[{"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-poetry-quotation-excerpts-fragments-lost-context":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 Ching","道德经",{"to":27,"label":28,"label_zh":29,"n":21},"\u002Fdao\u002Ftaiji","Taiji","太极",{"to":31,"label":32,"label_zh":33,"n":21},"\u002Fdao\u002Fzhuang-zi","Zhuangzi","庄子",{"to":35,"label":36,"label_zh":37,"n":38},"\u002Fdao\u002Fclassics","Classical 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Sites","武当山宫观与胜迹",3,{"to":244,"label":245,"label_zh":246,"n":247},"\u002Fwudang-mountain\u002Fplanning-a-visit","Planning a Visit to Wudang Mountain","武当山行前规划指南",4,{"to":249,"label":250,"label_zh":251,"n":242},"\u002Fwudang-mountain\u002Fstudying-at-wudang","Studying Martial Arts at Wudang Mountain","在武当山学习武术",{"to":253,"label":254,"label_zh":255,"n":242},"\u002Fwudang-mountain\u002Ftemple-etiquette","Wudang Temple Etiquette: A Visitor’s Guide","武当宫观参访礼仪",{"to":257,"label":258,"label_zh":259,"n":69},"\u002Fwudang-mountain\u002Fpractical-reference","Wudang Mountain Practical Reference","武当山实用参考资料",{"to":261,"label":262,"label_zh":263},"\u002Fwudang-mountain\u002Feveryday-wudang","Everyday 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. Readings do not replace medical, legal, financial, employment or psychological expertise.\u003C\u002Fp>","\u003Cp>紫微斗数依据出生信息，以宫位、星曜和彼此关系组织命盘。它具有复杂的术语与多种解释传统，但其预测主张并未得到现代科学证据的确立。\u003C\u002Fp>\u003Cp>课程说明命盘结构、符号阅读方法，以及历史与当代实践者之间的差异。学习目的在于文化理解与有纪律的自我反思，而不是获得关于未来的确定答案。相关解读不能代替医疗、法律、财务、就业或心理专业意见。\u003C\u002Fp>","\u002Fevents\u002Fzi-wei-dou-shu-learning",[],[],{"en":1015,"zh":1016},"Zi Wei Dou Shu (Purple Star Astrology) Classes","紫微斗数课程：命盘、宫位与星曜入门",{"en":1007,"zh":1018},"把紫微斗数作为中国传统诠释体系来学习，认识命盘、宫位与星曜，不把它包装成科学预测。",{"id":247,"uuid":1020,"slug":1021,"available_locales":1022,"name":1023,"description":1026,"body":1027,"path":1028,"images":1029,"image_urls":1030,"hero_image":3,"hero_image_url":3,"seo_title":1031,"seo_description":1034,"sort_order":38,"is_active":952,"status":953,"created_at":1037,"updated_at":955},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[924,925,926],{"en":1024,"zh":1025},"Tea Arts","茶艺",[],[],"\u002Fevents\u002Ftea-arts",[],[],{"en":1032,"zh":1033},"Chinese Tea Art Classes and Workshops","茶艺课程与工作坊",{"en":1035,"zh":1036},"Chinese tea art (茶艺) classes and workshops: tea types, brewing methods, tea-table etiquette and the quiet attention of sharing tea.","茶艺课程与工作坊：认识茶类、泡茶方法与茶席礼仪，在一席茶中体会从容与专注。","2026-08-16T17:13:57.000000Z",{"id":242,"uuid":1039,"slug":1040,"available_locales":1041,"name":1042,"description":1045,"body":1047,"path":1050,"images":1051,"image_urls":1052,"hero_image":3,"hero_image_url":3,"seo_title":1053,"seo_description":1056,"sort_order":999,"is_active":952,"status":953,"created_at":954,"updated_at":955},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[924,925,926],{"en":1043,"zh":1044},"Ba Zi Learning","八字课程",{"en":1046,"zh":3},"Study the Four Pillars as a traditional system of stems, branches and five-phase correspondence, with history and limitations made explicit.",{"en":1048,"zh":1049},"\u003Cp>Ba Zi 八字 interprets year, month, day and hour through the heavenly stems, earthly branches, yin-yang and five-phase relationships. 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":493,"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":494,"zh":495},{"en":1209,"zh":1210},"A source-led guide to poetic fragments in histories, commentaries, classified books and later reconstructions—and to what an excerpt cannot prove.","从史书、注释、类书到后世辑佚，说明诗歌残句怎样被保存，以及摘引不能单独证明什么。",{"en":1212,"zh":1213},"\u003Ch2>A quotation is a witness, not the whole poem\u003C\u002Fh2>\u003Ch3>Survival can be only a line long\u003C\u002Fh3>\u003Cp>Much Chinese poetry survives in complete-looking anthologies or collected works, but other poems reach us only as a line, a couplet, or a title embedded in another book. Martin Kern’s study of \u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fjournals\u002Fearly-china\u002Farticle\u002Fxi-shuai-cricket-and-its-consequences-issues-in-early-chinese-poetry-and-textual-studies\u002F72AB72BACB8D29953E9EF7296D9010A1\u002Fshare\u002Ff7630717a740ca935209b625872ae7589740e837\">early quotation and the poem ‘Xi shuai’\u003C\u002Fa> stresses that early received texts rarely quote complete poems and often repeat especially memorable lines. A quotation can therefore be old and important without preserving the poem’s original extent, order, occasion or wording.\u003C\u002Fp>\u003Ch3>The first question is what the host text needed\u003C\u002Fh3>\u003Cp>Histories may cite verse as evidence, philosophical works may use it as an authoritative saying, and commentators may quote it to gloss a word. Each host has its own purpose. Before treating the excerpt as a miniature edition, ask who quotes it, what argument surrounds it, whether the title or author is explicit, and where the quoted words begin and end. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-commentaries-subcommentaries-zhu-jian-shu-layered-reading\">Chinese commentaries and subcommentaries\u003C\u002Fa> helps keep the quoting layer distinct from the older text it explains.\u003C\u002Fp>\u003Ch2>Where fragments travel\u003C\u002Fh2>\u003Ch3>Histories, notebooks and commentaries preserve different contexts\u003C\u002Fh3>\u003Cp>A historical biography may attach a verse to an event; a commentary may preserve only the phrase needed for an annotation; a miscellany may remember a story and a few lines together. The page on \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-biji-brush-notes-notebooks-miscellanies\">Chinese brush notes and miscellanies\u003C\u002Fa> explains why short-form collections are valuable but heterogeneous. Their excerpts should be cited with the surrounding entry, not detached as though every source performed the same archival task.\u003C\u002Fp>\u003Ch3>Institutions of reading made quotation durable\u003C\u002Fh3>\u003Cp>The Oxford Handbook’s account of \u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter\u002F514165895\">institutions of literary culture\u003C\u002Fa> describes commentaries and reference works as active settings of literary preservation. Li Shan’s commentary to the \u003Cem>Wen xuan\u003C\u002Fem>, for example, draws on a wide range of earlier writing. Such a quotation may be the best surviving trace of a lost work, yet it remains evidence selected for a later reader’s immediate need.\u003C\u002Fp>\u003Ch2>Classified books preserve by rearranging\u003C\u002Fh2>\u003Ch3>A \u003Cem>leishu\u003C\u002Fem> breaks books into reusable units\u003C\u002Fh3>\u003Cp>Chinese classified books group excerpts under subjects, phrases or categories so that readers can retrieve information without consulting every source in full. The survey of \u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter-abstract\u002F212218611\">encyclopedias and epitomes in literary learning\u003C\u002Fa> distinguishes excerpt compilation from works that summarize or paraphrase. Both can transmit lost material, but neither promises to reproduce the source’s original sequence or complete argument.\u003C\u002Fp>\u003Ch3>Classification creates a new neighborhood\u003C\u002Fh3>\u003Cp>Once a poetic line is placed beside other passages on seasons, birds, mountains or ritual, its new neighbors shape how it is read. The quotation may preserve a source title or author, or only a short label. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-leishu-classified-books-excerpts-knowledge\">Chinese \u003Cem>leishu\u003C\u002Fem> and excerpt culture\u003C\u002Fa> covers these compilations as a knowledge system; here the narrower issue is how their selection and headings affect the reconstruction of poetry.\u003C\u002Fp>\u003Ch2>Signature lines can outlive poem boundaries\u003C\u002Fh2>\u003Ch3>Memorable lines attract repeated quotation\u003C\u002Fh3>\u003Cp>Frequently quoted lines may become representative of a poem or author, while quieter passages disappear. Repetition proves that a phrase circulated; it does not by itself show that every later source copied a complete poem, or that all witnesses had the same boundaries. Stephen Owen’s \u003Ca href=\"https:\u002F\u002Fscholar.harvard.edu\u002Ffiles\u002Fsowen\u002Ffiles\u002Fowen_stephen_the_making_of_early_classical_poetry.pdf\">study of the making of early classical Chinese poetry\u003C\u002Fa> shows why titles, groupings and textual identities in early poetry must be treated as historical formations rather than timeless containers.\u003C\u002Fp>\u003Ch3>A match can connect units of unequal size\u003C\u002Fh3>\u003Cp>One source may present four lines as a whole poem, another embed two of them in a longer piece, and a third cite a single phrase without a title. Editors must record these different units before deciding how they relate. The page on \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions\">Chinese textual collation\u003C\u002Fa> explains how to compare wording across witnesses; it does not authorize silently expanding a short quotation into the full shape of a later text.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fa7QpcfBY6SMww8O6q9rC.webp\" alt=\"Cool celadon conceptual research scene with an anonymous reader comparing blank slips and a blank page on a light table\" loading=\"lazy\">\u003Cfigcaption>AI-generated conceptual image about comparing excerpt witnesses. It does not document a real person, manuscript, poem, archive, institution, place or event.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>Titles, bylines and contexts can shift independently\u003C\u002Fh2>\u003Ch3>A quotation label is evidence of description\u003C\u002Fh3>\u003Cp>A source may introduce a passage as ‘an old poem’, name a writer, cite a collection, or give no label at all. Those differences matter. A title or byline attached to a quotation may preserve early information, but it can also reflect the quoting book’s own classification. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-attribution-anonymity-disputed-authorship\">attribution, anonymity and disputed authorship\u003C\u002Fa> sets out how to report such claims without turning a received label into automatic proof.\u003C\u002Fp>\u003Ch3>Lost context limits historical storytelling\u003C\u002Fh3>\u003Cp>A line cited beside a biography may look like a record of the person’s speech, yet the host text may be illustrating character, supplying a moral example or repeating an older anecdote. When the original work is lost, we cannot assume that the later narrative preserves its first occasion. Responsible wording says what the surviving source does, then marks any inference about speaker, date or event as an inference.\u003C\u002Fp>\u003Ch2>Reconstruction is documented assembly\u003C\u002Fh2>\u003Ch3>\u003Cem>Jiyi\u003C\u002Fem> gathers dispersed remains\u003C\u002Fh3>\u003Cp>Scholars and editors have long collected quotations of lost books from encyclopedias, commentaries, histories and anthologies. Glen Dudbridge’s discussion of \u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter-abstract\u002F212219109\">libraries, catalogues and lost writings\u003C\u002Fa> warns that surviving literature often reaches us through edited collections that compromise original integrity. A reconstruction is most useful when every fragment names its witness, location, wording and degree of uncertainty.\u003C\u002Fp>\u003Ch3>A recovered dossier is not silently a recovered book\u003C\u002Fh3>\u003Cp>Fragments may overlap, contradict one another or derive from the same intermediate source. Their order may be unknown; a heading can be editorial; a supposed gap may never have belonged to a single poem. The history of \u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter\u002F514166763\">collecting, editing and transmitting Chinese literature\u003C\u002Fa> includes later attempts to rebuild lost works from encyclopedias and anthologies—and the risk of interpolation. A responsible edition makes the scaffolding visible.\u003C\u002Fp>\u003Ch2>A named case shows both value and limits\u003C\u002Fh2>\u003Ch3>Li Qingzhao’s lost collections survive through later gathering\u003C\u002Fh3>\u003Cp>The Library of Congress study of \u003Ca href=\"https:\u002F\u002Ftile.loc.gov\u002Fstorage-services\u002Fmaster\u002Fgdc\u002Fgdcebookspublic\u002F20\u002F20\u002F71\u002F92\u002F01\u002F2020719201\u002F2020719201.pdf\">Li Qingzhao’s writings and editions\u003C\u002Fa> notes that her literary and \u003Cem>ci\u003C\u002Fem> collections were lost and that surviving works were gathered through quotations, anthologies and later compilations. This does not make the recovered poems unreal; it makes their documentary paths part of what an edition must explain.\u003C\u002Fp>\u003Ch3>A collected corpus has more than one historical layer\u003C\u002Fh3>\u003Cp>An author’s modern collected works may combine pieces preserved in early witnesses, later anthologies, quotations and scholarly recovery. The page on \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-individual-collected-works-bieji-authors-editors-transmission\">Chinese individual collected works\u003C\u002Fa> explains how authorial, family and later editorial activity differ. Readers should ask not only ‘is this poem in the collection?’ but ‘through which source did this item enter it?’\u003C\u002Fp>\u003Ch2>Use an evidence ladder, including digital tools\u003C\u002Fh2>\u003Ch3>Parallel-text search finds candidates, not conclusions\u003C\u002Fh3>\u003Cp>Computational comparison can locate repeated strings across large corpora. The study of \u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fdsh\u002Farticle\u002F33\u002F3\u002F670\u002F4583485?guestAccessKey=ccbd22a7-0436-469e-9476-9ecc4077bff6\">unsupervised text-reuse detection in early Chinese literature\u003C\u002Fa> shows its promise for finding quotations and parallels, including material in classified books. But a match does not by itself establish direction of borrowing, a common lost source, poem boundaries or authorship. Orthographic variation, formulaic language and editorial normalization still require philological judgment.\u003C\u002Fp>\u003Ch3>Record the witness before completing the poem\u003C\u002Fh3>\u003Cp>For each excerpt, note the host work, passage, date range, label, quoted boundaries, variants and relation to other witnesses. Consult \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission\">anthologies\u003C\u002Fa> for selection history and \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge\">traditional bibliographies\u003C\u002Fa> for what catalogues say once existed. Then use language that matches the evidence: ‘quoted as’, ‘preserved in’, ‘reconstructed from’, or ‘possibly from’—never an unmarked completion of what the source no longer supplies.\u003C\u002Fp>","\u003Ch2>引文是一个见证，不等于整首诗\u003C\u002Fh2>\u003Ch3>有些作品只以一句的长度存活\u003C\u002Fh3>\u003Cp>中国诗歌常以看似完整的总集、别集传世，但也有作品只剩嵌在别书中的一句、一联或篇题。所谓“残篇”有时是实物破损，有时只是后书选择性摘录；两者成因不同，不能混称。柯马丁关于\u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fjournals\u002Fearly-china\u002Farticle\u002Fxi-shuai-cricket-and-its-consequences-issues-in-early-chinese-poetry-and-textual-studies\u002F72AB72BACB8D29953E9EF7296D9010A1\u002Fshare\u002Ff7630717a740ca935209b625872ae7589740e837\">早期引诗与《蟋蟀》\u003C\u002Fa>的研究指出，早期传世文献很少整篇引诗，反复出现的往往是特别醒目的句子。因此，引文可以年代早而且极有价值，却没有保存原诗的全部篇幅、次序、场合或字句。\u003C\u002Fp>\u003Ch3>首先应问宿主文献为什么需要这句诗\u003C\u002Fh3>\u003Cp>史书可能以诗句作证，思想文献可能把它当成权威古语，注家则可能只为解释一个字而引诗。每种宿主文献都有自身目的，也会按自己的篇幅与读者删节材料。把摘句当作微型定本以前，应先确认谁在引、上下文要论证什么、篇题或作者是否明言，以及引文从哪里开始、在哪里结束；引号、曰字或注文层次若由现代标点补出，也应回看原版式。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-commentaries-subcommentaries-zhu-jian-shu-layered-reading\">中国注疏导读\u003C\u002Fa>有助于把引用层同被解释的旧文本分开。\u003C\u002Fp>\u003Ch2>残句在哪里流动\u003C\u002Fh2>\u003Ch3>史书、笔记与注释保存不同语境\u003C\u002Fh3>\u003Cp>人物传记可能把诗句系于一件事，注释可能只保存训释所需的短语，杂记则可能把轶事与数句诗一起记下。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-biji-brush-notes-notebooks-miscellanies\">中国笔记与杂记导读\u003C\u002Fa>说明短篇汇编为何珍贵而又驳杂。引用这些摘句时，应连同所在条目与上下文一起说明，不能假定所有来源都在执行同一种存档任务。\u003C\u002Fp>\u003Ch3>阅读制度让引文持续可见\u003C\u002Fh3>\u003Cp>《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>的研究，把注释与工具书视为文学保存的主动场域。例如李善注《文选》广引前代文献，其中某条引文可能是佚书最好的传世痕迹；但它仍然是为后世读者眼前需要而选取的证据。\u003C\u002Fp>\u003Ch2>类书在重排中保存\u003C\u002Fh2>\u003Ch3>类书把整部书拆成可检索的单元\u003C\u002Fh3>\u003Cp>中国类书按照事类、词语或主题汇聚摘文，使读者不必逐部翻检原书。《牛津手册》关于\u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter-abstract\u002F212218611\">类书、节本与文学学习\u003C\u002Fa>的综述，区分了摘录原文的汇编和概括、改写原书的节本。两者都可能传下佚文，却都不保证保存原书的先后次序或完整论证。\u003C\u002Fp>\u003Ch3>分类为诗句创造新的邻居\u003C\u002Fh3>\u003Cp>当诗句被放到岁时、鸟兽、山水或礼制等门类中，它身旁的新材料会改变阅读方式。摘文可能保留书名、作者，也可能只剩短短的引题；同一句在不同门类重复出现，也未必代表独立传本，可能只是同一部类书内部的再利用。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-leishu-classified-books-excerpts-knowledge\">中国类书与摘录文化导读\u003C\u002Fa>讨论类书作为知识系统；本文只聚焦一个较窄的问题：它的取舍与栏目怎样影响诗歌的复原。\u003C\u002Fp>\u003Ch2>名句可能比篇界活得更久\u003C\u002Fh2>\u003Ch3>醒目的句子更容易被反复摘引\u003C\u002Fh3>\u003Cp>常被引用的句子可能逐渐代表一首诗或一位作者，其他段落却消失了。重复出现能证明某个短语流传过，却不能自动证明每个后出来源都见到完整原诗，或各家篇界相同。宇文所安关于\u003Ca href=\"https:\u002F\u002Fscholar.harvard.edu\u002Ffiles\u002Fsowen\u002Ffiles\u002Fowen_stephen_the_making_of_early_classical_poetry.pdf\">早期中国古典诗歌形成\u003C\u002Fa>的研究说明，早期诗歌的题目、分组与文本身份都是历史形成的，不能当作永恒不变的容器。\u003C\u002Fp>\u003Ch3>相同字句可以连接大小不等的文本单元\u003C\u002Fh3>\u003Cp>一种来源可能把四句当作整篇，另一种把其中两句纳入长篇，第三种只引一个短语而不题篇名。编辑者应先记录这些不同单元，再判断它们的关系。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions\">中国校勘导读\u003C\u002Fa>说明怎样比较传本异文，却不允许把短引文无声地扩写成后世完整文本的形状。\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fa7QpcfBY6SMww8O6q9rC.webp\" alt=\"冷青色概念研究场景：一位不具名读者在灯台上比较空白狭条与空白纸页\" loading=\"lazy\">\u003Cfigcaption>AI 生成的摘引见证比较概念图；并非真实人物、写本、诗稿、档案馆、机构、地点或事件记录。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>篇题、署名与语境可以各自变化\u003C\u002Fh2>\u003Ch3>引文前的标签是来源怎样描述文本的证据\u003C\u002Fh3>\u003Cp>一部书可能把某段称为“古诗”，可能写出作者或书名，也可能完全不标。这些差异都应保留。引文所带的题目或署名可能保存早期信息，也可能反映宿主文献自己的分类。本站关于\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-attribution-anonymity-disputed-authorship\">署名、佚名与作者争议\u003C\u002Fa>的文章说明怎样报告这些主张，而不把传承标签自动变成历史定论。\u003C\u002Fp>\u003Ch3>语境亡佚限制了历史叙事\u003C\u002Fh3>\u003Cp>传记旁的一句诗看起来像当事人亲口所作，但宿主文献也可能借它描绘人物、树立伦理范例，或转述旧轶事。原书既佚，我们就不能假定后出的故事仍保留第一次写作场合。稳妥的表述先说现存来源实际做了什么，再把有关说话者、年代或事件的判断明确标为推论。\u003C\u002Fp>\u003Ch2>辑佚是有记录的组合工作\u003C\u002Fh2>\u003Ch3>辑佚从分散文献中搜集遗文\u003C\u002Fh3>\u003Cp>历代学者从类书、注释、史书与总集里搜集佚书引文。Dudbridge 关于\u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter-abstract\u002F212219109\">藏书、目录与佚书\u003C\u002Fa>的论述提醒我们：许多传世文学依赖后出编辑汇集，原貌难免受损。最有用的辑本会为每条残文写清见证来源、位置、字句与不确定程度。\u003C\u002Fp>\u003Ch3>恢复一组材料，不等于无声恢复一部原书\u003C\u002Fh3>\u003Cp>残文可能重叠、互相矛盾，或共同来自同一中间来源；次序可能无从得知，标题可能由辑佚者补加，所谓缺口也未必原属同一首诗。辑者若依押韵、主题或后出全篇排列残句，应把这种次序标作复原方案，而不是让版面制造原有次序的错觉。关于\u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter\u002F514166763\">中国文学的收藏、编辑与传递\u003C\u002Fa>的研究讨论了明代以后从类书、总集重构佚作的实践，也指出插入与误补的风险。可靠辑本应让支架清楚可见。\u003C\u002Fp>\u003Ch2>一个著名个案同时显示价值与边界\u003C\u002Fh2>\u003Ch3>李清照的佚集依靠后世搜集留下轮廓\u003C\u002Fh3>\u003Cp>美国国会图书馆关于\u003Ca href=\"https:\u002F\u002Ftile.loc.gov\u002Fstorage-services\u002Fmaster\u002Fgdc\u002Fgdcebookspublic\u002F20\u002F20\u002F71\u002F92\u002F01\u002F2020719201\u002F2020719201.pdf\">李清照作品与版本\u003C\u002Fa>的研究指出，她的文集与词集已经散佚，现存作品经由引文、选本与后世汇编重新聚集。这不使复得的诗词变得虚假，却使每篇的文献路径成为版本必须交代的一部分。\u003C\u002Fp>\u003Ch3>一部现代作者全集可能包含多重历史层次\u003C\u002Fh3>\u003Cp>今本作者集可能合并早期传本、后出总集、零星引文与学者辑佚所得。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-individual-collected-works-bieji-authors-editors-transmission\">中国别集导读\u003C\u002Fa>区分作者自编、家属整理与后世编辑。读者不只应问“这首诗是否收入全集”，还应问“它通过哪一种来源进入全集”。\u003C\u002Fp>\u003Ch2>建立证据阶梯，也善用数字工具\u003C\u002Fh2>\u003Ch3>平行文本检索发现候选，不代替结论\u003C\u002Fh3>\u003Cp>计算方法能够在大规模语料中定位重复字符串。关于\u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fdsh\u002Farticle\u002F33\u002F3\u002F670\u002F4583485?guestAccessKey=ccbd22a7-0436-469e-9476-9ecc4077bff6\">早期中国文献文本复用自动识别\u003C\u002Fa>的研究显示，它可以发现引文、类文与类书材料。但字句相合本身不能判定谁引谁、是否共有一部亡佚来源，也不能证明篇界或作者。异体字、套语与编辑规范化仍需文献学判断。\u003C\u002Fp>\u003Ch3>先记录见证，再谈补成整诗\u003C\u002Fh3>\u003Cp>每条摘文都应记录宿主文献、篇章位置、年代范围、引题、引用边界、异文及同其他来源的关系；还要说明现存版本是否晚出、是否可能转引，以及哪几条所谓见证其实彼此依存。再参看\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission\">总集与选本\u003C\u002Fa>的编选史，以及\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge\">传统目录学\u003C\u002Fa>对曾存书籍的著录。最后让措辞服从证据：可以说“某书引作”“保存于”“据若干引文辑得”或“可能出自”，但不要把来源没有留下的部分无标记补全。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FFmByr10ss2lJNNmnxlUk.webp",1672,941,{"en":1218,"zh":1219},"Warm conceptual photograph of blank paper fragments displayed in a fictional conservation gallery","暖色概念照片：虚构文献保护展厅中陈列着数张不带文字的纸质残片",{"caption":1221,"creator":1222,"source_url":1223,"license_label":1224,"license_url":1225,"changes":1226},"AI-generated fictional conservation display; not a real manuscript, poem, collection, archive, 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},"Chinese Poetry in Quotations: Fragments and Lost Contexts","中国诗歌的引文与残篇：摘引、辑佚和失落语境",{"en":1234,"zh":1235},"How quotations, classified books and reconstructions preserve Chinese poetry—and how to judge fragments, shifted boundaries and lost contexts responsibly.","介绍引文、类书与辑佚怎样保存中国诗歌，并说明如何谨慎判断残句、篇界变化与失落语境。",[],{"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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