References

p. 37, JUNG AND EASTERN THOUGHT, Harold G. Coward "I was in a house I did not know, which had two storeys. It was "my house". I found myself in the upper storey, where there was a kind of salon furnished with fine old pieces in Rococo style. On the walls hung a number of precious old paintings. I wondered that this should be my house and thought "not bad". But then it occurred to me that I did not know what the lower floor looked like. Descending the stairs, I reached the ground floor. There everything was much older. I realised that this part of the house must date from about the fifteenth or sixteenth century. The furnishings were mediaeval, the floors were of red brick. Everywhere it was rather dark. I went from one room to another thinking "now I really must explore the whole house." I came upon a heavy door and opened it. Beyond it, I discovered a stone stairway that led down into a cellar. Descending again, I found myself in a beautifully vaulted room which looked exceedingly ancient. Examining the walls, I discovered layers of brick among the ordinary stone blocks, and chips of brick in the mortar. As soon as I saw this, I knew that the walls dated from Roman times. My interest by now was intense. I looked more closely at the floor. It was of stone slabs and in one of these I discovered a ring. When I pulled it, the stone slab lifted and again I saw a stairway of narrow stone steps leading down to the depths. These, too, I descended and entered a low cave cut into rock. Thick dust lay on the floor and in the dust were scattered bones and broken pottery, like remains of a primitive culture. I discovered two human skulls, obviously very old, and half disintegrated. Then I awoke". SOLARYS, directed by A. A. Tarkovsky The sequence ubruptly brings the viewer from a living 3-dimensional space to a 1-dimensional substance of the cosmos towards the Solaris, which is meant to be a mystery according to the narration of the motive. It seems as if it is a dream. The notion of the whole movie is important, especially the ocean motive, that visualises the projections and memories. Isn’t the collective unconscious a collective memory?

LANDSCAPE FROM A DREAM, Paul Nash (image from "Paul Nash" by Margot Hates) The space, which is a seaside landscape, may cause associations with the world of unconscious by means of the sea. We contemplate the site through a framework, and it’s shadow can determine the time of the day and the position of the sun, which probably should be behind us. Indeed in the mirror, pictured in the painting, we can notice a red circle that is about to set in the mountains. The artist involves a viewer into the space of the painting, by showing the space that is behind the viewer with the help of the mirror and is actually taking him into artist’s dream according to the title of the work. The perspective exaggerates by means of other red round objects. There is a view forward and a view back, which creates a deep 3-dimensional space in our imagination. But is there a viewer?

ST. PETER’S BASILICA This building was originally founded in 324. The sequence of visiting gives impression by alternations of opposites in space. Moreover, it is the only church that has an altar in the centre, which correlates it to the symbolism of the collective unconscious: the notion of the circle or the mandala. The interstitial space between the domes possesses a narrow staircase, which may not be seen from any of the views.