[{"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\u002Ftea-ceremony\u002Ftea-in-chinese-travel-writing-roads-hospitality-regional-evidence":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":697,"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":698,"zh":699},{"en":1193,"zh":1194},"How tea marks pauses, hospitality, water, local reputation and social infrastructure on the road—and why a travel diary is never a transparent map.","茶如何標記旅途中的停歇、待客、用水、地方聲名與社會網路，以及遊記為何從來不是一張透明的地圖。",{"en":1196,"zh":1197},"\u003Ch2>Tea enters the road as a small but active detail\u003C\u002Fh2>\u003Ch3>“Travel writing” is not one stable genre\u003C\u002Fh3>\u003Cp>Imperial Chinese writing about journeys includes records of sites, excursion essays, route diaries, pilgrimage accounts, official travel and texts shaped for later readers. Modern histories of \u003Cem>youji\u003C\u002Fem> show that geography, literary form, memory and self-presentation developed together. Before using a tea reference as evidence, identify the kind of text, the journey it claims to record and the form in which it survives.\u003C\u002Fp>\u003Ch3>A brief cup can carry a large narrative load\u003C\u002Fh3>\u003Cp>Tea may occupy only a line, yet it can mark arrival, permission to rest, conversation, weather watching or a change of company. Begin with the action: who offers, prepares or comments on it, and what happens next? Our guide to \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-poetry-social-worlds-metaphor-historical-evidence\">tea in Chinese poetry\u003C\u002Fa> asks a similar question of literary convention, while the \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\">Chinese poetry and literature gateway\u003C\u002Fa> provides a wider reading context.\u003C\u002Fp>\n\u003Ch2>Hospitality appears at thresholds\u003C\u002Fh2>\u003Ch3>Temples, inns and households are different social spaces\u003C\u002Fh3>\u003Cp>In the first scroll of Lu You’s \u003Cem>Record of Entering Shu\u003C\u002Fem>, an elderly nun named Miaojidashi Liuchuo invites the traveler to stay for tea while speaking about repairs to a shrine hall. The moment joins drink, shelter, conversation and institutional life. It records a particular encounter, not a rule that every religious house served tea in the same way.\u003C\u002Fp>\u003Ch3>Service reveals relationships\u003C\u002Fh3>\u003Cp>A host’s tea can acknowledge rank, friendship, religious hospitality or practical care; a traveler’s wording can also hide the people who fetched water, tended heat and cleaned vessels. Read the cup beside our articles on \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Fthe-way-of-tea\">attention and hospitality\u003C\u002Fa> and \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Fchinese-teahouses-commerce-conversation-performance-urban-publics\">Chinese teahouses\u003C\u002Fa>, while keeping domestic, monastic, official and commercial settings distinct.\u003C\u002Fp>\n\u003Ch2>Tea gives journeys a bodily rhythm\u003C\u002Fh2>\u003Ch3>Pauses matter as much as distances\u003C\u002Fh3>\u003Cp>Dates, stages and place names can make a diary look like a modern route log, but meals, illness, rain, waiting and hospitality determine how the road is experienced. Tea may mark a halt without telling us its exact duration, recipe or cost. The itinerary is therefore a sequence selected by a writer, not a continuous record of every mile.\u003C\u002Fp>\u003Ch3>Weather changes what can be seen and written\u003C\u002Fh3>\u003Cp>In Xu Xiake’s Huangshan diary, the monk Xiaguang serves tea and leads the traveler upstairs while they debate whether a distant trace is mountain shadow or cloud and what it may mean for rain. Tea frames looking and interpretation. The scene is valuable precisely because observation, forecast, conversation and literary description remain intertwined.\u003C\u002Fp>\n\u003Ch2>Water connects taste to place\u003C\u002Fh2>\u003Ch3>A named spring is both resource and claim\u003C\u002Fh3>\u003Cp>Lu You’s fourth scroll notes boiling Guanyin Spring water and sipping tea after a meal. Such compact wording links a beverage to a named place, but it does not supply mineral analysis, brewing ratios or a universal ranking. Read it beside \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Fwater-for-chinese-tea\">water for Chinese tea\u003C\u002Fa> and ask what the name contributes to memory and description.\u003C\u002Fp>\u003Ch3>Scenery does not authenticate flavour\u003C\u002Fh3>\u003Cp>Mountain mist, clear springs and celebrated sites can make tea appear naturally self-explanatory. A travel text may intensify that connection through sequence and style. Compare descriptions with local records, material evidence and environmental history before turning literary scenery into a claim about timeless terroir; our guide to \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Ftea-landscapes-china-gardens-forests-terraces-living-knowledge\">tea landscapes\u003C\u002Fa> offers that broader frame.\u003C\u002Fp>\n\u003Ch2>Regional taste travels through conversation\u003C\u002Fh2>\u003Ch3>Praise and criticism are situated judgments\u003C\u002Fh3>\u003Cp>Elsewhere in \u003Cem>Record of Entering Shu\u003C\u002Fem>, Lu You says an official prepared tea skilfully although the tea itself was poor, then records a companion’s allegations about adulteration and seasonal decline in Jian tea. The passage preserves contemporary talk and discrimination of quality. It does not independently prove every ingredient, date or practice mentioned.\u003C\u002Fp>\u003Ch3>Local products are made by networks\u003C\u002Fh3>\u003Cp>A place-name tea reaches the traveler through growers, carriers, vendors, hosts and commentators. Writers often notice the prestigious name more readily than routine labour. Pair regional claims with our accounts of \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Ftea-horse-trade-networks-routes-markets-cultural-exchange\">tea–horse trade networks\u003C\u002Fa>, \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Fpicking-tea-china-seasons-bud-leaf-standards-skilled-labour\">skilled picking\u003C\u002Fa> and \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Fsorting-grading-tea-leaf-size-shape-grade-meaning\">sorting and grading\u003C\u002Fa>.\u003C\u002Fp>\n\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FgTOvjmPNlIgCuR2hz5EZ.webp\" alt=\"Blank stitched notebook, folded route strip, travel flask, tea bowl, wet stone, plain compass and paper weights on a cool grey table\">\u003Cfigcaption>AI-generated conceptual still life for comparing route, object and textual evidence. Every item is fictional and documents no real manuscript, map, vessel, collection or journey.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\u003Ch2>Roads are social systems, not empty lines\u003C\u002Fh2>\u003Ch3>Access depends on people and institutions\u003C\u002Fh3>\u003Cp>Boats, ferries, post stations, monasteries, guides, servants and local hosts make movement possible. Tea can reveal one contact point in that infrastructure, but a polished first-person account may compress negotiation, payment, risk and dependent labour. Compare it with \u003Ca href=\"\u002Fwudang-mountain\u002Fintroduction\u002Fwudang-gazetteers-sacred-geography\">gazetteers and sacred geography\u003C\u002Fa>, which organize place through a different documentary logic.\u003C\u002Fp>\u003Ch3>Travelers do not meet every community equally\u003C\u002Fh3>\u003Cp>Literacy, office, gender, wealth, religious affiliation and language shape where a writer can enter and whose words are recorded. Silence about women, labourers, carriers or minority communities is not evidence of absence. It is a reason to ask how the narrator’s route and social position filtered the scene.\u003C\u002Fp>\n\u003Ch2>An itinerary is edited evidence\u003C\u002Fh2>\u003Ch3>Maps can clarify without claiming certainty\u003C\u002Fh3>\u003Cp>Place names change, routes branch and transmitted texts may preserve gaps or later editorial decisions. Plotting a journey is useful when uncertainty remains visible: mark approximate locations, disputed identifications and passages reconstructed from context. Do not convert a literary sequence into precise coordinates that the source never gives.\u003C\u002Fp>\u003Ch3>Later editions and translations reshape the road\u003C\u002Fh3>\u003Cp>Paragraphing, punctuation, variant characters, abridgment and translation can alter pace and emphasis. Record the edition or digital transcription used and compare passages when a claim depends on one term. The same source discipline underlies \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Freading-chinese-tea-classics-authorship-editions-recipe-limits\">reading Chinese tea classics\u003C\u002Fa>.\u003C\u002Fp>\n\u003Ch2>A seven-question method for tea on the road\u003C\u002Fh2>\u003Ch3>Move from the line to the network\u003C\u002Fh3>\u003Cp>Begin with the sentence, then widen the frame through seven checks:\u003C\u002Fp>\u003Cul>\u003Cli>What kind of travel text is this?\u003C\u002Fli>\u003Cli>Which edition and date am I using?\u003C\u002Fli>\u003Cli>Who serves, prepares, drinks or judges the tea?\u003C\u002Fli>\u003Cli>What pause or relationship does it create?\u003C\u002Fli>\u003Cli>Which route, water source or product name is specified?\u003C\u002Fli>\u003Cli>Whose labour and voice remain outside the frame?\u003C\u002Fli>\u003Cli>Which historical claim still needs comparison with another source?\u003C\u002Fli>\u003C\u002Ful>\n\u003Ch2>Primary texts and further reading\u003C\u002Fh2>\u003Cp>For genre history, consult Richard E. Strassberg’s \u003Ca href=\"https:\u002F\u002Fwww.ucpress.edu\u002Fbooks\u002Finscribed-landscapes\u002Fpaper\">\u003Cem>Inscribed Landscapes\u003C\u002Fem>\u003C\u002Fa>, James M. Hargett’s \u003Ca href=\"https:\u002F\u002Fuwapress.uw.edu\u002Fbook\u002F9780295744476\u002Fjade-mountains-and-cinnabar-pools\u002F\">\u003Cem>Jade Mountains and Cinnabar Pools\u003C\u002Fem>\u003C\u002Fa> and the Cambridge \u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fbooks\u002Fcambridge-history-of-travel-writing\u002Fchinese-travel-writing\u002F6B6C75B71D4FBC7DCF0B3130C004B766\">history of Chinese travel writing\u003C\u002Fa>. Read the cited passages in Lu You’s \u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=367918&if=gb\">first\u003C\u002Fa> and \u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=326328&if=gb&remap=gb\">fourth\u003C\u002Fa> scrolls and Xu Xiake’s \u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=288959&if=gb&remap=gb\">Huangshan diary\u003C\u002Fa>. Continue with \u003Ca href=\"\u002Farts\u002Ftea-ceremony\u002Ffurther-reading-and-practice\">further reading and practice\u003C\u002Fa>.\u003C\u002Fp>","\u003Ch2>茶以細小而主動的方式進入旅途\u003C\u002Fh2>\u003Ch3>“遊記”並不是一種固定不變的文類\u003C\u002Fh3>\u003Cp>中國古代書寫旅行的文本，包括名勝記、短程遊覽記、逐日行程、朝山記錄、官差紀行，以及經過整理、面向後世讀者的篇章。現代遊記史研究提醒我們：地理觀察、文學形式、記憶與自我塑造常常一起發展。把一則茶事當作歷史證據前，應先辨明文本型別、它聲稱記錄的旅程，以及今天所見版本的傳承形態。\u003C\u002Fp>\u003Ch3>一杯茶雖短，卻能承擔很重的敘事功能\u003C\u002Fh3>\u003Cp>茶在原文中也許只有一句，卻可能標記抵達、獲准歇息、開始交談、觀測天氣或更換同行者。先看動作：誰奉茶、誰備茶、誰評論，隨後發生了什麼？\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-poetry-social-worlds-metaphor-historical-evidence\">中國詩歌中的茶\u003C\u002Fa>也提出類似的文學慣例問題；\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\">中國詩歌與文學\u003C\u002Fa>欄目則提供更廣的閱讀背景。\u003C\u002Fp>\n\u003Ch2>待客禮儀出現在一道道門檻處\u003C\u002Fh2>\u003Ch3>寺院、驛舍與私宅是不同的社會空間\u003C\u002Fh3>\u003Cp>陸游《入蜀記》卷一寫到老尼妙濟大師留啜茶，並談及祠堂修繕。茶、歇腳、交談與宗教機構的日常生活在這一刻相連。它記錄的是一次具體相遇，並不能推出所有寺院都以同樣方式奉茶。\u003C\u002Fp>\u003Ch3>服侍關係顯露人際結構\u003C\u002Fh3>\u003Cp>主人奉茶，可能表示對身份、交情、宗教性待客或實際照料的承認；而旅行者的筆墨也可能遮蔽取水、看火、洗器等勞動。可將這類場景與\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Fthe-way-of-tea\">用心與待客\u003C\u002Fa>、\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Fchinese-teahouses-commerce-conversation-performance-urban-publics\">中國茶館\u003C\u002Fa>對讀，但要區分家居、寺院、官署與商業空間。\u003C\u002Fp>\n\u003Ch2>茶賦予旅途身體性的節奏\u003C\u002Fh2>\u003Ch3>停歇與里程同樣重要\u003C\u002Fh3>\u003Cp>日期、站次與地名會讓遊記看起來像現代路線日誌，但飲食、疾病、雨水、等待與接待，才決定道路如何被身體經歷。茶可以標記一次停留，卻未必告訴我們停了多久、怎樣衝點或花費多少。因此，行程是作者篩選後的次序，並非每一里路都連續記錄。\u003C\u002Fp>\u003Ch3>天氣改變可見之物與可寫之物\u003C\u002Fh3>\u003Cp>徐霞客《遊黃山日記》中，僧人霞光設茶，引其登樓，兩人又討論遠處淡痕究竟是山影還是雲氣，以及它是否預示降雨。茶為觀看與判斷搭起場景。正因為觀察、預測、對話與文學描寫彼此糾纏，這段文字才格外有價值。\u003C\u002Fp>\n\u003Ch2>水把味覺與地方連線起來\u003C\u002Fh2>\u003Ch3>有名之泉既是資源，也是敘述主張\u003C\u002Fh3>\u003Cp>《入蜀記》卷四簡記“煮觀音泉，啜茶”。寥寥數字把飲茶與一個具名地點相連，卻沒有提供礦物分析、投茶比例或普遍性的泉水等級。可與\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Fwater-for-chinese-tea\">泡茶用水\u003C\u002Fa>對讀，並追問泉名如何參與地方記憶與書寫。\u003C\u002Fp>\u003Ch3>山水景物並不能自動證明風味\u003C\u002Fh3>\u003Cp>山霧、清泉與名勝容易讓茶看起來彷彿天然地與地方繫結，遊記又會通過行文次序與文辭強化這種聯絡。把文學風景轉化為“自古如此”的風土主張前，應與地方文獻、物質證據和環境史對照；\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Ftea-landscapes-china-gardens-forests-terraces-living-knowledge\">中國茶景觀\u003C\u002Fa>提供了更寬的框架。\u003C\u002Fp>\n\u003Ch2>地方風味在交談中流動\u003C\u002Fh2>\u003Ch3>稱讚與批評都是有位置的判斷\u003C\u002Fh3>\u003Cp>《入蜀記》另一處寫官員點茶頗工而茶本身甚劣，隨後記錄同座者關於建茶摻雜與過梅失味的說法。這段材料儲存了當時人的談論與品質分辨，卻不能獨立證明其中提到的每一種原料、年代或做法都普遍存在。\u003C\u002Fp>\u003Ch3>地方物產由網路共同造成\u003C\u002Fh3>\u003Cp>帶著地名的茶，要經過種植者、挑夫、商販、主人與評論者，才來到旅行者面前。文字往往更容易記下響亮的產名，而略去日常勞動。可結合\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Ftea-horse-trade-networks-routes-markets-cultural-exchange\">茶馬貿易網路\u003C\u002Fa>、\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Fpicking-tea-china-seasons-bud-leaf-standards-skilled-labour\">採茶技藝\u003C\u002Fa>與\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Fsorting-grading-tea-leaf-size-shape-grade-meaning\">揀剔分級\u003C\u002Fa>來檢驗地方聲名。\u003C\u002Fp>\n\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FgTOvjmPNlIgCuR2hz5EZ.webp\" alt=\"冷灰色桌面上的空白線裝筆記本、摺疊路線紙、旅行水壺、茶碗、溼石、無字羅盤與鎮紙\">\u003Cfigcaption>AI 生成的概念靜物，用於提示路線、器物與文本證據的比較；所有物件均為虛構，不記錄真實手稿、地圖、器具、收藏或旅程。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\u003Ch2>道路是社會系統，不是一條空線\u003C\u002Fh2>\u003Ch3>通行依賴人員與機構\u003C\u002Fh3>\u003Cp>舟船、渡口、驛站、寺院、嚮導、僕役與地方主人，共同使移動成為可能。茶能顯露這套基礎網路的一個接點，但精煉的第一人稱敘述，常會壓縮協商、付費、風險與依附勞動。可與\u003Ca href=\"\u002Fzh\u002Fwudang-mountain\u002Fintroduction\u002Fwudang-gazetteers-sacred-geography\">方誌與神聖地理\u003C\u002Fa>比較：後者用另一套文獻邏輯組織地方。\u003C\u002Fp>\u003Ch3>旅行者並不平等地接觸所有群體\u003C\u002Fh3>\u003Cp>識字能力、官職、性別、財富、宗教身份與語言，都會影響作者能進入哪裡、誰的話值得記錄。婦女、勞作者、挑夫或少數族群在文中沉默，並不等於他們不存在；這反而提示我們追問敘述者的路線與社會位置如何篩選場景。\u003C\u002Fp>\n\u003Ch2>行程本身就是經過編輯的證據\u003C\u002Fh2>\u003Ch3>地圖可以澄清，卻不應制造確定性\u003C\u002Fh3>\u003Cp>地名會變化，道路有岔口，傳世文本也可能有缺文或後人整理。把旅程畫在地圖上很有幫助，但必須把不確定性保留下來：標出大致位置、爭議認定與依據上下文復原的段落。不要把文學次序轉換成原文從未提供的精確座標。\u003C\u002Fp>\u003Ch3>後世版本與翻譯會重新塑造道路\u003C\u002Fh3>\u003Cp>分段、標點、異體字、刪節與翻譯都會改變閱讀節奏和重點。凡是依賴某一術語的論斷，都應註明所用版本或數字文本，並儘量比對異文。\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Freading-chinese-tea-classics-authorship-editions-recipe-limits\">如何閱讀中國茶書\u003C\u002Fa>所強調的版本意識，同樣適用於遊記。\u003C\u002Fp>\n\u003Ch2>閱讀旅途茶事的七個問題\u003C\u002Fh2>\u003Ch3>從一句話走向整張網路\u003C\u002Fh3>\u003Cp>先從具體句子出發，再依次擴大視野：\u003C\u002Fp>\u003Cul>\u003Cli>這是什麼型別的旅行文本？\u003C\u002Fli>\u003Cli>我使用的是哪一版、哪一時代的文本？\u003C\u002Fli>\u003Cli>誰備茶、奉茶、飲茶或評茶？\u003C\u002Fli>\u003Cli>茶使哪一次停歇或關係發生變化？\u003C\u002Fli>\u003Cli>文中明確了哪條路線、哪處水源或哪個產名？\u003C\u002Fli>\u003Cli>哪些勞動與聲音被留在畫面之外？\u003C\u002Fli>\u003Cli>還有哪項歷史判斷必須與其他來源互證？\u003C\u002Fli>\u003C\u002Ful>\n\u003Ch2>原始文本與延伸閱讀\u003C\u002Fh2>\u003Cp>文類史可參閱 Richard E. Strassberg 的 \u003Ca href=\"https:\u002F\u002Fwww.ucpress.edu\u002Fbooks\u002Finscribed-landscapes\u002Fpaper\">\u003Cem>Inscribed Landscapes\u003C\u002Fem>\u003C\u002Fa>、James M. Hargett 的 \u003Ca href=\"https:\u002F\u002Fuwapress.uw.edu\u002Fbook\u002F9780295744476\u002Fjade-mountains-and-cinnabar-pools\u002F\">\u003Cem>Jade Mountains and Cinnabar Pools\u003C\u002Fem>\u003C\u002Fa>，以及劍橋的\u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fbooks\u002Fcambridge-history-of-travel-writing\u002Fchinese-travel-writing\u002F6B6C75B71D4FBC7DCF0B3130C004B766\">中國旅行寫作史\u003C\u002Fa>。原文可讀陸游《入蜀記》\u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=367918&if=gb\">卷一相關段落\u003C\u002Fa>、\u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=326328&if=gb&remap=gb\">卷四相關段落\u003C\u002Fa>，以及徐霞客\u003Ca href=\"https:\u002F\u002Fctext.org\u002Fwiki.pl?chapter=288959&if=gb&remap=gb\">《遊黃山日記》\u003C\u002Fa>。繼續瀏覽\u003Ca href=\"\u002Fzh\u002Farts\u002Ftea-ceremony\u002Ffurther-reading-and-practice\">茶文化延伸閱讀與實踐\u003C\u002Fa>。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FfeUoXFArOYXWVHihQLjP.webp",1600,900,{"en":1202,"zh":1203},"Contemporary traveler reading a blank map and notebook beside tea in a fictional mountain shelter after rain","雨後一處虛構山間歇腳亭中，一位當代旅行者在茶旁閱讀空白地圖與筆記本",{"caption":1205,"creator":1206,"source_url":3,"license_label":1207,"license_url":3,"changes":1208},"AI 生成的當代旅途閱讀概念照片；不表現真實旅行者、路線、歇腳處、山嶽、遊記或歷史行程。","OpenAI","AI-generated conceptual image","作為原創編輯插圖生成；畫面不指向任何真實旅行者、作者、路線、地圖、歇腳處、山嶽、手稿、收藏、人物或有文獻記載的旅程。",{"en":1202,"zh":1203},"banner","list",{"en":1213,"zh":1214},"Tea in Chinese Travel Writing | Wudang Culture","中國遊記中的茶：道路、待客與證據邊界 | 武當文化",{"en":1216,"zh":1217},"Read tea in Chinese travel writing through roads, hospitality, water, regional reputation and labour, with clear limits on treating diaries as transparent itineraries.","從道路、待客、用水、地方聲名與勞動閱讀中國遊記中的茶，並理解把遊記當作透明行程記錄的邊界。",[],{"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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