The Archetypes and the collective unconscious (1)
As mentioned above, mandala means circle. The reason presented here has many variations, but all of them based on squaring the circle. Their basic motif is the idea of \u200b\u200ba center of personality, a sort of central point within the soul to which everything is related, by which everything is directed and which is both a source of energy. The energy of the center point is manifested in a virtually irresistible compulsion, in an urge to become what that is, just as every organism is compelled, whatever the circumstances, to take the form characteristic of his nature. This center is not how I felt or thought, but if I may say so, as if. Although the center is made up of the innermost point, it also has a circle, a contour that contains everything that belongs to the Self, ie the pairs of opposites from which the whole person. Of this total belongs primarily consciousness, then the so-called personal unconscious, then a large segment of the collective unconscious indefinitely, whose archetypes are common to all mankind. A number of archetypes are permanently or temporarily included in the sphere of personality and acquire, through this contact, an imprint individual: for example, to mention only the best-known figures, the Shadow, the Animus and Soul. The self, while it is simple, the other is highly composite, a conglomerate soul to serve me a concept of Indian religion. (2) What are
mandala (3)
The Sanskrit word mandala means in general "circle". As part of religious practices and in psychology it means images can be circular drawing, painting, drawing, dancing or modeling work. Immagini plastiche di questo tipo si riscontrano in special modo nel buddhismo tibetano; come figure di danza esse sono eseguite nei monasteri dervisci; come fenomeni psicologici affiorano spontaneamente nei sogni, in certi stati conflittuali e nella schizofrenia. Molto spesso i mandala contengono una quaternità o multiplo di quattro nella forma di croce, stella, quadrato, ottagono ecc. Nell’alchimia questo motivo ha assunto la forma della quadratura circuli .
Nel buddhismo tibetano il mandala ha il significato di strumento culturale ( yantra ) che dovrebbe aiutare la meditazione e la concentrazione. Il suo significato è alquanto simile nell’alchimia, dove rappresenta la combinazione dei quattro elementi di opposite directions. The spontaneous appearance of the mandala in psychological investigation of modern individuals can explore more fully the functional significance. As a rule, in fact, the mandala appears in conditions of psychic dissociation or disorientation, for example in children aged between eight and eleven years old, whose parents are in crisis or in adults, following the onset of a neurosis and its treatment, you are faced with the problem of opposites in human nature and he remained disoriented. Or in schizophrenics, whose world view is being distorted and confused by the irruption of unconscious contents incomprehensible. In such cases it becomes clear that the order imposed by severe like a circular image mandalic compensate for the disorder and confusion, mental status, and this through the construction of a central point to which everything is related, or a concentric arrangement of multiple, opposite, dell'inconciliabile. Obviously this is an "attempt by the nature of healing itself," an attempt that does not result from conscious reflection but from an instinctive impulse. That is used as the comparative research shows, a basic pattern, a prototype, it looks as it were everywhere and should in no way his individual existence only to tradition, any more than have recourse to tradition, to be transmitted, gli istinti, i quali son dati con ogni individuo alla sua nascita e appartengono al patrimonio inalienabile di una specie. Ciò che la psicologia designa con il nome di archetipo non è nient’altro che un determinato aspetto formale, frequentemente presente, dell’istinto, dato a priori come quest'ultimo. Di conseguenza, malgrado tutte le differenze esterne e indipendentemente dall’origine spaziale e temporale, si riscontra nei mandala una sostanziale conformità.
La "quadratura del cerchio" è uno dei tanti motivi archetipici che stanno alla base delle forme assunte dai nostri sogni e dalle nostre fantasie. La quadratura del cerchio è però uno dei motivi più importanti dal punto di vista funzionale: lo si potrebbe In fact, even to designate as "the archetype of totality." Under this meaning, "quaternity as a unit" is the pattern for all images of God, as demonstrated by the visions of Ezekiel, Daniel, Enoch (4), and the depiction of Gold with her four children. This presents an interesting distinction, because sometimes three children are represented with animal heads and only one with a human head, to what are the visions of the Old Testament, the emblems of the evangelists and seraphim reported last but not least , the nature of the Gospels: Synoptic three and a Gnostic. To finish, I must add that the story of opening Timaeus Plato ("One, two, three: and where, my dear Timaeus, the fourth ?...") to the scene of the second part of Cabiri Faust, the reason for the three and four as has been a constant concern of alchemy. The deep meaning of
quaternity, with its unique and centuries-old process of differentiation is also evident in the latest development of the Christian symbolism (5), may explain why "Du" (6) has chosen as an example of just the symbol formation 'archetype of wholeness. As this symbol is of historical documents in a central location, so it has a meaning in the individual of paramount importance. Mandalas are individual, not surprisingly, a huge diversity. In the vast majority of them are characterized by the circle and quaternity. In some predominates, but sometimes, for special reasons, including three and five. While the mandala
worship have always contained a particular style and a limited number of typical patterns, the individual using a mandala as it were unlimited amount of reasons and symbolic allusions, from which it is not difficult to see that they are trying to express all or in his experience of the individual's internal or external world, or its point of reference, within. Their object is the "Self" as opposed to 'I': this is not the reference point of consciousness, while the self includes the totality of the psyche, namely the consciousness and the unconscious. Not infrequently, therefore, the individual mandala presents a division into two halves, one clear and one dark, with their characteristic symbols. A historical example of this type is the mandala that Jacob Böhme has included in the treatise entitled Viertzig Fragen von der Seele . His mandala is, however, at the same time, an image of God, designated as such. This is not accidental, as the Indian philosophy, more than any other developed the idea of \u200b\u200bthe Self atman or purusha , makes no distinction in principle between the human and the divine essence. Similarly, in the western mandala, the spark characterizes the essence of the woman, the man with divine symbols which may also express the imago Dei: that is the image of god so unfolds like being in the world in nature, man.
That these images are, in certain circumstances, significant therapeutic effects on their authors, is an empirical fact findings and also easily understandable, since they are often a very bold attempt to understand and heal seemingly irreconcilable conflicts and to overcome seemingly irreconcilable divisions. Even a mere attempt in this direction usually has a beneficial effect, provided, however that was spontaneous. From an artificial repetition or a deliberate imitation is not to expect anything. (7)
Carl Gustav Jung
1. Jung, CG, Die Archetypen und das Kollektiva Unbewusste, Olten, Walter-Verlag, 1976 [trad.it.: The Archetypes and the collective unconscious, Hogarth, Torino 1980]
2. Id., p. 349 [Original title: Uber Mandalasymbolik. Published for the first time: Gestaltungen des Unbewussten, "Psychologische Abhandlungen", vol. 7 (Zurich 1950)].
3. Original title: Mandalas. Written by: Du, Schweizerische Monatsschrift (Zurich), vol. 15, No. 4, 16-21 (1955), dated "January 1955". The magazine was devoted to sessions "Eranos" in Ascona and the work of CG Jung. The article was illustrated with reproductions of the mandala.
4. Ezekiel, 1. 5 ff., Daniel, 7. 1 ff., The book of Enoch, 22. 2 ff.
5. proclamation of the dogma of the Assumption of Mary in November 1950. See Psychology and Religion (1938/1940) pp. 76 ff., Sage of the psychological interpretation of the dogma of the Trinity (1942/1948) pp. 167 ff. and Answer to Job (1952) pp. 442 ff.
6. "Du" is the title of the magazine for which Jung wrote this article.
7. Die Archetypen und das Kollektiva Unbewusste, p. 381
As mentioned above, mandala means circle. The reason presented here has many variations, but all of them based on squaring the circle. Their basic motif is the idea of \u200b\u200ba center of personality, a sort of central point within the soul to which everything is related, by which everything is directed and which is both a source of energy. The energy of the center point is manifested in a virtually irresistible compulsion, in an urge to become what that is, just as every organism is compelled, whatever the circumstances, to take the form characteristic of his nature. This center is not how I felt or thought, but if I may say so, as if. Although the center is made up of the innermost point, it also has a circle, a contour that contains everything that belongs to the Self, ie the pairs of opposites from which the whole person. Of this total belongs primarily consciousness, then the so-called personal unconscious, then a large segment of the collective unconscious indefinitely, whose archetypes are common to all mankind. A number of archetypes are permanently or temporarily included in the sphere of personality and acquire, through this contact, an imprint individual: for example, to mention only the best-known figures, the Shadow, the Animus and Soul. The self, while it is simple, the other is highly composite, a conglomerate soul to serve me a concept of Indian religion. (2) What are
mandala (3)
The Sanskrit word mandala means in general "circle". As part of religious practices and in psychology it means images can be circular drawing, painting, drawing, dancing or modeling work. Immagini plastiche di questo tipo si riscontrano in special modo nel buddhismo tibetano; come figure di danza esse sono eseguite nei monasteri dervisci; come fenomeni psicologici affiorano spontaneamente nei sogni, in certi stati conflittuali e nella schizofrenia. Molto spesso i mandala contengono una quaternità o multiplo di quattro nella forma di croce, stella, quadrato, ottagono ecc. Nell’alchimia questo motivo ha assunto la forma della quadratura circuli .
Nel buddhismo tibetano il mandala ha il significato di strumento culturale ( yantra ) che dovrebbe aiutare la meditazione e la concentrazione. Il suo significato è alquanto simile nell’alchimia, dove rappresenta la combinazione dei quattro elementi di opposite directions. The spontaneous appearance of the mandala in psychological investigation of modern individuals can explore more fully the functional significance. As a rule, in fact, the mandala appears in conditions of psychic dissociation or disorientation, for example in children aged between eight and eleven years old, whose parents are in crisis or in adults, following the onset of a neurosis and its treatment, you are faced with the problem of opposites in human nature and he remained disoriented. Or in schizophrenics, whose world view is being distorted and confused by the irruption of unconscious contents incomprehensible. In such cases it becomes clear that the order imposed by severe like a circular image mandalic compensate for the disorder and confusion, mental status, and this through the construction of a central point to which everything is related, or a concentric arrangement of multiple, opposite, dell'inconciliabile. Obviously this is an "attempt by the nature of healing itself," an attempt that does not result from conscious reflection but from an instinctive impulse. That is used as the comparative research shows, a basic pattern, a prototype, it looks as it were everywhere and should in no way his individual existence only to tradition, any more than have recourse to tradition, to be transmitted, gli istinti, i quali son dati con ogni individuo alla sua nascita e appartengono al patrimonio inalienabile di una specie. Ciò che la psicologia designa con il nome di archetipo non è nient’altro che un determinato aspetto formale, frequentemente presente, dell’istinto, dato a priori come quest'ultimo. Di conseguenza, malgrado tutte le differenze esterne e indipendentemente dall’origine spaziale e temporale, si riscontra nei mandala una sostanziale conformità.
La "quadratura del cerchio" è uno dei tanti motivi archetipici che stanno alla base delle forme assunte dai nostri sogni e dalle nostre fantasie. La quadratura del cerchio è però uno dei motivi più importanti dal punto di vista funzionale: lo si potrebbe In fact, even to designate as "the archetype of totality." Under this meaning, "quaternity as a unit" is the pattern for all images of God, as demonstrated by the visions of Ezekiel, Daniel, Enoch (4), and the depiction of Gold with her four children. This presents an interesting distinction, because sometimes three children are represented with animal heads and only one with a human head, to what are the visions of the Old Testament, the emblems of the evangelists and seraphim reported last but not least , the nature of the Gospels: Synoptic three and a Gnostic. To finish, I must add that the story of opening Timaeus Plato ("One, two, three: and where, my dear Timaeus, the fourth ?...") to the scene of the second part of Cabiri Faust, the reason for the three and four as has been a constant concern of alchemy. The deep meaning of
quaternity, with its unique and centuries-old process of differentiation is also evident in the latest development of the Christian symbolism (5), may explain why "Du" (6) has chosen as an example of just the symbol formation 'archetype of wholeness. As this symbol is of historical documents in a central location, so it has a meaning in the individual of paramount importance. Mandalas are individual, not surprisingly, a huge diversity. In the vast majority of them are characterized by the circle and quaternity. In some predominates, but sometimes, for special reasons, including three and five. While the mandala
worship have always contained a particular style and a limited number of typical patterns, the individual using a mandala as it were unlimited amount of reasons and symbolic allusions, from which it is not difficult to see that they are trying to express all or in his experience of the individual's internal or external world, or its point of reference, within. Their object is the "Self" as opposed to 'I': this is not the reference point of consciousness, while the self includes the totality of the psyche, namely the consciousness and the unconscious. Not infrequently, therefore, the individual mandala presents a division into two halves, one clear and one dark, with their characteristic symbols. A historical example of this type is the mandala that Jacob Böhme has included in the treatise entitled Viertzig Fragen von der Seele . His mandala is, however, at the same time, an image of God, designated as such. This is not accidental, as the Indian philosophy, more than any other developed the idea of \u200b\u200bthe Self atman or purusha , makes no distinction in principle between the human and the divine essence. Similarly, in the western mandala, the spark characterizes the essence of the woman, the man with divine symbols which may also express the imago Dei: that is the image of god so unfolds like being in the world in nature, man.
That these images are, in certain circumstances, significant therapeutic effects on their authors, is an empirical fact findings and also easily understandable, since they are often a very bold attempt to understand and heal seemingly irreconcilable conflicts and to overcome seemingly irreconcilable divisions. Even a mere attempt in this direction usually has a beneficial effect, provided, however that was spontaneous. From an artificial repetition or a deliberate imitation is not to expect anything. (7)
Carl Gustav Jung
1. Jung, CG, Die Archetypen und das Kollektiva Unbewusste, Olten, Walter-Verlag, 1976 [trad.it.: The Archetypes and the collective unconscious, Hogarth, Torino 1980]
2. Id., p. 349 [Original title: Uber Mandalasymbolik. Published for the first time: Gestaltungen des Unbewussten, "Psychologische Abhandlungen", vol. 7 (Zurich 1950)].
3. Original title: Mandalas. Written by: Du, Schweizerische Monatsschrift (Zurich), vol. 15, No. 4, 16-21 (1955), dated "January 1955". The magazine was devoted to sessions "Eranos" in Ascona and the work of CG Jung. The article was illustrated with reproductions of the mandala.
4. Ezekiel, 1. 5 ff., Daniel, 7. 1 ff., The book of Enoch, 22. 2 ff.
5. proclamation of the dogma of the Assumption of Mary in November 1950. See Psychology and Religion (1938/1940) pp. 76 ff., Sage of the psychological interpretation of the dogma of the Trinity (1942/1948) pp. 167 ff. and Answer to Job (1952) pp. 442 ff.
6. "Du" is the title of the magazine for which Jung wrote this article.
7. Die Archetypen und das Kollektiva Unbewusste, p. 381
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