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separate pair of yakṣa- yakṣi, Sarvanubhuti-Ambika continued to be represented in the cave. In some of the later caves like Ankai-Tanki, this pair is depicted on the doorways.
Jina parikara
The Jina parikara is developed from the occurrence of only few pratiharyas to the standardised set of aṣṭamahapratiharyas and addition of some other features. Earlier examples at Dharashiva and Ambejogai have only chauri-bearers, halo, garland bearers and the simhasana, while later on the triple chhatra, tree, deva-dundubhi (celestial drum) and divya-dhvani (cymbals) are added. In some cases, the elephants, devotees and the lanchhanas are also included. From Ellora, more or less fully developed parikara is found, though lanchhana is still absent, which appears from Chambhar, in late 11th-early 12th century CE. The elephants are added in the throne in some of the icons at Ellora, but it becomes a regular feature from Anjaneri, around middle of the 12th century CE. At the same site and also at Ankai-Tankai and Ellora J5, the elephants are added in the parikara top, shown as lustrating the Jina. This feature does not occur in all the cases. However, caves of still later period revert back to simple parikara with minimum pratihāryas as seen at Mohida and Mangi-Tungi upper caves.
It should be pointed out that the lanchhana, though present in some cases, is not a very regular feature. Among the Jinas provided with lañchhanas are Chandraprabha at Chandor and Mohida I, Santinatha at Ellora J32 and Ankai III, Rṣabhanatha at Tringalwadi, Chambhar I, Mohida and Ellora J5, and Pushpadanta, Mallinatha, Suparsvanatha, Padmaprabha and Sumatinatha in Cave I at Mohida. This is the only site to display lanchhanas for a large number of Jinas. Another unique panel is at Tungi peak, where Mahavira, Parsvanatha, Neminatha, Mallinatha and Rṣabhanatha are represented with their respective lañchhanas. Rṣabhanatha is present in some of the other caves also as identified by the hair on the shoulders or by the presence of his yakṣa-yakṣi. But the lanchhana is present only in aforementioned cases. Parsvanatha is the most popular Jina as he figures as the main icon at Dharashiva, Ambejogai, Chambhar I and IV, Anjaneri, Bhamer and Ellora J27, apart from a lager number of icons depicted in the verandahs and halls of almost all the caves. Interestingly, there is not a single icon of Parsvanatha in both the caves at Mohida, though a large number of Jinas are depicted. Although Mahavira is said to be present at Ellora because the lion in the centre of the simhasana is identified as his lanchhana, one cannot be very sure. A large number of non-Mahavira icons are found with three lions on the throne from the other parts of the country. A bronze of seated Jina dating from circa 8th-9th century CE, in spite of having three lions on the pedestal, is Ṛṣabhanatha as his lañchhana bull is also depicted. (Shah 1975b: Fig. 60) A large boulder with twenty-four Jinas carved in two rows at Sirukkadambur in south Arcot district, Tamil Nadu has three lions on the throne of each Jina (Sivaramamurti 1983: Plate 57). It is difficult to believe that all of them were meant to be Mahavira. Some of the Parsvanatha images are also shown with three lions such as the rock-cut icon of seated Parsvanatha from Hanamkonda dated to the 12th-13th century CE (Sivaramamurti 1983: Plate 285). Even the Buddha figure is found with three lions (Gupte 1964: Plate 2C, Vogel 1936: Plate 29). Bruhn is inclined to consider the central lion as the lanchhana on the contextual basis (1960: 187). In one of the cases, where two
