I discovered that I could apply the principles of these two pictures to the therapeutic andtransformational activity of the Mandala Process. The Life Seal is similar to Pythagoras’ use of the “seal”that reflected the nature of the soul. There is also an interaction between the types of pictures. FromJung’s work, it is evident that the symbols have real interaction with the structure and process of theunconscious. Integrate and balance the symbols, and you integrate and balance the psyche.Shelly said that there are three types of symbols: intentional, accidental, and universal.Intentional symbols are ones that we create consciously, for our own purposes. For example, atriangular traffic sign means “yield” or a red light means “stop.” Accidental symbols are formed out ofrandom associations. In a sense, they are formed superstitiously or synchronistically. For example, asurviving scrap of your baby blanket could symbolize nurture. We may use a palm frond intentionally tomean “Palm Sunday;” however, in the original event, people may have just wanted some shade.Universal symbols reflect archetypal structures and protocols that are inherent to all creation – a group,all of humanity, or all sentient life forms in the universe. The Star of David appears to be universal. Thisis perhaps why David used it. The regular, symmetrical solids of Pythagoras are universal. These symbolsoften appear as patterns upon which images of a more personalized meaning are encrypted. Thus, Jungused the circle and cross.As my approach developed, I had students form intentions to make the two mandalas. Asdiscussed earlier, these mandalas could be two distinct or one integrated product. One would reflect thecharacter, Cayce’s Life Seal, and the other, destiny (curriculum), Cayce’s Aura Chart. From intention tocompleted form, many exercises and projects were pursued that drew out the inner symbols. Thesesymbols evolved along two themes, which became apparent. One revealed character and the otherdestiny.The character mandala reflects the gifts, strengths, talents, and power that are ours from birth.The process of making this mandala heals the wounds and transforms the limiting beliefs that keep usfrom standing in our power and expressing our lives in a truthful and effective way. Completing thecharacter mandala balances our psychic field and aligns us with self.We are born with the virtue and strengths that will serve us best to fulfill our lives. Courage,sensitivity, and decency are examples of virtues. Intuition, intelligence, and common sense arestrengths. I discovered that people know their virtues and strengths, but often configure them toprotect their beliefs about their traumas, self-worth, power or lovability. The contrast, of course, is tosymbolically configure our virtue in the most powerful relationship possible. Even our shortcomings maybe strengths in a given context.The complement to the character mandala is the destiny or curriculum mandala. Destiny, in thissense, is our life purpose, which in various ways boils down to what we came here to learn, resolve,develop or fulfill. Since we generally fulfill this purpose through a series of learning events that form thestepping stones, positive or negative, that lead to fulfilling these purposes, I also call this a curriculummandala. Our lives have inherent meaning and purpose. The actualization of this purpose is our soul’sjourney. The experience of creating this mandala clarifies, illuminates, and empowers our journey in life.Completing the destiny mandala aligns the energy field with our purpose.15
Mandala ProcessThe story of our lives reflects themes that portray our karmic interest in resolving our trials andtribulations, fulfilling our successes, and exploring new terrains of understanding. These themes reflectour destiny. The soul has objectives of transformation and fulfillment. These two are different in thesense that transformation leads with karma, unresolved issues, limiting or destructive consequences,and beliefs, causing internal division, or conflict, with our divine nature or holiness. Intentionality, plustrauma, plus choice, plus constructed beliefs, equals limitation or distorted perception. The issue,consternation, and problematic situations reflect a theme. These themes are agendas fortransformation. The intended soul outcome is symbolically embedded, as metaphor and symbol, in theimages of the artwork.On the other hand, fulfillment leads with themes of life-long learning, reflected in each learningevent. Themes for life-long learning reflect in each learning event. These themes are like threads thatstring together the developmental events of our life. The themes are goals of fulfillment, or new thingswe want to do, achieve or experience. Terms like karma and dharma are popular these days. We look atour karma like we are doing penance for bad deeds. Karma is actually opportunity. Our opportunitiesdiscover, resolve, and elaborate our deepest interest. Karma is basically being stuck in our belief aboutwhat we did or what happened to us. Dharma is more like life fulfilling a service. Karmic and dharmicthemes hold us to physical life. For example, Jesus’ dharma was to bring salvation. Buddha’s dharmawas to bring enlightenment. Mother Theresa’s was to bring comfort to the forgotten suffering, wherenone had been present. So with the mandala, we explore both karmic and dharmic themes. The processof doing so heals, transforms, and empowers fulfillment. We are ultimately here to discover and fulfillour deepest nature. That is our a-priori intention.As I developed the Mandala Process from my use of art, exploration of Energy Medicine,spiritual realization and comparison to quantum physics, I realized that the historical use of mandalaswas a form of spiritual physics. Our unconscious mind was an expression of Akasha. Mandalas hadenabled us to bridge realities - the reality where life appears discrete, and the reality in which life isunified. Mandalas reflect human individuals as beings that bridge heaven and earth, and thus, as theancients also practiced, are able to mediate and transform the situations and circumstances of theirlives. In the Mandala Process, our art-making enables us to enter the A-field and directly edit the codesthat inform reality. The Mandala Process is such an effective transformer because it integrates theintentionality of our soul’s purpose, the dynamic archetype of the cosmic person, the historical use ofmandalas, the urge of all our unresolved issues wanting to be made whole, the revelation of living as areflection of our emerging consciousness (life as mirror), the unity field that enables the information ofthe Akasha (quantum coherence) to configure life events and structures. This integration occurs throughskillful means, by awakening our energetic sensitivity and making art.Much of my continued discovery and evolution of the Mandala Process came through teaching.With the forgoing thoughts as a backdrop, we can unpack the various elements through application. Weneed to embody the wisdom as a living experience in order to make applications to personal, group oreducational transformation. We join teacher and student as distinct perspectives of the same coherent16
- Page 1 and 2: MANDALA OF THE SOULA Spiritual Appr
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When the mandalas are part of a gro
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intelligence. All is a living entit
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to us our inner reality. When we en
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In the next drawing, the superstiti
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field of your unconscious mind. You
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Practice seeing the morphic field a
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Step FiveFrom our soul perspective,
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Choices I made with others made acc
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Chapter SixSTUDIO PROTOCOLSPrevious
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It is a new drawing that incorporat
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HeadWe will continue with the forma
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27. Find yourself once again in the
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Although we may need this foundatio
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Afraid of the dark, I would force m
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Journeyingexperience. Does the heal
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Chapter SevenSANCTUARY OF SELFWe al
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accented with rolling clouds. Then,
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The practice of the Sanctuary of Se
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the transpersonal center through a
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3. Place your attention on the cent
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30. Open your spiritual vision. Giv
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Some feel that a strategy of potent
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time, I was unknowingly transmuting
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Chapter EightMYSTICAL MARRIAGECarl
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occurs inwardly, our outer reality
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5. Visualize your female nature or
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Example:Father God provides well fo
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We all have injuries and confusion
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1. Close the eyes and find a breath
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Chapter NineLABYRINTHLabyrinths hav
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inspiring awe, and connecting the p
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encoded in our deep structure. Our
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Light Body. This is the heart of li
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2. Hold the labyrinth diagram at a
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Chapter TenTHE STUDIOMy understandi
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accumulation of the interaction of
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a physical testament to the inner w
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choices. When a student chooses the
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archetypal sea. Without it, the jou
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from the “source”; a source I h
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imaginary friend/power animal in my
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PanelsThe representation of my conn
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If nothing else, the process decons
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Another student I had an “issue
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the anima and animus together.The m
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The final images I drew on my chara
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While in class we alsodiscussed how
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for that which is good and great wi
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were shot down by my father, who ma
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Well there are many ways to remembe
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unusual for me. I tend to finish an
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can now see these images as beautif
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eforehand or just ended up on the p
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loving and accepting of myself. In
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I SEE MY TRUE FACEThroughout the qu
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I find myself once again trying to
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during this most stressful and diff
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intention; drawing my dream/vision
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synonymous with coherent, congruent
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potentiality existing in the psyche
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artwork is always expressive and ab
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feel it tremendously, which issomet
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The next series of mandalas were th
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me with those feelings. It also mak
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FINDING THE WINGS TO FLY“I know I
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found? The symbols are all there: t
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parts of it according to intuitive
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Archetypal IntegrationThe first pie
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The next two pieces were fromthe as
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epresent the Rainbow Bridge - a con
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sound, just as the wind is invisibl
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REFRENCESBohm, D Wholeness and the