Nira-Narsinghpur derives its name from the Narasiṁha Temple (17.970945, 75.132210), strategically situated at the confluence of the Nira and Bhima rivers. Nestled at the border of Solapur and Pune districts, it marks the easternmost boundary of Pune district. The town is located 174 km from Pune and 52 km from Pandharpur. Nira-Narsinghpur is a unique geographical gem, surrounded by the Nira River on one side and the Bhima River on the other, with the confluence of these two water bodies forming a breathtaking natural spectacle. This temple attracts lakhs of devotees annually from Maharashtra, Karnataka, Andhra Pradesh, and Madhya Pradesh.

The confluence of the Nira and Bhima rivers.

To reach Nira-Narasinghpur, one can get off at Tembhurni on the Mumbai-Pune-Solapur-Hyderabad National Highway. From there, continue to Saṅgam Chowk on Akluj Road, followed by a brief 11 km drive to Nira-Narsinghpur. Travellers arriving by train can alight at Kurduvadi Junction and take a bus journey to Tembhurni, providing a seamless transition to Nira-Narsinghpur. Devotees are provided with comprehensive amenities within the Lakṣmī-Narasiṁha temple complex. The Kṣetropādhyāya (Priest) oversees lodging, dining, and worship facilities.

Legends

Nira-Narasinghpur is steeped in a rich tapestry of myths and legends. Among its famed narratives, a prominent account chronicles Lord Rāma embarking on his spiritual odyssey from Nira-Narasinghpur, guided by the sage Muni Agastya, following the demise of the demon king Rāvaṇa. This sacred ground is also purported to have hosted the venerable Maharṣi Vyāsa during a period of his sojourn. Furthermore, Saint Rāmadās would perform kīrtana after bathing at the confluence of Nira-Narasinghpur.

Another enduring legend involves Lord Viṣṇu assuming the formidable avatāra of Narasiṁha, vanquishing the malevolent Hiraṇyakaśyapu. Hiraṇyakaśyapu, having amassed boons through rigorous penance, unleashed havoc upon the celestial realms. In response, Indra, the sovereign of the gods, ventured into Hiraṇyakaśyapu's capital, abducting his pregnant consort, Kayādhu. Under the counsel of the sage Nārada, Indra sought shelter in Nārada's hermitage, where Kayādhu gave birth to a resplendent child. Devotees believe that Maharṣi Nārada's hermitage is located at Narsinghpur on the bank of Bhīma at Koṭī Tīrtha.

Nārada enlightened the devoted Prahlāda with the sacred incantation "Om Namo Nārāyaṇa." Here, Prahlāda undertook steadfast penance, regularly visiting the confluence of Nira-Bhima, fashioning an image of Narasiṁha from the very sands, and offering fervent worship. In a divine revelation, Lord Viṣṇu manifested himself as Śrī Narasiṁha, bestowing his blessings upon Prahlāda. The same sand-carved idol of Narasiṁha is said to be enshrined within the sanctum of the Narasinghpur temple. Today, within this hallowed temple, two distinct idols of Narasiṁha grace the sanctum. The first and main idol is described in detail in the next section. The second idol, believed to be crafted from black stone by Lord Brahma himself, is revered as Śāmarāja, and the triumphant chorus of 'Narahare Śāmarāj' echoes within its sacred confines.

Narasiṁha idol inside the sanctum.

Antiquity of the temple

The Narasiṁha temple is believed to be ancient, and some archaeological evidence supports this. In 2018, the main idol of Keval-Narasiṁha in the temple was chemically treated to remove the old coating. The Maharashtra State Archaeology Department received help from the National Research Laboratory for Conservation of Cultural Property (NRLC) in Lucknow. The research showed that a cement coating was applied to the idol in 1881, and around 15 kg of this unnecessary coating was removed. The stone (basalt) idol of Kevala-Narasiṁha was then revealed for the first time in over 150 years. The idol's artistic features matched those of Vākāṭaka period idols, which date back to the 5th century CE. A similar Vākāṭaka idol was discovered in the Vidarbha region at Ramtek. Therefore, it is believed that the idol at Nira-Narsinghapur dates back to the 5th-6th century CE, which proves that Keval-Narasiṁha was worshipped here during this period. The possibility of an original temple at the site must also be considered.

A general view of the Narasiṁha temple.

Some later archaeological and textual evidence related to the Nira-Narsinghapur region includes old hero stones, Kāśī-Viśveśvara temple, which is a sub-shrine within the temple, multiple inscriptions, the construction date of the ghāts, colossal temple bell, and references to the temple in Saint Nāmadeva, Tukārāma and Rāmadāsa. Four hero stones stand near the Narasiṁha temple and are at least 500 years old based on their features. To the north of the Narasiṁha temple, within the same temple complex, is a Kāśī-Viśveśvara temple, and the name 'Śrī Vīṭhala Nāma' is engraved on the back of this temple. The palaeography of this inscription makes it older than the 18th century CE. Furthermore, this temple's Śivaliṅga, pilasters, Gaṇeśa idol, Nāga sculpture, and Nandī appear pre-17th century CE. Saint Tukārāma has compared it with Prayag in one of his sacred poems. This evidence proves that the shrine was an important centre of Narasiṁha worship way before the 18th century CE.

Kāśī-Viśveśvara temple.

The name 'Śrī Vīṭhala Nāma' is engraved on the back of Kāśī-Viśveśvara temple.

According to legend, Ādilśāha of Bijapur once planned to build a fort at this confluence, but sage Umājī Paṇḍita prayed to Narasiṁha, and Ādilaśāha fell ill and stopped the work. Umājī Paṇḍita cured Ādilśāha, and he gave the Paṇḍita land as a reward. The purification ritual for the reconversion of Bajājī Nimbālakara, a Maratha officer during the time of Śivājī Mahārāja, who converted to Islam, was also performed here. According to the local history, it is said that when Aurangzeb camped at Akluj near Nira-Narsinghapur after killing Sambhājī Mahārāja, the Narasiṁha idol was moved twice to a secret location to avoid destruction. Queen Ahilya Devi Holkar of Indore also came to Nira-Narsinghapur and made charitable donations.

There are references to the original temple's dilapidation before 1756 CE, and Viṭṭhala Śivadeva's Guru Amṛta Swami spearheaded the task of restoring the temple. Viṭṭhala Śivadeva was the local chieftain from the Saswad town. The restoration began in 1756 CE and took 20 years to complete costing about seven lakh rupees, a large sum during that period. The construction of the temple continued for about 100 years. An inscription on the temple's sanctum sanctorum throne mentions the restoration work. For the temple arrangement, Viṭṭhala Śivadeva Dāṇī had invested the revenue income of four villages of the Surat district in his estate. The inscription in the sanctum reads:

“Śrīkṣetra Nirānarsiṅghpura, Ghāta, Gābhārā, Devālaya, Caraṇarvinda Viṭṭhala Śivadev Dāṇī Kasabe Sāsavaḍa Prā ǁ Pune, Śake 1678 Dhātānāma Saṁvatsare Caitra śuddha ǁ 1”

Translation: Viṭṭhala Śivadev Dāṇī, a resident from Sasvad, Pune Paragaṇā, constructed or repaired Ghāta, Sanctum and temple at Nira-Narsinghpur on Dhātānāma Saṁvatsare Caitra śuddha 1 in 1756 CE.

The construction supervisor of the temple, Hari Nānājī, has his name engraved on a raised square called Pādukā Cautharā next to the throne in the sanctum sanctorum. The pier at the confluence of the Nira-Bhima rivers was built on Māgha Śuddha ǁ 11 in Śaka era 1527 Viśvavasunāma Saṁvatsara, according to an inscription here. Trimaḷapāla Dhādhjī Mudhojī completed the work under the supervision of Yamājī Nighadeva, and the inscription dates back to 1605 CE, as per the Gregorian calendar. This shows that the temple was very popular even during the Ādilśāhī period, which is before the Śivājī Mahārāja era. The Portuguese bell was brought here in the early 18th century CE. Some portions of the temple were built in the middle of the 18th century CE. The temple's current grand structure was completed on 7th November 1865, according to another inscription here.

Saṅgama ghāt

Architecture

The Narasiṁha temple faces west and is built on a raised elevation, surrounded by a strong rampart. There are three entrances to the rampart - east, west and north. The western entrance is larger than the other two, with two big bastions (towers) on either side. After climbing some steps, we reach the western gate, a Gaṇeśa sculpture is visible in front of the gate. After entering through this door, there is a multi-pillared veranda (lobby). Above the main entrance on the western side is the Nagārakhānā. Once inside the temple complex, one notices the Vāhanamaṇḍapa (Bhakta Prahlāda Temple?), Sabhāmaṇḍapa, Mukahamaṇḍapas, Antarāḷa and Garbhagṛha. A beautiful wooden hall is in front of the porch on the west side and between the Prahlad temple.

The Prahlāda temple (Vāhana maṇḍapa) is small and dedicated to Devotee Prahlāda. Often, a sculpture of an eagle is used as a Vāhana hall in front of temples dedicated to Viṣṇū incarnations. However, during the Peśavā period, Bhakta Prahlāda's temple was built here. The Bhakta Prahlāda temple stands on a slightly elevated adhiṣṭhāna. By climbing three steps, we reach the hall with the three arches of Prahlāda temple. At the entrance of the Garbhagṛha, we see carved Gaṇeśa sculpture, flowers, foliage, and kīrtimukhas. In the Garbhagṛha, a beautiful idol of Prahlāda is installed on a high pedestal facing the Narasiṁha in the temple’s Garbhagṛha.

Prahlāda

Mukhamaṇḍapa (Porches): A wooden hall is in front of the Prahlāda temple. Its ceiling is decorated with chandeliers. The main structure of the temple is built on a high adhiṣṭhāna. The architecture of the temple's three porches is almost identical. The entrances have a Gaṇeśa sculpture on the front, Vaiṣṇava gatekeepers below, kīrtimukhas and three small spires on the upper parts, and kīrtimukhas on the threshold below. We climb three steps to reach the mukhamaṇḍapa on the west side of the Narasiṁha temple. There should be two elephants on either side of the stairs. However, currently, they are not visible here. However, two stone elephants are seen on either side of the steps of the other two mukhamaṇḍapas. There are two carved pillars and pilasters on these mukhamaṇḍapa. Two inscriptional steles are fixed on the walls of the western mukhamaṇḍapa to the sabhāmaṇḍapa, and more inscriptions are carved on the Mukha maṇḍapa’s floor. A beautiful sculpture of Garuḍa is placed on the left side of this main mukhamaṇḍapa, and we can reach the sabhāmaṇḍapa through the porch entrances.

Two elephants on either side of the stairs.

Mukhamaṇḍapa (Porch)

An inscription.

Sabhāmaṇḍapa (Main Hall): The temple's sabhāmaṇḍapa has eight carved pillars and 16 pilasters. Serpent sculptures are carved on the capitals of the pillars. One of these pillars has a sculpture of Vidāraṇa Narasiṁha. Among them is the sculpture of Narasiṁha tearing Hīraṇyakaśyapu's stomach. Also, nine snake sculptures have been carved on the ceilings of the Raṅgaśilā, eight on all sides and one in the middle (which is probably of Kṛṣṇa). The upper torso of the eight serpents is in human form, and the lower portion is a snake body. There are some empty niches in the sabhāmaṇḍapa. A sleeping room has been prepared on one side of the hall, which has two beds for God Narasiṁha and Śamarāja.

Sabhāmaṇḍapa.

Vidāraṇa Narasiṁha

Antarāḷa and Garbhagṛha: The Antarāḷa of the temple is simple, with two visible niches. The ceiling of the Antarāḷa is plain, and it has a Candraśilā in front of the entrance. The entrance to the Garbhagṛha is also simple and has a Gaṇeśa sculpture on the lalāṭapaṭṭa. Pillar branches are seen on both sides of this entrance. In the centre of the Garbhagṛha is a sculpture of Kevala-Narasiṁha installed on a high pedestal. Another ancient Narasiṁha (Śamarāja) sculpture is placed on one side of the Garbhagṛha, which, as we mentioned before, is believed to have been created by Lord Brahma. This idol is known as the 'Śāmarāja' idol and is commonly chanted as 'Narhare Śāmarāja.'

Kevala-Narasiṁha.

Śamarāja.

The original image of Kevala-Narasiṁha inside the sanctum.

Temple Exterior: The exterior of the temple is simple yet attractive. On the exterior of the Garbhagṛha, Garuḍa's sculptures are carved in a niche on the north, Śeṣaśāyī Viṣṇū on the east, and Hanumāna on the south. A Cow face (Gāyamukha) is also visible on the exterior of the Garbhagṛha. The Temple main Śikhara is a grand and lofty brick structure with a height of about 70 feet. The Śikhara is adorned with various lime stucco idols and sculptures such as Skandha, Kṛṣṇa, Mahiṣāsura Mardinī, Viṣṇū incarnations, Hanumāna, Garuḍa, soldiers, women, monkeys, elephants, horse riders, tigers, wrestlers, mother and baby, etc. The western facade over the mukhamaṇḍapa has a brick Śikhara, with idols of Hanumāna, Gaṇeśa, Riddhi-Siddhi, and Garuḍa are seen on them while no Śikharas are visible on the other two mukhamaṇḍapas.

The exterior of the temple.

Śikhara.

Various lime stucco idols and sculptures.

Various lime stucco idols and sculptures.

Marathi inscription 

Two inscriptions can be found on the left and right sides of the main entrance on the temple's western side. One inscription is in Marathi, and the other contains the same content but in Sanskrit. Both inscriptions are readable and are meant to preserve the memory of the Dāṇī family, who built and restored the Narasiṁha temple. Reading of the Marathi inscription:

।। श्री शंकर ।।

।। सार्वभौम राजधानी सातारा येथील ।।

।। अधिकारी शाहुराजांचे मुख्यप्रधान ।। ………….

--------।। म श्री लक्ष्मी नृसिंव्ह सुप्रसंन्न होवोत ।।

Interpretation: The Marathi inscription is 15 lines long and mentions Viṭṭhala Śivadeva, the commander of Bāḷājī Bājīrāo, alias Nānāsāheb Peśavā, and the first man of the Dāṇī family. It also states that he built a new temple at the confluence of the rivers Bhima and Nira, and an idol of Narasiṁha was installed in it. Currently, the restoration of that temple was completed by Raghunātharāo Viṭṭhal Dāṇī, who is the fifth generation from the first builder of the temple. He completed the restoration on 'Kārtika Vadya Pañcamī' in the year 1787 of Śālivāhana Śaka, on Tuesday, corresponding to November 7, 1865 CE.

Marathi inscription.

Temple’s bell

The colossal bell that rang behind the Prahlād temple towards the west door of the temple was used for prayers in the Portuguese church at Vasai. After conquering Vasai in 1739 CE, Cimājī Āppā looted many bells and brought them to Pune. Peśavā sent these bells to various shrines. One of them was brought to Nira-Narsinghpur by the efforts of Sadāśiva Māṇakeśvara. A wrestler named Bābā, belonging to the Sonāra caste, belonged to this period. There is a statue of him near the temple, and it is said that he could easily uproot big bushes. Legend has it that he pelted the colossal bell above with his left hand and tied it with his right hand.

Other temples in the temple complex

Inside the Lakṣmī-Narasiṁha temple complex, there are smaller temples and Tulasī Vṛndāvana. On the left side of Narasiṁha temple is the Mahā Lakṣmī temple, which has an attractive idol made of 'Gaṇḍakī' stone. The Śikhara of this temple is made of stone, and there is a small crack between the two summit stones. Water seeps through it day and night, and this small trickle of unknown origin is known as 'Gupta Gaṅgā' here.

A small shrine built for Datta in the temple complex is made entirely of wood. The main Datta idol is made of white marble stone. There is also a small temple named Bhimāśaṅkara in the temple complex, with a tall Śivaliṅga that looks relatively old. A small temple to the right of Bhimāśaṅkara houses the idols of Viṭṭhala-Rukminī. Śrī Rāghavendra Svāmi's Vṛndāvana was built in Śrī Narasiṁha Temple in the Śaka era in 1850, and he is believed to be an incarnation of Prahlāda. There are four feet of Narasiṁha under the 'Taraṭa tree' (Capparis zeylanica), and a raised platform is constructed next to the second 'Taraṭa tree' near the temple. Śākaṁbharī temple, a small shrine within a temple complex, has an idol of the goddess with eighteen hands. To the right of Kāśī-Viśveśvara is a stone idol of Datta in a temple called 'Kālā Datta'. The cloisters, in the eastern gate of the temple complex, have a shrine of Bhairavanātha. There is also a Rāmeśvara temple next to the Lakṣmī temple, and Hanumāna, Garuḍa, and Gaṇeśa sculptures can be seen on the Narsiṁha temple premises.

Hanumāna, Garuḍa, and Gaṇeśa sculptures.

The ghāt

The circular ghāt at the confluence of the Nira and Bhima rivers was built in 1527 CE by Trimaḷapāla Dhādhajī Mudhojī. The construction of the ghāt continued for three years. At the confluence of the Nira-Bhima rivers are sculptures of stone elephants, lions, crocodiles, and a hero stone, etc.

Bhima river.

Sacred places (Tirthas) on the river Nira

On the left side of the west gate of the temple complex, there is a ghāt where the temple of Śrī Lakṣmī is located. This sacred place is known as 'Lakṣmī Tirtha'. Above Lakṣmī Tirtha is 'Padma Tirtha'. Legend has it that Lord Narasiṁha was pleased when Lakṣmī performed penance and a lotus (Padma) fell from her hand. Narasiṁha's conch (Śaṅkha) is located in ‘Śaṅkha Tirtha'.

Several rituals such as Nārāyaṇa Nāga Baḷī, Tripiṇḍī (Piṇḍadāna), Kālasarpa Yogaśāntī, Gṛhaśāntī, and Nakṣatra Śāntī are performed on the Piśāccha Vimocaṇa Tirtha. Nārāyaṇa Baḷī is performed to free one from unsatisfied souls, while Nāgabaḷī pujā is performed to eliminate the sin of killing cobras or snakes. The place where Narasiṁha stayed after killing Hīraṇyakaśyapu is considered Narasiṁha Tirtha. It is located on the secluded and beautiful ghāt on Nira. On this ghāt is a stone-shaped Narasiṁha idol in the temple on the hill. Chambers built for pilgrims are located on the side, and one contains an idol of Hanumāna.

Other sacred Tirthas, such as Hansa Tirtha, Indra Tirtha, Tārā Tirtha, Durvāsā Tirtha, Kapila Tirtha, Gaṇeśa Tirtha, etc. are also located on the Nira River.

Sacred places (Tirthas) on the river Bhima

Several traditional shrines on the Bhima River, such as the Goddess Durgā temple on the river's banks and the Nārada Munī hermitage at Kota Tirtha. The Go Tirtha, Bhānu Tirtha, Cakra Tirtha, Nada Tirtha, Pāśa Tirtha, Lāṅgala Tirtha, and Mausala Tirtha shrines are also located near the confluence along the Bhima River.

The Solakhāṁbī (sixteen pillared) Temple

The Solakhāṁbī Temple, built by Govindarāo, Gopājī, and Śāmajī, sons of Mudhejī Trimaḷa Bhuraṅga, in 1590 (1668 CE) during the Śaka era, is also located on confluence point of the River Bhima and Nira.

“शके १५९० किळक नाम संवच्छरे ज्येष्ठ वदी त्रयोदसर

गुरूवार  दीवसी मुधेजी त्रीमल भुरंग यांचे पुत्र

गोविंदराव गोपाजी व शामजी यांनी सोळखांब केला

व कुरंगाजी कोनेरी या कामावरी होता.”

The central area of the Solakhāṁbī temple is home to several deities, such as Narasiṁha, Gaṇeśa, Hanumāna, and Śivaliṅga. Raghunātha Viṅcurakara renovated the raised platform. In addition, there is a Jānakeśvara Śiva temple and a lamp pillar on the front side of the temple. Raghunātha Viṅcurakara built this Śiva temple in memory of Jānakībāī in the Śaka era in 1803.

The Solakhāṁbī (sixteen pillared) Temple.

Pujās and Rituals

The temple has a trust body, and its priests are primarily Brāhmiṇs. They perform routine worship rituals for Narasiṁha daily, including the ‘Kākaḍa Āratī’ offered to Viṣṇū at 5 a.m. In the morning worship, idols of Narasiṁha and Śāmarāja are worshipped with the Pañcāmṛta bath. An Āratī is performed at noon, and Puraṇa-poḷī (Sweet roṭī) is offered. Evening pujā is performed by ringing cymbals and bells. At 9 p.m., the main doors are closed by worshippers seeking the forgiveness of Lord Viṣṇū by offering him milk.

Celebrations

Large-scale celebrations of Narasiṁha Jayantī and Navarātrī festivals occur annually in the month of Vaiśākha. when thousands of devote gather. Besides, after coming to Nira-Narsinghpur, one can perform Kuladharma-Kulācāra (rites and rituals of clans) to Lord Narasiṁha. The temple offers various pujā rituals such as Mahāpujā, Mahāvastra Sevā, Pañcāmṛta Abhiṣeka, Pādyapujā Abhiṣeka, Caraṇa Pujā, Nandādīpa Sevā, Vasanta Pujā, Kumakumārcana, Mahānaivaidya, Alaṅkāra Pujā, Mahālakṣmī’s Sārī and Oṭī Arpaṇa’ and many more. Additionally, festivals and rituals are celebrated here every Indian month.

1. Caitra: In Caitra, on the occasion of Guḍhī Pāḍavā, Pavamāna (Pañcasukta) Abhiṣeka’ and Alaṅkāra Pujā are performed to honour Lord Narasiṁha. A Guḍhī is also erected in the temple. On the day of Rāma Navamī, the Rāma Janma festival and the Hanumāna Jayantī festival are celebrated on a large scale.
2. Vaiśakha: The Vaiśakha Navarātrī festival is considered the most significant festival in the temple. The Navarātrī festival starts on Vaiśakha Śuddha 6th (ṣaṣṭhī), and on Vaiśakha Śuddha 14th day, Narasiṁha Jayantī is celebrated in the evening. On Vaiśakha Śuddha 15th (Full Moon) day, the ‘Pāraṇe’ ritual is performed. Narasiṁha’s Pādukā is kept in a palanquin, and a musical procession is carried on. The festival ends on the second day after performing Dahī Haṇḍī kālā and Laḷita (local rituals). During the festival, programs such as devotional music, bhajans, speeches, sermons and Nāradiya Kīrtana Sevā are performed before Lord Narasiṁha. Narasiṁha is worshipped with various ornaments, Candana uṭī Pujā (Pujā with Sandalwood paste), Puṣpa Racanā Pujā, and Mahāvastra Pujā. Throughout the month of Vaiśākha, many Narasiṁha devotees come to perform Kuladharma-Kulācāra rituals.
3. Jeṣṭha: During the Dussehra festival, from Jeṣṭha Śuddha 1 to Jeṣṭha Śuddha 10, service is offered to Narasiṁha by many devotees. Married women (Suvāsinī) perform Vaṭa pūjana on Vaṭa Purṇimā.
4. Āṣāḍha: The temple celebrates various festivals throughout the year. On the occasion of Āṣāḍhī Ekādaṣī, Lord Narasiṁha is worshipped.
5. Śrāvaṇa: Nāgapūjana and the Śrāvaṇī community perform in the temple during the Nāga Pañcamī festival. The 'Birth of Śrī Kṛṣṇa' is celebrated by organizing Gokula Aṣṭamī week.
6. Bhādrapada: The grand Gaṇeśa Caturthī festival is celebrated in the temple during the month of Bhādrapada. Organized events include Gaṇapatī Atharva Śirṣa Paṭhana and Gaṇeśa Yāga.
7. Āśvina: In the month of Āśvina, the Śāradīya Navarātrī festival is celebrated from Āśvina Śuddha 1 to Āśvina Śuddha 9. On the day of Dussehra, Narasiṁha and Mahālakṣmī are offered Mahābhiṣeka and Mahāvastra pujā. In the evening, Narasiṁha's palanquin leaves for Sīmollaṇghaṇa. On the Naraka-Caturdaśī day, the worshipper Dandavate is waved by the Kuravaṇḍyā to Narasiṁha. After performing Ornamental Pujā, Narasiṁha’s palanquin goes to Saṅgama.
8. Kārtika: During the month of Kārtika, on the day of Balī Pratipadā, Narasiṁha is bathed and decorated with ornaments. On Kārtika Śuddha 12, Śrī Narasiṁha is married to Tulasī. The musical procession of Garuḍa takes place on Vaikuṇṭha Caturdaśī.
9. Mārgaśirṣa: In the month of Mārgaśirṣa, Datta Jayantī is celebrated on Mārgaśirṣa Śuddha Pūrṇimā. In the Śaka era of 1787, Raghunātharāo Viñcurakar restored and released the temple. Its anniversary is celebrated every year on Mārgaśirṣa Vadya 9-10.
10. Pauṣa: During the month of Pauṣa, Narasiṁha's palanquin departs on the day of Bhogī. On the day of Makara Saṅkrāntī, married women gather in large numbers to do a Vanavāsa ritual to Narasiṁha and Lakṣmī.
11. Māgha: In the month of Māgha, devotees come for worship after bathing in the Nira-Bhima confluence on Māghī Ekādaśī and Mahā Śivarātrī.
12. Phālguna: During the month of Phālguna, Holikā Pujā is performed in the temple on the full moon day. On the day of Raṅga Pañcamī, Narasiṁha is dressed in white and splashed with orange on his body.

State-protected monuments and other development works

The Nira-Narasinghpur holds great historical and religious significance and was declared a State Protected Monument by the government in 2001. Recently, A development plan worth crores of rupees has been approved for this monument. The plan includes the construction of accommodations for devotees and tourists, public amenities, conservation efforts, and a protection wall for Māṇakeśvara Vāḍā. Solid waste management, electrification, street lights, electric generators, road widening and beautification, submerged dams and rafts for water sports construction, and communication facilities are also proposed. The state government is developing the Śrī Kṣetra Nira-Narsinghpur pilgrimage site as a pilgrimage destination, with a focus on the development of tourism in the temple area, temple-Nagārakhāna, state-protected monument, and Viñcurakara Vāḍā renovation. Preservation, repair, and development of about 800 meters of the Saṅgama Ghāt on the Bhima River in the east and Nira River in the south are also underway. Near the village of Nira-Narsinghpur are archaeological remains dating back to the 13th century.

Concluding Remarks

The Narasiṁha temple at Nira-Narsinghpur is the largest in the Pune district, resembling a 'Bhuīkoṭa' fort. The temple's structure is sturdy and an excellent example of architecture. The discovery of the Keval-Narasiṁha idol has helped trace the area's religious history back to at least the 6th century, making Nira-Narsinghpur an important ancient site in Maharashtra. This place is the family deity of former Maharashtra Chief Minister Śrī Devendra Fadnavis. The state government has committed to providing all necessary facilities to devotees and developing Śrī Kṣetra Nira-Narsinghpur as a pilgrimage and tourist destination.

(Reference: Fieldwork and Nira-Narsinghpur Development Project Report).

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