Taijitu during the Qing period for their possible connection with Zhou Dunyi's "taijitu". Ming period author Lai Zhide (1525–1604) simplified the "taijitu" to a design of two interlocking spirals. In the Ming era, the combination of the two interlocking spirals of the "taijitu" with two black-and-white dots superimposed on them became identified with the "He tu" or "Yellow River diagram" (河圖). This version was reported in Western literature of the late 19th century as the "Great Monad", and has been widely popularised in Western popular culture as the "yin-yang symbol" since the 1960s. The contemporary Chinese term for the modern symbol
Chinese sun and moon mirrors respond with fire: the pure essence of "yang". When placed before the moon—the ultimate "yin" 陰 phenomenon in the world—they respond with water: the pure essence of "yin". Thus mirrors offer the paradigm for "proper responsiveness": they reflect the true essence of the ultimate "yin" and "yang"—the alpha and omega of phenomena in early Chinese cosmology." (Carr and Ivanhoe 2000: 56) Erin Cline says the early Chinese attributed mirrors to have a mysterious power and great religious significance. The ceremonial bronze "fusui" 夫遂 and "yangsui" 陽燧 mirrors were seen as active, responsive objects because they could be used to produce