<?xml version="1.1" encoding="utf-8"?>
<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">LNE</journal-id><journal-title-group><journal-title>Lecture Notes in Education, Arts, Management and Social Science</journal-title></journal-title-group><issn>3083-1091</issn><eissn>2705-053X</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/LNE.v4i7.15960</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>Brand Persona Shaping and Cross-Media Communication for Intangible Cultural Heritage Tourism in Xianyang</title><url>https://artdesignp.com/journal/LNE/4/7/10.26689/LNE.v4i7.15960</url><author>YangWenyan</author><pub-date pub-type="publication-year"><year>2026</year></pub-date><volume>4</volume><issue>7</issue><history><date date-type="pub"><published-time>2026-07-26</published-time></date></history><abstract>The intangible cultural heritage of Xianyang spans four types of practice: traditional opera, folk art, food-making crafts, and tea-culture skills, each rooted in its own sensory symbols and scene settings. Taking Qinqiang, Xunyi colored paper-cutting, the craft practices behind the Four Treasures of Qianzhou, and Xianyang Fucha-related skills as cases, this study compares them through multi-case mechanism analysis. The comparison yields an analytical framework with five links: resource-value anchoring, brand-persona development, cross-media task allocation, scene-based interactive conversion, and collaborative governance. The results point to a simple pattern. These quite different resources can sit in one brand architecture because shared city-level value themes hold them together, while their own sensory cues keep each project recognizable. Whether the arrangement lasts, however, depends on content rules. Authenticity boundaries, the rights and interests of heritage bearers, and scene compatibility have to be written into those rules from the start, as they are what sustain recognition and keep communication coordinated.</abstract><keywords>Intangible cultural heritage, Cultural tourism branding, Brand persona, Cross-media communication, Xianyang</keywords></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>[1] Lee QY, Goi CL, Zins AH, et al., 2026, Exploring Digital Storytelling Contexts from Cultural Heritage for Effective Tourism Destinations Marketing: A Study on Sarawak, Malaysia. Journal of Destination Marketing &amp;amp; Management, 41: 101112.[2] Xie C, Lai F, Zhang J, et al., 2025, Transforming Intangible Cultural Heritage in Destinations: A Fashion Communication Perspective. 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