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PHILEMON, KA, AND CREATIVE FANTASY: THE FORMATION OF THE RECONCILING SYMBOL IN JUNG’S VISUAL WORK, 1919–1923

Thanks to the publication of The Red Book (2009) and The Art of C.G. Jung (2019), we now have a substantial corpus of the visual works that Jung created between 1913 and 1923, a period when he was deeply engaged with Liber Novus, its transcription and elaboration into The Red Book, whilst at the same time formulating the core concepts of analytical psychology. This article identifies several previously unrecognised representations of two of Jung’s most important personifications, the ‘dominant fathers’ Philemon and Ka. I then trace their roles in some of Jung’s visual works that include the image of the cross-quartered circle and sphere, his prime example of the reconciling symbol of the creation of the new god, and of individuation. After examining two paintings in detail, Amor Triumphat (1920-21) and Cat. 66 in The Art of C.G. Jung (c. 1921-23), I conclude with Jung’s designs for Emma Jung’s memorial at Bollingen (1956), and his family tomb at Küsnacht (1957).