Gulistan Art 古丽·斯坦

Shang Jie

Professor, researcher at the Institute of Philosophy, Chinese Academy of Social Sciences

Gulistan’s series “Essence of Memory”, “Memory of the portrait”, “Tales of time” series is not a simple “memory” as people call it. It is a “cultural memory”. It is Gulistan’s unique personal life experience, personal cultural temperament, The breath and her unique blood source give her a complex of “cultural memory”.

Memory of the portrait － Whisper

Gulistan’s works always reveal “poetic”and “musical”, expressing her subconscious diversity. This diversity is not displayed at the same time. This diversity appears in sequence in the flow of consciousness, just like The soul dances with the music melody, you only need to enter the breath of her picture to recite it.
Intuition and duration cannot be analyzed and cannot be simply explained and defined. Bergson calls intuition, resonance, a kind of simultaneous implication or induction, that is, I and other things introduce… into… and then resonate.In this information age accompanied by the Internet, Gulistan uses “Essence of Memory” to awaken human beings’ nostalgia for the spiritual homeland, as a reminder of life and intuition.

Tales of time II

The energy of philosophical spirit is not to explain the world. Similarly, the mission of an artist is not to shout or explain, but to help you return to the spiritual life of mankind, find the meaning of life and spiritual life, and find the so-called “spirit” mentioned by Bogson It means spiritual life”, spiritual life is internal and continuous… Looking at Gulistan’s paintings, you will be taken into your own melody by the breath of her work (not simply intoxication, but the continuation of thinking and soul). This kind of spiritual and spiritual extension depends on the cultural capital of the audience’s soul. The moment and eternity are continuous… The process of extension is the most precious gift that Gulistan’s creation brings us.Traditional philosophy has always believed that time is like a river that never returns. It is one-dimensional, but here in Bergson, time can be superimposed and thick, because it is not one-dimensional, but multi-dimensional. Just like the impressionist and surrealist paintings show…

Bergson question: How do we distinguish between true continuous continuity and parallelism in spatialized time? “Think intuitively, just think in continuation”It is not necessary to explain “thought” with the concept of rationality, but the intuition state is the state of mind, and it is still in a state of mental continuity of “looking for lost time”. The word “memory” can make our thoughts more active than “feeling”, closer to duration…

Memory of the portrait － Roaming in the East

Let us follow Gulistan’s “Essence of Memory”, “Memory of the portrait”, and “Tales of time” into a continuous state, collecting the peace of mind in her creation, and we are in a noisy world Found quiet.

尚杰

中国社会科学院哲学所研究员、教授

Gulistan古丽斯坦创作的系列 “记忆的性质”、“记忆中的肖像”、“关于时间的传说”系列所传递出来的关于“记忆”不是人们所说的简单的“记忆”它是一种“文化记忆” 是Gulistan古丽斯坦特有的独特的个人生命经验，个人文化气质、气息及她独特的血源赋予她的“文化记忆”的综合体。

关于时间的传说 III

Gulistan古丽斯坦作品中始终流露出“诗性”和“音乐性”，表达出她潜意识的多样性，这种多样性不是同时展现的，这种多样性是意识流动中依次出现的，就像心灵伴随音乐旋律翩翩起舞，你只需要进入她画面的气息之中去吟诵它。

直觉和绵延是不能分析的，不能简单地去解释和定义，博格森称为直觉、共鸣，一种同时的暗含或者感应，即我与他物之间相互引入…进入…然后产生共鸣。在这个伴随互联网的信息时代，Gulistan古丽斯坦用“记忆的性质”唤醒着人类对精神家园的眷恋，对生命与直觉的提醒。哲学精神的能量，不是为了解释世界，同样艺术家的使命也不是为了呐喊、解释，而是帮你回归到人类的精神生活，找到各自生命意义及心灵生活，找到所谓博格森说到的“精神意味着心灵生活”，精神生活是内在而绵延的…

记忆的性质

看Gulistan古丽斯坦的绘画作品，被她作品中环绕的气息带你走进各自的旋律之中（不是简单的陶醉，而是思考及心灵的绵延）。这种心灵上、精神上的绵延取决于受众者心灵的文化资本、瞬间与永恒是绵延的…绵延的过程就是Gulistan古丽斯坦的创作带给我们最珍贵的礼物。

传统哲学一向认为时间就像一条一去不返的河流，是一维的，但是在博格森这里，时间是可以被叠加起来的，有厚度的，因为不是一维的，而是多维的，就像印象派和超现实主义绘画所展示的那样…博格森问题：我们如何区分真正绵延的持续性与空间化了的时间中的并列性呢？“直觉地想，就是在绵延中想”不用理智的概念解释“思想”而说直觉状态就是思想状态，且还是处于“寻找失去的时间”之精神绵延的状态。“记忆”这个词语比“感觉”更能使我们的思想活跃起来，更接近绵延…

记忆中的肖像－纯真年代I

让我们跟随Gulistan古丽斯坦的“记忆的性质”、“记忆中的肖像”、“关于时间的传说“系列一同进入绵延的状态，在她的创作中去收集着心灵的宁静，我们在喧哗的世界中找到了安静。

侣海林

原纽约联合国妇女国际论坛主席、原日内瓦亚洲妇女协会主席、国际和平和可持续发展联盟亲善大使

Gulistan古丽斯坦的绘画给人一种无限的遐想，就像她本人一样，清新、淡雅、美丽，又有点儿忧伤。在这金钱至上、物欲横流、信念荒芜的社会环境中，能保存这样一片净土，既安静又干净，真是难能可贵。评价一个人是强还是弱，不能仅从性别和外观上看。Gulistan古丽斯坦看似柔弱似水的外表下有一颗坚韧坚强，不输于男性的心，令我欣赏和尊敬。画家是通过作品来表达她对大千世界的观念和感悟，人们也是通过作品来了解画家的。

记忆中的肖像IV

Gulistan古丽斯坦的人物绘画大多是女性头像，是介乎于真实和想象之间的既模糊又想保留的记忆中的形象。人外表的美丽在历史长河中只是短暂的瞬间，能留住那瞬间的是照片、录像和绘画，而只有绘画作品能展现作者对人物内在气质的理解和阐释而不仅仅是copy。Gulistan古丽斯坦画的人物在淡淡的线条下隐藏着浓浓的故事，可以仁者见仁智者见智。Gulistan古丽斯坦画的建筑仅占画面的三分之一，三分之二是蔚蓝的天空，尽管是皇家的琉璃瓦大屋顶的建筑，但作者的模糊处理表达了她的理念与感受，即任何人造的建筑无论多么宏大与大自然相比永远是渺小的，这是我从这幅画里看到的哲理。

忆·潜痕

——Gulistan古丽斯坦作品展题记

国家当代艺术中心专家委员会委员、中国美协理事、《美术》杂志执行主编 / 尚  辉

 

和大部分艺术家热衷于描绘现实不同，Gulistan古丽斯坦喜爱表现记忆。但她不是叙述记忆中储存的人物与事件，而是试图捕捉记忆的时间长度。如果说，她画面描写的与记忆有关的物象只是事件的发生点，那么，她要抒写的则是这个发生点抵达此刻的距离。那悠悠的逝去的时光，才是她想真正揭示的世界。

和许多女性艺术家沉迷于曝露私密、张扬隐晦不同，Gulistan古丽斯坦描写的那些值得记忆的物象，既是自我成长的踪影，也是人类文明曾经的繁华。舞鞋，钢琴，经书，这些曾传递过她青春体温的物品，却交错呈现出佛龛、壁画、教堂。这些物象，与其说是她曾经爱抚过的物品，毋宁说是她从这些个人的故事里钩沉的消褪在时间里的人类文明记忆。那些依旧残存着她的脂香的舞姿与旋律，飘散的却是丝绸之路悠长遥远的沙漠驼铃、岩壁粉彩和边关戍月。其实，她描绘的那些时光长度早已超出自己生命的体验。

和那些总是力求画得清晰明朗的艺术家不同，Gulistan古丽斯坦总是从此刻起笔而追溯远古。她画的是褪色，是岁月沧桑不时在打磨的那些楞角、光泽和触痕。对于一个画家而言，也许思想的深刻、观念的睿智，都比不了一层色调、一袭线条和一种笔触给予他的兴奋与温暖。Gulistan古丽斯坦最让我们难以忘怀的画面，不是她刻画了什么，而是那些温婉轻柔的米灰色调唤起我们的记忆。她能把这种色调把握得如此熨帖，仿佛是从记忆之维里抽出的旋律，幽微虚幻而带着淡淡的忧伤。

和那些一味追赶后现代文化的前卫艺术家不同，Gulistan古丽斯坦老是躲开网络时代的图像侵袭。像追忆过往的时光一样，她的绘画语言也是在回归古典中探寻艺术的现代品质。她的那些微妙沉潜的画面，不仅始终弥散着欧洲中世纪的建筑、壁画、法器等图形元素，而且汲取了早期文艺复兴湿壁画的绘制技艺，以丙烯和油彩的混合追摹那种古朴的绘画性。她用最纯净的炭笔素描和乳液淡彩，在记忆之沟里寻觅浑混的意象，笔痕的稚拙、涂鸦的畅快、覆盖的沉潜，透露的都是那些冰冷的镜头所无法传递的只属于她的文化混血与品性人格。她是在本能冲动和古典技艺中探寻现代主义的直觉理念。

所谓记忆，在病理学上，就是那些在脑沟里形成的弯弯曲曲的凹痕，是这些凹痕在人们不经意的时刻释放出伴着情感旋律的图像碎片。这些潜伏的踪影，带给个体的是生命的年岁，带给人类的是历史的长河。如果没有记忆，生命和历史都会失去时间的刻度。Gulistan古丽斯坦描绘的正是这种不断唤起我们生命与历史意象的记忆潜痕。

                             

  2013年7月23日于北京22院街艺术区

Recall – Faint Traces

– Preface to the Exhibition of Works by Gulistan

AUTHOR: MEMBER OF THE EXPERT COMMITTEE OF NATIONAL RESEARCH CENTER FOR CONTEMPORARY ART, MEMBER OF CHINA ARTIST ASSOCIATION, AND EXECUTIVE CHIEF EDITOR OF ART MAGAZINE/SHANG HUI

As an artist who devotes to express memories, Gulistan sets herself apart from the majority of artists of her generation who are dedicating in depicting reality. However, what she depicts are not the persons or matters living in her memory, but the attempts of tracing the time length of the memories. If the images in her artworks were merely tipping points of those happened events, what her expression is the path from that moment till this moment.. The days lingered are the authentic world that she tries to reveal.

It was those memorable remarks, being part of herself grown-up traces and the reminisce of past prosperity of human civilization, differentials her from other feminine artists who indulge in exposing privacy and advocating obscurity. The dancing shoes, piano keyboards, scripture classics… why do these articles that accompanied her in her youth appear with the niches for a Buddhist statue, frescos and churches? These articles are the faint traces of the past human civilization rather than her personal attachments. The graceful dance and rhymed melody remained with her grease incent, while drifting away was the traces for the camels along the distant Silk Road, frescos on the walls, and moon on the boards, which are actually beyond her personal experience of her life span.

Different from those lucidity pursuers in art, Gulistan keeps tracing the ancient days through her painting brush’s end. She shows the vestiges being worn away by time. What excites painters or make them feel warm is not a profound thought or wise idea, but the color tones, lines, and styles of drawing. We may forget the images of Gulistan’s works, but we will never forget the soft and plaintive ash-gray tone that evokes our memories. She harmonizes the tone with the conception perfectly, as though she composes the melody reserved in her memory, with a mirage and a touch of sadness.

Gulistan is a survivor of the image invasion in the Internet age, which sets her apart from the avant-garde artists who always run to catch up the postmodern culture. As her recollecting the past time, she also explores the modern quality of arts in classicism by making her subtle works pervaded by the European elements of the Middle Age such as architecture, frescos and musical and other instruments, deriving the painting skills for the frescos of the early Renaissance and pursuing primitive simplicity with the combination of propylene and paint. She appoints her most pure charcoal sketches and paintings as fairies to look for the misty images in her memory. Through her painting style, we can understand her unique cultural hybridity and personality, which the camera lens cannot capture. What drives her to seek for the philosophy of modernism in the classical art is her instinct.

What is memory? In pathology, memory is the twisty indents in the sulcus, which are image fragments with the melody of emotion released unwittingly by human. They draw the annual rings of a person, and compose the history of human. If there is no memory, the history and our life shall lose its division. What Gulistan depicts is the fainted traces that continuously evoke our images in our lives and history.

As on July 23, 2013, at 22 International Art Plaza

Gulistan’s Art Notes

I have a lot of notebooks that have become one of the most essential parts in my creations. They keep track of any inspiration that has unexpectedly encountered me. The track of my thoughts and the journey of my mind are quietly kept inside these notebooks without amazing sights and sounds. I have been searching for the meanings behind the “plot” during the time when some plain sentences are written down. I have been looking for enlightenment of some “essence” closely related to my life. On every sunny day, it is such great delight to create and display its face and intrinsic nature. I try to use all my passion and reason to seize its art. The spring of art has irrigated my soul. I use the eye of my soul to gaze upon art so that its power can grow inside me and guide me thorough the journey. When my painting seeks the hints that are sparkling in my memory, the quality of art gradually comes out with spirituality. I have been used to relish the imprints in my life journey since I devoted myself to doing everything I enjoyed doing casually and naturally with fulfillment. The keynotes of my life are also gradually coming out in the process of keeping these notes. These notebooks have captured my memory for everyday life in their own way. Sometimes I couldn’t help wondering about things behind what I write, what I keep, and what I draw. These actions under certain circumstances are capable enough for me to think over and over. My so-called “diary/creation notes” has/have provided me with plenty of room for self-reflection upon words, images, music, and my thoughts.

 

 

 _{When I see the images, some memory comes back to me at once. I like to review these notebooks every some other time or every couple of years. These notebooks full of nature, relaxation, amicability often enable me to be true to myself. Memory puzzles, drafts, subjective and realistic gaze, poems, creative thoughts…}

 

 

These notebooks quietly keep track of everything, ranging from journals, daily schedule, plans, sketches, observations, reviews, and trivial truth of subjectivity. All of these are integration between art and data that greatly reflect my thinking tracks and mind journey. This is how the keynote forms my own rhythm and then turns into my creations. However, I do not think these notes can serve only as the goal of creation; instead, they are different forms of substance in the process of my creation, which has intrinsically affected me by degrees. The pages and essences on display will guide me in my mind journey. They are history, poems, melody, discourse, and life, as both the process and work itself. I find my art notes varied and casual, but they are filled with liveliness by keeping track of everything around me. Thus, there comes my attitude taking shape in these notes.

 

 

行走在我梦境中的画—读古丽斯坦的绘画

行走在我梦境中的画

她的画总是在我的梦境中行走

朦胧中携带着寂静温婉笔触，在我的梦里以静谧的姿态行走在梦境的深处

画，徜徉其中使我的心跟随她的笔触一起澎湃

对梦的抚摸感受画中所释放出的气息

这些都足以让我。在每一幅画找到不同的梦

她的画总是在我的梦境中行走

女性的感触和异国的情怀有如诗意化般印在张张画布上

画，沉浸其中使我的思绪感受时间与空间流逝

看画不经意间或许已穿越时空隧道，完成东方文化的漫游

时间与空间的交织与错位让历史也穿梭在梦境里

她的画总是在我的梦境中行走

指间的颜色中跳跃着轻盈音符，空气中的高音休止符不停的在古典与漫游音乐中切换的

画，沉溺品味使我的心绪随感受到音乐的魔力

聆听到画中的古典与爵士，如升起或者落下的太阳。在不同的乐章中保持和谐的音律

在自鸣系列中的梦境里走来走去，约定走动一生

她的画总是在我的梦境中行走

隐约中我看到藏在画布后的断臂维纳斯，静穆星空下美德的女神同样隐居在梦境深处

画，吹拂在脸上感受大自然的风送来你温馨的体香

表层斑驳的肌理没有比哪一瞬更为魂魄摇荡

我用心在梦境中把她贪婪的品尝

她的画总是在我的梦境中行走

非写实的底色中映照着现实的态度，用清晰的轮廓勾画着朦胧的梦境

画，给了我对征服者表现的武器

使自己免予受到迷乱的虚幻干扰，被涂炭梦境灵韵的伤害

在梦境里喧嚣的的现实以及赤裸裸的表象之间，永远隔着保持一个距离

她的画总是在我的梦境中行走

伴随细腻的感触让我在梦中认知这个世间的轮回与解脱

画，带领我们一起向中世纪致敬

左右两旁的观赏者和画一起在梦境中回归哥特王朝，在历史的色泽中显示宗教的力量

这里没有哪个梦境是对历史的批判驳斥

我也在梦境中伸出画笔，在教堂钟声的驱使下以期能够触碰到同样的神灵。

她的画总是在我的梦境中行走

在心灵的调色扳中调和新的感觉，不知道在什么时候在梦里抹上一笔真谛的色彩

画，色彩影响着明暗，明暗烘托出光线，但在梦里这些似乎都变的无所谓了

行走在我梦境中的画，给了她太多的梦

梦，让我在画中不断行走

赵熠阳 2010年春于德国

Appreciation of Gulistan’s Artwork

Li Jiang

1

 

Richard Tittle once said that there is a harmony between the innate part in humans and nature. While appreciating Gulistan’s artwork, one is struck with a unique feeling: In a dream, some images, vague and intangible, emerge at intervals in a dense mist and then vanish the moment one is awake,which makes one so melancholy and unable to help missing the dream.

Such feelings arose inside of me when I viewed the thousand-year old murals on the wall at the Kizil Thousand-Buddha Grottoes in Xinjiang, where I was investigating New Hole, the important passage to the Silk Road. On stepping into the cave, I felt a Buddha world before me, with time flashing backward. In a trance, my spirit flew away from my body. My foreordination made its presence before me. When leaving New Hole, I took a last glimpse of the Buddha, who looked so aloft in sedateness, with his eyelids always half drooping. The Buddha’s bearing is completely different from that of human beings. It was from her painting Millennium Wish that I got to know Gulistan’s inner world. One finds no arrogance or flaunt in her paintings. They stand there quiet, just like those murals, face to face with nature, worn out through the four seasons without any complaint. Such a tranquility is so charming to people but is rare in reality. I dare not discuss Gulistan’s predestined relationship with Buddhism. However, such a tranquility, which she reveals unconsciously in her works, reaches the part deep in one’s heart every now and then. Millennium Wish is her reflection of the vacant world. The color, composition and the artistic conception of the painting, all play a part in embodying the Guizi culture and the cultural context for the Kizil Thousand-Buddha Grottoes. It is natural to believe that Gulistan’s Memory Series is her insight and experience of culture and context.

2

 

“Our attitude towards subjects determines the open feature of symbol, with it starting and ending at the transfer between the public and art,” said Bill Mushell. Gulistan deconstructs and reconstructs the modeling of the paintings in her Oriental Wandering Series. The efforts make us focus on one point, longing to learn more. The paintings thus are endowed with a tensile force, with their potential expressed. One’s spirit becomes more sublime with such visual extension. Gulistan endeavors to seek a state and apply more precise words. With the palette of high purity and unique modeling, she attempts to seek a context, which is non-oriental, for a superb world which she is yearning for. Accordingly, the paintings gain vigor and the color becomes very pure and intense. Being more culture-oriented, her paintings illustrate her spiritual state, the rationalization of her inspiration. The attitude and the symbols that she adopts in her paintings start to make an impact on us.

3

 

Leonard Cohen remarks that in everything there must be a slot for light to make its way through. Gulistan possesses a sharp sense of art. Crossing the gap between modern and ancient times, she paints endlessly, exploring in the Western and Eastern worlds of art. She strips off the cover of the slot in her flying thought with her inspiration that every work, as a strand of sunlight, provides the audience brightness. The ambiance and the mysterious symbols are all at her fingertips, properly employed in her works. Her painted works, such as The Music in the Air, The Notes in the Air, Nuwa’s Dress and Contemplating the Middle Ages, are filled with a melodic beauty and elegance.

It is a natural phenomenon that sturgeons choose to lay eggs in the upper reaches of the Yangtse River despite the tiresome journey; antelopes in Kekexili in Qinghai would take any risk to whelp at their own birthplace. We cannot help wondering: What is the law behind this behavior? What is the magic force functioning in the cradle and initial stage for human art? What artistic skills does the artist employ to make her paintings that touching?

For thousands of years, Xinjiang, Gulistan’s birthplace as a bright pearl on the ancient Silk Road, has been the converging point for the Central Plains culture, the Persian culture, the Roman culture, the Islamic culture and the primitive native culture. Under the influence of early Buddhist culture, the brilliant Guizi and Dao Lang cultures were born. Music art, dance art and especially mural art are matchless here in history. The history of the murals at the Kizil Thousand-Buddha Grottoes is 200 years longer than that at Dunhuang. Xinjiang is also the important place of relay for the eastern spread of Buddhism, boasting a number of geniuses, such as the great Buddhist sutra translator Kumarajiva, the musician Mother Suzhi, and some art masters as well.

In this place worked and sauntered Gulistan, who exchanged her mind with those masters. A creative artist exposed to such cultures with a spirit of sublimation is doubtless to make her appearance in the world.

4

 

Poetry is art and vice versa. The two are not directly related artistically but have something in common considering their authors’ ways of thinking. “Time”, “space”, “symbol”, “tranquility”, and “wisdom”, such words are repeatedly used in Gulistan’s poems, which holds an explanation for the blank space or obscure images in her paintings. Such spaces allow people to stretch their imagination. Sangfu held that creation originated from the self. In Gulistan’s works, yellow is used extensively. When in the Gobi, walking through the desert, watching poplars or camel thorns and the bright moon, a person who has lived in the west for years would have the same feeling as others have when watching “the solitary smoke in the desert” or “the upended streams of the Yangtse River.” Isn’t this the manner of communication for humans and nature? Vivaciousness runs through her painting The Note of Ground. The Essence of Memory Series is abundant with sentiment with more regression and review of thought. The past was regained and the original dances are produced. All these are achieved through her painting with heart and soul. It seems that she is making prey for something through her paintings, where we find wishes of nature, soundless but still expecting. Gulistan expresses her inner world in these paintings—to search for enlightenment for some “true meaning” which is tightly tied up with my life.

—Translated by Guo Jian

李健

（一）

理查德•蒂特尔说，人身上自然的东西与自然有一种和谐。观赏Gulistan古丽斯坦的画往往给人一种很独特的感受。好象梦中的氤氲中，不时浮生出的景象若虚若幻，清醒时反观徒然产生怅然若失的强烈感觉，不由地使人回味逝去的梦境。

多年以前，我在丝绸之路的重要通道新疆阿克苏克孜尔千佛洞新一窟考察时，面对墙壁上的千年壁画就产生过这样的感觉，当一踏进洞口，仿佛时光倒流，走进了佛禅世界，恍惚间，人好象精神与躯体分离了，展现在眼前的仿佛就是自己的宿命。当迈出佛窟，不自觉地回神再望一下，佛一直半垂着眼帘，神态安详，超然无我，人与佛竟然两种神态。我是从Gulistan古丽斯坦那幅“千年•星语”的画中认识她内心世界的，Gulistan古丽斯坦的画无张狂，不声张，好象那些壁画，对望着自然，任凭风露雨雪，默默无语地摆在那里，呈现出在现实状态中少有的而人们不断神往的安详或者是恬静。我不敢说她的佛缘，但其作品这种自然的流露不时地就会触到人内心深处不露声色的那种心像。“千年•星语”是她对空灵世界的感悟，作品中无论颜色、造型和表现出的意境，都下意识地流露出了古老龟兹文化和克孜尔佛教石窟文化的语境。因此，她的记忆系列，可以说是对这一方面思考体验的不自觉的表现，那是再自然不过的了。

（二）

木歇尔•比尔说过：“我们对于物的认知态度决定着符号的公开化性格。起点和终点在公众与艺术之间转换。”Gulistan古丽斯坦的东方漫游系列，在画面的空间中，对造型进行了解构和重建，使我们的思维回到了一个焦点，从而产生认知的渴望，画面因此而产生了一种张力，表达出了内在的潜力，造成的视觉扩张使人的精神产生升华。她在寻找一种状态，在提炼一种更加精确的语言。在一种纯度很高的色彩语言里和独特的造型手段中，试图在探索一种非东方化的语境，给一种通往她所向往的精彩世界，她的作品开始变得活跃，色彩开始变得单纯而强烈，从画面中好象看出了她精神的表情，灵感的轨迹变得理性化，作品更有文化味，其态度和认知的那些符号开始影响着我们。

（三）

伦那德•科恩说，每个事物上面，都有一个一个缝隙，那是光明进入的地方”。Gulistan古丽斯坦的绘画触角很敏感，她不停地在古代和现代，西方和东方的艺术领域中游动着，她的灵感在飞扬的思维中扒开一个个这样的缝隙，每一幅作品都是照进观赏者内心的一缕缕阳光。作品中的那种氛围和灵动的符号，仿佛信手拈来，凡我需者皆入画。如：空气中的音乐、空气中的音符、女娲之服、向中世纪致敬等，弥漫着一种旋律美，继而产生一种高雅的画品。

世界上自然界的一种现象至今吸引着人们的兴趣，为什么长江里的鲟鱼不惜逆行千里到长江上游去产卵，青海可可西里的藏羚羊行走荒漠，历尽风险到出生地去产羔，这揭示了什么样的规律呢？在人类的艺术发祥地和初始阶段究竟蕴着什么神秘的力量，她是在怎样打动人心的呢？

Gulistan古丽斯坦的出生地是中国古代丝绸之路上的一颗明珠，几千年来，中原文化、波斯文化、罗马文化、伊斯兰文化以及原始本土文化在这里交汇，在早期佛教文化的背景下，曾产生过灿烂的龟兹文化和叨郎文化，其音乐艺术、舞蹈艺术，特别是壁画艺术更是千古一绝。克孜尔石窟壁画比敦煌早200多年，曾是佛教文化东传的重要接转地，这里历史上曾出现过我国古代四大佛经翻译家鸠摩罗什、音乐家苏祗婆，也不乏绘画大师。

Gulistan古丽斯坦曾在这里工作过、徜徉过，曾与这些大师们的精神对话过……这样的浸染升华难道不足以走出一个有创造力的艺术家吗，是因为这些光明总是跟着她走或者说格外的眷顾于她吗？

（四）

诗即是画，画即是诗，从画理说这些并无直接的关系，但从思维角度来看就看出其相通的地方了，在她的诗里，反复出现时间、空间、符号、宁静、智慧等词句，这也是为什么她的画里总是出现的那么多留白或朦胧意象的空间，给人以大量空间想象力的地方。桑福说，要原创，首先源于自身。她的作品，以黄色调为多，如果一个到西部生活多年的人面对戈壁、沙漠、胡杨、骆驼刺、明月，就会产生出大漠孤烟直，长河飞落九天的感觉，人与自然不就是这样交流的吗？她的《大地的音符》是这样暗合了神韵，在她的记忆的的性质系列，有那么多新的感悟，而更多的是思想在回归，重温，心灵在不停地抚摸着流失的时间，她在画布里用心进行着新的舞蹈。她在画里好象总是在祈祷着什么，画面上留给我们的就是那些千年无语，默默守侯的大自然的心语，实际在她的画里是她的内心——在寻找和我的生命息息相关的某种“真谛”性质的启迪。

Sun Xin

The first time I entered Gulistan’s studio, I was deeply moved by the paintings of all sizes on the wall. The paintings are simple, elegant, but full of vigor. Outside the window grows green vines, through which the sunlight slants into the room. The tranquility makes me feel that I am leaving the trivial world. One can feel an exquisite tinge from each painting, which is so bewitching that old memories are called on and I feel it hard for me to get out from under it. Gulistan, confident and mature, is standing steadfast. She is the queen of her art realm.

Neither tied to traditional oil painting skills, nor confined to popular themes, Gulistan seems to draw out of her own will without pursuing visual language symbols. A variety of images are created in her paintings, such as the sediment of ancient history, the piano with which melodic music is still played, the little bird winging over the trees, the stars and the moon shining in the sky, the scenery lapsing outside the window, the spacious room of a building and the vase and flower and wooden chair in a dark corner, and even a page thumbed occasionally. She decorates and refines them with her sentiment. With her sharp feelings, she draws her reflections on life into her works. These images are both concrete and intangible, presenting the moments of her life and leaving the trace of her great thought as well. While painting, she creates images to her satisfaction through insistent modification. They are the embodiment of her mind, pouring out her hopes and longings.

Gulistan’s insight into life can be found in her paintings. With herself being an element of the painting, her will crosses time, embodied by the subtle change in lines and colors. The change finally makes a space for an image. In the boundless space, she recalls her memory, piece by piece, attentively polishing them. These memories are silently whispering while she listens with all ears, echoing the sound in her soul. Thus she makes time a trace of memory, treasuring it up in her paintings. As fragile as it is, the trace is unyielding, sensitive and rich in meaning. Isn’t it fine and real?

She talks with the images in her memory, with the countless transient waves of rising and sediment, and with the mottled lines in her paintings. She is absorbed in them, led into a surreal world and walking into the painting, meanwhile into her own inner world, where time and space are interwoven—blank and vague, immense and delicate. They are not only the moment eternally occupying the space of a canvas but a nook for the changing universe. With them, Gulistan’s sentiment is sublimed. They are like pictures occasionally snapped, integral in meaning, for they make recordings of the vicissitudes of one’s life as well as emotional waves. In the two-dimensional world, matter and soul melt into one. The painting itself tells the process of the drawing, which is endless in return. The audience feel themselves following the ups and downs moving with the old days coming back to life.

Gulistan’s light-palette paintings are not large-sized, different from those with overwhelming visual effect. Her paintings, as if alive, are quietly lying in the studio and awaiting me to find them. However, the floating images would withdraw into the depth of the painting when I make an attempt to reach them. They waken some moments in my memory. Lasting and overlapping, these images present a full picture of life right at the present moment. I am listening to each painting, which is pouring out vivid stories and waiting for my response.

2006 in Beijing

—Translated by Guo Jian

孙欣

第一次走进古丽的画室，我被深深的触动了。画室四壁挂满了各种尺寸的画幅，素雅而又充满生机。日光透过窗外的青藤洒落室内，我象是从喧闹的世界走入了另一个时空。每幅画都散发出一种气息，幽雅而细腻，让我情不自禁沉迷其中，某种潜藏于记忆深处的情愫，慢慢的流溢而出，久久难以出离。而她小小的身影伫立其中，自信而饱满，是自己艺术王国的女王。

没有传统油画技法的束缚，没有流行题材的局限，亦没有视觉语言符号化的追求。她似乎是在一个无拘无束，完全自由的境界往来穿梭。这里，远古的历史的沉积…乐音依然悠扬的钢琴…树梢间飞掠而过的小鸟…晴朗夜空中闪烁的星月…车窗外一闪即逝的风景…建筑物庞大的空间…室内幽暗一角的瓶花和木椅…某年某月某一天翻开的书页，经她细腻而敏感的情感的梳理，承载着她对生命的体验和感悟，在记忆的尘埃中时隐时现。它们是具体的，可又飘忽不定。——它们呈现了她生活的某个瞬间，记录了她思想的某个闪烁。它们在被不断的塑造与消解的绘制过程中，逐渐接近着她的内心，诉说着她的希冀与渴望。它们是她心象的呈现。

古丽通过她的绘画完成着她对生命的体悟。她把自己融入画面，任由意念在流逝的时光中潆洄，沉积为肌理与色彩的微妙变化，这变化最终蕴集为一个意象的时空。在这无限的时空里她捡拾着记忆的碎片，悉心拂去岁月的尘埃，倾听那无言的诉说，在心灵的最深处与之回应。于是她把时光制成记忆的印签珍藏在画面里，纤弱却不乏顽强，敏感而蕴涵丰富，真实而美好。

她与记忆中的形象对话，与画面空间中无数个稍纵即逝的起伏与沉积对话，与画幅表层斑驳的肌理对话。她沉迷其中，被它们引领着，超然世外，向着画面深处走去，同时也走进自己的内心世界。那里时空交错，空蒙蕴集，宏大而微妙。它们既是画面上凝固的一瞬间，又是无限变化的鸿蒙太空中的一隅，同时亦是古丽情感的升华与结晶。它们象是不经意间拍下的快照，可又是完整的——蕴涵着前生今世无数的动荡与波澜，述说着情感之流每一个洄转与微漾。心与物交融于无限丰富的平面世界。画面既呈现着绘制的过程，又永远处在过程之中。它们亦引领着观者于这循环往复的过程之中辗转沉浮，感受那流逝的时光。

不同于具有强烈视觉冲击效果的画面构成风格，古丽的绘画尺幅不大，色彩淡雅，它们被赋予了生命一般，静静的停留在画室里，似乎在等待我去发现。而当我试图抓住那飘忽不定的形象时，它们又不断变幻着向画面深处退去。它们唤醒了我记忆中的某些瞬间，延续或交叠着，把生生不息的生命的历程在这一刻全部呈现出来。我倾听每一幅画的诉说，它在等待我的应答。

2006 年北京