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Conclusion
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Jaina iconography in Maharashtra as displayed in the caves is simple compared to elaborate and complex iconography as noticed in some regions like Gujarat and Rajasthan.
PAINTINGS
There are traces of paintings in some of the caves, most of which are very crude geometric designs and belong to a much later date than the cave. The small portion of a painted Jina figure in Cave II at Dharashiva is a fine piece of art, in the style of Ajanta paintings. However since only a tiny portion is extant nothing much can be said about the theme and style of the paintings that must have existed in this cave. The paintings at Ellora are profuse and fine. Here the figures lack the graceful, smooth movement and postures of Ajanta, instead there are sudden and almost angular bends in body postures. There is a preference for the faces shown in three-quarter profile. In the Samvasarana scene in J21, the narrative panel shows the figures with bun and beard. The three-quarter profile of the faces, slight projection of the farther eye, facial features, bun and beard of the figures foresee the western Indian style of miniature paintings. Thus, the style of these paintings forms a stage between highly modelled style of Ajanta and very linear, angular style of the medieval period, displayed mainly on manuscripts of western India from the 11th-12th century CE. The themes of the paintings at Ellora are mostly depiction of flying celestial beings in pairs engaged in various activities such as dancing, playing musical instruments, carrying patra with offerings, garlands or paying adoration to Jina with hands in anjali. These celestial beings are meant to participate as attendants or devotees in the iconic representation of Jinas in the cave, carved both in the shrine and the hall. Some variety in the theme is found in J18 and J21 where iconic and narrative panels are executed. There is close resemblance between the plastic and graphic arts, a feature noticed in the art of almost all the periods. The similarities of iconographic details and details of costumes and ornaments between painting and sculptures indicate the common art idiom. These paintings form part of the sculptural composition and supplement the plastic art, continuing the tradition of Indian art as seen at Ajanta and Badami. In fact, here the dominance of plastic art over graphic art is more prominent than at Ajanta. With the elaboration and development of iconography, sculptural art or iconic representations probably gained more importance than the graphic art, which came to be employed only to supplement the icons.
INTER-SITE RELATIONSHIPS
The relationships between different sites are determined by their temporal context. The iconographic features of the early three sites in the Marathwada region are common. Again the presence of the rock-cut structure in front of all these three sites speak of common art idiom though widely placed in time. The sites immediately following Ellora, such as Mangi-Tungi I, Pandu Lena and Patne are clearly influenced by its predecessor in terms of iconographic programme and style of the sculptures. The later caves, such as Tringalwadi and Ankai show common architectural features. There are some common stylistic trends followed in the caves post-dating the 10th century CE, such as the three
