Sangavi is located on the banks of the River Nira and is situated approximately 14 km from Baramati and about 106 km from Pune. Dominating the northern part of the village, near the Baramati-Nira road, stands the Mahādeva temple, a testament to the architecture of the 14th-15th century CE. Positioned just 500 meters from the main road, this east-facing temple is set on a prominent plinth, making it a distinctive landmark. Despite its age and architectural significance, the temple does not have a resident priest. The temple's is in relatively stands in good condition, having recently undergone some refurbishments. Modern cement steps now lead visitors to its entrance, and efforts are underway to further beautify the temple's surroundings. However, the orginal beauty of the temple has not been kept intact.

The temple has seen contemporary additions, notably the Dravidian architectural style śikhara, and the recent modifications to the garbhagṛha and nandīmaṇḍapa. However, what truly sets this temple apart are the intricate sculptures adorning the pillars of its gudhamaṇḍapa. This temple seems to have eluded the attention of scholars and remains relatively unrecorded in academic circles.

A general view of Shambhu-Mahadeva temple, Sangavi.

Nandīmaṇḍapa: Measuring  230 cm (l) X 223 cm (b), there are four stambhas in the nandīmaṇḍapa and the image of Nandī is at the centre. A śivaliṅga is placed in front.

Gudhamaṇḍapa: The gudhamaṇḍapa measures 440 cm in length and 450 cm in breadth. The entrance to this chamber is understated in design, with an image of Gaṇeśa gracing the lalāṭabimba. The peḍyā section is kept flat and unadorned. Distinctively, the maṇḍovara boasts carvings of two Kuberas and two kīrtīmukhas. Within the gūḍhamaṇḍapa, there are four intricately carved pillars, each standing tall at 222 cm. These pillars are distinguished by the sculptures etched onto their central sections. Contrasting the detailed work on the pillars, the vitāna positioned at the heart of the maṇḍapa is kept unembellished. Similarly, the other vitānas in the gudhamaṇḍapa also remain devoid of any decorative elements.

Gudhamaṇḍapa

Antarāḷa: Measuring 227 cm in length and 213 cm in breadth,  a notable characteristic of this temple is the entrance to the antarāḷa. The roof of the antarāḷa has been opened to allow for natural lighting. As a result, sunlight directly illuminates the antarāḷa.

Garbhagṛha: The dimensions of the space are 197 cm in length and 197 cm in breadth. The entrance to the garbhagṛha is quite straightforward. Two guardian figures, or dwārapālas, flank the doorway. An image of Gaṇeśa adorns the lalāṭabimba, or the lintel. There are half-pillars, or ardhastambhas, on all four corners of the garbhagṛha, with a śivaliṅga situated in the middle. Adjacent to the śivaliṅga, there's a stone vessel designated for collecting the water used during the ritual bathing or abhiṣeka. The ceiling of the garbhagṛha, or vitāna, is unadorned and simple.

Garbhagṛha 

The temple's exterior is simple and no carving or decoration is visible. Since the śikhara is built in a modern way, the appearance of the original śikhara can not be guessed.

Iconographical description: In this temple, sculptures are exclusively engraved within the gūḍhamaṇḍapa, offering insights into the religious practices and societal values of that particular era. In the gūḍhamaṇḍapa, the four pillars are distinctly numbered for reference. The southern front pillar is designated as no. 1, and its counterpart at the rear is no. 2. Moving to the northern side, the rear pillar is identified as no. 3, while its front companion is marked as no. 4. The sequence for describing the sculptures follows the path of pradakṣiṇāpatha, which means the narrative starts from the east, moves to the south, then to the west, and finally wraps up at the north. Typically, the carved portion of these pillars measures around 25 cm in height and 31 cm in width. However, some variations exist, with dimensions reaching up to 26 cm in height and 34 cm in width. Notably, the sizes of the pillars are not uniformly consistent. A significant observation is the red paint that adorns all these sculptures, making some of them appear somewhat indistinct or blurred. 

Stambha no. 1: To the east, two warriors, possibly representing Rāma and Lakṣmaṇa, are depicted with bows and arrows. The southern face showcases the iconic Umā-Maheśvara āliṅgana murtī with Nandī to its left, and a devout figure in namaskāra mudrā. The western face presents a detailed depiction of Rāvaṇa with his ten heads and twenty arms, each brandishing a different weapon, with a particular emphasis on him drawing a sword. Finally, the northern side features the fierce Mahiṣamardinī on the right, juxtaposed with the serene Saraswatī on the left.

Rāma and Lakṣmaṇa

Umā-Maheśvara āliṅgana murtī with Nandī to its left

Rāvaṇa

Mahiṣamardinī and Saraswati.

Stambha no. 2.: On the eastern face of one such pillar, two majestic figures demand attention: Bhairava on the right and, presumably, Bhairavī on the left. The southern facade of the same pillar offers a dynamic depiction of a dancer, beautifully flanked by two mridaṅga-players on either side. Venturing to the west, the figures possibly represent Kālī and Vaishnavī. Notably, beneath Kālī, there's an illustration of a corpse. The northern side completes the tableau with sculptures of Gaṇeśa and Viṣṇu.

Musicians.

Kālī and Vaishnavī

Gaṇeśa and Viṣṇu

Stambha no. 3.: The sculpture of Vidāraṇa Narasiṁha can be seen on the east accompanied by bhakta Prahlāda with folded hands. On the south side, there may be sculptures of Nritya Bhairava and Cāmunḍā. A dog is also shown. A battle scene from the Rāmāyaṇa is carved on the western side. In that scene, maybe Rāma is sitting on Hanumāna’s shoulder. On the northern side, there are sculptures of Viṣṇu, Śiva, and Brahma in sthānaka mudrā.

Vidāraṇa Narasiṁha

Bhairava and Cāmunḍā.

Rāma is sitting on Hanumāna’s shoulder and killing Ravana (?).

Viṣṇu, Śiva, and Brahma in sthānaka mudrā

Stambha no. 4: On the eastern side of the pillar, there's a depiction of a man and a woman gracefully seated atop an elephant. This is likely a representation of Indra and Śacī. The southern side portrays a man and a woman seated on a deer with another figure standing beside them, possibly representing Vāyu. The western side showcases figures of men and women on horseback. To the north, the intricate sculpture of Lakṣmī-Nārāyaṇa stands out, appearing as if they are being carried by Garuḍa with another female figure nearby.

Indra and Sāci.

Vāyu with consort.

Man and women on horseback.

Pālakhī Ceremoney: Every amāvasyā (no moon day), the Pālakhī makes its revered arrival at the temple. On this significant occasion, Mahādeva and Gaṇeśa which are enshrined within the temple and are duly worshipped. The atmosphere is filled with the rhythmic sounds of tambourines, cymbals, and the resonating echo of the conch. This palanquin undertakes a journey, visiting other village temples before culminating its procession at the Mahādeva temple. Entrusted devotees, chosen for the honor, bear the responsibility of carrying the palanquin. Within it are placed sacred masks and representations of deities.

Concluding Remarks:  Based on the architectural and sculptural styles, it is evident that the temple likely dates back to the 15th century. Certain features, such as the disproportioned pillars, the absence of devakoṣhṭhas in the gūḍhamaṇḍapa, and the simplistic nature of the dwāraśākhās, affirm its chronological placement. Moreover, the temple's exterior simplicity further reinforces its 15th-century origin.

During our visit, we found the temple to be relatively in good condition and the surrounding premises clean. However, heavy colour application obscured some of the temple's sculptures, making identification challenging. It's worth noting that the original śikhara has been replaced with one crafted in the Dravidian style. The sculptures within this temple serve as valuable insights into the religious practices of the period. Hence, it's imperative to prioritize its conservation. It appears that this temple has remained largely overlooked and deserves more recognition. Despite its current anonymity, it holds potential as a significant religious site, on par with temples in locations like Phaltan and Baramati. Prioritizing this temple can enhance religious tourism and spotlight the cultural richness of the village.