Taoism - Symbols and Images

Symbols and Images

The Taijitu ("yin and yang") symbol 太極圖 as well as the Ba gua 八卦 ("Eight Trigrams") are associated with Taoist symbolism. While almost all Taoist organizations make use of the yin and yang symbol, one could also call it Confucian, Neo-Confucian or pan-Chinese. The yin and yang make an "S" shape, with yin (Black or Red) on the right. One is likely to see this symbol as decorations on Taoist organization flags and logos, temple floors, or stitched into clerical robes. According to Song Dynasty sources, it originated around the 10th century. Previously, yin and yang were symbolized by a tiger and dragon.

Taoist temples may fly square or triangular flags. They typically feature mystical writing or diagrams and are intended to fulfill various functions including providing guidance for the spirits of the dead, to bring good fortune, increase life span, etc. Other flags and banners may be those of the gods or immortals themselves.

A zigzag with seven stars is sometimes displayed, representing the Big Dipper (or the Bushel, the Chinese equivalent). In the Shang Dynasty the Big Dipper was considered a deity, while during the Han Dynasty, it was considered a qi path of the circumpolar god, Taiyi.

Taoist temples in southern China and Taiwan may often be identified by their roofs, which feature Chinese dragons and phoenix made from multi-colored ceramic tiles. They also stand for the harmony of yin and yang (with the phoenix being yin). A related symbol is the flaming pearl which may be seen on such roofs between two dragons, as well as on the hairpin of a Celestial Master. In general though, Chinese Taoist architecture has no universal features that distinguish it from other structures.

Read more about this topic:  Taoism

Famous quotes containing the words symbols and/or images:

    Eloquence must be grounded on the plainest narrative. Afterwards, it may warm itself until it exhales symbols of every kind and color, speaks only through the most poetic forms; but first and last, it must still be at bottom a biblical statement of fact.
    Ralph Waldo Emerson (1803–1882)

    The base of all artistic genius is the power of conceiving humanity in a new, striking, rejoicing way, of putting a happy world of its own creation in place of the meaner world of common days, of generating around itself an atmosphere with a novel power of refraction, selecting, transforming, recombining the images it transmits, according to the choice of the imaginative intellect. In exercising this power, painting and poetry have a choice of subject almost unlimited.
    Walter Pater (1839–1894)