ABSTRACT
Chapter 9 explores in detail Jung’s claim that his paintings were not art but ‘nature.’ It is therefore necessary to confirm exactly what Jung meant by this rather ambiguous term and how it relates to his interest in mandalas. Indeed, Jung was highly committed to the significance of mandala symbolism in relation to the ‘state of the self.’ The importance of Jung’s creation of a broken mandala in 1917 and its connection to his understanding of modern art is also addressed. Furthermore, Jung’s Red Book paintings repeatedly include circular motifs; thus, the significance of their mandala symbolism is investigated. In doing so, a greater insight into Jung’s view of what constitutes a symbolic expression is gained, whilst also going some way towards understanding why Picasso’s art was particularly troubling for Jung.
