[{"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\u002Fzhongli-quan":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",53,{"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循環",{"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":493,"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":494,"zh":495},{"en":789,"zh":790},"How a frequently misread name, teacher-disciple legends and Quanzhen genealogy made Zhongli a founding authority","從複姓誤讀、師徒傳說到全真北五祖，理解漢鍾離在八仙與內丹傳統中的地位",{"en":792,"zh":793},"\u003Cp>Zhongli Quan is the teacher of the group. Where the other seven are known for what happened to them, he is known for what he did to somebody else: he is the figure who converted Lü Dongbin, and through that transmission he became one of the founding authorities of internal alchemy.\u003C\u002Fp>\u003Cp>He is also the member of the set whose name is most often garbled, in Chinese as well as in translation. Getting the name right is a small thing that opens onto a larger one, because the confusion reveals how these figures were actually transmitted.\u003C\u002Fp>\u003Ch2>How Zhongli Quan’s Name Is Commonly Misread\u003C\u002Fh2>\u003Cp>His surname is \u003Cstrong>Zhongli\u003C\u002Fstrong>, a genuine two-character Chinese surname, and his given name is \u003Cstrong>Quan\u003C\u002Fstrong>. He is often called \u003Cem>Han Zhongli\u003C\u002Fem>, where \u003Cem>Han\u003C\u002Fem> is a dynasty label meaning \"Zhongli of the Han\", because tradition makes him a Han dynasty figure.\u003C\u002Fp>\u003Cp>The common error is to read that three-syllable form as surname plus given name, producing a man surnamed Han with the given name Zhongli. This mistake is made in Chinese popular usage too, not only in translation. Once it is made, the two-character surname disappears and the dynasty reference is lost.\u003C\u002Fp>\u003Cp>The reason this matters is that it tells you the figure travelled orally and theatrically rather than textually. A name transmitted through documents keeps its parsing; a name transmitted through performance and conversation gets reanalysed. The Eight Immortals reached most people through opera, prints and storytelling, and their names bear the marks of that route.\u003C\u002Fp>\u003Cp>He also carries the epithet \u003Cstrong>Zhengyang\u003C\u002Fstrong>, \"correct yang\" or \"aligned yang\". This is an alchemical term, not a personal name, and it stands in an obvious relation to Lü Dongbin's epithet \u003Cem>Chunyang\u003C\u002Fem>, \"pure yang\". The pair of epithets is doctrinal: teacher and disciple are named for two stages of the same process.\u003C\u002Fp>\u003Ch2>What Historical Sources Say About Zhongli Quan\u003C\u002Fh2>\u003Cp>Tradition makes him a general of the Han, defeated in battle, who fled into the mountains and there encountered a teacher who instructed him in the arts of transcendence. In some versions he had been the son of an official; in others there are portents at his birth. He is usually said to have received transmission from a figure identified as the first of the Quanzhen patriarchs.\u003C\u002Fp>\u003Cp>None of this is attested in Han sources. The substantial written material about him is Song, and the texts attributed to him are Song or later. Modern scholarship treats the Han attribution as a traditional dating rather than a historical one, and treats the figure as a construction of the Tang-to-Song period, when internal alchemy was taking shape and needed authorities.\u003C\u002Fp>\u003Cp>This site states such things plainly rather than presenting hagiography as record. The lack of a verifiable life does not diminish his importance, because his importance was never biographical. He functions as the origin point of a transmission, and what a transmission needs is a name at the head of the list, not a documented career.\u003C\u002Fp>\u003Cp>The military background is worth noting for what it does rather than for whether it happened. A defeated general is a man whose worldly project has collapsed completely. Making him the first link in the chain places failure at the origin of the tradition's most technical body of practice.\u003C\u002Fp>\u003Ch2>Zhongli Quan as the Teacher of Lü Dongbin\u003C\u002Fh2>\u003Cp>His central role is the conversion of Lü Dongbin, which is the best narrative in the whole Eight Immortals cycle.\u003C\u002Fp>\u003Cp>In the standard version he encounters Lü, an examination candidate pursuing office, at an inn. While millet cooks he lends the young man a pillow. Lü sleeps and dreams a complete successful life — examination success, high office, marriage, children, grandchildren, wealth — followed by slander, disgrace, the deaths of his family, poverty and death. He wakes and the millet is not yet done.\u003C\u002Fp>\u003Cp>The teaching method is worth noticing. He does not argue. He arranges for the other man to undergo the experience and draw the conclusion himself, and the conclusion is about scale rather than morality: the whole arc of success and ruin takes less time than cooking grain. This is a demonstration, not a sermon, and it set the pattern for a great many later Taoist conversion narratives.\u003C\u002Fp>\u003Cp>He then sets Lü a series of trials, conventionally ten, testing character under ordinary provocation — false accusation, financial loss, insult, threat, bereavement, the appearance of having been cheated. There is no austerity contest and no test of occult skill. Lü passes by responding without resentment or calculation, and receives transmission.\u003C\u002Fp>\u003Cp>The pair became a fixed unit in Taoist writing. The compound formed from their two surnames is the standard way of referring to the lineage of internal alchemy that traces itself to them, and a substantial Song text presents their teaching as a dialogue between master and disciple.\u003C\u002Fp>\u003Ch2>How to Recognise Zhongli Quan\u003C\u002Fh2>\u003Cp>His appearance is distinctive and reliable.\u003C\u002Fp>\u003Cp>He is shown as a \u003Cstrong>large, bare-chested man with an exposed belly\u003C\u002Fstrong>, which is his most immediate identifier. The hair is usually gathered into two topknots or side buns, sometimes loose and unkempt. He often has a full beard. The body type and the informality of dress mark him as the martial member of the group, and they contrast deliberately with Cao Guojiu's official robes and Lü Dongbin's scholar's cap.\u003C\u002Fp>\u003Cp>He carries a \u003Cstrong>fan\u003C\u002Fstrong>, generally a large palm-leaf or plantain-leaf fan rather than a folding one. In legend the fan revives the dead and can raise wind and cloud; in the composition it is the object that identifies him at a glance. Sometimes he also holds a peach, which is the standard Chinese emblem of long life.\u003C\u002Fp>\u003Cp>In sets he is normally placed among the seniors, frequently near Zhang Guolao, and in arrangements that imply a hierarchy he and Lü Dongbin often occupy the most prominent positions — Lü because of his cult, Zhongli because of his seniority as teacher.\u003C\u002Fp>\u003Cp>In the frequently painted subject of the eight crossing the sea, he uses the fan.\u003C\u002Fp>\u003Ch2>Zhongli Quan as a Patriarch of Internal Alchemy\u003C\u002Fh2>\u003Cp>His institutional position rests on internal alchemy and on Quanzhen.\u003C\u002Fp>\u003Cp>Internal alchemy relocated the operation of the older external alchemy inside the body and reread the mineral vocabulary as metaphor. External alchemy had taken mineral ingestion entirely seriously for centuries and had killed people, including emperors; the internal turn in the Tang and Song was driven partly by that record. A tradition making so large a reinterpretation needed authorities to stand behind it, and Zhongli Quan with Lü Dongbin became the standard pair to which transmission was traced.\u003C\u002Fp>\u003Cp>Texts attributed to him include a work setting out the stages of practice in an ordered sequence and the dialogue text mentioned above. Attribution in this literature is traditional and is generally later than the figure to whom it is assigned; the point of attributing a text to Zhongli Quan was to place it in a line, not to make a claim about authorship in the modern sense.\u003C\u002Fp>\u003Cp>The Quanzhen school, founded in the twelfth century, formalised all of this by naming a set of northern patriarchs in which he occupies the second position, preceded by the figure said to have taught him and followed by Lü Dongbin, then a further transmitter, then Wang Chongyang. This list is the reason his name appears in monastery halls across China.\u003C\u002Fp>\u003Cp>This site describes internal alchemy historically and structurally. It provides no instructions, does not present traditional physiological claims as fact, and endorses no teacher or school.\u003C\u002Fp>\u003Ch2>Where Zhongli Quan Appears\u003C\u002Fh2>\u003Cp>Zhongli Quan occupies two quite different kinds of place, and distinguishing them is useful.\u003C\u002Fp>\u003Cp>The first is decorative. Sets of the eight appear on temple roof ridges and gable ends, on carved panels above doorways, on painted beams, on screens, furniture and porcelain, on embroidered hangings and New Year prints. In these he is one of eight, identified by the fan and the bare belly, and the set as a whole functions as an auspicious motif rather than as an object of worship.\u003C\u002Fp>\u003Cp>The second is institutional. As a named patriarch of Quanzhen he appears in halls dedicated to the lineage, in the tablets and portrait sets that record transmission, and in the ordination and precept documents that name the line. This is a different order of presence: it is not ornament, it is record.\u003C\u002Fp>\u003Cp>Very few figures occupy both registers. Lü Dongbin does, more fully than anyone. Zhongli Quan does, though his institutional presence is stronger than his popular one — the reverse of the usual pattern, and a direct consequence of his position as teacher rather than as a recipient of petitions.\u003C\u002Fp>\u003Cp>On stage he is a stock character in the auspicious pieces where the eight attend a celebration in the heavens, and he is the deliverer in the plays about Lü Dongbin's conversion and about Lan Caihe. Where a play needs a figure to arrive, test somebody and depart, he is the conventional choice.\u003C\u002Fp>\u003Ch2>Why Zhongli Quan’s Role as Teacher Matters\u003C\u002Fh2>\u003Cp>Zhongli Quan's prominence illustrates something structural about Taoism that is easy to miss.\u003C\u002Fp>\u003Cp>Taoism has no pope, no synod and no central body that can certify a teaching as orthodox. Legitimacy therefore runs through lineage: a documented line of transmission from master to disciple. In such a system the most valuable thing a tradition can possess is a credible name at the head of its list, and the most valuable thing a figure can do is teach someone whose own line survived.\u003C\u002Fp>\u003Cp>This inverts the usual relationship between fame and achievement. Lü Dongbin is far more widely worshipped, has more temples and generated a far larger body of text. But Zhongli Quan holds the senior position, because transmission runs downward and the earlier name outranks the later one regardless of popular following.\u003C\u002Fp>\u003Cp>It also explains the shape of Taoist biography generally. Accounts of practitioners are preoccupied with naming teachers, and generation poems exist so that a monk's religious name encodes his position in a line. Office comes first and biography is added later. Zhongli Quan is a clear case: the office is that of first teacher of internal alchemy, and the biography — the Han general, the defeat, the mountain encounter — was supplied afterwards to fill it.\u003C\u002Fp>\u003Cblockquote>\u003Cp>\u003Cstrong>Sources and limits.\u003C\u002Fstrong> This page draws on Song narrative and alchemical material attributed to or concerning Zhongli Quan, Quanzhen lineage documents naming the northern patriarchs, studies of the formation of internal alchemy, and surveys of the Eight Immortals as a decorative and dramatic subject. The Han dynasty dating is traditional rather than historical, and textual attributions are reported as traditional. No practice instructions are given and no teacher or school is endorsed.\u003C\u002Fp>\u003C\u002Fblockquote>\u003Ch2>Key Points About Zhongli Quan\u003C\u002Fh2>\u003Cul>\u003Cli>\u003Cp>Zhongli is a genuine two-character surname and Quan is the given name; \u003Cem>Han Zhongli\u003C\u002Fem> means \"Zhongli of the Han\", and reading \u003Cem>Han\u003C\u002Fem> as a surname is a common error in Chinese as well as in translation.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>That misparsing shows the figure travelled through performance and speech rather than through documents, which is how most people met the Eight Immortals.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>His epithet Zhengyang, \"aligned yang\", pairs doctrinally with Lü Dongbin's Chunyang, \"pure yang\": teacher and disciple named for two stages of one process.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Tradition makes him a defeated Han general, but the substantial material is Song and the figure is a construction of the period when internal alchemy was taking shape.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Placing a defeated general at the head of the line puts failure at the origin of the tradition's most technical practice.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>He converts Lü Dongbin by lending him a pillow rather than by arguing — a demonstration about scale, not a sermon about morality — then sets ten trials of ordinary character.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>He is shown large and bare-chested with an exposed belly, hair in two topknots, carrying a large palm-leaf fan and sometimes a peach.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>Quanzhen names him second among its northern patriarchs, which is why his name appears in monastery halls across China.\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>He outranks the far more widely worshipped Lü Dongbin because transmission runs downward: the earlier name is senior regardless of popular following. Office comes first, biography is added later.\u003C\u002Fp>\u003C\u002Fli>\u003C\u002Ful>","\u003Cp>鍾離權是這一組中的師者。其餘七位以自身遭遇著稱，而他以對別人做過的事著稱：他是度化呂洞賓的那一位，並經由這次傳授成為內丹的立教權威之一。\u003C\u002Fp>\u003Cp>他也是這一組中名字最常被講錯的一位，在漢語裡與在譯文裡同樣如此。把名字弄對是件小事，卻通向一件大事，因為這處混淆顯示了這些人物實際是怎樣流傳的。\u003C\u002Fp>\u003Ch2>鍾離權的名字為何常被誤讀\u003C\u002Fh2>\u003Cp>他姓\u003Cstrong>鍾離\u003C\u002Fstrong>，這是一個真實的複姓，名\u003Cstrong>權\u003C\u002Fstrong>。他常被稱作\u003Cstrong>漢鍾離\u003C\u002Fstrong>，其中“漢”是朝代標記，意為“漢代的鐘離”，因為傳統把他定為漢人。\u003C\u002Fp>\u003Cp>常見的錯誤是把這三個音節讀成“姓＋名”，於是得出一位姓漢、名鍾離的人。這一錯誤在漢語的通俗用法裡也照樣發生，不只在譯文裡。一旦如此，複姓消失了，朝代的指示也丟了。\u003C\u002Fp>\u003Cp>這件事之所以要緊，是因為它告訴你：這個人物是靠口頭與戲臺流傳的，而不是靠文本。經由文書流傳的名字保持其斷句；經由演出與交談流傳的名字會被重新分析。八仙到達大多數人是經由戲、年畫與說唱，而他們的名字帶著這條路徑的痕跡。\u003C\u002Fp>\u003Cp>他另有稱號\u003Cstrong>正陽\u003C\u002Fstrong>，即“正的陽”。這是一個丹道術語，不是人名，而它與呂洞賓的稱號\u003Cstrong>純陽\u003C\u002Fstrong>之間的關係是顯然的。這一對稱號是教義性的：師與徒各以同一過程的兩個階段為名。\u003C\u002Fp>\u003Cp>複姓在中國本不罕見——鍾離、司馬、上官、歐陽皆是——但在口頭流傳中最容易被拆錯。類似的情形也見於其他神明的名號：本是官稱的被當成名字，本是地名的被當成姓氏。若在廟裡看到名號與你所知不合，多半不是廟錯了，而是同一個名字沿兩條路徑走了很久。\u003C\u002Fp>\u003Ch2>文獻如何記載鍾離權\u003C\u002Fh2>\u003Cp>傳統把他定為漢代的將領，戰敗後逃入山中，在那裡遇到一位師者，受授得道之術。有些版本說他曾是官員之子；有些說他出生時有異兆。通常說他所受的傳授來自一位被列為全真第一祖的人物。\u003C\u002Fp>\u003Cp>這些都不見於漢代文獻。關於他的成規模的書面材料屬宋，託名於他的文本屬宋或更晚。現代研究把“漢”的歸屬視為傳統的年代標記而非歷史年代，並把這個人物視為唐宋之際的構造——那正是內丹成形、需要權威的時期。\u003C\u002Fp>\u003Cp>本站對這類事直說，而不把神異傳說當作史錄。缺少可核的生平並不減損他的重要性，因為他的重要性從來不在傳記。他所起的作用是一條傳承的起點，而一條傳承所需要的是名單之首的一個名字，不是一份有據可查的履歷。\u003C\u002Fp>\u003Cp>那份武將的出身值得注意，但要注意的是它做了什麼，而不是它是否發生過。一位戰敗的將領，是一個世間事業徹底崩塌的人。把他放在鏈條的第一環，等於把“失敗”放在這一傳統最技術性的一套修法的起點上。\u003C\u002Fp>\u003Cp>另需說明，“東華帝君”一類更早的祖師名號，其歷史依據比鍾離權還要薄，基本上是為了給法脈補足源頭而設的位置。這不是造假：在一個以傳承定正當性的系統裡，把源頭一直上推到某位不可考的仙真，是標準做法。讀這類名單時，宜把它當作制度性的宣告，而不是當作履歷表。\u003C\u002Fp>\u003Ch2>鍾離權作為呂洞賓之師\u003C\u002Fh2>\u003Cp>他的核心角色是度化呂洞賓，那是整個八仙故事群中最好的一段敘事。\u003C\u002Fp>\u003Cp>在通行的版本里，他在客店遇到呂洞賓——一位求取功名的應試者。黃米將熟之際，他借給這位年輕人一隻枕頭。呂睡去，夢見完整的一生成功——中第、高官、婚娶、兒孫、財富——隨後是讒謗、失勢、親人死亡、貧困與死。他醒來，黃米還沒熟。\u003C\u002Fp>\u003Cp>這套教法值得注意。他不辯論。他安排對方親自經歷一遍，讓對方自己得出結論，而那個結論是關於尺度而不是關於道德的：成功與敗亡的整條弧線，所佔的時間不到煮一鍋米。這是演示，不是說教，也為後世大量道教度化敘事定下了範式。\u003C\u002Fp>\u003Cp>他隨後為呂設下一連串考驗，習稱十試，所試是尋常挑逗下的品性——被誣、失財、受辱、遭威脅、喪親、看似受了欺騙。其中沒有苦行的比賽，也沒有法術的比試。呂以不生怨恨、不作計算的方式應對而過，遂受傳授。\u003C\u002Fp>\u003Cp>這一對在道教著述中成為固定的組合。以他們兩姓合成的那個詞，是指稱追溯到他們的內丹傳承的標準說法，而一部相當重要的宋代文本，即以師徒問答的形式陳述他們的教法。\u003C\u002Fp>\u003Cp>順帶一提，“鍾呂”這一合稱在丹道文獻中份量很重，後世許多內丹著作都以承接鍾呂自稱。這也意味著託名的數量極大：一部書若署“鍾離權授、呂洞賓述”，通常只說明作者要把自己放進哪條線，而不說明成書年代。判斷這類文本，須靠語言、術語與引用，而不能靠署名。\u003C\u002Fp>\u003Ch2>怎樣辨識鍾離權\u003C\u002Fh2>\u003Cp>他的相貌鮮明可靠。\u003C\u002Fp>\u003Cp>他被畫作\u003Cstrong>體格壯大、赤上身、露腹\u003C\u002Fstrong>，這是最直接的辨識點。發多束作兩個頂髻或兩側髽髻，有時散亂不整。他常有滿臉鬍鬚。這副身形與衣著的隨便，標明他是這一組中偏武的一位，也有意與曹國舅的官服、呂洞賓計程車人帽形成對照。\u003C\u002Fp>\u003Cp>他持\u003Cstrong>扇\u003C\u002Fstrong>，一般是棕葉或蕉葉的大扇，不是摺扇。傳說中此扇能起死回生，能生風致雲；在構圖上，它是使人一眼認出他的物件。有時他還持桃，那是中國表示長壽的標準標記。\u003C\u002Fp>\u003Cp>成組時他一般被列在年長者之中，常與張果老相鄰；在暗示位次的排法裡，他與呂洞賓往往佔據最顯要的位置——呂因其信仰，鍾離因其作為師者的輩分。\u003C\u002Fp>\u003Cp>在常被描繪的八仙過海題材中，他用那把扇。\u003C\u002Fp>\u003Ch2>鍾離權作為內丹祖師的地位\u003C\u002Fh2>\u003Cp>他的制度位置建立在內丹與全真之上。\u003C\u002Fp>\u003Cp>內丹把更早的外丹的操作移入體內，並把礦物的詞彙改讀為隱喻。外丹曾數百年間把服食礦物完全當真，並致人死亡，其中包括數位皇帝；唐宋間的“向內轉”部分即由這一記錄推動。一個作出如此大幅重釋的傳統，需要有權威在其背後，而鍾離權與呂洞賓遂成了傳承所追溯的標準一對。\u003C\u002Fp>\u003Cp>託名於他的文本包括一部按次第陳述修法階段的著作，以及上文提到的問答之書。這類文獻中的託名屬傳統做法，且一般晚於所託之人；把一部書歸於鍾離權，用意是把它放進一條線裡，不是就現代意義上的著作權提出主張。\u003C\u002Fp>\u003Cp>十二世紀創立的全真派把這一切制度化，列出一組北方祖師，他在其中居第二位，其前是據說教他的那位，其後是呂洞賓，再後是又一位傳人，然後是王重陽。這份名單正是他的名字出現在全國宮觀殿堂中的原因。\u003C\u002Fp>\u003Cp>本站以歷史與結構的方式描述內丹，不提供任何操作指導，不把傳統的生理主張當作事實，也不推薦任何教師或門派。\u003C\u002Fp>\u003Cp>關於那把扇，還可注意其材質：棕葉或蕉葉的大扇是南方極常見的日用之物，與鐵柺李的葫蘆一樣，取自日常。中國宗教影像很少另造器物，多是把手邊的東西賦予功能。這使影像好記，也使它在不同階層之間通行無阻。\u003C\u002Fp>\u003Ch2>鍾離權出現在哪裡\u003C\u002Fh2>\u003Cp>鍾離權佔據兩類很不相同的位置，把它們分開是有用的。\u003C\u002Fp>\u003Cp>第一類是裝飾性的。成組的八仙出現在廟宇屋脊與山牆、門楣的雕板、彩繪梁枋、屏風、傢俱與瓷器、繡件與年畫上。在這些地方他是八人之一，以扇與露腹辨識，而整組作為吉慶圖案起作用，不是祭拜的物件。\u003C\u002Fp>\u003Cp>第二類是制度性的。作為全真列名的祖師，他出現在奉祀本派傳承的殿中，出現在記錄傳承的牌位與祖師像中，也出現在列舉法脈的受度與傳戒文書裡。這是另一種性質的存在：不是裝飾，而是記錄。\u003C\u002Fp>\u003Cp>能同時佔據這兩個層面的人物很少。呂洞賓能，而且比誰都完整。鍾離權也能，不過他的制度性存在強於其民間存在——這與通常的情形相反，也直接來自他作為師者、而非作為受請物件的位置。\u003C\u002Fp>\u003Cp>在戲臺上，他是“八仙赴天上壽宴”一類吉慶戲中的定型角色，也是關於呂洞賓度化與關於藍采和的戲裡那位度人者。凡戲中需要一個人物到場、試人、然後離去，他就是慣用的人選。\u003C\u002Fp>\u003Cp>這一點也解釋了八仙內部為何會有位次之爭而無定論。民間按香火排，宮觀按法脈排，戲班按角色輕重排，工匠按構圖方便排。四套標準各自合理，結果就是不同來源給出的次序常不一致。遇到這種不一致，不必找出哪個是對的，倒可以問一句：這是誰按什麼標準排的。\u003C\u002Fp>\u003Ch2>鍾離權的師者身份為何重要\u003C\u002Fh2>\u003Cp>鍾離權的顯要地位，說明了道教中一件結構性的、容易被忽略的事。\u003C\u002Fp>\u003Cp>道教沒有教皇，沒有宗教會議，也沒有中央機構能認定某種教法為正統。因此正當性經由傳承成立：一條有記錄的師徒授受線索。在這樣的系統裡，一個傳統最有價值的所有物，是名單之首一個可信的名字；而一個人物最有價值的作為，是教出一個其自身法脈存留下來的人。\u003C\u002Fp>\u003Cp>這顛倒了名聲與成就之間的通常關係。呂洞賓被奉祀得廣得多，廟宇更多，產生的文本也多得多。但鍾離權佔的是上位，因為傳承是向下走的，而在先的名字不論民間信眾多少，位次都在後者之上。\u003C\u002Fp>\u003Cp>這也解釋了道教傳記的整體形狀。關於修行者的記述格外重視列舉師承，而派詩之所以存在，就是為了讓一位道士的法名直接標明他在傳承中的位次。職位在先，傳記後補。鍾離權是一個清楚的例子：職位是“內丹的第一位師者”，而傳記——漢代將領、戰敗、山中相遇——是事後被補上去填這個位置的。\u003C\u002Fp>\u003Cblockquote>\u003Cp>\u003Cstrong>資料與限度。\u003C\u002Fstrong>本頁依據宋代託名於鍾離權或與之相關的敘事與丹道材料、全真列舉北方祖師的傳承文獻、關於內丹形成的研究，以及關於八仙作為裝飾與戲劇題材的綜述。漢代的年代歸屬屬傳統說法而非歷史年代，文本的託名亦按傳統說法呈現。本頁不提供任何修煉指導，不推薦任何教師或門派。\u003C\u002Fp>\u003C\u002Fblockquote>\u003Ch2>鍾離權要點\u003C\u002Fh2>\u003Cul>\u003Cli>\u003Cp>鍾離是真實的複姓，權是名；“漢鍾離”意為“漢代的鐘離”，把“漢”讀作姓氏在漢語中同樣是常見的錯誤。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>這處斷句之誤顯示該人物是經由演出與口頭而非文書流傳的，而這正是多數人認識八仙的途徑。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>其稱號“正陽”與呂洞賓的“純陽”在教義上成對：師與徒各以同一過程的兩個階段為名。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>傳統稱其為戰敗的漢將，但成規模的材料屬宋，人物是內丹成形時期的構造。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>把一位戰敗的將領放在法脈之首，等於把“失敗”放在這一傳統最技術性修法的起點。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>他以借枕而非辯論度化呂洞賓——那是關於尺度的演示，不是關於道德的說教——隨後設十試以驗尋常品性。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>其像體格壯大、赤上身露腹，發作兩髻，持棕葉大扇，有時持桃。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>全真把他列為北方祖師第二位，這是他的名字出現在全國宮觀殿堂中的原因。\u003C\u002Fp>\u003C\u002Fli>\u003Cli>\u003Cp>他的位次在信眾遠多於他的呂洞賓之上，因為傳承向下走，在先者為尊。職位在先，傳記後補。\u003C\u002Fp>\u003C\u002Fli>\u003C\u002Ful>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FTKKAF2uzr7ZAuIBXHg1w.webp",1920,600,{"en":798,"zh":799},"Ink painting of Zhongli Quan, a heavily bearded immortal in pale robes seated beneath a pine holding a large feathered fan, with a temple and misty mountains behind.","水墨畫中，鍾離權長鬚濃密，身著淺色長袍，坐在松樹下，手持一把大羽扇，身後是宮觀與雲霧繚繞的群山。",{"en":798,"zh":799},"banner","list",{"en":804,"zh":805},"Zhongli Quan: Eight Immortals Patriarch and Lü Dongbin’s Teacher","鍾離權：呂洞賓之師、八仙祖師與全真北五祖",{"en":807,"zh":808},"Learn why Zhongli Quan is Lü Dongbin’s teacher, how his name is often misread, and how Quanzhen genealogy made him a patriarch of internal alchemy.","認識鍾離權作為呂洞賓之師與內丹祖師的地位，理解複姓誤讀、師徒傳說、八仙形象及全真北五祖譜系。",[],{"data":811},[812,888,990,1081],{"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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