The contribution of Jainas towards art and architecture was specially important in view of the magnificent artistic creations, particularly in the forms of images, temples and paintings, spread all over the country and covering a time span in continuity from the earliest through the modern times.The Jaina art with profuse variety changes innovations and embellishments (barring Jina images) has never been monotonous also. The Indus Valley civilization (c. 2300-1750 BC) is the earliest civilization of India. The figures on some of the seals from Mohen-Jo-Daro and also a male torso from Harappa remind of the Jina images on account of their nudity and posture, similar to kayotsarga-mudra, which is exhibited more emphatically in Lohanipur torso.  But nothing can be said with certainty until the Indus Valley script is deciphered finally. The earliest-known Jina image, preserved in the Patna Museum, comes from Lohanipur (Patna, Bihar) and is datable to c.  third century BC  The nudity and the kayotsarga-mudra, suggesting rigorous austerity of the image were confined only to the Jinas. The two early bronze images of Parsvanatha, differently dated by scholars from 2^nd century BC  to 1^st century AD  are in the collections of the Prince of Wales Museum, Mumbai and Patna Museum.  These figures provided respectively with the five- and seven-hooded snake canopy are rendered as sky-clad and standing in the kayotsarga -mudra. 1^st century BC, bearing the figure of Parsvanatha, seated in dhyana-mudra in the centre, is in the collection of the State Museum, Lucknow ( J. 253). The rendering of the Jinas in dhyana-mudra (seated cross-legged) and the representation of srivatsa in the centre of their chest appear for the first time in the Sunga-Kusana sculptures of Mathura.
  The Gupta period (4^th century to 600 AD) Jaina sculptures are reported from several sites, like Mathura, Rajgir, Kahaum, Nachna, Durjanpur (Vidisha), Varanasi, Chausa and Akota.  The images of Rsabhanatha, Ajitanatha, Candraprabha, Puspadanta, Neminatha. 
 The Jaina art and literature thrived most vigorously between the 10^th and the 15^th century AD  The period saw the building of a very large number of Jaina temples with exquisite sculptural carvings.  During the period the new forms and iconographic features (excepting that of the Jinas) of various deities were formulated and gradually the number of arms and thereby the attributes increased to make the most of the manifestations more as the specimens of codified texts.  The parikara (surrounding) of Jina images also developed with the figural depictions of Navagrahas, Sarasvati, Laksmi and diminutive Jina figures.  Besides, the usual astapratiharyas and the yaksa-yaksi figures were also carved.  The angularity and flexion along with embellishments and ornamentation were other distinct features of medieval Jaina sculptures. Parsvanatha and Mahavira Jinas were carved during the period. 
   The art and architecture of the Jains have the main objective to maintain, preserve and glorify the culture extensively. They also glorify the devotees too internally with psychological bliss. Jainas realized that true art represents the spirit of true religion. Besides its religious value, it has been taken as a treasure of the country. That is why many Jain art centers have become tourist attractions now. Adinatha Temple deep in the mountains, Ranakpur, 1439
   The Jainas could feel proud of their rich cultural heritage since the earliest times. It has a religious orientation in its art in varied forms. Being predominantly idolaters, they have good iconography and icon making art. They could make the victor's icons of different sizes, materials, (wood, stone, metal, marble etc.) and postures (seated or standing). They could carve icons out of stones also. All icons have been made according to dimensions with attractive meditating faces of victors expressing the idea of successful withdrawal  from worldly life. There are many idols of international accreditation one of Bahubali at Shravanbelgola in Karnataka (983 AD) and Lord Rishabhdev ar Barvani in Madhya Pradesh state need special mention for their magnificence  and heights. The icons are worshipped only after consecration ceremony lasting for seven days with high pomp and show. This ceremony has a large frequency for the last quarter of this century. 
   Jaina icons are found ever since 400 BC in different parts of India. They are most numerous. Seeing a number of different icons in any museum, one can judge about the development of iconography with respect to material and aesthetic beauty. Palitana is one of the best center for variety of idols. Formerly, all Jina idols were made nude and without identification marks, but later they had the marks like lion (Mahavir), hooded cobra (Parshvnatha) and bull (Rishabhdeva) etc. sometimes with or without eight auspicious symbols on both sides of identification marks. The images of many lesser deities were also incorporated later in this art. They included demigods and the like. 
   Footprints are also a specialty of Jaina art to make one remember to follow the path led by the Victors.. Marked and adored images were also made for sectional identification later. This idol making art is a highly creditable one in Gujarat and Rajasthan states of India.
   The temple making art is also superb in Jain architecture. Currently, one can distinguish the regional temples by their architectural designs in west and central part of the country. These temples are places of worship where Jina idols along with demigods and goddesses are kept on stone or marble made altar under aesthetic beauty. Many temples have fine decorative art of surprising nature such as at Khajuraho, Deogarh,  Mt. Abu, Ranakpur etc. The temples sometimes have a magnificient tope in front of them such as at Hastinapur, Mathura etc. Many temples have free standing pillars called vanity-subduing pillars again a speciality of the Jains in religious field. 
   Cave temples-simple or rock cut are other variety found in Orissa, Bihar and south extensively. Some cave temples contain polished stone beds per chance representing the place for voluntary death. Temple arches are also found in many places. Shrines are another forms for temple- like places. The temple art has a Nagar or Dravidian style. The temples were made at distinct places some of which have developed as temple cities now like palitana, Ahar, Kundalpur, Rajgir etc. The temple art is still continuing gracefully. 
   Wall paintings are also found in many temples and caves representing religious stories, tenets and prominent incidents of Victors lives, mother's dreams, legendary scenes, miniature painting and palm leaf or paper decoration (manuscripts) which has also been an art of respect. The exquisite samples of this art are found in many Jain manuscript libraries. Wood carving has also been an art. It seems some of these arts have been declining considerably.

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