different schools throughout the history of Chinese philosophy. Just
as with many other Chinese philosophical notions, the influences of
yinyang are easy to observe, but its conceptual meanings are hard to
define. Despite the differences in the interpretation, application,
and appropriation of yinyang, three basic themes underlie nearly all
deployments of the concept in Chinese philosophy: (1) yinyang as the
coherent fabric of nature and mind, exhibited in all existence, (2)
yinyang as jiao (interaction) between the waxing and waning of the
cosmic and human realms, and (3) yinyang as a process of harmonization
ensuring a constant, dynamic balance of all things. As the Zhuangzi
(Chuang-tzu) claims, "Yin in its highest form is freezing while yang
in its highest form is boiling. The chilliness comes from heaven while
the warmness comes from the earth. The interaction of these two
establishes he (harmony), so it gives birth to things. Perhaps this is
the law of everything yet there is no form being seen."(Zhuangzi,
Chapter 21). In none of these conceptions of yinyang is there a
valuational hierarchy, as if yin could be abstracted from yang (or
vice versa), regarded as superior or considered metaphysically
separated and distinct. Instead, yinyang is emblematic of valuational
equality rooted in the unified, dynamic, and harmonized structure of
the cosmos. As such, it has served as a heuristic mechanism for
formulating a coherent view of the world throughout Chinese
intellectual and religious history.
1. Origins of the Terms Yin and Yang
2. The Yinyang School
3. Yinyang as Qi (Vital Energy)
4. Yinyang as Xingzi (Concrete Substance)
5. The Yinyang Symbol
6. References and Further Reading
1. Origins of the Terms Yin and Yang
The earliest Chinese characters for yin and yang are found in
inscriptions made on "oracle bones" (skeletal remains of various
animals used in ancient Chinese divination practices at least as early
as the 14th century BCE). In these inscriptions, yin and yang simply
are descriptions of natural phenomena such as weather conditions,
especially the movement of the sun. There is sunlight during the day
(yang) and a lack of sunlight at night (yin). According to the
earliest comprehensive dictionary of Chinese characters (ca. 100 CE),
Xu Shen's Shuowen jiezi (Explaining Single-component Graphs and
Analyzing Compound Characters), yin refers to "a closed door, darkness
and the south bank of a river and the north side of a mountain." Yang
refers to "height, brightness and the south side of a mountain." These
meanings of yin and yang originated in the daily life experience of
the early Chinese. Peasants depended on sunlight for lighting and
their daily life routines. When the sun came out, they would go to the
field to work; when the sun went down, they would return home to rest.
This sun-based daily pattern evidently led to a conceptual claim: yang
is movement (dong) and yin is rest (jing). In their earliest usages,
yin and yang existed independently and were not connected. The first
written record of using these two characters together appears in a
verse from the Shijing (Book of Songs): "Viewing the scenery at a
hill, looking for yinyang." This indicates that yang is the sunny side
and yin is the shady side of hill. This effect of the sun exists at
the same time over the hill.
2. The Yinyang School
According to Sima Tan (Ssu-ma Tan, ca. 110 BCE), there existed a
school of teaching during the "Spring and Autumn" (770-481 BCE) and
"Warring States" (403-221 BCE) periods that bore the name of yinyang.
He lists this yinyang school alongside five others (Confucian, Mohist,
Legalist, Fatalist, and Daoist) and defines its theory as "the
investigation of the shu [art] of yin and yang." According to him,
this school focused on omens of luck and explored the patterns of the
four seasons. In other words, the yinyang school was concerned with
methods of divination or astronomy (disciplines that were not distinct
from one another in early China, as elsewhere in the ancient world)
and the calendrical arts (which entailed study of the four seasons,
eight locations, twelve du [measures] and twenty-four shijie [time
periods]). Just as the Confucians (rujia) arose from the ranks of
rushi ("scholar-gentlemen") who excelled at ritual and music, those of
the yingyang school came from the fangshi ("recipe-gentlemen") who
specialized in various numerological disciplines known as shushu
("number-arts"). These shushu included tianwen (astronomy), lipu
(calendar-keeping), wuxing ("five phases" correlative theory), zhuguai
(tortoise-shell divination), zazha (fortune-telling) and xingfa
(face-reading). The Han dynasty chronicle Shiji (Records of the
Historian) lists Zou Yan (305-240 BCE) as a representative of the
yinyang school who possessed a profound knowledge of the theory of
yinyang and wrote about a hundred thousand words on it. However, none
of his works have survived.
By the Han dynasty (202 BCE-220 CE), yinyang was associated with
wuxing ("five phases") correlative cosmology. According to the "Great
Plan" chapter of the Shujing (Classic of Documents), wuxing refers to
material substances that have certain functional attributes: water is
said to soak and descend; fire is said to blaze and ascend; wood is
said to curve or be straight; metal is said to obey and change; earth
is said to take seeds and give crops. Wuxing is used as a set of
numerological classifiers and explains the configuration of change on
various scales. The so-called yinyang wuxing teaching – an "early
Chinese attempt in the direction of working out metaphysics and a
cosmology" (Chan 1963: 245) – was a fusion of these two conceptual
schemes applied to astronomy and the mantic arts.
3. Yinyang as Qi (Vital Energy)
The most enduring interpretation of yinyang in Chinese thought is
related to the concept of qi (ch'i, vital energy). According to this
interpretation, yin and yang are seen as qi (in both yin and yang
forms) operating in the universe. In the "Duke Shao" chapter of the
Zuozhuan (The Book of History), yin and yang are first defined as two
of six heavenly qi:
There are six heavenly influences [qi] which descend and produce
the five tastes, go forth in the five colours, and are verified in the
five notes; but when they are in excess, they produce the six
diseases. Those six influences are denominated the yin, the yang,
wind, rain, obscurity, and brightness. In their separation, they form
the four seasons; in their order, they form the five (elementary)
terms. When any of them is in excess, they ensure calamity. An excess
of the yin leads to diseases of cold; of the yang, to diseases of
heat. (Legge 1994: 580).
Here, yin and yang are the qi of the universe. These qi flow within
the natural as well as the human worlds. They are the basic fabric of
existence:
Heaven and earth have their regular ways, and men like these for
their pattern, imitating the brilliant bodies of Heaven, and according
with the natural diversities of the Earth. (Heaven and Earth) produce
the six atmospheric conditions [qi], and make use of the five material
elements. Those conditions (and elements) become the five tastes, are
manifested in the five colours, and displayed in the five notes. When
they are in excess, there ensue obscurity and confusion, and people
lose their (proper) nature… There were mildness and gentleness
kindness and harmony, in imitation of the producing and nourishing
action of Heaven. There are love and hatred, pleasure and anger, grief
and joy, produced by the six atmosphere conditions [qi]. Therefore
(the sage kings) carefully imitated these relations and analogies (in
forming ceremonies), to regulate those six impulses…When there is no
failure in the joy and grief, we have a state in harmony with the
nature of Heaven and Earth, which consequently can endure long. (
Legge 1994: 708).
Thus qi, a force arising from the interplay between yin and yang,
becomes a context in which yinyang is seated and functions. Yinyang as
qi provides an explanation of the beginning of the universe and serves
as a building block of the Chinese intellectual tradition. In many
earlier texts, one may observe how yinyang generates a philosophical
perspective on heaven, earth and human beings. Chapter 42 of the Laozi
says that "everything is embedded in yin and embraces yang; through
chong qi [vital energy] it reaches he [harmony]." It is through
yinyang's function as qi and the interaction between them that
everything comes into existence. Zhuangzi also speaks about the "qi of
yin and yang": "When the qi of yin and yang are not in harmony, and
cold and heat come in untimely ways, all things will be harmed."
(Zhuangzi ch. 31) On the other hand, "when the two have successful
intercourse and achieve harmony, all things will be produced."
(Zhuangzi ch. 21)
The interpretation of yinyang as qi conceives yinyang as a dynamic and
natural form of flowing energy, a complementary in the primordial
potency of the universe. The Huainanzi offers more detailed
explanation of the cosmological process of yin and yang:
When heaven and earth were formed, they divided into yin and yang.
Yang is generated [sheng] from yin and yin is generated from yang. Yin
and yang mutually alternate which makes four fields [wei, "celestial
circles"] penetrate. Sometimes there is life, sometimes there is
death, that brings the myriad things to completion. (ch. 2)
This process also explains the beginning of human life. When qi moved,
the clear and light rose to be heaven and the muddy and heavy fell to
become earth. When these two qi interacted and attained the stage of
harmony (he), human life began. This shows that everything is made
from the same materials and difference relies on the interaction.
Qi also takes on various forms and is convertible from one form to
another with order and pattern. The concept of yinyang supplies a
unitary vision of heaven, earth and human beings and makes the world
intelligible in terms of a resonance between human beings and the
universe. The Guoyu (Discourses of the States) describes how
earthquakes took place at the confluence of the Jing, Wei, and Lou
rivers during the second year of Duke You of the western Zhou dynasty.
A certain Boyang Fu claims that the Zhou empire is doomed to collapse,
explaining that
The qi of heaven and earth can't lose its order. If its order
vanishes people will be disoriented. Yang was stuck and could not get
out, yin was suppressed and could not evaporate, so an earthquake was
inevitable. Now the earthquakes around the three rivers are due to
yang losing its place and yin being pressed down. Yang is forsaken
under yin so the source of rivers has been blocked. If the foundation
of rivers is blocked the country will definitely collapse. This is
because of the fact that the flowing water and flourishing land are
necessities for the people's lives. If the water and land cannot
sustain the people's living conditions, the country will inevitably
fall. (Discourse of the States 1994: 22).
Not only does this ¬yinyang-flavored explanation claim to illuminate
natural phenomena, it also implies that there is an intrinsic
relationship between natural events and political systems. Human
beings, especially political leaders, must align their virtuous
actions with the morally-oriented universe. If they follow and
harmonize with (shun) the order and patterns of the universe, they
will be rewarded with prosperity and flourishing, but if they go
against and conflict with (ni) it, they will be punished with
disasters and destruction. Whether one engages in shun or ni depends
upon whether yin and yang are in a state of balance. Thus, yinyang
provides a heuristic outlook for human understanding as well as
ethical guidance for achieving harmony in action. As chapter 8 of the
Huainanzi claims:
Yinyang embodies the harmony of heaven and earth, manifests the
forms of myriad things, contains qi to transform the things and
completes various kinds of things; yinyang extends and penetrates to
the deepest level; begins in emptiness then becomes full and moves in
boundless lands.
4. Yinyang as Xingzi (Concrete Substance)
Yinyang also has been understood as some concrete substance (xingzhi),
according to which yixing and yangxing define everything in the
universe. In the Yijing (I-Ching, The Book of Changes), yinyang is
presented as xingzhi. Yang was identified with the sun and yin with
the moon:
Heaven and earth correlate with vast and profound; four seasons
correlate with change and continuity [biantong]; the significance of
yin and yang correlate with sun and moon; the highest excellence
[zhide] correlates the goodness of easy and simple.(Sishu wujing 1990:
197)
The Guanzi, an important work of the Huang-Lao school, discusses this
view along the same lines: "The sun is in charge of yang, the moon is
in charge of yin, the stars are in charge of harmony [he]." (Guanzi
2000: 151). This xingzhi interpretation materializes the concept of
yinyang in some concrete contexts and shows that the universe is
orderly, moral and gendered. The pattern of the world is written in a
gendered language. Yinyang is something one can see, feel, and grasp
through the senses. For example, in the Liji (Book of Ritual), music
represents the he (harmony) of heaven and earth, while li (ritual)
represents the order of heaven and earth: "Music is coming from yang,
ritual is coming from yin. The harmony of yinyang receives the myriad
things." (Sishu wujing 1990: 525) In the human world, male as yang
should be cultivated, otherwise the day will suffer; female as yin
should be cultivated too, otherwise the moon will be affected.
According to Dong Zhongshu, (195-115 BCE), both Tian (heaven) and
human beings have yinyang. Therefore, there is an intrinsic connection
between tian and human beings through the movement of yin and yang.
Yinyang is an essential vehicle for interactions between heaven and
human beings: "The qi of yinyang moves heaven above as well as in
human beings. When it is among human beings it is displayed itself as
like, dislike, happy and mad, when it is in heaven it is seen as warm,
chilly, cold and hot." (Dong Zhongshu 1996: 436) In Dong's
cosmological vision, the whole universe is a giant yinyang. One of
many examples of this vision is Dong's proposal to control floods and
prevent droughts by proper human interaction. In chapter 74 ("Seeking
the Rain") of his Luxuriant Gems of the Spring and Autumn, Dong
asserts that a spring drought indicates too much yang and not enough
yin. So one should "open yin and close yang" (1996: 432) He suggests
that the government should have the south gate closed, which is in the
direction of yang. Men, embodying yang, should remain in seclusion.
Women, embodying yin, should appear in public. He even requests all
married couples to copulate (ouchu) to secure more yinyang
intercourse. It is also important during this time to make women
happy. (1996: 436) In chapter 75 ("Stopping the Rain"), Dong alleges
that the flood proves there is too much yin so one should "open yang
and close yin" (1996: 438). The north gate, the direction of yin,
should be wide open. Women should go into concealment and men should
be visible. Officers in the city should send their wives to the
countryside in order to make sure that yin will not conquer yang. Derk
Bodde defines this practice as a "sexual sympathetic magic." (Bodde
1981: 373)
Finally, yinyang also plays a pivotal role in traditional Chinese
thought about health and the human body. The early medical text known
as the Huangdi neijing (The Yellow Emperor's Classic of Internal
Medicine) provides a detailed account of physiological functions and
pathological changes in the body and guidance for diagnosis and
treatment in terms of yinyang. Five zang (organs) — the kidneys,
liver, heart, spleen and lungs — are classified as yin. They control
the storage of vital substance and qi. Six fu (organs) — the
gallbladder, stomach, small and large intestines, urinary bladder and
triple burner (referring to three parts of the body cavity: the upper
burner, which houses the heart and lungs; the middle burner, which
houses the spleen and stomach; and the lower burner, which houses the
kidney, urinary bladder and small and large intestines) — are yang and
control the transport and digestion of food. The storage is a yin
function, and the transport and transformation of substance is a yang
function. But the zang and fu organs can be further subdivided into
yin and yang. The activity or function of each organ is its yang
aspect, while its substance is its yin aspect. Yin should flow
smoothly and yang should vivify steadily. They regulate themselves so
as to maintain equilibrium. Yin and yang do not exist in isolation but
are in a dynamic state in which they interact and fashion the
complicated and intricate system of the human body.
5. The Yinyang Symbol
There is no a clear and definite way to determine the exact date of
origin or the person who created the popular yinyang symbol. No one
has ever claimed specific ownership of this popular image. However,
there is a rich textual and visual history leading to its creation.
Inspired by a primeval vision of cosmic harmony, Chinese thinkers have
sought to codify this order in various intellectual constructions.
Whether to formulate this underlying pattern through words and
concepts or numbers and visual images has been debated since the Han
dynasty. The question first surfaced in the interpretation of the
Yijing. The Yijing is constructed around sixty-four hexagrams (gua),
each of which is made of six parallel broken or unbroken line segments
(yao). Each of the sixty-four hexagrams has a unique designation; its
image (xiang) refers to a particular natural object and conveys the
meaning of human events and activities. The Yijing thus has generated
a special way to decipher the universe. It mainly incorporates three
elements: xiang (images), shu (numbers), and li (meanings). They act
as the mediators between heavenly cosmic phenomena and earthly human
everyday life. From the Han dynasty through the Ming and Qing
dynasties (1368-1912 CE), there was a consistent tension between two
schools of thought: the school of xiangshu (images and numbers) and
the school of yili (meanings and reasoning). At issue between them is
how best to interpret the classics, particularly the Yijing. The
question often was posed as: "Am I interpreting the six classics or
are the six classics interpreting me?"
For the school of Xiangshu the way to interpret the classics is to
produce a figurative and numerological representation of the universe
through xiang (images) and shu (numbers). It held that xiangshu are
indispensable structures expressing the Way of heaven, earth and human
being. Thus the school of Xiangshu takes the position that "I
interpret the classics" by means of the images and numbers. The
emphasis is on the appreciation of classics. The school of Yili, on
the other hand, focuses on an exploration of the meanings of the
classics on the basis of one's own reconstruction. In other word, the
school of Yili treats all classics as supporting evidence for their
own ideas and theories. The emphasis is more on idiosyncratic new
theories rather than the explanation of the classics. In what follows,
our inquiry focuses on the legacy of the Xiangshu school.
The most common effort of the Xiangshu school was to draw tu
(diagrams). Generations of intellectuals labored on the formulation
and creation of numerous tu. Tu often delineate structure, place, and
numbers through black and white lines. They are not aesthetic objects
but rather serve as a means of articulating the fundamental patterns
that govern phenomena in the universe. Tu are universes in microcosm
and demonstrate obedience to definite norms or rules. During the Song
dynasty (960-1279 CE), the Daoist monk Chen Tuan (906-989 CE) made an
important contribution to this tradition by drawing a few tu in order
to elucidate the Yijing. Though none of his tu were directly passed
down, he is considered the forerunner of the school of tushu (diagrams
and writings). It is said that he left behind three tu; since his
death, attempting to discover these tu has become a popular scholarly
pursuit. After Chen Tuan, three trends in making tu emerged,
exemplified by the work of three Neo-Confucian thinkers: the Hetu
(Diagram of River) and Luoshu (Chart of Luo) ascribed to Liu Mu
(1011-1064 CE), the Xiantian tu (Diagram of Preceding Heaven) credited
to Shao Yong (1011-1077 CE), and the Taijitu (Diagram of the Great
Ultimate) attributed to Zhou Dunyi (1017-1073 CE). These three trends
eventually led to the creation of the first yinyang symbol by Zhao
Huiqian (1351-1395 CE), entitled Tiandi Zhiran Hetu (Heaven and
Earth's Natural Diagram of the River) and pictured above at the head
of this entry.
6. References and Further Reading
* Bennett, Steven J. "Patterns of the Sky and the Earth: A Chinese
Science of Applied Cosmology." Chinese Science (March 1978) 3: 1-26.
* Chan, Wing-tsit, ed. A Source Book in Chinese Philosophy.
Princeton, NJ: Princeton University Press, 1963.
* Bodde, Derk. Essays on Chinese Civilization. Princeton, NJ:
Princeton University Press, 1981.
* Dong, Zhongshu. Luxuriant Gems of the Spring and Autumn. Ed. Su
Xing. Beijing: Chinese Press, 1996.
* Fung, Yu-lan. A Short History of Chinese Philosophy. Trans. Derk
Bodde. New York: The Free Press, 1997.
* Graham, A.C. Yin-Yang and the Nature of Correlative Thinking.
Singapore: The Institute of East Asian Philosophies, 1986.
* Guanzi. Ed. Guan Bo. Beijing: Hua Xia Press, 2000.
* Guoyu (Discourse of the States). Eds. Wu Guoyi, Hu Guowen and Li
Xiaolu. Shanghai: Guji Press, 1994.
* Huainanzi. Ed. Liu An. Xi'an: Sanqing Press, 1998.
* Henderson, John B. The Development and Decline of Chinese
Cosmology. New York: Columbia University Press, 1984.
* Inoue, Satoshi. Xianqin Yinyang Wuxing (Pre-Qin Yinyang and Five
Phases). Hubei: Education Press, 1997.
* Kohn, Livia. "Ying and Yang: The Natural Dimension of Evil." In
Philosophies of Nature: The Human Dimension, eds. Robert S. Cohen and
Alfred I. Tauber (New York: Kluwer Academic Publishers, 1997), 91-106.
* Legge, James. The Chinese Classics: The Ch'un Ts'ew, with Tso
Chuen. Taipei: SMC Publishing Inc., 1994.
* Li, Shen and Guo Yu, eds. The Complete Selection of Diagrams of
Zhouyi. Shanghai: China Eastern Normal University Press, 2004.
* Makeham, John. Transmitters and Creators: Chinese Commentators
and Commentaries on the Analects. Harvard East Asian Monographs, no.
228. Cambridge, MA: Harvard University Press, 2003.
* Needham, Joseph. Science and Civilization in China. Cambridge:
Cambridge University Press, 1956.
* Porkert, Manfred. The Theoretical Foundations of Chinese
Medicine: Systems of Correspondence. Cambridge, MA: MIT Press, 1974.
* Puett, Michael J. To Become a God: Cosmology, Sacrifice and
Self-Divination in Early China. Cambridge: Harvard University Press,
2002.
* Roth, Harold D. Original Tao: Inward Training (Nei-yeh) and the
Foundations of Taoist Mysticism. New York: Columbia University Press,
1999.
* Rubin, Vitaly A. "The Concepts of Wu-Hsing and Yin-Yang,"
Journal of Chinese Philosophy 9 (1982): 131-157.
* Sishu wujing (Four Books and Five Classics). China: Yuling Press, 1990.
* Yabuuti, Kiyosi. "Chinese Astronomy: Development and Limiting
Factors." In Chinese Science: Explorations of an Ancient Tradition,
eds. Shigeru Nakayama and Nathan Sivin (Cambridge, MA: MIT Press,
1973), 91-103.
* Yang, Xuepeng. Yinyang Qi yu Bianliang (Yinyang Qi and Changes).
Beijing: Chinese Science Press, 1993.
* Yates, Robin D.S. Five Lost Classics: Tao, Huang-Lao, and
Yin-yang in Han China. New York: Ballantine Books, 1997.
* Zhuangzi. Ed. Chen Guying. Beijing: Chinese Press, 1983.
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