Image 163

(book footnote) Image legend: “1928. When I painted this image, which showed the golden well-fortified castle, Richard Wilhelm sent me from Frankfurt the Chinese, thousand-year-old text of the golden castle, the embryo of the immortal body. Ecclesia catholic et protestantes et seclusi in secreto. Aeon finitus. (A church both Catholic and Protestant shrouded in secrecy. The end of an aeon.) Jung described this as: A mandala as a fortified city with wall and moat. Within, a broad moat surrounded a wall fortified with sixteen towers and with another inner moat. The moat encloses a central castle with golden roots whose centre is a golden temple. He anonymously reproduced this in 1930 in “Commentary on ‘The Secret of the Golden Flower,'” from which this description is taken. He reproduced it again in 1952 in “Concerning mandala symbolism” and added the following commentary: “Painting of a medieval city with walls and moats, streets and churches, arranged quadratically. The inner city is again surrounded by walls and moats, like the Imperial City in Peking. The buildings all open inward, toward the center, represented by a castle with a golden roof. It too is surrounded by a moat. The ground round the castle is laid with black and white tiles, representing the united opposites. The is mandala was done by a middle-aged man … A picture like this is unknown in Christian symbolism. The Heavenly Jerusalem of Revelation is known to everybody. Coming to the Indian world of ideas, we find the city of Brahma on the world mountain, Meru. We read in the Golden Flower: ‘The Book of the Yellow Castle says: “In the square inch field of the square foot house, life can be regulated.” The square foot house is the face. The square inch field in the face what could that be other than the heavenly heart? In the middle of the square inch dwells the splendor. In the purple hall of the city of Jade dwells the God of Utmost Emptiness and Life.’ The Taoists call this center the land of ancestors or golden castle.'”

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