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Jaina Rock-cut Caves in Western India elephants in the throne and also parikara top, with or without pitchers in the trunks, though it does not occur in all the icons as a rule. The parikara top is almost crowded with a number of attendants. However, there are two exceptions in this general 'pattern', Parsvanatha in J27 at Ellora, who is in the ardhapadmasana, though the cave belongs to the 13th century CE and the Jina figure at Nandagiri, shown in ardhapadinasana, though it dates to late 12th century CE.
Though it would appear that the sites, influenced by south Indian examples, are mainly in Marathwada except Mangi-Tungi, while the later sites, receiving the influences from north India, are situated in Nasik, Dhule and Jalgaon districts, all in north Maharashtra, there does not seem be to any spatial patterns at work and only the temporal factor is important. Thus, the sites like Ellora and Mangi-Tungi show different styles or 'influences' at different times. Similarly, Patne displays both 'northern' and 'southern features, as both the types of the asanas are present in this cave. The ardhapadmasana is provided mainly due to the influence from Ellora, while padmasana is depicted because of other influences, which perhaps started appearing at the time. But the caves postdating Patne almost invariably show padmāsana so also śrivatsa.
Apart from these general features, there are some stylistic peculiarities, which suggest that the latter caves were influenced by the trends from central India and also western India. The type of standing Jina figure depicted at Mohida, Ankai III and some icons on Mangi peak is borrowed from central India. Most of the standing Jina figures of the period from central India have small chauri bearers shown near their feet either on sides or right below the hands. They hold chauris in their inner hands, which are raised upwards. The hands of the Jina are shown in peculiar way with first two fingers pushed slightly ahead and with some space in between. Almost identical depiction is found at the aforementioned sites. A loose tritirthika (RSM S/41) and also another standing Jina figure, now in the Rajwade Museum, Dhule are also of this type. A number of icons from central India have very small figures of devotees seated near the feet of Jina and turned towards him. To the right is a male, while to the left is shown a female. A loose tritirthika from Ankai, now in Prince of Wales Museum, has devotees shown in similar fashion. Some of the loose icons from Ter also have small devotees, depicted in a similar way. Thus, it appears that the Jina icons in the region from around 11th 12th century CE are influenced by central Indian art idiom. The study of loose icons found in the vicinity of Ankai, now kept in Cave III and also in the Prince of Wales Museum reveals their stylistic proximity to central Indian art idiom. The arched eyebrows, almond shaped halfclosed eyes, full lips and smooth body form speak of the common stylistic trends. A portion of the throne (Ank/0010) from the assemblage depicts a figure of Santi devi or Sarasvati in the centre, with a wheel below, which is not set edgewise as usually shown, but is frontal and is flanked by a deer. Another such throne portion (Ank/0038) shows similar features. Here the figure of yakşi Ambikā is present on the extreme left end of the throne. A 12th-13th century image, now worshipped in the Vimalanatha temple, Balsana, Dhule district, also has similar type of throne. This type of throne is a typical feature of western Indian art, mainly Gujarat region. The latter image has nine planets on the base of the throne, another typical western Indian feature, mostly found in bronzes. Thus, it is clear that in the later period, from around 11th century, the Jaina icons are influenced by central, northern and western Indian art idioms. These 'influences' were in no way one
