[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"site-nav-reference-en":3,"site-nav-zh":4,"site-nav-zh-all-arts":289,"event-categories-zh":902,"site-settings":1145,"node-zh-arts\u002Fchinese-poetry-literature\u002Fchinese-book-page-layout-frames-columns-fishtails-centre-fold":1187,"live-course-events":1220},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","道学入门",9,{"to":18,"label":19,"label_zh":20,"n":21},"\u002Fdao\u002Fyi-jing","I Ching","易经",7,{"to":23,"label":24,"label_zh":25,"n":16},"\u002Fdao\u002Fdao-de-jing","Tao Te 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Chi)","太极拳",{"to":66,"label":67,"label_zh":68,"n":69},"\u002Fmartial-arts\u002Fbaguazhang","Baguazhang: Circle Walking, Palm Changes and Movement","八卦掌：走圈、换掌与身法变化",5,{"to":71,"label":72,"label_zh":73,"n":69},"\u002Fmartial-arts\u002Fxingyiquan","Xingyiquan: Structure, Intention and Direct Training","形意拳：结构、意念与直接训练",{"to":75,"label":76,"label_zh":77,"n":21},"\u002Fmartial-arts\u002Fweapons","Wudang Sword and Weapons: History, Practice and Context","武当剑与兵器：历史、练习与文化语境",{"to":79,"label":80,"label_zh":81,"n":21},"\u002Fmartial-arts\u002Ftraining-practice","Training and Practice: Building a Sustainable Wudang Routine","训练与习练：建立可持续的武当练习",{"to":83,"label":84,"label_zh":85,"children":86},"\u002Fwellness","Wellness","养生",[87,91,95,99,103,107,111,115,119],{"to":88,"label":89,"label_zh":90,"n":21},"\u002Fwellness\u002Fqigong","Qigong","气功",{"to":92,"label":93,"label_zh":94,"n":60},"\u002Fwellness\u002Fherbal-healing","Chinese Herbal 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Wudang","武当日常",[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","关于 Wudang.Org",{"to":278,"label":279,"label_zh":280},"\u002Fstart-here","Start Here","从这里开始",{"to":282,"label":283,"label_zh":284},"\u002Ffind-a-practice","Find a Practice","找到适合你的修习",{"to":286,"label":287,"label_zh":288},"\u002Fteachers","Our 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Works (Bieji): How an Author’s Writings Become a Book","中国别集导读：一位作者的诗文怎样成为一部书",{"to":393,"label":394,"label_zh":395},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-guwen-pianwen-ancient-style-parallel-prose-rhythm-argument","Guwen and Pianwen: Two Ways of Shaping Classical Chinese Prose","古文与骈文导读：中国古典散文的两种组织方式",{"to":397,"label":398,"label_zh":399},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-eight-legged-essay-baguwen-examination-classics-composition","The Eight-Legged Essay (Baguwen): How an Examination Form Organized Classical Thought","八股文导读：科举文章怎样组织经典义理",{"to":401,"label":402,"label_zh":403},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-examination-compounds-gongyuan-cells-candidate-experience","Chinese Examination Compounds (Gongyuan): How Architecture Shaped the Candidate Experience","中国贡院导读：考场空间怎样塑造士子的应试体验",{"to":405,"label":406,"label_zh":407},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-academies-shuyuan-books-teaching-ritual-landscape","Chinese Academies (Shuyuan): How Books, Teaching and Ritual Made a Scholarly Place","中国书院导读：书籍、讲学与礼仪怎样构成学术空间",{"to":409,"label":410,"label_zh":411},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-private-libraries-cangshulou-collectors-catalogues-transmission","Chinese Private Libraries (Cangshulou): How Collectors Built Paths for Books to Survive","中国藏书楼导读：私人收藏怎样为典籍延续开辟路径",{"to":413,"label":414,"label_zh":415},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bookshops-book-markets-publishers-routes-readers","Chinese Bookshops and Book Markets: How Books Became Goods, Routes and Encounters","中国书肆与书市导读：书籍怎样成为商品、路线与相遇",{"to":417,"label":418,"label_zh":419},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading","Illustrated Chinese Books: How Woodblock Images Shaped the Page","中国古籍插图导读：木刻图像怎样塑造书页",{"to":421,"label":422,"label_zh":423},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge","Chinese Bibliographies (Mulu): How Catalogues Classified Books and Knowledge","中国目录学导读：书目怎样分类书籍与知识",{"to":425,"label":426,"label_zh":427},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions","Chinese Textual Collation (Jiaokan): How Scholars Read Variant Texts","中国校勘导读：怎样阅读异文与文本传本",{"to":429,"label":430,"label_zh":431},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-commentaries-subcommentaries-zhu-jian-shu-layered-reading","Chinese Commentaries and Subcommentaries: How Notes Became Part of the Text","中国注疏导读：注、笺、疏怎样层层塑造经典阅读",{"to":433,"label":434,"label_zh":435},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-marginalia-meipi-pangpi-pijiao-reading-history","Marginalia in Chinese Books: How Readers Wrote Back","中国古籍批注导读：读者怎样在书页上留下阅读史",{"to":437,"label":438,"label_zh":439},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-ownership-seals-cangshuyin-provenance-impressions","Book-Ownership Seals in China: Reading Provenance in Red","中国古籍藏书印导读：怎样从朱印追索递藏",{"to":441,"label":442,"label_zh":443},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-paper-fibres-sizing-repairs-dating-evidence","Paper in Chinese Books: Fibres, Sizing, Repairs and the Limits of Dating","中国古籍用纸导读：纤维、施胶、修补与断代边界",{"to":445,"label":446,"label_zh":447},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-page-layout-frames-columns-fishtails-centre-fold","Inside the Chinese Book Page: Frames, Columns, Fishtails and the Centre Fold","中国古籍版式导读：版框、界行、鱼尾与版心",{"to":449,"label":450,"label_zh":451},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-printers-marks-paiji-kanji-publishing-claims","Printer’s Marks in Chinese Books: Reading Paiji, Kanji and Publishing Claims","中国古籍牌记与刊记导读：怎样辨认刊刻、藏版与书坊信息",{"to":453,"label":454,"label_zh":455},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-movable-type-printing-clay-wood-metal-reuse","Movable Type in Chinese Book History: Clay, Wood, Metal and Reuse","中国古籍活字印刷导读：泥活字、木活字、金属活字与复用",{"to":457,"label":458,"label_zh":459},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-printing-workflow-writing-carving-inking-impressions","How Chinese Woodblock Printing Worked: Writing, Carving, Inking and Impressions","中国雕版印刷工艺导读：写样、上版、刻版、刷墨与印纸",{"to":461,"label":462,"label_zh":463},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-woodblock-lifecycle-storage-repair-recutting-later-impressions","After the First Printing: How Chinese Woodblocks Were Stored, Repaired and Reused","初印之后：中国雕版的储藏、递修、重刻与后印",{"to":465,"label":466,"label_zh":467},"\u002Farts\u002Fchinese-poetry-literature\u002Fwho-paid-chinese-book-printing-patronage-profit-donors-funding","Who Paid to Print? Patronage, Profit and Collective Funding in Chinese Book History","谁出资刻书？中国书籍史中的官刻、私资、坊刻与募资",{"to":469,"label":470,"label_zh":471},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-readers-got-books-imperial-china-buying-borrowing-gifts-copying","How Readers Got Books in Imperial China: Buying, Borrowing, Gifting and Copying","古代中国读者怎样获得书籍？购书、借阅、馈赠与抄写",{"to":473,"label":474,"label_zh":475},"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-classical-chinese-poetry-was-heard-recitation-chanting-historical-sound","How Classical Chinese Poetry Was Heard: Recitation, Chanting and Historical Sound","古典诗歌怎样被听见？诵读、吟咏与历史声音",{"to":477,"label":478,"label_zh":479},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-social-exchange-gifts-farewells-replies-rhyme-matching","Poetry as Social Exchange: Gifts, Farewells, Replies and Rhyme-Matching in China","诗歌作为交往：赠答、送别、唱和与次韵",{"to":481,"label":482,"label_zh":483},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-gatherings-themes-rhyme-lots-linked-composition","How Chinese Poetry Gatherings Worked: Themes, Rhyme Lots and Linked Composition","中国古典诗歌雅集怎样运作：命题、分韵与联句",{"to":485,"label":486,"label_zh":487},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-revision-drafts-variants-editorial-layers","How Chinese Poems Changed: Drafts, Variants and Editorial Layers","中国古典诗歌怎样改定与流传：草稿、异文与编辑层次",{"to":489,"label":490,"label_zh":491},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-attribution-anonymity-disputed-authorship","Who Wrote This Poem? Attribution, Anonymity and Disputed Authorship in Chinese Poetry","这首诗是谁写的？中国古典诗歌的署名、佚名与作者争议",{"to":134,"label":135,"label_zh":136,"children":493},[494,498,502,506,510,514,518,522,526,530,534,538,542,546,550,554,558],{"to":495,"label":496,"label_zh":497},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origins and History of Chinese Calligraphy","中国书法的源流与历史",{"to":499,"label":500,"label_zh":501},"\u002Farts\u002Fcalligraphy\u002Fthe-five-script-styles","The Five Script Styles in Chinese Calligraphy","中国书法的五种主要书体",{"to":503,"label":504,"label_zh":505},"\u002Farts\u002Fcalligraphy\u002Fcalligraphy-as-taoist-cultivation","Calligraphy and Taoist Cultivation: Text, Attention and Practice","书法与道家修养：读懂文字，专注落笔",{"to":507,"label":508,"label_zh":509},"\u002Farts\u002Fcalligraphy\u002Ffour-treasures-of-the-study","The Four Treasures of the Study: Choosing and Using Calligraphy Materials","文房四宝：认识、选择与使用笔墨纸砚",{"to":511,"label":512,"label_zh":513},"\u002Farts\u002Fcalligraphy\u002Fbrush-technique-living-line","Chinese Calligraphy Brushwork: Reading and Practising the Living Line","书法笔法：观察与练习有生气的线条",{"to":515,"label":516,"label_zh":517},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Chinese Calligraphy Masters and Reading Paths","中国书法名家与阅读路径",{"to":519,"label":520,"label_zh":521},"\u002Farts\u002Fcalligraphy\u002Fchinese-seals-and-seal-carving","Chinese Seals and Seal Carving: Script, Surface and Impression","中国印章与篆刻：文字、印面与钤印",{"to":523,"label":524,"label_zh":525},"\u002Farts\u002Fcalligraphy\u002Fchinese-ink-rubbings","Chinese Ink Rubbings: Stone, Paper and the Life of Calligraphy","中国传拓：石刻、纸墨与书法的流传",{"to":527,"label":528,"label_zh":529},"\u002Farts\u002Fcalligraphy\u002Fchinese-inkstones","Chinese Inkstones: Stone, Carving and the Scholar’s Desk","中国砚台：石材、雕刻与文房生活",{"to":531,"label":532,"label_zh":533},"\u002Farts\u002Fcalligraphy\u002Fchinese-inksticks","Chinese Inksticks: Soot, Moulds and the Scholar’s Desk","中国墨锭：烟料、墨模与文房生活",{"to":535,"label":536,"label_zh":537},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-paper","Chinese Calligraphy Paper: Xuan, Sizing and the Life of a Sheet","中国书画纸：宣纸、施胶与纸张的一生",{"to":539,"label":540,"label_zh":541},"\u002Farts\u002Fcalligraphy\u002Fchinese-calligraphy-brushes","Chinese Calligraphy Brushes: Hair, Handle and the Working Point","中国毛笔：毫料、笔管与笔锋",{"to":543,"label":544,"label_zh":545},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-rests","Chinese Brush Rests: Mountains, Materials and the Scholar’s Desk","中国笔架：山形、材质与文人书案",{"to":547,"label":548,"label_zh":549},"\u002Farts\u002Fcalligraphy\u002Fchinese-water-droppers-scholars-desk","Chinese Water Droppers: Flow, Form and the Scholar’s Desk","中国水滴：控水、造型与文人书案",{"to":551,"label":552,"label_zh":553},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-pots-materials-scholars-desk","Chinese Brush Pots: Function, Material and the Scholar’s Desk","中国笔筒：收纳、材质与文人书案",{"to":555,"label":556,"label_zh":557},"\u002Farts\u002Fcalligraphy\u002Fchinese-brush-washers-water-form-scholars-desk","Chinese Brush Washers: Water, Form and the Scholar’s Desk","中国笔洗：洗笔、造型与文人书案",{"to":559,"label":560,"label_zh":561},"\u002Farts\u002Fcalligraphy\u002Fchinese-paperweights-form-material-scholars-desk","Chinese Paperweights: Form, Material and the Scholar’s Desk","中国镇纸：形制、材质与文人书案",{"to":139,"label":140,"label_zh":141,"children":563},[564,568,572,576,580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712,716],{"to":565,"label":566,"label_zh":567},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Tea, Meditation and Taoist Practice","茶、静坐与道家修习",{"to":569,"label":570,"label_zh":571},"\u002Farts\u002Ftea-ceremony\u002Forigins-history-of-tea-culture","Origins and History of Chinese Tea Culture","中国茶文化的源流与历史",{"to":573,"label":574,"label_zh":575},"\u002Farts\u002Ftea-ceremony\u002Fthe-way-of-tea","The Way of Tea: Attention, Care and Hospitality","茶道：在一杯茶中练习用心与待客",{"to":577,"label":578,"label_zh":579},"\u002Farts\u002Ftea-ceremony\u002Ftypes-of-tea-and-character","Six Chinese Tea Families: Processing and Taste","六大茶类：从制法到品饮",{"to":581,"label":582,"label_zh":583},"\u002Farts\u002Ftea-ceremony\u002Futensils-and-gongfu-method","Gongfu Tea: Utensils and a Flexible Method","工夫茶：茶具与灵活冲泡法",{"to":585,"label":586,"label_zh":587},"\u002Farts\u002Ftea-ceremony\u002Ffurther-reading-and-practice","Learning Chinese Tea: Reading and Practice","学茶入门：阅读与品饮练习",{"to":589,"label":590,"label_zh":591},"\u002Farts\u002Ftea-ceremony\u002Fwater-for-chinese-tea","Water for Chinese Tea: Springs, Minerals and a Practical Tasting Method","中国茶用水：山泉、矿物与实用对比方法",{"to":593,"label":594,"label_zh":595},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teaware-clay-glaze-form","Chinese Tea Ware: Clay, Porcelain, Glaze and the Uses of Form","中国茶器：胎土、瓷釉、造型与使用",{"to":597,"label":598,"label_zh":599},"\u002Farts\u002Ftea-ceremony\u002Fchinese-tea-caddies","Chinese Tea Caddies: Storage, Materials and the Traveling Leaf","中国茶叶罐：贮藏、材质与流动的茶叶",{"to":601,"label":602,"label_zh":603},"\u002Farts\u002Ftea-ceremony\u002Fsong-whisked-tea-powder-bowls-foam","Whisked Tea in Song China: Powder, Bowls and Foam","宋代点茶：茶末、茶盏与汤花",{"to":605,"label":606,"label_zh":607},"\u002Farts\u002Ftea-ceremony\u002Fyixing-teapots-clay-form-makers-marks","Yixing Teapots: Clay, Form and Reading the Maker’s Mark","宜兴紫砂壶：泥料、器形与款识",{"to":609,"label":610,"label_zh":611},"\u002Farts\u002Ftea-ceremony\u002Fcompressed-tea-cakes-bricks-trade-storage-object-reading","Compressed Tea in China: Cakes, Bricks and How to Read Them","中国紧压茶：茶饼、茶砖与辨读方法",{"to":613,"label":614,"label_zh":615},"\u002Farts\u002Ftea-ceremony\u002Ftea-horse-trade-networks-routes-markets-cultural-exchange","Tea–Horse Trade Networks: Routes, Markets and Cultural Exchange","茶马贸易网络：路线、市场与文化交流",{"to":617,"label":618,"label_zh":619},"\u002Farts\u002Ftea-ceremony\u002Ftea-landscapes-china-gardens-forests-terraces-living-knowledge","Tea Landscapes in China: Gardens, Forests, Terraces and Living Knowledge","中国茶景观：茶园、古茶林、梯田与活态知识",{"to":621,"label":622,"label_zh":623},"\u002Farts\u002Ftea-ceremony\u002Fpicking-tea-china-seasons-bud-leaf-standards-skilled-labour","Picking Tea in China: Seasons, Bud-and-Leaf Standards and Skilled Labour","中国采茶：季节、芽叶标准与劳作技艺",{"to":625,"label":626,"label_zh":627},"\u002Farts\u002Ftea-ceremony\u002Fwithering-tea-leaves-water-loss-time-first-transformation","Withering Tea Leaves: Water Loss, Time and the First Transformation","茶叶萎凋：失水、时间与采后初变",{"to":629,"label":630,"label_zh":631},"\u002Farts\u002Ftea-ceremony\u002Ffixing-tea-leaves-shaqing-heat-enzymes-turning-point","Fixing Tea Leaves (Shaqing): Heat, Enzymes and a Turning Point in Chinese Tea","茶叶杀青：热、酶活性与中国制茶的转折点",{"to":633,"label":634,"label_zh":635},"\u002Farts\u002Ftea-ceremony\u002Frolling-tea-leaves-rounian-pressure-shape-cell-disruption","Rolling Tea Leaves (Rounian): Pressure, Shape and Controlled Cell Disruption","茶叶揉捻：压力、形态与受控细胞破损",{"to":637,"label":638,"label_zh":639},"\u002Farts\u002Ftea-ceremony\u002Fdrying-tea-leaves-moisture-heat-stability-finished-tea","Drying Tea Leaves: Moisture, Heat and the Stability of Finished Tea","茶叶干燥：水分、热量与成茶稳定",{"to":641,"label":642,"label_zh":643},"\u002Farts\u002Ftea-ceremony\u002Fsorting-grading-tea-leaf-size-shape-grade-meaning","Sorting and Grading Tea: Leaf Size, Shape and What a Grade Really Means","茶叶筛分与分级：叶片大小、形态与等级的真正含义",{"to":645,"label":646,"label_zh":647},"\u002Farts\u002Ftea-ceremony\u002Ftea-blending-batch-construction-consistency-style-transparency","Tea Blending and Batch Construction: Consistency, Style and Transparent Labels","茶叶拼配与批次构建：稳定、风格与透明标示",{"to":649,"label":650,"label_zh":651},"\u002Farts\u002Ftea-ceremony\u002Ftea-oxidation-post-fermentation-enzymes-microbes-terms","Oxidation and Post-Fermentation in Tea: Enzymes, Microbes and Misleading Labels","茶叶氧化与后发酵：酶、微生物与容易混淆的标签",{"to":653,"label":654,"label_zh":655},"\u002Farts\u002Ftea-ceremony\u002Fyellow-tea-menhuang-moist-heat-time-tea-family","Yellow Tea and Menhuang: Moist Heat, Time and the Making of a Tea Family","黄茶与闷黄：湿热、时间与一类茶的形成",{"to":657,"label":658,"label_zh":659},"\u002Farts\u002Ftea-ceremony\u002Frefiring-roasting-tea-later-heat-aroma-finished-leaf","Re-Firing and Roasting Tea: Later Heat, Aroma and the Difference from Drying","茶叶复火与焙火：后段加热、香气及其与干燥的区别",{"to":661,"label":662,"label_zh":663},"\u002Farts\u002Ftea-ceremony\u002Fjasmine-tea-scenting-flowers-repeated-rounds-aroma-transfer","Jasmine Tea and Scenting: Flowers, Repeated Rounds and How Aroma Enters Tea","茉莉花茶与窨制：鲜花、多次窨香与茶叶如何吸收香气",{"to":665,"label":666,"label_zh":667},"\u002Farts\u002Ftea-ceremony\u002Ftea-sensory-evaluation-appearance-aroma-taste-score-limits","Tea Sensory Evaluation: Appearance, Aroma, Taste and the Limits of a Score","茶叶感官审评：外形、香气、滋味与分数的边界",{"to":669,"label":670,"label_zh":671},"\u002Farts\u002Ftea-ceremony\u002Fdoucha-song-tea-contests-whisked-tea-jian-bowls-modern-judging","Doucha: Tea Contests in Song China and the Limits of Modern Re-Creation","斗茶：宋代茶事竞赛与现代重现的边界",{"to":673,"label":674,"label_zh":675},"\u002Farts\u002Ftea-ceremony\u002Fbeiyuan-tribute-tea-song-court-labour-imperial-label","Beiyuan Tribute Tea: Song Court Taste, Skilled Labour and the Limits of ‘Imperial Tea’","北苑贡茶：宋代宫廷品味、制茶劳作与“御茶”标签的边界",{"to":677,"label":678,"label_zh":679},"\u002Farts\u002Ftea-ceremony\u002Freading-chinese-tea-classics-authorship-editions-recipe-limits","Reading Chinese Tea Classics: Authorship, Editions and the Limits of a ‘Recipe’","如何阅读中国茶书：作者、版本与“配方”式解读的边界",{"to":681,"label":682,"label_zh":683},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-poetry-social-worlds-metaphor-historical-evidence","Tea in Chinese Poetry: Social Worlds, Metaphor and the Limits of Literary Evidence","中国诗歌中的茶：社会交往、诗意表达与文学证据的边界",{"to":685,"label":686,"label_zh":687},"\u002Farts\u002Ftea-ceremony\u002Fchinese-teahouses-commerce-conversation-performance-urban-publics","Chinese Teahouses: Commerce, Conversation, Performance and Changing Urban Publics","中国茶馆：商业、交往、表演与变动中的城市公共生活",{"to":689,"label":690,"label_zh":691},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-painting-objects-social-worlds-visual-evidence","Tea in Chinese Painting: Objects, Social Worlds and the Limits of Visual Evidence","中国绘画中的茶：器物、社会空间与视觉证据的边界",{"to":693,"label":694,"label_zh":695},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-dream-of-the-red-chamber-hospitality-rank-labour-fiction","Tea in Dream of the Red Chamber: Hospitality, Rank, Labour and Fiction","《红楼梦》中的茶：待客、等级、劳动与小说叙事",{"to":697,"label":698,"label_zh":699},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-travel-writing-roads-hospitality-regional-evidence","Tea in Chinese Travel Writing: Roads, Hospitality and the Limits of an Itinerary","中国游记中的茶：道路、待客与行程证据的边界",{"to":701,"label":702,"label_zh":703},"\u002Farts\u002Ftea-ceremony\u002Ftea-in-chinese-letters-gifts-visits-friendship-private-writing","Tea in Chinese Letters: Gifts, Visits, Friendship and the Limits of ‘Private’ Writing","中国书信中的茶：馈赠、访友、人情与“私语”证据的边界",{"to":705,"label":706,"label_zh":707},"\u002Farts\u002Ftea-ceremony\u002Ftea-tax-monopoly-imperial-china-fiscal-records-daily-life","Tea, Tax and Monopoly in Imperial China: Reading Fiscal Records Without Mistaking Revenue for Daily Life","中国历代茶税与专卖：财政记录能告诉我们什么，又不能告诉我们什么",{"to":709,"label":710,"label_zh":711},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-local-gazetteers-place-production-local-knowledge","Tea in Chinese Local Gazetteers: Place, Production and the Limits of Local Knowledge","中国地方志中的茶：产地、生产与地方知识的边界",{"to":713,"label":714,"label_zh":715},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-materia-medica-names-preparations-medical-claims","Tea in Chinese Materia Medica: Names, Preparations and the Limits of Medical Claims","中国本草中的茶：名称、制法与医药记载的边界",{"to":717,"label":718,"label_zh":719},"\u002Farts\u002Ftea-ceremony\u002Ftea-chinese-buddhist-monastic-rules-ceremony-office-origin-stories","Tea in Chinese Buddhist Monastic Rules: Ceremony, Office and the Limits of Origin Stories","中国佛教清规中的茶：礼仪、职事与起源故事的边界",{"to":144,"label":145,"label_zh":146,"children":721},[722,726,730,734,738,742,746,750,754,758,762,766],{"to":723,"label":724,"label_zh":725},"\u002Farts\u002Fguqin\u002Forigins-history-of-the-guqin","A History of the Guqin: Objects, Texts and Living Music","古琴的历史：实物、文献与传习",{"to":727,"label":728,"label_zh":729},"\u002Farts\u002Fguqin\u002Fanatomy-of-the-guqin","How the Guqin Works: Strings, Body and Sound","古琴如何发声：琴弦、琴身与结构",{"to":731,"label":732,"label_zh":733},"\u002Farts\u002Fguqin\u002Fplaying-technique-and-notation","Playing the Guqin: Gesture, Notation and Interpretation","古琴怎样弹、怎样读谱：指法、减字谱与诠释",{"to":735,"label":736,"label_zh":737},"\u002Farts\u002Fguqin\u002Ffamous-melodies-and-stories","Guqin Melodies: Stories, Versions and Ways to Listen","听懂古琴名曲：故事、版本与聆听线索",{"to":739,"label":740,"label_zh":741},"\u002Farts\u002Fguqin\u002Fguqin-as-taoist-cultivation","Guqin and Daoist Cultivation: Listening, Practice and Limits","古琴与道家修养：聆听、练习与边界",{"to":743,"label":744,"label_zh":745},"\u002Farts\u002Fguqin\u002Ffurther-listening-and-study","Learning the Guqin: Listening, Sources and Finding a Teacher","怎样学古琴：聆听、资料与择师",{"to":747,"label":748,"label_zh":749},"\u002Farts\u002Fguqin\u002Fguqin-tables-playing-spaces","Guqin Tables and Playing Spaces: Support, Posture and Listening","古琴桌与弹琴空间：承托、坐姿与聆听",{"to":751,"label":752,"label_zh":753},"\u002Farts\u002Fguqin\u002Fhow-to-read-guqin-handbook-tablature-editions-dapu","How to Read a Guqin Handbook: Tablature, Editions and Dapu","如何读古琴谱：减字谱、版本与打谱",{"to":755,"label":756,"label_zh":757},"\u002Farts\u002Fguqin\u002Freading-guqin-lacquer-layers-crack-patterns-repair","Reading Guqin Lacquer: Layers, Crack Patterns and Repair","读懂古琴漆面：漆层、断纹与修缮",{"to":759,"label":760,"label_zh":761},"\u002Farts\u002Fguqin\u002Freading-guqin-inscriptions-seals-names-dates-provenance","Reading Guqin Inscriptions and Seals: Names, Dates and Provenance","读懂古琴铭款与印章：琴名、年代与流传",{"to":763,"label":764,"label_zh":765},"\u002Farts\u002Fguqin\u002Fguqin-forms-zhongni-banana-leaf-shapes","Guqin Forms: Reading Zhongni, Banana-Leaf and Other 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Painting","山水画：怎样读懂中国山水",{"to":785,"label":786,"label_zh":787},"\u002Farts\u002Fpainting\u002Fbirds-flowers-four-gentlemen","Birds, Flowers and the Four Gentlemen in Chinese Painting","中国画中的花鸟与四君子",{"to":789,"label":790,"label_zh":791},"\u002Farts\u002Fpainting\u002Fpainting-as-taoist-cultivation","Painting and Taoist Cultivation: Images, Ideas and Practice","绘画与道家修养：图像、观念与实践",{"to":793,"label":794,"label_zh":795},"\u002Farts\u002Fpainting\u002Fgreat-masters-further-study","Chinese Painting Masters: A Guided Path","中国画名家与进阶研习",{"to":797,"label":798,"label_zh":799},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-handscroll","How to Read a Chinese Handscroll: Sequence, Colophons and Seals","怎样观看中国手卷：展开顺序、题跋与印章",{"to":801,"label":802,"label_zh":803},"\u002Farts\u002Fpainting\u002Fchinese-fan-painting","Chinese Fan Painting: Shape, Brushwork and the Art of the Small Format","中国扇面书画：形制、笔墨与方寸之美",{"to":805,"label":806,"label_zh":807},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-painting-album","How to Read a Chinese Painting Album: Leaves, Sequence and Intimate Viewing","如何阅读中国画册页：开页、次序与案头观看",{"to":809,"label":810,"label_zh":811},"\u002Farts\u002Fpainting\u002Fchinese-scholars-rocks","Chinese Scholars’ Rocks: Stone, Display and Imagined Landscapes","中国文人赏石：石质、陈设与想象山水",{"to":813,"label":814,"label_zh":815},"\u002Farts\u002Fpainting\u002Fhow-to-read-chinese-hanging-scroll","How to Read a Chinese Hanging Scroll: Vertical Space, Mounting and Display","如何阅读中国立轴：纵向空间、装裱与陈设",{"to":817,"label":818,"label_zh":819},"\u002Farts\u002Fpainting\u002Fchinese-screens-space-painting","Chinese Screens: Space, Painting and the Art of the Fold","中国屏风：空间、图像与开合之艺",{"to":821,"label":822,"label_zh":823},"\u002Farts\u002Fpainting\u002Fmounting-chinese-painting","Mounting Chinese Painting: Silk Borders, Backing Papers and the Life of a Scroll","中国画装裱：绫边、托纸与卷轴的生命",{"to":825,"label":826,"label_zh":827},"\u002Farts\u002Fpainting\u002Fchinese-portrait-painting-likeness-role-ancestral-memory","Chinese Portrait Painting: Likeness, Role and Ancestral Memory","中国肖像画：形神、身份与祖先记忆",{"to":829,"label":830,"label_zh":831},"\u002Farts\u002Fpainting\u002Fthree-distances-chinese-landscape-painting","The Three Distances in Chinese Landscape Painting: High, Deep and Level Space","中国山水画的“三远”：高远、深远与平远",{"to":154,"label":155,"label_zh":156,"children":833},[834,838,842,846,850,854,858,862,866],{"to":835,"label":836,"label_zh":837},"\u002Farts\u002Fincense\u002Forigins-history-of-incense-culture","Origins and History of Chinese Incense Culture","中国香文化的源流与历史",{"to":839,"label":840,"label_zh":841},"\u002Farts\u002Fincense\u002Faromatic-materials-fragrant-woods","Aromatic Materials: Woods, Resins and Responsible Sourcing","香材指南：香木、树脂与负责任的来源",{"to":843,"label":844,"label_zh":845},"\u002Farts\u002Fincense\u002Fforms-and-art-of-appreciation","Incense Forms and the Art of Appreciation","香的形态与品香方法",{"to":847,"label":848,"label_zh":849},"\u002Farts\u002Fincense\u002Fincense-in-ritual-and-temple-life","Incense in Daoist Ritual and Temple Life","香在道教科仪与宫观生活中",{"to":851,"label":852,"label_zh":853},"\u002Farts\u002Fincense\u002Fincense-meditation-taoist-practice","Incense, Meditation and Taoist Practice","香、静坐与道家修习",{"to":855,"label":856,"label_zh":857},"\u002Farts\u002Fincense\u002Ffurther-reading-and-practice","Learning Chinese Incense: Reading and Practice","学习中国香文化：阅读与实践",{"to":859,"label":860,"label_zh":861},"\u002Farts\u002Fincense\u002Fchinese-incense-burners","Chinese Incense Burners: Bronze, Ceramic, Form and Context","中国香炉：青铜、陶瓷、形制与使用语境",{"to":863,"label":864,"label_zh":865},"\u002Farts\u002Fincense\u002Fchinese-incense-seals-fragrant-time","Chinese Incense Seals: Ash, Patterns and Fragrant Time","中国香篆：香灰、篆纹与芬芳计时",{"to":867,"label":868,"label_zh":869},"\u002Farts\u002Fincense\u002Fchinese-incense-sets-burner-box-vase-tools","Chinese Incense Sets: Burner, Box, Vase and Tools","中国香具三式：炉、盒、瓶与匙箸",{"to":158,"label":159,"label_zh":160,"children":871},[872,876,880,884,888,892,896],{"to":873,"label":874,"label_zh":875},"\u002Farts\u002Fflower-arrangement\u002Forigins-history-of-floral-art","A History of Chinese Flower Arrangement: Vessels, Pictures and Voices","中国插花史：器物、图像与文字中的花事",{"to":877,"label":878,"label_zh":879},"\u002Farts\u002Fflower-arrangement\u002Fprinciples-of-flower-arrangement","Chinese Flower Arrangement: Line, Balance and Ways of Looking","中国插花构图：线条、平衡与观看方法",{"to":881,"label":882,"label_zh":883},"\u002Farts\u002Fflower-arrangement\u002Fvessels-tools-and-composition","Choosing Flower Vessels and Tools: Form, Support and Care","选择花器与工具：形制、支撑和养护",{"to":885,"label":886,"label_zh":887},"\u002Farts\u002Fflower-arrangement\u002Fseasonal-flowers-and-symbolism","Seasonal Flowers and Symbolism: How to Read Context","时令花材与象征：怎样结合语境来读",{"to":889,"label":890,"label_zh":891},"\u002Farts\u002Fflower-arrangement\u002Fflower-arrangement-as-cultivation","Flower Arrangement as Cultivation: Attention, Change and Limits","插花与修养：专注、变化与界限",{"to":893,"label":894,"label_zh":895},"\u002Farts\u002Fflower-arrangement\u002Ffurther-reading-and-practice","Further Reading and Practice: Sources, Museums and a First Month","延伸阅读与练习：史料、博物馆与第一个月",{"to":897,"label":898,"label_zh":899},"\u002Farts\u002Fflower-arrangement\u002Fchinese-flower-baskets-weaving-painting-vessels","Chinese Flower Baskets: Weaving, Painting and the Vessel","中国花篮：编织、绘画与器物",[],[],{"data":903},[904,940,963,982,1003,1022,1042,1060,1081,1104,1126],{"id":38,"uuid":905,"slug":906,"available_locales":907,"name":911,"description":914,"body":916,"path":919,"images":920,"image_urls":925,"hero_image":3,"hero_image_url":3,"seo_title":930,"seo_description":933,"sort_order":935,"is_active":936,"status":937,"created_at":938,"updated_at":939},"f1a30881-20c6-407b-b546-669e839a178a","feng-shui-learning",[908,909,910],"en","zh","fr",{"en":912,"zh":913},"Feng Shui Learning","风水课程",{"en":915,"zh":3},"Study feng shui as a historical Chinese tradition of interpreting orientation, form and environment—with clear limits on predictive claims.",{"en":917,"zh":918},"\u003Ch2>\u003Cem>Feng shui 風水 developed through multiple schools, texts and professional traditions. 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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>本类别汇集武当内家功法与传统养生修习的小班课程、工作坊及静修活动，内容可涵盖八段锦、太极拳、气功、站桩、呼吸练习及相关文化基础。\u003C\u002Fp>\u003Cp>每项活动都会注明导师、日期、适合程度与报名方式，方便参加者选择合适的学习体验。\u003C\u002Fp>","\u002Fevents\u002Finternal-arts-wellness",[],[],{"en":957,"zh":958},"Internal Arts & Wellness Events","内家功法与养生活动",{"en":960,"zh":961},"Explore Baduanjin, Taijiquan, qigong and traditional wellness classes, workshops and retreats listed by Wudang.Org.","探索八段锦、太极拳、气功与传统养生课程、工作坊及静修活动。","2026-08-16T19:23:45.000000Z",{"id":964,"uuid":965,"slug":966,"available_locales":967,"name":968,"description":971,"body":972,"path":973,"images":974,"image_urls":975,"hero_image":3,"hero_image_url":3,"seo_title":976,"seo_description":978,"sort_order":935,"is_active":936,"status":937,"created_at":981,"updated_at":939},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[908,909,910],{"en":969,"zh":970},"Face Reading Learning","面相课程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":977},"Chinese Face Reading Classes and Workshops",{"en":979,"zh":980},"Learn Chinese face reading (面相) as a cultural tradition: its classical framework, history and uses, taught with clear limits on predictive claims.","把面相作为中国传统文化来学习：认识其经典框架、历史与用法，并清楚说明传统诠释的边界。","2026-08-30T17:01:43.000000Z",{"id":983,"uuid":984,"slug":985,"available_locales":986,"name":987,"description":990,"body":992,"path":995,"images":996,"image_urls":997,"hero_image":3,"hero_image_url":3,"seo_title":998,"seo_description":1001,"sort_order":38,"is_active":936,"status":937,"created_at":938,"updated_at":939},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[908,909,910],{"en":988,"zh":989},"Zi Wei Dou Shu Learning","紫微斗数课程",{"en":991,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":993,"zh":994},"\u003Cp>Zi Wei Dou Shu 紫微斗數 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>紫微斗数依据出生信息，以宫位、星曜和彼此关系组织命盘。它具有复杂的术语与多种解释传统，但其预测主张并未得到现代科学证据的确立。\u003C\u002Fp>\u003Cp>课程说明命盘结构、符号阅读方法，以及历史与当代实践者之间的差异。学习目的在于文化理解与有纪律的自我反思，而不是获得关于未来的确定答案。相关解读不能代替医疗、法律、财务、就业或心理专业意见。\u003C\u002Fp>","\u002Fevents\u002Fzi-wei-dou-shu-learning",[],[],{"en":999,"zh":1000},"Zi Wei Dou Shu (Purple Star Astrology) Classes","紫微斗数课程：命盘、宫位与星曜入门",{"en":991,"zh":1002},"把紫微斗数作为中国传统诠释体系来学习，认识命盘、宫位与星曜，不把它包装成科学预测。",{"id":247,"uuid":1004,"slug":1005,"available_locales":1006,"name":1007,"description":1010,"body":1011,"path":1012,"images":1013,"image_urls":1014,"hero_image":3,"hero_image_url":3,"seo_title":1015,"seo_description":1018,"sort_order":38,"is_active":936,"status":937,"created_at":1021,"updated_at":939},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[908,909,910],{"en":1008,"zh":1009},"Tea Arts","茶艺",[],[],"\u002Fevents\u002Ftea-arts",[],[],{"en":1016,"zh":1017},"Chinese Tea Art Classes and Workshops","茶艺课程与工作坊",{"en":1019,"zh":1020},"Chinese tea art (茶艺) classes and workshops: tea types, brewing methods, tea-table etiquette and the quiet attention of sharing tea.","茶艺课程与工作坊：认识茶类、泡茶方法与茶席礼仪，在一席茶中体会从容与专注。","2026-08-16T17:13:57.000000Z",{"id":242,"uuid":1023,"slug":1024,"available_locales":1025,"name":1026,"description":1029,"body":1031,"path":1034,"images":1035,"image_urls":1036,"hero_image":3,"hero_image_url":3,"seo_title":1037,"seo_description":1040,"sort_order":983,"is_active":936,"status":937,"created_at":938,"updated_at":939},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[908,909,910],{"en":1027,"zh":1028},"Ba Zi Learning","八字课程",{"en":1030,"zh":3},"Study the Four Pillars as a traditional system of stems, branches and five-phase correspondence, with history and limitations made explicit.",{"en":1032,"zh":1033},"\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、时四柱为框架，通过天干、地支、阴阳与五行关系进行解释。它是中国术数文化中影响深远的传统体系，并非现代经验科学。\u003C\u002Fp>\u003Cp>课程介绍命盘结构、基本术语和常见诠释方法，同时说明传统观点与科学证据的差别。学员可把解读作为反思的线索，但不应把它当作保证、诊断，或任何专业意见的替代品。\u003C\u002Fp>","\u002Fevents\u002Fba-zi-learning",[],[],{"en":1038,"zh":1039},"BaZi (Four Pillars) Classes and Courses","八字课程：四柱、天干地支与五行入门",{"en":1030,"zh":1041},"学习四柱中的天干、地支与五行关系，理解其历史与方法，也清楚区分传统诠释和现代实证知识。",{"id":69,"uuid":1043,"slug":1044,"available_locales":1045,"name":1046,"description":1049,"body":1050,"path":1051,"images":1052,"image_urls":1053,"hero_image":3,"hero_image_url":3,"seo_title":1054,"seo_description":1057,"sort_order":983,"is_active":936,"status":937,"created_at":1021,"updated_at":939},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[908,909,910],{"en":1047,"zh":1048},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":1055,"zh":1056},"Chinese Incense Culture Workshops","香文化活动与工作坊",{"en":1058,"zh":1059},"Workshops on Chinese incense culture (香文化): aromatic materials, traditional ways of preparing and appreciating incense, and incense as calm attention.","香文化活动与工作坊：认识香材、传统制香与品香方式，在一炉香中练习安静与专注。",{"id":1061,"uuid":1062,"slug":1063,"available_locales":1064,"name":1065,"description":1068,"body":1071,"path":1074,"images":1075,"image_urls":1076,"hero_image":3,"hero_image_url":3,"seo_title":1077,"seo_description":1079,"sort_order":983,"is_active":936,"status":937,"created_at":1080,"updated_at":939},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[908,909,910],{"en":1066,"zh":1067},"I Ching Learning","易经课程",{"en":1069,"zh":1070},"Explore the I Ching through its hexagrams, traditional interpretive methods and historical context, with scope and limitations made explicit.","通过卦象、传统解读方法与历史语境认识《易经》，并清楚说明其适用范围与局限。",{"en":1072,"zh":1073},"\u003Cp>The I Ching 易经 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>《易经》是一部以六十四卦为核心的中国经典，形成了悠久的注疏与占筮传统，并深刻影响中国哲学、宇宙观与术数文化；其占筮主张并非现代经验科学所证实。\u003C\u002Fp>\u003Cp>课程介绍基本结构、术语和六爻等传统方法，同时区分文化学习与科学证据。解读宜作为反思线索，不应视为保证、诊断或任何专业意见的替代品。\u003C\u002Fp>","\u002Fevents\u002Fi-ching-learning",[],[],{"en":1078,"zh":1067},"I Ching Classes and Courses",{"en":1069,"zh":1070},"2026-09-08T00:15:35.000000Z",{"id":21,"uuid":1082,"slug":1083,"available_locales":1084,"name":1085,"description":1088,"body":1091,"path":1094,"images":1095,"image_urls":1096,"hero_image":3,"hero_image_url":3,"seo_title":1097,"seo_description":1100,"sort_order":242,"is_active":936,"status":937,"created_at":1103,"updated_at":939},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[908,909,910],{"en":1086,"zh":1087},"Traditional Arts & Crafts","传统艺术与手作",{"en":1089,"zh":1090},"Hands-on workshops exploring Chinese handicrafts and decorative arts through guided making and cultural appreciation.","通过亲手制作与文化欣赏，体验中国传统手作及装饰艺术。",{"en":1092,"zh":1093},"\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>本类别汇集中国传统装饰艺术与手作体验，内容可涵盖金箔画、掐丝珐琅、螺钿工艺、宋锦及其他创作项目。\u003C\u002Fp>\u003Cp>课程以轻松易懂的方式介绍材料、技法与文化背景，让参加者在导师带领下完成属于自己的作品。\u003C\u002Fp>","\u002Fevents\u002Ftraditional-arts-crafts",[],[],{"en":1098,"zh":1099},"Traditional Arts & Crafts Events","传统艺术与手作活动",{"en":1101,"zh":1102},"Explore Chinese handicraft and decorative arts workshops, including gold-leaf, cloisonné, mother-of-pearl and brocade.","探索金箔画、掐丝珐琅、螺钿、宋锦等中国传统手作及装饰艺术体验。","2026-08-16T19:24:04.000000Z",{"id":212,"uuid":1105,"slug":1106,"available_locales":1107,"name":1108,"description":1111,"body":1114,"path":1117,"images":1118,"image_urls":1119,"hero_image":3,"hero_image_url":3,"seo_title":1120,"seo_description":1122,"sort_order":247,"is_active":936,"status":937,"created_at":1125,"updated_at":939},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[908,909,910],{"en":1109,"zh":1110},"Wudang Community","武当社群活动",{"en":1112,"zh":1113},"Talks, broadcasts and community gatherings connecting people with Wudang culture, learning and living practice.","通过讲座、直播与社群聚会，连接武当文化、学习与日常实践。",{"en":1115,"zh":1116},"\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>武当社群活动汇集与武当文化相关的公开讲座、直播、聚会及共享文化体验。\u003C\u002Fp>\u003Cp>这些活动以友善开放的方式连接练习者与学习者，让大家交流心得、认识传统，并共同参与持续发展的文化社群。\u003C\u002Fp>","\u002Fevents\u002Fwudang-community",[],[],{"en":1121,"zh":1110},"Wudang Community Events",{"en":1123,"zh":1124},"Discover Wudang community talks, broadcasts and gatherings connecting people with culture, learning and living practice.","探索连接武当文化、学习与日常实践的讲座、直播及社群聚会。","2026-08-16T19:24:18.000000Z",{"id":16,"uuid":1127,"slug":1128,"available_locales":1129,"name":1130,"description":1133,"body":1134,"path":1135,"images":1136,"image_urls":1137,"hero_image":3,"hero_image_url":3,"seo_title":1138,"seo_description":1141,"sort_order":69,"is_active":936,"status":937,"created_at":1144,"updated_at":939},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[908,909,910],{"en":1131,"zh":1132},"Wudang Journeys & Retreats","武当旅修与行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":1139,"zh":1140},"Wudang Mountain Retreats and Guided Journeys","武当山旅修与静修行程",{"en":1142,"zh":1143},"Guided journeys and retreats to Wudang Mountain that combine practice, temple visits and cultural learning, with itineraries and expectations set out clearly.","前往武当山的旅修与静修：结合修习、宫观参访与文化学习，提前说明行程安排与参加须知。","2026-08-18T11:09:38.000000Z",{"data":1146},{"hero_type":1147,"hero_image":1148,"hero_image_alt":1149,"hero_youtube_id":1150,"hero_content_on":936,"hero_heading":1151,"hero_subheading":1152,"hero_text":1153,"hero_subheading_zh":1154,"hero_text_zh":1155,"hero_buttons":1156,"home_seo":1162,"page_layout":1168,"shop_enabled":1169,"contact":1170,"journey":1186},"image","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fsite\u002Fwudanghomepagehero.webp","Wudang mountain temple in mist","VgirFbjpiy4","武当文化，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.","这里既是学习之地，也是让文化融入日常的所在。","从道家思想、内家武术、文人雅艺与武当山出发，以清晰、踏实的方式，在新加坡及世界各地认识和体验武当文化。",[1157,1159],{"label":1158,"link":278},"Start Your Wudang Journey",{"label":1160,"link":1161},"View Events & Courses","\u002Fevents",{"title":1163,"description":1165},{"en":1164,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":1166,"zh":1167},"Explore Wudang Mountain through Tai Chi, Qigong, Daoist philosophy, martial arts, traditional arts, wellness, culture and everyday life in Wudang.","从太极、气功、道家思想、武术、传统雅艺与养生文化认识武当山，探索武当文化及武当山的日常生活。","sidebar",false,{"methods":1171,"has_any":936,"text":1179},{"email":1172,"whatsapp":1173,"wechat_id":1174,"wechat_qr_url":1175,"instagram":1176,"instagram_handle":1177,"facebook":1178,"facebook_handle":1177},"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":1180,"china_heading_zh":1181,"china_company_en":1182,"china_company_zh":1183,"china_address_en":1184,"china_address_zh":1185},"China Operations","中国运营","Xunwei Wudang Co., Ltd.","寻味武当有限公司","No. 72 Jianhe 2nd Road, Wangjiayuan, Wudang Mountain, Shiyan, Hubei, China","湖北省十堰市武当山王家园剑河二路72号",{"title_en":3,"title_zh":3,"intro_en":3,"intro_zh":3,"enabled":936},{"data":1188},{"to":445,"type":1189,"available_locales":1190,"is_content_page":936,"title":1191,"subtitle":1192,"body":1195,"hero_image_url":1198,"hero_width":1199,"hero_height":1200,"hero_image_alt":1201,"hero_image_decorative":1169,"hero_credit":1204,"hero_alt":1211,"hero_style":1212,"card_layout":1213,"link_type":3,"link_ref":3,"seo_title":1214,"seo_description":1216,"children":1219},"page",[908,909,910],{"en":446,"zh":447},{"en":1193,"zh":1194},"Learn to map manuscript ruling and printed page architecture—and to use layout as evidence without turning one feature into a date.","从写本界栏到刻本版式，学习辨认书页结构，并避免凭单一特征断代。",{"en":1196,"zh":1197},"\u003Ch2>A page is an organised field\u003C\u002Fh2>\u003Ch3>Describe the witness before naming a style\u003C\u002Fh3>\u003Cp>Traditional Chinese manuscripts and printed books arrange writing inside physical limits: edges, ruled columns, printed borders, blank margins and, in many codex formats, a central fold. These features guide production and reading, but their names and combinations vary. Record what is present in one copy before calling the layout Song, Ming, official or commercial. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-thread-bound-books-folding-stitching-reading\">Chinese thread-bound books\u003C\u002Fa> follows the binding history; here the unit of attention is the designed sheet.\u003C\u002Fp>\u003Ch3>Layout belongs to both production and use\u003C\u002Fh3>\u003Cp>A frame can regularise carving, copying or printing; columns control line length; margins leave room for handling or annotation; the centre channel can carry navigational data. Yet trimming, rebinding and repair may alter all of them. The Council on East Asian Libraries’ \u003Ca href=\"https:\u002F\u002Fwww.eastasianlib.org\u002Fctp\u002Fwebinars\u002FChineseRareBook\u002FCRBP_guidelines.pdf\">Chinese rare-book cataloguing guidelines\u003C\u002Fa> therefore describe block format through measurable, repeatable fields. A page should be read as evidence, not as decoration.\u003C\u002Fp>\u003Ch2>Manuscript ruling came before the printed frame\u003C\u002Fh2>\u003Ch3>Jielan names boundaries made in more than one way\u003C\u002Fh3>\u003Cp>In manuscripts, \u003Cem>jielan\u003C\u002Fem> 界栏 or \u003Cem>jiege\u003C\u002Fem> 界格 can refer to ruled boundaries that organise vertical writing. Lines may be drawn, impressed, folded, printed or supplied on prepared stationery; their colour and method matter. Fang Guangchang’s study of \u003Ca href=\"https:\u002F\u002Fwww.libraryjournal.com.cn\u002FCN\u002Fabstract\u002Fabstract2129.shtml\">jielan in Dunhuang manuscripts\u003C\u002Fa> classifies borders through how they were produced. It cautions against treating every ruled sheet as one timeless type.\u003C\u002Fp>\u003Ch3>Printing inherited forms without simply copying them\u003C\u002Fh3>\u003Cp>Woodblock pages often preserved borders and column divisions familiar from manuscripts, but a carved frame belonged to the block and repeated with each impression. The National Library of China’s overview of \u003Ca href=\"https:\u002F\u002Fwww.nlc.cn\u002Fpcab\u002Fgjbhzs\u002Fsc\u002F20190122_175439.shtml\">traditional book layout\u003C\u002Fa> traces continuities from slips, silk and handwritten paper into print. Continuity of form does not mean continuity of function: the same line can organise copying, guide carving, structure reading or help compare impressions.\u003C\u002Fp>\u003Ch2>Read the printed field from outside inward\u003C\u002Fh2>\u003Ch3>Frame, margins and column rules are separate observations\u003C\u002Fh3>\u003Cp>The printed field is bounded by a \u003Cem>bankuang\u003C\u002Fem> 版框 or border. Outside it lie the upper margin, often called \u003Cem>tiantou\u003C\u002Fem> 天头, and the lower margin, \u003Cem>dijiao\u003C\u002Fem> 地脚. Inside, vertical rules divide text columns. The Peking University introduction to \u003Ca href=\"https:\u002F\u002Fgwh.pku.edu.cn\u002Finfo\u002F1159\u002F1203.htm\">ancient-book page layout\u003C\u002Fa> distinguishes single and double borders, column rules, margins and the centre. A cropped digital image can hide the very edges needed for that description.\u003C\u002Fp>\u003Ch3>Count by the half-folio and state what is counted\u003C\u002Fh3>\u003Cp>Cataloguers usually measure the frame and record columns and characters per half-folio, noting small-character double columns where relevant. A formula such as ‘ten columns, twenty characters’ is incomplete unless its counting unit and exceptions are clear. Layout can also rank voices: main text, commentary and gloss may use different sizes or paired narrow columns. Continue with the guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-texts-punctuation-reading-marks-sentence-division-modern-editions\">punctuation and reading marks\u003C\u002Fa> for signs added within or beside this architecture.\u003C\u002Fp>\u003Ch2>The centre channel joins navigation and folding\u003C\u002Fh2>\u003Ch3>Banxin, bankou and shukou depend on context\u003C\u002Fh3>\u003Cp>The central column of a woodblock is often called \u003Cem>banxin\u003C\u002Fem> 版心 or \u003Cem>bankou\u003C\u002Fem> 版口; after the printed sheet is folded and bound, related vocabulary can refer to the book mouth or fold. Usage is not perfectly uniform, and \u003Cem>banxin\u003C\u002Fem> can carry a broader meaning in some descriptions. The IFLA paper on \u003Ca href=\"https:\u002F\u002Flibrary.ifla.org\u002Fid\u002Feprint\u002F1692\u002F1\u002F088-richard-en.pdf\">Chinese rare-book bibliographic description\u003C\u002Fa> diagrams the text frame, writing columns and central column so that cataloguing terms stay attached to visible structure.\u003C\u002Fp>\u003Ch3>Fishtails are fold guides, not dates\u003C\u002Fh3>\u003Cp>One or two \u003Cem>yuwei\u003C\u002Fem> 鱼尾—chevron-like ‘fishtails’—may mark the central channel, while black lines called ‘elephant trunks’ can create what cataloguers describe as a black mouth; their absence gives a white mouth. Variants include black, white, single and double forms. These features help describe and compare pages, but no fishtail type alone proves a dynasty, region, printer or authentic edition.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FHn1YqAiT84RlcDHvHmZb.webp\" alt=\"Conceptual still life of an invented blank woodblock and matching paper proof with double frame, vertical columns, centre channel and chevron fold markers\">\u003Cfigcaption>AI-generated conceptual comparison of a blank layout block and proof; no real block, book, edition, artifact, collection or historical document is shown.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>The centre can carry small but important data\u003C\u002Fh2>\u003Ch3>Titles, fascicles and leaf numbers aid navigation\u003C\u002Fh3>\u003Cp>The centre channel may print an abbreviated title, fascicle number, section and leaf number. Such data help folders align sheets and readers locate passages after binding. A small \u003Cem>shuer\u003C\u002Fem> 书耳, or ‘book ear’, attached near a frame can also hold a section title. The Academia Sinica \u003Ca href=\"https:\u002F\u002Fdata.ascdc.tw\u002Fen\u002Fresearch\u002Fchineserarebook\u002Findex.php\">Chinese rare-book linked-data examples\u003C\u002Fa> show how border measurements, line counts, characters and fishtails become structured description rather than casual visual impressions.\u003C\u002Fp>\u003Ch3>Carvers and publishers sometimes entered the page\u003C\u002Fh3>\u003Cp>Some impressions preserve a block-cutter’s name, printer’s mark or other production information in the centre or margins. Placement must be recorded because trimming or rebinding can remove it, and a name on one leaf may not govern the entire book. Prefaces, colophons and printer’s statements offer different kinds of evidence; the guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers\">Chinese prefaces and afterwords\u003C\u002Fa> explains why their claims still require corroboration.\u003C\u002Fp>\u003Ch2>Layout helps compare editions, but cannot decide alone\u003C\u002Fh2>\u003Ch3>Build a bundle of comparable features\u003C\u002Fh3>\u003Cp>Compare frame height and width, columns, characters, border pattern, centre treatment, fishtails, centre text, type style, illustrations and known defects. The University of Hong Kong’s \u003Ca href=\"https:\u002F\u002Fshencai.lib.hku.hk\u002F5_structural_notes\u002F\">structural notes for a Chinese printed book\u003C\u002Fa> model this object-specific approach by describing single and double lines, a white centre and the absence of a common fishtail. A meaningful comparison uses equivalent leaves, not a title page from one copy and main text from another.\u003C\u002Fp>\u003Ch3>Reprints and recut blocks complicate resemblance\u003C\u002Fh3>\u003Cp>An edition can be reimpressed from the same blocks, repaired with replacement blocks, recut in imitation or reproduced photographically. Similar layout may show dependence without proving identity; a changed leaf may belong to a repair rather than a new edition. Link page architecture to paper, ink, printing, textual variants and provenance. The guides to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-paper-fibres-sizing-repairs-dating-evidence\">paper evidence\u003C\u002Fa> and \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions\">textual collation\u003C\u002Fa> keep the material and textual comparisons explicit.\u003C\u002Fp>\u003Ch2>Images and digital records can distort the page\u003C\u002Fh2>\u003Ch3>Crop, scale and sequence affect interpretation\u003C\u002Fh3>\u003Cp>A scan may omit outer borders, flatten a fold, hide translucency or present two half-folios as separate pages. Colour correction can make red ruling look brown or black. Always record repository, shelfmark, volume, leaf and image number, then check whether the viewer shows the complete sheet. Lucille Chia’s study of \u003Ca href=\"https:\u002F\u002Fwww.persee.fr\u002Fdoc\u002Fbefeo_0336-1519_2002_num_89_1_3569\">text and image on Chinese block-printed pages\u003C\u002Fa> demonstrates that spatial arrangement participates in reading; the guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading\">illustrated Chinese books\u003C\u002Fa> develops that relationship for pictures.\u003C\u002Fp>\u003Ch3>Catalogue formulas are evidence maps, not substitutes for objects\u003C\u002Fh3>\u003Cp>A well-made record lets another reader identify the described edition and know which leaf supplied the measurements. It cannot guarantee that every fascicle is uniform or every volume original. Compare the catalogue with the digitised sequence and note discrepancies. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge\">Chinese bibliographies\u003C\u002Fa> distinguishes a work-level entry from edition and copy; page-layout notes belong to that more specific chain of identification.\u003C\u002Fp>\u003Ch2>Read page architecture with eight questions\u003C\u002Fh2>\u003Ch3>First map what is physically visible\u003C\u002Fh3>\u003Cp>Ask: \u003Cstrong>1)\u003C\u002Fstrong> is the item manuscript, printed or mixed; \u003Cstrong>2)\u003C\u002Fstrong> what complete sheet or half-folio is visible; \u003Cstrong>3)\u003C\u002Fstrong> what are the frame, margins, column rules and line count; and \u003Cstrong>4)\u003C\u002Fstrong> what appears in the centre channel, including folds, fishtails and text? Give measurements and exact leaf locations. Distinguish missing from merely cropped or hidden.\u003C\u002Fp>\u003Ch3>Then test what the layout can support\u003C\u002Fh3>\u003Cp>Ask: \u003Cstrong>5)\u003C\u002Fstrong> which features repeat across the book; \u003Cstrong>6)\u003C\u002Fstrong> which changed through damage, trimming, rebinding or repair; \u003Cstrong>7)\u003C\u002Fstrong> which independent evidence links this layout to an edition or production history; and \u003Cstrong>8)\u003C\u002Fstrong> what alternative remains? The strongest conclusion describes a pattern, names its limits and leaves chronology open when comparison is insufficient.\u003C\u002Fp>","\u003Ch2>书页是一块经过组织的空间\u003C\u002Fh2>\u003Ch3>先描述传本，再命名版式\u003C\u002Fh3>\u003Cp>中国传统写本和刻本会把文字安排在纸张边缘、界栏、版框、空白和折口之间。各种部件既引导制作，也引导阅读，但名称和组合并非历代完全一致。判断“宋版”“明版”“官刻”或“坊刻”以前，应先记录当前复本实际可见之物。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-thread-bound-books-folding-stitching-reading\">中国线装书导读\u003C\u002Fa>追踪装订形制；本文则把注意力集中在经过设计的一张印纸。\u003C\u002Fp>\u003Ch3>版式同时属于生产与使用\u003C\u002Fh3>\u003Cp>版框可以规范书写、刻版和刷印，界行控制字行长度，天头地脚留出操作或批注空间，版心还可承载导航信息。然而裁切、改装和修补会改变这些特征。美国东亚图书馆协会的\u003Ca href=\"https:\u002F\u002Fwww.eastasianlib.org\u002Fctp\u002Fwebinars\u002FChineseRareBook\u002FCRBP_guidelines.pdf\">中文善本书编目规则\u003C\u002Fa>因此用可量度、可复核的字段著录版式。版面首先是证据，不只是装饰。\u003C\u002Fp>\u003Ch2>写本界栏早于刻本版框\u003C\u002Fh2>\u003Ch3>界栏可以用多种方法制成\u003C\u002Fh3>\u003Cp>写本中的“界栏”或“界格”，通常指组织竖行文字的边界。它可以画成、压出、折出、印出，也可以来自预制笺纸；颜色与制作方法都值得记录。方广锠关于\u003Ca href=\"https:\u002F\u002Fwww.libraryjournal.com.cn\u002FCN\u002Fabstract\u002Fabstract2129.shtml\">敦煌遗书界栏\u003C\u002Fa>的研究，正是从产生方式讨论界栏类型。不能把所有有栏线的纸张都归为一种跨越千年的固定形制。\u003C\u002Fp>\u003Ch3>雕版承继旧形式，却不只是照搬\u003C\u002Fh3>\u003Cp>刻本常保留写本熟悉的边栏和界行，但刻在线版上的框格会随着每次刷印重复出现。中国国家图书馆关于\u003Ca href=\"https:\u002F\u002Fwww.nlc.cn\u002Fpcab\u002Fgjbhzs\u002Fsc\u002F20190122_175439.shtml\">中国古籍版式\u003C\u002Fa>的说明，把一些形式上溯到简策、帛书和纸写本。形式延续不等于功能不变：同一条线可以规范抄写、辅助刻版、安排阅读，也可以帮助今人比较印次。\u003C\u002Fp>\u003Ch2>从外向内阅读印刷版面\u003C\u002Fh2>\u003Ch3>版框、空白和界行要分别记录\u003C\u002Fh3>\u003Cp>印刷范围由版框或边栏围定。上栏以外的空白常称“天头”，下栏以外称“地脚”；版框内的竖线把文字分成各行。北京大学全国高校古委会的\u003Ca href=\"https:\u002F\u002Fgwh.pku.edu.cn\u002Finfo\u002F1159\u002F1203.htm\">古籍版式说明\u003C\u002Fa>区分单边、双边、界行、空白和版心。数字图像若裁掉边缘，恰好会隐藏著录这些项目所需的证据。\u003C\u002Fp>\u003Ch3>以半叶计数，并说明计的是什么\u003C\u002Fh3>\u003Cp>传统著录通常量版框，并以半叶记录每面若干行、每行若干字；遇小字双行，还须另作说明。“十行二十字”若不说明计数单位和例外，仍不够精确。字号和双行也能安排不同声音的层级，例如正文、注和疏。书页内部的句读与圈点，可继续参看本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-texts-punctuation-reading-marks-sentence-division-modern-editions\">中国古籍断句导读\u003C\u002Fa>。\u003C\u002Fp>\u003Ch2>版心把导航与折页连在一起\u003C\u002Fh2>\u003Ch3>版心、版口与书口要看语境\u003C\u002Fh3>\u003Cp>雕版中央的长栏常称“版心”或“版口”；纸张对折装订后，相关词汇又可能指成书的书口或折缝。不同著录传统并不完全统一，“版心”在某些说明中还有较宽的含义。国际图联关于\u003Ca href=\"https:\u002F\u002Flibrary.ifla.org\u002Fid\u002Feprint\u002F1692\u002F1\u002F088-richard-en.pdf\">中文善本书著录\u003C\u002Fa>的论文用图示分清版框、界行和中央栏，使术语始终贴着可见结构。\u003C\u002Fp>\u003Ch3>鱼尾是折页标记，不是断代器\u003C\u002Fh3>\u003Cp>版心内可有一枚或上下两枚“鱼尾”，作为折页标记；鱼尾与版框之间的黑线称“象鼻”，印出黑线者在著录中称黑口，无黑线者称白口。另有黑白、单双等差别。这些特征适合描述和比较，却不能仅凭某种鱼尾就断定朝代、地域、刻书者或版本真伪。\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FHn1YqAiT84RlcDHvHmZb.webp\" alt=\"概念静物：一块虚构的空白版式木版与对应纸样，只有双边版框、竖行、版心和抽象鱼尾标记\">\u003Cfigcaption>AI 生成的空白版式木版与纸样对照；并非真实书版、书籍、版本、文物、收藏或历史文献。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>版心中的小字可能十分重要\u003C\u002Fh2>\u003Ch3>书名、卷次和叶码帮助翻检\u003C\u002Fh3>\u003Cp>版心常刻简化书名、卷次、篇目和叶码，帮助折页者对齐，也方便装订后的读者定位。版框一角突出的小格称“书耳”，有时也标篇名。中央研究院的\u003Ca href=\"https:\u002F\u002Fdata.ascdc.tw\u002Fen\u002Fresearch\u002Fchineserarebook\u002Findex.php\">中文古籍关联数据案例\u003C\u002Fa>把版框尺寸、行字数和鱼尾等转化为结构化著录，示范如何用可检索资料取代模糊的视觉印象。\u003C\u002Fp>\u003Ch3>刻工与书坊有时也进入版面\u003C\u002Fh3>\u003Cp>某些印本会在版心或边缘留下刻工姓名、书坊标记或其他生产信息。必须注明具体位置，因为裁切和改装会把它们删去；一叶上的人名也未必适用于全书。序跋、牌记和出版陈述属于不同证据类型；本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers\">中国序跋导读\u003C\u002Fa>说明为何这些说法仍须旁证。\u003C\u002Fp>\u003Ch2>版式可以比较版本，却不能单独裁决\u003C\u002Fh2>\u003Ch3>建立一组可对照的特征\u003C\u002Fh3>\u003Cp>应合看版框高宽、行字数、边栏、书口、鱼尾、版心题字、字体、插图和已知版面缺损。香港大学的\u003Ca href=\"https:\u002F\u002Fshencai.lib.hku.hk\u002F5_structural_notes\u002F\">中文刻本结构说明\u003C\u002Fa>以单、双栏线、白口和无鱼尾等细节描述一部具体传本。比较时要用相当的书叶，不能拿一本的牌记同另一本的正文首叶直接对照。\u003C\u002Fp>\u003Ch3>重印、补版与翻刻会制造相似\u003C\u002Fh3>\u003Cp>同一套书版可以再次刷印，破损版片可以补刻，后人也可照旧版翻刻或影印。版式相近可以提示依赖关系，却不会自动证明两书同版；某一叶突然变化，也可能只是补版。版式应同纸张、墨色、刷印、异文和递藏合看。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-book-paper-fibres-sizing-repairs-dating-evidence\">古籍用纸导读\u003C\u002Fa>与\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-textual-collation-jiaokan-variant-readings-witnesses-editions\">中国校勘导读\u003C\u002Fa>可帮助明确材料和文本比较。\u003C\u002Fp>\u003Ch2>数字图像和目录记录都会改变所见\u003C\u002Fh2>\u003Ch3>裁图、比例与次序影响判断\u003C\u002Fh3>\u003Cp>扫描图可能裁掉外框、压平折口、隐藏透光，也可能把一张印纸的两个半叶拆成两页展示。色彩校正还会让朱丝栏看似褐色或黑色。使用数字资源时，应记录收藏机构、索书号、册次、叶次和图像号，并确认画面是否包含整张纸。Lucille Chia 关于\u003Ca href=\"https:\u002F\u002Fwww.persee.fr\u002Fdoc\u002Fbefeo_0336-1519_2002_num_89_1_3569\">中文刻本图文关系\u003C\u002Fa>的研究说明空间安排怎样参与阅读；本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-illustrated-books-woodblock-images-page-design-reading\">中国古籍插图导读\u003C\u002Fa>则进一步讨论图像。\u003C\u002Fp>\u003Ch3>著录公式是证据地图，不是实物替身\u003C\u002Fh3>\u003Cp>良好的著录能让他人识别所述版本，也能知道尺寸取自哪一叶；它不能保证每册完全一致，或所有配叶都属原装。应把目录记录同完整数字序列对读，并注明差异。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-bibliographies-mulu-catalogues-classification-books-knowledge\">中国目录学导读\u003C\u002Fa>区分作品、版本和复本；版式著录属于这条识别链中更具体的一层。\u003C\u002Fp>\u003Ch2>用八个问题阅读古籍版式\u003C\u002Fh2>\u003Ch3>先绘出实际可见的结构\u003C\u002Fh3>\u003Cp>依次问：\u003Cstrong>一\u003C\u002Fstrong>、这是写本、印本，还是二者混合；\u003Cstrong>二\u003C\u002Fstrong>、画面展示整张纸还是半叶；\u003Cstrong>三\u003C\u002Fstrong>、版框、空白、界行和行字数怎样；\u003Cstrong>四\u003C\u002Fstrong>、版心内有哪些折线、鱼尾和题字？应记录尺寸和准确叶次，并区分“确实缺失”与“被裁掉或藏在书口”。\u003C\u002Fp>\u003Ch3>再检验版式能够支持什么结论\u003C\u002Fh3>\u003Cp>继续问：\u003Cstrong>五\u003C\u002Fstrong>、哪些特征在全书重复；\u003Cstrong>六\u003C\u002Fstrong>、哪些因损伤、裁切、改装或修补而改变；\u003Cstrong>七\u003C\u002Fstrong>、哪些独立证据把此版式同某一版本或生产史相连；\u003Cstrong>八\u003C\u002Fstrong>、还有什么替代解释？最可靠的结论会描述规律、说明边界，并在比较不足时保持年代开放。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FfuTtmOzlXxb5smviUZU1.webp",1672,941,{"en":1202,"zh":1203},"Conceptual photograph of an anonymous book historian examining a blank ruled facsimile leaf with double frame, columns and centre fold on a light table","概念照片：一位不具名的古籍研究者在透光台上观察带双边版框、竖行和版心的空白仿制书叶",{"caption":1205,"creator":1206,"source_url":1207,"license_label":1208,"license_url":1209,"changes":1210},"AI 生成的古籍版式研究概念场景；并非真实研究者、书籍、书页、文物、收藏、机构、地点或事件。","OpenAI","https:\u002F\u002Fopenai.com\u002F","AI-generated image","https:\u002F\u002Fopenai.com\u002Fpolicies\u002Fterms-of-use\u002F","为本文独立生成，并转换为 WebP；未与其他图像合成。",{"en":1202,"zh":1203},"banner","list",{"en":1215,"zh":447},"Chinese Book Page Layout: Frames, Columns and Fishtails",{"en":1217,"zh":1218},"A source-led guide to Chinese book-page architecture: manuscript ruling, printed frames, columns, centre folds, fishtails, cataloguing and edition 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