This marble wall panel is a stunning example of Jain architectural artistry. A circular low-relief marble panel, etched with knots that almost look Celtic at first glance, originates from Rajasthan. The centre of the panel is occupied by an empty figure, whose loose silhouette has been presented to us. A five-headed snake hoods this figure’s head and lies in an inner circle. Along with two elephants and two figures - half snakes and half-human, adorned with jewellery, flanking with chowries, next to the main figure, in a backdrop of swirling vines and lotuses - one instantly knows the central figure which takes up the space is Parshvanatha, the 23rd of 24 Tirthankaras of Jainism.

The level of complexity imbibed in the panel only increases when one moves towards the outer circle divided by an intricately dotted boundary, creating a mandala-like overview of the panel. Repetitive and intermingling patterns and braids emerge from the tails of the figures in the outer circle - holding lotus flowers in one hand, some champak flowers also adorn the spaces in-between, in perfect geometry, adding to the elaborate and meticulous details of the panel. The details don’t stop here though, every aspect of the column has been well catered to, as is seen when exposed to the corners and the depth of the piece - unfolding swirls engraved on marble.

The empty figure/seat in the centre represents Parshvanatha, also known as Parshva. He is often shown with a serpent hood over his head, representing the Naga (snake) Dharnendra, believed to have protected him during meditation. The two elephants in the panel represent strength, wisdom, and royal power in Jainism.

One of the reasons that the figure has been shown as empty, is because in Jainism idols have not been provided with personified expression or narrative character due to the belief that the absolute god can be interpreted not as personified existence, but as the order of the universe itself. The absence of a figure in its specifications suggests the same emotion., therefore it isn’t uncommon to employ a space to refer to the Tirthankara.

The image of the Parshvanatha (following the Jainism iconology of Tirthankaras), has been divided vertically into three sections. The upper represents the heavens, the middle is the mid-region, and the lower represents the earth. This represents the image of the Tirthankara as a cosmic pillar that unifies all three regions.

The composition of the panel has been greatly inspired by the marble panel of Parshvanatha at the 15th century Ranakpur Jain Temple in Rajasthan, dedicated to Rishabanatha, and designed by the architect Deepaka. The original relief in the temple has a diameter of 5 ft, and this wall panel is among the few which come close to that in size or magnanimity. With some innovation on the artist’s part, especially the absence of a figure, and minor changes in designs and surrounding figures, this panel holds the antiquity of a design which goes back to the 15th century, and to one of the most revered places in the Jain faith.