[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"site-nav-reference-en":3,"site-nav-zh":4,"site-nav-zh-all-arts":289,"event-categories-zh":902,"site-settings":1145,"node-zh-arts\u002Fchinese-poetry-literature\u002Forigins-spirit-of-chinese-poetry":1187,"live-course-events":1214},null,{"data":5},{"header":6,"footer":264},[7,51,82,123,161,187,229,260],{"to":8,"label":9,"label_zh":10,"children":11},"\u002Fdao","TAO","道",[12,17,22,26,30,34,39,43,47],{"to":13,"label":14,"label_zh":15,"n":16},"\u002Fdao\u002Fintroduction","Begin with the Tao","道學入門",9,{"to":18,"label":19,"label_zh":20,"n":21},"\u002Fdao\u002Fyi-jing","I Ching","易經",7,{"to":23,"label":24,"label_zh":25,"n":16},"\u002Fdao\u002Fdao-de-jing","Tao Te Ching","道德經",{"to":27,"label":28,"label_zh":29,"n":21},"\u002Fdao\u002Ftaiji","Taiji","太極",{"to":31,"label":32,"label_zh":33,"n":21},"\u002Fdao\u002Fzhuang-zi","Zhuangzi","莊子",{"to":35,"label":36,"label_zh":37,"n":38},"\u002Fdao\u002Fclassics","Classical Library","道家經典文庫",1,{"to":40,"label":41,"label_zh":42},"\u002Fdao\u002Fdaoist-philosophy","Taoist Philosophy","道家哲學",{"to":44,"label":45,"label_zh":46},"\u002Fdao\u002Fwu-wei-natural-living","Wu Wei & Natural Living","無為與自然生活",{"to":48,"label":49,"label_zh":50},"\u002Fdao\u002Fdaoist-view-of-life","A Taoist View of Life","道家人生觀",{"to":52,"label":53,"label_zh":54,"children":55},"\u002Fmartial-arts","Martial Arts","武當武術",[56,61,65,70,74,78],{"to":57,"label":58,"label_zh":59,"n":60},"\u002Fmartial-arts\u002Ffoundations-internal-arts","Foundations of Internal Martial Arts","內家拳基礎",6,{"to":62,"label":63,"label_zh":64,"n":21},"\u002Fmartial-arts\u002Ftaijiquan","Taijiquan (Tai Chi)","太極拳",{"to":66,"label":67,"label_zh":68,"n":69},"\u002Fmartial-arts\u002Fbaguazhang","Baguazhang: Circle Walking, Palm Changes and Movement","八卦掌：走圈、換掌與身法變化",5,{"to":71,"label":72,"label_zh":73,"n":69},"\u002Fmartial-arts\u002Fxingyiquan","Xingyiquan: Structure, Intention and Direct Training","形意拳：結構、意念與直接訓練",{"to":75,"label":76,"label_zh":77,"n":21},"\u002Fmartial-arts\u002Fweapons","Wudang Sword and Weapons: History, Practice and Context","武當劍與兵器：歷史、練習與文化語境",{"to":79,"label":80,"label_zh":81,"n":21},"\u002Fmartial-arts\u002Ftraining-practice","Training and Practice: Building a Sustainable Wudang Routine","訓練與習練：建立可持續的武當練習",{"to":83,"label":84,"label_zh":85,"children":86},"\u002Fwellness","Wellness","養生",[87,91,95,99,103,107,111,115,119],{"to":88,"label":89,"label_zh":90,"n":21},"\u002Fwellness\u002Fqigong","Qigong","氣功",{"to":92,"label":93,"label_zh":94,"n":60},"\u002Fwellness\u002Fherbal-healing","Chinese Herbal Medicine","中藥與本草",{"to":96,"label":97,"label_zh":98,"n":60},"\u002Fwellness\u002Ftaoist-medicine","Taoist Medicine","道家醫學",{"to":100,"label":101,"label_zh":102,"n":60},"\u002Fwellness\u002Fenergy-sound-healing","Sound & Energy Practices","聲音與能量練習",{"to":104,"label":105,"label_zh":106},"\u002Fwellness\u002Fstanding-practice","Standing Practice","站樁",{"to":108,"label":109,"label_zh":110},"\u002Fwellness\u002Fwudang-internal-cultivation","Wudang Internal Cultivation","武當內修",{"to":112,"label":113,"label_zh":114},"\u002Fwellness\u002Fmoxibustion","Moxibustion","艾灸",{"to":116,"label":117,"label_zh":118},"\u002Fwellness\u002Fbigu","Bigu","辟穀",{"to":120,"label":121,"label_zh":122,"n":38},"\u002Fwellness\u002Fbaduanjin","Baduanjin (Eight Brocades)","八段錦",{"to":124,"label":125,"label_zh":126,"children":127},"\u002Farts","Literati Arts","文人雅藝",[128,133,138,143,148,153,157],{"to":129,"label":130,"label_zh":131,"n":132},"\u002Farts\u002Fchinese-poetry-literature","Chinese Poetry and Literature: Forms, Contexts and Reading Paths","中國詩詞與文學：體式、語境與閱讀路徑",49,{"to":134,"label":135,"label_zh":136,"n":137},"\u002Farts\u002Fcalligraphy","Chinese Calligraphy: Scripts, Materials and Ways of Looking","中國書法：書體、材料與觀賞入門",17,{"to":139,"label":140,"label_zh":141,"n":142},"\u002Farts\u002Ftea-ceremony","Chinese Tea Culture","中國茶文化",39,{"to":144,"label":145,"label_zh":146,"n":147},"\u002Farts\u002Fguqin","Guqin: Sound, History and Ways to Listen","古琴：認識聲音、歷史與聆聽方法",12,{"to":149,"label":150,"label_zh":151,"n":152},"\u002Farts\u002Fpainting","Chinese Painting: Materials, Formats and Ways of Looking","中國繪畫：材料、形制與觀看方法",15,{"to":154,"label":155,"label_zh":156,"n":16},"\u002Farts\u002Fincense","Chinese Incense Culture","中國香文化",{"to":158,"label":159,"label_zh":160,"n":21},"\u002Farts\u002Fflower-arrangement","Chinese Flower Arrangement: History, Materials and Ways of Looking","中國插花：歷史、花材與觀看方法",{"to":162,"label":163,"label_zh":164,"children":165},"\u002Fdaoism","Taoist Culture","道教文化",[166,170,174,178,183],{"to":167,"label":168,"label_zh":169,"n":16},"\u002Fdaoism\u002Ftaoist-deities-pantheon","Taoist Deities and the Chinese Pantheon: A Structural Guide","道教神仙與神明體系：結構與層級指南",{"to":171,"label":172,"label_zh":173,"n":21},"\u002Fdaoism\u002Ftaoist-temples-sacred-mountains","Taoist Temples and Sacred Mountains: A Guide to Places and Architecture","道教名山與宮觀：聖地、建築與制度指南",{"to":175,"label":176,"label_zh":177,"n":21},"\u002Fdaoism\u002Ftaoist-schools-lineages","Taoist Schools and Lineages: Zhengyi, Quanzhen and Historical Traditions","道教流派與傳承：正一、全真及歷史道派",{"to":179,"label":180,"label_zh":181,"n":182},"\u002Fdaoism\u002Ftaoist-festivals-rituals","Taoist Festivals and Rituals: Calendars, Offerings and Community Rites","道教節日與科儀：神誕、齋醮與歲時儀式",19,{"to":184,"label":185,"label_zh":186,"n":60},"\u002Fdaoism\u002Feight-immortals","The Eight Immortals: Origins, Symbols and Taoist Legends","八仙：人物、象徵與道教傳說",{"to":188,"label":189,"label_zh":190,"children":191},"\u002Fchinese-metaphysics","Chinese Metaphysics","易學與傳統術數",[192,196,200,204,208,213,217,221,225],{"to":193,"label":194,"label_zh":195,"n":21},"\u002Fchinese-metaphysics\u002Fyin-yang-five-elements","Yin-Yang and the Five Phases in Chinese Thought","陰陽五行：理解關係與變化",{"to":197,"label":198,"label_zh":199,"n":21},"\u002Fchinese-metaphysics\u002Fganzhi-stems-branches","Chinese Heavenly Stems and Earthly Branches (Ganzhi)","天干地支（干支）：中國曆法與術數的六十迴圈",{"to":201,"label":202,"label_zh":203,"n":21},"\u002Fchinese-metaphysics\u002Ffeng-shui","Chinese Feng Shui: Landscape, Compass Methods and Responsible Practice","中國風水：形勢、羅盤方法與負責任實踐",{"to":205,"label":206,"label_zh":207,"n":21},"\u002Fchinese-metaphysics\u002Fbazi-four-pillars","BaZi (Four Pillars of Destiny): How the Eight Characters Work","八字四柱命理：八個字如何構成命盤",{"to":209,"label":210,"label_zh":211,"n":212},"\u002Fchinese-metaphysics\u002Fzi-wei-dou-shu","Zi Wei Dou Shu (Purple Star Astrology): How the Twelve-Palace Chart Works","紫微斗數：十二宮命盤如何運作",8,{"to":214,"label":215,"label_zh":216,"n":212},"\u002Fchinese-metaphysics\u002Fdate-selection","Chinese Date Selection: How Auspicious Days Are Chosen","中國擇吉：傳統吉日如何選擇",{"to":218,"label":219,"label_zh":220,"n":21},"\u002Fchinese-metaphysics\u002Fphysiognomy","Chinese Physiognomy: Face Reading, Palm Reading and Their Limits","中國相術：面相、手相及其侷限",{"to":222,"label":223,"label_zh":224,"n":21},"\u002Fchinese-metaphysics\u002Fdivination-arts","Chinese Divination Arts: Methods, History and Responsible Use","中國占卜術：方法、歷史與負責任使用",{"to":226,"label":227,"label_zh":228,"n":21},"\u002Fchinese-metaphysics\u002Fluoshu-hetu","The Hetu, Luoshu and Nine Palaces in Chinese Cosmology","河圖、洛書與九宮：中國傳統圖式的歷史與用途",{"to":230,"label":231,"label_zh":232,"children":233},"\u002Fwudang-mountain","Experience Wudang","武當之旅",[234,238,243,248,252,256],{"to":235,"label":236,"label_zh":237,"n":21},"\u002Fwudang-mountain\u002Fintroduction","Introduction to Wudang Mountain","初識武當山",{"to":239,"label":240,"label_zh":241,"n":242},"\u002Fwudang-mountain\u002Ftemples-and-sites","Wudang Mountain Temples and Sacred Sites","武當山宮觀與勝蹟",3,{"to":244,"label":245,"label_zh":246,"n":247},"\u002Fwudang-mountain\u002Fplanning-a-visit","Planning a Visit to Wudang Mountain","武當山行前規劃指南",4,{"to":249,"label":250,"label_zh":251,"n":242},"\u002Fwudang-mountain\u002Fstudying-at-wudang","Studying Martial Arts at Wudang Mountain","在武當山學習武術",{"to":253,"label":254,"label_zh":255,"n":242},"\u002Fwudang-mountain\u002Ftemple-etiquette","Wudang Temple Etiquette: A Visitor’s Guide","武當宮觀參訪禮儀",{"to":257,"label":258,"label_zh":259,"n":69},"\u002Fwudang-mountain\u002Fpractical-reference","Wudang Mountain Practical Reference","武當山實用參考資料",{"to":261,"label":262,"label_zh":263},"\u002Fwudang-mountain\u002Feveryday-wudang","Everyday Wudang","武當日常",[265,266,267,268,269,270,271,272,273,277,281,285],{"to":8,"label":9,"label_zh":10},{"to":52,"label":53,"label_zh":54},{"to":83,"label":84,"label_zh":85},{"to":124,"label":125,"label_zh":126},{"to":162,"label":163,"label_zh":164},{"to":188,"label":189,"label_zh":190},{"to":230,"label":231,"label_zh":232},{"to":261,"label":262,"label_zh":263},{"to":274,"label":275,"label_zh":276},"\u002Fabout","About Wudang.Org","關於 Wudang.Org",{"to":278,"label":279,"label_zh":280},"\u002Fstart-here","Start Here","從這裡開始",{"to":282,"label":283,"label_zh":284},"\u002Ffind-a-practice","Find a Practice","找到適合你的修習",{"to":286,"label":287,"label_zh":288},"\u002Fteachers","Our Teachers","授課老師",{"data":290},{"all":291,"header":900,"footer":901},[292],{"to":124,"label":125,"label_zh":126,"children":293},[294,492,562,720,770,832,870],{"to":129,"label":130,"label_zh":131,"children":295},[296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,372,376,380,384,388,392,396,400,404,408,412,416,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488],{"to":297,"label":298,"label_zh":299},"\u002Farts\u002Fchinese-poetry-literature\u002Forigins-spirit-of-chinese-poetry","Origins of Chinese Poetry: Song, Text and Interpretation","中國詩歌的源流：歌唱、文本與闡釋",{"to":301,"label":302,"label_zh":303},"\u002Farts\u002Fchinese-poetry-literature\u002Fbook-of-songs-classical-foundations","The Book of Songs: Voices, Performance and Interpretation","《詩經》：聲音、禮樂與闡釋",{"to":305,"label":306,"label_zh":307},"\u002Farts\u002Fchinese-poetry-literature\u002Ftang-poetry-golden-age","Tang Poetry: Forms, Voices and a Lasting Canon","唐詩：體式、聲音與經典的形成",{"to":309,"label":310,"label_zh":311},"\u002Farts\u002Fchinese-poetry-literature\u002Ftaoist-landscape-poetry","Daoist Traditions and Landscape Poetry: Place, Reclusion and Interpretation","道家、道教與山水詩：地方、隱逸與解讀",{"to":313,"label":314,"label_zh":315},"\u002Farts\u002Fchinese-poetry-literature\u002Fpoetry-as-cultivation","Poetry as Cultivation at Wudang: Reading, Attention and Writing","武當詩文與自我涵養：閱讀、觀察與寫作",{"to":317,"label":318,"label_zh":319},"\u002Farts\u002Fchinese-poetry-literature\u002Fkey-poets-further-reading","Chinese Poetry: Poets, Editions and Reading Paths","中國詩詞閱讀：詩人、版本與入門路徑",{"to":321,"label":322,"label_zh":323},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-regulated-verse","How to Read Chinese Regulated Verse: Lines, Rhyme, Tone and Parallelism","怎樣讀中國近體詩：句式、押韻、平仄與對仗",{"to":325,"label":326,"label_zh":327},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-ci-lyrics","How to Read Chinese Ci Lyrics: Tune Patterns, Voice and Transmission","怎樣讀中國詞：詞牌、聲音與文本流傳",{"to":329,"label":330,"label_zh":331},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission","How Chinese Poetry Anthologies Shape What We Read","中國詩歌選本怎樣塑造我們的閱讀",{"to":333,"label":334,"label_zh":335},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-thread-bound-books-folding-stitching-reading","Chinese Thread-Bound Books: Folding, Stitching and the Shape of Reading","中國線裝書：摺頁、裝訂與閱讀形態",{"to":337,"label":338,"label_zh":339},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-paired-couplets-parallelism-calligraphy-place","How to Read Chinese Paired Couplets: Parallel Lines, Calligraphy and Place","怎樣讀中國對聯：對仗、書法與空間",{"to":341,"label":342,"label_zh":343},"\u002Farts\u002Fchinese-poetry-literature\u002Fpoetry-on-chinese-paintings-inscriptions-colophons","Poetry on Chinese Paintings: How to Read Inscriptions and Colophons","中國畫上的詩：怎樣讀題款與題跋",{"to":345,"label":346,"label_zh":347},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-fu-rhapsody-catalogues-courts-expansive-description","Chinese Fu (Rhapsody): Catalogues, Courts and Expansive Description","中國賦：鋪陳、宮廷與展開描寫的藝術",{"to":349,"label":350,"label_zh":351},"\u002Farts\u002Fchinese-poetry-literature\u002Fwenxin-diaolong-liu-xie-writing-reading-literary-thought","Wenxin Diaolong: How Liu Xie Thought About Writing and Reading","《文心雕龍》導讀：劉勰怎樣思考寫作與閱讀",{"to":353,"label":354,"label_zh":355},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-shihua-poetry-talks-notes-anecdotes-criticism","Shihua (Poetry Talks): How Chinese Criticism Speaks in Notes and Anecdotes","中國詩話導讀：批評怎樣寫進筆記、軼事與評語",{"to":357,"label":358,"label_zh":359},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers","Chinese Prefaces and Afterwords (Xu and Ba): How Books Frame Texts and Readers","中國序跋導讀：書籍怎樣安排文本、作者與讀者",{"to":361,"label":362,"label_zh":363},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-biji-brush-notes-notebooks-miscellanies","Chinese Biji (Brush Notes): How Fragments Become Knowledge and Literature","中國筆記導讀：零散見聞怎樣成為知識與文學",{"to":365,"label":366,"label_zh":367},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-leishu-classified-books-excerpts-knowledge","Chinese Leishu (Classified Books): How Knowledge Was Excerpted and Ordered","中國類書導讀：知識怎樣被摘錄與分類",{"to":369,"label":370,"label_zh":371},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun","Chinese Dictionaries and Rhyme Books: How Characters, Meanings and Sounds Were Ordered","中國字書與韻書導讀：字形、詞義與語音怎樣被編排",{"to":373,"label":374,"label_zh":375},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-primers-sanzijing-baijiaxing-qianziwen-literacy","Chinese Primers and Elementary Literacy: Reading the Three, Hundred and Thousand","中國傳統蒙學讀物導讀：《三字經》《百家姓》《千字文》怎樣教人識字",{"to":377,"label":378,"label_zh":379},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-texts-punctuation-reading-marks-sentence-division-modern-editions","How Chinese Texts Were Punctuated: Reading Marks, Sentence Division and Modern Editions","中國古籍怎樣斷句：句讀、圈點與現代標點",{"to":381,"label":382,"label_zh":383},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-letters-chidu-writing-address-correspondence-calligraphy","Chinese Letters (Chidu): Writing, Address and the Afterlife of Correspondence","中國尺牘導讀：書信格式、稱謂與墨跡流傳",{"to":385,"label":386,"label_zh":387},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-travel-writing-youji-routes-witness-making-place","Chinese Travel Writing (Youji): Routes, Witness and the Making of Place","中國遊記導讀：路線、見聞與地方書寫",{"to":389,"label":390,"label_zh":391},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-individual-collected-works-bieji-authors-editors-transmission","Chinese Individual Collected Works (Bieji): How an Author’s Writings Become a Book","中國別集導讀：一位作者的詩文怎樣成為一部書",{"to":393,"label":394,"label_zh":395},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-guwen-pianwen-ancient-style-parallel-prose-rhythm-argument","Guwen and Pianwen: Two Ways of Shaping Classical Chinese Prose","古文與駢文導讀：中國古典散文的兩種組織方式",{"to":397,"label":398,"label_zh":399},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-eight-legged-essay-baguwen-examination-classics-composition","The Eight-Legged Essay (Baguwen): How an Examination Form Organized Classical Thought","八股文導讀：科舉文章怎樣組織經典義理",{"to":401,"label":402,"label_zh":403},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-examination-compounds-gongyuan-cells-candidate-experience","Chinese Examination Compounds (Gongyuan): How Architecture Shaped the Candidate Experience","中國貢院導讀：考場空間怎樣塑造士子的應試體驗",{"to":405,"label":406,"label_zh":407},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-academies-shuyuan-books-teaching-ritual-landscape","Chinese Academies (Shuyuan): How Books, Teaching and Ritual Made a Scholarly Place","中國書院導讀：書籍、講學與禮儀怎樣構成學術空間",{"to":409,"label":410,"label_zh":411},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-private-libraries-cangshulou-collectors-catalogues-transmission","Chinese Private Libraries (Cangshulou): How Collectors Built Paths for Books to Survive","中國藏書樓導讀：私人收藏怎樣為典籍延續開闢路徑",{"to":413,"label":414,"label_zh":415},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bookshops-book-markets-publishers-routes-readers","Chinese Bookshops and Book Markets: How Books Became Goods, Routes and Encounters","中國書肆與書市導讀：書籍怎樣成為商品、路線與相遇",{"to":417,"label":418,"label_zh":419},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading","Illustrated Chinese Books: How Woodblock Images Shaped the Page","中國古籍插圖導讀：木刻影像怎樣塑造書頁",{"to":421,"label":422,"label_zh":423},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge","Chinese Bibliographies (Mulu): How Catalogues Classified Books and Knowledge","中國目錄學導讀：書目怎樣分類書籍與知識",{"to":425,"label":426,"label_zh":427},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions","Chinese Textual Collation (Jiaokan): How Scholars Read Variant Texts","中國校勘導讀：怎樣閱讀異文與文本傳本",{"to":429,"label":430,"label_zh":431},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-commentaries-subcommentaries-zhu-jian-shu-layered-reading","Chinese Commentaries and Subcommentaries: How Notes Became Part of the Text","中國註疏導讀：注、箋、疏怎樣層層塑造經典閱讀",{"to":433,"label":434,"label_zh":435},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-marginalia-meipi-pangpi-pijiao-reading-history","Marginalia in Chinese Books: How Readers Wrote Back","中國古籍批註導讀：讀者怎樣在書頁上留下閱讀史",{"to":437,"label":438,"label_zh":439},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-ownership-seals-cangshuyin-provenance-impressions","Book-Ownership Seals in China: Reading Provenance in Red","中國古籍藏書印導讀：怎樣從朱印追索遞藏",{"to":441,"label":442,"label_zh":443},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-paper-fibres-sizing-repairs-dating-evidence","Paper in Chinese Books: Fibres, Sizing, Repairs and the Limits of Dating","中國古籍用紙導讀：纖維、施膠、修補與斷代邊界",{"to":445,"label":446,"label_zh":447},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-page-layout-frames-columns-fishtails-centre-fold","Inside the Chinese Book Page: Frames, Columns, Fishtails and the Centre Fold","中國古籍版式導讀：版框、界行、魚尾與版心",{"to":449,"label":450,"label_zh":451},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-printers-marks-paiji-kanji-publishing-claims","Printer’s Marks in Chinese Books: Reading Paiji, Kanji and Publishing Claims","中國古籍牌記與刊記導讀：怎樣辨認刊刻、藏版與書坊資訊",{"to":453,"label":454,"label_zh":455},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-movable-type-printing-clay-wood-metal-reuse","Movable Type in Chinese Book History: Clay, Wood, Metal and Reuse","中國古籍活字印刷導讀：泥活字、木活字、金屬活字與複用",{"to":457,"label":458,"label_zh":459},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-printing-workflow-writing-carving-inking-impressions","How Chinese Woodblock Printing Worked: Writing, Carving, Inking and Impressions","中國雕版印刷工藝導讀：寫樣、上版、刻版、刷墨與印紙",{"to":461,"label":462,"label_zh":463},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-lifecycle-storage-repair-recutting-later-impressions","After the First Printing: How Chinese Woodblocks Were Stored, Repaired and Reused","初印之後：中國雕版的儲藏、遞修、重刻與後印",{"to":465,"label":466,"label_zh":467},"\u002Farts\u002Fchinese-poetry-literature\u002Fwho-paid-chinese-book-printing-patronage-profit-donors-funding","Who Paid to Print? Patronage, Profit and Collective Funding in Chinese Book History","誰出資刻書？中國書籍史中的官刻、私資、坊刻與募資",{"to":469,"label":470,"label_zh":471},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-readers-got-books-imperial-china-buying-borrowing-gifts-copying","How Readers Got Books in Imperial China: Buying, Borrowing, Gifting and Copying","古代中國讀者怎樣獲得書籍？購書、借閱、饋贈與抄寫",{"to":473,"label":474,"label_zh":475},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-classical-chinese-poetry-was-heard-recitation-chanting-historical-sound","How Classical Chinese Poetry Was Heard: Recitation, Chanting and Historical Sound","古典詩歌怎樣被聽見？誦讀、吟詠與歷史聲音",{"to":477,"label":478,"label_zh":479},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-social-exchange-gifts-farewells-replies-rhyme-matching","Poetry as Social Exchange: Gifts, Farewells, Replies and Rhyme-Matching in China","詩歌作為交往：贈答、送別、唱和與次韻",{"to":481,"label":482,"label_zh":483},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-gatherings-themes-rhyme-lots-linked-composition","How Chinese Poetry Gatherings Worked: Themes, Rhyme Lots and Linked Composition","中國古典詩歌雅集怎樣運作：命題、分韻與聯句",{"to":485,"label":486,"label_zh":487},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-revision-drafts-variants-editorial-layers","How Chinese Poems Changed: Drafts, Variants and Editorial Layers","中國古典詩歌怎樣改定與流傳：草稿、異文與編輯層次",{"to":489,"label":490,"label_zh":491},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-attribution-anonymity-disputed-authorship","Who Wrote This Poem? Attribution, Anonymity and Disputed Authorship in Chinese Poetry","這首詩是誰寫的？中國古典詩歌的署名、佚名與作者爭議",{"to":134,"label":135,"label_zh":136,"children":493},[494,498,502,506,510,514,518,522,526,530,534,538,542,546,550,554,558],{"to":495,"label":496,"label_zh":497},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origins and History of Chinese Calligraphy","中國書法的源流與歷史",{"to":499,"label":500,"label_zh":501},"\u002Farts\u002Fcalligraphy\u002Fthe-five-script-styles","The Five Script Styles in Chinese Calligraphy","中國書法的五種主要書體",{"to":503,"label":504,"label_zh":505},"\u002Farts\u002Fcalligraphy\u002Fcalligraphy-as-taoist-cultivation","Calligraphy and Taoist Cultivation: Text, Attention and Practice","書法與道家修養：讀懂文字，專注落筆",{"to":507,"label":508,"label_zh":509},"\u002Farts\u002Fcalligraphy\u002Ffour-treasures-of-the-study","The Four Treasures of the Study: Choosing and Using Calligraphy Materials","文房四寶：認識、選擇與使用筆墨紙硯",{"to":511,"label":512,"label_zh":513},"\u002Farts\u002Fcalligraphy\u002Fbrush-technique-living-line","Chinese Calligraphy Brushwork: Reading and Practising the Living Line","書法筆法：觀察與練習有生氣的線條",{"to":515,"label":516,"label_zh":517},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Chinese Calligraphy Masters and Reading Paths","中國書法名家與閱讀路徑",{"to":519,"label":520,"label_zh":521},"\u002Farts\u002Fcalligraphy\u002Fchinese-seals-and-seal-carving","Chinese Seals and Seal Carving: Script, Surface and Impression","中國印章與篆刻：文字、印面與鈐印",{"to":523,"label":524,"label_zh":525},"\u002Farts\u002Fcalligraphy\u002Fchinese-ink-rubbings","Chinese Ink Rubbings: Stone, Paper and the Life of Calligraphy","中國傳拓：石刻、紙墨與書法的流傳",{"to":527,"label":528,"label_zh":529},"\u002Farts\u002Fcalligraphy\u002Fchinese-inkstones","Chinese Inkstones: Stone, Carving and the Scholar’s Desk","中國硯臺：石材、雕刻與文房生活",{"to":531,"label":532,"label_zh":533},"\u002Farts\u002Fcalligraphy\u002Fchinese-inksticks","Chinese Inksticks: Soot, Moulds and the Scholar’s Desk","中國墨錠：煙料、墨模與文房生活",{"to":535,"label":536,"label_zh":537},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-paper","Chinese Calligraphy Paper: Xuan, Sizing and the Life of a Sheet","中國書畫紙：宣紙、施膠與紙張的一生",{"to":539,"label":540,"label_zh":541},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-brushes","Chinese Calligraphy Brushes: Hair, Handle and the Working Point","中國毛筆：毫料、筆管與筆鋒",{"to":543,"label":544,"label_zh":545},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-rests","Chinese Brush Rests: Mountains, Materials and the Scholar’s Desk","中國筆架：山形、材質與文人書案",{"to":547,"label":548,"label_zh":549},"\u002Farts\u002Fcalligraphy\u002Fchinese-water-droppers-scholars-desk","Chinese Water Droppers: Flow, Form and the Scholar’s Desk","中國水滴：控水、造型與文人書案",{"to":551,"label":552,"label_zh":553},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-pots-materials-scholars-desk","Chinese Brush Pots: Function, Material and the Scholar’s Desk","中國筆筒：收納、材質與文人書案",{"to":555,"label":556,"label_zh":557},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-washers-water-form-scholars-desk","Chinese Brush Washers: Water, Form and the Scholar’s Desk","中國筆洗：洗筆、造型與文人書案",{"to":559,"label":560,"label_zh":561},"\u002Farts\u002Fcalligraphy\u002Fchinese-paperweights-form-material-scholars-desk","Chinese Paperweights: Form, Material and the Scholar’s Desk","中國鎮紙：形制、材質與文人書案",{"to":139,"label":140,"label_zh":141,"children":563},[564,568,572,576,580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712,716],{"to":565,"label":566,"label_zh":567},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Tea, Meditation and Taoist Practice","茶、靜坐與道家修習",{"to":569,"label":570,"label_zh":571},"\u002Farts\u002Ftea-ceremony\u002Forigins-history-of-tea-culture","Origins and History of Chinese Tea Culture","中國茶文化的源流與歷史",{"to":573,"label":574,"label_zh":575},"\u002Farts\u002Ftea-ceremony\u002Fthe-way-of-tea","The Way of Tea: Attention, Care and Hospitality","茶道：在一杯茶中練習用心與待客",{"to":577,"label":578,"label_zh":579},"\u002Farts\u002Ftea-ceremony\u002Ftypes-of-tea-and-character","Six Chinese Tea Families: Processing and Taste","六大茶類：從製法到品飲",{"to":581,"label":582,"label_zh":583},"\u002Farts\u002Ftea-ceremony\u002Futensils-and-gongfu-method","Gongfu Tea: Utensils and a Flexible Method","工夫茶：茶具與靈活沖泡法",{"to":585,"label":586,"label_zh":587},"\u002Farts\u002Ftea-ceremony\u002Ffurther-reading-and-practice","Learning Chinese Tea: Reading and Practice","學茶入門：閱讀與品飲練習",{"to":589,"label":590,"label_zh":591},"\u002Farts\u002Ftea-ceremony\u002Fwater-for-chinese-tea","Water for Chinese Tea: Springs, Minerals and a Practical Tasting Method","中國茶用水：山泉、礦物與實用對比方法",{"to":593,"label":594,"label_zh":595},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teaware-clay-glaze-form","Chinese Tea Ware: Clay, Porcelain, Glaze and the Uses of Form","中國茶器：胎土、瓷釉、造型與使用",{"to":597,"label":598,"label_zh":599},"\u002Farts\u002Ftea-ceremony\u002Fchinese-tea-caddies","Chinese Tea Caddies: Storage, Materials and the Traveling Leaf","中國茶葉罐：貯藏、材質與流動的茶葉",{"to":601,"label":602,"label_zh":603},"\u002Farts\u002Ftea-ceremony\u002Fsong-whisked-tea-powder-bowls-foam","Whisked Tea in Song China: Powder, Bowls and Foam","宋代點茶：茶末、茶盞與湯花",{"to":605,"label":606,"label_zh":607},"\u002Farts\u002Ftea-ceremony\u002Fyixing-teapots-clay-form-makers-marks","Yixing Teapots: Clay, Form and Reading the Maker’s Mark","宜興紫砂壺：泥料、器形與款識",{"to":609,"label":610,"label_zh":611},"\u002Farts\u002Ftea-ceremony\u002Fcompressed-tea-cakes-bricks-trade-storage-object-reading","Compressed Tea in China: Cakes, Bricks and How to Read Them","中國緊壓茶：茶餅、茶磚與辨讀方法",{"to":613,"label":614,"label_zh":615},"\u002Farts\u002Ftea-ceremony\u002Ftea-horse-trade-networks-routes-markets-cultural-exchange","Tea–Horse Trade Networks: Routes, Markets and Cultural Exchange","茶馬貿易網路：路線、市場與文化交流",{"to":617,"label":618,"label_zh":619},"\u002Farts\u002Ftea-ceremony\u002Ftea-landscapes-china-gardens-forests-terraces-living-knowledge","Tea Landscapes in China: Gardens, Forests, Terraces and Living Knowledge","中國茶景觀：茶園、古茶林、梯田與活態知識",{"to":621,"label":622,"label_zh":623},"\u002Farts\u002Ftea-ceremony\u002Fpicking-tea-china-seasons-bud-leaf-standards-skilled-labour","Picking Tea in China: Seasons, Bud-and-Leaf Standards and Skilled Labour","中國採茶：季節、芽葉標準與勞作技藝",{"to":625,"label":626,"label_zh":627},"\u002Farts\u002Ftea-ceremony\u002Fwithering-tea-leaves-water-loss-time-first-transformation","Withering Tea Leaves: Water Loss, Time and the First Transformation","茶葉萎凋：失水、時間與採後初變",{"to":629,"label":630,"label_zh":631},"\u002Farts\u002Ftea-ceremony\u002Ffixing-tea-leaves-shaqing-heat-enzymes-turning-point","Fixing Tea Leaves (Shaqing): Heat, Enzymes and a Turning Point in Chinese Tea","茶葉殺青：熱、酶活性與中國製茶的轉折點",{"to":633,"label":634,"label_zh":635},"\u002Farts\u002Ftea-ceremony\u002Frolling-tea-leaves-rounian-pressure-shape-cell-disruption","Rolling Tea Leaves (Rounian): Pressure, Shape and Controlled Cell Disruption","茶葉揉捻：壓力、形態與受控細胞破損",{"to":637,"label":638,"label_zh":639},"\u002Farts\u002Ftea-ceremony\u002Fdrying-tea-leaves-moisture-heat-stability-finished-tea","Drying Tea Leaves: Moisture, Heat and the Stability of Finished Tea","茶葉乾燥：水分、熱量與成茶穩定",{"to":641,"label":642,"label_zh":643},"\u002Farts\u002Ftea-ceremony\u002Fsorting-grading-tea-leaf-size-shape-grade-meaning","Sorting and Grading Tea: Leaf Size, Shape and What a Grade Really Means","茶葉篩分與分級：葉片大小、形態與等級的真正含義",{"to":645,"label":646,"label_zh":647},"\u002Farts\u002Ftea-ceremony\u002Ftea-blending-batch-construction-consistency-style-transparency","Tea Blending and Batch Construction: Consistency, Style and Transparent Labels","茶葉拼配與批次構建：穩定、風格與透明標示",{"to":649,"label":650,"label_zh":651},"\u002Farts\u002Ftea-ceremony\u002Ftea-oxidation-post-fermentation-enzymes-microbes-terms","Oxidation and Post-Fermentation in Tea: Enzymes, Microbes and Misleading Labels","茶葉氧化與後發酵：酶、微生物與容易混淆的標籤",{"to":653,"label":654,"label_zh":655},"\u002Farts\u002Ftea-ceremony\u002Fyellow-tea-menhuang-moist-heat-time-tea-family","Yellow Tea and Menhuang: Moist Heat, Time and the Making of a Tea Family","黃茶與悶黃：溼熱、時間與一類茶的形成",{"to":657,"label":658,"label_zh":659},"\u002Farts\u002Ftea-ceremony\u002Frefiring-roasting-tea-later-heat-aroma-finished-leaf","Re-Firing and Roasting Tea: Later Heat, Aroma and the Difference from Drying","茶葉復火與焙火：後段加熱、香氣及其與乾燥的區別",{"to":661,"label":662,"label_zh":663},"\u002Farts\u002Ftea-ceremony\u002Fjasmine-tea-scenting-flowers-repeated-rounds-aroma-transfer","Jasmine Tea and Scenting: Flowers, Repeated Rounds and How Aroma Enters Tea","茉莉花茶與窨制：鮮花、多次窨香與茶葉如何吸收香氣",{"to":665,"label":666,"label_zh":667},"\u002Farts\u002Ftea-ceremony\u002Ftea-sensory-evaluation-appearance-aroma-taste-score-limits","Tea Sensory Evaluation: Appearance, Aroma, Taste and the Limits of a Score","茶葉感官審評：外形、香氣、滋味與分數的邊界",{"to":669,"label":670,"label_zh":671},"\u002Farts\u002Ftea-ceremony\u002Fdoucha-song-tea-contests-whisked-tea-jian-bowls-modern-judging","Doucha: Tea Contests in Song China and the Limits of Modern Re-Creation","鬥茶：宋代茶事競賽與現代重現的邊界",{"to":673,"label":674,"label_zh":675},"\u002Farts\u002Ftea-ceremony\u002Fbeiyuan-tribute-tea-song-court-labour-imperial-label","Beiyuan Tribute Tea: Song Court Taste, Skilled Labour and the Limits of ‘Imperial Tea’","北苑貢茶：宋代宮廷品味、製茶勞作與“御茶”標籤的邊界",{"to":677,"label":678,"label_zh":679},"\u002Farts\u002Ftea-ceremony\u002Freading-chinese-tea-classics-authorship-editions-recipe-limits","Reading Chinese Tea Classics: Authorship, Editions and the Limits of a ‘Recipe’","如何閱讀中國茶書：作者、版本與“配方”式解讀的邊界",{"to":681,"label":682,"label_zh":683},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-poetry-social-worlds-metaphor-historical-evidence","Tea in Chinese Poetry: Social Worlds, Metaphor and the Limits of Literary Evidence","中國詩歌中的茶：社會交往、詩意表達與文學證據的邊界",{"to":685,"label":686,"label_zh":687},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teahouses-commerce-conversation-performance-urban-publics","Chinese Teahouses: Commerce, Conversation, Performance and Changing Urban Publics","中國茶館：商業、交往、表演與變動中的城市公共生活",{"to":689,"label":690,"label_zh":691},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-painting-objects-social-worlds-visual-evidence","Tea in Chinese Painting: Objects, Social Worlds and the Limits of Visual Evidence","中國繪畫中的茶：器物、社會空間與視覺證據的邊界",{"to":693,"label":694,"label_zh":695},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-dream-of-the-red-chamber-hospitality-rank-labour-fiction","Tea in Dream of the Red Chamber: Hospitality, Rank, Labour and Fiction","《紅樓夢》中的茶：待客、等級、勞動與小說敘事",{"to":697,"label":698,"label_zh":699},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-travel-writing-roads-hospitality-regional-evidence","Tea in Chinese Travel Writing: Roads, Hospitality and the Limits of an Itinerary","中國遊記中的茶：道路、待客與行程證據的邊界",{"to":701,"label":702,"label_zh":703},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-letters-gifts-visits-friendship-private-writing","Tea in Chinese Letters: Gifts, Visits, Friendship and the Limits of ‘Private’ Writing","中國書信中的茶：饋贈、訪友、人情與“私語”證據的邊界",{"to":705,"label":706,"label_zh":707},"\u002Farts\u002Ftea-ceremony\u002Ftea-tax-monopoly-imperial-china-fiscal-records-daily-life","Tea, Tax and Monopoly in Imperial China: Reading Fiscal Records Without Mistaking Revenue for Daily Life","中國曆代茶稅與專賣：財政記錄能告訴我們什麼，又不能告訴我們什麼",{"to":709,"label":710,"label_zh":711},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-local-gazetteers-place-production-local-knowledge","Tea in Chinese Local Gazetteers: Place, Production and the Limits of Local Knowledge","中國地方誌中的茶：產地、生產與地方知識的邊界",{"to":713,"label":714,"label_zh":715},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-materia-medica-names-preparations-medical-claims","Tea in Chinese Materia Medica: Names, Preparations and the Limits of Medical Claims","中國本草中的茶：名稱、製法與醫藥記載的邊界",{"to":717,"label":718,"label_zh":719},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-buddhist-monastic-rules-ceremony-office-origin-stories","Tea in Chinese Buddhist Monastic Rules: Ceremony, Office and the Limits of Origin Stories","中國佛教清規中的茶：禮儀、職事與起源故事的邊界",{"to":144,"label":145,"label_zh":146,"children":721},[722,726,730,734,738,742,746,750,754,758,762,766],{"to":723,"label":724,"label_zh":725},"\u002Farts\u002Fguqin\u002Forigins-history-of-the-guqin","A History of the Guqin: Objects, Texts and Living Music","古琴的歷史：實物、文獻與傳習",{"to":727,"label":728,"label_zh":729},"\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin","How the Guqin Works: Strings, Body and Sound","古琴如何發聲：琴絃、琴身與結構",{"to":731,"label":732,"label_zh":733},"\u002Farts\u002Fguqin\u002Fplaying-technique-and-notation","Playing the Guqin: Gesture, Notation and Interpretation","古琴怎樣彈、怎樣讀譜：指法、減字譜與詮釋",{"to":735,"label":736,"label_zh":737},"\u002Farts\u002Fguqin\u002Ffamous-melodies-and-stories","Guqin Melodies: Stories, Versions and Ways to Listen","聽懂古琴名曲：故事、版本與聆聽線索",{"to":739,"label":740,"label_zh":741},"\u002Farts\u002Fguqin\u002Fguqin-as-taoist-cultivation","Guqin and Daoist Cultivation: Listening, Practice and Limits","古琴與道家修養：聆聽、練習與邊界",{"to":743,"label":744,"label_zh":745},"\u002Farts\u002Fguqin\u002Ffurther-listening-and-study","Learning the Guqin: Listening, Sources and Finding a Teacher","怎樣學古琴：聆聽、資料與擇師",{"to":747,"label":748,"label_zh":749},"\u002Farts\u002Fguqin\u002Fguqin-tables-playing-spaces","Guqin Tables and Playing Spaces: Support, Posture and Listening","古琴桌與彈琴空間：承托、坐姿與聆聽",{"to":751,"label":752,"label_zh":753},"\u002Farts\u002Fguqin\u002Fhow-to-read-guqin-handbook-tablature-editions-dapu","How to Read a Guqin Handbook: Tablature, Editions and Dapu","如何讀古琴譜：減字譜、版本與打譜",{"to":755,"label":756,"label_zh":757},"\u002Farts\u002Fguqin\u002Freading-guqin-lacquer-layers-crack-patterns-repair","Reading Guqin Lacquer: Layers, Crack Patterns and Repair","讀懂古琴漆面：漆層、斷紋與修繕",{"to":759,"label":760,"label_zh":761},"\u002Farts\u002Fguqin\u002Freading-guqin-inscriptions-seals-names-dates-provenance","Reading Guqin Inscriptions and Seals: Names, Dates and Provenance","讀懂古琴銘款與印章：琴名、年代與流傳",{"to":763,"label":764,"label_zh":765},"\u002Farts\u002Fguqin\u002Fguqin-forms-zhongni-banana-leaf-shapes","Guqin Forms: Reading Zhongni, Banana-Leaf and Other Shapes","古琴式樣：讀懂仲尼式、蕉葉式與其他琴式",{"to":767,"label":768,"label_zh":769},"\u002Farts\u002Fguqin\u002Fguqin-strings-silk-modern-composites-playing","Guqin Strings: Silk, Modern Composites and How Material Changes Playing","古琴琴絃：絲絃、現代複合弦與材質如何改變演奏",{"to":149,"label":150,"label_zh":151,"children":771},[772,776,780,784,788,792,796,800,804,808,812,816,820,824,828],{"to":773,"label":774,"label_zh":775},"\u002Farts\u002Fpainting\u002Forigins-history-of-chinese-painting","Origins and History of Chinese Painting: Objects, Courts and Communities","中國繪畫的源流與歷史：作品、宮廷與社會",{"to":777,"label":778,"label_zh":779},"\u002Farts\u002Fpainting\u002Fart-of-ink-and-brush","Ink and Brush in Chinese Painting: Materials, Water and Marks","中國畫的筆墨：材料、水分與筆痕",{"to":781,"label":782,"label_zh":783},"\u002Farts\u002Fpainting\u002Flandscape-painting-shanshui","Shanshui: How to Read Chinese Landscape Painting","山水畫：怎樣讀懂中國山水",{"to":785,"label":786,"label_zh":787},"\u002Farts\u002Fpainting\u002Fbirds-flowers-four-gentlemen","Birds, Flowers and the Four Gentlemen in Chinese Painting","中國畫中的花鳥與四君子",{"to":789,"label":790,"label_zh":791},"\u002Farts\u002Fpainting\u002Fpainting-as-taoist-cultivation","Painting and Taoist Cultivation: Images, Ideas and Practice","繪畫與道家修養：影像、觀念與實踐",{"to":793,"label":794,"label_zh":795},"\u002Farts\u002Fpainting\u002Fgreat-masters-further-study","Chinese Painting Masters: A Guided Path","中國畫名家與進階研習",{"to":797,"label":798,"label_zh":799},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-handscroll","How to Read a Chinese Handscroll: Sequence, Colophons and Seals","怎樣觀看中國手卷：展開順序、題跋與印章",{"to":801,"label":802,"label_zh":803},"\u002Farts\u002Fpainting\u002Fchinese-fan-painting","Chinese Fan Painting: Shape, Brushwork and the Art of the Small Format","中國扇面書畫：形制、筆墨與方寸之美",{"to":805,"label":806,"label_zh":807},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-painting-album","How to Read a Chinese Painting Album: Leaves, Sequence and Intimate Viewing","如何閱讀中國畫冊頁：開頁、次序與案頭觀看",{"to":809,"label":810,"label_zh":811},"\u002Farts\u002Fpainting\u002Fchinese-scholars-rocks","Chinese Scholars’ Rocks: Stone, Display and Imagined Landscapes","中國文人賞石：石質、陳設與想像山水",{"to":813,"label":814,"label_zh":815},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-hanging-scroll","How to Read a Chinese Hanging Scroll: Vertical Space, Mounting and Display","如何閱讀中國立軸：縱向空間、裝裱與陳設",{"to":817,"label":818,"label_zh":819},"\u002Farts\u002Fpainting\u002Fchinese-screens-space-painting","Chinese Screens: Space, Painting and the Art of the Fold","中國屏風：空間、影像與開合之藝",{"to":821,"label":822,"label_zh":823},"\u002Farts\u002Fpainting\u002Fmounting-chinese-painting","Mounting Chinese Painting: Silk Borders, Backing Papers and the Life of a Scroll","中國畫裝裱：綾邊、托紙與卷軸的生命",{"to":825,"label":826,"label_zh":827},"\u002Farts\u002Fpainting\u002Fchinese-portrait-painting-likeness-role-ancestral-memory","Chinese Portrait Painting: Likeness, Role and Ancestral Memory","中國肖像畫：形神、身份與祖先記憶",{"to":829,"label":830,"label_zh":831},"\u002Farts\u002Fpainting\u002Fthree-distances-chinese-landscape-painting","The Three Distances in Chinese Landscape Painting: High, Deep and Level Space","中國山水畫的“三遠”：高遠、深遠與平遠",{"to":154,"label":155,"label_zh":156,"children":833},[834,838,842,846,850,854,858,862,866],{"to":835,"label":836,"label_zh":837},"\u002Farts\u002Fincense\u002Forigins-history-of-incense-culture","Origins and History of Chinese Incense Culture","中國香文化的源流與歷史",{"to":839,"label":840,"label_zh":841},"\u002Farts\u002Fincense\u002Faromatic-materials-fragrant-woods","Aromatic Materials: Woods, Resins and Responsible Sourcing","香材指南：香木、樹脂與負責任的來源",{"to":843,"label":844,"label_zh":845},"\u002Farts\u002Fincense\u002Fforms-and-art-of-appreciation","Incense Forms and the Art of Appreciation","香的形態與品香方法",{"to":847,"label":848,"label_zh":849},"\u002Farts\u002Fincense\u002Fincense-in-ritual-and-temple-life","Incense in Daoist Ritual and Temple Life","香在道教科儀與宮觀生活中",{"to":851,"label":852,"label_zh":853},"\u002Farts\u002Fincense\u002Fincense-meditation-taoist-practice","Incense, Meditation and Taoist Practice","香、靜坐與道家修習",{"to":855,"label":856,"label_zh":857},"\u002Farts\u002Fincense\u002Ffurther-reading-and-practice","Learning Chinese Incense: Reading and Practice","學習中國香文化：閱讀與實踐",{"to":859,"label":860,"label_zh":861},"\u002Farts\u002Fincense\u002Fchinese-incense-burners","Chinese Incense Burners: Bronze, Ceramic, Form and Context","中國香爐：青銅、陶瓷、形制與使用語境",{"to":863,"label":864,"label_zh":865},"\u002Farts\u002Fincense\u002Fchinese-incense-seals-fragrant-time","Chinese Incense Seals: Ash, Patterns and Fragrant Time","中國香篆：香灰、篆紋與芬芳計時",{"to":867,"label":868,"label_zh":869},"\u002Farts\u002Fincense\u002Fchinese-incense-sets-burner-box-vase-tools","Chinese Incense Sets: Burner, Box, Vase and Tools","中國香具三式：爐、盒、瓶與匙箸",{"to":158,"label":159,"label_zh":160,"children":871},[872,876,880,884,888,892,896],{"to":873,"label":874,"label_zh":875},"\u002Farts\u002Fflower-arrangement\u002Forigins-history-of-floral-art","A History of Chinese Flower Arrangement: Vessels, Pictures and Voices","中國插花史：器物、影像與文字中的花事",{"to":877,"label":878,"label_zh":879},"\u002Farts\u002Fflower-arrangement\u002Fprinciples-of-flower-arrangement","Chinese Flower Arrangement: Line, Balance and Ways of Looking","中國插花構圖：線條、平衡與觀看方法",{"to":881,"label":882,"label_zh":883},"\u002Farts\u002Fflower-arrangement\u002Fvessels-tools-and-composition","Choosing Flower Vessels and Tools: Form, Support and Care","選擇花器與工具：形制、支撐和養護",{"to":885,"label":886,"label_zh":887},"\u002Farts\u002Fflower-arrangement\u002Fseasonal-flowers-and-symbolism","Seasonal Flowers and Symbolism: How to Read Context","時令花材與象徵：怎樣結合語境來讀",{"to":889,"label":890,"label_zh":891},"\u002Farts\u002Fflower-arrangement\u002Fflower-arrangement-as-cultivation","Flower Arrangement as Cultivation: Attention, Change and Limits","插花與修養：專注、變化與界限",{"to":893,"label":894,"label_zh":895},"\u002Farts\u002Fflower-arrangement\u002Ffurther-reading-and-practice","Further Reading and Practice: Sources, Museums and a First Month","延伸閱讀與練習：史料、博物館與第一個月",{"to":897,"label":898,"label_zh":899},"\u002Farts\u002Fflower-arrangement\u002Fchinese-flower-baskets-weaving-painting-vessels","Chinese Flower Baskets: Weaving, Painting and the Vessel","中國花籃：編織、繪畫與器物",[],[],{"data":903},[904,940,963,982,1003,1022,1042,1060,1081,1104,1126],{"id":38,"uuid":905,"slug":906,"available_locales":907,"name":911,"description":914,"body":916,"path":919,"images":920,"image_urls":925,"hero_image":3,"hero_image_url":3,"seo_title":930,"seo_description":933,"sort_order":935,"is_active":936,"status":937,"created_at":938,"updated_at":939},"f1a30881-20c6-407b-b546-669e839a178a","feng-shui-learning",[908,909,910],"en","zh","fr",{"en":912,"zh":913},"Feng Shui Learning","風水課程",{"en":915,"zh":3},"Study feng shui as a historical Chinese tradition of interpreting orientation, form and environment—with clear limits on predictive claims.",{"en":917,"zh":918},"\u003Ch2>\u003Cem>Feng shui 風水 developed through multiple schools, texts and professional traditions. It brings together observations of landform, orientation, water, buildings and correlative cosmology. It should not be reduced to decorative rules, nor presented as a scientifically proven way to guarantee health, wealth or relationships.\u003C\u002Fem>\u003C\u002Fh2>\u003Cp>\u003Cem>Classes introduce core vocabulary, the distinction between major approaches and the cultural contexts in which feng shui has been practised. Contemporary applications are discussed critically. Students remain responsible for property, financial and personal decisions and should seek qualified professional advice where those decisions carry material consequences.\u003C\u002Fem>\u003C\u002Fp>","\u003Cp>風水形成於不同的流派、典籍與專業傳統，綜合觀察地形、方位、水勢、建築以及陰陽五行等關聯性宇宙觀。它不應被簡化為裝飾規則，也不能被宣傳為保證健康、財富或關係結果的科學方法。\u003C\u002Fp>\u003Cp>課程介紹基本術語、主要方法的差別，以及風水在歷史社會中的實踐語境，並以批判態度討論當代應用。涉及房產、財務或其他重大決定時，學員仍應根據事實判斷，並諮詢具備資質的相關專業人士。\u003C\u002Fp>","\u002Fevents\u002Ffeng-shui-learning",[921,922,923,924],"wudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","wudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","wudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","wudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",[926,927,928,929],"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",{"en":931,"zh":932},"Feng Shui Classes and Courses","風水課程：方位、形勢與空間觀念入門",{"en":915,"zh":934},"從歷史、環境與文化語境學習風水，理解方位、形勢與空間觀念，同時明確傳統解釋與科學證據的界限。",0,true,"active","2026-07-13T05:17:57.000000Z","2026-09-25T03:51:12.000000Z",{"id":60,"uuid":941,"slug":942,"available_locales":943,"name":944,"description":947,"body":950,"path":953,"images":954,"image_urls":955,"hero_image":3,"hero_image_url":3,"seo_title":956,"seo_description":959,"sort_order":935,"is_active":936,"status":937,"created_at":962,"updated_at":939},"c85bf6cc-b84e-4c36-bbd7-9e92b53bbe50","internal-arts-wellness",[908,909,910],{"en":945,"zh":946},"Internal Arts & Wellness","內家功法與養生",{"en":948,"zh":949},"Classes, workshops and retreats in Baduanjin, Taijiquan, qigong and traditional practices for movement, breathing and mindful cultivation.","彙集八段錦、太極拳、氣功及傳統身心修習的課程、工作坊與靜修活動。",{"en":951,"zh":952},"\u003Cp>Explore small-group classes, workshops and retreats introducing Wudang internal arts and traditional wellness practices. Programmes may include Baduanjin, Taijiquan, qigong, standing practice, breathing and their cultural foundations.\u003C\u002Fp>\u003Cp>Each listing provides its teacher, schedule, experience level and registration arrangements.\u003C\u002Fp>","\u003Cp>本類別彙集武當內家功法與傳統養生修習的小班課程、工作坊及靜修活動，內容可涵蓋八段錦、太極拳、氣功、站樁、呼吸練習及相關文化基礎。\u003C\u002Fp>\u003Cp>每項活動都會註明導師、日期、適合程度與報名方式，方便參加者選擇合適的學習體驗。\u003C\u002Fp>","\u002Fevents\u002Finternal-arts-wellness",[],[],{"en":957,"zh":958},"Internal Arts & Wellness Events","內家功法與養生活動",{"en":960,"zh":961},"Explore Baduanjin, Taijiquan, qigong and traditional wellness classes, workshops and retreats listed by Wudang.Org.","探索八段錦、太極拳、氣功與傳統養生課程、工作坊及靜修活動。","2026-08-16T19:23:45.000000Z",{"id":964,"uuid":965,"slug":966,"available_locales":967,"name":968,"description":971,"body":972,"path":973,"images":974,"image_urls":975,"hero_image":3,"hero_image_url":3,"seo_title":976,"seo_description":978,"sort_order":935,"is_active":936,"status":937,"created_at":981,"updated_at":939},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[908,909,910],{"en":969,"zh":970},"Face Reading Learning","面相課程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":977},"Chinese Face Reading Classes and Workshops",{"en":979,"zh":980},"Learn Chinese face reading (面相) as a cultural tradition: its classical framework, history and uses, taught with clear limits on predictive claims.","把面相作為中國傳統文化來學習：認識其經典框架、歷史與用法，並清楚說明傳統詮釋的邊界。","2026-08-30T17:01:43.000000Z",{"id":983,"uuid":984,"slug":985,"available_locales":986,"name":987,"description":990,"body":992,"path":995,"images":996,"image_urls":997,"hero_image":3,"hero_image_url":3,"seo_title":998,"seo_description":1001,"sort_order":38,"is_active":936,"status":937,"created_at":938,"updated_at":939},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[908,909,910],{"en":988,"zh":989},"Zi Wei Dou Shu Learning","紫微斗數課程",{"en":991,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":993,"zh":994},"\u003Cp>Zi Wei Dou Shu 紫微鬥數 organises birth information through palaces, stars and patterned relationships. The system has a substantial technical vocabulary and several interpretive traditions, but its predictive claims are not established by modern scientific evidence.\u003C\u002Fp>\u003Cp>Courses explain how charts are structured, how symbols are read and how historical and contemporary practitioners differ. The aim is cultural literacy and disciplined reflection—not certainty about the future. Readings do not replace medical, legal, financial, employment or psychological expertise.\u003C\u002Fp>","\u003Cp>紫微斗數依據出生資訊，以宮位、星曜和彼此關係組織命盤。它具有複雜的術語與多種解釋傳統，但其預測主張並未得到現代科學證據的確立。\u003C\u002Fp>\u003Cp>課程說明命盤結構、符號閱讀方法，以及歷史與當代實踐者之間的差異。學習目的在於文化理解與有紀律的自我反思，而不是獲得關於未來的確定答案。相關解讀不能代替醫療、法律、財務、就業或心理專業意見。\u003C\u002Fp>","\u002Fevents\u002Fzi-wei-dou-shu-learning",[],[],{"en":999,"zh":1000},"Zi Wei Dou Shu (Purple Star Astrology) Classes","紫微斗數課程：命盤、宮位與星曜入門",{"en":991,"zh":1002},"把紫微斗數作為中國傳統詮釋體系來學習，認識命盤、宮位與星曜，不把它包裝成科學預測。",{"id":247,"uuid":1004,"slug":1005,"available_locales":1006,"name":1007,"description":1010,"body":1011,"path":1012,"images":1013,"image_urls":1014,"hero_image":3,"hero_image_url":3,"seo_title":1015,"seo_description":1018,"sort_order":38,"is_active":936,"status":937,"created_at":1021,"updated_at":939},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[908,909,910],{"en":1008,"zh":1009},"Tea Arts","茶藝",[],[],"\u002Fevents\u002Ftea-arts",[],[],{"en":1016,"zh":1017},"Chinese Tea Art Classes and Workshops","茶藝課程與工作坊",{"en":1019,"zh":1020},"Chinese tea art (茶藝) classes and workshops: tea types, brewing methods, tea-table etiquette and the quiet attention of sharing tea.","茶藝課程與工作坊：認識茶類、泡茶方法與茶席禮儀，在一席茶中體會從容與專注。","2026-08-16T17:13:57.000000Z",{"id":242,"uuid":1023,"slug":1024,"available_locales":1025,"name":1026,"description":1029,"body":1031,"path":1034,"images":1035,"image_urls":1036,"hero_image":3,"hero_image_url":3,"seo_title":1037,"seo_description":1040,"sort_order":983,"is_active":936,"status":937,"created_at":938,"updated_at":939},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[908,909,910],{"en":1027,"zh":1028},"Ba Zi Learning","八字課程",{"en":1030,"zh":3},"Study the Four Pillars as a traditional system of stems, branches and five-phase correspondence, with history and limitations made explicit.",{"en":1032,"zh":1033},"\u003Cp>Ba Zi 八字 interprets year, month, day and hour through the heavenly stems, earthly branches, yin-yang and five-phase relationships. It is an influential part of Chinese metaphysical culture, not an observational science in the modern empirical sense.\u003C\u002Fp>\u003Cp>Classes introduce chart structure, terminology and common interpretive methods while distinguishing tradition from evidence. Students are encouraged to treat readings as prompts for reflection and never as guarantees, diagnoses or substitutes for professional advice.\u003C\u002Fp>","\u003Cp>八字以年、月、日、時四柱為框架，通過天干、地支、陰陽與五行關係進行解釋。它是中國術數文化中影響深遠的傳統體系，並非現代經驗科學。\u003C\u002Fp>\u003Cp>課程介紹命盤結構、基本術語和常見詮釋方法，同時說明傳統觀點與科學證據的差別。學員可把解讀作為反思的線索，但不應把它當作保證、診斷，或任何專業意見的替代品。\u003C\u002Fp>","\u002Fevents\u002Fba-zi-learning",[],[],{"en":1038,"zh":1039},"BaZi (Four Pillars) Classes and Courses","八字課程：四柱、天干地支與五行入門",{"en":1030,"zh":1041},"學習四柱中的天干、地支與五行關係，理解其歷史與方法，也清楚區分傳統詮釋和現代實證知識。",{"id":69,"uuid":1043,"slug":1044,"available_locales":1045,"name":1046,"description":1049,"body":1050,"path":1051,"images":1052,"image_urls":1053,"hero_image":3,"hero_image_url":3,"seo_title":1054,"seo_description":1057,"sort_order":983,"is_active":936,"status":937,"created_at":1021,"updated_at":939},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[908,909,910],{"en":1047,"zh":1048},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":1055,"zh":1056},"Chinese Incense Culture Workshops","香文化活動與工作坊",{"en":1058,"zh":1059},"Workshops on Chinese incense culture (香文化): aromatic materials, traditional ways of preparing and appreciating incense, and incense as calm attention.","香文化活動與工作坊：認識香材、傳統制香與品香方式，在一爐香中練習安靜與專注。",{"id":1061,"uuid":1062,"slug":1063,"available_locales":1064,"name":1065,"description":1068,"body":1071,"path":1074,"images":1075,"image_urls":1076,"hero_image":3,"hero_image_url":3,"seo_title":1077,"seo_description":1079,"sort_order":983,"is_active":936,"status":937,"created_at":1080,"updated_at":939},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[908,909,910],{"en":1066,"zh":1067},"I Ching Learning","易經課程",{"en":1069,"zh":1070},"Explore the I Ching through its hexagrams, traditional interpretive methods and historical context, with scope and limitations made explicit.","通過卦象、傳統解讀方法與歷史語境認識《易經》，並清楚說明其適用範圍與侷限。",{"en":1072,"zh":1073},"\u003Cp>The I Ching 易經 is a classical Chinese text centred on sixty-four hexagrams and a long history of commentary and divination. It has shaped Chinese philosophy, cosmology and metaphysical practice, but its divinatory claims are not established as modern empirical science.\u003C\u002Fp>\u003Cp>Classes introduce structures, terminology and traditional methods such as Liu Yao while distinguishing cultural study from evidence. Readings should be treated as prompts for reflection, not guarantees, diagnoses or substitutes for professional advice.\u003C\u002Fp>","\u003Cp>《易經》是一部以六十四卦為核心的中國經典，形成了悠久的註疏與占筮傳統，並深刻影響中國哲學、宇宙觀與術數文化；其占筮主張並非現代經驗科學所證實。\u003C\u002Fp>\u003Cp>課程介紹基本結構、術語和六爻等傳統方法，同時區分文化學習與科學證據。解讀宜作為反思線索，不應視為保證、診斷或任何專業意見的替代品。\u003C\u002Fp>","\u002Fevents\u002Fi-ching-learning",[],[],{"en":1078,"zh":1067},"I Ching Classes and Courses",{"en":1069,"zh":1070},"2026-09-08T00:15:35.000000Z",{"id":21,"uuid":1082,"slug":1083,"available_locales":1084,"name":1085,"description":1088,"body":1091,"path":1094,"images":1095,"image_urls":1096,"hero_image":3,"hero_image_url":3,"seo_title":1097,"seo_description":1100,"sort_order":242,"is_active":936,"status":937,"created_at":1103,"updated_at":939},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[908,909,910],{"en":1086,"zh":1087},"Traditional Arts & Crafts","傳統藝術與手作",{"en":1089,"zh":1090},"Hands-on workshops exploring Chinese handicrafts and decorative arts through guided making and cultural appreciation.","通過親手製作與文化欣賞，體驗中國傳統手作及裝飾藝術。",{"en":1092,"zh":1093},"\u003Cp>Discover practical workshops in Chinese decorative arts and handcraft traditions. Activities may include gold-leaf painting, cloisonné enamel, mother-of-pearl work, Song brocade and other guided projects.\u003C\u002Fp>\u003Cp>These welcoming sessions introduce materials, techniques and cultural context while allowing participants to complete a piece of their own.\u003C\u002Fp>","\u003Cp>本類別彙集中國傳統裝飾藝術與手作體驗，內容可涵蓋金箔畫、掐絲琺琅、螺鈿工藝、宋錦及其他創作專案。\u003C\u002Fp>\u003Cp>課程以輕鬆易懂的方式介紹材料、技法與文化背景，讓參加者在導師帶領下完成屬於自己的作品。\u003C\u002Fp>","\u002Fevents\u002Ftraditional-arts-crafts",[],[],{"en":1098,"zh":1099},"Traditional Arts & Crafts Events","傳統藝術與手作活動",{"en":1101,"zh":1102},"Explore Chinese handicraft and decorative arts workshops, including gold-leaf, cloisonné, mother-of-pearl and brocade.","探索金箔畫、掐絲琺琅、螺鈿、宋錦等中國傳統手作及裝飾藝術體驗。","2026-08-16T19:24:04.000000Z",{"id":212,"uuid":1105,"slug":1106,"available_locales":1107,"name":1108,"description":1111,"body":1114,"path":1117,"images":1118,"image_urls":1119,"hero_image":3,"hero_image_url":3,"seo_title":1120,"seo_description":1122,"sort_order":247,"is_active":936,"status":937,"created_at":1125,"updated_at":939},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[908,909,910],{"en":1109,"zh":1110},"Wudang Community","武當社群活動",{"en":1112,"zh":1113},"Talks, broadcasts and community gatherings connecting people with Wudang culture, learning and living practice.","通過講座、直播與社群聚會，連線武當文化、學習與日常實踐。",{"en":1115,"zh":1116},"\u003Cp>Wudang Community brings together public talks, livestreams, gatherings and shared cultural activities connected with Wudang.\u003C\u002Fp>\u003Cp>These programmes create welcoming ways to meet practitioners, explore ideas and participate in a growing community of learning and practice.\u003C\u002Fp>","\u003Cp>武當社群活動彙集與武當文化相關的公開講座、直播、聚會及共享文化體驗。\u003C\u002Fp>\u003Cp>這些活動以友善開放的方式連線練習者與學習者，讓大家交流心得、認識傳統，並共同參與持續發展的文化社群。\u003C\u002Fp>","\u002Fevents\u002Fwudang-community",[],[],{"en":1121,"zh":1110},"Wudang Community Events",{"en":1123,"zh":1124},"Discover Wudang community talks, broadcasts and gatherings connecting people with culture, learning and living practice.","探索連線武當文化、學習與日常實踐的講座、直播及社群聚會。","2026-08-16T19:24:18.000000Z",{"id":16,"uuid":1127,"slug":1128,"available_locales":1129,"name":1130,"description":1133,"body":1134,"path":1135,"images":1136,"image_urls":1137,"hero_image":3,"hero_image_url":3,"seo_title":1138,"seo_description":1141,"sort_order":69,"is_active":936,"status":937,"created_at":1144,"updated_at":939},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[908,909,910],{"en":1131,"zh":1132},"Wudang Journeys & Retreats","武當旅修與行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":1139,"zh":1140},"Wudang Mountain Retreats and Guided Journeys","武當山旅修與靜修行程",{"en":1142,"zh":1143},"Guided journeys and retreats to Wudang Mountain that combine practice, temple visits and cultural learning, with itineraries and expectations set out clearly.","前往武當山的旅修與靜修：結合修習、宮觀參訪與文化學習，提前說明行程安排與參加須知。","2026-08-18T11:09:38.000000Z",{"data":1146},{"hero_type":1147,"hero_image":1148,"hero_image_alt":1149,"hero_youtube_id":1150,"hero_content_on":936,"hero_heading":1151,"hero_subheading":1152,"hero_text":1153,"hero_subheading_zh":1154,"hero_text_zh":1155,"hero_buttons":1156,"home_seo":1162,"page_layout":1168,"shop_enabled":1169,"contact":1170,"journey":1186},"image","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fsite\u002Fwudanghomepagehero.webp","Wudang mountain temple in mist","VgirFbjpiy4","武當文化，道在日常\nWudang Culture, Practised with Purpose","A place for learning. A home for living culture.","Explore Taoist thought, internal arts, literati traditions and Wudang Mountain through grounded learning in Singapore and beyond.","這裡既是學習之地，也是讓文化融入日常的所在。","從道家思想、內家武術、文人雅藝與武當山出發，以清晰、踏實的方式，在新加坡及世界各地認識和體驗武當文化。",[1157,1159],{"label":1158,"link":278},"Start Your Wudang Journey",{"label":1160,"link":1161},"View Events & Courses","\u002Fevents",{"title":1163,"description":1165},{"en":1164,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":1166,"zh":1167},"Explore Wudang Mountain through Tai Chi, Qigong, Daoist philosophy, martial arts, traditional arts, wellness, culture and everyday life in Wudang.","從太極、氣功、道家思想、武術、傳統雅藝與養生文化認識武當山，探索武當文化及武當山的日常生活。","sidebar",false,{"methods":1171,"has_any":936,"text":1179},{"email":1172,"whatsapp":1173,"wechat_id":1174,"wechat_qr_url":1175,"instagram":1176,"instagram_handle":1177,"facebook":1178,"facebook_handle":1177},"hello@wudang.org","+6588169599","Cldjcll0305","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fcontact\u002Fkcs9Z5IEY7CugW2mEYA8.webp","https:\u002F\u002Fwww.instagram.com\u002Fleewudang.sg","@leewudang.sg","https:\u002F\u002Fwww.facebook.com\u002Fleewudang.sg\u002F",{"china_heading_en":1180,"china_heading_zh":1181,"china_company_en":1182,"china_company_zh":1183,"china_address_en":1184,"china_address_zh":1185},"China Operations","中國運營","Xunwei Wudang Co., Ltd.","尋味武當有限公司","No. 72 Jianhe 2nd Road, Wangjiayuan, Wudang Mountain, Shiyan, Hubei, China","湖北省十堰市武當山王家園劍河二路72號",{"title_en":3,"title_zh":3,"intro_en":3,"intro_zh":3,"enabled":936},{"data":1188},{"to":297,"type":1189,"available_locales":1190,"is_content_page":936,"title":1191,"subtitle":1192,"body":1195,"hero_image_url":1198,"hero_width":1199,"hero_height":1200,"hero_image_alt":1201,"hero_image_decorative":1169,"hero_credit":3,"hero_alt":1204,"hero_style":1205,"card_layout":1206,"link_type":3,"link_ref":3,"seo_title":1207,"seo_description":1210,"children":1213},"page",[908,909,910],{"en":298,"zh":299},{"en":1193,"zh":1194},"From early performed verse to anthologies, commentary and changing sound","從早期歌詩走向總集、註釋與不斷變化的聲音",{"en":1196,"zh":1197},"\u003Cp>Chinese poetry has no single moment of birth that surviving evidence allows us to observe. Early verse reaches us through received anthologies, quotations in other works, manuscripts, ritual accounts and later commentaries. Each witness preserves something, but none is a recording of an untouched beginning.\u003C\u002Fp>\n\n\u003Cp>“Origins” is therefore best understood in the plural. We can trace how words were performed, written, selected, arranged and interpreted; how a collection became a classic; and how later poets created new forms while reading older ones.\u003C\u002Fp>\n\n\u003Ch2>What counts as an origin?\u003C\u002Fh2>\n\n\u003Cp>One origin may be a performed song; another may be the first recoverable written witness; a third may be the editorial act that gives separate pieces a shared title and order. These events need not occur at the same time. A poem may be older than the manuscript that contains it, while the anthology may be younger than many of its parts.\u003C\u002Fp>\n\n\u003Cp>Begin by naming the evidence. Is the work preserved in a received edition, quoted in an early philosophical text, written on excavated bamboo, described as music, or interpreted by a later commentator? This simple question prevents a transmitted tradition from being mistaken for an exact account of first composition.\u003C\u002Fp>\n\n\u003Ch2>Song, ritual and recitation\u003C\u002Fh2>\n\n\u003Cp>Early Chinese accounts place verse beside music, dance, ceremony and political speech. Some texts name instruments or performance settings; repeated lines and refrains can also suggest oral or musical patterning. Yet the relationship among words, melody and movement varied by work and occasion.\u003C\u002Fp>\n\n\u003Cp>The original music for early poems is not preserved in a form that can simply be replayed. That is a limit, not a void. Rhyme, line structure, performance descriptions and later musical settings still offer evidence, provided reconstruction is clearly distinguished from the sound of an ancient event.\u003C\u002Fp>\n\n\u003Ch2>The received Shijing\u003C\u002Fh2>\n\n\u003Cp>The received *Shijing*, or *Classic of Poetry*, contains 305 anonymous and undated pieces arranged as Airs, Minor and Major Court Hymns, and Eulogies. Ancient sources describe both recitation and musical performance. Partial manuscript witnesses show written circulation before the Han, but no surviving pre-Han manuscript contains the complete four-part anthology as it is known today.\u003C\u002Fp>\n\n\u003Cp>Its pieces may reflect different periods and settings, and the original contexts of many Airs remain uncertain. Repetition is compatible with song, but it does not by itself prove a simple record of unedited folk performance. Read the collection as both early poetry and a text shaped by transmission, arrangement and canonization.\u003C\u002Fp>\n\n\u003Cp>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fv9cX8wafcxxAySc4aLli.webp\" alt=\"Blank bamboo slips and an inkstone in a pavilion overlooking a mountain lake, with two anonymous figures in the distance\" width=\"1200\" height=\"1200\" loading=\"lazy\">\u003C\u002Fp>\n\u003Cp>\u003Cem>AI-generated editorial illustration; an imagined scene, not a historical photograph or an identified portrait.\u003C\u002Fem>\u003C\u002Fp>\n\n\u003Ch2>Chuci and another early constellation\u003C\u002Fh2>\n\n\u003Cp>The *Chuci*, or *Songs of Chu*, gathers works of different dates, forms and voices. Qu Yuan became its central authorial figure in the received tradition, but the attribution and dating of individual pieces remain debated. Han editors and commentators were crucial to the anthology through which later readers encountered the works.\u003C\u002Fp>\n\n\u003Cp>Longer lines, recurring particles, journeys, encounters with deities and richly patterned plants or places distinguish much of this material from the *Shijing*. These features should not be reduced to a single “southern spirit.” They belong to particular texts whose ritual, political and literary meanings must be examined separately.\u003C\u002Fp>\n\n\u003Ch2>From bamboo strips to an anthology\u003C\u002Fh2>\n\n\u003Cp>Writing on bamboo or wood required copying, binding and ordering physical strips. A manuscript can preserve wording that differs from a received edition, omit known passages, or arrange material another way. Such variation is evidence of textual life, not merely damage to a perfect original.\u003C\u002Fp>\n\n\u003Cp>An anthology is also an argument. Titles, sequence, divisions and commentary teach readers which pieces belong together and how one work frames the next. When a collection changes, the meaning of an individual poem can change with it even if many of its words remain stable.\u003C\u002Fp>\n\n\u003Ch2>“Poetry articulates intent”\u003C\u002Fh2>\n\n\u003Cp>The transmitted *Documents* includes the influential formulation often rendered as “poetry articulates intent,” and the Great Preface to the *Shijing* develops a related account of what is held inwardly becoming poetic speech. These propositions shaped long traditions of ethical, emotional and political reading.\u003C\u002Fp>\n\n\u003Cp>They do not require every poem to be direct autobiography, nor do they make literary quality proof of the author’s virtue. “Intent” has been interpreted in different ways, and a poem’s speaker is a shaped textual voice. Use the formulation as a historical theory of poetry, not a universal test of sincerity.\u003C\u002Fp>\n\n\u003Ch2>Yuefu: office, repertory and genre\u003C\u002Fh2>\n\n\u003Cp>Yuefu first names court institutions concerned with music and performance. It also came to identify songs associated with those institutions and, later, poems written in inherited song titles or in imitation of earlier repertories. The same word can therefore point to an office, a transmitted corpus or a literary practice.\u003C\u002Fp>\n\n\u003Cp>This distinction matters when a poem is called a “folk song.” A surviving yuefu text may have passed through court musicians, editors, anthologists and later writers. Its voice may represent ordinary life without being a verbatim transcript collected from an identifiable singer.\u003C\u002Fp>\n\n\u003Ch2>Characters, words and compressed syntax\u003C\u002Fh2>\n\n\u003Cp>A written character commonly represents a syllable and a morpheme, but a character is not always a complete word. Classical lines can combine single-character and multi-character words, proper names, particles and expressions whose boundaries depend on grammar and context.\u003C\u002Fp>\n\n\u003Cp>Classical syntax often leaves subjects, number, time relations or logical links unstated where another language may make them explicit. Sometimes context resolves the relation; sometimes more than one reading remains possible. Compression is a resource, but not every omission is a deliberate riddle.\u003C\u002Fp>\n\n\u003Ch2>Rhyme and changing pronunciation\u003C\u002Fh2>\n\n\u003Cp>Words that no longer rhyme in modern Mandarin may have rhymed in an earlier pronunciation. Scholars compare rhyme patterns, phonetic elements in the script, dictionaries and modern varieties to reconstruct earlier sound systems. These reconstructions are models supported by evidence, not recordings.\u003C\u002Fp>\n\n\u003Cp>Later tonal categories and prosodic theories belong to their own historical moments. It is misleading to project Tang regulated-verse rules back onto every early song, or to treat one modern variety as a complete survival of ancient sound. Ask which period, text and pronunciation a claim concerns.\u003C\u002Fp>\n\n\u003Ch2>Commentary and the making of a classic\u003C\u002Fh2>\n\n\u003Cp>Commentary does more than decode difficult words. It proposes speakers, occasions, moral lessons and political applications. Some interpretations became so influential that they travelled with the poem for centuries, while manuscripts and newer scholarship can reopen earlier possibilities.\u003C\u002Fp>\n\n\u003Cp>Keep three layers visible: the wording of the poem, the explanation offered by a named commentary, and your own inference. Disagreement between layers is productive. It shows how a classic remains active through re-reading rather than preserving one unchanged meaning.\u003C\u002Fp>\n\n\u003Ch2>How to read an early poem\u003C\u002Fh2>\n\n\u003Cp>Start with the witness you actually have. Record the collection, section, edition and commentator; note whether a manuscript variant exists. Read for repeated words, line groups, rhyme positions and changes of speaker or address before deciding what historical event the poem represents.\u003C\u002Fp>\n\n\u003Cp>Then compare one alternative interpretation and state which words each reading must explain. Treat uncertainty as part of the evidence, not a failure of reading. Return to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\">Chinese Poetry and Literature\u003C\u002Fa> for the wider guide to genre, translation, occasion and landscape before following the collection’s more focused routes.\u003C\u002Fp>","\u003Cp>我們無法從現存證據中找到一個可以親眼看見的“中國詩歌誕生時刻”。早期歌詩通過傳世總集、他書引文、出土寫本、禮樂記述和後世註釋來到今天。每一種見證都保留了一部分歷史，卻沒有哪一種等同於未經轉手的起點錄音。\u003C\u002Fp>\n\n\u003Cp>因此，“源流”更適合用複數來理解。我們可以追蹤語言怎樣被歌唱、誦讀、書寫、選擇、編排和解釋，也可以觀察一部總集怎樣成為經典，後來的詩人又怎樣在閱讀舊作時創造新形式。\u003C\u002Fp>\n\n\u003Ch2>什麼可以算作“起源”\u003C\u002Fh2>\n\n\u003Cp>一種起源可能是實際演唱，另一種可能是目前可見的最早寫本，還有一種則是編者把分散篇章納入共同書名與次序的行動。它們未必同時發生：詩篇可能早於儲存它的寫本，而總集又可能晚於其中許多作品。\u003C\u002Fp>\n\n\u003Cp>閱讀時先說明證據是什麼：傳世刻本、早期思想文獻中的引詩、出土竹簡、關於樂舞的記載，還是後出注家的解釋？這個簡單的問題，可以避免把流傳過程誤當成作品初次寫成時的精確實錄。\u003C\u002Fp>\n\n\u003Ch2>歌唱、禮儀與誦讀\u003C\u002Fh2>\n\n\u003Cp>早期文獻常把詩與音樂、舞蹈、禮儀和政治言說並置。有的篇章提到樂器或演出場合，復沓與疊句也可能顯示口頭或音樂組織。不過，文字、曲調與動作怎樣配合，會因作品和場合而不同。\u003C\u002Fp>\n\n\u003Cp>早期歌詩原有的音樂沒有以今天可以直接重放的形式儲存下來。這是證據的邊界，卻不是一片空白。押韻、句式、表演記述和後世譜曲仍可提供線索，只要把研究者的重構與古代某次真實發聲分開。\u003C\u002Fp>\n\n\u003Ch2>傳世《詩經》\u003C\u002Fh2>\n\n\u003Cp>傳世《詩經》有三百零五篇，作者與確切年代大多不明，按風、小雅、大雅、頌編排。古代材料既記誦讀，也記配樂演出。出土寫本顯示，部分篇章在漢以前已經書面流傳；但目前沒有一部先秦寫本完整儲存今天所見的四部分總集。\u003C\u002Fp>\n\n\u003Cp>各篇可能來自不同年代與場合，許多國風的原始語境仍難確定。復沓適合歌唱，卻不能單憑這一點，就把作品視為未經整理的民歌實錄。既要把《詩經》當作早期詩篇來讀，也要把它當作經過傳抄、編次與經典化的文本來讀。\u003C\u002Fp>\n\n\u003Cp>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fv9cX8wafcxxAySc4aLli.webp\" alt=\"亭中放著空白竹簡與硯臺，遠處山湖邊有兩位無名人物\" width=\"1200\" height=\"1200\" loading=\"lazy\">\u003C\u002Fp>\n\u003Cp>\u003Cem>AI生成的編輯插圖：意象式場景，並非歷史照片或特定人物的肖像。\u003C\u002Fem>\u003C\u002Fp>\n\n\u003Ch2>《楚辭》與另一組早期聲音\u003C\u002Fh2>\n\n\u003Cp>《楚辭》彙集了年代、體式和聲音各不相同的作品。屈原在傳世傳統中成為核心作者形象，但具體篇章的歸屬與年代仍有爭論。漢代編者與注家，對後人如何讀到這部總集具有關鍵作用。\u003C\u002Fp>\n\n\u003Cp>較長的句式、反覆出現的語氣詞、遠遊、神靈相遇，以及密集鋪陳的草木與地點，使其中不少作品有別於《詩經》。這些特點不宜被壓縮成一種籠統的“南方精神”，而應回到具體篇章，分別考察其禮儀、政治與文學含義。\u003C\u002Fp>\n\n\u003Ch2>從簡牘到總集\u003C\u002Fh2>\n\n\u003Cp>在竹木簡上書寫，需要抄錄、編聯並排列有形的簡條。一部寫本可能保留與傳世本不同的用字，可能缺少已知段落，也可能採用另一種次序。這類差異是文本曾經流動的證據，不只是對某個完美原本的損壞。\u003C\u002Fp>\n\n\u003Cp>總集本身也在提出一種看法。篇名、排列、分部與註釋，會告訴讀者哪些作品應當放在一起，以及前一篇怎樣為後一篇設定閱讀框架。總集發生變化時，即使一首詩的許多字沒有改變，它的意義也可能隨位置而變。\u003C\u002Fp>\n\n\u003Ch2>“詩言志”是一種歷史命題\u003C\u002Fh2>\n\n\u003Cp>傳世《尚書》載有“詩言志”這一影響深遠的說法，《詩經》的《大序》又發展出內在所持化為詩言的論述。這些命題長期影響了倫理、情感與政治性的讀詩方式。\u003C\u002Fp>\n\n\u003Cp>它們並不要求每首詩都是作者生平的直接自述，也不能用作品好壞反推作者德行。“志”在不同時代有不同解釋，詩中的說話者也是經過組織的文本聲音。應把“詩言志”作為歷史上的詩學觀念來讀，而不是檢驗一切作品是否真誠的通則。\u003C\u002Fp>\n\n\u003Ch2>樂府：機構、歌辭與文體名稱\u003C\u002Fh2>\n\n\u003Cp>“樂府”最初指與音樂、演出有關的宮廷機構，後來也指與這些機構相關的歌辭，再後來又可指沿用舊題或模擬舊有歌辭的詩作。同一個名稱，可能指向官署、傳世歌辭群，或一種文學寫作方式。\u003C\u002Fp>\n\n\u003Cp>因此，作品被稱為“民歌”時，需要說明具體證據。一篇傳世樂府歌辭，可能經過宮廷樂工、編者、選家和後世詩人的轉手。它可以呈現普通人的生活，卻未必是從某位可辨認歌者口中逐字記錄下來的話。\u003C\u002Fp>\n\n\u003Ch2>漢字、詞與凝練句法\u003C\u002Fh2>\n\n\u003Cp>一個漢字通常記錄一個音節和一個語素，卻不一定單獨構成一個完整的詞。古典詩句會組合單字詞、複音詞、專名、虛詞與固定表達；怎樣劃分，需要依靠語法和上下文。\u003C\u002Fp>\n\n\u003Cp>古典句法也常省略主語、數量、時間關係或邏輯連線，而其他語言可能必須明說。有些關係可由語境確定，有些則確實保留不止一種讀法。凝練是詩歌可以利用的資源，但並非每一處省略都是作者刻意設定的謎。\u003C\u002Fp>\n\n\u003Ch2>押韻與不斷變化的聲音\u003C\u002Fh2>\n\n\u003Cp>今天用普通話讀來不押韻的字，在較早語音中可能曾經相押。研究者比較押韻關係、漢字的聲符、韻書與現代方言，建立古代音系的重構。這些重構是由證據支援的模型，並不是古代聲音的錄音。\u003C\u002Fp>\n\n\u003Cp>後出的聲調分類與詩律理論，也各有自己的歷史位置。不能把唐代近體詩的規則倒推到所有早期歌辭，更不能把某一種現代方言視為古音的完整儲存。每次討論聲音，都應先問清所指的是哪個時代、哪篇文本和哪一種讀法。\u003C\u002Fp>\n\n\u003Ch2>註釋與經典的形成\u003C\u002Fh2>\n\n\u003Cp>註釋不只解釋難字，還會提出說話者、寫作場合、倫理寓意與政治用途。有些解釋影響極大，數百年來幾乎與詩篇一同流傳；出土寫本與新的研究，又可能重新開啟較早的解釋空間。\u003C\u002Fp>\n\n\u003Cp>閱讀時可把三層分開：詩篇的文字、某位具名注家給出的說明，以及自己的推斷。三者不一致並不是麻煩，反而說明一部經典怎樣在反覆閱讀中保持活力，而不是把唯一意義原封不動地封存下來。\u003C\u002Fp>\n\n\u003Ch2>怎樣讀一首早期詩\u003C\u002Fh2>\n\n\u003Cp>先從手上實際使用的見證開始，記下總集、篇次、版本與注家，並檢視是否有寫本異文。先觀察復現的字、句組、韻腳與說話物件的變化，再判斷作品可能對應什麼歷史場合。\u003C\u002Fp>\n\n\u003Cp>接著比較一種不同解釋，說明每種讀法必須處理哪些字句。把不確定性視為證據的一部分，而不是閱讀失敗。回到\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\">中國詩詞與文學\u003C\u002Fa>總覽，可以繼續瞭解體式、翻譯、寫作場合與山水閱讀，再進入各篇專題。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FIRQNuPxIGZbXkHkBOzZB.webp",1920,600,{"en":1202,"zh":1203},"Ink-style mountain panorama beside blank bamboo slips and a writing brush","水墨山景旁放著空白竹簡與毛筆",{"en":1202,"zh":1203},"banner","list",{"en":1208,"zh":1209},"Origins of Chinese Poetry: Early Songs and Texts","中國詩歌的源流：早期歌詩、文本與闡釋",{"en":1211,"zh":1212},"Explore the origins of Chinese poetry through early songs, the Shijing and Chuci, manuscript transmission, commentary, yuefu and changing pronunciation.","從早期歌唱、《詩經》《楚辭》、簡帛傳抄、註釋經典化、樂府與語音變化，理解中國詩歌多層次的源流。",[],{"data":1215},[1216,1292,1393,1484],{"id":1217,"slug":1218,"available_locales":1219,"path":1220,"title":1221,"venue":1224,"hero_image_url":3,"card_image_url":1227,"card_landscape_url":1228,"lifecycle":1229,"session_mode":1230,"sessions":1231,"next_session":1291},15601,"liu-yao-beginner-course",[908,909,910],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":1222,"zh":1223},"Liu Yao Beginner Course","六爻初級課",{"en":1225,"zh":1226},"Singapore","新加坡","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FQzqp0uXPJyVi3CvdDM1S.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002Fvariants\u002FQzqp0uXPJyVi3CvdDM1S-16x9.webp","upcoming","choose_one",[1232,1251,1264,1277],{"status":1233,"date_slug":1234,"time_label":1235,"timezone_abbr":1236,"date_label":1237,"date_label_fr":1238,"date_short_fr":1239,"date_only_fr":1240,"date_range_label_fr":3,"time_label_fr":1241,"date_label_zh":1242,"date_short":1243,"date_short_zh":1244,"date_only":1245,"date_only_zh":1246,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1247,"month_long":1248,"month_num":1061,"year":1249,"weekday_short":1250,"weekday_index":935},"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":1233,"date_slug":1252,"time_label":1235,"timezone_abbr":1236,"date_label":1253,"date_label_fr":1254,"date_short_fr":1255,"date_only_fr":1256,"date_range_label_fr":3,"time_label_fr":1241,"date_label_zh":1257,"date_short":1258,"date_short_zh":1259,"date_only":1260,"date_only_zh":1261,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1262,"month_short":1247,"month_long":1248,"month_num":1061,"year":1249,"weekday_short":1263,"weekday_index":60},"2026-11-21","Saturday, 21 November 2026","samedi 21 novembre 2026","sam. 21 nov.","21 nov. 2026","2026年11月21日 星期六","Sat 21 Nov","11月21日 週六","21 Nov 2026","2026年11月21日",21,"Sat",{"status":1233,"date_slug":1265,"time_label":1235,"timezone_abbr":1236,"date_label":1266,"date_label_fr":1267,"date_short_fr":1268,"date_only_fr":1269,"date_range_label_fr":3,"time_label_fr":1241,"date_label_zh":1270,"date_short":1271,"date_short_zh":1272,"date_only":1273,"date_only_zh":1274,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":147,"month_short":1275,"month_long":1276,"month_num":147,"year":1249,"weekday_short":1263,"weekday_index":60},"2026-12-12","Saturday, 12 December 2026","samedi 12 décembre 2026","sam. 12 déc.","12 déc. 2026","2026年12月12日 星期六","Sat 12 Dec","12月12日 週六","12 Dec 2026","2026年12月12日","Dec","December",{"status":1233,"date_slug":1278,"time_label":1235,"timezone_abbr":1236,"date_label":1279,"date_label_fr":1280,"date_short_fr":1281,"date_only_fr":1282,"date_range_label_fr":3,"time_label_fr":1241,"date_label_zh":1283,"date_short":1284,"date_short_zh":1285,"date_only":1286,"date_only_zh":1287,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":137,"month_short":1288,"month_long":1289,"month_num":38,"year":1290,"weekday_short":1250,"weekday_index":935},"2027-01-17","Sunday, 17 January 2027","dimanche 17 janvier 2027","dim. 17 janv.","17 janv. 2027","2027年1月17日 星期日","Sun 17 Jan","1月17日 週日","17 Jan 2027","2027年1月17日","Jan","January",2027,{"status":1233,"date_slug":1234,"time_label":1235,"timezone_abbr":1236,"date_label":1237,"date_label_fr":1238,"date_short_fr":1239,"date_only_fr":1240,"date_range_label_fr":3,"time_label_fr":1241,"date_label_zh":1242,"date_short":1243,"date_short_zh":1244,"date_only":1245,"date_only_zh":1246,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1247,"month_long":1248,"month_num":1061,"year":1249,"weekday_short":1250,"weekday_index":935},{"id":1293,"slug":1294,"available_locales":1295,"path":1296,"title":1297,"venue":1300,"hero_image_url":1301,"card_image_url":1301,"card_landscape_url":1302,"lifecycle":1229,"session_mode":1230,"sessions":1303,"next_session":1392},78700,"baduanjin-workshop-september",[908,909,910],"\u002Fevents\u002Finternal-arts-wellness\u002Fbaduanjin-workshop-september",{"en":1298,"zh":1299},"Baduanjin Workshop — November 2026 Sessions","古法八段錦 · 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