There is an ancient village called Talegaon-Dhamdhere located on the east side of the Vela River, approximately 39 km away from Pune city. Evidence of the village's existence during the Chalcolithic period has been discovered, including chalcolithic pottery that is believed to be around 3000 years old, belonging to the Late Jorve Phase. Although there is no precise evidence of human habitation in Talegaon for several years following this period, a copperplate from the Rāṣṭrakūṭa regime during the 7th-8th CE has been found. Recently, an inscription from 1313 CE of the Yādava king Ramachandra Yādava has also been discovered, indicating that Talegaon was an important place during the Yādava period. After demolishing the ‘Sarakār Vāḍā’ in the village, the villagers noticed this inscription. The said inscription is in the form of an ass-curse. The sun-moon is carved on the upper portion and a scene of the union of a donkey and a woman is carved at the bottom. Here is a reading of the inscription:

Swastī śrī śake 1235 pramā

dī saṁvachare stravaṇa sudha

15 bhoume ādyeha śrīmat prou

ḍha pratāpa cakravartī śrī rā

macandra deva rājye vījayō

daī māhāmanḍaleśvara śrī sā

marasa dudhavaḍī desa paranera

saṁbandhatale goudāī nāyaka vyāpare

brāhmṇāsī uḍeācā karū sāṁ

ḍicā hā dharmu pratipālī teāsi

praleṅ hoūna mani dharī teā

cīē māē gāḍhō maṅgala maheśrī

Rough Translation: During śake 1235 (1313 CE), in Pramādī Samvatsara, on śuddha 15, Monday, when prouḍhapratāpa cakravartī Śrī Ramcandra was on the throne; Gaudai Naik, related to māhāmanḍaleśvara Śrī Samarasa Dudhvadi from province Parner, gave a tax exemption on ‘Uḍēyā’ (possibly a water ritual) to the Brahmins. The one who will not follow this religious act (tax evader) will be prey to deluge, and even if someone thinks of doing so, his mother will be assaulted by a donkey.

The village is home to a Jain temple and other significant temples, including Uttareśvara, Gaṇapatī, Siddheśvara, Kāśī Viśveśvara, Śrinātha, Kākaḍeśvara, Mārutī, Mahādeva, Rāmeśvara, and Khanḍobā. The remains of a Yādava temple are also present, and some Jain images bear carved inscriptions that date back around 400 years. Talegaon-Dhamdhere is known as 'Ardha-Kashi' (semi/half-Kashi) and is home to several palaces, bāravas, samādhīs, vīragaḷas, and images of the Marāṭhā period. The village was under the rule of the famous chieftain Dhamdhere during the regime of Shivaji Maharaja, and his dilapidated palace can still be seen in the village. Additionally, it is the birthplace of freedom fighter Vishnu Ganesh Pingale, who formed the 'Gadar Party' with Lala Hardayal and was sentenced to death for the Lahore conspiracy. Today, his memorial monument stands in the village.

Siddheśvar temple

The Siddheśvara Temple (18.668551, 74.152275)

One of the most notable temples in Talegaon is the Siddheśvara Temple. This grand and massive temple is located in the main settlement of the village and is easily accessible. It faces east and is flanked by the Gaṇapatī and Kākaḍeśvara temples to the east, while the Kāśī-Viśveśvara and Śrinātha temples are located at a distance to the north. The Siddheśvara temple is surrounded by a tall and magnificent fencing wall that has two entrances, one from the east and one from the west. The eastern entrance is the main one and is larger. Upon entering, one must climb some steps and will see a distinguishing maṇḍapa, which may have been used as a nandīmaṇḍapa due to its architecture and space for a Nandī in the centre.

The garbhagṛha, where Śiva can be viewed, is also visible from here. Ovarīs, or platformed apartments, are arranged on all sides inside the fencing wall, and there are sub-temples on the southwest and southeast sides. The door on the western side of the wall is unique and provides access to the main temple. On the left side of this entrance are stairs that lead to the rooftop above the Ovarīs.

A ground plan of the Siddheśvara temple.

A tall and magnificent fencing wall.

Ovarīs (platformed apartments) of the temple.

The main structure of the temple: As we enter the temple complex from the east, we are greeted by twoTulasī vriṅdāvanas, each measuring 255 X 255 cm. These vriṅdāvanas are adorned with composite sculptures of elephants, Nandī, and birds. Moving on, we come across the nandīmaṇḍapa which is connected to the mukhamaṇḍapa via steps. The nandīmaṇḍapa, with a length of 228 cm and a width of 934 cm, has a flat roof supported by two unsculptured pillars. The left and right ends of the roof are lined with wooden planks while the middle portion has plain stone slabs. The facade of the nandīmaṇḍapa boasts three arches and two unsculptured pillars.

A Tulasī vriṅdāvana.

Present Nandīmaṇḍapa.

Moving on from the nandīmaṇḍapa, we reach a structure with two stambhas and six ardhastambhas which are 289 cm long and 994 cm wide. The pillars are adorned with various sculptures including Mahiṣāsuramardinī, Viṣṇu, Garuḍa, Hanumān, yogī, śarabha, and more. On the south side of this maṇḍapa, there is a Sanskrit inscription engraved on a stone slab measuring 35 cm high and 65 cm wide. The inscription reveals that this temple was built in śaka 1654 (March 16th, 1732 CE) by Mora Sheti Karanje and his relatives, who were moneylenders of the Peśvās.

Nandīmaṇḍapa, samādhis and a general view of the temple.

A Sanskrit inscription

Reading of the inscription

1. Swastī śrīnrupaśāli

2. vāhana śaka 1654 pari

3. dhāvi saṁvatsara cētra śu

4. dh 1 śrī siddheśālayaṁ ma

5. hada seti suta mora seti

6. karanje va swabandhu apakrutaṁ

Translation: In the 1654th year of śālivahana śaka, on the day (Thursday) of cētra śuddha pratipadā (Guḍhīpāḍavā) of paridhāvī saṁvatsara, Mahada Seti and his son Mora Seti Karanje and their brothers initiated/completed the construction of Siddheśvara temple.

A gūḍhamaṇḍapa of the temple

Next, we enter the gūḍhamaṇḍapa which is massive, measuring 627 cm in length and 620 cm in width. On all four walls of the gūḍhamaṇḍapa, there are arched structures, and the roof is dome-shaped and built of stone. The entrance of the gūḍhamaṇḍapa is carved and has a candraśiḷā in front of it. On the lalāṭapaṭṭa, there is a sculpture of Gaṇeśa, and above it, there is a row of bilvapatras. Inside the gūḍhamaṇḍapa, there are upa-garbhagṛhas on the north-west and south-west. The southwestern garbhagṛha has a Gaṇeśa sculpture on its lalāṭapaṭṭa and a four-handed image of goddess Kālikā inside. A big image of Gaṇeśa is kept outside this upa-garbhagṛha. The upa-garbhagṛha in the northwest is currently locked and has junk objects inside.

A four-handed image of goddess Kālikā in the upa-garbhagṛha

Gaṇeśa

Beyond the gūḍhamaṇḍapa, we come across the antarāḷa of the temple which is 278 cm long and 254 cm wide. There are two devakoṣhṭhas on either side of it, with a beautiful marble image of Viṣṇu-Lakṣmī in the northern devakoṣhṭha. The unique vitāna of antarāḷa is star-shaped. Moving on, we reach the garbhagṛha, which is 337 X 337 cm in size and has a dome-shaped structure made of stone. There are three main śākhās visible at the entrance. They include Ratna, stambha and latāśākhā. The sculptures of dvārapālas, sevakas, and Gaṅgā-Yamunā (probably) are below that. The Gaṇeśa sculpture is on lalāṭapaṭṭa. Kīrtīmukhas and simple engravings are seen on the uduṁbara. The garbhagṛha houses a liṅga of Siddheśvara in the centre and has niches in the wall to keep worship materials.

A beautiful marble image of Viṣṇu-Lakṣmī is in the northern devakoṣhṭha

The temple stands on a raised sub-platform with two small gavākṣa or latticed windows outside the gūḍhamaṇḍapa for lighting. There is a praṇālaka to the north of the garbhagṛha to carry the internal water. The stone carved doors on three sides of the garbhagṛha are a characteristic feature of the Marāṭhā style and have small śikharas on top. The antarāḷa and gūḍhamaṇḍapa also have small śikharas. The onion-shaped portion of āmalaka on the śikhara of antarāḷa is still intact, but the part on the gūḍhamaṇḍapa has been damaged.

The exterior of the temple

The stone-carved door

The onion-shaped portion of āmalaka on the śikhara of antarāḷa.

The śikhara of the temple: The Siddheśvara temple boasts a magnificent śikhara built in the fresco style using bricks and lime. The square-shaped śikhara has three layers of small śikharas and arches on all sides under the āmalaka. Adorned with images of gods, goddesses, yogīs, humans, and various latticed windows, the lowest level has five small śikharas in each direction, with images inside, except for the central part's eastern side. The central part has a small śikhara that is slightly ahead, containing images of Nandī in different directions, except for the east.

The śikhara of Siddheśvara temple

In the second layer, there are five slightly smaller laghu-śikharas, with images in three of them. Four sculptures are also seen near the kalaśas of these laghu-śikharas. The third layer has smaller laghu-śikharas with no images but engravings of different types of latticed windows. Four sculptures can also be seen near their kalaśa area. After this layer, there are eight arches in eight directions, with images inside. The grīvā, āmalaka, and kalaśa parts of the śikhara come next, with the main kalaśa made of metal, and the rest made of wood. Iron rods have been added to the sculptures to strengthen them, and they were decorated with different colours.

The Marāṭhā painting

The eastern part of the śikhara: The eastern part of the śikhara features a sculpture of Viṣṇu in the first niche, with his mukuṭa and chakra visible. The niche next to it depicts a combat between two warriors, one with a sword, and the other with a paraśu. There is an entrance ahead, small enough for a person to penetrate the inner cavity of the śikhara. Probably an ascetic should be sitting there in samādhī. The next niche shows a picture of a yogī turning to his right, sitting in padmāsana and dhyānamudrā, with his eyes open, wearing a turban-like cap and large kuṇḍalas in his ears, likely a Nātha-Yogī.

The next laghu-śikhara depicts a mahout sitting on an elephant with a goad, and a beautiful headgear on the elephant's head, probably of God Indra. The first among the small laghu-śikharas of the second layer shows an image of a woman seated in padmāsana wearing a sari and big ear ornaments. The next laghu-śikhara should have a colourful picture, but it has been eroded by sun, wind, and rain. Next is a beautiful replica of gavākṣa. After that, a person wearing a kurta of yellow and red lines with a unique cap on his head is seated with a leaning posture on his right, resembling an Englishman from his attire.

The second and third layers have replicas of five variably carved latticed windows and four human figures' sculptures. The second and third persons are standing with folded hands, and one of them is an image of Hanumāna. Between the second and third layers, four seated human figures can be seen, including a woman with her baby in the second layer.

Images in the small laghu-śikharas of the first and second layers of the temple.

A person is seated with a leaning posture

Sculptures of four human figures: Hanumāna, Garuḍa etc.

Below the āmalaka in the east, there is an image of Gaṇeśa with Riddhī-Siddhī. He is holding a goad and axe in his upper two hands. Yogīs are situated in the southeast and north-east directions.

Gaṇeśa with Riddhī-Siddhī

The southern part of the śikhara: In the first laghu-śikhara of the first layer, a horseman stands holding the reins of a horse. A sculpture of a four-handed goddess follows, then a four-handed deity holding a person's śikha with one hand. After that, there is a fragmentary sculpture of Garuḍa in a standing position, followed by a well-preserved sculpture of Hanumāna holding a mace in his right hand while his left-hand rests on his waist. A vīṇādhārī woman with an animal is seen in the second layer, as well as a latticed window, a seated human figure, and probably a sculpture of Śrī Kriṣṇa holding a nāga with his lower two hands. A person is seated with a child or a woman on his lap between the second and third layers, with a couple standing next to them. In the third layer, there are replicas of five latticed windows, and below that, there are images of four seated figures.

The first layer of the southern part of the śikhara

The first layer of the southern part of the śikhara

The second layer of the southern part of the śikhara

The second layer of the southern part of the śikhara

Sculptures on the śikharas of the second layer, and a general view of the third layer.

Sculptures on the śikharas of the second layer, and a general view of the third layer.

The southern top portion of the śikhara.

The western part of the śikhara: In the first layer, images of Rāma, Sītā, and Lakṣmaṇa are depicted with a chakra on their head. A person holding the śikhā of another person may be a duel between Śrī Kriṣṇa and Kaṁsa. There is also a person sitting and another person standing in front of him offering water to the seated individual from his kamaṇḍalu. The second layer contains a sculpture of a goddess with a sword in her hand, a lying demon, a person blowing a conch, and carvings of latticed windows. Sculptures of a woman with a baby, Śiva, a person with a triśula, and a man with a mace are depicted between the second and third layers. At the very top, under the āmalaka, there is a large coiled serpent with an expanded hood, and probably Kriṣṇa is depicted at the centre of this serpent.

Sculptures in the first layer of the western part of the śikhara.

The northern part of the śikhara: In the first layer, there are sculptures of Kurmāvatāra, Matsyāvatāra, Gaṇeśa, Kārtikeya mounted on a peacock, and Viṣṇu. The second layer contains sculptures of Rāvaṇa, the design of gavākṣa, four-handed deities, and seated deities. There are four human figures in between the second and third layers, with the third layer containing replicas of latticed windows. In the centre of the top layer, there is a big image of Mahiṣāsuramardinī above all.

The first layer is the northern part of the śikhara.

The second and third layers of the northern part of the śikhara.

The top-most portion of the northern part of the śikhara

Conclusion: The Siddheśvara temple is a prime example of Marāṭhā period temple architecture. With a total of five shrines in its complex, it is believed to be a pañcāyatana type temple, featuring sub-temples of Viṣṇu, Devī, Gaṇeśa, and Sūrya, aside from Śiva. The dated inscription on the temple provides insight into architectural developments during that period and its original structure is significant from an archaeological perspective. Unfortunately, the temple's current state is not in good condition. Due to neglect, the temple area, śikharas, and rampart are covered in layers of grass and soil, with trees and bushes growing in some places.

Thankfully, in January, the Tattva Heritage Foundation provided financial support and special attention to accomplish tasks such as temple cleaning, mowing grass, and beautifying the premises. During this work, it was discovered that soil layers had accumulated on the temple's roof, indicating that they had not been removed in at least 15-20 years. Some walls have subsided, and water seeps into the temple during monsoon season, posing a significant threat to its future.

Additionally, walls have cracked due to the penetrated roots of trees and bushes. Therefore, it is crucial for the government and villagers to pay attention to this temple's preservation as it is a rich heritage. Presently, the temple is owned by Mrs Fadanavis, an old Brahmin lady who is the last descendant of the temple property, and the priest of the temple is Girish Pratap Gade (Gurav). Unfortunately, the temple is abandoned, and no one is taking care of it properly. Although the priest conducts regular pujas and diyā-batti, villagers do not come for daily pujas, and the temple is at risk of being ruined. However, some villagers occasionally visit the temple, such as the ladies of the village who gather on the occasion of Makara Sankrāntī to share their pieces of seeds and crops, and some followers visit on the occasion of Mahāśivarātri.