Autor: 黃甯 (Ning Huang)

在楚地的泥土里，出土了一座没有屋顶的书店。墓主是一位爱读书的楚国士人，他把八百余枚竹简当作书架，将《太一生水》《五行》《老子》并列陈放。这里写着宇宙的生成，也描着修身的路径；水与德行、太一与仁义，在竹间交织成两千年前的思想森林。《郭店楚简》让思想重新生长，像春水，从竹简的纹理里缓缓流出。From the soil of ancient Chu emerged a bookstore without a roof. Its owner, a learned shi of the Chu state, arranged over 800 bamboo slips like shelves—placing Taiyi Sheng Shui, Wuxing, and Laozi side by side. Here the creation of the cosmos meets the practice of self-cultivation; water and virtue, the cosmos and humanity, intertwine into a forest of thought still alive after two millennia. The Guodian slips let philosophy breathe again—like spring water flowing through the grain of bamboo.

出土于湖北荆门包山的楚简，既是法的刻痕，也是魂的笔记。白日的楚人用律法维持秩序，夜晚的楚人以卜筮祈求庇佑；理性与神秘在同一根竹上并行，如两条永不交错的铁轨，在时间深处映照出一个文明对秩序的双重信仰。Unearthed at Baoshan in Jingmen, Hubei, the Chu bamboo slips record both the marks of law and the notes of the soul. By day, the people of Chu upheld order through legal codes; by night, they sought protection through divination. Rationality and mystery run side by side on the same bamboo line—two tracks that never cross, yet together reflect a civilization’s enduring faith in order across time.

在湖北武汉江夏丁家咀与荆州江陵望山，两批楚简出土地点相隔百里，却都写下了相同的心愿：愿神听见，愿命延长。一方是为“亲父”所设的家祭文书，一方是贵族悼固写给五位先王的求问书信。当它们被同时读起，像两封从战国寄出的信，一封写给家族祖灵，一封写给历史长河，而我们，是两千年后，在信箱前拆信的后人。In Wuhan’s Jiangxia (Dingjiazui) and Jingzhou’s Jiangling (Wangshan) in Hubei, two sets of Chu bamboo slips were unearthed, separated by a hundred li of land, yet echoing the same wish: May the spirits hear, may life be prolonged. One was a private prayer to a “dear father”; the other, a formal petition to five ancestral kings. Read together, they feel like two letters sent from the Warring States era — one addressed to a family spirit, the other to the long river of history. And we, two thousand years later, are the descendants standing before the mailbox, opening them one by one.

在楚国中层权力结构中，有一位叫“番胜”的封君，数次走进卜筮间，留下三道令人焦虑的问题——这个月侍奉楚王是否顺利？这场病会不会恶化？新宅能不能长久居住？他不是迷信，而是慎重评估一切变量，进行权力中的高压决策。天星观楚简，记录了一位战国精英的“风险控管日志”，也让我们看见：当年的贵族，就像今天的CEO，也需要一个“解忧事务所”。In the mid-tier power structure of the Chu state, there was a nobleman named Fan Sheng. He stepped into the divination chamber more than once, each time bringing a question shaped by deep anxiety: — Would his service to the King run smoothly this month? — Would his illness worsen, or pass? — Could his new residence truly become a long-term home? This was not superstition. It was a careful evaluation of shifting variables—power-bound decisions made under pressure. The Tianxingguan bamboo slips preserve his “risk management log”, showing us that even in the Warring States era, aristocrats—like today’s CEOs—needed a place to confront uncertainty. A Disquiet Affairs Office, where power meets precaution.

从九店楚简的日书出发，把“黄历小铺”作为楚人日常的时间指南：记录节令、宜忌与行止。以出土竹简为本，温柔讨论战国楚地的生活秩序与时间观。From the Daybook manuscripts among the Jiudian Chu bamboo slips, this “almanac shop” explores how the people of Warring States Chu recorded seasons, taboos, and daily conduct. Grounded in excavated texts, it reflects on the gentle rhythm of order in ancient life.

这不是一段“流失文物”的普通纪实，而是三卷战国楚帛书在七十九年间的真实旅程。1942年，长沙子弹库楚墓被战火照亮；1946年，三卷楚帛书流失海外，开启了漫长的漂泊——几经转手、辗转异国。2025年5月18日，第二卷《五行令》与第三卷《攻守占》，在北京首都国际机场由中国正式接收。那一刻，被接过的不是丝，而是一段曾被撕裂、如今重新续起的祖先之气。而第一卷四时令仍然沉睡异国，等待归位。// This story is not about ordinary lost relics but tells the true seventy-nine-year journey of three silk manuscripts from the Chu State in the Warring States period. In 1942, the Chu tomb at the Bullet Depot in Changsha was uncovered during wartime. In 1946, the three manuscripts were taken overseas and passed through many hands. On May 18, 2025, two of them — "The Five Phases Ordinance" and "Attack and Defense Divinations" — were formally received back in China at Beijing Capital International Airport. That moment was more than a return of silk; it was the reunion of an ancient breath once torn apart. The first scroll, "The Four Seasons Ordinance," still remains abroad, waiting to come home.

马王堆三号墓出土的四卷帛书——《导引图》《老子》《天文气象杂占》和《五星占》，构成了承续战国楚学传统的西汉早期“天人修行系统”。从调息内气的导引，到观星定序的天文，丝帛上的每一笔线条，既描写身体的运行，也对应星辰的轨迹。它不是哲学的抽象，而是一种可实践的宇宙观：人身为地，气脉通天，在一匹丝的经纬之间，藏着早期中国文明对“天地一体”的全部想象。// The four silk manuscripts unearthed from Mawangdui Tomb No. 3 — "The Daoyin Chart", "The Laozi", "Astronomical and Meteorological Divinations", and "Divinations of the Five Planets" — form an early Western Han system of body–cosmos cultivation that continued the spiritual tradition of the Chu culture. Daoyin breathing and stretching practices to the celestial observations that marked the seasons, every brushstroke on the silk depicts both the movement of the body and the path of the stars. It is not abstract philosophy but a living cosmology: the human body mirrors the earth, the vital energy links to the sky, and within one piece of silk lies the ancient imagination of the unity between heaven and humankind.

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.

在荆州的泥土深处，楚人的文字沉睡千年。它们不是被时间遗忘，而是被封存在潮湿的地脉，等待在纪南古城的心跳之中。《楚简越千年》第五集《一脉相承》以“城市的回声”为主轴，展开一场从竹简到奖牌、从学术到生活的文明再生——马拉松奖牌、非遗文创、书法课堂、光影舞台，楚简以新的方式走入我们的时代。我们开始明白：文明不是静止的遗产，而是仍在跳动的心。听见心跳，楚在呼吸。// Beneath the soil of Jingzhou, the characters of the ancient Chu have slept for millennia. They were not forgotten by time but sealed within the damp veins of the earth, waiting in the heartbeat of the old city of Jinan. Episode Five of “Across a Thousand Years of Chu Bamboo Slips” — “A Line Unbroken” — takes “the city’s echo” as its theme and traces the living revival of civilization: from bamboo slips to marathon medals, from scholarship to daily life. Through heritage crafts, calligraphy classes, and stage performances, the Chu slips return in new forms to our age. Gradually, we understand that civilization is not a silent relic, but a heart still beating. To hear its pulse is to know — Chu still breathes.

竹简再现人间，不靠奇迹，而靠一双双手。在荆州，从潘灯的研读与汇编楚文字，到黄有志的简牍复制，再到李胜洪的楚简书帖与孩子们的笔尖，文字的温度在指纹间延续。它们不再沉睡于墓葬，而在众手之书中醒来——三个荆州人以手为声，让文明重新被听见。// The return of the Chu bamboo slips to the human world is not a miracle, but the work of many hands. In Jingzhou, from Pan Deng's compilation of Chu characters to Huang Youzhi's reproduction of bamboo slips, from Li Shenghong's calligraphy of Chu texts to the young students writing with their own brushes, the warmth of words continues through fingertips. No longer buried in tombs, these slips awaken in the hands of people — three artisans of Jingzhou whose hands became voices, allowing civilization to be heard again.

纪录片《楚简越千年》第三集，以荆州文物保护中心的两位文保工作者——吴顺清、方北松——为叙事主轴，呈现从“干缩竹简润胀复形技术”到“脱色脱水工艺”的文明修复过程；并记录方北松九年修复长沙走马楼吴简、及长沙简牍博物馆建立的历程。以科学与匠心，让沉睡千年的楚简再度开口，见证文字的再生与信史的复苏。// The third episode of "Across a Thousand Years of Chu Bamboo Slips" follows two cultural conservators at the Jingzhou Cultural Relics Protection Center — Wu Shunqing and Fang Beisong — whose work reveals the scientific artistry behind civilization’s renewal. From the rehydration and reshaping of dry-shrunken slips to decolorization–dehydration procedures, and from Fang Beisong’s nine-year restoration of the Zoumalou Wu Slips in Changsha to the founding of the Changsha Bamboo Slips Museum, the film traces how science and craftsmanship let the sleeping Chu slips speak again, witnessing the rebirth of writing and the revival of historical truth.

曾被视为南方蛮夷之地的楚国，却以竹简书写司法判决、九九口诀、战争誓词、祖灵祭语，甚至可能失传的《乐经》节奏符号——从秦家嘴、望山桥到王家嘴，这些残破却精准的文字碎片，构成了文明秩序最早的律动回响。一场从微观日常延伸至国家系统、从死者书写重构生者节奏的楚简修复，正在悄然展开。// Once regarded as a land of southern "barbarians," the Chu state recorded its world on bamboo slips — judicial verdicts, numerical formulas, military oaths, ancestral invocations, and even rhythmic symbols from a possibly lost "Classic of Music". From Qin-jiazui to Wang-shan Bridge and Wang-jiazui, these fragmented yet precise traces of writing form the earliest pulse of civilized order. A restoration is quietly unfolding — one that extends from daily life to the machinery of the state, from the writings of the dead to the renewed rhythms of the living.

从荆州王家嘴到秦家嘴，一支支竹简从泥土中重见天光。它们不是考古的残片，而是被封存千年的文明记录。《楚简越千年》第一集《一简千年》，以“听见文字”为起点，探问楚人如何在竹片上书写律令、诗歌与日常——那些笔痕仍带着体温，如今化作重新被聆听的节奏。// From Wang-jiazui to Qin-jiazui in Jingzhou, bamboo slips long buried in the earth have returned to light. They are not relics of archaeology but records of a civilization sealed for millennia. Episode One of "Across a Thousand Years of Chu Bamboo Slips" — "One Slip, One Millennium" — begins with the act of listening to writing, exploring how the Chu people inscribed laws, poems, and daily life upon bamboo. The traces of their brushes still carry warmth, now heard again as the rhythm of a living past.