At the heart of Caodaist visual theology stands the Divine Eye (Thiên Nhãn), the left eye of the Supreme Being, usually shown within radiant light or a triangle and placed above the main altar as the primary focus of devotion. This single symbol gathers together the tradition’s sense of an all-seeing, omniscient presence that silently surveys and guides the cosmos. Its elevated position in the sanctuary makes it both a doctrinal statement and a contemplative object, inviting worshippers to align their own inner vision with the gaze of the Divine. Around this Eye, the entire temple space is ordered, so that architecture, color, and ritual all converge toward a unified spiritual center.

Color in Caodaism functions almost like a sacred language. Three principal colors are associated with the great religious lineages that Caodaism embraces: yellow, blue, and red. Yellow is linked with Confucianism in one account and with Buddhism in another, while blue and red are consistently tied to Taoism and Confucianism or Buddhism respectively; what remains constant is that these three hues together express the integration of major Asian traditions. White appears as a further key color, symbolizing purity and often associated with the broader ideal of spiritual refinement and, in one interpretation, Christianity. In the temple’s decorative schemes and vestments, these colors do not merely please the eye; they embody the aspiration to harmonize diverse paths into a single sacred way.

The built environment of Caodaist temples deepens this symbolism through a rich array of iconographic forms. Dragon-adorned columns, often brightly colored, evoke divine power and protective energy, while lotus motifs recall purity and enlightenment emerging from the world’s turbulence. Phoenix imagery, when present, suggests spiritual rebirth and transformation, and the yin–yang emblem points to a vision of cosmic balance underlying all phenomena. Multi-tiered roofs, ornate pillars, and geometric patterns that blend Eastern and Western design elements further dramatize the syncretic character of the faith, turning the temple itself into a kind of living mandala of unity-in-diversity.

Within this symbolic architecture, altars and sacred images articulate a universal religious horizon. The main altar is oriented toward the Divine Eye, yet it is often accompanied by statues or portraits of Buddha, Laozi, Confucius, Jesus Christ, and other revered saints and spiritual masters. Their ordered presence signals not competition but convergence: many teachers, one ultimate source. In some contexts, a nine-level structure (Cửu Trùng Đài) represents stages of spiritual progression, while additional motifs such as the Scales of Justice underscore ideals of fairness and moral rectitude. Taken together, these symbols, colors, and figures transform the Caodaist temple into a carefully choreographed space where multiple traditions are gathered under a single, watchful Eye, inviting worshippers into a vision of a reconciled spiritual world.