Abstract:

This study uses digital footprints extracted from online travelogues as data and applies social network analysis and other methods to analyze the temporal and spatial behavior of Hanfu travel photography in Luoyang. The findings are as follows. First, Hanfu travel photography is a typical practice under the new tourism resource concept led by “China-Chic”, and its role in highlighting cultural self-confidence is becoming increasingly prominent. Second, the mechanism of “symbol attraction-spatio-temporal behavior-meaning production”, driven by the new tourism resource concept and combined with spatial production theory, drives the government’s integration of resources to create the symbol of“Tang Dynasty”(spatial representation). Tourists engage in embodied travel photography to practice spatio-temporal behavior (spatial practice), return to the Tang Dynasty, achieving the meaning of their dream (representational space). Third, this study examines the temporal and spatial behavioral characteristics of Hanfu travel photography in Luoyang, discovering the temporal characteristics of “seasonal balance driven by festivals and events” and the spatial characteristics of “dual axis supported attraction clustering”. These patterns overcome the static limitations of traditional spatial practices of single scenic spots and single scenes, and based on personal preferences, form a dual axis differentiated choice of historical narrative and life experience of “Dreaming Back to the Tang Dynasty”. The expansion of spatial production theory in the new era, along with its localized application in the integration of culture and tourism amid the rise of China-Chic consumption, offers a valuable framework for optimizing the supply of integrated cultural and tourism products. It also supports the creative transformation and innovative development of traditional cultural resources in Luoyang and other historically and culturally significant cities.

Key words: a dream of the Tang Dynasty, spatial production, Luoyang Hanfu travel photography, temporal and spatial behavior, digital footprints

摘要：

本文以从网络游记中提取的数字足迹数据为基础，通过社会网络分析等方法解析游客洛阳汉服旅拍时空行为。研究发现：其一，汉服旅拍是“国潮”引领的新旅游资源观的典型实践，其彰显文化自信的作用日益凸显。其二，汉服旅拍在新旅游资源观驱动下形成了“符号吸引—时空行为—意义生产”机制。结合空间生产理论，新旅游资源观驱动官方将资源整合打造“大唐”符号（空间表征），游客通过旅拍具身实践的时空行为（空间实践）“回”到“大唐”场景，实现自己“梦”的意义（表征的空间）。其三，汉服旅拍具有时空行为特征。兼具“节事牵引的季节均衡性”的时间特征和“双轴支撑的景点集聚性”的空间特征，汉服旅拍得以突破传统空间实践单景点、单场景的静态局限，基于个人偏好形成“梦回大唐”的历史叙事和生活体验双轴线的差异化选择。本文拓展了空间生产理论在新时代以“国潮”为消费背景的文旅融合的在地化应用，为洛阳及同类历史文化城市全域优化文旅产品供给、推动传统文化资源“两创”提供了可借鉴路径。

关键词: “梦回大唐”, 空间生产, 洛阳汉服旅拍, 时空行为, 数字足迹