The Jain caves at Ellora are a lesser-known cluster of caves located away from the bustling pilgrimage sites. These caves, numbering 30 to 34 and excavated in the 9th century CE, represent the final phase of religious and artistic activity at Ellora, dedicated to the ascetic ideals of the Jain sect.

Among the early caves, Cave 30 or Chhota Kailash is a monolithic shrine resembling the Brahmanical cave Kailash. It is intricately carved in the Dravida style, but lacks certain features like free-standing pillars. Cave 30A is a small unfinished cave, while Cave 31 consists of a hall and shrine.

Cave 32, also known as Indra Sabha, is a double-storied cave with a monolithic sarvatobhadra shrine and notable decorative elements such as a manastambha (pillar) and a free-standing elephant in the courtyard. The upper storey of Cave 32 is the largest and most elaborately adorned cave in the group, featuring exquisite pillars, sculptural panels, and ceiling paintings. Several additional caves were later added at different heights on the sides of the courtyard.

Cave 33, or Jagganatha Sabha, is a group of independent caves on three sides of the rock face, lacking the enclosing prakara wall found in Indra Sabha. Cave 34 is a small excavation with a veranda, enclosed hall, and shrine.

The Jain caves at Ellora are known for their architectural finesse, adorned with decorative pillars, ceilings, doorways, and façades. The caves are adorned with icons of Jinas and yaksha-yakshis, with some caves featuring intricate paintings on ceilings and sidewalls. Notable themes depicted include Kamatha's attack on Parshvanatha and Bahubali in penance.

The yaksha Sarvanubhuti and yakshi Ambika pair holds significant importance in the iconography of the Jain caves at Ellora, appearing in large sizes in various locations. Other goddesses like Chakreshvari, Padmavati, and Saraswati, as well as unique figures like dancing Indra, are also depicted in higher relief with meticulous details.

Ceilings and sidewalls of theses Jain caves are adorned with paintings, with the largest number of paintings found on the ceilings. These paintings primarily depict celestial beings engaged in various activities such as dancing, playing musical instruments, or paying adoration to the Jinas. While most of the celestial beings are semi-divine and not specifically identified, Indra is recognized as a god of the Jain pantheon.

Despite the artistic and architectural brilliance, the Jain caves at Ellora primarily focus on the ascetic tradition of Jainism. The prominence of meditating Jina figures emphasizes the virtues of non-violence and non-attachment. These caves serve as a reminder of the path to liberation through conquering the senses and renunciation.

In addition to the early caves, there are smaller and simpler caves at a higher level on the same hill, dating from a later period. These caves include a colossal icon of Parsvanatha on the rock face, which was enclosed in a structure built by the Jain community in the 18th century. A Marathi Jain text, Jambusvami Charitra, mentions Yarulanagara as one of the tirthas (sacred sites), with the main icon being Dharanendra-Padmavati-Parsvanatha, referring to the colossal icon on top of the hill.

Overall, the Jain caves at Ellora showcase the artistic and spiritual richness of the Jaina tradition, highlighting the importance of meditation, non-violence, and renunciation in Jainism.