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Architectural and Iconographic Trends
269 probably representing same person ir: both the panels. The only difference being that the male in Cave III holds a staff, while in Cave II he appears to be in añjali mudra. These figures are fully decked and the man in both the panels has hair tied in a bun above the head. The fact that he is on an elephant and holds a staff in one case indicates that he was an important person, probably a local official.
There are three intrusive icons in J25 at Ellora depicting a small, standing figure of Jina flanked by six males and five females and in two cases with individual names below written in Kannada. While males have outer hands in abhaya, patakā or preaching mudra, the females are in añjali mudra. There are no traces of garments or ornaments on any of the figures. The names written below are demarcated by lines to indicate the individual name of the figure above. Some of the names are Naganandi, Achabe, Silabe etc. in both cases representing same individuals in both the panels on the pillars facing each other. These persons appear to be monks and nuns and could be donors or were depicted by some donor.
INFLUENCES
Influence from South India
The caves till about 10th century CE, such as Dharashiva, Ambejogai, Ellora, Pandu Lena, Mangi-Tungi (lower Cave I) do not show the śrivatsa, have simple throne and parikara and ardhapadmasana for Jinas. On the other hand, the later caves of Patne, Mangi-Tungi (lower cave II and upper caves), Chambhar, Anjaneri, Tringalwadi, AnkaiTankai, Bhamer, Chandor, Mohida, Vase, Junnar and Ellora upper caves have Jinas seated in padmāsana, thrones with elephants and also śrivatsa. It appears that the early caves follow 'southern style or are influenced by south Indian examples. Most of the Jina icons from south India are shown seated in ardhapadmāsana and have a throne with wheel and lions or three lions. The parikara is very simple and the elephants are never found in the parikara top. The srivatsa is almost always absent (Shah 1975b: 286). Although Dharashiva icons imitate the Buddha icons of Ajanta in all the details, the asana of the Jina is ardhapadmāsana as in south India and not padmāsana as at Ajanta. Another noticeable similarity is the style of showing the chauri bearers. At Ellora and MangiTungi (lower caves), the chauri bearers are shown standing behind the throne back and thus they seem to be springing from behind. This practice is very popular in south India (Shah 1975b: 278). Some of the later caves, such as Patne and Chandor also make use of this device. In fact, it is a common practice in Deccan, mainly borrowed from the examples further down south. Moreover, as mentioned above, the iconographic programme of the Ellora caves is apparently borrowed from south India, mainly the Badami-Aihole region.
Influence from north, central and western India
The later caves follow the 'northern style or are more influenced from the western and central India. Unlike south India, most of the Jina images from north and central India are shown seated in padmāsana and also carry the śrivatsa. A number of images have
