The word ‘temple’ derives from the root tem—’to divide’. Etruscan
soothsayers made a division of the heavens by means of two straight lines intersecting at a point directly above the head, the point of intersection being a projection of the notion of the ‘Centre’, and the lines representing the two ‘directions’
of the plane; the north-south line was called cardo and the east-west decumanus.
Phenomena were interpreted according to their situation within this division of
space. Hence, the earthly temple is seen as an image of the celestial temple and its
basic structure is determined by considerations of order and orientation (7). The
temple affords a particular and additional meaning to the generic symbolism of architectonic structures. Broadly speaking, it is the mystic significance of the
‘Centre’ which prevails; the temple and, in particular, the altar, being identified
with the symbol of the mountain-top as the focal point of the intersection of the
two worlds of heaven and earth. Solomon’s temple, according to Philo and Flavius
Josephus, was a figurative representation of the cosmos, and its interior was
disposed accordingly: the incense table signified thanksgiving; the seven-branched
candelabra stood for the seven planetary heavens; the holy table represented the
terrestrial order. In addition to this, the twelve loaves of bread corresponded to
the twelve months of the year. The Ark of the Covenant symbolizes the intelligibles
(14). Romanesque, Gothic and Renaissance architects, each in their own way,
sought to imitate this superior archetype. For example, between 1596 and 1604,
imaginary reconstructions of the Temple of Solomon appeared in various works
published in Rome and based upon holy writ, and the illustrations they contained
deeply influenced the architects of the period. Another fundamental significance
of the temple derives from its being a synthesis of the various symbols for the
world-axis, such as the hollow mountain, steps and the sacrificial mountain-peak
mentioned above. In certain astrobiological cultures the temple or altar is in fact
built upon an artificial mountain—the teocalli of Mexico is an example. A more
advanced concept can be seen in the architectural portrayal of those essential
elements of the inner pattern of the universe founded upon the numbers three,
seven, ten and twelve in particular. Seven is basic to the representation of the
planets and their derived symbolisms, and hence the Mesopotamian templemountains—or ziggurats—were constructed after the fashion of a seven-terraced
pyramid. Each of the terraces was dedicate to a particular planet. The Babylonian
ziggurat known as Etemenanki (‘the house of the seven directions of heaven and
earth’) was built of crude bricks overlaid with others that had been fired. A tablet
in the Louvre records that in plan it measured 2,200 feet long by 1,200 wide. The
first level was black in colour and dedicated to Saturn, the second orange-coloured
and sacred to Jupiter, the third red and consecrated to Mars, the fourth golden and
sacred to the Sun, the fifth yellow (to Venus), the sixth blue (to Mercury), the
seventh silver (to the Moon) (39). This order is not always observed, for sometimes the Moon is situated in the sixth heaven and the Sun in the seventh (17).
Berthelot, however, suggests that the ziggurat not only embraces the mystic
aspects of the Mountain and the Centre (by virtue of its mass and situation) and
of Steps (because of its shape), but also constitutes an image of paradise, since
vegetation appears to flourish on its terraces (7). The origins of this type of
structure are Sumerian (7), and examples are to be found in Egypt, India, China
and pre-Columbian America. Eliade, in confirming this, adds that the climb to the top of the Mesopotamian or of the Hindu temple-mountain was equivalent to an
ecstatic journey to the ‘Centre’ of the world; once the traveller has reached the
topmost terrace, he breaks free from the laws of level, transcends profane space
and enters a region of purity (18). It is hardly necessary to observe that climbing
mountains implies ultimately the same mystic tendency, as can be seen in the fact
that mountain heights are the chosen abode of the recluse. And the favourable
symbolic significance of the goat derives solely from his predilection for heights.
Another important example of the temple-mountain, a product of Hindu culture,
comes from Indo-China—the temple of Borobudur built in the centre of the
island of Java in the 8th century of our era. Basically it consists of four levels of
square-shaped galleries, with four more circular platforms on top surmounted by
an enclosed belvedere. In form, then, it is similar to the Egyptian ziggurat, or, in
the Khmer language, a Phnom, signifying a temple-mountain comparable with
Meru, the Hindu Olympus. Four flights of steps up the centre of each pyramid
face lead directly from the base to the top. It would appear that the profoundest
meaning attached to this temple is of a supernatural character. Its name—
Borobudur—signifies ‘the seat of secret revelation’. All graduated edifices such
as steps concern the symbolism of discontinuous spiritual evolution, that is, the
separate but progressive stages of evolution (6). At the same time, the groundplan of the Borobudur temple is diagrammatically a true yantra, and its various
square and round-shaped levels constitute a mandala related to the symbolism of
‘squaring the circle’ (6). The symbolic structure of the Greek temple is fundamentally the same as that of the lake-dwelling: that is, it symbolizes the intercommunication between the Three Worlds—the Lower (represented by the water and
the piles on the one hand and earth and the subterranean part on the other), the
Terrestrial (the base and columns) and the Upper (suggested by the pediment).
Christian cathedrals are related less to the macrocosm than to the microcosm, the
human figure being depicted in terms of the apse (representing the head), the
cross and transepts (the arms), the nave and side aisles (the body) and the altar
(the heart). In the Gothic temple, the upward sweep, the vital rôle of the vertical
axis—and indeed the structure as a whole—embrace the idea of the templemountain with its implied synthesis of the symbolism of both macrocosm and
microcosm. According to Schneider, the two towers usually placed at the western
face correspond to the twin-peaked ‘mountain of Mars’ in primitive megalithic
cultures (and linked with the Gemini myth), while the cimborrio over the transept
is expressive of a higher synthesis, an image of heaven. Both the synthesis and the
crux of the matter are established by Gershom G. Scholem, in Les Origines de la
Kabbale (Paris, 1966). He recalls that God lives in his reason or that God is the absolute Reason and logos of the world, and that the temple ‘is the house’ or
abode of God, and thus identifies temple with reason.

To see a temple in your dream, represents inspiration, spiritual thinking, meditation and growth. It is also symbolic of your physical body and the attention you give it. Perhaps you need to pamper yourself. Alternatively, the dream suggests that you are looking for a place of refuge and a place to keep things that are dear to you.

Seeing a temple in your dream, represents your spiritual thinking, meditation and growth. It is also symbolic of your physical body and the attention you give it.

To dream that you are energetic, symbolizes growth, activity, expansion and insight. You need to channel your energy in a positive way.

From the spiritual point of view, the journey is never merely a
passage through space, but rather an expression of the urgent desire for discovery
and change that underlies the actual movement and experience of travelling. Hence, to study, to inquire, to seek or to live with intensity through new and profound
experiences are all modes of travelling or, to put it another way, spiritual and
symbolic equivalents of the journey. Heroes are always travellers, in that they are
restless. Travelling, Jung observes, is an image of aspiration, of an unsatisfied
longing that never finds its goal, seek where it may (31). He goes on to point out
that this goal is in fact the lost Mother; but this is a moot point, for we might
equally well say that, on the contrary, its journey is a flight from the Mother.
Flying, swimming and running are other activities which may be equated with
travelling; and so also are dreaming, day-dreaming and imagining. Crossing a ford
marks the decisive stage in the passage from one state to another (56). There is a
connexion between the symbolism of the journey, in its cosmic sense, and the
symbolism of the essential landscape of megalithic cults (or that seen by the
shamans in their visions). Travelling may also be related to the complete cycle of
the year or to the attempt to escape from it, depending upon certain secondary
characteristics of the journey. But the true Journey is neither acquiescence nor
escape—it is evolution. For this reason Guénon has suggested that ordeals of
initiation frequently take the form of ‘symbolic journeys’ representing a quest
that starts in the darkness of the profane world (or of the unconscious—the
mother) and gropes towards the light. Such ordeals or trials—like the stages in a
journey—are rites of purification (29). The archetype of the journey is the pilgrimage to the ‘Centre’ or the holy land—or the way out of the maze. The Night
Sea-Crossing, equivalent to the Journey into Hell, illustrates certain basic aspects
of journey-symbolism which still call for elucidation. Primarily, to travel is to
seek. The Turkish Kalenderi sect require their initiates to travel ceaselessly, since,
as we have suggested, travelling is often invested with a higher, sublimatory
significance.

To dream that you are going on a journey, signifies profits, self-discovery or progress. The scenery you see in your journey and the method of travel is telling of your feelings and circumstances you may be currently experiencing.

To dream that your friends go on a journey, signifies a welcoming and harmonious change.

To dream of the band Journey, represents advice that some of their songs may offer in some waking situation. "Don't stop believing", "Open Arms", etc.

To dream that you go on a journey, signifies profit or a disappointment, as the travels are pleasing and successful or as accidents and disagreeable events take active part in your journeying.

To see your friends start cheerfully on a journey, signifies delightful change and more harmonious companions than you have heretofore known. If you see them depart looking sad, it may be many moons before you see them again. Power and loss are implied.

To make a long-distance journey in a much shorter time than you expected, denotes you will accomplish some work in a surprisingly short time, which will be satisfactory in the way of reimbursement.

This indicates that there will be a great change in conditions and circumstances.
Good journey indicates good conditions and bad journey with troubles indicates a bad life.

Dreaming that you are going on a journey means profits, self-discovery or progress. The scenery you see in your journey is telling of your feelings and circumstances you may be currently experiencing. Dreaming that your friends go on a journey means delightful and welcomed change and harmony.

A dream about a journey represents your path in life or a part of your life's journey. It may reflect some of your fear and anticipation.

The meaning of a dream about a journey will depend upon where you are going and the form of transportation that you use.

Superstion-based dream interpretations say that if you go on a voyage by sea, you will have an unexpected visitor, and that if you take a trip to the shore, you will receive money.

To dream that something is sacred, symbolizes the things that you hold close and value. You have invested time and energy into its development and it is paying off.

To dream of healing, represents your need for emotional and/or physical healing. You need to find the power to rectify and care for the issues in your life.

Dreaming of healing, represents your need for emotional and/or physical healing. You need to find the power to rectify and care for the matters in your life.

The corporeal image of a given process, or of becoming, or of the
passage of time. In Hindu doctrine, the dance of Shiva in his rôle as Natarâjâ (the
King of the Cosmic Dance, symbolizing the union of space and time within
evolution) clearly has this meaning (6). There is a universal belief that, in so far as
it is a rhythmic art-form, it is a symbol of the act of creation (56). This is why the
dance is one of the most ancient forms of magic. Every dance is a pantomime of
metamorphosis (and so calls for a mask to facilitate and conceal the transformation), which seeks to change the dancer into a god, a demon or some other chosen
form of existence. Its function is, in consequence, cosmogonic. The dance is the
incarnation of eternal energy: this is the meaning of the circle of flames surrounding the ‘dancing Shiva’ (60). Dances performed by people with linked arms
symbolize cosmic matrimony, or the union of heaven and earth—the chain-symbol—and in this way they facilitate the union of man and wife (51).

To dream that you are dancing, signifies freedom from any constraints and restrictions. Your life is in balance and in harmony. Dancing also represents frivolity, happiness, gracefulness, sensuality and sexual desires. You need to incorporate these qualities in your waking life.

To dream that you are dancing with a partner, signifies intimacy and a union of the masculine and feminine aspects of yourself. If you are leading, then it indicates that you are in control of your personal life. It could also mean that you are being overly aggressive and assertive.

To dream that you are attending or going to a dance, indicates a celebration and your attempts to achieve happiness. Consider the phrase the "dance of life" which suggests creation, ecstasy, and going with what life has to offer you.

To see children dancing in your dream, indicates a happy home life.

To see ritualistic dancing in your dream, denotes your need to get in touch with the spirit within.

To dream of seeing a crowd of merry children dancing, signifies to the married, loving, obedient and intelligent children and a cheerful and comfortable home. To young people, it denotes easy tasks and many pleasures.

To see older people dancing, denotes a brighter outlook for business.

To dream of dancing yourself, some unexpected good fortune will come to you.

Dreaming that you are dancing means freedom from constraints and harmony/balance with yourself. You are working in cooperation with yourself. It also represents frivolity, happiness, gracefulness, sensuality and sexual desires. Alternatively, it may signify intimacy and a union of the masculine and feminine aspects of yourself. Dreaming that you are attending or going to a dance indicates a celebration and your attempts to achieve happiness. Consider the phrase the "dance of life" which suggests creation, ecstasy, and going with what life has to offer you. Seeing children dancing in your dream means that you will have a comfortable home, and healthy, well-behaved children in the future. Seeing ritualistic dancing in your dream indicates your need to get in touch with the spirit within..

This is a Hindu term for a circle. It is a kind of yantra (instrument,
means or emblem), in the form of a ritual geometric diagram, sometimes corresponding to a specific, divine attribute or to some form of enchantment (mantra)
which is thus given visual expression (6). Cammann suggests that mandalas were
first brought to Tibet from India by the great guru Padma Sambhava in the 8th
century A.D. They are to be found all over the Orient, and always as a means
towards contemplation and concentration—as an aid in inducing certain mental
states and in encouraging the spirit to move forward along its path of evolution
from the biological to the geometric, from the realm of corporeal forms to the
spiritual. According to Heinrich Zimmer, mandalas are not only painted or drawn,
but are also actually built in three dimensions for some festivals. One of the
members of the Lamaist convent of Bhutia Busty, Lingdam Gomchen, described
the mandala to Carl Gustav Jung as ‘a mental image which may be built up in the
imagination only by a trained lama’. He maintained that ‘no one mandala is the
same as another’: all are different because each is a projected image of the
psychic condition of its author, or in other words, an expression of the modifcation brought by this psychic content to the traditional idea of the mandala.
Thus, the mandala is a synthesis of a traditional structure plus free interpretation. Its basic components are geometric figures, counterbalanced and concentric. Hence it has been said that ‘the mandala is always a squaring of the circle’.
There are some works—the Shri-Chakra-Sambhara-Tantra is one—which prescribe rules for the better imagining of this image. Coinciding in essence with the.
mandala are such figures as the Wheel of the Universe, the Mexican ‘Great Calendar Stone’, the lotus flower, the mythic flower of gold, the rose, and so on. In a
purely psychological sense it is feasible to identify the mandala with all figures composed of various elements enclosed in a square or a circle—for instance, the
horoscope, the labyrinth, the zodiacal circle, figures representing ‘The Year’ and
also the clock. Groundplans of circular, square or octagonal buildings are also
mandalas. As for the three-dimensional form, there are temples built after the
pattern of the mandala with its essential counterbalancing of elements, its geometric form and significant number of component elements. The stupa in India is
the most characteristic of these temples. Again, according to Cammann, there are
some Chinese shields and mirror-backs which are mandalas. In short, the mandala
is, above all, an image and a synthesis of the dualistic aspects of differentiation
and unification, of variety and unity, the external and the internal, the diffuse and
the concentrated (32). It excludes disorder and all related symbolisms, because,
by its very nature, it must surmount disorder. It is, then, the visual, plastic
expression of the struggle to achieve order—even within diversity—and of the
longing to be reunited with the pristine, non-spatial and non-temporal ‘Centre’,
as it is conceived in all symbolic traditions. However, since the preoccupation
with ornamentation—that is, with unconscious symbolism—is in effect a concern for ordering a certain area—that is, for bringing order into chaos—it follows
that this struggle has two aspects: firstly, the possibility that some would-be
mandalas are the product of the simple (aesthetic or utilitarian) desire for order,
and secondly, the consideration that the mandala proper takes its inspiration
from the mystic longing for supreme integration. In Jung’s view, mandalas and all
concomitant images—prior, parallel or consequent—of the kind mentioned above,
are derived from dreams and visions corresponding to the most basic of religious
symbols known to mankind—symbols which are known to have existed as far
back as the Palaeolithic Age (as is proved, for example, by the Rhodesian rock
engravings). Many cultural, artistic or allegorical works, and many of the images
used in numismatics, must have sprung from this same primordial interest in the
psychic or inner structure (with its external counterpart to which so many rites
pertaining to the founding of cities and temples, to the divisions of heavens, to
orientation and the space-time relationship, bear eloquent testimony). The juxtaposition of the circle, the triangle and the square (numerically the equivalents of
the numbers one and ten; three; and four and seven) plays a fundamental rôle in
the most ‘classic’ and authentic of oriental mandalas. Even though the mandala
always alludes to the concept of the Centre—never actually depicting it visually
but suggesting it by means of the concentricity of the figures—at the same time it
exemplifies the obstacles in the way of achieving and assimilating the Centre. In
this way, the mandala fulfils its function as an aid to man in his efforts to regroup
all that is dispersed around a single axis—the Jungian Selbst. It is of interest to note that the same problem occupied the alchemists, except that a very different
aspect of being was under investigation. Jung suggests that the mandala represents an autonomous psychic fact, or ‘a kind of nucleus about whose intimate
structure and ultimate meaning we have no direct knowledge’ (32). Mircea Eliade,
speaking as an historian of religions and not as a psychologist, sees the mandala
chiefly as an objective symbol, an imago mundi rather than a projection of the
mind, without, however, discrediting the latter interpretation. The structure of a
temple—the Borobudur temple for instance—in the form of a mandala has as its
aim the creation of a monumental image of life and the ‘distortion’ of the world to
make it a suitable vehicle for the expression of the concept of supreme order
which man—the neophyte or initiate—might then enter as he would enter into
his own spirit. The same is true of the great mandalas traced on the ground with
coloured threads or coloured dust. Here, rather than serving the purposes of
contemplation, they have a ritual function in which a man may move gradually
towards the inner area, identifying himself with each stage and each zone as he
goes. This rite is analogous to that of entering into the labyrinth (denoting the
quest for the Centre) (18), and the psychological and spiritual implications are
self-evident. There are some mandalas which counterbalance not enclosed figures
but numbers arranged in geometric discontinuity (for instance: four points, then
five, then three), and are then identified with the Cardinal Points, the Elements,
colours, and so on, the significance of the mandala being wonderfully enriched by
these additional symbolisms. Mirrors of the Han dynasty depict the numbers
four and eight balancing each other and disposed round the centre in five zones
which correspond to the five Elements (that is, the four material Elements plus
the spirit or quintessence). In the West, alchemy made quite frequent use of
figures having a definite affinity with the mandala, composed of counterpoised
circles, triangles and squares. According to Heinrich Khunrath, the triangle within
the square produces the circle. There are, as Jung has pointed out, ‘distorted’
mandalas different in form from the above and based upon the numbers six, eight
and twelve; but they are comparatively rare. In all mandalas in which numbers are
the predominant element, it is number-symbolism which can best plumb its
meaning. The interpretation should be such that the superior (or the principal)
elements are always those nearest the centre. Thus, the circle within the square is
a more developed structure than the square within the circle. And the same
relationship to the square holds good for the triangle; the struggle between the
number three and the number four seems to represent that between the central
elements of the spirit (corresponding to three) and the peripheral components,
that is, the Cardinal Points as the image of ordered externality (corresponding to four). The outer circle, on the other hand, always fulfils the unifying function of
overriding the contradictions and the irregularities of angles and sides by means of
its implicit movement. The characteristics of the ShriYantra, one of the finest
mandala-instruments, have been explained by Luc Benoist. It is composed around
a central point which is the metaphysical and irradiating point of primordial
energy; however, this energy is not manifest and therefore the central point does
not actually appear in the drawing, but has to be visualized. Surrounding it is a
complex pattern of nine triangles—an image of the transcendent worlds; four of
these triangles have the apex pointing upwards and the other five downwards.
The intermediate—or subtle—world is suggested by a triple aureole surrounding
the triangles. An eight-petalled lotus (signifying regeneration), together with others of sixteen petals, and a triple circle, complete this symbolic representation of
the spiritual world. The fact that it exists within the material world is suggested
by a triple-lined serrated surround, signifying orientation in space (6).

To see a mandala in your dream, signifies that you will experience some positive changes in your waking life. It also symbolizes wholeness, unity, healing, inner peace, spirituality, and harmony.

Seeing a mandala in your dream means that positive changes are occurring in your waking life. It also symbolizes wholeness, unity, healing, spirituality, and harmony.

To dream of a ritual, indicates that there is a habit that you need to break. Some waking pattern is repeating itself, resulting in a viscous cycle. You need to focus your energies and cleanse yourself spiritually and emotionally.

To dream of an ancient theme, symbolizes your sense of foundation. You are well-grounded and are able to learn from your past.

Dreaming of something ancient means that you give matters in life the respect it desereves, and that you are able to look positively at your past and use what you have learned to progress in society.