[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"site-nav-reference-en":3,"site-nav-zh":4,"site-nav-zh-all-arts":289,"event-categories-zh":902,"site-settings":1145,"node-zh-arts\u002Fguqin\u002Freading-guqin-lacquer-layers-crack-patterns-repair":1187,"live-course-events":1219},null,{"data":5},{"header":6,"footer":264},[7,51,82,123,161,187,229,260],{"to":8,"label":9,"label_zh":10,"children":11},"\u002Fdao","TAO","道",[12,17,22,26,30,34,39,43,47],{"to":13,"label":14,"label_zh":15,"n":16},"\u002Fdao\u002Fintroduction","Begin with the Tao","道學入門",9,{"to":18,"label":19,"label_zh":20,"n":21},"\u002Fdao\u002Fyi-jing","I Ching","易經",7,{"to":23,"label":24,"label_zh":25,"n":16},"\u002Fdao\u002Fdao-de-jing","Tao Te Ching","道德經",{"to":27,"label":28,"label_zh":29,"n":21},"\u002Fdao\u002Ftaiji","Taiji","太極",{"to":31,"label":32,"label_zh":33,"n":21},"\u002Fdao\u002Fzhuang-zi","Zhuangzi","莊子",{"to":35,"label":36,"label_zh":37,"n":38},"\u002Fdao\u002Fclassics","Classical Library","道家經典文庫",1,{"to":40,"label":41,"label_zh":42},"\u002Fdao\u002Fdaoist-philosophy","Taoist Philosophy","道家哲學",{"to":44,"label":45,"label_zh":46},"\u002Fdao\u002Fwu-wei-natural-living","Wu Wei & Natural Living","無為與自然生活",{"to":48,"label":49,"label_zh":50},"\u002Fdao\u002Fdaoist-view-of-life","A Taoist View of Life","道家人生觀",{"to":52,"label":53,"label_zh":54,"children":55},"\u002Fmartial-arts","Martial Arts","武當武術",[56,61,65,70,74,78],{"to":57,"label":58,"label_zh":59,"n":60},"\u002Fmartial-arts\u002Ffoundations-internal-arts","Foundations of Internal Martial Arts","內家拳基礎",6,{"to":62,"label":63,"label_zh":64,"n":21},"\u002Fmartial-arts\u002Ftaijiquan","Taijiquan (Tai Chi)","太極拳",{"to":66,"label":67,"label_zh":68,"n":69},"\u002Fmartial-arts\u002Fbaguazhang","Baguazhang: Circle Walking, Palm Changes and Movement","八卦掌：走圈、換掌與身法變化",5,{"to":71,"label":72,"label_zh":73,"n":69},"\u002Fmartial-arts\u002Fxingyiquan","Xingyiquan: Structure, Intention and Direct Training","形意拳：結構、意念與直接訓練",{"to":75,"label":76,"label_zh":77,"n":21},"\u002Fmartial-arts\u002Fweapons","Wudang Sword and Weapons: History, Practice and Context","武當劍與兵器：歷史、練習與文化語境",{"to":79,"label":80,"label_zh":81,"n":21},"\u002Fmartial-arts\u002Ftraining-practice","Training and Practice: Building a Sustainable Wudang Routine","訓練與習練：建立可持續的武當練習",{"to":83,"label":84,"label_zh":85,"children":86},"\u002Fwellness","Wellness","養生",[87,91,95,99,103,107,111,115,119],{"to":88,"label":89,"label_zh":90,"n":21},"\u002Fwellness\u002Fqigong","Qigong","氣功",{"to":92,"label":93,"label_zh":94,"n":60},"\u002Fwellness\u002Fherbal-healing","Chinese Herbal Medicine","中藥與本草",{"to":96,"label":97,"label_zh":98,"n":60},"\u002Fwellness\u002Ftaoist-medicine","Taoist Medicine","道家醫學",{"to":100,"label":101,"label_zh":102,"n":60},"\u002Fwellness\u002Fenergy-sound-healing","Sound & Energy Practices","聲音與能量練習",{"to":104,"label":105,"label_zh":106},"\u002Fwellness\u002Fstanding-practice","Standing Practice","站樁",{"to":108,"label":109,"label_zh":110},"\u002Fwellness\u002Fwudang-internal-cultivation","Wudang Internal Cultivation","武當內修",{"to":112,"label":113,"label_zh":114},"\u002Fwellness\u002Fmoxibustion","Moxibustion","艾灸",{"to":116,"label":117,"label_zh":118},"\u002Fwellness\u002Fbigu","Bigu","辟穀",{"to":120,"label":121,"label_zh":122,"n":38},"\u002Fwellness\u002Fbaduanjin","Baduanjin (Eight Brocades)","八段錦",{"to":124,"label":125,"label_zh":126,"children":127},"\u002Farts","Literati Arts","文人雅藝",[128,133,138,143,148,153,157],{"to":129,"label":130,"label_zh":131,"n":132},"\u002Farts\u002Fchinese-poetry-literature","Chinese Poetry and Literature: Forms, Contexts and Reading Paths","中國詩詞與文學：體式、語境與閱讀路徑",49,{"to":134,"label":135,"label_zh":136,"n":137},"\u002Farts\u002Fcalligraphy","Chinese Calligraphy: Scripts, Materials and Ways of Looking","中國書法：書體、材料與觀賞入門",17,{"to":139,"label":140,"label_zh":141,"n":142},"\u002Farts\u002Ftea-ceremony","Chinese Tea Culture","中國茶文化",39,{"to":144,"label":145,"label_zh":146,"n":147},"\u002Farts\u002Fguqin","Guqin: Sound, History and Ways to Listen","古琴：認識聲音、歷史與聆聽方法",12,{"to":149,"label":150,"label_zh":151,"n":152},"\u002Farts\u002Fpainting","Chinese Painting: Materials, Formats and Ways of Looking","中國繪畫：材料、形制與觀看方法",15,{"to":154,"label":155,"label_zh":156,"n":16},"\u002Farts\u002Fincense","Chinese Incense Culture","中國香文化",{"to":158,"label":159,"label_zh":160,"n":21},"\u002Farts\u002Fflower-arrangement","Chinese Flower Arrangement: History, Materials and Ways of Looking","中國插花：歷史、花材與觀看方法",{"to":162,"label":163,"label_zh":164,"children":165},"\u002Fdaoism","Taoist Culture","道教文化",[166,170,174,178,183],{"to":167,"label":168,"label_zh":169,"n":16},"\u002Fdaoism\u002Ftaoist-deities-pantheon","Taoist Deities and the Chinese Pantheon: A Structural Guide","道教神仙與神明體系：結構與層級指南",{"to":171,"label":172,"label_zh":173,"n":21},"\u002Fdaoism\u002Ftaoist-temples-sacred-mountains","Taoist Temples and Sacred Mountains: A Guide to Places and Architecture","道教名山與宮觀：聖地、建築與制度指南",{"to":175,"label":176,"label_zh":177,"n":21},"\u002Fdaoism\u002Ftaoist-schools-lineages","Taoist Schools and Lineages: Zhengyi, Quanzhen and Historical Traditions","道教流派與傳承：正一、全真及歷史道派",{"to":179,"label":180,"label_zh":181,"n":182},"\u002Fdaoism\u002Ftaoist-festivals-rituals","Taoist Festivals and Rituals: Calendars, Offerings and Community Rites","道教節日與科儀：神誕、齋醮與歲時儀式",19,{"to":184,"label":185,"label_zh":186,"n":60},"\u002Fdaoism\u002Feight-immortals","The Eight Immortals: Origins, Symbols and Taoist Legends","八仙：人物、象徵與道教傳說",{"to":188,"label":189,"label_zh":190,"children":191},"\u002Fchinese-metaphysics","Chinese Metaphysics","易學與傳統術數",[192,196,200,204,208,213,217,221,225],{"to":193,"label":194,"label_zh":195,"n":21},"\u002Fchinese-metaphysics\u002Fyin-yang-five-elements","Yin-Yang and the Five Phases in Chinese Thought","陰陽五行：理解關係與變化",{"to":197,"label":198,"label_zh":199,"n":21},"\u002Fchinese-metaphysics\u002Fganzhi-stems-branches","Chinese Heavenly Stems and Earthly Branches (Ganzhi)","天干地支（干支）：中國曆法與術數的六十迴圈",{"to":201,"label":202,"label_zh":203,"n":21},"\u002Fchinese-metaphysics\u002Ffeng-shui","Chinese Feng Shui: Landscape, Compass Methods and Responsible Practice","中國風水：形勢、羅盤方法與負責任實踐",{"to":205,"label":206,"label_zh":207,"n":21},"\u002Fchinese-metaphysics\u002Fbazi-four-pillars","BaZi (Four Pillars of Destiny): How the Eight Characters Work","八字四柱命理：八個字如何構成命盤",{"to":209,"label":210,"label_zh":211,"n":212},"\u002Fchinese-metaphysics\u002Fzi-wei-dou-shu","Zi Wei Dou Shu (Purple Star Astrology): How the Twelve-Palace Chart Works","紫微斗數：十二宮命盤如何運作",8,{"to":214,"label":215,"label_zh":216,"n":212},"\u002Fchinese-metaphysics\u002Fdate-selection","Chinese Date Selection: How Auspicious Days Are Chosen","中國擇吉：傳統吉日如何選擇",{"to":218,"label":219,"label_zh":220,"n":21},"\u002Fchinese-metaphysics\u002Fphysiognomy","Chinese Physiognomy: Face Reading, Palm Reading and Their Limits","中國相術：面相、手相及其侷限",{"to":222,"label":223,"label_zh":224,"n":21},"\u002Fchinese-metaphysics\u002Fdivination-arts","Chinese Divination Arts: Methods, History and Responsible Use","中國占卜術：方法、歷史與負責任使用",{"to":226,"label":227,"label_zh":228,"n":21},"\u002Fchinese-metaphysics\u002Fluoshu-hetu","The Hetu, Luoshu and Nine Palaces in Chinese Cosmology","河圖、洛書與九宮：中國傳統圖式的歷史與用途",{"to":230,"label":231,"label_zh":232,"children":233},"\u002Fwudang-mountain","Experience Wudang","武當之旅",[234,238,243,248,252,256],{"to":235,"label":236,"label_zh":237,"n":21},"\u002Fwudang-mountain\u002Fintroduction","Introduction to Wudang Mountain","初識武當山",{"to":239,"label":240,"label_zh":241,"n":242},"\u002Fwudang-mountain\u002Ftemples-and-sites","Wudang Mountain Temples and Sacred Sites","武當山宮觀與勝蹟",3,{"to":244,"label":245,"label_zh":246,"n":247},"\u002Fwudang-mountain\u002Fplanning-a-visit","Planning a Visit to Wudang Mountain","武當山行前規劃指南",4,{"to":249,"label":250,"label_zh":251,"n":242},"\u002Fwudang-mountain\u002Fstudying-at-wudang","Studying Martial Arts at Wudang Mountain","在武當山學習武術",{"to":253,"label":254,"label_zh":255,"n":242},"\u002Fwudang-mountain\u002Ftemple-etiquette","Wudang Temple Etiquette: A Visitor’s Guide","武當宮觀參訪禮儀",{"to":257,"label":258,"label_zh":259,"n":69},"\u002Fwudang-mountain\u002Fpractical-reference","Wudang Mountain Practical Reference","武當山實用參考資料",{"to":261,"label":262,"label_zh":263},"\u002Fwudang-mountain\u002Feveryday-wudang","Everyday Wudang","武當日常",[265,266,267,268,269,270,271,272,273,277,281,285],{"to":8,"label":9,"label_zh":10},{"to":52,"label":53,"label_zh":54},{"to":83,"label":84,"label_zh":85},{"to":124,"label":125,"label_zh":126},{"to":162,"label":163,"label_zh":164},{"to":188,"label":189,"label_zh":190},{"to":230,"label":231,"label_zh":232},{"to":261,"label":262,"label_zh":263},{"to":274,"label":275,"label_zh":276},"\u002Fabout","About Wudang.Org","關於 Wudang.Org",{"to":278,"label":279,"label_zh":280},"\u002Fstart-here","Start Here","從這裡開始",{"to":282,"label":283,"label_zh":284},"\u002Ffind-a-practice","Find a Practice","找到適合你的修習",{"to":286,"label":287,"label_zh":288},"\u002Fteachers","Our Teachers","授課老師",{"data":290},{"all":291,"header":900,"footer":901},[292],{"to":124,"label":125,"label_zh":126,"children":293},[294,492,562,720,770,832,870],{"to":129,"label":130,"label_zh":131,"children":295},[296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,372,376,380,384,388,392,396,400,404,408,412,416,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488],{"to":297,"label":298,"label_zh":299},"\u002Farts\u002Fchinese-poetry-literature\u002Forigins-spirit-of-chinese-poetry","Origins of Chinese Poetry: Song, Text and Interpretation","中國詩歌的源流：歌唱、文本與闡釋",{"to":301,"label":302,"label_zh":303},"\u002Farts\u002Fchinese-poetry-literature\u002Fbook-of-songs-classical-foundations","The Book of Songs: Voices, Performance and Interpretation","《詩經》：聲音、禮樂與闡釋",{"to":305,"label":306,"label_zh":307},"\u002Farts\u002Fchinese-poetry-literature\u002Ftang-poetry-golden-age","Tang Poetry: Forms, Voices and a Lasting Canon","唐詩：體式、聲音與經典的形成",{"to":309,"label":310,"label_zh":311},"\u002Farts\u002Fchinese-poetry-literature\u002Ftaoist-landscape-poetry","Daoist Traditions and Landscape Poetry: Place, Reclusion and Interpretation","道家、道教與山水詩：地方、隱逸與解讀",{"to":313,"label":314,"label_zh":315},"\u002Farts\u002Fchinese-poetry-literature\u002Fpoetry-as-cultivation","Poetry as Cultivation at Wudang: Reading, Attention and Writing","武當詩文與自我涵養：閱讀、觀察與寫作",{"to":317,"label":318,"label_zh":319},"\u002Farts\u002Fchinese-poetry-literature\u002Fkey-poets-further-reading","Chinese Poetry: Poets, Editions and Reading Paths","中國詩詞閱讀：詩人、版本與入門路徑",{"to":321,"label":322,"label_zh":323},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-regulated-verse","How to Read Chinese Regulated Verse: Lines, Rhyme, Tone and Parallelism","怎樣讀中國近體詩：句式、押韻、平仄與對仗",{"to":325,"label":326,"label_zh":327},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-ci-lyrics","How to Read Chinese Ci Lyrics: Tune Patterns, Voice and Transmission","怎樣讀中國詞：詞牌、聲音與文本流傳",{"to":329,"label":330,"label_zh":331},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-anthologies-canon-transmission","How Chinese Poetry Anthologies Shape What We Read","中國詩歌選本怎樣塑造我們的閱讀",{"to":333,"label":334,"label_zh":335},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-thread-bound-books-folding-stitching-reading","Chinese Thread-Bound Books: Folding, Stitching and the Shape of Reading","中國線裝書：摺頁、裝訂與閱讀形態",{"to":337,"label":338,"label_zh":339},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-paired-couplets-parallelism-calligraphy-place","How to Read Chinese Paired Couplets: Parallel Lines, Calligraphy and Place","怎樣讀中國對聯：對仗、書法與空間",{"to":341,"label":342,"label_zh":343},"\u002Farts\u002Fchinese-poetry-literature\u002Fpoetry-on-chinese-paintings-inscriptions-colophons","Poetry on Chinese Paintings: How to Read Inscriptions and Colophons","中國畫上的詩：怎樣讀題款與題跋",{"to":345,"label":346,"label_zh":347},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-fu-rhapsody-catalogues-courts-expansive-description","Chinese Fu (Rhapsody): Catalogues, Courts and Expansive Description","中國賦：鋪陳、宮廷與展開描寫的藝術",{"to":349,"label":350,"label_zh":351},"\u002Farts\u002Fchinese-poetry-literature\u002Fwenxin-diaolong-liu-xie-writing-reading-literary-thought","Wenxin Diaolong: How Liu Xie Thought About Writing and Reading","《文心雕龍》導讀：劉勰怎樣思考寫作與閱讀",{"to":353,"label":354,"label_zh":355},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-shihua-poetry-talks-notes-anecdotes-criticism","Shihua (Poetry Talks): How Chinese Criticism Speaks in Notes and Anecdotes","中國詩話導讀：批評怎樣寫進筆記、軼事與評語",{"to":357,"label":358,"label_zh":359},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers","Chinese Prefaces and Afterwords (Xu and Ba): How Books Frame Texts and Readers","中國序跋導讀：書籍怎樣安排文本、作者與讀者",{"to":361,"label":362,"label_zh":363},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-biji-brush-notes-notebooks-miscellanies","Chinese Biji (Brush Notes): How Fragments Become Knowledge and Literature","中國筆記導讀：零散見聞怎樣成為知識與文學",{"to":365,"label":366,"label_zh":367},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-leishu-classified-books-excerpts-knowledge","Chinese Leishu (Classified Books): How Knowledge Was Excerpted and Ordered","中國類書導讀：知識怎樣被摘錄與分類",{"to":369,"label":370,"label_zh":371},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-dictionaries-rhyme-books-erya-shuowen-qieyun-guangyun","Chinese Dictionaries and Rhyme Books: How Characters, Meanings and Sounds Were Ordered","中國字書與韻書導讀：字形、詞義與語音怎樣被編排",{"to":373,"label":374,"label_zh":375},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-primers-sanzijing-baijiaxing-qianziwen-literacy","Chinese Primers and Elementary Literacy: Reading the Three, Hundred and Thousand","中國傳統蒙學讀物導讀：《三字經》《百家姓》《千字文》怎樣教人識字",{"to":377,"label":378,"label_zh":379},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-texts-punctuation-reading-marks-sentence-division-modern-editions","How Chinese Texts Were Punctuated: Reading Marks, Sentence Division and Modern Editions","中國古籍怎樣斷句：句讀、圈點與現代標點",{"to":381,"label":382,"label_zh":383},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-letters-chidu-writing-address-correspondence-calligraphy","Chinese Letters (Chidu): Writing, Address and the Afterlife of Correspondence","中國尺牘導讀：書信格式、稱謂與墨跡流傳",{"to":385,"label":386,"label_zh":387},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-travel-writing-youji-routes-witness-making-place","Chinese Travel Writing (Youji): Routes, Witness and the Making of Place","中國遊記導讀：路線、見聞與地方書寫",{"to":389,"label":390,"label_zh":391},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-individual-collected-works-bieji-authors-editors-transmission","Chinese Individual Collected Works (Bieji): How an Author’s Writings Become a Book","中國別集導讀：一位作者的詩文怎樣成為一部書",{"to":393,"label":394,"label_zh":395},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-guwen-pianwen-ancient-style-parallel-prose-rhythm-argument","Guwen and Pianwen: Two Ways of Shaping Classical Chinese Prose","古文與駢文導讀：中國古典散文的兩種組織方式",{"to":397,"label":398,"label_zh":399},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-eight-legged-essay-baguwen-examination-classics-composition","The Eight-Legged Essay (Baguwen): How an Examination Form Organized Classical Thought","八股文導讀：科舉文章怎樣組織經典義理",{"to":401,"label":402,"label_zh":403},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-examination-compounds-gongyuan-cells-candidate-experience","Chinese Examination Compounds (Gongyuan): How Architecture Shaped the Candidate Experience","中國貢院導讀：考場空間怎樣塑造士子的應試體驗",{"to":405,"label":406,"label_zh":407},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-academies-shuyuan-books-teaching-ritual-landscape","Chinese Academies (Shuyuan): How Books, Teaching and Ritual Made a Scholarly Place","中國書院導讀：書籍、講學與禮儀怎樣構成學術空間",{"to":409,"label":410,"label_zh":411},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-private-libraries-cangshulou-collectors-catalogues-transmission","Chinese Private Libraries (Cangshulou): How Collectors Built Paths for Books to Survive","中國藏書樓導讀：私人收藏怎樣為典籍延續開闢路徑",{"to":413,"label":414,"label_zh":415},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bookshops-book-markets-publishers-routes-readers","Chinese Bookshops and Book Markets: How Books Became Goods, Routes and Encounters","中國書肆與書市導讀：書籍怎樣成為商品、路線與相遇",{"to":417,"label":418,"label_zh":419},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading","Illustrated Chinese Books: How Woodblock Images Shaped the Page","中國古籍插圖導讀：木刻影像怎樣塑造書頁",{"to":421,"label":422,"label_zh":423},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge","Chinese Bibliographies (Mulu): How Catalogues Classified Books and Knowledge","中國目錄學導讀：書目怎樣分類書籍與知識",{"to":425,"label":426,"label_zh":427},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions","Chinese Textual Collation (Jiaokan): How Scholars Read Variant Texts","中國校勘導讀：怎樣閱讀異文與文本傳本",{"to":429,"label":430,"label_zh":431},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-commentaries-subcommentaries-zhu-jian-shu-layered-reading","Chinese Commentaries and Subcommentaries: How Notes Became Part of the Text","中國註疏導讀：注、箋、疏怎樣層層塑造經典閱讀",{"to":433,"label":434,"label_zh":435},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-marginalia-meipi-pangpi-pijiao-reading-history","Marginalia in Chinese Books: How Readers Wrote Back","中國古籍批註導讀：讀者怎樣在書頁上留下閱讀史",{"to":437,"label":438,"label_zh":439},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-ownership-seals-cangshuyin-provenance-impressions","Book-Ownership Seals in China: Reading Provenance in Red","中國古籍藏書印導讀：怎樣從朱印追索遞藏",{"to":441,"label":442,"label_zh":443},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-paper-fibres-sizing-repairs-dating-evidence","Paper in Chinese Books: Fibres, Sizing, Repairs and the Limits of Dating","中國古籍用紙導讀：纖維、施膠、修補與斷代邊界",{"to":445,"label":446,"label_zh":447},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-page-layout-frames-columns-fishtails-centre-fold","Inside the Chinese Book Page: Frames, Columns, Fishtails and the Centre Fold","中國古籍版式導讀：版框、界行、魚尾與版心",{"to":449,"label":450,"label_zh":451},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-printers-marks-paiji-kanji-publishing-claims","Printer’s Marks in Chinese Books: Reading Paiji, Kanji and Publishing Claims","中國古籍牌記與刊記導讀：怎樣辨認刊刻、藏版與書坊資訊",{"to":453,"label":454,"label_zh":455},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-movable-type-printing-clay-wood-metal-reuse","Movable Type in Chinese Book History: Clay, Wood, Metal and Reuse","中國古籍活字印刷導讀：泥活字、木活字、金屬活字與複用",{"to":457,"label":458,"label_zh":459},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-printing-workflow-writing-carving-inking-impressions","How Chinese Woodblock Printing Worked: Writing, Carving, Inking and Impressions","中國雕版印刷工藝導讀：寫樣、上版、刻版、刷墨與印紙",{"to":461,"label":462,"label_zh":463},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-lifecycle-storage-repair-recutting-later-impressions","After the First Printing: How Chinese Woodblocks Were Stored, Repaired and Reused","初印之後：中國雕版的儲藏、遞修、重刻與後印",{"to":465,"label":466,"label_zh":467},"\u002Farts\u002Fchinese-poetry-literature\u002Fwho-paid-chinese-book-printing-patronage-profit-donors-funding","Who Paid to Print? Patronage, Profit and Collective Funding in Chinese Book History","誰出資刻書？中國書籍史中的官刻、私資、坊刻與募資",{"to":469,"label":470,"label_zh":471},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-readers-got-books-imperial-china-buying-borrowing-gifts-copying","How Readers Got Books in Imperial China: Buying, Borrowing, Gifting and Copying","古代中國讀者怎樣獲得書籍？購書、借閱、饋贈與抄寫",{"to":473,"label":474,"label_zh":475},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-classical-chinese-poetry-was-heard-recitation-chanting-historical-sound","How Classical Chinese Poetry Was Heard: Recitation, Chanting and Historical Sound","古典詩歌怎樣被聽見？誦讀、吟詠與歷史聲音",{"to":477,"label":478,"label_zh":479},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-social-exchange-gifts-farewells-replies-rhyme-matching","Poetry as Social Exchange: Gifts, Farewells, Replies and Rhyme-Matching in China","詩歌作為交往：贈答、送別、唱和與次韻",{"to":481,"label":482,"label_zh":483},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-gatherings-themes-rhyme-lots-linked-composition","How Chinese Poetry Gatherings Worked: Themes, Rhyme Lots and Linked Composition","中國古典詩歌雅集怎樣運作：命題、分韻與聯句",{"to":485,"label":486,"label_zh":487},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-revision-drafts-variants-editorial-layers","How Chinese Poems Changed: Drafts, Variants and Editorial Layers","中國古典詩歌怎樣改定與流傳：草稿、異文與編輯層次",{"to":489,"label":490,"label_zh":491},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-attribution-anonymity-disputed-authorship","Who Wrote This Poem? Attribution, Anonymity and Disputed Authorship in Chinese Poetry","這首詩是誰寫的？中國古典詩歌的署名、佚名與作者爭議",{"to":134,"label":135,"label_zh":136,"children":493},[494,498,502,506,510,514,518,522,526,530,534,538,542,546,550,554,558],{"to":495,"label":496,"label_zh":497},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origins and History of Chinese Calligraphy","中國書法的源流與歷史",{"to":499,"label":500,"label_zh":501},"\u002Farts\u002Fcalligraphy\u002Fthe-five-script-styles","The Five Script Styles in Chinese Calligraphy","中國書法的五種主要書體",{"to":503,"label":504,"label_zh":505},"\u002Farts\u002Fcalligraphy\u002Fcalligraphy-as-taoist-cultivation","Calligraphy and Taoist Cultivation: Text, Attention and Practice","書法與道家修養：讀懂文字，專注落筆",{"to":507,"label":508,"label_zh":509},"\u002Farts\u002Fcalligraphy\u002Ffour-treasures-of-the-study","The Four Treasures of the Study: Choosing and Using Calligraphy Materials","文房四寶：認識、選擇與使用筆墨紙硯",{"to":511,"label":512,"label_zh":513},"\u002Farts\u002Fcalligraphy\u002Fbrush-technique-living-line","Chinese Calligraphy Brushwork: Reading and Practising the Living Line","書法筆法：觀察與練習有生氣的線條",{"to":515,"label":516,"label_zh":517},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Chinese Calligraphy Masters and Reading Paths","中國書法名家與閱讀路徑",{"to":519,"label":520,"label_zh":521},"\u002Farts\u002Fcalligraphy\u002Fchinese-seals-and-seal-carving","Chinese Seals and Seal Carving: Script, Surface and Impression","中國印章與篆刻：文字、印面與鈐印",{"to":523,"label":524,"label_zh":525},"\u002Farts\u002Fcalligraphy\u002Fchinese-ink-rubbings","Chinese Ink Rubbings: Stone, Paper and the Life of Calligraphy","中國傳拓：石刻、紙墨與書法的流傳",{"to":527,"label":528,"label_zh":529},"\u002Farts\u002Fcalligraphy\u002Fchinese-inkstones","Chinese Inkstones: Stone, Carving and the Scholar’s Desk","中國硯臺：石材、雕刻與文房生活",{"to":531,"label":532,"label_zh":533},"\u002Farts\u002Fcalligraphy\u002Fchinese-inksticks","Chinese Inksticks: Soot, Moulds and the Scholar’s Desk","中國墨錠：煙料、墨模與文房生活",{"to":535,"label":536,"label_zh":537},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-paper","Chinese Calligraphy Paper: Xuan, Sizing and the Life of a Sheet","中國書畫紙：宣紙、施膠與紙張的一生",{"to":539,"label":540,"label_zh":541},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-brushes","Chinese Calligraphy Brushes: Hair, Handle and the Working Point","中國毛筆：毫料、筆管與筆鋒",{"to":543,"label":544,"label_zh":545},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-rests","Chinese Brush Rests: Mountains, Materials and the Scholar’s Desk","中國筆架：山形、材質與文人書案",{"to":547,"label":548,"label_zh":549},"\u002Farts\u002Fcalligraphy\u002Fchinese-water-droppers-scholars-desk","Chinese Water Droppers: Flow, Form and the Scholar’s Desk","中國水滴：控水、造型與文人書案",{"to":551,"label":552,"label_zh":553},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-pots-materials-scholars-desk","Chinese Brush Pots: Function, Material and the Scholar’s Desk","中國筆筒：收納、材質與文人書案",{"to":555,"label":556,"label_zh":557},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-washers-water-form-scholars-desk","Chinese Brush Washers: Water, Form and the Scholar’s Desk","中國筆洗：洗筆、造型與文人書案",{"to":559,"label":560,"label_zh":561},"\u002Farts\u002Fcalligraphy\u002Fchinese-paperweights-form-material-scholars-desk","Chinese Paperweights: Form, Material and the Scholar’s Desk","中國鎮紙：形制、材質與文人書案",{"to":139,"label":140,"label_zh":141,"children":563},[564,568,572,576,580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712,716],{"to":565,"label":566,"label_zh":567},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Tea, Meditation and Taoist Practice","茶、靜坐與道家修習",{"to":569,"label":570,"label_zh":571},"\u002Farts\u002Ftea-ceremony\u002Forigins-history-of-tea-culture","Origins and History of Chinese Tea Culture","中國茶文化的源流與歷史",{"to":573,"label":574,"label_zh":575},"\u002Farts\u002Ftea-ceremony\u002Fthe-way-of-tea","The Way of Tea: Attention, Care and Hospitality","茶道：在一杯茶中練習用心與待客",{"to":577,"label":578,"label_zh":579},"\u002Farts\u002Ftea-ceremony\u002Ftypes-of-tea-and-character","Six Chinese Tea Families: Processing and Taste","六大茶類：從製法到品飲",{"to":581,"label":582,"label_zh":583},"\u002Farts\u002Ftea-ceremony\u002Futensils-and-gongfu-method","Gongfu Tea: Utensils and a Flexible Method","工夫茶：茶具與靈活沖泡法",{"to":585,"label":586,"label_zh":587},"\u002Farts\u002Ftea-ceremony\u002Ffurther-reading-and-practice","Learning Chinese Tea: Reading and Practice","學茶入門：閱讀與品飲練習",{"to":589,"label":590,"label_zh":591},"\u002Farts\u002Ftea-ceremony\u002Fwater-for-chinese-tea","Water for Chinese Tea: Springs, Minerals and a Practical Tasting Method","中國茶用水：山泉、礦物與實用對比方法",{"to":593,"label":594,"label_zh":595},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teaware-clay-glaze-form","Chinese Tea Ware: Clay, Porcelain, Glaze and the Uses of Form","中國茶器：胎土、瓷釉、造型與使用",{"to":597,"label":598,"label_zh":599},"\u002Farts\u002Ftea-ceremony\u002Fchinese-tea-caddies","Chinese Tea Caddies: Storage, Materials and the Traveling Leaf","中國茶葉罐：貯藏、材質與流動的茶葉",{"to":601,"label":602,"label_zh":603},"\u002Farts\u002Ftea-ceremony\u002Fsong-whisked-tea-powder-bowls-foam","Whisked Tea in Song China: Powder, Bowls and Foam","宋代點茶：茶末、茶盞與湯花",{"to":605,"label":606,"label_zh":607},"\u002Farts\u002Ftea-ceremony\u002Fyixing-teapots-clay-form-makers-marks","Yixing Teapots: Clay, Form and Reading the Maker’s Mark","宜興紫砂壺：泥料、器形與款識",{"to":609,"label":610,"label_zh":611},"\u002Farts\u002Ftea-ceremony\u002Fcompressed-tea-cakes-bricks-trade-storage-object-reading","Compressed Tea in China: Cakes, Bricks and How to Read Them","中國緊壓茶：茶餅、茶磚與辨讀方法",{"to":613,"label":614,"label_zh":615},"\u002Farts\u002Ftea-ceremony\u002Ftea-horse-trade-networks-routes-markets-cultural-exchange","Tea–Horse Trade Networks: Routes, Markets and Cultural Exchange","茶馬貿易網路：路線、市場與文化交流",{"to":617,"label":618,"label_zh":619},"\u002Farts\u002Ftea-ceremony\u002Ftea-landscapes-china-gardens-forests-terraces-living-knowledge","Tea Landscapes in China: Gardens, Forests, Terraces and Living Knowledge","中國茶景觀：茶園、古茶林、梯田與活態知識",{"to":621,"label":622,"label_zh":623},"\u002Farts\u002Ftea-ceremony\u002Fpicking-tea-china-seasons-bud-leaf-standards-skilled-labour","Picking Tea in China: Seasons, Bud-and-Leaf Standards and Skilled Labour","中國採茶：季節、芽葉標準與勞作技藝",{"to":625,"label":626,"label_zh":627},"\u002Farts\u002Ftea-ceremony\u002Fwithering-tea-leaves-water-loss-time-first-transformation","Withering Tea Leaves: Water Loss, Time and the First Transformation","茶葉萎凋：失水、時間與採後初變",{"to":629,"label":630,"label_zh":631},"\u002Farts\u002Ftea-ceremony\u002Ffixing-tea-leaves-shaqing-heat-enzymes-turning-point","Fixing Tea Leaves (Shaqing): Heat, Enzymes and a Turning Point in Chinese Tea","茶葉殺青：熱、酶活性與中國製茶的轉折點",{"to":633,"label":634,"label_zh":635},"\u002Farts\u002Ftea-ceremony\u002Frolling-tea-leaves-rounian-pressure-shape-cell-disruption","Rolling Tea Leaves (Rounian): Pressure, Shape and Controlled Cell Disruption","茶葉揉捻：壓力、形態與受控細胞破損",{"to":637,"label":638,"label_zh":639},"\u002Farts\u002Ftea-ceremony\u002Fdrying-tea-leaves-moisture-heat-stability-finished-tea","Drying Tea Leaves: Moisture, Heat and the Stability of Finished Tea","茶葉乾燥：水分、熱量與成茶穩定",{"to":641,"label":642,"label_zh":643},"\u002Farts\u002Ftea-ceremony\u002Fsorting-grading-tea-leaf-size-shape-grade-meaning","Sorting and Grading Tea: Leaf Size, Shape and What a Grade Really Means","茶葉篩分與分級：葉片大小、形態與等級的真正含義",{"to":645,"label":646,"label_zh":647},"\u002Farts\u002Ftea-ceremony\u002Ftea-blending-batch-construction-consistency-style-transparency","Tea Blending and Batch Construction: Consistency, Style and Transparent Labels","茶葉拼配與批次構建：穩定、風格與透明標示",{"to":649,"label":650,"label_zh":651},"\u002Farts\u002Ftea-ceremony\u002Ftea-oxidation-post-fermentation-enzymes-microbes-terms","Oxidation and Post-Fermentation in Tea: Enzymes, Microbes and Misleading Labels","茶葉氧化與後發酵：酶、微生物與容易混淆的標籤",{"to":653,"label":654,"label_zh":655},"\u002Farts\u002Ftea-ceremony\u002Fyellow-tea-menhuang-moist-heat-time-tea-family","Yellow Tea and Menhuang: Moist Heat, Time and the Making of a Tea Family","黃茶與悶黃：溼熱、時間與一類茶的形成",{"to":657,"label":658,"label_zh":659},"\u002Farts\u002Ftea-ceremony\u002Frefiring-roasting-tea-later-heat-aroma-finished-leaf","Re-Firing and Roasting Tea: Later Heat, Aroma and the Difference from Drying","茶葉復火與焙火：後段加熱、香氣及其與乾燥的區別",{"to":661,"label":662,"label_zh":663},"\u002Farts\u002Ftea-ceremony\u002Fjasmine-tea-scenting-flowers-repeated-rounds-aroma-transfer","Jasmine Tea and Scenting: Flowers, Repeated Rounds and How Aroma Enters Tea","茉莉花茶與窨制：鮮花、多次窨香與茶葉如何吸收香氣",{"to":665,"label":666,"label_zh":667},"\u002Farts\u002Ftea-ceremony\u002Ftea-sensory-evaluation-appearance-aroma-taste-score-limits","Tea Sensory Evaluation: Appearance, Aroma, Taste and the Limits of a Score","茶葉感官審評：外形、香氣、滋味與分數的邊界",{"to":669,"label":670,"label_zh":671},"\u002Farts\u002Ftea-ceremony\u002Fdoucha-song-tea-contests-whisked-tea-jian-bowls-modern-judging","Doucha: Tea Contests in Song China and the Limits of Modern Re-Creation","鬥茶：宋代茶事競賽與現代重現的邊界",{"to":673,"label":674,"label_zh":675},"\u002Farts\u002Ftea-ceremony\u002Fbeiyuan-tribute-tea-song-court-labour-imperial-label","Beiyuan Tribute Tea: Song Court Taste, Skilled Labour and the Limits of ‘Imperial Tea’","北苑貢茶：宋代宮廷品味、製茶勞作與“御茶”標籤的邊界",{"to":677,"label":678,"label_zh":679},"\u002Farts\u002Ftea-ceremony\u002Freading-chinese-tea-classics-authorship-editions-recipe-limits","Reading Chinese Tea Classics: Authorship, Editions and the Limits of a ‘Recipe’","如何閱讀中國茶書：作者、版本與“配方”式解讀的邊界",{"to":681,"label":682,"label_zh":683},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-poetry-social-worlds-metaphor-historical-evidence","Tea in Chinese Poetry: Social Worlds, Metaphor and the Limits of Literary Evidence","中國詩歌中的茶：社會交往、詩意表達與文學證據的邊界",{"to":685,"label":686,"label_zh":687},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teahouses-commerce-conversation-performance-urban-publics","Chinese Teahouses: Commerce, Conversation, Performance and Changing Urban Publics","中國茶館：商業、交往、表演與變動中的城市公共生活",{"to":689,"label":690,"label_zh":691},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-painting-objects-social-worlds-visual-evidence","Tea in Chinese Painting: Objects, Social Worlds and the Limits of Visual Evidence","中國繪畫中的茶：器物、社會空間與視覺證據的邊界",{"to":693,"label":694,"label_zh":695},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-dream-of-the-red-chamber-hospitality-rank-labour-fiction","Tea in Dream of the Red Chamber: Hospitality, Rank, Labour and Fiction","《紅樓夢》中的茶：待客、等級、勞動與小說敘事",{"to":697,"label":698,"label_zh":699},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-travel-writing-roads-hospitality-regional-evidence","Tea in Chinese Travel Writing: Roads, Hospitality and the Limits of an Itinerary","中國遊記中的茶：道路、待客與行程證據的邊界",{"to":701,"label":702,"label_zh":703},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-letters-gifts-visits-friendship-private-writing","Tea in Chinese Letters: Gifts, Visits, Friendship and the Limits of ‘Private’ Writing","中國書信中的茶：饋贈、訪友、人情與“私語”證據的邊界",{"to":705,"label":706,"label_zh":707},"\u002Farts\u002Ftea-ceremony\u002Ftea-tax-monopoly-imperial-china-fiscal-records-daily-life","Tea, Tax and Monopoly in Imperial China: Reading Fiscal Records Without Mistaking Revenue for Daily Life","中國曆代茶稅與專賣：財政記錄能告訴我們什麼，又不能告訴我們什麼",{"to":709,"label":710,"label_zh":711},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-local-gazetteers-place-production-local-knowledge","Tea in Chinese Local Gazetteers: Place, Production and the Limits of Local Knowledge","中國地方誌中的茶：產地、生產與地方知識的邊界",{"to":713,"label":714,"label_zh":715},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-materia-medica-names-preparations-medical-claims","Tea in Chinese Materia Medica: Names, Preparations and the Limits of Medical Claims","中國本草中的茶：名稱、製法與醫藥記載的邊界",{"to":717,"label":718,"label_zh":719},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-buddhist-monastic-rules-ceremony-office-origin-stories","Tea in Chinese Buddhist Monastic Rules: Ceremony, Office and the Limits of Origin Stories","中國佛教清規中的茶：禮儀、職事與起源故事的邊界",{"to":144,"label":145,"label_zh":146,"children":721},[722,726,730,734,738,742,746,750,754,758,762,766],{"to":723,"label":724,"label_zh":725},"\u002Farts\u002Fguqin\u002Forigins-history-of-the-guqin","A History of the Guqin: Objects, Texts and Living Music","古琴的歷史：實物、文獻與傳習",{"to":727,"label":728,"label_zh":729},"\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin","How the Guqin Works: Strings, Body and Sound","古琴如何發聲：琴絃、琴身與結構",{"to":731,"label":732,"label_zh":733},"\u002Farts\u002Fguqin\u002Fplaying-technique-and-notation","Playing the Guqin: Gesture, Notation and Interpretation","古琴怎樣彈、怎樣讀譜：指法、減字譜與詮釋",{"to":735,"label":736,"label_zh":737},"\u002Farts\u002Fguqin\u002Ffamous-melodies-and-stories","Guqin Melodies: Stories, Versions and Ways to Listen","聽懂古琴名曲：故事、版本與聆聽線索",{"to":739,"label":740,"label_zh":741},"\u002Farts\u002Fguqin\u002Fguqin-as-taoist-cultivation","Guqin and Daoist Cultivation: Listening, Practice and Limits","古琴與道家修養：聆聽、練習與邊界",{"to":743,"label":744,"label_zh":745},"\u002Farts\u002Fguqin\u002Ffurther-listening-and-study","Learning the Guqin: Listening, Sources and Finding a Teacher","怎樣學古琴：聆聽、資料與擇師",{"to":747,"label":748,"label_zh":749},"\u002Farts\u002Fguqin\u002Fguqin-tables-playing-spaces","Guqin Tables and Playing Spaces: Support, Posture and Listening","古琴桌與彈琴空間：承托、坐姿與聆聽",{"to":751,"label":752,"label_zh":753},"\u002Farts\u002Fguqin\u002Fhow-to-read-guqin-handbook-tablature-editions-dapu","How to Read a Guqin Handbook: Tablature, Editions and Dapu","如何讀古琴譜：減字譜、版本與打譜",{"to":755,"label":756,"label_zh":757},"\u002Farts\u002Fguqin\u002Freading-guqin-lacquer-layers-crack-patterns-repair","Reading Guqin Lacquer: Layers, Crack Patterns and Repair","讀懂古琴漆面：漆層、斷紋與修繕",{"to":759,"label":760,"label_zh":761},"\u002Farts\u002Fguqin\u002Freading-guqin-inscriptions-seals-names-dates-provenance","Reading Guqin Inscriptions and Seals: Names, Dates and Provenance","讀懂古琴銘款與印章：琴名、年代與流傳",{"to":763,"label":764,"label_zh":765},"\u002Farts\u002Fguqin\u002Fguqin-forms-zhongni-banana-leaf-shapes","Guqin Forms: Reading Zhongni, Banana-Leaf and Other Shapes","古琴式樣：讀懂仲尼式、蕉葉式與其他琴式",{"to":767,"label":768,"label_zh":769},"\u002Farts\u002Fguqin\u002Fguqin-strings-silk-modern-composites-playing","Guqin Strings: Silk, Modern Composites and How Material Changes Playing","古琴琴絃：絲絃、現代複合弦與材質如何改變演奏",{"to":149,"label":150,"label_zh":151,"children":771},[772,776,780,784,788,792,796,800,804,808,812,816,820,824,828],{"to":773,"label":774,"label_zh":775},"\u002Farts\u002Fpainting\u002Forigins-history-of-chinese-painting","Origins and History of Chinese Painting: Objects, Courts and Communities","中國繪畫的源流與歷史：作品、宮廷與社會",{"to":777,"label":778,"label_zh":779},"\u002Farts\u002Fpainting\u002Fart-of-ink-and-brush","Ink and Brush in Chinese Painting: Materials, Water and Marks","中國畫的筆墨：材料、水分與筆痕",{"to":781,"label":782,"label_zh":783},"\u002Farts\u002Fpainting\u002Flandscape-painting-shanshui","Shanshui: How to Read Chinese Landscape Painting","山水畫：怎樣讀懂中國山水",{"to":785,"label":786,"label_zh":787},"\u002Farts\u002Fpainting\u002Fbirds-flowers-four-gentlemen","Birds, Flowers and the Four Gentlemen in Chinese Painting","中國畫中的花鳥與四君子",{"to":789,"label":790,"label_zh":791},"\u002Farts\u002Fpainting\u002Fpainting-as-taoist-cultivation","Painting and Taoist Cultivation: Images, Ideas and Practice","繪畫與道家修養：影像、觀念與實踐",{"to":793,"label":794,"label_zh":795},"\u002Farts\u002Fpainting\u002Fgreat-masters-further-study","Chinese Painting Masters: A Guided Path","中國畫名家與進階研習",{"to":797,"label":798,"label_zh":799},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-handscroll","How to Read a Chinese Handscroll: Sequence, Colophons and Seals","怎樣觀看中國手卷：展開順序、題跋與印章",{"to":801,"label":802,"label_zh":803},"\u002Farts\u002Fpainting\u002Fchinese-fan-painting","Chinese Fan Painting: Shape, Brushwork and the Art of the Small Format","中國扇面書畫：形制、筆墨與方寸之美",{"to":805,"label":806,"label_zh":807},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-painting-album","How to Read a Chinese Painting Album: Leaves, Sequence and Intimate Viewing","如何閱讀中國畫冊頁：開頁、次序與案頭觀看",{"to":809,"label":810,"label_zh":811},"\u002Farts\u002Fpainting\u002Fchinese-scholars-rocks","Chinese Scholars’ Rocks: Stone, Display and Imagined Landscapes","中國文人賞石：石質、陳設與想像山水",{"to":813,"label":814,"label_zh":815},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-hanging-scroll","How to Read a Chinese Hanging Scroll: Vertical Space, Mounting and Display","如何閱讀中國立軸：縱向空間、裝裱與陳設",{"to":817,"label":818,"label_zh":819},"\u002Farts\u002Fpainting\u002Fchinese-screens-space-painting","Chinese Screens: Space, Painting and the Art of the Fold","中國屏風：空間、影像與開合之藝",{"to":821,"label":822,"label_zh":823},"\u002Farts\u002Fpainting\u002Fmounting-chinese-painting","Mounting Chinese Painting: Silk Borders, Backing Papers and the Life of a Scroll","中國畫裝裱：綾邊、托紙與卷軸的生命",{"to":825,"label":826,"label_zh":827},"\u002Farts\u002Fpainting\u002Fchinese-portrait-painting-likeness-role-ancestral-memory","Chinese Portrait Painting: Likeness, Role and Ancestral Memory","中國肖像畫：形神、身份與祖先記憶",{"to":829,"label":830,"label_zh":831},"\u002Farts\u002Fpainting\u002Fthree-distances-chinese-landscape-painting","The Three Distances in Chinese Landscape Painting: High, Deep and Level Space","中國山水畫的“三遠”：高遠、深遠與平遠",{"to":154,"label":155,"label_zh":156,"children":833},[834,838,842,846,850,854,858,862,866],{"to":835,"label":836,"label_zh":837},"\u002Farts\u002Fincense\u002Forigins-history-of-incense-culture","Origins and History of Chinese Incense Culture","中國香文化的源流與歷史",{"to":839,"label":840,"label_zh":841},"\u002Farts\u002Fincense\u002Faromatic-materials-fragrant-woods","Aromatic Materials: Woods, Resins and Responsible Sourcing","香材指南：香木、樹脂與負責任的來源",{"to":843,"label":844,"label_zh":845},"\u002Farts\u002Fincense\u002Fforms-and-art-of-appreciation","Incense Forms and the Art of Appreciation","香的形態與品香方法",{"to":847,"label":848,"label_zh":849},"\u002Farts\u002Fincense\u002Fincense-in-ritual-and-temple-life","Incense in Daoist Ritual and Temple Life","香在道教科儀與宮觀生活中",{"to":851,"label":852,"label_zh":853},"\u002Farts\u002Fincense\u002Fincense-meditation-taoist-practice","Incense, Meditation and Taoist Practice","香、靜坐與道家修習",{"to":855,"label":856,"label_zh":857},"\u002Farts\u002Fincense\u002Ffurther-reading-and-practice","Learning Chinese Incense: Reading and Practice","學習中國香文化：閱讀與實踐",{"to":859,"label":860,"label_zh":861},"\u002Farts\u002Fincense\u002Fchinese-incense-burners","Chinese Incense Burners: Bronze, Ceramic, Form and Context","中國香爐：青銅、陶瓷、形制與使用語境",{"to":863,"label":864,"label_zh":865},"\u002Farts\u002Fincense\u002Fchinese-incense-seals-fragrant-time","Chinese Incense Seals: Ash, Patterns and Fragrant Time","中國香篆：香灰、篆紋與芬芳計時",{"to":867,"label":868,"label_zh":869},"\u002Farts\u002Fincense\u002Fchinese-incense-sets-burner-box-vase-tools","Chinese Incense Sets: Burner, Box, Vase and Tools","中國香具三式：爐、盒、瓶與匙箸",{"to":158,"label":159,"label_zh":160,"children":871},[872,876,880,884,888,892,896],{"to":873,"label":874,"label_zh":875},"\u002Farts\u002Fflower-arrangement\u002Forigins-history-of-floral-art","A History of Chinese Flower Arrangement: Vessels, Pictures and Voices","中國插花史：器物、影像與文字中的花事",{"to":877,"label":878,"label_zh":879},"\u002Farts\u002Fflower-arrangement\u002Fprinciples-of-flower-arrangement","Chinese Flower Arrangement: Line, Balance and Ways of Looking","中國插花構圖：線條、平衡與觀看方法",{"to":881,"label":882,"label_zh":883},"\u002Farts\u002Fflower-arrangement\u002Fvessels-tools-and-composition","Choosing Flower Vessels and Tools: Form, Support and Care","選擇花器與工具：形制、支撐和養護",{"to":885,"label":886,"label_zh":887},"\u002Farts\u002Fflower-arrangement\u002Fseasonal-flowers-and-symbolism","Seasonal Flowers and Symbolism: How to Read Context","時令花材與象徵：怎樣結合語境來讀",{"to":889,"label":890,"label_zh":891},"\u002Farts\u002Fflower-arrangement\u002Fflower-arrangement-as-cultivation","Flower Arrangement as Cultivation: Attention, Change and Limits","插花與修養：專注、變化與界限",{"to":893,"label":894,"label_zh":895},"\u002Farts\u002Fflower-arrangement\u002Ffurther-reading-and-practice","Further Reading and Practice: Sources, Museums and a First Month","延伸閱讀與練習：史料、博物館與第一個月",{"to":897,"label":898,"label_zh":899},"\u002Farts\u002Fflower-arrangement\u002Fchinese-flower-baskets-weaving-painting-vessels","Chinese Flower Baskets: Weaving, Painting and the Vessel","中國花籃：編織、繪畫與器物",[],[],{"data":903},[904,940,963,982,1003,1022,1042,1060,1081,1104,1126],{"id":38,"uuid":905,"slug":906,"available_locales":907,"name":911,"description":914,"body":916,"path":919,"images":920,"image_urls":925,"hero_image":3,"hero_image_url":3,"seo_title":930,"seo_description":933,"sort_order":935,"is_active":936,"status":937,"created_at":938,"updated_at":939},"f1a30881-20c6-407b-b546-669e839a178a","feng-shui-learning",[908,909,910],"en","zh","fr",{"en":912,"zh":913},"Feng Shui Learning","風水課程",{"en":915,"zh":3},"Study feng shui as a historical Chinese tradition of interpreting orientation, form and environment—with clear limits on predictive claims.",{"en":917,"zh":918},"\u003Ch2>\u003Cem>Feng shui 風水 developed through multiple schools, texts and professional traditions. It brings together observations of landform, orientation, water, buildings and correlative cosmology. It should not be reduced to decorative rules, nor presented as a scientifically proven way to guarantee health, wealth or relationships.\u003C\u002Fem>\u003C\u002Fh2>\u003Cp>\u003Cem>Classes introduce core vocabulary, the distinction between major approaches and the cultural contexts in which feng shui has been practised. Contemporary applications are discussed critically. Students remain responsible for property, financial and personal decisions and should seek qualified professional advice where those decisions carry material consequences.\u003C\u002Fem>\u003C\u002Fp>","\u003Cp>風水形成於不同的流派、典籍與專業傳統，綜合觀察地形、方位、水勢、建築以及陰陽五行等關聯性宇宙觀。它不應被簡化為裝飾規則，也不能被宣傳為保證健康、財富或關係結果的科學方法。\u003C\u002Fp>\u003Cp>課程介紹基本術語、主要方法的差別，以及風水在歷史社會中的實踐語境，並以批判態度討論當代應用。涉及房產、財務或其他重大決定時，學員仍應根據事實判斷，並諮詢具備資質的相關專業人士。\u003C\u002Fp>","\u002Fevents\u002Ffeng-shui-learning",[921,922,923,924],"wudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","wudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","wudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","wudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",[926,927,928,929],"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",{"en":931,"zh":932},"Feng Shui Classes and Courses","風水課程：方位、形勢與空間觀念入門",{"en":915,"zh":934},"從歷史、環境與文化語境學習風水，理解方位、形勢與空間觀念，同時明確傳統解釋與科學證據的界限。",0,true,"active","2026-07-13T05:17:57.000000Z","2026-09-25T03:51:12.000000Z",{"id":60,"uuid":941,"slug":942,"available_locales":943,"name":944,"description":947,"body":950,"path":953,"images":954,"image_urls":955,"hero_image":3,"hero_image_url":3,"seo_title":956,"seo_description":959,"sort_order":935,"is_active":936,"status":937,"created_at":962,"updated_at":939},"c85bf6cc-b84e-4c36-bbd7-9e92b53bbe50","internal-arts-wellness",[908,909,910],{"en":945,"zh":946},"Internal Arts & Wellness","內家功法與養生",{"en":948,"zh":949},"Classes, workshops and retreats in Baduanjin, Taijiquan, qigong and traditional practices for movement, breathing and mindful cultivation.","彙集八段錦、太極拳、氣功及傳統身心修習的課程、工作坊與靜修活動。",{"en":951,"zh":952},"\u003Cp>Explore small-group classes, workshops and retreats introducing Wudang internal arts and traditional wellness practices. Programmes may include Baduanjin, Taijiquan, qigong, standing practice, breathing and their cultural foundations.\u003C\u002Fp>\u003Cp>Each listing provides its teacher, schedule, experience level and registration arrangements.\u003C\u002Fp>","\u003Cp>本類別彙集武當內家功法與傳統養生修習的小班課程、工作坊及靜修活動，內容可涵蓋八段錦、太極拳、氣功、站樁、呼吸練習及相關文化基礎。\u003C\u002Fp>\u003Cp>每項活動都會註明導師、日期、適合程度與報名方式，方便參加者選擇合適的學習體驗。\u003C\u002Fp>","\u002Fevents\u002Finternal-arts-wellness",[],[],{"en":957,"zh":958},"Internal Arts & Wellness Events","內家功法與養生活動",{"en":960,"zh":961},"Explore Baduanjin, Taijiquan, qigong and traditional wellness classes, workshops and retreats listed by Wudang.Org.","探索八段錦、太極拳、氣功與傳統養生課程、工作坊及靜修活動。","2026-08-16T19:23:45.000000Z",{"id":964,"uuid":965,"slug":966,"available_locales":967,"name":968,"description":971,"body":972,"path":973,"images":974,"image_urls":975,"hero_image":3,"hero_image_url":3,"seo_title":976,"seo_description":978,"sort_order":935,"is_active":936,"status":937,"created_at":981,"updated_at":939},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[908,909,910],{"en":969,"zh":970},"Face Reading Learning","面相課程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":977},"Chinese Face Reading Classes and Workshops",{"en":979,"zh":980},"Learn Chinese face reading (面相) as a cultural tradition: its classical framework, history and uses, taught with clear limits on predictive claims.","把面相作為中國傳統文化來學習：認識其經典框架、歷史與用法，並清楚說明傳統詮釋的邊界。","2026-08-30T17:01:43.000000Z",{"id":983,"uuid":984,"slug":985,"available_locales":986,"name":987,"description":990,"body":992,"path":995,"images":996,"image_urls":997,"hero_image":3,"hero_image_url":3,"seo_title":998,"seo_description":1001,"sort_order":38,"is_active":936,"status":937,"created_at":938,"updated_at":939},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[908,909,910],{"en":988,"zh":989},"Zi Wei Dou Shu Learning","紫微斗數課程",{"en":991,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":993,"zh":994},"\u003Cp>Zi Wei Dou Shu 紫微鬥數 organises birth information through palaces, stars and patterned relationships. The system has a substantial technical vocabulary and several interpretive traditions, but its predictive claims are not established by modern scientific evidence.\u003C\u002Fp>\u003Cp>Courses explain how charts are structured, how symbols are read and how historical and contemporary practitioners differ. The aim is cultural literacy and disciplined reflection—not certainty about the future. Readings do not replace medical, legal, financial, employment or psychological expertise.\u003C\u002Fp>","\u003Cp>紫微斗數依據出生資訊，以宮位、星曜和彼此關係組織命盤。它具有複雜的術語與多種解釋傳統，但其預測主張並未得到現代科學證據的確立。\u003C\u002Fp>\u003Cp>課程說明命盤結構、符號閱讀方法，以及歷史與當代實踐者之間的差異。學習目的在於文化理解與有紀律的自我反思，而不是獲得關於未來的確定答案。相關解讀不能代替醫療、法律、財務、就業或心理專業意見。\u003C\u002Fp>","\u002Fevents\u002Fzi-wei-dou-shu-learning",[],[],{"en":999,"zh":1000},"Zi Wei Dou Shu (Purple Star Astrology) Classes","紫微斗數課程：命盤、宮位與星曜入門",{"en":991,"zh":1002},"把紫微斗數作為中國傳統詮釋體系來學習，認識命盤、宮位與星曜，不把它包裝成科學預測。",{"id":247,"uuid":1004,"slug":1005,"available_locales":1006,"name":1007,"description":1010,"body":1011,"path":1012,"images":1013,"image_urls":1014,"hero_image":3,"hero_image_url":3,"seo_title":1015,"seo_description":1018,"sort_order":38,"is_active":936,"status":937,"created_at":1021,"updated_at":939},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[908,909,910],{"en":1008,"zh":1009},"Tea Arts","茶藝",[],[],"\u002Fevents\u002Ftea-arts",[],[],{"en":1016,"zh":1017},"Chinese Tea Art Classes and Workshops","茶藝課程與工作坊",{"en":1019,"zh":1020},"Chinese tea art (茶藝) classes and workshops: tea types, brewing methods, tea-table etiquette and the quiet attention of sharing tea.","茶藝課程與工作坊：認識茶類、泡茶方法與茶席禮儀，在一席茶中體會從容與專注。","2026-08-16T17:13:57.000000Z",{"id":242,"uuid":1023,"slug":1024,"available_locales":1025,"name":1026,"description":1029,"body":1031,"path":1034,"images":1035,"image_urls":1036,"hero_image":3,"hero_image_url":3,"seo_title":1037,"seo_description":1040,"sort_order":983,"is_active":936,"status":937,"created_at":938,"updated_at":939},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[908,909,910],{"en":1027,"zh":1028},"Ba Zi Learning","八字課程",{"en":1030,"zh":3},"Study the Four Pillars as a traditional system of stems, branches and five-phase correspondence, with history and limitations made explicit.",{"en":1032,"zh":1033},"\u003Cp>Ba Zi 八字 interprets year, month, day and hour through the heavenly stems, earthly branches, yin-yang and five-phase relationships. It is an influential part of Chinese metaphysical culture, not an observational science in the modern empirical sense.\u003C\u002Fp>\u003Cp>Classes introduce chart structure, terminology and common interpretive methods while distinguishing tradition from evidence. Students are encouraged to treat readings as prompts for reflection and never as guarantees, diagnoses or substitutes for professional advice.\u003C\u002Fp>","\u003Cp>八字以年、月、日、時四柱為框架，通過天干、地支、陰陽與五行關係進行解釋。它是中國術數文化中影響深遠的傳統體系，並非現代經驗科學。\u003C\u002Fp>\u003Cp>課程介紹命盤結構、基本術語和常見詮釋方法，同時說明傳統觀點與科學證據的差別。學員可把解讀作為反思的線索，但不應把它當作保證、診斷，或任何專業意見的替代品。\u003C\u002Fp>","\u002Fevents\u002Fba-zi-learning",[],[],{"en":1038,"zh":1039},"BaZi (Four Pillars) Classes and Courses","八字課程：四柱、天干地支與五行入門",{"en":1030,"zh":1041},"學習四柱中的天干、地支與五行關係，理解其歷史與方法，也清楚區分傳統詮釋和現代實證知識。",{"id":69,"uuid":1043,"slug":1044,"available_locales":1045,"name":1046,"description":1049,"body":1050,"path":1051,"images":1052,"image_urls":1053,"hero_image":3,"hero_image_url":3,"seo_title":1054,"seo_description":1057,"sort_order":983,"is_active":936,"status":937,"created_at":1021,"updated_at":939},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[908,909,910],{"en":1047,"zh":1048},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":1055,"zh":1056},"Chinese Incense Culture Workshops","香文化活動與工作坊",{"en":1058,"zh":1059},"Workshops on Chinese incense culture (香文化): aromatic materials, traditional ways of preparing and appreciating incense, and incense as calm attention.","香文化活動與工作坊：認識香材、傳統制香與品香方式，在一爐香中練習安靜與專注。",{"id":1061,"uuid":1062,"slug":1063,"available_locales":1064,"name":1065,"description":1068,"body":1071,"path":1074,"images":1075,"image_urls":1076,"hero_image":3,"hero_image_url":3,"seo_title":1077,"seo_description":1079,"sort_order":983,"is_active":936,"status":937,"created_at":1080,"updated_at":939},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[908,909,910],{"en":1066,"zh":1067},"I Ching Learning","易經課程",{"en":1069,"zh":1070},"Explore the I Ching through its hexagrams, traditional interpretive methods and historical context, with scope and limitations made explicit.","通過卦象、傳統解讀方法與歷史語境認識《易經》，並清楚說明其適用範圍與侷限。",{"en":1072,"zh":1073},"\u003Cp>The I Ching 易經 is a classical Chinese text centred on sixty-four hexagrams and a long history of commentary and divination. It has shaped Chinese philosophy, cosmology and metaphysical practice, but its divinatory claims are not established as modern empirical science.\u003C\u002Fp>\u003Cp>Classes introduce structures, terminology and traditional methods such as Liu Yao while distinguishing cultural study from evidence. Readings should be treated as prompts for reflection, not guarantees, diagnoses or substitutes for professional advice.\u003C\u002Fp>","\u003Cp>《易經》是一部以六十四卦為核心的中國經典，形成了悠久的註疏與占筮傳統，並深刻影響中國哲學、宇宙觀與術數文化；其占筮主張並非現代經驗科學所證實。\u003C\u002Fp>\u003Cp>課程介紹基本結構、術語和六爻等傳統方法，同時區分文化學習與科學證據。解讀宜作為反思線索，不應視為保證、診斷或任何專業意見的替代品。\u003C\u002Fp>","\u002Fevents\u002Fi-ching-learning",[],[],{"en":1078,"zh":1067},"I Ching Classes and Courses",{"en":1069,"zh":1070},"2026-09-08T00:15:35.000000Z",{"id":21,"uuid":1082,"slug":1083,"available_locales":1084,"name":1085,"description":1088,"body":1091,"path":1094,"images":1095,"image_urls":1096,"hero_image":3,"hero_image_url":3,"seo_title":1097,"seo_description":1100,"sort_order":242,"is_active":936,"status":937,"created_at":1103,"updated_at":939},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[908,909,910],{"en":1086,"zh":1087},"Traditional Arts & Crafts","傳統藝術與手作",{"en":1089,"zh":1090},"Hands-on workshops exploring Chinese handicrafts and decorative arts through guided making and cultural appreciation.","通過親手製作與文化欣賞，體驗中國傳統手作及裝飾藝術。",{"en":1092,"zh":1093},"\u003Cp>Discover practical workshops in Chinese decorative arts and handcraft traditions. Activities may include gold-leaf painting, cloisonné enamel, mother-of-pearl work, Song brocade and other guided projects.\u003C\u002Fp>\u003Cp>These welcoming sessions introduce materials, techniques and cultural context while allowing participants to complete a piece of their own.\u003C\u002Fp>","\u003Cp>本類別彙集中國傳統裝飾藝術與手作體驗，內容可涵蓋金箔畫、掐絲琺琅、螺鈿工藝、宋錦及其他創作專案。\u003C\u002Fp>\u003Cp>課程以輕鬆易懂的方式介紹材料、技法與文化背景，讓參加者在導師帶領下完成屬於自己的作品。\u003C\u002Fp>","\u002Fevents\u002Ftraditional-arts-crafts",[],[],{"en":1098,"zh":1099},"Traditional Arts & Crafts Events","傳統藝術與手作活動",{"en":1101,"zh":1102},"Explore Chinese handicraft and decorative arts workshops, including gold-leaf, cloisonné, mother-of-pearl and brocade.","探索金箔畫、掐絲琺琅、螺鈿、宋錦等中國傳統手作及裝飾藝術體驗。","2026-08-16T19:24:04.000000Z",{"id":212,"uuid":1105,"slug":1106,"available_locales":1107,"name":1108,"description":1111,"body":1114,"path":1117,"images":1118,"image_urls":1119,"hero_image":3,"hero_image_url":3,"seo_title":1120,"seo_description":1122,"sort_order":247,"is_active":936,"status":937,"created_at":1125,"updated_at":939},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[908,909,910],{"en":1109,"zh":1110},"Wudang Community","武當社群活動",{"en":1112,"zh":1113},"Talks, broadcasts and community gatherings connecting people with Wudang culture, learning and living practice.","通過講座、直播與社群聚會，連線武當文化、學習與日常實踐。",{"en":1115,"zh":1116},"\u003Cp>Wudang Community brings together public talks, livestreams, gatherings and shared cultural activities connected with Wudang.\u003C\u002Fp>\u003Cp>These programmes create welcoming ways to meet practitioners, explore ideas and participate in a growing community of learning and practice.\u003C\u002Fp>","\u003Cp>武當社群活動彙集與武當文化相關的公開講座、直播、聚會及共享文化體驗。\u003C\u002Fp>\u003Cp>這些活動以友善開放的方式連線練習者與學習者，讓大家交流心得、認識傳統，並共同參與持續發展的文化社群。\u003C\u002Fp>","\u002Fevents\u002Fwudang-community",[],[],{"en":1121,"zh":1110},"Wudang Community Events",{"en":1123,"zh":1124},"Discover Wudang community talks, broadcasts and gatherings connecting people with culture, learning and living practice.","探索連線武當文化、學習與日常實踐的講座、直播及社群聚會。","2026-08-16T19:24:18.000000Z",{"id":16,"uuid":1127,"slug":1128,"available_locales":1129,"name":1130,"description":1133,"body":1134,"path":1135,"images":1136,"image_urls":1137,"hero_image":3,"hero_image_url":3,"seo_title":1138,"seo_description":1141,"sort_order":69,"is_active":936,"status":937,"created_at":1144,"updated_at":939},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[908,909,910],{"en":1131,"zh":1132},"Wudang Journeys & Retreats","武當旅修與行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":1139,"zh":1140},"Wudang Mountain Retreats and Guided Journeys","武當山旅修與靜修行程",{"en":1142,"zh":1143},"Guided journeys and retreats to Wudang Mountain that combine practice, temple visits and cultural learning, with itineraries and expectations set out clearly.","前往武當山的旅修與靜修：結合修習、宮觀參訪與文化學習，提前說明行程安排與參加須知。","2026-08-18T11:09:38.000000Z",{"data":1146},{"hero_type":1147,"hero_image":1148,"hero_image_alt":1149,"hero_youtube_id":1150,"hero_content_on":936,"hero_heading":1151,"hero_subheading":1152,"hero_text":1153,"hero_subheading_zh":1154,"hero_text_zh":1155,"hero_buttons":1156,"home_seo":1162,"page_layout":1168,"shop_enabled":1169,"contact":1170,"journey":1186},"image","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fsite\u002Fwudanghomepagehero.webp","Wudang mountain temple in mist","VgirFbjpiy4","武當文化，道在日常\nWudang Culture, Practised with Purpose","A place for learning. A home for living culture.","Explore Taoist thought, internal arts, literati traditions and Wudang Mountain through grounded learning in Singapore and beyond.","這裡既是學習之地，也是讓文化融入日常的所在。","從道家思想、內家武術、文人雅藝與武當山出發，以清晰、踏實的方式，在新加坡及世界各地認識和體驗武當文化。",[1157,1159],{"label":1158,"link":278},"Start Your Wudang Journey",{"label":1160,"link":1161},"View Events & Courses","\u002Fevents",{"title":1163,"description":1165},{"en":1164,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":1166,"zh":1167},"Explore Wudang Mountain through Tai Chi, Qigong, Daoist philosophy, martial arts, traditional arts, wellness, culture and everyday life in Wudang.","從太極、氣功、道家思想、武術、傳統雅藝與養生文化認識武當山，探索武當文化及武當山的日常生活。","sidebar",false,{"methods":1171,"has_any":936,"text":1179},{"email":1172,"whatsapp":1173,"wechat_id":1174,"wechat_qr_url":1175,"instagram":1176,"instagram_handle":1177,"facebook":1178,"facebook_handle":1177},"hello@wudang.org","+6588169599","Cldjcll0305","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fcontact\u002Fkcs9Z5IEY7CugW2mEYA8.webp","https:\u002F\u002Fwww.instagram.com\u002Fleewudang.sg","@leewudang.sg","https:\u002F\u002Fwww.facebook.com\u002Fleewudang.sg\u002F",{"china_heading_en":1180,"china_heading_zh":1181,"china_company_en":1182,"china_company_zh":1183,"china_address_en":1184,"china_address_zh":1185},"China Operations","中國運營","Xunwei Wudang Co., Ltd.","尋味武當有限公司","No. 72 Jianhe 2nd Road, Wangjiayuan, Wudang Mountain, Shiyan, Hubei, China","湖北省十堰市武當山王家園劍河二路72號",{"title_en":3,"title_zh":3,"intro_en":3,"intro_zh":3,"enabled":936},{"data":1188},{"to":755,"type":1189,"available_locales":1190,"is_content_page":936,"title":1191,"subtitle":1192,"body":1195,"hero_image_url":1198,"hero_width":1199,"hero_height":1200,"hero_image_alt":1201,"hero_image_decorative":1169,"hero_credit":1204,"hero_alt":1209,"hero_style":1210,"card_layout":1211,"link_type":3,"link_ref":3,"seo_title":1212,"seo_description":1215,"children":1218},"page",[908,909,910],{"en":756,"zh":757},{"en":1193,"zh":1194},"How to look at lacquer layers and crack patterns without turning surface appearance into a shortcut for dating or authenticity.","從漆層與斷紋入手觀察古琴，同時避免把表面形態當成年代或真偽的捷徑。",{"en":1196,"zh":1197},"\u003Cp>A guqin’s lacquer is not merely a dark finish around the music. It is part of a layered structure that protects the wooden body, affects how the player’s fingers meet the surface and records changes made during the instrument’s long use. Fine networks of cracks can be visually compelling, but they are also easy to overread. A named crack pattern is not a birth certificate, and an old-looking surface does not by itself prove age, authorship or authenticity.\u003C\u002Fp>\n\u003Cp>This guide offers a slow, object-based way to look. It complements the site’s introduction to \u003Ca href=\"\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin\">guqin structure and sound\u003C\u002Fa> and its evidence-led \u003Ca href=\"\u002Farts\u002Fguqin\u002Forigins-history-of-the-guqin\">history of the instrument\u003C\u002Fa>. It does not teach restoration or appraisal. Fragile lacquer, loose ground or an unstable wooden body requires examination by a qualified conservator and, for a playable instrument, an experienced qin maker.\u003C\u002Fp>\n\n\u003Ch2>A surface built in layers\u003C\u002Fh2>\n\u003Ch3>Wood, ground and lacquer\u003C\u002Fh3>\n\u003Cp>Traditional qin making is a sequence rather than a single act of carving. The Hong Kong Intangible Cultural Heritage Office lists nine broad stages: selecting wood, shaping it, hollowing the sound box, fitting and assembling the parts, applying a cement-like ground, sanding, lacquering and finally stringing. The Music Office of Hong Kong’s Leisure and Cultural Services Department likewise describes boards coated with ground and lacquer. These institutional accounts are useful because they place the visible finish within a composite object: wood below, prepared layers in between and lacquer above.\u003C\u002Fp>\n\u003Cp>The English word “lacquer” can refer to very different coatings. A catalogue should therefore be read literally. “Lacquered wood,” “resin lacquer,” a modern coating and a later re-lacquering are not interchangeable descriptions. Without technical analysis, a photograph rarely reveals exactly which materials are present or when each layer was added.\u003C\u002Fp>\n\n\u003Ch3>A working surface, not decorative skin\u003C\u002Fh3>\n\u003Cp>On the upper board, strings pass close to the lacquered surface, and left-hand techniques press and slide along the string. The surface must therefore be understood in relation to play as well as appearance. Its profile, smoothness, repairs and local wear may affect use, but none of those features should be diagnosed from an online image alone.\u003C\u002Fp>\n\u003Cp>Construction also matters to sound. The lacquer does not operate independently of the hollow wooden body, bridges, stringing and playing technique. For that larger system, return to \u003Ca href=\"\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin\">How the Guqin Works\u003C\u002Fa> or compare the physical setup described in \u003Ca href=\"\u002Farts\u002Fguqin\u002Fguqin-tables-playing-spaces\">Guqin Tables and Playing Spaces\u003C\u002Fa>.\u003C\u002Fp>\n\n\u003Ch2>What \u003Cem>duanwen\u003C\u002Fem> describes\u003C\u002Fh2>\n\u003Ch3>Named patterns are a vocabulary of looking\u003C\u002Fh3>\n\u003Cp>Crack networks in old qin lacquer are commonly called \u003Cem>duanwen\u003C\u002Fem> (斷紋). Historical and modern writers use vivid names—often translated with images such as “snake belly,” “ice cracks” or “plum blossom”—to describe visual configurations. These terms can help observers compare spacing, direction and scale. They should be treated as descriptive language, not as a mechanical classification that guarantees one date.\u003C\u002Fp>\n\u003Cp>The Metropolitan Museum of Art’s catalogue entry for a nineteenth-century guqin notes the traditional esteem accorded to older instruments and identifies \u003Cem>duanwen\u003C\u002Fem> as cracks in the lacquer. That is valuable evidence for how the surface has been understood, but a museum label’s summary of tradition is not a substitute for technical examination of a particular instrument.\u003C\u002Fp>\n\n\u003Ch3>Craquelure is not the same as damage\u003C\u002Fh3>\n\u003Cp>From a distance, fine stable-looking crackle, a split in the wooden body, lifting lacquer, loss of ground and a repaired seam may all appear as “lines.” They are materially different. Look for changes in level, exposed substrate, curling edges, movement and discontinuities across joints, while remembering that only in-person examination can establish condition.\u003C\u002Fp>\n\u003Cp>Recent conservation research also resists simple visual categories. A 2025 American Institute for Conservation programme included a study titled “Re-defining the craquelure patterns on traditional Chinese musical instrument guqin with advanced imaging techniques RTI and micro-CT.” Its very premise is a useful warning: surface names do not exhaust what imaging can reveal about cracks within layered structures.\u003C\u002Fp>\n\n\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FeMSvT9n55xJZRjI1OJ8p.webp\" alt=\"Conceptual overhead photograph of four fictional lacquer sample boards showing an intact surface, fine crackle, wider separation and exposed layers\">\u003Cfigcaption>Conceptual AI-generated photograph of fictional teaching samples. The different conditions are illustrative only; they are not a diagnostic chart or a record of a real conservation treatment.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\u003Ch2>Why a crack pattern cannot date a qin by itself\u003C\u002Fh2>\n\u003Ch3>Age is an argument assembled from several kinds of evidence\u003C\u002Fh3>\n\u003Cp>A responsible attribution brings together construction, dimensions, inscriptions, seals, documentary provenance, repair history and comparison with securely catalogued instruments. Material and imaging studies can add further evidence. Each strand has limits: an inscription may be later, a component may be replaced and a documented owner may have acquired an already old or altered instrument.\u003C\u002Fp>\n\u003Cp>The Music Office exhibition notes that inscriptions on the lower board can contribute to an instrument’s history. “Contribute” is the important word. A name or date must be read, contextualized and compared; it does not automatically settle who made the qin or when every part of it took its present form.\u003C\u002Fp>\n\n\u003Ch3>Surfaces can have more than one date\u003C\u002Fh3>\n\u003Cp>A wooden body, ground layer, topcoat, filled loss and retouched area may belong to different moments. Re-lacquering can cover earlier evidence; later wear can expose it again. Repairs may preserve playability or stabilize damage while also changing what the eye sees. The most honest label may therefore describe a sequence rather than assign the entire surface to one year.\u003C\u002Fp>\n\u003Cp>This is why convincing antiquarian appearance can mislead. Crackle may be genuine but belong to a later coating; an old body may carry new surface work; a repair may imitate surrounding texture. Conversely, a carefully conserved instrument need not look untouched. “Old,” “original,” “authentic” and “unrepaired” are different claims.\u003C\u002Fp>\n\n\u003Ch2>Repair as part of the object’s biography\u003C\u002Fh2>\n\u003Ch3>Do not erase the evidence too quickly\u003C\u002Fh3>\n\u003Cp>A repair can record changing standards of craft, ownership and use. Fill material, retouching, replaced fittings or a reworked surface may be visually distracting, yet they can help explain how the instrument survived. Conservation normally begins by documenting condition and previous interventions before deciding whether treatment is necessary.\u003C\u002Fp>\n\u003Cp>Environmental response also depends on the whole layered structure. Smithsonian conservation abstracts on East Asian lacquer emphasize interactions among ground, lacquer, light, relative humidity and handling. That complexity is another reason to avoid universal home recipes. Washing, oiling, polishing, filling cracks or forcing a warped surface can remove evidence or worsen instability.\u003C\u002Fp>\n\n\u003Ch3>Playability and preservation may ask different questions\u003C\u002Fh3>\n\u003Cp>A museum may prioritize stabilization and legibility of evidence. A musician may also ask whether the strings can be tuned and whether the surface allows safe technique. Neither goal authorizes casual intervention. Decisions should identify the intended use, the significance of older materials and the reversibility or visibility of any proposed work.\u003C\u002Fp>\n\u003Cp>For living practice, see \u003Ca href=\"\u002Farts\u002Fguqin\u002Fplaying-technique-and-notation\">gesture, notation and interpretation\u003C\u002Fa>. UNESCO’s account of “Guqin and its music” is also a reminder that the heritage is not only a class of objects: repertoire, knowledge, performance and transmission matter alongside surviving instruments.\u003C\u002Fp>\n\n\u003Ch2>A six-pass museum looking method\u003C\u002Fh2>\n\u003Ch3>Observe first; interpret second\u003C\u002Fh3>\n\u003Col>\n\u003Cli>\u003Cstrong>Read the whole profile.\u003C\u002Fstrong> Note the body shape, upper and lower boards, joints, feet, bridge areas and overall deformation before zooming into cracks.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>Map the surface.\u003C\u002Fstrong> Record where fine crackle, wider openings, losses, glossy patches and retouching appear; do not give them a cause yet.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>Compare levels and edges.\u003C\u002Fstrong> A line confined to the coating differs from lifting material, an exposed ground or a split that continues through the body.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>Check both faces.\u003C\u002Fstrong> Compare the playing surface with the lower board, inscriptions, seals, sound holes and repaired seams.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>Separate evidence streams.\u003C\u002Fstrong> Keep visual description, catalogue history, provenance, inscriptions and technical results distinct before bringing them together.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>State the limit.\u003C\u002Fstrong> If the object is behind glass or known only from photographs, say what cannot be confirmed and leave treatment to specialists.\u003C\u002Fli>\n\u003C\u002Fol>\n\n\u003Ch3>Questions worth carrying forward\u003C\u002Fh3>\n\u003Cp>After looking, ask: Which layers are actually visible? Which observations come from the object, and which from a label? Could a repair explain the change in colour or texture? What evidence supports the proposed date beyond the crack pattern? These questions make the surface more interesting, not less certain merely for caution’s sake.\u003C\u002Fp>\n\u003Cp>A guqin can be both a musical instrument and a record of material decisions accumulated over time. Reading its lacquer well means respecting that double life: attentive to beauty, but unwilling to turn beauty into proof.\u003C\u002Fp>\n\n\u003Ch2>Sources and further reading\u003C\u002Fh2>\n\u003Cul>\n\u003Cli>\u003Ca href=\"https:\u002F\u002Fwww.icho.hk\u002Fen\u002Fweb\u002Ficho\u002Frepresentative_list_guqin.html\">Hong Kong Intangible Cultural Heritage Office, “The Arts of the Guqin (The Craft of Qin Making)”\u003C\u002Fa>.\u003C\u002Fli>\n\u003Cli>\u003Ca href=\"https:\u002F\u002Fwww.lcsd.gov.hk\u002Fen\u002Fmo\u002Factivities\u002Fcommunityprogrammes\u002Froving_exhibition_guqin.html\">Hong Kong Music Office, guqin roving exhibition\u003C\u002Fa>.\u003C\u002Fli>\n\u003Cli>\u003Ca href=\"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F502372\">The Metropolitan Museum of Art, Guqin (19th century), object 1981.79\u003C\u002Fa>.\u003C\u002Fli>\n\u003Cli>\u003Ca href=\"https:\u002F\u002Fwww.culturalheritage.org\u002Fdiscussion\u002Fimaging-at-the-aic-annual-meeting-minneapolis-may-29-31\">American Institute for Conservation, 2025 Annual Meeting imaging programme\u003C\u002Fa>.\u003C\u002Fli>\n\u003Cli>\u003Ca href=\"https:\u002F\u002Fich.unesco.org\u002Fen\u002FRL\u002Fguqin-and-its-music-00061\">UNESCO, “Guqin and its music”\u003C\u002Fa>.\u003C\u002Fli>\n\u003C\u002Ful>","\u003Cp>古琴表面的漆，並不只是包在音樂之外的一層黑色裝飾。它屬於一個複合結構：既保護木質琴體，也關係到左手按弦、走手時所接觸的表面，還會留下長期使用與修繕的痕跡。細密的斷紋很有觀賞性，卻也最容易被過度解讀。斷紋有名稱，不等於它就是古琴的“出生證明”；漆面顯得古舊，也不能單獨證明年代、作者或真偽。\u003C\u002Fp>\n\u003Cp>本文提供一種緩慢、以器物為中心的觀看方法，可與本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin\">古琴結構與發聲\u003C\u002Fa>及\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Forigins-history-of-the-guqin\">古琴歷史\u003C\u002Fa>對讀。本文不教授修復或鑑定。若漆層起翹、灰胎鬆動，或琴體結構不穩，應由合格的文物修復人員檢查；若古琴仍需演奏，還要請有經驗的斫琴師共同判斷。\u003C\u002Fp>\n\n\u003Ch2>漆面是怎樣一層層形成的\u003C\u002Fh2>\n\u003Ch3>木胎、灰胎與漆層\u003C\u002Fh3>\n\u003Cp>傳統斫琴不是一次雕出外形便告完成，而是一連串工序。香港非物質文化遺產辦事處把制琴概括為九個階段，包括選材、斫形、挖腹、合琴、裝配、上灰胎、打磨、髹漆和上弦；香港康樂及文化事務署音樂事務處的古琴展覽也說明，琴板表面要施灰胎和漆。這類機構資料的重要之處，在於提醒我們：眼前可見的漆面屬於複合器物，下面是木胎，中間有經過處理的底層，上面才是漆層。\u003C\u002Fp>\n\u003Cp>英語裡的“lacquer”可能指不同材料，中文目錄中的“漆”也不一定已經說明配方、年代和工藝。因此要逐字讀館藏記錄：“木胎髹漆”“樹脂漆”“現代塗層”與後世重髹並不是同一件事。沒有材料分析，僅憑照片通常無法確定有哪些材料，更無法斷定每一層在何時形成。\u003C\u002Fp>\n\n\u003Ch3>它是演奏表面，不只是裝飾外皮\u003C\u002Fh3>\n\u003Cp>琴絃與面板距離很近，左手按弦後還要在弦上移動。漆面的輪廓、平整程度、區域性磨損與修補，既涉及外觀，也可能關係到演奏。但這些現象不能只憑網上圖片診斷。\u003C\u002Fp>\n\u003Cp>發聲同樣依賴整體結構。漆層不會脫離中空木質琴體、嶽山、琴絃與指法而單獨起作用。想了解這個系統，可回到\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin\">《古琴如何發聲》\u003C\u002Fa>，也可參看\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Fguqin-tables-playing-spaces\">古琴桌與彈琴空間\u003C\u002Fa>所討論的承托與姿態。\u003C\u002Fp>\n\n\u003Ch2>“斷紋”描述的是什麼\u003C\u002Fh2>\n\u003Ch3>紋名首先是一套觀看語言\u003C\u002Fh3>\n\u003Cp>古琴舊漆上形成的裂紋網路，通常稱為“斷紋”。古今論述常用“蛇腹”“冰裂”“梅花”等形象名稱來描述不同外觀。這些詞有助於比較紋路的疏密、方向和尺度，卻不應被當作一種機械分類，更不能保證某一個年代。\u003C\u002Fp>\n\u003Cp>紐約大都會藝術博物館一張十九世紀古琴的藏品說明，提到傳統上對百年以上老琴的珍視，並把 \u003Cem>duanwen\u003C\u002Fem> 解釋為漆面裂紋。它能幫助我們理解人們如何認識舊漆，卻不能取代對某一張具體古琴的材料和結構檢查。\u003C\u002Fp>\n\n\u003Ch3>斷紋並不等同於病害\u003C\u002Fh3>\n\u003Cp>從遠處看，細而穩定的紋路、木胎開裂、漆層起翹、灰胎脫落以及修補接縫，都可能只是“一條線”。但它們在材料上並不相同。可以觀察是否有高低差、底層外露、邊緣捲起、部件移動或紋路跨越接縫，不過器物狀態最終仍需現場檢查。\u003C\u002Fp>\n\u003Cp>近年的保護研究也在反思僅憑外觀命名。美國文物保護學會 2025 年年會安排了一項研究，題為“運用 RTI 與微型 CT 等先進成像技術重新界定傳統中國樂器古琴的龜裂形態”。這個題目本身已經給出重要提醒：表面的紋名，並不能窮盡分層結構內部的裂縫資訊。\u003C\u002Fp>\n\n\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FeMSvT9n55xJZRjI1OJ8p.webp\" alt=\"概念性俯拍照片：四塊虛構漆樣板分別展示完整表面、細密斷紋、較寬開裂和外露分層\">\u003Cfigcaption>概念性 AI 生成照片，畫面為虛構教學樣板。不同狀態僅用於說明觀看差異，並非診斷圖，也不記錄任何真實修復過程。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\u003Ch2>為什麼不能只憑斷紋斷代\u003C\u002Fh2>\n\u003Ch3>年代判斷要匯合多種證據\u003C\u002Fh3>\n\u003Cp>負責任的判斷，要綜合形制與結構、尺寸、題刻、印記、流傳記錄、修繕史，並與年代較明確的器物比較；材料檢測和成像研究還可以增加證據。每條證據都有侷限：題刻可能後加，部件可能更換，有據可查的某位舊藏者也可能得到一張當時已經古舊或改動過的琴。\u003C\u002Fp>\n\u003Cp>香港音樂事務處的展覽說明指出，琴底題刻可以幫助瞭解古琴歷史。“幫助”二字很關鍵：姓名和年代仍需釋讀、放回語境並與其他證據比較，並不會自動回答是誰製作了琴，也不能證明現存所有部分都在同一年完成。\u003C\u002Fp>\n\n\u003Ch3>同一漆面可以包含多個年代\u003C\u002Fh3>\n\u003Cp>木胎、灰胎、面漆、填補和補色可能分別形成於不同階段。重髹會覆蓋早期痕跡，後來的磨損又可能讓舊層重新顯露。修繕既可能延續可彈性或穩定病害，也會改變觀看到的表面。因而最誠實的說明往往不是給整張漆面指定一個年份，而是描述先後過程。\u003C\u002Fp>\n\u003Cp>這也是“古貌”容易誤導之處。斷紋可能確實老化形成，卻屬於較晚的漆層；舊木胎可能重新做過表面；修補也可能仿配周圍肌理。反過來，妥善儲存的古琴也不必看上去“從未動過”。“古”“原裝”“真”“未修”是不同主張，不能混為一談。\u003C\u002Fp>\n\n\u003Ch2>把修繕讀作器物生命史\u003C\u002Fh2>\n\u003Ch3>不要急著抹去證據\u003C\u002Fh3>\n\u003Cp>修繕能夠記錄不同時代的工藝標準、收藏與使用方式。填料、補色、更換的部件或重做的表面可能並不悅目，卻能解釋古琴如何留存至今。專業保護通常會先記錄現狀與以往干預，再決定是否需要處理。\u003C\u002Fp>\n\u003Cp>漆器對環境的反應也取決於整個分層結構。史密森學會的東亞漆器保護文獻摘要強調灰胎、漆層、光照、相對溼度和持拿方式之間的關係。因此，不宜套用一種家庭“保養秘方”。清洗、上油、拋光、填裂，甚至強行壓平變形，都可能毀掉證據或加重不穩定。\u003C\u002Fp>\n\n\u003Ch3>儲存與可彈性提出的未必是同一問題\u003C\u002Fh3>\n\u003Cp>博物館可能首先考慮穩定材料和保留證據；演奏者還會關心能否定弦、漆面是否容許安全走手。無論哪種目標，都不能為隨意干預開綠燈。決定處理前，應先說明器物準備怎樣使用，舊材料的意義是什麼，擬議處理能否撤回、是否可辨認。\u003C\u002Fp>\n\u003Cp>關於活態實踐，可繼續閱讀\u003Ca href=\"\u002Fzh\u002Farts\u002Fguqin\u002Fplaying-technique-and-notation\">指法、減字譜與詮釋\u003C\u002Fa>。聯合國教科文組織“古琴藝術”的資料也提醒我們：這項遺產不只是一類古物，還包括曲目、知識、演奏和傳承。\u003C\u002Fp>\n\n\u003Ch2>博物館裡可以怎樣看：六遍觀察法\u003C\u002Fh2>\n\u003Ch3>先觀察，再解釋\u003C\u002Fh3>\n\u003Col>\n\u003Cli>\u003Cstrong>先看整體輪廓。\u003C\u002Fstrong> 在放大斷紋前，先觀察琴體形制、上下板、接縫、足位、嶽山附近及整體變形。\u003C\u002Fli>\n\u003Cli>\u003Cstrong>給表面做“地圖”。\u003C\u002Fstrong> 分別記錄細紋、寬裂、缺失、高光斑和補色出現在哪裡，暫不急著解釋原因。\u003C\u002Fli>\n\u003Cli>\u003Cstrong>比較高低與邊緣。\u003C\u002Fstrong> 只限於塗層的線，與漆片起翹、灰胎外露或貫穿琴體的開裂並不相同。\u003C\u002Fli>\n\u003Cli>\u003Cstrong>正反兩面互看。\u003C\u002Fstrong> 把琴面與琴底、題刻、印記、音孔和修補接縫放在一起比較。\u003C\u002Fli>\n\u003Cli>\u003Cstrong>先分開證據來源。\u003C\u002Fstrong> 暫時把肉眼觀察、目錄沿革、流傳記錄、題刻和檢測結果分欄記錄，再討論它們如何相互支援。\u003C\u002Fli>\n\u003Cli>\u003Cstrong>說清楚觀察限度。\u003C\u002Fstrong> 若器物隔著展櫃，或只能看照片，就明確哪些無法確認，並把實際處理留給專業人員。\u003C\u002Fli>\n\u003C\u002Fol>\n\n\u003Ch3>值得繼續追問的問題\u003C\u002Fh3>\n\u003Cp>看完之後，可以繼續問：我真正看見了哪些層？哪些判斷來自器物本身，哪些來自說明牌？顏色或質感的變化會不會由舊修造成？除了斷紋之外，擬議年代還有什麼依據？謹慎不會讓漆面變得無趣，反而會讓問題更準確。\u003C\u002Fp>\n\u003Cp>古琴既是樂器，也是材料與修繕決策長期累積的記錄。讀懂漆面，就是尊重這種雙重生命：欣賞它的美，同時不把美感誤當成證據。\u003C\u002Fp>\n\n\u003Ch2>資料來源與延伸閱讀\u003C\u002Fh2>\n\u003Cul>\n\u003Cli>\u003Ca href=\"https:\u002F\u002Fwww.icho.hk\u002Fen\u002Fweb\u002Ficho\u002Frepresentative_list_guqin.html\">香港非物質文化遺產辦事處：《古琴藝術（斫琴技藝）》\u003C\u002Fa>。\u003C\u002Fli>\n\u003Cli>\u003Ca href=\"https:\u002F\u002Fwww.lcsd.gov.hk\u002Fen\u002Fmo\u002Factivities\u002Fcommunityprogrammes\u002Froving_exhibition_guqin.html\">香港音樂事務處：古琴巡迴展覽\u003C\u002Fa>。\u003C\u002Fli>\n\u003Cli>\u003Ca href=\"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F502372\">紐約大都會藝術博物館：十九世紀古琴，藏品編號 1981.79\u003C\u002Fa>。\u003C\u002Fli>\n\u003Cli>\u003Ca href=\"https:\u002F\u002Fwww.culturalheritage.org\u002Fdiscussion\u002Fimaging-at-the-aic-annual-meeting-minneapolis-may-29-31\">美國文物保護學會：2025 年年會成像專題\u003C\u002Fa>。\u003C\u002Fli>\n\u003Cli>\u003Ca href=\"https:\u002F\u002Fich.unesco.org\u002Fen\u002FRL\u002Fguqin-and-its-music-00061\">聯合國教科文組織：“古琴藝術”\u003C\u002Fa>。\u003C\u002Fli>\n\u003C\u002Ful>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F6zMOHelxmWM49AZShKNt.webp",1536,1024,{"en":1202,"zh":1203},"Conceptual close-up of a fictional seven-string lacquered zither under warm raking light, showing fine crack patterns","概念圖：暖色掠射光下的一張虛構七絃漆琴區域性，可見細密斷紋",{"caption":1205,"creator":1206,"source_url":3,"license_label":1207,"license_url":3,"changes":1208},"由 AI 生成的概念照片：暖色掠射光下的一張虛構七絃漆琴；並非真實古琴、館藏或修復過程的記錄。","OpenAI","AI-generated conceptual image","作為原創概念照片生成；不作紀實性主張。",{"en":1202,"zh":1203},"banner","list",{"en":1213,"zh":1214},"Guqin Lacquer: Layers, Crack Patterns and Repair","古琴漆面：漆層、斷紋與修繕",{"en":1216,"zh":1217},"A careful guide to guqin lacquer layers, duanwen crack patterns, repair evidence and why surface appearance alone cannot date or authenticate an instrument.","謹慎認識古琴漆層、斷紋和修繕痕跡，並理解為何不能只憑漆面判斷年代或真偽。",[],{"data":1220},[1221,1297,1398,1489],{"id":1222,"slug":1223,"available_locales":1224,"path":1225,"title":1226,"venue":1229,"hero_image_url":3,"card_image_url":1232,"card_landscape_url":1233,"lifecycle":1234,"session_mode":1235,"sessions":1236,"next_session":1296},15601,"liu-yao-beginner-course",[908,909,910],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":1227,"zh":1228},"Liu Yao Beginner 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2026","2026年11月1日","Nov","November",2026,"Sun",{"status":1238,"date_slug":1257,"time_label":1240,"timezone_abbr":1241,"date_label":1258,"date_label_fr":1259,"date_short_fr":1260,"date_only_fr":1261,"date_range_label_fr":3,"time_label_fr":1246,"date_label_zh":1262,"date_short":1263,"date_short_zh":1264,"date_only":1265,"date_only_zh":1266,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1267,"month_short":1252,"month_long":1253,"month_num":1061,"year":1254,"weekday_short":1268,"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":1238,"date_slug":1270,"time_label":1240,"timezone_abbr":1241,"date_label":1271,"date_label_fr":1272,"date_short_fr":1273,"date_only_fr":1274,"date_range_label_fr":3,"time_label_fr":1246,"date_label_zh":1275,"date_short":1276,"date_short_zh":1277,"date_only":1278,"date_only_zh":1279,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":147,"month_short":1280,"month_long":1281,"month_num":147,"year":1254,"weekday_short":1268,"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":1238,"date_slug":1283,"time_label":1240,"timezone_abbr":1241,"date_label":1284,"date_label_fr":1285,"date_short_fr":1286,"date_only_fr":1287,"date_range_label_fr":3,"time_label_fr":1246,"date_label_zh":1288,"date_short":1289,"date_short_zh":1290,"date_only":1291,"date_only_zh":1292,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":137,"month_short":1293,"month_long":1294,"month_num":38,"year":1295,"weekday_short":1255,"weekday_index":935},"2027-01-17","Sunday, 17 January 2027","dimanche 17 janvier 2027","dim. 17 janv.","17 janv. 2027","2027年1月17日 星期日","Sun 17 Jan","1月17日 週日","17 Jan 2027","2027年1月17日","Jan","January",2027,{"status":1238,"date_slug":1239,"time_label":1240,"timezone_abbr":1241,"date_label":1242,"date_label_fr":1243,"date_short_fr":1244,"date_only_fr":1245,"date_range_label_fr":3,"time_label_fr":1246,"date_label_zh":1247,"date_short":1248,"date_short_zh":1249,"date_only":1250,"date_only_zh":1251,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1252,"month_long":1253,"month_num":1061,"year":1254,"weekday_short":1255,"weekday_index":935},{"id":1298,"slug":1299,"available_locales":1300,"path":1301,"title":1302,"venue":1305,"hero_image_url":1306,"card_image_url":1306,"card_landscape_url":1307,"lifecycle":1234,"session_mode":1235,"sessions":1308,"next_session":1397},78700,"baduanjin-workshop-september",[908,909,910],"\u002Fevents\u002Finternal-arts-wellness\u002Fbaduanjin-workshop-september",{"en":1303,"zh":1304},"Baduanjin Workshop — November 2026 Sessions","古法八段錦 · 2026年11月班",{"en":1230,"zh":1231},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FWU46jadRUq4I84xPdaTQ.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002Fvariants\u002FCQB6xxmg8kF7eqWPQgAl-16x9.webp",[1309,1326,1338,1351,1362,1363,1374,1385],{"status":1310,"date_slug":1311,"time_label":1312,"timezone_abbr":1241,"date_label":1313,"date_label_fr":1314,"date_short_fr":1315,"date_only_fr":1316,"date_range_label_fr":3,"time_label_fr":1317,"date_label_zh":1318,"date_short":1319,"date_short_zh":1320,"date_only":1321,"date_only_zh":1322,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1323,"month_short":1324,"month_long":1325,"month_num":16,"year":1254,"weekday_short":1255,"weekday_index":935},"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":1310,"date_slug":1327,"time_label":1312,"timezone_abbr":1241,"date_label":1328,"date_label_fr":1329,"date_short_fr":1330,"date_only_fr":1331,"date_range_label_fr":3,"time_label_fr":1317,"date_label_zh":1332,"date_short":1333,"date_short_zh":1334,"date_only":1335,"date_only_zh":1336,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1337,"month_short":1324,"month_long":1325,"month_num":16,"year":1254,"weekday_short":1255,"weekday_index":935},"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":1310,"date_slug":1339,"time_label":1312,"timezone_abbr":1241,"date_label":1340,"date_label_fr":1341,"date_short_fr":1342,"date_only_fr":1343,"date_range_label_fr":3,"time_label_fr":1317,"date_label_zh":1344,"date_short":1345,"date_short_zh":1346,"date_only":1347,"date_only_zh":1348,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":247,"month_short":1349,"month_long":1350,"month_num":964,"year":1254,"weekday_short":1255,"weekday_index":935},"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":1310,"date_slug":1352,"time_label":1312,"timezone_abbr":1241,"date_label":1353,"date_label_fr":1354,"date_short_fr":1355,"date_only_fr":1356,"date_range_label_fr":3,"time_label_fr":1317,"date_label_zh":1357,"date_short":1358,"date_short_zh":1359,"date_only":1360,"date_only_zh":1361,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1061,"month_short":1349,"month_long":1350,"month_num":964,"year":1254,"weekday_short":1255,"weekday_index":935},"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":1238,"date_slug":1239,"time_label":1312,"timezone_abbr":1241,"date_label":1242,"date_label_fr":1243,"date_short_fr":1244,"date_only_fr":1245,"date_range_label_fr":3,"time_label_fr":1317,"date_label_zh":1247,"date_short":1248,"date_short_zh":1249,"date_only":1250,"date_only_zh":1251,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1252,"month_long":1253,"month_num":1061,"year":1254,"weekday_short":1255,"weekday_index":935},{"status":1238,"date_slug":1364,"time_label":1312,"timezone_abbr":1241,"date_label":1365,"date_label_fr":1366,"date_short_fr":1367,"date_only_fr":1368,"date_range_label_fr":3,"time_label_fr":1317,"date_label_zh":1369,"date_short":1370,"date_short_zh":1371,"date_only":1372,"date_only_zh":1373,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":212,"month_short":1252,"month_long":1253,"month_num":1061,"year":1254,"weekday_short":1255,"weekday_index":935},"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":1238,"date_slug":1375,"time_label":1312,"timezone_abbr":1241,"date_label":1376,"date_label_fr":1377,"date_short_fr":1378,"date_only_fr":1379,"date_range_label_fr":3,"time_label_fr":1317,"date_label_zh":1380,"date_short":1381,"date_short_zh":1382,"date_only":1383,"date_only_zh":1384,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":152,"month_short":1252,"month_long":1253,"month_num":1061,"year":1254,"weekday_short":1255,"weekday_index":935},"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":1238,"date_slug":1386,"time_label":1312,"timezone_abbr":1241,"date_label":1387,"date_label_fr":1388,"date_short_fr":1389,"date_only_fr":1390,"date_range_label_fr":3,"time_label_fr":1317,"date_label_zh":1391,"date_short":1392,"date_short_zh":1393,"date_only":1394,"date_only_zh":1395,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1396,"month_short":1252,"month_long":1253,"month_num":1061,"year":1254,"weekday_short":1255,"weekday_index":935},"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":1238,"date_slug":1239,"time_label":1312,"timezone_abbr":1241,"date_label":1242,"date_label_fr":1243,"date_short_fr":1244,"date_only_fr":1245,"date_range_label_fr":3,"time_label_fr":1317,"date_label_zh":1247,"date_short":1248,"date_short_zh":1249,"date_only":1250,"date_only_zh":1251,"is_multi_day":1169,"date_range_label":3,"date_range_label_zh":3,"day_of_month":38,"month_short":1252,"month_long":1253,"month_num":1061,"year":1254,"weekday_short":1255,"weekday_index":935},{"id":1399,"slug":1400,"available_locales":1401,"path":1402,"title":1403,"venue":1406,"hero_image_url":3,"card_image_url":1407,"card_landscape_url":1408,"lifecycle":1234,"session_mode":1235,"sessions":1409,"next_session":1488},11823,"i-ching-beginner-course-singapore",[908,909],"\u002Fevents\u002Fi-ching-learning\u002Fi-ching-beginner-course-singapore",{"en":1404,"zh":1405},"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":1238,"date_slug":1428,"time_label":1412,"timezone_abbr":1241,"date_label":1429,"date_label_fr":1430,"date_short_fr":1431,"date_only_fr":1432,"date_range_label_fr":1433,"time_label_fr":1418,"date_label_zh":1434,"date_short":1435,"date_short_zh":1436,"date_only":1437,"date_only_zh":1438,"is_multi_day":936,"date_range_label":1439,"date_range_label_zh":1440,"day_of_month":1441,"month_short":1252,"month_long":1253,"month_num":1061,"year":1254,"weekday_short":1426,"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":1238,"date_slug":1443,"time_label":1412,"timezone_abbr":1241,"date_label":1444,"date_label_fr":1445,"date_short_fr":1446,"date_only_fr":1447,"date_range_label_fr":1448,"time_label_fr":1418,"date_label_zh":1449,"date_short":1450,"date_short_zh":1451,"date_only":1452,"date_only_zh":1453,"is_multi_day":936,"date_range_label":1454,"date_range_label_zh":1455,"day_of_month":1456,"month_short":1280,"month_long":1281,"month_num":147,"year":1254,"weekday_short":1426,"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":1238,"date_slug":1458,"time_label":1412,"timezone_abbr":1241,"date_label":1459,"date_label_fr":1460,"date_short_fr":1461,"date_only_fr":1462,"date_range_label_fr":1463,"time_label_fr":1418,"date_label_zh":1464,"date_short":1465,"date_short_zh":1466,"date_only":1467,"date_only_zh":1468,"is_multi_day":936,"date_range_label":1469,"date_range_label_zh":1470,"day_of_month":1471,"month_short":1293,"month_long":1294,"month_num":38,"year":1295,"weekday_short":1426,"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 2027","2027年1月18日–23日",18,{"status":1238,"date_slug":1473,"time_label":1412,"timezone_abbr":1241,"date_label":1474,"date_label_fr":1475,"date_short_fr":1476,"date_only_fr":1477,"date_range_label_fr":1478,"time_label_fr":1418,"date_label_zh":1479,"date_short":1480,"date_short_zh":1481,"date_only":1482,"date_only_zh":1483,"is_multi_day":936,"date_range_label":1484,"date_range_label_zh":1485,"day_of_month":152,"month_short":1486,"month_long":1487,"month_num":983,"year":1295,"weekday_short":1426,"weekday_index":38},"2027-02-15","Monday, 15 February 2027","lundi 15 février 2027","lun. 15 févr.","15 févr. 2027","15 févr. 2027 – 20 févr. 2027","2027年2月15日 星期一","Mon 15 Feb","2月15日 週一","15 Feb 2027","2027年2月15日","15–20 Feb 2027","2027年2月15日–20日","Feb","February",{"status":1238,"date_slug":1428,"time_label":1412,"timezone_abbr":1241,"date_label":1429,"date_label_fr":1430,"date_short_fr":1431,"date_only_fr":1432,"date_range_label_fr":1433,"time_label_fr":1418,"date_label_zh":1434,"date_short":1435,"date_short_zh":1436,"date_only":1437,"date_only_zh":1438,"is_multi_day":936,"date_range_label":1439,"date_range_label_zh":1440,"day_of_month":1441,"month_short":1252,"month_long":1253,"month_num":1061,"year":1254,"weekday_short":1426,"weekday_index":38},{"id":1490,"slug":1491,"available_locales":1492,"path":1493,"title":1494,"venue":1497,"hero_image_url":1500,"card_image_url":1500,"card_landscape_url":1501,"lifecycle":1234,"session_mode":1235,"sessions":1502,"next_session":1550},68445,"tai-chi-retreat-camp-singapore",[908,909,910],"\u002Fevents\u002Finternal-arts-wellness\u002Ftai-chi-retreat-camp-singapore",{"en":1495,"zh":1496},"Tai Chi Retreat Camp in Singapore | Lee Wudang 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星期五","Fri 27 Nov","11月27日 週五","27 Nov 2026","2026年11月27日","27–29 Nov 2026","2026年11月27日–29日","Fri",{"status":1238,"date_slug":1521,"time_label":1505,"timezone_abbr":1241,"date_label":1522,"date_label_fr":1523,"date_short_fr":1524,"date_only_fr":1525,"date_range_label_fr":1526,"time_label_fr":1511,"date_label_zh":1527,"date_short":1528,"date_short_zh":1529,"date_only":1530,"date_only_zh":1531,"is_multi_day":936,"date_range_label":1532,"date_range_label_zh":1533,"day_of_month":1534,"month_short":1280,"month_long":1281,"month_num":147,"year":1254,"weekday_short":1519,"weekday_index":69},"2026-12-25","Friday, 25 December 2026","vendredi 25 décembre 2026","ven. 25 déc.","25 déc. 2026","25 déc. 2026 – 27 déc. 2026","2026年12月25日 星期五","Fri 25 Dec","12月25日 週五","25 Dec 2026","2026年12月25日","25–27 Dec 2026","2026年12月25日–27日",25,{"status":1238,"date_slug":1536,"time_label":1505,"timezone_abbr":1241,"date_label":1537,"date_label_fr":1538,"date_short_fr":1539,"date_only_fr":1540,"date_range_label_fr":1541,"time_label_fr":1511,"date_label_zh":1542,"date_short":1543,"date_short_zh":1544,"date_only":1545,"date_only_zh":1546,"is_multi_day":936,"date_range_label":1547,"date_range_label_zh":1548,"day_of_month":1549,"month_short":1293,"month_long":1294,"month_num":38,"year":1295,"weekday_short":1519,"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":1238,"date_slug":1504,"time_label":1505,"timezone_abbr":1241,"date_label":1506,"date_label_fr":1507,"date_short_fr":1508,"date_only_fr":1509,"date_range_label_fr":1510,"time_label_fr":1511,"date_label_zh":1512,"date_short":1513,"date_short_zh":1514,"date_only":1515,"date_only_zh":1516,"is_multi_day":936,"date_range_label":1517,"date_range_label_zh":1518,"day_of_month":1337,"month_short":1252,"month_long":1253,"month_num":1061,"year":1254,"weekday_short":1519,"weekday_index":69}]