Archive for May, 2014

评论文章

Thursday, May 29th, 2014

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。

Review article

Thursday, May 29th, 2014

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.

Review article

Thursday, May 29th, 2014

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.

“Cultural Memory” in Gulistan’s Artistic Creation

Thursday, May 29th, 2014

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.

Gulistan古丽斯坦艺术创作中的“文化记忆”

Thursday, May 29th, 2014

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。

评论文章

Thursday, May 29th, 2014

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。