[{"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\u002Fcao-guojiu-li-tieguai":783,"live-course-events":810},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":489,"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},"page",[504,505,506],{"en":490,"zh":491},{"en":789,"zh":790},"Why an imperial relative and a lame beggar stand together, and what their stories say about complicity, appearance and identity","皇親與瘸腿乞者為何並列，以及他們的故事如何討論同謀、外貌與人是否等於身體",{"en":792,"zh":793},"\u003Cp>These two mark the outer limits of the Eight Immortals set. Cao Guojiu is an imperial relative, the highest-born member of the group. Li Tieguai is a filthy, lame beggar. Putting them in the same set of eight is the clearest statement the arrangement makes.\u003C\u002Fp>\u003Cp>Their stories are also the two most interesting in the cycle from a doctrinal point of view. One is about the moral position of privilege; the other is about whether a person is their body.\u003C\u002Fp>\u003Ch2>Cao Guojiu: The Emperor’s Brother-in-Law\u003C\u002Fh2>\u003Cp>\u003Cem>Guojiu\u003C\u002Fem> is not a name. It is a title meaning the emperor's brother-in-law, so his designation is \"Cao, the imperial brother-in-law\" — identifying him purely by his relation to the throne, which is the point about him.\u003C\u002Fp>\u003Cp>He is traditionally identified with a Song figure, the younger brother of the empress who was consort to Emperor Renzong in the eleventh century. That man was a real official who lived a long and unremarkable life at court, and the identification is traditional rather than demonstrable. As with most of the eight, the legend attached itself to a name that carried recognisable social weight.\u003C\u002Fp>\u003Cp>The story told about him concerns the misconduct of a relative. In the usual version his younger brother used the family's imperial connection to commit crimes, in some tellings including killing, confident that the connection made him untouchable. Cao Guojiu, unable either to prevent this or to accept it, gave up his position, distributed his property and left. He was then encountered by Zhongli Quan and Lü Dongbin, who tested and instructed him.\u003C\u002Fp>\u003Cp>What makes the story unusual is where it locates the moral problem. He has not done anything wrong himself. His difficulty is that he benefits from a structure that permits wrongdoing, and cannot correct it from inside. The renunciation is not penance for personal sin; it is a refusal of complicity. This is a fairly sophisticated moral position for a popular legend, and it explains why the figure was retained rather than being flattened into a generic pious official.\u003C\u002Fp>\u003Ch2>What Cao Guojiu Represents among the Eight Immortals\u003C\u002Fh2>\u003Cp>His attribute is a \u003Cstrong>court tablet\u003C\u002Fstrong> — the flat jade or wooden plaque held by officials at audience — and he is normally shown in official dress, sometimes with an official's cap. He is the only member of the set who looks like a member of the government, and in compositions he is often placed to make that contrast visible.\u003C\u002Fp>\u003Cp>In some regional traditions he is regarded as a patron of the theatrical profession, on the basis that his tablet resembles the clappers used to beat time on stage. Attributions of this kind usually rest on a visual resemblance or a pun rather than on doctrine, and they vary from place to place.\u003C\u002Fp>\u003Cp>The tablet also carries a general meaning within the set. It is the emblem of a man who had access to the highest authority in the empire and set it down. Where Lü Dongbin's sword is an instrument and Zhang Guolao's drum is a livelihood, Cao Guojiu's tablet is a credential, held loosely by someone who no longer wants it.\u003C\u002Fp>\u003Cp>He is the least storied of the eight in popular narrative. There are fewer episodes about him, less opera, and almost no independent cult. His function in the set is structural: someone had to occupy the top of the social range.\u003C\u002Fp>\u003Ch2>Li Tieguai and the Story of the Borrowed Body\u003C\u002Fh2>\u003Cp>Li Tieguai is often placed first in listings of the eight and is among the most frequently depicted. He is shown as a beggar: unkempt hair, bare chest, ragged clothing, a lame leg, leaning on an iron crutch, with a gourd slung at his side.\u003C\u002Fp>\u003Cp>The story explaining this appearance is the most philosophically pointed narrative in the cycle. In the standard version he was originally a man of ordinary or even handsome appearance who had mastered the practice of leaving the body in spirit travel. Before a long absence he instructed a disciple to watch over his body for seven days and to cremate it if he had not returned by then.\u003C\u002Fp>\u003Cp>On the sixth day the disciple received word that his own mother was dying. Faced with a conflict between his duty to his teacher and his duty to his parent, he burned the body and left. When the traveller returned there was nothing to return to. Finding the corpse of a lame beggar who had just died, he entered it, and kept that form thereafter.\u003C\u002Fp>\u003Cp>The economy of the story is worth admiring. Nobody in it behaves badly. The disciple's choice is between two of the strongest obligations in Chinese ethics and either choice is defensible; the tradition does not condemn him. And the outcome is not a punishment. Li simply continues in a different body, which is exactly the point.\u003C\u002Fp>\u003Ch2>What Li Tieguai’s Borrowed-Body Story Means\u003C\u002Fh2>\u003Cp>The body-swap narrative makes a claim that runs through the whole longevity tradition: that identity is not identical with the body.\u003C\u002Fp>\u003Cp>This connects directly to the technical literature. Ge Hong in the fourth century graded transcendents into those who rise to the heavens, those who remain on earth, and those who depart by leaving the body behind — the last a recognised category with a name, not a euphemism for dying. The empty-coffin motif that recurs in Taoist hagiography, including in Zhang Guolao's story, belongs to the same framework.\u003C\u002Fp>\u003Cp>It also reframes what \"immortality\" means in this tradition. The English word suggests endless duration in the body one has. The Chinese goal, becoming a \u003Cem>xian\u003C\u002Fem>, points to refinement and a changed condition. A story in which the attained practitioner ends up in a worse body than he started with would be incoherent if duration in a particular body were the aim. It is entirely coherent if the aim is a change of state.\u003C\u002Fp>\u003Cp>And it does something for the set. The most spiritually advanced member of the group is the one who looks the worst. Li Tieguai's appearance is not a disguise adopted to test people, which is a common motif elsewhere; it is simply what happened, and he did not consider it worth fixing. The indifference is the demonstration.\u003C\u002Fp>\u003Cp>This site describes these practices historically and structurally, provides no instructions, and does not present traditional physiological claims as fact.\u003C\u002Fp>\u003Ch2>Li Tieguai’s Crutch, Gourd and Healing Role\u003C\u002Fh2>\u003Cp>His two attributes are easy to read and both have content.\u003C\u002Fp>\u003Cp>The \u003Cstrong>iron crutch\u003C\u002Fstrong> gives him his name — \u003Cem>tieguai\u003C\u002Fem> means iron crutch — and in some versions it was given to him by the Queen Mother of the West, which upgrades a beggar's stick into an instrument of transmission. It is the most immediately recognisable object in the whole set.\u003C\u002Fp>\u003Cp>The \u003Cstrong>gourd\u003C\u002Fstrong> is more interesting. Gourds appear throughout Chinese religious imagery as containers of medicine, and Li Tieguai is widely invoked in connection with healing and by people in the pharmacy trade. The gourd is sometimes shown with smoke or a small figure emerging from it, indicating that what it contains is not simply liquid.\u003C\u002Fp>\u003Cp>The gourd also has a cosmological reading: a small opening giving into a large interior is a standard Chinese image for a self-contained world, and it appears in that sense in a well-known phrase about a separate realm inside a gourd. Whether that reading was intended in his iconography or read into it later is not clear, but the association is old.\u003C\u002Fp>\u003Cp>Together with his lameness the objects make him the most physically specific of the eight. He is the one you can identify from a great distance and from a bad angle, which is part of why he is so widely depicted.\u003C\u002Fp>\u003Ch2>Where Cao Guojiu and Li Tieguai Appear\u003C\u002Fh2>\u003Cp>Both figures are encountered overwhelmingly as images rather than in halls, and knowing where to look is more useful than knowing their stories.\u003C\u002Fp>\u003Cp>Sets of the eight are carved on temple roof ridges and gable ends, on the wooden panels above doorways, on painted beams, on screens, furniture and export porcelain, on embroidered hangings and on New Year prints. In a set the eight are normally arranged in two groups of four, and identification proceeds by attribute — which is why the attributes are so rigidly standardised.\u003C\u002Fp>\u003Cp>Li Tieguai does have some independent presence. Halls or side shrines connected with healing sometimes include him, and images of him appear in old pharmacies and in the decoration of medicine shops. This is a modest cult by comparison with a major deity, but it is a real one, and it is the only case among these two where a visitor might find a figure being petitioned rather than admired.\u003C\u002Fp>\u003Cp>Cao Guojiu is almost purely compositional. He appears where the set appears and rarely otherwise. Where a regional tradition treats him as a patron of the theatrical profession, an image may be kept backstage or in a guild hall, which is a different kind of setting from a temple altar and worth distinguishing.\u003C\u002Fp>\u003Cp>On stage the two are stock presences in the auspicious pieces in which the eight attend a celebration in the heavens, performed at birthdays, weddings and temple festivals. That genre, rather than any religious text, is how most people learned to identify them.\u003C\u002Fp>\u003Ch2>Why Cao Guojiu and Li Tieguai Belong Together\u003C\u002Fh2>\u003Cp>Placed side by side, these two figures state the argument of the set as economically as it can be stated.\u003C\u002Fp>\u003Cp>One is an imperial relative in court dress holding a tablet of office. The other is a lame beggar with a crutch and a gourd. Neither is presented as better. If anything the beggar has the higher standing within the group, being frequently listed first, while the courtier is the least storied member. A set arranged to make that inversion visible is making a claim, and the claim survives in every carved beam and painted screen that carries the eight.\u003C\u002Fp>\u003Cp>Both stories also turn on relinquishment rather than acquisition. Cao Guojiu gives up rank and property. Li Tieguai gives up, involuntarily but without complaint, the body he had. Neither obtains anything that a normal person would recognise as a gain, and both are presented as having succeeded.\u003C\u002Fp>\u003Cp>For a visitor the practical point is the same as elsewhere in the set: these are figures of decoration and drama rather than principal objects of worship. You will meet them on beams, screens, porcelain and stages far more often than on altars. Li Tieguai has some independent following in connection with healing; Cao Guojiu has almost none. The exception among the eight remains Lü Dongbin, who has temples, scriptures and a lineage position that none of the others approach.\u003C\u002Fp>\u003Cblockquote>\u003Cp>\u003Cstrong>Sources and limits.\u003C\u002Fstrong> This page draws on Song records of the family identified with Cao Guojiu, later hagiographic and dramatic collections, Ge Hong's classification of grades of transcendence, and studies of the Eight Immortals as a decorative and theatrical subject. The identification of Cao Guojiu with a specific historical official is traditional rather than established. Legendary material is labelled as such, and no practice instructions are given.\u003C\u002Fp>\u003C\u002Fblockquote>\u003Ch2>Key Points About Cao Guojiu and Li Tieguai\u003C\u002Fh2>\u003Cul>\u003Cli>\u003Cp>Cao Guojiu and Li Tieguai mark the social extremes of the Eight Immortals: an imperial relative and a lame beggar in the same set of eight.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>\u003Cem>Guojiu\u003C\u002Fem> is a title, not a name — \"the emperor's brother-in-law\" — and identifies him purely by his relation to the throne.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>His identification with a specific eleventh-century Song official is traditional rather than demonstrable.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>His story locates the moral problem in complicity rather than personal sin: he benefits from a structure that permits wrongdoing and cannot correct it from inside, so he leaves.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>His attribute is the court tablet, the emblem of a credential set down; he is the least storied of the eight and has almost no independent cult.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Li Tieguai's appearance is explained by the borrowed-body story: his own body was cremated a day early by a disciple facing a dying parent, and he entered a dead beggar's body instead.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Nobody in that story behaves badly and the outcome is not a punishment — which is precisely the argument that identity is not the body.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>This connects to Ge Hong's recognised grade of transcendence by departing and leaving the body behind, and to the empty-coffin motif elsewhere in Taoist hagiography.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>His iron crutch and medicine gourd make him the most recognisable of the eight, and he retains a following in connection with healing and the pharmacy trade.\u003C\u002Fp>\u003C\u002Fli>\u003C\u002Ful>","\u003Cp>這兩位標出了八仙這一組的外緣。曹國舅是皇親，是組中出身最高的一位。鐵柺李是一個汙髒而瘸腿的乞者。把他們放進同一組八人之中，是這個安排所作出的最清楚的一項表述。\u003C\u002Fp>\u003Cp>從教義的角度看，他們的故事也是整個故事群中最有意思的兩個。一個講特權的道德位置；另一個講一個人是否等於他的身體。\u003C\u002Fp>\u003Ch2>曹國舅：皇帝的內弟\u003C\u002Fh2>\u003Cp>“國舅”不是名字。它是一個稱謂，意為皇帝的內弟，所以他的稱號是“曹家的那位國舅”——完全以其與皇位的關係來標識，而這正是關於他的要點。\u003C\u002Fp>\u003Cp>他傳統上被認同為一位宋人，即十一世紀仁宗皇后之弟。那個人是真實的官員，在朝中過了長而無奇的一生，而這一認同是傳統的說法，並非可證之事。與八仙中多數成員一樣，傳說附著到了一個帶有可辨社會分量的名字上。\u003C\u002Fp>\u003Cp>關於他所講的故事，涉及一位親屬的不法。在通行的版本里，他的弟弟借家族與皇室的關係犯法，有的說法裡包括殺人，自信這層關係使他不可動搖。曹國舅既無力阻止，也無法接受，於是棄其位、散其財而去。此後他被鍾離權與呂洞賓遇到，受其考驗與教導。\u003C\u002Fp>\u003Cp>這個故事不尋常之處，在於它把道德難題安放在哪裡。他本人並未做錯什麼。他的困境是：他受益於一個容許不法的結構，而在其內部無法糾正它。他的捨棄不是對個人罪過的贖補，而是對同謀關係的拒絕。對一則通俗傳說來說，這是相當細緻的道德立場，也解釋了為何這個人物被保留下來，而沒有被壓平成一位泛泛的循謹官員。\u003C\u002Fp>\u003Cp>順帶說明一處常見的混淆：“國舅”在漢語中既可指皇后之兄弟，也在不同朝代有不同的具體用法，而作為八仙之一的“曹國舅”是一個固定的稱號，不宜按字面去核對某朝的親屬關係。這類以官稱或親屬稱謂代名的做法，在中國民間信仰中很常見——它使人物的社會位置一眼可見，代價是失去了個人的名字。\u003C\u002Fp>\u003Ch2>曹國舅在八仙中象徵什麼\u003C\u002Fh2>\u003Cp>他的器物是\u003Cstrong>朝板\u003C\u002Fstrong>——官員上朝時所持的玉或木質扁牌——他通常著官服，有時戴官帽。他是這一組中唯一看起來像政府中人的一位，構圖中也常被安置得使這一對比顯眼。\u003C\u002Fp>\u003Cp>在某些地方傳統裡，他被視為戲曲行業的祖師，依據是他的朝板形似臺上打板的拍板。這類歸屬通常建立在形似或諧音之上，而不在教義之上，且各地不一。\u003C\u002Fp>\u003Cp>朝板在這一組中也有一層通義。它是一個曾接近帝國最高權威、而把它放下了的人的標記。呂洞賓的劍是器具，張果老的漁鼓是生計，而曹國舅的朝板是一份資格憑證，被一個已不再想要它的人鬆鬆地拿著。\u003C\u002Fp>\u003Cp>在民間敘事中，他是八仙裡故事最少的一位。關於他的情節少，戲少，幾乎沒有獨立的信仰。他在這一組中的功能是結構性的：總得有人佔住社會範圍的頂端。\u003C\u002Fp>\u003Cp>還可注意，宋代對宗室與外戚的行為確有制度上的約束與議論，士大夫筆記中批評外戚恃勢的記載不少。傳說所處理的，其實是當時真實存在的一類社會問題：與皇權的親緣如何轉化為難以追究的特權。故事給出的解決辦法是個人的退出，而不是制度的糾正——這一點也很符合它所產生的時代。\u003C\u002Fp>\u003Ch2>鐵柺李與借來身體的傳說\u003C\u002Fh2>\u003Cp>鐵柺李常被列在八仙之首，也是被描繪得最多的幾位之一。他被畫作乞者之貌：發不整，赤胸，衣破，一腿瘸，倚一根鐵柺，腰間掛一隻葫蘆。\u003C\u002Fp>\u003Cp>解釋這副形貌的故事，是整個故事群中在哲理上最鋒利的一段。在通行的版本里，他原本相貌尋常甚至端好，已能出神遠遊。在一次長時間的離體之前，他囑一名弟子看守其身七日，若屆期未歸即行火化。\u003C\u002Fp>\u003Cp>到第六日，弟子接到訊息：自己的母親將死。面對師徒之義與父母之孝的衝突，他把身體燒了，隨即離去。遠遊者回來時，已無可歸之處。他找到一具剛死的瘸腿乞者的屍身，進入其中，此後保持這副形貌。\u003C\u002Fp>\u003Cp>這個故事的經濟值得稱許。其中沒有人行為不端。弟子的選擇是在中國倫理中兩項最強的義務之間作出的，任一選擇都站得住；傳統並未責難他。而結局也不是懲罰。李只是在另一具身體裡繼續下去——這恰恰就是要點。\u003C\u002Fp>\u003Cp>關於弟子的那一日，還值得多說一句。故事讓他面對的不是懈怠與忠誠之間的選擇，而是兩項都不可推卸的義務之間的衝突。中國倫理中處理這類衝突的討論相當豐富，而這則傳說採取的立場是：衝突是真實的，選擇必有所失，而失去的那一部分不必由某個人來承擔罪責。\u003C\u002Fp>\u003Ch2>鐵柺李借身故事表達什麼\u003C\u002Fh2>\u003Cp>換身的敘事提出了一項貫穿整個長生傳統的主張：身份並不等同於身體。\u003C\u002Fp>\u003Cp>這與技術文獻直接相接。四世紀的葛洪把仙分為天仙、地仙，以及以遺形而去者——最後一類是有名目的公認類別，不是“死”的委婉說法。道教神異傳記中反覆出現的空棺母題，包括張果老故事裡的那一處，屬於同一框架。\u003C\u002Fp>\u003Cp>它也重新界定了“不朽”在這一傳統中的意思。西文那個詞暗示以現有的身體無盡地延續。漢語的目標是成“仙”，指向精煉與狀態的改變。若目標是某一具體身體的延續，那麼一個“有成者最終落進一具更差的身體”的故事就不可理解；若目標是狀態的轉變，它則完全可解。\u003C\u002Fp>\u003Cp>它還為這一組做了一件事：全組中修為最高的那位，看起來最糟。鐵柺李的形貌不是為試人而採取的偽裝——那是別處常見的母題——它只是發生了的事，而他不認為值得去修補。這份不在意就是演示本身。\u003C\u002Fp>\u003Cp>本站以歷史與結構的方式描述這些實踐，不提供任何操作指導，也不把傳統的生理主張當作事實。\u003C\u002Fp>\u003Cp>出神遠遊這一說法，在道教文獻中有其技術位置，與存思、內觀一類做法相連，上清一系尤重。傳說把它當作既成的能力來使用，而文獻則把它當作有次第、有風險的操作來討論。兩種材料對同一件事的處理方式不同：一個講故事，一個講程式。\u003C\u002Fp>\u003Ch2>鐵柺李的鐵柺、葫蘆與醫藥\u003C\u002Fh2>\u003Cp>他的兩件器物都易讀，且都有內容。\u003C\u002Fp>\u003Cp>\u003Cstrong>鐵柺\u003C\u002Fstrong>給了他名字——鐵柺即鐵製的柺杖——在某些版本里，它由西王母所賜，從而把一根乞者的棍子升格為傳授的憑物。它是全組中最一眼可辨的物件。\u003C\u002Fp>\u003Cp>\u003Cstrong>葫蘆\u003C\u002Fstrong>更有意思。葫蘆在中國宗教影像中普遍作為藥的容器出現，而鐵柺李被廣泛就療病之事祈請，藥業從業者亦奉之。葫蘆有時被畫成有煙氣或小人自其中出，表示其中所盛並非單純的液體。\u003C\u002Fp>\u003Cp>葫蘆還有一層宇宙論的讀法：小口通大腹，是中國表示“自足的一個世界”的標準意象，一句關於葫蘆中另有天地的常語即用此義。這一讀法是否原本即在他的影像中，還是後來被讀進去的，並不清楚，但這層關聯很早。\u003C\u002Fp>\u003Cp>連同他的瘸腿，這些器物使他成為八仙中身體特徵最具體的一位。他是那種在很遠處、從很差的角度也能認出的形象，這也是他被描繪得如此之廣的原因之一。\u003C\u002Fp>\u003Cp>另需說明，葫蘆在中國的實際用途本來就多：盛水、盛酒、盛藥、作浮具。它在影像中之所以能承載這麼多意思，一部分正因為它是極常見的日用之物。中國宗教影像的符號大多如此——取自日常，而不是另造一套。\u003C\u002Fp>\u003Ch2>曹國舅與鐵柺李出現在哪裡\u003C\u002Fh2>\u003Cp>這兩位主要是作為影像被遇到，而不是在殿堂裡；知道該往哪裡看，比知道他們的故事更有用。\u003C\u002Fp>\u003Cp>成組的八仙刻在廟宇的屋脊與山牆上、門楣的木雕板上、彩繪的梁枋上、屏風與傢俱上、外銷瓷上、繡件上與年畫上。成組時通常分作兩組四人，辨識靠器物進行——這正是這些器物被嚴格標準化的原因。\u003C\u002Fp>\u003Cp>鐵柺李確實另有一些獨立的存在。與療病相關的殿或配祀中有時含他，舊藥鋪與藥材店的裝飾上也見其像。與一位大神相比這是很小的信仰，但它是真實的，也是這兩位中唯一可能讓訪客見到“有人在向他遞請求”而不只是在觀賞的一位。\u003C\u002Fp>\u003Cp>曹國舅幾乎純屬構圖之需。他出現在這一組出現的地方，別處很少。在把他當作戲曲行祖師的地方傳統裡，其像可能供在後臺或行會的會館內，那與廟宇神案是不同性質的場所，值得分開看。\u003C\u002Fp>\u003Cp>在戲臺上，兩位都是“八仙赴天上壽宴”一類吉慶戲中的常設角色，壽慶、婚禮與廟會上演。多數人是從這一類戲、而不是從任何宗教文本中學會辨認他們的。\u003C\u002Fp>\u003Cp>最後可以補一條辨識上的實用提醒：八仙的影像常與“暗八仙”並用，即只畫器物而不畫人——劍、扇、漁鼓、蓮、笛、花籃、玉板、葫蘆與拐。若你在門窗、瓦當或傢俱上看到這一串器物而不見人形，那就是暗八仙，用意相同，只是更含蓄。\u003C\u002Fp>\u003Ch2>曹國舅與鐵柺李為何並列\u003C\u002Fh2>\u003Cp>並置起來，這兩個人物把這一組的論證表達得再經濟不過。\u003C\u002Fp>\u003Cp>一位是著官服、持朝板的皇親。另一位是持拐帶葫蘆的瘸腿乞者。兩者都未被呈現為更好。若說有差別，倒是那位乞者在組中位次更高，常被列在首位，而那位朝臣是故事最少的一位。一個被安排得使這種倒置顯眼的組合，是在提出一項主張，而這項主張留存在每一根刻著八仙的梁枋與每一扇畫著八仙的屏風上。\u003C\u002Fp>\u003Cp>兩個故事都以“放下”而不是“取得”為轉折。曹國舅放下了品位與財產。鐵柺李放下了原有的身體——非其所願，卻無所抱怨。兩人都沒有得到任何常人會認作所獲的東西，而兩人都被呈現為成功了。\u003C\u002Fp>\u003Cp>對訪客而言，實際的要點與這一組的其他成員相同：他們是裝飾與戲劇中的人物，而不是主要的祭拜物件。你在梁枋、屏風、瓷器與戲臺上遇到他們的次數，遠多於在神案上。鐵柺李在療病方面有一些獨立的信眾；曹國舅幾乎沒有。八仙中的例外仍是呂洞賓，他有宮觀、有經典、有傳承位次，其餘諸位都不接近。\u003C\u002Fp>\u003Cblockquote>\u003Cp>\u003Cstrong>資料與限度。\u003C\u002Fstrong>本頁依據宋代關於被認同為曹國舅之家族的記載、後世的神異與戲劇彙編、葛洪對仙品的分級，以及關於八仙作為裝飾與戲劇題材的研究。把曹國舅認定為某位具體的歷史官員，屬傳統說法而非已確立之事。傳說材料均已標明，本頁不提供任何修煉指導。\u003C\u002Fp>\u003C\u002Fblockquote>\u003Ch2>曹國舅與鐵柺李要點\u003C\u002Fh2>\u003Cul>\u003Cli>\u003Cp>曹國舅與鐵柺李標出八仙的社會兩極：皇親與瘸腿乞者同在一組八人之中。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>“國舅”是稱謂而非名字，意為皇帝的內弟，完全以其與皇位的關係標識。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>把他認定為某位十一世紀的宋代官員，屬傳統說法而非可證之事。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>他的故事把道德難題放在同謀而非個人罪過上：他受益於一個容許不法的結構，無法在其內部糾正，於是離去。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>其器物是朝板，象徵一份被放下的資格憑證；他是八仙中故事最少者，幾乎無獨立信仰。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>鐵柺李的形貌由借身之事解釋：其身被面對將死之母的弟子提前一日火化，他遂進入一具乞者的屍身。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>故事中無人行為不端，結局也不是懲罰——這恰恰構成“身份不等於身體”的論證。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>這接上葛洪所列的公認仙品“以遺形而去”，也接上道教神異傳記中別處的空棺母題。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>鐵柺與藥葫蘆使他成為八仙中最易辨識者，他在療病與藥業方面仍有信眾。\u003C\u002Fp>\u003C\u002Fli>\u003C\u002Ful>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FYW6MNWdqTyRU2UhZHHmp.webp",1920,600,{"en":798,"zh":799},"Ink painting of Cao Guojiu, a dignitary in a court hat and robes holding a tablet, beside Li Tieguai, a ragged old man with an iron crutch and gourd, near a mountain temple.","水墨畫中，頭戴官帽、身著官袍、手持笏板的曹國舅，與衣衫襤褸、拄著鐵柺、帶著葫蘆的老者鐵柺李並肩站在山間宮觀旁。",{"en":798,"zh":799},"banner","list",{"en":804,"zh":805},"Cao Guojiu and Li Tieguai: Nobility, Beggar and Immortality","曹國舅與鐵柺李：皇親、乞者與八仙中的身份對照",{"en":807,"zh":808},"Discover why Cao Guojiu, an imperial relative, and Li Tieguai, a lame beggar, stand together and what their legends say about privilege, bodies and identity.","認識曹國舅與鐵柺李為何在八仙中並列，理解皇親、瘸腿乞者、特權、同謀關係與身體身份之間的對照。",[],{"data":811},[812,888,989,1080],{"id":813,"slug":814,"available_locales":815,"path":816,"title":817,"venue":820,"hero_image_url":3,"card_image_url":823,"card_landscape_url":824,"lifecycle":825,"session_mode":826,"sessions":827,"next_session":887},15601,"liu-yao-beginner-course",[504,505,506],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":818,"zh":819},"Liu Yao Beginner 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