Pavitra Dasaratheshwar Mahadev Temple Barvagalli, Mukhed, Mukhed, Nanded

The origins of Indian sculpture are believed to date back to the Harappa-Mohenjo-daro era. Later, from the pre-Christian Maurya period onwards, sculptures began to adorn Buddhist stupas, as well as Hindu and Jain temples. Subsequently, during the Chalukya and Yadava periods, this art form developed further and reached its zenith. That is why exquisite sculptures are seen on temples from the Chalukya, Shilahara, and Yadava eras. Many of these temples still stand at various places today. One such temple is the Dashratheshwar Mahadev Temple located at Mukhed in Nanded district. The sculptures on this ancient temple continue to fascinate scholars even today.

This temple is said to belong to the Chalukya era, dating back to around the eleventh century. Looking at the sculptures on the Mandovara (outer walls) of the temple, scholars estimate that it might belong to an even more ancient period. According to local legend, during the Ramayana era, King Dasharatha accidentally killed Shravan Bala at this location. Devastated by this tragic event, Shravan Bala’s parents cursed King Dasharatha. To seek redemption from this curse and cleanse himself of the sin of the killing, King Dasharatha consecrated a Shivling at this sacred spot and devoutly worshipped Lord Mahadev. Thus, the temple came to be known as Dashratheshwar Mahadev. It is said that the temple underwent restoration during various subsequent royal regimes.

The architectural plan of the temple comprises an Ardhamandapa (entrance porch), Sabhamandapa (assembly hall), Antarala (vestibule), and Garbhagriha (sanctum sanctorum). The temple stands on a raised Adhisthana (plinth). In the Ardhamandapa, there are four carved pillars. The bases of the pillars are square, while the shafts feature various geometric forms such as square, hexagonal, octagonal, and circular. Motifs such as Kumbha (pot), flowers, and leaves are intricately carved on the shafts. At the top of the pillars are square capital bands surmounted by brackets. The brackets of the front two pillars feature four-armed Yaksha sculptures, which appear to support the beams resting on them with both upper hands. The ceiling features circular designs and a carved stone chandelier.

Further ahead, the entrance to the Sabhamandapa is raised by a few inches. The doorway consists of five door-frames (dwarashakhas). At the bottom of the door-frames are sculptures of Goddesses Ganga-Yamuna, along with male and female door guardians (Dwarpals and Dwarpalikas). The door-frames are carved with floral and vine patterns, while the pillar frames display geometric motifs. The lalata-bimba (central lintel motif) features an image of Lord Ganesha, and the lintel band displays floral carvings. On the torana (lintel overhang), a sculpture of Gajalakshmi adorns the center, flanked by figures of various deities on both sides.

Inside the Sabhamandapa, there are four rows of four carved pillars each. The outer pillars are embedded into the walls. The pillar bases are square, and the shafts display various geometric shapes including square, hexagonal, octagonal, and circular. On the square panels of the pillar shafts, intricate carvings depicting scenes from holy epics like the Ramayana and Mahabharata are sculpted on all four sides. At the top of the pillars are square capital bands and brackets. Four-armed Yaksha sculptures are carved on the brackets, supporting the beams above with their upper hands. The roof rests on these beams. The octagonal ceiling features various designs, with a circular pattern and a stone chandelier at its center. The Sabhamandapa is of an enclosed structure. At the center of the Sabhamandapa, a black stone idol of Nandi rests on a Vajrapeetha (pedestal). To the left of the Antarala in the hall, black stone sculptures of Nagadeva (serpent deity), Lord Ganesha, and Lord Dattatreya are enthroned on a Vajrapeetha.

In the Antarala, on the carved pillars on both sides, sculptures of Dwarpals are seen at the bottom, with Mangal Kalash (auspicious pots) and other ornate motifs above. In the center of the Antarala, stainless steel railings have been installed to create separate queue lanes for entry into and exit from the Garbhagriha. The ceiling of the Antarala features circular designs. Ahead lies the entrance to the Garbhagriha. The carved door-frames, lalata-bimba, and lintel band of this entrance are clad in metal sheets. At the center of the Garbhagriha rests the sacred Shivling (Shivpindi). The enclosed Garbhagriha has an octagonal ceiling with circular motifs. As all structural elements of the temple—pillars, capital bands, brackets, beams, and ceilings—are intricately carved, the temple radiates an extraordinary artistic brilliance.

On the outer walls of this *Ekajangha* style temple, there are sculptures of Nritya Ganesha (dancing Ganesha), Gauri-Hara, Ardhanarishvara, Lord Vishnu, Goddess Lakshmi, Saptamatrikas, Gajalakshmi, Surasundaris, and other celestial figures. A protective railing runs along the perimeter of the temple roof, which appears to be of recent construction. Above the Garbhagriha rises a step-pyramidal Shikhara (tower). The Shikhara is crowned with a Kalash and a sacred flag. At a short distance in front of the temple lies an ancient stepwell (barav). Built of carved stone, this tank-like well features artfully arranged steps leading down. Platforms are constructed along the walls of the rectangular stepwell, providing facilities for ritual bathing and daily prayers (Snana-Sandhya).

Mahashivratri is the main annual festival celebrated at the temple with immense enthusiasm and devotion. On this occasion, thousands of devotees arrive to seek the Lord’s divine darshan and fulfill their vows. During the annual festival, sacred rituals like Laghurudra, along with Bhajans, Kirtans, spiritual discourses (Pravachan), and Mahaprasad are organized. On this auspicious day, the deity’s Palkhi (palanquin) is taken in procession around the village (Grampradakshina). Shops selling various items are set up during this time, transforming the complex into a vibrant festive market. The temple witnesses a large gathering of devotees during the holy month of Shravan, on Mondays, as well as on Full Moon (Pornima) and New Moon (Amavasya) days.

Sacred History & Spiritual Significance

This sacred temple stands as a testament to deep spiritual devotion, ancient architectural grandeur, and rich local cultural traditions.

Temple Sanctum & Architecture

The sanctum sanctorum houses the divine idol consecrated according to ancient Vedic traditions, surrounded by serene courtyards and traditional temple architecture.

Sacred Darshan Gallery