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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.