"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 ...

除此之外，圆滚滚、憨态可掬的陶猪，直冲天顶、枝繁叶茂的青铜神树，还有象征着至高权力的金 杖……它们静静陈列在展柜中，散发着古老而神秘的气息，仿佛在低声诉说着那段遥远而璀璨的古蜀历 史。 夕阳西下，我们依依不舍地走出展馆。坐在车里，我不再晃脚哼歌，而是静静回味着展厅里的一幕幕。 三星堆就像一本厚重的古书，今天我只匆匆翻开了其中一页，便已被它深深吸引。我暗暗想着，等下次 再来，一定要放慢脚步，细细聆听每一件文物的故事，探寻更多古蜀文明的奥秘，解锁这份跨越数千年 的惊喜。 评语 本文以孩童视角勾勒三星堆奇遇，用生动笔触描绘青铜人像、神树等文物。比喻鲜活、细节饱满，将对 古蜀文明的好奇与震撼真切传递。语言生动灵动，叙事流畅自然，从期待启程到沉醉观展再到不舍回 味，情感层层递进，字里行间满是对古蜀文明的好奇与赞叹。 ◎都江堰市团结小学三年级七班 刘瑾熠 今天碧空如洗，万里无云，阳光像碎金般洒在广阔的平原上。妈妈驱车带着婆婆和我，一路向着心心念 念的三星堆博物馆驶去。我坐在后座，脚丫轻轻晃荡，嘴里哼着刚学会的儿歌，心里却像揣了只蹦跳的 小兔子——早就听闻三星堆"沉睡数千年，一醒惊天下"的传奇，还藏着"尘星陨落蜀三堆"的神 ...

Core Viewpoint - The article discusses the significance of the Sanxingdui archaeological site, particularly its bronze artifacts, which reflect a complex belief system involving a "three-god" system that may have influenced early Taoist practices in the region [1][23]. Group 1: Bronze Artifacts and Their Significance - The Sanxingdui site features three categories of bronze artifacts: bronze god statues, bronze human figures, and ritual vessels, indicating a structured approach to worship and offerings [1][2]. - The bronze god statues are divided into a main god and smaller gods, with the main god depicted wearing a distinctive bronze mask characterized by exaggerated features [3][4]. - The artifacts suggest a hierarchical belief system, with the main god positioned prominently and smaller gods serving in subordinate roles [10][11]. Group 2: The "Three-God" System - The concept of "three" is emphasized as significant to the Sanxingdui culture, leading to the proposal of a "three-god system" where three main deities are worshipped [8][9]. - The largest bronze god statue measures 1.42 meters between the ears, suggesting a central figure flanked by two smaller deities, possibly representing various aspects of nature or ancestral spirits [9]. - The arrangement of the deities in ritual contexts indicates a structured belief system with clear distinctions in the roles of gods and humans during worship [10][13]. Group 3: Ritual Practices and Beliefs - Ritual scenes depicted in artifacts suggest a connection between the heavens, earth, and humanity, with the belief that offerings could reach the divine through intermediaries [23]. - The artifacts reflect a unique cultural atmosphere distinct from other ancient Chinese civilizations, emphasizing a "heaven, earth, and human" worldview [23]. - The Sanxingdui culture may represent an early form of Taoist belief, with the worship of a triad of deities that laid the groundwork for later religious practices in the region [23].

（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 ...

（原标题：第一批居民从哪来？他们纪念的是哪位蜀王？） 文博时空 作者 毛玉婷 五千年前，一系列远古文化在成都平原交叉绽放。他们中，到底是哪批人率先抵 达三星堆，勾画出三星堆的最初面貌？后来，又有哪些人融入，改变了当时的社会文化？后世人描绘的 蜀王，是否能够在平原找到踪迹，他们是否参与创造了三星堆？ 墓葬的发现可以帮助解答这些疑问，但至今在三星堆古城发现的都是不埋人的器物坑，考古人心心念的 王陵并未出现，所以仍是迷雾重重。 巴蜀文化脉络 目前，川中最早的文化痕迹发现于山地区域，现隶属于阿坝藏族羌族自治州茂县。 距今大约5000年前的新石器期时代，川西高原的岷江上游，先民在营盘山活动留下遗址群。他们的文化 特征接近中国西北地区、黄河上游的马家窑文化，两个地方的人都种植小米（粟、黍），用着相同的制 陶手法，不约而同地在高领陶器的肩、颈、腹部留下粘接痕。 营盘山遗址所在地 图据成都文物考古研究院 营盘山彩陶，图源：成都文物考古研究院 大概在距今4900年，部分古蜀人从西北高原而下，抵达成都平原的德阳什邡，创立了"桂圆桥文化"。在 这个靠近山地、相对较高的地区，他们延续旱作农业，继续种植小米。 成都文物考古研究院副院长 ...

Core Viewpoint - The article emphasizes the importance of exposing children to museums as a means of education that transcends traditional schooling, fostering a broader worldview and deeper understanding of history and culture [1][3]. Group 1: Importance of Museums - Museums serve as a three-dimensional encyclopedia, with each artifact acting as a silent teacher, providing insights into a nation's cultural heritage [6][16]. - Engaging with historical artifacts allows children to connect with the rich cultural roots of their civilization, enhancing their understanding of history [4][17]. - There is a disparity in access to museum experiences between children in major cities and those in smaller cities, highlighting the need for broader educational resources [19][22]. Group 2: Educational Resource - A newly published book series titled "China's Top Ten Museums" aims to bridge the educational gap for middle and primary school students, aligning with new curriculum standards and enhancing their knowledge base [25][92]. - The series includes detailed explanations and high-quality visuals of over 700 national treasures, providing a comprehensive educational tool that integrates various subjects [43][63]. - The book is designed to make learning engaging and effective, transforming abstract historical concepts into relatable stories that children can easily grasp [92][93]. Group 3: Features of the Book Series - The series consists of ten volumes, each focusing on a specific museum, allowing children to explore 5,000 years of history and cultural evolution [31][65]. - It includes high-definition images and detailed analyses of artifacts, making the learning experience immersive and visually appealing [39][41]. - The content is structured to facilitate cross-disciplinary learning, connecting history, geography, art, and science, thereby igniting children's curiosity and desire for knowledge [113][120]. Group 4: Promotional Aspects - The book series is currently offered at a promotional price of 299 yuan, significantly lower than its original price of 1199 yuan, making it an accessible educational resource for families [74][148]. - Early purchasers receive additional gifts, including high-quality posters and a custom canvas bag, enhancing the value of the purchase [78][150]. - The series is presented as not just a collection of books but as a lifelong ticket to understanding and appreciating 5,000 years of Chinese civilization [150].

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].

Core Viewpoint - The exhibition "The Light of the Sun - Ancient Shu Civilization and the World" showcases the connection between ancient Shu civilization and global civilizations through the theme of sun worship, emphasizing the eternal theme of shared prosperity among civilizations [4][5]. Group 1: Exhibition Overview - The exhibition is organized into two main thematic units: the first unit "Illuminating the World" focuses on the sun worship in ancient civilizations globally, while the second unit "Shu Shining" provides an in-depth interpretation of treasures unearthed from the Sanxingdui and Jinsha sites [4][5]. - The exhibition aims to present the common human pursuit of light and life, highlighting the spiritual significance of the sun as a symbol of brightness and life throughout history [4]. Group 2: Thematic Units - The first unit "Illuminating the World" illustrates the central role of the sun in religion, power, and calendars across various ancient civilizations, including ancient Egypt, Mesopotamia, ancient India, and ancient Greece [5]. - The second unit "Shu Shining" delves into the unique mythological worldview of ancient Shu civilization, represented by the sun, tree, and bird, and its profound connections to related Chinese ancient myths [5]. Group 3: Featured Artifacts and Technology - Key artifacts highlighted include the Sun God Bird gold ornament, which symbolizes the cosmic view of the ancient Shu people, and other significant items like the gold crown and bronze human head with a gold mask, reflecting the integration of divine and royal power in ancient Shu's political system [5]. - The exhibition employs advanced digital technologies such as naked-eye 3D and three-dimensional animation to create multimedia displays, allowing visitors to experience the archaeological journey of the Sanxingdui and Jinsha sites interactively [5].

Core Points - The exhibition "Light of the Sun - Ancient Shu Civilization and the World" was inaugurated at the United Nations Headquarters in New York, aiming to promote global cultural exchange through dialogue [1] - The exhibition is part of the activities related to the "International Day of Civilizational Dialogue," established by a resolution passed by the 78th United Nations General Assembly, which designates June 10 as this day [1] - The exhibition showcases the theme of sun worship, featuring artifacts and multimedia presentations from various ancient civilizations, including Ancient Egypt, Mesopotamia, Ancient India, Ancient Greece, and the Ancient Shu civilization [1] Exhibition Details - The exhibition is divided into two main thematic units: "Illuminating the World," focusing on global ancient civilizations' sun worship, and "Shining Ancient Shu," which delves into artifacts from the Sanxingdui and Jinsha sites, such as the bronze sacred tree and the golden sunbird ornament [1][2] - The Sanxingdui and Jinsha sites, dating back approximately 3,600 to 2,800 years, are highlighted as central to the Ancient Shu civilization, showcasing the diversity and unity of Chinese civilization [2] - The exhibition employs advanced digital technologies, including 3D projections and VR experiences, to enhance visitor engagement and provide an immersive experience of the archaeological sites [2] Duration and Impact - The exhibition will run until June 20, and since 2003, it has been showcased in over 20 cities worldwide, promoting the allure of Chinese civilization [3]