The document provides information about worship, rituals, and temples in Hinduism. It then summarizes the Khajuraho temples located in Madhya Pradesh, India, known for their erotic carvings. The temples were built between 950-1050 CE by the Chandela dynasty. While over 850 temples were originally constructed, only 22 remain today. The intricate carvings found on the temples depict various sexual acts and were meant to represent life's passions. Though now seen as shocking, sexual norms in India were once more liberal. The isolated location of the temples helped preserve the graphic motifs for centuries until their rediscovery in 1838.

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Worship&RitualinIndia’stemplesofsex
Dr Uday Dokras
Worship and Ritual
The great and lesser Hindu gods are worshiped in a number of concentric circles of
public and private devotion. Because of the social basis of Hinduism, the most
fundamental ceremonies for every Hindu are those that involve the rites of passage
(samskaras). These begin with birth and the first time the child eats solid food (rice).
Later rites include the first haircutting (for a young boy) and the purification after the
first menstruation (for a girl); marriage; and the blessings upon a pregnancy, to produce
a male child and to ensure a successful delivery and the child's survival of the first six
dangerous days after birth (the concern of Shashti, goddess of Six). Last are the funeral
ceremonies (cremation and, if possible, the sprinkling of ashes in a holy river such as the
Ganges) and the yearly offerings to dead ancestors. The most notable of the latter is
the pinda, a ball of rice and sesame seeds given by the eldest male child so that the
ghost of his father may pass from limbo into rebirth. In daily ritual, a Hindu (generally
the wife, who is thought to have more power to intercede with the gods) makes
offerings (puja) of fruit or flowers before a small shrine in the house. She also makes
offerings to local snakes or trees or obscure spirits (benevolent and malevolent)
dwelling in her own garden or at crossroads or other magical places in the village.
Many villages, and all sizable towns, have temples where priests perform ceremonies
throughout the day: sunrise prayers and noises to awaken the god within the holy of
holies (the garbagriha, or “womb-house”); bathing, clothing, and fanning the god;
feeding the god and distributing the remains of the food (prasada) to worshipers. The
temple is also a cultural center where songs are sung, holy texts read aloud (in Sanskrit
and vernaculars), and sunset rituals performed; devout laity may be present at most of
these ceremonies. In many temples, particularly those sacred to goddesses (such as the
Kalighat temple to Kali, in Kolkata), goats are sacrificed on special occasions. The
sacrifice is often carried out by a special low-caste priest outside the bounds of the
temple itself. Thousands of simple local temples exist; each may be nothing more than a
small stone box enclosing a formless effigy swathed in cloth, or a slightly more imposing
edifice with a small tank in which to bathe. In addition, India has many temples of great
size as well as complex temple cities, some hewn out of caves (such as Elephanta and
Ellora), some formed of great monolithic slabs (such as those at Mahabalipuram), and
some built of imported and elaborately carved stone slabs (such as the temples at
Khajuraho, Bhubaneshwar, Madurai, and Kanjeevaram). On special days, usually once a

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year, the image of the god is taken from its central shrine and paraded around the
temple complex on a magnificently carved wooden chariot (ratha).
Many holy places or shrines (tirthas, literally “fords”), such as Rishikesh in the Himalayas
or Benares on the Ganges, are the objects of pilgrimages from all over India; others are
essentially local shrines. Certain shrines are most frequently visited at special yearly
festivals. For example, Prayaga, where the Ganges and Yamuna rivers join at Allahabad,
is always sacred, but it is crowded with pilgrims during the Kumbha Mela festival each
January and overwhelmed by the millions who come to the special ceremony held every
12 years. In Bengal, the goddess Durga's visit to her family and return to her husband
Shiva are celebrated every year at Durgapuja, when images of the goddess are created
out of papier-mâché, worshiped for ten days, and then cast into the Ganges in a
dramatic midnight ceremony ringing with drums and glowing with candles. Some
festivals are celebrated throughout India: Diwali, the festival of lights in early winter; and
Holi, the spring carnival, when members of all castes mingle and let down their hair,
sprinkling one another with cascades of red powder and liquid, symbolic of the blood
that was probably used in past centuries.
This extremely conservative country was once home to the world’s first sextreatiseandtheeroticarton
displayisperhapsmoreshockingnow thanwhenitwascreated.
ButIndiawasnotalwayslikethis.Sexualnormswerefarmoreliberalbeforethe13thCentury.
What led to the creation of Khajuraho temples?

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As per the legends, Hemvati was a beautiful woman, after whom the Khajuraho temples
were built. One day, when she was bathing in a pool in Benaras, the Moon God was
swooned by her beauty, and could not wait any longer to see her. They conceived a
child and named him Chandravarman. However, she feared that her child might have to
face harassment as he was born out of wedlock. She was so distressed that she cursed
the Moon God, who later prophesied that the child will grow up to become a great king.
Just like the prophecy, the child indeed grew to become a great king, who founded the
Chandela dynasty. One day, after Hemvati passed away, her son saw her in his dreams,
where she asked him to construct temples that would depict human passions.
India has been a particularly conservative country for the last few hundred years,
influenced by the puritanism of several groups, including Islamic dynasties, British
overlords and the country’s own Brahmin priestly caste. But India was not always like
this. Sexual norms were far more liberal before the 13th Century, giving equal
importance to the secular and the spiritual. Sex was taught as a subject in formal
education, and Kamasutra, the world’s first sex treatise, was written in ancient India
between the 4th Century BCE and the 2nd Century.
Sculptures of a sexual nature (Credit: Charukesi Ramadurai)
In fact, if you look closely, reminders of these more liberal times can be seen across the
country. They’re literally carved in stone in the form of erotic motifs on the lower walls
of the 13th Century Sun Temple at Konark in the east Indian state of Orissa. Nudity is
prominent in the paintings and sculptures of heavenly maidens at Maharashtra’s
Buddhist rock-cut monastic caves, Ajanta (2nd Century BCE) and Ellora (5th to 10th
Centuries).

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Of the original 85 temples, just more than 20 remain (Credit: Charukesi Ramadurai)
India's most graphic example of erotic temple art
However, the best-preserved and most graphic example of erotic temple art can be
found in the small town of Khajuraho in the central Indian state of Madhya Pradesh. Its
elegantly carved Hindu temples were declared a Unesco World Heritage site in 1986.
Built by the Chandela dynasty between 950 and 1050, only 22 of the 85 original temples
remain.
When I entered the 6sqkm site late one winter afternoon, the sandstone glowed a
burnished gold. Local women carried fresh flowers and incense sticks for their prayers,
while visitors perambulated the outer corridors, gawking at the profuse and intricate
sculptures that covered every inch of the walls. There were images of gods and
goddesses, warriors and musicians, animals and birds. It could have been a scene from
any temple in India.
Manyofthesecarvingswereofanintenselyeroticnature,featuringmen,womenandanimals.
But on closer inspection, many of these carvings were of an intensely erotic nature,
featuring men, women and animals. There were depictions of threesomes, orgies and
bestiality. Although I knew what to expect, I was still taken aback by shapely maidens
and virile men contorting their bodies in impossible sexual positions, right next to
sculptures of divine beings smiling blissfully at the devout. Although a few stones were
chipped and several limbs broken, the carvings were incredibly pristine, considering that
the temples are more than 1,000 years old.

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admire the stone carvings /A woman offers prayers at the temple
There are various theories about the existence of such graphic erotic motifs. One of the
more exotic ones propounds that since Chandela kings were followers of Tantric
principles, which dictate the balance between the male and female forces, they
promoted their faith in the temples they created.
Somebelievethedepictionofsexualactivitieswasconsideredagoodomen.
Other theories have to do with the role of temples themselves in those times: they were
considered places of learning as well as worship – especially of the finer arts, including
the art of lovemaking. In addition, some believe that the depiction of sexual activities in
temples was considered a good omen because it represented new beginnings and new
life.
Carvings cover every inch of the outer walls

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That apart, Hinduism has traditionally considered sex an essential part of life, which
could be why the carvings are casually interspersed between others that portray
activities as varied as prayer and war. The fact that they are set in plain view and not
tucked away in an obscure corner seems to suggest that their creators meant for them
to be seen by all.
Isolation helped these graphic motifs survive
Bizarrely, there’s no reason why these ornate temples were built at Khajuraho, since
there’s no clear record of whether there was even a kingdom in this location. The
survival of these graphic motifs can likely be attributed to their isolation for hundreds of
years in the region’s once-thick forest, only rediscovered by Englishman Captain TS Burt
in 1838. In fact, Burt himself had to be persuaded by his Indian attendants to make the
journey; he didn’t believe anything of interest would be found at the remote spot. These
charmed temples have also managed to evade the wrath of India’s moral police, who in
recent years banned or destroyed a range of cultural artefacts, ranging from Salman
Rushdie’s books to MF Hussain’s paintings.
But what I found even more interesting than the explicit carvings and the history behind
them was the fact that entire families were quietly engrossed in the guide’s speech as he
analysed the spicier carvings high on the walls of the magnificent Kandariya Mahadeva
temple. No eyebrows were raised, no embarrassed looks were exchanged, no giggles
escaped young lips. Perhaps the art is unobjectionable when crouched within a religious
context – but I came away believing that Khajuraho holds within its walls a larger lesson
on tolerance for India.

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Many sculptures depict bestiality
KHAJURAHO, ITS EROTIC RELIEFS AND THE CHANDELAS
KHAJURAHO
Khajuraho (600 kilometers southeast of Delhi, 400 kilometers south of Agra) is
remote city famed for its erotic temples. The origin of the temples and the history of
the Chandela dynasty that built them is not completely understood. But it is known
that at least 850 temples were built between A.D 950 and 1050 over a wide area, of

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which 22 are still in fairly good shape. The city was built in such a remote location so
that it could escape the ravages of invaders.
What makes Khajuraho so interesting are the sculptures of gods, goddesses and
mortal in various love-making positions on the sandstone walls of the temples. In
one extraordinary bas-relief a man doing a headstand is shown getting it on with a
woman — held off the ground by a pair of large-breasted assistants — doings the
splits. The sculptures are considered to be some of the best examples of erotic
Hindu art in India. Most of the temples have two or three bands of these sculptures.
Khajuraho is situated in Madhya Pradesh among the Vindhya mountain range and
features both Hindu and Jain temples. The stunning intricate sculptures depict
different aspects of life — spirituality, love, friendship, sports and royal life — as well
as sex. Khajuraho was designated a UNESCO World Heritage Site in 1987. The
complex of Khajuraho represents a unique artistic creation, as much for its highly
original architecture as for the sculpted decor of a surprising quality made up of a
mythological repertory of numerous scenes of amusements of which not the least
known are the scenes, susceptible to various interpretations, sacred or profane.
Khajuraho is believed to have been built in a relatively short period of time:
over 100 years, between A.D. 950-1050. The complex consists of 22 temple
structures from a group of 85 original ones that were built. Forgotten for centuries,
they were rediscovered in the 1850s and restored. The temples were conceived and
built under the rule of the Chandela dynasty. As for the source of the name
Khajuraho, it is said the Chandela rulers built a huge wall around the temples. The
wall had eight gates flanked on either side by khajur or date palm trees, which is
found in abundance in this region. The temples were, thus, called khajura vatika, or
bearing khajura.
According to UNESCO: “Khajuraho is one of the capitals of the Chandella rulers, a
dynasty of Rajput origin which came into power at the beginning of the 10th
century, and reached its apogee between 950 and 1050. Of the 85 temples which
were constructed at Khajuraho during the Chandella period (and which were still
resplendent: when the great traveler Ibn Battuta noted them in 1335), 22 still exist,
disseminated within an area of about 6 square kilometers. [Source: UNESCO World
Heritage Site website]
“The great “love temples” of northern India, including Khajuraho, were built in the
eleventh century by the Chandella dynasty...As, monuments of two distinct religions,
Brahminism and Jainism, the temples of Khajuraho are nonetheless distinguished by
a common typology: they comprise an elevated substructure, over which rises the
body of the richly decorated building, the 'jangha', covered with several registers of

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sculpted panels on to which open-work galleries are opened. This is crowned by a
series of bundled towers with curvilinear contours, the Sikharas.
“The highest are found over the sanctuary of the divinity. Each of these towers, which
is characteristic of the temples in the Nagera style, symbolizes the 'cosmic
mountain', Mount Kailasha. The typical plan comprises an entrance, a large hypostyle
hall (mandapa), a dark sanctuary and finally various annexes.”
Chandelas
The Chandelas were the builders of Khajuraho. They ruled much of the Bundelkhand
region (then called Jejakabhukti) in central India southeast of Delhi between the 9th
and the 13th centuries. The Chandela or Chandel were a rajputs (a powerful military
caste). The Chandel dynasty is famous in Indian history for Maharaja Rao Vidyadhara,
who repulsed the attacks of Mahmud of Ghazni and was behind much of the erotic
sculptures at Khajuraho. The word Chandela is said to have evolved from of
Chandratreya, combination of two words indicating the lineage Chandra vamsa and
Atreya gotra.
The origin of the Chandelas is shrouded in mystery. A legend attributes their descent
to the union of the Moon (Candrama) with a Brahman damsel. This is obviously an
absurd myth, invented for giving the clan a noble pedigree. In the opinion of Vincent
Smith, however, the indications are that the Chandelas sprang from the aboriginal
stock of the Bihars or the Gonds, and their original seat was Maniyagarh on the Ken
river in the Chatarpur State.
The most important cities in the Chandela kingdom were Khajuraho, Kalanjara, and
Mahoba. Vincent Smith remarks: “The first-named town, with its group of
magnificent temples, may be regarded as the religious, the second, with its strong
fortress, as the military, and the third, with its palace, as the civil capital.” The
Chandelas beautified Bundelkhand by constructing a large number of exquisite
religious edifices and embanked lakes. One of the latter was the Madanasagara,
formed by Madanavarman at Mahoba.
The Chandelas came into prominence in southern Bundelkhand under the leadership
of Nannuka early in the ninth century. His grandson was Jeja or Jayasakti, after
whom the kingdom was called Jejakabhukti. It appears from traditions and
epigraphic testimony that the first few princes of the dynasty were feudatories of the
great Pratihara emperors of Kanauj. But Harsadeva Chandela enhanced the prestige
and influence of the family considerably by placing Mahlpala (Ksitipala) on the
Imperial throne in opposition to his brother or half-brother, Bhoja II. During the
reign of Yasovatman, the Chandelas gained a larger measure of independence, and

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aggrandised themselves at the cost of their neighbours, viz., the Cedis, Malavas,
Kosalas, etc. According to an inscription, found at Khajuraho, Yasovarman was “a
scorching fire to the Gurjaras,” and that he “easily conquered the fort of Kalanjara,”
one of the important strongholds of the Pratiharas. He is also said to have compelled
Devapala Pratihara to surrender to him a celebrated image of Vaikuntha (Visnu),
which he subsequently set up in a stately shrine at Khajuraho.
Chandelas Kings
Dhanga (c. A.D. 950-1002) was Yasovarman’s son and successor. Strangely enough,
however, he invokes the name of the Pratihara king (Vinayakapala II) as his overlord
in the Vikrama year 1011-954 A.D. It would, therefore, appear that like the Nizam of
the Deccan and the Nawabs of Oudh, who were virtually independent and yet
nominally acknowledged the suzerainty of the great Moghul at Delhi, the Candel
ruler did not all at once break off formal relations with the effete Imperial power at
Kanauj, but for some time maintained an outward show of submission.
Subsequently-, the kingdom of Jejakabhukti saw its palmy days under Dhanga, for
an inscription, discovered at Mhow, alleges that he attained to “supreme lordship
after inflicting a defeat over the king of Kanyakubja.” The success of the Chandelas is
confirmed by the Khajuraho epigraph, wherein we arc told that Dhariga ruled the
earth “playfully acquired by the action of his long and strong arms, as far as
Kalanjara, and as far as Bhasvat situated (?) on the banks of the river.Malava; from
here to the banks of the river Kalindl (Jumna), and from here also to the frontiers of
the Cedi country, and even as far as that mountain called Gopa (Gopadri), which is
the unique abode of marvel.” The loss of Gwalior must have dealt a severe blow to
the fortunes of the Pratiharas, since thereby the Chandelas got hold of a strategic
position, which they could well use as a base for further encroachments. Indeed, it is
likely that towards the close of his reign Dhariga carried his arms up to Benares,
where he granted a village to a Brahman in the Vikrama year 1055-998 A.D. In 989 or
990 A.D. when Jayapala, the Sahi king, invited prominent Hindu states to help him in
resisting the aggressions of Sabuktigin, Dhariga, along with other potentates,
promptly responded with men and money, and shared the disaster suffered by the
confederate army.
Ganda was Dhariga’s son, Ganda. He joined the coalition formed by Anandapala
Sahi in 1008 A.D. to repel the invasion of Mahmud but nothing availed the Hindus
and their forces were utterly routed by the Sultan. Next, •Ganda sent an expedition
under the crown-prince, Vidyadhara, to punish Rajyapala of Kanauj for his
pusillanimous surrender to Mahmud about the end of 1018 A.D. The Pratihara
monarch was, of course, slain, but when the tidings reached Ghazni the Sultan was
so enraged that he forthwith marched against Nanda (Ganda) 1 to repress his

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audacity. Thus, the opponents came face to face in H. 410— 1019 A.D. Just at the
psychological moment, however, the Chandela ruler became alarmed at the
intrepidity and strength of the Muslim hosts, whereupon under cover of night he c
fled with some of his baggage and equipments.’ 2 In H. 413 — X022 A.D. Mahmud
attacked the Candel territories for the second time. Having taken Gwalior in 1023
A.D. he invested Kalanjara. Again, Nanda or Ganda cowardly submitted to the
invader, who thereupon gave him back the conquered forts, and triumphantly
returned home with a large booty.
Klrtivarman was the next distinguished member of this dynasty. He revived the
power of the Chandelas, which had been eclipsed in the time of his predecessors
owing to the military activities of the Kalacuri kings, Garigeyadeva and Laksml-karna.
Klrtivarman himself was vanquished by the latter in the earlier part of his reign, but it
appears from inscriptions and the prologue to Krisna Misra’s Vrabodha-Candrodaya,
an allegorical play in honour of Visnu and the Vedanta philosophy, that the Candel
ruler eventually won a decided Victory over his mighty Cedi rival.
Madanavarman was another notable figure, whose known dates range from 1129
to 1163 A.D. He claims to have defeated the “lord of Gurjara,” generally identified
with Siddharaja-Jayasimha of Gujarat (c. 1095- 1143 A.D.). An inscription, found at
Man (Jhansi district), further testifies that Madanavarman overcame the Cedi
monarch (perhaps Gaya-Karna); exterminated his Malava i.e., Paramara
contemporary; and forced the “king of Kail,” probably identical with Vijayacandta
Gahadavala, “to pass his time in friendly behaviour.”
Paramardi, or Paramal of popular traditions, was the last prominent Candclla
sovereign. He ruled from circa 1165 A.D. to 1203. We learn from the Madanapur
inscription 2 and Cand’s R a so that he sustained a reverse in 1182-83 A.D. at the
hands of Prithvlraja Cauhan who occupied Mahoba and other fortresses in
Bundelkhand. But Paramardi escaped complete annihilation, and afterwards
recovered the lost ground. In 1203 A.D. he offered stubborn resistance to Qutb-ud-
dln Aibak during the siege of Kalanjara. Finding that the odds were altogether
against him, Paramardi capitulated, but he died before fulfilling any of the terms
imposed. His minister, Ajadcva, then took up the defence; he also had, however, to
surrender soon after. Qutb-ud-din next captured Mahoba, and put the subjugated
territory under the charge of a Muslim governor. The Chandelas were thus kid low,
although they lingered on as petty chieftains.until the sixteenth century.
Khajuraho Temples
Based on their geographical location, Khajuraho’s two dozen or so temples are
grouped into three areas: Eastern, Western and Southern. Kandariya, the largest,

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most and most typical of the Khajuraho temples, is dedicated to Shiva. The main
shrine is exquisitely carved and features delicate details. Among the other temples
worth visiting are Chaunsat Yogini (the oldest surviving shrine), Devi Jagada (temple
dedicated to Kali), Chitragupta, Vishwanath, Lakshmana, Varaha and Matangeswara
temple.
The temples are spread over an area of six square kilometers. They are dedicated to
both Hindu deities and Jain figures. About six of these temples have Lord Shiva as
the main idol, eight are dedicated to Lord Vishnu, one each to Lord Ganesha and the
Sun God, while three are dedicated to Jain tirthankaras (saints). The largest among
these is the Kandariya Mahadeva Temple, dedicated to Lord Shiva. It is also one of
the four holy sites of Shiva worship, the other three being Kashi, Kedarnath and
Gaya.
According to UNESCO: “ Only about 20 temples remain; they fall into three distinct
groups and belong to two different religions – Hinduism and Jainism. They strike a
perfect balance between architecture and sculpture. The Temple of Kandariya is
decorated with a profusion of sculptures that are among the greatest masterpieces
of Indian art.” Some of the temples are deteriorating at an alarming pace due to
irrigation canals in the area that have raised groundwater levels, causing water to
rise through the stones by capillary action and deteriorating the stones.
Sculptures at the Khajuraho Temples
The temples have several thousand statues and art works, with Kandarya Mahadeva
temple alone decorated with over 870. Some 10 percent of these iconographic
carvings contain sexual themes and various sexual poses. A common misconception
is that, since the old structures with carvings in Khajuraho are temples, the carvings
depict sex between deities; however the kama arts represent diverse sexual
expressions of different human beings. Core Hindu values are expressed in multitude
of ways. Even the Kama scenes, when seen in combination of sculptures that precede
and follow, depict the spiritual themes such as moksha. In the words of Stella
Kramrisch, This state which is “like a man and woman in close embrace” is a symbol
of moksa, final release or reunion of two principles, the essence (Purusha) and the
nature (Prakriti).
Stella Kramrisch said: “There is iconographic symbolism embedded in the arts
displayed in Khajuraho temples. Core Hindu values are expressed in multitude of
ways. Even the Kama scenes, when seen in combination of sculptures that precede
and follow, depict the spiritual themes such as moksha. This state which is “like a

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man and woman in close embrace” is a symbol of moksa, final release or reunion of
two principles, the essence (Purusha) and the nature
The Khajuraho temples represent many forms of arts that flourished in medieval
Rajput kingdoms, including Prabodhacandrodaya, Karpuramanjari,
Viddhasalabhanjika and Kavyamimansa poems and dramas. In addition to the
sculptures believed to represent sexual practices there are many imaginary animals,
including the vyalas (hybrids of a lion, horse and many other animals). In South India,
vyalas face outward towards the person viewing the sculpture. At Khajuraho, the
vyalas face sideways and many scholars wonder why. Also at Khajuraho, the vyalas
appear ro have equal status with the gods and apsarases, the female spirit of the
clouds and water. This could possibly mean that the vyalas were just as important as
Hindu gods in the Chandella religion.
Erotic Sculptures at Khajuraho
The Khajuraho temples feature a variety of art work, of which 10 percent is sexual or
erotic art outside and inside the temples. Some of the temples that have two layers
of walls have small erotic carvings on the outside of the inner wall. Some scholars
suggest these to be tantric sexual practices. Other scholars state that the erotic arts
are part of Hindu tradition of treating kama as an essential and proper part of
human life, and its symbolic or explicit display is common in Hindu temples. Over 90
percent of the art work at the temple is about daily life and symbolic values in
ancient Indian culture. The Khajuraho temples represent one expression of many
forms of arts that flourished in Rajput kingdoms of India from the A.D. 8th through
10th century.
The sexual-themed Khajuraho sculptures are "the apogee of erotic art": "Twisting,
broad-hipped and high breasted nymphs display their generously contoured and
bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run
riot across the surface of the stone, putting on make-up, washing their hair, playing
games, dancing, and endlessly knotting and unknotting their girdles....Beside the
heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously,
extravagantly interlocked maithunas, or lovemaking couples."
These paintings are “Greatly influenced by the Tantric school of thought, the
Chandela kings promoted various Tantric doctrines through royal monuments,
including temples. Sculptors of Khajuraho depicted all aspects of life. The society of
the time believed in dealing frankly and openly with all aspects of life, including sex.
Sex is important because Tantric cosmos is divided into the male and female
principle. Male principle has the form and potential, female has the energy.
According to Hindu and Tantric philosophy, one can not achieve anything without

14. 14
the other, as they manifest themselves in all aspects of the universe. Nothing can
exist without their cooperation and coexistence. In accordance with ancient treaties
on architecture, erotic depictions were reserved for specific parts of the temples
only. The rest of the temple was profusely covered with other aspects of life, secular
and spiritual.
Important Temples at Khajuraho
Kandariya Mahadeva Temple is the tallest, the largest and the most stunning in the
Khajuraho complex. Built sometime during 1025-1050, with about 870 spectacular
sculptures, it is considered to be the spiritual abode of Lord Shiva. It is most popular
for its ornate architecture, including statues of beautifully adorned women. The
structure has a shikhara (spire) about 31 meters high that depicts Mount Kailash. This
main spire is surrounded by 84 miniature spires (Urushringas).
Kandariya is most sexual and typical of the Khajuraho temples. The main shrine is
exquisitely carved and features delicate details. The temple houses a lingam (phallic
symbol honoring Shiva) made of marble in its sanctum sanctorum, with 646 statues
dotting its boundary. Facing towards the east, the entrance of the temple has a
staircase and porch that have been adorned with garlands chiselled out of solid
single stone. It is believed that Raja Dhandadeva, a Chandela ruler, built this temple.
Chitragupta Temple is located in the east direction and faces the rising sun. It is the
only temple dedicated to the Sun God and was constructed in the 11th century. A 5-
foot-tall idol of the deity sitting on a chariot driven by seven horses sits in the
temple. The walls of the temple are beautifully carved and give a glimpse of various
historical events. The prime attractions include an image of Lord Vishnu in the 11-
headed form on the south wall. Visitors are also left mesmerised by the intricate
carvings of dancing girls, elephant fights, processions and hunting scenes done on
the interior of the temple. The exterior of the temple is also beautiful and one can
find sculptures of apsaras (celestial nymphs), vyalas, mithunas and deities there.
Moreover, more than 70 other figures have been carved on the balcony panels of
the temple. The doorways are also elaborately ornamented and portray a series of
three figures of the Sun God, similar to the one in the sanctum sanctorum. One can
also visit the three-storeyed stepped tank inside the premises. Called as chopra, it
was also constructed by the Chandela rulers.
Western Temples at Khajuraho
According to UNESCO: “The most important group of monuments is massed in the
western zone, not far from the archaeological museum, including the temples of
Varaha, Lakshmana, Matangeshwara, Kandariya, Mahadeva Chitragupta, Chopra
Tank, Parvati, Vishwanatha and Nandi. [Source: UNESCO]
“Yasovarman (AD 954) built the temple of Vishnu, now famous as Lakshmana temple;
this is an ornate and evolved example of its time proclaiming the prestige of the

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Chandellas. The Visvanatha, Parsvanatha and Vaidyanatha temples belong to the
time of King Dhanga, the successor of Yasovarman. The Jagadambi, Chitragupta, are
noteworthy among the western group of royal temples of Khajuraho. The largest and
grandest temple of Khajuraho is the immortal Kandariya Mahadeva which is
attributed to King Ganda (1017-29).
Lakshman Temple (in the Western group of temples) is considered to be the oldest
and the most aesthetically pleasing. It was one of the first temples built by the
Chandela kings, and the patron of this temple is believed to be Yashovarman, who
gained control over areas in the Bundelkhand region of central India. Yashovarman
sought to build this temple to mark his rule over these territories. However, he died
before the construction was completed and his son, Dhanga, took over the work and
dedicated the temple in 954. The temple showcases the trinity of Lord Brahma, Lord
Vishnu and Lord Shiva. Built on a high platform, it is made in a tiered format with
intricately carved columns.
The main idol of the temple is an image of Lord Vishnu in a three-headed avatar
called Vaikuntha. It is placed in the inner chamber known as garba griha (sanctum
sanctorum), which is an architectural feature of most Hindu temples. The building of
the temple reflects a Nagara style of architecture, owing to the flat-roofed entry
porch called mandapa and a shrine called vimana. The shrine of Nagara temples
comprises a base platform and a superstructure called shikhara (spire).
Chaunsat Yogini (in the Western group of temples) is a composition of small hut-
like structures surrounding an open courtyard. Standing apart from all other temples
in the area, it was built in 875-900 and is a part of the Western group of temples. The
temple is dedicated to 64 female yoginis (female attendants) who are considered to
be forms of the Mother Goddess. This temple is quite unique and is the only one
here that is built with local granite. Its architecture is quite simple and has no
ornamentation. The walls are almost bare and lack the characteristic carvings of
temples in Khajuraho. There are a total of 67 shrines in the temple complex and the
largest one is dedicated to Goddess Durga, who is presented in the form of
Mahishasura Mardini. Two shrines are for Maheshvari and Matrikas Brahmani and
the other 64 are dedicated to the yoginis. This temple is believed to be the oldest
yogini temple in India.
Eastern and Southern Temples at Khajuraho
Among the temples in the east and south groups are also comprise noteworthy
complexes (the temples of Ghantai, Parshvanath, Adinath, Shantinath, Dulhadeo,
Chaturbhuja. The four Jain temples lie among the Eastern group of temples. These
include the Adinath, Shantinath, Parsvanath and Ghantai temples, which were
constructed under the reign of the Chandela rulers.
The eastern group contains the Parsvanath temple, a large Jain structure noted for
the detailed sculptures on the northern outer wall. Other notable temples in this

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group are the Ghantai and Adinath temples and the three Hindu temples of Brahma,
Javari and Vamana, the last of which is adorned with a variety of sensuous
sculptures. the southern group includes the two temples of Duladeo and Chaturbhuj.
Parsvanath Temple (in the eastern group of Temples) is largest of the Jain temples
in Khajuraho. It is noted for its spectacular tiered construction and intricate
sculptures. It belongs to the Eastern group of temples and its architecture is quite
similar to that of the Hindu temples here. The temple is believed to have been
constructed in the 10th century during the rule of Dhangadeva (950-999) of the
Chandela dynasty. It was previously devoted to the first tirthankara (religious saint)
of the Jains, Adinath. However, in 1860, the image of Parsvanath was put in.
The temple attracts visitors for its intricate architecture and its walls depict the
images of elephants, sea nymphs and lions. Though it is a Jain temple, one can see
images of Hindu deities like Vaishnav as well, on its walls. The temple has some key
architectural features like a couple of axial projections at its two ends called the ardh
mandapa (the hall) to the east and a small shrine to the west called the garba griha
(sanctum sanctorum).
Dulhadev Temple (in the southern group of temples) was built by the Chandelas in
1130, this temple is dedicated to Lord Shiva and houses a lingam (phallic symbol
honoring Shiva). Its architecture is quite fascinating and the temple has five small
chambers and a closed hall. The finishing on the idols is beautiful and shows the skill
of the craftsmen of that time. The temple walls and ceilings boast heavily intricate
carvings and visitors are often left mesmerised by the stone-carved images on the
walls. Attractive figurines of apsaras (celestial nymph) and other mythological figures
also adorn its walls. Dulhadev is another name for Lord Shiva in this region that
refers to the lord as a 'dulha' or bridegroom. Historians consider it to be one of the
last temples built by the Chandelas.
Deor Kothar
Deor Kothar (200 kilometers east of Khajuraho) is a Buddhist site said to have been
built under the patronage of Mauryan king, Ashoka, and dates back to 3rd century
B.C. Stretching for almost 3 kilometers, the complex, which is believed to have once
been a bustling commercial town on the trade route called Dakshinapatha, was
discovered in 1982. Several structures were excavated here, including monasteries, a
water channel system, an ancient pathway, and 30 stone stupas, four brick stupas,
potsherds of black polished ware, which was the pottery of everyday use between
700 and 300 B.C. One of the pillars excavated here has an inscription that says it was
erected in the memory of Lord Buddha.
The architecture of Deor Kothar is quite interesting and the complex boasts four
stupas, the most ever found at a site of this period. The bricks used are of various
shapes such as a twirling lotus, a simple flower pot on a three-tiered pedestal (the
carving of which shows traces of early Buddhist art) and a conical lotus bud. These

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can be seen on the railing posts of the largest brick stupa rising to a height of 30
feet.
The site was discovered by PK Mishra and Ajit Singh in 1982 and it was declared a
place of national importance by the Government of India in 1988. Today, it is being
preserved and conserved by the Archaeological Survey of India (ASI).
Panna and Panna National Park
Panna National Park (40 kilometers south Khajuraho) in central India harbors many
species of wildlife including tigers, sambar and chitral deer, porcupines, and leopards
and cover 200 square miles. It has a fairly large population of 30 to 40 sloth bears. It
has a lot of humans. There are 15 villages within the park and 50 just outside it. A
number of villagers in the area of the park have been attacked by sloth bears.
The park was once a raja’s hunting ground. There are a number of caves in par
whose walls are adorned with ancient paintings. The number of tigers in increasing.
The tigers often roam outside the park and the effort to save them has included
efforts outside the park. Illegal sandstone mines that fragments the tiger’s habitat
and polluted the water in the park have been closed down. The rangers have
motorcycles and a troop carrier which has enabled them to battle poachers more
effectively
With the meandering Ken river and spectacular waterfalls, the national park attracts
both wildlife enthusiasts and adventure seekers. One can spot the gharial, a huge
reptile of the crocodile family found only in the Indian subcontinent, and a variety of
flora and fauna here. Spend a day or two here, and explore the park in a jeep or on
the back of an elephant. Earlier, the park was the hunting ground of the erstwhile
rulers of Panna, Bijawar and Chhatarpur states. The Panna National Park is the 22nd
Tiger Reserve of India.
Panna was the capital of Maharaja Chhatrasal’s kingdom in 17th century. The town,
meaning emerald, is a diamond mining center. Panna is famous for its huge
Palladian-style Pajgarth Palace.