Abstract
Sacred geometry has played a considerable role in the training of Indian visual culture, where geometric forms are classified not merely as decorative factors but as carriers of ethical, and spiritual meaning. Among these civilizations, the yantra indicates a highly structured visual system compiled of the bindu (dot), Trikon (triangle), circle (Gola), square, Indian lotus, symmetry, and repetition. These components found connections between the centre and the periphery, the separate and the cosmos, and the material and the spiritual. This paper examines the importance of yantra-based sacred geometry in modern art and design, with specific prominence on it’s contribution to visual arrangement, spatial organisation, representation, and design pedagogy.
Using a qualitative and pictorial-fact-finding approach, the study deal with selected yantric forms and links their compositional principles with present practices in painting, sculpture, graphic design, architecture, installation, and digital media. The paper explores that sacred geometry continues to offer valued frameworks for balance, rhythm, proportion, hierarchy, unity, and transformation. However, it’s growing use in current visual culture regularly reduces these forms to surface decoration, disconnected from their cultural and reflective foundations.
The study therefore suggests a relative and academic approach to sacred geometry in art and design education. Rather than immediately copying traditional yantras, beginners may explore their structural logic and re-explain their underlying principles through contemporary media and inspired processes. In this way, sacred geometry can work as a meaningful bridge between Indian Knowledge Systems and modern visual practices, supporting culturally informed, theoretically grounded, and modern approaches to art and design.