Core Viewpoint - The article discusses the evolution and significance of the "Phoenix Bird Pattern" in ancient Chinese bronze artifacts, tracing its origins from the Shang Dynasty through the Western Zhou and into the Spring and Autumn and Warring States periods, highlighting its cultural and artistic transformations over time [1][2][3]. Group 1: Historical Context - The "Phoenix Bird Pattern" emerged during the Shang Dynasty, particularly associated with the worship of the "Xuan Bird," which is debated among scholars regarding its exact identity, with interpretations ranging from a black swallow to an owl [2][3]. - The pattern reflects a broader "bird worship" among the Shang people, indicating a complex relationship with various bird representations in their culture [2][3]. Group 2: Artistic Evolution - In the late Shang Dynasty, the Phoenix Bird Pattern was characterized by elaborate and ornate designs, often featuring large, prominent bird figures that conveyed a sense of grandeur [3][4]. - The Western Zhou period saw a shift towards simplification and elegance in the representation of the Phoenix Bird, focusing on aesthetic harmony rather than intricate detail [6][7][10]. - By the Spring and Autumn and Warring States periods, the Phoenix Bird Pattern diversified significantly, with geometric and abstract representations becoming more common, reflecting regional variations and cultural influences [11][12][13]. Group 3: Cultural Significance - The Phoenix Bird served as a symbol of communication between heaven and earth, embodying the spiritual beliefs of the Shang and Zhou dynasties [4][10]. - The transformation of the Phoenix Bird Pattern from a religious symbol to a more secular representation in daily life illustrates the changing social dynamics and values during the transition from the Shang to the Zhou [10][13]. - The pattern's continued evolution into the Warring States period signifies its adaptability and enduring relevance in Chinese cultural heritage, influencing later artistic expressions in lacquerware and other mediums [14][15][16].

Core Viewpoint - The "Seeing Yin Shang" exhibition has gained significant attention, requiring up to four hours of waiting time to enter, showcasing 338 precious artifacts from 28 archaeological and cultural institutions across the country, including over 50 first-class and key cultural relics [1] Group 1: Exhibition Highlights - The reunion of the two Fu Hao owl-shaped vessels, which have been separated for 50 years, is a major highlight of the exhibition, attracting many visitors eager to capture photos of this rare pairing [1][2] - Another notable artifact is the pair of bronze axe heads from Shandong Su Butun, which symbolize royal power and have also reunited after 50 years [3] - The exhibition features the only bronze cow-shaped vessel discovered at Yin Ruins, known for its harmonious proportions and intricate animal motifs, which underwent significant restoration before being displayed [3] - A pig-shaped lid for a ceramic wine vessel, resembling the character Peppa Pig, has garnered attention for its whimsical design [3] Group 2: Additional Artifacts - Other significant items on display include the "Gui Ju" bronze vessel, cicada-patterned bronze knife, and Chongyang bronze drum, among others, which can be appreciated in detail within the exhibition [3]

看到了熟悉的身影 今天，就让我们带着《文博日历》 去看见殷商 "双胞胎"再聚首 妇好鸮尊 鸮（xiāo）是中国古代对猫头鹰类鸟的统称 虽然有一双萌萌的圆眼睛 却遮盖不了它的智慧、勇猛与威严 在商朝 它们是"六边形女战士"妇好的代言人 见证了她传奇的一生 妇好英年早逝后 她的丈夫武丁就铸造了这一对鸮尊 守护爱人 1976年，两只鸮尊在河南出土 一直分藏于国家博物馆和河南博物院 相伴三千年 分别半世纪 这次，它们终于又重逢 最近，有一批殷商超重磅文物"天团" 集体空降"看·见殷商"特展 讲述殷商500年故事 《文博日历》的小编在现场的 "人人人人国宝人人人人"中 1965年 山东苏埠屯商代大墓出土两件铜钺 它们一个相对瘦长 另一个脸盘更大 体重也略重一点 1989年，这对"钺兄弟"分开 亚醜钺珍藏于山东博物馆 五官微突出 双目圆睁，嘴角上扬 口中露出城墙垛口似的牙齿 亚醜钺 因为名字里有个"醜"（chǒu）字 这张挺"帅"的脸也"帅"不起来了 兽面纹铜钺收藏于中国国家博物馆 这是时隔36年 它们实现"合体"展出 北京，我们来了 戴金面罩青铜人头像 这是一张来自3000年前的脸 蒜头鼻、阔嘴巴、剃平头 眼角高高挑起 ...

集齐各地明星文物实属不易，各方反复协商借展方案。湖北省博物馆收藏的崇阳铜鼓，是中国目前仅存的商代兽面纹青铜鼓，也是研究古代礼乐制度的珍贵 实物资料。"这件文物在国家文物局领导的协调下，最终成功借展一个月。还有河南省博物馆的鸮尊，也是我们反复沟通，一点点增加展期。"高红清说。 大运河畔，殷商文物"天团"开启京城秀。正在北京大运河博物馆（首都博物馆东馆）展出的"看·见殷商"展览上，全国28家文博单位的338件（套）珍贵文物 亮相，共同讲述3000多年前的故事，勾勒出一幅灿烂商文明全景图。 如何将浩瀚文明浓缩进1720平方米的展厅？首博策展团队联合国内权威商周考古专家，经过7轮论证，才最终海选出来这些明星文物。 自商汤灭夏，商王朝持续500余年。夏商周时期，中原和周边地区交流融合、相互促进，奠定了中华文明形成和发展的基础。 本次展览带领观众在展厅中"漫游"多地，破译殷商时代的文化密码。 "去年11月，中华文明起源系列首展'探秘古蜀文明——三星堆与金沙'结束后，我们就将下一个展的主题聚焦殷商，开始到各地海选借展文物。"首博研究馆 员、策展人高红清说，海选第一站就是河南安阳的殷墟博物馆，"我们不仅邀请'镇馆之宝'亚长牛 ...

Core Points - The "Seeing the Yin Shang" exhibition opened at the Beijing Grand Canal Museum, showcasing 338 cultural relics from 28 national cultural institutions, including over 50 key artifacts from the Yin Shang period [1] - The discovery of the Yin Ruins has brought renewed attention to the historical significance of the Shang Dynasty, particularly through the lens of oracle bone inscriptions [2][4] - The exhibition highlights the importance of the character Fu Hao, the first recorded female hero in Chinese history, whose legacy was uncovered through oracle bone inscriptions [1][4] Group 1: Historical Context - The excavation of the Yin Ruins began in 1928, marking a significant milestone in Chinese archaeology as it provided physical evidence of the Shang Dynasty's existence [2] - The discovery of oracle bones in the late 19th century led to the realization of the historical significance of the Yin Ruins, which had been buried for over 3,000 years [1][2] - The initial findings at the Yin Ruins were driven by local legends and the mistaken belief that certain bones were medicinal "dragon bones," which later turned out to be oracle bones [4][5] Group 2: Key Figures and Contributions - Wang Yirong, a Qing Dynasty scholar, played a crucial role in identifying oracle bones as ancient artifacts, leading to the establishment of oracle bone studies as a new academic field [7][8] - The first excavation at the Yin Ruins was led by Dong Zuobin, who faced challenges due to local resistance and the prevalence of looting [23][29] - Li Ji, appointed as the head of the archaeological team in 1928, emphasized the need for scientific methods in archaeology, marking a shift from treasure hunting to systematic excavation [38][40] Group 3: Archaeological Developments - The first excavation yielded significant findings, including 555 pieces of oracle bones and various artifacts, but faced criticism for its lack of scientific rigor [35][37] - Subsequent excavations under Li Ji introduced a more structured approach, focusing on the context of artifacts and the importance of recording excavation details [39][40] - The establishment of the National Central Research Institute's excavation team in 1929 marked a formalization of archaeological practices in China, leading to the development of a new generation of archaeologists [50][51]

5月18日，北京大运河博物馆（首都博物馆东馆）内，一对青铜鸮尊静静对望。它们的羽翼间凝结着商王后、女将军妇好 征伐四方的巾帼风华，喙尖上闪耀着三千多年前殷商工匠淬火成器的智慧光芒。 这对分藏于河南博物院与中国国家博物馆的"孪生兄弟"，自1976年在安阳殷墟妇好墓出土后，时隔近半个世纪重聚，5月 18日起亮相"中华文明起源"系列展之一"看·见殷商"展。记者有幸跟随河南博物院的镇馆之宝妇好鸮尊，亲历这场意义非 凡的"出差"之旅。 "看·见殷商"展是国家文物局和北京市人民政府指导的"国际博物馆日"中国主会场活动的配套展览和开幕大展。此次展出 的338件（套）展品来自全国28家考古文博单位，涵盖了河南安阳殷墟、山东青州苏埠屯、湖北黄陂盘龙城、江西新干大 洋洲等遗址出土的商代代表性文物，全景式呈现殷商文明的绚丽画卷。 世间美好的相遇都是久别重逢。为了此次重逢，豫京两地文博人早就开始精心准备。 此次，河南省8家文博单位共支持参展文物215件（套），除了妇好鸮尊外，殷墟博物馆的亚长牛尊、电影《哪吒之魔童 闹海》中敖光的"龙牙刀"原型——殷墟博物馆的商代玉刀等"网红"文物也亮相该展，向观众展现中原厚重的文化底蕴。 展览揭幕当 ...