节奏文明，楚文明，楚文字，楚篆，楚文化，帛书，子弹库帛书

马王堆三号墓出土的三卷帛书——《导引图》《老子》《天文图》，是汉初最完整的“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。这不是哲学的抽象，而是实践的宇宙。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 three silk manuscripts unearthed from Mawangdui Tomb No. 3—the Daoyin Tu (Guiding and Pulling Chart), the Laozi, and the Tianwen Tu (Astronomical Chart)—represent the most complete "heaven-human cultivation system" from the early Han Dynasty. From breath-regulating daoyin exercises to star-mapping astronomy, every line traced on the silk describes both the body's operations and the trajectories of celestial bodies. This is not philosophical abstraction, but a practical cosmos. The human body serves as earth, its vital channels connecting to heaven—within the warp and weft of a single bolt of silk lies early Chinese civilization's entire vision of "the unity of heaven and earth."

帛画并非“画”，而是楚人所绘的神图。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。These are not paintings, but spirit-diagrams drawn by the people of Chu. This essay contrasts two image-worlds: The Chu diagrams — with dragon-riding figures, phoenixes, and summoning clouds;and the Han diagrams — with cosmic layers, stellar pathways, and the ordered rest of the soul. Chu’s silk images spell and summon.Han’s silk images structure and seal. Silk is not just fabric — it is the robe of gods, the ladder of souls.Once, heaven was drawn upon silk. Now, through image, it returns.

楚帛书出土于1942年9月长沙子弹库1号楚墓，是中国发现最早的丝帛文献，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。本文追溯这件帛书的出土、流失与回归，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 Manuscript was unearthed in September 1942 from Tomb No. 1 at Zidanku in Changsha, Hunan Province.It is the earliest silk manuscript ever discovered in China, and the only silk text dating to the Warring States period.The work consists of three sections — The Four Seasons Almanac, The Five Phases, and Attack and Defense — totaling about 900 characters in both text and illustration.Through its interplay of the four directions, the four seasons, and the yin-yang and five-phase system, it constructs a complete cosmological order.This essay traces the manuscript’s unearthing, loss, and return, asking how the people of Chu once wrote time upon silk — and, within time, inscribed themselves.