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According to the Jain philosophy, the 罢墨谤迟丑补峁卥补谤补蝉 have been conceived to be the form of the universe, lord of the world, possessor of the supreme knowledge and in their incarnatory forms, they are shown only with two arms like any other human being. 罢墨谤迟丑补峁卥补谤补 is also known as the Jina which means the conqueror of the human enemies like lust, anger and others.

These 鈥�Jinas鈥� are four fold-viz,

(i) 狈腻尘补-Jina or those who were Jinas by name, e.g. 峁氠梗abha and others,

(ii) 厂迟丑腻辫补苍腻-闯颈苍补 or images which are installed and made of gold, stone, etc.,

(iii) Dravya-Jina or those beings who are endowed with Jina鈥檚 quality, e.g. 艢谤别峁噄办补 and

(iv) 叠丑腻惫补-Jina or those who have attained the 厂补尘补惫补蝉补谤补峁嘺.

[Bhattacharya 1974: 12]

Thus, the 罢墨谤迟丑补峁卥补谤补蝉 or Jinas are really a very sublime and noble iconological evolution, and not only in art but also in the religious history of India. The number 24 associated with these Jinas is curious coincidence with the 24 incarnation of 痴颈峁ａ箛耻.

In Jainism 罢墨谤迟丑补峁卥补谤补 are the main subject of art and the Jain art and iconography is totally based on the origin, growth and development of the 罢墨谤迟丑补峁卥补谤补 images besides, other images of like 驰补办峁�a蝉 and 驰补办峁�i蝉 associated with Jainism. The origin of image worship in Jainism may on the basis of available archaeological evidence be assigned to, at least the Mauryan period. Samprati, the grandson of 础艣辞办补, was the follower of Jainism and given much royal support to the monks of this faith. The evidence of Lohanipur statue (Pl.XV.F) (Jayaswal 1937: 130-2) does lend support to this tradition. King 碍丑腻谤补惫别濒补 of 碍补濒颈峁単补 (Second-first century BCE), who was a devout Jaina, styles himsef as 叠丑颈办峁�u-谤腻箩补, 鈥渢he monk king鈥� in his H膩tigumph膩 inscription. According to this inscription 碍丑腻谤补惫别濒补 in his twelfth year of his reign, after defeating the king of Magadha, took back the Jina image which was originally carried away by a Nanda king from 碍补濒颈峁単补 (Jayaswal and specific 濒腻帽肠丑补苍补 of 狈补尘颈苍腻迟丑补. Besides this the others are 碍奴谤尘补 represents 罢墨谤迟丑补峁卥补谤补 Muni Suvrata; Gaja represents 罢墨谤迟丑补峁卥补谤补 础箩颈迟补苍腻迟丑补; Vajra represents 罢墨谤迟丑补峁卥补谤补 顿丑补谤尘补苍腻迟丑补; Pig represents 罢墨谤迟丑补峁卥补谤补 痴颈尘补濒补苍腻迟丑补; Nandyavarta or a kind of Fish represents 罢墨谤迟丑补峁卥补谤补 础谤补苍腻迟丑补; Lion represents 罢墨谤迟丑补峁卥补谤补 惭补丑腻惫墨谤补; 艢补峁僰丑补 represents 罢墨谤迟丑补峁卥补谤补 狈别尘颈苍腻迟丑补 and 骋补峁囜笉补办补 represents 艢谤别测腻峁僺补苍腻迟丑补 (Pl.XV.E).

Banerji 1983: 71-89). Later he excavated a number of caves in the 碍耻尘腻谤墨 parvata (Kha峁囜笉agiri hill) near Bhubaneshwar and built a monastery at 笔腻产丑腻谤补, not far from these cave. During the 碍耻峁Ｄ佱箛补 period Jainism was flourishing in northern India and numerous stone sculptures of different 罢墨谤迟丑补峁卥补谤补 fashioned during this period. Beside these 罢墨谤迟丑补峁卥补谤补 images gradually different images of other gods and goddesses including 驰补办峁�a蝉 and 驰补办峁�i峁嚹玸 were came out and though they are subordinate in type, however, play a significant role in Jain iconography. Except these images the Navagrahas, the 顿颈办辫腻濒补蝉, the 艢谤耻迟补-诲别惫墨 and Vidy膩诲别惫墨s, and some others Brahmanical divinities were silently assimilated into Jain pantheon. As a result of this the Jain iconography became a major subject of interest.