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Khajuraho - the temple architecture

Khajuraho

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Khajuraho

Khajuraho - the temple architecture

In terms of architecture Khajuraho temples form the high peak of the north Indian 'nagara' style. The Nagara style main feature is the shikhara the central tower directly over the temple's primary deity. Besides the main shikhara often a cluster of smaller, subsidiary towers (urushringa) and intermediate towers are over the temple rooms.
The temple are erected on a high platform (jagati) with the Panchayatana layout. a Panchayatana temple has four subordinate shrines with the main shrine in the center.
A basement (Adhishsthana) with mouldings and fiezes supports the various rooms that with their shikharas gradually rise along one axis eastwest oriented. The romms are called: Ardhamandap entrance porch, Mandap, assembly hall, Antaral vestibule and Garbha Griha, the central room where the main god is placed. The bigger temples have balconies added to the mandapa is such a case it is called Maha Mandap.

Khajuraho

Lakshmana temple the frieze of the temple base

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Sanskrit words Garbha Griha refers to the ‘dead’ center of the temple, where the dead body was buried. Initially this was a tomb, then it became a relic mound. Smaller temples may only have a small shrine room at the back end, larger temples often have a processional pathway (ambulatory) around the central shrine, via which devotees can circle around the deity (always clockwise).

Khajuraho

erotic scenes on the south side of the Lakshmana temple

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Sculpture
Khajuraho temple are obviously famous for the erotic figures, but these are only a small percentage of the many beautiful figures of soft sand stones adorning the temple walls and interiors. These are:
Cult images of Gods in their canonical representations with their vehicles (Vahana) and attendant divinities (avarana devata). Vishnu in his Varaha, boar incarnation with the boar's iconography and anatomy. Gods figures includes the directional guardians Dikpalas (Dvarapalas)found around the four corners of many temples.
The most numerous figures are of heavenly maidens and nimphs (apsaras and sura-sundaris) shown in various graceful postures and common human moods.
Social and domestic scenes (mukha-maithuna the loving couple).
Mithycal animals like sardula (composite dragon), makara (crocodile).

Khajuraho

beautiful carving of the Parsvanatha temple with image of a sura-sundari

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Worship to anthropomorphic images of female divinities derive from the ancient Mother Goddess model that transformed into the lotus carrying female deity with heavy breasts and hips. Goddes of auspiciousness, bestowing good and prosperity but also 'Nagas', 'Gandharvas' and 'Kinnaras' as also 'Apsaras', 'Matsyakanyas', 'Nagakanyas' and others were admitted into Hindu Jainism and Buddhism pantheons.
With the emergence of sculpted temple, cult evolved a wide variety of imagery of celestial beings, divine and human, and a huge range of emotions, mainly the different aspects of love. The temple walls and friezes are now inhabited by gods, goddesses, mythical creatures, kings, queens, and common men engaged in love and other acts, mothers cuddling or feeding children, riders, devotees, battling warriors, bathing, dressing, and, adorning maids, loving couples seated close-by, embracing, or in union, porters, musicians and hundreds others.

Khajuraho

the Vamana temple

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Erotic sculpures
The Vedic Brahmanism, Shaivism and Vaishnavism, favoured family life and deified love in the Divine Couple, the Eternal Lovers and in the marriage of Shiva and Parvati.

Khajuraho

the beautiful carvings of the Parsvanatha temple

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The xi c. sculptures of Khajuraho temples and Indian visual art tradition perceived the temple as the representation of the cosmos, the material manifestation that enshrines the Formless Supreme within sanctum sanctorum, while the outer walls of the temple are reflection of Shakti, God's active power, the enlivening energy generated by union and interaction of male, purusha, and female, prakriti, only through the application of prakriti that purusha can be activated and released into the world. It is only through the great goddess intervention that the god of destruction now use his powers to maintain the universe the happiness of Shiva and Parvati reverberates throughout the universe, ushering in an age of peace and prosperity.

Khajuraho

carvings of the Lakshmana temple

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The presence of graphic representations of sexual scenes and the abundance of sculptures of celestial beauties in the female form in Khajuraho temples remains an enigma.
Over the years Art historians have tried to seek a solution to the mystery of Khajuraho, a number of explanations and conjectures have been formulated for the presence of erotic sculptures at a religious centre, but no single theory, however, has been able to justify their profuse expression.
Perhaps we will never know.

Khajuraho

Vishvanatha temple, erotic sculptures

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