Madaniy merosni boshqarish (chm) hozirgi va kelajak avlodlar uchun madaniy meros ob'ektlarining madaniy qadriyatlarini saqlab qolish uchun tizimli g'amxo'rlik. Madaniy merosni boshqarish endi global hodisaga aylandi

Madaniy merosni boshqarish (CHM) - hozirgi va kelajak avlodlar uchun madaniy meros ob'ektlarining madaniy qadriyatlarini saqlab qolish uchun tizimli g'amxo'rlik. Madaniy merosni boshqarish endi global hodisaga aylandi. Venetsiya Xartiyasi (ICOMOS 1994) va YuNESKOning Butunjahon merosi konventsiyasi kabi xalqaro miqyosda tan olingan bir qator kodeks va xartiyalar uning asosiy tamoyillarini belgilaydi. Ushbu tamoyillar aksariyat mamlakatlarda merosni muhofaza qilish bo'yicha qonun hujjatlarida yoki merosni boshqarish bo'yicha qabul qilingan siyosatlarda o'z ifodasini topgan. Madaniy turizm destinatsiyaning madaniy yoki meros ob'ektlaridan foydalanishga bog'liq bo'lganligi sababli, hech bo'lmaganda madaniy merosni boshqarish bo'yicha asosiy tushunchalarni ishlab chiqmasdan turib, ushbu mavzuni muhokama qilish to'liq bo'lmaydi.
Aktivlarni chinakam barqaror tarzda boshqarish yo‘llarini topish aktivning, uni boshqarayotganlarning va jamiyatning eng yaxshi manfaatlariga mos kelishi aniq. Turizm merosdan potentsial foydalanish turlaridan biri sifatida tobora ko'proq e'tirof etilmoqda, bu turizm va CHM manfaatdor tomonlariga o'zaro manfaatlar uchun hamkorlik qilishlari uchun katta bosim o'tkazadi (TCA 1998; Hall 1999; JO.ST 1999; Avstraliya meros komissiyasi va Avstraliya turizm kengashi 1999 yil. ; YuNESKOning Jahon merosi markazi 2000 yil; Jahon banki 2000 yil; Jahon yodgorliklari fondi 2000 yil; du Cros 2000 yil). Oxir oqibat, har biri bir-birining falsafiy asosi va talablarini qanchalik yaxshi tushunsa, hamkorlik shunchalik yaxshi bo'ladi.
Keyingi uchta bob o'quvchini ba'zilari bilan tanishtiradi madaniy merosni boshqarishning asosiy tushunchalari va ilovalari. Ushbu bob to'rtta keng mavzuga birlashtirilgan bir qator tamoyillarni muhokama qilish orqali madaniy merosni boshqarishning umumiy ko'rinishini taqdim etadi: asosiy tushunchalar, barqarorlik, manfaatdor tomonlar va turizm; bular 4.1-jadvalda keltirilgan. 5 va 6-boblar mos ravishda moddiy va nomoddiy madaniy merosni boshqarish va taqdim etish bilan bog'liq masalalarni ko'rib chiqadi.


CORE CONCEPTS
In all jurisdictions, cultural heritage managelnent is the more widely recognized ternl, except in the United States, where cultural resource lnanagement is in comnl0n usage (Pearson and Sullivan 1995; Macintosh 1999). The substitution of the word heritage for resources was Inade out of deference to the different connotations of each word. Resources implies that the asset being considered has an economic value and can be exploited. Heritage, on the other hand, recognizes the noneconomic values of the asset and further acknowledges its legacy, which implies certain obligations and responsibilities. Regardless, 1110st cultural heritage managers still perceive that cultural resources as a term is neither readily understood nor current among the public to ,whom they are ultimately responsible (Pearson and Sullivan 1995)

Heritage comes in many shapes—in tangible forms such as sites, buildings, landscapes, or as intangibles, like memories, emotions, values and customs—as does the use of heritage, ranging from the purpose of building nations to marketing places. Heritage usually represents a phenomenon within a traditional historical discourse but have lately, more and more, come to take in peripheral appearances; often emanating from groups at the fringes of that traditional discourse as well. The use of heritage occurs in different arenas and takes on significance as a vehicle for political, cultural and entrepreneurial purposes, as well as educational and emancipator, to name just a few. How to interpret heritage in order to understand its meaning to different groups is therefore a very important task. This anthology describes heritage preservation, development and management from different theoretical views and disciplines. It integrates perspectives from history, human geography, archaeology, social anthropology and heritage conservation. The texts revolve around different dimension of culture and heritage via examples from varying contexts and locations. Examples of questions which this anthology elucidates are: How is heritage perceived within different regional context? How should the postmodern heritage landscape and values from the past be preserved for the common future? How could the dynamic of heritage sites and the complexity of the heritage preservation process be synthesized today? These questions are highlighted on the basis of research which focuses planning of cultural landscapes, the dynamics of heritage and the conceptualization of cultural values.

Cultural Heritage refers to the contemporary society’s use of the past. “Our cultural heritage” contributes to the shaping of national stereotypes and regional identity and it’s a modern or postmodern reflection of the past. In Europe it is often associated with older city centers. In North America, it is strongly linked to national parks, museums and galleries in urban areas. In Australia and New Zealand, it is also associated with the indigenous culture, identity and landscape (Boyd & Timothy 2003).¹
According to Carman and Sørensen (2009), the field of heritage studies developed from David Lowenthals influential book The Past is a Foreign Country (1985), and uses methodology mainly from the social sciences to study interaction between individuals and heritage. Cultural heritage is “that part of the past which we select in the present for contemporary purposes, be they economic, cultural, political, or social” (Khakzad 2015, p 110). UNESCO defines cultural heritage as “the legacy of physical artefacts and intangible attributes of a group or society that are inherited from past generations, maintained in the present and bestowed for the benefit of future generations”.² This organization describes three dimensions of the cultural heritage; it is consisted of monuments, groups of buildings and sites (see figure 1:1).