The Kaaba — the cube-shaped granite sanctuary at Mecca — enters the depth-psychology corpus along several distinct but intersecting axes. Eliade treats it as the pre-eminent Islamic instantiation of the axis mundi and the cosmic center: Islamic tradition itself holds that it stands at the highest point on earth, directly beneath the pole star, making it the meeting-place of heaven, earth, and the subterranean realms. Armstrong grounds the Kaaba historically in the Abrahamic legend — Abraham and Ishmael building the first temple of the one God — and reads its reorientation under Muhammad as a declaration of theological independence from both Judaism and Christianity. Campbell mobilizes the Kaaba comparatively, noting that Wolfram von Eschenbach's Grail stone imitates the Islamic meteoritic stone brought down from heaven, thereby threading Islamic sacred geography into the broader mythology of the celestial gift. Von Franz approaches the Black Stone through the lens of meteoritic symbolism: what falls from the sky belongs to the unknown spiritual sphere of the collective unconscious, and venerated stones of this kind carry numinous, divine-messenger significance across cultures. The richest and most sustained engagement comes from Corbin, who reads Ibn ʿArabī's circumambulation of the Kaaba as a visionary encounter with the mystic's own celestial pole or Angel — the Temple becoming the sensuous typification of the Divine Essence, the Black Stone a cipher for the mystic Pole and Holy Spirit. The Kaaba thus functions in the corpus simultaneously as cosmological center, historical foundation-myth, comparative mythological motif, alchemical/meteoritic symbol, and Sufi theophanic locus.
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the Black Stone is a name for the 'mystic Pole' and for all its manifestations. The interpreter of the impenetrable, the hermeneut of the Temple, is therefore the Pole (Qutb), that is, the Holy Spirit
Corbin argues that for Ibn ʿArabī the Kaaba is not merely a physical shrine but the sensuous cipher of the Divine Essence, its Black Stone symbolizing the mystic Pole (Qutb) and Holy Spirit whose hermeneut reveals hidden prophetic revelation.
Corbin, Henry, Alone with the Alone: Creative Imagination in the Sufism of Ibn Arabi, 1969thesis
the Ka'aba typifies the Divine Essence; the Black Stone is man's subtile or spiritual being (Jlatifa, Geistwesen, 'Angel'). Without the divine Self typified by the Ka'aba, the world as totality of phenomena could not be
Corbin presents Ibn ʿArabī's equation of the Kaaba with the Divine Essence and the Black Stone with man's spiritual being (the Angel of his person), establishing a precise structural homology between cosmic and psycho-spiritual ontology.
Corbin, Henry, Alone with the Alone: Creative Imagination in the Sufism of Ibn Arabi, 1969thesis
The recognition of the mystic meaning of the Ka'aba, emerging through its stone walls, goes hand in hand with the mystic's encounter with his own celestial pleroma in the person of the Youth.
Corbin shows that Ibn ʿArabī's visionary encounter at the Kaaba with the celestial Youth before the Black Stone is simultaneously a recognition of the Temple's esoteric meaning and an encounter with the mystic's own eternal celestial identity.
Corbin, Henry, Creative Imagination in the Sufism of Ibn Arabi, 1969thesis
According to Islamic tradition, the highest point on earth is the Kaaba, because 'the polestar proves that . . . it lies over against the center of heaven.'
Eliade situates the Kaaba within his universal morphology of the sacred center, identifying it as Islam's axis mundi — the earthly point that corresponds to the celestial pole and links the three cosmic regions.
Eliade, Mircea, The Myth of the Eternal Return: Cosmos and History, 1954thesis
we shall meet with him elsewhere in other forms, notably 'around the mystic Ka'aba.' Against this visionary setting Ibn 'Arabi, the pilgrim to the Orient, seems to stand out as a personification of the hero of Suhrawardi's 'Recital of Occidental Exile.'
Corbin introduces the Kaaba as the recurring site of Ibn ʿArabī's encounters with his personal Holy Spirit, linking the physical pilgrimage to Mecca with the inner spiritual itinerary figured by Suhrawardī's recital.
Corbin, Henry, Creative Imagination in the Sufism of Ibn Arabi, 1969supporting
The famous Kaaba, the goal of the pilgrimage to Mecca, is also a black meteoric stone. Since the stones come f[rom above]
Von Franz interprets the Kaaba's Black Stone as a meteorite and therefore as a messenger from the unknown spiritual sphere of the collective unconscious, connecting it to a cross-cultural pattern of numinous stones fallen from heaven.
von Franz, Marie-Louise, Psychotherapy, 1993supporting
His version of the Grail is a stone vessel, which was brought down from heaven. Now what he's doing is imitating the Muslim Kaaba, the stone at Mecca that was brought down from heaven.
Campbell reads Wolfram von Eschenbach's Grail stone as a deliberate mythological transposition of the Kaaba, arguing that the Islamic sacred meteorite provided the structural template for the Grail's celestial origin.
Campbell, Joseph, Transformations of Myth Through Time, 1990supporting
Abraham had visited Ishmael and together father and son had built the Kabah, the first temple of the one God. Ishmael had become the father of the Arabs, so, like the Jews, they too were sons of Abraham.
Armstrong traces the Kaaba's legitimating mythos — its construction by Abraham and Ishmael — as the narrative foundation through which Muhammad rooted Islam in Abrahamic piety and declared Arab religious independence.
Armstrong, Karen, A History of God, 1993supporting
Kabah (Arabic) The cube-shaped granite shrine dedicated to al-Lah in Mecca.
Armstrong provides a concise lexical definition of the Kaaba as part of a glossary of Islamic theological terms, situating it within the conceptual vocabulary of A History of God.
Ka'aba: Ibn 'Arabi's circumambulation of, 44, 52–53, 69, 73; Ibn 'Arabi's visions at, 139–141, 154, 278–281; mystic interpretation of, 277–279
This index entry maps the full range of Corbin's treatment of the Kaaba in Creative Imagination, cataloguing Ibn ʿArabī's circumambulations, visions, and the book's sustained mystic interpretation of the site.
Corbin, Henry, Creative Imagination in the Sufism of Ibn Arabi, 1969aside