[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"site-nav-reference-en":3,"site-nav-en":4,"site-nav-en-all-arts":289,"event-categories-en":902,"site-settings":1145,"node-en-arts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions":1187,"live-course-events":1221},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 Mountain","初识武当山",{"to":239,"label":240,"label_zh":241,"n":242},"\u002Fwudang-mountain\u002Ftemples-and-sites","Wudang Mountain Temples and Sacred 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":900,"footer":901},[292],{"to":124,"label":125,"label_zh":126,"children":293},[294,492,562,720,770,832,870],{"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],{"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":134,"label":135,"label_zh":136,"children":493},[494,498,502,506,510,514,518,522,526,530,534,538,542,546,550,554,558],{"to":495,"label":496,"label_zh":497},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origins and History of Chinese Calligraphy","中国书法的源流与历史",{"to":499,"label":500,"label_zh":501},"\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":503,"label":504,"label_zh":505},"\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":507,"label":508,"label_zh":509},"\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":511,"label":512,"label_zh":513},"\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":515,"label":516,"label_zh":517},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Chinese Calligraphy Masters and Reading Paths","中国书法名家与阅读路径",{"to":519,"label":520,"label_zh":521},"\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":523,"label":524,"label_zh":525},"\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":527,"label":528,"label_zh":529},"\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":531,"label":532,"label_zh":533},"\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":535,"label":536,"label_zh":537},"\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":539,"label":540,"label_zh":541},"\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":543,"label":544,"label_zh":545},"\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":547,"label":548,"label_zh":549},"\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":551,"label":552,"label_zh":553},"\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":555,"label":556,"label_zh":557},"\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":559,"label":560,"label_zh":561},"\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":563},[564,568,572,576,580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712,716],{"to":565,"label":566,"label_zh":567},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Tea, Meditation and Taoist Practice","茶、静坐与道家修习",{"to":569,"label":570,"label_zh":571},"\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":573,"label":574,"label_zh":575},"\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":577,"label":578,"label_zh":579},"\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":581,"label":582,"label_zh":583},"\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":585,"label":586,"label_zh":587},"\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":589,"label":590,"label_zh":591},"\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":593,"label":594,"label_zh":595},"\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":597,"label":598,"label_zh":599},"\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":601,"label":602,"label_zh":603},"\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":605,"label":606,"label_zh":607},"\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":609,"label":610,"label_zh":611},"\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":613,"label":614,"label_zh":615},"\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":617,"label":618,"label_zh":619},"\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":621,"label":622,"label_zh":623},"\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":625,"label":626,"label_zh":627},"\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":629,"label":630,"label_zh":631},"\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":633,"label":634,"label_zh":635},"\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":637,"label":638,"label_zh":639},"\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":641,"label":642,"label_zh":643},"\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":645,"label":646,"label_zh":647},"\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":649,"label":650,"label_zh":651},"\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":653,"label":654,"label_zh":655},"\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":657,"label":658,"label_zh":659},"\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":661,"label":662,"label_zh":663},"\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":665,"label":666,"label_zh":667},"\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":669,"label":670,"label_zh":671},"\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":673,"label":674,"label_zh":675},"\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":677,"label":678,"label_zh":679},"\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":681,"label":682,"label_zh":683},"\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":685,"label":686,"label_zh":687},"\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":689,"label":690,"label_zh":691},"\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":693,"label":694,"label_zh":695},"\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":697,"label":698,"label_zh":699},"\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":701,"label":702,"label_zh":703},"\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":705,"label":706,"label_zh":707},"\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 Daily Life","中国历代茶税与专卖：财政记录能告诉我们什么，又不能告诉我们什么",{"to":709,"label":710,"label_zh":711},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-local-gazetteers-place-production-local-knowledge","Tea in Chinese Local Gazetteers: Place, Production and the Limits of Local Knowledge","中国地方志中的茶：产地、生产与地方知识的边界",{"to":713,"label":714,"label_zh":715},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-materia-medica-names-preparations-medical-claims","Tea in Chinese Materia Medica: Names, Preparations and the Limits of Medical Claims","中国本草中的茶：名称、制法与医药记载的边界",{"to":717,"label":718,"label_zh":719},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-buddhist-monastic-rules-ceremony-office-origin-stories","Tea in Chinese Buddhist Monastic Rules: Ceremony, Office and the Limits of Origin Stories","中国佛教清规中的茶：礼仪、职事与起源故事的边界",{"to":144,"label":145,"label_zh":146,"children":721},[722,726,730,734,738,742,746,750,754,758,762,766],{"to":723,"label":724,"label_zh":725},"\u002Farts\u002Fguqin\u002Forigins-history-of-the-guqin","A History of the Guqin: Objects, Texts and Living Music","古琴的历史：实物、文献与传习",{"to":727,"label":728,"label_zh":729},"\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin","How the Guqin Works: Strings, Body and Sound","古琴如何发声：琴弦、琴身与结构",{"to":731,"label":732,"label_zh":733},"\u002Farts\u002Fguqin\u002Fplaying-technique-and-notation","Playing the Guqin: Gesture, Notation and Interpretation","古琴怎样弹、怎样读谱：指法、减字谱与诠释",{"to":735,"label":736,"label_zh":737},"\u002Farts\u002Fguqin\u002Ffamous-melodies-and-stories","Guqin Melodies: Stories, Versions and Ways to Listen","听懂古琴名曲：故事、版本与聆听线索",{"to":739,"label":740,"label_zh":741},"\u002Farts\u002Fguqin\u002Fguqin-as-taoist-cultivation","Guqin and Daoist Cultivation: Listening, Practice and Limits","古琴与道家修养：聆听、练习与边界",{"to":743,"label":744,"label_zh":745},"\u002Farts\u002Fguqin\u002Ffurther-listening-and-study","Learning the Guqin: Listening, Sources and Finding a Teacher","怎样学古琴：聆听、资料与择师",{"to":747,"label":748,"label_zh":749},"\u002Farts\u002Fguqin\u002Fguqin-tables-playing-spaces","Guqin Tables and Playing Spaces: Support, Posture and Listening","古琴桌与弹琴空间：承托、坐姿与聆听",{"to":751,"label":752,"label_zh":753},"\u002Farts\u002Fguqin\u002Fhow-to-read-guqin-handbook-tablature-editions-dapu","How to Read a Guqin Handbook: Tablature, Editions and Dapu","如何读古琴谱：减字谱、版本与打谱",{"to":755,"label":756,"label_zh":757},"\u002Farts\u002Fguqin\u002Freading-guqin-lacquer-layers-crack-patterns-repair","Reading Guqin Lacquer: Layers, Crack Patterns and Repair","读懂古琴漆面：漆层、断纹与修缮",{"to":759,"label":760,"label_zh":761},"\u002Farts\u002Fguqin\u002Freading-guqin-inscriptions-seals-names-dates-provenance","Reading Guqin Inscriptions and Seals: Names, Dates and Provenance","读懂古琴铭款与印章：琴名、年代与流传",{"to":763,"label":764,"label_zh":765},"\u002Farts\u002Fguqin\u002Fguqin-forms-zhongni-banana-leaf-shapes","Guqin Forms: Reading Zhongni, Banana-Leaf and Other 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Painting","山水画：怎样读懂中国山水",{"to":785,"label":786,"label_zh":787},"\u002Farts\u002Fpainting\u002Fbirds-flowers-four-gentlemen","Birds, Flowers and the Four Gentlemen in Chinese Painting","中国画中的花鸟与四君子",{"to":789,"label":790,"label_zh":791},"\u002Farts\u002Fpainting\u002Fpainting-as-taoist-cultivation","Painting and Taoist Cultivation: Images, Ideas and Practice","绘画与道家修养：图像、观念与实践",{"to":793,"label":794,"label_zh":795},"\u002Farts\u002Fpainting\u002Fgreat-masters-further-study","Chinese Painting Masters: A Guided Path","中国画名家与进阶研习",{"to":797,"label":798,"label_zh":799},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-handscroll","How to Read a Chinese Handscroll: Sequence, Colophons and Seals","怎样观看中国手卷：展开顺序、题跋与印章",{"to":801,"label":802,"label_zh":803},"\u002Farts\u002Fpainting\u002Fchinese-fan-painting","Chinese Fan Painting: Shape, Brushwork and the Art of the Small Format","中国扇面书画：形制、笔墨与方寸之美",{"to":805,"label":806,"label_zh":807},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-painting-album","How to Read a Chinese Painting Album: Leaves, Sequence and Intimate Viewing","如何阅读中国画册页：开页、次序与案头观看",{"to":809,"label":810,"label_zh":811},"\u002Farts\u002Fpainting\u002Fchinese-scholars-rocks","Chinese Scholars’ Rocks: Stone, Display and Imagined Landscapes","中国文人赏石：石质、陈设与想象山水",{"to":813,"label":814,"label_zh":815},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-hanging-scroll","How to Read a Chinese Hanging Scroll: Vertical Space, Mounting and Display","如何阅读中国立轴：纵向空间、装裱与陈设",{"to":817,"label":818,"label_zh":819},"\u002Farts\u002Fpainting\u002Fchinese-screens-space-painting","Chinese Screens: Space, Painting and the Art of the Fold","中国屏风：空间、图像与开合之艺",{"to":821,"label":822,"label_zh":823},"\u002Farts\u002Fpainting\u002Fmounting-chinese-painting","Mounting Chinese Painting: Silk Borders, Backing Papers and the Life of a Scroll","中国画装裱：绫边、托纸与卷轴的生命",{"to":825,"label":826,"label_zh":827},"\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":829,"label":830,"label_zh":831},"\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":833},[834,838,842,846,850,854,858,862,866],{"to":835,"label":836,"label_zh":837},"\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":839,"label":840,"label_zh":841},"\u002Farts\u002Fincense\u002Faromatic-materials-fragrant-woods","Aromatic Materials: Woods, Resins and Responsible Sourcing","香材指南：香木、树脂与负责任的来源",{"to":843,"label":844,"label_zh":845},"\u002Farts\u002Fincense\u002Fforms-and-art-of-appreciation","Incense Forms and the Art of Appreciation","香的形态与品香方法",{"to":847,"label":848,"label_zh":849},"\u002Farts\u002Fincense\u002Fincense-in-ritual-and-temple-life","Incense in Daoist Ritual and Temple Life","香在道教科仪与宫观生活中",{"to":851,"label":852,"label_zh":853},"\u002Farts\u002Fincense\u002Fincense-meditation-taoist-practice","Incense, Meditation and Taoist Practice","香、静坐与道家修习",{"to":855,"label":856,"label_zh":857},"\u002Farts\u002Fincense\u002Ffurther-reading-and-practice","Learning Chinese Incense: Reading and Practice","学习中国香文化：阅读与实践",{"to":859,"label":860,"label_zh":861},"\u002Farts\u002Fincense\u002Fchinese-incense-burners","Chinese Incense Burners: Bronze, Ceramic, Form and Context","中国香炉：青铜、陶瓷、形制与使用语境",{"to":863,"label":864,"label_zh":865},"\u002Farts\u002Fincense\u002Fchinese-incense-seals-fragrant-time","Chinese Incense Seals: Ash, Patterns and Fragrant Time","中国香篆：香灰、篆纹与芬芳计时",{"to":867,"label":868,"label_zh":869},"\u002Farts\u002Fincense\u002Fchinese-incense-sets-burner-box-vase-tools","Chinese Incense Sets: Burner, Box, Vase and Tools","中国香具三式：炉、盒、瓶与匙箸",{"to":158,"label":159,"label_zh":160,"children":871},[872,876,880,884,888,892,896],{"to":873,"label":874,"label_zh":875},"\u002Farts\u002Fflower-arrangement\u002Forigins-history-of-floral-art","A History of Chinese Flower Arrangement: Vessels, Pictures and Voices","中国插花史：器物、图像与文字中的花事",{"to":877,"label":878,"label_zh":879},"\u002Farts\u002Fflower-arrangement\u002Fprinciples-of-flower-arrangement","Chinese Flower Arrangement: Line, Balance and Ways of Looking","中国插花构图：线条、平衡与观看方法",{"to":881,"label":882,"label_zh":883},"\u002Farts\u002Fflower-arrangement\u002Fvessels-tools-and-composition","Choosing Flower Vessels and Tools: Form, Support and Care","选择花器与工具：形制、支撑和养护",{"to":885,"label":886,"label_zh":887},"\u002Farts\u002Fflower-arrangement\u002Fseasonal-flowers-and-symbolism","Seasonal Flowers and Symbolism: How to Read Context","时令花材与象征：怎样结合语境来读",{"to":889,"label":890,"label_zh":891},"\u002Farts\u002Fflower-arrangement\u002Fflower-arrangement-as-cultivation","Flower Arrangement as Cultivation: Attention, Change and Limits","插花与修养：专注、变化与界限",{"to":893,"label":894,"label_zh":895},"\u002Farts\u002Fflower-arrangement\u002Ffurther-reading-and-practice","Further Reading and Practice: Sources, Museums and a First Month","延伸阅读与练习：史料、博物馆与第一个月",{"to":897,"label":898,"label_zh":899},"\u002Farts\u002Fflower-arrangement\u002Fchinese-flower-baskets-weaving-painting-vessels","Chinese Flower Baskets: Weaving, Painting and the Vessel","中国花篮：编织、绘画与器物",[],[],{"data":903},[904,940,963,982,1003,1022,1042,1060,1081,1104,1126],{"id":38,"uuid":905,"slug":906,"available_locales":907,"name":911,"description":914,"body":916,"path":919,"images":920,"image_urls":925,"hero_image":3,"hero_image_url":3,"seo_title":930,"seo_description":933,"sort_order":935,"is_active":936,"status":937,"created_at":938,"updated_at":939},"f1a30881-20c6-407b-b546-669e839a178a","feng-shui-learning",[908,909,910],"en","zh","fr",{"en":912,"zh":913},"Feng Shui Learning","风水课程",{"en":915,"zh":3},"Study feng shui as a historical Chinese tradition of interpreting orientation, form and environment—with clear limits on predictive claims.",{"en":917,"zh":918},"\u003Ch2>\u003Cem>Feng shui 風水 developed through multiple schools, texts and professional traditions. 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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":957,"zh":958},"Internal Arts & Wellness Events","内家功法与养生活动",{"en":960,"zh":961},"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":964,"uuid":965,"slug":966,"available_locales":967,"name":968,"description":971,"body":972,"path":973,"images":974,"image_urls":975,"hero_image":3,"hero_image_url":3,"seo_title":976,"seo_description":978,"sort_order":935,"is_active":936,"status":937,"created_at":981,"updated_at":939},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[908,909,910],{"en":969,"zh":970},"Face Reading Learning","面相课程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":977},"Chinese Face Reading Classes and Workshops",{"en":979,"zh":980},"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":983,"uuid":984,"slug":985,"available_locales":986,"name":987,"description":990,"body":992,"path":995,"images":996,"image_urls":997,"hero_image":3,"hero_image_url":3,"seo_title":998,"seo_description":1001,"sort_order":38,"is_active":936,"status":937,"created_at":938,"updated_at":939},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[908,909,910],{"en":988,"zh":989},"Zi Wei Dou Shu Learning","紫微斗数课程",{"en":991,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":993,"zh":994},"\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":999,"zh":1000},"Zi Wei Dou Shu (Purple Star Astrology) Classes","紫微斗数课程：命盘、宫位与星曜入门",{"en":991,"zh":1002},"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":1004,"slug":1005,"available_locales":1006,"name":1007,"description":1010,"body":1011,"path":1012,"images":1013,"image_urls":1014,"hero_image":3,"hero_image_url":3,"seo_title":1015,"seo_description":1018,"sort_order":38,"is_active":936,"status":937,"created_at":1021,"updated_at":939},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[908,909,910],{"en":1008,"zh":1009},"Tea Arts","茶艺",[],[],"\u002Fevents\u002Ftea-arts",[],[],{"en":1016,"zh":1017},"Chinese Tea Art Classes and Workshops","茶艺课程与工作坊",{"en":1019,"zh":1020},"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":1023,"slug":1024,"available_locales":1025,"name":1026,"description":1029,"body":1031,"path":1034,"images":1035,"image_urls":1036,"hero_image":3,"hero_image_url":3,"seo_title":1037,"seo_description":1040,"sort_order":983,"is_active":936,"status":937,"created_at":938,"updated_at":939},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[908,909,910],{"en":1027,"zh":1028},"Ba Zi Learning","八字课程",{"en":1030,"zh":3},"Study the Four Pillars as a traditional system of stems, branches and five-phase correspondence, with history and limitations made explicit.",{"en":1032,"zh":1033},"\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":1038,"zh":1039},"BaZi (Four Pillars) Classes and Courses","八字课程：四柱、天干地支与五行入门",{"en":1030,"zh":1041},"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":1043,"slug":1044,"available_locales":1045,"name":1046,"description":1049,"body":1050,"path":1051,"images":1052,"image_urls":1053,"hero_image":3,"hero_image_url":3,"seo_title":1054,"seo_description":1057,"sort_order":983,"is_active":936,"status":937,"created_at":1021,"updated_at":939},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[908,909,910],{"en":1047,"zh":1048},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":1055,"zh":1056},"Chinese Incense Culture Workshops","香文化活动与工作坊",{"en":1058,"zh":1059},"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":1061,"uuid":1062,"slug":1063,"available_locales":1064,"name":1065,"description":1068,"body":1071,"path":1074,"images":1075,"image_urls":1076,"hero_image":3,"hero_image_url":3,"seo_title":1077,"seo_description":1079,"sort_order":983,"is_active":936,"status":937,"created_at":1080,"updated_at":939},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[908,909,910],{"en":1066,"zh":1067},"I Ching Learning","易经课程",{"en":1069,"zh":1070},"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":1072,"zh":1073},"\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":1078,"zh":1067},"I Ching Classes and Courses",{"en":1069,"zh":1070},"2026-09-08T00:15:35.000000Z",{"id":21,"uuid":1082,"slug":1083,"available_locales":1084,"name":1085,"description":1088,"body":1091,"path":1094,"images":1095,"image_urls":1096,"hero_image":3,"hero_image_url":3,"seo_title":1097,"seo_description":1100,"sort_order":242,"is_active":936,"status":937,"created_at":1103,"updated_at":939},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[908,909,910],{"en":1086,"zh":1087},"Traditional Arts & Crafts","传统艺术与手作",{"en":1089,"zh":1090},"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":1092,"zh":1093},"\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":1098,"zh":1099},"Traditional Arts & Crafts Events","传统艺术与手作活动",{"en":1101,"zh":1102},"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":1105,"slug":1106,"available_locales":1107,"name":1108,"description":1111,"body":1114,"path":1117,"images":1118,"image_urls":1119,"hero_image":3,"hero_image_url":3,"seo_title":1120,"seo_description":1122,"sort_order":247,"is_active":936,"status":937,"created_at":1125,"updated_at":939},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[908,909,910],{"en":1109,"zh":1110},"Wudang Community","武当社群活动",{"en":1112,"zh":1113},"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":1115,"zh":1116},"\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":1121,"zh":1110},"Wudang Community Events",{"en":1123,"zh":1124},"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":1127,"slug":1128,"available_locales":1129,"name":1130,"description":1133,"body":1134,"path":1135,"images":1136,"image_urls":1137,"hero_image":3,"hero_image_url":3,"seo_title":1138,"seo_description":1141,"sort_order":69,"is_active":936,"status":937,"created_at":1144,"updated_at":939},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[908,909,910],{"en":1131,"zh":1132},"Wudang Journeys & Retreats","武当旅修与行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":1139,"zh":1140},"Wudang Mountain Retreats and Guided Journeys","武当山旅修与静修行程",{"en":1142,"zh":1143},"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":1146},{"hero_type":1147,"hero_image":1148,"hero_image_alt":1149,"hero_youtube_id":1150,"hero_content_on":936,"hero_heading":1151,"hero_subheading":1152,"hero_text":1153,"hero_subheading_zh":1154,"hero_text_zh":1155,"hero_buttons":1156,"home_seo":1162,"page_layout":1168,"shop_enabled":1169,"contact":1170,"journey":1186},"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。",[1157,1159],{"label":1158,"link":278},"Start Your Wudang Journey",{"label":1160,"link":1161},"View Events & Courses","\u002Fevents",{"title":1163,"description":1165},{"en":1164,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":1166,"zh":1167},"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":1171,"has_any":936,"text":1179},{"email":1172,"whatsapp":1173,"wechat_id":1174,"wechat_qr_url":1175,"instagram":1176,"instagram_handle":1177,"facebook":1178,"facebook_handle":1177},"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":1180,"china_heading_zh":1181,"china_company_en":1182,"china_company_zh":1183,"china_address_en":1184,"china_address_zh":1185},"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":936},{"data":1188},{"to":425,"type":1189,"available_locales":1190,"is_content_page":936,"title":1191,"subtitle":1192,"body":1195,"hero_image_url":1198,"hero_width":1199,"hero_height":1200,"hero_image_alt":1201,"hero_image_decorative":1169,"hero_credit":1204,"hero_alt":1211,"hero_style":1212,"card_layout":1213,"link_type":3,"link_ref":3,"seo_title":1214,"seo_description":1217,"children":1220},"page",[908,909,910],{"en":426,"zh":427},{"en":1193,"zh":1194},"Compare witnesses, explain variants, read an apparatus and distinguish attested correction from conjectural emendation.","从识别传本、解释异文到阅读校记，并区分有本可据的订正与无本理校。",{"en":1196,"zh":1197},"\u003Ch2>A text survives through witnesses, not as an abstraction\u003C\u002Fh2>\u003Ch3>Work, edition and copy are different levels\u003C\u002Fh3>\u003Cp>Textual collation—\u003Cem>jiaokan\u003C\u002Fem> 校勘—begins by comparing witnesses: manuscripts, impressions, quotations or other material carriers of wording. A named work is not the same thing as an edition, and an edition is not the same as one physical copy. Missing leaves, repairs, handwritten changes and rebinding may distinguish two copies of the same printing. Start with the material clues in our guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-thread-bound-books-folding-stitching-reading\">Chinese thread-bound books\u003C\u002Fa>, then describe exactly what is being compared.\u003C\u002Fp>\u003Ch3>A variant is evidence before it is an error\u003C\u002Fh3>\u003Cp>A different graph, phrase, order or omission is a variant reading. It may arise through copying or cutting, but it may also preserve an alternate formulation, editorial clarification or distinct textual state. Edward Shaughnessy's \u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fjournals\u002Fearly-china\u002Farticle\u002Fvarieties-of-textual-variants-evidence-from-the-tsinghua-bamboostrip-ming-xun-manuscript\u002FF5E63AEC3746BD8BC2CE99253825911A\">study of variants in the Tsinghua \u003Cem>Ming xun\u003C\u002Fem> manuscript\u003C\u002Fa> classifies several mechanisms while showing why comparison need not reduce every difference to corruption. Record the difference before deciding what it means.\u003C\u002Fp>\u003Ch2>Variants arise through many paths\u003C\u002Fh2>\u003Ch3>Graphic similarity, sound and layout can redirect a reading\u003C\u002Fh3>\u003Cp>Characters can be confused because their written forms resemble one another, because one graph is used for a similar sound, or because a line, column or repeated phrase invites omission or duplication. Early manuscripts also preserve orthographic practices that do not map neatly onto later standardized characters. The histories of \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun\">dictionaries and rhyme books\u003C\u002Fa> help explain why graph, pronunciation and meaning must be considered together rather than corrected by visual resemblance alone.\u003C\u002Fp>\u003Ch3>Damage, normalization and interpretation also change texts\u003C\u002Fh3>\u003Cp>A damaged leaf may invite completion; taboo avoidance, house style or a later standard can prompt substitution; an editor may smooth difficult grammar or harmonize a parallel passage. Matthias Richter's \u003Ca href=\"https:\u002F\u002Ffairbank.fas.harvard.edu\u002Fevents\u002Fchina-humanities-seminar-featuring-matthias-richter-early-chinese-texts-between-oral-instruction-and-written-literature\u002F\">Harvard seminar on early Chinese texts\u003C\u002Fa> cautions that features often treated as accidents may sometimes be intentional. The cause of a variant is therefore a hypothesis to argue, not a label to apply automatically.\u003C\u002Fp>\u003Ch2>Collation begins by identifying the witnesses\u003C\u002Fh2>\u003Ch3>Describe provenance before comparing words\u003C\u002Fh3>\u003Cp>Give each witness a clear siglum and record date or date range, material form, edition statement, provenance, completeness, page or folio system, paratexts and later interventions. A catalogue title alone is not enough: the guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge\">Chinese bibliographies\u003C\u002Fa> distinguishes title, \u003Cem>juan\u003C\u002Fem>, edition and copy. Such description makes the comparison repeatable and prevents an attractive digital image from floating free of its source object.\u003C\u002Fp>\u003Ch3>A base text is an operational choice\u003C\u002Fh3>\u003Cp>The base text supplies the line to which other readings are attached; it is not automatically the oldest, most famous or ‘best’ witness. It may be chosen for completeness, accessibility, historical importance or because a project studies that textual state. State the reason and preserve the base reading even when the edited text adopts another one. Harvard's guide to \u003Ca href=\"https:\u002F\u002Fchaucer.fas.harvard.edu\u002Fhow-read-variants\">reading a variant apparatus\u003C\u002Fa> shows how the reading text and recorded alternatives work together.\u003C\u002Fp>\u003Ch2>Compare readings in context\u003C\u002Fh2>\u003Ch3>One character belongs to a sentence and a textual system\u003C\u002Fh3>\u003Cp>Compare the whole phrase, grammar, argument, rhyme, parallel construction, commentary and recurrent vocabulary. A locally smooth reading may be secondary smoothing; a difficult reading may be early, or simply mistaken. Quotations and linguistic reference works can help, but they must be dated and evaluated as witnesses in their own right. Collation is strongest when several independent kinds of evidence converge.\u003C\u002Fp>\u003Ch3>Older is valuable, not automatically decisive\u003C\u002Fh3>\u003Cp>An early manuscript may preserve an early state while a later copy preserves a sound reading lost elsewhere. A recent print may descend from an old source, and an old witness may contain recent corrections or local errors. Xiaofei Tian's \u003Ca href=\"https:\u002F\u002Fealc.fas.harvard.edu\u002Fpublication\u002Ftao-yuanming-and-manuscript-culture-record-dusty-table\">study of Tao Yuanming and manuscript culture\u003C\u002Fa> emphasizes the fluidity of title, content and authorship across medieval transmission. Date matters, but relationship and transformation matter too.\u003C\u002Fp>\u003Ch2>An apparatus separates observation from judgment\u003C\u002Fh2>\u003Ch3>Record who reads what, and where\u003C\u002Fh3>\u003Cp>A compact collation note should identify the location, the adopted or base reading, each relevant alternative and the witness that carries it. Consistent sigla, punctuation and an explained convention matter more than decorative complexity. Harvard's \u003Ca href=\"https:\u002F\u002Fchaucer.fas.harvard.edu\u002Fhow-read-variants\">introduction to variant notation\u003C\u002Fa> demonstrates how even changes often called non-substantive can illuminate transmission, scribal habits and punctuation.\u003C\u002Fp>\u003Ch3>Correction and conjectural emendation are not the same\u003C\u002Fh3>\u003Cp>Selecting a reading attested by a witness is different from proposing an unattested correction. Conjectural emendation can be necessary when every surviving reading is defective, but it should be marked openly and justified by language, context, parallel passages and a plausible path of corruption. David B. Honey's \u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fjournals\u002Fearly-china\u002Farticle\u002Fphilology-filiation-and-bibliography-in-the-textual-criticism-of-the-huainanzi-a-review-article\u002FDC6AA631CBB2BC3DC27460FDCE8E086B\">review of \u003Cem>Huainanzi\u003C\u002Fem> textual criticism\u003C\u002Fa> also summarizes limits of simple family trees when witnesses are contaminated, authorial variants remain possible or no single definitive text is assumed.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fb4CdWkwm3l6x5C5UXkRI.webp\" alt=\"Warm conceptual close-up of three layered blank paper folios with different geometric windows, a magnifier, glass weights and a bone folder on a lightbox\">\u003Cfigcaption>AI-generated conceptual still life about comparing variants; no real manuscript, edition, apparatus, artifact or research session is shown.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>Paratexts and quotations are evidence with limits\u003C\u002Fh2>\u003Ch3>Prefaces, colophons and tables of contents map editorial acts\u003C\u002Fh3>\u003Cp>A preface may name a base copy or editorial aim; a colophon may record comparison, correction or ownership; a table of contents can preserve an order lost in the body. Yet each statement has an author and occasion. Read these materials with the guide to Chinese \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers\">prefaces and afterwords\u003C\u002Fa> rather than treating them as neutral laboratory logs.\u003C\u002Fp>\u003Ch3>Quotations and excerpts can preserve lost readings\u003C\u002Fh3>\u003Cp>A quotation in commentary, anthology or encyclopedic \u003Cem>leishu\u003C\u002Fem> may preserve wording absent from surviving standalone books. It may also shorten, adapt, normalize or misattribute its source. Our guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-leishu-classified-books-excerpts-knowledge\">classified books\u003C\u002Fa> explains why an excerpt proves that wording circulated somewhere in its source chain, not that it reconstructs a whole lost work or its original order.\u003C\u002Fp>\u003Ch2>Print and digital tools change the scale, not the duty of checking\u003C\u002Fh2>\u003Ch3>A recut edition may look the same while carrying new readings\u003C\u002Fh3>\u003Cp>Later printers could reuse a layout, recut blocks, replace damaged leaves or combine sheets from different impressions. Page resemblance is therefore a clue, not proof of identity. The article on \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading\">illustrated Chinese books\u003C\u002Fa> shows how blocks, recutting and impressions interact, while the history of \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-private-libraries-cangshulou-collectors-catalogues-transmission\">private libraries\u003C\u002Fa> helps trace ownership and handwritten intervention.\u003C\u002Fp>\u003Ch3>Searchable text is an aid, not the witness\u003C\u002Fh3>\u003Cp>The \u003Ca href=\"https:\u002F\u002Fctext.org\u002Fintroduction\">Chinese Text Project\u003C\u002Fa> links transcriptions to scanned sources where available, and its \u003Ca href=\"https:\u002F\u002Fctext.org\u002Finstructions\u002Focr\">OCR instructions\u003C\u002Fa> explicitly describe automatically created text from transmitted copies. Search and OCR can locate parallels or candidate differences; they cannot replace checking the scan, layout and catalogued source. Save stable identifiers, images and access dates alongside every transcription used.\u003C\u002Fp>\u003Ch2>Use eight questions before adopting a reading\u003C\u002Fh2>\u003Ch3>Make the chain of reasoning visible\u003C\u002Fh3>\u003Cp>Ask: \u003Cstrong>1)\u003C\u002Fstrong> what physical or quoted witness is this; \u003Cstrong>2)\u003C\u002Fstrong> what edition and copy does it belong to; \u003Cstrong>3)\u003C\u002Fstrong> how is it related to the others; \u003Cstrong>4)\u003C\u002Fstrong> what exactly varies; \u003Cstrong>5)\u003C\u002Fstrong> could layout, sound, graph form or editing explain it; \u003Cstrong>6)\u003C\u002Fstrong> what contextual evidence bears on the choice; \u003Cstrong>7)\u003C\u002Fstrong> is the chosen reading attested or conjectural; and \u003Cstrong>8)\u003C\u002Fstrong> how will rejected readings remain visible?\u003C\u002Fp>\u003Ch3>A good edition preserves disagreement instead of hiding it\u003C\u002Fh3>\u003Cp>The goal is not always to recover one authorial original. It may be to document several textual states, explain an editorial history or offer a readable text with a transparent apparatus. Harvard's \u003Ca href=\"https:\u002F\u002Floch.hsites.harvard.edu\u002Fvolumes\">Library of Chinese Humanities\u003C\u002Fa> provides examples of scholarly editions and translations that note textual variants. This method connects the histories of \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-individual-collected-works-bieji-authors-editors-transmission\">individual collections\u003C\u002Fa> to the wider field of \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\">Chinese Poetry and Literature\u003C\u002Fa> without silently turning editorial judgment into fact.\u003C\u002Fp>","\u003Ch2>文本通过传本留存，并非抽象不变\u003C\u002Fh2>\u003Ch3>作品、版本与复本属于不同层次\u003C\u002Fh3>\u003Cp>校勘从比较见本开始：写本、印本、引文以及其他承载文字的材料，都可能成为文本见证。作品名称不等于某一版本，版本也不等于某一部具体复本。同版之书仍可能因缺叶、修补、批改或改装而不同。可先参看本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-thread-bound-books-folding-stitching-reading\">中国线装书阅读指南\u003C\u002Fa>，记录材料特征，再说明究竟在比较什么。\u003C\u002Fp>\u003Ch3>异文首先是证据，不必先判为错误\u003C\u002Fh3>\u003Cp>不同字形、词句、次序、增删都可构成异文。它可能来自抄写或刻印，也可能保存另一种表述、编辑解释或独立的文本状态。Edward Shaughnessy 关于\u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fjournals\u002Fearly-china\u002Farticle\u002Fvarieties-of-textual-variants-evidence-from-the-tsinghua-bamboostrip-ming-xun-manuscript\u002FF5E63AEC3746BD8BC2CE99253825911A\">清华简《命训》异文类型的研究\u003C\u002Fa>区分多种形成机制，也说明不能把一切差异都压成讹误。应先如实记录，再解释原因。\u003C\u002Fp>\u003Ch2>异文从多条路径产生\u003C\u002Fh2>\u003Ch3>形近、音近与版面都可能改变读法\u003C\u002Fh3>\u003Cp>字形相似会造成误认，同音或近音可能促成借字，重文、行列和换页也容易引发脱漏或重复。早期写本还保存了不能直接套用后世规范字的书写习惯。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun\">字书与韵书导读\u003C\u002Fa>有助于把字形、读音和意义放在一起考虑，而不是只凭外形去“改正”。\u003C\u002Fp>\u003Ch3>残损、规范化与解释同样会改动文本\u003C\u002Fh3>\u003Cp>残叶会诱使后人补足，避讳、书坊体例或后出的字形规范会促成替换，编者也可能把难解句子改顺，或拿平行段落来统一正文。Matthias Richter 在\u003Ca href=\"https:\u002F\u002Ffairbank.fas.harvard.edu\u002Fevents\u002Fchina-humanities-seminar-featuring-matthias-richter-early-chinese-texts-between-oral-instruction-and-written-literature\u002F\">哈佛关于早期中国文本的讲座\u003C\u002Fa>中提醒，有些常被当作传抄事故的现象也可能出于有意写作。因此，“异文怎样产生”始终需要论证。\u003C\u002Fp>\u003Ch2>校勘先要识别传本\u003C\u002Fh2>\u003Ch3>比较文字以前先写清来源\u003C\u002Fh3>\u003Cp>给每一见本设置简明代号，并记录年代、形制、版本项、来源、完残、页码或叶码系统、序跋以及后人改动。仅有目录题名并不够；本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge\">中国目录学导读\u003C\u002Fa>已经区分题名、卷数、版本与复本。这样的描述让他人能够重复核查，也避免数字图像脱离其原件。\u003C\u002Fp>\u003Ch3>底本是工作选择，不是自动的最佳本\u003C\u002Fh3>\u003Cp>底本提供校异所依附的正文，并不必然最古、最著名或“最好”。研究者可能因为完整、易得、历史意义，或为了研究某一文本状态而选它。应公开理由；即使整理本采用别本读法，也要保存底本文字。哈佛的\u003Ca href=\"https:\u002F\u002Fchaucer.fas.harvard.edu\u002Fhow-read-variants\">异文表阅读指南\u003C\u002Fa>说明正文与异文记录怎样彼此配合。\u003C\u002Fp>\u003Ch2>异文要放回语境比较\u003C\u002Fh2>\u003Ch3>一个字属于整句，也属于整套文本\u003C\u002Fh3>\u003Cp>比较时应同时查看词组、语法、论证、韵律、对偶、注释与反复出现的用语。局部最顺的读法可能是后人润色；难读之处可能较早，也可能只是错误。引文和工具书可以旁证，但也须标明年代，并作为独立见本评估。多种彼此独立的证据相合时，判断才更稳。\u003C\u002Fp>\u003Ch3>较早很重要，却不自动胜出\u003C\u002Fh3>\u003Cp>早期写本可能保存早期状态，后出的传本也可能保存别处已经丢失的可靠文字。晚印本可能出自古本，古本本身也会有晚出的批改或局部讹误。田晓菲关于\u003Ca href=\"https:\u002F\u002Fealc.fas.harvard.edu\u002Fpublication\u002Ftao-yuanming-and-manuscript-culture-record-dusty-table\">陶渊明与中古写本文化的研究\u003C\u002Fa>强调题名、内容与作者归属在传承中的流动。年代重要，传承关系与改造过程同样重要。\u003C\u002Fp>\u003Ch2>校记要把观察与判断分开\u003C\u002Fh2>\u003Ch3>清楚记录何本、何处、作何读\u003C\u002Fh3>\u003Cp>一条简明校记应标明位置、底本或采用的正文、重要异文，以及各异文所属传本。稳定的代号、标点与体例说明，比繁复装饰更重要。哈佛的\u003Ca href=\"https:\u002F\u002Fchaucer.fas.harvard.edu\u002Fhow-read-variants\">异文符号入门\u003C\u002Fa>也展示：即使常被称为“非实质性”的差异，仍可能揭示传承、抄写习惯与标点史。\u003C\u002Fp>\u003Ch3>择取有本可据的读法，不等于无本改字\u003C\u002Fh3>\u003Cp>采用某个传本已有的文字，与提出所有现存传本都没有的校改，并不是一回事。各本皆误时，理校可以必要，但必须明确标记，并以语言、上下文、平行文句和可能的致误过程说明理由。David B. Honey 的\u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fjournals\u002Fearly-china\u002Farticle\u002Fphilology-filiation-and-bibliography-in-the-textual-criticism-of-the-huainanzi-a-review-article\u002FDC6AA631CBB2BC3DC27460FDCE8E086B\">《淮南子》校勘述评\u003C\u002Fa>还总结：传本混合、作者自改或不存在唯一“定本”时，简单谱系树会遇到限制。\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fb4CdWkwm3l6x5C5UXkRI.webp\" alt=\"暖色概念特写：三张叠放的空白纸叶各有不同几何开口，旁置放大镜、玻璃压纸与骨刀，底部为透光台\">\u003Cfigcaption>AI 生成的异文比较概念静物；并非真实写本、版本、校记、文物或研究现场。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>序跋与引文都是有限的证据\u003C\u002Fh2>\u003Ch3>序、跋与目录留下编辑行为\u003C\u002Fh3>\u003Cp>序可能说明底本或整理目的，跋可能记录校读、订正与递藏，目录有时还保存正文中已经混乱的篇次。但这些话都有作者与写作场合，应与本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers\">中国序跋导读\u003C\u002Fa>互参，不能把它们当成完全中性的实验记录。\u003C\u002Fp>\u003Ch3>引文与类书片段可能保存亡佚异文\u003C\u002Fh3>\u003Cp>注释、选本或类书中的引文，可能保存今存单行本没有的文字，也可能删节、改写、规范化或误署出处。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-leishu-classified-books-excerpts-knowledge\">中国类书导读\u003C\u002Fa>说明：辑得片段能证明某种文字曾在其来源链中流传，却不会自动恢复亡书全貌和原来次序。\u003C\u002Fp>\u003Ch2>印刷与数字工具扩大规模，不免除核查\u003C\u002Fh2>\u003Ch3>重刻本版式相似，文字仍可能改变\u003C\u002Fh3>\u003Cp>后世书坊可以沿用旧版式而重刻，换补损版，或把不同印次的书叶装在一起。因此，页面相似只是线索，不足以证明同版。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading\">中国古籍插图导读\u003C\u002Fa>说明版片、重刻与印次的关系，\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-private-libraries-cangshulou-collectors-catalogues-transmission\">藏书楼导读\u003C\u002Fa>则帮助追踪印记、递藏与手写干预。\u003C\u002Fp>\u003Ch3>可检索文字是工具，不是传本本身\u003C\u002Fh3>\u003Cp>\u003Ca href=\"https:\u002F\u002Fctext.org\u002Fintroduction\">中国哲学书电子化计划\u003C\u002Fa>在条件允许时把录文与扫描影像相连，其\u003Ca href=\"https:\u002F\u002Fctext.org\u002Finstructions\u002Focr\">OCR 说明\u003C\u002Fa>也明确指出，某些文本由传世本扫描后自动识别而成。检索与 OCR 可以寻找平行句或候选异文，却不能代替核看影像、版面和书目来源。引用时应同时保存稳定标识、影像位置与访问日期。\u003C\u002Fp>\u003Ch2>采用一种读法以前先问八个问题\u003C\u002Fh2>\u003Ch3>让推理链可以核验\u003C\u002Fh3>\u003Cp>依次问：\u003Cstrong>一\u003C\u002Fstrong>、这是什么实物或引文见本；\u003Cstrong>二\u003C\u002Fstrong>、属于何版何部；\u003Cstrong>三\u003C\u002Fstrong>、与其他见本关系如何；\u003Cstrong>四\u003C\u002Fstrong>、具体差异是什么；\u003Cstrong>五\u003C\u002Fstrong>、版面、音、字形或编辑能否解释；\u003Cstrong>六\u003C\u002Fstrong>、上下文有哪些旁证；\u003Cstrong>七\u003C\u002Fstrong>、采用的读法有本可据还是出于理校；\u003Cstrong>八\u003C\u002Fstrong>、未采用的异文怎样继续向读者可见？\u003C\u002Fp>\u003Ch3>好的整理本保存分歧，而不是遮蔽分歧\u003C\u002Fh3>\u003Cp>目标未必总是恢复一个“作者原本”，也可以记录多个文本状态、解释编辑史，或提供带透明校记的可读正文。哈佛的\u003Ca href=\"https:\u002F\u002Floch.hsites.harvard.edu\u002Fvolumes\">中国人文典籍丛书\u003C\u002Fa>提供原文、译文与异文说明并置的学术实例。这样，本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-individual-collected-works-bieji-authors-editors-transmission\">别集导读\u003C\u002Fa>也能与更广阔的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\">中国诗歌与文学\u003C\u002Fa>连接，而不会把编者判断悄悄写成事实。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FNYSdep3ztNm0wqrkO2P5.webp",1536,1024,{"en":1202,"zh":1203},"Wide conceptual photograph of two anonymous contemporary researchers comparing blank paper leaves and stitched facsimiles on a light table at blue hour","宽幅概念照片：蓝调暮色中，两位不具名的当代研究者在透光台上比较空白纸叶与线装书样",{"caption":1205,"creator":1206,"source_url":1207,"license_label":1208,"license_url":1209,"changes":1210},"AI-generated conceptual collation scene; not a real library, manuscript, edition, scholar, research session, place or 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":1202,"zh":1203},"banner","list",{"en":1215,"zh":1216},"Chinese Textual Collation (Jiaokan): Variants and Witnesses","中国校勘导读：异文、传本与校记",{"en":1218,"zh":1219},"A source-led guide to Chinese jiaokan: identify witnesses, compare variants, choose a base text, read an apparatus and mark conjectural emendation.","中国校勘入门：识别传本、比较异文、选择底本、阅读校记，并明确标示理校。",[],{"data":1222},[1223,1299,1400,1491],{"id":1224,"slug":1225,"available_locales":1226,"path":1227,"title":1228,"venue":1231,"hero_image_url":3,"card_image_url":1234,"card_landscape_url":1235,"lifecycle":1236,"session_mode":1237,"sessions":1238,"next_session":1298},15601,"liu-yao-beginner-course",[908,909,910],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":1229,"zh":1230},"Liu Yao Beginner 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