via a talk Judith Parkinson gave in Oz, 2011: The Sign of God Explained:

The Face/Sign Of God was developed by Adi Da in 1979.~The color version of The Sign of God has specific
meaning associated with the Cosmic Mandala.

History:
Over the years Adi Da has gone back to this sacred geometric image time and time again. In 1979 Adi Da
first introduced murtis as a means for devotees to practice and meditate upon, but not murti photos of
Himself. It was this geometric form He asked devotees to gaze upon. He expected that as the murti, this
image would be the sign of the enlightenment of the whole body. Adi Da had murtis of this image printed
on silk, and each devotee had one. He Himself did the initial murti puja on them. When the silks came back
they were completely smothered with this incredible passion and vigor, with ash. [Parkinson
demonstrates].

About The Sign of God:

Parkinson: If you look at it, inherent is the~Midnight Sun, so this is His view before the two yogic
processes overwhelmed him (1986 and 2000), so twenty-five, thirty years prior, the Midnight Sun is
already in the image intuitively. He is already talking about the whole process of~Amrita Nadi* at this
time and you notice it has a big field around it. ~That field links up with the heart.~ That line goes to the
corner, down to the corner of the field and that goes up to the other field, this has mathematical
proportions done by Adi Da.Manage

I'm going to repost this chakra list from the top in case people are not seeing it.
The Sign of God: Each point on the lines of the image are the seven chakras.
bottom line: Muladhara
bottom circle: sex Svadhisthana
black dot: solar plexus Manipura
implied center: Heart Anahata
triangle tip: throat Vishuddha
top circle: 3rd eye Ajna
top square: crown Sahasrara
top circle: [sic] the Bright

Adi Da also made a series of image-art pieces for His Suite “Oculus Two: Alberti’s Room” that used an
abstraction of these core geometries, overlayed over a more complex figural image. This was in 2007. So
He continued to relate to this primary geometric form even up to the end of His image making process in
His art studio on Naitauba. In Transcendental Realism He writes about the three primary geometries,
square, circle, and triangle, and their fundamental or archetypal meanings, related to gross, subtle, and
causal aspects of conditional existence, respectively. The colors of blue and white were always related to
Orpheus, in His image-art, and to the subtle and causal dimensions of experience. Orpheus is the Divine
Artist Who incarnates (via Avataric Descent) in the yellow-red realm of grossest conditionality in order to
rescue His Loved One, Eurydice, from the realms of bondage below. The flat horizon line of the red field is
being penetrated, or lifted up, by the piercing white triangle rising in the sphere of blue. It seems to lift
and carry the smaller black circle and point it up toward the white sphere Above, which is entirely
outside of the gross/subtle/causal domain below. The upward motion of the triangle seems to be carried
on the Spirit-Breath of the Name “Da”. So as a whole, this logo is a summary of the esoteric practice of
devotion to the Realizer, and the process of transcending the entirety of conditional existence, or all of
gross, subtle, and causal experience, by Communion with the Infinite Sphere of Conscious Light, which
Falls on all that is below via the invocation of the Divine Name, and lifts the small blackness of
conditionality into Coincidence with the Bright Field of the Divine Domain Above. I never heard Adi Da
speak about this logo in particular, so this is my interpretation having participated visually in your
post 🙂 ... the Beauty about Adi Da’s art however is that the potential “conversation” with any piece is
actually limitless, so my interpretation, and Judith’s, and anyone else’s, are not “it”, they are only pointers
to how one might participate silently with it oneself. I really dug reading your description of the chakras
too, as I had never noticed that! One thing I can say however is that nothing He created artistically was
arbitrary in the slightest, and He said that the real moment of His Art is in the moment of the viewer’s
own participation in the work, such that it is felt and experienced as a living process. I remember
meditating on this image as a young boy, along with the admonition to “Love, Serve and Remember”, I
seem to recall. Of course, I have been completely converted to meditating on Adi Da’s Bodily Form, as It is
no less a work of art than this geometric masterpiece. But His Art is truly no different than His Body, so
both are Agents of His Transmission of His State. Thanks for the post. A Beauty to Contemplate!