Located about 16 kilometres east of Pune city, the historic town of Vagholi thrived during the Marāṭhā sovereignty. A stone wall fortified the village with two entrances, and the remains of this wall can still be seen today. The town was owned by Pilaji Jadhav, one of the knights who helped expand the Marāṭhā domain. Due to water scarcity, he built two large lakes in the town. The remains of his mansion can be found in the central part of the village. Vagholi is known for its unique metallic blue stone (Cavansite) found in abundance in the stone quarries. Among all the Marāṭhā architecture-styled temples in Vagholi, the Vāgheśvara temple is the biggest and most beautiful. It faces east and quickly catches the attention of those travelling from Pune to Ahmednagar. It is believed that the name Vagholi was derived from the name Vāgheśvara.

The Vāgheśvara temple

A ground plan of the the Vāgheśvara temple

Architecture of Vāgheśvara temple: The Vāgheśvara temple area is beautiful due to its structural remains, lake, and Chatri. The temple consists of a nandīmaṇḍapa, gūḍhamaṇḍapa, and garbhagṛha. One reaches the nandīmaṇḍapa by walking through the holy track. The maṇḍapa, adorned with beautifully carved pillars, houses a giant Nandī. The gūḍhamaṇḍapa, which is 992 x 899 meters in dimensions, has a total of three entrances comprising the south and north entrances. The garbhagṛha, with dimensions of 418 x 416 meters, contains śivaliṅga in the centre, which according to local oral tradition, is self-existent and belongs to the times of the Pāṇḍavas. On the outer side of the temple, there are pillars in the design of piled pots and other decorative motifs at specific intervals. The temple also has beautiful sculptures with multiple subjects carved on the upper side of some of its aedicules. One of the aedicules flanking the south entrance is adorned with a four-handed Gopālkṛṣṇa. The top part of one of the aedicules flanking the north entrance has a beautiful panel consisting of Rāma, Sītā, Lakṣmaṇa, Hanumāna, and a group of monkeys.

Nandi

The gūḍhamaṇḍapa

śivaliṅga.

Gopālkṛṣṇa

Rāma, Sītā, Lakṣmaṇa, Hanumāna, and a group of monkeys.

Sculptural Images on the outer wall: On the outer walls of the garbhagṛha are 13 aedicules in total. To the north are four aedicules; to the south are four; to the west are five aedicules. Of them, the aedicules in the centre must be the main aedicules. Above these aedicules, on the top part of walls, are carved various deities, Viṣṇu incarnations, and some panels. In the ambulatory way, the southern border has eight sculptural panels. The first panel depicts Rāma, Sītā, Lakṣmaṇa and Hanumāna. Here, Lakṣmaṇa is fanning Rāma and Sītā while Hanumāna is touching the feet of Rāma and gaining blessing from him.

In the second panel, we see a person beheading another person who is kneeling before the swordsman. There is a flowering tree carved next to those figures. This sculpture possibly could be of Rāma beheading the Śaṃbuk. In the third panel, Viṣṇu lying on his Śeṣanāga is depicted. Brahmā is shown to have seated on the lotus that bloomed from the Viṣṇu's navel and at the feet of Viṣṇu, a snake-god; half snake and half human is shown offering reverence. The fourth panel depicts Narasiṃha incarnation of Viṣṇu, appearing from a pillar. In the upper hands, Narasiṃha holds lotus and discus, and with lower hands, he is depicted tearing apart the stomach of Hiraṇyakaśyapu. Prahlād is shown offering reverence beside Narasiṃha.

In the fifth panel, Varāha incarnation of Viṣṇu is demonstrated. Varāha stands with his hand resting on his waist. He holds lotus, conch, and discus with the rest of his hands. Varāha seems to have balanced a flat, multi-layered object on his tusks, which could represent the earth. The sixth panel is about the Vāmana incarnation of Viṣṇu. Here Vāmana is shown holding an umbrella upon his head and sending King Balī by pushing him with legs into the netherworld. After this panel, we see sculptures of Garuḍa holding lotus flowers and Hanumāna.

First Panel: Rāma, Sītā, Lakṣmaṇa and Hanumāna

Second Panel: Rāma beheading the Śaṃbuk (?)

Fourth Panel: Narasiṃha incarnation of Viṣṇu and Viṣṇu lying on Śeṣanāga.

Fifth and Sixth Panel: Incarnations of Vāmana and Varāha.

Sixth Panel: Garuḍa and Hanumāna

Sculptural Panel on the rear side of garbhagṛha: Ten sculptural panels are on the rear side of the garbhagṛha outer wall. The first panel, in an ambulatory way, is of Gajalakṣamī. The second sculpture is possibly of Harihareśvara. He holds cobra, conch, and discus. Lakṣamī is seated on his lap, and he is holding her. He wears dreadlocks tied on his head, and Gaṅgā is depicted flowing from those locks. The third panel shows a Mahout and an elephant carrying some important person, a king or Indra, in the howdah on its back. In the fourth panel, we see a Bhairava sculpture. He holds a drum, skull cup, lance, skull-topped staff, and cobra. He wears dreadlocks tied on his head, and some are let loose.

The fifth panel depicts the Matsya incarnation of Viṣṇu. Here, half the body of Viṣṇu is shown to be emerging from the mouth of the fish. Viṣṇu holds two lotuses, a conch, and a discus in his four hands. A deer is depicted at his feet. The sixth panel depicts the Kūrma incarnation of Viṣṇu. Here, the upper body of Viṣṇu is carved in place of the tortoise head. Viṣṇu holds a conch, rosary, mace, and discus. Beside the Kūrma-Viṣṇu, a male figure holding Veena is depicted. The seventh panel shows Kārtikeya riding his mount, a peacock. The eighth panel probably depicts Sūrya seated in a lotus and holding lotuses in his two hands. The ninth and tenth panels show Śarabha, a man in the howdah on an elephant's back and its Mahout.

First Panel: Gajalakṣamī

Second Panel: Possibly of Harihareśvara

Third and fourth Panel: Bhairava and a a Mahout.

Fifth Panel: The Matsya incarnation of Viṣṇu.

Sixth Panel: The Kūrma incarnation of Viṣṇu.

Seventh Panel: Kārtikeya

Eighth Panel: Sūrya (?)

Ninth and tenth Panel: Śarabha, and a man in the howdah on an elephant's back and its Mahout.

Sculptural Panel on the north wall of the temple: On the north wall, the first panel depicts Mahiṣāsuramardinī. The body of Mahiṣāsura is that of a buffalo, and the head is that of a man. The decapitated head of the buffalo is displayed just beside the body. The goddess bears four hands, and with one hand, she holds Mahiṣāsura by his hair while the rests of the hands have the trident, sword, and discus. In the next panel, we see two wrestlers in action. Besides those figures, the exercise equipment, such as clubs, etc., is shown. Even now, there is a wrestling arena in front of the temple, and the famous wrestler Mr Abhijit Katke had himself trained in that arena in his early life. The third panel depicts a tiger, and in the fourth, a horse-riding warrior is shown marching toward the tiger with a shield and lance in his hands.

In the fifth panel, we see Gaṇapatī with Riddhī and Siddhī on his sides, holding fly whisks. The sixth panel depicts a complicated Nāgabandha, i.e., a cobra coil. With the ring, an intricate design pattern is created. In the seventh panel, we see Paraśurāma fighting the Sahasrabāhū Kārtavīryārjuna. Here, Paraśurāma is holding a battle-axe while the Sahasrabāhū is depicted with ten hands and holding the Kāmadhenū in one of the hands. This depiction is rare to find. In the eighth panel, we see a horse, all adorned with ornaments and an umbrella. The horse is confronted by a warrior. Perhaps this represents the depiction of stopping the Aśvamedha horse.

First Panel: Mahiṣāsuramardinī

Second Panel: A wrestling scene.

Third and fourth Panel: A tiger and a horse-riding warrior

Fifth Panel: Gaṇapatī with Riddhī and Siddhī

Seventh Panel: Paraśurāma fighting the Sahasrabāhū Kārtavīryārjuna

Eighth Panel: The horse is confronted by a warrior.

Memorial Shrine: During the Marāṭhā period, the administration of Vagholi town was overseen by Pilaji Changoji Jadhavrao and his family. For his service, Shahu Mahārāj awarded him the towns of Mauje Dive and Mauje Nanded. Pilaji Jadhavrao distinguished himself in several military campaigns, including fights against the Nizām, the Vasai war, and northern expeditions. His martial prowess impressed King Chatrasal Bundela, who bestowed upon him a land grant and the honorary title of Jaladatta Inqulab. Although he received land grants in north India, Pilajirav Jadhav chose to remain in Maharashtra. He passed away in Vagholi on July 3, 1751. A memorial structure, known as a Chhatri, was erected near the Vāgheśvara temple to honor him. Additionally, the fortress he constructed in the town of Dive stands as a fine example of late Marāṭhā art and architecture and is well worth a visit.

Alongside the memorial structure of Pilaji Jadhavrao is the monument structure of the spiritual teacher Rameshvar Shastri. On the temple premises, there are many memorial structures and tulasī vriṅdāvanas. One of the monument structures bears the inscribed name –'Shake 1680 Mahadaji bin Javaji Patil Satav'.

Chhatri of Pilajirao Jadhav.

A statue of Pilajirao Jadhav.

Statues of Varakaris.

Concluding Remark: Shri Ravi Kale serves as the main priest of the Vāgheśvara Śiva temple. A grand procession of Vāgheśvara is held annually on the eve of Śivarātri, marking it as a significant event in the temple's calendar. The temple stands as an exemplary site for studying Marāṭhā architectural style. However, the structure faces deterioration in certain sections, underscoring the urgency for preservation measures.