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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":569,"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":570},{"fr":1144},"Un guide documenté de la voix, du rythme, de la rime, des traditions de cantillation et des limites d’une reconstruction de l’écoute ancienne.",{"fr":1146},"\u003Ch2>La poésie existait sur la page et dans la voix\u003C\u002Fh2>\u003Ch3>La lecture silencieuse n'est qu'une possibilité historique\u003C\u002Fh3>\u003Cp>Les poèmes classiques circulaient par l'écriture, la mémoire, la récitation, la cantillation et le chant. Ces modes pouvaient se croiser sans se confondre. La section sur les médias de l'\u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter\u002F514165633\">Oxford Handbook of Classical Chinese Literature\u003C\u002Fa> replace la littérature parmi récitation orale, performance musicale, manuscrit et imprimé. Les guides des \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Forigins-spirit-of-chinese-poetry\">origines de la poésie chinoise\u003C\u002Fa> et du \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fbook-of-songs-classical-foundations\">Livre des Odes\u003C\u002Fa> donnent le cadre général ; celui-ci demande ce qui change lorsqu'un poème est entendu.\u003C\u002Fp>\u003Ch3>Il n'existait pas une manière chinoise immuable de réciter\u003C\u002Fh3>\u003Cp>Une cour, un banquet, une leçon, l'étude privée et un enregistrement moderne poursuivent des buts différents. Époque, région, genre, formation et public comptent. Les mots traduits par réciter, psalmodier, déclamer ou chanter ont eux-mêmes changé. Il faut donc décrire une pratique documentée avant de la baptiser « prononciation traditionnelle » ou « mélodie ancienne ».\u003C\u002Fp>\u003Ch2>Les termes vocaux désignaient des pratiques voisines\u003C\u002Fh2>\u003Ch3>Yin, song, yong et ge ne sont pas de simples synonymes\u003C\u002Fh3>\u003Cp>吟 yin, 诵 song, 咏 yong et 歌 ge peuvent évoquer récitation, cantillation, mise en voix ou chant, mais leur champ varie selon les textes. L'étude de Liu Chunxiao sur \u003Ca href=\"https:\u002F\u002Fsino-platonic.org\u002Fcomplete\u002Fspp339_rise_of_yin.pdf\">l'essor de yin et l'auralité des Tang\u003C\u002Fa> suit un concept qui relie composition, performance, réception et identité poétique. Il faut traduire l'action décrite par le passage, non le caractère isolé.\u003C\u002Fp>\u003Ch3>La cantillation se situait entre parole ordinaire et chant fixé\u003C\u002Fh3>\u003Cp>Certaines pratiques accentuaient hauteur, durée, cadence et pause sans employer une mélodie stable au sens moderne ; d'autres poèmes étaient réellement chantés avec musique. La frontière était poreuse, non inexistante. La notion de \u003Ca href=\"https:\u002F\u002Fwww.chinesethought.cn\u002FEN\u002Fshuyu_show.aspx?shuyu_id=4369\">chant avec sentiment\u003C\u002Fa> maintient le lien entre cadence, répétition vocale et interprétation, mais anecdotes et descriptions techniques doivent rester datées et contextualisées.\u003C\u002Fp>\u003Ch2>La forme organisait ce que l'auditeur percevait\u003C\u002Fh2>\u003Ch3>Longueur du vers et pauses rendaient la structure audible\u003C\u002Fh3>\u003Cp>Les vers de quatre, cinq ou sept syllabes produisent des amplitudes de souffle et des attentes différentes. L'interprète peut grouper le vers selon le sens ou le rythme, sans que nos pauses commodes constituent une règle antique. Le parallélisme peut s'entendre avant même que chaque allusion soit comprise. Le guide du \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-regulated-verse\">vers régulier\u003C\u002Fa> explique l'articulation entre vers, distique et parallélisme.\u003C\u002Fp>\u003Ch3>Rime et catégories tonales étaient des relations, non une partition\u003C\u002Fh3>\u003Cp>La rime fait revenir des finales ; catégories planes et obliques structurent le vers régulier. Elles n'imposent pas une courbe mélodique universelle. Les prononciations ont changé et les tons du mandarin moderne ne sont pas les catégories du chinois médiéval. Le guide des \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun\">dictionnaires et livres de rimes\u003C\u002Fa> distingue classification historique et son actuel.\u003C\u002Fp>\u003Ch2>La performance appartenait à des lieux précis\u003C\u002Fh2>\u003Ch3>Cours, banquets et divertissements musicaux donnaient une vie sociale au poème\u003C\u002Fh3>\u003Cp>Certains shi étaient mis en musique ; des anecdotes où des chanteuses choisissent des quatrains montrent la poésie engagée dans la réputation et le spectacle. Elles attestent une attente de circulation vocale, non la mélodie perdue ni le chant de tout poème. Le guide de la \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Ftang-poetry-golden-age\">poésie des Tang\u003C\u002Fa> replace cette pratique parmi écrit, examens et canonisation ultérieure.\u003C\u002Fp>\u003Ch3>Étude et sociabilité faisaient elles aussi appel à la voix\u003C\u002Fh3>\u003Cp>Maîtres et élèves récitaient, le lecteur éprouvait une phrase à voix haute, les amis échangeaient des compositions et la mémoire ramenait des vers dans la conversation. Répéter aidait à retenir, mais débit, souffle et accent étaient déjà une interprétation. Les \u003Ca href=\"https:\u002F\u002Fcup.columbia.edu\u002Fsupplemental-resources\u002Fsound-recordings-for-how-to-read-chinese-poetry\u002F\">enregistrements de Columbia University Press\u003C\u002Fa> montrent un choix pédagogique moderne, non un son historique retrouvé.\u003C\u002Fp>\u003Ch2>La voix façonnait mémoire et interprétation\u003C\u002Fh2>\u003Ch3>La vocalisation inscrivait le langage dans le corps\u003C\u002Fh3>\u003Cp>Rythme, reprise et souffle font du texte un événement dans la durée. Une étude du \u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fjournals\u002Fearly-china\u002Farticle\u002Fsoundscape-of-the-huainanzi-poetry-performance-philosophy-and-praxis-in-early-china\u002F13218CA13683D7436E991EDB96EA2F2D\">paysage sonore du Huainanzi\u003C\u002Fa> soutient que ses formes rimées permettaient performance orale et pratique philosophique incarnée. Ce cas particulier ne vaut pas pour toute poésie, mais invite le lecteur silencieux à reconnaître le motif sonore comme mode de pensée.\u003C\u002Fp>\u003Ch3>Toute performance ajoute des choix\u003C\u002Fh3>\u003Cp>Il faut choisir la pause, la syllabe prolongée, la force de la rime, parole, cantillation ou mélodie, ainsi que le degré d'émotion. La ponctuation moderne guide ces décisions alors que les exemplaires anciens pouvaient découper autrement. Le guide de la \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-texts-punctuation-reading-marks-sentence-division-modern-editions\">ponctuation et des marques de lecture\u003C\u002Fa> empêche de prendre le phrasé d'un enregistrement pour l'unique syntaxe du poème.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FGxZo1174N0SMmEz2pbpi.webp\" alt=\"Nature morte conceptuelle vue du dessus avec casque sans marque, métronome sans chiffres, claquette de bois, bandes de papier vierges et repères de pulsation en verre\" loading=\"lazy\">\u003Cfigcaption>Nature morte conceptuelle contemporaine générée par IA sur l’écoute, le rythme et la comparaison ; elle ne documente aucune performance, mélodie, pièce, enregistrement, texte ou reconstruction ancienne.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>Les traditions vivantes sont des preuves, non des machines à remonter le temps\u003C\u002Fh2>\u003Ch3>Les traditions régionales conservent des savoir-faire élaborés\u003C\u002Fh3>\u003Cp>À Taiwan et ailleurs, des interprètes modernes transmettent des manières apprises de cantiller les classiques. L'analyse de David Prager Branner sur \u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fhong-kong-scholarship-online\u002Fbook\u002F45092\u002Fchapter-abstract\u002F386489926\">la cantillation taiwanaise et le son des Tang\u003C\u002Fa> respecte la pratique tout en testant concordances et écarts avec la reconstruction historique. Ces traditions méritent d'être documentées pour leur propre histoire, pas seulement comme copies de l'Antiquité.\u003C\u002Fp>\u003Ch3>Une lignée de performance ne fige pas la prononciation\u003C\u002Fh3>\u003Cp>Les maîtres s'adaptent à la langue locale, à l'école, à leur voix et à de nouveaux publics ; un enregistrement fixe un moment, non une essence. Mandarin, cantonais, taiwanais et autres variétés sinitiques conservent certaines distinctions et en effacent d'autres. Dire qu'une variété garde des traits anciens est plus défendable que déclarer qu'elle « est le chinois des Tang ».\u003C\u002Fp>\u003Ch2>Le son historique ne se reconstruit qu'indirectement\u003C\u002Fh2>\u003Ch3>Livres de rimes, transcriptions, dialectes et prosodie donnent des indices différents\u003C\u002Fh3>\u003Cp>Les philologues comparent rimes, catégories tonales, fanqie, transcriptions étrangères et variétés modernes. Aucune source ne restitue une performance complète. Une reconstruction propose un système ; l'astérisque signale une hypothèse savante, non un enregistrement. Le guide du \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fwenxin-diaolong-liu-xie-writing-reading-literary-thought\">Wenxin Diaolong\u003C\u002Fa> rappelle que la critique ancienne du son doit rester liée à son vocabulaire et à sa transmission.\u003C\u002Fp>\u003Ch3>Prononciation historique et style de performance sont deux questions\u003C\u002Fh3>\u003Cp>Une valeur phonétique proposée ne donne ni tempo, ni mélodie, ni volume, ni souffle, ni geste. Inversement, une mélodie de cantillation peut survivre tandis que la prononciation change. L'étude de Liu et la \u003Ca href=\"https:\u002F\u002Fcommons.ln.edu.hk\u002Fpoetry_video\u002F7\u002F\">démonstration de Lingnan University\u003C\u002Fa> apportent des preuves différentes ; leur combinaison doit préciser ce que chacune autorise à conclure.\u003C\u002Fp>\u003Ch2>Écouter selon une méthode qui conserve l'incertitude\u003C\u002Fh2>\u003Ch3>Identifier texte, forme, date, voix et intention\u003C\u002Fh3>\u003Cp>Avant de comparer des enregistrements, établissons version du poème, genre, versification et ponctuation. Notons qui interprète, dans quelle variété ou reconstruction, selon quel enseignement, pour quel public et avec quelle méthode déclarée. L'histoire musicale du ci demande un traitement propre : commençons par les \u003Ca href=\"\u002Ffr\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-ci-lyrics\">patrons mélodiques et la transmission du ci\u003C\u002Fa> plutôt que d'en faire un shi régulier.\u003C\u002Fp>\u003Ch3>Comparer plusieurs lectures au lieu de couronner une voix authentique\u003C\u002Fh3>\u003Cp>Les \u003Ca href=\"https:\u002F\u002Fcup.columbia.edu\u002Fsupplemental-resources\u002Fsound-recordings-for-how-to-read-chinese-poetry-workbook\u002F\">enregistrements du manuel de Columbia\u003C\u002Fa> juxtaposent poèmes originaux et traductions chinoises modernes. Écoutons pauses, durées, rimes, mouvements de hauteur et accents, puis demandons ce qui vient du texte, de la variété linguistique, de l'interprète ou du but pédagogique. « Cette lecture souligne la césure du distique » vaut mieux que « voilà exactement ce qu'entendaient les Tang ».\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FaIFg5bMEoKdEYBvSubpu.webp",1672,941,{"fr":1151},"Photographie contemporaine conceptuelle d’une personne anonyme récitant des pages vierges devant un microphone sans marque dans une salle d’étude fictive un soir de pluie",{"caption":1153,"creator":1154,"source_url":1155,"license_label":1156,"license_url":1157,"changes":1158},"Scène contemporaine conceptuelle de récitation générée par IA ; ce n’est ni une personne, une performance, un poème, un enregistrement, une institution, un lieu ou un événement historique 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},"Comment la poésie classique chinoise était entendue",{"fr":1165},"Voix, cadence, rime et cantillation dans la poésie classique chinoise, et pourquoi aucune récitation moderne ne restitue simplement le son ancien.",[],{"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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