The Canvas of Consciousness: An Exhaustive Report on Yoga Artwork

Yoga is widely recognised as a discipline of the body and mind, a practice of breath and posture designed to cultivate silence and union. However, parallel to the physical and philosophical evolution of yoga runs a rich, complex, and often overlooked history: the visual culture of yoga. For millennia, artists, sculptors, and visionaries have attempted to give form to the formless, creating a vast archive of imagery that serves not merely as decoration but as a technological tool for spiritual transformation. From the enigmatic seals of the Indus Valley Civilisation to the neon-infused digital art of the 21st century, yoga artwork maps the shifting contours of human consciousness.¹

This report offers a comprehensive examination of yoga artwork across history, analysing its function, symbolism, and evolution. It explores how ancient artisans encoded complex metaphysical theories into stone and bronze, how medieval painters visualised the subtle energy bodies that Western science is only beginning to metaphorically understand, and how modern commercialisation has reshaped sacred iconography into global brands. By viewing yoga through the lens of art, we gain a unique vantage point on the practice itself—seeing it not just as a set of exercises, but as a living, visual tradition that has continuously adapted to the aesthetic and spiritual needs of its time.

We will investigate the specific visual languages used to depict the yogic body, from the emaciated renouncers of antiquity to the idealised athletic forms of modern photography. We will deconstruct the sacred geometry of Yantras and Mandalas, understanding them as machines for meditation. Crucially, this report will also address the modern reinvention of yogic symbols, such as the introduction of the “rainbow” chakra system in the 1970s, and the ethical complexities surrounding the commercial use of deities in a globalised market.

The Archaic Roots of Yogic Imagery

The story of yoga art begins long before the first texts were written, in the silent artifacts of pre-history. The visual record provides some of the earliest and most controversial evidence for the existence of proto-yogic practices.

The Enigma of the Indus Valley Seals

The earliest potential depiction of yoga comes from the Indus Valley Civilisation (c. 3300–1300 BCE), a sophisticated urban culture located in modern-day Pakistan and northwest India. Among the thousands of steatite seals discovered at sites like Mohenjo-Daro and Harappa, one stands out as a pivotal artifact in art history: Seal 420, often called the “Pashupati Seal”.¹

This small object, barely an inch square, carries immense historical weight. It depicts a central figure seated on a low platform in a highly specific posture. The figure’s heels are pressed together beneath the groin, the knees splayed outward, and the arms rest on the knees—a position that remarkably resembles Mulabandhasana or Bhadrasana, advanced seated postures used in later hatha yoga for meditation and breath control.³

The figure is undoubtedly significant. He (or she) wears a tall, horned headdress, suggesting divine or shamanic status, and is surrounded by four wild animals: a tiger, an elephant, a rhinoceros, and a buffalo. Beneath the platform are two gazelles. In the early 20th century, archaeologist John Marshall identified this figure as a “Proto-Shiva,” linking the iconography to the later Hindu god Shiva in his aspect as Pashupati (Lord of Beasts) and Mahayogi (The Great Yogi).¹

While modern scholarship remains divided—some arguing that projecting Hindu theology backward 4,000 years is speculative—the visual continuity is undeniable. The artist of the Indus Valley chose to depict power not through dynamic action or warfare, as was common in Mesopotamian art of the same period, but through stillness. The figure is the master of the animal kingdom, not because he is hunting them, but because he is centred, immobile, and seemingly withdrawn into an internal state. This establishes the foundational aesthetic of yoga art: the visible representation of invisible power generated through stillness.¹

Vedic Geometry: The Art of the Invisible

Following the decline of the Indus cities, the Vedic period (c. 1500–500 BCE) shifted the focus from permanent icons to performative rituals (yajna). The Vedas, the oldest sacred texts of India, were largely aniconic; they did not focus on worshipping statues. However, they developed a sophisticated form of abstract art through the construction of fire altars.⁴

The Sulba Sutras, ancient manuals on altar geometry, describe complex rules for laying out ritual spaces. The altar had to be constructed with precise mathematical relationships between squares (representing the earth and order), circles (representing the heavens and the infinite), and triangles (representing fire and ascension).⁴ This was not merely architecture; it was a visual theology. The act of constructing the altar was a form of yoga—a yoking of the mind to precise measurement and cosmic law.

This focus on geometric precision laid the groundwork for the later development of Yantras and Mandalas. The Vedic seers understood that shape and form could influence consciousness. If the altar was misshapen, the ritual would fail. This belief—that visual harmony creates spiritual resonance—remains the governing principle of yoga art to this day.

The Aesthetic of Prana: The Filled Vessel

As yoga began to emerge as a distinct path of renunciation in the centuries before the Common Era, artists faced a challenge: How do you depict a person who is engaged in an internal act of breath control and meditation?

Two distinct artistic styles emerged. The first, often associated with the austere fasting traditions of the Shramana movement (early Buddhism and Jainism), depicted the ascetic as emaciated. Sculptures from the Gandhara region (c. 1st–5th century CE) show the “Fasting Buddha” with ribs protruding, veins visible, and the stomach sunken.⁵ This art served as a stark reminder of the intense physical discipline (tapas) required to transcend the body.

However, a second, more dominant aesthetic took hold in the classical Gupta period (c. 320–550 CE), which profoundly influenced yoga art. This was the aesthetic of the “filled vessel.” Instead of showing muscular tension or skeletal wasting, figures of yogis, Buddhas, and Jinas were depicted with smooth, rounded limbs and a gently distended abdomen.⁶

This roundness was intentional. It symbolised a body filled with Prana (vital life force). The artist was not sculpting fat or muscle; they were sculpting breath. The “lion chest” (simha-karna) was expanded, as if at the top of an inhalation, and the waist was slightly relaxed, indicating the retention of breath in the pot-belly (kumbhaka). This aesthetic choice communicated that the yogi was self-contained, full of inner energy, and radiantly healthy.⁷ It established the ideal of the “Yogic Body” not as a gym-hardened physique, but as a vessel of pneumatic power.

The Divine Form – Sculpture and Iconography

As theistic traditions developed, the figure of the yogi merged with the figure of God. Yoga art exploded into a dazzling array of anthropomorphic forms, designed to evoke specific emotional flavours (rasas) in the viewer.

Shiva Nataraja: The Cosmic Dancer

Perhaps the most famous piece of yoga artwork in the world is the bronze sculpture of Shiva Nataraja (Lord of the Dance), which reached its artistic zenith under the Chola dynasty of South India (c. 10th–12th centuries).⁸ This image is a visual encyclopedia of yogic philosophy, encapsulating the entire cycle of cosmic time.

The Nataraja is not a static idol; it is a dynamic narrative frozen in metal. Every limb and attribute serves a specific symbolic function ⁹:

The brilliance of the Nataraja lies in its balance. It reconciles opposites: fire and water (the river Ganga is often in his hair), male and female (one earring is male, one female), creation and destruction. For the practitioner, gazing at the Nataraja is a practice of Dharana (concentration), reminding them that the chaos of the world is merely a dance, and their true nature is the stillness in the centre.⁹

Ganesha: The Grounding Force

Often found at the entrance of yoga studios, the elephant-headed deity Ganesha represents the Muladhara (root) chakra. Artistically, he is the antithesis of the leaping Nataraja; he is heavy, seated, and grounded.⁶

Ganesha’s iconography is rich with yogic instruction. His large head symbolises wisdom (jnana). His large ears represent the capacity to listen—an essential skill for a student (shravana). His small eyes indicate sharp, concentrated focus. He usually holds a goad (to steer the soul toward righteousness) and a noose (to rein in the wandering mind).

Most significantly, Ganesha rides a tiny mouse. The mouse represents the ego or desire—scurrying, insatiable, and prone to stealing. Ganesha does not kill the mouse; he rides it. This signifies that the yogi must control the ego, using it as a vehicle rather than letting it drive the chariot of the self.⁸

The Yoginis: Agents of Power

While Shiva represents consciousness, the Yogini tradition represents Shakti—the dynamic, creative, and sometimes terrifying feminine power. In the medieval period (9th–12th centuries), unique open-air circular temples were built to house statues of 64 Yoginis.²

Unlike the serene, introverted male yogis, Yogini sculptures are often intensely active. They may have animal heads (theriomorphic), symbolising the integration of human consciousness with animal instincts and nature. They are depicted flying, dancing, or drinking blood, representing the Tantric pursuit of siddhis (supernatural powers).

Art from this period, such as the sculptures reunited in the “Yoga: The Art of Transformation” exhibition, reveals that yoga was not always about stress relief; it was about the acquisition of power. These female figures demand awe and respect, embodying the fierce energy required to break through the limitations of the mundane world.²

The Aesthetics of Rasa

Indian temple sculpture follows the principles of the Shilpa Shastras (art manuals) and Natyashastra (dance/drama theory). The primary goal is not anatomical realism but the evocation of Rasa (flavour/essence).⁶

A sculpture of a yogi is designed to exude Shanta Rasa—the flavour of peace. The eyes are half-closed, focused on the tip of the nose (nasikagra drishti). The faint smile suggests inner bliss (ananda). By looking at such an image, the viewer is meant to feel a sympathetic resonance, catching the “contagion” of peace through the visual medium. This makes the artwork an active participant in the viewer’s emotional regulation.¹²

Sacred Geometry – Yantras and Mandalas

Moving from the human form to the abstract, yoga art finds its most intellectual expression in sacred geometry. Yantras and Mandalas are often confused, but they serve distinct functions in the yogic tradition.

The Yantra: The Machine of the Divine

The word Yantra derives from the Sanskrit roots yam (to sustain/control) and tra (instrument). A yantra is a machine or tool used to withdraw consciousness from the outer world and direct it inward.¹³ Unlike a mandala, which can be pictorial, a yantra is strictly geometric and typically represents the sonic body of a deity—it is the visual form of a Mantra.¹⁴

The Sri Yantra: The King of Diagrams

The most revered of all yantras is the Sri Yantra, a symbol of the Divine Mother (Tripurasundari) and the cosmos.¹⁵ Its complexity is staggering and mathematically precise.

• The Bindu: The centre point represents the unmanifest singularity from which the universe explodes.
• The Interlocking Triangles: Nine interlocking triangles surround the bindu. Five points downward, representing Shakti (female creative energy/water). Four points upward, representing Shiva (male consciousness/fire).
• The 43 Triangles: The intersection of these nine primary triangles creates 43 smaller triangles, symbolising the entire web of existence. This visualises the concept of Advaita (non-duality)—that the multiplicity of the world arises from the union of two fundamental principles.¹⁵
• The Lotus Petals: Rings of 8 and 16 lotus petals symbolise the blossoming of reality.
• The Bhupura: The outer square with four gates represents the material world and the limits of the sacred space.

Meditating on the Sri Yantra is a process of reversing creation. The yogi moves their gaze from the outer square (matter) inward through the petals and triangles, finally resting on the central bindu (spirit). It is a visual dissolution of the ego.¹⁵

The Mandala: The Palace of the Mind

While Yantra is primarily a Hindu Tantric tool, the Mandala (Sanskrit for “circle”) is central to Buddhist Tantra as well. A mandala is a cosmogram—a map of the universe, often visualised as a celestial palace with a deity at the centre.¹⁶

Tibetan sand mandalas are famous for their creation process. Monks spend days creating intricate designs with colored sand, only to sweep them away immediately upon completion. This performance art embodies the core Buddhist teaching of Anitya (impermanence) and non-attachment.¹⁷

Psychologically, the mandala represents wholeness. Swiss psychiatrist Carl Jung recognised the mandala as a universal archetype of the Self. He encouraged patients to draw mandalas to integrate the fragmented parts of their psyche, a practice that mirrors modern “art therapy” where colouring mandalas is used to induce a meditative flow state.¹⁸

The Art of Practice: Painting as Sadhana

In the tradition of the late scholar and artist Harish Johari, the act of painting a yantra or mandala is itself a yoga practice (sadhana).19 It is not merely “colouring in”; it is a disciplined ritual.

The practitioner must engage in Dharana (concentration) to construct the geometry. The colours are not chosen randomly but correspond to elemental energies (e.g., yellow for Earth, blue for space). Johari taught the “wash painting” technique, where colours are layered to create a luminosity that seems to emit light from within the paper, symbolising the inner light of the soul. This practice integrates the left brain (mathematical structure) with the right brain (colour/intuition), balancing the mind.¹⁹

Visualising the Subtle Body – Chakras and Nadis

No aspect of yoga art is more recognisable—or more misunderstood—than the depiction of the Subtle Body (Sukshma Sarira), specifically the Chakras.

The Modern Rainbow System

Today, almost every piece of chakra art depicts a vertical column of seven colored lights following the optical spectrum: Red (Root), Orange (Sacral), Yellow (Solar Plexus), Green (Heart), Blue (Throat), Indigo (Third Eye), and Violet (Crown).

This system is a modern invention.

Historical research reveals that the “Rainbow Body” concept was popularised in the West by Christopher Hills in his 1977 book Nuclear Evolution: Discovery of the Rainbow Body.21 Hills, an esotericist, synthesised the ancient chakra locations with Western colour theory and personality psychology. This visual system was intuitive and aesthetically pleasing, leading to its near-universal adoption in New Age art and healing communities.

The Traditional Tantric Iconography

In contrast, traditional Indian texts like the Sat-Cakra-Nirupana (written in 1526) depict the chakras with very different imagery ²²:

• Muladhara (Root): A crimson (red) lotus with 4 petals, containing a yellow square (Earth element).
• Svadhisthana (Sacral): A vermilion (orange-red) lotus with 6 petals, containing a white crescent moon (Water element).
• Anahata (Heart): A scarlet lotus with 12 petals, containing a smoke-colored (grey-blue) hexagram (Air element).

In the traditional system, the “colour” of the chakra was often the colour of its resident element or deity, not a progression of light frequencies. The iconography was dense with Sanskrit syllables (bija mantras) written on the petals and specific animal vehicles (e.g., an elephant in the root, a gazelle in the heart).²³

Contemporary art has largely favoured the Rainbow system for its simplicity, but scholars and traditional lineages maintain the original iconography for advanced meditation practices.

Visionary Anatomy: Alex Grey

In the late 20th century, the artist Alex Grey revolutionised the depiction of the subtle body with his series The Sacred Mirrors.24 Grey’s paintings use an “X-ray” aesthetic, depicting the human body with anatomical realism (bones, muscles, organs) overlaid with glowing systems of energy—the Nadis (channels), Prana (flows), and Chakras.

Grey’s work visualises the subjective experience of the yogi. When a practitioner feels a rush of heat up the spine (Kundalini), Grey’s art provides a visual vocabulary for that sensation—a glowing, electric filament running through the spinal cord.25 His work bridges the gap between medical anatomy and spiritual anatomy, validating the yogic experience as a biological reality.

The Painted Yogi – Manuscripts and Miniatures

While sculpture dominated the ancient world, the medieval and early modern periods (c. 15th–19th centuries) saw the rise of yoga in painting. This era gives us our first detailed visual instructions on physical postures (asanas).

The Bahr al-Hayat: Sufi Yoga

One of the most remarkable documents in yoga history is the Bahr al-Hayat (“Ocean of Life”), an illustrated manuscript from the early 17th century.²⁶ Commissioned by the Mughal Prince Salim (later Emperor Jahangir), this text is a Persian translation of a Sanskrit yoga treatise.

The manuscript features 22 exquisite miniatures of yogis performing complex asanas. These are not simple seated poses; they include Kukkutasana (Rooster Pose), Garbhasana (Womb Pose), and various inversions.²⁶

The significance of this artwork is cross-cultural. The yogis are depicted with the realistic features of Indian ascetics, but the artistic style is Persian, with flattened perspectives and floral borders. The text frames yoga not as a Hindu religion, but as a universal science of the body, compatible with Islamic Sufism. This visual evidence proves that yoga was respected and practised within the Islamic courts of India.²

The Fakirs of Colonial Art

With the arrival of European colonial powers, the depiction of yogis shifted dramatically. 18th and 19th-century British and Company School paintings often depicted yogis not as wise sages, but as “Fakirs”—exotic curiosities.

These images emphasised the extreme austerities of the yogis: lying on beds of nails, holding an arm up until it withered, or contorting the body into “grotesque” shapes.² These artworks were often sold as souvenirs to Western travellers, reinforcing the colonial narrative of India as a land of irrational mysticism. This “circus” image of yoga would persist in the West until the mid-20th-century rebranding of yoga as a health science.

Modernity and the Lens – Photography and Digital Art

The invention of the camera fundamentally changed yoga art. It moved the visual record from the interpretative realm of painting to the “objective” realm of documentation.

The Geometric Body: Iyengar and Photography

In the 1930s and 40s, T. Krishnamacharya and his student B.K.S. Iyengar began using photography to redefine yoga.²⁷ The black-and-white images of a young Iyengar performing asanas are now iconic.

Unlike the messy, matted-haired yogis of colonial art, Iyengar was clean-shaven, dressed in simple shorts, and performed poses with architectural precision. The photos emphasised lines, angles, and perfect alignment. This visual strategy legitimised yoga as a rational system of physical culture, distinct from religion or magic. It created a new aesthetic standard: the “Yoga Body” as a geometric form.²⁷

The Humanist Lens: Robert Sturman

In the 21st century, photographer Robert Sturman has expanded the visual language of yoga beyond the perfect studio body. His work captures yoga in the streets, in prisons, among African tribes, and with cancer survivors ²⁸

Sturman’s art is humanistic. By showing a prisoner performing a perfect lotus pose in a cell, or an amputee balancing in tree pose, he visually argues that yoga is a universal human right. His compositions often utilise the Golden Ratio, finding the inherent sacred geometry in the human form regardless of the setting.²⁸

Digital Flows and Neon Vibes

The digital age has birthed a new genre of yoga art, driven by social media and graphic design. This style focuses on “energy flow.” Using vector graphics, artists depict silhouettes of yogis made of glowing dots or neon lines.²⁹

This “wireframe” aesthetic visualises the sensation of Prana flow—the idea that the body is a network of energy. It is often minimalist, using negative space to suggest lightness and clarity. This style is heavily used in app design and branding, appealing to a tech-savvy audience that views yoga as “bio-hacking” or mental optimisation.³⁰

The Commercial Canvas – Branding, Ethics, and Design

As yoga has transformed into a global industry, its art has moved from the temple to the marketplace. This shift has introduced complex questions of design psychology and ethical responsibility.

The Psychology of Studio Design

Yoga studios are carefully curated artistic environments designed to induce specific mental states. Colour psychology plays a crucial role in this “environmental art” ³¹:

Modern studio design often favours the “White Box” aesthetic—minimalist, clean, and spacious. This is an artistic choice that visualises the yogic goal of “clearing the mind.”

The Ethics of Appropriation

The commercial use of sacred yoga art has sparked significant controversy regarding cultural appropriation. In the rush to brand products, companies have placed sacred symbols like Om and deities like Ganesha on items considered disrespectful in Hindu culture.³³

• The Feet Issue: In Indian culture, the feet are considered the lowest and impurest part of the body. Placing a deity on a rug, a doormat, or shoes (where they will be stepped on) is a grave insult.
• The Hygiene Issue: Placing sacred symbols on toilet seats, underwear, or bathmats is similarly offensive.
• Notable Incidents: In 2021, pop star Rihanna faced backlash for wearing a Ganesha pendant while topless in a lingerie advertisement. Critics argued that Ganesha is a deity of wisdom and obstacle removal, not a fashion accessory for sexualized marketing.³⁴ Online retailers like Amazon and Wayfair have faced campaigns to remove doormats depicting deities.³⁵

Ethical Guidelines for Artists and Brands:

1. Respect Placement: Do not place sacred symbols where they will be stepped on, sat on, or touched by feet.
2. Context Matters: Using Ganesha on a yoga mat bag (which is carried) is generally more acceptable than on the mat itself (which is stepped on).
3. Knowledge: Understand the symbol. Om is not just a “cool shape”; it is a sonic representation of the absolute. Using it requires an awareness of its weight.³⁶

Conclusion

The history of yoga artwork is a testament to humanity’s enduring need to visualise the invisible. From the seal carvers of the Indus Valley who first etched the image of a meditative god, to the Chola bronze casters who froze the cosmic dance in metal, to the digital artists mapping the neon flows of the energy body, the goal has remained constant: to create tools that help the human mind grasp the infinite.

Yoga art is not static. It evolves as the practice evolves. It has moved from the secret manuscript to the Instagram feed, from the exclusive domain of the ascetic to the global marketplace. Yet, the most powerful symbols—the circle of the mandala, the stillness of the seated sage, the vibration of the Om—endure. They endure because they are not just inventions of culture, but reflections of the deep structure of the human psyche.

For the modern practitioner, engaging with yoga art—whether by gazing at a yantra, creating a mandala, or simply appreciating the geometry of a photograph—is a way to deepen the practice. It reminds us that yoga is not just something we do with our bodies; it is a way of seeing the world.

Disclaimer 

This report is intended for educational and informational purposes only. It explores the historical, cultural, and artistic dimensions of yoga. It does not constitute spiritual, medical, or legal advice. The interpretations of religious symbolism discussed herein reflect a variety of traditions and scholarly perspectives; individual beliefs and practices may vary. Readers are encouraged to approach sacred symbols with cultural sensitivity and respect.

Reference

1. Timeline of Yoga: How It Transformed Over Centuries – Rishikesh Yogkulam, accessed on December 9, 2025, https://www.yogkulam.org/blog/chronology-of-yoga
2. Yoga: The Art of Transformation – National Museum of Asian Art – Smithsonian Institution, accessed on December 9, 2025, https://asia.si.edu/whats-on/exhibitions/yoga-the-art-of-transformation/
3. Yoga – Wikipedia, accessed on December 9, 2025, https://en.wikipedia.org/wiki/Yoga
4. Chakra – Wikipedia, accessed on December 9, 2025, https://en.wikipedia.org/wiki/Chakra
5. Yoga: The Art of Transformation – About – Asian Art Museum, accessed on December 9, 2025, https://about.asianart.org/press/yoga-the-art-of-transformation/
6. Aesthetics of Indian Art – Centre for Indic Studies, accessed on December 9, 2025, https://cisindus.org/indic-varta-internal.php?vartaid=9
7. In Indian temple sculptures and carvings, why do male figures rarely have visible muscular detail like abs, compared to Greek or Roman statues? – Reddit, accessed on December 9, 2025, https://www.reddit.com/r/IndianHistory/comments/1opxoiw/in_indian_temple_sculptures_and_carvings_why_do/
8. Shiva as Lord of Dance (Nataraja) – Indian (Tamil Nadu) – Chola period (880–1279) – The Metropolitan Museum of Art, accessed on December 9, 2025, https://www.metmuseum.org/art/collection/search/39328
9. Nataraja Hindu God Dance, Symbolism Shiva Lord Nataraja, Nataraj – Lotus Sculpture, accessed on December 9, 2025, https://www.lotussculpture.com/nataraja-shiva-lord-dance-meaning-symbolism.html
10. Shiva Natarāja (Shiva as Lord of the Dance) – Portland Art Museum, accessed on December 9, 2025, https://portlandartmuseum.org/the-poster-project/shiva-nataraja-shiva-as-lord-of-the-dance/
11. Nataraja | Shiva, Cosmic Dance & Symbolism – Britannica, accessed on December 9, 2025, https://www.britannica.com/topic/Nataraja
12. Music in Stone: the application of Rasa theory on Jain temple architecture – Knowledge Box, accessed on December 9, 2025, https://kb.gcsu.edu/researchday/2024/all/23/
13. Using Yantras in Yantra Meditation connects to the divine – Sanatan Society, accessed on December 9, 2025, https://www.sanatansociety.org/yoga_and_meditation/yantra_meditation.htm
14. Understanding the Differences: Yantras and Mandalas – Bhakti Marga Ireland, accessed on December 9, 2025, https://bhaktimarga.ie/yantras-and-mandalas/
15. Yantra, Shri Yantra, mandalas & importance of Shri Yantra – Mandalas Life, accessed on December 9, 2025, https://mandalas.life/2017/yantra-shri-yantra-mandalas-importance-shri-yantra/
16. The Art of Sacred Geometry: Mandalas, Yantras & the Cosmic Order – MeMeraki, accessed on December 9, 2025, https://www.memeraki.com/blogs/posts/the-art-of-sacred-geometry-mandalas-yantras-and-cosmic-order
17. Using Mandalas to Practice Gratitude and Mindfulness – Kripalu, accessed on December 9, 2025, https://kripalu.org/living-kripalu/using-mandalas-practice-gratitude-and-mindfulness
18. Mandalas and Meditation: How Creating and Viewing Mandalas Enhances Mindfulness | The Spiritual Arts Foundation, accessed on December 9, 2025, https://www.spiritualarts.org.uk/mandalas-and-meditation-how-creating-and-viewing-mandalas-enhances-mindfulness/
19. The Painting Tradition Founded by Harish Johari – Sanatan Society, accessed on December 9, 2025, https://www.sanatansociety.com/indian_art_galleries/harish_johari_painting_tradition/painting_tradition_harish_johari.htm
20. Healing Arts: yantra Workshop – Padme Yoga Arts, accessed on December 9, 2025, https://artyogatravel.org/workshops
21. accessed on December 9, 2025, https://thechakragirl.com/pages/about-the-chakras#:~:text=In%20the%201970s%2C%20Christopher%20Hills,frequency%E2%80%94just%20like%20your%20chakras.
22. 7 Facts About Chakra Meditation You Never Knew, accessed on December 9, 2025, https://www.thedailymeditation.com/7-facts-about-chakra-meditation-you-never-knew
23. Chakra Colors and Symbols: Complete Visual Guide & Meanings – My Yoga Teacher, accessed on December 9, 2025, https://myyogateacher.com/articles/chakra-colors-and-symbols
24. Alex Grey – Wasiwaska Research Center, accessed on December 9, 2025, https://www.wasiwaska.org/alex-grey/
25. Alex Grey Art: Vision, Psychedelics & Spiritual Transformation – RIOT Creative Agency, accessed on December 9, 2025, https://riot.nyc/into-the-infinite-the-awakening-of-alex-grey-art/
26. Bahr al-Hayat – Wikipedia, accessed on December 9, 2025, https://en.wikipedia.org/wiki/Bahr_al-Hayat
27. The Evolution of the Yoga Practice: From Sacred Seats to Standing Poses, accessed on December 9, 2025, https://www.manas-yoga.studio/en/the-evolution-of-yoga-from-sacred-seats-to-standing-poses/
28. Robert Sturman on Yoga and Photography – Yoga International, accessed on December 9, 2025, https://yogainternational.com/article/view/robert-sturman-on-yoga-and-photography/
29. Yoga Flow Of Energy royalty-free images – Shutterstock, accessed on December 9, 2025, https://www.shutterstock.com/search/yoga-flow-of-energy?page=3
30. 8393 Vibrant Abstract Energy Flow Artwork Stock Photos – Dreamstime.com, accessed on December 9, 2025, https://www.dreamstime.com/photos-images/vibrant-abstract-energy-flow-artwork.html
31. Which Color Yoga Mat Is Best? | Promotional Products Blog – QualityImprint, accessed on December 9, 2025, https://www.qualityimprint.com/blogs/promotional-product-ideas/which-color-yoga-mat-is-best
32. Color Psychology for Yoga Studios: How Different Colors Impact the Energy of Your Space, accessed on December 9, 2025, https://febulous-studio.com/color-psychology-for-yoga-studios/
33. HAF Guidelines for Commercial Use of Hindu Images, accessed on December 9, 2025, https://www.hinduamerican.org/projects/commercial-use-hindu-images-guide
34. Rihanna’s Ganesh pendant – Hinduism is a religion, not a pretty aesthetic – University of Huddersfield, accessed on December 9, 2025, https://www.hud.ac.uk/news/2021/march/rihanna-ganesh-pendant-controversy/
35. Activist objects to museum selling toys of Hindu deities – AP News, accessed on December 9, 2025, https://apnews.com/article/travel-religion-massachusetts-toys-fdf91d0189f9cf45bbf07c2f019e7800
36. Using Hindu/Indian Symbolism as an Aesthetic : r/ABCDesis – Reddit, accessed on December 9, 2025, https://www.reddit.com/r/ABCDesis/comments/1hsutwk/using_hinduindian_symbolism_as_an_aesthetic/