The Ruins Of The Elegy-Cui Guotai’s “Industrial Portrait” Painting Research

The image of ruins more and more frequently appeared in the works of contemporary art from the 1980s. Artists adopt various media and means to render the image of ruins. The research object of this article focus on the representative works of the individual artists, especially the external appearance and internal cultural connotation of the industrial ruins in the works to analyze the image of the factory sites from the perspective of the present with comparative criticism and reflection.This article mainly researches the significance of the metaphor and modernity in Cui Guotai’s works of ruins. Cui Guotai began his creation about industy in 2000. Because he was born in the old heavy industry base in shenyang during the Cultural Revolution, he had a special affection for the industrial buildings. Although these buildings disappeared in the flow of history,they still made indelible contributions to the development of the new China. All these buildings left a deep impression for Cui. The reason for him to creat this series of works, there is also have an accident.The forced demolition of his big workshop studio,798, not only let him upset and sorrowful, but also thoroughly aroused the desire of creation in his heart. The first chapter of this article states the background of the industrialization of the People’s Republic of China, this is the framework of his painting. Through Cui Guotai’s "I lose studio" for this series, the artist went to the home to search for those who are about to be the ruins of demolition materials and investigate them before he began his"industrial portrait" series. In the second chapter, the artist started to create industrial image series from the origin of the series creation.The images in his creation are uausally with a distinctive brand of The Times.The situations or things in the each work of his often have the very strong metaphor, such as the large factories, the big chimney which are signs of The Times of heavy industry. This chapter reveals the symbolic significance of pioneering works, this chapter mainly discusses the nostalgic mood. The third chapter, continues to deepen from nostalgia, and artist is not just nostalgic. The artist also wants to remind us to reflect on. History is progressive. Although the product of the industrial civilization made outstanding contributions, but they disappeared inevitably, which represented that the collective and the state will also fall apart. The progress of our times destroyed some of the civilization in the past, put more emphasis on personal, but we still need to know that our time is not perfect, good things always have the shadows. Therefore,the reflection based on the present is fairly necessary. The fourth chapter is an outspread section. The art of ruins is widespread, more diversified in contemporary art.The rapid development and changes of the cities caused the contemporary ruins, it also caused a lot of thinking and new tries for artists.