Pandeshvar village is located 61 km from Pune City and 12 km from both Jejuri and Morgaon. The Karha River, a tributary of the Nira River, flows near the Pandeshvar village and its temple. The Pandeshvar region is a plateau. The Pāṇḍeśvara temple (18.304428, 74.252087), dedicated to Śiva, is situated to the south of the village and faces east. While the original construction of the temple dates back to the 12th-13th century CE, it underwent significant renovations in the 18th century during the Marāṭhā period. On the eve of Mahāśivarātrī, a large festival is held at the Pāṇḍeśvara temple, attracting thousands of people from nearby areas. Mr. Dalavi (Gurav) serves as the temple’s priest, overseeing daily pūjā and related activities.

Pāṇḍeśvara temple.

Surrounding the Pāṇḍeśvara Temples are temples dedicated to Kuntī, Yudhiṣṭhira, Bhīma, Nakula, and Sahadeva.

Legend: The history of Pāṇḍeśvara temple, is deeply rooted in legends associated with the Pāṇḍavas. According to popular tales, this temple was constructed overnight during the Pāṇḍavas' exile. The temple’s connection with the Karha River is intricately woven into this legend. As the story goes, during a significant sacrificial ritual, the Pāṇḍavas needed Lord Brahmā's presence. However, he was immersed in deep meditation within the Sahyadri ranges. Bhīma took on the responsibility of locating Brahmadeva and found him atop a towering peak. Unable to rouse Brahmadeva from his deep meditation, Bhīma poured water from his waterpot (known as Kamaṇḍalu or Karhā) onto his head. This act gave birth to the Karha River. Surrounding the Pāṇḍeśvara temple are several other temples dedicated to Kuntī, Yudhiṣṭhira, Bhīma, Nakula, and Sahadeva. Not far from the Pāṇḍeśvara temple, in the 'Javaḷārjuna' region, stands a temple dedicated to Arjuna.

Architecture: The Pāṇḍeśvara temple comprises the nandīmaṇḍapa, gūḍhamaṇḍapa, antarāḷa, and garbhagṛha. The renovated nandīmaṇḍapa stands adjacent to the temple, housing images of Nandī and Gaṇeśa. Based on the style of the sculptures, they can be dated to the late medieval period during the Marāṭhā period.

Gūḍhamaṇḍapa: Upon entering the sabhā or gūḍhamaṇḍapa, one can see two Bhairava-like dvārapālas flanking the entrance. Despite significant damage, the artistry of these sculptures remains evident. A diamond band, adorned with a delicate Gaṇeśa sculpture, is carved on the lintel. The gūḍhamaṇḍapa's visible wall section features 10 pilasters: inverted cobra hoods grace the capitals of six, while the remaining four showcase Phāṃsanā-style superstructures. Enmeshed windowpanes are situated between pairs of pilasters, illuminating the gūḍhamaṇḍapa. Aediculae are carved at both corners outside the maṇḍapa, with two more in the south-north directions. All bear the Saṃvaraṇa type of superstructures. A damaged sculpture of Sarasvatī resides in the left aedicule. Wearing a Kirīṭa-style crown, this four-handed deity, now with broken appendages, holds a Vīnā. She's portrayed in a relaxed pose with a swan at her feet. Hints of red can be spotted on some diamond friezes. Elevated on a platform, the gūḍhamaṇḍapa encompasses eight complete pillars and 16 pilasters internally. The pillars, aside from the inverted cobra hoods on their capitals, lack distinctive carvings. In total, 16 aediculae are set into the maṇḍapa's walls, with some missing their original pedestal images, likely relocated from the aediculae. The architecture of the gūḍhamaṇḍapa suggests its construction in the 12th-13th century CE.

Garbhagṛha: To access the garbhagṛha, one progresses through the gūḍhamaṇḍapa and a constricted antarāḷa passage, distinguished by its vaulted ceiling. Marāṭhā period artworks, inscriptions, and graffiti embellish the antarāḷa's walls. The temple's garbhagṛha is oval, separated from the antarāḷa by an enmeshed wooden plank. Within, a substantial Śivaliṅga, with an ornate pedestal, is elevated on a platform. An aedicule lies behind the Śiva liṅga. Though the platform likely originates from the Yādava period, dating the Śivaliṅga is challenging; it's probably from the Marāṭhā period.

Śikharas: Eleven miniature śikharas crown the temple maṇḍapa, falling into the Nāgara, Phāṃsanā, and Bhūmija stylistic categories. The garbhagṛha's superstructure seems Marāṭhā in origin, with lime-plastered sculptures from that era decorating the śikhara.

The ground plan of the Pandeshvar temple.

Renovated nandīmaṇḍapa

Two Bhairava-like dvārapālas on both sides of the entrance.

A close view of a dvārapāla.

Gūḍhamaṇḍapa

Sarasvatī

Gūḍhamaṇḍapa

Another view of the gūḍhamaṇḍapa

A narrow antarāḷa passage

Śivaliṅga

Śivaliṅga

Śikharas over the temple

Owarīs and paintings:  Owarīs, or platformed chambers, are incorporated into the fortification walls that encircle the temple on three sides. Above the owarīs on the eastern wall, lime plaster carvings depict images of Gaṇapatī and Riddhī-Siddhī. Wall paintings from the Marāṭhā period adorn the owarīs of the northern and western fortification walls. Notably, the owarīs of the western wall house a Bhairava temple. Among the painted images, depictions of Viṣṇu, a king or knight with a servant, and a chariot rider can be distinctly recognized. There is a potential threat to this temple's Marāṭhā-style paintings and inscriptions. Recently, these paintings have been damaged by scratching with sharp objects and scribbling over with coals. The fungus caused by the rains is increasingly affecting the paintings, and their color layers are peeling off. These precious illustrations of late Marāṭhā period art are deteriorating and need to be preserved sooner.

Owarīs (platformed apartments)

Wall paintings

wall paintings

wall paintings

wall paintings

wall paintings

Wall paintings

Marāṭhā era Watchtower: A set of steps from the Owarīs leads from the temple down to the riverbed. A ghat is built on the river bank to the east of the temple. Bastion-like structures can be seen on the ghat. There is one hero stone and sculpture of an archer near the east wall. There is a watch tower built of bricks and stones near the nandīmaṇḍapa.  The upper part of the watchtower is adorned with Marāṭhā period sculptures externally. As the construction suggests, this watchtower was probably used to watch over the territory.

Some prominent sculptures:  There are a few sculptures inside and outside the temple, including two Śaiva Dvārapālas, Sarasvatī, four ancient Śiva liṅgas, Nandī, Gaṇeśa, an archer, hero stones, cobra stones (nāgaśiḷā), broken Cāmuṇḍā, and a broken Viṣṇu image. As previously mentioned, the entrance of the temple is guarded by two Dvārapālas. These guardians are adorned with Kirīṭa crowns, earrings, necklaces, shoulder ornaments, armlets, and a distinctive naramuṇḍamālā—a string of decapitated heads—draped over their shoulders. Their attire is complemented with waist-clothing and waist-bands. Each figure is backed by a halo, lending an aura of divinity. The carvings are remarkably proportionate, and the guardians are depicted with miniature Nandī bulls at their feet. Adding to their regality, parasols are carved to shadow their heads.

Within the temple's grounds stands a sculpture of an archer. Local lore identifies this figure as Arjuna. A short distance east of the temple, under the shade of a tree, sits a weathered sculpture, which is believed to be a representation of Viṣṇu, set upon a pedestal. Another pedestal has been discovered on the ghat. Additionally, an intricate snake or cobra sculpture, known as nāgaśilpa, graces the temple's exterior. The entrance to the temple complex is marked by three hero stones, one of which vividly portrays a warrior's valiant battle against a tiger, ultimately meeting a heroic end. Surrounding the Pāṇḍeśvara temple, smaller shrines house ancient Śivaliṅgas, further enriching the spiritual and historical significance of the area.

Inscriptions: Inscriptions are etched onto the façade of the gūḍhamaṇḍapa, highlighted in red and white hues. However, their details have faded over time, rendering them difficult to read. Apart from these, another inscription adorns the antarāḷa wall. Sadly, this too is challenging to decipher due to layers of peeling paint. The potential historical insights that these inscriptions may contain could be invaluable. From what remains visible on the antarāḷa wall's inscription, it appears to span nine lines and date back to 1778 CE. Additionally, above the entrance, there are writings scribbled in the Devanāgarī script, using the Marathi language. There are also graffities all across the temples. 

Watch-tower with sculptures

Two Dvārapālas

Sculpture of an archer near the east wall, which locas say is that of Arjuna

A warrior fights with a tiger

Another hero stone

An old Śivaliṅgas

Inscriptions/graffities.

Inscriptions/graffities.

Inscriptions/graffities.

Marāṭhā period sculptures made in stucco.

Marāṭhā period sculptures made in stucco.

Marāṭhā period sculptures made in stucco.

Marāṭhā period sculptures made in stucco.

Marāṭhā period sculptures made in stucco.

Maratha period sculptures made in stucco.

Marāṭhā period sculptures were made in stucco.

Concluding Remarks:  Distinctly representative of Yādava period architecture, the Pāṇḍeśvara temple offers a unique glimpse into historical transformations. It presents a fascinating narrative on the transition and renovation undertaken during the Marāṭhā period. Researchers and tourists alike could delve into understanding the temple's connection to the river, its strategic location, and the intricacies of its design. The murals and paintings within the temple's sanctum are of paramount importance for those keen on studying the Marāṭhā painting style. With depictions ranging from war scenes, Rāvaṇa and Sītā, and Viṣṇu, to more mundane illustrations of kings or knights on elephant-back, soldiers in action, and women in various daily tasks, these artworks provide a vivid snapshot of the era they belong to. Rich in design patterns, including intricate geometric motifs, these paintings also offer a vibrant portrayal of contemporary life, bridging the gap between the past and present.

The potential of the Pāṇḍeśvara temple as a prominent pilgrimage and tourist destination is undeniable. A religious corridor connecting Jejuri, Loni Bhapkar, Morgaon, Pandeshvar, and Bhuleshvar would serve as a significant boost to religious tourism and pilgrimage, enriching the region's spiritual tapestry. Furthermore, the temple's Marāṭhā-style paintings, if conserved and highlighted, could act as a beacon for art enthusiasts and historians alike.