——铜人像类，铸刻侍奉神的人们； ——祭品类，供奉神的礼仪用具，摆放在神像与人像之间，譬如盛装酒的青铜容器，玉璋、玉戈等。 目前出土数以十计的铜尊和多件铜罍等盛酒铜器，反映出三星堆人以铜尊为主要祭祀和礼仪用器，铜尊 最多，铜罍其次，其他类型极少。 三星堆出土的青铜尊 三星堆遗址中出土的罍 三星堆的"群神系统" 三星堆青铜器最具代表性的特征，是丰富的人物造像。"千器千面"中，到底哪些是神，哪些是人？流传 至今的各种神话中，藏着一条规律线索：人像写实，神像虚构。人像结合神兽、神物，幻化出不同的 神，是人类共通的艺术手法。 （原标题：神秘的神坛：构筑"天地人"三界，或是"三神"系统来源） 文博时空 作者 毛玉婷 玉山 三星堆的青铜器丰富精彩、琳琅满目，但其纷杂往往让观众留下"走马观 花，不知所云"的感受，北京大学考古文博学院教授、北京大学文化遗产保护研究中心主任孙华梳理出 用于陈设组合的三类器物群： ——铜神像类，这是三星堆人崇奉的对象，其中又分为主神（大神）与小神； 1、 主神 神话故事总会出现"各司其职"的诸神。孙华分析三星堆的"群神系统"时指出，主神是三星堆人顶礼膜拜 的主要对象。他佩戴着以"千里眼、顺风耳" ...

它的"零件" 散落于三星堆的4个祭祀坑 历经30余年才完成"跨坑"组装 三个看点带你认识 结合浪漫想象与严谨礼制的 古蜀祭祀重器青铜神坛 新闻 a Hollat x 历经30余年 "跨坑"组装的三星堆"积木" 这件青铜神坛一现世 以其独特造型让无数人称奇 甚至被文博爱好者评价为 "全世界最复杂的青铜文物，没有之一" 它的挖掘和组装历经30余年 考古专家1986年首次发现部分构件 直到2022年 才通过数字技术完成"跨坑"组装 它由八号祭祀坑出土的青铜神兽 和上有13个小型青铜人像的镂空基台 三号祭祀坑出土的青铜顶坛人像、青铜持鸟立人像 七号祭祀坑出土的青铜顶尊跪坐人像 以及二号祭祀坑（1986年）出土的 青铜顶尊跪坐人像等部分 "跨坑"组装而成 简直就是三星堆版"积木" 组装过程中 借助了三维扫描和3D打印等现代科技 不仅避免了实体拼对可能造成的损伤 最终成功复原出这件神秘的青铜神坛 即便如此 器物顶部还有残断的部分 神坛由下到上大体可分为三部分 青铜神坛底座、青铜神兽、青铜顶坛人像 在三星堆文物中，祭祀场景很常见 但把祭祀场景"叠"在一起 细节拉满的文物却不多见 规模化的场景与微小的细节兼具 刻画了一个宏大 ...

Core Perspective - The article highlights the significant advancements in cultural heritage and tourism in China during the "14th Five-Year Plan" period, showcasing the integration of technology and cultural preservation efforts [1]. Group 1: Cultural Heritage and Technological Integration - Over 130,000 new cultural heritage sites have been discovered, and nearly 2,000 national protection units are undergoing restoration [1]. - The use of virtual reality (VR) technology at the Sanxingdui Museum allows visitors to experience archaeological sites, enhancing engagement with ancient artifacts [3][7]. - AI technology has been employed to reconstruct ancient artifacts, such as the 2.53-meter bronze bird-foot statue, by accurately matching and assembling fragments from different excavation sites [9]. Group 2: Cultural and Tourism Industry Growth - The cultural tourism industry in China has seen a revenue surge, exceeding 10 trillion yuan, with museums receiving nearly 1.5 billion visitors annually [1]. - The Sanxingdui Museum has introduced various creative cultural products, such as bags and keychains featuring bronze figures, making ancient culture more accessible and appealing to younger audiences [10][12]. - In Gansu, the "Digital Dunhuang" project aims to reunite lost artifacts through digital means, attracting nearly 30,000 visitors from 29 countries since its launch [21]. Group 3: Regional Cultural Developments - Tibet's cultural tourism sector has welcomed over 57 million visitors in the first eight months of 2025, marking an 11.3% increase year-on-year, with cultural industry output exceeding 10 billion yuan [28]. - The "Village T" fashion show in Guizhou has gained national attention, showcasing local ethnic cultures and significantly boosting sales of traditional handicrafts [38].

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]