[{"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-poetry-seasons-calendar-festivals-phenology-literary-time":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":505,"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":506,"zh":507},{"en":1209,"zh":1210},"How months, solar terms, festivals and phenological signs guide interpretation—and why a literary season is not automatically an exact date.","月序、節氣、節日與物候怎樣幫助釋詩，以及文學季節為何不能自動換算成準確日期。",{"en":1212,"zh":1213},"\u003Ch2>A season in a poem is not yet a date\u003C\u002Fh2>\u003Ch3>Seasonal words work on several levels\u003C\u002Fh3>\u003Cp>A poem may name spring, a numbered month, a solar term, a festival, a plant, a bird or a change in weather. These clues can locate an utterance within the year, but they also carry literary memory, ritual associations and emotional contrast. The Cambridge edition of \u003Ca href=\"https:\u002F\u002Fassets.cambridge.org\u002F97805214\u002F17822\u002Ffrontmatter\u002F9780521417822_frontmatter.pdf\">Fan Chengda’s poetry\u003C\u002Fa> retains traditional calendar dates because classical verse is closely connected to seasonal cycles and festivals. A reader should therefore ask what kind of time-marker appears before converting it into a modern date.\u003C\u002Fp>\u003Ch3>The safest first question is what the text actually says\u003C\u002Fh3>\u003Cp>‘Autumn’ may describe an experienced season, a conventional atmosphere, a remembered scene or a contrast chosen by an editor’s title. A blossom can indicate local observation, an inherited phrase or both. The history of \u003Ca href=\"\u002Farts\u002Fflower-arrangement\u002Fseasonal-flowers-and-symbolism\">seasonal flowers and symbolism\u003C\u002Fa> shows why a flower has no single timeless meaning. Record the poem’s exact wording, title and earliest witness before turning an image into biography or chronology.\u003C\u002Fp>\u003Ch2>Chinese seasonal time used overlapping systems\u003C\u002Fh2>\u003Ch3>Months and solar terms answer different questions\u003C\u002Fh3>\u003Cp>Traditional Chinese calendars are lunisolar: numbered months follow lunar cycles, while the twenty-four solar terms track the sun’s annual motion. UNESCO’s account of the \u003Ca href=\"https:\u002F\u002Fich.unesco.org\u002Fen\u002FRL\u002Fthe-twenty-four-solar-terms-knowledge-in-china-of-time-and-practices-developed-through-observation-of-the-suns-annual-motion-00647\">Twenty-Four Solar Terms\u003C\u002Fa> describes a cycle from Beginning of Spring to Greater Cold, developed through astronomy and observation of seasonal change. A poem dated to the ninth month is not dated by the same mechanism as one written ‘at White Dew’ or ‘on the winter solstice’.\u003C\u002Fp>\u003Ch3>The calendar was also a cultural order\u003C\u002Fh3>\u003Cp>The \u003Cem>Yueling\u003C\u002Fem>, or Monthly Ordinances, correlates months with stars, weather, plants, animals, music, ritual and government. Its \u003Ca href=\"https:\u002F\u002Fctext.org\u002Fliji\u002Fyue-ling\u002Fens\">season-by-season prescriptions\u003C\u002Fa> are evidence for an influential textual scheme, not a weather report for every place or century. The site’s guide to \u003Ca href=\"\u002Fchinese-metaphysics\u002Fdate-selection\u002Ftwenty-four-solar-terms-seasonal-time-chinese-calendar\">the twenty-four solar terms\u003C\u002Fa> explains the calendrical framework; this article asks how poets and readers turned such frameworks into literary time.\u003C\u002Fp>\u003Ch2>Phenology gave poets a vocabulary of change\u003C\u002Fh2>\u003Ch3>Plants, animals and weather could signal position in the year\u003C\u002Fh3>\u003Cp>A study of \u003Ca href=\"https:\u002F\u002Fjournal.kci.go.kr\u002Fkucsi\u002Farchive\u002FarticleView?artiId=ART002505695\">phenological consciousness in Tang poetry\u003C\u002Fa> links poetic observation to systems such as the solar terms, seventy-two pentads and \u003Cem>Yueling\u003C\u002Fem>. Wind, dew, thunder, flowering, falling leaves, birds and insects could place a scene within an expected sequence. These signs made time perceptible through bodies and landscapes rather than through a date alone.\u003C\u002Fp>\u003Ch3>Expected sequence and witnessed event are not identical\u003C\u002Fh3>\u003Cp>A seasonal sign may be observed, anticipated, remembered or quoted. Local temperature, altitude and rainfall can shift flowering and migration; a poet can also use inherited diction after leaving the place it evokes. Scientists testing \u003Ca href=\"https:\u002F\u002Fcp.copernicus.org\u002Farticles\u002F17\u002F929\u002F2021\u002Findex.html\">phenological records in Tang and Song poems\u003C\u002Fa> require conservative filtering by genre, rhetoric, location, species and human influence. Literary readers need the same caution: vivid natural detail is evidence, but not automatically an instrument reading or diary entry.\u003C\u002Fp>\u003Ch2>Festivals made time social\u003C\u002Fh2>\u003Ch3>An occasion could gather ritual, food, travel and verse\u003C\u002Fh3>\u003Cp>New Year, Lantern Festival, Cold Food, Qingming, Double Fifth, Double Seventh, Mid-Autumn, Double Ninth, the winter solstice and year’s end generated changing practices across dynasties and regions. Research on \u003Ca href=\"https:\u002F\u002Ftci.ncl.edu.tw\u002Fcgi-bin\u002Fgs32\u002Fgsweb.cgi?o=dnclresource&s=id%3D%22101HCU00045005%22.&searchmode=basic&tcihsspage=tcisearch_opt1_search\">seasonal festivals in Tang poetry\u003C\u002Fa> treats festival verse as a way to study court rites and popular customs, while also warning against careless origin stories. The neighboring guide to \u003Ca href=\"\u002Fdaoism\u002Ftaoist-festivals-rituals\">Daoist festivals and rituals\u003C\u002Fa> covers religious calendars; a poem about a festival may instead be courtly, familial, local, commemorative or mixed.\u003C\u002Fp>\u003Ch3>Festival poems often register presence and absence\u003C\u002Fh3>\u003Cp>A fixed occasion could intensify social distance: who is at court, at home, on the road, in exile or remembered from elsewhere. Gifts, replies and shared compositions might belong to the occasion, but a festival title alone does not prove that all named people met. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-social-exchange-gifts-farewells-replies-rhyme-matching\">poetry as social exchange\u003C\u002Fa> helps distinguish a textual relationship from a fully documented gathering. Date, participant and place each require their own evidence.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FCca7DMSVv176e0Yumtue.webp\" alt=\"Cool top-down conceptual arrangement with twenty-four unnumbered glass markers around a blank paper circle and four seasonal plant specimens\" loading=\"lazy\">\u003Cfigcaption>AI-generated modern teaching still life about overlapping seasonal cycles. It is not a historical calendar, manuscript, artifact, collection object or record of a real place or event.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>Geography changes what a season looks like\u003C\u002Fh2>\u003Ch3>The same calendar term can meet different weather\u003C\u002Fh3>\u003Cp>A solar term is a shared position in the annual cycle, not a promise that every region will show the same temperature, rain, blossoms or harvest on that day. North and south, coast and interior, valley and highland can diverge sharply. The National Palace Museum’s overview of \u003Ca href=\"https:\u002F\u002Fwww.npm.edu.tw\u002FPublications-Content.aspx?l=2&p=1&q=&sno=04014011&type=\">Chinese seasonal time\u003C\u002Fa> usefully places four seasons, festivals, months, solar terms and pentads together; a poem still has to be returned to its particular geography.\u003C\u002Fp>\u003Ch3>Movement can make several seasonal worlds appear in one life\u003C\u002Fh3>\u003Cp>Travel, reassignment and exile expose writers to unfamiliar climates and local calendars. A remembered home season may be set against present weather, while a place-name can carry literary associations beyond what the traveler saw. Read the guides to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-travel-writing-youji-routes-witness-making-place\">Chinese travel writing\u003C\u002Fa> and \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Ftaoist-landscape-poetry\">Daoist traditions and landscape poetry\u003C\u002Fa> alongside the poem. Route, viewpoint and textual convention matter as much as a generic label such as ‘spring scene’.\u003C\u002Fp>\u003Ch2>Literary seasons are patterned but not a codebook\u003C\u002Fh2>\u003Ch3>Spring and autumn do not exhaust poetic time\u003C\u002Fh3>\u003Cp>Spring renewal and autumn decline are powerful recurrent patterns, yet summer heat, winter cold, monsoon rain, snow, agricultural work and festival cycles also organize poems. A classic study of \u003Ca href=\"https:\u002F\u002Fccj.pku.edu.cn\u002Farticle\u002Finfo?id=277089101\">seasonal consciousness in Chinese poetry\u003C\u002Fa> notes important differences in the literary weight of spring, autumn, summer and winter. Patterns help comparison; they do not authorize replacing a poem with a dictionary entry such as ‘autumn equals sadness’.\u003C\u002Fp>\u003Ch3>Convention can make an observation more—not less—specific\u003C\u002Fh3>\u003Cp>A poet may choose an inherited image because readers know its earlier uses, then alter setting, sequence or speaker. Convention and experience are therefore not mutually exclusive. One line can recall earlier poetry while responding to present weather or a current separation. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission\">Chinese poetry anthologies\u003C\u002Fa> shows how later selection makes some seasonal patterns especially familiar and leaves other voices less visible.\u003C\u002Fp>\u003Ch2>Calendar clues can help chronology, but only with controls\u003C\u002Fh2>\u003Ch3>Du Fu shows both the promise and the danger\u003C\u002Fh3>\u003Cp>Research moving \u003Ca href=\"https:\u002F\u002Ftoaj.stpi.niar.org.tw\u002Findex\u002Fjournal\u002Fvolume\u002Farticle\u002F4b1141f98e119929018e11abd041001e\">from Beginning of Spring to First Frost in Du Fu’s poetry\u003C\u002Fa> demonstrates that solar terms can matter for interpretation and dating. It also shows how an earlier commentator’s calculations failed when they used inadequate knowledge of the Tang calendar. A plausible season is not enough: historical calendar reconstruction, the poet’s location, textual variants and the reliability of a title or preface must agree.\u003C\u002Fp>\u003Ch3>A date should be expressed at the precision the evidence allows\u003C\u002Fh3>\u003Cp>If a poem states a festival and a reign year, conversion may be possible after checking the relevant calendar. If it mentions only cold rain and fading leaves, ‘autumnal setting’ may be all that can responsibly be said. Distinguish the composition date, the date of the event described and the date supplied by a later editor. The site’s \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fkey-poets-further-reading\">reading paths for Chinese poetry\u003C\u002Fa> can help locate editions and scholarship rather than forcing a precise modern date from imagery alone.\u003C\u002Fp>\u003Ch2>A practical method for reading seasonal time\u003C\u002Fh2>\u003Ch3>Build four columns of evidence\u003C\u002Fh3>\u003Cp>First list explicit calendar words: month, day, solar term, festival or reign year. Second list environmental signs: plants, animals, weather and daylight. Third list social markers: court observance, family rite, journey, gift or gathering. Fourth list textual evidence: title, preface, earliest witness, variant readings and later commentary. Then ask whether the four columns reinforce one another or belong to different layers of transmission.\u003C\u002Fp>\u003Ch3>Let uncertainty remain visible\u003C\u002Fh3>\u003Cp>Use phrases such as ‘set in spring’, ‘associated with Double Ninth’, ‘probably written while traveling’ or ‘dated by a later editor’ according to the evidence. Do not invent an exact day, ritual, local custom, flowering schedule or Wudang connection. Seasonal reading is most informative when calendar knowledge, lived environment, social occasion and literary precedent remain distinct enough to compare—and when a poem is allowed to create time rather than merely timestamp it.\u003C\u002Fp>","\u003Ch2>詩中的季節，並不等於一個現成日期\u003C\u002Fh2>\u003Ch3>季節詞同時作用於多個層面\u003C\u002Fh3>\u003Cp>詩可以寫春秋、月序、節氣、節日、草木鳥獸或天氣變化。這些線索能把話語放進一年之中，也會帶出文學記憶、禮俗聯想和情感對照。劍橋出版的\u003Ca href=\"https:\u002F\u002Fassets.cambridge.org\u002F97805214\u002F17822\u002Ffrontmatter\u002F9780521417822_frontmatter.pdf\">范成大詩歌譯本\u003C\u002Fa>保留傳統歷日，理由正是中國古典詩同季節循環和歲時節日關係密切。讀者應先判斷所見是哪一種時間標記，再換算成現代日期。\u003C\u002Fp>\u003Ch3>最穩妥的起點，是先看文本究竟說了什麼\u003C\u002Fh3>\u003Cp>“秋”可能是親歷季候、約定氣氛、追憶場景，也可能來自後人擬定的篇題；花木既可能是當地觀察，也可能沿用前人語言。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fflower-arrangement\u002Fseasonal-flowers-and-symbolism\">時令花卉與象徵導讀\u003C\u002Fa>說明一種花並沒有千古不變的單一意義。把意象變成生平或編年以前，應先記錄原詞、篇題與最早見證。\u003C\u002Fp>\u003Ch2>中國歲時文化使用彼此重疊的系統\u003C\u002Fh2>\u003Ch3>月序與節氣回答不同問題\u003C\u002Fh3>\u003Cp>中國傳統曆法是陰陽合曆：月序依月相執行，二十四節氣則依據太陽週年運動。聯合國教科文組織關於\u003Ca href=\"https:\u002F\u002Fich.unesco.org\u002Fen\u002FRL\u002Fthe-twenty-four-solar-terms-knowledge-in-china-of-time-and-practices-developed-through-observation-of-the-suns-annual-motion-00647\">二十四節氣\u003C\u002Fa>的說明，概括了從立春到大寒的循環，以及它同天文和物候觀察的關係。詩寫“九月”，同寫“白露”或“冬至”，並不是同一種定時方法。\u003C\u002Fp>\u003Ch3>曆法也是一種文化秩序\u003C\u002Fh3>\u003Cp>《月令》把月令同星象、氣候、動植物、樂律、禮儀和政事聯絡起來。其\u003Ca href=\"https:\u002F\u002Fctext.org\u002Fliji\u002Fyue-ling\u002Fens\">逐月安排\u003C\u002Fa>證明了一套影響深遠的經典圖式，卻不是每個地區、每個時代的天氣實錄。本站的\u003Ca href=\"\u002Fzh\u002Fchinese-metaphysics\u002Fdate-selection\u002Ftwenty-four-solar-terms-seasonal-time-chinese-calendar\">二十四節氣導讀\u003C\u002Fa>說明曆法框架；本文關注詩人和讀者怎樣把框架轉化為文學時間。\u003C\u002Fp>\u003Ch2>物候給詩人一套變化的語言\u003C\u002Fh2>\u003Ch3>草木、鳥獸與天氣可以提示年內位置\u003C\u002Fh3>\u003Cp>關於\u003Ca href=\"https:\u002F\u002Fjournal.kci.go.kr\u002Fkucsi\u002Farchive\u002FarticleView?artiId=ART002505695\">唐詩物候意識\u003C\u002Fa>的研究，把詩歌觀察同節氣、七十二候和《月令》等系統聯絡起來。風露雷電、花開葉落、鳥鳴蟲動，都能讓時間通過身體與景觀變得可感，而不只依賴日期。\u003C\u002Fp>\u003Ch3>預期順序不等於親眼見聞\u003C\u002Fh3>\u003Cp>季候徵象可能是觀察、預期、追憶或引用。氣溫、海拔與降水會改變花期和遷徙，詩人也可能離開原地後繼續使用繼承而來的辭藻。利用\u003Ca href=\"https:\u002F\u002Fcp.copernicus.org\u002Farticles\u002F17\u002F929\u002F2021\u002Findex.html\">唐宋詩歌物候資料研究氣候\u003C\u002Fa>的學者，必須按文類、修辭、地點、物種和人類影響保守篩選；文學閱讀同樣不能把生動細節自動當成儀器記錄或日記。\u003C\u002Fp>\u003Ch2>節日讓時間成為社會關係\u003C\u002Fh2>\u003Ch3>一個節日可以彙集禮儀、飲食、出行與詩歌\u003C\u002Fh3>\u003Cp>元正、元宵、寒食、清明、端午、七夕、中秋、重陽、冬至與歲除等活動，在不同朝代和地區不斷變化。關於\u003Ca href=\"https:\u002F\u002Ftci.ncl.edu.tw\u002Fcgi-bin\u002Fgs32\u002Fgsweb.cgi?o=dnclresource&s=id%3D%22101HCU00045005%22.&searchmode=basic&tcihsspage=tcisearch_opt1_search\">唐人歲時吟詠\u003C\u002Fa>的研究，借節日詩考察宮廷禮儀與民間習俗，同時反對草率的起源故事。本站的\u003Ca href=\"\u002Fzh\u002Fdaoism\u002Ftaoist-festivals-rituals\">道教節日與儀式\u003C\u002Fa>討論宗教曆法；一首節日詩也可能屬於宮廷、家庭、地方或紀念語境。\u003C\u002Fp>\u003Ch3>節日詩常把相聚與缺席放在一起\u003C\u002Fh3>\u003Cp>固定節期會放大社會距離：誰在朝廷、家中、旅途或貶所，誰又只存在於回憶。贈答、唱和可能屬於這一時刻，但篇題寫了節日，不足以證明所有被提及者都在同一處。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-social-exchange-gifts-farewells-replies-rhyme-matching\">詩歌社會交往導讀\u003C\u002Fa>提醒我們區分文本關係與有充分證據的聚會；日期、人物和地點都要分別求證。\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FCca7DMSVv176e0Yumtue.webp\" alt=\"冷色俯拍概念靜物：二十四枚無編號玻璃圓片環繞空白紙圓，四周放置四季植物標本\" loading=\"lazy\">\u003Cfigcaption>AI 生成的現代歲時循環教學靜物；並非歷史曆法、古籍、文物、館藏實物或真實地點與事件記錄。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>地理會改變季節的樣貌\u003C\u002Fh2>\u003Ch3>同一節氣可以遇到不同天氣\u003C\u002Fh3>\u003Cp>節氣表示共同的太陽週年位置，卻不保證各地當天擁有同樣的溫度、降雨、花期或農事。南北、沿海內陸、谷地高山都可能差異明顯。臺北故宮關於\u003Ca href=\"https:\u002F\u002Fwww.npm.edu.tw\u002FPublications-Content.aspx?l=2&p=1&q=&sno=04014011&type=\">中國歲時文化\u003C\u002Fa>的概述把四季、節慶、月令、節氣和七十二候並置；具體詩篇仍須回到具體地理。\u003C\u002Fp>\u003Ch3>遷徙會讓一個人生出現多種季候世界\u003C\u002Fh3>\u003Cp>旅行、任官與貶謫使作者面對陌生氣候和地方歲時；故鄉季節可以同眼前天氣形成對照，地名也可能承載超出親見的文學聯想。可把本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-travel-writing-youji-routes-witness-making-place\">中國遊記導讀\u003C\u002Fa>與\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Ftaoist-landscape-poetry\">道教傳統與山水詩\u003C\u002Fa>同詩篇互讀。路線、視點與文體慣例，都比“春景”之類籠統標籤更具體。\u003C\u002Fp>\u003Ch2>文學季節有規律，卻不是密碼錶\u003C\u002Fh2>\u003Ch3>詩歌時間不只有傷春悲秋\u003C\u002Fh3>\u003Cp>春生秋落固然是強大的反覆模式，暑熱、嚴寒、梅雨、雪景、農事和節日循環同樣組織詩篇。關於\u003Ca href=\"https:\u002F\u002Fccj.pku.edu.cn\u002Farticle\u002Finfo?id=277089101\">中國古典詩季節意識\u003C\u002Fa>的經典研究指出，春秋與夏冬在文學分量上存在差別。模式有助於比較，卻不能讓我們用“秋等於悲”之類詞典答案替代詩本身。\u003C\u002Fp>\u003Ch3>沿用傳統也可能讓觀察更具體\u003C\u002Fh3>\u003Cp>詩人可以因為讀者熟悉舊意象而選擇它，再改變場景、次序或說話者。因此，慣例與經驗不是非此即彼；一行詩既能回應前人，也能指向眼前天氣或當下離別。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission\">中國詩歌選本導讀\u003C\u002Fa>說明後世編選怎樣放大某些季節模式，也讓其他聲音變得不易看見。\u003C\u002Fp>\u003Ch2>歷日線索可以幫助編年，但必須受控制\u003C\u002Fh2>\u003Ch3>杜詩顯示了可能性，也顯示了危險\u003C\u002Fh3>\u003Cp>從\u003Ca href=\"https:\u002F\u002Ftoaj.stpi.niar.org.tw\u002Findex\u002Fjournal\u002Fvolume\u002Farticle\u002F4b1141f98e119929018e11abd041001e\">立春到霜降解讀杜詩\u003C\u002Fa>的研究表明，節氣確實能影響釋義與編年；它也指出宋代注家因不瞭解唐代曆法而推算失誤。合理季節並不足夠，歷史曆法、作者地點、文本異文，以及篇題或序言是否可靠，必須互相符合。\u003C\u002Fp>\u003Ch3>日期精度應當服從證據精度\u003C\u002Fh3>\u003Cp>若詩明載節日與年號，核對當時曆法後可能換算日期；若只有冷雨與落葉，最穩妥的結論也許只是“秋日背景”。還要區分作詩日期、詩中事件日期與後人編定日期。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fkey-poets-further-reading\">中國詩歌閱讀路徑\u003C\u002Fa>可幫助尋找版本與研究，避免僅憑意象強求精確公曆日。\u003C\u002Fp>\u003Ch2>閱讀歲時詩的實用方法\u003C\u002Fh2>\u003Ch3>先建立四欄證據\u003C\u002Fh3>\u003Cp>第一欄記錄明示歷日：月、日、節氣、節日、年號；第二欄記錄環境徵象：草木、鳥獸、天氣、日照；第三欄記錄社會標誌：朝儀、家祭、旅途、贈答或聚會；第四欄記錄文本見證：篇題、序、最早版本、異文和後世註釋。然後判斷四欄是否互相支援，還是來自不同傳承層次。\u003C\u002Fp>\u003Ch3>讓不確定性保持可見\u003C\u002Fh3>\u003Cp>根據證據強弱，可以說“設於春日”“同重陽有關”“可能作於旅途”或“由後世編者系年”。不要虛構準確日期、儀式、地方習俗、花期或武當專屬實踐。歲時閱讀最有價值之處，是讓曆法知識、實際環境、社會場合與文學傳統既互相關聯，又保持足夠區分，並承認詩可以創造時間，而不只是給事件蓋上日期章。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FoberMc6HT6CLgGSHpbNF.webp",1672,941,{"en":1218,"zh":1219},"Warm fictional contemporary study scene with an anonymous reader facing an early-spring landscape and a closed blank notebook on a wooden table","暖色虛構現代研習場景：一位不具名讀者面向早春景色，木桌上放著合起的空白筆記本",{"caption":1221,"creator":1222,"source_url":1223,"license_label":1224,"license_url":1225,"changes":1226},"AI 生成的虛構現代研習場景；並非真實歷史環境、武當地點、詩稿、古籍、人物或事件。","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},"Seasons in Chinese Poetry: Calendars, Festivals and Time","中國詩歌裡的季節：曆法、節日與文學時間",{"en":1234,"zh":1235},"Learn how Chinese poems use months, solar terms, festivals, weather and plants—and why seasonal clues require calendar, place and textual evidence.","瞭解中國詩歌怎樣使用月序、節氣、節日、天氣與草木，以及季節線索為何必須結合曆法、地點和文本證據。",[],{"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 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