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Jaina Rock-cut Caves in Western India earrings. It is very unique to this region and not found from any other parts. This figure also appears in the loose icons from the region as seen in an icon from Bhandak in Chandrapur district (Chitale 1990: Plate against p. 145) and another from Sinnar in Nasik district, now kept near public library in Nasik. There are no literary evidences available for the presence of this figure (Shah 1940). He is identified as the husband of Ambika (Jamkhedkar 1996: Footnote 5). But her husband is present in the form of her vahana, lion. The chhatra, the plain head, beard, type of costume and almost absence of ornaments suggest that he may represent the Brahmanas, who were angry discovering that the food prepared for them was given to a Jaina monk by Ambikā in her previous birth. He is probably depicted as paying his respects to the goddess after realising the mistake when few miracles occurred. It is difficult to explain why this figure occurs only in the panels from this region and no other parts of the country.
Most of the icons of Ambika from Maharashtra, except the aforementioned figure from Bhandak and a figure on the janghā of the Jaina temple at Khidrapur in Kolhapur district, are shown seated unlike other parts of the country, where standing icons are also quite common.
There are some interesting figures in the Ambikā panels in Cave II and III at Ankai. There is a female with ghata and perhaps a plantain, male with kamandalu in each hand and seated female with indistinct object in the hands. These figures are not usually found in the parikara of Ambika and are unique to these two panels. Possibly, these are some local deities. Another unique feature of Ankai II panel is the appearance of Ganesa as the child seated on the lap. It is very difficult to say whether the figure is original or tampered with at a later period as at present it is covered with vermilion. However, if it is original, it is very significant. It suggests the popularity of Ganesa in the region and also point at the methods adopted by the religion to fulfill the needs of local people. Only other Ambikā icon, associated with Ganesa, is the image in the Mathura museum (Joshi, 1975: Plate 79). Here a small figure of Ganesa is shown seated near her feet. This icon is dated to the period between 600 to 1000 CE.
Sarvanubhūti
Sarvānubhuti is also present in all the later caves, except Tringalwadi, Ellora J5, Mohida, Junnar and upper caves of Mangi-Tungi. As is the case of Ambikā, a loose mutilated figure of Sarvänubhuti is lying in the cave at Vase. The placement of this figure on the doorjamb at Mangi-Tungi II is peculiar. In all the cases, he is a two-armed figure seated in savya or Vāmalalitäsana on his vahana, elephant, except Mangi-Tungi II, where the vahana is absent. Most icons show him seated under a banyan tree. In the right hand is held mātulunga, while in the left hand is a purse. Except Ankai and Ellora, no site depicts any attendants. At Ankai and Ellora, either one or more chauri bearers or male figures are shown. The Ellora panels are most elaborate. As is the case with the Ambikā panels, the Sarvānubhuti panels at Ankai have some peculiar figures. Some among them are obviously attendants, while some of the figures such as a female with a ghata, a female with a sword or staff and a male in mahārājalilasana have close affinity to the figures in Ambikā panels, either representing local deities or some devotees.
