Photo by: Atharva Shivankar

Temples in Nagpur have a characteristic feature of Dashavatar ? 10 manifestations of Vishnu. Dashavatar seems to be one of the favourites of initially Shaivate Nagpurkar Bhosales being inclined towards Vaishnavism after first Raghuji Senasahebsubha. Temples here are known for their wall carvings with a striking Rajasthani influence. Carved here are Narsimha, Vamana and Parshuram; 4-5-6th incarnations and carvings on the lower part however show scenes from daily life of a king and the kingdom.

Photo by: Atharva Shivankar

Maratha Pagdi and the headgear of Marathas is something not well researched; every Sardar had their own style second to none. This uniqueness has lent to a diverse headgear culture in Maharashtra and other parts once under Maratha Sovereignty. In this picture one can see a Typical ‘Maratha Nagpurkar Bhonsale Pagdi.’ Round like a disc with a hemispherical top. The shape much resembles that of an UFO. Pankha; A Fan like Projection can be seen in some of the paintings of the Nagpurkar Bhosales and some carvings too, but the current pagdi seems to have lost the pankha.

Photo by: Atharva Shivankar

Shiva Parvati. A very interesting sculpture at Jaagnath Budhwari, this one is a beautiful image of Shiva in a delicate embrace with Parvati. The most fascinating thing here is, the second figure, made in black stone with intricate details, one wonders what this is doing in the city of Nagpur having major of its development in 18-19th century. It is quite possible that this black image would have been a part of some earlier temple in this same precinct and these artists took the liberty to replicate the same on a wall from a very later era. Notice the detailing, the jewellery, hairstyle, Shiva’s hand sensually cupping her breast. Though one sees a clear similarity in these, artists from a later period seem to have misplaced (or rightly placed) the hand just holding the feminine beauty along with the addition of clothes prevalent in those times.

Jagruteshwar Temple Nagpur (Atharva Shivankar)

Jagruteshwar Temple Nagpur (Atharva Shivankar)

Vidarbha has always been at variance from generic Marathi traditions and yet connected to the culture in mainland Maharashtra. Khandoba is one such example, though most of the people have idea about this Deity, little is known about Malhari traditions. Introduction to this God and the rich and diverse traditions associated with it is credited to the Maratha rulers of Berar and Central India. The people in Central India don’t seem to have truly accepted this God even after centuries of acquaintance. Alive and bustling Malhar temples are not a sight here, not at least in Nagpur. A picture of Khandoba riding a horse with his wife Mhalsa accompanied by two attendants carrying a Chatra and the Bhagwa dressed in Maratha attire prevalent in Central India.

Jagruteshwar Temple Nagpur (Atharva Shivankar)

Photo by: Atharva Shivankar

The most iconic mural in the city of Nagpur lies right here at Jagoba temple covering the entire wall of Vitthal Mandir’s mandapa lined by niches with smaller images of yogis, musicians and other beings. Riding the two chariots in extreme corners are Dashanan and Raghav or Ram and Ravan as we know them with Krishna lifting the mighty Govardhan Mountain. As DG Landge points out, Lord Rama and its connection to Nagpur can be somewhat compared to Ganpati in Pune. These two cities competed with each other in every aspect be it cultural, religious or architectural. Tulsibaug, Belbaag, Moti Bagh etc., are seen in both the cities. Thus it can be well said that Nagpur was developed in 18th century on the lines of Pune. However, the Brahmin Peshwas and the Maratha Bhosales residing in Pune and Nagpur as we know were not much or friends.