The concordance 25 witnesses
Also traced as trees
Orientation
A tree that has broken “with irresistible force through the earth’s crust, heaving up mountainous boulders on either side”: so Jung describes a patient’s painting in Alchemical Studies, reading the violence as the individuation drive running its course of necessity against conscious resistance. The same volume gives the motif its systematic form: where the mandala shows the self in cross section, the tree shows it in profile, as a process of growth; elsewhere Jung pairs tree and mountain as equivalent symbols of the self, with Christ symbolized by both. Marie-Louise von Franz holds the image to its paradox: in The Interpretation of Fairy Tales the tree is “not only the mother of life but also the death mother, because from trees coffins are made,” while in Shadow and Evil in Fairy Tales it names an unfolding “independent of our consciousness.” Mircea Eliade widens the frame to shamanic cosmology, where the World Tree stands for “the universe in continual regeneration,” and Erich Neumann’s Kabbalistic citation in The Great Mother reaches furthest: on the tree the universe hangs, and from it the universe emanates.
if a mandala may be described as a symbol of the self seen in cross section, then the tree would represent a profile view of it: the self depicted as a process of growth.
Jung establishes the foundational depth-psychological definition of the tree symbol as the self rendered in temporal-developmental profile, complementary to the mandala’s synchronic cross section.
, Alchemical Studies, 1967thesis
Like all archetypal symbols, the symbol of the tree has undergone a development of meaning in the course of the centuries… The psychoid form underlying any archetypal image retains its character at all stages of development, though empirically it is capable of endless variations.
Jung argues that despite the tree symbol’s historical metamorphoses from shamanistic to alchemical to modern clinical contexts, its psychoid archetypal core remains constant.
, Collected Works Volume 3: The Psychogenesis of Mental Disease, 1907thesis
the tree symbolizes human life and development and the inner process of becoming conscious… it is the urge toward individuation which unfolds and continues, independent of our consciousness.
Von Franz reads the tree as the psychic analog of individuation’s autonomous forward movement, an organic process operating beneath and beyond ego control.
, Shadow and Evil in Fairy Tales, 1974thesis
The tree is not only the mother of life but also the death mother, because from trees coffins are made, and there are the tree burials.
Von Franz demonstrates the tree’s irreducible ambivalence — simultaneously life-mother and death-mother — as a warning against reductive mythological conflation.
, The Interpretation of Fairy Tales, 1970thesis
Mountain and tree are symbols of the personality and of the self, as I have shown elsewhere; Christ, for instance, is symbolized by the mountain as well as by the tree.
Jung establishes the tree’s equivalence with the mountain as dual symbols of the self and personality across mythological and theological traditions.
, Collected Works Volume 3: The Psychogenesis of Mental Disease, 1907thesis
Several religious ideas are implied in the symbolism of the World Tree. On the one hand, it represents the universe in continual regeneration.
Eliade identifies the World Tree’s cosmological function as the axis of universal regeneration, grounding the shamanic cosmic journey within a structure of continual renewal.
, Shamanism: Archaic Techniques of Ecstasy, 1951thesis
The tree has broken with irresistible force through the earth’s crust, heaving up mountainous boulders on either side. The painter is expressing an analogous process in himself, which runs its course of necessity and cannot be checked by any amount of resistance.
Jung’s clinical commentary on patient imagery shows the tree’s breakthrough force as psychic necessity — the individuation drive operating autonomously against conscious resistance.
, Alchemical Studies, 1967supporting
the battle described by Gwion is not a frivolous battle, or a battle physically fought, but a battle fought intellectually in the heads and with the tongues of the learned. … Davies also noted that in all Celtic languages trees means letters; that the Druidic colleges were founded in woods or groves
Graves, extending Edward Davies, claims the Cad Goddeu or Battle of the Trees was fought between alphabets rather than armies: in the Celtic languages, he argues, trees mean letters, and Druidic tree-lore encodes the Beth-Luis-Nion alphabet. The reading is Graves’s poetic reconstruction, not accepted Celtic philology.
, The White Goddess, 1948thesis
It is I who planted this ‘tree’ that all the world might delight in it, and made it an arch over all things and named it ‘universe,’ for on it hangs the universe and from it the universe emanates.
Neumann’s Kabbalistic citation presents the tree as cosmic totality and emanative source of all being, linking Jewish mystical tradition to the archetype of the self.
, The Great Mother: An Analysis of the Archetype, 1955supporting
As the seat of transformation and renewal, the tree has a feminine and maternal significance. We have seen from Ripley’s Scrowle that the tree-numen is Melusina.
Jung identifies the tree’s feminine-maternal numen through the alchemical figure of Melusina, reading the tree as a vessel of transformation associated with the anima and the self for women.
, Collected Works Volume 3: The Psychogenesis of Mental Disease, 1907supporting
This image no longer seems strange to us after what we have learned about the tree of life and its association with the mother, the city, and the water of life.
Jung situates the tree of life within a symbolic cluster encompassing the mother archetype, the city as temenos, and the aqua vitae, demonstrating its role in the imagery of rebirth.
, Symbols of Transformation, 1952supporting
the tree can be interpreted as the Anthropos or self. This interpretation is particularly obvious in the symbolism of the ‘Scriptum Alberti’ and is confirmed by the fantasy material expressed in our pictures.
Jung concludes his historical survey by affirming the tree’s primary psychological interpretation as the Anthropos or self, validated by both alchemical texts and modern clinical imagery.
, Collected Works Volume 3: The Psychogenesis of Mental Disease, 1907supporting
The crown appears in the figure as the crowning point or culmination of the developmental process symbolized by the tree. It has taken the form of a mandala, the ‘golden flower’ of Chinese and the ‘sapphirine flower’ of Western alchemy.
Jung reads the tree’s flowering crown as the culmination of individuation, where the tree-symbol and the mandala converge in the image of the golden flower, signifying self-realization.
, Alchemical Studies, 1967supporting
In the midst of paradise there rose a shining fountain, from which four streams flowed, watering the whole world. Over the fountain stood a great tree with many branches and twigs, but it looked like an old tree, for it had no bark and no leaves.
Jung examines the paradisiacal dead tree motif — barked by the Fall, reborn with Christ — as an alchemical pattern of death and renewal anchored in Judaeo-Christian cosmogony.
, Alchemical Studies, 1967supporting
Water and tree are for this reason the most important elementary symbols, and they were endowed with a primordial sacredness by all Germanic tribes.
Neumann establishes water and tree as the twin elementary symbols of fate and the sacred in Germanic tradition, both rooted in the chthonic feminine domain of the Norns.
, The Great Mother: An Analysis of the Archetype, 1955supporting
They were valued, for they symbolized the ability to die and return back to life… The tree was truly a great wild mother.
Estés recovers the tree’s ancient devotional significance in women’s religion as a living symbol of cyclic death and renewal and as the personification of the wild, generative maternal.
, Women Who Run With the Wolves Myths and Stories of the Wild, 2017supporting
The picture shows a tree of light that is at the same time a candelabrum. The abstract form of the tree points to its spiritual nature. The ends of the branches are lighted candles illuminating the darkness of an enclosed space.
Jung’s clinical description of a patient’s spontaneous tree-of-light image links the tree to the function of illuminating consciousness within an enclosed, cave-like psychic space.
, Collected Works Volume 3: The Psychogenesis of Mental Disease, 1907supporting
Mercurius is the tree of the metals. He is the prima materia, or else its source.
Jung identifies Mercurius with the philosophical tree as the prima materia of the alchemical opus, showing how the tree symbol encodes the fundamental transformative substance.
, Collected Works Volume 3: The Psychogenesis of Mental Disease, 1907supporting
Just as the snake or dragon is the chthonic numen of the tree, so the stork is its spiritual principle and thus a symbol of the Anthropos.
Jung elaborates the tree’s dual numinosity — chthonic serpent below and spiritual stork above — as a structural polarity corresponding to the tension between instinct and spirit in the Anthropos.
, Alchemical Studies, 1967supporting
Union of opposites represented by two trees growing into one another and joined by a ring. The crocodiles in the water are the separated opposites, which are therefore dangerous!
Jung reads patient imagery of two intertwined trees as a visual statement of the coniunctio oppositorum, the union of separated psychic opposites that constitutes alchemical and psychological transformation.
, Alchemical Studies, 1967supporting
the tree is the true foundation and arcanum of the opus. This arcanum is the much-praised thesaurus thesaurorum.
Jung’s alchemical analysis designates the philosophical tree as the hidden foundation and supreme treasure of the opus, the secret organizing symbol of the entire transformative work.
, Collected Works Volume 3: The Psychogenesis of Mental Disease, 1907supporting
in the Middle Ages the philosophical tree was sometimes called a vine, with reference to John 15: 1, ‘I am the true vine.’ The fruits and seeds of the tree were also called sun and moon.
Jung traces the philosophical tree’s assimilation to the Johannine vine and the solar-lunar fruit symbolism, situating its medieval transformation within the confluence of Christian theology and alchemical cosmology.
, Collected Works Volume 3: The Psychogenesis of Mental Disease, 1907supporting
the symbolism of the ‘Center’ (Mountain, Pillar, Tree, Giant) is an organic part of the most ancient Indian spirituality.
Eliade places the tree within the cosmological symbolism of the Center alongside mountain, pillar, and giant, establishing it as a primordial axis mundi across Mesopotamian, Indian, and Palestinian traditions.
, Shamanism: Archaic Techniques of Ecstasy, 1951supporting
They were named by Neptune the tree of the sun and the tree of the moon.
Jung’s citation of the Hermetic solar and lunar trees of paradise presents the tree’s fundamental polarity — active/solar versus receptive/lunar — as a cosmogonic pair encoding the union of opposites.
, Collected Works Volume 3: The Psychogenesis of Mental Disease, 1907supporting
In front of the house were two grand chestnut trees that offered shade and beauty for the family and the many people who visited the farm for over fifty years.
Moore invokes ancestral trees as concrete embodiments of soul in place, suggesting that the depth-psychological significance of trees is experienced not only in symbol but in actual attachment to living specimens.
, Care of the Soul Twenty-fifth Anniversary Edition: A Guide, 1992aside