This painting by contemporary Japanese artist, Tomoko Fait, unfolds as a complex meditation on the psyche, where geometry, colour, and symbolism converge to form a visionary cosmogram. At its heart is a striking, all-seeing eye, framed by two radiant crescents: one in gold, the other in silver, encircled by intricate mandala patterns and radiating planetary spheres. The eye, a universal archetype, embodies consciousness and inner vision; across traditions it has been revered as a gateway to divine wisdom, from the Egyptian Eye of Horus to the Eastern Third Eye. Positioned at the centre of this composition, it signifies a deep act of introspection, an awakening of the Self.
Carl Gustav Jung identified the mandala as a primordial image that spontaneously emerges from the unconscious, often during periods of psychological transformation. He wrote: “The mandala serves a conservative purpose, namely, to restore a previously existing order. But it
also serves a creative purpose, expressing an evolution of personality, a step toward a new centre of personality, a higher plane of consciousness” (Jung, 1964, p. 225). This painting embodies that principle: its symmetrical, concentric forms provide a stabilizing framework for a riot of colours and spirals, reflecting the tension between chaos and order that accompanies individuation. Like Jung’s own mandalas from his Red Book period, this work feels less like ornamentation than a symbolic diagram of the psyche, a visual narrative of its movement toward integration and wholeness.
The interplay of the golden and silver crescents introduces an alchemical dimension, symbolizing the union of opposites: sun and moon, masculine and feminine, conscious and unconscious. Surrounding spheres and spirals evoke cosmic order, reinforcing Jung’s observation that the structure of the psyche reflects the structure of the universe itself. The vibrant palette, psychedelic yet harmonious, further emphasizes the artwork’s visionary quality, transforming the mandala into a dynamic meditation rather than a static symbol.
Scholars have long noted that mandalas, originating in Buddhist and Hindu traditions, serve as “psychocosmic diagrams,” mapping both the macrocosm of the universe and the microcosm of the human mind (Tucci, 1961). This painting draws on that tradition while speaking in a contemporary visual language, illustrating what Snodgrass (1985) describes as the mandala’s “universal resonance,” its ability to transcend cultural boundaries and invite spiritual contemplation. Through its geometry and symbolic density, the painting functions as a mirror of the collective unconscious, where archetypal forms and mythic images resurface. It invites the viewer into a contemplative state, echoing Jung’s insight that mandalas act as “vessels” for psychic transformation. Here, art becomes a bridge between inner and outer worlds, revealing the Self, the unifying centre of the psyche, as a luminous presence. This is not merely decorative art but a profound visual theology of the soul, a map of consciousness that speaks across cultures and epochs, reminding us of humanity’s timeless search for meaning and transcendence.
References
Jung, C. G. (1964). Man and his symbols. London: Aldus Books.
Snodgrass, A. (1985). The symbolism of the stupa. Ithaca: Southeast Asia Program, Cornell
University.
Tucci, G. (1961). The theory and practice of the mandala: With special reference to the
modern psychology of the unconscious. London: Rider.
Dr. Louis Laganà PhD (Lough) is an academic, curator and practising artist. He
lectures on Art and Psychoanalysis and Art for Health and Wellbeing.
Mob: +356 79265356
Email: louis.lagana@um.edu.mt
