[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"site-nav-reference-en":3,"site-nav-zh":4,"site-nav-zh-all-arts":289,"event-categories-zh":898,"site-settings":1141,"node-zh-arts\u002Fguqin\u002Fguqin-strings-silk-modern-composites-playing":1183,"live-course-events":1215},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",48,{"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":896,"footer":897},[292],{"to":124,"label":125,"label_zh":126,"children":293},[294,488,558,716,766,828,866],{"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],{"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":134,"label":135,"label_zh":136,"children":489},[490,494,498,502,506,510,514,518,522,526,530,534,538,542,546,550,554],{"to":491,"label":492,"label_zh":493},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origins and History of Chinese Calligraphy","中國書法的源流與歷史",{"to":495,"label":496,"label_zh":497},"\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":499,"label":500,"label_zh":501},"\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":503,"label":504,"label_zh":505},"\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":507,"label":508,"label_zh":509},"\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":511,"label":512,"label_zh":513},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Chinese Calligraphy Masters and Reading Paths","中國書法名家與閱讀路徑",{"to":515,"label":516,"label_zh":517},"\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":519,"label":520,"label_zh":521},"\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":523,"label":524,"label_zh":525},"\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":527,"label":528,"label_zh":529},"\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":531,"label":532,"label_zh":533},"\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":535,"label":536,"label_zh":537},"\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":539,"label":540,"label_zh":541},"\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":543,"label":544,"label_zh":545},"\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":547,"label":548,"label_zh":549},"\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":551,"label":552,"label_zh":553},"\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":555,"label":556,"label_zh":557},"\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":559},[560,564,568,572,576,580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712],{"to":561,"label":562,"label_zh":563},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Tea, Meditation and Taoist Practice","茶、靜坐與道家修習",{"to":565,"label":566,"label_zh":567},"\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":569,"label":570,"label_zh":571},"\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":573,"label":574,"label_zh":575},"\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":577,"label":578,"label_zh":579},"\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":581,"label":582,"label_zh":583},"\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":585,"label":586,"label_zh":587},"\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":589,"label":590,"label_zh":591},"\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":593,"label":594,"label_zh":595},"\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":597,"label":598,"label_zh":599},"\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":601,"label":602,"label_zh":603},"\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":605,"label":606,"label_zh":607},"\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":609,"label":610,"label_zh":611},"\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":613,"label":614,"label_zh":615},"\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":617,"label":618,"label_zh":619},"\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":621,"label":622,"label_zh":623},"\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":625,"label":626,"label_zh":627},"\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":629,"label":630,"label_zh":631},"\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":633,"label":634,"label_zh":635},"\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":637,"label":638,"label_zh":639},"\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":641,"label":642,"label_zh":643},"\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":645,"label":646,"label_zh":647},"\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":649,"label":650,"label_zh":651},"\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":653,"label":654,"label_zh":655},"\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":657,"label":658,"label_zh":659},"\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":661,"label":662,"label_zh":663},"\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":665,"label":666,"label_zh":667},"\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":669,"label":670,"label_zh":671},"\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":673,"label":674,"label_zh":675},"\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":677,"label":678,"label_zh":679},"\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":681,"label":682,"label_zh":683},"\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":685,"label":686,"label_zh":687},"\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":689,"label":690,"label_zh":691},"\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":693,"label":694,"label_zh":695},"\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":697,"label":698,"label_zh":699},"\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":701,"label":702,"label_zh":703},"\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":705,"label":706,"label_zh":707},"\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":709,"label":710,"label_zh":711},"\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":713,"label":714,"label_zh":715},"\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":717},[718,722,726,730,734,738,742,746,750,754,758,762],{"to":719,"label":720,"label_zh":721},"\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":723,"label":724,"label_zh":725},"\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":727,"label":728,"label_zh":729},"\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":731,"label":732,"label_zh":733},"\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":735,"label":736,"label_zh":737},"\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":739,"label":740,"label_zh":741},"\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":743,"label":744,"label_zh":745},"\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":747,"label":748,"label_zh":749},"\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":751,"label":752,"label_zh":753},"\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":755,"label":756,"label_zh":757},"\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":759,"label":760,"label_zh":761},"\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":763,"label":764,"label_zh":765},"\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":767},[768,772,776,780,784,788,792,796,800,804,808,812,816,820,824],{"to":769,"label":770,"label_zh":771},"\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":773,"label":774,"label_zh":775},"\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":777,"label":778,"label_zh":779},"\u002Farts\u002Fpainting\u002Flandscape-painting-shanshui","Shanshui: How to Read Chinese Landscape Painting","山水畫：怎樣讀懂中國山水",{"to":781,"label":782,"label_zh":783},"\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":785,"label":786,"label_zh":787},"\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":789,"label":790,"label_zh":791},"\u002Farts\u002Fpainting\u002Fgreat-masters-further-study","Chinese Painting Masters: A Guided Path","中國畫名家與進階研習",{"to":793,"label":794,"label_zh":795},"\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":797,"label":798,"label_zh":799},"\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":801,"label":802,"label_zh":803},"\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":805,"label":806,"label_zh":807},"\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":809,"label":810,"label_zh":811},"\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":813,"label":814,"label_zh":815},"\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":817,"label":818,"label_zh":819},"\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":821,"label":822,"label_zh":823},"\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":825,"label":826,"label_zh":827},"\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":829},[830,834,838,842,846,850,854,858,862],{"to":831,"label":832,"label_zh":833},"\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":835,"label":836,"label_zh":837},"\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":839,"label":840,"label_zh":841},"\u002Farts\u002Fincense\u002Fforms-and-art-of-appreciation","Incense Forms and the Art of Appreciation","香的形態與品香方法",{"to":843,"label":844,"label_zh":845},"\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":847,"label":848,"label_zh":849},"\u002Farts\u002Fincense\u002Fincense-meditation-taoist-practice","Incense, Meditation and Taoist Practice","香、靜坐與道家修習",{"to":851,"label":852,"label_zh":853},"\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":855,"label":856,"label_zh":857},"\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":859,"label":860,"label_zh":861},"\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":863,"label":864,"label_zh":865},"\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":867},[868,872,876,880,884,888,892],{"to":869,"label":870,"label_zh":871},"\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":873,"label":874,"label_zh":875},"\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":877,"label":878,"label_zh":879},"\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":881,"label":882,"label_zh":883},"\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":885,"label":886,"label_zh":887},"\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":889,"label":890,"label_zh":891},"\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":893,"label":894,"label_zh":895},"\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":899},[900,936,959,978,999,1018,1038,1056,1077,1100,1122],{"id":38,"uuid":901,"slug":902,"available_locales":903,"name":907,"description":910,"body":912,"path":915,"images":916,"image_urls":921,"hero_image":3,"hero_image_url":3,"seo_title":926,"seo_description":929,"sort_order":931,"is_active":932,"status":933,"created_at":934,"updated_at":935},"f1a30881-20c6-407b-b546-669e839a178a","feng-shui-learning",[904,905,906],"en","zh","fr",{"en":908,"zh":909},"Feng Shui Learning","風水課程",{"en":911,"zh":3},"Study feng shui as a historical Chinese tradition of interpreting orientation, form and environment—with clear limits on predictive claims.",{"en":913,"zh":914},"\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",[917,918,919,920],"wudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","wudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","wudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","wudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",[922,923,924,925],"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":927,"zh":928},"Feng Shui Classes and Courses","風水課程：方位、形勢與空間觀念入門",{"en":911,"zh":930},"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":937,"slug":938,"available_locales":939,"name":940,"description":943,"body":946,"path":949,"images":950,"image_urls":951,"hero_image":3,"hero_image_url":3,"seo_title":952,"seo_description":955,"sort_order":931,"is_active":932,"status":933,"created_at":958,"updated_at":935},"c85bf6cc-b84e-4c36-bbd7-9e92b53bbe50","internal-arts-wellness",[904,905,906],{"en":941,"zh":942},"Internal Arts & Wellness","內家功法與養生",{"en":944,"zh":945},"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":947,"zh":948},"\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":953,"zh":954},"Internal Arts & Wellness Events","內家功法與養生活動",{"en":956,"zh":957},"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":960,"uuid":961,"slug":962,"available_locales":963,"name":964,"description":967,"body":968,"path":969,"images":970,"image_urls":971,"hero_image":3,"hero_image_url":3,"seo_title":972,"seo_description":974,"sort_order":931,"is_active":932,"status":933,"created_at":977,"updated_at":935},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[904,905,906],{"en":965,"zh":966},"Face Reading Learning","面相課程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":973},"Chinese Face Reading Classes and Workshops",{"en":975,"zh":976},"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":979,"uuid":980,"slug":981,"available_locales":982,"name":983,"description":986,"body":988,"path":991,"images":992,"image_urls":993,"hero_image":3,"hero_image_url":3,"seo_title":994,"seo_description":997,"sort_order":38,"is_active":932,"status":933,"created_at":934,"updated_at":935},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[904,905,906],{"en":984,"zh":985},"Zi Wei Dou Shu Learning","紫微斗數課程",{"en":987,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":989,"zh":990},"\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":995,"zh":996},"Zi Wei Dou Shu (Purple Star Astrology) Classes","紫微斗數課程：命盤、宮位與星曜入門",{"en":987,"zh":998},"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":1000,"slug":1001,"available_locales":1002,"name":1003,"description":1006,"body":1007,"path":1008,"images":1009,"image_urls":1010,"hero_image":3,"hero_image_url":3,"seo_title":1011,"seo_description":1014,"sort_order":38,"is_active":932,"status":933,"created_at":1017,"updated_at":935},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[904,905,906],{"en":1004,"zh":1005},"Tea Arts","茶藝",[],[],"\u002Fevents\u002Ftea-arts",[],[],{"en":1012,"zh":1013},"Chinese Tea Art Classes and Workshops","茶藝課程與工作坊",{"en":1015,"zh":1016},"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":1019,"slug":1020,"available_locales":1021,"name":1022,"description":1025,"body":1027,"path":1030,"images":1031,"image_urls":1032,"hero_image":3,"hero_image_url":3,"seo_title":1033,"seo_description":1036,"sort_order":979,"is_active":932,"status":933,"created_at":934,"updated_at":935},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[904,905,906],{"en":1023,"zh":1024},"Ba Zi Learning","八字課程",{"en":1026,"zh":3},"Study the Four Pillars as a traditional system of stems, branches and five-phase correspondence, with history and limitations made explicit.",{"en":1028,"zh":1029},"\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":1034,"zh":1035},"BaZi (Four Pillars) Classes and Courses","八字課程：四柱、天干地支與五行入門",{"en":1026,"zh":1037},"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":1039,"slug":1040,"available_locales":1041,"name":1042,"description":1045,"body":1046,"path":1047,"images":1048,"image_urls":1049,"hero_image":3,"hero_image_url":3,"seo_title":1050,"seo_description":1053,"sort_order":979,"is_active":932,"status":933,"created_at":1017,"updated_at":935},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[904,905,906],{"en":1043,"zh":1044},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":1051,"zh":1052},"Chinese Incense Culture Workshops","香文化活動與工作坊",{"en":1054,"zh":1055},"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":1057,"uuid":1058,"slug":1059,"available_locales":1060,"name":1061,"description":1064,"body":1067,"path":1070,"images":1071,"image_urls":1072,"hero_image":3,"hero_image_url":3,"seo_title":1073,"seo_description":1075,"sort_order":979,"is_active":932,"status":933,"created_at":1076,"updated_at":935},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[904,905,906],{"en":1062,"zh":1063},"I Ching Learning","易經課程",{"en":1065,"zh":1066},"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":1068,"zh":1069},"\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":1074,"zh":1063},"I Ching Classes and Courses",{"en":1065,"zh":1066},"2026-09-08T00:15:35.000000Z",{"id":21,"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":1096,"sort_order":242,"is_active":932,"status":933,"created_at":1099,"updated_at":935},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[904,905,906],{"en":1082,"zh":1083},"Traditional Arts & Crafts","傳統藝術與手作",{"en":1085,"zh":1086},"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":1088,"zh":1089},"\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":1094,"zh":1095},"Traditional Arts & Crafts Events","傳統藝術與手作活動",{"en":1097,"zh":1098},"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":1101,"slug":1102,"available_locales":1103,"name":1104,"description":1107,"body":1110,"path":1113,"images":1114,"image_urls":1115,"hero_image":3,"hero_image_url":3,"seo_title":1116,"seo_description":1118,"sort_order":247,"is_active":932,"status":933,"created_at":1121,"updated_at":935},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[904,905,906],{"en":1105,"zh":1106},"Wudang Community","武當社群活動",{"en":1108,"zh":1109},"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":1111,"zh":1112},"\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":1117,"zh":1106},"Wudang Community Events",{"en":1119,"zh":1120},"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":1123,"slug":1124,"available_locales":1125,"name":1126,"description":1129,"body":1130,"path":1131,"images":1132,"image_urls":1133,"hero_image":3,"hero_image_url":3,"seo_title":1134,"seo_description":1137,"sort_order":69,"is_active":932,"status":933,"created_at":1140,"updated_at":935},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[904,905,906],{"en":1127,"zh":1128},"Wudang Journeys & Retreats","武當旅修與行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":1135,"zh":1136},"Wudang Mountain Retreats and Guided Journeys","武當山旅修與靜修行程",{"en":1138,"zh":1139},"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":1142},{"hero_type":1143,"hero_image":1144,"hero_image_alt":1145,"hero_youtube_id":1146,"hero_content_on":932,"hero_heading":1147,"hero_subheading":1148,"hero_text":1149,"hero_subheading_zh":1150,"hero_text_zh":1151,"hero_buttons":1152,"home_seo":1158,"page_layout":1164,"shop_enabled":1165,"contact":1166,"journey":1182},"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。",[1153,1155],{"label":1154,"link":278},"Start Your Wudang Journey",{"label":1156,"link":1157},"View Events & Courses","\u002Fevents",{"title":1159,"description":1161},{"en":1160,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":1162,"zh":1163},"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":1167,"has_any":932,"text":1175},{"email":1168,"whatsapp":1169,"wechat_id":1170,"wechat_qr_url":1171,"instagram":1172,"instagram_handle":1173,"facebook":1174,"facebook_handle":1173},"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":1176,"china_heading_zh":1177,"china_company_en":1178,"china_company_zh":1179,"china_address_en":1180,"china_address_zh":1181},"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":932},{"data":1184},{"to":763,"type":1185,"available_locales":1186,"is_content_page":932,"title":1187,"subtitle":1188,"body":1191,"hero_image_url":1194,"hero_width":1195,"hero_height":1196,"hero_image_alt":1197,"hero_image_decorative":1165,"hero_credit":1200,"hero_alt":1205,"hero_style":1206,"card_layout":1207,"link_type":3,"link_ref":3,"seo_title":1208,"seo_description":1211,"children":1214},"page",[904,905,906],{"en":764,"zh":765},{"en":1189,"zh":1190},"Read silk, nylon-wound metal and composite guqin strings through making, touch, acoustics, evidence and responsible use.","從製作、手感、聲學、證據與謹慎使用出發，認識絲絃、尼龍包金屬弦與複合弦。",{"en":1192,"zh":1193},"\u003Ch2>Strings belong to an instrument, a player and a room\u003C\u002Fh2>\u003Ch3>Do not turn material into a quality ladder\u003C\u002Fh3>\u003Cp>A guqin string works with the instrument’s arch, lacquered surface, nuts, cords, tuning, the player’s touch and the listening space. Silk, nylon-wound metal and other composite constructions do not carry a fixed rank outside that system. Start with the visible route of the seven strings in our \u003Ca href=\"\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin\">guqin anatomy guide\u003C\u002Fa>, then ask what a material enables, demands and changes on one identified instrument.\u003C\u002Fp>\u003Ch3>A comparison needs controlled conditions\u003C\u002Fh3>\u003Cp>Two recordings are not evidence about string material alone if instrument, player, pitch, microphone, room or processing also changes. The \u003Ca href=\"https:\u002F\u002Fdoi.org\u002F10.30819\u002F5685.03\">performance-practice study by Hoh Chung Shih\u003C\u002Fa> places silk and steel-string acoustics beside technique and aesthetic choices rather than treating timbre as a property of a cord in isolation. Listen comparatively, but record the conditions before declaring one sample warmer, brighter, quieter or more authentic.\u003C\u002Fp>\u003Ch2>Museum strings are often replacements, not a preserved original setup\u003C\u002Fh2>\u003Ch3>Read the catalogue field before the photograph\u003C\u002Fh3>\u003Cp>The National Museum of Asian Art catalogues the qin \u003Ca href=\"https:\u002F\u002Fasia.si.edu\u002Fexplore-art-culture\u002Fcollections\u002Fsearch\u002Fedanmdm%3Afsg_F1915.100\u002F\">\u003Cem>Dragon’s Moan\u003C\u002Fem>\u003C\u002Fa> with silk strings while explicitly identifying its pegs, keys and strings as replacements. That distinction matters: the object can document body, lacquer, inscriptions and later museum history without proving which strings it carried in every earlier period.\u003C\u002Fp>\u003Ch3>One record can describe a present configuration\u003C\u002Fh3>\u003Cp>The same museum’s \u003Ca href=\"https:\u002F\u002Fasia.si.edu\u002Fexplore-art-culture\u002Fcollections\u002Fsearch\u002Fedanmdm%3Afsg_F1999.8\u002F\">\u003Cem>Spring Breeze\u003C\u002Fem>\u003C\u002Fa> record describes seven silk strings and their route over the instrument. It is useful evidence for how that catalogued qin is now presented. It is not a licence to assume that every old qin retains ancient strings, or that a current string determines the date of the body. Separate the object, the fitted string set and the date of each.\u003C\u002Fp>\u003Ch2>Silk strings are engineered cords\u003C\u002Fh2>\u003Ch3>Twist and gauge come before romance\u003C\u002Fh3>\u003Cp>The Metropolitan Museum’s \u003Ca href=\"https:\u002F\u002Fwww.metmuseum.org\u002Fessays\u002Fthe-qin\">overview of the qin\u003C\u002Fa> describes the established seven-string form with twisted silk strings of different thicknesses. A silk string is therefore not a single raw filament: many filaments are selected, combined and twisted; thicker strings may receive an additional wrapping. Gauge, twist and finishing affect mass, feel and response.\u003C\u002Fp>\u003Ch3>Historic recipes are material evidence, not instructions for home conservation\u003C\u002Fh3>\u003Cp>A 2023 \u003Ca href=\"https:\u002F\u002Fwww.arkat-usa.org\u002Fget-file\u002F79604\u002F\">technical review of guqin materials\u003C\u002Fa> compares written recipes with scientific knowledge and notes collagen, starch and plant-derived components in historical silk-string coatings. Formulae vary by text and workshop. The finding explains why the cord’s surface is made, not merely grown; it does not justify applying an old recipe to an instrument or museum object without a qualified maker or conservator.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FGn3Ul39DZWjZRUMYdSTP.webp\" alt=\"Close conceptual comparison of a twisted golden silk cord, pale synthetic cord and dark wound string on a cool workbench, with no labels.\" loading=\"lazy\">\u003Cfigcaption>AI-generated conceptual material study. The three generic samples clarify construction categories; they do not document a named maker, historic string set or laboratory specimen.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>Modern labels need to be unpacked\u003C\u002Fh2>\u003Ch3>‘Metal string’ usually names a construction, not a bare wire\u003C\u002Fh3>\u003Cp>Modern guqin strings are commonly described as a metal core with a synthetic winding, while other products use polymer or hybrid cores and windings. English, Chinese and commercial names are not perfectly consistent. Ask for the core, outer winding, gauge, intended pitch and maker’s compatibility guidance instead of relying on ‘steel,’ ‘nylon,’ ‘composite’ or ‘silk-like’ as complete descriptions.\u003C\u002Fp>\u003Ch3>The twentieth-century transition was uneven\u003C\u002Fh3>\u003Cp>An acoustics study from the Helsinki University of Technology and partner institutions reports that silk was traditional and that steel–nylon strings became predominant after the 1950s; its measured instrument used one specified modern set. That is evidence for a major change, not a single overnight replacement everywhere. Workshops, teachers, regions and individual players adopted materials at different times, and renewed silk-string making belongs to the continuing story.\u003C\u002Fp>\u003Ch2>Material changes touch as well as tone\u003C\u002Fh2>\u003Ch3>Open, stopped and harmonic tones meet the string differently\u003C\u002Fh3>\u003Cp>Guqin playing combines open strings, pressed or stopped tones and harmonics. The right hand excites the string while the left hand may press, slide and shape pitch on the lacquered surface. The \u003Ca href=\"https:\u002F\u002Fwww2.cs.uregina.ca\u002F~gerhard\u002Fpublications\u002FDingY.pdf\">acoustic modelling study\u003C\u002Fa> treats slides and harmonics as central expressive events. Surface texture, tension and mass can therefore alter attack, resistance, sustain and the audibility of contact, but the player adapts technique in response.\u003C\u002Fp>\u003Ch3>Sliding sound is not automatically a defect\u003C\u002Fh3>\u003Cp>On the guqin, movement between pitch positions can make the travelling hand audible. That sound may be structurally and aesthetically meaningful, although unwanted scratch, buzz or impact can also signal a technical or setup problem. Learn the gesture through our \u003Ca href=\"\u002Farts\u002Fguqin\u002Fplaying-technique-and-notation\">playing and notation guide\u003C\u002Fa> and a teacher; do not diagnose a string solely from an isolated close-miked noise.\u003C\u002Fp>\u003Ch2>Sound claims need a method\u003C\u002Fh2>\u003Ch3>A laboratory result describes its test system\u003C\u002Fh3>\u003Cp>The published physical model measured a 1999 guqin with a named steel–nylon string set under controlled conditions. Its spectra and models illuminate attack, decay, inharmonicity and gesture for that system. They do not rank all strings or predict how another body, set, pitch or room will sound. Technical precision begins by preserving the boundaries of the experiment.\u003C\u002Fp>\u003Ch3>A listening test should change one variable at a time\u003C\u002Fh3>\u003Cp>If practical circumstances allow, compare the same instrument, player, passage, tuning, room and microphone position before and after a documented string change. Allow for settling and retuning, and write down what the player feels separately from what listeners hear. Volume, sustain, tactile resistance, sliding noise and tuning stability are different observations; combining them into one word such as ‘better’ hides useful evidence.\u003C\u002Fp>\u003Ch2>Historically informed choice is still an interpretation\u003C\u002Fh2>\u003Ch3>Old material does not recreate an old performance by itself\u003C\u002Fh3>\u003Cp>Using silk may be appropriate for a historically informed project, especially when tablature, period writings, technique and instrument are studied together. It does not recover a lost performance automatically: historical gauges, pitch levels, recipes, rooms and individual touch are incompletely documented. Our \u003Ca href=\"\u002Farts\u002Fguqin\u002Fhow-to-read-guqin-handbook-tablature-editions-dapu\">guide to handbooks, tablature and dapu\u003C\u002Fa> explains why reconstructing sound from notation requires explicit choices.\u003C\u002Fp>\u003Ch3>Practitioner testimony should remain identified as testimony\u003C\u002Fh3>\u003Cp>Player-researcher John Thompson’s \u003Ca href=\"https:\u002F\u002Fwww.silkqin.com\u002F03qobj\u002Fstrings\u002Fhz2010.htm\">comparative string work\u003C\u002Fa> combines measurement with decades of silk- and metal-string experience. It is valuable precisely because its standpoint and instruments are stated. Read preferences about refinement, damage, projection or technique as situated expert testimony, then compare them with catalogue records, technical studies and other players rather than turning one experience into a universal law.\u003C\u002Fp>\u003Ch2>Choose and change strings responsibly\u003C\u002Fh2>\u003Ch3>Compatibility comes before fashion\u003C\u002Fh3>\u003Cp>Before buying a set, identify the instrument’s maker, present setup, condition, current pitch, playing environment and teacher’s method. Ask whether the proposed tension, gauge and attachment method suit that specific qin. Climate and use affect tuning and wear, but no material is maintenance-free. For the support beneath the instrument, consult our \u003Ca href=\"\u002Farts\u002Fguqin\u002Fguqin-tables-playing-spaces\">guqin tables and playing spaces guide\u003C\u002Fa>.\u003C\u002Fp>\u003Ch3>Do not experiment on an old or fragile qin\u003C\u002Fh3>\u003Cp>Replacement strings can change loads and contact on the lacquered surface. An antique, cracked, repaired or poorly documented instrument needs assessment by a qualified guqin maker or musical-instrument conservator before restringing. Museum objects are evidence, not practice equipment. Do not add coatings, adjust structural parts or test higher tension as a casual experiment.\u003C\u002Fp>\u003Ch2>Use a seven-question string record\u003C\u002Fh2>\u003Ch3>Write observations before conclusions\u003C\u002Fh3>\u003Cp>For any set, record: (1) stated core material; (2) outer winding or coating; (3) gauge and intended pitch; (4) maker and date; (5) instrument and setup; (6) room, microphone and repertoire used for comparison; and (7) what changed in touch, tuning and sound. Unknown is an honest entry. This record makes later comparison more useful than a verdict based on memory.\u003C\u002Fp>\u003Ch3>Continue from material to music\u003C\u002Fh3>\u003Cp>Place strings within the wider \u003Ca href=\"\u002Farts\u002Fguqin\">guqin learning route\u003C\u002Fa>: begin with \u003Ca href=\"\u002Farts\u002Fguqin\u002Forigins-history-of-the-guqin\">history\u003C\u002Fa>, examine \u003Ca href=\"\u002Farts\u002Fguqin\u002Freading-guqin-lacquer-layers-crack-patterns-repair\">lacquer and repair\u003C\u002Fa>, and listen through the \u003Ca href=\"\u002Farts\u002Fguqin\u002Ffurther-listening-and-study\">further-study guide\u003C\u002Fa>. UNESCO’s \u003Ca href=\"https:\u002F\u002Fich.unesco.org\u002Fen\u002FRL\u002Fguqin-and-its-music-00061\">guqin heritage record\u003C\u002Fa> concerns a living musical practice; strings matter because people make, fit, touch, hear and teach them.\u003C\u002Fp>","\u003Ch2>琴絃屬於琴、演奏者與空間共同構成的系統\u003C\u002Fh2>\u003Ch3>不要把材質排成高下階梯\u003C\u002Fh3>\u003Cp>琴絃要與琴面弧度、漆層、嶽山與龍齦、絨扣、定弦、指法和聽音空間共同工作。絲絃、尼龍包金屬弦以及其他複合結構，離開具體系統便沒有固定的高下。先借助本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin\">古琴結構指南\u003C\u002Fa>看清七絃的走向，再問某種材料在一張明確的琴上允許什麼、要求什麼、改變什麼。\u003C\u002Fp>\u003Ch3>比較必須控制條件\u003C\u002Fh3>\u003Cp>若琴體、演奏者、音高、麥克風、房間或後期處理同時改變，兩段錄音便不能只說明弦材差異。\u003Ca href=\"https:\u002F\u002Fdoi.org\u002F10.30819\u002F5685.03\">Hoh Chung Shih 的演奏實踐研究\u003C\u002Fa>把絲絃與鋼弦的聲學現象放在技法和審美選擇中討論，而不把音色當作繩材孤立的屬性。可以比較聆聽，但在說“溫潤”“明亮”“安靜”或“更真實”以前，先記錄條件。\u003C\u002Fp>\u003Ch2>博物館琴上的弦常是後配件，並非原裝遺存\u003C\u002Fh2>\u003Ch3>先讀目錄欄位，再看照片\u003C\u002Fh3>\u003Cp>美國國立亞洲藝術博物館為古琴\u003Ca href=\"https:\u002F\u002Fasia.si.edu\u002Fexplore-art-culture\u002Fcollections\u002Fsearch\u002Fedanmdm%3Afsg_F1915.100\u002F\">“龍吟”\u003C\u002Fa>登記了絲絃，同時明確說明琴軫、琴鑰與弦均為後配。這個區別很重要：琴體、漆層、銘刻和入藏後的經歷仍可作為證據，卻不能證明它在各個歷史時期都裝著同一套弦。\u003C\u002Fp>\u003Ch3>一條記錄只能描述當前所見狀態\u003C\u002Fh3>\u003Cp>同館的\u003Ca href=\"https:\u002F\u002Fasia.si.edu\u002Fexplore-art-culture\u002Fcollections\u002Fsearch\u002Fedanmdm%3Afsg_F1999.8\u002F\">“春風”琴\u003C\u002Fa>條目記錄七根絲絃及其在琴上的穿系路徑，可用於理解該館目前展示的狀態。它不能讓我們據此斷定所有古琴都保留古絃，也不能用現有琴絃為琴體斷代。應分別記錄琴體、所配弦組以及二者各自的年代。\u003C\u002Fp>\u003Ch2>絲絃是經過設計與製作的繩索\u003C\u002Fh2>\u003Ch3>先看合股、捻制與粗細，再談古意\u003C\u002Fh3>\u003Cp>大都會藝術博物館的\u003Ca href=\"https:\u002F\u002Fwww.metmuseum.org\u002Fessays\u002Fthe-qin\">古琴概述\u003C\u002Fa>指出，成熟的七絃形制使用粗細不同的捻制絲絃。一根絲絃並非一根生絲，而是把多根絲縷選擇、合股、捻緊；較粗的弦還可能另加纏絲。規格、捻度與表面處理都會影響質量、觸感與響應。\u003C\u002Fp>\u003Ch3>舊配方是材料史證據，不是家庭修復說明\u003C\u002Fh3>\u003Cp>2023年的\u003Ca href=\"https:\u002F\u002Fwww.arkat-usa.org\u002Fget-file\u002F79604\u002F\">古琴材料技術綜述\u003C\u002Fa>把文獻配方與科學知識對讀，並討論歷史絲絃塗層中的膠原、澱粉與植物成分。不同文獻和作坊的配方並不一致。這說明弦面是“做”出來的，而不只是“長”出來的；卻不意味著可以在沒有琴師或修復師指導時把古配方塗到古琴或藏品上。\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FGn3Ul39DZWjZRUMYdSTP.webp\" alt=\"冷色工作臺上並列展示金色捻絲繩、淺色合成繩與深色纏繞弦的概念性近景，無文字標籤。\" loading=\"lazy\">\u003Cfigcaption>AI生成的材料比較示意圖。三種通用樣本用於說明結構類別，不代表特定製弦師、歷史弦組或實驗室樣品。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>現代名稱必須拆開來看\u003C\u002Fh2>\u003Ch3>“鋼弦”通常是結構簡稱，而非裸金屬絲\u003C\u002Fh3>\u003Cp>現代古琴絃常見金屬芯外包合成材料，也有聚合物芯或混合芯與不同纏繞方式。中英文和商品名並不完全對應。與其把“鋼絲”“尼龍”“複合”或“仿絲”當作完整說明，不如詢問芯材、外層、規格、適用音高以及製作者給出的匹配條件。\u003C\u002Fp>\u003Ch3>二十世紀的轉換並非處處同時發生\u003C\u002Fh3>\u003Cp>赫爾辛基理工大學等機構的聲學論文指出，絲絃是傳統材料，而鋼絲尼龍弦在1950年代以後逐漸佔主流；其測量物件只使用一套明確的現代弦。這個結論說明一次重要變化，卻不等於各地一夜之間全部更換。作坊、老師、地區和個人採用新材料的時間不同，近年的絲絃復興也是這段歷史的一部分。\u003C\u002Fp>\u003Ch2>材質會改變手感，也會改變音響\u003C\u002Fh2>\u003Ch3>散音、按音與泛音接觸琴絃的方式不同\u003C\u002Fh3>\u003Cp>古琴演奏結合散音、按音和泛音。右手激發琴絃，左手則可能按弦、走手、吟猱和改變音高。\u003Ca href=\"https:\u002F\u002Fwww2.cs.uregina.ca\u002F~gerhard\u002Fpublications\u002FDingY.pdf\">聲學建模研究\u003C\u002Fa>把走手與泛音視為核心表現事件。因此，表面紋理、張力和質量會影響起音、阻力、延續與接觸聲；與此同時，演奏者也會調整技法。\u003C\u002Fp>\u003Ch3>走手聲不必然是雜音\u003C\u002Fh3>\u003Cp>左手在徽位之間移動時，運動本身可能被聽見，併成為琴樂結構與審美的一部分。當然，刺耳摩擦、打板或雜音也可能表示技法或設定問題。應結合本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Fplaying-technique-and-notation\">演奏與減字譜指南\u003C\u002Fa>並請教老師，而不要僅憑一段近距離錄下的聲響判斷絃的好壞。\u003C\u002Fp>\u003Ch2>判斷聲音需要方法\u003C\u002Fh2>\u003Ch3>實驗結果只描述所測試的系統\u003C\u002Fh3>\u003Cp>上述物理模型測量的是一張1999年製作、配特定鋼絲尼龍弦的古琴。頻譜和模型能解釋該系統的起音、衰減、非諧性與動作，卻不能給所有弦排序，也不能預測另一張琴、另一套弦、另一種音高或房間的結果。技術上的嚴謹，首先是守住實驗邊界。\u003C\u002Fp>\u003Ch3>聽音測試一次只改一個變數\u003C\u002Fh3>\u003Cp>條件允許時，應在同一張琴、同一位演奏者、同一段樂曲、同一定弦、房間與麥克風位置下，記錄換弦前後；同時留出穩定與復調時間。把演奏者的觸感和聽者的聽感分開記錄。音量、延音、手感阻力、走手聲與定弦穩定性是不同指標；把它們壓成一個“更好”，反而丟失證據。\u003C\u002Fp>\u003Ch2>歷史化選擇仍然是一種解釋\u003C\u002Fh2>\u003Ch3>使用舊材料不會自動復原舊演奏\u003C\u002Fh3>\u003Cp>在同時研究琴譜、時代文獻、技法與琴體時，使用絲絃可以是有根據的歷史演奏選擇。但它不會自動帶回失去的聲音：舊時規格、音高、配方、房間和個人手法都只有不完整記錄。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Fhow-to-read-guqin-handbook-tablature-editions-dapu\">琴譜、版本與打譜指南\u003C\u002Fa>說明了為什麼從譜字重建聲音必須公開選擇。\u003C\u002Fp>\u003Ch3>演奏者經驗應明確標為經驗\u003C\u002Fh3>\u003Cp>古琴演奏者與研究者John Thompson的\u003Ca href=\"https:\u002F\u002Fwww.silkqin.com\u002F03qobj\u002Fstrings\u002Fhz2010.htm\">琴絃比較\u003C\u002Fa>結合測量與數十年的絲絃、金屬弦實踐。它的價值正在於作者立場與所用琴明確。關於韻味、損耗、音量或技法的判斷，應作為有情境的專家經驗來讀，並與藏品記錄、技術研究和其他演奏者互證，而不是提升成普遍規律。\u003C\u002Fp>\u003Ch2>選弦與換弦都應謹慎\u003C\u002Fh2>\u003Ch3>匹配性優先於風尚\u003C\u002Fh3>\u003Cp>購買前先確認制琴者、現有設定、琴況、音高、使用環境與老師的教學方法，再詢問張力、規格與穿系方式是否適合這張琴。氣候和使用會影響定弦與磨損，但沒有任何材料可以免維護。琴下的承托環境可參閱本站\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Fguqin-tables-playing-spaces\">琴桌與演奏空間指南\u003C\u002Fa>。\u003C\u002Fp>\u003Ch3>不要在古舊或脆弱琴上試驗\u003C\u002Fh3>\u003Cp>換弦會改變張力以及弦與漆面的接觸。古琴若年代久、漆層開裂、曾修補或記錄不清，應由合格的斫琴師或樂器修復師評估後再換弦。博物館藏品是證據，不是練習工具；不要自行加塗層、調整結構或試驗更高張力。\u003C\u002Fp>\u003Ch2>建立一份七問琴絃記錄\u003C\u002Fh2>\u003Ch3>先寫觀察，再下結論\u003C\u002Fh3>\u003Cp>記錄每套弦的：（1）標稱芯材；（2）外層纏繞或塗層；（3）規格與適用音高；（4）製作者與日期；（5）所用琴及設定；（6）比較時的房間、麥克風與曲目；（7）手感、定弦和音響有何變化。不知道就寫“不詳”。這樣的記錄比憑印象判優劣更便於以後比較。\u003C\u002Fp>\u003Ch3>從材料回到音樂\u003C\u002Fh3>\u003Cp>把琴絃放回完整的\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\">古琴學習路徑\u003C\u002Fa>：先讀\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Forigins-history-of-the-guqin\">古琴史\u003C\u002Fa>，再看\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Freading-guqin-lacquer-layers-crack-patterns-repair\">漆層與修復\u003C\u002Fa>，並沿\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Ffurther-listening-and-study\">延伸聆聽指南\u003C\u002Fa>繼續。聯合國教科文組織的\u003Ca href=\"https:\u002F\u002Fich.unesco.org\u002Fen\u002FRL\u002Fguqin-and-its-music-00061\">古琴藝術名錄\u003C\u002Fa>關注的是活態音樂實踐；琴絃之所以重要，正因為有人制作、安裝、觸碰、聆聽並傳授它。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FmkltdpCqxQxL6i0E18yc.webp",1672,941,{"en":1198,"zh":1199},"Conceptual photograph of a fictional seven-string guqin beside raw silk fibre and a coiled pale cord in warm window light.","暖色窗光下，一張虛構的七絃古琴旁放著生絲纖維與盤繞淺色弦的概念照片。",{"caption":1201,"creator":1202,"source_url":3,"license_label":1203,"license_url":3,"changes":1204},"AI生成的虛構古琴與通用絲材概念照片，並非真實琴器、作坊或歷史復原。","OpenAI","AI-generated conceptual image; non-documentary","為本文教育用途生成；不以真實器物或地點充當證據。",{"en":1198,"zh":1199},"banner","list",{"en":1209,"zh":1210},"Guqin Strings: Silk, Metal-Nylon and Composites","古琴琴絃：絲絃、鋼絲尼龍弦與複合弦",{"en":1212,"zh":1213},"Learn how guqin string construction changes touch and sound, how to read museum evidence, and how to compare silk and modern strings responsibly.","瞭解古琴絃結構如何影響手感與音響，怎樣閱讀博物館證據，以及如何謹慎比較絲絃與現代弦。",[],{"data":1216},[1217,1293,1394,1485],{"id":1218,"slug":1219,"available_locales":1220,"path":1221,"title":1222,"venue":1225,"hero_image_url":3,"card_image_url":1228,"card_landscape_url":1229,"lifecycle":1230,"session_mode":1231,"sessions":1232,"next_session":1292},15601,"liu-yao-beginner-course",[904,905,906],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":1223,"zh":1224},"Liu Yao Beginner 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2026","2026年11月1日","Nov","November",2026,"Sun",{"status":1234,"date_slug":1253,"time_label":1236,"timezone_abbr":1237,"date_label":1254,"date_label_fr":1255,"date_short_fr":1256,"date_only_fr":1257,"date_range_label_fr":3,"time_label_fr":1242,"date_label_zh":1258,"date_short":1259,"date_short_zh":1260,"date_only":1261,"date_only_zh":1262,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1263,"month_short":1248,"month_long":1249,"month_num":1057,"year":1250,"weekday_short":1264,"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":1234,"date_slug":1266,"time_label":1236,"timezone_abbr":1237,"date_label":1267,"date_label_fr":1268,"date_short_fr":1269,"date_only_fr":1270,"date_range_label_fr":3,"time_label_fr":1242,"date_label_zh":1271,"date_short":1272,"date_short_zh":1273,"date_only":1274,"date_only_zh":1275,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":147,"month_short":1276,"month_long":1277,"month_num":147,"year":1250,"weekday_short":1264,"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":1234,"date_slug":1279,"time_label":1236,"timezone_abbr":1237,"date_label":1280,"date_label_fr":1281,"date_short_fr":1282,"date_only_fr":1283,"date_range_label_fr":3,"time_label_fr":1242,"date_label_zh":1284,"date_short":1285,"date_short_zh":1286,"date_only":1287,"date_only_zh":1288,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":137,"month_short":1289,"month_long":1290,"month_num":38,"year":1291,"weekday_short":1251,"weekday_index":931},"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":1234,"date_slug":1235,"time_label":1236,"timezone_abbr":1237,"date_label":1238,"date_label_fr":1239,"date_short_fr":1240,"date_only_fr":1241,"date_range_label_fr":3,"time_label_fr":1242,"date_label_zh":1243,"date_short":1244,"date_short_zh":1245,"date_only":1246,"date_only_zh":1247,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1248,"month_long":1249,"month_num":1057,"year":1250,"weekday_short":1251,"weekday_index":931},{"id":1294,"slug":1295,"available_locales":1296,"path":1297,"title":1298,"venue":1301,"hero_image_url":1302,"card_image_url":1302,"card_landscape_url":1303,"lifecycle":1230,"session_mode":1231,"sessions":1304,"next_session":1393},78700,"baduanjin-workshop-september",[904,905,906],"\u002Fevents\u002Finternal-arts-wellness\u002Fbaduanjin-workshop-september",{"en":1299,"zh":1300},"Baduanjin Workshop — November 2026 Sessions","古法八段錦 · 2026年11月班",{"en":1226,"zh":1227},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FWU46jadRUq4I84xPdaTQ.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002Fvariants\u002FCQB6xxmg8kF7eqWPQgAl-16x9.webp",[1305,1322,1334,1347,1358,1359,1370,1381],{"status":1306,"date_slug":1307,"time_label":1308,"timezone_abbr":1237,"date_label":1309,"date_label_fr":1310,"date_short_fr":1311,"date_only_fr":1312,"date_range_label_fr":3,"time_label_fr":1313,"date_label_zh":1314,"date_short":1315,"date_short_zh":1316,"date_only":1317,"date_only_zh":1318,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1319,"month_short":1320,"month_long":1321,"month_num":16,"year":1250,"weekday_short":1251,"weekday_index":931},"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":1306,"date_slug":1323,"time_label":1308,"timezone_abbr":1237,"date_label":1324,"date_label_fr":1325,"date_short_fr":1326,"date_only_fr":1327,"date_range_label_fr":3,"time_label_fr":1313,"date_label_zh":1328,"date_short":1329,"date_short_zh":1330,"date_only":1331,"date_only_zh":1332,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1333,"month_short":1320,"month_long":1321,"month_num":16,"year":1250,"weekday_short":1251,"weekday_index":931},"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 2026","2026年9月27日",27,{"status":1306,"date_slug":1335,"time_label":1308,"timezone_abbr":1237,"date_label":1336,"date_label_fr":1337,"date_short_fr":1338,"date_only_fr":1339,"date_range_label_fr":3,"time_label_fr":1313,"date_label_zh":1340,"date_short":1341,"date_short_zh":1342,"date_only":1343,"date_only_zh":1344,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":247,"month_short":1345,"month_long":1346,"month_num":960,"year":1250,"weekday_short":1251,"weekday_index":931},"2026-10-04","Sunday, 4 October 2026","dimanche 4 octobre 2026","dim. 4 oct.","4 oct. 2026","2026年10月4日 星期日","Sun 4 Oct","10月4日 週日","4 Oct 2026","2026年10月4日","Oct","October",{"status":1306,"date_slug":1348,"time_label":1308,"timezone_abbr":1237,"date_label":1349,"date_label_fr":1350,"date_short_fr":1351,"date_only_fr":1352,"date_range_label_fr":3,"time_label_fr":1313,"date_label_zh":1353,"date_short":1354,"date_short_zh":1355,"date_only":1356,"date_only_zh":1357,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1057,"month_short":1345,"month_long":1346,"month_num":960,"year":1250,"weekday_short":1251,"weekday_index":931},"2026-10-11","Sunday, 11 October 2026","dimanche 11 octobre 2026","dim. 11 oct.","11 oct. 2026","2026年10月11日 星期日","Sun 11 Oct","10月11日 週日","11 Oct 2026","2026年10月11日",{"status":1234,"date_slug":1235,"time_label":1308,"timezone_abbr":1237,"date_label":1238,"date_label_fr":1239,"date_short_fr":1240,"date_only_fr":1241,"date_range_label_fr":3,"time_label_fr":1313,"date_label_zh":1243,"date_short":1244,"date_short_zh":1245,"date_only":1246,"date_only_zh":1247,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1248,"month_long":1249,"month_num":1057,"year":1250,"weekday_short":1251,"weekday_index":931},{"status":1234,"date_slug":1360,"time_label":1308,"timezone_abbr":1237,"date_label":1361,"date_label_fr":1362,"date_short_fr":1363,"date_only_fr":1364,"date_range_label_fr":3,"time_label_fr":1313,"date_label_zh":1365,"date_short":1366,"date_short_zh":1367,"date_only":1368,"date_only_zh":1369,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":212,"month_short":1248,"month_long":1249,"month_num":1057,"year":1250,"weekday_short":1251,"weekday_index":931},"2026-11-08","Sunday, 8 November 2026","dimanche 8 novembre 2026","dim. 8 nov.","8 nov. 2026","2026年11月8日 星期日","Sun 8 Nov","11月8日 週日","8 Nov 2026","2026年11月8日",{"status":1234,"date_slug":1371,"time_label":1308,"timezone_abbr":1237,"date_label":1372,"date_label_fr":1373,"date_short_fr":1374,"date_only_fr":1375,"date_range_label_fr":3,"time_label_fr":1313,"date_label_zh":1376,"date_short":1377,"date_short_zh":1378,"date_only":1379,"date_only_zh":1380,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":152,"month_short":1248,"month_long":1249,"month_num":1057,"year":1250,"weekday_short":1251,"weekday_index":931},"2026-11-15","Sunday, 15 November 2026","dimanche 15 novembre 2026","dim. 15 nov.","15 nov. 2026","2026年11月15日 星期日","Sun 15 Nov","11月15日 週日","15 Nov 2026","2026年11月15日",{"status":1234,"date_slug":1382,"time_label":1308,"timezone_abbr":1237,"date_label":1383,"date_label_fr":1384,"date_short_fr":1385,"date_only_fr":1386,"date_range_label_fr":3,"time_label_fr":1313,"date_label_zh":1387,"date_short":1388,"date_short_zh":1389,"date_only":1390,"date_only_zh":1391,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1392,"month_short":1248,"month_long":1249,"month_num":1057,"year":1250,"weekday_short":1251,"weekday_index":931},"2026-11-22","Sunday, 22 November 2026","dimanche 22 novembre 2026","dim. 22 nov.","22 nov. 2026","2026年11月22日 星期日","Sun 22 Nov","11月22日 週日","22 Nov 2026","2026年11月22日",22,{"status":1234,"date_slug":1235,"time_label":1308,"timezone_abbr":1237,"date_label":1238,"date_label_fr":1239,"date_short_fr":1240,"date_only_fr":1241,"date_range_label_fr":3,"time_label_fr":1313,"date_label_zh":1243,"date_short":1244,"date_short_zh":1245,"date_only":1246,"date_only_zh":1247,"is_multi_day":1165,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1248,"month_long":1249,"month_num":1057,"year":1250,"weekday_short":1251,"weekday_index":931},{"id":1395,"slug":1396,"available_locales":1397,"path":1398,"title":1399,"venue":1402,"hero_image_url":3,"card_image_url":1403,"card_landscape_url":1404,"lifecycle":1230,"session_mode":1231,"sessions":1405,"next_session":1484},11823,"i-ching-beginner-course-singapore",[904,905],"\u002Fevents\u002Fi-ching-learning\u002Fi-ching-beginner-course-singapore",{"en":1400,"zh":1401},"I Ching Beginner Course in 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2026","2026年10月19日","19–24 Oct 2026","2026年10月19日–24日","Mon",{"status":1234,"date_slug":1424,"time_label":1408,"timezone_abbr":1237,"date_label":1425,"date_label_fr":1426,"date_short_fr":1427,"date_only_fr":1428,"date_range_label_fr":1429,"time_label_fr":1414,"date_label_zh":1430,"date_short":1431,"date_short_zh":1432,"date_only":1433,"date_only_zh":1434,"is_multi_day":932,"date_range_label":1435,"date_range_label_zh":1436,"day_of_month":1437,"month_short":1248,"month_long":1249,"month_num":1057,"year":1250,"weekday_short":1422,"weekday_index":38},"2026-11-16","Monday, 16 November 2026","lundi 16 novembre 2026","lun. 16 nov.","16 nov. 2026","16 nov. 2026 – 21 nov. 2026","2026年11月16日 星期一","Mon 16 Nov","11月16日 週一","16 Nov 2026","2026年11月16日","16–21 Nov 2026","2026年11月16日–21日",16,{"status":1234,"date_slug":1439,"time_label":1408,"timezone_abbr":1237,"date_label":1440,"date_label_fr":1441,"date_short_fr":1442,"date_only_fr":1443,"date_range_label_fr":1444,"time_label_fr":1414,"date_label_zh":1445,"date_short":1446,"date_short_zh":1447,"date_only":1448,"date_only_zh":1449,"is_multi_day":932,"date_range_label":1450,"date_range_label_zh":1451,"day_of_month":1452,"month_short":1276,"month_long":1277,"month_num":147,"year":1250,"weekday_short":1422,"weekday_index":38},"2026-12-14","Monday, 14 December 2026","lundi 14 décembre 2026","lun. 14 déc.","14 déc. 2026","14 déc. 2026 – 19 déc. 2026","2026年12月14日 星期一","Mon 14 Dec","12月14日 週一","14 Dec 2026","2026年12月14日","14–19 Dec 2026","2026年12月14日–19日",14,{"status":1234,"date_slug":1454,"time_label":1408,"timezone_abbr":1237,"date_label":1455,"date_label_fr":1456,"date_short_fr":1457,"date_only_fr":1458,"date_range_label_fr":1459,"time_label_fr":1414,"date_label_zh":1460,"date_short":1461,"date_short_zh":1462,"date_only":1463,"date_only_zh":1464,"is_multi_day":932,"date_range_label":1465,"date_range_label_zh":1466,"day_of_month":1467,"month_short":1289,"month_long":1290,"month_num":38,"year":1291,"weekday_short":1422,"weekday_index":38},"2027-01-18","Monday, 18 January 2027","lundi 18 janvier 2027","lun. 18 janv.","18 janv. 2027","18 janv. 2027 – 23 janv. 2027","2027年1月18日 星期一","Mon 18 Jan","1月18日 週一","18 Jan 2027","2027年1月18日","18–23 Jan 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2026","2026年12月25日–27日",25,{"status":1234,"date_slug":1532,"time_label":1501,"timezone_abbr":1237,"date_label":1533,"date_label_fr":1534,"date_short_fr":1535,"date_only_fr":1536,"date_range_label_fr":1537,"time_label_fr":1507,"date_label_zh":1538,"date_short":1539,"date_short_zh":1540,"date_only":1541,"date_only_zh":1542,"is_multi_day":932,"date_range_label":1543,"date_range_label_zh":1544,"day_of_month":1545,"month_short":1289,"month_long":1290,"month_num":38,"year":1291,"weekday_short":1515,"weekday_index":69},"2027-01-29","Friday, 29 January 2027","vendredi 29 janvier 2027","ven. 29 janv.","29 janv. 2027","29 janv. 2027 – 31 janv. 2027","2027年1月29日 星期五","Fri 29 Jan","1月29日 週五","29 Jan 2027","2027年1月29日","29–31 Jan 2027","2027年1月29日–31日",29,{"status":1234,"date_slug":1500,"time_label":1501,"timezone_abbr":1237,"date_label":1502,"date_label_fr":1503,"date_short_fr":1504,"date_only_fr":1505,"date_range_label_fr":1506,"time_label_fr":1507,"date_label_zh":1508,"date_short":1509,"date_short_zh":1510,"date_only":1511,"date_only_zh":1512,"is_multi_day":932,"date_range_label":1513,"date_range_label_zh":1514,"day_of_month":1333,"month_short":1248,"month_long":1249,"month_num":1057,"year":1250,"weekday_short":1515,"weekday_index":69}]