Caitlin Andrade

Caitlin Andrade

Grissel Gudino

Mark Deaver

Selda Yilmaz

Roneischa Henderson

Khajuraho Group of Monuments

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 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 6km2.

As, monuments of two distinct religions, Brahmanism 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 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 are 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.

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. But the east and south groups also comprise noteworthy complexes (the temples of Ghantai, Parshvanath, Adinath, Shantinath, Dulhadeo, Chaturbhuja).

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 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).

Greatly influenced by the Tantric school of thought, the Chandella 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 cannot achieve anything without 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. (from http://whc.unesco.org)

Erotic Art on the Khajuraho Temples – Exploring the Truth Behind

The Khajuraho temples are one of the seven wonders of India, second only to the incredible Taj Mahal. While the brilliant architecture and symmetry remains a point of amazement, theKhajurahotemples mainly in the limelight because of the incredibleerotic artand carvings. Although the erotic sculptures make for just 10% of the temples, the temples have become synonymous with love and erotica.

Erotic Art – Unraveling the Story Behind

There are many theories explaining the real reason for incorporatingerotic artwith the temples. One of the most popular theories is that they were meant to provide education about earthly desires. During the medieval era, young boys were sent to hermitage and practice bramhacharya till reaching maturity. The sculptures were meant to educate them about grahasthahram.

Yet another theory states that they were meant to represent kama (desire) as the third purushartha (aim of life). The sculptures are also accredited to the rise of the Tantric cults during that time. However, several experts reject these theories.

However, the most credible explanations for the erotic sculptures at Khajuraho are as follows:

1.  Sign of happiness, prosperity and auspiciousness:During the medieval era there was a common belief that having erotic sculptures were considered alankaras or decorative motifs, protective and auspicious. This hypothesis is based on the authoritative religious texts like the Shilpashastras and the Brihat Samhita. According to the Brihat Samhita, mithunas (couples), goblins, creepers and erotic sculptures were meant to be carved on the temple door to bring in good luck and as a sign of auspiciousness.

2.  Mock the Ascetics:Yet another theory explaining the old erotic art at Khajuraho states that the coital couples represent ascetics as well as people from the royal class. It is also believed that the sculptures of couples participating in the orgies are scenes imagined by the artists. Also, it is also said that the artists used ascetics in sensuous and passionate moods as a way to mock the extreme Tantric sects that rose during that era.

3.  Code Language:According to experts, the erotic figures were used as a code language to convey Tantric doctrines and non-communicable experiences. For e.g. A sculpture wherein a washerwoman clings to an ascetic may look erotic and sensuous for the layman. However, in the Tantric language, the washerwoman represents the Kundalini energy that has ascended up to the chakras i.e. the neck of the ascetic. Thus, the erotic sculptures have a deeper meaning related to the Tantric cult.

4.  Conceal the Magico-Propitiory Yantra:According to the architectural text of the Shilpa Prakasha, every temple must have a Kamakala Yantra strategically placed to protect it from evil spirits and natural calamities. However, the Yantra, which is basically a set of lines drawn symmetrically, must not be visible to the lay man. Thus, a few erotic sculptures with the head down posture were made corresponding to the lines of the Yantra and superimposed on it.

5.  Non-duality:It is possible that the erotic sculptures symbolically represent the union of two opposing forces or energies like, inhalation and exhalation, in a timeless state of non-duality.

The erotic art at Khajuraho is considered to be the pinnacle of love and passion. However, during the period between 900 – 1300 AD most Hindu, Jain and Buddhist temples across western and southern India comprised of erotic art.

However, at other temples, these sculptures were carved at the plinth level, below the eye level and thus did not get noticed. It is only at Khajuraho that these sculptures were so prominently displayed on the main wall of the temples. (from http://www.khajurahotemples.net)

Khajuraho Sculptures: Erotic Figures

The convention of depicting erotic figures was not a trend which began at Khajuraho. In fact, the depiction in Khajuraho was just a part of a larger tradition prevalent all over the country.

Several hypotheses attempt to explain the presence of sensual figures in religious art. One argument says that erotic figures represent kama (desire), the third purushartha (aim of life); another argument says that they were designed to test the spiritual strength of the Yogis. Yet another theory is that they were intended for sex education. Neither can be considered as authentic due to the variety in both; the sculptures, as well as their positioning.

Erotic symbolism occurs in the art of all three religious sects Hindu, Buddhist, and Jain and seems to have risen out a common substratum of beliefs and practices associated with fertility cults. Rites of fertility involved actual sexual practice or its symbolic representation. Fertility includes not only its primary purpose of procreation but also its wider connotations: the aversion of evil, death and misfortune, and the promotion of life, happiness prosperity and auspiciousness.

The auspicious and protective aspects of erotic figures have been recognized by the Shilpashastras and other authoritative texts on temple art. The Brihat Samhita of the mithunas (couples) should ‘decorate’ the temple door, along with creepers, ganas (goblins), and other auspicious and luck-bringing motifs. Erotic motifs were considered alankara, protective and auspicious (shubha, mangala) in function.

At Khajuraho, the architects assign erotic motifs to the following places: the door-jamb of the sanctum; the narathara or human activities row of the plinth; the row of the jagati or platform along with royal pastimes, battle scenes, and dancers; the recesses of the jangha; and niches of the superstructure. Couples are also placed round the images of Matrikas (Mothers) in the two Shiva temples which brings to mind a similar practice followed in the temples of Gujarat and Rajasthan. The Mothers were said to be appeased by the performance of the procreative act, or its substitution. The depiction of erotic figures is a substitute for the actual act.

It is not only the variety of erotic subjects centering around ascetics and aristocrats and their frequent and loud display that makes Khajuraho unique, but also their peculiar placement in the sculptural scheme of the temples. Erotic sculptures have been placed on the three major Hindu sandhara temples. This wall portion is actually the juncture of the big hall and the sanctum. Here, the architect seems to have employed puns, through a language called sandhya binasha. This is a code language used by esoteric religious practitioners and Tantric texts to conceal their doctrines from outsiders. This enigmatic language employs erotic terminology to convey non-communicable experiences, which cannot be expressed in ordinary language. For instance, when one reads: ‘A washerwoman, i.e. Dombi=Kundalini energy, has ascended to the chakra of the neck. Similarly, erotic figures on a temple wall could be metaphoric and might conceal a deeper symbolism. (from http://reference.indianetzone.com)