Tagesarchive: 22. Oktober 2025

帛画并非“画”，而是楚人所绘的灵魂升天导航图。本篇聚焦两种图像宇宙：其一，楚图——人物御龙、龙凤交游、云气召神；其二，汉图——天地三界、尸寝星行。我们对照两种“帛上升天术”：楚图如咒、如召、如乘风归魂；汉图如典、如制、如礼序安灵。帛，是神之衣，也是魂之梯。文明曾在帛上画天，如今在图中归来。// Silk paintings were never mere "paintings" — they were celestial navigation charts for the soul. This entry focuses on two cosmic visions: the Chu image, where figures ride dragons, phoenixes cross the clouds, and divine vapors rise; and the Han image, where heaven, earth, and the underworld form a structured cosmos with the body at rest and the spirit ascending among the stars. These represent two "silk-bound arts of ascension": the Chu vision as incantation, invocation, and wind-borne return of the soul; the Han vision as canon, order, and ritual repose of the spirit. Silk is both the robe of gods and the ladder of souls — once the ancients painted heaven upon it, and now, through these images, that heaven returns.

楚帛书出土于1942年9月长沙子弹库1号楚墓，是中国已知最早的丝帛文献，也是战国时期唯一出土的帛书。全书分为《四时令》《五行令》《攻守占》三卷，共九百余字，图文并茂，以四方、四时与阴阳五行构建宇宙秩序。本文探问楚人如何在丝上书写时间，也在时间中书写自己。// The Chu Silk Manuscripts, unearthed in September 1942 from Tomb No. 1 at the Bullet Depot site in Changsha, are the earliest known silk texts discovered in China and the only silk manuscripts from the Warring States period. They comprise three scrolls — "The Ordinance of the Four Seasons", "The Ordinance of the Five Phases", and "Divinations on Attack and Defense" — totaling over nine hundred characters. Combining text and illustration, they present a cosmic order built upon the four directions, the seasons, and the interplay of yin and yang within the five elements. This piece explores how the Chu people wrote time upon silk, and how, through time, they wrote themselves.