Boshu (Silk Manuscripts)
Overview
Boshu, also known as Zengshu (缯书), refers to ancient Chinese manuscripts written on silk fabric. These documents represent one of the earliest forms of writing materials in China, dating back to at least the Spring and Autumn period (770-476 BCE). The most significant example is the Chu Boshu, discovered in 1942 from a Chu tomb at Zikuang (子弹库) in Changsha, which is now housed in the Metropolitan Museum of Art in New York. These manuscripts provide invaluable insights into ancient Chinese writing systems, calligraphy, cultural beliefs, and artistic achievements during the pre-Qin period.
History
The use of silk as a writing material in China dates back to at least the Spring and Autumn period. During this time, silk (known as 帛 or 缯) was already widely used, though it was significantly more expensive than bamboo slips, which were the common writing medium. The term "boshu" appears in Han dynasty texts such as the Book of Han (汉书), specifically in the biography of Su Wu (苏武传), which mentions "a wild goose with a silk book tied to its foot." However, the actual practice of writing on silk likely predates this reference.
The earliest known complete silk manuscript is the Chu Boshu, discovered in 1942 from a tomb dating to the mid-to-late Spring and Autumn period in Changsha. Archaeological excavations by the Hunan Provincial Museum in 1973 confirmed the tomb's dating and context. The Chu Boshu measures approximately 38.7 cm wide and 47 cm long, containing over 900 characters written in ink using Chu script.
Key Information
| Feature | Description |
|---|---|
| Material | Silk fabric (缯帛) |
| Origin | Spring and Autumn period (770-476 BCE) |
| Notable Examples | Chu Boshu (1942 discovery), Han dynasty manuscripts from Mawangdui |
| Content | Mythology, astronomy, divination, calendar, and cultural practices |
| Current Location | Chu Boshu: Metropolitan Museum of Art, New York; Han manuscripts: Hunan Provincial Museum |
| Significance | Earliest known complete silk manuscript; important for studying ancient Chinese writing and culture |
Cultural Significance
The Chu Boshu is particularly significant for its rich content and artistic merit. Divided into three main sections covering celestial phenomena, disasters, seasonal cycles, and monthly taboos, it contains a complex compilation of myths, folklore, and philosophical concepts including Yin-Yang theory and the Five Elements. The manuscript is surrounded by twelve divine figures with accompanying inscriptions, and its corners feature depictions of trees painted in four colors (blue, red, white, and black).
The calligraphy of the Chu Boshu represents an important transitional stage in Chinese script evolution. As Guo Moruo (郭沫若) noted in his work "The Development and Differentiation of Ancient Chinese Characters," the script "is simplified in form, flat in shape, and close to the later clerical script (隶书)." The characters are arranged in neat rows with consistent spacing, balancing formal structure with natural flow.
The accompanying illustrations demonstrate remarkable artistic achievement. The twelve divine figures are rendered with dynamic poses, showing figures standing, lying, running, or jumping. The detailed patterns on these deities, resembling tiger and leopard spots, demonstrate exceptional realism. The corner trees are depicted with intricate branches and foliage, showcasing the artist's skill in capturing natural forms.
Modern Status
The Chu Boshu's journey to its current location in the Metropolitan Museum of Art is a complex story involving illegal excavation, deception, and international controversy. Discovered by tomb robbers in 1942, the manuscript was initially treated as worthless by the thieves who prioritized bronze and wooden artifacts. It was later acquired by antique dealer Cai Jixiang (蔡季襄) who studied and published research on it.
In 1946-1948, Cai brought the manuscript to Shanghai with the intention of having infrared photographs taken to reveal obscured characters. Through an antique shop owner, he met an American named柯强 (Cox), who claimed to have infrared photography equipment. After examining the manuscript, Cox requested to keep it overnight, subsequently taking it to the United States against Cai's wishes. The two signed an agreement valuing the manuscript at $10,000, with Cox paying $1,000 upfront, but Cox never returned the manuscript or paid the remaining balance.
Multiple attempts were made by Chinese authorities and scholars to reclaim the artifact after 1949. In 1955, Cai Jixiang reported the theft to authorities and provided documentation. In 1982, scholar Gao Zhihi (高至喜) saw the manuscript on display at the Metropolitan Museum of Art and confirmed its dimensions. Despite continued efforts through the 1980s, the manuscript remains in the United States.
The Han dynasty silk manuscripts discovered at Mawangdui in 1973, in contrast, are preserved in China. These include over 120,000 characters of various texts on philosophy, medicine, and astronomy, providing complementary insights to the earlier Chu Boshu.
References
- Guo Moruo. (1957). Ancient Chinese Calligraphy. Beijing: Foreign Languages Press.
- Barnard, Noel. (1973). The Chu Silk Manuscript. Canberra: Australian National University Press.
- Li Xueqin. (1985). The Birth of Chinese Civilization. New York: University of Washington Press.
- Rawson, Jessica. (1990). Chinese Jade from the Neolithic to the Qing. London: British Museum Publications.