[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"site-nav-reference-en":3,"site-nav-zh":4,"site-nav-zh-all-arts":289,"event-categories-zh":918,"site-settings":1161,"node-zh-arts\u002Fchinese-poetry-literature\u002Fchinese-imperial-examination-poetry-shitie-shi-fu-changing-tests":1203,"live-course-events":1237},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",53,{"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循環",{"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":916,"footer":917},[292],{"to":124,"label":125,"label_zh":126,"children":293},[294,508,578,736,786,848,886],{"to":129,"label":130,"label_zh":131,"children":295},[296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,372,376,380,384,388,392,396,400,404,408,412,416,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488,492,496,500,504],{"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":493,"label":494,"label_zh":495},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-quotation-excerpts-fragments-lost-context","Poems in Pieces: How Quotation and Excerpt Preserved Chinese Poetry","詩句怎樣在引用中流傳？摘引、輯佚與失落語境",{"to":497,"label":498,"label_zh":499},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-wall-poetry-tibishi-public-writing-place-transmission","Poems on the Wall: Public Writing, Place and Survival in China","牆上的詩怎樣流傳？中國題壁詩的公共書寫、地點與傳承",{"to":501,"label":502,"label_zh":503},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-imperial-examination-poetry-shitie-shi-fu-changing-tests","Poetry in the Examination Hall: What Chinese Candidates Were Asked to Compose","科場裡的詩：古代中國考生何時、怎樣作詩",{"to":505,"label":506,"label_zh":507},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-seasons-calendar-festivals-phenology-literary-time","Reading Seasons in Chinese Poetry: Calendars, Festivals and Literary Time","怎樣讀懂中國詩歌裡的季節？曆法、節日與文學時間",{"to":134,"label":135,"label_zh":136,"children":509},[510,514,518,522,526,530,534,538,542,546,550,554,558,562,566,570,574],{"to":511,"label":512,"label_zh":513},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origins and History of Chinese Calligraphy","中國書法的源流與歷史",{"to":515,"label":516,"label_zh":517},"\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":519,"label":520,"label_zh":521},"\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":523,"label":524,"label_zh":525},"\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":527,"label":528,"label_zh":529},"\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":531,"label":532,"label_zh":533},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Chinese Calligraphy Masters and Reading Paths","中國書法名家與閱讀路徑",{"to":535,"label":536,"label_zh":537},"\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":539,"label":540,"label_zh":541},"\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":543,"label":544,"label_zh":545},"\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":547,"label":548,"label_zh":549},"\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":551,"label":552,"label_zh":553},"\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":555,"label":556,"label_zh":557},"\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":559,"label":560,"label_zh":561},"\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":563,"label":564,"label_zh":565},"\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":567,"label":568,"label_zh":569},"\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":571,"label":572,"label_zh":573},"\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":575,"label":576,"label_zh":577},"\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":579},[580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712,716,720,724,728,732],{"to":581,"label":582,"label_zh":583},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Tea, Meditation and Taoist Practice","茶、靜坐與道家修習",{"to":585,"label":586,"label_zh":587},"\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":589,"label":590,"label_zh":591},"\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":593,"label":594,"label_zh":595},"\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":597,"label":598,"label_zh":599},"\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":601,"label":602,"label_zh":603},"\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":605,"label":606,"label_zh":607},"\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":609,"label":610,"label_zh":611},"\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":613,"label":614,"label_zh":615},"\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":617,"label":618,"label_zh":619},"\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":621,"label":622,"label_zh":623},"\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":625,"label":626,"label_zh":627},"\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":629,"label":630,"label_zh":631},"\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":633,"label":634,"label_zh":635},"\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":637,"label":638,"label_zh":639},"\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":641,"label":642,"label_zh":643},"\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":645,"label":646,"label_zh":647},"\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":649,"label":650,"label_zh":651},"\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":653,"label":654,"label_zh":655},"\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":657,"label":658,"label_zh":659},"\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":661,"label":662,"label_zh":663},"\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":665,"label":666,"label_zh":667},"\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":669,"label":670,"label_zh":671},"\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":673,"label":674,"label_zh":675},"\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":677,"label":678,"label_zh":679},"\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":681,"label":682,"label_zh":683},"\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":685,"label":686,"label_zh":687},"\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":689,"label":690,"label_zh":691},"\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":693,"label":694,"label_zh":695},"\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":697,"label":698,"label_zh":699},"\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":701,"label":702,"label_zh":703},"\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":705,"label":706,"label_zh":707},"\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":709,"label":710,"label_zh":711},"\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":713,"label":714,"label_zh":715},"\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":717,"label":718,"label_zh":719},"\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":721,"label":722,"label_zh":723},"\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":725,"label":726,"label_zh":727},"\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":729,"label":730,"label_zh":731},"\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":733,"label":734,"label_zh":735},"\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":737},[738,742,746,750,754,758,762,766,770,774,778,782],{"to":739,"label":740,"label_zh":741},"\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":743,"label":744,"label_zh":745},"\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":747,"label":748,"label_zh":749},"\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":751,"label":752,"label_zh":753},"\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":755,"label":756,"label_zh":757},"\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":759,"label":760,"label_zh":761},"\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":763,"label":764,"label_zh":765},"\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":767,"label":768,"label_zh":769},"\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":771,"label":772,"label_zh":773},"\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":775,"label":776,"label_zh":777},"\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":779,"label":780,"label_zh":781},"\u002Farts\u002Fguqin\u002Fguqin-forms-zhongni-banana-leaf-shapes","Guqin Forms: Reading Zhongni, Banana-Leaf and Other 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Painting","山水畫：怎樣讀懂中國山水",{"to":801,"label":802,"label_zh":803},"\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":805,"label":806,"label_zh":807},"\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":809,"label":810,"label_zh":811},"\u002Farts\u002Fpainting\u002Fgreat-masters-further-study","Chinese Painting Masters: A Guided Path","中國畫名家與進階研習",{"to":813,"label":814,"label_zh":815},"\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":817,"label":818,"label_zh":819},"\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":821,"label":822,"label_zh":823},"\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":825,"label":826,"label_zh":827},"\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":829,"label":830,"label_zh":831},"\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":833,"label":834,"label_zh":835},"\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":837,"label":838,"label_zh":839},"\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":841,"label":842,"label_zh":843},"\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":845,"label":846,"label_zh":847},"\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":849},[850,854,858,862,866,870,874,878,882],{"to":851,"label":852,"label_zh":853},"\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":855,"label":856,"label_zh":857},"\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":859,"label":860,"label_zh":861},"\u002Farts\u002Fincense\u002Fforms-and-art-of-appreciation","Incense Forms and the Art of Appreciation","香的形態與品香方法",{"to":863,"label":864,"label_zh":865},"\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":867,"label":868,"label_zh":869},"\u002Farts\u002Fincense\u002Fincense-meditation-taoist-practice","Incense, Meditation and Taoist Practice","香、靜坐與道家修習",{"to":871,"label":872,"label_zh":873},"\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":875,"label":876,"label_zh":877},"\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":879,"label":880,"label_zh":881},"\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":883,"label":884,"label_zh":885},"\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":887},[888,892,896,900,904,908,912],{"to":889,"label":890,"label_zh":891},"\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":893,"label":894,"label_zh":895},"\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":897,"label":898,"label_zh":899},"\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":901,"label":902,"label_zh":903},"\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":905,"label":906,"label_zh":907},"\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":909,"label":910,"label_zh":911},"\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":913,"label":914,"label_zh":915},"\u002Farts\u002Fflower-arrangement\u002Fchinese-flower-baskets-weaving-painting-vessels","Chinese Flower Baskets: Weaving, Painting and the 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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",[937,938,939,940],"wudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","wudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","wudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","wudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",[942,943,944,945],"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":947,"zh":948},"Feng Shui Classes and Courses","風水課程：方位、形勢與空間觀念入門",{"en":931,"zh":950},"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":957,"slug":958,"available_locales":959,"name":960,"description":963,"body":966,"path":969,"images":970,"image_urls":971,"hero_image":3,"hero_image_url":3,"seo_title":972,"seo_description":975,"sort_order":951,"is_active":952,"status":953,"created_at":978,"updated_at":955},"c85bf6cc-b84e-4c36-bbd7-9e92b53bbe50","internal-arts-wellness",[924,925,926],{"en":961,"zh":962},"Internal Arts & Wellness","內家功法與養生",{"en":964,"zh":965},"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":967,"zh":968},"\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":973,"zh":974},"Internal Arts & Wellness Events","內家功法與養生活動",{"en":976,"zh":977},"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":980,"uuid":981,"slug":982,"available_locales":983,"name":984,"description":987,"body":988,"path":989,"images":990,"image_urls":991,"hero_image":3,"hero_image_url":3,"seo_title":992,"seo_description":994,"sort_order":951,"is_active":952,"status":953,"created_at":997,"updated_at":955},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[924,925,926],{"en":985,"zh":986},"Face Reading Learning","面相課程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":993},"Chinese Face Reading Classes and Workshops",{"en":995,"zh":996},"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":999,"uuid":1000,"slug":1001,"available_locales":1002,"name":1003,"description":1006,"body":1008,"path":1011,"images":1012,"image_urls":1013,"hero_image":3,"hero_image_url":3,"seo_title":1014,"seo_description":1017,"sort_order":38,"is_active":952,"status":953,"created_at":954,"updated_at":955},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[924,925,926],{"en":1004,"zh":1005},"Zi Wei Dou Shu Learning","紫微斗數課程",{"en":1007,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":1009,"zh":1010},"\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":1015,"zh":1016},"Zi Wei Dou Shu (Purple Star Astrology) Classes","紫微斗數課程：命盤、宮位與星曜入門",{"en":1007,"zh":1018},"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":1020,"slug":1021,"available_locales":1022,"name":1023,"description":1026,"body":1027,"path":1028,"images":1029,"image_urls":1030,"hero_image":3,"hero_image_url":3,"seo_title":1031,"seo_description":1034,"sort_order":38,"is_active":952,"status":953,"created_at":1037,"updated_at":955},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[924,925,926],{"en":1024,"zh":1025},"Tea Arts","茶藝",[],[],"\u002Fevents\u002Ftea-arts",[],[],{"en":1032,"zh":1033},"Chinese Tea Art Classes and Workshops","茶藝課程與工作坊",{"en":1035,"zh":1036},"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":1039,"slug":1040,"available_locales":1041,"name":1042,"description":1045,"body":1047,"path":1050,"images":1051,"image_urls":1052,"hero_image":3,"hero_image_url":3,"seo_title":1053,"seo_description":1056,"sort_order":999,"is_active":952,"status":953,"created_at":954,"updated_at":955},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[924,925,926],{"en":1043,"zh":1044},"Ba Zi Learning","八字課程",{"en":1046,"zh":3},"Study the Four Pillars as a traditional system of stems, branches and five-phase correspondence, with history and limitations made explicit.",{"en":1048,"zh":1049},"\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":1054,"zh":1055},"BaZi (Four Pillars) Classes and Courses","八字課程：四柱、天干地支與五行入門",{"en":1046,"zh":1057},"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":1059,"slug":1060,"available_locales":1061,"name":1062,"description":1065,"body":1066,"path":1067,"images":1068,"image_urls":1069,"hero_image":3,"hero_image_url":3,"seo_title":1070,"seo_description":1073,"sort_order":999,"is_active":952,"status":953,"created_at":1037,"updated_at":955},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[924,925,926],{"en":1063,"zh":1064},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":1071,"zh":1072},"Chinese Incense Culture Workshops","香文化活動與工作坊",{"en":1074,"zh":1075},"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":1077,"uuid":1078,"slug":1079,"available_locales":1080,"name":1081,"description":1084,"body":1087,"path":1090,"images":1091,"image_urls":1092,"hero_image":3,"hero_image_url":3,"seo_title":1093,"seo_description":1095,"sort_order":999,"is_active":952,"status":953,"created_at":1096,"updated_at":955},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[924,925,926],{"en":1082,"zh":1083},"I Ching Learning","易經課程",{"en":1085,"zh":1086},"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":1088,"zh":1089},"\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":1094,"zh":1083},"I Ching Classes and Courses",{"en":1085,"zh":1086},"2026-09-08T00:15:35.000000Z",{"id":21,"uuid":1098,"slug":1099,"available_locales":1100,"name":1101,"description":1104,"body":1107,"path":1110,"images":1111,"image_urls":1112,"hero_image":3,"hero_image_url":3,"seo_title":1113,"seo_description":1116,"sort_order":242,"is_active":952,"status":953,"created_at":1119,"updated_at":955},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[924,925,926],{"en":1102,"zh":1103},"Traditional Arts & Crafts","傳統藝術與手作",{"en":1105,"zh":1106},"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":1108,"zh":1109},"\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":1114,"zh":1115},"Traditional Arts & Crafts Events","傳統藝術與手作活動",{"en":1117,"zh":1118},"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":1121,"slug":1122,"available_locales":1123,"name":1124,"description":1127,"body":1130,"path":1133,"images":1134,"image_urls":1135,"hero_image":3,"hero_image_url":3,"seo_title":1136,"seo_description":1138,"sort_order":247,"is_active":952,"status":953,"created_at":1141,"updated_at":955},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[924,925,926],{"en":1125,"zh":1126},"Wudang Community","武當社群活動",{"en":1128,"zh":1129},"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":1131,"zh":1132},"\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":1137,"zh":1126},"Wudang Community Events",{"en":1139,"zh":1140},"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":1143,"slug":1144,"available_locales":1145,"name":1146,"description":1149,"body":1150,"path":1151,"images":1152,"image_urls":1153,"hero_image":3,"hero_image_url":3,"seo_title":1154,"seo_description":1157,"sort_order":69,"is_active":952,"status":953,"created_at":1160,"updated_at":955},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[924,925,926],{"en":1147,"zh":1148},"Wudang Journeys & Retreats","武當旅修與行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":1155,"zh":1156},"Wudang Mountain Retreats and Guided Journeys","武當山旅修與靜修行程",{"en":1158,"zh":1159},"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":1162},{"hero_type":1163,"hero_image":1164,"hero_image_alt":1165,"hero_youtube_id":1166,"hero_content_on":952,"hero_heading":1167,"hero_subheading":1168,"hero_text":1169,"hero_subheading_zh":1170,"hero_text_zh":1171,"hero_buttons":1172,"home_seo":1178,"page_layout":1184,"shop_enabled":1185,"contact":1186,"journey":1202},"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。",[1173,1175],{"label":1174,"link":278},"Start Your Wudang Journey",{"label":1176,"link":1177},"View Events & Courses","\u002Fevents",{"title":1179,"description":1181},{"en":1180,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":1182,"zh":1183},"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":1187,"has_any":952,"text":1195},{"email":1188,"whatsapp":1189,"wechat_id":1190,"wechat_qr_url":1191,"instagram":1192,"instagram_handle":1193,"facebook":1194,"facebook_handle":1193},"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":1196,"china_heading_zh":1197,"china_company_en":1198,"china_company_zh":1199,"china_address_en":1200,"china_address_zh":1201},"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":952},{"data":1204},{"to":501,"type":1205,"available_locales":1206,"is_content_page":952,"title":1207,"subtitle":1208,"body":1211,"hero_image_url":1214,"hero_width":1215,"hero_height":1216,"hero_image_alt":1217,"hero_image_decorative":1185,"hero_credit":1220,"hero_alt":1227,"hero_style":1228,"card_layout":1229,"link_type":3,"link_ref":3,"seo_title":1230,"seo_description":1233,"children":1236},"page",[924,925,926],{"en":502,"zh":503},{"en":1209,"zh":1210},"From Tang poetry and fu to Song reform, Ming discontinuity and the Qing return of regulated verse—why the examination syllabus never stood still.","從唐代詩賦、宋代改革、明初轉折到清代試律回歸，說明科舉課程為何從來不是一成不變。",{"en":1212,"zh":1213},"\u003Ch2>There was no single timeless examination\u003C\u002Fh2>\u003Ch3>Curricula changed with dynasties, reigns and stages\u003C\u002Fh3>\u003Cp>The phrase ‘the imperial examination’ can suggest one stable test, but Chinese recruitment examinations changed repeatedly. Subjects, formats, eligibility, marking and the relation between schools and examinations differed across dynasties and even within a reign. Rebecca Doran’s overview of \u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter-abstract\u002F212216945\">education and the examination system\u003C\u002Fa> treats the institution as a historical development, not a fixed national syllabus. Before asking whether candidates wrote poetry, identify the date, examination stream, level and reform then in force.\u003C\u002Fp>\u003Ch3>Literary skill was one claim about public service\u003C\u002Fh3>\u003Cp>Poetry and \u003Cem>fu\u003C\u002Fem> could display learning, control of language and familiarity with literary precedent, but officials disagreed over whether those abilities predicted competence in government. The Oxford Handbook’s introduction to \u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter\u002F514165895\">institutions of literary culture\u003C\u002Fa> notes that poetry and rhapsody entered examinations in the late seventh century, survived sporadic suspension and deeply connected literature with politics. This did not make literary composition the only route to office, nor did it open the system equally to all classes or genders.\u003C\u002Fp>\u003Ch2>Tang examination poetry tested trained command\u003C\u002Fh2>\u003Ch3>The \u003Cem>jinshi\u003C\u002Fem> examination incorporated composition\u003C\u002Fh3>\u003Cp>From the later seventh century, the Tang \u003Cem>jinshi\u003C\u002Fem> examination required literary composition, including poetry, while its exact subjects and priorities continued to evolve. Nathan Vedal’s study of \u003Ca href=\"https:\u002F\u002Fwww.tandfonline.com\u002Fdoi\u002Fabs\u002F10.1179\u002F0737503415Z.00000000014\">Tang examination poetry\u003C\u002Fa> treats surviving poems as a distinct exam-related genre. Their value lies not only in identifying a famous candidate but in showing what examiners could recognize as competent use of themes, allusions, diction and poetic form under institutional conditions.\u003C\u002Fp>\u003Ch3>Competence mattered more than a modern idea of originality\u003C\u002Fh3>\u003Cp>Vedal argues that the primary aim was to demonstrate competence and familiarity with literary tradition rather than exceptional poetic brilliance. An exam poem therefore should not be judged as if it were a spontaneous private lyric. It answered an assigned situation for evaluators. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-regulated-verse\">Chinese regulated verse\u003C\u002Fa> explains line, rhyme, tone and parallelism; here the narrower issue is how such formal resources became assessable performance.\u003C\u002Fp>\u003Ch2>Prompts and constraints must be reconstructed carefully\u003C\u002Fh2>\u003Ch3>A title could define both topic and manner\u003C\u002Fh3>\u003Cp>An examination poem might be composed to an assigned title, sometimes with instructions about rhyme or form. Yet surviving titles, poems and later descriptions do not establish one universal Tang template. A phrase later glossed as ‘exam-style’ may imitate institutional writing without being the script of an actual sitting. The page on \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-fu-rhapsody-catalogues-courts-expansive-description\">Chinese \u003Cem>fu\u003C\u002Fem> rhapsody\u003C\u002Fa> provides the neighboring history of a second literary form used in recruitment; poetry and \u003Cem>fu\u003C\u002Fem> should not be collapsed into one task.\u003C\u002Fp>\u003Ch3>Later rules should not be projected backward\u003C\u002Fh3>\u003Cp>Tang examination verse could be regulated without conforming to every standard emphasized by Qing exam poetics or modern teaching manuals. Vedal’s evidence even suggests more prosodic freedom than a rigid retrospective account would allow. Rhyme dictionaries and reference works helped organize sounds, but their categories, editions and uses also changed. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun\">Chinese dictionaries and rhyme books\u003C\u002Fa> helps readers distinguish a historical sound classification from present-day pronunciation.\u003C\u002Fp>\u003Ch2>Song reform turned poetry into a policy question\u003C\u002Fh2>\u003Ch3>Officials debated what was easiest—and most useful—to assess\u003C\u002Fh3>\u003Cp>Song reformers argued over poetry and \u003Cem>fu\u003C\u002Fem>, classics interpretation, essays and policy responses. A primary institutional chronicle of \u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=264962&if=en&remap=gb\">Song schools and examinations\u003C\u002Fa> records competing claims: prosodic faults in poetry and \u003Cem>fu\u003C\u002Fem> could be checked more readily, while policy writing might better address government yet be harder to judge consistently. The debate was not simply ‘literature versus learning’; it concerned reliable marking, administrative purpose and what kind of knowledge officials should possess.\u003C\u002Fp>\u003Ch3>The 1071 reform changed the centre of assessment\u003C\u002Fh3>\u003Cp>Research on \u003Ca href=\"https:\u002F\u002Fwww.zjujournals.com\u002Fsoc\u002FCN\u002F10.3785\u002Fj.issn.1008-942X.CN33-6000\u002FC.2021.04.192\">Northern Song examination reform\u003C\u002Fa> explains that Wang Anshi’s Xining-era changes abolished poetry and \u003Cem>fu\u003C\u002Fem> alongside several older subjects and shifted assessment toward classics interpretation, exposition and policy responses. Later arrangements changed again. Readers should therefore avoid saying either that ‘Song candidates always wrote poetry’ or that poetry vanished from Song elite culture. Examination policy and literary life were related but not identical.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fah49Jf2mR2Z1gwfpnJQs.webp\" alt=\"Cool blue conceptual still life with a blank page divided into eight bands, eight unnumbered glass counters and unmarked archival tools\" loading=\"lazy\">\u003Cfigcaption>AI-generated conceptual still life about composing under formal constraints. It does not show a real examination paper, poem, artifact, institution, place or event.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>The Ming made a different curriculum central\u003C\u002Fh2>\u003Ch3>Poetry ceased to be the defining recruitment task\u003C\u002Fh3>\u003Cp>A recent synthesis of the \u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Felements\u002Fpolitical-economy-of-chinas-imperial-examination-system\u002F3DA0EC88AE5901AEE641FD5686C7F8B8\">political economy of the examination system\u003C\u002Fa> describes the Tang emphasis on poetry and prose, Song disputes over those forms, and their end as the central examination requirement at the beginning of the Ming. Ming and later examinations increasingly organized answers around the Confucian classics. The guide to the \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-eight-legged-essay-baguwen-examination-classics-composition\">eight-legged essay\u003C\u002Fa> explains one highly consequential format without treating it as the content of every paper at every stage.\u003C\u002Fp>\u003Ch3>A changed exam did not erase poetry from educated life\u003C\u002Fh3>\u003Cp>Candidates could continue to read, write and exchange poetry even when the decisive examination paper tested something else. Success in poetry and success in recruitment were overlapping forms of cultural achievement, not permanent synonyms. Nor should a poem by a degree-holder automatically be labeled an examination poem. The architecture described in \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-examination-compounds-gongyuan-cells-candidate-experience\">Chinese examination compounds\u003C\u002Fa> shaped isolation, supervision and physical writing conditions; it does not by itself identify which literary genre a candidate wrote in a given session.\u003C\u002Fp>\u003Ch2>Qing reform brought regulated verse back\u003C\u002Fh2>\u003Ch3>The 1757 change was a reform, not an uninterrupted survival\u003C\u002Fh3>\u003Cp>In the twenty-second year of the Qianlong reign (1757), a poetry component was made permanent in the provincial and metropolitan examinations. Research on the \u003Ca href=\"https:\u002F\u002Fdflt.cbpt.cnki.net\u002Fportal\u002Fjournal\u002Fportal\u002Fclient\u002Fpaper\u002Fa4f072e35f7296e893c08cf8f36d1e89\">addition of examination verse in 1757\u003C\u002Fa> identifies the assigned task as a five-character, eight-rhyme regulated poem. This was not proof that the Tang syllabus had continued unchanged for centuries. It was a Qing institutional choice made within a very different examination system.\u003C\u002Fp>\u003Ch3>Formal standards served marking and discipline\u003C\u002Fh3>\u003Cp>A study of the \u003Ca href=\"https:\u002F\u002Fqsyj.ruc.edu.cn\u002FEN\u002FY2021\u002FV0\u002FI2\">institutional significance of the Qing poetry component\u003C\u002Fa> connects regulated verse with rechecking, scrutiny of prosodic conformity and efforts to make evaluation more controllable. Such a task rewarded adherence to title, rhyme and form under pressure. Preparation took place through teachers, models and institutions; the guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-academies-shuyuan-books-teaching-ritual-landscape\">Chinese academies\u003C\u002Fa> explains the broader worlds of books, teaching, ritual and landscape around examination learning.\u003C\u002Fp>\u003Ch2>Examination verse became a genre with its own afterlife\u003C\u002Fh2>\u003Ch3>Model collections taught later candidates how to read the form\u003C\u002Fh3>\u003Cp>Qing readers compiled and annotated Tang poems as precedents for examination composition. Research on \u003Ca href=\"https:\u002F\u002Fjournal.bit.edu.cn\u002Fsk\u002Farticle\u002Fid\u002F9d8aed79-4e71-42b1-9e13-98a8052e391d\">the collection \u003Cem>Tangren shitie\u003C\u002Fem> and Qing exam poetics\u003C\u002Fa> follows changing critical priorities from Mao Qiling’s early eighteenth-century selection and commentary to Ji Yun’s greater emphasis on rules and fidelity to the assigned title. A Qing model book is valuable evidence for Qing reading, but it does not transparently reproduce Tang exam procedure.\u003C\u002Fp>\u003Ch3>Institutional success and literary reputation are different questions\u003C\u002Fh3>\u003Cp>Examination poems were often treated as constrained, utilitarian or aesthetically minor, yet they reveal what a bureaucracy considered demonstrable skill. Some survive because of later collections and commentary rather than an original examination file. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission\">Chinese poetry anthologies\u003C\u002Fa> shows how selection creates a canon; readers should record who selected an exam poem, when, and for what later pedagogical or critical purpose.\u003C\u002Fp>\u003Ch2>How to read a surviving examination poem\u003C\u002Fh2>\u003Ch3>Build an evidence ladder before telling the candidate’s story\u003C\u002Fh3>\u003Cp>Start with the earliest witness: an official record, collected work, model anthology, commentary or later anecdote. Record the dynasty, reign, examination level, assigned title, stated rhyme or formal rule, and whether the text is called an actual submission or merely ‘in examination style’. Then compare variants and editorial layers. Poetry criticism preserved in \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-shihua-poetry-talks-notes-anecdotes-criticism\">Chinese \u003Cem>shihua\u003C\u002Fem>\u003C\u002Fa> can illuminate later judgement, but an anecdote is not automatically an administrative record.\u003C\u002Fp>\u003Ch3>Use language proportional to the evidence\u003C\u002Fh3>\u003Cp>Say ‘required in this examination’, ‘preserved as an examination poem’, ‘used as a Qing model’ or ‘written in examination style’ according to the witness. Do not invent a prompt, time limit, examiner’s comment, candidate emotion, ranking or original paper. A careful account shows why poetry sometimes mattered to recruitment, why reformers removed or restored it, and how a constrained institutional exercise became part of literary history—without turning centuries of change into one timeless scene.\u003C\u002Fp>","\u003Ch2>並不存在一套千年不變的科舉考試\u003C\u002Fh2>\u003Ch3>考試內容隨朝代、年號與層級變化\u003C\u002Fh3>\u003Cp>“科舉”一詞容易讓人以為古代中國長期使用同一張試卷，其實科目、文體、應試資格、閱卷方法，以及學校同考試的關係都反覆調整。Doran 關於\u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter-abstract\u002F212216945\">教育與科舉制度\u003C\u002Fa>的綜述，把科舉視為不斷形成的歷史制度，而不是固定的全國課程。討論考生是否作詩以前，必須先確認朝代、考試層級、科目系統與當時有效的改革。\u003C\u002Fp>\u003Ch3>文學能力只是關於官員資格的一種主張\u003C\u002Fh3>\u003Cp>詩與賦可以顯示學識、語言控制和熟悉典故，但官員一直爭論這些能力是否足以預測從政本領。《牛津中國古典文學手冊》關於\u003Ca href=\"https:\u002F\u002Facademic.oup.com\u002Fedited-volume\u002F28107\u002Fchapter\u002F514165895\">文學文化制度\u003C\u002Fa>的導論指出，詩賦在七世紀後期進入考試，雖有間歇停罷，仍深刻連線文學與政治。這不表示文學創作是唯一入仕路徑，更不表示不同階層與性別擁有同等機會。\u003C\u002Fp>\u003Ch2>唐代試詩考查的是訓練有素的表達能力\u003C\u002Fh2>\u003Ch3>進士科逐漸納入文學創作\u003C\u002Fh3>\u003Cp>七世紀後期起，唐代進士科要求包括詩歌在內的文學創作，具體科目和輕重仍繼續變化。Vedal 關於\u003Ca href=\"https:\u002F\u002Fwww.tandfonline.com\u002Fdoi\u002Fabs\u002F10.1179\u002F0737503415Z.00000000014\">唐代試帖詩\u003C\u002Fa>的研究，把現存作品視為一種特定的應試文類。它們的價值不只在於尋找名人早作，更在於顯示考官怎樣識別考生在制度條件下運用題意、典故、辭藻與詩體的熟練程度。\u003C\u002Fp>\u003Ch3>合格的文化能力比現代意義的原創更重要\u003C\u002Fh3>\u003Cp>Vedal 認為，應試詩的主要目標是展示能力及對文學傳統的熟悉，而不是證明超常的詩才。因此，不能把它當作完全自發的私人抒情詩來讀；它是在評閱者面前完成指定任務。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-regulated-verse\">中國律詩導讀\u003C\u002Fa>說明句式、押韻、聲律與對仗；本文聚焦這些形式資源怎樣成為可評定的表現。\u003C\u002Fp>\u003Ch2>題目與限制必須謹慎復原\u003C\u002Fh2>\u003Ch3>篇題可能同時規定題材和作法\u003C\u002Fh3>\u003Cp>應試詩可以依據指定題目寫作，有時還附帶韻腳或體式要求；但現存題目、詩篇與後世記載，不能證明唐代一直使用同一種統一模板。後世稱為“試帖體”的作品，也可能只是模仿應試風格，並非某場考試的原卷。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-fu-rhapsody-catalogues-courts-expansive-description\">中國賦體導讀\u003C\u002Fa>介紹另一種曾用於取士的文學形式；詩與賦相鄰，卻不能被合併成同一項任務。\u003C\u002Fp>\u003Ch3>不能把後世法度倒投到唐代\u003C\u002Fh3>\u003Cp>唐代應試詩可以講究格律，卻未必符合清代試律詩學或現代教材強調的每一條標準。Vedal 所見材料甚至說明，唐代考試對聲律的容許可能比後世僵硬敘述更寬。韻書與工具書有助於組織語音類別，但它們的門類、版本與用途也在變化。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun\">中國字書與韻書導讀\u003C\u002Fa>有助於區分歷史音類和今日讀音。\u003C\u002Fp>\u003Ch2>宋代改革把詩賦變成制度爭議\u003C\u002Fh2>\u003Ch3>官員爭論什麼容易評、什麼適合治國\u003C\u002Fh3>\u003Cp>宋代改革圍繞詩賦、經義、論與策展開。一部記載\u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=264962&if=en&remap=gb\">宋代學校科舉制度\u003C\u002Fa>的史事本末儲存了相反意見：詩賦的聲病較易檢查，策論可能更貼近政務，卻不易統一判斷。爭論並不只是“文學對經學”，也涉及閱卷可靠性、行政目的，以及官員究竟應具備哪一種知識。\u003C\u002Fp>\u003Ch3>熙寧改革改變了考核中心\u003C\u002Fh3>\u003Cp>關於\u003Ca href=\"https:\u002F\u002Fwww.zjujournals.com\u002Fsoc\u002FCN\u002F10.3785\u002Fj.issn.1008-942X.CN33-6000\u002FC.2021.04.192\">北宋科舉改革\u003C\u002Fa>的研究指出，王安石在熙寧四年改革中罷詩賦及若干舊科，把重心轉向經義、論與策，後來制度又有調整。因此，既不能說“宋代考生始終作詩”，也不能因某次罷詩賦便說詩歌退出宋代士人生活。考試政策與文學生活相互關聯，卻不是同一件事。\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fah49Jf2mR2Z1gwfpnJQs.webp\" alt=\"冷藍色概念靜物：空白紙頁分成八個橫格，旁有八枚無編號玻璃圓片與無標記檔案工具\" loading=\"lazy\">\u003Cfigcaption>AI 生成的限制作詩概念靜物；並非真實試卷、詩稿、文物、機構、地點或事件記錄。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>明代把另一套課程置於中心\u003C\u002Fh2>\u003Ch3>詩歌不再是取士的標誌性任務\u003C\u002Fh3>\u003Cp>關於\u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Felements\u002Fpolitical-economy-of-chinas-imperial-examination-system\u002F3DA0EC88AE5901AEE641FD5686C7F8B8\">中國科舉制度政治經濟\u003C\u002Fa>的綜合研究，概括唐代重詩文、宋代圍繞詩賦的爭議，以及明初詩文不再作為核心考試要求的轉折。明清考試日益圍繞儒家經典組織答案。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-eight-legged-essay-baguwen-examination-classics-composition\">八股文導讀\u003C\u002Fa>介紹影響深遠的一種格式，同時也提醒讀者不能把它說成每個層級、每張試卷的全部內容。\u003C\u002Fp>\u003Ch3>考試轉型沒有消滅士人的詩歌生活\u003C\u002Fh3>\u003Cp>即使決定性試卷改考其他內容，考生仍可能閱讀、創作和唱和詩歌。詩名與科名是相交的文化成就，卻從來不是固定同義詞；有功名者所作之詩也不能自動稱為應試詩。本站關於\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-examination-compounds-gongyuan-cells-candidate-experience\">貢院與號舍\u003C\u002Fa>的文章說明隔離、監考與書寫環境，建築本身卻不能告訴我們某一場具體考試採用哪一種文體。\u003C\u002Fp>\u003Ch2>清代改革讓試律重新進入正式科場\u003C\u002Fh2>\u003Ch3>乾隆二十二年的變化不是連續不斷的唐制\u003C\u002Fh3>\u003Cp>乾隆二十二年（1757），鄉試、會試正式增加詩科。關於\u003Ca href=\"https:\u002F\u002Fdflt.cbpt.cnki.net\u002Fportal\u002Fjournal\u002Fportal\u002Fclient\u002Fpaper\u002Fa4f072e35f7296e893c08cf8f36d1e89\">清代科場加試試帖詩\u003C\u002Fa>的研究指出，考題要求五言八韻律詩。這不是唐代考制數百年原封不動延續的證明，而是清代在自身科舉結構中作出的制度選擇。解釋時應使用“恢復”或“增考”等符合史料的語言，而不是製造一條無間斷傳統。\u003C\u002Fp>\u003Ch3>明確法度服務於閱卷和紀律\u003C\u002Fh3>\u003Cp>關於\u003Ca href=\"https:\u002F\u002Fqsyj.ruc.edu.cn\u002FEN\u002FY2021\u002FV0\u002FI2\">清代詩科制度意義\u003C\u002Fa>的研究，把試律詩同複試、複核聲律及提高考核可控性聯絡起來。這類任務要求考生在壓力下切題、守韻、合式。備考依靠教師、範本和教育機構；本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-academies-shuyuan-books-teaching-ritual-landscape\">中國書院導讀\u003C\u002Fa>介紹圍繞考試學習形成的藏書、教學、禮儀與環境，但書院生活也不只等於應試訓練。\u003C\u002Fp>\u003Ch2>試帖詩成為有自身後世生命的文類\u003C\u002Fh2>\u003Ch3>範本選集教後人怎樣理解應試詩\u003C\u002Fh3>\u003Cp>清人蒐集、評點唐詩，把它們作為試律寫作的先例。關於\u003Ca href=\"https:\u002F\u002Fjournal.bit.edu.cn\u002Fsk\u002Farticle\u002Fid\u002F9d8aed79-4e71-42b1-9e13-98a8052e391d\">《唐人試帖》與清代試律詩學\u003C\u002Fa>的研究，追蹤毛奇齡康熙末年的選評，到紀昀更重法度與切題的變化。清代範本是研究清代閱讀和訓練的重要證據，卻不能透明再現唐代考場的實際程式。\u003C\u002Fp>\u003Ch3>應試成功與文學聲譽是兩個問題\u003C\u002Fh3>\u003Cp>試帖詩常被看作拘束、實用或格調不高，卻能顯示官僚制度認可什麼樣的可展示能力。有些作品因後世選本與評點而存世，並非來自原始考卷。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission\">中國詩歌總集與選本\u003C\u002Fa>說明編選怎樣塑造經典；讀者還應記錄是誰、在何時、為了哪一種教學或批評目的收入某首應試詩。\u003C\u002Fp>\u003Ch2>怎樣閱讀一首傳世應試詩\u003C\u002Fh2>\u003Ch3>先建立證據階梯，再講考生故事\u003C\u002Fh3>\u003Cp>應從最早見證著手：官方記錄、別集、範本選集、評點，還是後出軼事。逐項記錄朝代、年號、考試層級、篇題、明載韻限或體式，以及來源究竟稱它為真實試卷，還是僅說“仿試帖體”。再比較異文與編輯層次。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-shihua-poetry-talks-notes-anecdotes-criticism\">中國詩話導讀\u003C\u002Fa>有助於理解後世評價，但一則詩話故事並不自動等於行政檔案。\u003C\u002Fp>\u003Ch3>讓措辭服從證據強度\u003C\u002Fh3>\u003Cp>根據見證，可以說“該科要求”“某書儲存為試詩”“清代用作範本”或“以試帖體寫成”。不要虛構題目、時限、考官評語、考生心情、名次或原始試紙；也不要把後世選本版式當成考場原貌。嚴謹敘述能夠說明詩歌為何一度參與取士、改革者為何廢止或恢復，以及受制度限制的練習怎樣進入文學史，同時不把數百年變化壓成一幅永恆不變的科場場景。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FylyrrosX7DGHmGmvBXbg.webp",1672,940,{"en":1218,"zh":1219},"Warm fictional museum installation with three blank study stations and an anonymous modern curator adjusting a transparent frame","暖色虛構博物館教學裝置：三張空白研習桌與一位正在調整透明框架的不具名現代策展人員",{"caption":1221,"creator":1222,"source_url":1223,"license_label":1224,"license_url":1225,"changes":1226},"AI 生成的虛構博物館教學裝置；並非真實貢院、試卷、詩稿、文物、機構、地點或歷史事件。","OpenAI","https:\u002F\u002Fopenai.com\u002F","AI-generated image","https:\u002F\u002Fopenai.com\u002Fpolicies\u002Fterms-of-use\u002F","為本文獨立生成，並轉換為 WebP；未與其他影像合成。",{"en":1218,"zh":1219},"banner","list",{"en":1231,"zh":1232},"Poetry in Chinese Imperial Examinations: Tang to Qing","科舉中的詩歌：從唐代試詩到清代試律",{"en":1234,"zh":1235},"How poetry and fu entered Tang examinations, were debated in the Song, displaced in the Ming and restored as regulated examination verse under the Qing.","介紹詩賦怎樣進入唐代科舉、在宋代引發改革爭議、於明初退出核心，並在清代以試律形式重新增考。",[],{"data":1238},[1239,1315,1417,1508],{"id":1240,"slug":1241,"available_locales":1242,"path":1243,"title":1244,"venue":1247,"hero_image_url":3,"card_image_url":1250,"card_landscape_url":1251,"lifecycle":1252,"session_mode":1253,"sessions":1254,"next_session":1314},15601,"liu-yao-beginner-course",[924,925,926],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":1245,"zh":1246},"Liu Yao Beginner Course","六爻初級課",{"en":1248,"zh":1249},"Singapore","新加坡","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FQzqp0uXPJyVi3CvdDM1S.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002Fvariants\u002FQzqp0uXPJyVi3CvdDM1S-16x9.webp","ongoing","choose_one",[1255,1274,1287,1300],{"status":1256,"date_slug":1257,"time_label":1258,"timezone_abbr":1259,"date_label":1260,"date_label_fr":1261,"date_short_fr":1262,"date_only_fr":1263,"date_range_label_fr":3,"time_label_fr":1264,"date_label_zh":1265,"date_short":1266,"date_short_zh":1267,"date_only":1268,"date_only_zh":1269,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1270,"month_long":1271,"month_num":1077,"year":1272,"weekday_short":1273,"weekday_index":951},"scheduled","2026-11-01","9:00am–5:00pm","SGT","Sunday, 1 November 2026","dimanche 1 novembre 2026","dim. 1 nov.","1 nov. 2026","09:00–17:00","2026年11月1日 星期日","Sun 1 Nov","11月1日 週日","1 Nov 2026","2026年11月1日","Nov","November",2026,"Sun",{"status":1256,"date_slug":1275,"time_label":1258,"timezone_abbr":1259,"date_label":1276,"date_label_fr":1277,"date_short_fr":1278,"date_only_fr":1279,"date_range_label_fr":3,"time_label_fr":1264,"date_label_zh":1280,"date_short":1281,"date_short_zh":1282,"date_only":1283,"date_only_zh":1284,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1285,"month_short":1270,"month_long":1271,"month_num":1077,"year":1272,"weekday_short":1286,"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 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2026","2026年12月12日","Dec","December",{"status":1256,"date_slug":1301,"time_label":1258,"timezone_abbr":1259,"date_label":1302,"date_label_fr":1303,"date_short_fr":1304,"date_only_fr":1305,"date_range_label_fr":3,"time_label_fr":1264,"date_label_zh":1306,"date_short":1307,"date_short_zh":1308,"date_only":1309,"date_only_zh":1310,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":137,"month_short":1311,"month_long":1312,"month_num":38,"year":1313,"weekday_short":1273,"weekday_index":951},"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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