Located on Jaṅgalī Mahārāja Road in the Shivajinagar area of Pune city is the Pātāleśvar cave. Excavated approximately 1,300 years ago during the reign of the Rāṣhṭrakūṭa dynasty, the site is a testament to the ancient history of the region. The area was historically referred to as ‘Puṇya-Viṣaya’ or ‘Puṇak Viṣaya’, as documented in the copper plates of the Rāṣhṭrakūṭa kings.

While the excavation of the cave was unfortunately left incomplete for reasons that remain unknown, the site continues to captivate visitors with its sheer magnificence and intricate artistry. Though archaeological remains predate the Pātāleśvar Caves in Pune, this monolithic structure stands out as the oldest-known Hindu heritage site within the city. Over the years, it has been known by various names such as ‘Pāñchāleśhvar’, ‘Pātāleśhvar’, ‘Bhāṁburde Cave’, ‘Bhūyārātīl Mahādev’, and ‘Pāṇḍu Cave’. Yet, 'Pātāleśhvar' remains its most commonly used name today.

The origins of the name ‘Pātāleśhvar’ are believed to be rooted in the cave's unique architecture. The deity, Mahādev, was established below ground level in this cave, which was carved by excavating the underground rocks, lending the impression of it being situated in the netherworld or 'Pātāl'.

General view of the Pātāleśvar Rock-cut Cave.

While ancient references to the Pātāleśhvar Cave are scarce, its historical importance can be gauged from a few known interactions. In 1810 CE, Bajirao II made generous donations to various temples in Pune, which included a contribution of one rupee to "Bhūyārātīl Mahādev". This site is believed to be the present-day Pātāleśhvar Cave.

During the 1790s, the cave caught the attention of James Wales, an artist serving under the patronage of Sir Charles Malet at the Peshva court. In 1792, he sent his assistant, Robert Mabon, to sketch the “Pāṇḍu Cave". By the time James Douglas paid a visit to this rock-cut temple in 1882, it was inhabited by the Gosāvīs or Bairāgīs group, possibly devout followers of Jaṅgālī Mahārāj. It is believed that the residence of Jaṅglī Mahārāj (1806-1890) imbued the place with a fresh identity.

The caves further gained scholarly attention in 1880 when James Burgess referenced them in his book ‘The Cave Temples of India’, even providing a detailed ground plan. From a cave architectural perspective, the Pātāleśhvar Cave holds great significance. Within its Śaiva cavern, one can witness intricate depictions of episodes like ‘Liṅgodbhava Śiva’, ‘Tripurāntaka Śiva’, and ‘Kirātārjuṇīya’.

‘Liṅgodbhava Śiva’.

A ground plan of the Rock-cut temple.

The Nandīmaṇḍapa; Upon entering the cave area from the JM road, there is an office for the Archaeological Survey of India. Before reaching the Nandīmaṇḍapa, visitors can see a Nandī of the later Marāthā period on the left. The Nandīmaṇḍapa has sixteen pillars in total: twelve in the circular part and four in the square part. The present Nandī is not located in the centre of the maṇḍapa but slightly towards the front.

The Nandī maṇḍapa.

The Sabhāmaṇḍapa: The façade of the Sabhāmaṇḍapa (assembly hall) contains eight pillars and two pilasters. A Devanāgarī script of five lines is engraved on the wall on the left side of the entrance, but it is severely eroded. The Sabhāmaṇḍapa of the cave temple is grand and attractive, with about 29 full columns and about 13 pilasters. Unfinished Śaiva sculptures can be found between the rows of pillars on the wall at the ends. One incomplete sculpture can be seen on the left side wall upon entering the Sabhā maṇḍapa.

The façade of the Sabhā maṇḍapa (assembly hall).

A Devanāgarī inscription.

A pillared hall.

On the east-facing wall of the cave, there is a panel depicting Śiva dancing after defeating the demon, Gajāsura. The trunk of Gajāsura is visible in the sculpture. Moving on, there is an incomplete carving of a gatekeeper holding a mace on a wall. On the opposite wall of the assembly hall, there is a sculpture of Liṅgodbhava Śiva emerging from a Śiva liṅga. A small ‘Gavākṣa’ carving can be seen on the next portion of the wall, with nine sculptures of ‘Sapta Mātṛkās (?) above it. The upper part of this cave section is indistinct, and the roof is flat without any carvings.

Gajāsura vadha murti.

An unfinished sculpture.

A gatekeeper holding a mace.

Sculptures of ‘Sapta Mātrikās (?).

Shrines (Garbhagṛhas)

Three rock-cut shrines are visible upon moving to the Garbhagṛha part of the temple. These may have been designed for three different deities during excavation, making this cave of ‘Tridal’ style. The middle sanctum was dedicated to Śiva, with Nandī maṇḍapa planned before it. The other two shrines were possibly built for Brahma and Viṣṇū. Sculptures of gatekeepers were planned at the corners of the sanctums and entrances, with carvings visible but incomplete. Candraśilās have been carved in front of all three sanctums, with steps leading up to them. The interior of the sanctum sanctorum is not complete, and it is possible that deities were not established during the Rāṣhṭrakūṭa period. Gaṇeśa and Pārvatī sculptures can be found in the sanctums to the left and right of the main sanctum, respectively. The Śiva liṅga in the main sanctum is small, unlike other Śiva liṅgas of the Rāṣhṭrakūṭa period that were grand.

Three rock-cut shrines.

The middle shrine (Sanctum).

Pārvatī.

A Śiva liṅga in the main sanctum.

During the Yādava period, worship began with the installation of Śiva liṅga in the main sanctum and Nandī in the former Nandīmaṇḍapa. The present Nandī and Śiva liṅga seem contemporary to the Yādava period. The incomplete idol in the Sabhā maṇḍapa and the unfinished Pradakṣiṇā patha (circular path) suggest that the cave might not have been used for worship during the Rāṣhṭrakūṭa period. However, regular worship began most probably during the Yādava period.

Nandī in the Nandī maṇḍapa.

The unfinished Pradakṣiṇā patha (circular path).

All three sanctums are connected by a shared circumambulation path, and their entrances are largely complete. Attempts were made to carve Śaivite gatekeepers at the entrance of the main sanctum, evident from the visible marks and impressions left by chisel hammers. Above the entrance, a Kīritmukha is intricately engraved, and a diminutive Nandī statue is positioned before the sanctum. The other two entrances boast five petite śikhara (spires) on their 'Uttarāṅgas.' Notably, the right-side entrance features a Rāṣhṭrakūṭa-era Kīrtimukha row, along with a delicately engraved small human figure on the upper portion of the door.

Kīrtimukha row.

A small human figure is engraved on the upper part of the door.

On the path surrounding the sanctum sanctorum, there are marble idols of Rāma, Lakṣmaṇa, and Sītā on a raised platform. These idols were most likely installed during the Peśavās. In front of these idols, there is an idol of Hanumāna in añjalī mudrā. An incomplete ridge can be seen next to the back wall. As we move forward, we can see the unfinished excavation of the cave. Several small and large graffiti, figures, and games are carved on the ground floor within the cave's assembly hall. The cave is sturdy and robust; the locals must have visited it to spend their time. Even today, many students and people come here for solitude and peace of mind. In the right corner outside the main cave is another smaller one with no art.

Newly installed marble idols of Rāma, Lakṣmaṇa, and Sītā.

Several small and large graffiti, figures, and games.

Several small and large graffiti, figures, and games.

A small cave.

Concluding remarks

The Pātāleśhvar Cave stands in contemporary relevance alongside other illustrious caves such as the Ambejogai Caves in the Beed District, Rāmeśvar Caves in Ellora, and the Elephanta Caves. The well-preserved sculptures in these renowned sites can offer insights and aid in identifying some of the figures in Pātāleśhvar.

There are several hypotheses regarding why the Pātāleśhvar Cave was left unfinished. One plausible reason is its depth; being excavated deep into the earth, it might have become a repository for rainwater. Upon realizing this unforeseen challenge, the artisans might have been compelled to abandon their work prematurely. Financial constraints could also be a factor; perhaps there was an unexpected cessation of financial backing or a dwindling of royal patronage. Another theory suggests that the sudden demise of the patrons or sponsors might have halted the project. Regardless of the reasons for its incompletion, the Pātāleśhvar Cave remains an enduring monument, showcasing the architectural prowess of its era.