Malegaon Khurd is eight km from Baramati and 102 km from Pune City. A 500 year old temple of śiva (18.143887, 74.511204) is in the middle of the village. It is a tridala (with three garbhagṛihas) type and is restored on a large scale. All the interior walls and pillars of the temple are painted white.

Temple of Śiva

Gūḍhamaṇḍapa: Since this temple has three garbhagṛihas, they altogether have one common gūḍhamaṇḍapa. It contains four main pillars and four pilasters. The main pillars are simple, with no carving. At the base is a pillar-base stone, a rectangular vertical shaft, then two octagonal formations above. The plain center of the pillar, again an octagonal structure, a round tapering portion, a cornice, and flat capital (stambhaśīrṣa) is visible above it. Instead of bhāravāhakas, a design like nāgabandha can be seen. Four beams are on the four columns, and a simple vitāna (roof) above.

Antarāḷas and Garbhagṛihas: Three garbhagṛihas of the temple have three separate antarāḷas. At the doorway, two pilasters are visible. There are no devakoṣhṭhas (niches) in the antarāḷa. While entering the gūḍhamaṇḍapa, there are four pilasters, at both the left and right sides of the antarala. Antarāḷas have simple roofs. All garbhagṛihas have four pilasters in four corners and simple vitānas above. The sculptures of Keśava and Hara-Gaurī in the left and right garbhagṛihas, respectively, are very attractive. The main garbhagṛiha is dedicated to Śiva. It consists of swayambhū (self-existent) Śivalinga. On its doorway, only stambhaśākhā is visible. The rest of the portion is flat. Even the udumbara and lalāṭabimba are flat. The garbhagṛiha has four pilasters and its roof is simple. 

Common gūḍhamaṇḍapa

The garbhagṛiha on the right side: The garbhagṛiha at the right side also has a plain entrance. No  deity is present as a lalāṭabimba. However, there are three brick shrines on the uttarānga and a beautiful Hara-Gaurī image on a raised platform inside the garbhagṛiha. Gaurī is seated on Śiva’s lap with her right hand on his right shoulder. On Śiva’s right side, he holds a triśūla in his upper hand and a bījapūraka in the lower hand. Śiva’s upper left-hand rests on Gaurī’s shoulder. He is holding a snake in his hand. In contrast, the lower hand is on Gaurī’s waist. Behind the heads of Hara and Gaurī, prabhāvalayas are visible. Śiva is shown with jaṭāmukuṭa, karṇakuṇḍala, hāra, keyura, valaya, nūpuras, and yajñopavita. Gaurī is also depicted with karṇakuṇḍalas, keyura, valaya, nūpuras, kanṭhahāra, stanahāra, and adhovastra. Remarkably, their sons Gaṇeśa and Kārttikeya are also depicted on the pedestal. Kārttikeya is mounted on the mayura. Śiva’s Nandī and Gaurī’s Godhā are shown on the pedestal. Gauri has put her foot on Godhā’s head.

Three brick shrines on the uttarānga.

The hara-Gaurī image on a raised platform

Hara-Gaurī image

The garbhagṛiha on the left side: The structure of the garbhagṛiha on the left side is like the one on the right. Yet inside, a beautiful image of Viṣṇu in the form of Keśava is set up on a high platform. The upper right hand of the Viṣṇu image holds a conch, while the lower right-hand holds a lotus flower. A chakra is in the upper left hand, and a gadā in the lower hand. A kiriṭamukuṭa on the head while karṇakuṇḍalas are seen in the ears. Also, Viṣṇu is shown adorned with keyura, valaya, kurpāsaka, nūpuras, yajñopavita, vaijayantīmālā, mekhalā, and adhovastra. There is prabhāvalaya behind Viṣṇu’s head. On the right side of the image, Garuḍa is seen in the namaskāramudrā, while Lakṣmī is seen on the other side.

Keśava

Exterior: The entire temple exterior is flat with no carving or devakoṣhṭhas. The outer part of two upa-garbhagṛihas has been sealed with plaster. Recently some rectangular cuts seem to have been made for light. The śikharas are restored recently. Original śikharas were probably constructed with bricks. There is no evidence that the temple has a fencing wall now; but like all other temples, this one must have had fencing earlier. A high pillar is visible in front of the temple. Similar pillars are also in front of the Mallikārjuna temple at Loni Bhapkar and Nāgeśvara temple at Pabal. A cement canopy has been constructed where the Nandī has been kept today. Earlier, the original nandīmandap might exist here.

The exterior of the temple.

A high pillar.

Loose Images and hero stones: A fragmentary Bhairava image (?), a standing figure, a four-hooded serpent, Gaṇeśa, Nandī, Hero stones, and Gajalakṣmī sculptures are seen in the temple and on the premises. The Gajalakṣmī sculpture is beautiful and installed on a railing outside the temple. Lakṣmī has lotus flowers in both her hands and is sitting in padmāsana while on both of her sides, two elephants are showering flowers on her. The most distinctive feature of this temple is the presence of 30 vīrgaḷas (Hero stones) on the premises. All these virgaḷas have been kept together in standing positions behind the temple. It is possible that some of them were brought here from other places. Due to their design and the carved sculptures, they seem contemporary with the temple, i.e., 14th to 15th century CE. These vīrgaḷas include battle-related, (infantry and cavalry), livestock representative, cattle attack demonstrative, etc.

Gajalakṣmī

Hero stones.

Hero stone.

Hero stone.

Hero stone.

Hero stone.

Hero stone.

Hero/heroin stone.

Few dilapadate structures: Two dilapidated structures with four pillars and no walls are adjoining the right side of the temple premises. One of them measures 186 cm (L) X 210 cm (W), and the other is 210 cm (L) X 210 cm (W). Long and big stone blocks are placed on these structures. Based on their architectural style, they are contemporary with this temple. Both of these structures consist of two separate śivalingas. There is also a temple of Rāma outside the fencing wall of Shiva temple. In the garbhagṛiha, a śivalinga is present with a man and a woman standing with a bow in the background. Due to this, they might have been treated as Rām and Sītā. It looks like a sort of veergaḷa.

Two dilapidated structures.

Temple of Rāma

Concluding remark: Reflecting on the temple's architectural elements, such as the flat dvāraśākhās, the unembellished lalāṭabimba, the uniformity of columns and their designs, along with the seemingly inanimate sculptures, it can be surmised that this temple likely dates back to the 14th-15th century CE. However, among these, the images of Keśava and Hara-Gaurī stand out, as do the vīrgaḷas within the temple. The presence of such a substantial collection of vīrgaḷas in one location is indeed rare. This suggests that many warriors from this area might have been fervent participants in historical battles. The striking similarity among these vīrgaḷas prompts one to wonder: could there have been a significant battle in this vicinity? In the adjoining areas of Malegaon Budruk and Khurd villages, there are seven temples in total, each deserving special attention. Given these rich historical and architectural gems, it would be apt to promote this area on the tourist circuit as a ‘temple town’.