Review article
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.