The Chakra Mandala Series by Divya Vinod Gilatar
by Oleksandr Dyvnich
by Oleksandr Dyvnich
Divya Vinod Gilatar’s Chakra Mandala Series positions itself at the intersection of spiritual symbolism, digital abstraction, and contemporary visual culture. Rooted in the philosophical concept of Shakti—the primordial feminine energy that animates existence—the works attempt to translate metaphysical experience into visual form. The artist’s intention is clear: to create not merely aesthetic compositions, but contemplative instruments that function as portals to inner awareness and energetic balance.
At first glance, the mandalas impress through their meticulous symmetry and controlled geometry. Each composition is structured around a central axis, radiating outward in rhythmic repetitions of petal-like forms, circular frameworks, and layered textures. This precision reflects a lineage traceable to traditional yantra practices, where geometry serves as a symbolic language of cosmic order. However, Gilatar diverges from historical precedents by employing digital tools, resulting in surfaces that feel both soft and immaterial, almost atmospheric. The subtle gradients and diffused textures create a sense of vibration rather than solidity, reinforcing the artist’s claim that these works operate as “visual frequencies.”
Color plays a central conceptual and emotional role in the series. The red tones of the Muladhara (root) mandala evoke grounding, vitality, and primal force, while the orange hues of Swadhisthana suggest sensuality and creative flow. The cool blue of Vishuddhi introduces clarity and communication, and the violet spectrum of Sahasrara gestures toward transcendence and spiritual unity. This chromatic progression aligns with established chakra theory, yet Gilatar avoids literal illustration. Instead, she abstracts these associations into immersive color fields, allowing viewers to experience rather than simply recognize symbolic meaning.
Despite its strengths, the work raises important critical questions. The reliance on symmetry and repetition, while meditative, risks aesthetic predictability. Each mandala follows a similar compositional logic, which may limit the sense of formal evolution across the series. Additionally, the translation of deeply rooted spiritual systems into a globalized digital aesthetic invites scrutiny. While the artist successfully bridges ancient philosophy and contemporary practice, there is a tension between authenticity and stylization—between sacred diagram and decorative object. This ambiguity, however, may also be one of the project’s most compelling aspects, reflecting the broader condition of spirituality in a digital, transnational age.
Conceptually, Gilatar’s work resonates with current artistic explorations of mindfulness, healing, and embodied experience. Yet it distinguishes itself through its disciplined visual language and commitment to process. The mandalas are not spontaneous expressions but carefully constructed systems, echoing the disciplined practices of meditation and yoga from which they draw inspiration. In this sense, the works function less as representations and more as frameworks for perception—structures that guide the viewer toward stillness and introspection.
In conclusion, Divya Vinod Gilatar’s Chakra Mandala Series offers a thoughtful and visually refined exploration of spiritual abstraction. While the series occasionally risks formal repetition and navigates complex questions of cultural translation, it succeeds in creating a cohesive body of work that is both aesthetically engaging and conceptually grounded. By merging sacred geometry with digital technique, Gilatar contributes to an evolving discourse on how ancient cosmologies can be reimagined within contemporary art, inviting viewers to engage not only with the image, but with their own inner landscape.
