[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"site-nav-reference-en":3,"site-nav-zh":4,"site-nav-zh-all-daoism":289,"event-categories-zh":498,"site-settings":741,"node-zh-daoism\u002Feight-immortals":783,"live-course-events":848},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":496,"footer":497},[292],{"to":162,"label":163,"label_zh":164,"children":293},[294,332,362,392,470],{"to":167,"label":168,"label_zh":169,"children":295},[296,300,304,308,312,316,320,324,328],{"to":297,"label":298,"label_zh":299},"\u002Fdaoism\u002Ftaoist-deities-pantheon\u002Fthree-pure-ones","The Three Pure Ones: Highest Deities of the Taoist Pantheon","道教三清：神明體系中的最高尊神",{"to":301,"label":302,"label_zh":303},"\u002Fdaoism\u002Ftaoist-deities-pantheon\u002Fjade-emperor","The Jade Emperor in Taoism: Ruler of the Celestial Bureaucracy","道教玉皇大帝：天庭官府的治理者",{"to":305,"label":306,"label_zh":307},"\u002Fdaoism\u002Ftaoist-deities-pantheon\u002Forigins-of-pantheon","How the Taoist Pantheon Developed: Origins of Its Gods","道教神明體系如何形成：諸神的不同來源",{"to":309,"label":310,"label_zh":311},"\u002Fdaoism\u002Ftaoist-deities-pantheon\u002Fcelestial-bureaucracy","Taoist Immortals and the Celestial Bureaucracy: Shen and Xian","道教神明、仙真與天庭官府：神和仙有什麼不同",{"to":313,"label":314,"label_zh":315},"\u002Fdaoism\u002Ftaoist-deities-pantheon\u002Fguan-yu-mazu-popular-deities","Guan Yu, Mazu and Popular Chinese Deities: How Humans Become Gods","關羽、媽祖與民間神祇：人如何成為神",{"to":317,"label":318,"label_zh":319},"\u002Fdaoism\u002Ftaoist-deities-pantheon\u002Fdeities-of-wudang-mountain","Deities of Wudang Mountain: Zhenwu and His Sacred Court","武當山神明：真武大帝與他的神聖侍從",{"to":321,"label":322,"label_zh":323},"\u002Fdaoism\u002Ftaoist-deities-pantheon\u002Fworship-temples-offerings","Taoist Temple Worship: Incense, Offerings, Vows and Donations","道教宮觀祭祀：上香、供養、許願與捐獻",{"to":325,"label":326,"label_zh":327},"\u002Fdaoism\u002Ftaoist-deities-pantheon\u002Fnorthern-dipper-stars-images-ritual-maps","The Northern Dipper in Daoist Culture: Stars, Images and Ritual Maps","道教文化中的北斗：星象、影像與儀式圖式",{"to":329,"label":330,"label_zh":331},"\u002Fdaoism\u002Ftaoist-deities-pantheon\u002Fthree-officials-sanguan-heaven-earth-water-three-yuan","The Three Officials in Daoism: Heaven, Earth, Water and the Three Yuan","道教三官大帝：天、地、水與三元節期",{"to":171,"label":172,"label_zh":173,"children":333},[334,338,342,346,350,354,358],{"to":335,"label":336,"label_zh":337},"\u002Fdaoism\u002Ftaoist-temples-sacred-mountains\u002Fwudang-mountain","Wudang Mountain in Taoism: Zhenwu, the Ming Court and Sacred Status","道教中的武當山：真武信仰、明廷與聖地地位",{"to":339,"label":340,"label_zh":341},"\u002Fdaoism\u002Ftaoist-temples-sacred-mountains\u002Fmount-longhu","Mount Longhu and the Celestial Masters: Centre of Zhengyi Taoism","龍虎山與天師道：正一道的制度中心",{"to":343,"label":344,"label_zh":345},"\u002Fdaoism\u002Ftaoist-temples-sacred-mountains\u002Fmount-qingcheng","Mount Qingcheng: How Organised Taoism Took Institutional Form","青城山：有組織道教如何形成制度",{"to":347,"label":348,"label_zh":349},"\u002Fdaoism\u002Ftaoist-temples-sacred-mountains\u002Fmount-tai","Mount Tai: China’s Foremost State Sacred Mountain","泰山：中國最重要的國家祭祀名山",{"to":351,"label":352,"label_zh":353},"\u002Fdaoism\u002Ftaoist-temples-sacred-mountains\u002Fwhite-cloud-temple-beijing","White Cloud Temple in Beijing: Quanzhen Taoism’s Urban Monastery","北京白雲觀：全真道的城市宮觀",{"to":355,"label":356,"label_zh":357},"\u002Fdaoism\u002Ftaoist-temples-sacred-mountains\u002Ftemple-architecture-sacred-geometry","How to Read Taoist Temple Architecture and Sacred Space","如何讀懂道教宮觀建築與神聖空間",{"to":359,"label":360,"label_zh":361},"\u002Fdaoism\u002Ftaoist-temples-sacred-mountains\u002Fpilgrimage-temple-etiquette","Taoist Pilgrimage and Temple Etiquette: A Practical Guide","道教朝山進香與宮觀禮儀：實用指南",{"to":175,"label":176,"label_zh":177,"children":363},[364,368,372,376,380,384,388],{"to":365,"label":366,"label_zh":367},"\u002Fdaoism\u002Ftaoist-schools-lineages\u002Fcelestial-masters-zhengyi","Zhengyi Taoism and the Celestial Masters: Householder Priests and Ritual Authority","正一道與天師道：在家道士和科儀權威",{"to":369,"label":370,"label_zh":371},"\u002Fdaoism\u002Ftaoist-schools-lineages\u002Fcomplete-perfection-quanzhen","Quanzhen Taoism: Monastic Life, Inner Cultivation and Wudang","全真道：出家生活、內在修煉與武當",{"to":373,"label":374,"label_zh":375},"\u002Fdaoism\u002Ftaoist-schools-lineages\u002Fshangqing-school","Shangqing Taoism: Highest Clarity Revelations and Inner Visualisation","上清道：最高明啟、存思與身體內的神明",{"to":377,"label":378,"label_zh":379},"\u002Fdaoism\u002Ftaoist-schools-lineages\u002Flingbao-tradition","Lingbao Taoism: Numinous Treasure Scriptures and Communal Ritual","靈寶道：經典、普度與共同體科儀",{"to":381,"label":382,"label_zh":383},"\u002Fdaoism\u002Ftaoist-schools-lineages\u002Fwu-liu-school","The Wu-Liu School: A Clearer System of Taoist Internal Alchemy","伍柳派：較為清晰的道教內丹體系",{"to":385,"label":386,"label_zh":387},"\u002Fdaoism\u002Ftaoist-schools-lineages\u002Fmonastic-vs-householder-priesthood","Quanzhen Monastics and Zhengyi Householder Priests: What Is the Difference?","全真出家道士與正一在家道士有什麼不同",{"to":389,"label":390,"label_zh":391},"\u002Fdaoism\u002Ftaoist-schools-lineages\u002Fmodern-transmission-ordination","Taoist Ordination and Lineage Today: How Transmission Is Verified","今日道教傳承與授籙傳戒：如何核實師承",{"to":179,"label":180,"label_zh":181,"children":393},[394,398,402,406,410,414,418,422,426,430,434,438,442,446,450,454,458,462,466],{"to":395,"label":396,"label_zh":397},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fjade-emperor-birthday","The Jade Emperor’s Birthday and Festivals of the Heavenly Court","玉皇誕：正月初九的意義與宮觀儀式",{"to":399,"label":400,"label_zh":401},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fzhongyuan-ghost-festival","Zhongyuan Festival: Ghost Festival, the Earth Official and Universal Salvation","中元節：七月十五、地官赦罪與普度",{"to":403,"label":404,"label_zh":405},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Flaozi-birthday","Laozi’s Birthday: From the Sage Laozi to the Divine Lord Lao","老君誕：從老子到太上老君",{"to":407,"label":408,"label_zh":409},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdouble-ninth-festival","Double Ninth Festival: Chongyang, Longevity and Respect for Elders","重陽節：九月初九、長生觀念與敬老傳統",{"to":411,"label":412,"label_zh":413},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fjiao-offering-ritual","Jiao Rituals: Taoism’s Grand Community Offering","醮儀：道教大型共同體祭獻科儀",{"to":415,"label":416,"label_zh":417},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fzhai-purification-fasting","Zhai Rituals: Taoist Purification, Fasting and Preparation","齋儀：道教潔淨、持戒與祭前準備",{"to":419,"label":420,"label_zh":421},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Ftemple-fairs-pilgrimage","Taoist Temple Fairs and Seasonal Pilgrimage","道教廟會與朝山：宗教、集市與季節性朝聖",{"to":423,"label":424,"label_zh":425},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-ritual-robes-garment-image-ceremony","Daoist Ritual Robes: Garment, Image and Ceremonial Role","道教法衣：衣式、影像與科儀身份",{"to":427,"label":428,"label_zh":429},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdavid-vases-daoist-offering-blue-white-porcelain","The David Vases: A Daoist Offering and a Dated Porcelain Landmark","大維德對瓶：道觀供器與青花紀年座標",{"to":431,"label":432,"label_zh":433},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-ritual-seals-impression-authority-documents","Daoist Ritual Seals: Impression, Authority and the Work of Documents","道教法印：印痕、權威與儀式文書",{"to":435,"label":436,"label_zh":437},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-ritual-music-bells-drums-chant","Daoist Ritual Music: Bells, Drums, Chant and Ceremonial Time","道教科儀音樂：鍾鈴、鼓樂、經韻與儀式時間",{"to":439,"label":440,"label_zh":441},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-lamp-rituals-light-cosmic-patterns-ceremonial-space","Daoist Lamp Rituals: Light, Cosmic Patterns and Ceremonial Space","道教燈儀：光明、星象秩序與科儀空間",{"to":443,"label":444,"label_zh":445},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-talismans-script-ritual-action","Daoist Talismans: Script, Ritual Action and the Limits of Looking","道教符籙：書寫、科儀行動與觀看邊界",{"to":447,"label":448,"label_zh":449},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-mirrors-reflection-cosmology-ritual-evidence","Daoist Mirrors: Reflection, Cosmology and Ritual Evidence","道教銅鏡：映照、宇宙圖式與科儀證據",{"to":451,"label":452,"label_zh":453},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-petitions-memorials-celestial-administration","Daoist Petitions and Memorials: Writing to the Celestial Administration","道教章表：寫給天庭的儀式文書",{"to":455,"label":456,"label_zh":457},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-registers-lu-rank-transmission-celestial-administration","Daoist Registers (Lu): Rank, Transmission and Celestial Administration","道教法籙：品秩、傳授與天曹體系",{"to":459,"label":460,"label_zh":461},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-audience-tablets-hu-courtly-form-ritual-address","Daoist Audience Tablets (Hu): Courtly Form and Ritual Address","道教朝笏：朝儀形制與科儀奏達",{"to":463,"label":464,"label_zh":465},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-crowns-headscarves-dress-rank-ritual-context","Daoist Crowns and Headscarves: Dress, Rank and Ritual Context","道教冠巾：衣制、職司與科儀語境",{"to":467,"label":468,"label_zh":469},"\u002Fdaoism\u002Ftaoist-festivals-rituals\u002Fdaoist-footwear-cloth-cloud-shoes-ritual-movement","Daoist Footwear: Cloth Shoes, Cloud Shoes and Ritual Movement","道教鞋履：布鞋、雲履與科儀步伐",{"to":184,"label":185,"label_zh":186,"children":471},[472,476,480,484,488,492],{"to":473,"label":474,"label_zh":475},"\u002Fdaoism\u002Feight-immortals\u002Flu-dongbin","Lü Dongbin: Scholar Immortal, Quanzhen Patriarch and Sword Bearer","呂洞賓：士人仙真、全真祖師與佩劍象徵",{"to":477,"label":478,"label_zh":479},"\u002Fdaoism\u002Feight-immortals\u002Fzhang-guolao","Zhang Guolao: Tang Recluse and Backward-Riding Immortal","張果老：唐代隱士與倒騎驢的仙人",{"to":481,"label":482,"label_zh":483},"\u002Fdaoism\u002Feight-immortals\u002Fhe-xiangu","He Xiangu: The Woman Immortal of the Eight","何仙姑：八仙中唯一的女性仙真",{"to":485,"label":486,"label_zh":487},"\u002Fdaoism\u002Feight-immortals\u002Fhan-xiangzi-lan-caihe","Han Xiangzi and Lan Caihe: Music, Flowers and Ambiguous Identity","韓湘子與藍采和：音樂、花與身份邊界",{"to":489,"label":490,"label_zh":491},"\u002Fdaoism\u002Feight-immortals\u002Fcao-guojiu-li-tieguai","Cao Guojiu and Li Tieguai: Privilege, Poverty and the Immortal Body","曹國舅與鐵柺李：特權、貧困與身體身份",{"to":493,"label":494,"label_zh":495},"\u002Fdaoism\u002Feight-immortals\u002Fzhongli-quan","Zhongli Quan: Teacher of Lü Dongbin and Patriarch of Internal Alchemy","鍾離權：呂洞賓之師與內丹祖師",[],[],{"data":499},[500,536,559,578,599,618,638,656,677,700,722],{"id":38,"uuid":501,"slug":502,"available_locales":503,"name":507,"description":510,"body":512,"path":515,"images":516,"image_urls":521,"hero_image":3,"hero_image_url":3,"seo_title":526,"seo_description":529,"sort_order":531,"is_active":532,"status":533,"created_at":534,"updated_at":535},"f1a30881-20c6-407b-b546-669e839a178a","feng-shui-learning",[504,505,506],"en","zh","fr",{"en":508,"zh":509},"Feng Shui Learning","風水課程",{"en":511,"zh":3},"Study feng shui as a historical Chinese tradition of interpreting orientation, form and environment—with clear limits on predictive claims.",{"en":513,"zh":514},"\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",[517,518,519,520],"wudang\u002Fevents\u002FYpvXV9T4BG3YVD0NQ150.webp","wudang\u002Fevents\u002FfhZyCVAEQXsL76XmGdVp.webp","wudang\u002Fevents\u002FAt5a8W2EGZ9IhDUbI4f3.avif","wudang\u002Fevents\u002FBKPjfYeMNJ617LWJ7tgv.avif",[522,523,524,525],"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":527,"zh":528},"Feng Shui Classes and Courses","風水課程：方位、形勢與空間觀念入門",{"en":511,"zh":530},"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":537,"slug":538,"available_locales":539,"name":540,"description":543,"body":546,"path":549,"images":550,"image_urls":551,"hero_image":3,"hero_image_url":3,"seo_title":552,"seo_description":555,"sort_order":531,"is_active":532,"status":533,"created_at":558,"updated_at":535},"c85bf6cc-b84e-4c36-bbd7-9e92b53bbe50","internal-arts-wellness",[504,505,506],{"en":541,"zh":542},"Internal Arts & Wellness","內家功法與養生",{"en":544,"zh":545},"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":547,"zh":548},"\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":553,"zh":554},"Internal Arts & Wellness Events","內家功法與養生活動",{"en":556,"zh":557},"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":560,"uuid":561,"slug":562,"available_locales":563,"name":564,"description":567,"body":568,"path":569,"images":570,"image_urls":571,"hero_image":3,"hero_image_url":3,"seo_title":572,"seo_description":574,"sort_order":531,"is_active":532,"status":533,"created_at":577,"updated_at":535},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[504,505,506],{"en":565,"zh":566},"Face Reading Learning","面相課程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":573},"Chinese Face Reading Classes and Workshops",{"en":575,"zh":576},"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":579,"uuid":580,"slug":581,"available_locales":582,"name":583,"description":586,"body":588,"path":591,"images":592,"image_urls":593,"hero_image":3,"hero_image_url":3,"seo_title":594,"seo_description":597,"sort_order":38,"is_active":532,"status":533,"created_at":534,"updated_at":535},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[504,505,506],{"en":584,"zh":585},"Zi Wei Dou Shu Learning","紫微斗數課程",{"en":587,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":589,"zh":590},"\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":595,"zh":596},"Zi Wei Dou Shu (Purple Star Astrology) Classes","紫微斗數課程：命盤、宮位與星曜入門",{"en":587,"zh":598},"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":600,"slug":601,"available_locales":602,"name":603,"description":606,"body":607,"path":608,"images":609,"image_urls":610,"hero_image":3,"hero_image_url":3,"seo_title":611,"seo_description":614,"sort_order":38,"is_active":532,"status":533,"created_at":617,"updated_at":535},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[504,505,506],{"en":604,"zh":605},"Tea Arts","茶藝",[],[],"\u002Fevents\u002Ftea-arts",[],[],{"en":612,"zh":613},"Chinese Tea Art Classes and Workshops","茶藝課程與工作坊",{"en":615,"zh":616},"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":619,"slug":620,"available_locales":621,"name":622,"description":625,"body":627,"path":630,"images":631,"image_urls":632,"hero_image":3,"hero_image_url":3,"seo_title":633,"seo_description":636,"sort_order":579,"is_active":532,"status":533,"created_at":534,"updated_at":535},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[504,505,506],{"en":623,"zh":624},"Ba Zi Learning","八字課程",{"en":626,"zh":3},"Study the Four Pillars as a traditional system of stems, branches and five-phase correspondence, with history and limitations made explicit.",{"en":628,"zh":629},"\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":634,"zh":635},"BaZi (Four Pillars) Classes and Courses","八字課程：四柱、天干地支與五行入門",{"en":626,"zh":637},"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":639,"slug":640,"available_locales":641,"name":642,"description":645,"body":646,"path":647,"images":648,"image_urls":649,"hero_image":3,"hero_image_url":3,"seo_title":650,"seo_description":653,"sort_order":579,"is_active":532,"status":533,"created_at":617,"updated_at":535},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[504,505,506],{"en":643,"zh":644},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":651,"zh":652},"Chinese Incense Culture Workshops","香文化活動與工作坊",{"en":654,"zh":655},"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":657,"uuid":658,"slug":659,"available_locales":660,"name":661,"description":664,"body":667,"path":670,"images":671,"image_urls":672,"hero_image":3,"hero_image_url":3,"seo_title":673,"seo_description":675,"sort_order":579,"is_active":532,"status":533,"created_at":676,"updated_at":535},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[504,505,506],{"en":662,"zh":663},"I Ching Learning","易經課程",{"en":665,"zh":666},"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":668,"zh":669},"\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":674,"zh":663},"I Ching Classes and Courses",{"en":665,"zh":666},"2026-09-08T00:15:35.000000Z",{"id":21,"uuid":678,"slug":679,"available_locales":680,"name":681,"description":684,"body":687,"path":690,"images":691,"image_urls":692,"hero_image":3,"hero_image_url":3,"seo_title":693,"seo_description":696,"sort_order":242,"is_active":532,"status":533,"created_at":699,"updated_at":535},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[504,505,506],{"en":682,"zh":683},"Traditional Arts & Crafts","傳統藝術與手作",{"en":685,"zh":686},"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":688,"zh":689},"\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":694,"zh":695},"Traditional Arts & Crafts Events","傳統藝術與手作活動",{"en":697,"zh":698},"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":701,"slug":702,"available_locales":703,"name":704,"description":707,"body":710,"path":713,"images":714,"image_urls":715,"hero_image":3,"hero_image_url":3,"seo_title":716,"seo_description":718,"sort_order":247,"is_active":532,"status":533,"created_at":721,"updated_at":535},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[504,505,506],{"en":705,"zh":706},"Wudang Community","武當社群活動",{"en":708,"zh":709},"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":711,"zh":712},"\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":717,"zh":706},"Wudang Community Events",{"en":719,"zh":720},"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":723,"slug":724,"available_locales":725,"name":726,"description":729,"body":730,"path":731,"images":732,"image_urls":733,"hero_image":3,"hero_image_url":3,"seo_title":734,"seo_description":737,"sort_order":69,"is_active":532,"status":533,"created_at":740,"updated_at":535},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[504,505,506],{"en":727,"zh":728},"Wudang Journeys & Retreats","武當旅修與行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":735,"zh":736},"Wudang Mountain Retreats and Guided Journeys","武當山旅修與靜修行程",{"en":738,"zh":739},"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":742},{"hero_type":743,"hero_image":744,"hero_image_alt":745,"hero_youtube_id":746,"hero_content_on":532,"hero_heading":747,"hero_subheading":748,"hero_text":749,"hero_subheading_zh":750,"hero_text_zh":751,"hero_buttons":752,"home_seo":758,"page_layout":764,"shop_enabled":765,"contact":766,"journey":782},"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。",[753,755],{"label":754,"link":278},"Start Your Wudang Journey",{"label":756,"link":757},"View Events & Courses","\u002Fevents",{"title":759,"description":761},{"en":760,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":762,"zh":763},"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":767,"has_any":532,"text":775},{"email":768,"whatsapp":769,"wechat_id":770,"wechat_qr_url":771,"instagram":772,"instagram_handle":773,"facebook":774,"facebook_handle":773},"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":776,"china_heading_zh":777,"china_company_en":778,"china_company_zh":779,"china_address_en":780,"china_address_zh":781},"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":532},{"data":784},{"to":184,"type":785,"available_locales":786,"is_content_page":532,"title":787,"subtitle":788,"body":791,"hero_image_url":794,"hero_width":795,"hero_height":796,"hero_image_alt":797,"hero_image_decorative":765,"hero_credit":3,"hero_alt":800,"hero_style":801,"card_layout":802,"link_type":3,"link_ref":3,"seo_title":803,"seo_description":806,"children":809},"subcategory",[504,505,506],{"en":185,"zh":186},{"en":789,"zh":790},"How a Ming-era group of eight became a lasting image of transcendence across class, age, gender and respectability","八位人物如何在明代定型為一組，並以不同身份共同表達超越階層、年齡與性別的想像",{"en":792,"zh":793},"\u003Cp>The Eight Immortals are the most recognisable figures in Chinese popular religion after the major gods, and they are the part of Taoism most likely to reach you without your noticing — on porcelain, embroidery, temple carving, opera stages, restaurant signs and birthday gifts. They are also the clearest case on this site of material that is legend rather than history, and worth using to establish how legend can be taken seriously without being mistaken for record.\u003C\u002Fp>\u003Ch2>Who Are the Eight Immortals, and Why Are There Eight?\u003C\u002Fh2>\u003Cp>The standard group is Lü Dongbin, Zhongli Quan, Zhang Guolao, He Xiangu, Han Xiangzi, Lan Caihe, Cao Guojiu and Li Tieguai. They are not a family, a lineage or a committee. They are a set — assembled over centuries and broadly standardised in the Ming dynasty. The familiar group has remained the dominant form since.\u003C\u002Fp>\u003Cp>The number is not accidental. Eight carries structural weight in Chinese thought: eight trigrams, eight directions, eight festivals of the year. A set of eight reads as complete in the way a set of seven does in some other traditions. So the group is best understood as a deliberately balanced arrangement rather than a list of the eight most eminent immortals, of whom there are thousands.\u003C\u002Fp>\u003Cp>The balance is the interesting part. The eight include an old man and a youth, a woman, a scholar-official, a beggar with a disability, a court-connected aristocrat, a musician and a figure of ambiguous gender. Rich and poor, learned and illiterate, respectable and disreputable are all present. The claim being made is not subtle: transcendence is not restricted by class, sex, age, education, appearance or respectability. For a society as stratified as imperial China, that was a substantial statement, and it is a large part of why the group became so popular.\u003C\u002Fp>\u003Ch2>How the Eight Immortals Became a Group\u003C\u002Fh2>\u003Cp>Several of the eight have some historical basis. Lü Dongbin is associated with the Tang dynasty and became the object of an enormous cult; Zhongli Quan is placed earlier still; Cao Guojiu is linked to a Song family; Zhang Guolao appears in Tang records. Others, notably Lan Caihe and Li Tieguai, look entirely legendary.\u003C\u002Fp>\u003Cp>But the group as a group is a late assembly. Individual figures accumulated stories for centuries, appeared together in varying combinations, and were only standardised as a set of eight in the Ming — largely through drama and popular literature rather than through any temple or clerical decision. Opera did more to fix the roster than scripture did.\u003C\u002Fp>\u003Cp>This is a useful thing to know because it reverses the intuitive assumption. People often imagine an ancient octet whose stories were later elaborated. What actually happened is that the stories came first, separately, and the octet was assembled from them afterwards.\u003C\u002Fp>\u003Ch2>How to Identify the Eight Immortals by Their Objects\u003C\u002Fh2>\u003Cp>Chinese religious art identifies figures by attribute, and once you know the eight objects you can read almost any depiction, including ones where the figures themselves are omitted and only the emblems appear — an extremely common decorative convention.\u003C\u002Fp>\u003Cp>Lü Dongbin carries a sword. Zhongli Quan carries a fan. Zhang Guolao has a drum made from a tube of bamboo and rides a donkey, frequently backwards. He Xiangu holds a lotus. Han Xiangzi plays a flute. Lan Caihe carries a basket of flowers. Cao Guojiu holds a court tablet. Li Tieguai leans on an iron crutch and carries a gourd.\u003C\u002Fp>\u003Cp>The objects are not arbitrary decoration; several are instruments of the figure's particular power, and the gourd in particular signals medicine. Individual pages in this section explain each figure's story and attributes in detail.\u003C\u002Fp>\u003Ch2>Where the Eight Immortals Appear in Chinese Culture\u003C\u002Fh2>\u003Cp>Rarely as the main deities of a hall. They are not usually the object of major petitions, and a temple's principal hall belongs to gods with formal offices — which the Eight Immortals, for the most part, do not hold. Their place is elsewhere and it is everywhere: carved on beams and door panels, painted on side-hall walls, embroidered, moulded onto roof ridges, and reproduced endlessly on domestic objects.\u003C\u002Fp>\u003Cp>They are strongly associated with longevity and with birthdays, which is why they turn up on gifts. They are also opera staples, and much of what an ordinary Chinese audience knows about them comes from the stage rather than from any religious source.\u003C\u002Fp>\u003Cp>There are exceptions. Lü Dongbin in particular is a serious object of worship, has his own temples, and is treated within the tradition as a patriarch of internal alchemy — a substantially weightier role than his membership of a decorative octet suggests.\u003C\u002Fp>\u003Ch2>Why the Eight Immortals Became So Popular\u003C\u002Fh2>\u003Cp>Of all the figures the tradition produced, this set became by far the most widely reproduced, appearing on furniture, porcelain, embroidery, birthday gifts and shop signs in quantities that no other religious grouping approaches. That is a fact about culture rather than about religion, and it has explanations worth setting out.\u003C\u002Fp>\u003Cp>The first is that the group is socially comprehensive. Its members include an official, a scholar, a soldier, a beggar, a woman, an old man and a youth. Between them they cover most of the positions available in traditional society, which means almost anyone looking at them can find a point of entry. A pantheon of dignified officials offers no such thing. This set is deliberately mixed, and the mixture is the message: the transition it depicts is not restricted to any one kind of person.\u003C\u002Fp>\u003Cp>The second is that they are legible without literacy. Each figure carries a distinct object, and the objects are simple shapes that survive being carved small, painted quickly or embroidered coarsely. A craftsman could render the whole group recognisably on a chair back. This made them ideal decorative subject matter, and decorative reproduction then reinforced recognition, which encouraged further reproduction.\u003C\u002Fp>\u003Cp>The third is that they arrived with stories that were entertaining rather than solemn. Several members behave badly: they drink, they play tricks, they embarrass the pompous, they refuse to take rank seriously. This material moved easily into opera and popular fiction, and opera did more than any temple to make them universally known. A figure that works on a stage will be known by people who never read a religious text.\u003C\u002Fp>\u003Cp>The fourth is that they became associated with occasions rather than with doctrine — birthdays, weddings, longevity, general good fortune. A group you give as a gift is a group that circulates. Religious content did not have to be understood for the image to be wanted, and over time the image became somewhat detached from the religion, which is why you will meet them in secular contexts where nobody present would describe themselves as a worshipper.\u003C\u002Fp>\u003Cp>None of this makes them unimportant religiously. They do appear in temples, they are the subject of genuine devotion, and the biographies belong to a serious tradition. But their fame is disproportionate to their doctrinal weight, and understanding why explains something general: in China, the religious figures that became most widely known are usually the ones that were most useful to storytellers and craftsmen, not the ones highest in the celestial hierarchy. The Three Pure Ones sit at the top of the structure and almost nobody outside a temple could describe them.\u003C\u002Fp>\u003Ch2>The Eight Immortals within the Wider World of Taoist Legend\u003C\u002Fh2>\u003Cp>The Eight Immortals are the best-known cluster but far from the whole of it. The literature of immortals is vast: collections of biographies of transcendents, stories of hermits and alchemists, tales of encounters on mountains, and accounts of people who vanished, left an empty coffin, or were seen years later by a traveller.\u003C\u002Fp>\u003Cp>Certain motifs recur so consistently that they function as the genre's grammar. A poor or unpromising person receives instruction from a stranger. A test is administered and usually failed on the first attempt. Ordinary time and mountain time run differently, so a short absence turns out to have lasted decades. Wealth and office are offered and refused. A method is transmitted only after the recipient has demonstrated something other than intelligence.\u003C\u002Fp>\u003Cp>Read as reporting, these stories are worthless. Read as a statement of values, they are precise. They tell you that the tradition rated persistence over cleverness, was deeply suspicious of status, and believed that the decisive event in a life could be an unplanned encounter with someone who did not look important.\u003C\u002Fp>\u003Ch2>Why Zhenwu Is Different from the Eight Immortals\u003C\u002Fh2>\u003Cp>Wudang's own principal deity is worth contrasting here, because he shows a different pathway. Zhenwu did not begin as a person at all. He began as Xuanwu, the emblem of the north, which is why the decisive marker in his images is a tortoise entwined with a snake at his feet.\u003C\u002Fp>\u003Cp>His biography — a prince who renounced a throne, cultivated on the mountain for decades, and attained transcendence on a cliff terrace — is much later than the emblem, and it grew in detail as the cult grew in political importance. So the direction of travel is the reverse of the usual hagiographic one: not a person who became a symbol, but a symbol that acquired a life story. Recognising that pattern makes both kinds of legend easier to read.\u003C\u002Fp>\u003Ch2>How to Read the Eight Immortals as History and Hagiography\u003C\u002Fh2>\u003Cp>The approach taken throughout this site is to keep the two registers separate and label them. Where something is attested by dated stone inscriptions, imperially sponsored gazetteers or documentary record, it is stated as history. Where it is hagiography, folk narrative or opera, it is called that.\u003C\u002Fp>\u003Cp>What this site does not do is treat legend as embarrassing filler to be apologised for or quietly reduced to symbolism. These stories were told by real people, funded real buildings, shaped real behaviour and are still being told. The fact that Lan Caihe never existed does not make the figure unimportant; it locates the importance in a different place. Being clear about which place is the whole of the discipline required.\u003C\u002Fp>\u003Ch2>Key Points About the Eight Immortals\u003C\u002Fh2>\u003Cul>\u003Cli>\u003Cp>The eight are Lü Dongbin, Zhongli Quan, Zhang Guolao, He Xiangu, Han Xiangzi, Lan Caihe, Cao Guojiu and Li Tieguai.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Eight is a structurally complete number in Chinese thought, matching the trigrams and the directions. The group is a balanced set, not a ranking.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>The set deliberately spans age, sex, class, education and respectability, making the point that transcendence is open to anyone.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Individual figures are old; the group is a Ming-dynasty assembly, standardised largely through drama rather than scripture.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Some members have a historical basis, notably Lü Dongbin and Zhang Guolao; others, such as Lan Caihe and Li Tieguai, appear wholly legendary.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Identification is by attribute: sword, fan, bamboo drum and donkey, lotus, flute, flower basket, court tablet, iron crutch and gourd.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>They appear mostly as decoration and in opera rather than as principal deities of halls, and are strongly linked to longevity and birthdays.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Lü Dongbin is an exception, with his own temples and a serious role as a patriarch of internal alchemy.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>The wider legend literature has recurring motifs: the unpromising student, the failed test, mountain time, refused office, transmission earned by character.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Zhenwu ran the opposite way — an emblem of the north that later acquired a biography, with the tortoise and snake as the trace of the earlier stage.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>This site labels legend as legend and takes it seriously as evidence of what the tradition valued, not as a record of events.\u003C\u002Fp>\u003C\u002Fli>\u003C\u002Ful>","\u003Cp>在幾位大神之外，八仙是中國民間宗教裡最容易被認出來的形象，也是道教最可能在你沒留意的時候就已經找到你的那一部分——瓷器上、繡品上、殿宇的木雕上、戲臺上、飯館的招牌上、壽禮上。他們同時也是本站最清楚的一個例子：屬於傳說而不屬於歷史。正好可以用他們來說明，怎樣認真對待傳說，又不把它當成記錄。\u003C\u002Fp>\u003Ch2>八仙是哪八位，為什麼是八位\u003C\u002Fh2>\u003Cp>通行的一組是呂洞賓、鍾離權、張果老、何仙姑、韓湘子、藍采和、曹國舅、李鐵柺。他們不是一家人，不是一支法脈，也不是一個班子。他們是一個組合——在幾百年裡逐漸拼成，到明代才大體定型。此後，上述八位成為最通行、最穩定的一組。\u003C\u002Fp>\u003Cp>八這個數不是隨手取的。八在中國思想裡有結構性的分量：八卦、八方、一年八節。一組八件讀起來是完整的，就像另一些傳統裡的七。所以這個組合更應被理解為一個有意平衡的配置，而不是最傑出的八位仙真的名單——仙真有成千上萬位。\u003C\u002Fp>\u003Cp>平衡才是有意思的地方。這八位裡有老人也有少年，有女子，有士大夫，有身有殘疾的乞者，有與宮廷有關的貴戚，有樂人，還有一位性別含混的人物。富與貧、有學與不識字、體面與不體面，都在裡面。它提出的主張一點也不含蓄：超越不受階層、性別、年齡、學識、外貌或體面程度的限制。對於像帝制中國那樣等級分明的社會，這是一句分量很重的話，也是這個組合何以如此流行的很大一部分原因。\u003C\u002Fp>\u003Ch2>八仙如何在明代定型為一組\u003C\u002Fh2>\u003Cp>八位裡有幾位有一定的歷史依據。呂洞賓與唐代相聯，後來成為一個極大的信仰物件；鍾離權被安置得更早；曹國舅與宋代一個家族有關；張果老在唐代記載裡出現過。另外幾位，特別是藍采和與李鐵柺，看起來完全是傳說。\u003C\u002Fp>\u003Cp>但作為一個組合，它是很晚才拼成的。各個人物在幾百年裡各自積累故事，以不同的搭配一起出現過，直到明代才被固定為八人一組——而促成固定的主要是戲曲和通俗文學，不是哪座宮觀或哪位道士的決定。在定名單這件事上，戲臺的作用大於經典。\u003C\u002Fp>\u003Cp>這一點值得知道，因為它把直覺的假設翻過來了。人們常以為先有一個古老的八人組，故事是後來添的。實際發生的是：故事先有，而且是分開有的；八人組是事後從這些故事裡拼出來的。\u003C\u002Fp>\u003Ch2>怎樣通過法器辨認八仙\u003C\u002Fh2>\u003Cp>中國的宗教藝術靠標識物辨認人物。你一旦記住那八件東西，幾乎任何影像都能讀，包括那種把人物省掉、只留下器物的畫法——這是極常見的裝飾慣例。\u003C\u002Fp>\u003Cp>呂洞賓佩劍。鍾離權持扇。張果老有一支竹筒做的鼓，騎驢，而且常常是倒騎。何仙姑持荷。韓湘子吹笛。藍采和提花籃。曹國舅執朝板。李鐵柺倚鐵柺，帶一隻葫蘆。\u003C\u002Fp>\u003Cp>這些器物不是隨意的裝飾；有幾件就是該人物那一門本事的憑藉，葫蘆尤其標示醫藥。本部分各個單頁會詳細講每位的故事與標識。\u003C\u002Fp>\u003Ch2>八仙在中國文化中出現在哪裡\u003C\u002Fh2>\u003Cp>很少作為一座殿的主神。他們通常不是重大祈請的物件，而正殿屬於有正式職掌的神明——八仙大體上沒有這樣的職掌。他們的位置在別處，而那個別處到處都是：梁枋和門板上的雕刻、配殿牆上的彩畫、繡品、屋脊上的塑件，以及日用器物上無窮的複製。\u003C\u002Fp>\u003Cp>他們與長壽和生日關係很緊，所以常出現在禮品上。他們也是戲曲的常客，普通中國觀眾關於他們的知識，大多來自戲臺而不是任何宗教來源。\u003C\u002Fp>\u003Cp>也有例外。呂洞賓尤其是一位嚴肅的崇拜物件，有自己的廟宇，在傳統內部被視為內丹的一位祖師——這個分量遠遠超過他作為裝飾性八人組一員所顯示的。\u003C\u002Fp>\u003Ch2>八仙為什麼如此流行\u003C\u002Fh2>\u003Cp>這個傳統造出來的所有人物裡，這一組被複製得遠遠最多，出現在傢俱、瓷器、刺繡、壽禮和店鋪招牌上，數量上沒有任何別的宗教組合接近得了。這是一件關於文化的事實，不是關於宗教的事實，而它的解釋值得擺出來。\u003C\u002Fp>\u003Cp>第一，這個組合在社會構成上很齊全。它的成員裡有官、有士、有兵、有乞者、有女子、有老人、有少年。他們之間涵蓋了傳統社會裡大部分可能的位置，也就意味著幾乎任何人看著他們都能找到一個入口。一群體面的官員組成的神譜提供不了這種東西。這一組是故意混雜的，而混雜本身就是要說的話：它所描繪的那種轉變，不限於任何一類人。\u003C\u002Fp>\u003Cp>第二，他們不識字也讀得懂。每一位各持一件不同的物件，而這些物件都是簡單的形狀，刻得很小、畫得很快、繡得很粗，都還認得出來。一個匠人能在一張椅背上把整組人做得清清楚楚。這使他們成了理想的裝飾題材，而裝飾性的複製又反過來強化辨識度，進而鼓勵更多複製。\u003C\u002Fp>\u003Cp>第三，他們帶來的故事是好看的，不是莊嚴的。其中好幾位行止不端：喝酒、耍弄人、讓自命不凡的人出醜、不肯把品級當回事。這批材料很容易進入戲曲和通俗小說，而在讓他們家喻戶曉這件事上，戲臺比任何一座廟出力都大。一個在臺上立得住的人物，會被從不讀經書的人認識。\u003C\u002Fp>\u003Cp>第四，他們後來是與場合而不是與教義綁在一起的——壽辰、婚嫁、長壽、一般的吉利。一組能當禮物送的人物，就是一組會流通的人物。宗教內容不必被理解，圖樣照樣有人要；久而久之，圖樣與宗教多少脫開了，這就是為什麼你會在世俗場合遇到他們，而在場的人沒有一個會說自己是信眾。\u003C\u002Fp>\u003Cp>這些都不使他們在宗教上不重要。他們確實出現在宮觀裡，確實是真實信仰的物件，那些傳記也屬於一個嚴肅的傳統。但他們的名氣與其教理上的分量並不相稱；而搞清楚為什麼，能說明一件普遍的事：在中國，最廣為人知的宗教人物，通常是對說故事的人和做手藝的人最有用的那些，不是在天上等級裡最高的那些。三清坐在這套結構的頂端，而廟門之外幾乎沒人說得清他們是誰。\u003C\u002Fp>\u003Ch2>八仙與更廣泛的道教神仙傳說\u003C\u002Fh2>\u003Cp>八仙是最有名的一簇，但遠不是全部。仙真的文獻極為龐大：神仙傳記的彙編、隱者與煉丹家的故事、山中相遇的傳聞，以及關於某人消失、留下空棺、或多年後被行旅之人看見的記載。\u003C\u002Fp>\u003Cp>某些母題反覆出現得如此穩定，以至於成了這個文體的語法。一個貧窮或看起來沒什麼前途的人，從一位陌生人處得到指點。有一場考驗，而且通常第一次是過不去的。人間的時間與山中的時間流速不同，短暫的離開原來已經過去了幾十年。財富與官位被給出，又被推掉。一門法要等到受法者顯示出某種並非聰明的東西之後，才被交出。\u003C\u002Fp>\u003Cp>把這些故事當報道讀，一無所值。當作價值的陳述來讀，則相當精確。它們告訴你這個傳統把恆心看得比機敏重，對身份地位深懷疑慮，並且相信一生中決定性的事件，可能是一次與看起來毫不重要的人的偶遇。\u003C\u002Fp>\u003Cp>還有一點值得補充：在組合定型之前，以及少數地方版本中，一兩位成員曾被替換，各地說法也偶有差異。這說明八仙並非一開始就以今日的名單出現，而是在民間傳播中逐步定型。到了明代以後，上述八位成為主流標準；地方變體並不改變這套通行名單。\u003C\u002Fp>\u003Ch2>真武為何不同於八仙\u003C\u002Fh2>\u003Cp>武當自己的主神值得在這裡作個對照，因為他顯示的是另一條路徑。真武根本不是從一個人開始的。他起於玄武，北方的象徵，這就是為什麼他的影像裡最決定性的標記是足下一龜一蛇相纏。\u003C\u002Fp>\u003Cp>他的傳記——一位棄王位的太子，在山中修行數十年，最終在崖臺上得道——遠晚於那個象徵，而且隨著這一信仰在政治上分量加重而細節漸豐。所以運動方向與通常的神仙傳記恰好相反：不是一個人變成了象徵，而是一個象徵取得了生平。認出這個模式之後，兩類傳說都會更好讀。\u003C\u002Fp>\u003Ch2>怎樣從歷史與神仙傳記兩方面理解八仙\u003C\u002Fh2>\u003Cp>本站通行的做法是把兩個層面分開，並且標明。凡有紀年碑刻、官修山志或文獻記錄可以支撐的，就當歷史來寫。凡屬神仙傳記、民間敘事或戲曲的，就直說是這一類。\u003C\u002Fp>\u003Cp>本站不做的事，是把傳說當成需要致歉的尷尬填充物，或者悄悄把它化約為象徵。這些故事是真實的人在講，供養起了真實的建築，塑造了真實的行為，而且至今還在被講。藍采和從未存在過，並不使這個形象變得不重要；它只是把重要性放到了另一個位置上。清楚它在哪個位置，就是這裡所需要的全部功夫。\u003C\u002Fp>\u003Ch2>八仙要點\u003C\u002Fh2>\u003Cul>\u003Cli>\u003Cp>八位是呂洞賓、鍾離權、張果老、何仙姑、韓湘子、藍采和、曹國舅、李鐵柺。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>八在中國思想裡是結構上完整的數，對應八卦與八方。這個組合是一個平衡的配置，不是排名。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>這一組有意跨越年齡、性別、階層、學識與體面程度，要說的是超越對任何人都開放。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>個別人物很老，組合卻是明代拼成的，主要靠戲曲而不是經典定型。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>有幾位有歷史依據，尤其呂洞賓與張果老；藍采和與李鐵柺等則看來純屬傳說。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>辨認靠標識物：劍、扇、竹鼓與驢、荷、笛、花籃、朝板、鐵柺與葫蘆。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>他們多以裝飾與戲曲的形式出現，而不是作為殿中主神，並與長壽、壽誕關係密切。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>呂洞賓是例外，有自己的廟宇，並被視為內丹的一位祖師。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>更廣的傳說文獻有反覆的母題：不被看好的學人、失敗的考驗、山中時間、推掉的官位、以品性換來的授受。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>真武的方向相反——一個北方的象徵後來取得了傳記，龜蛇是那個更早階段留下的痕跡。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>本站把傳說標明為傳說，並把它當作這個傳統看重什麼的證據來認真對待，而不是當作事件的記錄。\u003C\u002Fp>\u003C\u002Fli>\u003C\u002Ful>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FuEVwfSBHc83GwQxxFQ4P.webp",1920,600,{"en":798,"zh":799},"The Eight Immortals gathered on a misty mountain terrace, holding their emblems – a lotus, flute, fan, gourd and castanets among them – with a crane at their feet.","八仙齊聚在雲霧繚繞的山間平臺上，各持法寶，可見荷花、笛子、扇子、葫蘆和拍板等，腳邊站著一隻仙鶴。",{"en":798,"zh":799},"banner","list",{"en":804,"zh":805},"The Eight Immortals: Names, Symbols, Origins and Legends","八仙：人物、法器、歷史來源與道教傳說",{"en":807,"zh":808},"Meet the Eight Immortals, learn their names and symbols, and understand how a Ming-era group became one of the most enduring images in Chinese culture.","認識八仙的姓名、法器與象徵，瞭解這一組合如何在明代定型，併成為中國宗教、戲曲和裝飾藝術中的經典形象。",[810,818,824,830,836,842],{"to":473,"type":811,"subtitle":812,"image":815,"hero_style":801,"header":532,"footer":765,"updated_at":816,"en":474,"zh":475,"image_set":3,"image_alt":3,"tags":817},"page",{"en":813,"zh":814},"Why Lü is worshipped independently, how his cult grew, and what the dream, sword and internal-alchemy lineage 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