[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"site-nav-reference-en":3,"site-nav-zh":4,"site-nav-zh-all-arts":289,"event-categories-zh":918,"site-settings":1161,"node-zh-arts\u002Fchinese-poetry-literature\u002Fchinese-wall-poetry-tibishi-public-writing-place-transmission":1203,"live-course-events":1237},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 Teachers","授课老师",{"data":290},{"all":291,"header":916,"footer":917},[292],{"to":124,"label":125,"label_zh":126,"children":293},[294,508,578,736,786,848,886],{"to":129,"label":130,"label_zh":131,"children":295},[296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,372,376,380,384,388,392,396,400,404,408,412,416,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488,492,496,500,504],{"to":297,"label":298,"label_zh":299},"\u002Farts\u002Fchinese-poetry-literature\u002Forigins-spirit-of-chinese-poetry","Origins of Chinese Poetry: Song, Text and Interpretation","中国诗歌的源流：歌唱、文本与阐释",{"to":301,"label":302,"label_zh":303},"\u002Farts\u002Fchinese-poetry-literature\u002Fbook-of-songs-classical-foundations","The Book of Songs: Voices, Performance and Interpretation","《诗经》：声音、礼乐与阐释",{"to":305,"label":306,"label_zh":307},"\u002Farts\u002Fchinese-poetry-literature\u002Ftang-poetry-golden-age","Tang Poetry: Forms, Voices and a Lasting 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Colophons","中国画上的诗：怎样读题款与题跋",{"to":345,"label":346,"label_zh":347},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-fu-rhapsody-catalogues-courts-expansive-description","Chinese Fu (Rhapsody): Catalogues, Courts and Expansive Description","中国赋：铺陈、宫廷与展开描写的艺术",{"to":349,"label":350,"label_zh":351},"\u002Farts\u002Fchinese-poetry-literature\u002Fwenxin-diaolong-liu-xie-writing-reading-literary-thought","Wenxin Diaolong: How Liu Xie Thought About Writing and Reading","《文心雕龙》导读：刘勰怎样思考写作与阅读",{"to":353,"label":354,"label_zh":355},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-shihua-poetry-talks-notes-anecdotes-criticism","Shihua (Poetry Talks): How Chinese Criticism Speaks in Notes and Anecdotes","中国诗话导读：批评怎样写进笔记、轶事与评语",{"to":357,"label":358,"label_zh":359},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-prefaces-afterwords-xu-ba-books-texts-readers","Chinese Prefaces and Afterwords (Xu and Ba): How Books Frame Texts and 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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":493,"label":494,"label_zh":495},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-quotation-excerpts-fragments-lost-context","Poems in Pieces: How Quotation and Excerpt Preserved Chinese Poetry","诗句怎样在引用中流传？摘引、辑佚与失落语境",{"to":497,"label":498,"label_zh":499},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-wall-poetry-tibishi-public-writing-place-transmission","Poems on the Wall: Public Writing, Place and Survival in China","墙上的诗怎样流传？中国题壁诗的公共书写、地点与传承",{"to":501,"label":502,"label_zh":503},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-imperial-examination-poetry-shitie-shi-fu-changing-tests","Poetry in the Examination Hall: What Chinese Candidates Were Asked to Compose","科场里的诗：古代中国考生何时、怎样作诗",{"to":505,"label":506,"label_zh":507},"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-seasons-calendar-festivals-phenology-literary-time","Reading Seasons in Chinese Poetry: Calendars, Festivals and Literary Time","怎样读懂中国诗歌里的季节？历法、节日与文学时间",{"to":134,"label":135,"label_zh":136,"children":509},[510,514,518,522,526,530,534,538,542,546,550,554,558,562,566,570,574],{"to":511,"label":512,"label_zh":513},"\u002Farts\u002Fcalligraphy\u002Forigins-history-of-calligraphy","Origins and History of Chinese Calligraphy","中国书法的源流与历史",{"to":515,"label":516,"label_zh":517},"\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":519,"label":520,"label_zh":521},"\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":523,"label":524,"label_zh":525},"\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":527,"label":528,"label_zh":529},"\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":531,"label":532,"label_zh":533},"\u002Farts\u002Fcalligraphy\u002Fgreat-masters-further-reading","Chinese Calligraphy Masters and Reading Paths","中国书法名家与阅读路径",{"to":535,"label":536,"label_zh":537},"\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":539,"label":540,"label_zh":541},"\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":543,"label":544,"label_zh":545},"\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":547,"label":548,"label_zh":549},"\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":551,"label":552,"label_zh":553},"\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":555,"label":556,"label_zh":557},"\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":559,"label":560,"label_zh":561},"\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":563,"label":564,"label_zh":565},"\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":567,"label":568,"label_zh":569},"\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":571,"label":572,"label_zh":573},"\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":575,"label":576,"label_zh":577},"\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":579},[580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712,716,720,724,728,732],{"to":581,"label":582,"label_zh":583},"\u002Farts\u002Ftea-ceremony\u002Ftea-meditation-taoist-practice","Tea, Meditation and Taoist Practice","茶、静坐与道家修习",{"to":585,"label":586,"label_zh":587},"\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":589,"label":590,"label_zh":591},"\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":593,"label":594,"label_zh":595},"\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":597,"label":598,"label_zh":599},"\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":601,"label":602,"label_zh":603},"\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":605,"label":606,"label_zh":607},"\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":609,"label":610,"label_zh":611},"\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":613,"label":614,"label_zh":615},"\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":617,"label":618,"label_zh":619},"\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":621,"label":622,"label_zh":623},"\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":625,"label":626,"label_zh":627},"\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":629,"label":630,"label_zh":631},"\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":633,"label":634,"label_zh":635},"\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":637,"label":638,"label_zh":639},"\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":641,"label":642,"label_zh":643},"\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":645,"label":646,"label_zh":647},"\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":649,"label":650,"label_zh":651},"\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":653,"label":654,"label_zh":655},"\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":657,"label":658,"label_zh":659},"\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":661,"label":662,"label_zh":663},"\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":665,"label":666,"label_zh":667},"\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":669,"label":670,"label_zh":671},"\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":673,"label":674,"label_zh":675},"\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":677,"label":678,"label_zh":679},"\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":681,"label":682,"label_zh":683},"\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":685,"label":686,"label_zh":687},"\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":689,"label":690,"label_zh":691},"\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":693,"label":694,"label_zh":695},"\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":697,"label":698,"label_zh":699},"\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":701,"label":702,"label_zh":703},"\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":705,"label":706,"label_zh":707},"\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":709,"label":710,"label_zh":711},"\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":713,"label":714,"label_zh":715},"\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":717,"label":718,"label_zh":719},"\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":721,"label":722,"label_zh":723},"\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 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Scroll","中国画装裱：绫边、托纸与卷轴的生命",{"to":841,"label":842,"label_zh":843},"\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":845,"label":846,"label_zh":847},"\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":849},[850,854,858,862,866,870,874,878,882],{"to":851,"label":852,"label_zh":853},"\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":855,"label":856,"label_zh":857},"\u002Farts\u002Fincense\u002Faromatic-materials-fragrant-woods","Aromatic Materials: Woods, Resins and Responsible 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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. 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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":973,"zh":974},"Internal Arts & Wellness Events","内家功法与养生活动",{"en":976,"zh":977},"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":980,"uuid":981,"slug":982,"available_locales":983,"name":984,"description":987,"body":988,"path":989,"images":990,"image_urls":991,"hero_image":3,"hero_image_url":3,"seo_title":992,"seo_description":994,"sort_order":951,"is_active":952,"status":953,"created_at":997,"updated_at":955},10,"884ed965-8c72-49e2-acee-0fc2f7aec70a","face-reading-learning",[924,925,926],{"en":985,"zh":986},"Face Reading Learning","面相课程",[],[],"\u002Fevents\u002Fface-reading-learning",[],[],{"en":993},"Chinese Face Reading Classes and Workshops",{"en":995,"zh":996},"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":999,"uuid":1000,"slug":1001,"available_locales":1002,"name":1003,"description":1006,"body":1008,"path":1011,"images":1012,"image_urls":1013,"hero_image":3,"hero_image_url":3,"seo_title":1014,"seo_description":1017,"sort_order":38,"is_active":952,"status":953,"created_at":954,"updated_at":955},2,"8792a80b-d0c8-4ef9-9634-5cb91827932b","zi-wei-dou-shu-learning",[924,925,926],{"en":1004,"zh":1005},"Zi Wei Dou Shu Learning","紫微斗数课程",{"en":1007,"zh":3},"Explore Purple Star Astrology as a traditional Chinese interpretive system, approached as cultural knowledge rather than scientific prediction.",{"en":1009,"zh":1010},"\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":1015,"zh":1016},"Zi Wei Dou Shu (Purple Star Astrology) Classes","紫微斗数课程：命盘、宫位与星曜入门",{"en":1007,"zh":1018},"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":1020,"slug":1021,"available_locales":1022,"name":1023,"description":1026,"body":1027,"path":1028,"images":1029,"image_urls":1030,"hero_image":3,"hero_image_url":3,"seo_title":1031,"seo_description":1034,"sort_order":38,"is_active":952,"status":953,"created_at":1037,"updated_at":955},"09958025-4f1d-40e6-ae1c-8b1517ac824e","tea-arts",[924,925,926],{"en":1024,"zh":1025},"Tea Arts","茶艺",[],[],"\u002Fevents\u002Ftea-arts",[],[],{"en":1032,"zh":1033},"Chinese Tea Art Classes and Workshops","茶艺课程与工作坊",{"en":1035,"zh":1036},"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":1039,"slug":1040,"available_locales":1041,"name":1042,"description":1045,"body":1047,"path":1050,"images":1051,"image_urls":1052,"hero_image":3,"hero_image_url":3,"seo_title":1053,"seo_description":1056,"sort_order":999,"is_active":952,"status":953,"created_at":954,"updated_at":955},"e52a261e-348a-4b8a-bd51-43f4e6b1d861","ba-zi-learning",[924,925,926],{"en":1043,"zh":1044},"Ba Zi Learning","八字课程",{"en":1046,"zh":3},"Study the Four Pillars as a traditional system of stems, branches and five-phase correspondence, with history and limitations made explicit.",{"en":1048,"zh":1049},"\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":1054,"zh":1055},"BaZi (Four Pillars) Classes and Courses","八字课程：四柱、天干地支与五行入门",{"en":1046,"zh":1057},"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":1059,"slug":1060,"available_locales":1061,"name":1062,"description":1065,"body":1066,"path":1067,"images":1068,"image_urls":1069,"hero_image":3,"hero_image_url":3,"seo_title":1070,"seo_description":1073,"sort_order":999,"is_active":952,"status":953,"created_at":1037,"updated_at":955},"76718b8e-3137-42fc-a257-c9e318b3e364","incense-culture",[924,925,926],{"en":1063,"zh":1064},"Incense Culture","香文化",[],[],"\u002Fevents\u002Fincense-culture",[],[],{"en":1071,"zh":1072},"Chinese Incense Culture Workshops","香文化活动与工作坊",{"en":1074,"zh":1075},"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":1077,"uuid":1078,"slug":1079,"available_locales":1080,"name":1081,"description":1084,"body":1087,"path":1090,"images":1091,"image_urls":1092,"hero_image":3,"hero_image_url":3,"seo_title":1093,"seo_description":1095,"sort_order":999,"is_active":952,"status":953,"created_at":1096,"updated_at":955},11,"c39cc557-40eb-4266-9736-7fb84891d407","i-ching-learning",[924,925,926],{"en":1082,"zh":1083},"I Ching Learning","易经课程",{"en":1085,"zh":1086},"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":1088,"zh":1089},"\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":1094,"zh":1083},"I Ching Classes and Courses",{"en":1085,"zh":1086},"2026-09-08T00:15:35.000000Z",{"id":21,"uuid":1098,"slug":1099,"available_locales":1100,"name":1101,"description":1104,"body":1107,"path":1110,"images":1111,"image_urls":1112,"hero_image":3,"hero_image_url":3,"seo_title":1113,"seo_description":1116,"sort_order":242,"is_active":952,"status":953,"created_at":1119,"updated_at":955},"ee2330c6-5a3e-4ac2-a2d1-1a0dc110c58c","traditional-arts-crafts",[924,925,926],{"en":1102,"zh":1103},"Traditional Arts & Crafts","传统艺术与手作",{"en":1105,"zh":1106},"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":1108,"zh":1109},"\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":1114,"zh":1115},"Traditional Arts & Crafts Events","传统艺术与手作活动",{"en":1117,"zh":1118},"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":1121,"slug":1122,"available_locales":1123,"name":1124,"description":1127,"body":1130,"path":1133,"images":1134,"image_urls":1135,"hero_image":3,"hero_image_url":3,"seo_title":1136,"seo_description":1138,"sort_order":247,"is_active":952,"status":953,"created_at":1141,"updated_at":955},"824f78c1-1181-4983-bae5-77e7cdbbbc1d","wudang-community",[924,925,926],{"en":1125,"zh":1126},"Wudang Community","武当社群活动",{"en":1128,"zh":1129},"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":1131,"zh":1132},"\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":1137,"zh":1126},"Wudang Community Events",{"en":1139,"zh":1140},"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":1143,"slug":1144,"available_locales":1145,"name":1146,"description":1149,"body":1150,"path":1151,"images":1152,"image_urls":1153,"hero_image":3,"hero_image_url":3,"seo_title":1154,"seo_description":1157,"sort_order":69,"is_active":952,"status":953,"created_at":1160,"updated_at":955},"25641c0b-8e5a-46d7-9b18-95c344015f97","wudang-journeys-retreats",[924,925,926],{"en":1147,"zh":1148},"Wudang Journeys & Retreats","武当旅修与行程",[],[],"\u002Fevents\u002Fwudang-journeys-retreats",[],[],{"en":1155,"zh":1156},"Wudang Mountain Retreats and Guided Journeys","武当山旅修与静修行程",{"en":1158,"zh":1159},"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":1162},{"hero_type":1163,"hero_image":1164,"hero_image_alt":1165,"hero_youtube_id":1166,"hero_content_on":952,"hero_heading":1167,"hero_subheading":1168,"hero_text":1169,"hero_subheading_zh":1170,"hero_text_zh":1171,"hero_buttons":1172,"home_seo":1178,"page_layout":1184,"shop_enabled":1185,"contact":1186,"journey":1202},"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。",[1173,1175],{"label":1174,"link":278},"Start Your Wudang Journey",{"label":1176,"link":1177},"View Events & Courses","\u002Fevents",{"title":1179,"description":1181},{"en":1180,"zh":3},"Wudang Mountain: Tai Chi, Qigong & Taoist Culture",{"en":1182,"zh":1183},"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":1187,"has_any":952,"text":1195},{"email":1188,"whatsapp":1189,"wechat_id":1190,"wechat_qr_url":1191,"instagram":1192,"instagram_handle":1193,"facebook":1194,"facebook_handle":1193},"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":1196,"china_heading_zh":1197,"china_company_en":1198,"china_company_zh":1199,"china_address_en":1200,"china_address_zh":1201},"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":952},{"data":1204},{"to":497,"type":1205,"available_locales":1206,"is_content_page":952,"title":1207,"subtitle":1208,"body":1211,"hero_image_url":1214,"hero_width":1215,"hero_height":1216,"hero_image_alt":1217,"hero_image_decorative":1185,"hero_credit":1220,"hero_alt":1227,"hero_style":1228,"card_layout":1229,"link_type":3,"link_ref":3,"seo_title":1230,"seo_description":1233,"children":1236},"page",[924,925,926],{"en":498,"zh":499},{"en":1209,"zh":1210},"How wall poems at inns, temples and travel sites created public encounters—and how copying, loss and later attribution shape what survives.","从旅舍、寺观与行旅地点的公共相遇，到抄录、亡佚与后世署名，说明题壁诗怎样被阅读并流传。",{"en":1212,"zh":1213},"\u003Ch2>A poem written into a place\u003C\u002Fh2>\u003Ch3>The wall was a public surface, not a bound page\u003C\u002Fh3>\u003Cp>The Chinese term \u003Cem>tibishi\u003C\u002Fem> (题壁诗) literally points to poetry inscribed or written on a wall. The category is less a single poetic form than a situation of publication: words become visible where other people pass. Glen Dudbridge’s study of \u003Ca href=\"https:\u002F\u002Fdoi.org\u002F10.1163\u002F22106286-12341284\">verses on walls and their afterlives in notebook literature\u003C\u002Fa> follows writing at temples, monasteries, bridges, entertainment venues and especially official hostels. A wall poem could be encountered without owning a book, but its audience depended on access to the site and on the survival of the surface.\u003C\u002Fp>\u003Ch3>‘Wall’ names a practice with material differences\u003C\u002Fh3>\u003Cp>A brush-written poem on plaster, an inked text on a wooden panel and words cut into stone do not weather, circulate or invite response in the same way. Some sources use wall-writing language broadly; modern readers should still identify the actual support whenever possible. Wall poetry also differs from the architecturally paired format explained in the guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-paired-couplets-parallelism-calligraphy-place\">Chinese paired couplets\u003C\u002Fa>. This article concentrates on poetry exposed at a place and later transmitted through copying. It should not be confused with permanently carved \u003Ca href=\"\u002Fwudang-mountain\u002Fintroduction\u002Fstone-inscriptions-and-steles\">Wudang stone inscriptions and steles\u003C\u002Fa>, where cutting, monumentality and official commemoration create a different documentary history.\u003C\u002Fp>\u003Ch2>Where wall poems appeared\u003C\u002Fh2>\u003Ch3>Inns and relay stations joined movement to reading\u003C\u002Fh3>\u003Cp>Official hostels, courier stations and commercial inns placed writing beside roads and administrative routes. Cong Zhang’s study of \u003Ca href=\"https:\u002F\u002Fwww.songyuan.org\u002FJSYS\u002FJSYSTC\u002Fcontents35.htm\">inn-wall writing during the Song\u003C\u002Fa> treats the wall as a medium for communication, collaboration and community rather than a neutral backdrop. A traveler could see earlier words, answer them, copy them, or leave another poem for an unknown later reader. The building became both lodging and a locally accumulating record, even though its contents could vanish when walls were replastered or rebuilt.\u003C\u002Fp>\u003Ch3>Temples, pavilions and crossings formed other reading sites\u003C\u002Fh3>\u003Cp>Wall poetry also appeared at Buddhist and Daoist establishments, scenic pavilions, bridges and road structures. Research on \u003Ca href=\"https:\u002F\u002Fdlbs.liberal.ntu.edu.tw\u002Fsearch\u002Fsearch_detail.jsp?seq=363492\">Tang- and Song-period wall writing and monastery culture\u003C\u002Fa> distinguishes religious expression from the travel and occasional writing of visiting literati, while also showing that the same site could support both. A poem on a temple wall is therefore not automatically a liturgical text, just as a scenic inscription is not automatically a reliable description of every detail now associated with the site.\u003C\u002Fp>\u003Ch2>Passing readers made a social text\u003C\u002Fh2>\u003Ch3>A wall could prompt an answer\u003C\u002Fh3>\u003Cp>A public poem might receive a matching-rhyme response, a comment, a correction or a new poem written nearby. Tan Xinhong’s account of \u003Ca href=\"https:\u002F\u002Fzjujournals.com\u002Fsoc\u002FCN\u002Fabstract\u002Fabstract9873.shtml\">wall communication in Song \u003Cem>ci\u003C\u002Fem>\u003C\u002Fa> emphasizes that pavilions, post stations, religious sites and bridges gave writing wider and longer visibility than a private sheet, though less durability than a book or carved stone. The resulting cluster was not necessarily planned as one work: it might grow through separate visits by readers who knew one another only through the surface.\u003C\u002Fp>\u003Ch3>Response belonged to the culture of poetic exchange\u003C\u002Fh3>\u003Cp>Writing back could acknowledge a predecessor, compete in skill, share a mood or mark participation in a remembered occasion. The social logic overlaps with \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-social-exchange-gifts-farewells-replies-rhyme-matching\">gift poems, responses and occasion writing\u003C\u002Fa>, but the wall changes the audience: the recipient may be absent, unnamed or not yet arrived. That openness can create a community across time, yet it also means that later copies may separate a response from the poem, position and sequence that first made it intelligible.\u003C\u002Fp>\u003Ch2>Place and occasion shaped meaning\u003C\u002Fh2>\u003Ch3>The route, building and view were part of the poem’s first context\u003C\u002Fh3>\u003Cp>A verse at an inn could register delay, departure or official travel; one at a pavilion might address a view; one at a religious site might stage reflection or memory. A modern edition that prints only the words flattens this spatial context. Read the poem alongside \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-travel-writing-youji-routes-witness-making-place\">Chinese travel writing and landscape memory\u003C\u002Fa>, local geography and the building’s history—but do not reverse the evidence by assuming that every later travel narrative saw the original writing on the original wall.\u003C\u002Fp>\u003Ch3>A title or preface may be later than the event it describes\u003C\u002Fh3>\u003Cp>Wall poems often survive inside later anecdotes, biographies or collections. A copied heading such as ‘written at a certain station’ may preserve valuable information, but it can also summarize an older story or an editor’s inference. The study of \u003Ca href=\"https:\u002F\u002Fdylc.cbpt.cnki.net\u002Fportal\u002Fjournal\u002Fportal\u002Fclient\u002Fpaper\u002F2b5e9343a74fcf362f90838d070fb87a\">relay-station poetry and response traditions\u003C\u002Fa> shows how a poem and the narrative attached to it can travel together. Responsible reading distinguishes the surviving host’s claim from direct evidence of who stood where, when, and why.\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fen6Wp02bXoyEsJJh6Hxm.webp\" alt=\"Cool blue conservation still life with blank tracing sheets, blank paper, a plaster sample and archival tools\" loading=\"lazy\">\u003Cfigcaption>AI-generated conceptual still life about transmission from wall surface to paper. It does not show a real inscription, poem, manuscript, artifact, institution, place or event.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>The wall was visible because it was vulnerable\u003C\u002Fh2>\u003Ch3>Weather, smoke, whitewash and rebuilding erased texts\u003C\u002Fh3>\u003Cp>Ink on plaster could fade, be covered, rubbed away or disappear with a building. The same public exposure that made a poem legible to travelers subjected it to handling and repair. It is therefore misleading to imagine an unchanged literary wall lasting for centuries. Even when a site name remains, a later reader may know the poem from paper rather than from the architecture; absence from the wall today says little by itself about whether a reported inscription once existed.\u003C\u002Fp>\u003Ch3>Carving and rubbing require a separate evidentiary path\u003C\u002Fh3>\u003Cp>A text deliberately cut into rock or a stele can outlast brushwork, and an ink impression can transmit the carved surface. The guide to \u003Ca href=\"\u002Farts\u002Fcalligraphy\u002Fchinese-ink-rubbings\">Chinese ink rubbings\u003C\u002Fa> explains the contact process, reversed tonal image and dependence on the carved object. A printed transcription of a wall poem is not a rubbing, and a later stone copy is not the same physical witness as the lost brush-written original. Labeling the medium prevents different objects from collapsing into a single imagined artifact.\u003C\u002Fp>\u003Ch2>From wall to notebook, collection and print\u003C\u002Fh2>\u003Ch3>Copying rescued words while changing their setting\u003C\u002Fh3>\u003Cp>A traveler might transcribe a wall poem into a notebook; a miscellany compiler might preserve it with an anecdote; a collected edition might later attribute it to an author. Dudbridge shows that wall verses could reach a broad later readership precisely because notebook literature and print detached them from their fragile first surfaces. The page on \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-biji-brush-notes-notebooks-miscellanies\">Chinese \u003Cem>biji\u003C\u002Fem> and miscellanies\u003C\u002Fa> helps identify the mixed short-form hosts through which such writing often survives.\u003C\u002Fp>\u003Ch3>Survival is selective, not transparent\u003C\u002Fh3>\u003Cp>The copier may preserve memorable lines but omit neighboring poems, spatial arrangement, handwriting, corrections or damage. A later collection can normalize characters, add punctuation, assign a title or join pieces that the wall kept apart. Once the architectural witness is gone, agreement among paper copies may still derive from one lost transcription. The guide to \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-quotation-excerpts-fragments-lost-context\">quotation, excerpts and poetic fragments\u003C\u002Fa> explains why a preserved passage is a witness to transmission, not automatic proof of a complete and unchanged original.\u003C\u002Fp>\u003Ch2>Authorship can be both compelling and uncertain\u003C\u002Fh2>\u003Ch3>Women’s wall poems reveal circulation and the danger of easy biography\u003C\u002Fh3>\u003Cp>Ming- and Qing-period stories of women travelers’ wall poems attracted copying, answering and later publication. Weijing Lu’s re-examination of \u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fjournals\u002Fjournal-of-chinese-history\u002Farticle\u002Fmystery-and-history-revisiting-a-letter-to-my-husband-by-yunzhen\u002FF32292F2EDA6023907F5BBD2553D0D7C\">Yunzhen’s ‘Letter to My Husband’\u003C\u002Fa> shows how a celebrated wall poem can sit between literary mystery and historical reconstruction: attribution, date, narrative setting and authenticity require separate evaluation. The circulation of a text is historically real even when the biography supplied by a later source cannot be accepted without qualification.\u003C\u002Fp>\u003Ch3>A byline on paper may not reproduce a signature on plaster\u003C\u002Fh3>\u003Cp>Later compilers could attach an author’s name from memory, local tradition or stylistic judgment. Conversely, an anonymous copy may descend from a wall once signed. Studies of named corpora, including work on \u003Ca href=\"https:\u002F\u002Fwww.kci.go.kr\u002Fkciportal\u002Flanding\u002Farticle.kci?arti_id=ART003033384\">wall poems attributed to Xin Qiji\u003C\u002Fa>, show that ‘wall poem’ can encompass varied settings and documentary routes. Use the methods in \u003Ca href=\"\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-attribution-anonymity-disputed-authorship\">attribution, anonymity and disputed authorship\u003C\u002Fa>: record who makes the attribution, in which witness, and how early that witness is.\u003C\u002Fp>\u003Ch2>Build an evidence ladder—and protect the place\u003C\u002Fh2>\u003Ch3>Begin with the material witness, then name every intermediary\u003C\u002Fh3>\u003Cp>A surviving surface with documented context offers different evidence from a photograph, rubbing, manuscript transcription, printed anthology or modern retelling. Research on \u003Ca href=\"https:\u002F\u002Fdlbs.liberal.ntu.edu.tw\u002Fsearch\u002Fsearch_detail.jsp?seq=667189\">Qing-period travel poems written on the walls of the Mogao Caves\u003C\u002Fa> shows that some wall texts remain physically inspectable and can identify visitors and routes. Even there, date, hand, location and conservation history should be recorded; elsewhere, say plainly when the wall is lost and the earliest witness is a later copy.\u003C\u002Fp>\u003Ch3>Reading history does not authorize new writing on heritage\u003C\u002Fh3>\u003Cp>Historical wall poetry belongs to past practices and surviving evidence, not to a license for visitors to add marks today. Do not touch, wet, trace, chalk or ink an old surface, and do not climb or move objects for a photograph. Follow the site’s conservation rules; use authorized images and transcriptions; record repository, shelfmark, edition, page and access date. The careful reader preserves the distinction among original surface, later copy and modern interpretation—and leaves the cultural place unchanged.\u003C\u002Fp>","\u003Ch2>写进地点的诗\u003C\u002Fh2>\u003Ch3>墙面是公共书写面，不是装订成册的纸页\u003C\u002Fh3>\u003Cp>“题壁诗”首先指出一种发表情境：诗写在墙壁或其他可见表面上，让经过现场的人阅读，而不是只在书本持有者之间流通。Dudbridge 关于\u003Ca href=\"https:\u002F\u002Fdoi.org\u002F10.1163\u002F22106286-12341284\">壁上诗句如何进入笔记文学\u003C\u002Fa>的研究，考察寺观、桥梁、娱乐场所，尤其官办馆驿中的题诗。壁诗不靠购书也可能遇见，但读者范围取决于谁能进入现场，文字寿命也取决于墙面能否保存。\u003C\u002Fp>\u003Ch3>“壁”是一类书写实践，材质却各不相同\u003C\u002Fh3>\u003Cp>粉墙上的墨书、木板上的题字与石面刻字，在风化、传播和引发回应方面并不相同。古代文献有时宽泛地使用题壁说法，今天研究时仍应尽量确认承载物。题壁诗也不等于建筑中左右成组的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fhow-to-read-chinese-paired-couplets-parallelism-calligraphy-place\">楹联与对联\u003C\u002Fa>。本文聚焦在地点公开出现、后来又经抄录流传的诗歌；它不等于有意凿刻、纪念性更强的\u003Ca href=\"\u002Fzh\u002Fwudang-mountain\u002Fintroduction\u002Fstone-inscriptions-and-steles\">武当山石刻与碑刻\u003C\u002Fa>。若把墨书、木刻、石刻都说成同一件“古墙原物”，就会混淆完全不同的证据链。\u003C\u002Fp>\u003Ch2>题壁诗写在哪里\u003C\u002Fh2>\u003Ch3>旅舍与驿站把行路和阅读连在一起\u003C\u002Fh3>\u003Cp>官办馆驿、邮传驿站与民间旅舍位于交通和行政线路上，墙面因而积聚往来者的文字。Cong Zhang 关于\u003Ca href=\"https:\u002F\u002Fwww.songyuan.org\u002FJSYS\u002FJSYSTC\u002Fcontents35.htm\">宋代旅舍墙面书写\u003C\u002Fa>的研究，把它视为交流、合作与群体形成的媒介，而非被动背景。旅客可以读前人的诗、次韵作答、抄入随身本，也可以留给尚未到达的读者。建筑既是住宿处，也是不断增长的地方记录，却可能在粉刷、修缮或重建时一夕消失。\u003C\u002Fp>\u003Ch3>寺观、亭台与桥路也形成阅读场\u003C\u002Fh3>\u003Cp>题壁诗还见于佛寺、道观、风景亭台、桥梁及道路设施。关于\u003Ca href=\"https:\u002F\u002Fdlbs.liberal.ntu.edu.tw\u002Fsearch\u002Fsearch_detail.jsp?seq=363492\">唐宋题壁与寺院文化\u003C\u002Fa>的研究，区分宗教表达和来访文人的游历、应景书写，同时也说明同一场所可以容纳两者。因此，寺墙上的诗不必然是宗教仪式文本，风景题诗也不必然如实记录今天附会于该地点的每一个细节；场所性质要与具体语境一起判断。\u003C\u002Fp>\u003Ch2>过往读者共同形成社会文本\u003C\u002Fh2>\u003Ch3>墙上的诗可以招来回答\u003C\u002Fh3>\u003Cp>公开题诗可能引来和韵、评语、订正，或在附近另写一首。谭新红关于\u003Ca href=\"https:\u002F\u002Fzjujournals.com\u002Fsoc\u002FCN\u002Fabstract\u002Fabstract9873.shtml\">宋词题壁传播\u003C\u002Fa>的研究指出，亭台、驿站、寺观和桥路等表面，比私人单张拥有更广、更久的可见性，却不如书籍或刻石耐久。相邻文字也未必由同一人一次规划；它们可能经多次到访逐渐增长，作者只通过墙面相识。\u003C\u002Fp>\u003Ch3>回应属于诗歌交往文化\u003C\u002Fh3>\u003Cp>后来者的唱和可以致意前人、较量才思、分享情绪，也可以表明自己参加某个纪念场合。这与\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-social-exchange-gifts-farewells-replies-rhyme-matching\">赠答、唱和与应酬诗\u003C\u002Fa>的社会逻辑相通，但墙面改变了读者结构：受诗者可能不在场、没有姓名，甚至尚未到来。这种开放性可以跨越时间形成群体，也会使后来的纸本抄录把答诗同原诗、位置和先后次序拆散。\u003C\u002Fp>\u003Ch2>地点与场合共同塑造意义\u003C\u002Fh2>\u003Ch3>道路、建筑与景观原是诗歌语境的一部分\u003C\u002Fh3>\u003Cp>旅舍题诗可以写羁留、离别或仕宦行程；亭台题诗可能面对具体视野；寺观题诗也可能寄托反省与记忆。现代版本若只印字句，就会压平这种空间语境。可把题诗同\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-travel-writing-youji-routes-witness-making-place\">中国游记与山水记忆\u003C\u002Fa>、地方地理及建筑史互读，却不可倒置证据，因后出游记提到某诗便断定作者亲眼看过最初墙面。\u003C\u002Fp>\u003Ch3>篇题或小序可能晚于所叙事件\u003C\u002Fh3>\u003Cp>不少题壁诗只存于后来的轶事、传记或诗集。抄本中的“题某驿”也许保存可靠地点，也可能是对旧故事的概括或编者推断。关于\u003Ca href=\"https:\u002F\u002Fdylc.cbpt.cnki.net\u002Fportal\u002Fjournal\u002Fportal\u002Fclient\u002Fpaper\u002F2b5e9343a74fcf362f90838d070fb87a\">驿站诗歌与回应传统\u003C\u002Fa>的研究，显示诗与围绕它的叙事会一同流传。稳妥做法是分开说明：现存文献怎样说，哪些属于直接物证，以及作者在何时、何地、为何题写的判断有多少推论成分。\u003C\u002Fp>\u003Cfigure>\u003Cimg src=\"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002Fen6Wp02bXoyEsJJh6Hxm.webp\" alt=\"冷蓝色文献保护静物：空白描摹纸、空白纸页、灰泥样块与无标记档案工具\" loading=\"lazy\">\u003Cfigcaption>AI 生成的墙面文字转入纸本概念静物；并非真实题刻、诗稿、写本、文物、机构、地点或事件记录。\u003C\u002Ffigcaption>\u003C\u002Ffigure>\u003Ch2>墙面因公开而可见，也因公开而脆弱\u003C\u002Fh2>\u003Ch3>风雨、烟尘、粉刷与重建都会抹去文字\u003C\u002Fh3>\u003Cp>粉墙墨迹会褪色、覆盖、磨损，也会随建筑拆修消失。让旅人读到它的公开暴露，正是使它易受触碰与维修影响的原因。因此，不能把“古代诗墙”想象成数百年从未变化的固定展板。地点名称可以延续，后来读者却可能只从纸本知道诗；今天墙上没有字，也不能单独证明文献所载题诗从未存在。\u003C\u002Fp>\u003Ch3>刻石与拓片必须另建证据链\u003C\u002Fh3>\u003Cp>凿刻在岩石或碑上的文字可能比墨书长久，拓印又能传播石面信息。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fcalligraphy\u002Fchinese-ink-rubbings\">中国拓片导读\u003C\u002Fa>说明覆纸捶拓、黑白关系与对原刻面的依赖。印本中的题壁诗转录不是拓片，后世把旧诗重刻上石，也不等于亡佚的原始墨书见证。准确标明墙墨、木板、刻石、拓本、照片或录文，才能避免不同物件合并成一个想象中的“原迹”。\u003C\u002Fp>\u003Ch2>从墙面进入笔记、诗集与印刷\u003C\u002Fh2>\u003Ch3>抄录救下字句，也改变它的场所\u003C\u002Fh3>\u003Cp>旅人可把壁诗抄进随身册，笔记编者可把它连同轶事保存，后出别集又可能收入某位作者名下。Dudbridge 的研究说明，壁上诗句正因为进入笔记文学和印刷，才获得远超脆弱原面的后世读者。本站关于\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-biji-brush-notes-notebooks-miscellanies\">中国笔记与杂记\u003C\u002Fa>的文章，有助于辨认这类短篇、混合的宿主文献，以及故事、诗句和编者声音怎样并存。\u003C\u002Fp>\u003Ch3>保存是选择性的，不是透明复制\u003C\u002Fh3>\u003Cp>抄者可能留下醒目的几句，却省略邻诗、空间布局、笔迹、涂改或破损；诗集编者又可能统一字形、加标点、补题或把墙上分开的文字合并。原建筑亡佚后，多个纸本一致也可能只是共同来自同一份失传录本。本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-quotation-excerpts-fragments-lost-context\">诗歌引文、摘句与残篇\u003C\u002Fa>说明：传下来的文字是传播见证，却不能自动证明原作完整不变。\u003C\u002Fp>\u003Ch2>署名可以动人，也可以不确定\u003C\u002Fh2>\u003Ch3>女性题壁诗显示传播力量，也提醒人们慎讲生平\u003C\u002Fh3>\u003Cp>明清时期有关女性旅人题壁的故事，经抄录、唱和与印刷而广为流传。Weijing Lu 重审\u003Ca href=\"https:\u002F\u002Fwww.cambridge.org\u002Fcore\u002Fjournals\u002Fjournal-of-chinese-history\u002Farticle\u002Fmystery-and-history-revisiting-a-letter-to-my-husband-by-yunzhen\u002FF32292F2EDA6023907F5BBD2553D0D7C\">云贞《寄夫书》\u003C\u002Fa>，说明一篇著名壁诗可以同时处在文学谜案与历史重构之间：署名、年代、叙事情境和真伪应分别检验。即使后出来源提供的生平故事不能无条件接受，文本曾被阅读、复制和回应的传播史仍然真实而重要。\u003C\u002Fp>\u003Ch3>纸本署名未必复制墙上的落款\u003C\u002Fh3>\u003Cp>后世编者可能根据记忆、地方传说或风格判断补上作者；反过来，无名抄本也可能来自原来有署名的墙面。包括\u003Ca href=\"https:\u002F\u002Fwww.kci.go.kr\u002Fkciportal\u002Flanding\u002Farticle.kci?arti_id=ART003033384\">辛弃疾题壁诗研究\u003C\u002Fa>在内的作者作品群研究，显示“题壁诗”可以覆盖不同场所和传承路径。可参照本站的\u003Ca href=\"\u002Fzh\u002Farts\u002Fchinese-poetry-literature\u002Fchinese-poetry-attribution-anonymity-disputed-authorship\">署名、佚名与作者争议\u003C\u002Fa>：逐条记录谁在何种见证中提出署名，以及该见证离所述时代有多远。\u003C\u002Fp>\u003Ch2>建立证据阶梯，也保护文化现场\u003C\u002Fh2>\u003Ch3>先看实物见证，再列明每一个中介\u003C\u002Fh3>\u003Cp>有确切位置的现存墙面，与照片、拓片、抄本录文、印本选集或现代转述，提供的是不同证据。关于\u003Ca href=\"https:\u002F\u002Fdlbs.liberal.ntu.edu.tw\u002Fsearch\u002Fsearch_detail.jsp?seq=667189\">莫高窟壁面清代游历诗\u003C\u002Fa>的研究表明，有些题诗仍可在实物上观察，并能提供来访者与行程信息。即便如此，也应记录年代、书写者、具体位置和保护史；若原墙已失，便应明确说明最早见证只是后出的纸本，不让版式制造“原迹尚存”的错觉。\u003C\u002Fp>\u003Ch3>阅读历史不等于允许今天继续题写\u003C\u002Fh3>\u003Cp>古代题壁是历史实践与文献证据，不是现代游客在文物上留字的许可证。不要触摸、润湿、描摹、拓印、粉划或墨写旧表面，也不要为了拍照攀爬、挪动物件。遵守场所保护规定，使用获准的图像和录文，并记录收藏机构、编号、版本、页码与查阅日期。谨慎的读者分清原面、后抄与当代阐释，也让文化现场保持原状。\u003C\u002Fp>","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fpages\u002FI85Ph5VneEbZkoDJIvp2.webp",1672,941,{"en":1218,"zh":1219},"Warm fictional conservation gallery where two anonymous specialists examine a blank weathered plaster wall mock-up","暖色虚构文献保护展厅：两位不具名工作人员观察一面没有文字的风化灰泥模拟墙",{"caption":1221,"creator":1222,"source_url":1223,"license_label":1224,"license_url":1225,"changes":1226},"AI 生成的虚构文献保护研究场景；并非真实题刻、诗稿、文物、收藏、机构、地点或历史事件。","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":1218,"zh":1219},"banner","list",{"en":1231,"zh":1232},"Chinese Wall Poetry (Tibishi): Place, Readers and Survival","中国题壁诗：公共地点、过往读者与传承证据",{"en":1234,"zh":1235},"A source-led guide to Chinese wall poetry at inns, temples and travel sites, its social reading, fragile surfaces, copying, attribution and survival.","从史料说明中国题壁诗在旅舍、寺观和行旅地点的公共阅读、脆弱材质、抄录、署名与传承。",[],{"data":1238},[1239,1315,1417,1508],{"id":1240,"slug":1241,"available_locales":1242,"path":1243,"title":1244,"venue":1247,"hero_image_url":3,"card_image_url":1250,"card_landscape_url":1251,"lifecycle":1252,"session_mode":1253,"sessions":1254,"next_session":1314},15601,"liu-yao-beginner-course",[924,925,926],"\u002Fevents\u002Fi-ching-learning\u002Fliu-yao-beginner-course",{"en":1245,"zh":1246},"Liu Yao Beginner 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2026","2026年11月21日",21,"Sat",{"status":1256,"date_slug":1288,"time_label":1258,"timezone_abbr":1259,"date_label":1289,"date_label_fr":1290,"date_short_fr":1291,"date_only_fr":1292,"date_range_label_fr":3,"time_label_fr":1264,"date_label_zh":1293,"date_short":1294,"date_short_zh":1295,"date_only":1296,"date_only_zh":1297,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":147,"month_short":1298,"month_long":1299,"month_num":147,"year":1272,"weekday_short":1286,"weekday_index":60},"2026-12-12","Saturday, 12 December 2026","samedi 12 décembre 2026","sam. 12 déc.","12 déc. 2026","2026年12月12日 星期六","Sat 12 Dec","12月12日 周六","12 Dec 2026","2026年12月12日","Dec","December",{"status":1256,"date_slug":1301,"time_label":1258,"timezone_abbr":1259,"date_label":1302,"date_label_fr":1303,"date_short_fr":1304,"date_only_fr":1305,"date_range_label_fr":3,"time_label_fr":1264,"date_label_zh":1306,"date_short":1307,"date_short_zh":1308,"date_only":1309,"date_only_zh":1310,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":137,"month_short":1311,"month_long":1312,"month_num":38,"year":1313,"weekday_short":1273,"weekday_index":951},"2027-01-17","Sunday, 17 January 2027","dimanche 17 janvier 2027","dim. 17 janv.","17 janv. 2027","2027年1月17日 星期日","Sun 17 Jan","1月17日 周日","17 Jan 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2026年11月班",{"en":1248,"zh":1249},"https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002FWU46jadRUq4I84xPdaTQ.webp","https:\u002F\u002Fimg.wudang.org\u002Ffiles\u002Fwudang\u002Fevents\u002Fvariants\u002FCQB6xxmg8kF7eqWPQgAl-16x9.webp","upcoming",[1328,1345,1357,1370,1381,1382,1393,1404],{"status":1329,"date_slug":1330,"time_label":1331,"timezone_abbr":1259,"date_label":1332,"date_label_fr":1333,"date_short_fr":1334,"date_only_fr":1335,"date_range_label_fr":3,"time_label_fr":1336,"date_label_zh":1337,"date_short":1338,"date_short_zh":1339,"date_only":1340,"date_only_zh":1341,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1342,"month_short":1343,"month_long":1344,"month_num":16,"year":1272,"weekday_short":1273,"weekday_index":951},"completed","2026-09-13","10:00am–12:00pm","Sunday, 13 September 2026","dimanche 13 septembre 2026","dim. 13 sept.","13 sept. 2026","10:00–12:00","2026年9月13日 星期日","Sun 13 Sep","9月13日 周日","13 Sep 2026","2026年9月13日",13,"Sep","September",{"status":1329,"date_slug":1346,"time_label":1331,"timezone_abbr":1259,"date_label":1347,"date_label_fr":1348,"date_short_fr":1349,"date_only_fr":1350,"date_range_label_fr":3,"time_label_fr":1336,"date_label_zh":1351,"date_short":1352,"date_short_zh":1353,"date_only":1354,"date_only_zh":1355,"is_multi_day":1185,"date_range_label":3,"date_range_label_zh":3,"day_of_month":1356,"month_short":1343,"month_long":1344,"month_num":16,"year":1272,"weekday_short":1273,"weekday_index":951},"2026-09-27","Sunday, 27 September 2026","dimanche 27 septembre 2026","dim. 27 sept.","27 sept. 2026","2026年9月27日 星期日","Sun 27 Sep","9月27日 周日","27 Sep 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