What you’ve noticed is a very interesting set of “elephant connections”, but in traditional Jain terms it does not point to a special, separate “elephant lineage” of Jainism.

Let’s separate the pieces:

1. Mahavir’s Yaksha Matanga

- In Digambar tradition, Bhagwan Mahavir’s yaksha Matanga is indeed shown seated on an elephant. - This is part of standard Jain iconography: every Tirthankar has a yaksha–yakshi pair, often with a particular vahana (vehicle). For Mahavir, that vahana is an elephant. - But this does not create a new “sampradaya” or “gotra”; it is iconographic, not a separate lineage.

1. Elephant as a Jain symbol generally

- The elephant is also the lanchhan (emblem) of Bhagwan Ajitnath, the 2nd Tirthankar, so elephants are a very familiar and auspicious motif in Jain art and temple architecture. - In South Indian Jain temples (especially Karnataka), elephants at the entrance, on pillars, and in door frames are very common. They symbolize stability, protection, royal dignity and auspiciousness, not one special sect.

1. Mangai Basadi and the two elephants

- Mangai Basadi in Shravanabelagola is a Digambar Jain temple, established by lady Mangai, a royal court dancer and disciple of Charukirti Panditacharya (as you wrote). - Two elephants in front of a basadi are quite typical for South Indian temple architecture of that period (Hoysala and related styles). Many Jain and non‑Jain temples use a pair of elephants to “guard” the entrance. - Traditional Jain records and inscription-based histories describe Mangai as a devout patron and disciple, but they do not mention any special “elephant-based lineage” associated with her or her temple.

1. About the name “Mangai”

- In the local language, “Mangai” simply means young woman/maiden (especially in Tamil), not “elephant”. - So her name Mangai and Matanga (the yaksha) are linguistically and historically separate, even though they sound somewhat similar in English transliteration.

1. So, what lineage did she belong to?

- Shravanabelagola is a major Digambar center historically connected with the Mula Sangh – Deshiya Gana etc. - Mangai would have been a lay disciple within this mainstream Digambar tradition, guided by Acharya Charukirti Panditacharya. - There is no recognized Jain parampara called an “elephant lineage”; elephants are a shared symbol in Jain art (Ajitnath’s lanchhan, Matanga’s vahana, decorative guardians) but not a separate doctrinal or monastic line.

So, while your observation beautifully connects:

• Mangai Basadi’s elephants,
• Matanga yaksha on an elephant, and
• the strong visual presence of elephants in Jain art,

the traditional Jain view is that these are iconographic and architectural choices, not evidence of a special, distinct “elephant lineage” within Jainism.