Gulistan Art 古丽·斯坦

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.

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。

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.

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。