[{"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\u002Fzhang-guolao":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":477,"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":478,"zh":479},{"en":789,"zh":790},"What the Tang histories record about Zhang Guo, how the legends grew, and what his backward donkey signifies","唐代史書記錄了什麼、後世傳說如何發展，以及倒騎驢形象表達的意義",{"en":792,"zh":793},"\u003Cp>Zhang Guolao is the one member of the Eight Immortals for whom there is respectable documentary evidence of a real person. A man named Zhang Guo appears in the official Tang histories, was summoned to court, was given a title, and declined further honours. Almost everything else attached to him is legend, but the starting point is a record rather than a story.\u003C\u002Fp>\u003Cp>He is also the member of the group most likely to make a foreign visitor laugh, since he is normally shown as a very old man riding a donkey backwards. The joke is deliberate, and like most Chinese religious jokes it is carrying an argument.\u003C\u002Fp>\u003Ch2>The Historical Zhang Guo in Tang Records\u003C\u002Fh2>\u003Cp>Zhang Guo appears in the Tang official histories as a recluse living in the Zhongtiao mountains in southern Shanxi, credited with extreme age and with techniques of longevity. He was summoned to the capital by Emperor Xuanzong in the 730s, a period when the court was actively interested in Taoist practitioners.\u003C\u002Fp>\u003Cp>The histories record that he was received at court, was awarded an honorific title as a master of the arcane, declined offers of further preferment including a marriage connection with the imperial house, and returned to the mountains, where he died. This is the kind of material that survives because a court archive recorded it, and it is unusually solid ground for a figure of this type.\u003C\u002Fp>\u003Cp>What the histories do not do is endorse the claims about him. They report that he asserted a great age — figures given range into the hundreds of years — and they report the court's interest without settling whether the claims were true. Tang historians were often content to record that something was said.\u003C\u002Fp>\u003Cp>The \"lao\" in his usual name is simply \"old\". He is Zhang Guo the Elder, and the epithet stuck because age was the whole point of his reputation.\u003C\u002Fp>\u003Ch2>Zhang Guolao’s Donkey and Later Legends\u003C\u002Fh2>\u003Cp>The legendary material accumulated after the Tang and follows a consistent line: this is a figure whose miracles are all about compressing or reversing ordinary expectations.\u003C\u002Fp>\u003Cp>His donkey — sometimes a white mule — could be folded like paper and carried in a bag or a sleeve, then unfolded and sprinkled with water to become a live animal again. The image is a good example of the kind of miracle Chinese hagiography likes: not a display of power over nature so much as a demonstration that the categories one relies on are less fixed than they appear.\u003C\u002Fp>\u003Cp>Another cycle concerns his death. In some accounts he died and was buried, and when the coffin was later opened it was empty. This motif recurs throughout Taoist hagiography and has a technical name in the tradition: departure by leaving the body behind, which Ge Hong in the fourth century listed as one of the recognised grades of transcendence. The empty coffin is not a claim that the death was faked; it is a claim about what kind of event the death was.\u003C\u002Fp>\u003Cp>A further set of stories makes him extremely ancient, in some versions predating the dynasties and having witnessed the alternation of sea and land. These belong to the general vocabulary of longevity legend rather than to anything specific about him.\u003C\u002Fp>\u003Ch2>Why Zhang Guolao Rides Backwards\u003C\u002Fh2>\u003Cp>The detail that defines him iconographically is that he sits facing the animal's tail. Several explanations circulate in the tradition, and it is worth taking them as a set rather than choosing one.\u003C\u002Fp>\u003Cp>The most common is that facing backwards is a comment on ordinary human direction: everyone else is looking where they are going, and he is looking at where they have all been. The reading fits a tradition much occupied with the value of reversal, of going against the current, of returning rather than advancing.\u003C\u002Fp>\u003Cp>A second explanation makes it a demonstration of indifference to appearances. A dignified old man of recognised attainment adopts a posture that guarantees he will be laughed at. This is a recurring Taoist strategy — Lan Caihe's disorder and Li Tieguai's beggar's body do the same work — and its point is that the tradition's authorities are not to be identified by dignity.\u003C\u002Fp>\u003Cp>A third, more technical, connects reversal to internal alchemy, in which the ordinary downward and outward flow of the body's energies is described as being turned back. Whether this reading is original or was applied later is unclear, but it is common in Ming and Qing material.\u003C\u002Fp>\u003Cp>None of these is the official meaning, because there is no body with the authority to declare one. The image works precisely because it invites the question.\u003C\u002Fp>\u003Ch2>How to Recognise Zhang Guolao\u003C\u002Fh2>\u003Cp>His attributes are among the easiest to identify in a set of the eight.\u003C\u002Fp>\u003Cp>He carries a \u003Cstrong>fish drum\u003C\u002Fstrong>: a length of bamboo, open at one end, covered with a membrane and struck or tapped, often paired with two small iron rods. It is a real instrument, used by street storytellers and itinerant performers, and it associates him with popular narrative rather than with scripture.\u003C\u002Fp>\u003Cp>He is shown as \u003Cstrong>visibly old\u003C\u002Fstrong>: white beard, sometimes bald, sometimes stooped. Where the other immortals vary in apparent age, his age is fixed and is his defining quality.\u003C\u002Fp>\u003Cp>He is accompanied by the \u003Cstrong>donkey or mule\u003C\u002Fstrong>, and where the composition allows, he is riding it backwards. In carved and painted sets on temple beams, screens and porcelain, this is usually the quickest way to locate him.\u003C\u002Fp>\u003Cp>He is normally placed among the seniors of the group. In arrangements that suggest a hierarchy, he and Zhongli Quan tend to occupy positions of respect.\u003C\u002Fp>\u003Ch2>What Zhang Guolao Represents in Popular Religion\u003C\u002Fh2>\u003Cp>Popular use of the figure runs in two directions that look contradictory and are not.\u003C\u002Fp>\u003Cp>The first is longevity and old age, which follows directly from his reputation. He appears in birthday imagery, in gifts to the elderly, and in the general decorative repertoire of long life alongside peaches, cranes and pines.\u003C\u002Fp>\u003Cp>The second is fertility and children. Prints and paintings showing Zhang Guolao with an infant were traditionally given to newly married couples in parts of north China, and he is invoked for the birth of sons. The logic is that a figure who commands time can also grant continuation, and in a system where the worst outcome is to die without descendants, longevity and progeny are the same concern approached from two sides.\u003C\u002Fp>\u003Cp>That connection deserves a moment, because it explains a good deal about Chinese religion. Having descendants is not merely a social preference. In the religious logic, the dead depend on descendants for provision and for petitions; to die without them is to fall into the category the seventh-month festivals exist to relieve. A deity of long life and a deity of children are addressing one problem.\u003C\u002Fp>\u003Ch2>Where Zhang Guolao Appears in Chinese Culture\u003C\u002Fh2>\u003Cp>Because his weight is visual rather than institutional, the places to look for Zhang Guolao are not temples dedicated to him but the surfaces of ordinary buildings and objects.\u003C\u002Fp>\u003Cp>Sets of the Eight Immortals appear on temple roof ridges and gable ends, on the carved wooden panels above doorways, on the painted beams of halls, on screens and furniture, on export porcelain, on embroidered hangings, on New Year prints and on the plaster relief of village houses. In a set the eight are usually arranged in two groups of four, and the immediate task for a viewer is identification by attribute — which is why the attributes are so standardised.\u003C\u002Fp>\u003Cp>He also appears in a distinct genre in which the eight are shown crossing the sea, each using their attribute as a vessel or a support. This is the source of a common Chinese saying about each person exercising their own particular ability, and it is one of the most frequently painted subjects in the whole repertoire.\u003C\u002Fp>\u003Cp>Sites in Shanxi associated with his supposed residence in the Zhongtiao range carry local traditions, and a hill in southern Hebei is popularly named after him. These are local attachments of the kind that accumulate around any well-known figure, and their historical value is as evidence of where the legend was strong rather than of where the man lived.\u003C\u002Fp>\u003Cp>On stage he is a stock character: the comic elderly sage. Temple opera, which is where most people learned the Eight Immortals in the first place, gave him a fixed appearance, a fixed instrument and a fixed manner, and the visual tradition followed the stage rather than the other way round.\u003C\u002Fp>\u003Ch2>How to Read Zhang Guolao as History and Legend\u003C\u002Fh2>\u003Cp>It is worth being clear about what kind of importance Zhang Guolao has.\u003C\u002Fp>\u003Cp>He is not a major object of worship. There are few temples dedicated to him alone, no substantial body of scripture in his name, and no lineage that traces transmission through him. Compared with Lü Dongbin, who has all three, his religious weight is slight.\u003C\u002Fp>\u003Cp>What he has instead is very wide currency as an image. He is everywhere in decorative art, in opera, in prints, in carving. Most Chinese people can identify him; far fewer have ever petitioned him. This is the normal condition of most of the Eight Immortals, and it is a distinction outsiders often miss, because a figure's visual ubiquity is easily mistaken for religious centrality.\u003C\u002Fp>\u003Cp>The fact that the historical Zhang Guo is better documented than most of his companions and yet accumulated less institutional weight is instructive. Documentation is not what makes a figure religiously important in this tradition. Adoption by an institution is. A well-attested recluse who founded nothing remains a story; a possibly composite figure who was made a patriarch of a school becomes a deity.\u003C\u002Fp>\u003Cblockquote>\u003Cp>\u003Cstrong>Sources and limits.\u003C\u002Fstrong> This page draws on the accounts of Zhang Guo in the Tang official histories, later hagiographic and narrative collections, Ge Hong's classification of grades of transcendence, and studies of the Eight Immortals as a decorative and dramatic subject. Legendary material is labelled as such. Claims about extreme longevity are reported as claims, not as fact.\u003C\u002Fp>\u003C\u002Fblockquote>\u003Ch2>Key Points About Zhang Guolao\u003C\u002Fh2>\u003Cul>\u003Cli>\u003Cp>Zhang Guolao is the one of the Eight Immortals with solid documentary basis: Zhang Guo appears in the Tang official histories.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>He was summoned to court by Emperor Xuanzong in the 730s, given an honorific title, declined further preferment and returned to the mountains.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>The histories record his claim to extreme age without endorsing it; \"lao\" in his name simply means old, which was the whole basis of his reputation.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>His donkey could be folded like paper — a miracle about the instability of categories rather than a display of power.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>The empty coffin motif corresponds to a recognised technical grade of transcendence: departure by leaving the body behind.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Riding backwards has several readings — a comment on human direction, a refusal of dignity, and a link to reversal in internal alchemy. No authority declares one official.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>His attributes are the bamboo fish drum, visible old age, and the donkey; the drum links him to street storytelling rather than scripture.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>He is invoked both for long life and for children, because in this system dying without descendants is the outcome both concerns are aimed at.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>He is visually ubiquitous but religiously slight — no temples of his own, no scripture, no lineage. Institutional adoption, not documentation, is what creates religious weight.\u003C\u002Fp>\u003C\u002Fli>\u003C\u002Ful>","\u003Cp>張果老是八仙中唯一有像樣文獻依據可指向一個真實人物的。一位名張果的人出現在唐代官修史書中，被召至朝廷，獲賜稱號，並謝絕了進一步的恩寵。附著在他身上的其餘幾乎一切都是傳說，但其起點是一條記錄，而不是一個故事。\u003C\u002Fp>\u003Cp>他也是這一組中最可能讓外國訪客發笑的一位，因為他通常被畫成一位極老的人倒騎驢。這個玩笑是有意的，而與多數中國宗教裡的玩笑一樣，它承載著一項論證。\u003C\u002Fp>\u003Ch2>唐代史料中的張果\u003C\u002Fh2>\u003Cp>張果在唐代官修史書中作為隱者出現，居於晉南中條山中，以年壽極高與長生之術著稱。他在開元年間被玄宗召至京師，那正是朝廷對道術之士頗有興趣的一段時期。\u003C\u002Fp>\u003Cp>史書記載他在朝受見，獲賜“通玄先生”一類尊號，謝絕進一步的擢用——包括與皇室聯姻之議——而後返回山中，卒於其地。這類材料之所以存留，是因為宮廷檔案把它記了下來，對這一類人物而言，這是異常堅實的立足點。\u003C\u002Fp>\u003Cp>史書所不做的，是為關於他的種種說法作保。它們記下他自稱年壽極高——所給的數字達數百年——也記下朝廷的興趣，卻不裁斷這些說法是否為真。唐代史家往往滿足於記錄“曾有此說”。\u003C\u002Fp>\u003Cp>他常用名中的“老”字，就是“老”。他是張果老者，這個稱呼粘住了，因為年壽本就是他名聲的全部要點。\u003C\u002Fp>\u003Cp>需要說明的是，唐代朝廷召見道術之士並非稀奇之事。玄宗一朝對道教供奉甚厚，既崇老子，又設道舉，又召方術之人入京。張果之被召，應放在這一背景裡看：它顯示的首先是當時的國家政策，其次才是此人的名聲。\u003C\u002Fp>\u003Ch2>張果老的驢與後世傳說\u003C\u002Fh2>\u003Cp>傳說材料在唐以後累積起來，走的是一條一貫的路線：這是一個人物，其神異之事全都關於壓縮或反轉尋常的預期。\u003C\u002Fp>\u003Cp>他的驢——有時作白騾——可以像紙一樣折起，藏在袋中或袖中，取出灑水又成活物。這個意象很好地體現了中國神異傳記所偏好的那類奇蹟：與其說是展示對自然的力量，不如說是演示“你所依賴的那些類別，並不像看起來那麼固定”。\u003C\u002Fp>\u003Cp>另一組故事關於他的死。有些記述說他死後下葬，其後開棺，棺中空無所有。這一母題貫穿道教神異傳記，在傳統中有技術名稱：以遺形而去，四世紀的葛洪即把它列為公認的仙品之一。空棺不是在說這場死是假的；它是在說這場死屬於哪一類事件。\u003C\u002Fp>\u003Cp>另有一批故事把他說得極其古老，某些版本里他早於諸朝，見過海陸的變遷。這些屬於長生傳說的通用詞彙，與他本人並無特別關係。\u003C\u002Fp>\u003Cp>另有一層不宜忽略：折驢、空棺一類情節，在中國的傳記書寫裡並不總被當作字面之事。文人筆記常以“或曰”“世傳”引入，等於在文本內部標出這是傳聞。後世的道教神異集則往往刪去這類保留語，把傳聞改成陳述。同一件事在不同體裁裡的可信度並不相同。\u003C\u002Fp>\u003Ch2>張果老為什麼倒騎驢\u003C\u002Fh2>\u003Cp>在影像上界定他的那處細節，是他面朝坐騎的尾巴而坐。傳統中流傳著幾種解釋，宜把它們作為一組來看，而不是擇其一。\u003C\u002Fp>\u003Cp>最常見的一種說：面朝後是對人之常向的一句評語——旁人都在看自己要去哪裡，而他在看眾人都從哪裡來。這個讀法契合一個頗為看重“反”的傳統：逆流而行，返而不進。\u003C\u002Fp>\u003Cp>第二種解釋把它作為對外觀的不在意的演示。一位有公認修為的、體面的老者，採取了一種保證會被人笑的姿態。這是道教反覆使用的策略——藍采和的失序、鐵柺李的乞者之身做的是同一件事——其要點在於：這一傳統的權威人物，不能靠體面來辨認。\u003C\u002Fp>\u003Cp>第三種較為技術性，把“反”接到內丹上：身中氣機尋常向下、向外的走勢，在內丹的描述裡被扭轉回來。這一讀法是原有的還是後加的並不清楚，但在明清材料中相當常見。\u003C\u002Fp>\u003Cp>這些都不是官方的意思，因為不存在有權宣佈官方意思的機構。這個形象之所以有效，正因為它引出這個問題。\u003C\u002Fp>\u003Cp>關於“反”，還可補一句：這一取向在道教文獻中出現的場合很多——返樸、歸根、覆命、逆修成仙。它並非張果老一人的標記，而是一整套語彙。倒騎之像之所以好記，是因為它把這套抽象的語彙變成了一個一眼可見的姿勢。\u003C\u002Fp>\u003Ch2>怎樣辨識張果老\u003C\u002Fh2>\u003Cp>在成組的八仙中，他的標識屬於最易辨認的一類。\u003C\u002Fp>\u003Cp>他持\u003Cstrong>漁鼓\u003C\u002Fstrong>：一段竹筒，一端敞口，蒙以皮膜，拍擊或輕敲，常配兩根小鐵板（簡板）。這是一件真實的樂器，為街頭說唱與走江湖的藝人所用，它把他與民間敘事而不是與經典聯絡在一起。\u003C\u002Fp>\u003Cp>他被畫作\u003Cstrong>顯然年老\u003C\u002Fstrong>：白鬚，有時禿頂，有時駝背。其餘諸仙在外表年歲上不一，而他的年老是固定的，也是他的界定特徵。\u003C\u002Fp>\u003Cp>他有\u003Cstrong>驢或騾\u003C\u002Fstrong>相伴，構圖允許時即作倒騎之姿。在廟梁、屏風與瓷器上的雕繪成組影像中，這通常是找到他最快的辦法。\u003C\u002Fp>\u003Cp>他一般被列在這一組的年長者之中。在暗示位次的排法裡，他與鍾離權往往佔據受敬的位置。\u003C\u002Fp>\u003Cp>漁鼓這件樂器本身也值得一提。以漁鼓伴唱的說唱形式在南北各地都有，曲目多為神仙故事與勸善之詞，因此它與八仙題材的流傳是互為因果的：藝人唱八仙，八仙的影像裡又畫著藝人的傢伙。民間宗教知識的傳播路徑，很多時候就是這樣閉合的。\u003C\u002Fp>\u003Ch2>張果老在民間信仰中象徵什麼\u003C\u002Fh2>\u003Cp>民間對這一形象的使用有兩個方向，看起來矛盾，其實不然。\u003C\u002Fp>\u003Cp>第一是長壽與高年，這直接來自他的名聲。他出現在壽慶的影像中、贈予長者的禮品上，以及與桃、鶴、松並列的一整套長生裝飾題材裡。\u003C\u002Fp>\u003Cp>第二是生育與子嗣。在華北部分地區，畫有張果老抱嬰的年畫與畫幅傳統上贈予新婚夫婦，並被祈求得子。其邏輯是：一位能支配時間的人物，也能賜予延續；而在一套以“無後而終”為最壞結局的系統裡，長壽與子嗣是同一件關切的兩面。\u003C\u002Fp>\u003Cp>這一關聯值得停一下，因為它能解釋關於中國宗教的許多事。有子嗣不只是社會偏好。在宗教邏輯裡，亡者的供給與陳情都依賴子孫；無後而終，就落進了七月諸節所要救濟的那一類。一位長生之神與一位送子之神，處理的是同一個問題。\u003C\u002Fp>\u003Cp>關於送子與長壽的合一，還可舉一個旁證：中國的壽禮影像裡常同時出現桃、鶴、松、蝙蝠與嬰孩，其中蝙蝠取“福”之音，嬰孩取“多子”之意。這些元素並不按現代分類各歸各類，而是被當作同一件事的不同說法。張果老抱嬰的畫，正處在這套影像語彙之內。\u003C\u002Fp>\u003Ch2>張果老在中國文化中出現在哪裡\u003C\u002Fh2>\u003Cp>由於他的分量在視覺而不在制度，尋找張果老的地方不是專奉他的廟宇，而是尋常建築與器物的表面。\u003C\u002Fp>\u003Cp>成組的八仙出現在廟宇屋脊與山牆上、門楣上的木雕板上、殿堂的彩繪梁枋上、屏風與傢俱上、外銷瓷上、繡件上、年畫上，以及鄉村房屋的灰塑上。成組時八人通常分作兩組四人，觀者當下的任務就是按器物辨識——這也正是這些器物如此標準化的原因。\u003C\u002Fp>\u003Cp>他還出現在一類專門的題材裡：八仙過海，各以自己的器物為舟或為憑。這是漢語中一句關於“各顯其能”的常用俗語的來處，也是整個題材庫中被畫得最多的場面之一。\u003C\u002Fp>\u003Cp>晉南中條山一帶與其傳說中居處相關的地點各有地方傳統，冀南也有一座山俗以他為名。這類地方附著，是任何知名人物周圍都會累積的東西，其史料價值在於顯示傳說在何處流行，而不在於顯示此人曾住何處。\u003C\u002Fp>\u003Cp>在戲臺上他是定型角色：詼諧的老仙。廟臺上的戲本是多數人最初認識八仙的地方，它給了他固定的相貌、固定的樂器與固定的做派，而視覺傳統是跟著戲臺走的，不是相反。\u003C\u002Fp>\u003Cp>對訪客還有一條實用的提示：在廟宇裡看到八仙，多半是在建築構件與門窗上，而不是在神案上。若想確認某處究竟奉的是誰，看匾額與楹聯比看雕刻可靠得多——雕刻講的是題材，匾額講的是這座殿在辦什麼事。\u003C\u002Fp>\u003Ch2>怎樣從歷史與傳說兩方面理解張果老\u003C\u002Fh2>\u003Cp>有必要把張果老所具的是哪一類重要性說清楚。\u003C\u002Fp>\u003Cp>他不是主要的祭拜物件。專奉他一人的廟宇很少，以他為名的經典沒有多少，也沒有哪條傳承經由他追溯。與三者兼備的呂洞賓相比，他的宗教分量很輕。\u003C\u002Fp>\u003Cp>他所具的，是作為影像的極廣流通。他在裝飾藝術、戲、年畫、雕刻中無處不在。多數中國人能認出他；曾向他遞過狀文的人則少得多。這是八仙中大多數成員的常態，也是外來者常錯過的一處區別，因為一個形象在視覺上的普遍，很容易被誤認為宗教上的核心。\u003C\u002Fp>\u003Cp>歷史上的張果比他多數同伴記載更實，卻積累了更少的制度分量，這一點很有啟發。在這一傳統裡，使一個人物在宗教上重要的不是文獻，而是機構的接納。一位記載確實卻什麼也沒創立的隱者，仍是一個故事；一位可能是複合而成、卻被立為一派祖師的人物，則成為神明。\u003C\u002Fp>\u003Cblockquote>\u003Cp>\u003Cstrong>資料與限度。\u003C\u002Fstrong>本頁依據唐代官修史書中關於張果的記述、後世的神異傳記與敘事彙編、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。傳說材料均已標明。關於極高年壽的說法，按“說法”呈現，不作為事實。\u003C\u002Fp>\u003C\u002Fblockquote>\u003Ch2>張果老要點\u003C\u002Fh2>\u003Cul>\u003Cli>\u003Cp>張果老是八仙中文獻依據最實者：張果見於唐代官修史書。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>他在開元年間被玄宗召至朝廷，獲賜尊號，謝絕擢用，返回山中。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>史書記其自稱年壽極高而不為之作保；名中的“老”即年老，這正是其名聲的全部基礎。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>他的驢可折如紙——這是一樁關於“類別並不固定”的奇蹟，而非力量的展示。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>空棺的母題對應一個公認的技術仙品：以遺形而去。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>倒騎有數種讀法——對人之常向的評語、對體面的拒絕、與內丹之“反”的關聯。無人有權宣佈哪一種是官方的。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>其標識為竹製漁鼓、顯然的老態與驢；漁鼓把他連向街頭說唱而非經典。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>他既被祈求長壽也被祈求子嗣，因為在這套系統裡，兩種關切所針對的都是“無後而終”。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>他在視覺上無處不在而宗教分量很輕——無專廟、無經典、無傳承。造就宗教分量的是機構接納，不是文獻。\u003C\u002Fp>\u003C\u002Fli>\u003C\u002Ful>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FgFhnllNlWE2KTGfPTAT7.webp",1920,600,{"en":798,"zh":799},"Ink painting of Zhang Guolao, an old white-bearded hermit seated backwards on a white donkey, holding a bamboo drum and sticks, among misty mountains and pines.","水墨畫中，張果老白鬚飄飄，倒騎在一頭白驢上，手持漁鼓與簡板，四周是雲霧中的山峰與松樹。",{"en":798,"zh":799},"banner","list",{"en":804,"zh":805},"Zhang Guolao: Tang Recluse, Alchemist and Backward Donkey","張果老：唐代史料、倒騎驢傳說與八仙形象",{"en":807,"zh":808},"Discover Zhang Guolao, the Eight Immortal with the clearest historical basis, and learn what Tang records, alchemical legends and his backward donkey signify.","認識張果老作為唐代隱士與八仙人物的雙重形象，分辨史書記載與後世傳說，並理解倒騎驢所表達的反轉意味。",[],{"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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