T
The Mandala in Jungian Depth
Psychology and Tibetan
Buddhist Tantra
Judson Davis
School of Interdisciplinary Studies, Woosong
University, Daejeon, Republic of Korea
Introduction
For countless millennia, the mandala has
manifested in the religious iconography and cosmological symbolism of an array of diverse cultural traditions (Jung 1972), and in contemporary
times it continues to hold an especially exalted
place in the tantric practice of Tibetan Buddhism.
Since the early twentieth century, in correlation
with the pioneering work of Carl Jung, the mandala has also been understood as a fundamental
symbol of psychological wholeness, and this primordial image thus serves as a distinctive
connecting link through which to explore the
overlapping characteristics and sometimes striking similarities between these otherwise disparate
spiritual disciplines (Davis 2016).
Although each tradition arose in substantially
different cultural, geographical, and historical circumstances, and despite the fact that each
espouses distinctly contrasting notions of an ultimate ontological reality (the disparity between the
Jungian Self and the Buddhist no-self being a
primary example), both systems emphasize the
mind, or psyche, as the foundational basis of
existence and the primary means through which
liberation (in the Buddhist tradition) and psychic
wholeness (as found in Jungian psychology) are
pursued (Moacanin 2003). Further, both disciplines employ artistic expression and creative
visualization practices as powerful agents of
healing and transformation, and each system variously incorporates mythic images and wisdom
figures – including those that arise in dreams and
visionary experience – into its transformative processes. Among these various images and symbolic forms exists the mandala, which for both
traditions variously exemplifies the totality of
existence in which all opposites have been reconciled in correlation with the union of masculine
and feminine principles.
The Mandala in Tibetan Buddhism
Having originated in India some 2500 years ago,
Buddhism arrived on the Tibetan plateau in the
seventh century C.E. during the reign of King
Songsten Gampo (Tucci 1970/1980). The acceptance and expansion of this imported religion was
greatly accentuated through the work of the
renowned mystic Padmasambhava and the monk
Santarakshita, and in about the year 779, it was
officially indoctrinated through the founding of
the first great monastery at Samye.
The tantric form of Indian Buddhism that was
absorbed on the Tibetan plateau is known in
# Springer-Verlag GmbH Germany, part of Springer Nature 2018
D. A. Leeming (ed.), Encyclopedia of Psychology and Religion,
https://doi.org/10.1007/978-3-642-27771-9_200205-2
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The Mandala in Jungian Depth Psychology and Tibetan Buddhist Tantra
Sanskrit as Vajrayana, the Thunderbolt or Diamond Vehicle (Gyatso 1995). This esoteric system emphasizes the use of such contemplative
practices as creative visualization, artistic expression, mantra recitation, the enactment of mudras
(ritual poses), dream yoga, and various forms of
meditation in order to facilitate spiritual development and ultimate liberation. Ultimately all of the
various practices, methods, and rituals described
above share one fundamental aim – the awakening
to the truth of Dharmakaya, the timeless, indivisible, all-encompassing, and unchanging nature of
the enlightened mind.
The most prominent symbol of enlightenment
in Tibetan Buddhism is the mandala (Leidy and
Thurman 1997). Predating historical Buddhism
by many centuries, the word mandala is an
ancient Sanskrit term that loosely translated
means circle. Further, from early on this term
had “the generative meaning of a circle as a universal symbol for womb, for breast, for the nurturing source of life” (p. 130). It may also pertain
to,
any circle or discoid object such as the sun or moon.
In etymological studies, it is sometimes divided into
manda – best part, highest part, highest point – and
la – signpost or completion. The combination is
explained as a place or point which contains an
essence. In the Vedic Brahmanas, some of India’s
earliest and most influential pre-Buddhist philosophical texts, mandala already signifies a sacred
enclosure and is, at times, understood to mean a
place created for the performance of a certain ritual
or practice, or for the use of a great teacher or
mystic. (p. 17)
Mandalas in the Tibetan tradition are produced
with a number of different materials that include
thread, sand, and even butter, but the most immediately recognizable forms are the brightly colored paintings typically referred to as palace
architecture mandalas (Leidy and Thurman
1997). In an external sense, these mythic forms
represent a diagram of a cosmos, and in an internal
sense, they serve as a guide, or path, to spiritual
liberation. Such mandalas exemplify a sacred precinct in which a center, or central point, is understood to represent the ultimate source of all that
is – limitless and absolute, yet containing a center.
These complex and elaborate forms are typically
comprised of,
an inner circle containing a principle deity
(or deities). Enclosed in a multi-level square palace
with openings at the four cardinal directions, the
palace is placed in a multi-tiered circle. Additional
figures are generally found outside this large circle.
(p. 17)
As a sanctified space, the palace, which may also
be depicted in the form of a temple, constitutes a
kind of sacred architecture that is designed as a
generative container of a profoundly transformative spiritual metamorphosis (Leidy and Thurman
1997). The mandala’s intrinsic structure and
design thus reflect “a matter of imaginal worldpatterning directly affecting inner structuring of
physical and mental senses through actual brain
organization” (p. 143). Accordingly, both the creation of and meditation upon such forms elicits a
dynamic inner movement toward harmony and
wholeness, which in turn extends the personal
boundaries of the practitioner to include a merging with the outer environment and the totality of
being. This transcendence beyond the personal
self is absolutely fundamental to this process
because,
in Buddhist usage, a mandala is a matrix or model of
a perfected universe, the nurturing environment of
the perfected self in ecstatic interconnection with
perfected others. It is a blueprint for buddhahood
conceived as attainment not only of an individual’s
ultimate liberation, but also as the attainment of
such release and bliss by an individual fully integrated with his or her environment and field of
associates. . .. Within the vision of tantra as a
world-creating process, mandalas are models used
for creating Buddha-worlds. (p. 127)
Mandalas thus serve as both sacred representations of ultimate liberation as well as powerful
agents of instruction and transformation, and in
Tibet this consecrated mythic form has been guiding tantric practitioners for more than 1200 years.
The Mandala in Jungian Depth
Psychology
The mandala also holds a special place in the
tradition of depth psychology, and played a
The Mandala in Jungian Depth Psychology and Tibetan Buddhist Tantra
3
particularly crucial role in Carl Jung’s life and
work (Jung 1963). His first rendering of a mandala
occurred in 1916 in response to a period of
extreme inner turmoil that arose following his
break with Sigmund Freud. During this period of
psychic upheaval, he began to spontaneously
draw and paint mandalic forms, and Jung found
that this process provided both psychotherapeutic
relief and a degree of psychic cohesion to his
fragmented condition. Toward the end of the
First World War, his symptoms began to subside,
and he observed that the restoration of his psychological well-being was aided significantly by his
drawing and painting of mandalas, many of which
are impressively portrayed in Jung’s (2009) The
Red Book. As a result of this process, Jung concluded that such forms emerge as part of the
human psyche’s inherent mechanism for the
healing of inner fragmentation. He therefore
determined that this dynamic symbolic form not
only exists as a very effective therapeutic tool but
also constitutes a potent representation of psychic
unity and wholeness. Jung reflected on his discoveries as follows:
The mandala thus represents the human psyche
in a state of wholeness, or completion, and at the
same time serves as a dynamic agent of healing
and transformation. This process of transformation represents a binary relationship between egoconsciousness (one’s normal waking state, or little
self) and the Self (the totality of being), with
waking consciousness forever expanding and
moving toward completion through the integration of unconscious material – the as yet
unrealized inner potential of the Self. Mandalas
and other archetypal forms arise from the Self and
serve as essential connecting links between the
conscious ego and the unconscious, thus orchestrating and deepening this inner movement toward
psychic wholeness.
In correlation with his own experience, Jung
(1972) encouraged his patients to paint their own
mandalas as part of the therapeutic process, and
the works they produced were instrumental in
helping him to procure a diagnosis of their personality disorders as well as their developmental
inclinations and spiritual potentialities. This led
him to the understanding that,
I sketched every morning in a notebook a small
circular drawing, a mandala, which seemed to correspond to my inner situation at the time. With the
help of these drawings I could observe my psychic
transformations from day to day. . .. My mandalas
were cryptograms. . .in which I saw the self–that is,
my whole being–actively at work. (1963, p. 195)
mandalas are important indicators of the process of
personal growth that moves you toward fulfilling
your particular identity and purpose in life. The
mandalas we create indicate our premonition of a
center of personality, a kind of central point within
the psyche, to which everything is related, by which
everything is arranged, and which is itself a source
of energy. The energy of the central point is
manifested in the almost irresistible compulsion
and urge to become what one is, just as every
organism is driven to assume the form that is characteristic of its nature, no matter what the circumstances (p. 73)
As noted in the above passage, Jung (1963)
observed that during this long period of psychological discord, an unconscious aspect of his
being was “actively at work” providing the creative impetus for the manifestation of these mandalas, which in turn served as the very instruments
of his recovery. And it was the creative formulation of these images (which also arose in the
dream state), and the resulting calm and psychic
cohesion they produced, that led him to the conclusion that “the mandala is the center. It is the
exponent of all paths. It is the path to the center, to
individuation” (p. 196). In time, Jung would refer
to this “center” as the Self, which represents the
totality of one’s being and exists as the very
source to which the process of individuation
(i.e., psychospiritual development) is directed.
As Jung (1936/1958) would later discover, this
notion of a central point to which everything is
related is a key aspect of the Tibetan tantric tradition as well, and Jung’s understanding of the
mandala as a mythic symbol representing both
healing and wholeness served to further his growing interest in Eastern spirituality and its complex
symbolism, especially as found in the tradition of
Tibetan Buddhism. This would contribute directly
to Jung’s (1959) seminal theory of the archetypes
of the collective unconscious (i.e., universal
mythic images that manifest worldwide
4
The Mandala in Jungian Depth Psychology and Tibetan Buddhist Tantra
throughout human history), with the mandala
representing “the psychological expression of
the totality of the self” (1972, p. 20).
Conclusion
For more than 1200 years, the mandala has served
as a fundamental guiding force in the religious
practice of Tibetan Buddhism, and has acted as
both an instrument of spiritual development and a
sanctified representation of enlightenment. In the
twentieth century, the mandala would play a
prominent role in the life and work of Carl Jung,
for whom it served as both an agent of psychological healing and a numinous symbol of psychic
wholeness. Jung’s passionate interest in Tibetan
Buddhism and other Asian spiritual disciplines
would prove instrumental in the emergence of
the East-West dialogue that over the past decades
has sought to explore the intriguing intersection
between modern Western psychology and ancient
Eastern religious traditions (Clark 1994). These
correlations have been especially well exemplified by the primordial image of the mandala,
which in Jungian psychology, Tibetan Tantra,
and countless other traditions has signified the
center, the immeasurable and undivided totality
in which all things ultimately arise and return.
See Also
▶ Buddhism’s Vajrayana: Tantra
▶ Depth Psychology and Spirituality
▶ Jung, Carl Gustav, and Eastern Religious
Traditions
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