Archive for February, 2007

The Soul Can Take Off

Monday, February 19th, 2007

The Soul Can Take Off—Gulistan talks about painting

by Gong Yunbiao

1

The title of this article is borrowed from a sentence in Gulistan’s poem, “The Shape of My Psyche.” In it, she wrote:

Humans cannot escape from the flower of transmigration
Woven by time and void.
But the soul can take off
Something about time
Something about void
About the void inside the soul of a human
Stay along side by side to construct “a series of musical notes”
Thus initiate the intensive quest of “existence”

That may be true: Art can only transfer the note to the people who are touched by art. Time and space exist and create meanings only for the soul of passion. To Gulistan, paintings and art is a medium to fly her soul.

In Gulistan’s paintings, everything seems disassembled and reassembled with her hand—ray, light and shade, hue, lines, images and composition seem to have no beginnings and endings, only belonging to the soul of time and space which spreads and expands and flies continuously.

2

Descartes said, “I think therefore I am.”

The world is made up of two distinct existences—spiritual and material. People are the subjects who can experience. The world, except the people themselves, is formed by what they observe. Thus, everyone has his own world, and thousands of people have thousands of worlds.

Gulistan has her own world—an elegant world. Excluding everything that is not elegant, the elegant world is the only one left for her.

Succeeding Descartes’ thought, Husserl wrote a book Phenomenology. In his book, he said, “because of my inner thinking about the object, the thought from me comes out, and the objects present different features for the different action put to it. If you could feel it, the object has the feeling; if you are imaginative, the object has the imaginary thought; if you are happy, the object is happy too; if you have the feeling of willingness, the object reveals the same thing.”

Gulistan is in the state being elegant all the time. What she has is elegant.

Having the possession of elegance is a huge fortune for her. If we borrow Descartes’ famous sentence, we can put it like this: Gulistan’s painting is elegant because it is Gulistan’s.

3

The essence of art comes back to the things that eyes can reach which reflects the subject and object of the vision. The essence of art reflects the true world, but this factuality is not the reoccurrence of the object but the expression of the subjects: not stressing the people who live but the world that people inhabit; and the worlds refer to the one that people experience in their mind and the other one outside which exists independently from people’s psychological world.

Gulistan, with the concerned look to life, observes, approaches, catches and discovers the essence of conscious world that inner world can experience. In her works “Transient Silence · Lighted sea”, “The Sun Above the Attic”, “Owls to the Far Away Music”, the piano and high-heeled shoes in “The Feature of Memory” and the body in “The Lost Memory” do not only express what she experiences inside but also the observations she gets from outside. This is the production in which she depicts “the existence” to show the development of time and the spirit of the storage after she refines and creates the meaning from the source material.

There is a sentence that people like to quote from the analysis of Heidegger to Van Gogh’s “Farmer’s Shoes”, namely, “After the existence hidden being lighted, the light which is a beautiful thing has been incorporated into the works. Beauty is a medium and by which the truth is revealed.”

4

Gulistan’s paintings have rhymes.

Reading her paintings is like reading a small poem with meter and rhyme that also contains lots of parallel structures; a poem is filled with pause and transition, and level and oblique. People can read them aloud with rhyme and tone. Her paintings present different shapes, like a harmony and polyphony of a series of notes and rhymes. They push the audience to read them again and again.

In Gulistan’s paintings, there is a violin standing alone, a small open and yellow book, two closed windows, and several people looking emotionless. When all these jump into your eyes, they form into a small poem, just like what Akhmatova wrote:

The clock on the table tells the coming of evening
A blank page is difficult to hold
Sponge tree sends out mild fragrance
A flamingo flies high in the moonlight
Tomorrow seems to have braids
I plait it into the moonlight
I am not blue again, looking outside from the window
At the sea, and sand mound

Poem needs imagination, so does art; but only when art is conveyed into the soul, can imagination be produced.

Wells used to comment on Cézanne: “Cézanne—imagination is the only realism in art. Only in this way can artistic works escape from the copy of nature and become an artistic form.” Cézanne summed up the source of artistic creation into: “We live in the center of the poems.”

Gulistan makes herself live in such a center of life.

5

“The Essence of Memory” is one of the series of works that Gulistan has created in recent years.

People’s consciousness sometimes sleeps in our thinking bank. Although it awaits us to wake it up, it is the only way to recognize Nature. To recover the memory may not be very direct and distinct, but it comes up in a vague inspiration. Obscurity is not a bad thing. Isn’t it a poem itself? It is a beauty, isn’t it?

Gulistan puts obscurity into the poem and experiences the essence of memory. Thus, obscurity is not only a vague thing but full of rich meanings. When I read the painting, I associate it sometimes with dominoes, evoking my imagination and new experience. But is an obscure image what a painter aims to express or avoids to express? Is obscurity the essence of memory or the maze designed for a definite purpose? All the puzzles arouse you to experience, imagine and analyze them again and again.

6

Last August I went to a gallery and saw Gulistan’s paintings on the wall: “The Note of Ground”, “The Music in the Air”, “The Call of the Beauty”, “Oriental Wandering”, and “Grey Scenery · Blues”.

I asked myself: Who are the paintings drawn for?

Perhaps nobody ever asked Gulistan such a question; neither did I.

But in my view, she doesn’t draw for herself or for others, but just does it naturally.

She must know someone will come to see her paintings, but even if she knows it, she may not do it for them. She draws continuously without stopping, not caring who comes or whether people come to see her paintings at all.

Durer said “Art is hidden in Nature”, which refers not only to the Natural world but to the commonality of the world. Nature in one sense refers to spring flowers and autumn moon, summer sun and winter snow; in another sense, it refers to the state in which one does things out of will. Painting can be done naturally following one’s sense. Painting is to painters a normal way of life. Life is a natural and artistic form which can be felt: The true feeling is a natural thing, and natural things can give people a sense of true feeling. Why bother with the question as to whom one paints for?

Bian Zhilin, a modern poet, wrote a small poem entitled “A Piece of Passage”:

You appreciate the scenery on the bridge
Someone looks at you from the buildings
Bright moon decorates your windows
You decorate the dream of others.

Someone takes you who enjoys the scenery as a piece of scenery; that bright moon that decorates your windows becomes a picture to decorate the dreams of others. Everything seems very natural. The role can be exchanged but you are still yourself. Just follow your way of doing things, without caring how others think.

7

The color on the painting is usually the subjective factor that painters express.

Yellow is Gulistan’s favorite color.

There is a question whether Gulistan is influenced by her supervisor, Shangyang, or whether she likes to change the style; apply yellow color and keep it until today. Shangyang used to say: “I choose yellow for its simplicity. The reason for the choice is, to some degree, that simplicity is much higher in quality than a complicated thing.”

I deeply agree with what Shangyang said. However, I can read more surreal secrets and dreams into Gulistan’s yellow color. This is the color she uses to isolate herself from the real world, turning to a subjective world of imagery which indicates the growth of life in a sense.

What is the color of the soul? Gulistan gives the answer as yellow. With the movement of her brushes, she produces more convincing pictures of space, one after another, which are full of animate dreams that wait for people to reveal them.

Someone asked Balthus: “Why do you paint?”

Balthus answered: “I paint as a prayer, because I am a Christian.”

That man asked again: “What is in the eyes of Christians?”

Balthus answered: “Still painting.”

If someone were to ask Gulistan the same question, I believe, her answer must be the same.

—Translated by Guo Jian

心灵可以放飞——古丽·斯坦绘画谈片

Monday, February 19th, 2007

龚 云 表

1

文章的题目就借自古丽·斯坦的一首诗。诗题《心象》。诗中她写道:

人类逃不出
时间和空间所编织的轮回之花
但是心灵可以放飞
关于时间,关于空间
关于人类的心灵空间
并列在一起形成“音符系列”
然后进行对“存在”的追问
…………

或许就是这样。艺术只对能够在心弦上引起震颤的人传递出音符。时间和空间只为心灵而“存在”,也只因心灵产生意义。于是,对于古丽·斯坦,绘画,艺术,便只是她心灵的一次又一次的放飞。

在古丽·斯坦的绘画里,仿佛一切都被分解,而又经她的手被重新组合——光线、明暗、色彩、线条、形象、构图……所有这些似乎都无所谓起始,也无所谓结束,只有属于心灵的时间和空间,在连续不断地流淌和扩展,在不停地放飞。

2

笛卡儿说:“我思故我在。”

世界由两种不同的实体构成——心灵和物质。人是经验的主体。人所在的世界除了自身之外,都是由他自己所观察的物质对象所构成。每个人都有他自己的世界。一千个人有一千个世界。

古丽·斯坦也有她自己的世界。她的世界是一个优雅的世界。她把一切“不雅”都摒弃在目光之外,剩下的便全是“优雅”。

继承笛卡尔衣钵的胡塞尔写了一部《现象学》。他在书中说:“内在于‘我思’的一种目光朝向客体,此目光从自我中不断涌流,依据不同的行为而具有不同的性质。如果你正在知觉,它是知觉的目光;如果你在虚构,它就是虚构的目光;如果你处于喜欢的情绪中,它就是喜欢的目光;如果你只有意愿,它就是意愿的目光,等等。”

古丽·斯坦始终让自己处在优雅的情状之中。于是,她所具有的,自然就是优雅的目光。

“优雅”,是古丽·斯坦所拥有的最大一笔财富。套用笛卡儿那句名言的格式,便是:“古丽·斯坦画,故优雅在。”

3

艺术的本质,是回到目光所及之处。即回到视觉主体和视觉对象,回到自然的本质,而视觉的焦点则始终指向现实世界的真实性。这种真实性,不是客体的再现,而是主观的表现;不但是“在者”,而且是“存在”。它是一个被内心体验过的世界,同时又确是一个实实在在的外部世界。

古丽·斯坦用一种对生命的注视方式,去接近、捕捉和发现被内心体验到的纯意识世界中最本质的所在。她的《瞬间宁静·被照亮的海》、《阁楼上的太阳》、《远送音乐的猫头鹰》、《记忆的性质》中的钢琴和高跟鞋、《丢失的记忆》中的人体……无一不是她内心体验和“视觉所及”的体现方式理解的物象。这是一种对物象的“存在方式”的摹写,这种“存在方式”,既有时间的接续,又有精神的蕴藏,更经过她心灵的过滤和提炼。

海德格尔对于凡高的油画《农鞋》的本体论分析中有一段常常被人们引用的文字,不妨让我再来引用一次——因为它对古丽·斯坦同样适用。海德格尔说:“自我藏匿的存在被照亮,这类光把它的光芒融进作品。被融进作品的光芒就是美的事物。美是一种方式,在其中,真理作为揭示产生了。”

4

古丽·斯坦的画是押韵的。

看古丽·斯坦的画,直如在读一首首骈俪排偶、顿挫平仄的小诗,朗朗上口,能够读出节奏和音韵。她的画,形态各异,却分明都是用一串串音符和韵脚构成的和声的复调,使和谐成为可能。它们在观者心中产生回声,激起人们反复吟诵的欲望。

在古丽·斯坦的画面上,那一把孤独地竖立着的凡陀林,一本打开着的纸页泛黄的小书,两扇被轻轻掩映的窗棂,几个闭着眼睛表情木然的脸庞……这一切都毫无阻隔地映入你的眼帘,但又不仅仅是这一切。悠然间,它们便会在你的心头组合成一首优雅的小诗,如同阿赫马托娃用她特有的纤细敏感的情思写出的诗句:

桌子上挂着晚间的时钟
空白的一页已难以挽回
金合欢发出尼斯的温馨
月色中一只火鸟在高飞
仿佛明天需要绣上辫子
我把发绺紧紧编入夜色
我不再抑郁,凭着窗俯视
大海,眺望着沙质的土坡
…………

诗歌需要想象。艺术同样需要想象。而只有把艺术交给心灵才会产生想象。威尔斯曾这样谈到塞尚:“塞尚——艺术中唯一的现实主义是想象。只有这样,作品才能逃脱对自然的抄袭而成为一种创造。”也因此,塞尚将艺术创作的出发点概括为:“我们生活在一种有形诗歌的核心。”

古丽·斯坦就始终让自己生活在这样的核心之中。

5

《记忆的性质》是古丽·斯坦近几年创作的几个系列作品中的一个。

人的意识往往沉睡在记忆的思维库里,尽管有些时候它的甦醒需要人们自身的提炼和引发,但它却是我们认知自然的必然途径。有时或许对于记忆的体验并不是那么直观清晰,有时又会以一种朦胧的灵感形式出现。但是朦胧又有什么不好?朦胧的本身不就是诗?!不就是美?!

古丽·斯坦将朦胧纳入画面,体验记忆的性质。这种朦胧并不是暧昧,而是耐人寻味的丰富。当我试着让目光进入画面,便发现这种朦胧的意象瞬间变成了我联想的 “多米诺骨牌”,它调动了我的想象,引发了我的体验。但是,这种朦胧的意象,究竟是画面所要表达的,抑或是对“表达”本身的掩饰和回避?究竟是记忆的性质原本就该是朦胧的意象,抑或是有意设置的“迷宫”,不由你不调动你的体验和想象,对它作出一次又一次不同的解读?

由此,我又注意到了古丽·斯坦在画面上留下的那一片片“空白”。

这些“空白”,为我们提供的依然是一种想象的体验。只是这是一种“别样的体验”。哲学家们将其称为“超验”。正是这种“超验”,让物象的不完善变得完善,不清晰变得清晰。我们看到的是“空白”,又抑或不是无限的可能?!需要的,只是观者对于自身思维意识和想象力的发挥。

6

去年8月的一天,我走进展厅。墙上挂着古丽·斯坦的绘画作品:《大地的音符》、《空气中的音乐》、《呼唤美丽》、《东方漫游》、《灰紫色的风景·忧郁》……

我心里忽然生出一个问题:这些画为谁而画?

也许从来没有人这样问过古丽·斯坦。我也并没有真的这样问她。

但我想,这些画,既不是为她自己而画,也不是为别人而画——画是自然涌现的。

古丽·斯坦当然知道会有人来看她的画。可是,知道有人看,未必就是有意画给别人看。她画画,不停地画画。既然画了,就不在乎别人看。当然,也不在乎别人不看。

丢勒说:“艺术深藏在自然中。”这里所说的“自然”,是“大自然”,也是“如其本然”。是“大自然”的春花秋月,夏日冬雪;也是“如其本然”的自然而然,从心所欲。既然画是“自然涌现”的,那么画画必然成为画家的一种自然的生活方式。而生活既是自然的,又是艺术的,那么便能体味到:真实的才是自然的,自然的才是真切的。又何必在乎自己到底是在为谁画画呢?

现代派诗人卞之琳有一首名为《断章》的小诗:

你站在桥上看风景
看风景人在楼上看你
明月装饰了你的窗子
你装饰了别人的梦

看风景的人被别人当风景看你,明月装饰了你的窗子成为了一幅画,也能连同你和你的窗子一起去装饰别人的梦。一切都是自然而然。角色可以互换,也可以倒置,但是你还是你。无关乎别人,只要顺其自然就好。

7

出现在画面上的色彩,通常只是作为画家心中的一个主观因素而呈显的。

古丽·斯坦喜欢黄色调。

不知是否受她导师尚扬的影响。尚扬的风格多变,但对黄色调的偏爱却保持至今。尚扬自己也说过:“我很看重用长长光波打动人感官的黄色。于是,我采用了这种较为单纯的黄色调。我偏爱单纯的表现,在某种意义上,单纯比复杂品位更高。”

我深以为然。但是我更在古丽·斯坦的黄色调中看到了一种超现实的神秘和梦幻。这是她疏离现实世界,转向主观意象,以一种象征性的表述方式喻示生命成长的心灵色彩。

什么是心灵的色彩?古丽·斯坦有自己的回答。她选择了黄色调,并且随着她笔端的移动作出了令人信服的表达,营造出一个又一个充满生命力的梦幻的神妙的空间,等待着人们去揭开一层又一层面纱。

8

曾经有人问巴尔蒂斯:“你为什么要画画?”

巴尔蒂斯答道:“我的绘画是一种祈祷,因为我是一个信徒。”

那人又问:“那么,祈祷者的视觉表现是什么?”

巴尔蒂斯又答道:“仍然是绘画。”

如果有人同样问古丽·斯坦,那么我相信,她一定也是这样回答。

—2007年立春于上海

Floating Images

Monday, February 19th, 2007

by Stone

Numerous wise philosophers are concerned about the present time in which the material world demonstrates a super-authentic quality and flaunting adjacent distances with narcissism from which the perspective for the poetry of vision and soul is nowhere to be found.

However, Gulistan presents an abstract world transcending secular life and explores a space of cruising vision and expecting soul with the images in her paintings. Such images, which cannot be achieved with mechanical methods, are like floating above one’s soul.

In her works, there is no shock of “cruel youth” or strategy of “videoed existence”. Not self-expressionist like slogans and unrelated to bitter wandering or self-exile, her painted works are filled with faint colors, vague images, gleaming lines and unconscious or occasional traces, which are separated from the hilarious reality and naked ideas with a big gap, being as if an old memory is flashing in one’s mind.

No matter how old she becomes, perhaps there will always be a nook in her heart for the moment when she entered dance school as a child. Outside the window the sun is shining in her hometown Sinkiang, with notes flowing in the air and a giant piano arrogantly occupying a corner. In the training room, she practices stretching, further and further day after day as if floating above water.

Such experience in her childhood constructed the imagery of Gulistan’s spiritual homestead, which embraces the objects of nature, poetry, love and meditation. Such a spiritual homestead becomes the spiritual mother of themes which, later on, she encounters or intentionally catches on the blank canvas from time to time. Each of her works is produced with “the impulse to seek her homestead by such nostalgia”. Free stretching was replaced by the oil painting brush: with the brush, she is tentatively exploring a world of mystery, hoping to meet divinities to find solace for a fragile soul.

Therefore, Gulistan is infatuated with the sensory world and beauty, pondering on her growing of song, dance and music and missing and cherishing the memory of the primitive state of body and mind. However, Gulistan feels a tension from the imbalanced living space in the metropolis, where excess pursuit of wealth and speed are prevalent. A tensile force is created by the contradiction between spiritual needs and physical reality. Instead of propelling her passively to cancel her “present” position to merely call on the memory of the transient and finite past, the tension serves as an activator for blending her “memory” and current experience of existence and make them flourish.

In the series of Where Are We Going, Gulistan calls on the dancing shoes from her memory. The pompous style and decoration of the shoes seem to originate from the Western European singing and dancing opera which she used to watch and still fancies. The image of the dancing shoes not only arouses the poetry of the line “In festivals, brown-colored women are walking on the splendid ground…” but also poses the classical questions: “Who are we?” “Where are we from?” “Where are we going?”. Such cultural reflections, which also belong to the global age of consumption, imply Gulistan’s anxiety for the vagrancy of culture. Mottled texture of paintings, traces of unrepeatable encounters, spots and lines like letters, are all her personal possessions. Generated from the bottom of her heart, the symbols, like notes, constitute her unique language system. Different from the stand of aestheticism that art and life absolutely conflict with each other, Gulistan manages to avoid being hurt by the captivating illusionary scenes and “rhymes” blemished by malicious intention with her elegant narrative rhetoric, meanwhile keeping a secret passage for the soul pervading anywhere.

The Essence of Memory, Contemplating the Middle Ages and About Time are Gulistan’s important painting series. These serially published paper works, emerging in the electronic world where hand-written letters have passed on, are a delicate metaphor by themselves. The presence of paper brings a sense of mystery: with creased paper or paper books of plural forms in hand, one feels the void in the gloom light. In the Contemplating the Middle Ages series, there is also an illusion of a Gothic church and the vague creased gowns of monks. The revelation and meaning are similar to that of a religion, which she indicates is like a myth in dreams and illusions. It is not difficult to trace these pages and the sculpting and rhyme of hands back to the works of masters in the earlier Renaissance such as Giotto and Francesco. In terms of the origin of the drawing style “vagueness and reality mutually exist, traceless lines make marvelous spots”, it can be found in the Chinese traditional art. The series Nuwa’s Dress and The Latest Works are filled with fascinating images such as clubs on broken branches, blue-flowered porcelains, paintings of legislators with traditional themes, folk vessels, murals and myths in regions such as Sinkiang and Dunhuang. These numerous and complicated images are merely the encounters in her unfettered spiritual travel. Only when they are understood with the elegance of her deeply rooted culture considered, can these images become so sensitive and charming.

Just like her mixed bloodline of Uyghur and Han nationalities, the bloodline of the images in Gulistan’s painted works are mingled, with each image being freely applied. Gulistan travels among symbols of different cultures. Just like playing a game, she apprehends and juxtaposes these symbols at will. The personal taste faintly revealed in her works illustrates her exclaiming curiosity and innocence about the world. She is intoxicated with the soundless dance on the canvas, modest and low-profile. The floating images are but a hint, “…moreover, since the ancient times, the languages of the gods have been hints”.

Translated by Gao Liqun

浮动的形象

Monday, February 19th, 2007

石头

无数有智慧的哲人在为现今这个时代忧虑,因为这个物的世界自恋狂般的展示超级真实的质感,炫耀切近的距离,视觉与心灵的诗意栖居之所已无处找寻了。

古丽·斯坦却用她的绘画作品捕捉了机械手段无法呈现的形象,这些形象宛如浮动于心灵之上,表达了超越于日常生活之上的抽象世界,开辟了视觉游弋、心灵期待的空间。

她的作品中,没有“青春残酷”的震颤,没有“影像化生存”的策略。她的作品不是口号式的自我表现,与苦涩的彷徨、自我放逐也没有关系。在她的作品中,幽微的淡淡色彩、暧昧模糊的形象,若隐若现的勾线,无意或偶然的痕迹,与热闹的现实以及赤裸裸的表象之间,隔着一个悠远的距离,仿佛一段浮现的记忆。

也许,不管她的年龄增长了多少,总有一处内心的空间永远留给她童年进舞蹈学校的那一刻。窗外是她歌舞阳光的新疆故乡,空气中流淌着音符,巨大的钢琴傲慢的踞于一隅。练功房里,日复一日,她向更深、更远处伸展肢体,像是漂浮于水上。

这个童年体验构筑了古丽·斯坦精神家园的意象,在其中,包含了自然之神、诗意、爱和冥思的对象,成为日后,她在画布的虚空中一再有意捕捉或无意邂逅的精神母题。日后的每张创作,都是怀着这种 “乡愁的冲动寻找家园”。油画笔取代了自由伸展的肢体,她向一个神秘的世界试探着伸出画笔,以期能够触碰到神灵,抚慰孱弱的心灵。

所以,她迷恋感性世界和美,回味歌、舞、音乐的成长,怀念身心统一的本真状态。但是,大都市的过分追求效益与速度而失重的生存空间给了古丽·斯坦挤迫的压力。心灵需求与外部现实之间的矛盾产生了复杂的张力。这种张力并不是消极的驱使她取消“现在”的位置,仅仅对已逝去的、短暂美好的过去怀旧。反而在这个张力的推动下,她的那些“记忆”与当下的生存体验奇异的交融,蓬勃的生长起来。

在《我们要去哪里的》系列作品中,舞鞋被从她的生活记忆里呼唤出来,而舞鞋华丽的式样以及装饰似乎又来源于她刚刚看过,却又意犹未尽的西欧歌舞剧。舞鞋的形象不仅仅唤起了“节日里,棕色的女人在行走,在锦绣的大地上……”1的诗意,同时也发出了那句经典的提问:“我们是谁?我们从哪里来?我们要到哪里去?”。这个同样属于全球化消费时代的文化反思,也隐喻了古丽·斯坦对文化漂泊流浪的焦灼忧虑。斑驳的画面肌理,不可重复的偶遇的痕迹,书写似的点、线,是完全属于她个人的,生发于心灵的这些音符一样的符号构筑了她的独特的语言系统。不同于制造艺术与生活绝然对立的唯美主张,通过优雅的叙事修辞,她使自己免予受到迷乱的虚幻景象、被恶意败坏的“灵韵”的伤害。也为四处蔓延的心灵留出了“返乡”的暗道。

《记忆的性质》、《向中世纪致敬》、《有关时间的作品》是古丽·斯坦重要的作品系列。这些一再有书籍纸张出场的系列作品,安静的出现在这个文字世界失落的电子现实中,本身仿佛就是一个精致的隐喻。纸的出场带来一种神秘的气息。手执有折痕的纸或复数形式的纸(书籍),在幽微的光线里凌空虚悬于迷蒙的虚空中。《向中世纪致敬》系列作品中同时还出现了中世纪哥特式教堂的幻影与虚悬的僧侣的多皱折的宽袍。她想要暗示的类宗教般的启示与奥义,像一个隐于梦幻中的谜。但是不难追溯这些书页与手的造型韵味与乔托、弗朗切斯卡等早期文艺复兴大师的渊源。而“虚实相生,无画处皆成妙境”2的图式特点,可以在中国传统艺术中找到她的修辞学的起源。《女娲之服》、《摆设系列》等系列作品中的形象又浮现着折枝梅花、青花瓷器、文人画传统题材、民间器物、新疆、敦煌等地区的壁画、神话……等的旨趣。这些纷繁的形象只是她四海无疆精神游历的邂逅,链接到她个人文化根性的优雅,所以如此敏感、美丽。

一如她的维、汉两族交融的血统,古丽·斯坦作品中形象的血缘是混杂的,形象的使用是自由的,她游历于不同文化的符号之间,将其自由的挪用、并置,像做一个游戏。她的作品中淡淡流露的纤细的个人触觉,显示了她对这个世界令人惊叹的好奇与天真,所以,她醉心于画布上无声的舞蹈,质朴内敛,浮动的形象只是一个暗示 “……而且,自古以来,诸神的语言就是暗示”3

2007年2月于京北

1 德·海德格尔《荷尔德林诗的阐释》孙周兴 译 商务印书馆2000年12月
2 清·笪重光 《画荃》
3 德·海德格尔《荷尔德林诗的阐释》孙周兴 译 商务印书馆2000年12月