Unraveling the auctioned Kanchipuram Kailasantha Gauri’s past – Part 2

Part 1 of this post exposed how the provenance for this fantastic bronze was erased and she was auctioned for a million dollars.

We had seen the reference in the 1944 article Gauri, A Southern Bronze, By K. B. IYER – where he specifically mentions “One of such pieces is Gauri from the Kailasanath temple, Conjeeveram, now in the collection of Ramgopal, the well-known dancer.”

Today we bring forth more research into her origins – for a 1915 publication – Sri O.C. Ganguly’s South Indian Bronzes.

Here is the great man himself and a short bio

Here are the references to the bronze from the book.

From the above it is clear that the Bronze was very much in the Kailasantha temple atleast till 1915 and inbetween 1915 n 1944 it somehow moved into the possession of famous dancer Sri Ram Gopal OBE and was with him at least till 1944.

This post may not provide any conclusive evidence to seek restitution of the bronze but atleast it gives her a past and a home town – The Gauri of the Kanchi Kailasantha Temple and not just ” A large and important bronze figure of Parvati”

Who are these two lil ones?

The internet is a definite boon for armchair researchers like me !! Quite often we do stumble on some unique puzzles in our quest to decipher the work of the ancients. One such task was to recreate the lost paintings of the Kanchi Kailasanatha temple.

We ran into quite a difficulty when we had to make out the minor forms especially the two figures found below the divine couple.

We wanted to be as true as possible to the original – but it was interesting to note that these two ganas – a male and a female dwarfs were in the scene at the first instance.

Possibly the first instance of a lady dwarf gana – an assistant to Parvati maybe?

Their iconographic significance was soon lost or so we thought, until Arvind shared this album of his capture of the beauties of Lalgudi

Though our main pursuit was in the narrative panels in the miniatures, there was one particular relief – dimly lit which had vague familiarity in it.

It was a relief of the divine parents albiet sans the skanda seated in the familiar posture – with a kneeling devotee on the right, two more on the top right and two more top left. Can you spot any attributes to assign them as Brahma n vishnu? Not clear. But the familiarity scene was played out at the bottom of the throne.

it would be difficult to date this panel as it does not fall in the early chola 9th-10th C CE scheme of narrative story boards. However, it is interesting that the sculptor chose to sculpt this dwarf couple in the same layout and postures.

Unconnected icons – or are they?

Today, we are going to see some unconnected icons. But before that, a long pending paintings inspired by sculpture – aka temple. Not any temple but The Kailasantha Temple in Kanchipuram.

Rendered by Mr B. Sathish !

There are some icons ( and people) who have a magical allure to them and we could Photogenic but not sure if it applies to architecture, but the creations of Rajasimha – be it the Shore temple, the Panamalai Thaalagireershwarar or the Kanchi Kailasantha, they turn even amateur photographers raving mad. So imagine the plight of experts. Take a look at this work of Aadhi arts.

Really stunning are they not?

Now take a look at these.

Seemingly disconnected icons – The famous Bodhisattva mural from Ajanta, a slice of the penance panel from Mallai and the somaskanda painting from Kanchi Kailasanthar.

For regular followers, you have already seen the traces of the pallava artist’s fantastic creation in the
Recreating a lost treasure

Let me first explain the location of these amazing paintings.

You have to twist a bit to enter between the pillars and peep into to your left. If you are lucky you will get to see the four places where the Somaskanda paintings are still visible. Sadly, the rest of the spaces are used as storage for…

But this one is special. Peep inside the tavern while turning your head to the right.

What looks like a portion of black and maroon, is actually a portion of the original Pallava painting that would have adorned the whole side wall.

We step in closer to view the fantastic Kinnara couple. Notice the lovely lady playing a reed flute, the clawed feet and the style of the wings.

Now lets take a look at the Mallai Penance Panel

do you notice the similarity between the two couples – the clawed feet and the wings?

Now, both the locations we saw are from the Pallava school. But if i were to tell you that a similar creature is there in Ajanta as well, and that you have seen it so many times without registering it, would you believe me?

Yes, here we go

( photo & line drawing credits – An Album of Eighty-five Reproductions in Colour, Editor: A.Ghosh; Published by Archaeological Survey of India)