Introduction to the Mandala
The mandala, a term derived from Sanskrit meaning “orb” or “circle,” holds a significant place in the psychological theories of Carl Jung (Dream Sem.). Jung described the mandala as a symbol with a “connotation of magic,” emphasizing its profound psychological implications (Dream Sem.). The mandala is more than just a geometric figure; it is a representation of the self, wholeness, and the process of individuation.
Definition and Forms of Mandalas
Jung explained that mandalas can take various forms: “You can draw a mandala, you can build a mandala, or you can dance a mandala” (Dream Sem.). The Navaho Indians, for example, create “mandalas from colored sand for curative purposes,” as part of their Mountain Chant Rite. These sand paintings are meticulously prepared and hold significant symbolic meaning. The Mandala Nritya, a dance where figures trace a mandala, exemplifies the dynamic expression of this symbol.
The Mandala as a Symbol of the Self
For Jung, the mandala is a “symbol of the self seen in cross section,” representing the entirety of the individual’s psyche (CW13 ¶304). He distinguished the mandala from a profile view, such as a tree, which represents the “self depicted as a process of growth” (CW13 ¶304). The mandala encapsulates the self’s inherent order and potential for wholeness. These images arise spontaneously from the unconscious, reflecting an individual’s inner state and the journey towards individuation.
Mandala Symbolism and Individuation
The appearance of mandalas often coincides with periods of psychological disorientation. Jung noted that they serve as “compensatory ordering factors,” suggesting that the psyche naturally seeks balance and integration through these symbols (CW3 ¶582). As spontaneous fantasy products become more profound, they “concentrate into abstract structures that apparently represent ‘principles’ in the sense of Gnostic archai.” If these fantasies are drawn, “symbols appear that are chiefly of the mandala type,” indicating a movement toward psychological integration.
The Quaternary Structure
Many mandalas exhibit a distinct quaternary structure, reminiscent of the Pythagorean tetraktys. Jung observed that mandalas often take the “form of a flower, cross, or wheel, and show a distinct tendency towards a quaternary structure” (CW13 ¶31). This fourfold structure is a recurring motif, found in diverse cultural and religious contexts, including Christian mandalas depicting Christ with the four evangelists and the Egyptian representation of Horus with his four sons. This quaternity represents the totality and completeness of the psyche.
Eastern and Western Mandalas
Mandalas are prevalent in both Eastern and Western traditions. Jung highlighted the beauty of Eastern mandalas, particularly those found in Tibetan Buddhism, noting their rich symbolism. However, he also emphasized the presence of mandalas in Western contexts, such as Christian mandalas from the Middle Ages and the “Philosophical Eye” described by Jakob Böhme (CW13 ¶31). Böhme’s mandala, a “psychocosmic system strongly coloured by Christian ideas,” demonstrates the universality of this symbol across different cultural frameworks (CW13 ¶31).
Mandalas in Psychopathology
Jung observed that individuals with mental illnesses often produce mandala drawings, even without any prior knowledge of their symbolic significance. He noted that “Mandala drawings are often produced by the mentally ill, among them persons who certainly did not have the least idea of any of the connections we have discussed” (CW13 ¶31). This spontaneous emergence of mandalas suggests that they arise from a fundamental, archetypal level of the human psyche. The vision of “colored squares and circles” evoked by stimulating the occipital cortex in an epileptic patient further supports the idea that mandala symbols may originate from the “raw material” of brain structure and function (CW3 ¶582).
The Center and the Unconscious
Mandalas are intrinsically linked to the unconscious. Jung stated that when a patient begins to enter a mandala, “she withdrew from the actual world and went back through the ages…right back to the animal, which means to svadhisthana.” He also mentioned that muladhara, the root chakra, doesn’t necessarily indicate a return to complete unconsciousness. He pointed out the importance of the unconscious, saying that mandala symbols appear very frequently in moments of psychic disorientation as compensatory ordering factors. This aspect is expressed above all in their mathematical structure.
Dangers and Misinterpretations
Jung cautioned against superficial interpretations and the uncritical adoption of mandala symbolism. He warned against the “imitative urge” and the “morbid avidity to possess themselves of outlandish feathers and deck themselves out in this exotic plumage” (Dream Sem.). He stressed that individuals should not mechanically repeat practices or adopt symbols without genuine inner work. People will do anything, no matter how absurd, in order to avoid facing their own souls. The soul has gradually been turned into a Nazareth from which nothing good can come. Therefore let us fetch it from the four corners of the earth—the more far-fetched and bizarre it is the better! I have no wish to disturb such people at their pet pursuits, but when anybody who expects to be taken seriously is deluded enough to think that I use yoga methods and yoga doctrines or that I get my patients, whenever possible, to draw mandalas for the purpose of bringing them to the right point—then I really must protest and tax these people with having read my writings with the most horrible inattention.
The Role of the Unconscious
Dreams are vital contributions from the unconscious that lead to the irrational solution of the problem of opposites. Jung said we must not be swallowed again or overruled by primitive tendencies, and then the conflict would no longer be inside, it would be outside. Try it. Try to be naive, try to be primitive, try to be like a harmless Canadian and speak the truth for twenty-four hours, and in no time you will feel what the spears and the boiling water mean. You will see that it is tremendously difficult to get the past into one’s life, as is indicated in this symbolism.
The Animus and the Shadow
In the psyche of a woman, according to Jung, the animus is the set of masculine aspects of a woman’s psyche, while the shadow represents the negative aspects of the personality. Jung said that the anima or animus is always something behind the scene, but it is quite impossible to say that it increases the shadow volume. The shadow rather increases the anima. Sometimes it is incorrect to use the term animus or anima. It may be a new content coming up from the collective unconscious. Sometimes you get a thing more as a hunch or inspiration. He notes that the unconscious is responsible for these forces. Dr. Jung said that whether one lives the life of the body, or whether one suppresses the principle of the body and becomes a spirit, has been evolved along the line of instinctive force.
Conclusion
The mandala, in Jung’s view, is a powerful symbol that reflects the structure and dynamics of the human psyche. It represents the self, the process of individuation, and the inherent drive towards wholeness. While its manifestations vary across cultures and individual experiences, the mandala remains a constant reminder of the potential for psychological integration and the importance of engaging with the unconscious in the journey towards self-realization.