The He Tu, the Yellow River Chart, enters the record beside its twin. The Great Appendix of the Yijing says simply that the He gave forth the map and the Lo gave forth the writing, and the sages took them as pattern; tradition supplies the scene, a dragon-horse rising from the Yellow River before the sage Fu Xi, the markings on its flank revealing the numbers of heaven and earth. The diagram those numbers form is a picture of balance. The numbers one to ten stand in ten clusters of dots, paired by direction: one and six to the north, two and seven to the south, three and eight to the east, four and nine to the west, five and ten at the centre. Odd numbers are heaven's, drawn as white dots; even numbers are earth's, drawn as black; and each direction holds a generating number and a completing number that differ by five.
Later cosmology bound the pairs to the five phases, water in the north, fire in the south, wood in the east, metal in the west and earth at the centre, so that the chart became a map of the world's workings at rest. Where the Lo Shu, with its restless magic sums, was read as the order of change and circulation, the He Tu was read as the prior order, the numbers of heaven and earth in generative embrace before movement begins. The pairing of the two diagrams, stillness and change, plan and process, became one of the organising polarities of Chinese cosmological thought.