[{"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\u002Ftang-poetry-golden-age":1203,"live-course-events":1230},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. 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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":305,"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":3,"hero_alt":1220,"hero_style":1221,"card_layout":1222,"link_type":3,"link_ref":3,"seo_title":1223,"seo_description":1226,"children":1229},"page",[924,925,926],{"en":306,"zh":307},{"en":1209,"zh":1210},"How verse moved through court, road, friendship and crisis—and why later readers called the Tang a golden age","詩怎樣行走於朝廷、道路、友誼與亂世，後人又為何稱唐代為“黃金時代”",{"en":1212,"zh":1213},"\u003Cp>Poetry from the Tang dynasty (618–907) occupies an exceptional place in Chinese literary memory. Names such as Wang Wei, Li Bai and Du Fu became reference points for later writers, while anthologies and education carried selected poems far beyond their first occasions. Calling the period a “golden age” describes that long history of admiration; it should not imply that three centuries produced one style or that later poetry merely declined.\u003C\u002Fp>\n\u003Cp>This guide introduces forms, social settings, religious vocabularies and historical change without turning poets into simple character types. For the earlier repertory that Tang writers inherited and quoted, see the \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fbook-of-songs-classical-foundations\">Book of Songs\u003C\u002Fa>.\u003C\u002Fp>\n\n\u003Ch2>How a “golden age” was made\u003C\u002Fh2>\n\u003Cp>Tang poems survived through personal collections, court compilations, manuscript circulation, quotation and later anthologies. What modern readers call “Tang poetry” is therefore both a body of writing and a canon assembled across centuries. Famous poems are real Tang works, but their present prominence also reflects later selection, commentary and schooling.\u003C\u002Fp>\n\u003Cp>The label remains useful if treated as a question: what conditions allowed so much varied poetry to be written, exchanged and preserved, and why did later periods return to it? This approach replaces a contest over the “best” dynasty with a history of forms and readers.\u003C\u002Fp>\n\n\u003Ch2>Capital, provinces and roads\u003C\u002Fh2>\n\u003Cp>Chang’an and Luoyang connected government, ritual, entertainment and communities arriving from across Asia. Yet Tang poetry was not confined to capitals. Officials travelled to provincial posts, envoys crossed frontiers, monks moved between monasteries, and families experienced long separations. Roads, rivers, guesthouses and mountain passes became recurring settings because movement structured many writers’ lives.\u003C\u002Fp>\n\u003Cp>Cosmopolitan exchange should not be reduced to colourful background. Music, objects, religions and people moved through Tang territories under changing political conditions. A poem may register curiosity, distance, hierarchy or conflict as well as openness. Each work needs its own setting rather than a general claim that the period was uniformly tolerant or worldly.\u003C\u002Fp>\n\n\u003Ch2>Poetry as social practice\u003C\u002Fh2>\n\u003Cp>Verse could mark a farewell, answer a friend, acknowledge a gift, celebrate an appointment or address a patron. A poem was often an action within a relationship, not a private diary entry discovered later. Titles, addressees and occasions help reconstruct that action, although the surviving title may itself have been shaped by an editor.\u003C\u002Fp>\n\u003Cp>Literary skill also mattered to official ambition. Poetry formed part of some examination and recruitment practices, but requirements changed, and examination verse alone did not create the art. Education produced writers and readers who shared forms, references and evaluative language; careers, friendships and setbacks then gave those resources different uses.\u003C\u002Fp>\n\n\u003Cp>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FkpCiQBDMROwqiTUcU0lC.webp\" alt=\"Three anonymous robed figures share a blank scroll in a riverside pavilion at dusk\" 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>Old-style and regulated verse\u003C\u002Fh2>\n\u003Cp>Tang writers used both old-style verse (\u003Cem>gushi\u003C\u002Fem>) and newer regulated forms (\u003Cem>jintishi\u003C\u002Fem>). Old-style poems allowed greater freedom in length, tonal organisation and rhyme changes. Regulated verse developed patterned relations among level and deflected tones, rhyme and line structure. Five- and seven-character lines were especially prominent, but not every Tang poem followed one template.\u003C\u002Fp>\n\u003Cp>A regulated octave (\u003Cem>lüshi\u003C\u002Fem>) normally has eight lines, with parallelism expected in its two middle couplets. The first and last couplets are not governed by a simple ban on parallel construction. A regulated quatrain (\u003Cem>jueju\u003C\u002Fem>) has four lines and achieves concentration through selection and turn, but no single plot formula explains every example. Rules created possibilities for variation as well as constraints.\u003C\u002Fp>\n\n\u003Ch2>Period labels are reading tools\u003C\u002Fh2>\n\u003Cp>Later literary histories commonly divide Tang poetry into early, high, middle and late phases. These labels help readers follow shifts in court style, form, politics and taste, but poets did not live inside neat classroom boxes. Careers overlap the boundaries, regional differences matter, and a style can be revived long after its first appearance.\u003C\u002Fp>\n\u003Cp>Early Tang writers refined inherited forms and explored regulated verse; the decades around the reign of Xuanzong later came to represent “High Tang” confidence and range. Mid- and late-Tang poetry developed new arguments about plainness, difficulty, history and allusion. The sequence is not a ladder from immaturity to perfection and decline.\u003C\u002Fp>\n\n\u003Ch2>Wang Wei: landscape and attention\u003C\u002Fh2>\n\u003Cp>Wang Wei (traditionally 699–759) served as an official and was remembered as both poet and painter. His writing can make human presence small within sound, light, water and changing terrain. Apparent quiet is carefully composed: an empty scene may contain an unheard speaker, traces of labour or the pressure of official life beyond the frame.\u003C\u002Fp>\n\u003Cp>His documented Buddhist commitments matter, but they do not turn every landscape into a doctrinal illustration. Later readers have also heard Daoist resonances in withdrawal, naturalness and diminished self-assertion. It is better to trace a poem’s exact vocabulary and structure than to assign the whole work to one exclusive philosophy.\u003C\u002Fp>\n\n\u003Ch2>Li Bai: movement, persona and Daoist connections\u003C\u002Fh2>\n\u003Cp>Li Bai (701–762) wrote across court, travel, friendship, landscape and imaginative ascent. His verse can shift scale quickly—from a cup or shadow to a river, moon or heaven—and later reception made spontaneity central to his image. That effect is artistic construction as well as temperament; apparent ease may be the result of highly practised form.\u003C\u002Fp>\n\u003Cp>Li Bai had meaningful connections with Daoist people, places and language. Poems of roaming, transcendence and celestial journey belong within that context, but they should not be used as straightforward proof of every biographical legend. The celebrated drinking persona and the tale that he drowned while reaching for the moon are parts of reception with different evidentiary status.\u003C\u002Fp>\n\n\u003Ch2>Du Fu: craft, witness and later reputation\u003C\u002Fh2>\n\u003Cp>Du Fu (712–770) used demanding forms to write about service, family, illness, displacement, friendship and war. His regulated verse demonstrates how parallel structure can hold several scales at once: a room and an empire, private grief and public disorder. Translation often conveys the scene more easily than the dense relations among individual words.\u003C\u002Fp>\n\u003Cp>Later readers called him the “Poet-Historian” and placed him at the centre of the canon. Those titles recognise his historical range and influence, but they are judgments made through reception. A poem can be evidence for what conflict felt like without functioning as a neutral chronicle, and a speaker should not automatically be equated with an unfiltered diary voice.\u003C\u002Fp>\n\n\u003Ch2>The An Lushan rebellion and historical change\u003C\u002Fh2>\n\u003Cp>The rebellion that began in 755 and continued under An Lushan’s successors until 763 was a major political and human catastrophe. Capitals fell, people were killed or displaced, government authority weakened and regional military power grew. It altered careers, travel and the language through which poets addressed loss and responsibility.\u003C\u002Fp>\n\u003Cp>The huge casualty number often repeated from before-and-after household registers is not a count of deaths. Registration failure, lost territory and displacement contributed to the decline. Avoiding false arithmetic does not minimise suffering; it distinguishes documented disruption from a precision the evidence cannot support. The dynasty continued for more than a century, and literary change after 755 was varied rather than a single mood of decline.\u003C\u002Fp>\n\n\u003Ch2>Middle and late Tang: more than a short list\u003C\u002Fh2>\n\u003Cp>Bai Juyi argued for intelligibility in some poems and used old yuefu models for new social subjects, while other works are intricate narratives or intimate exchanges. Han Yu and Li He pursued different kinds of strangeness; Du Mu compressed historical reflection; Li Shangyin made allusion and uncertain address central to his effects. These names mark contrasts, not a complete ranking.\u003C\u002Fp>\n\u003Cp>Women including Xue Tao and Yu Xuanji also participated in Tang literary worlds, although preservation and later anthologies treated writers unevenly. Monks, courtiers, provincial officials and less securely identified authors further complicate the canon. Reading beyond three famous men reveals several overlapping networks rather than one procession of masters.\u003C\u002Fp>\n\n\u003Ch2>Buddhist, Daoist and classical vocabularies\u003C\u002Fh2>\n\u003Cp>Tang poets wrote in a world where Confucian learning, Buddhist institutions and Daoist traditions interacted with local cults, court ritual and personal practice. A poet might use Buddhist emptiness, Daoist transcendence or a classical allusion without offering a systematic statement of belief. The same image could change meaning across works.\u003C\u002Fp>\n\u003Cp>For Wudang readers, mountains, reclusion, immortals and roaming are important connections, but they require close reading. A mountain is not automatically Daoist, and withdrawal may be religious, political, aesthetic or temporary. The most respectful approach identifies the textual signal before naming the tradition.\u003C\u002Fp>\n\n\u003Ch2>How to read a Tang poem\u003C\u002Fh2>\n\u003Cp>Start with occasion and form. Who addresses whom? Is the poem old-style, a quatrain or an octave? Mark rhyme, repeated images, parallel lines and the point where direction changes. Then ask what the title and historical setting add, while remembering that editorial titles and biographies may be later constructions.\u003C\u002Fp>\n\u003Cp>Compare translations for different purposes: one may preserve syntax, another rhythm, another allusion. None is the poem itself, but each can make a relationship visible. The wider \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\">Chinese Poetry and Literature\u003C\u002Fa> guide offers a route through forms, contexts and responsible comparison.\u003C\u002Fp>","\u003Cp>唐代（六一八至九〇七）的詩歌在中國文學記憶中佔有特殊位置。王維、李白、杜甫等名字成為後世寫作者的參照，選本與教育又把部分名篇帶離了最初場合。“黃金時代”這個說法描述的是長久的推重與經典化，卻不意味著三百年只有一種風格，也不意味著後來的詩只能走向衰落。\u003C\u002Fp>\n\u003Cp>本篇從體式、社交場合、宗教語彙與歷史變化入手，不把詩人壓縮成幾個簡單性格。若想了解唐人繼承並反覆引用的早期傳統，可以先讀\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fbook-of-songs-classical-foundations\">《詩經》導讀\u003C\u002Fa>。\u003C\u002Fp>\n\n\u003Ch2>“黃金時代”是怎樣形成的\u003C\u002Fh2>\n\u003Cp>唐詩通過別集、宮廷編纂、寫本流傳、引用和後世選本儲存下來。今天所說的“唐詩”，既是唐人的作品，也是數百年間不斷編成的經典。名篇確實寫於唐代，但它們如今的位置同樣受後世篩選、註釋與學校教育影響。\u003C\u002Fp>\n\u003Cp>只要把“黃金時代”當作問題，它仍然有用：哪些條件讓如此多樣的詩被寫出、往來和儲存，後世又為何不斷回到這裡？這樣就不必爭哪個朝代“最好”，而可以追問體式和讀者的歷史。\u003C\u002Fp>\n\n\u003Ch2>都城、地方與道路\u003C\u002Fh2>\n\u003Cp>長安、洛陽匯聚了政務、禮儀、娛樂和來自亞洲各地的群體，但唐詩並不只屬於都城。官員赴任地方，使者越過邊疆，僧人往來寺院，家人長期分離。道路、江河、旅舍與山關屢屢入詩，因為移動本來就是許多寫作者生活的結構。\u003C\u002Fp>\n\u003Cp>所謂“國際化”也不能只當成絢麗背景。音樂、器物、宗教與人群在不斷變化的政治條件下流動，一首詩可能表現好奇，也可能表現距離、等級或衝突。與其籠統說唐代處處開放包容，不如考察每篇作品的具體處境。\u003C\u002Fp>\n\n\u003Ch2>詩是一種社交行動\u003C\u002Fh2>\n\u003Cp>詩可以用來送別、酬答、謝贈、賀人除官或拜謁權貴。它往往是在關係中完成的一次行動，不是後來被發現的私人日記。題目、受贈者與寫作場合有助於重建這次行動，不過傳世題目本身也可能經過編者整理。\u003C\u002Fp>\n\u003Cp>文學能力還關係到仕途。部分時期的考試與銓選會涉及詩賦，但制度要求並非始終相同，考場詩也沒有單獨“造出”唐詩。教育培養了一群共享體式、典故和評價語言的作者與讀者；仕途、友誼與挫折再讓這些資源產生不同用途。\u003C\u002Fp>\n\n\u003Cp>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FkpCiQBDMROwqiTUcU0lC.webp\" alt=\"黃昏江亭中，三位無名文士圍繞空白紙卷交流\" 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>古體與近體\u003C\u002Fh2>\n\u003Cp>唐人同時寫古體詩與近體詩。古體在篇幅、聲律安排和換韻方面較為自由；近體則發展出平仄關係、押韻和篇章結構的規則。五言、七言尤其常見，但並非每首唐詩都服從同一模板。\u003C\u002Fp>\n\u003Cp>律詩通常八句，中間兩聯一般要求對仗；這不等於首尾兩聯一律“禁止”對仗。絕句四句，以取捨與轉折形成凝練效果，卻也沒有一種起承公式可以概括全部作品。規則既是限制，也是詩人制造變化的條件。\u003C\u002Fp>\n\n\u003Ch2>分期只是閱讀工具\u003C\u002Fh2>\n\u003Cp>後世文學史常把唐詩分成初、盛、中、晚四段。這些名稱便於觀察宮廷風格、體式、政治與趣味的改變，但詩人不會整齊地住進課本格子。創作生涯會跨過界線，地域差異也很重要，一種風格還可能在多年後被重新喚起。\u003C\u002Fp>\n\u003Cp>初唐作者整理舊有資源並探索近體，玄宗時期前後的數十年後來成為“盛唐”氣象與幅度的代表；中晚唐則圍繞平易、險怪、歷史感和用典提出新的選擇。這條次序不是從幼稚走向完美，再跌入衰敗的階梯。\u003C\u002Fp>\n\n\u003Ch2>王維：山水與注意力\u003C\u002Fh2>\n\u003Cp>王維（傳統生卒年六九九至七五九）做過官，後世也把他同時記作詩人與畫家。他的作品常讓人的位置在聲音、光線、水流和地形中縮小。表面的安靜經過精心安排：看似空寂的場景，可能藏著未出面的說話者、勞作痕跡，或畫面之外的仕途壓力。\u003C\u002Fp>\n\u003Cp>王維有明確的佛教信仰，但這不等於每一幅山水都是教義圖解。後世讀者也會從隱退、自然和減弱自我主張中聽出道家意味。與其把整首詩歸給唯一思想，不如先追蹤它具體使用了哪些詞語和結構。\u003C\u002Fp>\n\n\u003Ch2>李白：行旅、人格形象與道教聯絡\u003C\u002Fh2>\n\u003Cp>李白（七〇一至七六二）寫宮廷、行旅、友誼、山水與想像中的升舉。他的詩能迅速轉換尺度，從杯與影跳到江河、明月和天界；後世又把“自然天成”放在他的形象中心。這種效果既關乎氣質，也關乎藝術經營，看似不費力的句子可能來自熟練的形式能力。\u003C\u002Fp>\n\u003Cp>李白與道教人物、地點和語言確有重要聯絡，詩中的漫遊、超越與天界之行應放在這層語境中。不過，作品不能直接替每一種生平傳說作證。飲酒人格和“捉月而溺”的故事屬於不同層次的接受史，證據地位也不相同。\u003C\u002Fp>\n\n\u003Ch2>杜甫：技藝、見證與後世聲譽\u003C\u002Fh2>\n\u003Cp>杜甫（七一二至七七〇）用要求嚴密的體式寫仕途、家人、疾病、流離、友情與戰爭。他的律詩能夠讓幾種尺度同時存在：一間屋與一個帝國，個人悲苦與公共失序。翻譯常較容易傳遞場景，卻難以完整保留字與字之間密集的結構關係。\u003C\u002Fp>\n\u003Cp>後世稱他為“詩史”，並把他放在經典中心。這些稱號承認了作品的歷史幅度和長期影響，卻也是接受史中的判斷。一首詩可以讓人理解亂世經驗，不等於它是一篇中立編年史；詩中說話者也不能自動等同於未經整理的日記作者。\u003C\u002Fp>\n\n\u003Ch2>安史之亂與歷史變化\u003C\u002Fh2>\n\u003Cp>七五五年爆發、由安祿山後繼者延續至七六三年的叛亂，是重大的政治災難與人道災難。都城陷落，民眾死傷或流離，朝廷權威削弱，地方軍權上升。它改變了詩人的仕途與行路，也改變了他們書寫失落和責任的語言。\u003C\u002Fp>\n\u003Cp>戶籍數字在亂前亂後大幅下降，不能直接換算成一個精確死亡數；登記失效、疆土喪失與人口遷徙都包含其中。拒絕虛假的精確，並不是淡化苦難，而是把有據可見的破壞與證據無法支援的算術分開。唐朝此後仍延續一百多年，七五五年後的詩歌也不只有一種“衰落”情緒。\u003C\u002Fp>\n\n\u003Ch2>中晚唐不只是一張名家表\u003C\u002Fh2>\n\u003Cp>白居易在部分作品中主張明白，並借舊樂府寫新的社會題材，同時也寫結構繁複的長篇和私密酬答。韓愈、李賀各自追求險怪，杜牧壓縮歷史感，李商隱則讓密集用典與不確定的受話物件成為效果。這些名字幫助我們看見差異，不構成完整排名。\u003C\u002Fp>\n\u003Cp>薛濤、魚玄機等女性也參與了唐代文學世界，只是作品儲存與後世選本並不平等。僧人、宮廷作者、地方官員和姓名不甚明確的作者進一步擴充套件了版圖。越過三位最著名的男性詩人，才會看見彼此重疊的多種網路。\u003C\u002Fp>\n\n\u003Ch2>佛教、道教與經典語彙\u003C\u002Fh2>\n\u003Cp>唐人生活在儒學教育、佛教制度與道教傳統彼此交錯的環境中，地方信仰、宮廷禮儀和個人實踐也參與其中。詩人可以使用佛教的空、道教的升舉或經史典故，卻不一定在發表一套完整信仰宣告。同一個意象到了不同作品裡，也會改變意義。\u003C\u002Fp>\n\u003Cp>對武當讀者來說，山嶽、隱逸、神仙與漫遊都是重要連線，但需要逐篇細讀。出現山並不自動等於道教，退隱也可能是宗教選擇、政治姿態、審美構圖或短暫停留。先找出文本訊號，再為傳統命名，是更尊重材料的做法。\u003C\u002Fp>\n\n\u003Ch2>怎樣讀一首唐詩\u003C\u002Fh2>\n\u003Cp>先看場合與體式：誰對誰說？它是古體、絕句還是律詩？標出押韻、重複意象、平行句，以及方向改變的位置。然後再問題目和歷史背景增加了什麼，同時記得題目與傳記也可能經過後人整理。\u003C\u002Fp>\n\u003Cp>比較譯本時，可以讓它們各做不同工作：一種靠近句法，一種儲存節奏，一種解釋典故。任何譯本都不是原詩本身，卻都可能顯出一層關係。\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\">中國詩歌與文學\u003C\u002Fa>導覽提供了繼續辨認體式、語境和翻譯選擇的路徑。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FeEr2Vya9s4PSPvsYau5P.webp",1920,600,{"en":1218,"zh":1219},"An imagined robed reader looks over a moonlit river and mountain landscape","想像中的古代文士面對月下江山，手持酒杯遠望",{"en":1218,"zh":1219},"banner","list",{"en":1224,"zh":1225},"Tang Poetry: Forms, Poets and Historical Context","唐詩導讀：體式、詩人與歷史語境",{"en":1227,"zh":1228},"Explore Tang poetry through its social uses, old-style and regulated forms, major poets, religious vocabularies, the An Lushan rebellion and reading methods.","從唐詩的社會用途、古體與近體、代表詩人、佛道語彙、安史之亂與閱讀方法，理解一個多聲部的唐代詩歌世界。",[],{"data":1231},[1232,1308,1410,1501],{"id":1233,"slug":1234,"available_locales":1235,"path":1236,"title":1237,"venue":1240,"hero_image_url":3,"card_image_url":1243,"card_landscape_url":1244,"lifecycle":1245,"session_mode":1246,"sessions":1247,"next_session":1307},15601,"liu-yao-beginner-course",[924,925,926],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":1238,"zh":1239},"Liu Yao Beginner 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2026","2026年11月21日",21,"Sat",{"status":1249,"date_slug":1281,"time_label":1251,"timezone_abbr":1252,"date_label":1282,"date_label_fr":1283,"date_short_fr":1284,"date_only_fr":1285,"date_range_label_fr":3,"time_label_fr":1257,"date_label_zh":1286,"date_short":1287,"date_short_zh":1288,"date_only":1289,"date_only_zh":1290,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":147,"month_short":1291,"month_long":1292,"month_num":147,"year":1265,"weekday_short":1279,"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":1249,"date_slug":1294,"time_label":1251,"timezone_abbr":1252,"date_label":1295,"date_label_fr":1296,"date_short_fr":1297,"date_only_fr":1298,"date_range_label_fr":3,"time_label_fr":1257,"date_label_zh":1299,"date_short":1300,"date_short_zh":1301,"date_only":1302,"date_only_zh":1303,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":137,"month_short":1304,"month_long":1305,"month_num":38,"year":1306,"weekday_short":1266,"weekday_index":951},"2027-01-17","Sunday, 17 January 2027","dimanche 17 janvier 2027","dim. 17 janv.","17 janv. 2027","2027年1月17日 星期日","Sun 17 Jan","1月17日 週日","17 Jan 2027","2027年1月17日","Jan","January",2027,{"status":1249,"date_slug":1250,"time_label":1251,"timezone_abbr":1252,"date_label":1253,"date_label_fr":1254,"date_short_fr":1255,"date_only_fr":1256,"date_range_label_fr":3,"time_label_fr":1257,"date_label_zh":1258,"date_short":1259,"date_short_zh":1260,"date_only":1261,"date_only_zh":1262,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1263,"month_long":1264,"month_num":1077,"year":1265,"weekday_short":1266,"weekday_index":951},{"id":1309,"slug":1310,"available_locales":1311,"path":1312,"title":1313,"venue":1316,"hero_image_url":1317,"card_image_url":1317,"card_landscape_url":1318,"lifecycle":1319,"session_mode":1246,"sessions":1320,"next_session":1409},78700,"baduanjin-workshop-september",[924,925,926],"\u002Fevents\u002Finternal-arts-wellness\u002Fbaduanjin-workshop-september",{"en":1314,"zh":1315},"Baduanjin Workshop — November 2026 Sessions","古法八段錦 · 2026年11月班",{"en":1241,"zh":1242},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FWU46jadRUq4I84xPdaTQ.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002Fvariants\u002FCQB6xxmg8kF7eqWPQgAl-16x9.webp","upcoming",[1321,1338,1350,1363,1374,1375,1386,1397],{"status":1322,"date_slug":1323,"time_label":1324,"timezone_abbr":1252,"date_label":1325,"date_label_fr":1326,"date_short_fr":1327,"date_only_fr":1328,"date_range_label_fr":3,"time_label_fr":1329,"date_label_zh":1330,"date_short":1331,"date_short_zh":1332,"date_only":1333,"date_only_zh":1334,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1335,"month_short":1336,"month_long":1337,"month_num":16,"year":1265,"weekday_short":1266,"weekday_index":951},"completed","2026-09-13","10:00am–12:00pm","Sunday, 13 September 2026","dimanche 13 septembre 2026","dim. 13 sept.","13 sept. 2026","10:00–12:00","2026年9月13日 星期日","Sun 13 Sep","9月13日 週日","13 Sep 2026","2026年9月13日",13,"Sep","September",{"status":1322,"date_slug":1339,"time_label":1324,"timezone_abbr":1252,"date_label":1340,"date_label_fr":1341,"date_short_fr":1342,"date_only_fr":1343,"date_range_label_fr":3,"time_label_fr":1329,"date_label_zh":1344,"date_short":1345,"date_short_zh":1346,"date_only":1347,"date_only_zh":1348,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1349,"month_short":1336,"month_long":1337,"month_num":16,"year":1265,"weekday_short":1266,"weekday_index":951},"2026-09-27","Sunday, 27 September 2026","dimanche 27 septembre 2026","dim. 27 sept.","27 sept. 2026","2026年9月27日 星期日","Sun 27 Sep","9月27日 週日","27 Sep 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