Palm Glyph — Fate Lines（掌纹字｜命纹）

This piece originates from a body-based drawing protocol I developed while researching fate, palmistry, and early writing systems. I first photographed my palm, then traced the major lines—life, heart, and head lines—together with minor branches. From these vectors of pressure and time I composed a single “proto-character,” a mark that does not encode a sound but condenses movement and duration.

The form was written with Chinese ink on xuan paper to retain breath, drag, and dry-edge; afterward I digitized and refined the contours into a clean vector so the glyph can migrate across media (print, engraving on stone, silk-screen, or as a sign within installations). Conceptually, the work treats the body as an archive and writing surface: destiny is not a given schema but a diagram you can rewrite. The piece also dialogues with my knotting and coal-based projects—where line becomes knot, seam, fissure, and finally script.

Description（CN）
这件作品来自一个以身体为起点的书写方法：在研究命运、掌纹与早期文字系统的过程中，我先为自己的手掌拍照，临摹生命线、感情线、智慧线以及细小的分支纹路，再将这些“压力与时间”的轨迹综合为一个“原始字符”。它不对应具体语音，而是把动作与时间凝缩成一个可读的形体。

我用毛笔在宣纸上书写，以保留呼吸、顿挫与干笔肌理；随后将其数字化、矢量化，使该字符能够在不同媒材中迁移（印刷、石材雕刻、丝网或作为装置中的标识）。概念上，这件作品把身体视为档案与书写面：命运并非固定范式，而是一张可被重写的图。它也与我的“绳结/煤炭”系列互文——线条在不同语境中变为结、缝、裂纹，最终回到文字。