The "15th Five Year Plan" proposes clear requirements: "Strengthen the effective protection and dynamic inheritance of historical and cultural cities, neighborhoods, and villages", "Promote the deep integration of culture and tourism, vigorously develop the cultural tourism industry, and empower economic and social development with culture". These important deployments provide fundamental guidance and inject strong impetus for the deep integration and development of intangible cultural heritage and tourism. In Dongyang, Zhejiang, Linqi Thirty Six Institute has revitalized the art of blue printed floral cloth in the fields by creating a unique "rural fashion show"; In Zhangzhou, Fujian, the ancient city takes immersive experiences as its path, deeply integrating intangible cultural heritage into people's daily lives; In Jing County, Anhui Province, Xuanzhi Town deeply cultivates the immortal cultural heritage of "paper longevity for a thousand years", allowing a thin piece of paper to carry the power of research and learning experience, cultural and creative development. These innovative practices from historical and cultural cities, neighborhoods, and villages fully demonstrate the enormous potential and vigorous vitality of the integrated development of intangible cultural heritage and tourism. A blue printed flower cloth "showcases" a new path of rural culture and tourism. Located deep in the mountains of Dongyang, Zhejiang, Sandan Township was once a typical "hollow village". The permanent population is less than 3000, mainly consisting of left behind elderly people, and local culture and folk traditions are gradually declining. There is a national intangible cultural heritage here that has been passed down for 1400 years - the printing and dyeing techniques of blue printed fabrics. In the local wedding tradition, a blue printed floral cloth "lotus quilt" is an essential dowry for the bride, not only conveying the family blessings of "harmony and beauty", but also embodying the skills and local memories passed down from generation to generation. However, due to weak infrastructure, idle old houses, and barren land, blue printed cloth has gradually faded out of people's lives, and precious intangible cultural heritage skills are also facing a crisis of inheritance. The turning point occurred in 2020, when Dongyang City leveraged the momentum of the "Ten Million Project" to launch the Linqi Thirty Six Courtyard project with blue printed fabric as its core in Sandan Township. The biggest challenge in the protection of intangible cultural heritage is the loss of connection with modern life. Without market vitality, intangible cultural heritage will eventually be forgotten. Intangible cultural heritage must survive in 'being used'. ”Guo Yunyu, Director of the Intangible Cultural Heritage Center of Linqi Thirty Sixth Institute, said in an interview with reporters from China Youth Daily and China Youth Network. Therefore, the team has decided to use the "Intangible Cultural Heritage Rural Show" as an engine to build a new cultural and tourism ecosystem. They used mountains and rivers as a stage to create a unique "Mountain and River Show" and formed the first rural modeling team, consisting of members from 5 villages, ranging in age from 23 to 65 years old. They started from scratch and now not only can confidently perform regularly, but also guide tourists on runway shows. The runway is just the starting point. The ultimate goal of Linqi Thirty Six Courtyard is to create a complete cultural and tourism ecology with blue printed fabric as the core, achieving the organic integration of primary, secondary, and tertiary industries: the primary industry will create organic rice fields and tea gardens; Constructing intangible cultural heritage workshops and cultural spaces in the secondary industry; The tertiary industry achieves comprehensive value transformation through themed homestays, in-depth study tours of intangible cultural heritage, and other means. To this end, the team has focused on promoting three tasks: the first is to reshape the space and let the old house tell a new story. The team collaborated with 5 villages to transform over 350 old houses into intangible cultural heritage workshops, exhibition halls, and themed homestays, promoting the transformation of old buildings from "preserved" to "revitalized". The second is to promote product innovation and connect intangible cultural heritage with modern life. The team delved into the beautiful symbolism of blue printed fabric patterns and collaborated with young designers to develop a series of cultural and creative products that conform to modern aesthetics; The third is to activate the villagers, establish the "She Workshop" through the model of "Xinxiang people driving old villagers", promote the employment of idle female labor force, and achieve an annual income increase of 10000 yuan per capita. The protection and inheritance of intangible cultural heritage is not an isolated 'rescue', but can be a creative rural revitalization practice. ”Guo Yunyu said, "What we 'showcase' is not only our products, but also a cultural confidence, aesthetic sense of life, and potential for development." With the popularity of the TV drama 'Silent Glory', the 'Living Intangible Cultural Heritage Grand View Garden' in Zhangzhou Ancient City has also entered the field of view of audiences across the country, from the 'Living Grand View Garden' to the 'New Consumer Scene'. The national level intangible cultural heritage elements such as Taiwanese opera and puppet shows that appear in the drama are a true reflection of the vibrant cultural ecology of the ancient city. The ancient city of Zhangzhou is home to 17000 indigenous people, and intangible cultural heritage is never just a specimen on the shelf, but a tangible representation of daily life. It is through the deep integration of intangible cultural heritage and tourism that ancient techniques can be passed down in the hustle and bustle of the world, and this rich regional cultural charm has also been successfully transformed into an engine that attracts tourists and drives economic development. According to Meng Fanyuan, the operator of the ancient city and the manager of the brand center operation department of Zhangzhou Culture, Tourism and Health Care Group, from January 2024 to September 2025, the accumulated number of tourists received in the ancient city reached 53.84 million; In the past year of 2025, the consumption chain revenue directly driven by intangible cultural heritage has exceeded 7.45 million yuan. Behind this transcript lies the profound intangible cultural heritage of the ancient city. Zhangzhou Ancient City has 7 national level intangible cultural heritages, including Gezi Opera, Puppet Show, Woodblock New Year's Painting, and Eight Treasures Inkstone, as well as two provincial-level intangible cultural heritages, including Zhangtai Drum and Umbrella Dance and Zhangzhou Lantern Riddle. Relying on these resources, the ancient city has innovatively created a diversified cultural and tourism industry. Among them, the "front factory, back store" model attracts intangible cultural heritage workshops and old brands to settle in through preferential rent, forming an immersive consumption scene of "front yard experience, back yard sales". In the first eight months of this year alone, the total revenue of 10 such stores has exceeded 4.54 million yuan. The ancient city innovatively launched the "Minnan Small Theater" model, revitalizing and utilizing the historical building "Xiangyang Theater", cleverly integrating the three elements of "play, tea, and art". Tourists can taste Minnan Kung Fu tea while enjoying intangible cultural heritage performances such as puppet shows. Since its operation this year, the theater has successfully held over 520 performances and achieved a total revenue of nearly 1 million yuan. In addition, the ancient city has developed over a hundred cultural and creative products around the IP image "Hou Xi" created based on cloth puppets. Since 2024, the total revenue of related cultural and creative products has exceeded 2.28 million yuan. In addition to innovative business formats, the ancient city also creates a comprehensive intangible cultural heritage experience environment through various means, such as planning high-frequency live performances, continuously incubating brand festival activities such as "Minnan New Year" and "Puppet Carnival", forming a good cycle of cultural inheritance and tourism development. The influx of over ten million tourists means that the ancient city of Zhangzhou has risen from a geographical location to a powerful cultural destination. Healthy intangible cultural heritage revenue means that traditional culture can not only survive with dignity, but also live with more dignity and possess market-oriented survival capabilities. ”Meng Fanyuan said. The innovative "chain" of intangible cultural heritage tourism extended from a piece of paper is located in Wuxi Village, Langqiao Town, Jing County, Anhui Province. There is a "Chinese Xuan Paper Town" silently guarding a human intangible cultural heritage - Xuan Paper making skills. This ancient technique, which originated in the Tang Dynasty, was included in the first batch of national intangible cultural heritage representative projects in 2006. Amidst the mountains and waters, the pure white architectural complex outlines the unique cultural landmark of Xuanzhi Town. The architecture cleverly blends the layered imagery of rice paper with the style of southern Anhui residential buildings, resembling a stack of scattered rice paper when viewed from afar. The architectural design won the highest award of the 12th Florence Biennale, the "Da Vinci Award", becoming a model of the integration of traditional techniques and modern design. In 2024, the town will receive over 400000 tourists throughout the year, bringing direct economic benefits of nearly 20 million yuan. Intangible cultural heritage should not be static specimens in museums. ”Rong Chao, the head of the Comprehensive Department of China Xuan Paper Town, told reporters. They have created three themed spaces in their system, allowing tourists not only to observe ancient methods, but also to participate in activities such as paper picking and drying, and to understand and resonate with intangible cultural heritage through interaction and experience. In the skill exhibition area of the China Xuan Paper Museum, tourist Jiang Yaxuan witnessed the 108 ancient processes of Xuan paper from bark to paper. A piece of bark, after 108 processes, can be turned into a thin sheet of rice paper like cicada wings, which is so shocking, "she sighed. Under the guidance of her master, she also personally experienced the "paper picking" technique. It looks simple, but the force and angle are not at all careless, "Jiang Yaxuan said sincerely after experiencing it." Only by trying it with her own hands can you know what craftsmanship is. "What shocked her the most was what she saw in the" Red Star Three Zhangsan "Giant Xuan Production Workshop - more than 60 craftsmen used the world's largest handmade paper curtain to simultaneously scoop out a giant Xuan paper that was 11 meters long and 3.3 meters wide. At that moment, intangible cultural heritage was no longer a concept in books, but a concrete and awe inspiring force of civilization, "said Jiang Yaxuan. In order to promote the transformation of intangible cultural heritage economy from "single ticket" to "comprehensive consumption", the Xuanzhi Town system has constructed diversified consumption formats and continuously extended the cultural value chain. The town has set up more than 10 intangible cultural heritage experience projects, including craftsman lecture halls, propaganda pen making, and aromatherapy ink. It has also introduced new formats such as travel photography services, rice paper printing, study restaurants, and "Twelve Bowl Intangible Cultural Heritage" themed catering. The "Guozhi Riverside" homestay has been built to fill the gap of night tours. Rongchao revealed that through systematic business layout, the secondary consumption income of Xuanzhi Town has accounted for 40% of the total revenue of the scenic area, forming a structurally healthy and sustainable business model. The practice of Xuanzhi Town has proven that as long as the path is found correctly, small county towns and townships can also make intangible cultural heritage shine brightly and inject strong cultural momentum into rural revitalization. ”Rong Chao said. Tradition is returning to contemporary life in a trendy way. Yang Hong, director of the Center for Intangible Cultural Heritage Communication Research at Communication University of China, proposed that the integrated development of intangible cultural heritage and tourism in China has entered a new stage of vigorous development. This trend reflects not only the high recognition of the contemporary value and protection achievements of intangible cultural heritage in the tourism industry, but also the positive role played by the tourism industry in the inheritance of intangible cultural heritage. Associate Professor Tu Yanzhen from the School of Tourism and Service at Nankai University believes that the consumption power mainly composed of young people is becoming a new engine for the inheritance of intangible cultural heritage. More and more young people are willing to 'go to a city for an intangible cultural heritage'. This cultural identity based tourism behavior reflects that tradition is returning to contemporary life in a trendy way. Yang Hong said that China's exploration of the integration of intangible cultural heritage and tourism provides an important reference for global intangible cultural heritage protection. Its sustainable development experience includes exploring resilient sustainable development paths; We have established a development model centered on inheritors and based on community and local culture, promoting the upgrading of traditional festivals into cultural brands shared by hosts and guests; It fully demonstrates the dynamic nature of intangible cultural heritage. It is worth noting that the deep integration of intangible cultural heritage and tourism still faces some practical challenges. Tuo Yanzhen proposed that talent is a key challenge for the deep integration and development of intangible cultural heritage and tourism. The integrated development of intangible cultural heritage and tourism requires not only the cultivation of intangible cultural heritage inheritors, but also the development of composite talents who understand intangible cultural heritage, tourism, and operational planning and management. In addition, there are still some intangible cultural heritage project experiences that remain on the surface, with insufficient market-oriented and branded operational capabilities, resulting in low economic and social benefits. To solve these problems, the government, universities, research institutions, intangible cultural heritage inheritors, associations, and other parties need to work together to create a collaborative innovation platform for the integration of intangible cultural heritage and tourism. ”Tu Yanzhen said. (New Society)