[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"site-nav-reference-en":3,"site-nav-zh":4,"site-nav-zh-all-arts":289,"event-categories-zh":902,"site-settings":1145,"node-zh-arts\u002Fchinese-poetry-literature":1187,"live-course-events":1850},null,{"data":5},{"header":6,"footer":264},[7,51,82,123,161,187,229,260],{"to":8,"label":9,"label_zh":10,"children":11},"\u002Fdao","TAO","道",[12,17,22,26,30,34,39,43,47],{"to":13,"label":14,"label_zh":15,"n":16},"\u002Fdao\u002Fintroduction","Begin with the Tao","道學入門",9,{"to":18,"label":19,"label_zh":20,"n":21},"\u002Fdao\u002Fyi-jing","I Ching","易經",7,{"to":23,"label":24,"label_zh":25,"n":16},"\u002Fdao\u002Fdao-de-jing","Tao Te Ching","道德經",{"to":27,"label":28,"label_zh":29,"n":21},"\u002Fdao\u002Ftaiji","Taiji","太極",{"to":31,"label":32,"label_zh":33,"n":21},"\u002Fdao\u002Fzhuang-zi","Zhuangzi","莊子",{"to":35,"label":36,"label_zh":37,"n":38},"\u002Fdao\u002Fclassics","Classical Library","道家經典文庫",1,{"to":40,"label":41,"label_zh":42},"\u002Fdao\u002Fdaoist-philosophy","Taoist Philosophy","道家哲學",{"to":44,"label":45,"label_zh":46},"\u002Fdao\u002Fwu-wei-natural-living","Wu Wei & Natural Living","無為與自然生活",{"to":48,"label":49,"label_zh":50},"\u002Fdao\u002Fdaoist-view-of-life","A Taoist View of Life","道家人生觀",{"to":52,"label":53,"label_zh":54,"children":55},"\u002Fmartial-arts","Martial Arts","武當武術",[56,61,65,70,74,78],{"to":57,"label":58,"label_zh":59,"n":60},"\u002Fmartial-arts\u002Ffoundations-internal-arts","Foundations of Internal Martial Arts","內家拳基礎",6,{"to":62,"label":63,"label_zh":64,"n":21},"\u002Fmartial-arts\u002Ftaijiquan","Taijiquan (Tai Chi)","太極拳",{"to":66,"label":67,"label_zh":68,"n":69},"\u002Fmartial-arts\u002Fbaguazhang","Baguazhang: Circle Walking, Palm Changes and Movement","八卦掌：走圈、換掌與身法變化",5,{"to":71,"label":72,"label_zh":73,"n":69},"\u002Fmartial-arts\u002Fxingyiquan","Xingyiquan: Structure, Intention and Direct Training","形意拳：結構、意念與直接訓練",{"to":75,"label":76,"label_zh":77,"n":21},"\u002Fmartial-arts\u002Fweapons","Wudang Sword and Weapons: History, Practice and Context","武當劍與兵器：歷史、練習與文化語境",{"to":79,"label":80,"label_zh":81,"n":21},"\u002Fmartial-arts\u002Ftraining-practice","Training and Practice: Building a Sustainable Wudang Routine","訓練與習練：建立可持續的武當練習",{"to":83,"label":84,"label_zh":85,"children":86},"\u002Fwellness","Wellness","養生",[87,91,95,99,103,107,111,115,119],{"to":88,"label":89,"label_zh":90,"n":21},"\u002Fwellness\u002Fqigong","Qigong","氣功",{"to":92,"label":93,"label_zh":94,"n":60},"\u002Fwellness\u002Fherbal-healing","Chinese Herbal Medicine","中藥與本草",{"to":96,"label":97,"label_zh":98,"n":60},"\u002Fwellness\u002Ftaoist-medicine","Taoist Medicine","道家醫學",{"to":100,"label":101,"label_zh":102,"n":60},"\u002Fwellness\u002Fenergy-sound-healing","Sound & Energy Practices","聲音與能量練習",{"to":104,"label":105,"label_zh":106},"\u002Fwellness\u002Fstanding-practice","Standing Practice","站樁",{"to":108,"label":109,"label_zh":110},"\u002Fwellness\u002Fwudang-internal-cultivation","Wudang Internal Cultivation","武當內修",{"to":112,"label":113,"label_zh":114},"\u002Fwellness\u002Fmoxibustion","Moxibustion","艾灸",{"to":116,"label":117,"label_zh":118},"\u002Fwellness\u002Fbigu","Bigu","辟穀",{"to":120,"label":121,"label_zh":122,"n":38},"\u002Fwellness\u002Fbaduanjin","Baduanjin (Eight Brocades)","八段錦",{"to":124,"label":125,"label_zh":126,"children":127},"\u002Farts","Literati Arts","文人雅藝",[128,133,138,143,148,153,157],{"to":129,"label":130,"label_zh":131,"n":132},"\u002Farts\u002Fchinese-poetry-literature","Chinese Poetry and Literature: Forms, Contexts and Reading Paths","中國詩詞與文學：體式、語境與閱讀路徑",49,{"to":134,"label":135,"label_zh":136,"n":137},"\u002Farts\u002Fcalligraphy","Chinese Calligraphy: Scripts, Materials and Ways of Looking","中國書法：書體、材料與觀賞入門",17,{"to":139,"label":140,"label_zh":141,"n":142},"\u002Farts\u002Ftea-ceremony","Chinese Tea Culture","中國茶文化",39,{"to":144,"label":145,"label_zh":146,"n":147},"\u002Farts\u002Fguqin","Guqin: Sound, History and Ways to Listen","古琴：認識聲音、歷史與聆聽方法",12,{"to":149,"label":150,"label_zh":151,"n":152},"\u002Farts\u002Fpainting","Chinese Painting: Materials, Formats and Ways of Looking","中國繪畫：材料、形制與觀看方法",15,{"to":154,"label":155,"label_zh":156,"n":16},"\u002Farts\u002Fincense","Chinese Incense Culture","中國香文化",{"to":158,"label":159,"label_zh":160,"n":21},"\u002Farts\u002Fflower-arrangement","Chinese Flower Arrangement: History, Materials and Ways of Looking","中國插花：歷史、花材與觀看方法",{"to":162,"label":163,"label_zh":164,"children":165},"\u002Fdaoism","Taoist Culture","道教文化",[166,170,174,178,183],{"to":167,"label":168,"label_zh":169,"n":16},"\u002Fdaoism\u002Ftaoist-deities-pantheon","Taoist Deities and the Chinese Pantheon: A Structural Guide","道教神仙與神明體系：結構與層級指南",{"to":171,"label":172,"label_zh":173,"n":21},"\u002Fdaoism\u002Ftaoist-temples-sacred-mountains","Taoist Temples and Sacred Mountains: A Guide to Places and Architecture","道教名山與宮觀：聖地、建築與制度指南",{"to":175,"label":176,"label_zh":177,"n":21},"\u002Fdaoism\u002Ftaoist-schools-lineages","Taoist Schools and Lineages: Zhengyi, Quanzhen and Historical Traditions","道教流派與傳承：正一、全真及歷史道派",{"to":179,"label":180,"label_zh":181,"n":182},"\u002Fdaoism\u002Ftaoist-festivals-rituals","Taoist Festivals and Rituals: Calendars, Offerings and Community Rites","道教節日與科儀：神誕、齋醮與歲時儀式",19,{"to":184,"label":185,"label_zh":186,"n":60},"\u002Fdaoism\u002Feight-immortals","The Eight Immortals: Origins, Symbols and Taoist Legends","八仙：人物、象徵與道教傳說",{"to":188,"label":189,"label_zh":190,"children":191},"\u002Fchinese-metaphysics","Chinese Metaphysics","易學與傳統術數",[192,196,200,204,208,213,217,221,225],{"to":193,"label":194,"label_zh":195,"n":21},"\u002Fchinese-metaphysics\u002Fyin-yang-five-elements","Yin-Yang and the Five Phases in Chinese Thought","陰陽五行：理解關係與變化",{"to":197,"label":198,"label_zh":199,"n":21},"\u002Fchinese-metaphysics\u002Fganzhi-stems-branches","Chinese Heavenly Stems and Earthly Branches (Ganzhi)","天干地支（干支）：中國曆法與術數的六十迴圈",{"to":201,"label":202,"label_zh":203,"n":21},"\u002Fchinese-metaphysics\u002Ffeng-shui","Chinese Feng Shui: Landscape, Compass Methods and Responsible Practice","中國風水：形勢、羅盤方法與負責任實踐",{"to":205,"label":206,"label_zh":207,"n":21},"\u002Fchinese-metaphysics\u002Fbazi-four-pillars","BaZi (Four Pillars of Destiny): How the Eight Characters Work","八字四柱命理：八個字如何構成命盤",{"to":209,"label":210,"label_zh":211,"n":212},"\u002Fchinese-metaphysics\u002Fzi-wei-dou-shu","Zi Wei Dou Shu (Purple Star Astrology): How the Twelve-Palace Chart Works","紫微斗數：十二宮命盤如何運作",8,{"to":214,"label":215,"label_zh":216,"n":212},"\u002Fchinese-metaphysics\u002Fdate-selection","Chinese Date Selection: How Auspicious Days Are Chosen","中國擇吉：傳統吉日如何選擇",{"to":218,"label":219,"label_zh":220,"n":21},"\u002Fchinese-metaphysics\u002Fphysiognomy","Chinese Physiognomy: Face Reading, Palm Reading and Their Limits","中國相術：面相、手相及其侷限",{"to":222,"label":223,"label_zh":224,"n":21},"\u002Fchinese-metaphysics\u002Fdivination-arts","Chinese Divination Arts: Methods, History and Responsible Use","中國占卜術：方法、歷史與負責任使用",{"to":226,"label":227,"label_zh":228,"n":21},"\u002Fchinese-metaphysics\u002Fluoshu-hetu","The Hetu, Luoshu and Nine Palaces in Chinese Cosmology","河圖、洛書與九宮：中國傳統圖式的歷史與用途",{"to":230,"label":231,"label_zh":232,"children":233},"\u002Fwudang-mountain","Experience Wudang","武當之旅",[234,238,243,248,252,256],{"to":235,"label":236,"label_zh":237,"n":21},"\u002Fwudang-mountain\u002Fintroduction","Introduction to Wudang Mountain","初識武當山",{"to":239,"label":240,"label_zh":241,"n":242},"\u002Fwudang-mountain\u002Ftemples-and-sites","Wudang Mountain Temples and Sacred Sites","武當山宮觀與勝蹟",3,{"to":244,"label":245,"label_zh":246,"n":247},"\u002Fwudang-mountain\u002Fplanning-a-visit","Planning a Visit to Wudang Mountain","武當山行前規劃指南",4,{"to":249,"label":250,"label_zh":251,"n":242},"\u002Fwudang-mountain\u002Fstudying-at-wudang","Studying Martial Arts at Wudang Mountain","在武當山學習武術",{"to":253,"label":254,"label_zh":255,"n":242},"\u002Fwudang-mountain\u002Ftemple-etiquette","Wudang Temple Etiquette: A Visitor’s Guide","武當宮觀參訪禮儀",{"to":257,"label":258,"label_zh":259,"n":69},"\u002Fwudang-mountain\u002Fpractical-reference","Wudang Mountain Practical Reference","武當山實用參考資料",{"to":261,"label":262,"label_zh":263},"\u002Fwudang-mountain\u002Feveryday-wudang","Everyday Wudang","武當日常",[265,266,267,268,269,270,271,272,273,277,281,285],{"to":8,"label":9,"label_zh":10},{"to":52,"label":53,"label_zh":54},{"to":83,"label":84,"label_zh":85},{"to":124,"label":125,"label_zh":126},{"to":162,"label":163,"label_zh":164},{"to":188,"label":189,"label_zh":190},{"to":230,"label":231,"label_zh":232},{"to":261,"label":262,"label_zh":263},{"to":274,"label":275,"label_zh":276},"\u002Fabout","About Wudang.Org","關於 Wudang.Org",{"to":278,"label":279,"label_zh":280},"\u002Fstart-here","Start Here","從這裡開始",{"to":282,"label":283,"label_zh":284},"\u002Ffind-a-practice","Find a Practice","找到適合你的修習",{"to":286,"label":287,"label_zh":288},"\u002Fteachers","Our Teachers","授課老師",{"data":290},{"all":291,"header":900,"footer":901},[292],{"to":124,"label":125,"label_zh":126,"children":293},[294,492,562,720,770,832,870],{"to":129,"label":130,"label_zh":131,"children":295},[296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,372,376,380,384,388,392,396,400,404,408,412,416,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488],{"to":297,"label":298,"label_zh":299},"\u002Farts\u002Fchinese-poetry-literature\u002Forigins-spirit-of-chinese-poetry","Origins of Chinese Poetry: Song, Text and Interpretation","中國詩歌的源流：歌唱、文本與闡釋",{"to":301,"label":302,"label_zh":303},"\u002Farts\u002Fchinese-poetry-literature\u002Fbook-of-songs-classical-foundations","The Book of Songs: Voices, Performance and Interpretation","《詩經》：聲音、禮樂與闡釋",{"to":305,"label":306,"label_zh":307},"\u002Farts\u002Fchinese-poetry-literature\u002Ftang-poetry-golden-age","Tang Poetry: Forms, Voices and a Lasting Canon","唐詩：體式、聲音與經典的形成",{"to":309,"label":310,"label_zh":311},"\u002Farts\u002Fchinese-poetry-literature\u002Ftaoist-landscape-poetry","Daoist Traditions and Landscape Poetry: Place, Reclusion and Interpretation","道家、道教與山水詩：地方、隱逸與解讀",{"to":313,"label":314,"label_zh":315},"\u002Farts\u002Fchinese-poetry-literature\u002Fpoetry-as-cultivation","Poetry as Cultivation at Wudang: Reading, Attention and Writing","武當詩文與自我涵養：閱讀、觀察與寫作",{"to":317,"label":318,"label_zh":319},"\u002Farts\u002Fchinese-poetry-literature\u002Fkey-poets-further-reading","Chinese Poetry: Poets, Editions and Reading Paths","中國詩詞閱讀：詩人、版本與入門路徑",{"to":321,"label":322,"label_zh":323},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-regulated-verse","How to Read Chinese Regulated Verse: Lines, Rhyme, Tone and Parallelism","怎樣讀中國近體詩：句式、押韻、平仄與對仗",{"to":325,"label":326,"label_zh":327},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-ci-lyrics","How to Read Chinese Ci Lyrics: Tune Patterns, Voice and Transmission","怎樣讀中國詞：詞牌、聲音與文本流傳",{"to":329,"label":330,"label_zh":331},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission","How Chinese Poetry Anthologies Shape What We Read","中國詩歌選本怎樣塑造我們的閱讀",{"to":333,"label":334,"label_zh":335},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-thread-bound-books-folding-stitching-reading","Chinese Thread-Bound Books: Folding, Stitching and the Shape of Reading","中國線裝書：摺頁、裝訂與閱讀形態",{"to":337,"label":338,"label_zh":339},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-paired-couplets-parallelism-calligraphy-place","How to Read Chinese Paired Couplets: Parallel Lines, Calligraphy and Place","怎樣讀中國對聯：對仗、書法與空間",{"to":341,"label":342,"label_zh":343},"\u002Farts\u002Fchinese-poetry-literature\u002Fpoetry-on-chinese-paintings-inscriptions-colophons","Poetry on Chinese Paintings: How to Read Inscriptions and Colophons","中國畫上的詩：怎樣讀題款與題跋",{"to":345,"label":346,"label_zh":347},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-fu-rhapsody-catalogues-courts-expansive-description","Chinese Fu (Rhapsody): Catalogues, Courts and Expansive Description","中國賦：鋪陳、宮廷與展開描寫的藝術",{"to":349,"label":350,"label_zh":351},"\u002Farts\u002Fchinese-poetry-literature\u002Fwenxin-diaolong-liu-xie-writing-reading-literary-thought","Wenxin Diaolong: How Liu Xie Thought About Writing and Reading","《文心雕龍》導讀：劉勰怎樣思考寫作與閱讀",{"to":353,"label":354,"label_zh":355},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-shihua-poetry-talks-notes-anecdotes-criticism","Shihua (Poetry Talks): How Chinese Criticism Speaks in Notes and Anecdotes","中國詩話導讀：批評怎樣寫進筆記、軼事與評語",{"to":357,"label":358,"label_zh":359},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers","Chinese Prefaces and Afterwords (Xu and Ba): How Books Frame Texts and Readers","中國序跋導讀：書籍怎樣安排文本、作者與讀者",{"to":361,"label":362,"label_zh":363},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-biji-brush-notes-notebooks-miscellanies","Chinese Biji (Brush Notes): How Fragments Become Knowledge and Literature","中國筆記導讀：零散見聞怎樣成為知識與文學",{"to":365,"label":366,"label_zh":367},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-leishu-classified-books-excerpts-knowledge","Chinese Leishu (Classified Books): How Knowledge Was Excerpted and Ordered","中國類書導讀：知識怎樣被摘錄與分類",{"to":369,"label":370,"label_zh":371},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun","Chinese Dictionaries and Rhyme Books: How Characters, Meanings and Sounds Were Ordered","中國字書與韻書導讀：字形、詞義與語音怎樣被編排",{"to":373,"label":374,"label_zh":375},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-primers-sanzijing-baijiaxing-qianziwen-literacy","Chinese Primers and Elementary Literacy: Reading the Three, Hundred and Thousand","中國傳統蒙學讀物導讀：《三字經》《百家姓》《千字文》怎樣教人識字",{"to":377,"label":378,"label_zh":379},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-texts-punctuation-reading-marks-sentence-division-modern-editions","How Chinese Texts Were Punctuated: Reading Marks, Sentence Division and Modern Editions","中國古籍怎樣斷句：句讀、圈點與現代標點",{"to":381,"label":382,"label_zh":383},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-letters-chidu-writing-address-correspondence-calligraphy","Chinese Letters (Chidu): Writing, Address and the Afterlife of Correspondence","中國尺牘導讀：書信格式、稱謂與墨跡流傳",{"to":385,"label":386,"label_zh":387},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-travel-writing-youji-routes-witness-making-place","Chinese Travel Writing (Youji): Routes, Witness and the Making of Place","中國遊記導讀：路線、見聞與地方書寫",{"to":389,"label":390,"label_zh":391},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-individual-collected-works-bieji-authors-editors-transmission","Chinese Individual Collected Works (Bieji): How an Author’s Writings Become a Book","中國別集導讀：一位作者的詩文怎樣成為一部書",{"to":393,"label":394,"label_zh":395},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-guwen-pianwen-ancient-style-parallel-prose-rhythm-argument","Guwen and Pianwen: Two Ways of Shaping Classical Chinese Prose","古文與駢文導讀：中國古典散文的兩種組織方式",{"to":397,"label":398,"label_zh":399},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-eight-legged-essay-baguwen-examination-classics-composition","The Eight-Legged Essay (Baguwen): How an Examination Form Organized Classical Thought","八股文導讀：科舉文章怎樣組織經典義理",{"to":401,"label":402,"label_zh":403},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-examination-compounds-gongyuan-cells-candidate-experience","Chinese Examination Compounds (Gongyuan): How Architecture Shaped the Candidate Experience","中國貢院導讀：考場空間怎樣塑造士子的應試體驗",{"to":405,"label":406,"label_zh":407},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-academies-shuyuan-books-teaching-ritual-landscape","Chinese Academies (Shuyuan): How Books, Teaching and Ritual Made a Scholarly Place","中國書院導讀：書籍、講學與禮儀怎樣構成學術空間",{"to":409,"label":410,"label_zh":411},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-private-libraries-cangshulou-collectors-catalogues-transmission","Chinese Private Libraries (Cangshulou): How Collectors Built Paths for Books to Survive","中國藏書樓導讀：私人收藏怎樣為典籍延續開闢路徑",{"to":413,"label":414,"label_zh":415},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bookshops-book-markets-publishers-routes-readers","Chinese Bookshops and Book Markets: How Books Became Goods, Routes and Encounters","中國書肆與書市導讀：書籍怎樣成為商品、路線與相遇",{"to":417,"label":418,"label_zh":419},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading","Illustrated Chinese Books: How Woodblock Images Shaped the Page","中國古籍插圖導讀：木刻影像怎樣塑造書頁",{"to":421,"label":422,"label_zh":423},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge","Chinese Bibliographies (Mulu): How Catalogues Classified Books and Knowledge","中國目錄學導讀：書目怎樣分類書籍與知識",{"to":425,"label":426,"label_zh":427},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions","Chinese Textual Collation (Jiaokan): How Scholars Read Variant Texts","中國校勘導讀：怎樣閱讀異文與文本傳本",{"to":429,"label":430,"label_zh":431},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-commentaries-subcommentaries-zhu-jian-shu-layered-reading","Chinese Commentaries and Subcommentaries: How Notes Became Part of the Text","中國註疏導讀：注、箋、疏怎樣層層塑造經典閱讀",{"to":433,"label":434,"label_zh":435},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-marginalia-meipi-pangpi-pijiao-reading-history","Marginalia in Chinese Books: How Readers Wrote Back","中國古籍批註導讀：讀者怎樣在書頁上留下閱讀史",{"to":437,"label":438,"label_zh":439},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-ownership-seals-cangshuyin-provenance-impressions","Book-Ownership Seals in China: Reading Provenance in Red","中國古籍藏書印導讀：怎樣從朱印追索遞藏",{"to":441,"label":442,"label_zh":443},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-paper-fibres-sizing-repairs-dating-evidence","Paper in Chinese Books: Fibres, Sizing, Repairs and the Limits of Dating","中國古籍用紙導讀：纖維、施膠、修補與斷代邊界",{"to":445,"label":446,"label_zh":447},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-page-layout-frames-columns-fishtails-centre-fold","Inside the Chinese Book Page: Frames, Columns, Fishtails and the Centre Fold","中國古籍版式導讀：版框、界行、魚尾與版心",{"to":449,"label":450,"label_zh":451},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-printers-marks-paiji-kanji-publishing-claims","Printer’s Marks in Chinese Books: Reading Paiji, Kanji and Publishing Claims","中國古籍牌記與刊記導讀：怎樣辨認刊刻、藏版與書坊資訊",{"to":453,"label":454,"label_zh":455},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-movable-type-printing-clay-wood-metal-reuse","Movable Type in Chinese Book History: Clay, Wood, Metal and Reuse","中國古籍活字印刷導讀：泥活字、木活字、金屬活字與複用",{"to":457,"label":458,"label_zh":459},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-printing-workflow-writing-carving-inking-impressions","How Chinese Woodblock Printing Worked: Writing, Carving, Inking and Impressions","中國雕版印刷工藝導讀：寫樣、上版、刻版、刷墨與印紙",{"to":461,"label":462,"label_zh":463},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-lifecycle-storage-repair-recutting-later-impressions","After the First Printing: How Chinese Woodblocks Were Stored, Repaired and Reused","初印之後：中國雕版的儲藏、遞修、重刻與後印",{"to":465,"label":466,"label_zh":467},"\u002Farts\u002Fchinese-poetry-literature\u002Fwho-paid-chinese-book-printing-patronage-profit-donors-funding","Who Paid to Print? Patronage, Profit and Collective Funding in Chinese Book History","誰出資刻書？中國書籍史中的官刻、私資、坊刻與募資",{"to":469,"label":470,"label_zh":471},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-readers-got-books-imperial-china-buying-borrowing-gifts-copying","How Readers Got Books in Imperial China: Buying, Borrowing, Gifting and Copying","古代中國讀者怎樣獲得書籍？購書、借閱、饋贈與抄寫",{"to":473,"label":474,"label_zh":475},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-classical-chinese-poetry-was-heard-recitation-chanting-historical-sound","How Classical Chinese Poetry Was Heard: Recitation, Chanting and Historical Sound","古典詩歌怎樣被聽見？誦讀、吟詠與歷史聲音",{"to":477,"label":478,"label_zh":479},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-social-exchange-gifts-farewells-replies-rhyme-matching","Poetry as Social Exchange: Gifts, Farewells, Replies and Rhyme-Matching in China","詩歌作為交往：贈答、送別、唱和與次韻",{"to":481,"label":482,"label_zh":483},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-gatherings-themes-rhyme-lots-linked-composition","How Chinese Poetry Gatherings Worked: Themes, Rhyme Lots and Linked Composition","中國古典詩歌雅集怎樣運作：命題、分韻與聯句",{"to":485,"label":486,"label_zh":487},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-revision-drafts-variants-editorial-layers","How Chinese Poems Changed: Drafts, Variants and Editorial Layers","中國古典詩歌怎樣改定與流傳：草稿、異文與編輯層次",{"to":489,"label":490,"label_zh":491},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-attribution-anonymity-disputed-authorship","Who Wrote This Poem? Attribution, Anonymity and Disputed Authorship in Chinese Poetry","這首詩是誰寫的？中國古典詩歌的署名、佚名與作者爭議",{"to":134,"label":135,"label_zh":136,"children":493},[494,498,502,506,510,514,518,522,526,530,534,538,542,546,550,554,558],{"to":495,"label":496,"label_zh":497},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origins and History of Chinese Calligraphy","中國書法的源流與歷史",{"to":499,"label":500,"label_zh":501},"\u002Farts\u002Fcalligraphy\u002Fthe-five-script-styles","The Five Script Styles in Chinese Calligraphy","中國書法的五種主要書體",{"to":503,"label":504,"label_zh":505},"\u002Farts\u002Fcalligraphy\u002Fcalligraphy-as-taoist-cultivation","Calligraphy and Taoist Cultivation: Text, Attention and Practice","書法與道家修養：讀懂文字，專注落筆",{"to":507,"label":508,"label_zh":509},"\u002Farts\u002Fcalligraphy\u002Ffour-treasures-of-the-study","The Four Treasures of the Study: Choosing and Using Calligraphy Materials","文房四寶：認識、選擇與使用筆墨紙硯",{"to":511,"label":512,"label_zh":513},"\u002Farts\u002Fcalligraphy\u002Fbrush-technique-living-line","Chinese Calligraphy Brushwork: Reading and Practising the Living Line","書法筆法：觀察與練習有生氣的線條",{"to":515,"label":516,"label_zh":517},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Chinese Calligraphy Masters and Reading Paths","中國書法名家與閱讀路徑",{"to":519,"label":520,"label_zh":521},"\u002Farts\u002Fcalligraphy\u002Fchinese-seals-and-seal-carving","Chinese Seals and Seal Carving: Script, Surface and Impression","中國印章與篆刻：文字、印面與鈐印",{"to":523,"label":524,"label_zh":525},"\u002Farts\u002Fcalligraphy\u002Fchinese-ink-rubbings","Chinese Ink Rubbings: Stone, Paper and the Life of Calligraphy","中國傳拓：石刻、紙墨與書法的流傳",{"to":527,"label":528,"label_zh":529},"\u002Farts\u002Fcalligraphy\u002Fchinese-inkstones","Chinese Inkstones: Stone, Carving and the Scholar’s Desk","中國硯臺：石材、雕刻與文房生活",{"to":531,"label":532,"label_zh":533},"\u002Farts\u002Fcalligraphy\u002Fchinese-inksticks","Chinese Inksticks: Soot, Moulds and the Scholar’s Desk","中國墨錠：煙料、墨模與文房生活",{"to":535,"label":536,"label_zh":537},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-paper","Chinese Calligraphy Paper: Xuan, Sizing and the Life of a Sheet","中國書畫紙：宣紙、施膠與紙張的一生",{"to":539,"label":540,"label_zh":541},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-brushes","Chinese Calligraphy Brushes: Hair, Handle and the Working Point","中國毛筆：毫料、筆管與筆鋒",{"to":543,"label":544,"label_zh":545},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-rests","Chinese Brush Rests: Mountains, Materials and the Scholar’s Desk","中國筆架：山形、材質與文人書案",{"to":547,"label":548,"label_zh":549},"\u002Farts\u002Fcalligraphy\u002Fchinese-water-droppers-scholars-desk","Chinese Water Droppers: Flow, Form and the Scholar’s Desk","中國水滴：控水、造型與文人書案",{"to":551,"label":552,"label_zh":553},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-pots-materials-scholars-desk","Chinese Brush Pots: Function, Material and the Scholar’s Desk","中國筆筒：收納、材質與文人書案",{"to":555,"label":556,"label_zh":557},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-washers-water-form-scholars-desk","Chinese Brush Washers: Water, Form and the Scholar’s Desk","中國筆洗：洗筆、造型與文人書案",{"to":559,"label":560,"label_zh":561},"\u002Farts\u002Fcalligraphy\u002Fchinese-paperweights-form-material-scholars-desk","Chinese Paperweights: Form, Material and the Scholar’s Desk","中國鎮紙：形制、材質與文人書案",{"to":139,"label":140,"label_zh":141,"children":563},[564,568,572,576,580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712,716],{"to":565,"label":566,"label_zh":567},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Tea, Meditation and Taoist Practice","茶、靜坐與道家修習",{"to":569,"label":570,"label_zh":571},"\u002Farts\u002Ftea-ceremony\u002Forigins-history-of-tea-culture","Origins and History of Chinese Tea Culture","中國茶文化的源流與歷史",{"to":573,"label":574,"label_zh":575},"\u002Farts\u002Ftea-ceremony\u002Fthe-way-of-tea","The Way of Tea: Attention, Care and Hospitality","茶道：在一杯茶中練習用心與待客",{"to":577,"label":578,"label_zh":579},"\u002Farts\u002Ftea-ceremony\u002Ftypes-of-tea-and-character","Six Chinese Tea Families: Processing and Taste","六大茶類：從製法到品飲",{"to":581,"label":582,"label_zh":583},"\u002Farts\u002Ftea-ceremony\u002Futensils-and-gongfu-method","Gongfu Tea: Utensils and a Flexible Method","工夫茶：茶具與靈活沖泡法",{"to":585,"label":586,"label_zh":587},"\u002Farts\u002Ftea-ceremony\u002Ffurther-reading-and-practice","Learning Chinese Tea: Reading and Practice","學茶入門：閱讀與品飲練習",{"to":589,"label":590,"label_zh":591},"\u002Farts\u002Ftea-ceremony\u002Fwater-for-chinese-tea","Water for Chinese Tea: Springs, Minerals and a Practical Tasting Method","中國茶用水：山泉、礦物與實用對比方法",{"to":593,"label":594,"label_zh":595},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teaware-clay-glaze-form","Chinese Tea Ware: Clay, Porcelain, Glaze and the Uses of Form","中國茶器：胎土、瓷釉、造型與使用",{"to":597,"label":598,"label_zh":599},"\u002Farts\u002Ftea-ceremony\u002Fchinese-tea-caddies","Chinese Tea Caddies: Storage, Materials and the Traveling Leaf","中國茶葉罐：貯藏、材質與流動的茶葉",{"to":601,"label":602,"label_zh":603},"\u002Farts\u002Ftea-ceremony\u002Fsong-whisked-tea-powder-bowls-foam","Whisked Tea in Song China: Powder, Bowls and Foam","宋代點茶：茶末、茶盞與湯花",{"to":605,"label":606,"label_zh":607},"\u002Farts\u002Ftea-ceremony\u002Fyixing-teapots-clay-form-makers-marks","Yixing Teapots: Clay, Form and Reading the Maker’s Mark","宜興紫砂壺：泥料、器形與款識",{"to":609,"label":610,"label_zh":611},"\u002Farts\u002Ftea-ceremony\u002Fcompressed-tea-cakes-bricks-trade-storage-object-reading","Compressed Tea in China: Cakes, Bricks and How to Read Them","中國緊壓茶：茶餅、茶磚與辨讀方法",{"to":613,"label":614,"label_zh":615},"\u002Farts\u002Ftea-ceremony\u002Ftea-horse-trade-networks-routes-markets-cultural-exchange","Tea–Horse Trade Networks: Routes, Markets and Cultural Exchange","茶馬貿易網路：路線、市場與文化交流",{"to":617,"label":618,"label_zh":619},"\u002Farts\u002Ftea-ceremony\u002Ftea-landscapes-china-gardens-forests-terraces-living-knowledge","Tea Landscapes in China: Gardens, Forests, Terraces and Living Knowledge","中國茶景觀：茶園、古茶林、梯田與活態知識",{"to":621,"label":622,"label_zh":623},"\u002Farts\u002Ftea-ceremony\u002Fpicking-tea-china-seasons-bud-leaf-standards-skilled-labour","Picking Tea in China: Seasons, Bud-and-Leaf Standards and Skilled Labour","中國採茶：季節、芽葉標準與勞作技藝",{"to":625,"label":626,"label_zh":627},"\u002Farts\u002Ftea-ceremony\u002Fwithering-tea-leaves-water-loss-time-first-transformation","Withering Tea Leaves: Water Loss, Time and the First Transformation","茶葉萎凋：失水、時間與採後初變",{"to":629,"label":630,"label_zh":631},"\u002Farts\u002Ftea-ceremony\u002Ffixing-tea-leaves-shaqing-heat-enzymes-turning-point","Fixing Tea Leaves (Shaqing): Heat, Enzymes and a Turning Point in Chinese Tea","茶葉殺青：熱、酶活性與中國製茶的轉折點",{"to":633,"label":634,"label_zh":635},"\u002Farts\u002Ftea-ceremony\u002Frolling-tea-leaves-rounian-pressure-shape-cell-disruption","Rolling Tea Leaves (Rounian): Pressure, Shape and Controlled Cell Disruption","茶葉揉捻：壓力、形態與受控細胞破損",{"to":637,"label":638,"label_zh":639},"\u002Farts\u002Ftea-ceremony\u002Fdrying-tea-leaves-moisture-heat-stability-finished-tea","Drying Tea Leaves: Moisture, Heat and the Stability of Finished Tea","茶葉乾燥：水分、熱量與成茶穩定",{"to":641,"label":642,"label_zh":643},"\u002Farts\u002Ftea-ceremony\u002Fsorting-grading-tea-leaf-size-shape-grade-meaning","Sorting and Grading Tea: Leaf Size, Shape and What a Grade Really Means","茶葉篩分與分級：葉片大小、形態與等級的真正含義",{"to":645,"label":646,"label_zh":647},"\u002Farts\u002Ftea-ceremony\u002Ftea-blending-batch-construction-consistency-style-transparency","Tea Blending and Batch Construction: Consistency, Style and Transparent Labels","茶葉拼配與批次構建：穩定、風格與透明標示",{"to":649,"label":650,"label_zh":651},"\u002Farts\u002Ftea-ceremony\u002Ftea-oxidation-post-fermentation-enzymes-microbes-terms","Oxidation and Post-Fermentation in Tea: Enzymes, Microbes and Misleading Labels","茶葉氧化與後發酵：酶、微生物與容易混淆的標籤",{"to":653,"label":654,"label_zh":655},"\u002Farts\u002Ftea-ceremony\u002Fyellow-tea-menhuang-moist-heat-time-tea-family","Yellow Tea and Menhuang: Moist Heat, Time and the Making of a Tea Family","黃茶與悶黃：溼熱、時間與一類茶的形成",{"to":657,"label":658,"label_zh":659},"\u002Farts\u002Ftea-ceremony\u002Frefiring-roasting-tea-later-heat-aroma-finished-leaf","Re-Firing and Roasting Tea: Later Heat, Aroma and the Difference from Drying","茶葉復火與焙火：後段加熱、香氣及其與乾燥的區別",{"to":661,"label":662,"label_zh":663},"\u002Farts\u002Ftea-ceremony\u002Fjasmine-tea-scenting-flowers-repeated-rounds-aroma-transfer","Jasmine Tea and Scenting: Flowers, Repeated Rounds and How Aroma Enters Tea","茉莉花茶與窨制：鮮花、多次窨香與茶葉如何吸收香氣",{"to":665,"label":666,"label_zh":667},"\u002Farts\u002Ftea-ceremony\u002Ftea-sensory-evaluation-appearance-aroma-taste-score-limits","Tea Sensory Evaluation: Appearance, Aroma, Taste and the Limits of a Score","茶葉感官審評：外形、香氣、滋味與分數的邊界",{"to":669,"label":670,"label_zh":671},"\u002Farts\u002Ftea-ceremony\u002Fdoucha-song-tea-contests-whisked-tea-jian-bowls-modern-judging","Doucha: Tea Contests in Song China and the Limits of Modern Re-Creation","鬥茶：宋代茶事競賽與現代重現的邊界",{"to":673,"label":674,"label_zh":675},"\u002Farts\u002Ftea-ceremony\u002Fbeiyuan-tribute-tea-song-court-labour-imperial-label","Beiyuan Tribute Tea: Song Court Taste, Skilled Labour and the Limits of ‘Imperial Tea’","北苑貢茶：宋代宮廷品味、製茶勞作與“御茶”標籤的邊界",{"to":677,"label":678,"label_zh":679},"\u002Farts\u002Ftea-ceremony\u002Freading-chinese-tea-classics-authorship-editions-recipe-limits","Reading Chinese Tea Classics: Authorship, Editions and the Limits of a ‘Recipe’","如何閱讀中國茶書：作者、版本與“配方”式解讀的邊界",{"to":681,"label":682,"label_zh":683},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-poetry-social-worlds-metaphor-historical-evidence","Tea in Chinese Poetry: Social Worlds, Metaphor and the Limits of Literary Evidence","中國詩歌中的茶：社會交往、詩意表達與文學證據的邊界",{"to":685,"label":686,"label_zh":687},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teahouses-commerce-conversation-performance-urban-publics","Chinese Teahouses: Commerce, Conversation, Performance and Changing Urban Publics","中國茶館：商業、交往、表演與變動中的城市公共生活",{"to":689,"label":690,"label_zh":691},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-painting-objects-social-worlds-visual-evidence","Tea in Chinese Painting: Objects, Social Worlds and the Limits of Visual Evidence","中國繪畫中的茶：器物、社會空間與視覺證據的邊界",{"to":693,"label":694,"label_zh":695},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-dream-of-the-red-chamber-hospitality-rank-labour-fiction","Tea in Dream of the Red Chamber: Hospitality, Rank, Labour and Fiction","《紅樓夢》中的茶：待客、等級、勞動與小說敘事",{"to":697,"label":698,"label_zh":699},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-travel-writing-roads-hospitality-regional-evidence","Tea in Chinese Travel Writing: Roads, Hospitality and the Limits of an Itinerary","中國遊記中的茶：道路、待客與行程證據的邊界",{"to":701,"label":702,"label_zh":703},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-letters-gifts-visits-friendship-private-writing","Tea in Chinese Letters: Gifts, Visits, Friendship and the Limits of ‘Private’ Writing","中國書信中的茶：饋贈、訪友、人情與“私語”證據的邊界",{"to":705,"label":706,"label_zh":707},"\u002Farts\u002Ftea-ceremony\u002Ftea-tax-monopoly-imperial-china-fiscal-records-daily-life","Tea, Tax and Monopoly in Imperial China: Reading Fiscal Records Without Mistaking Revenue for Daily Life","中國曆代茶稅與專賣：財政記錄能告訴我們什麼，又不能告訴我們什麼",{"to":709,"label":710,"label_zh":711},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-local-gazetteers-place-production-local-knowledge","Tea in Chinese Local Gazetteers: Place, Production and the Limits of Local Knowledge","中國地方誌中的茶：產地、生產與地方知識的邊界",{"to":713,"label":714,"label_zh":715},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-materia-medica-names-preparations-medical-claims","Tea in Chinese Materia Medica: Names, Preparations and the Limits of Medical Claims","中國本草中的茶：名稱、製法與醫藥記載的邊界",{"to":717,"label":718,"label_zh":719},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-buddhist-monastic-rules-ceremony-office-origin-stories","Tea in Chinese Buddhist Monastic Rules: Ceremony, Office and the Limits of Origin Stories","中國佛教清規中的茶：禮儀、職事與起源故事的邊界",{"to":144,"label":145,"label_zh":146,"children":721},[722,726,730,734,738,742,746,750,754,758,762,766],{"to":723,"label":724,"label_zh":725},"\u002Farts\u002Fguqin\u002Forigins-history-of-the-guqin","A History of the Guqin: Objects, Texts and Living Music","古琴的歷史：實物、文獻與傳習",{"to":727,"label":728,"label_zh":729},"\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin","How the Guqin Works: Strings, Body and Sound","古琴如何發聲：琴絃、琴身與結構",{"to":731,"label":732,"label_zh":733},"\u002Farts\u002Fguqin\u002Fplaying-technique-and-notation","Playing the Guqin: Gesture, Notation and Interpretation","古琴怎樣彈、怎樣讀譜：指法、減字譜與詮釋",{"to":735,"label":736,"label_zh":737},"\u002Farts\u002Fguqin\u002Ffamous-melodies-and-stories","Guqin Melodies: Stories, Versions and Ways to Listen","聽懂古琴名曲：故事、版本與聆聽線索",{"to":739,"label":740,"label_zh":741},"\u002Farts\u002Fguqin\u002Fguqin-as-taoist-cultivation","Guqin and Daoist Cultivation: Listening, Practice and Limits","古琴與道家修養：聆聽、練習與邊界",{"to":743,"label":744,"label_zh":745},"\u002Farts\u002Fguqin\u002Ffurther-listening-and-study","Learning the Guqin: Listening, Sources and Finding a Teacher","怎樣學古琴：聆聽、資料與擇師",{"to":747,"label":748,"label_zh":749},"\u002Farts\u002Fguqin\u002Fguqin-tables-playing-spaces","Guqin Tables and Playing Spaces: Support, Posture and Listening","古琴桌與彈琴空間：承托、坐姿與聆聽",{"to":751,"label":752,"label_zh":753},"\u002Farts\u002Fguqin\u002Fhow-to-read-guqin-handbook-tablature-editions-dapu","How to Read a Guqin Handbook: Tablature, Editions and Dapu","如何讀古琴譜：減字譜、版本與打譜",{"to":755,"label":756,"label_zh":757},"\u002Farts\u002Fguqin\u002Freading-guqin-lacquer-layers-crack-patterns-repair","Reading Guqin Lacquer: Layers, Crack Patterns and Repair","讀懂古琴漆面：漆層、斷紋與修繕",{"to":759,"label":760,"label_zh":761},"\u002Farts\u002Fguqin\u002Freading-guqin-inscriptions-seals-names-dates-provenance","Reading Guqin Inscriptions and Seals: Names, Dates and Provenance","讀懂古琴銘款與印章：琴名、年代與流傳",{"to":763,"label":764,"label_zh":765},"\u002Farts\u002Fguqin\u002Fguqin-forms-zhongni-banana-leaf-shapes","Guqin Forms: Reading Zhongni, Banana-Leaf and Other Shapes","古琴式樣：讀懂仲尼式、蕉葉式與其他琴式",{"to":767,"label":768,"label_zh":769},"\u002Farts\u002Fguqin\u002Fguqin-strings-silk-modern-composites-playing","Guqin Strings: Silk, Modern Composites and How Material Changes Playing","古琴琴絃：絲絃、現代複合弦與材質如何改變演奏",{"to":149,"label":150,"label_zh":151,"children":771},[772,776,780,784,788,792,796,800,804,808,812,816,820,824,828],{"to":773,"label":774,"label_zh":775},"\u002Farts\u002Fpainting\u002Forigins-history-of-chinese-painting","Origins and History of Chinese Painting: Objects, Courts and Communities","中國繪畫的源流與歷史：作品、宮廷與社會",{"to":777,"label":778,"label_zh":779},"\u002Farts\u002Fpainting\u002Fart-of-ink-and-brush","Ink and Brush in Chinese Painting: Materials, Water and Marks","中國畫的筆墨：材料、水分與筆痕",{"to":781,"label":782,"label_zh":783},"\u002Farts\u002Fpainting\u002Flandscape-painting-shanshui","Shanshui: How to Read Chinese Landscape Painting","山水畫：怎樣讀懂中國山水",{"to":785,"label":786,"label_zh":787},"\u002Farts\u002Fpainting\u002Fbirds-flowers-four-gentlemen","Birds, Flowers and the Four Gentlemen in Chinese Painting","中國畫中的花鳥與四君子",{"to":789,"label":790,"label_zh":791},"\u002Farts\u002Fpainting\u002Fpainting-as-taoist-cultivation","Painting and Taoist Cultivation: Images, Ideas and Practice","繪畫與道家修養：影像、觀念與實踐",{"to":793,"label":794,"label_zh":795},"\u002Farts\u002Fpainting\u002Fgreat-masters-further-study","Chinese Painting Masters: A Guided Path","中國畫名家與進階研習",{"to":797,"label":798,"label_zh":799},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-handscroll","How to Read a Chinese Handscroll: Sequence, Colophons and Seals","怎樣觀看中國手卷：展開順序、題跋與印章",{"to":801,"label":802,"label_zh":803},"\u002Farts\u002Fpainting\u002Fchinese-fan-painting","Chinese Fan Painting: Shape, Brushwork and the Art of the Small Format","中國扇面書畫：形制、筆墨與方寸之美",{"to":805,"label":806,"label_zh":807},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-painting-album","How to Read a Chinese Painting Album: Leaves, Sequence and Intimate Viewing","如何閱讀中國畫冊頁：開頁、次序與案頭觀看",{"to":809,"label":810,"label_zh":811},"\u002Farts\u002Fpainting\u002Fchinese-scholars-rocks","Chinese Scholars’ Rocks: Stone, Display and Imagined Landscapes","中國文人賞石：石質、陳設與想像山水",{"to":813,"label":814,"label_zh":815},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-hanging-scroll","How to Read a Chinese Hanging Scroll: Vertical Space, Mounting and Display","如何閱讀中國立軸：縱向空間、裝裱與陳設",{"to":817,"label":818,"label_zh":819},"\u002Farts\u002Fpainting\u002Fchinese-screens-space-painting","Chinese Screens: Space, Painting and the Art of the Fold","中國屏風：空間、影像與開合之藝",{"to":821,"label":822,"label_zh":823},"\u002Farts\u002Fpainting\u002Fmounting-chinese-painting","Mounting Chinese Painting: Silk Borders, Backing Papers and the Life of a Scroll","中國畫裝裱：綾邊、托紙與卷軸的生命",{"to":825,"label":826,"label_zh":827},"\u002Farts\u002Fpainting\u002Fchinese-portrait-painting-likeness-role-ancestral-memory","Chinese Portrait Painting: Likeness, Role and Ancestral Memory","中國肖像畫：形神、身份與祖先記憶",{"to":829,"label":830,"label_zh":831},"\u002Farts\u002Fpainting\u002Fthree-distances-chinese-landscape-painting","The Three Distances in Chinese Landscape Painting: High, Deep and Level Space","中國山水畫的“三遠”：高遠、深遠與平遠",{"to":154,"label":155,"label_zh":156,"children":833},[834,838,842,846,850,854,858,862,866],{"to":835,"label":836,"label_zh":837},"\u002Farts\u002Fincense\u002Forigins-history-of-incense-culture","Origins and History of Chinese Incense Culture","中國香文化的源流與歷史",{"to":839,"label":840,"label_zh":841},"\u002Farts\u002Fincense\u002Faromatic-materials-fragrant-woods","Aromatic Materials: Woods, Resins and Responsible Sourcing","香材指南：香木、樹脂與負責任的來源",{"to":843,"label":844,"label_zh":845},"\u002Farts\u002Fincense\u002Fforms-and-art-of-appreciation","Incense Forms and the Art of Appreciation","香的形態與品香方法",{"to":847,"label":848,"label_zh":849},"\u002Farts\u002Fincense\u002Fincense-in-ritual-and-temple-life","Incense in Daoist Ritual and Temple Life","香在道教科儀與宮觀生活中",{"to":851,"label":852,"label_zh":853},"\u002Farts\u002Fincense\u002Fincense-meditation-taoist-practice","Incense, Meditation and Taoist Practice","香、靜坐與道家修習",{"to":855,"label":856,"label_zh":857},"\u002Farts\u002Fincense\u002Ffurther-reading-and-practice","Learning Chinese Incense: Reading and Practice","學習中國香文化：閱讀與實踐",{"to":859,"label":860,"label_zh":861},"\u002Farts\u002Fincense\u002Fchinese-incense-burners","Chinese Incense Burners: Bronze, Ceramic, Form and Context","中國香爐：青銅、陶瓷、形制與使用語境",{"to":863,"label":864,"label_zh":865},"\u002Farts\u002Fincense\u002Fchinese-incense-seals-fragrant-time","Chinese Incense Seals: Ash, Patterns and Fragrant Time","中國香篆：香灰、篆紋與芬芳計時",{"to":867,"label":868,"label_zh":869},"\u002Farts\u002Fincense\u002Fchinese-incense-sets-burner-box-vase-tools","Chinese Incense Sets: Burner, Box, Vase and Tools","中國香具三式：爐、盒、瓶與匙箸",{"to":158,"label":159,"label_zh":160,"children":871},[872,876,880,884,888,892,896],{"to":873,"label":874,"label_zh":875},"\u002Farts\u002Fflower-arrangement\u002Forigins-history-of-floral-art","A History of Chinese Flower Arrangement: Vessels, Pictures and Voices","中國插花史：器物、影像與文字中的花事",{"to":877,"label":878,"label_zh":879},"\u002Farts\u002Fflower-arrangement\u002Fprinciples-of-flower-arrangement","Chinese Flower Arrangement: Line, Balance and Ways of Looking","中國插花構圖：線條、平衡與觀看方法",{"to":881,"label":882,"label_zh":883},"\u002Farts\u002Fflower-arrangement\u002Fvessels-tools-and-composition","Choosing Flower Vessels and Tools: Form, Support and Care","選擇花器與工具：形制、支撐和養護",{"to":885,"label":886,"label_zh":887},"\u002Farts\u002Fflower-arrangement\u002Fseasonal-flowers-and-symbolism","Seasonal Flowers and Symbolism: How to Read Context","時令花材與象徵：怎樣結合語境來讀",{"to":889,"label":890,"label_zh":891},"\u002Farts\u002Fflower-arrangement\u002Fflower-arrangement-as-cultivation","Flower Arrangement as Cultivation: Attention, Change and Limits","插花與修養：專注、變化與界限",{"to":893,"label":894,"label_zh":895},"\u002Farts\u002Fflower-arrangement\u002Ffurther-reading-and-practice","Further Reading and Practice: Sources, Museums and a First Month","延伸閱讀與練習：史料、博物館與第一個月",{"to":897,"label":898,"label_zh":899},"\u002Farts\u002Fflower-arrangement\u002Fchinese-flower-baskets-weaving-painting-vessels","Chinese Flower Baskets: Weaving, Painting and the Vessel","中國花籃：編織、繪畫與器物",[],[],{"data":903},[904,940,963,982,1003,1022,1042,1060,1081,1104,1126],{"id":38,"uuid":905,"slug":906,"available_locales":907,"name":911,"description":914,"body":916,"path":919,"images":920,"image_urls":925,"hero_image":3,"hero_image_url":3,"seo_title":930,"seo_description":933,"sort_order":935,"is_active":936,"status":937,"created_at":938,"updated_at":939},"f1a30881-20c6-407b-b546-669e839a178a","feng-shui-learning",[908,909,910],"en","zh","fr",{"en":912,"zh":913},"Feng Shui Learning","風水課程",{"en":915,"zh":3},"Study feng shui as a historical Chinese tradition of interpreting orientation, form and environment—with clear limits on predictive claims.",{"en":917,"zh":918},"\u003Ch2>\u003Cem>Feng shui 風水 developed through multiple schools, texts and professional traditions. It brings together observations of landform, orientation, water, buildings and correlative cosmology. It should not be reduced to decorative rules, nor presented as a scientifically proven way to guarantee health, wealth or relationships.\u003C\u002Fem>\u003C\u002Fh2>\u003Cp>\u003Cem>Classes introduce core vocabulary, the distinction between major approaches and the cultural contexts in which feng shui has been practised. Contemporary applications are discussed critically. Students remain responsible for property, financial and personal decisions and should seek qualified professional advice where those decisions carry material consequences.\u003C\u002Fem>\u003C\u002Fp>","\u003Cp>風水形成於不同的流派、典籍與專業傳統，綜合觀察地形、方位、水勢、建築以及陰陽五行等關聯性宇宙觀。它不應被簡化為裝飾規則，也不能被宣傳為保證健康、財富或關係結果的科學方法。\u003C\u002Fp>\u003Cp>課程介紹基本術語、主要方法的差別，以及風水在歷史社會中的實踐語境，並以批判態度討論當代應用。涉及房產、財務或其他重大決定時，學員仍應根據事實判斷，並諮詢具備資質的相關專業人士。\u003C\u002Fp>","\u002Fevents\u002Ffeng-shui-learning",[921,922,923,924],"wudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","wudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","wudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","wudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",[926,927,928,929],"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",{"en":931,"zh":932},"Feng Shui Classes and Courses","風水課程：方位、形勢與空間觀念入門",{"en":915,"zh":934},"從歷史、環境與文化語境學習風水，理解方位、形勢與空間觀念，同時明確傳統解釋與科學證據的界限。",0,true,"active","2026-07-13T05:17:57.000000Z","2026-09-25T03:51:12.000000Z",{"id":60,"uuid":941,"slug":942,"available_locales":943,"name":944,"description":947,"body":950,"path":953,"images":954,"image_urls":955,"hero_image":3,"hero_image_url":3,"seo_title":956,"seo_description":959,"sort_order":935,"is_active":936,"status":937,"created_at":962,"updated_at":939},"c85bf6cc-b84e-4c36-bbd7-9e92b53bbe50","internal-arts-wellness",[908,909,910],{"en":945,"zh":946},"Internal Arts & Wellness","內家功法與養生",{"en":948,"zh":949},"Classes, workshops and retreats in Baduanjin, Taijiquan, qigong and traditional practices for movement, breathing and mindful cultivation.","彙集八段錦、太極拳、氣功及傳統身心修習的課程、工作坊與靜修活動。",{"en":951,"zh":952},"\u003Cp>Explore small-group classes, workshops and retreats introducing Wudang internal arts and traditional wellness practices. Programmes may include Baduanjin, Taijiquan, qigong, standing practice, breathing and their cultural foundations.\u003C\u002Fp>\u003Cp>Each listing provides its teacher, schedule, experience level and registration arrangements.\u003C\u002Fp>","\u003Cp>本類別彙集武當內家功法與傳統養生修習的小班課程、工作坊及靜修活動，內容可涵蓋八段錦、太極拳、氣功、站樁、呼吸練習及相關文化基礎。\u003C\u002Fp>\u003Cp>每項活動都會註明導師、日期、適合程度與報名方式，方便參加者選擇合適的學習體驗。\u003C\u002Fp>","\u002Fevents\u002Finternal-arts-wellness",[],[],{"en":957,"zh":958},"Internal Arts & Wellness Events","內家功法與養生活動",{"en":960,"zh":961},"Explore Baduanjin, Taijiquan, qigong and traditional wellness classes, workshops and retreats listed by Wudang.Org.","探索八段錦、太極拳、氣功與傳統養生課程、工作坊及靜修活動。","2026-08-16T19:23:45.000000Z",{"id":964,"uuid":965,"slug":966,"available_locales":967,"name":968,"description":971,"body":972,"path":973,"images":974,"image_urls":975,"hero_image":3,"hero_image_url":3,"seo_title":976,"seo_description":978,"sort_order":935,"is_active":936,"status":937,"created_at":981,"updated_at":939},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[908,909,910],{"en":969,"zh":970},"Face Reading Learning","面相課程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":977},"Chinese Face Reading Classes and Workshops",{"en":979,"zh":980},"Learn Chinese face reading (面相) as a cultural tradition: its classical framework, history and uses, taught with clear limits on predictive claims.","把面相作為中國傳統文化來學習：認識其經典框架、歷史與用法，並清楚說明傳統詮釋的邊界。","2026-08-30T17:01:43.000000Z",{"id":983,"uuid":984,"slug":985,"available_locales":986,"name":987,"description":990,"body":992,"path":995,"images":996,"image_urls":997,"hero_image":3,"hero_image_url":3,"seo_title":998,"seo_description":1001,"sort_order":38,"is_active":936,"status":937,"created_at":938,"updated_at":939},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[908,909,910],{"en":988,"zh":989},"Zi Wei Dou Shu Learning","紫微斗數課程",{"en":991,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":993,"zh":994},"\u003Cp>Zi Wei Dou Shu 紫微鬥數 organises birth information through palaces, stars and patterned relationships. The system has a substantial technical vocabulary and several interpretive traditions, but its predictive claims are not established by modern scientific evidence.\u003C\u002Fp>\u003Cp>Courses explain how charts are structured, how symbols are read and how historical and contemporary practitioners differ. The aim is cultural literacy and disciplined reflection—not certainty about the future. Readings do not replace medical, legal, financial, employment or psychological expertise.\u003C\u002Fp>","\u003Cp>紫微斗數依據出生資訊，以宮位、星曜和彼此關係組織命盤。它具有複雜的術語與多種解釋傳統，但其預測主張並未得到現代科學證據的確立。\u003C\u002Fp>\u003Cp>課程說明命盤結構、符號閱讀方法，以及歷史與當代實踐者之間的差異。學習目的在於文化理解與有紀律的自我反思，而不是獲得關於未來的確定答案。相關解讀不能代替醫療、法律、財務、就業或心理專業意見。\u003C\u002Fp>","\u002Fevents\u002Fzi-wei-dou-shu-learning",[],[],{"en":999,"zh":1000},"Zi Wei Dou Shu (Purple Star Astrology) Classes","紫微斗數課程：命盤、宮位與星曜入門",{"en":991,"zh":1002},"把紫微斗數作為中國傳統詮釋體系來學習，認識命盤、宮位與星曜，不把它包裝成科學預測。",{"id":247,"uuid":1004,"slug":1005,"available_locales":1006,"name":1007,"description":1010,"body":1011,"path":1012,"images":1013,"image_urls":1014,"hero_image":3,"hero_image_url":3,"seo_title":1015,"seo_description":1018,"sort_order":38,"is_active":936,"status":937,"created_at":1021,"updated_at":939},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[908,909,910],{"en":1008,"zh":1009},"Tea Arts","茶藝",[],[],"\u002Fevents\u002Ftea-arts",[],[],{"en":1016,"zh":1017},"Chinese Tea Art Classes and Workshops","茶藝課程與工作坊",{"en":1019,"zh":1020},"Chinese tea art (茶藝) classes and workshops: tea types, brewing methods, tea-table etiquette and the quiet attention of sharing tea.","茶藝課程與工作坊：認識茶類、泡茶方法與茶席禮儀，在一席茶中體會從容與專注。","2026-08-16T17:13:57.000000Z",{"id":242,"uuid":1023,"slug":1024,"available_locales":1025,"name":1026,"description":1029,"body":1031,"path":1034,"images":1035,"image_urls":1036,"hero_image":3,"hero_image_url":3,"seo_title":1037,"seo_description":1040,"sort_order":983,"is_active":936,"status":937,"created_at":938,"updated_at":939},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[908,909,910],{"en":1027,"zh":1028},"Ba Zi Learning","八字課程",{"en":1030,"zh":3},"Study the Four Pillars as a traditional system of stems, branches and five-phase correspondence, with history and limitations made explicit.",{"en":1032,"zh":1033},"\u003Cp>Ba Zi 八字 interprets year, month, day and hour through the heavenly stems, earthly branches, yin-yang and five-phase relationships. It is an influential part of Chinese metaphysical culture, not an observational science in the modern empirical sense.\u003C\u002Fp>\u003Cp>Classes introduce chart structure, terminology and common interpretive methods while distinguishing tradition from evidence. Students are encouraged to treat readings as prompts for reflection and never as guarantees, diagnoses or substitutes for professional advice.\u003C\u002Fp>","\u003Cp>八字以年、月、日、時四柱為框架，通過天干、地支、陰陽與五行關係進行解釋。它是中國術數文化中影響深遠的傳統體系，並非現代經驗科學。\u003C\u002Fp>\u003Cp>課程介紹命盤結構、基本術語和常見詮釋方法，同時說明傳統觀點與科學證據的差別。學員可把解讀作為反思的線索，但不應把它當作保證、診斷，或任何專業意見的替代品。\u003C\u002Fp>","\u002Fevents\u002Fba-zi-learning",[],[],{"en":1038,"zh":1039},"BaZi (Four Pillars) Classes and Courses","八字課程：四柱、天干地支與五行入門",{"en":1030,"zh":1041},"學習四柱中的天干、地支與五行關係，理解其歷史與方法，也清楚區分傳統詮釋和現代實證知識。",{"id":69,"uuid":1043,"slug":1044,"available_locales":1045,"name":1046,"description":1049,"body":1050,"path":1051,"images":1052,"image_urls":1053,"hero_image":3,"hero_image_url":3,"seo_title":1054,"seo_description":1057,"sort_order":983,"is_active":936,"status":937,"created_at":1021,"updated_at":939},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[908,909,910],{"en":1047,"zh":1048},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":1055,"zh":1056},"Chinese Incense Culture Workshops","香文化活動與工作坊",{"en":1058,"zh":1059},"Workshops on Chinese incense culture (香文化): aromatic materials, traditional ways of preparing and appreciating incense, and incense as calm attention.","香文化活動與工作坊：認識香材、傳統制香與品香方式，在一爐香中練習安靜與專注。",{"id":1061,"uuid":1062,"slug":1063,"available_locales":1064,"name":1065,"description":1068,"body":1071,"path":1074,"images":1075,"image_urls":1076,"hero_image":3,"hero_image_url":3,"seo_title":1077,"seo_description":1079,"sort_order":983,"is_active":936,"status":937,"created_at":1080,"updated_at":939},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[908,909,910],{"en":1066,"zh":1067},"I Ching Learning","易經課程",{"en":1069,"zh":1070},"Explore the I Ching through its hexagrams, traditional interpretive methods and historical context, with scope and limitations made explicit.","通過卦象、傳統解讀方法與歷史語境認識《易經》，並清楚說明其適用範圍與侷限。",{"en":1072,"zh":1073},"\u003Cp>The I Ching 易經 is a classical Chinese text centred on sixty-four hexagrams and a long history of commentary and divination. It has shaped Chinese philosophy, cosmology and metaphysical practice, but its divinatory claims are not established as modern empirical science.\u003C\u002Fp>\u003Cp>Classes introduce structures, terminology and traditional methods such as Liu Yao while distinguishing cultural study from evidence. Readings should be treated as prompts for reflection, not guarantees, diagnoses or substitutes for professional advice.\u003C\u002Fp>","\u003Cp>《易經》是一部以六十四卦為核心的中國經典，形成了悠久的註疏與占筮傳統，並深刻影響中國哲學、宇宙觀與術數文化；其占筮主張並非現代經驗科學所證實。\u003C\u002Fp>\u003Cp>課程介紹基本結構、術語和六爻等傳統方法，同時區分文化學習與科學證據。解讀宜作為反思線索，不應視為保證、診斷或任何專業意見的替代品。\u003C\u002Fp>","\u002Fevents\u002Fi-ching-learning",[],[],{"en":1078,"zh":1067},"I Ching Classes and Courses",{"en":1069,"zh":1070},"2026-09-08T00:15:35.000000Z",{"id":21,"uuid":1082,"slug":1083,"available_locales":1084,"name":1085,"description":1088,"body":1091,"path":1094,"images":1095,"image_urls":1096,"hero_image":3,"hero_image_url":3,"seo_title":1097,"seo_description":1100,"sort_order":242,"is_active":936,"status":937,"created_at":1103,"updated_at":939},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[908,909,910],{"en":1086,"zh":1087},"Traditional Arts & Crafts","傳統藝術與手作",{"en":1089,"zh":1090},"Hands-on workshops exploring Chinese handicrafts and decorative arts through guided making and cultural appreciation.","通過親手製作與文化欣賞，體驗中國傳統手作及裝飾藝術。",{"en":1092,"zh":1093},"\u003Cp>Discover practical workshops in Chinese decorative arts and handcraft traditions. Activities may include gold-leaf painting, cloisonné enamel, mother-of-pearl work, Song brocade and other guided projects.\u003C\u002Fp>\u003Cp>These welcoming sessions introduce materials, techniques and cultural context while allowing participants to complete a piece of their own.\u003C\u002Fp>","\u003Cp>本類別彙集中國傳統裝飾藝術與手作體驗，內容可涵蓋金箔畫、掐絲琺琅、螺鈿工藝、宋錦及其他創作專案。\u003C\u002Fp>\u003Cp>課程以輕鬆易懂的方式介紹材料、技法與文化背景，讓參加者在導師帶領下完成屬於自己的作品。\u003C\u002Fp>","\u002Fevents\u002Ftraditional-arts-crafts",[],[],{"en":1098,"zh":1099},"Traditional Arts & Crafts Events","傳統藝術與手作活動",{"en":1101,"zh":1102},"Explore Chinese handicraft and decorative arts workshops, including gold-leaf, cloisonné, mother-of-pearl and brocade.","探索金箔畫、掐絲琺琅、螺鈿、宋錦等中國傳統手作及裝飾藝術體驗。","2026-08-16T19:24:04.000000Z",{"id":212,"uuid":1105,"slug":1106,"available_locales":1107,"name":1108,"description":1111,"body":1114,"path":1117,"images":1118,"image_urls":1119,"hero_image":3,"hero_image_url":3,"seo_title":1120,"seo_description":1122,"sort_order":247,"is_active":936,"status":937,"created_at":1125,"updated_at":939},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[908,909,910],{"en":1109,"zh":1110},"Wudang Community","武當社群活動",{"en":1112,"zh":1113},"Talks, broadcasts and community gatherings connecting people with Wudang culture, learning and living practice.","通過講座、直播與社群聚會，連線武當文化、學習與日常實踐。",{"en":1115,"zh":1116},"\u003Cp>Wudang Community brings together public talks, livestreams, gatherings and shared cultural activities connected with Wudang.\u003C\u002Fp>\u003Cp>These programmes create welcoming ways to meet practitioners, explore ideas and participate in a growing community of learning and practice.\u003C\u002Fp>","\u003Cp>武當社群活動彙集與武當文化相關的公開講座、直播、聚會及共享文化體驗。\u003C\u002Fp>\u003Cp>這些活動以友善開放的方式連線練習者與學習者，讓大家交流心得、認識傳統，並共同參與持續發展的文化社群。\u003C\u002Fp>","\u002Fevents\u002Fwudang-community",[],[],{"en":1121,"zh":1110},"Wudang Community Events",{"en":1123,"zh":1124},"Discover Wudang community talks, broadcasts and gatherings connecting people with culture, learning and living practice.","探索連線武當文化、學習與日常實踐的講座、直播及社群聚會。","2026-08-16T19:24:18.000000Z",{"id":16,"uuid":1127,"slug":1128,"available_locales":1129,"name":1130,"description":1133,"body":1134,"path":1135,"images":1136,"image_urls":1137,"hero_image":3,"hero_image_url":3,"seo_title":1138,"seo_description":1141,"sort_order":69,"is_active":936,"status":937,"created_at":1144,"updated_at":939},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[908,909,910],{"en":1131,"zh":1132},"Wudang Journeys & Retreats","武當旅修與行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":1139,"zh":1140},"Wudang Mountain Retreats and Guided Journeys","武當山旅修與靜修行程",{"en":1142,"zh":1143},"Guided journeys and retreats to Wudang Mountain that combine practice, temple visits and cultural learning, with itineraries and expectations set out clearly.","前往武當山的旅修與靜修：結合修習、宮觀參訪與文化學習，提前說明行程安排與參加須知。","2026-08-18T11:09:38.000000Z",{"data":1146},{"hero_type":1147,"hero_image":1148,"hero_image_alt":1149,"hero_youtube_id":1150,"hero_content_on":936,"hero_heading":1151,"hero_subheading":1152,"hero_text":1153,"hero_subheading_zh":1154,"hero_text_zh":1155,"hero_buttons":1156,"home_seo":1162,"page_layout":1168,"shop_enabled":1169,"contact":1170,"journey":1186},"image","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fsite\u002Fwudanghomepagehero.webp","Wudang mountain temple in mist","VgirFbjpiy4","武當文化，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.","這裡既是學習之地，也是讓文化融入日常的所在。","從道家思想、內家武術、文人雅藝與武當山出發，以清晰、踏實的方式，在新加坡及世界各地認識和體驗武當文化。",[1157,1159],{"label":1158,"link":278},"Start Your Wudang Journey",{"label":1160,"link":1161},"View Events & Courses","\u002Fevents",{"title":1163,"description":1165},{"en":1164,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":1166,"zh":1167},"Explore Wudang Mountain through Tai Chi, Qigong, Daoist philosophy, martial arts, traditional arts, wellness, culture and everyday life in Wudang.","從太極、氣功、道家思想、武術、傳統雅藝與養生文化認識武當山，探索武當文化及武當山的日常生活。","sidebar",false,{"methods":1171,"has_any":936,"text":1179},{"email":1172,"whatsapp":1173,"wechat_id":1174,"wechat_qr_url":1175,"instagram":1176,"instagram_handle":1177,"facebook":1178,"facebook_handle":1177},"hello@wudang.org","+6588169599","Cldjcll0305","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fcontact\u002Fkcs9Z5IEY7CugW2mEYA8.webp","https:\u002F\u002Fwww.instagram.com\u002Fleewudang.sg","@leewudang.sg","https:\u002F\u002Fwww.facebook.com\u002Fleewudang.sg\u002F",{"china_heading_en":1180,"china_heading_zh":1181,"china_company_en":1182,"china_company_zh":1183,"china_address_en":1184,"china_address_zh":1185},"China Operations","中國運營","Xunwei Wudang Co., Ltd.","尋味武當有限公司","No. 72 Jianhe 2nd Road, Wangjiayuan, Wudang Mountain, Shiyan, Hubei, China","湖北省十堰市武當山王家園劍河二路72號",{"title_en":3,"title_zh":3,"intro_en":3,"intro_zh":3,"enabled":936},{"data":1188},{"to":129,"type":1189,"available_locales":1190,"is_content_page":936,"title":1191,"subtitle":1192,"body":1195,"hero_image_url":1198,"hero_width":1199,"hero_height":1200,"hero_image_alt":1201,"hero_image_decorative":1169,"hero_credit":3,"hero_alt":1204,"hero_style":1205,"card_layout":1206,"link_type":3,"link_ref":3,"seo_title":1207,"seo_description":1210,"children":1213},"subcategory",[908,909,910],{"en":130,"zh":131},{"en":1193,"zh":1194},"Read classical verse through genre, sound, occasion, translation and historical context","從體式、聲律、寫作場合、翻譯與歷史語境進入古典詩文",{"en":1196,"zh":1197},"\u003Cp>Chinese poetry is not one timeless form. It is a long, changing field of songs, recited verse, court compositions, lyrics written to tune patterns, dramatic songs and writing that crosses into prose, history, philosophy and painting. A useful introduction therefore begins with a text’s date, genre, occasion and transmission rather than with a single definition of “Chinese poetry.”\u003C\u002Fp>\n\n\u003Cp>This guide offers a way to read without pretending that every poem follows the same rules. It explains what form can reveal, what a translation chooses, and how landscape, public life, friendship, memory and religious language may meet in one short work.\u003C\u002Fp>\n\n\u003Ch2>Many traditions under one modern label\u003C\u002Fh2>\n\n\u003Cp>The modern English word “poetry” gathers together categories that earlier Chinese readers did not always treat as one family. Shi, ci, qu and fu developed in different settings and carried different expectations. Their boundaries also shifted: a label could describe a formal pattern, a mode of performance, a textual lineage or a later editorial category.\u003C\u002Fp>\n\n\u003Cp>Names remain useful when they guide attention, but they should not become rigid boxes. Two works from the same genre may differ greatly in voice and purpose, while a poem and a prose preface may need to be read together. Start by asking what the form meant in its own period and in the edition before you.\u003C\u002Fp>\n\n\u003Ch2>Early collections and layers of interpretation\u003C\u002Fh2>\n\n\u003Cp>The Classic of Poetry, or Shijing, preserves songs and hymns whose language, arrangement and interpretation accumulated across centuries. The Songs of Chu, or Chuci, represents another early constellation of voices and styles. Neither collection is a transparent record of one moment: received texts come with histories of selection, commentary and reinterpretation.\u003C\u002Fp>\n\n\u003Cp>That layered afterlife matters. A love song may acquire a moral or political reading; an image may carry meanings built by later commentators. Close reading should distinguish words on the page, the setting proposed by a commentary, and the uses later readers made of the work.\u003C\u002Fp>\n\n\u003Ch2>Shi: old-style and regulated verse\u003C\u002Fh2>\n\n\u003Cp>Shi is a broad term, not a synonym for a single pattern. Older-style verse allows considerable variation, while regulated verse developed demanding combinations of line length, rhyme, tonal pattern and couplet structure. Five- and seven-character lines became especially prominent, but counting characters alone does not identify every poem’s form.\u003C\u002Fp>\n\n\u003Cp>In many regulated poems, the middle couplets show parallel structures, yet parallelism works through phrases, syntax, images and relationships—not a mechanical requirement that every word mirror its partner. A poet can fulfill, loosen or play against expectations. Form becomes meaningful when we notice both the pattern and the departure.\u003C\u002Fp>\n\n\u003Ch2>Ci, qu, fu and prose at the edges of verse\u003C\u002Fh2>\n\n\u003Cp>Ci lyrics are organized by tune patterns that govern uneven line lengths and other formal features, even when the original music is no longer recoverable. Qu songs have their own performance histories and conventions, and are especially associated with later song and dramatic cultures. Fu compositions may move between patterned prose, catalogue, description and argument.\u003C\u002Fp>\n\n\u003Cp>These labels do not form a simple ladder from early to late or formal to personal. A genre can support intimate, public, comic, ceremonial or political writing. Reading becomes richer when we compare the expectations of a form with what a particular writer does inside them.\u003C\u002Fp>\n\n\u003Ch2>Sound, rhyme, parallelism and the written page\u003C\u002Fh2>\n\n\u003Cp>Classical poems were heard as well as seen. Rhyme, pauses, recurring sounds and tonal contrasts organize attention, while lineation and parallel phrases make relationships visible on the page. Modern Mandarin pronunciation does not reproduce every historical sound distinction, so a present-day reading and a reconstruction answer different questions.\u003C\u002Fp>\n\n\u003Cp>The written text still offers much to observe without pretending to recover an original performance. Mark repeated characters, grammatical pivots, balanced phrases and changes of viewpoint. Then listen to more than one reading if available, noting which effects belong to the received wording and which depend on a chosen pronunciation.\u003C\u002Fp>\n\n\u003Ch2>Translation is an interpretation, not a loss ledger\u003C\u002Fh2>\n\n\u003Cp>Compact classical syntax can leave number, tense, subject and logical connection unstated. A translator must decide whether to clarify those relations, preserve ambiguity, imitate line length, foreground sound or explain an allusion. No version can maximize every feature at once, but that does not make the poem inaccessible.\u003C\u002Fp>\n\n\u003Cp>Compare two translations at a precise pressure point: a missing subject, an image order, a repeated word or a line break. Ask what each version makes explicit and what it leaves open. A short note or literal gloss can complement an elegant literary translation rather than compete with it.\u003C\u002Fp>\n\n\u003Ch2>Occasion, friendship and public life\u003C\u002Fh2>\n\n\u003Cp>Poems travelled through social worlds. They marked departures, answered friends, commemorated places, responded to office, voiced remonstrance, accompanied gatherings or circulated with letters and paintings. The speaker in a poem is therefore not automatically identical with the historical author speaking privately.\u003C\u002Fp>\n\n\u003Cp>Before treating a poem as confession, look for a title, preface, addressee, date or conventional occasion. These clues do not eliminate emotion; they show how feeling is shaped for another person, a public role or a remembered event. Biography can help, but it should not replace attention to the poem’s constructed voice.\u003C\u002Fp>\n\n\u003Ch2>Landscape, reclusion and religious vocabularies\u003C\u002Fh2>\n\n\u003Cp>Mountains, rivers, paths, clouds and empty dwellings can organize space, memory and ethical reflection. Reclusion may signify a lived withdrawal, a temporary journey, an inherited literary posture or a critique of office. A landscape poem is not automatically Daoist, Buddhist or politically oppositional simply because it contains mountains or quiet.\u003C\u002Fp>\n\n\u003Cp>Religious and philosophical vocabularies often overlap with literary convention. The careful question is not “Which doctrine does this image prove?” but “What meanings were available here, and how does this text activate them?” Compare wording, authorial context and contemporary commentary before assigning a single framework.\u003C\u002Fp>\n\n\u003Ch2>Reading Wudang as a literary place\u003C\u002Fh2>\n\n\u003Cp>Wudang is a mountain landscape, a religious center and a site shaped by buildings, inscriptions, travel and later retellings. Those layers can make it a powerful literary setting, but the mountain’s name alone does not establish a poem’s date, authorship, religious affiliation or eyewitness character.\u003C\u002Fp>\n\n\u003Cp>For a Wudang text, identify the witness: an inscription, gazetteer, anthology, manuscript, printed edition or modern adaptation. Record where and when that witness appears, then separate its wording from later explanation. This method respects Wudang’s cultural importance without turning association into evidence.\u003C\u002Fp>\n\n\u003Ch2>A practical close-reading sequence\u003C\u002Fh2>\n\n\u003Cp>First read the poem once for movement and image. Then identify the genre, speaker, occasion and basic line pattern. Mark repetitions, parallel phrases, rhyme positions and any word that permits more than one relation. Consult a short note for names and allusions only after forming an initial reading.\u003C\u002Fp>\n\n\u003Cp>Next compare the Chinese text with one or two translations and explain one consequential choice in your own words. Finally return to the whole poem: what changed when form and context became visible? Continue through the broader \u003Ca href=\"\u002Farts\">Literati Arts\u003C\u002Fa> collection, treating poetry, calligraphy, painting and music as connected practices without assuming that they always served the same purpose.\u003C\u002Fp>","\u003Cp>中國詩詞並不是一種亙古不變的單一形式。歌辭、誦詩、宮廷製作、依調填詞、散曲，以及與辭賦、散文、史傳、思想和繪畫相互交織的文字，共同構成了漫長而不斷變化的文學世界。因此，進入一篇作品，最好先問它寫於何時、屬於什麼體式、因何而作、又經過怎樣的傳抄與編訂，而不是急於用一句話定義“中國詩歌”。\u003C\u002Fp>\n\n\u003Cp>這篇指南提供一條不把所有作品套進同一規則的閱讀路徑：看體式怎樣組織意義，看譯者作出了哪些選擇，也看山水、仕隱、友情、記憶與宗教語彙如何在短短數行中彼此照映。\u003C\u002Fp>\n\n\u003Ch2>一個現代名稱下的多種傳統\u003C\u002Fh2>\n\n\u003Cp>今天所說的“詩歌”，涵蓋了古代讀者未必視為同一類的文體。詩、詞、曲、賦形成於不同環境，各有慣例；它們的邊界也會變化。一個名稱有時指格律形式，有時關聯演唱方式、文本譜系，或後世編者建立的分類。\u003C\u002Fp>\n\n\u003Cp>文體名稱可以幫助我們看得更細，卻不應變成僵硬的格子。同一體式中的兩篇作品，聲音和用途可能相距很遠；一首詩有時還須與序、書信或題跋合讀。先弄清這個名稱在作品所處時代和當前版本中的含義，再討論它如何被繼承或改變。\u003C\u002Fp>\n\n\u003Ch2>早期總集與層累的解釋\u003C\u002Fh2>\n\n\u003Cp>《詩經》儲存的歌、詩與頌，其語言、編次和解釋在漫長時間裡逐漸累積；《楚辭》則呈現了另一組早期聲音與寫作方式。今天讀到的都不是某一時刻的透明記錄，而是經歷選擇、註釋和反覆闡釋的傳世文本。\u003C\u002Fp>\n\n\u003Cp>這種層累本身就是閱讀物件。一首涉及男女之情的歌，後來可能被賦予倫理或政治解釋；一個意象也可能因注家而獲得新的關聯。細讀時，應分清正文直接呈現什麼、註釋為它設定了什麼情境，以及後世怎樣使用這篇作品。\u003C\u002Fp>\n\n\u003Ch2>古體詩、近體詩與“詩”的寬廣範圍\u003C\u002Fh2>\n\n\u003Cp>“詩”是一個寬泛名稱，並不等於某一種固定格律。古體容許較多變化；近體詩則形成了對句數、字數、押韻、聲調組合和聯句結構的細密要求。五言、七言格外常見，但只數每行幾個字，仍不足以判定所有作品的體式。\u003C\u002Fp>\n\n\u003Cp>不少律詩的中間兩聯重視對仗；這種對應通過片語、句法、意象和關係展開，並非要求上下句每個字機械地一一配對。詩人可以遵循、放寬，也可以有意觸碰規範的邊緣。讀懂形式，既要發現規律，也要看到變化為何發生。\u003C\u002Fp>\n\n\u003Ch2>詞、曲、賦與詩文邊界\u003C\u002Fh2>\n\n\u003Cp>詞依詞牌組織長短不齊的句式和其他形式要素，即使原來的音樂已經無法完整復原，調式留下的文字結構仍可辨認。曲另有演唱與表演傳統，尤其與後起的歌唱和戲曲文化相關。賦則常遊走於韻文、鋪陳、描寫與議論之間。\u003C\u002Fp>\n\n\u003Cp>這些名稱並不組成一條從早到晚、從莊重到私密的簡單階梯。同一體式可以容納親密、公共、詼諧、禮儀或政治性的寫作。把文體慣例與具體作者在其中做出的選擇相比較，往往比給作品貼上性格標籤更有收穫。\u003C\u002Fp>\n\n\u003Ch2>聲音、押韻、對仗與紙面結構\u003C\u002Fh2>\n\n\u003Cp>古典詩歌既供觀看，也曾被誦讀或歌唱。韻腳、停頓、復現的聲音和聲調對比組織著聽覺注意；分行與對偶片語又在紙面上顯出關係。現代普通話不能保留所有歷史音系差別，因此，今天的吟誦與歷史語音構擬回答的是不同問題。\u003C\u002Fp>\n\n\u003Cp>即使不假定能復原最初的演出，文字仍提供了豐富線索。可以標出重複的字、句法轉折、平衡的片語和視角變化；若有條件，再聽不同讀法，分辨哪些效果來自傳世文字，哪些取決於選用的讀音與節奏。\u003C\u002Fp>\n\n\u003Ch2>翻譯是一種解釋，而不是損失清單\u003C\u002Fh2>\n\n\u003Cp>古典漢語句法凝練，數、時態、主語和邏輯連線常不明說。譯者必須決定：是否補明關係，是否保留歧義，是否模擬行長，是否突出聲音，又怎樣處理用典。任何譯本都難以同時把每一項推到極致，但這不等於原作無法進入。\u003C\u002Fp>\n\n\u003Cp>比較譯本時，可抓住一個真正承受壓力的位置：省略的主語、意象的次序、重複的字，或分行方式。看看每個版本明確了什麼，又留下了什麼。簡短註釋或直譯可以補充富有文學性的譯文，不必彼此排斥。\u003C\u002Fp>\n\n\u003Ch2>寫作場合、友情與公共生活\u003C\u002Fh2>\n\n\u003Cp>詩篇在具體的社會關係中流動：送別、酬答、紀遊、詠懷、諷諫、宴集，或與書信、繪畫一同傳遞。因此，詩中的“我”並不必然等於歷史作者在私下直接說話。\u003C\u002Fp>\n\n\u003Cp>把一首詩當作個人自白以前，先找題目、序言、受贈者、時間與慣用場合。這些線索不會削弱情感，反而能顯示感情怎樣面向他人、公共身份或一段被回望的經歷而成形。傳記可以協助理解，卻不能代替對詩中聲音的細察。\u003C\u002Fp>\n\n\u003Ch2>山水、隱逸與宗教語彙\u003C\u002Fh2>\n\n\u003Cp>山、江、路徑、雲氣和空屋，可以組織空間、記憶與倫理思考。隱逸有時是長期生活選擇，有時只是一次出遊，也可能是沿用已久的文學姿態，或對仕途的曲折評論。作品寫到高山與清寂，並不能自動證明它屬於道教、佛教或政治反對的表達。\u003C\u002Fp>\n\n\u003Cp>宗教和思想語彙常與文學慣例重疊。更穩妥的問題不是“這個意象證明了哪一種學說”，而是“當時有哪些可用的含義，這篇文本怎樣調動它們”。在歸入單一框架以前，應比較措辭、作者處境與同時代解釋。\u003C\u002Fp>\n\n\u003Ch2>把武當作為文學地點來讀\u003C\u002Fh2>\n\n\u003Cp>武當既是山水空間和宗教中心，也是由建築、碑刻、行旅與後世講述共同塑造的文化地點。這些層次使它能夠成為有力量的文學場景；但僅僅出現“武當”之名，並不能證明作品的年代、作者、宗教身份或親歷性質。\u003C\u002Fp>\n\n\u003Cp>閱讀武當相關文本，首先要確認見證載體：碑刻、方誌、總集、抄本、刻本，還是現代改寫。記錄它在何時何處出現，再把原文與後出的說明分開。這樣既能尊重武當的文化分量，也不會把關聯誤當成證據。\u003C\u002Fp>\n\n\u003Ch2>一條可實踐的細讀路徑\u003C\u002Fh2>\n\n\u003Cp>先通讀一遍，感受意象怎樣出現、視線怎樣移動；再確認體式、說話者、寫作場合與基本句式。標出復現、對仗、韻腳，以及可能存在多種關係的字詞。形成初步理解以後，再借助簡短註釋核對人名與典故。\u003C\u002Fp>\n\n\u003Cp>接著把中文與一兩個譯本對照，用自己的話解釋一項重要翻譯選擇。最後回到全篇：看見形式與語境之後，哪些理解發生了變化？還可以繼續瀏覽\u003Ca href=\"\u002Fzh\u002Farts\">文人雅藝\u003C\u002Fa>，把詩詞、書法、繪畫與音樂看作可以相互聯絡的實踐，同時不預設它們在所有時代都承擔同一種功能。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FI2mTd11AKMVeiDgdXZMt.webp",1920,600,{"en":1202,"zh":1203},"Ink-style mountain landscape beside an open illustrated book, writing brush and plum blossoms","水墨山景旁擺著開啟的畫冊、毛筆與梅花",{"en":1202,"zh":1203},"banner","list",{"en":1208,"zh":1209},"Chinese Poetry and Literature: A Practical Reading Guide","中國詩詞與文學閱讀指南：體式、聲律與語境",{"en":1211,"zh":1212},"Explore Chinese poetry through changing genres, sound, parallelism, translation, social occasion and landscape, with a practical path for close reading.","從體式演變、聲律對仗、寫作場合、翻譯選擇與山水書寫進入中國古典詩詞，並掌握一條可實踐的細讀路徑。",[1214,1222,1228,1234,1240,1246,1252,1267,1280,1293,1306,1319,1332,1346,1360,1374,1388,1402,1416,1430,1444,1458,1472,1486,1500,1514,1528,1542,1556,1570,1584,1598,1612,1626,1640,1654,1668,1682,1696,1710,1724,1738,1752,1766,1780,1794,1808,1822,1836],{"to":297,"type":1215,"subtitle":1216,"image":1219,"hero_style":1205,"header":936,"footer":1169,"updated_at":1220,"en":298,"zh":299,"image_set":3,"image_alt":3,"tags":1221},"page",{"en":1217,"zh":1218},"From early performed verse to anthologies, commentary and changing sound","從早期歌詩走向總集、註釋與不斷變化的聲音","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fv9cX8wafcxxAySc4aLli.webp","2026-09-17T13:30:00+00:00",[],{"to":301,"type":1215,"subtitle":1223,"image":1226,"hero_style":1205,"header":936,"footer":1169,"updated_at":1220,"en":302,"zh":303,"image_set":3,"image_alt":3,"tags":1227},{"en":1224,"zh":1225},"How 305 early poems became a classic—and how to read them without flattening their differences","三百零五篇早期詩歌如何成為經典，以及今天怎樣讀出它們的差異","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FsND4y8oUKZRavLuaJLe8.webp",[],{"to":305,"type":1215,"subtitle":1229,"image":1232,"hero_style":1205,"header":936,"footer":1169,"updated_at":1220,"en":306,"zh":307,"image_set":3,"image_alt":3,"tags":1233},{"en":1230,"zh":1231},"How verse moved through court, road, friendship and crisis—and why later readers called the Tang a golden age","詩怎樣行走於朝廷、道路、友誼與亂世，後人又為何稱唐代為“黃金時代”","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FkpCiQBDMROwqiTUcU0lC.webp",[],{"to":309,"type":1215,"subtitle":1235,"image":1238,"hero_style":1205,"header":936,"footer":1169,"updated_at":1220,"en":310,"zh":311,"image_set":3,"image_alt":3,"tags":1239},{"en":1236,"zh":1237},"How mountains, journeys and withdrawal acquired different meanings across Chinese poetic history","山嶽、行旅與退隱如何在中國詩歌史中獲得不同意義","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FygUV4HiwArWm6P9QDx5m.webp",[],{"to":313,"type":1215,"subtitle":1241,"image":1244,"hero_style":1205,"header":936,"footer":1169,"updated_at":1220,"en":314,"zh":315,"image_set":3,"image_alt":3,"tags":1245},{"en":1242,"zh":1243},"Read the written mountain, respect its traditions and begin a modest writing practice","讀懂山中的文字，尊重傳統，從細緻觀察與修改開始寫作","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FNWKgofZhcotJ4nilFSFS.webp",[],{"to":317,"type":1215,"subtitle":1247,"image":1250,"hero_style":1205,"header":936,"footer":1169,"updated_at":1220,"en":318,"zh":319,"image_set":3,"image_alt":3,"tags":1251},{"en":1248,"zh":1249},"Choose a starting point, compare translations and follow a poem back to its source.","從一個問題出發，比較譯本，循著註釋回到作品與版本。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FFh07coszgMh1RYQEOuxg.webp",[],{"to":321,"type":1215,"subtitle":1253,"image":1256,"hero_style":1205,"header":936,"footer":1169,"updated_at":1257,"en":322,"zh":323,"image_set":1258,"image_alt":3,"tags":1266},{"en":1254,"zh":1255},"A practical guide to seeing the architecture of lüshi and jueju without mistaking form for a mechanical code.","一份實用導讀：看懂律詩與絕句的結構，同時不把格律誤讀成機械公式。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F5cLNkjnZw9YflXWVyZUo.webp","2026-09-28T18:09:25+00:00",{"webp":1259},[1260,1263],{"width":1261,"url":1262},400,"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F5cLNkjnZw9YflXWVyZUo-400.webp",{"width":1264,"url":1265},800,"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F5cLNkjnZw9YflXWVyZUo-800.webp",[],{"to":325,"type":1215,"subtitle":1268,"image":1271,"hero_style":1205,"header":936,"footer":1169,"updated_at":1272,"en":326,"zh":327,"image_set":1273,"image_alt":3,"tags":1279},{"en":1269,"zh":1270},"A practical guide to variable lines, tune titles, lost music, speaking voices and responsible comparison","從長短句、詞牌、失傳樂聲、抒情聲音到版本對讀的實用指南","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FTzMEo7RdVxCcBxOYjWZr.webp","2026-10-05T18:12:52+00:00",{"webp":1274},[1275,1277],{"width":1261,"url":1276},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FTzMEo7RdVxCcBxOYjWZr-400.webp",{"width":1264,"url":1278},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FTzMEo7RdVxCcBxOYjWZr-800.webp",[],{"to":329,"type":1215,"subtitle":1281,"image":1284,"hero_style":1205,"header":936,"footer":1169,"updated_at":1285,"en":330,"zh":331,"image_set":1286,"image_alt":3,"tags":1292},{"en":1282,"zh":1283},"Selection, order, commentary and the changing boundaries of the Chinese poetic canon","從選篇、編次與評註，看中國詩歌經典邊界如何形成並不斷變化","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FLLNULldKjWkWyRmONevk.webp","2026-10-06T00:09:34+00:00",{"webp":1287},[1288,1290],{"width":1261,"url":1289},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FLLNULldKjWkWyRmONevk-400.webp",{"width":1264,"url":1291},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FLLNULldKjWkWyRmONevk-800.webp",[],{"to":333,"type":1215,"subtitle":1294,"image":1297,"hero_style":1205,"header":936,"footer":1169,"updated_at":1298,"en":334,"zh":335,"image_set":1299,"image_alt":3,"tags":1305},{"en":1295,"zh":1296},"A material history of folded leaves, changing bindings, printed pages and responsible ways to examine an old book","從折葉、裝幀演變到印刷版面，理解古籍物質形態與負責任觀看方法","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FA1qsvNtYOKHOCmONmph4.webp","2026-10-07T18:15:10+00:00",{"webp":1300},[1301,1303],{"width":1261,"url":1302},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FA1qsvNtYOKHOCmONmph4-400.webp",{"width":1264,"url":1304},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FA1qsvNtYOKHOCmONmph4-800.webp",[],{"to":337,"type":1215,"subtitle":1307,"image":1310,"hero_style":1205,"header":936,"footer":1169,"updated_at":1311,"en":338,"zh":339,"image_set":1312,"image_alt":3,"tags":1318},{"en":1308,"zh":1309},"Read paired lines through structure, source, brushwork and setting without reducing them to decoration.","從結構、出處、筆墨與場所理解成對文字，而不把對聯只當裝飾。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FTsYPP5SVRkrPgZlrj4GS.webp","2026-10-09T12:10:18+00:00",{"webp":1313},[1314,1316],{"width":1261,"url":1315},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FTsYPP5SVRkrPgZlrj4GS-400.webp",{"width":1264,"url":1317},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FTsYPP5SVRkrPgZlrj4GS-800.webp",[],{"to":341,"type":1215,"subtitle":1320,"image":1323,"hero_style":1205,"header":936,"footer":1169,"updated_at":1324,"en":342,"zh":343,"image_set":1325,"image_alt":3,"tags":1331},{"en":1321,"zh":1322},"A source-based guide to separating the artist’s words from later responses, reading poem and image together, and using the “three perfections” with care.","從作品形制與可靠記錄出發，分辨作者題款與後世題跋，理解詩畫關係，並謹慎使用“詩書畫三絕”這一觀念。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FKE9Q58LLBqLEXXOiN1LF.webp","2026-10-11T00:04:33+00:00",{"webp":1326},[1327,1329],{"width":1261,"url":1328},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FKE9Q58LLBqLEXXOiN1LF-400.webp",{"width":1264,"url":1330},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FKE9Q58LLBqLEXXOiN1LF-800.webp",[],{"to":345,"type":1215,"subtitle":1333,"image":1336,"hero_style":1205,"header":936,"footer":1169,"updated_at":1337,"en":346,"zh":347,"image_set":1338,"image_alt":1344,"tags":1345},{"en":1334,"zh":1335},"Learn how fu combines catalogues, parallel language, recital and argument—from Han court display to Lu Ji, Du Mu and Su Shi.","從漢代宮廷鋪陳到陸機、杜牧與蘇軾，認識賦怎樣結合列舉、對偶、誦讀與議論。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FUK89sS6qdNRKUVpJ6zur.webp","2026-10-22T06:11:25+00:00",{"webp":1339},[1340,1342],{"width":1261,"url":1341},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FUK89sS6qdNRKUVpJ6zur-400.webp",{"width":1264,"url":1343},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FUK89sS6qdNRKUVpJ6zur-800.webp","暖色現代閱覽室中，一位不具名讀者翻閱空白仿古書冊，遠處可見城市的概念照片。",[],{"to":349,"type":1215,"subtitle":1347,"image":1350,"hero_style":1205,"header":936,"footer":1169,"updated_at":1351,"en":350,"zh":351,"image_set":1352,"image_alt":1358,"tags":1359},{"en":1348,"zh":1349},"A practical guide to the treatise’s structure, genres, imagination, style, change, criticism and translation.","從全書結構、文體、神思、風格、通變、鑑賞與翻譯入手，學習怎樣閱讀這部文學理論經典。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F9ED3UKyBAWGupxvsAUIZ.webp","2026-10-22T12:02:23+00:00",{"webp":1353},[1354,1356],{"width":1261,"url":1355},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F9ED3UKyBAWGupxvsAUIZ-400.webp",{"width":1264,"url":1357},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F9ED3UKyBAWGupxvsAUIZ-800.webp","暖色現代木桌上，一位不具名研究者用雙手編排空白米色紙卡，旁有毛筆與抽象木鎮紙的概念照片。",[],{"to":353,"type":1215,"subtitle":1361,"image":1364,"hero_style":1205,"header":936,"footer":1169,"updated_at":1365,"en":354,"zh":355,"image_set":1366,"image_alt":1372,"tags":1373},{"en":1362,"zh":1363},"A source-led guide to anecdote, textual correction, judgement and transmission from Liuyi shihua to Canglang shihua and beyond.","從《六一詩話》到《滄浪詩話》及後世，理解軼事、校勘、品評與文本傳播。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F6fG5eRN1IDUph7QBQLJq.webp","2026-10-22T18:03:35+00:00",{"webp":1367},[1368,1370],{"width":1261,"url":1369},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F6fG5eRN1IDUph7QBQLJq-400.webp",{"width":1264,"url":1371},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F6fG5eRN1IDUph7QBQLJq-800.webp","暖色概念照片：三位不具名讀者的手在木桌上比較空白紙籤，旁有鉛筆與無字線裝冊。",[],{"to":357,"type":1215,"subtitle":1375,"image":1378,"hero_style":1205,"header":936,"footer":1169,"updated_at":1379,"en":358,"zh":359,"image_set":1380,"image_alt":1386,"tags":1387},{"en":1376,"zh":1377},"Read xu and ba through gatherings, farewells, anthologies, editions and objects—using their claims without mistaking them for neutral records.","從雅集、送別、選本、版本與器物閱讀“序”和“跋”，既利用其中線索，也不把它們誤作中性記錄。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FUtbkNK2ur8Ha6ftqktnM.webp","2026-10-23T00:11:10+00:00",{"webp":1381},[1382,1384],{"width":1261,"url":1383},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FUtbkNK2ur8Ha6ftqktnM-400.webp",{"width":1264,"url":1385},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FUtbkNK2ur8Ha6ftqktnM-800.webp","暖色概念照片：虛構閱覽室中，一位不具名的當代讀者在軟墊書托上翻閱無字線裝書的層疊空白書葉。",[],{"to":361,"type":1215,"subtitle":1389,"image":1392,"hero_style":1205,"header":936,"footer":1169,"updated_at":1393,"en":362,"zh":363,"image_set":1394,"image_alt":1400,"tags":1401},{"en":1390,"zh":1391},"Read Youyang zazu, Mengxi bitan and Rongzhai suibi through source verbs, entry form, editions, anecdotes and the responsible handling of marvels.","從來源詞、條目形式、版本、軼事與神異記錄入手，細讀《酉陽雜俎》《夢溪筆談》和《容齋隨筆》。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fyi4oa6BT117AapSUncW0.webp","2026-10-23T06:09:45+00:00",{"webp":1395},[1396,1398],{"width":1261,"url":1397},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002Fyi4oa6BT117AapSUncW0-400.webp",{"width":1264,"url":1399},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002Fyi4oa6BT117AapSUncW0-800.webp","暖色概念照片：虛構書房中，一位不具名的當代讀者線上裝空白冊旁整理無字紙條。",[],{"to":365,"type":1215,"subtitle":1403,"image":1406,"hero_style":1205,"header":936,"footer":1169,"updated_at":1407,"en":366,"zh":367,"image_set":1408,"image_alt":1414,"tags":1415},{"en":1404,"zh":1405},"A source-led guide to categories, quotation chains, imperial compilations and the limits of calling leishu encyclopedias.","從門類、引文鏈與官修巨編入手，理解類書及“百科全書”譯名的邊界。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FmDfq1NWdZh6cLg89FBZu.webp","2026-10-23T12:08:35+00:00",{"webp":1409},[1410,1412],{"width":1261,"url":1411},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FmDfq1NWdZh6cLg89FBZu-400.webp",{"width":1264,"url":1413},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FmDfq1NWdZh6cLg89FBZu-800.webp","暖色概念照片：虛構木製目錄長廊中，一位不具名的當代研究者開啟裝有無字卡片的抽屜。",[],{"to":369,"type":1215,"subtitle":1417,"image":1420,"hero_style":1205,"header":936,"footer":1169,"updated_at":1421,"en":370,"zh":371,"image_set":1422,"image_alt":1428,"tags":1429},{"en":1418,"zh":1419},"A source-led guide to Erya, Shuowen jiezi, Qieyun, Guangyun, fanqie and responsible historical lookup.","從《爾雅》《說文解字》《切韻》《廣韻》與反切入手，學習負責任的歷史檢索方法。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F4XvGQ1jHCcxR7gKvBE65.webp","2026-10-23T18:10:51+00:00",{"webp":1423},[1424,1426],{"width":1261,"url":1425},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F4XvGQ1jHCcxR7gKvBE65-400.webp",{"width":1264,"url":1427},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F4XvGQ1jHCcxR7gKvBE65-800.webp","暖色概念照片：虛構的當代博物館庭院中，無字石片與木片按組排列，遠處懸掛青銅鈴。",[],{"to":373,"type":1215,"subtitle":1431,"image":1434,"hero_style":1205,"header":936,"footer":1169,"updated_at":1435,"en":374,"zh":375,"image_set":1436,"image_alt":1442,"tags":1443},{"en":1432,"zh":1433},"How rhythm, recitation, copying, commentary and changing editions shaped three enduring Chinese primers.","從節奏、誦讀、抄寫、註釋與版本變化，理解“三百千”如何進入傳統識字教育。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FQKGmTfND4fPMYrnKo0No.webp","2026-10-24T00:05:09+00:00",{"webp":1437},[1438,1440],{"width":1261,"url":1439},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FQKGmTfND4fPMYrnKo0No-400.webp",{"width":1264,"url":1441},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FQKGmTfND4fPMYrnKo0No-800.webp","暖色概念照片：現代明亮工作室裡，一位不具名老師與兩名兒童圍坐圓桌，把無字木片排成數行。",[],{"to":377,"type":1215,"subtitle":1445,"image":1448,"hero_style":1205,"header":936,"footer":1169,"updated_at":1449,"en":378,"zh":379,"image_set":1450,"image_alt":1456,"tags":1457},{"en":1446,"zh":1447},"From early manuscript marks and learned judou to critical editions and twentieth-century punctuation reform.","從早期寫本記號、句讀訓練與賞鑑圈點，讀到整理本和二十世紀標點改革。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FIKuGQ52rHOtpRIsdyqE1.webp","2026-10-24T06:03:44+00:00",{"webp":1451},[1452,1454],{"width":1261,"url":1453},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FIKuGQ52rHOtpRIsdyqE1-400.webp",{"width":1264,"url":1455},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FIKuGQ52rHOtpRIsdyqE1-800.webp","暖色概念照片：現代閱覽室中，一位不具名研究者比較兩張抽象影印頁，旁邊透明導尺上帶有紅點。",[],{"to":381,"type":1215,"subtitle":1459,"image":1462,"hero_style":1205,"header":936,"footer":1169,"updated_at":1463,"en":382,"zh":383,"image_set":1464,"image_alt":1470,"tags":1471},{"en":1460,"zh":1461},"How a letter made a relationship, traveled as an object and survived as text, album leaf, copy or rubbing.","一封信怎樣建立關係、作為物件旅行，又如何以文本、冊頁、摹本或拓本流傳。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FpZ4QzCT16YATm0JlsKLO.webp","2026-10-24T12:13:34+00:00",{"webp":1465},[1466,1468],{"width":1261,"url":1467},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FpZ4QzCT16YATm0JlsKLO-400.webp",{"width":1264,"url":1469},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FpZ4QzCT16YATm0JlsKLO-800.webp","暖色概念照片：兩位不具名成人在書藝工作臺兩側傳遞一個無字的手工紙摺疊信包。",[],{"to":385,"type":1215,"subtitle":1473,"image":1476,"hero_style":1205,"header":936,"footer":1169,"updated_at":1477,"en":386,"zh":387,"image_set":1478,"image_alt":1484,"tags":1485},{"en":1474,"zh":1475},"How travel accounts turn movement into sequence, observation into authority and terrain into a transmitted literary place.","遊記怎樣把移動寫成次序，把見聞轉化為權威，又把地形塑造成流傳中的文學地方。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F4UjTYR95CSw5RTxMyUZF.webp","2026-10-24T18:09:06+00:00",{"webp":1479},[1480,1482],{"width":1261,"url":1481},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F4UjTYR95CSw5RTxMyUZF-400.webp",{"width":1264,"url":1483},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F4UjTYR95CSw5RTxMyUZF-800.webp","兩位不具名的當代旅行者在日出時把空白經摺式路線紙與層疊山嶺相互比較。",[],{"to":389,"type":1215,"subtitle":1487,"image":1490,"hero_style":1205,"header":936,"footer":1169,"updated_at":1491,"en":390,"zh":391,"image_set":1492,"image_alt":1498,"tags":1499},{"en":1488,"zh":1489},"How authors, families and editors gather many genres into a corpus—and why order, loss, attribution and editions shape what survives.","作者、家屬與編輯怎樣把多種文體匯成一部文集，以及編次、散佚、歸屬與版本怎樣塑造存世作品。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FXgnk0mCyzngDtICh7Xaa.webp","2026-10-25T00:13:01+00:00",{"webp":1493},[1494,1496],{"width":1261,"url":1495},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FXgnk0mCyzngDtICh7Xaa-400.webp",{"width":1264,"url":1497},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FXgnk0mCyzngDtICh7Xaa-800.webp","一位不具名的當代研究者在暖色閱覽室中，把無字摺疊書帖、信札包與紙條整理進同一檔案盒。",[],{"to":393,"type":1215,"subtitle":1501,"image":1504,"hero_style":1205,"header":936,"footer":1169,"updated_at":1505,"en":394,"zh":395,"image_set":1506,"image_alt":1512,"tags":1513},{"en":1502,"zh":1503},"How balance, cadence and allusion interact with flexible syntax, argument and occasion—and why the boundary is never absolute.","理解整齊、節奏與用典怎樣同靈活句法、論證和場合互動，以及兩者邊界為何從不絕對。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fuuuqb3R2UfMijlX7BYRe.webp","2026-10-25T06:08:39+00:00",{"webp":1507},[1508,1510],{"width":1261,"url":1509},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002Fuuuqb3R2UfMijlX7BYRe-400.webp",{"width":1264,"url":1511},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002Fuuuqb3R2UfMijlX7BYRe-800.webp","一位不具名的當代行人穿過暖色柱廊，重複的柱影逐漸通向彎曲的園路。",[],{"to":397,"type":1215,"subtitle":1515,"image":1518,"hero_style":1205,"header":936,"footer":1169,"updated_at":1519,"en":398,"zh":399,"image_set":1520,"image_alt":1526,"tags":1527},{"en":1516,"zh":1517},"A source-led guide to prompts, paired structure, evaluation, literary skill, model essays and the form’s contested afterlife.","從命題、成對結構、評閱、修辭能力、範文系統到後世爭議，重新理解明清八股文。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FiRtXEGkvWYRCsqWHhZb5.webp","2026-10-25T12:12:46+00:00",{"webp":1521},[1522,1524],{"width":1261,"url":1523},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FiRtXEGkvWYRCsqWHhZb5-400.webp",{"width":1264,"url":1525},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FiRtXEGkvWYRCsqWHhZb5-800.webp","一位不具名的當代成年人面對工作臺，暖色現代空間中懸掛著八塊無字半透明面板。",[],{"to":401,"type":1215,"subtitle":1529,"image":1532,"hero_style":1205,"header":936,"footer":1169,"updated_at":1533,"en":402,"zh":403,"image_set":1534,"image_alt":1540,"tags":1541},{"en":1530,"zh":1531},"Gates, numbered cells, surveillance, paper routes and daily infrastructure reveal how examination procedure became built space.","從門禁、號舍、監臨、試卷流轉到日常設施，理解科舉程式怎樣落實為空間。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fj591Fi9IgCtnHeDzbpwB.webp","2026-10-25T18:03:23+00:00",{"webp":1535},[1536,1538],{"width":1261,"url":1537},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002Fj591Fi9IgCtnHeDzbpwB-400.webp",{"width":1264,"url":1539},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002Fj591Fi9IgCtnHeDzbpwB-800.webp","一位不具名的當代參觀者穿過抽象門框，走向雨後藍調時刻中反覆排列的淺色石質隔間。",[],{"to":405,"type":1215,"subtitle":1543,"image":1546,"hero_style":1205,"header":936,"footer":1169,"updated_at":1547,"en":406,"zh":407,"image_set":1548,"image_alt":1554,"tags":1555},{"en":1544,"zh":1545},"Read academies through their changing institutions, landscape, lectures, rules, libraries, printing, endowments and relationship with examinations.","從制度變遷、山水、講會、學規、藏書、刻書、學田與科舉關係，理解中國書院。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FsWO51rbwyovAu2vOkaJg.webp","2026-10-26T00:06:06+00:00",{"webp":1549},[1550,1552],{"width":1261,"url":1551},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FsWO51rbwyovAu2vOkaJg-400.webp",{"width":1264,"url":1553},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FsWO51rbwyovAu2vOkaJg-800.webp","一位不具名的當代讀者坐在開放式木構亭中，眺望暖色晨光下雲霧繚繞的山林。",[],{"to":409,"type":1215,"subtitle":1557,"image":1560,"hero_style":1205,"header":936,"footer":1169,"updated_at":1561,"en":410,"zh":411,"image_set":1562,"image_alt":1568,"tags":1569},{"en":1558,"zh":1559},"Read private libraries through collecting, architecture, catalogues, provenance, access, dispersal and institutional afterlives.","從聚書、建築、目錄、遞藏、使用、流散與現代機構收藏，理解中國藏書樓。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FXqzJVGjw0D4oBdBfxb61.webp","2026-10-26T06:10:57+00:00",{"webp":1563},[1564,1566],{"width":1261,"url":1565},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FXqzJVGjw0D4oBdBfxb61-400.webp",{"width":1264,"url":1567},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FXqzJVGjw0D4oBdBfxb61-800.webp","一位不具名的當代文保人員背向鏡頭，在暖色調的虛構古籍閱覽室中檢視一本封面空白的線裝書。",[],{"to":413,"type":1215,"subtitle":1571,"image":1574,"hero_style":1205,"header":936,"footer":1169,"updated_at":1575,"en":414,"zh":415,"image_set":1576,"image_alt":1582,"tags":1583},{"en":1572,"zh":1573},"Follow books through publisher-booksellers, regional centres, urban districts, itinerant routes, catalogues, trust and unequal access.","從書坊、區域出版中心、城市書業街區、流動商路、目錄、信用與不均等的閱讀機會，理解中國書籍市場。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FuhjaxXpGTvj1xLgGWAb6.webp","2026-10-26T12:14:23+00:00",{"webp":1577},[1578,1580],{"width":1261,"url":1579},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FuhjaxXpGTvj1xLgGWAb6-400.webp",{"width":1264,"url":1581},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FuhjaxXpGTvj1xLgGWAb6-800.webp","幾位不具名的當代訪客在暖色調的虛構木構書市廊道中瀏覽封面空白的仿製書，一名書商正在整理存書。",[],{"to":417,"type":1215,"subtitle":1585,"image":1588,"hero_style":1205,"header":936,"footer":1169,"updated_at":1589,"en":418,"zh":419,"image_set":1590,"image_alt":1596,"tags":1597},{"en":1586,"zh":1587},"Read illustrated books through page design, collaborative labour, genre, colour registration, editions and the changing work of images.","從版面設計、協作勞動、文類、套色、版本與影像流轉，理解插圖書怎樣被製作和閱讀。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FJ9NyhscbghEMPwCp6hfm.webp","2026-10-26T18:05:43+00:00",{"webp":1591},[1592,1594],{"width":1261,"url":1593},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FJ9NyhscbghEMPwCp6hfm-400.webp",{"width":1264,"url":1595},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FJ9NyhscbghEMPwCp6hfm-800.webp","概念照片：陽光工場中，一位不具名的當代印工從木刻版上揭起一張抽象山水樣張",[],{"to":421,"type":1215,"subtitle":1599,"image":1602,"hero_style":1205,"header":936,"footer":1169,"updated_at":1603,"en":422,"zh":423,"image_set":1604,"image_alt":1610,"tags":1611},{"en":1600,"zh":1601},"Read mulu through entries, categories, annotations, institutions, lost books, material witnesses and modern catalogues.","從著錄、部類、提要、編纂機構、佚書、物質傳本與現代目錄，理解中國目錄。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FhEHViwvc5XqXlX2SNLq8.webp","2026-10-27T00:13:34+00:00",{"webp":1605},[1606,1608],{"width":1261,"url":1607},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FhEHViwvc5XqXlX2SNLq8-400.webp",{"width":1264,"url":1609},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FhEHViwvc5XqXlX2SNLq8-800.webp","概念照片：暖色工作室中，一位不具名的當代編目人員把空白線裝書樣分放進四隻檔案托盤",[],{"to":425,"type":1215,"subtitle":1613,"image":1616,"hero_style":1205,"header":936,"footer":1169,"updated_at":1617,"en":426,"zh":427,"image_set":1618,"image_alt":1624,"tags":1625},{"en":1614,"zh":1615},"Compare witnesses, explain variants, read an apparatus and distinguish attested correction from conjectural emendation.","從識別傳本、解釋異文到閱讀校記，並區分有本可據的訂正與無本理校。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FNYSdep3ztNm0wqrkO2P5.webp","2026-10-27T06:09:40+00:00",{"webp":1619},[1620,1622],{"width":1261,"url":1621},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FNYSdep3ztNm0wqrkO2P5-400.webp",{"width":1264,"url":1623},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FNYSdep3ztNm0wqrkO2P5-800.webp","寬幅概念照片：藍調暮色中，兩位不具名的當代研究者在透光臺上比較空白紙葉與線裝書樣",[],{"to":429,"type":1215,"subtitle":1627,"image":1630,"hero_style":1205,"header":936,"footer":1169,"updated_at":1631,"en":430,"zh":431,"image_set":1632,"image_alt":1638,"tags":1639},{"en":1628,"zh":1629},"Read zhu, jian, shu, jijie and jizhu as layered voices, editorial choices and material page design.","從注、箋、疏、集解到集註：辨認層層聲音、編輯取捨與書頁結構。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FAdcQzkC77ADDbAb0HzWq.webp","2026-10-27T12:10:27+00:00",{"webp":1633},[1634,1636],{"width":1261,"url":1635},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FAdcQzkC77ADDbAb0HzWq-400.webp",{"width":1264,"url":1637},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FAdcQzkC77ADDbAb0HzWq-800.webp","寬幅概念照片：清晨山景亭中，一位不具名讀者面對懸掛的多層空白半透明紙幅",[],{"to":433,"type":1215,"subtitle":1641,"image":1644,"hero_style":1205,"header":936,"footer":1169,"updated_at":1645,"en":434,"zh":435,"image_set":1646,"image_alt":1652,"tags":1653},{"en":1642,"zh":1643},"Read meipi, pangpi, jiapi and corrected copies as material traces of reading, circulation and editorial change.","從眉批、旁批、夾批到批校本：把書頁痕跡讀成閱讀、流通與編輯變化的物質證據。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F1ZeAhj7Mlc8rtiv1MMOm.webp","2026-10-27T18:13:18+00:00",{"webp":1647},[1648,1650],{"width":1261,"url":1649},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F1ZeAhj7Mlc8rtiv1MMOm-400.webp",{"width":1264,"url":1651},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F1ZeAhj7Mlc8rtiv1MMOm-800.webp","寬幅概念照片：一位不具名的現代讀者在雨夜藍窗旁的木桌前檢視帶彩色邊籤的空白摺頁",[],{"to":437,"type":1215,"subtitle":1655,"image":1658,"hero_style":1205,"header":936,"footer":1169,"updated_at":1659,"en":438,"zh":439,"image_set":1660,"image_alt":1666,"tags":1667},{"en":1656,"zh":1657},"Read cangshuyin as copy-specific evidence: describe impressions, test identities, reconstruct sequences and preserve uncertainty.","把藏書印作為複本證據：描述印文、核驗印主、重建先後，並保留無法確定之處。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FWInqThhSSTPmCIqMG9pr.webp","2026-10-28T00:11:47+00:00",{"webp":1661},[1662,1664],{"width":1261,"url":1663},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FWInqThhSSTPmCIqMG9pr-400.webp",{"width":1264,"url":1665},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FWInqThhSSTPmCIqMG9pr-800.webp","寬幅概念照片：一位不具名的編目者在黃昏木桌前比對兩冊空白書中的抽象硃色印文",[],{"to":441,"type":1215,"subtitle":1669,"image":1672,"hero_style":1205,"header":936,"footer":1169,"updated_at":1673,"en":442,"zh":443,"image_set":1674,"image_alt":1680,"tags":1681},{"en":1670,"zh":1671},"Read paper as copy-specific evidence: observe fibres, surfaces, folds, damage and repairs without dating a book from appearance alone.","把紙張作為複本證據：觀察纖維、表面、折葉、損傷和修補，不憑外觀單獨為古籍斷代。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FoOkcha7eoOVk5RShekhT.webp","2026-10-28T06:07:39+00:00",{"webp":1675},[1676,1678],{"width":1261,"url":1677},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FoOkcha7eoOVk5RShekhT-400.webp",{"width":1264,"url":1679},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FoOkcha7eoOVk5RShekhT-800.webp","概念照片：一位不具名的保護人員在明亮工作室的透射光板前觀察空白摺疊紙樣",[],{"to":445,"type":1215,"subtitle":1683,"image":1686,"hero_style":1205,"header":936,"footer":1169,"updated_at":1687,"en":446,"zh":447,"image_set":1688,"image_alt":1694,"tags":1695},{"en":1684,"zh":1685},"Learn to map manuscript ruling and printed page architecture—and to use layout as evidence without turning one feature into a date.","從寫本界欄到刻本版式，學習辨認書頁結構，並避免憑單一特徵斷代。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FfuTtmOzlXxb5smviUZU1.webp","2026-10-28T12:09:35+00:00",{"webp":1689},[1690,1692],{"width":1261,"url":1691},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FfuTtmOzlXxb5smviUZU1-400.webp",{"width":1264,"url":1693},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FfuTtmOzlXxb5smviUZU1-800.webp","概念照片：一位不具名的古籍研究者在透光臺上觀察帶雙邊版框、豎行和版心的空白仿製書葉",[],{"to":449,"type":1215,"subtitle":1697,"image":1700,"hero_style":1205,"header":936,"footer":1169,"updated_at":1701,"en":450,"zh":451,"image_set":1702,"image_alt":1708,"tags":1709},{"en":1698,"zh":1699},"A source-led method for reading publication statements, block custody and bookshop claims without turning one cartouche into proof of an edition.","從牌記、刊記、藏板到書坊發兌，學習核對出版陳述，並避免憑一個外框就認定版本。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F50N2iJ4DK82lsI6LnZAX.webp","2026-10-28T18:05:37+00:00",{"webp":1703},[1704,1706],{"width":1261,"url":1705},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F50N2iJ4DK82lsI6LnZAX-400.webp",{"width":1264,"url":1707},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F50N2iJ4DK82lsI6LnZAX-800.webp","概念照片：一位不具名的古籍研究者在虛構閱覽室比較兩部帶空白牌記外框的仿製書",[],{"to":453,"type":1215,"subtitle":1711,"image":1714,"hero_style":1205,"header":936,"footer":1169,"updated_at":1715,"en":454,"zh":455,"image_set":1716,"image_alt":1722,"tags":1723},{"en":1712,"zh":1713},"A source-led guide to making, sorting and reusing Chinese movable type—and to why it coexisted with woodblock printing.","從造字、儲字、排版到還字，理解中國活字怎樣複用，以及它為何長期與雕版並行。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F1X3TEZMhgVt6lkq536iR.webp","2026-10-29T00:08:20+00:00",{"webp":1717},[1718,1720],{"width":1261,"url":1719},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F1X3TEZMhgVt6lkq536iR-400.webp",{"width":1264,"url":1721},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002F1X3TEZMhgVt6lkq536iR-800.webp","概念照片：一位不具名的當代研究者在虛構研究室排列可複用的空白字模組",[],{"to":457,"type":1215,"subtitle":1725,"image":1728,"hero_style":1205,"header":936,"footer":1169,"updated_at":1729,"en":458,"zh":459,"image_set":1730,"image_alt":1736,"tags":1737},{"en":1726,"zh":1727},"A source-led guide to transferring a page, carving its mirror image, proofing, printing, repairing and storing a reusable woodblock.","從寫樣反貼、映象刻版到試印校改、刷墨取印、補版儲版，理解一頁雕版書怎樣製成。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FTUHO821wxTGRwrigZ0q8.webp","2026-10-29T06:10:58+00:00",{"webp":1731},[1732,1734],{"width":1261,"url":1733},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FTUHO821wxTGRwrigZ0q8-400.webp",{"width":1264,"url":1735},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FTUHO821wxTGRwrigZ0q8-800.webp","概念照片：一位不具名的當代示範者給虛構的空白抽象木版刷墨，旁置無字印紙",[],{"to":461,"type":1215,"subtitle":1739,"image":1742,"hero_style":1205,"header":936,"footer":1169,"updated_at":1743,"en":462,"zh":463,"image_set":1744,"image_alt":1750,"tags":1751},{"en":1740,"zh":1741},"A source-led guide to block custody, successive repair, recutting and the evidence that distinguishes early and later impressions.","從藏版、遞修、補版與重刻入手，理解初印、後印和不同複本之間的物證邊界。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FGiDMEeDkQPMfC9PThRj8.webp","2026-10-29T12:12:46+00:00",{"webp":1745},[1746,1748],{"width":1261,"url":1747},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FGiDMEeDkQPMfC9PThRj8-400.webp",{"width":1264,"url":1749},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FGiDMEeDkQPMfC9PThRj8-800.webp","概念照片：一位不具名的當代收藏工作人員把虛構的抽象木版放入儲藏架",[],{"to":465,"type":1215,"subtitle":1753,"image":1756,"hero_style":1205,"header":936,"footer":1169,"updated_at":1757,"en":466,"zh":467,"image_set":1758,"image_alt":1764,"tags":1765},{"en":1754,"zh":1755},"A source-led guide to the courts, institutions, families, publishers, donors and groups that turned texts into printed books.","從朝廷官署、書院家族、書坊寺觀到施主宗族，追蹤文本怎樣獲得刻印所需的資金與資源。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FV6OgoZcv4HhbwGWEIHfK.webp","2026-10-29T18:03:46+00:00",{"webp":1759},[1760,1762],{"width":1261,"url":1761},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FV6OgoZcv4HhbwGWEIHfK-400.webp",{"width":1264,"url":1763},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FV6OgoZcv4HhbwGWEIHfK-800.webp","概念性當代照片：一位背對鏡頭的不具名研究者站在空白書冊、紙張、紅色托盤與無文字木籌旁",[],{"to":469,"type":1215,"subtitle":1767,"image":1770,"hero_style":1205,"header":936,"footer":1169,"updated_at":1771,"en":470,"zh":471,"image_set":1772,"image_alt":1778,"tags":1779},{"en":1768,"zh":1769},"A source-led guide to purchase, gifts, guarded libraries, borrowing, transcription and the evidence that reconstructs access.","從書市購買、親友饋贈、藏書樓借閱到手抄傳本，依據可靠材料重建古人“讀得到書”的多條路徑。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FBHo5rQHiWh8zbl5qS6av.webp","2026-10-30T00:02:01+00:00",{"webp":1773},[1774,1776],{"width":1261,"url":1775},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FBHo5rQHiWh8zbl5qS6av-400.webp",{"width":1264,"url":1777},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FBHo5rQHiWh8zbl5qS6av-800.webp","概念性當代照片：虛構閱覽室中，一位不具名收藏工作人員向背對鏡頭的讀者呈上空白包裹仿製冊",[],{"to":473,"type":1215,"subtitle":1781,"image":1784,"hero_style":1205,"header":936,"footer":1169,"updated_at":1785,"en":474,"zh":475,"image_set":1786,"image_alt":1792,"tags":1793},{"en":1782,"zh":1783},"A source-led guide to voice, rhythm, rhyme, cantillation traditions and the limits of reconstructing how earlier audiences heard poetry.","從誦讀、吟詠、聲律與活態傳承出發，理解詩歌的聽覺經驗，也辨明重建古代聲音的證據邊界。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FaIFg5bMEoKdEYBvSubpu.webp","2026-10-30T06:11:06+00:00",{"webp":1787},[1788,1790],{"width":1261,"url":1789},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FaIFg5bMEoKdEYBvSubpu-400.webp",{"width":1264,"url":1791},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FaIFg5bMEoKdEYBvSubpu-800.webp","概念性當代照片：虛構雨夜書房中，一位不具名文化講授者對著無品牌麥克風誦讀空白書頁",[],{"to":477,"type":1215,"subtitle":1795,"image":1798,"hero_style":1205,"header":936,"footer":1169,"updated_at":1799,"en":478,"zh":479,"image_set":1800,"image_alt":1806,"tags":1807},{"en":1796,"zh":1797},"A source-led guide to how classical Chinese poems marked relationships, answered other poems and moved through occasions—without turning convention into biography.","從贈答、送別、唱和與次韻出發，理解古典詩歌怎樣建立關係、回應他作，並避免把文體慣例誤寫成傳記事實。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FGUtnCIx1oLwkBuIMyWDx.webp","2026-10-30T12:12:41+00:00",{"webp":1801},[1802,1804],{"width":1261,"url":1803},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FGUtnCIx1oLwkBuIMyWDx-400.webp",{"width":1264,"url":1805},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FGUtnCIx1oLwkBuIMyWDx-800.webp","概念性照片：兩位不具名的當代文學學習者在虛構山景亭中於夕陽下交換一張摺疊空白紙",[],{"to":481,"type":1215,"subtitle":1809,"image":1812,"hero_style":1205,"header":936,"footer":1169,"updated_at":1813,"en":482,"zh":483,"image_set":1814,"image_alt":1820,"tags":1821},{"en":1810,"zh":1811},"A source-led guide to shared topics, distributed rhymes, linked verse, hierarchy and the limits of reconstructing a literary gathering.","從命題、分韻、聯句、等級與文本流傳出發，理解古典詩會的程式，並守住歷史重建的證據邊界。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FK7UhEVbdVlSqBJh5BHCX.webp","2026-10-30T18:10:23+00:00",{"webp":1815},[1816,1818],{"width":1261,"url":1817},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FK7UhEVbdVlSqBJh5BHCX-400.webp",{"width":1264,"url":1819},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FK7UhEVbdVlSqBJh5BHCX-800.webp","概念性照片：四位不具名的當代文學學習者在虛構山景亭中圍繞空白紙張與無標記木籌寫作",[],{"to":485,"type":1215,"subtitle":1823,"image":1826,"hero_style":1205,"header":936,"footer":1169,"updated_at":1827,"en":486,"zh":487,"image_set":1828,"image_alt":1834,"tags":1835},{"en":1824,"zh":1825},"A source-led guide to drafts, fair copies, manuscript variants, collected-works versions and the limits of reconstructing authorial intention.","從草稿、清稿、寫本異文、別集版本到後世整理，分辨創作修改與流傳變動，並守住“作者意圖”的證據邊界。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FwyvymOS02f66jqUwE16H.webp","2026-10-31T00:09:03+00:00",{"webp":1829},[1830,1832],{"width":1261,"url":1831},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FwyvymOS02f66jqUwE16H-400.webp",{"width":1264,"url":1833},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FwyvymOS02f66jqUwE16H-800.webp","概念性照片：一位不具名的當代研究者在虛構修復研究室中比較空白紙葉與透明修改疊片",[],{"to":489,"type":1215,"subtitle":1837,"image":1840,"hero_style":1205,"header":936,"footer":1169,"updated_at":1841,"en":490,"zh":491,"image_set":1842,"image_alt":1848,"tags":1849},{"en":1838,"zh":1839},"A source-led guide to bylines, anonymous corpora, anthology witnesses, collected works, stylistic comparison and responsible uncertainty.","從署名、佚名篇組、總集見證、別集歸屬到風格比較，說明怎樣分層判斷中國古典詩歌的作者問題。","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FM0tBpmbGjm1LdzckaSi1.webp","2026-10-31T06:11:55+00:00",{"webp":1843},[1844,1846],{"width":1261,"url":1845},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FM0tBpmbGjm1LdzckaSi1-400.webp",{"width":1264,"url":1847},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fvariants\u002FM0tBpmbGjm1LdzckaSi1-800.webp","概念性照片：兩位不具名的當代研究者在虛構檔案閱覽室中比較空白目錄卡與空白紙葉",[],{"data":1851},[1852,1928,2029,2120],{"id":1853,"slug":1854,"available_locales":1855,"path":1856,"title":1857,"venue":1860,"hero_image_url":3,"card_image_url":1863,"card_landscape_url":1864,"lifecycle":1865,"session_mode":1866,"sessions":1867,"next_session":1927},15601,"liu-yao-beginner-course",[908,909,910],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":1858,"zh":1859},"Liu Yao Beginner 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2026","2026年11月1日","Nov","November",2026,"Sun",{"status":1869,"date_slug":1888,"time_label":1871,"timezone_abbr":1872,"date_label":1889,"date_label_fr":1890,"date_short_fr":1891,"date_only_fr":1892,"date_range_label_fr":3,"time_label_fr":1877,"date_label_zh":1893,"date_short":1894,"date_short_zh":1895,"date_only":1896,"date_only_zh":1897,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1898,"month_short":1883,"month_long":1884,"month_num":1061,"year":1885,"weekday_short":1899,"weekday_index":60},"2026-11-21","Saturday, 21 November 2026","samedi 21 novembre 2026","sam. 21 nov.","21 nov. 2026","2026年11月21日 星期六","Sat 21 Nov","11月21日 週六","21 Nov 2026","2026年11月21日",21,"Sat",{"status":1869,"date_slug":1901,"time_label":1871,"timezone_abbr":1872,"date_label":1902,"date_label_fr":1903,"date_short_fr":1904,"date_only_fr":1905,"date_range_label_fr":3,"time_label_fr":1877,"date_label_zh":1906,"date_short":1907,"date_short_zh":1908,"date_only":1909,"date_only_zh":1910,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":147,"month_short":1911,"month_long":1912,"month_num":147,"year":1885,"weekday_short":1899,"weekday_index":60},"2026-12-12","Saturday, 12 December 2026","samedi 12 décembre 2026","sam. 12 déc.","12 déc. 2026","2026年12月12日 星期六","Sat 12 Dec","12月12日 週六","12 Dec 2026","2026年12月12日","Dec","December",{"status":1869,"date_slug":1914,"time_label":1871,"timezone_abbr":1872,"date_label":1915,"date_label_fr":1916,"date_short_fr":1917,"date_only_fr":1918,"date_range_label_fr":3,"time_label_fr":1877,"date_label_zh":1919,"date_short":1920,"date_short_zh":1921,"date_only":1922,"date_only_zh":1923,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":137,"month_short":1924,"month_long":1925,"month_num":38,"year":1926,"weekday_short":1886,"weekday_index":935},"2027-01-17","Sunday, 17 January 2027","dimanche 17 janvier 2027","dim. 17 janv.","17 janv. 2027","2027年1月17日 星期日","Sun 17 Jan","1月17日 週日","17 Jan 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