The Cultural-Geographical Logic and Practical Pathway of Site Selection for the China Pewter Museum: A Case Study of Lili Ancient Town, Suzhou 摘 要<br><br>中國(guó)錫器博物館的選址不僅是空間決策，更是文化地理意義上的“文化歸位”。本研究以蘇州黎里古鎮(zhèn)為案例，從文化源頭、區(qū)位結(jié)構(gòu)、空間語(yǔ)境和旅游協(xié)同四個(gè)維度出發(fā)，探討錫器文化與地方文化景觀之間的耦合關(guān)系。<br><br>研究表明，蘇州作為中國(guó)打錫工藝的發(fā)源核心區(qū)域，黎里古鎮(zhèn)憑借其明清建筑規(guī)模、江南水鄉(xiāng)格局、文化名人傳統(tǒng)與長(zhǎng)三角區(qū)位優(yōu)勢(shì)，為錫器文化提供了最適宜的展示與傳播生態(tài)位。該案例反映出中小型專業(yè)博物館在當(dāng)代旅游體系中的選址模式，為中國(guó)工藝類博物館的未來(lái)布局提供了參考框架。<br><br>Abstract<br><br>The site selection of the China Pewter Museum is not merely a spatial decision but a cultural-geographical act of “returning the culture to its origin”. Using Lili Ancient Town in Suzhou as a case study, this research examines the coupling between pewter craftsmanship and local cultural landscapes through four analytical dimensions: cultural origins, regional accessibility, spatial context, and tourism synergy.<br><br>Findings indicate that Suzhou, as a historical center of pewter craftsmanship, and Lili, with its well-preserved Ming–Qing architecture, Jiangnan water-town morphology, cultural lineage, and strategic position in the Yangtze River Delta, jointly provide the optimal ecological niche for showcasing and disseminating pewter culture. The case offers a reference model for future site selection of craft-oriented museums in China.<br><br>一、引言 Introduction<br><br>在當(dāng)前文化產(chǎn)業(yè)與旅游產(chǎn)業(yè)深度融合的大背景下，中小型專業(yè)博物館的選址策略成為博物館學(xué)、文化地理學(xué)與城市規(guī)劃領(lǐng)域的重要議題。與傳統(tǒng)大型綜合性博物館相比，工藝類博物館更依賴文化語(yǔ)境、地方記憶和旅游動(dòng)線三者的耦合。中國(guó)錫器博物館以傳統(tǒng)工藝為主體，其選址必須同時(shí)滿足文化真實(shí)性、公眾可達(dá)性與歷史空間適配性。<br><br>Against the backdrop of deep integration between cultural and tourism industries, the site-selection strategy of small to medium specialized museums has become a key topic in museum studies, cultural geography, and urban planning. Compared with large comprehensive museums, craft-oriented museums rely more heavily on the coupling of cultural context, local memory, and visitor flows. As an institution centered on traditional craftsmanship, the China Pewter Museum must simultaneously satisfy authenticity of culture, accessibility to the public, and spatial compatibility with historical settings.<br><br>二、理論框架 Theoretical Framework<br><br>2.1 文化地理學(xué)：文化源頭與地方性<br><br>文化地理學(xué)強(qiáng)調(diào)文化現(xiàn)象必須結(jié)合其發(fā)生地進(jìn)行闡釋。錫器作為生活器具，其工藝、造型與江南日常生活密切相關(guān)，因而在文化邏輯上必須“落回源頭”。<br><br>Cultural geography emphasizes that cultural phenomena should be interpreted within the context of their place of origin. As a form of domestic craft, pewterware is deeply tied to Jiangnan daily life, making it culturally logical for the museum to be located in its birthplace.<br><br>2.2 區(qū)位理論：可達(dá)性與人流模型<br><br>區(qū)位理論認(rèn)為，設(shè)施選址需兼顧成本、人流、交通節(jié)點(diǎn)和區(qū)域協(xié)同。對(duì)于博物館而言，這一模型不僅決定觀眾規(guī)模，更決定文化傳播效率。<br><br>Location theory posits that site selection must balance cost, visitor flow, transportation nodes, and regional synergy. For museums, such a model determines not only audience size but also the effectiveness of cultural dissemination.<br><br>2.3 博物館學(xué)：語(yǔ)境展示與情境敘事<br><br>博物館學(xué)近二十年強(qiáng)調(diào)“語(yǔ)境展示”，即器物必須放回與其形成邏輯一致的空間語(yǔ)境。錫器屬于生活器，其文化意義在真實(shí)的江南生活空間中更易被觀眾理解。<br><br>Recent museum studies emphasize “contextual display”, meaning that artifacts must be exhibited within spaces consistent with their cultural logic. As a domestic craft, pewter carries deeper meaning when placed within authentic Jiangnan living environments.<br><br><br> 三、蘇州：作為中國(guó)打錫工藝發(fā)源地的文化必然性<br><br>歷史文獻(xiàn)顯示，蘇州自明清以來(lái)即為中國(guó)打錫工藝的核心區(qū)域。蘇州工匠主導(dǎo)了生活錫器與文房錫器的審美體系，并對(duì)全國(guó)工藝標(biāo)準(zhǔn)產(chǎn)生深遠(yuǎn)影響。因此，中國(guó)錫器博物館落地蘇州，是文化回歸、歷史邏輯與工藝傳承的必然選擇。<br><br>Historical records identify Suzhou as a core region of pewter craftsmanship since the Ming and Qing dynasties. Suzhou artisans shaped the national aesthetics of domestic and scholarly pewterware, exerting long-term influence across China. Thus, locating the China Pewter Museum in Suzhou represents a natural cultural and historical alignment.<br><br>四、黎里古鎮(zhèn)：最適宜錫器文化的空間生態(tài)位<br><br>4.1 長(zhǎng)三角黃金區(qū)位：鏈接兩省一市<br><br>黎里位于江蘇、浙江、上海交界地帶，北連蘇州主城，東至上海便利，南接浙江湖州嘉興，是長(zhǎng)三角一體化的重要節(jié)點(diǎn)。區(qū)位優(yōu)勢(shì)保證了博物館的自然人流基礎(chǔ)。<br><br>Lili lies at the junction of Jiangsu, Zhejiang, and Shanghai. It connects Suzhou’s main urban district to the north, with convenient access to Shanghai and the Zhejiang cities of Huzhou and Jiaxing. This strategic location ensures stable and sustainable visitor flow.<br><br>4.2 中國(guó)罕見的“明清建筑大體量古鎮(zhèn)”<br><br>黎里核心區(qū) 0.69 平方公里內(nèi)保存約 11.7 萬(wàn)平方米歷史建筑，其中近 10 萬(wàn)平方米為明清建筑，是蘇州保存最完整的古鎮(zhèn)之一，也是全國(guó)古鎮(zhèn)中罕見的大體量遺存。<br><br>Within its 0.69 km2 core area, Lili preserves approximately 117,000 m2 of historical buildings, nearly 100,000 m2 of which date from the Ming–Qing period. It ranks among the most architecturally intact ancient towns in Suzhou and China.<br><br>4.3 江南生活空間的“實(shí)景博物館”<br><br>黎里以丁字形市河、三里長(zhǎng)廊棚、12 座古橋、25 條明弄與 90 條暗弄構(gòu)成魚骨狀格局，是江南生活空間最典型的樣本。因此，它能為錫器這一生活器激活真實(shí)生活語(yǔ)境。<br><br>With its T-shaped river, three-mile corridors, twelve ancient bridges, and a fishbone pattern of alleys, Lili is a living representation of Jiangnan urban life. This makes it an ideal spatial context for interpreting pewter as an everyday craft.<br><br>4.4 名人傳統(tǒng)與文化敘事的深厚土壤<br><br>從柳亞子到殷明珠，再到倪征燠，黎里擁有豐富的文化名人傳統(tǒng)，為博物館敘事體系提供天然支撐。<br><br>From Liu Yazi to Yin Mingzhu and Ni Zhengyu, Lili’s heritage of notable historical figures enriches its cultural narrative, supporting deeper storytelling for the museum.<br><br>五、討論 Discussion<br><br>5.1 為什么必須是黎里？<br><br>蘇州是文化源頭，而黎里提供了文化傳播所需的空間載體、人流機(jī)制與情境表達(dá)，是唯一能夠同時(shí)滿足三項(xiàng)條件的區(qū)位。<br><br>Suzhou provides the cultural origin, while Lili offers the spatial vessel, visitor flow, and contextual expression necessary for effective communication of pewter culture. It is the only location that fulfills all three criteria.<br><br>5.2 博物館—古鎮(zhèn)—旅游的三重協(xié)同<br><br>中國(guó)錫器博物館落地黎里不僅是文化選擇，也是文化—旅游融合的典型模式，為工藝類博物館提供了可復(fù)制路徑。<br><br>The museum–ancient town–tourism triad forms a synergistic system in Lili, offering a replicable model for craft-oriented museums nationwide.<br><br>六、結(jié)論 Conclusion<br><br>通過(guò)文化地理、區(qū)位理論與博物館學(xué)的綜合分析可見，中國(guó)錫器博物館與蘇州黎里古鎮(zhèn)之間具有文化、空間與敘事三重契合。黎里古鎮(zhèn)不僅提供歷史真實(shí)性，也提供文化傳播的最佳路徑。本研究提出的選址邏輯可為其他工藝類博物館的未來(lái)布局提供學(xué)術(shù)與實(shí)踐意義上的參考。<br><br>Through the integrated perspectives of cultural geography, location theory, and museum studies, this research demonstrates the cultural, spatial, and narrative compatibility between the China Pewter Museum and Lili Ancient Town. Lili not only ensures historical authenticity but also provides an optimal pathway for cultural dissemination. The site-selection logic presented here offers both academic and practical insights for future planning of craft-focused museums.