PALGHAR

Mahalaxmi Devi once traveled on a yatra from Kolhapur, arriving in Sonale, near Dahanu, after midnight. Upon hearing that the Pandavs were in exile nearby, she decided to test Bhim. She transformed into a stunning woman adorned with exquisite jewelry.

Bhim was immediately drawn to her elegant looks. Without hesitation, he proposed to her. However, Maa Mahalaxmi imposed a condition: "If you can build a dam on the river Surya in one night and divert its water to this village, then I will become your wife."

Bhim eagerly set to work, determined to gain the beautiful lady's hand. He raced to the river near Waghadi village and started building a dam. Bhim worked tirelessly through the night, making tremendous progress. Just as he was ready to finish the dam, Mahalaxmi  Maa transformed into a rooster and crowed loudly, fooling Bhim into believing it was sunrise.

Feeling miserable, Bhim completed the dam but acknowledged defeat. The residents of the village received water, but Bhim was left empty-handed. The half-built dam, known as 'Bhima Bandh', is still partially complete today.

Maa Mahalaxmi is believed to have travelled to a mountain cave near Ranshet village to perform penance for her actions against Bhim and to meditate, gathering energies for the well-being of the surrounding region. Over time, the local community began visiting this cave to receive darshan from the Devi.

According to local lore, one day a pregnant devotee fainted while climbing the steep mountain path. Moved by her suffering, Maa Mahalaxmi declared that devotees would no longer need to undertake the arduous ascent. True to her word, she descended the mountain and made her home in the village of Vivalvedhe, situated at the base of Muslaya mountain. There, a temple was established, and Mahalaxmi Devi is worshipped as a Swayambhu (a self-manifested form carved into the rock).

Every day, thousands of devotees, particularly farmers, visit the temple to offer prayers. In gratitude for her blessings, they present her with the first harvest of their fields. On the new moon day of Pitru Paksha, a fair is held where Maa Mahalaxmi is offered pulses and vegetables from the season's crop. The temple’s flag is ceremonially raised by the institution of the former Jawhar ruler, Maharaj Mukne, a tradition that continues today. The annual Mahalaxmi Yatra is celebrated between Chaitra Poornima and Chaitra Amavasya, drawing worshippers who gather to seek her divine grace and protection.

In the village of Aghai, the Warli community is famous for its colorful artwork. They live in thatched homes and follow traditions that have been passed down for generations. One of their most important traditions is the Tarpa festival, which brings the whole village together to celebrate with music, dance, and art. Named after the tarpa, a traditional gourd instrument, the festival is a time to honor ancestors, celebrate the harvest, and strengthen community bonds.

A long time ago, as the festival approached and excitement filled the air, villagers of all ages prepared for the celebrations. Women painted the walls of their huts with unique Warli designs, while men made new tarpas and gathered wood for the bonfire.

Among them was Anaya, a young girl known for her incredible artistic talent. Her paintings captured the spirit of Warli culture. Anaya wanted to create a mural that told the stories of her people and preserved their art for the future. When the festival began, Anaya chose the largest wall in the market square as her canvas. She used a mixture of clay, cow dung, and rice paste to create her mural. As she painted, her artwork came to life, showing religious ceremonies, joyful dances, and the Warli people's connection to nature. Inspired by stories from her grandparents, she included brave warriors, wise elders, and forest spirits.

Finally, Anaya finished her mural just as the tarpa players began to play. Villagers dressed in traditional clothing gathered around the bonfire, enjoying the aroma of roasted corn and the sounds of laughter and song. When Anaya unveiled her mural, the crowd gasped in awe. The mural was not just a painting; it was a tribute to Warli culture, reflecting their identity and strength.

During the Peshwa reign, the villages from Mumbai to Daman were oppressed by the Portuguese. These colonial overlords, more cruel than the Muslims before them, subjected the indigenous population to unspeakable persecution. Word of their suffering reached Chimaji Appa, a military commander and statesman of the Maratha Empire. Born Antaji Balaji Bhat (c. 1707 – 17 December 1740), he was the younger brother of Peshwa Bajirao I and the son of Peshwa Balaji Vishwanath. Known for his bravery and strategic skill, Chimaji Appa was deeply moved by the plight of the people and resolved to act. Filled with anger, Chimaji Appa gathered his army and marched to Vasai Fort. As he approached the strong walls, he made a promise to Vajreshwari Devi. He said, "If you help me capture this fort, I will build you a grand mandir."

Chimaji's soldiers attacked the fort, blasting through the walls. The Portuguese fought hard, but the Maratha forces could not be stopped. Finally, the Marathas raised their flag over the conquered Vasai Fort. The people celebrated joyfully, free from their oppressors. Chimaji kept his promise and immediately began building a magnificent Mandir for Vajreshwari Devi at the site of his victory. The Vajreshwari Mandir was built like a fortress, and it is still beloved today.