Borobodur occupies the foremost position in the study of form, function, and meaning in Javanese temple architecture. Interpreted as a ‘hill monastery’, it was built (8C) by the Buddhist Sailendra kingdom. Stutterheim (1956) held that Borobodur symbolises the Cosmos Mountain, Meru, the mythical abode of the gods. The temple has a tripartite of the base of the monument, the square terraces of the pyramid, and the round terraces with stupas. Six of the nine terraces are square and are decorated, while the rest are circular and devoid of all ornamentation. The pilgrimage starts at the base of the monument and follows a path around the monument, ascending to the top through three symbolic levels of Buddhist cosmology: Kamadhatu (the world of desire), Rupadhatu (the world of forms), and Arupadhatu (the world of formlessness). The architectural features between the three levels bear metaphorical dissimilarities. Square and detailed decorations in the Rupadhatu disappear into plain circular platforms in the Arupadhatu to represent how the world of forms transfers into the world of the formless. Each platform represents one stage of enlightenment to teach pilgrims. In Christian symbolism, a square represents concepts related to the number four, such as the four corners of the earth and the Four Evangelists. In art, the square is found as a nimbus, where it denotes a saintly person who was still living at the time of the artwork. The circle is a universal symbol with extensive meaning. It represents God, the sun, the notions of totality, wholeness, original perfection, the Self, the infinite, eternity, timelessness, all cyclic movement. In Islamic visual culture, geometric patterns were built up from a circle as a basic linear unit. The circle can be developed into a square, a triangle or a polygon, and elaborated by multiplication, sub-divisions by rotation. Muslims contemplating its abstract patterns could associate them with mystical thought because geometric patterns reveal an aspect of the multiplicity of the Creator. Therefore, roofs tend to be circular as a symbol of the cosmos; a square floor implies the earth itself. In harmony, both signify infinity. Of the symbolic circle, its lower half represents ‘the world of sense’ and the upper half ‘the world of being’. A circle corresponds to the Islamic view of creation. The circle is a metaphor for Divine Unity, which the Muslim love of geometry is connected to the doctrine of Unity (al Tawhid). A question arises regarding semiotic interpretations on the square and the circle. Semiotics examines how meaning is generated and communicated. Its origins lie in the academic study of how signs and symbols create meanings. It is a way of seeing the world, and of understanding how geometry in various religions can have an impact on believers. Viewing and interpreting by a complex set of cultural messages, conventions, and personal ability, the geometry sign enables them to navigate the hidden meanings. My paper analyses the square and the circle in Buddhist-Christian-Islamic cultural heritage through semiotic interpretations to trace commonness in human minds and perception.