Japanese Jungian psychology

1. Introduction

Version followed: Hayao Kawai's Japanese adaptation of Jungian analytical psychotherapy (Kyoto school). It draws on Hakoniwa Ryōhō Nyūmon (Introduction to Sandplay Therapy, 1969), Kaunseringu no Jissai Mondai (1970), The Japanese Psyche (Japanese 1982; English 1988), Buddhism and the Art of Psychotherapy (1996), Dreams, Myths and Fairy Tales in Japan (1995), and Topos no Chi (with Nakamura Yūjirō, 1984). Sandplay is given here in Kawai's form. Kalff's sandplay may have its own guide.

This is not a manualised therapy. Kawai (1928–2007) was the first Japanese person to qualify as a Jungian analyst at the Jung Institute in Zurich [source: kawaihayao.jp profile]. He brought Dora Kalff's sandplay to Japan around 1965 under the name hakoniwa ryōhō ("box-garden therapy") [source: Kyoto Univ. Kurenai 2017; Barbosa et al., uneb.br]. He also founded the Japan Association of Sandplay Therapy and the Japanese Society of Certified Clinical Psychologists [source: kawaihayao.jp]. The Japan Association of Jungian Analysts was formed by his circle; the founding date was not verified [uncertain].

He gives a stance and a small set of media (listening, sandplay, dreams, story and myth), not a protocol. In his view, change is not produced by the therapist. Healing comes from the client's own self-healing capacity. It emerges inside a deep, trusting relationship in which the therapist puts "full effort into doing nothing" [source: Kurenai 2017]. Interpretation is kept to a minimum. Images, whether in sand, dreams or tales, are appreciated rather than explained. The aim is for clients to find their own story [source: Kawai & Nakamura 1984 via flier summary; Barbosa et al. p. 852]. He links this to a Japanese psyche organised around a balancing "hollow centre" rather than a dominant, heroic ego [source: Daimon contents of Dreams, Myths and Fairy Tales; Otsuma 2024 citing Chūkū Kōzō Nihon no Shinsō pp. 47–50].

2. Framework

Kawai describes no formal phases, session counts or protocol. What follows is the format he and his Kyoto school used, plus a process arc taken from his own published case. Transition criteria are [synthesis].

Format

Individual sessions, usually weekly, of about 50 minutes. Kawai gave his trainees weekly 50-minute training analyses that ran for over ten years, so very long treatments were normal [source: Kurenai 2017]. That client work used the same frame is inferred [uncertain].
Medium is chosen by the client and by age. Adults use mostly talk and dreams. Children use a playroom with a sand tray. A sand tray is offered to anyone, and the client can make a tray or not in any session [source: Kawai 1969 as summarised in kjunshin.repo; flier summary of Topos no Chi].
Sandplay trays build into a series over many sessions. Kawai's 1993 case of a depressed woman in her late 40s was described through 12 trays together with dream work [source: Kawai 1993, J. Sandplay Therapy 3(1) abstract].
He gave no fixed duration. Healing is slow, and not every client recovers; some get stuck or turn destructive [source: flier summary of Topos no Chi].

Process arc (descriptive, not prescriptive)

Kawai's 1993 case shows three movements [source: Kawai 1993 abstract]:

Alienation from self. The client arrives cut off from herself.
- Goal: create the relationship, or "vessel", and a free yet protected space.
- Therapist work: listening, presence, and offering the tray without pressure.
Comfort within the therapeutic relationship. Trust deepens; Kawai, after Kalff, calls this mother–child oneness (boshi ittaisei) [source: kjunshin.repo; flier].
- Goal: images, dreams and conflicts emerge and are held without interpretation being imposed.
Comfort in one's own inner resources. The client relies less on the therapist and more on her own images, stories and capacities.
- Goal: the client owns her story; ending is negotiated.

Moving between movements [synthesis]

From 1 to 2: the client returns reliably, speaks or plays more freely, and starts bringing dreams or using the tray on her own initiative.
From 2 to 3: the series shows signs of integration, such as more ordered and connected scenes, a central or unifying figure, or resolved oppositions. Kawai named "integration" and spatial arrangement among the aspects to observe [uncertain]. The client also starts interpreting her own material and links it to daily life without prompting.
Ending: the client finds her own story and copes outside sessions. Kawai gives no formal termination criteria [uncertain].

3. Guiding principles

Devote full effort to "doing nothing" (nanimo shinai koto ni zenryoku o sosogu). Kawai's repeated teaching [source: Kurenai 2017]. In practice: refrain from advising, fixing or interpreting, and stay fully alert and engaged while you do.
The relationship is the therapy. Sandplay is "a relationship that provides healing", not a technique [source: Kawai 1993 abstract]. In practice: judge every move by whether it deepens or protects trust.
Appreciate rather than interpret (kaishaku suru yori, kanshō suru koto) [source: flier summary of Topos no Chi]. In practice: look at the tray or dream with the client as if viewing a work of art, and keep any interpretation to yourself.
Say little and enjoy looking together. During tray-making the therapist can simply watch, savouring the work, without comment [source: Kawai 1969 and Higashiyama 1994, quoted in kjunshin.repo]. In practice: sit quietly at a slight distance, watch, and do not narrate.
Do not neglect verbalisation. Kawai warned that avoiding words entirely risks relying only on feeling and becoming self-absorbed [source: Kawai 1969 via kjunshin.repo]. In practice: after sessions, put your understanding into words in notes and supervision, even if you say little of it to the client.
A know-it-all stance harms the relationship. Showing off understanding damages trust [source: flier]. In practice: hold your hypotheses tentatively and do not announce them.
Learn from the client, not from the books. Kawai would ask a trainee whether the client in front of them appeared in any book they had read [source: Kurenai 2017]. In practice: do not fit the client to a theory; let their own account teach you.
Listen thoroughly. "Just keep listening, and learn and think from their narratives" (Kawai's instruction, paraphrased in translation) [source: Kurenai 2017]. In practice: listening is the default intervention. Rogers's core conditions are the foundation in Kaunseringu no Jissai Mondai [source: Nanzan library note].
Attend to why the client is saying this. What a speaker means shifts with how the listener receives it. When it is received as intended, the client changes [source: Kurenai 2017]. In practice: track the intent behind what is said, not only the content.
Stand before questions that have no answers. This is the clinician's position [source: Kurenai 2017]. In practice: tolerate not knowing and do not rush to closure.
Read the constellation. The guiding question is "What is constellating here?" The observer stands inside the situation, not outside tracing causes, and attends to subtle, unseen signs (kehai) [source: Imanishi, citing Kawai 1993 Monogatari to Ningen no Kagaku]. In practice: treat coincidences, your own reactions and outside events as part of the clinical picture.
Hold opposites; keep the centre empty. Kawai extends psychotherapy to include sitting in silence and holding contradictions [source: Texas A&M description via junginla.org]. In Japanese myth he found a hollow centre that balances opposing forces, with the moon god Tsukuyomi as its quiet mediator [source: Otsuma 2024; Daimon contents]. In practice [synthesis]: do not let one principle, such as your own theory or a single side of the client's conflict, take the centre. Keep tensions balanced until a third thing emerges.
The client must discover their own story. Kawai described his job as supporting the client's task, and called himself a storyteller [source: Barbosa et al. p. 852, citing Kawai 1998]. In practice: help the client weave events, dreams and images into a story of their own. Do not supply one.
Respect cultural difference in ego structure. Kawai held that the Buddhist view of ego and self is the reverse of the Western one [source: junginla.org book description]. Japanese tales often end in an aesthetic rather than heroic or ethical resolution [source: Daimon contents]. In practice: do not take Western heroic ego development as the only measure of progress.
Healing is natural and slow. Self-healing emerges over time [source: flier]. In practice: wait, and do not judge sessions by visible progress.
The therapist's own experience and capacity. Therapists should make sandplay themselves first [source: flier]. Kawai's students had long personal analyses that included dream reports [source: Kurenai 2017]. The therapist's capacity (utsuwa, "vessel size") is tested in difficult cases [source: flier]. In practice: have your own analysis or sandplay, and get supervision before offering the method.
Each tray shows the issue that matters most for that person at that time [source: Kawai 1969 via kjunshin.repo]. In practice: read a tray as a snapshot of the present, not a fixed diagnosis.

4. Intervention inventory

Kawai describes stances and media rather than scripted techniques. The list below covers everything the sources attribute to him. Steps are operationalised from those sources. Where a step is a standard Jungian or Kalffian convention he is likely to have followed but that is not confirmed in his own text, it is marked [uncertain]. All example language is illustrative.

4.1 Thorough listening (keichō)

Purpose / when: The base intervention in every session. Kawai brought Rogers's counselling to Japan and kept the core conditions as the floor of practice [source: Nanzan note on Kaunseringu no Jissai Mondai 1970; Kurenai 2017].
Steps:
1. Let the client set the content. Do not open with a structured agenda.
2. Keep listening, including through silences. Hold back from reassuring or advising.
3. Track why the client is telling you this now, as well as what they say [source: Kurenai 2017].
4. Reflect only enough to show you have received what they meant.
5. Notice any pull to fit what you hear to a theory. Set it aside for later reflection [source: Kurenai 2017].
Example language (illustrative): "Please go on." / "So that is what has stayed with you most." / "I'd like to hear more about that, if you want to say more."
Watch for: Your own urge to fill gaps or to sound like you understand. Sign it is working: the client speaks more freely, and returns to and deepens their own themes.

4.2 Active "not-doing" (therapeutic presence)

Purpose / when: The stance behind all the other interventions. It matters most when you feel pressure to fix, explain or act [source: Kurenai 2017, "put full effort into doing nothing"; junginla.org description, "sitting in silence"].
Steps:
1. Before the session, settle yourself and drop any plan for what should happen [synthesis].
2. In session, keep your attention fully on the client. Not-doing means intense attention without intervention. It is not passivity.
3. When you feel urged to act, first ask what is constellating, in the client, in you and in the situation (see 4.9).
4. Act only if not acting would leave the client unsafe (see section 5).
Example language (illustrative): Often none. If the client protests: "I'm not giving you an answer because I think yours matters more than mine. I'm staying right here with it."
Watch for: Not-doing sliding into withdrawal or boredom. The client must feel accompanied. Sign it is working: the client starts to generate movement themselves.

4.3 Hakoniwa: preparing and offering the tray

Purpose / when: Kawai saw sandplay as suited to Japanese clients because it does not depend on language and appeals to sensibility [source: Kurenai 2017]. Use it with children, with clients who struggle to put things into words, and with any client willing to try. It is always optional.
Steps:
1. Set up the room: a sand tray of the Kalff standard size (about 57 × 72 × 7 cm, inside painted blue), dry and possibly wet sand, and shelves of miniatures (people, animals, plants, buildings, vehicles, religious and natural objects). The size is Kalff's standard; It is not confirmed in Kawai's own text that he specified it [uncertain]. Japanese practice adds culturally familiar figures such as shrines, torii, Buddhas and Japanese houses [uncertain: inferred from Japanese sandplay practice].
2. Have made trays yourself before offering the method [source: flier summary].
3. Introduce the tray once, simply and without pressure. Then leave the choice to the client in each session.
4. Give a minimal instruction: make whatever you like with the sand and the figures.
Example language (illustrative): "There's a sand box here, and you can use any of these figures to make whatever you like. There's no right way. You don't have to use it at all."
Watch for: Clients making a tray to please you. If one feels it is expected, say again that it is entirely optional.

4.4 Hakoniwa: witnessing the making

Purpose / when: Holds the free, protected space while the tray is built [source: Kawai 1969 via kjunshin.repo; flier].
Steps:
1. Sit at a slight distance where you can see the tray without crowding the client [uncertain: conventional placement, not confirmed in Kawai].
2. Say nothing, or as little as possible. Do not ask what figures mean while the client is working [source: kjunshin.repo quoting Kawai 1969/Higashiyama].
3. Watch with an attitude of savouring the work, not analysing it.
4. Silently note the order of placement, hesitations, things removed or buried, and any shifts in mood [synthesis].
5. Let the client say when it is finished.
Example language (illustrative): Mostly silence. If the client asks "Is this okay?": "Whatever you make is fine."
Watch for: Your own interpretive running commentary leaking out as facial expressions or questions. Sign it is working: the client becomes absorbed, and the tray seems to "come by itself."

4.5 Hakoniwa: appreciating the finished tray

Purpose / when: At completion, you share the experience of the image without imposing meaning: appreciation over interpretation [source: flier, kaishaku suru yori kanshō suru koto].
Steps:
1. Look at the tray together for a while, in silence.
2. Invite the client to say anything they like about it, and accept "nothing" as an answer.
3. If they tell a story about the scene, receive it and follow their words. Avoid symbolic explanation.
4. You may share a simple, felt aesthetic response, not an interpretation [synthesis, consistent with kanshō].
5. Do not link the tray to the client's problems unless the client makes the link first.
6. Photograph or sketch the tray, with consent, for the series record [uncertain: standard sandplay practice].
7. Dismantle the tray after the client leaves, not in front of them [uncertain: Kalff convention; not confirmed as Kawai's rule].
Example language (illustrative): "Let's just look at it for a moment." / "Is there anything you'd like to say about it?" / "There's a stillness on this side." (as an aesthetic remark, not a meaning)
Watch for: The client asking "What does it mean?" (see section 5). Sign it is working: the client looks at the tray with interest and sometimes makes their own links in later sessions.

4.6 Hakoniwa: understanding the series (therapist's private work)

Purpose / when: Kawai warned that relying only on feeling risks becoming self-absorbed [source: Kawai 1969 via kjunshin.repo]. So the therapist works on understanding between sessions, privately and in supervision.
Steps:
1. Lay out the photos or sketches in sequence after each new tray.
2. Consider each tray as showing what is at issue for this person now [source: Kawai 1969 via kjunshin.repo].
3. Note recurring and transforming figures, oppositions and their fate, and the use of space and centre. Kawai's 1969 text discusses aspects such as degree of integration, spatial arrangement and themes [uncertain].
4. Allow Jungian figures, such as the trickster, to illuminate a scene [source: kjunshin.repo, Kawai-style trickster reading of a dinosaur]. Hold these readings as hypotheses.
5. Write a short note of your current understanding, then bring the series to supervision or case consultation.
6. Use the understanding to guide your attitude and attention, not to deliver interpretations.
Example language: none with the client; this is internal work.
Watch for: Fitting trays to a stage model. Kawai's case arc moved from alienation, to comfort in the relationship, to comfort in inner resources [source: Kawai 1993 abstract]. Use that arc as orientation, not as a checklist.

4.7 Dream work

Purpose / when: For adults willing to bring dreams. Dreams are a central medium in Kawai's own analyses and his writing. In training analysis the analysand reported dreams weekly and examined their depths with the analyst [source: Kurenai 2017]. His model of a lifelong dream series is the monk Myōe's dream diary, which he read as a process of individuation [source: Tricycle review of The Buddhist Priest Myōe; fjdh.cn review].
Steps:
1. Invite the client to write down dreams and bring them. Do not make it a requirement.
2. Have the client tell the dream. Listen without interrupting.
3. Ask for the client's own associations and feelings about each element [uncertain: standard Jungian method].
4. Place the dream in its series, as Myōe did: look for continuity and for dreams that make sense only years later [source: Tricycle review].
5. Keep spoken interpretation minimal and tentative, as with the tray. Let images stay alive rather than closing them with a meaning [synthesis, consistent with kanshō].
6. Privately, amplify with myth and tale (see 4.8). Notice how the dream relates to the present constellation (see 4.9).
Example language (illustrative): "Would you tell me the dream as you remember it?" / "What comes to mind about the old house?" / "Let's keep this dream with us; it may become clearer later."
Watch for: Intellectualised "decoding", by you or the client. Sign it is working: dreams link up into a story, and the client starts reflecting on their own dreams.

4.8 Amplification with Japanese myths and fairy tales

Purpose / when: Helps you understand images and life patterns that do not fit Western heroic models. Use it mainly in your own reflection and occasionally, gently, with the client. Kawai's main motifs:
- the forbidden chamber, and the woman who leaves when it is opened;
- the "aesthetic solution" (a story that ends in beauty and loss, not a heroic resolution), e.g. Urashima;
- the balancing triads of the Kojiki, with Tsukuyomi as the hollow centre;
- the discarded child Hiruko and his return;
- gender reversal in Torikaebaya. [source: Daimon contents of Dreams, Myths and Fairy Tales; The Japanese Psyche, chapter motifs: uncertain]
Steps:
1. When a client's image or life pattern feels familiar, ask yourself which tale or myth it echoes.
2. Read the tale, and notice how it resolves (or doesn't). In Japanese tales the ending is often aesthetic, not a triumph.
3. Let the parallel widen your sense of where the client's process might go. Do not use it to fix a meaning.
4. Share a tale with the client only if they are already working in images, and offer it as a story, not as an explanation [synthesis].
Example language (illustrative): "This reminds me of an old story about someone who looked into a room they were told not to open. Would you like to hear it?"
Watch for: Imposing culture-bound templates on clients from other backgrounds. With non-Japanese clients, look for their own culture's tales [synthesis]. Sign it is working: the client takes up the story and makes it their own.

4.9 Reading the constellation (konsuterēshon / fuchi)

Purpose / when: Kawai took up Jung's concept of constellation in his 1992 retirement lecture and in Monogatari to Ningen no Kagaku (1993). The question is what is constellating here: seemingly unrelated events forming a meaningful whole, with the therapist inside it [source: Imanishi, citing Kawai 1993]. Use it when stuck, when coincidences appear, or when your own reactions are strong.
Steps:
1. Collect the elements: what the client says, the trays and dreams, outside events, coincidences, and your own feelings and dreams.
2. Do not chain them into causes. Ask what overall shape, or story, they form.
3. Include yourself. Ask what your role in the pattern is.
4. Attend to kehai, the faint signs of what is not yet visible [source: Imanishi].
5. Let this inform your stance, for example more patience, a change in your attitude, or noticing a theme. You may voice it lightly if the client is ready [synthesis].
Example language (illustrative): "It's striking that this came up the same week as the dream about the bridge." (said only if the client is already making such links)
Watch for: Grandiose or magical readings. Keep constellation as an attitude of attention, not a claim about causes [synthesis].

4.10 Supporting the client's own story (monogatari)

Purpose / when: Kawai saw narrative as what links mind and body, self and other, life and death. The therapist supports the client in discovering their own story [source: Barbosa et al. pp. 851–852]. Use it with questions of meaning, such as grief or "why did this happen to me?", which science cannot answer [source: Barbosa et al. p. 851].
Steps:
1. Accept that a "why" question may have no factual answer. Do not offer causal explanations.
2. Gather the material: life events, dreams, fantasies, and impressions arising in the relationship [source: Barbosa et al. p. 852].
3. Let images and emotional experience lead rather than a neat rational account [source: Barbosa et al. p. 852].
4. When the client begins to link pieces into a story, receive it and help them hold it. Do not edit it.
Example language (illustrative): "I can't tell you why he had to die. But I'd like to hear how you've been living with that question."
Watch for: Rushing to a tidy story too early. Sign it is working: the client tells their life in a way that feels true and bearable to them.

4.11 Holding opposites: the hollow-centre stance

Purpose / when: Kawai expanded psychotherapy to include sitting in silence and containing opposites [source: junginla.org description]. His reading of Japanese myth places a quiet, empty mediator at the centre that balances opposing forces [source: Otsuma 2024; Daimon contents]. Use it when the client is torn, or when you feel pulled to take sides.
Steps [synthesis, derived from Kawai's concepts]:
1. Name both sides as the client has expressed them, without ranking them.
2. Keep the centre open. Do not put your preference or a single principle there.
3. Tolerate the tension across sessions. Watch dreams and trays for a reconciling image.
4. Watch whether the balance shifts back and forth over time. Kawai saw repeated balancing movements in the myths [source: Daimon contents].
Example language (illustrative): "Part of you wants to leave, and part of you can't imagine leaving. I don't think we need to choose yet."
Watch for: Holding opposites when a safety decision is actually needed (see section 5).

4.12 Therapist preparation: own analysis, own sandplay, and case consultation

Purpose / when: Before and throughout practice. Kawai treated the therapist's own depth work and capacity (utsuwa) as the instrument of therapy [source: flier; Kurenai 2017].
Steps:
1. Make your own sandplay before using it with clients [source: flier].
2. Undertake a long personal analysis with dream work. Kawai's trainees had weekly 50-minute sessions for over ten years [source: Kurenai 2017].
3. Bring cases to consultation. Expect brief, essential questions rather than recipes, for example whether this client appeared in any book you've read [source: Kurenai 2017].
4. When you are stuck, consider analysis with another analyst. Kawai referred a trainee to his own former analyst, Spiegelman [source: Kurenai 2017].
Watch for: Using technique to compensate for limited personal capacity.

5. Handling problems

Kawai's sources say only that healing is slow, that some clients get stuck or become destructive, and that the therapist's capacity is tested [source: flier]. They also warn against over-reliance on feeling [source: Kawai 1969 via kjunshin.repo]. The concrete responses below are [synthesis] unless a source is tagged.

Stuck client (nothing moves for months).
- Treat the stuckness itself as part of the constellation (4.9). Ask what is constellating, including in you [source: concept, Imanishi/Kawai 1993; application synthesis].
- Review the whole series of trays and dreams in supervision.
- Check whether you have quietly started "doing": pushing, interpreting or hoping for progress. If so, return to full-effort not-doing.
- Kawai stresses that healing is slow [source: flier]. Do not change method just to feel productive.
Client asks "What does my tray or dream mean?"
- Do not lecture on symbols. Turn the question back to the client's own experience, and offer at most a light, felt remark [synthesis consistent with kanshō].
- Illustrative: "What strikes you most when you look at it?" / "I don't want to pin it down too quickly. It seems to have a lot of life in it."
- If the client keeps asking for structure, give brief, plain reflections on how they seem to be feeling. Avoid symbolic readings.
Resistance or refusal to use the tray or bring dreams.
- Both media are always optional. Accept the refusal without comment and continue with listening (4.1).
- Refusal can protect a client who needs more trust first (movement 1). Do not interpret it as resistance aloud.
Overwhelm: chaotic, violent or flooding trays, or distressing dreams.
- Kawai notes clients can become destructive [source: flier]. Reinforce the "protected" side of the free and protected space.
- Stay calm and present. Slow down. Shift to grounding conversation about the here and now. Keep sessions predictable.
- With children, set clear safety limits on throwing sand or damaging figures.
- With adults showing escalating fragmentation, temporarily set aside the tray and dream work, and favour supportive listening.
- If psychotic-level material or a risk of decompensation appears, consult psychiatry.
Suicidal or self-harm risk.
- Not-doing never means passivity about safety. Carry out a standard structured risk assessment and safety plan, and follow local protocols.
- Images of death in trays or dreams are not by themselves evidence of risk. Assess risk directly in words.
Non-adherence: missed sessions or irregular attendance.
- Keep the frame steady: same time and room, and a non-punitive response.
- Explore the meaning gently, through listening. Do not impose a contract.
- If the pattern persists, discuss frequency openly. Kawai's long-term work assumes continuity.
Rupture: the client feels misunderstood, judged or "analysed."
- Kawai's core rule is that a know-it-all stance harms the relationship [source: flier]. Acknowledge your contribution simply and without defensiveness.
- Return to receiving the client's intended meaning [source: Kurenai 2017].
- Illustrative: "I think I went ahead of you just now. I'd like to hear it the way you meant it."
Over-dependence or merger (too much "mother–child oneness").
- Movement 3 is comfort in one's own inner resources [source: Kawai 1993 abstract]. As trust stabilises, increasingly reflect the client's own capacities back to them.
- Treat endings and breaks as part of the process, and discuss them in advance.
Therapist pull to interpret (modality-specific).
- Write the interpretation in your notes and take it to supervision instead of saying it [source: principle of verbalising without imposing, Kawai 1969; application synthesis].
- Ask yourself whether you need to speak for your own sake or for the client's.
Drifting into vague feeling (modality-specific).
- Kawai's warning against relying only on feeling [source: Kawai 1969 via kjunshin.repo] means keeping disciplined records and naming your working understanding explicitly in supervision.
Cultural mismatch (Western or individualist clients).
- Kawai developed this approach for Japanese clients and saw East–West integration as "both possible and impossible" [source: junginla.org description].
- With clients who expect explicit feedback, explain the stance at the start. You may offer somewhat more verbal reflection and draw on the client's own cultural tales.
Therapist fatigue or limited capacity (utsuwa).
- Get supervision or personal analysis [source: Kurenai 2017, referral to Spiegelman].
- Limit your caseload of very regressed clients. Refer on if a case exceeds your training.
Uncertain territory. No source drawn on here gives Kawai's criteria for when sandplay is contraindicated, or for termination. Any such guidance is [uncertain]. Follow general clinical judgment and the training standards of the Japan Association of Sandplay Therapy or the ISST.

Sources

Sources

Books cited (not drawn on in full unless noted above)

Kawai, H. (1969). Hakoniwa Ryōhō Nyūmon [Introduction to Sandplay Therapy]. Tokyo: Seishin Shobō.
Kawai, H. (1970). Kaunseringu no Jissai Mondai [Practical Problems of Counselling]. Tokyo: Seishin Shobō.
Kawai, H. (1976). Bosei Shakai Nihon no Byōri [The Pathology of Japan as a Maternal Society]. Tokyo: Chūkōron. [not used for specific claims]
Kawai, H. (1982; Eng. trans. 1988). Mukashibanashi to Nihonjin no Kokoro / The Japanese Psyche: Major Motifs in the Fairy Tales of Japan. Dallas: Spring Publications.
Kawai, H. (1982; Chūkō Bunko 1999). Chūkū Kōzō Nihon no Shinsō [The Hollow-Centre Structure of Japan's Depths]. Tokyo: Chūkōron.
Kawai, H. & Nakamura, Y. (1984). Topos no Chi: Hakoniwa Ryōhō no Sekai. Tokyo: TBS Britannica.
Kawai, H. (1992). The Buddhist Priest Myōe: A Life of Dreams (trans. M. Unno). Venice, CA: Lapis Press.
Kawai, H. (1993). Monogatari to Ningen no Kagaku [Story and the Human Sciences]. Tokyo: Iwanami.
Kawai, H. (1993). Sandplay and relation. Journal of Sandplay Therapy, 3(1).
Kawai, H. (1995). Dreams, Myths and Fairy Tales in Japan. Einsiedeln: Daimon.
Kawai, H. (1996). Buddhism and the Art of Psychotherapy. College Station: Texas A&M University Press.

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