| 摘要: |
| 创意市集作为近年来新兴的旅游目的地发展迅速。一些特色市集与老旧工厂改造项目结合，为工业遗产的保护与再利用注入活力。研究青年群体对此类创意市集的游客目的地感知形象，为工业遗产更新的规划设计与市集活动的长期运维提供了重要反馈。本文以景德镇陶溪川创意市集为研究对象，以国内主流社交网络平台的游记数据为语料库，通过扎根理论编码、情感倾向分析等方法，结合文化资本理论视角，研究发现：（1）创意市集感知形象由消费体验、环境氛围、设施服务三个主要范畴构成，共同建构了文化资本场域，并将这一建构延伸到互联网空间；（2）应考虑多元主体差异化的文化资本实践路径，保证创意市集的商品原创性、景观独特性，同时提升街区整体的公共设施服务水平。 |
| 关键词: 工业遗产 创意产业 目的地形象 文本分析。 |
| DOI： |
| 分类号:TU984.2 |
| 基金项目: |
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| Building the Field of Cultural Production: the Perceived Image Study of Jingdezhen Taoxichuan Ceramic Art Market |
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YANG Zhongnan, ZHANG Jie
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| Abstract: |
| Creative markets have rapidly developed in recent years as emerging cultural tourism destinations. Personalized and original products sold by artists and craft artisans have gained popularity among young consumers, making creative markets vibrant destinations for cultural consumption and leisure. Some of these markets are located in industrial heritage sites, providing impetus for the conservation and reuse of obsolete facilities. Beyond their touristic function, creative markets have also emerged as platforms for cultural expression and social interaction among young urbanites, who play a growing role in shaping alternative urban lifestyles and revitalizing urban spaces through cultural participation. Understanding the perceived image of such markets among young visitors offers valuable feedback for the planning and design of industrial site renewal and for the long-term management of creative markets.
This study takes the Taoxichuan Creative Market in Jingdezhen as a typical case of industrial site reuse as a creative market. Jingdezhen, known as the Porcelain Capital, has undergone industrial upgrading and urban regeneration over the past decade, with tourism centered on ceramic culture developing rapidly. The Taoxichuan Creative Market is located on the site of the former Universe Porcelain Factory (宇宙瓷厂), which was built in 1958 and shut down in the 1990s. The factory was renovated in the 2010s into a multifunctional district that integrates marketplaces, catering, retail, art studios, galleries, and civic activity centers, attracting a wide range of users, from local residents to domestic tourists and ceramic entrepreneurs, and fostering an inclusive and dynamic cultural environment. Since its launch in 2016, the Taoxichuan Creative Market has become the largest and most attractive tourism destination in the city.
The dataset used in this study includes 340 user-generated travelogues collected in 2023 from mainstream Chinese social media platforms, Xiaohongshu and Weibo. Based on the corpus, the study adopts grounded theory coding and sentiment analysis, applying Pierre Bourdieu’s field theory of cultural capital to deconstruct the perceived image of creative markets among young people. Bourdieu’s framework is particularly useful for analyzing how cultural value is constructed and negotiated in non-traditional cultural scene, where the boundaries between consumption, production, and identity performance are increasingly blurred. Within the creative market, various forms of capital, including cultural goods, symbols, and services, are produced, circulated, and owned. In this process, market vendors and tourists together construct new social relationships. Drawing on Bourdieu’s theory of objectified, embodied, and institutionalized capital and their dynamic interactions, this paper explains how creative markets within industrial reuse projects facilitate the co-construction of cultural goods, diverse participants, and urban landscapes through the production of different forms of cultural capital. Furthermore, based on the emotional tendencies expressed in tourists’ perceived images, the study provides the market operator with specific visitor feedback and suggestions for operational improvement.
The key research findings are as follows: (1) The perceived image of creative markets consists of three main categories: consumption experiences, environmental atmosphere, and facility services, which collectively construct a cultural capital field that extends into the online sphere; (2) Operators should account for the differentiated cultural capital practices of multiple actors, ensure the originality of goods and the distinctiveness of the landscape, and improve the overall level of public infrastructure and services.
The analytical framework of the cultural capital field proposed in this study provides a new perspective for creative market research. And the practical suggestions proposed for market operations also offer useful references for other creative markets. |
| Key words: Industrial heritage, creative industry, destination image, text analysis. |
