Archive for May, 2014

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.


Thursday, May 29th, 2014







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.


Thursday, May 29th, 2014



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









Thursday, May 29th, 2014