画是诗里的梦－读古丽斯坦的绘画艺术

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画是诗里的梦－读古丽斯坦的绘画艺术
李健

（一）

理查德•蒂特尔说，人身上自然的东西与自然有一种和谐。观赏古丽•斯坦的画往往给人一种很独特的感受。好象梦中的氤氲中，不时浮生出的景象若虚若幻，清醒时反观徒然产生怅然若失的强烈感觉，不由地使人回味逝去的梦境。
多年以前，我在丝绸之路的重要通道新疆阿克苏克孜尔千佛洞新一窟考察时，面对墙壁上的千年壁画就产生过这样的感觉，当一踏进洞口，仿佛时光倒流，走进了佛禅世界，恍惚间，人好象精神与躯体分离了，展现在眼前的仿佛就是自己的宿命。，当迈出佛窟，不自觉地回神再望一下，佛一直半垂着眼帘，神态安详，超然无我，人与佛竟然两种神态。我是从古丽•斯坦那幅“千年•星语”的画中认识她内心世界的，古丽•斯坦的画无张狂，不声张，好象那些壁画，对望着自然，任凭风露雨雪，默默无语地摆在那里，呈现出在现实状态中少有的而人们不断神往的安详或者是恬静。我不敢说她的佛缘，但其作品这种自然的流露不时地就会触到人内心深处不露声色的那种心像。“千年•星语”是她对空灵世界的感悟，作品中无论颜色、造型和表现出的意境，都下意识地流露出了古老龟兹文化和克孜尔佛教石窟文化的语境。因此，她的记忆系列，可以说是对这一方面思考体验的不自觉的表现，那是再自然不过的了。

（二）

木歇尔•比尔说过：“我们对于物的认知态度决定着符号的公开化性格。起点和终点在公众与艺术之间转换。”古丽•斯坦的东方漫游系列，在画面的空间中，对造型进行了解构和重建，使我们的思维回到了一个焦点，从而产生认知的渴望，画面因此而产生了一种张力，表达出了内在的潜力，造成的视觉扩张使人的精神产生升华。她在寻找一种状态，在提炼一种更加精确的语言。在一种纯度很高的色彩语言里和独特的造型手段中，试图在探索一种非东方化的语境，给一种通往她所向往的精彩世界，她的作品开始变得活跃，色彩开始变得单纯而强烈，从画面中好象看出了她精神的表情，灵感的轨迹变得理性化，作品更有文化味，其态度和认知的那些符号开始影响着我们。

（三）

伦那德•科恩说，每个事物上面，都有一个一个缝隙，那是光明进入的地方”。古丽•斯坦的绘画触角很敏感，她不停地在古代和现代，西方和东方的艺术领域中游动着，她的灵感在飞扬的思维中扒开一个个这样的缝隙，每一幅作品都是照进观赏者内心的一缕缕阳光。作品中的那种氛围和灵动的符号，仿佛信手拈来，凡我需者皆入画。如：空气中的音乐、空气中的音符、女娲之服、向中世纪致敬等，弥漫着一种旋律美，继而产生一种高雅的画品。
世界上自然界的一种现象至今吸引着人们的兴趣，为什么长江里的鲟鱼不惜逆行千里到长江上游去产卵，青海可可西里的藏羚羊行走荒漠，历尽风险到出生地去产羔，这揭示了什么样的规律呢？在人类的艺术发祥地和初始阶
段究竟蕴着什么神秘的力量，她是在怎样打动人心的呢？
古丽•斯坦的出生地是中国古代丝绸之路上的一颗明珠，几千年来，中原文化、波斯文化、罗马文化、伊斯兰文化以及原始本土文化在这里交汇，在早期佛教文化的背景下，曾产生过灿烂的龟兹文化和叨郎文化，其音乐艺术、舞蹈艺术，特别是壁画艺术更是千古一绝。克孜尔石窟壁画比敦煌早200多年，曾是佛教文化东传的重要接转地，这里历史上曾出现过我国古代四大佛经翻译家鸠摩罗什、音乐家苏祗婆，也不乏绘画大师。
古丽•斯坦曾在这里工作过、徜徉过，曾与这些大师们的精神对话过……这样的浸染升华难道不足以走出一个有创造力的艺术家吗，是因为这些光明总是跟着她走或者说格外的眷顾于她吗？

（四）

诗即是画，画即是诗，从画理说这些并无直接的关系，但从思维角度来看就看出其相通的地方了，在她的诗里，反复出现时间、空间、符号、宁静、智慧等词句，这也是为什么她的画里总是出现的那么多留白或朦胧意象的空间，给人以大量空间想象力的地方。桑福说，要原创，首先源于自身。她的作品，以黄色调为多，如果一个到西部生活多年的人面对戈壁、沙漠、胡杨、骆驼刺、明月，就会产生出大漠孤烟直，长河飞落九天的感觉，人与自然不就是这样交流的吗？她的《大地的音符》是这样暗合了神韵，在她的记忆的的性质系列，有那么多新的感悟，而更多的是思想在回归，重温，心灵在不停地抚摸着流失的时间，她在画布里用心进行着新的舞蹈。她在画里好象总是在祈祷着什么，画面上留给我们的就是那些千年无语，默默守侯的大自然的心语，实际在她的画里是她的内心——在寻找和我的生命息息相关的某种“真谛”性质的启迪。
Art is the Dream of Poems
Appreciation of Gulistan’s Artwork
Li Jiang

1
Richard Tittle once said that there is a harmony between the innate part in humans and nature. While appreciating Gulistan’s artwork, one is struck with a unique feeling: In a dream, some images, vague and intangible, emerge at intervals in a dense mist and then vanish the moment one is awake,which makes one so melancholy and unable to help missing the dream.
Such feelings arose inside of me when I viewed the thousand-year old murals on the wall at the Kizil Thousand-Buddha Grottoes in Xinjiang, where I was investigating New Hole, the important passage to the Silk Road. On stepping into the cave, I felt a Buddha world before me, with time flashing backward. In a trance, my spirit flew away from my body. My foreordination made its presence before me. When leaving New Hole, I took a last glimpse of the Buddha, who looked so aloft in sedateness, with his eyelids always half drooping. The Buddha’s bearing is completely different from that of human beings. It was from her painting Millennium Wish that I got to know Gulistan’s inner world. One finds no arrogance or flaunt in her paintings. They stand there quiet, just like those murals, face to face with nature, worn out through the four seasons without any complaint. Such a tranquility is so charming to people but is rare in reality. I dare not discuss Gulistan’s predestined relationship with Buddhism. However, such a tranquility, which she reveals unconsciously in her works, reaches the part deep in one’s heart every now and then. Millennium Wish is her reflection of the vacant world. The color, composition and the artistic conception of the painting, all play a part in embodying the Guizi culture and the cultural context for the Kizil Thousand-Buddha Grottoes. It is natural to believe that Gulistan’s Memory Series is her insight and experience of culture and context.

2
“Our attitude towards subjects determines the open feature of symbol, with it starting and ending at the transfer between the public and art,” said Bill Mushell. Gulistan deconstructs and reconstructs the modeling of the paintings in her Oriental Wandering Series. The efforts make us focus on one point, longing to learn more. The paintings thus are endowed with a tensile force, with their potential expressed. One’s spirit becomes more sublime with such visual extension. Gulistan endeavors to seek a state and apply more precise words. With the palette of high purity and unique modeling, she attempts to seek a context, which is non-oriental, for a superb world which she is yearning for. Accordingly, the paintings gain vigor and the color becomes very pure and intense. Being more culture-oriented, her paintings illustrate her spiritual state, the rationalization of her inspiration. The attitude and the symbols that she adopts in her paintings start to make an impact on us.

3
Leonard Cohen remarks that in everything there must be a slot for light to make its way through. Gulistan possesses a sharp sense of art. Crossing the gap between modern and ancient times, she paints endlessly, exploring in the Western and Eastern worlds of art. She strips off the cover of the slot in her flying thought with her inspiration that every work, as a strand of sunlight, provides the audience brightness. The ambiance and the mysterious symbols are all at her fingertips, properly employed in her works. Her painted works, such as The Music in the Air, The Notes in the Air, Nuwa’s Dress and Contemplating the Middle Ages, are filled with a melodic beauty and elegance.
It is a natural phenomenon that sturgeons choose to lay eggs in the upper reaches of the Yangtse River despite the tiresome journey; antelopes in Kekexili in Qinghai would take any risk to whelp at their own birthplace. We cannot help wondering: What is the law behind this behavior? What is the magic force functioning in the cradle and initial stage for human art? What artistic skills does the artist employ to make her paintings that touching?
For thousands of years, Xinjiang, Gulistan’s birthplace as a bright pearl on the ancient Silk Road, has been the converging point for the Central Plains culture, the Persian culture, the Roman culture, the Islamic culture and the primitive native culture. Under the influence of early Buddhist culture, the brilliant Guizi and Dao Lang cultures were born. Music art, dance art and especially mural art are matchless here in history. The history of the murals at the Kizil Thousand-Buddha Grottoes is 200 years longer than that at Dunhuang. Xinjiang is also the important place of relay for the eastern spread of Buddhism, boasting a number of geniuses, such as the great Buddhist sutra translator Kumarajiva, the musician Mother Suzhi, and some art masters as well.
In this place worked and sauntered Gulistan, who exchanged her mind with those masters. A creative artist exposed to such cultures with a spirit of sublimation is doubtless to make her appearance in the world.

4
Poetry is art and vice versa. The two are not directly related artistically but have something in common considering their authors’ ways of thinking. “Time”, “space”, “symbol”, “tranquility”, and “wisdom”, such words are repeatedly used in Gulistan’s poems, which holds an explanation for the blank space or obscure images in her paintings. Such spaces allow people to stretch their imagination. Sangfu held that creation originated from the self. In Gulistan’s works, yellow is used extensively. When in the Gobi, walking through the desert, watching poplars or camel thorns and the bright moon, a person who has lived in the west for years would have the same feeling as others have when watching “the solitary smoke in the desert” or “the upended streams of the Yangtse River.” Isn’t this the manner of communication for humans and nature? Vivaciousness runs through her painting The Note of Ground. The Essence of Memory Series is abundant with sentiment with more regression and review of thought. The past was regained and the original dances are produced. All these are achieved through her painting with heart and soul. It seems that she is making prey for something through her paintings, where we find wishes of nature, soundless but still expecting. Gulistan expresses her inner world in these paintings—to search for enlightenment for some “true meaning” which is tightly tied up with my life.
—Translated by Guo Jian