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Ellora is a World Heritage Site some 30 kms from the city of Aurangabad in Maharashtra, India.It is one of the largest rock-cut temple complexes in the world.There are over 100 caves built approximately between 6th century and 12th century A.D.34 of these caves are open to the public.Of these,17 are Hindu caves,12 are Buddhist and 5 are Jain caves.These caves contain sculptures of mythological tales and deities of these 3 religions.They were built by kings of the Rashtrakuta and Yadava dynasties.They are an example of the religious harmony which existed in Ancient India.
This photo is that of Kailashnath temple which is cave number 16 of the Ellora caves.This magnificent megalith carved from a single rock was probably built during the reign of the Rashtrakuta King Krishna I between 756 to 773 A.D.It shows traces of Pallava and Chalukya art which probably means that artists from these two powerful South Indian kingdoms were engaged to build this astounding work of art.
This freestanding multistoreyed temple is dedicated to Lord Shiva and is supposed to represent the mythical abode of Shiva - Mount Kailash.
It is notable for its vertical excavation which means work started from the top and moved downwards.Imagine the meticulous planning and execution that was involved because there was no scope of even a single mistake while carving a temple of this size and complexity from a single piece of rock.This during an age when there were no modern tools or implements!
This amazing temple was probably built within a period of 18 years and legend has it that some 200,000 tonnes of rock had to be removed to excavate it.It is 145 feet wide,195 feet long and over 100 feet high.Almost every inch contains intricate and beautiful sculptures from Hindu mythological tales and the epics Ramayana and Mahabharata.The most famous is that of the Demon King Ravana trying to lift Mount Kailash.
More images from this magnificent temple to follow.
The caves are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture, which dates from the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, which ruled much of Karnataka from the 6th to the 8th century. Badami is situated on the west bank of an artificial lake ringed by an earthen wall with stone steps; it is surrounded on the north and south by forts built in later times.
The Badami cave temples represent some of the earliest known examples of Hindu temples. UNESCO has described the designs of the Badami cave temples, and those in Aihole, as having transformed the Malaprabha River valley into a cradle of temple architecture that defined the components of later Hindu temples elsewhere in India.
The Badami cave temples are a complex of Hindu and Jain cave temples located in Badami, a town in the Bagalkot district in northern part of Karnataka, India. The caves are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture, which dates from the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, which ruled much of Karnataka from the 6th to the 8th century. Badami is situated on the west bank of a man-made lake ringed by an earthen wall with stone steps; it is surrounded on the north and south by forts built in later times.
The Badami cave temples represent some of the earliest known examples of Hindu temples in the Deccan region. They along with the temples in Aihole transformed the Malaprabha River valley into a cradle of temple architecture that influenced the components of later Hindu temples elsewhere in India. (Wikipedia)
The Kedareshwara Temple is a significant Hindu temple located in Balligavi, a small town in the Shimoga district of the Indian state of Karnataka. Balligavi is known for its rich historical and cultural heritage, and among its many ancient structures, the Kedareshwara Temple stands out for its intricate carvings and unique architecture.
The temple was built in the 11th century and is dedicated to Lord Shiva, one of the primary deities of the Hindu tradition. It is believed that the temple was built during the reign of the Western Chalukya dynasty by King Vijayaditya Satyasraya, who was a great patron of art and literature. The temple is constructed in the Hoysala style of architecture, which was popular in the region during the 11th and 12th centuries.
The Kedareshwara Temple is a perfect example of Hoysala architecture, which is characterized by its intricate carvings, ornate pillars, and sculpted figures. The temple is built on a raised platform and has a simple rectangular plan. The exterior walls of the temple are decorated with beautiful sculptures of gods and goddesses, mythical creatures, and floral patterns. The main entrance to the temple is a massive stone gateway with intricately carved sculptures.
Once inside the temple, one can see the magnificent sculptures of the various deities, including Lord Shiva, Lord Vishnu, and their consorts. The central sanctum is where the main deity, Lord Kedareshwara, is enshrined. The sanctum is carved out of solid granite and is elevated from the ground level. The outer walls of the sanctum are adorned with beautiful carvings of gods and goddesses. The temple also has a large hall with several beautifully carved pillars which support the roof.
One of the unique features of the Kedareshwara Temple is an inscription found in the temple that explains the significance of the temple. The inscription is written in Kannada and is considered to be one of the earliest examples of Kannada literature. The inscription praises the contributions of King Vijayaditya Satyasraya and his queen in the construction of the temple. It also provides valuable information about the temple's architecture and its significance.
In conclusion, the Kedareshwara Temple is an architectural marvel that reflects the rich cultural heritage of Karnataka. The temple's intricate carvings, beautiful sculptures, and unique architecture are a testament to the skill and ingenuity of the craftsmen who built it. The temple is a must-see attraction for anyone interested in history, culture, and architecture. Its beauty and grandeur will leave a lasting impression on visitors and make them appreciate the richness of Indian culture and heritage.
The Siddhesvara Temple is located in Haveri, Karnataka state, India. It is a renowned temple famous for its sculptures of Hindu deities. Built in the 11th or 12th century, it is unique among other temples in the area because it faces west, making it an architectural wonder.
Although it is currently a Shaiva temple dedicated to God Shiva, its original faith or sect and deity of consecration remain uncertain. Nevertheless, the temple's historical significance and cultural value are undeniable.
The temple is considered an ornate example of 12th-century Western Chalukyan art and is well known for the many loose sculptures of Hindu deities that exist in it. However, inscriptional evidence would suggest that the initial consecration of the temple was in the late 11th century.
Despite the uncertainty surrounding its origins, the Siddhesvara Temple is a significant part of the local and regional cultural identity. Visitors come from all over India and the world to marvel at its impressive sculptures and unique architecture.
The temple's western orientation is particularly fascinating, as it deviates from the standard in Chalukyan constructions. This unique feature makes it stand out not only from other temples in the area but also from other Hindu temples in India.
The Siddhesvara Temple is an important cultural and religious site for Hindus, as well as a popular tourist destination. The intricate carvings, beautiful sculptures, and stunning architecture are a testament to the skill and creativity of the craftsmen who built it.
As the civilisation evolved, religion and temples and other religious centres acted as focal point of societies around the world. India is no exception.
Many large temples in ancient and mediaeval India acted as learning centres. Religion was instrumental in laying ethics for the society, gave art, craft, sculpture, music, performing arts and linguistics a huge boost.
Tarakeswara Temple located in a small dusty town of Hangal, even today is centre for various societal activities.
When I visited this ancient temple, a group of women from around the locality were having their regular meeting. I was told that they exchange information, practice music and even exchange recipes while they meet under the roofs of this ancient temple.
#Temple #templeArchitecture #India #Hinduism #Religion #Faith #Belief #People #Culture #Architecture #Arecheaology #Sculpture #Customs #Travel #WanderLust #Wanderings #Monuments #HistoryOfIndia #MonumentsOfIndia #Ancient #History #Medieval #Heritage #arts #crafts #music #linguistics #classical_dance
Elegant Hindu shrinesbuilt in 700 AD at MahabaliPuram .The Shore Temple is so named because it overlooks the shore of the Bay of Bengal. It is considered the finest early example of medieval southern Indian temple architecture. Unlike most of its neighbours at the site, it is built of cut stones rather than carved out of caves. Its style is characterized by a pyramidal kutina-type tower that consists of stepped stories topped by a cupola and finial. The Mamallapuram monuments and temples, including the Shore Temple complex, were collectively designated a UNESCO World Heritage site. Marco Polo and the European merchants who came to Asia after him called the site Seven Pagodas. One of these is believed to be the Shore Temple. Temple complex in the category of structural temples goes to the King Rajasimha (700–728 AD), also known as Narasimhavarman II, of the Pallava Dynasty. It is now inferred that this temple complex was the last in a series of temples that seemed to exist in the submerged coastline; this is supported by the appearance of an outline of its sister temples off the coast during the Tsunami of 2004 which struck this coastline.
I. INSCRIPTIONS AT MAMALLAPURAM
NO. 40. ON THE SOUTH BASE OF THE SHORE TEMPLE
This inscription is dated in the twenty-fifth year of Ko-Rajaraja-Rajakesarivarman, alias Rajara-deva. It states, that the king “built a jewel-like hall at Kandulur,” and then given a list of the countries, which he is said to have conquered. Among them Vengai-nadu is the well-known country of Vengi; Ganga-padi and Nulamba-padi are found on Mr. Rice’s Map of Mysore;[1] Kundamalai-nadu, “the western hill-country,” is Coorg ; Kollam is Quilon; Kalingam is the country between the Godavari and Mahanadi rivers; Ira-mandalam is Ceylon; Iratta-padi is the Western Chalukyan empire;[2] and the Seriyas are the Pandyas. I have been unable to identify Tadigai-padi.
Sir Walter Elliot’s and Dr.Burnell’s tentative lists of Chola kings[3] contain a king Rajaraja, who reigned from 1023 to 1064 A.D. These figures rest on three Eatern Chalukya grants, of which two have since been published by Mr.Fleet and one has been edited and translated above (No.39.) From these three grants it appears, that the Rajaraja, who reigned from saka 944 to 985, was not a Chola, king, but a king of Vengi, and that his insertion in the list of Chola kings was nothing but a mistake.
The historical portion of the subjoined inscription almost identical with lines 16 to 173 of the large Leyden grant[4] and must belong to the same king. The Leyden grant states that Rajaraja conquered Satyasraya (line 65). This name was borne as a surname by no less than six of the earlier Western Chalukya kings and was also the name of one of the later Western Chalukyas. From certain unpublished inscriptions of the Tanjore Temple it can be safely inferred, that Rajaraja-deva was the predecessor of Rajendra-Chola-deva, the enemy of the Western Chalukya king Jayasimha III., who ruled from about Saka 944 to about 964.[5] Hence the Satyasraya mentioned in the Leyden grant might be identified with the Western Chalukya king Jayasimha III., who ruled from about Saka 944 to about 930 ; [6] and the Chola king Rajaraja, who issued the large Leyden grant and the inscriptions Nos.40, 41 and 66 of the present volume, with that Rajaraja of the Suryavamsa, whose daughter Kundava was married to the Eastern Chaukya king Vimalditya,[7] who reigned from 937 (?) 944. As Rajaraja-deva boasts in his inscriptions of having conquered Vengai-nadu, the country of the Eastern Chalukyas, this marriage was probably a forced one and the result of his conquest of Vimaladitya[8] identification of the Rajaraja-deva of the Leyden grant and of Nos. 40, 41 and 66 with the father of Kundava is confirmed by the Kongu Chronicle, where some of his charities are placedin Saka 926[9]. The Kongu Chronicle, further suggests the probability of identifying Kandalur, where Rajaraja-deva built a hall (sala), with Chidambaram, as it records that “he enlarged the temples at Chidambaram and erected all kinds of towers, walls, mandapas, flights of steps, etc., and other matters.”
From this and the next-following inscription we learn that Mamallapuram belonged to Amur-nadu,[10] a division of Amur-kttam, and that the name of the Shore Temple was Jalasayana. The purport of the inscription is a new division of the land of thetown of Mamallapuram, which had been agreed upon by the citizens.
TRANSLATION
Hail! Prosperity ! In the twenty-fifth year of (the reign of ) the illustrious Ko-Raja-raja-Rajakesrivarman, alias the illustrious Rajaraja-deva, who,-while both the goddess of fortune and the great goddess of the earth, who had become his exclusive property, gave him pleasure, -was pleased to build a jewel (-like) hall (at) Kandalur and conquered by his army, which was victorious in great battles, Vengai-nadu, Ganga-padi, Nulamba-padi, Tadigai-padi, Kudamalai-nadu, Kollam, Kalingam, Iramandalam, which is famed in the eight quarters, and Iratta-padi, (the revenue from from which amounts to) seven and a half Laksha ; who,-while his beauty was increasing, and while he was resplendent (to such an extent) that he was always worthy to be worshipped,-deprived the Seriyas of their splendour, -We, the middle-aged citizens of this towns, unanimously made the following contract, while assembled in the tirunandavana to the south of (the temple of) Jalasayana-deva at Mamallapuram, the chief town of the fifty (villages called after) Pudukkudaiyan Ekadhira,[11] which from part of Amur-kottam.
(Line 21.) The wet land, white (?) land, garden land, dry land and all other taxable (?) land of our town shall be divided into four lots of one hundred manais. One lot of (the land), which has been divided into four lots according to this contract[12] shall be a lot of twenty-five manais. The manais (of) the land (included in) the contract of division into lots may be sold, mortgaged, or used for meritorious gifts ; (but) the manais (of) the land shall be given away as defined by the contact of the division into lots. The previous definition shall be wholly cancelled. The fruit-trees, which stand in the various parts of the lands divided into lots, shall be enjoyed by the owner of the respective lot. Those (trees) which stand on the cause ways between the rice-fields, shall belong to (the whole of) the hundred manais. Among those who are without land and are over the age of sixteen, -from those who work for hire one-eighth of a pon and for (each) turn as ploughmen (?) three-eighths of a pon shall be taken at the end of the year. From those who do not submit to this contract, further twenty-five kurajus of gold shall be taken besides as a fine. We, the middle-aged citizens of the town, have unanimously established this contact.
(Line 58). I, Tiruvelarai Muvayirattu-erunurruvan, the Karanam of this town, who worships the holy feet (of the god), wrote this contract according to the orders of the middle-aged citizens. This is my signature.
NO.41. ON THE NORTH BASE OF THE SHORE TEMPLE
The historical part of this inscription identical with that of the preceding one ; its date is the twenty-sixth year of Ko-Rajaraja-Rajakesarivarman, alias Raja-Raja-raja-deva.
The inscription, which is unfortunately mutilated, mentions three temples, two of which were called after and consequently built by Pallava kings. The first of these two is Jalasayana or Kshtriyasimha-Pallava-Isvara-deva. That Jalasayana was the name of the Shore Temple itself, appears clearly from the inscription No.40. The second name for it, which is furnished by the present inscription, proves that the Shore Temple was a foundation of a Pallava king Kshatriyasimha. The second temple mentioned in the subjoined inscription is Rajasimha-Pallava_isvara-deva, which, as appears from one of the Kanchipuram inscriptions (No.24, verse 10), was the original name of the Kailasanatha Temple at Kanchi. The name of the third temple, Pallikondaruliya-deva, natha Temple at Kanchi. The name of the third temple, Pallikondaruliya-deva, (literally : “the god who is pleased to sleep”) may perhaps refer to the Sriranganayaka Temple at Pallikonda near Virinchipuram and would then explain the origin of the name Pallikonda.
TRANSLATION
Hail ! Prosperity ! In the twenty-sixth year of (the reign of) the illustrious Ko-Raja-raja-Rajakesarivarman, alias the illustrious Raja-Rajaraja-deva, etc.[13]- We, the middle-aged citizens of Mamallapuram, a town in Amur-nadu, (a division) of Amurkottam . . . . .of (the temples of) Jalasayana, (alias) Kshatriyasimha-Pallav-Isvara-deva at this town, and of Rajasimha-Pallava-Isvara-deva, and of Pallikondaruliya-deva. . . . .
(Line 31.) . . . . . of the fifty (villages called after) Pudukkudaiyan Ekadhira, which form part of this kottam[14] . . . . .
NO.42. INSIDE THE SHORE TEMPLE
This inscription is dated in the ninth year of Vira-Rajendra-Chola-deva. It records the gift of a piece of land from the great assembly (mahasbha) of Si[ri]davur, alias Narasimha-mangalam to “our lord of Tirukkadalmallai.” By this the Shore Temple at Mamallapuram seems to be meant.
TRANSLATION
Hail ! In the ninth year of (the reign of) the illustrious Vi[ra}-Rajendra-Sora-deva, we the great assembly (mahasbha) of Si[ri]davur, alias Narasimha-mangalam, gave to our lord (of) Tirukkadalmallai as exclusive property, with exemption from taxes, 5 rice-fields (tadi), consisting of 2,000 kuris (of land ; 1.at) Mangalachacheru to the south of the Ukkaviri channel (at) our village ; and (2. at) Narayanan-mangalur, alias Kuttadi-patti, where (the temple of) this god (? kuiyan) stands.
This temple was devoted to Kunthunatha, 17th Theerthankara of Jain faith. This was built by Irugaraya, Commander-in-Chief of Harihara II in 1386 AD. The lamp post is a single granite stone standing more than 40ft tall. Inscriptions on the pillar throw a great deal of light on the early years of Vijaya Nagara Empire. The temple (now dilapidated) has its architecture strongly related to the late Chalukya period
See all pictures from Hampi (1) to get a glimpse of history
Inscriptions in the Temple:
There are various inscriptions in the temple. One of these records the renovation of the shrines by Kulottunga Chola III.
The north wall of the verandah consists of 108 sections of inscriptions, each containing the name and description and image of the Saivacharya (Saivite saints) listing the principal events in their life.
Another inscription close to the gopura, records that an image was brought from Kalyani, then known as Kalyanapura by emperor Rajadhiraja Chola I after his defeat of the Western Chalukya king Someshwara I, his sons Vikramaditya VI and Someshwara II his capture of the Chalukyan capital.
UNESCO World Heritage Site:
This temple was added to the list of Great Living Chola Temples in the year 2004. The Great Living Chola Temples includes the Brihadeeswara Temple at Thanjavur, the Temple of Gangaikondacholisvaram at Gangaikonda Cholapuram and the Airavatesvara Temple at Darasuram. All of these temples were built by the Cholas between the 10th and 12th centuries CE and have a lot of similarities.
KJM WDP-4B 40065 cruising towards Kyatsandra Goods yard with 11006 Puducherry - Dadar Chalukya Express....
In ancient and medieval India temples served as important meeting point and cultural centre for the people in the surrounding areas. Every important step of their lives revolves around the temples. Not temples served as religious, educational and cultural centres for the surrounding areas.
Even today in smaller town and villages across India, lives are built around temples.
These 3 pictures are from mid 11th Century Tarakeshwara Temple at a small town called Hanagal in north Karnataka in India.
I had the opportunity to make pictures of these ladies assembled in the large temple for a socio-religious gathering.
They practiced singing, discussed recipes and other day today issues while the children played in the large temple courtyard courtyard
Rajendra Chola-I (1012-1044 A.D) son of the Great Rajaraja-I, established this temple after his great victorious march to river Ganges on Northern India. He was originally called Madurantakan. He assumed the title of Rajendra during his coronation and continued to rule along with his father Rajaraja-I for a while. He achieved the supreme title of Cholas called Parakesari .
Rajendra-I, a great warrior and assisted his father, is numerous expeditions to elevate the Cholas to supreme power. The various expeditions, he conducted, were : Gangetic expedition, eastern/western Chalukyas, war against Cheras/Pandyas, Ceylon expedition, Kadaram (currently called as Burma) expedition etc.,
His empire extended the whole of southern India to river Thungabathra in the north India, for administrative and strategic purpose he built another capital and named Gangaikondacholapuram. The Gangaikondacholapuram temple, he constructed consists of 3 stories and surrounded by a huge fort like wall, the outer wall was greatly destructed during the English rule (1896 A.D) to reuse the building material (Granite rocks) for constructing the Lower Anicut (Dam across river Kollidam). He built around 10 temples at various places.
He assumed the title of Gangaikonda Cholan and named his new capital as Gangaikondacholapuram and he also constructed a huge Lake known as Chola Gangam that spreads 22 km mainly used for drinking and irrigation. A statue of Rajendra-I is found in Kolaram temple at Kolar of Karnataka state in India.
The Heroic Hoysalas :
The Hoysalas dynasty reigned from 11th to 14th century, over the area between the rivers Kaveri and Tungabhadra, which covers most of the modern day Karnataka and some parts of Tamil Nadu and Andhra Pradesh. Their origin is shrouded in various myths and legends and inscriptions dating back to 1078 and 1090 indicate that the Hoysalas trace their origins to Yadavas in north india,but there are no proper records to substantiate the claim.
Hoysala Art and Architecture :
Hoysalas were great patrons of art and architecture. The reign of Vishnuvardhana, Narasimha I and Veera Ballala II marked the epitome of temple art and architecture in Karnataka. Shantladevi, the beautiful queen of Vishnvuvardhana, encouraged dancers,musicians,painters and sculptors.The best known examples of the surviving Hoysala temples are - the Chenna Keshava temple at belur,the Hoysalaleswara temple at Halebeedu and Kesava temple at Somnathupur.
Temples in those days were not only meant for worship or religious activities. They also played important roles of courst for providing justice, treasure house,imparting ethical education and encouraging various art forms like literature,music and dance.The state of karnataka is regarded as the 'Cradle' of Indian temple architecture.
General Architecture Style of Hoysala :
Various dynasties like Chalukyas, Rashtrakutas,Hoysalas and Vijayanagar empire contributed significantly towards the development of major temple styles. The Chalukyas of Kalyani evolved a cruciform plan of the temple and Hoysalas further developed it into stellate or star plan. Other distinct variation in Hoysala temples is presence of more than one cell, each with antarla or sukhnasi (Vestibule) connected to a common navaranga (Pillared hall), mostly with three mukhamandapas (entrance porches) as compared with earlier southern temples that had a single garbhagriha attached to a navaranga through a sukhanasi. The Jagati (elevated platform ) on which the temple stands follows the stellate shape of the temple, unlike the northern temples, where the Jagati is a rectangular or square shaped platform, irrespective of the contours of the superstructure built upon it.The provision of Jagati in Hoysala temple served as a open circumambulatory (Pradakshinapatha) passage for the ritual of circumambulation around the temple for the devotees, as the inner garbhagriha (Sanctum sanctorum) is devoid of such feature and the open space could also be used to admire the great work of the sculptors on the outer walls. The star or stellate plan of the Hoysala temples increased the number of offsets,providing more space for sculptural decoration on the walls and a plan which accentuated the play of light and shade.Th high plinth (adhisthana) embellished with highly organised horizontal bands off friezes in one plane, makes the temple look like an orantely carved "Jewel box".Another noteworthy feature of Hoysala temple its sikhara or vimanam (tower), built in VESARA STYLE , which blends the Dravidian (south) and Nagara (north) styles. The stepped sikhara also known as Kadamba sikhara are low as compared to other styles of temple architecture and the stellate plans extends to the tower through the eave from the Sukhasana or richly carved horizontally treated outer walls.
An important city and capital of the Chalukyas - Aihole has many architectural remains and ruins dating 12 to 13 centuries back. The development of the south Indian architecture can be identified from the different forms of temples found in Aihole an Pattadakkal
Through my sunglasses! :)
These days I am practicising the art of taking pictures using my sun glasses. The camera hardly fits in, and I compose with great difficulty, but I like the effect it gives. Do you?
Pattadakal also called Raktapura and this is a complex of 7th and 8th century Hindu and Jain temples Located on the west bank of the Malaprabha River in Bagalakote district. Superb place for history lovers and It is an enclosed area consisting of numerous temples.All temples here are built during chalukya dynasty and this is also on of the UNESCO World Heritage site !
Pattadakal also called Raktapura and this is a complex of 7th and 8th century Hindu and Jain temples Located on the west bank of the Malaprabha River in Bagalakote district. Superb place for history lovers and It is an enclosed area consisting of numerous temples.All temples here are built during chalukya dynasty and this is also on of the UNESCO World Heritage site !
Tending to make one think of the glorious past, KYN WDG-3A 'Shakti' 13604 shows up with the second run of Chalukya express, arriving a good 25 mins before time at Tumkur.
Sadly for the first run from YPR, the usual 4D link from KJM was in charge but no complaints as long as it is a DIESEL !!
Kalugumalai is a panchayat town in Kovilpatti Taluk of Thoothukudi district in the Indian state of Tamil Nadu
Vettuvan Koil (English: a Sculptor's paradise) is a Hindu temple built between the 8th and 9th century. Kalugumalai is a priceless unfinished Pandyan monolith cave temple, part of the iconographic richness that helped chronicle the burgeoning richness of the Tamil culture, traditions, and sacred centres containing religious art.About 7.5 meter of the mountain is excavated in a rectangular fashion and in the middle the temple is sculpted from a single piece of rock. The carvings reflect the southern temple style of the Pandya era. Only the top portion of the temple is completed. The temple has an entrance and centre hall for the main deity. In the later days Ganesha's idol is kept and worshipped. At the top of the temple beautiful sculpture of Uma Maheswarar, Dakshinamoorthy, Vishnu and Brahma can be found. This temple is of same style of Kailasnath temple in Ellora, structural shrines at Pattadakal in Bijapur, monolithic temples of Pallavas at Mamallapuram showing the close political relationship between Pallavas, Chalukyas and Rashtrakutas.There are around 122 sculptures in the rock cut temple. The intricately carved statues are from fine granite.
Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century.
Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.
Belur temple is gem of Hoysala empire .Hoysalas freely borrowed architecture stylev from Chalukyas and Cholas.
Pattadakal also called Raktapura and this is a complex of 7th and 8th century Hindu and Jain temples Located on the west bank of the Malaprabha River in Bagalakote district. Superb place for history lovers and It is an enclosed area consisting of numerous temples.All temples here are built during chalukya dynasty and this is also on of the UNESCO World Heritage site !
Pattadakallu is a historical place on the banks of Malaprabha river in Bagalkot district of Karnataka. It is a testament to the architectural prowess of the Chalukya dynasty. Pattadakal is a centre of Chalukya art and architecture, noted for its temples and inscriptions which originated in Aihole around 450 AD was perfected at Badami and Pattadakal villages. The Chalukyas built many temples here between the 7th and 8th centuries. The city was earlier called Pattada Kisuvolal, which translates to ‘City of Crown Rubies’.
The Taarkeshwar temple is a significant 12th-century Hindu temple located in the small town of Hanagal in Karnataka. Built during the reign of the Kalyani Chalukya dynasty, the temple's construction is credited to the Chalukya kings who were fervent patrons of art and architecture. The temple's architecture is typical of the Kalyani Chalukya style, characterized by intricate carvings on the exterior walls, the use of decorative sculptures, and elaborate doorways. The temple's shikara or spire is particularly remarkable, with a design that is similar to the Hoysala style of architecture. The Taarkeshwar temple is an important example of ancient Indian temple architecture and a popular pilgrimage destination for those interested in Indian history and culture.
Pattadakal or Pattadkall or Pattadikal today is the name of a small village in Karnataka close to Badami, Bijapur and Bagalkot. Pattadikal once was a town or a city site of great cultural and political significance, for it housed the mock ups and architectural leanings of the various style of temple construction in South India. It is often referred to as the University of Temple Architecture as the artisans, sculptors, designers and dreamers and kings and laymen all gathered here to work out how to build Hindu temples.
You have four mock ups of temples in the North India style and four in the traditional South India style. It is a fine amalgam of styles. Pattadikal is now designated as a World Heritage site by the UNICEF. The monuments date here to 7th and 8th century AD and were the effervescent outpourings of the Chalukya dynasty of Karnataka that ruled the southern part of the Indian sub continent.
Pattadikal is on the axis of Hampi, Badami, Aihole travel route that I would recommend to each and everyone travelling in India for it show cases pristine monuments and architecture conserved by the dry climatic conditions of this area where the rulers and the the millions that were ruled, have since disappeared, leaving behind a place intact, where you can transport yourself, in the blink of an eye, to a period 1300 years ago.
_DSC8180 nef 21 cropped
A small window of opportunity exists on the western coast as well as the western interior of India when you can capture some of the finest images outdoor. The pre monsoon days around the last week of May to the time when the monsoons break, the atmosphere is supercharged with the storm fronts, low pressure areas and the light is magical and clear and without any haze. The tufted cumulus clouds wheel and bank on the blue skies and you have sporadic thundershowers to relieve the monotony of the oppressive heat.
I thought the heat at Badami would be unbearable at this time of the year. It was a surprise to see how the forces of nature are at play and the light and the atmosphere were perhaps much akin to what Ladakh and Tibet have to offer on any given day.
This is a shot from June4th of last year and it was like literally chasing the monsoon clouds on the trip. You have to be travelling in these areas to get the impact of the storm fronts as they push out of the western ghats onto the dry barren plains of north karnataka and the blue skies give in reluctantly to the rain bearing mammae of grays and whites.
This is the Badami town and the reservoir that supports life here. Both cannot possibly fit into a single frame so a harmonious blend is here at 18 mm of a stock lens.
The Battle of Badami can be Viewed Large Size on Black
Camera: Nikon D300
Exposure: 0.008 sec (1/125)
Aperture: f/5.6
Focal Length: 18 mm
ISO Speed: 200
Exposure Bias: 0 EV
Flash: No Flash
_DSC8050 nef2exp with libusky SEL SAT SH 125 PXL
Euphoria is chilly winter mornings and a WDP-4 in that ever enticing LHF screaming past you in an unadulterated section.
Seen in this pic, a lone KJM WDP-4 hurtles towards Tumkur pulling the Dadar bound Chalukya express from Puducherry.
Virupaksha Temple
This temple, in worship, known as ‘Shri Lokeswara-Maha-Sila-prasada’ from the epigraphs, was built by Lokamahadevi, the Queen of Vikaramaditya II (A.D.733-745) in about A.D.740 to commemorate her husband’s victory over the Pallavas of Kanchipuram. It closely resembles the Kailasanatha temple at Kanchipuram on plan and elevation and represents a fully developed and perfected stage of the Dravidian architecture.
Facing east, this temple has on plan a square sanctum (garbhagriha) with a circumambulatory path (pradakshinapatha), an antarala with two small shrines for Ganesa and Mahishamardini facing each other infront, a sabha-mandapa with entrance porches on the east, north and south and a separate Nandi-mandapa in front. The complex is enclosed by high prakara walls. Against the inner faces of these walls there were small shrines (originally 32) dedicated to the subsidiary deities (parivaradevatas) of which only a few are extant now. The enclosure has been provided with ornate entrance gates ((pratolis) on both east and west.
The temple is built on a high plinth of five fully evolved mouldings. The outer faces of the walls of the sanctum are divided into a central projection, two intermediate projections and two corner projections with four recesses in between. Likewise, the mandapa walls on either side of the northern, eastern and southern proches are divided into two projections and two recesses. All these projections of the sanctum walls carry niches housing images of Saiva and Vaishnava deities like Bhairava, Narasimha, Hari-Hara, Lakulisa etc., while there are perforated windows of various design in the rest of the recesses. The parapet consists of architectural elements called kutas (square), panjaras (miniature apsidal shrines) and salas (oblong) corresponding to the projections below and the linking courses (harantaras) above the recesses. The superstructure over the sanctum is a Dravida-vimana in three storeys with a sukasana projection over the antarala. It is square in plan and repeats in its elevation many elements of the parapet and walls beneath. It has a beautifully shaped square roof (shikhara) with a round finial kalasa above.
The whole of the interior of this temple is embellished with elegant carvings and aesthetically modeled sculptures. Episodes from the Ramayana (e.g. abduction of Sita) Mahabharata (e.g. Bhishma lying in a bed of arrows), Bhagavata (e.g. Krishna lifting the Govardhan mountain) and Kiratarjuniya (e.g. Arjuna receiving the Pasupatastra from Siva) are depicted on the pillars of the sabha- mandapa and the pilasters here have the sculptures of amorous couples and Rati and Manmatha. Flora, fauna and geometrical patterns adorn various parts of the temple. Doorjambs (dwara-shakhas) with their delicate carvings, pillars and pilasters with various types of capitals and carvings on their faces, lintels relieved with animals, birds and architectural motifs, ceilings depicting divine beings and the majestically standing dwarapalas all unfold a ricj world of plastic art before the connoisseurs and attest to the heights reached by the Chalukyan sculptures.
The Nandi-mandapa situated to the east of the temple, is a square pavilion open on all the four sides. It houses a large image of Nandi on a raised floor. Its flat roof is supported by four pillars and short lengths of walls whose outer surfaces are carved with attendant figutes and Kinnara-mithunas (couples)
There are a number of inscriptions big and small, engraved in different parts of this temple. Inscriptions in the porch of the eastern gateway record the victory of Vikramaditya II over Kanchipuram and the royal honour and the title of ‘Tribhuvanachari’ conferred on Anivaritachari Gunda, the architect of the temple and the extol the virtues of Sarvasiddhi Achari, the architect of the southern portion of the temple.
Photo Credit: Yezhil Lakshmanan. Photostream: www.flickr.com/photos/yezhil/
From Wikipedia, the free encyclopedia
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% 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.[56] 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.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "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."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% 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;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] 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, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
The Kandariya Mahadeva Temple (Devanagari: कंदारिया महादेव मंदिर, Kaṇḍāriyā Mahādeva Mandir), meaning "the Great God of the Cave", is the largest and most ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh, India. It is considered one of the best examples of temples preserved from the medieval period in India.
Contents
1 Location
2 History
3 Features
4 References
5 Bibliography
6 Further reading
7 External links
Location
Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group
Kaṇḍāriyā Mahādeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India.[1] It is in the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi).[2] It is in the western part of the village to the west of the Vishnu temple.[3][4]
The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south of Mahoba, 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres (27 mi) away from Panna, 175 kilometres (109 mi) by road away from Jhansi on the north, and 600 kilometres (370 mi) to the south - east of Delhi. It is 9 kilometres (5.6 mi) from the railway station.[1][5] Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai. It is 6 kilometres (3.7 mi) from the temple.[5][6]
History
Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple, one of the best examples of temples preserved from the medieval period in India,[1][7] is the largest of the western group of temples in the Khajuraho complex which was built by the Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorium.[8]
The Kandariya Mahadeva temples was built during the reign of Vidyadhara (r. c. 1003-1035 CE).[9] At various periods of the reign of this dynasty many famous temples dedicated to Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain religion were built. Vidhyadhara, also known as Bida in the recordings of the Muslim historian Ibn-al-Athir, who is credited with building the Kaṇḍāriyā Mahādeva Temple, was a powerful ruler who fought Mahmud of Ghazni in the first offensive launched by the latter in 1019.[1] This battle was not conclusive and Mahmud had to return to Ghazni. Mahmud again waged war against Vidhyadhara in 1022. He attacked the fort of Kalinjar.[1] The siege of the fort was unsuccessful. It was lifted and Mahmud and Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara.[1] Its construction is dated to the period from 1025 and 1050 AD.[4]
All the extant temples including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was popular till the country was invaded by Muslims in 1202.[10][11]
Features
Various features of the temple marked on the Kandariya Mahadeo Temple.
Simplified map of the temple
The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the largest among the three groups of the Khajuraho complex of temples.[12] This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo gram)" representing the three forms of Shiva.[5] The temple architecture is an assemblage of porches and towers which terminates in a shikhara or spire, a feature which was common from the 10th century onwards in the temples of Central India.[12]
The temple is founded on a massive plinth of 4 metres (13 ft) height.[13] The temple structure above the plinth is dexterously planned and pleasingly detailed.[14] The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical source of creation of the world.[8] The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara, which has 84 miniature spires.[4] The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and grandest temple of Khajuraho".[2][14][15] A series of steep steps with high rise lead from the ground level to the entrance to the temple.[16] The layout of the temple is a five-part design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho complex. Right at the entrance there is torana, a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession.[4] The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex.[14]
The main temple tower with 84 mini spires
Erotic sculptures on the external walls of the temple
In the interior space from the entrance there are three mandapas or halls, which successively rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where Shiva's wife, Parvati is deified, and a central sanctum or garbhagriha (literal meaning "womb chamber") where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by interlinked passages which also have side and front balconies. Due to inadequate natural light in the balconies the sanctum has very little light thus creating a "cave like atmosphere" which is in total contrast to the external parts of the temple.[4][13][17][18] In the interior halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and goddesses, musicians and apsaras or nymphs.[4] The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners of the halls there are insets which are carved on the surface with incised patterns.[14] There is a main tower above the sanctum and there are two other towers above the other mantapas also in the shape of "semi-rounded, stepped, pyramidal form with progressively greater height". The main tower is encircled by a series of interlinked towers and spires of smaller size.[19] These are in the form of a repeated subset of miniature spires that abut a central core which gives the temple an unevenly cut contour similar to the shape of a mountain range of mount Kailasa of the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here.[18]
The exterior surfaces of the temples are entirely covered with sculptures in three vertical layers.[4] Here, there are horizontal ribbons carved with images, which shine bright in the sun light, providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni, the god of fire is prominent.[14] They are niches where erotic sculptures are fitted all round which are a major attraction among visitors. Some of these erotic sculptures are very finely carved and are in mithuna (coitus) postures with maidens flanking the couple, which is a frequently noted motif. There is also a "male figure suspended upside" in coitus posture, a kind of yogic pose, down on his head.[4] The niches also have sculptures of Saptamatrikas, the septad of mother goddesses along with the gods Ganesha and Virabhadra. The seven fearful protector goddesses include: Brahmi seated on a swan of Brahma; Maheshwari with three eyes seated on Shiva's bull Nandi; Kumari; Vaishnavi mounted on Garuda; the boar-headed Varahi; the lion-headed Narasimhi and Chamunda, the slayer of demons Chanda and Munda.[4]
The Vidyashankara temple was built in commemoration of the pontiff Vidyashankara, around 1357-58 C.E.. It was built by Vidyaranya, patron-saint of Harihara and Bukka, the brothers who founded the Vijayanagara empire. The niches in the temple have a number of sculptures from Hindu mythology. Inscriptions in the temple record contributions made by several Vijayanagara emperors but the temple was probably built on an earlier Hoysala site as it combines Hoysala and Vijayanagara architectural features. The temple architecture is also an exhibition of the astronomical expertise of medieval south Indian temple builders. The main temple hall features 12 pillars designated for the 12 signs of the zodiac. Windows and doors along the temple walls are arranged such that equinoxes sunrise views reach the deity. The northern and southern gates enable the sunrise view from the hall during solstices. The Vidyashankara Temple was built in the year 1338 A.D. It is a unique monument built entirely of stone combining both Hoysala (Chalukya) and Dravidian architectural styles. The structure stands on a high plinth and commands an extensive view from the hills and their slopes all round. It is more or less a rectangle with apisidal east-west ends. On the western side is the Garbhagriha, with Vidya Ganapati on one side and Durga on the other side of the entrance. On the other three sides of the Garbhagriha are shrines to Brahma, Vishnu and Maheshwara with their consorts. In the eastern half of the structure is a mantapa with twelve pillars, huge monoliths carrying large figures and carrying heavy projecting corbels on top. These twelve pillars are marked by the twelve signs of the zodiac in their regular order, and arranged in such a manner that the rays of the sun fall on each of them in the order of the twelve solar months. On the floor is a large circle, marked with converging lines to indicate the direction of the shadows. The central ceiling is an exquisite piece of workmanship with lotus and pecking parrots. The vimana over the Garbhagriha rises with shikhara, mahapadma and stupa. The rest of the roof is made up of sloping channelled slab. The basement is elaborately sculpted with animals, puranic stories, Shiva, Vishnu, Dashavatara, Kali, Shanmukha and so on. From the caves of the corners of the central hall chains of stone rings hang which is a common feature of the Vijayanagar period.
The city was founded by Rajendra Chola to commemorate his victory over the Pala Dynasty. The name means The town of the chola who brought Ganga (water from Ganga) or who defeated (the kings near) Ganga. It is now a small village, its past eminence only remembered by the existence of the great Siva Temple.
Rajendra Chola-I (1012-1044 A.D) son of the Great Rajaraja-I, established this temple after his great victorious march to river Ganges on Northern India. He assumed the title of Rajendra during his coronation and continued to rule along with his father Rajaraja-I for a while. He was awarded the supreme title of the Cholas known as Parakesari.
Rajendra-I, a great warrior, assisted his father in numerous expeditions to elevate the Cholas to supreme power. The various expeditions he conducted, were : Gangetic expedition, eastern/Western Chalukyas expedition, war against Cheras/Pandyas, Ceylon expedition, Kataram (currently called as Kedah) expedition.
His empire included the whole of southern India to the river Thungabathra in the north. For administrative and strategic purposes he built another capital and named it Gangaikondacholapuram. The Gangaikondacholapuram temple he constructed consists of 3 stories and was surrounded by a huge fort-like wall, the outer wall largely destroyed during the English rule (1896) to reuse the building material (granite rocks) for constructing the Lower Anicut the dam built across river Kollidam. He built around 10 temples at various places.
He assumed the title of Gangaikonda Cholan and named his new capital as Gangaikondacholapuram and he also constructed a huge Lake known as Chola Gangam that spreads 22 km mainly used for drinking and irrigation. A statue of Rajendra-I is found in Kolaram temple at Kolar of Karnataka state in India.
C. 1022 C.E. Rajendra undertook an expedition to the Ganges along the east coast of peninsular India. The emperor himself lead the army up to the banks of the Godavari river. The Chola armies conquered all the countries north of Vengi, which included Kalinga, Odda, Southern Kosala, the lower and upper Lada and finally the Vangaladesa (Bengal). The triumphant Chola armies brought back waters from the river Ganges in golden vessels. Around the same time, the Cholas under the illustrious Rajendra Chola I also vanquished the Chalukyas of Manyakheta when the Chola protectorate of Vengi was threatened by Chalukyas Jayasimha II. Rajendra Chola I defeated Jayasimha-II Chalukya at Maski (Muyangi in Chola annals) between Eluru and Visayavadai (modern Vijayawada) and subsequently engaged the Chalukya in Kannada country itself i.e. in the Chalukyas capital of Mannaikadakkam (Manyakheta) "the war in which the Chalukya Jayasimha-II, full of fear, hid like a mouse and fled the battlefield". The Chola armies seized the Chalukya flag, decapitated or slew various generals of the Chalukyas, with the Chalukyan king fleeing the battlefield. The Chalukya King surrendered his wife to the victorious Chola monarch. With the Chola coffers filling up with riches from the Chalukya country, they were able to establish their hold of the region between the Vaigai/Kaveri delta in Tamil country up to the Tungabhadra-Krishna basins in the Maharashtra-Andhra region. To commemorate this celebrated victory, Rajendra assumed the title of Gangaikonda Cholan, "Irattapadi-konda Cholan", "Mannai-kondan" (the king who possessed Irattapadi (erstwhile land of the Rashtrakutas usurped by the Salukkis (Chalukyas) and the king who possessed (the Chalukyan capital) Manyakheta (Mannaikadakkam in Chola annals) and had the Siva Temple Gangakkondacholeswaram built. Soon the capital was moved from Thanjavur to Gangaikondacholapuram. The city of Gangaikondacholapuram was probably founded by Rajendra before his 17th year. Most of the Chola kings who succeeded Rajendra were crowned here. They retained it as their capital, reoriented and trained the efficient Chola army.
Pune's DBR fitted WDG-3A 13568 cruises thru the greenery and glows in the morning sunshine as it leads the Ex-Chalukya express towards its next halt !!
Pattadakal also called Raktapura and this is a complex of 7th and 8th century Hindu and Jain temples Located on the west bank of the Malaprabha River in Bagalakote district. Superb place for history lovers and It is an enclosed area consisting of numerous temples.All temples here are built during chalukya dynasty and this is also on of the UNESCO World Heritage site !
From Wikipedia, the free encyclopedia
"Khajuraho"
UNESCO World Heritage Site
Location Madhya Pradesh, India Edit this at Wikidata
Coordinates 24°51′08″N 79°55′20″E
Criteria Cultural: (i), (iii) Edit this on Wikidata[1]
Reference 240
Inscription 1986 (10th Session)
Khajuraho Group of Monuments is located in India
Khajuraho Group of Monuments
Location of Khajuraho Group of Monuments
[edit on Wikidata]
The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]
Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]
The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]
Contents
1 Location
2 History
3 Description
3.1 Architecture of the temples
4 Construction
5 Chronology
6 Arts and sculpture
7 Tourism and cultural events
8 See also
9 References
10 Further reading
11 External links
Location
The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .
The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.
The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.
History
The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]
The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]
Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]
Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:
Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.
...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.
— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]
Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.
In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]
Nomenclature
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]
Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]
Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.
Description
Sections and orientation of Khajuraho temples.
The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]
The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]
All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.
Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.
An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]
The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]
The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]
Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]
The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]
Jain temples
Main article: Jain temples of Khajuraho
The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.
Architecture of the temples
The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]
Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]
The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]
The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]
Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.
Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]
The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]
All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.
Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]
In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]
Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]
Construction
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.
The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.
Chronology
The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.
The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.
Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.
Temples, religious affiliations and consecration years
Sequence Modern Temple name Religion Deity Completed by
(CE)[27][54] Image
1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg
2 Brahma Hinduism Vishnu 925
3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg
4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg
5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg
6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg
7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg
8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg
9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg
10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg
11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg
12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg
13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg
14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg
15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg
16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg
17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg
18 Vishnu-Garuda Hinduism Vishnu 1000
19 Ganesha Hinduism Shiva 1000
20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg
21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG
22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg
Arts and sculpture
Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.
Erotic sculptures
The Khajuraho temples feature a variety of art work, of which 10% 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.[56] 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.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "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."
Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.
The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% 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;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] 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, 1976[29]
The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]
Tourism and cultural events
Temples layout map – Khajuraho Group of Monuments.
The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]
The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.
The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.
The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.
See also
List of megalithic sites
Jain temples of Khajuraho
Ajanta Caves
Badami Chalukya architecture
Western Chalukya architecture
Hindu temple
Madan Kamdev
Hemvati
Kama Sutra
Kamashastra
References
"World Heritage Day: Five must-visit sites in India".
Khajuraho Group of Monuments UNESCO World Heritage Site
Philip Wilkinson (2008), India: People, Place, Culture and History, ISBN 978-1405329040, pp 352-353
Gopal, Madan (1990). K.S. Gautam, ed. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 179.
Devangana Desai (2005), Khajuraho, Oxford University Press, Sixth Print, ISBN 978-0-19-565643-5
James Fergusson, Norther or Indo-Aryan Style - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London
"Census of India 2001: Data from the 2001 Census, including cities, villages and towns (Provisional)". Census Commission of India. Archived from the original on 2004-06-16. Retrieved 2008-11-01.
Khajuraho airport AAI, Govt of India
G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-24
Sen, Sailendra (2013). A Textbook of Medieval Indian History. Primus Books. ISBN 9789380607344.
Devangana Desai 2005, p. 10.
also called Erakana
Mitra (1977), The early rulers of Khajuraho, ISBN 978-8120819979
J. Banerjea (1960), Khajuraho, Journal of the Asiatic Society, Vol. 2-3, pp 43-47
phonetically translated from Arabic sometimes as "Kajwara"
Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)
Arthur Cotterell (2011), Asia: A Concise History, Wiley, ISBN 978-0470825044, pp 184-185
Michael D. Willis, An Introduction to the Historical Geography of Gopakṣetra, Daśārṇa, and Jejākadeśa, Bulletin of the School of Oriental and African Studies, University of London, Vol. 51, No. 2 (1988), pp. 271-278; See also K.R. Qanungo (1965), Sher Shah and his times, Orient Longmans, OCLC 175212, pp 423-427
Trudy King et al., Asia and Oceania: International Dictionary of Historic Places, ISBN 978-1884964046, Routledge, pp 468-470
Alain Daniélou (2011), A Brief History of India, ISBN 978-1594770296, pp 221-227
Louise Nicholson (2007), India, National Geographic Society, ISBN 978-1426201448, see Chapter on Khajuraho
Krishna Deva (1990), Temples of Khajuraho, 2 Volumes, Archaelogical Survey of India, New Delhi
kharjUra Sanskrit English Dictionary, Koeln University, Germany
vAhaka Sanskrit English Dictionary, Koeln University, Germany
Devangana Desai (1996), Chapter 7 - Puns and Enigmatic Language in Sculpture in The Religious Imagery of Khajuraho, Project for Indian Cultural Studies, Columbia University Archives
Rana Singh (2007), Landscape of sacred territory of Khajuraho, in City Society and Planning (Editors: Thakur, Pomeroy, et al), Volume 2, ISBN 978-8180694585, Chapter 18
Shobita Punja (1992), Divine Ecstasy - The Story of Khajuraho, Viking, New Delhi, ISBN 978-0670840274
Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3
Ibn Battuta in his 1335 CE memoirs on Delhi Sultanate mentioned the temples to be near a mile long lake, modern water bodies are much smaller and separate lagoons; Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)
The number 64 is considered sacred in Hindu temple design and very common design basis; it is symbolic as it is both a square of 8 and a cube of 4.
Brahma temple is 19 feet square; Kandariya Mahadev has a four fused square grid; Matangeshvara temple is a 64 grid square; etc. See G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-25; and V.A. Smith (1879), "Observations on some Chandel Antiquities", Asiatic Society of Bengal, Vol. 48, Part 1, pp 291-297
D Desai (1996), The religious imagery of Khajuraho, Project for Indian Cultural Studies, ISBN 978-8190018418
Desai states that Khajuraho and Orissa Hindu temples are distinctive in giving erotic kama images the same weight as others and by assigning important architectural position; in contrast, surviving sculpture from temples of Gujarat, Maharashtra and Mysore show that there kama and sexual images were assigned to insignificant parts of the temple; Meister suggests that this aspect of eroticism in temple design and equal weight reflects evolution of design ideas among Hindu artisans, with temples built in later medieval centuries placing equal weight and balance to kama; see Meister, Michael (1979). "Juncture and Conjunction: Punning and Temple Architecture". Artibus Asiae. 41 (2–3): 226–234. JSTOR 3249517. doi:10.2307/3249517.
Edmund Leach, The Harvey Lecture Series. The Gatekeepers of Heaven: Anthropological Aspects of Grandiose Architecture, Journal of Anthropological Research, Vol. 39, No. 3 (Autumn, 1983), pp 243-264
Bettina Bäumer, A review, Artibus Asiae, Vol. 59, No. 1/2 (1999), pp. 138-140
Cunningham, Alexander (1880). Report of Tours in Bundelkhand and Malwa in 1874-75 and 1876-77. 8 Hastings Street, Calcutta: Office of the Superintendent of Government Printing. p. 22. Retrieved 8 May 2017.
James Fergusson, Jaina Architecture - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London
Meister, Michael W. (April–June 1979). "Maṇḍala and Practice in Nāgara Architecture in North India". Journal of the American Oriental Society. 99 (2): 204–219. JSTOR 602657. doi:10.2307/602657.
Meister, Michael (1983). "Geometry and Measure in Indian Temple Plans: Rectangular Temples". Artibus Asiae. 44 (4): 266–296. JSTOR 3249613. doi:10.2307/3249613.
Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, pp 68-69
Stella Kramrisch (1976), The Hindu Temple Volume 1, ISBN 81-208-0223-3
Meister, Michael W. (March 2006). "Mountain Temples and Temple-Mountains: Masrur". Journal of the Society of Architectural Historians. 65 (1): 26–49. JSTOR 25068237. doi:10.2307/25068237.
Meister, Michael W. (Autumn 1986). "On the Development of a Morphology for a Symbolic Architecture: India". RES: Anthropology and Aesthetics. Peabody Museum of Archaeology and Ethnology (12): 33–50. JSTOR 20166752.
Devangana Desai, Khajuraho, Oxford University Press Paperback (Sixth impression 2005) ISBN 978-0-19-565643-5
Rian et al (2007), Fractal geometry as the synthesis of Hindu cosmology in Kandariya Mahadev Temple, Khajuraho, Building and Environment, Vol 42, Issue 12, pp 4093-4107, doi:10.1016/j.buildenv.2007.01.028
Trivedi, K. (1989). Hindu temples: models of a fractal universe. The Visual Computer, 5(4), 243-258
Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, Chapter 4
V.A. Smith, "Observations on some Chandel Antiquities", Journal of the Asiatic Society of Bengal, Volume 48, pp 290-291
"Lost Worlds of the Kama Sutra" History channel
"Lost Worlds of the Kama Sutra," History Channel
Lehner, Mark (1997) The Complete Pyramids, London: Thames and Hudson. ISBN 0-500-05084-8. pp. 202–225
Will Durant (1976), Our Oriental Heritage - The Story of Civilization, ISBN 978-0671548001, Simon & Schuster
From inscription or estimated from other evidence
Cunningham in Archaeological Survey Reports noted that one of two Hanuman statues bears an inscription of 868 CE
Rabe (2000), Secret Yantras and Erotic Display for Hindu Temples, Tantra in Practice (Editor: David White), ISBN 978-8120817784, Chapter 25, pp 434-446
See:
Heather Elgood (2000), Hinduism and the Religious Arts, ISBN 978-0304707393, Bloomsbury;
Stella Kramrisch, The Hindu Temple, Volume 1, ISBN 81-208-0223-3, pp 92-96;
Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549, pp 101-119
"Khajuraho". Liveindia.com. Retrieved on 2014-07-14.
Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549
George Michell, The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, pp 117-123 and pp 56-58
L. H. Gray, Journal of American Society, Vol. 27
H.M. Woodward (1989), The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Ars Orientalis, Vol. 19, pp. 27-48
Smith, David (1 January 2013). "Monstrous Animals on Hindu Temples, with Special Reference to Khajuraho": 27–43. doi:10.1558/rosa.v7i1-3.27. Retrieved 9 February 2015.
The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Hiram W. Woodward, Jr., Ars Orientalis, Vol. 19, (1989), pp. 27-48
Tourists to Khajuraho will now have an audio compass The Times of India (25 August 2011)
Khajuraho Festival of Dances