Siddheshvar Temple, Pimpalgaon

Located 51 km away on the route from Pune to Daund via Wagholi, Pimpalgaon sits along the bank of the Mula-Mutha river. An alternative route to reach Pimpalgaon is via Yawat from Pune, followed by a 12 km journey to the north. The village is particularly known for its vibrant folk art of sōṅga, or disguise.

During the Siddheśvara fair on Guḍhīpāḍavā, the festival turns into a living tableau as people, especially from the twelve Balutedāras, roam the village from 7 pm to 7 am dressed in elaborate costumes. These disguises range from deities like Bhavānī and Śaṅkara to mythical animals and birds like Garuḍa and the peacock. Even characters such as Daitya are represented. One of the primary objectives of this tradition is to maintain vigil throughout the duration of the fair. Because of this unique folk art form, Pimpalgaon has earned the epithet sōṅgache gao (village of sōṅgas) in Maharashtra.

The tradition involves performing abhiṣekas on Siddheśvara starting at midnight. Although the village once practiced goat sacrifice as part of its rituals, this seems to have been phased out. Similar traditions of disguise are also found in the neighboring villages of Rahu and Delavadi. Additionally, Pimpalgaon holds the distinction of being the birthplace of V. P. Kale, a renowned writer in Marathi literature.

Siddheśvara temple.

Siddheśvara temple: The temple of Siddheśvara, situated near the Mula-Mutha river to the south of the village, faces east (coordinates 18.560112, 74.285569). Though it has undergone extensive restoration, remnants of the original structure can still be observed. The temple is enclosed by fencing walls on all sides, offering two entrances. The primary entrance, grand in its design, is located to the north and serves as the main point of entry into the temple.

Main entrance to the fencing wall of the temple.

Architecture: Upon entering the temple premises, the grandeur of the temple is immediately palpable. Directly in front lies the restored nandīmaṇḍapa, with a śivaliṅga situated behind it. To the side of the nandīmaṇḍapa, a dīpamāḷa and tulasī vriṅdāvana are present. The architectural layout of the temple comprises the nandīmaṇḍapa, sabhāmaṇḍapa, antarāḷa, and garbhagṛha.

The sabhāmaṇḍapa has dimensions of 640 cm in length and 575 cm in width. It features four pillars, three of which are original to the temple. One pillar appears to have been altered during the Marāṭhā period, although care has been taken to ensure it resembles the original. The pillars are adorned with various sculptures, including kīrtīmukhas, a siddha or yogī, a depiction of the Sugriva-Vālī battle, kinnars, and various other deities. One sculpture stands out—an eight-handed deity attacking a bull, with a yogī standing nearby.

While the walls of the sabhāmaṇḍapa were restored later, the main ceiling remains simple. Below on the floor is a kūrmaśilpa (sculpture of a turtle). The antarāḷa measures 240 cm in width and 220 cm in length. Although devakoṣṭhas exist on both sides, they are currently devoid of deities. The four ardhastambhas attached to the antarāḷa are in a complete state. The doorway of the garbhagṛha follows the pañcaśākhā design, featuring vyāḷaśākhā, stambhaśākhā, gaṇaśākhā, and puṣpaśākhā. The peḍyā contains sculptures of Nidhī, Śaiva dwārapāla, Cāmaradhāriṇīs, and Gaṅgā-Yamunā. A Gaṇeśa sculpture graces the lalāṭapaṭṭa.

Descending three steps leads to the garbhagṛha, measuring 240 cm by 240 cm. The śivaliṅga is centrally located here and is encased in a brass cover. An Abhiṣekapātra is also situated in the garbhagṛha

Images on the Pillars: An eight-handed (?) god is shown attacking a bull.

Images on the Pillars: A fighting scene probably between Jambumali and Sugriva.

Images on the Pillars: Yogis.

Doorway of the garbhagṛha.

Sculptures of Nidhī, Śaiva dwārapāla, Cāmaradhāriṇīs and Gaṅgā-Yamunā on the peḍyā.

Śikhara: The exterior of the temple has been extensively restored. The śikhara on the garbhagṛha appears to be of Bhūmija type. But it seems to have been restored during the Maratha period. Hence, it can be guessed that the original śikhara might have been of Bhūmija style.

Śikhara of the temple.

Additional Information: On the premises of the Siddheśvara temple, five vīragaḷas are present. The temple's priest is Prakash Laxman Kale, commonly known as Nandu Kaka, who is a Brahmin by caste. Not far from the Siddheśvara temple is a temple dedicated to Hanumāna. This temple houses two images of Hanumāna, one of which dates back to the 13th-14th century CE. In the vicinity of the Siddheśvara temple, there is also a modern Nāthapanthī Maṭha (monastery).

Concluding Remarks: Overall, the Siddheśvara temple dates back to the 13th century from its remains. Earlier, the temple’s condition was very bad. Trees and bushes had grown everywhere. With the initiative of Śrī Siddheśvara Mahādeva Devasthāna Trust, the appearance of the temple has changed, but as usual dense oil paints on ancient sculptures take away the beauty of the original sculptures and hide their immense antiquity.