欧州美景，一切美好的事物而都能唤起她作画的兴趣。她擅长运用的鲜亮的色彩和优雅的灰色块搭配，营造出恬淡而宁静的画面效果，平面单纯的画面富有现代感。她的画中没有具体的叙事，只有诗性的情怀。Gulistan古丽斯坦的人和画又让人感觉像一首抒情的轻音乐，古典的高贵和现代的时尚兼而有之，没有世俗的烟火气，屏蔽掉生活中的艰辛和烦恼，只向世人展现出自己最美好的一面。

触摸经典

Gulistan古丽斯坦用女画家特有的敏感描绘高山流水的清音，空谷幽兰的情愫，万物生长的欣喜。她有凝视花开的浪漫，有文化冥想的哲思，更有只与经典的对话的高贵。这是一个女画家五彩斑斓的精神世界，一个诗性情怀的心灵生活。

Zhao Lin

Professor and doctoral director, School of philosophy, Wuhan University

Memory of the portrait －Beautiful age II

Gulistan’s painting is like herself, light and elegant, ethereal and illusory. Her group painting “portrait in memory”, which integrates Chinese and western, runs through the ancient and modern times, gathers time and space in the elements of memory, and integrates them into a pure picture which is not only obscure and indifferent, but also clear and amiable, in which there are both leisurely and leisurely flowers and birds, and mysterious and profound sky and sea. The bright yellow of the East and the melancholy light blue of the western regions complement each other, the reverie of Persian flowers and the golden dream inlaid by Byzantium linger; the former glory of the Roman emperor is like a passing cloud, and the present temptation of Turkish palace ladies is only a flash in the pan. The passing of a white horse reflects Dali’s eternal memory, and the flying crane shows the true wisdom of Buddhism. In addition, the quiet mountains, forests and rivers of Kaii Higashiyama and the restless clouds in Munch’s sky smash reality and dreams in the memory of time and space. Gulistan’s paintings not only has a long-term aesthetic charm, but also has profound philosophical enlightenment. Just feels that life is nothing more than a dream of Nanke. Thick ink and heavy color is nothing more than a smile. Understatement is the essence of life and art.

Gulistan’s paintings are just like herself. In a word, they are pure. Innocence without any affectation is like a pure and eternal child in ancient Greece. All things in the sky and the craftsmen of heaven reveal their simplicity and beauty.