Neelkanth formidable East Face as seen from Base Camp near Badrinath

This is my oldest photograph of Neelkanth.. Notice that no crack is visible on the top most cornice here.. Shot on Film (Velvia)

Elevation 6,596 metres (21,640 ft)

Location Uttarakhand, India

Range Garhwal Himalaya

Prominence 1,200 m (3,940 ft)

Coordinates 30°43′12″N, 79°24′00″E

First ascent June 3, 1974

Trekkers on the way to Kuari Pass.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

Campfire at Tali Lake Campsite.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

Views from top of Kuari.

This is during the 3rd day of the trek to Kuari Pass.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

An Indian Roller Bird (or Neelpankh in Hindi) perched on a wire at Kanha National Park. Its also the state bird for AP, Bihar, Karnataka, Orissa.

Kuari Pass (13980 ft) finally reached.

On a sunny winter afternoon in the himalayas, eight trekkers took the challenge to summit the kuari pass. This was day three of the moderate winter trek.

Mount Drona Giri or Duna Giri can be seen in the background.

Location of shot 30°26'48.17"N 79°33'58.00"E.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

First rays of full moon kiss the temples of a peak in the Great Himalayan Range at Lahul, Himachal Pradesh. Across the cirque of high Himalayan peaks, the full-moon tinctures what once was a shaded night, and brings the Great Himalayan marvels to sight.

One may obliterate the need for a tripod at such moments by locating a suitable piece of rock in such high & rugged country, as done here. The shot has been taken from out base camp for the Holy Neelkanth Mahadev trek in Lahul district of Himachal Pradesh at an altitude of nearly 3900m. For those curious its here wikimapia.org/#lat=32.7715989&lon=76.9152551&z=15...

_AS_

© Anshul Soni, All Rights Reserved.

This image is NOT available for use on websites, blogs or any other media without the explicit written permission of the photographer.

Khullara Bugyal is vast and impressive.

This is during the 3rd day of the trek to Kuari Pass.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

Mt. Chaukhamba (max. elevation 7,138 m). The peak towards the extreme right of the frame is mount Neelkanth (6,596 m).

Zaw dropping views from each and every corner of the Kuari Pass Trek. It was hard to cross the rock hard slippery iced out river without crampon. The bridge has broken due to avalanche.

Can you spot the other trekker wearing red far away making way down to the stream.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

The Indian Roller (Coracias benghalensis), is a member of the roller family of birds. They are found widely across tropical Asia stretching from Iraq eastward across the Indian Subcontinent to Indochina and are best known for the aerobatic displays of the male during the breeding season. They are very commonly seen perched along roadside trees and wires and are commonly seen in open grassland and scrub forest habitats. It is not migratory, but undertakes some seasonal movements. The largest populations of the species are within India, and Several states in India have chosen it as their state bird.

The Indian Roller is a stocky bird about 26–27 cm long and can only be confused within its range with the migratory European Roller. The breast is brownish and not blue as in the European Roller. The crown and vent are blue. The primaries are deep purplish blue with a band of pale blue. The tail is sky blue with a terminal band of Prussian blue and the central feathers are dull green. The neck and throat are purplish lilac with white shaft streaks. The bare patch around the eye is ochre in colour. The three forward toes are united at the base. Rollers have a long and compressed bill with a curved upper edge and a hooked tip. The nostril is long and exposed and there are long rictal bristles at the base of the bill.

The call of the Indian Roller is a harsh crow-like chack sound. It also makes a variety of other sounds, including metallic boink calls. It is especially vociferous during the breeding season.

The bird bathes in open water by plunge-diving into it, a behaviour often interpreted as fishing. But it may occasionally attempt fishing from water.

Being very common in the populated plains of India, it is associated with legends. A local name is neelkanth (meaning "blue throat"), a name associated with the deity Shiva (who drank poison resulting in the blue throat). During former times, a captive roller would be released by the local ruler during festivals such as Dussera and Durga Puja. Adding its chopped feathers to grass and feeding them to cows was believed to increase their milk yield. The Indian Roller has been chosen as the state bird by the Indian states of Andhra Pradesh, Bihar, Karnataka and Odisha.

Indian roller

The Indian roller (Coracias benghalensis), is a member of the roller family of birds. They are found widely across tropical Asia from Iraq eastward across the Indian Subcontinent to Indochina and are best known for the aerobatic displays of the male during the breeding season. They are very commonly seen perched along roadside trees and wires and are commonly seen in open grassland and scrub forest habitats. It is not migratory, but undertakes some seasonal movements. The largest populations of the species are within India, and several states in India have chosen it as their state bird.

The Indian roller was originally described as belonging to the genus Corvus. Alternate names for the Indian roller include the Indian blue roller, northern roller and southern blue roller.

The Indian roller is a stocky bird about 26–27 cm long and can only be confused within its range with the migratory European roller. The breast is brownish and not blue as in the European Roller. The crown and vent are blue. The primaries are deep purplish blue with a band of pale blue. The tail is sky blue with a terminal band of Prussian blue and the central feathers are dull green. The neck and throat are purplish lilac with white shaft streaks. The bare patch around the eye is ochre in colour. The three forward toes are united at the base. Rollers have a long and compressed bill with a curved upper edge and a hooked tip. The nostril is long and exposed and there are long rictal bristles at the base of the bill.

Three subspecies are usually recognized. The nominate form is found from western Asia (Iraq, Arabia) east across the Indian Subcontinent, and within India north of the Vindhyas mountain ranges. The subspecies indicus is found in peninsular India and Sri Lanka. The southern form has a darker reddish collar on the hind neck which is missing in the nominate form. The race affinis of northeastern India and Southeast Asia (Thailand, Myanmar, Indochina) is sometimes considered a full species, but within the Indian region, it is seen to intergrade with benghalensis. The form affinis is darker, larger and has a purplish brown and unstreaked face and breast. It has underwing coverts in a deeper shade of blue.

The Indian roller is distributed across Asia, from Iraq and United Arab Emirates in south-western Asia through the Indian Subcontinent, including Sri Lanka, Lakshadweep islands and Maldive Islands into Southeast Asia. Its main habitat includes cultivated areas, thin forest and grassland.

The Indian roller is very common in the populated plains of India and associated with Hindu legends. It is said to be sacred to Vishnu, and used to be caught and released during festivals such as Dussera or the last day of Durga Puja. A local Hindi name is neelkanth, meaning "blue throat", a name associated with the deity Shiva (who drank poison resulting in the blue throat). Adding its chopped feathers to grass and feeding them to cows was believed to increase their milk yield. The Indian roller has been chosen as the state bird by the Indian states of Andhra Pradesh, Odisha, Karnataka and Telangana.

And a magnet for hindus.A bath in the ganges even with truncated flow is sacrosanct.Pl.see large.Pl.don't use this photo for any purpose without my permission.

facebook

View of Chaukhamba and Gangotri group of peaks from Bedni Bugyal, Majestic Garhwal

The Indian roller (Coracias benghalensis), is a member of the roller family of birds. They are found widely across tropical Asia from Iraq eastward across the Indian Subcontinent to Indochina and are best known for the aerobatic displays of the male during the breeding season. They are very commonly seen perched along roadside trees and wires and are commonly seen in open grassland and scrub forest habitats. It is not migratory, but undertakes some seasonal movements. The largest populations of the species are within India, and several states in India have chosen it as their state bird.

Taxonomy and systematics:

The Indian roller was originally described as belonging to the genus Corvus. Alternate names for the Indian roller include the Indian blue roller, northern roller and southern blue roller.

Subspecies:

Three subspecies are recognized-

C. b. benghalensis - (Linnaeus, 1758): Found from eastern Arabia to north-eastern India and Bangladesh

Southern roller (C. b. indicus) - Linnaeus, 1766: Originally described as a separate species. Found in central and southern India, Sri Lanka

Burmese roller (C. b. affinis) - Horsfield, 1840: Originally described as a separate species. Also called the Indochinese roller. Found from north-eastern India to south-central China, northern Malay Peninsula and Indochina.

Description:

The Indian roller is a stocky bird about 26–27 cm long and can only be confused within its range with the migratory European roller. The breast is brownish and not blue as in the European Roller. The crown and vent are blue. The primaries are deep purplish blue with a band of pale blue. The tail is sky blue with a terminal band of Prussian blue and the central feathers are dull green. The neck and throat are purplish lilac with white shaft streaks. The bare patch around the eye is ochre in colour. The three forward toes are united at the base. Rollers have a long and compressed bill with a curved upper edge and a hooked tip. The nostril is long and exposed and there are long rictal bristles at the base of the bill.

The three forward pointing toes appear to be joined at the base

Three subspecies are usually recognized. The nominate form is found from western Asia (Iraq, Arabia) east across the Indian Subcontinent, and within India north of the Vindhyas mountain ranges. The subspecies indicus is found in peninsular India and Sri Lanka. The southern form has a darker reddish collar on the hind neck which is missing in the nominate form. The race affinis of northeastern India and Southeast Asia (Thailand, Myanmar, Indochina) is sometimes considered a full species, but within the Indian region, it is seen to intergrade with benghalensis. The form affinis is darker, larger and has a purplish brown and unstreaked face and breast. It has underwing coverts in a deeper shade of blue.

Distribution and habitat:

The Indian roller is distributed across Asia, from Iraq and United Arab Emirates in south-western Asia through the Indian Subcontinent, including Sri Lanka, Lakshadweep islands and Maldive Islands into Southeast Asia.[7] Its main habitat includes cultivated areas, thin forest and grassland.

Ecology and behaviour:

Indian rollers are often seen perched on prominent bare trees or wires. They descend to the ground to capture their prey which may include insects, arachnids, small reptiles, small snakes and amphibians. Fires attract them] and they will also follow tractors for disturbed invertebrates. In agricultural habitats in southern India, they have been found at densities of about 50 birds per km2. They perch mainly on 3—10 metre high perches and feed mostly on ground insects. Nearly 50% of their prey are beetles and 25% made up by grasshoppers and crickets. The feeding behaviour of this roller and habitat usage are very similar to that of the black drongo. During summer, they may also feed late in the evening and make use of artificial lights and feed on insects attracted to them. They are attracted to swarms of winged termites, and as many as 40 birds have been seen to perch on a 70-metre stretch of electric wires.

Their habit of feeding near roadsides sometimes results in collisions with traffic. A decline in the numbers of these birds seen along roadsides in northern India has been noted.

The display of this bird is an aerobatic display, with the twists and turns that give this species its English name. The breeding season is March to June, slightly earlier in southern India. Displays when perched include bill-up displays, bowing, allopreening, wing drooping and tail fanning. Holes created by woodpeckers or wood boring insects in palms are favoured for nesting in some areas. Nest cavities may also be made by tearing open rotten tree trunks or in cavities in building. The cavity is usually unlined and is made up mainly of debris from the wood. The normal clutch consists of about 3-5 eggs. The eggs are white and broad oval or nearly spherical. Both sexes incubate the eggs for about 17 to 19 days.The young fledge and leave the nest after about a month. Nearly 80% of the eggs hatch and fledge.

The call of the Indian roller is a harsh crow-like chack sound. It also makes a variety of other sounds, including metallic boink calls. It is especially vociferous during the breeding season.

The bird bathes in open water by plunge-diving into it, a behaviour often interpreted as fishing. But it may occasionally attempt fishing from water.

Blood parasites Leucocytozoon of the family Plasmodiidae have been noted in the lung tissues.Parasitic helminth worms Hadjelia truncata and Synhimantus spiralis were recorded as well.

In culture:

The Indian roller is very common in the populated plains of India and associated with legends. It is said to be sacred to Vishnu, and used to be caught and released during festivals such as Dussera and Durga Puja. A local Hindi name is neelkanth, meaning "blue throat", a name associated with the deity Shiva (who drank poison resulting in the blue throat).

Another local name in Telugu is 'pala pitta', and in Kannada it is 'neelakanthi'. Adding its chopped feathers to grass and feeding them to cows was believed to increase their milk yield. The Indian roller has been chosen as the state bird by the Indian states of Andhra Pradesh, Odisha, Karnataka and Telangana.

Dronagiri, Bhramakamal, Hathi Parbat and Gauri Parbat standing tall like a wall as seen from Kuari Top.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

Gangstang by a ribbon of light, animates some bridled warrior.

© Anshul Soni, All Rights Reserved.

This image is NOT available for use on websites, blogs or any other media without the explicit written permission of the photographer.

A serene mountain range with a lot of quiet. Thats Mukteshwar for you. The beautiful greens slowly give way to the whiles and then starts the Trishul, Nanda Devi and Neelkanth peaks.

Feather Details.

Neelkanth or Indian Roller.

27.10.2015

Pench National Park.

D810 With Sigma 50-500

ISO-1400, f-9, 1/1250

Handheld.

Indian Roller (Coracias benghalensis) is fairly common throughout India and is considered auspicious. This bird was shot at Taal Chhapar Black Buck Santuary, District Churu, Rajasthan.

Reino:Animalia

Filo:Chordata

Clase:Aves

Orden:Coraciiformes

Familia:Coraciidae

Género:Coracias

Especie:C. benghalensis

Lugar Captura;Vedanthagal Bird Sanctuary.Distrito Kancheepuran,Estado de Tamil-Nadu.

La carraca india es el ave oficial elegida por los estados indios de Andhra Pradesh, Bihar, Karnataka y Odisha.

Al ser muy común en las pobladas planicies de la India se incluye en varias leyendas. El nombre local es neelkanth (que significa «garganta azul»),26 un nombre que se asocia con la deidad Shiva (que bebió veneno que le puso la garganta azul). En el pasado los gobernantes locales liberaban carracas cautivas durante algunas festividades como Dussera y Durga Puja.27 28 Se creía que añadir sus plumas molidas a la hierba con la que se alimentaba a las vacas aumentaba su producción de lecheEn el marco del hinduismo, Shiva es uno de los dioses de la Trimurti (‘tres-formas’ o "Trinidad hinduista"), en la que representa el papel de dios destructor, junto con Brahmá (dios creador) y Visnú (dios preservador)

Dentro del shivaísmo es considerado el Dios supremo.

Fuente:Wikipedia.

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.

___________________________________________________________________

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

Nilkantha is a major peak of the Garhwal division of the Himalayas, India.

The supermoon revives the feel of pac-man while revolving around the earth.

The Moon that revolves around Earth is almost revolving around

Ahmedabad City's one of main landmark which itself revolves!!!

Venue :- Iconic first of it's kind in the country- The Revolving Neelkanth PATANG Hotel Tower , Giving the Ahmedabad city- it's much needed 360 degree view over the banks of river Sabarmati along with colorful riverfront lightings.

This tower is a face to the city's high dreams and aspirations to keep rotating and keep working hard and telling that life is a circle and we all are revolving and rotating !!!

View from the trail in Kuari Pass Trek. You can see a trekker at the end of the trail against the sky. Nanda Devi Peak can be seen in the background.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

A couple of trees which changed colors to golden yellow in late winter and formed a perfect backdrop for capturing the snow peak of Drona Giri.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Dunagiri or Dronagiri 7066 m / 23183 ft can be seen in the centre of the picture.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

As seen from top of Gorson Bugyal. The peaks of Chowkhamba, neelkanth, kamet, mukut, gauri and Hathi parbat can be seen from left to right.

This is during the last day of the trek to Kuari Pass.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

A group of pilgrims take part in a religious ceremony in the Neelkanth (another name of Shiva meaning the One with the Blue Throat) Temple, which was built by one of Mughal emperor Akbar's general. You can see the Mughal architecture influences clearly in this temple.

As if Moon-lit!!

🌹हिमालये तू केदारम🌹

आराध्य देव केदारेश्वर महादेव जी के धाम में बर्फबारी का अद्भुत अलौकिक दिव्य दर्शन।।

शेयर जरूर करें।। ♥️ मेरे महादेव

Kedarnath Temple Uttrakhand

Neelkanth is a major peak of the Garhwal division of the Himalayas, in the Uttarakhand region in India. Although substantially lower than the highest peaks of the region, it towers dramatically over the valley of the Alaknanda River and rises 3,474 metres (11,398 ft) above the Hindu holy town of Badrinath.

Frank Smythe described the peak as "second only to Siniolchu in Himalayan beauty."

The Satopanth Glacier lies on the northwest side of Nilkantha, below a 2,500 m (8,200 ft) face of the peak. The Panpatia Glacier lies to the southwest, and feeds the Khirao Ganga, a stream running under the south side of the peak. Further away, to the west of the peak, lies the well-known Gangotri Glacier and its associated peaks. Across the Alaknanda valley lie the Kamet and Nanda Devi groups.

Mythological Beliefs

It is believed that there was no mountain on the spot where Nilkantha stands today. There was an adage route between Kedarnath and Badrinath. The "Purohita" or the worshipper of the two temples worshipped them in one day. This continued for a long time until due to some sins of the worshipper, Lord Shiva became displeased with him and stood blocking the way as huge sky-kissing mountain, which is said to be modern Neelkanth.

Trails above the hills with peaks in view.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

Team at Khullara Top.

When you reach the top, you are doing something different than the other. Here all are trying to do something and all are unique in their terms. Two guys in right discuss the snow peaks, while two guys are busy with camera for the amazing view. The strong Sikh guy is busy filling water in his bottle while the guy in red jacket is happy posing.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

Pointing towards the destination, i.e. Kuari Pass from the Khullara Top.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

This schematic map shows the location of architectural sites on the Mandu plateau. It is based on the map inside the Archaeological Survey of India's "Mandu" brochure, but corrects some errors and clarifies locations. You'll need to use this schematic map in conjunction with a to-scale Mandu map, since I haven't given distances.

I have left out the roads, paths and monuments that I did not visit, but the "main" ones are here. For example, the road from Neelkanth Palace to Songarh (and beyond) is missing, as are roads to various gates around the edge of the plateau. The chowkidar at Lal Bangla (or Lal Bungalow) said that there was a path leading from there north-eastwards towards the "Sat Sau Sidhi" fortification, which would have been fun to visit.

Feel free to download, print and use!

Mt. Neelkanth at dawn, shot from Badrinath, Uttarakhand

View of Gorson Bugyal and its oak forest below. The peak of Chowkhamba and Neelkanth can be seen in the background.

This is during the last day of the trek to Kuari Pass.

Kuari Pass trek boast some of the views in Indian Himalayas.

Kuari Pass is a moderate trek in the Indian Himalayas. This trek takes place in the mountain passes of garhwal region of Uttarakhand, India. The trek may not be very high altitude per Himalayan standards, but it boasts of some of the most impressive views.

Kuari Pass takes place in Nanda Devi Biosphere Reserve. The Nanda Devi National Park is a national park situated around the peak of Nanda Devi, 7,817 m (25,646 ft) in the state of Uttarakhand in northern India that was established in 1982. Along with the adjoining Valley of Flowers National Park to the northwest, it was inscribed a World Heritage Site by UNESCO in 1988.

Major Peaks other than Nanda Devi seen from the Kuari Pass Trek are

Dunagiri 7066m

Barmal 5879 m

Hathi Parbat 6727 m

Ghori Parbat 6708 m

Nilgiri Parbat 6474 m

Nar Parbat 5855 m

Devban 6855 m

Mana 7272 m

Kamet 7756 m

Bhagnyu 5706 m

Narayan Parbat 5965 m

Nilkanth 6596 m

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.

___________________________________________________________________

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

This one was clicked during aarti at Mumbai BAPS Mandir.

Swaminarayan (Gujarati: સ્વામિનારાયણ, Devanagari: स्वामीनारायण, IAST: Svāmīnārāyaṇa) (3 April 1781 – 1 June 1830), also known as Sahajanand Swami, is the central figure in a modern sect of Hinduism known as the Swaminarayan Faith, a form of Vaishnavism. Within the faith, Swaminarayan is equated with the Supreme Being, Purushottama, or is venerated as an incarnation of Narayana from the Nara-Narayana deity pair.

Swaminarayan was born Ghanshyam Pande in Chhapaiya, Uttar Pradesh, India in 1781. In 1792, he began a seven year pilgrimage across India, adopting the name NEELKANTH VARNI.

After the death of his parents, Ghanshyam Pande left his home on 29 June 1792 (Ashadh Sud 10, Samvat 1849) at the age of 11. He took the name Nilkanth Varni while on his journey. Nilkanth Varni travelled across India and parts of Nepal in search of an ashram, or hermitage, that practised what he considered a correct understanding of Vedanta, Samkhya, Yoga, and Pancaratra, the four primary schools of Hindu philosophy.

COURTESY - WIKIPEDIA.

From Wikipedia, the free encyclopedia

Khajuraho (Hindi: खजुराहो) is a town in the Indian state of Madhya Pradesh, located in Chhatarpur District, about 620 kilometres (385 mi) southeast of New Delhi, the capital city of India. One of the most popular tourist destinations in India, Khajuraho has the largest group of medieval Hindu and Jain temples, famous for their erotic sculpture. 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.

The name Khajuraho, ancient "Kharjuravahaka", is derived from the Sanskrit word kharjur meaning date palm.

In the twenty-seventh century of Kali yuga the Mlechcha invaders started attacking North India some Bargujar Rajputs moved towards east to central India, they ruled over North-Eastern region of Rajasthan called Dhundhar and were referred to as Dhundhel/Dhundhela in ancient times, for the region they governed. Later on they called themselves Bundelas and 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 C.E. to 1300 C.E. and was at its peak when 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 worshipers. The city was the cultural capital of Chandela Rajputs, a Hindu dynasty that ruled this part of India from the 10th to the 12th centuries. Political capital of 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.Khajuraho History

The whole area was enclosed by a wall with eight gates, each flanked by two golden palm trees. There were originally over 80 Hindu temples, of which only 25 now stand in a reasonable state of preservation, scattered over an area of about 20 square kilometres (8 sq mi). Today, the temples serve as fine examples of Indian architectural styles that have gained popularity due to their explicit depiction of the traditional way of sexual life during medieval times. Locals living in the Khajuraho village always knew about and kept up the temples as best as they could. They were pointed out to an English man in late 19th century and the jungles had taken a toll on all of the monuments.

Indian roller

The Indian roller (Coracias benghalensis), is a member of the roller family of birds. They are found widely across tropical Asia from Iraq eastward across the Indian Subcontinent to Indochina and are best known for the aerobatic displays of the male during the breeding season. They are very commonly seen perched along roadside trees and wires and are commonly seen in open grassland and scrub forest habitats. It is not migratory, but undertakes some seasonal movements. The largest populations of the species are within India, and several states in India have chosen it as their state bird.

The Indian roller was originally described as belonging to the genus Corvus. Alternate names for the Indian roller include the Indian blue roller, northern roller and southern blue roller.

The Indian roller is a stocky bird about 26–27 cm long and can only be confused within its range with the migratory European roller. The breast is brownish and not blue as in the European Roller. The crown and vent are blue. The primaries are deep purplish blue with a band of pale blue. The tail is sky blue with a terminal band of Prussian blue and the central feathers are dull green. The neck and throat are purplish lilac with white shaft streaks. The bare patch around the eye is ochre in colour. The three forward toes are united at the base. Rollers have a long and compressed bill with a curved upper edge and a hooked tip. The nostril is long and exposed and there are long rictal bristles at the base of the bill.

Three subspecies are usually recognized. The nominate form is found from western Asia (Iraq, Arabia) east across the Indian Subcontinent, and within India north of the Vindhyas mountain ranges. The subspecies indicus is found in peninsular India and Sri Lanka. The southern form has a darker reddish collar on the hind neck which is missing in the nominate form. The race affinis of northeastern India and Southeast Asia (Thailand, Myanmar, Indochina) is sometimes considered a full species, but within the Indian region, it is seen to intergrade with benghalensis. The form affinis is darker, larger and has a purplish brown and unstreaked face and breast. It has underwing coverts in a deeper shade of blue.

The Indian roller is distributed across Asia, from Iraq and United Arab Emirates in south-western Asia through the Indian Subcontinent, including Sri Lanka, Lakshadweep islands and Maldive Islands into Southeast Asia. Its main habitat includes cultivated areas, thin forest and grassland.

The Indian roller is very common in the populated plains of India and associated with Hindu legends. It is said to be sacred to Vishnu, and used to be caught and released during festivals such as Dussera or the last day of Durga Puja. A local Hindi name is neelkanth, meaning "blue throat", a name associated with the deity Shiva (who drank poison resulting in the blue throat). Adding its chopped feathers to grass and feeding them to cows was believed to increase their milk yield. The Indian roller has been chosen as the state bird by the Indian states of Andhra Pradesh, Odisha, Karnataka and Telangana.

Ram Jhula

Pilgrims eating and drinking, bunkering energy before climbing 6 hours to Neelkanth.

2010-02-12

oochappan ©®

The greatness lies in the color of this holy mountain. I saw some different colors in a matter of few minutes. Wearing this golder color, it showers peace, harmony and blessing to the world.

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.

___________________________________________________________________

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

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.

___________________________________________________________________

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