We talk a lot about ideal couple, ideal parent, ideal child. We often expect others to embody ideals that we ourselves struggle to achieve. But all of us are on the way of trying to be one. Our goal is like the lovely divine couple Siva and Parvati and their lovely kid Skanda. The parent with child seated in Sukhasana on a royal posture is shown by Somaskanda murti.

It may be sometime around 1920s or 1930s. Historian C. Sivaramamurti goes to Thanjavur to view the Chola paintings, discovered recently then. He makes a copy of it and wrote a paper to the quarterly magazine Triveni, He goes to Kanchipuram Sri Kailasanatha Temple.

For those who have not visited Kailasanatha temple, understand that it is one of the marvels of Pallava architecture. If Mamallapuram is their dream in stone, this is their dream in sand and plaster. The temple, adorned with detailed sculptures and vibrant Pallava paintings, must have resembled a colorful pavilion in its prime.

It has a main shrine for Siva, surrounded by pradakshina path way. The way is surrounded by outer walls with many small shrines, covered with Pallava paintings. They are one of the earliest paintings of Indian art history, along with Ajanta, Thanjavur, Sittannavasal and Panamalai.

The temples striking appearance captivates visitors, and upon entering, one feels transported into Pallava sphere of influence. In addition to the paintings, the temple is worth visiting for its beautifully carved Grantha inscriptions.

Mr Murti identified the Somaskanda panel for the first time in cell (or small shrine) no 41 at the Kailasanatha temple at Kanchipuram in the early 20th century. He mentioned that he copied the Somaskanda painting and identified it.

He says the most of the painting got defaced due to natural cause and vandalism. When I went to see that now, it is even worse. But whatever exists, it shows the dynamic flow of lines and dye combinations that creates the figure of Siva- the father, Parvati – the mother and Skanda – the child. Other figures are also depicted, including what some believe to be Vishnu and the gana-s (attendants) of Kailash.

It also has other figures, people say Vishnu, other gana-s of Kailash.

We can recognize the face of Siva. But most of Siva’s torso, the face of Parvati are lost. Baby Skanda is too damaged severely.

Let me quote from Mr Murti..

“It is a lovely theme of fond parents and a frolicsome child, of the ideal mates and the object of their love, of the philosophy of affection which, though lavished on the off-spring, increase
a thousandfold.”

Professor Jouveau Dubreuil, who had discovered the paintings earlier, was pleased with Sivaramamurti’s identification and came to Madras specifically to confirm its accuracy.

The preservation of Kanchipuram, Sittannavasal are important to save our heritage. But even now, the cells are open to public, the paintings are getting damaged every day due to vandalism. Ajanta is decently preserved, partially it is due to the way the cave is excavated. Natural decay occurs slowly there because the cave entrances are small. But caves like Sittannavasal and structural temples like Kailasanatha temple, are facing heavy challenges to survive.

In conclusion, the Somaskanda panel at Kanchipuram’s Kailasanatha temple offers a profound glimpse into Pallava artistry and the enduring ideals of family and divinity.

For further reading

• South Indian paintings by C Sivaramamurti
• Indian Painting Tradition by S Swaminathan

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