襄阳职业技术学院学报

在建设汉江流域中心城市进程中，文旅产业是彰显襄阳城市文化软实力、集聚资源要素的关键引擎。当前，襄阳非遗文旅项目普遍面临着“有资源无品牌、有流量无留量”的困境，制约了襄阳文化资源的深度转化与城市文化枢纽功能的实现。文章以襄阳小江西漆器博物馆为典型案例，引入场景理论视角，系统剖析如何实现从“网红现象”到“产业生态”的非遗文旅能级提升。研究认为，非遗文旅品牌建设应以“场景”为媒介，通过构建差异化场景IP，促进创意阶层协同，打造汉江流域场景共同体，实现文旅流量向消费流量与文化认同的有效转化，探索中西部城市通过“场景化”激活非遗资源、赋能文旅枢纽功能可行路径。

In the process of establishing Xiangyang as a central city in the Hanjiang River Basin, the cultural tourism industry serves as a crucial engine for enhancing the city's cultural soft power and aggregating resources. Currently, Xiangyang's intangible cultural heritage(ICH) tourism projects commonly face the challenge of "having resources but lacking brands, having visitor flow but failing to retain it," which hinders the in-depth transformation of cultural resources and the realization of the city's role as a cultural hub. Taking the Xiaojiangxi Lacquerware Museum in Xiangyang as a typical example, this study adopts a scenographic theory perspective to systematically analyze how to elevate ICH tourism from a "social media sensation" to an "industrial ecosystem." The research posits that the development of ICH tourism brands should utilize "scene" as a medium. By constructing differentiated scene IPs, fostering collaboration among creative professionals, and building a scenographic community within the Hanjiang River Basin, it is possible to effectively transform tourist flows into consumption and cultural identity. This exploration offers a feasible pathway for central and western Chinese cities to activate ICH resources and empower tourism hub functions through scene-based strategies.