One of the most famous sites of the nagara style of Hindu architecture is to be found at Khajuraho, 109 miles from jhansi. Of the 85 temples built there between 950-1050, about twenty remain. They were discovered in the jungle in 1840 by the British but restoration work began only in the early part of the 20th century. The templeswere built by the Chandella kings, formerly known as Chartdrateyas, descendants of Chandrama, god of the moon. The dynasty reached its peak with Dhanga (950-1008) and continued until 1202 when the Moslems began their first incursions into India and undermined the dynasty's power. This was a prelude to annexation by the sultanate of Delhi in 1310.
The temples of Khajuraho are a splendid synthesis of architecture and sculpture, usually in sandstone. They are spread across an open area with no enclosing walls and stand on large platforms often also supporting four small corner temples. They are characterised by a high plinth with elaborate mouldings which emphasises the vertical sweep.
The ground plan of the more elaborate temples like Kandariyamahadeva and Vishvanatha is based on the shape of a cross with the major axis being east-west and with a double transept. The ardhamandapa (entrance porch facing east) is decorated with a tomna and runs into the hypostyle mandapa onto which the mahamandapa opens; the mahamandapa is an ornamented area with four central pillars that support a domed ceiling whose transept is formed by two balconied sections. The antarata (hall) is positioned before the garbha-griha (inner sanctum) which one enters via a chandrashila (a half-moon step). The pradakshinapatha (ambulatory which surrounds the inner sanctum) extends on three sides with an equal number of overhanging balconies so creating a second transept. Single statues or groups of statues stand in niches in the external walls delimited by architectural elements and separated by embellishments. The ogival shikhara (covering) is enlivened by a series of miniatures of itself, angasbikharas or urushringas, which wrap around the main structure. Placed on the shikhara is the amalaka (the flat, grooved cushion resemling the fruit of the myrobalan) itself topped by the kalasha (the pinnacle in the shape of a water vase). The incredible profusion of decoration transforms the temple into a work of sculpture: festive processions, military parades, groups of ascetics and warriors, gods and their attendants, lovers, heavenly nymphs - surasundaris (the most beautiful] or alasakanyas (reclining girls) - mythical animals such as shardulas and vyalas (gryphons), intertwining plants and geometrical motifs follow one after the other in a palpitating tangle of life.
"me site of Khajuraho is divided into two sections, the most important being the western area with the following temples: Varaha, Lakshmana, Kandariyamahadeva, Mahadeva, Devi Jagadamba, Chitragupta, Parvati, Vishvanatha and the temple of the Sixty Four Yogis.
The most magnificent temple is the Kandariyamahadeva with its 101-foot shiWrara. It was perhaps built between 101 7-1029 and is dedicated to Shiva. The temple is divided into ardhamandapa, mandapa, ontarata, garbha-griha and pradakshinapatha but originally had four other sanctuaries at the corners of the platform. The torana at the entrance to the ardhamandapa, the ceilings of the mandapa and the columns and cornice of the door to the garbha-griha (where a marble Knga stands) are decorated with elegant engravings. Also decorated with 650 statues, this temple is considered the masterpiece of the Chandella artists.
The ruins of the temples of Mahadeva and Devi Jagadamba (1002-1017) stand on the same platform as Kandariyamahadeva. Devi |agadamba temple was not originally dedicated to Kali, goddess of the world and one of the forms of Shiva's consort, as it is today, but to Vishnu as shown by the image engraved on the entrance.
Not far from Devi jagadarnba temple stands the temple of Chitragupta dedicated to Surya, god of the sun, whose figure has stood in the tabernacle since it was erected 1000 years ago. The processions of elephants and horsemen and the scenes of battle, hunting, dancing and love are all remarkable. The temple of Vishvanatha built in 1002 and dedicated to Shiva shares the double transept plan of Kandariyamahadeva. Three female figures decorate the building, a nymph playing a flute with her back to the spectator, a nymph cradling a baby and another with a parrot on her wrist. The Nandi pavilion opposite the main entrance contains one of the most beautiful and largest figures of Shiva's spouse. To the south-west of Visvanatha is the small temple of Parvati dedicated to the best-known manifestation of Shiva's bride.
The temple of Lakshmana was begun by Lakshmanavarman and finished in 954 by his son Dhanga. Four corner sanctuaries frame the central construction built to house the image of Vishnu-Vaikuntha with three heads, the centre one human and the other two (both avatars of the god) of a lion and a boar.
The friezes, the statuary groups, the lovers and other decorative elements are magnificently carved.
An enormous representation of Varaha, the 'boar', stands near the 1 st small temple of Varaha. It was inthe guise of a boar that Vishnu saved the Earth goddess held prisoner in the depths of the ocean.
The temple of the Chaunsath Yogini is unique in its structure and in its material; it was built in granite around the end of the 11th century. The temple is dedicated to the '64 yogis', the divine ascetics with esoteric powers that assist Devi, one of the forms of Shiva's bride. The wide courtyard is surrounded by 64 bare cells that form a wing to the Goddess's small sanctuary.
Various temples make up the eastern and southern sections of the site: those of Brahma, Vamana, )avari, Duladeo and Chaturbhuja, of which the latter two boast statuary groups.
Jain temples stand to the south of Khajuraho. The |ains were an ascetic group founded by Mahariva, also known as Jina (the Victor), in the 6th century BC. The most important is the Parsvanatha temple enclosed by a wall and topped by a shikhara of perfect proportions ringed by urushr/npos. Its rich decorations divided into three friezes do not include erotic motifs like those of Khajuraho, due to the ascetic doctrine of Jainism. The Chantai temple, built in 1148, is given that name for the chain pattern of sculpted bells on the pillars; it is also famous for its ceiling decoration.
Many examples of the rich sculptural style of the Chandella dynasty have been collected in the Museum of Khajuraho and the vast range of Hindu deities and holy characters to be found in Buddhism and Jainism demonstrates the openness and farsightedness of the local sovereigns.
Another wonderful example of nagara architecture is found about 45 miles from Sanchi at Udaipur. This is the temple of Udayeswar, also known as Nilakantheswar, the "Lord of the blue throat": Shiva who burned his throat when breathing in a terrible miasma threatening to destroy the universe. Built by Udayaditya of the Paramara dynasty in 1059, the temple is composed of a mandopa with three entrance porches, a hall and an inner sanctum. The well-proportioned shikhara has seven storeys and its slender ogival shape is emphasised by three vertical bands interrupting the horizontal lines of the friezes. A splendid dancing Shiva dominates the decorative tablet on the elaborate shukanasa (overhanging projection of the shikhara towards the roof of the mandapd). Three other temples dedicated to Shiva by the leaders of the Chedi dynasty (895-1150) can be seen in Madhya Pradesh - at Chanderi, Sohagpur and Curgi - which have many stylistic affinities with the temples at Khajuraho.

The temples of Khajuraho are known above all for the prolusion of erotic scenes that adorn them. The surasundoris (beautiful nymphs shown reclining and also called alosakanyas) are the pictorial definition of voluptuousness with the soft curvature of their arms and legs, their full bodies, heavy breasts and rounded ankles. The deep meaning of their existence is however hidden behind their immobile faces. And if the presence of the divine girls is intriguing, what is to be made of the complicated moithuna (representations of sexual union) that often involve several people and sometimes animals?
Among the many attempts made to justify the eroticism that often borders on obscenity, the least convincing is the one that sees the maithuna as an allegory of the\ relationship between Cod and souls. Neither does recourse to the "Kamasutra" (Treatise on the Art of Loving) written by Vatsyayana between the 3rd-5th century AD seem plausible. Not even the "Kamasutra" describes the orgiastic unions or the episodes wjth animals shown on the walls, and the few mentions made are in disapproving terms.
The influence of Tantrism - a current of I thought that sees the most powerful primordial impulse in the eras and uses it as a means of asceticism, including using the maithuna as a cardinal element in rituals - does not seem sufficient to explain the iconographic scenes at Khajuraho where it seems possible the Tantric sect of Kapalika was pre-eminent. One of the characteristics of Tantrism is in fact secrecy, so much so that the texts are written in a deliberately ambiguous manner and the rites are known only to initiates. The open pictorial description of sexual practices would seem to be in contrast withTantric customs unless the theory that says that the crudely erotic scenes hide a subtle meaning understood only by adepts is valid. It also seems tortuous reasoning that the most extreme scenes were included by the constructors of the temple just to ridicule Tantric practices.
The popular tradition sees the moithuna as a sort of charm to ward off the evil eye and thunderbolts or as a means to test the spirituality of the devotees who were supposed to remain impassive before the carnal scenes.
One of the most credible explanations put forward is by D. Desai who sees an ancient magic-shamanic heritage in the eroticism and obscenity of Khajuraho in which the sexual rites foster fertility while at the same time acting as protection against evil and negative forces. The positive and protective aspect of the obscenity can be seen in the carnival festivals at the end of winter and the beginning of spring: Holi, a festival that has been celebrated in India from time immemorial to the present day, includes just these traits.
On the other hand, mithuna (pictures showing an amorous couple though not during lovemaking) are part of an ancient tradition and appear on the first Buddhist constructions. It was, however, in the 1 Oth century that the maithuna (sexual union) motif was widely used in the decoration of holy buildings, either due to the influence of Tantrism or perhaps following the transformation of the temple into a royal court. This was how the rajas lived, surrounded by courtesans and dedicated to every pleasure, and how the god in his temple was attended to by the devadasis (handmaidens of the gods) who were dancers and experts in erotic love. Both court and temple protocols included sexual practices in which ritual union of the sovereign or the priest with the devadasis was aimed at fostering the fertility of the kingdom and the favours of the gods.
There is no doubt that degeneracy was indulged in, particularly when Tantrism was adopted by the nobles and kings, not as a path to spiritual elevation, but for reasons of pleasure and, above all, - given the relationship of sex with alchemy and magic - as a tool to obtain strength and health, if not longevity or immortality.
Whatever the explanation may be, the main erotic motif at Khajuraho is that of the ascetic with either the courtesan or the expert girl initiate; this celebrates the power acquired by the ascetic from chastity and then liberated through sex, so resetting the balance that extreme asceticism would have risked compromising. There are many myths of ascetics made over-powerful and arrogant by chastity to whom the gods, scared of losing their sway, send surasuncluia, ikilful temptresses who nearly always succeed in their purpose.
As has been shown, there are diverse interpretations of the erotic scenes: ancient orgiastic rites of fertility; the magical and protective function of sex and obscenity, above all where the orgy scenes appear on the weakest parts of the temple, for example, the walls of intersection between the various parts of the building, the celebration of ascetic and sexual power; 'publicity' For the devadasis and the temple; hidden meanings for initiates behind the gross forms of sexuality; and representation of the force of existence, particularly in temples dedicated to the sun where the erotic ritual reproduced the solar function of dispensing life.