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Is the Somaskanda panel in the Mahishasuramardini cave at Mahabalipuram a later addition to the cave, transforming what may have been originally planned as a Vaishnavite main shrine into a Saivite shrine?

We have already argued that a study of Pallava dvarapalakas indicates that the central sanctum of the Mahishasuramardini cave may have been intended for Vishnu. If it was so, the Somaskanda panel must be a later addition. Indeed, we will try to show that the Vishnu and Durga panels of this cave temple were executed in the seventh century and the Somaskanda panel added only in the following century. There is a marked change of style, as shown in the dress and ornaments of the sculptured figures found In Mahabalipuram. Just as fashion changes today, so it must have changed in the time of the Pallavas. This change, naturally, is reflected in their sculptural art, and thus provides us with a means of dating the monuments.

Even in one and the same cave temple one sometimes finds distinctly different styles: it is an obvious fact that the Somaskanda panel in the Mahishasuramardini cave is different stylistically from the other two panels (of Vishnu and Durga) in this temple, and similar to, the Somaskanda panels found in the eighth century Kailasanatha temple at Kanchipuram. To help us date the panels of the Mahishasuramardini cave we examine them in detail with regard to the style of dress and ornaments of the figures portrayed. As a basis for our argument, we mention certain general observations we have made about the dress and ornaments of Pallava-sculpted figures.

In early Pallava sculpture (roughly, around the period of the great Arjuna's Penance Panel and the Five Rathas which are usually ascribed to king Narasimhavarman I in the seventh century A.D.), men do not wear any leg ornaments and are shown with only one diagonal band (sacred thread, etc.) across the body. In the early period, women do not wear any diagonal band and have only single anklets on each leg.

Orrnaments

In the later Pallava sculpture (eighth century, around the time the Kailasanatha and Shore temples were built), we notice that men now sometimes have leg ornaments and often have more than one diagonal band. Leg ornaments as a common feature for men appear to have been introduced gradually for the first time in Indian art by the Pallava sculptors of the early eighth century. In the whole sweep of art history from Bharhut in the centuries B.C., through Amaravati and the earlier phases of Ajanta up till the end of the seventh century A.D., men do not wear leg ornaments. The very few exceptions to this claim will certainly prove the general rule.

In the later period of Pallava sculpture, women are seen wearing the diagonal band; they frequently have multiple ornaments on each leg; shoulder straps for the breast-band are introduced; and the head-dress which looks like a turban around the base of a crown develops two distinctive characteristics: the turban-like portion is slightly pinched (indented) in the front, and the crown-like portion is unusually tall.

It is on the basis of these general observations that we have analyzed the panels of the Mahishasuramardini cave and have concluded that the Somaskanda panel was done In the century following the creation of the other two panels in this cave.

To establish that the Somaskanda panel of the cave temple has the characteristics of the later (eighth century Kailasanatha) period, it may be mentioned that there is an extremely close similarity between the figures of the Somaskanda panel of the Mahishasuramardini cave temple and the figures of like panels in the Kailasanatha temple in particular, the Somaskandas of the two sub-shrines centrally located on the northern and southern sides  of the main sanctum of the Kailasanatha temple. In both places one finds these characteristics of the later period: Parvati has a diagonal band, multiple anklets, and the characteristic late-period, head-dress.

Next, to show that the Somaskanda panel of the Maihishasuramardini cave is quite different stylistically from the early Somaskanda panel of the Dharmaraja Ratha, it should be noted that the following characteristics of the later period, all of which are found in the cave panel, are absent in the following ratha panel: Parvati's characteristic late-period head-dress, diagonal band, multiple anklets, and Siva's multiple diagonal bands. In addition, Parvati's profile pose in the Ratha panel is absolutely unique; whereas in the cave-temple panel, she strikes the oft repeated pose found at the Kailasanatha, Shore temple, etc. Further, in regard to the small Vishnu figure appearing in the cave temple's Somaskanda panel, above and behind Siva's throne, the discus and conch are depicted with flames (generally accepted as a later characteristic); whereas the discus and conch have no flames in the Ratha's Somaskanda panel.

Thus the Somaskanda panel of the Mahishasuramardini cave has much in common, stylistically, with Somaskanda panels of the later Kailasanatha period; and is significantly different from the earlier Somaskanda panel of the Dharmaraja Ratha. It would seem, therefore, that the Somaskanda panel of the cave-temple was executed in the eighth century around the period in which the Kailasanatha temple was built.

Finally, it must be shown that the other two panels of the Mahishasuramardhini cave (the reclining Vishnu and Durga panels) were done during an earlier period -- in the seventh century.

Reclining Vishnu

Considering first the reclining Vishnu panel in this cave; one finds these early characteristics: no male figure wears more than one diagonal band and none has any leg ornament; the women have no diagonal bands, only single anklets, no characteristic late-period head-dress and the breast-band is depicted without shoulder straps.

On the other hand, the reclining Vishnu panel of this cave (as an early example) contrasts with the little known, and much smaller reclining Vishnu panel of the Kailasantha temple (as a later example). This later panel is found directly above the entrance to the Somaskanda sub-shrine already mentioned. The patchy coating of plaster on this panel makes any job of detailed study risky. However, mention may be made of the following later characteristics of it: the woman kneeling at Vishnu's feet wears shoulder straps on her breast-band and she has the characteristic late-period head-dress; and the five heads of the great serpent on which Vishnu reclines are ornately carved as horned yali-heads (which contrasts with the more naturalistic treatment of these heads in the cave panel).

Considering next the Druga panel of the Mahishasuramardini cave, it contrasts (as an early work) with the Saluvankuppam and Kailasanatha Durga panels (as later works) in the cave panel there are these early characteristics: Durga has no distinctive late-period head-dress, no diagonal band, no shoulder strap on her breast-band and only single anklets; whereas in the Kailasanatha and Saluvankuppam panels one finds the later characteristics. Again, in the cave panel, the buffalo demon has only one diagonal band and no leg ornaments, whereas in the Saluvankuppam panel it has two diagonal bands and prominent anklets.

To summarize our stylistic analysis, first, the Somaskanda panel of the Mahishasuramardini cave is a relatively later Pallava work and it compares with similar panels of the eight-century Kailasanatha period, and contrasts with the seventh century works as they have the early characteristics, and contrasts with panels of the same theme created in the Kailasanatha period.

Thus there is good evidence that the Somaskanda panel was a later addition to the Mahishasuramardini cave. This fact, together with our study of the dvarapalakas, indicates that the Mahishswuramardini cave was originally intended to have Viashanvite main shrine.