A beautiful panel of Mahishasuramardhini is seen at Pullamangai Alanthuraiyar temple. Pullamangai at present known as Pasupathikoil is a hamlet in Papanasam taluk of Thanjavur district. Alanthuraiyar temple is a masterpiece of Early Chola architecture, is known for its rich architecture and sculptures. The remarkable feature of this temple is its sculptures, sculptures of life size, miniatures in different sizes are seen. Narrative Ramayana series, Gods and Goddess in various forms and sportive themes, social aspects form the themes for miniatures. Miniatures are seen in the pilasters, padas of gala complex in adhishthana and vedika complex. Ramayana series are depicted in the vedi padas whereas in the gala padas puranic themes and social aspects are depicted. The sculptures in the koshthas of vimana and mukha mandapa are masterpieces of Early Chola art. All the koshthas are portrayed as a panel with not only deities housed in, in addition, depicted with associated elements on the bhitti in the bhadra division. Dakshinamurthi, Lingodhbava, Brahma adorn the koshthas of south, west, north respectively. As like, Ganesa and Mahishasuramardhini adorns the southern and northern koshtha of mukhamandapa.
The goddess is standing on a padmapitha in tribhanga posture with the left leg in sama and the right leg in tryasra. At the front edge of the pitha beneath Goddess’s feet is seen the head of Mahisha, decked with head patta and horns curved and fluted. The goddess in karanta makuta and draped in short attire is lavishly decked with ornaments. Excess locks flow out of the makuta adds beauty to the Goddess. The attire is extending upto thighs and fastened by ornamental waist belt, excess noose of the belt dangle upto calf. Above the attire idaikattu is slackly worn for which heavy knots dangle on the sides, in addition stone studded ornament is also adorned. Breast band draping around the breast has shoulder straps.
Ears are elongated and decked with patra kundalas, kandigai, stone studded charapali, beaded mala are the ornaments in the neck, thick yajnopavita is worn in upavita fashion. Keyura in the upper arms and heavy kankanas in the lower arms are the ornaments in the hands. Thalseri adorn the ankles, in addition, virakazhal is worn in both the legs.
The goddess has four arms on each side, except the front hands the rest of the hands are carrying weapons. Among the hands in the right, the front right hand is in abhaya whereas the back hands carry sula, sword and prayogachakra in order. As like, the front left hand is in katyavalambita whereas the back hands carry bow, shield and sankha. The hands carrying sword and shield are in kataka, the hands that carry sankha and chakra are in kartari mudra. Sword carried by the Goddess is long, as like sula has long stalk, the bow is extending from the floor to her makuta. Quivers with arrows are shown on both the shoulders of the Goddess. An ornamental umbrella is shown above the Goddess.
On either side of the koshtha, in the bhitti, at the bottom sacrificing devotees and in the upper echelon, vehicles of the Goddess are shown. In the upper echelon, lion is shown to the right and deer to the left of Goddess. The lion is standing with its mouth wide open, tail swirled up, had thick manes, sharp claws and decked with an ornamental band in the body, in addition, saddle is tied on its back. On the other side, deer is standing held by a gana, decorated with ornamental hangings around neck and body, as like Lion, saddle is tied on its back. Horns of the deer are branched. The gana holding the noose of the deer is in short attire and jatabhara decked with ornaments like head patta, charpali, keyura, kankanas, udarabanda, thalseri, his left hand in kataka hold the noose whereas his right hand eulogize the Goddess.
Among the sacrificing devotees, the one to the right of Goddess is sacrificing himself by chopping his head while the other is sacrificing flesh from his thigh. The devotee on the right with thin mustache and beard is seated in garudasana with his upper body slightly leaning towards Goddess however facing straight. He is draped in marauri attire and decked with beaded armlets, bangles, kandigai, chavadi, in the neck, chhanavira adorns the chest, pootu kundala adorns the elongated ears. A sword sheath is seen on the right side held by his hip belt. His left hand is holding the tuft of hair and cutting his head from the nape with the sword held in his right hand. His broad smile denotes his happiness of sacrificing himself to the Goddess.
As like, the devotee in left is also seated in garudasana with his left leg kneeling and the right leg folded upright, decked with multi stringed neck ornament, elongated ears with makarakundalas, his arms are decked with beaded keyura and kankanas, chhannavira around the chest. His locks are gathered and knotted like kunthalam and decked with beaded head patta. His right hand is cutting the flesh from his upper right thigh with a sword while his left hand is holding the flesh. The sword held by him is comparatively small to his counterpart. A sword sheath is extending behind from his right side. As like his counterpart he is also in broad smile denoting his happy offering to the Goddess. Sangam literature speaks volumes about the navaganda sacrifice to war Goddess Kotravai.
Slim and slender stature of the Goddess, lavishly decked with ornaments, standing in tribhanga posture with head slightly tilted up and carrying the lethal weapons brings to life the magnificence of the Goddess as portrayed in literature. A slight grin however not easily conspicuous adds grace to the Goddess. It’s a stupendous blend of beauty and valour by the the Early Chola sculptors, undoubtedly a masterpiece of Early Chola art.