[kavadi]

The Iconography of Somaskanda

Synopsis of forthcoming paper by Dr. A. Velusamy Suthanthiran
Professor and Head, Department of Sculpture
Tamil University, Tanjavur
Somaskandamurti represents the figures of god Siva, goddess Parvai and child Lord Skanda. Skanda in this respect is both in sitting and standing postures, and nowhere is present in reclining posture. The iconographical details of Skanda in this respect are clearly described in the agamic texts like Silparatna, Kasyapa Silpa Sastra, etc. In all the representations, He has only two hands, and the main subjects in possession are flower and book.

Aim
This paper will deal with the origin of this cult in so far as no attempt has been made on this topic. On the basis of the collections of materials, it can be surmised that this cult is purely an indigenous one. On the basis of fieldwork conducted by the author, it seems beyond doubt that only in the Pallava monuments this representation is visible for the first time in sculptured panel, mainly on the back wall of the sanctum sanctorum inside. Skanda is either in the lap of the goddess Parvai or in between Her and Siva.

In as far as no scholarly attempt has been made to determine the basic reason for such representation, the present paper gives much more attention on this point also. The Chola period witnessed quite a number of bronze images of Somaskanda murti. Iconographical details of Skanda in all such represenations get a lucid explanation in this paper. The bronzes of Vijayanagar and Nayak periods also receive attention.

Icons of Skanda in the Somaskanda aspect exhibit iconographical variations from one dynasty to another. Icons of the Pallava period exhibit wel-refined iconographical details which differ from the icons of other dynasties like the Cholas, Vijayanagar and Nayaks. All such differences get elaborate study in this work. Tamil literary reference to Skanda in this Somaskanda aspect also gets inclusion.

Sources
The primary sources for the study are the sculptures present in the temples of Tamil Nadu and nearby states. The sculptured panels as well as the stone and bronze icons form the basic source of the study. The Tamil literary works, the Agamic texts and modern works form the secondary sources. Data collected through fieldwork as well as oral interviews also enrich the study.

Dr. A. Velusamy Suthanthiran is the author of A Study of Tiruvengadu Temple and several other books in Tamil. He has presented papers on the iconography of Somaskanda at international conferences in Rome and Naples (1992), as well as numerous papers and lectures at conferences and universities throughout India. He may be contacted at:

Department of Sculpture
Tamil University
Tanjavur 613 005 India

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