In Chinese philosophy, a taijitu (Chinese: 太極圖; pinyin: tàijítú; Wade–Giles: tʻai⁴chi²tʻu²) is a symbol or diagram (圖; tú) representing taiji (太極; tàijí; 'utmost extreme') in both its monist (wuji) and its dualist (yin and yang) forms. A taijitu in application provides a deductive and inductive theoretical model. Such a diagram was first introduced by Neo-Confucian philosopher Zhou Dunyi of the Song Dynasty in his Taijitu shuo (太極圖說). The Fourth Daozang, a Taoist canon compiled in the 1440s CE during the Ming dynasty, has at least half a dozen variants of the taijitu. The two most similar are the Taiji Xiantiandao and wujitu (無極圖; wújítú) diagrams, both of which have been extensively studied since the Qing period for their possible connection with Zhou Dunyi's taijitu. Ming-period author Lai Zhide (1525–1604) simplified the taijitu to a design of two interlocking spirals with two black-and-white dots superimposed on them, which became associated with the Yellow River Map. This version was represented in Western literature and popular culture in the late-19th century as the "Great Monad", and this depiction became known in English as the "yin-yang symbol" from the 1960s. The contemporary Chinese term for the modern symbol is referred to as "the two-part Taiji diagram" (太極兩儀圖). Ornamental patterns with visual similarity to the "yin-yang symbol" are found in archaeological artefacts of European prehistory; such designs are sometimes descriptively dubbed "yin-yang symbols" in archaeological literature by modern scholars.
Structure The taijitu consists of five parts. Strictly speaking, the "yin and yang symbol", itself popularly called taijitu, represents the second of these five parts of the diagram.
At the top, an empty circle depicts the absolute (wuji). According to Zhou, wuji is also a synonym for taiji. A second circle represents the Taiji as harboring Dualism, yin and yang, represented by filling the circle in a black-and-white pattern. In some diagrams, there is a smaller empty circle at the center of this, representing Emptiness as the foundation of duality. Below this second circle is a five-part diagram representing the Five Agents (Wuxing), representing a further stage in the differentiation of Unity into Multiplicity. The Five Agents are connected by lines indicating their proper sequence, Wood (木) → Fire (火) → Earth (土) → Metal (金) → Water (水). The circle below the Five Agents represents the conjunction of Heaven and Earth, which in turn gives rise to the "ten thousand things". This stage is also represented by the bagua. The final circle represents the state of multiplicity, glossed "The ten thousand things are born by transformation" (萬物化生; simplified 万物化生)
History
The term taijitu in modern Chinese is commonly used to mean the simple "divided circle" form (), but it may refer to any of several schematic diagrams that contain at least one circle with an inner pattern of symmetry representing yin and yang.
Song and Yuan eras
While the concept of yin and yang dates to Chinese antiquity, the interest in "diagrams" (圖 tú) is an intellectual fashion of Neo-Confucianism during the Song period (11th century), and it declined again in the Ming period, by the 16th century. During the Mongol Empire and Yuan dynasty, Taoist traditions and diagrams were compiled and published in the encyclopedia Shilin Guangji by Chen Yuanjing. The original description of a taijitu is due to Song era philosopher Zhou Dunyi (1017–1073), author of the Taijitu shuo (太極圖說; "Explanation of the Diagram of the Supreme Ultimate"), which became the cornerstone of Neo-Confucianist cosmology. His brief text synthesized aspects of Chinese Buddhism and Taoism with metaphysical discussions in the Yijing. Zhou's key terms Wuji and Taiji appear in the opening line 無極而太極, which Adler notes could also be translated "The Supreme Polarity that is Non-Polar".
Non-polar (wuji) and yet Supreme Polarity (taiji)! The Supreme Polarity in activity generates yang; yet at the limit of activity it is still. In stillness it generates yin; yet at the limit of stillness it is also active. Activity and stillness alternate; each is the basis of the other. In distinguishing yin and yang, the Two Modes are thereby established. The alternation and combination of yang and yin generate water, fire, wood, metal, and earth. With these five [phases of] qi harmoniously arranged, the Four Seasons proceed through them. The Five Phases are simply yin and yang; yin and yang are simply the Supreme Polarity; the Supreme Polarity is fundamentally Non-polar. [Yet] in the generation of the Five Phases, each one has its nature. Instead of usual Taiji translations "Supreme Ultimate" or "Supreme Pole", Adler uses "Supreme Polarity" (see Robinet 1990) because Zhu Xi describes it as the alternating principle of yin and yang, and:
insists that taiji is not a thing (hence "Supreme Pole" will not do). Thus, for both Zhou and Zhu, taiji is the yin-yang principle of bipolarity, which is the most fundamental ordering principle, the cosmic "first principle." Wuji as "non-polar" follows from this. Since the 12th century, there has been a vigorous discussion in Chinese philosophy regarding the ultimate origin of Zhou Dunyi's diagram. Zhu Xi (12th century) insists that Zhou Dunyi had composed the diagram himself, against the prevailing view that he had received it from Daoist sources. Zhu Xi could not accept a Daoist origin of the design, because it would have undermined the claim of uniqueness attached to the Neo-Confucian concept of dao.
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