Jain art

File:Thirthankara Suparshvanath Museum Rietberg RVI 306.jpg in meditation, c. 14th century]]

A tirthankara or Jina is represented either seated in lotus position (Padmasana) or standing in the meditation Khadgasana (Kayotsarga) posture.{{sfn|Zimmer|1953|p=209-210}}{{sfn|Shah|1987|p=79}} This latter, which is similar to the military standing at attention is a difficult posture to hold for a long period, and has the attraction to Jains that it reduces to the minimum the amount of the body in contact with the earth, and so posing a risk to the sentient creatures living in or on it. If seated, they are usually depicted seated with their legs crossed in front, the toes of one foot resting close upon the knee of the other, and the right hand lying over the left in the lap.{{citation | url=http://www.britannica.com/EBchecked/topic/596895/Tirthankar | title=Britannica Tirthankar Definition | publisher=Encyclopædia Britannica }}

Tirthanakar images do not have distinctive facial features, clothing or (mostly) hair-styles, and are differentiated on the basis of the symbol or emblem (Lanchhana) belonging to each tirthanakar except Parshvanatha. Statues of Parshvanath have a snake crown on the head. The first Tirthankara Rishabha can be identified by the locks of hair falling on his shoulders. Sometimes Suparshvanath is shown with a small snake-hood. The symbols are marked in the centre or in the corner of the pedestal of the statue. The sects of Jainism Digambara and Śvetāmbara have different depictions of idols. Digambara images are naked without any ornamentation, whereas Śvetāmbara ones may be clothed and in worship may be decorated with temporary ornaments.{{sfn|Cort|2010}} The images are often marked with Srivatsa on the chest and Tilaka on the forehead.{{Cite web|url=http://www.britishmuseum.org/explore/highlights/highlight_objects/asia/r/red_sandstone_figure_of_a_tirt.aspx|title=Red sandstone figure of a tirthankara}} Srivatsa is one of the ashtamangala (auspicious symbols). It can look somewhat like a fleur-de-lis, an endless knot, a flower or diamond-shaped symbol.{{sfn|Jain|Fischer|1978|pp=15-31}}

The bodies of tirthanakar statues are exceptionally consistent throughout the over 2,000 years of the historical record. The bodies are rather slight, with very wide shoulders and a narrow waist. Even more than is usual in Indian sculpture, the depiction takes relatively little interest in the accurate depiction of the underlying musculature and bones, but is interested in the modelling of the outer surfaces as broad swelling forms. The ears are extremely elongated, suggesting the heavy earrings the figures wore in their early lives before they took the path to enlightenment, when most were wealthy if not royal.

Sculptures with four tirthanakars, or their heads, facing in four directions, are not uncommon in early sculpture, but unlike the comparable Hindu images, these represent four different tirthanakars, not four aspects of the same deity. Multiple extra arms are avoided in tirthanakar images, though their attendants or guardians may have them.{{Sfn|Srinivasan|1997|pp=329-330}}

{{Main|Jain temples}}

{{Multiple image

| image1 = Sikharji jalmandir.jpg

| caption1= Jal Mandir, Shikharji

| image2 = Chaumukha Jain temple at Ranakpur in Aravalli range near Udaipur Rajasthan India.jpg

| caption2 = Ranakpur Jain temple built in 15th century

| image3 = Lodurva Temples.jpg

| caption3 = Lodhurva Jain temple

| image4 = 1000-Pillar-Temple-Moodbidri-Left-Side-View.JPG

| caption4= Saavira Kambada Basadi

| image5 = Delwada.jpg

| caption5 = Luna Vasahi, Dilwara Temples

| image6 = Palitana.jpg

| caption6 = Palitana temples

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Like Buddhists, Jains participated in Indian rock-cut architecture from a very early date. Remnants of ancient jaina temples and monasteries temples can be found all around India, and much early Jain sculpture is reliefs in these. Ellora Caves in Maharashtra, and the Jain temples at Dilwara near Mount Abu, Rajasthan. The Jain tower in Chittor, Rajasthan is a good example of Jain architecture.{{Sfn|Ghurye|2005|p=62}}

Modern and medieval Jains built many Jain temples, especially in western India. In particular the complex of five Dilwara Temples of the 11th to 13th centuries at Mount Abu in Rajasthan is a much-visited attraction. The Jain pilgrimage in Shatrunjay hills near Patilana, Gujarat is called "The city of Temples". Both of these complexes use the style of Solanki or Māru-Gurjara architecture, which developed in west India in the 10th century in both Hindu and Jain temples, but became especially popular with Jain patrons, who kept it in use and spread it to some other parts of India. It continues to be used in Jain temples, now across the world, and has recently revived in popularity for Hindu temples.

A Jain temple or Derasar is the place of worship for Jains, the followers of Jainism.{{cite book |first=Lawrence A |last=Babb |title=Absent lord: ascetics and kings in a Jain ritual culture |url=https://archive.org/details/absentlordasceti00babb |url-access=limited |page=[https://archive.org/details/absentlordasceti00babb/page/n140 66] |publisher=Published University of California Press |year=1996|language=en}} Jain architecture is essentially restricted to temples and monasteries, and secular Jain buildings generally reflect the prevailing style of the place and time they were built. Derasar is a word used for a Jain temple in Gujarat and southern Rajasthan. Basadi is a Jain shrine or temple in Karnataka.{{cite web

|url=http://www.kamat.com/glossary/?whoID=234

|title=Basadi

}} The word is generally used in South India. Its historical use in North India is preserved in the names of the Vimala Vasahi and Luna Vasahi temples of Mount Abu. The Sanskrit word is vasati, it implies an institution including residences of scholars attached to the shrine.{{cite web

|url=http://www.indoarch.org/arch_glossary.php

|title=Architecture of the Indian Subcontinent – Glossary

|access-date=28 December 2019

|archive-date=6 March 2012

|archive-url=https://web.archive.org/web/20120306200130/http://www.indoarch.org/arch_glossary.php

|url-status=usurped

}}

Temples may be divided into Shikar-bandhi Jain temples, public dedicated temple buildings, normally with a high superstructure, typically a north Indian shikhara tower above the shrine) and the Ghar Jain temple, a private Jain house shrine. A Jain temple which is known as a pilgrimage centre is often termed a Tirtha.

The main image of a Jain temple is known as a mula nayak{{Sfn|Shah|1987|p=149}} A Manastambha (column of honor) is a pillar that is often constructed in front of Jain temples. It has four 'Moortis' i.e. stone figures of the main god of that temple. One facing each direction: North, East, South and West.{{cite web |url=http://www.pluralism.org/religion/jainism/introduction/tirthankaras |title=Essays |website=www.pluralism.org |url-status=dead |archive-url=https://web.archive.org/web/20131013005348/http://www.pluralism.org/religion/jainism/introduction/tirthankaras |archive-date=2013-10-13}}

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| image1 = Ayodhya-jain-teracotta.jpg

| caption1 = 4th century BCE Jain image found during Ayodhya excavation

| image2 = Lohanipur torso.jpg

| caption2 = The Lohanipur torso, 3rd century BCE, Patna Museum

| total_width = 250

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During the 3rd-2nd centuries BCE, the adoption of stone sculpture, there was an older tradition of using clay or wood to represent Jain deities, which, because of their inherent fragility, have not survived.{{sfn|Ring|Salkin|Schellinger|Watson|2010|p=574}}

Figures on various seals from the Indus Valley civilisation bear similarity to jaina images, nude and in a meditative posture.{{Sfn|Shah|1995|p=15}} The Lohanipur torso is the earliest known jaina image (presumed to be Jain because of the nudity and posture), and is now in the Patna Museum. It is also one of the earliest Indian monumental sculptures in stone of a human, if the dating to the 3rd century BCE is correct;{{Sfn|Shah|1995|p=15}} it might be from about the 2nd century CE. Bronze images of the 23rd tirthankara, Pārśva, can be seen in the Prince of Wales Museum, Mumbai, and in the Patna Museum; these are dated to the 2nd century BCE.

The early Udayagiri and Khandagiri Caves, are a number of finely and ornately carved caves built during 2nd-century BCE excavated by King Kharavela of Mahameghavahana dynasty.{{Sfn|Krishan|Tadikonda|1996|p=23}}{{Sfn|Bhargava|2006|p=357}}

{{Multiple image

| image1 = Four Fold Jain Image with Suparshvanath and Three Other Tirthankaras - Circa 1st Century CE - ACCN 00-B-67 - Government Museum - Mathura 2013-02-24 6024.JPG

| caption1 = Chamukha idol, Mathura art, 1st century

| image2 = Goat-headed God Naigamesha Presiding Deity of Childbirth among Ancient Jainas - ACCN 15-1115 - Government Museum - Mathura 2013-02-24 6067.JPG

| caption2 = Jain god of Childbirth Naigamesha, 1st century

| total_width = 250

}}

Chitharal Jain Monuments is the earliest Jain monument in the southernmost part of India dating back to first century BC.{{Sfn|ASI|Monuments in Tamil Nadu}} The carved Kankali Tila architrave with centaurs worshipping a Jain Stupa, is Mathura art, of circa 100 BCE, showing Hellenistic influence.{{Sfn|Quintanilla|2007|p=22}}

The Chausa hoard is the first known bronze hoard discovered in the Gangetic valley and consists of a set of 18 Jain bronzes.Framing the Jina : Narratives of Icons and Idols in Jain History: Narratives ... By John Cort, Oxford University Press, 2009, p. 42 The oldest of such bronzes to be found in India, experts date them between the Shunga and the Gupta period, (from 2nd, or possibly the 1st century BC, to the 6th Century AD).{{sfn|Pal|1986|p=151}}

Various dedications in the name of Kushan kings, such as Vasudeva I, with dates, appear on fragments of Jain statuary discovered in Mathura.{{cite book |last1=Burgess |first1=Jas |title=Epigraphia Indica Vol.-i |date=17 August 1892 |page=392 |url=https://archive.org/details/in.ernet.dli.2015.121005/page/n417/mode/2up}}{{cite journal |last1=Dowson |first1=J. |last2=Cunningham |first2=A. |title=Ancient Inscriptions from Mathura |journal=The Journal of the Royal Asiatic Society of Great Britain and Ireland |date=1871 |volume=5 |issue=1 |page=194 |jstor=44012780 |url=https://www.jstor.org/stable/44012780 |issn=0035-869X}}

{{Multiple image

| image1 = KITLV 87946 - Unknown - Pataini temple in British India - 1897.tif

| caption1 = Pataini temple, near Unchehara, 5th century

| image2 = Kakandi.jpg

| caption2 = Parshvanath relief of Kahaum pillar, 5th century

| total_width= 250

}}

Pataini temple was constructed during the reign of Gupta Empire in 5th century.{{cite book | last=Cunningham | first=Alexander | author-link=Alexander Cunningham | title=Report of a Tour in the Central Provinces in 1873-74 and 1874-75 | volume=9 | series=Archaeological Survey of India | publisher=Office of the Superintendent of Government Printing | year=1879 | url={{Google books|X88OAAAAQAAJ|page=31|keywords=|text=|plainurl=yes}} | page=31|language=en}} A sandalwood sculpture of Mahāvīra was carved during his lifetime, according to tradition. Later the practice of making images of wood was abandoned, other materials being substituted.{{Sfn|Shah|1995|p=15}} The bronze sculpture were famous during this period. Akota Bronzes represent a rare and important set of 68 Jain images, dating to between the 5th and 12th centuries AD, which were found in the vicinity of Akota near Baroda in the Indian state of Gujarat. Hoard includes two Jivantasvami images (representation of Mahavira who was still a prince), are widely mentioned examples of the early western Indian school of art. Vasantgarh hoard is a set of 240 bronze idols were discovered dating back to early medieval to medieval period.{{Sfn|Shah|1995|p=4}} It is indicated by the idols that it is influenced by more styles like styles during reign of Harsha and maitraka of Valabhi.{{Sfn|Collins|1988|p=97}} Idols of this hoard show images of tirthankar, sashandevatas (yaksha and yakshi) and Jain deities in Śvetāmbara iconography. These eyes and ornaments are frequently inlaid with silver and gold.{{Sfn|Owen|2012|p=82}}{{Cite web | url=https://www.britannica.com/art/Western-Indian-bronze | title=Western Indian bronze | publisher=Encyclopædia Britannica }}

File:Deogarh, UP. Jain temple complex.jpg wall]]

Kanakagiri Jain tirth was established by Achrya Pujyapada in 5th century during the reign of Western Ganga dynasty.{{sfn|Jain|2018|p=18}} The temple received patronage from Hoysala, Vijayanagara, Maharaja of Mysore, and Wadiyar dynasty.{{sfn|Jaganathan|2014}} The Badami cave temples and the constructed Aihole Jain monuments were built by Chalukya rulers in the 7th century,{{Sfn|Owen|2012|p=6}} and the Jain parts of the Ellora Caves date from around this period. The earliest of the large group of Jain temples at Deogarh were begun, and in general the excavation of new rock-cut sites ceased in this period, as it also did in the other two main religions. Instead stone-built temples were erected.

Jain caves, Ellora were built around the 8th century. Māru-Gurjara architecture became popular in Jain temples. Mahavira Jain temple, Osian is the oldest surviving Jain temple in Western India and was built during the reign of Mahārāja Śrī Vatsarāja of Imperial Pratihāras.{{Cite web|title=The ancient temples of Osian|url=https://www.outlookindia.com/newsscroll/the-ancient-temples-of-osian/1676462|access-date=2021-11-24|publisher=Outlook (Indian magazine)|language=en}}{{sfn|Cort|1998|p=112}}

Hansi hoard contained 58 bronze images of Jain Tirthankaras inside Asigarh Fort dating back to the 8th—9th century. These idols belong to both Digambar and Śvetāmbara sect.

{{Multiple image

| image1 = 'Digambara Yaksha Sarvahna' from Karnataka, India, c. 900, Norton Simon Museum.JPG

| image2 = 'Digambara Yakshi Kushmandini' from Karnataka, India, c. 900, Norton Simon Museum.JPG

| footer = 'Sarvahna and Kushmandini', 900 CE, Norton Simon Museum

| total_width= 250

}}

The Gommateshwara statue is dedicated to the Jain figure Bahubali. It was built around 983 A.D. and is one of the largest free standing statues in the world.{{sfn|Zimmer|1953|p=212}} Mahamastakabhisheka refers to the abhiṣeka (anointment) is organised once every 12 years.

Decorated manuscripts are preserved in jaina libraries, containing diagrams from jaina cosmology.{{Sfn|Shah|1995|p=15}} Most of the paintings and illustrations depict historical events, known as Panch Kalyanaka, from the life of the tirthankara.{{Sfn|Jain|Fischer|1978|p=16}} Aluara bronzes represent a rare and important set of bronze images dedicated to Jain tirthankaras that dates back to 11th century.{{Sfn|Shah|1987|p=157}}

File:Jain Tablet Homage Set-up by Vasu the Daughter of Courtesan Lavana Sobhika - Circa 1st Century CE - Kankali Mound - ACCN 00-Q-7 - Government Museum - Mathura 2013-02-24 5987 (cropped).JPG

{{Main|Ayagapata|Jain stupa}}

Ayagapata is a type of votive slab associated with worship in Jainism. Numerous such stone tablets discovered during excavations at ancient Jain sites like Kankali Tila near Mathura in India. Some of them date back to 1st century C.E. These slabs are decorated with objects and designs central to Jain worship such as the stupa, dharmacakra and triratna.{{cite web|title=Ayagapata|url=http://www.britannica.com/EBchecked/topic/46406/ayagapata|publisher=Encyclopædia Britannica|access-date=18 April 2012}}

A large number of ayagapata (tablet of homage), votive tablets for offerings and the worship of tirthankara, were found at Mathura.{{Sfn|Jain|Fischer|1978|pp=9–10}} Kankali Tila tablet of Sodasa and Parsvanatha ayagapata are one of the important Ayagapata

The Jain stupa was a type of stupa erected by the Jains for devotional purposes. A Jain stupa dated to the 1st century BCE — 1st century CE was excavated at Mathura in the 19th century, in the Kankali Tila mound.{{cite book| url=https://archive.org/stream/cu31924012251140#page/n0/mode/2up |title=The Jain stûpa and other antiquities of Mathurâ|last =Smith| first=Vincent Arthur |year=1901 |publisher= KFrank Luker, Superintendent, Government Press, North-Western Provinces and Oudh |location=Allahabad}} Jain legends state that the earliest Jain stupa was built in the 8th century BCE, before the time of the Jina Parsvanatha."According to one legend, the earliest Jain stupa (a funerary or reliquary mound, usually grandly ornamented and enclosed by a railing with an elaborate gateway) was built before the time of the Jina Parsvanatha in the eighth century B.C." in {{cite book |title=Arts of Asia |date=1994 |url=https://books.google.com/books?id=i4brAAAAMAAJ |language=en}}

{{main|Jain sculpture}}

{{See|Jivantasvami}}

File:Centaur architrave Kankali Tila Mathura 100 BCE.jpg architrave with Centaurs worshipping a Jain Stupa, Mathura art, c. 100 BCE{{Sfn|Quintanilla|2007|p=22}}]]

Sculpture seems to have been part of Jain tradition since the last centuries BCE, but probably was mostly in wood, which has not survived. The earliert known examples of Jain sculpture are stone architraves of the 1st century BCE, found in the Art of Mathura, particularly from the Jain mound of Kankali Tila.{{Sfn|Cort|2010|pp=25–26}}

Perhaps the most famous single Jain work of art is the Gommateshvara statue, a monolithic, 18 m statue of Bahubali, built by the Ganga minister and commander Chavundaraya around 983. It is situated on a hilltop in Shravanabelagola in the Hassan district of Karnataka state. This statue was voted as the first of the Seven Wonders of India.{{cite news |url=http://timesofindia.indiatimes.com/articleshow/2256323.cms |title=And India's 7 wonders are |newspaper=The Times of India |date= 5 August 2007}}

Smaller bronze images were probably for shrines in homes. A number of medieval collections of these have been excavated, probably deposited when populations fled from wars. These include the Vasantgarh hoard (1956, 240 pieces), Akota Bronzes (1951, 68 pieces, to 12th century), Hansi hoard (1982, 58 pieces, to 9th century), and the Chausa hoard (18 pieces, to 6th century).

Each of the twenty-four tirthankara is associated with distinctive emblems, which are listed in such texts as Tiloyapannati, Kahavaali and Pravacanasaarodhara.{{Sfn|Shah|1995|p=15}}

The Jivantasvami images represent Lord Mahavira (and in some cases other Tirthankaras) as a prince, with a crown and ornaments. The Jina is represented as standing in the kayotsarga pose.{{Sfn|Shah|1995|p=15}}{{Sfn|Shah|1987|p=35}}

File:Patan Parshvanatha.jpg|A 10th century CE idol of Parshvanatha from Patan, Gujarat

File:Shrine with Four Jinas (Rishabhanatha (Adinatha)), Parshvanatha, Neminatha, and Mahavira) LACMA M.85.55 (1 of 4).jpg|Chaumukha idol, four Jinas, 6th Century. LACMA

File:Rishabhanatha - First Jain Tirthankara - Circa 6th Century CE - Katra Keshav Dev - ACCN 12-2-68 - Government Museum - Mathura 2013-02-23 5404.JPG|Rishabhanatha, Mathura Museum, 6th century

File:2016 Singapur, Downtown Core, Muzeum Cywilizacji Azjatyckich, Ekspozycja (094).jpg|Parshvanatha, Central India, 10th or 11th century

File:MET DP216814 - Bahubali 6th century (cropped).jpg|Bahubali in Kayotsarga position, Metropolitan Museum of Art (6th CE)

File:India, Rajasthan, Medieval period - Jina (Tirthankara) - 2001.88 - Cleveland Museum of Art.tif|Jain tirthankara in Lotus position, Cleveland Museum of Art, 10th century

A monolithic manastambha is a standard feature in the Jain temples of Mudabidri. They include a statue of Brahmadeva on the top as a guardian yaksha.{{Sfn|Settar|1971|pp=17-38}}

The 58-feet tall monolithic Jain statue of Bahubali is located on Vindhyagiri Hill, Shravanabelagola built in 983 A.D.{{Sfn|The Hindu|Śravaṇa Beḷgoḷa}} was the largest free standing monolithic statue until 2016, 108 feet monolithic idol Statue of Ahimsa(statue of first Jain tirthankar, Rishabhanatha) was erected at Mangi-tungi.{{Sfn|NDTV|108-Ft Tall Jain Teerthankar}}

File:Bahubali Shravana Belagola.jpg|Gommateshwara statue, {{convert|18|m|ft}}, built in 983 CE

File:StatueOfAhimsa (cropped).jpg|Statue of Ahimsa, {{convert|33|m|ft}}, built in 2016

File:Bawangajastatue (cropped).jpg|Bawangaja, {{convert|26|m|ft}}, 15th century

File:Siddhachal - Rishabhanatha.jpg|The {{convert|17.8|m|ft}} colossal sculptures at Siddhachal Caves

File:Adinath.jpg|The {{convert|45|feet}} tall rock cut idol at Chanderi, 13th century

{{Multiple image

| image1 = Detail of a leaf with the birth of mahavira.jpg

| caption1 = The birth of Mahavira, from the Kalpa Sūtra (c.{{nbsp}}1375–1400 CE)

| image2 = Worship of Kunthu.jpg

| caption2 = Painting Kunthanatha, Mysore temple, (c.{{nbsp}} 1825 CE)

| total_width= 300

}}

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. The early manuscripts were written on sheets palm leaves as were the early paintings. Starting around the 14th century paper manufacturing was developed and on these sheets an area was designated for the painter or the entire sheet was designated for the painter. By the 15th-century they were becoming increasingly lavish, with much use of gold.{{Sfn|Rowland|1967|pp=341-343}} Most of the painted sheets were created between the 11th and 17th centuries.{{Cite web |title=Treasures from the Lalbhai Dalpatbhai Museum {{!}} Exotic India Art |url=https://www.exoticindiaart.com/book/details/treasures-from-lalbhai-dalpatbhai-museum-nan293/ |access-date=2024-11-08 |website=www.exoticindiaart.com |language=en}} The Mughal ruler Akbar recruited some Jaina painters among his court artists.{{Cite web |title=Treasures from the Lalbhai Dalpatbhai Museum {{!}} Exotic India Art |url=https://www.exoticindiaart.com/book/details/treasures-from-lalbhai-dalpatbhai-museum-nan293/ |access-date=2024-11-08 |website=www.exoticindiaart.com |language=en}}

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.{{Sfn|Rowland|1967|p=343}} In general, Jain painters preferred a simplified form from what is seen in nature. They depicted life as described in the manuscripts, sometimes showing entire episodes in one detailed scene. Instead of perspective and three dimensional modeling, Jain artises used different techniques to convey space and volume.{{Cite web |title=Treasures from the Lalbhai Dalpatbhai Museum {{!}} Exotic India Art |url=https://www.exoticindiaart.com/book/details/treasures-from-lalbhai-dalpatbhai-museum-nan293/ |access-date=2024-11-08 |website=www.exoticindiaart.com |language=en}}

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.{{Sfn|Shah|1995|p=23}} 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.{{Sfn|Jain|Fischer|1978|p=16}}

File:Lord Risbabhdev in Samosharan on Mount Kailash.jpg ]]

{{Main|Samavasarana}}

Depiction of Samavasarana, the divine preaching hall of the tirthankara, is a popular subject in Jain art.{{Sfn|Wiley|2009|p=184}} Samavasarana is depicted as circular in shape with the tirthankara sitting on a throne without touching it (about two inches above it).{{sfn|Shah|1987|p=23}} Around the tirthankara sit the ganadharas (chief disciples) and every living beings sit in the various halls.{{sfn|Shah|1987|p=11}}

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

{{Main|Jain symbols}}

File:Ahimsa Jainism Gradient.jpg

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).{{sfn|Cort|2001a|p=17}}{{sfn|Jansma|Jain|2006|p=123}} This is conceptually similar to the six realms of rebirth represented by bhavachakra in Buddhism.{{sfn|Cort|2001a|p=17}} 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.{{sfn|Cort|2001a|pp=17–18}}

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 ({{IAST|o3}}{{IAST|m}}). 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".{{citation |url=http://www.cs.colostate.edu/~malaiya/om.html |title=Om – significance in Jainism, Languages and Scripts of India, Colorado State University|work=cs.colostate.edu }}{{sfn|von Glasenapp|1925|pp=410–411}} The Om symbol is also used in ancient Jain scriptures to represent the five lines of the Ṇamōkāra Mantra.{{CN|date=August 2023}}

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.{{Sfn|Robinson|2006|p=225}} 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".{{sfn|Sangave|2001|p=123}} According to Anne Vallely, this mantra is from sūtra 5.21 of Umaswati's Tattvarthasūtra, and it means "souls render service to one another".{{sfn|Vallely|2013|p=358}}

The five colours of the Jain flag represent the Pañca-Parameṣṭhi and the five vows, small as well as great:{{sfn|Vijay K. Jain|2012|p=iv}} The Ashtamangala are a set of eight auspicious symbols, which are different in the Digambara and Śvetāmbara traditions.{{sfn|Titze|1998|p=234}} In the Digambara tradition, the eight auspicious symbols are Chatra, Dhvaja, Kalasha, Fly-whisk, Mirror, chair, Hand fan and Vessel. In the Śvetāmbara tradition, these are Swastika, Srivatsa, Nandavarta, Vardhmanaka (food vessel), Bhadrasana (seat), Kalasha (pot), Darpan (mirror) and pair of fish.{{Sfn|Titze|1998|p=234}}

{{commons category}}

• Tirth Pat
• Jain symbols
• List of Jain inscriptions

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{{Jainism topics}}