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本篇将清华简第九辑《成人》与清华简第八辑《天下之道》并置阅读，把两篇战国楚简重新理解为一套“由内而外”的高阶领导力体系。《成人》呈现楚人对“管理者基本功”的深度洞察：系统思维、诊断能力、底线与边界感；《天下之道》则展示了楚式领袖的“经营人心”逻辑：攻心三器、凝心五道、从管事到经营认同。本篇以现代企业“CEO接班人计划”为隐喻，呈现一条从修己、治事，到得人、化众的楚式晋升路径。

This essay juxtaposes two excavated texts: “Chengren (Becoming an Adult)” from Tsinghua Bamboo Manuscripts, Volume 9, and “Tianxia zhi Dao (The Way of the World)” from Tsinghua Bamboo Manuscripts, Volume 8. Together, they form a coherent leadership curriculum from the ancient state of Chu. Chengren articulates the foundational competencies of a reliable manager—systemic thinking, diagnostic capability, boundaries, and principled judgment. Tianxia zhi Dao reveals Chu’s higher-order philosophy of leadership—governing through hearts and minds, the three instruments of influence, the five methods of mobilization, and the shift from managing tasks to shaping collective will. Framed through the metaphor of a modern CEO succession program, this essay maps an inner-to-outer evolution: self-cultivation → organizational governance → winning trust → cultivating a resilient community.

本篇从清华简《五音图》《乐风》以及荆州简王家嘴 “乐”出发，重构先秦楚国被遗忘的“乐政体系”——一种以声音为核心的政治认知方式。文章指出，《五音图》呈现的是以五音相生为基础的宇宙几何学模型；《乐风》展示了将歌词声韵与身体动作编程化的操作系统；王家嘴楚简“乐”则是首次见到的题名“乐经”的原典，其符号体系显示音乐演奏已被彻底法典化与程序化。楚国乐政体系并非艺术，而是一套用于治理、训练身体、调和人心、维持秩序的文明算法。通过重读这些竹简，我们重新看见古代中国如何以“声音”构建世界，也反思现代社会仍然在使用声音与算法塑造集体意识的方式。
This article reconstructs the forgotten “acoustic governance system” of the Chu state, based on the Tsinghua bamboo manuscripts Five-Tone Diagram and Music Winds, as well as the newly discovered “Music Canon” (樂經) from the Wangjiazui Chu tomb. The Five-Tone Diagram presents a geometric cosmology built upon the generative relations of the five tones; Music Winds encodes lyrics, vocal elements, and bodily gestures into a programmable system; and the Wangjiazui “Music Canon”—the first extant manuscript self-titled as Yuejing—reveals a fully codified and algorithmic framework for musical performance. Rather than “art,” Chu music functioned as a political technology: a method for regulating the body, harmonizing emotions, and maintaining social order. Re-reading these manuscripts reveals how ancient China constructed the world through sound—and how modern societies continue to use sound and algorithmic design to shape collective behavior.

清华简《大夫辸速之仪》与《大夫之大食》，揭示了楚国贵族宴会背后极为精密的“空间政治学”。在楚人的世界里，动线不是单纯的行走路径，而是权力的可视化编码：主人必由东阶、宾客必循西阶，沿屏而行、屏外盥洗，每一步都在确认彼此的社会位置。站位同样是秩序的身体化呈现，左楹与右楹、东向与西向，都以极细致的方式划定了责任、身份与权力方向。而当主客入席，宴会更像是一场隐性的治理会议：卷重席、属醢、食三饭、拜三让，甚至侍从在《大夫之大食》中所展现的供应链与后台系统，都体现出楚式社会将“秩序”落实到每一行动细节的能力。楚国贵族的一顿饭，是权力、阶序、空间与身体共同编织的社会系统示范。The Tsinghua bamboo manuscripts Dafu Bingsu zhi Yi and Dafu zhi Dashi reveal the highly sophisticated “spatial politics” embedded in Chu aristocratic banquets. In the Chu worldview, movement routes were not mere physical paths but visualized codes of power: the host ascended the eastern steps, the guest the western; one washed outside the screen, advanced along the screen’s edge, and stood facing east—each step marking and negotiating social position. Standing positions likewise embodied hierarchy: the left and right pillars, the facing directions, and the precise points of stopping and bowing all delineated identity, responsibility, and directionality within the social order. Once seated, the banquet became an implicit governance ritual. Gestures such as rolling the double mat, declining food, taking only “three” or “five” symbolic bites, and the carefully orchestrated sequence of bows were not about eating but about enacting order. Meanwhile, Dafu zhi Dashi details a full backstage system: designated attendants, ascent routes, serving positions, and strict rules governing who may “rotate” roles. A Chu banquet was thus a living demonstration of systemic order—power, hierarchy, space, and the body integrated into a single operational social system.