GULISTAN 2016 IN BEIJING 让艺术照进生活 Lighten Life With Art

April 2nd, 2016

Gulistan古丽斯坦

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美国亚洲文化学院的报道: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’s inspiration comes from not only eastern tradition but also from many other cultures. As a free spirited creative artist, she creates her artworks with pure artistic focus and an elegance which suggests warm light shining from afar. Gulistan creates an unusual body of work that is contemporary but is also timeles. She is not restricted by traditional styles and skills nor by populist contemporary topics or a reductive visual symbolism. Her works are beyond boundaries, created with deep conviction, they encapsulate her understanding of life and are a metaphor for the self. Travelling through time Gulistan insinuates both herself and her individual colour palette into her works thus creating very special moments in time. These moments in are delicate yet tenacious, true and refined, charged with energy, waiting quietly to be discovered.

作者Gulistan古丽斯坦品名称《品-花语》A Taste of the Flower 年代:2006 材质:布面油画Oil on Canvas 尺寸:107x140cm

 

绘画是她的表达方式:一场精神的凝望

Gulistan古丽斯坦与生俱来的艺术天赋与神秘血统的她,有着独特的审美与创作语言,可以说是一位真正意义上的美麗智慧型的艺术家,受过全面良好的艺术教育,有着丰富的内蕴。她的绘画犹如她如诗般的气质,空灵自由而意蕴深长,有宋词的意境,混合欧洲文化的韵味,可以在恬淡的色彩与朴素的图式中与任何的生命对话,作品中流露出音乐性和诗性。她的画空灵而纯净,笔触飘逸而柔和,富有诗意,徜徉其中,使你的心不自觉的就会跟着她的画笔一起澎湃。她的画更像是一种媒介,在画中你可以和任何人对话,你可以从一个全新的视角重新认识这个世界。总觉得坠入她画中世界的这段时间,就像是赴了一场弥足珍贵的生命盛宴。我时常觉得她的画光用眼睛看是远远不够的,她的画中仿佛总有一道光,指引着你去找寻那条通往心灵深处的道路,也唯有真正用心灵去品味方能到达这一专属于心灵的仙境,一片心灵的宁静之地。

Painting is Gulistan’s way of communicating; her artistic talent and exotic heritage renders her gaze and her taste uniquely beautiful. She is a genuine combination of intellect and aesthetic the result of education and experience – her paintings are like herself, profound and spare. The colours and patterns have universal appeal and the artworks evince a delicate and spiritual feeling drawing the viewer through a journey of realisation, they present the world from a unique perspective. I frequently feel that one cannot fully comprehend Gulistan’s paintings merely using one’s eyes, but rather, one should look at them one’s heart in order to finally understand the stillness at their core.

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她的画中有静的一面,亦有动的一面。在她的《海顿的钢琴与古丽的椅子》、《关于时间的传说》和《记忆的性质》系列作品中,仿佛住着一个天马行空的顽童,她将带着你穿越时空的界限,在时间的灰烬中驰骋,带你飞上艺术瑰丽的云端,去呼吸沉淀在画布上的自由的气息。看着她的画,散落的记忆在这一刻凝聚,一个个记忆中的画面也在我们的脑海中相互碰撞着,交织着,留下的是一道道生命的痕迹。无数条记忆的河流流过这些画,感动也在这一刻蔓延开来,感觉好像被一种无法言语的美丽包裹着。你在她的作品中可以感觉到乔托、弗朗切斯卡、荷尔拜因等大师那种信仰的痕迹,她是带着圣徒的信仰去画的,是她精神的凝望的写照。东方的审美崇尚意境,意境是需要空间、需要呼吸的,它流动而有生命力。她把这种东西融入到她的绘画中,让它更单纯、更准确、更本质。在光线不一样的时候,你会发现,那些画隐隐地往外显现,有种有生命的感觉。在她的画中“人类对于精神的凝望”,可以说是古丽斯坦绘画中一以贯之的主题。

Her work is both tranquil and moving. In the series Hayden’s Piano and Guli’s Chair , The Tales ofTime, and The essence of Time, one can feel the artist’s untrammelled spirit radiating from the surface as though an angel guides the viewer through time to witness the beauty of art from on high. Viewing her work reminds us of our past and the imprints this leaves, the paintings stir and overwhelm you, then wrap you in warmth. One can see the traces of Giotto, Francesca, and Holbein, Gulistan paints as a pious follower, with whole heartedness and devotion, yet she still leaves space in her paintings so they can breathe. Her works are floating, dynamic and throughout one can see the motif of ‘human spirituality’.

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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。引用一段Gulistan古丽斯坦2012台北的个展,台湾的媒体的报道:Gulistan古丽斯坦她的诗意笔触,拯救了浮燥之心。在这个电子世界中,视觉与心灵的诗意栖居之所已无处寻找了,Gulistan古丽斯坦却用她的绘画作品捕捉了这种难以言传的诗意。在她的作品中,幽微的淡淡色彩、模糊的形象,若隐若现的勾线,就好象种种记忆,层层渲染过,又部分被抹涂过。她的重要作品系列如《关于时间的传说》、《记忆中的肖像》、《漫游欧洲》等,都洋溢着一股静气,仿佛就是一个精致的隐喻,神秘如宗教,拯救了这个世界找不到家园的浮燥之心。

Art can only move those who allow themselves to be moved. According to a report by Taiwanese media on Gulistan’s solo exhibition in Taipei: Gulistan uses her visual poetry to save heedless souls. In this world so filled with electronics, it is rare to find a rest place for the sight and the soul, yet Gulistan captures the viewer with her passion. Her influential works such as The Tales of Time, Memory of the portrait, and Wandering in Europe, etc, all express this inner calm which gives repose to the viewer.

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著名的策展人尚辉先生这样评价Gulistan古丽斯坦: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和温度……那悠悠的逝去的时光,才是她想真正揭示的世界。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。

Famous curator Hui Shang comments that Gulistan “differs from most artists who are fond of depicting reality by focusing on portraying the past with nostalgia. She is not trying to describe a certain image or event in the past, but rather try to depict their warmth and distance. What she really wants to portray is the passage of time, Gulistan’s work is all about fading colors and the past that is not retraceable. For the artist, even the most profound thoughts and wise opinions cannot be compared with the colour tones which bring her so much excitement. Gulistan’s work is not about what she paints, but rather the nostalgic and warm feelings which the past evokes in us.”

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著名的艺术批评家陶咏白先生评价Gulistan古丽斯坦的绘画:她创作中的记忆中的肖像系列,记忆的性质系列是为了凝望精神,所有的物随时间消逝,唯有精神永恒,她的绘画投射出那种对神的敬仰和纯粹的圣洁,内容里包含的是精神的永恒,她的画在时间和空间穿梭来放飞自己的心灵。她从经验的生命体现飞跃到神性的生命体现,爱因斯坦曾经说过:一个科学家,一个艺术家最重要的是看她用没有神性的生命体现,只有有了神性的生命体现她才能成为正真的科学家和艺术家。

Celebrated art critic Yongbai Tao once said about Gulistan’s paintings that : “her works have a soul of their own. Everything fades with time, but their spirits remain immortal. That piety and purity reflected from her works are immortal. Her works transcend daily objects and become spiritual. even god-like. Einstein once said that the most important thing is to see whether a scientist, an artist, has the divinity of life. Only with that divinity can the artist become truly brilliant.   “Imagination is more important than knowledge. Knowledge is limited; imagination encircles the world.”

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 著名油画艺术家尚扬先生评价Gulistan古丽斯坦的绘画:Gulistan古丽斯坦的很多绘画从远处看是很模糊的,但走近看以后它里面的内容非常清晰,你离开它以后可以说这种刻痕就刻在你的心里,这不是简单的用明确的线条所能表达出来的,Gulistan古丽斯坦用她柔约的细腻的心灵刻画的非常聪慧,颜色是用的很少,笔痕用的很少,但留下的记忆却很深刻……

The respected painter Yang Shang comments on Gulistan’s paintings saying that:” many of her work are blurred when viewed from afar but very clear when examined closely. Her works, even though they have very few colors, very few lines, affect you and have great impact.”

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Gulistan古丽斯坦的艺术创作里有很大的部分是她个人的生命与艺术的对话关系。除了绘画、旅行和电影,音乐和诗歌是Gulistan古丽斯坦人生中的不可缺少的一部分。她认为,绘画是思想沉淀后的产物;而音乐与诗歌更感性、更灵动、更直接。因此她大量从音乐和诗歌中汲取营养,滋润内心,以获得理性和感性的平衡。Gulistan古丽斯坦有一首名为《心象》的诗,她写到:我试图用我的绘画表达,但却不尽能够,需要音乐和诗歌注入它更多的灵魂旋律, 我在自己的生活和艺术中寻找——寻找—— 我在寻找驱使我进行的心灵旅行。人们都将艺术视作心灵的图象,Gulistan古丽斯坦绘画艺术反映了她多方面的精神经历,丰富多元的精神生活和她所接受的多方面的艺术素养。

Gulistan’s process of creation incorporates many of her own discourses about life and art. Other than painting, traveling, and watching movies, music and poetry is integral to her life. She believes that painting is the aftermath of thought and music and poetry are more free spirited and more direct. Therefore, she acquires much inspiration and nourishment from music and poetry in order to reach the balance between senses and feelings. Gulistan wrote a poem named The Imprint of Heart in which she writes: “I try to describe with my paintings, but I can’t. I need more music and poetry to give my soul to my work. I search, I wander in my own life and amongst the arts, and I am looking for my motivations in this journey of soul. People see art as the visualisation of the soul and Gulistan portrays several aspects of her soul in her work.

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Gulistan古丽斯坦之前有过很多关于“记忆”题材的系列作品,在谈到创作灵感时她说 “我用绘画完成《记忆的性质》记忆是人们相会的一种形式,艺术应该是帮助人们牵动一些记忆的思考,那些记忆中的气息,痕迹,空间,人类的心灵空间,记忆联系着我们的意识和经历。我一直关注时间、记忆、空间三个方面的问题,因为感觉时间和空间像经纬一样,能帮人们找到那个点,那个线索,人类逃不出时间和空间所编结的轮回之花,但是心灵可以放飞。我在自己的生活和艺术中寻找,我通过绘画、音乐、诗歌表达着,在这个变幻的空间里,用我的心灵去寻找智慧,这是我心灵力量的源泉。”随着时间的逝去,记忆变成一种追随。在Gulistan古丽斯坦的作品中记忆、时间,空间又是跨时空的、交叉的,它们都好像是穿插的、跨越时空的,就慢慢形成了她的《记忆的性质》系列。

Gulistan has explored the theme of memory in many of her artworks. When talking about creativity, she says, “I use art to bring people together. They connect us to remembrance and to realization. I always focus on three aspects: time, memory and space because I feel like that time and space is just like the latitude and longitude- we can always find the point using them. We cannot escape the lines as human beings, but our souls can. And I am looking for my escape through art.” As time fades, memory becomes another form of following. In Gulistan’s works, times and spaces come together, crossing each other constantly and are presented in her series of works The Essence of Time.

作者Gulistan古丽斯坦 作品名称《记忆的性质》Essence of Memony 系列 年代:2006 材质:布面油画Oil on Canvas 尺寸:35x27cm

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。是她从个人的故事里钩沉的消褪在时间里的人类文明记忆。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、壁画等图形元素,而且汲取了早期文艺复兴湿壁画的绘制技艺,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。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。她的作品呈现着绘画的过程,又永远处在过程之中,它们被赋予了生命一般,在唤醒我记忆中的经验,也在唤醒我去倾听内心最真实的召唤。抚摸着心灵自由纯粹的表达,再以静谧的姿态流进灵魂,画作始终流露出深邃的情绪,画面静的仿佛能听到自己与画面的对话,这种心境不是简单的怀旧感,而是对那些经过时间过滤的生命历程的审视。画面追求的是一种个人独有的精神气质,凝练,质朴,自由,冥想,空灵,内敛,是一个自由的灵魂所释放出来的气息,即无所不在,又难以找到具体的形式与载体,但又意味深长,是她心灵的图像。

Gulistan paints everything that deserves to be remembered, whether it is a reflection of her own youth or the once prosperous ancient civilizations. Her works depict ideas that far exceed her own life experience. Unlike many modern artists who seek post modernism, Gulistan tries to avoid digitalized pictures and so, to recall the past, her drawings refer back to the classical period. Her paintings not only incorporate elements from medieval European architecture and mosaic, but also encompass skills used in early Renaissance’s frescos. Without memory, life and history are forgotten, without any nostalgia or appreciation so Gulistan aims to evoke among viewers a respect for the past. Her paintings are always profoundly emotional, a monologue, with many human qualities: freedom, meditation and free spiritedness.

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创作本身是生命潜能的发现

Gulistan古丽斯坦说音乐是除了绘画在我生命中很重要的一部分,音乐的属性是生命,关于音乐,所有的艺术都在不断地向着音乐的境界努力,它比绘画更加的难以捉摸。舞蹈的激情是流畅的,绘画是留下来得物质,在洗涤和沉淀之后。音乐能震撼我们的心灵,音乐只能用音乐的术语来讨论,音乐有它的独特效力,它在某种特定的环境下可以在极其短暂的时间把一个人的灵魂送上天堂。爵士乐是她即兴灵感的来源,巴赫音乐圣洁的灵魂是她的精神路线,拉威尔的钢琴独奏使她灵感的海波变得明亮,她把这些感受采集起来,来完成她的绘画作品,绘画找到了那被照亮的线索-绘画的美丽理由。流动变为凝滞,短暂变为永恒的同时,是一种时间的形态转化为空间的形态,记忆的体验和沉淀引领她进入—进入—就形成了画面的氛围……

Creativity is a discovery of human potential

Gulistan says that “music is a very important element in my life, apart from art. Music is more difficult to understand than art. Dance is transient, painting can leave physical results, only music is untouchable and yet can move human beings to tears. Jazz is Gulistan’s muse. Bach’s music brings her devotion, Ravel’s piano brings her waves of emotion, and she combines all these responses when creating her paintings. Therefore her work gathers all these elements into one single moment, which then becomes eternal.

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艺术并不是呈现可见的东西,而是把不可见的东西呈现出来,它可以通过一种轻松的方式让我们来了解我们自己,它表达的就是个人的情感,给艺术家音乐家自由和力量让他们发出自己的声音,但是要求更多的个人以外的东西积累,它总是处于改变之中,他旋转着,移动着,在时间和空间中运动着,寻找着被照亮的的线索,寻找“情节”背后的蕴涵,在寻找和我们自己的生命息息相关的某种“真谛” 去寻找自己灵魂的旋律,在音乐旋律中她能深切的感受到“心灵的呼吸”……

Art is not to show things we can see, but rather to depict things we cannot see. It enables viewers to become more introspective. Art is always at change, between times and spaces, looking for the enlightened traces, and looking for our souls.Art does not exist to show things we can see, but rather to depict things we cannot see. It enables viewers to become more introspective. Art is always about interchange, between times and spaces, looking for the traces of enlightenment and looking for our souls.

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建筑就是凝固的音乐,建筑是立体的诗

我们在Gulistan古丽斯坦的《欧洲的漫游》系列中看到很多有关建筑的作品,Gulistan古丽斯坦认为建筑就是凝固的音乐,建筑是立体的诗,建筑是存放躯体的地方,诗是存放人灵魂的地方,好的建筑本身就寄托了人的灵魂,是艺术,是诗,诗进入我们的心灵影响着我们的生活,建筑可以营造诗的意境,文化就像阳光,空气,水一样,是人的生命中不可缺少的,而且也只有文化的东西才能深入我们的骨髓,影响我们的生活方式,是人灵魂得以生存的必要条件。Gulistan古丽斯坦游移于绘画,音乐之间,她描绘着那不知疲倦的音乐的心,她在古典音乐中找到了安静,在爵士乐中找到了自由,她希望心灵的自由能走的更远,音乐温暖着她的心,敏感的琴旋温暖的弹拨着,灵感一片金黄,她把自己的生命用艺术的方式去完成。

Architecture is music made flesh, a three dimensional poem

We see many works of architectures in Gulistan’s Wandering in Europe series. The artist believes that architecture is musicmade flesh, a three dimensional poem. She believes that architectures houses poems, and poems house souls. Great architecture creates a poetic environment, essential to the creation of civilization and culture. Gulistan wanders between paintings and music, portraying her endlessly searching nature. Music soothes her heart and spreads warmth in her soul, which she tries to describe in her work.

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   在Gulistan古丽斯坦的世界中,绘画是她的表达方式,音乐和诗歌是她的情感,电影、建筑是她的视野,旅行是她的自我反思,彼此交错而又融合……

In Gulistan’s world, art is her way of communication. Music and poems engage her emotions, movies and architecture broaden her horizons and traveling is her process of introspection. All these elements are essential for her in becoming an artist.

 

 

Gulistan古丽斯坦绘画艺术的生命意义   上海交通大学欧洲文化高等研究院/巴黎欧亚研究院生命艺术现象学研究中心

高宣扬

一、Gulistan古丽斯坦的艺术生命的特殊性

艺术家的创作精神及其创作风格是艺术家本身的生活命运及其艺术经验的体现。Gulistan古丽斯坦的生活历程和她所遭遇的特殊命运,为她提供了得天独厚的优越条件而造就了她珍贵的艺术生命,同时也决定了她所固有的艺术风格。

法国现代性作家兼诗人波德莱尔(CharlesBaudelaire)在评论雨果的艺术作品时说:“我在艺术沙龙画展中,只是在维克多·雨果的绘画作品,特别是他应用中国水墨而创作的作品中,发现任何别的艺术家所没有的那种才华横溢的风格:具有生命力的作品流淌着活灵活现的想象力的运作流程,就好像把天上隐含的神秘景象重新呈现在绘画中”。

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Gulistan古丽斯坦的作品如同波德莱尔所说,“流淌着活灵活现的想象力的运作流程,就好像把天上隐含的神秘景象重新呈现在绘画中”,具有强大的诱惑力,将观赏者导入动人的韵琴悠扬的童话世界,并在那里品尝可以随时缓缓转化的审美快感。其实,真正的艺术作品,不应该是固定不变的形式结构,它应该包含丰富的反思性和再生产能力,浓缩着艺术家心胸中始终运动着的内在灵魂,同时又展示艺术家心潮起伏的情感波涛,并以艺术家特有的风格表达他的 生命意志及其审美欲望。艺术家的所有活跃的创作情感,就应该像萤火虫的闪闪荧光,既温暖了观赏者,引发他们的再生产的想象力,又能够激荡人们的超越情感,试图探索新的可能世界。对于一位至诚投入的观赏者来说,面对Gulistan古丽斯坦的作品,就会不由自主地沉溺于沁心温柔的韵律世界中,在艺术品迸发出来的动人旋律的伴奏中,悠悠然往来于过去现在未来的多维度时空之中。

一位艺术家要善于把自己的情感意志融贯入创作运动中,同时还要善于通过熟练而奇妙的艺术技巧,包括机敏地运用特殊的绘画语言,使作品成为自身内在情感的结晶 体,使之随时可以与他人对话,同时又频频复生和更新。这样一来,艺术家的生命力就融贯于他的艺术作品中,他的作品也因此而获得可以永远复生的生命力。

Gulistan古丽斯坦以认真严肃的态度进行创作,长期刻苦地磨练自己的艺术基本功,并用心地把自己的理想和情感引导画笔,将创作中的兴致意念细腻地融化在画笔的运作中。所以,Gulistan古丽斯坦的艺术很自然地与她本人的身心优美相结合,又深深地隐含着她本人的个性,致使她的作品浓缩地象征着轻柔的生活舞姿,随时可以在观赏者面前以独有的神态重新翩翩起舞。

叔本华认为,唯有艺术,才可以引导人,走出纯粹只为认识服务、却又误导认识的虚幻的表象世界;唯有通过艺术才能变虚幻的表象为对世界的直观,超然于对象本身以及对对象的各种关系,使自己浸沉于审美的愉悦,并因而将人脱离悲观苦闷的状态,以愉悦的态度和精神状态,享受真正的幸福生活。观看Gulistan古丽斯坦的每一个作品,可以给予人赏心悦目的感觉,释放心中累积的烦恼和精神压抑,就好像亚里士多德说悲剧可以通过人们流淌的眼泪而冲洗掉心中的污垢那样。

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二、Gulistan古丽斯坦的艺术语言的特殊性

Gulistan古丽斯坦的艺术生涯充满着神奇的情节和故事。Gulistan古丽斯坦的生活境遇,不但这造就了她独特的艺术,而且也淬炼出她的特殊的艺术语言。我们说艺术的生命性,并不是抽象的。艺术的生命性是很具体的,甚至是非常微观精细的。首先当然指艺术中隐含的生命运动及其活力,但同时也指艺术中呈现的特殊风格,也指艺术中使用的语言。

艺术家在作品中渗透着自己的生命风格。真正成功的艺术家都是形成自身生命风格的人。什么是风格?风格是艺术家自身生命在其艺术作品中的直接流露;它以无形的 氛围和精神力量,表达出艺术家创作的生机和情趣,是艺术家的灵魂的直接体现。但另一方面,由于艺术作品免不了都要借助于语言来表达,所以,所谓风格,实际上又是艺术语言的多样化游戏。艺术语言是一种无声的和形象的语言,曲折地表现在艺术作品的每一个细节中,也体现在艺术作品的整体结构中。艺术家往往是杰出的诗人,他们的精神世界乃是诗的海洋。正因为这样,将艺术家、诗人、思想家三位一体的中国清初画家石涛曾在一幅画上留下惊人的跋:“画到无声,何敢题句”。在石涛等人那里,艺术语言已经成为他们对氤氲流荡生命的至诚钟爱之盛情的自然流露。

奇妙的艺术语言具有引而不发的特征。这在Gulistan古丽斯坦的作品中尤其明显。艺术语言不同于正常的日常语言,它并不靠有声的或可见的形式,也不靠有规则的象征体系,而是由灵活的艺术技巧加以运作,以审美的韵律悠然舞动于作品中,融化在作品的各个部分,却又活跃地纵横交错在艺术作品的整体结构中。所以,艺术语言不仅不同于日常语言,甚至在不同的艺术家之间,也使用各自不同的艺术语言。这也就是说,艺术语言不像日常语言那样,过分强调语言的通用性和统一规则性。艺术语言偏于特殊性和独特性,它是以不同的艺术家的创作风格而异;不同的艺术家使用自己不同的艺术语言,他们的各自不同的艺术语言表现了他们不同的艺术生命及其特殊风格。在这个意义上说,艺术家要善于使自己的艺术生命及其风格渗透到他所使用的艺术语言,使自己的艺术品形成大家所认同的特殊性。

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Gulistan古丽斯坦善于使用自己的艺术语言表达埋伏在作品中的意蕴深长的意境,巧妙地将掺入程度不同的音乐性和诗性,使用富有弹性的飘逸柔和的笔触,阐发她的生命情趣和理想。

由此可见,风格与语言的关联性往往掩盖了两者之间的微妙差异性及其穿插性。在Gulistan古丽斯坦那里,风格与语言的关系并不是直接的,而是通过许多复杂的中介因素,曲折地在语言结构中表现出来。罗兰·巴特说过:“作家的风格固然通过语言表现出来,但风格本身并非语言。更确切地说,风格是通过语言表达,但风格不等于语言。任何作家如果满足于使用语言,那他还不是好作家。好的作家必须善于通过语言,但并不停留在语言上,而是在语言之外表现他的风格。语言是任何人都可以使用的。作家的特点是不仅仅使用语言,而且是巧妙地使用语言之外的各种‘中性的语言’,也即使用‘非一般人所使用的语言’,让自己的语言超越普通的语言之外,在语言中渗透着作家自身的灵魂、情趣、品味和爱好,使之成为作家内心世界的千种风情的审美表达”。

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风格往往自然地将作品中试图表达的语言,引向“他处”,即引向作品之外,引向作者、读者和鉴赏者的心灵内部,然后又把他们的心灵引向一个不可预知的可能的世界。正如罗兰·巴特所说:“作为一种自然,语言是在不给予任何形式的情况下彻头彻尾地贯穿于作家的话语之中。…因此,语言是在文学之外”(La langue est comme une Nature qui passeentièrement à travers la parole de l’écrivain, sans pourtant lui donner aucuneforme. … Lalangue est donc en déςà de la littérature)。但是,与此相反,一旦文学性文字显现出纯粹的形式的时候,面对这种虚空形式而引起的恐惧不安,又在不知不觉的情况下,引导文字本身设法寻求一种类似于自然秩序的新秩序;然而,这种由作家本人无意识地表现的新秩序,恰恰又具有社会和历史的性质。这就是所谓的‘风格’或‘文风'(Mais au contraire, à partir du moment oùl’écriture littéraire s’est manisfesté comme forme pure, l’effroi devant levide de cette Forme la conduit à constituer un nouvel ordre, qui est analogue àcelui de la nature, alors qu’il est pourtant entièrement social et historique,c’est le style)。

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因此,文风是什么?罗兰·巴特又说:“文风几乎是在文学之外;它是一堆图像、一种语言口才和谈吐风格,一种词汇累积;它们源自作家的身体及其过往历史,并逐渐地演变成作家的具有自动化性质的个人技艺。因此,采取文风的形式,文风乃是一种自给自足的语言,它深深地隐含在作家的个人神话之中”(Le style est presque au-delà de lalittérature : des images, un débit, un lexique naissent du corps et du passé del’écrivain, et deviennent peu à peu les automatisme mêmes de son art. Ainsi, sous le nom destyle, se forme un langage autarcique, qui ne plonge que dans la mythologiepersonnelle de l’auteur)。文风向语言秩序导入一种历史动力,因为它在公共语言的文化平面上导入一直自然的深度(Le style introduit une dynamiquehistorique dans l’ordre de la langue parce qu’il introduit une profondeurnaturelle dans l’horizontalité culturelle de la langue commune)。

同样的,艺术风格并不禁锢在艺术品的框架中,更不是可以死板地归纳成简短的语词,因为它是在艺术之外,它是飘荡于艺术品内外的艺术家的生命韵律,既游动于艺术中和环绕在艺术周围,又来往于艺术家及其观赏者之间的“游魂”,往往在创作和观赏的互动中怫然侵入心扉,触动人们的创作热情和审美欲望。

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高宣扬简介

高宣扬,1940年1月出生,华裔法籍哲学家、社会学家兼艺术评论家,祖籍浙江杭州,国务院外国专家局特聘“海外名师”,2010年8月至今为上海交通大学精裕讲席教授,现任上海交通大学欧洲文化高等研究院院长兼哲学系主任,同时担任巴黎欧亚研究院“生命艺术现象学研究中心”主任,并兼任北京大学艺术学院“视觉与图像研究中心”客座教授。

高宣扬近30多年在法国、德国、英国和美国持续进行实际的社会、政治、文化及艺术的观察分析及学术调查研究,长期从事哲学和人文社会科学以及艺术的跨学科研究,同时,先后在巴黎、北京、上海、乌鲁木齐和青岛等地组织艺术展,特别在2008年之后,连续组织第一至第五届“生命艺术现象学艺术展”,开创了艺术创造、艺术评论及艺术研究三位一体的艺术创造新模式。

1957年考入北京大学哲学系本科并于1962年毕业,1962至1966年为北京大学哲学系研究生,毕业后工作于中国社会科学院世界宗教研究所任研究员,1978年赴法国巴黎第一大学攻读哲学博士,同时以艺术史为第二研究方向,受巴黎大学东方艺术史专业尼格尔教授(Vandier-Nicolas Nicole)指导专攻东方艺术史,并在尼格尔教授负责领导的《中国哲学与艺术思想的研究计划》(1983-1989)中,负责研究东方艺术与哲学的部分,其成果发表在法兰西大学出版社出版的《哲学大百科全书》(Encyclopaedie Philosophique Universelle. Paris: Presses Universitaires deFrance. 1996)第三卷和第四卷。1983年获博士学位后,应时任巴黎国际哲学研究院院长的德里达的聘请,任教与研究于法国巴黎国际哲学研究院,1984-1988年任法国国家科学研究中心政治哲学研究所兼巴黎第十大学教授;1988至2002年,在继续留任法国国家研究中心研究员的同时,任台湾东吴大学社会学系教授;2002至2004年任北京大学、中国人民大学及中央民族大学访问教授;2004-2010年7月被聘为同济大学特聘华裔法籍专家,同时担任同济大学欧洲文化研究院院长兼法国思想文化研究所所长。

目前的研究重点方向为:(1)当代法国哲学、(2)德国哲学史、(3)当代社会理论以及当代艺术评论。著有《毕加索与当代艺术》,人民出版社,2014年、《后现代:思想与艺术的悖论》,北京大学出版社,2013年;《对话》(Le Dialogue与法国科学院院士程抱一合著),北京大学出版社,2011年;《德国哲学概观》,北京大学出版社,2011年;《当代政治哲学》,两卷本,人民出版社,2010年;《德国哲学通史》,三卷本,同济大学出版社,2007年;《萨特的密码》,同济大学出版社,2007年;《后现代论》,中国人民大学出版社,2004年以及《论后现代艺术的不确定性》,台北唐山出版社,2002年,前后共发表35部专著及中外文学术论文多篇。

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记忆中的肖像—梦里一片金黄  The portrait in the memory  随着时间的流逝,记忆变成了一种追随。As time goes by, memory is becoming a kind of following.

                                                                                                         

视觉的智慧 The wisdom of vision 文化的智慧 The wisdom of culture

Gulistan古丽斯坦 用“寂静”来发声的艺术家,她的作品里充满了宋词的意境,混合欧洲古典文化的韵味、对生活有着充沛的感情,作品中流露出“音乐性和诗性”。

Gulistan is an artist speaking out with “Silence”. Her works are filled with the artistic conception of Ci poetry of the Song dynasty, combing the charm of European classical culture, having abundant feelings of life, showing the musicality and poeticity.

                                                                                                           

我在绘画创作中寻找着关于时间和生命的思考,寻找着神秘的遥远,在思绪的旷野里诉说着记忆中那关于时间的传说,记忆的性质、记忆中的肖像,时间和记忆就像一道光芒变得明亮与清澈,时间与空间时常在画面中交汇,空灵的意蕴里色彩透射出一种让人怀念或记忆的东西。

I am looking for the thinking on time and life in painting creation, looking for the mysterious distant place, telling about the legend of time, the nature of memory, the portrait in memory in the wilderness of mind. Time and memory are like a ray of light which become bright and clear. Time and space are constantly confluence in the picture. In the ethereal implications, colors convey a kind of thing that is remembered or memorized.

Gulistan古丽斯坦的世界里却不全都只是画。绘画只是她的表达方式,音乐和 诗歌也是她的情感之源,而她的所有情感的基础,却是对时空的思考。

Before I met Gulistan, it is hard to imagine that as a painter, it’s not entirely paintings in her world. Painting is just her way of expression. Music and poems are the sources of her emotion while the basis of all her emotions and feelings is the thinking on time and space.

在哲学的思考下,Gulistan古丽斯坦将诗歌、音乐、电影等诸多艺术门类与绘画融合,并给艺术创作以更完整的自由呈现。

Under the thinking of Philosophy, she combines all sorts of art categories such as the poems, music, movies with painting and presents the art creations with more complete freedom.

Memory of the portrait-Gaze

May 7th, 2022

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.

记忆中的肖像-凝望

May 7th, 2022

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。

Curator’s Interpretation-“The Shape of Gulistan’s Psyche”

May 6th, 2022

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.

Gulistan古丽斯坦《心灵的守望者》—策展人解读

May 6th, 2022

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。

Review article

March 19th, 2022

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.

评论文章

March 19th, 2022

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。

Review article

March 19th, 2022

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.

评论文章

March 19th, 2022

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。

Review article

March 19th, 2022

Mary Ma

Famous Fashion Designer

Gulistan has indeed been my old friend for many years. It has been more than ten years. I am very happy to see her art exhibition today, which is presented to everyone in such a form. In fact, after watching all the art exhibitions, I think it instantly reminded me of what Director Zhang Zikang said just now: He said that no matter what kind of breakthroughs and innovations many artists of different styles are in this era, but What he particularly appreciates is that Gulistan has always insisted on using her style, her method, and her understanding of art, and has been adhering to her own inner thoughts to create all her works. I think she is like a small stream, and then slowly, very softly, thinly and quietly flowing. But this flow I feel is a very warm, but incomparably powerful force. This may be the one that I remember the most among Curator Zhang Zikang’s comments on Gulistan. Because I think this is also a feeling of mine, because Gulistan herself is very warm and soft, and the most direct effect and direct feeling she presents to others is that she is very soft and has no tension, but her tension is such a kind of soft and quiet power that is hidden in her heart.

Tribute to the classics II

In fact, I feel that as an artist, I believe her artistic life will be longer. Then, the content, thoughts and a kind of power that she continues will be more contagious. So today I am very happy to see so many of Gulistan’s works going to have the opportunity to let everyone feel. I really like the title of today’s exhibition – “Temperature of Time”. I believe that temperature may be a very, very important and indispensable state and feeling for each of us as an individual to connect with this world and this society. And what kind of way is there to communicate between time and temperature? What kind of relationship does it have with us? I think in each of Gulistan’s works, you can really see, see her inner world, the kind of beauty she wants to convey, including the way she insists on conveying art, very soft , there is history, there is culture, there is a contact between the soul and soul of this era, and the spark of this thought burst out.

评论文章

March 19th, 2022

Mary Ma 马艳丽

著名时装设计师

古丽是我很多年的老朋友,这一想有十几年了,很开心今天看到她今天的这个画展,用这样的一种形式呈现在大家面前。其实我看完所有的画展,我觉得,瞬间让我脑子里想起来刚刚张子康馆长说的一句话,他说不管现在在这个时代,当今的很多不同风格的艺术家是怎样的一种突破创新,但是他特别欣赏的就是古丽一直在坚持用她的这种风格、她的方式,以及她对艺术的理解,一直在秉承自己的一个内心、一个思想去创作她的所有的作品。我觉得这有一点像一条小溪一样的,慢慢的,很柔和的,细细的,静静地流淌着。但是这种流淌我觉得是一股非常温暖的,但是又无比强大的一种力量。这个可能是张子康馆长对古丽的评价当中,我觉得记忆最深刻的。因为这好像也是我的一种感觉,古丽本身就是一个很温暖、很柔和,她可能在给别人呈现出来的一个最直接的效果、最直接的一种感觉就是很柔和,没有张力,但是她的张力是潜藏在内心的那样的一种很柔和的、很安静的一种力量。

超越时间的冥想

其实这种感觉我觉得作为一个艺术家,我相信她的艺术生命会更长,她延续的内容和思想和传递的一种力量,会更加的有感染力。所以我今天很开心看到古丽的那么多的作品有机会让大家感受到。今天的这个画展的名字,我也觉得非常喜欢—”时间的温度”。我相信温度可能是我们每一个人作为一个个体和这个世界、和这个社会去链接的时候的一个非常非常重要的、也非常不可缺失的一种状态,一种感觉。而时间和温度之间又有一种什么样的一种方式在交流?和我们之间又有怎么样的一种关联?我觉得在古丽的每一幅作品当中,你能够看到,看到她内心的世界,她想传递的这样的一种美,包括她坚守的对艺术的一种传递的方式,很柔和,有历史,有文化,有这个时代的这个灵魂与灵魂之间的一个接触,所迸发出来这种思想的这样的一个火花。


我觉得最重要的就是你看到的每一个作品都能看到古丽内心的一个非常丰富、非常柔和,但是又同时非常有柔和的一种低调的一种力量再去传染、再去传播、再去感染到身边的每一个人,所以真的为古丽高兴,很开心,然后也希望她能够继续坚持她的创作艺术的这样的一种风格,然后有更多的作品去呈现给大家。