[{"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\u002Fhan-xiangzi-lan-caihe":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":485,"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":486,"zh":487},{"en":789,"zh":790},"How Han Yu’s historical grandnephew became a flute-playing immortal, and why Lan Caihe resists fixed age, class and gender","韓愈侄孫如何成為吹簫仙人，以及藍采和為何難以按年齡、階層與性別歸類",{"en":792,"zh":793},"\u003Cp>These two are treated together because they occupy the same corner of the set: both are young, both are associated with music and flowers, and both are arguments about category rather than figures with much narrative substance.\u003C\u002Fp>\u003Cp>Han Xiangzi is the one with a documented family connection to a major historical figure. Lan Caihe is the one who cannot be classified at all — not by age, not by class, not reliably by sex. Between them they mark out the edges of what the Eight Immortals set was designed to include.\u003C\u002Fp>\u003Ch2>Han Xiangzi and His Great-Uncle Han Yu\u003C\u002Fh2>\u003Cp>Han Xiangzi is traditionally the grandnephew of \u003Cstrong>Han Yu\u003C\u002Fstrong>, the Tang writer and official who lived from 768 to 824 and who is one of the central figures of Chinese literary and intellectual history. Han Yu was a vigorous critic of Buddhism and of Taoist court favour, and he argued for a return to classical Confucian models.\u003C\u002Fp>\u003Cp>The connection is not invented out of nothing. Han Yu had a grandnephew named Han Xiang, and one of Han Yu's best-known poems is addressed to him. The poem was written when Han Yu was exiled to Chaozhou in the far south in 819, after submitting a memorial objecting to the court's veneration of a Buddhist relic. In it he is at a mountain pass in the snow, expects to die on the road, and instructs the young man to collect his bones.\u003C\u002Fp>\u003Cp>What legend did with this is worth watching closely. In the developed story, Han Xiang is already a Taoist adept. He has previously demonstrated his powers to his sceptical great-uncle — most often by causing flowers to bloom out of season, with a prophetic couplet appearing on the petals. Han Yu dismisses it. Then, exiled and freezing at the pass, he meets his nephew again, and the couplet turns out to have named the place.\u003C\u002Fp>\u003Cp>The story is a deliberate reversal. China's most famous opponent of religious enthusiasm is made the uncomprehending relative of an immortal, and is proved wrong by the events of his own most celebrated poem. This is a polemical construction, and it survived because it is a good one.\u003C\u002Fp>\u003Ch2>What Han Xiangzi Represents among the Eight Immortals\u003C\u002Fh2>\u003Cp>His attribute is a \u003Cstrong>flute\u003C\u002Fstrong>, and he is the immortal associated with music. In sets of the eight he is the young man with the transverse flute, sometimes shown playing it.\u003C\u002Fp>\u003Cp>Music is not decorative in Taoism. Liturgy is sung and structured by percussion, regional ritual repertoires are sharply distinct — Wudang, Beijing, Suzhou, southern Fujian and Taiwanese traditions differ markedly — and several are registered as intangible cultural heritage. A figure who represents music is representing one of the tradition's actual technical specialisms.\u003C\u002Fp>\u003Cp>He is invoked by musicians, and in some regions by florists and gardeners on the strength of the flower miracle. Like most of the eight, he receives incense as part of a set rather than as an independent object of worship.\u003C\u002Fp>\u003Cp>The flower episode also connects him to a theme that runs through Chinese immortal lore: the transcendent demonstrates by rearranging the seasons. Causing a plant to flower out of its time is a claim about not being bound by the ordinary calendar, which is the same claim the longevity tradition makes about the body.\u003C\u002Fp>\u003Ch2>Lan Caihe: The Immortal Who Resists Classification\u003C\u002Fh2>\u003Cp>Lan Caihe is the oldest-attested member of the group in a substantial written account, and the account is startling.\u003C\u002Fp>\u003Cp>A collection of immortals' lives compiled in the tenth century describes a figure who went about in a tattered blue gown, wore a belt hung with wooden tablets, had one foot shod and the other bare, wore padded clothing in summer and lay in the snow in winter with steam rising from the body, and begged in marketplaces while singing to the beat of large wooden clappers. The songs were improvised and were said to have an unsettling sense of the passage of time. Money received was strung on a cord and dragged along the ground, and when it fell it was not picked up. The account ends with an ascent from a tavern, leaving behind the gown, the belt, the single shoe and the clappers.\u003C\u002Fp>\u003Cp>Almost every element of this is a refusal of a category. Clothing that contradicts the season. One foot shod. Money treated as litter. A begging performer who cannot be placed as either destitute or holy. Nothing about the description allows the observer to assign a social position.\u003C\u002Fp>\u003Cp>The sense of time in the songs is the part that gives the figure its weight. This is not a comic vagrant; it is a figure who sings, in a marketplace, about how quickly everyone present will be gone. The disreputable exterior is what makes the message hearable.\u003C\u002Fp>\u003Ch2>Lan Caihe’s Ambiguous Gender\u003C\u002Fh2>\u003Cp>Lan Caihe's sex is not fixed, and this is a genuine feature of the tradition rather than a modern reading.\u003C\u002Fp>\u003Cp>The earliest account gives a male figure in ambiguous dress. Later iconography frequently shows a youth of indeterminate appearance, and in some paintings and porcelain the figure reads as female. On stage the role has been played both ways, and in some regional opera traditions Lan Caihe is straightforwardly a young woman. Sets of the eight sometimes contain two apparently female figures as a result, which occasionally causes confusion about which one is He Xiangu — the lotus is the reliable distinguishing attribute.\u003C\u002Fp>\u003Cp>The ambiguity is consistent with everything else about the figure. A character defined by refusing classification would be diminished by having a settled sex. It is also worth noting that the tradition never resolved the question, despite having centuries in which to do so and no shortage of editors willing to standardise other things.\u003C\u002Fp>\u003Cp>This should not be over-interpreted in modern terms. The material does not present a theory of gender; it presents a figure who is outside categories, of which sex is one. But it does mean that a strand of Chinese religious imagery has carried an unclassifiable figure, in plain view, on temple beams and household porcelain, for a thousand years.\u003C\u002Fp>\u003Ch2>Lan Caihe’s Flower Basket and Other Attributes\u003C\u002Fh2>\u003Cp>Lan Caihe's standard attribute in the developed iconography is a \u003Cstrong>flower basket\u003C\u002Fstrong>, usually held in the hand or slung on a hoe over the shoulder. This is later than the tenth-century account, which mentions clappers rather than flowers, and the shift is a good illustration of how attributes get tidied.\u003C\u002Fp>\u003Cp>The clappers survive in some depictions, and in southern traditions the figure is sometimes shown with them alongside or instead of the basket. The single shoe occasionally survives as a detail for viewers who know to look.\u003C\u002Fp>\u003Cp>Together with Han Xiangzi's flute and He Xiangu's lotus, the basket gives the set a cluster of young figures with flowers and music, usually placed together in the composition. Where the eight are arranged in two groups of four, these three plus one senior figure commonly form a group.\u003C\u002Fp>\u003Cp>In the very common subject of the eight crossing the sea, Lan Caihe rides the basket. The saying about each person exercising their own particular ability comes from this image, and it is among the most frequently painted scenes in Chinese decorative art.\u003C\u002Fp>\u003Ch2>Han Xiangzi and Lan Caihe on the Opera Stage\u003C\u002Fh2>\u003Cp>Both figures reached most people through theatre rather than through scripture, and in Lan Caihe's case the theatrical connection goes further than transmission.\u003C\u002Fp>\u003Cp>A surviving Yuan dynasty play takes Lan Caihe as its subject and makes him a professional actor, deliverance from an acting troupe being the plot. This is unusual and revealing. Theatre people in imperial China occupied a low and legally restricted social position, and a play in which an actor is the one selected for transcendence is doing the same work as the beggar and the unclassifiable vagrant elsewhere in the set. It is also, presumably, a play that actors enjoyed performing.\u003C\u002Fp>\u003Cp>The play is one of the earliest substantial dramatic treatments of any of the eight, and it predates the fixing of the standard group. It shows the set being assembled in real time, in the medium that did most of the assembling.\u003C\u002Fp>\u003Cp>Han Xiangzi's material also became a dramatic staple, and later a novel, in which the confrontation with his sceptical great-uncle is expanded at length. The story's appeal to dramatists is obvious: it has a famous name, a family conflict, a prophecy, a reversal and a snowstorm.\u003C\u002Fp>\u003Cp>A further genre shows the eight together attending a birthday celebration in the heavens, which became the standard auspicious piece performed at birthdays, weddings and temple festivals. Most Chinese people who can identify the Eight Immortals learned to do so from performances of this kind rather than from any religious text, which is worth remembering when the set is described as Taoist iconography.\u003C\u002Fp>\u003Ch2>What Han Xiangzi and Lan Caihe Represent Together\u003C\u002Fh2>\u003Cp>Taken together, these two make explicit what the whole set is for.\u003C\u002Fp>\u003Cp>The Eight Immortals are not a pantheon and were never intended as one. They are a demonstration, and the thing demonstrated is that transcendence is not distributed according to social value. The set contains a court official and a beggar, a scholar and an illiterate, an old man and a youth, a woman of no standing and a figure of no fixed sex at all. Whatever else the arrangement says, it says that the criterion is not respectability.\u003C\u002Fp>\u003Cp>This is why the set became so popular as decoration. A household could display it as a wish for good fortune, a temple could carve it on a beam, a theatre could stage it, and everyone involved understood the implicit claim without needing it explained. Few religious images in any tradition combine that level of ubiquity with that much content.\u003C\u002Fp>\u003Cp>It is also why the individual biographies matter so little. Han Xiangzi's story is a polemic against a famous sceptic; Lan Caihe's is a study in unclassifiability. Neither is a life. The fact that Lan Caihe almost certainly never existed does not make the figure unimportant; it locates the importance in a different place.\u003C\u002Fp>\u003Cblockquote>\u003Cp>\u003Cstrong>Sources and limits.\u003C\u002Fstrong> This page draws on Han Yu's poem addressed to his grandnephew and the historical record of his exile, the tenth-century collection of immortals' lives that describes Lan Caihe, later hagiographic and dramatic material, and studies of the Eight Immortals as a decorative and theatrical subject. Legendary material is labelled as such, and where the tradition never settled a question — including Lan Caihe's sex — that is reported rather than resolved.\u003C\u002Fp>\u003C\u002Fblockquote>\u003Ch2>Key Points About Han Xiangzi and Lan Caihe\u003C\u002Fh2>\u003Cul>\u003Cli>\u003Cp>Han Xiangzi is traditionally the grandnephew of Han Yu, the Tang writer who attacked Buddhism and Taoist court favour; Han Yu did have a grandnephew of that name and addressed a famous poem to him.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Legend turns that poem into proof: the flowers Han Yu dismissed had prophesied the very pass at which he later met his nephew in exile. The story is a deliberate polemical reversal.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Han Xiangzi's attribute is the flute, and music is a real technical specialism in Taoism, with sharply distinct regional liturgical repertoires.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Lan Caihe is described in a tenth-century collection as a ragged singer with one foot shod, padded clothes in summer, snow in winter, and money dragged on a cord and left where it fell.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Nearly every element of that description refuses a social category, and the songs were said to concern the passage of time.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>The figure's sex was never fixed: male in the earliest account, indeterminate in much iconography, female in some regional opera. The lotus, not appearance, identifies He Xiangu.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>The flower basket is a later attribute; the original account gives wooden clappers, and the shift shows how attributes get tidied over time.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>The set is a demonstration rather than a pantheon: it includes an official and a beggar, a woman of no standing and a figure of no fixed sex, and its claim is that the criterion is not respectability.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>The individual biographies matter little. That Lan Caihe almost certainly never existed does not make the figure unimportant; it locates the importance elsewhere.\u003C\u002Fp>\u003C\u002Fli>\u003C\u002Ful>","\u003Cp>這兩位放在一處講，是因為他們佔據這一組的同一角落：都年輕，都與音樂和花相關，也都更像是關於“類別”的論證，而不是有多少敘事實體的人物。\u003C\u002Fp>\u003Cp>韓湘子是其中與一位重要歷史人物有可考親屬關係的那位。藍采和則是完全無法歸類的那位——年齡不可歸，階層不可歸，連性別也難以確定。兩人合起來，標出了八仙這一組所要容納的範圍的邊界。\u003C\u002Fp>\u003Ch2>韓湘子與叔祖韓愈\u003C\u002Fh2>\u003Cp>韓湘子傳統上是\u003Cstrong>韓愈\u003C\u002Fstrong>的侄孫。韓愈是唐代文人與官員，生於七六八年，卒於八二四年，是中國文學與思想史上的核心人物之一。他力斥佛教，也反對朝廷對道教的寵遇，主張回到經典的儒家範式。\u003C\u002Fp>\u003Cp>這層關係不是憑空造出來的。韓愈確有一位名韓湘的侄孫，而韓愈最著名的詩作之一即以他為物件。那首詩寫於八一九年他因上表反對朝廷奉迎佛骨而被貶往嶺南潮州之時。詩中他身在雪中的山關，自料將死於途，並囑這位年輕人來收其骨。\u003C\u002Fp>\u003Cp>傳說如何處理這件事，值得細看。在成熟的故事裡，韓湘早已是道術之士。他此前曾向持疑的叔祖顯示其能——最常見的說法是令花非時而開，花瓣上現出一聯預言之句。韓愈不以為然。隨後，他被貶、在關上受凍，再遇其侄孫，而那一聯恰恰點出了此地之名。\u003C\u002Fp>\u003Cp>這個故事是一次有意的反轉。中國最著名的宗教熱情的反對者，被安排成一位仙人的懵然不知的親屬，並被他自己最著名的那首詩中的事件證明為錯。這是一個有論戰意圖的構造，而它之所以存留，是因為它構造得好。\u003C\u002Fp>\u003Cp>需要說明的是，韓愈本人與道教的關係並不像故事裡那樣簡單。他反對的是朝廷對方術與佛骨的奉迎，以及由此帶來的耗費與風氣，而不是籠統地反對一切宗教；他也與一些方外之人有往來。傳說把他簡化為一個純粹的懷疑者，是為了讓反轉更有力，但這簡化不能當作史實。\u003C\u002Fp>\u003Ch2>韓湘子在八仙中象徵什麼\u003C\u002Fh2>\u003Cp>他的器物是\u003Cstrong>笛\u003C\u002Fstrong>，他是與音樂相關的那位仙。在成組的八仙中，他是持橫笛的年輕男子，有時作吹奏之狀。\u003C\u002Fp>\u003Cp>音樂在道教中不是裝飾。科儀是唱的，由打擊樂結構起來；各地的儀式曲目差別鮮明——武當、北京、蘇州、閩南與臺灣諸系彼此相當不同——其中數種已列入非物質文化遺產。一個代表音樂的人物，代表的是這一傳統實際的技術專長之一。\u003C\u002Fp>\u003Cp>樂人向他祈請，某些地區因花的神異之事，花匠與園丁亦向他祈請。與八仙中多數成員一樣，他是作為一組受香火，而不是作為獨立的祭拜物件。\u003C\u002Fp>\u003Cp>花的那一節也把他連到一個貫穿中國仙話的主題：仙真以重排節令來作演示。令草木非時而開，是在主張自己不受尋常曆法的約束——而長生傳統對身體所作的主張，正是同一項。\u003C\u002Fp>\u003Cp>另有一處可注意：韓湘子的故事把“神異”放在家族內部。中國的仙傳大量採用這種安排——得道者是某人的子侄、鄰人、舊識，而不是遠方的聖者。這使故事可信，也使道理切身：如果連自家的侄孫都可能是仙人，那麼判斷人的常規標準就都不牢靠。\u003C\u002Fp>\u003Ch2>藍采和：無法歸類的仙人\u003C\u002Fh2>\u003Cp>藍采和是這一組中在成規模的書面記述裡出現最早的一位，而那段記述相當驚人。\u003C\u002Fp>\u003Cp>十世紀編成的一部仙傳記述了這樣一位人物：身著破舊的藍衫，腰繫懸有木板的帶子，一足有履一足赤裸，夏日穿棉衣，冬日臥於雪中而身上冒氣，在市井中乞討，同時以大拍板擊節而歌。歌是隨口而作的，據說帶著一種令人不安的時光流逝之感。所得的錢串在繩上拖著走，掉了也不去撿。這段記述以自酒肆升去作結，留下了衫、帶、那一隻履與拍板。\u003C\u002Fp>\u003Cp>其中幾乎每一個要素都是對某個類別的拒絕。與季節相反的衣著。一足有履。把錢當作垃圾。一個既不能被歸為貧無所依、也不能被歸為聖者的乞唱者。這段描述裡沒有任何東西，能讓旁觀者給他派定一個社會位置。\u003C\u002Fp>\u003Cp>歌中的時光之感，是使這個人物具有分量的部分。這不是一個滑稽的遊蕩者，而是一個在市井中歌唱“在場的人多快就都會不在”的人。不體面的外表，正是使這一訊息可被聽見的東西。\u003C\u002Fp>\u003Cp>還應指出，“藍采和”這個名字本身來歷不明。它既不像通常的姓名，也不見於其他記載，有研究認為它可能出自歌詞中的襯字或俗曲的調名。一個連名字都可能只是歌裡一句聲音的人物，與他“無法歸類”的整體形象倒是相稱的。\u003C\u002Fp>\u003Ch2>藍采和的性別為何含混\u003C\u002Fh2>\u003Cp>藍采和的性別不固定，而這是傳統中真實的特徵，不是現代的讀法。\u003C\u002Fp>\u003Cp>最早的記述給出的是一位衣著含混的男性。後世影像常作面貌難辨的少年，某些繪畫與瓷器上，這一形象讀來像女性。在戲臺上此角兩種演法都有，某些地方戲系統裡藍采和徑直是一位年輕女子。因此成組的八仙中有時出現兩位看似女性的人物，偶爾會引起“哪一位是何仙姑”的混淆——蓮才是可靠的辨識器物。\u003C\u002Fp>\u003Cp>這份含混與這個人物的其餘一切都一致。一個以拒絕歸類為界定的角色，若有了確定的性別，反而會被削弱。也值得注意的是：傳統從未解決這個問題，儘管它有數百年時間，也從不缺少願意把別的事情標準化的編纂者。\u003C\u002Fp>\u003Cp>這一點不宜以現代術語過度解讀。這些材料並未提出一套性別理論；它們提出的是一個處在類別之外的人物，而性別只是其中一項。但它確實意味著：中國宗教影像中有一條線索，把一個無法歸類的形象明明白白地放在廟梁與家用瓷器上，放了一千年。\u003C\u002Fp>\u003Cp>關於冬夏衣著相反這一細節，傳統內部也有技術性的解釋：身內有熱者不畏寒，氣足者不畏暑。這類說法把一個看似怪異的舉動接進了養生與內丹的語彙。是否原意如此不可考，但它顯示傳統習慣於把異行重新解釋為修為的外徵。\u003C\u002Fp>\u003Ch2>藍采和的花籃與其他法器\u003C\u002Fh2>\u003Cp>在成熟的影像中，藍采和的標準器物是\u003Cstrong>花籃\u003C\u002Fstrong>，通常持於手中，或掛在肩上的鋤柄上。這晚於十世紀的那段記述——記述中提到的是拍板而不是花——而這一轉變很好地說明了器物如何被整理規範。\u003C\u002Fp>\u003Cp>拍板在部分影像中留存，南方某些傳統裡，此形象有時與花籃並持，或徑以拍板代之。那一隻履偶爾作為細節留存，供知道該看的人辨認。\u003C\u002Fp>\u003Cp>與韓湘子的笛、何仙姑的蓮合起來，花籃使這一組有了一簇帶花與音樂的年輕形象，在構圖上通常被放在一處。八人分作兩組四人時，這三位加上一位年長者常成一組。\u003C\u002Fp>\u003Cp>在極常見的八仙過海題材裡，藍采和乘花籃。那句關於“各顯其能”的俗語出自這一意象，而它也是中國裝飾藝術中被畫得最多的場面之一。\u003C\u002Fp>\u003Cp>器物被“整理”的過程還有一層實際原因：成組的影像需要八件互不重複、遠看可辨的物件。拍板與何仙姑可能同持的物件、與韓湘子的笛都屬樂器，容易混。改為花籃之後，八件器物分別是劍、扇、漁鼓、蓮、笛、花籃、玉板、拐與葫蘆，彼此形狀差別明顯，工匠與觀者都省事。\u003C\u002Fp>\u003Ch2>戲臺上的韓湘子與藍采和\u003C\u002Fh2>\u003Cp>這兩位都主要經由戲而不是經由經典到達大多數人，而在藍采和這裡，與戲的關係還不止於傳播。\u003C\u002Fp>\u003Cp>有一部存世的元雜劇以藍采和為主角，把他寫成一名職業藝人，情節即是從戲班中被度脫。這一點不尋常，也很能說明問題。帝制中國的戲曲從業者社會地位低下，且在法律上受限；一部以藝人為得道人選的戲，所做的事與這一組中的乞者與無法歸類的遊蕩者是同一件。而且可以想見，這也是藝人們樂於演的戲。\u003C\u002Fp>\u003Cp>此劇是八仙中任何一位最早的成規模戲劇處理之一，且早於標準八人之組的定型。它讓人看到這一組正在被組裝的過程，而且正是在承擔了大部分組裝工作的那個媒介之中。\u003C\u002Fp>\u003Cp>韓湘子的材料同樣成為戲臺常演之目，後來還有小說，其中與持疑的叔祖對峙的一段被大加鋪陳。它對編劇的吸引力是明顯的：有名號、有家族衝突、有預言、有反轉，還有一場大雪。\u003C\u002Fp>\u003Cp>另有一類題材寫八仙同赴天上壽宴，成為壽慶、婚禮與廟會上標準的吉慶戲。多數能認出八仙的中國人，是從這類演出而不是從任何宗教文本中學會辨認的——在把這一組說成“道教影像”時，這一點值得記住。\u003C\u002Fp>\u003Cp>順帶說明這一組與神誕的關係：八仙整體沒有統一的誕期，各人的誕辰或有地方說法，或乾脆沒有。這也是判斷“是否被制度接納”的一條線索——被接納者有歷、有科儀、有殿；未被接納者只有影像與戲。八仙中除呂洞賓外，大體屬於後者。\u003C\u002Fp>\u003Ch2>韓湘子與藍采和共同表達什麼\u003C\u002Fh2>\u003Cp>合起來看，這兩位把整組人物的用意說明白了。\u003C\u002Fp>\u003Cp>八仙不是一個神系，也從未被打算作為神系。它們是一次演示，所演示者是：得道並不按社會價值分配。這一組裡有朝廷官員也有乞者，有士人也有不識字的，有老者也有少年，有一位無身份的女子，還有一位連性別都不固定的形象。不論這個安排還說了別的什麼，它說了一件事：判準不是體面。\u003C\u002Fp>\u003Cp>這就是為什麼這一組作為裝飾如此流行。人家可以把它掛起來當作求福之意，廟宇可以把它刻上梁枋，戲班可以把它搬上臺，而所有參與其中的人都不需要解釋就懂那項隱含的主張。任何傳統裡，很少有宗教影像能把這樣的普遍性與這樣多的內容合在一起。\u003C\u002Fp>\u003Cp>這也是為什麼各人的傳記如此不重要。韓湘子的故事是對一位著名懷疑者的論戰；藍采和的故事是一份關於無法歸類的研究。兩者都不是生平。藍采和幾乎確定從未存在過，這並不使這個形象變得不重要；它只是把重要性放在了另一個位置。\u003C\u002Fp>\u003Cblockquote>\u003Cp>\u003Cstrong>資料與限度。\u003C\u002Fstrong>本頁依據韓愈贈其侄孫的詩與其被貶的史錄、十世紀記述藍采和的仙傳、後世的神異與戲劇材料，以及關於八仙作為裝飾與戲劇題材的研究。傳說材料均已標明；凡傳統從未定論之處——包括藍采和的性別——本頁照實陳述，不代為裁斷。\u003C\u002Fp>\u003C\u002Fblockquote>\u003Ch2>韓湘子與藍采和要點\u003C\u002Fh2>\u003Cul>\u003Cli>\u003Cp>韓湘子傳統上是韓愈的侄孫；韓愈確有此名的侄孫，並有一首著名的詩贈他。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>傳說把那首詩變成證據：韓愈曾不以為然的花，早已預言了他後來在貶途中與侄孫相遇的那座關。這是有意的論戰式反轉。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>韓湘子的器物是笛；音樂在道教中是真實的技術專長，各地儀式曲目差別鮮明。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>藍采和見於十世紀仙傳：破衫、一足有履、夏著棉衣、冬臥雪中，錢串在繩上拖著走，掉了不撿。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>這段描述的幾乎每一項都在拒絕某個社會類別，而其歌據說講的是時光流逝。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>其性別從未固定：最早記述為男性，多數影像難辨，某些地方戲中為女性。辨識何仙姑靠蓮，不靠相貌。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>花籃是後起的器物；原記述給的是拍板，這一轉變顯示器物如何被逐步整理。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>這一組是演示而非神系：容得下官員與乞者、無身份的女子與性別不固定者，其主張是判準不在體面。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>各人的傳記不重要。藍采和幾乎確定從未存在，這不使他不重要，只是把重要性放在別處。\u003C\u002Fp>\u003C\u002Fli>\u003C\u002Ful>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FDMsb6VRqo9BV9BNf0WoE.webp",1920,600,{"en":798,"zh":799},"Ink 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