#精品长文创作季#
On July 27, 2023, the high-profile new Sanxingdui Museum in Guanghan, Sichuan Province was opened, with three times the number of cultural relics on display.
Sanxingdui ruins from 4500 to 2900 years ago, is the largest Shang period capital city site in the Yangtze River basin, is an important witness of the origin and development pattern of Chinese civilization, is an important part of Chinese civilization. Since 2019, more than 17,000 pieces of various cultural relics have been unearthed in the newly discovered No. 3-8 sacrificial pits, and the imprints left by the ancient Shu people in Sanxingdui have "awakened and shocked the world again".
Bronze head wearing a gold mask
Traced back
The Sanxingdui site on the bank of the Guanghan Duck River in Deyang, Sichuan, has not been so lively for a long time.
The last time was 37 years ago, in 1986, due to the discovery of jade and bronze artifacts in a nearby brick and tile factory, which started a large-scale archaeological excavation, and a large number of rare treasures unearthed from the No. 1 and No. 2 sacrificial pits were mysterious and magnificent, such as the 3.96-meter-high bronze sacred tree, the 2.61-meter-high bronze Daliren, the 1.38-meter-wide bronze longitudinal mask, and the brilliant golden scepter and other gold artifacts that shocked the world. Sanxingdui "slept for 3,000 years, and woke up to shock the world".
Prior to this, it can be traced back to one evening in the spring of 1927, Yan Daocheng, a villager in Moon Bay, Guanghan, Sichuan, and his son Yan Qingbao were digging a ditch not far from their house to prepare for farming. This hoe knocked on the gate of the ancient Shu Kingdom, which had been sealed for 3,000 years.
In the spring of 1934, Ge Weihan, director of the West China Union University Museum and an American professor, obtained the consent of the Sichuan Provincial Department of Education and Guanghan County to conduct archaeological investigation and excavation of the Moon Bay site, and also found some jade tools. After the founding of the People's Republic of China, archaeologists Feng Hanji and Wang Jiayou visited Guanghan several times, and they deduced that the Sanxingdui and Moon Bay areas were densely populated with ruins, and it was likely to be a central capital of the ancient Shu Kingdom.
"Silkworms and fish, the founding of the country is at a loss. He is 48,000 years old, and he is not populated with Qinsai. Tang Dynasty poet Li Bai's "Shu Road Difficulty" has smeared a layer of mystery on the legendary ancient Shu history.
As early as ancient times, the Chengdu Plain and the Sichuan Basin in the upper reaches of the Yangtze River have been the habitat of the ancient Shu ancestors, and in the Xia, Shang and Zhou dynasties, the ancient Shu Kingdom has become a rich place in the southwest region, but because the records of the early history of the ancient Shu are very vague in the handed down documents, it has always given people a sense of confusion.
After "waking up and shocking the world", Sanxingdui gradually faded out of the stunning gaze, with its countless unsolved mysteries, quietly waiting in the southwest corner of China.
Bronze Daliren
Dig the pit
One day in December 2019, a corner of a bronze artifact was accidentally discovered during the systematic archaeological exploration around the "No. 1 and No. 2 sacrificial pits" by the Sichuan Provincial Institute of Cultural Relics and Archaeology and the Sanxingdui Museum in Guanghan, Sichuan.
Lei Yu, the leader of the archaeological excavation team at the Sanxingdui site, said that everyone didn't believe that there were new pits, so they could only say that they tried to dig them. On December 2, 2019, when archaeologists were trying to excavate on a small scale around the No. 1 and No. 2 sacrificial pits without much hope, they accidentally found a pit-like ruins, and green bronzes were found in this pit. Everyone was full of doubts that this bronze did not belong to Sanxingdui culture, and the first Sanxingdui archaeological team leader Chen Dean went down to the pit and reached out to touch it, and with profound experience, he said categorically: "It's Dakouzun, no problem!"
Lei Yu said that before Mr. Chen said that it was Dakouzun, he thought it might be a bronze ware from the Song Dynasty, and later realized that he had to admit that there was really a No. 3 pit.
In this investigation, the scope of the sacrificial area around the "No. 1 and No. 2 sacrificial pits" and the chronological sequence and spatial pattern of various relics were basically figured out, and 6 sacrificial pits were newly discovered. Excavated in 1986, there are about 30 meters between Pits 1 and 2, and the six most recently discovered sacrificial pits are located between these 30 meters.
Lei Yu said that in the first decade of the 21st century, two intensive surveys were done, but unfortunately after 2004, in order to show the No. 1 and No. 2 pits, a platform was built, which just completely covered these pits, and only the corner of No. 3 pit was exposed. I just found this corner this time.
"Otherwise, we'll have to wait a few generations. Lei Yu said.
Although I don't know what treasures are buried underground, Sanxingdui, which once "woke up and shocked the world", brought people infinite reverie. On the morning of September 6, 2020, the "Ancient Shu Civilization Protection and Inheritance Project - Sanxingdui Site Archaeological Excavation (2020) Launching Ceremony" was held in the archaeological excavation greenhouse of the sacrificial area of Sanxingdui site in Guanghan. After 34 years, the excavation of Sanxingdui site started again.
Bronze longitudinal mask
fortunate
The resumption of excavation in the Sanxingdui sacrificial area has attracted the attention of the national archaeological community, and the Sichuan Provincial Institute of Cultural Relics and Archaeology has chosen to open the door to do research, inviting 33 academic institutions across the country to deeply participate in archaeological excavation, cultural relics protection and subject research. Busy on site is a multidisciplinary and innovative research team including botanical archaeology, zooarchaeology, environmental archaeology, geological archaeology, metallurgical archaeology, cultural relics protection technology, physical anthropology, materials science, etc.
The archaeological excavation work invited the Chinese Academy of Social Sciences Institute of Archaeology, Peking University, Shanghai University, Sichuan University and other relevant universities to help, cultural relics cleanup, restoration team is not lacking in the National Museum, the Palace Museum and the Shanghai Museum and other heavyweight restorers, the national famous cultural preservation expert, Jingzhou Cultural Relics Protection Center researcher Wu Shunqing for ivory extraction to provide technical guidance, China National Silk Museum researcher Zhou Yang to Sichuan in advance to train archaeologists to find silk fabric residues. There are dozens of experts in the consulting team, and domestic archaeological bigwigs Li Boqian, Wang Wei, Chen Xingcan, Wang Renxiang and others have provided valuable suggestions in many fields such as excavation and research.
Those who were invited to participate in the collective research even had a fire research team. This is because the cultural relics unearthed in Sanxingdui No. 1 and No. 2 sacrificial pits have obvious traces of being burned by fire, and the fire research team can study whether the ancient Shu people more than 3,000 years ago burned the cultural relics in the pit or ignited the fire outside the pit, and how high the temperature was in order to melt the real gold that was not afraid of fire refining into a ball.
This archaeology is more like a multi-arm group battle, which can be called a century of archaeological excavation that is rare in the world.
Everyone who is associated with Sanxingdui feels how fortunate they are, and Tang Fei, secretary of the Party branch and president of the Sichuan Provincial Institute of Cultural Relics and Archaeology, also said earnestly: "Encountering Sanxingdui is really a blessing for our three lives." ”
Xu Feihong, the "pit owner" of Pit No. 3 and a teacher of the School of Liberal Arts of Shanghai University born in the 90s, is also one of the lucky ones. He is a native of Shanghai, he has been full of expectations and dreams for museums and archaeology since he was a child, and he graduated from high school and was admitted to Peking University, initially studying psychology, but after a year of study, he felt that he still couldn't let go of the archaeological dream in his heart, so he transferred to the Department of Archaeology in his sophomore year and studied all the way to a doctorate. From 2018 to 2020, he was selected for the "Boya Postdoctoral Fellowship" program launched by Peking University in 2016, and was hired as a lecturer at Shanghai University after leaving the station.
In November 2020, when he was taking students to do field archaeology internships in Tengzhou, Shandong Province, he received a call from Duan Yong, deputy secretary of the Party Committee of Shanghai University, asking him to excavate the No. 3 pit in Sanxingdui. This phone call made Xu Feihong's blood boil. He knew that many archaeologists had never experienced such a site in their lifetimes, and this opportunity was too precious.
Bronze Altar (Fragment)
Into the pit
Lei Xingshan, the former dean of the School of Archaeology and Museums of Peking University, was transferred to Capital Normal University as vice president, winning the opportunity for the students of Capital Normal University to participate in the excavation of the Sanxingdui sacrificial area. On March 28, 2021, Liu Xiaochi, a first-year master's student in the Department of Archaeology of Capital Normal University, also felt like "pie in the sky" when he received the notice.
Liu Xiaochi, who had just arrived at the school to report, hurriedly packed his luggage and rushed to Sichuan. In his reminiscences, he wrote about his first impressions of the scene:
"The steel-framed archaeological canopy is like a huge canopy, protecting the site and sheltering the six newly discovered pits. Emergency testing laboratory, inorganic cultural relics emergency protection room, microtrace emergency protection room, organic cultural relics emergency protection room, cultural protection studio and archaeological studio...... The scene is full of science and technology. ”
Archaeological sites are generally in the wild, archaeologists sleep in the open, the conditions are extremely difficult, Sanxingdui closed archaeology can be called the top configuration of the domestic archaeological community.
Liu Xiaochi and Gu Xutao visited the archaeological site at that time:
"At that time, Pits 7 and 8 were still in the stage of clearing the fill layer, and there were few cultural relics outcropping, and Pit 4 was covered with ivory and black ashes, but when we walked to Pit 3, I was shocked: the pit had been cleared and filled with stuff, and there were dense ivory and various cultural relics as far as the eye could see. A large number of ivory tusks are staggered, and although the bronzes in the gaps are not yet fully exposed, they are enough to struck me in terms of number and size. The mystery of holding the pipa and half-covering my face fills me with curiosity and anticipation. ”
At this time, Xu Feihong, the head of the No. 3 pit, has been leading the team members to excavate for several months, and he remembers that the bronzes have begun to emerge before the Spring Festival in 2021, and the buried layer is exposed in March, and new discoveries are constantly being made. "It's the most exciting and rewarding part of archaeology, and it's very rewarding. ”
Bronze kneeling figure
excited
From March 20 to March 23, 2021, CCTV broadcast the archaeological excavation of the sacrificial area of Sanxingdui site for 4 consecutive days.
Giant bronze masks, bronze sacred trees, fragments of gold masks, painted bronze heads around the eyes, bird-shaped gold ornaments, gold leaf, fragments of exquisite ivory carvings, jade cong, jade tools, and a large number of ivory ...... At that time, the 500 precious cultural relics unearthed and the newly emerging bronze objects in the pit can only be called "bronze objects with human image characteristics" are already very exciting.
In the No. 3 sacrificial pit, there are more than 100 ivory tusks and hundreds of bronze vessels, including bronze statues, bronze statues, bronze statues and large masks with unique styles;
In the black ashes of the No. 4 sacrificial pit, the archaeologists extracted the invisible silk product residues, and will use customized silk protein antibodies to specifically detect the ashes and imprints.
Covering an area of only 3.5 square meters, the No. 5 sacrificial pit is the smallest pit, but it has the most gold artifacts unearthed, and one of the gold surfaces is eye-catching. Pit No. 5 also cleared out a number of gold objects, more than 60 perforated round gold ornaments, a large number of jade pipe beads and ivory ornaments. According to the preliminary judgment of experts, these regular gold pieces and jade objects are conjugated with gold masks, which are speculated to be used by the ancient Shu kings when they held grand sacrifice ceremonies;
A "wooden box" was found in the No. 6 sacrificial pit, about 1.5 meters long and 0.4 meters wide, and the inside and outside were coated with cinnabar, and the specific function needs to be further studied and cracked.
Xu Feihong said that although there are expectations for Sanxingdui, there are still too many unexpected things. At that time, the No. 7 and No. 8 pits were still in the excavation and filling stage, and later, one after another unearthed cultural relics were not the strangest, only more strange, so that professionals could not define the attributes of some artifacts for a while, and the young archaeological team members called them "strange, cute and lovely", and called the mythical beasts that resemble cartoon images "robot dogs".
Pottery pig
Archaeology
This Sanxingdui archaeology, various documentaries and live broadcasts let people see a lot of the real situation in the archaeological work. In the documentary "More than Archaeology, Me and Sanxingdui", from time to time you can hear the exclamations of the team members "My old waist is about to break" and "It's too much to take your waist", and the archaeological team members have to lie on the workbench hanging on the pit every day, support their bodies with their waist and cervical vertebrae, and reach into the pit with both hands to remove the soil next to the utensils little by little. When Zhao Hao, the head of the No. 8 pit and an associate professor at the School of Archaeology and Museums of Peking University, and his teammates were excavating Dakouzun, the two male team members were lying on the workbench, raising their hands together, exerting all their strength, holding back a muffled hum, and it did not move at all.
The slightly dramatic and interesting presentation in the documentary more or less obscures the hardships, and in fact archaeology is still a hard and inhumane work. It seems that you can send love to the landscape, breathe fresh air, and touch a national treasure that others can only watch from a distance and cannot be desecrated. But the repetition and boredom of using toothpicks and spoons to fill a pit with soil is not only unbearable for ordinary people, but the lonely taste of living in a foreign place for many years is also a cup of bitter wine that is difficult to drink, and the process of excavation does not always make new discoveries, and for a long time they are accompanied by anxiety and loss.
Qiao Gang, from the archaeological team of the Sanxingdui site sacrifice area of the Sichuan Provincial Institute of Cultural Relics and Archaeology, has worked in Sanxingdui for more than ten years, and the description of his day's work in the film directly presents the truth of archaeological work: "Ordinary ground work, ordinary digging, ordinary line drawing, ordinary - nothing is found".
The biggest difference between the No. 7 pit and the No. 7 pit and Li Haichao, a professor at the School of Archaeology and Museums of Sichuan University, is that there are no complete artifacts in the pit, only fragments. Sometimes, Li Haichao would go to the No. 3 pit and No. 8 pit next to him, and look at a bronze villain wearing a miniskirt with his butt facing up in other people's pits, and a bronze altar with a strange and exquisite shape at that time, and he felt a little lost.
Fortunately, in June 2022, the appearance of a turtle-back grid-like device paid off Li Haichao's perseverance for so many days. This turtle-shaped mesh has two grids, upper and lower, wrapped in a finely polished jade in the middle, and has four dragon head locks at the four corners, which is very beautiful. Later, gold and silk residues were found on it, indicating that the Sanxingdui people at that time wrapped all the most precious things they could obtain on this artifact. Yu Jia, a special photographer for the archaeological excavation of the sacrificial pit at the Sanxingdui site, took no less than 100,000 photos of Sanxingdui this time, and this grid made him feel that it was the "boss" of all cultural relics.
Recording
Yu Jia is a special figure at the archaeological site. When the team members were not familiar with him, they would ask "what is the person who walks around the pit with a bag all day long", and later Yu Jia and every archaeological team member in the pit became friends and became what they called "Brother Jia".
His current position is the director of the Guanghan Library, a contracted photographer of China National Geographic, and a native of Guanghan. The earliest contact with Sanxingdui began in 1997 when the old Sanxingdui Museum opened, when he was still a young man under the age of 20, and later because he taught himself photography, he showed extraordinary talent and was invited to shoot news photos for Sanxingdui. The photos he took are very beautiful, and many people like Sanxingdui because of this.
This time, the Sichuan Provincial Institute of Cultural Relics and Archaeology wanted to find a photographer with humanistic feelings to record the archaeological process and unearthed cultural relics.
When his feet first stepped on the soil in the pit thousands of years ago, he felt a wave of awe in his heart, "I can really feel that there are many people in the pit who are busy, not throwing them, but slowly passing them on, placing the utensils into the pit one by one."
Yu Jia photographed a lot of utensils and found that their best side was facing upwards, the bottom of the round mouth square statue was rusted, but the upward one was intact, and the kneeling figure of the top statue was also lying there very peacefully. When looking out of the camera, Yu Jia often wonders if the person who placed it thinks that one day someone will see it.
During the year and a half of filming in the pit, Yu Jia basically did not go on a business trip, so he was afraid of missing something. I am familiar with the archaeological team members in the pit, and I will notify him when I extract important cultural relics. On June 23, 2021, he received a call from Xu Feihong saying that the bronze mask was about to be extracted. At that time, he was running errands 10 kilometers away, hung up the phone and immediately drove to Sanxingdui, all the way was thinking about the lens and aperture to be used for shooting, and as soon as he got out of the car, he immediately put on protective clothing and went down the pit.
"30 cm, 50 cm ......" When the bronze mask was mentioned to be one person high, Ren Junfeng, a cultural relics restorer of the Cultural Relics Protection Center of the Sichuan Provincial Institute of Cultural Relics and Archaeology, just raised his eyes to look at the big mask, and Yu Jia did not hesitate to "click" and freeze this "gaze spanning more than 3,000 years".
After a long time, the pit chief and the team members understood his photographic language, and tried their best to cooperate with him to shoot the best angle and present the deepest connotation of cultural relics. "Let the cultural relics speak", so that the public can understand the cultural relics, can feel and understand the complex information conveyed by the cultural relics, so that the value of archaeological work can be presented to the greatest extent, and the imprint of civilization can be engraved in people's hearts.
repair
In the new round of archaeological excavations of Sanxingdui sacrificial pits, more than 17,000 numbered cultural relics have been unearthed in the six newly discovered sacrificial pits, and more than 2,400 pieces (about 14%) of complete artifacts, including the bronze statue of the top bent bird's foot, the bronze statue of the kneeling statue of the beast, the turtle-back grid-shaped vessel, the bronze altar, the bronze beast, the bird-shaped gold ornament and the gold mask and other important utensils. A large number of excavated cultural relics with serious mutilation, cracking, deformation and corrosion need to be cleaned, spliced, sorted out and protected and repaired in a timely manner.
The extracted cultural relics are sent to the Sanxingdui Cultural Relics Protection and Restoration Museum, and the atmosphere of laughter and laughter in the pit is different, there is always silence in the restoration room, and the restoration masters are silently doing the work at hand, and there is little time to communicate.
Jin Dachao, a restorer from the Jinshi Restoration Group of the Department of Cultural Conservation Science and Technology of the Palace Museum, said that the bronzes in Sanxingdui do not belong to the typical type of bronzes, and the biggest pressure on the restorers is the unknown encountered in the process of exploration, so they must be very focused, and once they find an unconventional situation, they must immediately make a judgment. Many cultural relics in Sanxingdui are painted, and one of the ones he cleaned was originally judged to be none, but when he slowly cleaned up the thin layer of soil, he suddenly found the paintings in the lower layer, and if he was not focused enough, he was likely to miss it.
The story of the restoration of Sanxingdui cultural relics, like the archaeological story, can not be told for three days and three nights. The story of the first generation of cultural relics restoration master Yang Xiaowu and his disciple Guo Hanzhong has long been passed on as a beautiful talk inside and outside the industry. Today, Guo Hanzhong, deputy director of the Sanxingdui Museum's cultural relics preservation department, has been awarded the title of "Great Country Craftsman", and he has passed on his skills to his apprentices Yu Jian and Xie Li.
Outside the museum, there is also a little-known pottery restoration folk master Zeng Jubing, because many Sanxingdui pottery restoration papers have his name, Sanxingdui archaeologists respectfully call him 74 years old "Academician Zeng". Great-grandfather is a farmer in Sanxingcun Village, and has been working with the Sanxingdui archaeological team since he was 40 years old.
When he was not on a business trip, his great-grandfather rode his little electric donkey whenever he had time to work at the old Sanxingdui workstation. A pile of broken pottery pieces, great-grandfather can see the relationship between color, texture and curvature at a glance, and the pieces are contrasted with the stubble, spliced together. One of his most proud restoration works is a large clay pot dug up in Sanxingdui, with only a diameter of more than 20 centimeters, a little bottom and a spliced body, and the widest part is only seven or eight centimeters. Great-grandfather spent several days working to repair the entire large clay pot with plaster according to the curvature of the fragments, and now this large clay pot has been placed in the display case of the new Sanxingdui Museum.
New Pavilion
On November 9, 2022, the Sanxingdui archaeological pit sealing ceremony was quietly held, and the archaeological site, which had been noisy for more than two years, fell silent again. The new Sanxingdui Museum, about 1 km away, is under construction in full swing and will be put into trial operation for the public on July 27 this year. People who have long been whetted by live broadcasts and videos flock to see the new artifacts.
In addition to the cultural relics unearthed from the No. 1 and No. 2 sacrificial pits, the exhibits of the new museum also display the cultural relics unearthed from the new round of archaeological excavations, and a total of more than 1,500 pieces (sets) of various cultural relics such as pottery, bronze, jade, gold, ivory (including ivory carvings) are exhibited, the number is more than 3 times that of the original cultural relics, and nearly 600 cultural relics are exhibited for the first time.
In the new museum, there are also 3 groups of special cultural relics that have achieved "a reunion across the pit that lasted 3,000 years".
The first group is the bronze altar, which is mainly composed of the bronze beast unearthed from the No. 8 sacrificial pit, the hollow abutment with 13 small bronze statues, the bronze altar statue unearthed from the No. 3 sacrificial pit, the bronze statue holding the bird, the bronze kneeling statue unearthed from the No. 7 sacrificial pit, and the bronze kneeling statue unearthed from the No. 2 sacrificial pit;
The second group is the bronze bird-foot god statue, which is composed of bronze statues, bronze top-honored statues, bronze bird-foot statues, bronze bird-foot statues, bronze dragon-shaped covers, bronze dragon-holding statues, and bronze staff-shaped vessels unearthed from the No. 8, No. 3 and No. 2 sacrificial pits;
The third group is the bronze riding beast top statue, which is assembled by the bronze beast unearthed from the No. 8, No. 3 and No. 2 sacrificial pits, the bronze riding posture top statue, and the bronze statue of the mouth.
These three groups of cultural relics are displayed in the form of "digital restoration demonstration", with the help of the manual combination of the restorer combined with the AI algorithm, the cross-pit splicing and repair restoration of the artifacts are realized through digital virtual restoration technology, and the original scale research restoration imitation is produced through 3D printing technology to reproduce the spirit of the cultural relics.
Liu Xiaochi said that during the excavation, the archaeological team members had already consciously crossed the pit to compare the relevant artifacts. The main component of the upper part of the bronze altar is the cultural relics that were called "strange" when the No. 3 pit was first discovered, and when the small kneeling statue was found in the No. 8 pit, Zhao Hao and other archaeological experts pointed out that it may be on the altar, and Liu Xiaochi also deliberately took the artifacts of the No. 7 pit and compared them with the unextracted artifacts from the No. 8 pit. Finally, a small kneeling figure was found in pits 2, 8, 7 and 3, corresponding to the four mouths on the top of the bronze goose below.
The peculiar shape of the "new" cultural relics enriches the bronze category of the Sanxingdui site, showing richer types and cultural connotations, but "the inner world embodied in its imagination is the harmonious concept of Chinese civilization 'the unity of nature and man, the symbiosis of all things', which is highly consistent with the imagination of other regional civilizations in China to the world." Ran Honglin, director of the Sanxingdui Institute of Archaeology of the Sichuan Provincial Institute of Cultural Relics and Archaeology, said.
Inscription
In the drizzle, from the sacrificial pit to the northeast across the Mamu River, through the fields of the long path to the museum, along the way past the Yan family courtyard where Sanxingdui jade artifacts were first discovered and the Sanxingdui West City Wall ruins that were densely covered by dense trees. The rice fields on both sides are verdant, and the rice in August has been spit out ears, as if wishing for a bumper harvest this year, and a few egrets fly up from time to time between the strangers, which makes people spontaneously feel through - the ancient Shu people more than 3000 years ago, should see the same scene, right?
The Sanxingdui-Jinsha site is in the process of jointly declaring the world cultural heritage, and the two places are important symbols of the ancient Shu civilization and an important empirical evidence of the "pluralistic integration, inclusiveness and continuity" of the Chinese civilization, which is of great value for the study of the diversity of civilization origins and the development of ancient cities. In March 2023, the Sanxingdui Management Committee has invited the China World Cultural Heritage Center of the Chinese Academy of Cultural Heritage to conduct field research at the Sanxingdui site to guide the work of applying for the World Heritage Site.
The end of archaeology and the opening of the new museum are only a paragraph, and the archaeological excavation work is still advancing. In the second half of the year, the archaeological excavation of Moon Bay at the Sanxingdui site will continue, and it is necessary to clarify the appearance of the foundation site of large buildings; the archaeology in the southern part of the ancient city of Sanxingdui will try to find settlements and provide new ideas for improving the study of the cultural and social structure of Sanxingdui; and the archaeological exploration work of the small city of Cangbaobao will be carried out to further clarify the structure and function of the small city in the ancient city. Other eastern, western, and southern city walls, Qingguanshan Construction Base Protection and Exhibition Project, Mamu River, Yazi River Environmental Remediation, and Restoration of Historical Features are all in full swing.
Hao Shuang, from the China World Cultural Heritage Center of the Chinese Academy of Cultural Heritage, said that the declaration of world cultural heritage should be supported by outstanding universal value, authenticity and integrity, as well as a well-functioning protection management system. In the future, Sanxingdui should not only show the value of heritage in the museum, but also present the sacrificial site itself and the noble status of sacrificial activities in Sanxingdui. Sanxingdui has an inner and outer city, and the No. 1-8 sacrificial pit is located at the edge of the inner city wall, which is the highest platform in the entire city.
Hao Shuang is most looking forward to future archaeological excavations that will be able to find out the location of the workshop area and the burial area of the nobles, and these new archaeological discoveries will also make Sanxingdui's outstanding universal value more convincing.
It is believed that the future Sanxingdui Ruins Park will be able to clearly display the traces of the life of the ancestors of Chinese civilization. Among the more than 100,000 photos, Yu Jiaxue has hidden a group of very special works, the subject of which is the clear traces left on the soil after the bronze statue in the archaeological pit was removed, which is the most profound imprint left by the ancient Shu people across 3,000 years of time in human civilization.