旅游综合开发项目的可研报告.doc

personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a characters body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Poes “The Tell-Tale Heart.” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melvilles Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the boys father in Faulkners “Barn Burning”: it is an act of no mere destroying a barn, but an expression of his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the fathers memories of the “waste and extravagance of war” and the “element of fire spoke to some deep mainspring” in his being.5. A symbol is a tropeIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory.An imageAn image is a literal and concrete representation of a sensory experience or of an object that can be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a “turn” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes that referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to the reader a meaning beyond itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.Metaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in which the metaphor is able to have “referential” and “emotive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbol embodies the idea or the quality.AllegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of anotheran abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “Were both Arabs, arent we?” If we substitute for the frog a “Mr. Goodwill” and for the scorpion “Mr. Treachery” or “Mr. Two-face”, and we make the river any river, and for “Were both Arabs” we substitute “Were both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthornes “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunyans Pilgrims Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwells Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the objective referent evokes is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest.In a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them.How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often givens the symbol particular emphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,” “Barn Burning,” “A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barnwhich led us to the theme, the essential meaning of the story.Chapter Eight ImageThe image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image?“An image is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound) In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站 人群 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke senseimpressions by literal or figurative reference to perceptible or concrete objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental pictures, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of SightVisual imagery is different from visual perception because visual perception requires the object to be actually present and visual imagery does not.Aural Imagery: Imagery of SoundAuditory imagery is something that represents a sound, which can be revealed both in poems and stories.Olfactory Imagery: Imagery of SmellOlfactory imagery stimulates the sense of smell, which olfactions unique cognitive architecture of evocation have led some to conclude that there is no capacity for olfactory imagery. a. Self-reports of olfactory can resemble those obtained for actual perception. b. Imaging an odor can produce effects similar to actual perception. c. Olfactory perception and memorybased images can interact. 4. Tactile Imagery: Imagery of Touch Tactile imagery stimulates the sense of touch, which is also called Haptic Imagery. 5. Gustatory Imagery: Imagery of TasteGustatory imagery stimulates the sense of taste. “ Have a dill pickle, he said. He wanted to share with us: That seemed to me so right, soyou know what I mean?” From A Dill Pickle by Katherine Mansfield生态旅游综合开发项目可行性研究报告第一章 总论1.1概论*市委、市政府确立未来旅游产业的发展目标：即紧紧围绕建设现代化生态城市的总体目标，树立*休闲度假旅游目的地形象，力争10年时间，将*打造成为享誉世界的国际精品旅游区，最终建成“北国湿地休闲之都，国际生态旅游名城”。针对*市由观光型向休闲度假型旅游过渡的发展现实，*市委、市政府把“实施生态立市”作为五大发展战略的首要战略，把“精心打造百公里生态湿地旅游带”作为全市两大产业带之一，正在将红海滩风景区、鼎翔生态旅游度假区整合为国家重点支持的*生态旅游基础设施建设项目，将其提升为5A级旅游区，被列为国家重点支持辽宁旅游基础设施第一名。鸭舌岛、辽河左岸湿地公园、辽滨水城、温泉养身休闲、湿地水上乐园等重点项目建设和设施配套正在实现新突破，以旅游大项目建设拉动相关经济的蓬勃发展，标志着*市旅游产业正在转型升级。随着辽宁沿海经济带开发开放上升为国家战略，*依托弥足珍贵的滨海湿地资源，已华丽转身，面向大海，全面开启了扬帆远航的新征程。辽宁沿海经济带发展规划中指出，“*要依托石油、湿地等资源优势，推进资源型城市转型，加快发展特色优势产业，建成具有北方水乡特色的石化城和环境宜居的滨海新城”。市委、市政府已明确表态：“我们一定要将*沿海地带变成一条闻名世界的生态景观带、产业带。这是我们经济发展的重要支撑点，也是我们要创造的一个旅游高地。我们要充分挖掘湿地等旅游资源，科学规划，合理布局，打造个性鲜明的红海滩5A级景区、鼎翔生态风情小镇等一批特色景区，创建水上乘船游、湿地休闲体验游等精品旅游路线，提升旅游服务的国际化水平，使旅游产业跃上一个新的层次，向世界展现一个美丽的湿地休闲之都。 2010年1月下旬，市长孙国相就水利工程及旅游项目建设情况进行工作调研时指出：“要科学选址、合理规划，将水利工程建设同旅游景观开发紧密结合，充分盘活周边资源，带动周边地区经济社会发展”。 孙国相在调研中强调，要将辽河沿河经济发展同旅游项目建设紧密结合，加快资源型城市转型步伐，统筹实施辽河沿线开发和生态治理，发展沿河经济。要通过建设一大批推动经济社会发展、改善民生的水利工程和旅游项目，为推进全市经济更好更快发展提供强劲动力。1.2项目区域概况*位于盘山县西北部，北邻锦州市沟帮子经济开发区和赵屯镇，西南部与羊圈子苇场毗连，东隔西沙河与胡家镇相邻。位于东经1212712229，北纬40454027。东西长为十三公里，南北宽为十公里，总面积98平方公里，占*市总面积的2.45%，耕地面积近五万亩。辖十一个村(分场)，十九个自然屯。全乡共有居民4,304户，共14,538人，其中有三个朝鲜族村，人口为1,644人；满、回、锡伯族不足50人。1.2.1旅游资源*境内的青年水库是*第三大平原水库，面积为8,065亩，环周为10公里，库容1,200万m3。大约公元1610年以前（乾隆年间），由清朝翰林院院士张纯良建造一座海云寺，四面环水与渤海相连，北与医巫闾山同为一脉、灵气冲天，被民间传为风水宝地。历史记载是闾山青岩寺的下院，庙中供奉海龙王（亦称龙王庙），寺院中的大佛像高10m，每年香火鼎盛，香客络绎不绝。海云寺的传说甚多，“龙泉水不落”、“海眼通龙宫”、“庙随水涨”的奇观广为传颂。水库建于1958年，当地政府为了保护历史文物，在水库偏中西北处留有1.3万m2的孤岛（现域名为明珠岛），寺庙几经修缮至今保护完整，寺庙中住一70多岁高龄的僧人释觉凡主持日常佛教事务。水库内是繁殖鱼蟹天然场地。水面广袤，深度适中，可垂钓休闲、游艇逐浪，水面烟波浩淼，风景怡人。地下蕴藏着丰富的优质地热温泉资源，距地表约1,800米，水质优良，含氯化钠、氧化钙及氯化氟等多种有益矿物质及微量元素，常年水温42，出水量大约（4,000立方米/小时）。温泉中富含多种有益健康的微量元素，对人体的多种疾病有良好疗养功效。近年来研究还发现，温泉浴能够促进机体的免疫功能，调整植物神经系统，所以还有一定的保健和延年益寿作用。*境内有三个朝鲜族村，至今保留着该民族的风俗习惯，尤其在饮食方面代表了典型的朝鲜族风味，有许多市内及周边地区的游客不远百里慕名而来。甜水湖的水域资源、湿地植被景观资源、历史文物资源、民族风情资源、公路铁路交通资源、映衬闾山山脉、一条条巨龙越野穿过、地处北站经济带可谓中国北方甲天下！人文景观及旅游资源极具商业开发价值。1.2.2矿产资源*南部和西南部有丰富的地下海水资源，经探明储量达15.9亿m3， Mgcl2、Nacl、Br矿化度工业指标极具开采价值，可连续开采数百年。 305国道北部地下水资源丰富，各项微量元素指标接近饮用矿泉水标准。1.2.3水资源境内有西沙河、张家沟、鸭子河、月牙河等中小河流，自北向南流经全乡，归辽河入渤海；拥有8,065亩的青年水库，水面辽阔，平均水深2米，生态保持良好。地面有三万多亩坑塘，水质肥沃，饵料充足，是繁殖鱼、虾、贝类、蟹的天然淡水养殖场。1.2.4土地资源*共有土地面积98平方公里。其中耕地为71,440亩，盐田4,382亩，苇田18,107亩，草地264亩，滩涂2,230亩。1.2.5交通资源甜水地处*、锦州两市交界，素有*的北大门之称，是连接辽西五市，通往关内的交通要道；沈山、沟海线铁路；秦沈、沟营大高速铁路绕境通过；国道、京沈高速公路穿越境内。1.3项目提出的背景改革开放以来，我国的农业得以快速发展，取得举世瞩目的成绩，特别是种植业，我们用世界上7的耕地养活24的人口。但种植业发展面临耕地有限，单产难以快速大幅度提高的现实，对农村经济发展贡献的比重在逐年递减。党的十七大报告提出：“加快转变经济发展方式，推动产业结构优化升级；促进经济增长由主要依靠第二产业带动向依靠第一，第二、第三产业协同带动转变，由主要依靠增加物质资源消耗向依靠科技进步、劳动者素质提高、管理创新转变。” 1.3.1整合资源开发生态旅游产业时序更迭、光阴荏苒。广袤辽阔的三角洲在自然界中无声的记录着*日新月异的变化，好风凭借力，送我上青云。近年来生态旅游度假村，这一商业模式取得了长足的发展。这个古老而又时尚、充满现代气息的休闲模式，给人们带来了全新的生活品味。厚天载物，适者生存。随着一条条巨龙穿境而过，随着春华秋实的变幻，一片片稻田、一弯弯苇浪、一座座坑塘、一条条河流环抱的“一潭春水”，湖中观鱼跃、草底现牛羊的盎然生机；明珠岛、海云寺几百年沧桑的传奇故事为发展生态度假旅游提供了得天独厚的条件。该项目为*北站经济带注入了新的生机和活力，那些几乎被遗忘的北部三角洲从而成为新的财富增长点。*正在由相对独立产业向综合开发产业链迈进，产业化链条明显延伸，市场网络进一步完善和规范，整体科技水平和综合开发能力显著增强。1.3.2发展目标 *市生态型旅游产业发展战略，是以确立本市“北国湿地休闲之都，国际生态旅游名城”为最终目标的长远谋划。其目标包括定性和定量两个指标。 1、定性战略目标： 把*市建成北国湿地休闲之都，国际生态旅游名城。旅游收入占GDP10%以上，旅游业成为市域国民经济的支柱产业。 2、定量战略目标表1-1*市旅游发展定量战略目标分阶段定量战略目标占GDP产业地位2008年9-10先导产业2010年10-11支拄产业2015年12-14支拄产业2020年15以上支拄产业定量战略目标实现的特征包括：旅游发展速度高于市域国民经济8%的平均发展速度；2008-2010年间旅游收入平均增长速度达到25%；20102015年间旅游收入平均增长速度达到20%；20152020年预计保持15%的稳定增长态势；从而成为*市产业结构战略框架的重要支柱产业之一。 3、各规划期旅游接待人数和收入指标根据对*市旅游业“十五”、“十一五”期间旅游接待与收入历史统计数据的分析，应用时间序列预测法计算，并依据本市旅游资源与市场匹配程度作适当调整，预计*市旅游业各规划期旅游接待人数和旅游收入指标见下表表1-2 各规划期旅游接待人数和旅游收入 单位：万人次； ￥亿元年 份旅游接待（万人次）GDP平均增长旅游总收入平均增长国内海外总数国内海外（万美元）总收入2008年 9808.21988.2 76382878.7基期2009年145111.21462.248.7113.5540111748.7%2010年171012.01722501165229119.750%2015年342024.0344410023210458127100%2020年59854260277540618301407.8751.3.3区域旅游发展背景甜水湖生态旅游度假村具有高品位的地理人文景观资源，兼有水域风光和生物多样化的特点。这里系辽河入海口，冲积三角洲末端滨海沉积平原。特殊的地质构造、茂密的树林、广袤的芦苇、河流、岛屿、滩涂、沼泽和水库，构成了别具特色的北国滨海河川湿地自然景观。项目区拥有良好的湿地景观资源，如植被、鸟类栖息地、水系等，濒临湿地核心保护区，且拥有良好的道路交通基础设施，以及邻近*北站的区位优势。*市以湿地生态为骨干的旅游资源丰富、特色鲜明，但由于旅游产品开发滞后、旅游基础设施和服务配套设施欠缺，资源优势尚未转化为市场优势。根据*市委、市政府*市旅游“十一五”发展规划，进一步发挥旅游产业拉动性强、市场需求潜力大、投资效益好、容纳就业多、发展速度快等特点和优势，进一步推动产业结构调整和优化、全力推进旅游业的发展，促进对外开放，将*打造为“世界湿地休闲之都”。项目地处京沈高速公路、铁路与305国道、沟海铁路交汇处。境内的西沙河、张家沟、鸭子河、月牙河自北向南流归辽河入渤海，甜水湖地处四条河流下游。1.8万亩苇田同羊圈子苇场毗连，岸边坑塘星罗棋布，8,065亩湖面平均水深2m，是生态衍生鱼虾蟹的天然场所。260亩草地是发展生态畜禽的天然放牧场。浑、太、辽河给与甜水湖的生态补水为岸边的生态农业提供了用之不尽的生态水源。芳草、芦苇、农田、碧水、蓝天融为一体故有北三角洲小江南之美誉。甜水湖、明珠岛、海云寺、龙王庙同生态观光融为一体，协调自然，是北三角洲水乡风情园的主题特色。形成了旅游竞争优势，并使其脱颖而出，必将成为我国北方旅游业的顶级靓点。在旅游产业不断壮大和旅游目的地功能不断增强的今天，甜水湖度假村必然向一定的主题化发展。综观中外旅游特色景点已经成为集自然生态观光、精品购物、餐饮、娱乐、水上运动于一体的风景如画的旅游基地。每个旅游俱乐部都是以自然观光、旅游度假、娱乐运动等为主题。这类旅游产品具有很大的市场需求、发展空间和开发潜力。甜水湖旅游度假村充分利用水利工程、荒地、滩涂等低产业密度用地，开发建设生态旅游度假村及相关产业，倡导环保理念，发展循环经济，充分挖掘土地潜力，有利于土地价值综合提升。1.3.4区域社会经济背景2009年，*市生产总值实现685亿元，是2004年的1.8倍，2008年开始驶入两位数增长的快车道；财政一般预算收入增长24.4%，达到43.4亿元，是2004年的2.3倍；全社会固定资产投资增长47.9%，达到543亿元，是2004年的3.6倍。万元生产总值综合能耗比“十五”期末下降21.7%，主要污染物排放实现控制目标。县区经济竞相崛起，生产总值年均增长27.5%，高于全市19个百分点。过去的五年，是多元产业快速形成、经济结构向全面优化加快迈进的五年。累计建设投资千万元以上项目837个，竣工投产487个，非油气采掘业增加值占全市比重由49.6%提高到70.8%，国家资源型城市转型试点工作取得重大进展。*2009年新招商引进投资超千万大型企业 17家，总投资近3亿元，开工建设8家、建成投产9家，项目储备13个。*生产总值实现8.259亿元，同比增长83.6%；其中农业实现1.1661亿元，同比增长36.8%；工业实现4.783亿元，同比增长105.7%；三产业实现0.9674亿元，同比增长28.3%；财政一般预算收入实现776.5万元。1.3.5打造甜水湖度假村的主体功能甜水生态旅游度假村借助*北站经济带，依托甜水湖及湿地景观、依托明珠岛海云寺的古文物、依托生态农业充分利用生态水资源、依托*北站开发新区与*湿地旅游环线，以生态旅游度假为起点、以水上游艇、捕鱼垂钓、温泉洗浴为卖点，以海云寺古文物为靓点，以生态农业为支撑；形成以观光生态农业为主打，水上景区旅游、温泉洗浴、商务度假、农家食宿为主线，打造湿地特色异域风情度假品牌。可提供水上娱乐、景区拍摄、商务会谈、休闲娱乐、亲友聚会、游艇驾驶培训和水上旅游等服务功能。1.4编制依据1.4.1相关法律法规中华人民共和国城市规划法中华人民共和国环境保护法中华人民共和国水法中华人民共和国水污染防治法中华人民共和国土地管理法风景名胜区管理暂行条例中华人民共和国自然保护区条例中华人民共和国植物保护条例1.4.2有关标准、规范中华人民共国旅游规划通则（GB/T18971-2003）旅游区（点）质量等级的划分与评定（GB/T177752003）旅游资源分类、调查与评定（GB/189722003）风景名胜区规划规范（GB50298-1999）1.4.3相关规划、计划东北地区振兴规划辽宁沿海经济带开发建设规划*市土地利用总体规划*市旅游总体规划*市“十一五”发展规划*市国民经济和社会发展“十一五”规划*市“十一五”旅游发展规划*市环境保护“十一五”发展规划1.4.4其他相关材料建设项目经济评价方法与参数第二、三版；*政府提供的有关资料和数据；新建项目的有关法律法规及政府文件；实地踏勘与访谈资料网络及其它公共渠道资料1.5编制原则1.5.1贯彻国家经济建设方针、政策，认真执行国家对节能环保和安全卫生要求。1.5.2合理利用资源，规划建设经济合理。1.5.3优化设计、合理布置、节约用地 、节省投资。1.5.4优化流程、节省人、财、物。1.5.5合理配备公用设施，满足项目建设要求。1.6研究结论借助*北站经济带开发；依托北三角湿地景观；充分利用甜水湖、明珠岛、海云寺的自然景观和古文物资源；开发利用地下温泉资源；开发生态种植业养殖业，依托滨海开发新区形成的旅游环线，充分利用青年水库及周边19.11km2的自然生态保护区。开发6个各具特色的生态观光项目；以最核心的资源，6位一体，整合打造甜水湖自然生态观光风景区。该项目整合当地资源，促进了生态农业的的良性循环，顺应人们对生态食品和生态环境的需求，顺应老知青对乡土故里的恋情。利用自然生态农业资源、利用地热温泉资源、利用大辽河生态水资源，开发生态观光旅游项目。本项目以推进新农村建设为指导，以开发特色的多功能生态产业体系、开发建设生态观光旅游产业基地，形成良性循环的生态产业链，提升产业经济的附加值，带动相关行业向产业化经营目标发展，促使社会效益、经济效益和农民增收同步提高。通过对生态效益、社会效益和经济效益的综合评价，此项目都是可行的，是功在当代利在千秋的举措。第二章 市场需求及预测2.1市场现状2.1.1甜水湖自然保护区开发现状 甜水湖自然保护区区域面积19.11km2，芦苇、滩涂、草地、坑塘、水库比邻错落形成了天然的湿地景观。甜水湖亦称青年水库，是辽宁省较大的平原水库之一，位于西沙河右畔，距*北站1km、305国道4.5km，库区围堤高7m、坝顶宽4m，围堤长11.3km，水域面积8065亩。平均水深2m，库容量1200万m3。湖中有一小岛域名明珠岛面积1.3万，岛上树木茂盛、鸟语花香，林荫深处海云寺映衬其中。海云寺（龙王庙）始建于清朝乾隆年间，至今已有400多年的历史，当年由清朝翰林院院士张纯良主持建造，四面环水与渤海相连、向北与医巫闾山同为一脉灵气冲天，被民间视为少有的风水宝地，海云寺院的大佛像身高10m、金光四射，寺内香火缭绕，常年香客络绎不绝。关于海云寺的传说甚多，较为传奇的有龙泉、海眼、庙随水涨等。龙泉：在海云寺的东南角，有一眼一米见方的泉水井，井中的泉水旱天水不落、涝雨天水不涨是寺内唯一的饮水井，每年四月初八庙会、善男信女香客云集，无论用水多少井水从不见少，传说在阴天初一、十五的晚上偶尔会看见从天上到泉水井有一道白光亮如闪电，像是龙王吸水、气势磅礴，以后人们便称之为“龙泉”。海眼：在寺的西侧有一条不干沟，沟中有一条深坑叫“无底坑，相传民国7年时逢大旱，河水都干了但无底坑不干，人们来掏水捞鱼，可无论多少人掏水也不见少，据说无底坑通龙宫、叫海眼。庙随水涨：据当地老人讲：民国17年发大水，海云寺邻村九间房洪水已经上炕了，当时屯里的水位比龙王庙高出一米左右，人们担心龙王庙被大水淹了，大水过后只见庙四周的树上挂满了淤柴，可是让人吃惊的是庙里却滴水未进，真可谓神奇！从此人们开始相信庙随水涨的传说。甜水湖自然生态保护区特殊的地质构造、集湿地植被、鸟类栖息地、滩涂、荒草地、茂密的树林、广袤的芦苇、河流、岛屿、滩涂、沼泽、水库和古文物，构成了别具特色的北国滨海河川湿地自然景观。濒临湿地核心保护区，且拥有良好的道路交通基础设施，以及邻近*北站的区位优势。为开发旅游业提供了得天独厚的条件。2.1.2生态农业市场现状 目前国内的粮食、水果、蔬菜、和畜禽肉、蛋的市场供应多为污染超标的食品，在市场很难买到无污染的生态绿色食品，货真价实的生态食品那还是40年前的回忆