风景遗产的三重关联:以"浙东唐诗之路"浦阳江段为例OACHSSCD

Puyang River,as a significant tributary and the western boundary of the Tang Poetry Road in East Zhejiang,has accumulated rich poetry and a distinctive landscape heritage over successive dynasties.However,existing studies have paid insufficient attention to the interrelations,layering processes,and intrinsic cultural mechanisms of its landscape heritage.This study aims to analyze historical landscape poetry of the Puyang River,reveal the multi-dimensional"human-landscape-literature"interrelations embedded in the poetic texts,elucidate the formation patterns and evolutionary trajectory of the landscape heritage,and provide theoretical foundations and methodological references for the systematic cognition,conservation,and transmission of landscape heritage. Drawing from the literary sections of local chronicles and regional poetry compilations across successive dynasties,666 landscape poems composed by 329 poets were identified as the core research materials.An analytical framework was constructed from three dimensions—"subject,object,and medium."First,the poets were categorized into three groups—non-local poets,Zhejiang-native poets,and local poets—based on their native places and spheres of activity,and the differences in their travel behavior,compositional preferences,and scenic site selection were analyzed.Second,in conjunction with the historical changes in the Puyang River course,the diachronic evolutionary process of the poetic landscapes—from point-based distribution to region-wide networked coverage—was examined.Third,text clustering methods were employed to extract recurring typical landscape imagery categories from the Puyang River poems and to synthesize their elemental compositions and cultural connotations. The study yielded the following major findings.First,the poet groups exhibited a clear hierarchical differentiation:non-local poets concentrated on iconic historical sites in the mid-lower reaches,such as Yupu Ferry,King Yue's Terrace,and Zhuluo Mountain;Zhejiang-native poets ventured into hinterland landscapes in the upper reaches,including Xianhua Mountain and Shenniao Stream;while local poets achieved comprehensive coverage,fully depicting the urban and rural scenery across all four counties.Second,the poetic landscapes of the Puyang River underwent a three-stage evolution:before and during the Tang Dynasty,scenic sites appeared sporadically around county towns and transport nodes;from the Five Dynasties to the Yuan Dynasty,literati increasingly traveled upstream,with scenic sites extending from trunk routes into hinterlands and forming contiguous clusters;from the Ming Dynasty onward,following the mitigation of flooding and the compilation of local chronicles,scenic sites achieved full regional coverage,forming a densely interconnected landscape network.Third,six canonical landscape imagery categories were distilled:Xianhua Mountain and Zhaoling Shrine,Wuxie Waterfalls,Zhuluo Mountain and Huansha Stream,Chengshan Mountain and Reminiscences of the Yue State,Xianghu Lake Mist and Clouds,and Qianqing Ferry Tidal Scenery,each embodying a deep integration of natural landforms and cultural narratives.Fourth,three intrinsic interrelations of landscape heritage were identified:"scenery gains meaning through people,"in that poets endow landscapes with cultural significance;"landscapes are disseminated through literature,"in that poetry enables local scenery to transcend geographical constraints and become shareable cultural resources;and"culture cultivates the world,"in that the transmission of poetry fosters regional cultural identity and intergenerational inheritance. The landscape heritage of the Puyang River is not a simple aggregation of discrete landscape elements,but rather a culturally organic system formed through successive generations of poets' travels and writings,the continuous layering of poetic landscapes,and the repeated refinement of imagery.Corresponding conservation and transmission strategies are proposed,including"scenic route guidance,""scenic cultural context development,"and"scenic cultural education,"which provide operable practical pathways for the systematic protection of landscape heritage along tributary poetry routes.The"subject-object-medium"analytical framework constructed in this study not only enriches and refines the theoretical system of landscape heritage along the tributaries of the Tang Poetry Road in East Zhejiang,but also offers a replicable theoretical reference and practical operational paradigm for the systematic exploration,interpretation,and adaptive conservation of similar riverine poetry-route cultural heritage and watershed landscape heritage nationwide.