Sasvad is a place of historical significance, situated on flat land beside the Karha River and surrounded by the Bhuleshvar hill range. It is located 32 km away from Pune City and can be accessed by private vehicle or bus. Sasvad is home to grand wadas (palaces) belonging to late Maratha period sardars like the Mehendale, as well as several beautiful temples, including Saṅgameśvara temple, Cāngā Vaṭeśvara, Bhairavanātha, Gaṇapatī temple, Siddheshvara temple, and Mārutī temple. These buildings serve as fine examples of late Marāṭha art and architecture.

The Saṅgameśvara temple

Saṅgameśvara temple: The grand Saṅgameśvara temple in Sasvad stands at the confluence of the Karha and Chambali rivers. Located in the city's southern part, this east-facing edifice is dedicated to Śiva. Architectural elements and local manuscripts indicate the temple dates back to the 18th century CE. Elevated on a high plinth, the temple's design incorporates a large open area to the south, facilitating easy access to the ghāṭ on the Karha River as well as to adjacent temples.

On the temple grounds, there are one vrindāvana and two dīpamāḷas. The main temple structure is constructed from stones, while the śikhara is made of lime and bricks. Scholars like the late Prof. Shivajirao Ekke and M.S. Mate have previously studied this temple and others in the Sasvad area. According to local reports, the temple is privately owned by Purandare family, and a trust called ‘Saṅgameśvara Sudhar Samiti’ is responsible for its upkeep. Devotees come to this temple in large numbers on special occasions like Śrāvani Somavāra and Mahāśivarātrī. From 2023, the temple has been undergoing extensive renovations, therefore the old character and authencity of the original structure will no longer be visble anymore. 

The Saṅgameśvara temple

A ground plan of the Saṅgameśvara temple

The Saṅgameśvara temple

Architecture: The Saṅgameśvara Temple is on a well-built high plinth. There is a railing of about 2 feet around the premises. Its plan consists of garbhagṛha-antarāla, sabhāmaṇḍapa-mukhamaṇḍapa.

Garbhagṛha: The entrance to the garbhagṛha is notably sharp, adorned with two kīrtimukhas on the threshold. Carvings of Gaṇapatī and Riddhī-Siddhī grace the lalāṭa. The Gaṇeśa image features a leftward trunk, flanked by carvings of two flowers. The uttarāṅga remains relatively unadorned, with only some empty brackets present. Carved stambhaśākhā and puṣpaśākhā embellish the doorway. Inside, the garbhagṛha is square, housing a central śivalinga. The side wall accommodates three devakoṣhṭhas, the central one of which features a Gaṇeśa image with a leftward trunk, set on a wooden pedestal. Around 30 niches are built into the walls, intended for lighting lamps. The roof is dome-shaped, displaying influences of Islamic architectural styles.

Antarāla: The antarāla dimensions are 254 x 215 cm and originally featured two ardhastambhas. On the frame of the left-side pillar, carvings depict flowers and eagles. The right-side pillar showcases a Capeṭadāna Mārutī and another image, presumed to also be of Mārutī. The antarāḷa is further distinguished by two square niches and decorative pilasters situated in both corners. It is capped by a dome-shaped roof.

Sabhāmaṇḍapa (Guḍhamaṇḍapa): The entrance to the sabhāmaṇḍapa is elaborate, featuring two dvāraśākhās, stambhaśākhā, and puṣpaśākhā. The threshold is adorned with three kīrtimukhas, and the lalāṭa showcases a left-trunked Gaṇapatī flanked by two flowers on each side. The dimensions of the sabhāmaṇḍapa are 656 x 656 cm, and it contains four purṇastambhas and twelve ardhastambhas. The pillars are rather austere, featuring only chain-type carvings. Their height is 264 cm, not including the stambhas in the mukhamaṇḍapa. The pilasters stand at a height of 172 cm, again not including the stambhas on the kakṣāsana.

Designed in the navaraṅga style, the sabhāmaṇḍapa contains an image of a tortoise at its center. Above the tortoise, the vitāna portion of the ceiling is dome-shaped. The maṇḍapa has two doorways, one each from the south and the north. It also features two large square niches. While the southern doorway is adorned with carvings of Gaṇapatī and kīrtimukha, the northern doorway is devoid of any images. 

Sabhāmaṇḍapa

Mukhamaṇḍapa: The mukhamaṇḍapa of the Saṅgameśvara temple measures 606 x 636 cm and boasts a detailed design. The maṇḍapa has ten pilasters, organized in groups of 2 and 4. Four purṇastambhas stand alongside, each flanked by a kakṣāsana. Entrances to the mukhamaṇḍapa are available from the east, south, and north directions. At the center of this space is a Nandī, resplendent with decorative chains, bells, and a pair of nāga carvings. Below the mouth of the Nandī is a carved image of a person carrying a basket of naivedya. Overhead, the vitāna above the Nandī is dome-shaped. In contrast, the rest of the roof is flat and features floral motifs near the meeting point of the vitāna and columns.

Connecting the mukhamaṇḍapa and the sabhāmaṇḍapa is a wall adorned with two devakoṣhṭhas. Gaṇapatī is featured on the left devakoṣhṭha and Mārutī on the right. Both devakoṣhṭhas are crowned with śikhara-like carvings. The ornamentation here shows the influence of Indo-Islamic architecture, especially visible in the bilvapatra and jālī work decorating the tops of the niches.

Nandīmaṇḍapa: Presently Nandīmaṇḍapa does not exists. In front of the temple, there is a dilapidated Nandī. This Nandi seems to be very old. And can be placed in c. 13th century CE based on its artistic features. The main Nandī or Nandi of the 18th century is placed in mukhamaṇḍapa.

Old Nandī.

Temple exterior: The temple is on the adhiṣṭhāna and has no special decoration. The temple's outer wall is engraved with bilvapatra and other sculptures; giant lotuses are carved on the janghā of the temple. The garbhagṛha of the temple is star-shaped. On its south, north, and west sides, are devakoṣhṭhas on the janghā.

Śikhara: Śikharas have been erected on the garbhagṛha, sabhāmaṇḍapa, and the mukhamaṇḍapa. All these śikharas are of authentic Maratha architecture. In those, some images of ascetics and deities are visible. The śikhara on the garbhagṛha is the highest, broadest, and circular, while the śikhara on the sabhāmaṇḍapa and the raṅgamaṇḍapa is square. Mināra-like śikharas are visible at the corners of the sabhāmaṇḍapa and the raṅgamaṇḍapa. Currently, the restoration of the śikhara is going on but based on our visual survey, we are not sure if this is carried on with the view to preserve the original sculpture.

Lamp pillars: To the east, there are two dīpamāḷās on both sides of the temple. These dīpamāḷās on decorative octagonal platforms. There is a little carving on the dīpamāḷās.

The outer side of the temple

The outer side of the temple

Śikhara over the garbhagṛha

Śikhara over the sabhāmaṇḍapa before the renovation 

Dīpamāḷā

Images outside the temples: There are no particular images on the temple's exterior. At the northern side of the garbhagṛha, a gomukha has been installed to release the water offered to the śivalinga. Some flowers have been carved on the janghā. Bilvapatras and some śilpapaṭṭas are carved on the exterior walls.

Other shrines in the premises of the temple: To the south of the Saṅgameśvara temple lie two other temples—Khaḍakeśvara and Omkāreśvara—sitting along the banks of the Karha River. Khaḍakeśvara boasts a square design, while Omkāreśvara is octagonal in shape. A Nandī statue graces the front of Omkāreśvara temple, and its śikhara features Marāṭhā-period architecture, including carvings of bilvapatra and other divine motifs. To the north, along the Chambali River, is another temple called Araṇyeśvara, whose structure closely resembles that of Omkāreśvara. On the opposite bank of the river, a samādhī temple is situated, believed to be that of Sardar Godaji Jagtap. Nearby, a vrindāvana also adds to the sanctity of the area.

Other shrines on the premises of the Sangameśvar temple

The scenic ghats next to the temple

Other shrines in the premises of the Saṅgameśvara temple

Sculptures on the Śikhara of Khaḍakeśvara and Omkāreśvara

Sculptures on the Śikhara of Khaḍakeśvara and Omkāreśvara

Renovation and its peril: The Śikhara and its various sculptural elements were under various stages of decay as can be seen above. As on 2023, the temple is undergoing extensive restoration, funded by a Pune based corporate. All these Maratha era sculpture on the śikhara are being "renovated" by some local contractor, who has evidently never heard the term such as conservation and preservation.

When we spoke with the local contractor and the temple trustee, we emphasized the importance of preserving the ancient sculptures on the śikhara during the ongoing restoration. Their response was one of surprise; they questioned why there would be a need to maintain the old when new structures could be built. We requested them to at least keep a few sculptures, whch we identified as important, undisturbed, but that was to no avail. Their perspective highlights a gap in understanding the value of preserving cultural and historical heritage.

While modernization has its merits, the old styles and sculptures are irreplaceable testaments to history, artistry, and religious practices of past generations. Once lost, they cannot be recreated with the same authenticity. This is why we have advocated on multiple occasion for a careful and informed approach to restoration, one that respects the original style and materials used. The situation reveals a larger issue regarding public awareness and attitudes toward cultural heritage. There is a vital need for educational outreach to instill the importance of heritage preservation, not just among the officials and contractors directly involved, but within the community as a whole.

Concluding Remarks: This temple is a prime example of late Marāṭha art and architecture, showcasing the influence of early medieval art and architecture. Its impressive śikhara and intricate engravings and sculptures carved in lime on the bricks was a sight to behold (but not any more). Like many other temples in Sasvad, it is built on a high plinth. It is important for studying Marāṭha period art and architecture and could benefit from increased local awareness. The temple has recently gained popularity, with many devotees and tourists from Pune visiting it.