Akurdi is a vibrant region located approximately 20 km from Pune City, now falling under the jurisdiction of the Pimpri-Chinchwad Municipal Corporation. Historically a village, Akurdi's proximity to the Pavana River has perhaps contributed to its cultural richness. Over the last few decades, Akurdi has witnessed rapid industrialization, with the establishment of numerous factories and industries propelling population growth. While modern development takes the forefront and dwarfs the old heritage of the village, whatever little remains is a testament to Akurdi’s spiritual landscape deeply rooted in Maratha history. The town boasts several temples, with the Viṭṭhala and Mahādev temples being particularly noteworthy for their ties to the Late Maratha period. In contrast, the Bhairavanāth and Khaṇḍobā temples are newer additions. Well-connected to Pune via railways and buses, Akurdi presents a unique juxtaposition of historical reverence amidst modern progress.

The Viṭṭhal Rakhumāī temple: The Viṭṭhal Rakhumāī temple is closely associated with the Kute (Marāṭhā) community and remains under the stewardship of the same family. Situated to the north of the village, the temple is perched on elevated ground, with its entrance facing east. According to local tradition, the revered Saint Tukārām Mahārāja has a direct connection to this temple. Festivals honoring Viṭṭhal and other esteemed Varkari saints are celebrated here with great enthusiasm.

The initial part of Saint Tukārām's yearly pilgrimage procession commences at this temple. It's said that Saint Tukārām Mahārāja often sang bhajans at the temple's vicinity. A popular tale recounts a time when Saint Tukārām was en route to a pilgrimage and stopped at this site. He fell ill, deeply worrying his followers. At this critical moment, Lord Pāṇḍuraṅga provided them with a darśan. Following this, Saint Tukārām Mahārāja recovered and resumed his journey, and the pilgrimage proceeded. This narrative is well-known among those who frequent the temple.

Every day, the temple witnesses the Kākaḍa Āratī (morning worship). Furthermore, special programs featuring bhajans or kīrtans (devotional songs) are organized here to commemorate the anniversaries of various saints.

The Vitthala Rakhumāī temple enterance.

The śikhara of the Vitthala Rukhumāī temple.

Architecture: The Viṭṭhal Rakhumāī temple consists of garbhagṛha and sabhāmaṇḍapa. The sabhā maṇḍapa was added or constructed recently to the old structure. The temple features an old Prākāra wall and an archetypal entrance gate. The garbhagṛha of the temple is simple, with the udumbara portion featuring a kīrtimukha and the lintel adorned with a depiction of Gaṇeśa. The upper section (uttarāṅga) is decorated with intricate flower designs, and two niches are on either side of the doorway. On the pedestal at the back of the garbhagṛha, one can find icons of Viṭṭhal and Rakhumāī. The śikhara belongs to the Marāṭhā period but has undergone renovation. The corners are adorned with superstructures resembling minarets, and the Prākāra wall surrounds the temple. The main archetypal gateway is eastward, with depictions of the elephant, eight flower motifs, and two niches on the door. 

The sabhā maṇḍapa.

Viṭṭhal and Rakhumāī.

An old image of the temple.

The Mahādev Temple: The Mahādev Temple (18°39'1.13"N, 73°46'42.62"E) is situated in the Akurdi village and is a testament to the Late Marāṭhā era's devotion to Lord Śiva. The temple is accompanied by another temple of Mārutī, located nearby. Both temples exhibit the architecture of the Late Marāṭhā period, with a Garbhagṛha, Maṇḍapa, and Nandīmaṇḍapa forming the layout of the Mahādev Temple. Recent renovations are evident in the Nandīmaṇḍapa, while the temple showcases the influence of Marāṭhā-era art and architecture through its sculptures of simple serpents, floral motifs, intricate carvings, and ornamental designs. Although the temple's śikhara has undergone restoration, glimpses of its original construction are still visible.

Architecture: The Garbhagṛha features a simple design with a floral motif adorning the lintel part of the doorjamb. A Śivaliṅga occupies the centre of the Garbhagṛha, while a new image of a goddess can be seen on the back wall. The Varaṇḍikā section of the Garbhagṛha is decorated with intricately carved Toran patterns, featuring depictions of serpents, flowers, and possibly a lizard and tortoise. The udumbara section of the sabhā maṇḍapa contains a kīrtimukha, while a Ganesha figure is positioned on the lintel. The maṇḍapa stands without pillars and is equipped with two niches. The roof of the maṇḍapa follows an apsidal plan. In front of the temple, a short distance away, stands the Nandīmaṇḍapa. The structure has a distinct architectural style, with its roof supported by four square pillars rather than arched ones. A Nandī sculpture is positioned at the centre of the structure, with each corner adorned with a minaret-like śikhara, totalling four.

Although such temples follow a simplistic design and bad renovation work, these temples hold significant importance within the pilgrimage procession.