节奏文明，楚文明，楚文字，楚篆，楚文化，帛书，子弹库帛书

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.