Exploring how contemporary artists transformed yantras from ritual diagrams into modern visual languages while retaining their perceptual power.
Key finding: Yantras function as “spiritual technology” — active energetic instruments validated by 30+ research studies. They work through specific visual mechanisms in pranayama (breath control) and pratyahara (sensory withdrawal), retaining perceptual power even outside ritual contexts.
Additional reference paper here.
How yantras work:
Functional mechanisms:
- The central bindu (circle) synchronises breath with attention and acts as spiritual axis redistributing energy through consciousness
- The avaranas (concentric enclosures) regulate prana flow, guiding vital life force inward through progressive layers
- Square outline creates “protected space” where repetitive patterns draw attention from outer distraction to inner contemplation
- Symmetrical forms balance opposing energies, achieving “ekāgratā” (single-pointed focus)
As spiritual technology:
- Yantras are “dynamised diagrams” imbued with shakti through geometric precision
- Drawing/consecration = sacred act “equivalent to temple construction in spiritual magnitude”
- Not passive symbols but tools to “align inner vibrations with universal energies”
Research evidence: Practitioners reported “heightened inner calm and emotional stability” across studies.
Artists to study:
- O.P. Sharma – “luminous spirals, mandalas, glowing orbs… optical dynamics with metaphysical inquiry”
- S.H. Raza – Bindu series (central focal points, colour fields)
- Biren De – “glowing compositions with concentric circles, radiating light fields”
- G.R. Santosh – symmetrical triangular geometry, luminous colours
- Shobha Broota – achieved yantra effects through texture/repetition without explicit geometry
S.H. Raz, BINDU PANCHATATTAVA, 2011. O.P. Sharm INTERLUDE, 2018.
Quotes:
“In today’s context, where attention is divided and spiritual grounding often lost, the Yantra offers a counter-narrative: stillness over speed, interiority over spectacle, sacred pattern over chaotic noise.”
“Neo-Tantra artists are not merely creators of aesthetic compositions but facilitators of altered states of perception.
Even in galleries, works maintain “aura of sacredness” and invite “contemplative attention and performative engagement.“
Reflections & learnings
- The two quotes above highlight why this makes a lot of sense considering my overall goals & vision for the course
- Strong connection to perceptual science: If yantras work through “fixation on central point” (bindu), this must also relate to Troxler’s fading, motion-induced blindness, and ganzfeld effects
- I think there’s an exciting opportunity for me to fill a gap by creating a modern way to experience the power of yantras, by bringing in:
- Contemporary neuroscience/perceptual research
- Immersive installations
- Wellness/mindfulness spaces
- Using light as opposed to paintings
- Global/cross-cultural contexts
- I’ve had a few different conversations with friends recently re the growing movement of more of the younger generation choosing to go to church – I imagine because they are disillusioned with the state of the world; the over reliance/stimulation of digital devices or lack of community?
- This yantra idea can introduce stillness/presence to daily life, in a modern way, without the religious connotations
- It intuitively feels very right and ticks the box of my initial artist statement:
I want to explore how perceptions can be challenged and altered using external stimuli, to help make sense of something outside the senses. Which in turn will help me develop process & skills to uncover my artistic medium and may result in immersive art that facilitates contemplative experiences.
- My work needs intentionality behind the forms – not just “looks cool” but “designed to create specific perceptual/psychological states”
- The paper warns about “commodification” diluting symbolic intensity – how do I avoid “reducing sacred diagrams to decorative modernism”?
- Through my idea of “ceremonial viewing” protocols?
- Through an artist statement that educates viewers?
- Through the context of presentation?
Next steps
- Look at Shobha Broota (proves I don’t need literal geometry) & the other artists referenced above
- Map the overlap between yantra fixation techniques + my perceptual phenomena research
- Learn how to create yantras myself
- Think about how an modern day yantra installation might be experienced
- Check out some of the references at the end of the paper