By Chogyal Namkhai Norbu
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By giving it shape, the artist translates it into the language of the present, and so makes it possible for us to find our way 38 back to the deepest springs of life. That is to say, the work of art is produced not only by the artist’s personal psyche but also by the archetypal vision in symbolic imagination. The artist’s creative impulse and visionary experience do not confine the work of art to the artist’s individual creation. According to Jung, the artist and the audience are united in the symbolic representation of the art work.
A further danger, in itself, is that, though authentic contents may be produced, the patient evinces an exclusively aesthetic interest in them and consequently remains stuck in all –enveloping phantasmagoria, so that once more nothing is gained. 41 The aesthetic imagination has to proceed from a balance of the unconscious and the conscious. If the principle of understanding based on a selfreflective attitude is excluded in aesthetic imagination, the transformative power of that imagination is also lost.
These stimulate the creative fantasy and serve chiefly as aesthetic motifs. This tendency leads to the aesthetic problems of artistic formulation. Where, on the other hand, the principle of understanding predominates, the aesthetic aspect is of relatively little interest and may occasionally even be felt as a hindrance. Instead, there is an intensive struggle to understand the meaning of the unconscious product. 43 40 Chapter Two Creative fantasy and understanding are both sides of a coin for the correlation of the unconscious and the conscious.