The Vāghēśvara Temple in Charholi Budruk stands as a testament to the region's rich history and cultural significance, especially during the Late Marāṭhā era. The temple (18°39'11.98"N, 73°54'20.45"E) stands to the west of Charholi Budruk village on an elevated platform. The village itself is located along the northern bank of the Indrayani River. Pune city is around 21 km away from Charholi Budruk. The journey is approximately one hour by regular vehicles. The temple's proximity to Alandi, which is only 4 km away, makes it easily accessible for those visiting Alandi. Public transport, such as buses, is also available for those who wish to use it.

Historical Significance: The construction of the Vāghēśvara Temple has been commissioned by the Dabhade family, as denoted by inscriptions on the temple premises. During the Late Marāṭhā period, the village's Patil (a village head or chief) hailed from the Tapkir family. Within Charholi Budruk village, there are three Vāḍās (traditional large residential complexes) that belonged to the Tapkir family. These Vāḍās offer a glimpse into the architecture and lifestyle of the Late Marāṭhā period. The association with the Dabhade and Tapkir families roots the temple deep into the history of the region. For those interested in the Late Marāṭhā period, the temple and the associated Vāḍās offer an opportunity to dive deep into the era's architecture, politics, and social structures.

A view of the newly developed Temple Śikhara

A view of the new addition between the temple and the Nandīmaṇḍapa

Architecture: The temple's architectural layout comprises the garbhagṛha, guḍhamaṇḍapa, and nandīmaṇḍapa. A new mandap has been added between the temple and the nandīmaṇḍapa, which is made in a modern style and does nothing to add to the old beauty of the temple.

Garbhagṛha: The entrance door to the garbhagṛha is elegantly adorned with intricate silver designs, and on either side of it stand two finely crafted śarabha figures. The garbhagṛha has a square layout, with the central placement of the Śivaliṅga. On the rear wall, a niche houses a brass icon of a deity. Additionally, the Garbhagṛha features two jālavātāyanas (windows) that allow for lattice-like ventilation.

Guḍhamaṇḍapa: The temple encompasses a concealed inner sanctum referred to as the Guḍhamaṇḍapa with its entrance embellished with intricate botanical motifs, notably of leaves and blossoms. Within the confines of the Guḍha maṇḍapa, one can discern the presence of four stately pillars complemented by twelve pilasters. These architectural elements culminate in apexes, which are graced with elaborate carvings representing diverse Bhāravāhaka forms: Matsya Avatār, Kūrma Avatār, Varāha Avatār, Paraśurāma, Kārtikeya, Vīra Mārutī, Garuḍa, Gaṇḍabheruḍa, and anthropomorphic figures with variable arm counts. Ofcourse, as usual with such temple, the thick layer of paint takes away the beauty of such sculptures. 

The guḍhamaṇḍapa is punctuated by ten niches, wherein the leftmost one is dedicated to the deity, Gaṇeśa. A central emblematic tortoise motif serves as an anchor for the viewer's gaze, while the foremost portion of the chamber presents twin lattice windows, or jālavātāyanas. Architecturally, the roof is constructed in the Navaraṅga style. The verāṇḍikā segment of the temple is punctuated by ornate patterns, enhancing the overall visual appeal. Of note is the śikhara, which has undergone recent modifications and currently showcases a contemporary design.

Guḍhamaṇḍapa

Nandīmaṇḍapa.

Inscription: Above the entrance to the Guḍha maṇḍapa, a seven-line inscription in the hybrid Devanāgarī-Moḍī script, captures the observer's attention. This inscription, etched within the temple's bounds, refers to a date of 23rd January 1726 CE, underscoring the temple's historicity and importance. The transcription of this ancient inscription was first meticulously deciphered by Dr. Pramod Borhade. Subsequently, its authenticity was confirmed by Shri Raj Memane, an eminent scholar proficient in the Moḍī script.  Here is the reading of the inscription: 

श्री गणेशायनम् : स्वस्ति श्री नृपशालिवाहन शके

१६४७ विश्वावसुनाम् संवत्सर् माघ शुद्ध प्रतिपदा ते दि

वसी श्री वाघेश्वर् महास्थळ च-होली तर्फे हवेली

प्रगणे पुणे परियेसी येथे बज पाटील् सुत् सोमाजी

तयाचा पुत्र् कृष्णाजी दाभाडे निमे मोकादम् मौजे

मजकूर् याणी मालीमावैसी देवालय बांधीले ये संपूर्ण मिळाये

सी ll१ll अक्षर् सुमार् १२१ येकसे येकवीस् छ ११

A seven-line inscription.

Concluding Remarks: The temple dedicated to Vāghēśvara Mahārāja, the patron deity of Charholi village, boasts a rich historical lineage. It was Krishnaji Dabhade, a devout adherent of Śambhū Mahādev, who envisioned and subsequently actualized the construction of this sacred edifice atop a quaint hillock, aiming to contribute positively to the spiritual well-being of the local community.

From an architectural perspective, the Vāghēśvar temple is emblematic of the Late Marāṭhā period. While a myriad of temples from this epoch exhibit discernible influences of Islamic architecture, the Vāghēśvar temple prominently upholds the quintessence of traditional medieval temple design. One can observe the quintessential Navaraṅga style in its guḍhamaṇḍapa, a hallmark of its architectural pedigree. On the path leading to the temple, one can spot the nearby Gaṇeśa and Mahādev temples on the path leading to the temple. The village also has temples dedicated to deities such as Śiva, Hanumān, Kṛṣṇa and Kāniphanātha.