They are yantras in the Indian sense, instruments of meditation, concentration, and self-immersion, for the purpose of realizing inner experience, as I have explained in the commentary to the Golden Flower. At the same time they serve to produce an inner order-which is why, when they appear in a series, they often follow chaotic, disordered states marked by conflict and anxiety. They express the idea of a safe refuge, of inner reconciliation and wholeness.
— Carl Gustav Jung
Jung is describing what the mandala does before you understand it — which is the key thing. The order arrives first, as image, and the explanation follows later, if it comes at all. Psyche produces the circle, the quartered space, the concentric structure, not because the person has achieved wholeness but because wholeness is what the soul needs to survive the chaos it is currently inside. This is production under pressure, not illustration of attainment.
The danger in reading a passage like this is the seduction of the sequence: chaos, then mandala, then reconciliation and wholeness — and the mind converts that sequence into a promise. If the symbol appeared, resolution must be coming. But Jung's phrasing is more honest than that. The mandala expresses the *idea* of a safe refuge. It does not deliver one. The yantra is an instrument of concentration, not a door that opens onto a permanently ordered interior. What the soul makes in extremity is a figure of what it cannot yet inhabit. That figure is real — its effects on psyche are real — but the wholeness it images is always ahead of the one who draws it, never a report on arrival.
Carl Gustav Jung·The Archetypes and the Collective Unconscious·1959