In response to the controversy over the “disordered sequence of meaning” in Tianwen, this paper breaks away from the traditional “disordered pages” approach in textual criticism and, from the perspective of Western stream of consciousness theory, combined with the Chinese poetic tradition of “poetry expresses the will”, re-examines the textual logic and creative mechanism of Tianwen. Although Tianwen appears to have a jumping questioning style on the surface, it actually follows the poetic logic and emotional flow of the poet’s subconscious: its sequence of meaning is framed by a mixed way of observing the world of “heaven-earth-human”, and internal connections are constructed through the interweaving of time and space, associative imagination and emotional release. Wang Yi’s theory of “looking up and seeing pictures” as the trigger for creation is precisely in line with the “triggered inspiration” mechanism of stream of consciousness, and the murals as an image medium stimulated 〖JP2〗Qu Yuan’s philosophical questioning of the ways of heaven and human affairs. Moreover, the rapid and slow changes in the rhythm of the poem are positively correlated with the intensity of emotions, and the frequent appearance of the four-three sentence pattern implies Qu Yuan’s psychological tension of “venting his anger”. Through the decoding of stream-of-consciousness, not only does it provide a new interpretation path for the “disorder” of Tianwen, but also reveals its historical dialectical thinking and the deep connotation of “filial piety”, opening up a new cross-cultural theoretical perspective for the study of Chu Ci.