The village 'Nirgude', 10 km from Junnar in Pune district, is famous for its Mārutī temple. Surrounded by the high and low hills of Sahyadri, this village is situated on the bank of River Mina. Agriculture has flourished due to this river, resulting in prosperity. Based on the archeological evidences, this region has been witnessed to numerous phaes of growth and decay since ancient times. Roman traders appear to have been settled here at first. There is the famous 'Tuḷajā Caves' located very close to Nirgude village. First, we will briefly touch the Tuḷajā Caves before detailing the Maruti temple.

Tuḷajā Caves

The Tuḷajā Caves stand out as the oldest Buddhist (Theravāda) cave ensemble in the Junnar region. Located in the Tuḷajā hill near Padali village, approximately 3.5 km west of Junnar, they're also in proximity to Nirgude village. Their name is derived from a significant historical event: during the medieval period, Cave no. 4 became the resting place for an image of Tuḷajābhavānī, leading the entire hill to be christened 'Tuḷajā Hill'. These north-facing caves comprise a set of thirteen distinct structures. Cave no. 3 stands out as the caityagṛha, while the others predominantly serve as vihāra and supplementary chambers. Unfortunately, time hasn't been kind to these ancient structures; many of their doors have succumbed to degradation. Additionally, there are three unfinished caves and two water tanks within this ensemble. A point to note is the absence of inscriptions; none have been discovered in these caves thus far.

An image of Tuḷajābhavānī.

Cave No 1-2: A closer look at the individual caves reveals that Cave No. 1 is a simplistic chamber, whereas Cave no. 2 boasts a vihāra design, complete with a central square maṇḍapa. This second cave was designed with the monks in mind, housing five rooms - two each on the inner left and rear walls, and one on the right - providing them with spaces for contemplation and rest.

Cave No. 3: Cave no. 3 distinguishes itself as a circular caityagṛha within the Tuḷajā Caves, measuring 8.23 m in diameter and 7.62 m in height. Dominating its center is a stūpa, with dimensions of 2.59 m diameter by 3 m height. The stūpa's lower section, rising 1.32 m high, resembles a cask, while the upper portion, stretching 1.67 m, adopts a dome-like form known as 'aṇḍa'. The stūpa's harmikā and its square notch atop the dome have unfortunately been damaged. Encircling the stūpa are twelve unique octagonal pillars, each standing at 3.35 m tall. Notably broad at their bases, these pillars narrow slightly as they rise, creating a subtle inward inclination. These columns are devoid of both stambhapādas and stambhaśīrṣas and are set within a circular pradakṣiṇāpatha that is 1.07 m wide.

Above the stūpa, a domed roof shelters the space. During the cave's construction, wooden beams were incorporated into the pradakṣiṇāpatha of this roof. Historically, both the roof and side walls were adorned with mud plaster, painted in vibrant hues. Remnants of this artwork depict a standing woman and a faint floral pattern, reminiscent of the artistry seen in Ajantā Cave no. 10. These pillars also bore painted decorations. Without the cave's facade, comprehending its entire design remains challenging. Notably, it appears there wasn't a traditional rectangular sabhāmaṇḍapa in front of this stūpa, unlike other caityagṛhas. However, remnants suggest there was a doorway.

This caityagṛha stands alone in western India due to its circular chaitya layout and circularly arranged pillars. Dr. Suresh Jadhav has explored its architectural parallels with caves like Pitaḷkhorā Cave no. 3, Ajantā Cave no. 10, Bhāje, and Koṇḍāṇe, estimating its origin around 65-53 BC. This architectural evidence suggests that the caityagṛha is among the earliest in the Deccan region.

Tuḷajā Caves

Cave No. 4: This modest-sized vihāra has suffered damage to its facade. Inside, two rooms reside on the rear left; one incorporates modern wooden frames. Adjacently, an image of Tuḷajā Bhavānī graces another room.

Caves No. 5 to 12: The façades of these caves are severely damaged. However, from Cave No. 8 onwards, remnants of intricate carvings and sculptures remain visible on upper sections close to the cliff. These include detailed depictions of creepers, vedikā, chaitya-arches, and more. Additionally, sculptures represent worshippers around the stūpa, romantic couples, and kinnaras or Gandharvas in flight. Notably, the kinnara depicts a human upper body donning a turban, with bird-like feet and peacock feathers. These artistic representations bear a striking similarity to those found in the Bhūtaleṇī group of the Manmodi hills.

Cave No. 13: Located further up and accessible by numerous steps, the facade of this cave has also suffered damage. Inside, the square maṇḍapa houses stone benches carved into the walls, possibly serving as seating for meetings or an amphitheater setting.

During a recent cleaning initiative in the western section of the Tuḷajā Caves, additional rooms came to light. The unique sculptures, carvings, and architectural features across these caves attest to the artistry and spiritual significance of the site, despite the damages they've suffered over time. S. Nagaraju proposes that certain other caves within the Tuḷajā group, specifically caves no. 1, 6, 7, and 13, represent the initial phase of vihāras architectural evolution, likely carved between 300-250 BCE.

The Mārutī Temple (19.189944, 73.821745)

There is a north-facing temple of Mārutī in the centre of Niragude village. It is beautiful in terms of art and architecture. Carvings and sculptures can be seen all over the temple.  Encircling the temple is a protective wall, featuring a modest northern entrance. As one steps through this portal, they are greeted by the entirety of the temple's grandeur. Architecturally, the temple is predominantly divided into two main sections: the sabhāmaṇḍapa (assembly hall) and the garbhagṛha (sanctum sanctorum). Except for the śikhara, which is built with bricks, the entire temple is built in stone. 

The Mārutī Temple

A ground plan of the Mārutī Temple

An viw of the Mārutī Temple from an old drawing

Sabhāmaṇḍapa: The sabhāmaṇḍapa of the Mārutī temple is 762 cm long x 767 cm wide on the outside and 596 cm long x 589 cm wide inside. The entire sabhāmaṇḍapa and garbhagṛha are standing on a high plinth. Some floral motifs, masks of vyāḷa and cows have been placed on this secondary plinth. There are three entrances to this sabhāmaṇḍapa in east-west and north directions. The main entrance is on the north side.

Northen Doors of the Sabhāmaṇḍapa: The northern entrance of the temple showcases detailed craftsmanship. Two intricately carved pillars flank the doorway, topped with sculpted hanging bells. Beneath these pillars, the guardian dvārapālas stand armed with daggers and spears. Gaṇeśa, the elephant-headed deity, adorns the lintel, accompanied by a finely engraved Marathi inscription. The threshold features two fierce kīrtīmukhas, with a central floral motif. Flanking the entrance are two additional ardhastambhas or half pillars. In front of the entrance stands a meticulously sculpted Nandī, with a series of steps facilitating entry.

View of the northern gate

The threshold

A Nandī

Eastern and Western Doors of the Sabhāmaṇḍapa: The sabhāmaṇḍapa features two distinct doors: the western and eastern. The western door is straightforward in design, accessible via four steps. It's adorned with a Gaṇeśa sculpture on the lintel, bilvapatras engravings, and is bordered by two flat ardhastambhas, each accompanied by niches. Conversely, the eastern door mirrors the western in overall appearance but is distinguished by a few elements. It's not intended for entry or exit due to its obscured stair structure. Instead of a Gaṇeśa sculpture, its lintel and lalāṭapaṭṭa both boast a circular floral motif. A unique human face carving graces its threshold, suggesting this door wasn't traditionally used by devotees to access the sabhāmaṇḍapa.

Western door of the sabhāmaṇḍapa

Eastern door of the sabhāmaṇḍapa

The sabhāmaṇḍapa's interior is strikingly beautiful. Located at it centre is the kūrmaśilpa. Spanning the space are four arches, positioned between the two doors, each housing two niches. Adorning the upper portion of these arches are intricate round floral patterns on either side, with kīrtīmukhas masterfully carved at the center. Linking the arches are gajaśilpas, representations of elephants. Above, the sabhāmaṇḍapa's vitāna is circular, gracefully narrowing as it ascends.

Gajaśilpas (elephant sculptures)

The Garbhagṛha: The garbhagṛha of Mārutī temple is attractive. Its external length is 458 cm, while the width is 608 cm. It measures 349 cm long and 348 cm wide inside. There is a beautifully carved door to enter the garbhagṛha of the temple. It has two dvāraśākhās with flowers and leaves carvings. There are two ardhastambhas on either side of it. Two dvārapālas are carved beyond, each on either side. A Gaṇeśa sculpture is on the lintel, while a human face is carved on the uduṃbara. A small inscription is carved in an arch above the Gaṇeśapaṭṭī. Two floral motifs with a kīrtīmukha at the centre are carved above the arch. Above this kīrtīmukha, another broad inscription is seen.

An entrance to the garbhagṛha of the temple.

An image of Mārutī in Capeṭadāna posture.

There is a carved wooden meghaḍaṃbarī (canopy) in the middle of the garbhagṛha. It may have been installed in 1880; it is understood from the inscription engraved on it. In the centre of this meghaḍaṃbarī, a beautiful image of Mārutī in Capeṭadāna posture is installed; it is dabbed with red lead. Also, a Śivliṅga and Gaṇeśa sculpture can be seen next to it. Vitāna of the garbhagṛha is very attractive and intricately carved. There are carved windows/ventilators on all three sides of the garbhagṛha. Among them, the latticed window at the back of the garbhagṛha is carved with birds, and a small sculpture of Veṇugopāla is above. There is a line of bilvapatras on the part between the śikhara and the sabhāmaṇḍapa-garbhagṛha of the temple.

A carved wooden meghaḍaṃbarī (canopy)

The latticed window at the back of the garbhagṛha.

Śikhara: The śikhara of the Mārutī temple is impressive and of a different style. The structure of the śikhara on the garbhagṛha consists of a large main (dome) section in the centre and a line of small śikharas (laghuśikharas) around it. At the same time, there are independent but smaller śikharas like Bengali roofs at the two rear corners. Some images of Daśāvatāra and other gods and goddesses are installed in the laghuśikharas-like area on the main śikhara. These include Matsyāvatāra, Kūramāvatāra, Varāhāvatāra, Vidāraṇa Narasiṃha, Vāmanāvatāra, Veṇugopāḷa, Śrīrāma, Gaṇeśa, Viṭṭhala, Sarasvatī etc. images. We are not sure if  these images have been installed while constructing the original temple. Ofcourse heavy color on the images also does not help in idenfitification. 

The śikhara of the Mārutī temple

There is a smaller śikhara above the sabhāmaṇḍapa, encircled by four smaller śikharas. Notably, apart from two ascetics, there are limited images. Yet, prominently displayed in front of two of the miniature śikharas are depictions of Chhatrapati Shivaji Maharaj and Saint Rāmadāsa. Between these figures, there's a notable scene: a man seated on a chair with a Puṇerī turban, flanked by two individuals with folded hands. This statue represents Shri Dev Mamaledar of Satana, District Dhule, renowned for his just rule during the British era. His position was tantamount to the contemporary role of a Tehsildar. To this day, artifacts from his tenure - including his chair and attire - are preserved in Satana. Modern-day tehsildars commence their duties daily, invoking his memory and ideals as a guiding light. This distinctive sculpture is a highlight at the Mārutī temple in Niragude village.

Images of Chhatrapati Shivaji Maharaj, Saint Ramadasa and Shri Dev Mamaledar of Satana.

Sculptures and Architecture on the temple premises:

The temple grounds house various sculptures, including those of Gajalakṣmī, Gaṇeśa, and a Vīrapuruṣa. Notably, the Gajalakṣmī sculpture depicts her with two elephants, who perform an abhiṣeka, sprinkling water on her. This particular image appears to predate the Mārutī temple. The Vīrapuruṣa sculpture holds a sword and a shield. Behind the temple, there's a tulasī vṛndāvana showcasing a carving of Gaṇeśa and another figure wielding an axe and a shield. Adjacent to the vṛndāvana lies a samādhī dedicated to an unidentified individual. Furthermore, within a mango grove or āmarāī in the village vicinity, one can find another Vīrapuruṣa sculpture and several samādhīs.

Gajalakṣmī

Gaṇeśa

Inscriptions in the Mārutī Temple: Five inscriptions have been carved in and around the Mārutī temple. All these inscriptions were first read by Dr. Girish Mandke from Deccan College, Pune. He visited this temple in 2014 and did a detailed inspection of this temple. The entire given reading of inscription no. 1 is based on his reading.

Inscription no. 1: An inscription in Sanskrit language and Devanāgarī script is carved at the entrance to the garbhagṛha of the Mārutī temple. It contains six lines, and it is clear and prominent. Although this inscription is easy to read, it is not so easy to interpret.  The inscription, as read and deciphered by Dr. Mandke, is as follows:

1. Grāmāṇāṃ tritayaṃ purātanamidaṃ mīnāpagātīragaṃ vachīsāvarasaṃjñ
2. akaṃ vaṭapuraṃ tatrāddī(dhi)kāradvaye
3. Vāruṇyāṃ śivaparvatasya nikaṭe kālaṃ ca kauntīpuraṃ tasminkevalameva lekhanamanuṣyāste ciraṃ bhūtidaṃ
4. Prācīnārjita bhūripuṇyajanitādrudraprasādādayaṃ jātaḥ sarvasukhasa yādava maṃhādevuḥ kuledīpakaḥ
5. itthaṃ (tchaṃ) śrīhanumatpadābja bhajanaprāptāśrayaḥ śrībhujā yenākārī bhujārjitena vasunā śrīmāruterālayaṃ
6. Śākekāri nṛpaurmite prabhavanāmābde tapasye site pakṣe khendutithau śanāva datibhe saubhāgyayukaitile
7. Evaṃ sarvasuśobhane kamalinīnāthe khamadhyasthite horāyāṃ śaśijasya purṇamabhavadvātātmajasyālayaṃ

Translation: There is a group of three villages on the banks of River Mina. 'Vatpur' has two rights, a term on Vachīsāvara, 'Kal' near Śivaparvata on the west, and 'Kautipur', inhabited by people who earn their living only by writing. Yādava Mahadeva Kuladipaka was born due to Rudra's blessing achieved through many ancient virtual deeds. Thus, sheltered by the devotion of Śrī Hanumāna's feet and enjoying the glory due to it, he built this temple of Mārutī. In Śaka Era 1664 (Nṛpa-16, Ari-Ṣaḍ Ripū-6, Ka-Brahmā-4) Phālguna (Tapasyā) month, Prabhavanāma Saṃvatsara, Śukla Pakṣa (Sita Pakṣa), on Daśamī (Kha-Ākāśa-0, Indu-Candra-1), Saturday, Saubhāgya Taitila, when the sun was in the middle of the sky (Khamdhyasthithe), during the hora of Mercury, the temple of Vāyuputra was completed on this auspicious moment. The date Śaka 1664 comes as 1742 CE.

Inscription no. 1 (The inscription on the door of the temple's Garbhagṛha)

Inscription no. 2: In the temple, a significant inscription is engraved above the entrance to the gūḍhamaṇḍapa or sabhāmaṇḍapa. Comprising 12 lines, this inscription is penned in the Marathi language using the Devanāgarī script. Though it features raised lettering, many parts are indistinct. The minuscule letters are becoming increasingly blurred, and exposure to the elements – heat, wind, and rain – has further obscured the inscription over time. Dr. Mandke appears to have read it at some earlier point. Given the inscription's deteriorating state, there was an urgency to document its contents. Therefore, efforts have been made to decipher it once again. Thanks to the clarity of the initial lines, the inscription's date can be ascertained.

Reading of the inscription:

1. Śrī Gajānana śrī śake
2. 1668 nṛpa [kṣaya] nāma saṃva
3. chare mārgeśvara śudha
4. ****vāsara prā śrī rāmaduta
5. Hanumata prahāra sīdhārusyāvatāra
6. Sīva śaṅkara dīna(ta) ** to kuḷadeva
7. Nā mā da nandana ***sipakara** yetayā
8. *******nāmamuḷe ** śāmapurā
9. ******nṛpa matara mauja grāme donī nira gu
10. ********ta mātuliṅga tara phe
11. ******sāvasare va 3 hāṇile gāva ce asati
12. Josī Kuḷakarṇī ce**

Translation: The sabhāmaṇḍapa of the temple of Rāmadūta Hanumāna was built (probably) in Śaka 1668, Nṛpa[kṣaya]nāma saṃvatsare, in the month of Mārgaśīrṣa śuddha i. e. during 1–14 November 1746 CE. Such interpretation can be drawn from this inscription.

Inscription no. 2 (The inscription on the main door of the temple's gūḍhamaṇḍapa)

Inscription no. 3: This inscription is engraved at the entrance of the garbhagṛha. The inscription is clear and in Devanāgarī script. It has four lines. Prabhū Rāmacandra is mentioned in the said inscription which is rare. Although this inscription does not mention the date when it was installed, the style of its letters resembles inscription no. 1. Hence, this inscription also seems to have been carved around this time, i. e. in the year 1744 CE. The reading of the Inscription:

1. Śrī rāma jaya
2. rāma jaya jaya
3. rāma raghupatī
4. Rājā rāma |

Inscription no. 3: On the entrance of the Garbhagṛha.

Inscription no. 4: Some letters are carved on both sides of the wooden meghaḍaṃbarī in the garbhagṛha of the Mārutī temple. Among those, the letters' Māgha śuddha 5' are on the right side of Meghaḍaṃbarī, and on the left side, the Śaka year 'Śake 1802' is given. This inscription is in Devanāgarī script. 

Part 1: Māgha śuddhai 5

Part 2: Śake 1802

Translation: The said Meghaḍaṃbarī might have fixed on Māgha śuddha 5, śake 1802, i. e. 15 February 1880. The Pramāthī Saṃvatsara begins on this day.

Inscription no. 4 (Inscription on the Wooden Meghaḍambarī in Garbhagṛha)

Inscription no. 5: Some letters have been carved near the Mārutī temple's fencing wall entrance. It can be understood from their reading that all these letters/words are part of the same inscription. This inscription has three parts, and some of the letters are faded.

Part one: Śrī Hanumāna Prasanna Jīrṇoddhāra

Part two: Bhādrapada Śuddha 1

Part three: Śake 18**

Translation: It can be understood from these inscriptions that this part of the Hanumāna temple had been renovated on Bhādrapada śuddha 1, śake 1800.

Inscription no. 5 (Inscription on the entrance of the Mārutī temple complex).

Tales, Legends and Festivals associated with the temple: The Mārutī temple in Niragude holds a rich tapestry of stories, customs, and celebrations:

Kiraṇotsava: Twice a year, a phenomenon known as Kiraṇotsava occurs where sunlight directly illuminates the temple's deity. On Mahāśivarātrī, between 8:30 am and 10:00 am, sun rays from the east grace the image. Similarly, during Hanumāna Jayantī, around 5:45 pm, rays from the west shine upon the deity. This spectacle attracts numerous devotees.

Palanquin Procession: Every Saturday of the Śrāvaṇa month, a special procession takes place. Between 9 pm and midnight, the Mārutī deity is carried in a palanquin and taken around the temple five times. This practice has deep roots and has been observed for generations.

Nāradīya Kīrtana: From Caitra śuddha ekādaśī to Hanumāna Jayantī, a one-hour Nāradīya kīrtana is held for five consecutive days. This spiritual singing event is sponsored by Śrī. Nirgudkar and his family. The same family, with Śrī. Suryakumar Shankarrao Nirgudkar and his three brothers at the helm, serves as the temple's priests. Descendants of a long line of Brahmins, they oversee temple activities, from worship and offerings to the appointment of priests.

Baila Poḷā Festival: On Bhādrapada śuddha amāvasyā, a unique tradition unfolds. Bullocks from the village are ushered through the main gate of the Mārutī temple. Remarkably, each bull, without fail, enters through the temple's 1-meter-wide door. Once inside, they circle the temple and then exit through the same gateway.

Such customs and tales have been intricately woven into the cultural fabric of the temple, celebrating its deep-rooted heritage and significance in the community.

The main gate in front of the Mārutī temple

Discussion and Conclusion

The Mārutī temple stands as a testament to architectural brilliance. Historical inscriptions reveal that the garbhagṛha, or the temple's innermost sanctum, was built in 1744 CE, while the construction of the sabhāmaṇḍapa is believed to have been completed around 1748 CE. Later, in the 19th century, enhancements like the fencing wall and the temple's entrance were added or restored. However, due to some eroded inscriptions, the exact dates are sometimes hard to pinpoint.

The tradition of Mārutī worship is ancient, but early dedicated temples for this deity are rare. There's mention of some Mārutī temples constructed by Saint Rāmadāsa in the seventeenth century, although their architectural style was much simpler. The Marāṭhā-Peśvā era saw a surge in the construction of Mārutī temples across Maharashtra. Notable examples include the temples in Mukhai, Talegaon-Dhamdhere in Shirur Tālukā, Wagholi's Mārutī Temple, Rokadobā or Hanumāna Temple in Ganegaon Khalsa, and the Mārutī Temple in Narayangaon in the Pune District.

Yet, among this rich tapestry of temples dedicated to Mārutī, the one in Niragude stands out as the most ancient and architecturally splendid.

References:

1. Jadhav, Suresh Vasant. Junnar-Shivaneri Parisar. Puratattva Va Vastusangrahalaya Vibhag, Maharashtra Shasan, Mumbai, 1982.
2. Jamkhedkar, A.P. (Edt.). Maharashtra: Itihas-Prachin Kaal (Khand 1; Bhag 2) Sthapatya Va Kala, Darshanika Vibhag, Samskrutika Karya Vibhag, Maharashtra Shasana, Mumbai 2002.
3. Jadhav, Suresh V. Rock-cut Cave Temples at Junnar-An Integrated Study, Ph.D. A thesis submitted to the University of Poona, 1980.
4. Nagraju, S., Buddhist Architecture of Western India, Delhi, 1981.
5. Suresh Vasant, Tulja Leni and Kondivte Chaityagrihas: A Structural Analysis, Ars Orientalis, Michigan, 2000.
6. Dr Girish Mandke gave information
7. Information received from the villagers of Nirgude
8. Data gathered through exploration.