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found mainly in the Digambara works while the Svetāmbara works (from c. 10th century A.D. onwards) make the dhyāna of Ambikā with four hands.
The Caturvimśati-Jina-caritra or Padmananda-mahākāvya of Amara-candra Sūri (A.D. 1241) makes the dhyāna of four-armed Ambikā, riding a lion and holding the same set of attributes as prescribed by the Trişaști-salākā-puruşa-caritra. 12 The Ambika-devi-kalpa of Jina-prabha Suri (c. A.D. 1335), the Ācāra-dinakara of Vardhamana Suri (A.D. 1412) and the Rūp-avatāra also invoke four-armed Ambikā with similar attributes, 13 The Rupa-mandana and the Devata-mūrti-prakarana of Sūtradháramandana (15th century A.D.) envisage identical attributes for four-armed Ambikā with minor alteration. These works give nāga-pāśa in place of pāśa.14 The Mantrādhiraja-kalpa of Sāgara-candra Sūri (c. 13th century A.D.) also refers to the four-armed Ambikā as riding a lion and holding a bunch of mangoes, noose, goad and fruit. 15 Apparently, the usual child to be shown in the lower left hand has been substituted here by a fruit. However, both of her sons, according to this text, should be carved close to her breasts. The Aparājita-prcchă of Bhuvana-deva (c. late 12th or .13th century A.D., devoted a hymn to the Ambikā of Urjayantagiri, showing fruit and the varada-mudrā.16 It further mentions that both of her sons should be carved nearby, one of which remaining in the lap. Vastu-pāla, the famous Jaina minister of the Chaulukyas of 13th century A.D., devoted a hymn of the Ambikā of Urjayantagiri, titled the Ambika-stavana." Ambikā, addressed here as Kūşmandini, Padmalayā (seated on lotus) and Ambā, is visualized as holding a bunch of mangoes in her right hand. Jineśvara Sūri too conceives her with a bunch of mangoes. 18 It seems that Vastu-pāla and Jineśvara Suri both had a form of two-armed Ambika in their mind.
The forms of Ambikā, discussed above, belong to the north Indian tradition. However, we come across a few references to her forms in south Indian works as well. T.N. Ramachandran has given three such forms of Ambikā which belong both to the Svetāmbara and the Digambara traditions. In south Indian works Ambika is portrayed as having two and four arms. 19 The dark blue-complexioned Ambikā, also called Dharmă-devī, when two-armed, rides a lion and shows fruit and the varada-mudrā (boon-conferring gesture). This form is supplied by an untitled palm-leaf manuscript, now in the possession of the temple priest of Jina Kāñchi (Tirupparuttikkun
28 Ambika
