转自：四川在线 马年新春即将到来，每年这时候，四川年味最浓的地方，自贡中华彩灯大世界必占一席。 制片人：谭江琦 钟莉 本期监制：李旭 邓翔沣 栏目统筹：汤晨 编导：谭怡心 视频：刘渊浩 【未经授权，严禁转载！联系电话028-86968276】 2026年灯海的惊艳更胜往昔，万千彩灯织就璀璨星河，灵动的《木兰传奇》灯组踏光而来，非遗灯艺将 盐都夜色揉成了梦幻画卷。 泰国留学生林美玲第一次来自贡，沉浸式解锁盐帮菜的鲜香麻辣，也沉醉于灯海的无尽浪漫里。那一刻 她发现，"成为中国人"是一次不同文化间的深度相融。 本期灵感中国，跟随美玲一键到自贡，赏灯、吃美食，过个巴适马年春节！ 《灵感中国Inspiration》是由四川日报报业集团打造的国际传播视频栏目。栏目定位于海内外"Z世代"群 体，面向全球探索、发现、挖掘、传播古蜀文化、旅游地理、川菜美食、动漫网游、国潮中医、现代艺 术、科幻传奇等中国名片。 ...

三星堆新年大典启幕 转自：成都日报锦观 祈福游行 新春集福游园 作为三星堆历年春节重磅打造的精品节庆活动，本次大典创新融合沉浸式实景演艺、潮流跨界互动、全 龄研学体验、新春集福游园等多元形式。近百人的专业表演方阵、七天不重样的主题活动、全园区沉浸 互动，生动复刻古蜀礼乐盛景，为观众呈现一场兼具文化底蕴、仪式感与潮流趣味的新春文化盛宴。 "祈福游行"是本次新年大典的核心环节，每日分两场（9∶30—10∶45、15∶00—16∶15）上演。活动以"祈 神出征—迎神奉神—祈福盛典"三部曲叙事，完整复刻古蜀先民祈福仪式。"祈神出征"再现先民祈福肃 穆场景；"迎神奉神"以金乌、神树、纵目面具等核心文化符号为载体，让数千年文化具象可感；"祈福 盛典"将气氛推向高潮，演职人员与游客互动祈福，让古蜀文脉与新春期许相融共生。 本报讯 （成都日报锦观新闻记者 周鸿） 2月17日，三星堆博物馆园区张灯结彩、鼓乐盈天，正月初一 至初七，以"三星堆里过大年 古蜀圣地祈新福"为主题的2026三星堆新年大典启幕。 ...

Group 1 - The event "Pen Under Gold" took place in Jinniu District from January 13 to 15, featuring renowned literary figures from various regions including Beijing, Hubei, and Tianjin, who immersed themselves in the rich cultural heritage of ancient Shu and explored the direction and needs of contemporary literary creation [1] - The three-day event included visits to multiple cultural landmarks in Jinniu District, such as the historical exhibition area of Jinniu Dam, Yiyuan Art Museum, and the display area of Sichuan-style garden bonsai, allowing participants to connect with the historical context of Jinniu [1] - At Zhang Daqian's former residence, participants gained insights into the life and creative journey of the artistic master, highlighting the deep connection between literary figures and the land of Chengdu [1] Group 2 - Liu Xinglong, a prominent literary figure and winner of multiple prestigious awards, expressed admiration for Chengdu's development and was particularly impressed by the Tianfu Cultural and Artistic Library, noting its integration of reading and leisure [2] - Liu emphasized that Chengdu maintains a close connection to ordinary people's lives, allowing anyone to find their preferred spots and cuisine, and mentioned that his ongoing novel incorporates elements related to Chengdu [2]

Core Viewpoint - The article explores the origins and cultural evolution of the Sanxingdui civilization, highlighting the interactions between different ancient cultures in the Chengdu Plain and the significance of archaeological findings in understanding these historical developments [1][5]. Group 1: Cultural Origins - The earliest cultural traces in central Sichuan date back approximately 5,000 years, with evidence of Neolithic activities in the upper reaches of the Min River, showing similarities to the Majiayao culture in northwest China [2]. - Around 4,900 years ago, some ancient Shu people migrated from the northwest plateau to the Chengdu Plain, establishing the "Guiyuanqiao culture" and continuing dry farming practices [2][3]. - The "Baodun culture" emerged as these ancient Shu people adapted to the wetland environment of the Chengdu Plain, learning rice cultivation and building significant settlements with large city walls, influenced by cultures from the middle Yangtze River [2][3]. Group 2: Archaeological Findings - The discovery of the Baodun culture in the 1990s aligned with the late Neolithic culture of Sanxingdui, revealing that Baodun pottery was simpler yet more decorative, with rich patterns [5][6]. - Scholars have defined the first phase of Sanxingdui culture as belonging to the Baodun culture, dating from approximately 4,500 to 3,700 years ago [6]. - Recent findings, including the Guiyuanqiao site in 2009, suggest that the Sanxingdui culture may have different cultural origins, with the earliest inhabitants possibly arriving around 4,800 years ago [7]. Group 3: Cultural Integration and Development - Around 4,000 years ago, another group, possibly the Sanmiao people, migrated to the Sanxingdui site, bringing advanced bronze casting techniques and contributing to the development of the Sanxingdui civilization [8]. - The article discusses the legendary figures of the Shu kings, such as Can Cong and Yu Fu, and their connection to the Sanxingdui culture, suggesting that these figures may represent the early rulers of the region [10][11]. - The transition from the "Yufu" era to the "Du Yu" era marks significant cultural shifts, with the decline of certain artifacts indicating the end of one cultural phase and the rise of another [14].

Core Viewpoint - The article discusses the unique characteristics and cultural significance of the bronze sacred trees from the Sanxingdui archaeological site, highlighting their artistic and technological innovations as well as their connection to ancient mythology [12][16][19]. Group 1: Cultural Significance - The bronze sacred trees, particularly the three-headed bird and human figures, represent the ancient Shu people's worship of the sun and nature [8][17]. - The design of the sacred trees reflects a blend of beauty and rebellion, challenging conventional forms of growth and aesthetics [10][16]. - The three-headed tree's resemblance to the mythical Fusang tree, which is associated with the sun, emphasizes the cultural and mythological connections of the ancient Shu civilization [16][22]. Group 2: Technological Innovations - The bronze sacred trees were created using advanced casting techniques, including segmented casting and the use of core support structures, which are rare in the bronze casting practices of the Shang and Zhou dynasties [19][20]. - The craftsmanship involved in the creation of the sacred trees showcases meticulous attention to detail, with multiple casting processes for even the smallest components [22]. - The CT scans reveal the structural integrity and complexity of the sacred trees, indicating a high level of skill among the ancient artisans [19][24].