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这不是一段“流失文物”的普通纪实，而是一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国家正式接收。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。This is not an ordinary chronicle of a “lost artifact,” but the true journey of a silk manuscript from the Warring States Chu state, spanning seventy-nine years. In 1942, a Chu tomb near the Zidanku munitions depot in Changsha was looted amidst wartime flames. In 1946, three silk scrolls were taken overseas, beginning a long exile across hands and borders. On May 18, 2025, two of them — The Five Phases and Attack and Defense —were officially received by China at Beijing Capital International Airport. At that moment, what was received was not just silk, but a thread of ancestral breath once torn by war, now rejoined at last.

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.

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、被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。Deep in the soil of Jingzhou, the bamboo slips of Chu have slept for millennia—not forgotten, but preserved in the region’s breath, pulsing beneath the ancient city of Ji’nan. Episode V, A Line Unbroken, centers on the echoes of a city where civilization still beats: in marathon medals, cultural festivals, calligraphy classrooms, and contemporary design. The Chu slips are no longer relics — they are signs of life.We begin to realize: Civilization is not a static legacy, but a living pulse. Hearing the heartbeat — Chu still breathes.

竹简再现人间，不靠奇迹，而靠一双双手。在荆州，从潘灯的研读汇编楚篆到黄有志的简牍复制，从李胜洪的楚简书帖到孩子们的笔尖，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——以手为声，让文明重新被听见。The rebirth of the bamboo slips came not from miracles, but from hands. In Jingzhou, from Pan Deng’s study to Huang Youzhi’s restoration, from Li Shenghong’s calligraphy to children’s trembling strokes, the warmth of writing lives within the touch of human fingers. No longer buried in tombs, the Chu scripts awaken—speaking once more, through the hands of civilization.