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Though there are different types of icons in Jain iconography however, the main emphasis is always on the 罢墨谤迟丑补峁卥补谤补 image. The characteristic features of a Jain image have been referred in various early medieval works. According to the 叠峁沨补迟-蝉补峁僪颈迟腻 鈥渢he god of the Arhats (the Jainas; i.e., any of the twenty four 罢墨谤迟丑补峁卥补谤补s) should be shown nude, young and beautiful in appearance, with a tranquil expression and arms reaching down to the knees; his breast should have the (auspicious) 艢谤墨惫补迟蝉补 mark鈥� (Dvidedi 1895-97: 58; 45; 320). The M膩nas膩ra, a 艣颈濒辫补 text of sixth century CE, mentioned that the image of Jain 罢墨谤迟丑补峁卥补谤补 should be in a straight erect or sitting posture with two arms and two eyes. They should not be decorated with ornaments and clothes. The 艢谤墨惫补迟蝉补 mark should be made in the gold over the chest (M膩nas膩ra, LV.36-42, 71-85). The 笔谤补迟颈峁ａ弓丑腻-蝉腻谤辞诲丑腻谤补 speaks that a 罢墨谤迟丑补峁卥补谤补 image should have a calm and serene face (Sastri P.M. ed. 1974: 61-62, Bombay). Another text 笔谤补迟颈峁ａ弓丑腻s膩rasa峁単raha narrates that the icon of a 罢墨谤迟丑补峁卥补谤补 should be young, nude and void of any garments. The 罢墨谤迟丑补峁卥补谤补 bears in his chest a 艢谤墨惫补迟蝉补 mark and accompanied by eight 辫谤腻迟颈丑腻谤测补蝉 (Vasunandi Saiddh膩ntika 1925: 4 Solapur). The 搁奴辫补尘补峁囜笉补苍补, one of the important iconographic texts, gives an exhaustive account on the iconographic features of a 罢墨谤迟丑补峁卥补谤补 image (Srivastava, Balaram 1964: 33-39, Varanasi).

The eight 笔谤腻迟颈丑腻谤测补蝉 of a 罢墨谤迟丑补峁卥补谤补 image consist of i) heavenly tree, ii) a throne seat, iii) Trilinear umbrella and a lion throne, iv) Aura of a beautiful radiance, v) Drum (Divya-dhvani), vi) showers of celestial blossoms, vii) two chowries and viii) heavenly music (cf. Bhattacharya, 19-20, ft. 1). All these symbols are present in a complete image of 罢墨谤迟丑补峁卥补谤补. The 驰补办峁�a and 驰补办峁�i峁嚹� are to be notice in the lowest corner of the main image. However, in the present study region this feature is very rarely seen. The 罢墨谤迟丑补峁卥补谤补s are always representing in 办腻测辞迟蝉补谤驳补 and in 诲丑测腻苍补蝉补苍补 postures. The basic difference between one 罢墨谤迟丑补峁卥补谤补 image with another is the respective 濒腻帽肠丑补苍腻蝉, which are always depicted on the pedestal of the image (Bhattacharya 1974: 19-20). Another important thing is that the highest ideal in Jainism is the ascetic, homeless, possessionless, and above all, passionless wanderer. That is why the Jains are always portrayed as mendicants or yogis.

In the present context it is very necessary to understand the Jain perspective towards arts in general and towards divinity, worship and objects and places of worship in particular. Jainism does not subscribe to the popular idea of God as some supreme being invested with the power of creating the universe and sitting in judgement over the destinies of all beings. However, in Jainism the God is the highest spiritual ideal for every one who wants to progress on the path of religion. The spirit in every one of us is in the grip of karmans from beginningless times. Karmans give their fruits automatically according to their nature, duration, intensity and quantum. There is no escape from them unless one experiences their consequences, good or bad. In this entire God has no part to play. If Jainism admits worship of the divinity, it is not for gaining any favours or for escaping calamities, however, for evolving and attaining the great qualities which are found in the Supreme Spirit, which is the final, spritiul stage of the spirit in every one of us.

Simple image鈥搘orship, in due course of time, became highly complex depending on the means of the worshipper. Gradually different attandent deities were started worshipped by the followers of Jainism and during the Gupta period some of the most significant developments in Jain art and iconography took place. Jain images were evolved three-dimensionally and the figures became more sophisticated and light in modelling. The ethical background of Jain art and architecture aims at evolving 腻迟尘补苍, into param腻迟尘补苍 and cultivates the spirit of piety, peace, serenity, detachment, charitable disposition, devotion to learning and pious living as well as to austerity and renunciation, in the minds of the devotees.