Intro to Jain Art and Beliefs

This blog article serves to answer two main questions: How does Jain art reflect Jain society, and what role does Jain art serve in their society? 

Jain art reflects the core beliefs of Jainism as a religious belief system and ideology. They show the focus on the ultimate goal of moksha (liberation) by having tirthankaras like Mahavira and Parshavanatha, models of attaining liberation, as the main subjects. These images serve as more than symbolic representations of Jain culture but are actively used in temples and rituals as objects of worship. By using them as examples, the art emphasizes asceticism and renunciation by showing rejection of material possessions. This can be seen with the nude depictions in the Digambara sect to show the principle of aparigraha, or non-attachment to material possessions. Through the stillness and meditation positions, their self-discipline serves as a model that practitioners try to emulate when attempting meditative religious processes through poses like padmasana (lotus pose) or kayotsarga (standing meditation pose). Furthermore, they also serve as examples of non-violence. By not moving, these monks limit the possibilities of killing any minuscule living beings like microorganisms, a core Jain belief. The art serves as a way to make concepts like moksha, ahimsa, samsara, and karma visible to followers to better understand how to approach these complex religious ideas. In sites like the Ajanta and Ellora Caves located in Aurangabad, Maharashtra, the paintings depict the lives of Tirthankaras like Mahavira, serving as a visual alternative to reading religious texts. Additionally, Jains use architecture to help guide spirituality and meditation by having temples with symmetrical designs. A prominent example of this as a lived religion is Mount Abu’s Dilwara Temples, located in Rajasthan, India.

Many might assume that because Jains believe in such principles, they have less of a role in society, economics, and politics. However, this is not true at all and is reflected in the modern-day demographics in India and Jain art. 

There are clear religious hierarchies that can be seen with monks, nuns, and laypeople. Certain artworks, like vijnaptipatra (invitation scrolls), serve as political tools used by merchant communities to invite monks, gain religious merit, and assert influence in the evolving social hierarchies. Furthermore, Jains play a strong role in merchant communities. Dipti Khera’s work focuses on bazaar scenes that show wealth, trade networks, and urban property in cities like Udaipur. The focus on these economic aspects reveals the importance of Jain merchants as patrons of art and religion, showing how religion is supported by commerce and allows for the development of patronage, social hierarchy, and economic networks. The commissioning of temples, sculptures, and manuscripts shows how economic wealth is tied to spiritual goals. There is also significant political interaction, which can be seen with art that shows monks with influential political figures like Mughal emperors (e.g., Jahanagir), regional kings, and British officials. There is evidence of their impact on policies as well, with bans on animal killing during Jain’s holy festival of Paryushan. This can also be seen with the influence of Hindu and Mughal artistic styles, showing the extent of Jains in India’s political and economic spheres.

Ultimately, Jain art reveals that religious ideals, economic power, and political influence are deeply interconnected forces that shape both the spiritual practice and social life of Jains.