The "tourist gaze" proposed by John Urry is an important theoretical analysis tool applied in the fields of tourism sociology and tourism culture research.Hakka ancient village is a symbol and sign of the hakka culture, hakka village is the main body of tourism gaze of tourists and hosts, object point and the core material and spiritual direction of cultural symbols, two main reactions depends on the culture symbol, and the shallow level of understanding of cultural symbol.Peitian village in fujian has rich attractions of hakka culture.In case the quantitative survey and qualitative participatory observation and interview method to collect data, quantitative and qualitative analysis of relevant data, and the relevant network text content analysis, to explore from tamura tourists in rural tourism gaze and host gaze behavior and the process of interaction of both.Through the study found that Mr Tamura represented by the Ming and qing dynasties buildings and reflects the different perspective of hakka culture in tourism process has different levels, but the level is not high demand for cultural symbol, common existence problems can improve the space cognitive level, and accordingly puts forward Suggestions for the construction characteristics of hakka rural tourism image.%约翰·厄里提出的"游客凝视"是旅游社会学、旅游文化学研究的重要理论分析工具,"凝视"是一个多利益主体参与互动的复杂系统.客家古村落是客家文化的符号和标志,客家村落旅游凝视的主体是游客和东道主,客体和核心是物质指向与精神指向的文化符号,两主体依托文化符号产生互动,而对文化符号的认识层次较浅.福建培田村具有丰富的客家文化特征吸引物.在案例地采用定量的问卷调查、定性参与式观察和访谈方法收集资料,分析相关定量和定性资料,并对相关网络文本进行内容分析,探讨培田村乡村旅游中的游客凝视及东道主凝视行为和两者共同作用的过程.通过研究发现,培田村所代表的明清建筑和折射出的客家文化在旅游过程的不同视角有着不同层次的体现,但共同存在对文化符号需求层次不高,认知层次存在可提高空间的问题,并据此提出建设特色客家乡村旅游形象的建议.
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