The Primordial Circle: Contemplations on the Medicine Wheel, Enso, and Mandala

As a young girl playing outside, I would habitually find a twig and draw a circle in the dirt. I would add a vertical and horizontal line and dots in each quadrant. It felt like an entrance to an imaginal realm. One that had a special powerful quality to it—but could not be named nor properly articulated. It was something I would scrawl throughout my life. As an adult, my mapping the dark (deep process-based) artwork often formed a circle in various iterations. It was through a shamanic class at the Institute of Transpersonal Psychology that I stumbled upon the medicine wheel symbol, the very symbol I etched in the dirt decades ago and that has stayed with me ever since—now tattooed on my wrist. This began a deep exploration and a widened awareness around symbols, specifically the circle.

Jung (1964) described symbols as “archaic remnants” or “primordial images” (p. 57). Both terms point towards a built-in library that humans inherit, but do not necessarily readily access. Like any well curated library it is meant to be explored. Jung further described them as “an instinctive trend, as marked as the impulse of birds to build nests” (p. 58). These original patterns are innate and informed by thousands of years of evolution. Jung stated these remnants cannot be explained “by anything in the individual’s own life and which seems to be aboriginal” (p. 57). The sacred circle originates in the very beginning. Drake in National Geographic (2016) reported that mysterious stone circles made from stalagmites, dating back roughly 170,000 years, were found inside Bruniquel Cave in France. It is believed that these rings were created by Neanderthals not modern humans (Drake, 2016). The mystery is ancient indeed.

Campbell (1988) wrote: “The images of myth are reflections of the spiritual potentialities of every one of us. Through contemplating these we evoke their powers in our own lives” (p. 218). The circle and its center are not fully cognitively or spiritually understood and hold the core of mystery itself. Its incredibly deep historical roots are evidence of its potency and great secrets. Emerson (2020), in his essay entitled Circles, described the circle as, “the highest emblem in the cipher of the world” and additionally, “St. Augustine described the nature of God as a circle whose centre was everywhere, and its circumference nowhere” (p. 123). Campbell (1973) contemplated what he called the World Navel, where “God’s grace is the food of the soul ... The torrent pours from an invisible source, the point of entry being the center of the symbolic circle of the universe” (p. 40).

Through polyocular examination, the circle and its powers can be evoked from many vantage points for a more complete understanding of it. Jung (1965), in reference to personal development stated, “There is no linear evolution; there is only circumambulation of the self” (p. 196). Plato described the circle or sphere as a symbol of the self and the psyche (as cited in Jung, 1964). Campbell (1988) wrote, “The whole world is a circle. All of these circular images reflect the psyche, so there may be some relationship between these architectural designs and the actual structuring of our spiritual functions” (p. 214). Campbell suggested that the circle is universal because it is experienced all the time, through all the cycles of life. Arrien (1998) stated, “In every culture the circle symbolizes wholeness and the experience of unity” (p. 31). In a dialogue between Campbell (1988) and Moyers, when Moyers suggested one tries to center one’s life with the center of the universe, Campbell replied, “by way of mythological imagery, yes. The image helps you to identify with the symbolized force” (p. 217). This force is a mystery and worth exploration. Though the enigmatic and all-encompassing circle has a myriad of meanings worldwide, this paper will focus on the three cultural representations: the Native American medicine wheel, Japanese Zen enso, and Tibetan mandala.

Native American Medicine Wheel

The Native American medicine wheel (see Figure 1) is a symbol for unity and represents the story of individuation (Arrien, 1998). According to Regnier (1994) the circle is everything, “The Sacred Circle represents the cosmic order, the totality of the universe, and the unity of all things in the universe” (p. 132). The circle’s no beginning and no end captures the infinite and the eternal. Native Americans have cultivated correct relationship with the land and nature, honoring the inherent interdependence and harmony (Regnier, 1994). The circle represents patterns in nature, the sun, moon, and earth itself. It symbolizes continual time, just as the earth turns on its axis and revolves around the sun, it denotes the cyclical nature of life (Regnier, 1994). The medicine wheel represents completion and new beginnings (Arrien, 1997).

Figure 1

Native American Medicine Wheel, artwork by A. Flores

The medicine wheel, also called the sacred hoop, has been used for healing and revered by generations of Native American tribes (National Library of Medicine (NLM), 2015). It has been created as artwork, worn as a pendant, or constructed on land (NLM, 2015). Ceremonies in the large hoops include movement going clockwise within the circle or sun-wise in direction (NLM, 2015). Moving with time, not against it and aligning with the natural flow of nature. The Pawnees priests drew circles with their toe to mimic the way an eagle builds its circular nest (Campbell, 1973). Here the circle represents a nest, safety, home. “If you go on a high hill and look around, you will see the sky touching the earth on every side, and within this circular enclosure the people live” (Campbell, 1973, p. 41). The circle therefore also stands for kinship and the strength of the tribe (Campbell, 1973). Used ceremonially and worn as an adornment, the sacred hoop reflects life, its meaning, and the way towards healing.

The sacred wheel has Four Directions: North, East, South, West and these quadrants represent various aspects of life. The capitalization used shows the importance placed on the directions. Some tribes believe the colors black, red, yellow, and white represent the diverse human race (NLM, 2015). The Four Directions can also represent:

• Stages of life: birth, youth, adult (or elder), death

• Seasons of the year: spring, summer, winter, fall

• Aspects of life: spiritual, emotional, intellectual, physical

• Elements of nature: fire (or sun), air, water, and earth

• Animals: Eagle, Bear, Wolf, Buffalo, and many others

• Ceremonial plants: tobacco, sweet grass, sage, cedar (NLM, 2015, p. 3)

Regnier (1994) wrote, “Without all the directions, the world is incomplete and cannot be. It is the unity of these directions that makes the wholeness of reality” (p. 132). The directions reflect differences in the world and the possibility of interconnectedness (Regnier, 1994). Regnier (1994) also highlighted the importance of moving through all four phases and aspects of life, all the seasons of the year—so this completion can lead to fundamental wholeness. It is these four quarters that nourish the living, eternal center of the hoop. It is life itself.

Everything an Indian does in a circle,

and that is because the Power of the World always works in circles,

and everything tries to be round.

In the old days all our power came to us from the sacred hoop

of the nation and so long as the hoop was unbroken the people flourished.

The flowering tree was the living center of the hoop,

and the circle of the four quarters nourished it. The east gave peace

and light, the south gave warmth, the west gave rain and the north

with its cold and mighty wind gave strength and endurance.

This knowledge came to us from the outer world with our religion.

Everything the power of the world does is done in a circle.

The sky is round and I have heard that the earth is round like a ball

and so are all the stars. The wind, in its greatest power, whirls.

Birds make their nests in circles, for theirs is the same religion as ours.

The sun comes forth and goes down again in a circle. The moon

does the same and both are round. Even the seasons form a great

circle in their changing and always come back again to where they were.

The life of a man is a circle from childhood to childhood, and so it is

in everything where power moves. (Black Elk as cited in Arrien, 1998, p. 30)

Japanese Zen Enso

The Japanese Zen enso (see Figure 2) is another highly recognizable circle holding profound meaning. It is the most simplified circle of the three in terms of its appearance, but the symbolism indicates otherwise. Ensos are ink circles drawn by Zen masters in a single brushstroke with a single breath usually accompanied by an inscription (Levy, 2006). These inscriptions are called san and are comments from the artist or a viewer as a way of deepening the spiritual content of the work (Seo, 2007).

Figure 2

Japanese Zen Enso, artwork by Carolyn Letvin

According to Zen priests, the empty circle symbolizes the spiritual world (Levy, 2006). Seo (2007) described the enso as symbolizing “teaching, reality, enlightenment, and a myriad of things in between” (p. 1). However, even drawing the circle was considered an impurity; with this reference a Zen priest exclaimed, “Never a ring on a circle!” as it transcends truth (Levy, 2006, p. 38). The circle symbolizes all the infinite and empty space of the Void and encloses the character mu, translated to emptiness (Levy, 2006). According to Seo (2007) the enso is a direct expression of “this-moment-as-it-is” (p. xii). It represents the very center of now and conveys a “continuing and ceaseless action through all time” (Seo, 2007, p. xii). Of course, the primordial circle without a beginning and without an end is the apt symbol for this insight. The enso removes duality, “Outside—empty, inside—empty, inside and outside—empty” (Seo, 2007, p. 17).

The state of consciousness of the Zen priest is revealed through the enso, thus painting them daily is considered a great spiritual practice (Levy, 2006). The act of creating the enso is as important as the symbol itself. If it is created from right to left it goes against the path of a sundial, but following the path of the sun, from left to right, it represents the easier way, synchronizing with nature itself (Seo, 2007). For a Zen teacher, the enso, which points at the nature of reality, acts as a visual koan, a riddle demonstrating the inadequacy of logical reasoning, to test a student’s progress (Seo, 2007). Direct pointing is a vital aspect of Zen teachings, rather than explaining, Zen teachers point as directly as they can (Seo, 2007). This tradition is defined as:

A special transmission outside the scriptures,

With no reliance on words and letters,

A direct pointing of the human mind,

And the realization of enlightenment. (Bodhidharma as sited in Seo, 2007, p. xii)

With the enso acting as a koan it can be depicted as the moon but also the moon’s mere reflection in water with the revelation that searching for enlightenment outside oneself is not fruitful (Seo, 2007). Inward, towards one’s center, like the immeasurable center of a circle, exists the essence of reality.

Born within the enso of the world

the human heart must also

become an enso. (Nantenbo as cited in Seo, 2007, p. 80)

Tibetan Mandala

The Tibetan mandala (see Figure 3) reflects all phenomena, one reality—good, bad, obscure, or clear—everything that is interrelated and reflects a single totality (Trungpa, 1991). It is a tool for sharing ancient wisdom, and is depicted as a tightly balanced, complex geometric composition including deities, usually with the principal deity as its center (National Museum of Asian Art (NMAA), 2002). The purpose of the mandala is to transform ordinary minds into enlightened ones through creating, meditating upon, and experiencing the consecration of it in the case of sand mandalas (NMAA, 2002).

Figure 3

Tibetan Mandala, artwork by the Seraje Monastery

Trungpa (1991) specifically discussed the concept of orderly chaos as the principle of the mandala. “It is orderly, because it comes in a pattern, it is chaos, because it is confusing to work with that order” (p. 3). He further explained that the confusion is intentional, that because we ignore wisdom and our own enlightenment, we create a mandala, “a self-existing circle” (p. 3). Therefore, samsara, or this confusion, and nirvana, enlightenment, are at play in the mandala (Trungpa, 1991). It holds the sense of struggle in our lives. Interestingly, “the idea is not so much to make things harmonious and less active but to relate with what is happening” (p. 16). When we are attuned with what is happening, as it is happening, we are attuned with total energy and nowness (Trungpa, 1991). This is the essence of the Tibetan mandala, being here fully, nothing tentative, with spaciousness and transcendence (Trungpa, 1991). This transcendence is about getting to the source of the samsaric or confused aspect of the mandala, which is the very background of the mandala itself, or nirvana and enlightenment. The non-dual aspect of this totality is symbolized “in the traditional iconography by a wheel eternally revolving. It has a sense of timelessness, constant being” (Trungpa, 1991, p. 76).

Jung (1964) in reference to Tibetan mandalas, stated that they “always point to the single most vital aspect of life—its ultimate wholeness” (p. 266) and “represent the cosmos in its relation to divine powers” (p. 267). In Jung’s (1989) own explorations with the mandala, he had the revelation, “It is the exponent of all paths. It is the path to the center, to individuation” (p. 196). It is here again, at the immeasurable center of a circle, that true reality exists.

Now until the dualistic identity mind melts and dissolves,

it may seem that we are parting.

Please be happy.

When you understand the dualistic mind,

there will be no separation from me.

May my good wishes fill the sky. (Tsogyel, 2017)

Closing the Circle

“Where we had thought to travel outward, we shall come to the center of our own existence; where we had thought to be alone, we shall be with all the world” (Campbell, 1973, p. 25). Circles cross-culturally carry the themes of wholeness, totality, interconnectedness, and correct orientation in time and space. Its center is the pristine nature of reality and the circle itself is a tool to convey this message. It teaches us to move in the direction of the sundial, moving with what is, not against it, to be in the center of now, and to allow our humanity and rules of duality to exist within the nondual supreme nature of the circle.

In considering my personal relationship with the circle, it has evolved and quietly informed my life and my endeavors. Until now, when the circle is prominently showing itself at just the right time to illustrate the healing path as a centropic one. In my initial research and through employing integral skills it has illuminated a map still in its nascency and begs to be investigated. “You might think of yourself as like a shaman stepping to the center of a medicine wheel or magic circle, to do magic” (Pearson, 1986, p. 184). As a transpersonal researcher I have stepped into the circle to further contemplate and understand the significance of the immeasurable center, just as other humans were drawn to do for centuries, with the hope of novel, relevant transpersonal findings.

In closing this contemplation of the circle, this Emerson (2020) quote is appropriate, “The one thing which we seek with insatiable desire is to forget ourselves, to be surprised out of our propriety, to lose our sempiternal memory, and to do something without knowing how or why; in short, to draw a new circle” (p. 131).

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