Gulistan Art 古丽·斯坦

Michelle Mope Andersson, D.Min.

Tales of time I

So it is a great pleasure to be in Gulistan’s studio today, to introduce some of her works. I’d like to talk a little bit about how I first came in contact with Gulistan and what really struck me about her work. The first thing I think that moved me very deeply was the gaze. The way that the characters in Gulistan’s work seem to be looking back in time and ahead in the future as well. And as I get to know Gulistan a bit better I learn about her story, I learn about the characters in her life, her mother and her father, friends that she has met along her journey. And I realize that gaze actually is something that comes, maybe even from her early childhood, learning from her mother. The way that we learn from our mothers. The beautiful things that are passed from generation to generation. Gulistan captures the gaze of her mother and father. In the image of the young children that are gazing back in time and looking forward with hope. And it’s that aspect of hope that touches me very deeply, especially in these times. That we need to be looking always for the good. And in the gaze of the children, and in the gaze of each of these magnificent images that Gulistan creates for us, I see a glimmer of hope, I see a glimmer of hope in the eyes that look back in time and ahead in time at once.

Memory of portrait- The Age of Innocence I

This is absolutely my favorite piece of Gulistan’s works. It’s the cranes. And these cranes are up in heaven, they’re up in the sky. Now, if I had this piece myself and my own collection, I would absolutely put it on the ceiling, because it reminds me of the domes of the great cathedrals in Rome, some of my favorite places. And you know the crane is so important because the crane very often is the symbol of eternity, it’s feet are touching the earth usually, and its beak is reaching for heaven. And yet these cranes are in flight, they’re in the heavens, they’re above us, they’re looking down on us with the kind of superior wisdom and look how joyous they are, they’re full of hope, they’re full of beautiful colors and it’s as if they are carrying these stalks with them in their beaks. These sort of messenger stalks, like we see in the great baroque paintings you know, Joseph carrying his stalk, Moses carrying his stalk and here the cranes are carrying the stalk as messengers, messengers of are goodness, messengers of the good.

Memory of the portrait – Gaze

Gulistan once told me that what she learned from her mother is to always look for goodness, to look for beauty and that’s what Gulistan finds and presents to us, in her works of art. Deeply meaningful for me also is the connection of Gulistan’s work to the Kang Xi, the Yong Zheng and the Qian Long emperor. So I see in Gulistan’s works, these magnificent robes and vestments that we saw in the 1700s in the imperial palace. And I also see the kind of journey, the travel moving along the silk road, which is what Gulistan’s work is all about. It’s that connection, binding that connection between east and west, west and east, building a bridge carrying a message. So the meeting of the colors and the flow of these colors tells us about a journey, it tells us about Gulistan’s own journey as an artist, as I stand here in her gallery. I see one of group Gulistan’s her examination piece, in fact, which she first painted to move into the world of art so many years ago. And then she brings all of those magnificent skills, those skills are great detail. And she puts them into the background, that is also something is very unique about Gulistan’s work. The background in many cases is more important than the subject itself. Where she places the characters, not necessarily what they are doing, but where and how they are placed. So again, the children placed on the journey, the way the paths that they’re following and the special clothing that they’re wearing. This is also for me very evocative of the golden era. It’s also, I know, I see a bit of Gustav Klimt in these paintings, again, connecting us through time with color, with temperature, with warmth, with vitality.

米歇尔·莫普·安德森博士

记忆中的肖像-凝望，1992

今天很高兴来到Gulistan古丽斯坦的工作室，介绍她的一些作品。 我想谈一些我第一次接触 Gulistan古丽斯坦的经历，以及她的作品真正打动我的地方。我认为让我触动很深的第一个地方是凝视。Gulistan古丽斯坦作品中的人物似乎在回顾过去和展望未来，随着我对 Gulistan古丽斯坦有了更深入的了解，了解了她的故事，了解了她生命中的角色，她的母亲和她的父亲，以及她在旅途中遇到的朋友。而我意识到凝视实际上是一种来自于她的童年、甚至是从她的母亲那里学习到的东西，是我们向自己的母亲学习的方式，美好的事物会代代相传。Gulistan古丽斯坦捕捉到了她父母的目光，用年轻的孩子们的形象，他们凝视着时光回望着过去，满怀希望地向前看。正是希望的这一方面深深地触动了我，尤其是在现在这个时代，我们需要找寻好的一面。在孩子们的注视中，在Gulistan古丽斯坦为我们创造的每一个辉煌画面的注视中，我看到了一丝希望，我在眼眸中看到一丝希望，即是回顾过去也是展望未来。

关于时间的传说 I，2009

这绝对是我最喜欢的Gulistan古丽斯坦的作品，是仙鹤，这些仙鹤在天堂，在天空之上。如果我拥有这件作品作为我自己的收藏，我绝对会把它放置在天花板上，因为它让我想起了罗马大教堂的圆顶，是我最喜欢的地方。仙鹤如此重要是因为仙鹤很多时候是永恒的象征，它的脚通常踏在地面上，而它的喙则伸向天堂。这些仙鹤在飞翔，它们在天空之上，它们在我们之上，它们以一种超凡的智慧俯视着我们，它们看着是多么的快乐，它们充满了希望，它们充满了美丽的色彩就好像它们的嘴里衔着的这些枝条。这样的像信使般的枝条就像我们在伟大的巴洛克画作中看到的那样，约翰带着他的枝条，摩西带着他的枝条，而这里的仙鹤作为信使带着枝条，善良的信使，善的信使。

记忆中的肖像－纯真年代 I，2019

Gulistan古丽斯坦曾经告诉过我，她从母亲那里学到的就是永远要寻找善良，寻找美，这就是 Gulistan古丽斯坦在她的艺术作品中发现并呈现给我们的。对我来说意义深远的还有Gulistan古丽斯坦的作品与康熙、雍正和乾隆皇帝的联系，我在Gulistan古丽斯坦的作品中看到了我们在1700年代在皇宫看到的这些华丽的长袍和法衣。我也看到了一种旅途，沿着丝绸之路前进的旅途，这就是Gulistan古丽斯坦的作品。正是这种联系，相捆绑的链接，将东方与西方、西方与东方之间联系起来，架起一座承载信息的桥梁。所以色彩的相遇与这些色彩的流动告诉了我们一段旅程，告诉我们Gulistan古丽斯坦作为一名艺术家独属于她的旅程，就像我站在这，在她的画廊里一样。我看到了一组Gulistan古丽斯坦她的考试作品，事实上，这是她多年前为了深入艺术世界的最初的作品，然后她带走了所有那些华丽的技巧，那些非常精密的技巧，而她将它们置于背景之中，这也是Gulistan古丽斯坦作品中非常独特的地方。在许多情况下，背景比主体本身更重要，她将人物放置在哪里未必是他们在做什么，而是他们被放置在哪里、如何放置。

所以同样的，孩子们在旅途中，他们所走的道路以及他们穿着的特殊服饰这对我来说也是非常令人回味的黄金时代。我也在这些作品中看到了一点古斯塔夫·克里姆特（Gustav Klimt）的影子，再次将我们联系在一起，与色彩、温度、温暖和活力一起穿越时间。

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.

I have a group exhibition with 13 other artists, this Sunday, December 17, at 3 p.m., at Oriental Yuanxiang Gallery in Beijing. Below is a map to the gallery. Their phone number is 6737 6315, so when you take a taxi, you can let the driver ask the gallery for directions.

Hope to see you there 🙂