[{"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\u002Fpainting\u002Fmounting-chinese-painting":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":821,"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":822,"zh":823},{"en":1193,"zh":1194},"How paper, silk, paste, rods and skilled remounting turn a fragile image into an object that can be viewed, stored and studied.","紙、綾、漿糊、軸杆與專業重裱，怎樣把脆弱畫心變成可以觀看、收藏與研究的器物。",{"en":1196,"zh":1197},"\u003Cp>A Chinese painting may look like a single sheet, yet the object in front of us is often a carefully built structure. Thin painted paper or silk is joined to supporting papers, borders, covers, rods and sometimes a box. Together these layers make a handscroll possible to unroll, a hanging scroll possible to suspend, an album possible to turn and a screen possible to stand.\u003C\u002Fp>\n\u003Cp>This guide treats mounting as part of the painting’s material history, not as an invisible frame. It explains what can be observed without dismantling an object, why old mounts deserve evidence-based decisions, and why washing, relining or remounting belongs to trained conservators rather than home repair.\u003C\u002Fp>\n\u003Ch2>A mount turns an image into a working object\u003C\u002Fh2>\n\u003Ch3>Thin paper and silk need a support system\u003C\u002Fh3>\n\u003Cp>Chinese paintings are frequently made on fine paper or silk. These supports can carry subtle ink and colour, but they are vulnerable to tears, creases, distortion and repeated handling. The \u003Ca href=\"https:\u002F\u002Fwww.clevelandart.org\u002Fconservation\u002Fasian-paintings-conservation-lab\">Cleveland Museum of Art’s conservation laboratory\u003C\u002Fa> therefore describes the surrounding mount as part of the object’s care, not a disposable accessory.\u003C\u002Fp>\n\u003Cp>Lining paper is adhered behind the painting to add support and help it behave as part of a larger flexible structure. Further papers may back mounting silks or strengthen the completed object. The exact papers, fibres, number of layers and paste are treatment choices, not a universal recipe. Age, format, pigments, earlier repairs and the intended way of viewing all matter.\u003C\u002Fp>\n\u003Ch3>Format changes movement, scale and storage\u003C\u002Fh3>\n\u003Cp>A \u003Ca href=\"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-handscroll\">handscroll\u003C\u002Fa> is opened on a table in sections, so rolling and unrolling create a sequence. A \u003Ca href=\"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-hanging-scroll\">hanging scroll\u003C\u002Fa> is suspended vertically and addresses a wall or room. An \u003Ca href=\"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-painting-album\">album\u003C\u002Fa> divides viewing into leaves, while a \u003Ca href=\"\u002Farts\u002Fpainting\u002Fchinese-screens-space-painting\">screen\u003C\u002Fa> joins painting to a rigid or folding support.\u003C\u002Fp>\n\u003Cp>These formats are not neutral containers for the same image. A long landscape experienced a handspan at a time differs from one displayed fully on a wall. A screen changes movement through a room. Mounting therefore participates in composition, pace, touch, visibility and storage even when the painted surface itself is unchanged.\u003C\u002Fp>\n\u003Ch2>Read the layers without pretending to see inside\u003C\u002Fh2>\n\u003Ch3>Begin with the painting and its immediate lining\u003C\u002Fh3>\n\u003Cp>The painted support is sometimes called the painting core or image field. Behind it may be one or more linings attached with starch paste. On an open-weave silk painting, the tone of the first backing paper can affect what a viewer sees from the front. That makes backing colour an aesthetic as well as structural decision.\u003C\u002Fp>\n\u003Cp>Do not infer hidden layers from a catalogue photograph. Look instead for visible edges, joins, repaired creases, changes in thickness and the way the object lies. Technical examination may reveal more, but even specialists do not remove a lining merely to satisfy curiosity: every intervention carries risk.\u003C\u002Fp>\n\u003Ch3>Silk borders carry design and history\u003C\u002Fh3>\n\u003Cp>Mounting silks can separate the image from its surroundings, balance proportions and protect vulnerable edges. Their weave, pattern, colour and width affect the finished object. The National Museum of Asian Art notes that mounting fabrics and materials are reproduced and studied within Chinese painting conservation, while the \u003Ca href=\"https:\u002F\u002Fwww.metmuseum.org\u002Fde\u002Fdepartments\u002Feast-asian-painting-conservation\">Metropolitan Museum of Art\u003C\u002Fa> treats mounting as a specialist part of East Asian painting care.\u003C\u002Fp>\n\u003Cp>A border that looks newer than the painting is not automatically false or careless. Paintings may be remounted several times, and a later mount can become evidence of collecting, taste, repair or institutional history. Conversely, an old-looking silk is not proof that it was attached when the image was painted. Date the painting, mount and inscriptions separately when the evidence allows.\u003C\u002Fp>\n\u003Ch3>Rods, covers and ties control how a scroll works\u003C\u002Fh3>\n\u003Cp>A hanging scroll normally carries a top stave from which it hangs and a lower roller around which it closes. A handscroll has its own beginning cover, joins and roller arrangement. Pockets, cords, knobs and wrapping protect or operate the structure. They also concentrate stress: torn top edges, frayed cords and misaligned rollers can endanger the painting.\u003C\u002Fp>\n\u003Cp>The roller must sit parallel so the layers wind evenly. A scroll rolled too tightly, too loosely or around a damaged core can crease, telescope or abrade. The \u003Ca href=\"https:\u002F\u002Fcollections.asianart.org\u002Fsix-tips-to-protect-your-hanging-scrolls\u002F\">Asian Art Museum’s care guidance\u003C\u002Fa> therefore emphasizes condition checks, clean flat handling, brief low-light display and secure rolled storage rather than permanent exhibition.\u003C\u002Fp>\n\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F7Wv5wIkNBv23NWzEVJW2.webp\" alt=\"Conceptual overhead comparison of separate mounting layers: painted silk, backing papers, cream and blue silk borders, a top stave pocket and a wooden roller\">\u003Cfigcaption>Conceptual AI-generated photograph of fictional mounting components arranged for study. It does not document a museum object, treatment, conservator or historical workshop.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\u003Ch2>Conservation is a decision before it is a technique\u003C\u002Fh2>\n\u003Ch3>Condition evidence comes before a new mount\u003C\u002Fh3>\n\u003Cp>Conservators ask whether damage belongs to the painting, the mount or both. They record cracks, losses, lifting pigment, stains, distorted papers, weakened cords and earlier repairs. They also consider the mount’s documentary and aesthetic value. Minor reinforcement, safer storage or a shorter display may sometimes reduce risk without replacing the whole structure.\u003C\u002Fp>\n\u003Cp>A mount is not judged only by whether it looks fresh. A well-made older mount may still function; a visually tidy one may contain poor paper, uneven tension or damaging adhesives. The Museum of Fine Arts, Boston shows why support quality matters: an inadequate screen core with too few lining layers distorted and discoloured the painting it was meant to carry.\u003C\u002Fp>\n\u003Ch3>Complete remounting is major intervention\u003C\u002Fh3>\n\u003Cp>The \u003Ca href=\"https:\u002F\u002Fwww.britishmuseum.org\u002Fblog\u002Fchinese-scroll-mounting-chinese-new-year\">British Museum’s account of Chinese scroll mounting\u003C\u002Fa> describes full remounting as highly interventive: old silks may be removed, the painting treated and relined, losses repaired, and new surrounds constructed. Such work combines traditional craft knowledge, conservation judgment, documentation and materials testing.\u003C\u002Fp>\n\u003Cp>Remounting can make safe display and storage possible, but it can also remove evidence or alter the painting’s appearance if poorly conceived. There is no responsible do-it-yourself shortcut using household tape, spray adhesive, ironing, wet cleaning or ordinary picture framing. A valuable or uncertain object should remain stable and untouched until a qualified East Asian painting conservator examines it.\u003C\u002Fp>\n\u003Ch3>Drying, flexibility and rolling must work together\u003C\u002Fh3>\n\u003Cp>Paper, silk and paste respond to moisture. During professional mounting, lined components are dried and flattened under controlled conditions before they are joined and given final backings. The completed scroll must be strong enough to support the painting yet flexible enough to roll without forcing one layer against another.\u003C\u002Fp>\n\u003Cp>That balance changes with size, material and condition. More layers are not automatically better, and a stiff scroll is not necessarily safer. Good work is judged through the whole system: flatness when displayed, even rolling, appropriate tension, sound attachments and a surface that does not endanger fragile ink or colour.\u003C\u002Fp>\n\u003Ch2>A six-step way to read a mounted painting\u003C\u002Fh2>\n\u003Ch3>Move from format to evidence\u003C\u002Fh3>\n\u003Col>\n\u003Cli>\u003Cstrong>Name the format.\u003C\u002Fstrong> Is it a handscroll, hanging scroll, album leaf, screen, panel or later frame?\u003C\u002Fli>\n\u003Cli>\u003Cstrong>Locate the image field.\u003C\u002Fstrong> Separate painted support from borders, inscriptions, title slips and later additions.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>Follow the joins.\u003C\u002Fstrong> Notice where papers and silks overlap, change thickness or meet rods and covers.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>Read movement.\u003C\u002Fstrong> Ask how the object opens, hangs, turns, folds or rolls and where that movement creates stress.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>Look for different ages.\u003C\u002Fstrong> Compare wear, fading, weave, repairs and hardware without assigning dates from appearance alone.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>Check the record.\u003C\u002Fstrong> Use catalogues and conservation reports to distinguish observation, attribution and documented treatment.\u003C\u002Fli>\n\u003C\u002Fol>\n\u003Ch3>Respect distance, duration and specialist boundaries\u003C\u002Fh3>\n\u003Cp>In a gallery, observe whether the scroll is fully extended, supported in a case or shown only for a limited rotation. Display decisions may reflect light sensitivity, structural weakness or curatorial purpose. An absent work may be resting rather than forgotten; a short exhibition is often part of preventive care.\u003C\u002Fp>\n\u003Cp>Do not touch silk, test a roller, lift an edge or try to flatten a crease. Photographs can record visible condition, but they do not authorize a repair. Continue through the \u003Ca href=\"\u002Farts\u002Fpainting\">Chinese Painting gateway\u003C\u002Fa> and compare formats before treating the mount as background.\u003C\u002Fp>\n\u003Cp>\u003Cstrong>Sources and limits.\u003C\u002Fstrong> This guide draws on the Metropolitan Museum of Art and Cleveland Museum of Art conservation laboratories, the Museum of Fine Arts Boston’s support study, the British Museum’s account of Chinese scroll remounting, the Asian Art Museum’s preventive-care guidance, and the Smithsonian’s \u003Ca href=\"https:\u002F\u002Fwww.si.edu\u002Fexhibitions\u002Fconservation-cart-talk-lining-chinese-paintings%3A175156682\">demonstration of two professional lining methods\u003C\u002Fa>. These records explain principles and selected treatments; they are not instructions for repairing an individual object.\u003C\u002Fp>","\u003Cp>一幅中國畫看似只是一張紙或一匹絹，眼前的實物卻往往是一套精心構成的結構。薄薄的畫心與托紙、綾邊、包首、軸杆相連，有時還配有函套或木盒。正是這些層次，讓手卷能夠舒展，讓立軸能夠懸掛，讓冊頁可以翻閱，也讓屏風得以站立。\u003C\u002Fp>\n\u003Cp>本篇把裝裱視為繪畫物質歷史的一部分，而不是看不見的“外框”。我們可以在不拆解器物的前提下觀察什麼？舊裱為何需要基於證據來判斷？又為何清洗、揭裱、重託與重裱必須交由受過訓練的專業人員，而不能在家中試做？\u003C\u002Fp>\n\u003Ch2>裝裱把影像變成可以使用的器物\u003C\u002Fh2>\n\u003Ch3>薄紙與絹本需要支撐系統\u003C\u002Fh3>\n\u003Cp>中國畫常繪於細薄的紙或絹上，墨色可以很微妙，載體卻容易撕裂、折傷、起翹，也會因反覆展卷而受力。因此，\u003Ca href=\"https:\u002F\u002Fwww.clevelandart.org\u002Fconservation\u002Fasian-paintings-conservation-lab\">克利夫蘭藝術博物館亞洲繪畫修復室\u003C\u002Fa>強調：圍繞畫心的裝裱本身就是器物保護的一部分，並非隨時可棄的裝飾。\u003C\u002Fp>\n\u003Cp>托紙以漿糊附著在畫心背面，使其得到支撐，並能進入更大的柔性結構。其他紙層還可托住綾絹，或加強整件作品。具體紙張、纖維、層數與漿糊並沒有一套放之四海皆準的配方；年代、畫幅形式、顏料、舊修補與觀看方式都會影響處理決定。\u003C\u002Fp>\n\u003Ch3>形制改變觀看、尺度與收藏方式\u003C\u002Fh3>\n\u003Cp>\u003Ca href=\"\u002Fzh\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-handscroll\">手卷\u003C\u002Fa>在案上分段展開，收與放構成觀看次序；\u003Ca href=\"\u002Fzh\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-hanging-scroll\">立軸\u003C\u002Fa>垂直懸掛，與牆面和室內空間發生關係；\u003Ca href=\"\u002Fzh\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-painting-album\">冊頁\u003C\u002Fa>把觀看分成一開一葉；\u003Ca href=\"\u002Fzh\u002Farts\u002Fpainting\u002Fchinese-screens-space-painting\">屏風\u003C\u002Fa>則把繪畫與硬質或可摺疊的支撐結合。\u003C\u002Fp>\n\u003Cp>這些形制不是盛放同一影像的中性容器。山水長卷在掌間逐段出現，與整幅掛在牆上不同；屏風還會改變人在房間中的行走與視線。即使畫面本身不變，裝裱也參與構圖、節奏、觸碰方式、可見範圍與收藏方法。\u003C\u002Fp>\n\u003Ch2>讀懂層次，但不假裝看見內部\u003C\u002Fh2>\n\u003Ch3>先分清畫心與第一層托紙\u003C\u002Fh3>\n\u003Cp>承載筆墨的紙或絹常稱畫心。其背後可能有一層或多層以澱粉漿糊粘合的托紙。若畫絹織得疏，第一層托紙的色調甚至會從正面透出，改變畫面觀感。因此，托紙顏色既是結構選擇，也可能是審美選擇。\u003C\u002Fp>\n\u003Cp>不能憑圖錄照片推斷隱藏層次。可以觀察露出的邊緣、接縫、摺痕修補、厚薄變化，以及器物展開時是否平順。技術檢測能夠提供更多資訊，但即使專業人員也不會只為滿足好奇而揭去托紙；每一次干預都有風險。\u003C\u002Fp>\n\u003Ch3>綾邊承載設計，也承載歷史\u003C\u002Fh3>\n\u003Cp>綾絹邊可以把畫面與周圍空間分開，調整比例，也保護脆弱邊緣。紋理、花紋、顏色與寬度都會影響成品。史密森尼國立亞洲藝術博物館把裝裱織物與材料的研究、複製列為中國畫修復工作的一部分；\u003Ca href=\"https:\u002F\u002Fwww.metmuseum.org\u002Fde\u002Fdepartments\u002Feast-asian-painting-conservation\">大都會藝術博物館\u003C\u002Fa>也把裝裱列為東亞繪畫保護的專業工作。\u003C\u002Fp>\n\u003Cp>綾邊比畫心新，不代表它必然虛假或草率。作品可能歷經多次重裱，後配裝裱也會記錄收藏、審美、修復與機構歷史。反過來，看似古舊的綾邊也不能證明它與畫心同時製作。證據允許時，應分別判斷畫心、裝裱與題跋的年代。\u003C\u002Fp>\n\u003Ch3>軸杆、包首與繫帶決定卷軸怎樣運作\u003C\u002Fh3>\n\u003Cp>立軸通常有用於懸掛的天杆，也有收卷時圍繞的下軸；手卷則有自己的引首、包首、接縫與軸杆結構。紙袋、絛帶、軸頭與包裹材料負責操作和保護，同時也集中受力：上端撕裂、繫繩磨損或軸杆歪斜，都可能危及畫心。\u003C\u002Fp>\n\u003Cp>軸杆必須保持平行，才能讓各層均勻收卷。卷得過緊、過鬆，或圍繞受損軸心收卷，都可能造成摺痕、跑卷與摩擦。\u003Ca href=\"https:\u002F\u002Fcollections.asianart.org\u002Fsix-tips-to-protect-your-hanging-scrolls\u002F\">舊金山亞洲藝術博物館的保護建議\u003C\u002Fa>因此強調先檢查狀況，在潔淨平面操作，低照度短期展示，並以穩妥方式收卷收藏，而非長期懸掛。\u003C\u002Fp>\n\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F7Wv5wIkNBv23NWzEVJW2.webp\" alt=\"概念性俯拍比較：畫絹、托紙、米色與藍色綾邊、天杆紙袋與木質軸杆等分開的裝裱層次\">\u003Cfigcaption>AI生成的概念照片：把虛構的裝裱構件分開排列，供讀者觀察；不記錄任何真實館藏、修復處理、修復師或歷史作坊。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\u003Ch2>保護工作的第一步是判斷，而不是動手\u003C\u002Fh2>\n\u003Ch3>先記錄狀況，再考慮是否換裱\u003C\u002Fh3>\n\u003Cp>修復師會分辨損傷來自畫心、裝裱，還是兩者都有。他們記錄裂縫、缺失、顏料起甲、汙漬、紙層變形、繫繩老化與舊修補，也評估舊裱所保留的文獻與審美價值。有時，區域性加固、改善收藏條件或縮短展示時間，已經能夠降低風險，無須把整套結構換掉。\u003C\u002Fp>\n\u003Cp>判斷裝裱不能只看是否鮮亮。一套製作良好的舊裱仍可能運作正常；外觀整齊的新裱卻可能使用劣質紙張、張力不均或有害膠黏劑。波士頓美術博物館記錄過一件支撐不良的屏風：木質胎骨與托紙層不足，導致變形和顏色加深，反而傷害了畫面。\u003C\u002Fp>\n\u003Ch3>完整重裱屬於重大幹預\u003C\u002Fh3>\n\u003Cp>\u003Ca href=\"https:\u002F\u002Fwww.britishmuseum.org\u002Fblog\u002Fchinese-scroll-mounting-chinese-new-year\">大英博物館關於中國卷軸裝裱的說明\u003C\u002Fa>把完整重裱稱為高度介入性的處理：舊綾可能被拆除，畫心經過處理與重託，缺失得到修補，再重新制作邊飾。這樣的工作結合傳統工藝、保護判斷、完整記錄與材料檢測。\u003C\u002Fp>\n\u003Cp>重裱可以恢復安全展示與收藏，卻也可能在判斷不當時移除證據或改變畫面觀感。家用膠帶、噴膠、熨燙、溼洗或普通鏡框都不是負責任的捷徑。價值不明或具有歷史性的卷軸，應先維持穩定，不作試驗，直到合格的東亞繪畫修復師檢查。\u003C\u002Fp>\n\u003Ch3>乾燥、柔韌與收卷必須彼此配合\u003C\u002Fh3>\n\u003Cp>紙、絹與漿糊都會隨水分變化。專業裝裱時，各層托好後需在受控條件下乾燥、掙平，再進行接合與覆背。完成後的卷軸既要足以承托畫心，也要保持適當柔韌，收卷時不能讓一層強迫另一層變形。\u003C\u002Fp>\n\u003Cp>這種平衡會隨尺寸、材料與狀況改變。層數更多不一定更好，卷軸更硬也不一定更安全。好的裝裱必須作為整體判斷：展開時是否平整，收卷是否均勻，張力是否合適，連線是否牢固，表面是否會傷害脆弱筆墨。\u003C\u002Fp>\n\u003Ch2>六步讀懂一件裝裱繪畫\u003C\u002Fh2>\n\u003Ch3>從形制走向證據\u003C\u002Fh3>\n\u003Col>\n\u003Cli>\u003Cstrong>先定形制。\u003C\u002Fstrong>它是手卷、立軸、冊頁、屏風、板面，還是後來的鏡框？\u003C\u002Fli>\n\u003Cli>\u003Cstrong>找出畫心。\u003C\u002Fstrong>把作畫載體與綾邊、題跋、籤條及後加部分分開。\u003C\u002Fli>\n\u003Cli>\u003Cstrong>追蹤接縫。\u003C\u002Fstrong>觀察紙與絹在哪裡重疊、變厚，又怎樣連線包首與軸杆。\u003C\u002Fli>\n\u003Cli>\u003Cstrong>理解運動。\u003C\u002Fstrong>想一想器物如何展開、懸掛、翻頁、摺疊或收卷，受力集中在哪裡。\u003C\u002Fli>\n\u003Cli>\u003Cstrong>比較不同年代。\u003C\u002Fstrong>看磨損、褪色、織紋、修補與金屬件，卻不憑外觀獨斷年代。\u003C\u002Fli>\n\u003Cli>\u003Cstrong>核對記錄。\u003C\u002Fstrong>藉助圖錄與修復報告，區分親眼觀察、歸屬判斷與有記錄的處理。\u003C\u002Fli>\n\u003C\u002Fol>\n\u003Ch3>尊重距離、展期與專業界限\u003C\u002Fh3>\n\u003Cp>在展廳裡，可以留意卷軸是否完全展開、是否得到展櫃支撐，或只在短期輪換中出現。展示決定可能回應光照敏感、結構脆弱或策展目的。一件作品暫時不展，可能只是在休息；縮短展期本身就是預防性保護。\u003C\u002Fp>\n\u003Cp>不要觸控綾邊、試轉軸杆、掀起邊緣，也不要嘗試壓平摺痕。照片可以記錄可見狀況，卻不會自動賦予修補資格。可繼續瀏覽\u003Ca href=\"\u002Fzh\u002Farts\u002Fpainting\">中國繪畫導覽\u003C\u002Fa>，比較不同形制以後，再把裝裱看作繪畫的一部分。\u003C\u002Fp>\n\u003Cp>\u003Cstrong>資料與界限。\u003C\u002Fstrong>本篇參考大都會藝術博物館與克利夫蘭藝術博物館的修復室資料、波士頓美術博物館的支撐結構案例、大英博物館的中國卷軸重裱說明、舊金山亞洲藝術博物館的預防保護建議，以及史密森尼\u003Ca href=\"https:\u002F\u002Fwww.si.edu\u002Fexhibitions\u002Fconservation-cart-talk-lining-chinese-paintings%3A175156682\">兩種專業托畫方法演示\u003C\u002Fa>。這些資料解釋原則與個別處理，並不是針對某一件藏品的修復教程。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002F9tmkQuaQWIjZhQQR1AyG.webp",1672,941,{"en":1202,"zh":1203},"Conceptual AI-generated photograph of a fictional Chinese painting conservation studio with a hanging-scroll painting, silk borders and long backing papers on a worktable","AI生成的概念照片：虛構的中國畫修復工作室內，畫心、綾邊與長幅托紙鋪陳在工作臺上",{"caption":1205,"creator":1206,"source_url":3,"license_label":1207,"license_url":3,"changes":1208},"AI生成的概念圖，呈現虛構的裝裱工作室；並非真實畫作、地點或修復處理的記錄。","OpenAI","AI-generated conceptual image","為編輯說明而生成，不作紀實宣告。",{"en":1202,"zh":1203},"banner","list",{"en":1213,"zh":1214},"Chinese Painting Mounting: Silk, Paper and Scroll Conservation","中國畫裝裱：綾絹、托紙與卷軸保護",{"en":1216,"zh":1217},"Learn how Chinese paintings are lined and mounted as scrolls, albums and screens, how mountings shape viewing, and why remounting requires specialists.","瞭解中國畫如何托裱為卷軸、冊頁與屏風，裝裱怎樣影響觀看，以及重裱為何必須交由專業人員。",[],{"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}]