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Conclusion Iconographic Development
The development and the trend of iconographic norms in Maharashtra broadly followed the general pattern as noticed at pan-Indian level. Some of the features such as the introduction of śāsanadevatās as well as lañchhana appear late in this region. A number of iconographic features of these caves can be compared with examples from other regions, as there obviously was an intensive exchange of concepts and ideas. However, there are some peculiar iconographic developments, unique to this region.
In the early caves like Dharashiva, Ambejogai and Kharosa, of the period between 6th to the late 8th century CE, only Jina figures are depicted. Though śasanadevatās or yakşa-yakşi figures attending upon Jina are introduced in the 5th century CE in other parts of the country, they appear as late as the 9th century at Ellora in the caves of Maharashtra. While in the beginning only Sarvānubhuti-Ambikā pair occurs, slowly distinction is made between yakşi. This development occurs when each icon is provided with a separate pair of yaksa-yaksi, unlike earlier examples, where only a single pair of Sarvanubhuti-Ambika is depicted in the entire cave. Thus, an intrusive icon of Rşabhanātha on the front pillar in J10 at Ellora has Chakresvari as the yaksi, while the yaksa is still Sarvānubhuti. The next development is the distinction of yaksa as seen in Cave V at Ankai and Junnar, datable to the 12th century CE. However in spite of the introduction of different pair of yakşa-yaksi for each Jina only Gomukha-Chakresvari and Dharanendra-Padmavati occur and no other pair is represented. This is because in most of the caves no distinction is made between Jina figures except Parsvanatha, who has the snake-hood above the head and Rsabhanatha, who is distinct with hair on the shoulders. Also wherever Jinas are distinguished by lanchhanas, yakşa-yaksi pairs are not provided. Sarvānubhūti-Ambika remain popular throughout and their large figures are carved in the cave even when separate pair of yakşa-yakşi in miniature is provided for each Jina icon.
Gradually, yakşi rise to prominence and start appearing as independent goddesses and not just as attendant deities of Jinas. In fact, at Ellora many of these yaksis such as Chakresvari and Padmāvati appear as independent goddesses even before they were introduced as attendant yaksis of Jinas. Perhaps this represents the stage when Vidyādevis were prominent and were subsequently turned into yaksis of Jinas. In many later caves such as Anjaneri, Chandor and Mohida yaksis like Padmāvati, Chakresvari and Ambikā are depicted as prominent, independent goddesses. Occasionally yaksa like Gomukha and Dharanendra also appear independently. However, it is the goddess, which is more popular. Among other goddesses represented are Sarasvati and Mahamanasi. Ambikā is the most popular yaksi and is found represented at almost all the sites, while Chakresvari, Padmāvati and Sarasvati occur at some sites.
While in early caves Jina figures are represented with chauri-bearers, garland bearers, halo and simhasana, later on, triple chhatra, drum players, musicians, elephants, devotees and lañchhana in some cases are added. The early phase is found at Dharashiva and Ambejogai, where the Jina figure, seated on the simhasana, is attended only by chauri-bearers and garland bearers. From Ellora, more or less fully developed parikara is found, though lañchhana is still absent, which appears from Chambhar, in the late 11th. early 12th century CE. The elephants are added to the throne in some of the icons at Ellora, but it becomes a regular feature from Anjaneri, in around middle of the 12th
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