过去十年，许多学者都对丽江古城的旅游发展与文化变迁进行过批评。文化真实性的丧失和文化商品化是这些批评中的重要主题。这些问题不仅反映了丽江古城在文化旅游发展下的困境，也是众多其它文化遗产地共同面对的难题。本文通过对丽江古城的木雕与绘画旅游艺术品的研究，探讨了文化旅游中的文化生产与文化想像，并回应了这些相关问题。 / 在田野调查的基础上，本文总结了上个世纪九十年代以来云南旅游艺术品市场的形成，以及丽江旅游纪念品与木雕绘画产品的发展历程。接下来的讨论通过三个主题来进行：传统与原始、真实与消费、混杂与重构。在传统与原始的讨论中，笔者结合东巴象形文字在现代东巴画和旅游艺术品的应用，分析了当代纳西知识分子和精英画家对东巴文化的想像和艺术再现。所谓的传统生活与文化被绑定在了文化的原始性和艺术的原始性表现中。古城艺人在继承了现代东巴画派的成果的基础上将艺术品与现代生活做了更多的联接。但是传统与原始的联接仍然在很多方面建构着当地的文化想像和实践。真实与消费的讨论中，文章认为文化真实性既有客观性的一面，也有主观性的一面，他们共同构成了文化遗产地的文化真实。许多旅游艺术品的生产都与当地的文化想像有关，它是具有实践性的文化生产。在文化商品化的过程中，文化想像也发挥着作用，它使真实与消费联系起来。不同的参与者都在用自己的方式参与着文化变迁与重构的协商。在文化生产的过程中，当地的艺人运用混杂的方式不断试验着新的可以表达自己又获得市场认可的作品。他们通过与不同人的交流与想像，在古城的混杂的空间里寻找着自己可以发声的位置，对艺术的追求和艺术家身份的建构成为其中的一个硕果。 / 随着旅游的发展，古城空间和职能发生了根本性的改变，新的文化群体和文化空间正在形成，对文化想像的追寻代替了对文化真实性的追寻成为了旅游活动的主导。文化遗产概念在传播与应用过程中不断被文化想像所填充。尽管古城的木雕与绘画业仍然存在许多问题，但它却孕育出了一批有理想的当地年轻人，他们在文化变迁中正以自己的力量努力着。 / Since the last decade, many scholars have undertaken critical researches on tourism development and culture changes. Cultural authenticity and cultural commercialization have been the main topics in the discussions. These problems exist generally in most heritage sites. This thesis proposes to further explore these topics by studying the case of Lijiang old town in Yunnan, China. It focuses on the local woodcrafts and paintings, two popular tourist art forms, to examine cultural construction and cultural imagination in cultural tourism. / Based on field studies, I have reviewed the formation of the market for tourism art in Yunnan Province and the short history of souvenir and tourism arts in Lijiang since 1990s. The following discussion focuses on three main topics: tradition and primitiveness, authenticity and consumption, hybridity and reconstruction. The first topic studies the cultural imagination in contemporary Dongba paintings from Naxi intellectuals and elite artists by analyzing the wide use of Dongba hieroglyphic characters. Cultural primitiveness is used to represent traditional life and culture in the paintings. Although the local craftsmen and painters try to connect traditional culture with modern life, the bond between cultural tradition and primitiveness is still a major influence on cultural imagination and practice. For the second topic, I argue that cultural authenticity has both objective and subjective sides, and both sides interact with local cultural imagination at the heritage site. Many tourism arts are produced with local cultural imagination, and in turn they influence the construction of local culture. Cultural imagination is the bridge between authenticity and consumption. Various stakeholders are participating in the negotiation of cultural changes in their own ways. For the third topic, at the production side, local artists experiment with hybridity on their craft works and have found an efficient way to express their ideas as well as getting feedbacks from the market and consumers. The local craftsmen find their identities and positions in the old town as a result of communication and practices. The pursuit for art and the identity of artist are their major achievements. / With the development of cultural tourism, the Lijiang old town has completely changed in terms of both space and function. Newer and younger cultural groups and cultural spaces are emerging, seeking cultural imagination instead of cultural authenticity in the tourism activities. The concept of cultural heritage is filled up with cultural imagination during its spread in practice. Although the development of woodcrafts and paintings in Lijiang still has many difficulties and problems, it has successfully cultivated a group of local artists who have dreams and will put all their efforts to develop the local culture in their works. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 周蔚蔚. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 269-279) and indexes. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Zhou Weiwei. / 导 言 --- p.7 / Chapter 第一章 --- 研究背景及文献回顾 --- p.11 / 研究背景及问题的产生 --- p.11 / 相关概念及文献回顾 --- p.16 / 理论资源 --- p.36 / 研究方法 --- p.48 / 论文框架 --- p.50 / Chapter 第二章 --- 九十年代以来纳西民间木雕与绘画的发展概况 --- p.57 / 旅游艺术品市场的形成 --- p.57 / 丽江古城旅游纪念品（旅游艺术品）的概况 --- p.65 / 九十年代后古城木雕绘画旅游艺术品的概况 --- p.71 / Chapter 第三章 --- 传统与原始：东巴象形文字与雕刻绘画 --- p.88 / 从宗教语言到艺术语言 --- p.88 / 主题的模式化 --- p.97 / 新力量的出现与主题的延伸 --- p.109 / 传统与原始性 --- p.115 / 抽离与全球化 --- p.123 / 小结 --- p.128 / Chapter 第四章 --- 真实与消费：雕刻神灵 --- p.131 / 《归猎图》的传奇 --- p.131 / 《黑马图》与《归猎图 --- p.133 / 云南重彩画与云南少数民族的艺术再现 --- p.139 / 三朵指涉的形成 --- p.146 / 《东巴神像》 --- p.164 / 真实性的协商 --- p.173 / 小结 --- p.182 / Chapter 第五章 --- 混杂与重构：古城与艺术家 --- p.184 / “我爱丽江 --- p.185 / 再现古城奇观 --- p.189 / 凝视混杂的古城 --- p.198 / 在凝视中交流与创作 --- p.204 / 混杂的力量 --- p.209 / 对艺术家的文化想像 --- p.221 / “要不择手段地成为艺术家 --- p.223 / “丽江混混 --- p.229 / 中间人的缺失 --- p.233 / 小结 --- p.244 / 结 论 --- p.250 / 文化想像、文化生产与文化遗产 --- p.250 / 古城、木雕绘画与旅游艺术品 --- p.256 / 尾 声 --- p.259 / Chapter 附录一 --- 现代东巴画派主要画家简介 --- p.261 / Chapter 附录二 --- 古城木雕绘画艺人简介 --- p.263 / Chapter 附录三 --- 田野调查访谈的主要人物与时间列表 --- p.265 / Chapter 附录四 --- 本文所引用图表索引 --- p.266 / Chapter 附录五 --- 本文所引用木雕绘画作品索引 --- p.267 / 英文参考文献 --- p.269 / 中文参考文献 --- p.275 / 未经发表的资料 --- p.280