创意产业是知识经济时代发展起来的一种新兴产业形态。相对于传统产业而言，创意产业所倚重的不是物质和资本，而是产品的科技含量和文化价值。创意产业的发展意义已超越一般性的新兴产业，表现在对传统经济发展模式的颠覆、对经济运行系统的创新、对产业结构的优化和对区域经济发展的推动。这种用文化软实力助推经济硬实力的特殊功能，正是创意产业在知识经济时代的最本质特征和魅力所在。创意产业的兴起与发展，已不再仅仅是一个理念，而是有着巨大经济效益的直接现实。英国著名经济学家约翰·霍金斯在《创意经济：如何点石成金》一书中明确指出，全世界创意经济每天创造220亿美元的高附加值，而且以5％的速度递增。美国微软总裁比尔·盖茨曾说：“创意具有裂变效应，一盎司创意能够带来无以计数的商业利益、商业奇迹”。这种强大的经济增长力量促使世界许多国家和地区政府接受“创意产业”的理念，并纳入国家的相关政策和发展战略。在当今国际市场竞争日趋激烈的背景下，一个国家或地区从来没有像今天这样将社会经济的命运与文化生产力如此紧密地联系在一起，并以创意产业的规模和程度作为衡量一个国家综合竞争力的重要标志。值得关注的是，随着文化创意逐渐取代物质资源和社会资本成为社会经济发展的核心和动力，创意产业正日益成为驱动社会经济全面发展的新引擎。因此，在新一轮国际产业分工中，可以说谁拥有文化和创意，谁就占据了产业链的高端。如美国、英国、法国、德国、澳大利亚等一批欧美国家都是通过创意产业完成从工业国家到创意之国的转化与重构，成为当今世界的文化帝国，而日本、韩国在亚洲金融危机之后的再度崛起，靠的也是创意产业的极度扩张。当然，创意产业引发的经济浪潮正以前所未有的传播速度影响着中国的经济发展方式，改变着人们的消费观念和思维方式。目前，中国正处于经济发展方式转变的关键时刻，创意产业将在中国现代化发展进程中承担更大的历史责任。今后中国经济发展若延续生产要素大量投入和生产规模外延扩张的发展方式，所受到的资源和环境制约将越来越严峻，甚至可能超越资源和环境的承载能力使发展步伐受阻。这正是中国大力发展创意产业的重要意义。发展创意产业，就是发展低碳经济和创新经济，是有效推动中国从“制造大国”向“创造大国”转型的必由之路。应该看到，随着中国《文化振兴规划》的出台，标志着创意产业发展已上升到国家战略层面。与之相呼应，国内各个省份，特别是一些相对发达城市纷纷推出文化立省、文化立市的发展战略，大力发展创意产业，有的已成为当地经济的支柱产业。以北京、上海、广东和浙江等地区为代表的中国东部地区，是创意产业发展较早的地区，成功的实践成为牵引中国创意产业发展的发动机。受经济社会发展整体水平限制的中西部地区，虽然总体与发达地区的差距较大，但在发展创意产业方面具有一定的资源优势，且发展快速。目前，中国创意产业显现出以下特点：（1）创意产业与高新技术产业以及城市创新结合起来，以此获得先动优势；（2）依托区域专业化分工，形成了特色和功能突出的创意产业园区，区域一体化和产业集群化的发展趋势明显；（3）创意产业集群布局多极化，城市梯度发展差异明显；（4）创意产业集群作为创意产业发展的重要载体，逐渐成为推动区域经济发展的核心竞争力；（5）以文化资源为依托，打造了一批创意产业品牌等。作为一个人口大国、人文大国、制造大国，中国如何利用现有的工业体系和商业模式，培育创意产业这一新产业形态；如何打造文化航母，创造出大批大型文化集团和创意产业集群；如何以文化创意提高传统农业、制造业和服务业的创新能力，从而打破工业时代依靠能源消耗而增长的“庞大的商品堆积物”的霍夫曼定律，破解“中国人为什么勤劳而不富有”的斯密难题；这些是现实摆在我们面前又亟须破解的重要课题。华正伟教授近年来以敏锐的视角对创意产业集群问题进行了深入的思考，在《中国创意产业集群与区域经济发展研究》一书中对创意产业集群和区域经济发展的关系研究进行了探索性工作。从经济学意义上说，一个国家或地区的经济活动总是在多维空间结构上进行的。经济发展过程不仅伴随着产业结构的变化，而且也必然伴随着空间结构的变化。随着创意产业不断向纵深方向发展，创意产业已不再是单个企业的成长，而是在一定的环境和空间范围内的众多企业集聚，并逐渐呈现出一种区域品牌符号。中国创意产业既需要扩大产业规模，组建大集团，显示大船出海、集团化作战的突出优势，也要关注和扶植小型文化企业和经营实体，扶大带小，汇溪成河。目前，中国各类创意产业集聚区的迅速发展，已引发社会各界的广泛关注和对创意产业的持续研究。《中国创意产业集群与区域经济发展研究》的出版，对中国创意产业集群理论和实践的探索具有重要的现实意义。本书作为创意产业理论体系的研究成果之一，从创意产业集群这种经济空间活动现象入手，深入分析了创意产业集群的形成机理、经济空间结构，以及区域发展格局，揭示了创意产业集群的演变规律和结构优化的方向，提出了中国创意产业集群的区域布局和发展思路，特别是借鉴了国际创意产业发展的成功经验，描述并预测了中国创意产业发展现状及未来趋势。本书所呈现出的是一幅关于中国创意产业集群发展最完整的画卷。从画卷的另一侧面可反映出作者严谨的学术态度和学术研究的创新精神，这是最难能可贵的。我相信，有了这样的画卷不仅让广大读者能够对中国创意产业集群现状有了全面的认识，更重要的是能为从事创意产业及产业集群研究的理论界同仁提供研究参考，为各级地方政府和相关企业寻找适合本地创意产业集群发展途径提供一个新的思路。是为序。王大超于沈阳师范大学2014年9月7日

Creative industry is an emerging industrial form developed in the era of knowledge economy. Compared with traditional industries, creative industries do not rely on material and capital, but on the technological content and cultural value of products. The development significance of creative industries has surpassed the general emerging industries, which is manifested in the subversion of the traditional economic development model, the innovation of the economic operation system, the optimization of the industrial structure and the promotion of regional economic development. This special function of using cultural soft power to boost economic hard power is the most essential feature and charm of creative industries in the era of knowledge economy. The rise and development of the creative industries is no longer just an idea, but a direct reality with huge economic benefits. John Hawkins, a famous British economist, clearly pointed out in his book "The Creative Economy: How to Turn Stones into Gold" that the world's creative economy creates $22 billion in high value-added every day, and it is increasing at a rate of 5%. Bill Gates, president of Microsoft in the United States, once said: "Creativity has a fission effect, and an ounce of creativity can bring countless business benefits and business miracles." This strong economic growth force has prompted many governments around the world to embrace the concept of "creative industries" and integrate it into relevant national policies and development strategies. In the context of increasingly fierce competition in today's international market, a country or region has never linked its socio-economic fate with cultural productivity so closely as it does today, and the scale and degree of creative industries are used as an important indicator to measure a country's comprehensive competitiveness. It is worth noting that as cultural creativity gradually replaces material resources and social capital as the core and driving force of social and economic development, the creative industry is increasingly becoming a new engine driving comprehensive social and economic development. Therefore, in the new round of international industrial division of labor, it can be said that whoever has culture and creativity occupies the high end of the industrial chain. For example, the United States, Britain, France, Germany, Australia and other European and American countries have completed the transformation and reconstruction from industrial countries to creative countries through the creative industry, becoming the cultural empire of today's world, while the rise of Japan and South Korea after the Asian financial crisis also relies on the extreme expansion of the creative industry. Of course, the economic wave triggered by the creative industry is affecting China's economic development mode at an unprecedented speed, changing people's consumption concepts and ways of thinking. At present, China is at a critical moment in the transformation of its economic development mode, and the creative industry will assume greater historical responsibility in the process of China's modernization and development. In the future, if China's economic development continues the development mode of large input of production factors and expansion of production scale, the resource and environmental constraints will become more and more severe, and may even exceed the carrying capacity of resources and environment, which will hinder the pace of development. This is the importance of China's vigorous development of creative industries. Developing creative industries is the development of a low-carbon economy and an innovative economy, and is the only way to effectively promote China's transformation from a "manufacturing power" to a "creative power". It should be noted that with the introduction of China's Cultural Revitalization Plan, it marks that the development of creative industries has risen to the national strategic level. Echoing this, various provinces in China, especially some relatively developed cities, have launched the development strategy of cultural provinces and cities, vigorously developing creative industries, and some have become pillar industries of the local economy. Eastern China, represented by Beijing, Shanghai, Guangdong and Zhejiang, is an area with the early development of creative industries, and successful practices have become the engine driving the development of China's creative industries. Although the central and western regions, which are limited by the overall level of economic and social development, have a large gap with developed regions, they have certain resource advantages in the development of creative industries and are developing rapidly. At present, China's creative industries show the following characteristics: (1) the combination of creative industries with high-tech industries and urban innovation to gain a first-mover advantage; (2) Relying on the regional specialized division of labor, a creative industry park with outstanding characteristics and functions has been formed, and the development trend of regional integration and industrial clustering is obvious; (3) The layout of creative industry clusters is multi-polar, and the urban gradient development is obviously different; (4) As an important carrier for the development of creative industries, creative industry clusters have gradually become the core competitiveness of promoting regional economic development; (5) Relying on cultural resources, a number of creative industry brands have been created. As a country with a large population, humanities and manufacturing, how can China use the existing industrial system and business model to cultivate a new industrial form of creative industry; How to build a cultural aircraft carrier and create a large number of large-scale cultural groups and creative industry clusters; How to improve the innovation ability of traditional agriculture, manufacturing and service industries with cultural creativity, so as to break Hoffman's law of "huge commodity accumulations" that rely on energy consumption in the industrial age, and solve the Smith problem of "why Chinese is industrious but not rich"; These are important issues that the reality puts before us and needs to be solved urgently. In recent years, Professor Hua Zhengwei has conducted in-depth thinking on the issue of creative industry clusters from a keen perspective, and has carried out exploratory work on the relationship between creative industry clusters and regional economic development in the book "Research on Creative Industry Clusters and Regional Economic Development in China". In the economic sense, the economic activities of a country or region are always carried out in a multidimensional spatial structure. The process of economic development is not only accompanied by changes in industrial structure, but also inevitably accompanied by changes in spatial structure. With the continuous development of the creative industry in depth, the creative industry is no longer the growth of a single enterprise, but a large number of enterprises in a certain environment and space range, and gradually presents a regional brand symbol. China's creative industry not only needs to expand the scale of the industry, form large groups, and show the outstanding advantages of large ships going to sea and collectivized operations, but also pay attention to and support small cultural enterprises and business entities, support the big and lead the small, and turn the streams into rivers. At present, the rapid development of various creative industry agglomeration areas in China has aroused widespread attention from all walks of life and continuous research on creative industries. The publication of "Research on China's Creative Industry Clusters and Regional Economic Development" is of great practical significance for exploring the theory and practice of China's creative industry clusters. As one of the research results of the theoretical system of creative industry, this book starts from the phenomenon of economic space activities of creative industry clusters, deeply analyzes the formation mechanism, economic spatial structure, and regional development pattern of creative industry clusters, reveals the evolution law of creative industry clusters and the direction of structural optimization, puts forward the regional layout and development ideas of China's creative industry clusters, especially draws on the successful experience of international creative industry development, describes and predicts the development status and future trend of China's creative industry. This book presents the most complete picture of the development of China's creative industry clusters. From the other side of the scroll, it can reflect the author's rigorous academic attitude and innovative spirit of academic research, which is the most valuable. I believe that such a picture will not only enable readers to have a comprehensive understanding of the current situation of China's creative industry clusters, but more importantly, it can provide a research reference for theoretical colleagues engaged in the research of creative industries and industrial clusters, and provide a new idea for local governments at all levels and relevant enterprises to find suitable development paths for local creative industry clusters. is the order. Wang Dachao at Shenyang Normal University on September 7, 2014（AI翻译）