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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":554,"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":555},{"fr":1144},"Un guide documenté sur la fabrication, le classement et le réemploi des caractères chinois, et sur leur coexistence avec la xylographie.",{"fr":1146},"\u003Ch2>Les caractères mobiles forment un système, non un objet isolé\u003C\u002Fh2>\u003Ch3>Des caractères séparés sont composés, imprimés puis réemployés\u003C\u002Fh3>\u003Cp>Dans l’impression à caractères mobiles, chaque type réutilisable porte un caractère. On sélectionne les pièces, on les compose dans un cadre, on les met à niveau, on encre et on imprime ; après le tirage, la forme est démontée et les types sont rangés. La xylographie grave au contraire toute une page sur une planche. Le travail se déplace ainsi de la gravure page par page vers fabrication, classement, composition et redistribution d’une grande fonte.\u003C\u002Fp>\u003Ch3>Argile, bois et métal ne décrivent pas tout le procédé\u003C\u002Fh3>\u003Cp>Le matériau du type n’est qu’une partie du système. Il faut aussi des doubles pour les caractères fréquents, une méthode de classement, des casiers, une forme stable, encre et papier compatibles, et des ouvriers capables de retrouver puis ranger les pièces. La \u003Ca href=\"https:\u002F\u002Fblogs.loc.gov\u002Finternational-collections\u002F2021\u002F06\u002Fthe-history-of-printing-in-asia-according-to-library-of-congress-asian-collections-part-1\u002F\">synthèse de la Library of Congress sur l’imprimerie asiatique\u003C\u002Fa> replace les caractères mobiles à côté de traditions xylographiques plus anciennes.\u003C\u002Fp>\u003Ch2>Shen Kuo décrit les types d’argile de Bi Sheng\u003C\u002Fh2>\u003Ch3>La certitude tient à un témoignage des Song\u003C\u002Fh3>\u003Cp>Dans le \u003Cem>Mengxi bitan\u003C\u002Fem>, Shen Kuo rapporte que, pendant l’ère Qingli (1041–1048), un homme du commun nommé Bi Sheng fabriqua des caractères mobiles. Le \u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?if=en&res=13396\">texte du Chinese Text Project\u003C\u002Fa> et une \u003Ca href=\"https:\u002F\u002Fasiacenter.harvard.edu\u002Fsites\u002Fdefault\u002Ffiles\u002F2023-06\u002Fshengua_app3.pdf\">traduction savante publiée par Harvard\u003C\u002Fa> décrivent des caractères saillants taillés dans une argile adhésive puis durcis au feu. Presque rien d’autre n’est assuré sur Bi Sheng : ne lui inventons ni biographie, ni atelier, ni lignée.\u003C\u002Fp>\u003Ch3>Deux formes, des doubles et un rangement par rimes étaient essentiels\u003C\u002Fh3>\u003Cp>Le récit est opératoire : une plaque s’imprime pendant que l’autre se compose ; les caractères répétés disposent de nombreux doubles ; les types inutilisés sont étiquetés par rime et placés dans des compartiments ; un caractère rare peut être fabriqué à la demande. Shen juge la méthode peu commode pour quelques exemplaires, mais très rapide pour des centaines ou milliers. Cela ne prouve pas que l’argile devint aussitôt la norme.\u003C\u002Fp>\u003Ch2>Wang Zhen réorganise composition et rangement en bois\u003C\u002Fh2>\u003Ch3>Le Nongshu déroule une procédure complète\u003C\u002Fh3>\u003Cp>Au tournant du XIVe siècle, le \u003Cem>Nongshu\u003C\u002Fem> de Wang Zhen donne une \u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=919018&if=gb\">méthode détaillée de fabrication et d’impression en caractères de bois\u003C\u002Fa> : écrire les modèles, graver des planches, scier chaque pièce, l’ajuster à une hauteur commune, classer par rimes, composer dans un cadre, caler les types inclinés, encrer et tirer. Sa valeur réside dans l’enchaînement du travail, non dans le slogan « le bois remplace l’argile ».\u003C\u002Fp>\u003Ch3>Les tables tournantes répondent au problème de la recherche\u003C\u002Fh3>\u003Cp>Les tables de Wang organisaient des milliers de types par secteurs qu’un compositeur assis pouvait faire venir à lui. Le texte affirme qu’environ trente mille pièces furent préparées et cent exemplaires d’une monographie locale imprimés. C’est un témoignage de première main, mais l’ouvrage nommé n’ayant pas survécu, présentons-le comme la revendication documentée de Wang, non comme un tirage aujourd’hui vérifiable feuillet par feuillet.\u003C\u002Fp>\u003Ch2>Les types métalliques ouvrent une autre tradition matérielle\u003C\u002Fh2>\u003Ch3>Les livres conservés sont le meilleur point de départ\u003C\u002Fh3>\u003Cp>Des imprimeurs des Ming employèrent aussi des types métalliques. La notice d’un \u003Ca href=\"https:\u002F\u002Fwww.loc.gov\u002Fitem\u002F2021666484\u002F\">\u003Cem>Yiwen leiju\u003C\u002Fem> de 1515 à la Library of Congress\u003C\u002Fa> identifie une édition imprimée en caractères mobiles de cuivre par Hua Jian de Wuxi et conserve ses données de publication. Un tel livre relie structure de page, impression et production nommée à un objet précis ; il vaut mieux qu’une affirmation selon laquelle le métal serait toujours plus net, rapide ou économique.\u003C\u002Fp>\u003Ch3>L’histoire est-asiatique n’est pas une course au premier\u003C\u002Fh3>\u003Cp>Types d’argile dans la Chine des Song, systèmes chinois en bois et métal, traditions coréennes de métal et presse européenne se développent dans des institutions et économies différentes. Le même mot « typographie » masque parfois fonte, composition, encrage et pression distincts. La comparaison explique ces différences ; elle égare lorsqu’elle réduit chaque tradition à un barreau d’une échelle menant à la machine moderne.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FhhhZzlY3ZGfpE489OoZB.webp\" alt=\"Photographie conceptuelle de types vierges inventés en argile, bois et bronze près d’un plateau radial vide et d’un pied à coulisse en laiton\" loading=\"lazy\">\u003Cfigcaption>Comparaison matérielle conceptuelle générée par IA. Les pièces vierges et le plateau sont inventés et ne documentent ni fonte, ni objet, ni collection, ni lieu ou disposition historiques réels.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>Une fonte était un stock à administrer\u003C\u002Fh2>\u003Ch3>Les caractères fréquents exigeaient des doubles ; les rares ralentissaient\u003C\u002Fh3>\u003Cp>Une page chinoise répète certaines particules tout en demandant noms de personnes, lieux et termes peu communs. Une fonte de travail multiplie donc les graphes fréquents et prévoit les absents. Classement par rime, catégorie ou numéro rend l’inventaire consultable. La vitesse dépend autant du répertoire manié par l’ouvrier et de la hauteur régulière des pièces que du nombre total de types.\u003C\u002Fp>\u003Ch3>La redistribution achevait le cycle\u003C\u002Fh3>\u003Cp>Après le tirage, il fallait nettoyer la forme, libérer les pièces, vérifier leur état et rendre chacune à sa place. La réutilisation reposait sur cette exactitude. Le manuel impérial \u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=5671782&if=gb\">\u003Cem>Wuyingdian Juzhenban chengshi\u003C\u002Fem>\u003C\u002Fa> décrit par texte et images un programme organisé de caractères de bois : préparation, rangement, composition et impression. Lisons-le comme un manuel institutionnel éprouvé, sans oublier son contexte de cour au XVIIIe siècle.\u003C\u002Fp>\u003Ch2>Pourquoi les caractères mobiles n’ont pas simplement remplacé les planches\u003C\u002Fh2>\u003Ch3>Une planche gravée conservait une page entière\u003C\u002Fh3>\u003Cp>Une fois taillée, elle pouvait être stockée et réimprimée sans recomposer chaque caractère. Elle réunissait aussi mises en page complexes, commentaires en petit corps et images avec texte. Le guide des \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading\">livres chinois illustrés\u003C\u002Fa> montre ce partage de surface, tandis que celui de la \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-page-layout-frames-columns-fishtails-centre-fold\">page du livre chinois\u003C\u002Fa> explique cadres, colonnes et pli central comme structures de page.\u003C\u002Fp>\u003Ch3>L’économie dépendait du titre, de l’échelle et du réemploi prévu\u003C\u002Fh3>\u003Cp>Les caractères mobiles évitaient de regraver lorsque les mêmes pièces servaient à de nouveaux textes, mais exigeaient fonte, tri, composition et correction. Les planches demandaient une taille page par page tout en convenant à un titre stable promis à des retirages. La \u003Ca href=\"https:\u002F\u002Fassets.cambridge.org\u002F97810094\u002F95516\u002Fexcerpt\u002F9781009495516_excerpt.pdf\">comparaison de Peter Kornicki sur les techniques est-asiatiques\u003C\u002Fa> invite à ne pas supposer la typographie intrinsèquement plus avancée ou rentable. Chaque projet distribuait autrement capital et travail.\u003C\u002Fp>\u003Ch2>Reconnaître une impression typographique avec prudence\u003C\u002Fh2>\u003Ch3>Chercher un faisceau d’indices, non un seul caractère de travers\u003C\u002Fh3>\u003Cp>Alignement, espacement ou encrage légèrement variables, dommage répété d’un même type, pièce remplacée ou retournée et rythme d’une composition en unités peuvent être significatifs. Mais mouvement du papier, planche usée, réparation et impression manuelle inégale produisent aussi ces effets. Comparons plusieurs pages et, si possible, un autre exemplaire. Les guides du \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-paper-fibres-sizing-repairs-dating-evidence\">papier\u003C\u002Fa> et de la \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions\">collation textuelle\u003C\u002Fa> séparent observation matérielle et variante textuelle.\u003C\u002Fp>\u003Ch3>Mentions d’édition, catalogues et objet doivent concorder\u003C\u002Fh3>\u003Cp>Un colophon peut annoncer des caractères mobiles, nommer une fonte ou un atelier ; sa formule peut aussi être reprise, altérée ou mal comprise. Le guide des \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-printers-marks-paiji-kanji-publishing-claims\">marques d’édition chinoises\u003C\u002Fa> aide à identifier la revendication, que l’ensemble du livre doit ensuite tester. Notice bibliographique, histoire de l’exemplaire et page imprimée doivent converger. En cas de conflit, décrivons-le au lieu de choisir l’attribution la plus spectaculaire.\u003C\u002Fp>\u003Ch2>Le réemploi demeure un métier vivant et une méthode de lecture\u003C\u002Fh2>\u003Ch3>Le bois subsiste dans des cadres communautaires particuliers\u003C\u002Fh3>\u003Cp>Le dossier de l’UNESCO sur \u003Ca href=\"https:\u002F\u002Fich.unesco.org\u002Fen\u002FUSL\u002Fwooden-movable-type-printing-of-china-00322\">l’imprimerie en caractères mobiles de bois à Rui’an\u003C\u002Fa> décrit une pratique vivante liée aux généalogies de clans : caractères gravés, composés en page, imprimés à la main puis réutilisés après démontage. Ce dossier de sauvegarde contemporain ne prouve pas l’immobilité du procédé depuis Wang Zhen ; il montre comment une fonte réutilisable s’inscrit dans apprentissage familial, mémoire locale et genre précis.\u003C\u002Fp>\u003Ch3>Poser huit questions avant de nommer le procédé\u003C\u002Fh3>\u003Cp>Demandons : \u003Cstrong>1)\u003C\u002Fstrong> que revendiquent livre et catalogue ; \u003Cstrong>2)\u003C\u002Fstrong> quel matériau est nommé ; \u003Cstrong>3)\u003C\u002Fstrong> comment les types sont fabriqués et nivelés ; \u003Cstrong>4)\u003C\u002Fstrong> comment la fonte est classée et consultée ; \u003Cstrong>5)\u003C\u002Fstrong> qui compose, corrige et imprime ; \u003Cstrong>6)\u003C\u002Fstrong> quels traits de page soutiennent l’attribution ; \u003Cstrong>7)\u003C\u002Fstrong> usure ou réparation d’une planche pourraient-elles les imiter ; \u003Cstrong>8)\u003C\u002Fstrong> de quelle édition, impression et copie parle-t-on réellement ? Poursuivons avec les guides des \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge\">bibliographies chinoises\u003C\u002Fa> et des \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bookshops-book-markets-publishers-routes-readers\">librairies et marchés du livre\u003C\u002Fa> pour relier technique, catalogues et circulation.\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F1X3TEZMhgVt6lkq536iR.webp",1672,941,{"fr":1151},"Photographie conceptuelle d’une chercheuse contemporaine anonyme composant des types réutilisables vierges inventés dans un laboratoire fictif",{"caption":1153,"creator":1154,"source_url":1155,"license_label":1156,"license_url":1157,"changes":1158},"Scène conceptuelle d’étude générée par IA ; ce n’est ni une chercheuse, ni une fonte, un objet, un atelier, une bibliothèque, collection, institution, lieu ou événement réels.","OpenAI","https:\u002F\u002Fopenai.com\u002F","AI-generated image","https:\u002F\u002Fopenai.com\u002Fpolicies\u002Fterms-of-use\u002F","Générée indépendamment pour cet article puis convertie en WebP, sans photomontage.",{"fr":1151},"banner","list",{"fr":1163},"Caractères mobiles chinois : argile, bois, métal et réemploi",{"fr":1165},"Guide documenté des caractères mobiles chinois : argile de Bi Sheng, bois de Wang Zhen, métal, classement, réemploi, indices et coexistence avec la xylographie.",[],{"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 Course","六爻初级课",{"en":1178,"zh":1179},"Singapore","新加坡","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FQzqp0uXPJyVi3CvdDM1S.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002Fvariants\u002FQzqp0uXPJyVi3CvdDM1S-16x9.webp","upcoming","choose_one",[1185,1204,1217,1230],{"status":1186,"date_slug":1187,"time_label":1188,"timezone_abbr":1189,"date_label":1190,"date_label_fr":1191,"date_short_fr":1192,"date_only_fr":1193,"date_range_label_fr":920,"time_label_fr":1194,"date_label_zh":1195,"date_short":1196,"date_short_zh":1197,"date_only":1198,"date_only_zh":1199,"is_multi_day":1120,"date_range_label":920,"date_range_label_zh":920,"day_of_month":30,"month_short":1200,"month_long":1201,"month_num":1029,"year":1202,"weekday_short":1203,"weekday_index":924},"scheduled","2026-11-01","9:00am–5:00pm","SGT","Sunday, 1 November 2026","dimanche 1 novembre 2026","dim. 1 nov.","1 nov. 2026","09:00–17:00","2026年11月1日 星期日","Sun 1 Nov","11月1日 周日","1 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