Hua Feng knew that Chao Shuozhi, who was actually earlier than Zhu Zhen, had already narrated the circulation of the innate diagram: "There is Mr. Song Huashan Xiyi, Chen Tu Nan, who used "Yi" to confer the final southern kind of Zhengjun Fang Mingyi, and Ming Yi awarded Wenyang Mu to join the army to cultivate the uncle, and the martial arts Su Shun Qin Zimei also tried to learn from the uncle. Uncle Chang awarded Qingzhou Li Zhicai to stand up, and he gave Henan Shao Kangjie Mr. Yong Yaofu. ("Songshan Collection", Volume 18, "Wang's Shuangsongtang Chronicle")

The Ercheng brothers, who have lived in the same alley as Shao Yong for more than 30 years, said: "Mr. Du's learning is also passed on. Mr. got it from Li Tingzhi, and he got it from Mu Bochang. Push its source flow, far from the end. (Cheng Hao's "Epitaph of Mr. Shao Yaofu") Cheng only pushed up to Mu Xiu, and Mu Xiu omitted the sentence "far from the end".

Shao Bowen, the son of Shao Yong, said: "The first gentleman was easy to accept the talent of Li Zhicai of the Youth Society, and the words are very strong. He is a dignified person, and his teacher is Wenyang Mu Xiu. It is very good to hear that the first gentleman is studious...... So the ancestors passed on their learning. ...... Uncle Chang, there is a legend in "National History", and his teacher is Chen Junye. ("Easy to Learn and Discern Confusion")

It can be seen that the inheritance relationship mentioned by Zhu Zhen is basically credible. It is a pity that this "innate map" has not been handed down with the above text, so people cannot confirm whether it is a "yin and yang fish map", or a "congenital gossip map sequence map", or any other picture.

Yuan Juan of the Yuan Dynasty later discussed in detail the changes of Yi Tu, who said in the "Preface" to Xie Zhongzhi's "Yi Santu" at the end of the Song Dynasty, "Mr. Shangrao Xie escaped to Jian'an Fanyang, and Wu Shengchan went to accept Yi and then came out of his plan." And Xie Zhongzhi got it from Peng Weng, and Peng Weng got it from Wuyijun. Wuyijun may be the white jade toad (白玉蟾道号武沂翁).

Yuan Juan also said: "To Jingzhou, Yuan Shudao Jie began to receive from Xue Weng, and it was easy to pass it on. Yuan Nai awarded Yongjia Xue Jixuan...... In the end, Zhu Wengong and his friend Cai Jitong re-entered the gorge like Jingzhou, and he got his three plans. ...... His grandson did not come back. ...... Today, Peng Weng is suspicious of Cai. (Quoted from Hu Wei's "Yi Tu Ming" Volume 3) According to Yuan Ju, the circulation of Yi Santu is roughly as follows:

So what did Cai Yuanding's three pictures look like from Sichuan? Or what did Xie Zhongzhi's "Yi Santu" look like? Hu Wei speculated: "Therefore, the three pictures obtained by Ji Tong in the first book, one is the innate Taiji diagram, which is undoubtedly true. The second covers the nine-palace diagram and the five-element generation diagram. ”

In the early years of the Ming Dynasty, Zhao Yuqian (1351~1395) contained this picture in the "Six Books of Benyi", and said: "This picture is passed down to Cai Yuan to be obtained by the hermit of Shu, and it is not passed on. ”

At that time, most people believed this statement, but Ji Pengshan expressed skepticism, saying: "Zhu Zi and Cai's books are not clear, how can there be secrets and truths?" (Quoted from Yang Shiqiao's "Zhou Yiquanshu" in the Ming Dynasty). Hu Wei not only agreed with Yuan Ju's statement, but also agreed with Zhu Zhen's statement, believing that Chen Jian used the congenital diagram to teach and release, and passed it to Shao Yong three times. It is concluded that this picture is from Chen Tuan and comes from the "Participation Deed".

There is a saying that the man-made Yin Yang Fish Taiji Diagram originates from the "Water and Fire Kuang Kuo Diagram" or "Three Five to Jing Tu" in the "Zhou Yi Shen Tong Deed", which is also worth analyzing. The last two pictures are the pictures drawn by Peng Xiao of the fifth generation to interpret the "Zhou Yi Shen Tong Deed", and after checking the "Orthodox Dao Collection", Peng Xiao's "Zhou Yi Shen Tong Deed Chapter Tong Zhenyi" does not have these two pictures, but only one "mirror map".

Of course, it cannot be ruled out that these two drawings are contained in other lost versions. Taking a step back, even if Peng Xiao has made these two pictures, or even if there are these two pictures in the "Participation in the Deed", it cannot be concluded that it is the source of the Taiji diagram, and the reason is the same as the above. The first chapter of "Participation in the Deed" says: "Kan is away from Kuangkuo, and the hub is on the axis." ”

Special emphasis is placed on the kanli, which is the sun and the moon, and the sun and the moon are "easy". Kan is the yin and yang, and the separation is the yang and the yin. "Water and Fire Kuang Kuo Tu" is the image of Kan (water) and Li (fire) hexagrams. Isn't this idea of the union of yin and yang, the yang in yin, the yin in yang, and the ebb and flow of yin and yang the basic idea of Taijitu? Judging from the genealogy described by Yuan Juan and others, Taijitu Taoism is very relevant. Wuyijun Bai Yuchan is the fifth ancestor of the Southern Sect of the Taoist Neidan School, and the "hermit of Shu" may be the Taoist priest of Shuzhong.

Ideological provenance is not the same as graphic provenance. It seems that it is very difficult to investigate what the Taiji diagram originates from. Let's examine the question of who made the earliest Taiji diagram.

First of all, it is necessary to set a standard for the graphics of the Taiji diagram (precisely because there is no standard, so the above primitive era graphics are all called "Taiji diagrams"), and the real Taiji diagram should be the inner yin and yang fish intersecting pattern, and the outer is the Bagua or 64 hexagram ring pattern. As for whether the "dragon diagram" and "congenital diagram" passed down by Chen Tuan are such figures, it is impossible to verify. Therefore, it is difficult to judge that Chen Tuan was the first person to make this picture. Whether Xue Weng and the hermit of Shu made this picture is also not examined. Searching the existing literature, it was found that the earliest Taiji diagram was in Zhang Xingcheng's "Yixuan" in the Southern Song Dynasty.

Zhang Xingcheng, the year of birth and death is unknown, about the twelfth century AD, Shaoxing (113l~1137) Jinshi, the second year of the main road (1166) to the emperor to present the seven books of Yi Xue, of which "Yixuan" is contained in this picture.

"Yixuan" is also known as "Yiyuan", and there are two existing versions, one is the "Hanhai" edition of the Qing Qianlong Li Tiaoyuan, and the other is the "First Edition of the Collection of Books" that began to be edited and published in 1935, according to the typeset version of the "Hanhai" book.

Mr. Guo Or published "Yi Xiantian Diagram - The Diagram of the Heavenly Phenomena Non-Zhang Xingcheng" in the 4th issue of "Zhou Yi Research" in 1995, for four reasons:

(1) Zhang Xingcheng's "Tai Chi Concept is a specific six hexagrams, which are metaphysical. "It is different from the later cosmology of Zhu Xi and Cai Yuanding, who regarded the 'middle void' in the ring of the "Congenital Diagram" as Taiji."

(2) Hong Mai did not mention it, and Zhu Xi did not comment.

(3) Shao Yong does not speak of heaven with armillary arts.

(4) "Yixuan" is a commentary on "Taixuan", "How can there be a diagram of this binary symbol system in the book used to understand the ternary symbol system "Taixuan"?" These points are very debatable.

First, whether it is the "metaphysical" Tai Chi concept or the "metaphysical" Tai Chi view, there is no direct relationship with the Yin and Yang Fish Tai Chi diagram, Guo said: Zhang Xingcheng "does not take the void in the middle of the innate diagram as Tai Chi, there will be no such "Yi Xiantian Diagram - Celestial Phenomena" diagram". I wonder what the relationship between the two is?

The middle of the Yin-Yang Fish Taiji Diagram is not a virtual place, but a real place (composed of black and white color interaction), such as according to Guo's statement, it is precisely "metaphysical", and the "metaphysical" Taiji concept evolves from the "metaphysical" Taiji concept to the "metaphysical" figure is not more natural and reasonable? (Of course, it is not so simple, the following will be analyzed in detail) but the so-called "metaphysical" Taiji view of "the middle is a void" can only derive a hollow circle Taiji diagram, and it is difficult to derive the "metaphysical" of "yin and yang fish interaction"

Taiji diagram.

Second, it is said that Hong Mai, who is in charge of the national history books, would not represent the two instruments in a black and white semicircle if he saw the Yin Yang Fish Taiji Diagram ("Sixty-four hexagrams were born from the Liangyi Diagram"). This speculation is unconvincing. Regardless of whether Hong Mai saw the Yin-Yang Fish Diagram or not, there was no reason to force him not to use the black-and-white semi-circle Taiji Diagram, he could dislike the Yin-Yang Fish Diagram and prefer the black-and-white semicircle diagram.

In fact, at that time, most people preferred the black and white semicircle Taiji diagram because it simply and clearly represented the principle of Tai Chi Shengliangyi (which is no less than the yin and yang fish diagram). For example, Zhu Xi commented: "Guishan takes a piece of paper, draws a circle, and paints half of it with ink, cloud: this is "Yi". This is a very good saying! "Yi" is just one yin and one yang, and it makes many things. ("Zhu Zi's Language", Volume 65) "The left side of the picture belongs to yang, and the right side belongs to yin." Besides, no matter how "knowledgeable" Zhu Fuzi is, he may have something he has not seen. This argument is untenable.

In fact, in the fourth year of Shaoxi (1193), Zhu Xi asked Cai Yuan to enter Shu to find Yi Tu, and Cai obtained three pictures from the hermit of Shu, and he may have shown it to Zhu Xi, because in the second year of Qingyuan (1196), Zhu Xi said in a letter to Cai Jitong: "The day before yesterday, I said that the cliff carved river, Luo, and innate maps, and it is appropriate to see Gan Jun said that the new camp in the Soap Mountain is a stone that can be engraved, and it is also told to pay for it." 'Congenital' must be engraved with a hexagram seal, which is good. ...... The three pictures must be sealed, which has an ancient meaning, and they should send someone to Bomo's place. ("Zhu Wen Gongwen Collection, Sequel", Volume 2, "Answer to Cai Jitongshu", 60, 61) The "congenital" diagram mentioned here is likely to be this "innate Taiji diagram" (the yin and yang fish diagram of the 64 hexagrams).

However, in the following year (the third year of Qingyuan, 1197), there were only two pictures engraved on Gesoshan Mountain: "River Map" and "Luo Shu". There may be two reasons for this: First, it is more difficult to engrave the grinding rock, because this picture is covered with 64 hexagrams (this is certain, as for whether it is a "yin and yang fish" diagram or a 64 hexagram diagram), it is more difficult to engrave these complex hexagrams, so Zhu Xi conceived the idea of "carving the hexagram and imprinting it".

The second is that it is not important to compare with the two pictures of the river and Luo. According to Hu Wei's speculation, this picture "comes out of Xiyi, originates from Boyang, and is not as good as the number of five out of fifty in the Great Biography of Gen Zhen to get its ears." It can be seen that this picture is not as authentic as River and Luolai.

Hu Wei's sentence is to explain the reason why Cai Jitong "keeps it secret but does not pass it on", but in fact, Cai Jitong and Zhu Xi both felt that it was not that important, and it was difficult to engrave, so they abandoned it and did not engrave it. In this regard, Mr. Shu Jingnan believes that only two pictures are engraved because the eight-point "River Map" and the "Luo Shu" of the Nine Palaces already contain this picture, and the three pictures are one picture.