The tàijítú is the name of the symbol commonly known as “yin/yang.” It is a symbol for the complementary nature of opposites; night defines day, shadow defines light; an inhale isn’t complete without an exhale… All existence can be seen to utilize this seeming duality to for a unified whole.
Also, In non dualistic Shaivism of Kashmir, there is a tradition known as Spanda, which like the material of a similar name, expands & contracts. That is the the universe, like a beating heart, or a piece of metal that expands in the heat and contracts in the cold, or water which does the opposite. It’s very much a yin and yang view of reality.
These pieces are rendered using a zen technique that infuses them with chi (the “ji” in “tàijítú”). They are aproxamately 8×10 in size. They are rendered with gold, purple and sumi ink with a sumi brush on lokta paper; a paper made in the Himalayas from materials indigenous to that region.
“The Tao that can be told is not the eternal Tao” so begins the Tao te Ching; “The Book of the Way,” by Lao Tsu. Over 25 years ago I consciously began my journey on the Path. One of the first books I stumbled upon was Stephen Mitchell’s translation of the Tao. I keep a copy with me and drag it out every once in while. Sometimes I get in a mood where I take my pocket copy with me everywhere, though I may never look at it when I do. The message is pretty simple: Don’t try to control the universe. Be in the moment, let life guide you, and become a master by not trying. Of course there’s more to it than this. I refer you to the first sentence in this post. I’m sure the Old Boy knew the irony of making that the first line of his book. In the passing years I’ve learned many things, and unlearned many as well. I have to keep unlearning them. One of the things I’ve seen real value in for me is practicing zen calligraphy. The method is very similar to what I’ve just stated; be in the moment, let the universe be in charge and in this way, become a master. As zen is a Japanese form of Buddhism, the calligraphy is Japanese as well. Japanese traditionally write in Kanji, which was originally Chinese, like Taoism. The calligraphic method can be applied to any writing; indeed it can be applied to life itself. Using the tools to render the Taijitu (yin yang symbol) is a natural.
What made me realize this was of course watching Kung Fu Panda III. I was struck by the idea that the image can be seen to describe a spinning effect; as is often depicted with the yin and yang chasing each other. What was significant this time was how it is a symbol for everything. our galaxy is spinning, the sun revolves around it, the earth around the sun as it spins on its own axis. Dervish spin in meditation. Also, in reading up on the symbol, pronounced “Tai Chi tu” by the way, many of the complimentary aspect it represents were explained including one which I hadn’t thought of: the expanding contracting duality of life. This is key to Hamsa meditation, as well as understanding non dualist Kashmiri Shavism, which is another key component of my education. So rendering the Taijitu deeply gratifying to me. It is a powerful exercise and a powerful symbol.