Gulistan Art 古丽·斯坦

Zhu Hongtao

Cultural Ambassador of the University of Tehran

The Oriental Wandering-Words of the Flower

The first time met Gulistan, she is surprisingly elegant and doesn’t match today’s noisy era. She may time-travel from old times, like Sissi in the 1950s, Audrey Hepburn in the 1960s, or Zhong Chuhong in the 1990s. Elegancy is her innate temperament and the essence of her artistic creation.

Standing in front of Gulistan’s painting, the visual impact comes to you first. The bold and dreamy colors, whether it is bright like shinning yellow, emerald green, azure blue, Or somber like sandalwood yellow, mulberry, dark green, bright but not vulgar, dark but not obscure.

Instantly, you want to use rational thinking to figure out what Gulistan exactly painted, what she wants to express, but perceptual thinking stops you, “don’t think about it, just stand still, just watch”. Standing in front of the painting, gazing at the painting, looking at the classic technique, the table fusing with East and West taste, faces from different nations, the flowers growing savagely, space and time staggered fluctuating, you think a lot and forget some.

As the pupil dilates further, an emotion, a feeling begins to surging in the mind which makes people instantly entering the artistic conception of Gulistan, and starting to resonate with the author in the same frequency in the soul. And this kind of resonance varies from persons, time and places. Different people seeing it, at different times, at different places, feels differently and develops different emotions. It may be love, sincerity, beauty, purity, innocence, peace, conflict, memory, forgetting, sadness, or silence. The emotions spread widely and make you forgetting time, at mean time, you can feel the temperature and color of time. It seems entering a parallel universe, feeling an original self in the universe which Freud called this a “dream”.

Gulistan’s painting with offering up the sacrifices of her sincerity and memories, with the impression of Western classical aesthetics which learned in Italy, with the aesthetic concept of ancient Chinese painting. She uses impression rather than details stimulating the viewer’s senses, and injects the warmth of women into every brushstroke, reminds people of the compatibility and infinity of Silk Road artworks. Through her paintings, Gulistan makes an elegant dream for the audience. When you wake up, you will take a deep breathe and say from the bottom of your heart – “wow, It’s so beautiful!”

朱弘焘

德黑兰大学文化大使

记忆中的肖像IV

初识古丽，甚是惊艳，似乎优雅得与这个喧嚣的时代显为不符，甚至有种穿越感，像是五十年代的茜茜公主，六十年代的奥黛丽赫本，亦或是九十年代的红豆妹妹。优雅，是她与生俱来的气质，也是她艺术创作的真谛。

站在古丽的画前，首先是视觉上的冲击，那大胆如梦幻般的用色，无论是鲜艳明 快的明黄、翠绿、湛蓝，还是阴郁低沉的檀褐、皦玉、青鸾，艳而不俗，暗而不晦。

此时，你想调动理性，思考一下古丽画了什么，想表达什么，可是感性告诉你，别想，站着别动，看着就行。驻足画前，凝视画作，看着古典主义的勾勒，东西交融的桌子，民族融合的脸庞，野蛮生长的繁花，古今交替的时空，你会想到很多，但似乎又忘记了什么。

随着瞳孔进一步放大，一种情绪，一种感觉开始在心中渲染开来，让人瞬间进入画的意境之中，与作者在心灵上开始同频共振，而这种共振会因人而异，因时、因地制宜，不同人看，不同时间，不同地点，感觉不同，生长出来的情绪不同。 有爱，有真诚，有漂亮，有纯洁，有童真，有和平，有冲突，有记忆，有遗忘， 有哀伤，有静谧……情绪的肆意生长会让你忘记时间，但又能感受到时间的温度、 颜色，似乎进入了平行宇宙，感受着宇宙中一个最初的自己，而佛洛依德管这个 叫“梦”。

Gulistan古丽斯坦在她的画作中祭献了自己的挚诚和回忆，带着意大利求学时西方古典美学的印记，又糅合了同时期中国画的苍凉、古朴和文人画审美理念，让画作的印象而非细节去叩开欣赏者的感官，用女性的极度温润流淌在了每一个细 腻的笔触中，让人回想起丝路艺术作品的兼容性和无限性。Gulistan 古丽斯坦通过她的画，让观众做了一场优雅的梦，而梦醒之后你会长舒一口气，心中赞叹“真 美呀！”

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。

Michelle Mope Andersson, D.Min.

I’m very happy to share with you a little bit of Gulistan’s artwork, and also to share with you how I came to know Gulistan’s work.

It was in the autumn of this year that I was at an exhibition which Gulistan was holding. And this piece, this Madonna like imagery, struck my imaginations came directly spoke directly to my heart. And I wanted to know more about Gulistan and her background. it turns out that Gulistan and I both have the same great interest in two artists. one is Giuseppe Castiglione who came to China to work for the QianLong emperor in the 1700s as an artist and also as an architect.

The Shape of Gulistan’s Psyche

I started to see this connection in Gulistan’s work between Giuseppe Castiglione who was known here in China is Lang Shining. And Gulistan’s painting style in the colors and in the gentleness. And this really touched me very deeply. It also moved me greatly that Gulistan had lived in Italy and had studied in Padova, and in Padova is the work of one of my earliest favorites Giotto. So Giotto painted the Scroveni Chapel in 1395. And it turns out that Gulistan had painted there as well. So immediately, our paths from east to west, between China and Italy began to link to connect with one another.

And then I became deeply interested in this painting at the Madonna, something that really strikes me about this piece of art is not only the gentleness of the coloring, the gold and halo about the woman，the woman of women. I see in her face, the face of many women across reaching across China, reaching across Europe. It’s as if there’s a oneness in the face of this image of the woman of women, and I of course also see Gulistan’s face and mind to some degree as well. I see a reflection when I look at this painting at this piece of artwork. I also notice sort of ethnic design, ethnic patterns, which mean we might find in cultures, even in Latin America or in North America. We find it across China in the step region, in the grasslands. And this all comes weaving through in Gulistan’s painting. There’s a real fragility, a gentleness, which is a taste of Gulistan’s own personality coming through in the artwork. There’s a kind of a brick lay, a layering, a weaving together. And it’s as if this piece of a piece of fresco freshness, a fresco has come off the wall, come to life. And it’s here with me in the livingroom today.

Memory of the portrait V

When you have a piece of artwork in your home, you bring the spirit of the artist into your living space. And so each day, as I meet Gulistan’s paintings in my own home, I’m blessed to have her presence with me. There’s a kind of dialogue that goes on in her artwork. It’s a dialogue between Gulistan and myself. It’s a dialogue with the painting. And for me, it’s also a dialogue with Maria, the woman of women, the mother of Christ.

Here we see that this Madonna holds in her hands very gently, very fragile, a leaf piece of nature. And I think that this is so deeply timely in our environmental crisis in the world today. It’s as if she holds in her hand, a piece of memory, a piece of a bygone time a bygone era, gently in her fingertips. And it kind of serves as a reminder to all of us that we are in some way, responsible for this very peace of fragile nature which we hold in our hands that might be a bud, it might be a seedling, might be a child, it might be an idea or even a memory that is being held gently between the fingertips. It might also be a paintbrush. This might be a symbol for Gulistan’s own work, her gently holding in her fingertips a paintbrush, a memory, an idea, a hope, and also a dream.

Former glory III

One of my own dreams has been to bring Gulistan’s work to Italy, to build the bridge between China and Italy and to bring Gulistan’s work back to where her studies brought her. And so we have as a hope to bring, as a plan in fact, to bring Gulistan’s work to the Certosa di Galluzzo in the end of 2022 into 2023 for an exhibition in a magnificent monastery museum space. The Certosa di Galluzzo lies on the pilgrimage route between Rome and Florence. It’s about 15 or 20 minutes outside of the center of Florence. And so it’s a place that has been visited by thousands or even millions of pilgrims, people much like ourselves, on a journey on a spiritual journey, following culture and following hope and faith, in something greater than all of us in art, in creation, in creativity itself. Working together with Gulistan, we are preparing now the pieces which will travel with us to Florence to be displayed on these magnificent walls of the 13th century where Gulistan’s pieces really fit in a perfect sort of way.

Gulistan’s work is timeless. It speaks of an era that is bygone and yet with us very present in this moment today. So although we may look at an image of a woman clothed in renaissance or late medieval clothing, we notice that her face tells a story. It speaks of something that we can all relate to in our modern world today. Gentleness, caring, taking care of nature, taking care of one another, taking care of history, taking care of memory. For me, it’s fascinating also that in the background of this painting and amidst these very gentle colors of the Brucale. we see very much of the tuscan sun, a touch of tuscan sun that warms the Certosa di Galluzzo. And we also see patterns from the step, from the grasslands, from the silk road crossing China, crossing Eurasian Empire, toward Venice, towards Rome, towards Florence. Gulistan’s paintings, you see, they cross time and they cross space. They have a richness in color, in the background which recalls for us a memory, a memory of history, a memory of the past, and a hope for the future.

Reminiscing classics

Another thing that strikes me about Gulistan’s work, especially from the most recent, 3 or 5 years, is this very beautiful, porcelain, fragile face, which we see throughout Gulistan’s paintings of the last few years. In the eyes we notice that there is not a direct gaze, the figure looks away. She looks or he looks back in time, back to a bygone era. Something has changed something that we cannot quite grasp, that we cannot hang on to something has changed. And there’s a longing in the face, which speaks very much of what we feel in our hearts. A longing for a time has gone by us. The background imagery also speaks of the richness in the diversity of nature. We see illusions of trees, illusions of birds, illusions of the sky, and illusions, even of fruit, of our fruitfulness. What happens when we plant the seeds of ideas, the seeds of hope for future generations? How do we preserve that? How do we care for it? How do we foster it? How do we bring it to life? And that is very much what I see in this image of the Madonna painted by Gulistan in 2019.

米歇尔·莫普·安德森博士

今天很高兴和大家分享一些Gulistan古丽斯坦的作品，也和大家分享一下我是怎么认识Gulistan古丽斯坦的作品的。

在这个秋天，我参加了一场由Gulistan古丽斯坦举办的展览，而这幅《心灵的守望者》，触动了我的想象，直击我的心扉。我想更多地了解Gulistan古丽斯坦和她的背景。Gulistan古丽斯坦和我都对两位艺术家有着同样浓厚的兴趣，一位是朱塞佩·卡斯蒂廖内 (Giuseppe Castiglione)，他于 1700 年代以艺术家和建筑师的身份来到中国为乾隆皇帝工作。我开始看到一种联系在Gulistan古丽斯坦的作品和朱塞佩·卡斯蒂廖内之间，他在中国以郎世宁这个名字而被熟知。

心灵的守望者

Gulistan古丽斯坦的绘画风格色彩丰富又柔和，而这真的让我非常触动，让我更加感动的是Gulistan古丽斯坦曾在意大利生活并在帕多瓦学习过，而在帕多瓦有我早期最爱的乔托的作品之一，乔托在1395年画了斯克罗维尼教堂。而Gulistan古丽斯坦也曾在那里作画，就这样，我们从东方到西方、中国与意大利之间的道路互相之间开始有了链接。

而后我对《心灵的守望者》的这幅画产生了浓厚的兴趣，这幅画真正打动我的不仅是温柔的色彩、金色与光环，还有女人-象征女性的女人。我在她的脸上看到了许多跨越中国、跨越欧洲的女性的面孔，似乎有一种统一性，面对这个女性的女人形象，我当然也一定程度上看到了Gulistan古丽斯坦的脸和她的心神。当我看着这幅画，看着这幅艺术品时，我看到了一种倒影，我还注意到某种民族设计、民族图案，这意味着我们可能会在文化中找到它们，甚至是在拉丁美洲或北美洲，我们在中国各地的草原上都能找到它，而这一切都在Gulistan古丽斯坦的画作中得到了体现。有一种真正的脆弱、一种温柔，这是由艺术作品中绽放出的Gulistan古丽斯坦自我个性的一种品味。有一种覆叠、一种分层、一种编织在一起，就好像这幅壁画的新鲜感，一幅壁画已经从墙上脱落，栩栩如生，而今天它就在我的客厅里。

曾经的辉煌 II

当你在拥有一幅艺术品在家中时，你会将艺术家的精神带入你的生活空间。所以每天当我在自己的家中看到Gulistan古丽斯坦的画作时，我很幸运能有她的陪伴。在她的艺术作品中有一种对话，这是Gulistan古丽斯坦和我之间的对话，是一个与画作的对话，对我来说，这也是与玛丽亚的对话，象征女性的女人、基督的母亲。

这里我们看到这位圣母玛利亚握在手中非常温柔、非常易碎的一片大自然的叶子，我认为这在当今世界的环境危机中非常及时，仿佛她的手中握着的，是一段记忆，是一段往日的岁月，轻轻地在她的指尖。它在某种程度上提醒我们所有人，我们在某种程度上对这非常平静的脆弱的大自然负责，也许是一个花蕾，也许是一棵幼苗，也许是一个孩子，也许是一个想法，甚至是一段记忆，都会被轻轻握在指尖之间。它也可能是画笔，这可能是Gulistan古丽斯坦自己作品的象征，她的指尖轻轻握着画笔，是一段记忆、一个想法、一个希望，也是一场梦。

关于时间的传说系列VI

我的一个梦想就是把Gulistan古丽斯坦的作品带回意大利，架起中国和意大利之间的桥梁，把Gulistan古丽斯坦的作品带回她曾经学习过的地方。所以我们实际上有一个计划，在 2022 年底到 2023 年将Gulistan古丽斯坦的作品带到切尔托萨迪加卢佐，在宏伟的修道院博物馆空间展出。切尔托萨迪加卢佐位于罗马和佛罗伦萨之间的朝圣之路上，距佛罗伦萨市中心约 15 或 20 分钟车程，因此，这也是一个成千上万甚至数百万的朝圣者到达的地方，就像我们自己一样，在精神之旅的旅程中，追随文化、追随希望和信仰，在艺术和创造方面比我们所有人都更伟大，在创造其自身。我们与Gulistan古丽斯坦一起，正在准备将与我们一起前往佛罗伦萨的作品，展示在这些13世纪宏伟的墙壁上，那里会与Gulistan古丽斯坦的作品以一种完美的方式完美契合。

Gulistan古丽斯坦的作品是永恒的，它讲述了一个已经过去的时代，但今天的这一刻与我们同在。因此，尽管我们可能会看到一个穿着文艺复兴时期或中世纪晚期服装的女性形象，但我们注意到她的脸在讲述一个故事。它谈到了我们在当今现代世界中都能与之相关的东西，温柔、关怀、呵护自然、呵护彼此、呵护历史、呵护记忆。对我来说，这幅画的背景上的这些非常柔和的颜色也很吸引人，我们看到了很多托斯卡纳的阳光，淡淡的托斯卡纳阳光温暖了切尔托萨迪加卢佐。我们也看到了画面中的图式来自丝绸之路，穿越中国，穿越欧亚帝国，走向威尼斯，走向罗马，走向佛罗伦萨。所以你看Gulistan古丽斯坦的画，它们跨越时间、跨越空间，它们在背景中有丰富的色彩，它为我们唤起了一段记忆、一段历史的记忆、一段过去的记忆、一段未来的希望。

曾经的辉煌 IV

Gulistan古丽斯坦的作品让我印象深刻的另一件事，尤其是最近三五年的作品，是这张非常漂亮、瓷质、脆弱的脸，这是我们在过去几年Gulistan古丽斯坦的画作中看到的脸。在其眼睛中，我们注意到没有直接的注视，人像移开了目光，她或他回顾过去，回到一个过去的时代，有些事情改变了，我们无法完全掌握，我们无法坚信有些事发生了改变。脸上有一种渴望，这很能说明我们内心的感受，一段对时间的憧憬已经与我们擦肩而过。背景的图景还讲述了大自然的多样性与丰富性：我们看到了树木的幻象、鸟的幻象、天空的幻象，甚至是我们硕果累累的幻象。当我们播下思想的种子，为子孙后代播下希望的种子时会发生什么？我们如何保存它？我们如何照顾它？我们如何培养它？我们如何让它栩栩如生？这就是我在这幅Gulistan古丽斯坦2019年画的这幅作品中所看到的。

Wang Keju

Professor of Renmin University of China

I think Gulistan’s paintings are very similar to her character. That kind of softness, subtlety, and that kind of gentle feeling, but there is a kind of pursuit of the essence of art in her gentleness.

Memory of the portrait －Former glory I

Looking at her paintings, I feel that she is very rich, that is, she is exploring different languages, which actually breaks our normal visual experience. For example, in some places she can draw very general and concise, but in some places she draws very fully, then she forms a kind of visual dislocation, which gives you the feeling of something you have never seen before, a kind of fresh a visual stimulus. So she has been exploring the expressive power of some painting languages. After I came here to see her paintings, I felt quite rewarding, she inspired me a lot. Because she raised a lot of new questions from different perspectives, I think the subjects she expresses are also common subjects, for example, sometimes it is a portrait. In fact, there are many portraits in traditional paintings. But on her side, she gave some new interpretations, which I think is a kind of enrichment for the language of painting. The mood she reveals in her paintings is basically the kind of dream-like effect that is not seen in some pictures in reality. So overall I feel that she has been making unremitting efforts and unremitting exploration, which is the main impression to me.

王克举

中国人民大学教授

古丽老师她的作品我觉得跟她的人的性格特别像。那种柔柔的、含蓄的，并且是那种很温和的那种感觉，但是她里边温含着一种她对艺术本质的一种追求。

记忆中的肖像－凝望

看她的画感觉她特别的丰富、丰厚，就是她在探索不同的语言其实打破了我们正常人的那种视觉经验。比如说有些地方她可以画的特别概括、特别简洁，但有些地方她又画的特别的充分，那么她形成一种视觉上一种错位，给你感觉是一种没有见过的、新鲜的视觉刺激。所以她还是一直的在探索一些绘画语言的一些表现力，所以我到这看到她作品以后觉得还挺有收获的。她对我有好多启发，因为她从不同的视角方面提出了好多的一些新的问题，那么她表现的题材我觉得也是一些大家常见的题材，比如说有的时候画一个肖像，肖像画其实在传统绘画里边表现的特别多，但在她这边她都给予一些新的阐释，我觉得对绘画语言是一种丰富。她在画面当中流露出来的情调基本上是那种就像梦幻一样的、有一种不是在现实当中所能看到的一些画面的那些效果。所以整体感觉我觉得她一直在不懈的努力、不懈的在探索，这是给我的这个主要印象。

Lv Peng

Curator, Professor of Beijing Institute of Education

Memory of the portrait-Butterfly language

As a friend of Gulistan for many years, I have often seen her new works in the past two years, and I also express special congratulations to her for this exhibition. Each exhibition of Guli’s works brings me some new surprises. In addition to continuing her romantic and sensual female painters, she also brings us more comparisons between different cultures and this a feeling. For example, I see that in her new works, there are many elements of Renaissance images in her works. At the same time, she combines some naive techniques of such children with the images in the works of Renaissance masters. In her pictures, it gives us a feeling of time travel. At the same time, it is a kind of thinking about time and East and West culture.

Memory of the portrait – Beautiful age I

From an iconographic point of view, the images she uses allow us to associate many, many things. Whether it is classical or modern, some artists and some artistic phenomena in the world can also feel some veins of her works. Indeed, through her work, through her color, her composition, her image, including some intentions that she wants to say to us. Because we know that the picture is just like what Gombrich said, the artist’s idea is the most incomprehensible, and we must restore it to the situation of the artist’s creation at that time to feel her work. In fact, this is also one of the motivations that I have always wanted to explore Guli’s work. We can now see from her works a reflection on time, history, and art, including images and ideas in the entire picture. Of course, this reflection is constantly changing.

So this time I am very happy to see some of her new works, as well as some of her old works. You can feel the growth of a painter and the language art of a painter through these works. So I also hope to see more of Guli’s works in the future.

吕鹏

策展人、北京教育学院教授

记忆中的肖像－心灵花园

作为古丽老师多年的朋友，这两年经常看到她的新作，也对她这次展览表示特别的祝贺。每一次展览古丽老师的作品都给我带来了一些新的惊喜，除了一贯延续了她那种女性画家的浪漫和感性以外，更多的给我们带来了她对不同文化之间的比较和这种感受。比如说我看她新的作品里边儿有了很多的文艺复兴的形象的元素放在她的作品里，同时她把这种儿童的一些很天真的一些技法和文艺复兴大师的作品中的形象结合在她的画面当中，给我们一种穿越的感觉。同时是一种对时间的、对东西文化的一种思考。

我的梦是一座花园VI

从图像学的角度来说，她的这个形象使我们能够联想了很多很多。我们无论是古典还是现代，一些艺术家、一些世界上的一些艺术现象，也能够感受到她的作品的一些脉络。确实通过她的这个作品、通过她的颜色、她的构图、她的形象，包括她里边儿想要说的一些给我们的一些意向，因为我们知道画面就像贡布里希说的似的，艺术家的意念是最琢磨不透的，我们一定要还原到画家的这个当时创作的情境当中去，去感受她的作品，其实这也是我一直想探究古丽老师作品的一个动机，我们现在可以从她的作品当中能够看到整个画面的对时间、对历史、对艺术，包括对形象、对意念的一个思考，当然这个思考是不断在变化的。

所以这次特别高兴看到一些她的新的作品，也看到她的一些老的作品，大家可以通过这些作品能够感受到一个画家的成长、一个画家的这个语言艺术。所以我也希望在今后能够看到古丽老师更多的作品。