Strategies for Sustainable Tourism at the Mogao Grottoes of Dunhuang, China

Demas, Martha; Agnew, Neville; 樊, 錦詩; Maekawa, Shin

doi:10.1007/978-3-319-09000-9

Cited by 13 publications

(12 citation statements)

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“…High CO 2 concentrations and humidity levels reached dangerous levels both for the preservation of the paintings and for the health of visitors; these were the major reasons for restricting visitor numbers. A new protocol was introduced in 2014, strictly limiting tourist numbers to a maximum of 6,000 per day (Demas, Agnew, & Jinshi 2015). This doubling of the quota was facilitated by the opening of a new multimedia visitor centre in 2014, allowing explanations to take place away from the caves themselves.…”

Section: Cave Versus Open-air Rock Art Sites Developing Cave Art For mentioning

confidence: 99%

“…This reduced the average time inside the caves from 2 to just 1 hour and 15 minutes. Faster group rotations led to better air movement and a lowering of CO 2 levels in the caves (Demas et al 2015). Ultimately, reduced visit times have helped increase the number of tourists per day while ensuring satisfactory environmental conditions to preserve the paintings.…”

Section: Cave Versus Open-air Rock Art Sites Developing Cave Art For mentioning

confidence: 99%

“…Ultimately, reduced visit times have helped increase the number of tourists per day while ensuring satisfactory environmental conditions to preserve the paintings. At the same time, visitor restrictions have added to the 'rarity value' of Mogao visitor tickets, and these are now highly sought after during times of peak demand, such as on Chinese public holidays (Demas et al 2015).…”

Section: Cave Versus Open-air Rock Art Sites Developing Cave Art For mentioning

confidence: 99%

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Rock Art Tourism

Duval¹,

Gauchon²,

Smith³

2017

The Oxford Handbook of the Archaeology and Anthropology of Rock Art

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Rock art tourism facilities at publicly accessible sites range widely from a total absence of purpose-built infrastructure to multimillion-dollar interpretation centres, and from free and unrestricted visitation to full fee-paying, highly mediated visitation experiences run by tourism professionals. This chapter addresses questions surrounding the principles and practices of rock art tourism development in conjunction with issues of heritage management and conservation; each site is different, and development practices in one area cannot simply be transferred to another, although common methodologies may be followed. The most appropriate developments are constructed by first understanding the significance of places through genuine consultative processes that include all interested parties. Using examples from around the world, the authors provide an historical overview of rock art tourism in caves and open-air sites and discuss integrated rock art tourism management with a focus on conservation, interpretation, territoriality, and cultural connectivities.

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Section: Cave Versus Open-air Rock Art Sites Developing Cave Art For mentioning

confidence: 99%

Section: Cave Versus Open-air Rock Art Sites Developing Cave Art For mentioning

confidence: 99%

Section: Cave Versus Open-air Rock Art Sites Developing Cave Art For mentioning

confidence: 99%

See 1 more Smart Citation

Rock Art Tourism

Duval¹,

Gauchon²,

Smith³

2017

The Oxford Handbook of the Archaeology and Anthropology of Rock Art

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“…High CO2 concentrations and humidity levels reached dangerous levels both for the preservation of the paintings and for the health of visitors; these were the major reasons for restricting visitor numbers. A new protocol was introduced in 2014, strictly limiting tourist numbers to a maximum of 6000 per day (Demas et al 2015). This doubling of the quota was facilitated by the opening of a new multimedia visitor centre in 2014, allowing explanations to take place away from the caves themselves.…”

Section: For Example In the Maloti Drakensberg Mountains Unesco Worlmentioning

confidence: 99%

“…This reduced the average time inside the caves from two to just one hour and 15 minutes. Faster group rotations led to better air movement and a lowering of CO2 levels in the caves (Demas et al 2015). Ultimately, reduced visit times have helped increase the number of tourists per day while ensuring satisfactory environmental conditions to preserve the paintings.…”

Section: For Example In the Maloti Drakensberg Mountains Unesco Worlmentioning

confidence: 99%

The Oxford Handbook of the Archaeology and Anthropology of Rock Art

2017

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This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook, however the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title was published online. For more information, please read the site FAQs. Rock art is one of the most visible and geographically widespread of cultural expressions, and it spans much of the period of our species’ existence. Rock art also provides rare and often unique insights into the minds and visually creative capacities of our ancestors and how selected rock outcrops with distinctive images were used to construct symbolic landscapes and shape worldviews. Equally important, rock art is often central to the expression of and engagement with spiritual entities and forces, and in all these dimensions it signals the diversity of cultural practices, across place and through time. Over the past 150 years, archaeologists have studied ancient arts on rock surfaces, both out in the open and within caves and rock shelters, and social anthropologists have revealed how people today use art in their daily lives. The Oxford Handbook of the Archaeology and Anthropology of Rock Art showcases examples of such research from around the world and across a broad range of cultural contexts, giving a sense of the art’s regional variability, its antiquity, and how it is meaningful to people in the recent past and today – including how we have ourselves tended to make sense of the art of others, replete with our own preconceptions. It reviews past, present, and emerging theoretical approaches to rock art investigation and presents new, cutting edge methods of rock art analysis for the student and professional researcher alike.

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Buddhistische Höhlentempel in China

Wertmann

2023

China

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Strategies for Sustainable Tourism at the Mogao Grottoes of Dunhuang, China

Cited by 13 publications

References 0 publications

Rock Art Tourism

Rock Art Tourism

The Oxford Handbook of the Archaeology and Anthropology of Rock Art

Buddhistische Höhlentempel in China

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