Elegant like a dream

June 11th, 2022

Zhu Hongtao

Cultural Ambassador of the University of Tehran

The Oriental Wandering-Words of the Flower

The first time met Gulistan, she is surprisingly elegant and doesn’t match today’s noisy era. She may time-travel from old times, like Sissi in the 1950s, Audrey Hepburn in the 1960s, or Zhong Chuhong in the 1990s. Elegancy is her innate temperament and the essence of her artistic creation.

Standing in front of Gulistan’s painting, the visual impact comes to you first. The bold and dreamy colors, whether it is bright like shinning yellow, emerald green, azure blue, Or somber like sandalwood yellow, mulberry, dark green, bright but not vulgar, dark but not obscure.

Instantly, you want to use rational thinking to figure out what Gulistan exactly painted, what she wants to express, but perceptual thinking stops you, “don’t think about it, just stand still, just watch”. Standing in front of the painting, gazing at the painting, looking at the classic technique, the table fusing with East and West taste, faces from different nations, the flowers growing savagely, space and time staggered fluctuating, you think a lot and forget some.

As the pupil dilates further, an emotion, a feeling begins to surging in the mind which makes people instantly entering the artistic conception of Gulistan, and starting to resonate with the author in the same frequency in the soul. And this kind of resonance varies from persons, time and places. Different people seeing it, at different times, at different places, feels differently and develops different emotions. It may be love, sincerity, beauty, purity, innocence, peace, conflict, memory, forgetting, sadness, or silence. The emotions spread widely and make you forgetting time, at mean time, you can feel the temperature and color of time. It seems entering a parallel universe, feeling an original self in the universe which Freud called this a “dream”.

Gulistan’s painting with offering up the sacrifices of her sincerity and memories, with the impression of Western classical aesthetics which learned in Italy, with the aesthetic concept of ancient Chinese painting. She uses impression rather than details stimulating the viewer’s senses, and injects the warmth of women into every brushstroke, reminds people of the compatibility and infinity of Silk Road artworks. Through her paintings, Gulistan makes an elegant dream for the audience. When you wake up, you will take a deep breathe and say from the bottom of your heart – “wow, It’s so beautiful!”


June 11th, 2022





站在古丽的画前,首先是视觉上的冲击,那大胆如梦幻般的用色,无论是鲜艳明 快的明黄、翠绿、湛蓝,还是阴郁低沉的檀褐、皦玉、青鸾,艳而不俗,暗而不晦。


随着瞳孔进一步放大,一种情绪,一种感觉开始在心中渲染开来,让人瞬间进入画的意境之中,与作者在心灵上开始同频共振,而这种共振会因人而异,因时、因地制宜,不同人看,不同时间,不同地点,感觉不同,生长出来的情绪不同。 有爱,有真诚,有漂亮,有纯洁,有童真,有和平,有冲突,有记忆,有遗忘, 有哀伤,有静谧……情绪的肆意生长会让你忘记时间,但又能感受到时间的温度、 颜色,似乎进入了平行宇宙,感受着宇宙中一个最初的自己,而佛洛依德管这个 叫“梦”。

Gulistan古丽斯坦在她的画作中祭献了自己的挚诚和回忆,带着意大利求学时西方古典美学的印记,又糅合了同时期中国画的苍凉、古朴和文人画审美理念,让画作的印象而非细节去叩开欣赏者的感官,用女性的极度温润流淌在了每一个细 腻的笔触中,让人回想起丝路艺术作品的兼容性和无限性。Gulistan 古丽斯坦通过她的画,让观众做了一场优雅的梦,而梦醒之后你会长舒一口气,心中赞叹“真 美呀!”

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.


May 7th, 2022



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


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.


May 6th, 2022



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。




曾经的辉煌 II




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。


曾经的辉煌 IV


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.


March 19th, 2022






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.


March 19th, 2022