Gulistan Art 古丽·斯坦

Zhang Zikang

Professor and Doctoral Supervisor of CAFA, Director of CAFA Art Museum

When I saw her works, I thought of a commonality between Chinese culture and Italian culture. This poetic feeling made me return to a traditional Chinese culture and Western medieval culture. Such thinking on a connection to such a culture.

Although I don’t know much about Mr. Antonio’s paintings, I do see in his paintings, a kind of poetic painting with common characteristics in China, as well as the connection with traditional culture. Although there is a big age gap between them, I think they are all painting with heart. I think Gulistan is very quiet and connotative. I think she has such a deep understanding of Chinese culture, and is able to understand a certain Western culture. This kind of sensitivity in language, whether it brings about the reconstruction of her painting, or the establishment of such a style of her creation, I think it can bring people different feelings. Gulistan I think that although she does not follow certain current trends to cater to this era, her heart has always been able to form the connection between her artist and the audience in this era.

So when we see her paintings, I think the biggest difference is that you can quietly experience the different feelings brought to you during the time of this painting. There is another one that I think has a relationship with Gulistan, because I stayed in Xinjiang for three years, I feel that there is a kind of closeness, which may be based on the communication of her art. Special thanks to Gulistan for the wonderful works brought to us, and thanks to the two artists for such a common presentation and thinking for us.

张子康

中央美术学院教授、博士生导师，中央美术学院美术馆馆长

古丽老师我是特别熟悉的一个艺术家，因为原来一起做过展览，经常有电话上的交流，我觉得今天有一个特别的地方，就是我看了这个作品，我就想到了中国文化跟意大利文化一种共性，这种诗意的感觉让我重归了一个中国传统文化跟西方的中世纪的文化的连接上的思考。

姿态系列-花语

我虽然对安东尼奥先生的绘画了解不多，但是我确实从他的绘画里边也看到，跟中国共性的这样的一种诗意的绘画，还有传统文化的连接，虽然他们的年龄差距很大，但是我觉得他们都是用心在画画。我觉得古丽老师是特别安静的，特别有内涵的，有对于中国文化的深度理解，并且能够对于西方某种语言上的敏感，来带来她的绘画上的一种重构也好，或者是她的这种创作的一种风格的建立也好，都能给大家带来一种不一样的感受。古丽老师她虽然不跟着当下的某种潮流迎合这个时代，但是她的心始终在这个时代里能形成她艺术家与观众之间的连接。

所以说我们看到她的画的时候，我觉得最大的不同就是你可以静静的能够体会在这个画的时间给你带来的不同感受。还有一个我觉得跟古丽老师有一个渊源，因为我在新疆待过三年，我觉得有某种亲近感，这种亲近感可能建立在她的艺术的沟通上。特别感谢古丽老师给我们带来的精彩作品，感谢两位艺术家给我们的这种共同的呈现，给我们带来的思考。

Yan Ping

Professor and Master Supervisor of Renmin University of China

Like Gulistan, I am an artist, a person who paints. So many years and Gulistan have maintained a parallel space until today we have been painting, so I have a relatively deep understanding of Gulistan, I think she is a rare calm and deep in women. One of the female professors who attracted me with a kind of lonely beauty. Her paintings also have such characteristics. I think the temperature of time is the temperature of such a state between time and space.

I took a closer look at Gulistan’s painting today, and I painted it like a swipe, like I’m going to die. And Gulistan is indeed like what this guy just said, there are more very small, but very distant such an imagination.

Memory of the portrait- Blue II

In her paintings, I felt such a fusion of ancient and modern and Chinese and Western. During such a process, I thought of Italy, the paintings of the Middle Ages, the paintings of the Tang Dynasty, and the current state of Gulistan. , she has the state of a young person, Gulistan’s paintings, I want to praise her a lot, but one of her biggest impressions on me is that her ideas are relatively creative, and she has that kind of whimsy. There are also new breakthroughs in composition, especially her works that seem to be fragile from a woman’s vision, but are actually very permanent, not lacking, and always interested.

Every time I look at it, I always feel that there is a change, and I always feel that I have a very controlled temperature and a voice like that, so I think Gulistan is a very good artist.

闫平

中国人民大学教授、研究生导师

我和古丽一样，是个艺术家，是一个画画的一个人，那么多年和古丽有一个保持了一个空间平行的一直到今天一直在画画，所以对古丽有一个比较深的了解。我觉得她在女性里边她是一个少有的沉静和幽幽的、深邃的这样的一个带有一种那种孤殇的美丽的吸引我的教授。她的绘画也有这样的特点，时间的温度我觉得是时间、空间之间的这样的一个状态的温度。

追忆经典

古丽的绘画我今天又仔细看了一下，我是大笔挥挥、要死要活的那样的绘画，而古丽的就有更多的很细小的、但是很悠远的这样的一个想象力。我在她的画里感到了古今和中西的一个融合的对比，这样的一个过程我想到了意大利，想到了中世纪的绘画，也想到了唐代的绘画，也想到古丽目前的状态，她有年轻人的状态。

古丽的绘画，我想要表扬她的话特别多，但她的对我最大的一个印象就是在她的构思比较的有创造力，有那种奇思妙想，在构图方面也有新的那种突破，尤其是她以女性的视觉那种好似脆弱，但是实际上是特别恒久不匮乏的、永远有兴趣的那样一种状态画出的作品。

我每次来看她的展览总是觉得有变化，而且觉得是控制在一个温度里、那样一个声音，所以我觉得古丽是一个非常好的艺术家。

安德烈·格朗齐

意大利艺术研究院绘画院院长

在Gulistan古丽斯坦的作品中，首先出现的是一种强烈的时间流逝感，这种时光是不残酷但被视为慷慨和仁慈的实体，虽然能够消耗事物和形态，但也能够沉淀记忆和图像，以索引的形式保留痕迹，在视觉与现实、梦想或记忆的图像之间保持平衡。

在她作品中使用丰富的思想绘画人物与圣象，包含古典和现代、东方和西方。将时代和风格交织在一起，可以激发观者的思想，体现了这位画家强烈的绘画语言和令人回味的敏感性。

她的作品以循环的形式排列，呈现出诗意感，具有对过去辉煌的怀旧情怀——如今它已遥不可及，在明亮多变的色彩范围内令人回味，具有音乐的气息。

画家本人坚持认为，音乐和诗歌是她作品中必不可少的组成部分，这绝非偶然。我不知道Gulistan古丽斯坦在工作时是否听音乐，但我想是这样的。我欣喜的看到她的作品中，注入了巴赫卓越的复音——她本人告诉我们的她最喜欢的乐曲——在画布上散布着视觉对照，结合遥远的重新诠释，它们像阴影或幻影一样穿越整个场景，在表面浮现出淡淡的草图，紧贴着漂浮在空中的淡淡花朵香气。这种模态例子有“每个人的心里都有一个金色的童年 ，它将照亮我们一生”。

每个人的心里都有一个金色的童年 ，它将照亮我们一生

有时，这些记忆的本质，使更复杂的符号交织在一起，似乎是多个印记的分层，一个叠加于另一个之上，因为只有时间的沉淀才能做到，无穷无尽的姿势，所见到的许多事物，以及所经历的一切，在时间的消耗和循环中，它精确地保留在记忆中。从这个意义上说，这些作品可以很好的体现：2009年圆形作品“关于时间的传说 I”，以及近期作品，2020年的布面油画“记忆中的肖像-凝视”。

关于时间的传说 I

记忆中的肖像-凝视

有一张照片可能可以追溯到她在欧洲奇观之旅的某个时刻，恰好是在意大利拍摄——我们是“盛大之旅”的目的地，18世纪很多来自世界各地的艺术家，来到我们的土地上，在充满历史气息和丰富美感的建筑景观的环绕下，进行艺术技法和情感上的发展——比其他所有更能阐明她的绘画含义。这是一幅照片，画家用一只手，几乎是轻抚着，触摸着一幅壁画遗留下来的痕迹，这幅壁画因时间久远，在古建筑的墙壁上被腐蚀了。在那充满爱意的温柔姿态中，有一个明确的声音被传递：接受了时间带给我们的一切，并带走了我们，使我们的记忆在这短暂的关键时刻被留下，记忆的传承，也传递了所有的图像和标记。从历史的角度来看，所存在一切美丽，以及在很大程度上仍然存在于我们中间的，是人类在短短的生存期内的真正财富。

追寻Gulistan古丽斯坦想象的旅程和思考的痕迹，在某些富有启发性和回味性的作品的系列中：记忆的性质、关于时间的传说、记忆中的肖像，其中关于回忆的主题，通过消逝的与易碎的痕迹表现，就如生活在远古时代的考古遗迹，从悬浮的几乎永恒的表面浮出，始终使我们反思这样的主题：哪些是人类哲学；我们每个人生存——乃至人类生活的基础；过去带来的尘世事物和巨大遗产的迅速传承，不幸的是，有时被我们严重忽视。

记忆中的肖像

在某些作品中，在东西方之间悬浮的古代怀旧，表现出忧郁的内涵，就像在作品“记忆中的肖像——什么在消逝”中表现的一样，通过作品画面，使观者对周围世界有了更明显的认识：磨损和消耗，人类和动物。也许使我们意识到当今由于人类的贪婪，而处于严重危险中的平衡的珍贵性。我们应竭尽全力捍卫和维护，以确保这些价值观念在不久的将来不会消失。

Gulistan古丽斯坦的作品，以时间的流逝和事物的消逝为参照，使我们凝视着生命的珍贵和重要性。记忆有着不可替代的作用，且具有保留遗忘中残留痕迹的可能性。

Andrea Granchi

Direttore del Accademia di pittura di Accademia Delle Arti Del Disegno

Nei lavori di Gulistan emerge in primo luogo un forte sentimento del trascorrere del tempo, un Tempo non crudele ma visto come entità generosa, benevola, in grado certo di consumare le cose e le forme ma anche di sedimentare memorie, immagini, tracce che rimangono come sospese a formare un repertorio in equilibrio tra visione e realtà, tra immagine sognata o ricordata.

Il suo richiamare col pensiero e col disegno figure o icone della pittura antica oppure moderna, sia orientale che occidentale, intrecciando i tempi e gli stili con accostamenti o attraversamenti in grado di stimolare anche la mente dello spettatore, caratterizza il linguaggio di questa pittrice dalla forte ed evocatrice sensibilità.

Le sue opere, ordinate in cicli, appaiono caratterizzate da un senso poetico votato alla ricorrente nostalgia per un passato dall’antico splendore, ormai lontano, rievocato attraverso una gamma cromatica lieve e variata, di sapore quasi musicale.

Non a caso ella stessa sostiene come la musica e la poesia siano ingredienti essenziali nel suo operare. Non mi è dato sapere se Gulistan, mentre lavora, ascolti musica, ma mi piace pensarlo, mi piace vederla irrorata della polifonia sublime di Bach – uno dei suoi ascolti prediletti come ella stessa ci dice – stendere contrappunti visivi sulla tela, accostando rivisitazioni lontane che attraversano come ombre o fantasmi la scena, lasciando una flebile sinopia sulla superficie accostata al profumo evocato di fiori fluttuanti nell’aria. Esempio di simili modalità è il dipinto “Everyone has a golden childhood in his heart, which will illuminate our life”.

Former glory IV

Talvolta queste Essenze di memoria fanno affiorare intrecci più complessi di segni che paiono lo stratificarsi di più impronte, una sull’altra, come può fare solo il sedimento del tempo, gli infiniti gesti compiuti, le tante cose viste e vissute e quanto di tutto ciò, nella consunzione e circolarità del tempo che scorre, rimane appunto nella memoria. Emblematici in questo senso il tondo del 2009 “Tales of time I”, e il recente olio su tela “Gaze”(Sguardo) del 2020.

Memory of the portrait －A piece of golden

Vi è una foto che probabilmente risale ad un momento del suo Wondering in Europe, e certamente presa qui in Italia – meta da sempre di quel Grand Tour che portava artisti di tutto il modo a svilupparsi tecnicamente ed emozionalmente nelle nostre terre dense di storia e ricche di bellezze architettoniche e paesaggistiche – in grado, più di altre testimonianze, di chiarire il senso del suo fare pittura. Una immagine, questa, in cui la pittrice sfiora con una mano, quasi una carezza, quel che rimane di un affresco corroso dal tempo su una parete di un edificio antico. In quel gesto di tenerezza affettuosa vi è una chiara dichiarazione di accoglienza di tutto quanto il Tempo ci da e ci toglie, lasciandoci, in questo breve nostro momento vitale, il patrimonio dei ricordi, delle memorie, ma anche segnali e immagini di ciò che è tramandato dalla storia, di ciò che di bello è stato fatto e che in gran parte è ancora tra noi, la vera nostra ricchezza di esseri umani nell’arco breve della nostra esistenza.

Tracce dunque del percorso immaginifico e del pensiero di Gulistan ci appaiono evidenti in alcuni cicli di lavori dai titoli assai suggestivi ed evocativi: The Essence of Time, The Tales abaut Time, Portait in Memory, in cui il tema della rievocazione attraverso tracce volutamente consunte, fragili, come resti archeologici di una vita vissuta in tempi lontani e riaffiorata da una dimensione sospesa e quasi atemporale, ci portano a riflettere su temi da sempre portanti della filosofia umana, del vissuto di ciascuno di noi, del trascorrere rapido delle cose terrene e dell’enorme patrimonio che ci viene dal passato e che purtroppo, talvolta, colpevolmente trascuriamo.

In alcune opere la nostalgia di un tempo antico sospeso tra oriente e occidente assume i connotati della melanconia, come nel lavoro What is dying (quel che sta morendo), in cui pare affiorare una più marcata consapevolezza del logorarsi e corrompersi del mondo che ci circonda, umano e animale, ricordandoci forse la preziosità di equilibri oggi in grave pericolo a causa della voracità dell’uomo, e che viceversa si dovrebbe far di tutto per difendere e mantenere, a far sì che questi valori non divengano in un futuro prossimo solo sbiadite memorie.

Il lavoro di Gulistan, con il suo richiamo al trascorrere dei tempi e al consumarsi delle cose, offre al nostro sguardo la preziosità e l’importanza della vita, il ruolo insostituibile della memoria non rinunciando a stimolare la possibilità di lasciare segni che sopravvivano all’oblio.

Xia Kejun

Curator, Professor of Renmin University of China, Doctor of Philosophy

Distant memory is looking for a Muse, mysterious blood is waiting for a legend, ancient art is dreaming of a brilliant time, from the western regions to Italy, from Beijing to Australia, Eastern and Western civilizations meet under her eyes, in her paintings, it is not her intention to describe them, but these beautiful things come to her soul, this artist is Gulistan.

The life of youth has a quaint soul, which comes from Gulistan’s interest in Archaeology and the excavation of ancient memory. The solid of Greece and the elegant of the East are skillfully combined with a sweet dream. The inner fusion of Napoli yellow and van Dyck Brown brings an elegant and charming tone to the picture, which continues the teacher Mr. Shang Yang’s deep style.it makes Gulistan’s paintings having a rare female artist’s deep and quiet, a kind of ancient melancholy.

These colors are the overlapping of multiple memories, the remnant marks of the ancient murals in childhood, the mottled frescoes in Italy, the brilliant fragments of the great classic paintings seen when traveling around the world, the dream of never fading youth, the deep perception of painting materials, of course, the light turning and deep looking back of elegant posture. These are all overprinted by the color of painting, and are obtained the thickness of time and elegant tone, this is the virtual color of jade with a coating.

So fascinated by the exploration of painting language itself, Gulistan’s painting have a time precipitation temperature, such a charming but distant aura.

Posture-Mandarin Duck

In the painting series named ‘Posture’, furniture table combined Chinese and Western classical has become a stage for theatrical props and performance. Gulistan dramatizes the artistic elements of various cultures at will, such as the horse ,flower of Lang Shining(Giuseppe Castiglione), the puppet shadow play or the mandarin duck of lotus. Such a strange juxtaposition has the implication of still life painting, but it also has a kind of unexpected magic. These ancient, modern Chinese and Western cultural elements are cleverly reorganized by Gulistan, reflecting the artist’s inner love Interest and fraternity. This, of course, is also the stage where the freedom of the artist’s individual soul is projected and performed.

The deep respect of ancient civilization, the dream reorganization of art elements make Gulistan a secret messenger of two civilizations, and also makes her an artist of triple time: the distant traces of ancient civilization history, the wonderful combination of different art forms, and the instant memory of personal world travel are all overprinted together in pure painting way, which is elegant and profound, affectionate and mysterious, so the artist can become the Muse’s favorite daughter, so painting can become the doctrine of civilization.

夏可君

策展人、中国人民大学教授、哲学博士

记忆中的肖像-凝望VI

遥远的记忆在寻觅一个缪斯，神秘的血液在等待一个传说，古老的艺术在梦想一次辉煌，从西域到意大利，从北京到澳洲，东西方的文明在她的目光下交汇，在她的绘画上奇妙相遇，不是她要去描绘她们，而是这些美好之物来到了她的心中，这位艺术家就是Gulistan古丽斯坦。

青春的生命却有一颗古雅的灵魂，这来自于Gulistan古丽斯坦对于考古学的兴趣与远古记忆的挖掘，希腊的坚实与东方的清雅以甜美的梦想巧妙地结合起来，拿波里黄与凡戴克棕的内在融合给画面带来一种优雅而迷人的色调，接续老师尚扬先生的深沉格调，让Gulistan古丽斯坦的绘画具有了一种女性艺术家罕有的幽邃与沉静，一种苍古的忧郁。

这些色调乃是多重记忆的重叠，童年远古壁画的残痕，意大利湿壁画的斑驳，周游世界时所看到的伟大经典绘画的辉煌片断，还有青春永不褪色的梦想，以及对于绘画材质的深度感知，当然还有优雅身姿的轻盈转身与深情的回眸，这些都以绘画的色调叠印起来，获得了时间的厚度与优雅的色调，这是带有包浆的玉质虚色。

如此着迷于绘画语言本身的探索，让Gulistan古丽斯坦的绘画具有一种时间沉淀的温度，一种如此迷人但又如此遥远的灵晕气息。

姿态系列-马

而在那些名为《姿态》的绘画系列上，一个中西结合的古典家具桌子，成为了戏剧的道具，成为了器物表演的舞台，Gulistan古丽斯坦随心所欲地把各个文化的艺术要素加以戏剧化地摆置，或者是郎世宁的马与花，或者是玩偶皮影戏或者是荷花鸳鸯，如此奇特的并置具有一种静物画的含蓄，但又有着一种出其不意的魔力，这些古今中西的文化元素被Gulistan古丽斯坦巧妙重组起来，体现出艺术家内心的童趣与博爱的情怀，这当然也是艺术家个体心灵的自由所投射表演的舞台。

对于古老文明的深情致敬，对于艺术元素的梦幻重组，让Gulistan古丽斯坦成为两个文明的隐秘传人，同时也让她成为三重时间的艺术家：古老文明历史的遥远踪迹，不同艺术形态的奇妙组合，个人世界旅行时的瞬间记忆，都以纯粹绘画的方式叠印在一起，优雅而深远，深情而神秘，由此艺术家可以成为缪斯钟爱的女儿，由此，绘画可以成为文明的教义！

张江舟

中国国家画院副院长

我觉得Gulistan古丽斯坦是一位有价值，非常有意义的艺术家。目前在中国美术界像她一样画画的人不多，就是用心画画。我认为大量的人在用手画画，在画技术，很少进行心灵体验，情感体验。而这对于艺术家应该是最珍贵的，而且应该是艺术的终极目的，终极目标。为什么说她珍贵，因为相对于当今天的画坛能够用心画画，能够画出自己内心体验的画家不多。我认为Gulistan古丽斯坦是非常用心画画的一个人，她画出了微妙细腻的心灵体验，情感体验的东西。

姿态系列－双鹤

看Gulistan古丽斯坦的画有一种迷人的诗性色彩。和她绘画语言方式有关。她的绘画进入了对语言的自觉把握，或者说是自觉的语言的自然选择。在很多画家里面是找不到的，一辈子不知道怎么画画。我们这个年龄段有这种体会，经过了这种专业的院校出来以后都画成一样的了。作为一种天性的、自然的、本真的东西没有了。我们这个年龄段，到一定时候都有一个过程，就开始学习古典、经典，大量地以它为模版，大量地学习、研究、临摹，最后的结果四年本科下来，后来还有研究生、博士生学下来，所有人都画成一个模式了。之后发现问题后又拼命地往外逃，逃离经典。目的是什么呢？目的是找到自己内心真实的感受，画出自己内心的感受来。这点你非常难，逃出来的都成为大的艺术家了，逃不出来的最后都淹没在经典的当中了。这种画家非常多，占绝大多数。Gulistan古丽斯坦很难得，她经历了系统的训练，但又保留了纯真的、天然的清纯气。

修复记忆

对Gulistan古丽斯坦我想到两句话一个是迷人的诗性色彩，一个是自觉的语言选择。过去看过她的作品，发现近作变化很大。过去多半是朦胧的，色彩相对比较灰色调的，现在比较丽。我认为她有着非常自觉的逻辑关系。看她的画感觉像搞电视、做航拍，高悬于5000年人类文明之上，然后俯瞰文明，带大家悠悠地、慢慢地去荡漾在5000年文明之中。她大量地选材于西方古典图像元素，武士、宫女、建筑形象，还有丝路上图案纹样，大量选择西方古典的图案元素。Gulistan古丽斯坦对文明源头、古代文明的内心极端的迷恋。这中间让我们感觉到时间和空间的东西，勾起我们对过去美好原始积累的美好记忆。看她的绘画整体印象，似乎为我们和她自己建立了一个精神的乌托邦，像陶渊明的《桃花源记》一样。渔夫是不管不顾地打鱼，她是不管不顾地画画。看她的画感觉远离城市，好像跟现实生活没有关系，是一种远离城市，隔世的。也不管外面雾霾有多大，她的画中永远是清纯的。从社会文明建设，从当代文明的进程讲，她是有现实文化意义的绘画，她的绘画有一种作用，对人心灵的一种塑造，对理想的一种塑造。看她的画有一种感觉，很清新、美好、幸福。忘掉很多城市烦恼，有着现实文化意义的一种体验。从这个角度讲，我认为她的绘画是有价值的。

向经典致敬I

再有就是她的绘画是一种非常自觉的语言选择。因为我们知道绘画也好，其他艺术门类也好，语言的纯粹性是衡量艺术品高下的一个重要标准。我们知道西方古典绘画、油画，进入现代绘画有个分水岭。美术史书上都会把印象派当成一个分水岭，很重要的临界点。我也不否认，在印象派之前，现实主义、浪漫主义有了更多语言生的选择。我认为古典绘画一直存在，有很大的记录功能，因为那时候没有相机、摄像机，绘画肩负着记录社会事件功能。我们看西方古典绘画，有宫廷画、宫廷生活、皇帝的加冕、皇家贵族的肖像。它肩负了相机和摄像机的记录功能。当然18世纪西方照相机的出现，逼着绘画转向丢弃记录功能，进入了审美的体验。印象派出现从造物状到表现状，对自然的真实的描摹转向对内心情感的表达。绘画进入现代以后，更多的是审美功能。要求我们调动更多的绘画自身的语言元素。就是绘画做绘画的事，也不要想照相机的事。西方古典形态，写实绘画，几乎全部退出主流艺术圈。

记忆中的肖像I

这种写实的记录性的事交给相机、摄像机好了。所以绘画纯粹语言的独立语言是什么，就是色彩、造型，就是点线面，表达情感，传达内心体验的功能，是衡量一个绘画的品质高效的很重要的因素。我认为她的绘画在语言的选择上非常准确：第一她是在语言上自觉，第二是语言的选择非常符合她的内心的体验和需要。她的绘画是虚和的、靓丽的、清纯的、有着记忆色彩的、诗性色彩的，这一切都与她绘画自身语言选择有关。看她大量人物形象，没有对每一个对一个人物形象的深入刻画，在一般人眼里感觉是不是没有画完？是不是能力不足？完全不是，我认为这是她语言方式非常自觉的一种选择，她把形象的弱化、或者朦胧化，在一般人眼里没画完的这种感觉，我认为恰恰是非常好地传达了她内心需要的东西。她希望我们观众对每一个对具体的每一个人物的关注，走出来到人类的，共有的人类的命运、情感，具有终极意义和价值问题的关注。她不希望每一个人物想象是具体的，个性的，生活中的某一个人，她不希望是这样。她希望它们仅仅是人而已，放大的，大写的人，是人的概念。这和古希腊雕刻又着不谋而合的东西。古希腊雕刻在一般人的眼里是具象的、写实的。我认为他是具象的不是写实的，有点像中国古代的宗教雕刻，在艺人手下传达的一个艺人对人的综合美的判断，塑造人的美的化身。古希腊雕像很美，你很难感觉它跟一个具体的，生活中、很个性化的人挂钩。它是一个美的化身，她是一个理想中的美，对整个一个人理想化一个美的化身。她不希望关注每一个具体的人，希望大家思路拉开，空间放大，关注文明进程，和人相关的终极价值和意义的相关话题。

记忆中的肖像－纯真年代II

在她画面中有很多非常迷人的东西，微妙的色阶变化。包括我身后的这张画，有非常靓丽的黄颜色和灰颜色对比关系，给人透出一种极端的、清新的、非常迷人的色彩。从色彩、从造型、从语言的运用，在古丽斯坦的绘画中，体现出娴熟、自觉、准确。我认为在她的绘画中感受到她的人生经历，情感经历相关的体验，不是她描绘的物像本身，更多的是绘画自身的语言的一种编排，传达出来的不同的审美感受，这中间像音乐，因为音乐是抽象的。高级的音乐，一定不会模仿大海的声音，模仿鸟叫声，模仿人类自然的声音，一定是抽象的旋律，在过程中体验生中、处于某种场景中类似的情感。我觉得这种艺术转换和通过一种艺术语言的一种编排，重新的一种组合所传达出的和我们精神情感相关的体验，这种体验处艺术高级、高贵。基于这两点，她不愧是一位学术启智意义的一位画家。我想她的绘画对我有作用，对其他的画家也有作用，对整个当代绘画的创作研究，都有种学术的启示意义。所以我认为她是一位优秀的画家，同时也是一位有价值意义的画家。

Zhou Rong

Professor of Tsinghua University’s School of Architecture

The Memory

Many people will understand art as a way to beautify life, and Gulistan’s art creates new life. Architecture does need light, and it is difficult to feel the charm of architecture in the vast darkness. There is no external light in Gulistan’s work, the light comes from within. Her light source is subjective, the light cast by thought. Gulistan’s works will be like garden architecture, like the garden of human spirit, with the abundance of spiritual life. She is running her own spiritual garden. Each work is like an ever-opening undefeated garden, in which architecture and art reflect the level of civilization.

In my opinion, the poetry in Gulistan’s works is a kind of mercy. Although this mercy is very light, it is very deep. Such a Mercy is a kind of Mercy’s Taoism that everything exists and grows in time, and then disappears in time at the same time. Such a state of mercy is actually a kind of compassionate poetry. Then this is the true origin and deep meaning of art.