The Archaeological Site Park of the Haihun Marquis of the Han Dynasty in Nanchang: The Production of Theatre Spaces in the Revitalization and Utilization of Chinese Cultural Heritage

In the heart of Nanchang, China, lies a landscape that tells a story of two thousand years. It is the site of the Haihun Marquis, a nobleman from the Western Han Dynasty whose tomb was lost to time until its rediscovery in 2015. For decades, such places were viewed simply as ruins—silent, broken ground where history slept beneath the soil. The prevailing idea was that the job of archaeology was to protect these remains, keeping them safe and still, like items in a glass case. However, a new way of thinking has emerged in the field of cultural heritage. Instead of seeing a site only as a static object to be preserved, researchers are now asking how these places can become living parts of modern life. This shift relies on a concept known as the "production of space," which suggests that a place is not just a container for people and things, but something that is actively made and remade through how we use it, how we feel about it, and how we interact with one another there. When a site is transformed from a quiet ruin into a place where people gather, learn, and experience history together, it becomes a dynamic cultural field.

A recent study by researchers at Mahasarakham University examines exactly how this transformation happens at the Archaeological Site Park of the Haihun Marquis. The team, led by Kai Huang and Arkom Sangiamvibool, set out to understand how art and design turn a collection of ancient ruins into a vibrant public space. They did not just look at the buildings or the artifacts; they observed how the entire site functions as a kind of stage. In this context, "theatrical space" does not mean a place where actors perform plays for an audience in the traditional sense. Instead, it describes an environment where the layout of the land, the design of the paths, and the organization of events work together to guide visitors through a shared experience. The researchers found that art is not merely a decoration added to the site to make it look nice. Rather, art acts as the engine that drives the change, turning the site from a place of quiet observation into a place of active participation.

The journey of the Haihun Marquis site began long before the park was built. It started as a political entity in the Han Dynasty, then fell into ruin, and lay dormant underground for centuries. The first major step in its modern life was the archaeological discovery, which confirmed the identity of the tomb and brought the site back into public knowledge. But the researchers argue that finding the site was only the beginning. The true transformation occurred when the site was reorganized into a National Archaeological Site Park. This involved more than just building fences or putting up signs. It required a complete reimagining of the space. The team analyzed how the park moved from being a closed-off zone for scientists to an open area for the public. They found that the physical design of the park plays a crucial role in this shift. The paths, the gates, and the open areas are arranged to guide visitors on a specific journey. Walking through the park is no longer just about moving from point A to point B; it is a structured experience where the landscape itself tells a story. The width of the paths, the placement of viewing spots, and the way the buildings frame the ruins all work together to create a sense of entering a historical narrative.

To understand how this works in practice, the researchers spent time at the site, talking to visitors, staff, and performers. They collected data from over 400 questionnaires and observed how people moved through the park. They saw that the site uses a variety of artistic elements to engage the public. These include landscape design that leads the eye, architectural features that create a sense of arrival, and digital displays that bring ancient history to life without touching the fragile ruins. The study highlights that these elements do not work in isolation. Instead, they form a system where the physical environment supports social interaction. For example, the park hosts welcoming ceremonies, parades, and interactive activities where visitors can try ancient games or participate in rituals. These events are not random; they are carefully scheduled and organized to turn a crowd of individual tourists into a community of participants. In this way, the site becomes a place where people do not just look at history, but feel a part of it.

The researchers identified three layers that make up this "theatrical space." The first is the material layer, which includes the physical structures, the paths, and the digital installations. This layer makes the site accessible and allows people to walk through it. The second is the social layer, which is created by the people who visit and the activities they do together. When visitors join a parade or watch a performance, they are engaging in a shared social practice that connects them to the site and to each other. The third layer is the mental layer, which is about how people feel and what they understand. Through the combination of the physical setting and the social activities, visitors begin to form a connection with the past. They start to imagine the lives of the people who lived there long ago, and they develop a sense of local identity and cultural pride. The study shows that these three layers are deeply connected; the physical design enables the social activities, and the social activities create the mental connection.

One of the key findings of the study is that this transformation is not a one-time event. The site does not become a cultural space simply by opening its doors. It requires a continuous effort to maintain the balance between protecting the ancient ruins and allowing the public to enjoy them. The researchers propose a model for how this can be done sustainably. They suggest that the park needs a system that coordinates the protection of the site with the organization of cultural events. This means having clear rules about how many people can visit, what kinds of activities are allowed, and how the site is maintained. It also means ensuring that the educational content is accurate and up-to-date, drawing on the latest archaeological research. The goal is to create a cycle where the site generates value for the community, and that value, in turn, supports the ongoing protection and study of the site.

The study also addresses what happens when the site is used as a place for learning and cultural exchange. The researchers found that the park serves as a powerful tool for education. Unlike a traditional museum where information is presented on a wall, the park allows people to learn by doing. They can walk the same paths as the ancient marquis, see the layout of the ancient city, and participate in activities that mimic historical practices. This kind of learning is more engaging and memorable. It helps visitors understand the complexity of the Han Dynasty and the significance of the site in a way that a textbook cannot. Furthermore, the site helps to build a sense of identity for the local community. By celebrating the history of the Haihun Marquis, the park reinforces the cultural heritage of Nanchang and the wider region. It becomes a symbol of local pride and a place where the past is kept alive for future generations.

The researchers are careful to note that this approach does not mean turning the site into a theme park. The priority remains the protection of the archaeological remains. The artistic interventions and social activities are designed to work within strict limits to ensure that the site is not damaged. The study argues that the success of the Haihun Marquis site lies in this balance. It shows that it is possible to make a heritage site lively and engaging without compromising its integrity. The "theatrical space" is not a performance in the sense of a play with a script and actors, but a carefully managed environment where history is brought to life through interaction and experience.

In conclusion, the study of the Haihun Marquis site offers a new way of thinking about how we preserve and use our cultural heritage. It shows that a site is not just a collection of old stones and broken pottery. It is a living space that can be shaped by art, design, and human interaction. By transforming the site into a theatrical space, the park has created a place where history is not just remembered, but experienced. The researchers suggest that this model can be applied to other archaeological sites, providing a path for them to become vibrant parts of modern society. The key is to see the site not as a finished product, but as a process that continues to evolve. Through the careful coordination of protection, education, and public engagement, these sites can continue to tell their stories for generations to come, bridging the gap between the ancient world and the present day.