Lord Ganesa as ‘the Lord of Ganas’ is beautifully captured by the Chola sculptors in Alanthuraiyar temple at Pullamangai. Pullamangai, at present known as Pasupathikoil is a small hamlet in Papanasam taluk of Thanjavur district and the village is credited with an elegant Early Chola temple dedicated to Lord Siva. Alanthuraiyar temple has a three tala pure nagara vimana and mukha-mandapa known for its elegance, architecture and sculptures exhibits the mastery of Chola architects.
The theme is seen on the southern koshtha of mukha mandapa, Lord Ganesa is housed in the koshtha and the ganas are depicted as bas relief sculptures on the bhitti in between the koshta and bhadra pilasters. The ganas are shown in three different levels; in the bottom most two pairs of ganas are shown, each pair on either side of the koshtha and the middle and the upper echelons possess single ganas on either side of the koshtha. In addition, mushaka, the vahana of Lord Ganesa is also shown along the gana in the upper echelon.
Lord Ganesa is seated in lalithasana on a padma pitha with his left leg folded flat and right leg folded upright on the pitha. In karantamakuta, short attire, the God is lavishly decked with ornaments viz., head patta, charapali around the neck, keyura and kankanas in the arms, udarabanda in the abdomen. Above the lower drapery, idaikattu is slackly worn for which the knots are seen on the sides. A thick yajnopavita is worn in upavita fashion. His back hands are in kataka and carry broken tusk in the right and sugar cane in the left. His front right hand is carrying a motaka whereas his front left hand is placed on the left thigh. The proboscis is right turned and also carry the favourite dumpling, the motaka.
Behind the God is shown the thiruvasi, it extend as an elliptical frame, flames are shown at equal intervals. Besides, an ornate umbrella and a pair of whisks are shown for the God. The umbrella carries padma ornamentation with beads arranged in the edges and beaded hangings and festoons.
At the apex the luminaries are shown in flying posture. Both Surya and Chandra are eulogizing the God in one hand whereas their other hand in kataka carry the lotus. Both are decked in karantamakuta, short attire and idaikattu. The attire is fastened by hip belt and heavy knots are seen for the slackly worn idaikattu. Charapali, patrakundalas, keyura, kankanas, udarabanda, tharagaichummai are the ornaments adorn by them. Halo is shown behind their head.
The interesting aspect in the panel is the gana convoy, as attendants of the God. All the ganas are in active form, their gestures and postures make the panel vibrant besides it also shows that they accommodate their lord with all comforts. All are seated in lalitasana, except the one that handle the mushaka. The ganas in the bottom most are carrying fruits, each of a kind; the one in the left proper of the deity is carrying mango and a bunch of banana whereas the first gana to the right of the deity is carrying a round object in its left hand, can be a pomegranate. The other gana is holding an object in its left hand and trying to pierce it with a sharp object in its right hand, as it is broken couldn’t identify exactly. It can be a jack fruit and the sharp object can be a dagger. Mango-banana-jack fruit offerings to Lord Ganesa is also seen at Thirukolakkudi.
Among the ganas in the middle echelon, the one to the left of the God is carrying the bowl of motakas, and the one to his right is carrying the fly-whisk. As like, the ganas in the upper echelon the one to his left is handling the mouse and the one to his right is handling the instrument cirataikinnari. Though the ganas carry food delights or objects in one of their hand, their other hand is in gesture of eulogizing the God or in kataka.
Hair dressing, attire, ornaments of the ganas are remarkable and most interesting aspects in this panel. Their ears are elongated lobes and decked with patrakundalas, while for some, kundala is absent in one ear instead decked with sevipoo. Their neck ornaments are kandigai or chavadi, in some of the ganas, kandigai and charapali are seen, it is quite interesting to see one of the gana in the middle echelon is decked with reptile pendant. Kankanas, keyur, udarabanda, thazhseri are the other ornaments adorn by the Ganas.
On hair dressing, different styles are seen; three of the ganas in the lower echelon are styled in kutthalam with their locks neatly tied as a ball knot in the apex, the gana with cirataikinnari is styled with jatabandha and rest of the ganas are in jatabhara. Among the ganas in jatabhara, for two of them, their locks are heavily curled. Along with their hair dressing, all are adorned with head patta. The ganas are draped in short attire and vastra yajnopavita is worn in upavita fashion.
The panel is lively and vibrant, all the ganas are in slight grin, joyously doing service to their Lord. Their facial expression and hand gestures shows their adoration to their Lord. The gana with cirataikinnari is in the state of transcendence, mouth open and sedated eyes shows immersed in its music. The gana with mouse, holding the noose with its left hand, shows its preparedness of his Lord’s vehicle. The gana with fly-whisk is happily fanning his Lord.
Pullamangai Ganesa is one of the best that I have seen, in every facets it exhibits the mastery of the Chola architects. Instead of filling the koshtha with deity, the Early Chola sculptors have made a grand and elegant portrayal in the koshtha with Lord Ganesa in a theme. In addition, luminaries, umbrella, thiruvasi, fly-whisks add grandness to the panel. Conspicuously, this ‘Lord of Ganas’ is an eye catching panel, no one can make a pass without a gaze.