"枫导！我刚从成都回来，去了三星堆，被那些青铜神树、纵目面具震撼到起鸡皮疙瘩！但导游说三星堆在广汉，这广汉到底是哪儿啊？离成都这么近，怎 么感觉像个'隐藏大佬'？" 刚结束川渝环线团，后台这条留言直接戳中了我——这绝对是90%去三星堆游客的共同困惑！作为带团深耕川渝12年的老导游，我得说：你们只知道追三星 堆的"网红面具"，却错过它背后这座宝藏小城，真的亏大了！ 要知道，距离成都市区仅45公里（实际南临成都20公里，自驾半小时直达）的广汉，可不是什么平平无奇的小县城。它是古蜀文明的"露天博物馆"，是三国 时期的军事重镇，更是藏着烟火气的美食秘境。今天这篇，枫导就带大家扒一扒这座被三星堆"掩盖光芒"的小城，告诉你为什么说"去成都不去广汉，等于 吃火锅没蘸料"！ 先上一组"硬核数据"帮大家建立认知：北距德阳市区19公里，南临成都市区20公里，地处成都平原东北部龙泉山脉西麓，总面积548.69平方公里。换算成大 家好理解的距离：从成都东站坐高铁到广汉北站，18分钟；自驾走京昆高速，30分钟；就算坐城际公交，也才1个小时。说它是"成都的后花园"，一点都不 夸张。 更有意思的是它的"身份变迁史"。西汉高帝时期就设置了广 ...

（原标题：通天"神作"：三星堆人的自然、图腾与祖先崇拜） 文博时空 作者 毛玉婷 玉山 这是中外文化史上一朵奇葩，青铜造型体量高大、数量众多，刻画出独特的 人神面像；用于祭祀天地四方的玉器，工艺精湛、纹饰优美；权力象征用于祭典隆仪的金杖、金面罩， 是东方古文化中罕见的面貌…… 这种脱离日常生活的审美，来源于信仰崇拜的夸张艺术，别具震慑力。漫步于三星堆博物馆，一种向上 的牵引力袭来，精准地将人的思绪托到飘渺神界。 如此举古国之力营造的宗教系统"神器"，背后定有一股集中力量推动。缺乏文字说明，观众"脑洞"大 开、猜测纷纷，即使在学界也难达成统一观点。然而，正是学术思想百花齐放，让三星堆多面立体起 来。 青铜人头像 玉璋 玉琮 青铜大立人 金色面具 八个什么"坑"？ 在1986年三星堆遗址1号坑和2号坑发掘出土后，三星堆就以其独特而神秘的文化色彩享誉世界。 近年来随着新一轮三星堆考古工作的展开，三星堆新发现的6个"祭祀坑"及其新出土的大量文物，极大 地丰富了我们对于三星堆文化的认识。 在三星堆南区宗教区，3座隆起的土丘下，是一片面积约7200平方米的黄土地，三星堆遗址目前已发掘 的8个埋藏坑就埋在此。8个坑均为藏有 ...

Core Viewpoint - The exhibition "Journey of Ancient Greece - Exhibition of Archaeological Treasures from Greece" at the Sanxingdui Museum highlights the similarities between the gold masks from Sanxingdui and Mycenae, reflecting the artistic expressions and aesthetic preferences of early human civilizations across vast distances [1][5]. Group 1: Exhibition Details - The exhibition is a collaboration between the Greek Ministry of Culture and China, marking the fourth such exhibition, with a focus on the close cooperation in cultural heritage and archaeology between Sichuan and Greece [3]. - The exhibition will take place from July to December 2025, featuring 172 valuable artifacts, including 9 replicas [4]. - The Mycenaean gold mask was initially unable to be displayed due to scheduling conflicts, but after coordination, it was included to create a dialogue between the two artifacts [4]. Group 2: Cultural Significance - The choice of gold for mask-making by both the Sanxingdui and Mycenaean civilizations indicates a shared human appreciation for shiny materials, which has been a common practice since prehistoric times [5]. - Despite the similarities, the two masks serve different purposes: the Sanxingdui mask is likely a ritual item from the late Shang Dynasty, while the Mycenaean mask is a funerary object from around the 16th century BC [6]. - The artistic expressions in the sculptures from both cultures reflect their respective approaches to human representation, with Sanxingdui's art being more abstract and Mycenaean art being more detailed and realistic [8]. Group 3: Future Prospects - The exhibition aims to enhance the international influence and cultural interpretation capabilities of the Sanxingdui and Jinsha sites, especially in the context of their joint application for World Heritage status [10]. - The limited ability to showcase artifacts abroad emphasizes the need for innovative display techniques to present the beauty of these cultural treasures [12]. - The dialogue between the two civilizations serves as a profound reflection on the origins and commonalities of human civilization, highlighting that despite cultural differences, the appreciation for beauty in artifacts is universal [12].

Group 1 - The core viewpoint emphasizes the importance of coordinating material and spiritual civilization as a key feature of Chinese modernization, highlighting the continuous improvement in societal awareness and moral standards since the 18th National Congress of the Communist Party of China [1] - The article introduces Guo Hanzhong, a senior technician in cultural relic restoration at the Sanxingdui Museum, who has dedicated 41 years to reviving over 6,000 ancient artifacts, showcasing the renewed value orientation and moral standards in contemporary China [1][3] - Guo Hanzhong's innovative restoration techniques, including traditional soldering combined with modern riveting and pouring methods, were crucial in reconstructing the nearly 4-meter tall bronze sacred tree, which was found in over 200 fragmented pieces [3][6] Group 2 - Guo Hanzhong has invented over a hundred tools tailored for different types of cultural relic damage, significantly enhancing the efficiency of the restoration process [6][8] - He developed wax mold solidification technology, which was instrumental in safely extracting hundreds of decayed ivory pieces from a newly discovered sacrificial pit at the end of 2019 [8] - Guo Hanzhong emphasizes the importance of knowledge transfer to his apprentices, advocating for a blend of traditional craftsmanship and modern technology, and has established a master workshop for cultural relic restoration skills to cultivate young professionals in the field [10]

Group 1: Cultural Tourism and Visitor Experience - The Sanxingdui Museum has become a top destination in the cultural tourism market during the "May Day" holiday, attracting visitors from across the country to experience the charm of ancient Shu culture [1] - Visitors are impressed by the museum's exhibits, including the bronze giant figure, delicate gold masks, and gold scepters, which symbolize power [1] - The museum features various interactive technology projects, with the "Searching for Sanxingdui" VR immersive exploration experience being the most popular, allowing visitors to "travel" to archaeological sites [5] Group 2: Cultural Products and Innovation - The Sanxingdui Museum's cultural and creative store offers a wide range of products that cleverly incorporate Sanxingdui elements into various cultural items, including daily necessities, fashion accessories, and educational toys [7] Group 3: Historical Artifacts and Research Value - A thousand-year-old crown recently restored is on display at the Haixi National Museum, attracting significant attention from visitors [8] - The crown features exquisite craftsmanship and is made from over 2,500 pearls, turquoise, lapis lazuli, and garnet, showcasing a blend of cultural elements from Central Asia, the Central Plains, and Tibetan regions, highlighting its research value in the study of ethnic integration along the Silk Road [10][12] - The museum utilizes 3D scanning technology to create a 3D image of the crown, allowing visitors to enjoy a 360-degree view and listen to historical explanations through interactive multimedia screens [14]