Landscape Production And Landscape Narrative

With the transformation of modern way, and the diversification of the human information dissemination media, the language exit form of folkore has been declining. Visual culture media which focusing on the main communication way_ "watching" has gradually replaced the traditional "oral listening", and then it will become a more important existent form and inheritance model.On the basis of this social context and the cultural turn, this paper puts forward the concept of the landscape production of the legend. So the paper emphatically discussed the cycle of the production process between the legend and the landscape, that is, from the legend to landscape and to a new legend again. Or from the landscape to the legend and to a new landscape again. Specifically, the landscape production of the legend contains the production of the landscape symbols, the production of the landscape legend and the material landscape production. On the specific mode of production, there are some basic modes of the landscape production, for example the Naming, the Transformation and the Reconstruction, and so on. In the frame of the legend research of the landscape production, the landscape has some important narrative functions. It consists of the landscape architecture, legend picture, the sculpture, the text introduce and the oral guide. In the landscape narrative system, watching landscape can induce visitors to talk about the legend. And then, the landscape becomes a new inheritance space of the legend which inducing the legend telling. Finally, it formed a system of landscape narrative which including the language narrative, landscape narrative and the ritual behavior narrative.The function of the landscape narrative promotes the landscape production by the local government. At the same time, the landscape production also further strengthens the characteristic of the landscape narrative. To some extent, the landscape production determines the development of the landscape narrative, namely, the development of the legend. Therefore, the producers of the legend landscape are very important to our study about the landscape production. In the cotemporary context of the productive protection of intangible cultural heritage, the landscape producers mainly include local government, developers, scholars, people, religion, and other dimensions. They get into the legend landscape production with their own positions of the local economic development, cultural reconstruction, the commercial capital chasing, and beliefs and so on. The production position is help to promote the development of the legend, and also to some extent impact the benign development of the legend. It has shown the characteristics of commercial trend with the market operation.The Legend of the White Snake is a typical landscape legend. Now there are about 70 landscapes in our country. The cradles of the legend--Hangzhou, Zhenjiang and Mount Emei——are the most abundant cities which have more legend landscapes. On the basis of combing the historic production of the landscapes, the paper try to analysis the integration of the legend and the landscapes, construction of the landscape symboles, the production of the new legends because of the landscape change, and the situation and problems of the landscape production among the different productors. In the landscape of the West Lake, the reconstruction of Leifeng Pagoda is the main production mode. And it shows the production characteristics of the economic effect as the guidance by the local government. Therefore, in the driven of the tourist economy, the new tower becomes a "Legend of the White Snake" tower. On the one hand, it’s help to develop the legend, but on the other hand, it also ignores the characteristics of the religious belief of the tower. And then, the new tower becomes an entertainment tower. The landscape production of Zhenjiang Golden-Mountain-Lake presents three types of the landscape production in the fusion and conflict between the local government and the religion. One is the landscape production of the Fahai Cave by the religious belief; the second is the production of "the Cultural Park of the White Snake’s Love Story" by the local government; the third is the production of the Bailong Cave by the religious belief and the local government which shows an ambiguous and embarrassment state. in the production practice. Different from Hangzhou and Zhenjiang, the landscape production of Emei Mountain shows a state of weaking by the Buddhist faith. The Bailong Cave will be noly a name after it was changed to Bailong Temple. At the same time, with the missing of the landscape production of Bailong Cave, the story of the Legend of the White Snake also was gradually blurred, and even forgotten.From the production of the legend in the three cities, we can see that the landscape production of the Legend of the White Snake has showen the characteristics of Jiangnan in the regional culture, the characteristics of secular in the theme, and the characteristics of the commercial in the production practice. On the one hand, the commercial capital can inject sufficient funds for the landscape production, and on the other hand, its purpose still pursues the economic benefits. So it needs active participation by more folk scholars to guide the development of the landscape production. And then the landscape production of the legend will become an effective path of developmenting and inheriting legend.