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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。",[17,20],{"label":18,"link":19},"Start Your Wudang Journey","\u002Fstart-here",{"label":21,"link":22},"View Events & Courses","\u002Fevents",{"title":24,"description":26},{"en":25,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":27,"zh":28},"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":32,"has_any":10,"text":40},{"email":33,"whatsapp":34,"wechat_id":35,"wechat_qr_url":36,"instagram":37,"instagram_handle":38,"facebook":39,"facebook_handle":38},"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":41,"china_heading_zh":42,"china_company_en":43,"china_company_zh":44,"china_address_en":45,"china_address_zh":46},"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":10},{"data":49},[50,86,110,129,150,170,191,210,231,255,278],{"id":51,"uuid":52,"slug":53,"available_locales":54,"name":58,"description":61,"body":63,"path":66,"images":67,"image_urls":72,"hero_image":3,"hero_image_url":3,"seo_title":77,"seo_description":80,"sort_order":82,"is_active":10,"status":83,"created_at":84,"updated_at":85},1,"f1a30881-20c6-407b-b546-669e839a178a","feng-shui-learning",[55,56,57],"en","zh","fr",{"en":59,"zh":60},"Feng Shui Learning","風水課程",{"en":62,"zh":3},"Study feng shui as a historical Chinese tradition of interpreting orientation, form and environment—with clear limits on predictive claims.",{"en":64,"zh":65},"\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",[68,69,70,71],"wudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","wudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","wudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","wudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",[73,74,75,76],"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":78,"zh":79},"Feng Shui Classes and Courses","風水課程：方位、形勢與空間觀念入門",{"en":62,"zh":81},"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,"active","2026-07-13T05:17:57.000000Z","2026-09-25T03:51:12.000000Z",{"id":87,"uuid":88,"slug":89,"available_locales":90,"name":91,"description":94,"body":97,"path":100,"images":101,"image_urls":102,"hero_image":3,"hero_image_url":3,"seo_title":103,"seo_description":106,"sort_order":82,"is_active":10,"status":83,"created_at":109,"updated_at":85},6,"c85bf6cc-b84e-4c36-bbd7-9e92b53bbe50","internal-arts-wellness",[55,56,57],{"en":92,"zh":93},"Internal Arts & Wellness","內家功法與養生",{"en":95,"zh":96},"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":98,"zh":99},"\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":104,"zh":105},"Internal Arts & Wellness Events","內家功法與養生活動",{"en":107,"zh":108},"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":111,"uuid":112,"slug":113,"available_locales":114,"name":115,"description":118,"body":119,"path":120,"images":121,"image_urls":122,"hero_image":3,"hero_image_url":3,"seo_title":123,"seo_description":125,"sort_order":82,"is_active":10,"status":83,"created_at":128,"updated_at":85},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[55,56,57],{"en":116,"zh":117},"Face Reading Learning","面相課程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":124},"Chinese Face Reading Classes and Workshops",{"en":126,"zh":127},"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":130,"uuid":131,"slug":132,"available_locales":133,"name":134,"description":137,"body":139,"path":142,"images":143,"image_urls":144,"hero_image":3,"hero_image_url":3,"seo_title":145,"seo_description":148,"sort_order":51,"is_active":10,"status":83,"created_at":84,"updated_at":85},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[55,56,57],{"en":135,"zh":136},"Zi Wei Dou Shu Learning","紫微斗數課程",{"en":138,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":140,"zh":141},"\u003Cp>Zi Wei Dou Shu 紫微鬥數 organises birth information through palaces, stars and patterned relationships. The system has a substantial technical vocabulary and several interpretive traditions, but its predictive claims are not established by modern scientific evidence.\u003C\u002Fp>\u003Cp>Courses explain how charts are structured, how symbols are read and how historical and contemporary practitioners differ. The aim is cultural literacy and disciplined reflection—not certainty about the future. 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It is an influential part of Chinese metaphysical culture, not an observational science in the modern empirical sense.\u003C\u002Fp>\u003Cp>Classes introduce chart structure, terminology and common interpretive methods while distinguishing tradition from evidence. Students are encouraged to treat readings as prompts for reflection and never as guarantees, diagnoses or substitutes for professional advice.\u003C\u002Fp>","\u003Cp>八字以年、月、日、時四柱為框架，通過天干、地支、陰陽與五行關係進行解釋。它是中國術數文化中影響深遠的傳統體系，並非現代經驗科學。\u003C\u002Fp>\u003Cp>課程介紹命盤結構、基本術語和常見詮釋方法，同時說明傳統觀點與科學證據的差別。學員可把解讀作為反思的線索，但不應把它當作保證、診斷，或任何專業意見的替代品。\u003C\u002Fp>","\u002Fevents\u002Fba-zi-learning",[],[],{"en":187,"zh":188},"BaZi (Four Pillars) Classes and Courses","八字課程：四柱、天干地支與五行入門",{"en":179,"zh":190},"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":192,"uuid":193,"slug":194,"available_locales":195,"name":196,"description":199,"body":200,"path":201,"images":202,"image_urls":203,"hero_image":3,"hero_image_url":3,"seo_title":204,"seo_description":207,"sort_order":130,"is_active":10,"status":83,"created_at":169,"updated_at":85},5,"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[55,56,57],{"en":197,"zh":198},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":205,"zh":206},"Chinese Incense Culture Workshops","香文化活動與工作坊",{"en":208,"zh":209},"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":211,"uuid":212,"slug":213,"available_locales":214,"name":215,"description":218,"body":221,"path":224,"images":225,"image_urls":226,"hero_image":3,"hero_image_url":3,"seo_title":227,"seo_description":229,"sort_order":130,"is_active":10,"status":83,"created_at":230,"updated_at":85},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[55,56,57],{"en":216,"zh":217},"I Ching Learning","易經課程",{"en":219,"zh":220},"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":222,"zh":223},"\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":228,"zh":217},"I Ching Classes and Courses",{"en":219,"zh":220},"2026-09-08T00:15:35.000000Z",{"id":232,"uuid":233,"slug":234,"available_locales":235,"name":236,"description":239,"body":242,"path":245,"images":246,"image_urls":247,"hero_image":3,"hero_image_url":3,"seo_title":248,"seo_description":251,"sort_order":171,"is_active":10,"status":83,"created_at":254,"updated_at":85},7,"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[55,56,57],{"en":237,"zh":238},"Traditional Arts & Crafts","傳統藝術與手作",{"en":240,"zh":241},"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":243,"zh":244},"\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":249,"zh":250},"Traditional Arts & Crafts Events","傳統藝術與手作活動",{"en":252,"zh":253},"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":256,"uuid":257,"slug":258,"available_locales":259,"name":260,"description":263,"body":266,"path":269,"images":270,"image_urls":271,"hero_image":3,"hero_image_url":3,"seo_title":272,"seo_description":274,"sort_order":151,"is_active":10,"status":83,"created_at":277,"updated_at":85},8,"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[55,56,57],{"en":261,"zh":262},"Wudang Community","武當社群活動",{"en":264,"zh":265},"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":267,"zh":268},"\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":273,"zh":262},"Wudang Community Events",{"en":275,"zh":276},"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":279,"uuid":280,"slug":281,"available_locales":282,"name":283,"description":286,"body":287,"path":288,"images":289,"image_urls":290,"hero_image":3,"hero_image_url":3,"seo_title":291,"seo_description":294,"sort_order":192,"is_active":10,"status":83,"created_at":297,"updated_at":85},9,"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[55,56,57],{"en":284,"zh":285},"Wudang Journeys & Retreats","武當旅修與行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":292,"zh":293},"Wudang Mountain Retreats and Guided Journeys","武當山旅修與靜修行程",{"en":295,"zh":296},"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":299},{"to":300,"type":301,"available_locales":302,"is_content_page":10,"title":303,"subtitle":306,"body":309,"hero_image_url":312,"hero_width":313,"hero_height":314,"hero_image_alt":315,"hero_image_decorative":30,"hero_credit":318,"hero_alt":323,"hero_style":324,"card_layout":325,"link_type":3,"link_ref":3,"seo_title":326,"seo_description":329,"children":332},"\u002Farts\u002Ftea-ceremony\u002Fsorting-grading-tea-leaf-size-shape-grade-meaning","page",[55,56,57],{"en":304,"zh":305},"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",{"en":307,"zh":308},"How screening, air separation and product standards organise finished tea without turning leaf size into a universal quality ladder","理解篩分、風選與產品標準如何整理成茶，而不把葉片大小誤當成通用品質階梯",{"en":310,"zh":311},"\u003Cp>Finished tea can look remarkably uniform: long twisted leaves, tight pearls, flat blades or small dark particles. That order is not always present when primary manufacture ends. Sorting separates material by physical properties; grading places it within a named product system. The two operations overlap in practice, but neither creates a universal ladder on which every tea can be ranked.\u003C\u002Fp>\n\n\u003Ch2>Sorting and grading are not the same thing\u003C\u002Fh2>\n\u003Ch3>From rough tea to finished tea\u003C\u002Fh3>\n\u003Cp>Chinese production language often distinguishes \u003Cem>maocha\u003C\u002Fem> (毛茶), tea after its primary making stages, from \u003Cem>jingzhi cha\u003C\u002Fem> (精製茶), refined or finished tea. “Rough tea” here names a production stage, not careless work or poor quality. China’s production-licensing rules describe refined processing as operations such as screening, air separation, stem removal and drying that turn rough tea into finished tea. They also require relevant product standards to control items such as powder, broken leaf, stems and non-tea material. \u003Ca href=\"https:\u002F\u002Fwww.samr.gov.cn\u002Fspscs\u002Ftzgg\u002Fart\u002F2023\u002Fart_aa36a9e6363c46709bf4f9ae96c242b3.html\">Consult the official production rules\u003C\u002Fa>.\u003C\u002Fp>\n\u003Ch3>Separation solves practical problems\u003C\u002Fh3>\n\u003Cp>A mixed batch may contain pieces that differ in length, thickness, density and shape, as well as loose stems or fine particles. Separating them helps a producer make batches more even, remove material outside a specification and prepare components for a final blend. A grade comes later: it is a declared category whose meaning depends on the named tea, its governing standard and the market or producer using it.\u003C\u002Fp>\n\n\u003Ch2>What the refining tools actually do\u003C\u002Fh2>\n\u003Ch3>Screens classify size and shape\u003C\u002Fh3>\n\u003Cp>Screens with openings of different dimensions let smaller particles pass while retaining larger ones. Repeated screening can create several fractions, but an exact mesh sequence is not a timeless recipe: it depends on the tea’s form and the intended product. A long strip, a rolled pellet and a compressed-tea component behave differently. The machine measures a physical relationship between leaf and opening; it does not taste the cup.\u003C\u002Fp>\n\u003Ch3>Airflow and picking separate other material\u003C\u002Fh3>\n\u003Cp>Air separation uses differences in aerodynamic behaviour—affected by mass, shape and surface area—to divide lighter and heavier material. Stem picking may be mechanical, optical or manual. These operations can improve consistency, but a lighter fraction is not automatically inferior, and a stem is not evidence of negligence in every tea. The specification and the desired style decide what belongs.\u003C\u002Fp>\n\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FwkwimuTvgpwnFaElNLmT.webp\" alt=\"Conceptual overhead photograph of four separate groups of dried tea material: long leaves, broken pieces, small granules and stems\" loading=\"lazy\">\u003Cfigcaption>AI-generated conceptual comparison of differently shaped tea material. It is not an official grade chart, a scale image or a ranking of quality.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\u003Ch2>A grade belongs to a product standard\u003C\u002Fh2>\n\u003Ch3>There is no master ladder for all tea\u003C\u002Fh3>\n\u003Cp>Words such as “special,” “first grade” or “grade one” only become precise when attached to a defined product. The same word can refer to different leaf standards, appearance tolerances or sensory expectations in different specifications. China’s current national methodology for sensory evaluation provides a shared way to assess appearance, liquor colour, aroma, taste and infused leaf, but it does not collapse every tea into one score. \u003Ca href=\"https:\u002F\u002Fstd.samr.gov.cn\u002Fgb\u002Fsearch\u002FgbDetailed?id=71F772D82CD3D3A7E05397BE0A0AB82A\">See GB\u002FT 23776-2018\u003C\u002Fa>.\u003C\u002Fp>\n\u003Ch3>Longjing and broken black tea use different frames\u003C\u002Fh3>\n\u003Cp>West Lake Longjing is governed by a product specification concerned with that protected tea, while broken black tea has its own national standard and physical vocabulary. Both may use grades, yet the categories answer different questions. A grade within West Lake Longjing cannot be translated into an equivalent rank for broken black tea. \u003Ca href=\"https:\u002F\u002Fstd.samr.gov.cn\u002Fdb\u002Fsearch\u002FstdDBDetailed?id=0E91ED5E2853944FE06397BE0A0AAAB0\">See the current West Lake Longjing standard record\u003C\u002Fa> and \u003Ca href=\"https:\u002F\u002Fstd.samr.gov.cn\u002Fgb\u002Fsearch\u002FgbDetailedCNF?id=71F772D82256D3A7E05397BE0A0AB82A\">the current broken-black-tea standard record\u003C\u002Fa>.\u003C\u002Fp>\n\n\u003Ch2>Whole leaf, broken leaf, fannings and dust\u003C\u002Fh2>\n\u003Ch3>Useful black-tea trade vocabulary\u003C\u002Fh3>\n\u003Cp>In much black-tea commerce, sieve fractions are grouped under broad terms such as whole leaf, broken leaf, fannings and dust. Tea Board India material uses this familiar size-based sequence. It is useful when reading black-tea catalogues, but it is not a universal taxonomy for all Chinese tea. A flat green tea, a ball-rolled oolong and a heicha brick need other descriptive frames. \u003Ca href=\"https:\u002F\u002Fteaboard.gov.in\u002Fpdf\u002FA_boon_for_healthy_living_pdf3608.pdf\">See the Tea Board India discussion\u003C\u002Fa>.\u003C\u002Fp>\n\u003Ch3>Broken does not mean failed\u003C\u002Fh3>\n\u003Cp>Broken black tea is an established product category, not merely damaged whole-leaf tea. Smaller fractions may be intentionally produced and selected for a particular liquor strength, colour, brewing speed or packing format. Conversely, visually intact leaves do not guarantee fine plucking, skilful manufacture or a balanced cup. Size is information; quality is a larger judgement.\u003C\u002Fp>\n\n\u003Ch2>Appearance and cup must be read together\u003C\u002Fh2>\n\u003Ch3>Dry form is one part of evaluation\u003C\u002Fh3>\n\u003Cp>Dry-leaf appearance reveals useful things: whether the batch is reasonably even, whether the form matches its type, and whether stems, powder or foreign material exceed expectations. Sensory evaluation continues with aroma, liquor, taste and the infused leaf. Uniformity can support predictable brewing and a clear product identity, but diversity of bud, leaf and stem can also be intentional. A convincing grade therefore joins visual criteria to the cup rather than letting one photograph settle the question.\u003C\u002Fp>\n\n\u003Ch2>Particle size changes brewing\u003C\u002Fh2>\n\u003Ch3>Smaller pieces often infuse faster\u003C\u002Fh3>\n\u003Cp>Breaking a leaf increases exposed surface and shortens diffusion paths. A controlled study of tea-bag infusion found that smaller particles swelled and infused more rapidly under its test conditions. That does not mean “dust is strongest” under every method, nor that rapid extraction is inherently better. It means particle size is one of the variables a brewer must read. \u003Ca href=\"https:\u002F\u002Fpmc.ncbi.nlm.nih.gov\u002Farticles\u002FPMC5502043\u002F\">Read the infusion study\u003C\u002Fa>.\u003C\u002Fp>\n\u003Ch3>Adjust the method; do not declare a winner\u003C\u002Fh3>\n\u003Cp>A fine fraction may need less time, a lower dose or more room than its packaging suggests; a large twisted leaf may open slowly and reward several infusions. Water temperature, leaf-to-water ratio, vessel, agitation and chemistry also change extraction. Compare teas with methods suited to their form before attributing every difference to grade.\u003C\u002Fp>\n\n\u003Ch2>Sorting looks different across tea families\u003C\u002Fh2>\n\u003Ch3>Refining follows the product, not one universal sequence\u003C\u002Fh3>\n\u003Cp>Some oolongs are stemmed, screened, blended and re-roasted after primary making. Green teas may be classified by shape and tenderness while preserving a deliberately formed leaf. Black teas can be separated into size fractions, and white teas may retain a visibly mixed architecture of buds, leaves and stems according to type. These are product choices inside the broader map of \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Ftypes-of-tea-and-character\">tea families and character\u003C\u002Fa>, not stages that every tea must share.\u003C\u002Fp>\n\u003Ch3>Blends and compressed tea add another layer\u003C\u002Fh3>\n\u003Cp>Separated fractions can be recombined to meet a sensory target, so a finished blend need not equal a single screen output. Material intended for \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Fcompressed-tea-cakes-bricks-trade-storage-object-reading\">cakes, bricks or tuos\u003C\u002Fa> may be sorted and blended before pressing; the final shape is not itself a grade. Later \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Fdrying-tea-leaves-moisture-heat-stability-finished-tea\">drying or re-drying\u003C\u002Fa> and storage condition also affect stability and aroma.\u003C\u002Fp>\n\n\u003Ch2>Seven questions for reading a tea grade\u003C\u002Fh2>\n\u003Ch3>Turn a label into useful evidence\u003C\u002Fh3>\n\u003Col>\u003Cli>What exact tea, origin and product standard does the grade name?\u003C\u002Fli>\u003Cli>Is the term an official category, a producer’s house grade or a seller’s description?\u003C\u002Fli>\u003Cli>Which plucking, appearance, moisture and sensory criteria does it include?\u003C\u002Fli>\u003Cli>Does “whole,” “broken,” “fannings” or “dust” describe a black-tea size fraction rather than overall merit?\u003C\u002Fli>\u003Cli>Was the tea screened, air-sorted, picked, blended or compressed after primary manufacture?\u003C\u002Fli>\u003Cli>Does the dry-leaf image match what appears in the brewed leaf and cup?\u003C\u002Fli>\u003Cli>Have price, age, packaging and brewing method been mistaken for grade?\u003C\u002Fli>\u003C\u002Fol>\n\n\u003Ch2>Read the product, then brew the leaf\u003C\u002Fh2>\n\u003Ch3>Connect labels to practice\u003C\u002Fh3>\n\u003Cp>A useful grade should tell you what specification to read and what comparison is fair. Protect the sorted tea in an appropriate \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Fchinese-tea-caddies\">tea caddy\u003C\u002Fa>, choose suitable \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Fwater-for-chinese-tea\">water and brewing conditions\u003C\u002Fa>, and compare adjacent grades within the same product before crossing tea families. For standards, scholarship and careful tasting methods, continue to \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Ffurther-reading-and-practice\">further reading and practice\u003C\u002Fa>. Sorting explains how material was organised; grading only becomes meaningful when the product, criteria and cup are named together.\u003C\u002Fp>","\u003Cp>成茶往往顯得十分勻整：有的條索修長，有的捲成緊結顆粒，有的扁平挺直，也有的呈細小深色碎片。然而，初制結束時的茶葉未必已經如此整齊。篩分是按物理特徵分離物料，分級則是把茶歸入一個有名稱的產品體系。二者在實踐中相互關聯，但都不能建立一條衡量所有茶的通用品質階梯。\u003C\u002Fp>\n\n\u003Ch2>篩分與分級並不是一回事\u003C\u002Fh2>\n\u003Ch3>從毛茶到精製茶\u003C\u002Fh3>\n\u003Cp>中國製茶語境常把完成初制工序的“毛茶”與經過後續整理的“精製茶”區分開來。這裡的“毛”指生產階段，並不意味著粗糙、馬虎或品質低。中國食品生產許可審查細則把精製加工概括為篩分、風選、揀梗、乾燥等將毛茶製成成品茶的過程，並要求相應產品標準按需控制粉末、碎茶、茶梗和非茶類夾雜物等專案。\u003Ca href=\"https:\u002F\u002Fwww.samr.gov.cn\u002Fspscs\u002Ftzgg\u002Fart\u002F2023\u002Fart_aa36a9e6363c46709bf4f9ae96c242b3.html\">查閱官方生產許可細則\u003C\u002Fa>。\u003C\u002Fp>\n\u003Ch3>分離工序解決實際問題\u003C\u002Fh3>\n\u003Cp>同一批物料中，葉片可能在長度、厚度、密度與形態上各不相同，也可能混有鬆散茶梗或細末。分離有助於提高批次勻整度、剔除不符合規格的物料，併為最終拼配準備不同組分。等級則是在此基礎上的命名類別；只有放進具體茶類、適用標準以及使用它的市場或生產者體系中，等級才有明確含義。\u003C\u002Fp>\n\n\u003Ch2>精製工具究竟在做什麼\u003C\u002Fh2>\n\u003Ch3>篩網按大小與形態分類\u003C\u002Fh3>\n\u003Cp>不同孔徑的篩網讓較小顆粒通過，同時留下較大葉片。反覆篩分可以得到若干組分，但準確的篩孔組合並非永恆不變的配方，而要取決於茶葉形態與目標產品。長條茶、顆粒形茶和壓制茶原料的運動方式並不一樣。機器測量的是葉片與篩孔之間的物理關係，並不會品嚐茶湯。\u003C\u002Fp>\n\u003Ch3>風選與揀剔處理其他差異\u003C\u002Fh3>\n\u003Cp>風選利用物料在氣流中的不同運動特性進行分離，而這種特性受質量、形態與表面積影響。揀梗可以採用機械、光學或人工方式。它們能夠提高一致性，但較輕的組分不一定較差，某些茶中出現茶梗也不必然說明加工疏忽。什麼應當保留，要由產品規格與目標風格決定。\u003C\u002Fp>\n\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FwkwimuTvgpwnFaElNLmT.webp\" alt=\"概念俯拍攝影：四組分開放置的幹茶物料，包括長條葉片、碎片、小顆粒與茶梗\" loading=\"lazy\">\u003Cfigcaption>AI 生成的不同形態茶葉物料概念對照。它不是官方等級圖、比例圖，也不表示品質高低。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\u003Ch2>等級只在具體產品標準中成立\u003C\u002Fh2>\n\u003Ch3>不存在適用於所有茶的總排行榜\u003C\u002Fh3>\n\u003Cp>“特級”“一級”等詞，只有依附於明確產品才會精確。不同標準中的同一詞語，可能對應不同的鮮葉要求、外形容許範圍或感官期待。中國現行國家標準《茶葉感官審評方法》提供了評定外形、湯色、香氣、滋味與葉底的共同方法，卻沒有把所有茶壓縮成一個總分。\u003Ca href=\"https:\u002F\u002Fstd.samr.gov.cn\u002Fgb\u002Fsearch\u002FgbDetailed?id=71F772D82CD3D3A7E05397BE0A0AB82A\">檢視 GB\u002FT 23776—2018\u003C\u002Fa>。\u003C\u002Fp>\n\u003Ch3>西湖龍井與紅碎茶使用不同框架\u003C\u002Fh3>\n\u003Cp>西湖龍井的產品規範圍繞這一受保護的茶展開，紅碎茶則有自己的國家標準與物理形態術語。兩者都可能使用等級，但其類別回答的並不是同一個問題。西湖龍井體系內的某一等級，不能換算為紅碎茶的等值名次。可分別檢視\u003Ca href=\"https:\u002F\u002Fstd.samr.gov.cn\u002Fdb\u002Fsearch\u002FstdDBDetailed?id=0E91ED5E2853944FE06397BE0A0AAAB0\">現行西湖龍井地方標準記錄\u003C\u002Fa>與\u003Ca href=\"https:\u002F\u002Fstd.samr.gov.cn\u002Fgb\u002Fsearch\u002FgbDetailedCNF?id=71F772D82256D3A7E05397BE0A0AB82A\">現行紅茶第 1 部分：紅碎茶標準記錄\u003C\u002Fa>。\u003C\u002Fp>\n\n\u003Ch2>整葉、碎葉、片末與茶粉\u003C\u002Fh2>\n\u003Ch3>紅茶貿易中的實用詞彙\u003C\u002Fh3>\n\u003Cp>在不少紅茶貿易語境中，篩分組別常被概括為整葉、碎葉、片末（fannings）與茶粉（dust）。印度茶葉局資料也採用這種常見的大小序列。它有助於讀懂紅茶目錄，卻不是所有中國茶的通用分類法。扁形綠茶、顆粒形烏龍茶和黑茶磚都需要其他描述框架。\u003Ca href=\"https:\u002F\u002Fteaboard.gov.in\u002Fpdf\u002FA_boon_for_healthy_living_pdf3608.pdf\">檢視印度茶葉局資料中的說明\u003C\u002Fa>。\u003C\u002Fp>\n\u003Ch3>“碎”不等於失敗\u003C\u002Fh3>\n\u003Cp>紅碎茶是正式的產品類別，並不只是破損的整葉茶。較小組分可以為特定的湯感、湯色、浸出速度或包裝形式而有意生產、篩選。反過來，葉片看似完整，也不能保證採摘細嫩、工藝精良或茶湯平衡。大小是一項資訊，品質則是更完整的判斷。\u003C\u002Fp>\n\n\u003Ch2>外形與茶湯必須一起判斷\u003C\u002Fh2>\n\u003Ch3>幹茶外形只是審評的一部分\u003C\u002Fh3>\n\u003Cp>幹茶能透露許多有用資訊：批次是否較為勻整，形態是否符合茶類特徵，茶梗、粉末或異物是否超出預期。但感官審評還要繼續觀察香氣、湯色、滋味與葉底。勻整度有助於穩定沖泡和明確產品身份，而芽、葉、梗的多樣組合也可能是有意形成的風格。可信的等級應把外形標準與杯中表現結合起來，而不能靠一張照片下結論。\u003C\u002Fp>\n\n\u003Ch2>顆粒大小會改變沖泡\u003C\u002Fh2>\n\u003Ch3>較小的碎片通常浸出更快\u003C\u002Fh3>\n\u003Cp>葉片破碎後，暴露表面積增大，物質擴散路徑縮短。一項茶包浸泡對照研究發現，在其實驗條件下，較小顆粒吸水膨脹和浸出的速度更快。這並不意味著任何沖泡法下“茶粉都最濃”，也不表示快速浸出天然更好；它說明顆粒大小是沖泡者需要讀懂的變數之一。\u003Ca href=\"https:\u002F\u002Fpmc.ncbi.nlm.nih.gov\u002Farticles\u002FPMC5502043\u002F\">閱讀這項浸泡研究\u003C\u002Fa>。\u003C\u002Fp>\n\u003Ch3>調整方法，而不是宣佈誰勝誰負\u003C\u002Fh3>\n\u003Cp>細小組分可能需要縮短時間、降低投茶量，或比包裝形態暗示的更大舒展空間；大條索則可能展開較慢，適合多次沖泡。水溫、茶水比、器具、攪動程度與水的化學性質也會改變浸出。應先採用適合其形態的方法比較，再判斷差異是否真的來自等級。\u003C\u002Fp>\n\n\u003Ch2>不同茶類的篩分方式並不相同\u003C\u002Fh2>\n\u003Ch3>精製隨產品而變，不遵循唯一順序\u003C\u002Fh3>\n\u003Cp>有些烏龍毛茶會在初制後揀梗、篩分、拼配與復焙；綠茶可能在保持特定造型的同時按形態、嫩度整理；紅茶可以分出不同大小組分；白茶則可能按產品型別有意保留芽、葉、梗共同構成的外觀。它們都是\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Ftypes-of-tea-and-character\">茶類與風格\u003C\u002Fa>內部的產品選擇，並不是所有茶都必須經歷的同一套步驟。\u003C\u002Fp>\n\u003Ch3>拼配與壓制又增加一層\u003C\u002Fh3>\n\u003Cp>篩出的組分可以為了目標風味重新拼合，因此成品拼配茶不必等同於某一道篩網的單一輸出。用於\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Fcompressed-tea-cakes-bricks-trade-storage-object-reading\">餅茶、磚茶與沱茶\u003C\u002Fa>的原料也可能先篩分、拼配再壓制；最終形狀本身不是等級。後續\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Fdrying-tea-leaves-moisture-heat-stability-finished-tea\">乾燥或復幹\u003C\u002Fa>以及貯藏條件，還會影響穩定性與香氣。\u003C\u002Fp>\n\n\u003Ch2>讀懂茶葉等級的七個問題\u003C\u002Fh2>\n\u003Ch3>把標籤變成可核實的證據\u003C\u002Fh3>\n\u003Col>\u003Cli>這個等級對應哪一種茶、哪一產地與哪一項產品標準？\u003C\u002Fli>\u003Cli>它是正式標準類別、生產者自定等級，還是銷售者的描述？\u003C\u002Fli>\u003Cli>其中包含哪些採摘、外形、水分與感官要求？\u003C\u002Fli>\u003Cli>“整葉”“碎葉”“片末”或“茶粉”是否只是紅茶的大小組分，而不是綜合品質？\u003C\u002Fli>\u003Cli>茶葉在初制後是否經過篩分、風選、揀剔、拼配或壓制？\u003C\u002Fli>\u003Cli>幹茶照片所顯示的情況，能否在葉底與茶湯中得到印證？\u003C\u002Fli>\u003Cli>價格、年份、包裝或沖泡方式是否被誤當成等級？\u003C\u002Fli>\u003C\u002Fol>\n\n\u003Ch2>先讀產品，再衝泡葉片\u003C\u002Fh2>\n\u003Ch3>讓標籤回到實踐\u003C\u002Fh3>\n\u003Cp>有用的等級應當告訴你該查哪一項規格，以及怎樣比較才公平。把篩分後的茶存入合適的\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Fchinese-tea-caddies\">茶葉罐\u003C\u002Fa>，選擇適當的\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Fwater-for-chinese-tea\">用水與沖泡條件\u003C\u002Fa>，並優先比較同一產品中的相鄰等級，而不是跨茶類排座次。如需查詢標準、學術資料與審慎品鑑方法，可繼續閱讀\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Ffurther-reading-and-practice\">延伸閱讀與實踐\u003C\u002Fa>。篩分說明物料怎樣被整理；只有產品、標準與杯中表現同時明確，等級才真正有意義。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FlnUOXAv4ytoVTq0HPeZ6.webp",1672,941,{"en":316,"zh":317},"Conceptual photograph of an anonymous adult shaking a bamboo sieve above a wooden tea-sorting table in a fictional airy workshop","概念攝影：一位虛構的匿名成年人在通風作坊中，於木製揀茶臺上方輕搖竹篩",{"caption":319,"creator":320,"source_url":3,"license_label":321,"license_url":3,"changes":322},"AI 生成的概念攝影。人物、作坊、茶批與操作均為虛構；畫面不記錄真實生產者、地點或官方分級方法。","OpenAI","AI-generated conceptual image","作為原創概念編輯圖生成；畫面不指向任何真實人物、生產者、作坊、茶批或官方分級程式。",{"en":316,"zh":317},"banner","list",{"en":327,"zh":328},"Sorting and Grading Tea: What Grades Mean","茶葉篩分與分級：茶葉等級究竟意味著什麼",{"en":330,"zh":331},"Learn how tea is screened, air-sorted and graded, why leaf size changes brewing, and why one tea’s grade cannot rank every other tea.","瞭解茶葉如何篩分、風選與分級，葉片大小為何影響沖泡，以及為何一種茶的等級不能衡量所有茶。",[],{"data":334},{"all":335,"header":965,"footer":966},[336],{"to":337,"label":338,"label_zh":339,"children":340},"\u002Farts","Literati Arts","文人雅藝",[341,542,615,773,826,891,932],{"to":342,"label":343,"label_zh":344,"children":345},"\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",[346,350,354,358,362,366,370,374,378,382,386,390,394,398,402,406,410,414,418,422,426,430,434,438,442,446,450,454,458,462,466,470,474,478,482,486,490,494,498,502,506,510,514,518,522,526,530,534,538],{"to":347,"label":348,"label_zh":349},"\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":351,"label":352,"label_zh":353},"\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":355,"label":356,"label_zh":357},"\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":359,"label":360,"label_zh":361},"\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":363,"label":364,"label_zh":365},"\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":367,"label":368,"label_zh":369},"\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":371,"label":372,"label_zh":373},"\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":375,"label":376,"label_zh":377},"\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":379,"label":380,"label_zh":381},"\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":383,"label":384,"label_zh":385},"\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":387,"label":388,"label_zh":389},"\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":391,"label":392,"label_zh":393},"\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":395,"label":396,"label_zh":397},"\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":399,"label":400,"label_zh":401},"\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":403,"label":404,"label_zh":405},"\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":407,"label":408,"label_zh":409},"\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":411,"label":412,"label_zh":413},"\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":415,"label":416,"label_zh":417},"\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":419,"label":420,"label_zh":421},"\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":423,"label":424,"label_zh":425},"\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":427,"label":428,"label_zh":429},"\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":431,"label":432,"label_zh":433},"\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":435,"label":436,"label_zh":437},"\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":439,"label":440,"label_zh":441},"\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":443,"label":444,"label_zh":445},"\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":447,"label":448,"label_zh":449},"\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":451,"label":452,"label_zh":453},"\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":455,"label":456,"label_zh":457},"\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":459,"label":460,"label_zh":461},"\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":463,"label":464,"label_zh":465},"\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":467,"label":468,"label_zh":469},"\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":471,"label":472,"label_zh":473},"\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":475,"label":476,"label_zh":477},"\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":479,"label":480,"label_zh":481},"\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":483,"label":484,"label_zh":485},"\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":487,"label":488,"label_zh":489},"\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":491,"label":492,"label_zh":493},"\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":495,"label":496,"label_zh":497},"\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":499,"label":500,"label_zh":501},"\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":503,"label":504,"label_zh":505},"\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":507,"label":508,"label_zh":509},"\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":511,"label":512,"label_zh":513},"\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":515,"label":516,"label_zh":517},"\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":519,"label":520,"label_zh":521},"\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":523,"label":524,"label_zh":525},"\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":527,"label":528,"label_zh":529},"\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":531,"label":532,"label_zh":533},"\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":535,"label":536,"label_zh":537},"\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":539,"label":540,"label_zh":541},"\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":543,"label":544,"label_zh":545,"children":546},"\u002Farts\u002Fcalligraphy","Chinese Calligraphy: Scripts, Materials and Ways of Looking","中國書法：書體、材料與觀賞入門",[547,551,555,559,563,567,571,575,579,583,587,591,595,599,603,607,611],{"to":548,"label":549,"label_zh":550},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origins and History of Chinese Calligraphy","中國書法的源流與歷史",{"to":552,"label":553,"label_zh":554},"\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":556,"label":557,"label_zh":558},"\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":560,"label":561,"label_zh":562},"\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":564,"label":565,"label_zh":566},"\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":568,"label":569,"label_zh":570},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Chinese Calligraphy Masters and Reading Paths","中國書法名家與閱讀路徑",{"to":572,"label":573,"label_zh":574},"\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":576,"label":577,"label_zh":578},"\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":580,"label":581,"label_zh":582},"\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":584,"label":585,"label_zh":586},"\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":588,"label":589,"label_zh":590},"\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":592,"label":593,"label_zh":594},"\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":596,"label":597,"label_zh":598},"\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":600,"label":601,"label_zh":602},"\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":604,"label":605,"label_zh":606},"\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":608,"label":609,"label_zh":610},"\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":612,"label":613,"label_zh":614},"\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":616,"label":617,"label_zh":618,"children":619},"\u002Farts\u002Ftea-ceremony","Chinese Tea Culture","中國茶文化",[620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,697,701,705,709,713,717,721,725,729,733,737,741,745,749,753,757,761,765,769],{"to":621,"label":622,"label_zh":623},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Tea, Meditation and Taoist Practice","茶、靜坐與道家修習",{"to":625,"label":626,"label_zh":627},"\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":629,"label":630,"label_zh":631},"\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":633,"label":634,"label_zh":635},"\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":637,"label":638,"label_zh":639},"\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":641,"label":642,"label_zh":643},"\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":645,"label":646,"label_zh":647},"\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":649,"label":650,"label_zh":651},"\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":653,"label":654,"label_zh":655},"\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":657,"label":658,"label_zh":659},"\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":661,"label":662,"label_zh":663},"\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":665,"label":666,"label_zh":667},"\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":669,"label":670,"label_zh":671},"\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":673,"label":674,"label_zh":675},"\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":677,"label":678,"label_zh":679},"\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":681,"label":682,"label_zh":683},"\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":685,"label":686,"label_zh":687},"\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":689,"label":690,"label_zh":691},"\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":693,"label":694,"label_zh":695},"\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":300,"label":304,"label_zh":305},{"to":698,"label":699,"label_zh":700},"\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":702,"label":703,"label_zh":704},"\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":706,"label":707,"label_zh":708},"\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":710,"label":711,"label_zh":712},"\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":714,"label":715,"label_zh":716},"\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":718,"label":719,"label_zh":720},"\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":722,"label":723,"label_zh":724},"\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":726,"label":727,"label_zh":728},"\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":730,"label":731,"label_zh":732},"\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":734,"label":735,"label_zh":736},"\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":738,"label":739,"label_zh":740},"\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":742,"label":743,"label_zh":744},"\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":746,"label":747,"label_zh":748},"\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":750,"label":751,"label_zh":752},"\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":754,"label":755,"label_zh":756},"\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":758,"label":759,"label_zh":760},"\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":762,"label":763,"label_zh":764},"\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":766,"label":767,"label_zh":768},"\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":770,"label":771,"label_zh":772},"\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":774,"label":775,"label_zh":776,"children":777},"\u002Farts\u002Fguqin","Guqin: Sound, History and Ways to Listen","古琴：認識聲音、歷史與聆聽方法",[778,782,786,790,794,798,802,806,810,814,818,822],{"to":779,"label":780,"label_zh":781},"\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":783,"label":784,"label_zh":785},"\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":787,"label":788,"label_zh":789},"\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":791,"label":792,"label_zh":793},"\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":795,"label":796,"label_zh":797},"\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":799,"label":800,"label_zh":801},"\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":803,"label":804,"label_zh":805},"\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":807,"label":808,"label_zh":809},"\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":811,"label":812,"label_zh":813},"\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":815,"label":816,"label_zh":817},"\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":819,"label":820,"label_zh":821},"\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":823,"label":824,"label_zh":825},"\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":827,"label":828,"label_zh":829,"children":830},"\u002Farts\u002Fpainting","Chinese Painting: Materials, Formats and Ways of Looking","中國繪畫：材料、形制與觀看方法",[831,835,839,843,847,851,855,859,863,867,871,875,879,883,887],{"to":832,"label":833,"label_zh":834},"\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":836,"label":837,"label_zh":838},"\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":840,"label":841,"label_zh":842},"\u002Farts\u002Fpainting\u002Flandscape-painting-shanshui","Shanshui: How to Read Chinese Landscape Painting","山水畫：怎樣讀懂中國山水",{"to":844,"label":845,"label_zh":846},"\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":848,"label":849,"label_zh":850},"\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":852,"label":853,"label_zh":854},"\u002Farts\u002Fpainting\u002Fgreat-masters-further-study","Chinese Painting Masters: A Guided Path","中國畫名家與進階研習",{"to":856,"label":857,"label_zh":858},"\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":860,"label":861,"label_zh":862},"\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":864,"label":865,"label_zh":866},"\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":868,"label":869,"label_zh":870},"\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":872,"label":873,"label_zh":874},"\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":876,"label":877,"label_zh":878},"\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":880,"label":881,"label_zh":882},"\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":884,"label":885,"label_zh":886},"\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":888,"label":889,"label_zh":890},"\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":892,"label":893,"label_zh":894,"children":895},"\u002Farts\u002Fincense","Chinese Incense Culture","中國香文化",[896,900,904,908,912,916,920,924,928],{"to":897,"label":898,"label_zh":899},"\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":901,"label":902,"label_zh":903},"\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":905,"label":906,"label_zh":907},"\u002Farts\u002Fincense\u002Fforms-and-art-of-appreciation","Incense Forms and the Art of Appreciation","香的形態與品香方法",{"to":909,"label":910,"label_zh":911},"\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":913,"label":914,"label_zh":915},"\u002Farts\u002Fincense\u002Fincense-meditation-taoist-practice","Incense, Meditation and Taoist Practice","香、靜坐與道家修習",{"to":917,"label":918,"label_zh":919},"\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":921,"label":922,"label_zh":923},"\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":925,"label":926,"label_zh":927},"\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":929,"label":930,"label_zh":931},"\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":933,"label":934,"label_zh":935,"children":936},"\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",[937,941,945,949,953,957,961],{"to":938,"label":939,"label_zh":940},"\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":942,"label":943,"label_zh":944},"\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":946,"label":947,"label_zh":948},"\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":950,"label":951,"label_zh":952},"\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":954,"label":955,"label_zh":956},"\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":958,"label":959,"label_zh":960},"\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":962,"label":963,"label_zh":964},"\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":968},{"header":969,"footer":1195},[970,1011,1040,1081,1095,1121,1162,1191],{"to":971,"label":972,"label_zh":973,"children":974},"\u002Fdao","TAO","道",[975,979,983,987,991,995,999,1003,1007],{"to":976,"label":977,"label_zh":978,"n":279},"\u002Fdao\u002Fintroduction","Begin with the Tao","道學入門",{"to":980,"label":981,"label_zh":982,"n":232},"\u002Fdao\u002Fyi-jing","I Ching","易經",{"to":984,"label":985,"label_zh":986,"n":279},"\u002Fdao\u002Fdao-de-jing","Tao Te Ching","道德經",{"to":988,"label":989,"label_zh":990,"n":232},"\u002Fdao\u002Ftaiji","Taiji","太極",{"to":992,"label":993,"label_zh":994,"n":232},"\u002Fdao\u002Fzhuang-zi","Zhuangzi","莊子",{"to":996,"label":997,"label_zh":998,"n":51},"\u002Fdao\u002Fclassics","Classical Library","道家經典文庫",{"to":1000,"label":1001,"label_zh":1002},"\u002Fdao\u002Fdaoist-philosophy","Taoist Philosophy","道家哲學",{"to":1004,"label":1005,"label_zh":1006},"\u002Fdao\u002Fwu-wei-natural-living","Wu Wei & Natural Living","無為與自然生活",{"to":1008,"label":1009,"label_zh":1010},"\u002Fdao\u002Fdaoist-view-of-life","A Taoist View of Life","道家人生觀",{"to":1012,"label":1013,"label_zh":1014,"children":1015},"\u002Fmartial-arts","Martial Arts","武當武術",[1016,1020,1024,1028,1032,1036],{"to":1017,"label":1018,"label_zh":1019,"n":87},"\u002Fmartial-arts\u002Ffoundations-internal-arts","Foundations of Internal Martial Arts","內家拳基礎",{"to":1021,"label":1022,"label_zh":1023,"n":232},"\u002Fmartial-arts\u002Ftaijiquan","Taijiquan (Tai Chi)","太極拳",{"to":1025,"label":1026,"label_zh":1027,"n":192},"\u002Fmartial-arts\u002Fbaguazhang","Baguazhang: Circle Walking, Palm Changes and Movement","八卦掌：走圈、換掌與身法變化",{"to":1029,"label":1030,"label_zh":1031,"n":192},"\u002Fmartial-arts\u002Fxingyiquan","Xingyiquan: 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