Tirthankar Bhagwans did not “create” most of the detailed rituals and bhakti-forms we see today (aartis, many stotras, poojan‑paddhatis, yantras, etc.). They mainly gave Dharma‑tattva (right principles) and basic forms of sādhanā. The formatting of today’s kriyā‑bhakti was done later by Āchāryas, Upādhyāyas and shravaks.

In simple points:

1. What comes directly from Tirthankars (in essence)

Across both Digambar and Shwetambar traditions, the following are considered to be directly rooted in Tirthankar‑pravachan:

1. Namokār (Navkār) Mantra – मूल नमस्कार

- Not as a “poem” composed later, but as the fundamental bowing order: - Arihant - Siddha - Āchārya - Upādhyāya - Sādhu - This basic namaskār-bhāvanā is considered Tirthankar‑pranīta, i.e. coming from the Omniscients’ teaching.

1. Āvaśyak sādhanā (essential practices)

The types of practices are from Tirthankars; the present detailed sutras and wordings are mostly later compilations.

Common essentials include (wording varies slightly by tradition, but idea is same): - Samayik – remaining in equanimity for a fixed time. - Chauvisattho / Jin-stuti – praising the 24 Tirthankars. - Vandana – respectful bowing to sadhus. - Pratikraman – confession and return from sins. - Kayotsarga – stillness of body with awareness of soul. - Pratyākhyān – firm resolve to avoid certain sins for some time.

Tirthankars taught these modes of practice (equanimity, confession, praise, renunciation, resolve, etc.). The specific sutras, gāthās and formats we recite now were systematized later by Ganadhars and Āchāryas.

1. Five Great Vows (Paṅch Mahāvrat) and their anuvrat, guṇa‑vrat, śikṣā‑vrat

- The whole structure of: - Ahimsā - Satya - Achaurya - Brahmacharya - Aparigraha - …along with householder‑vows, monk‑vows, etc. is directly from Tirthankar‑Dharma. - These are not just ethics; they are daily living kriyā when actually practised.

1. Pañcha‑kalyāṇak events as objects of bhakti

- Garbh, Janma, Dīkshā, Keval‑jñān, Nirvāṇa are historical‑spiritual events of each Tirthankar told by the Jinas themselves (and their Omniscient assembly). - Pañcha‑kalyāṇak‑poojans, anjanshalā, other shubh‑vidhis based on these events are later ritual developments, but their subject (the five kalyāṇaks) is directly from Tirthankars.

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2. What is not directly created by Tirthankars

Almost all specific texts and rituals we commonly know as “bhakti” are later compositions, e.g.:

• Aartis (e.g., “Aarati utāro Guruvar kī”, “Om Jai Jineshwar…” etc.)
• Famous stotras like Bhaktāmar, Kalyāṇmandir, Uvāsagaharam, etc.

(all by later Āchāryas / scholars, not by Tirthankars themselves)

• Formal Pūjā‑paddhatis with 8‑dravya, 16‑bhāv, shodash‑kārak etc.
• Yantra‑poojan, specific vrata‑kathās in story‑form, many local customs.

These may be very useful and śāstrīya, but they are based on Tirthankar‑tattva, not authored by the Tirthankars personally.

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3. Digambar and Shwetambar – is there a difference here?

• Both traditions agree that:

- Tirthankars mainly give doctrine, vows, right conduct and basic modes of sādhanā. - Most detailed kriyās and textual bhaktis are by later Āchāryas / Gañadhars.

• Differences are in:

- Which Āgams / texts are accepted as preserved. - Which stotras, poojans, paddhatis are popular in each tradition.

• But the core point – that Tirthankars did not sit and compose today’s aartis, stotras and ritual manuals – is the same.

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Summary in one line

Directly from Tirthankars we have principles, vows, and basic spiritual practices like Namokār‑namaskār, āvaśyak sādhanā, and the five vows; most kriyā‑bhakti forms we use today are respectful later creations, built on those original teachings.