section_path: Art and architecture
section_name: Art and architecture
paragraph_text: Art and architecture
  
  Jainism has contributed significantly to Indian art and architecture. Jain arts depict life legends of tirthankara or other important people, particularly with them in a seated or standing meditative posture. Yakshas and yakshinis, attendant spirits who guard the tirthankara, are usually shown with them. The earliest known Jain image is in the Patna museum. It is dated approximately to the third century BCE. Bronze images of Pārśva can be seen in the Prince of Wales Museum, Mumbai, and in the Patna museum; these are dated to the second century BCE.
  
  Ayagapata is a type of votive tablet used in Jainism for donation and worship in the early centuries. These tablets are decorated with objects and designs central to Jain worship such as the stupa, dharmacakra and triratna. They present simultaneous trends or image and symbol worship. Numerous such stone tablets were discovered during excavations at ancient Jain sites like Kankali Tila near Mathura in Uttar Pradesh, India. The practice of donating these tablets is documented from first century BCE to the third century CE. Samavasarana, a preaching hall of tirthankaras with various beings concentrically placed, is an important theme of Jain art.
  
  The Jain tower in Chittor, Rajasthan, is a good example of Jain architecture. Decorated manuscripts are preserved in Jain libraries, containing diagrams from Jain cosmology. Most of the paintings and illustrations depict historical events, known as Panch Kalyanaka, from the life of the tirthankara. 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. In paintings, incidents from his life, like his marriage and Indra 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. Each of the twenty-four tirthankara is associated with distinctive emblems, which are listed in such texts as Tiloyapannati, Kahavaali and Pravacanasaarodhara.