This is a one man business. I am retired and spent most of my life in business for myself. My first computer was an HP-85A (well now I have given away my age). I do the product design, art, website and order processing (my wife also makes me clean the chicken coop). This is more of a hobby for me.
I had never seen this symbol on a pendant before. So I designed and had these made. I have worn the pendant which I had made for myself for over 20 years. People sometimes ask me why I wear a target around my neck. Then I can tell them what it is and what it means. I retired to a small town of around 2,000 people in Oregon. Most here have never been exposed to Taoist, Confucian or Buddhist philosophies.
My hope is that you have an interest in one of these philosophies and find this pendant interesting.
Taijitu shuo - Zhou's Taijitu diagram
The (11th century CE) Taijitu shuo 太極圖說 ”Explanation of the Diagram of the Supreme Ultimate”, written by the Zhou Dunyi (1017-1073 CE), was the cornerstone of Neo-Confucianist cosmology. His brief text synthesized Confucianist metaphysics of the Yijing with aspects of Daoism and Chinese Buddhism. In the Taijitu diagram, wuji is represented as a blank circle and taiji as a circle with a center point (world embryo) or with broken and unbroken lines (yin and yang).
Zhou's key terms Wuji and Taiji appear in the famous opening phrase wuji er taiji 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. (tr. Adler 1999:673-4)
Robinet explains the relationship
The taiji is the One that contains Yin and Yang, or the Three (as stated in Hanshu 21A). This Three is, in Taoist terms, the One (Yang) plus the Two (Yin), or the Three that gives life to all beings (Daode jing 42), the One that virtually contains the multiplicity. Thus, the wuji is a limitless void, whereas the taiji is a limit in the sense that it is the beginning and the end of the world, a turning point. The wuji is the mechanism of both movement and quiescence; it is situated before the differentiation between movement and quiescence, metaphorically located in the space-time between the kun 坤, or pure Yin, and fu 復, the return of the Yang. In other terms, while the Taoists state that taiji is metaphysically preceded by wuji, which is the Dao, the Neo-Confucians says that the taiji is the Dao. (2008:1058)
Perhaps some of you are familiar with the other version of the tài jí symbol, as illustrated by Zhou Dunyi. This version of the symbol, while historically older than the more popular tài jí tú , still utilizes the Fire and Water trigram positions of the Pre-Heaven sequence. On the left is the trigram for Fire, and on the right is the trigram for Water. The characters to the left and right of the symbol say: ”yáng, motion” and ”yìn, repose” (Louis, 2003). The center of the circle represents wú jí (無極), a balanced and undifferentiated state of yìn-yáng (Wikipedia), loosely translated as ”there is no extreme” (Schuessler, 2007), or no ridgepole” (Robinet & Wissing, 1990). While this particular diagram is attributed to Zhou Dunyi, there is an older symbol that is quite similar. This older symbol is attributed to the Buddhist scholar, Zong Mi, of the Tang dynasty, who used the symbol to denote a balanced consciousness in which ”the true and the false” are blended (Louis, p. 177). Although Zong Mi was Buddhist, some scholars have suggested that the diagram itself may not be purely Buddhist in origin, due to the fact that the original colors were red and black (Robinet & Wissing, 1990). Red and black are the traditional Chinese colors for Fire and Water, respectively, suggesting cultural influences beyond Buddhism. Furthermore, since this diagram was a product of the Tang dynasty, the Daoist ideas of nèi dān (内丹) or inner alchemy, were already established (Robinet & Wissing, 1990). ©Dr. Phil Garrison and Ancient Chinese Medical Theory , 2014.
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