Loni Bhapkar stands as a testament to medieval splendor, boasting a collection of remarkable temples celebrated for their exquisite architecture. Situated 76 km from Pune and 34 km from Baramati, this town nestles within the valley of the Karha River. While it occupies a plateau, the region grapples with water scarcity during the summer months. Loni Bhapkar's rich historical tapestry is evident in its array of landmarks: from the Stepped Well and the majestic temples of Somanātha, Bhairāvaṇātha, and Śiva to the evocative hero-stone. The grand Vāḍā (mansion) of Bhapkar Sardār further punctuates the village's storied past. 

One of the notable temples is the Mallikārjuna Śiva temple, which is approximately 1 km from the town in the northwest direction. Originally a Viṣṇu temple, it was later converted into a Śiva temple and is estimated to have been built around the 14th century CE based on its architectural patterns. According to a local legend, Śiva and Pārvatī visited the Loni Bhapkar town and stayed for a good time in the Mallikārjuna temple. 

Mallikārjuna Śiva temple

Architecture: The temple comprises gūḍhamaṇḍapa, antarāḷa, and garbhagṛha.

Vāhanamaṇḍapa (?): The temple is constructed on a pedestal, and in front of it, the base of a structure can be seen, which probably could be vāhana (mount) maṇḍapa or varāhamaṇḍapa. At present, the maṇḍapa houses a Nandī sculpture, and it is possible that the Yajña-Varāha sculpture situated in the temple premises could have originally been located in this maṇḍapa.

Gūḍhamaṇḍapa:  The entrance doorjamb of the gūḍhamaṇḍapa boasts five intricate branches: Vine, Figurine, Pillar, Foliage, and Vyāḷa, the latter being referred to as 'Nandinī.' Within the Figurine branch, carvings of musicians can be found. The lintel prominently features a carving of Gaṇapatī. Below the door-jamb branches, one can discern the figures of Gaṅgā-Yamunā, Dvārapālas, whisk-bearers, and treasurers. Flanking the entrance are finely enmeshed windows.The interior of the gūḍhamaṇḍapa is of the Navaraṅga type, complete with seating arrangements known as kakāsana. These seats are adorned with images of Hanumāna and Yakṣa-like figures. Above the windows, a plethora of designs—floral patterns, kīrtīmukhas, elephants, Śarabhas, swans, and vines—add depth and beauty, while the lower part focuses on floral, swan, and vine patterns. Dominating the center of the gūḍhamaṇḍapa stands a Raṅgaśilā, a circular stone slab, surrounded by four pillars. The beams of the Raṅgaśilā has stunning carving of Kṛṣṇa-Līlā scenes, probably the best in Pune district.

Twelve pillars, each crowned with Bhāravāhaka Yakṣa carvings, support the gūḍhamaṇḍapa. The primary square sections of these pillars vividly depict wrestling bouts, the Kāliyāmardana scene, and vignettes from the Rāmāyaṇa, such as Sītā offering alms to Rāvana, the demise of Mārica (image below), and scenes featuring Rāma, Lakṣmaṇa, and Mārutiī. Notably, there's the Aśokavāṭikā Mārutī depiction, showcasing Mārutī in Aśokavāṭikā, and the fierce battle with demons. Further enriching the visual experience are scenes of elephant battles, singers, musicians, Gandharvas, peacocks, swans, and kīrtīmukhas. Another entrance door to the gūḍhamaṇḍapa can be found on the eastern side. The west wall of gūḍhamaṇḍapa is leaning outward and might collapse if not attended in time. It needs to be conserved as soon as possible.

Antarāḷa: In the antarāḷa section of the temple, two niches are present, housing idols of Gaṇapatī and a fragmented Viṣṇu, both set upon pedestals.

Garbhagṛha: The entrance and the doorjamb of the garbhagṛha are the same as that of the gūḍhamaṇḍapa. The lintel has a Gaṇapatī and the threshold has a kīrtīmukha and other sculptures carved on it. The upper part of the lintel has Sarasvatī and four other sculptures. There are two śivaliṅgas in the garbhagṛha. It seems they were established later after removing the original idol there. There are empty niches in the east, south, and west side walls of the garbhagṛha. 

Śikhara: The temple's superstructure follows the Bhūmija style, characterized by its four bhūmīs (tiers) and five projections (pañca-rathas). Within a prominent gable arched window (Śurasenaka) are intricately designed vine patterns (Latā) and a sculptured medallion. A Gaṇḍa-bheruṇḍa bird image, crafted from stucco, adorns the Śurasenaka. Atop the superstructure, an Āmalaka (a serrated, large, flat ring) and Kalaśa (finial) are discernible. The superstructure's facade features a damaged Śurasenaka (gable arched window). The covering atop the gūḍhamaṇḍapa has flattened over time and is possibly of the Phāṃsanā style. Each of the four corners is graced by a small Kūṭa superstructure (Kūṭa-śikhara), which is constructed from bricks. Probably there was a fortification wall around the temple. At present, it is not there. there are no lamp pillars in front of the temple however; there is a pillar in front of the stepped well. Similar pillars are found in front of Śiva temple in Parli, Satara district, and Nāgeśvara temple in Pabal, Pune district.

A ground plan of the Mallikārjuna Śiva temple.

Entrance of the gūḍhamaṇḍapa

Gūḍhamaṇḍapa

Rāmāyaṇa scene on the pillar of gūḍhamaṇḍapa: Sītā giving alms to Rāvana, and the killing of Mārica

Exterior of the temple

There are Āmalaka (serrated big flat ring) and Kalaśa (finial) on the superstructure

Kūṭa-śikhara

Puṣkariṇī (Stepwell) and the Dattatreya temple:  In front of the temple lies a step-well (Puṣkariṇī) adorned with 64 niches. It is believed that some of these niches once housed idols representing the 24 incarnations of Viṣṇu. These niches, known as devakoṣṭhas, boast superstructures in the Phāṃsanā style. During the monsoon season, the Puṣkariṇī brims with water, but come summer, its waters recede.

On the western bank of the Puṣkariṇī, an east-facing Dattātreya temple graces the scene. Directly in front of the Puṣkariṇī stands a temple dedicated to Dattātreya. Interestingly, this temple consists solely of the garbhagṛha (sanctum sanctorum). The door-jamb leading into this garbhagṛha is adorned with pillar branches, while the threshold is embellished with two kīrtīmukhas. Inside the garbhagṛha resides an idol of Dattātreya. The fortification walls encircling this structure feature niches on both the southern and northern sides. Architecturally, this structure appears to hail from the same era as the Mallikārjuna temple, however it has been heavily painted. 

Maṇḍapa of the Dattātreya Temple: However it is the maṇḍapa preceding this temple is a marvel of beauty. Its half-pillars are intricately carved, crowned with inverted cobras. The maṇḍapa has two entrances, one facing east and the other west, and it features an elegant lotus design on the ceiling. Within the maṇḍapa, one can observe well-crafted seating arrangements, with benches adorned by various sculptures on their outer sides. Along the ambulatory passage, these benches showcase an array of sculptures, including depictions of couples, musicians, dancers, and more.

On one of the northern benches, a Yogī is depicted in the Kāyotsarga pose, while the eastern benches display three erotic sculptures and a musician playing the Vīṇā. On the adjacent bench, sculptures of Hanumāna, Bhairava, another Yogī in the Kāyotsarga pose, and a warrior wielding a mace come to life through intricate carving. Eleven sculptures adorn the outer side of the benches (kakṣāsanas) to the south. These sculptures depict damsels, musicians, couples, women giving birth, erotic scenes, Vīṇā players, and the cowherd Kṛṣṇa (Gopāḷ). The west-side benches and adjacent areas have collapsed into the Puṣkariṇī. Among the visible sculptures from this section are a dancing Gaṇeśa and a Yogī in a meditative pose.

On the base of the benches' outer side, small-scale half pillars rise, bearing superstructures. Between two such half-pillars, carvings depict scenes from the Viṣṇu incarnations and the Rāmāyaṇa. Notable sculptures in this collection include a man riding a cobra, Rāma breaking a bow, Sītā holding a bridal garland (representing her marriage scene), archer Rāma, Lakṣmaṇa heading into exile, Sītā offering alms to Rāvaṇa, the demise of Mārica, the battle between Rāvaṇa and Jaṭāyu, and the monkeys building a bridge for Rāma. In these panels, Rāvaṇa is portrayed as an ascetic while seeking alms from Sītā. Conversely, during the Rāvaṇa-Jaṭāyu battle, he is illustrated with ten heads, seated in a Vimāna (a flying vehicle) with the abducted Sītā. The Rāma-setu (bridge) scene vividly depicts aquatic life such as crabs, fishes, turtles, and snakes alongside the bridge.

To the left of the maṇḍapa's eastern side, two archers confront each other. Adjacent to this scene might be a sculpture of Kumbhakarṇa. Opposite the eastern entrance, the Matsya, Kūrma, and Varāha incarnations of Viṣṇu are depicted. Specifically, Varāha is shown as Yajña-Varāha, in his true boar form, with the Earth (Pṛthvī) suspended from his tusks. On the southern wall, nine depictions stand out, with Viṣṇu incarnations such as Narasiṃha, Vāmana, Paraśurāma, Rāma, Kṛṣṇa, Buddha, and Kalkī. The Paraśurāma sculpture is extensively eroded, and the Rāma carving is partially so. The Buddha sculpture, with its four hands, halo, and umbrella, is exquisitely carved. Following the Kalkī carving, the Vāmana and King Baḷī scene spans four panels, with two on the south wall and two on the west. Another depiction shows a man wielding a plough, possibly representing Balarāma. Traces of paint hint that these sculptures were once colorfully adorned. At the eastern entrance's threshold, a kīrtīmukha and a dancing female are carved. Below these panels, a row of elephants can be observed. The pedestal of the vāhanamaṇḍapa is embellished with a diamond pattern design.

Puṣkariṇī (Stepwell)

A ground plan of the Puṣkariṇī (Stepwell).

Puṣkariṇī (Stepwell) and the maṇdapā and the dattatreya temple ahead

Varāha incarnations of Viṣṇu

Kṛṣṇa (Venugopal)

Vāmana

Buddha

Kalkī

Rāma breaking bow

Sītā standing with bridegroom-garland

Archer Rāma, Lakṣmaṇa (into the exile)

Sītā offering alms to Rāvaṇa

Rama killing Mārica.

killing of Mārica.

Rāvaṇa-Jaṭāyu fight

Rāma-setu (bridge) scene

The monkeys lifting up stones for the bridge or Hanumana lifting mountain.

The Vāmana and Baḷī king scene

The Vāmana and Baḷī king scene

The Vāmana and Baḷī king scene.

A plough-holding man (possibly Balarāma or Baḷī).

An erotic sculpture

Birth-giving women

Kṛṣṇa-Līlās: The most striking sculptural panels depict the Kṛṣṇa-Līlā and are prominently displayed on the beams of the raṅgaśiḷā. These panels, which narrate tales of Kṛṣṇa-Līlā, were identified by Mr. Gopal Joge from Deccan College, Pune. They showcase various scenes sourced from the Bhāgavata and Harivaṃśa-Purāṇa. On the south beam, the tableau illustrates Vāsudeva's marriage to Devakī, attended by various deities. To the right of this depiction, figures include Sūrya, a chauri-bearer, Indra, Viṣṇu, Vāmana, and Brahmadeva, among others. To its left, potential representations are Devakī's mother, another chauri-bearer, Gaurī-hara pots, Sarasvatī, a maid, and Gaṇapatī.

The east beam displays sculptures of Kṛṣṇa with Gopas and cows, Kṛṣṇa's Rāsa-līlā, and an image of Kṛṣṇa with children from Vṛndāvana playing ball beside the Yamunā river. Moving to the north beam, subsequent episodes are depicted. This includes Balarāma and Kṛṣṇa's combat against Muṣṭika and Cānūra, respectively. This is followed by the narratives of the slaying of Vatsāsura, Keśī, and Ariṣṭāsura. On the west beam, the Govardhan scene is illustrated, centering on Kṛṣṇa, flanked by Gopas, Nanda, and Yaśodā. Subsequent to this, there's a depiction of Yaśodā churning buttermilk. Although the outer walls currently lack sculptures, it's plausible that they originally housed artworks within the niches outside the garbhagṛha.

The scene of Vāsudeva marrying Devakī.

The scene of Vāsudeva marrying Devakī, and some deities attend this wedding.

The scenes of the slaying of Keśī and Ariṣṭāsura and Balarāma and Kṛṣṇa fighting with Muṣṭika and Cānūra

Sculptures of Kṛṣṇa, Gopas and cows, Rāsa-līlā of Kṛṣṇa.

The scenes of the slaying of Keśī and Ariṣṭāsura, killing of Chanura-mustika and Kalia-mardana (from left to right)

Slayings of Ariṣṭāsura, Keśī and Vatsāsura (From left to right)

A scene of Gopas and Nanda.

Yajña-Varāha: There is a beautiful Yajña-Varāha sculpture on the temple premises. The statue is intact except for the mouth part. We see conch, lotus, mace, and discus at the feet of the Yajña-Varāha. His tail is carved like a noose. Beneath the figure, we see a snake god in a reverence position. There are small Viṣṇu figures carved on the body of Yajña-Varāha. Such Varāhas are also found in Chakan, Bhuleshvar, and Pimpari-Dumala in Pune district.

Yajña-Varāha sculpture

Another view of the Yajña-Varāha

Inscription: There are two painted inscriptions on the frontal beam of gūḍhamaṇḍapa. One inscription on the above mentions the name ‘Jogī’ and the inscription below mentions the name of the Nāthayogī –‘Cāṇgā Vaṭeśvara.’ The inscription is in Devanāgarī script and Marathi. It has two lines. These inscriptions possibly belong to the 14th-15th century CE.

Painted inscription

Memorial: In proximity to the Mallikārjuna temple lies a memorial dedicated to the ascetic Svāmī Dattānanda Sarasvatī. A devout worshiper of Dattātreya, the local populace holds him in high regard, attributing miraculous deeds to him based on their beliefs. The birth festival of Dattātreya is a significant event celebrated at the temple every December. Further enhancing the spiritual landscape of the area is a small Śiva temple, located atop a hillock north of the Mallikārjuna temple. Positioned outside this temple is a Varāha sculpture, estimated to be 200-300 years old.

Bhapkar Wāḍā: In the town of Loni Bhapkar stands a noteworthy mansion that once belonged to Bhapkar sardār (leader). The mansion, commonly referred to as Wāḍā, is encircled by fortification walls. Architecturally, the Wāḍā typically comprises four distinct quadrants. Adjacent to this grand structure is a water tank. Unique features of the tank include steps that lead into it from both inside the mansion and from the outside via concealed underground passages.

Concluding Remarks: The temple serves as a crucial point of study for understanding the proliferation of Kṛṣṇa worship within Vaiṣṇavism during the medieval period. Furthermore, it offers insights into the evolutions of the Datta cult and the Śaiva-Vaṭeśvara cult. It stands out as possibly the sole temple in the Pune district that features such intricate and well-thought-out carvings depicting scenes from Kṛṣṇa's life. Based on its architectural style, it's likely that the temple was constructed in the 14th century CE. The temple's superstructure, designed in the Bhūmija style, remains in pristine condition—a rare occurrence for temples from the 14th-15th century. Indeed, only a handful, like the Mallikārjuna and the Paḷasanātha temple at Palasdev in Pune district, retain their original Bhūmija superstructures. The Pāṇḍeśvara temple's sabhāmaṇḍapa is another structure that boasts its original superstructure. However, the condition of the śikhara (superstructure) leaves much to be desired. Some of the sculptures in the Puṣkariṇī, or stepped well, show signs of erosion. A meticulous chemical conservation is in order to restore and preserve these invaluable artifacts.