Sasvad is a city rich in history, with impressive mansions of late Marāṭhā saradars like Purandare and Mehendale, as well as beautiful temples such as Sangameśvara, Cangā Vaṭeśvara, Sopānakākā Samādhī temple, and Mārutī temple. These buildings are notable examples of late Marāṭhā art and architecture. The Ganapati temple lies in Saswad, with the River Karha flowing nearby. The temple is on flat land and has been inhabited since the beginning.

Outer facade of the temple.

Architecture: The temple has the usual artchitecture pattern: garbhagṛiha-sabhāmaṇḍapa-nandimaṇḍapa

Garbhgṛiha: The architectural layout of the temple features a dome-shaped garbhagṛiha, positioned within the maṇḍapa. The pradakṣiṇāpatha, or the circumambulatory path, for the garbhagṛiha is also enclosed within the maṇḍapa, allowing for ritual movement around the sanctum. Adjacent to the garbhagṛiha is another maṇḍapa, and in front of it is an anēkamaṇḍapa that contains another garbhagṛiha. These maṇḍapas are interconnected, providing a continuous architectural flow.

The garbhagṛiha entrance is unembellished; a Gaṇapatī sculpture and two floral motifs grace its lalāṭabimba. An image of Gaṇapatī is placed on a central pedestal along the back wall of the garbhagṛiha. The deity is framed by decorative carvings that accentuate its importance. Echoing the dome shape of the garbhagṛiha, the roof is also dome-shaped, creating a sense of architectural harmony. Notably, the temple does not include an antarāḷa, distinguishing it from temples that follow a more traditional layout. The entrance of the garbhagṛiha is simple, and there is Gaṇapatī and two floral motifs on its lalāṭabimba. Along the back wall of the garbhagṛiha, there is an image of Gaṇapatī on a central pedestal. It has decorative carvings around it. The roof of the garbhagṛiha is dome-shaped. 

Sabhāmaṇḍapa: The sabhāmaṇḍapa of the temple is of navaraṅga type. It has six purṇastambhas and eight ardhastambhas. There are two pilasters beside the entrance of the garbhagṛha. There is no wall in front of the maṇḍapa. Images of a tortoise and a mouse are in the center of the sabhāmaṇḍapa. The vitāna of the sabhāmaṇḍapa is domed and carved at the center. In other places, it is flat; also, flowers have been carved on the vitāna and columns at some places. The pillars flanking the doorway are engraved. At other places, there are leaf-like designs carved on the stambhaśīrṣa. There are about eight niches in the sabhāmaṇḍapa.

Nandimaṇḍapa: The vehicle of the deity has been placed inside the maṇḍapa of the temple.

Śikhara: The śikhara of the temple is in the Marāṭhā style of architecture, and it is square in shape. There are upaśikharas on it. The images of horse riders, male figures, and deities are on the śikhara. The śikhara is very tall and beatified with various fresco sculptures.

Śikhara of the temple.

Images on the śikhara.

The exterior of the temple: The temple stands on a high adhiṣṭāna, and a large part of its exterior wall is integrated within the rampart of the Vāḍā. The front side of the temple features a variety of carved decorations. Five floral motifs are engraved on the adhiṣṭāna, and two additional floral motifs are present on the stambhaśīrṣa. Above these, a unique design featuring three fishes with a common head is engraved in two locations. Another set of five floral motifs is engraved above the fish design.

The toraṇa is positioned above these layers of motifs and features twelve additional floral designs. Above the toraṇa, a bilvapatra design is engraved, completing the sequence of decorations. On either side of the front part of the temple, images of Keval Śarabha are present, adding to the overall scheme of carvings and designs.

Images outside the temples: Around 24 floral motifs are carved on the front wall of the temple. There are two Kevala Śarbhas. The symbolic motif of three fishes with a common head carved at two places is remarkable. There is an ass curse out of the temple.

General view of the temple.

Concluding Remarks:  The Gaṇapatī Temple in Saswad stands as a significant representation of 18th-century CE Marāṭhā architecture, not just for its historical value but also for its unique architectural plan and decorative elements. The śikhara, or spire, of the temple is notably exquisite, adorned with intricate images that set it apart. Unique fish carvings, not found in other temples in the vicinity, also make this temple a resource for understanding the nuances of late Marāṭhā period art.

However, the condition of the śikhara raises concerns, as it has deteriorated in places. Conservation efforts are imperative to preserve this remarkable aspect of the temple, especially given the breaks and damages it has sustained. One way to augment conservation measures could be to place an informative board near the temple, highlighting its architectural and artistic significance. This would not only educate visitors but also potentially galvanize further conservation initiative.