The document provides information about the Khajuraho temples in India. It discusses that the temples were constructed between 950-1050 AD during the Chandela Empire. It highlights some of the main western group temples including the Kandariya Mahadev temple and sculptures found on the temples depicting various stories. The document also discusses the architectural features of the temples including the rich sculptures and carvings found both inside and outside the temples aimed at depicting different human emotions and spiritual states.

1. WHY KHAJURAHO
?

2. • Khajuraho temples were constructed between
950 and 1050 A.D. during the reign of Chandel
Empire. Khajuraho derives its name from the
Khajur tree (the date palm tree) which can be
found in abundance in the area. These
temples are considered the "high point" of
Indian architectural genius in the Medieval
period

3. • Khajuraho, standing as it does in the centre of
the Indian subcontinent, also stands at the
centre of Indian philosophy as a statement of
what is possible in a disciplined but free life,
one that expresses all the facets of our natural
personality.

4. • A unique feature of the Khajuraho temples is
that, contrary to custom, they are not
enclosed within walls,
• Stand on a high terrace of solid masonry, as
though in an effort to rise above their
temporal surroundings. In addition, the
constituent parts are not built as separate
units but present an architectural synthesis of
striking unity.

5. Plan in Latin cross
• The 5 main temples are in the form of a Latin cross,
• the transepts of the cross being at the back of the
temple.
• The temple proper rests on 2 terraces which may
represent the 2 lower chakras in man, mooladhara
and swadhisthana.
• Rising one after the other in a row of successively
taller structures are 5 spires which may represent
the other chakras in man.
• The main central temple structure is surrounded by
4 other temples situated at each corner of the 2nd
terrace.
•

6. • The central temple consists of a small cube-
shaped room housing the deity with a small
space between it and the main outer wall. This
represents the liberation of consciousness from
the confines of matter, like the dried coconut
with its lose inner core.
• The whole temple complex is, therefore, a
symbolic representation of and a monument to
the greatest of all temples, the body of man
which houses the spirit or atman.

7. • In the larger temples however lateral transepts
with balconied windows are added to the
• ‘Mandapa’, turning it into a Maha-mandapa. The
larger temples also introduce an inner
• ambulatory around the Sanctum, to which is
added another pair of lateral transepts, each with
• a balconied window for ventilation and light.
With pairs of transepts cutting across the axis,
• the temples with ambulatory (Sandhara temples)
on the plan resemble a Latin cross with two
• principal arms, while those without ambulatory
(Nirandahara temples), show only one cross
• arm. Some of the larger temples also have
subsidiary shrines in the four corners of the
• platform, rendering the structure a complete
Panchayatana or five shrine complex.

8. tantrism
• The word tantra is derived from the
combination of two words tattva and mantra.
Tattva means the science of cosmic principles
while mantra refers to the science of mystic
sound and vibrations. Tantra therefore is the
application of cosmic sciences with a view to
attain spiritual ascendancy. In another sense
tantra also means the 'the scripture by which
the light of knowledge is spread' .Tantra is
commonly thought of as a romantic pratice or
as some form of magic

9. Real meaning of Tantra
• tantra means a path, technique and method
of worship. Tantra is a mystical experience.
Tantra is available to all regardless of faith or
gender. True tantra has no connection to
illicit love life.

10. • Tantra is a mode of worship that
uses mantras, yantra, sadhanas and
fire yajnas. This powerful
combination can bring about
dynamic changes in the individual
and their situation

11. Influence of Tantra
• Some of very famous ancient tantra temples in India are:-
• Kamakhaya Temple , Assam
• Kalighat Temple , Kolkata
• Mehandipur Balaji , Rajashtan
• Vaital Temple, Orissa
• Bhairav Temple, New Delhi
• Khajuraho, Madhya Pradesh
• Kaal Bhairav Temple, Varanasi
• Jwaladevi Temple, Himachal Pradesh
• Mahakaleswar Temple, Madhya Pradesh
• Eklingji Temple, Rajashtan
• Baijnath Temple, Himachal Pradesh

12. Groups
• The temples are grouped into three
geographical divisions : western, eastern and
southern.

13. • Western Group
• The Western group is certainly the best
known, because it is to this group that the
largest and most typical Khajuraho temple
belongs to the Kandariya Mahadev. Perfectly
symmetrical, it soars 31 m high.

14. Vishwanath Temple
• The temple enshrines a three-headed image
of Lord Brahma. Lions guard the northern
entrance to the structure, while elephants
flank the southern flight of steps that lead
upto it. The exteriors are profusely carved,
and facing the shrine is a Nandi Temple with a
massive, 6 ft high Nandi bull.

15. Lakshamana Temple
• The lintel over the entrance of this temple
dedicated to Lord Vishnu, shows the holy
trinity of Brahma, Vishnu and Shiva with
Goddess Lakshmi, Vishnu's consort. The
sanctum is adorned with a three-headed idol
of Vishnu's incarnations, Narasimha and
Varaha. The latter, the boar incarnation also
appears as a nine-feet high statue at the
Varaha Temple.

16. Chaunsat Yogini
• The oldest surviving temple in the group (900
A.D.), this is the sole granite temple dedicated
to Goddess Kali. Only 35 of the original 65
cells remain and no image of Kali has
survived : not surprisingly, since this is the
earliest surviving shrine of the group dated to
900 AD. Another Kali temple, which was
originally dedicated to Lord Vishnu, is the Devi
Jagdambe temple.

17. Chitragupta Temple
• Dedicated to the sun-god, Surya, this temple
faces eastwards to the rising sun. The inner
sanctum boasts of an impressive image of the
presiding deity - the majestic sun-god looming
5 feet high, and driving a chariot. The other
group scenes depict royal processions, group
dances and other scenes of sheer luxury,
typical of the Chandela court-life.

18. Matangeshwara Temple
• This temple, which happens to be outside the
precincts of the western group, is dedicated to
Lord Shiva. It boasts of an eight feet high
lingam. It is still a place of worship. South of
this temple is the open air Archaeological
Museum, which has a beautiful displayed
collection of statues and friezes collected from
the area : the remains of long vanished
temples

19. Parsavanatha Temple
• The largest in the group of three Jain temples,
the Parsavanath image in this temple, was
installed in 1860. The sculptures on the northern
wall depict everyday activity, in awesome detail.
A woman sits bent pensively on a letter, a lovely
young girl removes a thorn from her foot, the
master craftsmen of Khajuraho display here their
deep understanding of the trifles that make up a
human life. Within the temple, a throne faces the
bull emblem of first tirthankara, Adinath.

20. The Eastern group
• The eastern group of monuments, situated in
close proximity to the Khajuraho village ,
includes three more Brahmanical temples
known as the Brahma, Vamana and Javari ,
and three Jaina temples , the Ghantai,
Adinatha and Parsvanatha. The Brahmanical
temples are located along or near the
Khajuraho sagar, while the Jaina temples are
situated farther south and are conveniently
approached by a metalled road.

21. Ghantai Temple
• Ghantai Temple - This Jain temple has a frieze
depicting the 16 dreams of Mahavira's
mother, and a multi-armed Jain goddess
perched on a winged Garuda.

22. Adinatha Temple
• The last of the Jain temples, is dedicated to
the Jain saint, Adinatha, and is gorgeously
adorned with sculptures of yakshis among
others.

23. Southern Group

24. Duladeo Temple
• Dedicated to Lord Shiva, the highlights of this
temple are the sensuous images of the
apsaras, and other exquisite sculptures.

25. Chaturbhuj Temple
• This temple sports a huge, elaborately carved
image of Vishnu in the sanctum

26. Statue of Hanuman
•
A colossal statue of Hanuman, the monkey-
god , is housed in a modern shrine situated
about half-way between the western group of
temples and the Khajuraho village. It is
interesting mainly on account of a short
dedicatory inscription on its pedestal, dated
316 of possibly the Harsha era (A.D 922),
being the oldest dated inscription at the place.

27. METHODS OF CONSTRUCTION
• The Khajuraho temples are made of sandstone.
• . No cement, mortar or paint was used in the
construction
• the stones were put together with mortise and
tenon joints and they were held in place by
gravity. This form of construction requires very
precise joints.
• The columns and architraves were built with
megaliths that weighed up to 20 tons

28. • The temples are said to be constructed so that
the light from the main gate always reflects on
the central deity.
• This is symbolic of the spiritual illumination
that arises when consciousness and energy
fuse; the fusion of prana with apana, ida with
pingala, and the awakening of sushumna nadi.

29. • Alex Evans, a contemporary stonemason and
sculptor gave his expert opinion and
forensically examined the tool marks and
construction techniques involved in creating
the stunning stonework at the sites. He also
recreated a stone sculpture under 4 feet that
took about 60 days to carve in an attempt to
develop a rough idea how much work must
have been involved.[7]

30. • With the exception of Chuasath Yogini,
Brahma and Lalguan-Mahadeva temples,
which are constructed wholly or largely of
granite
all Khajuraho temples are built in fine grained
sandstone, in varying shades of buff, pink and
pale yellow,
brought from he quarries of Panna on the
east of Ken River.

31. • Roger Hopkins and Mark Lehner also
conducted experiments to quarry limestone
which took 12 quarrymen 22 days to quarry
about 400 tons of stone.[8]
These temples
would have required hundreds of highly
trained sculptors.

32. • The entire mass of granite or sandstone, of
which most of these are constructed, appears
to have an upward movement, the effect of
loftiness being further enhanced by a number
of pronounced vertical projections.

33. • The range of open porches with overhanging
eaves running horizontally around the temple
serves to let in light, thus throwing a band of
vivid shadow over the entire composition.

34. • The tenuous, flowing lines of the shikhara give
it an elegant and refined quality which the
Orissan shikharas do not possess in the same
degree. The solid strength of these temples
becomes infused with fresh beauty on
account of the graceful shikharas.

35. • In addition to the oversailing courses of masonry
the richly sculptured ceiling is supported by four
pillars –one at each corner of the hall – which bear
heavily ornamented bracket capitals. The pillars
are carved above and below with grotesque
figures of dwarfs and griffins. In the spaces in-
between are statuettes of sculptured feminine
forms in attitudes of enchanting grace and
loveliness. The sharp contrast presented by the
forbidding appearance of the former and the
pervasive beauty of the latter perhaps symbolizes
the triumph of beauty over ugliness, or that of the
spiritual over the bestial.

36. ELEMENTS
• Around the inner wall housing the deity are to
be found small sculptures in 4 levels. These
levels are said to represent the 4 aims of
human existence - 'purushartha': pleasure
(kama), wealth (artha), religion (dharma) and
liberation from the cycle of births and deaths
(moksha).

37. Plan of Lakshmana Temple
1.Pradakhshina. 2. Garbha-graha 3. Antarala 4. Maha-Mandapa 5.
Mandapa 6. Ardha-Mandapa 7. Subsidiary shrine

39. • There are five compartments
• adhishsthana
• ardhamandapa
• Mahamandapa
• antaraal
• garbha griha

40. RICH
SURFACE
ORNAMENTATION

41. • in the wall sculptures of the Orissan temples,
eroticism is a recurrent theme in the shrines
at Khajuraho.
• Various theories have been advanced to
account for this

42. • the mithuna ritual of the Tantric cult,
according to which personal salvation can be
attained only through experience: both
sensual and spiritual
• being a powerful human experience signifying
complete fulfillment through union, the sexual
experience here symbolizes the fusion of the
individual with the divine.

43. • Yet another theory holds that since such
sculptures are usually found on the exterior
surfaces of a temple and are absent from the
interior, it may be concluded that they are
meant to test the devotion of the worshipper
or to warn him against entering the sanctum
until he has conquered carnal desire.

44. • . On the outer wall is a series of sculptures in 3
levels which have made these temples famous
as monuments to the art of love.
• The lower level shows the sexual act in many
forms.

45. • Lower level implies the tamasic state of
consciousness and that state of human
evolution in which animal instincts
predominate (pashu). The next level seems to
represent love rather than sex, or sex as a
means to divine experience. This is rajas, or
the real man with all his human desires and
qualities (veera). The top level shows the yogi
who, having balanced and unified the two
forces within his own being, no longer needs
anyone of the opposite sex to expand his
consciousness. This is the sattvic or divine
state of evolution (deva).

46. • . As one circumambulates the structures viewing
the different statues, one is given a sense of the
infinite variety, beauty as well as ugliness, in life.
• The griffins, nymphs, beasts, demons in battles,
gods in divine consciousness and beauty, mortals
portraying such emotions as fear, doubt,
jealousy, love and passion, are fine expressions of
most facets of life, from below the animal to
beyond the divine.

47. Purpose
• The purpose of the statues is not to portray
sex in all its forms merely for art's sake. Their
purpose is to bring out deep psychological
states of mind, especially in those people who
are prepared and initiated.

48. • the erotica of Khajuraho, and indeed of other
temples, had a specific purpose. In those days
when boys lived in hermitages, following the
Hindu law of being "brahmacharis" until they
attained manhood, the only way they could
prepare themselves for the worldly role of
'householder' was through the study of these
sculptures and the earthly passions they
depicted.

49. Types
• The carvings can be classified into 5
categories:
• 1) the first category comprises formal cult
images, executed almost completely in the
round, and in the strict conformity with the
canonical formulae and prescription.

50. • 2) The second category comprises the
Parivara, Parsva and the Avarana-debatas
(family,
attendant and the enclosing divinities). They
appear in the niches or are figured against the
walls of the temples and are executed either
on the round or in high and medium relief.

51. • 3) The third category consists of Apsaras or the
celestial nymphs and Sura-Sundaris.
• the finest and the most numerous of all the sculptures
of Khajuraho.
• executed either in the round or in high or medium
relief, on the outer or inner walls, pillars and ceilings.
• The Sura-Sundaris are invariably represented as
graceful nymphs, attired in choicest of garments and
bedecked in the finest of jewelry. As Apsaras, they are
show
• dancing in various postures. As attendants of higher
divinities, they are shown with hands folded or
carrying lotus flowers, mirrors, water-jars, raiment,
and ornaments etc. as offerings to the deities.

52. • The fourth category consists of secular sculptures
that comprise various themes and
• disciplines, including domestic scenes, teachers
and disciples, dancers and musicians and
• erotic couples or groups.
• Amorous and erotic couples include some of the
finest sculptural compositions of Khajuraho,
• vibrating with rare sensitiveness and warmth of
human emotions

53. • The fifth or the last category consists of the
sculptures of animals including the mythical
Vayala, or Sardula, the fabulous beast often
represented as a rampant horned lion with an
armed human rider on its back, Numerous
varieties of this basic type are known with
heads of elephants, man, parrot, boar etc.