For Fu Hsi Ascends we used the most common representations as a model. We can see Fu Xi and Nü Wa (his wife/sister – mother goddess) intertwined with dragon/snake bodies and holding the tools of creation: the compass and the square/ruler.
“We see the king and queen embracing at their wedding, the king holding the square on high, the queen a compass. (…) the instruments are taking the measurements of the universe, at the founding of a new world and a new age(…).” As Hugh Nibley wrote in Temple and Cosmos.
The serpent on their shoulders represent the idea of mortality and rebirth (Naga), both parts as the process of creation.
The constellations, behind the figures, are related to the human position in the universe – as we see in the original painting (unearthed in Xinjiang).
For us, makes sense to include the Yin-Yang instead the Sun and twelve discs on their heads – that is seen in the original picture.
The Yin-Yang is a concept of Taoism that expose the duality of everything that exists in the universe. It describes the two opposing and complementary fundamental forces found in all things: the yin is the female principle, night, moon, passivity, absorption. The yang is the masculine principle, Sun, day, light and activity.
At the bottom we see parts from a manuscript of Chinese alchemy and a diagram of the anatomy and acupuncture.
We relate them to the Earth and the Man itself in a sphere of mystical and physical. Where both collide!