Page 90 - JCAU-7-3

Journal of Chinese
Architecture and Urbanism Anthropological observation of Lizhuang

label that misrepresents Lizhuang’s identity. This misuse However, following the completion of the Moonfield
of borrowed imagery has evolved into a false evaluation, scenic area, these original symbols were largely overlooked
creating a disconnect between Moonfiled’s promotional as most tourists shifted their focus to Moonfield. In
content and Lizhuang’s authentic cultural heritage. Even the sacralization stage, promotional descriptions of
the Committee’s official media platforms frequently use the Moonfield scenic area as a “water town” reinforced
terms such as “water town,” downplaying Lizhuang’s true a misleading narrative, causing tourists to develop
historical role as an important crossing point of the Yangzi misconceptions about Lizhuang’s cultural heritage.
river. This mislabeling demonstrates that the Committee During the mechanical reproduction stage, officials
has failed to establish stable local elements in its symbolic commercialized cultural symbols, such as Kuixing Pavilion,
production, ultimately diluting the cultural significance of by transforming them into mass-produced cultural
the place.
products, including trendy “internet-famous” ice cream
4.3. Mass media influence and refrigerator magnets. This superficial commodification
ignored the deeper historical and cultural significance of
Mass culture and values disseminate widely as people the original symbols.
move and ideas spread on a large scale. In the context
of mass consumption culture, these values and cultural Ultimately, in the social replication stage, tourists –
forms are not organically created by individuals but are influenced by social media – further propagated these
instead constructed by manufacturers, governments, and misperceptions, leading to a decline in appreciation for
professional designers. The mass media plays a leading Lizhuang’s core cultural heritage.
role in shaping and distributing these cultural constructs. “Lizhuang looks like it has a long history, and
Consequently, the tourism model in historical towns, such the buildings are quite characteristic, but its
as Wuzhen, reflects this phenomenon, where tourists’ development has not been satisfactory. I do not
needs and preferences are standardized by the Committee think it has fully realized its potential.” (LS03)
into what is known as the “Wuzhen model.” This results in
the uniform production of tourism-related commodities. As discussed, the Moonfield scenic area represents a
For example, the Moonfield scenic area replicates the tangible manifestation of the deconstruction of Lizhuang’s
“lantern shop” concept from water towns, and the entire local landscape. Ideally, the preservation of historical
area is developed in a homogeneous manner, reinforcing alleys should serve as the foundation and driving force
standardized tourist needs and preferences. for tourism development. However, these authentic spaces
are increasingly being replaced by homogenized, artificial
MacCannell (2013) outlines the process of sacralizing water towns.
tourism attractions in five stages: naming, framing and
enhancement, sacralization, mechanical reproduction, and 4.4. Changes in community education and
social reproduction. The publicity strategy for Lizhuang, atmosphere
as disseminated through mass media, reflects a distorted The author observes a phenomenon: most residents of
implementation of this process. Lizhuang’s naming stage Lizhuang pay little attention to the town’s anti-war sites,
began in 1992 when it was designated a Famous Historical possibly because these sites have become a routine part
and Cultural Town of Sichuan Province (Yibin City of their daily environment. In addition, many locals show
Chronicles Office, 1992). Over time, it evolved into a national little interest in the newly built museum in the Moonfield
tourist attraction and a base for cross-strait exchanges.
scenic area and rarely visit and explore it deliberately.
During the framing and enhancement stage, original These observations highlight a lack of historical education
tourist symbols of Lizhuang historical town – such as and community engagement in Lizhuang’s cultural
Xizi Lane and Luoxuan Hall (Li Zhuang Lizhuang Town heritage.
People’s Government, 2006) – were emphasized to “For me, I generally don’t visit those attractions,
highlight the town’s historical and architectural heritage. In (I think) there’s nothing interesting to see. We
particular, landmarks such as Luoxuan Hall, the Hundred- locals basically do not go to those places, except
Crane Windows in Zhang Family Ancestral Hall, Kuixing when taking relatives and friends who are visiting
Pavilion, and the Nine Dragons Monument of Yuwang
Palace – collectively referred to as the “Four Greatest Lizhuang.” (LZ07)
Features of Lizhuang” by architect Liang Sicheng (1901 – Although residents of Lizhuang still retain the names
1972) – serve as significant representations of Lizhuang’s of historically significant places, such as the “Old Photo
cultural identity. Studio” (destroyed in the August 2022 fire), the “Old

Volume 7 Issue 3 (2025) 11 https://doi.org/10.36922/jcau.4876