Palasdev, situated 125 km from Pune, is renowned for its array of ancient temples, some dating back over 800 years. The village lies 21 km from Indapur and is easily reachable via the Pune-Solapur National Highway. In 1980, the Government of Maharashtra constructed the Ujani Dam on the Bhima River, leading to the submersion of several villages, including Palasdev. While the villages were relocated, the ancient temples such as Saraḍeśvara, Paḷasanātha, Kaśi-Viśvanātha, and Viṣṇu were left submerged and are subject to flooding and structural damage each monsoon season.

After the monsoon subsides, one can visit the Viṣṇu temple, set at slightly elevated coordinates (18.248974, 74.879186), making it accessible even after the deluge. In antiquity, the village was known as 'Ratanpur.' Approximately 2 km from the new Palasdev village, one can view the vast Ujani Dam. From this point, the submerged śikhara of the Paḷasanātha temple is visible at a distance, as is a slightly damaged Viṣṇu temple lacking its śikhara.

The Viṣṇu temple.

The Viṣṇu temple faces west and is of the Dvidala type. It is surrounded by water on the north and west sides and land on the south and east. Deshpande (2013) and Deglurkar (2019) have previously researched this temple to some extent. The Viṣṇu temple stands on a high platform and contains a mukhamaṇḍapa, sabhāmaṇḍapa, antarāḷa, and garbhagṛha. 

The upagarbhagṛha faces south, leading researchers to believe that it must be dedicated to Bhairava. The entrance of the upagarbhagṛha is simple, with a small antarāḷa, and a small sculpture of Bhairava is also carved in the temple. The sabhāmaṇḍapa has four stambhas and a few empty devakoṣhṭhas. Unfortunately, entering the temple has become difficult due to a bat infestation. There is a simple antarāḷa in front of the main garbhagṛha, and the door of this garbhagṛha is also simple, with no deity currently visible inside.

The Sabhāmaṇḍapa of the temple.

Upagarbhagṛha, antarāḷa and empty devakoṣhṭha.

Both mukhamaṇḍapas have two simple pillars, and no sculptures can be found inside the temple. All the roofs of the temple are simple and flat, and the śikharas on the sabhāmaṇḍapa or garbhagṛha have fallen, likely due to being made of bricks. Vāhanamaṇḍapa is not visible in front of the temple, but some structures like bhāṭa, Padma, and kuṁbha can be seen on the exterior of the temple. Beautiful sculptures are carved on the jaṅghā.

Mukhamaṇḍapas and exterior of the temple.

The most fascinating aspect of the Viṣṇu temple is the Rāmāyaṇa sculptures that are carved on its exterior. Such proportional and large sculptures are rarely found elsewhere in Maharashtra. Due to the continuous flow of dam water, the Viṣṇu temple has been significantly damaged, with some sculptures becoming loosened from their original locations and falling to the ground. A total of 16 panels of the Rāmāyaṇa seem to have been mounted on the jaṅghā, sculpted in the opposite direction of the pradakṣiṇāpatha. There are also other sculptures depicted on jaṅghā, leading researchers to assume that the sequence of sculptures is along with the pradakṣiṇāpatha.

The western part of Jaṅghā and panels -1

A line of kīrtīmukhas is carved on all the panels. The first panel along the pradakṣiṇāpatha is about the combat between Hanumāna and the Rākṣasas (demons) of Lanka. It shows that Hanumāna has tied two Rākṣasas with his tail. While another Rākṣasas’s leg is held and thrown in the air with his right hand. It also depicts that Hanumāna is trying to uproot trees in Lanka. There is a depiction of a Surasundarī after this.

Combat between Hanumāna and the Rākṣasas (demons) of Lanka.

Northern Part of Jaṅghā

Some of the initial slabs on the northern side have been dislodged and are lying on the ground, detached from the temple (it is possible that these detached slabs-being heavier-belong to the upper portion of Jaṅghā where they are lying). One of these panels shows Hanumāna trying to introduce himself to Sītā in the Aśokavāṭikā and giving her the ring which he had brought from Śrī Rāma. Hanumān is standing in front of Sītā with folded hands. While a demoness is guarding behind. On the whole, it seems that an attempt has been made to depict the scenario of the Aśokavāṭikā.

Hanumāna trying to introduce himself to Sītā in the Aśokavāṭikā

Few further sculptured slabs are seen toppled down. They depict a view of Setūsamudram. Three monkeys are shown carrying heavy rocks on their heads to build the Setū. Next is a sculpture of a Surasundarī.

A view of Setūsamudram.

Fallen sculptural slabs.

Then dhanurdhārī Rāma and Lakṣamaṇa are sculptured. Also, another toppled slab bears the depiction of Rāma-Lakṣamaṇa and Hanumān or Sugrīva.

Rāma-Lakṣamaṇa and Hanumāna or Sugrīva.

An unidentified sculpture laying down on the northern side of the temple.

An unidentified sculpture.

This is followed by a beautiful sculpture of Setūsamudram on the jaṅghā. It shows the actual work of building the Setū over the sea in the process. The stone slabs are being placed over the sea. A monkey engineer is assembling those slabs. The aquatic creatures are beautifully depicted. Some fish and a turtle are seen moving.

A sculpture panel depicting a scene of Setūsamudram.

Another view of sculptures of Setūsamudram and Ravana.

Next is a Surasundarī and there is a beautiful sculpture of Daśānan Rāvaṇa on the wall further. He has three chatras above his multiple heads. Although he is Daśānan, he is shown to have five heads and ten arms in the sculpture. He is holding various weapons in his hands like a sword, shield, bow, arrow, mace, spear, dagger etc.

Rāvaṇa.

After the sculpture of Rāvaṇa, there is a sculpture of a woman on the exterior of the temple’s upagarbhagṛha. Like Rāvaṇa’s sculpture, this woman also has two chatras above her head. She is maybe Rāvaṇa’s wife. This is followed by a depiction of a mṛdaṅga player. Then there is an empty devakoṣṭha. Two dancers and a Surasundarī are shown subsequently. The next section depicts the combat between Jaṁbumālī and Sugrīva or Aṅgad. The next sculpture is of Darpaṇā.

The combat between Jaṁbumālī and Sugrīva or Aṅgad.

Then there is a sculpture belonging to the Nātha sect. The sculpture of Kānha (Kāniphanāth) is on the right side of a coconut tree and Bahuḍī Yoginī on the left side.

A sculptural panel of Kānha (Kāniphanāth) and Bahuḍī Yoginī.

The next portion of the wall has collapsed. But another sculpture of Dhanurdhārī Rāma-Lakṣmaṇa can be seen resting on the ground.

Dhanurdhārī Rāma-Lakṣmaṇa.

Also, a sculpture of Hanumāna with folded hands is laid nearby. Two human figures holding maces are adjacent to these. They cannot be identified.

A fallen sculpture of Hanumāna.

Men holding maces.

After this, there are two Surasundarī sculptures in the Jaṅghā area. After this, a yogī (probably) is shown with a yoginī. A dagger is seen at his waist. Hereafter, again there is a Surasundarī with a book in hand. The next fragmentary sculpture is probably of Janārdana. After this, Surasundarī Karpurmañjirī is depicted. Henceforth there is a sculpture of Viṣṇu in the Vāmana avatāra. Surasundarī Cāmarā is sculpted after this, followed by an empty but slightly ornate devakoṣṭha.

Sculptures respectively of two Surasundarīs, a yogī (probably) with a yoginī, a Surasundarī with a book, Janārdana (?) and Karpuramañjirī.

Another view of the above sculptures.

Afterwards, there are sculptures of Trivikrama and Madhūsudana with two Surasundarīs. Of the two Surasundarīs, one is probably Padmagandhā and the other is Putravallabhā.

Sculptures of Padmagandhā (?),Trivikrama, Putravallabhā and Madhūsudana (From right to left respectively)

The eastern part of Jaṅghā

The first sculpture through the pradakṣiṇāpatha is of Viṣṇu. A sculpture of Govinda between two Surasundarīs is ahead of it.

Sculptures of Viṣṇu and Govinda between two Surasundarīs.

There is a sculpture of Yogaviṣṇu in the devakoṣhṭha outside the main garbhagṛha. The next depiction is of a Surasundarī and a monkey pulling her lower garment. Mādhava’s sculpture is the next one. After this, a Surasundarī removing her lower garment is sculpted. A scorpion is shown on her right thigh. The next sculpture is probably of Nārāyaṇa.

Yogaviṣṇu.

Sculptures of Surasundarī with a monkey, Mādhava, Surasundarī with a scorpion and Nārāyaṇa (?) (from left to right respectively).

The southern part of Jaṅghā

The first sculpture on the southern side outside the garbhagṛha is the sculpture of Keśava. Next is Darpaṇā. Then there are images of Dāmodara and Surasundarī Padmagandhā. After this, there is an empty devakoṣṭha.

Sculptures (from right to left respectively ) of Keśava, Darpaṇā, Dāmodara, Padmagandhā, Āmramañjirī, Viṣṇu, Surasundarī, Hṛṣīkeśa and Śubhagāminī.

The next image is of Āmramañjirī. A mutilated sculpture of Viṣṇu is ahead of it. Then come to Surasundarī, Hṛṣīkeśa and Śubhagāminī images. Images of Vāmana and Baḷī are depicted ahead. In this, the upper half of the Vāmana image has been damaged.

Vāmana and Baḷī.

Next is the sculpture of a dancer or Nupurpādikā and perhaps a pair of Nātha Yogī-Yoginī. After this, a beautiful sculpture of Viṣakanyā is seen. Some of the adjacent parts have fallen.

Sculptures of Nātha Yogī-Yoginī (?) and Viṣakanyā (from right to left).

Henceforth, a Surasundarī is seen in añjalīmudrā. Next is the battle scene between Indrajīta and Hanumāna.

A Surasundarī and combat between Indrajīta and Hanumāna.

After this, there are depictions of Vālī-Sugrīva combat, Mardalā, Hanumāna in añjalīmudrā, Sītā and dhanurdhārī Rāma-Lakṣmaṇa on the other side of the mukhamaṇḍapa.

Sculptures of Vālī-Sugrīva combat, Mardalā, Hanumāna, Sītā and Rāma-Lakṣmaṇa. (from right to left).

Western Part of Jaṅghā Part – 2 (Jaṅghā on the left side of main Mukhamaṇḍapa)

In the beginning, there is a beautiful sculpture of Rāma-Lakṣmaṇa and Jaṭāyū. The next depiction is of Rāvaṇa abducting Sītā by the Puṣpaka Vimāna and Jaṭāyū trying to stop him. Some Surasundarīs are also seen in this portion.

Sculptural panels of Rāma-Lakṣmaṇa and Jaṭāyū, and Rāvaṇa, Sītā and Jaṭāyū and Surasundarīs.

Rāvaṇa abducting Sītā.

Besides, there is also a sculpture of Bhairava and a few more of Ramāyana, lying on the ground.

A lying sculpture of Bhairava.

A lying sculpture on the northern side of the temple is depicting a combat between Sugriva and Vali.

Two isolated sculptures of Vishnu.

Isolated sculpture of (Rati?) laying down on the northern side of the temple.

Concluding Remarks: It has been reported that some sculptures from this temple have been moved to a nearby village called Dalaj. These sculptures depict the story of the demon king Baḷī and feature Viṣṇu with a raised leg, Baḷī, and Śukrācārya. Another sculpture shows Sītā, with either Rāma or Rāvaṇa begging for alms, while a Surasundarī holding an Aquarius can be found nearby. Based on the architecture and sculptures, it is likely that the temple is dedicated to Viṣṇu and was constructed in the 13th-14th century in the Bhūmija style. Although the śikhara is no longer present, the characteristic feature of the Bhūmija style, 'pānapatra', can be observed in many places. The abundance of Rāmāyaṇa sculptures suggests that the epic had a significant influence on the people of this region. The influence of the Nātha sect can also be seen in the sculptures of Kāniphanātha and Bahuḍī.

Two Jaina sculptures from the Digaṁbara sect have been found, with one close to the Viṣṇu temple and the other in the village. This suggests that there may have been a Jain temple in the area in addition to the multiple Hindu temples. Due to the temple's deep antiquity and the beauty of its sculptures, it is essential to protect them. However, during the monsoon months, half of the temple is submerged in water, and the sculptures lying on the ground remain submerged. While the temple may not be revived as a living temple, preserving its sculptures will boost tourism and contribute to the economy of the region.