从资源禀赋到体验产品：平陆运河沿线文化旅游开发逻辑与实践路径

From Resource Endowment to Experiential Products: The Logic and Practical Path of Cultural Tourism Development along the Pinglu Canal

摘要: 平陆运河沿线文化旅游开发的关键，不在于资源数量的扩张，而在于将分散的自然、历史、社会与产业资源转化为可感知、可参与、可持续运营的体验产品。针对资源禀赋与旅游产品之间存在的转化断裂，围绕资源价值识别、文化意义解释、体验主题转译、游客场景进入和产品持续运营等问题，构建“资源识别–文化解码–主题转译–场景生产–协同运营–反馈迭代”的体验型文化旅游开发逻辑。研究认为，平陆运河沿线文旅开发应以文化价值识别为基础，以主题转译为资源向产品转化的关键接口，以场景生产将文化意义转化为游客的身体实践、情感投入和社会互动，并通过多主体协同、利益共享和动态反馈形成持续运营机制。提出邕钦盐道、邕钦市井、节庆体育、江海水上旅游和千年坭兴陶五类体验型文化旅游产品设计逻辑。平陆运河文旅开发应由“资源集合”转向“体验产品体系”，由一次性项目建设转向“设计–测试–运营–迭代”的动态运营与持续迭代，用差异化产品共同支撑运河沿线的整体品牌形象，增强沿线文化旅游的地域辨识度、体验深度和持续发展能力。

Abstract: The key to cultural tourism development along the Pinglu Canal lies not in the expansion of resource quantity, but in transforming scattered natural, historical, social, and industrial resources into experience products that are perceptible, participatory, and sustainably operable. Addressing the transformation gap between resource endowments and tourism products, and centering on issues of resource value identification, cultural meaning interpretation, experience theme translation, tourist scene entry, and product sustainable operation, this study constructs an experience-oriented cultural tourism development logic comprising “resource identification - cultural decoding - theme translation - scene production - collaborative operation - feedback iteration”. The study argues that cultural tourism development along the Pinglu Canal should be grounded in cultural value identification, treat theme translation as the critical interface for converting resources into products, and employ scene production to transform cultural meanings into tourists’ bodily practice, emotional engagement, and social interaction, thereby establishing a sustainable operation mechanism through multi-stakeholder collaboration, benefit sharing, and dynamic feedback. It proposes the design logic for five categories of experience-oriented cultural tourism products: the Yong-Qin Salt Route, Yong-Qin Marketplace Life, Festival and Sports Experiences, River-Sea Water Tourism, and the Millennium Nixing Pottery. The study concludes that cultural tourism development along the Pinglu Canal should shift from a “resource assemblage” to an “experience product system” and from one-off project construction to dynamic operation and continuous iteration along the cycle of “design-testing-operation-iteration”, so that differentiated products jointly support the overall brand image of the canal corridor and enhance the regional distinctiveness, experiential depth, and sustainable development capacity of cultural tourism along the route.