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Visual College of Art and Design of Vancouver
626 West Pender Street #500
Vancouver, BC V6B 1V9
(800) 356-8497
Watch full video tutorial on how to draw a young girl: vcad.ca/sm-how-to-draw-a-young-girl/
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Learn How to create a Chain Sennit with ITS Tactical's Knot of the Week. Learn more at www.itstactical.com/2009/12/08/shorten-rope-for-no-tangle...
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Visual College of Art and Design of Vancouver
626 West Pender Street #500
Vancouver, BC V6B 1V9
(800) 356-8497
Watch full video tutorial on how to draw a young girl: vcad.ca/sm-how-to-draw-a-young-girl/
Find more VCAD tutorials: tutorials.vcad.ca/
Subscribe to VCAD: youtube.com/subscription_center?add_user=VancouverVCAD
Like VCAD: facebook.com/VCAD.ca
Follow VCAD: twitter.com/vcad
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Tinkering Studio founders Karen Wilkinson and Mike Petrich gave us a great tour of their hands-on workshop and learning center at the Exploratorium, in a field trip organized by the ReMake Education Summit team.
The Tinkering Studio is an immersive, active, creative place at the Exploratorium where museum visitors can slow down, become deeply engaged in an investigation of scientific phenomena, and make something—a piece of a collaborative chain reaction—that fully represents their ideas and aesthetic.
Karen and Mike showed some really creative ways to teach art, science and making -- and it inspired me to try some of their practices into our own maker art work and the classes we teach at Tam Makers.
Learn more about the Tinkering Studio: tinkering.exploratorium.edu/
Learn more about Tam Makers: www.tammakers.org/
Learn more about the Maker Art classes I teach: bit.ly/teaching-maker-art
Visual College of Art and Design of Vancouver
626 West Pender Street #500
Vancouver, BC V6B 1V9
(800) 356-8497
Watch full video tutorial on how to draw a young girl: vcad.ca/sm-how-to-draw-a-young-girl/
Find more VCAD tutorials: tutorials.vcad.ca/
Subscribe to VCAD: youtube.com/subscription_center?add_user=VancouverVCAD
Like VCAD: facebook.com/VCAD.ca
Follow VCAD: twitter.com/vcad
Photo Credit - JHC Archives
COMING IN MIDWINTER 2012 –
FREE SUNDAY LECTURES AT JAY
Commemorating the Bicentennial of the War of 1812
Come Learn about America’s Founding
… at a Founder’s Home
January 22nd at 4:00 pm – Reimagining the War of 1812 - “Redcoats’ Revenge” with Col. David Fitz-Enz
What if, on September 11, 1814, the United States had lost the close-run battle that Winston Churchill called the “most decisive” of the War of 1812? With a victory at Plattsburgh, would the British have eventually been able to regain control of their former colonies? Redcoats’ Revenge brings the most successful field commander in history, the Duke of Wellington, to North America in 1814 and presents a montage of the personalities and battles, real and quite possible, of the War of 1812. With a clever and compelling premise, this exciting alternate history will enthrall readers and reveal just how close the US was to becoming a British colony once again.
Col. Fitz Enz was a regular army officer for 30 years. Among his combat decorations is the Soldiers Medal, the army’s highest award for life saving at extreme risk. His unit operated the Moscow Hot Line for 3 presidents. His literary awards include The Distinguished Book Prize from the Army Historical Foundation and the Military Order of Saint Louis from The Knights Templar for contributions to military literature.
February 19th at 4:00 pm - The War of 1812 in American Caricature with Dr. Allison Stagg
This lecture will consider key events from the War of 1812 by exploring satirical visual imagery. Political cartoons were printed with immediacy to capitalize on sensational events and to mock prominent politicians and figures, while extolling pride in the American cause. Caricatures of this period although printed in haste, show how people in America responded to the War of 1812. Rarely are such prints considered in American history dialogue, yet such images are vital documents that provide viewers with the opinions of the every-day citizen in the early 1800s. In focusing on caricatures produced during this period, this lecture considers the “peoples story” of the War of 1812 through a series of visually humorous images.
Allison Stagg received a Ph.D. in Art History from University College London. Her work has been supported by numerous grants, including awards from the New-York Historical Society, New York Public Library, and the Gilder Lehrman Institute of American History. Dr. Stagg is a recipient of the Jane and Morgan Whitney fellowship at the Metropolitan Museum of Art 2011-12 to edit her Ph.D. dissertation, “The Art of Wit: Political Caricature in the United States 1780-1830” for publication.
All programs above are free and take place at the 1907 Van Norden Carriage House. Seating is limited so reservations are required.
Landscape lovers travelled to the old silver mining town of Aspen, Colorado this past June 23rd to join The Cultural Landscape Foundation (TCLF) for an unparalled series of private garden visits curated by
TCLF Co-Chair Kurt Culbertson, President of Design Workshop. The 2012 Aspen Garden Excursion, featured no less than 6 award-winning residential designs, all incorporating sustainable features ranging from water conservation to native plant choices responsive to the climate and ecology of the area. The sites were all breathtaking, and participants took in dramatic views from a preserve overlook to a streamside estate, from a contemporary mountain garden to a cascade garden. As one of the highlights, Kurt arranged for Jeff Berkus, architect of The Aspen Institute’s Doerr-Hosier Center, to lead a tour through the grounds which include Herbert Bayer’s striking 1955 Marble Garden and environmental artist Andy Goldsworthy’s red sandstone installation “Stone River.” Our group travelled from McLain Flats to Red Mountain and saw a great breadth of topography and creative treatments while also learning about the agricultural history and rich heritage of Aspen and its environs. The day was a great success.
To learn more about future events at The Cultural Landscape Foundation
The Jay Heritage Center is proud to partner with TCLF on our ongoing series of Sustainable Landscape Symposiums funded by a grant from Con Edison.
Jay Heritage Center
210 Boston Post Road
Rye, NY 10580
(914) 698-9275
Email: jayheritagecenter@gmail.com
Follow and like us on:
Twitter @jayheritage
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A National Historic Landmark since 1993
Member of the African American Heritage Trail of Westchester County since 2004
Member of the Hudson River Valley National Heritage Area since 2009
On NY State's Path Through History (2013)
Learn to do right; seek justice. Defend the oppressed. Take up the cause of the fatherless; plead the case of the widow.
Students learn about CIMMYT's maize breeding work with a talk from José Luis Torres, senior researcher with the Global Maize Program, during a visit to the center's maize demonstration plot as part of a university open house for Mexican students. On 27 September 2007, 200 students from eight universities visited CIMMYT's headquarters at El Batán, Mexico, where they toured the biotechnology laboratories, germplasm bank, and maize and wheat fields, while learning about the center’s mission and work. The aim of the event was to raise student interest in agricultural research, and perhaps encourage future collaboration with CIMMYT. This was the first time such an open house was held, and it has now become an annual event, known as "CIMMYT a Puerta Abierta".
For more information, see CIMMYT's blog story at: blog.cimmyt.org/?p=4271.
Photo credit: CIMMYT.
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Quite stylish this - a small fold out leaflet showing the then 'new' road signs introduced into the UK in the mid-1960s. the new system was introduced on the recommendation of the Worboys Committee into road sign design and also saw the introduction of the new Transport Medium typeface designed by Margaret Calvert and Jock Kinneir .
JSEP students and teachers learn about research being conducted at Penn State University's camp on Long Lake. (Photo by Rikke Jørgensen)
A grant from the National Science Foundation enabled Dartmouth graduate students and a postdoctoral fellow to travel to Greenland to teach high school students and their teachers about the Arctic environment. Read more about the program on Dartmouth Now.
Stay connected to Dartmouth:
Learn How to create a Chain Sennit with ITS Tactical's Knot of the Week. Learn more at www.itstactical.com/2009/12/08/shorten-rope-for-no-tangle...
By the end of the session we had managed to reacquaint everyone with their missing belongings.
Back to basics - Virtlantis.
#virtlantis
Click here to learn more about Camp Humphreys
U.S. Army photos by Mary Kim
Students participate in English Camp at Humphreys
By Mary Kim
USAG Humphreys Public Affairs
CAMP HUMPHREYS – Participants in the United States Forces Korea Good Neighbor English Camp visited here, May 17. This camp aims to give standout Korean students a better grasp of the English language and American life, while strengthening U.S.-Korea relations.
More than 60 students attended the camp, and while here they played basketball, did pull-ups, received climbing instruction and visited the Humphreys airfield. Attendees reported that the camp was time well spent.
“This was a worthwhile experience,” said Sim, Yun-ji, a student at Gunam Health High School. “This gives us all a chance to strengthen our English skills and have a lot of fun with our fellow students and the Americans.”
While the overall camp lasted only the three days, the benefits will endure, Sim noted.
“I am studying to become a nurse and the camp helped with that goal,” Sim said. “I will not forget the good times and good friends from this camp.”
Yoon, Hyun-gyu, an intern who works in the Humphreys Directorate of Plans, Training, Mobilization and Security office, helped with the camp. He said the focus was on language and on U.S. culture.
“This is an opportunity for the campers to get a good foundation on American life and the English language. This will help them in the future,” Yoon said.
The campers were housed by U.S. families in the Yongsan Garrison.
“That helps us understand American culture and get some good American food,” said Lee, Jin-hee from Dongil High School.
“Thanks to the English Camp, I understand the language and the culture better than I did before,” added Kim, Min-seung from Daegu Gyeong Sin High School. “I am taking a lot of good information away from this camp. I thank Camp Humphreys and the host families for putting this on.”
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Chaturbhuj temple (Devanagri: चतुर्भुज मंदिर) is dedicated to Lord Vishnu. The name Chaturbhuj (Devanagri: चतुर्भुज) is a derived from Sanskrit words चतु: = four and भुजा = arms, which literally means One who has four arms; and refers to Lord Vishnu.
The temple is Date-able to CIRCA 1100 A.D. This temple is also known as Jatakari (Devanagri:जटकारी) Temple on the name of the village Jatakari (Devanagri:जटकारी), where it is located.
This temple is located near a village Jatakara at Khajuraho. This temple is also known as Jatakari Temple on the name of the village.
It is grouped under southern group of temples, due to is location in southern area of Khajuraho.
This is the only temple in Khajuraho which lacks erotic sculptures.
The temple consists of a sanctum without ambulatory, vestibule, mandapa and an entrance porch. The temple stands on a Modest (chabutara).
Around the wall, there are three bands of sculptures.
The main idol in the temple is of four-armed Lord Vishnu. It is 2.7 meters in height.
______________________________________________
The Khajuraho Group of Monuments in Khajuraho, a town in the Indian state of Madhya Pradesh, located in Chhatarpur District, about 620 kilometres southeast of New Delhi, is one of the most popular tourist destinations in India. Khajuraho has the largest group of medieval Hindu and Jain temples, famous for their erotic sculptures.
Between 950 and 1150, the Chandela monarchs built these temples when the Tantric tradition may have been accepted. In the days before the Mughal conquests, when boys lived in hermitages, following brahmacharya until they became men, they could learn about the world and prepare themselves to become householders through examining these sculptures and the worldly desires they depicted.
The name Khajuraho, ancient "Kharjuravāhaka", is derived from the Sanskrit words kharjura = date palm and vāhaka = "one who carries". Locals living in the Khajuraho village always knew about and kept up the temples as best as they could. They were pointed out to the English in the late 19th century when the jungles had taken a toll on the monuments. In the 19th century, British engineer T.S. Burt arrived in the area, followed by General Alexander Cunningham. Cunningham put Khajuraho on the world map when he explored the site on behalf of the Archaeological Survey of India and described what he found in glowing terms. The Khajuraho Group of Monuments has been listed as a UNESCO World Heritage Site, and is considered to be one of the "seven wonders" of India.
HISTORY
In the 27th Century of Kali Yuga the Mlechcha invaders started attacking Northern India, some Bargujar moved eastward to central India; they ruled over the Northeastern region of Rajasthan, called Dhundhar, and were referred to as Dhundhel or Dhundhela in ancient times, for the region they governed. Later on they called themselves Chandelas; those who were in the ruling class having gotra Kashyap were definitely all Bargujars; they were vassals of Gurjara – Pratihara empire of North India, which lasted from 500 CE to 1300 CE and at its peak the major monuments were built. The Bargujars also built the Kalinjar fort and Neelkanth Mahadev temple, similar to one at Sariska National Park, and Baroli, being Shiva
The city was the cultural capital of Chandel Rajputs, a Hindu dynasty that ruled this part of India from the 10 to 12th centuries. The political capital of the Chandelas was Kalinjar. The Khajuraho temples were built over a span of 200 years, from 950 to 1150. The Chandela capital was moved to Mahoba after this time, but Khajuraho continued to flourish for some time. Khajuraho has no forts because the Chandel Kings never lived in their cultural capital.
The whole area was enclosed by a wall with eight originates, each flanked by two golden palm trees. There were originally over 85 Hindu temples, of which only 25 now stand in a reasonable state of preservation, scattered over an area of about 20 square kilometres. The erotic sculptures were crafted by Chandella artisans. The temples, maintained by the locals, were pointed out to the English in the late 19th century when the jungles had taken a toll on the monuments. Today, the temples serve as fine examples of Indian architectural styles that have gained popularity due to their explicit depiction of sexual life during medieval times.You can see the erotic sculptures on Kandariya Mahadev Temple.
ARCHITECTURE
The temples are grouped into three geographical divisions: western, eastern and southern.
The Khajuraho temples are made of sandstone. 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.
The Saraswati temple on the campus of the Birla Institute of Technology and Science in Pilani, India, is modeled after the Khajuraho temples.
STATUES AND CARVINGS
The Khajuraho temples contain sexual or erotic art outside the temple or near the deities. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. It has been suggested that these suggest tantric sexual practices. Some 10% of the carvings contain sexual themes and those reportedly do not depict deities but rather sexual activities between people. The rest depict the everyday life. For example, those depictions show women putting on makeup, musicians, potters, farmers, and other folk. The mundane scenes are all at some distance from the temple deities. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities.
Another perspective of these carvings is presented by James McConnachie. In his history of the Kamasutra, McConnachie describes the zesty 10% of the 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."
While the sexual nature of these carvings have caused the site to be referred to as the Kamasutra temple, they do not illustrate the meticulously described positions. Neither do they express the philosophy of Vatsyayana's famous sutra. As "a strange union of Tantrism and fertility motifs, with a heavy dose of magic" they belief a document which focuses on pleasure rather than procreation. That is, fertility is moot.
The strategically placed sculptures are "symbolical-magical diagrams, or yantras" designed to appease malevolent spirits. This alamkara (ornamentation) expresses sophisticated artistic transcendence over the natural; sexual images imply a virile, thus powerful, ruler.
Between 950 and 1150, the Chandela monarchs built these temples when the Tantric tradition may have been accepted. In the days before the Mughal conquests, when boys lived in hermitages, following brahmacharya until they became men, they could learn about the world and prepare themselves to become householders through examining these sculptures and the worldly desires they depicted.
While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans, a contemporary stonemason and sculptor gave his expert opinion and forensically examined the tool marks and construction techniques involved in creating the stunning stonework at the sites. He also 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. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. These temples would have required hundreds of highly trained sculptors.
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Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.
GESCHICHTE
Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.
Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.
TEMPEL
Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.
Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.
Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.
WESTGRUPPE (Hindu-Tempel)
- Matangeshvara-Tempel (ca. 950)
- Varaha-Tempel (ca. 950)
- Lakshmana-Tempel (ca. 950)
- Devi-Tempel
- Vishvanatha-Tempel (ca. 1000)
- Nandi-Schrein
- Parvati-Schrein
- Jagadambi-Tempel
- Chitragupta-Tempel
- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)
OSTGRUPPE (Jain-Tempel)
- Parsvanatha-Tempel (ca. 960)
- Adinatha-Tempel (ca. 1050)
- Shantinatha-Tempel
- Ghantai-Tempel (ca. 990)
EINZELTEMPEL (Hindu-Tempel)
- Chausath-Yogini-Tempel (ca. 875)
- Lalguan-Mahadeva-Tempel (ca. 920)
- Brahma-Tempel (ca. 930)
- Khakra-Math-Tempel (ca. 980)
- Vamana-Tempel (ca. 1050)
- Javari-Tempel (ca. 1100)
- Chaturbuja-Tempel (ca. 1120)
- Duladeo-Tempel (ca. 1120)
ARCHITEKTUR
Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.
FRÜHZEIT
Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.
BLÜHTZEIT
Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.
Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.
Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.
SKULPTUREN
Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.
FRÜHZEITLICHE SKULPTUREN
Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.
SKULPTUREN DER BLÜHTEZEIT
Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.
Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.
ARCHÄOLOGISCHES MUSEUM
Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.
WIKIPEDIA
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