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la lecture",{"to":479,"label":480},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-shihua-poetry-talks-notes-anecdotes-criticism","Lire les shihua chinois : critique, notes et anecdotes sur la poésie",{"to":482,"label":483},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers","Lire les préfaces et postfaces chinoises : comment les livres encadrent textes et lecteurs",{"to":485,"label":486},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-biji-brush-notes-notebooks-miscellanies","Lire les biji chinois : comment des fragments deviennent savoir et littérature",{"to":488,"label":489},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-leishu-classified-books-excerpts-knowledge","Lire les leishu chinois : comment le savoir fut extrait et classé",{"to":491,"label":492},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun","Dictionnaires et livres de rimes chinois : classer les caractères, les sens et les sons",{"to":494,"label":495},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-primers-sanzijing-baijiaxing-qianziwen-literacy","Manuels élémentaires chinois : lire les Trois caractères, les Cent Noms et les Mille caractères",{"to":497,"label":498},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-texts-punctuation-reading-marks-sentence-division-modern-editions","Comment ponctuer les textes chinois : marques de lecture, découpage et éditions modernes",{"to":500,"label":501},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-letters-chidu-writing-address-correspondence-calligraphy","Les lettres chinoises (chidu) : formes, adresses et postérité de la correspondance",{"to":503,"label":504},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-travel-writing-youji-routes-witness-making-place","Les récits de voyage chinois (youji) : itinéraires, témoignage et construction des lieux",{"to":506,"label":507},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-individual-collected-works-bieji-authors-editors-transmission","Les recueils individuels chinois (bieji) : comment les écrits d’un auteur deviennent un livre",{"to":509,"label":510},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-guwen-pianwen-ancient-style-parallel-prose-rhythm-argument","Guwen et pianwen : deux manières de façonner la prose chinoise classique",{"to":512,"label":513},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-eight-legged-essay-baguwen-examination-classics-composition","L’essai en huit parties (baguwen) : comment une forme d’examen organisait la pensée classique",{"to":515,"label":516},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-examination-compounds-gongyuan-cells-candidate-experience","Les complexes d’examen chinois (gongyuan) : comment l’espace façonnait l’expérience des candidats",{"to":518,"label":519},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-academies-shuyuan-books-teaching-ritual-landscape","Les académies chinoises (shuyuan) : livres, enseignement et rites d’un lieu savant",{"to":521,"label":522},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-private-libraries-cangshulou-collectors-catalogues-transmission","Les bibliothèques privées chinoises (cangshulou) : comment les collectionneurs ont prolongé la vie des livres",{"to":524,"label":525},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bookshops-book-markets-publishers-routes-readers","Librairies et marchés du livre en Chine : comment les livres devinrent marchandises, routes et rencontres",{"to":527,"label":528},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading","Livres chinois illustrés : comment l’image gravée façonnait la page",{"to":530,"label":531},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge","Bibliographies chinoises (mulu) : comment les catalogues classaient livres et savoirs",{"to":533,"label":534},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions","La collation des textes chinois (jiaokan) : lire variantes et témoins",{"to":536,"label":537},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-commentaries-subcommentaries-zhu-jian-shu-layered-reading","Commentaires et sous-commentaires chinois : quand les notes façonnent le texte",{"to":539,"label":540},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-marginalia-meipi-pangpi-pijiao-reading-history","Les marginalia dans les livres chinois : comment les lecteurs répondaient au texte",{"to":542,"label":543},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-ownership-seals-cangshuyin-provenance-impressions","Les sceaux de possession dans les livres chinois : lire la provenance en rouge",{"to":545,"label":546},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-paper-fibres-sizing-repairs-dating-evidence","Le papier dans les livres chinois : fibres, encollage, réparations et limites de datation",{"to":548,"label":549},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-page-layout-frames-columns-fishtails-centre-fold","Lire la page du livre chinois : cadres, colonnes, queues-de-poisson et pli central",{"to":551,"label":552},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-printers-marks-paiji-kanji-publishing-claims","Marques d’édition dans les livres chinois : lire paiji, kanji et mentions de publication",{"to":554,"label":555},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-movable-type-printing-clay-wood-metal-reuse","Les caractères mobiles dans l’histoire du livre chinois : argile, bois, métal et réemploi",{"to":557,"label":558},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-printing-workflow-writing-carving-inking-impressions","Comment fonctionnait l’impression xylographique chinoise : écriture, gravure, encrage et tirage",{"to":560,"label":561},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-lifecycle-storage-repair-recutting-later-impressions","Après le premier tirage : stockage, réparation et réemploi des planches chinoises",{"to":563,"label":564},"\u002Farts\u002Fchinese-poetry-literature\u002Fwho-paid-chinese-book-printing-patronage-profit-donors-funding","Qui payait l’impression ? Mécénat, commerce et financement collectif dans l’histoire du livre chinois",{"to":566,"label":567},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-readers-got-books-imperial-china-buying-borrowing-gifts-copying","Comment les lecteurs se procuraient des livres en Chine impériale : achat, emprunt, don et copie",{"to":569,"label":570},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-classical-chinese-poetry-was-heard-recitation-chanting-historical-sound","Comment la poésie classique chinoise était entendue : récitation, cantillation et son historique",{"to":572,"label":573},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-social-exchange-gifts-farewells-replies-rhyme-matching","La poésie comme échange social : dons, adieux, réponses et reprises de rimes en Chine",{"to":575,"label":576},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-gatherings-themes-rhyme-lots-linked-composition","Comment se déroulaient les réunions poétiques chinoises : thèmes, rimes et composition liée",{"to":578,"label":579},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-revision-drafts-variants-editorial-layers","Comment les poèmes chinois ont changé : brouillons, variantes et couches éditoriales",{"to":581,"label":582},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-attribution-anonymity-disputed-authorship","Qui a écrit ce poème ? Attribution, anonymat et débats d’auteur dans la poésie chinoise",{"to":104,"label":105,"children":584},[585,588,591,594,597,600,603,606,609,612,615,618,621,624,627,630,633],{"to":586,"label":587},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origines et histoire de la calligraphie chinoise",{"to":589,"label":590},"\u002Farts\u002Fcalligraphy\u002Fthe-five-script-styles","Les cinq grandes écritures de la calligraphie chinoise",{"to":592,"label":593},"\u002Farts\u002Fcalligraphy\u002Fcalligraphy-as-taoist-cultivation","Calligraphie et culture de soi taoïste : texte, attention et pratique",{"to":595,"label":596},"\u002Farts\u002Fcalligraphy\u002Ffour-treasures-of-the-study","Les Quatre Trésors du lettré : choisir et utiliser le matériel de calligraphie",{"to":598,"label":599},"\u002Farts\u002Fcalligraphy\u002Fbrush-technique-living-line","Le pinceau en calligraphie chinoise : observer et pratiquer la ligne vivante",{"to":601,"label":602},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Maîtres de la calligraphie chinoise et parcours de lecture",{"to":604,"label":605},"\u002Farts\u002Fcalligraphy\u002Fchinese-seals-and-seal-carving","Sceaux chinois et gravure sigillaire : écriture, matrice et empreinte",{"to":607,"label":608},"\u002Farts\u002Fcalligraphy\u002Fchinese-ink-rubbings","Les estampages chinois : pierre, papier et transmission de la calligraphie",{"to":610,"label":611},"\u002Farts\u002Fcalligraphy\u002Fchinese-inkstones","Pierres à encre chinoises : matière, sculpture et cabinet du lettré",{"to":613,"label":614},"\u002Farts\u002Fcalligraphy\u002Fchinese-inksticks","Bâtons d’encre chinois : suie, moules et cabinet du lettré",{"to":616,"label":617},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-paper","Papier chinois de calligraphie : xuan, encollage et vie d’une feuille",{"to":619,"label":620},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-brushes","Pinceaux chinois de calligraphie : poils, manche et pointe de travail",{"to":622,"label":623},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-rests","Repose-pinceaux chinois : montagnes, matières et table du lettré",{"to":625,"label":626},"\u002Farts\u002Fcalligraphy\u002Fchinese-water-droppers-scholars-desk","Les compte-gouttes chinois : débit, formes et table du lettré",{"to":628,"label":629},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-pots-materials-scholars-desk","Les pots à pinceaux chinois : usage, matières et table du lettré",{"to":631,"label":632},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-washers-water-form-scholars-desk","Les lave-pinceaux chinois : eau, formes et table du lettré",{"to":634,"label":635},"\u002Farts\u002Fcalligraphy\u002Fchinese-paperweights-form-material-scholars-desk","Presse-papiers chinois : formes, matières et table du lettré",{"to":108,"label":109,"children":637},[638,641,644,647,650,653,656,659,662,665,668,671,674,677,680,683,686,689,692,695,698,701,704,707,710,713,716,719,722,725,728,731,734,737,740,743,746,749,752],{"to":639,"label":640},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Thé, méditation et pratique taoïste",{"to":642,"label":643},"\u002Farts\u002Ftea-ceremony\u002Forigins-history-of-tea-culture","Origines et histoire de la culture chinoise du thé",{"to":645,"label":646},"\u002Farts\u002Ftea-ceremony\u002Fthe-way-of-tea","La voie du thé : attention, soin et hospitalité",{"to":648,"label":649},"\u002Farts\u002Ftea-ceremony\u002Ftypes-of-tea-and-character","Les six familles de thé chinois : fabrication et dégustation",{"to":651,"label":652},"\u002Farts\u002Ftea-ceremony\u002Futensils-and-gongfu-method","Thé gongfu : ustensiles et méthode adaptable",{"to":654,"label":655},"\u002Farts\u002Ftea-ceremony\u002Ffurther-reading-and-practice","Apprendre le thé chinois : lectures et pratique",{"to":657,"label":658},"\u002Farts\u002Ftea-ceremony\u002Fwater-for-chinese-tea","L’eau pour le thé chinois : sources, minéraux et méthode de comparaison",{"to":660,"label":661},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teaware-clay-glaze-form","Les ustensiles chinois du thé : terre, porcelaine, glaçure et usage",{"to":663,"label":664},"\u002Farts\u002Ftea-ceremony\u002Fchinese-tea-caddies","Boîtes à thé chinoises : conservation, matières et circulation des feuilles",{"to":666,"label":667},"\u002Farts\u002Ftea-ceremony\u002Fsong-whisked-tea-powder-bowls-foam","Le thé fouetté sous les Song : poudre, bols et écume",{"to":669,"label":670},"\u002Farts\u002Ftea-ceremony\u002Fyixing-teapots-clay-form-makers-marks","Théières de Yixing : argile, forme et lecture des marques",{"to":672,"label":673},"\u002Farts\u002Ftea-ceremony\u002Fcompressed-tea-cakes-bricks-trade-storage-object-reading","Thé compressé en Chine : galettes, briques et méthode de lecture",{"to":675,"label":676},"\u002Farts\u002Ftea-ceremony\u002Ftea-horse-trade-networks-routes-markets-cultural-exchange","Les réseaux du thé et des chevaux : routes, marchés et échanges culturels",{"to":678,"label":679},"\u002Farts\u002Ftea-ceremony\u002Ftea-landscapes-china-gardens-forests-terraces-living-knowledge","Paysages du thé en Chine : jardins, forêts anciennes, terrasses et savoirs vivants",{"to":681,"label":682},"\u002Farts\u002Ftea-ceremony\u002Fpicking-tea-china-seasons-bud-leaf-standards-skilled-labour","La cueillette du thé en Chine : saisons, jeunes pousses et savoir-faire",{"to":684,"label":685},"\u002Farts\u002Ftea-ceremony\u002Fwithering-tea-leaves-water-loss-time-first-transformation","Le flétrissage du thé : perte d’eau, temps et première transformation",{"to":687,"label":688},"\u002Farts\u002Ftea-ceremony\u002Ffixing-tea-leaves-shaqing-heat-enzymes-turning-point","La fixation des feuilles de thé (shāqīng) : chaleur, enzymes et tournant de la fabrication chinoise",{"to":690,"label":691},"\u002Farts\u002Ftea-ceremony\u002Frolling-tea-leaves-rounian-pressure-shape-cell-disruption","Le roulage des feuilles de thé (róuniǎn) : pression, forme et rupture cellulaire maîtrisée",{"to":693,"label":694},"\u002Farts\u002Ftea-ceremony\u002Fdrying-tea-leaves-moisture-heat-stability-finished-tea","Le séchage des feuilles de thé : humidité, chaleur et stabilité du thé fini",{"to":696,"label":697},"\u002Farts\u002Ftea-ceremony\u002Fsorting-grading-tea-leaf-size-shape-grade-meaning","Tri et classement du thé : taille, forme et sens réel d’un grade",{"to":699,"label":700},"\u002Farts\u002Ftea-ceremony\u002Ftea-blending-batch-construction-consistency-style-transparency","Assemblage du thé et construction des lots : constance, style et transparence",{"to":702,"label":703},"\u002Farts\u002Ftea-ceremony\u002Ftea-oxidation-post-fermentation-enzymes-microbes-terms","Oxydation et post-fermentation du thé : enzymes, microbes et termes trompeurs",{"to":705,"label":706},"\u002Farts\u002Ftea-ceremony\u002Fyellow-tea-menhuang-moist-heat-time-tea-family","Le thé jaune et le menhuang : chaleur humide, temps et formation d’une famille de thé",{"to":708,"label":709},"\u002Farts\u002Ftea-ceremony\u002Frefiring-roasting-tea-later-heat-aroma-finished-leaf","Réchauffage et torréfaction du thé : chaleur tardive, arômes et différence avec le séchage",{"to":711,"label":712},"\u002Farts\u002Ftea-ceremony\u002Fjasmine-tea-scenting-flowers-repeated-rounds-aroma-transfer","Thé au jasmin et parfumage : fleurs, cycles répétés et transfert des arômes",{"to":714,"label":715},"\u002Farts\u002Ftea-ceremony\u002Ftea-sensory-evaluation-appearance-aroma-taste-score-limits","Évaluation sensorielle du thé : aspect, arômes, goût et limites d’une note",{"to":717,"label":718},"\u002Farts\u002Ftea-ceremony\u002Fdoucha-song-tea-contests-whisked-tea-jian-bowls-modern-judging","Doucha : concours de thé sous les Song et limites des reconstitutions modernes",{"to":720,"label":721},"\u002Farts\u002Ftea-ceremony\u002Fbeiyuan-tribute-tea-song-court-labour-imperial-label","Le thé tribut de Beiyuan : goût de cour sous les Song, travail qualifié et limites de l’étiquette « impériale »",{"to":723,"label":724},"\u002Farts\u002Ftea-ceremony\u002Freading-chinese-tea-classics-authorship-editions-recipe-limits","Lire les classiques chinois du thé : auteurs, éditions et limites d’une lecture en « recette »",{"to":726,"label":727},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-poetry-social-worlds-metaphor-historical-evidence","Le thé dans la poésie chinoise : sociabilités, métaphores et limites du témoignage littéraire",{"to":729,"label":730},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teahouses-commerce-conversation-performance-urban-publics","Les maisons de thé chinoises : commerce, conversation, spectacle et publics urbains en mutation",{"to":732,"label":733},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-painting-objects-social-worlds-visual-evidence","Le thé dans la peinture chinoise : objets, mondes sociaux et limites du témoignage visuel",{"to":735,"label":736},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-dream-of-the-red-chamber-hospitality-rank-labour-fiction","Le thé dans Le Rêve dans le pavillon rouge : hospitalité, rang, travail et fiction",{"to":738,"label":739},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-travel-writing-roads-hospitality-regional-evidence","Le thé dans les récits de voyage chinois : routes, hospitalité et limites de l’itinéraire",{"to":741,"label":742},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-letters-gifts-visits-friendship-private-writing","Le thé dans les lettres chinoises : dons, visites, amitié et limites d’une écriture « privée »",{"to":744,"label":745},"\u002Farts\u002Ftea-ceremony\u002Ftea-tax-monopoly-imperial-china-fiscal-records-daily-life","Thé, fiscalité et monopole dans la Chine impériale : lire les archives sans confondre recettes et vie quotidienne",{"to":747,"label":748},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-local-gazetteers-place-production-local-knowledge","Le thé dans les monographies locales chinoises : lieux, production et limites du savoir local",{"to":750,"label":751},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-materia-medica-names-preparations-medical-claims","Le thé dans les matières médicales chinoises : noms, préparations et limites des assertions médicales",{"to":753,"label":754},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-buddhist-monastic-rules-ceremony-office-origin-stories","Le thé dans les règles monastiques bouddhiques chinoises : cérémonies, charges et limites des récits d’origine",{"to":112,"label":113,"children":756},[757,760,763,766,769,772,775,778,781,784,787,790],{"to":758,"label":759},"\u002Farts\u002Fguqin\u002Forigins-history-of-the-guqin","Histoire du guqin : objets, textes et transmission musicale",{"to":761,"label":762},"\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin","Comment fonctionne le guqin : cordes, caisse et sonorités",{"to":764,"label":765},"\u002Farts\u002Fguqin\u002Fplaying-technique-and-notation","Jouer du guqin : gestes, tablature et interprétation",{"to":767,"label":768},"\u002Farts\u002Fguqin\u002Ffamous-melodies-and-stories","Mélodies du guqin : récits, versions et pistes d’écoute",{"to":770,"label":771},"\u002Farts\u002Fguqin\u002Fguqin-as-taoist-cultivation","Guqin et cultivation taoïste : écoute, pratique et limites",{"to":773,"label":774},"\u002Farts\u002Fguqin\u002Ffurther-listening-and-study","Apprendre le guqin : écouter, s’informer et choisir un professeur",{"to":776,"label":777},"\u002Farts\u002Fguqin\u002Fguqin-tables-playing-spaces","Tables de guqin et espaces de jeu : support, posture et écoute",{"to":779,"label":780},"\u002Farts\u002Fguqin\u002Fhow-to-read-guqin-handbook-tablature-editions-dapu","Lire un manuel de guqin : tablature, éditions et dapu",{"to":782,"label":783},"\u002Farts\u002Fguqin\u002Freading-guqin-lacquer-layers-crack-patterns-repair","Lire la laque du guqin : couches, craquelures et réparations",{"to":785,"label":786},"\u002Farts\u002Fguqin\u002Freading-guqin-inscriptions-seals-names-dates-provenance","Lire les inscriptions et sceaux du guqin : noms, dates et provenance",{"to":788,"label":789},"\u002Farts\u002Fguqin\u002Fguqin-forms-zhongni-banana-leaf-shapes","Formes du guqin : comprendre les modèles Zhongni, feuille de bananier et autres silhouettes",{"to":791,"label":792},"\u002Farts\u002Fguqin\u002Fguqin-strings-silk-modern-composites-playing","Cordes du guqin : soie, composites modernes et effets du matériau sur le jeu",{"to":116,"label":117,"children":794},[795,798,801,804,807,810,813,816,819,822,825,828,831,834,837],{"to":796,"label":797},"\u002Farts\u002Fpainting\u002Forigins-history-of-chinese-painting","Origines et histoire de la peinture chinoise : œuvres, cours et communautés",{"to":799,"label":800},"\u002Farts\u002Fpainting\u002Fart-of-ink-and-brush","Encre et pinceau dans la peinture chinoise : matières, eau et traces",{"to":802,"label":803},"\u002Farts\u002Fpainting\u002Flandscape-painting-shanshui","Shanshui : comment regarder la peinture de paysage chinoise",{"to":805,"label":806},"\u002Farts\u002Fpainting\u002Fbirds-flowers-four-gentlemen","Oiseaux, fleurs et Quatre Gentilshommes dans la peinture chinoise",{"to":808,"label":809},"\u002Farts\u002Fpainting\u002Fpainting-as-taoist-cultivation","Peinture et cultivation taoïste : images, idées et pratique",{"to":811,"label":812},"\u002Farts\u002Fpainting\u002Fgreat-masters-further-study","Maîtres de la peinture chinoise : un parcours guidé",{"to":814,"label":815},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-handscroll","Comment lire un rouleau horizontal chinois : séquence, colophons et sceaux",{"to":817,"label":818},"\u002Farts\u002Fpainting\u002Fchinese-fan-painting","La peinture chinoise sur éventail : forme, pinceau et art du petit format",{"to":820,"label":821},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-painting-album","Comment lire un album de peinture chinoise : feuillets, séquence et regard intime",{"to":823,"label":824},"\u002Farts\u002Fpainting\u002Fchinese-scholars-rocks","Pierres de lettrés chinoises : matière, présentation et paysages imaginés",{"to":826,"label":827},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-hanging-scroll","Comment lire un rouleau vertical chinois : espace, montage et présentation",{"to":829,"label":830},"\u002Farts\u002Fpainting\u002Fchinese-screens-space-painting","Écrans chinois : espace, image et art du pli",{"to":832,"label":833},"\u002Farts\u002Fpainting\u002Fmounting-chinese-painting","Le montage des peintures chinoises : bordures de soie, papiers de doublage et vie du rouleau",{"to":835,"label":836},"\u002Farts\u002Fpainting\u002Fchinese-portrait-painting-likeness-role-ancestral-memory","Le portrait chinois : ressemblance, rôle social et mémoire ancestrale",{"to":838,"label":839},"\u002Farts\u002Fpainting\u002Fthree-distances-chinese-landscape-painting","Les trois distances dans la peinture de paysage chinoise : hauteur, profondeur et horizon",{"to":120,"label":121,"children":841},[842,845,848,851,854,857,860,863,866],{"to":843,"label":844},"\u002Farts\u002Fincense\u002Forigins-history-of-incense-culture","Origines et histoire de la culture chinoise de l’encens",{"to":846,"label":847},"\u002Farts\u002Fincense\u002Faromatic-materials-fragrant-woods","Matières aromatiques : bois, résines et approvisionnement responsable",{"to":849,"label":850},"\u002Farts\u002Fincense\u002Fforms-and-art-of-appreciation","Formes d’encens et art de l’appréciation",{"to":852,"label":853},"\u002Farts\u002Fincense\u002Fincense-in-ritual-and-temple-life","L’encens dans les rites taoïstes et la vie des temples",{"to":855,"label":856},"\u002Farts\u002Fincense\u002Fincense-meditation-taoist-practice","Encens, méditation et pratique taoïste",{"to":858,"label":859},"\u002Farts\u002Fincense\u002Ffurther-reading-and-practice","Apprendre la culture chinoise de l’encens : lectures et pratique",{"to":861,"label":862},"\u002Farts\u002Fincense\u002Fchinese-incense-burners","Brûle-parfums chinois : bronze, céramique, formes et contextes",{"to":864,"label":865},"\u002Farts\u002Fincense\u002Fchinese-incense-seals-fragrant-time","Les sceaux d’encens chinois : cendre, motifs et temps parfumé",{"to":867,"label":868},"\u002Farts\u002Fincense\u002Fchinese-incense-sets-burner-box-vase-tools","Ensembles chinois pour l’encens : brûle-parfum, boîte, vase et outils",{"to":123,"label":124,"children":870},[871,874,877,880,883,886,889],{"to":872,"label":873},"\u002Farts\u002Fflower-arrangement\u002Forigins-history-of-floral-art","Histoire de l’art floral chinois : objets, images et voix",{"to":875,"label":876},"\u002Farts\u002Fflower-arrangement\u002Fprinciples-of-flower-arrangement","Composition florale chinoise : lignes, équilibre et regard",{"to":878,"label":879},"\u002Farts\u002Fflower-arrangement\u002Fvessels-tools-and-composition","Choisir récipients et outils : formes, soutien et entretien",{"to":881,"label":882},"\u002Farts\u002Fflower-arrangement\u002Fseasonal-flowers-and-symbolism","Fleurs de saison et symboles : lire le contexte",{"to":884,"label":885},"\u002Farts\u002Fflower-arrangement\u002Fflower-arrangement-as-cultivation","L’arrangement floral comme pratique : attention, changement et limites",{"to":887,"label":888},"\u002Farts\u002Fflower-arrangement\u002Ffurther-reading-and-practice","Pour aller plus loin : sources, musées et premier mois de pratique",{"to":890,"label":891},"\u002Farts\u002Fflower-arrangement\u002Fchinese-flower-baskets-weaving-painting-vessels","Les paniers de fleurs chinois : tressage, peinture et récipient",[],[],{"data":895},[896,929,946,964,981,997,1013,1028,1046,1063,1080],{"id":30,"uuid":897,"slug":898,"available_locales":899,"name":903,"description":905,"body":907,"path":909,"images":910,"image_urls":915,"hero_image":920,"hero_image_url":920,"seo_title":921,"seo_description":923,"sort_order":924,"is_active":925,"status":926,"created_at":927,"updated_at":928},"f1a30881-20c6-407b-b546-669e839a178a","feng-shui-learning",[900,901,902],"en","zh","fr",{"fr":904},"Étudier le feng shui",{"fr":906},"Comprendre les traditions d’orientation, de formes et d’aménagement dans leur contexte historique, avec les limites des interprétations prédictives.",{"fr":908},"\u003Cp>Le feng shui s’intéresse traditionnellement aux reliefs, à l’eau, aux bâtiments et à leur orientation dans un cadre cosmologique. Ses écoles et ses textes sont variés. Il ne se réduit pas à des règles de décoration et ne constitue pas une méthode prouvée pour garantir richesse, santé ou relations harmonieuses.\u003C\u002Fp>\n\u003Cp>Les cours expliquent le vocabulaire, les différences entre écoles et leurs contextes historiques. Ils invitent à examiner avec discernement les usages contemporains. Les décisions immobilières et financières demandent des informations concrètes et, selon leur nature, un conseil professionnel.\u003C\u002Fp>","\u002Fevents\u002Ffeng-shui-learning",[911,912,913,914],"wudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","wudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","wudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","wudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",[916,917,918,919],"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",null,{"fr":922},"Étudier le feng shui : cours et ateliers",{"fr":906},0,true,"active","2026-07-13T05:17:57.000000Z","2026-09-25T03:51:12.000000Z",{"id":47,"uuid":930,"slug":931,"available_locales":932,"name":933,"description":935,"body":937,"path":939,"images":940,"image_urls":941,"hero_image":920,"hero_image_url":920,"seo_title":942,"seo_description":944,"sort_order":924,"is_active":925,"status":926,"created_at":945,"updated_at":928},"c85bf6cc-b84e-4c36-bbd7-9e92b53bbe50","internal-arts-wellness",[900,901,902],{"fr":934},"Arts internes et bien-être",{"fr":936},"Cours, ateliers et séjours de tai-chi, qigong et baduanjin, avec un travail progressif du mouvement et de la respiration.",{"fr":938},"\u003Cp>Découvrez des cours et des ateliers en petit groupe consacrés aux arts internes, aux postures, à la respiration et à leurs fondements culturels.\u003C\u002Fp>\n\u003Cp>Chaque programme précise l’enseignant, les dates, le niveau attendu et les modalités d’inscription. Consultez la fiche de l’activité pour choisir un cadre adapté à votre expérience.\u003C\u002Fp>","\u002Fevents\u002Finternal-arts-wellness",[],[],{"fr":943},"Arts internes et bien-être : cours et ateliers",{"fr":936},"2026-08-16T19:23:45.000000Z",{"id":947,"uuid":948,"slug":949,"available_locales":950,"name":951,"description":953,"body":955,"path":957,"images":958,"image_urls":959,"hero_image":920,"hero_image_url":920,"seo_title":960,"seo_description":962,"sort_order":924,"is_active":925,"status":926,"created_at":963,"updated_at":928},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[900,901,902],{"fr":952},"Étudier la lecture du visage",{"fr":954},"Découvrir la lecture chinoise du visage, son cadre classique, son histoire et ses usages, en distinguant tradition et prédiction démontrée.",{"fr":956},"","\u002Fevents\u002Fface-reading-learning",[],[],{"fr":961},"Étudier la lecture du visage : cours et ateliers",{"fr":954},"2026-08-30T17:01:43.000000Z",{"id":965,"uuid":966,"slug":967,"available_locales":968,"name":969,"description":971,"body":973,"path":975,"images":976,"image_urls":977,"hero_image":920,"hero_image_url":920,"seo_title":978,"seo_description":980,"sort_order":30,"is_active":925,"status":926,"created_at":927,"updated_at":928},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[900,901,902],{"fr":970},"Étudier le Zi Wei Dou Shu",{"fr":972},"Aborder le Zi Wei Dou Shu comme un système traditionnel chinois d’interprétation, avec son vocabulaire, son histoire et ses limites.",{"fr":974},"\u003Cp>Le Zi Wei Dou Shu (紫微斗數) organise les informations de naissance à travers des palais, des étoiles et leurs relations. Il possède un vocabulaire technique étendu et plusieurs traditions d’interprétation. Ses affirmations prédictives ne sont pas établies par les connaissances scientifiques modernes.\u003C\u002Fp>\n\u003Cp>Les cours expliquent la structure des thèmes, la lecture des symboles et les différences entre praticiens anciens et contemporains. L’objectif est la compréhension culturelle et une réflexion méthodique, sans certitude sur l’avenir. Une lecture ne remplace aucun avis médical, juridique, financier, professionnel ou psychologique.\u003C\u002Fp>","\u002Fevents\u002Fzi-wei-dou-shu-learning",[],[],{"fr":979},"Étudier le Zi Wei Dou Shu : cours et ateliers",{"fr":972},{"id":191,"uuid":982,"slug":983,"available_locales":984,"name":985,"description":987,"body":989,"path":990,"images":991,"image_urls":992,"hero_image":920,"hero_image_url":920,"seo_title":993,"seo_description":995,"sort_order":30,"is_active":925,"status":926,"created_at":996,"updated_at":928},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[900,901,902],{"fr":986},"Arts du thé",{"fr":988},"Cours et ateliers de thé chinois : familles de thé, infusion, gestes d’accueil et attention partagée autour d’une table.",{"fr":956},"\u002Fevents\u002Ftea-arts",[],[],{"fr":994},"Arts du thé : cours et ateliers",{"fr":988},"2026-08-16T17:13:57.000000Z",{"id":187,"uuid":998,"slug":999,"available_locales":1000,"name":1001,"description":1003,"body":1005,"path":1007,"images":1008,"image_urls":1009,"hero_image":920,"hero_image_url":920,"seo_title":1010,"seo_description":1012,"sort_order":965,"is_active":925,"status":926,"created_at":927,"updated_at":928},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[900,901,902],{"fr":1002},"Étudier le Ba Zi",{"fr":1004},"Découvrir les quatre piliers, les troncs célestes, les branches terrestres et les cinq phases, avec leur histoire et leurs limites.",{"fr":1006},"\u003Cp>Le Ba Zi (八字) interprète l’année, le mois, le jour et l’heure à travers les troncs célestes, les branches terrestres, le yin-yang et les cinq phases. Il occupe une place importante dans la métaphysique chinoise ; il ne constitue pas une science empirique.\u003C\u002Fp>\n\u003Cp>Les cours présentent la structure des thèmes, le vocabulaire et différentes traditions de lecture. Ils distinguent les interprétations héritées de la tradition des connaissances étayées par des preuves. Une lecture peut nourrir la réflexion, mais ne garantit pas un résultat, ne pose aucun diagnostic et ne remplace pas un avis professionnel.\u003C\u002Fp>","\u002Fevents\u002Fba-zi-learning",[],[],{"fr":1011},"Étudier le Ba Zi : cours et ateliers",{"fr":1004},{"id":54,"uuid":1014,"slug":1015,"available_locales":1016,"name":1017,"description":1019,"body":1021,"path":1022,"images":1023,"image_urls":1024,"hero_image":920,"hero_image_url":920,"seo_title":1025,"seo_description":1027,"sort_order":965,"is_active":925,"status":926,"created_at":996,"updated_at":928},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[900,901,902],{"fr":1018},"Culture de l’encens",{"fr":1020},"Découvrir les matières parfumées, la fabrication traditionnelle et l’art d’apprécier l’encens dans une attention calme.",{"fr":956},"\u002Fevents\u002Fincense-culture",[],[],{"fr":1026},"Culture de l’encens : cours et ateliers",{"fr":1020},{"id":1029,"uuid":1030,"slug":1031,"available_locales":1032,"name":1033,"description":1035,"body":1037,"path":1039,"images":1040,"image_urls":1041,"hero_image":920,"hero_image_url":920,"seo_title":1042,"seo_description":1044,"sort_order":965,"is_active":925,"status":926,"created_at":1045,"updated_at":928},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[900,901,902],{"fr":1034},"Étudier le Yi Jing",{"fr":1036},"Explorer les hexagrammes, les méthodes traditionnelles d’interprétation et l’histoire du Yi Jing, avec un cadre et des limites explicites.",{"fr":1038},"\u003Cp>Le Yi Jing (易经), ou Livre des mutations, est un classique chinois organisé autour de soixante-quatre hexagrammes et d’une longue tradition de commentaires et de divination. Il a marqué la philosophie et la cosmologie chinoises. Ses affirmations divinatoires ne sont pas établies par les sciences empiriques modernes.\u003C\u002Fp>\n\u003Cp>Les cours présentent les structures, les termes et des méthodes traditionnelles comme le Liu Yao. Ils distinguent l’étude culturelle des connaissances fondées sur des preuves. Les interprétations peuvent servir à réfléchir ; elles ne sont ni des garanties, ni des diagnostics, ni des substituts à un avis professionnel.\u003C\u002Fp>","\u002Fevents\u002Fi-ching-learning",[],[],{"fr":1043},"Étudier le Yi Jing : cours et ateliers",{"fr":1036},"2026-09-08T00:15:35.000000Z",{"id":17,"uuid":1047,"slug":1048,"available_locales":1049,"name":1050,"description":1052,"body":1054,"path":1056,"images":1057,"image_urls":1058,"hero_image":920,"hero_image_url":920,"seo_title":1059,"seo_description":1061,"sort_order":187,"is_active":925,"status":926,"created_at":1062,"updated_at":928},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[900,901,902],{"fr":1051},"Arts et artisanat traditionnels",{"fr":1053},"Des ateliers pratiques pour découvrir les techniques décoratives chinoises et leur contexte culturel en réalisant un objet.",{"fr":1055},"\u003Cp>Découvrez les arts décoratifs et les traditions artisanales chinoises par la pratique. Selon les ateliers, les projets peuvent faire appel à la feuille d’or, à l’émail cloisonné, à la nacre ou au brocart Song.\u003C\u002Fp>\n\u003Cp>Ces séances accessibles présentent les matériaux, les gestes et leur contexte culturel. Chaque participant est accompagné dans la réalisation de sa propre pièce.\u003C\u002Fp>","\u002Fevents\u002Ftraditional-arts-crafts",[],[],{"fr":1060},"Arts et artisanat traditionnels : cours et ateliers",{"fr":1053},"2026-08-16T19:24:04.000000Z",{"id":164,"uuid":1064,"slug":1065,"available_locales":1066,"name":1067,"description":1069,"body":1071,"path":1073,"images":1074,"image_urls":1075,"hero_image":920,"hero_image_url":920,"seo_title":1076,"seo_description":1078,"sort_order":191,"is_active":925,"status":926,"created_at":1079,"updated_at":928},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[900,901,902],{"fr":1068},"Rencontres autour de Wudang",{"fr":1070},"Conférences, diffusions et rencontres pour partager la culture de Wudang, ses savoirs et ses pratiques vivantes.",{"fr":1072},"\u003Cp>Cette rubrique réunit des conférences publiques, des diffusions en direct, des rencontres et des activités culturelles liées à Wudang.\u003C\u002Fp>\n\u003Cp>Ces programmes permettent de rencontrer des pratiquants, d’échanger des idées et de prendre part à une communauté d’apprentissage et de pratique.\u003C\u002Fp>","\u002Fevents\u002Fwudang-community",[],[],{"fr":1077},"Rencontres autour de Wudang : cours et ateliers",{"fr":1070},"2026-08-16T19:24:18.000000Z",{"id":13,"uuid":1081,"slug":1082,"available_locales":1083,"name":1084,"description":1086,"body":1088,"path":1089,"images":1090,"image_urls":1091,"hero_image":920,"hero_image_url":920,"seo_title":1092,"seo_description":1094,"sort_order":54,"is_active":925,"status":926,"created_at":1095,"updated_at":928},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[900,901,902],{"fr":1085},"Voyages et séjours à Wudang",{"fr":1087},"Des séjours guidés à Wudang associant pratique, visites de temples et découverte culturelle, avec un itinéraire et des attentes clairement présentés.",{"fr":956},"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"fr":1093},"Voyages et séjours à Wudang : cours et ateliers",{"fr":1087},"2026-08-18T11:09:38.000000Z",{"data":1097},{"hero_type":1098,"hero_image":1099,"hero_image_alt":1100,"hero_youtube_id":1101,"hero_content_on":925,"hero_heading":1102,"hero_subheading":1103,"hero_text":1104,"hero_subheading_zh":1105,"hero_text_zh":1106,"hero_buttons":1107,"home_seo":1113,"page_layout":1119,"shop_enabled":1120,"contact":1121,"journey":1137},"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。",[1108,1110],{"label":1109,"link":217},"Start Your Wudang Journey",{"label":1111,"link":1112},"View Events & Courses","\u002Fevents",{"title":1114,"description":1116},{"en":1115,"zh":920},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":1117,"zh":1118},"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":1122,"has_any":925,"text":1130},{"email":1123,"whatsapp":1124,"wechat_id":1125,"wechat_qr_url":1126,"instagram":1127,"instagram_handle":1128,"facebook":1129,"facebook_handle":1128},"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":1131,"china_heading_zh":1132,"china_company_en":1133,"china_company_zh":1134,"china_address_en":1135,"china_address_zh":1136},"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":920,"title_zh":920,"intro_en":920,"intro_zh":920,"enabled":925},{"data":1139},{"to":527,"type":1140,"available_locales":1141,"is_content_page":925,"title":1142,"subtitle":1143,"body":1145,"hero_image_url":1147,"hero_width":1148,"hero_height":1149,"hero_image_alt":1150,"hero_image_decorative":1120,"hero_credit":1152,"hero_alt":1159,"hero_style":1160,"card_layout":1161,"link_type":920,"link_ref":920,"seo_title":1162,"seo_description":1164,"children":1166},"page",[900,901,902],{"fr":528},{"fr":1144},"Lire les livres illustrés par la mise en page, le travail collectif, les genres, le repérage des couleurs, les éditions et la circulation des images.",{"fr":1146},"\u003Ch2>Le livre illustré est une séquence conçue\u003C\u002Fh2>\u003Ch3>Texte et image pouvaient partager le même champ imprimé\u003C\u002Fh3>\u003Cp>Dans un livre xylographié, l’image n’était pas nécessairement ajoutée après le texte dans un espace resté vide. Caractères, bordure et dessin pouvaient être taillés dans la même planche : leurs proportions et leurs intervalles se décidaient ensemble. L’étude d’Anne Burkus-Chasson sur \u003Ca href=\"https:\u002F\u002Fwww.persee.fr\u002Fdoc\u002Fbefeo_0336-1519_2002_num_89_1_3569\">le texte et le \u003Cem>tu\u003C\u002Fem> dans la page imprimée\u003C\u002Fa> montre pourquoi l’image relève d’abord de l’architecture de la page. Le pliage et la reliure transformaient ensuite les impressions en ouvertures successives ; le guide des \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-thread-bound-books-folding-stitching-reading\">livres chinois cousus au fil\u003C\u002Fa> présente ce cadre matériel.\u003C\u002Fp>\u003Ch3>La position transformait la fonction de l’image\u003C\u002Fh3>\u003Cp>Un frontispice annonçait un sujet et un niveau de prestige ; une image au-dessus du texte pouvait montrer l’épisode avant sa lecture ; une pleine page interrompait le rythme ; un portrait répété facilitait le repérage. Un même dessin changeait donc de rôle lorsqu’il était déplacé, retaillé ou associé à une autre légende. Titres, préfaces et autres \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers\">textes d’encadrement\u003C\u002Fa> guidaient aussi la rencontre : le feuillet illustré appartient à un programme éditorial, non à une histoire de l’art isolée.\u003C\u002Fp>\u003Ch2>La fabrication distribuait l’autorité entre plusieurs mains\u003C\u002Fh2>\u003Ch3>Dessinateur, graveur et imprimeur résolvaient des problèmes distincts\u003C\u002Fh3>\u003Cp>L’image pouvait commencer par un dessin, mais elle devait devenir un réseau de reliefs imprimables. Le graveur traduisait les effets du pinceau en contours taillables ; l’imprimeur réglait encrage, pression et alignement ; éditeurs et libraires choisissaient format, emplacement et dépense. Les études réunies dans \u003Ca href=\"https:\u002F\u002Fwww.ucpress.edu\u002Fbooks\u002Fprinting-and-book-culture-in-late-imperial-china\u002Fhardcover\">\u003Cem>Printing and Book Culture in Late Imperial China\u003C\u002Fem>\u003C\u002Fa> replacent ces décisions dans les centres spécialisés et l’élargissement des publics. La page achevée témoigne d’une coordination, non de la main intacte d’un seul peintre.\u003C\u002Fp>\u003Ch3>Un nom conservé ne révèle pas tous les participants\u003C\u002Fh3>\u003Cp>Une édition peut nommer peintre, compilateur, libraire-éditeur ou graveur, mais les attributions changent parfois d’un tirage à l’autre. Un nom prestigieux garantit l’autorité alors que les assistants et le travail d’atelier disparaissent. L’étude de Yuming He sur \u003Ca href=\"https:\u002F\u002Fwww.hup.harvard.edu\u002Fbooks\u002F9780674066809\">les livres xylographiés des Ming\u003C\u002Fa> considère les ouvrages comme des objets conçus, produits et commercialisés ; elle invite à séparer l’affirmation d’une page de titre de la chaîne complète du travail. Cette prudence complète le guide des \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bookshops-book-markets-publishers-routes-readers\">librairies et marchés du livre\u003C\u002Fa>.\u003C\u002Fp>\u003Ch2>La mise en page organisait récit et attention\u003C\u002Fh2>\u003Ch3>En haut, en bas, en regard ou en pleine page : autant de choix de lecture\u003C\u002Fh3>\u003Cp>La fiction illustrée pouvait partager la feuille en registres, placer une scène près de son passage ou réunir plusieurs instants dans une composition. L’ouvrage de Robert Hegel sur \u003Ca href=\"https:\u002F\u002Fwww.si.edu\u002Fobject\u002Freading-illustrated-fiction-late-imperial-china-robert-e-hegel%3Asiris_sil_1055828\">la fiction illustrée de la Chine impériale tardive\u003C\u002Fa> reconstitue la manière dont la forme physique du livre orientait la lecture du XVIe au XIXe siècle. La disposition ne résumait pas seulement le contenu : elle sélectionnait les personnages, imposait un point de vue, suggérait une temporalité et provoquait des comparaisons entre épisodes.\u003C\u002Fp>\u003Ch3>Légendes et suites d’images créaient le mouvement\u003C\u002Fh3>\u003Cp>Une légende pouvait rattacher l’image à une phrase tandis que la composition évoquait d’autres poèmes, lieux ou tonalités. Une recherche récente sur \u003Ca href=\"https:\u002F\u002Fbrill.com\u002Fview\u002Fjournals\u002Feaps\u002F15\u002F1\u002Farticle-p1_1.xml\">les pièces illustrées de la fin des Ming\u003C\u002Fa> montre comment paysages habités et références poétiques modifiaient la lecture selon les genres. Il faut donc suivre l’image vers l’avant et vers l’arrière. Comme la sélection et l’ordre dans les \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission\">anthologies poétiques\u003C\u002Fa>, la séquence construit une proposition sans toujours la formuler.\u003C\u002Fp>\u003Ch2>L’illustration traversait genres et usages\u003C\u002Fh2>\u003Ch3>Récits, théâtre et biographies rendaient les personnes visibles\u003C\u002Fh3>\u003Cp>Les images narratives identifiaient des rôles, condensaient une action ou rendaient mémorable un épisode célèbre. Mais vêtements, architectures et gestes relevaient souvent des conventions visuelles de l’époque d’impression, non d’une reconstitution documentaire du temps raconté. Le personnage imprimé nous apprend comment l’éditeur offrait le texte à ses lecteurs ; il n’est pas automatiquement le portrait d’une personne historique ni un relevé transparent de la vie quotidienne.\u003C\u002Fp>\u003Ch3>Manuels, gazetteers et ouvrages de référence mettaient le savoir en images\u003C\u002Fh3>\u003Cp>Plantes, outils, reliefs, objets rituels, techniques et sites célèbres pouvaient être ordonnés visuellement. La notice de la Library of Congress pour le \u003Ca href=\"https:\u002F\u002Fwww.loc.gov\u002Fitem\u002F2001530431\">\u003Cem>Ming shan tu\u003C\u002Fem>\u003C\u002Fa> décrit une œuvre paysagère xylographiée importante dans la tradition des gazetteers illustrés. Une telle page enseigne ou classe, mais sélectionne encore échelle, point de vue et forme exemplaire. Comparons-la à la logique d’extrait des \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-leishu-classified-books-excerpts-knowledge\">\u003Cem>leishu\u003C\u002Fem>\u003C\u002Fa> : les deux rendent un monde plus vaste ordonné et transportable.\u003C\u002Fp>\u003Ch2>Les images participaient au marché du livre\u003C\u002Fh2>\u003Ch3>L’illustration promettait utilité, plaisir ou distinction\u003C\u002Fh3>\u003Cp>Les éditeurs employaient les images pour expliquer, attirer et distinguer une édition. Une planche documentaire serrée, une suite dramatique et une feuille polychrome raffinée répondaient à des attentes différentes. Le panorama du Metropolitan Museum consacré à \u003Ca href=\"https:\u002F\u002Fwww.metmuseum.org\u002Fexhibitions\u002Flistings\u002F2012\u002Fprinted-image-in-china\">l’image imprimée en Chine\u003C\u002Fa> insiste sur la diversité stylistique et l’étendue technique des œuvres. « Illustré » ne désignait donc ni un public unique, ni un prix, ni un même degré de finition.\u003C\u002Fp>\u003Ch3>Coût et qualité ne formaient pas une simple opposition luxe–populaire\u003C\u002Fh3>\u003Cp>Multiplier les planches, affiner la taille, ajuster les couleurs ou choisir un beau papier augmentait parfois le coût ; une impression monochrome pouvait cependant être exigeante et une impression colorée rester irrégulière. Un tirage modeste pouvait transmettre un dessin influent, une édition prestigieuse copier une image ancienne, un manuel très consulté s’user davantage qu’un coffret luxueux rarement ouvert. L’état et la rareté actuels ne mesurent donc pas directement l’importance initiale.\u003C\u002Fp>\u003Ch2>La couleur dépendait du repérage et de gestes répétés\u003C\u002Fh2>\u003Ch3>Chaque couleur pouvait demander une planche alignée séparément\u003C\u002Fh3>\u003Cp>Dans l’impression à plusieurs blocs, l’image naissait par passages successifs et non comme une surface peinte d’un seul geste. Le guide de la Huntington consacré au \u003Ca href=\"https:\u002F\u002Fwww.huntington.org\u002Ften-bamboo-studio-manual\">\u003Cem>Manuel de l’atelier des dix bambous\u003C\u002Fem>\u003C\u002Fa> présente le \u003Cem>douban\u003C\u002Fem> comme l’emploi de plusieurs planches, une par couleur. Alignement, humidité du papier, pigment et pression comptaient tous. Les légers décalages ou différences entre épreuves témoignent ainsi du processus ; ce ne sont pas seulement des défauts à effacer du regard.\u003C\u002Fp>\u003Ch3>Un manuel polychrome célèbre reste un cas, non une norme\u003C\u002Fh3>\u003Cp>L’\u003Cem>Atelier des dix bambous\u003C\u002Fem> manifeste une coordination exceptionnelle du dessin, de la gravure et de l’impression, mais ne représente pas tout livre illustré. La plupart des pages étaient monochromes, et même les titres célèbres survivent dans des retirages, des recoupes et des séries incomplètes. Un feuillet de musée peut révéler avec éclat une technique de couleur tout en masquant la séquence reliée, la page en regard et les manipulations qui façonnaient la lecture.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FHMm9hgr3XamNxoAvOnhX.webp\" alt=\"Photographie conceptuelle en plongée de quatre blocs gravés abstraits, coupelles de pigments et épreuves de couleur sur une table bleu-gris\">\u003Cfigcaption>Nature morte conceptuelle générée par IA sur le repérage polychrome ; ce n’est ni une édition, ni une planche, ni un outillage, ni un atelier, ni une séance d’impression documentés.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>Planches, dessins et livres eurent plusieurs vies\u003C\u002Fh2>\u003Ch3>Réimprimer conservait l’image tout en la transformant\u003C\u002Fh3>\u003Cp>Les planches pouvaient être stockées, réparées, vendues ou retaillées ; un dessin pouvait passer dans une autre édition et changer d’échelle. Une image tardive peut ressembler à une image ancienne sans partager sa planche, son imprimeur ni son usage. Bordures, ruptures de lignes, détails absents, inversions et rapport au texte permettent de reconstruire cette transmission, comme les éditions et marques de possession éclairent les livres des \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-private-libraries-cangshulou-collectors-catalogues-transmission\">bibliothèques privées\u003C\u002Fa>.\u003C\u002Fp>\u003Ch3>Le feuillet détaché modifie la preuve\u003C\u002Fh3>\u003Cp>Collectionneurs et musées ont souvent préservé des feuilles isolées pour leur force visuelle. Le détachement rend couleur, taille et composition faciles à examiner, mais supprime couture, texte précédent, image en regard et traces d’usage. Une feuille de manuel de peinture n’est pas une feuille d’album peinte : le guide des \u003Ca href=\"\u002Ffr\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-painting-album\">albums de peinture chinoise\u003C\u002Fa> présente un autre objet, un autre rythme et une autre histoire. Identifions d’abord feuille, fascicule, série reliée, édition retaillée ou reproduction tardive.\u003C\u002Fp>\u003Ch2>Lire la page illustrée par l’objet, la séquence et la comparaison\u003C\u002Fh2>\u003Ch3>Commençons par le témoin matériel avant d’interpréter la scène\u003C\u002Fh3>\u003Cp>Notons le titre, l’édition, la date revendiquée, l’éditeur ou l’atelier, le format et l’état de complétude. Situons ensuite l’image dans l’ouverture : que trouve-t-on au-dessus, en dessous, avant et après ? Comparons légende, prose voisine et motifs répétés sans supposer que mots et image se traduisent. Si la page représente montagnes et eaux, le guide pour \u003Ca href=\"\u002Ffr\u002Farts\u002Fpainting\u002Flandscape-painting-shanshui\">lire le \u003Cem>shanshui\u003C\u002Fem>\u003C\u002Fa> affine l’observation, mais la gravure conserve ses contraintes de taille et de reproduction.\u003C\u002Fp>\u003Ch3>Huit questions rendent l’interprétation vérifiable\u003C\u002Fh3>\u003Cp>Demandons : \u003Cstrong>1)\u003C\u002Fstrong> quel témoin physique subsiste ; \u003Cstrong>2)\u003C\u002Fstrong> où se trouve l’image ; \u003Cstrong>3)\u003C\u002Fstrong> comment mots et dessin divisent la page ; \u003Cstrong>4)\u003C\u002Fstrong> quels rôles sont nommés ; \u003Cstrong>5)\u003C\u002Fstrong> que permettent gravure et impression ; \u003Cstrong>6)\u003C\u002Fstrong> la couleur vient-elle de plusieurs blocs ; \u003Cstrong>7)\u003C\u002Fstrong> que modifient les éditions ; \u003Cstrong>8)\u003C\u002Fstrong> quelle conclusion la preuve n’autorise-t-elle pas ? Cette méthode relie le livre illustré à l’ensemble \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\">Poésie et littérature chinoises\u003C\u002Fa> sans réduire littérature, peinture et histoire de l’imprimé à un seul domaine.\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FJ9NyhscbghEMPwCp6hfm.webp",1536,1024,{"fr":1151},"Photographie conceptuelle d’une personne anonyme soulevant une épreuve de paysage abstrait sur une planche gravée dans un atelier contemporain ensoleillé",{"caption":1153,"creator":1154,"source_url":1155,"license_label":1156,"license_url":1157,"changes":1158},"Atelier d’impression conceptuel généré par IA ; ce n’est ni un atelier, ni une édition, ni un artisan, ni un objet, ni un événement documentés.","OpenAI","https:\u002F\u002Fopenai.com\u002F","AI-generated image","https:\u002F\u002Fopenai.com\u002Fpolicies\u002Fterms-of-use\u002F","Générée indépendamment pour cet article ; un signe ressemblant à du texte a été retiré, puis l’image finale a été convertie en WebP sans photomontage.",{"fr":1151},"banner","list",{"fr":1163},"Livres chinois illustrés : gravure, page et lecture",{"fr":1165},"Guide des livres chinois illustrés : mise en page, gravure sur bois, séquence narrative, repérage des couleurs, éditions et lecture critique.",[],{"data":1168},[1169,1245,1346,1437],{"id":1170,"slug":1171,"available_locales":1172,"path":1173,"title":1174,"venue":1177,"hero_image_url":920,"card_image_url":1180,"card_landscape_url":1181,"lifecycle":1182,"session_mode":1183,"sessions":1184,"next_session":1244},15601,"liu-yao-beginner-course",[900,901,902],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":1175,"zh":1176},"Liu Yao Beginner 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