[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"site-nav-reference-en":3,"site-nav-en":4,"site-nav-en-all-arts":289,"event-categories-en":918,"site-settings":1161,"node-en-arts\u002Fchinese-poetry-literature\u002Fchinese-imperial-examination-poetry-shitie-shi-fu-changing-tests":1203,"live-course-events":1237},null,{"data":5},{"header":6,"footer":264},[7,51,82,123,161,187,229,260],{"to":8,"label":9,"label_zh":10,"children":11},"\u002Fdao","TAO","道",[12,17,22,26,30,34,39,43,47],{"to":13,"label":14,"label_zh":15,"n":16},"\u002Fdao\u002Fintroduction","Begin with the Tao","道学入门",9,{"to":18,"label":19,"label_zh":20,"n":21},"\u002Fdao\u002Fyi-jing","I Ching","易经",7,{"to":23,"label":24,"label_zh":25,"n":16},"\u002Fdao\u002Fdao-de-jing","Tao Te 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Chi)","太极拳",{"to":66,"label":67,"label_zh":68,"n":69},"\u002Fmartial-arts\u002Fbaguazhang","Baguazhang: Circle Walking, Palm Changes and Movement","八卦掌：走圈、换掌与身法变化",5,{"to":71,"label":72,"label_zh":73,"n":69},"\u002Fmartial-arts\u002Fxingyiquan","Xingyiquan: Structure, Intention and Direct Training","形意拳：结构、意念与直接训练",{"to":75,"label":76,"label_zh":77,"n":21},"\u002Fmartial-arts\u002Fweapons","Wudang Sword and Weapons: History, Practice and Context","武当剑与兵器：历史、练习与文化语境",{"to":79,"label":80,"label_zh":81,"n":21},"\u002Fmartial-arts\u002Ftraining-practice","Training and Practice: Building a Sustainable Wudang Routine","训练与习练：建立可持续的武当练习",{"to":83,"label":84,"label_zh":85,"children":86},"\u002Fwellness","Wellness","养生",[87,91,95,99,103,107,111,115,119],{"to":88,"label":89,"label_zh":90,"n":21},"\u002Fwellness\u002Fqigong","Qigong","气功",{"to":92,"label":93,"label_zh":94,"n":60},"\u002Fwellness\u002Fherbal-healing","Chinese Herbal 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Wudang","武当日常",[265,266,267,268,269,270,271,272,273,277,281,285],{"to":8,"label":9,"label_zh":10},{"to":52,"label":53,"label_zh":54},{"to":83,"label":84,"label_zh":85},{"to":124,"label":125,"label_zh":126},{"to":162,"label":163,"label_zh":164},{"to":188,"label":189,"label_zh":190},{"to":230,"label":231,"label_zh":232},{"to":261,"label":262,"label_zh":263},{"to":274,"label":275,"label_zh":276},"\u002Fabout","About Wudang.Org","关于 Wudang.Org",{"to":278,"label":279,"label_zh":280},"\u002Fstart-here","Start Here","从这里开始",{"to":282,"label":283,"label_zh":284},"\u002Ffind-a-practice","Find a Practice","找到适合你的修习",{"to":286,"label":287,"label_zh":288},"\u002Fteachers","Our Teachers","授课老师",{"data":290},{"all":291,"header":916,"footer":917},[292],{"to":124,"label":125,"label_zh":126,"children":293},[294,508,578,736,786,848,886],{"to":129,"label":130,"label_zh":131,"children":295},[296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,372,376,380,384,388,392,396,400,404,408,412,416,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488,492,496,500,504],{"to":297,"label":298,"label_zh":299},"\u002Farts\u002Fchinese-poetry-literature\u002Forigins-spirit-of-chinese-poetry","Origins of Chinese Poetry: Song, Text and Interpretation","中国诗歌的源流：歌唱、文本与阐释",{"to":301,"label":302,"label_zh":303},"\u002Farts\u002Fchinese-poetry-literature\u002Fbook-of-songs-classical-foundations","The Book of Songs: Voices, Performance and Interpretation","《诗经》：声音、礼乐与阐释",{"to":305,"label":306,"label_zh":307},"\u002Farts\u002Fchinese-poetry-literature\u002Ftang-poetry-golden-age","Tang Poetry: Forms, Voices and a Lasting 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Colophons","中国画上的诗：怎样读题款与题跋",{"to":345,"label":346,"label_zh":347},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-fu-rhapsody-catalogues-courts-expansive-description","Chinese Fu (Rhapsody): Catalogues, Courts and Expansive Description","中国赋：铺陈、宫廷与展开描写的艺术",{"to":349,"label":350,"label_zh":351},"\u002Farts\u002Fchinese-poetry-literature\u002Fwenxin-diaolong-liu-xie-writing-reading-literary-thought","Wenxin Diaolong: How Liu Xie Thought About Writing and Reading","《文心雕龙》导读：刘勰怎样思考写作与阅读",{"to":353,"label":354,"label_zh":355},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-shihua-poetry-talks-notes-anecdotes-criticism","Shihua (Poetry Talks): How Chinese Criticism Speaks in Notes and Anecdotes","中国诗话导读：批评怎样写进笔记、轶事与评语",{"to":357,"label":358,"label_zh":359},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers","Chinese Prefaces and Afterwords (Xu and Ba): How Books Frame Texts and 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Works (Bieji): How an Author’s Writings Become a Book","中国别集导读：一位作者的诗文怎样成为一部书",{"to":393,"label":394,"label_zh":395},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-guwen-pianwen-ancient-style-parallel-prose-rhythm-argument","Guwen and Pianwen: Two Ways of Shaping Classical Chinese Prose","古文与骈文导读：中国古典散文的两种组织方式",{"to":397,"label":398,"label_zh":399},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-eight-legged-essay-baguwen-examination-classics-composition","The Eight-Legged Essay (Baguwen): How an Examination Form Organized Classical Thought","八股文导读：科举文章怎样组织经典义理",{"to":401,"label":402,"label_zh":403},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-examination-compounds-gongyuan-cells-candidate-experience","Chinese Examination Compounds (Gongyuan): How Architecture Shaped the Candidate Experience","中国贡院导读：考场空间怎样塑造士子的应试体验",{"to":405,"label":406,"label_zh":407},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-academies-shuyuan-books-teaching-ritual-landscape","Chinese Academies (Shuyuan): How Books, Teaching and Ritual Made a Scholarly Place","中国书院导读：书籍、讲学与礼仪怎样构成学术空间",{"to":409,"label":410,"label_zh":411},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-private-libraries-cangshulou-collectors-catalogues-transmission","Chinese Private Libraries (Cangshulou): How Collectors Built Paths for Books to Survive","中国藏书楼导读：私人收藏怎样为典籍延续开辟路径",{"to":413,"label":414,"label_zh":415},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bookshops-book-markets-publishers-routes-readers","Chinese Bookshops and Book Markets: How Books Became Goods, Routes and Encounters","中国书肆与书市导读：书籍怎样成为商品、路线与相遇",{"to":417,"label":418,"label_zh":419},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading","Illustrated Chinese Books: How Woodblock Images Shaped the Page","中国古籍插图导读：木刻图像怎样塑造书页",{"to":421,"label":422,"label_zh":423},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge","Chinese Bibliographies (Mulu): How Catalogues Classified Books and Knowledge","中国目录学导读：书目怎样分类书籍与知识",{"to":425,"label":426,"label_zh":427},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions","Chinese Textual Collation (Jiaokan): How Scholars Read Variant Texts","中国校勘导读：怎样阅读异文与文本传本",{"to":429,"label":430,"label_zh":431},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-commentaries-subcommentaries-zhu-jian-shu-layered-reading","Chinese Commentaries and Subcommentaries: How Notes Became Part of the Text","中国注疏导读：注、笺、疏怎样层层塑造经典阅读",{"to":433,"label":434,"label_zh":435},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-marginalia-meipi-pangpi-pijiao-reading-history","Marginalia in Chinese Books: How Readers Wrote Back","中国古籍批注导读：读者怎样在书页上留下阅读史",{"to":437,"label":438,"label_zh":439},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-ownership-seals-cangshuyin-provenance-impressions","Book-Ownership Seals in China: Reading Provenance in Red","中国古籍藏书印导读：怎样从朱印追索递藏",{"to":441,"label":442,"label_zh":443},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-paper-fibres-sizing-repairs-dating-evidence","Paper in Chinese Books: Fibres, Sizing, Repairs and the Limits of Dating","中国古籍用纸导读：纤维、施胶、修补与断代边界",{"to":445,"label":446,"label_zh":447},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-page-layout-frames-columns-fishtails-centre-fold","Inside the Chinese Book Page: Frames, Columns, Fishtails and the Centre Fold","中国古籍版式导读：版框、界行、鱼尾与版心",{"to":449,"label":450,"label_zh":451},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-printers-marks-paiji-kanji-publishing-claims","Printer’s Marks in Chinese Books: Reading Paiji, Kanji and Publishing Claims","中国古籍牌记与刊记导读：怎样辨认刊刻、藏版与书坊信息",{"to":453,"label":454,"label_zh":455},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-movable-type-printing-clay-wood-metal-reuse","Movable Type in Chinese Book History: Clay, Wood, Metal and Reuse","中国古籍活字印刷导读：泥活字、木活字、金属活字与复用",{"to":457,"label":458,"label_zh":459},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-printing-workflow-writing-carving-inking-impressions","How Chinese Woodblock Printing Worked: Writing, Carving, Inking and Impressions","中国雕版印刷工艺导读：写样、上版、刻版、刷墨与印纸",{"to":461,"label":462,"label_zh":463},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-lifecycle-storage-repair-recutting-later-impressions","After the First Printing: How Chinese Woodblocks Were Stored, Repaired and Reused","初印之后：中国雕版的储藏、递修、重刻与后印",{"to":465,"label":466,"label_zh":467},"\u002Farts\u002Fchinese-poetry-literature\u002Fwho-paid-chinese-book-printing-patronage-profit-donors-funding","Who Paid to Print? Patronage, Profit and Collective Funding in Chinese Book History","谁出资刻书？中国书籍史中的官刻、私资、坊刻与募资",{"to":469,"label":470,"label_zh":471},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-readers-got-books-imperial-china-buying-borrowing-gifts-copying","How Readers Got Books in Imperial China: Buying, Borrowing, Gifting and Copying","古代中国读者怎样获得书籍？购书、借阅、馈赠与抄写",{"to":473,"label":474,"label_zh":475},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-classical-chinese-poetry-was-heard-recitation-chanting-historical-sound","How Classical Chinese Poetry Was Heard: Recitation, Chanting and Historical Sound","古典诗歌怎样被听见？诵读、吟咏与历史声音",{"to":477,"label":478,"label_zh":479},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-social-exchange-gifts-farewells-replies-rhyme-matching","Poetry as Social Exchange: Gifts, Farewells, Replies and Rhyme-Matching in China","诗歌作为交往：赠答、送别、唱和与次韵",{"to":481,"label":482,"label_zh":483},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-gatherings-themes-rhyme-lots-linked-composition","How Chinese Poetry Gatherings Worked: Themes, Rhyme Lots and Linked Composition","中国古典诗歌雅集怎样运作：命题、分韵与联句",{"to":485,"label":486,"label_zh":487},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-revision-drafts-variants-editorial-layers","How Chinese Poems Changed: Drafts, Variants and Editorial Layers","中国古典诗歌怎样改定与流传：草稿、异文与编辑层次",{"to":489,"label":490,"label_zh":491},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-attribution-anonymity-disputed-authorship","Who Wrote This Poem? Attribution, Anonymity and Disputed Authorship in Chinese Poetry","这首诗是谁写的？中国古典诗歌的署名、佚名与作者争议",{"to":493,"label":494,"label_zh":495},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-quotation-excerpts-fragments-lost-context","Poems in Pieces: How Quotation and Excerpt Preserved Chinese Poetry","诗句怎样在引用中流传？摘引、辑佚与失落语境",{"to":497,"label":498,"label_zh":499},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-wall-poetry-tibishi-public-writing-place-transmission","Poems on the Wall: Public Writing, Place and Survival in China","墙上的诗怎样流传？中国题壁诗的公共书写、地点与传承",{"to":501,"label":502,"label_zh":503},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-imperial-examination-poetry-shitie-shi-fu-changing-tests","Poetry in the Examination Hall: What Chinese Candidates Were Asked to Compose","科场里的诗：古代中国考生何时、怎样作诗",{"to":505,"label":506,"label_zh":507},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-seasons-calendar-festivals-phenology-literary-time","Reading Seasons in Chinese Poetry: Calendars, Festivals and Literary Time","怎样读懂中国诗歌里的季节？历法、节日与文学时间",{"to":134,"label":135,"label_zh":136,"children":509},[510,514,518,522,526,530,534,538,542,546,550,554,558,562,566,570,574],{"to":511,"label":512,"label_zh":513},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origins and History of Chinese Calligraphy","中国书法的源流与历史",{"to":515,"label":516,"label_zh":517},"\u002Farts\u002Fcalligraphy\u002Fthe-five-script-styles","The Five Script Styles in Chinese Calligraphy","中国书法的五种主要书体",{"to":519,"label":520,"label_zh":521},"\u002Farts\u002Fcalligraphy\u002Fcalligraphy-as-taoist-cultivation","Calligraphy and Taoist Cultivation: Text, Attention and Practice","书法与道家修养：读懂文字，专注落笔",{"to":523,"label":524,"label_zh":525},"\u002Farts\u002Fcalligraphy\u002Ffour-treasures-of-the-study","The Four Treasures of the Study: Choosing and Using Calligraphy Materials","文房四宝：认识、选择与使用笔墨纸砚",{"to":527,"label":528,"label_zh":529},"\u002Farts\u002Fcalligraphy\u002Fbrush-technique-living-line","Chinese Calligraphy Brushwork: Reading and Practising the Living Line","书法笔法：观察与练习有生气的线条",{"to":531,"label":532,"label_zh":533},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Chinese Calligraphy Masters and Reading Paths","中国书法名家与阅读路径",{"to":535,"label":536,"label_zh":537},"\u002Farts\u002Fcalligraphy\u002Fchinese-seals-and-seal-carving","Chinese Seals and Seal Carving: Script, Surface and Impression","中国印章与篆刻：文字、印面与钤印",{"to":539,"label":540,"label_zh":541},"\u002Farts\u002Fcalligraphy\u002Fchinese-ink-rubbings","Chinese Ink Rubbings: Stone, Paper and the Life of Calligraphy","中国传拓：石刻、纸墨与书法的流传",{"to":543,"label":544,"label_zh":545},"\u002Farts\u002Fcalligraphy\u002Fchinese-inkstones","Chinese Inkstones: Stone, Carving and the Scholar’s Desk","中国砚台：石材、雕刻与文房生活",{"to":547,"label":548,"label_zh":549},"\u002Farts\u002Fcalligraphy\u002Fchinese-inksticks","Chinese Inksticks: Soot, Moulds and the Scholar’s Desk","中国墨锭：烟料、墨模与文房生活",{"to":551,"label":552,"label_zh":553},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-paper","Chinese Calligraphy Paper: Xuan, Sizing and the Life of a Sheet","中国书画纸：宣纸、施胶与纸张的一生",{"to":555,"label":556,"label_zh":557},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-brushes","Chinese Calligraphy Brushes: Hair, Handle and the Working Point","中国毛笔：毫料、笔管与笔锋",{"to":559,"label":560,"label_zh":561},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-rests","Chinese Brush Rests: Mountains, Materials and the Scholar’s Desk","中国笔架：山形、材质与文人书案",{"to":563,"label":564,"label_zh":565},"\u002Farts\u002Fcalligraphy\u002Fchinese-water-droppers-scholars-desk","Chinese Water Droppers: Flow, Form and the Scholar’s Desk","中国水滴：控水、造型与文人书案",{"to":567,"label":568,"label_zh":569},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-pots-materials-scholars-desk","Chinese Brush Pots: Function, Material and the Scholar’s Desk","中国笔筒：收纳、材质与文人书案",{"to":571,"label":572,"label_zh":573},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-washers-water-form-scholars-desk","Chinese Brush Washers: Water, Form and the Scholar’s Desk","中国笔洗：洗笔、造型与文人书案",{"to":575,"label":576,"label_zh":577},"\u002Farts\u002Fcalligraphy\u002Fchinese-paperweights-form-material-scholars-desk","Chinese Paperweights: Form, Material and the Scholar’s Desk","中国镇纸：形制、材质与文人书案",{"to":139,"label":140,"label_zh":141,"children":579},[580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712,716,720,724,728,732],{"to":581,"label":582,"label_zh":583},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Tea, Meditation and Taoist Practice","茶、静坐与道家修习",{"to":585,"label":586,"label_zh":587},"\u002Farts\u002Ftea-ceremony\u002Forigins-history-of-tea-culture","Origins and History of Chinese Tea Culture","中国茶文化的源流与历史",{"to":589,"label":590,"label_zh":591},"\u002Farts\u002Ftea-ceremony\u002Fthe-way-of-tea","The Way of Tea: Attention, Care and Hospitality","茶道：在一杯茶中练习用心与待客",{"to":593,"label":594,"label_zh":595},"\u002Farts\u002Ftea-ceremony\u002Ftypes-of-tea-and-character","Six Chinese Tea Families: Processing and Taste","六大茶类：从制法到品饮",{"to":597,"label":598,"label_zh":599},"\u002Farts\u002Ftea-ceremony\u002Futensils-and-gongfu-method","Gongfu Tea: Utensils and a Flexible Method","工夫茶：茶具与灵活冲泡法",{"to":601,"label":602,"label_zh":603},"\u002Farts\u002Ftea-ceremony\u002Ffurther-reading-and-practice","Learning Chinese Tea: Reading and Practice","学茶入门：阅读与品饮练习",{"to":605,"label":606,"label_zh":607},"\u002Farts\u002Ftea-ceremony\u002Fwater-for-chinese-tea","Water for Chinese Tea: Springs, Minerals and a Practical Tasting Method","中国茶用水：山泉、矿物与实用对比方法",{"to":609,"label":610,"label_zh":611},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teaware-clay-glaze-form","Chinese Tea Ware: Clay, Porcelain, Glaze and the Uses of Form","中国茶器：胎土、瓷釉、造型与使用",{"to":613,"label":614,"label_zh":615},"\u002Farts\u002Ftea-ceremony\u002Fchinese-tea-caddies","Chinese Tea Caddies: Storage, Materials and the Traveling Leaf","中国茶叶罐：贮藏、材质与流动的茶叶",{"to":617,"label":618,"label_zh":619},"\u002Farts\u002Ftea-ceremony\u002Fsong-whisked-tea-powder-bowls-foam","Whisked Tea in Song China: Powder, Bowls and Foam","宋代点茶：茶末、茶盏与汤花",{"to":621,"label":622,"label_zh":623},"\u002Farts\u002Ftea-ceremony\u002Fyixing-teapots-clay-form-makers-marks","Yixing Teapots: Clay, Form and Reading the Maker’s Mark","宜兴紫砂壶：泥料、器形与款识",{"to":625,"label":626,"label_zh":627},"\u002Farts\u002Ftea-ceremony\u002Fcompressed-tea-cakes-bricks-trade-storage-object-reading","Compressed Tea in China: Cakes, Bricks and How to Read Them","中国紧压茶：茶饼、茶砖与辨读方法",{"to":629,"label":630,"label_zh":631},"\u002Farts\u002Ftea-ceremony\u002Ftea-horse-trade-networks-routes-markets-cultural-exchange","Tea–Horse Trade Networks: Routes, Markets and Cultural Exchange","茶马贸易网络：路线、市场与文化交流",{"to":633,"label":634,"label_zh":635},"\u002Farts\u002Ftea-ceremony\u002Ftea-landscapes-china-gardens-forests-terraces-living-knowledge","Tea Landscapes in China: Gardens, Forests, Terraces and Living Knowledge","中国茶景观：茶园、古茶林、梯田与活态知识",{"to":637,"label":638,"label_zh":639},"\u002Farts\u002Ftea-ceremony\u002Fpicking-tea-china-seasons-bud-leaf-standards-skilled-labour","Picking Tea in China: Seasons, Bud-and-Leaf Standards and Skilled Labour","中国采茶：季节、芽叶标准与劳作技艺",{"to":641,"label":642,"label_zh":643},"\u002Farts\u002Ftea-ceremony\u002Fwithering-tea-leaves-water-loss-time-first-transformation","Withering Tea Leaves: Water Loss, Time and the First Transformation","茶叶萎凋：失水、时间与采后初变",{"to":645,"label":646,"label_zh":647},"\u002Farts\u002Ftea-ceremony\u002Ffixing-tea-leaves-shaqing-heat-enzymes-turning-point","Fixing Tea Leaves (Shaqing): Heat, Enzymes and a Turning Point in Chinese Tea","茶叶杀青：热、酶活性与中国制茶的转折点",{"to":649,"label":650,"label_zh":651},"\u002Farts\u002Ftea-ceremony\u002Frolling-tea-leaves-rounian-pressure-shape-cell-disruption","Rolling Tea Leaves (Rounian): Pressure, Shape and Controlled Cell Disruption","茶叶揉捻：压力、形态与受控细胞破损",{"to":653,"label":654,"label_zh":655},"\u002Farts\u002Ftea-ceremony\u002Fdrying-tea-leaves-moisture-heat-stability-finished-tea","Drying Tea Leaves: Moisture, Heat and the Stability of Finished Tea","茶叶干燥：水分、热量与成茶稳定",{"to":657,"label":658,"label_zh":659},"\u002Farts\u002Ftea-ceremony\u002Fsorting-grading-tea-leaf-size-shape-grade-meaning","Sorting and Grading Tea: Leaf Size, Shape and What a Grade Really Means","茶叶筛分与分级：叶片大小、形态与等级的真正含义",{"to":661,"label":662,"label_zh":663},"\u002Farts\u002Ftea-ceremony\u002Ftea-blending-batch-construction-consistency-style-transparency","Tea Blending and Batch Construction: Consistency, Style and Transparent Labels","茶叶拼配与批次构建：稳定、风格与透明标示",{"to":665,"label":666,"label_zh":667},"\u002Farts\u002Ftea-ceremony\u002Ftea-oxidation-post-fermentation-enzymes-microbes-terms","Oxidation and Post-Fermentation in Tea: Enzymes, Microbes and Misleading Labels","茶叶氧化与后发酵：酶、微生物与容易混淆的标签",{"to":669,"label":670,"label_zh":671},"\u002Farts\u002Ftea-ceremony\u002Fyellow-tea-menhuang-moist-heat-time-tea-family","Yellow Tea and Menhuang: Moist Heat, Time and the Making of a Tea Family","黄茶与闷黄：湿热、时间与一类茶的形成",{"to":673,"label":674,"label_zh":675},"\u002Farts\u002Ftea-ceremony\u002Frefiring-roasting-tea-later-heat-aroma-finished-leaf","Re-Firing and Roasting Tea: Later Heat, Aroma and the Difference from Drying","茶叶复火与焙火：后段加热、香气及其与干燥的区别",{"to":677,"label":678,"label_zh":679},"\u002Farts\u002Ftea-ceremony\u002Fjasmine-tea-scenting-flowers-repeated-rounds-aroma-transfer","Jasmine Tea and Scenting: Flowers, Repeated Rounds and How Aroma Enters Tea","茉莉花茶与窨制：鲜花、多次窨香与茶叶如何吸收香气",{"to":681,"label":682,"label_zh":683},"\u002Farts\u002Ftea-ceremony\u002Ftea-sensory-evaluation-appearance-aroma-taste-score-limits","Tea Sensory Evaluation: Appearance, Aroma, Taste and the Limits of a Score","茶叶感官审评：外形、香气、滋味与分数的边界",{"to":685,"label":686,"label_zh":687},"\u002Farts\u002Ftea-ceremony\u002Fdoucha-song-tea-contests-whisked-tea-jian-bowls-modern-judging","Doucha: Tea Contests in Song China and the Limits of Modern Re-Creation","斗茶：宋代茶事竞赛与现代重现的边界",{"to":689,"label":690,"label_zh":691},"\u002Farts\u002Ftea-ceremony\u002Fbeiyuan-tribute-tea-song-court-labour-imperial-label","Beiyuan Tribute Tea: Song Court Taste, Skilled Labour and the Limits of ‘Imperial Tea’","北苑贡茶：宋代宫廷品味、制茶劳作与“御茶”标签的边界",{"to":693,"label":694,"label_zh":695},"\u002Farts\u002Ftea-ceremony\u002Freading-chinese-tea-classics-authorship-editions-recipe-limits","Reading Chinese Tea Classics: Authorship, Editions and the Limits of a ‘Recipe’","如何阅读中国茶书：作者、版本与“配方”式解读的边界",{"to":697,"label":698,"label_zh":699},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-poetry-social-worlds-metaphor-historical-evidence","Tea in Chinese Poetry: Social Worlds, Metaphor and the Limits of Literary Evidence","中国诗歌中的茶：社会交往、诗意表达与文学证据的边界",{"to":701,"label":702,"label_zh":703},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teahouses-commerce-conversation-performance-urban-publics","Chinese Teahouses: Commerce, Conversation, Performance and Changing Urban Publics","中国茶馆：商业、交往、表演与变动中的城市公共生活",{"to":705,"label":706,"label_zh":707},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-painting-objects-social-worlds-visual-evidence","Tea in Chinese Painting: Objects, Social Worlds and the Limits of Visual Evidence","中国绘画中的茶：器物、社会空间与视觉证据的边界",{"to":709,"label":710,"label_zh":711},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-dream-of-the-red-chamber-hospitality-rank-labour-fiction","Tea in Dream of the Red Chamber: Hospitality, Rank, Labour and Fiction","《红楼梦》中的茶：待客、等级、劳动与小说叙事",{"to":713,"label":714,"label_zh":715},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-travel-writing-roads-hospitality-regional-evidence","Tea in Chinese Travel Writing: Roads, Hospitality and the Limits of an Itinerary","中国游记中的茶：道路、待客与行程证据的边界",{"to":717,"label":718,"label_zh":719},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-letters-gifts-visits-friendship-private-writing","Tea in Chinese Letters: Gifts, Visits, Friendship and the Limits of ‘Private’ Writing","中国书信中的茶：馈赠、访友、人情与“私语”证据的边界",{"to":721,"label":722,"label_zh":723},"\u002Farts\u002Ftea-ceremony\u002Ftea-tax-monopoly-imperial-china-fiscal-records-daily-life","Tea, Tax and Monopoly in Imperial China: Reading Fiscal Records Without Mistaking Revenue for 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Scroll","中国画装裱：绫边、托纸与卷轴的生命",{"to":841,"label":842,"label_zh":843},"\u002Farts\u002Fpainting\u002Fchinese-portrait-painting-likeness-role-ancestral-memory","Chinese Portrait Painting: Likeness, Role and Ancestral Memory","中国肖像画：形神、身份与祖先记忆",{"to":845,"label":846,"label_zh":847},"\u002Farts\u002Fpainting\u002Fthree-distances-chinese-landscape-painting","The Three Distances in Chinese Landscape Painting: High, Deep and Level Space","中国山水画的“三远”：高远、深远与平远",{"to":154,"label":155,"label_zh":156,"children":849},[850,854,858,862,866,870,874,878,882],{"to":851,"label":852,"label_zh":853},"\u002Farts\u002Fincense\u002Forigins-history-of-incense-culture","Origins and History of Chinese Incense Culture","中国香文化的源流与历史",{"to":855,"label":856,"label_zh":857},"\u002Farts\u002Fincense\u002Faromatic-materials-fragrant-woods","Aromatic Materials: Woods, Resins and Responsible 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It brings together observations of landform, orientation, water, buildings and correlative cosmology. It should not be reduced to decorative rules, nor presented as a scientifically proven way to guarantee health, wealth or relationships.\u003C\u002Fem>\u003C\u002Fh2>\u003Cp>\u003Cem>Classes introduce core vocabulary, the distinction between major approaches and the cultural contexts in which feng shui has been practised. Contemporary applications are discussed critically. 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Programmes may include Baduanjin, Taijiquan, qigong, standing practice, breathing and their cultural foundations.\u003C\u002Fp>\u003Cp>Each listing provides its teacher, schedule, experience level and registration arrangements.\u003C\u002Fp>","\u003Cp>本类别汇集武当内家功法与传统养生修习的小班课程、工作坊及静修活动，内容可涵盖八段锦、太极拳、气功、站桩、呼吸练习及相关文化基础。\u003C\u002Fp>\u003Cp>每项活动都会注明导师、日期、适合程度与报名方式，方便参加者选择合适的学习体验。\u003C\u002Fp>","\u002Fevents\u002Finternal-arts-wellness",[],[],{"en":973,"zh":974},"Internal Arts & Wellness Events","内家功法与养生活动",{"en":976,"zh":977},"Explore Baduanjin, Taijiquan, qigong and traditional wellness classes, workshops and retreats listed by Wudang.Org.","探索八段锦、太极拳、气功与传统养生课程、工作坊及静修活动。","2026-08-16T19:23:45.000000Z",{"id":980,"uuid":981,"slug":982,"available_locales":983,"name":984,"description":987,"body":988,"path":989,"images":990,"image_urls":991,"hero_image":3,"hero_image_url":3,"seo_title":992,"seo_description":994,"sort_order":951,"is_active":952,"status":953,"created_at":997,"updated_at":955},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[924,925,926],{"en":985,"zh":986},"Face Reading Learning","面相课程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":993},"Chinese Face Reading Classes and Workshops",{"en":995,"zh":996},"Learn Chinese face reading (面相) as a cultural tradition: its classical framework, history and uses, taught with clear limits on predictive claims.","把面相作为中国传统文化来学习：认识其经典框架、历史与用法，并清楚说明传统诠释的边界。","2026-08-30T17:01:43.000000Z",{"id":999,"uuid":1000,"slug":1001,"available_locales":1002,"name":1003,"description":1006,"body":1008,"path":1011,"images":1012,"image_urls":1013,"hero_image":3,"hero_image_url":3,"seo_title":1014,"seo_description":1017,"sort_order":38,"is_active":952,"status":953,"created_at":954,"updated_at":955},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[924,925,926],{"en":1004,"zh":1005},"Zi Wei Dou Shu Learning","紫微斗数课程",{"en":1007,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":1009,"zh":1010},"\u003Cp>Zi Wei Dou Shu 紫微斗數 organises birth information through palaces, stars and patterned relationships. The system has a substantial technical vocabulary and several interpretive traditions, but its predictive claims are not established by modern scientific evidence.\u003C\u002Fp>\u003Cp>Courses explain how charts are structured, how symbols are read and how historical and contemporary practitioners differ. The aim is cultural literacy and disciplined reflection—not certainty about the future. 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It is an influential part of Chinese metaphysical culture, not an observational science in the modern empirical sense.\u003C\u002Fp>\u003Cp>Classes introduce chart structure, terminology and common interpretive methods while distinguishing tradition from evidence. Students are encouraged to treat readings as prompts for reflection and never as guarantees, diagnoses or substitutes for professional advice.\u003C\u002Fp>","\u003Cp>八字以年、月、日、时四柱为框架，通过天干、地支、阴阳与五行关系进行解释。它是中国术数文化中影响深远的传统体系，并非现代经验科学。\u003C\u002Fp>\u003Cp>课程介绍命盘结构、基本术语和常见诠释方法，同时说明传统观点与科学证据的差别。学员可把解读作为反思的线索，但不应把它当作保证、诊断，或任何专业意见的替代品。\u003C\u002Fp>","\u002Fevents\u002Fba-zi-learning",[],[],{"en":1054,"zh":1055},"BaZi (Four Pillars) Classes and Courses","八字课程：四柱、天干地支与五行入门",{"en":1046,"zh":1057},"学习四柱中的天干、地支与五行关系，理解其历史与方法，也清楚区分传统诠释和现代实证知识。",{"id":69,"uuid":1059,"slug":1060,"available_locales":1061,"name":1062,"description":1065,"body":1066,"path":1067,"images":1068,"image_urls":1069,"hero_image":3,"hero_image_url":3,"seo_title":1070,"seo_description":1073,"sort_order":999,"is_active":952,"status":953,"created_at":1037,"updated_at":955},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[924,925,926],{"en":1063,"zh":1064},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":1071,"zh":1072},"Chinese Incense Culture Workshops","香文化活动与工作坊",{"en":1074,"zh":1075},"Workshops on Chinese incense culture (香文化): aromatic materials, traditional ways of preparing and appreciating incense, and incense as calm attention.","香文化活动与工作坊：认识香材、传统制香与品香方式，在一炉香中练习安静与专注。",{"id":1077,"uuid":1078,"slug":1079,"available_locales":1080,"name":1081,"description":1084,"body":1087,"path":1090,"images":1091,"image_urls":1092,"hero_image":3,"hero_image_url":3,"seo_title":1093,"seo_description":1095,"sort_order":999,"is_active":952,"status":953,"created_at":1096,"updated_at":955},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[924,925,926],{"en":1082,"zh":1083},"I Ching Learning","易经课程",{"en":1085,"zh":1086},"Explore the I Ching through its hexagrams, traditional interpretive methods and historical context, with scope and limitations made explicit.","通过卦象、传统解读方法与历史语境认识《易经》，并清楚说明其适用范围与局限。",{"en":1088,"zh":1089},"\u003Cp>The I Ching 易经 is a classical Chinese text centred on sixty-four hexagrams and a long history of commentary and divination. It has shaped Chinese philosophy, cosmology and metaphysical practice, but its divinatory claims are not established as modern empirical science.\u003C\u002Fp>\u003Cp>Classes introduce structures, terminology and traditional methods such as Liu Yao while distinguishing cultural study from evidence. Readings should be treated as prompts for reflection, not guarantees, diagnoses or substitutes for professional advice.\u003C\u002Fp>","\u003Cp>《易经》是一部以六十四卦为核心的中国经典，形成了悠久的注疏与占筮传统，并深刻影响中国哲学、宇宙观与术数文化；其占筮主张并非现代经验科学所证实。\u003C\u002Fp>\u003Cp>课程介绍基本结构、术语和六爻等传统方法，同时区分文化学习与科学证据。解读宜作为反思线索，不应视为保证、诊断或任何专业意见的替代品。\u003C\u002Fp>","\u002Fevents\u002Fi-ching-learning",[],[],{"en":1094,"zh":1083},"I Ching Classes and Courses",{"en":1085,"zh":1086},"2026-09-08T00:15:35.000000Z",{"id":21,"uuid":1098,"slug":1099,"available_locales":1100,"name":1101,"description":1104,"body":1107,"path":1110,"images":1111,"image_urls":1112,"hero_image":3,"hero_image_url":3,"seo_title":1113,"seo_description":1116,"sort_order":242,"is_active":952,"status":953,"created_at":1119,"updated_at":955},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[924,925,926],{"en":1102,"zh":1103},"Traditional Arts & Crafts","传统艺术与手作",{"en":1105,"zh":1106},"Hands-on workshops exploring Chinese handicrafts and decorative arts through guided making and cultural appreciation.","通过亲手制作与文化欣赏，体验中国传统手作及装饰艺术。",{"en":1108,"zh":1109},"\u003Cp>Discover practical workshops in Chinese decorative arts and handcraft traditions. Activities may include gold-leaf painting, cloisonné enamel, mother-of-pearl work, Song brocade and other guided projects.\u003C\u002Fp>\u003Cp>These welcoming sessions introduce materials, techniques and cultural context while allowing participants to complete a piece of their own.\u003C\u002Fp>","\u003Cp>本类别汇集中国传统装饰艺术与手作体验，内容可涵盖金箔画、掐丝珐琅、螺钿工艺、宋锦及其他创作项目。\u003C\u002Fp>\u003Cp>课程以轻松易懂的方式介绍材料、技法与文化背景，让参加者在导师带领下完成属于自己的作品。\u003C\u002Fp>","\u002Fevents\u002Ftraditional-arts-crafts",[],[],{"en":1114,"zh":1115},"Traditional Arts & Crafts Events","传统艺术与手作活动",{"en":1117,"zh":1118},"Explore Chinese handicraft and decorative arts workshops, including gold-leaf, cloisonné, mother-of-pearl and brocade.","探索金箔画、掐丝珐琅、螺钿、宋锦等中国传统手作及装饰艺术体验。","2026-08-16T19:24:04.000000Z",{"id":212,"uuid":1121,"slug":1122,"available_locales":1123,"name":1124,"description":1127,"body":1130,"path":1133,"images":1134,"image_urls":1135,"hero_image":3,"hero_image_url":3,"seo_title":1136,"seo_description":1138,"sort_order":247,"is_active":952,"status":953,"created_at":1141,"updated_at":955},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[924,925,926],{"en":1125,"zh":1126},"Wudang Community","武当社群活动",{"en":1128,"zh":1129},"Talks, broadcasts and community gatherings connecting people with Wudang culture, learning and living practice.","通过讲座、直播与社群聚会，连接武当文化、学习与日常实践。",{"en":1131,"zh":1132},"\u003Cp>Wudang Community brings together public talks, livestreams, gatherings and shared cultural activities connected with Wudang.\u003C\u002Fp>\u003Cp>These programmes create welcoming ways to meet practitioners, explore ideas and participate in a growing community of learning and practice.\u003C\u002Fp>","\u003Cp>武当社群活动汇集与武当文化相关的公开讲座、直播、聚会及共享文化体验。\u003C\u002Fp>\u003Cp>这些活动以友善开放的方式连接练习者与学习者，让大家交流心得、认识传统，并共同参与持续发展的文化社群。\u003C\u002Fp>","\u002Fevents\u002Fwudang-community",[],[],{"en":1137,"zh":1126},"Wudang Community Events",{"en":1139,"zh":1140},"Discover Wudang community talks, broadcasts and gatherings connecting people with culture, learning and living practice.","探索连接武当文化、学习与日常实践的讲座、直播及社群聚会。","2026-08-16T19:24:18.000000Z",{"id":16,"uuid":1143,"slug":1144,"available_locales":1145,"name":1146,"description":1149,"body":1150,"path":1151,"images":1152,"image_urls":1153,"hero_image":3,"hero_image_url":3,"seo_title":1154,"seo_description":1157,"sort_order":69,"is_active":952,"status":953,"created_at":1160,"updated_at":955},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[924,925,926],{"en":1147,"zh":1148},"Wudang Journeys & Retreats","武当旅修与行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":1155,"zh":1156},"Wudang Mountain Retreats and Guided Journeys","武当山旅修与静修行程",{"en":1158,"zh":1159},"Guided journeys and retreats to Wudang Mountain that combine practice, temple visits and cultural learning, with itineraries and expectations set out clearly.","前往武当山的旅修与静修：结合修习、宫观参访与文化学习，提前说明行程安排与参加须知。","2026-08-18T11:09:38.000000Z",{"data":1162},{"hero_type":1163,"hero_image":1164,"hero_image_alt":1165,"hero_youtube_id":1166,"hero_content_on":952,"hero_heading":1167,"hero_subheading":1168,"hero_text":1169,"hero_subheading_zh":1170,"hero_text_zh":1171,"hero_buttons":1172,"home_seo":1178,"page_layout":1184,"shop_enabled":1185,"contact":1186,"journey":1202},"image","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fsite\u002Fwudanghomepagehero.webp","Wudang mountain temple in mist","VgirFbjpiy4","武当文化，道在日常\nWudang Culture, Practised with Purpose","A place for learning. A home for living culture.","Explore Taoist thought, internal arts, literati traditions and Wudang Mountain through grounded learning in Singapore and beyond.","这里既是学习之地，也是让文化融入日常的所在。","从道家思想、内家武术、文人雅艺与武当山出发，以清晰、踏实的方式，在新加坡及世界各地认识和体验武当文化。",[1173,1175],{"label":1174,"link":278},"Start Your Wudang Journey",{"label":1176,"link":1177},"View Events & Courses","\u002Fevents",{"title":1179,"description":1181},{"en":1180,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":1182,"zh":1183},"Explore Wudang Mountain through Tai Chi, Qigong, Daoist philosophy, martial arts, traditional arts, wellness, culture and everyday life in Wudang.","从太极、气功、道家思想、武术、传统雅艺与养生文化认识武当山，探索武当文化及武当山的日常生活。","sidebar",false,{"methods":1187,"has_any":952,"text":1195},{"email":1188,"whatsapp":1189,"wechat_id":1190,"wechat_qr_url":1191,"instagram":1192,"instagram_handle":1193,"facebook":1194,"facebook_handle":1193},"hello@wudang.org","+6588169599","Cldjcll0305","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fcontact\u002Fkcs9Z5IEY7CugW2mEYA8.webp","https:\u002F\u002Fwww.instagram.com\u002Fleewudang.sg","@leewudang.sg","https:\u002F\u002Fwww.facebook.com\u002Fleewudang.sg\u002F",{"china_heading_en":1196,"china_heading_zh":1197,"china_company_en":1198,"china_company_zh":1199,"china_address_en":1200,"china_address_zh":1201},"China Operations","中国运营","Xunwei Wudang Co., Ltd.","寻味武当有限公司","No. 72 Jianhe 2nd Road, Wangjiayuan, Wudang Mountain, Shiyan, Hubei, China","湖北省十堰市武当山王家园剑河二路72号",{"title_en":3,"title_zh":3,"intro_en":3,"intro_zh":3,"enabled":952},{"data":1204},{"to":501,"type":1205,"available_locales":1206,"is_content_page":952,"title":1207,"subtitle":1208,"body":1211,"hero_image_url":1214,"hero_width":1215,"hero_height":1216,"hero_image_alt":1217,"hero_image_decorative":1185,"hero_credit":1220,"hero_alt":1227,"hero_style":1228,"card_layout":1229,"link_type":3,"link_ref":3,"seo_title":1230,"seo_description":1233,"children":1236},"page",[924,925,926],{"en":502,"zh":503},{"en":1209,"zh":1210},"From Tang poetry and fu to Song reform, Ming discontinuity and the Qing return of regulated verse—why the examination syllabus never stood still.","从唐代诗赋、宋代改革、明初转折到清代试律回归，说明科举课程为何从来不是一成不变。",{"en":1212,"zh":1213},"\u003Ch2>There was no single timeless examination\u003C\u002Fh2>\u003Ch3>Curricula changed with dynasties, reigns and stages\u003C\u002Fh3>\u003Cp>The phrase ‘the imperial examination’ can suggest one stable test, but Chinese recruitment examinations changed repeatedly. Subjects, formats, eligibility, marking and the relation between schools and examinations differed across dynasties and even within a reign. Rebecca Doran’s overview of \u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter-abstract\u002F212216945\">education and the examination system\u003C\u002Fa> treats the institution as a historical development, not a fixed national syllabus. Before asking whether candidates wrote poetry, identify the date, examination stream, level and reform then in force.\u003C\u002Fp>\u003Ch3>Literary skill was one claim about public service\u003C\u002Fh3>\u003Cp>Poetry and \u003Cem>fu\u003C\u002Fem> could display learning, control of language and familiarity with literary precedent, but officials disagreed over whether those abilities predicted competence in government. The Oxford Handbook’s introduction to \u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter\u002F514165895\">institutions of literary culture\u003C\u002Fa> notes that poetry and rhapsody entered examinations in the late seventh century, survived sporadic suspension and deeply connected literature with politics. This did not make literary composition the only route to office, nor did it open the system equally to all classes or genders.\u003C\u002Fp>\u003Ch2>Tang examination poetry tested trained command\u003C\u002Fh2>\u003Ch3>The \u003Cem>jinshi\u003C\u002Fem> examination incorporated composition\u003C\u002Fh3>\u003Cp>From the later seventh century, the Tang \u003Cem>jinshi\u003C\u002Fem> examination required literary composition, including poetry, while its exact subjects and priorities continued to evolve. Nathan Vedal’s study of \u003Ca href=\"https:\u002F\u002Fwww.tandfonline.com\u002Fdoi\u002Fabs\u002F10.1179\u002F0737503415Z.00000000014\">Tang examination poetry\u003C\u002Fa> treats surviving poems as a distinct exam-related genre. Their value lies not only in identifying a famous candidate but in showing what examiners could recognize as competent use of themes, allusions, diction and poetic form under institutional conditions.\u003C\u002Fp>\u003Ch3>Competence mattered more than a modern idea of originality\u003C\u002Fh3>\u003Cp>Vedal argues that the primary aim was to demonstrate competence and familiarity with literary tradition rather than exceptional poetic brilliance. An exam poem therefore should not be judged as if it were a spontaneous private lyric. It answered an assigned situation for evaluators. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-regulated-verse\">Chinese regulated verse\u003C\u002Fa> explains line, rhyme, tone and parallelism; here the narrower issue is how such formal resources became assessable performance.\u003C\u002Fp>\u003Ch2>Prompts and constraints must be reconstructed carefully\u003C\u002Fh2>\u003Ch3>A title could define both topic and manner\u003C\u002Fh3>\u003Cp>An examination poem might be composed to an assigned title, sometimes with instructions about rhyme or form. Yet surviving titles, poems and later descriptions do not establish one universal Tang template. A phrase later glossed as ‘exam-style’ may imitate institutional writing without being the script of an actual sitting. The page on \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-fu-rhapsody-catalogues-courts-expansive-description\">Chinese \u003Cem>fu\u003C\u002Fem> rhapsody\u003C\u002Fa> provides the neighboring history of a second literary form used in recruitment; poetry and \u003Cem>fu\u003C\u002Fem> should not be collapsed into one task.\u003C\u002Fp>\u003Ch3>Later rules should not be projected backward\u003C\u002Fh3>\u003Cp>Tang examination verse could be regulated without conforming to every standard emphasized by Qing exam poetics or modern teaching manuals. Vedal’s evidence even suggests more prosodic freedom than a rigid retrospective account would allow. Rhyme dictionaries and reference works helped organize sounds, but their categories, editions and uses also changed. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun\">Chinese dictionaries and rhyme books\u003C\u002Fa> helps readers distinguish a historical sound classification from present-day pronunciation.\u003C\u002Fp>\u003Ch2>Song reform turned poetry into a policy question\u003C\u002Fh2>\u003Ch3>Officials debated what was easiest—and most useful—to assess\u003C\u002Fh3>\u003Cp>Song reformers argued over poetry and \u003Cem>fu\u003C\u002Fem>, classics interpretation, essays and policy responses. A primary institutional chronicle of \u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=264962&if=en&remap=gb\">Song schools and examinations\u003C\u002Fa> records competing claims: prosodic faults in poetry and \u003Cem>fu\u003C\u002Fem> could be checked more readily, while policy writing might better address government yet be harder to judge consistently. The debate was not simply ‘literature versus learning’; it concerned reliable marking, administrative purpose and what kind of knowledge officials should possess.\u003C\u002Fp>\u003Ch3>The 1071 reform changed the centre of assessment\u003C\u002Fh3>\u003Cp>Research on \u003Ca href=\"https:\u002F\u002Fwww.zjujournals.com\u002Fsoc\u002FCN\u002F10.3785\u002Fj.issn.1008-942X.CN33-6000\u002FC.2021.04.192\">Northern Song examination reform\u003C\u002Fa> explains that Wang Anshi’s Xining-era changes abolished poetry and \u003Cem>fu\u003C\u002Fem> alongside several older subjects and shifted assessment toward classics interpretation, exposition and policy responses. Later arrangements changed again. Readers should therefore avoid saying either that ‘Song candidates always wrote poetry’ or that poetry vanished from Song elite culture. Examination policy and literary life were related but not identical.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fah49Jf2mR2Z1gwfpnJQs.webp\" alt=\"Cool blue conceptual still life with a blank page divided into eight bands, eight unnumbered glass counters and unmarked archival tools\" loading=\"lazy\">\u003Cfigcaption>AI-generated conceptual still life about composing under formal constraints. It does not show a real examination paper, poem, artifact, institution, place or event.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>The Ming made a different curriculum central\u003C\u002Fh2>\u003Ch3>Poetry ceased to be the defining recruitment task\u003C\u002Fh3>\u003Cp>A recent synthesis of the \u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Felements\u002Fpolitical-economy-of-chinas-imperial-examination-system\u002F3DA0EC88AE5901AEE641FD5686C7F8B8\">political economy of the examination system\u003C\u002Fa> describes the Tang emphasis on poetry and prose, Song disputes over those forms, and their end as the central examination requirement at the beginning of the Ming. Ming and later examinations increasingly organized answers around the Confucian classics. The guide to the \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-eight-legged-essay-baguwen-examination-classics-composition\">eight-legged essay\u003C\u002Fa> explains one highly consequential format without treating it as the content of every paper at every stage.\u003C\u002Fp>\u003Ch3>A changed exam did not erase poetry from educated life\u003C\u002Fh3>\u003Cp>Candidates could continue to read, write and exchange poetry even when the decisive examination paper tested something else. Success in poetry and success in recruitment were overlapping forms of cultural achievement, not permanent synonyms. Nor should a poem by a degree-holder automatically be labeled an examination poem. The architecture described in \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-examination-compounds-gongyuan-cells-candidate-experience\">Chinese examination compounds\u003C\u002Fa> shaped isolation, supervision and physical writing conditions; it does not by itself identify which literary genre a candidate wrote in a given session.\u003C\u002Fp>\u003Ch2>Qing reform brought regulated verse back\u003C\u002Fh2>\u003Ch3>The 1757 change was a reform, not an uninterrupted survival\u003C\u002Fh3>\u003Cp>In the twenty-second year of the Qianlong reign (1757), a poetry component was made permanent in the provincial and metropolitan examinations. Research on the \u003Ca href=\"https:\u002F\u002Fdflt.cbpt.cnki.net\u002Fportal\u002Fjournal\u002Fportal\u002Fclient\u002Fpaper\u002Fa4f072e35f7296e893c08cf8f36d1e89\">addition of examination verse in 1757\u003C\u002Fa> identifies the assigned task as a five-character, eight-rhyme regulated poem. This was not proof that the Tang syllabus had continued unchanged for centuries. It was a Qing institutional choice made within a very different examination system.\u003C\u002Fp>\u003Ch3>Formal standards served marking and discipline\u003C\u002Fh3>\u003Cp>A study of the \u003Ca href=\"https:\u002F\u002Fqsyj.ruc.edu.cn\u002FEN\u002FY2021\u002FV0\u002FI2\">institutional significance of the Qing poetry component\u003C\u002Fa> connects regulated verse with rechecking, scrutiny of prosodic conformity and efforts to make evaluation more controllable. Such a task rewarded adherence to title, rhyme and form under pressure. Preparation took place through teachers, models and institutions; the guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-academies-shuyuan-books-teaching-ritual-landscape\">Chinese academies\u003C\u002Fa> explains the broader worlds of books, teaching, ritual and landscape around examination learning.\u003C\u002Fp>\u003Ch2>Examination verse became a genre with its own afterlife\u003C\u002Fh2>\u003Ch3>Model collections taught later candidates how to read the form\u003C\u002Fh3>\u003Cp>Qing readers compiled and annotated Tang poems as precedents for examination composition. Research on \u003Ca href=\"https:\u002F\u002Fjournal.bit.edu.cn\u002Fsk\u002Farticle\u002Fid\u002F9d8aed79-4e71-42b1-9e13-98a8052e391d\">the collection \u003Cem>Tangren shitie\u003C\u002Fem> and Qing exam poetics\u003C\u002Fa> follows changing critical priorities from Mao Qiling’s early eighteenth-century selection and commentary to Ji Yun’s greater emphasis on rules and fidelity to the assigned title. A Qing model book is valuable evidence for Qing reading, but it does not transparently reproduce Tang exam procedure.\u003C\u002Fp>\u003Ch3>Institutional success and literary reputation are different questions\u003C\u002Fh3>\u003Cp>Examination poems were often treated as constrained, utilitarian or aesthetically minor, yet they reveal what a bureaucracy considered demonstrable skill. Some survive because of later collections and commentary rather than an original examination file. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission\">Chinese poetry anthologies\u003C\u002Fa> shows how selection creates a canon; readers should record who selected an exam poem, when, and for what later pedagogical or critical purpose.\u003C\u002Fp>\u003Ch2>How to read a surviving examination poem\u003C\u002Fh2>\u003Ch3>Build an evidence ladder before telling the candidate’s story\u003C\u002Fh3>\u003Cp>Start with the earliest witness: an official record, collected work, model anthology, commentary or later anecdote. Record the dynasty, reign, examination level, assigned title, stated rhyme or formal rule, and whether the text is called an actual submission or merely ‘in examination style’. Then compare variants and editorial layers. Poetry criticism preserved in \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-shihua-poetry-talks-notes-anecdotes-criticism\">Chinese \u003Cem>shihua\u003C\u002Fem>\u003C\u002Fa> can illuminate later judgement, but an anecdote is not automatically an administrative record.\u003C\u002Fp>\u003Ch3>Use language proportional to the evidence\u003C\u002Fh3>\u003Cp>Say ‘required in this examination’, ‘preserved as an examination poem’, ‘used as a Qing model’ or ‘written in examination style’ according to the witness. Do not invent a prompt, time limit, examiner’s comment, candidate emotion, ranking or original paper. A careful account shows why poetry sometimes mattered to recruitment, why reformers removed or restored it, and how a constrained institutional exercise became part of literary history—without turning centuries of change into one timeless scene.\u003C\u002Fp>","\u003Ch2>并不存在一套千年不变的科举考试\u003C\u002Fh2>\u003Ch3>考试内容随朝代、年号与层级变化\u003C\u002Fh3>\u003Cp>“科举”一词容易让人以为古代中国长期使用同一张试卷，其实科目、文体、应试资格、阅卷方法，以及学校同考试的关系都反复调整。Doran 关于\u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter-abstract\u002F212216945\">教育与科举制度\u003C\u002Fa>的综述，把科举视为不断形成的历史制度，而不是固定的全国课程。讨论考生是否作诗以前，必须先确认朝代、考试层级、科目系统与当时有效的改革。\u003C\u002Fp>\u003Ch3>文学能力只是关于官员资格的一种主张\u003C\u002Fh3>\u003Cp>诗与赋可以显示学识、语言控制和熟悉典故，但官员一直争论这些能力是否足以预测从政本领。《牛津中国古典文学手册》关于\u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter\u002F514165895\">文学文化制度\u003C\u002Fa>的导论指出，诗赋在七世纪后期进入考试，虽有间歇停罢，仍深刻连接文学与政治。这不表示文学创作是唯一入仕路径，更不表示不同阶层与性别拥有同等机会。\u003C\u002Fp>\u003Ch2>唐代试诗考查的是训练有素的表达能力\u003C\u002Fh2>\u003Ch3>进士科逐渐纳入文学创作\u003C\u002Fh3>\u003Cp>七世纪后期起，唐代进士科要求包括诗歌在内的文学创作，具体科目和轻重仍继续变化。Vedal 关于\u003Ca href=\"https:\u002F\u002Fwww.tandfonline.com\u002Fdoi\u002Fabs\u002F10.1179\u002F0737503415Z.00000000014\">唐代试帖诗\u003C\u002Fa>的研究，把现存作品视为一种特定的应试文类。它们的价值不只在于寻找名人早作，更在于显示考官怎样识别考生在制度条件下运用题意、典故、辞藻与诗体的熟练程度。\u003C\u002Fp>\u003Ch3>合格的文化能力比现代意义的原创更重要\u003C\u002Fh3>\u003Cp>Vedal 认为，应试诗的主要目标是展示能力及对文学传统的熟悉，而不是证明超常的诗才。因此，不能把它当作完全自发的私人抒情诗来读；它是在评阅者面前完成指定任务。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-regulated-verse\">中国律诗导读\u003C\u002Fa>说明句式、押韵、声律与对仗；本文聚焦这些形式资源怎样成为可评定的表现。\u003C\u002Fp>\u003Ch2>题目与限制必须谨慎复原\u003C\u002Fh2>\u003Ch3>篇题可能同时规定题材和作法\u003C\u002Fh3>\u003Cp>应试诗可以依据指定题目写作，有时还附带韵脚或体式要求；但现存题目、诗篇与后世记载，不能证明唐代一直使用同一种统一模板。后世称为“试帖体”的作品，也可能只是模仿应试风格，并非某场考试的原卷。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-fu-rhapsody-catalogues-courts-expansive-description\">中国赋体导读\u003C\u002Fa>介绍另一种曾用于取士的文学形式；诗与赋相邻，却不能被合并成同一项任务。\u003C\u002Fp>\u003Ch3>不能把后世法度倒投到唐代\u003C\u002Fh3>\u003Cp>唐代应试诗可以讲究格律，却未必符合清代试律诗学或现代教材强调的每一条标准。Vedal 所见材料甚至说明，唐代考试对声律的容许可能比后世僵硬叙述更宽。韵书与工具书有助于组织语音类别，但它们的门类、版本与用途也在变化。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun\">中国字书与韵书导读\u003C\u002Fa>有助于区分历史音类和今日读音。\u003C\u002Fp>\u003Ch2>宋代改革把诗赋变成制度争议\u003C\u002Fh2>\u003Ch3>官员争论什么容易评、什么适合治国\u003C\u002Fh3>\u003Cp>宋代改革围绕诗赋、经义、论与策展开。一部记载\u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=264962&if=en&remap=gb\">宋代学校科举制度\u003C\u002Fa>的史事本末保存了相反意见：诗赋的声病较易检查，策论可能更贴近政务，却不易统一判断。争论并不只是“文学对经学”，也涉及阅卷可靠性、行政目的，以及官员究竟应具备哪一种知识。\u003C\u002Fp>\u003Ch3>熙宁改革改变了考核中心\u003C\u002Fh3>\u003Cp>关于\u003Ca href=\"https:\u002F\u002Fwww.zjujournals.com\u002Fsoc\u002FCN\u002F10.3785\u002Fj.issn.1008-942X.CN33-6000\u002FC.2021.04.192\">北宋科举改革\u003C\u002Fa>的研究指出，王安石在熙宁四年改革中罢诗赋及若干旧科，把重心转向经义、论与策，后来制度又有调整。因此，既不能说“宋代考生始终作诗”，也不能因某次罢诗赋便说诗歌退出宋代士人生活。考试政策与文学生活相互关联，却不是同一件事。\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fah49Jf2mR2Z1gwfpnJQs.webp\" alt=\"冷蓝色概念静物：空白纸页分成八个横格，旁有八枚无编号玻璃圆片与无标记档案工具\" loading=\"lazy\">\u003Cfigcaption>AI 生成的限制作诗概念静物；并非真实试卷、诗稿、文物、机构、地点或事件记录。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>明代把另一套课程置于中心\u003C\u002Fh2>\u003Ch3>诗歌不再是取士的标志性任务\u003C\u002Fh3>\u003Cp>关于\u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Felements\u002Fpolitical-economy-of-chinas-imperial-examination-system\u002F3DA0EC88AE5901AEE641FD5686C7F8B8\">中国科举制度政治经济\u003C\u002Fa>的综合研究，概括唐代重诗文、宋代围绕诗赋的争议，以及明初诗文不再作为核心考试要求的转折。明清考试日益围绕儒家经典组织答案。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-eight-legged-essay-baguwen-examination-classics-composition\">八股文导读\u003C\u002Fa>介绍影响深远的一种格式，同时也提醒读者不能把它说成每个层级、每张试卷的全部内容。\u003C\u002Fp>\u003Ch3>考试转型没有消灭士人的诗歌生活\u003C\u002Fh3>\u003Cp>即使决定性试卷改考其他内容，考生仍可能阅读、创作和唱和诗歌。诗名与科名是相交的文化成就，却从来不是固定同义词；有功名者所作之诗也不能自动称为应试诗。本站关于\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-examination-compounds-gongyuan-cells-candidate-experience\">贡院与号舍\u003C\u002Fa>的文章说明隔离、监考与书写环境，建筑本身却不能告诉我们某一场具体考试采用哪一种文体。\u003C\u002Fp>\u003Ch2>清代改革让试律重新进入正式科场\u003C\u002Fh2>\u003Ch3>乾隆二十二年的变化不是连续不断的唐制\u003C\u002Fh3>\u003Cp>乾隆二十二年（1757），乡试、会试正式增加诗科。关于\u003Ca href=\"https:\u002F\u002Fdflt.cbpt.cnki.net\u002Fportal\u002Fjournal\u002Fportal\u002Fclient\u002Fpaper\u002Fa4f072e35f7296e893c08cf8f36d1e89\">清代科场加试试帖诗\u003C\u002Fa>的研究指出，考题要求五言八韵律诗。这不是唐代考制数百年原封不动延续的证明，而是清代在自身科举结构中作出的制度选择。解释时应使用“恢复”或“增考”等符合史料的语言，而不是制造一条无间断传统。\u003C\u002Fp>\u003Ch3>明确法度服务于阅卷和纪律\u003C\u002Fh3>\u003Cp>关于\u003Ca href=\"https:\u002F\u002Fqsyj.ruc.edu.cn\u002FEN\u002FY2021\u002FV0\u002FI2\">清代诗科制度意义\u003C\u002Fa>的研究，把试律诗同复试、复核声律及提高考核可控性联系起来。这类任务要求考生在压力下切题、守韵、合式。备考依靠教师、范本和教育机构；本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-academies-shuyuan-books-teaching-ritual-landscape\">中国书院导读\u003C\u002Fa>介绍围绕考试学习形成的藏书、教学、礼仪与环境，但书院生活也不只等于应试训练。\u003C\u002Fp>\u003Ch2>试帖诗成为有自身后世生命的文类\u003C\u002Fh2>\u003Ch3>范本选集教后人怎样理解应试诗\u003C\u002Fh3>\u003Cp>清人搜集、评点唐诗，把它们作为试律写作的先例。关于\u003Ca href=\"https:\u002F\u002Fjournal.bit.edu.cn\u002Fsk\u002Farticle\u002Fid\u002F9d8aed79-4e71-42b1-9e13-98a8052e391d\">《唐人试帖》与清代试律诗学\u003C\u002Fa>的研究，追踪毛奇龄康熙末年的选评，到纪昀更重法度与切题的变化。清代范本是研究清代阅读和训练的重要证据，却不能透明再现唐代考场的实际程序。\u003C\u002Fp>\u003Ch3>应试成功与文学声誉是两个问题\u003C\u002Fh3>\u003Cp>试帖诗常被看作拘束、实用或格调不高，却能显示官僚制度认可什么样的可展示能力。有些作品因后世选本与评点而存世，并非来自原始考卷。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission\">中国诗歌总集与选本\u003C\u002Fa>说明编选怎样塑造经典；读者还应记录是谁、在何时、为了哪一种教学或批评目的收入某首应试诗。\u003C\u002Fp>\u003Ch2>怎样阅读一首传世应试诗\u003C\u002Fh2>\u003Ch3>先建立证据阶梯，再讲考生故事\u003C\u002Fh3>\u003Cp>应从最早见证着手：官方记录、别集、范本选集、评点，还是后出轶事。逐项记录朝代、年号、考试层级、篇题、明载韵限或体式，以及来源究竟称它为真实试卷，还是仅说“仿试帖体”。再比较异文与编辑层次。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-shihua-poetry-talks-notes-anecdotes-criticism\">中国诗话导读\u003C\u002Fa>有助于理解后世评价，但一则诗话故事并不自动等于行政档案。\u003C\u002Fp>\u003Ch3>让措辞服从证据强度\u003C\u002Fh3>\u003Cp>根据见证，可以说“该科要求”“某书保存为试诗”“清代用作范本”或“以试帖体写成”。不要虚构题目、时限、考官评语、考生心情、名次或原始试纸；也不要把后世选本版式当成考场原貌。严谨叙述能够说明诗歌为何一度参与取士、改革者为何废止或恢复，以及受制度限制的练习怎样进入文学史，同时不把数百年变化压成一幅永恒不变的科场场景。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FylyrrosX7DGHmGmvBXbg.webp",1672,940,{"en":1218,"zh":1219},"Warm fictional museum installation with three blank study stations and an anonymous modern curator adjusting a transparent frame","暖色虚构博物馆教学装置：三张空白研习桌与一位正在调整透明框架的不具名现代策展人员",{"caption":1221,"creator":1222,"source_url":1223,"license_label":1224,"license_url":1225,"changes":1226},"AI-generated fictional museum-education installation; not a real examination hall, paper, poem, artifact, institution, place or historical event.","OpenAI","https:\u002F\u002Fopenai.com\u002F","AI-generated image","https:\u002F\u002Fopenai.com\u002Fpolicies\u002Fterms-of-use\u002F","Generated independently for this article and converted to WebP without compositing.",{"en":1218,"zh":1219},"banner","list",{"en":1231,"zh":1232},"Poetry in Chinese Imperial Examinations: Tang to Qing","科举中的诗歌：从唐代试诗到清代试律",{"en":1234,"zh":1235},"How poetry and fu entered Tang examinations, were debated in the Song, displaced in the Ming and restored as regulated examination verse under the Qing.","介绍诗赋怎样进入唐代科举、在宋代引发改革争议、于明初退出核心，并在清代以试律形式重新增考。",[],{"data":1238},[1239,1315,1417,1508],{"id":1240,"slug":1241,"available_locales":1242,"path":1243,"title":1244,"venue":1247,"hero_image_url":3,"card_image_url":1250,"card_landscape_url":1251,"lifecycle":1252,"session_mode":1253,"sessions":1254,"next_session":1314},15601,"liu-yao-beginner-course",[924,925,926],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":1245,"zh":1246},"Liu Yao Beginner 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2026","2026年11月21日",21,"Sat",{"status":1256,"date_slug":1288,"time_label":1258,"timezone_abbr":1259,"date_label":1289,"date_label_fr":1290,"date_short_fr":1291,"date_only_fr":1292,"date_range_label_fr":3,"time_label_fr":1264,"date_label_zh":1293,"date_short":1294,"date_short_zh":1295,"date_only":1296,"date_only_zh":1297,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":147,"month_short":1298,"month_long":1299,"month_num":147,"year":1272,"weekday_short":1286,"weekday_index":60},"2026-12-12","Saturday, 12 December 2026","samedi 12 décembre 2026","sam. 12 déc.","12 déc. 2026","2026年12月12日 星期六","Sat 12 Dec","12月12日 周六","12 Dec 2026","2026年12月12日","Dec","December",{"status":1256,"date_slug":1301,"time_label":1258,"timezone_abbr":1259,"date_label":1302,"date_label_fr":1303,"date_short_fr":1304,"date_only_fr":1305,"date_range_label_fr":3,"time_label_fr":1264,"date_label_zh":1306,"date_short":1307,"date_short_zh":1308,"date_only":1309,"date_only_zh":1310,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":137,"month_short":1311,"month_long":1312,"month_num":38,"year":1313,"weekday_short":1273,"weekday_index":951},"2027-01-17","Sunday, 17 January 2027","dimanche 17 janvier 2027","dim. 17 janv.","17 janv. 2027","2027年1月17日 星期日","Sun 17 Jan","1月17日 周日","17 Jan 2027","2027年1月17日","Jan","January",2027,{"status":1256,"date_slug":1257,"time_label":1258,"timezone_abbr":1259,"date_label":1260,"date_label_fr":1261,"date_short_fr":1262,"date_only_fr":1263,"date_range_label_fr":3,"time_label_fr":1264,"date_label_zh":1265,"date_short":1266,"date_short_zh":1267,"date_only":1268,"date_only_zh":1269,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1270,"month_long":1271,"month_num":1077,"year":1272,"weekday_short":1273,"weekday_index":951},{"id":1316,"slug":1317,"available_locales":1318,"path":1319,"title":1320,"venue":1323,"hero_image_url":1324,"card_image_url":1324,"card_landscape_url":1325,"lifecycle":1326,"session_mode":1253,"sessions":1327,"next_session":1416},78700,"baduanjin-workshop-september",[924,925,926],"\u002Fevents\u002Finternal-arts-wellness\u002Fbaduanjin-workshop-september",{"en":1321,"zh":1322},"Baduanjin Workshop — November 2026 Sessions","古法八段锦 · 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2026","2026年9月13日",13,"Sep","September",{"status":1329,"date_slug":1346,"time_label":1331,"timezone_abbr":1259,"date_label":1347,"date_label_fr":1348,"date_short_fr":1349,"date_only_fr":1350,"date_range_label_fr":3,"time_label_fr":1336,"date_label_zh":1351,"date_short":1352,"date_short_zh":1353,"date_only":1354,"date_only_zh":1355,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1356,"month_short":1343,"month_long":1344,"month_num":16,"year":1272,"weekday_short":1273,"weekday_index":951},"2026-09-27","Sunday, 27 September 2026","dimanche 27 septembre 2026","dim. 27 sept.","27 sept. 2026","2026年9月27日 星期日","Sun 27 Sep","9月27日 周日","27 Sep 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