Gulistan Art 古丽·斯坦

Wang Duanting

Famous contemporary Chinese art critic, Western Art History Research Scholar, Professor and postgraduate tutor of the Fine Arts Department of the Graduate School of the China Academy of Arts

First of all, Gulistan expresses a very vast space in her paintings, and takes world culture as an image source for his creation. In this kind of culture all over the world, there is an artist who does not paint real life. She is an artist who does not live in reality, but an artist who lives in the memory of history. This is very rare among female artists, because female artists are often emotional, especially for some women’s own lives. This is a contradiction with female painters, her own psychological feelings, her life, and the world around her. But Gulistan’s works have nothing to do with real life. She lives in a historical memory, so most of her works are based on memory. This kind of memory in her series of works is a dimension of time. The dimension span of time is also very large. I see the images here, from Rome, the Middle Ages, and ancient China. These arts are images, and they have become the source of creation.

Essence of Memory IV

We see that she is rational, she comes from intelligence, she is also rational and delicate, she is not only grateful, but in his painting creation we see a kind of light sadness towards art, and he depicts It is not a historical scene, but some fragments of history, some modern impressions. Keep different pieces of unrelated things together to form a fragmented cultural landscape. This makes her paintings have a relatively broad form in space and time.

Well, in Gulistan, there is this quality in her paintings, so her paintings have a special elegance, and in terms of language style, her paintings have a kind of fresco, a kind of European fresco. This kind of strut seems to have a hazy feeling that the painting itself seems to have passed through this kind of history and time. She may be that her memory is always vague, she is not clear, her frescoes come from European traditions, such a texture. Therefore, her paintings are actually a dialogue with rich cultural connotations, so her paintings are more attractive than ordinary conceptual paintings. She has such emotions and colors that ordinary conceptual paintings do not have. kind of temperature. This is a unique style of hers and a creation of her personality.

王端廷

当代中国著名艺术评论家，西方美术史研究学者，中国艺术研究院研究生院美术系教授、研究生导师

Gulistan古丽斯坦首先是她绘画所表达的空间的非常辽阔的，把世界文化作为他创作的一个图象来源。世界各国的这种文化，还有一个不是画现实生活的一个艺术家，她是一个不生活在现实中的，一个生活在历史中的记忆中的艺术家。这个在女艺术家非常少见，因为女艺术家往往是感性的，特别是对有一些女性自身的生活，这个是跟女性画家的矛盾，她自己的心理感受，她的生活，以及她周边的世界。但是Gulistan古丽斯坦的作品，跟现实生活没有关系，她生活在一个历史的记忆中，因此她的大部分都是以记忆作为她的作品系列的这种这种记忆它是一个时间的维度，这个时间的维度跨度也非常大，我看这里头的图象，从罗马、中世纪，然后还有中国古代的这些艺术就是图象，都成为创作的来源。

记忆中的肖像－莫斯科的天空

我们看到，她是理性的，她来自智力，她也是理性的细腻，她不但有感激色彩，在他的绘画创作中我们看到了一种对艺术的一种淡淡的一种忧伤，而且他描绘的不是历史的场景，是历史的一些碎片，一些现代式的一些印象。把不同的碎片没有关联的东西留在一起，构成碎片式的文化景观。这个在使得她的绘画在空间上和时间上都有一个比较宽广的形式。

那么在Gulistan古丽斯坦这个里头她的画里面这个特质，所以她的画有一种特别的优雅，而且她的绘画从语言风格上来讲，她的色彩画面上有一种湿壁画，欧洲湿壁画的一种支杆，就是好像有一种画内本身就好像经过了这种历史、时间形成的朦胧的感觉。她可能是记忆永远是模糊的，她不是清晰的，她的湿壁画来自欧洲传统，这么一种质感。所以她的绘画，实际上她是一种丰富的文化内涵的一种对话，所以她的绘画是比一般的观念绘画耐看，她多了一般的观念绘画所没有的这种情感和色彩，和一种温度。这是她的一种特有的一种风格，也是她的个性化的一种创造。

Lv Hailin

Former president of the United Nations International Forum for women in New York, Former president of Asian women’s Association in Geneva, Goodwill ambassador of the International Alliance for peace and sustainable development

Gulistan’s paintings give people an infinite reverie, just like herself, fresh, elegant, beautiful, and a little sad. In this social environment where money is paramount, material desires are rampant, and beliefs are barren, it is really commendable to be able to preserve such a pure land that is both quiet and clean. Evaluating whether a person is strong or weak cannot be based solely on gender and appearance. Gulistan’s seemingly weak and watery appearance has a tough and strong heart that is not inferior to men, which I admire and respect. The artist expresses her concepts and perceptions of the world through her works, and people also learn about the artist through her works.

Memory of the portrait －Tower on red background

Most of Gulistan’s figure paintings are female heads, which are images in the memory that are vague and want to be preserved between the real and the imagined. The beauty of a person’s appearance is only a fleeting moment in the long history, and it is photos, videos and paintings that can retain that moment, and only paintings can show the author’s understanding and interpretation of the inner temperament of the characters, not just copying. The characters painted by Gulistan hide a strong story under the faint lines, and the benevolent sees the benevolent and the wise see the wisdom. The buildings painted by Gulistan only occupy one-third of the picture, and two-thirds are blue sky. Although it is a royal building with a large glazed tile roof, the author’s blurring expresses her ideas and feelings, that any artificial No matter how grand the architecture is, it will always be small compared to nature. This is the philosophy I see from this painting.

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 2012 in Taipei

Art Revolution Taipei 2012

Gulistan 2012 solo exhibition in National Taiwan Normal University -国立台湾师范大学

 Gulistan 2012 solo exhibition in National Taiwan Normal University

中国女艺术家Gulistan古丽斯坦国立台湾师范大学个展

记忆中的肖像 The memory of the portrait

Gulistan古丽斯坦的创作灵感不仅仅来自东方文化，它也来自许多其他文明 …以通向灵性、自由、创造性的纯正艺术，她作品中那种纯粹和优雅风格，是远处的一盏明灯…… Gulistan古丽斯坦创造出了一种既属于自己这个时代又“属于所有时代”的艺术作品。

Gulistan古丽斯坦的绘画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，承载着她对生命的体验和感悟，在记忆的尘埃中时隐时现，它们是她心象的呈现。

Gulistan古丽斯坦把自己融入画面，任由意念在流逝的时光中潆回，沉积为肌理与色彩的微妙变化，这变化最终蕴集为一个意念的时空。

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。

Gulistan古丽斯坦的画被赋予了生命一般，静静的停留在那里，似乎在等待着被发现……

Gulistan and her art

The paintings of Gulistan are unbounded by conventional painting techniques. Nor are they limited by popular themes or the codification of visual symbolism. She seem to travel unrestrained in a liberated realm. Her paintings, bearing her unique understanding of life, appear evanescent in the ashes of memory. They are the representation of the image of her mind.

Gulistan merges herself into her paiting, her thoughts swirling in the current of passing time, depositing into the subtle variations of texture and color.Thes transformations eventually gather as a space of thoughts. In this boundless space she gathers the fragments of memory,erasing the dust on them accumulated in time.She harkens to their silent utterances,and responds the them from the depth of her mind.Thus she collects in her paitings the emblems of memory made from time–frail yet steady, sensitive and meaningful, real and wonderous. Gulistan’s paiting dwell there quietly, as if endowed with life, as if waiting to be discovered….

Date&time:March 24~29,2012

Venue:National Taiwan Normal University

162,Heping East Road Section 1, Taipei, Taiwan

展览日期：2012年3月24－29日

展览地点：国立台湾师范大学106台北市大安区师大路1号

主办：国立台湾师范大学

美国亚洲文化学院

协办：首都师范大学

国际中国文化出版社

Gulistan 2012 solo exhibition in National Taiwan Normal University-国立台湾师范大学5

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.