Dao bướm chưa tập luyện

• Một sản phẩm độc đáo giúp các bạn yêu thích và luyện tập dao bướm an toàn tuyệt đối, hay một món đồ chơi sành điệu, đẹp mắt.

• Balisong - một loại dao nổi tiếng với sức mạnh khủng khiếp và vô cùng sắc bén, đòi hỏi sự luyện tập công phu mới có thể sử dụng thuần thục.

• Thoải mái mang đi chơi, thể hiện đẳng cấp mà không sợ "cớm" sờ gáy.
• Chắc hẳn trong chúng ta không ít  lần thấy các màn biểu diễn dao bướm trên các phim hành động, với những tiếng kêu lách tách đầy mê hoặc

 Balisong không lưỡi giúp luyện tập mô phỏng y hệt cấu tạo của dao bướm thực tế, các khớp nối trơn tru cho việc tập luyện cực kỳ thuận tiện.

Khi đã đạt đến đẳng cấp thuần thục bạn có thể tự mài sắc lưỡi dao để sử dụng như 1 con dao bướm hoàn chỉnh

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Pseudohistorical knowledge of the sage Zhuangzi is even less well defined than that of Laozi. Most of Sima Qian’s brief portrait of the man is transparently drawn from anecdotes in the Zhuangzi itself and as such has no necessary basis in fact. The Zhuangzi, however, is valuable as a monument of Chinese literature and because it contains considerable documentary material, describing numerous speculative trends and spiritual practices of the Warring States period [475–221 bce].

Whereas the Daodejing is addressed to the sage-king, the Zhuangzi is the earliest surviving Chinese text to present a philosophy for private life, a wisdom for the individual. Zhuangzi is said to have preferred the doctrine of Laozi over all others; many of his writings strike the reader as metaphorical illustrations of the terse sayings of the “Old Master.”

Whereas Laozi in his book as well as in his life [in legend] was concerned with Daoist rule, Zhuangzi, some generations later, rejected all participation in society. He compared the servant of state to the well-fed decorated ox being led to sacrifice in the temple and himself to the untended piglet blissfully frolicking in the mire.

Here there is none of the Daodejing’s studied density. The rambling Zhuangzi opens with a sprightly fable, illustrating the incomprehension of small wildfowl of the majestic splendour of a gigantic bird. Other such parables demonstrate the relativity of all values: the sliding scales of size, utility, beauty, and perfection. There is a colloquy between the Lord of the Yellow River and the God of the Eastern Ocean, in which the complacent self-satisfaction of the lesser spirit is shaken by his unexpected meeting with inconceivable vastness. Humble artisans are depicted, who, through the perfect mastery of their craft, exemplify for their social superiors the art of mastering life. Life and death are equated, and the dying are seen to welcome their approaching transformation as a fusion with the Dao. A succession of acquiescent cripples exclaims in rapture on the strange forms in which it has pleased heaven to shape them. Those involved in state ritual are brought onstage only to be mocked, and the propositions of contemporary logic-choppers are drawn into the unending whirl of paradox, spun out to their conclusions, and so abolished. Such are a few aspects of this wild kaleidoscope of unconventional thought, a landmark in Chinese literature. Its concluding chapter is a systematic account of the preeminent thinkers of the time, and the note of mock despair on which it closes typifies the Zhuangzi’s position regarding the more formal, straitlaced ideologies that it parodies.

Among the strange figures that people the pages of Zhuangzi are a very special class of spiritualized being. Dwelling far apart from the turbulent world of men, dining on air and sipping the dew, they share none of the anxieties of ordinary folk and have the smooth, untroubled faces of children. These “supreme persons,” or “perfect persons,” are immune to the effects of the elements, untouched by heat and cold. They possess the power of flight and are described as mounting upward with a fluttering motion. Their effortless existence was the ultimate in autonomy, the natural spontaneity that Zhuangzi ceaselessly applauds. These striking portraits may have been intended to be allegorical, but whatever their original meaning, these Immortals [xian], as they came to be called, were to become the centre of great interest. Purely literary descriptions of their freedom, their breathtaking mobility, and their agelessness were construed as practical objectives by later generations. By a variety of practices, people attempted to attain these qualities in their own persons, and in time Zhuangzi’s unfettered paragons of liberty were to see themselves classified according to kind and degree in a hierarchy of the heavenly hosts [see also Zhuangzi].