2014 UNESCO Asia-Pacific Awards for Cultural Heritage Conservation

PROJECT DESCRIPTION

Shri Sakhargad Niwasini Devi Temple Complex, Kinhai village, Koregaon Taluka, Satara District, Maharashtra, India

Pacific Awards for Cultural Heritage Conservation

PROJECT DESCRIPTION | Cultural Heritage Conservation

Niwasini Devi Temple Complex, Kinhai village, Koregaon Taluka, Satara

District, Maharashtra, India -415021

With the support of

Pacific Awards for Cultural Heritage Conservation

| Cultural Heritage Conservation

Niwasini Devi Temple Complex, Kinhai village, Koregaon Taluka, Satara

ith the support of

A: Project summary

Background of the project:

Village Deities and pilgrimage places in the countryside are steadily gaining importance and attention because of the prosperity that has come to these places all across Maharashtra. The Yamai or Sakhargad Niwasini is one such temple complex in the north-central part of Satara District that is relatively unknown outside the district. Besides being full of surprises in terms of fine craftsmanship, unique and popular folk art, graceful fusion of Yadava Period and Bahamani styles of architecture, it boasts of continuous veneration (and hence continuity of a socio-economic order over at least three centuries if not more). The Kinhai Village displays a surprisingly accomplished level of craftsmanship in the brick, stone, clay tile and wood buildings as also the wadas (traditional houses) and temples as examples of local architecture. The temple complex, with its different structures and unique, extensive fortifications, was built in 1745 A.D., and is the family deity of the ‘Kinhaikar Kulkarnis’, descendants of the Pant Pratinidhi (representatives) of the Aundh princely state under the Maratha Chhatrapatis. Today, the extensive, beautiful complex attracts a number of worshippers, from residents in the surrounding areas, to family descendants settled abroad. However the temple complex was in urgent need of structural consolidation and internal repairs and refurbishment, to counter the corrosive effects of weather, usage, general deterioration over time and insensitive additions and alterations. Of particular importance is the awareness, preparedness and commitment shown by the Kinhaikar Kulkarni Family towards the conservation and improvement of the heritage represented by all the above. The positive signals given by the other guardians of the place towards the ideas presented were indeed welcoming. The former Princely State of Aundh and their patronage of the arts are legendary. It was interesting to see how these traditions were nurtured and found their flowering in the twenty first century. Conservation project’s goals and objectives:

The conservation of the Sakhargad Niwasini Temple Complex has been taken up as part of the efforts to preserve its extensive historic and religious associations with the people of the region, along with its presence as an architectural landmark, showcasing an effective amalgamation of the different prevalent architectural styles, craftsmanship skills and material heritage of the time. The present conservation measures, directed and financed by the Kulkarni family, were carried out in consultation with the different stakeholders, and addressed immediate issues of structural, spatial and material consolidation and renovation, making the complex visitor – friendly, enhancing its architectural beauty and re – establishing its historic place and religious associations. Several agencies have worked under the joint supervision of the above mentioned stakeholders to ensure minimal changes in the place to preserve its authenticity and delay the processes of deterioration. Key conservation interventions: The Temple complex was divided into the following sub-divisions for the restoration work:

• SHIKHAR: The temple complex is located on top of a hill and is subjected to strong winds and lashing rains, resulting in the weathering of original paint (269 years old) along with the wearing off of almost all of the 144 iconographic images, floral bands and cornices; corrosion of all pinnacles and its supporting fixtures of the spire. After removal of cracked and weathered parts (about 20%) the older fabric was consolidated in similar material (1:3 lime sand mortar using hydraulic lime as in the traditional manner). The external finish of the lime stucco had integral pigments with only finer details (eyes, fabric designs etc) painted over, which were restored in its original format. In few instances, original finishes with patterns and motifs were retained and consolidated.

• INNER SANCTUM AND ASSEMBLY PAVILION: Sensitive partial replacement work was required for the Gabhara (Inner Sanctum) and the Sabha Mandapa (Assembly Pavilion). The oil paint used over the original stonework and woodwork was removed carefully without damaging the surfaces. Many structural defects like leakage, cracking in the stonework and wood work were observed after removal of paint and were rectified with minimal intervention.

• ROOF WORK: Weatherproofing and water-proofing of the roof was to be rectified by removing layers of cement based waterproofing and replacing it with lime based methods. In the case of tiled roofs a layer of aluminum sheets was introduced to ensure no damage by the occasional rains that crept through the gaps in the clay tiles.

• MAIN ENTRANCE GATEWAY: An old, massive, heavy and intricately carved wooden door gave a grand entry to this fortified complex. This was insensitively painted blue, which was carefully removed and had some serious damages due to weathering which were partly replaced. The arched ceiling of the gateway had a hand painted mural which had discoloured over time and was not disturbed.

• NORTH GATEWAY, FORTWALL AND BASTIONS: Extreme weathering, vegetation growth and vandalism had resulted in damage to the masonry of the fort-wall but due to lack of funding, only necessary and urgent measures were taken.

• RESTROOM: Structural defects like heavy leakage and cracks were observed in the Rest-room, which were rectified using stainless steel stitching. Lime based waterproofing was carried out at the roof after removal of vegetation and weak layers of lime stucco finish.

• DEEPMAAL: Deepmaal, the light tower, is a unique feature evident in the architecture of western India. Generally, only one Deepmaal is seen in each Temple Complex, but four, one of which is enormous (13 m high) and intricately detailed is present in the Kinhai Complex. Due to lack of maintenance; vegetation growth, and damaged stone work was seen. The challenge was posed due to the sheer height of each light tower as well as the stonework as stones were differently carved in shape and size for each course. Plastic repairs to some brackets and dismantling, removal of deeply seated roots and reassembly was the sequence used to repair the more severely damage Deepmaals.

Time frame The project took about four and a half years to reach its completion stage. The project begun in February 2009 where a master-plan for the project was made and procedure for obtaining permissions from the Trust and Chief Trustee,

Gayatridevi Pantapratinidhi had begun, promising the Trust about the genuineness of the project. This procedure concluded in September 2009, after which contractors for the project were to be hired. After a long period of two and a half years, the contractors for the project were finalized in 2012, and the work for conservation of Kinhai temple began, which eventually concluded in August 2013 after which the final billing process took a period of five months due to the high expenses during the course of the project. Project size and cost The Kinhai complex covers about 1500 sq. m. ground area and the conservation for the same required about 99490 US$. Originally the project was accounted for Rs. Ten Million of which only work of Rs. 6 Million is done while remaining work worth Rs. 4 Million remains. Involvement of key stakeholders and partners The stakeholders for this proposal include the Temple Trust, the people of Kinhai and the many worshippers who stream up the hill to offer their prayers. The project was a public project (in a premises owned by the Sakhargadniwasini Trust of Kinhai under the Charity Commissioner, Govt. of Maharashtra) funded privately by the Kulkarni family, descendants of the original builders of the heritage precinct (Satish Vasudev Kulkarni, Mrinalini (Uma) Suhas Samant, Shrirang Vasudev Kulkarni and Mukund Vasudev Kulkarni) duly assisted by the local community represented by the Bhosale Family of Kinhai. The Priest and occupant of the temple being Dr Kailas Ayachit and his family whose seven generations are in the service of the deity. Conservation architects Kiran Kalamdani and Anjali Kalamdani (Partners) assisted by Sonal Chitnis Karanjikar, Shomit Sarkar, Sneha Tamhane Bendre and Priyanka Gunjikar from ‘Kimaya’. Conservation contractors Savani Constructions Pvt Ltd.

B: Description of the cultural heritage property

Historical background of the property

The temple was built in 1745 A.D. The regional folklore says ‘Together with Santaji and Dhanaji Ghorpade, the Ramchandra Pant and Shankarji brothers prevented the downfall of the Marathas in 1691. Around this time the founder of the Pratinidhi family, Parshuram Trimbak first shot into limelight. Madhavrao & Parshuram were two brothers who were Kulkarnis of Kinhai village.’ Parshuram Pant received his training from Ramchandra Amatya. He was decorated by honourable titles like ‘Subhalashkar’ and ‘Samsherjang’ for his exploits at war, and subsequently ‘Pratinidhi’,‘Pradhan’, ‘Amatya’. Chatrapati Rajaram conferred the rights of Pratinidhi on him in 1691. He won the Panhala Fort back after a sustained effort for 2years in 1692. In the dispute between Shahu and Tarabai, Parshurampant was Tarabai’s General. In 1707 Shahu defeated him and held him as prisoner. Knowing his capabilities Shahu conferred the title of Amatya on him in 1709 and briefly the title of the Peshwa in 1710. Legend has it that Aundh had a dense forest in which there lived a demon called Aundhasur. He was slain by Yamai Devi, thus giving the temple its current name. It is a big temple enclosure of Yamai on a hillock in Aundh. This Yamai goddess is the family deity of Trimbak Pant and his descendents - the Kulkarnis of Kinhai village. As the myth goes, ‘After worshipping the Goddess for 12 years, Trimbak Pant was granted a boon. The goddess agreed to reside in his family shrine on one condition that, while traveling back to village he will not turn back to check whether she is following him. Along the journey Trimbak Pant was tempted to look back. Annoyed by his breach of promise, the goddess disappeared. A repentant Trimbak Pant returned to Aundh and pleaded forbearance. The goddess once again took pity on him and asked him to look for a place where he could see a cow giving milk to a stone. It is this stone half buried in the ground that is now seen as the central focus of the worship in the sanctum of the temple. He found this stone on this hillock-Sakhargad which was then consecrated as Sakhargad Niwasini alias sister of Yamai of Aundh.’ Since then the Temple Goddess, Yamai Devi, is continuously worshipped for the last 300 years by the Kinhaikar Kulkarnis and village folk of Kinhai. No material evidence of this mythological connection in form of inscriptions, manuscripts or paintings is found in the temple complex. It is a part of local folklore and is relived by the villagers during the festivals and rituals associated to the temple. Property’s cultural significance

OVERALL SIGNIFICANCE: Many such temples are present in Satara and Karad which are an amalgam of the older Yadava Period and the succeeding Bahamani style of architecture. The Kinhai temple is a part of such series of temples and is an old temple Complex venerated, appreciated and worshipped since a number of centuries by descendants with Yamai Devi as their family deity, tourist activities and the locals. It is the sister-temple complex of the main Temple located in Aundh. LOCAL SIGNIFICANCE: A renowned deity for the local region and its surrounding areas, Yamai Devi is considered to be the patron-Goddess of Kinhai-Koregaon region. GLOBAL SIGNIFICANCE: A family deity to a large sect, devotees living in other regions of India as well as abroad have maintained a close relation with the region and its deity. The entire family comes together to worship the Goddess in such a remote village like Kinhai. The temple is also one of the few examples of a fortified temple complex which is relatively unknown yet intricately detailed in a unique style. The craftsmanship skills shown by the local artisans of those times are unique and must be highly appreciated. Use of Property The 269 year old Temple Complex has retained the dignity of its Goddess. Earlier being unknown for its beauty, recently the attention to this temple complex has amplified over time due to the urbanization of the nearby areas resulting in the complex being inappropriately used. Thus, the annual festivals celebrated in the Temple Complex are highly celebrated at a large scale inviting people from long distances to visit their powerful Yamai Devi.

Heritage Protection Status There is no known heritage protection status of the property but an effort has been made to devise one as a part of the conservation project.

C: Description of the condition of the cultural heritage property before conservation

Cutural Heritage of the Property before conservation Structural factors: Uneven weathering of stone was seen in the overall complex along with structural deterioration. A number of cracks were observed in the walls along with water seepage problems in many others. Environmental factors: The tough geographic location and the climate of the region were responsible for the wethered look of the temple. The high wind pressure on the hill top eroded many statues and intricately detailed work of the temple over time. The heavy rains along with the harsh winds caused subsequent fading of the paints. Biological factors: Biological growth in the form of deep-rooted weeds was observed in the cracks and crevices formed over time along the walls of the complex. Social factors: A number of social factors were involved to bring the temple to its present state. There is no proper security to the Temple Complex, making its maintenance increasingly difficult. Vandalism was observed extensively along the fortress walls of the temple. The large families visiting the temple misused the temple complex leaving behind wrappers of the eatables brought along. Management and institutional factors: The temple being unknown to many beyond the Satara district, was visited mainly by the locals and devotees of the Goddess. Thus, there weren’t many tourism activities to appreciate the unique architecture of the temple. This secluded Temple present in a remote area on the hill top was difficult to maintain due to its geographic location. Economic factors: The Shri Sakhargad Niwasini Devi Devasthan Trust is a non-profit organisation which is dependent on the donations and charity offered by the devotees of Yamai Devi. The day-to-day activities and annual festivals are carried out in the Temple Complex on the basis on this money.

D: Detailed description of the conservation work

Conservation philosophy and guidelines The project executed was mainly beneficial to the local community; hence local guidelines were adopted in the conservation works. ‘Use of local material and traditional technology’ was one of the main guidelines used in the project. Materials used for the project were brought from areas in the vicinity (100 to 300 kms radius) or from where the original materials were earlier taken thus ensuring the quality of the materials used for the project. The temple is clearly built in different stages thus inheriting the architectural styles of each period in which it was built. The Gabhara (Inner Sanctum) was built in the Yadava style with monolithic stone work, the Shikhar was built in the Early Maratha style and the Mandapa (Assembly Pavilion) in the Late Peshwa style. As seen in the plastering of the Shikhar, the pigment used (Haldi-kumkum/ Red-Yellow Ochre combination) formed an integral part of the lime plastering. A similar technology was adopted in the painting works for the temple, conserving the traditional skills and knowledge systems. In many cases, minimal intervention was done like the original materials/surfaces were retained depending on its quality, reducing constrain on the resources. The nature and degree of intervention for repairing, restoring, rebuilding, for reuse or introducing new use, was determined on the basis of its contribution to the continuity of cultural practices, including traditional building skills and knowledge, and the extent to which the changes envisaged meeting the needs of the community, thus ensuring minimal loss of fabric. The location of the temple on the mountainous landscape and the architectural style of the intricately decorated Shikhar clearly dominate the visual identity of the fortified complex. The conservation works was done keeping retaining this visual identity of the Temple Complex. All the interventions made to the Complex were done keeping in mind that such interventions could be easily reversed and modified as per requirements in the future. Conservation methodology STEPS OF WORK:

• Identification of defects in the structure and a detailed documentation of the present scenario of the building

along with understanding the history of the region and the original look of the temple.

• A detailed site report documenting the areas to be restored and other such work to be done.

• Estimation of restoration word to be done.

• Identification of agencies for completing work

• Phase wise completion of work

• Recording and re-estimation as required during progress of work

• Preparation of Completion Report and Maintenance Manual

DIVISION OF RESTORATION WORK: The restoration work was conducted area wise and funding wise and the phases for restoration was decided on these bases. Priority was given to most visibly damaged areas and areas that required specialized expertise. Phase 1 included the following:

• Repairs to Main Temple Building

• Repairs to South West Gateway

• Repairs to DeepMaal

• Fort Wall and Bastions

• Rest Room (Built-up area 92.48 Sqm)

• Old Fallen Nagarkhana near Parking

• Overall Complex

The other phases included flooring works, masonry consolidation and upgradation of the services like lighting, pipes and provisions for security and statutory signage. Toilets were added near the fort-wall for the visitors coming to the Temple Complex. The underground Nagarkhana would be converted as a resting space for the visitors of the temple coming from faraway places. An Interpretation Centre for the lesser known facts about the temples like decoding of its inscriptions, the myth related to it, its history would be designed in the Rest-room. A detailed documentation of the conservation works showcasing the temple before and after it was restored was also to be made for the visitors of the Interpretation Centre. Compliance of the work with existing legislation/regulations The Temple Complex is not a listed heritage structure; hence it was not bound to any heritage regulations. As conservation architects, certain conservation charters were followed during the course of restoration of the Temple complex, listed as follows;

• Use of local materials and traditional technology

• Conserving of traditional skills and knowledge systems

• Minimal interventions

• Minimal loss of fabric

• Retaining the visual identity

• Reversible interventions

E: Explanation of how the project meets the criteria for the Awards

Understanding the Place

The articulation of the heritage property’s values in order to convey the spirit of place through the conservation work

In the local religion, the Goddess Yamai Devi being at the apex of the hierarchy order, the best location, materials and craftsmanship was used for building the Temple Complex which is evident in its architecture. The temple Complex displays the day-to-day life of a local person residing in the nearby village. The flora and fauna seen in the surroundings are carved on the Deepmaals (Light Towers). The guardians and common man is carved on the Shikhar. The mythology is depicted through various carvings and inscriptions made on the walls of the fortified complex. Understanding that these formed the cultural essence of Kinhai, the conservations works proceeded to get them back into focus. The disfigured statues were restored after surveying similar temples in the nearby villages and using calendar images. Suggestions from frequent visitors helped identify the original form of the moulds. Conservation of the sacred trees within the complex like the Mango tree, Prajakta tree which is used as offerings to the Goddess were retained and in the next phase, seating for the visitors are to be made around the trees.

Each element of the temple complex has a pre-defined use. Hence minimum intervention was required. Smaller

additions like seating and toilet facilities, levelling of the paving contributed to the enhancement of the spirit of the place and making it visitor-friendly.

The authentic elements and aspects that define the character of the heritage property and how they were dealt with in the conservation process The temple built in the 18

th century, is the family deity of the Kinhaikar Kulkarni family, the Pant Pratinidhis

(representatives) of the princely state of Aundh during the Maratha regime. The architecture of the temple justifies the position of the Pant Pratinidhis under the Maratha Chhatrapatis. Best material and labour in terms of craftsmanship was obtained, increasing its heritage value. Intricate detailing was observed in the smallest areas including the floral bands, statues and idols of the Shikhar, the deepmaal etc. Over the years, due to lack of appropriate maintenance, the glory of the temple was lost. This posed a challenge on the architect to regain the lost glory of the temple as well as bring an equivalent experience to its visitors. Extensive research helped in obtaining information about the original state of the temple complex. On carefully removing the newly added oil paint on the idols of the Shikhar, the original paint used on the temple was obtained. Also, on consultation with a material conservationist, information about the material used and the method of application was understood. A similar approach was thus adopted for the application of the pigment coating as well as the colour combination of the Shikhar. During the construction process, the rituals of the temple were followed as done during the earlier times. While replacing the pinnacles on the Shikhar (spire), the new pinnacles were worshipped as per the rituals. A few additions were made to the complex as per the requirements of the visitors, without

disturbing the setup of the complex. Toilets were provided along a part of the Fortwall for the visitors. Sustainable techniques were adopted such that the toilet utilises rain water for at least four months in a year. Lighting fixtures were added to the temple complex to enhance the extensively detailed parts of the temple, thus enhancing the experience of the visitor. The interpretation of the cultural, social, historical, architectural, scientific and spiritual significance of the heritage property in conservation work

• Historical Significance: A 269 years old temple, the Goddess Yamai Devi is venerated by the locals of the Kinhai village for her miraculous powers. It has a spoken history evident in its local folklore and myths related to the temple. These help in understanding why the particular site of Sakhargad was chosen for building the temple. Many books and gazetteers also mention the importance of this temple. A family deity to the representatives elected during the Maratha rule, this temple has been worshipped since centuries by the Kulkarnis.

• Social, cultural and spiritual significance: The temple complex brings together all its devotees during the festive seasons of Diwali and Navratri enhancing the spirit of the place. Each space having a specific use like the Sabha Mandap a gathering space, the Gabhara is the Inner Sanctum where offerings are given to the Goddess, the Deepmaal becomes a light tower in the evening and enhances the quality of the space adding to its spiritual significance.

• Architectural and scientific significance: The location of the complex was strategically chosen on the top of a mountain and the architecture of the Temple complex enhances its dominant characteristics like the Shikhar and the Deepmaal. Being the family Goddess of the rich Kulkarni family, complex structural systems are seen in this temple. Intricate detailing seen in the Shikhar and Deepmaal form the dominant features of the temple. It is evident that the best craftsmanship was adopted to build the temple in such difficult site conditions and experimentation was done in terms of amalgamation of different styles to make the different elements of the Complex. The heightened Deepmaal also forms a part of this experimentation. Subjected to the harsh climatic conditions, this temple still stands in a good condition showing the advanced structural systems used in building the complex.

The conservation works were carried out for the Temple complex without changing any of the above mentioned attributes but only enhancing them where necessary. The historical value which was extensively researched formed a part of the display, which helped the visitors understand the temple better and thus initiate an interactive process between the visitor and the structure. The social, spiritual and cultural values were enhanced by developing the complex and making it user-friendly. A number of seating were added, toilet facilities were provided enhancing the experience of the user entering the complex. Many of the architectural values were retained as much as possible with only restoration, consolidation and structural strengthening being a part of the conservation works. In places where new material was to be used, local materials were used as much as possible. Extensive research was done on similar temples in the neighbourhood to retain the inherited values of the Temple complex as much as possible. In certain cases, like plastering detailed study of the material was done before experimentation with the plastering to ensure its quality. Appropriate use or adaption of the heritage property

The heritage property is continuing its original use. By continuing the original use of the premises and following rituals and customs that are originally and culturally established as a part of the belief system of the local people.

The use of the property has not changed. Only a few new elements are added to the Temple complex. The rest-room which was blocked and converted into a storage room has been cleared out and can now be used by the visitors as a resting space in their journey. Additionally toilet facility has been provided for the visitors. In the next phase, the Nagarkhana would be utilised as a display gallery for acquiring information about the temple, its myths, decoding its inscriptions and displaying a detailed documentation of the conservation process it has gone through.

Being a religious structure, each space and structure has a pre-determined functional use in the complex. About Hundreds (approx-1500-2000 persons) of locals visited and continue to visit the complex during festivals like Diwali, Navratri and Pournima, thus enhancing the spirit of the space during such occasions. Open spaces around the temple complex are used during such times. Considered to be one of the powerful Goddesses, the Temple complex is frequently visited by tourists. The Sabha Mandapa (Assembly pavilion) is a gathering space for all the visitors to chant the praises of the Goddess. The conservation process involving the local community helped reduce the negative physical impact on the structure in terms of vandalism and misuse.

Technical Achievement

The understanding of the technical issues of conservation/restoration in interpreting the heritage property’s significance

Insensitive additions and alterations were made to the Temple complex. Enamel paint was applied on all the stone and wooden surfaces hiding the original finish of the material used. These surfaces were then carefully chiselled to expose the original exposed surfaces. In many cases, a number of defects like cracks were noticed after removal of paint from the surfaces which were rectified. Certain additions like plywood partitions made in the restrooms were removed. Many unused spaces were made into storage rooms by storing the offerings given in the temple. These storage spaces were cleared and proper use was ensured. In cracks and crevices noticed on the Fortwall and bastions, extensive weed growth was noticed and was removed. Over time, due to lack of maintenance, the flooring had become undulating and there was a difficulty in walking on such a flooring, which was brought repaired and brought in one level. A number of leakages were observed due to rainwater or broken pipelines, which were rectified.

In many cases, the problems were rectified with simple solutions like clearing out the storage spaces which

were newly added. To identify the nature of the cracks that had developed, glass tell tails were used. The added enamel paints were lightly chiselled to expose the original texture of the surfaces. In one such case at the entrance of the Gabhara, brass was found underlying the insensitively added enamel paint. On research about the painting technique

used during the time of construction of the temple, provided by a material conservationist Mr Girikumar, the pigment used was made an integral part of the lime plastering given to the Shikhar, thus increasing the time span of the paints used.

• The temple complex is built in three stages. 1745, 1869 and 1909.

• Research through books, gazetteers, local folklore and detailed observation helped in understanding the

evolution of the heritage property.

• A comparison with the buildings and temples built in and around Pune and Satara district also helped in

identifying the process of evolution.

• The different styles of architecture also help in determining the era in which it was built. The Gabhara (Inner

Sanctum) was built in the style of the Yadava period. The Shikhar (spire) was built in the Early Maratha style

that relied heavily on the Bahamani Style. The Mandapa (Assembly Pavilion) was built in the late Peshwa Style.

• Identifying the varied architectural styles helped in understanding the structural systems which are typical to

each style.

The use and quality control of appropriate building, artisan, and conservation techniques

Yes, traditional artisans were hired from the northern part of India by the heritage contractors issued for the project having experience in similar works. At every stage the conservation architects visited the site with the financers to verify, correct or modify the work being done by the contractors. e.g. the paint that was being applied over the surface of the lime was rejected in favour of integral paint mixed with the lime to achieve greater lasting value of the colour scheme.

The project was not in accordance with the quality standards of India. But care was taken to ensure similar use

of material and craftsmanship for the restoration work. The contractors for the project specialised in heritage works and had craftsman having experience in similar works. Also, the materials were obtained from nearby areas, ensuring same quality as of those used in the Temple originally. The paint used and the technique used to apply the paint was researched and documented and a similar technique was adopted. Apart from the above mentioned, a certain amount of experimentation was carried out in the restoration of the temple complex like plastic repairs for parts of the Deepmaals. The use of appropriate materials

A combination of both the traditional materials like stone, lime, sand, wood, brass (finials) and brick and newer materials like acrylic based polymer paints and stainless steel were used in the restoration project as per the requirements. Mainly traditional materials were used while the newer materials and techniques were adopted in exceptional cases as per the client’s requirement or for easy maintenance after negating the other options available.

The materials which were available within 50-300 kms radius of the site were used in the conservation process. This also gave access to the local materials which were originally used in building the temple. In areas were degradation of the material was observed, it was replaced by the same material obtained from the nearby local areas. This included materials like stone, wood, lime and brick.

• Due to the extreme climate conditions, the detailing of the statues had faded off and eroded in many places. In

some cases, the entire statue had flattened over time. For this the method of stone plastic repairs was used

consisting of a mixture of stone dust acquired from the quarries, lime plaster and a chemical sealant.

• The other materials like metal and cement concrete were used in smaller parts in the temple complex. A mild

steel safety grill was provided at the Main Entrance Gateway to the temple complex, for security reasons as per

the demand of the client.

• The original woodwork of the structural members in the sloping roof was retained as much as possible, but the

boarding placed over it had deteriorated over time due to termite attack. This boarding was then replaced by a

more lasting solution of an aluminium sheet over which the Mangalore tiles were attached. This also reduced

the maintenance of the roof.

• The Shikhar (spire) which consists of smaller spires were extensively damaged and cracks had formed at the

pinnacle. These spires were then partially repaired.

Added elements and creative technical solutions that respect the character and inherent spatial quality of the property

• The added elements were strategically placed in areas which were not easily visible and did not affect the

overall appearance of the Temple complex. For example, the toilets were made along a small part of the Fort-

wall which is easily accessible but does not affect the appearance of the complex.

• Other additions included designing of broken windows in the Nagarkhana and arches which were in accordance

to the original design in terms of height, scale, form and proportions thus respecting the aesthetics of the

heritage property.

Social and Policy Impact

The overall complexity, sensitivity and technical consistency of the project

The Temple Complex is not a listed heritage structure; hence it was not bound to any heritage regulations. Yet, the conservation works was done in accordance with self-bound regulations like use of local materials and traditional

technology, conservation of traditional skills and knowledge systems, minimal and reversible interventions, minimal loss of fabric and retaining the visual identity. The ongoing socio-economic viability and relevance of the project, and provision for its future use and maintenance

Shri Sakhargad Niwasini Temple is present on the outskirts of the Kinhai village. A deity worshipped for her glory and miracle, the Temple complex remains crowded during the festivals of Navaratri, Diwali, Sakhargad yatra and Pournima with people gathering in hundreds and thousands.

The project was a public-private initiative, where the funding was provided by the Kulkarni family, assisted by the local Bhosale family of Kinhai. It was a one time grant provided by the Kinhaikar Kulkarni family as an offering to their family deity for the restoration and conservation of the Kinhai temple. They do not have any ownership of the property and thus are not responsible for the future maintenance of the property.

No, there is no funding system for the heritage property’s future conservation but the Temple Trust will take responsibility of the same as per discussions.

The manner in which the process and the final product contribute to the surrounding environment and the local community’s cultural continuum

Located on top of a mountain, the complex is fortified with huge fort walls and bastions giving a glorified look to the complex. The structures were oriented in accordance with the surrounding, so as to get a clear view of the Shikhar and the Deepmaal from a distance forming the dominant features of the complex due to their form, scale and proportions. A majestic flight of stairs leads to the gateway of the complex, adding to its glory. As conservation architects, the idea was to retain this architectural orientation of the complex. Later additions like neon signage of ‘Jai Jagdambe’ (Victory to the Mother Divine) were added such that they blocked the view of the Shikhar and were thus relocated outside the South-western gateway where it is now clearly visible from the village below.

During the initial stages of the project, the local devotees where apprehensive and remained disinterested about the repair works to be carried out for the fortified complex but as the work progressed, and people started being aware of the happenings of work done through social media, the support by the local public for the conservation works increased. Many local people came forward and gave suggestions about the works to be carried out, and the design was changed according to these needs. Earlier there were no sanitation, water or seating facilities within the complex, which have been added during the course of the conservation work. Many locals came ahead, to explain the myths and history known to them about the Goddess. To change the gloomy interiors of the Ghabara (Inner Sanctum) openings were introduced inside the Gabhara, making it less claustrophobic. The undulating flooring was levelled as a part of the site development. The Nagarkhana and Rest-room is cleared for re-use in the future. The influence of the project on conservation practice and policy locally, nationally, regionally or internationally

Yes, the project attracted attention in the social media raising awareness about the present condition of the temples in Kinhai amongst the local population and its larger sect. With more and more conservation work done in the Temple Complex, more awareness is being created in the masses. Anjali Kalamdani wrote a 500 word article that was published in a statewide daily ‘Loksatta’ (Indian Express Group) in Marathi, the official language of Maharashtra State, which received attention and responses from across the state.

Yes the Chief Trustee being known to the Deputy Chief Minister of the State of Maharashtra has received

unusually high acclaim and recognition. The Kulkarni families located in El Paso and Washington DC USA have been talking to their friends and well wishers about the unique project taking the news of this unusual project beyond its physical boundaries. The photographs and information posted in Facebook, Behance, Linked-in, academia.edu and such other social or professional networking sites has helped the project being known to a large number of people across cyberspace.

Yes the Chief Trustee asked for a project for conservation of the Main Yamai Temple at Aundh. One of the Kulkarni Brothers, Mr Satish Kulkarni has initiated a programme for restoration of the Ekvira Devi temple in the Kinhai Village. He has also initiated a publication for conscientising users about the religious, scientific and cultural aspects of the various temples seen in the Aundh and Kinhai villages.

Conservation work of Ram Mandir in Tulshibag, Pune, Maharashtra, India has adopted similar techniques for

plastering where the pigment forms an integral part of the lime coating applied. The restoration of the Hanuman Temple at Nirgude village in the Junnar Taluka of Pune District about 150 km north of Kinhai is using similar techniques for its restoration. Both these projects are being carried out under the guidance of architects ay ‘Kimaya’.

Yes the work has set a worthy precedent for conservation practice locally as the earlier practice of changing the

form of the spire of a temple when it is renewed is questioned by this work that seeks to treat the temple and its fabric like a historic document that needs to be understood, appreciated and conserved. The message between the lines that the images speak of , ‘to search for impressions and images of divinity and divine providence among the people around, who may not be far away in heavens or remote places or may not be too big or too small…’ is yet another spiritual influence that endures and goes even beyond the message of conservation. The Chief Trustee who is in charge of the temple and several others in the region and who is the supreme office-bearer of the erstwhile princely state of Aundh is in charge of several temples in the region for which the project has set a standard and a benchmark. She has also asked for proposals for some temples on similar lines that have been submitted.