Chinese sun and moon mirrors being hung round the neck, or because necks are concave things. Liu An's (c. 139 BCE) "Huainanzi" "Masters of Huainan", which is a compendium of writings from various schools of Chinese philosophy, was the first text to record "fangzhu" dew-collectors. Two "Huainanzi" chapters metaphorically use "sun and moon mirrors" to exemplify "yang" and "yin" categories and elucidate the Chinese notion of "ganying" "cosmic resonance" through which categorically identical things mutually resonate and influence each other. The "yángsuì" 陽燧 "burning-mirror" is "yang", round, and sun-like; the "fāngzhū" 方諸 "square receptacle" is "yin", square, and moon-like. The first context describes "yangsui" and
Taoism principle, seen in all forms change and difference such as the annual season cycles, the landscape, sexual coupling, the formation of both men and women as characters, and sociopolitical history. While almost all Taoist organizations make use of it, one could also regard it as Confucian, Neo-Confucian or pan-Chinese. One can see this symbol as a decorative element on Taoist organization flags and logos, temple floors, or stitched into clerical robes. According to Song dynasty sources, it originated around the 10th century CE. Previously, a tiger and a dragon had symbolized yin and yang. Taoist temples may fly square or