Ancient Jaina Art and Architecture
By Renuka J. Porwal
Summary
Dr Renuka Porwal surveys the rich artistic and architectural heritage of Jainism and its contribution to Indian cultural history. She notes that Jain art expresses religious thought through tangible forms such as stupas, cave temples, shrines, images, wall paintings, miniature paintings and murals. The Indian craftsman communicates an inner theme through outward appearance and seeks to evoke aesthetic experience (rasa) in the viewer; Jain artists infuse their creations with ethical messages derived from the teachings of the Tīrthaṅkaras. The article describes how Jain antiquity is scattered across India and beyond. At Mathura the earliest Jain stupa complex reveals Mauryan and Kushan influences and establishes a precedent for later temple architecture. Tamil Nadu has numerous inscriptions in Brāhmī script that attest to Jain affiliation; the Pandya kings patronised Jainism and built shrines in Madurai, Pudukkottai and Tirunelveli, while the Granthā Nāḷadiyār was composed by Jain ascetics at the Pandya court. The author discusses the flourishing of Jain art at Kanchi under the Pallavas, the presence of Jain shrines in Mysore, and the influence of Jain ethics on Tamil literature. In Sri Lanka (Ceylon), Jainism reached Anuradhapura and Jaffna via Tamil Nadu; cave paintings at Sittanavasal in Pudukkottai district are cited as early masterpieces. Dr Porwal describes the famous Jain caves at Ellora, excavated in the eighth century under the Rashtrakutas, particularly the Indrasabha and Jagannath Sabha halls and the Chhota Kailash temple. She then turns to northern India, discussing the Dilwara temples at Mount Abu with their intricate marble shikharas and the medieval pilgrimage centre at Śravaṇabelagoḷa in Karnataka, where colossal statues of Bāhubalī stand. Other sites include Mudabidri, whose Tribhuvana Tilaka Cūḍāmaṇi temple (1430 AD) shelters rare palm‑leaf manuscripts of the Ṣaṭkhaṇḍāgama and Kaśāyaprabhr̥ta. Through these examples, the article emphasises how Jain art combines simplicity with spiritual depth; its images of Tīrthaṅkaras convey serenity and inspire ethical contemplation. The survey underscores the importance of preserving Jain monuments and recognising their role in shaping Indian architectural and artistic traditions.
Conclusion
Dr Porwal concludes that Jain art and architecture are integral to India’s cultural heritage. From early stupas and cave temples to the marble splendour of Dilwara and the monolithic statues of Śravaṇabelagoḷa, Jain artisans have left a legacy of beauty and spirituality. Preserving these monuments not only honours a religious tradition but also provides insight into the ethical and aesthetic values that shaped Indian civilisation.