Kashi Vishveshvar Temple, Baramati

Baramati is a significant city in the Pune district, located 104 km away from Pune and straddling both banks of the Karha river. On the left bank of the river is an ancient east-facing temple dedicated to Kāśī Viśveśwara, another name for Shiva. Although the temple currently lacks a dedicated priest, it remains in good condition. Devotee traffic peaks during Mahāśivarātrī and the month of Śrāvaṇa. Contemporary developments include extensive modern construction in front of the temple, spearheaded by political leader Mr. Ajit Pawar. The government is also in the process of constructing a new bridge across the Karha river, adjacent to the temple's rampart. Nearby, a Hanumāna temple and a mosque were added in later periods.

A view of the temple

Architecture: Kāśī Viśveśvara temple is an old temple in Baramati. It has a strong fortification on the side of the Karha River. Situated on the left bank of the Karha River, this Śiva temple has many beautiful sculptures. The general plan of this temple consists of nandīmaṇḍapa, gūḍhamaṇḍapa, antarāḷa, and garbhagṛha. A dīpamāḷa stands in front of the temple.

Nandīmaṇḍapa (528 X 330 cm): The nandīmaṇḍapa has four pillars with an image of Nandī in the center. But the original form of the nandīmaṇḍapa has been lost due to adding more pillars during the restoration.

Gūḍhamaṇḍapa (570 X 575 cm): The doorway of the gūḍhamaṇḍapa consists of three śākhās; among those, the ratnaśākhā, stambhaśākhā, latāśākhā are visible. Images of Nidhī, śaiva dwārapālas and Gaṅgā-Yamunā are carved below dwāraśākhās. Erotic sculptures are carved on the central portions of the stambhaśākhās. A Gaṇeśa image is on the lalāṭabimba. Kīrtīmukhas and gems are carved on the uduṁbara.

There is a total of four carved stambhas in the gūḍhamaṇḍapa. On the central portion of the stambhas and below, various sculptures have been carved. Also, there are 12 ardhastambhas in the gūḍhamaṇḍapa. The vitāna over the maṇḍapa is flat. Other vitānas are flat and simple too. The gūḍhamaṇḍapa has a total of four devakoṣhṭhas. Among those, the southern devakoṣhṭha has a beautiful image of Gaṇeśa. While an image of the goddess, probably Bhadrakālī, is in the northern devakoṣhṭha. A coiled nāga is in the western devakoṣhṭha at the side. Whereas there a Viṣṇu image from the Marāṭhā period is seen in the other devakoṣhṭha. The pillars are very carved and attractive. Their design consists of pillar-base stones (a few of them have sculptures in the replicas of miniature shrines), a rectangular vertical portion, a square-shaped stambhamadhya, haṅsamālā on the decorated octagonal part, a tapering circular area, then vase-shaped portion and bhāravāhakas above all. The height of the pillars is 220 cm. However, Raṅgamaṇḍapa is measured 275 X 285 cm.

Antarāḷa (220 X 201 cm): The antarāḷa of the temple is a simple one. It has been opened for light arrangement. Due to this, the antarāḷa illuminates with the light outside.

Garbhagṛha (208 X 208 cm): The entrance to the garbhagṛha is similar to the door of the gūḍhamaṇḍapa. There are pilasters on all four sides and a śivaliṅga in the center of the garbhagṛha. A stone vessel for abhiṣeka water was placed near the śivaliṅga, which has now been shifted outside. The vitāna of the garbhagṛha is simple

Gūḍhamaṇḍapa

Śivaliṅga in the garbhagṛha.

Temple exterior: The temple's exterior is simple and has no carving or decoration. As the śikhara is constructed in a modern way, the original structure of the śikhara cannot be understood. Still, it can be guessed to belong to the Marāṭhā period.

Prākāra (Fencing wall): The temple must have had an original fencing wall. At present, much of its portion has disappeared in modern construction. The temple complex's main entrance is attractive and seems to have been restored during the Marāṭhā period. There is a simple dīpamāḷa on the temple premises. Since the Karha River flows nearby, there should be no bārava here.

A modern śikhara on the temple.

Iconographical description: Several sculptures have been carved on the stambhas of gūḍhamaṇḍapa of Kāśī Viśveśwara temple. They give us an idea of contemporary religious life. Some of these sculptures are of rare type.

The Images inside the temple: The four pillars of the gūḍhamaṇḍapa are numbered. Out of them, the southern front pillar has no. 1, while the rear pillar on the south is called pillar no. 2. The rear pillar on the north side is addressed as pillar no. 3, while the next column on the north is no. 4. The sculptures on the pillars are described as per the pradakṣiṇāpatha. Accordingly, the eastern and south, west, and north sides have been considered. The portion of the pillars on which the sculptures are carved is generally 27 cm high and 35 cm wide. This area seems to have increased in some places.

Column no. 1: A Nātha-Yogī seated in padmāsana on the pillar-base stone on the east side. It has a Naṭeśa sculpture on a rectangular area above. Probably a peacock is seen carved on the center of the pillar. There is another sculpture in the center of the south side. While Umā-Maheśwara āliṅgana mūrtī is seated in the center on the west, and Brahma and Viṣṇu are seated on either side. The sculpture of Mardalā is on the lowest part of the northern side. A scene of hunting is in the center of the pillar.

A hunting scene.

Column no. 2: On the eastern portion of this pillar is a sculpture of a goddess on the pillar-base stone. There is a beautiful sculpture of Mahiṣāsuramardinī above. The battle scene between Hanumāna and Indrajīta is engraved on the center of the pillar. The southern part is marked with a distinct sculpture of three persons with four legs. There are two musicians. A scene of discussion between Rāma- Lakṣmaṇa and Vānara Senā (the army of monkeys) on the center of the pillar on the north side. The sculpture of Saraswatī is under it. On the western rectangular portion, a sculpture of Cāmunḍā is present. In contrast, a Yoga-Narasimha is at the center. Some yogīs are also shown associated. Interestingly, only on this pillar, small sculptures of some gods and goddesses are carved on all sides below the center of the pillar.

Column no. 3: Surasundarī is carved at the bottom of the east side. She is nude. A goddess is carved on the stambhapāda. A sculpture of Sītā giving alms to Rāvaṇa is in the center of the eastern side. Rāma and Lakṣmaṇa are also seen accompanying. A hunting scene is on the west. It shows an archer hunting a wild boar. The sculpture of Kānhā and Bahuḍī is on the northern side.

Column no. 4: A dancing scene is carved on the eastern oblong side of the column. At the same time, Surasundarī is carved in the center. A goddess is on the stambhapāda. A Surasundarī carved on the central portion of the pillar on the south side. Then a sculpture of Mahiṣamardinī is below all. A wrestling scene is shown in the West. The sculpture of Bhairava is on the north side. On the eastern side, a Surasundarī is carved at the lowest and center. Sculptures with a zodiac circle and five snakes are visible on the temple premises. 12 hero stones were noticed on temple premises.

Sculpture of Kānhā and Bahuḍī.

Concluding Remarks: Although the interior of the Kāśī Viśweśwara temple is very beautiful in terms of architecture and artistry, the exterior has been renovated and looks modern. I walked about 2 km along the river to visit this temple. The view of the Kāśī Viśweśwara temple was very attractive from the riverbed. Since Baramati is a place of Shri. Sharad Pawar, development works are seen here on a large scale. But developing this temple in a modern way hurts. They could have protected the temple in its original form. The temple’s original śikhara has been restored, but the Dravidian construction style can be seen on it. This construction looks different because it was not done according to the Maharashtrian temple style. And since it is inconsistent with the original design, it does not look attractive. It cannot be understood why they did not take the help and guidance of the Archeology department, or why someone from the ASI did not intervene. It is also surprising that no schoalr has worked on this temple, given its beauty and historicity. 

The temple's interior, rich in architectural details and artistry, belies its unassuming exterior. Sculptures adorning the pillars in the sabhāmaṇḍapa set the Kāśī Viśweśwara temple apart and offer valuable insights into the religious practices of its time. Such unique features underscore the importance of preserving this temple for future generations. With its potential for religious tourism, this temple could be highlighted along with other significant temples in Phaltan. Moreover, the visitation by Vārakarīs during the Alandi-Pandharpur Wārī attests to its religious importance. Based on its architectural style and iconography, it is likely that the temple was constructed in the first half of the 14th century CE. Given its rich historical and architectural value, this lesser-known temple deserves greater recognition and prominence. The construction of a bridge to reach the temple across the river is in process, which will increase the flow of pilgrims.

Other temples in Baramati: There are some other temples except Kāśī Viśweśwara temple in Baramati. They are Bhairavanātha temple (approx. 13th – 14th century CE), Siddheśwara temple (18th century CE), Rāmeśwara temple (18th century CE), Jyotibā temple (19th century CE), Mārutī temple (18th-19th century CE), etc. There is a fort on the bank of the Karha River built by Babuji Naik in 1743 CE.

Out of this The Bhairavanātha temple is very important. Currently, it is in a state of disrepair, making it difficult to discern its original structure. However, the remaining pillars offer hints of its past significance, despite the sculptures on them being disfigured. Notably, Kīrtīmukhas and human figures can still be seen at the centers of these pillars. Adding to the complexity, both the Hindu and Muslim communities lay claim to the temple, making it a subject of controversy. According to local sources, there are plans to demolish the original temple and construct a new one in its place. Given the historical and cultural value of the existing structure, immediate action is needed to consult with public representatives and educate the community to preserve it. At present, the temple is filled with debris, and its overall condition is dismal. To maintain its original integrity, swift action is essential.