The 17.8 metres (58 ft) colossal at Gopachal Hill built in 11th century

The 45 feet (14 m) tall rock cut idol at Chanderi built in 13th century

Paintings

The birth of Mahavira, from the Kalpa Sūtra (c. 1375–1400 CE)

Jain temples and monasteries had mural paintings from at least 2,000 years ago, though pre-
medieval survivals are rare. In addition, many Jain manuscripts were illustrated with paintings,
sometimes lavishly so. In both these cases, Jain art parallels Hindu art, but the Jain examples
are more numerous among the earliest survivals. The manuscripts begin around the 11th
century, but are mostly from the 13th onwards, and were made in the Gujarat region. By the 15th-
century they were becoming increasingly lavish, with much use of gold.[33]

The manuscript text most frequently illustrated is the Kalpa Sūtra, containing the biographies of
the Tirthankaras, notably Parshvanatha and Mahavira. The illustrations are square-ish panels set
in the text, with "wiry drawing" and "brilliant, even jewel-like colour". The figures are always seen
in three-quarters view, with distinctive "long pointed noses and protruding eyes". There is a
convention whereby the more distant side of the face protrudes, so that both eyes are seen.[34]

Rishabha, the first tirthankara, is usually depicted in either the lotus position or kayotsarga, the
standing position. He is distinguished from other tirthankara by the long locks of hair falling to
his shoulders. Bull images also appear in his sculptures.[35] In paintings, incidents of his life, like
his marriage and Indra's marking his forehead, are depicted. Other paintings show him
presenting a pottery bowl to his followers; he is also seen painting a house, weaving, and being
visited by his mother Marudevi.[23]

Samavasarana

Depiction of Samavasarana

Depiction of Samavasarana, the divine preaching hall of the tirthankara, is a popular subject in
Jain art.[36] Samavasarana is depicted as circular in shape with the tirthankara sitting on a throne
without touching it (about two inches above it).[37] Around the tirthankara sit the ganadharas
(chief disciples) and every living beings sit in the various halls.[38]

It can be shown in paintings, and elaborate models are also made, some occupying a whole
room.

Symbols
 

The symbol of Ahimsa in Jainism

The swastika is an important Jain symbol. Its four arms symbolise the four realms of existence
in which rebirth occurs according to Jainism: humans, heavenly beings, hellish beings and non-
humans (plants and animals).[39][40] This is conceptually similar to the six realms of rebirth
represented by bhavachakra in Buddhism.[39] It is usually shown with three dots on the top, which
represent the three jewels mentioned in ancient texts such as Tattvartha sūtra and
Uttaradhyayana sūtra: correct faith, correct understanding and correct conduct. These jewels are
the means believed in Jainism to lead one to the state of spiritual perfection, a state that is
symbolically represented by a crescent and one dot on top representing the liberated soul.[41]

The hand with a wheel on the palm symbolizes ahimsā in Jainism with ahiṃsā written in the
middle. The wheel represents the dharmachakra (Wheel of the Dharma), which stands for the
resolve to halt the saṃsāra (wandering) through the relentless pursuit of ahimsā (compassion).
In Jainism, Om is considered a condensed form of reference to the Pañca-Parameṣṭhi, by their
initials A+A+A+U+M (o3m). According to the Dravyasamgraha by Acharya Nemicandra, AAAUM
(or just Om) is a one syllable short form of the initials of the five parameshthis: "Arihant, Ashiri,
Acharya, Upajjhaya, Muni".[42][43] The Om symbol is also used in ancient Jain scriptures to
represent the five lines of the Ṇamōkāra Mantra.[44][45]

In 1974, on the 2500th anniversary of the nirvana of Mahāvīra, the Jain community chose one
image as an emblem to be the main identifying symbol for Jainism.[46] The overall shape depicts
the three loka (realms of rebirth) of Jain cosmology i.e., heaven, human world and hell. The semi-
circular topmost portion symbolizes Siddhashila, which is a zone beyond the three realms. The
Jain swastika is present in the top portion, and the symbol of Ahiṃsā in the lower portion. At the
bottom of the emblem is the Jain mantra, Parasparopagraho Jīvānām. According to Vilas
Sangave, the mantra means "all life is bound together by mutual support and
interdependence".[47] According to Anne Vallely, this mantra is from sūtra 5.21 of Umaswati's
Tattvarthasūtra, and it means "souls render service to one another".[48]

The five colours of the Jain flag represent the Pañca-Parameṣṭhi and the five vows, small as well
as great:[49] The Ashtamangala are a set of eight auspicious symbols, which are different in the
Digambara and Śvētāmbar traditions.[50] In the Digambara tradition, the eight auspicious
symbols are Chatra, Dhvaja, Kalasha, Fly-whisk, Mirror, Chair, Hand fan and Vessel. In the
Śvētāmbar tradition, these are Swastika, Srivatsa, Nandavarta, Vardhmanaka (food vessel),
Bhadrasana (seat), Kalasha (pot), Darpan (mirror) and pair of fish.[50]

See also

Wikimedia Commons has media related to Jain art.

Tirth Pat

Jain symbols

List of Jain inscriptions

Notes

1. Kumar 2001, p. 1.

2. Shah 1995, p. 15.

3. Zimmer 1953, p. 209-210.

4. Umakant P. Shah 1987, p. 79.

5. Britannica Tirthankar Definition (http://www.britannica.com/EBchecked/topic/596895/Tirthankar) ,

Encyclopædia Britannica

6. Cort 2010.

7. "Red sandstone figure of a tirthankara" (http://www.britishmuseum.org/explore/highlights/highlight_obje

cts/asia/r/red_sandstone_figure_of_a_tirt.aspx) .

8. Jain & Fischer 1978, pp. 15–31.

9. Doris 1997, pp. 329–330.

10. Ghurye 2005, p. 62.

11. Babb, Lawrence A (1996). Absent lord: ascetics and kings in a Jain ritual culture (https://archive.org/deta
ils/absentlordasceti00babb) . Published University of California Press. p. 66 (https://archive.org/detail
s/absentlordasceti00babb/page/n140) .

12. "Basadi" (http://www.kamat.com/glossary/?whoID=234) .

13. "Architecture of the Indian Subcontinent – Glossary" (http://www.indoarch.org/arch_glossary.php) .

14. Shah 1987, p. 149.

15. "Essays" (https://web.archive.org/web/20131013005348/http://www.pluralism.org/religion/jainism/intro

duction/tirthankaras) . www.pluralism.org. Archived from the original (http://www.pluralism.org/religio
n/jainism/introduction/tirthankaras) on 13 October 2013.

16. Quintanilla 2007, p. 22.

17. Krishan & Tadikonda 1996, p. 23.

18. Bhargava 2006, p. 357.

19. ASI & Monuments in Tamil Nadu.

20. Pal, 151

21. Owen 2012, p. 6.

22. Zimmer 1953, p. 212.