非遗川北蛴蟆节沉浸式体验设计策略研究

Research on Immersive Experience Design Strategies for the Qima Festival in Northern Sichuan

摘要: 目的：探讨川北蛴蟆节文化内容向沉浸式体验设计策略的转化路径。方法：依据文献与共兴镇田野材料梳理制灯、持灯行进与送灯流程，归纳场所转换、感官线索、连续操作和参与关系等体验条件。针对这些条件涉及身体行动、情境反馈及他者互动的特点，引入具身认知、具身交互与临场感研究建立分析框架；再以该框架比较秦淮灯会VR、KaiBiLi开笔礼和翼城花鼓具身交互体验，并结合蛴蟆节的地方实践判断相关设计策略的适用与调整。综合田野事实、理论解释和案例参照形成设计策略，以《灯河幻境》VR原型对部分策略进行实践验证。结果：提出路径叙事空间、多感官氛围协同、参与性身体交互和社会临场感四项策略。路径叙事空间以场所与任务的衔接组织节庆仪式环节；多感官氛围协同使视听反馈对应操作结果与节庆活动进程；参与性身体交互以连续操作联系节庆器物的制作、持用和送离；社会临场感通过虚拟角色的指导与回应表达节庆认知的传授、帮助和结伴参与。结论：四项策略将蛴蟆节的技艺实践、家庭参与和驱疫祈安愿望融入体验过程，为蛴蟆节及相近节庆类非遗的沉浸式体验设计提供参考。

Abstract: Objective: To explore how the cultural content of the Qima Festival in northern Sichuan can be translated into immersive experience design strategies. Methods: Literature and fieldwork materials from Gongxing Town were used to examine the sequence of lantern making, lantern-carrying procession, and lantern sending, and to identify experiential conditions involving transitions between settings, sensory cues, continuous operations, and participation relationships. Given the roles of bodily action, contextual feedback, and interaction with others in these conditions, research on embodied cognition, embodied interaction, and presence was drawn upon to construct an analytical framework. This framework guided a comparison of the Qinhuai Lantern Festival VR experience, the KaiBiLi first-writing ceremony, and an embodied interaction experience based on the Yicheng Flower Drum tradition. Their applicability and necessary adaptations were assessed against local Qima Festival practices. Field evidence, theoretical interpretation, and case comparisons informed the design strategies, selected aspects of which were examined through implementation in the Denghe Huanjing VR prototype. Results: Four strategies were proposed: path-based spatial narrative, multisensory atmosphere coordination, participatory bodily interaction, and social presence. Path-based spatial narrative organizes ritual stages by linking settings and tasks. Multisensory atmosphere coordination aligns audiovisual feedback with operational outcomes and the progression of festival activities. Participatory bodily interaction connects the making, carrying, and sending of ritual objects through continuous operations. Social presence uses guidance and responses from virtual characters to convey festival knowledge, assistance, and participation with others. Conclusion: The four strategies integrate craft practice, family participation, and wishes to ward off illness and seek peace into the experience process, providing a reference for immersive experience design for the Qima Festival and similar forms of festival-related intangible cultural heritage.