Assignment 2

Sacred and secular: A prelude to modern Asia

AST1001/96501

John Banton

 

The extent to which the Yin-yang symbol represents the core value within Chinese civilisation.

 

 

 

This essay supports the view that the Yin and Yang symbol correctly represents the core value within a Chinese worldview and will seek to show that values expressed in the Yin-yang symbol form the basis of all aspect of Chinese civilisation.  This essay will briefly introduce the concept of Yin and Yang and seek to define and explain core value and worldview as it pertains to Chinese civilisation.  This essay will also attempt to show that the principles expressed in the Yin-yang symbol are foundational to Chinese civilisation by exploring key elements of Chinese civilisation and revealing a Yin-yang core value.  Key elements that will be explored include; medicine and health, diet, art, warfare, civil planning and architecture.

 

The concept of the Yin and Yang principle was conceived by Taoist masters in the practice of Shamanism over 5000 years ago (Lim, 1999).  According to early Chinese civilisation ‘the universe exists as a unified whole, symbolised by a circle, which is made up of two great opposing yet interdependent creative forces known as Yin and Yang’ (Young, 2001 p.92).  All aspects of the universe can be described in terms of Yin and Yang.  The universe according to Chinese civilisation consists of all pervasive cosmic force that powers the universe is known as Ch’i (qi).  Ch’i flows through all things and changes its qualities according to the interplay of Yin and Yang (Young, 2001).  Yin characteristics are passive, contracting, cold, dark, soft, feminie, whereas the Yang characteristics are active, expanding, hot, bright, hard and masculine.  The balance between the forces of Yin and Yang are in a constant state of change, too much of one will produce an excess of the other. These characteristics should not be seen as the same as the opposing forces of good and evil in other civilisations.  In Chinese civilisation if Yin or Yang is out of balance there is disharmony rather than good or bad.

 

The Yin and Yang symbol describes the core value that citizens of Chinese civilisation are inculcated with from birth.  According to the Heinemann Australian Dictionary, core refers to ‘the central or essential part’, and a value is ‘an ideal, goal or standard upon which actions or beliefs are based.’  Chinese civilisation core values are central beliefs upon which actions are based.  Core beliefs influence how a civilisation interprets and interacts with a surrounding world.  The sum of core values produces a worldview - the way a civilisation views the world.  The Yin-yang symbol thus represents the primary way in which Chinese civilisation interprets and interacts with the seen and unseen world.  While the extent to which elements of Yin-yang values have become core values amongst westerners adopting Chinese religious faith is outside the scope of this essay, the discussion of core value and worldview may be enhanced by briefly contrasting Chinese inculcated from birth with the Yin-yang core value with those who have adopted this view.  A westerner attempting to adopt a ‘Chinese world view’ and Chinese ‘core values’ perhaps may only be able to attain a veneer of Chinese core value or at best a syncretism of west and east.  Chinese are inculcated with their worldview from birth so that it is not perceived as ‘a’ worldview but rather the way normal people interpret and interact with the seen and unseen world.  An example of this might be an English speaking Australian who may be unaware that to many others he has a strong accent.  Even when the Australian meets another person who speaks English differently, the Australian will normally assume that the other person has the accent.  People tend to see themselves as “normal” and others as “different” or hard to understand.  In the same way a person is not generally aware that the way they interpret and interact with the world is a particular worldview (accent) until they begin to come into contact with persons who conceive and relate to the world differently.  Even then the other person is likely to be the one perceived as being different or hard to understand.  Should our Australian learn to speak Chinese, he will probably do so with an Australian accent.  The westerner pursuing the adoption of Chinese core value/worldview will likely continue to think with a western core value accent.  There is however great benefit to be gained from exploring ones own worldview through the eyes of another civilisation as this will uncover previously invisible aspects of ones own core values.  The Yin-yang core value within Chinese civilisation is an all encompassing core value that the ancient Chinese probably did not perceive it as a particular view of the world, but rather, the only view of the world.

 

The Yin-yang symbol is important in understanding a Chinese view of medicine and health.  Sickness is believed to be caused by Yin-yang disharmony within the body which has interrupted the flow of life-giving Ch’i.  A body will be healthy when a balance is maintained or restored between the forces of Yin and Yang.  The earliest Chinese medical knowledge dates back to Emperor Huang di.  Huang di (2607-2597 BCE) is known to the Chinese as the Father of Medicine.  Huang di is thought to be the author of ‘Huang di jeng’ (The Yellow Emperor’s Inner Canon).  This volume includes among other things; the philosophical ideas of Tao, the principles of Yin and Yang, and the origins and treatment of disease (Young, 2001).  Chinese herbal medicine and the practice of acupuncture were developed upon the premise of Yin and Yang balance influencing health.  In Chinese herbal medicine, over 500 medicinal herbs are used to restore the body’s Yin-yang balance and thus increase the flow of Ch’i.  Acupuncture (Zhen jui), as developed in China, refers to both needle insertion and heat treatment at a precise point of the human body to restore harmony and increase the flow of Ch’i (Young, 2001).  The core value of Yin and Yang in the Chinese concept of health can also be seen in exercises and activities recommended for the different seasons of the year.  During winter (a Yin season) the balance of Ch’i in the physical body can be maintained by vigorous (Yang) activity, whereas in summer (a Yang season) emphasis is placed on Yin activities such as contemplation or the arts to maintain balance.  Chinese health and medicine cannot be understood without first understanding the Yin-yang core value.

 

In early Chinese civilisation, food was classified according to Yin and Yang values.  Cooling foods were thought to be Yin, while warming foods were thought to be Yang.  Yin foods included bean sprouts, cucumber, lettuce, coconuts, pears and bananas.  Yang foods included carrots, garlic, chives, apricots and cherries.  A further ‘neutral’ classification was made to include foods that do not affect Yin and Yang balance.  The neutral foods include; broccoli, cauliflower, parsnip, apples and grapes.  In Chinese civilisation a healthy diet was not maintained on the basis of vitamin intake, but rather a balanced diet of Yin and Yang foods (Young 2001).  It is easy to understand how early Chinese adopted this view, as a person’s health could only benefit from a diet that consisted of a wide variety of foods.  This need for a diversity of food groups to maintain health would not be ‘discovered’ by the west for many centuries.  The Yin-yang symbol accurately represents a core value in Chinese civilisation’s view of diet.

 

The art of ancient and modern China emphasises the symbolism and spiritual harmony associated with Yin-yang.  While western art seems to place great emphasis on realism, Chinese art places great value upon the harmony represented in the Yin-yang symbol.  Western art produces ‘art objects’ while Chinese art is seen as an embodiment of the spirit.  The spiritual nature of a work of art can be seen in the belief that a harmonious piece of art can uplift the human spirit and enhance the flow of positive Ch’i in a person’s living environment. 

Gazing upon the clouds of autumn, my spirit takes wings and sours...the wind rises from the green forest, and foaming water rushes into the stream.  Alas! Such paintings cannot be achieved by the physical movements of the fingers and the hand, but only by the spirit entering into them.  This is the nature of painting. (Wang Wei as cited by de Bary, 1960)

Chinese landscape painting is a good example of Yin and Yang harmony in art (see appendix 1).  Soft foliage representing yielding Yin is balanced with hard rocks representing unyielding Yang.  Activity (Yang) is balanced with inactivity (Yin).  Chinese landscape paintings are famous for their harmony and rich natural symbolism.  Such paintings often depict mist or clouds which symbolise the good fortune that arises from Yin-yang harmony.  The Yin-yang symbol represents a fundamental value in Chinese art.

 

While the subject of warfare may seem at odds with landscape painting, in the Yin-yang value of Chinese civilisation, they are seen as complimentary.  The practitioners of warfare (a Yang activity) considered it important to also excel in the arts (a Yin activity) as this was essential to maintain balance and harmony within a warrior.  In Chinese Yin-yang concept, too much Yin will lead to an excess of Yang and vice versa.  One of the best examples of the Yin-yang core value at work in a Chinese concept of warfare can be seen in the empty city strategy recorded in the classic Chinese novel, The Romance of the Three Kingdoms, by Luo Guanzhong (circa 1300-1400).  The story shows the resourcefulness of the Chinese general Chu-ko Liang.  In the story, Chu-ko Liang is trapped in a city with smaller army than his opponent.  Instead of surrendering, Chu-ko Liang opens the city gates and as the enemy draws near, plays a musical instrument on the city wall, the opposing army suspecting an ambush retreats and Chu-ko Liang's army is saved.   This story, celebrated in Chinese folk culture, is seen as an example of Yang aggression being countered with Yin passivity.  The term ‘martial arts,’ while seeming contradictory to a western mind, is perfectly in tune with Yin-yang value.  ‘Taoism and Yin-yang theory appears to permeate the Chinese psyche, and this is nowhere more evident than in Chinese military thought...’ (Cole, 1999, p.332).  ‘Chinese martial-arts theory, as presented in the story of the Maiden of Yue, is based on the interaction of the opposite attributes of Yin and Yang, and inherently combines so-called hard (Yang) and soft (Yin) or pliant techniques.  In the Art of War it says, “the pliant can control the unyielding, the weak can overcome the strong”’ (Cole, 1999, p.326).  The core value of Yin and Yang permeates the Chinese view of martial arts and warfare.

 

The ideal physical living environment for balanced Yin and Yang is believed to be found in the presence of four geographic features producing ideal Yin-yang balance; the Dragon (Yang), the Tiger (Yin), the Tortoise (Yin) and the Phoenix (Yang). An example of Dragon features would be high mountains or tall trees this powerful Yang feature must always be paired with a Yin feature such as the Tiger.  The Tiger represents a place where negative Ch’i can flow away such as low or wide trees.  The Tortoise (Yin) refers to features that tall, even and smooth, these are thought to be helpful for keeping good Ch’i from escaping.  The Tortoise is always paired with the Phoenix (Yang) which represents open space with some flowing water (Lim, 1999).  Chinese have been known to travel great distances to live under the influence of such balanced Yin-yang geographic features and the resultant good Ch’i.  Ideally, the best environment for wellbeing is thought to be one of peace and seclusion with lots of fresh air and sunshine.  Because such an ideal environment was not always available, Tzu Kuei-ku (206BCE – 219 CE), further developed the Yin-yang practice that later became known as Feng Shui.  Feng Shui, the art of manipulating an environment to modify the balance the forces of Yin and Yang, was developed to enable Chinese to maximise the beneficial flow of Ch’i (Young, 2002).  During the time of Confucius (551-479 BCE) Feng Shui texts record that officials of the imperial court had a detailed plan to direct the location of palaces which the emperor would occupy during the four seasons of the year, in accordance with astrological calculations appropriate to him (Lim, 1999).  Even houses are accorded Yin-yang polarities (see appendix 2).  The front of a house which is generally for activity is considered Yang.  The rear of a house, normally quieter, is considered Yin.  Chinese architecture, landscape design and town planning are all influenced by a core value of Yin and Yang.

 

To understand Chinese civilisation, one must understand the pervasive influence that a Yin-yang worldview has on all aspects of Chinese thought and behaviour.  The Yin and Yang symbol represents a foundational value in Chinese medicine and health, diet, art, warfare and even the construction and location of residences.  All of ancient Chinese life is influenced by a fundamental belief in the need to balance the forces of Yin and Yang.

Western concepts such as good-evil, well-sick appear to be foreign to a Chinese worldview who would instead view the world in terms of “in harmony” or “out of harmony” with Yin and Yang forces, thus helping or hindering the flow of positive Ch’i.  The Yin-yang symbol correctly represents the core value within every aspect of Chinese civilisation.

 

 

Bibliography

  

Cole, D. ‘Academia Encounters the Chinese Martial Arts’, China Review International, Vol. 6, No. 2, Fall 1999 [online] University of Hawaii Press p.332, http://muse.jhu.edu/demo/cri/6.2henning.pdf [accessed 18.05.02]

 

 Guanzhong, L. circa 1300-1400, The Romance of the Three Kingdoms, Republic of China on Taiwan, Government information office [online]  http://www.gio.gov.tw/info/culture/26-4.html [accessed 20.05.02]

 

Heinemann Australian Dictionary, 1995, 5^th edn, Rigby Heinemann, Melbourne.

 

Lim, J.T.Y. 1999, Feng Shui and Your Health, Sandstone Publishing, NSW Australia.

 

Wang Wei, 699 - 761, Li-tai Ming-hua Chi, in ‘Sources of Chinese Tradition’, ed. De Bary, W.T. 1960, p.295, Columbia University Press, New York.

 

Young, J. 2001, Eastern Healing, Duncan Baird Publishers, London.

 

 

 

Appendix 1

 

This painting by Leo Da Qay is a good representation of Chinese landscape art and the importance of Yin-yang harmony.  The tall mountains (Yang) are balanced by water (Yin).  The balance of nature allows room for human habitation, but is not to be dominated by it.  Four important geographic features represented by a dragon, tiger, tortoise and phoenix, important for good Ch’i (prosperity), are all present.  The Dragon (Yang) as seen in high mountains is paired with Tiger (Yin) features such as low trees behind the pergola where negative Ch’i can flow away.  The Tortoise (Yin) feature can be seen in smooth mountain surfaces that are ideal for keeping good Ch’i from escaping.  The Tortoise feature is paired with the Phoenix (Yang) which represents open space with some flowing water (Lim, 1999).  The clouds or mist represents the good fortune and happiness that arises from balanced Yin and Yang.

Appendix 2

 

Yang

White

Light

Male

Sun

Living

Activity / Movement

Pointed

Shallow

Mountain

Forward

Hot

Stimulating

Daylight

Left side of house

House – ground floor

Front of house

Work area

Activity room

 

Yin

Black

Dark

Female

Moon

Dead

Static

Rounded

Deep

Valley

Backward

Cold

Tranquilising

Night

Right side of house

House-top floor

Back of house

Relaxation room

Bedroom