Psychology of the Mandala
The word "mandala" is from the classical Indian language of Sanskrit, meaning "circle". Even though it may be dominated by squares or triangles, a mandala is far more than a simple shape. Mandalas offer balancing visual elements, symbolizing unity and harmony. It represents wholeness, and can be seen as a model for the organizational structure of life itself--a cosmic diagram that reminds us of our relation to the infinite, the world that extends both beyond and within our bodies and minds. The meanings of individual mandalas is usually different and unique to each mandala. The goal of the mandala is to serve as a tool on our spiritual journey as it symbolizes cosmic and psychic order. Describing both material and non-material realities, the mandala appears in all aspects of life: the celestial circles we call earth, sun, and moon, as well as conceptual circles of friends, family, and community.
Table of contents
°Psychological meaning of the Mandala
°Mandalas in the East
°Carl Jung's psychological diagnosis using Mandalas
°Video about Positive psychology student mandala campaign
°Conclusion
°Citations
- Psychological meaning of the Mandala
“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.” (1965: 195-196).
- Mandalas in the East
In the East, mandalas help people grasp the way things come to be and their rightful place in the order of things. Mandalas communicate complex philosophical ideas and convey the insights of mystics. Mandalas are used in special meditation practices for attaining and integrating non-ordinary states of consciousness. To learn more about Eastern mandalas, let us look at the practices of Tibetan Buddhism.
A space on the ground is cleared in a secluded place. A proper attitude is induced in the pupil through ritual cleansing, meditation, fasting, and chanting. The pupil is given colored threads and instructed in the procedures for laying out a circle divided in four equal sections. The mandala is created using paints, inks, or colored sand. Traditional designs and colors are used, yet there is opportunity for some individual variation within the standards. Materials, such as lapis lazuli ground for blue pigment, contribute their own symbolic
Once the colorful stylized form of the Tibetan mandala is completed, the devotee is guided through steps of meditation. These are designed to move him through encounters with aspects of himself that hamper his full realization of pure consciousness. Part of the technique requires deepening his understanding of the traditional symbols in the mandala through personal experience. This inner work is facilitated by visualization based on the mandala. The devotee calls up a mental image of figures in the mandala. In his mind’s eye he concentrates on these images, moving them through prescribed changes in relationship to himself.
Through training and repeated practice the devotee learns to call to mind a vivid image of the mandala. The devotee uses this mental image as a means of bringing about his return from the world of separateness to the realm of unity where he is in communion with pure consciousness. Thus, the mandala serves Tibetan devotees as a pathway to and from desirable states of consciousness. The act of creating the mandala works upon the psychology of the devotee in ways that are beneficial. In the West the benefits of creating mandalas were first identified by Carl Jung.
- Carl Jung's psychological diagnosis using Mandalas
| Carl Jung refers to the mandala as “the psychological expression of the totality of the self.” |
| Mandalas represent connection with the infinite |
- Video about Positive psychology student mandala campaign
- Conclusion
| Golden Flower made by a patient who found that mandalas usually appear in situations of psychic confusion |
- Citations
- Arrien, Angeles. (1992). Signs of Life. Sonoma, CA: Arcus Publishing.
- Edinger, Edward F. (1987). Ego and Archetype. New York: Viking Penguin.
- Fantz, R.L., & Miranda, S.B. (1975). Newborn infant attention to form and contour. Child Development, 46, 224-228.
- Fincher, Susanne F. (1991). Creating Mandalas: For Insight, Healing, and Self-Expression. Boston, MA: Shambhala Publications.
- Gibson, James J. (1986). The Ecological Approach to Visual Perception. Hillside, NJ: Lawrence Erlbaum Associates.

