{"id":257,"date":"2005-09-28T20:06:58","date_gmt":"2005-09-28T18:06:58","guid":{"rendered":"http:\/\/yjcn.nl\/wp\/?p=257"},"modified":"2015-11-20T21:06:01","modified_gmt":"2015-11-20T20:06:01","slug":"the-sheng-sacrifice-at-qi-shan","status":"publish","type":"post","link":"https:\/\/www.yjcn.nl\/wp\/the-sheng-sacrifice-at-qi-shan\/","title":{"rendered":"The ‘sheng’ sacrifice at Qi Shan"},"content":{"rendered":"

\"\"<\/a>(If you see tiny squares where Chinese characters should be you are probably using Internet Explorer. Switch to Firefox<\/a>, it does a much better job.)<\/p>\n

Most Yijing translations translate s<\/em>heng<\/em> \u5347, the name of hexagram 46, as ‘pushing upwards’, ‘advancing’ or ‘ascending’. ‘Pushing upwards’ and ‘advancing’ are not good translations to my taste, but ‘ascending’ is perfectly alright. But there is more to this character (as always), if we look at the etymology and the first uses of this character, we can get a picture of what<\/em> is ascended and why<\/em>. The text of the Yijing also helps getting this clear.<\/p>\n

On oracle bones we find this character with two meanings:<\/p>\n

– a unit for measurement,
\n– the name of a certain sacrifice.<\/p>\n

\"\"\"\"The original form of this character seems to depict some kind of ladle, with the same shape of the early form of dou<\/em> \u6597. But sheng<\/em> often has little drops added to it (picture left)<\/em>, and in the bronze forms there is actually something in<\/em> the ladle, where dou<\/em> \u6597 is empty (picture right)<\/em>. Already on oracle bones is dou<\/em> \u6597 used to refer to the star constellation beidou<\/em> \u5317\u6597, the Northern Ladle, in the West known as Ursa Major<\/em> or the Great Bear. The \u7532\u9aa8\u6587\u5b57\u5178 explains dou<\/em> as “\u7591\u7528\u70ba\u661f\u540d,\u5373\u5317\u6597,\u5915\u81f3\u7fcc\u65e5\u796d\u4e4b.”, “probably the name of a star (constellation), namely Beidou<\/em>, from the evening to the next day sacrifices are made to it”. However, the \u7532\u9aa8\u6587\u7c21\u660e\u8a5e\u5178 adds a fragment from a bone inscription: “\u6708\u5e9a\u5f9e\u6597, \ud849\udcca\u96e8”, which is read as ‘when the moon passes through dou<\/em> the rain will be prolonged’. It is impossible for the moon to go through the Northern Ladle, but there is also a nandou <\/em>\u5357\u6597, a Southern Ladle, a constellation in the south which has the same shape as beidou<\/em> but is smaller in size. As far as we know nandou<\/em> was never receiving sacrifices, beidou<\/em> was far more important. The Tianguan Shu<\/em> \u5929\u5b98\u66f8 from Sima Qian \u53f8\u99ac\u9077 (135-87 BC) says:<\/p>\n

Beidou serves as the chariot of the emperor and effectuates its control over the four cardinal points by revolving around the center; it separates the yin<\/em> \u9670 from the yang<\/em> \u967d and regulates the four seasons; it maintains balance between the wuxin<\/em>g \u4e94\u884c; it regulates the moving of the celestial objects; it determines the epoch of the calendar.
\n(Xiaochun & Kistemaker; The Chinese Sky during the Han<\/em>, p. 23)<\/em><\/p><\/blockquote>\n

Whether Beidou<\/em> had a similar meaning during the Shang and Zhou dynasties is not known, but we do know from the oracle bones that sacrifices were made to this constellation.<\/p>\n

\"\"Sheng<\/em> \u5347 is also the precursor of \ud855\ude25, a character which is described in the \u7532\u9aa8\u6587\u5b57\u5178 as a utensil for measurement, used in sacrifices (p. 27). The old forms of this character sometimes have hands added to it, and\/or an altar, to express the presenting of an offering.<\/p>\n

Sheng<\/em> \u5347 was the name of a certain sacrifice, and because of the close resemblance between the old forms of sheng<\/em> and dou<\/em>, I believe that sheng<\/em> could refer to a sacrifice made to the constellation beidou<\/em>. Dou<\/em> is empty, and this emptiness is already recognized in the Shijing \u8a69\u7d93, where we read:<\/p>\n

\u7dad\u5317\u6709\u6597\u3001\u4e0d\u53ef\u4ee5\u6339\u9152\u6f3f\u3002
\nIn the north is the Ladle, but it lades out no liquor .<\/em>
\n(Odes M203)<\/em><\/p><\/blockquote>\n

Sheng<\/em>, however, is full. Maybe a sheng<\/em> \u5347 sacrifice was done to ‘fill’ the ladle by offering goods to it and thereby pleasing the gods, ancestors or spirits who regulated the movement of the constellation and the seasons. A logical object in this sacrifice would be a ladle. The meaning of ‘ascending’ comes from this sacrifice. According to Tsung-Tung Chang sheng<\/em> is used in the meaning of another homophone verb which means ‘bringing an offer at a high located altar (“Das zeichen steht in Orakelinschriften wie im sp\u00e4teren Zeichensysteem f\u00fcr das homophone Verb “Opfergabe auf einen h\u00f6her gelegenen Kultplatz bringen” “; Der Kult der Shang-Dynastie im Spiegel der Orakelinschriften<\/em>, p. 128). Chang does not specify which verb he refers to, but probably it is deng<\/em> \u767b, of which certain old forms depict an altar with footsteps. The \u738b\u529b\u53e4\u6f22\u8a9e\u5b57\u5178 says that sheng<\/em> and deng<\/em> share a common root (“\u540c\u6e90\u5b57”, p. 89). In the Mawangdui \u99ac\u738b\u5806 Yijing and the Fuyang \u961c\u967d Yijing deng<\/em> \u767b is the name of hexagram 46.<\/p>\n

The line texts of hexagram 46 tell a lot about sheng<\/em> \u5347:<\/p>\n

Line 1
\n<\/em>\u5141\u5347.\u5927\u5409.
\nReally (and joyous) sheng<\/em> sacrifice<\/p>\n

\"\"Yun<\/em> \u5141 is used on oracle bones with the meaning of ‘truly, really’, as in ‘it really<\/em> did rain on that day’ (\u7532\u9aa8\u6587\u5b57\u5178, p. 958) and is always used before a verb (\u7532\u9aa8\u6587\u7c21\u660e\u8a5e\u5178, p. 288). Tsung-Tung Chang says it probably depicts a person who nods his head in agreement (“Es zeigt vermutlich einen Menschen, der zustimmend nickt”; Der Kult<\/em>, p. 212).<\/em> According to the Shuowen <\/a> \u8aaa\u6587<\/a> the Yi originally used \ud847\udecf(\ud847\udd1e) instead of \u5141. \ud847\udecf consist of \u5c71, \ud842\udd8d(=\u5932) and \u5141. \u5c71 is a mountain, \u5932 means ‘to advance’, but the \u6f22\u8a9e\u5927\u5b57\u5178 adds that it happens with joy (‘\u9032\u8da3’, 1.60). Advancing on a mountain with joy seems to be connected with \u5141.<\/p>\n

\u5141\u5347 could therefore mean ‘really (and joyous) sheng<\/em> sacrifice’. The offering is successfully taking place, the ladle is actually ‘filled’ (maybe stars were appearing in the container of the ladle, the little dots in the early form of sheng<\/em>?). This brings great fortune (\u5927\u5409).<\/p>\n

Line 2
\n<\/em>\u5b5a\u4e43\u5229\u7528\u79b4.(\u7121\u548e.)
\nCaptives use the music instruments (of the yue<\/em> sacrifice).<\/p>\n

Fu<\/em> \u5b5a means ‘captives of war’ (\u7532\u9aa8\u6587\u5b57\u5178, p. 265, 895; \u7532\u9aa8\u6587\u7c21\u660e\u8a5e\u5178, p. 164, 333; \u91d1\u6587\u5927\u5b57\u5178, p. 2694; \u91d1\u6587\u5e38\u7528\u5b57\u5178, p. 301).<\/p>\n

Nai<\/em> \u4e43 is a so-called ’empty character’ (xuzi<\/em> \u865b\u5b57), in most ancient texts it has a more or less abstract meaning which is not always easy to translate, but it comes close to ‘thereupon’, ‘only then’, etc., equal to nai<\/em> \u8ffa (\u7532\u9aa8\u6587\u7c21\u660e\u8a5e\u5178, p. 293). On bronzes we also find nai<\/em> with the meaning ‘this is\/has’ (\u91d1\u6587\u5e38\u7528\u5b57\u5178, p. 498), like in sayings as \u8ca7\u4e43<\/strong>\u798d\u4e2d\u798f: ‘poverty, this is<\/strong> misfortune’s blessing’ (poverty is a blessing in disguise). But nai<\/em> also signifies that what follows it is somewhat special, it is used to emphasize a fact or situation which needs special attention.<\/p>\n

Liyong<\/em> \u5229\u7528 is an old fixed expression and means ‘(put to) use things, objects or people’ (\u6f22\u8a9e\u5927\u8a5e\u5178, 2.635b), like in the Guanzi<\/em> \u7ba1\u5b50: “\u6625\u79cb\u51ac\u590f\uff0c\u9670\u967d\u4e4b\u63a8\u79fb\u4e5f\uff1b\u6642\u4e4b\u77ed\u9577\uff0c\u9670\u967d\u4e4b\u5229\u7528<\/strong>\u4e5f”, “Spring and autumn, winter and summer represent shifts in the yin<\/em> and yang<\/em>. The shortening and lengthening of the seasons represents their appliance<\/strong>.” (see W.A. Rickett, Guanzi<\/em>, p. 117). Li<\/em> signifies that the use of the object gives results and that these results are known; yong<\/em> without li<\/em> means that a result is not immediately expected or anticipated.<\/p>\n

\"\"I believe yue<\/em> \u79b4 is a key character in understanding the meaning of sheng<\/em> \u5347. Yue<\/em> is the name of a sacrifice which was used mostly in summer, but also in spring. The Zhouli \u5468\u79ae says: “\u4ee5\u7960\u6625\u4eab\u5148\u738b. \u4ee5\u79b4\u590f\u4eab\u5148\u738b . \u4ee5\u5617\u79cb\u4eab\u5148\u738b. \u4ee5\u70dd\u51ac\u4eab\u5148\u738b”, “Use the ci<\/em> \u7960 sacrifice to serve the ancestors in spring. Use the yue<\/em> \u79b4 sacrifice to serve the ancestors in the summer. Use the chang<\/em> \u5617 sacrifice to serve the ancestors in autumn. Use the zheng<\/em> \u70dd sacrifice to serve the ancestors in the winter”(\u5468\u79ae.\u6625\u5b98\u5b97\u4f2f; see also Shijing<\/em> M166).<\/p>\n

The nature of the yue<\/em> sacrifice is found in the component \u9fa0. The oracle bone graph is the picture of a music instrument made from bamboo, maybe related to the ‘khaen<\/a>‘ as still used in Laos. The \u7532\u9aa8\u6587\u5b57\u5178 says yue<\/em> is the name of a sacrifice in which music was used, in later ages it was more and more written as \u79b4 (p. 199). Music was associated with joy and spring<\/a>.
\nBut \u9fa0 was not only a music instrument, it was also a unit for measure, related to sheng <\/em>\u5347 and dou<\/em> \u6597. The \u8aaa\u6587 says that 1 \u6597 equals 10 \u5347, and that 1 \u5347 equals 10 \u9fa0. It is interesting to notice that the things which are used during sacrifices, like a ladle and a flute, are also used as containers for measurement, and that these containers are related to each other. It seems as if in the sheng<\/em> sacrifice the ‘measures’, fixing the units, is important.<\/p>\n

Liyong <\/em>\u5229\u7528 signifies that what follows is probably an object, something that can be used. Putting all this together we can translate \u5b5a\u4e43\u5229\u7528\u79b4 as ‘Captives use the music instruments (of the yue<\/em> sacrifice)’. To me \u5229\u7528\u79b4 does not mean that the yue<\/em> sacrifice itself was used, they only used the instruments<\/em> which bear the name of this sacrifice. Because I see sheng<\/em> \u5347 itself as a sacrifice and the text of hexagram 46 as dealing with this sacrifice it would not fit to see yue<\/em> \u79b4 as the yue<\/em> sacrifice, rather I think it points to the objects of the yue<\/em> sacrifice (after all, \u79b4 is the later form of \u9fa0) . The fact that music is associated with joy (which reminds us of the variant form \ud847\udd1e of \u5141 in the first line of hexagram 46) also adds a little bit of credit. Yue<\/em> \u79b4 is also mentioned in the fifth line of hexagram 63: \u6771\u9130\u6bba\u725b. \u4e0d\u5982\u897f\u9130\u4e4b\u79b4\u796d. Here the character ji<\/em> \u796d, ‘sacrifice’, is added to stress the act<\/em>, and not the instruments used during the act. When the sacrifice itself is meant this is specifically stated, just as in 47-2: \u5229\u7528\u4ea8\u7940 – heng<\/em> \u4ea8 being the sacrifice, si<\/em> \u7940, ‘offer sacrifices’ to stress the act.<\/p>\n

\"\"It might seem odd to let captives play musical instruments during an important sacrifice, but captives, prisoners of war, played an important role in Shang and Zhou society. If they cooperated they would be given rewards and occasionally a high position (<\/em>J.C.H. Hsu, The Written Word in Ancient China<\/em>, p. 846-849).<\/em> Using captives during a ceremony, be it as a sacrifice or in other ways, showed the ancestors that the conquered clan was obedient and willing to serve the ancestors of the victorious clan. Besides that, a yue<\/em> instrument was not difficult to play. One of the variant forms of the oracle bone graph for yue<\/em> shows an A-shaped component on top of the tubes that was probably the single mouthpiece controlling the air to all the tubes, but with each tube producing only one single note. It was constructed like the modern thirteen-reed sheng<\/em> \u7b19 pan-pipe. This meant that the player only needed to move his fingers on the holes of the tubes without blowing into each separate tube (The Written Word<\/em>, p. 674).<\/p>\n

Line 3
\n<\/em>\u5347\u865b\u9091.
\nAscending to the hill settlement.<\/p>\n

In most Yi translations xu<\/em> \u865b is translated as ’empty’. Although this is indeed one of the many meanings of xu<\/em> it does not make much sense in the context of hexagram 46. If you want to use xu<\/em> in the meaning of ’empty’, then you must bear in mind that xu<\/em> means that there is literally nothing at all<\/em>. The phrase ’empty city’ is therefore nonsense, because if there would still be a city, it would not be called ’empty’, no matter how little is left of it. In Tang \u5510and Song \u5b8b times the phrase \u865b\u9091 stood for land enfeoffed to feudal lords by the king, but the lords were not allowed to levy taxes on these lands (\u6f22\u8a9e\u5927\u8a5e\u5178 8.820a) – there was nothing to get, it was ’empty’. Xu<\/em> is also translated as ‘ruins’, as in Shijing M50 quoted below. This is also a better translation than ’empty’.<\/p>\n

\"\"<\/a>Another, and concerning hexagram 46 more appropriate meaning of xu<\/em>, is ‘hill’. We have seen that sheng<\/em> \u5347 means the ascending of a mountain, and in the Shijing sheng<\/em> is also connected with hills or mountains: “\u5347\u5f7c\u5927\u961c”, “ascend the great hill” (M180). In M50 it is said “\u5347\u5f7c\u865b\u77e3”, and normally xu<\/em> is translated here as ‘old walls’, but it would be equally correct to translate xu <\/em>as ‘hill’, but a hill with inhabitants. The Shuowen supports this view. It says (quoting the Zhouli \u5468\u79ae): “\u53e4\u8005\u4e5d\u592b\u70ba\u4e95\uff0c\u56db\u4e95\u70ba\u9091\uff0c\u56db\u9091\u70ba\u4e18\u3002\u4e18\u8b02\u4e4b\u865b”, “in ancient times 9 fu<\/em> \u592b constituted a jing<\/em> \u4e95, 4 jing<\/em> \u4e95 constituted a yi<\/em> \u9091, 4 yi<\/em> \u9091 constituted a qiu<\/em> \u4e18. A qiu<\/em> \u4e18 is also called a xu<\/em> \u865b”. It is interesting to see that in this context xu<\/em> \u865b and yi<\/em> \u9091 are used, just as in line 3 of hexagram 46. Just like \u9fa0, \u6597 and \u5347 can \u865b and \u9091 be seen as units for measurement. It gives the impression that the sheng<\/em> \u5347 sacrifice was used to determine (and set straight) the measure units that were used in the country. But this is speculation, we can not really substantiate it by facts.<\/p>\n

\"\"The Shijing shows that sheng<\/em> has to do with climbing, and I think xu<\/em> should therefore be translated as ‘hill’, which would make \u5347\u865b\u9091 “ascending to the hill settlement”. The old form of yi<\/em> \u9091 is the picture of a square, symbolizing a marked piece of land, and a person kneeling. On bronzes it is used in the meanings of 1. a measure word for cities, 2. a small city or town (as opposed to a dou<\/em> \u90fd, a capital), and 3. a country (\u91d1\u6587\u5e38\u7528\u5b57\u5178, p. 663). Another interesting meaning is that of a capital without an ancestral temple (“\u6307\u53e4\u4ee3\u7121\u5148\u541b\u5b97\u5edf\u7684\u90fd\u57ce”; \u6f22\u8a9e\u5927\u5b57\u5178, 6.3753). It also refers in a more general sense to a region inhabited by people.<\/p>\n

\"\"<\/a>A large mountain is not just one isolated peak, normally it consists of several smaller hills which support the summit. Along the road to the top small settlements with temples would be placed, as a resting place, but also for worship during the travel. The Tai Shan \u6cf0\u5c71 is a good example of this (see picture on the right, click to enlarge; from D.C. Baker, T’ai Shan – An Account of the Sacred Eastern Peak of China<\/em>).<\/p>\n

Line 4
\n<\/em>\u738b\u7528\u4eab\u4e8e\u5c90\u5c71.(\u5409\u7121\u548e.)
\nThe king applied an offering at Qi Shan.<\/p>\n

The original form of xiang<\/em> \u4eab is \u4eaf. In the small seal script<\/a> (xiaozhuan <\/em>\u5c0f\u7bc6), which became the standard during the Qin dynasty, \u4eab was written as \"\". When the Lishu<\/em> \u96b8\u66f8 style of writing was introduced during the Han dynasty the lower part of this character was abbreviated to \u5b50, but the earlier form \u4eaf is also still in use (\u7532\u9aa8\u6587\u7c21\u660e\u8a5e\u5178, p. 125). \u4eab shares the same etymological root with \u737b, \u4ea8 and \u9957. All these characters, which are close in pronunciation, share the meaning of ‘serving food’, to ancestors, nature spirits or guests. \u4eab in its earliest usage therefore referred to making offerings to please or entertain the spirits (maybe it is related to the so-called bin<\/em> \u8cd3 hosting ritual).<\/p>\n

Qi Shan \u5c90\u5c71, also known as ‘Phoenix Mountain’, is a mountain in the north of the modern \u6276\u98a8 Fufeng district, the first Zhou capital Qiyi \u5c90\u9091 was established in the plain located to the south side of Qi Shan (Maria Khayutina, Where Was the Western Zhou Capital?<\/a>, p. 2. See also Shijing M237). Considering the meaning of sheng<\/em> \u5347 I believe that this is the mountain where the sheng<\/em> sacrifice took place. \u738b\u7528\u4eab\u4e8e\u5c90\u5c71 translates as ‘The king applied an offering at Qi Shan”.<\/p>\n

Line 5
\n<\/em>\u8c9e\u5409.\u5347\u968e.<\/p>\n

Jie<\/em> \u968e means ‘stairs’. The complete sentence could be translated as ‘The divination is auspicious. Ascend the stairs (as part of the ritual).” Before a certain ritual would take place it was customary to consult the tortoise if the ancestors would approve (see for examples D. Keightley, The Ancestral Landscape<\/em>, p. 41-42). In this case the ancestors approve, it is okay to proceed.<\/p>\n

Line 6
\n<\/em>\u51a5\u5347.\u5229\u4e8e\u4e0d\u606f\u4e4b\u8c9e.
\nDark sheng<\/em> sacrifice. Good result when performing divinations continuously.<\/p>\n

\"\"The etymology of ming<\/em> \u51a5 is somewhat disputed. Guo Moruo \u90ed\u6cab\u82e5 says we should read \u51a5 as mian<\/em> \u5a29\/\u3743 which means ‘to bear a son’. This meaning is also derived from the fact that mian <\/em>often occurs with fu<\/em> \u5a66, a title for a woman in a high position. Tang Lan \u5510\u862d follows this, but adds that the graph is related to mi<\/em> \u5e4e, a veil. The earliest form shows two hands holding a piece of cloth (\u7532\u9aa8\u6587\u5b57\u5178, p. 1573), probably supposed to shield the mother from spectators while giving birth. This ‘covering’ gave the later meaning of ‘dim, dusky, obscure’ and ‘evening’ or ‘night’. Added to the meaning of ‘giving birth’ the meaning of ‘nether world’, the dark place where spirits dwell, is formed (\u6f22\u8a9e\u5927\u5b57\u5178, p. 1.304).<\/p>\n

\u51a5\u5347 Could mean ‘dark sheng<\/em> \u5347 sacrifice’. The \u7532\u9aa8\u6587\u5b57\u5178 describes dou<\/em> \u6597 as a constellation to which “from the evening to the next day sacrifices are made to it”. If sheng<\/em> is a sacrifice to the constellation dou<\/em> I assume that the ritual started in the evening with the ascension of Qi Shan, which takes quite some hours, and when the top is reached it will be in the middle of the night. This is when the serious work starts, it is the most important part of the ritual, the top is where the actual sacrifice takes place.<\/p>\n

Xi<\/em> \u606f means ‘breath’, but also ‘to stop’. In bronze inscriptions it is used in the meaning of xiuxi<\/em> \u4f11\u606f, ‘to have a rest’ (\u91d1\u6587\u5927\u5b57\u5178, p. 1838). Buxi<\/em> \u4e0d\u606f means ‘not stopping, not resting’. The complete translation would then be ‘Dark sheng<\/em> sacrifice. Good result when performing divinations continuously’.<\/p>\n

The actual performance of the sacrifice in the dark, when the constellation beidou<\/em> can be seen and you are close to the spirits, you are vulnerable to their influences. To find out if the sacrifice is going to their will it is wise to consult the oracle continuously (see for an example of a continuing divination M. Puett, To Become a God<\/em>, p. 42-43). This also stresses the importance of the sheng<\/em> sacrifice.<\/p>\n

From the line texts of the Yi we get the picture of a sacrifice which was performed on mountain Qi Shan, probably at the beginning of spring. A sacrifice which was performed to honor the Beidou<\/em> \u5317\u6597 constellation which was supposed to regulate the seasons, and maybe had something to do with setting straight the units of measurement. The sacrifice was performed from the evening through the night, and was accompanied with music to celebrate the joyous occasion.<\/p>\n","protected":false},"excerpt":{"rendered":"

(If you see tiny squares where Chinese characters should be you are probably using Internet Explorer. Switch to Firefox, it does a much better job.) Most Yijing translations translate sheng \u5347, the name of hexagram 46, as ‘pushing upwards’, ‘advancing’ or ‘ascending’. ‘Pushing upwards’ and ‘advancing’ are not good translations \u2026 Continue reading → <\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"categories":[3],"tags":[27],"class_list":["post-257","post","type-post","status-publish","format-standard","hentry","category-character-analysis","tag-hexagram-46"],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p2dxXY-49","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.yjcn.nl\/wp\/wp-json\/wp\/v2\/posts\/257","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.yjcn.nl\/wp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.yjcn.nl\/wp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.yjcn.nl\/wp\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.yjcn.nl\/wp\/wp-json\/wp\/v2\/comments?post=257"}],"version-history":[{"count":5,"href":"https:\/\/www.yjcn.nl\/wp\/wp-json\/wp\/v2\/posts\/257\/revisions"}],"predecessor-version":[{"id":1963,"href":"https:\/\/www.yjcn.nl\/wp\/wp-json\/wp\/v2\/posts\/257\/revisions\/1963"}],"wp:attachment":[{"href":"https:\/\/www.yjcn.nl\/wp\/wp-json\/wp\/v2\/media?parent=257"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.yjcn.nl\/wp\/wp-json\/wp\/v2\/categories?post=257"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.yjcn.nl\/wp\/wp-json\/wp\/v2\/tags?post=257"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}