Jung anonymously reproduced this image in 1952 in “Concerning mandala symbolism” and added the following commentary: “Painting of a medieval city with walls and moats, streets and churches, arranged quadratically. The inner city is again surrounded by walls and moats, like the Imperial City in Peking. The buildings all open inwards, toward the centre, represented by a castle with a golden roof. It too is surrounded by a moat. The ground round the castle is laid with black and white tiles, representing the united opposites. This mandala was done by a middle-aged man… A picture like this is unknown in Christian symbolism. The Heavenly Jerusalem of Revelation is known to everybody. Coming to the Indian world of ideas, we find the city of Brahma on the world mountain, Meru. We read in the Golden Flower: ‘The Book of the Yellow Castle says: ‘In the square inch field of the square foot house, life can be regulated.’ The square foot house is the face. The square inch field in the face: what could that be other than the heavenly heart? In the middle of the square inch dwells the splendour. In the purple hall of the city of Jade dwells the God of Utmost Emptiness and Life.’ The Taoists call this centre ‘the land of ancestors or golden castle.’” (CW 9, 1, § 691).
INSCRIPTION TRANSLATION :
“1928. When I painted this image, which showed the golden well-fortified castle, Richard Wilhelm sent me from Frankfurt the Chinese, thousand-year-old text of the golden castle, the embryo of the immortal body. Ecclesia catholic et protestantes et seclusi in secreto. Aeon finitus. [The Catholic Church and the Protestants and those secluded in secret. The end of an aeon.]”