During a difficult period in his life in which he withdrew from his teaching position and devoted much of his time investigating the nature of the unconscious, Jung frequently painted or drew mandalas, but only learned to understand the mandala symbology many years after he had begun creating the images.
He understood only that he felt compelled to make the figures and that they comforted him, “Only gradually did I discover what the mandala really is: “Formation, Transformation, Eternal Mind’s eternal recreation”. And that is the self, the wholeness of the personality, which if all goes well is harmonious, but which cannot tolerate self-deceptions” (MDR 195-196). Mandalas are defined by Jung as magic circles, containing certain design motifs that he found to have a universal nature, across cultures and across time, whether they are the transiently created mandalas from Tibet, sand paintings from the American southwest, or illustrations from ancient, medieval, and Renaissance alchemical works.
Jung believes that his mandalas were “cryptograms” of the state of the self as it was on the day the mandala was created. Each mandala that he spontaneously created was different from their predecessors and the paintings were precious to him, he “guarded them like pearls” (MDR 196). He also believes that mandalas appear in connection with dreams, chaotic psychic states of disorientation or panic (CW 9i 645) as they did in Jung’s own life, and that a function of the mandalas is to bring order out of chaos. Edinger agrees, “Quaternity, mandala images emerge in times of psychic turmoil and convey a sense of stability and rest. The image of the fourfold nature of the psyche provides stabilizing orientation. It gives one a glimpse of static eternity.” (Edinger 182). Jung eventually came to believe that the mandala itself is an image of “squaring the circle” and as such could be called an archetype of wholeness (CW 9i 715)...
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