NORTH INDIAN TEMPLE ARCHITECTURE

TEMPLE ARCHITCTURE - NORTHERN INDIA

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Northern Hindu Style
Northern Hindu Style or Indo Aryan Style had spread over at least three fourth part of northern
India.
The earliest movement started in the state of Orissa, (ancient Kalinga). It offered strong resistance
to Mauryas but finally subdued to Ashoka in 260 B.C.
After Ashoka’s death Kalinga regained its independence and later became more powerful under
Kharavela.
In AD 610 it was under king Sasanka but after his death Harsha Conquered Orissa.
The beginning of this Orissa group is seen at Bhubaneswar where there are about 30 temples.
Most important are the temple of Jagannath at Puri (1000 AD) built by Mahashivagupta Yayati II
and Sun Temple at Konark(1250 AD) built by Narasinha I.
The other groups are confined to some areas such as Khajuraho all of which were built in a period
of hundred years from AD 950 to 1050 under Chandella Rajput Rajas of Bundhelkand who ruled
from Mahoba.
The largest of entire series is Shiva temple of Kandariya Mahadev(1000AD) at Khajuraho.
Further the Northern Hindu Style was extended to Rajputana, Gujarat and Deccan.

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Characteristic Features of Orissa Temples
The Orissa temple is remarkable for its plan and elevation. As a rule, the interior ground plan of the
temple is square the most basic, rational and elementary of all geometric forms, used by the
Hindus. They adopted mainly trabeated style of construction.
The temples are distinguished by vertical offset projections called “rathas” (on plan) or “pagas” (on
elevation). Depending on the number of pagas, the temples are classified into triratha,
pancharatha, saptaratha and navaratha
The main temple rests on high platform called “Pista”.
The temple is approached by an assembly hall, known as “Jaga-Mohan” – one which pleases the
world.
The main temple is called as “Rekha Deul” because of its emphasis on vertical lines.
The Jaga-Mohan is also called as the “Pida Deul” since, it is composed of Pidas.
The deity is placed in the garba-griha of Rekha Deul over which rises the spire or “Sikhara”
The Hindus regarded the temple as the body of Cosmic Man (Purusha). So the lower upright part of
the main Deul is known as “Bada” (feet) and the upper tapering part is known as “Chhapra” (trunk)
Over the Chhapra, is a large melon shaped feature called “Amalaka” (cap stone) crowned with
“Kalasa” (head) – called “Amrit – Kalasa”, symboling the jar of Nectar.

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The other feature of this temple is that the pillars are notable for their absence.
The interior is plain, featureless but exterior walls are profusely ornamented. Due to the religious
ritual developments other buildings were added in front, in one axial line such as “Bhog-Mandir”
– offering hall in the front, and followed by “Nat-Mandir” or Dancing Hall.
Similarly the “Jaga-Mohan” has the lower upright part – the “bada” and upper tapering part “Pida”
in the form of terraced pyramid which is crowned with “Ghanta-Kalasa”
The temple is now the abode of God as manifested in human shape.

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Development of Temple form

LINGARAJA TEMPLE
BHUBANESWAR , ORISSA

The Lingaraj Temple in Bhubaneswar, dedicated to Lord Shiva,
or Tribhuvaneswar represents the perfect harmony between
Orissa's architectural style and decorative motifs.
Lingaraj Temple is believed to be the oldest and largest temple
of Bhubaneshwar
The temple of Lingaraja is highly revered by the followers of
Hinduism. Temple is dedicated to Lord Shiva, who is
considered as the destroyer as per the Hindu thoughts
The term 'Lingaraj' suggests 'the king of Lingas', where 'linga'
is the phallic form of Lord Shiva
The Shiva linga is said to have emerged from the earth (Bhu)
here and hence it is called Bhubaneswar.

SECTION AND PLAN OF THE TEMPLE

The most attractive feature of this
temple is the great tower of the Deul or
Sri Mandir richly built entirely of stone.
Its base measures 17m side but due to
projecting faces it is not square.
The “Bada” or lower storey is vertical
one-third of its height and above, it has
parabolic curve rising to a height of
38m from the ground.
Over it is a necking or beki above which
rests the melon shaped fluted disc or
“amal-sila” and crowned with “kalasa”.
The deep fluted ribs and miniature
replicas of the Deul, add to the
verticality of the soaring sikhara which
dominates over all the 65 temples.

The outer surface is exuberantly carved with gods,
goddesses, nymphs.
A Shiva Linga 3m high and 2.5m in diameter is installed
in garba-griha.
The “Jagamohan” is 22m long and 17m wide, with its
lower storey “bada”, rising to a height of 10m and its
“pida” a pyramidal tower attaining a height of 30 from
the ground.
The Nat mandir and Bhog mandir are of smaller sizes but
are of the same style.
In the courtyard there are temples of Parvati, Ganesh,
Kartikeya, Balraj, Subhadra and Krishna.

In the 11th century, Lingaraj Temple was built by the King
Jajati Keshari, who belonged to Soma Vansh. It is thought
that when the King shifted his capital from Jaipur to
Bhubaneshwar, he started the construction of Lingaraj
Temple.
However, there are many parts that are acknowledged to
date back the 6th century
Actually, the temple is divided into four parts, the Garbh
Griha, the Yajna Shala, the Bhoga Mandap and the Natya
Shala respectively. In the Garbh Griha (Sanctum Sanctorum),
the lingam of Lord Shiva is regarded as 'Swayambhu' (Self-
originated) and it is worshipped as both Lord Shiva and
Lord Vishnu.
On the main entrance, one can see a trident (Lord Shiva)
and Chakra (Lord Vishnu) on the either side of the door. The
concord of the two sects can be seen here, where the deity
is worshipped as Hari-Hara. The term 'Hari' refers to Lord
Vishnu and 'Hara' refers to Lord Shiva.
MAIN SHRINE

TEMPLE LAYOUT
The Lingaraja temple conforms to the building principles of the
Kalinga School of Architecture, and is built along the Bindu Saras
lake.
Legend has it that Lord Shiva created the lake to quench the
thirst of Parvati.
Sprawled over 25,000 sq. ft, the Lingaraja temple and its 100
subsidiary shrines are enclosed by high walls, with a main
entrance on the east, and secondary gates on the North and
South.
Laid out on the panchratha plan with five divisions to the temple
and five richly engraved mouldings, the temple is acclaimed for
its ornamental carvings and fine workmanship.

The 54 metre high Sri Mandir and 29m high
pyramid of the "jagamohana" are richly
adorned with carvings.
The bhoga mandap and the natya mandir
have similarly engraved shafts supporting their
heavy roofs.
BHOGA MANDAPAM

The "lingam", measuring 2.5 metres wide is one of the 12
jyotirlingas in India, and is revered as Hari-Hara, the
embodiment of Vishnu and Shiva.
The Parvati temple in the north-east corner carries
exceptionally beautiful carvings, and continues with the 13th
century tradition of serving meals to 51 priests and 51
underprivileged persons everyday.

Erected in red sandstone, Lingraj Temple has the stone of the
darkest shade.
All the shrines are safe under the kind fortification made by
the massive walls that are carved beautifully with sculptures.
One can enter the temple complex through 'Simha Dwara'
(the Lion's Gate), where lions flank both the sides, crushing
elephants under their feet.
An optical effect is produced with the deep cut warped lines
that run perpendicularly on the spire. Due to this, the temple
looks much larger than what actually it is.
Moreover, the spire of the temple has diminutive replicas of
itself in the steeples that are incorporated perfectly in the
entire structure of the temple.

INTRODUCTION
Located on the shoreline, now a little over 3 km from the sea, the temple takes the
form of the chariot of Surya (Arka), the sun god, and is heavily decorated with
stone carving.
The entire complex was designed in the form of the god's huge chariot drawn by
seven spirited horses on twelve pairs of exquisitely decorated wheels at its base.
The huge wheels carved at the base of the temple are one of the major attractions.
The spokes of the wheels serve as sun dials and the shadows cast by these can give
the precise time of the day.
The Sun Temple, built in the thirteenth century.

The pyramidical roof soars over 30m in height. The temple complex also contains
erotic sculptures similar to the temple in Khajuraho.
Konark Sun Temple Chariot Wheel
The entrance is guarded by two giant lions, which are each shown crushing a war
elephant.
Each elephant in turn lies on top of a human body. The temple symbolizes the
majestic stride of the Sun god.
At the entrance of the temple is a Nat Mandir. This is where the temple dancers
used to perform dances in homage to the Sun god.
All around the temple, there are various floral and geometric patterns.
The temple is now partly in ruins, and a collection of its sculptures is housed in the
Sun Temple Museum, which is run by the Archaeological Survey of India.

Majestic in conception, this temple is one of the most sublime monuments of India,
famous as much for its imposing dimensions and faultless proportions as for the
harmonious integration of architectural grandeur with plastic allegiance.
Every inch of the temple is covered with sculpture of an unsurpassed beauty and grace,
in tableaux and freestanding pieces ranging from the monumental to the miniature.
The subject matter is fascinating. Thousands of images include deities, celestial and
human musicians, dancers, lovers, and myriad scenes of courtly life, ranging from hunts
and military battles to the pleasures of courtly relaxation.
These are interspersed with birds, animals (close to two thousand charming and lively
elephants march around the base of the main temple alone), mythological creatures,
and a wealth of intricate botanical and geometrical decorative designs.
The famous jewel-like quality of Orissan art is evident throughout, as is a very human
perspective which makes the sculpture extremely accessible.

The Sun temple belongs to the Kalinga school of Indian temples with characteristic
curvilinear towers mounted by cupolas.
In shape, the temple did not make any major departure from other sikhara temples of
Orissa.
The main sanctum which (229 ft. high) was constructed along with the audience hall
(128 ft. high) having elaborate external projections.
The main sanctum which enshrined the presiding deity has fallen off.
The Audience Hall survives in its entirely, but only small portions of the Dancing Hall
(Nat Mandir) and the Dining Hall (Bhoga-Mandap) have survived the vagaries of time.
The Temple compound measures 857 ft (261 m) by 540 ft (160 m).
The alignment of the Sun Temple is on the east-west direction.
The Temple is located in natural surroundings, abounding with casuarina plantations
and other types of trees such as mahogany, rosewood, eel which grow on sandy soil.

Temples of Gujarat
Gujarat made rapid progress under able rulers of the solanki dynasty, a saivaite line.
They also expanded their rule over Kuch Kathewad with capital at Patana, north-west of
Ahmedabad.
Many splendid temples constructed were destroyed by the Muslim conquerors to provide
materials for their mosques.
Characteristic Features of Gujarat Group Temples
The temple is laid on usual plan ie, the cella, a mantapa, and a sabha-mantap with two
or three storeys.
In the exterior, the elegantly carved pillars are arranged forming an octagonal nave in
the centre of a main hall.
The interiors are profusely sculptured. The “sabha-mantap” leads to “gudha-mantap” and
finally the mysterious deeply shadowed sanctum in the end, with a Sikhara at top, e.g.
Temple of Surya at Modhera; Temple of Somnath .

The Somnath Temple located in the Prabhas Kshetra near Veraval in Saurashtra,
on the western coast of Gujarat, India, is one of the twelve Jyotirlinga shrines of
the God Shiva.
Somnath means "The Protector of (the) Moon God".
Study of history reveals that the Somnath Temple was invaded by the different
conquerors who came to India whereby some looted its wealth and others
destroyed some parts of it.
The Somnath Temple is known as "the Shrine Eternal", having been destroyed six
times and rebuilt six times.

Legend goes that the Moon God - Chandra or Soma - was married to the 27
daughters of King Daksha. However he favoured only one queen Rohini, over his 26
other wives which enraged his father-in-law. Further, he became arrogant of his
radiant beauty.
So, Daksha cursed him that he'd lose his beauty and radiance and wane into
darkness. A scared and repentant Soma then prayed to Lord Shiva for deliverance
from this curse at the Jyotirlinga, after which he was blessed by Shiva to regain his
radiance every time it was lost. So the Moon would wane, but then grow and shine
again, in an eternal cycle.
As Shiva 'protected' Soma, he came to be known as Somnath & the temple that the
Moon originally built in respect and as a tribute to the benevolence of Shiva, the
Somnath Temple.
It's said that,
Soma the moon God, built the first temple in gold,
Ravana in silver,
Krishna in sandal-wood and
king Bhimdev of Gujarat in stone.

Most recently it was rebuilt in November 1947, when Sardar Vallabhbhai Patel visited
the area for the integration of Junagadh and mooted a plan for restoration
.
The other names of this famous Somnath Temple are
Deo Pattan,
Prabhas Pattan, or Somnath Pattan.
In the past, the Somnath Temple was known as the treasure trove of wealth and
goodies, that were looted away by Muslim rulers.
It was believed that the Somnath Temple or Somnath Pattan was popular even in
the ancient times. Revenues were collected from 10,000 villages to maintain the
Somnath Temple. The temple was visited by the people from all parts of the country
even in the ancient times.

This temple consists of
Garbhgruh,
Nrityamandap,
Sabhamandap
and there is also a 150 feet high Sikhara, the top of which has a Kalash that is said to weight
10 tons.
The tristhamba or the arrow on the abadhit samudra marg is said to point to the direct sea
route to the south pole.
Being an indicator of ancient geography by the Indian wisdom, the nearest land near South
Pole shown by this direction is about 9936 kms.
It is in here in somnath temple Gujarat that the Hari Har Tirthdham is located and this is
said to be the holy grounds for bhagvan Shri Krishna’s Neejdham Prasthan Leela.
This was the place exactly where Bhagvan Shri Krishna was pierced by an arrow of a hunter
whose name was Bhalka Tirtha.

The present temple is built in the Chalukya style of
temple architecture or Kailash Mahameru Prasad
Style and reflects the skill of the Sompura Salats,
Gujarat's master masons.
The temple is situated at such a place that there is
no land in straight-line between Somnath seashore
till Antarctica, such an inscription in Sanskrit is
found on the Arrow-Pillar called Baan-Stambh
erected on the sea-protection wall at the Somnath
Temple.
This Baan-Stambh mentions that it stands at a
point on the Indian landmass, which happens to be
the first point on land in the north to the south-
pole on that particular longitude.
ARROW PILLAR
ARCHITECTURE

The Sun Temple, Modhera, at Modhera in Gujarat, is a temple dedicated to the
Hindu Sun-God, Surya.
It was built in 1026 AD by King Bhimdev of the Solanki dynasty.
Other Sun Temples in India are as follows:
•At Konark in Orissa,
•At Martand in Jammu and Kashmir
•Near Almora in Uttarakhand at Gaya, Bihar,
•The Dakshinaarka temple,
•The Bhramanya Dev Temple at Unao in Madhya Pradesh,
•Sun Temple at Surya Pahar in Assam,
•Suryanaar Temple at Kumbhakonam in Tamilnadu,
•Suryanarayanaswamy temple at Arasavilli in Andhra Pradesh,
The Modhera sun temple is situated on the bank of the river Pushpavati, 25 km from
Mehsana and 102 km from Ahmedabad
INTRODUCTION

HISTORY
According to the Skanda Purana and Brahma Purana, the areas near Modhera were
known during ancient days as Dharmaranya (literally meaning the forest of
righteousness).
According to these Puranas, Lord Rama, after defeating Ravana, asked sage Vasistha to
show him a place of pilgrimage where he could go and purify himself from the sin of
Brahma-hatya (the sin of killing a Brahmin, because Ravana was a Brahmin by birth).
Sage Vasistha showed him Dharmaranya, which was near the modern town of Modhera.
In the Dharmaranya, he settled at a village Modherak and performed a yagna there.
Thereafter he established a village and named it Sitapur. This village is about 15 km from
Becharaji Modherak village and it subsequently came to be known as Modhera.
The Sun Temple was built by Rushabh Bhimdev I of Solanki Dynasty in AD 1026

This was the time when Somnath and the adjoining area was plundered by
Mahmud Ghazni and reeled under the effects of his invasion.
The Solankis, however, regained much of their lost power and splendour.
Anahilvad Patan, the Solanki capital, was restored to glory. Royalty and traders
jointly contributed to build grand temples.
Solankis were considered to be Suryavanshis, or descendants of Sun god.
The temple was so designed that the first rays of the sun fell on the image of Surya,
the Sun God, at the time equinoxes.
The temple is partially in ruins after it was also finally destroyed by the Allauddin
Khilji.
However, enough has remained of the temple to convey its grandeur.

The Sun temple is of a unique architecture of its own kind.
The temple comprises three separate but axially-aligned and integrated elements.
Surya Kund, which is an intricately carved, stepped tank named after Sun god
Surya.
Sabha Mandap, which is a hall used for religious gatherings and conferences.
Guda Mandap, i.e. sanctum sanctorum, which once housed the idol of Sun God.
ARCHITECTURE

This Suryakunda also known as Ramakunda is a large rectangular stepped tank
measuring 53.6 x 36.6 meters under the east face of sabhamandap used to store
pure water.
Devotees were required to perform ceremonial ablutions here before worshiping
the Sun God.
The Suryakund is finest example of geometry.
The organization of stone into composition gives shape to a dazzling pattern of art.
It is proportioned with innumerable stone steps leading devotees down to its base.
108 miniature shrines are carved in between the steps inside the tank. Also number
108 considered to be auspicious by Hindus as hindu rosary has same number of
beads.
SURYA KUND

SABHA MANDAP
This hall of religious gatherings is a magnificent pillared hall.
It is open from all sides and has 52 intricately carved pillars representing 52
weeks in a year.
The carvings depict various episodes from the Hindu epics of Ramayan,
Mahabharat and Krishna Lila (i.e. story of lord Krishna).
Between the Sabha Mandapa and the sanctum sanctorum is a beautiful hall
with pillars and arches, whose facade has been renovated and partially
redone, and the walls have 12 niches showing the different aspects of the Sun
God in each month.

SANCTUM SANCTORUM
This is called the main temple or the sanctum sanctorum of the temple.
Lotus opens with sunrise and closes itself with sunset. Hence, it is considered to be
sun's flower.
The entire temple is therefore based on an inverted lotus-base plinth. It was
designed such that the rays of the rising and setting sun on the day of equinox
(length of day and night is nearly equal - 20 March and 21 September
generally), fell on the bejeweled pure gold idol of Sun riding on his chariot
driven by Saarthi Arun.
Sun's chariot has 7 horses and Saarthi Arun sits on the 4th horse.

The entire idol made of gold (including the charioteer, chariot and horses) was placed
on a pit that was 15 feet deep and filled with gold coins.
It was built by the Solankis in honour of their ancestral God.
It was plundered by Mahmud Gazni.
EXTERIOR
The exterior of the temple walls has
12 different postures of Adityas -
Sun God along with eight Dikpals,
Lord Vishwakarma - who constructed
Golden Dwarka city for Shri Krishna,
Varundev - God of rain, Agnidev -
God of Fire, Ganesh - God for
starting, Mata Saraswati - Goddess
of Education & Wisdom. Also seen
Samundramanthan.

Erotic sculptures
All important religious sects of India like Hinduism, Buddhism, and Jainism have
presented erotic motifs in their art. In the days when temple was built, sex was neither
suppressed nor moralized. It was seen as an act that brought about fertility. Hence at
this temple a most profound depiction of sexual iconography is displayed, at the
exterior walls of the main temple itself.

The Jain Dilwara temples of India are located about 2½ kilometers from Mount Abu,
Rajasthan's only hill station.
These temples built by Chalukya between the 11th and 13th centuries AD are world
famous for their stunning use of marble.
The five legendary marble temples of Dilwara are a sacred pilgrimage place of the Jains.
Some consider them to be one of the most beautiful Jain pilgrimage sites in the world.
The marble temples have an opulent entranceway, the simplicity in architecture reflecting
Jain values like honesty and frugality.
The temples are in the midst of a range of forested hills. A high wall shrouds the temple
complex.
Although the Jains built some beautiful temples at other places in Rajasthan, some
believe that none come close to these in terms of architectural perfection
INTRODUCTION

The ornamental detail spreading over the minutely carved ceilings, doorways, pillars
and panels is simply marvellous.
For the people who come to perform puja here, there are facilities to bathe and get
ready.

PLAN
1st Jain Tirthankara
22nd Jain Tirthankara
23rd Jain Tirthankara

Five Unique Temples of Dilwara
There are 5 temples in all, each with its own unique identity. Each is named after the
small village in which it is located. These are:
Vimal Vasahi, dedicated to the first Jain Tirthankara, Rishabha.
Luna Vasahi, dedicated to the 22nd Jain Tirthankara, Neminatha.
Pithalhar, dedicated to the first Jain Tirthankar, Rishabha
Khartar Vasahi, dedicated to the 23rd Jain Tirthankara, Parshva.
Mahavir Swami, dedicated to the last Jain Tirthankara, Mahavira.
The most famous of these are the Vimal Vasahi and Luna Vasahi temples.

Vimal Vasahi Temple
This temple carved entirely out of white marble was built in 1021 by Vimal Shah, a
minister of Bhimidev I, the Chalukya King (Solanki Maharaja) of Gujarat.
The temple is dedicated to Rishabha.
The temple stands in an open courtyard surrounded by a corridor, which has numerous cells
containing smaller idols of the Tirthankaras.
The richly carved corridors, pillars, arches, and 'mandaps' or porticoes of the temple are
simply amazing.
The ceilings feature engraved designs of lotus-buds, petals, flowers and scenes from Jain
and Hindu mythology.
The Rang manda is a grand hall supported by 12 decorated pillars and nicely carved out
arches with a breathtaking central dome.
On the pillars are carved female figurines playing musical instruments and 16 Vidhyadevis,
or the goddesses of knowledge, each one holding her own symbol which is believed to be
memorial of victorious Brahma Kumaris follower from last Kalpa.

The Navchowki is a collection of nine rectangular ceilings, each one containing
beautiful carvings of different designs supported on ornate pillars.
The Gudh mandap is a simple hall once you step inside its heavily decorated
doorway.
Installed here is the idol of Adi Nath or Lord Rishabdev, as he is also known. The
mandap is meant for Aarti to the deity.
The Hastishala (Elephant Cell) was constructed by Prithvipal, a descendant of Vimal
Shah in 1147-49 and features a row of elephants in sculpture.

Luna Vasahi
The Luna Vashi temple is dedicated to Neminath.
This magnificent temple was built in 1230 by two Porwad brothers - Vastupal and
Tejpal - both ministers of a Virdhaval, the Vaghela ruler of Gujarat.
The temple built in memory of their late brother Luna was designed after the Vimal
Vashi temple.
The main hall or Rang mandap features a central dome from which hangs a big
ornamental pendent featuring elaborate carving. Arranged in a circular band are 72
figures of Tirthankars in sitting posture and just below this band are 360 small figures
of Jain monks in another circular band.
The Navchowki features some of the most magnificent and delicate marble stone
cutting work of the temple. Each of the nine ceilings here seems to exceed the others
in beauty and grace.

The Gudh mandap features a black marble idol of the 22nd Jain Tirthankar
Neminatha.
The Kirthi Stambha is a big black stone pillar that stands on the left side of the
temple.
The pillar was constructed by Maharana Kumbha of Mewar. The remaining three
temples of Dilwara are smaller but just as elegant as the other two.

The Hathishala or elephant cell features 10 beautiful marble elephants neatly
polished and realistically modelled.

This temple was built by Bhama Shah kavdia [Rajasthan].
A massive metal statue of first Jain Tirthankara Rishabha Dev (Adinath), cast in five
metals, is installed in the temple.
The main metal used in this statue is 'Pital' (brass), hence the name 'Pittalhar'.
The Shrine consists of a main
Garbhagriha,
Gudh mandap and
Navchowki.
It seems that the construction of Rangmandap and the corridor was left unfinished.
The old mutilated idol was replaced and installed in 1468-69 AD weighing 108
maunds (about 40 quintals or four metric tons) according to the inscription on it.
The image was cast by an artist 'Deta' which is 8 ft (2.4 m). high, 5.5 ft (1.7 m). broad
and the figure is 41 inches (1,000 mm) in height. In Gudh Mandap on one side, a big
marble Panch-Tirthi sculpture of Adinath is installed.
Pittalhar Temple

This temple, dedicated to Parshva, was
built by Mandlik and his family in 1458-59.
It consists of a three storied building, the
tallest of all the shrines at Dilwara.
On all the four faces of the sanctum on the
ground floor are four big mandaps.
The outer walls of the sanctum comprise
beautiful sculptures in gray sandstone,
depicting Dikpals, Vidhyadevis, Yakshinis,
Shalabhanjikas and other decorative
sculptures comparable to the ones in
Khajuraho and Konarak
Parshvanatha Temple

Mahavir Swami Temple
This is a small structure constructed in 1582 and dedicated to Mahavira.
There are pictures on the upper walls of the porch painted in 1764 by the artists of
Sirohi.

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Khajuraho Group of Temples

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Khajuraho Group Temples
The temples of Khajuraho are situated about 160km south-east of Jhansi.
There were more than 85 temples but now remain about 30 in numbers occupying an area of 2.5
sq.km
The temples were built with sandstone of soft black colour during the reign of Chandella Rajput
dynasty of Bundelkhand.
The Chandella emblem “Leogryphs” is one of the finest masterpiece in architecture.
The founder of this dynasty was Nannuka. The dynamic rules of Chandellas were prolific builders
who have left behind a legacy in stone.
The few rulers in the beginning were worshippers of Vishnu but the latter kings worshipped Shiva.
Temples dedicated to both these gods were built at Khajuraho, such as
Kandariya Mahadev Temple,
Shiva Temple of Viswanath,
Vishnu Temple of Chaturbhuj,
Varaha,
Matangeswara,
Chausat Yogini, Parvati, Nanadi,
Chitragupta, Laxman, Parswanath and Dulhadev Temples etc.

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Characteristic Features of Khajuraho Group Temples
The temples have a definitely individual character.
The plan of the temple is of Latin Cross, the longest side lying on east-west axis the entrance being
on the east.
The temple is divided into three main parts (i) Cella or Garba-griha (ii) an assembly hall or Mantapa
(iii) an entrance portico or ardha mantapa.
A vestibule or “antrala” is also sometimes added to cella and transcept on each side of the main
hall or mahamantapa, with ambulatory passage around the outside of the ‘garba-griha’ or womb-
house.
Over the high basement, the compartments are constructed with projections on the outer walls
and interrupted by balconied windows which admit light into the exterior

I
N
D
O
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A
R
Y
A
N
The temple has three separate edifices. The smallest is over the portico, then next higher over the
mantapa and the tallest one over the garba-graha.
The temple sikhara (Urusringa) has an ascending parabolic outline rising up in the graceful sweep and
characterized with superimposed miniature urusringa on urusringa on all the four sides.
The exterior unlike the interior is richly sculptured with figures of enchanting grace and loveliness.
Woman is the main figure who is shown on temple walls, lintels and reclining against pillars in her
myriad moods.
The Khajuraho temples have attained universal fame on account of their erotic sculptures.
They however depict the sublime theme of the life showing man-woman relationship.
These erotic scenes also give a warning to the devotee
to cast off his sensual desires before entering the
sanctuary.
The original inspiration later gave way to un-natural
and obscene scenes.
Characteristic Features of Khajuraho Group Temples

Kandariya Mahadeo
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D
O
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R
Y
A
N

Parsvanatha Temple
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N
D
O
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A
R
Y
A
N
Chitragupta Temple

Vishwanatha Temple
Lakshmana Temple
Matangeshwara Temple
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N
D
O
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A
R
Y
A
N

NORTH INDIAN TEMPLE ARCHITECTURE

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