Cover reporter Zeng Jie The picture is provided by the program team
What was the Sanxingdui bronze mask of the CCTV Spring Festival Gala before the restoration? What is the connection between Sanxingdui and Chinese civilization? On the evening of February 6, the "Ten Thousand Miles Walking Single Ride" program arrived as scheduled, and the "Ten Thousand Miles Youth League" Shan Jixiang, Zhou Yun, Xiao Yang and Niu Junfeng walked into the Sanxingdui and Jinsha ruins to visit the ancient and mysterious ancient Shu bronze civilization shrouded in fog.
Interestingly, in Chengdu People's Park, Shan Jixiang showed the skills of social "cattle people", and the citizens who inadvertently chatted were actually Nanjing Jiangning fellows; Xiao Yang and his uncle and aunt danced "Little Apple" together, showing their singing and dancing skills on the spot; Zhou Yun and Niu Junfeng found a pottery statue like Jiang Wen in the Sanxingdui Museum, and couldn't help but take pictures and record.
No. 8 pit relics on the new
As soon as he stepped into the Sanxingdui Ruins Museum, Shan Jixiang sighed: "This is a mysterious place, I hope to use the program to promote the joint application of Sanxingdui Jinsha for heritage!" Xiao Yang followed his footsteps into the exhibition hall, and when he saw the huge bronze sacred tree, he couldn't help but exclaim, "Oh my God! ”
As one of the ancient cultural sites with the widest distribution range and richest cultural connotation discovered in southwest China so far, the cultural relics unearthed by Sanxingdui are not only extremely valuable human cultural heritage, but also one of the cultural relics with the most historical, scientific, cultural, artistic and social value in China. In this episode, the "Wanli Youth Group" claimed a "mystery to be solved" in many "Sanxingdui Rhapsodies" and divided into two groups to find the answer. "Lao Dan" Shan Jixiang and Xiao Yang met with Lei Yu, station master of Sanxingdui Workstation and director of Sanxingdui Museum, at Sanxingdui Museum; Niu Junfeng and Zhou Yun learned the story behind Sanxingdui cultural relics under the leadership of Ran Honglin, director of sanxingdui Archaeological Research Institute of Sichuan Provincial Research Institute of Cultural Relics and Archaeology, and Xu Danyang, assistant librarian of Sichuan Provincial Institute of Cultural Relics and Archaeology.
In the early Bronze Age, large combination bronzes prevailed in Sanxingdui. Bronze sacred trees, altars and newly discovered kneeling figures in Pit No. 3 are all unique to Sanxingdui. Among them, the bronze longitudinal mask has triggered extensive discussion of "aliens" because of its shape, combined with ancient records, some claims that the mask is a symbol of the first generation of Shu king silkworm bushes, but some say that this artifact shows the ancient Shu people's desire to "clairvoyance and tailwind ears" at that time.
Shan Jixiang and Xiao Yang also went deep into the No. 8 pit square capsule in the Sanxingdui archaeological greenhouse, and one of the bronze altars appeared for the first time through the public media. During the recording of the program, this bronze altar was still being excavated, its structure is very complex, and the concept is extremely exquisite and magical, consisting of about 4 parts, including a square platform, a bronze god beast, a bronze villain, and an artifact whose overall appearance is not known at present.
Explore the Heritage Restoration Hall
Shan Jixiang and Xiao Yang walked into the restoration center of the Sanxingdui Museum and saw that the younger generation of restorers were concentrating on cleaning up the ivory. After some conversation, they learned that many of the well-known Sanxingdui cultural relics nicknames are given by these post-90s, they have a lot of brains, with a variety of fantastic ideas, such as the golden mask called "big ears Tutu", as well as "Zhuge Liang", etc., so that each cultural relics become vivid and interesting, these national treasure-level cultural relics can be known by more people.
Various high-tech equipment in the restoration center was unveiled one by one, and after opening to the public, the audience was immersed in the experience, Xiao Yang was a little surprised, joking that "it feels like the back kitchen is open to the public", this metaphor is funny.
It is reported that during the Spring Festival of the Year of the Tiger, the newly excavated cultural relics of Sanxingdui sites such as bronze kneeling portraits, bronze statues holding birds, gold masks, sacred tree pattern jade chuns, and bronze small standing figures "Ultraman" are all "new" in the open cultural relics protection and restoration hall. Next, more newly excavated cultural relics such as bronze large masks will be sorted, restored and displayed in the Cultural Relics Conservation and Restoration Hall, allowing the audience to experience the restoration process of cultural relics in an immersive way.
The Shu embroidered divine bird reappeared
In the program, there is also the Shu embroidered "Sun God Bird" pattern returning from space that has reappeared after many years, and the guests discussed the significance of the "Sun God Bird", a Symbol of Chinese Cultural Heritage, to Chengdu.
Wang Fang, deputy director of the Jinsha Site Museum, introduced that the sun god bird is in the shape of a circle, divided into two layers, inside and outside, and the outer layer is composed of four birds connected from end to end, flying in a counterclockwise direction. Surrounded by these four birds are 12 curved tooth-shaped ornaments, like a clockwise rotating sun. In 2005, the Sun God Bird was rated as a symbol of Chinese cultural heritage. Today, it is a cultural business card of Chengdu City.
Shan Jixiang once revealed in an interview that in fact, the plan of the sun god bird was once eliminated, but later it was paid attention to again. "The archaeological discovery of the sun god bird can be described as the first dawn of Chinese archaeology entering the new century." This cultural relic is dignified and atmospheric, both solemn and symmetrical, but also full of dynamic and rhythmic, the shape is not lacking in modernity, especially the pattern of the sacred bird swirling and flying around the sun, expressing the philosophical ideas of birth and death, and also reflecting the very artistic creativity and imagination of the ancients, as well as the exquisite level of craftsmanship.
Talking about the ongoing Sanxingdui-Sands joint heritage application project, Shan Jixiang is very concerned about this. In his view, Sanxingdui and Jinsha, the two cultural heritage sites, are eligible for independent declaration of world heritage, and this joint declaration will produce a superposition effect of "1+1>2", because the two will connect the history of the ancient Shu kingdom more completely, and the influence and necessity of declaring world heritage are stronger, "I believe that the application for heritage will be successful."