The competition between festivals and characters is not limited to the above examples. Over the years, there have been many such cultural battles, which are not limited to historical celebrities, but also extended to literary figures such as Pan Jinlian, Zhao Yun, Ximen Qing, and even mythical images such as Guanyin and Yan Di. Cao Cao, Lao Zi, Zhuge Liang, Li Bai, Cao Xueqin ... All the places where celebrities were born, grew up or lived have become the targets of looting among local governments. Because the ownership problem can't be solved, the struggle is fierce and lasting.
Local governments play a driving and leading role in this battle. If the object of contention is generally called intangible cultural heritage, we can see that the hidden interests are very strong. As Zhu's hometown, Fujian and Jiangxi provinces have prepared 4 billion yuan of cultural projects, competing to build Zhu's cultural, ecological and leisure tourist attractions. Lincheng and Zhengding County in Hebei Province are both considered as the hometown of Zhaoyun, and Lincheng spent 654.38 billion yuan to build Zhaoyun theme park. With Zhuge Liang as the signboard, Nanyang, Henan Province is expected to earn more than 654.38+04 billion yuan in cultural tourism.
Behind every historical and cultural celebrity is a stable economic account. Every celebrity is regarded as part of the government's profit plan in the name of culture. As long as financial expectations can be relied on, it makes no difference whether historical and cultural figures evaluate them or not. It is important that local governments become unique masters and masters of "historical and cultural celebrities". In this way, the struggle will have sustained motivation, sometimes to the point of tearing up the face. It is not difficult to see that grabbing culture is to watch the watch, and it is essentially to fight for the economy.
It is natural for some local governments to turn culture into tourist attractions and celebrities into economic projects. The so-called cultural setting up and economic singing have always been the logic of political achievements of the government and officials. Different cultural celebrities provide scripts for this kind of drama, and due to historical factors, it is expected to realize economic vision. Zhu's utilitarian investment is unprecedented. I don't know what Zhu Fuzi, who put forward the idea of "preserving nature and destroying human desires", thinks. But local governments don't care about these absurd comparisons, and culture is just a cover.
Once the economy becomes the dominant force of culture, culture can easily become a victim. How can we imagine whether the poet's sage's chapter is imitating Du Fu's thatched cottage or Zhuge Liang's cultivated land, under Pan Jinlian's window or in Cao Cao's tomb? How to interpret the Three Kingdoms and Water Margin? The chief culprit in the battle for cultural resources is interest, and the resulting crisis is not only reflected in the aesthetic sense, but also evidenced by a large number of facts, such as how many ancient city walls, quadrangles and former residences of celebrities have been demolished under the cultural slogan of upgrading the appearance of the old city?
The fierce competition for historical and cultural resources is losing contact with loving culture and protecting history. Competition itself proves the exhaustion of culture in the form of consumption. In the economic model that excludes cultural connotation, every kind of cultural resource will cause competition for interests, thus constantly lowering the quality of culture and becoming superficial and vulgar. The charm of traditional culture has been weakened by the celebrity culture dispute in the blueprint of tourism economy, and the status quo of cultural atrophy and the reconstruction of cultural dignity have become dispensable.
Although we have more than 2000 famous historical and cultural cities, we ask ourselves, is the inheritance of history and culture getting better or worse? Who really cares about what kind of image Zhu will create in the cultural pile of 4 billion yuan? It has become a severe reality and trend to lose the clear prospect of cultural evolution in the name of culture. Cultural competition, whether it indicates destruction or construction, is really a problem.