Research On The Relationship Between Wang Yiting And The Artistic Ecology Of Shanghai Style In The Early 20th Century

The art ecosystem is mainly composed of "Habitat",art producers,art consumers and art decomposers.Like the natural ecosystem,the art ecosystem is not a classification unit in a strict sense,but a functional unit,a cycle system of mutual energy supply.Art producers,consumers and decomposers are undergoing an endless process of development and variation in a certain stable "Habitat"-production,consumption,decomposition,contact,collision,integration,fermentation and reproduction.This paper puts Wang Yiting,a Shanghai style artist,into this structure and operation mechanism,in order to investigate his role and function.As an art producer,relying on the gene of art production carried by "maternal effect",Wang Yiting has successfully grown from a "parasitic species" to a "dominant species",and from a "alien species" to a "constructive species";as an art consumer,he can transform his own production nutrients on the basis of consuming the dominant species of art products;as an art decomposer,he can not only realize his own division Solution can also provide decomposition nutrients for other art organisms.In addition,Wang Yiting is also active in the "edge effect" of Shanghai style art ecology."Edge effect" refers to the cross area between different ecological bodies or communities,in which the organisms are called "edge species".In this structure,Wang Yiting plays the role of "intermediary,pioneer,practitioner and innovator".He shuttles between various "edge effect zones" and absorbs multiple nutrients,belonging to a typical "edge species".In the operation mechanism of Shanghai style art ecosystem,art production groups and art decomposition groups often gather together in the form of "painting meeting".In this life style,evaluation,advertising,pricing and sales mechanisms are all formed in the form of "monopoly".The production mechanism is characterized by commercialization,trademark and mass production.Wang Yiting used this mechanism to "hide" the identity of industrial and commercial tycoon,integrated into the Shanghai style art ecology as a painter,and gradually ranked from the dominant species in the economic ecology to the dominant species in the art ecology by making use of the typical "Shanghai style" production methods,such as contacts,media,exhibition,sponsorship and discourse power.Although Wang Yiting had an extremely broad niche in the early 20 th century Shanghai style art ecology,in the later art history writing,Wang Yiting's niche is not in proportion to his era of existence,and the most important reason is the problem of Wang Yiting's art noumenon.First of all,Wang Yiting's productivity in poetry,calligraphy and other elements of "literati painting" is not as good as other dominant species.As far as the existing poems are concerned,their creativity is not high in both quality and quantity.Secondly,Wang Yiting is familiar with the operation mechanism of Shanghai style art ecology,which makes him become one of the dominant species.However,artistic products inevitably have disadvantages of Shanghai style art,such as socializing,large-scale,commercialization,mass production and so on.Under this mechanism,Wang Yiting's art products are popular,stylized,self repetitive,scribbled,coping with and other disadvantages of the "Houhai school",which are eventually labeled as "coarse quality but not fine-grained" by contemporary art decomposers.