Hetu and Luoshu

A legend has it that a "dragon horse" was found in the Yellow River in central China during the reign of Fuxi (c. 5000 B. C. ), the first ances-tor of mankind in the Chinese mythology, with a diagram on its back. That was called Hetu. The scheme in the map served as a model for Fuxi to draw bagua. Later, when Yu the Great led his people to drain off the waters of a flood around 2200 B. C., a "divine tortoise" came out of the Luohe River, carrying on its back a pattern to De known as Luoshu later. Though scholars differ from one another in the origin of Hetu and Luoshu, these two diagrams are nevertheless widely accepted as symbols of the beginning of Chinese civilization.
Both Hetu and Luoshu contain the basic pattern that underlies the theory of bagua and wuxing. The correlation of numbers in the map and the plan express the philosophical views of the ancient Chinese on the structure and development of the world. In both diagrams, the odd "num-bers (1, 3, 5, 7, 9), or yang in nature, find expression in light circles, whereas the even numbers (2, 4, 6, 8, 10), or fin in nature, take the form of dark circles. And the directions of yang and yin in these two dia-grams is determined when you face south, with upwardness standing for south, downwardness for north, righthandedness for east and lefthanded-ness for west.
In Hetu, one, the number of the origin of yang, is placed in the north; two, the number of the origin of yin, in the south; six and seven are the complementary numbers of one and two respectively; three, the number of the growth of 3~ng, is located in the east ; four, the number of the growth of y/n, in the west; eight and nine are the complementary numbers of three and four respectively; and finally, five and ten are at the center.
In Luoshu, one in the north signifies the origin of yang, three in the east the growth of yang, nine in the south the abundance of yang, seven in the west the decline of yang, two in the southwest the origin of yin, four in the southeast the growth of yin, eight in the northeast the abun-dance of yin, six in the northwest the decline of yin, five in the center harmony between yang and yin, heaven and earth.
Hetu and Luoshu show a state of affairs through numbers, explain patterns through a state of affairs and reflect nature through patterns. Both of them lay a foundation for the development of the fundamental the-ory of qigong.




Source: Hetu and Luoshu
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